Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Tag: artists

Matching talents and tasks at David Zwirner with the gallery partner Greg Lulay and director Veronique Ansorge

Installation view
Mamma Andersson: The Lost Paradise
David Zwirner, NY 2020
Courtesy David Zwirner


DAVID ZWIRNER IS AN INTERNATIONAL GALLERY ARTISTS ASPIRE TO SHOW WITH,  COLLECTORS FLOCK TO FOR WORKS OF THE HIGHEST QUALITY BY BOTH ESTABLISHED CONTEMPORARY ARTISTS AND MODERN MASTERS, CURATORS DEPEND UPON AS A SOURCE FOR ARTISTS WORTHY OF ACQUIRING FOR THEIR MUSEUMS AND ART CAREER PROFESSIONALS VIE TO WORK AT SUCH A PRESTIGIOUS VENUE. THE GALLERY HAS ALWAYS BEEN ALWAYS ARTIST-CENTRIC AND OVER THE COURSE OF ITS TWENTY-SEVEN YEAR HISTORY, ITS PROGRAM  HAS DEVELOPED AND MATURED GLOBALLY, ESTABLISHING LOCATIONS IN SEVERAL DIFFERENT COUNTRIES AND CITIES AND A PRESENCE WORLDWIDE. DAVID ZWIRNER OFFERS ITS ARTISTS AND ARTIST ESTATES AN OPPORTUNITY TO BE A PART OF A GLOBAL NETWORK OF EXHIBITIONS, ART FAIRS, AND  BOTH INSTITUTIONAL AND PRIVATE ART COLLECTIONS.

Greg Lulay
Partner
David Zwirner Gallery

TODAY, THE LRFA BLOG IS VERY PLEASED TO CONTINUE TO POST ITS CONVERSATION, HELD IN APRIL 2020, WITH GALLERY DIRECTOR VERONIQUE ANSORGE, AT THE 19th STREET GALLERY (525 WEST 19th STREET) IN CHELSEA, AND WITH GALLERY PARTNER GREG LULAY, AT THE TWENTIETH STREET GALLERY ( 538 WEST 20th STREET).

RUNNING AN INTERNATIONAL BUSINESS TAKES AN ENORMOUS AMOUNT OF HARD WORK AND DEDICATION, NOT ONLY ON THE PART OF ITS FOUNDER BUT ALSO ON ITS EXTENSIVE STAFF, EVERYONE FROM PARTNERS TO DIRECTORS TO THE SUPPORT STAFF OF REGISTRARS, INSTALLERS, EXHIBITION CATALOGUERS, RESEARCHERS AND A  HIGHLY SOPHISTICATED TECH TEAM.

HERE WE HOPE TO SHED A LITTLE LIGHT ON SUCH AN ENORMOUS UNDERTAKING.

Interior view of library
537 West 20th Street Gallery, 2013

VERONIQUE AND GREG, WELCOME BACK AND THANK YOU BOTH!

DO YOU EACH HAVE RESPONSIBILITIES AS A LIAISON TO SPECIFIC ARTISTS AND ARTISTS’ ESTATES AND IF SO, WHO ARE THE ARTISTS THAT YOU CONCENTRATE ON IT?

Greg Lulay: The overarching gallery structure is one that was built so that it serves all of us together in all locations. There are members of our staff who are specialists in research, conservation, inventory management, finance, installation,  public relations, sales, and artist relations, like myself and Veronique. My artist management responsibilities are split between living Contemporary artists and Estates.

I work closely with Philip-Lorca diCorcia, an incredible photographer; and Lucas Arruda, a very talented young Brazilian painter. I also work with the Fred Sandback Estate, the Al Taylor Estate, the Gordon Matta-Clark Estate, and the Franz West Estate. I’m charged to help foster the careers of those artists, both within the gallery and outwardly in their exhibitions and programs around the globe. In addition to artist management I also have sales responsibilities and oversee all of our art fair participations around the world.

Philip-Lorca diCorcia
Heavenly Bodies
David Zwirner Gallery Viewing Room

Veronique Ansorge:  I think given the nature of how I started at the gallery, and given the fact that I’m from Germany, I was naturally working with David on a lot of his German clients and activities. I began working with German artists and Estates such as the Estate of Sigmar Polke, Thomas Ruff, and Isa Genzken. I also now work with the New York–based photographer James Welling, which I am very excited about. While I have cultivated client relationships across the globe, I feel my focus is within the German-speaking market.

