leslierankow

Contemporary and Modern Art Advisory Service

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On the Cutting Edge: Contemporary Print editions at Pace Prints

Pace Prints
IFPDA Fair
Park Avenue Armory

IN 2009, THE INTERNATIONAL FINE PRINT DEALERS ASSOCIATION ESTABLISHED A FOUNDATION TO INSPIRE AND SUSTAIN A KNOWLEDGE AND CONNOISSEURSHIP OF FINE PRINTS FOR  A NEW GENERATION OF COLLECTORS, CURATORS AND ARTISTS. THE ASSOCIATION ITSELF, IFPDA, A NON-PROFIT DEDICATED TO THE APPRECIATION OF PRINTS AS WORKS OF FINE ART, INCLUDES AN INTERNATIONAL COMMUNITY OF DEALERS FROM OLD MASTER TO CONTEMPORARY AND PUBLISHERS OF INTERNATIONALLY RECOGNIZED CONTEMPORARY ARTISTS.  THE IFPDA FAIR, HELD ANNUALLY AT NEW YORK’S PARK AVENUE ARMORY, HAS LONG BEEN CELEBRATED FOR THE QUALITY OF ITS EXHIBITORS AND RANGE OF FIRST-TIER PRINTS.

Much like sculpture, a print is an original work of art that can exist as a multiple, rather than a copy of a work in another medium.

http://www.ifpda.org/about

How & Nosm at Pace Prints workshop

IT IS NO SURPRISE THAT PACE PRINTS WAS ONE OF THE FOUNDING MEMBERS OF IPFDA. WITHOUT EXCEPTION, THE PRINTS EXHIBITED AND PUBLISHED AT PACE CHAMPION THE INNOVATIVE CREATIVITY THAT ARTISTS REALIZE WHEN COLLABORATING WITH A MASTER PRINTER AND EXPLORING WORKING THIS MEDIUM.

TODAY, IT IS A PLEASURE FOR THE LRFA BLOG TO CONTINUE OUR CONVERSATION WITH PACE PRINTS’ GALLERY DIRECTOR, JEFF BERGMAN, ON CURRENT EDITIONS AND ART FAIRS IN WHICH PACE PARTICIPATES.

http://paceprints.com/about

JEFF, WELCOME BACK!

WHO ARE SOME OF THE ARTISTS THAT HAVE RECENTLY BEEN INVITED TO PUBLISH EDITIONS WITH PACE? WHAT ARE THE CRITERIA OF THE GALLERY TO INVITE AN ARTIST TO PUBLISH?

In the last year we have worked with Chuck Close, Leonardo Drew, Daniel Heidkamp, Jenny Holzer, Kate Shepherd, Shahzia Sikander, James Turrell and Dan Walsh to name a few.  We hope the artists that come and work with us will feel that what they do in our shops will help them explore their practice in a new way.  There are no concrete criteria for our partnership with an artist.

Ryan McGuinness
Figure Drawings, 2014, installation view, Pace Prints, New York

WHAT IS THE CUSTOMARY SIZE OF AN EDITION? HOW ARE EDITIONS DISTRIBUTED?

There is no customary size for an edition.  Our editions rarely exceed 50 these days, though in the 70’s might have always been 100 or more.  We are the dealer for our publications in almost all instances so all the work flows from us.

THE ART FAIR HAS BECOME THE GREAT MARKETPLACE OF THE CURRENT ART WORLD. WHAT IS YOUR PERSPECTIVE ON THE EMERGENCE OF INTERNATIONAL ART FAIRS WITH RESPECT TO THE PRINT MARKET?

The global art fair market for prints follows the same path as it does for unique work.  It is important to our collectors and artists that we participate, and as a founding member of the IFPDA fair in NY, we will continue to stay involved locally.

Pace Prints
ADAA The Art Show, 2017
Installation view

WHAT FAIRS DO YOU PARTICIPATE IN?

Currently we participate in Art Basel Miami Beach, Art Basel Hong Kong, the ADAA Art Fair and the IFPDA Fair and often at Art Basel Switzerland.

 

JAMES TURRELL
Installation View
Pace Prints


ONE OF THE ARTISTS FOR WHOM I HAVE GREAT RESPECT IS JAMES TURRELL, RECENTLY HONORED WITH A RETROSPECTIVE OF HIS WORK AT THE GUGGENHEIM MUSEUM IN NEW YORK THAT WAS PRESENTED CONCURRENTLY AT THE LOS ANGELES COUNTY MUSEUM OF ART (LACMA) AND THE MUSEUM OF FINE ARTS, HOUSTON. TURRELL WORKS DIRECTLY WITH LIGHT AND SPACE TO CHALLENGE THE VIEWER’S PERCEPTION BOTH OF HIMSELF AND HIS WORLD.

Pace Editions printers Bill Hall and Sarah Carpenter discuss printing James Turrell’s newest suite of aquatint etchings, which was exhibited for the first time at the IFPDA print fair, November 5-9, 2014.

 

http://www.paceprints.com/video/james-turrell-prints-and-process

HOW DID PACE PRINTS TRANSLATE THIS VISIONARY ARTIST INTO THE PRINT MEDIUM?

I think that the artist describes this best in this video (created by Pace Prints) about the print process when he says “it’s something to take the qualities of light and make a print editions…but I am quite well pleased”.

How & Nosm
Stacked prints
Pace Prints

PACE PRINTS IS ALSO A STRONGHOLD FOR ARTISTS SOUGHT AFTER BY ACTIVE “YOUNG COLLECTORS”.  WHO ARE SOME OF THE ARTISTS THAT HAVE GAINED A GREAT DEAL OF ATTENTION, BOTH AT AUCTION AND IN THE GALLERY SECTOR, THAT YOU HAVE RECENTLY PUBLISHED?

In November at the IFPDA our fair booth contained work by Chuck Close, Leonardo Drew, Jenny Holzer, KAWS, Shahzia Sikander and James Turrell.  This certainly covers the cross-section of artists you are talking about.

LEONARDO DREW
42P 2014
Pigmented handmade paper
Published by Pace Editions, Inc.

ANOTHER ARTIST WHOSE WORK HAS INTERESTED ME SINCE HE FIRST EXHIBITED AT SIKKEMA JENKINS IS LEONARDO DREW. THE MATERIALS IN HIS WORK ARE CHALLENGING: WOOD, RUSTED IRON, COTTON, PAPER, AND MUD. DREW, WHO GREW UP IN A PUBLIC HOUSING PROJECT, TRANSFORMS MEMORIES OF HIS CHILDHOOD SURROUNDINGS INTO INTENSE, ELABORATE AND OFTEN THREE-DIMENSIONAL RELIEFS AND SCULPTURES.  HOW DID PACE TRANSLATE THESE PICTORIAL CONCERNS INTO PRINTS?

Our papermaking studio is a real laboratory where artists like Leonardo Drew have found a way to create sculptural dimensions while working with paper.  Ruth Lingen and Akemi Martin have used a number of papermaking techniques in collaboration with the artist, which he speaks about here:

http://www.paceprints.com/video/leonardo-drew-his-new-body-cast-paper-works

PLEASE JOIN US WHEN JEFF BERGMAN SHARES HIS PERSPECTIVE ON THE FUTURE OF THE PRINT MARKET IN THE NEXT LRFA BLOG.

 

IN THE MEANTIME, VISIT PACE PRINTS SUMMER EXHIBITIONS, “SELECTIONS”

32 East 57th Street

AL JENSEN
Alfred Jensen, “Portfolio, #1,” 1973, screenprint, 35 x 35 Inches, edition of 150

521 West 26th Street

Keith Haring
“USA 19-82,”
On exhibit Pace Prints Chelsea

Printmaking techniques: traditional and innovative with Jeff Bergman, Director of Pace Prints

Kenneth Noland, “Untitled,” 2009, Aquatint and soft-ground etching,
35 1/4 x 35 inches
ON VIEW SUMMER EXHIBITION
Pace Prints
32 East 57 Street

THE SPECTRUM OF PRINTMAKING TECHNIQUES SPANS A WIDE ARCH FROM THE TRADITIONAL TO THE INNOVATIVE. ETCHING, ENGRAVING, LITHOGRAPHY PRINTING PROCESSES HAVE EXPANDED EXPONENTIALLY THANKS TO TECHNOLOGY TO INCLUDE COMPUTER PRINTS, MYLAR LITHOGRAPHY, HELIO-RELIEFS AND MONOPRINTS. RATHER THAN SEEKING TO REPRODUCE ICONIC IMAGES OF ARTISTS’ PAINTINGS, PRINTMAKING IS AN ART FORM IN AND OF ITSELF. THE DIALOGUE BETWEEN MASTER PRINTER AND ARTIST OPENS UP CREATIVE DISCOVERIES THAT ONLY THE PROCESS ITSELF CAN INSPIRE. SILK-SCREEN PRINTING, IN PARTICULAR IN THE 60s AND 70s, BLURRED THE BOUNDARIES EVEN FURTHER WHEN SUCH ARTISTS AS ROBERT RAUSCHENBERG AND ANDY WARHOL EMPLOYED THE SILKSCREEN PROCESS TO CREATE UNIQUE WORKS ON CANVAS.

THE LRFA BLOG IS DELIGHTED TO CONTINUE ITS CONVERSATION WITH THE KNOWLEDGABLE AND ENGAGING JEFF BERGMAN, DIRECTOR AT PACE PRINTS.

http://paceprints.com/

Robert Mangold
Installation View
Pace Prints Chelsea
April – June 2017

JEFF, WELCOME BACK!

