Thursday, April 18, 2019
Joseph Klibansky: Leap of Faith, 2019. Painted and polished bronze (60 cm) - Limited Edition of 20
“Joseph Klibansky is making conceptual sculpture, not Pop sculpture per se, so he operates in a discourse closer to Hirst than to Koons, but directly related to neither. I see clearly what he is saying as an individual artist, and how he is saying it, and how he evolved to this point." Peter Frank, renowned art critic.
Joseph Klibansky is an emerging artist based in Amsterdam. His work examines the relationship between a thing and its essence, between what we see and what an image implies. Using a process of figurative and abstract layering Klibanksy’s large-scale idealistic paintings explore perception by compressing time and space, resulting in something that at first appears joyous, often descending into bleak melancholy.
Using a visual vocabulary sourced from photographs and online material, Klibansky intercuts images, including iconic cartoons, and creates digital compositions which serve as the foundation for the series. He layers the photographs, enriched with acrylic paint, on archival cotton paper and overlays it all with a liquid resin.
Playing with the implication of what is seen versus what an image implies, Klibansky’s hyper-realized paintings and sculptures address phenomenology (the study of structures of consciousness as experienced from the first-person point of view) and explores realms where both utopian and dystopian truths can co-exist.
Joseph Klibansky looks on at his work: Reflection of Youth, 2018
Alongside the paintings, HOFA will be exhibiting select pieces from Klibansky’s series of bronze sculptures. These playful figures aim to represent the juxtaposition between symbol and association. In Reflections of Truth II, Pinocchio is weighted down by an impossibly-large diamond carried on his shoulders. Made of shiny, polished bronze, the deceitful puppet can be found almost charming. Big Bang, a sizeable black gorilla head clad with a golden party hat and horn, is shown in sharp contrast with the animal’s sullen gaze. Made of glossed and polished bronze, this sculpture was realized with the aid of a 3D printer. Klibansky’s practice often allows technology and traditional artistic techniques to coexist.
Klibansky’s works serve as portraits of an alarming utopia that may not be what it appears. Nothing should be taken at face value in his works. To tell the truth, Klibansky takes advantage of a lie.
Wednesday, April 17, 2019
Greg Allman and Cher Below. Fun flash back. Pictures From Another Time: Photographs by Bob Colacello, 1976 - 1982
Pictures From Another Time: Photographs by Bob Colacello, 1976 - 1982
May 3 - June 21, 2019
Vito Schnabel Projects
43 Clarkson Street, New York City
Opening Reception: Thursday May 2, 6-8 PM
New York — Beginning May 3, 2019, Vito Schnabel Projects will present Pictures from Another Time: Photographs by Bob Colacello, 1976 - 82, an exhibition of photographs taken by Bob Colacello during the years he served as editor of Andy Warhol’s Interview Magazine. Pictures from Another Timefeatures approximately 150 vintage and unique prints—most never previously exhibited—made with Colacello’s Minox 35 EL camera, the first miniature camera capable of making full frame 35 millimeter photographs. Works on view reflect the societal fluidity and social mobility of “the Me Decade,” an era of emerging liberation movements in American culture. As both a favored confidant and detached observer of some of the most significant figures of that time, from politicians, tycoons, and fellow journalists, to artists, writers, fashion designers, and movie stars, Colacello was uniquely positioned to create an enduring portrait of the Seventies.Ingrid Sischy, Colacello’s successor as editor of Interview, wrote of his photographs: “It was a world where classifications and categories seem to fall by the wayside...Where black and white, gay and straight, traditional society and new society, uptown and downtown, the powerful and the powerless, and young and old, all danced under the same disco ball.”Colacello was in the middle of it all—from late night revels at the era-defining clubs Studio 54 and Regine’s, to the inaugurations of Presidents Jimmy Carter and Ronald Reagan—armed always with his Minox. Matte black and no larger than a pack of cigarettes, the tiny camera could be slipped in and out of a pocket to capture an instant. Colacello’s images of the Seventies are situated at a cultural turning point, when the private hours of public figures still hovered within a realm of mystique that seems distant in the internet age.
