Richard Prince -Canal Zone @ Gagosian Gallery

RICHARD PRINCE
Tales of Brave Ulysses, 2008
Inkjet, acrylic and collage on canvas
84 x 132 inches (213.4 x 335.3 cm)

RICHARD PRINCE
Pumpsie Green, 2008
Ink jet, acrylic and collage on canvas
77 x 100 1/2 inches (195.6 x 255.3 cm)

Another Mega Art Show happening right now in the Chelsea Art District!

Richard Prince -Canal Zone @ Larry Gagosian Gallery. A very interesting show !

Following his burlesque dialogues with the art of De Kooning, Picasso, and Naughty Nurse pulp fiction, Prince has turned to his own biographical roots for inspiration. The Panama Canal Zone, where he was born, was, until 1979, a political exclave of the U.S., part-colonial company enclave and part-socialist government, purportedly dominated by virulent separatist racism. In his characteristic manner, Prince has transformed the former reality of his birthplace into a fictive space: "Canal Zone" provides an anarchic tropical scenario in which extreme emanations of the (white American male) id – fleshy female pin-ups, Rastafarians with massive dreadlocks, electric guitars, and virile black bodies – run riot.

Aside from their "storyboard" looks and their ability to absorb information based on Prince's original "pitch," what is evidently new in these paintings is the way they are, literally, "put together," like provisional magazine lay-outs. Some images, scanned from originals, are printed directly onto the base canvas; others are "dragged on," using a primitive collage technique whereby printed figures are roughly cut out, then the backs of those figures painted and pasted directly onto the base canvas with a squeegee so that the excess paint squirts out on and around the image. On top of this are violently suggestive swipes and drips of livid paint and scribbles of oil-stick crayon which, together with the comic, abstract sign-features that mask each figure's face, add to the powerful push-pull between degree and effect. This has become a completely new way for Prince to make a painting, where much of what shows up on the surface is incidental to the process.

Richard Prince was born in 1949 in the Panama Canal Zone and lives and works in upstate New York. His work has been the subject of major exhibitions, including the Whitney Museum of American Art, New York; the San Francisco Museum of Modern Art; Museum Boijmans van Beuningen, Rotterdam; Museum für Gegenwartskunst, Basel; Kunstmuseum Wolfsburg; Serpentine Gallery, London (2008). A retrospective survey opened at the Solomon R. Guggenheim Museum in 2007 and traveled to The Walker Art Center, Minneapolis in 2008.

Don't miss it!

Richard Prince “Canal Zone” Exhibition
Gagosian Gallery
555 West 24th Street
New York, NY 10011
p: 212.741.1111
Tue-Sat 10-6

Bridge Art Fair, Miami

Leah Oates
Transitory Space, Newfoundland, Canada, Rene Mill 15, traditional
c-prints and lightboxes, 20"x24" & 24"x 30, 2008

Leah Oates
Transitory Space, Chicago, Illinois, Electric 3, traditional
c-prints and lightboxes, 20"x24" & 24"x 30, 2008

Pierre St. Jacques
Video Still from the Project for ''THE''

Pierre St Jacques- Video Still from ''Project for a Grey Dress''

Artmostfierce will be basking in the sun in just a few days.! But first ...Miami Art Basel and all its satellite Art Fairs. One of them is the Bridge Art Fair happening at the Catalina Hotel in SOBE and in Wynwood .Leah Oates photography work and her great light boxes with her husband videos, artist Pierre St. Jacques will be on display at the Collective Gallery 173-171.

Leah's combination of industrial and nature landscapes photographs are one of its kind and her expression in light box media are definitely worth seeing and collecting.

Pierre's videos are brilliant. I had been curious about start collecting video art and after seeing his  realized, that it is not only possible but, a great art form. One of my favorites of his is the Project for a Grey Dress. You got to see it!

Can't wait to go to Miami!

Bridge Art Fair at 1732 Collins Avenue in Room 131 with Collective Gallery 173-171. The fair is open from December 4th which is the opening and open daily from 11-8pm and on Sunday closes at 7pm.

www.leahoates.com
http://www.bridgeartfair.com/miamiindex.html
www.collectivegallery173-171.com

Happy Thanksgiving !!!

