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caveartfair · 6 years ago

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The Rise and Fall of Mary Boone, the Revolutionary Art Dealer Going to Prison for Tax Fraud

Portrait of Mary Boone at Sotheby’s in New York City, 2010. Photo Ryan McCune/Patrick McMullan via Getty Images.

On Thursday afternoon, the iconic New York gallery owner Mary Boone was sentenced to 30 months in prison. She had pleaded guilty in September to charges that she falsified her expenses to give the impression that the gallery was losing money. Boone admitted to transferring $9.5 million from one bank to another and claiming it was a deductible business expense; other “business” expenses included almost $800,000 for an apartment renovation and a $19,000 shopping spree at Hermès and Louis Vuitton.

The sentencing put to end months of speculation on whether the judge would incarcerate Boone; the prosecution had recommended the dealer serve 30 to 37 months in prison, while the dealer and her attorneys begged the judge to avoid incarceration. The sentencing followed an outpouring of support from powerful art-world figures: collectors Peter Brant, Beth Rudin DeWoody, and Thea Westreich Wagner, along with artists Julian Schnabel, Laurie Simmons, and Ai Weiwei, defended Boone’s character and spoke to her tenacity during the trial.

In statements in court on Thursday, Boone’s attorney, Robert S. Fink, asked Judge Alvin K. Hellerstein for leniency in his sentencing. Fink argued Boone’s crimes were due to a history of anxiety, depression, and addiction brought on by childhood trauma, and claimed that she had since found religion and clean living. He suggested that any prison time could have a destabilizing effect on her life, preventing her from attending the regular Alcoholics Anonymous and Cocaine Anonymous meetings upon which he said her stability partly depends. Boone also addressed Judge Hellerstein at the hearing.

“I stand before you saddened, humbled, and heartbroken,” she said. “I beg your honor to let me go back to work…and I beg your honor to give me a second chance.”

“The gallery simply will not survive without her.”

Judge Hellerstein said he was confident that Boone had learned her lesson and would not commit tax fraud again. But he also said that to let her go without a prison sentence could embolden others to commit similar crimes.

“You can’t have people, after they’re caught, avoiding punishment by doing good works,” he said. “When a person takes advantage of the things he or she can do to avoid paying taxes in a fraudulent way, there must be consequences.”

The judge ordered Boone to surrender no later than 2 p.m. on May 15th. Following her 30-month sentence—likely to be served in the women’s camp at the Federal Correctional Institution in Danbury, Connecticut—Boone will be under supervision for another year, during which time she will have to perform 180 hours of community service. Judge Hellerstein specified that she is to perform services related to the arts and art education. Boone’s attorney said she has no plans to appeal.

The sentencing closed the latest chapter in what’s been one of the art world’s most talked-about trials in years—a financial scandal that took down one of the most iconic and famous art dealers of New York’s last few decades, and which throws into question the future of a gallery that once epitomized the go-go market boom of 1980s SoHo. Prior to the sentencing, Boone’s attorney made a bleak assessment of the situation.

“The gallery simply will not survive without her,” Fink said.

The queen of SoHo

Portrait of Mary Boone in her Soho gallery, New York, 1992. Photo by Michel Delsol/Getty Images.

Mary Boone Gallery opened in 1977 and quickly left its mark on the art world. Boone was instrumental in creating the idea that an art dealer and her gallery could have as much of a personality, brand, and identity as the artists she represents. Magazine reporters began to write not only about the hottest artists of a given moment, but also about the dealers who had, until then, largely operated in the background.

In a 1987 story about Barbara Kruger’s first show at Mary Boone Gallery, the New York Times wrote that “Ms. Boone has been something of a celebrity herself, a reputation she gained by boldly promoting and selling work by a group of artists who eventually became big names in the art world of the 80’s.” As fellow dealer Paula Cooper put it in a recent roundtable conversation published by T Magazine, “[Boone] was in every magazine, painting her toenails. P.R. really began then.” In 1982, at age 30, she appeared on the cover of New York magazine beside a headline that screamed “The New Queen of the Art Scene.”

Now, it’s unclear if Boone has a future in the art scene at all.

