Letter from London: Four Exceptional Exhibitions to See – Winter 2022/23
Adrien Ghenie’s The Fear of NOW: Poignant Observations within our Digital Age, Thaddeus Ropac Gallery , London
By Kate Fensterstock
Romanian painter Adrien Ghenie’s newest body of work at Thaddeus Ropac is another profound example of the artist’s ongoing careful consideration of the form to content relationship. A preoccupation that is central to Ghenie’s practice, the artist investigates the possibilities of his mediums and to what extent their execution can best negotiate the complex and evolving significance of the subject matter. Initially inspired by his surroundings during the Covid-19 pandemic, Ghenie observed the change in human form that is now hunched over mobile phones and other digital devices. In The Fear of NOW, on view until 22 December, Ghenie addresses physicality and composition in the technological age, whilst expertly navigating the corresponding social and cultural themes that coincide with such a critical influence on the human condition. He engages the history of painting and our collective memory to situate his practice within the contemporary, reinforcing the nature of our present using systems of reference from our past. We are confronted with inescapable truths about mass culture, the digital age and our relationships with these institutions.
Thaddeus Ropac has chosen to display Ghenie’s charcoal drawings at the start of the exhibition, a curatorial decision that offers the opportunity to appreciate the artist’s mark making and handling of the medium as a fundamental component to his practice. The capacity to view process and movement is a raw and organic insight into how Ghenie infuses emotion into his bodily forms.
Several of his abstracted portraits offer more realistic renderings of items like chairs, desks and TVs as anchors that situate the viewer within the landscape. But his figures’ faces and bodies become lost in swirls of shape and colour as the subject’s identity becomes all-consumed by and eventually indistinguishable from the media stream it engages with. Our cultural inability to maintain individuality is rendered physically here as the subject’s head gets sucked into the world displayed on the screen of his television. In The App, the only canvas featuring two subjects, the dynamic between the two is mediated if not completely damaged by the presence of mobile phones, a condemning remark on the nature of human communication in the digital age.
Ghenie considers the influence of technology on our socio-cultural constructs with a particularly striking display of Marilyn paintings. The paintings disrupt the iconic Warhol screenprints since Ghenie has reconfigured Marilyn’s facial features into something grotesque and undesirable. In works such as Figure with Remote Control and The App, where Ghenie shifts focus to individuals’ subservience to such technologies, the Marilyn paintings reflect on our relationship to fame and the dissemination of images and alerts us to the extent this relationship has evolved since the 1960s. Ghenie is aggressively alerting his viewer to the ugly truth that lies hidden behind the imagery that consumes us, a truth that is now much harder to see with the development of technological media. These concerns are what Ghenie would describe to be The Fear of NOW, a sentiment communicated terrifyingly yet beautifully through an exceptional attitude to medium and subject.
Amy Sherald at Hauser and Wirth: Widening our World
By Kate Fensterstock
As the artist’s largest exhibition at Hauser and Wirth, Sherald does well to deliver to her viewer ‘the world we make’. The show’s title is a poignant description of her artistic intention, which is to recognise the historical roles of Black men and women within society, specifically as represented in portraiture, and acknowledge injustices of past representation before “putting more complex stories of Black life in the forefront of people’s minds,” as the artist explains. In other words, to build and embrace a world where we have the power to provide truth and integrity. Sherald does this by humanising the Black experience where she depicts her subjects in both historically referential and in everyday settings, at once immortalising them and reinserting them into the art historical canon through a new lens. This includes the painting For love, and for country (2022), a rendering of the iconic photograph V-J Day in Times Square (1945) by Alfred Eisenstaedt showing a US Navy sailor dramatically kissing a woman in Times Square, New York City. The recreation of a familiar image urgently surfaces themes of persistent inequalities facing minorities after military service, as well as gender roles and sexual identity as further marginalisation.
In A God Blessed Land (Empire of Dirt) (2022), a man sits proudly atop his tractor in the manner of 19th century portraiture that reinforced the freedoms and opportunities of capitalism in America. But a Black subject reminds the viewer of the historic inequalities that range from slavery during this period through systemic racism that would prohibit true pursuit of capitalist success. Sherald often uses vehicles like tractors and motorbikes to address notions of masculinity, as well as progress, whereby the vehicle is a literal and figurative tool for growth, movement and the ability to advance forward.
Sherald is equally concerned with women’s roles in the context of race and wider culture. In To tell her story, you must walk in her shoes (2022) the artist depicts a woman against a rich purple background with knitted legs in motion across her jumper, alluding again to this idea of forward motion and individual progress. The title subverts a metaphorical expression via traditional female themes of fashion, sewing and craft to remind the viewer of the complexities of the Black as well as the wider female human experience. The background colour of Sherald’s canvases are always carefully chosen, providing a non-designated time and setting which provides a certain timelessness to the scenes. Additionally, the colour highlights an absence of skin colour that nullifies a widely accepted social reference point and directly challenges perceptions of Black identity.
A monumental show which is perfectly displayed in a space as grand as Hauser and Wirth, Sherald has commanded the viewer attention via a careful destabilising of culturally accepted practice. In turn, we are encouraged to reconsider and redesign the associations we apply to crucial components of our society, creating a world that is wider than before.
Cecily Brown at Thomas Dane Gallery, London
By Kate Fensterstock
Studio Pictures at Thomas Dane sees Cecily Brown returning to work in small scale, if not the smallest scale for the artist. The show, on view at Thomas Dane Gallery in Mayfair until the 17th December, features over thirty works completed as recently as this year or as early as 2004. During this broad time frame, the portfolio maintains a strict consistency, which is the negotiation of small space, where each canvas barely exceeds 40 cm x 30 cm in size.
Following some of the largest work Cecily Brown has achieved to date, many of which were displayed at the monumental Blenheim Palace show in 2019, visitors are encouraged to reflect on the artist’s capacity to work in both grand and intimate scope. Brown’s ongoing investigation between the abstract and the figurative is inherently linked to the viewers own engagement with form and colour, to independently extract from the scene, an experience notably diverse when the canvas differs so drastically in scale.
As the gallery explains, “the grands formats are where you lose your breath, and the small paintings are where you lose your mind.” The intention of such intricate and complicated mark making on a limited plane is to look closely, slow down, and consider the detail. Thomas Dane chooses to quote Edgar Degas, “it as if you looked through the keyhole.” An excellent description of the perspective the viewer is taking to engage with this work. But peering through a keyhole could suggest a forced distance, a taboo voyeurism that taunts and even tortures the subject. Viewers are left with a fetishized inaccessibility to Brown’s total impact which in turn prevents full satisfaction. The vivacity of the work within these canvases can feel suffocated, trapped by the parameters of the canvas.
The impact of Brown’s practice is in the exploration between dream and reality, where human form meets an ethereal landscape whipped up in an erotic or violent narrative, sometimes both. The challenge is to wander, and wonder, through the perceived and the intended by the artist’s hand. But the keyhole does not always leave adequate room to navigate this space, instead we are whipped up in a storm of colour amidst brief mirages of form we cling to like land mass. Works like A Hunting Scene (2020) and The Favourite (2022) don’t quite carve out much for the viewer to grasp, and the work flattens despite so much activity.
