Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

The LRFA blog welcomes Ellery Kurtz, American art expert and appraiser

Ellery Howard Kurtz, AAA
Certified Member, Appraisers Association of America, Inc.

ELLERY KURTZ ENJOYS AN OUTSTANDING REPUTATION IN THE FIELD OF AMERICAN ART. HIS EXPERIENCE INCLUDES DIRECTORSHIPS IN SEVERAL  MAJOR AMERICAN GALLERIES AND HIS KNOWLEDGE AND EXPERIENCE WITH AMERICAN PAINTING, SCULPTURE AND WORKS ON PAPER STRETCHES ACROSS TWO CENTURIES.  HE HAS HELPED TO ESTABLISH MANY IMPORTANT PRIVATE COLLECTIONS AND PLACED MANY SIGNIFICANT WORKS IN MAJOR AMERICAN MUSEUMS AND INSTITUTIONS, INCLUDING THE WHITE HOuSE.

HIS KNOWLEDGE OF THE HISTORY OF AMERICAN PAINTING, ITS CULTURAL AND HISTORICAL HERITAGE, IS PROFOUND AND HIS APPRECIATION OF THESE WORKS IS DEEPLY EVIDENT. ELLERY IS A CERTIFIED APPRAISER AND MEMBER OF THE AMERICAN ART APPRAISAL ORGANIZATION AND AN EXPERT IN THIS FIELD.

THE LRFA BLOG IS DELIGHTED TO WELCOME ELLERY AND LOOKS FORWARD TO SHARING HIS ALMOST INFINITE KNOWLEDGE OF AMERICAN ART AND THE AMERICAN ART MARKET WITH US.

ELLERY, WE HAVE KNOWN EACH OTHER A LONG TIME BUT I AM UNAWARE OF YOUR EARLY EXPERIENCES WITH ART AND LOOK FORWARD TO LEARNING ABOUT THEM.

The Metropolitan Museum of Art, New York

HOW DID YOU FIRST BECOME INTERESTED?  WERE YOUR PARENTS COLLECTORS OR DID YOU CREATE ART AND SEGUE INTO SELLING IT, AS MANY OF US HAVE?

My interest or rather my fascination with art started as a child.  My mother, Sylvia, was an amateur painter who initially had a dream of being a fashion illustrator. Unfortunately, economics and WWII forced those ambitions to be put aside.  But she continued to paint throughout her lifetime into her 90th year.  As a little boy I would watch her work on a painting which was fascinating to me.  She had this old wood paint box that her father had bought for her with saved pennies when she was a teenager.  From that old wood box came pure magic, colors of every shade squeezed from magic tubes somehow leaped to from her wood palette to her canvas by means of a magic wand…her brush.  She put drawing materials in my hands very early in life which cemented that fascination. I fell in love.

As I grew older, every now and then my parents would take me a museum like the Metropolitan Museum of Art.  Those visits completely mesmerized me.  Standing in front of one masterpiece after another was pure joy. 

Frederic Church
Heart of the Andes
Metropolitan Museum of Art

WHAT STEPS DID YOU TAKE TO GET TO KNOW MORE ABOUT ART?

When I was in my late teens I bought my own magic tools… paints, brushes and canvas and started painting, with no formal training or education.  In 1969 I was a liberal arts student at Bronx Community College.  Like most of my generation I had my own place and needed a job to pay for books and rent.  After filling out an application at an employment agency I was sent for an interview at an art gallery.  I had never even been in an art gallery until that moment.

American Wing
Metropolitan Museum of Art

WHAT WAS YOUR FIRST JOB IN THE ART WORLD?

So here I was, in 1970 being interviewed by Margaret Wunderlich at Kennedy Galleries, Inc., for a position as an art handler, although back then the job was called “stock clerk.”  It was amazing.  Kennedy was one of the most important and famous galleries for American Art, but I had no idea what was about to unfold in front of me.  Learning from the staff in every department I became completely immersed and soon after left school to pursue a career.

Kennedy Galleries
1874 – 2005

COMPELLED BY PASSION, ELLERY WAS GUIDED INTO A PROFESSION IN THE ART WORLD.  THE PRESTIGE OF KENNEDY GALLERIES AS A REPOSITORY FOR THE FINEST OF AMERICAN ART WAS A VERY NICE FIRST STOP INDEED!

FOR OVER 125 YEARS, KENNEDY GALLERIES WAS THE FOREMOST AUTHORITY AND DEALER IN AMERICAN ART. FOUNDED IN 1874 BY H. WUNDERLICH, THIS GALLERY HELPED BUILD THE FINEST COLLECTIONS OF PAINTINGS AND SCULPTURE IN BOTH THE UNITED STATES AND EUROPE.

IN 2005, KENNEDY GALLERIES’ THEN PRESIDENT MARTHA FLEISCHMAN CLOSED THE GALLERY BUT CONTINUED AS A PRIVATE DEALER.

Fleischman says she plans to open office space in midtown Manhattan some time in March and is looking forward to the opportunities and flexibility that running a private dealership afford. “We have a wonderful inventory, including modernist works and Hudson River School paintings,” she notes. “The gallery will still exist as an entity. The important thing is that even though it is going private, the gallery will continue to be a figure in the landscape of American art.”

http://www.artnews.com/2005/02/01/kennedy-galleries-to-close-will-go-on-as-private-entity/

PLEASE JOIN US NEXT WEEK TO LEARN MORE OF ELLERY KURTZ’S PROFESSIONAL JOURNEY IN THE AMERICAN ART LANDSCAPE.

THANK YOU.

PRVTVW NY disrupts the conventional gallery system with founder Madeleine Paternot

Without Qualities
Private View, New York
Installation

There is tremendous power in resourcefulness and creativity, in opening one’s mind to the possibility of something new, something unexpected and different. The world tells you to do things a certain way, but don’t ever be afraid to turn those paradigms on their heads if you can make up  better way. Look to your imaginations to solve the problems that arise in your lives.

Madeleine Paternot in 3 x 3,  A Memoir about Men, Motherhood and Mastering the Art of Life

THE TERM “WHITE CUBE” AS DEFINED BY THE TATE MODERN REFERS TO A CERTAIN GALLERY AESTHETIC CHARACTERIZED BY ITS SQUARE OR OBLONG SHAPE, WHITE WALLS AND A LIGHT SOURCE USUALLY FROM THE CEILING.  THE WHITE WALLS THAT WERE EMBRACED BY THE DE STIJL AND BAUHAUS MOVEMENTS SET THE PRECEDENT OF EXHIBITING WORKS AGAINST WHITE WALLS IN ORDER TO MINIMIZE DISTRACTION. A PARALLEL EVOLUTION IN ARCHITECTURE AND DESIGN PROVIDED THE RIGHT ENVIRONMENT FOR THE ART.  IT IS A DEFINITION THAT HAS EXPANDED TO EXEMPLIFY THE CONVENTIONAL GALLERY SYSTEM OF REPRESENTING A ROSTER OF ARTISTS THAT REFLECT A DEALER’S TASTE AND AESTHETIC AND FOR THE PURPOSE OF HAVING AN IDENTIFIABLE PRESENCE IN THE ART WORLD.

https://www.tate.org.uk/art/art-terms/w/white-cube

Knee Deep
Private View, New York
September 12 – November 14, 2018

MADELEINE PATERNOT, CO-FOUNDER OF THE 3-D SCULPTURE PARK AND FOUNDATION IN VERBIER AND ITS MORE RECENT COUNTERPART, PRIVATE VIEW, A NEW COLLABORATION WITH BUSINESS PARTNER ALAINA SIMONE, IN NEW YORK’S SOHO, HAS INTRODUCED AN EXCITING ALTERNATIVE TO THE WHITE CUBE.

https://www.prvtvw.com/exhibitions-1/

THE LRFA BLOG WELCOMES MADDY BACK TO TELL US ABOUT HER MOST RECENT CREATIVE VENTURES.

