Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Art, artists and art fairs with gallery partner, Meg Malloy, of Sikkema Jenkins & Co.

Jeffrey Gibson
My Eyes Have Seen You
Sikkima Jenkins Booth H8 Art Basel Miami 2019

Art Fairs, A Global Phenomenon

The Rise of the Art Gathering
By Peter Letzelter-Smith

At the most utilitarian level, art fairs are simply trade shows. The trade is art. And like trade shows in any industry, they’re gatherings that bring sellers and potential buyers together in one place to converse, negotiate, and do deals. On a more inspirational level, art fairs are opportunities to feel the excitement of sharing time and space with other lovers of art. To see and to be seen. To get introduced to new galleries and new artists and to be stimulated. They are, at their best, broad avenues of inspiration for you to stroll down.

Today art fairs play a critical role in the world of contemporary art, accounting for millions of dollars of revenue for galleries and a must-do part of the calendar for a wide variety of collectors, curators, agents, and artists.

https://www.artland.com

AS YOU ARE READING THIS, ART BASEL MIAMI BEACH 2019 IS OPENING  ITS DOORS TO THE PUBLIC AT THE MIAMI BEACH CONVENTION CENTER. YESTERDAY’S VIP OPENING INDICATED A HEALTHY AND BRISK GLOBAL ART MARKET IN WHICH 269 GALLERIES OFFER BOTH PRIMARY AND SECONDARY MARKET WORKS. PRIVATE COLLECTIONS OPEN THEIR DOORS TO THE PUBLIC, ART IN PUBLIC PLACES HAS LAUNCHED A PROJECT FEATURING SEVEN NEW MONUMENTAL OUTDOOR SCULPTURES, AND THE MIAMI MUSEUMS  HAVE CURATED EXHIBITIONS  OF ARTISTS WHOSE WORK IS TIMELY AND SOCIALLY AND POLITICALLY RELEVANT.

IN TODAY’S LRFA BLOG POST, WE ARE DELIGHTED TO VISIT WITH MEG MALLOY, PARTNER AT SIKKEMA JENKINS & CO. TO GAIN HER PERSPECTIVE ON THE SIGNIFICANCE OF THE ART FAIR IN TODAY’S GLOBAL CONTEMPORARY MARKET.

SIKKEMA JENKINS ART BASEL MIAMI SHOW CATALOG:

https://www.artbasel.com/catalog/gallery/1271/Sikkema-Jenkins-Co

MEG, THANK YOU AND WELCOME BACK!

Sheila Hicks
Fete du Lundi
Art Basel Miami 2019

WHAT ART FAIRS DO YOU PARTICIPATE IN, AND WITH SO MANY ART FAIRS PROLIFERATING EVERY MONTH, HOW HAVE YOU NARROWED THE FIELD TO THESE CHOICES?

There are three fairs we feel are core to our business: Basel, Miami Basel and Frieze New York.   This year we added Frieze London because of Kara’s Tate Turbine Project, Fons Americanus.  And we also plan to do ADAA with a solo booth of Jeffrey Gibson’s work.    We have done fairs all over, including Hong Kong, Bogota, Rio, Expo in Chicago and the Armory.  But we don’t have a large staff, and we find that clients from all over visit the gallery.  New York still is such an important art world center,  and in the gallery we  can give more of a sense of the breadth of what an artist does.  So it is all about keeping a balance.

Jeffrey Gibson
In Numbers Too Big To Ignore 2016

DO YOU FIND THAT DIFFERENT FAIR VENUES DEMAND DIFFERENT TYPES OF BOOTH IN TERMS OF WHAT CATEGORY OF ARTISTS YOU SELECT OR DO YOU MAKE A MIX OF EMERGING AND ESTABLISHED ARTISTS AT EACH FAIR?

In both Basel and Miami we do overview booths that give a real sense of the program.  But you also have to think strategically about what needs exposure because of a forthcoming museum show or a particular project.

Kara Walker Installation

YOU HAVE REPRESENTATED A VERY STRONG SELECTION OF BLACK ARTISTS SUCH AS KARA WALKER  PRIOR TO THE CURRENT WAVE OF POPULISM TO MAKE UP FOR THE OVERSIGHT. HOW DID YOU GRAVITATE TO HER WORK, FOR EXAMPLE?

I was not at the gallery when Kara joined, but it was clear to me from the moment I saw her NY debut at the Drawing Center show that hers was an original and powerful voice.  The fact that she had such wicked skill and was able to combine humor and and  elegance with a head-on engagement with the horror of our  history and the legacy of mistreatment of people of color was just so much to take in.  Her greatness was undeniable.  Brent responded to the work right away and then met Kara at her studio in Providence and they just connected.   And then Michael had actually studied with Kara’s dad in Atlanta.

Merlin James
HyperFocal: 0

YOU HAVE ALSO HAD THE INSIGHT TO SELECT NEW CONTEMPORARY ARTISTS SUCH AS JENNIFER PACKER WHEN THEY ARE AT THE EDGE OF LEAPING TO ANOTHER LEVEL OF ARTISTIC RECOGNITION.  HOW WERE YOU INTRODUCED TO HER WORK?

Michael and I each saw Jennifer’s work at her Studio Museum residency show and we were both so struck by it.   She was clearly such a talented painter.  She makes figurative painting feel so fresh, but she also has such a clear sense of history!   Michael visited her first and then I came to the second visit.  Sometimes you just know.

Jennifer Packer
April
Oil on canvas

YOU HAVE AN IMPRESSIVE TRACK RECORD FOR PICKING ARTISTS AT AN EARLY STAGE IN THEIR CAREERS, AND BUILDING AN EXTENSIVE MARKET IN BOTH THE PRIVATE SECTOR AND MUSEUM AND INSTITUTIONAL VENUES.  HOW DO YOU GO ABOUT APPROACHING COLLECTORS TO INTEREST THEM IN SOMEONE NEW OR TO GAIN APPROVAL FROM A MUSEUM BOARD TO ACQUIRE AN EMERGING CONTEMPORARY ARTIST WITH A GREAT CAREER AHEAD.

Thank you!  We strive to get work we think curators should see in front of them without barraging them.   Sometimes it takes years.  And we’re lucky to  have some really loyal collectors and consultants who know our track record, and have faith in what we do, and they keep visits to us at the gallery in regular rotation.  We are also privileged to have an upstairs viewing area where  we can expose visitors to artists not on view downstairs.

Deana Lawson
Soweto Queen
Pigment Print

IN OUR NEXT LRFA BLOG POST, WE LOOK FORWARD TO LEARNING ABOUT SOME OF THE OUTSTANDING EXHIBITIONS AT THE GALLERY, PAST, PRESENT AND FUTURE. THANK YOU, MEG!

Holding one’s breath while allowing artists complete creative license with Meg Malloy, partner, Sikkema Jenkins & Co.

Zipora Fried As the Ground Turns Solid Current exhibit Sikkema Jenkins & Co.

 

BOASTING A DIVERSE ROSTER OF NOTEWORTHY ARTISTS WORKING TODAY, SIKKEMA JENKINS & CO. IS AN ESTABLISHED MIDSIZE GALLERY SPACE LOCATED IN WEST CHELSEA. REPRESENTED ARE SUCH BIG-NAME VETERANS AS VIK MUNIZ AND KARA WALKER, AS WELL AS MID-CAREER POWERHOUSES SHEILA HICKS AND DEANA LAWSON. THE WORK REPRESENTS ARTISTS WHO WORK IN EVERY MEDIUM: PAINTING, PHOTOGRAPHY, SCULPTURE, VIDEO, INSTALLATION; AND IN EVERY GENRE: ABSTRACTION, NARRATION, FIGURATION, MANY ADDRESSING SOCIAL AND POLITICAL ISSUES, OTHERS ADDRESSING THE LEGACY OF ART HISTORY AND EVOLVING IT FORWARD.  THE UNIFYING FACTOR IS THE QUALITY, ENGAGEMENT AND IMPACT OF THE WORK, TO THE VIEWER, TO THE COLLECTOR AND TO THE MUSEUM CURATOR.

