Collette Blanchard | SUNTEK CHUNG | Kingdon Come

SunTek Chung
Kingdom Come
18 November - 10 January, 20, 2010

Opening Reception Wednesday, November 18, 2009


Collette Blanchard Gallery is pleased to present its first gallery exhibition with SunTek Chung, entitled "Kindom Come," on view from November 18, through January 20, 2010.

Neon light sculpture and staged photographs appear with bronze sculptures, all of which, in the specificity of their presentation, are informed and re-contextualized by circumstances dictated by the artist. Leveraging verbal language and mixed mediums, Chung presents narrative works that linger between exhaustive detail and minimalist form. At any juncture within this spectrum, his work presents alternatives to preconceived notions that are never completely lucid, thus requiring incessant interrogation. Adept in his use of color, neon-light and form, Chung seduces the viewer into the essence of his work at once with a combination of references to current happenings and in response, conceptualized fictions. The work of SunTek Chung requires the viewer to abandon the pedantic discourse of cultural affinity and identity in its reconsideration of the misconstrued.

Mr. Chung graduated with an MFA from Yale University in 2002 and participated in Skowhegan School of Painting and Drawing. He has exhibited in numerous solo and group exhibitions in locations such as New York, Los Angeles, Canada, Berlin, and Tokyo. Chung's work has been reviewed in ArtForum, the New York Times, Beautiful Decay (cover) and many other prominent publications.

For more information, please contact the galllery at 917.639.3912 or gallery@colletteblanchard.com.

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Obamas Return Art.....

Last month we learned what artworks the Obamas had chosen for the family quarters of the White House and the West and East Wing offices. One of the pictures that caught everybody's attention was Watusi (Hard Edge) by Alma Thomas, a lesser known Washington, D.C. area artist who died in 1978. But now that picture has been handed back to the institution it was borrowed from.

Art News is reporting that late last month the White House returned Watusi to the Hirschhorn Museum, one of the several Washington-area museums that were lending works to the White House. Michelle Obama's deputy press secretary has since explained that the painting turned out to be too big for the place in the First Lady's office where it was expected to hang. For more, click HERE....

MOMA | Bauhaus 1919-1933 | This Sunday

Bauhaus 1919–1933: Workshops for Modernity
November 8, 2009–January 25, 2010

"An unexpected treat."—The New York Times

Discover how the avant-garde Bauhaus school shaped the modern visual world with its pioneering integration of art, design, and technology. MoMA's first major treatment of the subject since 1938 gathers over 400 works by Bauhaus students and faculty—including Anni Albers, Josef Albers, Marcel Breuer, Lyonel Feininger, Walter Gropius, Vasily Kandinsky, Paul Klee, and Gunta Stölz—and is accompanied by an interactive Bauhaus Lab and a Bauhaus-furnished reading lounge.

Click HERE for more.......

ROB PRUITT | INTERVIEW MAGAZINE

There's great irony in the fact that Rob Pruitt is the man putting together the Guggenheim’s First Annual Art Awards, a sort of tongue-and-cheek version of the Oscars for contemporary American art. It’s the kind of irony more befitting a Hollywood film script than the New York art scene. On October 29, before an assemblage of heavyweights in the Guggenheim Museum rotunda, faux-champagne-bottle-in-ice-bucket lamp awards will be doled out to the winners of Solo Show of the Year, Group Show of the Year, Curator of the Year, and Artist of the Year, among a myriad of other categories. While a committee helped select the nominees, the awards show itself was 45-year-old Pruitt’s brainchild—his way of giving back to the art-world community that has made him one of its own unorthodox, uninhibited stars.

