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Palm Beach Modern + Contemporary Kicks Off 2019 with World-Class International Art Fair for Third Edition
PALM BEACH MODERN + CONTEMPORARY KICKS OFF 2019 WITH WORLD-CLASS INTERNATIONAL ART FAIR FOR THIRD EDITION The Palm Beach Modern + Contemporary Art Fair (PBM+C), presented by Art Miami and hosted by the City of West Palm Beach, will return for its third edition in West Palm Beach City’s Tent Site (825 S Dixie th th Hwy at Okeechobee Blvd) on Thursday, January 10 through Sunday, January 13 , 2019. PBM+C is the most important fair to take place in Palm Beach during the winter season as it brings a world-class, internationally respected group of art dealers and their artists to one of the most culturally savvy and discerning collecting audiences in the world. The fair will open on Thursday evening at 5:00pm, with an exclusive VIP Preview benefiting the Ann Norton Sculpture Gardens and Joe Namath Foundation. Palm Beach Modern + Contemporary, an integral part of the prestigious Art Miami Group, which just celebrated its 29th edition of Art Miami, presents a world-class art fair in Palm Beach, which curates and offers the best investment quality works from the 20th and 21st centuries. The Fair will take place in the intimate and modern setting of a temperature controlled clear span pavilion, conveniently located behind Restoration Hardware, between CityPlace and the luxurious Hilton West Palm Beach. Collectors, art connoisseurs and art world luminaries alike will have the opportunity to acquire investment quality blue chip, modern and contemporary, and post-war works from nearly 70 top international galleries over the four days of the fair. These premier galleries come from as far as Austria, United Kingdom, France, Germany, Canada, Columbia, Venezuela and throughout the United States. -
Richard-Hambleton-Catalog-1.Pdf
REFLECTIONS Now the sine qua non of mega-collectors and elite auction houses around the world, the once subversive “Street Art” that originated in New York City in the 1980s with such artists as Keith Haring and Jean Michel Basquiat has redefined where and how we look at art. Today, in the streets and in contemporary galleries, names such as Banksy, Stik and Shepard Fairey are familiar to hip, younger collectors. With fairs and festivals from New York to the Greek Islands and beyond, “Street Art” has become a global phenomenon. The wave of creativity that began to be noticed thirty-five years ago in New York’s East Village and brought renown to such ‘tags’ as “Samo,” “Crash,” “Daze” and “Lady Pink” was a fertile, drug fueled period of spray and splatter. Julian Schnabel had begun to make headlines for the upstart Mary Boone Gallery as Ronald Reagan became President and scientists raced to contain the spread of a mysterious and deadly new virus (HIV Aids). It was into this environment that Canadian artist Richard Hambleton arrived. Hambleton’s first stop in America was the west coast of the United States. He used funds from a grant to visit cities like Seattle and San Francisco, where he caused an uproar with his controversial “Mass Murder” series. The artist peppered the sidewalks with white chalk outlines of bodies – like those a police coroner sketches around the victim of a crime – the bloodier looking the better. The authorities were not amused. He was told also, that he was ineligible for future grant money by his donors. -
Donald Sultan
THE DRAWING ROOM 66H Newtown Lane, East Hampton, New York 11937 T 631 324.5016 FOR IMMEDIATE RELEASE June 2012 DONALD SULTAN Rouge Poppies April 25 2012, conté on paper, 22 ! x 30 " inches Flocked Oranges on Branches January 22 2002, charcoal and flock on paper 19 # x 25 ! inches From June 28 through July 30, The Drawing Room in East Hampton presents a selection of important drawings and a striking new painting by DONALD SULTAN. This rich collection of works on paper, punctuated by a single 2010 Lantern Flowers painting, reveals the artist’s inventive approach to his quotidian subjects which loom larger than life on paper and become transformative sculptural objects in tar and plaster. Two early drawings, Black Roses 1988 and Black Lemon 1989 set the stage