Instead, many works consider form and storytelling through new mechanisms, an exciting tactic from the artist. Brown’s use of colour in each work is extraordinary, each one glowing in jewel-like purples, golden oranges and forest greens that work tirelessly to give the work its shape. The Harvest Festival (2021) and Anthony in the Garden (2008) use careful shifts in hue specifically to denote space and depth, building the scene though still maintaining a primarily abstracted subject matter.
Violet is the Night (2013) does well to engage more figuration, as purple casts a glow over a scene where two figures entwine themselves amidst atmospheric chaos that at once engulf them yet still leave them utterly undisturbed.
Save a Prayer (2013) and Le Bain (2019) are clever interpretations of Desmoiselles d’Avignon (1907), expertly referencing Brown’s iconic approach in line with the famed Picasso composition, through deploying a conscious balance of the figure and the abstract. Although challenged in achieving the same affect seen through the ability to navigate the larger paintings, Cecily Brown’s Studio Pictures features a refocus of the lens that means we will never stop looking.
William Kentridge at the Royal Academy, London: A fully immersive journey with conscious freedom of exploration
By Kate Fensterstock
“I have no expectation of what people take away, I have no need for them to take anything specific…I hope people can see it with an openness and understand that they are going to construct the meaning themselves as they make their way through the exhibition.”- William Kentridge, 2022.
These words delivered by the artist at the end of a documented exhibition tour for the Royal Academy very concisely sum up a series of multifaceted and complex elements that are most intriguing about this major retrospective, on display through the 11th December in London. Kentridge’s philosophy described here manifests itself seamlessly through his choice of medium, his approach to storytelling, and his greater perspectives on the human experience which all inform this relationship with the viewer.
The exhibition encompasses work from as early as the mid-1980s, a period when the resistance to the oppressive apartheid regime became increasingly militant and efforts to relinquish control resulted in greater success for the artist. As a result, Kentridge’s work in these years, reflecting the fervent activist climate of his home country, was allowed increased exposure and recognition on an international scale. His work in theatre and television production in Johannesburg in the 1980s included acting and set design, which would inform his work in film, animation and large-scale installation, whilst his roots lay in drawing and printmaking.
Drawing would engineer the evolution of his practice and inspire bigger picture notions surrounding fate and the uncertain. The ability to wipe away charcoal, to smudge and manipulate it so freely, opened up all possibilities of addressing more carefully the reality of the unstable and unpredictable nature of living, namely within the political infrastructure of his contemporary South Africa. In Untitled (Woman and Hyena) (1986), Kentridge references apartheid oppression in representing government officials as animals, the hyena clung close to the body of a white upper-class woman. Dependent on death as well as an engineer for cleansing and absolving the unwanted remnants of the kill, the hyena is well placed as a symbol of the apartheid, shown here as protecting and fostering a hierarchical society represented by this woman and her distracted, evading gaze. Kentridge’s triptychs which include Embarkation (1987) and The Conservationist’s Ball (1985) provide a German Expressionist approach to socio-political critique set within an electrifying landscape that unfolds a narrative for the viewer, as if watching the multi-dimensions of a theatrical performance. However, Kentridge leaves the changing and gestural effects of charcoal as a reminder that not everything can be predicted or controlled.
This aspect of charcoal so vital to Kentridge’s practice fosters an utterly unique way of mixing his media to create a totally new form of expression. In his Drawings for Projection, Kentridge begins a drawing and shoots it with a movie camera before making changes to the drawing and shooting another frame. The sequence eventually reveals the smudges and the erasures of the process overall, purposefully revealing the evolution of the drawing and making a powerful statement on the inherent nature of action and process which is imperfect. These Drawings for Projection would result in films such as the Soho series, which features the semi-autobiographical story of the complex relationship between the protagonist, Soho Eckstein, and his home city of Johannesburg.
The charcoal leaves traces of past memory or knowingly rewrites what has occurred, fostering Kentridge’s own freedom of exploration and expression whilst blurring the limits of dream and reality. There are distinctive elements of Surrealism and the uncanny in these works born from the way in which the artist mixes drawing and animation. The viewer is anchored within the storytelling but left to drift and ultimately submit to a personal navigation within this fantastical world that the artist intends to provide access to. This approach is also masterfully handled in an adjacent gallery with Black Box/ Chambre Noire (2005), a mechanical puppet show that integrates opera, film and animation and addresses the history of West Africa (now Namibia’s) German colonial forces and genocide in the early 20th century.
The Royal Academy has curated the exhibition flawlessly, where each decision acutely respects the artist’s work and considers the viewer experience (something that is simultaneously of utmost importance to the artist). With each gallery devoted to a significant medium or series, the visitor can engage in each specific component in depth, ahead of considering the fascinating negotiation between mediums that so critically informs Kentridge’s practice, such as within the Drawings for Projection films and Black Box/ Chambre Noire (2005). This curatorial attention is vital through the retrospective in order to absorb the complicated blending and re-referencing of Kentridge’s themes and styles, not to mention the sheer scale of his works which are set free by the soaring heights of the Royal Academy ceilings.
One gallery is devoted to tapestries, which Kentridge began making in 2001 in collaboration with the Stephens Tapestry Studio. The raw mohair of the tapestries is sourced from Angora goats farmed in the Eastern Cape where it is spun, carded and dyed before being transferred to the looms on the outskirts of Johannesburg. Kentridge’s drawing is rendered as a collage before adapting to the dimensions of the tapestry, another fascinating blend of mediums that pay homage to the resources of his home country and create a new channel for artistic expression. Furthermore, the tapestries act as versions of his film projections, large-scale designs that provide a stage set for the artist’s narratives that address South African socio-political and cultural themes. A sculpture of a travelling figure placed alongside a tapestry that depicts the perilous migrant journey extends the storytelling beyond the surface of the tapestry, again traversing modes of practice to provide additional impact surrounding these complex themes.
The central gallery of the exhibition features a replication of Kentridge’s studio space, serving as the beating heart of Kentridge’s approach to drawing, his foundational medium, and cleverly anchors the visitor as they begin to further investigate Kentridge’s relationship between drawing and other choices of medium. The gallery displays more drawings, where there are now raw and visceral landscapes of the African wilderness marked up with coloured lines that reference the colonial land claims. But the visitor is also introduced to Kentridge’s work with collage and ink and language, where bold textual phrases are written across the pages of found books. Phrasing such as The Full Stop Swallows the Sentence and Leap Before You Look address human notions of language and communication, cultural references that impact understanding as well as the concept of protest, mimicking the signs used by activists. In using pages of books that are torn out and pasted to the wall, Kentridge plays with private and public proclamations, perhaps also alluding to how history might be written or rewritten based on the individual perspective. In the short film De Como Nao Fui Ministro D’Estado, Kentridge draws himself pacing through the pages of a book, deep in thought, navigating the landscape of the text yet simultaneously imposing himself within it. Such work that moves between and blends mediums continue to provide innovative methods for the artist’s own negotiations and communications with his viewer.
The preoccupation with words and language continue within the artist’s Flowers series. Sheets of paper are collaged together and painted over, to create the flowers and feature quotes from historical, philosophical and medical texts that will reference health benefits of certain plants, or allude to Mao-era maxisms about popular sacrifice for the greater benefit to the nation. The sheer size of the Flowers, monumental in size, challenges our notions of presentation in encountering what is normally an intimate and domestic display that now feels so public and grand in scale.
