Friday, July 20, 2007
Galeria Magda Bellotti-Madrid,Spain
Galeria Magda Bellotti
Madrid,Spain
www.magdabellotti.com
La Galería Magda Bellotti se funda en Algeciras (Cádiz) en 1982; en 2001 se traslada a Madrid, donde abre nuevo espacio en el llamado triángulo de oro, entre el Museo Thyssen, el Prado y el Reina Sofía.La nueva galería madrileña consta de cuatro espacios diferenciados; dos salas que se encuentran a nivel de la calle, y otros dos espacios en un semisótano; uno de los espacios llamado Sala Algeciras es un "guest room"; un espacio dedicado a proyectos específicos e intercambios con artistas de otras galerías. Por todo ello, se exhiben dos exposiciones al mismo tiempo.La galería desde su fundación ha querido acercar el arte contemporáneo, fundamentalmente español, al público, y generar un coleccionismo entonces inexistente en España.Desde un primer momento la galería ha prestado un especial interés a los artistas jóvenes, a los que ha promocionado con exposiciones, edición de catálogos, publicidad, así como asistiendo a ferias nacionales e internacionales. Muchos de los artistas que comenzaron a trabajar en la galería son referentes indispensables en el panorama artístico nacional.Los artistas que representa la galería son:Ángeles Agrela, Evaristo Bellotti, Paloma Gámez, Alfredo Igualador, Paco Lara-Barranco, Santiago Mayo, Paloma Peláez, Gabriela Kraviez, Manolo Quejido, Fernando Renes, Antonio Sosa, Chema Cobo, Mercedes Carbonell, Javier Casaseca, Luis Gordillo, Teresa Lanceta, Mario Martín Crespo, Marysol, Fram Ramírez, Laia Solé y Baltazar Torres. Un grupo de artistas que trabajan en distintas disciplinas artísticas: pintura, escultura, dibujo, fotografía y vídeos, instalación y animación; algunos son artistas con una sólida trayectoria artística a sus espaldas y otros son jóvenes artistas.
Madrid,Spain
www.magdabellotti.com
La Galería Magda Bellotti se funda en Algeciras (Cádiz) en 1982; en 2001 se traslada a Madrid, donde abre nuevo espacio en el llamado triángulo de oro, entre el Museo Thyssen, el Prado y el Reina Sofía.La nueva galería madrileña consta de cuatro espacios diferenciados; dos salas que se encuentran a nivel de la calle, y otros dos espacios en un semisótano; uno de los espacios llamado Sala Algeciras es un "guest room"; un espacio dedicado a proyectos específicos e intercambios con artistas de otras galerías. Por todo ello, se exhiben dos exposiciones al mismo tiempo.La galería desde su fundación ha querido acercar el arte contemporáneo, fundamentalmente español, al público, y generar un coleccionismo entonces inexistente en España.Desde un primer momento la galería ha prestado un especial interés a los artistas jóvenes, a los que ha promocionado con exposiciones, edición de catálogos, publicidad, así como asistiendo a ferias nacionales e internacionales. Muchos de los artistas que comenzaron a trabajar en la galería son referentes indispensables en el panorama artístico nacional.Los artistas que representa la galería son:Ángeles Agrela, Evaristo Bellotti, Paloma Gámez, Alfredo Igualador, Paco Lara-Barranco, Santiago Mayo, Paloma Peláez, Gabriela Kraviez, Manolo Quejido, Fernando Renes, Antonio Sosa, Chema Cobo, Mercedes Carbonell, Javier Casaseca, Luis Gordillo, Teresa Lanceta, Mario Martín Crespo, Marysol, Fram Ramírez, Laia Solé y Baltazar Torres. Un grupo de artistas que trabajan en distintas disciplinas artísticas: pintura, escultura, dibujo, fotografía y vídeos, instalación y animación; algunos son artistas con una sólida trayectoria artística a sus espaldas y otros son jóvenes artistas.
Tuesday, July 17, 2007
Andrew Bae Gallery
Andrew Bae Gallery
Chicago,il
presents
July 13 — August 11, 2007Opening reception: Friday July 13, 5 - 8 PM
The Andrew Bae Gallery will proudly present recent work by Korean photo-sculptor, Myungkeun Koh. Koh`s complex constructions of photographic laminates combine sculpture and photography, yet establish an independent medium of their own.
In these wondrous “boxes”, as the artist casually calls, a sense of architectural depth intersects with that of the two-dimensional picture plane. Translucent photographic images repeat, overlap and resonate through the constructed space of variously shaped boxes. These illusionary and illusionistic sculptures dream a dream of surface. Violating but also appropriating the principles of two-dimensional photographic representation as well as the spatial manipulation of sculpture, the surface claims space and the image breathes life. The greater charm of the artist’s luminous boxes is, however, not to be found in his innovative method alone, but in the classicism of the themes the artist has incorporated. Natural elements like water, fire, air and soil; the outer walls of abandoned buildings; old windows and doors, all have been captured by the artist’s camera. This summer, Andrew Bae Gallery especially focuses on the artist’s new theme, the Stone Body. Koh isolates the surface of the human form in stone sculptures from the 5th century B.C. through the 19th century and preserves this surface in high-resolution laminated film gels. The weight of stone is denied and multiple iterations of human form are suspended in pattern. Captured in moments, the fleeting image resembles in its transparency the transience of our vulnerable life and reminds us how beautiful our mortal body is.
Myungkeun Koh was born in 1964 in Korea and educated both at Seoul National University and at Pratt Institute in Brooklyn, New York. His works have been shown in Cologne, at the Sorbonne in Paris, in Hong Kong, Tokyo, Seoul, New York and San Francisco. After his introduction to a Chicago audience at the Museum of Contemporary Photography at Columbia College in 1998, this exhibition is Koh`s first solo show at Andrew Bae gallery. Currently, Myungkeun Koh is a professor at Kookmin University of Fine Art in Seoul.
Chicago,il
presents
July 13 — August 11, 2007Opening reception: Friday July 13, 5 - 8 PM
The Andrew Bae Gallery will proudly present recent work by Korean photo-sculptor, Myungkeun Koh. Koh`s complex constructions of photographic laminates combine sculpture and photography, yet establish an independent medium of their own.
In these wondrous “boxes”, as the artist casually calls, a sense of architectural depth intersects with that of the two-dimensional picture plane. Translucent photographic images repeat, overlap and resonate through the constructed space of variously shaped boxes. These illusionary and illusionistic sculptures dream a dream of surface. Violating but also appropriating the principles of two-dimensional photographic representation as well as the spatial manipulation of sculpture, the surface claims space and the image breathes life. The greater charm of the artist’s luminous boxes is, however, not to be found in his innovative method alone, but in the classicism of the themes the artist has incorporated. Natural elements like water, fire, air and soil; the outer walls of abandoned buildings; old windows and doors, all have been captured by the artist’s camera. This summer, Andrew Bae Gallery especially focuses on the artist’s new theme, the Stone Body. Koh isolates the surface of the human form in stone sculptures from the 5th century B.C. through the 19th century and preserves this surface in high-resolution laminated film gels. The weight of stone is denied and multiple iterations of human form are suspended in pattern. Captured in moments, the fleeting image resembles in its transparency the transience of our vulnerable life and reminds us how beautiful our mortal body is.
Myungkeun Koh was born in 1964 in Korea and educated both at Seoul National University and at Pratt Institute in Brooklyn, New York. His works have been shown in Cologne, at the Sorbonne in Paris, in Hong Kong, Tokyo, Seoul, New York and San Francisco. After his introduction to a Chicago audience at the Museum of Contemporary Photography at Columbia College in 1998, this exhibition is Koh`s first solo show at Andrew Bae gallery. Currently, Myungkeun Koh is a professor at Kookmin University of Fine Art in Seoul.
Monday, July 16, 2007
Galerie Nordenhake - Berlin
Galerie Nordenhake
www.nordenhake.com
MARJETICA POTRÈRURAL STUDIO: THE LUCY HOUSE TORNADO SHELTERAPRIL 27, 2007
Galerie Nordenhake is very pleased to present an exhibition by the Slovenian artist Marjetica Potrè, an architect turned sculptor who works at the interface of art, architecture and social science, exploring local innovations in the built environment. For the exhibition, Potrè has installed a site-specific structure that evolved from her case study of the Lucy House in Greensbro, Alabama, designed by the Rural Studio in 2002 for Anderson and Lucy Harris and their three children. Rural Studio is a program founded in 1992 by Samuel Mockbee for architecture students at Auburn University in Hale County, Alabama, one of the poorest regions in the United States.
Potrè’s work negotiates with the gaps in knowledge that result when urban planners and architects insist on creating order. Notably, Potrè is interested in what architects and planners cannot predict. Notions such as homelessness, the shantytown, outsider communities, and the role of imagination are united in Potrè’s work with an architecture of immediate, personal response.
The ‘Lucy House Tornado Shelter’ is an organic, ‘living’ structure based on the metaphor of the human body’s spontaneous and unplanned behavior. The house includes a built-in tornado shelter topped with a ‘crumpled’ dome. This dome is not the actual shelter; rather, it is protecting the structure underneath. Potrè’s design takes into consideration her work with Buckminster Fuller’s tensegrity domes, which she encountered while at the Burning Man Festival. A tensegrity dome involves a coordination of pressure and release, push and pull. The dome is built by adjoining segments at different angles together so that in the overall structure an equilibrium of push and pull occurs between segments weighed on and those weighing.
Potrè’s study evolved out of her interest in architecture that emphasizes ‘self-reliance’ and ‘individual empowerment.’ This is accomplished through the usage of alternative, environmentally sustainable construction materials, combined with little money and much creativity. She investigates how to improve relations between society and the individual, asking what sort of space is available to us for freedom. Transforming scrap material and ‘junk’ into a solid, sturdy structure, Rural Studio’s work has provided the opportunity for many underprivileged families living in substandard housing to move into a house that is not only a home, but a shelter for the soul.
The Lucy House’ unites residential architecture with an emergency provision, the permanent need with the temporary necessity. As with her previous projects, Marjetica Potrè is continuously exploring fundamental human needs: community, safety, and shelter. In addition to the house, Potrè will also exhibit new drawings that are somewhere between an architectural plan and a mental association chart. These drawings give insight into her idiosyncratic process of thinking about urgent problems in urban architecture.
Marjetica Potrè was born in 1953 in Ljubljana, Slovenia. She has an upcoming exhibition at the end of May at the Barbican Arts Center in London. Her work has been exhibited extensively throughout Europe and the Americas, including at the Sao Paolo Biennial (1996 and 2006), the Venice Biennial (2003), and Manifesta 3 (2000). She has had solo exhibitions at the Guggenheim Museum (New York, 2001), Max Protetch Gallery (New York, 2002 and 2005), Galerie Nordenhake (Berlin, 2003), PBICA (Lake Worth, Florida, 2003), the List Visual Arts Center at the Massachusetts Institute of Technology (2004), and at the De Appel Foundation for Contemporary Art (Amsterdam, 2004). Her many on-site installations include Dry Toilet (Caracas, 2003), Balcony with Wind Turbine (the Liverpool Biennial, 2004) and Genesis (2005), which is on permanent display at the Nobel Peace Center in Oslo. Potrè has published a number of essays on contemporary urban architecture. In 2005, she was a visiting professor at the Center for Advanced Visual Studies at the Massachusetts Institute of Technology. She has been the recipient of numerous grants and awards, most notably the prestigious Hugo Boss Prize (2000) and recently an IASPIS artist residency in Stockholm, Sweden (2006).
www.nordenhake.com
MARJETICA POTRÈRURAL STUDIO: THE LUCY HOUSE TORNADO SHELTERAPRIL 27, 2007
Galerie Nordenhake is very pleased to present an exhibition by the Slovenian artist Marjetica Potrè, an architect turned sculptor who works at the interface of art, architecture and social science, exploring local innovations in the built environment. For the exhibition, Potrè has installed a site-specific structure that evolved from her case study of the Lucy House in Greensbro, Alabama, designed by the Rural Studio in 2002 for Anderson and Lucy Harris and their three children. Rural Studio is a program founded in 1992 by Samuel Mockbee for architecture students at Auburn University in Hale County, Alabama, one of the poorest regions in the United States.
