As the cauldron was snuffed, the world watched our athletes with smiles and pride at the closing of the Winter Olympics in Vancouver. From the 12th of February 2010, Vancouver has been an interactive art house with 60 days of arts and cultural events and over 150,000 people hitting up the downtown area.
In an event that Mayor Robertson says, “I think this is the largest arts and culture festival in Canadian history", the four block radius from Granville Street to Robson Street has been the epicentre of arts activity.
Of all the art on display, the most memorable and inviting was that of the Lunar Fest presented on Granville Street until the 28th of February 2010.
Intended to capture Vancouver’s strong affinity with the natural environment and Eurasian history, Lunar Fest acted as a platform for discussion, interaction, admiration and interest. A ‘Lantern Forrest’ installation of 40 steel trees, each three-and-a-half metres tall, supporting a total of 2,010 lanterns, designed by Canadian and Taiwanese children was the centrepiece of the display with a strong message of cultural pride and hope for the future of the planet.
Illuminated at night by LED lighting and heavily endorsed by Acer, the forest was created as a voice from the children, celebration of the Chinese New Year and catalyst of environmental commentary. Hand written notes decorated the trunks preaching to remember to turn off lights, cut down fewer trees and turn off taps in an ironic statement of self existence.
As a reflection of the Indigenous culture, Canadian designer Carey Newman teamed up with Jian-Erl Lin to construct five totem lanterns. With representation of both Taiwanese and First Nations respective native flora, such as Flying Fish and Orca Whales, the lanterns created an aura of underlying acknowledgement of human connection to each other, our history and commonality while standing as a welcome to the world.
Toward West Georgia Street, the Public Dreams Society and Lunar Fest collaborated with the likes of public artists Bruce Voyce, Ceae Wyss T’ UY’TANAT, Ping-cheng Lu, Tony Ong and Tom McKinnon to produce 10 sculptural lanterns which fused Western and Eastern cultures in a celebration of ‘Love, Life and Light’.
Bruce Voyce’s piece entitled ‘Confucian Fusion’ was created almost entirely out of recycled plastic from Taiwanese bottles in a tribute to the Taiwanese temples and processions he witnessed while on cultural exchange. In search of cultural and philosophical enlightenment, the piece captures the spirit of the Confucian religious belief in the mythic creatures of the dragon and the phoenix while commenting on the manic insanity of modern society in our pursuit of a throw away lifestyle.
Similarly each work in ‘Love, Life and Light’ aims to express the human condition in connection with the environment and shifts in our habitat from the complete ability to live with natural materials in Chen Shu-Yen’s ‘Dancing With You’ through to our love affair with petrochemical goods and non-recyclable construction materials in Ya-Chu Kang’s poetic ‘Hideaway’.
Of the vibe, it was passionate, free and festive as the crowds absorbed both the sports occurring in the games and arts presented at numerous locations around Vancouver. However, it was the art which made the 21st Winter Olympics in Vancouver one of the best ever “people’s Olympics.”
To be amongst the crowds of the Cultural Olympiad was a once in a life time experience which benefited the soul, brain and community. Programmed by Robert Kerr, the cultural Olympiad did what an Olympics should do – it got people out into the celebration, opened their eyes and allowed them to forget all their mundane problems by challenging their opinions with something different. It really was one to remember.
Image Credits: First Image: Lantern Forest – instillation, commissioned by the Asian-Canadian Special Events Association.
Second Image:‘Confucian Fusion’ – sculpture - plastic bottles, galvanized steel and LED lights by Bruce Voyce
Third Image: ‘Hideaway’ – sculpture – mixed recycled construction materials by Ya-chu Kang Learn more about Ingrid Bruggestrass >>
Written by one of the most knowledgeable Dutch painting scholars, this book is a marvelous study of Rembrandt's drawings. The works are classified according to their subject (self-portraits, family portraits, genre scenes, nudes, animals, etc) and the book covers vitually the entire scope of Rembrandt's art as a draughtsman, with 267 colored illustrations (about a third of the artist's output) and individual analyses of each and every illustrated drawing.
The quality of the illustrations and of the text make this publication an indispensable one in any good fine arts library.
Froelick Gallery is proud to present 3 of their represented artists. They might be described as working with conceptual, minimal, reductive, and abstract vocabulary.