ARTmostfierce wishes everybody a Happy Thanksgiving!

There is a lot to be thankful for!

I always remembered this Francesco Scavullo November 1984 cover of Vanity Fair  for Thanksgiving with the photo of Brooke Shields. Pretty fierce right?

Enjoy !

Embodiment: A Portrait of Queer Life in America, Molly Landreth Print Benefit Sale

Molly Landreth
Meg and Renee, Seattle, WA.
Digital Pigment Print
$50
size 11 x 14 Unlimited Edition

Molly Landreth
Chickadee and her Family, Concrete, WA.
Digital Pigment Print
$50
Size 11 x 14 Unlimited Edition

ARTmostfierce heard this through the blog grapevine.Thanks to Lisa Hunter from The Intrepid Art Collector and a cool interview in Amy Stein Blog you can get a cool print unlimited edition from Molly Landreth 11 x 14 for only $50.00 . Talk about a Black Friday deal!

The Prints are to support the completion of Molly's project:
Embodiment: A Portrait of Queer Life in America, is an archive and a journey through a rapidly changing community and the lives of people who offer brave new visions of what it means to be queer in America today.

Please buy at least one print. The majority of the portraits are just beautiful and being the Thanksgiving Holiday we all have a lot to be thankful for!

http://mollylandreth.com/section/61617.html

A More Cautious Orgy!The post-bubble Art Basel Miami Beach promises to be much less of a haute debauch. Where are the sponsors?

(Photo: AP Photo/J Pay Carter)



ARTmostfierce says...Let the party begin!

With Miami Art Basel happening in a matter of 2 weeks, there is a lot of buss resonating about how the Art Fair is going to resonate with the current economic crisis.

Here is some forecast from NY Magazine by Alexandra Peers

Art Basel Miami Beach kicks off at the start of December, and everybody who’s getting on those private planes—traffic is steady with last year, says NetJets—has the economy on his mind. There will still be star power: Steven Soderbergh and David Lynch are being saluted. Jeff Koons, Russell Simmons, and Marcel Wanders are throwing parties at the new Mondrian Hotel. A tight ticket is the coming-out party for the new owners of Phillips de Pury—“the Leonids,” Strunin and Friedland—to meet clients and collectors, sponsored by Tsum, the Russian department store they own. “Art Basel is still a marketer’s playground,” says hotelier Andre Balazs, who invited designer Marc Newson to showcase a new watch at the Raleigh. But with auctions and retailing in the doldrums, things won’t be quite so brash. Orders for liquor—Southern Wine & Spirits provides hooch for “official” Art Basel parties and many others—are down at least 20 percent from last year. Many events are doing just Champagne, to cut out the bartenders. The Guggenheim and New Museum are sending trustee and collecting groups, but the Modern isn’t. There’s no decadent Pucci party this year, though Tommy Hilfiger will throw an event. Fendi is coming, but its message is that in times like these, people should “buy less, but buy better,” says scion Silvia Venturini Fendi.

Here is some facts about the fair

Pre-Fair Auctions
2007:Sotheby’s boasted its then-highest contemporary-art sale total ever, bringing in $315.9 million.
2008: This fall’s Sotheby’s auction made a mere $125 million, with $52.6 million in guarantee-related losses.



Hot Galleries
2007: Maccarone, which sold Paul McCarthy’s chocolate “Santa” with butt plugs; Rivington Arms was the alternative hit.
2008: Maccarone is a no-show. Rivington Arms is scheduled to fold in January.



Sponsorship
2007: UBS was already suffering, having reported its first quarterly loss in five years due to subprime losses.
2008: UBS has lost almost $50 billion; its top wealth manager, a Basel regular, was indicted for aiding clients’ tax evasion.



Parties
2007: Exhibit A: the Accompanied Literary Society’s Swarovski-studded bash for the limited-edition book The Worth of Art.
2008: “Fifty percent of the events that I know about have been canceled,” ALS head Brooke Geahan says.



Satellite Fairs
2007: There were more than twenty, up from twelve in 2006.
2008: New fairs: Zero. Losses: Two—Flow and the Association of International Photography Art Dealers.

Zoe Strauss AMERICA Extravaganza!