GL: One of the strengths both of our sales team and of the larger gallery is that David has really paired our individual talents with the tasks which give the most benefit to our artists and thus to the gallery. This informs our specific duties and responsibilities.

VA: Yes, and I think it is fascinating that the gallery really allows for this talent to be expressed – to identify their strengths and nurture them.

Screen capture
David Zwirner Online
Harold Ancart: Pools

HOW DOES THE MANAGEMENT OF A LIVING ARTIST DIFFER FROM AN ESTATE?

VA: With a living artist, you are in constant dialogue and they are actively producing work. You manage exhibitions of new work, not only in the gallery but in institutional environments. Within this, you are working to cultivate their career. With an Estate, it’s not necessarily new work, but you try to do the same.

GL: Certainly there are some strong parallels between the two approaches. In both cases we operate somewhat like an agent; working collaboratively with artists or estates to promote their careers and strengthen their position within the history of art by presenting their artwork on various platforms to audiences around the world. In the early days of the gallery, David began representing our first estate – the Estate of Gordon Matta-Clark.

Then in 2004 we began working with the Fred Sandback Estate, and today we represent 26 estates. It is in collaboration with these people that you  are charged to further the conversation about their work and encourage new discovery. One of the biggest challenges we face working with a living artist is to support and guide them without interfering with their creative process. This is completely different from working with an Estate. Their voice is more active.

VERONIQUE AND GREG WILL CONTINUE TO SHARE HIGHLIGHTS OF THE WORKINGS OF DAVID ZWIRNER GALLERY IN OUR NEXT LRFA BLOG POST!

THANK YOU SO MUCH FOR FOLLOWING. PLEASE JOIN US!

 

Beyond auction, Phillips X with Miety Heiden, Deputy Chair at Phillips, Head of Private Sales and PhillipsX

Deborah Kass
NOMEN: American Women Artists
Phillips X July 2019

In the first traveling exhibition for Phillips X,  Foujita/Sanyu: Muses and Models went on view in both Paris and Hong Kong. Last summer, Phillips X held an exhibition in New York entitled NOMEN: American Women Artists from 1945 to Today, as well as HYSTERICAL  in collaboration with set designer Gary Card in London. Earlier in 2020, 10 Monkeys and a Dolphin brought forth  a sale of exceptional works by the ever popular street artists, Banksy and KAWS.

Phillips has moved beyond physical exhibitions to offer works for private sale digitally. Miety Heiden heads this new division called Phillips X which I am sure has garnered rapid success more quickly than anticipated due to the Covid-19 pandemic lockdown and is particularly timely in terms of the current situation. Whatever the circumstances, Phillips X represents an important expansion beyond auction and a new format for private sales, the online viewing room, certain to reach a global audience.

In an interview posted on the Phillips website on April 9, 2020, Miety adds:

 Our clients at Phillips have been moving online for quite some time now. In our auctions, they register and bid online and we’ve seen explosive growth in the value of works sold online. Just last November, a painting by Sean Scully  sold for over $1.7 million to an online bidder during our New York Evening Sale. Just as we have with our slate of exhibitions, we’ve created this platform to meet collectors where they are, year-round. We began this program with great artists such as Tracey Emin,   Lucian Freud, Yayoi Kusama, KAWS and more. We’re adding new works to the online viewing room on a daily basis and, at present, they all stay online for two weeks. This is an exciting development for our team and for Phillips as a whole.

https://www.phillips.com/article/56425102/tca-miety-heiden-private-sales-phillips-auction

HYSTERICAL
Hosted by Gary Card
Phillips London

What are some of the most significant transactions you’ve made as Head of Private Sales at Phillips?

The private sales department has grown exponentially over the last few years. We have hosted a number of incredibly successful selling exhibitions since I’ve been here – our summer 2019 exhibition Hysterical, for example, was a notable example of one of these shows – a collaborative selling exhibition with renowned set designer and artist, Gary Card.

