From October 13 through November 6, 2015, Menconi + Schoelkopf presents Charles Biederman (1906-2004), including more than twenty works from 1935 to 1985 by this trail-blazing abstract artist. The thirty works on view include sculptures, paintings, and works on paper, with an emphasis on his pioneering work in early abstraction (1935-38).
Charles Biederman (1906-2004) Menconi + Schoelkopf
Several wall reliefs from his later career represent the artist’s post-war oeuvre. Charles Biederman (1906-2004) is a compact retrospective of this important American abstract artist. Biederman was prolific in several media, producing sculptures, paintings, and reliefs with a zeal for exhaustive experimentation. His equally prodigious writings make clear his intentions: to bring direction to an art world that had lost its way, forging an aesthetic program for the twentieth century. Menconi + Schoelkopf presents exemplar works from the estate of the artist displaying his various strategies for the advance of this ambitious program. A suite of drawings from the early- and mid-thirties suggest a preamble to the heart of his career, with their attention to brilliant color and near obsession with the line between image and object. Several large canvases from the middle of the same decade show his exuberant work in oil as he traced abstract ideas through biomorphic forms to mechanical-Cubist visions, fueled by Picasso and Leger. By 1938, however, the painter gave up painting, convinced that the true path forward was not strictly two-dimensional. In the post-war years, Biederam’s writings eclipsed his studio output–he self-published many books on aesthetics and art criticism. Turning back to the birth of Modernism, Biederman concluded that Cezanne’s true successor was Piet Mondrian. The realization spurred five decades of vigorous investigation of geometric abstraction. While the remnants of Mondrian linger in certain works on view from the early 1940s, the saturated colors and cascading forms of the later constructions evidence Biederman’s own transcendence of any progenitor.
Charles Biederman (1906-2004) Menconi + Schoelkopf
These and fifteen other works by Biederman are illustrated in a fully-illustrated 40-page catalogue with critical essay by noted Biederman scholar Susan C. Larsen, Ph. D, available now. On view through November 6th, 2015.
Menconi + Schoelkopf is open M-F, 9:30 to 5:30, located at 13 East 69 th
Street, #2F, and is open to the public during the exhibition. Please visit www.msfineart.com
By Carol Achterhof – Thomaston Place Auction Galleries
At Thomaston Place Auction Galleries’ Annual Coin Auction on Sunday, September 13, over 1,100 numismatic lots changed hands over a period of 11 hours. The sale generated over $544,000, and 100% of lots found buyers.
Owner and Auctioneer Kaja Veilleux said “It was a marathon session – starting at 10 am and ending at 9 pm, but floor, phone and internet bidders were engaged throughout the 11-hour sale. And, we’ve already started building the next sale.”
A 1996 China Panda gold and silver bi-metallic 500 Yuan coin led the auction, selling for US$36,800. Other high flying lots included a 95-piece set of Morgan silver dollars, complete minus 1895, that sold for $20,125; an 1873 Liberty Head closed 3 $20 gold coin that fetched $14,375; and a 1793 Flowing Hair half cent that brought $10,350.
A complete list of auction results can be found at www.thomastonauction.com. The next Thomaston Place Auction Galleries big summer feature sale on August 23 & 24, 2016 will feature over 1,000 lots of fine art and antiques.
About Thomaston Place
Thomaston Place Auction Galleries is coastal Maine’s premier auction and appraisal company located on U.S. Route 1 in Thomaston. Thomaston Place is a leader in discovering Maine’s antique and fine art treasures by offering Free Appraisals each Tuesday at the Gallery, creating fundraiser events for civic and charitable organizations using its unique Mobile Appraisal Laboratory, and providing house call appraisal services. Its expertise in researching and marketing antiques and fine art has earned Thomaston Place the respect of buyers, collectors and experts worldwide.
A Hermann Herzog painting, which was found in a thrift store on half-price day, will be in Witherell’s September 16 to 30 auction. Witherell’s
A 1964 Mercedes 230 SL also highlights Witherell’s catalogue auction September 16 to 30. Witherell’s
A “Three Graces”, 1870’s chandelier attributed to Cornelius and Baker will be in Witherell’s Sept. 16 to 30 auction. Witherell’s
Running online September 16 to 30, Witherell’s catalogue auction stands out with a 1964 Mercedes, an early Thiebaud landscape, a Herzog discovered in a thrift store, a “Three Graces” chandelier and a pair of gold scales, among the highlighted items.