Amy Elkins & Ruben Natal-San Miguel

Susan Meiselas and Zoe Strauss

Mike Hoeh and Zoe Strauss

Photographer and Party Boy Will Steacy

Zoe 'La Divina' Strauss opening was a total success!

It has been quite a while since I felt such energy in an art opening. I was there from 6PM-10:30PM and it was still going!

Why?

I can tell you why.

The show had an incredible setting. Zoe put a tremendous amount of detail and managed to made us all feel right at home.The theme of the show AMERICA: We love having you here was expressed with red, white and blue in such sophisticated manner. From the furniture props (brilliant!) to the way the artwork blended in with the wall and then in some instances, the wall also becoming also an artwork installation as well, the space felt right at home. The minute that you enter the space to the end of the room where a slide show presentation was in full motion, the intimacy, candor, hope and joy resonated through the entire gallery space.

Zoe knows how to carry a theme and she put an such an extreme contentious effort in doing so. Coming from seeing other shows earlier that evening it was such a difference from cold, impersonal and stark environments was left behind the minute you enter Silverstein Gallery. I takes a girl from Philadelphia to bring energy to the gallery scene in NYC. There is a lot to learn from this experience and I hope the other gallery owners, show curators and artists are taking cues from what this show embodies and achieves.

Kudos to Bruce Sliverstein and Elizabeth Shank for allowing Zoe to complete her show vision.It felt like a celebration of Democracy.Like Zoe's body of work, people from all walks of life gathered together to celebrate the CHANGE that Zoe's AMERICA is bringing to the Chelsea Gallery District the same way we had chosen CHANGE for a New AMERICA a few weeks ago on election day.

The photographs are amazing, hanging mostly in a Salon Style manner, they provide a continuous and flowing journey through the walls.It is hard to carry an Americana theme without going corny or rather cheesy but, this shows manages to have an understated elegance and sophistication.I was very impressed how Zoe mastered such task.

From the pretzels , to the Brooklyn Lager, to the Star banners no detail was missed and Oh ...lets not forget her new book AMERICA. Every other person in the room had a book in hand and it sold out except for the display at the window. If you don't have this book YOU MUST BUY IT!!!

As I left and jumped into the subway ride home, I devoured the book, feeling a sense of forgiveness , redemption and HOPE.

My new AMERICA book is on my living room coffee table( perfectly matching my Americana theme living room decor) that way, I can see it as leave or enter my apt ...by just by seeing the book cover everyday I will never lose HOPE again.

My surprise to Zoe was to bring Magnum Photojournalist Susan Meiselas to the show. Zoe is a big fan of her work and since I was collaborating on a project with Susan earlier, a meeting of two photojournalists took place. Susan bought Zoe's book and loved the show!

Zoe thank you for the book, for what your work means to all us and for being a friend. We love having you here!
Love,
Ruben

To all of you in New York and planning to visit the city during the holiday season. Do not miss this show!

There is also a lot of strong and great museum quality shows happening right now.

Please enjoy the opening event photos!

A few more stand out photographs from the Emerging Artist i-Gavel Auction

Haley Jane Samuelson, Coney Island, 2007, D1FG
Description
Chromogenic print, signed, numbered "1/15" in ink on the reverse.
Estimate
1000 - 1500
Provenance
Directly from the artist.
Measurements
24 x 36"
















Omar Gamez, Stability, Notes on Gravity, 2008 D1FG
Description
Chromogenic print, signed, numbered "2/5" in ink on the reverse.
Estimate
1000 - 1500
Provenance
Directly from the artist.
Measurements
26 x 39"


















Caroline Allison, Untitled, (from Somewhere and Not Anywhere), 2006 D1FG
Description
Archival inkjet print, signed, numbered "2/6" in ink on the reverse.

Estimate
1000 - 1500
Provenance
Directly from the artist.
Measurements
25 x 25"


ARTmostfierce went to pay a visit to Daniel Cooney Gallery to see the auction inventory. Nothing better to see them in person. Let me tell you in addition to Cara Phillips, Noah Kalina and Will Steacy's photographs these above are good choices also.

Stop by the gallery and see for yourself. Don't think that because I will be at Miami Art Basel I am forgetting this auction. I will be back December 10th the day the auction closes. I might get a bit distracted there but, coming back like hungry like a shark!

