The visionary landscapist Joseph Elmer Yoakum (1888-1972) has been categorized as an outsider, self-taught or folk artist. Whichever: His place in the expanding canon of 20th-century American art is assured, both for his achievement and influence.
A cornucopia of over 60 exquisitely beautiful quasi-abstract colored-pencil landscapes by Native and African-American visionary Joseph Yoakum — and that look like they might have been made on Mars — is emitting undulant optical auroras at Venus Over Manhattan gallery.
Joseph Elmer Yoakum (1890–1972) was a self-taught African-American artist who claimed Native American ancestry. Though records show he was born in Missouri, he asserted that his birthplace was on the Navajo Reservation in Window Rock, Arizona, and repeatedly referred to himself “Na-va-JOE.” (He also said he was of African, French and Cherokee descent.)
For an even wilder walk on the wild side of landscape painting, Venus Over Manhattan gallery in New York presents Joseph Yoakum June 20 through July 26. Yoakum was a self-taught artist, his work variously categorized as “outlier,” “outsider,” “folk,” “naïve,” “vernacular.”
Venus Over Manhattan has created an exhibition of works, that on the surface, seem quite the juxtaposition. Visitors find works by Alexander Calder situated right next to totems and figures from Vanuatu, a Pacific nation of around 80 islands, in ‘Calder Crags and Vanuatu Totems from the Collection of Wayne Heathcote.’
In a contemporary art gallery, it’s not often that Calder takes a backseat to ethnographic artwork but Venus Over Manhattan never fails to turn things on their head. Their latest exhibition, Calder Crags and Vanuatu Totems from the Collection of Wayne Heathcote, on view until June 8, 2019, presents a towering group of historical Vanuatu sculptures from the Ambrym, Banks, and Malekula islands alongside a suite of large-scale standing mobiles and crags by Alexander Calder.
Whatever happened to “protest art” — issue-specific, say-no-to-power-and-say-it-loud art? Here we are, embroiled, as a nation, in what many in the art world regard as a pretty desperate political situation. Yet with the exception for actions by a few collectives — Decolonize This Place at the Whitney Museum, and Prescription Addiction Intervention Now, or PAIN, at the Guggenheim and the Metropolitan Museum of Art — there’s scant visual evidence of pushback.
H.C. Westermann is beloved for a type of sculpture that’s a potent mix of Dada and old, weird Americana. But this modest yet gripping exhibition also reveals that he was a marvelous draftsman with a sharp, satirical wit. Along one wall is a group of drawings, inspired by a road trip the artist took with his wife, that skewers 1960s fantasies of the Wild West.
The Art Dealers Association of America (ADAA) held its Gala Preview of The Art Show Wednesday night at the Park Avenue Armory. With a new Executive Director and a lighter, airier feel, The Art Show continued its partnership with Henry Street Settlement for the 31st year.
The best thing about the Art Show, the annual fair sponsored by the Art Dealers Association of America in the Park Avenue Armory, is that ticket sales benefit the Henry Street Settlement, which has been bringing art and culture to the Lower East Side since 1893.
The nation’s longest-running art fair, the ADAA Art Show, takes place February 28 to March 3, at the Park Avenue Armory in New York, with a Gala Preview on Wednesday night to benefit Henry Street Settlement. The Art Show has raised over $31 million for this non-profit over more than three decades.
San Francisco’s unofficial art week — the third week of January, when the Fog Art + Design and Untitled, Art fairs are held — has become one of the most socially competitive times of the year.
San Francisco’s grandest new art space is not a gleaming minimalist dwelling or futurist abode but a historic Catholic church that has been restored to an immaculate state after being abandoned for nearly 30 years.
Those who attended Art Basel Miami Beach may have noticed among the shrouds of collector favorites a new trend beginning to emerge﹣ the reintroduction of historically-overlooked artists to new audiences.