“Jean-Michel puts his arm around me and says, ‘Don’t worry, Mary, I’m going to make you much more rich and famous than Julian ever would.’”

Boone came to New York in 1970 after graduating from the Rhode Island School of Design. She met the artist Lynda Benglis at Hunter College, where she studied art history, and Benglis found Boone a job at Bykert, a gallery on East 81st Street run by Benglis’s boyfriend at the time, the writer and performer Klaus Kertess. The gallery was home to major artists such as Brice Marden, Richard Tuttle, and Dorothea Rockburne, and though Boone was just 19 years old, Kertess had her take God-like collectors like Victor Ganz to studio visits with the gallery’s artists (besides Kertess, Boone was the only other employee).

Kertess’s gallery fell on hard times, and in October 1975, Boone was let go. She dealt privately for a few years before convincing seven backers to fund her own gallery space. Boone traded the Upper East Side for the scruffier SoHo, and in April 1977, she opened a space on the ground floor of 420 West Broadway—right below Leo Castelli, who was, at the time, the most influential contemporary art dealer in America.

Among the first artists she signed was Julian Schnabel, a young, unknown artist—he was working as a line cook at a restaurant—but one who was already extremely confident in himself. After Boone saw his work for the first time, Schnabel called her on the phone.

“The subtext of the conversation was, I’d better show him because he’s the next best thing to Rembrandt and if I didn’t, he was going to show with Holly Solomon,” she told New York magazine decades later, referring to another SoHo dealer. “Which was probably the thing that drove me the most. I said fine. What do you say at a time like that?”

Schnabel had his first solo show in February 1979, with works on offer for $3,000 to $3,500, or about $100,000 to $120,000 today. It was the first time that Castelli, who was right upstairs from Boone, took notice of the young dealer.

“This was the coup de foudre!” Castelli told Anthony Haden-Guest in his book True Colors, a definitive take on the contemporary art market’s explosion in the 1970s and ’80s. “Like when I went to see Jasper [Johns] in ’57 or [Frank] Stella in ’59. I went in and I saw the clay paintings. And I was just bowled over.”

The boom years

Castelli began co-representing Schnabel with Boone, splitting proceeds 50/50. By 1981, Schnabel’s prices had gone up to $40,000 for work on the primary market, and by 1983, works were selling for $93,500 at auction. Boone was so flush with success that she opened another, larger space across the street at 417 West Broadway, which the since-defunct publication Art Economist called “The House that Schnabel Built.”

Schnabel was the beginning, but it was Boone’s whole roster of artists that cemented her rep as the defining art-dealing personality of the 1980s. By the dawn of the decade, she was already representing the artists that would be the backbone of her program for years—David Salle, Ross Bleckner, Eric Fischl, Francesco Clemente, Brice Marden—and also helped nurture the careers of the two market juggernauts to come out of that era, Jeff Koons and Jean-Michel Basquiat.

Mary Boone and Laurie Anderson. Photo by Merry Alpern/Corbis/VCG via Getty Images.

Boone was the first art-world figure to give Koons entrée to the art world; they met when he was just 24 and working at the Museum of Modern Art selling memberships, while developing his practice of turning everyday objects into readymades. She arranged sales to English advertising executive Charles Saatchi and the influential collecting duo Mera and Don Rubell, who bought a vacuum installation out of a show he staged at an apartment on West 16th Street. Boone installed one of the rug shampooer works in her office, but a scheduled two-person show with Matt Mullican was delayed when the Schnabel plate-painting show had to be extended due to the hysteria surrounding it. Koons left and eventually joined Sonnabend Gallery, a West Broadway rival.

As for Basquiat, by the time he joined Boone’s stable in 1982, he had already become a market darling while showing with Annina Nosei. Moving to the hottest gallery in SoHo primed the painter to become a national icon—and primed Mary Boone to make lots and lots of money. The timing was fortuitous: Basquiat’s first show at Mary Boone Gallery opened in May 1984, just a month after Schnabel shocked West Broadway by jumping ship to Pace.

Schnabel was the beginning, but it was Boone’s whole roster of artists that cemented her rep as the defining art-dealing personality of the 1980s.

