Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

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

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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

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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!

Gagosian Shop opens in Paris with grand eclat, thanks to rare book specialist Doug Flamm.

Doug Flamm
Gagosian Gallery

“Blue…is beyond dimensions, whereas the other colors are not. All colors arouse specific ideas, while blue suggests at most the sea and the sky; and they, after all, are in actual, visible nature what is most abstract.”

Yves Klein

Yves Klein
Anthropometries

ONE OF THE MOST INNOVATIVE AND BRILLIANT ARTISTS OF ANY TIME IS YVES KLEIN (1928-1962). ALTHOUGH HE DIED AT THE VERY YOUNG AGE OF 34, HIS UNIQUE ICONOCLASTIC ATTITUDE CONTINUES TO BE AN INFLUENCE TODAY. IN 1957, KLEIN ENTERED HIS BLUE PERIOD. HE BEGAN USING NUDE MODELS AS “LIVING PAINTBRUSHES”, COVERING THEM IN PAINT AND DRAGGING AND PRESSING THEIR BODIES ACROSS PAPER AND CANVAS. IN 1960, HE PATENTED INTERNATIONAL KLEIN BLUE, A COLOR HE CREATED WITH THE HELP OF A CHEMIST, A PIGMENT HE APPLIED TO SPONGES ATTACHED TO CANVAS AS RELIEF ELEMENTS OR POSITIONED ON WIRE STANDS TO CREATE BIOMORPHIC SCULPTURES. HE CLAIMED THAT KLEIN BLUE WAS THE PHYSICAL MANIFESTATION OF COSMIC ENERGY. WHETHER HE TRULY BELIEVED IN THE MYSTICAL CAPACITY OF THE ARTIST TO CREATE AESTHETIC EXPERIENCES OUT OF THIN AIR OR WAS A SUBLIME COMMENTATOR ON THE METAPHYSICAL INCLINATIONS OF MANY MODERN PAINTERS, REMAINS A QUESTION TODAY.

Yves Klein sponge
Collection, Guggenheim Museum

 

IN OCTOBER 2018, DOUG FLAMM, RARE BOOK SPECIALIST AT GAGOSIAN GALLERY, OPENED A SECOND VENUE FOR THE WONDERFUL GAGOSIAN SHOP LOCATED IN NEW YORK AT 976 MADISON AVENUE (ACROSS FROM THE CARLYLE HOTEL) IN PARIS, IN THE EIGHTH ARRONDISSEMENT AT 6 RUE DE PONTHIEU, NEXT TO THE GAGOSIAN GALLERY PARIS.

Gagosian Shop, Paris
YVES KLEIN: By the Book
October 12 – December 22, 2018

THE FIRST EXHIBITION IS DEDICATED TO YVES KLEIN, ENTITLED YVES KLEIN: BY THE BOOK, AS A TRIBUTE TO CELEBRATE WHAT WOULD HAVE BEEN HIS NINETIETH BIRTHDAY. THE SHOP TAKEOVER INCLUDES RARE BOOKS AND EPHEMERA. IN VARIOUS WAYS, THESE PRINTED WORKS SUCH AS Dimanche 27 novembre 1960 “Le journal d’un seul jour” (1960)  AND Les Fondements du Judo (1954), HELPED KLEIN TO ARTICULATE HIS IDEAS TO A BROADER AUDIENCE. SIGNIFICANT NEW AND OUT-OF-PRINT MONOGRAPHS AND EXHIBITION CATALOGUES ARE ALSO AVAILABLE.

https://www.gagosianshop.com/shop/paris

Dimanche 27 Novembre 1960

 

IF PARIS SEEMS TOO FAR AWAY, VISIT DOUG HERE IN NEW YORK TO SEE WHAT WONDERFUL YVES KLEIN BOOKS AND MEMORABILIA HE CAN RECOMMEND FOR THIS HOLIDAY GIFT-GIVING TO SOMEONE VERY SPECIAL OR AS A RARE AND EXQUISITE ADDITION TO YOUR OWN ART LIBRARY.

Gagosian Shop, Paris
YVES KLEIN: By the Book
October 12 -December 22, 2018

 

Snow is in the air– time to head to Gagosian to chat with the gallery’s rare book specialist, Doug Flamm

Doug Flamm
Rare Book Specialist
Gagosian Gallery

ONE OF MY FAVORITE PASTIMES AS THE HOLIDAYS APPROACH IS THE EXCUSE TO VISIT WITH DOUG FLAMM, RARE BOOK SPECIALIST AT GAGOSIAN GALLERY, TO SEE WHAT TREASURES HE HAS AND BENEFIT FROM HIS EXPERT ADVICE AND INTUITION ABOUT THE PERFECT GIFTS FOR CLIENTS AND FRIENDS.