Charlotte Perriand (1903 - 1999), a tireless traveler, would have surely appreciated this American trip. The New York gallery Venus Over Manhattan pays tribute to the queen of design, the only woman among the twentieth century greats - Le Corbusier, Pierre Jeanneret, Jean Prouvé, Fernand Léger, Lucio Costa, Ernö Goldfinger and Kenzo Tange - with whom she collaborated.
The huge photograph of architect-designer Charlotte Perriand draped over the iconic Lc4 tubular and steel chaise lounge she designed in 1928 with Le Corbusier and Pierre Jeanneret and a wooden table that stands in front of it, crafted in the mid-century style that shaped her later career, provide a fitting introduction to the stunning exhibition Charlotte Perriand, on view at the Venus Over Manhattan gallery on Madison Avenue until January 12.
The gallery Venus Over Manhattan is presenting an exhibition dedicated to French designer Charlotte Perriand, one of the most famous interior architect of the 20th century, who led the design of all the interiors and furnishings of Le Corbusier’s projects and helped shape the Modernist movement.
Curated in collaboration with Laffanour Galerie Downtown in Paris, a new exhibition at the Venus Over Manhattan art gallery in New York shines a spotlight on the late French designer Charlotte Perriand's life and work.
One of the great joys of the New York gallery scene is that we often get museum-quality shows in commercial galleries. This is the case with the current Charlotte Perriand exhibit at the Venus Over Manhattan gallery on Madison Avenue.
When visiting the new exhibition Charlotte Perriand, organized by Laffanour / Galerie Downtown at Venus Over Manhattan, you cannot help but thinking of the memorable story of Charlotte Perriand (1903-99) at 24, when she walked into Le Corbusier’s atelier at 35 rue de Sèvres, asking him to hire her as a furniture designer, just to get his answer 'we don’t embroider cushions here.'
Charlotte Perriand was, without a doubt, one of the most important designers of the 20th century. Yet, in a demonstration of the gender gap so prevalent in the art and design world of the 20th century, she isn’t a household name like Le Corbusier or Walter Gropius.
After a blockbuster week at Frieze and Frieze Masters in Regent’s Park, London, the art world’s descent on Paris (and, more specifically, FIAC, inside the Grand Palais) comes at a time of exciting renewal in the city across the cultural sphere.
The art market, challenged by the recent provocation of Banksy, remains ourishing but dominated by large galleries at the expense of small and medium, at the time of the opening of the 45th edition of the International Fair of Contemporary Art (Fiac) in Paris.
"What’s great about this country,” Andy Warhol wrote in his 1975 tome, The Philosophy of Andy Warhol, “is that America started the tradition where the richest consumers buy essentially the same things as the poorest."
Robert Arneson, Luis Cruz Azaceta, Jack Beal, Joan Brown, William N. Copley, Roy De Forest, David Gilhooly, Red Grooms, Philip Guston, Robert Hudson, Maryan, Willard Midgette, Richard T. Notkin, Jim Nutt, Philip Pearlstein, Peter Saul, Richard Shaw, H.C. Westermann, William T. Wiley
While it's fair to wonder whether Noland, a former it girl of the late '80s art world, even belongs in the same room as Calder, the premise behind the pairing of their sculptures - that inert obejcts can embody the physical dynamics of violence - is interesting enough.
It’s a truism that capitalism can subsume and make profitable even the critics and criticism that would tear capitalism apart.
On June 3, 2017, the day after writer Michel Houellebecq’s exhibition, French Bashing, opened at Venus Over Manhattan, three Islamist terrorists killed eight people, and wounded 48 more, on London Bridge and in the nearby Borough Market.
On a return trip to a five-star hotel that served as a location in his novel “The Map and the Territory” (2010), Michel Houellebecq took advantage of the escapades amoureuses on offer and signed up for a recommended balloon ride to survey the sprawl of hospital complexes, hypermarkets, and parking lots amid the rolling hills of otherwise bucolic Bourgogne.
JTF (just the facts): A total of 31 color photographic works (30 single images and 1 triptych), unframed and mounted on aluminum, and alternately hung spotlit against black walls in the main gallery space/entry area and against white walls in the side room (with laminated tourist placemats covering the floor).