Boone, distraught, bet all her chips on Basquiat—a phenom, for sure, but an unreliable one with an increasingly debilitating heroin addiction.

“I remember sitting in my office crying, and Jean-Michel comes into the gallery, which he loved to do,” Boone said to Fischl in a conversation published in Interview magazine in 2014. “So Jean-Michel puts his arm around me and says, ‘Don’t worry, Mary, I’m going to make you much more rich and famous than Julian ever would.’ Those were his exact words.”

Things turned around quickly. By February 1985, Basquiat was on the cover of the New York Times Magazine. In the New York magazine cover story on Boone that crowned her queen of SoHo, a steady stream of good champagne flows through the narrative, and at one point, at a cocktail lounge, the interviewer asked Boone which of her 100 to 200 pairs of shoes she had chosen for their meeting.

“Cobra,” Boone responded.

But after a late 1985 show was poorly received, Basquiat left the gallery in 1986; he was dead by 1988. In 1989, Black Friday hit, the stock market tanked, and the art market went down with it. “It switched off like a light,” the dealer Lucy Mitchell-Innes says in True Colors.

Lean times

Boone was hit hard. Salle left the gallery for Gagosian in October 1990. And in a New York Times interview with Deborah Solomon in 1993, Fischl said of his recent show at Mary Boone Gallery: “This is the first time since ’82 that I’ve had a show that didn’t sell out before it opened. It’s scary. It’s scary when you see your market value decline.”

Rumors started to spread that Boone was bankrupt. An anonymous ill-wisher started sending out a fake note to other dealers and art gadabouts, on real Mary Boone Gallery stationery, that read “BASEMENT SALE TO 70% OFF.”

Portrait of Mary Boone in gallery on 420 West Broadway, New York, 1981. Photo by Waring Abbott/Getty Images.

But she was far from broke. Boone had $5 million in inventory to sell, and $2 million in the bank. In 1996, she moved to a space on Fifth Avenue, and in 2000, she joined the westward movement of the New York art world and opened a grand space in Chelsea on West 24th Street. In 2008, on the eve of another financial collapse, Boone started working with the artist Ai Weiwei.

It wasn’t long after that the money trouble really came. Starting in 2009, Boone began to use gallery funds to pay for personal expenses, according to court documents and confirmed in her guilty plea, including $793,003 that went to remodeling her Manhattan apartment. Among $300,000 in personal charges made on her corporate credit card, $14,000 went to Hermès, $5,000 to Louis Vuitton, and $24,380 to the salon, and nearly $15,000 was spent on jewelry. On tax forms, she labelled the renovation as a “commission,” lying about the nature of the costs.

She also lied about the profitability of the gallery, inflating expenses in order to pay fewer taxes, continuing the scheme until 2011.

$14,000 went to Hermès, $5,000 to Louis Vuitton, and $24,380 to the salon, and nearly $15,000 was spent on jewelry.

Boone’s lawyers fought to get her off with probation, community service, and home confinement by characterizing her criminal acts as coping mechanisms sparked by the childhood trauma of growing up without a father and her sister’s suicide, and also related to her resulting addictions to alcohol and cocaine. Boone has battled depression, and at one point, she tried to commit suicide. Her lawyers noted that she has been clean and sober for over a decade, and added that she has become a committed churchgoer, attending mass on Fridays with her son, Max, whose father is Boone’s ex-husband, the dealer Michael Werner. Immediately after her sentencing on Thursday, Boone turned to Max, who had been seated in the front row of the crowded courtroom, and embraced him.

Whether or not the gallery can survive without Boone remains to be seen. Ron Warren, a loyal partner in the gallery who has been with Boone since 1984, is still around to carry on the mantle (he did not respond to a request for comment for this article). And, at least via their vocal support of Boone during her trial, a number of the dealer’s artists and collectors remain behind her.

But regardless of Mary Boone Gallery’s physical presence in Chelsea and on Fifth Avenue, the art scene will at least be temporarily without the dealer who was once its queen.

