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Friday, April 26, 2019
Want to Show in NYC? See Me Submit work for June 13 exhibition.
Catch Elizabeth Heyert, The Idol Exhibition at the Palazzo Mora during the Venice Biennale Opening May 11, 2019
  Elizabeth Heyert, The IdolExhibition at the Palazzo Mora during the Venice BiennaleOpening May 11, 2019
Elizabeth Heyert, Untitled, 2019.
NEW YORK — New York-based photographer Elizabeth Heyert will premiere seven works from her new series, The Idol, at the Venice Biennale in May 2019. Selected as part of Personal Structures, a group exhibition curated by Global Art Affairs Foundation (GAA), a Dutch non-profit organization, and hosted by the European Cultural Centre (ECC), Heyert’s work will be shown at the historic Palazzo Mora.
The Idol is inspired by the problem of the representation of women, centered on the question: What makes a woman an idol, an object of fascination and worship? Heyert pairs visual artifacts from classic Hollywood with photographs of historical statues of the Virgin Mary. Mary was the starting point for this project, with her image perhaps the most ubiquitous in the western world. Traveling to cathedrals and churches throughout Southern Spain, such as the Cathedral of Malaga, the Cathedral of Marbella, and smaller churches in Seville, Granada, and surrounding towns, Heyert concentrated on capturing the exquisitely realistically-rendered faces, most dating from the seventeenth century. She discovered a remarkable similarity to recognizable mid-twentieth-century film stars, prompting the realization that the male fantasy of the archetypal woman seems to have remained unchanged over the course of many centuries.
By juxtaposing images of Mary with those of Hollywood stars, Heyert interrogates the Madonna-Whore dichotomy. Permeating both art history and, more broadly, visual culture as a whole, this dichotomy divides women into two opposite categories: the pure and virtuous and the depraved, sexualized and wicked. Heyert seeks to disrupt the impossible standard of the ideal embodied by Mary by stripping her of religious signifiers - her elaborate crown, rosary beads, the baby Jesus often seen in her arms - seeking to show her simply as a woman, rather than a religious icon.
The myth of the “bad” woman is captured in four film posters, showing Joan Bennett in The Woman on the Beach (1947), Diana Dors in The Unholy Wife (1957), Rita Hayworth in The Lady from Shanghai (1947), Elizabeth Taylor in Butterfield 8 (1960). The taglines scream of the danger of seductive, wicked women, with warnings like “I’m No Good” and “you know nothing about wickedness.” Additionally, the image of Marilyn Monroe in the 1962 LA Times announcement of her death, emphasizes how we can elevate the women we worship only to destroy them, and then love them even more once we no longer have them.
Heyert also created a diptych of a color photograph of Mary alongside a text in the style of a formal manuscript. On close inspection, this is revealed to be a list of hundreds of offensive words used to denigrate women, a provocative and timely reminder of the ways that women are often viewed and also treated in everyday life.
“I wanted to explore the idea of what it means to be a woman who is idealized and worshipped. Why do women try, against impossible odds, to live up to someone else’s vision of perfection? Most of all, why do we elevate the women we most admire to unattainable heights, and then demean or destroy them when it cannot be sustained?” Heyert comments.
The Idol is part of Personal Structures, an exhibition which includes the work of over one hundred and fifty international contemporary artists working on the topic of Time, Space and Existence. It is organized by the GAA Foundation and hosted by the European Cultural Centre in the center of Venice, at the Palazzo Bembo, the Palazzo Mora and the Giardini
The Palazzo Mora is situated in Sestiere Cannaregio, between the San Felice Church and Canale di Noale. Named for the Mora family, who was influential in Venice from the sixteenth through to the eighteenth centuries, the sixteenth-century facade now houses fifteen exhibition rooms with frescoed ceilings, a beautiful terrace facing the canal, and an entrance with a garden.
About Elizabeth Heyert
Born in New York, Elizabeth Heyert’s passion for photography led her to London, where she earned a Master’s degree at the Royal College of Art, studying closely with British photographer Bill Brandt. She later returned to New York where she developed a successful career as a photographer of architecture and interiors. After 20 years working with various clients such as Ralph Lauren, Cartier, American Express, and Tiffany & Co., along with snapping shots around the world for publications including The New York Times, New York Magazine, Vogue, Elle Decor, and Architectural Digest, Heyert closed her commercial studio in order to focus on fine art photography. Her work is represented in international public and private collections, including the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Getty.
About the Global Art Affairs Foundation (GAA)
The GAA is a Dutch non-profit organization that aims to heighten the awareness about the more philosophical themes in contemporary art, architecture and in culture in general. Founded in 2002 in New York, the GAA has been based in Leiden, the Netherlands since 2009, with a branch in Venice, Italy. The foundation has organized exhibitions, symposia, and art projects in Europe, the US, and Japan, including large exhibitions each year during the Venice Biennale. All these exhibitions are free of charge for all visitors. In addition, GAA publishes extensively in art books and magazines. The GAA works in close cooperation with the curators Valeria Romagnini, Lucia Pedrana, Sara Danieli, Elena Volpato, Alessandra Valle, Bianca Bonaldi, Anais Hammoud, Alesia Varnaeva and Rachele De Stefano.
About the European Cultural Centre (ECC)
The European Cultural Centre (ECC) is a space for artistic expression, research, and experimentation. The ECC provides the resources and conditions for creative endeavors from all fields including visual art, dance, theatre, music, literature, and architecture. It presents projects that link the various practices with the city, artists, and visitors from across the globe. The ECC also hosts creative professionals in residence in order to provide assistance for research, organizing art events, exhibitions, training, and lectures in various disciplines. They work with a network of curators, universities, festivals, and foundations along with both cultural and scientific institutions. Regional offices for the ECC are located in Italy, the Netherlands, Russia, and the United States, while the global office resides in Amsterdam.
Exhibition details
DATES: May 11-November 24, 2019. Preview May 9-10, 2019.
LOCATION: Palazzo Mora, Cannaregio 3659 30121 Venezia
HOST: European Cultural Centre / Global Art Affairs Foundation
ORGANIZERS: Valeria Romagnini, Lucia Pedrana, Sara Danieli, Claudia Piovan, Bérénice Freytag, Bianca Bonaldi, Rocco Schenkel, Elena Volpato, Alessandra Valle
WEBSITES: www.gaafoundation.org | www.europeanculturalcentre.eu
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Wednesday, April 24, 2019
Love Photography? Catch the A Gallery Sky High Exhibition in New Orleans,
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Catch Rick Middler will be at Super Fine Art Fair, NYC May 1-5,
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Tuesday, April 23, 2019
ALIQUE and Mandarin Oriental, New York announce May partnership
ALIQUE and Mandarin Oriental, New York announce May partnership
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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:
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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
TEFAF NY SPRING | PARK AVENUE ARMORY | MAY 3 – 7, 2019
LOUISE NEVELSON
(1899-1988)
Untitled, 1970s
Wood painted black
70 3/8 x 46 1/4 x 8 1/8 inches
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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.
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