March 30 - May 01, 2010
Froelick Gallery exhibits and represents contemporary artists with strong and independent voices. Many of their artists live in the Pacific Northwest, others live in the Gulf Coast, Brooklyn, Tokyo, Mexico, and São Paulo. Their works include many media, encompass many genre, and their careers range from emerging to established.
Froelick Gallery exhibitions change monthly with a public reception on the First Thursday evening of each month. The staff is experienced, knowledgeable and thorough with all aspects of art acquisition. The gallery's reputation rests on the strength of the artists, the integrity of its employees, and the comfortable, welcoming atmosphere.
Froelick Gallery opened their doors in October 1995, and in 2007 relocated to the DeSoto Building on NW Davis St.; they are on the edge of the Pearl District and Old Town; adjacent to the North Park Blocks and Broadway. The historically renovated DeSoto Building is filled with other arts spaces: Blue Sky Gallery (Oregon Center for Photographic Arts), Charles A. Hartman Fine Art, The Museum of Contemporary Craft, Augen Gallery, LRS Architects, and Chez Joly restaurant.
Let's get to know Charles Froelick director of Froelick Gallery:
1. What aspect of being a gallerist do you most enjoy? When someone visits the gallery and is truly interested & engaged in learning more about my artists’ motivations.
2. What aspect of being a gallerist do you least enjoy? When an exhibit does not sell well.
3. What is your favorite medium over the past year? Each of the artists that I work with have material handling skills that make their work totally unique and special. I might prefer artist A’s paintings to Artist B, but Artist B might really be gifted with etching. I enjoy each medium for it’s own traits, and have exhibited and purchased a variety of works this past year.
4. What aspect of your gallery are you most proud of? The long-term relationships with so many of my artists, and clients; and watching my artists’ careers gain national recognition.
5. Describe the perfect collector for your gallery? Inquisitive, discerning, open-minded and eager.
6. Your favorite non-living artist? Édouard Manet or Paul Cézanne.
7. Do you remember the first piece of art that moved you, if so what piece? A series of drawings of plants and farm animals by Leonardo da Vinci
8. What natural talent would you like to be gifted with? To play music
9. What is your favorite city and why? New York – I can read the street & subway signs, and the world beats a path to Manhattan.
10. What quality(ies) do you appreciate the most in others? Honest, direct & smart conversation.
Thanks Charles!
Image Credits: Clear Cut,2009 by Joe Fedderson; Sanibel, 2008 by Terrell James; Silerling, 2008 by Victor Maldonado Learn more about Claude Reich >>
In trying to wrap my head around everything that will be at this year’s Armory show, I am drawn to that classic line of dialogue in the motion picture, Lust for Life. Kirk Douglas (as Van Gogh) has finally gotten an important critic to come see his work. After giving Van Gogh’s paintings a cursory once over, the critic tells Van Gogh,
“You paint too fast.”
Van Gogh spits back, “You look too fast.”
2010 is The Armory Show’s twelfth year and it is packed with a fantastic program featuring 280 galleries from 31 countries. It begs the question, are three days forcing us to look too fast? Okay, four days if you count the VIP Preview, but as you read on, ask yourself if it is really enough time to see everything.
The VIP Preview Wednesday, March 3rd from 11:30 am to 11:30 pm (plus there is the very hot preview party that evening at The Museum of Modern Art) is to benefit The Museum of Modern Art and P.S.1 Contemporary Art Center. On Thursday, March 4th the public hours (also 11:30 am to 11:30 pm) begin and run through Sunday, March 7th.
>{?
Once again, The Armory Show is at Piers 92 and 94 on 55th Street and 12th Avenue. The Armory Show - “Classic” will occupy Pier 94. The art and countries represented includes Australia, Belgium, Brazil, China, Czech Republic, Denmark, Finland, France, Greece, Iceland, Israel, Italy, Japan, Lebanon, Portugal, Romania, Russia, South Africa Turkey, the UK, the United States and more.
At the same time as The Armory Show – Modern will be at Pier 92, specializing in modern and secondary market material, again with an international collection of galleries. Add to this the “Open Forum” discussions offering an eclectic series of conversations and panels featuring top collectors, curators and museum directors - and again I have to ask, is three days really enough?
