PRESS PREVIEW BRUNCH | Wednesday May 7, 2014 11 AM | The Clemente

PRESS PREVIEW BRUNCH | Wednesday May 7, 2014 11 AM | The Clemente              You’re invited to attend the brunch press preview for cutlog NY 2014, held at 11:00 am on Wednesday, May 7th, at 107 Suffolk St, New York, NY 10002.   Check in to receive your press badge before meeting in the cutlog lounge on the second floor of The Clemente building for a private brunch, remarks from Founding Director,Bruno Hadjadj and NY Director, Guy Reziciner, followed by a first look walk through of the exhibitor's booths.   RSVP by May 1st to Lainya Magaña: lainya@aopublic.com Register for your press credentials Download Media Kit username: press | password: aoPubLic1! Schedule 11:00-11:30 Brunch 11:30-11:45 Remarks from Bruno Hadjadj & Guy Reziciner 11:45-12:00 Questions and answers 12:00-1:00 First look tour of the fair   This May 8-11, cutlog NY will return for its second year to the The Clement on New York's Lower East Side. The French boutique contemporary art fair will include over 40 galleries and curators presenting work by the most cutting-edge contemporary artists in a series of art, installations, performances, and talks during Frieze week. cutlog NY aims to foster new relationships between galleries, collectors and art institutions, forming a collaborative platform for building new perspectives on contemporary art. Click here for a full list of cutlog NY exhibitors.           cutlog NY Thurs, May 8 – Sun, May 11, 2014 The Clemente 107 Suffolk St New York, NY 10002 FAIR HOURS Wednesday, May 7 11am – 1pm: Press Preview 1pm – 5pm: VIP Preview/Private Tours (by invitation only) 5pm – 10pm: Vernissage (Vernissage Invitation or ticket only) Thursday, May 8 12pm – 9pm: Open to the public 6pm – 9pm: Opening Reception Friday, May 9 12pm – 9pm: Open to the public Saturday, May 10 12pm – 9pm: Open to the public Sunday, May 11 12pm – 6pm: Open to the public TRANSPORTATION Subway: F J M Z @ Delancey Street/Essex Street Bus: 14A, 9 A shuttle bus will run daily between cutlog NY and the Frieze ferry stop. SOCIAL Facebook: www.facebook.com/Cutlog Instagram: @cutlogny Twitter: @cutlog Tumblr: http://cutlog.tumblr.com #cutlogny cutlog NY CONTACT INFORMATION 107 Suffolk St, Room 415 New York, NY 10002 +1 646 770 1669 ny@cutlog.org www.cutlogny.org PRESS CONTACT Lainya Magaña | A&O PR (p) 415.577.1275 | (e) lainya@aopublic.com #fineartmagazine