The influence of Chinese culture through this ink painting medium and Communist politics reverberate in the gallery which displays Notes Toward a Model Opera, a film which tangentially refers to the current expansion of Chinese state interests, a form of economic colonialism, across Africa. The film is uniquely displayed on the walls of the gallery in a semi-circle, and enclosed on the opposite side with glass and a wooden frame through which visitors that approach it can initially view the film. The viewer can then enter the gallery to observe the film behind the glass but not before the artist challenges our notions of perspective and access. In this film, the graceful ballerina is dressed as a soldier and dances with a rifle, referencing the state-approved Yangbanxi operas that provided the only approved music sequences of the Cultural Revolution. Kentridge adapts such elements of oppressive government influence on culture in China and blends these carefully with those of Africa, reinforcing the importance of the themes through his ongoing fusion between differing mediums and subject matter.
In a final ultra-immersive approach to curating Kentridge’s rich and varied body of work, the artist’s Trees series are installed adjacent to the gallery that shows the film Sibyl (and subsequently the chamber opera Waiting for Sibyl, written by Kentridge and music composed by Nhlanhla Mahlangu and Kyle Shepherd). The trees together form a grove and reference the legend of the Cumaean Sibyl, where visitors seeking information about their futures would write questions on leaves of trees. Kentridge expertly integrates the visitor experience across phases of his retrospective, fully engaging them into the storytelling of his film and the opera from which it is born, and even playfully nods to the leaves as they link to the pages of a book that in turn make up the composite of the tree and the artwork itself.
This effortless transition between dimensions of the artist’s practice reaches its crescendo within the final gallery, where the viewer there meets Sibyl within Kentridge’s film, yet is echoed in the display of the original theatrical costuming and stage set that again moves the visitor between renderings of media, a wholistic and multi-facted cultural experience.
William Kentridge at the Royal Academy is vast both in size and richness of the material. In embarking on a retrospective that features an enormous amount of work in diverse mediums with constant regenerations of material, the Royal Academy has exceptionally delivered to do an iconic artist justice, and respect his intentions surrounding viewer experience. The artist’s skilful approach to nuances between his narrative, his materiality and the visitor journey provides a multi-dimensional, full-scale impact which simultaneously allows for personal exploration and independent consideration engineered by the curatorial team at the RA. Such an opportunity for learning, exploration, and reflection will not be easily forgotten.
The Venice Biennale 2022: A Dream Come True
On view through November 27, 2022
By Kate Fensterstock
The 2022 Venice Biennale entitled Milk of Dreams is a reference to a book by Surrealist artist Leonora Carrington, in which a magical world is created based on constant re-imagining and re-envisioning. Whilst the text is hopeful and idealistic, emphasising freedom of thought, creativity and the ability to change and redefine our selves and our surroundings, the work simultaneously acknowledges the inevitable struggles, dangers and oppression that come with free thought, exploration and innovation. The 2022 Biennale radically re-addresses the themes from Carrington’s book and channels them through universally familiar themes of the present day. As society navigates the redesigned frameworks of sexuality, gender and race, we also accept a changing natural environment faced with climate change and increased digitalisation. The boundary between real and the imagined, through our politics, social infrastructures and economic systems are being constantly negotiated, and the artists featured in this year’s Biennale are the engineers in challenging us to consider these changes, good and bad, and equip us to confront the consequences.
The Biennale is chiefly split between the Giardini and the Arsenale, and contains works curated together or within their national pavilions. Each work very uniquely addresses the overall curatorial theme splendidly, and the displays were beautifully and aesthetically arranged to create a visually-driven narrative through each gallery. Such visually led curation had its risks, as the Corderie building fell into dangerous territory of exoticising works from The Global South, arranging imagery and materiality that transgressed cultures and religions based on appearance. Hugely problematic, but careful attention and care both in engaging with the work individually, whilst choosing to celebrate an artistic community previously excluded from the Western core and now given a long overdue platform, would evade this issue. An overwhelming representation of female and gender non-conforming artists has been criticised, citing a push for representation over quality of work, but we cannot agree.
A seamlessly organised and hugely accessible Biennale, we highly recommend a visit now that the weather will start to cool in Venice and the summer holiday crowds are beginning to disperse. Here are five must see works that largely address the body and its place within a changing world, as well as the society and communities we belong to. This round up hardly scratches the surface, we encourage our readers to engage with as much of the Biennale as time and energy will allow.
Andra Ursuta in the Central Pavillion
Andra Ursuta’s radical blend of past, present and the imagined generate an all too unsettling future ahead. Described by the artist as “hybrid beings”, Ursuta borrows signifying elements from the past, such as classical figuration and organic materiality to exploit our sense of memory as she reinforces the truths of a dark contemporary experience. Hellenstic bodies pose atop plinths and dot the gallery as if planted within the Metropolitan Museum’s Greek and Roman wing, but the marble-like material that features swirling cloudy patterns glows an acidic range of pinks, greens and purples, reminding the viewer of its artificiality and polluting nature. Many of Ursuta’s sculptures are 3D printed, pulling us away from traditional human skill and planting us in an assembly line of machine-made craft. Battling with these realities that have become all too familiar within our human experience, the viewer grapples with the humanoids that sprout enormous webbed feet and where arms are missing, plastic bottles emerge to form artificial limbs. We are challenged to consider the body as art history has presented it, and negotiate the changing landscape of form and its representation as times change. The Uncanny unapologetically assaults the viewer, using our understanding of past and present to design a future all too possible and legitimately frightening.
Christina Quarles in the Central Pavillion
Christina Quarles confronts the politics of gender, sexuality, race and identity using the body as a site for renegotiation. The ensuing struggle, euphoria, apprehension, anger and celebration are manifested in the contorted, flowing, stretching bodies dripping with paint that exudes a raw organicism. The figures writhe and dance within an alternative space, a dimension not of the natural world. Distorted planes at inconceivable angles shift and evolve, suggesting our environment and the experience within it is a construct. As a biracial and bisexual artist, Quarles collects from her own experience and that of her community to debate and grapple with reality, as well as suggest and design an alternative physicality composed of not strictly what the body is made of, but how we explore it and identify with it. In this way, memory, experience and individual will define the body.
Adina Pintilie in the Romanian Pavillion
In Adina Pintilie’s multi-channel installation entitled You Are Another Me- A Cathedral of the Body, the nuances of relationships are revealed and their complexities unpacked. Pintilie does so through challenging the viewer’s proximity to the image, its narrative and often pushing limits of comfort both physically and mentally to reveal the constructs that exist within our condition. The first gallery contains hanging screens where a film is projected, but the screens are arranged so different clips of the film are delivered on different screens facing different directions, where the viewer must walk in between. Scenes of a homosexual relationship in bed, in a gay nightclub, an of one-to-one interviews establish a unique invitation for the viewer to experience what is defined as private, acknowledge these boundaries and decipher how we react. A reimagining of how to absorb video installation through multi-screen engagement and shifting projections further displace us from what we know to be how, not just with what, to engage.
Diego Marcon, The Parent’s Room, 2021
In this chilling video work, Marcon creates an alternative dimension where the line between reality and the imagined are consistently blurred. The video tells the story of a father’s murder-suicide, whose victims are his wife, daughter and son. The narrative is delivered through a choir-backed monologue that features all four in succession, distorting the viewer’s sense of living and dead as well as time, as it is challenging to piece the story together in terms of when and what occurred. A technological blend of human actors dressed in doll-like prosthetics further forces the viewer to identify the real from fake, and summons our ability to relate to or connect to these characters. Overall, Macron exploits the effect of the Uncanny to create a space where we recognise and relate to the work, yet are repulsed and averted by its inherent abjection.