Happy Bidding!

Is Art Sponsorship Going Out of Style?

Photo-A Must Have~!
Richard Prince designs for Louis Vuitton














ART + Fashion+Design+ Architecture=???


We here at ARTmostfierce feel like some of these relationships(sponsors) at times can be a success for both parties but also, it can work against the artist diminishing and commercializing the artist work value.
It is a good way for artist to become a brand and I guess, the best example of it is Takashi Murakami. The nature of his art flirts appropriately with mass production and commercialism in a quite similar but never as successful as the only master of it ...Andy Warhol!
Please read an article by ArtInfo throwing more light into the topic.

Enjoy!



NEW YORK—When Palestinian artist Emily Jacir accepted the 2008 Hugo Boss Prize last week, the champagne-sipping crowd at the Guggenheim Museum radiated all the glitter expected at a confluence of the fashion and art worlds. But that glitter, given the present economic state, also gave the event the indulgent feel of a relic from a bygone gilded age.
While partnerships between fashion brands and the arts are part of a longstanding, mutually beneficial game of glamour marketing, it’s not clear that such a strategy would still be effective in today’s economy. But that would depend on the brand’s goals. While companies from Louis Vuitton to Gap use art-world collaborations to create and move merchandise, an approach that is prey to fluctuations in consumer spending, Hugo Boss’s strategy — to create long-term associations with art and arts institutions in buyers’ minds — is less susceptible to tough times.

For Hugo Boss, involvement in the arts is based on a somewhat traditional model. “Our arts sponsorship emotionalizes the brand,” said Hjördis Kettenbach, Hugo Boss’s head of corporate communications and arts sponsorship.

Since 1996, the German fashion label has partnered with the Guggenheim Foundation to award the biannual Hugo Boss Prize, which recognizes a mid-career contemporary artist with a $100,000 award and a solo show in the New York museum. Hugo Boss is also a major supporter of other exhibits at the Guggenheim — including, coincidentally, the museum’s current exhibit “theanyspacewhatever.”

But for all of Boss’s sponsorship efforts, equally significant is what it doesn’t do: cross-promote its own products through the arts. There will be no Hugo Boss scarves with prints designed by Emily Jacir, nor T-shirts with the artwork of Jacir and her fellow nominees. The reason for that is based on a firm belief in boundaries. “This is the art world, and what we do is fashion,” Kettenbach said. “If you mix it too much, it gets too commercial. We don’t want to lose our good reputation with the art world.”

Of course, commercial tie-ins have certainly worked for Louis Vuitton, which boasts an enthusiastic dialogue between artists and fashion design. In 2003, Takashi Murakami created a wildly popular series of handbags for the brand; last year, as part of the artist’s retrospective at the Museum of Contemporary Art in Los Angeles and the Brooklyn Museum of Art, Vuitton sponsored a shop containing Murakami’s designs that was controversially located within the exhibition itself.

Richard Prince, too, was invited by Louis Vuitton artistic director Marc Jacobs to design a series of handbags for the spring 2008 collection; at the runway show, the bags were presented on models dressed to look like the subjects of Prince’s “Nurse” paintings. In January, the company hosted a party to celebrate the bags at the Guggenheim, which was hosting a survey of Prince’s work at the time; the bags were available for pre-order at the event.

On the mass-market end of the fashion spectrum, Gap entered the fine-art mix earlier this year with T-shirts designed by artists included in the 2008 Whitney Biennial. And on the occasion of this year's presidential election, the brand invited artists including Kara Walker and John Waters to design “Vote” buttons that sold for $5 each.

But Hugo Boss is having none of it: no sales, no crossover merchandising, no discernible spike in receipts at its Manhattan stores after the award ceremony at the Guggenheim, according to Kettenbach. “This is not our aim,” she said. “It’s more for the image and the brand.”

That image is meant to attract a shopper who has an interest in luxury, clothing, art — and most important, in aesthetic values. Someone who cares equally about what’s on the body, the table, and the walls, but doesn’t need to shout about it. The Vuitton customer, on the other hand, is more interested in communicating to the world that she knows the work of Prince and Murakami — she wants it on the wall and on her shoulder, too.

