Preview Jan 23: 6-730, 730-10pm
Friday, January 24: 12-7pm
Saturday, January 25: 12-7pm
Sunday, January 26: 12-7pm
Monday, January 27: 12-6pm
ArtPalmBeach, a leading international contemporary and modern art fair and one of the most important annual art events on Florida’s Gold Coast, returns January 24th – 27th to the Palm Beach County Convention Center. ArtPalmBeach features major work by world-renowned artists and showcases emerging and established living artists working in all forms of contemporary art. The diversity of the selected galleries and artists offers collectors the opportunity discover unknown talents as well as see work by some of the most significant artists working today.
In its seventeen years the fair has become a local institution, combining a selection of the world’s leading contemporary galleries with an exceptional program of lectures, artists panel discussions and site-specific exhibitions and installations throughout the Palm Beaches.
VISIONARY ARTIST AWARD:
The Visionary Award is presented annually to an individual whose career has made an outstanding contribution to enriching the international art world. This artist emulates the dedication and unwavering commitment to their artistic medium with accomplishments acknowledged by scholars, critics, professional peers, and the general public. The 2014 Visionary Award Recipient will be announced soon.
Images Courtesy of LILA PHOTO
An exhibition of studio glass masters will be presented by Habatat Galleries (Michigan), considered one of the leading glass galleries in the country with 40 years of expertise. Celebrating the 50th Anniversary of the American Studio Art Glass Movement the gallery will exhibit rare vintage works by Littleton, Labino, Libensky, Chihuly, Howard Ben Tre and Lipofsky. Over 165 major museums are honoring these pioneers of the glass art movement in 2012-13 with Florida leading the nation in the number of major exhibitions honoring the movement’s pioneer artists.
Michael Behrens, SeaForms
Tjawina Porter Nampitjinpa, Untitled
Contemporary Aboriginal Art as an art movement is barely forty years old. At the time of the rediscovery of Aboriginal Art in the early 1970s, the culture of the Australian Aborigines was almost extinct.
THE BIRTH OF AN ART MOVEMENT
Two centuries of occupation of their lands by white settlers had resulted in the death of most of Australia’s indigenous people by violence, imported diseases and a changing lifestyle. The aggressive policy of assimilation implemented by the white authorities in the years’40-’60 had almost delivered a final blow that would have resulted in the complete disappearance of the millennia-old cultural traditions of Australia’s indigenous people.
During the 60s and 70s of the previous century, a growing social conscience awakened under the influence of the civil rights movements in North America and later South Africa. A call for the return of their traditional homelands to the Aborigines and some form of compensation for their suffering became stronger. In the wake of this change came an emerging interest in the cultural traditions of the Aborigines. The steady emancipation of the Aboriginal population that followed went hand in hand with the development of a new and unique art form that began in the communities of the Central and Western Desert. Encouraged by white art teachers some Aborigines exchanged their bodies, the rocks and the sand they used for their traditional ceremonial paintings for canvas. This new way of visual representation meant not only a revival of millennia-old cultural traditions but also marked the birth of a fully fledged, dynamic, new art movement: contemporary Aboriginal Art.
For more information on Leslie Smith Gallery visit http://www.lesliesmith.nl
Thursday, January 10, 6-8 PM
511 W 25th Street, Suite 502 | New York, NY 10001
January 10 – February 9, 2013
Opening reception: Thursday, January 10, 6-8 PM
NEW YORK, NY – De Buck Gallery is pleased to announce an upcoming exhibition of works by German artist Dieter Balzer. The exhibition marks Balzer’s first at the gallery, and will be on view from January 10 through February 9, with an opening reception on January 10, from 6-8 PM, which the artist is scheduled to attend.
With their bright and airy appearance, Balzer’s works consistently exude a joyfulness that has evolved throughout the course of his long career. Balzer plays with the confines of two – and three-dimensionality, as well as positive and negative space in his wood and foil constructions, resulting in a playful commentary on space and form. Sculptural in nature, Balzer meticulously assembles each work by building up shape upon shape to create complex forms of astounding geometric precision. Even so, the flatness of the vibrantly colored foils that ornament all of Balzer’s surfaces, when viewed upon a wall, gives the works an unmistakable painterly feeling.
These works draw upon various art historical movements that have been important influences on Balzer. The artist has especially credited Constructivism and Minimalism as his major starting points, both of which are especially apparent in the perfectly clean appearance of his works and his recurring use of rectilinear forms. Perhaps more surprisingly, there are also strong parallels between his works and Pop Art in Balzer’s reliance on an eye-catching palette and a repetition of motifs a la Warhol. This unique juxtaposition allows Balzer to divide up space in a fresh and compelling way.