About an hour into my conversation with Michel Houellebecq at VENUS over Manhattan, Adam Lindemann's Upper East Side gallery where Houellebecq photography exhibition "French Bashing" will be on display until August 4, Houellebecq wanted to go outside and have a cigarette.
Last Friday, LSP met French lit star Michel Houellebecq in New York City at the opening of his first US art show "Michel Houellebecq: French Bashing," a miniature adaptation of his Paris 2016 exhibit "Rester Vivant" (To Stay Alive).
France's bad boy of literature, Michel Houellebecq, is about to open his first exhibition in the US, a multimedia work titled French Bashing that takes a mournful look at the country's “peri-urban” wastelands whose inhabitants vote largely for far-Right leader Marine Le Pen.
Following the author’s participation in Europe’s roving Manifesta 11 biennale and his major show at Paris’s Palais de Tokyo last June, American fans will finally get a chance to see the French novelist’s artworks at Adam Lindemann’s Venus Over Manhattan gallery in New York this summer.
Not long ago, I recommended a show, entitled, Concrete Islands (plural), which, although it didn’t exactly shy from the allusion to J. G. Ballard’s dystopian novel of contemporary urban life, was more speci cally inspired by Marcel Broodthaers and the concrete ‘islands’ and chasms of language and meaning.
Michel Houellebecq—the controversial, award-winning French author of novels including Atomised and Platform—is showing his photographs, photomontages and installations at Venus gallery in New York next month (2 June-4 August), marking his exhibition debut in the US.
“Far from being the youngest, Los Angeles was the oldest city of the twentieth century, the Troy of its collective imagination. The ground courses of our deepest dreams were layered into its past among the filling stations and freeways.”
— J. G. Ballard, The Kindness of Women
Two admissions are needed to make the case for Bernard Buffet, a painter so long considered minor that his work is—or was—unredeemable even in the realm of camp taste: First, one must accept that painting is a serious vehicle for artistic expression; second, one must admit that anything sufficiently seen eventually comes to sit normatively in the eye.
Since opening in the spring of 2015, the Venus gallery has occupied a spacious, formerly industrial space in the city’s Boyle Heights neighborhood: directly east of downtown and the Arts District, and across the snaking concrete Los Angeles river.
Condé Nast Publications might be sitting on a gold mine: its archive of some eight million photographs and illustrations from Vanity Fair, The New Yorker, Vogue, Architectural Digest and other magazines. Now, given the tenuous state of the media industry, the company has plans to exploit it.
The artist Mike Kelley may be most closely associated with the sculptures he made out of hand dolls and stuffed animals — ostensibly cheerful objects suffused with the sadness of his short life, given that he committed suicide in 2012 at 57.
A humble monument by a Swiss artist. The influence of one of Latin America’s most important religious icons. And the importance of alchemy in art. Plus: A paean to pop on the west side. Here are eight events to check out in the coming week.
Walking into VENUS, the year-old Los Angeles outpost of NY’s Venus Over Manhattan, you’ll probably feel like you’re at an auto trade show rather than an art gallery.
Standing on the elegant spiral staircase of London’s Apsley House, former home of the first Duke of Wellington, artist David Medalla is photographed holding a swathe of tattered yellow fabric.
Opening: David Medalla at Venus
The second exhibition at Venus of work by the seminal kinetic and participatory artist David Medalla, this show will provide a holistic overview of Madella’s artistic practice, featuring paintings, photographs, sculpture and ephemera.
An important part of Andy Warhol’s seminal “Death and Disaster” series—which also includes suicides, race riots and car crashes—the electric chair paintings were based on a news image of the deadly electric chair that was used to execute Julius and Ethel Rosenberg at New York’s Sing Sing Correctional Facility in 1953.
Unlike the English word fetish, fétiche in French specifically means a charm embodying magical powers, a definition that serves as the jumping-off point for this disarming exhibit juxtaposing African and Oceanic ritual objects with works by modern and contemporary artists.
