Hortensia Herrero Art Centre, Valencia - CAHH - Centro de Arte Hortensia Herrero

Hortensia Herrero Art Centre, Valencia, Opening

11 November 2023

After more than five years of work and preparation, the CENTRO DE ARTE HORTENSIA HERRERO (CAHH) - Hortensia Herrero Art Centre opens its doors with the aim of providing a new window on contemporary art and bringing it closer to those who live in or visit Valencia. Located in the heart of the city, the building, with 3,500 square metres of exhibition space, will house a selection from the private collection of Hortensia Herrero, vice president of Mercadona and president of the foundation that bears her name.

Well known for her commitment to art and culture, the president of the Hortensia Herrero Foundation has been the driving force behind this project, and her vision and dedication have been crucial in making it a reality. Between the restoration of the building and the various interventions, both architectural and artistic, the cost of the project has come to 40 million euros.

“This is a wonderful day for me. Seven and a half years has been a long period of my life, a long period of work for the architects, for Carlos Campos, Carlos Barberá, the Mercadona team and my colleagues in the Hortensia Herrero Foundation, led by Alejandra Silvestre. At last this art centre is a reality”, began Hortensia Herrero. “One of the objectives of my foundation is to care for the city’s heritage, to bring to light the beauty of buildings that are our history and are in ruins. With this restoration I think that objective is being fulfilled. Add to that my art collection and I think we’re creating a cultural focus in Valencia for both residents and visitors to enjoy.”

On the building, Hortensia Herrero wanted to express her gratitude for “the work of the team of architects, and especially my daughter Amparo for the loving care and the hours she has put into this project. They’ve managed to adapt the unique features of the building, its nooks and crannies, its passages… to house great works. This is a little jewel in the heart of Valencia and they’ve brought out the very best in it.”

She gave an account of how her relationship with art began. “I’ve always enjoyed painting, art in general, handicrafts. I visited galleries, museums… and bought the odd picture, becoming a collector without realising. One day, Elena Tejedor, my fantastic project initiator at the Foundation, introduced me to Javier Molins while visiting Andreu Alfaro’s studio. With Javier we arranged the purchases so that everything was harmonious and made sense. That’s how we got involved in the world of galleries, fairs like Arco, Basel, Frieze, biennials like Venice. What with all this, we have some 50 artists represented in this art centre, some of them bought in Valencia galleries, thanks to Abierto València. In addition, we have six site-specifics. We selected six artists to make us specific installations for this centre, so that they would develop their creativity by embellishing it.”

Hortensia Herrero ended by thanking “my husband, because without the results he obtains from his company, it would not have been possible to make this happen. Thank you all from my heart. I hope you like it as much as I do.”

CAHH: A private collection of contemporary art

Hortensia Herrero has always has a special sensitivity to art and has been collecting artworks for more than ten years. The Hortensia Herrero Art Collection has a clear international orientation, with contemporary artists of recognised stature that can be found in the collections of museums such as MoMA, the Tate or the Pompidou Centre, among many others. The first presentation of this collection, with which the Hortensia Herrero Art Centre will open its doors tomorrow, Saturday 11 November, includes over 100 works by more than 50 artists.

Names like Andreas Gursky, Anselm Kiefer, Georg Baselitz, Anish Kapoor, Mat Collishaw, Cristina Iglesias, Manolo Valdés, Michal Rovner, Ann Veronica Janssens, Eduardo Chillida and Tony Cragg are just some of the more than 50 artists whose work will be represented in one of the seventeen exhibition rooms in the Hortensia Herrero Art Centre. They are accompanied by internationally renowned figures such as David Hockney, El Anatsui and Peter Halley, and the Spanish artists Miquel Barceló, Blanca Muñoz, Julio González, Antonio Girbés, Juan Genovés and Joan Miró.

Javier Molins, artistic director of the Hortensia Herrero Art Centre, is the collection’s adviser: “Not only have we brought in a series of outstanding names in contemporary art, but we’ve brought in the best work by these artists, because there’s been a high degree of involvement on their part. In many cases they’ve been asked to do something specifically for the art centre or we’ve waited for some time to find the piece that best fitted into the collection.”

Javier Molins began working on this collection with Hortensia Herrero a decade ago: “The collection and the centre that houses it are the product of two quite distinct yet complementary passions: on the one hand, the passion that Hortensia Herrero has always felt for art, which has prompted her to collect and put together a set of works of high quality, and on the other, her passion for the city of Valencia, which has led her to acquire one of its most representative buildings, restore it, bring to light a whole series of archaeological remains of the history of the city and open it to the public with her contemporary art collection. In this way, a very interesting dialogue is set up between the history of the city, starting in the Roman Empire, with its circus, part of which we can see in the subsoil of the building, and the most international contemporary art.”

Six site-specifics at the CAHH

The space that accommodates this exhibition, the former Palacio de Valeriola, has been restored by the ERRE Architecture studio. Moreover, the beauty of a unique historical space containing the whole history of the city has been enhanced by specific interventions in six corners of the art centre. These are six site-specifics, created by artists of international stature, that merge with the building. Jaume Plensa, who visited the CAHH during the restoration process, has intervened in the apse, which connects the mansion to the garden. The “navel” of the building — melic in Catalan, as Plensa himself dubbed it — now has its walls inundated with letters and symbols in various alphabets from all over the world. Tomás Saraceno has created an installation comprising six clouds composed of irregular tetrahedrons and dodecahedrons and covered with iridescent panels, which completely fill the sixteen-metre-high entrance hall. Sean Scully has intervened in the former chapel of the Palacio, filling the space with colour. Scully suggested carrying out a comprehensive transformation of the chapel that would include both the windows in the walls and the glass in the dome. His intervention was completed with one of his paintings from the Landline series, characterized by horizontal stripes in various colours. Cristina Iglesias has transformed the connection between the main building and the annex, so that visitors will be able to feel they are inside her work. Olafur Eliasson has brought to life another of the passages in the building, creating a tunnel with two quite distinct perspectives: the view at the entrance, in which we can see 1,035 pieces of glass, each with a different design and position, containing all the colours of the rainbow, and the view looking back from the exit, where we see a black tunnel. Finally, there is Mat Collishaw, whose work is characterized by treating classical themes from art history with modern technology. Hortensia Herrero was fascinated by the video Sordid Earth created by Collishaw for Rod Arad’s curtain (which Hortensia Herrero herself brought to Valencia in the summer of 2022), so she commissioned him to produce a video specially for the art centre. She slipped in the idea that it could be inspired by the Fallas of Valencia, another of this patron’s great passions.

In short, they are six interventions that not only enter into a dialogue with the space but end up being integrated into the building itself and further enhancing its uniqueness. All these works will remain in the art centre permanently, enriching its architecture and investing this building with soul.

Supporting the Valencian art ecosystem: the Abierto València room

As the art centre is situated in Valencia, Hortensia Herrero was determined not to forget the city’s more emerging art and its gallery ecosystem. As Javier Molins explains, the Valencian patron “first started collecting in her own city by acquiring artworks by the artists who exhibited in its galleries for her own enjoyment in the privacy of her own home. It is a practice that she has continued over time and has institutionalized through the acquisition prize she awards every year as part of the event known as Abierto València (Open Valencia), with which the galleries of Valencia launch the September season. From 2014 to 2022, twenty-one works by sixteen artists have been added to the Hortensia Herrero collection through this acquisition prize, and two rooms in the CAHH have been fitted out to show a selection of these works acquired in the galleries of Valencia.”

CAHH: A unique space

As if the selection that forms this first exhibition were not enough, its container, the actual building that houses the Hortensia Herrero Art Centre, is a work of art in itself. It is located in the former Palacio de Valeriola, an iconic construction in a Baroque style which encapsulates the history of the city, from Roman, Visigothic and Islamic times to the Christian era: a space like few others in Valencia in which to see and admire the past. Moreover, a fragment of the Roman circus of the ancient city of Valentia has been found in the subsoil.

The site was part of Muslim Balansiya between the eleventh and thirteenth centuries, and remains of two fountains belonging to an Islamic patio have been found in it. One of them has survived in good condition and can be viewed by visitors to the art centre. This eight-pointed fountain, and the other, which is more damaged, stood at either end of the pool in a large courtyard with a border of plants, framed by channels around the perimeter and rotundas at the corners, through which water circulated.

This courtyard belonged to the large Islamic house of Haçach Habinbadel. It also constitutes the last vestige of the Jewish quarter, as can be seen in an alley that lies within the art centre and has also been recovered for visitors to enjoy. Later on, the construction of the Palacio de Valeriola became a showcase for the opulence of Valencian Baroque society.