Potrè’s work negotiates with the gaps in knowledge that result when urban planners and architects insist on creating order. Notably, Potrè is interested in what architects and planners cannot predict. Notions such as homelessness, the shantytown, outsider communities, and the role of imagination are united in Potrè’s work with an architecture of immediate, personal response.
The ‘Lucy House Tornado Shelter’ is an organic, ‘living’ structure based on the metaphor of the human body’s spontaneous and unplanned behavior. The house includes a built-in tornado shelter topped with a ‘crumpled’ dome. This dome is not the actual shelter; rather, it is protecting the structure underneath. Potrè’s design takes into consideration her work with Buckminster Fuller’s tensegrity domes, which she encountered while at the Burning Man Festival. A tensegrity dome involves a coordination of pressure and release, push and pull. The dome is built by adjoining segments at different angles together so that in the overall structure an equilibrium of push and pull occurs between segments weighed on and those weighing.
Potrè’s study evolved out of her interest in architecture that emphasizes ‘self-reliance’ and ‘individual empowerment.’ This is accomplished through the usage of alternative, environmentally sustainable construction materials, combined with little money and much creativity. She investigates how to improve relations between society and the individual, asking what sort of space is available to us for freedom. Transforming scrap material and ‘junk’ into a solid, sturdy structure, Rural Studio’s work has provided the opportunity for many underprivileged families living in substandard housing to move into a house that is not only a home, but a shelter for the soul.
The Lucy House’ unites residential architecture with an emergency provision, the permanent need with the temporary necessity. As with her previous projects, Marjetica Potrè is continuously exploring fundamental human needs: community, safety, and shelter. In addition to the house, Potrè will also exhibit new drawings that are somewhere between an architectural plan and a mental association chart. These drawings give insight into her idiosyncratic process of thinking about urgent problems in urban architecture.
Marjetica Potrè was born in 1953 in Ljubljana, Slovenia. She has an upcoming exhibition at the end of May at the Barbican Arts Center in London. Her work has been exhibited extensively throughout Europe and the Americas, including at the Sao Paolo Biennial (1996 and 2006), the Venice Biennial (2003), and Manifesta 3 (2000). She has had solo exhibitions at the Guggenheim Museum (New York, 2001), Max Protetch Gallery (New York, 2002 and 2005), Galerie Nordenhake (Berlin, 2003), PBICA (Lake Worth, Florida, 2003), the List Visual Arts Center at the Massachusetts Institute of Technology (2004), and at the De Appel Foundation for Contemporary Art (Amsterdam, 2004). Her many on-site installations include Dry Toilet (Caracas, 2003), Balcony with Wind Turbine (the Liverpool Biennial, 2004) and Genesis (2005), which is on permanent display at the Nobel Peace Center in Oslo. Potrè has published a number of essays on contemporary urban architecture. In 2005, she was a visiting professor at the Center for Advanced Visual Studies at the Massachusetts Institute of Technology. She has been the recipient of numerous grants and awards, most notably the prestigious Hugo Boss Prize (2000) and recently an IASPIS artist residency in Stockholm, Sweden (2006).
Sunday, July 15, 2007
Slater Bradley
Slater Bradley
Slater Bradley's Doppelganger Trilogy (2001–04) conjures up three pop icons from the collective unconscious of our mass-mediated culture. All fallen heroes—two by suicide and one by a protracted descent into disrepute—these figures are perceived through the distancing lens of desire and memory. Each of the three videos is fashioned as a recording of a faux concert performance, using a technique reminiscent of what would have been employed to capture the event when it purportedly took place.Factory Archives imagines Ian Curtis, lead singer of the short-lived punk band Joy Division, through the grainy haze of aging video stock. As if retrieved from the vaults of Factory Records, this fragment depicts an elusive performer just before the dawn of MTV, when the choreographed music video would forever change how culture consumes its rock 'n' roll. Phantom Release rehearses this cultural phenomenon as well as the ubiquitousness of the personal camcorder, offering an ersatz, "amateur" recording of Kurt Cobain playing the guitar. Its studied casualness and raw ambience evoke the countless bootleg videos that can be downloaded from any number of Web sites devoted to all things Nirvana. In Recorded Yesterday Michael Jackson is seen performing his signature dance moves on an otherwise empty stage. The black-and-white, Super-8 film footage of this lone figure appears to be disintegrating as it plays, creating a ghostly, retro atmosphere that reflects the melancholic reality of a once brilliant career spiraling out of control. Each chapter of the trilogy appears worn and overexposed, as if distorted by age. The effect is one of a vaguely remembered image, a dream dimly recalled at the break of day.Bradley's "restagings" of these imagined performances reference specific moments in his own life when he first encountered the work of Joy Division, Nirvana, and Michael Jackson, and through them, the seduction of abandonment, the lure of celebrity, and the erotics of fan worship. His trilogy—and its related photographs and collages—compellingly complicates the autobiographical element by the involvement of the artist's "doppelganger." Since 1999 Bradley has been collaborating with Benjamin Brock, his veritable double, in a series of works that explore the psychologically charged space between one's self and mirror image. In myth and literature, the doppelganger is an apparition that portends one's own death, but its form has mutated over time to include the notion of double identity. In the trilogy Brock performs as Bradley playing the roles of Curtis, Cobain, and Jackson. Transformed by costume and posture, and further masked by the deteriorating stock on which he is seen, the doppelganger is at once everyone and no one. What emerges is a triangulation of reflections, an endless hall of mirrors that leads nowhere but to the recesses of the unconscious mind.
Slater Bradley's Doppelganger Trilogy (2001–04) conjures up three pop icons from the collective unconscious of our mass-mediated culture. All fallen heroes—two by suicide and one by a protracted descent into disrepute—these figures are perceived through the distancing lens of desire and memory. Each of the three videos is fashioned as a recording of a faux concert performance, using a technique reminiscent of what would have been employed to capture the event when it purportedly took place.Factory Archives imagines Ian Curtis, lead singer of the short-lived punk band Joy Division, through the grainy haze of aging video stock. As if retrieved from the vaults of Factory Records, this fragment depicts an elusive performer just before the dawn of MTV, when the choreographed music video would forever change how culture consumes its rock 'n' roll. Phantom Release rehearses this cultural phenomenon as well as the ubiquitousness of the personal camcorder, offering an ersatz, "amateur" recording of Kurt Cobain playing the guitar. Its studied casualness and raw ambience evoke the countless bootleg videos that can be downloaded from any number of Web sites devoted to all things Nirvana. In Recorded Yesterday Michael Jackson is seen performing his signature dance moves on an otherwise empty stage. The black-and-white, Super-8 film footage of this lone figure appears to be disintegrating as it plays, creating a ghostly, retro atmosphere that reflects the melancholic reality of a once brilliant career spiraling out of control. Each chapter of the trilogy appears worn and overexposed, as if distorted by age. The effect is one of a vaguely remembered image, a dream dimly recalled at the break of day.Bradley's "restagings" of these imagined performances reference specific moments in his own life when he first encountered the work of Joy Division, Nirvana, and Michael Jackson, and through them, the seduction of abandonment, the lure of celebrity, and the erotics of fan worship. His trilogy—and its related photographs and collages—compellingly complicates the autobiographical element by the involvement of the artist's "doppelganger." Since 1999 Bradley has been collaborating with Benjamin Brock, his veritable double, in a series of works that explore the psychologically charged space between one's self and mirror image. In myth and literature, the doppelganger is an apparition that portends one's own death, but its form has mutated over time to include the notion of double identity. In the trilogy Brock performs as Bradley playing the roles of Curtis, Cobain, and Jackson. Transformed by costume and posture, and further masked by the deteriorating stock on which he is seen, the doppelganger is at once everyone and no one. What emerges is a triangulation of reflections, an endless hall of mirrors that leads nowhere but to the recesses of the unconscious mind.
Wednesday, July 4, 2007
Galeria TRAMA - Madrid
Galeria Trama
Madrid . Barcelona
http://www.galeriatrama.com/
Galería TRAMA abrió sus puertas en Noviembre de 2002, con la firme intención de promocionar el arte contemporáneo, difundiendo la obra de artistas emergentes, nuevas promesas y figuras consolidadas del panorama español e internacional. Su propósito es el de acercar más el arte contemporáneo a las nuevas generaciones, vivir de cerca la emoción y el placer de las nuevas creaciones artísticas y tejer una relación más intensa entre el coleccionismo y las nuevas tendencias. Se define por la reunión de ideas, estilos y generaciones distintas, reflejando de este modo la variedad y riqueza de las propuestas formales de nuestro tiempo.
Desde el pasado mes de mayo cuenta con un nuevo espacio: TRAMA – ESPACIO II, ubicado en el mismo edificio de la plaza de Alonso Martínez número 3 y con acceso desde la planta baja.
En él se presenta una programación independiente de la que se desarrolla en la galería y muestra tanto la obra de carácter más emergente o experimental, como proyectos específicos a cargo de artistas que la galería ya presenta en su programación habitual.
La promoción de los artistas representados por la Galería se realiza principalmente a través de exposiciones individuales y colectivas en nuestros espacios, en otras galerías, en la participación en Ferias de prestigio como ARCO y en la colaboración con relevantes instituciones, museos y universidades
---------------------------------------------------------------------------------------
Established in 1991, Galeria Trama is dedicated to promoting contemporary art. It is a platform to foster young, emerging and established artists. In November 2002 Trama opens a new gallery in the centre of Madrid, which has lead to the broadening of its activity. Each gallery has its own program of exhibitions that allows to offer some of the best artists living in different Spanish regions.
Trama is defined by the gathering together of different style, ideas and generations. The diversity of languages coming from them has been broadened due to the recent incorporation of new artists working on multidisciplinary proposals. Artists represented by Trama usually have their works periodically exhibited in the gallery premises. Other shows are organized through the gallery collaborations with other Spanish and international galleries as well as institutions, museums and universities.
Madrid . Barcelona
http://www.galeriatrama.com/
Galería TRAMA abrió sus puertas en Noviembre de 2002, con la firme intención de promocionar el arte contemporáneo, difundiendo la obra de artistas emergentes, nuevas promesas y figuras consolidadas del panorama español e internacional. Su propósito es el de acercar más el arte contemporáneo a las nuevas generaciones, vivir de cerca la emoción y el placer de las nuevas creaciones artísticas y tejer una relación más intensa entre el coleccionismo y las nuevas tendencias. Se define por la reunión de ideas, estilos y generaciones distintas, reflejando de este modo la variedad y riqueza de las propuestas formales de nuestro tiempo.
Desde el pasado mes de mayo cuenta con un nuevo espacio: TRAMA – ESPACIO II, ubicado en el mismo edificio de la plaza de Alonso Martínez número 3 y con acceso desde la planta baja.
En él se presenta una programación independiente de la que se desarrolla en la galería y muestra tanto la obra de carácter más emergente o experimental, como proyectos específicos a cargo de artistas que la galería ya presenta en su programación habitual.
La promoción de los artistas representados por la Galería se realiza principalmente a través de exposiciones individuales y colectivas en nuestros espacios, en otras galerías, en la participación en Ferias de prestigio como ARCO y en la colaboración con relevantes instituciones, museos y universidades
---------------------------------------------------------------------------------------
Established in 1991, Galeria Trama is dedicated to promoting contemporary art. It is a platform to foster young, emerging and established artists. In November 2002 Trama opens a new gallery in the centre of Madrid, which has lead to the broadening of its activity. Each gallery has its own program of exhibitions that allows to offer some of the best artists living in different Spanish regions.