Last year’s Armory Show had rave reviews. The New York Times Sunday Magazine called it “New York’s pre-eminent contemporary art sale.” Art In America Online said, “…The Armory Show was full of striking displays and surprising individual works.” The New York Post described it as “The Grand Dame of New York Art Fairs.” The Armory Show Vice President, Paul Morris, said, “Our mission is to offer collectors the best art from 1900 to today. We introduced The Armory Show – Modern last year to give the fair a broader historical span, and this year, with Armory Focus, we expand on our original mandate of providing a rich platform for primary market gallerists.”
Armory Focus will feature an important art community every year. This year it begins with Berlin and 22 of the German capital’s leading emerging and established galleries.
The Armory Show also announced that it has commissioned British artist Susan Collis to create the visual identity for the 2010 fair. The annual commission was introduced in 2002 and four years later began publishing an annual series of editions by its commissioned artists to benefit The Pat Hearn and Colin de Land Cancer Foundation and The Museum of Modern Art.
Whatever the financial, historical, or venue-availability reasons for keeping the show to three days (plus the preview day), my aesthetic metabolism cries out for The Armory Show to take a deep breath and give its audience one more day - time for second and even third looks. Something this big and this good certainly deserves it.
For more information on The Armory Show see www.thearmoryshow.com or call 212. 645.6440.
Image Credits: SUSAN COLLIS
The Devil you know, 2010
Lithograph
Edition of 20
19 ½ x 8 ½ inches (50 x 22 cm)
There is a place, far from the logical realms of art and culture, where things are truly without hubris, The Wynwood Art District.
The home of many art fairs surrounding the annual Art Basel | Miami Beach, the Wynwood Arts District is located in east central Miami, just south of the world-renown Miami Design District. The district is known as a retail shopping hub for the interior design industry and is home to more than 48 galleries, museums and private collections. Every 2nd Saturday evening of each month, The Wynwood Art Walk offers live music, open galleries and art studios from 7-11pm. Coordinated by the 7-year old Wynwood Arts Association and founded by independent curators Mark Coetzee and Nina Arias, the evenings wear a palpable sense of urgency.
There is new art here and new artists, emerging from barrios. Wynwood's gaudy brilliance is strewn upon walls and streets, technicolor billboard installations, world-renown graffiti art and ineffably specialized micro-galleries. It is a Fellini-esque riot of aesthetic extremes set to salsa anthems blaring from marauding ice cream trucks. There are "happenings" nightly, some seamlessly chic, some fearful. There are still a few wild dogs roaming the streets; the spillover from the Miami Rescue Mission sometimes takes shelter beneath outdoor installations, yet the ebullience of the street is mesmeric. There is still danger here and because of this, there is still autonomous virtue and the local art is indefinable, outré and distinctly Miami.
Galleries in Wynwood dare not only to offend, but to inspire. In December, at the Fountain Miami exhibition, artist Russell Young poured a silk-screen print made of Geronimo and diamond dust and created several prints of handguns poured with his own blood. A grand outdoor mural of text by Illana Lillenthal at the Lilienthal Art Studios speaks of unsullied innocence "love is everything" states one portion of the wall in dreamy two foot tall Helvetica.
Wynwood is now world-renown - home to one of America's most important shows, yet there are here no storied gallery bidding wars, no shouted whispers of nubile agents eliciting faustian pacts from hapless savants. A former wasteland awash in wealth, genius and broad swaths of urban renewal, Wynwood's attractiveness is undeniable. A fable of post-industrial barrenness and contemporary fine art coexisting in fitful acquiescence, Wynwood is a contemporary barn raising. Art communities from Montmartre to Soho were born of the artist's will towards transcendence of place in order to review both self and society safely from the ledge of critical theory. Wynwood, eight years after the first Art Basel Miami, flourishes - it is primitive, privileged and as fertile as its own imagination.
Image Credits: Shepard Fairey
Anng San Suu
Installation is at The Wynwood Walls, NW 26th Street & 2nd Avenue, Miami, FL
Outdoor mural project produced by Deitch Projects and Goldman Properties Learn more about Carla Rover >>
Australian Galleries are something of a legend in the contemporary art scene in Australia. They were founded in 1956 by Tam and Anne Purves with the express purpose of showcasing contemporary Australian artists whose work had its basis in the figurative narrative genre. Now run by son, Stuart Purves, the original single premises location in Melbourne has expanded to five, three in Melbourne and two in Sydney’s Paddington art precinct.
