Leila Heller, shows Nan Swid: "Paint - Wax - Pencil - Ink" May 3rd to June 4th

Nan Swid: "Paint - Wax - Pencil - Ink"

May 3rd to June 4th

Nan Swid’s recent work shines a light on the commonplace elements of everyday life. The subjects of her still life drawings, paintings and wall sculptures are drawn from the domestic environment, as Swid says, from “what I see in front of me”. They are snapshots of a moment, an object, a place, a feeling, a memory. Subjects are explored in multiple iterations and techniques. Fruit is rendered with pencil on paper and as paper cut out collages. Potted plants are sketched in monochrome ink on paper and as multi-colored cubist-like collages. The artwork reflects deep curiosity. It is restless. Brush gestures are quick and urgent, constructions are messy, edges are uneven. A drawing extends to the paper's edge, almost bursting from its field. A sense of probing resides in the marks on paper. Defunct books are enveloped in encaustic paint, spliced and amassed to produce three-dimensional wall hybrids of painting and sculpture. While personal in scale, larger groupings of mixed media are assembled to create emotive wall compositions. Swid invites us to see the familiar objects of daily life in new ways and in new contexts, the domestic landscape being a creative canvas and armature for her visual exploration in all its “messy vitality”.  The assortment of works asserts Swid’s visual acuity and delight in the everyday.   ABOUT THE ARTIST Nan Swid lives and works in New York City. Her work has been shown nationally in galleries including Margaret Thatcher Gallery (New York, NY), Pavel Zoubok Gallery (New York, NY), Adam Baumgold Gallery (New York, NY), and Arevelo Gallery (Miami, FL). Swid's work has been reviewed in publications such as The New York Times, The Daily Beast, and Dossier Journal. Nan Swid was a principal founder of Swid Powell, the iconic design firm that collaborated with noted architects such as Richard Meier, Frank Gehry, Zaha Hadid, and Robert A. M. Stern to produce decorative objects of the highest order. Archives from this endeavor are currently housed with The Yale University Art Gallery in New Haven, Connecticut.

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For more information or inquiries, please click here or email ella@leilaheller.com

NEW YORK 17 East 76th Street (off Madison Avenue) New York, NY 10021 www.leilahellergallery.com info@leilaheller.com
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Ansel Adams Photography Exhibition at Kean University Open to the public

Ansel Adams Photography Exhibition at Kean University

UNION, N.J. — Works by the iconic 20th-century landscape photographer Ansel Adams will be on display at the Galleries at Kean University in an exhibition premiering Thursday, April 21 at Liberty Hall Academic Center. 

The Early Works exhibition features 42 original vintage photographs by the master photographer of the American West, ranging from the 1920s to the 1950s. It is open to the public with a pay-what-you-wish (PWYW) admission.

“Adams was an innovator. He never stopped evolving his artistic process,” said Kean University President Lamont O. Repollet, Ed.D. “It is essential our students have the experience of seeing original works of art and learning about the artists behind those creations. I encourage our students, faculty, staff and the community to view this celebrated exhibition.” 

Adams, an environmentalist and a giant in the field of landscape photography, was renowned for his use of light, both in the field and in the darkroom. He helped build public appreciation for the American wilderness through his captivating images of the more than 40 national parks he explored, including Yosemite, Yellowstone and Glacier National Park.

Lynette Zimmerman, executive director of the Liberty Hall Academic Center and the Galleries at Kean, said Adams’ passion for the environment “will be perfectly at home” in the Liberty Hall Academic Center Gallery. “We are so excited to feature the original works of this amazing photographer,” she added.

Rebecca Senf, Ph.D., chief curator at the Center for Creative Photography at the University of Arizona and renowned Adams scholar who recently published a book about Adams' early photographs, will join Zimmerman in a conversation about his photography, legacy and career, and his influence on 21st-century photographers during the opening reception. It will be held on Thursday, April 21, from 5:30 - 8 p.m in the Liberty Hall Academic Center.

To RSVP for the opening reception and to learn more about the exhibition, visit the Galleries at Kean website at galleries.kean.edu. Tickets for the exhibition are available at the door or by reservation. To reserve tickets, click here.

All works are from the collection of Michael Mattis and Judith Hochberg. This exhibition was organized by art2art Circulating Exhibitions.