Ten Monkeys and a Dolphin: Banksy & KAWS
Phillips Jan/Feb 2020

How would you describe the profile of the collector now and how has it evolved over the years?

Collectors today are far more informed about the market and what’s ‘hot’, there is more information available to them online like Artnet and The Baer Faxt which in turn makes them more autonomous. Collectors are also more mobile, traveling to art fairs, auctions and exhibitions all over the world. Collectors also tend to worry more about art being an asset and keeping its value.

Sean Scully
Red Bar
Phillips Evening Sale
November 2019

What do you think of the current art market? From this vantage point it seems to have an almost surreal success with big ticket market quality artworks but a more conservative judicious approach to middle market works?

Actually the contemporary art market is entering a new territory, due to the significant growth and vibrancy of the middle market. There is an increasing focus on works of art priced at the hundreds of thousands of dollars to the lower millions. Our Day Sale totals are breaking records season after season, and we will focus on building on this in 2020. Of course the big ticket items will always have the headlines but the backstories are less rosy.

What do you think the current trends to support artists who did not get the recognition they deserved because of gender or race? How long-term do you think these trends are?

There have of course been many artists who have been overlooked across the art historic canon and into the present day, and when the art ecosystem finally shines a torchlight on these artists it can be a very positive thing, bringing new names and ideas to the table.

Stay tuned! Miety will share some of the highlights of future plans at Phillips in our next LRFA Blog post.

Thank you for following!

 

Outstanding highlights from Sikkema Jenkins with gallery partner Meg Malloy

Sheila Hicks

LAUNCHING SOLO SHOWS AND GROUP EXHIBITIONS EVERY MONTH THROUGHOUT THE YEAR CREATES A PHENOMENAL WORKLOAD FOR A GALLERY BUT THIS IS JUST THE PROVERBIAL TIP OF THE ICEBERG OF THE EFFORT IT TAKES TO SUPPORT ARTISTS, PLACE THEIR WORK IN COLLECTIONS, BOTH PRIVATE AND PUBLIC, GAIN INTERNATIONAL RECOGNITION FOR THEIR WORK AND ORGANIZE EXHIBITIONS IN OTHER GALLERIES AND MUSEUMS. SIKKEMA JENKINS & CO. EXEMPLIFIES A GALLERY DEDICATED TO A LONG-TERM COMMITMENT TO THEIR ARTISTS, CONTINUALLY ADDING NEW TALENT TO A ROSTER OF ESTABLISHED ARTISTS, AND GIVING THEM A PERMANENT COLLABORATION BETWEEN GALLERY AND ARTIST TO PROVIDE BOTH COMMERCIAL AND CRITICAL SUCCESS.

THE LRFA BLOG IS VERY PLEASED TO WELCOME  BACK MEG MALLOY, PARTNER AT SIKKEMA JENKINS & CO., TO SHARE A VERY FEW OF THE MANY HIGHLIGHTS OF GALLERY NEWS AND TO SPEAK ABOUT THE GALLERY’S HOPES AND PLANS FOR THE FUTURE.

https://www.sikkemajenkinsco.com

Arturo Herrera

MEG, WELCOME BACK. WHAT ARE SOME OF THE EXHIBITIONS THAT YOU HAVE HAD IN THE LAST FIVE YEARS AT THE GALLERY THAT ARE PARTICULARLY MEMORABLE?

Kara’s last show was so exciting. We placed all of the works in the main space with major museums, and all of them have been on view at those institutions since those acquisitions.  I was just up at the Harvard Museums where I saw how many classes were held in front of Kara’s piece,  and it was great to see the work MoMA bought front and center in the rehang of the collection!   Mitch Epstein’s show addressing our uses and abuses of the land was very powerful, and will be shown at the Amon Carter next year.  Vik’s current show Museum of Ashes is striking a chord with visitors. It focuses on the tragic fire at  the National Museum in Rio and the loss of its irreplaceable artifacts, by recreating them out of the actual ashes.  

Louis Fratino

Louis Fratino’s show was so fresh and tender, and Jennifer’s work for her most recent show was just so powerful. It’s hard to convey how much pleasure I get  out of each of our artists’ shows.  Walking through the space and looking for four to five weeks, you really connect and see more, or learn to understand something different over time. It  Is such a gift.