The ouroboros, an ancient symbol composed of a snake or dragon eating its own tail, is central to 11 recent sculptures by New York-based Canadian artist Elaine Cameron-Weir in her solo debut at Venus Over Los Angeles.
Venus Over Los Angeles has opened an exhibition of new work by the Canadian artist Elaine Cameron-Weir. Weir, born in 1985, is known for her interest in the natural world and her sculptural work is often described simply as ‘cinematic’.
Spring is nearly here, and it’s time to look ahead. We’ve culled gallery listings worldwide to highlight 50 must-see exhibitions over the next three months, spanning 14 cities and ranging from historical surveys to cutting-edge contemporary work, from all-female group exhibitions to debut solo shows.
For the past nine months, the artist Elaine Cameron-Weir has been making snake with sexual interest in own tail, her solo exhibition that opened this week at Venus Over Los Angeles, powerhouse dealer Adam Lindemann's new gallery in Downtown L.A.
In many ways 2015 was a year of historical return for New York’s galleries, with successful exhibitions of the Memphis group (“wacky, boldly kitsch-adjacent design”), Hollis Frampton (“penetrating, conceptually-oriented photography”), and septuagenarian Lynn Hershman Leeson (“started making alliances between art and science well before trendy millennial artists”).
Despite her having just closed three concurrent solo shows at the New York and L.A. locales of Venus (formerly Venus Over Manhattan and Venus Over Los Angeles) and Carl Freedman, the long, narrow space is bursting at the seams with brightly colored, electric paintings of watermelons, sharks, and bananas.
Consider that Westermann was a veteran of two major battles of the twentieth century - World War II and the Korean War - and those "charming little robots and Shaker-style objects that people call "nice" and "cute suddenly seem a lot more funereal, prosthetic, terrified.
H.C. Westermann: 'See America First: Works from 1953-1980' (through Dec. 19) No one who cares about contemporary art should miss this terrific exhibition of sculptures, drawings, prints and illustrated letters by H.C. Westermann.
"See America First," a comprehensive exhibition of sculptures and drawings by the late, great H.C. Westermann, is on view now at Venus Over Manhattan. The installation features a wide range of Westermann's work, spanning from 1953 to 1980. Here are 11 Things You Need To Know about the artist before you visit the exhibition:
“Homage to American Art (Dedicated to Elie Nadelman)” is one of 38 sculptures in “See America First,” a terrific exhibition of works by the great American visionary H. C. Westermann (1922–1981) at Venus (formerly Venus Over Manhattan).
Venus Over Manhattan (980 Madison Avenue) has a show by "eccentric art world maverick" H.C. Westermann called "See America First" opening on November 2nd, 6 to 8 p.m., and up until December 19th.
Katherine Bernhardt, whose FRUIT SALAD—a mural covering the exterior of Venus Over Los Angeles in downtown L.A led to a stream of selfies this summer—is back with a new series of still-life paintings installed at Venus Over Manhattan. The exhibition, “Pablo and Efrain,” is named after twin artists Bernhardt met during a recent residency in Puerto Rico.
Dana Schutz and Katherine Bernhardt are among the liveliest American painters to emerge in this country in 15 years, and both opened big new shows over two nights a few weeks ago.
After bursting onto the contemporary art scene with her thickly-painted portraits of magazine models, Katherine Bernhardt turned her attention to making "pattern paintings": large-scale works that present banal store-bought products such as toilet paper, Doritos chips, and cigarettes in jazzy, semi-abstract combinations that bring to mind doodles or graffiti.
The wonderful exhibition “Peter Saul: From Pop to Punk”—challenging, engrossing, troubling—which consisted of sixteen ambitious paintings and five equally ambitious drawings from the 1960s and ’70s, was woefully mistitled: There was nothing waywardly adolescent about this show, nothing punk, as I understand the meaning of both word and style.
I doubt Peter Saul will ever get his critical due as the significant painter of his generation that he is. Like Robert Colescott, another artist who did not hesitate to offend in his skewering of U.S. culture, Saul has never toed the line of art-world taste (or tastefulness), remaining staunchly figurative and political, and a painter to the core.
