Fright & Volume, Opening Reception: Friday, May 5th 6:00 - 8:30 PM

UPCOMING EXHIBITION: Paige Beeber Phantom Thread May 5th - June 3rd, 2023 39 Lispenard St. New York, NY 10013 Opening Reception: Friday, May 5th  6:00 - 8:30 PM Paige Beeber, And With This Spear I Slayed This Bear, 2022, Acrylic on canvas, 57" x 56.50" (144.78 x 143.51 cm) Freight+Volume is pleased to present Phantom Thread, an exhibition of recent paintings by Paige Beeber. Phantom Thread will be on view at 39 Lispenard St, New York, NY 10013. The opening reception will be on Friday, May 5th, 2023 | 6:00 - 8:00 PM. This is Beeber’s third solo exhibition with the gallery. Paige Beeber’s recent paintings extend her commitment to mark-making as a metaphor for psychological and social transformations. With a grammar of marks that reference weaving and needlepoint, Beeber shows how small, diligent acts of making and repairing—which are often gendered feminine—can be even more heroic and romantic than gratuitous acts of violence. Beeber points to sci-fi writer Ursula K. Le Guin’s 1986 essay “The Carrier-Bag Theory of Fiction,” in which Le Guin asks her readers to reimagine stories of female-oriented “gathering” with as much life-or-death drama as male-oriented “hunting.” Instead of writing “with my spear, I slay this bear,” she wonders, why not tell “a gripping tale of how we wrested the wild oats from their husks”? Beeber takes up this challenge in her paintings, producing bold compositions filled with high drama and risk but with none of the clichés of Action Painting.  Paige Beeber, Fast Slow Disco, Acrylic, oil and linen collage on canvas, 40" x 36" (101.6 x 91.44 cm) Beeber created some of the works in this show after hand-cutting her older paintings into thin strips, which became the raw material for the new work. Although the process of cutting was painstaking, she found it cathartic, which inspired her to host an ongoing series of “cutting parties” at her studio where woman-identified and nonbinary artists could come together and cut paintings—hers or theirs—in a safe, welcoming atmosphere. In addition to being a therapeutic act on its own, cutting up old paintings is a potent metaphor for breaking old patterns of behavior or cutting free of toxic relationships. Beeber’s cutting parties are a form of social sculpture that both complements her painting practice and grounds it. In today’s highly individualistic, career-focused art world, Beeber returns to the space of collectivist artisinal production to find healing for herself and others.   Paige Beeber, Bilateral Symphony 2023, Acrylic, Oil and Linen Collage on canvas, 36" x 40" (101.6 x 91.44 cm) Beeber’s approach to art-making is also informed by the philosopher Jacques Derrida’s discussion of painting—peinture—as pointure, a French word meaning “pointing” but also “puncturing” and “stitching.” Each time an artist paints a mark, it both punctures the picture plane and helps stitch it together—all the while “pointing” back on itself. Beeber’s marks operate in precisely this way. They simultaneously rupture and unify her layers of underpainting, while at the same time calling attention to their own constructedness. Even when Beeber’s paintings contain figural elements, they are radically anti-illusionistic. The emphasis is always on her own acts of making: cutting, collaging, and painterly “stitching.” Whether large or small, there is strength and precision in every mark she makes, and nothing is ever hidden. Each decision, each moment of inspired brilliance or existential dread, is there on the surface for us to see. By turns fast and slow, rough-hewn and meticulous, her marks weave tales of patient effort and epic adventure, of self-discovery and communal healing.  Paige Beeber received her BFA from Alfred University in 2015. Soon after graduation she relocated to New York City where her work has garnered her recognition through solo exhibitions at Sweet Lorraine Gallery in 2018, Arts+Leisure in 2020, and Freight+Volume in 2021. Beeber’s paintings have also been shown nationally and internationally in group exhibitions such as: Velvet Ropes, Soulland, Copenhagen in 2019 - SRISA Gallery, Florence, Italy in 2014, and the Walt Whitman Museum in 2011. Beeber has participated in the 2019 and 2020 DNA Residency as well as the Vermont Studio Center Residency where she received the VSC Merit Grant in 2016 and 2019.  CURRENTLY ON VIEW: Thérèse Mulgrew Room 126 March 31st - April 29th, 2023 39 Lispenard St. New York, NY 10013 Thérèse Mulgrew, Post Bath Cigarette, 2022, Oil on canvas, 48" x 60" (122 x 152 cm)  Thérèse Mulgrew's paintings portray states of vulnerability at their most intimate. Using forms of narrative portraiture that incorporate cinematic perspectives as much as painterly techniques, Mulgrew's works trouble the idea of a disinterested gaze. Throughout Room 126, the narrative aspect of Mulgrew's artistry—the sense that all the scenes revealed in her paintings relate back to a wholly involved viewer—lends her work the richness of an undiscovered world.  View Here GALLERY NEWS: Future Fair FREIGHT+VOLUME Gabrielle Graessle and Will Watson May 10 - 13, 2023  535 W 28th St, New York, NY 10001 Booth # U13 View Here Thérèse Mulgrew: Room 126 BROOKLYN RAIL A man and a woman meet at a motel for the night. Achieving a cinematic tone asks for a number of things: a compelling narrative, a good performance, a well-lit set. Read Here Gallery hours: Tuesday-Saturday  11 am-6 pm 39 Lispenard St. NYC 10013  212.691.7700 www.freightandvolume.com #frightandvolume#fineartmagazine#fineartfun

