Thursday, April 18, 2019

 Joseph Klibansky’s 

‘All I Ever Wanted Was Everything’ new solo exhibition is coming to London, Opens at The House of Fine Art Thursday  Gallery 9th May 2019




Image
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.

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 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.
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Catch the Hugo Gallerie opening of Philippe Charles Jacquet works Saturday April 27 NYC


472 WEST BROADWAY, NEW YORK, NY 10012                WWW.HUGOGALERIE.COM                212.226.2262
        


Philippe Charles Jacquet

"Les Reclus"


    

 
Solo Exhibition Of Paintings
 
ARTIST RECEPTION ON SATURDAY, 27 APRIL, 6-8PM






HUGO GALERIE is pleased to present Les Reclus, a solo exhibition featuring the carefully articulated dreamscapes of Philippe Charles Jacquet. The show introduces new pieces by the artist in his celebrated style in which he builds his watery worlds with various and highly planned painting techniques. 

Les Reclus’ title is more relevant to his canvas’ structural capacity than their figural; while most canvases contain more than one figure, rarely does a canvas contain more than one structure. The reclusivity ofJacquet’s built environments, dramatically poised within surreal and stretching landscapes, lends his paintings an enigmatic quality. Adding to their mystery is the fact that they cannot be quickly dismissed as make-believe—they are too realistic, too aligned with our own experiences of stone houses, wooden rowboats, reflection pools, receding tides, and cloud-filled horizons. Even the slope of a figure’s slouching shoulders is too… personal. 

Jacquet is an architectural painter; he plans his landscapes and their built environments with measured precision, constructing them in a layered variety of media and methods until they are as real as they are imagined. The materiality finessed, from mirror-like water to rust-scored wood grain, brings his painted compositions to life. The combination of textures, geometric accuracy, and concise colors creates an esotericism that includes viewers rather than excludes them; Jacquet’s solitary structures do not reject but envelop the viewer with the familiarity of a feeling. As if we’ve been here before. Perhaps in a dream.
 
HUGO GALERIE is a fine art gallery in New York City specializing in contemporary figurative painting and sculpture. The gallery represents an international roster of artists working in a variety of media and range of genres. Please direct inquiries to info@hugogalerie.com.

Above: Le Moulin à l'Aube, oil on board, 47¼” x 47¼" (120 x 120cm) | En chemin, oil on board, 47¼” x 47¼" (120 x 120cm)La Piscine, oil on board, 31½” x 31½" (38 x 38cm)


 
For further information, prices and photographic material, please contact the gallery
 
Gallery hours are from 10:00am to 7:00pm daily.
 

  
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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 printsmost 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.
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Please join us for the opening reception Friday April 19th from 6-8pm. Elenor Harwood Gallery see Tiffany Turner's work San Francisco


What Befell Us
Tiffanie Turner


Opening Reception: Friday, April 19th, 6-8pm
Show Runs: April 19th - June 15th, 2019
Tiffanie Turner
Specimen A (Strawflower) , 2019
Paper mâche, Italian crepe paper, glue, cardboard
36 x 36 x 11 inches
We are delighted to present What Befell Us, Bay Area artist and author, Tiffanie Turner's first Solo Exhibition at Eleanor Harwood Gallery. Turner's new body of large scale botanical sculpture explores our tolerance towards aging and imperfection, what we consider ugly, what we consider beautiful, and the high costs to our society and our natural environment chasing these pursuits.

Please join us for the opening reception Friday April 19th from 6-8pm.


About What Befell Us
What Befell Us is a new body of large-scale botanical sculpture created by Bay Area artist and author Tiffanie Turner. Her new work, the heads of seven giant flowers, is Turner’s continued meditation on our tolerance of aging and imperfection, on what we consider ugly and what we consider beautiful, and on the high cost of these pursuits on our society and the natural environment. 

Turner selects her floral specimens and the afflictions she would depict with them from a vast variety of flowers that appeal to her due to form, texture and color. She then pairs them with physical manifestations of imperfection, drawing from aging and deformities in plant life. The deteriorations evoke issues of climate change, from the effects of rising temperatures on pollen quality, drought, and damage to blossoms due to earlier and later frosts, all caused by rapid environmental shifts.

Turner turns to the personal infusing her worries about our looming global climate crisis with her own concerns about the value and perception of women’s faces and bodies as they age. The damaged goods of both aging women and flawed flowers ask the question “What Befell Us” at a personal and global scope. Turner’s investigations quite literally blow up the idea that damage is un-lovely. Her sculptures are undeniably exquisite, the products of intense labor, each head sculpted from hundreds (or thousands) of hand-shaped petals. 

She asks, “Why do we wrap our most perishable fruits and vegetables in packaging that will pollute the planet for thousands of years?” and “Why did I become invisible when I turned 40, and at what lengths would I go to to turn back time?”. She sees parallels between the absurd pursuits of our culture that destroys our environment, and the absurd expectations she feels as a woman in this world. She further inquires, “Why am I ashamed to be older?” and “Why do people find these distorted and decayed flowers lovely, but find dry and sun damaged skin (the result of a full childhood) unsightly? Could this ever change?”. 