Barbara Kruger, Untitled (Beginning, Middle, End), 2022
In her traditional manner, Barbara Kruger’s three-channel video features a textual installation that plays on the viewer’s understanding of language and media imagery to communicate universal messaging. Acknowledging and harnessing these constructs, Kruger interjects words and expressions in place of alternate rhetoric that reveals the realities of American propaganda and reinforces the discriminatory and flawed socio-political systems. In juxtaposing the real and the fake through text, we are forced to acknowledge the hypocrisy of our reality which has in turn become a new and thoroughly dangerous normal. Installed at the very end of the Corderie building in the Arsenale, following the viewer’s sustained engagement (through previous halls) with alternative versions of contemporary realities, Kruger’s final statement is a warning, cautioning us of the consequences of succumbing to the dark side of the “unreal”.
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Kate Fensterstock holds a Bachelor of Art in Art History from The George Washington University in Washington, D.C. and a Masters of Art in Contemporary Art from Sotheby’s Institute of Art in London. She specialises in Client Management, Marketing and Communications within the art world through events, guided tours, and editorial for arts and lifestyle media channels. She is the Founder of Artscope International, a global media platform that aims to engage those curious and passionate about contemporary art through content, discussion and experiences.
NEW LECTURE SERIES AT THE SOCIETY OF THE FOUR ARTS, PALM BEACH, FL
Mondays 10-11 am on March 7, March 14, and March 21st, 2022
BY LACY DAVISSON PRESIDENT, ARTVIEW NYC, LLC
Lady Diana Cooper: “The Most Beloved Woman in England” -D.W. Griffith, Filmmaker
Art historian Lacy Davisson will present a series of three lectures on the subject of Lady Diana Cooper (1892-1986) and her circle of English aristocrats and intellectuals including: The Duke and Duchess of Windsor, Cecil Beaton, Winston Churchill, D.H. Lawrence, Sergei Diaghilev, Evelyn Waugh, Virginia Woolf, Nancy Mitford, and D.W. Griffith.
The era from World War I through The Jazz Age and just beyond World War II in England and France was a time of explosive creativity in the arts, world political upheaval, and enormous technological advances that changed everyday life. Lady Diana Manners Cooper, the British aristocrat, stage and film actress, designer, author, volunteer nurse and famously glamorous social figure was at the center of it all.
Lady Diana was the most celebrated and beautiful woman of her day. She was married to a commoner, Duff Cooper, who rose to become British Ambassador to France, First Lord of the Admiralty, Secretary of State for War, and Minister of Information. Winston Churchill described her as a woman with “a face to launch a thousand ships” at a time “when all the world is changing at once.”
Lecture One: March 7, 2022, 10 -11 AM “World War I”
Lecture Two: March 14, 2022, 10 – 11 AM “The Jazz Age”
Lecture Three: March 21, 2022, 10 – 11 AM “World War II”
Location: Dixon Education Building,
The Society of the Four Arts, 2 Four Arts Plaza, Palm Beach, FL 33480
CLICK OR CALL FOR TICKETS:
societyofthefourarts.universitytickets.com,
Tel 561-655-7226
Lee Krasner: Artist’s Muse or Innovative Renegade?
Lecture by Lacy Davisson for the New Studio for Visual Arts, Jupiter, FL
Sunday, April 7, 2019
12 noon to 2 pm
Light Lunch Served
The New Studio for the Visual Arts
1615 Cypress Drive, Suite 1
Jupiter, FL 33469
(561) 295 5712
Please RSVP to tedmatz@comcast.net or pstrathdee@aol.com by March 28, 2019
Lee Krasner was the best-known woman artist in the circle of Abstract Expressionist painters in New York City in the 1950’s. While men and women painted and exhibited side by side at that time, later in history the single representative of women Abstract Expressionists was always Krasner. Married to Jackson Pollock and a great supporter to his artistic development, she was an accomplished artist in her own right. Krasner became the torch-bearer of her husband’s legacy following his death at age 44 in an East Hampton car crash with his mistress. How did she manage to continue her own art-making and build a career? Her paintings are now considered an extraordinary view into the era’s zeitgeist. While tragic, Krasner’s story is redemptive and her re-known continues to grow to this day.
Lunch & Learn 2-Part Series with Lacy Davisson
“Jack the Dripper: An in-depth look at the work of Jackson Pollock”, Part I
Friday, January 18, 2019
Light lunch provided
“Jack the Dripper: An in-depth look at the work of Jackson Pollock”, Part II
Friday, March 8, 2019
Light lunch provided
To register, RSVP, or for additional information, call (561) 295 5712
Workshops, Lectures, Exhibitions, and Special Events…
Lunch & Learn 2 with Lacy Davisson
How to View Contemporary Art Intelligently:
Flowers, Nature, and Landscape in the Modernist Tradition
Friday, March 2nd, 20181:00 pm to 3:00 pmThe New Studio for the Visual Arts
1615 S. Cypress Drive, Suite 1
Jupiter, FL 33469$50 per person
(includes a light lunch)RSVP required by calling 561-295-5712You are invited to lunch and listen to an exciting lecture by Lacy Davisson, formerly with The Museum of Modern Art, NY and Artforum International Magazine. The focus of her lecture will be on the tradition of nature including flowers, plants, and landscape in Modern and Contemporary Art.This lecture was conceived after a visit to the studio of mid-career conceptual artists Doug and Mike Starn, and will include a discussion of their forerunners – the well-known artists Georgia O’Keefe, Marsden Hartley, and Charles Burchfield.
Lunch & Learn with Lacy Davisson
How to View Contemporary Art Intelligently:
The Influence of Matisse on Contemporary Art
Friday, January 19, 2018 — 1:00 pm to 3:00 pm
Location: The New Studio for the Visual Arts
1615 S. Cypress Drive, Suite 1
Jupiter, FL 33469
RSVP required by calling 561-295-5712
Please join us for a stimulating talk on Henri Matisse and how his work has influenced contemporary artists working today. We will start with Matisse’s famous Cut-Outs including the Swimming Pool and his Chapel in Vence, France.
Mid-twentieth century masters such as Abstract Expressionist Robert Motherwell and Bay Area artist Richard Diebenkorn owe a tremendous debt to Matisse and have studied his work closely. We will examine the process of collage, video and opera set director artist William Kentridge as well as Contemporary Master Jennifer Bartlett who looks to her garden for inspiration.
Younger artists working today are looking at Matisse and gleaning inspiration from his masterworks, a review of four new artists to keep an eye on will conclude our discussion. Question & Answers will follow the completion of the lecture.
Invitation to Lectures in Florida
Please join us for a series of fascinating lectures by Lacy Davisson.
