FREE ARTIST TALKS with SARA TERRY and HANK WILLIS THOMAS by The Lucie Foundation and Nueva Luz Photographic Journal

Hank Willis Thomas
Petey Wheatstraw: The Devil's son in Law 2000/2005
Lightjet Print
Variable
Unbranded Series
Altoids








A very busy but, fun weekend folks !
Another FREE event by the Lucie Foundation!

After Sunday brunch , How about a free artist talk with these two hot artists Sara Terry and Hank Willis Thomas?

ARTmostfierce has been following Hank's work for a while and they will be more to learn with Sara.
Check it out !
Remember to RSVP ...Limited Seating!!!

Please read press release by Sherrie Berger

For Immediate Release

Media Contact: Sherrie Berger
310.503.4455
press@sherrieberger.com
www.lucieawards.com
EPK available via ftp or CD


The Lucie Foundation and Nueva Luz Photographic Journal
proudly present:
ARTIST TALKS with SARA TERRY and HANK WILLIS THOMAS
Sunday, October 19th, 5:00-6:30 p.m., Splashlight Studios, Soho
ONE HUDSON SQUARE (75 Varick Street, Third Floor) New York, NY 10013
T. 212 268 7247 www.splashlight.com

Limited Seating Available. Free to the public. RSVP mandatory. lectures@lucieawards.com


Los Angeles, Calif. – (September 7, 2008) The Lucie Foundation & Nueva Luz Photographic Journal, with generous support from Splashlight Studios, proudly present an artist talk with photographer Sara Terry: The Aftermath Project and artist Hank Willis Thomas. Both artists are featured in the current October issue of Nueva Luz and both have monographs that have been published by the Aperture Foundation in 2008. Ms. Terry’s book is "War is Only Half the Story, the Aftermath Project-Volume 1", and Mr. Thomas’ is “Pitch Blackness.” These books will be on display this evening, along with other Aperture titles. Additionally, Ms. Terry will be honored with the 2008 Humanitarian Award at this year’s Lucie Awards ceremony, Monday, October 20 at Lincoln Center’s Avery Fisher Hall.

Ms. Terry will present work from The Aftermath Project, for which she is receiving the Lucie Award. Terry met a woman she calls Mariam in Sierra Leone in June 2007 while working on her long term project, “Forgiveness and Conflict: Lessons from Africa.” To protect Mariam’s privacy, Ms. Terry found a way to let her tell her story without showing her face. Mariam used a camera for the first time in her life which allows us to see her world through her eyes, without seeing her face. The camera became a metaphorical tool, a way of telling the story of her life in the bush, according to the artist.
Terry’s work has been published in newspapers and magazines in the United States, Spain, Italy, Belgium, Sweden, Bosnia, and Japan. Her photos have also been widely exhibited, at such venues as the United Nations, the Moving Walls exhibition at the Open Society Institute in New York, the Museum of Photography in Antwerp, and the Leica Gallery in Solms, Germany. Her work is in the permanent collection of the Museum of Fine Arts, Houston, and in many private collections. Ms. Terry’s long-term project in Bosnia – and her conviction that war is only half the story – led her to start a non-profit grant program, The Aftermath Project, www.theaftermathproject.org, which helps photographers cover the aftermath of war and other conflicts.

Mr. Thomas will speak about the traveling exhibition Engulfed by Katrina, curated with Deborah Willis - and then present his latest projects B®anded, and Unbranded: Reflections in Black from Corporate America 1968-2008. “Engulfed by Katrina” is an exhibition project examining and interpreting the experience of Katrina on the Gulf Coast so the impact of this horrific experience is not forgotten and overshadowed by more recent headlines. For his recent work, Thomas talks explicitly about race, class and history in a medium that almost everyone can decode. By “unbranding” media and advertising, he encourages viewers to look harder and think more deeply about how advertising reinforces generalizations surrounding race, gender and cultural identity. Raised in New York City, Thomas graduated from NYU’s Tisch School of the Arts and received his MFA from California College of the Arts. His work has been published in numerous books and publications and he has exhibited in galleries and museums nationally and internationally including PS1, the Studio Museum in Harlem, Zacheta National Museum of Art in Poland, The Yerba Buena Center for the Arts in San Francisco. Thomas received a New York Foundation for the Arts Fellowship Award in 2006, and is a recipient of the 2007 Renew Media Arts Fellowship (Rockefeller Foundation) and the Aperture West Book Prize in 2008. Thomas was an artist in residence at the Headlands Center for the Arts near San Francisco, and Light Work.