Bill Katz and Adam Weinberg

HERE’S THE FIRST TEASER- SOMEONE UNFAMILIAR TO THE LRFA BLOG- WILLIAM KATZ, BUT NO LONGER, THANKS TO DOUG.

Katz’s name may be unknown to the general public, but for decades he has served as designer, architect and aesthetic consigliere to many of the world’s creative heavyweights—particularly A-list artists such as Anselm Kiefer, Cy Twombly and Jasper Johns. Although these aren’t generally the kind of people who seek out second opinions about how things should look, they all rely on Katz as their secret weapon. When Kiefer saw a run-down 17th-century hôtel particulier for sale in Paris’s Marais neighborhood, he flew Katz in from New York to help decide whether the space could be transformed into his new home and studio. Recently completed and already legendary in art-world circles, the compound now takes up 60,000 square feet of central Paris real estate, including three underground floors that stretch almost an entire city block.

William Katz

Like his designs, Katz’s career path evinces a deceptive simplicity: You don’t immediately see the effort and ambition behind it. While an undergrad at Johns Hopkins University in the Sixties, Katz was staggered by a Baltimore production of Edward Albee’s The Zoo Story. He found Albee’s address and convinced him to guest-lecture at Hopkins. Afterward, “Edward said, ‘If you’re ever in New York, come visit,’” he recalls. Katz managed to squeeze it into his schedule a week later.

After graduating, Katz moved to Manhattan, where he quickly zeroed in on some of the city’s most interesting people—Robert Indiana, Marisol, Andy Warhol—and made himself indispensable. “I wasn’t sure what I wanted to do,” he recalls. “So I would work in the studio, stretch canvases, run errands.”

Phillips de Pury
London Headquarters 2008
raw space

In 2008, Katz was commissioned to design the much-buzzed-about new European headquarters of auction house Phillips de Pury & Company, in an old mail-sorting depot on Howick Place in London.

https://www.wmagazine.com/story/bill-katz

Robert Indiana
LOVE

BILL KATZ WORKED AS ROBERT INDIANA’S STUDIO ASSISTANT AND WAS INSTRUMENTAL IN THE CONCEPTION OF INDIANA’S ICONIC LOVE SCULPTURE.

Bill Katz, interior designer and architect, and Indiana’s assistant at the time: I was helping in the studio while Bob was painting his “LOVE Show” for the Stable Gallery. Mostly doing very menial things. But at one point when he was thinking about making LOVE in two panels inside a box, I suggested it might be better in three dimensions outside the box. He said, “Why don’t you make something to see what it might look like?” I made a version in papier-mâché. It gave Bob the idea to have a sculpture carved out of solid aluminum, which was in the exhibition in 1966.

Stamped Indelibly Edited and Published by William Katz

AT GAGOSIAN GALLERY BOOKSTORE AT 976 MADISON ACROSS FROM THE CARLYLE HOTEL, THIS WONDERFUL PORTFOLIO, STAMPED INDELIBLY, EDITED AND PUBLISHED BY WILLIAM KATZ, OFFERS A POP ART RARITY AND DOCUMENTS BILL KATZ’S OWN WIT AND STYLE IS ON DISPLAY.

Robert Creeley
Stamped Indelibly
Edited and published by William Katz

William Katz

Stamped Indelibly

Edited by William Katz

Collection of 15 rubber stamp prints by Robert Creeley, Tom Wesselmann, Red Grooms & Kenneth Koch, Marisol, Robert Indiana, Josef Levi, Gerard Malanga, Allen Jones, Andy Warhol, Peter Saul, Claes Oldenburg, Allen Ginsberg and John Willenbecher.

11 1/2 x 9 7/8 inches (29.2 x 25.1 cm)

Edition of 225

$14,000

The playful and intriguing Stamped Indelibly is a limited-edition bound portfolio of rubber stamp prints by Andy Warhol, Tom Wesselmann, and other leading 1960s Pop artists. The fifteen prints are tipped-in to a linen bound book and signed by each artist with the exception of Red Grooms, while the Warhol print features the artist’s iconic rubber stamp signature. This Pop art rarity was edited and published by William Katz in 1967 in an edition of 225 and originally sold through Multiples, Inc.

