On view: Hong kong ben brown fine arts

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Elements of Transcendence

15 June – 31 August 2019

Ben Brown Fine Arts is thrilled to present a summer group exhibition, Elements of Transcendence, at the Hong Kong gallery. The exhibition brings together the work of four artists who explore spirituality through their artwork, employing various artistic techniques and practices, historical and autobiographical references, and imagery and symbolism ranging from abstraction to realism. The output of these four international artists, Miya Ando, Kitty Chou, Hyon Gyon and Lucy Liu, is informed by both Eastern and Western influences and experiences, resulting in a poignant and provocative conversation within the gallery walls.

Miya Ando

Ando explores the transformation of metals, wood and glass through varying techniques, from burnishing and charring to intermingling with elements such as silver nitrate, resin, gold and mica, producing subtle gradations of color and texture that suggest changing atmospheric conditions in nature. There is a duality to her wall pieces and sculptures – the foundation of metal and wood suggest permanence and solidity, while their altered surfaces are infused with the artist’s spiritual investigations and create a meditation on the ephemerality of the natural world.

Ando has had recent solo exhibitions at The Noguchi Museum, New York, and Savannah College of Art and Design, Savannah, Georgia, and her work is included in numerous public and private collections including the Los Angeles County Museum of Art, Los Angeles, Detroit Institute of Arts Museum, Detroit, Michigan; and Luft Museum, Amberg, Germany. Ando is a descendant of Bizen swordsmiths and spent part of her childhood among Buddhist priests at a temple in Okayama, Japan. Ando holds a bachelor’s degree in East Asian Studies from the University of California, Berkeley, studied East Asian Studies at Yale University and Stanford University, and apprenticed with a Master Metalsmith at Hattori Studio, Japan.

Kitty Chou

Chou’s enigmatic photographs are rooted in familiar subject matter– trees, doorways, bodies of water – yet through her lense they are transformed into the extraordinary, resulting in semi-abstract, ethereal, optical compositions that challenge perceptions of reality. Chou selected the three works in the exhibition as embodiments of her notions of Buddhist philosophy. Chou photographs her subjects with a simple digital camera and abstains from any form of staging in her creative process. Her images are the product of chance encounter, careful composition and captured moment.

Born and raised in Hong Kong, Kitty Chou holds bachelor’s degrees from the Wharton School of the University of Pennsylvania and the New York School of Interior Design. Her photographs have been exhibited in Hong Kong, London, Malta, New York, Paris and Taiwan. In 2013 and 2016 Chou was nominated for the Prix Pictet prize. Chou has had two solo exhibitions at Ben Brown Fine Arts Hong Kong and one solo exhibition at Ben Brown Fine Arts London.

Hyon Gyon

Hyon Gyon addresses highly charged and personal themes, such as shamanism, grief, catharsis, stigma, cultural identity and sexual politics, through her paintings, sculpture, installations and performances. The exhibition includes several portraits and still- lifes that are created by layering and burning traditional Korean silk fabrics with a soldering iron, melting the shredded silk into foam board on canvas. A rare early work is also included in the exhibition, demonstrating the artist’s traditional painting background and incorporating Korean and Japanese cultural and folkloric references.

Born in South Korea, Hyon Gyon holds a bachelor’s degree in painting from Mokwon University, South Korea, and both a master’s degree and doctoral degree in painting from Kyoto City University of Arts, Japan. Hyon Gyon’s work has been exhibited internationally at institutions including Parasol Unit, London; Brooklyn Museum, New York; Museum of Kyoto, Japan; Asian Art Museum, San Francisco; and Museum of Contemporary Art, Tokyo and is included in many public and private collections such as Takahashi Collection, Japan; Frederick R. Weisman Art Foundation, Los Angeles; and High Museum of Art, Atlanta, Georgia. Hyon Gyon had a solo exhibition in 2017 at Ben Brown Fine Arts Hong Kong.

Lucy Liu

Liu’s mixed media installation, Seventy Two, is comprised of seventy-two calligraphic ink paintings inspired by ancient Jewish mysticism and Eastern philosophy and is accompanied by a book of texts relating to each component. Liu explores spirituality, religion and identity through the lense of both Eastern and Western experience in her paintings, photographs, collages and installations. Liu holds a bachelor’s degree in Asian Languages and Culture from the University of Michigan, studied photography at Beijing Normal University and studied painting at the New York Studio School. Liu’s work was recently included in a group exhibition at the National Museum of Singapore and is included in many prominent public and private collections. Liu currently lives in New York.