About the Lucie Foundation
Lucie Foundation’s three fold mission is to salute the achievements of the world’s finest photographers, to discover and cultivate emerging talent and to promote the appreciation of photography worldwide. The Lucie Foundation, which presents a variety of programs, including the Lucie Awards, will also introduce new programs featured around education and exhibitions. For more information, please visit www.luciefoundation.org The Lucie Foundation is a 501(c)3 non-profit charitable foundation.


About Nueva Luz
Published three times per year by En Foco Inc, Nueva Luz is the country’s only bilingual non-profit journal to feature contemporary fine art and documentary photographers of diverse cultures -- primarily U.S. residents of Latino, African and Asian heritage, and Native Peoples of the Americas and the Pacific. Founded in 1974, En Foco helps artists become visible to the art world, while remaining accessible to under-serviced communities. Through publication, exhibitions, workshops, and events, it provides professional recognition, honoraria and support to photographers as they grow into different stages of their careers. Funding for Nueva Luz is provided by The New York State Council on the Arts, The National Endowment for the Arts, The New York City Department of Cultural Affairs, The Rockefeller Brothers Fund, The Andy Warhol Foundation for the Visual Arts, The Bronx Council on the Arts, subscribers and patrons of En Foco’s Print Collectors Program. For more information: www.enfoco.org info@enfoco.org 718-931-9311

''Revisiting AMERICA''Tonight ! 10/15/08 @ Bond St. Gallery

Brian Ulrich
Chicago, IL 2004
Carbon Pigment Print
30 x 40" Edition of 6



ARTmostfierce encourages you to pay a visit or show up tonight for the opening of
REVISITING AMERICA

CURATED BY amani olu
The show includes the work of dear friend and talented artist Brian Ulrich

Exhibiting photographers: Timothy Briner, Jon Feinstein, Matthew Gamber, Justin James Reed, Angie Smith, Brian Ulrich and Michael Vahrenwald

Opening reception: Wednesday, October 15, 2008
Press preview: 4 – 6 pm Public reception: 6 – 9 pm
On view: Wednesday, October 15 – Saturday, November 15, 2008

Press inquiries: kate@bondstreetgallery.com

BOND STREET GALLERY
297 Bond Street Brooklyn, NY 11231 (Carroll Gardens)
718.858.2297 Directions: F/G to Carroll St. or R to Union St.

Gallery Hours: Tuesday – Saturday 11 am – 6 pm

BOND STREET GALLERY is pleased to present Revisiting America, a group show curated by Amani Olu. This exhibition explores the shift in American culture following the Second World War, and how that shift has influenced American values today.

Timothy Briner, Justin James Reed, Michael Vahrenwald and Angie Smith each address the dichotomy inherent in economic progress. Briner intimately photographs the people and spaces in various towns named Boonville across the country. His pictures capture the remnants of small-town America despite the rapid development of strip malls and suburban hegemony. Reed examines how homogeneity in corporate development has created an unfamiliar and unnatural American landscape. Seeing with a subtler eye, Vahrenwald photographs the empty spaces between agriculture and commercial architecture. He uses ambient light from the parking lots that parallel these spaces to create a sense of leftover, discarded landscape. Similarly, Smith photographs newly developed residential communities. Her images offer a less bleak view of development, depicting how people inhabit these once isolated environments.

Jon Feinstein and Brian Ulrich use consumerism to draw conclusions about American behavior. Feinstein’s simultaneously alluring and repulsive imagery begs the viewer to reconsider fast food consumption, while Ulrich’s portraits document the tedious consumer experience, providing a window onto the perfunctory ritual of "big box" shopping.

Finally, Matthew Gamber creates photograms of iconic American television shows such as Leave it to Beaver, Hogan’s Hero and I Love Lucy. Using the television as a light source, these photograms deal with advent of technology and ideologies of the day.

About the Curator
amani olu, 28, is the founder and executive director of Humble Arts Foundation and the director/curator of BOND STREET GALLERY. Originally from Philadelphia, he relocated to New York City in August 2005 to establish Humble as a resource for emerging art photographers. From 2003 – 2005, he published b.informed, a quarterly lifestyle magazine that combined elements of documentary photography, graphic art, music and fashion. He lives in Brooklyn.

For additional information or visuals, please contact Kate Greenberg at kate@bondstreetgallery.com.


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Biographies


Timothy Briner
Timothy Briner (b. 1981) is an American photographer living and working in Brooklyn, NY. Raised in Indiana, Briner moved to Massachusetts to attend the Hallmark Institute of Photography in 1999. Briner recently returned from a year-long journey in which he documented six smalls towns across the continental United States, all named Boonville. Briner's work has been exhibited locally and nationally.

Jon Feinstein
Jon Feinstein is a photographer and curator based in NYC. His work has been published in Gotham, Nylon, Heeb, New York Press, and Vice and has been exhibited throughout the United States. He is also the curatorial director for the art-photography non-profit Humble Arts Foundation. He has curated numerous exhibitions, most recently "Young Curators New Ideas," and "31 under 31: Young Women in Art Photography." Jon holds a BA in photography from Bard College.