The restoration of the building, which was in a very advanced state of dereliction when Hortensia Herrero acquired it, was undertaken by the ERRE Arquitectura studio. Amparo Roig, one of its three partners, also took part in the presentation of this new exhibition space:

“We fell in love with this building, even though it was a ruin. A ruin that was lucky enough to catch the eye of Hortensia Herrero, with unstinting investment of time, cost and loving care. And in order to breathe life into the building, ensuring its continuity over time. From the outset we aimed to recover the original character of the existing building, reinforcing the most damaged parts, of which there were many. We’ve brought out the original atmosphere of the seventeenth-century palacio while achieving an exhibition space with the modern facilities it deserves. We hope and wish that this new chapter in the history of the Palacio de Valeriola, from now on the Hortensia Herrero Art Centre, will serve to promote contemporary art of the highest level and to highlight the great value of Valencia’s architectural heritage”, explained Amparo Roig.

The exhibition area is organized around seventeen rooms distributed on four levels. One of the main challenges of the project was to design a continuous walkthrough that would offer visitors a pleasant and comfortable experience throughout an area of over 3,500 square metres. This walkthrough follows an ascending course in the Calle del Mar building and descends in the second section, adjacent to Calle de San Cristóbal, connecting with it via the building situated in the garden. The complex is completed with a landscaped courtyard, as well as a basement, where the remains of the ancient Roman circus of Valencia found during the archaeological excavations can be visited. This Roman circus was the most imposing structure in the city in the second century AD, with an area equivalent to more than three football pitches (350 metres long and more than 70 metres wide). During the excavations, several sections of the thick five-metre-wide wall of the western tiered seating area were located, another three transverse walls serving as braces, and seven buttresses on the outside of the wall. These finds have been preserved and will be open to visitors to the centre.

The restoration work has taken over five years, during which the aim has been to recover as far as possible the historical character contained in the Palacio de Valeriola, and at the same time to turn it into a leading contemporary art centre, with all the technological requirements that this entails.

CENTRO DE ARTE HORTENSIA HERRERO, VALENCIA

HORTENSIA HERRERO ART CENTRE, VALENCIA

Calle del Mar, 31 – 46003 València

www.cahh.es

Updated Post

Gallery 125 Newbury, New York - A Project Space Helmed by Arne Glimcher

Gallery 125 Newbury, New York

A Project Space Helmed by Arne Glimcher

Talia Rosen, Arne Glimcher, Kathleen McDonnell, Oliver Shultz 

Photo: 2022 © Luca Pioltelli, courtesy Pace Gallery

Gallery 125 Newbury

Courtesy Pace Gallery

Pace Gallery announces the establishment of Gallery 125 Newbury, a new project space in New York helmed by Pace’s Founder and Chairman Arne Glimcher. Located at the corner of Broadway and Walker Street in New York’s Tribeca neighborhood, the enterprise is named for the address of Pace’s first-ever gallery space, which opened in Boston in 1960. Gallery 125 Newbury will operate in association with Pace, which is led by President and CEO Marc Glimcher. The new gallery is set to open in fall 2022.

Guided by Arne Glimcher’s six decades of pioneering exhibition-making, the enterprise, situated in a space formerly occupied by the Pearl River Market, will present up to five exhibitions per year with a focus on thematic group shows and emerging artists, including artists both within and beyond Pace’s program; Gallery 125 Newbury will eschew the traditional gallery model in favor of a more nimble and flexible structure focused on developing cutting-edge exhibitions with a global perspective.

Gallery 125 Newbury will serve as an expanded platform for Arne Glimcher’s curatorial vision, which he will develop in tandem with his ongoing work at Pace. Maintaining his current role with Pace and his office space at the gallery’s 540 West 25th Street location, Arne Glimcher will continue to organize selected exhibitions at Pace’s global locations, including forthcoming solo exhibitions of Robert Irwin, Richard Tuttle, and Sam Gilliam, and he and his team will also continue working closely with Pace’s other artists. The inauguration of Gallery 125 Newbury represents Arne Glimcher’s return to his roots in hands-on curatorial experimentation, where his interest has always been directed.

Arne Glimcher says: “When I started the Pace Gallery 60 years ago, it was a tiny little place on Newbury Street in Boston. I’m dazzled every day by what the gallery has become and our incredible artists, and I’m thrilled to continue to play a role in Marc’s vision. Gallery 125 Newbury is about expanding my own story at the same time, about going full circle, back to the little gallery I once had, back to being hands-on in every facet of making shows and working with artists and connecting with the public, which is the part of it that I really love.”

Marc Glimcher says: “I’m thrilled that Gallery 125 Newbury will extend the possibilities of Pace’s programming. My father has a strong history of making iconic exhibitions. Decades ago, he created the blueprints that commercial galleries still follow in presenting their artists’ work. Gallery 125 Newbury offers Arne a space to further explore his inimitable personal vision.”

Gallery 125 Newbury will be housed in a 3,900 square-foot space with 17-foot ceilings. Prior to the enterprise’s opening, the interior space will be fully renovated by architects Enrico Bonetti and Dominic Kozerski, of the firm Bonetti/Kozerski, which designed Pace’s eight-story gallery in New York’s Chelsea neighborhood. Keeping with the character of Tribeca, the space will retain some elements of the structure, including its original ceilings. 

The Gallery 125 Newbury team will include Kathleen McDonnell, Talia Rosen, and Oliver Shultz, who will continue to serve as members of Arne Glimcher’s existing team at Pace as well as directors of the new space.

ARNE GLINCHER is the founder and chairman of Pace Gallery, which he established in Boston in 1960. In the early years of the gallery, which opened its first New York space in 1963, Glimcher championed artists including Louise Nevelson, Agnes Martin, Robert Rauschenberg, Jean Dubuffet, Lucas Samaras, Chuck Close, and Claes Oldenburg, as well as pioneers of the Light and Space movement James Turrell and Robert Irwin. His decades-long relationships with these and other artists cemented the gallery’s position as a leading and boundary-pushing institution. Over the course of his career, Arne Glimcher has become one of the most prominent and prolific figures in the international art world, and Pace now occupies nine locations worldwide. Among the films Glimcher has directed are The Mambo Kings (1992), which received an Academy Award nomination, Just Cause (1995), and Picasso and Braque Go to the Movies (2008). He also produced Gorillas in the Mist (1988), which received five Academy Award nominations, and the documentary White Gold (2013). Arne Glimcher is chairman of the board of directors of the African Environmental Film Foundation, a nonprofit organization dedicated to the production and distribution of films about environmental issues in Africa for the people of Africa.

PACE

pacegallery.com

Art Dubai 2021, Art Fair @ DIFC

Art Dubai 2021 

DIFC, Dubai 

29 March - 3 April 2021 

ART DUBAI 2021 AT DIFC

Photo courtesy of Art Dubai

The Middle East’s leading art fair, Art Dubai stages its 14th edition in a purpose-built venue at the iconic Gate Building in Dubai International Financial Centre (DIFC).

Featuring 50 leading Contemporary and Modern galleries from 31 countries visitors to Art Dubai 2021 can discover a diverse selection of artworks, artists and practices, reflecting the multicultural identity of the city along with a curated sculpture park with large-scale installations, featuring works by eight artists including Emirati Mohamed Ahmed Ibrahim and Hussain Sharif. 

As part of this year’s curatorial projects, Art Dubai also presents a Film Programme comprised of various short films. Screening stations placed along DIFC’s Gate Avenue feature single-channel films produced by 20+ regional and international artists, each thematically categorized to curate a specific experience for the viewer, including: Nature, Journeys, Dystopias, Conversations, Performances and Animations, among others. 

Art Dubai’s Artistic Director, Pablo del Val, commented: “We understand culture as a priority and a necessity, even more so after this long pandemic. Our ability to understand the world and connect with it without the filters of a computer screen is more imperative than ever. This edition of Art Dubai invites us to do precisely that, to recover our senses and reactivate them through art.”

Art Dubai operates at the highest COVID-19 safety protocols; alongside standard procedures, including regular testing of participants, the fair has introduced extra precautions to manage capacity and offer a safe and flexible environment for all. These include extending the opening hours, adding an extra fair day and the newly launched Art Dubai App allows visitors to book dedicated time slots in advance to guarantee entry.

The new Art Dubai App also allows visitors to stay up-to-date with the latest news and announcements, explore the exhibiting galleries and artworks, view the full programme of exhibitions and cultural events happenings in galleries and public spaces across the UAE. From family-focused activities to cutting-edge, dynamic programming, a diverse array of activations take place during this week of Art Dubai.

Sculpture Park

A curated Sculpture Park surrounding the DIFC Gate Building features large-scale installations by ten artists including: pioneering conceptual Emirati artists Mohamed Ahmed Ibrahim and Hussain Sharif, Saudi artist Rashed Al Shashai, Iraqi painter and sculptor Dia Al-Azzawi and Algerian sculptor, print-maker and ceramicist Rachid Koraïchi alongside contemporary Mozambican artist Gonçalo Mabunda, Greek conceptual sculptor Costas Varotsos, Indian architect Tarik Currimbhoy, French conceptual artist Bernar Venet and Argentine-French multidisciplinary artist Pablo Reinoso.