Apply to the SATELLITE ART SHOW at the Art Basel Switzerland fair!

SATELLITE ART SHOW is excited for our first Art Basel Switzerland fair! We will be bringing our unique and celebrated art fair to Switzerland to let the rest of Europe and the world know about the creative spirit! This year we will be presenting works again in shipping containers! The location is amazing and right of the Rhine river - so expect some swimming again. LOCATION  Landestelle Switzerland is Located just a 15-minute walk from the halls of Art Basel, the port of Basel offers a unique and exciting environment. It has become a summer hotspot for both locals and visitors, with a density of bars, art collectives, and cultural events that is unmatched in the city. Right next to the Satellite Fair grounds, you will find "Sommerresidenz" (Summer residency) – a small "village" built from shipping containers. Bustling with a free-spirited energy that is unique in Basel, this area is worth a visit in and of itself. Graffiti and creativity mixed with a very uniquely European vibe. Another must-see location in Basel is just a few steps from the fair: Gannet. It is a commercial ship that has been craned onto land and turned into a multi-story restaurant and nightclub. Art Basel veterans will be familiar with Nordstern, which is just a five-minute walk away. The ship turned club is one of Switzerland's most celebrated venues and is the scene of exclusive after-parties and events. After years of pushing art fair boundaries we will undoubtedly be another ambitious event. We look forward to presenting the SATELLITE experience in this historic location. Space is very limited, so we encourage you to apply asap! We have additional information on shipping and lodging to provide. We are looking for proposals from galleries, artists and collectives. Outdoor projects and performance proposals welcome as well. *For more information on past exhibitors,programming and to obtain a prospectus visit us at:  * satellite-show.com Fair Schedule  SHOW HOURS  WED June 14 4pm - 10pm THU June 15 4pm - 10pm  FRI June 16 4pm - 10pm  SAT June 17 4pm - 10pm  SUN June 18 1pm - 6pm APPLY NOW FOR SATELLITE ART FAIR SWITZERLAND  ABOUT WELCOME TO THE FUTURE OF THE ART WORLD SATELLITE ART SHOW presents interactive projects by young dealers, artist-run spaces and non-profits. By fostering a range of programming, SATELLITE is able to offer patrons and collectors a unique experience where art is at the forefront of creative expression, activism, and curiosity. Our exhibitors are encouraged to provide our visitors both an opportunity to collect new works of art as well as to present exhibitions that are engaging, experiential and interactive. SATELLITE is expanding perceptions on art and community and providing an inclusive environment for guests to feel comfortable in exploration and discovery. SATELLITE is an artist-run organization consisting of team members Brian Andrew Whiteley and Quinn Dukes. #satelliteartshow | satellite-show.com ©2023 Brian Andrew Whiteley Studio | 1006 Fulton Street #sataliteartshowartbasel#fineartmagazine#fineartswitzerlandfun

