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Thursday, March 17, 2016
WHAT TO SEE AND DO AT ART DUBAI, MARCH 17-19
Wednesday, March 16, 2016
Art Hamptons Kicks Off Summer Season June 23-26 at Private Lumber Lane Estate Grounds Plan Now to Attend!
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Tuesday, March 15, 2016
Andrei Protsouk Spring/Summer Tour 2016
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Art Dubai Opens today, Catch Lelia Heller Gallery, featuring Moataz Nasr at both A5
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Moataz Nasr, Arabesque I (Lost Heritage),
2013. 21150 matches on wood and plexiglas. 71 x 71 x 4 in.
Leila Heller Gallery
Art Dubai, Booth A5
Click here for a preview
exhibiting works by:Moataz Nasr, Ahmed Alsoudani
Art Dubai, March 16-19, Preview March 16th
Madinat Jumeirah, Al Sufouh Road, Umm Suqeim, Exit 39 (Interchange 4) from Sheikh Zayed Road, Dubai, UAE
OPENING TIMES
Wednesday, March 16 (Invitation Only) 4:00 - 9:30pm
Ladies Preview 1:00 - 4:00pm
Thursday, March 17 4:00 - 9:30pm
Friday, March 18 2:00 - 9:30pm
Saturday, March 19 12:00 - 6:30pm
For Art Dubai 2016, Leila Heller Gallery marks its new gallery in Dubai’s Alserkal Avenue by presenting works by two leading contemporary Arab artists—Ahmed Alsoudani and Moataz Nasr. Combining photography, installation, and sculpture, the booth brings the creative genius of these two artists into visual dialogue. The booth will be anchored by two bronze sculptures by Alsoudani, marking his recent foray into the genre. Accompanying those will be wall sculptures in which Nasr reinvents the calligraphic tradition using ordinary materials like neon and matches. While deeply rooted in Arab iconography and history, Alsoudani and Nasr’s art creates a universal visual language speaking to a broader timeless, humanistic condition.
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Monday, March 14, 2016
Julian Schnabel , Blum & Poe, Los Angeles March 18 - April 30, 2016 Opening reception: Friday, March 18, 6 – 8pm
Julian Schnabel
Infinity on Trial
Blum & Poe, Los Angeles
March 18 - April 30, 2016
Opening reception: Friday, March 18, 6 – 8pm
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Los Angeles—Blum & Poe is pleased to present forty years of painting by artist Julian Schnabel. This exhibition marks Schnabel’s first solo presentation with Blum & Poe.
After a hiatus from the West Coast art scene for nearly a decade, this first exhibition at Blum & Poe takes the form of a concise overview of an exhilaratingly divergent painting practice—making a forceful case for the historical importance of Schnabel’s oeuvre, as well as his ever-growing relevance to a new generation of artists.
Twelve important paintings made between 1975 and 2015 will be displayed in the ground floor gallery. Together these paintings make manifest the scope and depth of Schnabel’s work—his groundbreaking material experimentation, his exceptional formal range, and simultaneous mastery of both figurative and abstract idioms. Not only will this exhibition serve as an introduction to this artist’s legendary work for younger viewers, but it also positions Schnabel as one of the great auteurs of the postwar period.
Transcending the question of recognizable style, Schnabel’s practice, while wildly heterogeneous, is connected together by his unmistakable personal vision—his distinctive aesthetic touch, the audacity and freedom of his varied gestures, the insistence on the physicality of his surfaces, and the unapologetic emotional inflection in all of his works. As Schnabel wrote in an attempt to locate his unique approach to making work, “feeling cannot be separated from intellect… what is expressed is a feeling of love for something that has already existed, a response to something already felt.”
Giving evidence to Schnabel’s singular authorship, the distilled selection of paintings includes: The Patients and the Doctors (1978), his first work deploying an abstracted mosaic of ceramic shards and sculptural picture planes; Jack the Bellboy (1975), an early wax painting that Schnabel considers his first mature painting; The Tunnel (Death of an Ant Near a Power Plant in the Country) (1982), an early painting made on found plywood in metric sizes that he bought in a lumber yard while working in Porto Ercole, Italy; Rebirth II (1986) a painting that incorporates an antique Kabuki theater backdrop; and The Edge of Victory (1987), a magisterial tableau made upon a tape-encrusted and stained boxing tarp from the old Gramercy Gym that Schnabel inscribed and painted with sweeping white marks. Without regard to chronology, this selection of radical, foundational pictures is hung in relationship to works from the past fifteen years. These more recent examples feature one of Schnabel’s Goat Paintings from 2015, from a series begun in 2012; a spray paint composition from 2014; an abstract “pink” painting made in 2015 from the sun-faded canopy Schnabel found in Mexico; and a regal full-length Portrait of Tatiana Lisovskaia As The Duquesa De Alba II (2014) referencing Goya.