WHAT WAS THE INSPIRATION FOR YOUR OPENING OF PRIVATE VIEW?

Private View is really an extension of my practice and ethos from Verbier 3-D.  I am focused on creating a space that enables artists to exchange ideas within a setting that feels more like a private home. I am trying to go beyond the confines of a white cube gallery and create a space that welcomes dinners, artists’ talks and authentic exchanges like a salon. I even have my own private art studio within the space, because I really like the fact that the ‘making of art’ is always visible within the constraints of a gallery. This idea was also instrumental at Verbier 3-D where the public is invited regularly to see the making of the work during that artist’s residency. I dislike the way the commercialization of galleries has too frequently divorced the visual process of the artwork from the selling of the artwork. I believe the two should co-exist.

Private View
Dinner

 

THE INAUGURAL EXHIBITION, WITHOUT QUALITIES, FEATURED THE WORK OF TWO ETHIOPIAN – AMERICAN ARTISTS TARIKU SHIFERAW AND LUAM MELAKE, REPRESENTED BY ADDIS FINE ART ALONG WITH AN ANCILLARY EXHIBITION OF WORKS BY TAMIKA RIVERA AND NAOMI CLARK REPRESENTED BY FORT MAKERS OF BROOKLYN AND YOUR WORK. WHAT IS THE CONNECTING THEME?

Without Qualities is a separate show from my studio. It was a first time collaboration with Addis Fine Art, a gallery based in Addis Ababa, Ethiopia and London and Fort Makers, a multidisciplinary and immersive art brand founded by Nana Spears who is based in Brooklyn.  This exhibition was curated by PRVT VW’s Director Alaina Simone.  We were able to show emerging artists based in NYC, and provide an international platform for artists or galleries who don’t have a physical space in New York City.

In short, it’s as if we are inviting people into our NYC home and sharing our city with them. Fort Makers is a collective based in Brooklyn and we collaborated with their founder Nana Spears, who works with artists to create functional art pieces that are at the intersection of design, craft and fine art.  Essentially the works nod towards the Bauhaus movement, which is additionally an underlying premise of our space, as PRVTVW hosts artist and curators in a Residency to actually live within the space like a home which is our new Time + Space Residency.  We are dedicated to exposing the process of how we live and create which leads to the physical presence of my painting in the studio within the gallery.

Knee Deep
Private View, New York
Installation
September – November 2018

THE MOST RECENT EXHIBITION, KNEE DEEP, INTRODUCED A GROUP OF EMERGING ARTISTS THAT EXPAND OUR VISUAL AWARENESS OF URBAN LIFE AND STREET CULTURE. MADDY, PLEASE TELL US MORE ABOUT THE EXHIBITION.

These artists, most of whom are based on the East Coast, originally come from both the South and the Midwest. Patrick Eugene, who is Haitian-American, captures the complex joys, anxieties, and confusions associated with coming-of-age in New York. Adrienne Gaither, originally from Cincinnati but now working in Washington, D.C., paints work that is constructed as geometric abstractions, merging different times–past, present, and future in schematic visions; her art works imaginatively with familiar imagery that builds accomplished visuals. Karmimadeebora McMillan is influenced by her southern childhood; she makes brightly colored, quilted landscapes, incorporating racist propaganda and including black dolls purchased in southern flea markets. Howard Sherman is a committed artist with studios in both Houston and Harlem. His work embraces both abstraction and cartoonish figuration, demonstrating an awareness of the history of painting. 

Knee Deep
Private View, New York

IN WHAT WAYS DOES THE GALLERY DIFFER FROM THE CONVENTIONAL GALLERY SYSTEM AND IN WHAT WAYS DID IT REPLICATE IT?

Our program is serious in the aspect that we are working with artists who are exhibiting with prominent institutions in the US and abroad.  Our mission is to make the audience comfortable with the way art is viewed and experienced.  We follow industry standards in the way that the gallery is conducted, but we strive to create a feeling of warmth that you would get from being welcomed in an host’s home. 

WHAT ARE SOME OF YOUR ADDITIONAL PROJECTS FOR PRIVATE VIEW?

This past summer we developed a new painting Residency in Verbier. It was an invite-only Residency. We collaborated with Lower East side gallery Pablo’s Birthday and Verbier 3-D to create this new venture. Our first painter was Tessa Perutz, who made landscapes of the park and surroundings.  It was a great way to expand the Residency outreach and programming of Verbier 3-D.

WHAT ARE SOME OF THE SPECIAL PROJECTS THAT YOU AND YOUR BUSINESS PARTNER AND THE GALLERY DIRECTOR, ALAINA SIMONE, ENVISION IN THE TIME AHEAD?

Knee Deep Artists Talk
Private View, New York

 

 

We are now building and developing a Time + Space Residency in New York in collaboration with Verbier 3-D.  The first artist invited to NYC is Chloe Dewe Mathews, who completed her residency in Verbier in 2016. With her, we produced a book called In Search of Frankenstein which was launched at the British Museum and sold out very quickly. She has since produced a book with Aperture and is in New York promoting her second book Caspian: the Elements.  We are also looking to develop a series of curated dinners, where artists gather together around a long table in the gallery, to enjoy a home cooked meal made by me in the gallery kitchen, and discuss set themes.

Chloe Dewe Mathew
Caspian: The Elements

IN TERMS OF YOUR OWN WORK, WHAT CAN WE ANTICIPATE?

I am working on my first novel, a memoir, entitled 3 x 3

AN EXCERPT:

“Perhaps the act of creation somehow stitches back 

together the thing that started to unravel, through beauty,

through release. Maybe making art is like making peace.”

Madeleine Paternot  in 3 x 3, A Memoir about Men, Motherhood and Mastering the Art of Life

Blue Chair
Madeleine Paternot

MADDY, IT HAS BEEN AN ABSOLUTE DELIGHT TO LEARN OF ALL YOUR FEARLESS ENDEAVORS. THANK YOU SO MUCH FOR YOUR CONTRIBUTION TO THE LRFA BLOG.

NEXT, WE WELCOME ELLERY KURTZ, AN AMERICAN ART SPECIALIST, SEASONED EXPERT AND A CERTIFIED MEMBER OF THE APPRAISERS ASSOCIATION OF AMERICA, INC. WITH SPECIALTY IN 19th AND 20th CENTURY AMERICAN PAINTINGS AND SCULPTURE. WITH ELLERY AT THE HELM, WE WILL EXPLORE THE AMERICAN ART MARKET, ITS SHIFTS AND TURNS, AS WE LOOK AT WORKS THAT REVOLUTIONIZED THE 20th CENTURY FROM THE PERSPECTIVE OF THE 21st.

PLEASE JOIN US!