The original vision for the gallery was to bring to the Australian public the work of artists Tam and Anne Purves, considered cultural trailblazers of the times. The 1950s were a culturally conservative time in Australian art, with most of the National Gallery system concentrating on collecting earlier Australian works and what European works they could afford. The raw statements being made by the likes of Arthur Boyd, Albert Tucker, Jeffrey Smart and later by Brett Whiteley and Garry Shead were a direct contrast to a culture that still, in Purves’ words, “had no wine, had six o’clock closings, and wasn’t spending money on theatres or art”.
Over time, Australian Galleries has sought emerging artists whose brief mirrors that of their predecessors, staying with figurative narrative works and artists who have something to say. This has created a known niche for the gallery and a consistent clientele. The regular schedule of ten exhibitions per year in each of the exhibition spaces offers a broad spectrum of work across the genre, ensuring works of interest at all times of the year.
The operations are almost entirely in-house. There have never been less than two family members active in the business; currently there are four. Stuart's sister Caroline Purves who runs the extensive Archive Department and Stuart's two daughters Tamsin and Victoria now working. Two full time designers cover all print material, which includes exhibition advertising and invitations, and a publication for each show. This ensures a uniform brand across all operations, and little or no reliance on outside contractors. Purves likens the gallery to the Olympic rings, each location having a distinct character and function, but an interwoven relationship with all the others.
Australian Galleries are still moving with the times, while acknowledging that they fit within a specific part of the art market, catering to a mid to older generation of buyers. Purves believes that society is improved by an exchange of ideas and says that the gallery is the middle man of that exchange. Future plans include completing a major renovation and building up their stock rooms, then “selling as much good art to good people for as good a purpose as possible”.
Currently, there are two stock exhibitions showing — one in Melbourne at the Smith Street Gallery and the other in Sydney at the Roylston Street Gallery. Both run until 28 February. More information on upcoming exhibitions and contact details can be found on the gallery website at
www.australiangalleries.com.au
Image Credits: Australian Galleries, Roylston Street, Installation.
Photo Credit, Australian Galleries.
Learn more about Karen Finch >>
This book is the catalogue for the current blockbuster Kandinsky exhibition held at the Guggenheim Museum in NYC, which already appeared in Munich and Paris. It is divided into several chapters which tackle such aspects as Kandinsky and America, Kandinsky's relationship with the art dealer and critic Herwarth Walden, founder of the art gallery, publishing company and art magazine "Der Sturm" in the early 1910's (who was to become one of the major proponents of Kandinsky's art, as well as that of the other members of the Blaue Reiter), Kandinsky and abstraction (and the sources of inspiration that lead the artist to follow such a radical path), etc. An interesting essay by Vivian Endicott Barnett (one of the most respected Kandinsky scholars) studies the artist's career as a succession of self-recreations and decisive turning points.
Even though there are no close-ups, the illustrations are of a high quality and manage to give the viewer a fair idea of the explosive power of Kandinsky's large compositions and of his gift as one of the major colorists in the history of art. The accompanying essays have, to my knowledge, no equivalent in other publications in English, and therefore this book is a must-have for anyone interested in the "founder of abstraction".
As I wandered the aisles of a large art fair in a stupor of sensory overload, a riveting display of Vietnamese art suddenly lifted my mental fog. This glorious gallimaufry of exotic Asian themes and motifs, expressed in familiar European media and styles, was my first exposure to the contemporary fine art of Vietnam.
Later, I learned that others also have experienced such an epiphany. For many art aficionados, the fusion of East and West that is a hallmark of Vietnamese art opens an accessible window of revelation through which to gain new insights into the Vietnamese people and their culture.
That fusion originated during the French colonial period. In 1925, Victor Tardieu (a friend of Henri Matisse) and Joseph Inguimberty established in Hanoi an art school, l’Ecole des Beaux Arts de l’Indochine. Their students pursued a rigorous curriculum offering immersion in classical Western art and media, while encouraging refinement of traditional Vietnamese imagery and media such as wood block painting, pumice lacquer painting, and painting on silk.
This duality of classical training and experimentation persists today, giving the current generation of Vietnamese artists a wide range of opportunities to express their creativity. The images that emerge are distinctively Vietnamese, though sometimes they also allude to Matisse and his modernist contemporaries, including René Magritte and Amedeo Modigliani.