FOR FURTHER PRESS INFORMATION AND ENQUIRIES PLEASE CONTACT:

Juliana Chan Find us @benbrownfinearts

Ben Brown Fine Arts Hong Kong #benbrownfinearts #elementsoftranscendence

T. +852 2522 9600

E. juliana@benbrownfinearts.com www.benbrownfinearts.com

Printmaking exhibition palo alto arts center

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Vermillion 3, monotype,  ink on paper,  48.125 x 35.625 in, 2014. printed with Smith Anderson Editions.  Part of  Local Editions: A Celebration of Bay Area Printmaking at Palo Alto Art Center

Exhibition dates: June 15—August 25, 2019  Featuring:

Darren Almond

Mamma Andersson and Jockum Nordström

Miya Ando

Kathy Aoki

Tauba Auerbach

Sandow Birk

Rebecca Bollinger

Enrique Chagoya

Robert Crumb

Marcel Dzama

Stella Ebner

David Gilhooly

Takuji Hamanaka

Frank Lobdell

Diogenes Lucero

Fred Martin

Michael Mazur

Kerry James Marshall

Greg Niemeyer and Roger Antonsen

Deborah Oropallo

Mel Ramos

Gustavo Rivera

Maurice Sendak

William Wiley

Joe Zirker

The San Francisco Bay Area is home to some of the most creative and innovative print studios in the country. Locally and internationally renowned artists have created new work with master printers at presses which include Arion Press, Crown Point Press, Electric Works, Gallery 16, KALA, Magnolia Editions, Mullowney Printing, Paulson Fontaine Press, Trillium Graphics, and Smith Andersen Editions. For this exhibition, the Art Center has collected pieces produced at these notable presses in order to celebrate the rich tradition of fine art printmaking, showcasing its many processes and results. With our accompanying artist-in-residence program highlighting local printmakers for short, nine-day residencies, the Center intends to engage the public directly in the power of printmaking. And through our Summer of Printmaking, inspire our visitors to try their hand at this dynamic and always-evolving form of expression.

“ELEMENTS OF TRANSCENDENCE​“ ben Brown fine arts hong kong

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Elements of Transcendence

Ben Brown Fine Arts Hong Kong

15 June – 31 August 2019

OPENING BRUNCH: Saturday, 15 June, 11am-3pm

Ben Brown Fine Arts is thrilled to present a summer group exhibition, Elements of Transcendence, at the Hong Kong gallery. The exhibition brings together the work of four artists who explore spirituality through their artwork, employing various artistic techniques and practices, historical and autobiographical references, and imagery and symbolism ranging from abstraction to realism. The output of these four international artists, Miya Ando, Kitty Chou, Hyon Gyon and Lucy Liu, is informed by both Eastern and Western influences and experiences, resulting in a poignant and provocative conversation within the gallery walls.

Miya Ando

Ando explores the transformation of metals, wood and glass through varying techniques, from burnishing and charring to intermingling with elements such as silver nitrate, resin, gold and mica, producing subtle gradations of color and texture that suggest changing atmospheric conditions in nature. There is a duality to her wall pieces and sculptures – the foundation of metal and wood suggest permanence and solidity, while their altered surfaces are infused with the artist’s spiritual investigations and create a meditation on the ephemerality of the natural world.

Ando has had recent solo exhibitions at The Noguchi Museum, New York, and Savannah College of Art and Design, Savannah, Georgia, and her work is included in numerous public and private collections including the Los Angeles County Museum of Art, Los Angeles, Detroit Institute of Arts Museum, Detroit, Michigan; and Luft Museum, Amberg, Germany. Ando is a descendant of Bizen swordsmiths and spent part of her childhood among Buddhist priests at a temple in Okayama, Japan. Ando holds a bachelor’s degree in East Asian Studies from the University of California, Berkeley, studied East Asian Studies at Yale University and Stanford University, and apprenticed with a Master Metalsmith at Hattori Studio, Japan.

Kitty Chou

Chou’s enigmatic photographs are rooted in familiar subject matter– trees, doorways, bodies of water – yet through her lense they are transformed into the extraordinary, resulting in semi-abstract, ethereal, optical compositions that challenge perceptions of reality. Chou selected the three works in the exhibition as embodiments of her notions of Buddhist philosophy. Chou photographs her subjects with a simple digital camera and abstains from any form of staging in her creative process. Her images are the product of chance encounter, careful composition and captured moment.