To read more about it please click on link below!

http://www.artinfo.com/news/story/29515/is-art-sponsorship-going-out-of-style/?page=2

GLAAD OUTAuction NYC 2008 presented by Bud Light & Deutsche Bank

Lot # 16
Luis Carle
Crowbar 1995
Black & White Silver Print Edition of 4 out of 6
11 x 14 inches
Value $450.00
Courtesy of the Artist

Here is another Art Auction for a good cause. Something to do this Sunday November 23.

There is some great art for auction so more early Holiday shopping to do here. The Crowbar photo by Luis Carle is up for grabs and to some of us here is a bit of nostalgia how fierce NYC was before the baby strollers and boring couples invaded the city.

Check it out!

DATE:
Sunday, November 23, 2008

TIME:
5:00 PM to 9:00 PM

LOCATION:
Metropolitan Pavilion
125 West 18th Street
New York, NY 10011

Dress: Cocktail Chic (You know how its done!)
Hosted: Cocktails and hors d’oeuvres, event catered by Delmonico Catering & Event
Guest DJ: TBA

Honorary Host Committee
Edward Albee, Alan Cumming & John Cameron Mitchell


http://www.glaad.org/events/detail.php?event_id=172

Contemporary art loses its shine...

Contemporary art loses its shine

Please read article by Art-Price.

Enjoy!

The market for contemporary art, the most speculative segment of the art market (+108% since 2003), has not withstood the shocks of the current financial turmoil. The results of the prestigious November sales in New York organised by Sotheby’s and Christie’s on 11 and 12 November are most discouraging. Only 66% of the lots offered during the two prestigious evening sales found buyers and the total sales revenue generated amounted to just $ 204 million, well below the most pessimistic estimates of $ 429 million. Retrospectively, November 2007 increasingly looks like having been the market's peak. At the same evening sales last year, only 9% of the lots remained unsold and the total revenue amounted to $ 399 million, i.e. 20% above the combined low estimates. As at 15 November 2008, the prices of contemporary and post-war art have contracted by 36% compared with December 2007, returned, in just a few months, to their November 2006 levels.

A self-portrait by Francis BACON, a Concetto Spaziale Festa sul Canal Grande by Lucio FONTANA, a sculpture and a painting by Roy LICHTENSTEIN, a nude by Lucian FREUD and an oil painting by Brice MARDEN are among the key lots that remained in the hands of the auctioneers. Even more worrying... 10 of the 13 works by Damien HIRST offered last week were also bought in. Not even the veritable star of the contemporary art market in September with his highly successful Beautiful Inside My Head Forever sale at Sotheby's was able to seduce buyers.

In this black November for the art market there were nevertheless some consolations at Christie’s on the evening of the 12th. Firstly there was Jean-Michel BASQUIAT Untitled (Boxer) dating from 1982 which had belonged to Lars Ulrich and which fetched its low estimate of $ 12 million. An abstract painting by Gerhard RICHTER entitled Abstraktes Bild (710) fetched $ 13.2 million, a little over the $ 12m expected. However these relatively good results turned out to be just a short pause in the massacre as the following lot, a monumental painting by the same German artist entitled Ozu (2.6 x 4 metres) painted in 1987 and estimated at $ 10m ... was bought in. The previous evening at Sotheby’s an Archisponge (RE 11) by Yves KLEIN fetched the highest bid of the week at $ 19m, but well below the $ 25m low estimate. The other star lot of the evening was a painting entitled Beggar's Joys by Philip GUSTON which went under the hammer for $ 9m, significantly below the $ 15m expected. Beggar’s Joys was one of the 65 lots carrying a guaranteed price among the 138 offered (47%). Last year, at the same sales, 48% of the works were guaranteed by the two auction houses.

The week dedicated to Contemporary Art closed on 13 November at Phillips de Pury. Traditionally the works presented there are much more recent than those presented at Christie’s and Sotheby’s. With "emerging art" being a much more volatile sector, it was not surprising that only one of the six works offered above the $ 1m line found a buyer.

