• The “Selfies” are a series of self-portraits where my image is reflected in hand-held objects. The odd shape of the object brings to mind the Dutch tradition of anamorphosis- A distorted or monstrous projection or representation of an image on a plane or curved surface, which, when viewed from a certain point, or as reflected from a curved mirror or through a polyhedron, appears regular and in proportion; a deformation of an image,  while reminding us of the current trend in our culture of recording our moments of minutia to be preserved for posterity, in the hope that they will have historical importance.

    Recently The Selfies have morphed into a series of self-portraits where I examine myself as classical figures of tragi-comic such as Silenus, Pagliacci, and Gilles etc.

    Selected artworks from The Selfies series:

    costello_self-portrait-as-gilles-weeping_001

    costello_self-portrait-as-silenus_001

    self-portrait-of-pagliacci-3_001

    costello_selfie-with-silver-2

    costello_selfie-with-silver-3_001

    costello_selfie-with-silver-vanitas_001

    About the artist:

    CV/Resume

    Michael Costello
    PO Box 990165
    Boston, MA 02199
    www.michaelcostelloartist.com

    Education
    1973-1977       School of The Museum of Fine Arts

    Selected Solo Exhibitions
    2016    “New Paintings,” William Scott Gallery, Provincetown, MA
    2015    “New Paintings,” William Scott Gallery, Provincetown, MA
    2013    “Boxers and Ballerinas,” Gold Gallery, Boston, MA
    2012    “Art-Exhibitionism,” The Lucky Street Gallery, Key West, FL
    2012    “Michael Costello: New Paintings,” Julie Heller East, Provincetown, MA
    2011    “Michael Costello: New Works”, Ashawagh Hall, East Hampton, NY
    2010    “Selections from Gods and Monsters”, Julie Heller East, Provincetown, MA

    2010    “Michael Costello: New Works”, 101 Exhibit, Miami, FL
    2010    “Michael Costello Pastels”, The A Street Gallery, Boston, MA
    2009    “New Works on Paper”, The Wonderful Gallery, Freeport ME
    2008    “Gods and Monsters”, Gallery Privee, Sag Harbor, NY
    2007    “Models and Muppets”, Gallery XIV, Boston, MA
    2006    The Window Tree Gallery, Brunswick, ME
    2000    The Schoolhouse Center, Provincetown, MA
    1999    The Schoolhouse Center, Provincetown, MA
    1998    The Schoolhouse Center, Provincetown, MA
    1998    Barbara Singer Fine Art, Cambridge, MA
    1997    Kir Priore Gallery, Provincetown, MA
    1996    The Provincetown Group Gallery, Provincetown, MA
    1996    Barbara Singer Fine Art, Cambridge, MA
    1995    Barbara Singer Fine Art, Cambridge, MA
    1995    The New East End Gallery, Provincetown, MA
    1994    Barbara Singer Fine Art, Cambridge, MA
    1993    The New East End Gallery, Provincetown, MA
    1993    Mu Gallery, Boston, MA
    1992    The New East End Gallery, Provincetown, MA
    1992    The Mills Gallery, Boston Center for the Arts, Boston, MA
    1991    The New East End Gallery, Provincetown, MA
    1990    The New East End Gallery, Provincetown, MA
    1989    The New East End Gallery, Provincetown, MA