Film Programme and 50 Years United Exhibition

As part of this year’s curatorial projects, Art Dubai will present a Film Programme comprised of screening stations located along DIFC’s Gate Avenue, featuring single-channel films produced by over 20 regional and international artists. Each is thematically categorised to curate a specific experience for the viewer that includes: Nature, Journeys, Dystopias, Conversations, Performances and Animations, among others. A station is dedicated to Art Dubai Portraits, an ongoing film series in partnership with BMW Middle East that provides perspectives into the lives and workspaces of artists connected to the fair. 

Also in Gate Avenue, a recollective black and white photographic exhibition showcases images dating back to 2 December 1971, taken by Ramesh Shukla and the inspiration behind Art Dubai’s 2021 graphic campaign. 50 Years United is a visual commemoration of the upcoming 50th anniversary of the nation and offers a journey down memory lane, with portraits of the Founding Fathers, vintage landmarks and traditional customs and heritage. 

Campus Art Dubai 8.0

Curated by Munira Al Sayegh, an exhibition titled Plants, Animals, Minerals presents the culmination of Campus Art Dubai 8.0, that was supported by Dubai Culture & Arts Authority and hosted by A.R.M. Holding. The latest edition of the six-month seminar and residency programme - providing Emirati and UAE-based artists with educational and professional opportunities - features five selected artists’ responses to the theme of symbiotic life in a parasitic world. The participating artists are: Ameena AlJarman, Layan Attari, Nahla Tabbaa, Zahra Jewanjee, and Zena Adhami.

Ithra Art Prize

The King Abdulaziz Center for World Culture (Ithra) celebrates contemporary art and artists through the Ithra Art Prize. Launched in 2017 in collaboration with Art Dubai, the winning artwork premieres at the yearly event. This is the third iteration of the prize which is awarded annually to Saudi and Saudi-based contemporary artists and aims to fund, promote and showcase them globally. The latest winner is the Saudi artist Fahad bin Naif, for his installation ‘Rakhm’, which means ‘incubation’ in Arabic. Unveiled at Art Dubai 2021, it is the first opportunity for the public to enjoy it. The installation aims to conceptually preserve a nursery as both an urban typology and its ‘incubatees’, as an environmental micro-economy. Mirroring both the sensitivity and urgency of the content, safely and carefully incubating an intelligent green infrastructure, Rakhm is a polytunnel nursery that mimics the existing urban nurseries in the Kingdom with endemic plants and flowers instead of conventional foreign houseplants. 

Art Dubai’s 2021 programme also includes new exhibitions by key partners of the fair; Switzerland is presenting an outdoor installation titled Swiss Fog Magnified, featuring over one thousand crystal glass spheres and reinterpreting a highlight that awaits visitors in the Swiss Pavilion at Expo 2020 Dubai. Commissioned by Maison Ruinart to express his vision of the brand, its heritage and savoir-faire, British artist David Shrigley presents a series of indoor and outdoor artworks with an offbeat and unrelenting sense of humour, acting as an effervescent eye-opener to environmental concerns. Luxury Italian brand Salvatore Ferragamo will stage an activation, showcasing their Spring/ Summer 2021 collection and integrating a visual experience and short film shot in Milan by award-winning filmmaker Luca Guadagnino.

Art Dubai 2021 Participating Galleries

+2, Tehran

Gallery 1957, Accra 

Addis Fine Art, Addis Ababa/London

Aicon Art, New York

Akka Project, Venice/Dubai

Galería Albarrán Bourdais, Madrid

Gallery ArtBeat, Tbilisi

Athr Gallery, Jeddah

Ayyam Gallery, Dubai

Saleh Barakat Gallery, Beirut

Circle Art Gallery, Nairobi/London

Comptoir des Mines Galerie, Marrakech

GALLERIA CONTINUA, San Gimignano/Beijing/Les Moulins/Havana/Rome/São Paulo/Paris

Custot Gallery Dubai, Dubai

Dastan’s Basement, Tehran

ELMARSA GALLERY, Dubai/Tunis

Experimenter, Kolkata

Eye for Art, Houston

Gallery Isabelle van den Eynde, Dubai

Gazelli Art House, Baku/London

Hafez Gallery, Jeddah

Leila Heller Gallery, Dubai/New York

Kristin Hjellegjerde Gallery,London/Berlin

Lawrie Shabibi, Dubai

Mark Hachem, Beirut/Paris/New York

Gallery Misr, Cairo

Meem Gallery, Dubai

Mono Gallery, Riyadh

Galerie Nathalie Obadia, Paris/Brussels

PERROTIN, Hong Kong/Seoul/Tokyo/Shanghai/Paris/New York

Giorgio Persano, Turin

Perve Galeria, Lisbon

RONCHINI, London

The Rooster Gallery, Vilnius

SANATORIUM, Istanbul

SARADIPOUR Art Gallery, Los Angeles

Galerie—Peter—Sillem, Frankfurt 

Sfeir-Semler Gallery, Beirut/Hamburg

Silverlens, Manila

Stems Gallery, Brussels

TAFETA, London/Lagos

TEMPLON, Paris/Brussels

The Third Line, Dubai

Tropical Futures Institute, Cebu City

Vermelho, São Paulo

Vin Gallery, Ho Chi Minh City

Yusto/Giner, Marbella

Zawyeh Gallery, Ramallah/Dubai

Salwa Zeidan Gallery, Abu Dhabi

Zidoun-Bossuyt Gallery, Luxembourg

Isabelle van den Eynde, founder of Gallery Isabelle van den Eynde (Dubai) commented: “I have always believed in the energy of Art Dubai and, in spite of everything, this year is no exception. Art Dubai has remained faithful to its vision. They have persevered. I am confident the upcoming event, in its new format, will dynamize the scene yet again.”

Kristin Hjellegjerde, founder of Kristin Hjellegjerde Gallery (London, Berlin, Nevlunghavn) commented: “In these times we have to find alternative ways to keep growing. Art Dubai’s innovative approach and commitment to make the fair happen works very well for us. Having taken part in many previous editions of the fair, we trust the team to make this a great success, whether circumstances mean we can be there in person or not”

Nathalie Obadia, founder of Galerie Nathalie Obadia (Paris, Brussels) commented: “The city of Dubai has strengthened its position as a strategic crossroads thanks to ambitious fine art projects in the Middle East. As Art Dubai has become an essential fair in the region and one of the few to be held this spring, it was vital in relation to the promotion of our artists to be at this rendezvous.”

ART DUBAI

www.artdubai.ae

Stephen Shore @ Sprüth Magers, Los Angeles

Stephen Shore
Sprüth Magers, Los Angeles 
June 19 - August 30, 2019

One of the most important and influential photographers of the last half-century, Stephen Shore has produced an expansive body of work that has to a significant degree shaped our vision of the American experience from the 1960s to today. In 1971, at age twenty-four, he was the first living photographer in forty years to receive a solo exhibition at The Metropolitan Museum of Art, New York, and he was a key figure in the recognition of color photography as an artistic medium beginning in the 1970s. Monika Sprüth and Philomene Magers presents the first solo exhibition of Stephen Shore’s work in Los Angeles since 2005, when his major traveling exhibition The Biographical Landscape opened at the Hammer Museum. On view at Sprüth Magers, Los Angeles, are three of the artist’s photographic series spanning the years 1969 to the present, each of which reveal his ability to project an approachable, casual aesthetic that is infused nonetheless with subtlety, complexity, and a quiet, affecting power. 

Throughout his career, Stephen Shore has used a variety of cameras and has always been open to new technologies. The acquisition in 2017 of the revolutionary Hasselblad X1D camera has enabled the artist to make images which match and even surpass the resolution of more traditional tools. Shore’s experimentations with this new apparatus have resulted in the series Details (2017–ongoing), which serves as the cornerstone of the present exhibition. Shot in locations where the artist regularly spends time, including New York City, upstate New York, Montana and London, these photographs highlight his remarkable eye for textural contrasts and poignant compositions, even when picturing the most mundane of subjects. Natural and human-made elements come into intimate contact with one another across the series, as in bird’s eye scenes of scattered leaves on asphalt sharing space with Dunkin’ Donuts bags, cigarette butts, and bottle tops; or a frontal view of ancient murals carved onto mottled, sediment-laden rock. In these pictures, Stephen Shore manages to hold in careful balance the sense of a photograph as a transparent index of the world and, at the same time, an artful combination of light, line and color. 