In the late 1980s, the Washington, D.C.–raised Pruitt was, along with Jack Early, part of the collaborative art team Pruitt-Early, a duo that was instantly touted as a pair of intrepid, iconoclastic new­comers—that is, until a 1992 show at Leo Castelli Gallery, where the two artists paid tribute to black culture by splashing paint on foil, shrink-wrapping posters of famous African Americans, and supplying their own rap soundtrack. Today that kind of show wouldn’t read as much of a shock, let alone a scandal, but in the early ’90s, the culture was still fully entrenched in the dicta of political correctness. Protests ensued, their work was accused of being racist, and, soon after, the pair disbanded.
There's great irony in the fact that Rob Pruitt is the man putting together the Guggenheim’s First Annual Art Awards, a sort of tongue-and-cheek version of the Oscars for contemporary American art. It’s the kind of irony more befitting a Hollywood film script than the New York art scene. On October 29, before an assemblage of heavyweights in the Guggenheim Museum rotunda, faux-champagne-bottle-in-ice-bucket lamp awards will be doled out to the winners of Solo Show of the Year, Group Show of the Year, Curator of the Year, and Artist of the Year, among a myriad of other categories. While a committee helped select the nominees, the awards show itself was 45-year-old Pruitt’s brainchild—his way of giving back to the art-world community that has made him one of its own unorthodox, uninhibited stars.

In the late 1980s, the Washington, D.C.–raised Pruitt was, along with Jack Early, part of the collaborative art team Pruitt-Early, a duo that was instantly touted as a pair of intrepid, iconoclastic new­comers—that is, until a 1992 show at Leo Castelli Gallery, where the two artists paid tribute to black culture by splashing paint on foil, shrink-wrapping posters of famous African Americans, and supplying their own rap soundtrack. Today that kind of show wouldn’t read as much of a shock, let alone a scandal, but in the early ’90s, the culture was still fully entrenched in the dicta of political correctness. Protests ensued, their work was accused of being racist, and, soon after, the pair disbanded.

To CONTINUE

The Lehman Brothers x Art Auction

When I first heard a few weeks ago that the art collection that once hung in the hallways and offices of Lehman Brothers was going up for auction, I wondered if it could make enough money to at least partly compensate Lehman creditors, who are owed something in the neighborhood of $250 billion by the disastrously defunct investment firm.

For more, click HERE.

SOURCE

KAWS x RxArt x Kiehls

KAWS has teamed up with nonprofit, RxArt, and luxury beauty products company, Kiehls, lending his designs to a limited skin moisturizer. With prices ranging from $26 -$70, you can feel good about indulging in one of the 3 available sizes. 100% of profits will benefit RxArt’s continuing mission of curating installations in hospital settings across the United States. Past projects include works by Donald Baechler, Ryan McGinness, Matthew Ritche and Frank Stella.

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COLOGNE CONTEMPORARIES 2009

Cologne Contemporaries - Neue Kölner Galerien

* Sebastian Brandl
* Clages
* Drei – Raum für Gegenwartskunst
* Galerie Julia Garnatz
* Galerie Christian Lethert
* Marion Scharmann
* Schmidt & Handrup
* Teapot
* Galerie Eva Winkeler
* Projects in Art & Theory

20. – 22.11.2009
20.11.2009

18 – 21 Uhr: Eröffnungen & Galerie-Rundgang
6 – 9 pm: Openings & Gallery Tour
ab 21 Uhr / from 9 pm:
Temporary Gallery Cologne
Performance
Party
21.11.2009

12 – 18 Uhr: Galerie-Rundgang / 12 – 6 pm: Gallery Tour
22.11.2009

12 – 18 Uhr: Begleitprogramm in der Temporary Gallery
12 – 6 pm: Complementary Program at Temporary Gallery

www.cc-nkg.com/#

DSSF | Joshua Mays

Joshua Mays is originally from Denver and has resided in Philadelphia for
the past 7 years. He’s contributed to exhibitions across the US in
Philadelphia, New York, Denver, New Orleans, San Francisco, Los Angeles and
has exhibited internationally in Mexico City, London and Johannesburg,
South Africa. He’s created illustration’s for various clientele, including
Jill Scott, Ursula Rucker, Jneiro Jarel, Circulations(Japan) and
Ubeat(Germany). Joshua is currently showing with Thinkspace and
D-Structure.