With 149,000 miles on it, the 1964 230 SL Mercedes has an estimated value of $20,000 to $30,000.
“Collecting cars is a growing field,” said Brian Witherell, ‘Antiques Roadshow’ appraiser and Witherell’s chief operating officer. “There is a broad base of car collectors, so we are always pleased to auction interesting cars.
“This car is in very good condition having had a single owner since 1985.”
A framed watercolor by American artist Wayne Thiebaud, possibly depicting the Sacramento River Delta, is signed and dated “Thiebaud 58”.
Valued at $3,000 to $5,000, the early work is 14″ x 21” by sight and 23.5” x 30” overall.
Known for his landscapes and prominence in the Dusseldorf school before coming to America, a Hermann Herzog 1874 landscape found in a Northern California thrift store is one of the more additions to the upcoming auction.
Valued at $2,000 to $4,000, the painting was bought in a Woodland, Calif. thrift store on “Half-price day” for $2.50.
Labeled “Moonlight scene Austria” and stamped verso, “Muller Paris”, is 16.25” by 12.62” oil on board, 21” by 16.75” with frame.
An 1870 Three Graces chandelier attributed to Cornelius and Baker, Philadelphia, is expected to do well at $3,000 to 5,000.
The bronze, five-arm chandelier is adorned with the three allegorical figures on the stem, “Art, Science, and Industry”, that represent the Victorian love of symbolism.
They are surmounted by three Baroque-style, female busts and have etched shades with ruffled edges
A similar chandelier was on the cover of a catalogue by the Metropolitan Museum of Art for the exhibition “19th Century America, Furniture and Other Decorative Arts” that ran April 16- September 7, 1970.
The chandelier also was pictured with description number 135 of the exhibition and comes from the estate of the late Earl and Rae Klima, owners of Klima’s Antiques in Sutter Creek, Calif. for more than 30 years.
A pair of 19th century gold scales bear a partial sticker “Wells… From Sacra” and are marked “LAVERS N.Y. FULTON ST. 33”.
Valued at $1,000 to $2,000, they are accompanied by a separate paper note that says “Yankee Jim, the namesake of the famous town of Yankee Jim near Foresthill, used these scales in his business with the early miners.”
Also from the estate of the Earl and Ray Klima, they stand 27.5” high, 22” wide and 10.5” deep and have a wooden base with drawers.
Founded in 1969, Witherell’s does appraisals and auctions of objects of value—from decorative arts and design to antiques and fine art.
Witherell’s places items globally through private sales, online auctions and the annual Witherell’s Old West Antiques Show in May.
The Springfield Museums are in the final stages of purchasing the childhood home of Theodor Geisel (a.k.a. Dr. Seuss), located at 74 Fairfield Street in Springfield, MA, through support provided by the Dr. Seuss Foundation.
Theodor Seuss Geisel, “Dr. Seuss,” at work in 1957.
Geisel was born in 1902 on Howard Street in Springfield’s downtown, and moved at age four to the Fairfield Street home in the city’s Forest Park neighborhood, where he lived with his parents and sister Margaretha (or “Marnie”). It was during this time that Geisel first developed his love for drawing and storytelling, skills which he honed while serving on the staff of Springfield’s Central High School newspaper. Later in life, Geisel drew heavily from his formative years spent in Springfield to create books like And to Think That I Saw it on Mulberry Street, his first published work of children’s literature. The 74 Fairfield Street home was sold following the death of Geisel’s father in 1968.
In a prepared statement, Springfield Museums Board of Trustees Chairman Samuel R. Hanmer commented, “The Springfield Museums are very excited to secure 74 Fairfield St., the childhood home of Dr. Seuss. We are just beginning to explore possible next steps, but we’re very pleased to be able to act in this manner to help honor and preserve Theodor Geisel’s legacy here in Springfield. We plan to take time to fully consider the various possible uses for the house, while taking the necessary steps to properly secure the property in the short term. The views of all concerned parties and stakeholders will be paramount, welcomed, and encouraged during those discussions.”