Mickalene Thomas Michelle O Print @ Brand X Projects

MICKALENE THOMAS
Michelle O
Screenprint on Rives BFK, 2008
Signed and numbered edition of 40
Image size: 16 x 13 1/2 inches
Sheet size: 25 x 19 1/2 inches

ARTmostfierce is highly recommending this print as not only a great art statement but, for also for its investment quality and its pricing(please contact gallery for pricing).

Since it is an image of our future next first lady Michelle Obama you can also throw in historical value.

Mickalene Thomas art will face any art recession of any kind and her themes and images are not only unique but have a quite lasting quality . Her work like Marilyn Minter is high demand, it is hard to find and I can guarantee you that this is one of the best bargains this season. So jump on it and get some real fierce art by Mickalene Thomas!

http://www.neptunefineart.com/artists/thomas.html

Eli Broad Decides to Build His Own Museum

Photo-Eli Broad

Please read article about how major museum donors and collectors like Eli Broad are flipping the coin these days when deciding what to do with their art collections.I guess that is the main problem for art lovers that collect artwork at any level. You love art you want to keep buying but, then you ran out of space. I like Mr. Broad vision of showing all his art collection instead of hiding from the public, collecting dust in some secluded warehouse.

What do you think art collectors should do when their collections get bigger and they ran out of space?

Broad Decides to Build His Own Museum
By EDWARD WYATT
LOS ANGELES — Less than a year after the Los Angeles County Museum of Art opened a $56 million museum for contemporary art named for Eli Broad, the billionaire philanthropist who is its largest benefactor, Mr. Broad has decided to build his own museum and is considering a site just down the street.

In an Oct. 20 letter to the city manager of Beverly Hills, a lawyer representing Mr. Broad said he was interested “in bringing a first-class public art museum and adjacent foundation offices to the City of Beverly Hills.”

The letter says he is considering a site at the corner of Santa Monica and Wilshire Boulevards, roughly three miles west of the Los Angeles County Museum, whose 20-acre campus sits on Wilshire Boulevard next to the famed La Brea tar pits.

The decision appears to be another reversal for Mr. Broad, who had said he did not intend to build his own museum. In January, he shocked many in the art world when he said he had decided to retain permanent control of his art collection in a private foundation rather than give much of it away.

His move to reconsider his art foundation’s plans comes as museums and art institutions are suffering the effects of a global economic downturn that has diminished the value of their endowments and investments. This month, Mr. Broad told The Los Angeles Times that the value of his foundations had declined by 18 percent in the recent financial market turmoil.

Many local arts institutions are known to be suffering. The Museum of Contemporary Art, a separate, privately financed institution of which Mr. Broad was a founding trustee, is facing severe financial difficulties; it recently announced it would close its Geffen Contemporary annex in downtown Los Angeles for six months beginning in January and postpone several exhibitions. The Getty Museum made cutbacks in staff and adjustments in its operating hours this year.

When the Broad Contemporary Art Museum at the Los Angeles County Museum opened in February, Mr. Broad said he was not interested in building his own museum, as several other wealthy American art collectors had done in recent decades.

Because his collection contains more than 2,000 works, Mr. Broad said he could not build a facility large enough to display them all, and he did not want most of them to sit in storage.

He used the same rationale to explain his decision to retain ownership of the works rather than to give most of his holdings to one or more museums, as he had previously said he would do. Speculation about which institutions would receive the works had long centered on the Los Angeles County Museum, because of his position as a trustee there and in light of his $50 million gift toward the Broad Contemporary.

But Mr. Broad has also said he needed more storage space for his art works. The Broad Art Foundation occupies a building in Santa Monica that it uses both for offices and as a gallery to display a small number of the works in the collection for viewing by artists, students and museum directors. But the gallery is not open to the public.

Mr. Broad has hired Marty Borko of the Gensler architecture firm to advise it on the new museum project, according to the letter, a copy of which was made available by a spokeswoman for Beverly Hills.

A story about Mr. Broad’s interest in the new project first appeared last week in The Beverly Hills Courier. An article published Tuesday on the Bloomberg news service quoted Joanne Heyler, director and curator of the Broad Art Foundation, as saying the foundation hoped to open the new museum in about three years. Neither Ms. Heyler nor Mr. Broad were immediately available for comment.

Michael Govan, the director of the Los Angeles County Museum of Art, said in an interview that he was not surprised that Mr. Broad was considering opening a new facility for his foundation.

