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Wednesday, March 16, 2022
Catch the Houston Art Gallery Association Spring Art Celebration 2022.
Saturday, March 12, 2022
One of my favorite artists: Alfredo Ramos Martinez, Works on Paper 3/12-2/23, 2022 at the Louis Stern Fine Arts Gallery
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Saturday, March 5, 2022
American Moderns continues at the Gerald Peters Gallery
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Tuesday, March 1, 2022
The McEvoy Foundation for the Arts sponsors the Multimedia Exhibition Explores the Vastness of Time Through Scientific Fact and Speculative Fiction
MYR
May 27 – August 27, 2022
Multimedia Exhibition Explores the Vastness of Time
Through Scientific Fact and Speculative Fiction
Katie Paterson, The Cosmic Spectrum, 2019. Courtesy of the artist and James Cohan, New York.
Opening Reception
Saturday, June 4, 5–7pm
SAN FRANCISCO, CA, March 01, 2022 — McEvoy Foundation for the Arts is pleased to announce the upcoming spring opening of MYR, an exhibition of multi-media sensorial artworks exploring the impact of humans on the planet, nature, and climate change. Featuring an international selection of artists, the exhibition considers the concept of deep time in relation to both past and future human hazards, anxieties, and potential survival through a range of creative viewpoints informed by science and technology.
Guest curated by Elizabeth Thomas, MYR borrows its title from the commonly used abbreviation in earth sciences and astrology for a unit of measurement equaling a million years. Within that context, the exhibition draws particular focus on the Anthropocene epoch, the period in which human industrialized activity has been the dominant influence on climate and the environment. Through immersive works, moving images, and animated and interactive sculpture, scientific fact and speculative fiction compel consideration of such theories and concepts including augmentation of human emotions through biological intervention, future study of humanity’s physical remains, and the perception of non-linear time.
Thomas notes, “The vastness of geologic time stretching backwards remains an abstract truth, while its reach into the future is increasingly apocalyptic as humans confront the climate crisis. To imagine the millions of years behind us, we must also imagine the millions that might pass after us, on earth and throughout the universe. MYR features artists who manifest the spectrum of deep time, both past and future, proving art’s power to contend with the biggest of ideas and the most abstract states.”
The artists featured in MYR represent several distinct approaches to the study of time, space, and life. A floating sculpture by Tomás Saraceno offers the possibility of ecological harmony through spatial unification. Speculative landscapes by Alexandra Daisy Ginsberg and Candice Lin depict scenes of abundant flora and fauna—both on and beyond Earth—that might thrive in the absence of human dominance over the environment. Heather Dewey-Hagborg utilizes video and sculpture to explore the viability of biological intervention to alter and augment human feelings and engender a version of utopia.
Amy Balkin’s ongoing archival project collects what “will have been” from places around the globe that may literally disappear due to forces of climate change, including sea level rise, erosion, desertification, and glacial melt. Whereas works by Katie Paterson consider how the abstract, non-linear essence of time can be perceived and portrayed through text and kinetic sculpture. MYR includes a program of films, running concurrently in the Screening Room, that further explore the exhibition’s themes.
“The breadth and depth of the McEvoy Family Collection,” notes McEvoy Arts executive director Susan Miller, “provides the ability to articulate upon contemporary global conversations within the visual arts and create opportunities to facilitate timely discussions and moments of personal contemplation around issues of climate change, social justice, and even speculative futures, as well as art history, language, pop-culture, and politics.”
Complementing the MYR exhibition, a related series of public programs will focus on specific actions underway and further actions needed to address climate change locally and globally.
MYR is on view from May 27 through August 27, 2022.
A public opening reception is scheduled for Saturday, June 4, 5–7pm.
Admission to McEvoy Arts is free.
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Elizabeth Thomas is a Bay Area-based independent curator and writer and a Senior Lecturer in Curatorial Practice at California College of the Arts, San Francisco. She was previously Director of Public Programs at the Fine Arts Museums of San Francisco and MATRIX Curator at BAMPFA, where she considered central questions of interdisciplinarity, experimentation, and political and social engagement through commissioned research-based projects with artists. Other exhibitions she has organized include The F-Word at the Andy Warhol Museum, Pittsburgh; Empathetic at the Temple Gallery of Art, Philadelphia; and The Believers at MASS MoCA, North Adams. She holds a BA in Anthropology from George Washington University and a MA in Contemporary Art History, Theory and Practice from the School of the Art Institute of Chicago.