Offering a lens onto the origins of Stephen Shore’s intuitive pictorial approach is another of Stephen Shore’s series, and one of his earliest: Los Angeles, California, February 4, 1969. Created almost exactly fifty years ago, and in the same city as this exhibition, it marks a moment in which Shore was testing new ways of structuring his pictures. Intrigued by both the focus on popular culture he had witnessed while spending time in Andy Warhol’s Factory (1965–68), as well as the conceptual frameworks that artists in other media were building into their work in the late 1960s, the young photographer took advantage of a trip to Los Angeles to create a new kind of photographic project. He established several constraints, including that he would shoot mainly from the back seat of a car and that he would keep every picture he took, in the order in which he took them. The result is a stream-of-consciousness view of one day in LA, presented in consecutive groupings of twelve photographs. Iconic features, such as Standard Oil stations, palm trees, and billboards, intermingle with fleeting impressions of cloud-streaked skies, pedestrians and traffic. In addition, multiple views of the same scene, set side-by-side, offer an unparalleled glimpse into the development of Shore’s snapshot aesthetic and deepening consideration of vernacular subjects. 

Finally, the exhibition includes a selection of works from the artist’s landmark series, American Surfaces (1972–73), taken as he traveled around the United States in his mid-twenties. Part visual diary, part elegy to a disappearing localized America, these photographs of commonplace objects and situations revel in textures, patterning and heavily saturated hues: green pearlescent Formica, the dimpled glass of a phone booth window, tessellated arrays of pink gradated tiles behind a man in a bright avocado-colored shirt. The “Surfaces” in the title refers literally to this textural aspect of the series, yet it also calls to mind the surface of the photograph itself, and the visual conventions and systems of thought through which we understand photographic images. 

Many of these concerns are still present, albeit in different ways, in Stephen Shore’s more recent Details. He has described his picture-making process as “a complex, ongoing, spontaneous interaction of observation, understanding, imagination, and intention” (Shore, The Nature of Photographs, p. 132), and together these series make clear his persistent focus and attention to everyday subjects that feel at once prosaic and extraordinary. Shore’s photographs urge us, in turn, to look more deeply and meaningfully at the world around us, and to find beauty among its arrangements and peculiarities. 

STEPHEN SHORE (born 1947, New York City) lives in Tivoli, New York, and since 1982 has been Director of the Photography Program at Bard College. A major retrospective of his work was on view at the Museum of Modern Art, New York (2017-18). Further selected solo exhibitions include those at Huis Marseille, Amsterdam, and C/O Berlin (2016), Les Rencontres d'Arles (2015), Fundacion Mapfre, Madrid (2014), Aspen Art Museum (2011), Der Rote Bulli: Stephen Shore and the New Düsseldorf Photography, NRW-Forum, Düsseldorf (2010), International Center of Photography, New York (2007), Sprengel Museum, Hannover (1995), Art Institute of Chicago (1984), Kunsthalle Düsseldorf (1977), and The Metropolitan Museum of Art, New York (1971). Recent group exhibitions include those at Luma Foundation, Arles (2018), Fondation Cartier pour l’art contemporain, Paris (2017), Museo Jumex, Mexico City (2017), Vancouver Art Gallery (2016), Walker Art Center, Minneapolis (2016), George Eastman House, Rochester (2015), Tate Modern, London (2014), Whitney Museum of American Art, New York (2014), and Barbican Art Centre, London (2014). The recipient of numerous awards and fellowships, Stephen Shore was recently honored as the 2019 Photo London Master of Photography. 

SPRÜTH MAGERS LOS ANGELES
5900 Wilshire Boulevard, Los Angeles, CA 90036
spruethmagers.com

Masao Yamamoto, Carolyn Carr, Fallen Fruit @ Jackson Fine Art, Atlanta

Masao Yamamoto: Bonsai
Carolyn Carr: Out of the Studio
Fallen Fruit
Jackson Fine Art, Atlanta
Through June 29, 2019

Jackson Fine Art presents exhibitions of new work by Masao Yamamoto and Carolyn Carr, two artists whose innovative interpretations of the cultivated landscape usher one of photography’s foundational subjects into the 21st century. Photography and florals have a rich history, with early artists depending on florals to communicate symbolism and convey beauty; Carr and Yamamoto, in turn, draw on their surrounding environments to offer cultural signifiers of beauty and calm increasingly invaluable in a tumultuous time.

Also on view is an installation from the L.A.-based art collaborative Fallen Fruit, whose unique wallpapers and narrative photography are informed by their experiential and community-driven public projects, for which they always use indigenous fruit as either material or inspiration. 

Masao Yamamoto’s latest series, Bonsai, is singularly focused on the tradition of Japanese “tray planting,” a contemplative practice of maintaining small trees that mimic the shape and scale of full-size trees. To these photographs of the trees themselves, Masao Yamamoto adds his characteristic surrealist touch by manipulating the backgrounds and perspectives of his compositions — a tree is larger than the moon, a bonsai teeters on a cliff, dwarfing a mountain range. Viewers are drawn in by Masao Yamamoto’s insertion of a cultivated, “indoor” object into a seemingly outdoor setting and then back into the studio. The trick of Masao Yamamoto’s practice is his blurring of these lines.

In her newest series, Out of the Studio, Carolyn Carr similarly conflates the natural world with artistic construction. Known for her multimedia installations and experimental Carolyn Carr’s work addresses the battle and attendant healing inherent in the struggle to establish personal identity within a cultural landscape. In this series, Carolyn Carr takes a formalist turn, photographing plant life native to the Blue Ridge Mountains en plein air, nodding to the past by utilizing a box easel and employing natural light and shadow to capture still lifes at turns delicate and ominous.

MASAO YAMAMOTO

Masao Yamamoto (b. 1957, Japan) is known for evoking emotional power in the form of small-scale photographs. His early background in painting is apparent in his works’ painterly look, incorporating blurs and experimenting with printing surfaces; with many photographs, Masao Yamamoto manipulates silver gelatin prints through means such as staining the images with tea or actual paint, or tearing them. His subjects vary wildly, ranging from the Japanese countryside to nude female bodies. Many liken Masao Yamamoto’s art to haikus, due to his mastery of brevity and focus on everyday details. Masao Yamamoto is based in Yamanashi, Japan. His work has been exhibited in numerous international institutions including High Museum of Art, Atlanta; George Eastman House, Rochester; Carrousel du Louvre, Paris; Galerie de Moderne, Munich; and Museum of Photographic Arts, San Diego. Yamamoto’s photographs are included in the collections of the Victoria & Albert Museum, London; the Philadelphia Museum of Art; the Museum of Fine Arts, Houston; the International Center of Photography, New York; and the Sir Elton John Collection, among others. His monographs include Tori, Radius Books, 2016; Fujsan, Nazraeli press, 2008; é, Nazraeli Press, 2005; Omizuao, Nazraeil Press, 2003; Nakazora Nazraeli Press, 2001; and A Box of Ku, Nazraeli Press, 1998. This is his fourth solo exhibition at Jackson Fine Art.

CAROLYN CARR

Carolyn Carr (b. 1966) is a multi-media artist based in Atlanta, Georgia. Carr received her BFA from the Atlanta College of Art. Her work, exhibited in numerous solo and group exhibitions in the United States, Asia and Europe — including the High Museum of Art, Atlanta, GA; BIG POND Artworks, Munich, Germany; Artists Space, New York, NY; 10 Chancery Lane Gallery, Hong Kong; the National Museum of Women in the Arts, Washington, DC; and the High Museum of Art and Atlanta Contemporary Art Center, Atlanta, GA. — has been critically received and reviewed in numerous publications. In addition to Out of the Studio, Carolyn Carr’s recent and upcoming exhibitions include the Untitled Fair with Marisa Newman Projects, Miami; City of Atlanta Gallery 72, curated by Kevin Sipp; and an appointment as Visiting Artist of the Tbilisi, Georgia Art Fair. This is her third solo exhibition at Jackson Fine Art.

FALLEN FRUIT

Fallen Fruit is an art collaborative originally conceived in 2004 by David Burns, Matias Viegener and Austin Young. Since 2013, David Burns and Austin Young have continued the collaboration. Fallen Fruit's photography developed by mapping fruit trees growing on or over public property in Los Angeles, and has since expanded to include serialized public projects and site-specific installations and happenings in various cities around the world. By always working with fruit as a material or media, the catalogue of photography projects and works reimagine public interactions with the margins of urban space, systems of community and narrative real-time experience. Public Fruit Jams invites a broad public to transform homegrown or public fruit and join in communal jam-making as experimentation in personal narrative and sublime collaboration; Nocturnal Fruit Forages, nighttime neighborhood fruit tours, explores the boundaries of public and private space at the edge of darkness. Fallen Fruit’s photography and visual work includes an ongoing series of narrative photographs, wallpapers, everyday objects and video works that explore the social and political implications of our relationship to fruit and world around us. Recent and upcoming projects include Aki Aora 2019, Tulum; Food: Bigger than the Plate at the Victoria & Albert Museum, London (May, 2019); and a solo installation at Kunsthall 3.14, Bergen, Norway (June, 2019). This is their first exhibition at Jackson Fine Art.

