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Saturday, February 28, 2015
Contemporary art and dance interact at the University of Tulsa... Cathy Brealaw
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Phillips Contemporary Art & Design Sale 3&4 March NYC
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Friday, February 20, 2015
Phillips AUCTION 13 APRIL 30 BERKELEY SQUARE, LONDON
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UNDER THE INFLUENCE |
| NOW ACCEPTING CONSIGNMENTS |
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MICHAEL MANNING Untitled #7 (Sheryl Crow Pandora), 2014 (detail) |
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| AUCTION 13 APRIL 30 BERKELEY SQUARE, LONDON Enquiries Tamila Kerimova tkerimova@phillips.com +44 207 318 4065 |
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ART WYNWOOD ACHIEVES RECORD SUCCESS AND ATTENDANCE IN ITS FOURTH YEAR
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Thursday, February 19, 2015
New York, February 19, 2015, The Museum of the City of New York presents HIP-HOP REVOLUTION: Photographs by Janette Beckman, Joe Conzo, and Martha Cooper
HIP-HOP REVOLUTION:
Photographs by Janette Beckman, Joe Conzo, and Martha Cooper
Martha Cooper
Major Global Pop Culture Movement Born in New York, Documented by Three Leading Photographers at the Museum of the City of New York
The Museum of the City of New York presents
HIP-HOP REVOLUTION: Photographs by Janette Beckman, Joe Conzo, and Martha Cooper, an exhibition that shows the historic early days of hip-hop culture and music, with its roots firmly in New York, and how it evolved towards the worldwide phenomenon it is today.
Bringing together for the first time the work of three of the most dynamic and renowned photographers of the hip-hop scene, the exhibition shows the birth of a new cultural movement—with its accompanying music, dance, fashion and style—as it quickly and dramatically swept from its grassroots origins into an expansive commercial industry. The exhibition is a follow-up to the City Museum’s highly acclaimed 2014 City as Canvas exhibition on graffiti art, which brought critical praise and a large audience.
“In New York’s long history, the creativity born of the city’s density and diversity has brought enormous riches to the world,” said Susan Henshaw Jones, Ronay Menschel Director of the Museum of the City of New York. “Hip-hop is yet another incredibly vibrant example of how the world has been shaped by what started in New York. You can see this dynamic and influential music and culture come to life in this exhibition through the powerful photographs of three wonderful photographers.”
Hip-Hop Revolution presents more than 100 photographs taken between 1977 and 1990 by the three preeminent New York-based photographers—Janette Beckman, Joe Conzo, and Martha Cooper—who documented hip-hop from its pioneering days in the boroughs of New York through its emergence into mainstream popular culture worldwide.
Hip-hop culture, incorporating such elements as DJ-ing, MC-ing (rapping), and breaking (dancing), was born on the streets of New York City in the 1970s, largely in the Bronx and Manhattan, and grew to have a global impact on popular culture that continues to the present day. The exhibition showcases the experiences of each photographer during these seminal years, as DJs, MCs, and b-boys and b-girls (breakdancers) were innovating, and developing new forms of self-expression. The work of these photographers—featuring early figures such as Afrika Bambaata, Kool Herc, and Cold Crush Brothers, breakers such as Rock Steady Crew and the Dynamic Rockers, and acts such as Run DMC and the Beastie Boys—form a broad survey of a movement that is indelibly linked to New York City and still has a resounding influence today.
Scope 2015, 3/6-3/8
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Art Basel Crowd Funding / If your into the arts this is an interesting new media
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Wednesday, February 18, 2015
art on paper is moving inside to Pier 36, launching this March 5 - 8
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Catinca Tabacaru Gallery presents Gail Stoicheff: Distressed Blonde, March 1 - 29, 2015
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June Harwood, Louis Stern Fine Arts
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Sunday, February 15, 2015
Scope 2015 March 6-8
ALEX YANES, Untitled, 2014
Mixed media sculpture, installation
Courtesy of Joseph Gross Gallery
Thursday, February 12, 2015
12 February 2015, Amsterdam – King Willem-Alexander of the Netherlands officially opened the Late Rembrandt exhibition at the Rijksmuseum today.
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12 February 2015, Amsterdam – King Willem-Alexander of the Netherlands officially opened the Late Rembrandt exhibition at the Rijksmuseum today.