PRINTS OFFER AN EMERGING COLLECTOR THE OPPORTUNITY TO ACQUIRE WORKS BY ARTISTS OF KNOWN STATURE AND REPUTATION IN A MORE MODEST PRICE RANGE. DO YOU VIEW THAT AS A MOTIVATION FOR THE NASCENT COLLECTOR TO GRAVITATE TOWARDS PRINT EDITIONS RATHER THAN A UNIQUE WORK BY A LESS ESTABLISHED ARTIST?

Prints offer many things and the option of owning work by a big name artist for a relatively modest price is certainly at the top of collectors’ list.  Works on paper convey a sense of intimacy that many large works (paintings per se) cannot.  Hopefully a print collector can feel comfortable with the notion that the artist chose that specific image, and then proceeded to create 10 or 25 or 50 impressions.  In my mind, that speaks volumes to the artist’s confidence in that image.

 

 

Chuck Close: Self-Portrait, 2015, Print & Process
Pace Prints Chelsea
March – April 2017

WHAT ARTISTS ARE CURRENTLY MAKING THE BEST PRINTS AND IN WHAT WAYS? HAVE PRINTMAKING TECHNIQUES STAYED WITHIN THE TRADITIONAL METHODOLOGY AND HOW HAS MODERN TECHNOLOGY AFFECTED THE ART OF PRINTMAKING?

The artist that pushes print making the furthest in recent years is Chuck Close.  He continues to astound us all with the variety of techniques and the ways in which he uses traditional print making.  Chuck’s print career is a study in what is possible in prints and multiples.  His recent “felt hand stamp” prints (well illustrated and explained in Terrie Sultan’s Chuck Close Prints) is a slow and arduous process with remarkable results.  He continues to make elaborate woodcuts, etchings and works that utilize digital resources.

CHUCK CLOSE
Installation View

Self-Portrait (2015) was created over three years from 24 blocks that were used to render the image in 84 colors. The exhibition will include a selection of these woodblocks and progressive proofs together with the published print.

Throughout his career, Chuck Close has used his own image as a creative vehicle for his exploration of painting techniques and styles. Self-Portrait (2015) represents a significantly different facial perspective from earlier self portraits.

THERE ARE ALSO, OF COURSE, REMARKABLE COLLECTIONS DEDICATED SOLELY TO MODERN AND CONTEMPORARY PRINTS. HOW WOULD YOU CHARACTERIZE PACE COLLECTORS? WHAT MOTIVATES A COLLECTOR TO FOCUS ON PRINTMAKING.

Our collectors range widely.  We hope that whether they are buying large or small, no matter the expense, that they feel as though they have gained a direct connection with the artist and the image.

I believe a great print collector is someone who loves prints for what they are and appreciates the technique, but can also enjoy the image without the minutiae.

Jenny Holzer
“Conclusions,”2016
Set of six aquatint and white ground etchings
ON VIEW SUMMER EXHIBITION
Pace Prints Chelsea

HAS THERE BEEN A SHIFT IN THE PRINT MARKET WITH THE ADVENT OF POPULARITY OF PHOTOGRAPHY THAT IS PRINTED AS A MULTIPLE, ALTHOUGH WITH MUCH MORE LIMITED NUMBERS IN AN EDITION?

The photography market tends to follow the methodology of using small editions.  Print editions have also become smaller in recent years.  Whether there is a direct correlation I am not sure.

PACE HAS A LEGENDARY REPUTATION FOR ITS COLLABORATION WITH ARTISTS. I HAVE HEARD THEM SPEAK OF THE EXPERIENCE IN TRANSFORMATIVE TERMS. THE  MASTER PRINTER OPENS TECHNICAL AND AESTHETIC DOORWAYS AND INSPIRES THEIR WORK AND VISION WITH THE DIVERSITY OF TECHNIQUES AVAILABLE TO THEM.

Robert Mangold
“Double Square Frame”
2015
ON VIEW SUMMER EXHIBITION
Pace Prints
32 East 57 Street

ONE OF THE MOST DETAILED EXAMPLES OF THE INVALUABLE DIALOGUE BETWEEN MASTER PRINTER AND ARTIST DESCRIBING THE PRINTING PROCESS ON HAND-MADE PAPER IS DESCRIBED IN THE PACE PRINTS GLOSSARY. DANIEL HEIDKAMP’S HOLLOW SWALLOW, A RECENT MONOPRINT IS CURRENTLY ON VIEW IN THE GALLERY’S CONCURRENT SUMMER GROUP EXHIBITION SELECTIONS AT THE CHELSEA GALLERY AT 521 WEST 26TH STREET AND AT 32 EAST 57th STREET.

Daniel Heidkamp
Hollow Swallow, 2015
Hand-applied and stenciled paper pulp
43 x 32 1/2 inches
Unique

HANDMADE PAPER

Pace Paper master papermaker Ruth Lingen works with artists to create unique and editioned work in the hand papermaking process. In preparation to creating an image, fibers are macerated in a specialized beater to specific lengths for their specific type of application. Once macerated into paper pulp, the substance can be used to create individual sheets of paper or, when macerated to a finer grade, can retain high levels of pigmentation and be used in more contemporary applications.

The number of applications of working in handmade paper is diverse. Pigmented paper pulp, coined pulp paint in the papermaking world, can be poured into openings in mylar stencils (on top of a wet base sheet substrate), building up one wet layer on top of another. In another technique entitled a “blow out”, images can be masked out directly on the papermaking mould and retain a silhouette directly in paper pulp. Watermarking is an application that can be used within the sheet of paper to create an image that is visible when light is shown through the paper. Once an image is created, the entire sheet with layer upon layer of pigmented pulp slowly goes through a hydraulic press, forcing the water to escape and allowing the fibers to form hydrogen bonds, which hold all layers of fibers together.

Paper pulp can also be used in a three-dimensional format. In a casting, paper pulp is packed directly into a rubber mold, allowed to dry, and will come out as a sculptural form.

JIM DINE
The Heart and The Wall and The Green 2005
Etching, aquatint, and collograph
87 1/2 x 70 inches
Edition of 9

WHAT ARE THE TECHNIQUES THAT ARE THE MOST WIDELY USED AND HOW ARE THEY DEFINED?

We currently have shops that focus on traditional Ukiyo-e woodcut printing, any relief print possibilities, intaglio, hand made and cast paper and occasionally screen printing and digital production.

Artists such as Chuck Close and Jim Dine expored a range of techniques in our shops and created iconic images.  We are incredibly lucky to have had and continue to have the finest print makers in the world working with us at Pace.  The artists immediately recognize that the people printing with them are able and active collaborators.

Dan Walsh
“Elements”, 2016
Monoprint
On exhibit through August 18
Pace Prints Chelsea
521 West 26th Street

A GLOSSARY OF PRINT-MAKING TECHNIQUES:

The principle techniques of printmaking, with illustrated examples, all of which are practiced in the workshops of Pace Prints

http://paceprints.com/techniques

IN OUR NEXT POST, JEFF WILL INFORM US ON THE MOST RECENT ACTIVITIES AT PACE PRINTS AND SHARE HIS ASTUTE PERSPECTIVE ON COLLECTIN IN TODAY’S PRINT MARKET.  THANK YOU FOR FOLLOWING OUR POSTS!

 

Collecting prints with curator and expert, Jeff Bergman, director of Pace Prints

KAWS Portfolio from
Pace Prints

THE ART OF PRINTMAKING CAN BE EFFECTIVELY VIEWED FROM THE PERSPECTIVE OF THE PRINT WORKSHOPS THAT PUBLISH THE EDITIONS. THE STUDIO INVITES ARTISTS TO PUBLISH AN EDITION AND IT IS VERY MUCH A COLLABORATION BETWEEN THE MASTER PRINTMAKER AND THE ARTIST WHO OFTEN FINDS A NEW AND RICH VISUAL VOCABULARY INSPIRED BY PRINTMAKING TECHNIQUES.

Matisse at Mourlot

IN THE TWENTIETH CENTURY,  MAJOR ATELIERS IN EUROPE PRODUCED SOME OF THE PRINTS THAT ARE THE MOST HIGHLY VALUED IN TODAY’S PRINT MARKET. GALERIE LOUISE LEIRIS, A STUDIO IN PARIS, PUBLISHED MANY OF PICASSO’S PRINTS AND MOURLOT ENGAGED NOT ONLY PICASSO BUT ALSO MATISSE, ALEXANDER CALDER, GEORGES BRAQUE AND LEGER TO BRING THE WORK OF THESE SIGNIFICANT MASTERS TO THE GENERAL PUBLIC IN A RELATIVELY ACCESSIBLE FORM.

Helen Frankenthaler at
U.L.A.E

IN POST-WAR AMERICA, LONG ISLAND BASED U.L.A.E. FOUNDER, TANYA GROSSMAN, WAS RENOWNED FOR HER COLLABORATIVE WORK WITH JASPER JOHNS, JAMES ROSENQUIST AND CY TWOMBLY TO NAME A VERY FEW OF THE ARTISTS WHO EXPERIMENTED WITH INNOVATIVE PRINTMAKING TECHNIQUES AT HER WORKSHOP. IN LOS ANGELES, GEMINI G.E.L. FORMED FRIENDSHIPS WITH “LOCAL” ARTISTS SAM FRANCIS, KEN PRICE, ED RUSCHA AND BRITISH EX-PAT DAVID HOCKNEY. IDENTIFYING THE PUBLISHER AND THEIR REPUTATION FOR INSPIRED INTERACTION BETWEEN PRINTMAKER AND ARTIST PROVIDES THE COLLECTOR A VALUABLE TOOL WHEN CONSIDERING WORKS IN THE PRINT ART MARKET.