Trama is defined by the gathering together of different style, ideas and generations. The diversity of languages coming from them has been broadened due to the recent incorporation of new artists working on multidisciplinary proposals. Artists represented by Trama usually have their works periodically exhibited in the gallery premises. Other shows are organized through the gallery collaborations with other Spanish and international galleries as well as institutions, museums and universities.
Tuesday, July 3, 2007
John Connely presents
www.johnconnellypresents.com
John Connelly presents
Augusto ArbizoTauba AuerbachJeff ElrodKim FisherDana FrankfortDaniel HesidenceAlex KwartlerCarrie MoyerElizabeth NeelRaha RaissniaWendy WhiteMichael Zahn
Late Liberties - on view from July 12 through August 24, 2007 - presents an inclusive survey of recent abstract painting, works on paper, and sculpture by a dozen of artists – including seven women painters – from New York, Los Angeles, and San Francisco. Works in this thematic exhibition include soft and hard-edge paintings, gestural and ‘expressionistic’ abstractions, as well as shaped and chromatically engaged ‘painted’ sculpture. Late Liberties is organized by artist and curator Augusto Arbizo in collaboration with John Connelly.
For a young artist to be making work at this moment in what could be called an abstract or non-representational manner, be it vaguely gestural, lyrical, or geometric in mode, is consciously or not, a highly personal and political act. With few exceptions, the history of the last 15 years has largely shunned modes of abstraction. Much maligned and critiqued – and often used as strategy for conceptually based work – it has been largely banished to the sidelines by an art world enthralled by photography, installation, animation and romantic figuration.
But modes are cyclical and thus a younger generation of artists has found that the more outmoded the approach, the more dangerous – and exciting – a territory it becomes. It is a loaded terrain that offers fissures and openings for freedom and personal manifestation – from the seemingly clinical and sedate to the unabashedly seductive. The works in this exhibition range from computer derived to text and design based to nature inspired, running the gamut from geometric compositions to loosely brushed fields of color. Disparate ideas concerning technology, fashion, art theory, wildlife and science, and pop culture, among others, inform the work. Furthermore, a commitment to the refined and handpainted becomes obvious, whether painstakingly cut, stenciled and ‘constructed’ or intuitively brushed and dripped. All the artists will be creating new work specifically for this exhibition and each one will be given his / her own wall. Looking at abstraction today makes it clear that it is a completely different exercise than it was for earlier generations. Ezra Pound’s famously quoted mandate to ‘make it new’ apparently still fits the bill, but for today’s artists it is a risky, perilous and rousing proposition – offering Late Liberties.
John Connelly presents
Augusto ArbizoTauba AuerbachJeff ElrodKim FisherDana FrankfortDaniel HesidenceAlex KwartlerCarrie MoyerElizabeth NeelRaha RaissniaWendy WhiteMichael Zahn
Late Liberties - on view from July 12 through August 24, 2007 - presents an inclusive survey of recent abstract painting, works on paper, and sculpture by a dozen of artists – including seven women painters – from New York, Los Angeles, and San Francisco. Works in this thematic exhibition include soft and hard-edge paintings, gestural and ‘expressionistic’ abstractions, as well as shaped and chromatically engaged ‘painted’ sculpture. Late Liberties is organized by artist and curator Augusto Arbizo in collaboration with John Connelly.
For a young artist to be making work at this moment in what could be called an abstract or non-representational manner, be it vaguely gestural, lyrical, or geometric in mode, is consciously or not, a highly personal and political act. With few exceptions, the history of the last 15 years has largely shunned modes of abstraction. Much maligned and critiqued – and often used as strategy for conceptually based work – it has been largely banished to the sidelines by an art world enthralled by photography, installation, animation and romantic figuration.
But modes are cyclical and thus a younger generation of artists has found that the more outmoded the approach, the more dangerous – and exciting – a territory it becomes. It is a loaded terrain that offers fissures and openings for freedom and personal manifestation – from the seemingly clinical and sedate to the unabashedly seductive. The works in this exhibition range from computer derived to text and design based to nature inspired, running the gamut from geometric compositions to loosely brushed fields of color. Disparate ideas concerning technology, fashion, art theory, wildlife and science, and pop culture, among others, inform the work. Furthermore, a commitment to the refined and handpainted becomes obvious, whether painstakingly cut, stenciled and ‘constructed’ or intuitively brushed and dripped. All the artists will be creating new work specifically for this exhibition and each one will be given his / her own wall. Looking at abstraction today makes it clear that it is a completely different exercise than it was for earlier generations. Ezra Pound’s famously quoted mandate to ‘make it new’ apparently still fits the bill, but for today’s artists it is a risky, perilous and rousing proposition – offering Late Liberties.
Friday, June 22, 2007
Wayne Quilliam: To War and Back" 2007-06-19 until 2007-07-10 Gallery 15 - PeakEvents, Art for a Cause Melbourne, , AU Australia
Internationally recognised photographer, Wayne Quilliam, brings this latest collection to Gallery 15 in June 2007 as a precursor to his major exhibition coming in August. All works exhibited will be available for purchase, with proceeds going towards the set up of a foundation to support the development of Aboriginal communities across Australia. "To find ‘Ying’ you must accept ‘Yang’ and for tens of thousands of years the most dynamic cultures on earth have felt the consequences of war, famine, drought, plague, invasion and destruction. The people of Vietnam, Japan and Aboriginal Australia have all faced these challenges and yet they have each cultivated a sense of inclusion that is remarkably unique and individual – an experience that transcends words," comments Quilliam. Wayne has been a Premiere Portfolio Artist at absolutearts.com since 2001.
Wayne Quilliam continues, "As an Aboriginal photographer I have been fortunate to spend a great deal of time in rural, remote and urban Australia amongst my people in many different circumstances and each time I enter one of these communities I feel a sense of true belonging. My work has also allowed me to travel throughout the world and experience many different cultures but I find so many similarities with the people of Japan and Vietnam, in each of these countries my wife and I were treated like family. This exhibition is a celebration of these three cultures and their willingness to forgive and grow."
Internationally recognised photographer, Wayne Quilliam, brings this latest collection to Gallery 15 in June 2007 as a precursor to his major exhibition coming in August. All works exhibited will be available for purchase, with proceeds going towards the set up of a foundation to support the development of Aboriginal communities across Australia. "To find ‘Ying’ you must accept ‘Yang’ and for tens of thousands of years the most dynamic cultures on earth have felt the consequences of war, famine, drought, plague, invasion and destruction. The people of Vietnam, Japan and Aboriginal Australia have all faced these challenges and yet they have each cultivated a sense of inclusion that is remarkably unique and individual – an experience that transcends words," comments Quilliam. Wayne has been a Premiere Portfolio Artist at absolutearts.com since 2001.
Wayne Quilliam continues, "As an Aboriginal photographer I have been fortunate to spend a great deal of time in rural, remote and urban Australia amongst my people in many different circumstances and each time I enter one of these communities I feel a sense of true belonging. My work has also allowed me to travel throughout the world and experience many different cultures but I find so many similarities with the people of Japan and Vietnam, in each of these countries my wife and I were treated like family. This exhibition is a celebration of these three cultures and their willingness to forgive and grow."
Thursday, June 21, 2007
Best-selling living artists revealed
David Hockney has sold work valued at more than £23mAmerican artist Jasper Johns is the biggest-selling living artist, according to a survey.
Johns' artworks have sold for more than £92m over the last three decades, the survey by magazine Artreview showed.
British artist David Hockney was ninth in the top 10 list, with sales of £23.7m, from 1,005 separate works.
Hockney is ninth in the list, which also includes German Gerhard Richter, at number two, and American Cy Twombly at number three.
Top five best-selling living artists
1 Jasper Johns - £92.8m
2 Gerhard Richter - £80.9m
3 Cy Twombly - £54.5m
4 Robert Rauschenberg - £36.5m
5 Fernando Botero - £35.7m
Source: Artreview magazine "Hockney is the Bradford boy who arrived wide-eyed in Los Angeles and sold the 60s American dream of pools and sun back to the natives," said the survey, which was released on Tuesday.
"He may be accused of a career spoiled by distractions - notable photography and theatre design - but his subtle portraits have made $2m (£1.25m)."
'Never a distraction'
Hockney, who is internationally known for his vividly-coloured paintings and portraits, was not impressed with his inclusion in the list, according to Tuesday's Daily Telegraph.
"I would want to know how they collated this. Is this just some little conspiracies in the newspapers?" he told the Telegraph.
Jasper Johns, the 73-year-old American artist heading the list, is best-known for a series of paintings of the Stars and Stripes.
One of his paintings, Two Flags, sold for £4.4m at a Christie's sale in 1999.
He was one of the key figures in the Pop Art movement of the 1950s.
David Hockney has sold work valued at more than £23mAmerican artist Jasper Johns is the biggest-selling living artist, according to a survey.
Johns' artworks have sold for more than £92m over the last three decades, the survey by magazine Artreview showed.
British artist David Hockney was ninth in the top 10 list, with sales of £23.7m, from 1,005 separate works.
Hockney is ninth in the list, which also includes German Gerhard Richter, at number two, and American Cy Twombly at number three.
Top five best-selling living artists
1 Jasper Johns - £92.8m
2 Gerhard Richter - £80.9m
3 Cy Twombly - £54.5m
4 Robert Rauschenberg - £36.5m
5 Fernando Botero - £35.7m
Source: Artreview magazine "Hockney is the Bradford boy who arrived wide-eyed in Los Angeles and sold the 60s American dream of pools and sun back to the natives," said the survey, which was released on Tuesday.
"He may be accused of a career spoiled by distractions - notable photography and theatre design - but his subtle portraits have made $2m (£1.25m)."
'Never a distraction'
Hockney, who is internationally known for his vividly-coloured paintings and portraits, was not impressed with his inclusion in the list, according to Tuesday's Daily Telegraph.
"I would want to know how they collated this. Is this just some little conspiracies in the newspapers?" he told the Telegraph.
Jasper Johns, the 73-year-old American artist heading the list, is best-known for a series of paintings of the Stars and Stripes.
One of his paintings, Two Flags, sold for £4.4m at a Christie's sale in 1999.
He was one of the key figures in the Pop Art movement of the 1950s.