Chris Trueman's Electric Canvases Will Leave Your Mind Spinning

Chris Trueman's Electric Canvases Will Leave Your Mind Spinning  The Huffington Post  | by  Priscilla Frank Chris Trueman's "Beneath the Skin" will run until April 26, 2014at Edward Cella Gallery in Los Angeles. Works available at  WHITEBOXCONTEMPORARY.COM SALAZAR@whiteboxcontemporary.com Somewhere between a computer screen saver, a journey to find your spirit animal, and a car window streaked with rain, you'll find Chris Trueman's electric abstract canvases. The enchanting works, made from acrylic and acrylic spray paint, combine various threads of abstraction for a unique experience that combines the historical debates of painting with a fast-paced sharpness perfect for the short attention span of the internet generation. Combining soft and hard strokes with warm and cool colors, Trueman creates multilayered works thick with contradiction and complexity. We reached out to the California painter to learn more about his upcoming exhibition, "Beneath the Skin."  Your artistic style features a visual collision of competing schools of abstraction, from AbEx to Op Art. How would you define your style without reference to these other modes?  My artistic style is about constructing something new out of the parts and pieces of systems and modes that at one point were ideologically isolated philosophies. The reason I have currently gravitated to Ab-ex and OP wasn't because of their place in art historical context, but because the experience of them was so opposing. Ab-ex was a sort of transmission, a nonverbal message through the paint itself, and OP was so much more of a reflection about the body of the viewer and how experiencing OP art made you realize that your perceived world wasn't as stable as it seemed. Perception depends on things staying still. By combining these modes you get a transmission lost in the reflection or a persistent presence in your otherwise pleasurable visual stimulus. I make paintings based on the premise that the sum of two contradicting experiences does not cancel out but creates a whole separate experience unto itself. There are a number of other references in the work such as graffiti, street art, computer graphics, 3D modeling, fashion and also various types of space -- illusionistic space, a flattened "abstract" space, space based on series of overlapping layers that act like a screen or photoshop space, physical and textural space. I'm mining the history of painting and visual culture to take advantage of what these diverse modes and processes can do and what the experience of them is. Walk us through your process.  How do you begin a work and how do you know when it is finished?  My process begins on a raw canvas, I start by painting gesturally, with brushes, squeegees, and a variety of tools. The second layer is often a process of masking and spraying with an acrylic based spray paint. In this process I have to start building backwards, because the negative space is what will show through. Sometimes the spray is solid, at other times it allows the previous layer to show through, sometimes the masked layer covers the whole surface, sometimes just parts of the painting. The interesting thing about using the acrylic spray paint is that it adheres differently to the various surfaces, so the areas with the underlying gesture the spray is more solid, whereas the areas of raw canvas, the paint doesn't adhere as well. This ends up merging the layers, rather than a flat even graphic layer on top of a gestural painting, the graphic layer takes on the shapes and forms of the underlying layers. I then repeat this back and forth, more gestural painting, sometimes staining by watering down the acrylic paint and then back to the masking and spraying. What makes this body of work different than the previous bodies of work is that the gesture comes back to the top, before the final layer was a masked and sprayed layer. I know it is finished when there is a tension and balance between the forms, even though I work somewhat intuitively in the process, I start out with an idea of what the work will more or less look and act like in the end and I can see when I have accomplished my objectives while maintaining a freshness. How, if at all, has California contributed to your aesthetic? I think California has been a big influence -- the color, the light, the amazing history we have here have all contributed in some way to my paintings. I also like it when there is a sense of place that comes through in the work. You can see a Berlin aesthetic in work coming from Berlin and it is tied to the ideas that are circulating. The same happens here, there is a youthfulness and a boldness that I see in a lot of LA-based work. I also think that Hollywood and the movie industry can play a role in the work that is made here, a cinematic quality. What's your biggest distraction from working? I am very fortunate to not have too many distractions from working. My wife is very supportive, we have a 16-month-old daughter Luca that I love to spend my time with and I teach at Fullerton College and Santa Ana College a few days a week, but I wouldn't call either of these a distraction. I love spending time with my family and I get a lot out of teaching, it keeps me sharp, on my toes and thinking about why I make the decisions I make in own artwork. Nothing makes you think about your process and ideas more than having to explain it to a student. I have a really dedicated studio practice and get into the studio at least five days a week. I have also been traveling quite a bit for art fairs and shows, I think the travel is probably what pulls me out of the studio the most but it is so important to me to see what else is going on out there and I enjoy showing my work actively.    #fineartmagazine

Yura Adams Paintings

Yura Adams
Paintings

On Thursday April 24th there will be a solo exhibition of paintings by Yura Adams.  The work will be on display through May 18th with a reception for the artist on Saturday April 26th from 6:00 until 8:00 p.m.

This group of recent oil paintings shows a new development in my painting that is looser, and more concerned with the spontaneity of paint. I use a lot of medium in the paint and load up my brush to keep it that way, I paint to invent and to create relationships of shape and color I have not seen before. Human figures are almost always present. They appear in scenarios I develop in the paintings in relationship with abstract forms that delight me when they appear. By isolating figures and creating relationships with abstraction mystery is implied. These paintings are a response to visual experiences I have, at least they start there. When I paint, I feel like I am in a tunnel and the act of originating the imagery illuminates my experience of humanity.
     -Yura Adams, 1.6.14

Gallery hours are Thursday through Monday, 11:00 till 5:00 p.m.  For further information about the gallery, the artists and upcoming exhibition, visit

www.johndavisgallery.com
John Davis Gallery
362½ Warren Street
Hudson, New York 12534

or contact John Davis directly at 518.828.5907 or via e-mail:  art@johndavisgallery.com.