Benjamin Sutton contributed reporting.

from Artsy News

#Artsy News

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worldfoodbooks · 8 years ago

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IN THE BOOKSHOP: YUJI AGEMATSU - ZIP: 01–01–14…12–31–14 (2015) ZIP: 01–01–14…12–31–14 is an annual. It records, in photographs, a year of an ongoing work Yuji Agematsu has been habitually making since the mid 1990s. To accomplish this work, Agematsu takes daily walks and drops what he finds into the cellophane wrapper from a cigarette pack. The book is accompanied by a facsimile of the notes Agematsu keeps to map when and where these objects were encountered. Printed and bound in an edition of 1000 at Benedict Press, Germany. It is published by Artspeak, Thea Westreich Wagner/Ethan Wagner Publications, and Yale Union. It is produced in conjunction with exhibitions at Yale Union (Portland, OR), Artspeak (Vancouver, BC), and Real Fine Arts (Brooklyn, NY). Very highly recommended! Yuji Agematsu was born in 1956 in Kanagawa, Japan. He lives in Brooklyn, NY. Available via our website. #worldfoodbooks #yujiagematsu #yaleunion #artspeak (at WORLD FOOD BOOKS)

#yujiagematsu #yaleunion #artspeak #worldfoodbooks

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kuegler · 8 years ago

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Christopher Wool, Centre Pompidou, Thea Westreich Wagner and Ethan Wagner Collection

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micaramel · 5 years ago

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Artist: Pádraig Timoney

Venue: The Modern Institute, Glasgow

Exhibition Title: Superfare

Date: February 3 – April 4, 2020

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of the artist and The Modern Institute/Toby Webster Ltd., Glasgow. Photos by Patrick Jameson.

Press Release:

‘Paintings owe their existence – of which we are suddenly rendered conscious – of the apparent visible and the hidden visible – which in nature, are never separated. Something visible always hides something else, equally visible. But these paintings testify immediately – and unexpectedly – to this state of things. Something goes on in the world, between that which is visible and that which the visible hides, which is visible: a sort of combat…”

– Réne Magritte 1

Superfare marks Pádraig Timoney’s fifth solo-exhibition with The Modern Institute. The multifaceted and at times unorthodox grouping of paintings and prints at the gallery’s Osborne Street location demonstrate a unique approach to image-making that relentlessly seeks to reinvent and reexamine, create, metaphorise, and condense.

Drawing from an evolving continuum of images, thoughts and occurances, Timoney’s work explores painting’s potential to construct, convey and challenge. Through a multitude of different processes, Timoney’s ideas are reproduced and translated both materially and conceptually, ensuring these factors are mutually supportive. His surfaces, rendered in a multitude of (often) contradictory languages, coalesce into a body of work that self-generates new ideas, manners and abstractions.

Indeed, this adaptive and inventive approach to making is evident throughout Timoney’s new body of work. In There’s No Stopping… (2020), titled from a misquoted lyric from the Ramone’s 1977 song ‘Cretin Hop’, Timoney uses photographic developer to make oil paint soluble in water enabling Timoney to reinvigorate the dried paint from previous sessions in the studio – extending the potential influence of a certain colour or palette beyond a single sitting or work. In this, the exhibition’s largest work, his reworking is perhaps most apparent as under close inspection solid foregrounded form gives way to a delicate transparent intermediary layer and pointillist underpainting beyond. Through this extended process of layering, Timoney offers pictures within pictures, displaying a fascination of that which is under but not immediately seen.

Further in the show, two works both portray a small laughing figure, uniformed and sporting an indistinguishable expression amidst a backdrop of seemingly a street on fire, however, Timoney’s depiction lacks attribution, definition or explantation. What is identifiable is the uniform, the fire, a helicopter and the word ‘DEEDLE’ above the character’s head. The smaller original study, OriginalBorderDeedle, (2017), is playfully sketched in inks, acrylics and pigment, with the larger replica, realised in oil, offering a more distanced energy, a layer or step beneath the original sketch. Filangieri’s (2020), presents a further key example of Timoney’s painterly openness, the solid circular and semicircular forms, which closely match the oil drawing underneath, partially camouflaging or revealing fragments of the image beneath the surface layer. The crucial obscuring thinness of the oil layer provokes the idea of what is more fortunate- that which has been revealed or that which is imagined underneath.