MANY OF YOUR ARTISTS ARE HONORED WITH MUSEUM EXHIBITIONS AND SHOWS AT OTHER PRESTIGIOUS GALLERIES HERE AND ABROAD. HOW DO YOU ARRANGE FOR THESE AND HOW DO YOU PUBLICIZE THEM TO THE ARTIST AND GALLERY’S BEST ADVANTAGE?

We send out email blasts and use Instagram to announce exhibitions and awards.  We have also started making e-books for our shows with installation shots  to better share with a non local audience what the gallery and our artists are up to!

Josephine Halvorson

RECENT AWARDS AND MUSEUM EXHIBITIONS: 

Jeff Gibson wins the  MacArthur Foundation Fellowship

Kara Walker’s commission at Turbine Hall at the Tate Modern

Vik Muniz opening the new museum in Sarasota

Josephine Halvorson wins the James and Audrey Foster prize at the ICA, Boston

Jennifer Packer at MoCA this spring and the Serpentine this fall

Erin Shirreff at SF MoMA  now through November

Deana Lawson with survey forthcoming at Ica Boston at PS 1

Arturo Herrara’s  new work at Corbett vs Dempsey forthcoming

Marlene McCarty exhibit at the UB Art Galleries in Buffalo

Sheila  Hicks in MoMA’s Surrounds, the installation section on the 6th floor

Erin Shirreff

HOW HAVE YOU SEEN THE GALLERY SYSTEM CHANGE AND ADAPT TO GLOBALIZATION IN GENERAL AND HOW HAS SIKKEMA JENKINS APPROACHED THESE CHANGES IN PARTICULAR?

There is a wider worldwide audience.  There is also a lack of interaction as people use places like Artsy for inquiries.  I don’t like that!  I think we need a sense of who a buyer is. 

WE ARE IN THE THROES OF THE PRESENCE OF UBER-GALLERIES BOTH IN THE BRICKS AND MORTAR WORLD AND AT THE ART FAIRS. HOW DO SUBSTANTIAL, LONG-TERM BUT MORE MODEST GALLERIES DEAL WITH THIS COMPETITION?

We cannot compete with the uber galleries. But we can keep doing what we do best. Show great artists, work as hard as we can for them, place the work in the best collections we can, and remain approachable!

Mitch Epstein

WHAT EXHIBITIONS ARE YOU PLANNING FOR THE SEASON AHEAD?

We are currently showing Zipora Fried, a wonderful artist who was with the great  Stellar Rays until they closed. It is our first solo show with her and we are thrilled.  In the back galleries we are showing new  Cameron Martin paintings paired with vintage Kepes photographs.   Cameron’s show at James a Fuentes last year was a stunner, and we are delighted to show these new pieces.  In January, we will show new work by William Cordova and Josephine Halvorson’s Foster Prize show.  Then we will show Kara Walker, including some pieces that will go to Kunstmuseum  Basel for her forthcoming show there. In  May we will show  Merlin James, a still undervalued painter who’s got a terrific artists following.

We have to get Arturo Herrera and Kay Rosen on the books, both such strong wonderful artists

Kay Rosen

WHAT ARE SOME OF THE PLANS FOR THE GALLERY IN THE FUTURE?

To keep going!  To support our artists as best we can and to keep the non-uber gallery alive!

MEG, THANK YOU SO MUCH FOR YOUR WONDERFUL CONTRIBUTION TO THE LRFA BLOG AND TO SIKKEMA JENKINS & CO.  GALLERY. IT IS NO WONDER THAT THE GALLERY HAS SUCH A LOYAL AND DEDICATED TEAM AND CONTINUES TO GROW AND THRIVE.

TIS THE SEASON, AND IN OUR NEXT LRFA BLOGS, WE ARE DELIGHTED TO ANNOUNCE THE LRFA BLOG ANNUAL TRADITION:  POSTS FROM DOUG FLAMM, GAGOSIAN’S RARE BOOK EXPERT, WITH THIS YEAR’S IRRESISTIBLE GIFTS.

