Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Tag: modern masters

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!

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!

 

 

Building bridges: artist/gallery/collector, with Max Teicher of Gagosian Gallery

GAGOSIAN GALLERY LONDON April 27 - June 17, 2016 "Alberto Giacometti Yves Klein: In Search of the Absolute" Installation view Photo by Mike Bruce

GAGOSIAN GALLERY LONDON
April 27 – June 17, 2016
“Alberto Giacometti Yves Klein: In Search of the Absolute”
Installation view
Photo by Mike Bruce

GAGOSIAN GALLERY CURATES MUSEUM QUALITY EXHIBITIONS ON A REGULAR BASIS, OFTEN THEMATIC IN CONTENT OR ON OCCASION FOCUSING ON A SPECIFIC PERIOD OF AN INDIVIDUAL ARTIST’S WORK. THE GALLERY ENJOYS A RICH HISTORY OF EXCEPTIONAL EXHIBITIONS DEDICATED TO THE WORK OF ALEXANDER CALDER, JOHN CHAMBERLAIN, WILLEM DE KOONING, LUCIO FONTANA, ANDY WARHOL, AND OTHERS. FOR EXAMPLE, A SERIES OF OUTSTANDING SURVEY EXHIBITIONS EXPLORED DIFFERENT PERIODS OF PICASSO’S WORK, CURATED BY THE ESTEEMED PICASSO EXPERT, JOHN RICHARDSON.

ARTISTS, ARTISTS’ ESTATES AND COLLECTORS ANTICIPATE THAT GALLERIES  OF THIS CALIBER WILL NOT ONLY SUPPORT THE WORK OF ARTISTS THEY REPRESENT WITH A MULTI-FACETED PLATFORM OF WORLD-WIDE GALLERY AND MUSEUM EXHIBITIONS BUT ALSO WITH  ART HISTORICAL RESEARCH AND CONNOISSEURSHIP. THUS, IN ADDITION TO THE SHOWS THEMSELVES,  THE GALLERY PUBLISHES SCHOLARLY EXHIBITION CATALOGUES AND ARTISTS’ MONOGRAPHS AND PROVIDES A HIGHLY SOPHISTICATED PUBLICITY  NETWORK THAT REACHES EVERY POTENTIAL AUDIENCE BY BOTH TRADITIONAL METHODS AND SOPHISTICATED 2.0 MARKETING. http://www.gagosian.com/

GAGOSIAN GALLERY CHELSEA September 10 - October 17, 2015 "ROY LICHTENSTEIN: Greene Street Mural" Installation view Photo by Rob McKeever

GAGOSIAN GALLERY CHELSEA
September 10 – October 17, 2015
“ROY LICHTENSTEIN: Greene Street Mural”
Installation view
Photo by Rob McKeever

THESE ARE THE ACTIVITIES AND EVENTS THAT COMMAND PUBLIC ATTENTION. BEHIND THE SCENES, NURTURING THE RELATIONSHIP BETWEEN GALLERY AND ARTIST IS AS CRUCIAL A FUNCTION FOR THE WELL-BEING OF BOTH ARTIST AND DEALER.

THE LRFA BLOG IS VERY PLEASED TO CONTINUE ITS CONVERSATION WITH MAX TEICHER OF GAGOSIAN GALLERY.

MAX’S FIRST-HAND EXPERIENCE AS AN ARTIST, SHARED BY MANY OF US ON THE BUSINESS SIDE OF THE ARTS, FOSTERS HIS EMPATHY AND RAPPORT WITH ARTISTS. AS A COLLECTOR IN HIS OWN RIGHT, HIS APPRECIATION OF CONTEMPORARY ART AND THE DECISION-MAKING SELECTION PROCESS ADDS A DIMENSION TO HIS EXPERTISE AND EXPERIENCE.

GAGOSIAN GALLERY NEW YORK March 10 - 19, 2016 "Masterworks from the Chinese Past" In collaboration with Gisèle Croës Installation view Photo by Rob McKeever

GAGOSIAN GALLERY NEW YORK
March 10 – 19, 2016
“Masterworks from the Chinese Past”
In collaboration with Gisèle Croës
Installation view
Photo by Rob McKeever

MAX, WHEN DID YOU FIRST START AT GAGOSIAN AND IN WHAT CAPACITY?