“This is not in competition with what we are doing,” Mr. Govan said. “I’m not nervous, unhappy or surprised. I hope he is successful, because it is important for the city of Los Angeles.”

Interview-ON THE ROAD with Bert Teunissen & Gallery Solo Show @Witzenhausen Gallery 11/20/08

Photos On The Road by Bert Teunissen

Artmostfierce has been a fan of Bert Teunissen's work since the discovery of his successful book and series called Domestic Landscapes . Now Bert is ready for a new body of work opening 11/20/08 at the Witzenhausen Gallery along with a book of the same title ON THE ROAD.

I also managed to e-mail Bert a few questions regarding these new series . Please read interview below and see also On The Road show information.

Enjoy!

20 Nov 2008 - 10 Jan 2009
On the Road
reception for the artist:
20 Nov 2008 - 6-8pm

Witzenhausen Gallery New York
547 W. 27th street (between 10 & 11 avenue) at suite 530 (5th floor)10001 NYC, NY

RNSM- Bert, What is the main message that you would like to convey about your show and book On the Road?

BT-On The Road is the first of a series of Travelogs that reflect on my personal state of mind while doing the Domestic Landscape series.
Doing the project for such a long time and being away from home so often, is part of the consequences of doing Domestic Landscapes. Driving through Europe by car, meeting numerous people and being confronted with so many different circumstances does something with a person. That story I try to tell in the Travelogs. The Travelogs are also the stories I have to tell my family after another trip.
On The Road is the intrduction to these Travelogs and it concentrates entirely on the travelling I have done the project Domestic Landscapes.
A dummy with the first 10 volumes is with the publisher right now and will hopefully be printed in 2010.



RNSM- Your book and series Domestic Landscapes is a success. Do you see this book On the Road as a continuation of Domesticated Places? Do you think the public will embrace it differently? Why?

BT-I hope the public will understand that the Travelogs are part of the entire project and that the audience is as interested in my personal story as it has shown interest in the Archive.
The Dom. Landscapes make the archive (over 455 images so far) and the Travelogs are my personal story of doing all that.



RNSM-Do you think that the viewer and reader need to be familiar with Domesticated Places series to comprehend On the Road? Why?

BT-Yes and no: Yes because it is the second layer in the project, No because it can be seen as a thing on it's own and through OTR one can become familiar with D.L.
Many people who respond to On The Road now, have never heard from the Dom. Landscapes series.



RNSM- Which of the body of work series (DL vs. OTR) in your opinion consider more important and why?

BT-They are both important: they are both part of the same project. It is a search for places and the picture of the place is the final step of the search. And then it all starts again from the beginning. All I do is to allow my personal existence be part of the whole thing.


RNSM- Do you think the vision of these series will have a more global impact because in most countries they are roads that we travel on and they all seemed similar?

BT-I think so yes, but also consider that D.L., although entirely shot in Europe, is very popular in the US and also in South America. I guess everybody can reflect to it and recognize something of themselves in the situations that I photograph.



RNSM- Your work is quite sophisticated, elegant and documentary. I can see people in Europe getting your message right away. How do think this body of work will be perceived in America?

BT-I don't think there will be such a big difference. The work is quite universal I think. Even in Japan the reactions were the same.


RNSM- Do you perceive yourself more as a museum artist than a gallery or documentary one? Please explain

BT-More as a museum artist, because the project began so long ago and is still in progress. It is not that I make small series so every year I can make a new show. My work is a historical document and it is just great that it reaches such a big audience.
Next year I will start shooting in Eastern Europe (just received the message that the budget has been granted to me by the European Cultural Fund and by the Blue Earth Alliance. In the next 2 years I will be photographing every country between Turkey and Russia in the East of Europe.


RNSM- How do you feel about the current global economic crisis and how does that might affect your work and you as an artist?

BT-I do not have a lot of knowledge about these things, but I see a lot of opportunities. I am aware of the fact that it affects a lot of people in a very negative way, but I also see that people start dealing with it in different ways. I think that a lot of new perspectives will come out of it and that the world will change again and eventually will become kind of fresher.


RNSM- What would you recommend any aspiring artist in order to achieve success?