JACKSON FINE ART
3115 East Shadowlawn Ave. NE, Atlanta, GA 30305
www.jacksonfineart.com

Joshua Nathanson | Erin Jane Nelson @ Van Doren Waxter, NYC

Joshua Nathanson | Erin Jane Nelson 
Van Doren Waxter, New York
Through July 12, 2019

JOSHUA NATHANSON

Birth of Geometry, 2019

Oil on canvas

73 x 64 1/2 in (185.4 x 163.8 cm)

Courtesy of the artist and Various Small Fires, Los Angeles / Seoul

Van Doren Waxter presents a two-person exhibition of new works by JOSHUA NATHANSON and ERIN JANE NELSON, on view at 23 East 73rd Street.  The exhibition features oil paintings by Joshua Nathanson and ceramic sculptures as well as textiles by Erin Jane Nelson, both of whom deploy hybridity and humor as a lure and a tool for exploring complex personal, social, and ecological vulnerabilities.

Joshua Nathanson’s human-scaled paintings draw from diverse visual sources to bridge digital, physical, and psychological realms. In a multi-valent process of transcription across media, Nathanson uses iPad drawing apps, Photoshop, and inkjet printers to form digital studies of stream-of-consciousness sketches. These studies are then translated again, forming the basis for paintings on canvas aimed at extending the experience of viewing the vibrant studies on-screen. Nathanson uses handmade oil sticks and paint to achieve this effect, producing vivid palettes, lush compositions, and layered surfaces whose material origins are difficult to ascertain. His incorporation of both traditional and digital techniques embraces the promise and the anxiety of converging synthetic and natural realities; his paintings’ protagonists—anthropomorphized plants, fruits and vegetables—are disarming allegories for daily life in all its pleasure, banality, and uncertainty.

JOSHUA NATHANSON (b. 1976) received his BFA from the School of Visual Arts, New York, NY and his MFA from Art Center College of Design, Pasadena, CA. He has held solo exhibitions at Yuz Museum, Shanghai, China; Downs and Ross, New York, NY; Luce Gallery, Turin, Italy; Kaikai Kiki Gallery, Tokyo, Japan and at Various Small Fires, Los Angeles. Other venues which have recently hosted Nathanson’s work include the Museum of Contemporary Art, Chicago, IL; Yuz Museum, Shanghai, China; Whitechapel Gallery, London, UK; Yokohama Museum, Yokohama, Japan; ARNDT, Singapore and 356 S. Mission, Los Angeles, CA. Nathanson’s work has been written about in Frieze magazine and Artforum and is part of the permanent collections of Los Angeles County Museum of Art, CA; the Museum of Contemporary Art Chicago, IL and the Yuz Museum, Shanghai, China. Nathanson lives and works in Los Angeles, CA.

ERIN JANE NELSON

The Water is Vast and Tart, 2018

Pigment print, shells, stickers, and resin on glazed stoneware

34 x 29 x 3 in (86.4 x 73.7 x 7.6 cm)

Courtesy of the artist and Chapter, NY

Atlanta-based artist Erin Jane Nelson often works in series; artworks on view draw from photographs the artist took of sites with fraught cultural histories along coastal regions and barrier islands of the Southeast, which are rapidly changing and disappearing due to climate change. These photographs and others of her surroundings and lived experiences throughout her upbringing in the American south serve as starting points for the collaged elements in her sculptures. Drawing from vernacular southern craft tradition, Nelson suspends pigment prints and other found objects amidst layers of resin and glazed stoneware. The resulting wall-mounted ceramics suggest other-worldly souvenirs, documenting vanishing landscapes and proposing altered narratives for their conflicted legacies and futures.

ERIN JANE NELSON (b. 1989) received her BFA from the Cooper Union School of Art in 2011. Her work has recently been exhibited in “Between the Waters” at the Whitney Museum of American Art in New York and “Photography Today: Public Private Relations” at Pinakothek der Moderne in Munich. Nelson’s solo exhibition Her Deepness is currently on view at the Atlanta Contemporary Art Center, Atlanta, GA. Recent solo exhibitions include Psychompompopolis at Document, Chicago, IL (2017); and Dylan at Hester, New York, NY (2015). Her work has been reviewed in publications such as Art in America, The Chicago Tribune, and Cultured Magazine, among others. The artist has contributed to publications including BURNAWAY, The Creative Independent, T: The New York Times Style Magazine, and Art Papers, and has curated exhibitions at the High Museum of Art, Atlanta Contemporary, and elsewhere. Nelson lives and works in Atlanta, GA.

VAN DOREN WAXTER
23 East 73rd Street, New York, NY 10021
www.vandorenwaxter.com

Chart Gallery Inaugural Exhibition: Reductive Seduction

Reductive Seduction - Inaugural Exhibition
Chart, New York
May 2 - June 29, 2019

SHEREE HOVSEPIAN 

Whole Other, 2018

© Sheree Hovsepian - Courtesy Chart, New York

CHART announces the inaugural exhibition of its new dynamic program and Tribeca location. Founded by former Paul Kasmin Gallery Partner, Clara Ha, CHART will establish a collaborative platform that offers different perspectives from art world professionals by presenting special projects, exhibitions and site-specific installations. For its inaugural exhibition CHART invited Simone Joseph of SGJ Fine Art, to co-curate Reductive Seduction, featuring the work of Jean Arp, Louise Bourgeois, James Lee Byars, Loie Hollowell, Sheree Hovsepian, Deborah Kass, and others.

The inaugural, co-curated exhibition sets the tone for CHART as a collaborative platform and establishes a precedent for a cooperative dialogue between visual thinkers and creators. Clara Ha’s extensive experience and knowledge of the changing landscape of the art community led her to reconsider the traditional gallery model.

Reductive Seduction is a transgenerational group exhibition exploring the ways in which sensuality can be expressed through a minimal formal language. Bringing together a selection of works from the mid-20th Century to the present, the group of works create a dialogue of sensual depiction that was once more typically associated with Baroque gestures, that is replaced here by refined and incisive accumulation of elements and materials. These works utilize drastically refined and distilled form to evoke corporeal sensation and somatic charge.

Reductive Seduction includes works by Jean Arp, Louise Bourgeois, James Lee Byars, Dadamaino, Suzan Frecon, Marcia Hafif, Loie Hollowell, Sheree Hovsepian, Deborah Kass, Nevine Mahmoud, Carmen Herrera, Maximilian Schubert, Leon Polk Smith, Vincent Szarek and Alice Tippit.

Founded and owned by Clara Ha, CHART will present exhibitions of emerging, and established artists engaged in interdisciplinary practices. A collaborative platform, CHART’s objective is to highlight diverse perspectives in contemporary art. Projects will include site specific installations and special exhibitions organized with guest curators.

CLARA HA is a gallerist with more than twenty years of experience in the art world. A former partner at Paul Kasmin Gallery, Ha has worked with artists such as Walton Ford, Robert Indiana, Deborah Kass, Claude and Francois- Xavier Lalanne, Kenny Scharf, Frank Stella and numerous estates such as The Andy Warhol Foundation for the Visual Arts, The Estate of Morris Louis and The Estate of Robert Motherwell amongst others. Ha has worked on various public projects including Will Ryman “The Roses” on Park Avenue and most recently Hangang Art Park, Seoul, S. Korea.

SIMONE JOSEPH has spent over twenty years working in the international art world. She has been the director of several prominent art galleries, and produced numerous exhibitions and independent projects including: David Hockney: Portraits, Louise Nevelson: Black Wall Constructions and re:construction: Interplay between Form and Function. Joseph founded SGJ Fine Art LLC, New York, in 2011, a professional art advisory service.

Courtesy of designer and dealer Malcolm James Kutner, CHART presents a selection of French Reconstruction era furniture throughout the gallery.

CHART
74 Franklin Street, New York, NY, 10013
chart-gallery.com

Sanya Kantarovsky @ Luhring Augustine, NYC

Sanya Kantarovsky: On Them
Luhring Augustine, New York
April 27 – June 15, 2019

Luhring Augustine presents On Them, an exhibition of new paintings by Sanya Kantarovsky, marking his first solo presentation with the gallery.

On Them presents vignettes from the lives of a strange group of real and imagined subjects. An anguished killer, a hospice patient, a headless infant accordionist, and a disenfranchised snowman assemble into a painted tragicomedy, simultaneously unnerving and seducing the audience. The otherwise discrete paintings seem to suggest contingency, akin to a set of chance encounters one might have with passersby throughout the course of a particularly disconcerting day. At times, the subjects directly return the viewer’s gaze, as if begging for connection; at other times, they plead with an omniscient celestial entity, or stare vacantly off the edges of the canvas.