    Group Exhibitions
    2013    “New Directions”, The Barrett Art Center, Poughkeepsie, NY
    2013    “Figurativas 2013”, La Fundación de las Artes y los Artistas, Barcelona, Spain
    2013    “Off the Wall”, Danforth Art Museum, Framingham, MA
    2011    “Group Artists”, Pamela Williams Gallery, Amagansett, NY
    2010    “Mini Art Video Fest”, Jokai Club. Budapest, Hungary
    2010    “Former Fort Pointers”, Fort Point Channel, Boston, MA
    2010     ArtHamptons, Bridgewater, NY
    2009    “24th International Juried Show”,  Visual Arts Center of New Jersey, Summit, NJ
    2009    Art Basel, Miami, FL
    2009    “In Gratitude”, Tuc Rac Ter,  Budapest, Hungary
    2008    “National Juried Show, Drawing”, South Shore Art Center, Cohasset, MA
    2008    “Byrdcliffe Pollock-Krasner Fellows”, Kleinert/James Arts Center, Woodstock, NY
    2006    The Julie Heller Gallery, Provincetown, MA
    2006    The Turtle Gallery, Deer Isle, ME
    2006    “December Show”, Rice Pollack Gallery, Boston, MA
    2005    The Julie Heller Gallery, Provincetown, MA
    2005    The Munson Gallery, Chatham, MA
    2005    The Turtle Gallery, Deer Isle, ME
    2004    “The Figure Now”, Westport Art Center, Westport, CT
    2004    The Julie Heller Gallery, Provincetown, MA
    2004    The Munson Gallery, Chatham, MA
    2004    The Turtle Gallery, Deer Isle, ME
    2003    The Julie Heller Gallery, Provincetown, MA
    2003    The Munson Gallery, Chatham, MA
    2002    Susan Berke Fine Arts, Redbank, NJ
    2002    The Julie Heller Gallery, Provincetown, MA
    2002    The Lee Musselman Gallery, Hudson, NY
    2002    The Ute Steibich Gallery, Lenox, MA
    2001    The Acacia Gallery, Gloucester, MA
    2001    The Clark House Gallery, Bangor, ME
    2001    The Julie Heller Gallery, Provincetown, MA
    2001    The Munson Gallery, Chatham, MA
    2001    The Ute Steibich Gallery, Lenox, MA
    2001    “Where Art Lives”, Susan Berke Fine Art, Redbank, NJ
    1999    “Revealing The Nude”, Chase Gallery, Boston, MA
    1998    “Figure and Fantasy”, Chase Gallery, Boston, MA
    1997    “Summer Invitational”, Chase Gallery, Boston, MA
    1996    “Summer Realism Show”, Pepper Gallery, Boston, MA
    1996    “Works on Paper”, Barbara Singer Fine Arts Gallery, Cambridge, MA
    1994    “Fantastically Real”, Mills Gallery, Boston, Center for the Arts, Boston, MA
    1993    “Self Portrait”, Provincetown Art Association, Provincetown, MA
    1993    “Summer Group”, Clark Gallery, Lincoln, MA
    1992    “Allegory Two”, The New East End Gallery, Provincetown, MA
    1991    “Nuclear Solstice”, Mills Gallery, Boston, Center for the Arts, Boston, MA
    1990    “The Flag Show”, The New East End Gallery, Provincetown, MA
    1983    “First Annual Painting Competition”, Provincetown Art Association, Provincetown, MA
    1982    “Small Works Show”, Provincetown Art Association, Provincetown, MA
    1981    “New Artists”, The Cove Gallery, Wellfleet, MA
    1980    “Small Works Show”, Provincetown Art Association, Provincetown, MA

    Publications
    2013    “Michael Costello: Boxers and Ballerinas,” The Boston Globe, February 27, 2013
    2013    Alexis Avedisian, “Michael Costello at Gold Gallery,” Dig Boston, February 20, 2013
    2010    “Michael Costello, Gods and monsters”, American Art Collector, April
    2009    Galway, Bridget, “Of Muppets and Monsters”, WHL Review
    2009    Kennedy, Adam and Renee, “Michael Costello”, Best of American Artist, Pastel
    2008    Nash, Matthew, “Michael Costello at Gallery XIV”, Big Red & Shiny
    2003     Mc Kown, Rich, “Painting in the Nude”, Cape Cod Review
    1998    Hill, Shawn, “Style Rules”, Bay Windows
    1998    Mc Quaid, Cate, “Stills of Sacred Fruit”, The Boston Globe
    1992    Hill, Shawn, “Impending Doom”, Bay Windows
    1991    Mc Quaid, Cate, “Nuclear Solstice”, South End News
    1991    Stapen, Nancy, “Passion Fuels Nuclear Solstice”, The Boston Globe
    1990    Hill, Shawn, “Stress Points”, Bay Windows

    Corporate and Public Collections
    Federal Reserve
    Fidelity Investment
    Kemper Collection
    The Boston Public Library
    The Abrams Collection
    Wellington Management
    Provincetown Art Association and Museum

    Awards and Residencies
    2011     Residency at The Studios at Key West, Key West, FL
    2009    International Artists’ Residency/Seminar, Budapest
    2007    Pollock Krasner Byrdcliffe Master
    2007    Byrdcliffe Artist Colony Summer Residency

    www.michaelcostelloartist.com

     

    “Pipilotti Rist: Pixel Forest”
    Opens October 26, 2016

    Over the past thirty years, Pipilotti Rist has achieved international renown as a pioneer of video art and multimedia installations. Her mesmerizing works envelop viewers in sensual, vibrantly colored kaleidoscopic projections that fuse the natural world with the technological sublime. Referring to her art as a “glorification of the wonder of evolution,” Rist maintains a deep sense of curiosity that pervades her explorations of physical and psychological experiences. Her works bring viewers into unexpected, all-consuming encounters with the textures, forms, and functions of the living universe around us.