Andy Warhol
Stamped Indelibly
Edited and published by William Katz

APAA: best practices now and in the future

APAA

THE ASSOCIATION OF PROFESSIONAL ART ADVISORS IS UNIQUE IN OFFERING A FORMAL REGULATORY BODY OF RULES FOR THEIR MEMBERS. THIS CODE OF ETHICS MAINTAINS THAT FIRST AND FOREMOST, AN ADVISOR SHOULD SERVE THE NEEDS OF THE CLIENT, NOT HOLD INVENTORY, OR ACCEPT ADDITIONAL COMPENSATION THAT COULD CREATE A CONFLICT OF INTEREST.
ON A PRACTICAL NOTE, THE EXPERIENCE AND EXPERTISE AN ADVISOR CAN DEMONSTRATE IN THE DAILY REQUIREMENTS OF THE JOB (SHIPPING, INSURANCE, FRAMING, CONSERVATION, ETC.)  REASSURE A CLIENT THAT THE ADVISOR KNOWS WHAT HE OR SHE IS DOING WITH THE DETAILS AS WELL AS THE BIGGER PICTURE OF THE MARKET, AUCTION AND BIDDING.  APAA PROVIDES A PHENOMENAL SUPPORT SYTEM, SENDING NEARLY DAILY EMAILS REQUESTING AND GIVING RECOMMENDATIONS OF SPECIALISTS IN THE ART WORLD’S FROM AROUND THE WORLD.
TODAY, WE WELCOME BACK WENDY CROMWELL, BOARD MEMBER OF APAA, FOUNDER AND PRINCIPAL OF CROMWELL ART, LLC. TO SPEAK ON THIS AND THE FUTURE OF APAA.

WENDY, HOW DOES THE APAA PROVIDE INFORMATION ON THE SERVICE INDUSTRY THAT IS CRUCIAL TO THE ROLE OF THE ART ADVISOR? WHAT ARE SOME CATEGORIES OF INFORMATION THAT ARE AVAILABLE?

One of the great aspects of membership is our ability to tap into each other’s expertise. If you need an installer in Shanghai or a framer in Dubai, an APAA member will have a suggestion for you. These contacts and resources – appraisers, framers, installers, insurance experts, lighting specialists, photographers, shipping/storage experts – are part of a database maintained by APAA that is accessible to APAA members.

APAA PROVIDES A CONNECTION TO BUSINESS THAT PROVIDE RESOURCES THAT ARE VITAL TO THE ART COMMUNITY, SUCH AS LICENSED APPRAISALS, MARKETING, LIGHTING, TRANSPORT AND STORAGE. HOW DID THIS LIST EVOLVE AND WHAT ARE THE CRITERIA FOR BEING INCLUDED?

APAA Affiliate members are industry experts who are recommended by current APAA members.  The criteria for Affiliates is similar to those for advisors – everyone has at least 10 years’ experience in the field.

APAA IS PREDOMINANTLY AMERICAN IN MEMBERSHIP BUT WHAT OTHER COUNTRIES ARE REPRESENTED AND WHAT ARE YOUR PLANS TO EXPAND THE MEMBERSHIP NOW THAT WE ARE LIVING IN A GLOBALIZED ART MARKET?

Many of APAA’s US members have been working internationally for decades. Over time, the business practices of our colleagues worldwide have begun to reflect APAA’s code of ethics and best practices, and there are a growing number of APAA members in London, Paris, the Netherlands and Switzerland.  We hope to see more growth in Asia and the Pacific Rim in the coming years.

WHAT ARE SOME OF YOUR FUTURE PLANS FOR APAA IN GENERAL AND FOR PANEL DISCUSSIONS, MEMBERSHIP EVENTS?

Technology makes it possible for APAA members to be in regular communication, but the opportunity to meet in person is always energizing. Our annual meeting is coming up on May 1, and we recently toured the Rockefeller collection at Christie’s in advance of those sales.  We’ll also focus on member programs in Atlanta, Boston, Chicago, London, Los Angeles, San Francisco, Seattle, and Washington DC. The goal is to provide timely, smart information that supports APAA members in their work, and helps spread the philosophy of connoisseurship and best practices to the art field at large.

WENDY, AND THE TEAM AT APAA, THIS COULD NOT HAVE BEEN MORE INFORMATIVE OR BETTER RECEIVED. THE LRFA BLOG THANKS YOU FOR YOUR CONTRIBUTION AND SUPPORT!

APAA advisors read the art market’s ebb and flow with insight and accuracy

Association of Professional Art Advisors

IN A RECENT ARTICLE IN ARTnet NEWS ENTITLED “AFTER A LONG SLEEP, THE MARKET WOKE UP”, GUNTHER FORG’S CAREER IS ANALYZED IN DEPTH TO ILLUSTRATE AN EXCELLENT EXAMPLE OF A GENERATION OF ABSTRACT ARTISTS THAT HAD BEEN FORGOTTEN AND NOW ENJOY A RENEWED INTEREST IN PAINTINGS THAT SYNTHESIZE BOTH THE TRADITIONS OF ABSTRACT EXPRESSIONISM AND MINIMALISM. THE MARKET FOR GUNTHER FORG’S WORK HAS BENEFITED ENORMOUSLY SINCE HAUSER & WIRTH NOW REPRESENTS THE ARTIST’S ESTATE AND PLANS MAJOR EXHIBITIONS BOTH IN THEIR NEW YORK AND HONG KONG GALLERY AND THANKS TO A TRAVELING RETROSPECTIVE “A FRAGILE BEAUTY”, ORGANIZED BY AMSTERDAM’S PRESTIGIOUS STEDELIJK MUSEUM IN CONJUNCTION WITH THE DALLAS MUSEUM OF ART (ON VIEW THROUGH JANUARY 2019).