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Artists
Amy Balkin is an American artist who studied at Stanford University and lives and works in San Francisco. Her work "combines cross-disciplinary research and social critique to generate ambitious, bold, and innovative ways of conceiving the public domain outside current legal and discursive systems."
Heather Dewey-Hagborg is an artist and biohacker who is interested in art as research and technological critique. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed gum) collected in public places. Dewey-Hagborg has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is a Visiting Assistant Professor of Interactive Media at NYU Abu Dhabi, a Sundance Institute Interdisciplinary Program Art of Practice Fellow, an Artist-in-Residence at the Exploratorium, and an affiliate of Data & Society.
Dr. Alexandra Daisy Ginsberg is an artist examining our fraught relationships with nature and technology. Through artworks, writing, and curatorial projects, Ginsberg’s work explores subjects as diverse as artificial intelligence, synthetic biology, conservation, biodiversity, and evolution, as she investigates the human impulse to “better” the world. She read architecture at the University of Cambridge, was a visiting scholar at Harvard University, and received her MA in Design Interactions from the RCA.
Candice Lin is an interdisciplinary artist who works in installation, sculpture, drawing, ceramics, and video. Her work is multi-sensorial and often includes living and organic materials and processes. Lin lives and works in Los Angeles, California. She is an assistant professor in the Department of Art at the UCLA School of Arts and Architecture.
Katie Paterson is known for her multi-disciplinary and conceptually driven work with an emphasis on nature, ecology, geology, and cosmology. Collaborating with scientists and researchers across the world, Paterson’s projects consider our place on Earth in the context of geological time and change. She received her BA from Edinburgh College of Art, Edinburgh, United Kingdom in 2004 and her MFA from the Slade School of Fine Art in London, United Kingdom in 2007.
Tomás Saraceno is a contemporary Argentine artist whose projects—consisting of floating sculptures, international collaborations, and interactive installations—propose and engage with forms of inhabiting and sensing the environment that have been suppressed in the Capitalocene era.
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McEvoy Foundation for the Arts presents exhibitions and events that engage, expand, and challenge themes and ideas in the McEvoy Family Collection. Established in 2017, McEvoy Arts creates an open, intimate, and welcoming place for private contemplation and public discussion about art and culture. Rooted in the creative legacies of the San Francisco Bay Area, McEvoy Arts embodies a far-reaching vision of the McEvoy Family Collection’s potential to facilitate and engage conversations on the practice of contemporary art. McEvoy Arts invites artists, curators, and thinkers with varied perspectives to respond to the Collection. Each year, these collaborations produce exhibitions in McEvoy Arts’ gallery, new media programs in the Screening Room, as well as many film, music, literary, and performing arts events each year. Exhibitions are free and open to the public.
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Media Contacts:
Wendy Norris, Norris Communications
wendy@norriscommunications.biz
415.307.3853
Bill Proctor, director of communications, McEvoy Foundation for the Arts
bproctor@mcevoyarts.org
415.549.7684
Image Credit: Katie Paterson, The Cosmic Spectrum, 2019, spinning disk, printed vinyl, motor. Photo by Manu Palomeque. © Katie Paterson 2022. Courtesy of the artist and James Cohan, New York.
Monday, February 28, 2022
Phillips to Offer a Tour-de-Force Basquiat as the Star Lot of the Spring Season
 Star Lot of the Spring Season
From the Famed Collection of Yusaku Maezawa
Monumental Painting to Lead the New York Evening Sale of 20th Century & Contemporary Art in May, Following Exhibitions in London, Los Angeles, and Taipei
NEW YORK – 28 FEBRUARY 2022 – Phillips together with renowned entrepreneur and art collector Yusaku Maezawa, are pleased to announce the sale of Basquiat’s Untitled, 1982. At over sixteen feet wide and estimated in the region of $70 million, this monumental tour de force is poised to lead the New York auction season when it is offered in the Evening Sale of 20th Century & Contemporary Art on 18 May. In the lead-up to the auction, the work will embark on an international tour to London, Los Angeles, and Taipei, before heading to Phillips’ New York headquarters at 432 Park Avenue.
Yusaku Maezawa said, “The past six years of having Basquiat’s Untitled was nothing but a great pleasure and it has become a memorable piece in my collection. I believe that art collections are something that should always continue to grow and evolve as the owner does. I also believe that it should be shared so that it can be a part of everyone’s lives. I hope that Untitled will continue its great journey in good hands and that it will bring smiles to many people all around the world. In the near future, I plan on exhibiting my ever-emerging art collection at a museum I am currently planning to create. I look forward to the day I can share it with you.”