Cubismos en la Galería Tiempos Modernos
www.tiempos-modernos.com
En una entrevista que le hicieron antes de su muerte, contaba Kahnweiler que la primera vez que vio al joven Picasso le pareció simplemente extraordinario. Él trabajaba como marchante en el Paris de principios del XX y se encontraba en su galería cuando esto ocurrió, aunque todavía no sabía que, aquel joven rechoncho y mal vestido que tenía ante sus ojos, era Picasso. Después de aquel anónimo encuentro, escuchó hablar de un cuadro magnifico que un tal Picasso había pintado y esta vez no dudó en dirigirse a su estudio.Técnicamente se puede decir que todo empezó en ese estudio de la calle Ravignan número 13. Ahí fue donde Picasso planeó el cuadro, ahí fue donde lo pintó y ahí también donde no le quedó más remedio que enfrentarse a la soledad moral, víctima de la incomprensión. El cuadro no era otro que Las señoritas de Avignon que, aunque afirma Kahnweiler que Picasso lo consideraba como no terminado, se ha quedado exactamente como estaba.Hoy Las señoritas de Avignon cumple 100 años y con esta exposición Tiempos Modernos pretende celebrar el primer centenario de este movimiento tan provocador rindiendo homenaje a su creador por antonomasia. La exposición se ha concebido para que el espectador pueda palpar la impronta en el tiempo de esta tendencia de vanguardia. En ella se pueden ver obras del desaparecido Equipo Crónica y también de siete de los más destacados artistas españoles contemporáneos: Alfredo Alcaín (Premio Nacional de Pintura), Fernando Bellver, Alberto Corazón, Chema Madoz (Premio Nacional de Fotografía), Francisca Mompó, Nicolás Muller y Manolo Valdés. La muestra no sólo exhibe pinturas, recoge también fotografías, esculturas y grabados.Un aliciente añadido para los amantes del siglo XX es que esta galería es además una tienda especializada en Art Decó y antigüedades del siglo XX.
www.tiempos-modernos.com
En una entrevista que le hicieron antes de su muerte, contaba Kahnweiler que la primera vez que vio al joven Picasso le pareció simplemente extraordinario. Él trabajaba como marchante en el Paris de principios del XX y se encontraba en su galería cuando esto ocurrió, aunque todavía no sabía que, aquel joven rechoncho y mal vestido que tenía ante sus ojos, era Picasso. Después de aquel anónimo encuentro, escuchó hablar de un cuadro magnifico que un tal Picasso había pintado y esta vez no dudó en dirigirse a su estudio.Técnicamente se puede decir que todo empezó en ese estudio de la calle Ravignan número 13. Ahí fue donde Picasso planeó el cuadro, ahí fue donde lo pintó y ahí también donde no le quedó más remedio que enfrentarse a la soledad moral, víctima de la incomprensión. El cuadro no era otro que Las señoritas de Avignon que, aunque afirma Kahnweiler que Picasso lo consideraba como no terminado, se ha quedado exactamente como estaba.Hoy Las señoritas de Avignon cumple 100 años y con esta exposición Tiempos Modernos pretende celebrar el primer centenario de este movimiento tan provocador rindiendo homenaje a su creador por antonomasia. La exposición se ha concebido para que el espectador pueda palpar la impronta en el tiempo de esta tendencia de vanguardia. En ella se pueden ver obras del desaparecido Equipo Crónica y también de siete de los más destacados artistas españoles contemporáneos: Alfredo Alcaín (Premio Nacional de Pintura), Fernando Bellver, Alberto Corazón, Chema Madoz (Premio Nacional de Fotografía), Francisca Mompó, Nicolás Muller y Manolo Valdés. La muestra no sólo exhibe pinturas, recoge también fotografías, esculturas y grabados.Un aliciente añadido para los amantes del siglo XX es que esta galería es además una tienda especializada en Art Decó y antigüedades del siglo XX.
Wednesday, June 20, 2007
ESPACE AMPLE - Barcelona,Spain
Espace Ample
Barcelona
www.espace-ample.com
Entrando por pasaje Joseph Pijoan desde las Ramblas, hasta calle Ample Nro 5, en Pleno Centro de Barcelona encontrará Espace Ample y sus más de 500 m2, completados por un amplio jardín. Está diseñado para favorecer el encuentro y el diálogo, sus rincones son constantemente reinventados por piezas de arte de los más prestigiosos artistas contemporáneos Chinos y Europeos, con una decoración sofisticada y amable. Sin duda todos elementos que sirven de apoyo a este concepto de espacio único y refrescante, donde toda persona esencialmente creativa, intelectual y dinámica encontrará su sitio.También contamos con otros espacios de mayor flexibilidad e intervención, en un marco excepcional para sesiones de fotografía de moda o rodajes de películas, contamos con personal asesor en estética y dirección de arte, relaciones públicas, diseño gráfico e interior.Estamos dispuestos a estudiar todas sus ideas y hacer todo lo posible para realizarlas. Además de poner el espacio a disposición, podemos encargarnos de manera adicional, de toda la organización del evento que desea realizar (comunicación a la prensa, logística y subproductos de merchandising entre otros).Todos estos servicios hacen de Espace Ample el lugar ideal para acoger todo tipo de eventos sociales y culturales, lanzamientos, reuniones vip y de empresas.
LOFT BARCELONA es una de las galerías que constituye Espace Cultural Ample y presenta una selección de arte contemporáneo chino compuesto por artistas nacidos a partir de la década de los sesenta.La colección de la galería Loft Barcelona se compone de artistas que trabajan distintos lenguajes artísticos como la fotografía, la performance, la pintura y la escultura, desarrollando discursos estéticos y conceptuales que engloban nuevas visiones de la tradición perdida, el proceso de modernización, la búsqueda de la propia identidad, etcétera.La mayoría de estos artistas son reconocidos a nivel internacional y han sido expuestos en Loft Barcelona o bien serán expuestos próximamente, concibiendo la galería Loft Barcelona como un espacio de encuentro y difusión del arte contemporáneo chino.
Barcelona
www.espace-ample.com
Entrando por pasaje Joseph Pijoan desde las Ramblas, hasta calle Ample Nro 5, en Pleno Centro de Barcelona encontrará Espace Ample y sus más de 500 m2, completados por un amplio jardín. Está diseñado para favorecer el encuentro y el diálogo, sus rincones son constantemente reinventados por piezas de arte de los más prestigiosos artistas contemporáneos Chinos y Europeos, con una decoración sofisticada y amable. Sin duda todos elementos que sirven de apoyo a este concepto de espacio único y refrescante, donde toda persona esencialmente creativa, intelectual y dinámica encontrará su sitio.También contamos con otros espacios de mayor flexibilidad e intervención, en un marco excepcional para sesiones de fotografía de moda o rodajes de películas, contamos con personal asesor en estética y dirección de arte, relaciones públicas, diseño gráfico e interior.Estamos dispuestos a estudiar todas sus ideas y hacer todo lo posible para realizarlas. Además de poner el espacio a disposición, podemos encargarnos de manera adicional, de toda la organización del evento que desea realizar (comunicación a la prensa, logística y subproductos de merchandising entre otros).Todos estos servicios hacen de Espace Ample el lugar ideal para acoger todo tipo de eventos sociales y culturales, lanzamientos, reuniones vip y de empresas.
LOFT BARCELONA es una de las galerías que constituye Espace Cultural Ample y presenta una selección de arte contemporáneo chino compuesto por artistas nacidos a partir de la década de los sesenta.La colección de la galería Loft Barcelona se compone de artistas que trabajan distintos lenguajes artísticos como la fotografía, la performance, la pintura y la escultura, desarrollando discursos estéticos y conceptuales que engloban nuevas visiones de la tradición perdida, el proceso de modernización, la búsqueda de la propia identidad, etcétera.La mayoría de estos artistas son reconocidos a nivel internacional y han sido expuestos en Loft Barcelona o bien serán expuestos próximamente, concibiendo la galería Loft Barcelona como un espacio de encuentro y difusión del arte contemporáneo chino.
Tuesday, June 19, 2007
Bradley Pitts
Bradley Pitts
For the moment the New Yorker Bradley Pitts (1978) tops everything in the field. In this year's Open Studios, Pitts (who also has two degrees in 'aerospace engineering') presents a work that concerns his research into weightlessness in everyday life. These are projects that not only have a great technical complexity but also possess a practical, humane character: scientific and absurd at the same time; Yves Klein with befitting mathematics.
Apart from this Pitts is also investigating the implosion of perception, literally the 'black holes' in our gaze. He is working on two and three dimensional constructions of the blind spots in his visual field, caused by the exact spot where the optic nerve connects to the eyeball. He also concerns himself with technical projects that are hard to put into practice, like the creation of a self-reflecting elliptic "eye catcher" in which each eye can only see the other.
For the moment the New Yorker Bradley Pitts (1978) tops everything in the field. In this year's Open Studios, Pitts (who also has two degrees in 'aerospace engineering') presents a work that concerns his research into weightlessness in everyday life. These are projects that not only have a great technical complexity but also possess a practical, humane character: scientific and absurd at the same time; Yves Klein with befitting mathematics.
Apart from this Pitts is also investigating the implosion of perception, literally the 'black holes' in our gaze. He is working on two and three dimensional constructions of the blind spots in his visual field, caused by the exact spot where the optic nerve connects to the eyeball. He also concerns himself with technical projects that are hard to put into practice, like the creation of a self-reflecting elliptic "eye catcher" in which each eye can only see the other.
THE BAKERY - Amsterdam,nl
The Bakery:
www.annetgelink.comBradley Pitts: Ten-Pound Seed
The Bakery is showing New York artist Bradley Pitts’ (1978) 16mm film One Roll of Weightlesness. Pitts is currently participating in the residential program of Rijksakademie in Amsterdam. He graduated from MIT in Boston, where he studied simultaneously Aeronautics and Astronautics and visual arts, and where, he did projects with Joan Jonas (USA 1936). After having worked for NASA, Pitts decided to apply himself to the visual arts and went to Amsterdam.One Roll of Weightlessness follows Pitts, seen from behind, walking through Amsterdam. During Pitts’ walk through the city the shutter of the camera is steered by a sensor and responds to the moments of weightlessness at the highest point of his steps. That results in a unique registration of an undiscovered phenomenon. A film that makes visible the invisible in a fascinating way.
www.annetgelink.comBradley Pitts: Ten-Pound Seed
The Bakery is showing New York artist Bradley Pitts’ (1978) 16mm film One Roll of Weightlesness. Pitts is currently participating in the residential program of Rijksakademie in Amsterdam. He graduated from MIT in Boston, where he studied simultaneously Aeronautics and Astronautics and visual arts, and where, he did projects with Joan Jonas (USA 1936). After having worked for NASA, Pitts decided to apply himself to the visual arts and went to Amsterdam.One Roll of Weightlessness follows Pitts, seen from behind, walking through Amsterdam. During Pitts’ walk through the city the shutter of the camera is steered by a sensor and responds to the moments of weightlessness at the highest point of his steps. That results in a unique registration of an undiscovered phenomenon. A film that makes visible the invisible in a fascinating way.
Wendt Friedmann Galerie
www.galerie-wendt.com
Christian Achenbach
Rock ´n roll with krakenThe world in Christian Achenbach’s images is a pleasantly bleak one, where an atmosphere of comfortable familiarity actually brings light into the darkness.Here we see blurry depictions of wasted rockers battering away on their instruments, disorderly apartments where cats are jumping around, and flabby kraken sea monsters that stare out through their huge eyes at the observer. Black and grey tones inhabit these paintings like the smoky haze created by some sweet drug; and chunky, black fingers hammer away on the keys of a synthesiser that appears in a number of the works. What is going on here?This young painter has recently collaborated with Jim Avignon and others – making music, painting and holding exhibitions. This went well, and Achenbach managed to make a living from his small, comic-like paintings, but he wanted more and went to study under Daniel Richter at the Universität der Künste (UdK, Berlin University of the Arts). He managed to negotiate the hurdles at this long-established art school and, when Richter moved away, he transferred to Anselm Reyle, under whom he completed his Meisterschüler (graduating from a master class) earlier this year. In common with the painter Andreas Golder, whom Achenbach met at the UdK, Achenbach practises a style which uses thick bands and bulges of colour: poured or splashed oil paint disrupts the illusion of the image and gives off dynamic vibrations. And when this clamour sometimes recedes, then Achenbach can also create something which is simultaneously melancholic and humorous, such as the arrival of a battered car in a forest at night.As with many other painters, Achenbach too wears the influence of his favourite filmmakers on his sleeve, meaning that Scorsese or even Lynch sometimes drop by in his works to say “hello”. Achenbach always wants to mix these influences together with challenges with have more to do with painting and experimenting – an approach familiar from artists like Albert Oehlen or Sigmar Polke, both of whom Achenbach admires.The essence of many of Achenbach’s paintings is perhaps best captured by the title of one Achenbach’s series of paintings:“Hey, I’ve been at this petrol station before! (Ey, an dieser Tankstelle war ich doch schon mal)”.