About the Exhibition
In addition serving as editor of Interview, Colacello would accompany Warhol on trips to Europe, where the artist had numerous exhibitions at leading museums and was fêted by the grand hostesses of Paris, London, and Rome. On view in the exhibition are photographs from a 1976 trip to Bonn, Germany, with Warhol and Fred Hughes, the artist’s business manager and eventual founder of the Andy Warhol Foundation for the Visual Arts. Warhol was in the West German capital to shoot Polaroid images of renowned statesman and former German Chancellor Willy Brandt for a silkscreen portrait commissioned by his Social Democratic Party. In one photograph from that trip, Warhol is seen relaxing in his hotel room; in another, Brandt is seen posing for Andy’s camera.Two years earlier, in 1974, Colacello had introduced OUT, a parody society gossip column that, as he has said, “meant ‘going out’ not ‘coming out.’” The column covered both public and private events, from movie premieres and fashion shows to exclusive Park Avenue dinner parties where reporters and photographers were rarely welcomed. But no one seemed to mind when Colacello snapped the occasional candid close-up (his Minox stayed in focus without adjustment between three and seven feet), nor mind when his overexposed and thus age-defying images appeared on the pages of Interview. This, of course, was long before the internet revolution, in a time when print when still reigned and the public rushed to the newsstands to get the latest issues of their favorite magazines.Colacello’s images stand apart from conventional party and society photojournalism via a deceptive casualness that disguises a highly precise and deliberate approach to such formal elements as composition and exposure. His signature off-kilter angles create a sense of immediacy, and even suggest the inebriation—literal or creative—of the moments captured. Many of the scenes in the photographs on view are multi-layered, with one figure partially obscuring another: a hand is waved in front of a face here, an extravagant hairdo blocks half the face of a world-famous personage there, in visual analogs for the social fluidity that emerged in and helped define the Seventies.
Colacello’s Minox was eventually replaced by an even smaller Canon. With his “spy camera” ever present, he traveled to Venice, Houston, Key West, Santa Monica, Monte Carlo, Rio de Janeiro, Gstaad, Tehran, and the Amazon, among other locales exotic or mundane. Among the events captured in these places and seen in Pictures from Another Time are the weddings of new generation society swans Marisa Berenson, Maria Niarchos, and Princess Minnie de Beauvau-Craon, in Beverly Hills, Deauville, and Alsace-Lorraine, respectively. Here, too, are photographs of a remarkable gathering of the international jet set in Acapulco, to celebrate Braniff Airlines commissioning Halston to design the interiors of its newest planes. Lady Bird Johnson, Henry Kissinger, Betsy Bloomingdale, Jerry Zipkin, Baby Jane Holzer, and Pat Cleveland are among the powerful and beautiful captured there by Colacello. Perhaps most remarkable and notable as counterpoints are Colacello’s spontaneous portraits of Warhol, his friend and mentor, caught in rare private moments, without his famous affect as enthusiastic companion to the stars.
A noted journalist, Colacello is at heart a documentarian sensitive to his times and to change. “I used to see my pictures as a subform of sociology. Now they seem more like archeology."
About Bob Colacello
Bob Colacello was born in Brooklyn, NY, and raised on Long Island. He graduated from Georgetown University School of Foreign Service in 1969, and Columbia University Graduate School of the Arts in 1971 with an MFA in Film. By then he had been hired to run Andy Warhol’s new magazine, Interivew, a job he held for thirteen years, becoming one of the artist’s closest creative collaborators. His memoir of that period, Holy Terror: Andy Warhol Up Close, was acclaimed by The New York Times, as “the best-written and the most killingly observed” book on the so-called Pope of Pop.From 1984 to 2017, Colacello was under exclusive contract to Vanity Fair, writing profiles and investigative pieces on cultural, social, and political subjects. In 2004, he published the first of a two-volume biography of the Reagans, Ronnie and Nancy: Their Path to the White House. He is currently writing the second volume on the White House years and afterward. He is the co-author, with photographer Jonathan Becker, of Studies by the Sea: Artists of the East End of Long Island.In 2017, Colacello curated an exhibition at Vito Schnabel Gallery in St. Moritz, Switzerland, titled The Age of Ambiguity: Abstract Figuration / Figurative Abstraction. The show featured works by Jean-Michel Basquiat, The Bruce High Quality Foundation, Jeff Elrod, Jacqueline Humphries, Rashid Johnson, Jeff Koons, Adam McEwen, Sterling Ruby, Borna Sammak, Julian Schnabel, Andy Warhol, and Jonas Wood.A selection of Colacello’s photographs from the late 1970s and early 1980s was published by 7L Steidl in 2007, under the title OUT. Solo exhibitions of Colacello’s photographs have been presented at Mary Boone Gallery, New York, NY; Govinda Gallery, Washington D.C.; Steven Kasher Gallery, New York, NY; and the Boca Raton Museum of Art, Florida. Colacello’s photographs have been included in group exhibitions at the Andy Warhol Museum, Pittsburgh, PA; MoMA PS1, Long Island City, NY; Tate Modern, London; National Gallery of Canada, Ottawa; Hamburger Kunsthalle, Germany; and Museu Serralves, Portugal.