Matthew Gamber
Matthew Gamber earned an MFA from the School of the Museum of Fine Arts/Tufts University. He is currently an imaging technician with Imaging & Preservation at Harvard University, and Editor-in-Chief of Big RED & Shiny. He has taught at Savannah College of Art & Design, Art Institute of Boston/Lesley University, College of the Holy Cross, and Massachusetts College of Art & Design. Gamber is represented by Gallery Kayafas in Boston, Massachusetts.

Justin James Reed
Justin James Reed (b. 1981) received his MFA in photography from the Tyler School of Art in Elkins Park, Pa. His photographs have been exhibited nationally and internationally, and are in numerous private collections. He teaches at the Pennsylvania College of Art & Design, Tyler School of Art, and The College of New Jersey. He lives in Pennsylvania.

Angie Smith
Angie Smith is a freelance photographer based in Los Angeles. Originally from Eugene, Oregon, she moved to upstate New York to attend Bard College in 1999. After studying photography for four years with Larry Fink, she moved to New York City to start her career. In 2007, Angie left New York to return to her West Coast roots. She now resides in Los Angeles. She continues to exhibit her work, as well as shoots for magazines nationwide. Her work has appeared in publications such as The New York Times Magazine, Forbes, Budget Travel, and Men's Journal.

Brian Ulrich
Brian Ulrich was born 1971 in Northport, NY. His photographs portray contemporary consumer culture. His first monograph, Copia was published in 2006 by Aperture as part of the MP3: Midwest Photographers Project. In 2007 Ulrich was named one of the years 30 Emerging Photographers by Photo District News magazine, and a critic’s pick by Richard Woodward for ARTnews magazine.

His work has been recently featured in the New York Times Magazine, Orion Magazine, Newsweek, Mother Jones magazine, the Chicago Tribune, Artforum, Harper’s, La Frabricca, Leica World, Phat Photo (Japan), and as a frequent contributor to the like-minded magazine Adbusters.

Brian is represented by Rhona Hoffman Gallery in Chicago, Robert Koch Gallery in San Francisco, and Julie Saul Gallery in New York.

Michael Vahrenwald
Michael Vahrenwald is a photographer who lives and works in New York City. His work has been shown at a variety of venues including the Whitney Museum, New York and the Walker Art Center, Minneapolis. His work will be included in the upcoming show "Worlds Away" at the Carnegie Museum of Art in Pittsburgh, PA. He is currently a Visiting Professor of Photography at Bard College and The Cooper Union.

See you There!!!!


bondstreetgallery.com.

Tinyvices Book Party @ Aperture Foundation 10/16/08

Photo-Amelia and Ricky by Robin Schwartz


















Photo by Jamie Warren

ARTmostfierce
recommends stopping by Aperture and check out the new books of the Tinyvices series
Vol. 1–5
Book Party

6:00 p.m.-9:00 p.m.

Thursday, October 16, 2008

Aperture Gallery
547 West 27th Street, 4th floor
New York, New York

(212) 505-5555


Tinyvices (Aperture), is an eclectic new series of monographs featuring five of the most promising photographers featured on the wildly popular website tinyvices.com, an online photography gallery founded by independent curator and photographer Tim Barber. Join Aperture and Barber in celebrating the launch of the books at Aperture Gallery with photographers Kenneth Cappello, Allan MacIntyre, Jason Nocito, Robin Schwartz, and Jaimie Warren.

Right now you can buy the whole series on line @ 30% off'

Click here www.aperture.org

See you all there!!!!

Reality Check & a Dossage of Tough Love!

Photos by Ruben Natal-San Miguel



Well...WE ARE IN A RECESSION!

ARTmostfierce already got the memo last Friday at the end of the day after several co-workers  got a pink slip...DID YOU?

It seems that the Art World has not in so many ways. Every other businesses and institutions are taking the proper precautions and tactics to weather the current economical storm. 

What exactly are The Art Galleries, The Art Non-Profits Organizations, The Artists and The Collectors doing about it ?

Well...not much exactly.

After I toured the Chelsea Gallery District Saturday afternoon and felt like walking in a ghost town in  The Wild West, tumbleweeds included by this  meaning, the artwork being returned back to the artists from the soon to be closing  galleries .

 Speaking of the West , Artist , Doug Aiken has a wonderful WEST light box/letter installation sign in the front window of the 3o3 Gallery at 22ND Street (second photo). Is it  a premonition of what is already happening?