Childhood home of Dr. Seuss
Susan Brandt, President of Licensing and Marketing for Dr. Seuss Enterprises, commented, “ We are delighted that the Dr. Seuss Foundation is able to underwrite the purchase of Theodor Geisel’s childhood home on behalf of the Springfield Museums and for the benefit of Dr. Seuss fans everywhere. We see the purchase by the Museums as an essential part of their ongoing effort to properly honor and preserve Ted Geisel’s Springfield heritage for generations to come.”
Theodor “Seuss” Geisel is quite simply the most beloved children’s book author of all time. Winner of the Pulitzer Prize in 1984, an Academy Award, three Emmy Awards, three Grammy Awards, and three Caldecott Honors, Geisel wrote and illustrated 44 books for children. Hundreds of millions of copies have found their way into homes and hearts around the world. While Theodor Geisel died on September 24, 1991, Dr. Seuss lives on, inspiring generations of children of all ages to explore the joys of reading
Art Market Productions and Paul Allen’s Vulcan Inc., co-producers of the Seattle Art Fair, wil launch the inaugural event from July 30 – August 2, 2015 at the CenturyLink Field Event Center in Seattle, Washington.
Julie Blackmon, Airstream, 2011. Archival pigment print, 24 x 31 inches. Courtesy of G. Gibson Gallery, Seattle.
The Seattle Art Fair will feature 50 leading local, regional, and international art galleries presenting top-tier modern and contemporary art. Site-specific art installations created for the fair by artists from around the world will be placed in select locations throughout the city. The fair will also highlight the Pacific Rim, with Asian galleries presenting the best of the region’s contemporary artwork.
2015 EXHIBITORS * Adelson Galleries (New York), Ameringer | McEnery | Yohe (New York), Catharine Clark Gallery (San Francisco), Charlie James Gallery (Los Angeles) Danese/Corey (New York), Donald Ellis Gallery (New York), Elizabeth Leach Gallery (Portland), G. Gibson Gallery (Seattle), Gallery 16 (San Francisco), Gallery Jones (Vancouver), Gana Art (Seoul), Greg Kucera Gallery (Seattle), James Cohan Gallery (New York), James Harris Gallery (Seattle), Jonathan Ferrara Gallery (New Orleans), Kaikai Kiki (Tokyo), Mariane Ibrahim Gallery (Seattle), Maxwell Davidson Gallery (New York), Mindy Solomon Gallery (Miami), Monte Clark Gallery (Vancouver), Nancy Hoffman Gallery (New York), PACE (New York), Paul Kasmin Gallery (New York), PDX Contemporary (Portland), Platform Gallery (Seattle), PUNCH Gallery (Seattle), Ryan Lee Gallery (New York), Sasha Wolf Gallery (New York), SEASON (Seattle), Tyler Rollins Fine Art (New York), Upfor (Portland), Winston Wächter Fine Art (Seattle/New York), Woodside/Braseth Gallery (Seattle), Zurcher Gallery (New York/Paris). *List in formation.
The Dealer Committee includes Catharine Clark, James Cohan, Mariane IbrahimLenhardt, Greg Kucera, and Eric Gleason, director of Paul Kasmin Gallery.
ON-SITE AND CITYWIDE INSTALLATIONS
In addition to installations on-site, The Seattle Art Fair will extend beyond the walls of CenturyLink Field Event Center, with installations, talks, and special exhibitions throughout the city produced by the fair’s Curatorial Committee – Greg Bell, senior curator for Vulcan Inc.; Scott Lawrimore, director of the University of Washington’s Jacob Lawrence Gallery; and Eli Ridgway, an independent curator.
• Leeza Ahmady, director of New York’s Asian Contemporary Art Week, is producing THINKING CURRENTS: An Exhibition and Curatorial Platform. The interactive exhibition, at the fair, will explore the Pacific Rim through video, sound, installation, and digital technology.
• Artist Robert Montgomery will build a site-specific work in collaboration with ALL RISE – a series of temporary art installations organized for a city block at the location of Seattle City Light’s future Denny Substation in the Cascade neighborhood.