---

Between Lichtenstein and Riley: Exploring Color

Both Roy Lichtenstein and Bridget Riley searched for an essence that lay behind the subject of portrayal, using color to affect their audience

Bianca Spaggiari / MutualArt

Apr 25, 2023

Art is a quintessential element of life and can often be a guide towards dealing with the dilemmas of everyday life, a key towards understanding — on a deeper level — the circumstances and situations we face.  Although one premise is that art takes after the human soul, it is also the meeting point between reality and the surreal. Considering art as the convergence of actuality and imagination and using it as a means to decipher things can be a highly appealing approach to the subject. Furthermore, the deciphering of meaning veiled behind the canvas is effective in grasping an artwork. The process can also shed light on hidden connections and interactions that often get lost in the narratives when comparing different artists, from the same period or not.

Roy Lichtenstein, Crying Girl, Offset lithograph on lightweight, off-white wove paper, 45.8 x 61 cm, 1963. Courtesy of Clars Auction Gallery

Roy Lichtenstein was born in New York in 1923 and grew up on the Upper East Side. After training at Parsons School of Design, specializing in watercolor classes too, he had a very prolific career entering the roster of the most renowned art galleries of New York at the time, including Leo Castelli. Leo Castelli Gallery, perhaps the most prominent commercial venue in the art world at the time, presented Roy Lichtenstein’s first solo show, a sure-fire with good results in terms of fame and profit.

Roy Lichtenstein, Nude with Blue Hair, relief prints in colours, 130 x 80 cm, 1994. Courtesy of Sotheby’s London

During his artistic days, Lichtenstein employed a rotating easel to let him turn the canvas all the way around and be able to paint on it from every angle and in every direction. He himself affirmed, “I often paint my pictures upside down or sideways. I often do not remember what most of them are about. The subjects aren’t what holds my interest.” Neither would he confine himself to just canvases, often engaging with mixed media like ceramics and sculptures, but also industrial materials such as plexiglass.

Roy Lichtenstein, The Ring (Engagement), oil on canvas, 121.9 x 177.8 cm, 1962. Courtesy of Sotheby’s New York

Lichtenstein was daring in his approach and would use mostly bold color combinations, and his portrayals expanded to things beyond just the painting. Since he was neither depicting reality nor non-reality, the symbolism behind his works was often as suspended in the air, frozen in time, as the subject itself, like in The Ring (The Engagement). The canvas portrays the immediate moment preceding an engagement. Is he trying to take a snapshot of eternity? Or is he trying to communicate that marriage is an endless quest for happiness never to be found? The intrinsic meaning behind the canvas remains unsolved, just like the ring will never be slipped onto that lady's finger. The stark contrast between the couple's hands and the red background puts the spotlights on the ring. However, it also imbues the scene with a sense of anxiety due to the red spiky panes pointing towards it.

In contrast, British artist Bridget Riley was born in 1931 and is among the most celebrated contemporary artists. Riley started by painting figurative subjects, in her early phase mainly producing landscapes, with a rather academic approach, and later shifted to pointillism. Georges Seurat was highly influential on her, to the point where she internalized his practice, which helped her create her own trademark style. In 1960 she began exploring the dynamic potentialities of optical phenomena, producing the so-called Op-art pieces. Today her artworks are powerful in the human emotional response and able to make people feel seasick or overwhelmed. Therefore, like Lichtenstein, Riley infuses the audience with a sense of augmented reality and sometimes a state of non-tranquility.