The Rijksmuseum’s Director and General Manager Wim Pijbes and Head of Visual Arts Gregor Weber accompanied King Willem-Alexander on a tour of the exhibition highlighted by masterworks including the Portrait of Jan Six (Six Collection), Self-Portrait with Two Circles (Kenwood House, London) and the Family Portrait (Herzog Anton Ulrich-museum, Braunschweig). Late Rembrandt is the Rijksmuseum’s first ever presentation of a major exhibition dedicated to Rembrandt’s late works. The exhibition provides a comprehensive overview of Rembrandt’s output between 1651 and his death in 1669 – including over one hundred works, all of which created in Amsterdam. Complementing Rijksmuseum’s extensive collection of Rembrandt are works on loan from leading international museums and private collections, many never before shown together. Late Rembrandt is created in collaboration with The National Gallery London, where the exhibition was held 15 October 2014 – 18 January 2015. Image Caption: King Willem-Alexander of the Netherlands (l) and Rijksmuseum director Wim Pijbes (r) in front of Rembrandt self-portrait at the opening of Late Rembrandt exhibition at the Rijksmuseum, Amsterdam. For further information and images: |
Monday, February 9, 2015
Tagore Gallery to present a landmark retrospective of work by Edith Schloss (1919-2011),
Norte Maar is pleased to announce its collaboration with Sundaram Tagore Gallery to present a landmark retrospective of work by Edith Schloss (1919-2011), one of America’s greatest expatriate artists whose paintings, assemblage, collage, watercolors and drawings border on the bittersweet, fragile, intimate and naïve. Intrinsically linked to the milieu of Postwar American Art, every aspect of the artist’s eccentric personal iconography will be on view for rediscovery. This is the first show of the artist’s work in New York in twenty-five years. This exhibition continues Norte Maar’s mission of re-presenting the work of under represented emerging, mid-career and historic artists.
The exhibition will open with a public reception on Thursday, February 26, 6-8pm and will continue through March 28. Gallery hours are Tuesday through Saturday, 11-6pm. A lecture in advance of the exhibition will be held at the Art Students League, Tuesday, February 10, 7pm. More information on the lecture here.
Curated by Jason Andrew and organized in collaboration with the Brooklyn-based nonprofit arts organization Norte Maar, this exhibition represents the most comprehensive showing of the artist’s work, offering historic examples from all genres of her career beginning with early still lifes of the 1950s and painted scenes of Penobscot Bay in Maine, to seascapes from her beloved studio in Lerici, Italy, and finally to the mythological abstractions she painted up until her death.
The exhibition also includes a gallery dedicated to Edith’s friends and acquaintances, with work by Ellen Auerbach, Nell Blaine, Rudy Burckhardt, Joseph Cornell, Alberto Giacometti, Willem de Kooning, Helen DeMott, Rackstraw Downes, Philip Pearlstein, Yvonne Jacquette, Fairfield Porter, Robert Rauschenberg, Larry Rivers, Cy Twombly, Jack Tworkov and Francesca Woodman among others (full list of artists can be found at the end of this release).
Additionally a selection of ephemera including letters, photographs and diaries from the Edith Schloss Estate archive will be on view.
Art is a nourishment which is made from the fabric of our daily life but lifts us beyond it to make us see a world bigger than ourselves.—Edith Schloss, La Serra, 1976
What I really do is what any painter worth his salt has always done. I abstract color and line from life around me, and make another life out of it.—Edith Schloss
Schloss’ work is beautiful and explosive, moved at once by strength and lightness, by a vibrating breath contained in spaces that can be as small as the palm of a hand.—Toni Maraini, Rome, 2011
About Edith Schloss.
Edith Schloss is best known for knowing “everyone who counted in Manhattan’s legendary postwar art scene.” From the moment she was first introduced to Willem de Kooning by her friend Fairfield Porter, she became an integral member of the Chelsea New York art scene, which flourished around the New York School and included photographer and filmmaker Rudy Burckhardt (whom she married in 1947) and the Jane Street Group around Nell Blaine.