• Artist Wendy Red Star will develop a site-responsive life-size diorama that incorporates Volunteer Park’s lush environment with decoys, inflatables and cardboard cutouts of animals that include deer, coyotes and moose. Visitors to the park and fair-goers alike will interact with the diorama and pose for photographs taken by the artist throughout the weekend. Red Star is a Portland, OR-based artist whose artwork comments on the way Native people have been portrayed, displayed, and represented as a people and culture of the past.
PRE- FAIR PROGRAMS
In conjunction with the Seattle Art Museum, the Seattle Art Fair presents Talk Contemporary, a series of free talks featuring leading contemporary artists Joshua Sofaer, Victoria Sambunaris, and Maya Lin. • July 15, 7 p.m. at the Seattle Art Museum Joshua Sofaer, an artist centrally concerned with modes of collaboration and participation, will speak to his irreverent use of humor as he acts as curator, producer, or director of a broad range of projects, including large-scale events, intimate performances, and publications.
• July 22, 7 p.m. at the Seattle Art Museum Victoria Sambunaris will discuss her photographic journey across the American landscape, focusing on the intersection of geology, industry, and culture in South Texas’s international energy industry. Her work is included in the collections of the Museum of Modern Art, The San Francisco Museum of Modern Art, and the Museum of Fine Arts Houston, among others.
• July 29, 7 p.m. at the Seattle Art Museum Throughout her career, Maya Lin has maintained a careful balance between art and architecture. She will discuss her consistent exploration of how we experience the landscape, as well as how her works have merged completely with terrain, blurred the boundaries between two- and three-dimensional space, and systemically ordered the land by history, language, and time.
Blum & Poe announces a solo exhibition of works by Takashi Murakami opening this summer on the island of Ibiza, Spain. The multifaceted exhibition consisting of paintings, sculptures, and film screenings will be held in four locations: Art Projects Ibiza, which will serve as a temporary platform for Blum & Poe, exhibition space Lune Rouge Ibiza, the Ibiza Gran Hotel, and restaurant and performance space HEART Ibiza. In this groundbreaking presentation, Murakami continues to conflate historical, contemporary, and futuristic Japanese references with myriad styles, methodologies, and forms—a practice that has canonized him as of one of the most celebrated artists of our time.
Blum & Poe’s presentation will take place in an approximately 3,000-square-foot exhibition space created by Art Projects Ibiza, which fosters creative partnerships with artists and galleries worldwide and invites international collaborators to realize large-scale shows. It will feature a remarkable display of Murakami’s recent works, including abstract Kōrin paintings, flower ball paintings, and sculpture. The abstract Kōrin paintings, named for the Rinpa-school Edo painter Ogata Kōrin, layer a lexicon of symbols, combining the artist’s interest in classical Japanese aesthetics with Abstract Expressionist tropes, manga imagery, and Buddhist symbolism. The flower ball paintings intermingle his signature style of optimistic and bright, smiling flower faces with the artist’s trademark handmade, silkscreened, and gestural techniques. Also to be on view, Fate (2013), a gold leaf, wall-mounted sculpture, portrays an accumulation of cascading skulls overlapping and melding together, brilliantly distorting surface and depth.
Murakami’s 69 Arhats Beneath the Bodhi Tree (2013), a ten-meter painting from his Arhat series, will be exhibited at Lune Rouge Ibiza, an exhibition space dedicated to the collection of Guy Laliberté, a prominent contemporary art collector and Cirque du Soleil founder. Created in response to the Great East Japan Earthquake and Tsunami in 2011, the work depicts an ancient tale of Buddhist monks confronting death and decay, where mythical monsters and decrepit figures in traditional robes wander a psychedelic landscape. Flanking the artist’s masterpiece are two large-scale red and blue demon sculptures. Titled Embodiment of “A” and Embodiment of “Um” (2014)—the first and last letters of the Sanskrit alphabet—these two sculptures stand in witness to the cycle of human karma vividly portrayed in the adjacent painting. Murakami’s exhibition will inaugurate Lune Rouge Ibiza, the collection of Guy Laliberté, whose philanthropic mission is to contribute to the cultural landscape of Ibiza through a program of engaging exhibitions of established and emerging artists. Laliberté’s continued commitment to the island, an important home of his for over thirty years, aims at inspiring creativity and discovery through shared viewing experiences, awareness, and education.