Liberty Hall Academic Center Gallery is located at 1003 Morris Avenue, Union, N.J. 07083, on the Union campus of Kean University.

 

PHOTOS / CAPTIONS:

(Photo Credit: El Capitan, 1923. Photo by Ansel Adams. @The Ansel Adams Publishing Rights Trust)

(Photo Credit: From Wawona Tunnel, Winter, Yosemite, 1935. Photo by Ansel Adams. @The Ansel Adams Publishing Rights Trust)

ABOUT KEAN UNIVERSITY

Founded in 1855, Kean University is one of the largest metropolitan institutions of higher education in the region, with a richly diverse student, faculty and staff population. Kean continues to play a key role in the training of teachers and is a hub of educational, technological and cultural enrichment serving more than 16,000 students. The University’s six undergraduate colleges offer more than 50 undergraduate degrees over a full range of academic subjects. The Nathan Weiss Graduate College offers seven doctoral degree programs and more than 70 options for graduate study leading to master’s degrees, professional diplomas or certifications. With campuses in Union, Toms River, Jefferson and Manahawkin, New Jersey, and Wenzhou, China, Kean University furthers its mission by providing an affordable and accessible world-class education. Visit www.kean.edu. 

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StonyBrook Film Festival early passes on sale May 23, 2022

SAVE THE DATES: EARLY BIRD PASSES ON SALE: MAY 23, 2022 at noon SCHEDULE ANNOUNCED: JUNE 1, 2022 at noon STONY BROOK FILM FESTIVAL JULY 21-30, 2022   VIEW THE STONY BROOK FILM FESTIVAL WEBSITE HERE FILMS FROM ONE OF OUR DISTRIBUTORS! In other film news, Menemsha Films, Go2Films and ChaiFlicks announce a historic event Starting May 4th   The 2022 Israel Independence Day Film Festival In association with over 200 synagogues and Jewish film festivals across North America, the first annual Israel Independence Day Film Festival will be held beginning May 4th and continuing for a total of six nights, streaming virtually to enjoy from the comfort of home. This important event brings together the potential of every community, no matter how big or small, to celebrate Israel’s past, present and future. Friends of the Stony Brook Film festival will receive 56% off their ticket price if they use code STONY at checkout!   See 11 films for just $22.   GET YOUR SBFF DISCOUNT TO THE ISREAL INDEPENDENCE DAY FILM FESTIVAL HERE! Don't miss The Doo Wop Project, next Saturday 5/7, Live at Staller Center for the Arts THE DOO WOP PROJECT TICKETS

Box office hours: Monday - Saturday, 11-3 PM (631) 632-2787 Open 1 hour before all screenings boxoffice@stallercenter.com #stonybrookflimfest#fineartmagazine#sunstormarts

Madelyn Jordon Fine Art is delighted to present Minimal|Maximal April 30 – June 11, 2022.

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Opening Tomorrow

April 30 - June 11, 2022 Opening Reception: Saturday, April 30, 2022 | 1:00-5:00pm

DAVID KIMBALL ANDERSON, Poppy, Seeds, 2022, Bronze, steel, and paint, 26 x 20 x 8 in

Madelyn Jordon Fine Art is delighted to present Minimal|Maximal, a dual exhibition featuring works by David Kimball Anderson and Yangyang Pan. The exhibition will run from April 30 – June 11, 2022. The opening reception will be on Saturday, April 30 from 1:00-5:00pm. The artist, David Kimball Anderson, will be in attendance.   The exhibition explores the essence of flowers through David Kimball Anderson and Yangyang Pan’s contrasting styles. Debuting new sculptures and paintings by the two artists, Minimal|Maximal presents juxtaposed interpretations of floral compositions.    Anderson’s minimalist approach can be likened to the Japanese art of Ikebana, designing flower arrangements to reflect harmony and balance between opposing elements. Elegantly simple in form and function, Anderson’s sculptures harness the Zen beauty of the natural world.

YANGYANG PAN, Night Spark, 2021, oil on canvas, 48 x 40 in.

Conversely, Yangyang Pan’s maximal approach radiates across her canvases in floral bursts. Her flower arrangements become supernatural as large gestural brushstrokes whirl together in beautifully chaotic bouquets of saturated color. Pan is widely recognized for her gestural abstract paintings primarily focused on the contrasts found in nature. Her expressive visual language takes inspiration from her physical surroundings and personal memories, fusing it with spirit and spontaneity sourced from emotions within.