 

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

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

 

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

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

Brenda Goodman

BRENDA GOODMAN

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

Louis Fratino

LOUIS FRATINO

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

Jennifer Packer

JENNIFER PACKER

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

Terry Haggerty

TERRY HAGGERTY

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

AND CURRENTLY, THE BEAUTIFUL RECENT ABSTRACTIONS BY

Zipora Fried

ZIPORA FRIED

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

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

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

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

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

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

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

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

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

Sheila Hicks

 

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

That is an impossible question!  😊

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

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

William Cordova
Machu Picchu

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

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

Andy Warhol
Turkey Noodle Soup

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

Howard Read and John Cheim, partners Cheim & Read

 

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

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

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

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

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

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

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

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

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

Lynda Benglis
Current, 1979

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

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

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

WHAT IS THE NEW ADDRESS?

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

https://www.cheimread.com/

Sean Scully
Night and Day
Cheim & Read

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

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

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

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

Jonathon Lasker

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

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

Bill Jensen

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

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

Serge Poliakoff

 

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

https://www.damianieditore.com/

HERE’S TO 21 MORE!

An extraordinary track record: Mary Boone Gallery with Ron Warren

Peter Saul
“Fake News”

IN 2014 IN THE NEW YORK AREA, FOUR SUPERSTAR ARTISTS HAD MAJOR SHOWS AT LOCAL INSTITUTIONS—AI WEIWEI AT THE BROOKLYN MUSEUM, SIGMAR POLKE AT MOMA, JEFF KOONS AT THE WHITNEY, AND JULIAN SCHNABEL AT THE BRANT FOUNDATION. THE ONE COMMONALITY THAT LINKS THESE ARTISTS IS THE FACT THAT, AT ONE TIME OR ANOTHER, ALL OF THEM HAVE BEEN REPRESENTED BY MARY BOONE. WHILE THERE ARE PLENTY OF BILLION-DOLLAR PLAYERS TODAY COMPETING FOR THE MANTLE OF THE PREMIERE NEW YORK GALLERIST, FOR MANY, THAT DISTINCTION GOES TO BOONE. SHE HAS, ALL AT ONCE, REVOLUTIONIZED THE ART WORLD, WEATHERED IT, CHALLENGED IT, SURVIVED IT, GIVEN NEW LIFE TO IT.

But it never occurred to me to show Jean-Michel because he was black or to show Barbara and Sherrie because they were women. I never thought it was the gallery’s responsibility to make this a fair and equitable world—you can’t do that. I just tried to show art that I liked, that I thought was powerful and strong.

Mary Boone

Mary Boone interviewed by Eric Fischl in INTERVIEW MAGAZINE, October 2014

TODAY, MARY BOONE GALLERY, IN TWO PRESTIGIOUS LOCATIONS IN NEW YORK, 745 FIFTH AVENUE ON 57th STREET AND 541 WEST 24th STREET IN CHELSEA, SHOWS A MIX OF ARTISTS LONG-ASSOCIATED WITH THE GALLERY SUCH AS ROSS BLECKNER, BARBARA KRUGER, AND FRANCESCO CLEMENTE, REPRESENTS INTERNATIONALLY ESTABLISHED ARTISTS SUCH AS AI WEIWEI, KAWS, AND JACOB HASHIMOTO, AND IS ALWAYS ON THE LOOKOUT FOR NEW TALENT. HER TRACK RECORD IS IMPECCABLE. IT IS REMARKABLE THAT ONE GALLERIST CONTINUES TO IDENTIFY THE MOST INTERESTING AND VITAL ARTISTS OF EACH GENERATION.

The Squibb Building
745 Fifth Avenue
New York City

TODAY, THE LRFA BLOG IS HONORED TO CONTINUE ITS DIALOGUE WITH RON WARREN, GALLERY PARTNER AND DIRECTOR, WHO WILL CONTINUE TO SHARE THE HISTORY OF THIS ACHIEVEMENT WITH US.

https://maryboonegallery.com/

When did the gallery move into its current space on Fifth and what prompted that decision?