The Art Galleries are still hoping that the Euros will march in and save the day since the Dollar is already history. Well...guess what?...The Current Financial Crisis has reached Global proportions. With the galleries high rent and people marching in at show openings to drink the free wine and socialize because, going to an actual bar to have $15.00 drinks now is out of the question ...the galleries will not generate any sales and then... What happens? 

Gallery closings are already happening but, other galleries seemed unfazed by it and the prices of art have not changed nor re-adjusted to accommodate the new market needs.

Most of the Non-Profit Organizations jumped into the Art Roller Coaster ride, increasing the pricing of its limited editions and mimicking the manner and style of Art Galleries, making almost impossible nowadays to even purchase limited edition prints. The pricing is so absurd that even at auctions , most pieces donated by an artist and  galleries to a non -profit, the starting auction art piece  price is elevated higher than the galleries current  selling price . 

Are you Kidding Me?

Do you think that the public doesn't do their homework?

I understand that the purpose of non-profit organizations is to raise as much money as possible but, not by insulting the donors. Do the people in charge of these events and organizations are in touch with the times that we are facing now?

If I can buy a Burtynsky print...yes Burtynsky for under a thousand dollars from Blind spot why would I even bother to consider the work of a so called emerging artist (nowadays everybody is trying to emerge from a financial hole) for the same price or more?

Come on... let's be real!

For more than six months, I personally had been telling several Non Profit Organizations that I collaborate with and purchase from, to be careful while pricing limited editions. Maybe your boss don't care much because at the end, you will get the pink slip, not them!

Are they acting responsible towards the non-profits(their employer) and to the public who sponsors them?

Are they following the most current art auctions and market results to realize that, for one thing they are mostly empty and two, that nobody is  buying because its over inflated pricing?

They say that in troubled economic times , The non profits, are the first ones to hurt.

Well...so far I don't see any response to it yet.

If you chose to look the other way and not incorporate the right business tactics , You are not only hurting the Non Profit...you will end it up without a job!

Now, let's move on to the Artists!

It is over for the MFA's (Master of Fine Arts Wonder Creatures) while in school or finishing school and having guaranteed the celebrity status and the perks that used to come with it. It's over folks!

All the over priced artwork will collect dust in the galleries or be returned back to you.

Artists need to realize that now the word AFFORDABLE must be even worn in T-shirts.

Small sized editions with an affordable  price is the way to go now. Photographers like Will Steacy had taken advice and action  by making small limited editions and hopefully everybody else, will follow suit(or follow Will). At the end of the day artists want to eat and collectors want to keep collecting even if it is a $50.00 print.

 Kudos also to Photographers Cara Phillips and Amy Elkins for their constant hard work with organizations like Women In Photography , keeping their visibility by being in several group shows and maintaining prices affordable at Humble Arts Foundation, a non profit still not caught up in the Gallery wanna be syndrome . Amani Olu and Jon Feinstein are doing had a great job by  bringing new emerging artists and keeping prices affordable. Keep it up guys!

As for the collectors like me , we can only hope that one , we stay employed, two that the galleries, non profits and artists cooperate so we can keep satisfying our greedy habit of collecting art. Otherwise I got enough on my walls already and will keep a tight grip on my wallet.Here is my memo and I hope you get it before the pink slip or the eviction notice will hit you!

Let me know what your thoughts are and if  you can help in any way. Please post comments here, don't e-mail me. 

AMEN

Tough Love,

ARTmostfierce

 

 

   

Hispanic Lives & ''The Chickens'' by Alfonzo Munoz

ARTmostfierce will like to celebrate and congratulate Artist Alfonzo Munoz for his latest installation ''The Chickens'' at the Delaware Museum of Art as part of the show titled ''Hispanic Lives''. It was also displayed in 2007 at the DUMBO Arts Festival.

In addition, Alfonzo was part of a group show at the Galleria Biaggi that just ended October 4th (see Sept blog show info)

Congratulations Alfonzo! and keep up the work.

See more of his work at:

http://www.op-art.org/


Please also read below the review of the installation and show by Christopher Yasiejko.

Discovering a new cultural palette
THE ARTS • BY CHRISTOPHER YASIEJKO • SEPTEMBER 7, 2008

The U.S. Census is a stubborn old man. It splits America's racial soup into tidy segments that represent the most obvious genetic differences. Check more than one box, if you like, but the list says you're easier to classify than you might like to think.


Elsewhere in the world, that's not necessarily the case. In the news, when you hear about two warring ethnicities, when you can't for the life of you understand what makes them different, rest assured that bigotry is a very particular animal.

So Riccardo Stoeckicht had an idea. The Italian, a vice president at the Rodel Foundation of Delaware, has run an art distribution company and has an affinity for Hispanic art. He speaks five languages. He seems an ideal guest curator for the Delaware Art Museum's latest exhibition.