Born and raised in Hong Kong, Kitty Chou holds bachelor’s degrees from the Wharton School of the University of Pennsylvania and the New York School of Interior Design. Her photographs have been exhibited in Hong Kong, London, Malta, New York, Paris and Taiwan. In 2013 and 2016 Chou was nominated for the Prix Pictet prize. Chou has had two solo exhibitions at Ben Brown Fine Arts Hong Kong and one solo exhibition at Ben Brown Fine Arts London.

Hyon Gyon

Hyon Gyon addresses highly charged and personal themes, such as shamanism, grief, catharsis, stigma, cultural identity and sexual politics, through her paintings, sculpture, installations and performances. The exhibition includes several portraits and still- lifes that are created by layering and burning traditional Korean silk fabrics with a soldering iron, melting the shredded silk into foam board on canvas. A rare early work is also included in the exhibition, demonstrating the artist’s traditional painting background and incorporating Korean and Japanese cultural and folkloric references.

Born in South Korea, Hyon Gyon holds a bachelor’s degree in painting from Mokwon University, South Korea, and both a master’s degree and doctoral degree in painting from Kyoto City University of Arts, Japan. Hyon Gyon’s work has been exhibited internationally at institutions including Parasol Unit, London; Brooklyn Museum, New York; Museum of Kyoto, Japan; Asian Art Museum, San Francisco; and Museum of Contemporary Art, Tokyo and is included in many public and private collections such as Takahashi Collection, Japan; Frederick R. Weisman Art Foundation, Los Angeles; and High Museum of Art, Atlanta, Georgia. Hyon Gyon had a solo exhibition in 2017 at Ben Brown Fine Arts Hong Kong.

Lucy Liu

Liu’s mixed media installation, Seventy Two, is comprised of seventy-two calligraphic ink paintings inspired by ancient Jewish mysticism and Eastern philosophy and is accompanied by a book of texts relating to each component. Liu explores spirituality, religion and identity through the lense of both Eastern and Western experience in her paintings, photographs, collages and installations. Liu holds a bachelor’s degree in Asian Languages and Culture from the University of Michigan, studied photography at Beijing Normal University and studied painting at the New York Studio School. Liu’s work was recently included in a group exhibition at the National Museum of Singapore and is included in many prominent public and private collections. Liu currently lives in New York.

FOR FURTHER PRESS INFORMATION AND ENQUIRIES PLEASE CONTACT:

Juliana Chan Find us @benbrownfinearts

Ben Brown Fine Arts Hong Kong #benbrownfinearts #elementsoftranscendence

T. +852 2522 9600

E. juliana@benbrownfinearts.com www.benbrownfinearts.com

Large-Scale Commission for Socrates Sculpture Park On view through September 3 2019, exhibition "Chronos Cosmos"

Miya Ando

銀河 Ginga (Silver River), 2019

Steel and fabric

10 x 3.5 x 200 feet

for “Chronos Cosmos” Exhibition

Meandering through the park, Ando’s textile banner Ginga (Silver River) embodies the Japanese word for galaxy, reflecting the relationship between the natural and human imagined ordering of the world. The piece connects two phenomena associated with time: the flowing water of a river and the movement of the stars. Ginga also suggests the myth that inspires the Japanese summer Star Festival, Tanabata.  In the legend, the Sky King, is angered by his daughter, the Weaver Princess, neglecting her weaving while distracted by her beau, the Cow Herder. In reaction, the Sky King separates the lovers, putting the Silver River (the Milky Way) between them.  The rainy season’s storms signify her tears. The sympathetic magpies build a bridge across the sky allowing the lovers (represented by the stars Vega and Altair) to reunite once a year. This day on the 7th day of the 7th month is known throughout Japan as the day wishes come true. The festival marks this meeting, and Ando’s shimmering textile celebrates this celestial journey and tracking of seasons.- Jessica Wilcox, Director of Exhibitions, Socrates Sculpture Park, NYC



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"Clouds" Exhibition on view Kantor Gallery Los Angeles

CURRENT EXHIBITION: KANTOR GALLERY LOS ANGELES

On View April 10 - May 10, 2019

Please contact: info@kantorgallery.com

www.kantorgallery.com

The "Kumo" (Clouds) series are works that investigate an individual's relationship to time.  By employing a vocabulary of clouds, an examination of transitoriness and an awareness to the present moment occurs. The works are created on a metal surface that captures and displays this material’s unique fleeting quality of light.  This series of works has been inspired by a concept that is based in Buddhism, as well as in quantum physics: the fundamental nature of reality is that all constituent forms that make up the universe are temporary.