While Sanya Kantarovsky’s practice ranges across a diverse array of media, including drawing, printmaking, sculpture, and animation, his project revolves around his paintings, which emphasize affect in the portrayal of archetypal subjects, from the doe-eyed and self-conscious to the unsavory and criminal. His latest body of work mines the historical modes through which figurative painting elicits empathy from a viewer. Sanya Kantarovsky considers the gamut of human sensibilities through eloquent gesture and lush coloration, yet his weathered surfaces are openly marked by doubt, embarrassment, and over-identification. In his scrutiny of painterly melodramas, slippages occur as he offsets dark and abject subject matter with incongruous double-takes. Through frantically conjuring a wide array of ways in which lived experiences have been transmuted through the stuff of paint, Sanya Kantarovsky simultaneously indulges and questions the atavistic project of humanist painting. Evoking many art historical motifs, from the glistening sanpaku eyes of El Greco to the perverse Yokai woodcuts of Utagawa Kunioshi and drawings of Bruno Schulz, the paintings simultaneously titillate and repel, staging the gravity of bearing witness against the pleasure of looking. Here, seeing takes on a burden of responsibility, which Kantarovsky distributes between his subjects and the audience.

Unwilling and unable to be held accountable, we ravenously consume with our eyes. We shift the blame on them. On our neighbors, on our statesmen, on our enemies, on our parents, on our children, on our victims, on the painted and abused.

Sanya Kantarovsky was born in Moscow, Russia in 1982 and currently lives and works in New York. He studied painting at the Rhode Island School of Design in Providence, RI and received his MFA at the University of California, Los Angeles. Sanya Kantarovsky recently presented solo exhibitions at Kunsthalle Basel in Switzerland (2018) and the Fondazione Sandretto Re Rebaudengo in Turin, Italy (2017-2018). A comprehensive monograph entitled No Joke was co-published by Studio Voltaire and Koenig Books in 2016. Kantarovsky’s works belong to several prestigious museum collections, including the Hirshhorn Museum and Sculpture Garden, Washington D.C.; the Institute of Contemporary Art/Boston; the Hammer Museum, Los Angeles; Los Angeles County Museum of Art, Los Angeles; Tate Modern, London; and the Whitney Museum of American Art, New York.

LUHRING AUGUSTINE
531 West 24th Street, New York, NY 10011
www.luhringaugustine.com

The Art Show 2018 Exhibiting Galleries and Highlights

The ADAA Announces 

Exhibitors and Highlights for

30th Annual Edition of The Art Show in 2018

February 28-March 4, 2018

The Art Dealers Association of America (ADAA) announces the exhibitors for The Art Show, the US’s most respected and longest-running art fair, which celebrates its 30th year in 2018. Held annually in New York at the Park Avenue Armory, the 2018 edition will take place February 28 through March 4, 2018, with a Gala Preview on February 27, to benefit Henry Street Settlement – marking the ADAA’s thirty-year partnership with both the venerable community organization and the city’s foremost performing arts venue. Organized by the ADAA, a nonprofit membership organization of art dealers across the US, The Art Show offers collectors, art professionals, and the public the opportunity to engage with artworks of the highest quality through thoughtfully curated presentations that encourage close looking and active conversation with the nation’s leading art gallerists.

Each year, ADAA members wishing to participate submit proposals that outline inventive curatorial concepts for single artist, dual, or group exhibitions—a process which ensures the highest standard of artistic quality and connoisseurship that has distinguished the fair for 30 years. ADAA’s Art Show Committee selected 72 proposals from member galleries that represent the breadth and depth of the Association’s art and scholarly expertise, providing audiences with a diverse range of works from the pre-Columbian period through today, by artists of a variety of genres, practices, and national and international origin. The 2018 fair will include several first-time exhibitors, including Maccarone, Jonathan Boos, Altman Siegel, Chambers Fine Art, Sicardi Gallery, and Danziger Gallery, and longtime ADAA members who are newly returning to the fair, including Anton Kern Gallery, Anglim Gilbert Gallery, Lawrence Markey, and Miles McEnery Gallery.

“We are proud to celebrate the 30th year of The Art Show in 2018, which is a testament to the thriving group of member galleries comprising the ADAA and to the lasting relationships of our members not just with artists, collectors, and art enthusiasts, but with the entire cultural community,” said Adam Sheffer, ADAA President and Cheim & Read Partner and Sales Director. “In these three decades, The Art Show has served as an anchor of the New York cultural calendar, offering visitors a unique fair experience that encourages engagement with high quality works of art and with the foremost galleries in the country. We are thrilled to continue to offer our member galleries a chance to extend their programs beyond the gallery walls and to engage the public with the incredible range of perspectives they represent.”

For the 2018 edition, a number of ADAA members will offer thoughtful solo exhibitions highlighting artists throughout history and from around the world, including several presentations of new or never-before-seen works. New photographs by Catherine Opie will be presented by Lehmann Maupin, and a range of new works on paper by Nicole Eisenman will be presented by Anton Kern Gallery. Tanya Bonakdar Gallery will also exhibit new works on paper, alongside new sculptures and hanging installations by interdisciplinary Argentinian artist Tomás Saraceno. The San Francisco gallery Altman Siegel will present new abstract paintings by local San Francisco artist, Liam Everett, and never-before-seen watercolors by Milton Avery will be on view from Yares Art, alongside major paintings by the influential artist.

A number of members will present an extensive variety of works on paper, including drawing, paintings, and watercolors, such as Salon 94’s presentation of historic works on paper by Sudanese surrealist artist Ibrahim El-Salahi. A presentation by Leslie Tonkonow Artworks + Projects of new works by American painter and printmaker Amy Cutler will also be on view, as well as significant works on paper by notable Op art exponent Bridget Riley, exhibited by David Zwirner. Washburn Gallery will offer a selection of recently rediscovered landscapes and tree studies by abstract painter Myron Stout, and Chambers Fine Art will exhibit recent abstract ink paintings on rice paper by noted Chinese artist and calligrapher Wang Dongling, alongside mixed-media paintings by Yan Shanchun.

“We are pleased to bring together ADAA members for the 30th edition of The Art Show in 2018,” added Anthony Meier, Chair of The Art Show in 2018, and founder of Anthony Meier Fine Arts. “This year’s fair demonstrates the high-quality works and dynamic viewing experience that have become synonymous with The Art Show, offering visitors the opportunity to discover centuries of art history and artists from around the world. This year, a number of members are spotlighting significant works on paper that provide new insight on the role of the medium within artists’ practices, and we are pleased that so many never-before-seen works will also be on view.”

Organized by the ADAA as a platform for dealers and a resource for the public, The Art Show is one of the nonprofit organization’s philanthropic partnerships. Admission from The Art Show and proceeds from the Gala Preview benefit Henry Street Settlement, one of New York’s leading social service, arts, and health care organizations. AXA Art Americas Corporation, a pioneering specialist in the fine art and collectibles insurance space, has returned for the seventh consecutive year as Lead Partner of The Art Show and tenth year as partner of the ADAA.

The Art Show 2018 - List of Exhibiting Galleries

303 Gallery
Brooke Alexander, Inc.
Altman Siegel
Anglim Gilbert Gallery
Berggruen Gallery
Peter Blum Gallery
Tanya Bonakdar Gallery
Jonathan Boos
Bortolami
Chambers Fine Art
Cheim & Read
James Cohan
Thomas Colville Fine Art
Crown Point Press
Danese/Corey
Danziger Gallery
Maxwell Davidson Gallery
Debra Force Fine Art, Inc.
Fraenkel Gallery
Peter Freeman, Inc.
Galerie St. Etienne
James Goodman Gallery
Marian Goodman Gallery
Alexander Gray Associates
Howard Greenberg Gallery
Hauser & Wirth
Hirschl & Adler Galleries
Hirschl & Adler Modern
Hosfelt Gallery
Casey Kaplan
Paul Kasmin Gallery
June Kelly Gallery
Sean Kelly Gallery
Anton Kern Gallery
Krakow Witkin Gallery
Lehmann Maupin
Galerie Lelong
Locks Gallery
Jeffrey H. Loria & Co., Inc.
Luhring Augustine
Maccarone
Lawrence Markey
Matthew Marks Gallery
Mary-Anne Martin|Fine Art
Barbara Mathes Gallery
Fergus McCaffrey
Miles McEnery Gallery
Anthony Meier Fine Arts
Menconi + Schoelkopf Fine Art, LLC
Donald Morris Gallery, Inc.
Jill Newhouse Gallery
David Nolan Gallery
P.P.O.W
Pace Gallery
Pace/MacGill Gallery
Pace Prints & Pace Primitive
Petzel
James Reinish & Associates, Inc.
Michael Rosenfeld Gallery, LLC
Salon 94
Susan Sheehan Gallery
Sicardi Gallery
Fredric Snitzer Gallery
Sperone Westwater
Leslie Tonkonow Artworks + Projects
Van Doren Waxter
Meredith Ward Fine Art
Washburn Gallery
Michael Werner
Yares Art
Pavel Zoubok Gallery
David Zwirner

