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    FIGURES TOWARD ABSTRACTION: SCULPTURE 1910-1940
    ORGANIZED BY DANIELLA LUXEMBOURG AND DANIEL LIBESKIND
    MAY 12 – JULY 1, 2017
    LUXEMBOURG & DAYAN, NEW YORK
    64 EAST 77TH STREET, NEW YORK CITY

    would not, from all the borders of itself,
    burst like a star: for here there is no place
    that does not see you. You must change your life.
    -Rainer Maria Rilke, “The Archaic Torso of Apollo,” 1908

     

    Luxembourg & Dayan is pleased to present Figures Toward Abstraction: Sculpture 1910-1940, an exhibition that materializes an ongoing decades-long dialogue between Daniella Luxembourg and internationally admired architect Daniel Libeskind, about the nature of abstraction in art, in architecture, in history, and in life.

     

    From a certain perspective, abstraction appears as a gesture of withdrawal. Figures Toward Abstraction traces one such retreat—away from realism and classical figuration—as manifested in sculpture of the first half ofthe twentieth century. Taking its lead from the underlying parameters of abstraction in sculpture, namely the medium’s material and spatial inquiries, the exhibition brings together a rich selection of works by modern masters Rudolf Belling, Alberto Giacometti, Julio González, Henri Laurens, Jacques Lipchitz, Henri Matisse, and Jean Tinguely.

    Untitled-1

    These works are presented in an installation designed by Libeskind, in a spatial experience that opens with a quote from “The Archaic Torso of Apollo,” a poem by Rainer Maria Rilke. The poem itself stages the abstraction of one historic vestige of realism (the titular Greek statue) and serves as a touchstone as the exhibition unfolds across three floors of the gallery. Each constellation of sculptures on view attends to a different set of conversations, inspirations, and collaborations—as well as disagreements and rivalries—that emerged between these pioneers of Modernism.

     

    Though these works stage a departure from the human figure, they nonetheless retain the body—particularly the traditional nude—as their structural basis. In Matisse’s figurative bronzes and Laurens’ Femme accouchée (1927), the figure remains palpable, however deconstructed and transfigured. Elsewhere, in Giacometti’s cubist compositions and González’s bronzes of the late 1920s and 1930s, it becomes harder to discern. Through this selection of work, Figures Toward Abstraction highlights moments of cross-pollination and correspondence between realism and abstraction, suggesting that any retreat necessarily recalls its point of departure.

     

    Also featured is Rudolf Belling’s seminal Dreiklang (1919), which will be on display for the first time in the United States. Dreiklang (“Triad” or “Triple Clang”) is rooted compositionally in three intertwined figures that have been rigorously abstracted, foregoing referent for geometric unity. In fact, the work counts amongthe earliest completely abstract sculptures of the twentieth century. This assertive abstraction famously led to its derisive inclusion in the Nazi Party’s Degenerate Art Exhibition of 1937—a reminder of how seemingly formal concerns can intersect with, and in this case resist, ideology.

     

    Figures Toward Abstraction extends the gallery’s dedication to presenting seminal Modernist sculpture for a contemporary audience, following Alberto Giacometti: In His Own Words, a recent exhibition at the gallery’s London location that showcased the sculptor’s cubist period of 1925-1934.

    www.luxembourgdayan.com

    Courtesy of LUXEMBOURG & DAYAN, NEW YORK

     

     

    Call for Artists 2017 Exhibition
    In/visible: Things to be Discussed
    presented by the Korean Cultural Center New York

    May 24th through July 13th, 2017
    Opening reception: Wednesday, May 24th, 2017, 6-8 PM
    Gallery Korea at the Korean Cultural Center New York
    (460 Park Avenue, 6th Floor, NY, NY 10022)

    Print

    Gallery Korea of the Korean Cultural Center New York is pleased to present In/visible: Things to be Discussed, on view from May 24th to July 13th, 2017. The opening reception will be held on Wednesday, May 24th from 6 PM to 8 PM.

     

    This group exhibition is curated by ‘haewooso,’ a group of three young curators based in Seoul and New York: Edie Yonwoo Kim, Hae Lin Park, and So-Ok Park, and has been selected as a winner of the ‘Call for Artists 2017’ at KCCNY.

     

    Today, the contemporary world we live in overflows with information, images, and issues. People have grown increasingly accustomed with making judgments from what they see on the surface. In this societal context, In/visible: Things to be Discussed sheds light on the works of six artists to explore the hidden ideologies behind the scenes of everyday life that may seem mundane. By doing so, the exhibition encourages the audience to perceive things that have been unconfronted, things that people may have missed out in their lives.

     

    The exhibition brings together six emerging artists; Byeong Gi Baek, Caiti Borruso, Daniel Goldfarb, Hyejin Jo, Alex Strada, and Seok-Il You with their captivating contemporary pieces working across painting, photography, installation and video. From different cultural backgrounds, the artists show distinctive approaches by exploring their own interests, concerns, experiences, and societal backgrounds.