IN 2019 ALONE, SIKKEMA JENKINS & CO.  EXHIBITED THE WORK OF THE FOLLOWING ARTISTS, AN ABBREVIATED EXAMPLE OF THE BREADTH AND SCOPE OF THE ARTISTS THE GALLERY SUPPORTS AND ENCOURAGES.

Brenda Goodman

BRENDA GOODMAN

With over 50 years of experience as a painter, Goodman is an artist at the height of her career. She began in 1960s Detroit, as a member of the famed Cass Corridor Movement. In the early 1970s, she exhibited with Guston, Tworkov and de Kooning at the Gertrude Kasle Gallery. After moving to New York City in 1976, Goodman explored ways to integrate intensely personal issues with the freedom of abstract expressionism.

Louis Fratino

LOUIS FRATINO

Drawing inspiration from personal experience and, more recently, photographic source material, Fratino makes paintings and drawings of the male body. His work includes portraits, nudes, and intimate scenes of male couples engaged in activities ranging from the mundane to the graphically sexual. The result is a body of work that is a loving and honest expression of the contemporary gay experience.

Jennifer Packer

JENNIFER PACKER

Packer’s painted figures and still lifes are exceptional for their expressive fields of color, worked tenderly by the artist’s hand. They are images made with the utmost care–for the subject, and for the artist herself. Packer’s subjects are often friends and family, loved ones who serve as an emotive force in her life. Her representations critique the positionality, autonomy and power of the marginalized subject.

Terry Haggerty

TERRY HAGGERTY

Terry Haggerty’s paintings reveal the multi-dimensional possibilities within painting – bold color is used to enliven and give volume and depth to positive and negative space. A series of monochrome lines, corners, and edges fold around one another, activating gaps between geometric planes of color. Haggerty’s works embrace the tension between two-dimensional outline and three-dimensional form, creating images characterized as “half object, half painting.”

AND CURRENTLY, THE BEAUTIFUL RECENT ABSTRACTIONS BY

Zipora Fried

ZIPORA FRIED

Working across sculpture, photography, and drawing, Fried’s oeuvre explores the potential of color and form to transcend language and express the nuances of the human experience. The subconscious remains a focal point of interest for Fried, as the formal conditions of object and image become deconstructed and reinterpreted through their symbolic connections to one another. Every gesture of the artist’s hand, in shape and form, signifies a distinct moment in the phenomenological experience of Fried’s work.

MEG, WHAT ARTISTS DOES THE GALLERY REPRESENT, AND HOW WOULD YOU CHARACTERIZE THE WORK?

The artists that  we represent are quite varied, and it is hard to pinpoint, but I feel that all  start from social or conceptual concerns, and all have great skill and create work that is consistently engaging on both a visual and an intellectual level.

IS THERE A PARTICULARLY AESTHETIC, OR CONCEPTUAL OR ABSTRACT POINT OF VIEW THAT CONNECTS EACH ARTIST’S WORKS?

I would say it is open-ended, but each of our artists has an integrity and an unshakable commitment to what they do. 

WHAT DID YOU MOVE TO CHELSEA, AND WHAT PROMPTED THAT DECISION?

The gallery moved to Chelsea because there were great spaces, and Soho rents were through the roof.

WAS THE CURRENT 22nd STREET LOCATION THE FIRST SPACE THAT YOU TOOK, AND HOW HAS IT EXPANDED OVER THE YEARS?

We are at the same address, but the gallery has been in the unusual position of  being able to expand in place as the business grew.   We had half of our downstairs originally and then were offered the other half.   This was due to unfortunate circumstances as both Pat Hearn and Colin de Land who had that space passed away.  Then we rented the back of upstairs from Anina Nosei for storage and viewings, and then when she didn’t renew we took over  that space. 

Sheila Hicks

 

THE GALLERY ROSTER IS A STRONG MIX OF ESTABLISHED ARTISTS SUCH AS ARTURO HERRERA, SHEILA HICKS, KARA WALKER, AND EMERGING TALENTS. WHO ARE SOME OF THE ARTISTS AND WHAT ARE SOME OF THE EXHIBITIONS THAT HAVE RESONATED WITH YOU THE MOST?

That is an impossible question!  😊

YOU SHOW ARTISTS IN A WIDE VARIETY OF MEDIA. WHO ARE SOME OF THE ARTISTS THAT YOU REPRESENT THAT ARE THE MOST CHALLENGING IN TERMS OF THE EXHIBITION OF THEIR WORK? YOU ARE SO GENEROUS WITH THE GALLERY SPACE, ALLOWING THE ARTISTS LICENSE TO TREAT THE SPACE AS PART OF THE CREATIVE PROCESS.

You have to have faith in an artist’s  vision.   That said, there are times when we hold our breath. For Kara’s last show, there were three very large-scale unframed works on paper.  The audience for that show was enormous and we worried that the work could be damaged but people were so respectful.  William Córdova created a scaffolding that pushed viewers to the perimeter of the gallery. 

William Cordova
Machu Picchu

MORE ABOUT THE GALLERY, ART FAIRS, CURRENT AND FUTURE EXHIBITIONS WITH MEG MALLOY IN OUR NEXT LRFA BLOG.

IN THE MEANTIME, EAT, DRINK AND BE MERRY, AND HAVE A HAPPY THANKSGIVING!!

Andy Warhol
Turkey Noodle Soup

An evolution from the world of art publishing to partner with Sikkema Jenkins & Co.’s Meg Malloy

Kara Walker
The High Note, The Low Note, The psychotic and The Judge

 

KNOWN FOR  SUPPORTING THEIR ARTISTS AND ARTIST PROJECTS  IN ALL OF THEIR ARTISTIC ENDEAVORS, SIKKEMA JENKINS & CO. HAS A STRONG PUBLISHING ARM THAT PRODUCES EDITIONS OF WORKS BY THE GALLERY ARTISTS. THEIR SEPTEMBER EXHIBITION WAS  A REFLECTION OF THAT DEDICATION.

EDITIONS: JEFFREY GIBSON, KAY ROSEN, ERIN SHIRREFF, KARA WALKER
SEPTEMBER 3 – OCTOBER 5, 2019

Sikkema Jenkins & Co. is pleased to present a selection of editions by gallery artists Jeffrey Gibson, Erin Shirreff, Kara Walker, and Kay Rosen

Jeffrey Gibson’s new series of multimedia prints, feature vivid, screen-printed letters collaged onto a digitally printed background. Adapting lyrics from popular dance songs of the eighties and nineties, Gibson prints highlight the centrality of joy and celebration as a form of strength and resistance for marginalized communities. 

Jeffrey Gibson
The Future is Present
Edition of 30, Sikkema Jenkins & Co.

Kay Rosen’s edition, The Man, is centered around the idea of formal and textual transformation. Spanning the wall in a series of vinyl letters, The Man composes a narrative based on repeated phrases and wordplay. The body of “The Man” is deconstructed across each line of text, as a series of interconnected linguistic relationships rather than a cohesive singular identity. Rosen’s work utilizes the force of language, or a singular word, to recontextualize language as a visual experience. 

Erin Shirreff’s Four Heads diptych appropriates Jean Arp painted wood sculpture Two Heads (1929). Using the printing methods of photogravure and Chine-collé, Four Heads reconfigures the three-dimensional forms and edges of Arp’s sculpture on a two-dimensional plane. By reinterpreting traditional representations of image, form, and dimensionality, Shirreff’s work asks viewer’s how to negotiate the difference between object and photographic representation. 

The High Note, The Low Note, The Psychotic and The Judge (2018) by Kara Walker is a painted-laser cut stainless steel sculpture produced as a limited edition for the Camden Arts Centre in London. The High Note features four grotesque faces bisecting one another on two opposing steel sheets. Walker’s work reveals the multiple identities implicated by the horrors of slavery and white supremacy.

Jeffrey Gibson
Installation View, September 2019 exhibition
Sikkema Jenkins & Co.