Dieter Balzer was born in Neuhofen/Pfalz, Germany in 1958 and attended the University of Heidelberg, College of Art in Chesterfield, England, and Statens Hogskole, in Bergen Norway. His work has been included in exhibitions throughout Germany and abroad, including at the Museum der Wahrnehmung in Graz, Austria, Wilhelm-Hack Museum, in Ludwigshafen, Germany and the Museum Ritter in Waldenbuch, Germany.
Dieter Balzer currently lives and works in Berlin.
For more information on ArtPalmBeach exhibiting artists visit www.artpalmbeach.com.
De Buck Gallery
511 W 25TH STREET, SUITE 502 | NEW YORK, NY 10001
+1 212 255 5735 | DEBUCKGALLERY.COM | INFO@DEBUCKGALLERY.COM
ArtPalmBeach, Palm Beach’s premier contemporary fine art fair, will return January 24 – 28 to the Palm Beach County Convention Center for its 16th edition. Always a celebrated feature of the fair, the 2013 lecture and panel series will present a dynamic line up of leading industry professionals. Topics encompass a wide range of contemporary mediums including photography, fine art glass, collage and design, as well as discuss current trends in the contemporary art scene. The schedule follows:
Fifty Years in Photojournalism
Lecture by Bill Eppridge, Photojournalist for Life Magazine and Sports Illustrated
Friday, January 25
Mr. Eppridge was a Life staff photographer during the golden era of photojournalism. He will present his most famous photographic work from the Sixties, including the presidential campaign of Robert F. Kennedy and the Woodstock Music festival. He also will show his recent photographic essay, From This Earth, in which he documents farming life in rural Connecticut. Eppridge has been present at some of history’s most famous events, and his photographs weave a visual narrative of our time. Introduction by Fatima NeJame, President/CEO of the Palm Beach Photographic Centre
The Life and Work of Lino Tagliapietra
Lecture and Interview
Friday, January 25
Lino Tagliapietra, the Italian master glassblower from Murano, Italy, will lecture on his work. With an interview by Scott Indrisek, Senior Executive Editor of Modern Painters.
Shadow of the Turning: The Art of Collaboration
Moderator: Tom Riley, Gallery Owner, Thomas R. Riley Galleries
Panel Members: Artists Binh Phoand & Joey Richardson, Curator Kevin Wallace
Friday, January 25
Shadow of the Turning is the title of both book and current exhibition at the Mobile Museum of Art, which documents tradition and reinvention in contemporary art. This panel will discuss the exploration of contemporary art through collaboration, cross-media experimentation and a bold new approach to storytelling and concept art. Moderated by Thomas R. Riley Galleries, which has a 30-year history of featuring three-dimensional fine art sculpture.
Studio Furniture in Contemporary Art and Design
Lecture by Rosanne Somerson, Provost of Rhode Island School of Design
Saturday, January 26
Ms. Somerson will discuss the evolution of studio furniture, highlighting leading makers and aspiring newcomers to the field. Rosanne Somerson is the Provost of Rhode Island School of Design and recipient of The Furniture Society 2012 Award of Distinction for lifetime achievement in the field of studio furniture.
The Times They Are A-Changing
Lecture by Bonnie Clearwater, Executive Director and Chief Curator of the Museum of Contemporary Art
Saturday, January 26
Bonnie Clearwater is known for tapping into and analyzing the Zeitgeist as reflected in contemporary art. The author of Defining the Nineties: Consensus-making in New York, Miami, and Los Angeles, Ms. Clearwater has been traveling the world identifying significant shifts in artistic practice, curatorial methodology, and trends in collecting. Ms. Clearwater will share her insights in her talk.
The Collage Aesthetic
Lecture by Pavel Zoubok, Founder and artistic director of the International Collage Center in Milton, PA
Sunday, January 27
Mr. Zoubok’s talk will trace the evolution of the collage aesthetic traditions and innovations, as well as explore contemporary practices and a variety of leading artists in the medium, including Ray Johnson, Al Hansen, Bruce Helander, Jess, Buster Cleveland, Joseph Cornell, Barton Lidice Benes and Varujan Boghosian.