     

    Byeong Gi Baek’s installation reflects a recent tragedy in Korea through the image of a whale. The whale is one of the most friendly mammals due to their similarities with humans, but is shown as being dead in his work; Caiti Borruso uses photographs to mirror the psychological distance in her relationship with her hometown as well as her personal trauma behind the familiar scenes; Daniel Goldfarb’s video evokes the concept of excluded beings in our society through a character named BLOCH; Hyejin Jo’s installation takes an issue with the ironic nature of tropical plants that are now prevalent in Korean society where the climate is not ideal for such plant life. Her work thus reveals the contradictory relationship of the sociocultural conventions and the foreign, and alien plants; Alex Strada’s photographs of miniatures of world-famous landmarks reveal the hidden power relationships in the history of the world; Seok-Il You examines the unique nature of youth communities by observing the behaviors of young Koreans during a period of policy change in the society.

    In/visible: Things to be Discussed is not about some grand conspiracy or serious fraud – it is an exhibition about the ordinary, the very society we live in, rather than something that is bizarre or exceptional. Therefore, the works feel all the more real and even personal.

    Observing and appreciating these works and taking time to understand the social phenomena through them is a humble, yet critical first step in changing our world view and hopefully, how we then affect the world. This exhibition provides an opportunity for fresh perspectives, opening our eyes to the overlooked and observing the “invisibles” from the “visibles,” thus to set the stage for what needs to be discussed.

    Byeong Gi Baek, take me home, 2015, Laserjet print, mixed media, Dimensions variable (roll screen: 74.8" x 110.2")

    Byeong Gi Baek, take me home, 2015, Laserjet print, mixed media, Dimensions variable (roll screen: 74.8″ x 110.2″)

    Caiti Borruso, The pit, 2015, Pigmented inkjet print, 22” x 26”

    Caiti Borruso, The pit, 2015, Pigmented inkjet print, 22” x 26”

    Daniel Goldfarb, Bloch, 2012, Flash Animation, 8 min 46 sec

    Daniel Goldfarb, Bloch, 2012, Flash Animation, 8 min 46 sec

    Hyejin Jo, A Usable Tree, 2015, Tropical plants carved into lumbers (Dracaena fragrans, Pachira aquatca, Heteropanax fragrans, F. benghalensis, etc.), Dimensions variable

    Hyejin Jo, A Usable Tree, 2015, Tropical plants carved into lumbers (Dracaena fragrans, Pachira aquatca, Heteropanax fragrans, F. benghalensis, etc.), Dimensions variable

    Alex Strada, Great Pyramids of Giza. Shenzhen, China., 2015, Archival inkjet print, 27" x 40"

    Alex Strada, Great Pyramids of Giza. Shenzhen, China., 2015, Archival inkjet print, 27″ x 40″

    Seok-Il You, Let’s Go to Smoke (야, 담배 한 대 피자), 2016, Acrylic on canvas, 44.1" x 63.9"

    Seok-Il You, Let’s Go to Smoke (야, 담배 한 대 피자), 2016, Acrylic on canvas, 44.1″ x 63.9″

     

    About the Artists

     

    Byeong Gi Baek (b. 1981, South Korea) lives and works in Korea. He received his BFA and MFA in Sculpture from Dongguk University, Seoul. His sculptural works have been featured in a number of group exhibitions, including “FURTHER INTO THE ARCTIC” at the Korea National Maritime Museum (2016), “Korean Hero” at the government complex-Seoul (2016), and “Land of Bless” at Yangpyeong Art Museum (2015). He has also held two solo exhibitions, “every fells that way” at the Oh!zemidong Gallery (2015) and “Sleep of whales: The Continuing Thought” at KOSA Space (2013). Baek achieved the New Artist’s Award from Korean Sculptor’s Association in 2013.

     

    Caiti Borruso (b. 1993, United States) who lives and works in Brooklyn captures the afterimage of different incidents via photography. She earned her BFA in Photography from Pratt Institute with highest honors in 2016. Her powerful and poetic works were presented in various locations in the United States; Pratt Photography Gallery, Pratt Manhattan Gallery, President’s Gallery, Aviary Gallery, and Asbury Park as well as numerous online galleries.

     

    Alex Strada (b. 1988, United States) is an interdisciplinary artist whose practice involves video, photography, performance, and writing. Her research-based projects center on the intersection of history, politics, representation, and language. She received a MFA in Visual Art from Columbia University in 2016 and a BA in Art History and Studio Art from Bates College in 2010. Strada’s work has been shown internationally, including exhibitions at the Fisher Landau Center for Art, New York; Jewish Museum, New York; National Museum of Iceland, Reykjavik; and the Centro Fotográfico Álvarez Bravo, Oaxaca, Mexico. Strada has participated in a number of artist residency programs including the Art and Law Program in New York; the Vermont Studio Center in Johnson, Vermont; and Takt Kunstprojektraum in Berlin. She is currently participating in the Socrates Sculpture Park Emerging Artist Fellowship.