 

 

 

 

With Madeleine Paternot: Changing the cultural and environmental landscape with art

ANDRE MALRAUX WAS A 20th CENTURY FRENCH ART HISTORIAN, PHILOSOPHER AND CULTURAL POLITICIAN. HE CONCEIVED OF A MUSEE IMAGINAIRE, A MUSEUM WITHOUT WALLS, CONTAINING ALL THE MAJOR WORKS OF ART REPRESENTED IN OUR IMAGINATIONS. THE CONCEPT RESTS ON A PHILOSOPHICAL VIEW OF ART AND ART HISTORY AS ESSENTIALLY ARISING OUT OF A DIALOGUE BETWEEN THE WORKS.

THE 3-D SCULPTURE PARK IN VERBIER, REALIZED BY MADELEINE PATERNOT AND KIKI THOMPSON, HAVE TAKEN MALRAUX’S CONCEPT AND TURNED IT INTO A REALITY.

“The power of art is its ability to articulate human emotions and values such as beauty and truth. On the mountain, faced with such sublime vistas, the visitor can experience these works of art…completely removed from the gallery or museum, directly confronting the truth of nature. This is the true meaning of a museum without walls.” 

Paul Goodwin, Verbier 3-D Curator

Verbier 3-D Sculpture Park

WHAT WAS YOUR FIRST ART-RELATED BUSINESS VENTURE?

I’ve always had a passion for converting spaces and real estate.  I have renovated over seventeen properties.  While I was living in Verbier, Switzerland before I moved to New York, I yearned to build an art community. I took a barn from the 1800’s and created a studio and art gallery that also functioned as an office. The Art Barn, hosted small exhibitions and it became a place for local artists to gather.   


Zak Ove
Elephant Walk
Verbier 3-D Sculpture Park

WHAT GAVE YOU THE IDEA AND VISION TO OPEN A SCULPTURE PARK IN VERBIER?

The Art Barn was my first endeavor where I discovered my love for construction.  I enjoyed the physicality of building the space and I was able to parallel my love for art and community. The Art Barn became a real space that enabled me to promote different activations to bring awareness to the local art community. I felt that the dialogue we created around the different needs of the artists in the canton of Valais was valuable not only the artists but the community at large. 

When I moved to New York, I participated in a residency program at the School of Visual Arts along with my lifelong friend, Kiki Thompson.  Kiki and I were intrigued by the idea of bringing international artists to Verbier to engage with the local Swiss artists and landscape.  Verbier is known for being extreme and there is nothing more extreme and radical than installing monumental sculptures on top of a high altitude mountain. Additionally, we felt that we could provide opportunities for artists abroad while also engaging local Swiss artists.

Gregory Coates
Fences, 2011
Verbier 3-D Sculpture Park

WHO ARE SOME OF THE ARTISTS THAT YOU HAVE INCLUDED IN THE PARK AND WHY?

When we conceptualized the park, there was very short lead time so we invited artists who were in our inner circles to participate. At first it was the artists who were willing to take a leap of faith with us and our lack of track record. We were very fortunate that Paul Goodwin, a curator from from Tate Britain took a liking to our audacious project and this helped to give us some credentials. We have been able to work with outstanding artist such as Zak Ove, Will Ryman (who later became the father of my third child), Olaf Breuning, Andrea Hasler, Chloe Dewe Mathews and James Capper to name but a few. Now under the co-curatorial directorship with Alexa Kusber and Paul Goodwin, we look for artist with themes of migration and the environment. This year we launched our very first painter in residence in Verbier.  It was a new collaboration between a Lower East side gallery Pablo’s Birthday, whose owner Arne Zimmerman coincidently has a chalet in Verbier. Tessa Perutz a NYC based painter was invited for 6 weeks to make paintings based around the sculpture park.  In 2019 we will work with Swiss-German sculptor Karsten Fodinger.



Andrea Hasler
Avant/Apres 2014
Verbier 3-D Sculpture Park

WHAT ARE SOME OF YOUR FAVORITE PROJECTS THAT THE FOUNDATION HAS FUNDED?

The very first year in 2011, one of my favorites was Zake Ove’s Elephant Walk.  It is entirely made of found and recycled local objects and materials. I remember having a lot of fun helping him source materials from the local garbage center.

Another favorite was Andrea Hasler’s land art piece, Avant/Apres from 2014. It was a hot pink “red carpet” with a VIP rope sculpture representing intestines.  Her commentary was about which side of the mountain is the VIP section, depending on which side of the rope you find yourself.

Very excited about James Capper’s Aero Cab which was installed on the mountain this Summer 2018.  The sculpture reminiscent of a hybrid between a plane and a snow machine, will actually slide down the mountain this week during the Verbier Art Summit and Art Geneva. There is a playfulness about his work, which engages me as a parent of three boys.

James Capper
AERO CAB 2018
Verbier 3-D Foundation

WHERE DO YOU SEE THE FOUNDATION HEADED? DO YOU PLAN TO EXPAND ITS SCOPE AND, IF SO, IN WHAT WAYS?

We are actively looking for a main sponsor, ideally a company that has strong links with the environment. We would like more funding to further the residency program, as education and cultural exchange are the pillars of the sculpture Park. More funding would enable us to increase our educational outreach to local and international audiences.

IN OUR NEXT LRFA BLOG POST, WE WILL VISIT WITH MADELEINE PATERNOT AT PRIVATE VIEW NEW YORK, AN EXHIBITION AND CULTURAL MEETING PLACE THAT EXTENDS THE GOALS OF THE VERBIER FOUNDATION TO NEW YORK’S CONTEMPORARY ART SCENE!

STAY TUNED!

The Verbier Art Summit: Innovation and Change with Madeleine Paternot, co-founder of Verbier’s 3-D Sculpture Park

Art Geneve 2019
Geneva, Switzerland
January 31 – February 3

FROM JANUARY 31st TO FEBRUARY 3, 2019, ART GENEVA’S SALONS DES ARTS IS HOLDING THE 8th EDITION OF ITS MODERN AND CONTEMPORARY ART FAIR. OVER THE COURSE OF 7 YEARS, ARTGENEVE HAS ESTABLISHED ITSELF AS AN INTERNATIONALLY RECOGNIZED CONTEMPORARY AND MODERN ART FAIR. THIS YEAR, IT WILL GAIN IN EVER-INCREASING POPULARITY BY THE ADDITION OF DECORATIVE ARTS, HISTORIC AND CONTEMPORARY DESIGN AND TRIBAL ART, AND FEATURE PAD (THE PAVILION OF ART AND DESIGN FAIR THAT IS SO WELL ATTENDED IN PARIS AND LONDON).

Art Geneve
Palexpo, Geneva
January 31 – February 2nd, 2019

PACE GALLERY IS OPENING A NEW SPACE IN GENEVA IN MARCH AND IS PARTICIPATING FOR THE FIRST TIME IN ARTGENEVE. THE GALLERY, LOCATED IN THE CENTER OF THE CITY AT THE QUAI DES BERGES 15-17, PROVIDES PACE A PLATFORM TO FURTHER STRENGTHEN ITS ENGAGEMENT WITH THE REGION’S CULTURAL INSTITUTIONS, COLLECTORS AND PUBLIC.

TO QUOTE MARC GLIMCHER, PACE’S PRESIDENT AND CEO:

“As the art world grows increasingly global, embracing new commercial centers and strengthening relationships with communities of collectors around the world are key elements of our mission to advance the international engagement with our artists’ work.”