In Superfare the notion of layers becomes a scattered thematic, as Timoney eagerly and relentlessly pursues the ideas that inform his work, images are constructed and reconstructed, pushed and pulled to the point of collapse only to be developed into a cohesive whole. Superfare documents a fundamental intention and on-going attention by not looking like it does at all.

As Timoney himself suggests, ‘I try to find the right image for a thing that comes to mind – I don’t want yet to rationalize or describe an underlying intentionality of selecting images or whatever. I’m trying, I suppose to still make excitement for the eyes – that a practice based in historicity and the present could find some new space. That there would always be, with the hand-made, coherence, distance, dirt, all that stuff that gets in your eyes when you open them in the morning. That you know, that you recognize, that you know you recognize, that you recognize maybe with a smile. Eyes talk, eyes already being the outmost stalks of brain tissue. They see thinking. The concepts, although present, have no more weight than the material. That there are echoes off every surface- our ears already deal with all that richness without thinking too much about it. That there is still space makeable for this activity. Super-fare.’2

Pádraig Timoney (born 1968, Derry; Lives and works in New York). Notable solo exhibitions include: Lulu, Mexico City (2018); The Scrambled Eggs Salute The Trifle, The Modern Institute, Airds Lane (2016); A lu tiempo de…, Museo Madre, Naples (2014); Fontwell Helix Feely Raven Row, London (2013); Shepard Tone, The Modern Institute, Osborne Street, Glasgow (2012); and The Fear of All Sums – Ten Million Dice to Weigh, Void, Derry, Northern Ireland (2006).

Group shows include The Painting Show, British Council touring exhibition, Limerick City Gallery of Art, Limerick (2017) and Contemporary Art Centre, Vilnius, Lithuania (2016); Collected by Thea Westreich and Ethan Wagner, Whitney Museum of American Art, New York/ Centre Pompidou, Paris (2016); Terminal Convention at the former Cork International Airport (2011) ; Frequency: Mark Garry, Pádraig Timoney, Hayley Tompkins, The Hugh Lane Gallery, Dublin, Ireland (2009); Un Monde d’Imag, Frac Picardie, Beauvais, France and The British Art Show 5 (2000).

In 2014, the most extensive monograph on the artist’s practice, Microtome was published by Electa on the occasion of the artist’s mid-career retrospective at Museo Madre.

1 Réne Magritte, (cited in Patrick Waldberg, p.248, Rene Magritte, Andre de Rache pub, Brussels 1965)

2 A reference to the exhibition’s title and an accompanying painting in the show, as well as the combination of the two words which from Italian translates to make (or do) super. This poses further a duality of ideas.

Link: Pádraig Timoney at The Modern Institute

from Contemporary Art Daily https://bit.ly/3bAPBEe

#micaramel

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hilariusress · 6 years ago

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France Honors Collectors Thea Westreich Wagner and Ethan Wagner and Curator Charlotte Vignon - Artforum

France Honors Collectors Thea Westreich Wagner and Ethan Wagner and Curator Charlotte Vignon Artforum Thea Westreich Wagner and Ethan Wagner, New York–based arts patrons who have donated more than 850 works by European and American artists to the ...

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lindyhunt · 6 years ago

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This Season’s Biggest Muse? Grandmothers

As a blanket statement, grandmas are the coolest. They give you unconditional love — not to mention endless snacks provisions — and by the time a woman becomes a grandmother, she has usually mastered her own sense of style. But it’s not just me who finds Grandmas inspiring, Brandon Maxwell tapped into the very special relationship many Grandmas have with style by casting his very own ‘Mammaw’ to star in his label’s Fall 2018 campaign.