    Occupying the three main floors of the Museum, “Pipilotti Rist: Pixel Forest” will be the most comprehensive presentation of Rist’s work in New York to date. It will include work spanning the artist’s entire career, from her early single-channel videos of the 1980s, which explore the representation of the female body in popular culture, to her recent expansive video installations, which transform architectural spaces into massive dreamlike environments enhanced by hypnotic musical scores. Featuring a new installation created specifically for this presentation, the exhibition will also reveal connections between the development of Rist’s art and the evolution of contemporary technologies. Ranging from the television monitor to the cinema screen, and from the intimacy of the smartphone to the communal experience of immersive images and soundscapes, this survey will chart the ways in which Rist’s work fuses the biological with the electronic in the ecstasy of communication.

    “Pipilotti Rist: Pixel Forest” is curated by Massimiliano Gioni, Edlis Neeson Artistic Director; Margot Norton, Associate Curator; and Helga Christoffersen, Assistant Curator. The exhibition will be accompanied by a fully illustrated catalogue copublished by the New Museum and Phaidon Press Limited.

    Courtesy: New Museum

     

    At The Met Fifth Avenue
    October 19, 2016–February 20, 2017

    This exhibition will put a spotlight on artist Max Beckmann’s special connection with New York City, featuring 14 paintings that he created while living in New York from 1949 to 1950, as well as 25 earlier works, dating from 1920 to 1948, from New York collections. The exhibition assembles several groups of iconic works, including self-portraits; mythical, expressionist interiors; robust, colorful portraits of women and performers; landscapes; and triptychs.

    Falling Man 1950 oil on canvas overall: 141 x 88.9 cm (55 1/2 x 35 in.) framed: 158.1 x 104.8 x 7 cm (62 1/4 x 41 1/4 x 2 3/4 in.) Gift of Mrs. Max Beckmann 1975.96.3

    Falling Man
    1950
    oil on canvas
    overall: 141 x 88.9 cm (55 1/2 x 35 in.)
    framed: 158.1 x 104.8 x 7 cm (62 1/4 x 41 1/4 x 2 3/4 in.)
    Gift of Mrs. Max Beckmann
    1975.96.3. National Gallery of Art

    During the late 1920s, Max Beckmann (1884–1950) was at the pinnacle of his career in Germany; his work was presented by prestigious art dealers, he taught at the Städel Art School in Frankfurt, and he moved in the city’s highest social and cultural circles, counting publishers, writers, critics, and collectors among his friends. After the Nazis labeled his works “degenerate” and confiscated them from German museums, Beckmann left the country and immigrated to Holland, where he remained for 10 years. In 1948, he moved to St. Louis, Missouri, and in September 1949, he moved to New York City, which he described as “a prewar Berlin multiplied a hundredfold.” Life in Manhattan energized him and resulted in such powerful pictures as Falling Man (1950) and The Town (City Night) (1950).

    In late December 1950, Beckmann set out from his apartment on the Upper West Side of New York to see his Self-Portrait in Blue Jacket (1950), which was on view at The Met in the exhibition American Painting Today. However, on the corner of 69th Street and Central Park West, the 66-year-old artist suffered a fatal heart attack and never made it to the Museum. The poignant circumstance of the artist’s death served as the inspiration for the exhibition.

    #MaxBeckmann

    Accompanied by a catalogue

    The exhibition is made possible by The Isaacson-Draper Foundation.

    It is supported by an Indemnity from the Federal Council on the Arts and the Humanities.

    The catalogue is made possible by The Andrew W. Mellon Foundation.