Gestures
Qin Feng, Lee Ufan, Jian-Jun Zhang
Installation view
Pace Prints

HERE IN NEW YORK, PACE PRINTS ENJOYS A 48- YEAR HISTORY OF COLLABORATING WITH MASTERS AND INNOVATORS OF PRINTMAKING.

TODAY, THE LRFA BLOG IS VERY PLEASED TO WELCOME BACK JEFF BERGMAN, GALLERY DIRECTOR.

https://www.paceprints.com

 

Pablo Picasso
Minotaur

JEFF, PRIOR TO PACE, YOU WERE A DIRECTOR AT JOHN SZOKE EDITIONS, KNOWN FOR PRINTS BY PICASSO, EDVARD MUNCH AND OTHER MODERN MASTERS. WHAT ARE SOME OF THE HIGHLIGHTS OF YOUR EXPERIENCE AT THIS GALLERY?

John was kind enough to give me a job with no commercial art sales experience.  At the time, he was transitioning from his work as a publisher to becoming one of a handful of expert Picasso print dealers.  One highlight was seeing impressions and states of prints together, especially two states of Picasso’s Minotauromachy (La Minotauromachie), 1935, John helped me see the work evolve over time.

Plant house Gallery
Chelsea, New York

YOU HAVE CURATED SOME WONDERFUL EXHIBITIONS IN ADDITION TO YOUR WORK AT PACE. WHAT ARE SOME CURATORIAL PROJECTS THAT RESONATE THE MOST STRONGLY? DO YOU PROPOSE A THEME FOR AN EXHIBITION?

Rachel Gladfelter, a friend and fellow Director at Pace Prints, co-curated a show called Fold at Planthouse Gallery in 2015.  We did not focus on prints but it did include printmaking.  The artists we were able to show are pushing the picture plane in different directions.  The artists, Anders Bergstrom, Martha Willete Lewis, Matt Magee and Rachel Ostrow are all art workers as well so we had met them all in different contexts.  The show was successful because of the generosity of those artists and the gallery principals at Planthouse.  One of the pieces that was in the show, “Brown Bag Test, December 21, 2014, Proof and Counterproof” by Anders Bergstrom, was acquired by the Metropolitan Museum of Art and has been exhibited at the Met already.  I get to work with Museum collections often at Pace Prints, but it was especially exciting seeing work we chose for our exhibition selected for the Met.

Anders Bergstrom
Brown Bag Test, December 21, 2014
Collection, Metropolitan Museum of Art

Press Release  FOLD at Planthouse Gallery http://planthouse.net/wp-content/uploads/2015/05/Planthouse-press-release_FOLD-2.pdf

WHEN DID YOU JOIN PACE PRINTS AND WHAT WAS THE GALLERY AND PUBLISHING ARM LIKE AT THE TIME?

I joined 10 years ago while Pace Prints was expanding.  We went from 1 gallery and 1 print shop to 2 galleries and 3 print shops in about 2 years.  We continue to work with some of the most outstanding contemporary artists to create dozens of new works and exhibitions every year.

RICHARD SOLOMON FOUNDED PACE PRINTS IN 1968. I KNOW THAT DICK HAS AN MBA FROM HARVARD. WHAT LED HIM INTO THE ART BUSINESS IN GENERAL AND PRINT PUBLISHING IN PARTICULAR?

Dick Solomon is passionate about art and has been for decades.  I believe he met Arne Glimcher in Boston right when Arne opened Pace Gallery.  Beyond that, you’d have to ask the man himself.

Lucas Samaras
Book
1968
Published by Pace Prints

WHO WERE THE FIRST ARTISTS THAT HE INVITED TO WORK WITH HIM?

Jean Dubuffet, Nicolas Krushenick, Louise Nevelson and Lucas Samaras.  The Lucas Samaras edition “Book” from 1968 was the very first project Pace Editions published.

WHAT IS THE RELATIONSHIP BETWEEN PACE GALLERY AND PACE PRINTS IN TERMS OF THE ARTISTS THAT WORK WITH PACE PRINTS TO PUBLISH EDITIONS?

Historically we have published editions with Pace Gallery artists and in recent years have welcomed collaborations with artists represented by many galleries.

IN AN INTERVIEW IN ARCHITECTURAL DIGEST WITH DICK SOLOMON IN AUGUST 2010, WITH AD CONTRIBUTOR STEVEN M.L. ARONSON,

THE AUTHOR COMMENTS:

AT PACE PRINTS, ONE OF THE BIGGEST OPERATIONS THAT PUBLISHES AND SELLS ARTISTS’ PRINTS AND MULTIPLES, AND WHICH YOU’RE THE LONGTIME PRESIDENT OF, ONE IS ALLOWED, EVEN ENCOURAGED, TO GO INTO THE STACKS AND PULL THINGS OUT AND CONSIDER THEM, PRESSURE-FREE.

IS THIS WELCOMING AND UNPRETENTIOUS ATTITUDE CHARACTERISTIC OF PACE PRINTS TODAY?

We do have racks of art that are open to the public (we even wrote it on the wall) with names and prices on each piece.  We offer help to anyone who comes in and we allow people to explore if that is what they prefer.  We are transparent about pricing and always happy to speak with new people whether they are buyers or new to prints entirely.

Prints should be the most democratic works of art to collect.  We try and make it clear what we have and how much it is and if we don’t have it, where to go look.

JEFF, THANK YOU!

IN OUR NEXT POST, JEFF WILL PROVIDE INVALUABLE GUIDANCE TO BOTH THE NASCENT AND ESTABLISHED PRINT COLLECTOR. PLEASE JOIN US!

DROP INTO PACE PRINTS 57th STREET AND CHELSEA THIS SUMMER TO VIEW A WONDERFUL GROUP EXHIBITION OF RECENT WORKS: SELECTIONS.

The art of the print with Jeff Bergman, director of Pace Prints

Jeff Bergman
Director
Pace Prints

THE HISTORY OF PRINTMAKING DATES BACK AS EARLY AS THE 15th CENTURY. IN GERMANY, INDIVIDUAL PRINTS OFTEN DEPICTED RELIGIOUS IMAGES AND WERE CARRIED BY CRUSADERS ON PILGRIMAGE. FROM CIRCA 1402 TO 1425, THE FIRST PHASE OF THE WOODCUT DEVELOPED, HAND-COLORED AND INCREASINGLY COMPLEX IN WHICH SINGLE IMAGES ON A BLANK BACKGROUND EXPANDED TO INCLUDE LANDSCAPE AND ARCHITECTURAL ELEMENTS. IN 15th CENTURY ITALY, PARTICULARLY IN THE CULTURED NORTHERN CITIES, SUCH AS FLORENCE AND MILAN, THE RENAISSANCE MOVEMENT STIMULATED ARTISTS’ RECEPTIVITY TO EMBRACE PURELY AESTHETIC AND DECORATIVE CREATIVE PATHS.

TODAY, PRINTMAKERS NOT ONLY CONTINUE TO MAINTAIN THE LEGACY OF TRADITIONAL TECHNIQUES BUT ALSO TO EXPLORE NEW INNOVATIVE PROCESSES AVAILABLE THROUGH MODERN TECHNOLOGY.

PACE PRINTS, LOCATED IN NEW YORK UPTOWN AT 32 EAST 57th STREET OFF MADISON AND IN CHELSEA AT 521 WEST 26th STREET, IS A WORLD-CLASS PUBLISHER AND DEALER FOR MODERN MASTER AND CONTEMPORARY PRINTS THAT IS A WORLD CLASS PRINT PUBLISHER AND GALLERY.

Dick Solomon
Founder, Pace Prints

FOUNDED BY RICHARD SOLOMON, IN 1968, PACE PRINTS IS A EXCEPTIONAL  RESOURCE FOR BOTH CONTEMPORARY AND MASTER PRINTS OFFERING AN EXTENSIVE ROSTER OF INTERNATIONALLY RECOGNIZED ESTABLISHED AND CUTTING-EDGE ARTISTS. PRINT EDITIONS HAS ALWAYS PROVIDED THE ART ADVISOR AND COLLECTOR AN OPPORTUNITY TO ACQUIRE WORKS BY CONTEMPORARY LUMINARIES AS CHUCK CLOSE, SOL LEWITT, ED RUSCHA AND FRANK STELLA WITHIN MORE MODEST BUDGETARY PARAMETERS.

http://paceprints.com/

TODAY, THE LRFA BLOG IS DELIGHTED TO INTRODUCE JEFF BERGMAN,  DIRECTOR OF PACE PRINTS, TO INFORM US ABOUT THIS VITAL AREA OF ART-MAKING.

JEFF, MANY THANKS FOR YOUR CONTRIBUTION. HOW DID YOU FIRST BECOME INTERESTED IN ART?

Well first off, thanks for involving me in your project!

The Aldrich Museum
Ridgefield, Connecticut

I became interested in art as a child.  My grandfather was a graphic artist for a Jewish Department Store in Midtown.  I had been drawn to visual art from an early age but my formative experience with contemporary art was at The Aldrich Museum in Ridgefield, CT.  I was a student docent there in the mid-90’s when Harry Philbrick was running the program.  He went on to run the Aldrich for many years.  He and Nina Carlson trained high school age kids to really discuss the work they saw.  We were grounded in the physical first and then went on to make our own associations.  We were handed research materials like a grown up docent was and were given an education.  I loved being in front of art and having those conversations.  I still do.