A PARTNER AT THE GALLERY AS OF 2003, MEG MALLOY’S FIRST INTRODUCTION AS A PROFESSIONAL IN THE NEW YORK ART WORLD WAS IN PRINT PUBLISHING, WORKING AT THE HIGHLY-RESPECTED CROWN POINT PRESS IN THEIR NEW YORK GALLERY. THIS AFFORDED HER AN INTRODUCTION TO MANY CELEBRATED INTERNATIONAL ARTISTS  SUCH AS JOAN JONAS, RICHARD DIEBENKORN AND WAYNE THIEBAUD, AND TO THE HIGHEST STANDARDS OF PRINT PUBLISHING IN DEPTH FIRST AT CROWN POINT AND SUBSEQUENTLY AT THE LEGENDARY EDITION SCHELLMANN.

Erin Shirreff
Four Heads
Sikkema Jenkins & Co.

WITH AN EXTENSIVE BACKGROUND AT DISTINGUISHED PRESSES, MEG MALLOY, PARTNER AT SIKKEMA JENKINS & CO., WAS INVITED TO JOIN THE GALLERY INITIALLY TO EXPAND THEIR ART PUBLISHING DIVISION.

MEG, THANK YOU FOR CONTRIBUTING TO THE LRFA BLOG.

TO CONTINUE,  WHAT WAS YOUR FIRST JOB IN THE ART WORLD?

Through Connie, I got a job at Crown Point Press, the San Francisco-based publisher. The amazing Kathan Brown had brought an etching press over from England by boat in the 60s, and revived fine art etching in the U.S.  Kathan was quite adventurous and worked with unexpected artists like Joan Jonas and John Cage, as well as more traditional painters like Diebenkorn and Thiebaud.  She brought Connie on to include more international artists and Connie had them interview me for a job.  Rather than hiring me for San Francisco, they hired the wonderful and much more experienced Valerie Wade – Kathan’s business partner to this day!  

They  hired me for the New York gallery where I would work for Karen McCready, a legendary print dealer, who had come to Crown Point Press from Pace.  It was a terrific  place to work and I learned so much.  After working at CPP, I went to Edition Schellmann, a German based publisher of prints, multiples and catalog raisonnes.   I stayed there twelve years!   While at Schellmann, we did a project with Kara Walker, whose work I so admired, and through that project, I got to know Michael Jenkins and Brent Sikkema. They originally brought me in to work on their  publishing program.  We still do editions as part of our program, the most recent the bronze maquette of Kara’s Tate project.

Kay Rosen
The Man
Editions September-October 2019
Sikkema Jenkins & Co.

WHAT IS THE HISTORY OF THE GALLERY? AT WHAT POINT DID YOU COME ON BOARD?

Brent had been a photo dealer in Boston but had moved to NYC in 1991 to open a contemporary gallery in Soho.   It was always a gallery I loved.  Michael was an artist whose work I admired, and he had also curated shows for Brent. He joined the gallery in 1996.  I joined in the beginning of 2002.  Brent had taken Kara on at the beginning of her career,  shortly after her Drawing Center show, and Vik Muniz also came onboard early.  We feel so fortunate that both of these wonderful artists are still with the gallery.  In terms of gallery name, the gallery changed its name to Sikkema Jenkins and Co. in 2003.  Though I started out overseeing the publishing projects, I quickly got caught up in all the exciting things going on at the gallery and my role expanded.  I became a partner in 2003.

Erin Shirreff, Kara Walker, Kay Rosen
Installation view
Editions, exhibited September 2019
Sikkema Jenkins & Co.

WHAT WAS THE CLIMATE OF THE ART WORLD WHEN YOU JOINED? WHAT WERE THE BEST APPROACHES TO PLACING WORKS IN COLLECTIONS?

The art world was much smaller!   The print world was especially so, and also very collegial.  The AIDS crisis was at its height in the U.S. and the art world’s connection to politics and protest was much closer; there was more urgency.  Everyone participated in protests.

In terms of collections,  then as now, you would strive to get museum attention for artists, and to place works with collectors who feel some sense of responsibility or connection to the work.   Someone who will lend to an exhibition.  Someone who will care for the work.  These things are constants.

IN OUR NEXT LRFA BLOG, MEG WILL INFORM US OF THE FOCUS OF THE GALLERY AND SOME HIGHLIGHTS OF ITS DISTINGUISHED HISTORY.

PLEASE JOIN US!

The LRFA blog welcomes Meg Malloy, partner at Sikkema Jenkins & Co. gallery

Meg Malloy
Partner
Sikkema Jenkins & Co.

SIKKEMA JENKINS & CO. ENJOYS A LONG AND RESPECTED HISTORY IN THE CONTEMPORARY ART WORLD FOR DISCOVERING EMERGING ARTISTS WHO GO ON TO GAIN GREAT CRITICAL AND COMMERCIAL SUCCESS AND SUPPORTING ESTABLISHED CONTEMPORARY ARTISTS WHOSE CAREERS THEY NURTURE. LOCATED AT 530 WEST 22nd STREET IN THE WEST CHELSEA ARTS DISTRICT IN NEW YORK CITY, THE GALLERY WAS FOUNDED IN 1991 BY BRENT SIKKEMA AS WOOSTER GARDENS. BRENT SIKKEMA BEGAN HIS GALLERY WORK IN 1971 AT THE DIRECTOR OF EXHIBITIONS AT THE VISUAL STUDIES WORKSHOP IN ROCHESTER, NEW YORK. HE OPENED HIS FIRST GALLERY IN BOSTON, MASSACHUSETTS, IN 1976. MICHAEL JENKINS, WHO HAD WORKED ON PROJECTS WITH THE GALLERY SINCE ITS OPENING IN 1991, JOINED AS DIRECTOR IN 1996, AND BECAME A PARTNER IN 2003.

Sikkema Jenkins Gallery
530 West 22nd Street
Chelsea, New York

SIKKEMA JENKINS & CO. WAS ORIGINALLY LOCATED ON WOOSTER STREET IN SoHo AND IN 1999 MOVED TO ITS PRESENT CHELSEA LOCATION SUBSEQUENTLY UNDERGOING EXTENSIVE RENOVATION AND EXPANSION.  THE GALLERY IS AN EXTREMELY INVITING ENVIRONMENT, WITH A DEDICATED AND ACCESSIBLE STAFF EAGER TO EDUCATE AS WELL AS TO PLACE WORKS.

MEG MALLOY, A PARTNER AT SIKKEMA JENKINS, IS THE PERFECT REPRESENTATIVE OF THE OPEN UNPRETENTIOUS SPIRIT OF THE GALLERY AND THE LRFA BLOG IS DELIGHTED TO WELCOME HER TODAY.

MEG, THANK YOU, IN THIS BUSY SEASON OF THE ART YEAR, FOR YOUR CONTRIBUTION TO THE LRFA BLOG.

Vik Muniz: Surfaces
Current exhibition
Sikkema Jenkins & Co.

WHAT WERE YOUR EXPERIENCES GROWING UP THAT ENCOURAGED AN INTEREST IN ART?

I was born in Chicago and raised in Glencoe, a suburb north of the city. I am the oldest of six.   My mother had wanted to be an artist, and going to museums was a part of my childhood.  The Art Institute also had a great outreach program and before any school trip there, museum docents would come to school and educate us about what we might see.  My parents were involved in a local theater group and I took part in the youth version, always on the management side as a producer or v.p.-  never as a performer.    In high school and college, friends and I used to take the train to the city and to go the Art Institute.  We would just wander.  I was always struck by Georgia O’Keeffe’s Sky Above Clouds, which was installed at the top of a grand staircase at the museum: it seemed so majestic, and it motivated me to read her biography. I loved thinking about her work, and what sounded to me like an impossibly exciting life in art.

 

Georgia O’Keeffe
Sky Above Clouds

DID YOU PAINT OR HAVE AMBITIONS TO BECOME A PROFESSIONAL ARTIST?

 I never had any talent for art making, though  I enjoyed it.  I really thought I would go into publishing. I worked on the school newspapers in both junior high and high school.  One close friend did have parents who were collectors, and another had a mom who ran a gallery downtown.    

WHAT WAS YOUR ACADEMIC BACKGROUND, AND HOW DID IT LEAD YOU INTO THE ART WORLD?