The first in a series of our Fall/Winter Campaign images, starring my Mammaw. Shot in her bedroom in Longview, Texas wearing our boucle hoodie and crystal embroidered tulle ball skirt. I used to lay in this bed growing up and dream about what my life would look like, so this felt fitting. This campaign was shot solely on film, with no digital equipment. We had one shot to take an authentic photo, and a hope that it would turn out. No easy feat and one which requires quite a bit of preparation and dedication, so thank you to every member of our team who encouraged and supported that process which ultimately made this moment more true for me. Full link to film via link in bio, insta stories, and IGTV. ❤️ Photography: @brandonmaxwell & @wonderfulboy Set Design: @rae_cur_ree Make-up: @kristinlroberts for @maccosmetics Photography Assistants: @lynnebowmancravens and @philkline Art Director: @linamw Post Production: @velem Executive Producer: Brandon Maxwell Studio Producer: @laurenpistoia #mammaw #brandonmaxwell

A post shared by Brandon Maxwell (@brandonmaxwell) on Aug 16, 2018 at 6:01am PDT

The intimate images of Maxwell’s 81 year-old grandmother, Louise Johnson, open up a window into Maxwell’s personal life and early fashion memories. (Maxwell says that Johnson’s career as a buyer for a small Texas boutique greatly influenced his love for fashion.) Shot in his hometown of Longview, Texas, the campaign – along with a very melancholic interview – immortalizes the designer’s very sweet relationship with his grandmother.

Yet Maxwell isn’t the only designer casting mature women to paint a picture of elegance this season. Helmut Lang’s Fall 2018 campaign celebrates the elegant elders of Wales, including Dilys, 86, who holds the world record for being the oldest woman skydiver, and Margaret, also 86, the grandmother of the campaign’s stylist and a retired funeral director.

In a similar fashion, Moncler cast Elon Musk’s 70-year-old mother Maye Musk (who includes the hashtag “#grandmother” in her Instagram bio) as one of 19 faces of the label’s Fall 2018 campaign, and dame Joan Collins, 85, struck poses for Kurt Geiger’s latest campaign. Art collector and grandmother, Thea Westreich, walked down the runway for Eckhaus Latta autumn 2018 show. And the 77-year-old Faye Dunaway stars in Gucci’s Fall/Winter campaign as a benevolent and wealthy matron.

The new stars of Fall 2018, along with the countless fabulous influencers over 50, are slowly but surely kicking ageism out of the fashion industry. Good riddance!

Photography via Instagram/@brandonmaxwell

Photography via Instagram/@helmutlang

Photography via Instagram/@mayemusk

Photography via Instagram/@kurtgeiger

Photography via IMaxTree

Photography via Instagram/@Gucci

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Grandma Models of Fall 2018

81 year-old Louise Johnson for Brandon Maxwell Fall 2018 Campaign

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Grandma Models of Fall 2018

81 year-old Louise Johnson for Brandon Maxwell Fall 2018 Campaign

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Grandma Models of Fall 2018

81 year-old Louise Johnson for Brandon Maxwell Fall 2018 Campaign

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Grandma Models of Fall 2018

86 year-old Margaret for Helmut Lang’s “Women of Wales” Fall 2018 Campaign.

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Grandma Models of Fall 2018

86 year-old Dilys for Helmut Lang’s “Women of Wales” Fall 2018 Campaign

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Grandma Models of Fall 2018

77 year-old Gillian for Helmut Lang’s “Women of Wales” Fall 2018 Campaign

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Grandma Models of Fall 2018

77 year-old Gillian for Helmut Lang’s “Women of Wales” Fall 2018 Campaign

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Grandma Models of Fall 2018

86 year-old Dilys for Helmut Lang’s “Women of Wales” Fall 2018 Campaign

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Grandma Models of Fall 2018

Woman with her grandson for Helmut Lang’s “Women of Wales” Fall 2018 Campaign

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Grandma Models of Fall 2018

Woman with her grandson Helmut Lang’s “Women of Wales” Fall 2018 Campaign

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Grandma Models of Fall 2018

66 year-old Puleng for Helmut Lang’s “Women of Wales” Fall 2018 Campaign

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Grandma Models of Fall 2018

70 year-old Maye Musk for Moncler Fall 2018 campaign.

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Grandma Models of Fall 2018

85 year-old Joan Collins for Kurt Geiger Fall 2018 campaign

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Grandma Models of Fall 2018

Thea Westreich walking down the runway for Eckhaus Latta autumn 2018 show.