The latest work from Joshua Mays is a further expansion on "change" and
his individual and collective relationship with it. Warfare, sexuality,
futurism, genetics, musical melody and rhythm and urban chaos are utilized
to compose the narratives explored in these mixed media pieces.

gering and lopez | Just what is it that makes today's painting so different, so appealing?

November 5 - December 23, 2009
Reception: Thursday, November 5, 6-8pm

GERING & LóPEZ GALLERY is pleased to present Just what is it that makes today's painting so different, so appealing?, a group painting exhibition. Featuring works by:

Michael Bevilacqua
George Condo
Steve DiBenedetto
Keith Haring
KAWS
Erik Parker
Steven Parrino
Lisa Ruyter
David Salle
Michael Scott
Frank Stella
John Tremblay



Gering & López Gallery
730 Fifth Avenue
New York NY 10019
Tel 646 336 7183
Fax 646 336 7185
Hours Tue-Sat 10-6
info@geringlopez.com
www.geringlopez.com

DANZIGER PROJECTS |Andy Warhol Polaroids of Sports Champions

GREATNESS
Andy Warhol Polaroids
of Sports Champions

October 31 - December 12


Andy Warhol (1928-1987)

As an iconic member of the pop movement of the 1960's, Warhol gained fame and recognition for his depiction of recognizable objects and faces, from brand names to bananas to faces of the rich, famous, and powerful.

In 1977, Richard Weisman, an art collector and a friend of Warhol's, commissioned a series of paintings of ten great sports figures of the era, now known as the "Athlete Series". The group of athletes was selected by Mr. Weisman, and included stars of a variety of sports: Muhammad Ali (boxing), Pelé (soccer), Dorothy Hamill (figure skating), Tom Seaver (baseball), Jack Nicklaus (golf), O.J. Simpson (football), Chris Evert (tennis), Willie Shoemaker (horse racing), Rod Gilbert (ice hockey, NY Rangers), and Kareem Abdul-Jabbar (basketball).

Four additional sports portraits taken later are also included in the show – Ron Duguay, John McEnroe (with then-wife Tatum O'Neill), Vitas Gerulaitis, and Wayne Gretzky.

While Warhol may not have selected the ten athletes for the series, their status as champions in their respective sports, with faces and names that are recognizable decades later, coincides with Warhol's interest in images of celebrity and greatness.

Taken with Warhol's favored "Big Shot" Polaroid Camera, these images were used by Warhol to be silkscreened on to canvas as the basis of each painting. This show provides a look at this process by displaying three different takes from each sitting, shedding light on Warhol's willingness to experiment and interact with his subject within his planned conception of the final image. For this reason each Polaroid is unique and different and there are only three complete sets of the original ten athletes.

In recent years, Warhol's Polaroids have gained attention and respect in exhibitions and books, both for their centrality to his portrait practice and as works in their own right. While Warhol is not best known as a photographer, he loved the medium, and it was an apt one for the artist due to its repetitive, mechanical nature and its ability to confer a sense of star-power on its subjects.

Proving that the simplest tools are no impediment to creativity, Warhol's Polaroids of athletes are both a celebration of greatness and an intriguing look at the cleverness behind the façade Warhol so often used to disguise the intelligence and innovation of his work.

For more information please call 212 629-6778 or e-mail info@danzigerprojects.com


Danziger Projects
534 West 24th Street
New York, NY 10011
Telephone 212.629.6778
info@danzigerprojects.com

Gallery Hours
Monday & Tuesday by appointment
Wednesday to Saturday 11 - 6

apexart | AVANT-GUIDE TO NYC

Avant-Guide to NYC: Discovering Absence

apexart
Tribeca / Downtown
291 Church Street, 212-431-5270
November 4 - December 19, 2009
Opening: Wednesday, November 4, 6 - 8 PM

Curated by Sandra Skurvida

Including work by: Julieta Aranda, caraballo-farman, Kabir Carter, Dexter Sinister, Eckhard Etzold, Andrea Geyer, Pablo Helguera, Nancy Hwang, Pia Lindman, Anna Lundh, Nina Katchadourian, Carlos Motta, Angel Nevarez & Valerie Tevere, Hatuey Ramos-Fermin, Katya Sander, Ward Shelley, Xaviera Simmons, and Alex Villar.