Accompanying these compositions, the upstairs gallery features approximately forty drawings made between 1976 to the present that echo the formal and conceptual range of the paintings in the downstairs gallery.
In sum, this exhibition attempts to foreground the emotive punctum that runs throughout Schnabel’s work—otherwise stated, the wounding point or touching detail where his unconventional methods and materials are fused with emotive, tactile, and deeply narrative meaning. Despite the range in dates in which these works have been made, looking at these pieces together reveal a consistent artistic “touch” or transformational element that Schnabel is able to imbue in the found materials he assimilates into his work.
Running throughout the exhibition is a pictorial vocabulary that is consistent throughout Schnabel’s career but takes on many forms. The trope of the white stroke—curvilinear swirls of white paint that often disrupt both figurative and abstract compositions—or the haphazard traces of splashed purple pigment are seen in numerous paintings selected in the show. Likewise, dedications, proper names, and other literary references in titles are used to evoke a narrative 'imaginary' that runs through Schnabel’s oeuvre.
As Schnabel wrote about the seminal painting Jack the Bellboy, featured in the last room of the exhibition, “The difference between the physical and pictorial elements of the painting confounded an easy viewing; it was hard to look at. It activated a sensation, like color blindness, that yielded a sensory disorder that I thought was an analogue for my emotional state. It was also about the third intangible element between the viewer and itself: the blind spot. It was like a sort of dyslexia where a letter’s proximity to another makes it disappear.”(1) In many ways Schnabel’s attempt to describe the alchemical reaction simultaneously generated by the retinal, conceptual, and emotional affects of his work could be applied to all of the paintings selected for this exhibition.
Schnabel’s work has been exhibited all over the world. His paintings, sculptures, and works on paper have been the subject of numerous exhibitions: the Stedelijk Museum, Amsterdam (1982); Tate Gallery, London (1982); Whitechapel Gallery, London (1987); Kunsthalle Düsseldorf (1987); Centre Georges Pompidou, Paris (1987); Whitney Museum of American Art, New York (1987); San Francisco Museum of Modern Art (1987); Museum of Fine Arts, Houston (1987); Musée d’Art Contemporain de Nîmes, France (1989); Staatliche Graphische Sammlung, Munich (1989); Palais des Beaux-Arts, Brussels (1989); Fruitmarket Gallery, Edinburgh (1989); Museum of Contemporary Art, Chicago (1989); Museo de Arte Contemporáneo de Monterrey, Mexico (1994); Fundació Joan Miró, Barcelona (1995); Galleria d’Arte Moderna di Bologna (1996); Schirn Kunsthalle, Frankfurt/Main (2004); Museo Nacional Centro de Arte Reina Sofía, Madrid (2004); Rotonda della Besana, Milan (2007); Tabakalera, Donostia-San Sebastián (2007); Museo di Capodimonte, Naples (2009); Art Gallery of Ontario, Toronto (2010); Museo Correr, Venice (2011); J.F. Willumsens Museum, Frederikssund, Denmark (2013); Brant Foundation Art Study Center, Greenwich, CT (2013); Dallas Contemporary (2014); Dairy Art Centre, London (2014); Museu de Arte de São Paulo, (2014); NSU Art Museum Fort Lauderdale, FL (2014); and University of Michigan Museum of Art, Ann Arbor (2015).
1. Julian Schnabel, CVJ: Nicknames of Maitre D's and Other Excerpts from Life (New York: Random House, 1987), 64.
Image: Julian Schnabel, The Edge of Victory, 1987
Gesso, gaffer tape, sweat and blood on boxing ring floor
, 136 x 192 inches. © Julian Schnabel Studio, Private collection. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo
Locations
Blum & Poe, Los Angeles, 2727 S La Cienega Boulevard, Los Angeles, CA 90034
Blum & Poe, New York, 19 East 66th Street, New York, NY 10065
Blum & Poe, Tokyo, 1-14-34 Jingumaeshibuya, Tokyo, 150-0001
Concurrently on view
Blum & Poe, New York, Kazunori Hamana, Yuji Ueda, and Otani Workshop (through April 9)
Blum & Poe, Tokyo, Kishio Suga and Robert Morris (through May 7)
Hours
Los Angeles, Tuesday – Saturday, 10am – 6pm
New York, Tuesday – Friday, 10am – 6pm
Tokyo, Tuesday – Saturday, 11am – 7pm
#fineartmagazine
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Sunday, March 13, 2016
Art Dubai, Design Days Winners
Ranim Orouk wins the Middle East Emergent Designer Prize
by Design Days Dubai
Van Cleef & Arpels, in collaboration with Tashkeel and Design Days Dubai, today named designer Ranim Oruock as this year’s winner of the prestigious the ‘Middle East Emergent Designer Prize’ for her lighting piece ‘Glow’.