 I went to The University of Illinois at Champaign Urbana and studied Comp Lit.  

My plan was to follow my favorite aunt’s career path in publishing.   Because comp lit is interdisciplinary, we often looked at visual art. My interest in its history was piqued, and I added art history classes to my course of study.  I was a resident advisor and had a number of artists on my floor  – I  loved visiting their studios and talking about what they  were doing.

Kara Walker
Turbine Commission Tate Modern

Then  I took a museum studies class and decided I should go into museum education.   With that goal in mind, I decided to go to grad school in art history, and ended up at UC Berkeley. There I had a job at the art museum bookstore, and then became the intern for Connie Lewallen, a wonderful curator and human being.   She ran the Matrix program, which focused on one contemporary artist at a time in a frequently changing exhibition program, always with an accompanying brochure.  I loved the variety and the engagement with the artists and their ideas.  It was compelling.  I also became the de facto house sitter for the curators — all of whom had great contemporary art and libraries, and I loved being immersed in those environments.

Erin Shirreff
San Francisco Museum of Art

SO MANY INFLUENCES LEADING YOU TO NEW YORK AND A CAREER IN THE ARTS. IN OUR NEXT LRFA BLOG, MEG WILL  DETAIL HER FIRST EXPERIENCES IN THE NEW YORK ART WORLD.

PLEASE JOIN US!

Cheim & Read looks to the future with gallery partner, Maria Bueno

Howard Read and John Cheim, partners Cheim & Read

 

ONE OF THE ADVANTAGES OF THE DIGITAL AGE IS THE AMOUNT OF MATERIAL ONE CAN VIEW, FROM GALLERIES ALL OVER THE WORLD, WITHOUT LEAVING HOME, PARTICULARLY WITH THE ADVENT OF GALLERIES LAUNCHING ONLINE VIEWING ROOMS. WITH THE ONLINE VIEWING ROOM, THE AUDIENCE FURTHER EXPANDS INTO ONE NOT LIMITED BY GEOGRAPHY. THE VIEWING ROOM IS AN ONLINE EXHIBITION SPACE WHERE VISITORS AND EXPLORE AND COLLECT WORKS FROM CURATED, ONLINE-ONLY EXHIBITIONS BY GALLERY ARTISTS AND SPECIAL COLLABORATIONS.

MANY OF THE LEADING GALLERIES HAVE INITIATED FOCUSED PROGRAMS THAT ARE BEAUTIFULLY CONCEIVED AND PRESENTED, OFTEN SEPARATE AND INDEPENDENT OF WORKS BEING SHOWN AT THE GALLERY OR IN A BOOTH AT AN ART FAIR  IN THE CONTINUING EFFORT TO REACH A BROADER, INTERNATIONAL AUDIENCE. SOMETIMES ONE CAN SEE THE WORKS IN THE FAIR BOOTH IN PERSON BUT ALSO ONE IS INTRODUCED TO WORKS THAT ARE SPECIFICALLY SELECTED SOLELY FOR THE VIEWING ROOM.  THE VIEWING ROOM HAS TAKEN ON A SIGNIFICANT MARKET PRESENCE OF ITS OWN.

https://hypebeast.com/2019/9/sterling-ruby-gagosian-online-viewing-room-frieze-london

IN LA, DAVID KORDANSKY GALLERY JUST ANNOUNCED THAT HIS GALLERY WILL LAUNCH ITS INAUGURAL ONLINE VIEWING ROOM IN NOVEMBER. IN THIS INSTANCE, THE SALES IT GENERATES WILL GO TO A CAUSE GREATER THAN JUST THE BOTTOM LINE, DONATED TO ORGANIZATIONS ACTIVELY ADDRESSING THE ISSUE OF CLIMATE CHANGE THUS ADDING SOCIAL IMPACT TO THE ONLINE VIEWING VEHICLE.

https://news.artnet.com/market/david-kordansky-online-viewing-room-1683550

Ron Gorchov
Current exhibition at Cheim & Read
23 East 67th Street, New York, NY

IT IS NO SURPRISE THAT CHEIM & READ HAS CREATED ITS FIRST ONLINE VIEWING ROOM IN CONJUNCTION WITH ITS INAUGURAL EXHIBITION IN ITS NEW SPACE – ANOTHER SIGN OF CHANGE, EXPANSION AND AN ADVANTAGEOUS USE OF TECHNOLOGY.

Cheim & Read is pleased to present our first online viewing room in conjunction with our inaugural exhibition, ron gorchov: at the cusp of the 80s, paintings 1979–1983. This online presentation offers an overview of Gorchov’s work, which can be classified into two types: saddles and stacks.

The first are the shield or saddle-like shaped paintings. Gorchov developed his signature format, in the late 1960s, by dipping wire forms in liquid that would eventually harden and become rigid (see below, GOSSIP, 1976). In the mid-1970s, the artist re-emerged after a hiatus from exhibiting his work publicly, and presented these early efforts stretching linen across a wooden saddle-shaped stretcher. Some paintings featured two keyhole-like figures side by side on a monochromatic ground, a motif the artist would return to over and over for the rest of his life. One example from this decade is COMET, 1974, in the permanent collection of the Museum of Modern Art, New York. Other series of works, such as the group of paintings on view at Cheim & Read, explore more pictorial methods of painting, with gestural brushstrokes and imagistic space. Over the intervening fifty years, Gorchov has continued to make paintings using this distinctive shaped canvas.

Lynda Benglis
Current, 1979

TODAY, THE LRFA BLOG IS DELIGHTED TO WELCOME BACK MARIA BUENO, DIRECTOR AND GALLERY PARTNER, TO TAKE ABOUT THE BRIGHT FUTURE OF CHEIM AND READ IN ITS BEAUTIFUL NEW UPTOWN LOCATION.

MARIA, WHAT ARE THE IMMEDIATE PLANS FOR THE GALLERY AND WHAT ARE SOME OF THE GOALS AND IDEAS THAT THE GALLERY WOULD LIKE TO REALIZE IN THE MORE DISTANT FUTURE?

The immediate plan was to be up and running in our space! We were all very excited for the September 26th opening of the paintings of Ron Gorchov.  We are working to confirm our exhibition program for 2021 as well as sourcing fresh and significant material from the secondary market.

WHAT IS THE NEW ADDRESS?

23 East 67th Street, between 5th and Madison Avenue.

https://www.cheimread.com/

Sean Scully
Night and Day
Cheim & Read

THAT’S A BEAUTIFUL BLOCK!  WHAT ARTISTS WILL YOU CONTINUE TO REPRESENT IN A MORE TRADITIONAL WAY?

Lynda Benglis, Louise Bourgeois, Ron Gorchov, Bill Jensen, Jonathan Lasker, Serge Poliakoff, and Sean Scully. 

WHAT ARTISTS WILL YOU SHARE WITH OTHER GALLERIES REPRESENTING PERHAPS THE EARLIER WORKS OR THE MORE RECENT ONES?

We are not interested in the traditional model of exclusive representation but instead will maintain our direct relationships with a number of artists and continue to work on their behalf.

Jonathon Lasker

THE GALLERY HAS A SPECIAL REPUTATION FOR ITS DEDICATION TO AND ASTUTE HANDLING  OF ARTISTS’ ESTATES. HOW WILL YOU LOOK TOWARDS THE SECONDARY MARKET RESALE FOR EITHER ARTISTS’ WHOSE ESTATES WITH WHOM YOU HAVE HAD A DEEP INVOLVEMENT OR FOR OTHER OTHERS THAT YOU DON’T REPRESENT.

Our strength in the secondary market comes from our depth of knowledge developed by decades of connoisseurship with a particular group of artists as well as our extensive archive over a twenty plus year period. It will be exciting to comb through our records to identify potential opportunities on the secondary market as well as begin new conversations with collectors who trust us to successfully deaccession their works by artists outside our program. 

Bill Jensen

WHAT ARE THE QUALITIES THAT CHEIM AND READ HAD OFFERED TO ITS LARGE ROSTER OF COLLECTORS THAT WILL CONTINUE TO SERVE YOU IN THE NEW SETTING?