Bridget Riley, From One to the Other, screen-print in colours, 49 × 92.1 cm, 2005. COurtesy of Bonhams Knightsbridge, London

From One to the Other is a continuum of lines in four different colors, but the viewer never perceives the elements individually. Waves of blue (and a darker shade of blue), violet, pink, and orange are weaved together. The pattern is thoughtfully studied, happening over sequences. Combining changing colors and twirls gives the viewer the impression of motion in the painting as the lozenge shapes surf over the canvas, vertically and horizontally. Just like Lichtenstein searched for deeper meaning beyond the figurative essence, the same applies to Riley. The lack of an iconographical presence calls for a deeper analysis to understand the overall abstraction’s meaning. Maybe it is all to be found in the title, a possible reference to the sweeping instances of life, as we move in waves flowing from one point in time to the next.

Bridget Riley, Rose Horizontal (T & G. 91), screen-print in colours on Fabriano paper, 47.9 x 82.4 cm, 2018. Courtesy of Phillips London

Comparing the oeuvre of the two, many similarities are discernible. Departing from what pleases the human eye, both artists reveal strong affinities as they engaged with pointillism or highly geometrical patterns throughout their careers. Lichtenstein’s motifs are more figurative, but as mentioned, the artist had “interest in anything emotionally strong.”  Riley, avoiding Lichtenstein’s stark contrasts, focuses on softer and subtler nuances. Both, however, present individual explorations of color that reveal visual connections which affect when applied close to another, presenting a deep understanding of how the interaction of color functions inside a defined space and how this results in distinctive, visually vibrant compositions.

Bridget Riley, Green Dominance; Blue Dominance; and Red Dominance (Schubert 22 - 24), screen-print in colours, 88.3 x 39.3 cm each, 1977. Courtesy of Sotheby’s New York

Given the consistent engagement with color, it is safe to say that notwithstanding the figurative or non-figurative subject matter on the canvas, there is a thread between the artistic approaches of Roy Lichtenstein and Bridget Riley. In their quest to convey meaning, Lichtenstein and Riley's vision went far beyond reality, expanding the canvas’ physical dimensions into a crafted reality they constantly created when making art — the representative fades away, what is left is the pure and intrinsic essence. If art can guide us through the dilemmas of life, it can also craft new dilemmas.

---

For more on auctions, exhibitions, and current trends, visit our Magazine Page

Gallery One Twenty-eight, exhibits: the Musashino Consortium 2023 -Fifth Annual Exhibition- May 3 - 14, 2023

Musashino Consortium 2023 -Fifth Annual Exhibition- May 3 - 14, 2023 Wednesday - Saturday 1 - 6pm and Sunday 1 - 5pm Opening Reception: Friday, May 5, 5 - 8pm Musashino Consortium was established 2017 by 14 artists in New York, by the alumni of Musashino Art University. Musashino Art University is an Art University in Japan founded in 1929. Our mediums may vary such as paintings, sculpture, installations, photographs and multimedia, but we, who have left Japan long ago have found a significance in the opportunity to present our works in New York. This collaboration as a group symbolizes the transformation we have experienced in the midst American art and society. Kana Handel. Miho Hiranouchi. Akiko Kosaka. Ayane Kurai. Kunihiko Maehara. Mieko Mitachi. Hiroko Ohno. Mitsuya Okumura. Yasuko Okumura. Yoshimi Tanaka. Akemi Uehara. Junko Yoda. Toshihisa Yoda. Atsuko Mu Yuma. Art Work by Yasuko Okumura onetwentyeight 128 Rivington Street (between Essex and Norfolk)  New York, NY 10002  galleryonetwentyeight.org #onetwentyeightgallery#fineartmagazine#fineartfun

Web Version   The Bronx Museum's Gala Auction is Now Live On Artsy! Featuring over 60 artworks by... BID NOW  Online bidding closes on Tuesday, April 25th at 12PM EST Register now to bid on the silent and live lots, and download the Artsy iPhone app to explore each lot and continue bidding during the event. For questions about the auction, online bidding, or placing absentee bids, please contact: maria@fremontblueevents.com ©2023 Bronx Museum of the Arts | 1040 Grand Concourse at 165th St | Bronx NY | 10456  #thebronxmuseum#fineartmagazine#fineartauctionfun

Phillips’ April Editions and Works on Paper Auction Realizes $7.2 Million! WOW!!!