HAUSER AND WIRTH RECENTLY ADDED YET ANOTHER GALLERY TO ITS INTERNATIONAL EMPIRE, ITS THIRD IN SWITZERLAND, WITH A NEW SPACE IN ST. MORITZ, . THE SWISS DEALERS HAVE RETURNED TO THEIR ROOTS, OPENING LAST DECEMBER WITH AN EXHIBITION OF WORK BY LOUISE BOURGEOIS.

ON A YOUNGER NOTE, VITO SCHNABEL GALLERY WAS FOUNDED IN ST. MORITZ IN 2015 AND CURRENTLY FEATURES AN EXCEPTIONAL EXHIBITION, THE AGE OF AMBIGUITY, CURATED BY BOB COLACELLO, WITH A DIVERSE RANGE OF ARTISTS SUCH AS RASHID JOHNSON, JEAN-MICHEL BASQUIAT, JAQUELINE HUMPHRIES, AND ANDY WARHOL.

Vito Schnabel Gallery
St. Moritz

GAGOSIAN HAS HAD ITS FEET FIRMLY PLANTED IN SWISS SOIL SINCE 2010, OPENING AT THAT TIME WITH A STUNNING INAUGURAL EXHIBITION, “GIACOMETTI IN SWITZERLAND”, CURATED BY THE GIACOMETTI FOUNDATION AND BY ANNETTE GIACOMETTI, AND IS CURRENTLY EXHIBITING OUR SARDONIC KITSCH AMERICAN PAINTER, JOHN CURRIN.

Verbier Art Summit 2019
February 1 – 2

SWITZERLAND IS BURSTING WITH CONTEMPORARY ART AND IDEAS IN EARLY FEBRUARY AND TODAY’S LRFA BLOG IS DELIGHTED TO HAVE  MADELEINE PATERNOT, CO-FOUNDER OF VERBIER’S 3-D FOUNDATION AND SCULPTURE PARK, SHARE THE DETAILS OF THE EVENTS TAKING PLACE AT THE VERBIER ART SUMMIT.

Verbier Art Summit

MADDY, WELCOME BACK. PLEASE TELL US ABOUT JAMES CAPPER’S WORK AND WHY HE WAS CHOSEN AT THE 2018 ARTIST IN RESIDENCE.

Capper’s work AERO CAB creates a modern platform for visitors to consider the role of the engineer in relation to creating solutions in fragile natural environments in places such as Verbier, and to the possibilities of broadening the scope from the technical aspects of engineering to those aspects that directly affect communities and the environment.  Capper, an artistic engineer, was invited to Verbier, Switzerland to become immersed in the local glacial environment to develop new work responding to the 200th year anniversary of the Giétro Glacier and its catastrophe of 1818.

In 1815,  ‘Year Without Summer’, marked the beginning of a three-year period of severe climate deterioration of global scale, unforeseen chaotic and chilling weather caused many glaciers in Switzerland to increase in mass. The Giétro Glacier therefore advanced and loomed over the valley. This caused alarm of the threat of falling ice, avalanches and the possibility of the ice dam that had formed, bursting. The Giétro Catastrophe is one of the most famous and most disastrous historical events in the Swiss Alps related to climate change. Its folklore is embedded in the local history of the surrounding areas and recently resurrected due to this year’s anniversary fused with current debates on effects of the present-day period of amplified global warming – the Anthropocene.

James Capper
Artist in Residence 2018
Verbier 3-D Foundation

The Verbier Art Summit is an international platform for discourse connecting thought leaders to key figures in the art world to generate innovative ideas and drive social cahnge. This year, our 3-D Foundation offers test runs of AERO CAB with artist James Capper. 

Verbier 3-D Foundation Art Summit Events:

Friday 1st February :
13h – 14h: Art Walk in the snow through the Verbier 3-D Sculpture Park with artist James Capper and 3-D curator Alexa Jeanne Kusber

James Capper’s AERO CAB Test Runs at the Verbier Art Summit

As part of our continued cultural partnership in 2019 with the Verbier Art Summit, we would like to invite you to experience an afternoon of experimental sculptural demonstrations (test runs) of AERO CAB with the artist that will take place on 2 Feb and 3 Feb 2019.

Saturday 2nd February :
13h – 14h: Test run of AERO CAB with artist James Capper

Sunday 3rd February :
13h – 14h: Test run of AERO CAB with artist James Capper

 

The Verbier 3-D Foundation is pleased present, AERO CAB a new sculptural work by British artist  James Capper which is currently on exhibit at an altitude of 2,300 meters in the Verbier 3-D Sculpture Park. The artistic engineer was invited to participate in our 2018 Artist Residency to become immersed in the local glacial environment to develop new work in response to current debates on climate change.

James Capper’s sculptural machines have specific, functional uses, but the tangible impact they have on the environment also engages with essential questions concerning the relationship between the natural world, art and technology. The application of hydraulic engineering ensures each work has the capability of landmarking or sculpting when operated, however, the experimentation and refinement deployed transcends componentry and purpose, rendering them as works of art.

This all comes together when Capper operates his creations in person, as the testing of his work is a crucial part of the artist’s practice – the outcome never specifically predetermined. Once the behaviour of AERO CAB is identified during these test runs, Capper will continue to develop the work through the medium of film.

Visitors are also invited on 1 February for a curator-led walk through of Verbier 3-D Sculpture Park with Verbier 3-D’s Chief Curator Alexa Jeanne Kusber and artist James Capper.

Alexa Jeanne Kusber is an American independent curator and creative based in Zurich. Throughout her career, she has maintained a focus on questioning and expanding the notion of curating.

She co-curates the Residency Programme with British curator Paul Goodwin at the Verbier 3-D Foundation, creating a space for artists and experimentation to meet in an alternative context in which the artists’ practices are challenged to create cutting-edge contemporary art in relation to place.

Furthermore, we are excited to be included in the VIP programming for Art Geneva for the AERO CAB event on 2 February.

James Capper
Aero Cab

IN OUR NEXT LRFA BLOG POST, WE RETURN TO PRIVATE VIEW NY, MADDY’S MOST RECENT UNDERTAKING, ITS LINKS WITH THE VERBIER ARTIST-IN-RESIDENCE PROGRAM AND SOME WONDERFUL PAST AND CURRENT EXHIBITIONS.

PLEASE JOIN US!

A contemporary sculpture park transforms Switzerland’s Verbier ski resort thanks to Madeleine Paternot, co-founder

3-D Sculpture Park
Verbier, Switzerland

IF THERE WAS AN AWARD FOR MUSEUMS WITH A VIEW, THIS ONE WOULD TAKE THE TOP SPOT EVERY TIME. THE VERBIER 3D SCULPTURE PARK IS AN OPEN AIR MUSEUM WHOSE EXHIBITS – PIECES OF MODERN ART CREATED DURING THE COURSE OF AN ARTISTS’ RESIDENCY – ARE SCATTERED ABOUT THE MOUNTAINS AT 2,300M ALTITUDE ABOVE THE ALPINE RESORT OF VERBIER. YOU CAN VISIT THEM ON THE COURSE OF A STROLL BETWEEN THE LA CHAUX AND RUINETTES CHAIR LIFTS, EVEN IN WINTER WHEN THE AREA IS FULL OF SKIERS. IF YOU WANT SOMEONE TO EXPLAIN THE SOMETIMES OBSCURE INSTALLATIONS AND SCULPTURES, FREE GUIDED TOURS ARE AVAILABLE.