In a population of 86 million, Vietnam has a small, elite cadre of several hundred professional artists. Most attended the school in Hanoi, now called the Academy of Fine Arts, or art schools in Ho Chi Minh City and Hue. A few are self-taught. After Vietnam proclaimed its official doi moi (open door policy) in 1991, recognition of Vietnam’s artists and art began to reach beyond the nation’s borders.
Help from the West
Two women from the West, Raquelle Azran and Judith Hughes Day, have aided greatly in that recognition. Separately and independently, they traveled to Vietnam soon after doi moi. Both were captivated by the country’s art, specialized in collecting and promoting it internationally, and continue to do so today.
Azran arrived in Hanoi in 1991. “Duong Thuong, the foremost art critic in Hanoi at that time, took me under his wing,” she says. “Through him I met all the artists, became acquainted with Vietnamese fine art, and began collecting it.”
In 1995, Azran joined the International Women’s Club in Hanoi and hosted one of its gatherings in her home, a tiny apartment in an Old Quarter courtyard where she and her son were the only non-Vietnamese. Embassy wives who came and saw her Vietnamese art collection described
it enthusiastically to their husbands. The French and Norwegian ambassadors were the first to ask her to start collecting art for their embassies.
After she had begun to serve as a link between the Hanoi artists and the diplomatic community, several artists requested her help to sell their work outside of Vietnam. “I flew to Singapore in 1998 and took 50 paintings to a gallery in the Raffles Hotel,” she recounts. “They sold out in three weeks.”
Today, Azran divides her time between Hanoi, New York, and Tel Aviv. She curates exhibitions for museums, including the National Museum of Fine Art in Hanoi, and is a collector and private dealer, showing at art fairs in Miami, Palm Beach, London, Amsterdam, and Brussels.
Day earned a graduate degree in East Asian studies from Columbia University in New York and lived in Korea, Japan, and Hong Kong with her husband, John, a banker. In Hong Kong a friend, Shirley Hui, recruited her to help establish a Vietnamese art gallery.
“We went to Vietnam in 1992 and found lots of wonderful artists who didn’t have much opportunity to show their work publicly,” she recalls. The gallery opened in 1993 and was an instant success.
Hui still operates the gallery in Hong Kong. When Day returned to New York, “I decided not to have an art gallery,” she says. “I became a private art dealer and used other people’s galleries, renting or joint venturing with them in New York and other U.S. cities, and exhibiting at art fairs in other parts of country.” She shows art by appointment in her New York apartment, which has room on its walls for about 30 paintings, and also curates museum exhibitions.
Image Credits: Shades of Here and When (2006) by Vu Thu Hien (b 1970). Hien comes from a traditional family. Her art is very serene and spiritual, reflecting the protective presence of the ancestors (depicted by the images within the vertical lines). Courtesy of Raquelle Azran - Vietnamese Contemporary Fine Art. Learn more about George Leposky >>
Portrait of a Lady
Jordan Buschur, Sarah Kurz, Helle Mardahl,
Christopher Milne, HuskMitNavn,
Marc Seguin, Alix Smith and
Virginia Inés Vergara
February 10–March 20, 2010
Allegra LaViola Gallery is pleased to present Portrait of a Lady, a group exhibition exploring
the relationship between women and portraiture. Comprised of works in a variety of media
and sizes, the exhibition seeks to question the role of representations of women and
examine how artists are challenging the traditional notion of portraiture.
Jordan Buschur’s ethereal and mysterious women gaze out at us from within lush
vegetation or flowers, beckoning us at the same time as they withdraw with unfocused
eyes. Drawing on the language of American advertising, Buschur’s superficially flat women
appear to be the cardboard cutouts of perfection. Echoing Buschur’s approach, Sarah Kurz’s
women are paused in film still seduction, at once aware of our gaze and defiant of it,
despite their cotton candy surroundings. A similar uniformity unfolds in the works of
Christopher Milne, where women pose in perfect outfits, surrounded by an unchanging
interior landscape that holds them even as it threatens to envelop them.
The women of Danish street artist HuskMitNavn betray concern with a wavered brow or
curled lip, their hesitancy a defiance of the happy mask that women are asked to wear on a
daily basis. Helle Mardahl’s portraits go one step further; her women are plunged into
despair and defiance, at once a carnival sideshow and the main attraction, no longer able to
pretend that everything will be all right.
Marc Seguin’s portraits of international femme fatale Mata Hari are haunting for what we
cannot see. A white shape obscures the woman’s face, allowing us to appreciate her luscious
body and fantastic costume, but keeping secret the identity that was ultimately her demise.
