Tuesday, April 23, 2019

ALIQUE and Mandarin Oriental, New York announce May partnership

ALIQUE and Mandarin Oriental, New York announce May partnership

Genna Brandwein genna@sarahgargano.com via prnewswire.com 

Attachments9:10 AM (3 hours ago)
to me

LALIQUE and Mandarin Oriental, New York are partnering to celebrate LALIQUE's newest art collection, RockStone 40, created in collaboration with artist Arik Levy. For the first time in the United States, RockStone 40 will be on display at Mandarin Oriental, New York throughout the month of May. To mark the occasion and honor the collection, Asiate's culinary team has created a custom Chef's Tasting Menu inspired by RockStone 40 that will be available for dinner throughout the duration of this month-long exhibit. 
For more information on the LALIQUE and Mandarin Oriental partnership, please see attached press release.  
For more information on the RockStone 40 art collection, please find below dropbox link to press kit and high resolution images:

LALIQUE x Arik Levy.png

Louse Nevelson at the Galerie Gmurzynska at TEFAF Park Ave Armory May 3-7, 2019

“I could be a leaf on the tree in Paris, but I could be the whole tree in America.”
- Louise Nevelson


Untitled, 1970s
Wood painted black
70 3/8 x 46 1/4 x 8 1/8 inches
Galerie Gmurzynska New York is pleased to present an exhibition of Louise Nevelson’s iconic monochromatic wood assemblages alongside her rarely seen collages. These works will be on view at 39 East 78th Street, 3rd floor, from May 2nd to June 15th. 

To this day one of the most celebrated female artist of the 20th century, Nevelson’s work has been exhibited alongside other greats such as Jasper Johns, Ellsworth Kelly, Frank Stella, and Robert Rauschenberg. Her works took notice among the combines of Rauschenberg and the immense color block paintings of Stella and now reside in the collections of top museums such as the Tate Gallery in London, The Metropolitan Museum of Art, New York, The Solomon R. Guggenheim Museum, New York, The Museum of Modern Art, New York, and the Smithsonian American Art Museum, Washington, DC. 

As monumental as they are memorable, Nevelson’s wood assemblages have been aligned with many different movements from Abstract Expressionism, to Cubism and Surrealism. In presenting these objects, Nevelson is presenting us with her own valued collection, her found objects, a personal anecdote, and a glance into her life.

Born in present day Ukraine in 1899, Nevelson’s family settled in the United States by 1905. She studied the arts with Frederick Kiesler and Hilla Rebay, was introduced to Marcel Duchamp and Pablo Picasso, briefly attended Hans Hofmann’s school in Munich, and worked as an assistant to Diego Rivera. With such prominent and influential colleagues, teachers, and mentors, she went on to create a unique art that would resonate with a myriad of artistic movements while staying wholly and genuinely her own.

Nevelson’s collages are a harmonious and lesser seen companion to the assemblages. Titled after a famous Nevelson quote, “The way I think is collage,” the gallery’s publication was the first to focus on her collage work and brought to the surface never before published documentary images and personal essays by Robert Indiana and Bill Katz. Three of her collages will be on view for the exhibition.

Monday, April 22, 2019

Columbia University Announces the Year of Water as they step into Earth Day's 22 Birthday Celebration !!!!

The Year of Water at Columbia University
Restorative and ruinous, excessive and scarce, water sustains life on Earth, fueling and undermining ecosystems, biodiversity, the global economy and technological innovation.

Beginning in fall 2019, Columbia University will launch the Year of Water, an interdisciplinary investigation of water in all of its social, political, cultural, economic and environmental complexities. Led by Columbia’s School of the Arts and convened across the University’s two Manhattan campuses and its Global Centers, public programming for the Year of Water will feature art presentations and exhibitions, lectures, screenings, readings and symposia focused on our planet’s most precious resource. Participating artists include Olafur Eliasson and Daan Roosegarde, whoseWaterlicht, a site-specific, immersive, outdoor light sculpture addressing rising water levels will have its New York City premiere at Columbia’s Manhattanville campus  on October 22, 23 and 24.