TIMEOUT January 2015

https://www.timeout.com/switzerland/art/verbier-3d-sculpture-park

Education, Culture, Environmentalism
Olaf Breuning at the
3-D Sculpture Park

The 3-D Foundation is a non-profit organization dedicated to creating contemporary art to promote environmentalism, education, and culture to local and international audiences. Founded in 2010 by New York-based artist Madeleine Paternot and Verbier-based artist Kiki Thompson, the foundation created an educational and cultural Artist Residency and Sculpture Park inspired by the stunning Alpine environment of Verbier, Switzerland at an altitude of 2,300 meters between La Chaux and Ruinettes. More than one million visitors to Verbier can access the park for free year round.

In 2016, the Verbier 3-D Foundation launched a 5-year initiative uniting artists, locals and scientists to chronicle the impact of the surrounding glacial environment. Their insights are captured in photography, sculpture and multi-media residencies, alongside research, exhibitions and education programs for audiences of all ages.

Utilizing the lens of art, the Verbier 3-D Foundation aims to create a dialogue around the themes of glacial warming and societal behaviors on a local that extends outwards. The exhibitions will feature new work by visual artists who, in their individual approaches, are interested in these conversations.

 

Education, Culture, Environmentalism at
the 3-D Sculpture Park

 

IN TODAY’S LRFA BLOG POST, WE JOIN MADELEINE PATERNOT ON HER FORMATION OF THE VERBIER 3-D FOUNDATION, A CONTEMPORARY OUTDOOR MUSEUM WITH A FOCUS ON GLACIAL WARMING AND ENVIRONMENTAL CONCERNS AND A PLATFORM FOR CREATIVITY AND THE SUPPORT OF CONTEMPORARY ARTISTS FROM ALL OVER THE WORLD.

MADDY, WHAT INSPIRED YOU AND HOW DOES IT WORK?

We invite artists from all over the globe to Verbier and challenge them to use the mountainous environment of the Alps as inspiration. The residency challenges the artist to be out of their comfort zone due to the reclusiveness and limitation of the alpine environment.  It’s fascinating to watch how this impacts their work.  For the past four years, our curators Paul Goodwin and Alexa Kusber have focused on climate change as its effect is pronounced by our rapidly disappearing glaciers in Switzerland.       

Additionally, we create events for our artists-in-residence to interact with the local community in Verbier to encourage dialogue around their work and our premise which is focused on the environment. Our educational programs for children and adults are equally important and apart of our platform.

http://www.3-dfoundation.com/

Chloe Dewe Mathews
In Search of Frankenstein
Artist Resident, Verbier

Shot in the alpine landscape that inspired Mary Shelley’s classic novel, Chloe Dewe Mathews’ photographic series ‘In Search of Frankenstein’ juxtaposes snow-covered mountains with a network of eerie subterranean bunkers, built in the 1960s to shelter the entire population of Switzerland in the event of a nuclear disaster. 

The project was conceived during a residency at the Verbier 3-D Foundation in 2016, when the artist discovered that Shelley’s manuscript was started during an unusual holiday on the shores of Lake Geneva. The ominously wet weather conditions of 1816 – the ‘Year without Summer’ – forced Shelley and her companions to stay indoors day after day, dreaming up ghost stories, from which Frankenstein’s monster emerged. 

Dewe Mathews photographed the region that had inspired the eighteen-year-old author, exploring miles of underground corridors and vast melting glaciers that seemed to offer parallels between Shelley’s prophetic socio-environmental concerns and the anxieties of our time. ‘In Search of Frankenstein’ presents a contemporary sublime, which affords this monumental piece of literature fresh resonance, two hundred years after it was first published.

We have initiated similar programming at PRVT VW.  This fall we will host our first Time + Space residency with our past Verbier 3-D artist-in-residence, Chloe Dewe Mathews in New York at PRVT VW. This is a new collaboration between Verbier 3-D and PRVT VW.  As we are set in the heart of Soho artist district in an old school loft, the invitation only, in-house residency is geared towards providing international artists and curators “time + space” to further develop their practices in New York’s dynamic urban setting. The aim is to develop a dialogue between the diverse residency locations of New York and Verbier that challenge and expand participating artists’ practices in relation to place.  With a focus on deepening research and strengthening art world affiliations, this residency is an extension of the secluded and experimental environment that reflects the Verbier 3-D Sculpture park.  This past spring Verbier 3-D helped launch a book and exhibition at the British Library with Chloe that was created during her residency in Verbier entitled, In Search of Frankenstein.  Equally exciting, Chloe is launching an exhibition and book with Aperture during their gala this year and we will host her and produce an artist talk with Aperture during her stay. 

I’m very excited about our upcoming plans, after nearly ten years in New York City, it all seems to be coming together. 

IN OUR NEXT LRFA BLOG POST,  WE WILL EXPLORE SOME OF THE UPCOMING EVENTS AND ART PROGRAMS TAKING PLACE IN VERBIER. IF YOU TIME IT RIGHT, MADDY HERSELF WILL BE THERE TO ANSWER QUESTIONS AND SHARE THE PARK WITH YOU.

STAY TUNED!

Artist, writer, co-founder of New York’s Private View, the innovative Madeleine Paternot

 

Madeleine Paternot
Founder, 3D Sculpture Park, Switzerland, co-founder, Private View NY

Anthropology comes from the Greek, literally “the study of the human.” As such, it overlaps with history, sociology, psychology, political science, literature, documentary studies, and other fields. What distinguishes anthropology is less what anthropologists study than how they do it, and in particular the investigative techniques of participant-observation.

Coursework in anthropology gives students powerful tools for making sense of society and culture, and an appreciation of both different cultures and of hierarchies and inequality in the 21st century world.

Cultural Anthropology Course Description, Stanford University

Madeleine Paternot
Blue Club Chairs
Acrylic and ink on canvas
2012

MADELEINE PATERNOT MAJORED IN CULTURAL ANTHROPOLOGY AT VASSAR COLLEGE, NOT THE MOST TYPICAL COURSE OF STUDY FOR AN ARTIST BUT ONE SHE HAS PUT TO GREAT USE. HER APPRECIATION AND KNOWLEDGE OF CULTURES FROM AROUND THE WORLD IMPACT ON THE SUBJECT MATTER AND TECHNIQUE IN HER PAINTINGS WHICH EMBRACE  IMAGES AND SENSIBILITY OF THE HOME AND ITS MEANING. HER STUDIES OF CULTURAL ANTHROPOLOGY HAVE ALSO STRONGLY IMPACTED ON THE MISSION OF HER FOUNDATION, THE 3-D SCULPTURE PARK IN VERBIER AND ON HER NEW ARTISTIC PLATFORM, PRIVATE VIEW NEW YORK, A BY APPOINTMENT GALLERY AND GATHERING PLACE FOR ARTISTIC DIALOGUE IN SOHO.

https://theknockturnal.com/private-view-new-york-launches-during-the-frieze-art-fair/

WE HAVE A LOT OF TERRITORY TO COVER SO LET’S REJOIN MADDY NOW.

MADDY, THANK YOU VERY MUCH FOR SHARING YOUR WORK AND YOUR ART VENTURES WITH THE LRFA BLOG.

Madeline Paternot
Mint Wallpaper

WHAT WAS YOUR CHILDHOOD? WAS YOUR FAMILY INTERESTED IN ART. DID THEY COLLECT?