for Sultan’s dramatic and masterful use of the dry, ancient medium of charcoal in the following decades. Densely wrought in the friable medium, the small, sole lemon is a signature Sultan silhouette, widely known since the Museum of Modern Art’s 1988 exhibition, Black Lemons. Several drawings selected from his powerful 2000-2002 series, Oranges on Branches, conjure memories of walking through an orchard laden with fruit. Sultan’s playful and deft balance of compressed charcoal mark making, combined with the velvet flocking of the fruit, dazzle and confound. Ever inspired by the geometry and sensuality of flowers, Sultan made a large series, Wallflowers, in April of 2007 using the French medium of gouache for its opacity of hues worthy of flower petals. In these patterns of free floating wisteria, fritillaria, bluebells, and coreopsis, and many other species, Sultan reduces and repeats the architecture of each blossom in marvelous variations of form and color across the white expanse of the page. -
Moral Rights: the Anti-Rebellion Graffiti Heritage of 5Pointz Richard H
digitalcommons.nyls.edu Faculty Scholarship Articles & Chapters 2018 Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard H. Chused New York Law School, [email protected] Follow this and additional works at: https://digitalcommons.nyls.edu/fac_articles_chapters Part of the Entertainment, Arts, and Sports Law Commons, Land Use Law Commons, and the Property Law and Real Estate Commons Recommended Citation Chused, Richard H., "Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz" (2018). Articles & Chapters. 1172. https://digitalcommons.nyls.edu/fac_articles_chapters/1172 This Article is brought to you for free and open access by the Faculty Scholarship at DigitalCommons@NYLS. It has been accepted for inclusion in Articles & Chapters by an authorized administrator of DigitalCommons@NYLS. Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard Chused* INTRODUCTION Graffiti has blossomed into far more than spray-painted tags and quickly vanishing pieces on abandoned buildings, trains, subway cars, and remote underpasses painted by rebellious urbanites. In some quarters, it has become high art. Works by acclaimed street artists Shepard Fairey, Jean-Michel Basquiat,2 and Banksy,3 among many others, are now highly prized. Though Banksy has consistently refused to sell his work and objected to others doing so, works of other * Professor of Law, New York Law School. I must give a heartfelt, special thank you to my artist wife and muse, Elizabeth Langer, for her careful reading and constructive critiques of various drafts of this essay. Her insights about art are deeply embedded in both this paper and my psyche. Familial thanks are also due to our son, Benjamin Chused, whose knowledge of the graffiti world was especially helpful in composing this paper. -
L'exposition D'os Gemeos À L'ica De Boston
Université de Montréal L’institutionnalisation du Street Art : l’exposition d’Os Gemeos à l’ICA de Boston par Linakim Champagne Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté en vue de l’obtention du grade de M.A. en histoire de l’art Août 2017 © Linakim Champagne, 2017 Résumé Street Art Le est un mouvement artistique contemporain englobant plusieurs formes d’art, apparues dans les années 1970, que nous retrouvons dans la rue et dans l’espace public. Certains chercheurs se sont intéressés à ce mouvement d’un point de vue historique en suivant son évolution jusqu’à nos jours. Étant une forme d’art Street Art de la contre-culture américaine, le a maintenant évolué en nous présentant plusieurs artistes connus mondialement, tel que Shepard Fairey et Banksy. Autrefois anti-institutionnel, l’art de rue semble avoir beaucoup progressé, Street Art considérant notamment le nombre impressionnant d’expositions de que l’on a pu observer dans les musées au cours des dernières années. La récente évolution du mouvement vers les institutions muséales est particulièrement intéressante. Nous nous posons Street Art donc la question suivante : comment la dimension sociale et politique du est institutionnalisée par les Street Art musées ? Afin d’analyser ce phénomène de transition du mouvement du , l’étude d’expositions muséales s’impose, car nous croyons que cette institutionnalisation passe par la muséalisation de l’art de rue. Nous avons Street donc effectuéArt nos recherches en analysant différentes expositions collectives de , pour ensuite nous concentrer sur certaines expositions monographiques majeures ayant eu lieu aux États-Unis. -