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Grandma Models of Fall 2018

77 year-old Faye Dunaway for the Gucci Sylvie-bag campaign

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artriposte · 7 years ago

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France Honors Collectors Thea Westreich Wagner and Ethan Wagner and Curator Charlotte Vignon http://lnk.al/6Gfo

#art #news

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skwilbur-thebagman · 7 years ago

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Archive mining. #womenswear #dapper #dandy #library #style #fashion #design #books #art #texture #layers #wool #silk #leather #hat #SKWiLBUR #ItsAllInTheBag hat by @otis_damon (at Westreich Thea Art Advisory Svcs)

#silk #style #dapper #womenswear #library #itsallinthebag #art #wool #skwilbur #layers #hat #books #texture #leather #design #fashion #dandy

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blank-mag · 7 years ago

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【Big Fan Boy collections 】 curated by BLANKMAG 出品リスト ➡︎ 「 #bigfanboycollections 」 Larry Clark @larryclarkfilms 1992 Thea Westreich First Edition Limited Edition of 1000 copies. 写真集『1992』。 6月16日から25日に開催される、【Big Fan Boy collections 】にて展示販売致します。出品リストは随時インスタにアップしていきます。「 #bigfanboycollections 」で是非ご覧ください。 -Information- Place : @irmarecords_merchstore IRMA RECORDS MERCH STORE Date and time : Opening Night 6/16 18:00 - 21:00 6/17 - 6/25 12:00 - 20:00 Total Information and Supported by @irmarecords_merchstore IRMA RECORDS MERCH STORE 東京都目黒区青葉台1-16-12 B1F 03-6455-1589 Supported by SINGHA BEER #blankmag #blankmagbooks #larryclark #irmarecordsmerchstore #irmarecords #HarmonyKorine #JustinPierce #chloesevigny #LeoFitzpatrick #HaroldHunter #supreme

#larryclark #supreme #harmonykorine #blankmag #blankmagbooks #leofitzpatrick #justinpierce #irmarecords #haroldhunter #chloesevigny #bigfanboycollections #irmarecordsmerchstore

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whitneymuseum · 8 years ago

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A Valentines Day sentiment that transcends the decades: this 1988 painting by Andrew Masullo is made on a found panel and features an excerpt from Edna St. Vincent Millay's sonnet "What lips my lips have kissed, and where, and why” written in 1920.

[Andrew Masullo (b. 1957), 1918, 1988. Oil on found wood, 17 7/8 × 15 1/16in. (45.4 × 38.3 cm). Whitney Museum of American Art, New York; promised gift of Thea Westreich Wagner and Ethan Wagner P.2014.23. © Andrew Masullo]

#Valentine #Valentines Day #Andrew Masullo #1980s Painting #Painting #Whitney Collection #Love #Poetry #Sonnet #Edna St. Vincent Millay #Lips #Kiss #Fast Forward #Whitney Museum #Whitney Museum of American Art

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estherattarmachanek · 8 years ago

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Palazzo Pisani, Venice

K11 Art Foundation presents

Liang Yuanwei: Behind the Curtain

A project coinciding with the 57th Biennale di Venezia

Opening reception: Thursday 11 May 2017 | 6-8pm

Curator: Loïc Le Gall

Exhibition: 12 May – 18 June 2017

Palazzo Pisani, First floor

Conservatorio di musica Benedetto Marcello

San Marco 2810, 30124 Venezia

http://www.k11artfoundation.org/en/

The K11 Art Foundation (KAF)