I was named after the French children’s book, Madeleine, who was known for her adventures. I spoke primarily French until the age of ten. I love exploring and it’s no wonder that as an adult, I have lived an extremely nomadic existence. Travel was always encouraged and after my parents separated, I visited my father in Switzerland frequently.  My extended family lives in every corner of the world.  Through my early influences, I realized that travel and culture have always been an inspiration for me artistically.


Madeline Paternot
Tall Pink Chair

HOW DO YOU THINK THAT YOUR EARLY EXPERIENCES IN BOTH AMERICA AND EUROPE HAVE INFLUENCED BOTH YOUR OWN ARTISTIC OUTPUT AND THE PLATFORM OF THE GALLERY?

My work is highly influenced by my cultural sensibilities.  Retrospectively, my nomadic existence informs my work and the ideas around my gallery. A part of my practice focuses on creating “home” environments and being a catalyst for social change. I love this quote from Coco Chanel “an interior is the natural projection of the soul”. I really live by this. The old school loft style gallery that we created allows our visitors to experience art in an intimate and personal setting. It is no surprise that I would mix my enthusiasm for global outreach into my artist practice and business structure. 

Madeline Paternot
Chandelier (wheat pasted)

WHERE WERE YOU EDUCATED?


I was educated in America, Switzerland and the UK. After receiving degrees in cultural anthropology and French literature from Vassar College NY, I moved to Vevey, Switzerland to study product design at the Art Center School of Design. I received a Higher National Certificate in Fine Arts, at the Kensington and Chelsea College in London. I have always found the beauty in learning about cultures from all over the world. The gallery is a platform for international artists, galleries and institutions that do not have a platform in the United States or more specifically New York.  We wanted to create a space that could fill that gap and provide more opportunities for artists that are prolific yet under the radar.  I aspire for our programming to be a catalyst for social change.  

PRVT VW Soho is reflective of the mission of Verbier 3-D Sculpture Park and Residency in Switzerland that I co-founded with my longtime friend, Kiki Thompson in 2011. 

IN OUR NEXT LRFA POST, WE WILL TRAVEL TO SWITERZERLAND WITH MADELEINE PATERNOT TO LEARN ABOUT THE EXCEPTIONAL SCULPTURE PARK AND RESIDENCY PROGRAM SHE HAS ESTABLISH IN ONE OF HER HOMETOWNS, VERBIER.

PLEASE JOIN US!

Private View, a unique gallery model, founded by Madeleine Paternot and Alaina Simone, director of Artist Liaison

Madeleine Paternot

Set in an old-school loft, Private View is a multi-discipline outpost for exhibitions, lectures, showcases, and special projects that provides a new type of program platform that encourages social engagement and experimentation within contemporary art by partnering with an international community of artists, galleries, institutions, and residencies.

Kiki Thompson, Madeleine Paternot, Alaina Simone

Tariku Shiferaw at PV launch preview

Private View is a new gallery model that extends beyond the confines of the White Box. Set in a loft in Soho,  it is an outpost for exhibitions, lectures, showcases and special projects. The space is owned by Swiss-American, interdisciplinary artist Madeleine Paternot and the director of Artist Liaison, Alaina Simone.Private View is as an extension of the free and open-air environment that reflects Verbier 3D Sculpture Park and Residency that Paternot co-founded in Switzerland with Swiss-American artist, Kiki Thompson in 2011.

May 10, 2018, Russell Klein in The Knockturnal

Private View Inaugural Exhibition

LAUNCHED DURING FRIEZE NEW YORK LAST MAY, PRIVATE VIEW RECEIVED FAVORABLE PRESS THE MOMENT IT OPENED, A RARE OCCURENCE IN NEW YORK’S HIGHLY COMPETITIVE ART WORLD. IT IS THE MOST RECENT OF MANY INNOVATIVE AND SUCCESSFUL IDEAS THAT HAVE COME TO FRUITION THANKS TO THE FREE-SPIRITED AND FIERCELY INTELLIGENT VISION OF SWISS BORN MADELINE PATERNOT. MADDY HAS THE RATHER RARE ABILITY TO USE BOTH SIDES OF BRAIN EQUALLY WELL, AS A PAINTER, WRITER, GALLERIST, AND FOUNDATION BOARD MEMBER.

https://www.prvtvw.com

Tuesday-Saturday, by appointment, please contact alaina@alainasimoneinc.com

 

THE LRFA BLOG IS DELIGHTED TO INTRODUCE MADELEINE PATERNOT WHO SHARES HER UNIQUE VISION IN HER ARTWORK, THE SWISS ARTIST FOUNDATION SHE HAS FOUNDED IN VERBIER, AND THE BY APPOINTMENT GALLERY SHE HAS LAUNCHED IN NEW YORK.

LET’S BEGIN WITH A MORE PERSONAL BIOGRAPHY TO SEE HOW ALL THE PIECES OF THE PUZZLE.

MADDY, THANK YOU.

Madeline Paternot
Pink Hybrid Chair, 2012

WHERE DID YOU GROW UP AND HOW DID THAT INFLUENCE YOU TO BECOME AN ARTIST?

I was born in California from a Swiss father and an East Coast mother. The first five years of my life were a sunny Americana 70’s dream. However, when I was five years old, that all came to screeching halt, as we moved to Switzerland and my parents divorced. My journey then became a checkerboard of cross-continental living, hopping back and forth across the Pond and straddling between the damper climes of the United Kingdom and the jugged Alps of Switzerland.  I come from a long lineage of hobby painters and my family was extremely supportive of my artistic endeavors, especially my mother who always supplied me with crayons, paper and paint while growing up.  Both my maternal American grandmother and my paternal French great-grandmother were avid artists. I remember playing in both of my grandmothers’ studios and being intrigued. When my great-grandmother passed away, I inherited her box of oil paints that I cherish to this day.

Since my family has always encouraged my love for art, I worked one summer for a family friend, Asher Edelman, who at the time owned a large art collection on show to the public in Lausanne, Switzerland. I gave guided tours of early Rauschenberg, Cy Twombly and Jeff Koons. I remember being mesmerized by a fabulous Warhol, where Andy had urinated on copper sheets, to create these incredible disintegrating patterns of corrosion . I learned a lot while I was working there and this experience confirmed that I wanted to be an artist.  My father was a businessman and he was extremely instrumental, as he helped support my dreams, in teaching me how to put together a good business plan and make projects take off. More importantly, he made me feel like my painting skills were just as important and layered as his most complicated business deals.

Andy Warhol
Oxidation Painting

IN OUR NEXT LRFA BLOG POST, WE WILL LEARN ABOUT MADDY’S ARTISTIC PROCESS AND THE INFLUENCES THAT HER DEGREE IN CULTURAL ANTHROPOLOGY HAVE ON HER ART AND HER INNOVATIVE MULTI-CULTURAL ART PLATFORMS.

THE LRFA BLOG IS DELIGHTED TO OPEN THE NEW YEAR BY INTRODUCING MADELINE PATERNOT AND PRIVATE VIEW.

PLEASE JOIN US THEN!

 

 

Celebrating boxing day, artist’s books by a British artist from Gagosian’s rare book specialist, Doug Flamm

Damien Hirst

The Beautiful Afterlife

Published by Bruno Bischofberger, Zurich, 1997

Signed edition of 1000

8 1/4 × 6 5/8 inches (21 × 16.8 cm)

$2,500

———-

Considered by many to be one of Damien Hirst’s most successful artist’s books, The Beautiful Afterlife addresses ideas of mortality and decay with a Warholian flare through 480 hypnotic pages filled with stark images of cigarette butts. The book was published to coincide with an exhibition of the same title in 1997 and is hard to find. The copy is in good condition with only a minor bump in the upper corner.