The Museum Off Modern Art
The Museum off Modern Art For Immediate Release January 1988 DONALD SULTAN'S BLACK LEMONS February 4 - May 3, 1988 An exhibition of monumental prints by American artist Donald Sultan opens at The Museum of Modern Art on February 4, 1988. Organized by Riva Castleman, director of the Department of Prints and Illustrated Books, DONALD SULTAN'S BLACK LEMONS includes several groups of black-and-white aquatints executed between 1984 and 1987, as well as a lead sculpture and a folding screen with printed panels. On view through May 3, the exhibition is supported by the Associates of the Department of Prints and Illustrated Books. Taking the distinctive form of the lemon—the subject of many of his somber tar-on-tile paintings—Sultan has used a unique procedure to create these large prints. Beginning with a copperplate evenly covered with resin particles, the artist has blown through a glass pipe to draw the images with his own breath. With this technique he has achieved the blurred effect of heavily applied charcoal. In an article written at the time of a 1986 exhibition in Paris, Sultan's prints were described by Brigitte Baer: "Here they are, huge, covering the wall from the celling to the floor: gorgeous, fat, velvet black, with those hazy outlines, as powdery as if they had been covered with some mysterious kind of black icing sugar. The room is swarming with black lemons." Three of the black lemon prints have been mounted in the traditional oriental manner as a six-fold screen, which is shown for the first time in this exhibition. -
Frameworks for the Downtown Arts Scene
ACADEMIC REGISTRAR ROOM 261 DIVERSITY OF LONDON 3Ei’ ATE HOUSE v'Al i STREET LONDON WC1E7HU Strategy in Context: The Work and Practice of New York’s Downtown Artists in the Late 1970s and Early 1980s By Sharon Patricia Harper Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of the History of Art at University College London 2003 1 UMI Number: U602573 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U602573 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The rise of neo-conservatism defined the critical context of many appraisals of artistic work produced in downtown New York in the late 1970s and early 1980s. Although initial reviews of the scene were largely enthusiastic, subsequent assessments of artistic work from this period have been largely negative. Artists like Keith Haring, Jean-Michel Basquiat and Kenny Scharf have been assessed primarily in terms of gentrification, commodification, and political commitment relying upon various theoretical assumptions about social processes. The conclusions reached have primarily centred upon the lack of resistance by these artists to post industrial capitalism in its various manifestations. -
PIER 34 Something Possible Everywhere Something Possible
NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street. -
Department of Art and Art History the University of Utah GRAFFITI, ART
GRAFFITI, ART, AND IDENTITY: EXPLORING GAJIN FUJITA’S HOOD RATS by Patricia Kathleen Guiley A thesis submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Master of Arts in Art History Department of Art and Art History The University of Utah May 2015 Copyright © Patricia Kathleen Guiley 2015 All Rights Reserved The University of Utah Graduate School STATEMENT OF THESIS APPROVAL The thesis of Patricia Kathleen Guiley has been approved by the following supervisory committee members: Winston Kyan , Chair 10/13/2014 Date Approved Paul Monty Paret , Member 10/13/2014 Date Approved Wesley Sasaki-Uemura , Member 10/13/2014 Date Approved and by Brian Snapp , Chair/Dean of the Department/College/School of Art History and by David B. Kieda, Dean of The Graduate School. ABSTRACT While contemporary historians have explored the advent of graffiti as well as its link to the social and financial world, little attention