Cheyenne Westphal, Phillips’ Global Chairwoman, said, “When looking at Basquiat’s career, 1982 is often considered an inflection point in his meteoric rise to international fame. In 1982, at just 21 years old, he had six solo shows across the world, including that with his first gallerist Annina Nosei, which received tremendous acclaim and established him as a household name. Untitled is among Basquiat’s most ambitious and celebrated works, resonating deeply with collectors of across all backgrounds and interests. We are delighted to showcase this magnificent painting with our community of collectors around the globe, as we launch this exciting international tour.”
Jean-Paul Engelen, Phillips’ President, Americas, added, “Seldom in the auction world are you fortunate enough to see an artwork whose dynamism matches that of its artist and collector. And that is exactly what we have here. Works of this caliber are rarely seen at auction and the demand from collectors is unprecedented. We are honored to have been entrusted by Mr. Maezawa with the sale of Untitled, which comes at a particularly exciting time for the Basquiat market and on the heels of a record-breaking year at Phillips.”
Gracing the cover of the artist’s 1996 catalogue raisonné and featured as a centerpiece in several of his major retrospectives, Untitled has since become one of the most iconic examples of Basquiat’s work. His pure brilliance is on full display in this monumental canvas—one of the largest of the artist’s career—which measures almost eight feet tall and over 16 feet wide. This striking horizontal format is likely a nod to Pablo Picasso’s masterwork Guernica, which Basquiat saw at the Museum of Modern Art in New York as a child and later recalled left a strong impression on him. Immediately recognizable by his short, vertical dreadlocks, the artist takes the guise of a demonic figure in Untitled, his violent rage declared by the blood red paint dripping from his horns. Rising against a fiery expanse of gestural color evoking Abstract Expressionism, the subject is a distinct contrast to Basquiat’s depictions of martyrdom and sainthood and embodies his interest in the duality of heaven and hell. This masterpiece is unequivocally one of the finest examples of the distinctive iconography and painterly prowess that triumphantly marked the peak of the artist’s all-too-short career. Phillips is pleased to announce that the auction house will accept cryptocurrency for the work, in either Ethereum or Bitcoin.
The May auction comes at a particularly exciting moment for Jean-Michel Basquiat; in early April, a landmark exhibition in celebration of the artist will open in lower Manhattan. Jean-Michel Basquiat: King Pleasure© has been organized by Basquiat’s family and features over 200 never-before-seen and rarely shown paintings, drawings, multimedia presentations, ephemera. Sir David Adjaye will lead the exhibition design. Phillips is proud to continue a long relationship with the artist’s family and support the exhibition as a participating sponsor.
Click here for more information: www.phillips.com/basquiat
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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.
PRESS CONTACTS: NEW YORK – Jaime Israni, Public Relations Director, Americas jisrani@phillips.com
PHILLIPS NEW YORK – 432 Park Avenue, New York, NY 10022 PHILLIPS LONDON – 30 Berkeley Square, London, W1J 6EX PHILLIPS HONG KONG – 14/F St. George’s Building, 2 Ice House Street, Central Hong Kong 3phillips#basquiat#fineartmagazine
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Tuesday, February 22, 2022
Deborah Colton Gallery is pleased to present Moments to Remember, an exhibition featuring photography and film that capture iconic American artists and scenes from the 1960s to 1990s.
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Philadelphia Museum of Art
Authentic: Truth and Perception in Chinese Art
Explore the act of copying from the Chinese artistic perspective, and learn how attitudes toward authenticity are nuanced and culturally specific.
Gourd-Shaped Vase
Watch this video and learn about an invention of Chinese imperial kilns, the revolving vase.
Ai Weiwei & James Lally
Join us for a virtual talk on February 23 as we discuss perspectives on copying in Chinese art.
Kōgei: Art
Craft Japan
Chinese
Galleries
Made by Hand:
Contemporary
Korean Craft
The main building is now open Thursday through Monday.
All visitors age five and older entering any museum building must provide proof of being fully vaccinated for COVID-19. Check our website to learn more about our safety guidelines.
For more information on the exhibitions and programs listed here, including generous donors, please visit our website.
Gourd-Shaped Vase, 1900s, China (Gift of Major General and Mrs. William Crozier, 1944-20-366a,b). Crystal Ball on Waves, late 1800s to early 1900s, China (Gift of Major General and Mrs. William Crozier, 1944-20-2a,b).
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