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"Kumo (Cloud) Tondo 4.3", ink on aluminum composite, 47.5 inches, 2019

"Kumo (Cloud) Tondo 4.3", ink on aluminum composite, 47.5 inches, 2019

EXTENDED: "SORA VERSAILLES" INSTALLATION COMMISSIONED BY FAENA ART

EXTENDED: "SORA VERSAILLES" INSTALLATION COMMISSIONED BY FAENA ART

“Sora Versailles”, 133 x103 ft, printed mesh

3425 COLLINS AVENUE, MIAMI BEACH

This large-scale installation examines perception, as the historic Versailles Building is transformed into the sky itself, becoming void-like or transparent. The installation investigates one’s relationship to time as sunset and sunrise are depicted on the four sides of the building.

The Japanese kanji  is pronounced “Sora” and means sky or heaven. This word also has another reading, pronounced “kū” and means “emptiness or void”. Void is one of the five elements (earth, water, fire, wind, void). “Sora Versailles” installation is inspired by the idea of both sky and emptiness. In Buddhism as well as in Quantum Physics, the fundamental nature of reality is that all constituent forms that make up the universe are temporary, a concept termed ‘Sunyata.’ Artist Miya Ando pays homage to the  building’s original architect Roy France’s design philosophy of “let in the air and sun” as she wraps one of Miami’s most iconic buildings in clouds.

“Wrapping the historic Versailles Building with cloud imagery is an investigation into the idea that the fundamental nature of reality is that all constituent forms that create the universe are temporary, an underlying principle of both Buddhism as well as quantum physics."- Miya Ando

Photo: Kerry McLaney

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UPCOMING: SOLO EXHIBITION THE CORNELL MUSEUM OF ART

Exhibition Title: “Waves Becoming Light”

April 25 - October 6, 2019

Miya Ando creates an immersive environment for her solo exhibition at The Cornell Museum of Art. Included  is a large-scale, diaphanous installation of suspended silk fabric inspired by a quote by Zen Monk Eisei Dõgen “[Being illuminated by] the moon dwelling in the quiet mind, even the waves are breaking down and becoming light.”  She will also be exhibiting three paintings, “New Moon” and “Full Moon” (23k gold, pigment, mica, resin, stainless steel) and “Sui Getsu” (Water Moon), ink on aluminum composite.

"Sui Getsu (Water Moon)" 48 x 60 inches, ink on aluminum, 2019

"Sui Getsu (Water Moon)" 48 x 60 inches, ink on aluminum, 2019

"Full Moon", 24 k gold, pigment, urethane, resin, stainless steel, 47.5 inches, 2019

"Full Moon", 24 k gold, pigment, urethane, resin, stainless steel, 47.5 inches, 2019

"New Moon", 24 k gold, pigment, urethane, resin, stainless steel, 47.5 inches, 2019

"New Moon", 24 k gold, pigment, urethane, resin, stainless steel, 47.5 inches, 2019

NEW COMMISSION Large-scale commission: Socrates Sculpture Park, NY for exhibition "Chronos Cosmos" 200 foot long outdoor installation "Ginga" (The Silver River) May 5 - September 3 2019

NEW COMMISSION


Large-scale commission: Socrates Sculpture Park, NY for exhibition "Chronos Cosmos"

200 foot long outdoor installation "Ginga" (The Silver River)

May 5 - September 3 2019


Miya Ando

銀河 Ginga (Silver River), 2019

Steel and fabric

10 x 3.5 x 200 feet

Meandering through the park, Ando’s textile banner Ginga (Silver River) embodies the Japanese word for galaxy, reflecting the relationship between the natural and human imagined ordering of the world. The piece connects two phenomena associated with time: the flowing water of a river and the movement of the stars. Ginga also suggests the myth that inspires the Japanese summer Star Festival, Tanabata.  In the legend, the Sky King, is angered by his daughter, the Weaver Princess, neglecting her weaving while distracted by her beau, the Cow Herder. In reaction, the Sky King separates the lovers, putting the Silver River (the Milky Way) between them.  The rainy season’s storms signify her tears. The sympathetic magpies build a bridge across the sky allowing the lovers (represented by the stars Vega and Altair) to reunite once a year. This day on the 7th day of the 7th month is known throughout Japan as the day wishes come true. The festival marks this meeting, and Ando’s shimmering textile celebrates this celestial journey and tracking of seasons.- Jessica Wilcox, Director of Exhibitions Socrates Sculpture Park