The pieces in this exhibit depict what ugly, old, or abnormal would look like in the beautiful head of a flower. Some of the pieces are obviously decaying. Some are distorted by age and desiccation. One piece, a rose, arguably the planet’s sexiest flower, is sagging toward the floor, prolapsed as if its most private parts cannot be contained anymore. “Platinum Blonde”, a giant dahlia, is very irregular around the outer petals, as it grows in nature. It is vulgar in size, imperfect in silhouette, yet beautiful. The oddity of Turner’s approach is that the discoloration, the non-perfect becomes enchanting, arguing for an acceptance of expressions of age, wilts, and mutations in the flowers and our own bodies.
Artwork
Tiffanie Turner
Specimen G (Platinum Blond) , 2019
Paper mâche, Italian crepe paper, stain, glue, wire
66 x 66 x 18 inches
Tiffanie Turner
Specimen F (Ranunculus) , 2019
Paper mâche, Italian crepe paper, stain, glue
33 x 33 x 19 inches
Tiffanie Turner
Specimen D (Prolapsed Rose) , 2019
Paper mâche, Italian crepe paper, glue, cardboard
22 x 25 x 12.5 inches
About Tiffanie Turner
Tiffanie Turner was born in 1970 in Colonie, NY and raised in the woods of New Hampshire. She received her Bachelor of Architecture from Rensselaer Polytechnic Institute in 1995 and worked as an architect for over 15 years before beginning her career as a botanical sculptor. She received a Zellerbach Family Grant award in 2016 to support her work as the May 2016 artist-in residence at the de Young Museum located in San Francisco, where she has resided for over 20 years.

Turner has had solo exhibitions at the Kimball Gallery at the de Young Museum, Tower Hill Botanical Garden in Boylston, MA, and Rare Device in San Francisco. Recent group exhibitions include “Flower Power” at the Asian Art Museum in San Francisco, “Preternatural” at Jack Fischer Gallery in San Francisco, “Detritus” at San Jose Institute of Contemporary Art, and “Botanica” at Bedford Gallery in Walnut Creek, CA. She has been featured in Vogue, American Craft, O Magazine, LAB magazine, and the San Francisco Chronicle, and been noted online by Colossal, Squarespace presents HI-FRUCTOSE, My Modern Met, Design*Sponge, Elie Saab, and The Jealous Curator, among others.

Turner is an instructor in the art of paper flower making in the United States and beyond, and authored her first book, The Fine Art of Paper Flowers, which was released on Ten Speed Press on August 22, 2017.

Eleanor Harwood Gallery | +1 415 867 7770 | eleanor@eleanorharwood.com
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Thinking of a Place to show your Work? Red Back Art Festival Apply for October Now!!


Red Bank, NJ
The Garden State's own Greenwich Village
You are invited to share your talents and exhibit in the New Fabulous Red Bank Art Festival.
The Red Bank Art Festival is a juried fine art show located in one of the coolest towns in New Jersey. The event will be produced by American Art Marketing most notably the producers of the Berkshires Arts Festival, Art & Design Show SarasotaAmerican Fine Craft Show at Brooklyn Museum and the Art Festival at Rockefeller Center.
The show will feature the original work of 100 accomplished artists, live music as well as delicious local food & drink.




OPPORTUNITY
If you are looking for a new, fresh, marketing adventure to supplement your revenue stream and meet many new clients, this would be a solid choice. Friday afternoon set up and unload in front or near your booth.
Booth Fees
• 10 x 10 $388
• 10 x 15 $582
• 10 x 20 $776
• Corner +$125
Booths will be set up on asphalt & grass.

QUESTIONS?
Richard Rothbard, Show Director, 845.661.1221  richard@americanartmarketing.com
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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’ 



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 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.

Image
 Derrick Santini: KylePhotographic 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
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Monday, April 15, 2019

In Lyon, Galeria Henri Charter, April 16-May18, 2019

prise de vue, Group Show avril 2019  



GROUP SHOW
Marc Moret
Guillaume Treppoz
Lionel Sabatté
Stéphane Guénier
Jörg Gessner


16 avril - 18 mai 2019


Vous pourrez y découvrir une oeuvre monumentale de Stéphane Guénier (2005) venant de la collection Claude Berri, ainsi qu'un collage unique et rare de l'artiste suisse Marc Moret (collages que vous avez pu découvrir à La maison rouge en 2017, Inextricabilia).
Lionel Sabatté est aussi à l'honneur, suite à sa 1ère exposition personnelle à la galerie en 2017, plusieurs dessins et peinture sur papier de l'artiste sont exposés, à l'occasion du parcours qui lui est consacré à Lyon à l'Institut Franco-Chinois, au Musée Gadagne et à quelques pas de la galerie à la Fondation Bullukian - Qui sait combien de fleurs ont dû tomber (jusqu'au 21 juin 2019).

Une oeuvre exceptionnelle de l'artiste Guillaume Treppoz, Matière Cortex de 2007, que vous pourrez découvrir ou redécouvrir. Pour finir et suite au succès de l'exposition précédente de l'artiste Jörg Gessner quelques unes de ses plus oeuvres sont aussi à voir ou à revoir.
There is an opportunity to see a monumental work by Stéphane Guénier (2005) from the Claude Berri collection, as well as a unique and rare collage by Swiss artist Marc Moret (whose collages you may have seen at La Maison Rouge in the 2017 exhibition, Inextricabilia).
Lionel Sabatté is also featured. Following his first solo exhibition at the gallery in 2017, several of his drawings and paintings on paper are on display on an exhibition trail devoted to him in Lyon at the Institut Franco-Chinois, the Musée Gadagne and, just round the corner from the gallery, at the Bullukian Foundation –  Qui sait combien de fleurs ont dû tomber / (Who Knows how many Flowers had to Fall ?).
An exceptional work by artist Guillaume Treppoz, Matière Cortex, 2007, awaits you here in the gallery. And, finally, following the success of our last exhibition of works by Jörg Gessner, we have a few of his finest paintings here. These meditative works bear looking at over and over again.
traduction Jeremy Harrison



La galerie sera fermée du 23 au 27 avril inclus.
Galerie henri chartier
www.henrichartier.com
contact@henrichartier.com
+33 (0)670748092

3 rue Auguste Comte 69002 Lyon
mardi 14h-19h et mercredi au samedi 11h-19h
Métro et parking Bellecour
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