On view in the outdoor entryway leading to HEART Ibiza and Casino de Ibiza will be Murakami’s new bronze relief sculpture, whose conglomeration of skulls and fantastical crowns introduce a contemporary iconography into an ancient vocabulary. Situated in the lobby will be Murakami’s intricate tondo painting, titled Sage (2014), which is stylistically related to the Arhat series. HEART Ibiza, an exciting new state-of-the-art, fine-dining restaurant and stunning performance space located adjacent to Ibiza Gran Hotel, is the brainchild of Cirque du Soleil founder Guy Laliberté and chefs Albert and Ferran Adrià of El Bulli fame. Exploring the intersections of food, dance, art, and music, the space will combine all sensory elements to create an experience unlike any other that will be simultaneously visual, experiential, and dynamic.
A limited engagement screening of the artist’s first live-action feature film, Jellyfish Eyes (2013), will take place on Ibiza. Ten years in the making, the film utilizes both live-action and computer-generated imagery (CGI) in this coming-of-age tale about a boy in contemporary Japan confronting his country’s past and future after the 2011 earthquake and tsunami. Jellyfish Eyes, the first in a trilogy of feature films directed and produced by Murakami, debuted in April of 2013 at Los Angeles County Museum of Art and has been screened at museums and cinemas throughout the world.
About Takashi Murakami Takashi Murakami was born in 1962 in Tokyo, and received his BFA, MFA, and PhD from the Tokyo National University of Fine Arts and Music. He founded the Hiropon factory in Tokyo in 1996, which later evolved into Kaikai Kiki Co., a large-scale art production and art management corporation. In 2000, he organized a paradigmatic exhibition of Japanese art titled Superflat, which traced the origins of contemporary Japanese visual pop culture to historical Japanese art. His work has been shown extensively in venues around the world, including the Mori Art Museum, Tokyo; Palazzo Reale, Milan; Qatar Museum Authority; Palace of Versailles; Museum of Contemporary Art, Los Angeles; Brooklyn Museum; Museum für Moderne Kunst, Frankfurt; Guggenheim Museum, Bilbao; Fondation Cartier pour l’art Contemporain, Paris; Serpentine Gallery, London; Museum of Contemporary Art, Tokyo; and Museum of Fine Arts, Boston.
About Blum & Poe Timothy Blum and Jeffrey Poe founded Blum & Poe in September 1994 with the intent to show international contemporary art in all media, remaining strongly committed to working closely with artists to produce works of significant ambition. Blum brought over five years of immersion in the Japanese art world, and Poe provided a strong sense of emerging artists in Los Angeles. Together they have since represented an increasingly influential roster of contemporary artists, most at the start of their careers, including renowned artists Sam Durant, Mark Grotjahn, Sharon Lockhart, Dave Muller, Takashi Murakami, and Yoshitomo Nara. In 2009 they purchased and renovated their current 22,000 square foot complex on La Cienega Boulevard, where they have consistently produced world-class exhibitions featuring important Asian, European, and American artists. In 2014, Blum & Poe opened galleries in New York and Tokyo to focus on projects, both historical and distinguished, as well as continue to present museum-caliber exhibitions, lectures, performances, book-signings, and concerts from its Los Angeles base.
Ibiza Locations:
Art Projects Ibiza, Calle Carre Cas Dominguets noº 17 BIS:2, 07800 Ibiza, Spain Lune Rouge Ibiza, Calle Alcalde Bartomeu Roselló, Sala 7, 07800 Ibiza, Spain Ibiza Gran Hotel, Paseo Juan Carlos I, 17, 07800 Ibiza, Spain HEART Ibiza, Passeig de Joan Carles I, 17, Ibiza, Islas Baleares, Spain
Luxury real estate firm, RLTY NYC celebrated the grand opening of its SoHo office at 518 Broadway on Monday, May 11th with an unprecedented collection of artwork curated by Hoerle-Guggenheim Gallery. The company also disclosed its partnership with the gallery to provide fine art advisory services to its premier clientele.