     

    Daniel Goldfarb (b. 1985, Israel) graduated from Shenkar College of Engineering and Design in Israel with distinction in 2012 and he is currently working as a freelance illustrator based in Tel-Aviv. Working mostly in the commercial field, his works have been published in numerous major newspapers and magazines in Israel such as Calcalist, Liberal, 7 Yammim, Mammon and Haaretz. His illustrations was used as the main image of Da’ag Ha’azahav Contest 2015, included in B. Golan Law Firm’s homepage, and now, he is the cover artist for Liberal Magazine. He is currently represented by Richard Solomon Artists Rep in New York.

     

    Hyejin Jo (b. 1986, South Korea) is a Seoul-based artist who earned her BFA and MFA in Sculpture from Ewha Womans University, Korea. Her research-based works include drawings, photography, installation, and writing. Major institutions in Korea have continuously presented Jo’s works in solo exhibitions since 2012 such as the Ujung Art Center, Seoul Art Space Seogyo, Cake Gallery, and Art Space Hue. Her works have been presented in many group shows including exhibitions at Arko Art Center, Seoul; Meymac Art Center, France; National Museum of Modern and Contemporary Art, Seoul; Amado Art Space, Seoul; and Heritage Space, Vietnam. In recognition of the excellence of her works, she has received the New Artist Trend Award from the Seoul Foundation for Arts and Culture in 2012.

    Seok-Il You (b. 1984, South Korea) who lives and works in Korea received his Bachelor’s degree in Fine Art from Hongik University in Seoul, Korea. His paintings have been presented in group exhibitions including “YouYou” at Chung-Ang University (2010), “Rejuvenation” at Hongik University Museum of Art (2011), and “Class of 2011,” Gallery Hyundai (2011).

     

    About the Curators

     

    Edie Yonwoo Kim received a Master’s degree in Visual Arts Administration from New York University (2015) and received a Bachelor’s degree in Art Studies from Hongik University in Seoul, Korea (2011). She has held various positions in art institutions including curatorial, public programming, special events, and PR in New York. Her previous experiences, ranging from commercial galleries to nonprofit art institutions, includes Gladstone Gallery, Tina Kim Gallery, Judd Foundation, and the Museum of Modern Art. Kim is currently working as an exhibition coordinator at the Curatorial Division of SeMA, Buk-Seoul Museum of Art.

     

    Hae Lin Park is an artist, independent curator, and currently an art museum education researcher at Hyundai Museum of Kids’ Books & Art, Korea. She received a MFA in Visual Arts Administration from New York University (2015) and a BFA in Studio Art from the School of Visual Arts (2012). She is eager to find, create, develop, and share various art through different methods of creative exposures with the core mission of education. Park has experience in art making, curating, art museum education/public programming, and more from her independent work, and experience at institutions such as the Drawing Center, Queens Museum, Bronx Museum of the Arts, Museum of Art and Design, and Tina Kim Gallery.

     

    Before entering into the museum field, So-Ok Park has worked in the education sector at various institutions in Korea. Her experience has expanded her interest to museums where education is open to the public in a multi-dimensional way. In 2016, Park has received her Master’s in Museum Studies at New York University, writing her thesis about elitism and populism in art museum exhibitions. Her past and current experiences both in Korea and New York includes positions at the Independence Hall of Korea, Korea; Daejeon Museum of Art, Korea; Geumgang Center for Buddhist Studies, Korea; Korean Cultural Center New York, New York; and AHL Foundation, New York. She is currently interested in working with emerging artists and understanding how contemporary art exhibitions can enhance audience experience.

    www.koreanculture.org​

    Thursday May 18, 11:00am to 6:00pm
    For the Love of the BxMA! Art Museum Day

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    Come take a guided tour at 2:00PM of our exhibitions Wild Noise/Ruido Salvaje, The Neighbors Part Three: Love Thy Neighbor, and the BxMA Teen Council’s exhibition Time. Seniors are invited for a special presentation of CommuniTea. Also receive 10% off at the XM Cafe, discounts from the BxMA Gift Shop and Membership discounts at any level. As part of our Membership, you will receive VIP seating at select events, 10% of at the Museum Store, invitations to exclusive exhibition tours and more! If you join on Art Museum Day, you will also receive a complimentary Bronx Museum tote bag.

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    Christie’s – New York

    20 Rockefeller Plaza  / +12126362000 / www.christies.com/locations/salerooms/new-york
    Mon – Fri 9:30am to 5pm

     index

    May 16, 2017

    Impressionist and Modern Art Day Sale

    The Day Sale features the masters of the modern, with over 50 sculptures such as a stunning carved green marble work by Barbara Hepworth, a selection of undulating polished bronze forms by Jean (Hans) Arp, two whimsical sculptural figures by Joan Miró and an early, Cubist bronze by Alberto Giacometti. The impressive selection of standout artworks includes a large-scale still life by Fernand Léger, a post-Impressionist scene of the Pont Saint-Michel in Paris by Maximilien Luce and an enigmatic abstract head by Alexej von Jawlensky. With strong selections of Impressionist and Post-Impressionist works by iconic names such as Camille Pissarro, Pierre-Auguste Renoir, Pierre Bonnard, Henri Le Sidaner and Henri Martin and modern masterpieces by Marc Chagall, Salvador Dalí and Francis Picabia, the 191 lots in the Day Sale offer an exciting opportunity to acquire works from the preeminent artists and movements that defined Modernism.