We closed the gallery in SoHo and moved to midtown in Spring of 1996. A number of galleries had already left SoHo because of what was considered the commercialization (and resultant rising rents) of an area that had originally been in the 1970s a place where artists could inexpensively live and work. Already in 1996 Chelsea was an option – galleries were buying spaces there to avoid what had happened in SoHo. But at that moment for us there was not the right space available – we were leaving a spectacular sky-lit garage! – and so it was appealing to look at the historical nexus for contemporary galleries around 57 and Fifth. 745 Fifth Avenue, also known as the Squibb Building, is a quintessential Art Deco tower. It’s a great location, a lot of collectors live uptown and there is a concentration of hotels where international clients stay, plus we are four blocks from MoMA.

What were some of the exhibition highlights that stand out for you in the Fifth Avenue space?

Richard Artschwager
D.M.B.R.T.W. AND POTATO , 1997
Oil and celotex

An early show in the Fifth Avenue space (1997) was a series of paintings by Richard Artschwager of potatoes, a very banal subject but brilliant in Richard’s hands. In 1998 we began a regular series of curated group shows that broke from our usual format of nearly exclusively solo shows by gallery artists. These shows created lively juxtapositions and brought work by many artists new to us into the gallery, including Huma Bhabha, Louise Bourgeois, Thomas Demand, Douglas Gordon, Carol Bove, Tom Friedman, and Richard Prince. Our 2010 exhibition of Sherrie Levine’s cast glass Newborn sculptures displayed on four grand pianos is one of the most remarkable installations in the space. In 2013 we had a dazzling show of Peter Halley’s paintings hanging against floor to ceiling wallpaper by Alessandro Mendini, and later that year an exhibition of Peter Saul paintings from the 1960s and 1970s provided a great opportunity to see a range of his historical work.

Mary Boone Gallery,
Chelsea
Keith Sonnier light sculpture

When did the gallery add the Chelsea space as a second venue and what was the impetus for that?

After considerable renovation, we opened our second gallery space at 541 West 24 Street in November 2000. Like the gallery in SoHo, this space had been serving as a garage: ground floor, single-story building with a skylight, but with an even more dramatic, soaring trussed roof. Mary calls it the space she always wanted to build. By 2000 Chelsea had become much more established, and particularly 24 Street had a concentration of top galleries. Regaining a large, unbroken space open to the street gave us more flexibility to do large installations, and of course allowed us to double our exhibition program.

Sherri Levine
Newborn

Some of the outstanding historical shows that show the influence of a generation of master artists on the artists working today include Francis Picabia, Dan Flavin, Clyfford Still, and my favorite, as clients know, the Mirror Paintings by Roy Lichtenstein.  Please describe these exhibitions and in which ways they exerted such a strong influence on the current generation of artists.

All amazing exhibitions. Although I came to the gallery after the Picabia show (1983), I do remember how eye-opening that show was. Definitely before its time… did you know that show was thoroughly panned by the New York Times art critic? A direct legacy of that show is that over thirty years later MoMA mounted their extremely well-received Picabia retrospective. Clyfford Still (1990) was a show that at the time was considered impossible to do – Patricia Still was still living and enforcing the artist’s draconian regulations. Working with loans from Museums and private collections, we were able to put together what amounted to a small but comprehensive survey. Roy and Dan were still alive at the time of their shows so it was fascinating to see them engage with their own historical works. Besides the impact and importance of the works, my lasting impression of their shows was the way they were lit. The Roy Lichtenstein mirrors (1989) were spot-lit like icons, which in a sense they were. For our Dan Flavin show (1991) of his Monument (for V. Tatlin) works, we relied only on the light emitted from the works. The gallery had a highly polished terra cotta tile floor, and the reflection of the vertical fluorescent tubes gave the darkened space the aura of a sanctuary.

Roy Lichtenstein
Mirror Painting

IN OUR NEXT POST, RON WILL INFORM US OF SOME OF THE GREAT LEGENDARY ARTISTS THE GALLERY PRESENTLY REPRESENTS RANGING FROM AI WEIWEI, THE BRILLIANT CHINESE ACTIVIST AND ARTIST, TO BARBARA KRUGER, A QUINTESSENTIAL AMERICAN TEXT AND IMAGE PAINTER WHO AIMS HER KEEN VISUAL OBSERVATIONS ON AMERICANS’ PREOCCUPATIONS AND CONSUMERISM.

PLEASE JOIN US!