Edith Schloss is best known for knowing “everyone who counted in Manhattan’s legendary postwar art scene.” From the moment she was first introduced to Willem de Kooning by her friend Fairfield Porter, she became an integral member of the Chelsea New York art scene, which flourished around the New York School and included photographer and filmmaker Rudy Burckhardt (whom she married in 1947) and the Jane Street Group around Nell Blaine.
Born in Offenbach, Germany, Edith studied languages and art as a young student. In Florence she learned about the Renaissance and in Frankfurt she saw her first Van Gogh. In London, while working as an au pair, she learned English and was inspired by the great Greek sculptures at the British Museum, which also reinforced her dream to become an archeologist.
Edith Schloss, Ravenna, 1947. Photographer unknown. Courtesy Estate of Edith Schloss
During the London Blitz, Edith sailed to America in a convoy. Arriving in New York she met the political refugee Heinz Langerhans, who introduced her to Bertolt Brecht, prominent Communist Ruth Fischer and others. She listened to lectures by American pragmatists like John Dewey at The Cooper Union and other great thinkers at The New School for Social Research. There never seemed to be a moment when she didn’t consider herself an artist. “Somehow I always drew, made pictures,” she wrote. From 1942 to 1946, she studied at the Art Students League of New York with Will Barnet, Harry Sternberg and Morris Kantor.
In 1945 Edith met Willem de Kooning through painter Fairfield Porter. It was a turning point. In turn she met the poet Edwin Denby, the photographers Ellen and Walter Auerbach and the filmmaker Rudy Burchkhardt. Elaine de Kooning became a staunch ally. “I happily absorbed the Chelsea climate apart from politics,” she wrote, “and I’ve settled down to paint for painting.” And she settled into loft living on West 21st Street.
Around the same time Edith met painter Nell Blaine. Together they spent “long winter nights listening to bebop records” and raced uptown and downtown “listening to Dizzy Gillespie, Charlie Parker, Lester Young and Miles Davis in person.” Edith liked jazz for its “intuitive purity and improvisation,” qualities that became important elements in her maturing work. She joined the Jane Street Group, New York’s first artist cooperative gallery founded by Blaine, Hyde Solomon, Leland Bell, Louisa Matthiasdottir, Albert Kresch and Judith Rothschild. In 1947, her first one-person show opened at the Ashby Gallery.
In 1947, Edith married Rudy Burckhardt and the couple set off to tour Europe where they met Jean Arp, Meret Oppenheim, and briefly Giacometti, Brancusi and Max Bill. Upon their return to New York, she exhibited with the Pyramid Group and American Abstract Artists. Summers were spent with Fairfield Porter and his family on Great Spruce Head Island, Maine. This retrospective includes watercolors exploring the summers on the bays and shores of Maine.
In 1949, her son Jacob was born. One of the first paintings in the retrospective, Egg Eater, c. 1952, features a bird’s-eye view of a young Jacob standing before a breakfast table set with a scattering of white antique dishes including a bowl of fruit. It’s a naive painting with historical references yet the versatility of the composition demonstrates modern avant-garde ideas.
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| Edith Schloss (1919-2011) “Agon,” 2000, Oil on canvas, 27 1/2 x 23 5/8 in. (70 x 60 cm). Courtesy Estate of Edith Schloss |
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Edith Schloss (1919-2011) “Air Mail,” 1966, Oil on canvas, 23 3/4 x 19 3/4 in. (60 x 50 cm). Courtesy Estate of Edith Schloss
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As Abstract Expressionism took hold in New York and action painting grew more dogmatic, Edith set aside her figurative intensions and turned to collage and assemblage “because it was in an avant-garde technique it was considered alright by the abstractionists.” Assemblage bridged her interest in writing and art and for a time, she become better known for her boxes than for her paintings. In 1961, she was included in The Museum of Modern Art’s landmark exhibition The Art of Assemblage. These boxes housed the precious things she found on beaches and on walks through the city. Sailor or Countryman (1962) is a small cupboard containing rocks, a wood carving of a boat, and a sea horse. Night Voyage: Homage to Joseph Cornell (c. 1962) is the perfect tribute to Edith’s friend, complete with a collaged gallery label from Cornell’s exhibition at the Charles Egan Gallery in the early 1950s.
Over the years she exhibited in New York at the Tanager Gallery, Green Mountain Gallery and Ingber Gallery.
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