    www.christies.com/locations/salerooms/new-york

    Venice Biennale 2017
    The Observer
    Migrant boats, vulnerable teens, a teeming Faustian hell… conscience pervades the Biennale’s big pavilions, while the main international exhibition slips into something more comfortable

    High in the Caucasian mountains, beneath a canopy of blazing blue sky, a tightrope walker inches between two peaks. Nothing prevents him from plummeting but his own skill – and the curious prop of a picture. For he carries a painting from one peak to the other, placing it in a storage frame before returning for another, and even two at once for extra balance. The paintings are odd enough, from socialist realism to postwar kitsch, but it is the feat that compels in this astonishing film, a whole museum transported mid-air across a fragile rope – art (not Venice) in peril. Or is it art that protects human life?

    Taus Makhacheva’s Tightrope is set in Dagestan, one of the most violent of all Russian republics. Its frightening history is embodied in this film, and in these paintings too. Art can take us anywhere. The 57th Venice Biennale transports you round the globe as never before, from Inuit whaling boats to Brazilian rainforests, from Korean barber shops to Iraqi minefields and Antiguan beaches. I don’t believe I will ever get a better sense of Finland’s slightly shamefaced progressiveness than through Erkka Nissinen and Nathaniel Mellors’s absurdist satire, featuring animatronic eggs; or nearer to Kosovo than the tragic bakelite phone that never rings in Sislej Xhafa’s Lost and Found booth, commemorating the disappeared.

    But the balance between art and life is heavily weighted, at least in the Giardini, towards the latter. The big pavilions are all about conscience. America’s Mark Bradford – black, gay, liberal, wondering how he could represent a government that no longer represented him – has turned the rotunda of the White House, as the neoclassical US pavilion is nicknamed, into a barely convincing ruin. Far stronger is the colossal hull of claggy paint you have to duck beneath on entering; look closely and you see it’s a mass of immigration documents and ab-ex brushstrokes.

    Anne Imhof’s crowd-pulling Faust at the German Pavilion. Photograph: Andrea Merola/AP

    Anne Imhof’s crowd-pulling Faust at the German Pavilion. Photograph: Andrea Merola/AP

    Poland has borrowed America’s Sharon Lockhart (these national distinctions have been over for years) to work with disturbed Warsaw teenagers. It may have helped them, but I could make little of their robotic film. Australia’s Tracey Moffatt alternates stills of shocked film stars with shots of boats sinking beneath the weight of desperate migrants. Olafur Eliasson, Biennale staple, goes further by actually employing Venice’s migrants in a workshop-cum-studio, where they appeared to be constructing green geodesic forms when I arrived. A lot of art is live this year, from the Chinese artist who chats while mending your clothes – both with silken flourish – to the man apparently sweeping up a rectangle of white light while releasing clouds of iridescent dust in Belgian artist Edith Dekyndt’s spellbinding installation. Most riveting of all, though, is the German pavilion.

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    Frieze New York 2017 Expands Scope and Builds Strong Sales Across the Fair’s Main and Curated Sections

     

    2017 Edition of Fair Marks Inaugural Acquisition for the Frieze Brooklyn Museum Fund

     

    The sixth edition of Frieze New York closed on Sunday, May 7, having brought together more than 200 leading galleries from 31 countries and driven exceptional sales and record collector attendance throughout the week.  This year also marked the launch of new partnerships in New York, including the inaugural Frieze Brooklyn Museum Fund to support acquisitions made at the fair for the museum; the first Frieze symposium in the city held in collaboration with the Getty and the Institute of Fine Arts, NYU; and a campaign to support the Americans for the Arts Action Fund to save the National Endowment for the Arts. Bringing together collectors, curators, and art enthusiasts from around the world, Frieze New York 2017 showcased the vanguard of contemporary practice and traced its key influences, highlighting established, emerging, and re-discovered artists alongside icons of 20th-century art and tribal works. Presented on Randall’s Island Park from May 5 – 7, the fair drew a record number of top-tier first-entry collectors visiting from around the world both on the Preview Day and throughout the fair. Building on ambitious gallery presentations as well as the fair’s Frieze Projects of site-specific artists commissions and Talks programs, Frieze New York reinforced its role as a vital platform for engaging with the most influential and inspiring artists working today.

    For the sixth consecutive year, Frieze New York was sponsored by global lead partner Deutsche Bank, continuing a shared commitment to discovery and artistic excellence.

     

    Frieze New York 2017 Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

    Frieze New York 2017
    Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

    David Kordansky, Frieze New York 2017 Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

    David Kordansky, Frieze New York 2017
    Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

    Galleries across the fair’s Main and specially curated sections—Spotlight and Frame—enjoyed strong sales throughout the week, placing artworks across all levels of the market with major private collections and international institutions.  Select highlights include: Lisson Gallery’s sale of an Anish Kapoor work listed as £1.2 Million; David Kordansky Gallery sold out its booth of Tala Madani paintings, ranging from $22,000 to $110,000 each, to both collectors and public institutions; Hauser & Wirth placed paintings and sculptures by American artist Lorna Simpson with both museums and private collections, ranging from $150,000 to $300,000; David Zwirner sold out of works by American sculptor Carol Bove, including four sculptures and one work on paper at prices ranging from $50,000 to $550,000;Grimm Gallery completely sold out its stand, including works by William Monk ranging from $20,000 to $26,000; and Mendes Wood DM sold works ranging between $10,000 and $50,000.