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Sopra Restaurant

Sopra Restaurant A Mediterranean meal is not complete without a warm, amber hue descending upon its diners. Picture sunsets in Hvar, Crete, Sicily... Although the pebbled beaches of these idyllic locations cannot be found in New York City, the excellent food and divine lighting can be, courtesy of Sopra restaurant and our Delta pendants (Delta III and V pictured above). The latest design project from Mapos architects, Sopra exudes the community charm and golden hour magic of the Mediterranean, with a subtle touch of Rich Brilliant Willing. For more information about our Delta lighting series, please email sales@richbrilliantwilling.com Olivia Sholler olivia@richbrilliantwilling.com +1-212-388-1621 #fineartmagazine

Inaugural Edition of Silicon Valley Contemporary Points to Burgeoning Art Market in the Valley

Inaugural Edition of Silicon Valley Contemporary Points to Burgeoning Art Market in the Valley April 17, 2014 (San Jose, CA) — On Sunday, April 13th, Silicon Valley Contemporary closed a successful inaugural year for the Valley’s first art fair. The premier event drew over 6,500 attendees to the San Jose McEnery Convention Center, with over 2,000 lining up for the VIP Opening Night Preview to benefit the San Jose Museum of Art. Silicon Valley Contemporary delivered on its aim of building bridges between the art and tech worlds and grooming a new collector base for cutting edge contemporary art works. Ultimately, the fair indicated strong interest in the region for viewing and collecting fine art, spread across mediums and demographics. The fair’s robust panel discussion program proved immensely popular, with standing room only audiences learning about the fine art market and collecting from national art experts. As an exercise in new market disruption, one of the Valley’s core tenets, Silicon Valley Contemporary’s first year proved a telling experiment, revealing effective modes for educating and engaging this audience, which the fair plans to build on in its 2015 return. “Fair goers demonstrated interest in all genres, and this positive response to our first-year effort from thousands of art enthusiasts is encouraging and establishes a strong foundation on which to build next year,” said Rick Friedman, President, Hamptons Expo Group and founder of Silicon Valley Contemporary. Silicon Valley Contemporary brought a fair that matched the innovative spirit of the region, “the #1 filer of new patents in the United States,” as Kerry Adams-Hapner, San Jose’s Director of Cultural Affairs & Deputy Director of Economic Development, pointed out in Thursday’s press conference. The first year fair was also host to a range of other first-and-only claims—first time art acquisitions by new collectors, first time art fair attendees in a growing market, and the first Drone-produced paintings. Throughout the fair, guests were seen using the Collectrium app to identify works of art they were interested in. The official technology partner of the fair, Collectrium produced the Silicon Valley Contemporary app for iPhone and iPad, a comprehensive digital guide to the fair's exhibitors and artworks available in real time point-and-shoot display through Collectrium’s revolutionary image recognition feature. Jamie Austin, Curator and Director of Programs for ZERO1, a preeminent authority on the intersection between art and technology, attended the fair and spoke of the positive impact of the event for the area, stating, “Silicon Valley Contemporary was a welcomed experiment in downtown San Jose. From the strong collection of videos in the "Moving Image Experience" to media projects by Gary Hill and the Marina Abramovic Institute, I appreciated the fair's focus on showcasing artists using technology as a tool to create innovative new work." Sales documented at SVC were in a range of mediums and price points–from major works placed in prominent collections to Low-Brow and Street Art pieces purchased by novice collectors, proving a viable market for fine art in the Valley. Opening night sales kicked off with the purchase of Jasper Johns’s Lands End, for $28,000, and a Mark Flood Untitled painting, for $80,000, sold at Mark Borghi Fine Art, and continued through the final hour of the fair with Seoul based Art Company MISOOLSIDAE selling a Jeong Hyun-Sook. Additionally, the first known Bitcoin sale at an art fair, Off Limits but Blessed by The Fed by Dana Louise