    Courtesy of The Met Breuer – Press Release

     

    Arshile Gorky in his atelier, Sherman CT, 1948 Photo: Ben Schnall @Arshile Gorky Foundation Courtesy the Foundation and Hauser & Wirth

    Arshile Gorky in his atelier, Sherman CT, 1948
    Photo: Ben Schnall
    @Arshile Gorky Foundation
    Courtesy the Foundation and Hauser & Wirth

    New York/London…Hauser & Wirth is honoured to announce its exclusive worldwide representation of the Arshile Gorky Estate. The story of Arshile Gorky (1904 – 1948) is that of the quintessential American artist seeking to forge a new identity divorced from his Old World roots. Through constant cycles of radical reinvention, his quest yielded a personal approach to painting that established Gorky as ‘the father of Abstract Expressionism’ and thereby a seminal figure in the evolution of modern art. With its emphasis upon the autonomous expressive potential of line, form, and colour, his revolutionary work profoundly impacted scores of fellow artists, including Willem De Kooning, David Smith, and Mark Rothko, and was championed by André Breton and Roberto Matta. Representing the artist’s Estate, Hauser & Wirth will further explore his legacy and enduring influence through new exhibitions and publications, and by commissioning original research and scholarship.

    Hauser & Wirth will present its first exhibition of Gorky’s work in New York in 2017. Curated by Paul Schimmel, this exhibition will travel to the gallery’s space in Los Angeles and will be accompanied by a comprehensive publication focused on Gorky’s expansive oeuvre. The artist’s position as a pivotal post-war figure is currently highlighted by a selection of key works on view in the major exhibition ‘Abstract Expressionism’ at the Royal Academy of Arts, London, England, until 2 January 2017.

    Learn more

    National Portrait Gallery Presents “Bill Viola: The Moving Portrait”

    November 18, 2016 – May 7, 2017

    Museum Presents First Interpretation of Media Artist’s Work As Portraiture Nov. 18

    In “Bill Viola: The Moving Portrait,” the Smithsonian’s National Portrait Gallery offers a new interpretation of the artist’s work, presenting it through the lens of portraiture and technology. The exhibition, the first of its kind for Viola’s work in Washington, includes 11 media pieces by the pioneering artist. Since the early 1970s, Viola has been recognized for his groundbreaking and masterful use of video technologies, creating works that explore the spiritual and perceptual side of human experience. The exhibition opens Nov. 18 and is on view through May 7, 2017.

    “Bill Viola approaches portraiture in the spirit of the artists of the early Renaissance, where personal likeness combines with universal themes of spirituality and faith,” said Kim Sajet, director of the National Portrait Gallery. “His great gift is to take age-old questions about human experience and re-present them for contemporary life. He uses pixels instead of paint and film as his form to connect people over time through the art of video. I am delighted to invite visitors to enter the museum’s newly created media galleries to experience portraiture in its most telling and current form: moving revelations of the human body and spirit that befit our digital age.”

    The Raft / Bill Viola (born 1951) / 2004 / Color High-Definition video projection on wall in darkened space; 5.1 ch surround sound / Projected image size: 156 x 88 in. (396.2 x 223 cm) / 10:33 minutes / Bill Viola Studio © Bill Viola

    The Raft / Bill Viola (born 1951) / 2004 / Color High-Definition video projection on wall in darkened space; 5.1 ch surround sound / Projected image size: 156 x 88 in. (396.2 x 223 cm) / 10:33 minutes / Bill Viola Studio © Bill Viola

    Viola’s intimate studies of the human face and body depict a range of emotions, gradually revealed by his signature use of slow motion. Viola also turned the camera on himself, particularly in his early years of art-making, and several self-portraits will be on view. These works connect viewers of all backgrounds by using cutting-edge technology to create moving images that are emotional, searing and profound.

    The earliest piece in the exhibition, “The Reflecting Pool” (1977–79), is a self-portrait exploring the notion of the perception of reality, and of the passage of time. “Time becomes extended and punctuated by a series of events seen only as reflections in the water,” Viola said.

    Water themes course through Viola’s art. “The Raft” (May 2004), a large video/sound projection, depicts men and women from a variety of ethnic backgrounds caught in a catastrophic deluge that tests the human spirit.

    Another room-sized work in the exhibition, “The Dreamers” (2013), uses seven plasma screens to portray people underwater in repose, fully clothed and with their eyes closed. Viola describes the piece: “Water ripples across their bodies, subtly animating their movements. The sound of running water permeates the space as dreams filter though the room, drawing the viewer into this watery world.”