“The cowboy has been written about as if it were the pinnacle of freedom … In fact, it was a sleepless drudgery almost beyond imagination.”
Peter Saul is probably older—and cooler—than your favorite artist. Last Friday night at Neuehouse, he and contemporary art star Joe Bradley took part in a conversation moderated by Dallas Art Fair founder Chris Byrne.
On a recent afternoon, Dylan Brant, stepson of media mogul and art collector Peter Brant, whom he refers to as “Dad,” was in the office at Venus Over Manhattan, Adam Lindemann’s gallery on the Upper East Side. Brant was preparing for a show he curated that opens next month at the gallery.
Caught up in the fluorescent reds, acidic greens, and woozy ultramarine blues coating erotic entanglements of cartoons and classical figuration, politics and fantasy, in these acrylic and oil canvases, you could just miss the black marker insignia “SAUL ’68” on Target Practice.
The New York art dealer Ileana Sonnabend once avowed — somewhat self-servingly — that the best collectors are people in her line of work. Every so often the evidence mounts, as it does with “Peter Saul: From Pop to Punk” at Venus Over Manhattan.
“A lot of these I haven’t seen since I sent them off!” the painter Peter Saul announced as he walked briskly around an exhibition of his work from the 1960s and early ‘70s at the Upper East Side’s Venus Over Manhattan gallery.
Peter Saul may be 80 years old, but inside he feels like a 14-year-old boy. Since the 1950s, Saul has offended, grossed out and entranced the art world with his neon infused, cartoon snarls, jam-packed with gore, psychosexual mumbo jumbo and all kinds of visual excess.
While Maurizio Cattelan is supposed to be retired, and hasn’t shown anything new in a few years, his previously exhibited works never looked as fresh and new as they do recycled here in this smart and engaging two-part show, “Cosa Nostra.” Organized by Venus Over Manhattan founder and sometime musician Adam Lindemann, the exhibition features 20 of Cattelan’s greatest hits.
This season’s post-war and contemporary art sales might be over here in New York, but “Cosa Nostra,” as Sotheby’s S/2 and Venus Over Manhattan are calling their joint Maurizio Cattelan exhibition, is still very much on view.
Despite his much-publicised retirement in 2012, Italian artist Maurizio Cattelan has far from disappeared. There are several quirky collaborations on the go, like the artzine ToiletPaper, created with photographer Pierpaolo Ferrari.
Whether a person is buying or not, art fairs are great for perusing the latest and greatest on the market. In essence, they’ve become sprawling pop-ups with a blend and diversity of work impossible to find or replicate elsewhere.
It’s not clear whether the art world, or even the New York art world, needs another art fair. There are already scores of them, and some of our bigger galleries participate in as many as 20 a year. But the intrepid organizers of the smaller, edgier fair known as the Independent evidently think we do. Independent Projects, which opened last night, is taking a newish form and will last ten days instead of the usual four or five.
New York does not need another art fair, but Independent Projects, a new spinoff from the Independent Art Fair held in March, is not just another art fair. Opening today in Chelsea’s former Dia building, it brings together 40 international galleries with focused, mostly monographic shows that will remain on view to the public through November 15.
Started by the creators of the Independent, Armory Week’s alterna-fair, and taking place in the same location, the former Dia Art Foundation building on West 22nd Street in Chelsea, Independent Projects simultaneously builds on and slims down its sister fair’s model.
The art fair has become a primary vehicle for viewing and selling art, but this doesn’t mean it’s a static form. Independent Projects, a hybrid art fair and exhibition installed in the former Dia Art Foundation space on West 22nd Street in Chelsea, is a welcome mutation.
Nearly 337,000 people visited the Guggenheim Museum in New York to see the Maurizio Cattelan retrospective, which opened in 2011. Wild and wacky, it featured many of this Italian artist’s much loved sculptures — an old woman stuffed in a refrigerator, a pope felled by a meteorite, the rear end of a taxidermied horse and the artist himself as a boy riding a tricycle — all hanging from ropes down the center of the museum’s Frank Lloyd Wright rotunda.