13. Juli - 18 August 07, Prime Time, Groupshow
Christian Achenbach, »Ghostwriter«
200 x 160 cm, Öl und Lack auf Leinwand, 2007
www.galerie-wendt.com
Christian Achenbach
Rock ´n roll with krakenThe world in Christian Achenbach’s images is a pleasantly bleak one, where an atmosphere of comfortable familiarity actually brings light into the darkness.Here we see blurry depictions of wasted rockers battering away on their instruments, disorderly apartments where cats are jumping around, and flabby kraken sea monsters that stare out through their huge eyes at the observer. Black and grey tones inhabit these paintings like the smoky haze created by some sweet drug; and chunky, black fingers hammer away on the keys of a synthesiser that appears in a number of the works. What is going on here?This young painter has recently collaborated with Jim Avignon and others – making music, painting and holding exhibitions. This went well, and Achenbach managed to make a living from his small, comic-like paintings, but he wanted more and went to study under Daniel Richter at the Universität der Künste (UdK, Berlin University of the Arts). He managed to negotiate the hurdles at this long-established art school and, when Richter moved away, he transferred to Anselm Reyle, under whom he completed his Meisterschüler (graduating from a master class) earlier this year. In common with the painter Andreas Golder, whom Achenbach met at the UdK, Achenbach practises a style which uses thick bands and bulges of colour: poured or splashed oil paint disrupts the illusion of the image and gives off dynamic vibrations. And when this clamour sometimes recedes, then Achenbach can also create something which is simultaneously melancholic and humorous, such as the arrival of a battered car in a forest at night.As with many other painters, Achenbach too wears the influence of his favourite filmmakers on his sleeve, meaning that Scorsese or even Lynch sometimes drop by in his works to say “hello”. Achenbach always wants to mix these influences together with challenges with have more to do with painting and experimenting – an approach familiar from artists like Albert Oehlen or Sigmar Polke, both of whom Achenbach admires.The essence of many of Achenbach’s paintings is perhaps best captured by the title of one Achenbach’s series of paintings:“Hey, I’ve been at this petrol station before! (Ey, an dieser Tankstelle war ich doch schon mal)”.
13. Juli - 18 August 07, Prime Time, Groupshow
Christian Achenbach, »Ghostwriter«
200 x 160 cm, Öl und Lack auf Leinwand, 2007
LEANDRO NAVARRO - Madrid
Leandro Navarro
www.leandro-navarro.com
Desde sus inicios en 1978 ha prestado una especial atención a los artistas españoles de la Escuela de París, de Bores y Cossío a Palencia y Oscar Domínguez, a los pintores realistas como Antonio López García y Carmen Laffon o Isabel Quintanilla y Francisco y Julio López Hernández.
Tanto la Escuela de Madrid como el Grupo el Paso han estado presentes en sus exposiciones.
Posteriormente se han ido incorporando otros jóvenes pintores del realismo entre los que se encuentran Roberto González, César Luengo y Clara Gangutia.
Las obras de Solana a Vázquez Díaz, de Zabaleta a María Blanchard, así como las de Picasso o Miró también figuran normalmente en sus fondos
www.leandro-navarro.com
Desde sus inicios en 1978 ha prestado una especial atención a los artistas españoles de la Escuela de París, de Bores y Cossío a Palencia y Oscar Domínguez, a los pintores realistas como Antonio López García y Carmen Laffon o Isabel Quintanilla y Francisco y Julio López Hernández.
Tanto la Escuela de Madrid como el Grupo el Paso han estado presentes en sus exposiciones.
Posteriormente se han ido incorporando otros jóvenes pintores del realismo entre los que se encuentran Roberto González, César Luengo y Clara Gangutia.
Las obras de Solana a Vázquez Díaz, de Zabaleta a María Blanchard, así como las de Picasso o Miró también figuran normalmente en sus fondos
Saturday, June 16, 2007
Art & Public
Genève . Switzerland
The gallery Art & Public, contemporary art gallery, was founded in 1984 by Pierre HUBER under his own name. Located in Geneva (Switzerland), Art & Public gallery was focusing on minimal and conceptual artists from the 1960s and 1970s : Robert Barry, On Kawara, Sol LeWitt and so on, with always an interest in contemporary art.
After several exhibitions of young artists (Steven Parrino, Steve di Benedetto) and some investigations into the photographic field (Cindy Sherman, Nan Goldin, Paul McCarthy, Larry Clark Nan Goldin, Yasumasa Morimura), under the name of Art & Public (since 1992) have been produced exhibitions of Sylvie Fleury, Mariko Mori, Nam June Paik, but also of John Armleder, Olivier Mosset, Fischli & Weiss, John McCracken.
Nowadays, the gallery use to work in a new way, providing advices to people wishing to increase and develop their existing collection or helping them in starting a new one in adequacy with their tastes and the actual art market.
Genève . Switzerland
The gallery Art & Public, contemporary art gallery, was founded in 1984 by Pierre HUBER under his own name. Located in Geneva (Switzerland), Art & Public gallery was focusing on minimal and conceptual artists from the 1960s and 1970s : Robert Barry, On Kawara, Sol LeWitt and so on, with always an interest in contemporary art.
After several exhibitions of young artists (Steven Parrino, Steve di Benedetto) and some investigations into the photographic field (Cindy Sherman, Nan Goldin, Paul McCarthy, Larry Clark Nan Goldin, Yasumasa Morimura), under the name of Art & Public (since 1992) have been produced exhibitions of Sylvie Fleury, Mariko Mori, Nam June Paik, but also of John Armleder, Olivier Mosset, Fischli & Weiss, John McCracken.
Nowadays, the gallery use to work in a new way, providing advices to people wishing to increase and develop their existing collection or helping them in starting a new one in adequacy with their tastes and the actual art market.
Wednesday, June 13, 2007
The Art Market . van Gogh
Vincent Van GoghSunflowers1888Philadelphia Museum of Art: The Mr. and Mrs. Carroll S. Tyson, Jr. Collection
When we think of Vincent Van Gogh today, his poverty, his madness and his suicide come to mind. Perhaps also his Sunflowers , which have, to some extent, become emblematic of his work. Exhibitions, catalogues, novels and films have made the artist a legendary figure.
But auction sales have also contributed a great deal to the artist who once declared: "My paintings have no value." Van Gogh could never have imagined such an explosion in prices!
Vincent Van GoghIrises1889Courtesy J. Paul Getty Museum, Los Angeles.
53 million American dollars for Irises in 1987. Some 40 million for Sunflowers , and that was in 1988, a rather bad year for the art market! But all records were broken in 1990, when the astronomical sum of 82.5 million dollars was paid for the Portrait of Doctor Paul Gachet .
This posthumous triumph is a stark contrast to Van Gogh's failed career: in spite of his best efforts, he did only two commissions and sold only one of his paintings, shortly before his death. However, he seems to have done everything necessary to succeed: he persisted in his painting, maintained contacts with several artists, showed his paintings and even took part in the Salons des Indépendants.
Vincent Van GoghSunflowers1888-89© Christie's Images Ltd. 1999
Moreover, his brother Theo was an art dealer in Paris. This did not, however, succeed in launching Vincent's career and he had to be content with giving him moral and artistic support, while providing for his material needs in exchange for hundreds of canvases which he crammed into his Parisian apartment, even stuffing them under the beds.
And to think that today people fight over the least little sketch by Van Gogh! The current value of his paintings raises questions about the role of the art market in general and what its purpose is. Art cannot escape a world in which the questions of investment, financial speculation and the globalization of the economy are the order of the day.
Vincent Van GoghPortrait of Dr. Gachet1890© Christie's Images Ltd. 1999
Like a consumer product, works of art are subject to the laws of the marketplace: prices are governed by the law of supply and demand, as with any other luxury good in high demand because of its rarity. It has nothing to do with the intrinsic value of the art, but rather with an escalation of prices in which the strongest win.
However, it must not be forgotten that a work of art is always part of a much larger context than its creation by the artist. During the nineteenth century, institutional structures were gradually transformed: the Académie, where artists were expected to study, and the Salons and the patronage over which the Académie exerted its authority, were replaced little by little by artists' movements, the Salons des indépendants, critics and art dealers. This new context would give more freedom to artists, who could develop the personal and expressive quality of their art.
As the art market opens up to a wider public and new collectors, works of art increasingly become commodities. But the taste of the new art-lovers is rather conservative, concerned with finding a sure thing. At the time when Van Gogh was trying to make a career for himself, a gap was beginning to develop between the expectations of the public and the interests of innovative artists. After the difficulties encountered by the Impressionists, the fate reserved for Van Gogh by the public, the critics, the dealers and the collectors was hardly a surprise.
Vincent Van GoghSunflowers1888Philadelphia Museum of Art: The Mr. and Mrs. Carroll S. Tyson, Jr. Collection
When we think of Vincent Van Gogh today, his poverty, his madness and his suicide come to mind. Perhaps also his Sunflowers , which have, to some extent, become emblematic of his work. Exhibitions, catalogues, novels and films have made the artist a legendary figure.
But auction sales have also contributed a great deal to the artist who once declared: "My paintings have no value." Van Gogh could never have imagined such an explosion in prices!
Vincent Van GoghIrises1889Courtesy J. Paul Getty Museum, Los Angeles.
53 million American dollars for Irises in 1987. Some 40 million for Sunflowers , and that was in 1988, a rather bad year for the art market! But all records were broken in 1990, when the astronomical sum of 82.5 million dollars was paid for the Portrait of Doctor Paul Gachet .
This posthumous triumph is a stark contrast to Van Gogh's failed career: in spite of his best efforts, he did only two commissions and sold only one of his paintings, shortly before his death. However, he seems to have done everything necessary to succeed: he persisted in his painting, maintained contacts with several artists, showed his paintings and even took part in the Salons des Indépendants.
Vincent Van GoghSunflowers1888-89© Christie's Images Ltd. 1999
Moreover, his brother Theo was an art dealer in Paris. This did not, however, succeed in launching Vincent's career and he had to be content with giving him moral and artistic support, while providing for his material needs in exchange for hundreds of canvases which he crammed into his Parisian apartment, even stuffing them under the beds.
And to think that today people fight over the least little sketch by Van Gogh! The current value of his paintings raises questions about the role of the art market in general and what its purpose is. Art cannot escape a world in which the questions of investment, financial speculation and the globalization of the economy are the order of the day.
Vincent Van GoghPortrait of Dr. Gachet1890© Christie's Images Ltd. 1999
Like a consumer product, works of art are subject to the laws of the marketplace: prices are governed by the law of supply and demand, as with any other luxury good in high demand because of its rarity. It has nothing to do with the intrinsic value of the art, but rather with an escalation of prices in which the strongest win.
However, it must not be forgotten that a work of art is always part of a much larger context than its creation by the artist. During the nineteenth century, institutional structures were gradually transformed: the Académie, where artists were expected to study, and the Salons and the patronage over which the Académie exerted its authority, were replaced little by little by artists' movements, the Salons des indépendants, critics and art dealers. This new context would give more freedom to artists, who could develop the personal and expressive quality of their art.
As the art market opens up to a wider public and new collectors, works of art increasingly become commodities. But the taste of the new art-lovers is rather conservative, concerned with finding a sure thing. At the time when Van Gogh was trying to make a career for himself, a gap was beginning to develop between the expectations of the public and the interests of innovative artists. After the difficulties encountered by the Impressionists, the fate reserved for Van Gogh by the public, the critics, the dealers and the collectors was hardly a surprise.