Kirkpatrick sold by KM Fine Arts Gallery for more than 40 Bitcoins. Many exhibitors cited interest and follow-up that would extend sales through the coming weeks, and numerous new contacts made. Lester Marks, a noted Houston based collector and featured guest speaker at the fair, acquired a major work for his collection at the fair by the 2014 Distinguished Media Artist, Gary Hill, asking price $65,000. In a comment made shortly after he said, "I'm very excited to have acquired Klein Bottle with the Image of Its Own Making (after Robert Morris) by Gary Hill from James Harris Gallery at Silicon Valley Contemporary. This piece will join another important work of art in my collection—a video piece by Bill Viola. It’s an honor to have work by two pioneers working with the moving image and new media." Produced in an edition of five, Marks acquired the third in the edition, as well as a piece by Turkish video artist Rafik Anadol. EXHIBITOR QUOTES Regarding the sale of the Gary Hill piece to Lester Marks, Mr. Harris of James Harris Gallery (Seattle, WA) said, “The pieces I brought of Gary Hill’s were a great complement to his Depth Charge piece in the Moving Image Experience. With the sale of Klein Bottle..., the fair was very successful for me. I also noticed that the collectors who came through were not specifically focused on new media, they had a range of tastes.” Anthony Luzi, of Bash Contemporary (San Francisco, CA) proclaimed opening night “...phenomenal, better than expected...” and reported strong sales and interest, explaining, “Overall, the fair seemed to do great for the first year. We made sales, the connections were great and I was glad to see interest in the work we show coming from collectors in their 40s, 50s, and 60s.” Jennifer Kellen of ACE Gallery, (Los Angeles, CA) noted meeting visitors from many cities including Los Angeles, San Francisco, New York, Boston, Houston and more. The gallery made sales and did well, and Ms. Kellen noted there was particular interest in Ben Jones’s piece SGI Video Painting 1, which débuted at the fair. When asked about the relevance of an art fair in Silicon Valley, Ms. Kellen replied, “The thing that makes a work of art unique is innovation. Artists as well as people in the tech industry are innovators - the basis of both industries is solving problems.” PRESS MENTIONS “The fair is a proper art fair - seriously done, with some rigorous pieces.” - Caille Milner,San Francisco Chronicle “...art dealers are ravenous to tap into this rising class of monied tech industrialists, knowing full well that they are the most significant contenders for being the patrons of tomorrow.” - Andrew Goldstein, Artspace “...the mood on Thursday night was very upbeat, curious, and optimistic. Dealers aren’t expecting immediate returns, just trying to figure out what type of work will help them get a foothold in Silicon Valley.” - Ben Sutton, Artnet “Situated in the country’s mecca of innovation...the event caters to the newly minted tech titans –  the startup set and their ecosystem of supporters. But like with any art fair organized by New York’s Hamptons Expo Group, SVC will be well-attended by NorCal’s most established collectors, curious consultants, dealers, and museum directors as well as those who want to see and be seen at the ‘next generation art fair.’” - Nathalie Danilovich, 7x7 Event Images Images of the opening night event are available via Dropbox. About Silicon Valley Contemporary Silicon Valley Contemporary is the first art fair in the heart of California's technology industry mecca, connecting select international exhibitors with this highly desirable market through innovative programming and events. Silicon Valley Contemporary will bring together innovators and influencers from the worlds of art and technology, including curators, collectors, museum directors, international artists and art dealers, CEOs, and angel investors. The fair offers the public an opportunity to see the how the newest technological innovations are impacting art practices around the world. www.siliconvalleycontemporary.com                                                     Silicon Valley Contemporary Contact: HEG – Hamptons Expo Group 223 Hampton Road Southampton, NY 11968 Main Office: 631-283-5505 Fax: 917-591-5415 info@hegshows.com Follow Silicon Valley Contemporary on Social Media: Facebook.com/SVcontemporary Twitter @SVcontemporary Instagram @SiliconValleyContemporary #ArtValleySVC #fineartmagazine