I started interning at the gallery when I was 19. I was always happy to help in any way. I was then lucky enough to be an art handler. That helped me build personal relationships with objects and I learned the process of how the gallery works and how much effort people put into it.

HOW DID YOUR AREAS OF RESPONSIBILITY EVOLVE OVER THE EIGHT YEARS YOU HAVE WORKED AT GAGOSIAN? DOES THE GALLERY HAVE A STRICT HIERARCHY OF RESPONSIBILITY OR IS THERE A FLUIDITY AND OPPORTUNITY TO LEARN VARIOUS ASPECTS OF GALLERY MANAGEMENT?

I can’t speak for everyone else’s development here, but I do feel like it is a terrific place for people to find their role on the team. Everyone is different and everyone has specific purposes and this is the kind of place that brings out the best in these people.

GAGOSIAN GALLERY CHELSEA February 17 - April 18, 2015 "In the Studio: Paintings" Curated by John Elderfield Installation view Photo by Rob McKeever

GAGOSIAN GALLERY CHELSEA
February 17 – April 18, 2015
“In the Studio: Paintings”
Curated by John Elderfield
Installation view
Photo by Rob McKeever

DO YOU COLLECT AND, IF SO, WHAT TYPES OF WORK AND WHY?

Of course I collect! I think that one of our great collectors here at Gagosian said it well. He said that the moment you put your first piece on the wall, you can no longer live without art. My collection is made up of artists that have an appreciation for technical skill and craftsmanship. I find it impossible to solely collect so I often go on studio visits and engage in brainstorming with the artists. There are several that I have consistently supported for several years now.

DID YOU PROPOSE EXHIBITIONS OF SPECIFIC ARTISTS AND HOW DO THESE EXHIBITS AND ARTISTS REFLECT YOUR INTEREST IN THE CONTEMPORARY ART WORLD?

I have been fortunate enough to build bridges between many artists, curators, gallerists, and collectors. Sometimes an exhibition can start from a casual conversation with an artist to years of suggesting their work to others. Great art always finds a way of being presented to large audiences.

UNREALISM The Moore Building, Miami Design District Art Basel Miami December 2015

UNREALISM
The Moore Building, Miami Design District
Art Basel Miami December 2015

AT LAST DECEMBER’S MIAMI ART BASEL, GAGOSIAN LAUNCHED AN ENORMOUS EXHIBITION OF FIGURATIVE WORKS ENTITLED UNREALISM  IN COLLABORATION WITH JEFFREY DEITCH. I HAD THE PLEASURE OF VIEWING THE EXHIBIT WITH YOU AS MY GUIDE AND BENEFITED FROM YOUR KNOWLEDGE OF SUCH A WIDE RANGE OF FIGURAL ARTISTS.

WHAT DOES THE RENEWED INTEREST IN FIGURATIVE PAINTING AND SCULPTURE REPRESENT TO YOU AND WHAT DO YOU THINK THE INFLUENCE OF PHOTOGRAPHY AND DIGITAL PRINTING HAS ON THIS RENAISSANCE?

I think these things come in waves. I think that post-war era figurative painting has come in and out. I have even heard of several universities that banned it until only 10 years ago. I think technology is always expanding the abilities for artists to create. Ever since oil painting took over tempera painting in the renaissance, technology has continued to open windows. Today with digital photography, everyone with a mobile phone is a curator or an artist on Instagram or social media with what they are putting up there.

GAGOSIAN GALLERY LONDON BRITANNIA STREET November 2012 - January 2013 "ZENG FANZHI" Installation view Photo by Mike Bruce

GAGOSIAN GALLERY LONDON
BRITANNIA STREET
November 2012 – January 2013
“ZENG FANZHI”
Installation view
Photo by Mike Bruce

IN THE NEXT LRFA POST, MAX WILL SHARE HIS INSIGHTS ON THE ART OF COLLECTING ART. HIS EXPERIENCE AS BOTH AN ASTUTE COLLECTOR AND  DEALER PROVIDES A 360 DEGREE PERSPECTIVE.  DO ASK MAX ANY QUESTIONS YOU HAVE ON THIS SUBJECT.

THANKS FOR READING!

Lehmann Maupin Gallery, New York/Hong Kong

TERESITA FERNANDEZ Installation View, LMG Hong Kong

TERESITA FERNANDEZ
Installation View, LMG Hong Kong

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