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“SORA VERSAILLES” on view now in Miami for Faena Festival

“Sora Versailles”, 133 x103 ft, printed mesh

VERSAILLES HOTEL

3425 COLLINS AVENUE, MIAMI BEACH

Commissioned by Faena Art

This large-scale installation examines perception, as the historic Versailles Building is transformed into the sky itself, becoming void-like or transparent. The installation investigates one’s relationship to time as sunset and sunrise are depicted on the four sides of the building.

The Japanese kanji   is pronounced “Sora” and means sky or heaven. This word also has another reading, pronounced “kū” and means “emptiness or void”. Void is one of the five elements (earth, water, fire, wind, void). “Sora Versailles” installation is inspired by the idea of both sky and emptiness. In Buddhism as well as in Quantum Physics, the fundamental nature of reality is that all constituent forms that make up the universe are temporary, a concept termed ‘Sunyata.’ Artist Miya Ando pays homage to the  building’s original architect Roy France’s design philosophy of  “let in the air and sun” as she wraps one of  Miami’s most iconic buildings in clouds.

#faenafestival

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Photo: Kerry McLaney

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SPARTANBURG ART MUSEUM “IN THEIR ELEMENT” ON VIEW NOW


11.15.2018 - 02.10.2019

Humans have used symbols of earth, fire, water, and air for millennia, using them as metaphors to communicate universal ideals and truths about the world in which we live. This exhibition dives into a variety of contemporary practices that continue to express our awe, reverence, and dependence on two of the four Aristotelian elements, in unexpected and dynamic ways.

pictured: “Obon” (The returning of the spirits) Bodhi (Ficus Religiosa) leaves, phosphorescence, resin.

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JEAN PAUL NAJAR FOUNDATION MUSEUM ACQUISITION AND EXHIBITION

JEAN-PAUL NAJAR FOUNDATION

a contemporary art museum

The Monochrome Revisited

October 23, 2018 – February 28, 2019

United Arab Emirates, DUBAI – The monochrome is considered to be one of the most accomplished forms of painting. The importance of the monochrome lies in its conception, in its artistic and philosophical principles, and for some, in its ability to address social concerns. Kazimir Malevich’s Black Square (1915) is considered to be the first monochrome in the history of art. But can the origin of the monochrome be situated prior to the early twentieth- century?

The Jean-Paul Najar Foundation (JPNF) presents The Monochrome Revisited, an exhibition that explores the history and evolution of the monochrome. The exhibition is divided into three parts: the first section focuses on the ‘first monochromes’ found in printed matter from the seventeenth to the nineteenth centuries, putting into question its genesis; the second section takes its inspiration from Marcia Hafif’s seminal text Beginning Again, illustrating her purpose with selected works; and the final part of the exhibition looks at how artists today continue to be preoccupied with the monochrome, engaging with it in their practice to explore contemporary issues.

In late 2015, an announcement was made at the State Tretyakov Gallery in Moscow that incited controversy. Art historians at the national museum had discovered, under Kazimir Malevich’s iconic composition Black Square (1915) a scrawled reference to a provocative work sardonically titled Negroes Fight in a Tunnel by poet Paul Bilhaud. First exhibited in 1882 at Les Arts Incohérents, Bilhaud’s politically incorrect work (today considered to be the first documented monochrome) intended to simultaneously ridicule modernism as it acknowledged its radicalness. Fifteen years later, in 1897 Alphonse Allais published Album primo-avrilesque, which featured a number of works including Paul Bilhaud appropriated black monochrome. This section of the exhibition looks at this publication as well as others including Robert Fludd’s (first published in 1617) masterwork Utriusque cosmi maioris scilicet et minoris metaphysica, physica atque technica historia (The Metaphysical, Physical and Technical History of the Two