Alix Smith’s portraits call into question the traditional portrait. Whereas historically
women in portraits were depicted in formal poses that revealed their class, status and
wealth, these modern versions approach the idea of the portrait through the theatrical
element, asking: who are these women and what do we know of their lives?
In Virginia Vergara’s photographs of decaying advertisements, the faces, hands and nails of
women become a portrait not only of the women themselves but of what we see when we
look at these displays. The fractured light on the aging paper stand at odds with the
rapturous countenance, letting us know that, as always, beauty will fade.
Let's get to know Allegra LaViolla director of La Violla Gallery
1. What aspect of being a gallerist do you most enjoy?
The chance to be creative and work with an artist to realize his or her vision. Especially making installations.
2. What aspect of being a gallerist do you least enjoy?
The fear that sometimes accompanies acquiring a work of art. And doing taxes.
3. What is your favorite medium over the past year?
Drawing
4. What aspect of your gallery are you most proud of?
Our friendly atmosphere and accessibility.
5. Describe the perfect collector for your gallery?
Independent and excited-- ready to fall in love and take a chance on a work.
6. Your favorite non-living artist?
Giovanni Bellini
7. Do you remember the first piece of art that moved you, if so what piece?
A giant Hatian statue my parents had in their bedroom. I was in love with it.
8. What natural talent would you like to be gifted with?
An ability to do calculations of percentages quickly and silently.
9. What is your favorite city and why?
New York City. I've lived here almost all my life, grew up here and would like to stay here. The city has so much energy and you can pass people of every type on the street or subway. All walks of life exist here and everyone is trying to make it!
10. What quality(ies) do you appreciate the most in others?
Sincerity, kindness and generosity.
Thanks Allegra!
Image Credits: Virginia Ines Vergara, Untiltled 2009;
Sarah Kurz, You're Loving it 2010 oil on canvas 16x 20 Learn more about George Leposky >>
News Archive
March 03, 2010
Diversions The Lunar Fest – A Favorite of the Winter Olympics
As the cauldron was snuffed, the world watched our athletes with smiles and pride at the closing of the Winter Olympics in Vancouver. From the 12th of February 2010, Vancouver has been an interactive ...Read More >>
Gallery Spotlight Froelick Gallery Joe Feddersen - Codex,
Terrell James - Studio Window, and Field Studies
Victor Maldonado - Less
March 30 - May 01, 2010
Froelick Gallery is proud to present 3 of their represented...Read More >>
February 24, 2010
The Business of Art Traits of Success: Australian Galleries
Australian Galleries are something of a legend in the contemporary art scene in Australia. They were founded in 1956 by Tam and Anne Purves with the express purpose of showcasing contemporary Australi...Read More >>
February 24, 2010
Diversions The Wynwood Art District.
There is a place, far from the logical realms of art and culture, where things are truly without hubris, The Wynwood Art District.
Art Fairs The Armory Show: Is Three Days Really Enough?
In trying to wrap my head around everything that will be at this year’s Armory show, I am drawn to that classic line of dialogue in the motion picture, Lust for Life. Kirk Douglas (as Van Gogh) has f...Read More >>
Diversions Vietnamese Art: A Fusion of East and West
As I wandered the aisles of a large art fair in a stupor of sensory overload, a riveting display of Vietnamese art suddenly lifted my mental fog. This glorious gallimaufry of exotic Asian themes and m...Read More >>
February 18, 2010
Gallery Spotlight Allegra LaViolla GalleryAllegra LaViola Gallery is pleased to present Portrait of a Lady, a group exhibition exploring
the relationship between women and portraiture. Comprised of works in a variety of media
and siz...Read More >>
February 16, 2010
Art Fairs Affordable Art Fairs: For the Art Savvy Collector
The mission of the Affordable Arts Fair (AAF) is to showcase works by both emerging and established artists for art enthusiasts and collectors, regardless of budget, to appreciate and purchase. The A...Read More >>
February 11, 2010
Art Fairs Target: Red Dot Art Fair
March 4 – 7, 2010
Skylight West Venue at 500 West 36th Street, NY
Red Dot Art Fair is a boutique fair running parallel to The Armory Show in New York City from March 4 – 7, 2010 at the newl...Read More >>
February 11, 2010