 

Phillips’ April Editions and Works on Paper Auction Realizes $7.2 Million, Showcasing the Strength of the Market for Prints and Multiples   Spirited Bidding Throughout for Modernist Women Artists, and Record Prices for Jasper Johns, Andy Warhol, and Roy Lichtenstein   New York, 18 - 20 April 2023 Sale Total: $7,240,207 / £5,843,723 / €6,607,471   Lots Sold: 414 | Lots Offered: 438 Sold by Lot: 95% | Sold by Value: 96%   Rebecca Tooby-Desmond at the Rostrum during Phillips’ April Editions Auction     Kelly Troester and Cary Leibowitz, Deputy Chairmen and Co-Heads of Editions and Works on Paper, said, “We are delighted to continue the momentum of our robust Spring season with the April Editions auction receiving such an enthusiastic response from our community, marked by 41% of lots selling at or above the high estimate and nearly 10% of lots doubling or more the high estimate. The strength of the category across the board was underscored by bidders participating from nearly 50 countries on the phones, online, and in our saleroom at 432 Park Avenue. Collectors vied for works spanning the 20th and 21st centuries – from Camille Pissarro to Andy Warhol, Lee Krasner to Jean-Michel Basquiat, setting over 60 new auction records. Modernist female artists such as Sonia Delaunay, Francoise Gilot, Meret Oppenheim and Louise Bourgeois attracted some of the most spirited bidding of the day, along with record prices in our Contemporary Day Sale session from Katherine Bernhardt, John Wesley and Damien Hirst, as well as, in our Post War Day sale session from Agnes Martin, Vija Celmins and Robert Ryman. We were also particularly pleased with the results of the Property from the Collection of Rosa and Aaron Esman, which brought over the high pre-sale estimate and achieved 14 records led by Josef Albers’ Hommage to the Square, the complete set of ten screenprints, which realized three times its estimate.”     Top Ten Lots Lot Description Estimate Price Achieved 96 Jasper Johns, High School Days, The Critic Smiles, Flag, Light Bulb, and Bread, from Lead Reliefs (G. 129-133; ULAE 72-76), 1969 World Auction Record for the Complete Set $200,000 - 300,000 $355,600 139 Andy Warhol, Superman, from Myths (F. & S. 260), 1981 $150,000 - 250,000 $241,300 133 Andy Warhol, Marilyn (F. & S. 23), 1967 $120,000 - 180,000 $241,300 138 Andy Warhol, Bighorn Ram, from Endangered Species (F. & S. 302), 1983 World Auction Record $60,000 - 90,000 $222,250 127 Roy Lichtenstein, Nude Reading, from Nudes series (C. 288), 1994 $120,000 - 180,000 $203,200 136 Andy Warhol, Sunset (see F. & S. 85-88), 1972 World Auction Record $80,000 - 120,000 $190,500 115 Tom Wesselmann, Delphinium and Daisies (W.P.I. E19), 1989-1992 $40,000 - 60,000 $184,150 137 Andy Warhol, Volkswagen, from Ads (see F. & S. 358), 1985 World Auction Record Price for Unique Variant $100,000 - 150,000 $165,100 102 Julian Opie, Sian Walking; Jeremy Walking in Coat; Verity Walking; and Kris Walking (C. 147-150), 2010 World Auction Record for the Complete Set $85,000 - 120,000 $146,050 108 David Hockney, A Bigger Book: Art Edition A, B, C and D, 2010/2016 $100,000 - 150,000 $133,350   Esman Collection Auction Records Lot Description Estimate Price Achieved 14 Josef Albers, Hommage to the Square: Ten Works by Josef Albers (D. 156), 1962 World Auction Record for the Complete Set $30,000 - 50,000 $95,250 25 Jasper Johns, Target (ULAE 35, S. 71), 1967 World Auction Record for the Lithograph $25,000 - 35,000 $53,340 5 Jackson Pollock, Untitled (after Number 22, 1951) (O'C. & T. 1095), 1951 World Auction Record for the Multiple $30,000 - 50,000 $50,800 11 Ellsworth Kelly, Colored Paper Image XIII (Yellow Green Black Blue Orange), from Colored Paper Images (T. 309, A. 153), 1976 World Auction Record for the Multiple $25,000 - 35,000 $50,800 9 Mel Bochner, No, 2009 World Auction Record for the Multiple $10,000 - 15,000 $22,860