    Victoria Siddall, Director, Frieze Fairs said: ‘It has been a great week at Frieze New York, with record attendance by collectors and curators that resulted in strong sales at a range of price points across the fair. We are proud to have had the opportunity to partner with great cultural organizations, from the inaugural Frieze Brooklyn Museum Fund, to our first-ever Symposium in collaboration with the Getty and Institute of Fine Arts, NYU, to our support for Americans for the Arts Action Fund to #SavetheNEA. The galleries in the fair made huge efforts to bring ambitious presentations of the highest quality work by artists from around the world – ultimately, this is what made the fair a great success.’

    This year’s fair marked the inauguration of the Frieze Brooklyn Museum Fund supported by WME | IMG and LIFEWTR, which together contributed $50,000 towards the Brooklyn Museum’s acquisition of a work at Frieze New York. The selection panel, including curators from the Brooklyn Museum and guest curators from museums across New York City, selected the large-scale abstract work, Untitled 1971, by Virginia Jaramillo from Hales Gallery. This marks the first official museum acquisition fund for Frieze New York and follows a tradition of museum acquisition funds at Frieze Art Fairs, established with the Tate Fund at Frieze London beginning in 2003 that has supported the acquisition of more than 100 works for the national collection.

    Anne Pasternak, Shelby White and Leon Levy Director of the Brooklyn Museum, said: ‘At the Brooklyn Museum we have a long history of championing artists before they have gained wider acceptance. We are thrilled to be able to continue that tradition through our acquisition of the wonderful and historically important 1971 work by Virginia Jaramillo at Frieze New York, with the support of LIFEWTR and WME | IMG in addition to funds from the Museum’s Contemporary Art Acquisition Committee.’

    In coordination with the fair, Frieze mounted its first-ever symposium in New York in collaboration with the Getty and the Institute of Fine Arts, NYU, presenting three panel discussions on Latin American and Latino art related to the Getty’s upcoming “Pacific Standard Time: LA/LA” (September 2017- January 2018). Participants included curators Cecilia Fajardo-Hill; Clara M. Kim; Chon Noriega, and artists featured in the exhibitions including Guillermo Kuitca, María Evelia Marmolejo and Clarissa Tossin, among others.

    Joan Weinstein, Deputy Director of the Getty, said: ‘We so appreciated Frieze giving us the opportunity to present the research behind the upcoming Pacific Standard Time exhibitions to a broader audience. And the fair was a perfect place for us to connect with the leading Latin American galleries, which were so well represented this year.’

     

    Gallery Response

    International collectors responded with great enthusiasm to the gallery presentations across Frieze New York, with galleries reporting significant sales throughout the fair.

     

    Wendy Olsoff, co-founder of P.P.O.W (New York, main) said: ‘We always love participating in Frieze New York and London. This is our fourth time in New York and it was of course our most exciting as we won the stand award. We couldn’t have felt more validated and appreciated. It isn’t an exaggeration to say this was an historical highlight for us after almost 35 years in business, to have both our gallery and the artists we were showing recognized so publicly, many of whom we’ve been championing for years. There were many museum attendees and collectors at the fair who have supported us over the years and shared their enthusiasm with us about being honored. On top of all this, we sold work to great collections.’

    Andreas Genger, Director of Sprüth Magers (Berlin, main) noted: ‘This year’s edition of Frieze New York was very successful and solid despite the current political climate and the anxieties it is causing in the art world. American collectors turned out in strong numbers and the mood on the opening day was buoyant and energetic without being frantic; sales were strong. We placed works across a wide range of prices starting from $15,000 to $350,000 in very good collections, including pieces by Rosemarie Trockel, Otto Piene, Sterling Ruby and Llyn Foulkes. Sprüth Magers is glad to have been part of the fair this year.’

    Greg Lulay, Director, David Zwirner (New York, main), said: ‘Frieze New York is a great environment for ambitious, curated presentations, and we were excited to continue our recent tradition of presenting a dual-artist show at the fair, this year featuring Carol Bove and William Eggleston, following the pairing of Isa Genzken and Lisa Yuskavage last year. The collector response was strong – we sold out the works by Carol Bove on opening day, and had a similarly positive experience with selling the majority of the photographs by William Eggleston.’

     

    Alex Logsdail, International Director of Lisson Gallery (London, main), remarked: ‘We had a strong week at Frieze New York, with sustained sales and interest throughout the fair following a successful opening day with the sale of major works by Lee Ufan and Anish Kapoor. We’ve been pleased by the collector and curator response to the dialogue between these two artists’ works.’