BT-Sing your own tune! Initially it has to come from the belly. And never give up!




RNSM-What is next for Bert Teunissen? Are you currently working on something new?

BT- A whole new world lies before me...


http://www.bertteunissen.com/

Zoe '' La Divina'' Strauss America: WE LOVE HAVING YOU HERE '' @ Silverstein Gallery

Photo-We love Having you here by Zoe Strauss



Photo- Kelly Harper by Zoe Strauss

ARTmostfierce is going to be at opening of this show no matter what !

I consider Zoe Strauss not only a friend but also, one of the most promising street and documentary photographers of today. In coordination with her new book AMERICA, Zoe will be having her second solo show at Silverstein Gallery . This show will broadcast how the AMERICA that some of us do not see or want to see has endured the last eight years of the Bush administration.


Zoe Strauss: AMERICA: We Love Having You Here
November 22, 2008 – January 10, 2009
Opening: November 22nd,

Book signing: 6 - 8pm
Books will be available for sale
Party!: 8-10pm starring DJ Cosmo, aka "brother"


Silverstein Photography
535 West 24th Street
New York, NY 10011
P: 212-627-3930

AMERICA: We Love Having You Here, an exhibition featuring works from Strauss’ last eight years of photographing throughout the United States including her most recent excursions. Many of the images in the show are also featured in her forthcoming book of the same title. YOU MUST SEE THIS SHOW!

ACRIA Holiday Sales...HO HO HO!

Looks like the Holidays are already here . With the current economic recession happening, is time to help our dear Non For Profit Organizations. So saying this , if you still have a job and some cash to spare , ARTmostfierce recommends hitting the ACRIA Annual Holiday Sale. At 20% off they are some prints to be had. Here are some of my picks:



1.Brian Ulrich

Gallery: Julie Saul & Robert Koch & Rhona Hoffman
Untitled, 2006 (Thrift 0637)
Pigmented Ink Print
20 x 16 inches
Edition: 10 (1-5)
Price: $1000 - 20% = $ 800.00


Brian Ulrich

Gallery: Julie Saul & Robert Koch & Rhona Hoffman
Untitled, 2006 (Thrift 0637)
Pigmented Ink Print
20 x 16 inches
Edition: 10 (6-10)

Price: $1250 - 20% = $ 1,000.00 No Tax


2. Anthony James
- It has a little dark theme here going on but, in person this print rocks. Reminiscent of the Warhol Car Crash series, it is silkscreen on beautiful handmade paper. Great size for a great price!


Kalos Thanatos, 2008
Silkscreen print on handmade paper
27 x 41 inches
Edition: 20

Price: $500 - 20% = $400.00 No Tax











3.Chris Jordan

Gallery: Paul Kopeikin / Von Lintel
Container Yard #5, Seattle 2003
Epson Archival Inkjet Print
14 x 17 inches
Edition: 30
Price: $750 Unframed -20%= $600.00 No Tax



4. Mitch Epstein
Gallery: Sikkema Jenkins & Co
Child's Bedroom, Cheshire, Ohio 2003
C-print
Image size: approx.17 x 13 inches, Paper size: 20 x 16 inches
Edition: 25
Price: $1250 Unframed- 20%= $1,000.00 No Tax





5.Warren Neidich

Gallery: Magnus Muller
From the Earthling Series. New York Times, London, 2005
C print on archival Fuji paper
8 x 10 inches
Edition: 25
Price: $500 -20%= $400.00 No tax
















6. Dean Isidro
Untitled
Fujiflex print
10 x 8 inches
Edition: 25
Price: $100 Unframed- 20% = $80.00 No Tax




7.Chris Verene

Gallery: Deitch Projects and Twin Palms Publishers
Front Cover for New Monograph, 2008
Archival Gicle Poster Print and Oil
Handwriting
11 x 14 inches with oversize borders
Edition: 15
Price: $800 -20%= $640.00 No Tax


8.Ross Bleckner

Gallery: Mary Boone
Throbbing Hearts, 2005 1
12-color silkscreen print
23 x 21 inches
Edition: 100 to ACRIA from a sold out ed. 250
The original painting in the Guggenheim?s collection:
Link
Price: $1200 Unframed- 20% = $960.00 No Tax