The Business of Art Traits of Success: Louis Stern Fine Arts
The first time I visited Louis Stern Fine Arts, in autumn 2007, I was on my way somewhere else. I intended to look quickly then slip out, but I stayed for nearly half-an-hour, charmed by how comfortab...Read More >>
February 11, 2010
Gallery Spotlight Pulliam GalleryRod Pulliam shares this quote:
“…in my experience collecting is most fundamentally about growth and discovery. A work of art is a conduit to a certain clarity of vision. Paintings become symb...Read More >>
February 08, 2010
Diversions An Evening with the Apprentice to the Gods
The New York Times rightly called Reuben Nakian (1897 – 1986) “One of the most distinguished American sculptors of the 20th Century.” Though Nakian died twenty-five years ago, on the night of January...Read More >>
The Fountain Art Fair is holding its 4th annual exhibition at Pier 66, aka the Frying Pan, March 4th through 7th during New York’s 2010 Armory weekend. ...Read More >>
February 04, 2010
Diversions Downtown Los Angeles’ Art Walk Finds its Stride
If you haven’t already heard, there is now what might be considered a near deafening buzz, surrounding Downtown Los Angeles’ Gallery Row district, and it’s very own, once a month event, known simply a...Read More >>
February 04, 2010
Gallery Spotlight Glave Kocen Gallery"click"
group photography exhibit
February 05 - 27, 2010
This exhibit is co-curated by BJ Kocen and Scott Elmquist, photo editor of Style Weekly, and they will pull their favo...Read More >>
Gallery Spotlight Weber Fine Art Greenwich
Weber Fine Art is pleased to be exhibiting works by artists influenced by
Hans Hofmann.Included in this exhibition are Wolf Kahn and Esteban Vicente.Hans Hofmann's incredible imagery inspired his stu...Read More >>
January 28, 2010
The Business of Art Building a Better Bulk Email
The two most important elements in sending a bulk email are the email address and the subject line. These are the two bits of information that are given to recipients of any email and it helps them de...Read More >>
January 28, 2010
The 2010 LA Art Show was World Class
It would be hard to find many museums that could offer a better array of art than found at this year’s LA Art Show. This was its 15th year and it’s second at the Los Angeles Convention Center. If la...Read More >>
This book is the catalog for a 2009 show held at the Tate Gallery in London and covers the manifold accomplishments of these two major...Read More >>
January 27, 2010
Diversions Brett Whiteley Studio
Brett Whiteley Studio - providing a traveling scholarship, education programs, and a stage for emerging poets - is giving back to the Sydney arts community.
This book, written by Brooklyn Rail editor John Yau, is an in-depth study of Jasper Johns's art that had been several years in the making prior to its publication and which ...Read More >>
January 20, 2010
Diversions Masterpieces From Paris
Van Gogh, Gauguin, Cézanne & beyond: Post-Impressionism from the Musée d’Orsay National Gallery of Australia, Canberra.
The advance publicity campaign for this blockbuster exhibition branded it ...Read More >>
January 20, 2010
The Business of Art Traits of Success: Charles Hewitt Gallery
Charles Hewitt - gallery owner, renowned framer, and furniture designer -began building frames to pay the rent and became a pioneer in Australian framing.
Gallery Spotlight Deloney Newkirk
Deloney Newkirk Galleries Art Advisory department assists buyers and sellers of investment quality artwork. They have sold work by Picasso, Matisse, Jasper Johns, Robert Rauschenberg, Francesco Clemen...Read More >>
Diversions Bendigo Art Gallery
The Bendigo Art Gallery is situated in the central Victorian gold rush town of the same name. A feature of the town is the imposing Victorian architecture, which is indicative of the wealth and prospe...Read More >>
Originally published in 1989, this is not the most recent monography on Warhol but, in my opinion , it is the best (I own 12 books on Warhol). The text, written by a lon...Read More >>
January 07, 2010
Diversions Spatial Relationships at the Miami Art Museum
I often say great art, is like a clay vessel: it is not what the vessel is as much as what the vessel will hold. Artwork showing at the Miami Art Museum seems to echo my own personal treatise. Until ...Read More >>
January 06, 2010
Diversions Reviewing Joerg Doering’s Nostalgic Pop
Adamar Fine Arts in Miami Florida was elated to introduce Nostalgic Pop, Joerg Doering’s exhibition of large-scale, past and present iconographic images of Pop Culture.