Image credit: Dexter Sinister, 2009. Courtesy of apexart.

SATURDAY'S SALE | HUMBLE ARTS | RICHARD RENALDI

Richard Renaldi
Peter, 2002, from Fall River Boys
Silver gelatin print, 16 x 20 in.
Signed and numbered, Edition of 5
This edition includes a signed copy of Fall River Boys and The Collector’s Guide to Emerging Art Photography
$750 | Purchase

FRIDAY FLICKS | CHAIR | ERIC KU

“An inspiration from the American contemporary artist Joseph Kosuth, One and Three Chair. Instead of giving new definition, I redefined the concept of a chair by using alphabet. One is able to construct a chair by assembling the redesigned alphabets.”

Nancy Spero |Artist of Feminism |Dead at 83

Nancy Spero, an American artist and feminist whose tough, exquisite figurative art addressed the realities of political violence, died on Sunday in Manhattan. She was 83 and lived in Manhattan.

The cause was infection leading to respiratory problems that in turn caused heart failure, said her son Philip.

Born in Cleveland in 1926, Ms. Spero studied at the School of the Art Institute of Chicago and there met her husband, the painter Leon Golub, to whom she was married for 53 years until his death, in 2004.

To read the article in its entirety, click HERE.

SOURCE

INTRODUCING | SCULPTOR XAVIER VEILHAN

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SHEPARD FAIREY | THE ASSOCIATED PRESS | WHO'S RIGHT?

I was intrigued by a position the Associated Press took yesterday when it filed new court papers in its countersuit against Shepard Fairey over his unauthorized use of an AP photo as the basis for his Obama "Hope" poster. Basically, they said: "You lie — some more".

To recap: A few days ago Fairey acknowledged that he had lied about just which AP photo he used. Actually, what he said was that at first he genuinely believed it was a picture of Obama with George Clooney from which he had cropped out Clooney, but he later realized that he had used a different picture from the same event, a close up of Obama alone, a shot the AP suspected all along he had used.

At the time I found my self wondering how it was possible that Fairey didn't remember which photo he had used for a poster he made only last year. The AP apparently had the same question. In an amendment to its countersuit filed yesterday with a New York court, the AP said "it is simply not credible that Fairey somehow forgot in January 2009 which source image he used".

For more, click HERE.

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AMBACH and RICE | Karen Sargsyan | 10.24.09

www.ambachandrice.com

Art-or-Not |Kanye West | We Were Once A Fairy Tale

REAL TALK | 10.21.09

"To become truly immortal, a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken, it will enter the realms of childhood visions and dreams."

:::Giorgio de Chirico:::

When in CHICAGO | Modern Wing | The Art Institute

Modern Wing at the Art Institute of Chicago
WHAT: Designed by Italian architect Renzo Piano, this elegant 264,000-square-foot addition to the Art Institute of Chicago, which opened in May, took 10 years from design to completion and cost $294 million. The wing houses the museum’s collections of modern European painting and sculpture, contemporary art, architecture and design, and photography.
WHEN: Mon.– Fri. 10:30 a.m. – 5 p.m., Thursdays open until 8 pm. Weekends 10 a.m. – 5 p.m.
WHERE: 111 South Michigan Avenue
HIGHLIGHTS: The fervor of anticipation for this new wing was eclipsed only by the city residents’ pride once it was completed. Artist Melanie Schiff describes her reaction to the new wing as something that makes her a little “choked up when she thinks about it,” and “proud of Chicago,” sentiments which are reflected by many locals. According to gallery owner Tony Wight, “The clever elegance of Renzo Piano’s architecture is the perfect complement to the Art Institute’s substantial holdings in modern and contemporary Art, providing James Rondeau a myriad of opportunities to flex his curatorial muscles.”

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