 

Damien Hirst
The Souls

DAMIEN HIRST

The Souls

Original 3 color foil block print. Publisher’s hardcover binding

6 × ​10 inches (15.5 × 25.5 cm​)​; 328 pages; Fully illustrated

Published by Paul Stopler and Other Criteria, London, 2011

Signed by the artist

$5,000

———-

Damien Hirst
Paul Stolper Gallery installation

This deluxe edition catalogue was published by Paul Stolper and Other Criteria in conjunction with the 2010 exhibition Damien Hirst: The Souls at Paul Stolper Gallery. It includes an original three-color foil block print of a butterfly, signed and numbered by the artist, in an edition of one hundred. In his own words Hirst explains his use of butterflies in terms of “universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.”

 

Another view on Damien Hirst: The Souls

Damien Hirst’s beautiful butterflies in The Souls are so much impressive in situ than in photographs
Damien Hirst's The Souls

 

 

looked up Damien Hirst’s butterfly prints on the web before I went along to this exhibition – and I wasn’t impressed. Butterflies are so beautiful in real life that it’s hard to rival them in art. But then I walked into the gallery, saw the 120 creatures hanging in rows on the wall, and thought: “Wow!”

It’s just like seeing a load of dead specimens in a display cabinet, except that Hirst has cheekily played around with their colours, and lit them up so they shine. He’s used four species, two of which I recognised: the morpho cypris (a bright, shiny blue one from South America) and the African giant blue (second largest in Africa). The prints are anatomically correct – you can even see all the veins in the wings. But what knocked me out was seeing the morpho cypris in purple: if you got one that colour in real life, it would have a hard time, since butterflies recognise their mates by the colour of their wings.

In his notes to the exhibition, Hirst says he’s intrigued by the idea that butterflies represent the soul. Throughout history, butterflies have symbolised both renewal and the souls of the dead passing through purgatory. One picture made me think about that. At first, I thought it was just an empty frame, then I realised it contained a perfectly white butterfly on a white background. You don’t get that in nature – most white ones are tinged with black. It looked like a perfectly pure soul.

 

Butterflies are hard to pin down: they’re always flittering and fluttering. Hirst has given us a rare chance to see them up close. People have always loved butterflies for their beauty, and because they remind us of summer. At London Zoo, whenever we do an event about habitat destruction, we use butterflies to illustrate our point. Cockroaches wouldn’t have quite the same effect.

OUR NEXT LRFA BLOG WILL POST IN 2019! THE YEAR WENT QUICKLY AND I DON’T WANT 2018 TO CLOSE WITHOUT AN ENORMOUS THANK YOU TO THE CONTRIBUTORS. THIS BLOG WOULDN’T EXIST WITHOUT THE EXPERTISE AND GENEROSITY OF TIME AND KNOWLEDGE THAT THEY DONATE TO THE BLOG. SO MANY THANKS AS WELL TO THE MANY RSS SUBSCRIBERS AND FOLLOWERS– IT IS YOUR APPRECIATION AND CONTINUED INTEREST THAT FUELS THE FIRE.

 

ANDY WARHOL
Arrested Motion

 

The holiday season: a time for targeted giving, thanks to rare book specialist, Gagosian’s Doug Flamm

THANK YOU, DOUG FLAMM, RARE BOOK SPECIALIST AT GAGOSIAN SHOP, 976 MADISON AVENUE, NEW YORK, FOR BEING SUCH A GREAT DETECTIVE!

William Copley

SMS

Published by the Letter Edged in Black Press, Inc., New York, 1968

Signed by artists and edition of 100

7 × 11 inches (17.8 × 27.9 cm)

$12,000

William Copley’s SMS (Shit Must Stop) is a six-issue periodical from 1968. Each issue, in the form of a mailed box, contains assorted materials, including etchings, tapes, booklets, diagrams, constructions, Xeroxes, mail art, assemblages, vinyl and mylar sheets, and more. The six issues are preserved in their original cardboard mailers. From an edition of 100 signed copies.

Founded in New York City by artist, collector and dealer William Copley, S.M.S. was an art collection in a box, filled with small-scale, often whimsical, artworks available by subscription. Delivering art through the post offered Copley, and his collaborator Dmitri Petrov, a way to circumvent the art market and make contemporary art accessible to nearly anyone. Inspired by Copley’s mentor and friend Marcel Duchamp’s Boîte-en-valise, S.M.S. was conceived as an inter-media and intergenerational publication that would present artworks by prominent and unknown artists side by side. The magazine gathered an impressive range including the Surrealist luminaries Man Ray and Meret Oppenheim, Pop artists Richard Hamilton and Roy Lichtenstein, composers Lamont Young and Terry Riley, and an up-and-coming generation of conceptual and post-studio artists such as Joseph Kosuth and Bruce Nauman. Regardless of stature, each was paid $100 for their contribution. This egalitarian spirit extended to the communal atmosphere of Copley’s upper west side Letter Edged in Black Press loft which functioned as an unofficial hangout for many of the participants.

The six issues of S.M.S. are composed of “original reproductions”—luxurious, exacting replicas of each artist’s work in an edition of approximately 2,000. The magazine spared no expense, seeking out, and even inventing, varied and obscure production methods including Lil Picard’s labor intensive Burned Bow Tie—each of which needed to be individually singed. The enormous edition size—and the affordable price of $125 per subscription—enabled a much broader swath of the public to collect the internationally recognized artists contained in the portfolios. Ultimately short-lived, S.M.S. portfolios were mailed bi-monthly between February and December of 1968 directly to subscribers, with each portfolio containing approximately a dozen works of art.

http://sms.sensatejournal.com/

ED RUSCHA

Ed Ruscha
Babycakes
Numbered edition

Ed Ruscha

Babycakes

Published by Multiples, Inc., New York, 1970

Numbered edition of 1200

7 1/2 × 6 1/4 inches (19.1 × 15.9 cm)

$3,000

———-

This playful book created by Ed Ruscha and published by Multiples, Inc., is part of the celebrated 1970 Artists & Photographs portfolio. This classic artist’s book is encased in robin’s-egg blue wrappers with green flocked lettering and bound with pink satin ribbon, reflecting its playful title. The pages contain photographs of small pastries and cakes—a pure delight for the holidays!

After graduation, Ruscha began to work for ad agencies, honing his skills in schematic design and considering questions of scale, abstraction, and viewpoint, which became integral to his painting and photography. He produced his first artist’s book, Twenty-Six Gasoline Stations—a series of deadpan photographs the artist took while driving on Route 66 from Los Angeles to Oklahoma City—in 1963. Ruscha since has gone on to create over a dozen artists’ books, including the 25-foot-long, accordion-folded Every Building on the Sunset Strip (1966) and his version of Kerouac’s iconic On the Road (2009). Ruscha also paints trompe-l’oeil bound volumes and alters book spines and interiors with painted words: books in all forms pervade his investigations of language and the distribution of art and information.

BEFORE WE  ALL DEPART TO VISIT FAMILY AND FRIENDS FOR THE HOLIDAYS, OR SETTLE IN AT HOME TO ENJOY THIS SEASON, THE LRFA BLOG WOULD LIKE TO WISH EVERYONE THE HAPPIEST OF HOLIDAY SEASONS.  YOUR CONTRIBUTIONS TO THE LRFA BLOG, YOUR COMMENTS, AND SUPPORT HAVE MADE THIS EFFORT A VERY REWARDING ONE.