On a recent afternoon, the directors of a small Contemporary art gallery were reviewing the list of dealers participating in the art fair Independent Projects, which opens to the public on November 7. Independent, the somewhat alternative four-year-old fair has historically featured galleries devoted to emerging and early-mid-career artists, and the dealers were predicting the usual scruffy suspects.
“Fire!” is an ebullient if overly familiar survey of sculptures and vessels in glazed ceramics and sometimes glass that has been organized by Michaela de Pury and her husband, Simon de Pury, the former chairman and chief auctioneer of Phillips de Pury & Company. It has dazzling variety: function, nonfunction, abstract representation, all kinds of color and also transparency.
Take a peek into the life of auctioneer, collector, and artnet News columnist Simon de Pury. Via his Instagram, he will be sharing a bit of glamour and a bit of excitement with us—whether he’s trotting the globe or on the scene closer to home.
Venus Over Manhattan opens a group show of contemporary ceramics called "FIRE!" on Wednesday, September 17, 6 to 9 p.m. The exhibition was curated by de Pury de Pury -- aka Simon de Pury and his wife Michaela -- and includes works by Ai Weiwei, Sterling Ruby, Rosemarie Trockel, Takuro Kuwata and more.
Down the hall, at Venus Over Manhattan Gallery, there’s a group show curated by Mr. de Pury, this one called “Fire!,” named such because each piece is kiln-made or glass-blown—believe it or not, it’s a ceramics show. So he’s got the whole floor.
After auctioneer Simon de Pury resigned in 2012 as the chairman of Phillips de Pury & Company, he moved into brokering private art deals—a very discreet business. But on September 18 the charming macher will be back in the spotlight, with “Fire!,” an exhibition he curated at Venus Over Manhattan, Adam Lindemann’s New York gallery.
Art dealer and auctioneer Simon de Pury is making his first foray into the art world since his departure from Phillips de Pury & Company in early 2013. Under the name de Pury de Pury, Simon and his wife Michaela have curated an exhibition of ceramic and glass works entitled FIRE!, at New York’s Venus Over Manhattan gallery.
Julia Dippelhofer had come to the United States from Germany to work as an au pair when she met Michael Nevin in a photography class at the Montserrat College of Art in Beverly, Mass. Then 19, Nevin had recently started a photocopied zine out of his dorm called The Journal that was dedicated to his twin passions: snowboarding and art.
Since the 1970s, Los Angeles-based artist Raymond Pettibon has been metabolizing America – its history, literature, sports, religion, politics, and sexuality – in a barrage of drawings and paintings in a style born of comic books and the “do-it-yourself” aesthetic of Southern California punk rock album-covers, concert flyers, and fanzines.
Presently, the walls of the Venus Over Manhattan gallery are covered in every oceanic shade of blue, aqua, and green, drenching the concrete space with waves of intense cool. More than forty frames—some larger than chalkboards, some the size of table menus—fill Are Your Motives Pure?, an exhibition comprised solely of the surfer paintings Raymond Pettibon has made since 1985.
When people think of Southern California, sun-drenched images of palm trees and epic ocean waves come to mind. But L.A. is more than just a scenic beach postcard. Take those ocean waves and mix in some baseball players and pinup girls, punk rock energy, D.I.Y. aesthetics and a Dada state of mind.
Balanced somewhere between a spiritual adventurer and an adrenaline junkie, the surfer is a Californian icon and the hero of Raymond Pettibon’s symbolic works, currently being revisited at Venus Over Manhattan, New York.
Venus Over Manhattan will present the first exhibition dedicated to Raymond Pettibon’s acclaimed “surfer paintings”. Are Your Motives Pure? brings together 40 works from 1987-2012, and includes small, monochrome India ink paintings to vibrant, large-scale paintings up to ten feet wide.