View Full Press Release HERE For inquiries, please contact info@madelynjordonfineart.com **Face masks are recommended**

Madelyn Jordon Fine Art 37 Popham Road Scarsdale, NY 10583 T: (914) 723-8738 E: info@madelynjordonfineart.com W: MadelynJordonFineArt.com Hours: Tues-Sat. | 10:00 - 5:30 #MadelynJordonFineArt Follow Us: Instagram | Facebook | Twitter   Visit Us at:

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Edvard Munch print of Eva Mudocci, featured in The Violin Concert, is available through John Szoke Gallery.

The Violin Concert

Fiolinkonserten (Violin Concert)(Woll 243), 1903, lithograph, 18 7/8 x 22 inches

One of Edvard Munch’s better know portraits is one he did in 1903 of violinist Eva Mudocci. Called The Brooch (W244), we’ve discussed this print before. What’s not as well known is that W244 is the second of three known prints Munch did of Eva Mudocci in that same year. The third, called Salome, is of both Munch and Eva Mudocci’s heads and, in a letter to a friend Eva wrote that the title Salome caused her and Munch to have their “only row.”*  The first of the three, Violin Concert (W243), is a lithograph of Eva and  Bella Edwards, the pianist who accompanied her on tour. And this is the image that we’ll focus on today.   First, a refresher on Eva Mudocci and her Parisian encounter with Munch: Not falling into the trope of an artist’s muse as simply a symbol of beauty and romantic interest, Mudocci herself was an acclaimed artist. A child prodigy, she began performing in England before expanding her horizons to the rest of Europe, where she met Bella Edwards. The two were enmeshed in the rich arts scene happening in Paris’s Left Bank and together they spent half a decade living, traveling, and performing together.**   It was in 1903, during that tour, that Munch first met the talented violinist. He was quickly drawn to her musical ability and her beauty. Already consumed with busy travel plans for the rest of the year, Munch developed a relationship with Mudocci by corresponding back and forth throughout his travels. In this correspondence, he mentioned that he wanted to do a portrait of her.   His desire to draw her portrait became a reality later that same year when they met in person once again, this time in Berlin. Mudocci and Bella Edwards were staying at the Hotel Sans Souci and, according to art historian Arne Eggum, Munch moved all of his art supplies into their room in preparation to do the portrait. However, it seemingly wasn’t enough to have his lithograph stones and painting materials there, as Munch procrastinated on creating the portrait for so long that the women gave him an ultimatum: create the piece or move the materials out. This clearly was enough to spur Munch into action, as he got to work and created the first lithograph, The Violin Concert.