Tongue by Geronimo aka Jumping Ball Photo Credit: Simon Chetrit Photography
“We are honored to expand RLTY NYC’s presence into SoHo,” stated Mr. Benalloul. “We believe that the aesthetic of our new office space will foster camaraderie between our local art and real estate communities, and we look forward to the continued evolution between our two fields.”
Artists Rob Carter, Domingo Zapata and Hector Bitar were on hand to showcase select pieces at the exclusive gathering. Additional artwork by renowned artists Banksy, Mr. Brainwash, Retna, McCrow, Abdullah Qandeel, Nelson Saiers, Russel Young and Geronimo were also on display. Guests enjoyed specialty cocktails, hors d’oeuvres and live entertainment within the creative 3,500 square foot space.
Emir Bahadir, Co-Founder RLTY NYC Photo Credit: Simon Chetrit Photography
“To an unsophisticated buyer navigating the art world to purchase contemporary art can be a daunting task,” said Albert Benalloul, co-founder of RLTY NYC. “This is not unlike those who are in the market to purchase or sell their own residence. Hoerle-Guggenheim Gallery is offering its expertise in selecting and negotiating art works for purchase, and along with RLTY NYC, the two firms together will offer a synergy in art and real estate not found anywhere else in the marketplace.”
Kate Krone, Jasmine Lobe, Cem Bahadir, Mine Bahadir, Emir Bahadir Photo Credit: Simon Chetrit Photography
The firm will welcome 35 agents to the space, which features 15 foot ceilings and windows overlooking one of the city’s most bustling neighborhoods. Decorated by Newel, a fourth generation Decorative Arts firm in New York City, the décor reflects a blend of traditional and modern design in a loft setting and is fully equipped with ThinkPad technology.
“We are proud to launch RLTY NYC’s new office. With continual and rapid growth, we identified a need for expansion and SoHo was visually the most representative of our innovative and modern approach to real estate. I look forward to continued success in this neighborhood,” said Emir Bahadir, co-founder of RLTY NYC.
RLTY NYC’s first office and headquarters, located at 555 Madison Avenue, opened in 2014 and the company has since outgrown this space.
THE DAILY PIC: The French photographer makes dad’s things stand for the man.
THE DAILY PIC (#1307): This huge gilded photo was made by the French artist Paul Vinet, and is now on view in his solo show at Hamburg Kennedy Photographs in New York. It’s part of a project in which Vinet photographed decades’ worth of his father’s accumulated junk, not long before Vinet Sr. died.
The objects gathered in this particular shot speak of a long-ago day at the beach, in an era when men wore hats unironically. The gilding that Vinet places all around his subject obviously turns a casual still life into a sacred icon, but I’m much more interested in the folding lounger: It’s empty, just ready to receive the limp body of Christ from Raphael’s Deposition.
Liz Deschenes and R.H. Quaytman share a concern with developing a new formalism that emerges from the well- defined parameters of their respective mediums – photography for Deschenes; painting for Quaytman.
For Art 40 Basel, Deschenes and Quaytman developed a dialogue on the topic of ‘mirroring.’ The two artists have experimented with various methodologies that will be brought into convergence by playing upon themes such as reflection, opticality, picturing and contextualization. Using documentary photographs of Liz Deschenes’ current solo exhibition at Miguel Abreu Gallery, R. H. Quaytman will produce a ‘chapter’ of at least ten paintings on wood. Deschenes’ involvement with reflection, neutrality and the negative will be in conversation with Quaytman’s habit of bringing photography materially into painting through contextual/historical reflection. Taken together, both methods expand ideas of the positive and negative of the image as picture, and the image as object. Entitled “Horizontal / Vertical Photographs,” Liz Deschenes’ featured series of works are comprised of silver-toned, photograms that are devoid of imagery or immediately recognizable content. The resulting look and function similarly to mirrors. Their gleaming surfaces remind us of the daguerreotype process by which early photographers produced single positive pictures onto copper plate coated with silver. Daguerreotypes are often referred to as ‘mirrors with a memory.’ Each one of Deschenes’ photograms evokes the uniqueness of daguerreotypes – the silver reflectivity and the mercurial viewing experience. In the moment of reception, the viewer activates the work, and becomes an integral part of a temporal and unrecorded representation. Quaytman’s silk-screened paintings on wood, which are grouped into chapters, often use photographs of particular exhibition spaces in an effort to both document the incident that generated the painting and activate a mirroring experience with the viewer. After a specific exhibition moment has elapsed the resulting painting serves as an archive of a particular exhibition history. The chapters function as pictures of the painting’s container. Quaytman has consistently photographed the work of other artists and has, at times, further manipulated that work to generate paintings. For Art Basel she proposes to bring both these strains together. For Quaytman, Deschenes is a perfect subject: a friend and fellow artist whose work and thought incites parallels and symmetries.