Wassily Kandinsky
Illustrative composition in
Point and Line to Plane

WHAT EDUCATIONAL STEPS DID YOU TAKE TO DEVELOP THIS INTEREST?

Beyond the Aldrich, I went to a public HS that had a surprisingly good Art History course.  After HS I went to Hampshire College in Amherst, MA and did a concentration in Art History and Theory, writing my thesis on Wassily Kandinsky’s text Point and Line to Plane.  Hampshire allowed me to craft my own course of study.  I took classes at Smith and Amherst often, utilizing resources at all 5 colleges.

Studying Kandinsky and the Bauhaus in an undergrad program alongside brilliant professors was a true gift.  Sura Levine, a brilliant scholar and a good friend to this day, was my advisor from day 1.  Hampshire had contemporary artists teaching innovative courses and I took a sprawling foundation class with Walid Raad, Jacqueline Hayden and Joan Braverman that introduced me to much of the art theory I would dive into over the next 4 years.  We were told to buy the recently deceased John Berger’s slim treatise Ways of Seeing that first day of class.

FEATURED PRINT
Kate Shepherd
Teddy 2016
Monoprint
40 1/4 x 60 1/2 inches
Unique
Published by Pace Editions, Inc.

Later I took courses with Barbara Kellum at Smith and Christoph Cox at Hampshire that allowed me to think more critically about the theory and critique of visual art.  Ultimately I was happy to ground my studies in Kandinsky’s concrete notions at the birth of abstraction.

Sol LeWitt: Prints
Installation view
September – October 2016
Pace Prints

HAD YOU ALWAYS BEEN INTERESTED IN PRINTMAKING OR WERE YOU INITIALLY DRAWN TO PAINTINGS AND SCULPTURE?  WHAT ARTISTS FIRST RESONATED WITH YOU AND HOW DO YOU EVALUATE THEM TODAY?

Printmaking was something I came to during college as I looked at the work of Bauhaus artists, and generally at the work of early 20th century art in Europe.  Initially the work that really excited me was Kandinsky’s which was always on view at the Guggenheim and MoMA and then Sol LeWitt at the Aldrich and Mark Rothko at the Tate (now Tate Britain).

My good friend Katie Commodore who is an artist and printmaker was always kind enough to let me see what she was working on at RISD so I got a sense of contemporary printmaking that way.

FEATURED PRINT
Robert Rauschenberg
Cock Sure 1993
Color silkscreen, hot wax, silver pigment dust and acrylic
Edition of 17

IN THE NEXT LRFA POST, JEFF WILL INFORM US OF HIS PROFESSIONAL HISTORY AS CURATOR, SCHOLAR AND DEALER IN PRINTS.

PLEASE TAKE ADVANTAGE OF HIS EXPERTISE AND DEDICATION TO THIS FIELD, AND ASK THIS GENEROUS GUY ANY QUESTIONS YOU MAY HAVE.

THANK YOU!

 

When at Documenta, enjoy Dusseldorf with Turon Travel expert, Nicholas Christopher

 

MARTA MINUJIN
The Parthenon of Books
2017
Documenta 14

IN HIS ENGAGING BOOK, HIT MAKERS: THE SCIENCE OF POPULARITY IN AN AGE OF DISTRACTION, Atlantic SENIOR EDITOR, DEREK THOMPSON, EXPLORES THE ECONOMICS OF THE CULTURAL MARKETS THAT INVISIBLY SHAPE OUR LIVES. ALONG WITH OTHER INFLUENCES, THE MAKING OF A BLOCKBUSTER, BE IT A BUSINESS, A VISUAL ARTIST, OR A POP STAR, IS NOT REALLY ABOUT QUALITY, BUT ABOUT EXPOSURE AND AUDIENCE.

THIS SUMMER, SEVERAL EUROPEAN VENUES COALESCE TO PROVIDE THE COLLECTOR, CURATOR AND ART ENTHUSIAST ENORMOUS EXPOSURE TO A WIDE RANGE OF ARTISTS, GALLERIES, AND CURATORIAL PLATFORMS: ART BASEL, THE VENICE BIENNALE, AND DOCUMENTA 14.

TO ENRICH YOUR EXPERIENCE AT DOCUMENTA 14 OR, AT THE LEAST, HAVE A TRULY INFORMED ARM CHAIR VISIT, CHECK OUT THIS EXCELLENT INTERVIEW IN FLASH ART WITH DOCUMENTA CURATORS, MONIKA SZEWCZYK AND HENRIK FOLKERTS ON THE THEMES OF THE EXHIBITION AND THE CHALLENGES OF PRESENTING A SHOW IN BOTH ATHENS, GREECE AND KASSEL, GERMANY.

http://www.flashartonline.com/2017/06/monika-szewczyk-and-hendrik-folkerts-on-documenta-14-kassel/

Dusseldorf skyline

TODAY, THE LRFA BLOG IS DELIGHTED TO ENLIST THE EXPERTISE OF NICHOLAS CHRISTOPHER, FOUNDER OF TURON TRAVEL, THE TRAVEL AGENCY FOR THE ART WORLD, TO ENHANCE OUR JOURNEY. NICHOLAS, LEAD THE WAY!

https://www.turontravel.com

Frank Gehry
Dusseldorf

Dusseldorf is a quick train ride from Kassel, the site of Documenta 14, and well worth a visit while you’re there. 

Dusseldorf, the capital of North Rhine-Westphalia, is a thriving international metropolis. Although the city was largely destroyed in WWII, those interested in modern architecture will have a great deal to see. The promenade on the bank of the Rhine is one of the most beautiful in Germany and the harbor hosts some spectacular post-modern  architecture, the centerpiece being Frank Gehry’s Spiral Constructions. 

The Dusseldorf Academy, founded in 1762 as a school of drawing, is internationally renowned for its graduates, such artists as Sigmar Polke, Anselm Kiefer and Joseph Beuys. The School of Photography is equally notable for the teachers, Bernd and Hilla Becher, and their students that include Andreas Gursky, Candida Hofer, Thomas Ruff and Thomas Struth. 

 

Erika Hock
Second Home
Sammlung Philara
April 28 – July 25, 2017

Sammlung Philara 

A former factory curated by art collector Gil Bronner,  the Philara combines a permanent exhibition of Bronner’s personal collection along with 4 temporary exhibitions featuring the works of both established and new artists working in almost every format.  This combination allows the participant to enjoy a cornucopia of experiences.  The collection also offers numerous interdisciplinary events with concerts, readings and lectures planned throughout the year.

NRW- Forum Dusseldorf

Considered more of a cultural center than a museum, the NRW-Forum attempts to blur the line between art and culture. Divided into 3 different exhibitions, the Forum allows you to explore multiple mediums and collections ranging from photography featuring Ralf Brueck, a graduate of the renowned Dusseldorf School of Photography (with the collection exploring digital image manipulation) to a mixed media collection from Olaf Breuning. Futurists will love Planet B, an installation focusing on relocation and establishment on a new planet.

Setareh Gallery
Dusseldorf

Setareh Gallery on Konigsallee

A contemporary art collection in Dusseldorf, the Setarah (which translates to “star” in Farsi) Gallery is the place to go to see some of the best curated exhibitions. The current show, “The shadow does not avoid the sun” includes works by such marvelous German artists as Per Kirkeby, Markus Lupertz and Wolfgang Betke.

RESTAURANTS

Great food and drink are always a mainstay for the Germans and the lucky visitors who need to rest and dine during their busy art viewing.  Here are a few of the many delicious restaurants in Dusseldorf.  None of them will fracture your wallet, but they all will leave you satisfied.

Sansibar Restaurant

Sansibar

– View of the Rhine

Boasting exquisite panoramic views over the Rhine River from its perch on Media Harbor,  Sandbar is a high-class lounge-come-bar that offers a multitude of international dishes. From juicy steaks to sushi, oysters, fresh fish and the traditional German curry-wurst, this joint by Breuninger is a smorgasbord of flavors. What’s more, great wines abound, with more than 350 types on offer from the cellar. Located on the first floor of the Breuninger Center, Sansibar is a delight for all palates.

Victorian Restaurant

Victorian Restaurant

– Award winning gourmet dining

Victorian is a multiple award-winning restaurant that’s hailed for its gourmet dishes, cooking methods and innovative combinations that change daily. Expect a menu that ranges from fresh fish in the main to delicious starters, such as radish, cucumber and mustard that manage to challenge tasters’ perceptions. The restaurant has a major focus on lunch, but also has delightful dinner options and an impressive collection of wines from all over the world.

Dorfstube

An Old Fashioned German Tavern( A common German name for German taverns or pubs is Kneipe)

Uber-traditional Dorfstube is a complete timber restaurant with a nostalgic hint of the old-fashioned German village tavern. The restaurant is quirky with curious pieces of décor, like the grand old Alkoda stove, accompanied by home-made wood grinders, cook-clocks and lines of classic tea cups with reindeer prints, specifically designed in line with the original Black Forest kitchen. But Dorfstube offers far more than just traditional design, it also impresses with extravagant dishes, such as warm oxtail pralines and coq-au-vin from local farmers, followed up by a crispy rhubarb crumble.

Uerige Brewery

Uerige

Why not stop at a brewery?