We will continue to offer a particular artistic vision with an emphasis on painting or works related to painting installed in a beautiful environment. We will continue to share our knowledge and expertise about art to the public and strive to give our clients a professional and satisfying experience when working with us. We will be able to provide a level of individualized attention and sense of privacy that collectors do not get from larger galleries. We are confident this more intimate approach will be successful and look forward to the future.

Serge Poliakoff

 

MARIA, THANK YOU SO MUCH FOR SPEAKING WITH THE LRFA BLOG AT THE TIME OF YOUR LAUNCH OF YOUR NEW GALLERY SPACE. CONGRATULATIONS ON THE PUBLICATION OF A BEAUTIFUL MONOGRAPH ON THE HISTORY OF CHEIM & READ’S FIRST TWENTY-FIRST YEARS PUBLISHED BY DAMIANI IN ITALY.

https://www.damianieditore.com/

HERE’S TO 21 MORE!

A profound commitment to the interests of the artist with gallery director, Maria Bueno, of Cheim & Read

Art Basel 2019
Cheim & Read

IN HIS RECENTLY PUBLISHED BOOK, BOOM, A FASCINATING AND COMPREHENSIVE COMMENTARY ON HOW THE CONTEMPORARY ART WORLD AND MARKET HAS EVOLVED, MICHAEL SHNAYERSON WRITES:

TRADITIONALLY, DEALERS LARGE AND SMALL HAD TRAVELED TO A HANDFUL OF FAIRS: FIAC IN PARIS, NEW YORK’S ARMORY SHOW, AND THE MOST ESTABLISHED FAIR, ART BASEL SWITZERLAND. WHEN ART BASEL MIAMI BEACH JOINED THE PACK IN 2002, AND FRIEZE LONDON IN 2003, THE PACE REMAINED, FOR A WHILE, MANAGEABLE. YET EACH YEAR, MORE NEW ART FAIRS SPROUTED, IN ONE COUNTRY AFTER ANOTHER…CLARE McANDREW, THE CONSULTING ART-MARKET ECONOMIST WHO NOW WORKS FOR ART BASEL, COUNTED 260 MAJOR FAIRS. WITH MORE AND MORE ART TO BE SEEN AND SOLD, DEALERS FELT THAT THEY HAD NO CHOICE BUT TO BE A PRESENCE IN AT LEAST A FEW OF THE PROLIFERATING SHOWS. IT WAS A COSTLY DECISION. 

Michael Shnayerson, BOOM, Public Affairs, New York, pp. 362-363.

Michael Shnayerson
Boom
Mad Money, Mega Dealers, and the Rise of Contemporary Art

A FEW GALLERIES ARE GETTING MORE AND MORE OF THE MARKET SHARE. MANY COLLECTORS ARE VISITING ART FAIRS AS THEIR PRIMARY SOURCE WHEN BUILDING AND ADDING TO THEIR COLLECTIONS AND FREQUENT THE GALLERIES LESS AND LESS. AT THE SAME TIME, JENNIFER FLAY, ARTISTIC DIRECTOR OF FIAC, IN AN INTERVIEW IN THIS WEEK’S FINANCIAL TIMES,  POINTS OUT THAT ART WORLD INDIVIDUALS MAY SOON NEED TO RE-EVALUATE THEIR CARBON FOOTPRINT WHICH COULD POTENTIALLY BRING THE FOCUS OF THE MARKET BACK TO REGIONAL AND LOCAL SITUATIONS.

IN THIS CLIMATE OF ECONOMICAL, SOCIAL AND ENVIRONMENTAL CONCERNS, THE RESPONSIVE ART MARKET IS UNDERGOING A TRANSFORMATION IN ITS WAY OF DOING BUSINESS.

TODAY, WE WELCOME BACK MARIA BUENO, PARTNER AT CHEIM & READ, WHO HAS OPTED TO OPEN AN UPTOWN GALLERY FOCUSED ON CONNOISSEURSHIP, THE SECONDARY MARKET AND AN UNFLAGGING COMMITMENT TO THE BEST INTERESTS OF THE ARTIST.

https://www.cheimread.com

Frieze, New York, 2018
photo taken by Brian Buckley courtesy of Cheim & Read, New York

MARIA, WHAT ART FAIRS DOES CHEIM & READ PARTICIPATE IN, AND WHY?

Art Basel and Art Basel Miami Beach. The outstanding quality of the material on view brings in people who are important to us, from curators to collectors to museum patrons. We take these fairs very seriously and our presentations reflect that effort.

WE ARE IN A CHANGING AND VOLATILE ECONOMIC CLIMATE. HOW DO YOU THINK THAT WILL IMPACT ON THE CONTEMPORARY ART MARKET?

It is hard to predict but collectors will always find the resources to acquire a work of the highest quality no matter the circumstances. We strive to source and show work of this quality level so that collectors feel comfortable and confident in what we are showing and offering them. We have worked hard to establish a loyal client base which we hope will follow us into the next chapter of the gallery’s history.

WHAT IMPACT DO YOU THINK IT WILL HAVE ON THE GALLERY SYSTEM?  WHAT ARE THE DIFFERENCES IN REPRESENTATING ARTISTS NOW AND EVEN A FEW YEARS AGO SINCE SOME DEALERS HAVE NUMEROUS GLOBAL LOCATIONS?

Dealers will need to find innovative ways to continue doing business and make sure artists have the freedom and flexibility to make their work. Today it seems like everyone is vying for “worldwide exclusive representation” – these representation wars are tiring and not necessarily in the best interest of the artists. Why not have several dealers with whom you like and respect working for you? 

Ron Gorchov
Opening exhibit September 2019
Cheim & Read
23 East 67th St, New York

WHAT ARE THE GALLERY’S PLANS FOR THE FUTURE?

Our new gallery opened on September 26th with an exhibition of historical, never before exhibited paintings by Ron Gorchov. We plan to mount 3-4 exhibitions per year, most of which will have a historical focus and examine key periods in artists’ oeuvres. Catalogues and other publications will add to our commitment to original scholarship. We also plan to participate in select art fairs. We will continue to work directly with a number of artists whom we have had long relationships with and will continue to pursue meaningful projects on their behalf. We will also concentrate on private sales in the secondary market. This work is informed by our depth of knowledge developed by decades of connoisseurship and our extensive archive.

 

Lynda Benglis
Catalina
Museum of Cycladic Art Athens, November 2019

 

WHAT DO YOU THINK IS THE IMPACT OF OUR SOPHISTICATED AND EVER DEVELOPING TECHNOLOGY ON ARTISTS’ WORK?  WHICH ARTISTS EMBRACE THESE INNOVATIONS MOST SUCCESSFULLY?

While Cheim & Read has always had a particular interest in the traditional medium of painting, technology has been helpful in executing a sculptor’s concept in more ambitious scales. Lynda Benglis for example continues to push the boundaries of this medium and uses new technology with her foundries to create incredibly intricate and detailed works on monumental scales. It’s exciting for all of us to see come to life.

Lynda Benglis at The Cycladic Museum, November 22, 2019

“Lynda Benglis: In the Realm of the Senses” opens at the Museum of Cycladic Art, Athens. The exhibition curated by Dr. David Anfam is the first solo exhibitions for Benglis in Greece, a country that has great significance for Benglis aesthetically and culturally. 

THERE ARE CERTAINLY TRENDS IN COLLECTING, MORE THAN EVER, SINCE IMAGES AND ARTWORKS ARE ACCESSIBLE BECAUSE OF THE INTERNET, INTERNATIONAL ART FAIRS, AND THE GLOBAL MARKET.  HOW DO YOU DIFFERENTIATE WHAT IS A TREND THAT WILL RECEDE ALONG WITH THE MONETARY VALUE  FROM AN ARTIST THAT WILL CONTINUALLY COMMAND A PLACE IN THE MARKET WITH ONLY SLIGHT EBBS AND FLOWS ?

In most instances, you can only know these things with time. For us, we continue to show and support artists we believe in, no matter the trends. It is this steadfast commitment to a particular vision that I think differentiates us from other dealers. 