has been given to overarching lenses that attempt to encompass the new global contemporary form of graffiti. In a recent catalogue of street art, Carlo McCormick argues that many of the fundamental motives and aesthetics of graffiti have transformed, requiring new lenses of analysis when comprehending the work. One of the main outcomes in the art-world system of the global contemporary is the dissolving of geographical distances that once divided art worlds from each other. As a result of evolving cultural paradigms, new parameters are required when analyzing contemporary art. It is here, in the global contemporary climate, that Gajin Fujita’s Hood Rats shows how representations of American identity have transformed. -
Ahead of Their Time
NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending. -
Marianne Boesky Gallery Frank Stella
MARIANNE BOESKY GALLERY NEW YORK | ASPEN FRANK STELLA BIOGRAPHY 1936 Born in Malden, MA Lives and works in New York, NY EDUCATION 1950 – 1954 Phillips Academy (studied painting under Patrick Morgan), Andover, MA 1954 – 1958 Princeton University (studied History and Art History under Stephen Greene and William Seitz), Princeton, NJ SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2021 Brussels, Belgium, Charles Riva Collection, Frank Stella & Josh Sperling, curated by Matt Black September 8 – November 20, 2021 [two-person exhibition] 2020 Ridgefield, CT, Aldrich Contemporary Art Museum, Frank Stella’s Stars, A Survey, September 21, 2020 – September 6, 2021 Tampa, FL, Tampa Museum of Art, Frank Stella: What You See, April 2 – September 27, 2020 Tampa, FL, Tampa Museum of Art, Frank Stella: Illustrations After El Lissitzky’s Had Gadya, April 2 – September 27, 2020 Stockholm, Sweeden, Wetterling Gallery, Frank Stella, March 19 – August 22, 2020 2019 Los Angeles, CA, Los Angeles County Museum of Art, Frank Stella: Selection from the Permanent Collection, May 5 – September 15, 2019 New York, NY, Marianne Boesky Gallery, Frank Stella: Recent Work, April 25 – June 22, 2019 Eindhoven, The Netherlands, Van Abbemuseum, Tracking Frank Stella: Registering viewing profiles with eye-tracking, February 9 – April 7, 2019 2018 Tuttlingen, Germany, Galerie der Stadt Tuttlingen, FRANK STELLA – Abstract Narration, October 6 – November 25, 2018 Los Angeles, CA, Sprüth Magers, Frank Stella: Recent Work, September 14 – October 26, 2018 Princeton, NJ, Princeton University -
Listed Exhibitions (PDF)
G A G O S I A N G A L L E R Y Alexander Calder Biography Born in 1898, Lawnton, PA. Died in 1976, New York, NY. Education: 1926 Académie de la Grande Chaumière, Paris, France. 1923–25 Art Students League, New York, NY. 1919 B.S., Mechanical Engineering, Stevens Institute of Technology, Hoboken, NJ. Solo Exhibitions: 2015 Alexander Calder: Imagining the Universe. Sotheby’s S|2, Hong Kong. Calder: Lightness. Pulitzer Arts Foundation, Saint Louis, MO. Calder: Discipline of the Dance. Museo Jumex, Mexico City, Mexico. Alexander Calder: Multum in Parvo. Dominique Levy, New York, NY. Alexander Calder: Primary Motions. Dominique Levy, London, England. 2014 Alexander Calder. Fondation Beyeler, Basel. Switzerland. Alexander Calder: Gouaches. Gagosian Gallery, Davies Street, London, England. Alexander Calder: Gouaches. Gagosian Gallery, 980 Madison Avenue, New York, NY. Alexander Calder in the Rijksmuseum Summer Sculpture Garden. Rijksmuseum, Amsterdam, Netherlands. 2013 Calder and Abstraction: From Avant-Garde to Iconic. Los Angeles County Museum of Art, Los Angeles, CA. 2011 Alexander Calder. Gagosian Gallery, Davies Street, London, England. 2010 Alexander Calder. Gagosian Gallery, W. 21st Street, New York, NY. 2009 Monumental Sculpture. Gagosian Gallery, Rome, Italy. 2005 Monumental Sculpture. Gagosian Gallery, W. 24th Street, New York, NY. Alexander Calder 60’s-70’s. GióMarconi, Milan, Italy. Calder: The Forties. Thomas Dane, London, England. 2004 Calder/Miró. Foundation Beyeler, Riehen, Switzerland. Traveled to: Phillips Collection, Washington, D.C. (through 2005). Calder: Sculpture and Works on Paper. Elin Eagles-Smith Gallery, San Francisco, CA. 590 Madison Avenue, New York, NY. 2003 Calder. Gagosian Gallery, Los Angeles, CA. Calder: Gravity and Grace.