Gunther Forg

HOW DOES A COLLECTOR EVALUATE THIS SPIKE IN FORG’S MARKET WHEN CONSIDERING AN ACQUISITION OF A WORK? WITH THE HELP OF AN ADVISOR MEMBER OF APAA WHO CAN DETERMINE WHETHER THIS IS A TEMPORARY TREND OR A MORE LASTING SHIFT.

Wendy Cromwell
Cromwell Art LLC

IN THE ARTnet ARTICLE PUBLISHED ON NOVEMBER 1st, THE AUTHOR TURNS TO THE EXPERTISE OF WENDY CROMWELL OF CROMWELL LLC, BOARD MEMBER OF APAA:

All Boats Rise With a Rising Tide

Some say the mercurial rise in Förg’s market has less to do with the artist himself and more to do with the market at large, which has expanded and developed an infatuation with overlooked estates over the past five years. 

“The market loves estates of good artists with a ton of available material,” art advisor Wendy Cromwell said. “The period between 2013 and the present has been one of unprecedented growth in the art market. There is so much demand and so little inventory. That is why his work became so widely known all of a sudden—after a long sleep, it woke up.”

Even though European audiences may be familiar with the German post-modernist’s work, the advisor contends that he remains underexposed in America—not to mention Asia and further afield. But with the Dallas show underway and Hauser & Wirth’s shows in the works for 2019, a proper contextualization of his broad oeuvre could take him to the next level in the international market.

“A well-curated [museum] show, when it’s good, typically does stimulate growth in the market and I do anticipate that,” Cromwell said.

 https://news.artnet.com/market/gunther-forg-market-1371922 

APAA
Art Fair

ANOTHER APAA CONTRIBUTION TO THE UNDERSTANDING OF THE MARKET FOCUES ON THE REVOCATION OF THE 1031 EXCHANGE LAW. DIANA WIERBICKI, WHO HEADS THE ART AND TAXATION LEGAL DEPARTMENT AT WITHERS BERGMAN, WHOSE KNOWLEDGE AND COMMITMENT TO THE FIELD IS RENOWNED, ENGAGES IN A DIALOGUE WITH ART ADVISOR EXTRAORDINAIRE, AND APAA MEMBER, TODD LEVIN, WHO TAKES A MORE CONSERVATIVE VIEW,  IN THEIR DISCUSSION OF THE RECENT TIMES ARTICLE.

Ms. Wierbicki thinks the reform will affect some collectors’ willingness to sell. “It depends on the age of the collector,” said Ms. Wierbicki. “The older generation is going to be more thoughtful,” she added. Collectors whose artworks have soared in value may want to pass them onto family members, rather than face a capital gains bill of 28 percent, she said.

As for younger collectors, “this higher expense of getting out may make them think about investing in other markets,” said Ms. Wierbicki.

Others with expertise in the art market point out that the 1031 exchange was only used by relatively few ultra-wealthy collectors who were regular sellers as well as buyers.

“They’re a small subset,” said Todd Levin, an art adviser based in New York. “They’re not the whole art market, and we’re only talking about America. But the effect won’t be negligible.”

Todd Levin
Levin Art Group

https://www.nytimes.com/2018/09/14/arts/design/art-1031-exchanges-guarantees.html

NB

IRC SECTION 1031

Thanks to IRC Section 1031, a properly structured 1031 exchange allows an investor to sell a property, to reinvest the proceeds in a new property and to defer all capital gain taxes. IRC Section 1031 (a)(1) states:

“No gain or loss shall be recognized on the exchange of real property held for productive use in a trade or business or for investment, if such real property is exchanged solely for real property of like-kind which is to be held either for productive use in a trade or business or for investment.”

As the above example demonstrates, tax-deferred exchanges allow investors to defer capital gain taxes as well as facilitate significant portfolio growth and increased return on investment. In order to access the full potential of these benefits, it is crucial to have a comprehensive knowledge of the exchange process and the Section 1031 code.

TUNE IN NEXT TIME WHEN THE LRFA BLOG CONTINUES TO SHARE THE EXCEPTIONAL RANGE OF SERVICES THAT APAA MEMBERS PROVIDE.

UNTIL THEN, ENJOY THE AUCTIONS!