"Hispanic Lives, Latin Worlds -- Simple Complexities" includes more than 30 works by artists from more than a dozen countries. Mexico, Argentina and Ecuador are here. They mingle with Brazil, Bolivia and Venezuela. Peru, Nicaragua and Cuba. Colombia, Chile and Spain. And our often-estranged cousin, Puerto Rico.

Most of the artists represented here now live in the mid-Atlantic region. But their ancestries are what make the show.

"People tend to say, 'You're Hispanic. You speak Spanish.' They just glob everything into either Mexican or Puerto Rican, or South American," Stoeckicht says. "There is a richness that is very particular to these different countries and experiences."

The exhibition is a thorough illustration of that diversity. It explores what in America often is lumped into one word -- Hispanic or Latino, typically -- but represents a palette of nationalities, cultures and skin tones.

Even the walls reflect that variety. The front room of the small gallery, which houses each installment of the museum's locally oriented Outlooks Exhibition Series, is white. Each of the back room's four walls was painted with a unique shade of skin color. They run from light to dark, matching the four tones represented in Elena Patiño's "Me by Others, Others by Me."

The Peruvian artist met in private sessions with 20 people. They mixed paint and took turns creating on two tiles their own tone and Patiño's. The artist did the same on another two. She pulled a tile from four different sessions for this show.

Straight ahead, on a wall of burnt orange in the back room, are the three connected wood panels of Michelle Angela Ortiz's "La Madre, la Hija, y el Espiritu Buscando (The Mother, the Daughter, and the Spirit Seeking)." The American-born artist, one of few in the exhibition, painted in acrylic three women, ostensibly spanning three generations but with enough similarities of likeness to suggest they could be the same person at various stages of life.

Each has penetrating eyes, and coupled with their hands (which are cupped near their hips as if for Communion), they seem to bear all. Their faces, from youngest to oldest, right to left, sag with age, as do their breasts, beneath differing gowns.

That would have been the dominant piece of the exhibition, but for "The Chickens."

Alfonso Muñoz in 2007 packed dozens of plastic bottles into the shapes of four chickens, large enough to support a child -- that's not an invitation, by the way -- and held together by cling wrap and a few long screws where the neck and tail meet the body.

They are impossible to ignore, thanks to the spinning red lights within each. Each flash is like an alarm, a notice: We are here. And that's apt -- Muñoz was inspired by the migration in the 1950s of Puerto Ricans to New York. The wall text says the immigrants would leave San Juan at midnight, some sneaking aboard the plane a treasured chicken, and arrive in New York six hours later.

"Hispanic Lives" represents more than an array of nations and skin colors. It includes an impressive range of media and styles, from Jorge Posada's abstract oil painting "In Motion III" (2006) to Mara Odette's clay sculpture "La Novia (The Bride)" (2007) to the Delaware resident Magda Korn's oil "Doña Isabel" (2006), which contains elements of Impressionism.

The exhibition is predominantly a cultural commentary, but it includes a few pieces that reflect America's modern political climate. The Bolivian Hans Hoffman's 2008 acrylic "Immigration Drama," for example, features a portrait of a woman, in whose visage can be found the outlined shapes of people rushing to cross the border, of children, and, hugging her lower jaw, a chain linking two hands. Behind her is a fence topped with barbed wire, men scrambling to boost each other over it.

The variety of nations, cultures, ages, media and styles in "Hispanic Lives" collectively makes a single point: There is more to a person than the demographic to which he or she is assigned. And we're richer for having explored those differences.

"Here, you're white, you're black, and if you've got 25 percent of black heritage in you, well then I'm black," Stoeckicht says. "In Latin America it doesn't work like that. Hopefully, this will bring in a conversation, an element of intrigue."

Will Steacy Limited Edition Photograph Sale!!!

1. Cheerleaders, New Orleans
From the series The Human Stain
Digital C-Print
Negative Made 2006, Printed 2008
Signed & Numbered
Limited Edition of 15
8”x10” Paper Size
6.5”x8.2” Image Size
$150






















3. Liz, Philadelphia
From the series All My Life I Have Had The Same Dream
Digital C-Print
Negative Made 2007, Printed 2008
Signed & Numbered
Limited Edition of 15
8”x10” paper size
6.5”x8.3” Image Size
$150























ARTmostfierce recommends checking out the new limited edition just released by the talented photographer Will Steacy.
Currently having work on display at the Leika Gallery , New York, September-November, 2008 , Obama Photos and Michael Mazzeo Gallery, New York, September, 2008 How I spent my summer, these editions are quite a bargain and a good investment.For only $150.00 a limited edition of 15 , 5 different images are available

I chose number 1 The Cheerleaders and number 3 Liz, Philadelphia (shown above) but, in all honesty I liked them all. Remember that this is a great time to collect art. It is the best 401k and you can store it in your house vs. loosing it in the current market!
Happy Shopping!
Go and get yours now!

http://willsteacy.blogspot.com/
http://www.willsteacy.com/

Women In Photography @ Aperture Foundation

Photo- Frank By Amy Elkins

ARTmostfierce recommends that in times of economic turbulence, to see, listen and discuss art. It is more healing and less stressful and will keep your mind off what we are experiencing now.