Adept at making the most ordinary, industrial materials into striking statements about collective cultural values – such as bathroom counters and vinyl siding taken thrillingly out of context – Charles Harlan is taking over avant-garde, Upper East Side hotspot Venus Over Manhattan (a geographical paradox, if ever there was one), where visitors will be greeted by a ten-foot, roll-down gate, before being forced to navigate a claustrophobic passageway formed from an ‘endless wall of corrugated steel’, as Harlan puts it.
“Upon arriving at Venus Over Manhattan, visitors will be greeted by Harlan’s 10-foot roll-down gate, a barrier to circumnavigate to a new world. The gallery’s main space is enclosed, in Harlan’s words, ‘in an endless wall of corrugated steel’ that runs parallel to the perimeter walls, without any doors or windows offering access to what lies within the structure.
“… a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Nike of Samothrace.” declared artist Filippo Tommaso Marinetti in his Futurist Manifesto of 1909. Not just the Futurists were inspired by the machine that for over 125 fascinates people. Many artists have a passion for cars, and create art influenced by the automobile.
Thomas Hirschhorn’s Gramsci Monument; Trisha Baga at Greene Naftali and the Whitney; William Copley and Bjarne Melgaard at Venus Over Manhattan; Trisha Donnelly at MoMA and Rosemarie Trockel at the New Museum, lingering from the end of 2012; and Banksy’s month of art in New York. Just kidding about that last one.
Take an elevator to the 7th floor of an open-air parking garage, and you’ll find Piston Head, an exhibition of over a dozen artist-designed cars, motorcycles, and trucks shipped from all over the world. It takes a whole lot of money to make that happen—and it’s that very same display of wealth that perfectly sums up the Miami art fairs.
With so much art swirling around the downtown-Miami Beach axis this week, it’s hard to know where to start. This year, the art itself feels especially interesting --- and yes, even worth braving the traffic! Here are a few of our must-see choices.
Read more here: https://www.miamiherald.com/entertainment/visual-arts/art-basel/article1958275.html#storylink=cpy
The link between cars and art has always been strong. While the Italian Futurists - perhaps the first movement to really engage with the rapid motorisation of the world - hailed the vision of speed, chaos, dust and destruction the motor car promised, others have embraced it for purely sybaritic reasons; fast cars are one of the perks of fame, fortune and an unconventional approach to life.
"Piston Head: Artists Engage the Automobile," powered by Ferrari, brought the big guns to Miami Beach this week. And by big guns, we mean large-scale art, powerful cars, and Playboy Bunnies.
Whether you name it Omar or treat the trunk as a closet, we all have unique relationships with our cars. No matter where you look in recent history, the car has been ingrained within our culture as a symbol; it’s an object of daily life to which everyone can relate.
Right now, the art world and its glamorous interlopers are revving their engines for this year's Art Basel Miami Beach, which opens to the public on Thursday. Meanwhile, at the city’s premier automotive temple, grease monkeys are putting the final touches on an exhibition of cars as art.
In the past year Adam Lindemann’s energetic Venus Over Manhattan gallery has exhibited Jack Goldstein paintings of lightning, explosions, and aerial bombardments; partnered with legendary chocolate shop Confiserie Schiesser, in Basel, Switzerland, to pay sweet homage to William Copley; and, most recently, teased out the shadows of Alexander Calder sculptures.
The gallery is outfitted like a fallout-shelter might be; cold cement floors and dark grey walls enshrine Jack Goldstein’s large-scale canvases. The walls are stripped of all that might hide their bones, exposed beams read “ GYPSUM PANEL SHEETROCK BRAND FIRECODE.”
If, like us, you thought you had seen all there is of Alexander Calder, think again. The iconic American artist is the subject of a new exhibition at New York’s Venus Over Manhattan gallery that is uniquely staged in the dark.
Walter Dahn’s 4th Time Around (My Back Pages), an exhibition curated by Richard Prince, is a presentation of paintings, “anti-silkscreens,” and rare bronze sculptures by artist Walter Dahn, presenting a taste of his artistic practice since 1981. The title of the exhibition is derived two Bob Dylan songs, both favorites of the two artists (who have been friends since the late 80’s early 90’s).