Tuesday, June 12, 2007
"Laura Bidwa: You Sing So Quiet" 2007-06-08 until 2007-07-20 Rebecca Ibel Gallery Miranova Columbus, OH, USA United States of America
The Rebecca Ibel Gallery is delighted to present a solo exhibition of Columbus artist Laura Bidwa. This show titled 'You Sing So Quiet' features a group of paintings that represent the culmination of ideas from the past few years. These small landscape paintings, 12 x 15 inches, are gems. Bidwa continues her practice of taking prepared panels of solid backgrounds (gold, dark red-brown and chalkboard) out into the metro parks of Columbus. Painting 'en plein aire', responding directly to nature, gives the work an immediate feel. You can sense the seasons in the trees. Her 'mark-making' style of minimal color with spotty lines and brushy touches describes the landscape as much as it reveals the process of painting. Bidwa folds Asian influences and abstract technique into the long-standing tradition of landscape painting.
Laura Bidwa received her BA from Indiana University in 1990 and her MFA from The Ohio State University in 1996. Her work has been exhibited in numerous solo and group shows in the Midwest, with recent shows in New York and Miami Beach. She has been exhibiting with the gallery since 2003.
Rebecca Ibel Gallery features paintings, photographs, sculpture and work on paper by contemporary artists. The Miranova Gallery is located at 2 Miranova Place, Suite 150 and is open Tuesday through Friday 11-5 and by appointment. The Rebecca Ibel Gallery also maintains a gallery in the Short North at 1055 North High Street and is open Wednesday - Saturdays 11-5 and by appointment.
The Rebecca Ibel Gallery is delighted to present a solo exhibition of Columbus artist Laura Bidwa. This show titled 'You Sing So Quiet' features a group of paintings that represent the culmination of ideas from the past few years. These small landscape paintings, 12 x 15 inches, are gems. Bidwa continues her practice of taking prepared panels of solid backgrounds (gold, dark red-brown and chalkboard) out into the metro parks of Columbus. Painting 'en plein aire', responding directly to nature, gives the work an immediate feel. You can sense the seasons in the trees. Her 'mark-making' style of minimal color with spotty lines and brushy touches describes the landscape as much as it reveals the process of painting. Bidwa folds Asian influences and abstract technique into the long-standing tradition of landscape painting.
Laura Bidwa received her BA from Indiana University in 1990 and her MFA from The Ohio State University in 1996. Her work has been exhibited in numerous solo and group shows in the Midwest, with recent shows in New York and Miami Beach. She has been exhibiting with the gallery since 2003.
Rebecca Ibel Gallery features paintings, photographs, sculpture and work on paper by contemporary artists. The Miranova Gallery is located at 2 Miranova Place, Suite 150 and is open Tuesday through Friday 11-5 and by appointment. The Rebecca Ibel Gallery also maintains a gallery in the Short North at 1055 North High Street and is open Wednesday - Saturdays 11-5 and by appointment.
Sotheby's News
New York, NY - June 7, 2007 – Today at Sotheby’s, in a hushed and standing-room only salesroom, auction history was made when an exquisite bronze figure of Artemis and the Stag, circa 1st Century B.C./1st Century A.D., sold for $28,600,000, immediately becoming the most expensive sculpture ever sold at auction*. “She deserved it!” said Richard M. Keresey, Worldwide Director of Sotheby’s Antiquities Department.That outstanding price also eclipsed the previous record for an Antiquity at auction and quadrupled the pre-sale high estimate of $7 million**. When auctioneer Hugh Hildesley opened the bidding at $4.1 million, two bidders immediately began battling for the masterpiece. It appeared that the sculpture was going to sell for just over $12 million when a new bidder, seated in the rear of the salesroom, entered the contest. The bidding continued for a total of more than 10 minutes, in $100,000 increments, before the masterpiece was sold to Giuseppe Eskenazi, the premiere connoisseur of Chinese Art, who was bidding on behalf of a private European collector. The rare bronze, which had been consigned by the Albright Knox Art Gallery in Buffalo, New York, was included in a sale of Antiquities which brought a total of $47,194,020 (est. $8.3/12.1 million), the highest total ever for anAntiquities sale. “Artemis is certainly the greatest work of art that I have ever sold,” commented Mr. Keresey. “But she is also much more than that. She is among the most beautiful works of art surviving from antiquity.”Following the auction, Mr. Eskenazi commented, “This is certainly one of the finest, if not the finest, bronze or any sculpture that I have seen in my 50-year career. “On the world scale, it is certainly at the top. It is the height of bronze casting; it is of the highest quality, and it is exceptionally refined. It is comparable to any other sculpture of this size and quality in any museum or any private collection anywhere. I am very proud to be associated with it.”Among the very finest large classical bronze sculptures and the most splendid to appear on the market in memory, the rare bronze figure of Artemis and the Stag is remarkable for its beauty, size, excellent state of preservation, and most notably, its dramatic capture of the split-second moment when the Greek goddess of the hunt has just let fly her arrow. The elegant sculptural group features Artemis standing on a quadrangular base with a stag to her left. Wearing elaborately laced sandals and short chiton with drapery billowing at the sides, the goddess’ extended left hand would have held a bow that is now missing. The exquisite detail of this work is apparent in her face: silver-overlaid eyes, incised irises, recessed pupils and her ears pierced for earrings.Artemis and the Stag was the highlight of today’s sale of Antiquities, which was an overwhelming success totalling $47,194,020, the highest total ever for sale in this category. The sale was 97.5 % sold by lot and 99.9% sold by value, with 88.8% of the lots exceeding their high estimate.Other highlights from the afternoon include an Elamite Copper Figure of a Horned Hero, Proto-Literate Period, circa 3000-2800, which commanded $3,176,000 (lot 80, est. $150,000/250,000); a Marble Funerary Portrait Statue of a Roman Poet, Late Republican/Augustan, circa 50 B.C./A.D. 14, which brought $2,056,000 (lot 70, est. $125/175,000); and a Sumerian Alabaster Figure of a Worshipper, Early Dynastic III, circa 2800-2550 B.C., which realized $1,720,000 (lot 81, est.
New York, NY - June 7, 2007 – Today at Sotheby’s, in a hushed and standing-room only salesroom, auction history was made when an exquisite bronze figure of Artemis and the Stag, circa 1st Century B.C./1st Century A.D., sold for $28,600,000, immediately becoming the most expensive sculpture ever sold at auction*. “She deserved it!” said Richard M. Keresey, Worldwide Director of Sotheby’s Antiquities Department.That outstanding price also eclipsed the previous record for an Antiquity at auction and quadrupled the pre-sale high estimate of $7 million**. When auctioneer Hugh Hildesley opened the bidding at $4.1 million, two bidders immediately began battling for the masterpiece. It appeared that the sculpture was going to sell for just over $12 million when a new bidder, seated in the rear of the salesroom, entered the contest. The bidding continued for a total of more than 10 minutes, in $100,000 increments, before the masterpiece was sold to Giuseppe Eskenazi, the premiere connoisseur of Chinese Art, who was bidding on behalf of a private European collector. The rare bronze, which had been consigned by the Albright Knox Art Gallery in Buffalo, New York, was included in a sale of Antiquities which brought a total of $47,194,020 (est. $8.3/12.1 million), the highest total ever for anAntiquities sale. “Artemis is certainly the greatest work of art that I have ever sold,” commented Mr. Keresey. “But she is also much more than that. She is among the most beautiful works of art surviving from antiquity.”Following the auction, Mr. Eskenazi commented, “This is certainly one of the finest, if not the finest, bronze or any sculpture that I have seen in my 50-year career. “On the world scale, it is certainly at the top. It is the height of bronze casting; it is of the highest quality, and it is exceptionally refined. It is comparable to any other sculpture of this size and quality in any museum or any private collection anywhere. I am very proud to be associated with it.”Among the very finest large classical bronze sculptures and the most splendid to appear on the market in memory, the rare bronze figure of Artemis and the Stag is remarkable for its beauty, size, excellent state of preservation, and most notably, its dramatic capture of the split-second moment when the Greek goddess of the hunt has just let fly her arrow. The elegant sculptural group features Artemis standing on a quadrangular base with a stag to her left. Wearing elaborately laced sandals and short chiton with drapery billowing at the sides, the goddess’ extended left hand would have held a bow that is now missing. The exquisite detail of this work is apparent in her face: silver-overlaid eyes, incised irises, recessed pupils and her ears pierced for earrings.Artemis and the Stag was the highlight of today’s sale of Antiquities, which was an overwhelming success totalling $47,194,020, the highest total ever for sale in this category. The sale was 97.5 % sold by lot and 99.9% sold by value, with 88.8% of the lots exceeding their high estimate.Other highlights from the afternoon include an Elamite Copper Figure of a Horned Hero, Proto-Literate Period, circa 3000-2800, which commanded $3,176,000 (lot 80, est. $150,000/250,000); a Marble Funerary Portrait Statue of a Roman Poet, Late Republican/Augustan, circa 50 B.C./A.D. 14, which brought $2,056,000 (lot 70, est. $125/175,000); and a Sumerian Alabaster Figure of a Worshipper, Early Dynastic III, circa 2800-2550 B.C., which realized $1,720,000 (lot 81, est.
Monday, June 11, 2007
Antonio Machón
Primera etapa Valladolid 1973 - 1982
En octubre de 1973, Antonio Machón Durango abre su primer espacio de arte en la ciudad de Valladolid al que da el nombre de CARMEN DURANGO.
A lo largo de estos 10 primeros años desarrolla una extensa actividad expositiva y editorial. Su pasión por el arte de vanguardia, en especial, por el movimiento informalista, determina la línea de la galería cuyo objetivo es el de cooperar con el desarrollo del arte de vanguardia dando a conocer en el medio geográfico castellano a los artistas y tendencias del arte del momento. Antonio Machón, que compagina, en esta etapa, las actividades de su galería con las enseñanzas artísticas en la Universidad vallisoletana, imprime a su galería ese mismo espíritu pedagógico que unido al rigor selectivo de sus actividades le confieren pronto un notable prestigio nacional como centro de arte difusor de las corrientes artísticas contemporáneas.
Las exposiciones : Realiza un total de 62 exposiciones destacando las dedicadas tanto a los artistas de la llamada Vanguardia Histórica como a los de las generaciones renovadoras posteriores. Exposiciones como las dedicadas a Picasso, Miró, Tàpies, Chillida, Saura, Guerrero, Sempere, Barjola, Lucio Muñoz , Guinovart, Bonifacio, Gordillo , Campano , Simeón Saiz Ruiz, dan cuerpo a este espíritu vanguardista y renovador. Realiza, también, otras importantes exposiciones de grupo ( "El Paso", Equipo Crónica, Grupo 15, etc.) y otras de carácter colectivo.
Actividad editorial : en 1976 la galería inicia una línea editorial dedicada a la publicación de libros originales, fruto de la colaboración entre escritores y artistas plásticos. Los poemas de Jorge Guillén se unen con los aguafuertes de Antoni Tapies para dar cuerpo al libro "REPERTORIO DE JUNIO ". De la colaboración del poeta castellano y el pintor granadino José Guerrero nace en 1982 el libro "POR EL COLOR". Alberti, Aleixandre, Gerardo Diego, Francisco Pino y diez poetas más, aportan sus poemas para el libro "VOZ ACORDE " que, ilustrado por E. Chillida, constituye una contribución y homenaje que la ciudad de Valladolid rinde al poeta castellano Jorge Guillén en noviembre de 1982. Dentro del conjunto de las ediciones adquirirá gran renombre la colección "MARZALES", monografías dedicadas a artistas plásticos ilustradas con textos literarios: a la colaboración de Eusebio Sempere y Edmond Jabés se debe el libro "TRANSPARENCIA DEL TIEMPO ”, primer volumen de esta colección. Antonio Saura y José Ángel Valente crean el libro "EMBLEMAS ". José Hernández y José Miguel Ullán, Bonifacio y José Bergamín, Gordillo con textos de propio Gordillo, o Barjola y José Hierro unen sus creaciones y dan lugar a otros tantas obras.