Die Brosche. Eva Mudocci(Woll 244), 1903, lithograph, 23 7/8 x 18 3/8 inches

Before we dive into the image, it’s important to note a few things. First, that there was much speculation about Eva and Bella’s own relationship, primarily that they were also involved in a romantic relationship with one another. The second thing to remember is Munch’s notoriously complicated relationship with women. His contradicting love and fear of them led to doomed relationships and dark feelings. While he once write, “The woman has inspired many of my best artworks,” he also wrote, “Often I felt the woman stood in the way of my art.”*** In regards to Eva Mudocci, an excerpt from a letter Munch sent to his friend Frederick Delius is likely most telling. He wrote: "But I always have feelings about the enemy – Woman I think you know Eva Mudocci and her friend B. Edvards – they are here – Fraulein Mudocci is wonderfully beautiful and I almost fear falling in love – (one of thousands). What do you think?”   Now back to the lithograph. Munch based the piece on two publicity photographs of Eva and Bella.**** In one, the musicians are mid-performance. In the other, Mudocci wears a white gown and has either already finished the recital or hasn’t started playing yet. Looking closely at W243, it’s interesting to see the different parts of each photograph he opted to incorporate into his own image. While he has Bella Edwards sat at the piano (her black dress blending with the black piano), playing with her back turned from Eva, he decided to portray Eva in the white gown, holding her violin still against her body. Her posture is rigid. She is looking at Bella, who is not looking back at her, almost as though waiting for direction. What’s even more, the expression on her face is stoic. It’s brooding. There is a strained feeling that almost sets an uneasy tone.   In The Brooch, Eva is alone, up close and center. It highlights her beauty and the intricate details of her face. Munch even referred to it once as another “Madonna.” When compared to W243, the stark differences between the two are obvious. So what does that suggest? Maybe Munch wasn’t merely depicting the ending of a music recital. Rather, he was possibly using the scene to project his own personal feelings— maybe his feelings on the relationship between Bella and Eva, maybe his conflicting feelings towards Eva being an independent and talented artist in her own right. Or maybe simply the fear of falling for a woman when his feelings on relationships were filled with such despair.   Munch and Eva continued their relationship until 1908 or 1909, though it was a complicated one. There was a trust and intimacy between them, but also turbulence and a certain level of incapability. Considering the tortured nature of their relationship, perhaps the first depiction Munch ever created of Eva Mudocci— an image that on face value could simply be seen as two women performing music together— contained more foreshadowing than even he knew himself. * Prelinger, Elizabeth, et al. The Symbolist Prints of Edvard Munch: The Vivian and David Campbell Collection: Exhibition. Art Gallery of Ontario, 1996. **  Sevilla, Fernando. “Lady with a Brooch Violinist Eva Mudocci: A Biography and a Detective Story.” St. Olaf College, 29 Apr. 2019,  *** https://www.munchmuseet.no/en/whats-on-arkiv/live-tour-munch-and-the-woman/ **** Travitz Bimer, Barbara Susan. “EDVARD MUNCH'S FATAL WOMEN: A CRITICAL APPROACH.” UNT Digital Library, Dec. 1986,

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41 East 57th Street, Floor 6, New York, NY 10022   212-219-8300   info@johnszoke.com

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20th Century & Contemporary Art Evening Sale on 18 May to Feature Blue-Chip Masters, Such as Basquiat, Picasso, Frankenthaler, and Rothko, Alongside Works by Wong, Berrío, and Weyant!

 

Phillips’ New York Evening Sale Poised to Become Most Successful Auction in Company History

 20th Century & Contemporary Art Evening Sale  on 18 May to Feature Blue-Chip Masters, Such as Basquiat, Picasso, Frankenthaler, and Rothko, Alongside Works by Wong, Berrío, and Weyant.

Phillips is pleased to announce that the full lineup for the New York Evening Sale of 20th Century & Contemporary Art is now available online. Poised to be the most successful sale in the company’s 226-year history, the auction will be led by titans of Modern and Post-War Art, including Jean-Michel Basquiat, Pablo Picasso, Mark Rothko, Yves Klein, and Helen Frankenthaler.  Featuring a strong Contemporary selection as well, the Evening sale provides a rare opportunity to acquire works by some of the more in-demand artists of today, including Matthew Wong, Amy Sherald, María Berrío, and Anna Weyant. Comprised of 37 lots, the Evening Sale will take place on 18 May at 7pm ET at 432 Park Avenue, following the exhibition, which opens on 30 April. 

 

Jean-Paul Engelen, President, Americas and Worldwide Co-Head of 20th Century & Contemporary Art, said, “This season, we are proud to present the most ambitious offering of works in Phillips’ history, a testament to the expertise of our international team and the strong, trusted relationships they have within the collecting community. From Mr. Maezawa’s Basquiat, to the Kusama that was originally in the collection of Günther Uecker, to the Klein that was owned by Charles Wilp, to the Frankenthaler that hails directly from the Mayerson Family Collection, the strong provenance of the works in our Evening Sale cannot be overstated and we are honored to have been entrusted with their sale.”

 

Robert Manley, Deputy Chairman and Worldwide Co-Head of 20th Century & Contemporary Art, said, “In recent seasons, we’ve seen an expansion of taste in the market. The interest in high-quality, rare-to-market works that extend back into the 20th century is as strong as that for works by artists who are still creating today. Our May Evening Sale celebrates this breadth of demand, bringing together the very best of Modern, Post-War, and Contemporary Art. Helen Frankenthaler’sBlue Dance and Pablo Picasso’s Figures et plante are offered alongside Carmen Herrera’s Basque and auction newcomer Justin Caguiat’s Doll 3 Eros, presenting collectors an unparalleled selection of works across all interests. We look forward to welcoming collectors into our exhibition and saleroom at 432 Park Avenue.”

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