IN OUR NEXT LRFA BLOG, MARIA WILL SHARE HER PERSPECTIVE ON TRENDS IN THE ART MARKET AND THE CONTINUED FOCUS AND FUTURE OF CHEIM & READ.

PLEASE JOIN US!

A history of rich, scholarly and history-making exhibitions at Cheim and Read with Director Maria Bueno

Al Held
Black & White Paintings
Cheim & Read

CURATING AN EXHIBITION IS AN ART FORM IN AND OF ITSELF. THE CONCERNS ARE BOTH AESTHETIC AND PRACTICAL. A CURATOR HAS AN IDEA FOR AN EXHIBITION AND THEN STARTS TO EXPLORE THE ARTWORKS THAT WOULD BE THE FIRST CHOICES TO BEST ILLUSTRATE THE THEME. FROM A PRACTICAL POINT OF VIEW, IT IS LABOR-INTENSIVE IN TERMS OF CONVINCING THE LENDERS, BORROWING THE WORKS, EXECUTING THE LOAN AGREEMENTS, CHECKING THE CONDITION OF THE WORKS, TRANSPORTING THEM, THE INSURANCE, AND SO ON. FROM AN AESTHETIC PERSPECTIVE, THERE ARE WORKS THAT ARE ESSENTIAL CENTERPIECES OF THE EXHIBITION AND CURATORS MUST PLAN, A LONG TIME IN ADVANCE, TO ACQUIRE THEM FOR EXHIBITION.

Serpentine Pavilion

ONE OF THE MOST BRILLIANT MUSEUM CURATORS IS SUPERSTAR HANS ULRICH OBRIST, CURATOR OF THE UNIQUE SERPENTINE GALLERY IN LONDON,  WHO CONTRIBUTED THIS ARTICLE ON THE ART OF CURATION TO THE GUARDIAN IN MARCH 2014.

https://www.theguardian.com/artanddesign/2014/mar/23/hans-ulrich-obrist-art-curator

IT’S WORTH THINKING ABOUT THE ETYMOLOGY OF CURATING. IT COMES FROM THE LATIN WORD CURARE, MEANING TO TAKE CARE. IN ROMAN TIMES, IT MEANT TO TAKE CARE OF THE BATH HOUSES. IN MEDIEVAL TIMES, IT DESIGNATED THE PRIEST WHO CARED FOR SOULS. LATER, IN THE 18TH CENTURY, IT MEANT LOOKING AFTER COLLECTIONS OF ART AND ARTIFACTS.

THERE’S A HANGOVER OF ALL THOSE THINGS IN MODERN CURATING. WHEN I CURATED MY FIRST EXHIBITION – WHICH FOLLOWED DISCUSSIONS WITH THE ARTISTS PETER FISCHLI AND DAVID WEISS,  RICHARD WENTWORTH, CHRISTIAN BOLTANSKI AND HANS PETER FELDMANN,  IN THE KITCHEN OF MY APARTMENT IN ST. GALLEN, SWITZERLAND – I HAD A PRODUCTIVE MISUNDERSTANDING WITH MY PARENTS. THEY THOUGHT I WAS GOING INTO MEDICINE BECAUSE CURATING MEANS CARING. I DON’T THINK THEY THOUGHT IT WAS TO DO WITH ART.

TODAY, CURATING AS A PROFESSION MEANS AT LEAST FOUR THINGS. IT MEANS TO PRESERVE, IN THE SENSE OF SAFEGUARDING THE HERITAGE OF ART. IT MEANS TO BE THE SELECTOR OF NEW WORK. IT MEANS TO CONNECT TO ART HISTORY. AND IT MEANS DISPLAYING OR ARRANGING THE WORK. BUT IT’S MORE THAN THAT. BEFORE 1800, FEW PEOPLE WENT TO EXHIBITIONS. NOW HUNDREDS OF MILLIONS OF PEOPLE VISIT THEM EVERY YEAR. IT’S A MASS MEDIUM AND A RITUAL. 

IN THE GALLERY WORLD, CHEIM & READ IS KNOWN FOR ITS EXCEPTIONAL GALLERY EXHIBITIONS.

https://www.cheimread.com/

IN TODAY’S LRFA BLOG, GALLERY DIRECTOR MARIA BUENO, WILL SHARE A VERY SMALL SLICE OF THE GALLERY’S VERY RICH AND EXTENSIVE EXHIBITION HISTORY.

MARIA, WELCOME BACK!

Jack Pierson
Installation View
Cheim & Read

 

MANY OF THE ARTISTS THE GALLERY REPRESENTS HAVE BEEN WITH THE GALLERY SINCE ITS INAUGURATION IN 1997.  WHO ARE SOME OF THE ARTISTS THAT FALL IN THAT CATEGORY?

Lynda Benglis, Louise Bourgeois, Adam Fuss, Bill Jensen, Jonathan Lasker, Jack Pierson, and Juan Usle.

Lynda Benglis
Installation View
Cheim & Read

WHAT ARE SOME OF THE CRITERIA FOR CONSIDERING AN ARTIST’S REPRESENTATION? ARE THEIR SPECIFIC STEPS, AS IN TESTING THE WATERS WITH GROUP EXPOSURE, OR DOES IT DIFFER IN EACH INSTANCE?

It differs in each instance, but the most important component of considering representing an artist is that the artist’s work fits within John Cheim’s curatorial vision and also complements the artists whom we already work with – context is extremely important to us and it is important all of our artists’ work can have a meaningful dialogue when shown together. 

Jean-Michel Basquiat In Word Only Cheim & Read

WITH A TWENTY YEAR HISTORY, THIS BECOMES AN IMPOSSIBLE QUESTION BUT WHAT WOULD YOU CONSIDER SOME OF THE MOST OUTSTANDING SOLO EXHIBITIONS?

Impossible question, indeed! Some that come to mind are IN WORD ONLY by Jean Michel Basquiat, Joan Mitchell FRÉMICOURT PAINTINGS, Louise Bourgeois SUSPENSION, and Al Held’s BLACK AND WHITE PAINTINGS.

N.B. To coincide with two major retrospective exhibitions of Basquiat’s work at the Brooklyn Museum, New York and the Museo d’Arte Moderna, in Lugano, Switzerland, in 2005, Cheim & Read presented an exceptional exhibit entitled “In Word Only” that focused on the paintings, drawings and notebooks that celebrated the use of the written word and its significance.  This exhibition was the first to exclusively feature Basquiat’s unique and significant use of language.

The Female Gaze: Women Look At Women
Cheim & Read, 2009

WHAT DO YOU CONSIDER SOME OF THE MOST OUTSTANDING GROUP EXHIBITIONS?

The Female Gaze: Women Look At Women and its counterpart , The Female Gaze: Women Look at Men, Soutine and Modern Art: The New Landscape, The New Still Life and I Am As You Will Be: The Skeleton In Art.

N.B. THESE ARE JUST A VERY FEW EXAMPLES OF THE SCHOLARSHIP AND INTELLECTUAL RIGOR THAT CHEIM & READ HAS INVESTED IN A TWENTY YEAR PERIOD WHEN CURATING WORKS FOR AN EXHIBITION. THE EXHIBITS ARE ACCOMPANIED BY BEAUTIFULLY CONCEIVED CATALOGUES THAT INCLUDE AN ESSAY ON THE EXHIBITION AND IMAGES OF THE WORKS.

The Female Gaze: Women Look At Women
Cheim & Read 2009

THE FEMALE GAZE: WOMEN LOOK AT MEN

A prescient two part exhibition on the female form as seen through the eyes of women artists and men artists took place in September 2009 at Cheim and Read.

With
 this
 premise, 
the 
show  
sought
 to
 present
 a
 collection 
of 
works
 which
 reclaim
ed the
 traditional
 domination
 of
 the
 “male
 gaze”
 and
 reorient
ed the
 significance 
of
 the 
female
 figure 
to
 allow 
for
 more
 varied
 interpretations. A variety of mediums was included- sculpture, photography, video, painting and installation- and a rich and diverse group of women artists represented including Vanessa Beecroft, Lynda Benglis, Ellen Gallagher, Nan Golden, Roni Horn, and Joan Mitchell, to name a few. 

