Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Tag: gallery

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.

 

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

Meg Malloy
Partner
Sikkema Jenkins & Co.

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

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

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

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

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

Vik Muniz: Surfaces
Current exhibition
Sikkema Jenkins & Co.

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

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

 

Georgia O’Keeffe
Sky Above Clouds

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

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

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

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

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

Kara Walker
Turbine Commission Tate Modern

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

Erin Shirreff
San Francisco Museum of Art

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

PLEASE JOIN US!

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

Howard Read and John Cheim, partners Cheim & Read

 

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

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

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

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

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

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

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

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

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

Lynda Benglis
Current, 1979

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

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

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

WHAT IS THE NEW ADDRESS?

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

https://www.cheimread.com/

Sean Scully
Night and Day
Cheim & Read

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

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

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

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

Jonathon Lasker

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

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

Bill Jensen

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

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

Serge Poliakoff

 

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

https://www.damianieditore.com/

HERE’S TO 21 MORE!

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

Art Basel 2019
Cheim & Read

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

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

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

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

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

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

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

https://www.cheimread.com

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

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

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

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

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

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

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

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

WHAT ARE THE GALLERY’S PLANS FOR THE FUTURE?

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

 

Lynda Benglis
Catalina
Museum of Cycladic Art Athens, November 2019

 

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

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

Lynda Benglis at The Cycladic Museum, November 22, 2019

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

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

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

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

PLEASE JOIN US!

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

CHEIM & READ
23 East 67th Street

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

Art Basel Miami Beach
Conversations 2018
Howard Read

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

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

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

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

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

Al Held
The Yellow X

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

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

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

Serge Poliakoff
Bleu Rouge
1951

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

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

Milton Resnick
Board Painting
courtesy of Cheim & Read

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

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

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

Hans Hartung
The Last Paintings 1989
Cheim & Read exhibition

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

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

https://www.cheimread.com/

 

PRVTVW NY disrupts the conventional gallery system with founder Madeleine Paternot

Without Qualities
Private View, New York
Installation

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

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

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

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

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

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

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

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

WHAT WAS THE INSPIRATION FOR YOUR OPENING OF PRIVATE VIEW?

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

Private View
Dinner

 

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

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

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

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

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

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

Knee Deep
Private View, New York

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

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

WHAT ARE SOME OF YOUR ADDITIONAL PROJECTS FOR PRIVATE VIEW?

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

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

Knee Deep Artists Talk
Private View, New York

 

 

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

Chloe Dewe Mathew
Caspian: The Elements

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

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

AN EXCERPT:

“Perhaps the act of creation somehow stitches back 

together the thing that started to unravel, through beauty,

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

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

Blue Chair
Madeleine Paternot

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

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

PLEASE JOIN US!

 

 

 

 

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

 

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

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

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

Cultural Anthropology Course Description, Stanford University

Madeleine Paternot
Blue Club Chairs
Acrylic and ink on canvas
2012

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

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

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

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

Madeline Paternot
Mint Wallpaper

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


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


Madeline Paternot
Tall Pink Chair

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

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

Madeline Paternot
Chandelier (wheat pasted)

WHERE WERE YOU EDUCATED?


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

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

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

PLEASE JOIN US!