The Women of Abstract Expressionism
Thursday, March 23, 2017 – Details TBD
The Arts Council of Martin County in partnership with the
Town of Jupiter Island Arts Council
Register Here
Lunch and Learn with Lacy Davisson
Thursday, February 23, 2017 from noon to 2 pm
“The Women of Abstract Expressionism” paired with a great
dining experience – Register Here
Lighthouse ArtCenter
373 Tequesta Drive, Tequesta, Florida
Please join us for “The Women of Abstract Expressionism”, a Lecture by Lacy Davisson which presents an in-depth look at the work of Helen Frankenthaler, Elaine de Kooning, Lee Krasner, and Joan Mitchell. These four artists were among the better-known women Abstract Expressionists and contributed outstanding innovation and experimentation to their creative process. Each one presents a different approach and singular vocabulary within their gestural paintings.
Abstract Expressionism, as the first internationally-influential American art movement, is primarily identified with artists such as Jackson Pollock, Willem de Kooning, and Mark Rothko. However, there were many women artists working with them who have not been a major part of the art historical conversation.
This talk offers an opportunity to expand what you know about Abstract Expressionism and the women who exhibited alongside the men. The recent exhibition on this subject at the Denver Art Museum has shed new light on the outpouring of excellent-quality relevant work by women of this era.
Lacy Davisson has lectured on modern and contemporary art for the Guggenheim Museum, Christie’s International Auction House, the Society of the Four Arts, Palm Beach, New York University’s Graduate Visual Arts Administrative Program, and the New York Academy of Art.
Lunch & Learn with Lacy Doyle
Please join us for a series of fascinating lectures paired with a great dining experience.
Lacy Doyle will present “The Women of Abstract Expressionism”, an in-depth look at the work of Helen Frankenthaler, Elaine de Kooning and Lee Krasner. These three women were among the better-known women Abstract Expressionists and contributed outstanding innovation and experimentation to their creative process.
Lacy Doyle has lectured on modern and contemporary art for the Guggenheim Museum, Christie’s International Auction House, the Society of the Four Arts, Palm Beach, New York University’s Graduate Visual Arts Administrative Program, and the New York Academy of Art.
Thursday, February 23, 2017 from noon to 2 pm.
Lighthouse ArtCenter
373 Tequesta Drive
Tequesta, Florida 33469
Tel (561) 746-3101
New York Academy of Art Panel Discussion with Lacy Doyle
Lacy Doyle on How to View Contemporary Art Intelligently
“Feeling Your Frankenthaler” in Palm Beach
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Winter Lecture Series in Palm Beach, Florida at the Society of the Four Arts
You are cordially invited to attend:
“The Wynwood Series,” with Lacy Davisson Doyle –
Two lectures and a day trip to the Art Wynwood Fair, Miami
Friday, January 29, 2016, 11:00AM-12:00PM
Dixon Education Building, Society of the Four Arts, $60
Friday, March 4, 2016, 11:00AM – 12:00PM
Dixon Education Building, Society of the Four Arts, $60
Friday, February 12, 2016
Day trip to the Art Wynwood Fair, Miami
WAITLIST ONLY, THIS EVENT IS SOLD OUT
To sign up for any of these events please email:
DVallee@fourarts.org, or call Tel. (561) 659-8513
Lacy Davisson Doyle examines recent trends and artwork by leading contemporary artists. Each session will look at the artist within their historical context as well as their influence on other artists. Lacy Davisson Doyle, founder of Artview NYC (artviewnyc.com), provides an in-depth and exciting overview of today’s art world. A graduate of Sarah Lawrence College with an M.A. from New York University’s Institute of Fine Arts, Ms. Doyle has more than 20 years of experience in the art world in New York, Paris and Milan.
“Natalie Frank: The Brothers Grimm,” A private artist-led tour of the exhibition currently on view at The Drawing Center in Soho, NYC
12:00 noon to 1:30 PM, Wednesday, April 29th, 2015
Book signing to follow
About Natalie Frank: Since completing her M.F.A. at Columbia University in 2006, Natalie Frank has been making a name for herself with energetic, visceral paintings that boldly embrace the liminal space between figuration and abstraction. A virtuoso painter and draftswoman, Frank is unique among her peers in her willingness to employ the traditional mediums of painting and drawing in the service of taboo themes. Focusing on the dialogue between flesh and spirit, the artist explores, in her own words, the parallel poles of “longing and desire but also disgust and fascination” that constitute humanity.
At The Drawing Center, Frank applies her visual and psychological acumen to that most evocative and misunderstood of literary forms, the fairytale—specifically the original, unsanitized stories transcribed by Jacob and Wilhelm Grimm between 1812 and 1857. Only a few contemporary artists have worked within the fairytale genre; fewer still have systematically interrogated the complexity of these tales and the way in which they address social and sexual mores that continue to have relevance today. Natalie Frank: The Brothers Grimm presents twenty-nine drawings out of a total of seventy-five that Frank completed over a period of three-and-a-half years between 2011 and 2014. The drawings will be made in gouache and chalk pastel—the first time that Frank has worked exclusively in this medium—producing both gritty and luminous surface effects. Engaging the intersection between body and mind, reality and fiction, the series can be seen as a contemporary feminist reimagining of a symbolist legacy.Curated by Claire Gilman, Senior Curator.
$75/per person
Please make your check payable to Artview NYC, LLC and send to:
178 Columbus Ave, #230237, New York, NY 10023
“Art on the Block,” a cultural conversation between Ann Fensterstock and Lacy Davisson Doyle at the Society of the Four Arts, Palm Beach, FL
$25; no charge for Four Arts members
Book signing to follow.
“Art on the Block: Tracking the New York Art World from SoHo to the Bowery, Bushwick and Beyond,” the recent book by Ann Fensterstock, is a fascinating tour of the last five decades of contemporary art in New York City. Ms. Fensterstock shows how artists, galleries and not-for-profits arts programs are catalysts of change and how neighborhoods in turn shape the art they create and exhibit.
Stories of New York City’s fabled art scene conjure up artists’ lofts in SoHo, studios in Brooklyn, and block after block of galleries in Chelsea. But today, few artist can afford a SoHo loft, Brooklyn has long gentrified, and even the galleries of Chelsea are beginning to move on. “Art on the Block” takes the reader on a journey through the neighborhoods that shape, and are shaped by, New York’s ever-evolving art world. Based on interviews with more than 150 gallery directors, as well as the artists themselves, Ms. Fensterstock explores the genesis, expansion, maturation and ultimate restless migration of the New York art world from one initially undiscovered neighborhood to the next.
Ms. Fensterstock has been an active participant in New York’s contemporary art world for over 25 years. She is a respected collector and serves on boards and committees at several important museums and nonprofits in New York City and Washington. Over the last 15 years she has lectured on contemporary art in and around the art neighborhoods of New York City and speaks regularly on art history topics. She holds social science degrees from British universities and a master’s in art history from New York University where she specialized in the modern and contemporary periods. She lives in New York City.
Lacy Davisson Doyle, founder of Artview NYC (artviewnyc.com), provides an in-depth and exciting overview of today’s art world. A graduate of Sarah Lawrence College with a Master of Arts from New York University’s Institute of Fine Arts, Ms. Doyle has more than 20 years of experience in the art world in New York, Paris and Milan.
Due to limited space, reservations are required for all Campus on the Lake lectures. For more information please call (561) 805-8562 or email campus@fourarts.org.
Winter Lectures in Palm Beach at the Society of the Four Arts with Lacy Davisson Doyle
Palm Beach, Florida
This four-week course is an in-depth introduction to the key works and iconic figures of contemporary art, from its origins in the 1970s and moving both thematically and chronologically to the present. We will explore an array of renowned and provocative artists, as well as younger artists emerging onto the art scene today. This course follows the successful lecture series of the same title presented by Lacy Davisson Doyle previously at the Four Arts. The course will provide a foundation for looking at and understanding contemporary art in all contexts and venues.