Segunda etapa Madrid 1983 - 2000
En 1983 la galería cambia de nombre y traslada su sede a Madrid. Dentro del espíritu que animó su etapa anterior, continúa desarrollando su actividad expositiva y editorial hasta el día de hoy. Las exposiciones: El nuevo espacio de la madrileña calle Conde de Xiquena se inaugura el 10 de noviembre de ese año con la exposición "QUINCE RETRATOS IMAGINARIOS " de Antonio Saura, artista que a lo largo de esta segunda etapa realiza un total de cuatro exposiciones individuales.
En diciembre de 1984 Antoni Tapies expone un importante grupo de pinturas. En noviembre de 1999 presenta la serie "MIRA LA MÀ ”, conjunto de 30 pinturas sobre papel con cuya exposición la galería celebra su XXV aniversario. En abril de 2004, la galería conmemora el 80 aniversario del artista con una nueva exposición “ TÀPIES: PAPELES, CARTONES Y COLLAGES ”.
Eduardo Chillida expone, en noviembre de 1999, un importante conjunto de alabastros, terracotas y dibujos.
Importantes también son las exposiciones dedicadas a José Guerrero (noviembre de 2000) y a Jorge Oteiza (febrero de 2002) al que la galería dedica un espacio especial en ARCO´02 consiguiendo el Premio de la Asociación de Críticos de Arte al mejor stand de la feria. Otros artistas que ya exhibieron sus obras en la etapa vallisoletana, como Gordillo, Bonifacio, Guinovart, Barjola, Campano, entre otros, realizan exposiciones en la nueva etapa. A estos artistas van sumándose otros nuevos como Darío Villalba, Guillermo Pérez Villalta, Chema Cobo, Carlos Franco, Jordi Teixidor o Juan Giralt etc. Y otros más jóvenes como Jesús Mari Lazkano, Antonio Rojas, Ángeles San José, Alejandro Garmendia, Pilar Insertis, Darío Basso, Alberto Reguera, María Gómez, L. Rodríguez-Vigil o J. Carlos Savater.
Ferias internacionales. La galería asiste a varias convocatorias de las ferias internacionales de Basilea, Colonia y París. En 1982 es invitado a formar parte del Comité fundador de la Feria Internacional ARTEDER de Bilbao. Ese mismo año entra formar parte del comité organizador de la feria de Madrid ARCO permaneciendo en él hasta 1986. Desde ese año asiste como expositor a todas las convocatorias de la feria.
Actividad editorial: en esta segunda etapa la galería continúa su actividad editorial con escritores y pintores, realizando libros y carpetas de grabados y litografías.
"LAS GEORGICAS" de Virgilio son ilustradas al aguafuerte por Gerardo Aparicio en una bella edición de pequeño formato. Veinte poemas de Antonio Gamoneda y seis aguafuertes de Antoni Tapies se unen en un diálogo profundo y silencioso en el libro "TÚ? " con el que la galería celebra su XXV aniversario. Por sus peculiares características editoriales merece especial consideración el libro "LEON TRAZA Y MEMORIA". Seis aguatintas de José Guerrero configuran la Serie "EL ALBA ", explosión de color desde el amanecer del mediterráneo malagueño. Cinco litografías y cinco escritos de Pérez Villalta dan origen a la obra "EL CRUCE " en la que el artista, desde el paisaje de su Tarifa natal, recrea en clave poética los cuatro puntos cardinales ofreciéndonos una personal visión del mundo. En la serie "TEMPS I LLUM ", conjunto de siete aguafuertes iluminados a mano, Josep Guinovart nos ofrece uno de sus mejores y más sensibles trabajos gráficos. Otros muchos artistas como Chillida, Saura, Lucio Muñoz, Bonifacio, Toledo, Valdés, Gordillo, etc., realizan nuevas obras que enriquecen la ya larga listas de las ediciones de la galería.
Primera etapa Valladolid 1973 - 1982
En octubre de 1973, Antonio Machón Durango abre su primer espacio de arte en la ciudad de Valladolid al que da el nombre de CARMEN DURANGO.
A lo largo de estos 10 primeros años desarrolla una extensa actividad expositiva y editorial. Su pasión por el arte de vanguardia, en especial, por el movimiento informalista, determina la línea de la galería cuyo objetivo es el de cooperar con el desarrollo del arte de vanguardia dando a conocer en el medio geográfico castellano a los artistas y tendencias del arte del momento. Antonio Machón, que compagina, en esta etapa, las actividades de su galería con las enseñanzas artísticas en la Universidad vallisoletana, imprime a su galería ese mismo espíritu pedagógico que unido al rigor selectivo de sus actividades le confieren pronto un notable prestigio nacional como centro de arte difusor de las corrientes artísticas contemporáneas.
Las exposiciones : Realiza un total de 62 exposiciones destacando las dedicadas tanto a los artistas de la llamada Vanguardia Histórica como a los de las generaciones renovadoras posteriores. Exposiciones como las dedicadas a Picasso, Miró, Tàpies, Chillida, Saura, Guerrero, Sempere, Barjola, Lucio Muñoz , Guinovart, Bonifacio, Gordillo , Campano , Simeón Saiz Ruiz, dan cuerpo a este espíritu vanguardista y renovador. Realiza, también, otras importantes exposiciones de grupo ( "El Paso", Equipo Crónica, Grupo 15, etc.) y otras de carácter colectivo.
Actividad editorial : en 1976 la galería inicia una línea editorial dedicada a la publicación de libros originales, fruto de la colaboración entre escritores y artistas plásticos. Los poemas de Jorge Guillén se unen con los aguafuertes de Antoni Tapies para dar cuerpo al libro "REPERTORIO DE JUNIO ". De la colaboración del poeta castellano y el pintor granadino José Guerrero nace en 1982 el libro "POR EL COLOR". Alberti, Aleixandre, Gerardo Diego, Francisco Pino y diez poetas más, aportan sus poemas para el libro "VOZ ACORDE " que, ilustrado por E. Chillida, constituye una contribución y homenaje que la ciudad de Valladolid rinde al poeta castellano Jorge Guillén en noviembre de 1982. Dentro del conjunto de las ediciones adquirirá gran renombre la colección "MARZALES", monografías dedicadas a artistas plásticos ilustradas con textos literarios: a la colaboración de Eusebio Sempere y Edmond Jabés se debe el libro "TRANSPARENCIA DEL TIEMPO ”, primer volumen de esta colección. Antonio Saura y José Ángel Valente crean el libro "EMBLEMAS ". José Hernández y José Miguel Ullán, Bonifacio y José Bergamín, Gordillo con textos de propio Gordillo, o Barjola y José Hierro unen sus creaciones y dan lugar a otros tantas obras.
Segunda etapa Madrid 1983 - 2000
En 1983 la galería cambia de nombre y traslada su sede a Madrid. Dentro del espíritu que animó su etapa anterior, continúa desarrollando su actividad expositiva y editorial hasta el día de hoy. Las exposiciones: El nuevo espacio de la madrileña calle Conde de Xiquena se inaugura el 10 de noviembre de ese año con la exposición "QUINCE RETRATOS IMAGINARIOS " de Antonio Saura, artista que a lo largo de esta segunda etapa realiza un total de cuatro exposiciones individuales.
En diciembre de 1984 Antoni Tapies expone un importante grupo de pinturas. En noviembre de 1999 presenta la serie "MIRA LA MÀ ”, conjunto de 30 pinturas sobre papel con cuya exposición la galería celebra su XXV aniversario. En abril de 2004, la galería conmemora el 80 aniversario del artista con una nueva exposición “ TÀPIES: PAPELES, CARTONES Y COLLAGES ”.
Eduardo Chillida expone, en noviembre de 1999, un importante conjunto de alabastros, terracotas y dibujos.
Importantes también son las exposiciones dedicadas a José Guerrero (noviembre de 2000) y a Jorge Oteiza (febrero de 2002) al que la galería dedica un espacio especial en ARCO´02 consiguiendo el Premio de la Asociación de Críticos de Arte al mejor stand de la feria. Otros artistas que ya exhibieron sus obras en la etapa vallisoletana, como Gordillo, Bonifacio, Guinovart, Barjola, Campano, entre otros, realizan exposiciones en la nueva etapa. A estos artistas van sumándose otros nuevos como Darío Villalba, Guillermo Pérez Villalta, Chema Cobo, Carlos Franco, Jordi Teixidor o Juan Giralt etc. Y otros más jóvenes como Jesús Mari Lazkano, Antonio Rojas, Ángeles San José, Alejandro Garmendia, Pilar Insertis, Darío Basso, Alberto Reguera, María Gómez, L. Rodríguez-Vigil o J. Carlos Savater.
Ferias internacionales. La galería asiste a varias convocatorias de las ferias internacionales de Basilea, Colonia y París. En 1982 es invitado a formar parte del Comité fundador de la Feria Internacional ARTEDER de Bilbao. Ese mismo año entra formar parte del comité organizador de la feria de Madrid ARCO permaneciendo en él hasta 1986. Desde ese año asiste como expositor a todas las convocatorias de la feria.
Actividad editorial: en esta segunda etapa la galería continúa su actividad editorial con escritores y pintores, realizando libros y carpetas de grabados y litografías.
"LAS GEORGICAS" de Virgilio son ilustradas al aguafuerte por Gerardo Aparicio en una bella edición de pequeño formato. Veinte poemas de Antonio Gamoneda y seis aguafuertes de Antoni Tapies se unen en un diálogo profundo y silencioso en el libro "TÚ? " con el que la galería celebra su XXV aniversario. Por sus peculiares características editoriales merece especial consideración el libro "LEON TRAZA Y MEMORIA". Seis aguatintas de José Guerrero configuran la Serie "EL ALBA ", explosión de color desde el amanecer del mediterráneo malagueño. Cinco litografías y cinco escritos de Pérez Villalta dan origen a la obra "EL CRUCE " en la que el artista, desde el paisaje de su Tarifa natal, recrea en clave poética los cuatro puntos cardinales ofreciéndonos una personal visión del mundo. En la serie "TEMPS I LLUM ", conjunto de siete aguafuertes iluminados a mano, Josep Guinovart nos ofrece uno de sus mejores y más sensibles trabajos gráficos. Otros muchos artistas como Chillida, Saura, Lucio Muñoz, Bonifacio, Toledo, Valdés, Gordillo, etc., realizan nuevas obras que enriquecen la ya larga listas de las ediciones de la galería.
Ceres Gallery - Chelsea . New York City
History of Ceres Gallery
Our goal is to serve the community by supporting political and creative diversity. This is reflected in the eclectic aesthetic of our Gallery artists and with special programming. Ceres is committed to providing a visual context for our community and an opportunity to all individuals for inventive exploration.
While working together for common goals each artist makes art that comes from a deep commitment to their personal vision. We create in every medium: sculpture, painting and drawing, collage, photography, print-making, installation and video.
During Women’s History Month in March, 2005, we celebrated our 21 year history by honoring our founding mothers and our origins in the New York Feminist Art Institute (NYFAI ). In our thriving Chelsea arts community, we have joined with other galleries in hosting a Saturday morning brunch, encouraging the connection which feeds us all.
In the coming year, Ceres will host art lectures and workshops, dance performances, music programs and poetry readings. In March, we will be celebrating Women’s History Month with programs presented by Joan Arbeiter and Janet Goldner. Envisioning programs that reach out to new communities and creating greater networks, Ceres Gallery has enabled The Asian American Women Artists Alliance to exhibit their work in November and to present a panel discussion titled From Isolation to Community.
We are proud of our popular readings by Poets for Choice, a group of well-known and young poets, which donates all proceeds to Planned Parenthood of New York City and are happy they continue to meet in our gallery. Our annual Friends of Ceres Show continues to be a wonderful month long group show, presenting the work of artists who have been generous supporters of Ceres. We are a member-run gallery and continually welcome new membership candidates. Ceres Gallery artist members meet monthly, sharing thoughts about processes and art making, encouraging and strengthening growth of both the individual and the group.