     

    Lisa Spellman, Founder and Director, 303 Gallery (New York, main) shared: ‘We’ve had an incredible fair; Frieze is spectacular. There has been an international crowd throughout the week and we’ve had great feedback. We have made incredible sales beyond expectation.’

     

    Noach Vander Beken, Axel Vervoordt Gallery (Antwerp, main) said: ‘This was our first year participating in Frieze New York and we have been very pleased with the quality of collectors that have visited the fair each day. For our stand, we presented works by Masatoshi Masanobu, marking the pioneering Gutai artist’s rediscovery with a first solo show in New York, and the response from collectors has been incredibly strong with sales made throughout the week to a number of collectors that are new to the gallery. Overall, the experience here has been tremendous and we’re already looking forward to next year.’

     

    Elisa Uematsu, Taka Ishii Gallery (Tokyo, main) said: ‘New York is a city full of opportunities to explore the arts, but with the growing range of art on view this week and the addition of more modern art galleries at Frieze New York, this year’s fair gave visitors an exceptional range of art to discover. It was the ideal setting for our presentation of contemporary and historical material. We received a strong response from institutions and collectors, especially for the works of Takeo Yamaguchi, Yoshio Sekine, Kimiyo Mishima and Tomoo Gokita.’

     

    Donald Ellis Gallery (New York and Vancouver, main) commented: ‘We are very pleased with our participation and received an overwhelmingly positive response to our first presentation at Frieze New York. We look forward to being back and showing more of this historical material in the context of contemporary and modern art in the future.’

    John Ollman, Owner Fleisher/Ollman Gallery (Philadelphia, Spotlight): ‘This was our first time exhibiting at Frieze New York and the energy here was incredible – it felt like fairs of years past. The response to our presentation of work by Felipe Jesus Consalvos has surpassed all our expectations. We sold works to collectors that are all new to the gallery, and many who had never seen Consalvos’ work before. We’re also very happy with the response from the museum community, with a number of works anticipated to enter institutional collections.’

     

    Marius Wilms, Société (Berlin, Focus), said: ‘Following our Soylent installation last year, this year we decided to present a booth that showed works by a range of artists and highlighted some major strengths of our gallery program. The response was very strong with good sales throughout the fair, particularly to collectors that are new to the gallery and we’re looking forward to continuing to build on these relationships in the future.’

     

    Esperanza Rosales, Director, VI, VII (Oslo, Frame), said: ‘We have had a tremendous response to our debut presentation at Frieze New York. Frame has been the ideal platform to show Eva LeWitt’s works for the first time in an international art fair context. Within hours of the fair opening we had made new connections and placed works in major collections from New York and Latin America, including a large-scale wall sculpture. We could not be happier.’

     

    Stefan Benchoam, Director, Proyectos Ultravioleta (Guatemala City, Frame), said: ‘This was our first year participating in Frieze New York, and it has been a wonderful experience.  We’ve made connections to museums, curators, and collectors from around the world, and there had been a great response to our stand of works by Akira Ikezoe with strong sales and interest across the board.’

     

    Stand Prizes

    Frieze New York 2017 included three awards recognizing exceptional presentations from galleries across the fair, including two Frieze Stand Prizes and a specific prize for a gallery in the Frame section, supported by Stella Artois.

     

    The Frieze Stand Prize was awarded to outstanding presentations in two categories:

    Simone Subal, Focus, 2017 Stand Prize Winner, Frieze New York 2017 Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

    Simone Subal, Focus, 2017 Stand Prize Winner, Frieze New York 2017
    Photograph by Mark Blower. Courtesy of Mark Blower/Frieze.

    • P.P.O.W. (New York, Main) was awarded the prize for the most exceptional presentation by a gallery taking part in any section of the fair for its exhibition that brought together contemporary and historical works by New York-based artists Charlie Ahearn, Anton Van Dalen, Daze, David Wojnarowicz and Martin Wong.
    • Simone Subal Gallery (New York, Focus) was awarded the prize for the strongest presentation from a gallery under 12 years of age for its exhibition of works by Kiki Kogelnik (1935-1997), a pioneer of feminist Pop Art.

     

    This year’s judging panel for the Frieze Stand Prizes included Rita Gonzalez, Curator and Acting Department Head, Contemporary Art, Los Angeles County Museum of Art; Stefan Kalmár, Director, Institute of Contemporary Arts London; and Eva Respini, Barbara Lee Chief Curator, Institute of Contemporary Art Boston.

    In addition, Frieze also awarded The Frieze Frame Prize to the most deserving presentation in the specially curated Frame section. Supported by Stella Artois, the 2017 prize was awarded to Bridget Donahue (New York) for its exhibition of collage works by Susan Cianciolo.

    This year’s Frame Prize jury included Laura Copelin, Curator and Interim Director, Ballroom Marfa; Alex Gartenfeld, Deputy Director and Chief Curator, Institute of Contemporary Art Miami, and Co-Curator of the New Museum Triennial, 2018; and Anna Gritz, Curator, KW Institute for Contemporary Art.

    Museum Groups

    Drawing a record level of institutional attendance, Frieze New York 2017 welcomed leadership and stakeholders from 230 leading art museums from around the world. International museum directors and curators acquired works throughout the fair and lauded Frieze New York for convening an unparalleled collection of emerging and established galleries, artists, and thought-leaders for a vibrant week of conversation and discovery.