Columbia is a leader in cutting-edge research in water-related areas such as climate change, storm prevention, sustainability and water rights. Throughout the year, this research will be the focus of panel discussions and conferences led by professors at schools and institutes across the University including the Earth InstituteLamont-Doherty Earth Observatory, the Columbia University Irving Medical Center, the Mailman School of Public Health, the Data Science Institute, the Graduate School of Architecture, Planning and Preservation and the Columbia Engineering School.

“Water is crucial to all aspects of life – interconnecting everything from food production and agriculture to sanitation, the health of our planet and the safety of our communities,” said Mary Boyce, dean of the engineering school. “Our faculty and students work collaboratively across our school and throughout Columbia, and with industry and government to develop novel methods and systems approaches to increase access to clean water, convert wastewater and mitigate the effects of climate change, including rising sea levels and extreme weather events.”

In observance of Earth Day, we are launching the yearofwater.columbia.edu. Visit the site to learn about Columbia’s comprehensive water research, and come back in the coming months to register for events throughout the Year of Water.



Eve Glasberg
Senior Public Affairs Officer (Arts, Culture, Humanities, Libraries)
Columbia University in the City of New York
212-854-8336 | eg2731@columbia.edu
402 Low Library | 535 W. 116th Street | New York, NY 10027

Southampton Arts Center Celebrates Earth Week 4/22-2/28, See the fun Activities planned!!!!!

Copyright © *2019* *Southampton Arts Center* (SCOA, Inc.), All rights reserved.
Contact Us:
25 Jobs Lane, Southampton, NY  11968
631.283.0967  www.southamptonartscenter.org  info@southamptoncenter.org


It's a feel good Time as Phillips to Offer Non-Profit to Receive Proceeds from Fourteen Works of Art in Phillips Day Sale of 20th Century & Contemporary Art on 15 May

Phillips to Offer Artworks Benefiting Artadia

Non-Profit to Receive Proceeds from Fourteen Works of Art
in Phillips Day Sale of 20th Century & Contemporary Art
on 15 May

Auction to Follow Organization’s 20th Anniversary Benefit on 29 April

Jonas Wood
Mini Four Majors , 2018
Estimate: $20,000-30,000
Courtesy of the Artist

NEW YORK – 22 APRIL 2019 – Phillips is pleased to announce that proceeds from fourteen works of art in the Day Sale of 20th Century & Contemporary Art on 15 May will benefit Artadia in a celebration of the non-profit organization’s twentieth anniversary. The works, which will be included in the Afternoon Session of the Day Sale, have  been donated by some of the most significant artists working today, including Shara Hughes, Jonas Wood, Cecily Brown, and Larry Bell. Proceeds from the sale of these works of art will support and expand Artadia’s vital mission of supporting artists through unrestricted grants. In addition to offering works in the Day Sale in May, Phillips will also host Artadia’s annual benefit on 29 April.

Carolyn Ramo, Artadia’s Executive Director, said, “This partnership with Phillips comes at a time when Artadia's mission has never been so transformational or imperative. Artists are the integral fabric of our communities and cultural conversation, and we are deeply grateful to the donating artists who allow us to raise crucial funds.  We are also so thankful to Phillips for recognizing the impact of Artadia's programs, allowing us to change the course of artists' careers."

Rebekah Bowling, Phillips’ Co-Head of the Day Sale of 20th Century & Contemporary Art, said, “We are thrilled to have the opportunity to work with Artadia at this momentous time in the organization’s history and grateful to the artists who have so selflessly donated their work to support this cause.  Since its founding twenty years ago, Artadia has enriched the lives and careers of over three hundred artists. Through the sale of these works at auction, alongside the results of the April Gala at Phillips, we can help to ensure that this important organization can continue in their mission for the next two decades and beyond.”

Auction: Wednesday, 15 May 2019 Auction viewing: 3-15 May Location: 450 Park Avenue, New York https://www.phillips.com/auctions/auction/NY010519

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

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.

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

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.


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.

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.
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