    One of Viola’s most contemplative pieces, a commentary on the condition of aging, is his recent diptych, “Man Searching for Immortality/Woman Searching for Eternity” (2013). The portraits are projected onto two separate slabs of black granite; one shows a man and another a woman, each examining their aging naked body with a small light, “looking for evidence of disease or corruption. Thankful for life, they gradually dissolve back into the stone from where they came,” Viola said.

    “Bill Viola: The Moving Portrait” has been curated by Asma Naeem, curator of prints, drawings and media art at the National Portrait Gallery, in consultation with Viola’s creative partner, Kira Perov, and Bill Viola Studio. Donors to the exhibition include John and Louise Bryson, Tommie L. Pegues and Donald A. Capoccia, the Sakana Foundation and Joseph Ujobai and Eduardo Ardiles.

    In conjunction with the exhibition, the museum will display the latest acquisition of media art to the Portrait Gallery’s permanent collection, Viola’s “Self Portrait, Submerged” (2013). John and Louise Bryson have funded the work.

    National Portrait Gallery

    The Smithsonian’s National Portrait Gallery tells the multifaceted story of America through the individuals who have shaped its culture. Through the visual arts, performing arts and new media, the Portrait Gallery portrays poets and presidents, visionaries and villains, actors and activists whose lives tell the American story.

    The National Portrait Gallery is part of the Donald W. Reynolds Center for American Art and Portraiture at Eighth and F streets N.W., Washington, D.C. Smithsonian

    Courtesy of The Smithsonian’s National Portrait Gallery

    © JOANNA W. TOMCZYK / Alternation #3 / 48” X 48” / acrylic and mixed media on canvas / 2011

    © JOANNA W. TOMCZYK / Alternation #3 / 48” X 48” / acrylic and mixed media on canvas / 2011

    My work explores the influence of the civilization and the distractive process of elements on nature.
    The process of this perpetual act I witness, fascinates me the most.
    Being the observer includes myself in the mystery of participation in that process.
    I study silent and abandoned places, fields of nature in the human habitat I live in.
    I penetrate, discover and document the beauty and the decoy with the same intensity.
    Painting is my very intimate, conscious and unconscious act of transformation and comment of that
    process on my canvases.
    – Joanna Tomczyk

    Born and educated in Poland, lives and works in New York. Member of ASCI (Art and Science Collaborations) New York since 2009
    Education:
    MFA / grad / from painting and yarn / fiber art in 1989 in ACADEMY OF FINE ARTS / Lodz POLAND.
    New York School of Interior Design /2003 – 2004

    © JOANNA W. TOMCZYK / En-tangled #21 / 48” x 48” / acrylic on canvas / 2011

    © JOANNA W. TOMCZYK / En-tangled #21 / 48” x 48” / acrylic on canvas / 2011

    © JOANNA W. TOMCZYK / Fragile #3 / 18” x 18” / acrylic on canvas / 2013

    © JOANNA W. TOMCZYK / Fragile #3 / 18” x 18” / acrylic on canvas / 2013

    © JOANNA W. TOMCZYK / Fragile # 2 / 20” x 20” / acrylic on canvas / 2013

    © JOANNA W. TOMCZYK / Fragile # 2 / 20” x 20” / acrylic on canvas / 2013

    More about artist: Saatchi Art

    In this highly unconventional exhibition, visitors are encouraged to participate, touch, and even take home works of art by 42 international and intergenerational artists, many of whom are creating new and site-specific works for the exhibition.

    In a conventional museum experience, you, the visitor, may consume art only by looking at the paintings, sculptures, or photographs on view. You are not allowed to touch the works, and certainly not able to take them home. In defiance of this well-established standard, Take Me (I’m Yours) extends an invitation. Featuring works by more than forty artists from different generations and from all over the world, the exhibition asks you not only to get into close contact with the artworks, but to take them away and keep them for good.

    Take Me (I’m Yours) aims to create a democratic space for all visitors to take ownership of artworks, and curate their personal art collections, by subverting the usual politics of value, consumerism, and the museum experience. Visitors constantly transform the landscape of the galleries, bit by bit, through direct engagement.

    This presentation builds upon an iconic exhibition of the same name that took place in 1995 at the Serpentine Gallery in London. Conceived by the curator Hans Ulrich Obrist and the artist Christian Boltanski, it included works by twelve artists, several of whom are participating again here. Obrist and Boltanski took inspiration from a host of histories and ideologies related to possession, from the anarchist idea that “ownership is theft” to the post-1960s dematerialization of the object in conceptual art.