Due to limited space, reservations are required for all Campus on the Lake workshops and classes. For more information please call (561) 805-8562 or email: campus@fourarts.org.
SOLD OUT – Waitlist Only | Playing Picasso: Your creativity, his style with Lacy Davisson Doyle and Liz Ghitta Segall
Monday, Wednesday and Friday
March 16, 18, and 20
This is the art history class you dreamed about! Lacy Davisson Doyle and Liz Ghitta Segall team up to bring you a combined art history and studio art course that will focus on Pablo Picasso and other artists in Paris experimenting with Cubism in the 1910s through the 1920s. Cubism is considered the first and the most influential of all movements in 20th century art. In Cubist work, objects are analyzed, broken up and reassembled in an abstracted form, instead of presenting objects from one viewpoint; the artist shows a multitude of viewpoints to represent the object in a greater context.
“…the goal I proposed myself in making cubism? To paint and nothing more…with a method linked only to my thought…Neither the good nor the true; neither the useful nor the useless…It took me four years to learn to paint like Raphael and a lifetime to paint like a child…”
Learn to view your environment differently. Unleash and reconnect with your creativity by creating two canvases in the Cubist style with Ms. Segall. The morning will be spent learning about the history of Cubism, and the afternoon will be hands-on learning how to truly see objects, breaking them down into shapes and putting them on canvas in an abstract manner. A full palette of paints, canvas, and brushes will be provided.
Due to limited space, reservations are required for all Campus on the Lake workshops and classes. For more information please call (561) 805-8562 or email: campus@fourarts.org.
Events in Miami with Lacy Davisson Doyle – SOLD OUT
Presented by the Society of the Four Arts, Palm Beach, FL
Contemporary Art in Miami – Wynwood Artist Studio Visits
Thursday, November 20, 2014
Visit private artists’ studios in the Wynwood Arts District, Miami’s epicenter where art, fashion, design and the culinary arts intersect. During the month of November, Wynwood is abuzz with creative energy leading up to December’s Art Week when thousands of people descend on Miami for Art Basel Miami Beach and the satellite fairs. You are invited for a behind-the-scenes look at the artwork of several contemporary artists and will see their new creations firsthand before they leave the studio. We will focus on the Wynwood section of Miami, which is known as an international cultural destination and haven for artists and contemporary art galleries. Lunch will be at one of the local restaurants.
Modern Miami: Art Basel Satellite Shows
Friday, December 5, 2014
Editions|Artists’ Book Fair VIP View and Breakfast, Chelsea
Friday, November 7, 2014 from 10 to 11:30 am
Breakfast and VIP view before the fair’s regularly scheduled public hours.
Editions/Artists’ Books Fair (E/AB) is New York’s premier showcase for contemporary publishers and dealers, presenting the latest and greatest in prints, multiples, and artists’ books. The Fair is well known for its vibrant energy thanks to its innovative international exhibitors, and hundreds of artists shown.
Founded in 1998 by Susan Inglett of I.C. Editions, in partnership with Brooke Alexander Editions and Printed Matter, the Fair is now presented by the Lower East Side Printshop, a non-profit organization. The fair was initiated with the intent to introduce a broad public to contemporary prints, multiples, and artists’ books. Sixteen years later the Fair continues to do just that.This year, the Fair is curated by Faye Hirsch, Contributing Editor, Art in America, gathering over 40 exhibitors from around the US, and Europe.
The fee is $75 per person.
For more information email veronica@artviewnyc.com
or call 212 860-7780.
Space is limited.
To confirm your participation, please mail a check made out to Artview NYC, LLC for $75/per person to:
Lacy Davisson Doyle
Artview NYC, LLC
178 Columbus Ave, #230237
New York, NY 10023
Announcing Artview NYC Spring Event 2014
BUSHWICK BROOKLYN ART STUDIOS AND GALLERIES
LED BY ANN FENSTERSTOCK
Wednesday, May 7th, 2 to 4 pm
RSVP to: veronica@artviewnyc.com or call 212 860-7780 (meeting point will be emailed to you after sign up)
We will be offering a very exciting new Bushwick Brooklyn tour of art studios, galleries and neighborhood highlights led by Ann Fensterstock, author of “Art on the Block: Tracking the New York Art World from SoHo to the Bowery, Bushwick and Beyond”.
Stories of New York City’s fabled art scene conjure up artists’ lofts in SoHo, studios in Brooklyn, and block after block of galleries in Chelsea. But today, no artist can afford a SoHo loft, Brooklyn has long gentrified, and even the galleries of Chelsea are beginning to move on. Art on the Block takes the reader on a journey through the neighborhoods that shape, and are shaped by, New York’s ever-evolving art world. Based on interviews with over 150 gallery directors, as well as the artists themselves, art historian and cultural commentator Ann Fensterstock explores the genesis, expansion, maturation and ultimate restless migration of the New York art world from one initially undiscovered neighborhood to the next.
Opening with the colonization of the desolate South Houston Industrial District in the late 1960s, the book follows the art world’s subsequent elopements to the East Village in the ‘80s, Brooklyn in the mid-90s, Chelsea at the beginning of the new millennium and, most recently, to the Lower East Side. With a look to the newest neighborhoods that artists are just now beginning to occupy, this is a must-read for both art enthusiasts as well as anyone with a passion for New York City. To pre-order the book, click here.
The fee is $75 per person, Space is limited. To confirm your participation, please mail a check made out to Artview NYC, LLC for $75/per person to:
Lacy Davisson Doyle
Artview NYC, LLC
178 Columbus Ave, #230237
New York, NY 10023
Winter Events in Palm Beach, Florida
Please join us for a series of special art events offered by the Society of the Four Arts in Palm Beach, Florida this winter.
“How to View Contemporary Art Intelligently, Part One”
with Lacy Davisson Doyle, art historian, lecture on Tuesday, January 14, 2014 at 6 pm. Click here for details
“How to View Contemporary Art Intelligently, Part Two”
with Lacy Davisson Doyle, art historian, lecture on Tuesday, February 25, 2014 at 6 pm. Click here for details
“Paint Your Own Pollock” with Lacy Davisson Doyle, art historian and Liz Ghitta Segall, artist on Monday, March 10, Wed, March 12 and Friday, March 14, 2014. Lecture, lunch and workshop as follows: Lecture from 11 am to 12 pm, Studio course from 1 to 4 pm. Click here for details
“Contemporary Art in Miami – a tour of the Perez Art Museum Miami and the Miami Design District” with Lacy Davisson Doyle, art historian on Wednesday, April 2, 2014 from 9:30 am to 5 pm. SOLD OUT, Wait List Only. Click here for details
If interested in attending any of the above special events, please RSVP directly to the Society of the Four Arts to bstephenson@fourarts.org
Modern Miami: PULSE & NADA 2013
A walking tour with Lacy Davisson Doyle, art historian, presented by The Society of the Four Arts, Palm Beach, Florida
Friday, December 6, 2013
If interested in attending, please RSVP to bstephenson@fourarts.org
PULSE Contemporary Art Fair is the leading US art fair dedicated solely to contemporary art. Held annually in New York and Miami, PULSE bridges the gap between main and alternative fairs and provides participating galleries with a platform to present new works to a strong and growing audience of collectors, art professionals and art lovers.