Breweries are typical places for Germans to meet and chat after a hard day at work, but characterful Uerige is not only a local meeting places but also home to some of the best regional German beer in the country. With a friendly and cozy atmosphere spread across six major rooms, patrons have plenty of space to celebrate German cuisine, beer or just being in Düsseldorf. On the menu, distinctive types of sausages, soups, tartare, and red beet carpaccio with goats’ cheese rub shoulders, while for dessert try the super-light and creamy panna cotta.

THE LRFA BLOG IS DELIGHTED TO NEXT WELCOME JEFF BERGMAN, THE DIRECTOR OF PACE PRINTS. PACE ENJOYS A WELL-DESERVED REPUTATION FOR OUTSTANDING PUBLICATIONS OF CONTEMPORARY EDITIONS. FOUNDED BY DICK SOLOMON IN 1968, PACE OFFERS ARTISTS A COLLABORATIVE ENVIRONMENT AND INNOVATIVE PRINTMAKING TECHNIQUES.

UNTIL THEN!

Pack your bags! Join travel expert, Turon’s Nicholas Christopher, at Documenta 14

DOCUMENTA 14
Opening June 10th in Kassel, Germany

DOCUMENTA, HELD EVERY FIVE YEARS IN KASSEL, GERMANY, ITS TRADITIONAL HOME, REPRESENTS ONE OF THE MOST IMPORTANT ART EXHIBITS IN THE WORLD FOR CONTEMPORARY ART AND IDEAS.  FOR THE FIRST TIME SINCE ITS INCEPTION IN 1955,  DOCUMENTA HAS TWO VENUES, THE FIRST IN ATHENS, GREECE THAT OPENED ON APRIL 18th AND THE SECOND IN KASSEL OPENING ON JUNE 10th.

HEADED BY ADAM SZYMCZYK, FORMER DIRECTOR AND CHIEF CURATOR AT THE KUNSTHALLE BASEL FROM 2003 UNTIL 2014, THIS CELEBRATED POLISH ART CRITIC AND CURATOR IS KNOWN FOR INTRODUCING RELATIVELY UNKNOWN ARTISTS INTO THE PUBLIC SECTOR. IN DOCUMENTA 14, ENTITLED “LEARNING FROM ATHENS”, HIS CURATORIAL INTENT IS TO EXPLORE BOTH CONTEMPORARY AND HISTORICAL INTERPRETATIONS OF THE SOCIO-POLITICAL THEMES THAT SHAPED EUROPE THEN AND NOW: IMMIGRATION, THE FINANCIAL CRISIS, CENSORSHIP AND DISPLACEMENT. ARTISTS HAVE CREATED WORK FOR BOTH LOCATIONS AND THE CUSTOMARY 100 DAY FESTIVAL HAS BEEN EXTENDED TO SPAN 100 DAYS IN EACH OF THE TWO CITIES.

Documenta 14
April 8 – July 16, 2017
Athens, Greece

THE LRFA BLOG IS VERY PLEASED TO WELCOME BACK OUR TRAVEL EXPERT, NICHOLAS CHRISTOPHER, TO SHARE THE HISTORY OF DOCUMENTA AND HIGHLIGHTS OF KASSEL AND ITS ENVIRONS WITH US. FOUNDED BY NICHOLAS, THIS YEAR TURON TRAVEL CELEBRATES ITS 38th ANNIVERSARY! TURON WORKS WITH  A GROWING NUMBER OF INTERNATIONAL ART FAIRS, ART AND ANTIQUE FAIRS AND SPECIAL ART EVENTS TO CREATE A SEAMLESS PROCESS THAT BENEFITS THE EVENT PATRONS, THE EXHIBITORS AND THE VENUE.

https://www.turontravel.com

WELCOME BACK, NICHOLAS.

Documenta takes place every 5 years in Kassel, Germany.  For the 2017 edition, the theme has been expanded and it started in Athens, Greece, this April, moving on to Kassel June 10th.  Calling itself the ‘museum of 100 days’, Documenta goes beyond a forum for contemporary art’s current trends displaying new innovative exhibition concepts. 

Adam Szymczyk
Artistic Director
Documenta 14

Documenta Athens, curated by Adam Szymczyk, drew criticism from the local arts community for ‘Cultural Imperialism’ with Germany being a European economic power house as opposed to Greece which is still undergoing drastic austerity programs.  Mr. Szymczyk feels that by presenting work in Greece, Documenta can exert influence in the arena of the European Union. “A cultural enterprise of this magnitude has power to influence politics,”  he says. The Athens event ends July 10th.

Dating back to the 10th century, in the 1800s, Kassel was the capital of the Brothers Grimm Fairy Tale Route.  Totally rebuilt after World War II, it still has a few examples of its earlier historical sites, the 18th century Wilhelmshohe Castle being one of its more prominent landmarks.

Wilhelmshohe Castle
Kassel

Founded by Arnold Bode, a German architect, painter and designer, Documenta is an exhibition which displays modern and contemporary art. From its first edition in 1955, Documenta was able to establish itself as a key international rendezvous for avant-garde work. Taking place every five years, Documenta 13 was the latest exhibition and was held in 2012.  Arnold Bode’s focus wanted to introduce art that was banned during the Nazi era, essentially bringing Germans up to speed with expressionism, fauvism, cubism, Blauer Reiter, Pittura Metafisica and Futurism, all of which was considered degenerate by the Regime.

Arnold Bode
1900-1977

The 1st edition focused on abstract art and featured the work of Kandinsky and Picasso.  130,000 people visited the exhibitions, thus establishing the show’s international credentials. Documenta features a variety of artistic mediums including, but not limited to, sculpture, performance, research, painting, film, photography and installation, as well as text-based and audio works. Moreover, it provides a platform for artists who want to experiment with new practices in the fields of literature, science, ecology, aesthetics, politics and – naturally – art.

 

 

Marta Minujin
The Parthenon of Books
Documenta 14 Kassel

Kassel opens to the public on June 10th and anticipates a steady stream of art enthusiasts visiting through September 17th. Most of the 160 artists that are participating will be showing in both cities and it will be interesting to see if their projects hold different gravitas within these two settings.
IN THE NEXT LRFA POST, NICHOLAS TAKES US ON A TOUR OF SOME OUTSTANDING MUSEUMS AND RECOMMENDS SOME DELICIOUS GERMAN CUISINE TO FUEL US ON OUR WAY.

PLEASE JOIN US!

The art market, present and future, with international dealer, Christophe Van de Weghe

Van de Weghe Fine Art
ART BASEL 2015

MORE THAN NINETY ART FAIRS THROUGHOUT THE WORLD NOW DEFINE THE RHYTHM OF THE GLOBAL ART BUSINESS. IN A PANEL DISCUSSION ON THE RISE OF ART FAIRS ORGANIZED BY STROPHEUS LLC,  A NEW YORK BASED COLLECTIVE OF ART LAW AND BUSINESS PROFESSIONALS, MODERATOR JUDITH PROWDER, A MEMBER OF THE NEW YORK BAR ASSOCIATION AND FACULTY AT SOTHEBY’S INSTITUTE OF ART, CONCLUDES:

There are dozens of NYC art fairs. With the rise and rise of art fairs, sheer survival in the commercial art context now requires galleries to participate in a half a dozen or more art fairs a year – from New York to Maastricht to Dubai to Hong Kong to São Paolo – with stops along the way. Some dealers make as much as two-thirds of their sale at fairs. Art fairs have indeed transformed the business of art and even the production of contemporary art. For serious collectors the international art fair circuit is an imperative, while visiting only a few of galleries in NY, London and Berlin seems – well – almost quaint.

https://stropheus.com/

Van de Weghe Fine Art
ART BASEL HONOG KONG 2017

TODAY, THE LRFA BLOG IS VERY PLEASED TO RESUME ITS CONVERSATION WITH CHRISTOPHE VAN DE WEGHE, FOUNDER AND PRINCIPLE OF VAN DE WEGHE FINE ARTS, LOCATED AT 1018 MADISON AVENUE, NEW YORK.

http://www.vdwny.com

 

Van de Weghe Fine Art
FRIEZE MASTERS 2015

CHRISTOPHE,  FAIRS HAVE GAINED CRITICAL AND COMMERCIAL DOMINANCE IN THE ART MARKET – A CONCENTRATED AND INTENSE PLAYING FIELD OF CURATORS, COLLECTORS, AND DEALERS. I KNOW YOU PARTICIPATE AT ART BASEL MIAMI, ART BASEL, FRIEZE MASTERS, AND MAASTRICHT. CLEARLY, YOU BELIEVE, AS I DO, THAT THE FAIR HAS BECOME AN INTEGRAL ELEMENT IN THE ART BUSINESS.

Fairs are a very important part of our operation. We present annually at TEFAF Maastricht, Art Basel Hong Kong, Art Basel, FIAC Paris, Frieze Masters London and Art Basel Miami Beach. We have participated in ADAA’s Art Show at the Park Avenue Armory, The Pavilion of Art and Design London, EXPO Chicago, Arte Fiera Bologna, the Palm Beach Art Fair, ARCO Madrid and ART Hong Kong.

This year we also participated in TEFAF New York Spring, sponsored by TEFAF Maastricht, held for the first time at the Park Avenue Armory from May 4-8th. I am very excited about this fair and its strong future.

Van de Weghe Fine Art
TEFAF NYC SPRING 2017

WHAT DO YOU SEE AS THE TRAJECTORY OF COLLECTING IN THE TIME AHEAD?