    Gavin Delahunty, Hoffman Family Senior Curator of Contemporary Art, Dallas Museum of Art, commented: ‘The fair struck a terrific balance between contemporary and more modern work. We discovered a number of contemporary artists and artworks new to us, such as Yuji Agemtasu’s sculptures at Miguel Abreu and Nick Relph’s photograms at Herald Street. There were also significant examples of work by well-known artists such as Mike Kelley’s Compound Eye (1982-3) at Franklin Parrasch, and other highlights for us included the solo presentation of Jamie Davidovich at Henrique Faria, Kiki Kogelnik at Simone Subal, Etienne Martin at Galerie Bernard Bouche, and the combination of works from across different time periods at Taka Ishii.’

    Alex Gartenfeld, Deputy Director and Chief Curator of the Institute of Contemporary Art, Miami, remarked: ‘Frieze always offers so many opportunities to discover artists and galleries from around the world, especially through the Frame section and Focus. I appreciate that the fair is finding new ways to challenge the art fair model with performance activities, site specific installations, and Cecilia Alemani’s Frieze New York Projects, which is always a highlight.’

     

    Nancy Spector, Artistic Director and Jennifer and David Stockman Chief Curator of the Solomon R. Guggenheim Museum, commented: ‘Frieze is my favorite art fair; it is well-curated and always legible.  The announcement this year of a purchase award to the Brooklyn Museum is especially admirable.  It is wonderful to see Frieze giving back to the communities that support it.’

     

    Yana Peel, CEO of Serpentine Galleries, London, noted: ‘It’s thrilling to return to Randall’s Island for the sixth year, to celebrate the success of the Frieze Fair as it grows in size, ambition and influence. Among the 200 exhibitors, the expanded Spotlight section—curated by Toby Kamps—is particularly exciting for discovery and rediscovery, as is Frame.’

     

    Leadership and patron groups from museums around the world visited Frieze New York, including: Art Gallery of Ontario (AGO); Art Institute of Chicago (ARTIC); Art Gallery of Ontario (AGO); Art Institute of Chicago (ARTIC); Aspen Art Museum; British Museum; Centre Pompidou; Contemporary Arts Museum Houston (CAMH); Guggenheim Bilbao; Hammer Museum; Hirshhorn Museum and Sculpture Garden; Institute of Contemporary Arts, London (ICA London); Institute of Contemporary Art, Philadelphia (ICA Philadelphia); Institute of Contemporary Art, Boston (ICA Boston); Institute of Contemporary Art, Miami (ICA Miami); Israel Museum; Los Angeles County Museum of Art (LACMA); Louvre Museum; Menil Collection; Museo de Arte Moderno de Bogota (MAMBO); Museum of Contemporary Art Chicago (MCA Chicago); Museum of Contemporary Art Toronto; Museum of Fine Arts, Boston (MFA Boston); Museum of Fine Arts, Houston (MFAH); Pérez Miami Art Museum, Miami (PAMM); Philadelphia Museum of Art; San Francisco Museum of Modern Art (SFMOMA); SBC Gallery of Contemporary Art; Serpentine Galleries; Serralves Museum of Contemporary Art; Stedelijk Museum; Tate Americas Foundation; Tate Britain and Tate Modern; The Power Plant Contemporary Art Gallery; Victoria and Albert Museum; Walker Art Center; and Zachęta National Gallery of Art.

     

    Partnership with Americans for the Arts

    This year, Frieze partnered with Americans for the Arts in support of its Action Fund campaign to save the National Endowment of the Arts.  Through an integrated onsite and online awareness campaign, Frieze encouraged all fair attendees to both sign a petition to the United States Congress and to make a contribution to the Arts Action Fund, which Frieze matched in full, to help support the organization’s legislative efforts to ensure public arts funding is preserved in the United States. Information about the Action Fund campaign and opportunities for the public to contribute were presented on Frieze’s website and across the fair.

    Bob Lynch, President, Americans for the Arts Action Fund said: ‘The Americans for the Arts Action Fund greatly appreciates the generosity of Frieze New York in making our national arts advocacy efforts the beneficiary of funds from this year’s art fair. It is truly visionary and important long term thinking that an excellent commercial art enterprise like Frieze recognizes the value of entities that serve the not-for-profit arts world such as our nation’s federal agencies, the National Endowment for the Arts and the Institute of Museum and Library Services among others. The Americans for the Arts Action Fund will use the funds to educate the US Congress and other decision makers about the value of the arts and arts education to all Americans in every part of our nation and urge them to fully fund the NEA for fiscal year 2018, plus all the other federal cultural agencies and efforts such as the Artist Museum Partnership Act which would  allow artists the same tax benefits for donations of their own art  as a collector currently gets when gifting a similar work to a museum or educational institution.’

    Courtesy of Frieze New York 2017

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    Laura Cottingham &
    The Anita Pallenberg Story

    May 7 – June 18, 2017
    Opening Saturday, May 6, 6 – 8 p.m.