New York, New York

Women In Photography
Spotlight

Tuesday, September 30, 2008
6:30 p.m.

Aperture Gallery
547 West 27th Street, 4th Floor
New York, New York
(212) 505-5555

Women In Photography is a new online venue showcasing work by contemporary female photographers and providing a vital platform for support and the exchange of ideas. Join WIP co-founders Cara Philips and Amy Elkins, alongside noted contributing photographers Robin Schwartz and Elinor Carucci, for lively discussion of their work and what it means to be a woman in photography today. Moderated by Laurel Ptak, Aperture's Educational Programs Manager.

http://www.aperture.org/

See you there!

2008 New York Book Art Fair October 23-26

Anne Collier/Matthew Higgs collaborative edition:
Collier and Higgs have produced a collaborative C-print “I Married an Artist” in a signed and numbered edition of 150. At 20 x 16.5 inches, it is a bargain for $150.























ARTmostfierce recommends paying a visit to the 2008
NY Art Book Fair
BENEFIT PREVIEW
benefiting Printed Matter, Inc.

at Phillips de Pury & Company
450 West 15th Street at 10th Avenue
Third Floor
New York, NY 10011

Thursday, October 23rd, 2008, 6:00 – 9:00 PM


--------------------------------------------------------------------------------
Since we are officially in a recession the collection of art books and limited editions from non-profit organizations is the right and safest trend right now. Please check out the special limited editions specially done or donated for the event.



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The only fair of its kind, the NY Art Book Fair showcases 143 publishers, booksellers, and antiquarian dealers from Berlin to Beijing, presenting a diverse range of the best in contemporary art books, art catalogs, artist’s books, art periodicals, and zines.

Join us to celebrate the opening of the Fair and to get a first chance at 2008 Fair offerings.

2008 BENEFIT EDITIONS

Advance purchase now available online!

Jonathan Monk Ticket Edition:
Monk’s untitled print in a limited and numbered edition of 500 is written in Braille. For $20, you get a copy of the edition, plus entrance to the Benefit preview, with food, drink, and festivities.
$20 - Click here to purchase.

Anne Collier/Matthew Higgs collaborative edition:
Collier and Higgs have produced a collaborative C-print “I Married an Artist” in a signed and numbered edition of 150. At 20 x 16.5 inches, it is a bargain for $150. As an extra temptation, you also receive the Jonathan Monk Ticket Edition, and admission to the Benefit Preview, with food, drink, and festivities.
$150 - Click here to purchase.

Paul Chan edition:
Paul Chan has produced a new multiple for Printed Matter in the form of a knife with an engraved text in a presentation box, in an edition of 12, titled "Untitled (after the dialogue between a priest and a dying man)."
Price on request.

Scott Hug edition:
If you are a fan of queer zines, here is one with a difference: Scott Hug's "Untitled" is silk-screened in an edition of two plus one AP. The page size is an enormous 28 x 38 inches, and the 20-page "zine" comes in a portfolio of the artists' own design.
Price on request.

PREVIEW EVENTS
Appetizers and drinks, DJ sets, a few surprise performances by friends of Printed Matter, a one-time performance conceived by Jonathan Monk, and much, much more.

The NY Art Book Fair continues Saturday and Sunday October 24-26 and is FREE and Open to the Public.

Visit nyartbookfair.com for a full list of exhibitors. For additional information, please contact Mo Johnston at mojohnston @ printedmatter.org



Printed Matter, Inc. is an independent 501(c)(3) non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists' books and other artists' publications.

Printed Matter, Inc. has received support, in part, through grants from the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, Altria Group Inc, the Milton & Sally Avery Arts Foundation, The Cowles Charitable Trust, the Foundation for Contemporary Arts, The Gladys Krieble Delmas Foundation, The Gesso Foundation, The Horace W. Goldsmith Foundation, the Schoenstadt Family Foundation, The Roy and Niuta Titus Foundation, The Andy Warhol Foundation for the Visual Arts, and individuals worldwide.

See you there!!!!