The architects of today are building modern, contemporary spaces. In 2016 alone, in New York, 6400 apartments were new construction, characterized by high ceilings and large-scaled rooms.  The scale and delicacy of Impressionist works cannot survive in these spaces and the best of these works are all in museums.

The contemporary collector, the younger generation of hedge fund guys and tech wizards, all want young artists and they all want the same ones. Basquiat only made 900 paintings and 3400 drawings in his lifetime.

The problem with dealing with living artists is that they are commanding too much money. I don’t agree with the amounts that collectors are paying because I am not convinced these works will hold value.  There has been a huge correction in the photography market. Cindy Sherman will survive but a lot of them will not.

WHAT IS YOUR ADVICE TO SOMEONE INTEREST IN ART AND IN BUILDING A COLLECTION?

 My advice is to development a good relationship with 2 or 3 galleries where you respect their program.

HOW WOULD YOU CHARACTERIZE A GOOD DEALER OR GALLERIST?

 

Beyeler Foundation
Basel, Switzerland

I once asked Ernst Beyeler, “In your opinion what does it take to be a good dealer?

He replied, “Honesty, courage, passion and hard work.”

LRFA ASIDE:  ALL OF WHICH CHRISTOPHE POSSESSES IN SPADES!

Ernst Beyeler (1921–2010) was a titan of the international art scene in the twentieth century. Born in Basel, Switzerland, he began his career as an apprentice in an antiquarian bookstore, eventually taking over the business and shifting his focus from books to dealing and collecting art. Through his discerning eye for art, his close relationships with many of the twentieth century’s great artists, and his role in the foundation of Art Basel and the Fondation Beyeler, he transformed his hometown into a hub for international art.

Van de Weghe Fine Art
Henrique Oliveira Installation
April 28 – June 30, 2017

 

TO COMMEMORATE ITS 10th ANNIVERSARY, IN 2014 VAN DE WEGHE FINE ART PUBLISHED A BEAUTIFULLY DOCUMENTED AND ILLUSTRATED CATALOGUE OF GALLERY EXHIBITION HIGHLIGHTS.  FOR FURTHER INFORMATION, CONTACT THE GALLERY AT info@vdwny.com.

VAN DE WEGHE NEW YORK
Published in 2014 to document the gallery’s 10th anniversary

 

CHRISTOPHE, WHAT IS THE CURRENT EXHIBIT AT VAN DE WEGHE FINE ART?

Although the gallery usually presents works from the secondary market, I am very excited to present the work of a young Brazilian artist, Henrique Oliveira. In 2013 I saw his installation at the Palais de Tokyo in Paris where he created a spectacular Gordian Knot of wood and sculptural vegetation that interacted with the architecture of the space.

It is quite exciting to see the way in which Henrique has  transformed the gallery into a site-specific installation, a fusion of urban design, sculptural elements and plant life. The installation was labor-intensive and we documented its progress throughout. 

AND WHAT ARE YOUR PLANS FOR THE FUTURE OF VAN DE WEGHE FINE ART?

I love what I do. My greatest wish is to have all my kids work with me.

AND I’M CERTAIN THEY WILL.

CHRISTOPHE, SO MANY THANKS.

 

PACK YOUR BAGS! OUR TRAVEL MAVEN AND EXPERT, NICHOLAS CHRISTOPHER OF TURON TRAVEL, WILL TAKE US TO DOCUMENTA 14 OPENING ON JUNE 10th IN KASSEL, GERMANY. FOR THE FIRST TIME,  ATHENS, GREECE ACTED AS CO-HOST OF THIS EXTRAORDINARY EXHIBITION, TITLED “LEARNING FROM ATHENS”, THAT TAKES PLACE EVERY FIVE YEARS.

PLEASE JOIN US!

 

Van de Weghe Fine Art, a stellar exhibition history from Magritte to Carl Andre

Van de Weghe Fine Art
1018 Madison Avenue
New York City

CENTRAL PARK IS A SINGULAR DESTINATION IN NEW YORK. WHILE UPTOWN NO LONGER HAS A MONOPOLY ON UPSCALE LIVING, IT DISTINGUISHES ITSELF AS A HEARTLAND FOR EXCELLENT SCHOOLS, CLASSIC RESIDENCES, GREAT DINING AND THE LEGENDARY MUSEUM MILE THAT INCLUDES THE METROPOLITAN, MET BREUER AND THE GUGGENHEIM. IN THE LATE 19th CENTURY, NEW YORK’S ROBBER BARONS BEGAN BUILDING ALONG THAT STRETCH OF FIFTH AVENUE, PRIVATE RESIDENCES THEN, MUSEUMS NOW SUCH AS HENRY CLAY FRICK’S MANSION ON 70th AND FIFTH AVENUE AND THE NEUE GALLERY NEW YORK ON 86th STREET OFF FIFTH. BUILT BY INDUSTRIALIST WILLIAM STARR MILLER’S AND LATER OCCUPIED BY MRS. CORNELIUS VANDERBILT III, THE NEUE GALERIE WAS RESTORED TO ITS ORIGINAL CONDITION BY THE BRILLIANT ARCHITECT ANNABELLE SELLDORF WITH SUBTLE ADDITIONS OF ALL THE MODERN STANDARDS REQUIRED BY TODAY’S MUSEUMS.

Van de Weghe Fine Art

IN 2008, VAN DE WEGHE FINE ART RETURNED TO THE UPPER EAST SIDE TO OPEN A SECOND GALLERY AT 1018 MADISON AVENUE BETWEEN 78TH AND 79TH STREET, ULTIMATELY CONSOLIDATING TO THIS SINGLE NEW YORK VENUE. SINCE ITS INCEPTION IN 1999, THE GALLERY HAS PRESENTED SECONDARY MARKET MODERN, POST-WAR AND CONTEMPORARY EUROPEAN AND AMERICAN MASTERS. THE GALLERY HAS A LOYAL AND HARD-WORKING TEAM THAT  ALLOWS CHRISTOPHE TO TRAVEL WORLDWIDE TO VISIT COLLECTORS AND TO PARTICIPATE IN THE ART FAIRS THAT TAKE PLACE AROUND THE WORLD.

http://www.vdwny.com/

VAN DE WEGHE FINE ART,  1018 MADISON, IS HOUSED IN A LANDMARK ART BUILDING LOCATED BETWEEN 78th and 79th STREET NOTED FOR ITS BLACK AND WHITE TERRAZZO SIDEWALK CREATED BY ALEXANDER CALDER IN 1970.

The sidewalk was completed in 1970 and professionally restored in 2002 at a cost of $100,000 by the building owners from 1014-1018 Madison with the support of the Calder Foundation and NYC Landmarks Commission. Calder stayed at the 1016 townhouse with Klaus and his wife (who were dealers of modern works) frequently during the height of his career, and the mark he left is not only on the sidewalk in front.

Alexander Calder
Terrazzo Sildewalk
1018 Madison Avenue

CHRISTOPHE, WHAT PROMPTED YOUR RETURN TO THE  UPPER EAST SIDE?

I was the first gallery in Chelsea to show secondary market works in an exposed public space, giving the public, dealers and collectors access to my material. Most collectors of secondary market works tend to congregate uptown and stay in hotels or have homes on the Upper East Side. I had always loved the 1018 building and when Per Skarstedt’s space became available, I was excited to be in a space of his again.

RENÉ MAGRITTE
Van de Weghe Fine Art
November 2 – 22, 2006
Installation view

WHAT ARE SOME OF THE EXHIBITIONS AT 1018 MADISON THAT STAND OUT AND WHY? YOUR EXHIBITION HISTORY COVERS SUCH A WIDE SPECTRUM OF ARTISTS AND SIGNIFICANT MODERN MOVEMENTS. WHAT IS THE THINKING BEHIND YOUR CURATORIAL PROGRAM?

My thinking has always been very consistent. If I like a work as a collector and would want it in my home, then I will buy it.

Our 2016 exhibition of works by Rene Magritte has a special resonance for me. I feel close to him as he is a Belgian artist and my favorite surrealist and there is my family connection with the Magritte Room at the Grand Casino in Knokke.

Rene Magritte
Memory
1948

Our exhibit concentrated on the paintings, gouaches and drawings Magritte made in the 1940s and 50s. Magritte had developed a rich vocabulary of images of everyday objects and, unlike many surrealists,  utilized the techniques and materials we associate with academic representation.  While other surrealist painters tend towards a biomorphic abstract style, I am drawn to the simplicity and directness of Magritte’s images that also offer a wealth of meanings, symbols and poetic metaphor. 

DUANE HANSON
Queenie II, 1988
Bronze, polychromed in oil, mixed media with accessories
Lifesize

THE GALLERY HAS PRESENTED SEVERAL EXHIBITIONS OF THE WORK OF DUANE HANSON.

Yes, the gallery has worked with the estate of Duane Hanson for many years. I view him as one of the most important and influential American sculptors of our time. Hanson’s hyper-realists figurative works of the 1960s represent a radical return to figuration following a long period of abstraction in American art. His work was somewhat radical for its time. He studied at Cranbrook at a time when abstract art reigned, yet he embraced the figure and was a spokesman for the socio-political conscience of his time.

The works are cast from life, family, friends and neighbors often dressed in second-hand clothing. Life-size and lifelike, made of cast fiberglass and polyester resin, the figures are so faithful to reality that they often fool the public into believing they are real. In our 2013 Hanson exhibit, we concentrated on sculptures of ordinary people in everyday situations. Traveller, a bronze completed in 1987, presents a tourist who has taken a respite from his journey taking an improvised nap atop his baggage. In Bus Stop Lady, a polyvinyl work from 1983, a middle-aged woman waits for a ride with her shopping bags.  Both these subjects reflect a momentary pause en route to an unknown destination.