present Behind the Curtain, a new exhibition of work by Liang Yuanwei, one of China’s influential names in contemporary art. The show runs simultaneously with the 57th Biennale di Venezia and is curated by Loïc Le Gall, Assistant Curator at Centre Pompidou. Liang Yuanwei represented China in the 54th Biennale di Venezia in 2011. The title of the exhibition, Behind the Curtain, alludes to the operatic traditions of both China and Europe, a stage curtain often being a work of art in its own right but also revealing a reality behind it. Behind the Curtain is an homage to Venice and the Teatro La Fenice, as well as the carnival during which participants wander masked throughout the city. For the artist, the curtain also serves as a paradigm, a representation of the world, a way of looking at things. In the Peking opera where the decor is immutable, a table and two chairs are reconfigured to represent multiple scenes. This same pattern can be understood in the context of traditional Chinese painting: while the subjects remain, the techniques change. The exhibition title, Behind the Curtain also references the exhibition’s revelation of Liang Yuanwei’s intimate artistic practice. Visitors to Venice’s Palazzo Pisani will see a selection of Liang’s impressive oil paintings, products of her attempt to perfectly imitate the detailed textures of fabrics. The works on show also can be read in reference to questions of seriality and reproducibility which are engaged in more explicitly conceptual contemporary art. In this sense, the paintings are a digression from Liang’s original artistic intention; patterns and words are repeated to the extent they are transformed and their original meaning exhausted. Adrian Cheng, Founder and Honorary Chairman, K11 Art Foundation, says: “We are excited about this exhibition and working again with Liang Yuanwei, an exceptional artist whose career we have followed for some time, and whose works we have exhibited at the chi K11 art museum in Shanghai. Part of KAF’s wider initiative is to support exceptional young artists from Greater China and to encourage important intercultural dialogues across borders. For this exhibition we bring her work to the world’s most prominent art stage – in Venice over the Biennale.” Loïc Le Gall, Curator, says: “Liang is a captivating artist whose work combines conceptual rigor with emotional experience, resulting in works that are strong and leave a lasting impression. This wonderful collaboration was made possible by the K11 Art Foundation and I am delighted for this exhibition to be taking place in Venice, being the crossroads of cultural exchange, as Liang’s work covers a vast range of cultural traditions.”

About Liang Yuanwei Liang Yuanwei was born in 1977 and currently lives and works in Beijing. She graduated from the School of Design at the Central Academy of Fine Arts (CAFA) and was a founding member of N12, an enterprising young art collective that exhibited together in the early 2000s. Liang Yuanwei is represented by Beijing Commune and represented China at the 54th Venice Biennale, in 2011, and has participated in group exhibitions at the Berkeley Art Museum (US), Joan Miró Museum (Spain), Kunstmuseum Bern (Switzerland), Minsheng Art Museum (China) and Taikang Space (China). She has been the subject of solo exhibitions at the Beijing Boers-Li Gallery, China (2008), and the Beijing Commune, China (2010 and 2013). Her works have also been included in important publications including ‘Vitamin P2: New Perspectives in Painting’ by Phaidon Press, ‘The Chinese Art Book’ by Phaidon Press, and ‘The Generational: Younger than Jesus’ by New Museum in New York City.

About Loïc Le Gall Loïc Le Gall is Assistant Curator, contemporary and prospective art, working on exhibitions and acquisitions at the Centre Pompidou, Paris. He regularly participates in artist publications and catalogues. He has recently contributed to the following exhibitions in 2016: Cher(e)s Ami(e)s : Hommage aux donateurs des collections contemporaines; La collection Thea Westreich Wagner et Ethan Wagner; Melik Ohanian, Under Shadows; Polyphonies. Le Gall has organised screenings including: Hoël Duret (2017); Table rase (2016). Working independently, he is curator for Liang Yuanwei, Behind the Curtain, with the K11 Art Foundation, Palazzo Pisani, Venice (2017); and Zhao Yang, in Between, Kuandu Museum of Fine Arts, Taipei (2016). Loïc Le Gall holds an MA in Art History and Curatorial Studies from the Université Paris-Sorbonne, Paris and he specialises in visual art by artists from the Middle East and China. Currently, he is studying the time spent by artists in periods of travel, with particular focus on the context of the globalization, and the ways in which moments of displacement can lead an artist to create works of art. About the K11 Art Foundation Founded by Adrian Cheng in 2010, the K11 Art Foundation (KAF) is a registered not-for-profit organisation that supports the development of Chinese contemporary art from Greater China. KAF provides a creative platform that nurtures Chinese artistic talents and brings them to the international stage through collaborations with leading art institutions across the world. The Foundation also serves as a unique incubator for young and emerging Chinese artists and curators to create new and meaningful works, through research, initiatives, partnerships and an artist-in-residence program in the K11 Art Village in Wuhan, China.

https://www.k11artfoundation.org

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Liang YuanweiVenice Palazzo Pisani, Venice K11 Art Foundation presents Liang Yuanwei: Behind the Curtain A project coinciding with the 57th Biennale di Venezia…

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