--------------------------------------------------------------------------------
Printed Matter, Inc.
195 Tenth Avenue
New York, NY 10011
http://www.printedmatter.org/

T: 212 925 0325
F: 212 925 0464

Critical Mass 2008 @Photolucida

Photo-Joni Sternbach, Nica, Ditch Plains


Photo-Peter Jon van Agtmael,FOB#1 2006

ARTmostfierce had a busy week! 

Aperture talk Tuesday,Sept 16 (went well, no nerves... just speaking from the heart), Gallery openings Wednesday -Friday and now Shawn Records from Photolucida (he was part of the audience at the Aperture talk)asked me to be a juror for the great Photolucida Critical Mass 2008 . 

Fantastic!

You know my answer was ...Hell Yeah!!!!!!

All artists please submit your work before October 6, 2008. This is  a great program and please ensure to provide all support necessary. I am  very excited being able to contribute to the program as a juror and trust me my commitment will not end it up there.Please see below more information about the program, web site and blog links.

Since 2004, Photolucida's Critical Mass program has been a tremendous resource for photographers trying to get their work out as well as for gallerists, curators, publishers, and editors in their search for good talent. A totally unique celebration of photography, Critical Mass is a way for photographers to have their work seen by over 200 of the best professionals in the business and to help produce and receive monographs of the work that everyone agrees is great. Previous Book Award winners include Amy Stein, Sage Sohier, Camille Seaman, Peter Van Agtmael, Hiroshi Watanabe, Donald Weber, Joni Sternbach, and Louie Palu.

Critical Mass 2008 is now open for registration and will remain open through October 6th!

Every other Spring an international set of photographers and reviewers gather in Portland Oregon for a week-long celebration of photography. Our mission: an increased understanding of the world through photography.



Photolucida is a non-profit organization dedicated to promoting the culture of photography. For more information, go to www.photolucida.org

or check out our new blog at photolucidapdx.blogspot.com.


http://photolucidapdx.blogspot.com/2008/09/critical-mass-2008-216-reasons-to-care.html

http://www.photolucida.org/current.php

Duston Spear @ Sara Tecchia Roma Gallery!

Duston Spear

RED RIDER LEAPT FROM SADDLE TO WAR
Collaged oil paintings, work clothes, spray paint, wax on canvas
67 X 82 inches
2008

Duston Spear

JASMINA
Oil paintings collage on to canvas, spray paint and wax
67 X 76 inches
2008


Artmostfierce recommends paying a visit to see Dustin Spear's new painting series Floating World.

Not only this painting series are well executed , their rich thematic compositions and exquisite color hues will enrich any ones art collection and space. 

The show runs from September 10-October 31, 2008.

Stop by and say hello to our dear Sara , single  again and hotter than ever sporting a new and quite fierce hairdo . Boys...this is a match made in heaven!

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Bull Market for Hirst in Sotheby’s 2-Day Sale

ARTmostfierce thinks that this bold move by Damien Hirst is going to not only set a precedent but , redefine the Art market.Please enjoy this article written by Carol Vogel of the NYTimes!

By CAROL VOGEL
Published: September 16, 2008
LONDON — It was as if Sotheby’s here was a little oasis far removed from the grim news of the financial world. In less than 24 hours, giant tanks of dead sharks, zebras and piglets submerged in formaldehyde; glass cabinets filled with medical supplies, cigarette butts or diamonds; paintings and drawings of everything from dots to skulls — 223 works all by the British artist Damien Hirst — were snapped up at a brisk clip by collectors from all parts of the globe.


“Ascended,” a Damien Hirst canvas filled with colorful butterflies, sold for $4 million.
By the sale’s end, on Tuesday afternoon, the entire auction brought a total of $200.7 million, more than the auction house’s high estimate of $177.6 million.

Sotheby’s said the total broke the record for a single-artist auction, set in 1993 when a Picasso sale with 88 works brought $20 million.

“We’re still appealing to a small percentage of the world’s population,” said Oliver Barker, Sotheby’s head of contemporary art in London. “These people are sophisticated and they still have budgets for art.”

It wasn’t only the work that made for a successful sale. Sotheby’s went to great lengths to market the event, devoting its entire New Bond Street home to showing the works as if they were part of a museum retrospective and keeping the viewing open until midnight on Saturday. In all, more than 21,000 people saw the offerings.

Sotheby’s experts also took some of the highlights on tour, to Bridgehampton, N.Y., and New Delhi, among other places, and posted videos of the work and the artist on YouTube, a first for the auction house. It was a first for an artist too: Mr. Hirst was bypassing his dealers — Gagosian Gallery, based in the United States, and White Cube in London — and taking his work straight to auction. He also spent time on marketing, inviting collectors to see his pieces over the last few months. Although few other artists could produce a body of work as large, it is expected that single works by artists may take the same route.