    Installation view of the exhibition Take Me (I'm Yours). September 16, 2016 – February 5, 2017. The Jewish Museum, NY. Photo by: David Heald.

    Installation view of the exhibition Take Me (I’m Yours). September 16, 2016 – February 5, 2017. The Jewish Museum, NY. Photo by: David Heald.

    Restaging this exhibition at the Jewish Museum, a collecting institution with holdings that span centuries, offers occasion to rethink the role of the museum as an archive. Instead of collecting works and preserving them for all eternity, we are giving them away. Sharing pervades Jewish life, beginning in the home and extending out to the community. Here the exhibition is the home, and the works are what we share with you, our visitors.

    Jens Hoffmann
    Director of Special Exhibitions and Public Programs, the Jewish Museum

    Hans Ulrich Obrist
    Artistic Director, Serpentine Galleries, London

    Kelly Taxter
    Associate Curator, the Jewish Museum
    Participating Artists

    aaajiao
    Kelly Akashi
    Uri Aran
    Dana Awartani
    Cara Benedetto
    Christian Boltanski
    Andrea Bowers
    James Lee Byars
    Luis Camnitzer
    Ian Cheng
    Heman Chong
    Maria Eichhorn
    Hans-Peter Feldmann
    Claire Fontaine
    Andrea Fraser
    General Sisters
    Gilbert & George
    Felix Gonzalez-Torres
    Matthew Angelo Harrison
    Yngve Holen
    Carsten Höller
    Jonathan Horowitz
    Jibade-Khalil Huffman
    Alex Israel
    Koo Jeong A
    Alison Knowles
    Angelika Markul
    Adriana Martinez
    Daniel Joseph Martinez
    Jonas Mekas
    Rivane Neuenschwander
    Yoko Ono
    Sondra Perry
    Rachel Rose
    Martha Rosler
    Allan Ruppersberg
    Tino Sehgal
    Daniel Spoerri
    Haim Steinbach
    Rirkrit Tiravanija
    Amalia Ulman
    Lawrence Weiner
    Gallery Performances

    James Lee Byars, Be Quiet, 1980
    Saturdays, noon – 4 pm

    Sondra Perry
    Date and time to be announced
    #TakeMeImYoursNYC

    Take Me (I’m Yours) is made possible by AIG Private Client Group, Bloomberg Philanthropies, Amanda and Glenn Fuhrman, Midge and Simon Palley, Charlotte Feng Ford, Ann and Mel Schaffer, Royal Norwegian Consulate General in New York, and our Kickstarter community of supporters.

    Additional support is provided through the Melva Bucksbaum Fund for Contemporary Art and the Leon Levy Foundation.

    Courtesy of the Jewish Museum
    unnamed

    Pot-pourri vase (detail), gilt bronze by Pierre Gouthière, ca. 1770−75, Chinese porcelain, 18th century, Musée du Louvre, Paris; photo: RMN-Grand Palais / Art Resource, NY

    Pierre Gouthière:
    Virtuoso Gilder at the French Court 

    November 16, 2016, through February 19, 2017

    The Frick Collection, 1 East 70th Street, New York, NY 10021

    Pierre Gouthière (1732–1813) was one of the greatest French artists of the eighteenth century. A master chaser-gilder, he created opulent objets d’art that were coveted by the wealthiest and most important figures of pre-revolutionary France, including Louis XVI, Marie Antoinette, Louis XV’s mistress Madame Du Barry, and the Duke of Aumont. Like a sculptor, he made his own models and had them cast in metal. Using dozens of specialized tools, he then created patterns and textures on the surface of the metal objects before gilding them. So exceptional was his talent that his work commanded amounts equal to, and sometimes greater than, those asked by the era’s most famous painters and sculptors. Furthermore, such was the popularity and prestige of this work that over the last two centuries, many French eighteenth-century gilt bronzes have been erroneously attributed to him. This fall, New York’s Frick Collection presents the first exhibition devoted to Gouthière, a project that brings together twenty-one of his finest masterpieces, drawn from public and private collections across Europe and the United States. Many of these remarkable objects—from firedogs, wall lights, and doorknobs to elaborate mounts for rare Chinese porcelain and precious hardstone vases—have never before been shown publicly in New York, and their assembly in an exhibition will provide the basis for a fresh understanding of his oeuvre. With new art historical and technical research by leading experts in the field, the exhibition and accompanying catalogue shed fresh light on the life, production, workshop, and clientele of this incomparable artist. Presentation of these works at the Frick is organized around the major patrons who commissioned them, bringing to life a sense of the extravagant world for which they were created. The exhibition is also accompanied by an educational video that illustrates how gilt bronze is made. It shows the recreation of one of Gouthière’s iconic pieces, taking viewers step by step through traditional techniques he would have used. Following its presentation at the Frick, the exhibition will travel to Paris, where a version will be shown at the Musée des Arts décoratifs from March 15 through June 25, 2017.