Ceres would especially like to thank the visitors who attend our exhibitions and programs. Thoughtful and interested viewers are what make art galleries thrive. We sincerely encourage all of you to attend and enjoy our shows and programs in this coming season.
Our goal is to serve the community by supporting political and creative diversity. This is reflected in the eclectic aesthetic of our Gallery artists and with special programming. Ceres is committed to providing a visual context for our community and an opportunity to all individuals for inventive exploration.
While working together for common goals each artist makes art that comes from a deep commitment to their personal vision. We create in every medium: sculpture, painting and drawing, collage, photography, print-making, installation and video.
During Women’s History Month in March, 2005, we celebrated our 21 year history by honoring our founding mothers and our origins in the New York Feminist Art Institute (NYFAI ). In our thriving Chelsea arts community, we have joined with other galleries in hosting a Saturday morning brunch, encouraging the connection which feeds us all.
In the coming year, Ceres will host art lectures and workshops, dance performances, music programs and poetry readings. In March, we will be celebrating Women’s History Month with programs presented by Joan Arbeiter and Janet Goldner. Envisioning programs that reach out to new communities and creating greater networks, Ceres Gallery has enabled The Asian American Women Artists Alliance to exhibit their work in November and to present a panel discussion titled From Isolation to Community.
We are proud of our popular readings by Poets for Choice, a group of well-known and young poets, which donates all proceeds to Planned Parenthood of New York City and are happy they continue to meet in our gallery. Our annual Friends of Ceres Show continues to be a wonderful month long group show, presenting the work of artists who have been generous supporters of Ceres. We are a member-run gallery and continually welcome new membership candidates. Ceres Gallery artist members meet monthly, sharing thoughts about processes and art making, encouraging and strengthening growth of both the individual and the group.
Ceres would especially like to thank the visitors who attend our exhibitions and programs. Thoughtful and interested viewers are what make art galleries thrive. We sincerely encourage all of you to attend and enjoy our shows and programs in this coming season.
Sunday, June 10, 2007
Top Art Collectors
Top Art Collectors
By profit, of course, we can mean both financially--these are, after all, people who know a thing or two about money--as well as culturally and socially. The end result of many a great collection is often the creation of a museum, or wing of a museum at any rate, which can benefit society for generations. (In fact, the nucleus of most of the world's great museums from the Hermitage in St. Petersburg to the Metropolitan Museum of Art in Manhattan began as a private collection.)
But who are these modern Medicis? Today's collectors come in all shapes, after all, as well as sizes, and while extremely rich not all are billionaires. There are those who buy iconic art, cocooned in privacy, like publisher S.I. Newhouse and hedge fund king Steven A. Cohen, and there are those who buy publicly, and in bulk, hoping to shape the landscape and move markets, as non-billionaire, British ad man Charles Saatchi did, and still does, in the U.K. There are those whose tastes mold institutions, like cosmetics heir Ronald Lauder, who bought his first drawing, a work by Austrian Expressionist Egon Schiele, with money from his bar mitzvah and went on to fund and found the Neue Galerie New York to showcase German and Austrian art. Agnes Gund, whose family fell off the Forbes list of the 400 Richest Americans in 2000, served for over ten years as president of the Museum of Modern Art. Barnes & Noble (nyse: BKS - news - people ) founder and chairman Leonard Riggio, although also not a billionaire, is a champion of minimalist art and activist chairman of one of the great enablers of contemporary art, the DIA foundation. Some billionaires make their own collections available to the interested, such as home building and insurance tycoon Eli Broad's Broad Art Foundation in Santa Monica, Calif., and, when it is completed in 2006, French retail giant Pinault-Printemps-Redoute's Francois Pinault's contemporary art foundation outside Paris. In compiling a list of the billionaire art collectors, it was important to shift the focus onto those men and women who are true aficionados, not mere dabblers or enthusiastic amateurs. For that reason, Microsoft's (nasdaq: MSFT - news - people ) Bill Gates, for example, was left off. To be sure, the world's richest man can buy pretty much anything he likes, and has certainly spent a great deal of money doing so, most notably his 1994 purchase of Leonardo da Vinci's "Codex Leicester" for more than $30 million. While Gates continues to collect, his impact on the art market remains under the radar. Also excluded is probably the world's single biggest art acquirer of recent years: Sheikh Saud al-Thani, who has spent something like $2 billion buying art for the five museums planned by his cousin, the Emir of Kuwait (He spent $1 million on one photograph, Gustave Le Gray's "Grande Vague a Sete"). But he would have been excluded anyway. The Emir canned him several days ago. We have determined those billionaires for our list by playing by the rules of the international art market. Thus the individuals on whom we focus are those who collect with consistency, boundless appetites and the necessary billions to satisfy them. Fact: We have been living through an astounding boom--one that far surpasses its predecessor of the later 1980s. As with the 80s, much of the market is being made by the New Money. Indeed, many figures from that period remain active, like LBO master Henry Kravis and Gap (nyse: GPS - news - people ) chairman Donald Fisher. Non-billionaires of that ilk include Donald Marron, former chief executive of Paine Webber; Frank Cohen, who sold his chain of do-it-yourself stores in the North of England; Wafic Said, a Damascus-born multi-millionaire and Saudi citizen, who lives rather well in the U.K., and who has collected Van Gogh, Matisse and Picasso; and Dakis Jouannou, a Greek industrialist who is founder of the Deste Foundation for Contemporary Art in Athens. These are known figures, at least on the shadowy, high plateaux of the dealing world. What has that world currently agog--and following the bouncing ball of the prices--is the Newest of the New Money on the scene, namely the coming of the Hedge Funders. SAC Capital's Steven A. Cohen, of whom more below, has become, willy-nilly, the most high profile of these new collectors but there are plenty of up-and-comers, like Cohen's protégé David Ganek, who now runs hedge fund Level Global.
By profit, of course, we can mean both financially--these are, after all, people who know a thing or two about money--as well as culturally and socially. The end result of many a great collection is often the creation of a museum, or wing of a museum at any rate, which can benefit society for generations. (In fact, the nucleus of most of the world's great museums from the Hermitage in St. Petersburg to the Metropolitan Museum of Art in Manhattan began as a private collection.)
But who are these modern Medicis? Today's collectors come in all shapes, after all, as well as sizes, and while extremely rich not all are billionaires. There are those who buy iconic art, cocooned in privacy, like publisher S.I. Newhouse and hedge fund king Steven A. Cohen, and there are those who buy publicly, and in bulk, hoping to shape the landscape and move markets, as non-billionaire, British ad man Charles Saatchi did, and still does, in the U.K. There are those whose tastes mold institutions, like cosmetics heir Ronald Lauder, who bought his first drawing, a work by Austrian Expressionist Egon Schiele, with money from his bar mitzvah and went on to fund and found the Neue Galerie New York to showcase German and Austrian art. Agnes Gund, whose family fell off the Forbes list of the 400 Richest Americans in 2000, served for over ten years as president of the Museum of Modern Art. Barnes & Noble (nyse: BKS - news - people ) founder and chairman Leonard Riggio, although also not a billionaire, is a champion of minimalist art and activist chairman of one of the great enablers of contemporary art, the DIA foundation. Some billionaires make their own collections available to the interested, such as home building and insurance tycoon Eli Broad's Broad Art Foundation in Santa Monica, Calif., and, when it is completed in 2006, French retail giant Pinault-Printemps-Redoute's Francois Pinault's contemporary art foundation outside Paris. In compiling a list of the billionaire art collectors, it was important to shift the focus onto those men and women who are true aficionados, not mere dabblers or enthusiastic amateurs. For that reason, Microsoft's (nasdaq: MSFT - news - people ) Bill Gates, for example, was left off. To be sure, the world's richest man can buy pretty much anything he likes, and has certainly spent a great deal of money doing so, most notably his 1994 purchase of Leonardo da Vinci's "Codex Leicester" for more than $30 million. While Gates continues to collect, his impact on the art market remains under the radar. Also excluded is probably the world's single biggest art acquirer of recent years: Sheikh Saud al-Thani, who has spent something like $2 billion buying art for the five museums planned by his cousin, the Emir of Kuwait (He spent $1 million on one photograph, Gustave Le Gray's "Grande Vague a Sete"). But he would have been excluded anyway. The Emir canned him several days ago. We have determined those billionaires for our list by playing by the rules of the international art market. Thus the individuals on whom we focus are those who collect with consistency, boundless appetites and the necessary billions to satisfy them. Fact: We have been living through an astounding boom--one that far surpasses its predecessor of the later 1980s. As with the 80s, much of the market is being made by the New Money. Indeed, many figures from that period remain active, like LBO master Henry Kravis and Gap (nyse: GPS - news - people ) chairman Donald Fisher. Non-billionaires of that ilk include Donald Marron, former chief executive of Paine Webber; Frank Cohen, who sold his chain of do-it-yourself stores in the North of England; Wafic Said, a Damascus-born multi-millionaire and Saudi citizen, who lives rather well in the U.K., and who has collected Van Gogh, Matisse and Picasso; and Dakis Jouannou, a Greek industrialist who is founder of the Deste Foundation for Contemporary Art in Athens. These are known figures, at least on the shadowy, high plateaux of the dealing world. What has that world currently agog--and following the bouncing ball of the prices--is the Newest of the New Money on the scene, namely the coming of the Hedge Funders. SAC Capital's Steven A. Cohen, of whom more below, has become, willy-nilly, the most high profile of these new collectors but there are plenty of up-and-comers, like Cohen's protégé David Ganek, who now runs hedge fund Level Global.
Thursday, June 7, 2007
Toomey Tourell Fine Art is pleased to announce a solo exhibition for San Francisco painter Patrick Day. The show opens June 01st and continues through June 30th. The opening reception with the artist is on Thursday, June, 7th from 5:30-7:30 PM. Day is a San Francisco based painter whose work refers to mass architectural development as it relates to site, community and commerce. From signature art museums to mundane housing developments, Day uses the aerial view floor plan of these buildings to identify their footprint and portray the beauty of their repeated geometry one can only see once far enough away. This approach is also utilized in reference to natural topographical environments. Working in acrylic with black as the common ground, he eliminates any elements that might distract from the essential beauty and idea of the architectural design. Patrick Day - Sprawl Jette2004acrylic on canvas60 x 60 x 3 inchesp.o.r.
Patrick Day - Aerial Supremacy (detail)2006 acrylic on canvas6 feet x 4 inches x 1 inch, ea. (diptych)p.o.r.
Patrick Day - Aerial Supremacy (detail)2006 acrylic on canvas6 feet x 4 inches x 1 inch, ea. (diptych)p.o.r.
Tuesday, June 5, 2007
Enthusiastic group of art collectors lures dealers
Dubai: The UAE's multinational population has bred a vibrant and enthusiastic group of art collectors, attracting dealers and galleries who hope to cash in on the growing sophistication of tastes here. Those in the art industry here say that it is a cyclical process that continues to grow. Collector interest attracts dealers, which attracts artists to come here, which gives the collectors more to buy, and so on. In the past few years, they say, there has been tremendous growth in interest in art, which has led the UAE to be increasingly recognised as a potential centre of art in the Middle East.
Dubai: The UAE's multinational population has bred a vibrant and enthusiastic group of art collectors, attracting dealers and galleries who hope to cash in on the growing sophistication of tastes here. Those in the art industry here say that it is a cyclical process that continues to grow. Collector interest attracts dealers, which attracts artists to come here, which gives the collectors more to buy, and so on. In the past few years, they say, there has been tremendous growth in interest in art, which has led the UAE to be increasingly recognised as a potential centre of art in the Middle East.
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