45 Alserkal Avenue

PO Box 928040 Dubai, UAE
+971 4 258 70 78 jpnajarfoundation.com

The second part of the exhibition takes as its core Marcia Hafif’s influential essay Beginning Again, published in Artforum in 1978. Throughout her fifty-year artistic career, Hafif, sought to push against any notion that “the enterprise of painting”1 had come to an end. She writes, “It was necessary to turn inward to the means of art, the materials and techniques with which art is made. Artists still interested in painting began an analysis – or destruction – of painting, turning to the basic question of what painting is.”2 We pay homage to Hafif and the important artists she references in her text exploring not only their use of material and technique but the contemplative attributes they bestow onto the monochrome. Artists include James Bishop, Dale Henry, Ralph Humphrey, Douglas Sanderson, Lucio Pozzi, and Susanna Tanger. The exhibition then looks at how these artists elaborated and expounded on the art form, giving a deeper understanding of monochrome painting.

Finally, we look at how contemporary artists today engage with the monochrome. Working across various mediums including painting, photography, and the ready-made, the monochrome has once again undergone an evolution, as artists redefine what it is and what it can be. Contemporary artists such as Miya Ando, David Batchelor, Alteronce Gumby, Alfredo Jaar, Mohammad Kazem, and Hassan Sharif demonstrate the vitally important role the monochrome continues to play in contemporary art. A provocative and innovative art form to this day, the monochrome retains the power to address contemporary issues, challenging our perception of the world we live in.

The Monochrome Revisited is on view at the Jean-Paul Najar Foundation in Dubai through February 28, 2019.

The Jean-Paul Najar Foundation gratefully acknowledges the support of all the artists, individuals and organizations that have made this exhibition possible. Special thanks to Alanna Heiss, The Dale Henry Estate, David Batchelor, Alteronce Gumby, the Estate of Hassan Sharif, Alfredo Jaar Studios, Mohammed Kazem, Gallery Isabelle van den Eynde and Lily Wei.

Full List of Artists (in alphabetical order):

Miya Ando, David Batchelor, James Bishop, Alteronce Gumby, Marcia Hafif, Dale Henry, Ralph Humphrey, Alfredo Jaar, Mohammad Kazem, Lucio Pozzi, Douglas Sanderson, Hassan Sharif, and Susanna Tanger.

About the JPNF

The Jean-Paul Najar Foundation for Contemporary Art is a non-profit ICOM registered private museum, gathering abstract European and American art from the 1960s through today. The JPNF is also home to a remarkable archive tracing forty years of artist-collector exchanges. Education is central to the museum’s mission. We are committed to presenting an educational program that promotes a spirit of discovery and inquiry that engages our diverse communities. The JPNF is designed by Mario Jossa, of Marcel Breuer and Associates, and is presented in partnership with Alserkal Avenue in Dubai.

For further information or images, please contact Wafa Jadallah on T +97142587078 or wafa@jpnajarfoundation.com Link to Marcia Hafif’s Essay ‘Beginning Again’

www.jpnajarfoundation.com | @JPNFMUSEUM JPNF is open Sunday – Saturday, 11AM – 6PM

“Hamon” (The Cloudlike Pattern on the Edge of a Sword), 40x40 in, pigment, urethane, aluminum, 2016

“Hamon” (The Cloudlike Pattern on the Edge of a Sword), 40x40 in, pigment, urethane, aluminum, 2016

NASSAU COUNTY MUSEUM OF ART : "TRUE COLORS" EXHIBITION JULY 2018

 

Nassau Museum Reveals Blockbuster Color Show

Major paintings by Matisse, Kandinsky, Rothko, Motherwell, Stella and a masterwork by Titian