Please join us for the opening reception Friday April 19th from 6-8pm. Elenor Harwood Gallery see Tiffany Turner's work San Francisco
In London? 25th April 2019 The House of Fine Art Gallery Catch Derrick Santini’s solo exhibition entitled ‘Time Forms Solid Space’
On the 25th April 2019 The House of Fine Art Gallery Derrick Santini’s solo exhibition entitled ‘Time Forms Solid Space’
Derrick Santini: Solid Space Form #1, Photographic Lenticular Framed (155 x 107 cm) Limited Edition of 3
Santini will be unveiling a selection of new works concerned with the human condition, the choices we make, and the struggles we face. His work is a journey, an-ongoing fascination with the grey area, and what goes on in the ‘in-between’.
The new Solid Forms series portrays the alluring and sensual transition of smoke abstracted, which encompasses Santini’s fascination with fleeting observed realities, earlier examined in his water pieces. Inspired by his spirituality and Metaphysics, through this work he takes us right to the beginning of life itself - an essence of water and light and of our connection to nature.
His lenticular process layers a series of still images into one file before printing them on a textured sheet of plastic, creating a transition between the images. The final product acts as a response to the contemporary world’s desires to have more interaction, motion and speed.
Derrick Santini: Kyle, Photographic Lenticular Framed (155 x 107cm) Limited Edition of 3
Santini says about his work “Film is the other medium I covert, the power of suggestion and universality of film is truly awesome, equaled only by the abstract and arresting beauty of a photograph. What brings these worlds together, spawning its own beguiling incarnation are lenticular’s. On one side I love the specific-ness of film but love equally, the abstractness of photography. The lenticular world encompasses both these dictums, and hence its growing fascination with me as a technique and medium to create and communicate with.”
He adds about the forthcoming exhibition, “They are a reflection of the world as we see it, a synthesis of film, fashion, art and photography. Undoubtedly playful, bold and provocative, the works represent the limbo of looking at the mirror and starring into the void in-between of split realities.”
Time and evolution are a huge aspect of Santini’s practice, the works depict a fleeting quality of the contemporary meanwhile evoking a sense of familiarity through the traditional medium. The imagery reveals that things are not as they seem, and what is true one second, is not the next second. The lenticulars become a tool to engage the audience, and not only tell a story, but communicate with the audience on both a physical and psychological level.
About Derrick Santini
Derrick Santini (b. 1965 in North Yorkshire) is an established photographer and artist based in London. Satini regards his mages as slices of life, ‘moments in between’, as statements about the individual, and the whole, ultimately expressions of being human. Amongst notable collectors of Derrick Santini are the likes of Damien Hirst, Jemima Khan and Adele.
About House of Fine Art (HOFA)
In 2014 HOFA was founded in London by Elio D’Anna and Simonida Pavicevic, specialising in contemporary art, the gallery exclusively representing a portfolio of leading original works of art featuring a multitude of genres, including paintings, photography and sculptures, with a focus on unique, distinctive and rare artworks of appreciative value by internationally acclaimed artists (e.g. Zhuang Hong Yi, Marco Grassi, Ilhwa Kim and Camille Hannah).
HOFA consists of four international art galleries in London’s Pall Mall and Mayfair, Nammos Village in Mykonos and in LA’s West Hollywood.
In 2018 HOFA was the first art gallery in the world to make their entire collection available in cryptocurrency, and continues to offer all of its portfolio through cryptocurrency payments.
Emma- Louise O’Neill (Comms & Brand Collaborations Director)
HOFA Gallery, 58 Maddox Street, Mayfair, London, W1S 1AY
+44 7515 136909
Monday, April 15, 2019