I HOPE ALL YOUR ENDEAVORS ARE THE SAME.

 

Guiseppe Penone for the holidays, (hint, hint), wonderful selections from Gagosian’s rare book dealer, Doug Flamm

Giuseppe Penone, Essere fiume 7 (To Be a River), 2000 River stone and quarry stone of white Carrara marble, in 2 parts, each: 18 ⅞ × 29 ½ × 24 ⅞ inches (48 × 75 × 63 cm), installed at Whitechapel Gallery, London, September 4, 2012–October 27, 2013© Archivio Penone

Giuseppe Penone, Essere fiume 7 (To Be a River), 2000

River stone and quarry stone of white Carrara marble, in 2 parts, each: 18 ⅞ × 29 ½ × 24 ⅞ inches (48 × 75 × 63 cm), installed at Whitechapel Gallery, London, September 4, 2012–October 27, 2013

Essere fiume (To be a River, 1981) marked an important turning point in Penone’s practice. Extracting chunks of stone or marble from the source of a river, he carved them so that they resembled the smaller, smoother stones at the bottom of the riverbed, mimicking the effects of water on the rocks’ shape and size.

© Archivio Penone

Giuseppe Penone
Matrice

ONE OF THE MOST COMPELLING INTERNATIONAL ARTISTS WORKING TODAY IS GIUSEPPE PENONE. BORN IN A SMALL TOWN NEAR TURIN, HE STUDIED AT THE ACCADEMIA DI BELLE ARTE AND WAS EXPOSED TO A VARIETY OF POST-WAR ART DURING HIS EARLY TWENTIES AND SOON BECAME A MEMBER OF THE YOUNGER GENERATION OF ARTE POVERA ARTISTS. THE TRAJECTORY OF HIS CAREER CONSISTENTLY REVEALS A DEEP CONCERN WITH THE RELATIONSHIP BETWEEN MAN AND NATURE. HE WALKED INTO THE WOODS AND BECAME AN ARTIST WHOSE FOCUS IS THE TRANSFORMATION OF NATURAL ELEMENTS INTO CONCRETE VISUAL, TACTILE PHYSICAL EXPERIENCES. HIS UNREMITTING DEVOTION TOWARDS NATURE AND ITS TRANSFORMATIVE POWERS, UNDERLINED BY HIS TRANSFORMATION OF NATURE ITSELF, SPEAKS TO US TODAY.

Throughout his fifty-year career, Giuseppe Penone has employed a wide range of materials and forms in an exploration of the fundamental language of sculpture. A protagonist of Arte Povera, Penone explores respiration, growth, and aging—among other involuntary processes—to create an expansive body of work including sculpture, performance, works on paper, and photography.

Penone’s early performance-based works evolved in direct response to the forests near his native village of Garessio, Italy, where he interacted with trees, water, and marble. In the Alpi Marittime (Maritime Alps) works (1968), his gestures and interventions left physical traces over extended periods of time: tree trunks were distorted by copper wire, stones, and bronze casts of the artist’s hand; mechanisms made of ropes and deer hides reacted to the weather; and casts of Penone’s face, hands, and feet were immersed in a stream bed.

Giuseppe Penone
Trees (Alberi)

In 1969 Penone created the first of his Alberi (Trees): “stripped” trees made by carving into mature timbers and removing the wood along the outer growth rings to reveal the memory of a sapling at the core of the trunk. This ongoing series has taken on various permutations as Penone refines his techniques and experiments with different sizes and installations. In 1970 he even carved an Albero in the presence of an audience, merging sculpture and performance. This same year he made the Rovesciare i propri occhi (Reversing One’s Eyes) works, in which he wore custom-made mirrored contact lenses and had himself photographed. The lenses, though they deprived the artist of his own gaze, allowed him to objectively record images, literally reflecting his surroundings.

https://gagosian.com/artists/giuseppe-penone/

REPRESENTED BY GAGOSIAN GALLERY, GAGOSIAN SHOP AT 976 MADISON CURRENTLY HAS SOME EXCEPTIONAL BOOKS AND ETCHINGS ON GIUSEPPE PENNONE ON DISPLAY FOR THE HOLIDAYS. THE WORK ITSELF SPEAKS OF BOTH THE TEMPORAL AND THE ETERNAL AND ARE AS UNIQUE AND EMOTIVE AS ANY ARTIST THAT COMES TO MIND. THE BOOKS REFLECT THIS AESTHETIC BEAUTIFULLY.

GIUSEPPE PENONE

The Inner Life of Forms

Includes Essays by Tim Ingold, Remi Labrusse, Emily Braun, Salvatore Settis, and a conversation with Carlos Basualdo and Guiseppe Penone

Giuseppe Penone The Inner Life of Forms Gagosian Shop 976 Madison Avenue, New York

In the 1990s Penone worked on the Anatomie (Anatomies, 1992–), which included Carrara marble and other stones carved in high relief to echo vascular and muscular systems, as well as the Propagazioni (Propagations, 1995), a series of drawings based on the concentric linear patterns of a fingerprint. Since then he has continued to expand upon many of his earlier series and to work on the Idee di pietra (Ideas of Stone) sculptures (2003–), in which he juxtaposes rocks and trees to highlight the balance between verticality and horizontality and the interplay of gravity and growth. Penone has also designed two gardens, one in Turin and one in the Reggia di Venaria in Piedmont.

In Penone’s work, sculptural transformations draw the viewer’s attention to details that have long existed but are easily overlooked. By bringing the grandeur—as well as the modesty and intimacy—of raw but also cultural material into various settings, Penone raises questions about sculpture and its essence.

Giuseppe Penone
Identity
Etching

Giuseppe Penone

Identity

Identity is accompanied by a special edition cover of the monograph, Giuseppe Penone: The Inner Life of Forms and an archival folder with an original poem written by the artist.

The black version of Identity comes in an edition of 50

The prints are Drypoint etching on BFK Rives paper, printed by Atelier René Tazé, Paris, and published by Gagosian 2018

Etching size: 13 3/8 × 9 7/8 inches (34 × 25 cm)
Paper size: 19 7/8 × 15 1/8 inches (50.5 × 38.2 cm)

Choice of presentation options:

Custom designed, cloth covered clamshell box that includes archival inner folder to house print and special edition of the monograph

Framed print (white wood), archival folder, and special edition of the monograph

———-

About the monograph:

Giuseppe Penone
The Inner Life of Forms

Published in 2018

Essays by Tim Ingold, Rémi Labrusse, Emily Braun, and Salvatore Settis; Conversation between Giuseppe Penone and Carlos Basualdo; Biographical Notes by Ruggero Penone; 12 Booklet Essays by Daniela Lancioni

11 × 8 5/8 inches (27.9 × 21.9 cm); 13 paperbacks totaling 490 pages, in a box; Fully illustrated

Published by Gagosian; Designed by Graphic Thought Facility, London; Printed by Pureprint Group, Uckfield, UK; Distributed by Rizzoli International Publications, Inc., in association with Gagosian

WHAT A TREASURE TO GIVE OR TO GET AT ANY TIME OF YEAR.  THANK YOU, DOUG, FOR SHARING THIS WITH THE LRFA BLOG.

MORE TO FOLLOW!