Ranim’s ‘Glow’ is now on display at the Van Cleef & Arpels booth throughout Design Days Dubai (14-18 March).
The design, which responded to the theme of Nature, was inspired by the effervescence of a school of jellyfish. With a dual function as a ceiling chandelier, or floor lamp, the piece ‘Glow’, takes the form and function from the sea creature combining the production methods of traditional glassblowing and advanced digital fabrication of 3D printing. Spheres made of 3D printed glass are fused using curved acrylic rods that mimic the form of jellyfish legs. Once lit, the transmission of light throughout the piece emphasizes the radiance emitted from a bloom of jellyfish.
Ranim Orouk
Ranim received a prize of AED 30,000 to produce the final work and will also receive a 5-day trip to Paris to attend courses at the exclusive L’ECOLE Van Cleef & Arpels, a school created to showcase the mechanisms behind the world of making jewelry and watchmaking, courtesy of Van Cleef & Arpels.
Ranim Orouk, ‘Glow’ process work
Theprize runner-Up title was awarded to Michael Rice’s Ceramic Design Inspired by DNA Helix and Sand Ripples. Michael, who specializes in ceramics, is currently an Associate Professor of Studio Art at the American University of Dubai.
Runner Up design ‘Genesis’ by Michael Rice
Design Days Dubai is now open at The Venue, Burj Boulevard from now until 18 March. Click here for opening hours.
#fineartmagazine
Friday, March 11, 2016
Fridge Art Fair: The Fridge Freeze Project May 7-9 2016, Opening Grand Gala to benefit for Angel Orensanz Foundation May 7, 8-11 PM
Fridge Art Fair: The Fridge Freeze Project May 7-9 2016, Angel Orensanz Foundation
172 Norfolk St, New York, NY 10002
Opening Grand Gala to benefit for Angel Orensanz Foundation May 7, 8-11 PM
Fair Hours: 4-8 PM
Saturday, May 7, 11AM-11PM
Sunday, May 8,
Monday 10 AM - 5 PM
Fridgeartfair.com
Fridge Art Fair will be held at the Angel Orensanz Foundation, which is housed in the former Ansche Chesed Synagogue. The building was constructed in 1849, in architectural integrity and the tradition of the German Reform Movement of the mid 19th century. In addition to housing the Foundation and hosting some of the world’s most notable events the building remains in use as a house of worship and is the oldest surviving Synagogue in New York City.
Artist Eric Ginsburg http://www.worldoferic.com, founded fridge Art Fair as what was supposed to be a one-time event during Frieze Week in New York City in 2013. It was founded as a means to make amends for a project he felt went h9orribly wrong in part because the participants in this project were unable to have 9fun.
Eric Ginsburg turned to his mentor artist and gallerist Kazuko Miymato for assistance with this project. Kazuko Miymato not only provided assistance; she provided the gallery which she founded Gallery Onetwentyeight http://www.
For the 4th New York edition of Fridge Art Fair titled “The Fridge Freeze Project” and the 7th edition of the fair we are pleased to announce our partnership with the Angel Orensanz Foundation.
The Fridge Freeze Project will feature artist Angel Orensanz http://www.angelorensanz.com will create a site specific installation for the fair which will be located in the main hall.
On the gallery floor Fridge Art Fair hits the ground running. With Galleries Artists and Collectives from all over the world highlighting “art for arts sake.”
Eric Ginsburg, known for his “Funky-Fresh” Dog and Cat paintings New York based curator Linda DiGusta https://www.linkedin.com/in/
On Sunday (Mothers Day), Eric Ginsburg will be photographing your dog for a portrait commission benefitting BARC’s www.barcshelter.org animal rescue programs.
Additional fair programs, hours and satellite locations to be announced...
Exhibitor and public information at fridgeartfair.com
Galleries. Collectives, organizations and artists are invited to apply at http://www.fridgeartfair.com to exhibit in the Fair.
The participants of Fridge Art Fair are encouraged to use their “booth space” and make it their own. Fridge does not select each piece of art accepted fair participants are permitted to exhibit/sell at the fair.
Fridge views the concept when the applicant is applying and the accepted applicants use this idea to set up their space.
At Fridge we value the creative eye of all the fair participants with the belief that there is “something for everyone at Fridge.
Fridge specializes in customizing spaces to exhibitors’ needs to allow creative range of expression, curators will work with you on the space and costs once the application is approved, and there is no fee to apply.
Welcome to Fridge Art Fair NYC: The Fridge Freeze Project
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