    Artists Space
    55 Walker Street
    New York
    NY 10013

     

    Henryka Wojciechowska, Recent Paintings

    Henryka Wojciechowska, Recent Paintings

    Recent Paintings
    Henryka Wojciechowska

    Organized and curated by Marian Żak

    Contemporary artist Henryka Wojciechowska presents her recent paintings in the Klimat Lounge – Eastern European Gallery nestled in the heart of the East Village, NYC

    On view: May 4 – May 31, 2017

    About Artist

    Klimat Lounge

    77 East 7 St., between 1st & 2nd Ave
    New York, NY 10003

     The Studio and the Garden, San Francisco, CA

    IMG_6366

     

    Workshop #1 – Explorations in Drawing

    Dates: Thursday – Saturday, June 8-10, 2017
    Times: 9am – 4pm (Lunch from 12 noon – 1pm)

    Skill Level: Open to all adult of any skill level (6 student limit)
    Instructor: Eugene Rodriguez

    Cost: $500 – this includes all supplies and a lunch inspired by the season
    prepared by local talent, James Franicevich

    Workshop Description
    In this workshop I demonstrate the importance of free-hand drawing skills using a variety of techniques such as volume, perspective, and value to create naturalistic images. I also help each student develop dynamic compositions applying the basic elements and principles of composition with graphite and charcoal. I also begin a discussion about individualizing a studio practice that reflects a distinctive approach to your creative process.

    REGISTER NOW

    Workshop #2 – Explorations in Painting

    Dates: Thursday – Saturday, June 22-24, 2017
    Times: 9am – 4pm (Lunch from 12 noon – 1pm)

    Skill Level: Open to all adults of any skill level (6 student limit)
    Instructor: Eugene Rodriguez

    Cost: $500 – this includes all supplies and a lunch inspired by the season
    prepared by local talent, James Franicevich

    Workshop Description
    This workshop builds upon the Exploration in Drawing workshop. I demonstrate a range of color principles and brush techniques to create visually dynamic paintings, both realistic and abstract. After that I work with each student to develop a personal approach to the creative process including ways to evaluate strengths and areas for improvement through individual and group critiques.

    REGISTER NOW

    Workshop #3: Creativity into Painting Part 1

    Dates: Thursday – Saturday, June 29-July 1, 2017
    Times: 9am – 4pm (Lunch from 12 noon – 1pm)

    Skill Level: Open to all adults of any skill level (6 student limit)
    (Workshops #1 and #2 are recommended)
    Instructor: Eugene Rodriguez

    Cost: $500 – this includes all supplies and a lunch inspired by the season
    prepared by local talent, James Franicevich

    Workshop Description
    This workshop expands upon the Explorations in Painting workshop. I begin with a demonstration of how to use more advanced color principles with both realistic and non-objective themes. I then introduce the practice of using mediums to create technical variations, such as glazes and impastos, on a variety painting surfaces such as paper, masonite, and plastic. The group critiques now include looking at the work of contemporary painters from a global perspective.

    REGISTER NOW

    ABOUT ARTIST

    EUGENE

    Eugene Rodriguez is a San Francisco based visual artist whose work includes painting, printmaking, film and installation. He first studied fashion design in Los Angeles earning his degree from FIDM. While working as a fashion designer he traveled to Europe and Asia where he visited major art museums and gained exposure to many facets of global culture. On his first visit to The Louvre museum in Paris he saw Vincent Van Gogh’s, Self Portrait (1889), and fell in love with painting. “When I begin a painting, color is always first in my mind.”

    He went on to earn his BA in painting and drawing from San Francisco State University and his MFA in cross-disciplinary work from Mills College. He continues to teach in arts programs in the Bay Area where he exhibits and works on commissions.

    LEARN MORE

    Visit Artist’s Official Website: www.eugenerodriguez.com

    VIVA ARTE VIVA

    13 May > 26 November 2017

    The 57th International Art Exhibition, titled VIVA ARTE VIVA and curated by Christine Macel, is organized by La Biennale di Venezia chaired by Paolo Baratta. The Exhibition will be open to the public from Saturday May 13th to Sunday November 26th 2017, at the Giardini and the Arsenale venues. The preview will take place on May 10th, 11th and 12th, the awards ceremony and inauguration will be held on Saturday May 13th 2017.

    VIVA ARTE VIVA will unfold over the course of nine chapters or families of artists, beginning with two introductory realms in the Central Pavilion, followed by another seven across the Arsenale through the Giardino delle Vergini. 120 are the invited artists from 51 countries; 103 of these are participating for the first time.

    The Exhibition will also include 85 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. 3 countries will be participating for the first time: Antigua and Barbuda, Kiribati, Nigeria.

    Also for this edition, selected Collateral Events are featured. Promoted by non-profit national and international institutions, they will present their exhibitions and initiatives in Venice during the 57th Exhibition.

    Featured Image: Mark Bardford via LATimes
    The Los Angeles-based artist Mark Bradford will represent the United States at the 2017 Venice Biennale.

    Shared via labiennale.org

    Learn More

    News | Exhibitions