New Auction Records Lot Description Estimate Price Achieved 96 Jasper Johns, High School Days, The Critic Smiles, Flag, Light Bulb, and Bread, from Lead Reliefs (G. 129-133; ULAE 72-76), 1969 World Auction Record for the Complete Set $200,000 - 300,000 $355,600 138 Andy Warhol, Bighorn Ram, from Endangered Species (F. & S. 302), 1983 World Auction Record $60,000 - 90,000 $222,250 136 Andy Warhol, Sunset (see F. & S. 85-88), 1972 World Auction Record $80,000 - 120,000 $190,500 115 Tom Wesselmann, Delphinium and Daisies (W.P.I. E19), 1989-1992 World Auction Record for the Edition $40,000 - 60,000 $184,150 137 Andy Warhol, Volkswagen, from Ads (see F. & S. 358), 1985 World Auction Record Price for Unique Variant $100,000 - 150,000 $165,100 102 Julian Opie, Sian Walking; Jeremy Walking in Coat; Verity Walking; and Kris Walking (C. 147-150), 2010 World Auction Record for the Complete Set $85,000 - 120,000 $146,050 111 David Hockney, Pictured Gathering with Mirror, 2018 World Auction Record for the Multiple $50,000 - 70,000 $120,650 128 Roy Lichtenstein, Landscape with Poet (G. 1673, C. 303), 1996 World Auction Record for the Lithograph $40,000 - 60,000 $97,790 103 Ed Ruscha, Ghost Station, 2011 World Auction Record for the Multiple $30,000 - 50,000 $72,390 144 Andy Warhol, Cow (F. & S. 12A), 1976 World Auction Record for the Multiple $12,000 - 18,000 $69,850 125 Various Artists, The Geldzahler Portfolio, 1998 World Auction Record for the Complete Set $25,000 - 35,000 $57,150   Exchange Rate on 21 April 2023: US$1 = £0.8071, €0.9126, HK$7.8487

ABOUT PHILLIPS Phillips is a leading global platform for buying and selling 20th and 21st century art and design. With dedicated expertise in the areas of 20th Century and Contemporary Art, Design, Photographs, Editions, Watches, and Jewelry, Phillips offers professional services and advice on all aspects of collecting. Auctions and exhibitions are held at salerooms in New York, London, Geneva, and Hong Kong, while clients are further served through representative offices based throughout Europe, the United States and Asia. Phillips also offers an online auction platform accessible anywhere in the world.  In addition to providing selling and buying opportunities through auction, Phillips brokers private sales and offers assistance with appraisals, valuations, and other financial services. Visit www.phillips.com for further information.   *Estimates do not include buyer’s premium; prices achieved include the hammer price plus buyer’s premium.   PHILLIPS NEW YORK – 432 Park Avenue, New York, NY 10022 PHILLIPS LONDON – 30 Berkeley Square, London, W1J 6EX PHILLIPS HONG KONG – G/F, WKCDA Tower, West Kowloon Cultural District, No. 8 Austin Road, West Kowloon #plillipsauctionhouse#fineartmagazine#fineartauctionfun