Lydia Loveless Leaves the Country Behind
39 minutes ago
|John A. Bennette Curator of the 2011 8x10 Hearst Biennial in front of Nils|
Photo by Ruben Natal-San Miguel
This is a great exhibition with a global feel and demonstrating what a strong and powerful media fine art photography truly is . Out of 4,600 entries these are the very lucky winners.
The 2011 Hearst 8 X 10 Photography Biennial garnered more than 4,600 entries from
across the U.S. as well as 70 other countries, five times the number of entries garnered in the 2009 inaugural competition the work of these talented newcomers is
showcased in two exhibition spaces in the atrium of Lord Norman Foster’s Hearst Tower, the
company’s acclaimed New York City headquarters.
|Jonathan Smith- Untilted #147, 2005|
|Jonathan Smith- Untitled #31, 2009|
|Jenny Johannesson-Made in America (untilted #2)|
|Jenny Johannesson- Made in America (untitled #3)|
|Rena Efendi- Refugee girl with bread, Georgia- Russia|
Conflict, Georgia, 2008
|Christoph Engel- Untitled , 2009|
|David Wright- Solomon, Alebtong, Unganda , 2009|
|David Wright- George and Josephine |
Alebtong, Unganda, 2009
|Ariel Bernades- Red Lattice|
|Nicolas Mendise- Moth #1|
|Devin Tepleski- Untitled #10|
|Nils Orth - Untitled from the series Untitled Faces|
|Amy Stein-Powerpuff Girls|
1. Steven Cohen, Hedge Fund Manager
The Connecticut billionaire, recently subpoenaed in a federal probe of hedge funds, has, in roughly a dozen years, cobbled together one of the world’s great art collections. (A one-man cold war, he’s often the only factor at auctions preventing Russian collectors from winning and then exporting major artworks.) Buying through Larry Gagosian, David Zwirner and Bill Acquavella, he owns Warhols, de Koonings and Picassos. His Damien Hirst shark was on longtime loan to the Metropolitan Museum of Art, where he serves on various committees. Years ago, he owned a small stake in Sotheby’s, which once turned over its top floor to highlights from his collection.
|Photo by Carrie Villines|
The Collector’s Guide to New Art Photography Volume # 1
was a great success and its introduction was written
by us truly.
|Photo- Ruben Natal- San Miguel|
See you there~!
This time, I will be part of the audience. Looking forward to this one. Limited spaces available so ...hurry!
ASMPNY's Fine Art Conversations - Curators and Dealers!
When: February 2, 2011
Where: Soho Photo 15 White Street
Time: Doors and registration open 6:30pm
Panel Discussion 7-9:00pm
ASMPNY is honored to have three of the most commanding voices at the nucleus of fine art photography on this panel discussion about fine art photography.
- HOWARD GREENBERG - One of the world's top photography dealers and owner of
the Howard Greenberg Gallery
- JEFF ROSENHEIM - Curator of Photographs, Metropolitan Museum of Art
- BRIAN WALLIS - Chief Curator, ICP, the International Center of Photography
Moderator - Susan May Tell, photographer and ASMPNY Fine Art Chair
All three panelists strive to create interest in and share great photography with the public. Yet their mission, because of venue, is different and that impacts what each does and how they do it. Topics may include similarities and differences as they relate to this, such as:
· Who is 'your' audience? How do you interest people to become part of it?
· The process of creating/organizing exhibitions: i.e. the length of time involved;
chosen by committee or individual vision; do market-place decisions play a role?
· Relationships with collectors, auction houses, critics.
· The importance (or not) of prints being editioned.
· Silver and chromogenic vs. digital prints. Vintage vs. recent prints.
· How your paths cross and how do you work together (or don't). Are their rivalries?
Do you compete for photographers' work?
· Perspectives on work being done by this generation of photographers.
· The role of the Internet (and all its electronic iterations) on our fine art photography
· How photographers become on one's radar and the best ways for photographers to
grow that relationship.
Student, non-member: $5
ASMPNY's Conversations has been designed to be intimate and personal, so seating is limited and will fill up quickly. To secure your spot, please register early.
Please note that REGISTRATION IS REQUIRED. NO WALK-INS WILL BE ADMITTED. Also, to accommodate the maximum, there may not be chairs available for everyone.
If you have participated in previous events as a reviewer, panelist or lecturer and would like to attend, please email Susan May Tell to be put on the guest list.
|Ruben-ARTmostfierce- Photo by Gabriela Herman|
34 x 29 inches
Thursday is for Chelsea but , this Friday January 7, 2011 is for Lower East Side to the opening of Yeni Mao 's Dead Reckoning @ Collette Blanchard Gallery. Be there!
See you Friday!
Please read press release below:
Collette Blanchard Gallery is pleased to present Dead Reckoning, a selection of new collages, sculptures, and photographs by Yeni Mao. The exhibition will be on view from January 7th – March 2011, with an opening reception on January 7th, 2011.
Yeni Mao’s recent body of work uses a diverse artistic lexicon of nautical, animal, botanic, and martial arts film references to explore the cyclical regeneration of history. The artist is particularly interested in the distortion of inherited cultural narratives, in his words: “the magical and superstitious way we navigate our own reinvention as we move around loosely through space, via immigration and extradition; and time, via history and tradition”. Mao’s first solo exhibition at Collette Blanchard Gallery addresses these moments of transformation and deliverance.
The central installation, Dead Reckoning, for which the exhibition is titled, is a sculptural homage to explorer Zheng He. This installation, a large construction of multiple toy boats hung from the ceiling to create an artificial horizon line, captures the dichotomies in Zheng He’s legacy as hyper-masculine eunuch, and the flip of historical global power bases. Slippage between historical fact and the generation of myth becomes fertile territory for Mao. The use of the term Dead Reckoning to describe the formulation of cultural evolution outlines the conceptual core of the exhibition.
Mao’s engagement with the distortion of cultural references is also reflected in the exhibition through photography and collage, harnessing the reproductive properties of the photo medium to appropriate the fight scenes of martial arts films, as well as addressing the way kung-fu mythos is processed through time and cultures. Mao’s potent series of C-prints The Battle Wizard represent the heroes in ethereal transformative situations. An allusion to Italian Futurist Anton Giulio Bragaglia, these prints attempt to capture the metaphysical with photography. The collage Enter the Invincible Hero, one of a series of rich, meticulous collage works, further deconstructs the image sequence, utilizing kung-fu fight scenes to Muybridge-like effects. The multiple figures are used in a painterly, mark-making way in collective forms referencing natural forces. Mao alters the original meaning system behind the martial arts mythos to suit his own purposes.
Originally from Ontario, Canada, and having spent time in Sweden, Taiwan, and studying at the Art Institute of Chicago, Mr. Mao currently lives and works in New York City. His work has been exhibited nationally and internationally, at venues including Ise Cultural Foundation and chashama, both in New York; ROMGallery for Art & Architecture in Oslo, Norway; and Shang Element Contemporary Art Museum in Beijing, China.
For more information, please contact the gallery at 917.639.2912 or firstname.lastname@example.org
Enter the Invincible Hero
archival ink jet print collage on mylar
60 x 36
|Manjari Sharma- Shower Series|