The Business of Art Traits of Success: Paddington – Sydney’s Fine Arts Precinct
The inner city suburb of Paddington in Sydney’s east, three kilometres from the CBD, is one of the city’s busiest and most diverse art precincts. It has a chequered history and has not always been the...Read More >>
December 23, 2009
Art Fairs Going Global at Art Palm Beach
Art Palm Beach returns January 15th through the 19th 2010, these art fair aficionados have lined up a stellar collection of international gallerist. You can expect to find more that forty galleries p...Read More >>
Flatbed's South Gallery features currently (and though the holidays) "Baker's Dozen", an exhibition of delightfully small works by Gerald Mans...Read More >>
December 15, 2009
Diversions Soho Galleries Sydney
Soho Galleries Sydney was established in 1995 by Nigel Messenger. Featuring contemporary works by Australian artists, the gallery provides a platform for new and emerging talent. The gallery also exhi...Read More >>
This book is the catalogue for an exhibition held in Rome in late 2007, early 2008. The introductory essays are quite interesting insofar as they tackle some rarely studie...Read More >>
December 10, 2009
Gallery Spotlight Davis & Cline Gallery
They have just posted their show schedule for 2010 on our website. The shows will represent a wide range of new artists as well as new work by our regular gallery artists. In 2010 they will be introdu...Read More >>
December 09, 2009
Art Fairs Cultures Mix at APT6
The Gallery of Modern Art and the Queensland Art Gallery will host more than 100 contemporary artists from twenty-five countries for the sixth edition of the Asia Pacific Triennial of Contemporary Art...Read More >>
December 03, 2009
Diversions Rupert Bunny
It has been nearly twenty years since the last major exhibition of nineteenth century painter Rupert Bunny, an Australian in Paris. Between November 21st and February 21st 2010, the Art Gallery of New...Read More >>
The catalogue for the current Gorky retrospective at the Philadelphia Museum of Art, this book, though less than perfect, is probably ...Read More >>
November 27, 2009
Art Fairs Miami Art Fairs MAP 2009
Miami’s art fair extravaganza will be starting next week. Uploaded Magazine created a map to help you navigate between Art Basel - Miami Beach and all the satellite fairs peppered throughout Miami Be...Read More >>
November 27, 2009
Diversions Darkwave at Black Cat
The Black Cat Gallery, located in Culver City (adjacent to Los Angeles), is a unique gallery venue that promotes original Fine Art, Fashion, Film, Live Music and DJs, and Performance Art.
This book is a selection of one hundred works of art, all made in the XXth century and that the authors, two artmarket hea...Read More >>
November 26, 2009
Gallery Spotlight Cumberland Gallery
Thursday, September 3, for Art After Hours, Cumberland Gallery will feature local artists and their works in an exhibition entitled What Were You Thinking? A Casual Conversational Mingling of Artists ...Read More >>
Uploaded Magazine supplies art galleries with valuable resources, weekly news, exhibitions, art industry job opportunities, plus art fair dates & submission deadlines. In an effort to entertain and educate our art appreciating subscribers we have compiled a robust section of art videos & books.
Froelick Gallery is proud to present 3 of their represented artists. They might be described as working with conceptual, minimal, reductive, and abstract vocabulary.
In trying to wrap my head around everything that will be at this year’s Armory show, I am drawn to that classic line of dialogue in the motion picture, Lust for Life. Kirk Douglas (as Van Gogh) has finally gotten an important critic to come see his work. After giving Van Gogh’s paintings a cursory once over, the critic tells Van Gogh,
“You paint too fast.”
There is a place, far from the logical realms of art and culture, where things are truly without hubris, The Wynwood Art District.
Australian Galleries are something of a legend in the contemporary art scene in Australia. They were founded in 1956 by Tam and Anne Purves with the express purpose of showcasing contemporary Australian artists whose work had its basis in the figurative narrative genre. Now run by son, Stuart Purves, the original single premises location in Melbourne has expanded to five, three in Melbourne and two in Sydney’s Paddington art precinct.
As I wandered the aisles of a large art fair in a stupor of sensory overload, a riveting display of Vietnamese art suddenly lifted my mental fog. This glorious gallimaufry of exotic Asian themes and motifs, expressed in familiar European media and styles, was my first exposure to the contemporary fine art of Vietnam.
Portrait of a Lady