Liz Deschenes’ work is currently on view in the ‘Modern Wing Inaugural Installation of Contemporary Photograph,’ curated by Matthew Witkovski, at The Art Institute of Chicago. She was recently included in ‘Color Chart’ at the Museum of Modern Art, New York and was featured in the exhibition ‘Photography on Photography: Reflections on the Medium since 1960’ at the Metropolitan Museum of Art. She has had a solo exhibition at Sutton Lane, London, and participated in group shows at Luhring Augustine Gallery, New York and Sutton Lane, Paris. She teaches at Bennington College, and is a visiting artist at Columbia University, School of Visual Arts. Her work was recently featured in ‘Blind Spot’#36 and is in the permanent collections of the Whitney Museum of American Art, The Metropolitan Museum of Art, The Art Institute of Chicago, the Hirshhorn Museum and Sculpture Garden, and the CCS Bard Hessel Museum in Annandale-on-Hudson, New York.
R. H. Quaytman is a painter living in New York City. Between 2005-2008, she acted as the director of Orchard, a collaborative artist run gallery in New York’s Lower East Side reconciling the divergent narratives of movements such as Institutional Critique, Kontext Kunst, and Latin American vanguard practices of the sixties and seventies. Since 2006, she has been on the faculty of the Milton Avery Graduate School of the Arts, Bard College MFA Program. She received her BA from Bard College after which she attended postgraduate programs in painting at the National College of Art and Design in Dublin, Ireland and the Ecole des Hautes Etudes en Arts Plastiques in Paris. She was a recipient of the Rome Prize Fellowship at the American Academy in Rome. She has had solo exhibitions at Spencer Brownstone Gallery, New York, Galerie Edward Mitterrand, Geneva, and China Art Objects, Los Angeles. In December 2008, she had her first solo exhibition at Miguel Abreu Gallery. This coming fall, she will have a one-person show at the ICA – Boston.
36 Orchard Street, New York, NY 10002 • 212.995.1774 • fax 646.688.2302 [email protected] www.miguelabreugallery.com
With over three decades of experience as a fine art dealer, Rachel Davis has seen it all. At 1 p.m. this Saturday, Mar. 28, she will share her personal stories and professional experience during a free discussion at the Artists Archives of the Western Reserve (AAWR), as part of the Archives’ ongoing Collecting Art lecture series.
Just a few weeks ago, auctioneer and PBS celebrity Wes Cowan discussed his role in the art market as an antiques auctioneer based in Cincinnati.
‘Wes Cowan very succinctly covered the topic of the state of the art market for us in his talk at the AAWR , as well as covering what’s hot and what’s not nationally in art auctions right now,” says AAWR Executive Director Mindy Tousley. “He seems to be interested in only selling specific kinds of art in his auctions, Rachel on the other hand has dealt for years in regional art, and the art acquired by local collectors. The work she handles is generally more eclectic. Many of the people who will attend this talk at the Archives already know her and so I think this will be a smaller, more intimate gathering where people will feel relaxed and free to ask all kinds of questions.”
Rachel Davis Fine Arts (RDFA) was founded in Cleveland in 1987 and opened its first commercial gallery in 1992. Later that year, Davis began auctioning works on paper. In 1996, RDFA added auctions of paintings, and later that year, rare and out-of-print books. By 2001, RDFA was a full service auction house with the addition of furniture, jewelry and decorative arts.