THE ART SHOW
Park Avenue Armory
Park Avenue at 67th Street
New York City

Organized annually by the ART DEALERS ASSOCIATION OF AMERICA (ADAA)
205 Lexington Avenue, Suite #901, New York, NY 10016
www.artdealers.org

Heather Gwen Martin @ L.A. Louver, Venice, CA

Heather Gwen Martin: Currents 
L.A. Louver, Venice, California
Through 6 January, 2018

HEATHER GWEN MARTIN

Higher, 2017

Oil in linen, 82 1/2 x 77 in. (209.6 x 195.6 cm)

Courtesy the artist and L.A. Louver, Venice, CA

L.A. Louver presents new works by Los Angeles-based artist HEATHER GWEN MARTIN. All produced over the past year, the exhibition features over a dozen paintings in bold and subdued palettes, and in a wide range of sizes, from small-scale intimate pieces to her largest work to date, approximately 8 x 10 ft. (2.4 x 3 m).

Heather Gwen Martin continues to evolve the color and spatial relationships in her lyrical, vivid abstract paintings. Painting on linen, she first primes each support with an oil ground, embracing the fabric’s natural surface irregularities that result from this process. The underlying texture roots the materiality of the painting to come, and inserts the artist’s hand as the maker. Once the background is awash with color, Heather Gwen Martin develops the composition with varied biomorphic forms and lithe meandering lines, in an array of sumptuous colors. The two-dimensional paintings are not visually flat. Elements push forward, recede back, and traverse everywhere in between.

In Higher (2017), one of the larger paintings in the show, shapes are suspended amidst a crimson red background. A pair of tenuous lines elongate from two soft blue configurations, and reach towards a dark blue almost black form, seemingly lifting it from the void. Meanwhile, green, pink, yellow and blue shapes and lines punctuate the scene. All are interconnected, reactive and conductive, making contact with only the slightest touch.

HEATHER GWEN MARTIN

Breather, 2017

Oil on linen, 20 x 21 in. (50.8 x 54.6 cm)

Courtesy the artist and L.A. Louver, Venice, CA

Throughout the exhibition, Heather Gwen Martin’s color dexterity and technical prowess are on full display. Subtler in tonality and smaller in scale, Breather (2017) is a quieter composition. In an atmosphere of muted pink, a luminous yellow radiates upwards to graze a dark green form. A single tendril extends from the dark green, interrupted by a cloud of white that floats atop the picture plane.

When approaching her work, Heather Gwen Martin begins with an initial intent that serves more as a point of departure, rather than a destination. Dissolving any sense of objectivity, the artist releases preconceptions to allow the compositions to materialize with immediacy, experimentation and improvisation. In this state of mindfulness, with an awareness of both interior and exterior motives, Heather Gwen Martin connects currents of consciousness to bring the imagery forth, their impulsivities made visible through her actions made on canvas.

Born in 1977 in Saskatchewan, Canada, Heather Gwen Martin studied at the University of California, San Diego and The School of the Art Institute of Chicago. She has been included in museum exhibitions at the Museum of Contemporary Art San Diego, CA; Torrance Art Museum, CA; El Segundo Museum of Art, CA; and Pizzuti Collection, Columbus, OH. Forthcoming, her work will be included in the group exhibition Chaos and Awe Painting for the 21st Century at The Frist Center for the Visual Arts, Nashville, TN, 22 June – 16 September 2018.

In 2016, Heather Gwen Martin was invited by the Murals of La Jolla to create a towering mural on the exterior of a three-story building. Titled, Landing (2016), the mural is located in the downtown La Jolla neighborhood of San Diego, CA on 7224 Girard Avenue.

L.A. LOUVER
45 North Venice Boulevard, Venice, CA, USA
www.lalouver.com

Miguel Calderon @ Luhring Augustine, Brooklyn, NY

Miguel Calderón: Caída libre (Free fall)
Luhring Augustine, Brooklyn, NY
June 22 – July 29, 2017

Luhring Augustine presents Caída libre (Free fall), an exhibition by Miguel Calderón, featuring a film and sculptural installation centered on the theme of falconry. This presentation in the gallery’s Bushwick location is organized in collaboration with kurimanzutto, Mexico City.

For Miguel Calderón, falconry presents a unique interdependence between man and animal, predicated on the falconer’s desire to connect with nature and the bird’s instinctual drive to hunt for survival. His interest towards the subject originates from his personal experience of having a hawk as a young boy. Struck by the years of discipline it takes in training one’s bird, he became fascinated with the obsessive, almost compulsory fixation one develops in maintaining this partnership.

Miguel Calderón’s film illustrates this relationship through the story of Camaleón, a bouncer at a nightclub in Mexico City who takes his falcon out hunting every morning. Camaleón regards his bird with respect, lust, and admiration. He watches her hunt empathically, as if to relive his own pursuits and conquests. Violence pervades Camaleón’s life, both in the chaotic atmosphere of his daily occupation as well as his homicidal past. Such brutality, however, stands in direct opposition to his unwavering affection for his falcon, on which he depends as if it were a euphoric drug.

The risk of losing one’s bird during each hunt consumes the falconer with an incontrovertible fear. It is the material of Camaleón's nightmares, mitigated only by the sight of his falcon settled safely on its perch. Miguel Calderón's sculptural installation of abandoned falcon perches harps on this potentiality. Without their occupants, these objects take on a sculptural quality. Crafted and individualized, they are imbued with a sense of ritual and personal history; each functioning as an extension of the falconer. Though removed from their original contexts, the knowledge of their former status circles the audience back to the moment of disconnection between man and animal, to questions of their respective survival, and the memory of their final hunt together.

Miguel Calderón (b. 1971) is known for constructing narratives around everyday situations that comprise the cultural landscape of his native Mexico City. His work covers a broad range of themes ranging from violence and corruption, to youth and family dynamics; all are portrayed with a hint of theatricality, the macabre, and the fantastical. He has been the recipient of the Cisneros-Fontanals Art Foundation Grant and Commissions Program (2013), The MacArthur Fellowship for Film and New Media (2000), and the Bancomer/Rockefeller Fellowship (1995). Important solo exhibitions include Miguel Calderón: Color Bleed, Rochester Art Center, Rochester; Miguel Calderón, Casa América, Madrid; Conversations with a Tropical Vulture, Yerba Buena Center for the Arts, San Francisco; Bestseller, Panorámica, Museo Tamayo, Mexico City; and Ridiculum Vitae, La Panadería, Mexico City.

LUHRING AUGUSTINE BUSHWICK
25 Knickerbocker Ave, Brooklyn, NY 11237
www.luhringaugustine.com

Moira Dryer @ 11R, New York

Moira Dryer: Paintings & Works on Paper
11R, New York
January 11 – February 7, 2016

MOIRA DRYER

Untitled, 1991

Courtesy 11R, New York

11R (formerly Eleven Rivington) inaugurates its newly constructed and expanded 195 Chrystie Street location with an exhibition of paintings and works on paper from the 1980s and early 1990s by the late MOIRA DRYER (1957 – 1992).  This is the second solo exhibition of Moira Dryer’s work at 11R, and it presents abstract paintings on wood panel, along with a selection of never before exhibited watercolors, gouaches and collages. The show includes printed matter and past exhibition brochures, encouraging an in depth consideration of the artist and a fuller view of her practice.

The exhibition presents work spanning Moira Dryer’s exhibition career, beginning with the small casein on wood Target Landscape, 1985, painted a year before her first solo exhibition.  Two shaped paintings – including the instantly iconic The Debutante, 1987 – highlight the artist’s interest in contradicting the physicality and object-like quality of taut, painted plywood; in both works, Moira Dryer thrusts the picture plane towards the space of the viewer, dramatically altering our understanding of each work’s surface and support. 

A selection of works on paper – shown here for the first time – underscores the deliberateness of Moira Dryer’s methods, the offhand, yet specific touch of her paint application, and her pictorial considerations.  The works gathered here include painted and cut paper; collage; watercolors; and gouaches.  The work Untitled, 1989, is a cool gray field framed by the artist’s dark thumbprints. 