DUANE HANSON’S CHINESE STUDENT, 1989
REMEMBERING TIANANMEN SQUARE
JULY 6 – 31, 2014

In 2014, we installed Hanson’s Chinese Student, 1989: Remembering Tiananmen Square, to commemorate the 25th anniversary of the protests. In the late 1960s Hanson began to address social and political subjects in his brutally realist manner. In Chinese Student, Hanson marries the political with the personal. An ordinary student turned political activist sits on the ground holding a protest sign, human in his vulnerability yet symbolic of the political violence.

Andre/Judd
Van de Weghe Fine Art
May – June 2014

THE RANGE OF EXHIBITIONS IS SO BROAD WITH THE SINGULAR CRITERIA OF QUALITY AND ART HISTORICAL SIGNIFICANCE AS THE COHESIVE THREAD. YOU OFTEN EXHIBIT WORKS BY THE MINIMALIST WORKS, A PERIOD I PARTICULARLY APPRECIATE. WHAT ARE SOME OF THE EXHIBITIONS THAT DOCUMENT THIS MOVEMENT?

IN 2014, we juxtaposed the works of Carl Andre with those of Donald Judd. Both artists are key figures in Minimalism, using industrial and simple materials and repetitive forms to explore our sense of time and space. Both Andre and Judd are emphatically non-representational artists, creating seemingly simple works that demand close attention. 

Andre is best known for his floor installations, consisting of tile-like metal forms, and I was very pleased to be able to offer two strikingly different examples of these. 81 Ace Zinc Square, 2007 is a sprawling plane of 81 zinc plates arranged in a square with a mottled metallic surface. It occupied most of the floor in the main gallery while 6 Glarus Copper Integer, 2002 is a small arrangement in brilliant copper. 

Donald Judd

Judd, an art writer and theoretician as well as an artist, created simple, elegant forms from industrial materials: metals, plywood, concrete and Plexi. We were able to present a group of works that represent the series for which he is best known. Untitled, 1995, a “Swiss Box” aluminum enameled in reds and blues showcases Judd’s sense as a colorist while Untitled, 1969-1970, a bull-nosed “Progression” in shining brass, is emblematic of Judd’s elegant simplicity of form and material.

THE ART FAIR HAS DEVELOPED AN INTEGRAL PRESENCE IN THE ART MARKET, OFFERING A LEVEL OF CONCENTRATED SALES AND EXPOSURE TO COLLECTORS WORLDWIDE. MANY COLLECTORS PREFER ATTENDING FAIRS AS THEY PROVIDE A WIDE SPECTRUM OF ART IN A CONCENTRATED VENUE.

Van de Weghe Fine Art
TEFAF NYC SPRING 2017

VAN DE WEGHE FINE ART IS  A STELLAR PARTICIPANT IN THE BEST INTERNATIONAL FAIRS, CAREFULLY CURATING EACH BOOTH WITH WORKS BY ESTABLISHED MODERN AND CONTEMPORARY MASTERS. IN OUR NEXT LRFA BLOG POST, CHRISTOPHE WILL SHARE HIS THINKING ON THIS SIGNIFICANT ASPECT OF THE ART BUSINESS.

YOUR COMMENTS AND READERSHIP ARE VERY MUCH APPRECIATED!

 

 

A focus on quality: Van de Weghe Fine Art’s exhibition history

ALEXANDER CALDER
Three Segments, 1973
Hanging Mobile
VAN DE WEGHE FINE ART
November 2001 – January 2002

THE ART MARKET EMBRACES MANY WAYS OF DOING BUSINESS. PRIVATE DEALERS AND GALLERIES OFTEN CONCENTRATE ON A PARTICULAR MEDIUM, SUCH AS PRINTS OR PHOTOGRAPHY, A SPECIFIC PERIOD RANGING FROM OLD MASTERS TO CUTTING-EDGE CONTEMPORARY ART, OR A DISTINCT GENRE SUCH AS REPRESENTATIONAL OR ABSTRACT. AN ESSENTIAL DECISION FOR A GALLERIST OR DEALER IS WHETHER TO REPRESENT WORKS FROM THE PRIMARY OR SECONDARY MARKET AS A DIFFERENT SET OF CONSIDERATIONS FACTOR INTO THAT DEFINING CHOICE.

 

FRANK STELLA
Catal Hüyük (level VII) Shrine VII .45, 2000.
Aluminum and stainless steel
12’8″ x 14’4″ x 11’2″ (3.86 x 4.37 x 3.4 m)
VAN DE WEGHE FINE ART
November 2001 – January 2002

THE FIRST SALE OF A WORK OF ART EITHER FROM AN ARTIST’S STUDIO OR FROM A GALLERY DEFINES THE TERM “PRIMARY MARKET”. THE “SECONDARY MARKET” REPRESENTS WORKS THAT HAVE ALREADY BEEN SOLD AT LEAST ONCE AND FIND THEIR WAY BACK ONTO THE MARKET. THERE ARE MANY REASONS COLLECTORS CHOOSE TO DEACCESSION A WORK APART FROM THE OBVIOUS LIQUIDATION OF AN ASSET, AMONG THEM THE OPPORTUNITY TO UPGRADE TO A MORE SIGNIFICANT WORK BY THAT ARTIST, TO PROFIT FROM A SIGNIFICANT SURGE IN THE VALUE OF THE WORK SINCE ITS INITIAL PURCHASE OR TO DIVERSIFY THE HOLDINGS IN THEIR COLLECTION.  SOME GALLERIES DEPEND ON SECONDARY MARKET SALES OF ESTABLISHED ARTISTS OR ARTISTS’ ESTATES TO SUPPORT EXHIBITIONS OF WORKS BY THE EMERGING OR CUTTING-EDGE ARTISTS THEY REPRESENT.

THE ULTIMATE CRITERIA FOR WORKS IN THE SECONDARY MARKET IS QUALITY : THE SIGNIFICANCE OF THE WORK IN THE CONTEXT OF THE ARTIST’S OEUVRE, PROVENANCE, ITS EXHIBITION HISTORY, CONDITION, AND RARITY IN THE MARKET.

AS A DEALER AND GALLERIST, SINCE ITS OPENING IN 2000, VAN DE WEGHE FINE ART HAS FOCUSED ON SECONDARY MARKET WORKS OF ART, SETTING THE HIGHEST STANDARD OF WORKS OF IMPECCABLE QUALITY BY ESTABLISHED MODERN AND CONTEMPORARY MASTERS IN THE CONTEXT OF EXHIBITIONS THAT DEEPEN OUR UNDERSTANDING OF THESE ARTISTS.

THE LRFA BLOG IS VERY PLEASED TO WELCOME CHRISTOPHE VAN DE WEGHE BACK.

CHRISTOPHE, IN 2001 YOU OPENED A BEAUTIFUL, EXTENSIVE SPACE ON 23rd STREET IN CHELSEA WITH AN INAUGURAL EXHIBITION OF MONUMENTAL SCULPTURE BY FRANK STELLA, RICHARD SERRA AND ALEXANDER CALDER.

RICHARD SERRA
Kamakura Keystone, 1987
3 Hot-Rolled Steel Plates
VAN DE WEGHE FINE ART
November 2001 – January 2002

HOW DID THE MOVE FROM YOUR FIRST GALLERY ON EAST 76th  TO MUCH LARGER QUARTERS AFFECT YOUR EXHIBITION PROGRAM?

I decided to buy the space in Chelsea, and closed on September 13, 2001. I was crazy to do it then but I made the deal with the broker, Howard Reed, shook his hand, and did it! 

I have kept my concentration on the secondary market, specializing in work by modern, post-war and contemporary European and American artists. The gallery offers historically focused exhibitions, all accompanied by publications, that impact art historically as well as on the secondary market. It is my intent to promote works of quality, offer scholarship and value to our collectors.

http://www.vdwny.com

RICHARD SERRA
Where I’ve Always Come From, 1969/1981
VAN DE WEGHE FINE ART
February – May 2002

WHAT WERE SOME OF THE EXHIBITIONS IN THE 23rd STREET GALLERY THAT RESONATE THE MOST STRONGLY WITH YOU?

In February 2002, the gallery presented Richard Serra’s Prop sculptures. The exhibition was the first to focus on this dimension of his work, one of the most important series in his oeuvre. These sculptures are formed as metal plates, bars and falls of lead or steel. As a young man, Serra first encountered the material, lead antimony, used in commercial sheet metal, pipes and castings when working as a young man at steel mills and shipyards  to help send himself to school.

I wanted to deal with the volume, weight, mass, and directionality of the space … to make the volume of the space tangible, so that it is understood immediately, physically, by your body; not so that the sculpture is a body in relation to your body, but that the volume, through the placement of the sculptural elements, becomes manifest in a way that you experience it as a whole.–Richard Serra, 1992, Art of Our Time: 1950 to the Present, Walker Art Center. 

The exhibition was an incredible monumentally scaled installation involving a whole crew and engineering specialists. Our gallery walls needed to be reinforced to sustain the weight of the sculpture.