A wing dedicated to the paintings of Wolf Kahn

A gallery of neon and rising stars of the Contemporary art scene featured

Greta Garbo’s favorite color paintings, including one by her brother, on view

July 21-November 4, 2018

Nothing in art is more powerful than color. From the shock effect the Fauves (“Wild Beasts”) and the rainbows of Delaunay and Kandinsky to the seductive radiance of neon, the story of color is a tale of wonder. The full range of color’s magic is on display in this exuberant show of over 100 works from the original master of color, Titian, to this moment’s hottest talents. The roll call of the great colorists in the show is a hit parade of art history’s most exciting names: Kandinsky, Hofmann, Klee, Albers, Rothko, Warhol, Joan Mitchell, Yves Klein, Ellsworth Kelly, Frank Stella, David Hockney, Wolf Kahn, Peter Halley, Joseph Kosuth, Juan Usle, Nathan Slate Joseph and Callum Innes. The Titian, the only one on view on Long Island, will be presented in a dramatic installation in the library of the former Frick mansion. A painting by Greta Garbo’s brother Sven Gustafson, together with one of the Hollywood star’s favorite works from her “wall of color” in the East Side Manhattan where her collection was on view, have been loaned by her heirs. Among the other lenders to the show are the most important galleries and private collections in the region, including Pace, Kasmin, Sean Kelly, Cheim and Read, Yares, Eric Firestone, Asher B. Edelman and Marc Strauss.  

The show also introduces rising stars of the Contemporary scene, such as Miya Ando, Doug Argue, Deborah Kass, and Keith Sonnier. A remodeled gallery will hold huge Color Field and Neo-Geo works, and a wall of display cases will present the pastel glassware designed by Louis Comfort Tiffany, whose paintings are the core of the Museum’s holdings. Among the significant Long Island-based talents in the show, a huge watercolor by Barbara Ernst Prey, an installation by Nathan Slate Joseph, and paintings by Scott McIntire are part of the show.

Programming for the show has been underwritten by Lord & Taylor, part of their celebration of the remodeling of the Manhasset store. There will be two “curated” concerts by local chamber ensembles, the pieces selected to match the contents of the show, as well as a symposium featuring many of the greatest experts on color in design, fashion, film and psychology (including Donald Kaufman, one of the top color minds in the world), as well as artist talks, lectures, Manhattan gallery tours and a director’s seminar held in his private office.

Potent even to the point of being considered dangerous, color is the most exciting element of art, the strongest tool in the toolbox. Because it is also a largely uncontrollable force, it remains the most vital source of new art. “Color, above all, is a means of liberation,” Matisse declared. 

Here is a partial list of artists included:

Titian

Henri Matisse

Robert and Sonia Delaunay

Stanton MacDonald-Wright

Wassily Kandinsky

Franz Marc

Mark Rothko

Hans Hofmann

Ellsworth Kelly

Andy Warhol

Yves Klein

Alfred Jensen

Arthur Carter

Callum Innes

Joseph Kosuth

Frank Stella

Wolf Kahn

David Hockney

James Nares

Robert Motherwell

Peter Halley

Nathan Slate Joseph

Juan Usle

Joan Mitchell

Miya Ando

Deborah Kass

Larry Poons

The exhibition will be accompanied by a fully illustrated catalogue with essays by curator Charles A. Riley II, PhD, whose book Color Codes is on the required reading list of many art programs including the Rhode Island School of Design, Yale and MIT. In addition, the exhibition will be the center of demonstrations of color theory and technique and classes in painting and drawing at the Manes Family Educational Center that are specifically tailored to the content of the show. The emphasis of the programming will be an inter-disciplinary approach to the study of color, weaving art and music, psychology, literature, philosophy and design. 

About the Museum:

Nassau County Museum of Art is located at One Museum Drive in Roslyn Harbor. The museum is open Tuesday-Sunday, 11 a.m.-4:45 p.m. Admission is $12 for adults, $8 for seniors (62 and above) and $4 for students and children (4 to12). Docent-led tours of the exhibition are offered at 2 p.m. each day; tours of the mansion are offered each Saturday at 1 p.m. Media Contact: Charles Riley, (516) 484-9338 x 37, criley@nassaumuseum.org 

Public Information: Nassau County Museum of Art, (516) 484-9338; nassaumuseum.org

 

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GOTHAM MAGAZINE: 5 NOT-TO-BE-MISSED ART HAPPENINGS IN NYC

By Gary Duff | May 17, 2018 | Culture

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Artists abound in NYC, which makes the Big Apple the perfect place to get inspiration. Here are five not-to-be-missed art events happening right now. 

Miya Ando: Clouds

Now through August 19, art aficionados can view Miya Ando's latest sculptures at the intimate indoor-outdoor Noguchi Museum in Astoria, Queens. The two site-specific pieces, suspended plate-glass sculptures with images of clouds etched internally, were inspired by the Japanese zengo: “Blue mountain does not move. White cloud comes and goes naturally.” Ando will take part in an onsite discussion on June 3 with the museum's Senior Curator, Dakin Hart, about her new pieces.

link to article

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