ACCREDITATION NOW OPEN

ACCREDITATION NOW OPEN Press accreditation is now open to all journalists commissioned to write about Frieze New York 2014.  - Accreditation will close online on April 25 2014 - Please note that if you are a freelance journalist you will be required to provide proof of your commission, such as a letter from your editor - Apply now at accreditation.frieze.com Frieze New York takes place in Randall's Island Park, Manhattan from May 9-12, 2014 Frieze New York is one the world's leading contemporary art fairs and this year the third edition will bring together over 190 of the world's most forward-thinking galleries. Alongside these Frieze New York features a curated program of Projects, Talks, Sounds and Education activities. Press Resources The Press Office at Frieze New York contains a number of workstations and communication facilities including: Mac and PC computers with internet access, a printer and a telephone. These services are available to all accredited journalists during office hours. For further press information, including our most recent press releases, please consult the press section of our website. Filming If you are planning on filming at the fair please be in touch with the press contact for your region. Press Contacts - US & Americas: Black Frame +212.226.2196  friezeny@framenoir.com - UK, Europe & ROW: Scott & Co  +44 (0)20 3487 0077  friezeny@scott-andco.com - For any other questions please email press@frieze.com Apply Now Visit accreditation.frieze.com More News Follow @FriezeNewYork on Twitter, @friezeartfair on Instagram or like us on Facebook to stay part of the conversation #friezeny. #fineartmagazine

Birth of Comedy

	Birth of Comedy
	testsite 14.2 Meiro Koizumi & Yasufumi Nakamori
	Off-Site Fusebox Festival Performance: Friday, April 25, 6pm at the Blanton Museum of Art Auditorium Opening Reception: Sunday, April 27, 4-6pm with a conversation with the Artist & Curator at 4:30pm
	testsite | 502 West 33rd Street | Austin, TX 78705
	Fluent~Collaborative & testsite are pleased to present Birth of Comedy, an installation of video work by Japanese artist Meiro Koizumi. Curated by Yasufumi Nakamori, this will be Mr. Koizumi's first exhibition in the state of Texas and third solo exhibition in the United States. In conjunction with the installation at testsite, Mr. Koizumi will perform his workAutopsychobabble #5 at the Blanton Museum of Art auditorium on April 25th as part of the 10th Annual Fusebox Festival. The Fusebox Festival performance is co-organized by testsite and the Blanton Museum of Art. The presentation at testsite will feature video works from the past decade, including Human Opera XXX (2007), Portrait of a Young Samurai (2009), and Inder Kommen Sie/It's a Comedy(2012). The artist and curator will engage in a moderated discussion during the opening event at testsite on Sunday, April 27th. In his video installations and performances, Meiro Koizumi deals with psychological and political dynamics on a scale from the familial to the national, and examines questions of affect, perception, and memory, often touching upon aspects of Japan's modern history. Implicating himself and his performers in his art, Koizumi challenges the viewer by re-defining the uncomfortable and indefinable line between cruelty and comedy through his choreographed emotional manipulations. _________________________________________ Meiro Koizumi is a video and performance artist working in Yokohama, Japan (born in Gunma, Japan, 1976). He studied at the International Christian University, Tokyo (1996–1999); Chelsea College of Art and Design, London (1999–2002) and the Rijksakademie in Amsterdam (2005–2006), and won first prize at Beck's Futures 2 in London for student film and video (2001). His solo exhibitions and performances have been featured at MoMA, New York (2013); Tate Modern, London (2013); Annet Gelink Gallery, Amsterdam (2012); Art Space, Sydney (2011); and the Mori Art Museum, Tokyo (2009). He has participated in numerous group exhibitions, includingFuture Generation Art Prize, Pinchuk Art Center, Kiev (2012);Art Scope 2009–2011: Invisible Memories at the Hara Museum, Tokyo (2011); Liverpool Biennial (2010); Media City Seoul (2010); Aichi Triennale, Japan (2010); and Nanjing Triennial, China (2008). For more information, please see the artist's website: www.meirokoizumi.com. Yasufumi Nakamori, PhD, is an associate curator of photography at the Museum of Fine Arts, Houston, and teaches modern and contemporary Japanese art and architecture at Hunter College, the City University of New York. As an expert on the interdisciplinary field of the photography and architecture of twentieth-century Japan, he has recently authored scholarly essays, including "Criticism of Expo '70 in Print: Journals Ken, Dezain Hihyō, and Bijutsu Techō" in Josai University Review of Japanese Culture and Society, vol. 23, 2012 (a special issue on Expo '70 and Japanese Art), and "Kawazoe Noboru – Shinkenchiku and Tradition Debate" inMetabolism: the City of Future (Mori Art Museum, 2011). In 2011, Nakamori won an Alfred H. Barr, Jr. award from the College Art Association for his book Katsura: Picturing Modernism in Japanese Architecture, Photographs by Ishimoto Yasuhiro (2010). _________________________________________ Support: This project is supported in part by the Japan Foundation New York Grants for Arts and Culture. Special thanks to the Blanton Museum of Art and the Fusebox Festival for their generous collaboration with the performance. Off-Site Performance: Friday, April 25, 6pm at the Blanton Museum of Art Auditorium (in the Smith building). Free tickets at the door. Parking in the garage at MLK and Brazos.
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JOHN POWELL