Lecture by Anthony Haden-Guest, British-American writer, reporter, cartoonist and art critic
Moderated by Edwina Sandys is an artist and author
Sunday, January 27
Anthony Haden-Guest will discuss how and why ephemeral and performance art are increasingly powerful in an art world supposedly dominated by the traffic in expensive objects. Edwina Sandys, will serve as moderator.
The Madness of Art
Lecture by Jim Kempner, Gallery Owner, Jim Kempner Fine Art
Sunday, January 27
Kempner will be talking about and showing episodes from his web series The Madness of Art, which combines his memorable experiences as a former stand-up comedian in Los Angeles with his intimate knowledge of the art world. Kempner also will discuss the wit and wisdom, irony and realities in the business of exhibiting and dealing in contemporary art.
IMPACT: 50 Years of the CFDA—the Artistry of American Fashion Design
Lecture by Steven Maklansky, Director of the Boca Raton Museum of Art
Monday – January 28
Artists and designers have celebrated the art of fashion for centuries. The recent exhibition of the late Alexander McQueen at the Met gave indisputable proof that fashion has reached a high level of fine art. Prominent artists such as Andy Warhol, Richard Prince, Jeff Koons, Damien Hirst, Takashi Murakami and Tracey Emin have drawn an invisible line between art and fashion. This lecture provides a fascinating perspective on some of the leading American designers such as Michael Kors, Donna Karan, Carolina Herrera, Oscar de la Renta, Diane von Furstenberg and Vera Wang, among others, whose remarkable work and craftsmanship currently are on view at the Boca Raton Museum of Art in collaboration with the Council of Fashion Designers of America (CFDA).
Hans Kotter was born in Muhldorf am Inn, Germany in 1966 and studied with the Art Students League in New York from 1993- 1995. He has been exhibited extensively throughout Europe.
Kotter’s work certainly references the minimalist neon sculpture of the 1960s and 1970s by artists such as Dan Flavin, and can be seen as part of the canon of exciting “light” work by contemporary artists such as Olafur Eliasson and James Turrell.
Yet Kotter’s creations oscillate between technical perfection, naturalness, artificiality and painterly appearance, creating works of art that cannot be comfortably categorized.
As critic Peter Lodermeyer describes them, “The light-flooded forms remain inexplicable, like in an abstract painting and at the same time oddly real, material and photographically precise. They seem,” he continues, “organically animated – and yet their colors are so smooth, that they maintain an air of something confusingly foreign and inapproachable”.
Kotter perpetually refracts, diffracts, and reflects the electrical light in the work and then both saturates and degrades the colors, creating infinitesimal possibilities of reacting to it as a means for peaceful and spiritual contemplation or, alternatively, tapping into an amped feeling of frenetic energy that the saturation of vivid color induces.
Kotter’s early work was inspired in part by the changing atmosphere created by sunlight waxing and waning across stained glass windows in Gothic cathedrals — i.e. the penetration of light through transparent matter.
Yet, as Lodermeyer states, “The magic of the diaphanous certainly occupies Hans Kotter, but it should not be overlooked that the artist is also aware of the fact that today our relationship to light is deeply profane”.
Kotter’s work is wholly modern, and the use of electricity and his technical use of luminescent foils and neon tubes refer ironically to current Western metaphysics of artificial light and its use in the ever-present secular neon advertisements, headlights of cars, and streetlights that permeate our world. “Even the ugliest city can share in the profane magic of artificial light”.
The mutable and sculptural quality of Kotter’s work is also highlighted by the juxtaposition between his use of hyper-Fauvist colors — psychedelic purples, cerulean blues etc. — which then dim into washy luminosity creating pale transparent pastel patterns. The opacity of the colors in flux, perpetually restructures the object, divides it and gives it rhythm, creating a dialogue with both the viewer and the space in which the work is placed.
In more recent years, Kotter has expanded his oeuvre of “light boxes” and photographic work to include large-scale installations in public spaces. He also applies his technique to everyday objects fetishizing sports trophies, ping pong tables etc.
The result is ever more interesting work, which transforms the banality of these objects and spaces into ironic cathedrals imbued with an otherworldly light and watery phosphorescence.
By: Kathryn M Davis
More art is sold in these ten blocks than anywhere else in the United States—from ArtMarketMonitor video report on Manhattan’s devastated Chelsea art district after Superstorm Sandy hit late on Sunday, October 28, 2012
Jerry Saltz is an astonishingly adept art critic who happens to channel an intelligent Joe Everyman in New York’s often-highfalutin art world. Saltz, formerly a long-distance truck driver, is married to The New York Times art critic Roberta Smith. They live in downtown Manhattan, and both recently wrote separately on their experiences of the devastation left in the wake of Superstorm Sandy, which wrecked the New York and New Jersey shorelines one week ago today. By now, power is back on, but some of the art in the Chelsea district may not be salvageable. The question remains: What does the future hold for one of the most significant spots in the global art market?