Wendy
Steiner, 
in 
her
 essay
 “Venus 
in 
Exile:
The
Rejection 
of
 Beauty in
Twentieth-Century
 Art”
 elaborates 
further:

The 
‘self’
 judging
 the 
beauty
 of 
art,
 for 
example,
 is 
a
 perceiver
 and
 hence 
a 
conscious
 subject,
 whereas 
the
‘ Other’ 
is
 merely
 the 
object
 of 
this 
perception. 
If
 the 
Other 
is 
an
artwork, 
it
 is 
inanimate
 by 
definition;
 many 
people 
would
 argue 
that 
the
 perception
 of
 a
 woman 
(or 
man 
or
 child)
 as
 beautiful
 reduces
 her 
to 
the 
status 
of 
a
 thing 
as
 well.
Indeed,
 in 
the
 perennial
 symbolism
 surrounding
 beauty,
 the 
perceiver 
(the
 self)
 is
 active 
and
 ‘hence’
 male,
 and 
the 
artwork
 or
 woman 
(the
Other)
 is
 passive
 ( to-be-seen )
 and 
‘therefore’ 
female.

This
 exhibition 
attempts 
to 
debunk
 the
 notion
 of 
the
 male 
gaze 
by
 providing 
a
 group
 of
 works 
in 
which 
the
 artist 
and
 subject
 do
 not
 relate
  as
“voyeur”
and
“object,”
 but
 as
woman
 and 
woman.
 It
 would 
be 
interesting 
to
 ask 
the 
question
 how
 we
 would 
feel
 about
  the 
works 
in
 the
 exhibition 
if
 we
 were
 told
  they 
were
 made
 by 
a
 man.

Soutine and Modern Art: The New Landscape, The New Still Life
Cheim & Read

DO YOU INVITE GUEST CURATORS OR DOES THE THEMATIC IDEA FOR AN EXHIBIT REST WITH HOWARD AND/OR JOHN OR WITH THE GALLERY STAFF AS A GROUP?

The majority of our exhibitions are conceived and curated by John Cheim but on occasion we do invite artists like Jack Pierson to curate exhibitions. We have also had independent curators like Raphael Rubinstein curate exhibitions such REINVENTING ABSTRACTION which focused on New York abstraction in the 1980s as practiced by a generation of painters born between 1939 and 1949.

IN OUR NEXT LRFA BLOG POST, MARIA GIVES HER ASTUTE PERSPECTIVE ON THE PLACE OF ART FAIRS IN THE CURRENT MARKET.

UNTIL THEN!

The artist/gallerist relationship at Cheim & Read with director Maria Bueno

CHEIM & READ
23 East 67th Street

CHEIM & READ GALLERY HAS ALWAYS BEEN PRESCIENT ABOUT THE FUTURE OF THE ART MARKET. IN 2018, AT A PANEL AT ART BASEL MIAMI BEACH, CO-FOUNDER HOWARD READ,  AT “THE FUTURE OF THE ARTIST AND GALLERIST RELATIONSHIP” DISCUSSION, ANNOUNCED THE GALLERY’S PLANS TO OPEN ON THE UPPER EAST SIDE, AND LEADING THE WAY TOWARDS A NEW MODEL OF GALLERIES THAT IS MORE PROGRESSIVE. WHILE CONTINUING TO DEAL ON THE PRIMARY MARKET, WORKING DIRECTLY WITH ARTISTS IN RELATIONSHIPS THAT CHEIM & READ HAS LOVINGLY CULTIVATED OVER THE YEARS, THE GALLERY WILL CREATE  A MORE FLEXIBLE INFRASTRUCTURE, FOCUSING ON THE SECONDARY MARKET, COMMISSIONS, AND TARGETED ART FAIRS.

Art Basel Miami Beach
Conversations 2018
Howard Read

http://www.artnews.com/2018/12/07/dealer-howard-read-announces-new-art-commissions-farewell-castelli-model-business/

MARIA BUENO, DIRECTOR AT CHEIM & READ, CELEBRATES HER 10TH ANNIVERSARY AT THE GALLERY AND SHARES WITH THE LRFA BLOG THE GALLERY’S ENORMOUS RESPECT FOR ITS ARTISTS, AND SENSITIVITY TO THE ARTIST/GALLERIST RELATIONSHIP.

MARIA, WELCOME BACK AND THANK YOU FOR YOUR CONTRIBUTION TO THE LRFA BLOG.

WHAT WERE THE SUBSEQUENT STEPS THAT LED YOU TO CHEIM AND READ?

I graduated college, moved to Europe for a year (and worked for a gallery in Barcelona), and then came back and worked for Phillips in their contemporary art department. I started there as an administrator, then a junior specialist, and although I enjoyed the educational component of learning about new artists as well as the evening sales adrenaline rush, I missed the connection to working directly with artists. I kept in touch with Cheim & Read and when the timing was finally right, joined them in 2010.

Al Held
The Yellow X

HOW LONG HAVE YOU BEEN WITH THE GALLERY AND WHAT IS ITS BUSINESS STRUCTURE?

Next year will be my 10th year anniversary with Cheim & Read. It has been an honor and a privilege to work with John Cheim and Howard Read. They encouraged me to find my own identity and style as a dealer, supported projects or initiatives I thought would be beneficial to the gallery, and entrusted me to form my own relationships with the artists they so carefully cultivated over their careers.

For over two decades, Cheim & Read represented over twenty artists and estates and most of our focus was building and supporting these artists on the primary market. We also had a strong presence in the secondary market with artists with whom we had an interest or particular expertise. In June of 2018, we announced that we would be relocating from Chelsea to a more intimate gallery on the Upper East Side and shifting our business model to one that is more nimble, flexible, and in line with John Cheim and Howard Read’s interest in pursuing projects and working with artists they are truly passionate about.

Serge Poliakoff
Bleu Rouge
1951

DO YOU HAVE WORKING RELATIONSHIPS WITH SPECIFIC ARTISTS OR IS YOUR FOCUS PRIMARILY IN THE SALE OF WORKS FOR ALL THE ARTISTS THE GALLERY REPRESENTS?

We have a very organic approach to working with artists – there is no such thing as an “artist’s liaison” at Cheim & Read. John and Howard have their longstanding relationships with our artists and I support their efforts by developing my own relationships so that we can best service the needs of the artists on an individual basis. It has a family-like quality that I think is rare for galleries in the present day and has served us well throughout the gallery’s history.

Milton Resnick
Board Painting
courtesy of Cheim & Read

WHAT ARE THE WAYS IN WHICH A GALLERY BEST REPRESENTS AN ESTATE? IS THE EMPHASIS ON PLACING WORKS IN COLLECTIONS OR MUSEUMS OR IN ARRANGING MUSEUM EXHIBITIONS ON AN INTERNATIONAL BASIS?

Our strategy is to first mount exhibitions of important but perhaps overlooked periods in an artist’s career. The goal here is to expose curators, collectors, and the general public to a body of work that perhaps has not been seen in many years or has not been explored in further depth.

Notable examples of this are Al Held’s Alphabet Paintings (2013), Hans Hartung’s late paintings (2010), the work of Serge Poliakoff (2016), and the Board paintings of Milton Resnick (2018). These exhibitions are accompanied by scholarly publications with writing from curators or critics that helps to reframe this work a contemporary context. These efforts usually begin important conversations with museums to acquire works for their collection and/or mount their own presentation of the artist. We also establish more in depth strategies with each estate to feature works at art fair presentations or other exhibition or project opportunities, undertake outreach efforts to institutions and foundations to feature and/or acquire works, create and/or help organize an estate’s archive, and much more.

Hans Hartung
The Last Paintings 1989
Cheim & Read exhibition

IN OUR NEXT LRFA BLOG WITH MARIA BUENO, DIRECTOR OF CHEIM & READ, WE WILL EXPLORE JUST A LITTLE OF THE GALLERY’S VERY RICH HISTORY.