JOHN POWELL In 1993 Mr. Powell started Light Time in Space, Inc. to seriously look at the development of public art based on the idea that light can be made a palpable part of public projects.    His consulting work with GTE Sylvania led to projects using holographic imaging systems to create “flat lenses”.  Residencies and installations in Denmark at the Gammel Doks Center for Art and Craft led to permanent work for the City of Denver.  Staying involved with the extremes in lighting has turned into a habit, most recently in work with Luminus Devices in Sudbury, Mass developing a color changing high output LED fixture and Color Kinetics to illuminate Boston’s first new lift bridge in seventy years. -  For more info on John, go tohttp://www.artspecifier.com. Berkley College of Music Ray, Chinatown Boston First Night Weeks Footbridge, Cambridge/Allston, MA To watch an amazing video of John Powell's work click below https://www.youtube.com/watch?v=mlXtJxjuE2E#t=20 If you are an artist interested in taking your career to the next level, reach art professionals, designers, art consultants and art lovers now is the time.  you can click here for artist membership application.

Lauren Henkin The Park

The Park No. 1  Lauren Henkin  The Park April 30th - June 8th, 2014  Reception for the artist: April 30th, 6-8pm Foley Gallery is delighted to present The Park, photographer Lauren Henkin's five-year study of Central Park. This is the first time a selection of these photographs will be seen by the public.  It is also Henkin's New York City debut. Henkin began The Park in 2009 on a visit from Oregon.  She returned every summer to photograph, and moved to New York in 2012 to work full-time on the series.  Different from other recent photographic studies of Central Park, she gives us those indefinable moments that prompt you to wake up on a Saturday morning and think, "I want to spend the day in the park."  Henkin has spent a decade photographing the American landscape.  Instead of a documentary approach, she focuses on reinterpreting the everyday in unexpected ways. The Park emphasizes the act of seeing as much as the subjects themselves. She describes her intent, "My goal is to represent Central Park as it lives in one's imagination.  It's equally about the light on the softball field as it is about the softball.  It's about the deep grooves in the rocks as much as the rock-climbing.  It's about the sun on your back as much as the sunbathing." The Park spans Central Park's diverse landscape:  the south end, bordered by Midtown Manhattan skyscrapers where people climb rocks, take pictures and picnic; a sea of sunbathers in Sheep Meadow; and, The Ravine, where the crowds thin as the landscape grows wilder. These photographs aren't portraits or landscapes.  They juxtapose all the elements that make Central Park-the architecture, the land and us. She enables us to see what we're often unconscious of without the help of the camera-folly, irony, and authenticity.  Born in Washington, D.C., artist Lauren Henkin grew up in Maryland, graduated with a Bachelor of Arts in Architecture from Washington University in St. Louis and now resides in New York City.  She is an educator, writer, frequent speaker, author and active member in the arts community.  Her work is widely collected privately and by public institutions such as the Cleveland Museum of Art, Portland Art Museum, Smith College Museum of Art, Yale University and Dartmouth College. Her work has been published in numerous journals on photography and the book arts including PDN, Black+White Magazine, Urbanautica, Landscape Stories,Parenthesis and The Washington Post. The Park will remain on view through June 8th.  Foley Gallery is open Wednesday - Sunday, 12 - 6pm.  To request images; please contact the gallery at 212.244.9081 or info@foleygallery.com.

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