BRUCE NAUMAN
Neons, Sculptures, Drawings
Van de Weghe Fine Art
October 17 – December 14, 2002
Installation view

Another exhibit I was very pleased to organize was a historical exhibition of the works of Bruce Nauman. Nauman’s contribution to the aesthetic practice at the turn of the 21st Century has been nothing short of astounding. He has really been a sort of father figure for contemporary artists in the same way that Picasso was for his generation. He was a pioneer of new media such as video in the 60s and installation in the 70s and the exhibit included a wax version of Nauman’s iconic Henry Moore Bound to Fall, two early resin and fiberglass works from 1965 and a wonderful array of over twenty works on paper including a seminal group of drawings from the 60s based on the artist’s body as well as large-scale works that relate to his neons and sculptures.

 

ANDY WARHOL
Self-Portraits 1963-1986
Van de Weghe Fine Art
Installation view

An exhibition of which I am particularly proud is Warhol Self-Portraits: 1963 – 1986, that we held in April/May 2005. It was the first New York show devoted to Warhol’s images of himself and included  more than thirty-five paintings, with examples of almost all of the self-portrait images that Warhol made throughout his career.

I very much liked how many different variations exist. We would not be able to put together this exhibition today as the insurance would be prohibitive and I’m happy to have been able to do it when I did.

ANDY WARHOL
Self-Portraits 1963-1986, Van de Weghe Fine Art
April 20 – May 27, 2005

IN OUR NEXT POST, CHRISTOPHE WILL CONTINUE TO TRACK THE HISTORY OF GALLERY EXHIBITIONS.

CHRISTOPHE HAS A PARTICULARLY ASTUTE KNOWLEDGE OF  MASTER ARTISTS AND THE MARKET. DO TAKE THIS OPPORTUNITY TO POSE ANY QUESTIONS YOU MIGHT HAVE.

THANK YOU ALL FOR FOLLOWING THE LRFA BLOG!

 

 

Setting a high standard: Van de Weghe Fine Art opens in 2000 with a Warhol exhibit

Current Exhibition
HENRIQUE OLIVEIRA
Van de Weghe Fine Art

THE ART EMPIRE CREATED BY LARRY GAGOSIAN IS OFTEN SCRUTINIZED AND ANALYZED AS ARE MOST HIGHLY SUCCESSFUL OPERATIONS IN EVERY INDUSTRY. IN 2016, PHAIDON PUBLISHED “MANAGEMENT OF ART GALLERIES”, A UNIQUE RESEARCH PROJECT ANALYZING THE INNER LIFE OF ART GALLERIES BY MAGNUS RESCH, ART MARKET ANALYST, TECH ENTREPRENEUR AND PhD IN ECONOMICS. ONE OF THE UNDISPUTED CHARACTERISTICS OF GAGOSIAN’S SUCCESS, A NETWORK OF 16 OUTSTANDING GALLERIES AROUND THE GLOBE, IS THE INDEPENDENT, ENTREPRENEURIAL SPIRIT OF ITS DIRECTORS.

https://www.amazon.com/gp/product/0714873268/ref=as_li_tl?ie=UTF8&tag=magnusresch-20&camp=1789&creative=9325&linkCode=as2&creativeASIN=0714873268&linkId=c7800f188d45652867475947b6ce55b9

CONFIRMED BY CAIT MUNRO IN AN ARTICLE ON ARTNET, AUGUST 5, 2015:

With spaces all over the world, Gagosian relies on a team of trusted directors to manage day-to-day operations and liaise with big-name artists and collectors. Each employee is reportedly assigned to manage an artist, while collectors are assigned to whomever they dealt with upon first contact.

IN 2015, JOURNALIST BRIAN BOUCHER, A CONTRIBUTING EDITOR TO ARTNET news TOOK A LOOK “INSIDE GAGOSIAN GALLERY’S TALENT FACTORY”, TRACKING THE PROFESSIONAL ACCOMPLISHMENTS OF “FORMER STAFFERS WHO HAVE GONE ON TO DO GREAT THINGS ON THEIR OWN”.

THE ARTICLE WOULD NOT HAVE BEEN COMPLETE WITHOUT A PROFILE ON CHRISTOPHE VAN DE WEGHE, FOUNDER AND OWNER OF VAN DE WEGHE FINE ART, 1018 MADISON AVENUE, BETWEEN 78th AND 79th STREET IN NEW YORK.

http://www.vdwny.com/

Christophe van de Weghe

Christophe van de Weghe, New York dealer

After spending seven years as a salesman with Gagosian, from 1993 to 2000, Christophe van de Weghe has gone on to run a Madison Avenue gallery. Van de Weghe exhibits at top art fairs like Frieze Masters, Art Basel, TEFAF and FIAC. He deals in modern and contemporary artists from Carl Andre and Francis to Rudolf Stingel and Christopher Wool.

 

Carl Andre
Third Copper Square, 2007
Andre / Calder/ Judd
August 1 – September 2, 2010

When asked what was the best thing he learned from the master dealer, Van de Weghe was unsentimental: “How to buy and sell artwork!”

One thing you probably didn’t know about the Belgian-born dealer is that from 1986 to 1989, he was an accomplished professional tennis player, ranked among the top 500 in his class worldwide by the Association of Tennis Professionals, he told artnet News.

https://news.artnet.com/market/gagosian-gallery-art-world-talent-factory-349742

CHRISTOPHE, WELCOME BACK TO THE LRFA BLOG. TO CONTINUE…

GAGOSIAN IS AN EXTREMELY POWERFUL INTERNATIONAL FORCE IN THE ART WORLD, REPRESENTING ARTISTS’ ESTATES, ESTABLISHED CONTEMPORARY MASTERS AND CONTEMPORARY ARTISTS WITH ACKNOWLEDGED CRITICAL AND COMMERCIAL RECOGNITION.

WHAT PROMPTED YOUR DECISION TO LEAVE AND OPEN YOUR OWN GALLERY?

After seven years, I had accumulated great experience and was doing well financially, but it was in me to have my own business. I had an entrepreneurial spirit from the start, liking the challenge of taking risks.

In 2000, I had heard about a small space on 76th Street between Park and Madison that housed Per Skarstedt, and I was very interested. After seven years, it was time to do it! I asked Larry if he would have lunch with me and told him I wanted to show him something, that I wanted him to see a space and was thinking about opening my own gallery. “I need your blessing, Larry, everything I know, I’ve learned from you and it is very important that you agree it’s time to fly with my own wings. There was one artist, in particular, that I was very close to that I wanted to exhibit. Larry said it was a very good idea and to do it. My first sale, in partnership with Larry, was a Warhol and it sold quickly. 

 

ANDY WARHOL: Works on paper from the early 60’s
An illustrated catalogue, with an essay by Gerard Malanga, who worked with Warhol during the ‘60s

THE INAUGURAL EXHIBITION AT VAN DE WEGHE FINE ART IN NOVEMBER-DECEMBER 2000, WAS ANDY WARHOL: WORKS ON PAPER FROM THE EARLY 60s. EVERY WORK WAS FIRST-TIER, WARHOL’S MOST ICONIC IMAGES:  THE CAMPBELL’S SOUP CANS, DOLLAR BILLS, AD LOGOS AND CELEBRITY PORTRAITS. THE EXHIBIT INCLUDED RARE, HAND-MADE WORKS ON PAPER AS WELL AS UNIQUE SILKSCREENED IMAGES. THE EXHIBIT WAS DOCUMENTED WITH AN ILLUSTRATED CATALOGUE WITH AN ESSAY BY GERALD MALANGA WHO HAD WORKED WITH WARHOL DURING THE 60s.

CHRISTOPHE, YOU SET A PRECEDENT WITH THIS EXHIBIT IN LAUNCHING SHOWS WITH HISTORICAL SIGNIFICANCE AND CURATORIAL IMPORT. HOW DID YOU DECIDE ON THIS SHOW AND WHAT DO YOU RECALL OF THE PUBLIC’S RESPONSE AT THE TIME?

When I opened the exhibit on 76th Street with Warhol’s Works on Paper From the Sixties I was able to obtain some great loans culled from a number of private collections. The exhibit provided a great opportunity to document Warhol’s talent as a draftsman and his experimental use of techniques that trace his path from the handmade to the ready-made.

One day during the show, I was sitting in my office and two people called, one a prominent Hollywood star and the other a famous singer in a well-known band. I was very proud that these people, whom I didn’t know, would call me to ask about the exhibit and that I had taken the leap to have my name on the door.

I soon outgrew the space and moved to 23rd Street between 10th and 11th Avenue in Chelsea.

LVR ASIDE TO CHRISTOPHE

I remember stopping by 76th Street to see an exhibition and visit with you. You sounded me out about taking a big space in Chelsea. I must have been playing devil’s advocate (“the voice of reason”) and I clearly remember your reply. 

This is the right time for me to do this. I have no wife and children yet and can take the risk”.

It rang so true. I was impressed by Christophe’s self-awareness and sense of purpose. I was certain the move would be expansive in every sense.  It is so nice when one’s powers of prediction prove  true – and in this case, it was accurate and  then some!

 

VAN DE WEGHE FINE ART
2003
521 West 21st Street

IN OUR NEXT BLOG POST, WE WILL TRAVEL TO CHELSEA AND THE OPENING OF VAN DE WEGHE FINE ART IN A  4000 SQUARE FOOT GALLERY SPACE. THE NEW LOCATION AFFORDED THE GALLERY THE OPPORTUNITY  TO PRESENT  MORE EXTENSIVE EXHIBITIONS AND SIGNIFICANT LARGE-SCALE WORKS.

PLEASE JOIN US!