If much of the work in this sprawling, energetic two-gallery group show looks fresh and unfamiliar — and as if it might not come from New York — there’s a reason. Everything on view was made in and around Los Angeles, fairly recently and often by artists who are either young, unknown in these parts or both.
At a time when just about any exhibition or art fair, anywhere in the world, is just a click away, it’s easy to forget that art-making is still an intensely local affair, that individual scenes and real-world interactions between artists still matter, perhaps now more than ever.
It’s a busy night at Gavin Brown’s Enterprise, with shows featuring the Afrika Bambaataa Master of Records vinyl archive and monochromes by the mysterious Henry Codax opening alongside “Made In Space,” a group show curated by Peter Harkawik and Laura Owens that’s also going to be at Venus Over Manhattan.
William N. Copley was a proto-pop surrealist folk artist with a considerable libido. The whimsical provocateur began his lifelong affair with art as a dealer for surrealist giants Rene Magritte, Man Ray, Max Ernst, Joseph Cornell and Yves Tanguy.
Collector and art writer- turned-gallerist Adam Lindemann opened his Madison Avenue Venus Over Manhattan space Thursday to show off “Gang Bust” — an exhibition of paintings by William N. Copley (a k a CPLY) alongside provocative new riffs on the works as curated by artist Bjarne Melgaard.
From art director Sofía Sanchez Barrenechea to choreographer Benjmain Millepied, a creative collective turned out to support a new exhibition of works by the late William Copley, with a few pieces from Norwegian artist Bjarne Melgaard, Thursday night.
Jack Goldstein, who died a suicide at 57 in 2003, was one of contemporary art’s mystery men. He made his mark in New York in the late 1970s as one of a group of artists working with media-inspired imagery, some of whom were associated with a career-sparking show called “Pictures.”
In the past three years, she’s had three solo exhibitions at Ramiken Crucible, along with works in group exhibitions such as “Ostalgia” (2011) at the New Museum. In 2013, along with a solo exhibition at blue-chip gallery Venus Over Manhattan, she has already been granted a spot in the non-profit exhibition space at Frieze New York.
Many people in the art world consider Jack Goldstein one of the most influential American artists of the 1980s, yet during his lifetime he never made it big. He took his own life nearly 10 years ago, leaving behind an extraordinary body of work that he would never see garner the accolades they deserved.
You can head up to the Venus Over Manhattan gallery at 980 Madison (that’s between East 76th and 77th Street), which tonight is playing host to a relatively rare performance of Jack Goldstein’s Two Fencers (1976) piece.
For anyone lamenting the disappearance of the artist’s hand in contemporary sculpture today, Peter Coffin has just the piece for you: a twelve and a half foot tall wooden construction built to resemble the universal symbol for “O.K.”
In a conversation between Peter Coffin and Maurizio Cattelan published in 2007, Coffin warned against the “tendency to clutter things up, to try and make sure people know something is art, when all that’s necessary is to present it, to leave it alone.
“Bulletin Boards” at Venus Over Manhattan, collector Adam Lindemann’s new uptown gallery, is the product of a collaboration with White Columns, the downtown alternative art space directed by Matthew Higgs.
This week, we crawled out of our blog cave to set out on a new adventure for our “We Went to _____” series: the Upper East Side. To be expected from the UES, we saw some blue chip art, but we also found some surprises, like a show by emerging net artists. What we liked, and what we should’ve skipped, below.
With the economy slowly creaking back to life and a good deal of speculation about an imminent art market bubble burst, the intrepid collector and writer Adam Lindemann has seen fit to open a brand-spanking-new gallery in the lap of luxury at 980 Madison Avenue.
Brooklyn label RVNG Intl. is taking part in Bulletin Boards, a group show curated by Matthew Higgs (White Columns Gallery), at Venus Over Manhattan (980 Madison Ave, 3rd Floor) tonight (7/19).
Venus Over Manhattan is a new exhibition space in New York City created by art collector and writer Adam Lindemann. The new gallery opened to the public on May 9, 2012 with a group show titled A rebours.