Officials at Sotheby’s said it was too early to identify most of the buyers, but Americans were noticeably absent. A few dealers were in the salesroom, but they were often outbid. Mr. Barker, who was the auctioneer for most of the sale, said he could see a lot of new faces in the room. In addition to collectors from the Middle East and Asia, Russians continued to support the art market.

“The Russian collectors at the turn of the century loved the avant-garde,” Mr. Barker said, referring to the 1890s. “It’s coming full circle.”

The top seller of the two-day event was “The Golden Calf,” a white bullock preserved in formaldehyde, with hoofs and horns made of 18-carat gold and a gold disc crowning the head. The work was estimated at $15.8 million to $23.6 million and drew three bidders. It went for $18.6 million to a buyer on the phone.

Another highlight was “Fragments of Paradise,” a stainless-steel and glass cabinet filled with manufactured diamonds that made $9.3 million on Monday, nearly three times its $2.9 million high estimate.

(Final prices include the commission paid to Sotheby’s: 25 percent of the first $20,000, 20 percent of the next $20,000 to $500,000 and 12 percent of the rest. Estimates do not reflect commissions.)

On Tuesday the salesroom was packed, a rarity for a daytime sale. Among the big sellers were “The Dream,” a “unicorn” that was actually a foal in a glass and steel tank of formaldehyde. It sold to a telephone bidder for $4.1 million, just above its $3.9 million low estimate.

Pretty images had many takers. “Ascended,” a canvas filled with colorful butterflies, attracted three telephone bidders. It ended up bringing $4 million, more than three times its $1.3 million high estimate. Another butterfly work, “Reincarnated,” had two bidders and went for $2.8 million, more than twice its $1.3 million estimate.

Throughout the sale works on paper brought high prices. “Beautiful Spinny Drawing” brought $148,807. It had been estimated at $29,700 to $39,500. Several colored-pencil drawings also did very well. “Beautiful Bullseye Drawing,” for instance, had been expected to sell for $29,700 to $39,500. Melanie Clore, Sotheby’s deputy chairman in Europe, took the winning bid for a telephone client who paid $53,883.

Some works only squeaked by. Although three people tried for “Pigs Might Fly,” a piglet with dove’s wings in a gold-plated case filled with formaldehyde, it was bought for $872,139; it had been estimated to bring $990,000 to $1.3 million.

More macabre works also sold for far below their estimates. “The Broken Dream,” a foal’s head floating in formaldehyde with a knife beside it, was expected to bring $1.1 million to $1.5 million. White Cube, owned by Jay Jopling, bought the work for $907,480.

Alberto Mugrabi, a New York dealer, sat through the two-day sale but was able to buy only two works, a spot painting and a drawing. He called the event a phenomenon.

“It’s a way to escape from reality,” he said. “And over time it could be a really good investment.”

9/16/2008 Save the Date ! Collector’s Workshop: Introduction to Affordable Photography

Cara Phillips- Lipo Machine #43, 2007

From poignant longings for beauty

digital C-Print paper 14 x 17 , image 11 x 14

Edition of 10, $275.00

From Humble Arts Foundation

COLLECTOR’S WORKSHOP:
INTRODUCTION TO AFFORDABLE PHOTOGRAPHY
Panel Discussion



Aperture is pleased to announce a compelling panel discussion dedicated to collecting affordable photography. Moderated by Laurel Ptak, Aperture's Educational Programs Manager, the discussion will include Kellie McLaughlin of Aperture's Limited-Edition Photographs Program, Amani Olu, founder and executive director of the Humble Arts Foundation and Director of the Bond Street Gallery, collector Ruben Natal-San Miguel of ARTmostfierce arts blog, and photographer Brian Ulrich.

Geared specifically towards first-time and young collectors, the panelists will share thoughts and give advice on how to start collecting great photography with a reasonable budget.

For over twenty years, Aperture’s limited edition photographs program has offered art lovers and collectors a diverse selection of exhibition-quality prints for sale at affordable prices. These rare photographic treasures include works by pioneers of the medium, including Alfred Stieglitz, Paul Strand, Edward Steichen, and Dorothea Lange, as well as works by contemporary visionaries such as Eikoh Hosoe, Richard Misrach, An-My Lê, Edgar Martins, and Kahn & Selesnick.


WHEN AND WHERE:

Tuesday, September 16
6:30 p.m.


Aperture Gallery
547 West 27th Street, 4th floor
(between 10th and 11th Avenue)
New York, NY
(212) 505-5555

Subway: C, E to 23rd Street and 8th Avenue or 1 to 28th Street and 7th Avenue

FREE

Visit Aperture Limited-Edition Prints program: http://www.aperture.org/store/prints.aspx

Media contact: Yseult Chehata, Aperture Foundation, (212) 946-7108; ychehata@aperture.org
See you there!!