VISIT CHEIM & READ’S NEW UPTOWN SPACE, AT 23 EAST 67TH STREET, AND ITS EXUBERANT INAUGURAL EXHIBITION CELEBRATING THE WORK OF RON GORCHOV.

https://www.cheimread.com/

 

Cheim & Read, launching its new gallery space, with Director Maria Bueno

Maria Bueno
Director
Cheim & Read

CHEIM & READ ENJOYS A LONG AND RESPECTED HISTORY IN THE GALLERY WORLD. IT WAS FOUNDED IN 1997 BY JOHN CHEIM AND HOWARD READ, PREVIOUSLY DIRECTORS AT THE LEGENDARY ROBERT MILLER GALLERY. SINCE ITS INCEPTION, THE GALLERY HAS REPRESENTED A DISTINGUISHED ROSTER OF CONTEMPORARY ARTISTS AND ARTISTS’ ESTATES, EMBRACING A VARIETY OF ARTISTIC PRACTICES, INCLUDING PAINTING AND SCULPTURE, PHOTOGRAPHY AND VIDEO. IN JUNE 2018, THE GALLERY ANNOUNCED ITS DECISION TO TRANSITION TO A MORE PRIVATE ARENA, REPRESENTING ARTISTS WITH WHOM THEY HAVE HAD A LONG ASSOCIATION AS WELL AS CONCENTRATING ON THE SECONDARY MARKET, SCULPTURE COMMISSIONS AND SPECIAL PROJECTS.

IT IS WITH GREAT PLEASURE THAT THE LRFA BLOG INTRODUCES MARIA BUENO, PARTNER AND DIRECTOR OF CHEIM & READ, TO SHARE ITS DISTINGUISHED HISTORY AND  EXCITING FUTURE WITH US.

ON SEPTEMBER 26th, CHEIM & READ WILL INAUGURATE ITS NEW GALLERY SPACE AT 23 EAST 67th STREET ON THE UPPER EAST SIDE WHILE MAINTAINING A DOWNTOWN VIEWING SPACE IN CHELSEA ON 26th STREET.

https://www.cheimread.com/

 

Ron Gorchov
Logic
1982-1983

THE GALLERY WILL OPEN WITH A PRESENTATION OF RON GORCHOV’S PAINTINGS FROM 1979 TO 1983. AS EARLY AS 1967, GORCHOV DEVELOPED PAINTINGS WITH CURVED SURFACES, A PRACTICE THAT PLACED HIS WORK AT A CRUCIAL INTERSECTION BETWEEN PAINTING AND SCULPTURE. THE WORKS THAT WILL LAUNCH CHEIM & READ’S NEW SPACE ARE EMBLEMATIC OF A PERIOD IN CONTEMPORARY ART  WHEN THE RELEVANCE OF PAINTING WAS BEING QUESTIONED. THESE ARE LANDMARK WORKS THAT INFLUENCED THE GENERATION OF ARTISTS THAT FOLLOWED AND A BRILLIANT CHOICE FOR THE OPENING AS THE EXHIBITION REPRESENTS THE  KIND OF HISTORICALLY SIGNIFICANT WORK THAT CHARACTERIZES CHEIM & READ’S TWENTY YEAR COMMITMENT TO REPRESENTING IMPORTANT AND HIGHLY INFLUENTIAL MODERN AND CONTEMPORARY ARTISTS.

Ron Gorchov
Installation

MARIA, WELCOME!  THANK YOU FOR TAKING TIME DURING WHAT MUST HAVE BEEN AN EXTREMELY INTENSIVE SUMMER TO CONTRIBUTE TO THE LRFA BLOG.

HAVE YOU ALWAYS BEEN INTERESTED IN ART? WERE YOUR PARENTS COLLECTORS OR DID YOU THINK ABOUT BEING AN ARTIST YOURSELF?

I like to think I was interested in art from a young age. My parents were in medicine and somewhat removed from the art world but we traveled often and my mother made it a point to visit museums in every city we visited. I remember being astonished as a child at the vast quantity of objects at the Met in New York, spending hours engrossed in American paintings at the National Gallery in DC, and then particularly enthralled on my first trip to Rome as a teenager. I felt a very strong personal connection to this city’s incredible history through its artistic heritage and at that moment knew I wanted to be involved in art in whatever way I could. I dabbled in making art as a student but felt passionately about supporting artists in their endeavors and felt I could make a more meaningful impact in this way.

Jennie Holzer
Guggenheim Bilbao

WHAT STEPS DID YOU TAKE ACADEMICALLY TO FURTHER YOUR INTEREST IN THE FIELD OF ART?

As a matter of practicality, I studied at the Stern School of Business at NYU but was fortunate to have an advisor there who supported my interest in art. I was able to take as many art history classes as I had time for. Through Stern, I was also a researcher for Michael Moses who founded the Mei Moses Price Index (now owned by Sotheby’s). This was an important introduction to the art market and helped me to learn about the market and trends in a very specialized way.  I also  studied abroad in Madrid and Florence and took mostly art history and language courses there – one especially enthralling class was Masterpieces of the Prado where the class was held in different parts of the museum to look at and discuss artists like Goya and Picasso, who of course have highly influenced the contemporary artistic canon. 

Louise Bourgeois
Couple
Song Art Museum, Beijing

WHAT IS YOUR PROFESSIONAL HISTORY?  YOUR FIRST JOB IN THE ART WORLD?

At that time, I learned that without some kind of personal connection, it is hard to break into the art world unless you want to work for free – thankfully, this is starting to change now. I was eager to work anywhere that would have me and landed a job at a now defunct but important American paintings gallery called Alexander Gallery which was on Madison Avenue just across the street from what is now the Met Breuer. Alexander Acevedo was a larger than life persona with incredible taste and I would often stumble upon unexpected objects like Picasso drawings in his storage room – I was floored by these kind of discoveries and wanted to absorb everything I could about running a gallery. I also interned for Marian Goodman in the archive department, worked for a corporate art advisor, an artist on the Lower East Side, a Tribeca print dealer, and most importantly in my junior and senior year of college, Cheim & Read.

Sean Scully
Wadsworth Atheneum

WHAT A WONDERFUL RANGE OF EXPERIENCE YOU CULLEd FROM WORKING WITH SUCH DISTINGUISHED GALLERIES AND A BROAD KNOWLEDGE OF ART SPANNING BOTH AMERICAN AND EUROPEAN MODERN AND CONTEMPORARY ART.

IN OUR NEXT LRFA BLOG POST, MARIA WILL INFORM US ABOUT THE  FURTHER STEPS THAT LED HER TO HER CAREER AT CHEIM & READ, WHERE SHE IS NOW DIRECTOR OF THE GALLERY.

PLEASE JOIN US!

 

 

Jennifer Brown, respected friend and expert on Diversity and Inclusion, is offering a six week on-line course

To Friends, Colleagues and Followers,

You are probably already aware that there is a growing need for businesses and personnel to pay attention to diversity and inclusion.

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I’d like to introduce you to my friend and esteemed colleague, Jennifer Brown. Jennifer Brown is an award-winning entrepreneur, speaker, diversity and inclusion consultant, and author. She is the successful founder, president, and CEO of Jennifer Brown Consulting and bestselling author of Inclusion: Diversity, The New Workplace and The Will to Change and her new book, How To Be An Inclusive Leader: Your Role in Creating Cultures of Belonging Where Everyone Can Thrive.

Jennifer Brown Consulting has made it their mission to help companies create a culture of belonging in which everyone can thrive. This means having an acute attention to diversity and inclusion at all levels of every business. It requires us to be in the know. The time is now to expand this knowledge base.

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The first step is to click here to learn more about DEI Foundations. The next course session begins October 1, 2019.  Enter the Coupon code INCLUSION345 to get $100 off to the course when you enroll.  As an extra incentive, I am donating my compensation for each individual who signs up using my coupon number to STRONGER FOR LIFE, the documentary on Ilaria Montagnani, founder of Powerstrike, international athlete and breast cancer survivor.

I am a huge believer in the importance of DEI and feel it is important to expose you to this important global initiative. Whether you are a corporate manager, independent coach, or interested in beginning the journey to become a professional DEI practitioner, you can expect to come away with a robust set of tools that can be integrated into your duties and goals.

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