In a piece that appeared courtesy of New York Media LLC, via firstname.lastname@example.org, on Thursday, November 1, Saltz noted “widespread devastation [was] in painful evidence.” Chelsea, on day two after Sandy, he says, was “an art MASH unit.” At Printed Matter, “box after box” of materials were “all lost.” Saltz “saw torrents of water rushing out of Gagosian’s cavernous 21st Street space.” His bleak narrative ended with this:
A huge part of the New York art world has suffered a colossal blow. Thinking about New York without its density of galleries is like not being able to think about New York at all. Grim.
But it’s what Saltz affirmed in the paragraph just above this one that will make everything, if not ok, then workable: These galleries are, states the New York writer, “our life blood, the collective organism that in many ways makes New York one of the most thriving centers for art on earth.” “I love them. All. More than ever.”
This kind of love is nothing but sheer madness, but it’s this kind of passion that is giving Chelsea—and all of Sandy’s victims—the will to recover. Never underestimate the power of love. Without it, there would be no art, and no reason to care about any of this.
Next: Roberta Smith on Chelsea’s galleries just before and after Sandy struck: “We’re here because we’re true believers.”
The Scream, Edvard Munch
NEW YORK (AFP).- “The Scream,” Edvard Munch’s eerie 1895 masterpiece which sold in May for $119.9 million, is on view for the first time since that record-breaking auction, at New York’s Museum of Modern Art. A spokeswoman said the artwork has been put on display in one of MoMA’s most secure areas. It is being shown along with two other Munch paintings, as well as lithographs by the Norwegian artist. “The installation is located in the fifth floor galleries for the museum’s painting and sculpture collection, so it is in a location that already features considerable technology,” Margaret Doyle, press officer for MoMA. “The only additional element for ‘The Scream’ is the addition of a Plexiglas cover for the work,” she said. The work on display in New York, a crayon drawing on board, is one of four versions of “The Scream,” and the only one currently not in Norway. The Munch Museum in Oslo owns a version in pastel as well as a painted version, while the National Gallery of Norway holds the earliest version of the work, painted in 1893. The well-known artwork, showing a ghostlike figure with a skull-like face and gaping mouth, is believed to represent the anguished existence of modern man. The image has been reproduced, and even satirized, countless times. The work on loan to MoMA through April of next year, was sold in May at a record-setting auction in New York by Sotheby’s. Until then, the record for the most expensive artwork was held by Picasso’s 1932 painting “Nude, Green, Leave and Bust,” which in 2010 sold at a Christie’s auction for $106.5 million.
© 1994-2012 Agence France-Presse
Posted from artdaily.org
History of Waterhouse & Dodd
Ray Waterhouse and Jonathan Dodd started working together in 1982 and formed Waterhouse & Dodd five years later. In 1989 they opened a first-floor gallery in Bond Street and in 2001 moved nearby to 26 Cork Street. Their gallery at Cork Street is now dedicated to a program of contemporary art exhibitions, whilst their Impressionist and Modern art has relocated to new premises at 16 Savile Row.
Waterhouse & Dodd are also proud to announce the opening of two galleries outside the UK in 2011. Our Greene Street gallery, in the heart of New York’s Soho district, exhibits international contemporary art. Heidi Lee has joined us to manage the program in Greene Street. We now also have a private gallery for Impressionist and Modern Art on the Upper East Side. This is also the US base for our art advisory services, and is at 50, East 72nd Street. It is an ideal place to view and discuss art and our director Ray Waterhouse is based here.
For more than 25 years Waterhouse and Dodd have dealt in paintings from the late 19th and 20th centuries, combining great paintings by both major and minor artists. During the 1990s they increasingly offered professional advice to collectors, a service that became formalised into one of the most respected art advisory services in the world, Fine Art Brokers. In 2008 they curated ArtRoutes, a major show of contemporary Middle Eastern and Arab Art that was the first in a series of such annual exhibitions.
CONTACT WATERHOUSE & DODD
104, Greene Street
New York 10012
+1 212 226 3000
A sampling of what you can expect at APB in 2013!
Jean-Francois Rauzier, Palau de la Musica