Each December in Miami, NADA (the New Art Dealers Alliance) runs a renowned art fair to vigorously pursue its goals of exploring new or underexposed art that is not typical of the “art establishment”.
NADA is recognized as a much-needed alternative assembly of the world’s youngest and strongest art galleries dealing with emerging contemporary art. It is the only major American art fair to be run by a non-profit organization.
Announcing Artview NYC Fall Events 2013
Wednesday, November 6th and Friday, November 8th, 2013
LOWER EAST SIDE GALLERIES AND NEIGHBORHOOD VISIT LED BY ANN FENSTERSTOCK
Wednesday, November 6th, 2 pm to 4 pm or Friday, November 8th, 2 pm to 4 pm
RSVP to: veronica@artviewnyc.com or call 212 860-7780 (meeting point will be emailed to you after sign up)
We will be offering a very exciting new Lower East Side tour of art galleries and neighborhood highlights led by Ann Fensterstock, author of Art on the Block: Tracking the New York Art World from SoHo to the Bowery, Bushwick and Beyond. Ann was recently featured in the Wall Street Journal in “Art for the City’s Sake”, an interview by Ralph Gardner Jr. To read the article, click here.
Art on the Block takes the reader on a journey through the neighborhoods that shape, and are shaped by, New York’s ever-evolving art world. Opening with the colonization of the desolate South Houston Industrial District in the late 1960s, the book follows the art world’s subsequent elopements to the East Village in the ‘80s, Brooklyn in the mid-90s, Chelsea at the beginning of the new millennium and, most recently, to the Lower East Side. Based on interviews with over 150 gallery directors, as well as the artists themselves, art historian and cultural commentator Ann Fensterstock explores the genesis, expansion, maturation and ultimate restless migration of the New York art world from one initially undiscovered neighborhood to the next. To order the book, click here.
The fee is $75 per person, Space is limited. To confirm your participation, please mail a check made out to Artview NYC, LLC for $75/per person to:
Lacy Davisson Doyle
Artview NYC, LLC
178 Columbus Ave, #230237
New York, NY 10023
An Invitation to a Book Signing
Art on the Block by Ann Fensterstock
To be released September 17, 2013, to pre-order the book click here
Celebration of the book release will be on the following dates and times:
Please join us, RSVP to ann445fen@gmail.com
Upper East Side
Tuesday, September 17th, 6:00 pm
The Corner Bookstore, 1313 Madison Avenue
Bushwick
Wednesday, September 18th, 6:00pm
Storefront Gallery, 324 Ten Eyck Street
Chelsea
Thursday, September 19th, 6:30pm
Winkleman Gallery, 621 West 27th Street
Lower East Side
Friday, September 20th, 6:00pm
McKenzie Fine Art, 55 Orchard Street
Art on the Block tours the last five decades of contemporary art in New York City—showing how artists are catalysts to neighborhood gentrification and on the flip side, how those communities shape the art being produced there.
From insights into the pivotal and moving works of Jean-Michel Basquiat to Cindy Sherman, and Jeff Koons, this is the story of how New York’s very fabric is influenced in large part by the ever evolving art scene—as it took over the East Village in the 80s, Brooklyn in the mid-90s, Chelsea at the millennium, and the Lower East Side more recently. With a look at what’s ahead and who’s next, this is a must-read for art enthusiasts everywhere.
Based on interviews with over 150 gallery directors, as well as the artists themselves, Ann Fensterstock explores the genesis, expansion, maturation and ultimate restless migration of the New York art world from one initially undiscovered neighborhood to the next.
Announcing Artview NYC Spring Events 2013
Wednesday, May 15th and Thursday, May 16th, 2013
SOHO GALLERIES AND NEIGHBORHOOD VISIT LED BY ANN FENSTERSTOCK
Wednesday, May 15th, 11 am to 1 pm or Thursday, May 16th, 11 am to 1 pm
RSVP to: veronica@artviewnyc.com or call 212 860-7780 (meeting point will be emailed to you after sign up)
We will be offering a very exciting new SoHo tour of art galleries and neighborhood highlights led by Ann Fensterstock, author of “Art on the Block: Tracking the New York Art World from SoHo to the Bowery, Bushwick and Beyond”.
Stories of New York City’s fabled art scene conjure up artists’ lofts in SoHo, studios in Brooklyn, and block after block of galleries in Chelsea. But today, no artist can afford a SoHo loft, Brooklyn has long gentrified, and even the galleries of Chelsea are beginning to move on. Art on the Block takes the reader on a journey through the neighborhoods that shape, and are shaped by, New York’s ever-evolving art world. Based on interviews with over 150 gallery directors, as well as the artists themselves, art historian and cultural commentator Ann Fensterstock explores the genesis, expansion, maturation and ultimate restless migration of the New York art world from one initially undiscovered neighborhood to the next.
Opening with the colonization of the desolate South Houston Industrial District in the late 1960s, the book follows the art world’s subsequent elopements to the East Village in the ‘80s, Brooklyn in the mid-90s, Chelsea at the beginning of the new millennium and, most recently, to the Lower East Side. With a look to the newest neighborhoods that artists are just now beginning to occupy, this is a must-read for both art enthusiasts as well as anyone with a passion for New York City. To pre-order the book, click here.
The fee is $75 per person, Space is limited. To confirm your participation, please mail a check made out to Artview NYC, LLC for $75/per person to:
Lacy Davisson Doyle
Artview NYC, LLC
178 Columbus Ave, #230237
New York, NY 10023
Artview NYC Miami Event for the Society of the Four Arts, Palm Beach
VIP Visit to Private Art Collections
in Miami with Lacy Davisson Doyle on Friday, March 22, 2013.
Reservations required.
Basking in the Miami glow from last year, Lacy Davisson Doyle, art historian, contemporary art advisor, and member of the International Association of Professional Art Advisors returns to lead us on a VIP Tour of Private Art Collections in Miami. This full-day event will give art enthusiasts a curator-led, insightful view of some of Miami’s top contemporary art collections.
Call (561) 805-8562 or e-mail campus@fourarts.org to make reservations and for more information.
EDITIONS|ARTISTS’ BOOK FAIR VIP VIEW AND BREAKFAST, CHELSEA
– Rescheduled on a new date!
Friday, January 25th from 10 to 11:30 am
Breakfast and VIP view before the fair’s regularly scheduled public hours.
Founded in 1998 by Susan Inglett of I.C. Editions and Brooke Alexander Editions, the Editions|Artists’ Book Fair has grown in size and stature to become the premier showcase for contemporary publishers and dealers, presenting the latest and greatest in prints, multiples and artists’ books. The Editions|Artists’ Book Fair is well known for its vibrant energy and innovation, thanks to over sixty exhibitors, presenting hundreds of artists representing New York, Johannesburg, Amsterdam, London, Paris and points in between.
The fee is $75 per person.
For more information email veronica@artviewnyc.com
or call 212 860-7780.
Space is limited.
