#thea westreich

[gregdotorg]

In 2012 two Swedish conceptual artists commissioned a confidential art investment analysis from renowned art adviser Thea Westreich, which was sealed in a box, Wu Tang Clan album-style, to be opened only for the enlightenment and financial benefit of the collector who bought it.

Well, now Goldin + Senneby/Westreich's Abstract Possible: An Investment Portrait, is being resold, and it looks like the seal has yet to be broken. Does that mean the next buyer would be the art work's Martin Shkreli, its PleasrDAO, or both?

[eucanthos]

Christopher Wool  (US, 1955)

Black Book, 1989 17 offset lithographs, page (each): 57 x 40 cm Publisher Gisela Capitain, Cologne, Thea Westreich, New York. Printer Karen Davidson, New York. Edition 350

https://www.artsy.net/artwork/christopher-wool-black-book-43

https://www.moma.org/collection/works/10397

[garadinervi]

Ornament and Crime, Edited by Meg O'Rourke, Contributions by Carl Andre, Meg O'Rourke, Caroline Weber, Lynn Zelevansky, and Thea Westreich, Sternberg Press, Berlin, Co-published with Eykyn Maclean, New York / London, 2018. Designed by A Practice for Everyday Life

[moma-prints]

Untitled (Black Horse), Bill Traylor, c. 1939–42, MoMA: Drawings and Prints

Gift of Thea Westreich and Ethan Wagner Size: 14 x 11" (36 x 28 cm) Medium: Gouache on board

http://www.moma.org/collection/works/33398

[whitneymuseum]

Fall is right around the corner, and we’re looking forward to a new season of exhibitions—from Toyin Ojih Odutola's first solo museum show to the most comprehensive exhibition of Laura Owens’s work to-date. Explore the lineup on whitney.org. 

 [Laura Owens, Untitled, 1997. Oil, acrylic, and airbrushed oil on canvas, 96 × 120 in. (243.8 × 304.8 cm). Whitney Museum of American Art, New York; promised gift of Thea Westreich Wagner and Ethan Wagner P.2011.274. © Laura Owens]

[worldfoodbooks]

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)

[kuegler]

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

[micaramel]

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

[hilariusress]

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 ...

[lindyhunt]

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/@brandonmaxwell

Photography via Instagram/@brandonmaxwell

Photography via Instagram/@helmutlang

Photography via Instagram/@helmutlang

Photography via Instagram/@helmutlang

Photography via Instagram/@helmutlang

Photography via Instagram/@helmutlang

Photography via Instagram/@helmutlang

Photography via Instagram/@helmutlang

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.

5/15

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

12/15

Grandma Models of Fall 2018

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

13/15

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

[artriposte]

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

[skwilbur-thebagman]

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)

[blank-mag]

【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

[whitneymuseum]

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]

[ppierluigi]

C'est gratuit !

C’est gratuit !

Au musée

Collection moderne, de 1905 aux années 1960 (niveau 5) Politiques de l’art Saâdane Afif Mircea Cantor

Collection contemporaine, des années 1960 à nos jours (niveau 4) Cher(e)s Ami(e)s Kollektsia Collection Thea Westreich Wagner et Ethan Wagner

Dans les galeries d’exposition

Cy Twombly, Galerie 1, niveau 6 Jean-Luc Moulène, Galerie 3, niveau 1

Gaston au-delà de Lagaffe, Bpi, jusqu’à 22h

Dan…

[worldfoodbooks]

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)