    Gouthière Pierre (1732-1813). Paris, musée du Louvre. OA5178;OA5179.

    Gouthière Pierre (1732-1813). Paris, musée du Louvre. OA5178;OA5179.

    Pierre Gouthière: Virtuoso Gilder at the French Court was organized by Charlotte Vignon, Curator of Decorative Arts, The Frick Collection. This exhibition is supported by the Michel David-Weill Foundation; the Selz Foundation; and two anonymous donors, one in memory of Melvin R. Seiden; with additional contributions from Alfredo Reyes of Röbbig Munich and Edward Lee Cave.

    Comments Vignon, “With this exhibition, some five years in the making, we hope the public will appreciate the creativity and craft behind the works created by Gouthière. The beauty and perfection he achieved is worthy of special focus, and we’ve sought to clarify what can be attributed with certainty to his oeuvre while illustrating for visitors the steps of his remarkable technique, now only preserved in the hands of a few craftsmen. Our joy in turning to this topic—which was inspired by a remarkable object in The Frick Collection—is that we hope to kindle further interest in the subject and in other artists who contributed to this remarkable artform.”

    The Frick Collection

    1 East 70th Street

    New York, NY 10021

    svit4

    SVIT, PRAGUE

    SVIT, based in Prague, Czech Republic is the recipient of the first NADA x Exhibitionary International Gallery Prize at NADA Miami Beach 2016.

    The recipient of the prize is invited to exhibit at NADA Miami Beach for the first time in a sponsored booth provided by Exhibitionary and NADA. The prize, in its inaugural year, is supported in part by visitors of NADA Miami Beach through ticket sales.

    The gallery will present work by Ajit Chauhan, David Krnansky and Jirí Kovanda at NADA Miami Beach, December 1–4, 2016.

    The winner was selected by the NADA Miami Beach 2016 Selection Committee. Eligibility requires that applicants are commercial galleries based outside of the U.S., traveling internationally to exhibit at NADA Miami Beach for the first time.

    ABOUT EXHIBITIONARY
    Exhibitionary is the new mobile gallery guide covering global art destinations, from the most interesting galleries to major institutions and experimental project spaces. With interactive features including picks by leading contemporary art professionals, schedule planning, and customizable maps, Exhibitionary’s intuitive interface makes discovering the art world’s best exhibitions simple – for art aficionados, or those new to the gallery scene.

     

    NADA Miami Beach 2016

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    14-16 November 2016
    Lower Manhattan

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    MuseumNext is a global conference series on the future of museums, taking place in cultural capitals around the world since 2009. MuseumNext is a catalyst for innovation, transformation and collaboration in museums, galleries and heritage sites, with more than 800 individuals from 32 countries joining us in 2015.

    The New York City conference investigates the theme of transformation across lives, practice and place, with speakers including:

    • Neil Harbisson, contemporary artist and cyborg activist
    • Christy Coleman, CEO, America Civil War Museum
    • Dr Melissa Chiu, Director, Smithsonian’s Hirshhorn Museum and Sculpture Garden
    • Ellen V. Futter, President, American Museum of Natural History
    • Beat Hachler, Director, Swiss Alpine Museum
    • Alex Benay, President and CEO, Canadian Science and Technology Museum Corporation
    • Tony Butler, Executive Director, Derby Museums Trust (UK)
    • Take a look at our 30+ speakers

    The conference takes place in Lower Manhattan over 14-15 November with various museum visits, tours and events taking place around the city on 16 November.

    LEARN MORE
    BUY TICKETS

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    www.museumnext.com

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