To confirm your participation, please mail a check made out to Artview NYC, LLC for $75/per person to:
Lacy Davisson Doyle
Artview NYC, LLC
178 Columbus Ave, #230237
New York, NY 10023
2012 EDITIONS|ARTISTS’ BOOK FAIR PREVIEW, CHELSEA
Friday, November 2nd from 10 to 11:30 am
Breakfast and VIP preview before the fair opens to the public
Founded in 1998 by Susan Inglett of I.C. Editions and Brooke Alexander Editions, the Editions|Artists’ Book Fair has grown in size and stature to become the premier showcase for contemporary publishers and dealers, presenting the latest and greatest in prints, multiples and artists’ books. The Editions|Artists’ Book Fair is well known for its vibrant energy and innovation, thanks to over sixty exhibitors, presenting hundreds of artists representing New York, Johannesburg, Amsterdam, London, Paris and points in between.
The fee is $75 per person.
For more information email veronica@artviewnyc.com
or call 212 860-7780.
Space is limited. To confirm your participation, please mail a check made out to Artview NYC, LLC for $75/per person to:
Lacy Davisson Doyle
Artview NYC, LLC
178 Columbus Ave, #230237
New York, NY 10023
Artview Bi-Annual Events
Once a season we will offer a special scheduled tour or event, please check this page regularly to see what’s coming up.
Announcing Artview NYC Spring Event 2012
Wednesday, April 11, 2012
PRIVATE SEMINAR AND VISIT TO THE NEW MUSEUM TRIENNIAL EXHIBITION, “THE UNGOVERNABLES”
Wednesday, April 11th, 10:30 am to 1 pm
RSVP to: veronica@artviewnyc.com or call 212 860-7780 (seminar location will be emailed to you after sign up)
We will be offering a very exciting private seminar reviewing highlights of the New Museum exhibition followed by a visit to the New Museum at 235 Bowery on the Lower East Side.
The 2012 New Museum Triennial will feature thirty-four artists, artist groups, and temporary collectives—totaling over fifty participants—born between the mid-1970s and mid-1980s, many of whom have never before exhibited in the US.
The exhibition title, “The Ungovernables,” takes its inspiration from the concept of “ungovernability” and its transformation from a pejorative term used to describe unruly “natives” to a strategy of civil disobedience and self-determination. “The Ungovernables” is meant to suggest both anarchic and organized resistance and a dark humor about the limitations and potentials of this generation.
“The Ungovernables” is an exhibition about the urgencies of a generation who came of age after the independence and revolutionary movements of the 1960s and 1970s. Through both materials and form, works included in “The Ungovernables” explore impermanence and an engagement with the present and future. Many of the works are provisional, site-specific, and performative reflecting an attitude of possibility and resourcefulness.
The fee is $75 per person, Space is limited. To confirm your participation, please mail a check made out to Artview NYC, LLC for $75/per person to:
Lacy Davisson Doyle
Artview NYC, LLC
178 Columbus Ave, #230237
New York, NY 10023
Announcing Artview NYC Fall Event 2011
November 4, 2011
2011 EDITIONS|ARTISTS’ BOOK FAIR, CHELSEA
Friday, November 4th from 10 to 11:30 am
Breakfast and VIP preview before the fair opens to the public
Founded in 1998 by Susan Inglett of I.C. Editions and Brooke Alexander Editions, the Editions|Artists’ Book Fair has grown in size and stature to become the premier showcase for contemporary publishers and dealers, presenting the latest and greatest in prints, multiples and artists’ books. The Editions|Artists’ Book Fair is well known for its vibrant energy and innovation, thanks to over sixty exhibitors, presenting hundreds of artists representing New York, Johannesburg, Amsterdam, London, Paris and points in between.
The fee is $75 per person.
For more information email veronica@artviewnyc.com or call 212 860-7780.
Space is limited.
To confirm your participation, please mail a check made out to Artview NYC, LLC for $75/per person to:
Lacy Davisson Doyle
Artview NYC, LLC
178 Columbus Ave, #230237
New York, NY 10023
Bridgehampton Gallery
GARDEN PARADISE
June 4 – June 26th
Opening Reception: Saturday, June 4th 6-8 pm
LC Armstrong, Katherine Bowling, Cecily Brown
Gregory Crewdson, Marc Dennis, Julie Evans & Ajay Sharma
Sally Gall, Susan Graham, Paula Hayes, Robert Kushner
Shinichi Maruyama, Roxy Paine, Elizabeth Peyton
Yolanda Sanchez, Esteban Vicente
The theme of the exhibition is paradise, spanning from depictions of ancient walled gardens and biblical Edens to more contemporary concerns about ecology and endangered natural resources. Gardens appear as sanctuaries – literal, imagined, sacred, and profane – as played out in various cultures, traditions, and historical ideas. Often there is a hint of darkness, a threat – like the snake in Eden. But the attraction of these lush, magnificent green spaces is powerful and undeniable. The show is a reprisal of an exhibition organized for the NYC Parks Department and presented at the Arsenal on Fifth Avenue in 2006.
Curated by Lacy Davisson Doyle
In memory of Clare Weiss
Proceeds to support Fighting Chance – education, counseling and advocacy for cancer patients/families on the East End.
Kathryn Markel Fine Arts, Gallery Hours: Monday – Sunday 11 am to 6 pm
2418 Montauk Highway
Bridgehampton, NY 11932
(631) 613-6386
Fall Event 2010
Private Preview of the 2010 Editions|Artists Book Fair
Friday, November 5, 2010, 10 to 11:30 am
A private breakfast visit to the premier showcase for contemporary art publishers before the fair opens to the public.
Join Artview for a tour of the 2010 Editions|Artists Book Fair (informally known to many of our participants as the “Downtown Print Fair”.)
We will meet directly at the fair in Chelsea.
The fee is $75/per person including a light breakfast, to sign up please contact: veronica@artviewnyc.com
Spring Event 2010
ARTISTS’ STUDIO TOUR AND VISIT TO MOMENTA ART, WILLIAMSBURG, BROOKLYN
Monday, May 17, 10:15 am to 1 pm (tour ends in Brooklyn)
We will be offering a very exciting tour to Williamsburg in Brooklyn as a fundraising event for Momenta Art, www.momentaart.org, the nonprofit contemporary arts center. Several renowned artists who support Momenta’s program will open their studios to our group for a truly unique experience. Artview NYC will be donating proceeds of this tour to support their efforts. We will meet at Union Square in Manhattan and take the subway to Brooklyn together. The fee is $75 per person, for more information email veronica@artviewnyc.com or call 212 860-7780.
Spring Event 2010
Breakfast Private Preview of the Armory Show
Saturday, March 6, 2010 – 11 am to 12:30 pm
The Armory Show is America’s leading fine art fair devoted to the most important art of the 20th and 21st centuries. In its eleven years, the fair has become an international institution. Every March, artists, galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week.
We will meet directly at the fair in Chelsea. Space is limited, please reserve as early as possible.
The fee is $75/per person including a light breakfast, to sign up please contact: veronica@artviewnyc.com
Fall Event 2009
Private Preview of the 2009 Editions|Artists Book Fair
Friday, November 6, 2009, 10 to 11:30 am
A private breakfast visit to the premier showcase for contemporary art publishers before the fair opens to the public.
Join Artview for a tour of the 2009 Editions|Artists Book Fair (informally known to many of our participants as the “Downtown Print Fair”.)
We will meet directly at the fair in Chelsea.
The fee is $75/per person including a light breakfast, to sign up please contact: veronica@artviewnyc.com