MOIRA DRYER was born in 1957, in Toronto, and moved to NY in the late 1970s to study at the School of Visual Arts, where she graduated with honors in 1981.  During her early years in the city, Dryer was a student of Elizabeth Murray; she would subsequently be a studio assistant to Murray as well as to Julian Schnabel, while also working freelance as a prop and set maker for local theaters.  Moira Dryer had her first solo exhibition in 1986 at John Good Gallery, NY, followed by two solos at Mary Boone Gallery, NY, and two exhibitions with Mario Diacono, Boston, among others.  During her lifetime, she had solo museum exhibitions at Boston’s Institute for Contemporary Art, in 1987, and at the San Francisco Museum of Modern Art, in 1989.  In 1993, a year after the artist succumbed to a five-year battle with cancer at age 34, a solo Projects exhibition of Moira Dryer’s paintings was presented at The Museum of Modern Art, NY.  Moira Dryer’s work is included in the permanent collections of The Solomon R. Guggenheim Museum, NY; Whitney Museum of American Art, NY; and Museum of Modern Art, NY.

11R
195 Chrystie Street New York, NY 10002
www.11rgallery.com

C. Grimaldis Gallery, Baltimore, Summer '13 Exhibition

SUMMER '13: Chul Hyun Ahn, David Brewster, Henry Coe, Madeleine Dietz, Carol Frost, Grace Hartigan, Jene Highstein, Dimitra Lazaridou, Ben Marcin, Neil Meyerhoff, Raoul Middleman, Bernd Radtke, Christopher Saah, Annette Sauermann, John van Alstine, Zhao Jing
C. Grimaldis Gallery, Baltimore, Maryland, USA
July 10 - August 17, 2013

C. Grimaldis Gallery presents its annual summer group exhibition, SUMMER ’13, featuring contemporary sculpture, painting, and photography from exhibiting and represented gallery artists. For new visitors to the gallery, SUMMER ’13 serves as the perfect introduction to the gallery’s program. For those already familiar, SUMMER ‘13 serves as a great reminder and update on the talent cultivated by C. Grimaldis Gallery. 

ZHAO JING

Monument, 2010

Edition of 8, archival digital print, 5 x 7 inches

© Courtesy of the artist and C. Grimaldis Gallery, Baltimore

This will be the opportunity to view the work of two photographers for the first time at the gallery: Zhao Jing and Ben Marcin. ZHAO JING, an award-winning photojournalist, recently completed her MFA at the Maryland Institute College of Art, while BEN MARCIN is an accomplished photographer in his own right and a former Sondheim prize Semi-Finalist. 

Other artists featured in SUMMER ’13 are Chul Hyun Ahn, who is concurrently exhibiting at the 55th Venice Biennale, former Sondheim Semi-Finalists John Ruppert and Christopher Saah, as well as gallery artists Henry Coe, Madeleine Deitz, Carol Frost, Grace Hartigan, Jene Highstein, Dimitra Lazaridou, Neil Meyerhoff, Raoul Middleman, Bernd Radtke, Annette Sauermann, and John van Alstine.

This exhibition is part of the 2013 Artscape Gallery Network presented by M&T Bank, an expansion of the Janet & Walter Sondheim Prize featuring artists and art galleries throughout Baltimore city and county.

C. GRIMALDIS GALLERY
523 North Charles Street
Baltimore, MD 21201, USA
www.cgrimaldisgallery.com

Devrim Erbil at Artspace Dubai for a solo exhibition of recent works of the artist

Devrim Erbil Solo Exhibition
ArtSpace Dubai, UAE
Through March 17, 2013

The exhibition features pieces from the artist Devrim Erbil lastest collection.

DEVIRM ERBIL

Green Spring in Istanbul, 2013 

140cm x 140cm 

Mixed Media on Canvas 

Photo Courtesy of the artist and ArtSpace Dubai

DEVIRM ERBIL was born in Usak in 1937. He was enrolled in the painting department of the State Academy of Fine Arts in Istanbul in 1955. He studied first in the academy`s Gallery section under Halil Dikmen and later in the studio of Bedri Rahmi Eyüboglu. 

In 1959 he founded the "Soyutçu 7`ler" (Seven Abstractionists) group. After graduating from the academy`s painting department he joined academy (in 1962) as a teaching assistant, undertaking duties in the studios of Bedri Rahmi Eyüboglu, Cemal Tollu and Cevat Dereli. In 1963 he founded the Mavi Grup (Blue Group) in association with Tülay Tura, Altan Gürman, Adnan Çoker and Sarkis. In 1965, Devrim Erbil was awarded and art scholarship by the Spanish government and began studying in Madrid and Barcelona. The artist continued his studies in Paris and London. He was awarded the title "State Artist" in 1991. 

Devrim Erbil`s works have been shown frequently in group exhibitions in Turkey and abroad. Works by the artist have been selected for the collection of the state museums of painting and sculpture in Ankara, Istanbul and Izmir. Works by him are also at the Museum of Modern Art in Bucharest, at the Banja Luka Umjetnicka Gallery, in Ben and Abby Grey Foundation Collection, the Ankara National Library Collection, and in a number of public and private collections in Turkey and abroad.

Artspace Dubai website: www.artspace-dubai.com

Luan Gallery, Athlone, Ireland - Inaugural exhibition of the new visual art gallery

Inaugural exhibition: Borrowed Memories 
Luan Gallery, Athlone, Co Westmeath, Ireland
Through 24 February 2013

Borrowed Memories: Exhibition from the Collection of the Irish Museum of Modern Art is the inaugural exhibition of the new Luan Gallery, Athlone, County Westmeath, in Ireland, officially opened on Thursday 29 November 2012. 

The name ‘Luan’ derives from the Irish for Athlone, 'Baile Áth Luain' and was proposed as part of a public competition organised to name the new gallery. Designed by Keith Williams Architects, the Luan Gallery is first new visual art gallery to be opened in Ireland in over three years. In its previous incarnations the building which now houses the Luan Gallery has been many things to many people and to the town of Athlone – a library, concert hall, cinema and town hall to name but a few. Commenting on the exhibition Miriam Mulrennan, Manager, the Luan Gallery said: “Rich and colourful memories are associated with the building. Respect for people’s connection to the building formed a centre point in curating Borrowed Memories.” 

ANN HAMILTON

Ann Hamilton, Filament II, 1996

Collection Irish Museum of Modern Art, Purchase, 2002

Courtesy of the IMMA, Dublin

The location of the Luan Gallery, in the centre of Ireland, on the banks of the River Shannon is reflected in the work of American artist Ann Hamilton. Filament II, 1996 comprises a silk organza curtain, which has been distressed by the artist, hanging from a circular rail. It is a sculpture with blurred boundaries and changeable volume and form, at once a public and private space. The curtain envelopes you but is transparent, so a shadowy figure is still visible to others standing outside. The presence or absence of people changes perceptions and experience of the work and in this regard it is interactive and participatory.  

Where Do Broken Hearts Go, 2000, by Longford-born Bristol-based artist Daphne Wright became the lynch pin for the idea of memories and the combination of shadow and light that are our own memories and those of others. Layering plays an important part in Wright’s work and here we see, not only the physical layering of the foil strips to create the giant foil cacti, but also the layering of the different elements which come together to make the entire installation – the folded strips of household tinfoil, the Country and Western lyrics and the intaglio prints made from found photographs by an anonymous photographer. 

PATRICK GRAHAM

Patrick Graham, Ark of Dreaming, 1990

Mixed media on canvas, 180 x 316 cm

Collection Irish Museum of Modern Art, Purchase, 1991

Courtesy of the IMMA, Dublin

Westmeath-native Patrick Graham’s Ark of Dreaming, 1990, explores both colour and gesture. Words combined with vestiges of figurative imagery, and layers of heavily worked and reworked paint are applied to the canvas which has been ruthlessly split open and crudely stitched together in a diptych suggestive of an alterpiece. 

The work of Irish artist Shane Cullen created from the smuggled messages of the 1981 Maze hunger strikers presents itself to the audience as a forceful narrative of a dark time in our history which demands reflection. Fragmens Sur Les Institutions Républicaines IV, 1993 - 1997 was made over a period of four years and consists of 96 large styrofoam panels, each carrying transcriptions of the secret messages smuggled out of the H-Blocks in the Maze Prison. The subject matter is controversial but presented in a highly disciplined manner that references historical monuments. Each painted word mimics official government documents. 

Works such as Blue Crucifixion, 2003, by Manchester-born, Irish-based artist Hughie O’Donoghue and Dublin-based photographer Amelia Stein’s Memory and Loss, 2002, series of photographs are also shown. Other works shown in the exhibition include Dublin-based artist Amanda Coogan’s photograph Medea, 2001, and Northern Irish photographer Hannah Starkey’s Untitled, August, 1999.

Luan Gallery, Athlone, County Westmeath
Luan Gallery's Website: www.athloneartandheritage.ie

Irish Museum of Modern Art's Website: www.imma.ie