Gallery News and Events

John Margolies

We are sad to announce news that our friend, John Margolies passed away on May 26th.

Beginning in the 1970's, John Margolies' outstanding photography of vernacular architecture for 30 years documented over 100,000 miles of main streets, motels, miniature golf courses, billboards, banks, gas pumps, movie palaces and the occasional pink flamingo.

He lectured widely and had exhibitions all over the world. Shooting with a 35mm Canon, his trips across the country were sponsored by Guggenheim Grants, and his friends, Philip Johnson and Asher Edelman. The result was thousands of images and numerous publications. 

Much of what he photographed no longer exists, but what remains are whimsical and unsentimental images of America. 

"The John Margolies archive of photographs of American roadside architecture is acknowledged as the most comprehensive study of this subject extant."

Leanne Mella
Visual Arts Program Specialist
United States Department of State

 

"This is a forgotten portion of the great American architectural heritage, and John Margolies is perhaps the leading historian in this field.... It is vital for us ... to see America through his eyes."

Philip Johnson, The End of the Road

 

"Some people are obsessed with collecting Louis XIV furniture, others with beer cans or butterflies. John Margolies is obsessed with the architectural flora and fauna of American main streets, roadsides, movie theaters and resort areas--the exotic, improvisational, outrageous furnishings of the great open spaces. In the process he has helped preserve a portion of our common heritage by documenting thousands of buildings, many of them just months or even days before the bulldozers were to carry them away for good."

Phil Patton, Smithsonian Magazine

 

"Mr. Margolies, America's premier chronicler of architectural kitsch, is known for books that celebrate the weird delights of miniature golf courses, fading Catskills resorts and dilapidated roadside diners."

Herbert Muschamp, The New York Times

 

'Yes, call it kitsch if you must,' Margolies snorts, fondling a novelty demitasse cup. 'But I really don't enjoy that word. "Kitsch" was invented by intellectuals--as an excuse for not thinking about something.'"

Bob Ickes, New York Magazine

 

shasted@edelmanarts.com

+1 212 472 7770

Hyperallergic: For a World Losing Its Head, an Artist Proffers Shamanism as a Solution

Having seen this extraordinary exhibition at my friend Shin's gallery, I can recommend you read Robert Morgan's review and visit the gallery. It's rare to see work so striking, expressive and visually boundless.

 

Asher Edelman


by Robert C. Morgan

May 19, 2016

  Hyon Gyon, “Headcount” (2016) (all images courtesy Shin Gallery)

Hyon Gyon, “Headcount” (2016) (all images courtesy Shin Gallery)

The terror incited by the sight of heads rolling down the plank of a guillotine one after another is difficult to conjure in the 21st century. However, at one time, in addition to providing the public with a spectacle, the motive behind chopping off heads was to contain the threat of an uprising or, worse, an organized revolution. Whether in Europe, Britain, or the Middle East, the process of decapitating or dismembering human bodies wielded a fortuity of iconic power. The seriousness of the debacle was quantified by the headcount lay to rest in the pile at the end of the plank.

  Detail of Hyon Gyon, “Headcount” (2016) 

Detail of Hyon Gyon, “Headcount” (2016) 

Emotional Drought, the current exhibition at Shin Gallery on the Lower East Side, is the latest in a triad of exhibitions by Korean-born painter Hyon GyonIts focus is a large, freestanding painting/installation titled “Headcount” (2016) and situated diagonally in the middle of this storefront gallery. A taut, expressionist image of a raging female shaman appears to have usurped the function of the guillotine. Positioned off the floor on a wooden platform, the shamanist matriarch is surrounded by 300 oil-painted heads, each on it own cotton, hand-sewn pillow. In addition to the major pile, there is another wooden crate with heads to drive home the point. A small, gold-fringed banner hangs in front of the display reading: “God told me to hate you.”

Each head painting is unique, thus suggesting a massive execution, perhaps over a long period of time. It is difficult to know whether the heads were separately imagined by the artist or metaphorically observed in the workplace as in the general line of cultural production, where often-vile competition replaces inspiration and self-fulfillment. Some of these presumably deposed physiognomies appear male, others female, and still others androgynous. The style of these deceptively paltry pillow paintings is rigorously expressionist, but less manic than the invidious, bare-breasted shaman who rises up from her spoils.

  Detail of Hyon Gyon, “Headcount” (2016)

Detail of Hyon Gyon, “Headcount” (2016)

In the exhibition’s press release, the artist suggests these heads represent those circumscribed by media. Perhaps this accounts for the fact that each painting is given the gentility of a soft fabric cushion yet is inevitably isolated, an appropriate metaphor for the current art world. Ironically, it raises the question: If the art media are the culprits, what is the role of the shaman? Is she a symbol of the pervasiveness of media? Or is she the protectorate of those “decapitated” in the pile below? The ambiguity is interesting. To the artist’s credit, she does not attempt to literalize the narrative. What we do know is that shamanism came to the Korean peninsula 5,000 years ago, undoubtedly by way of Mongolia. Throughout the dynasties, from 57 BCE to 1910 CE, shamanism maintained a presence as the essential religion in Korea, which gradually changed after the Occupation (1910–45) and the advent of the so-called Korean War.

In addition to “Headcount,” three other paintings are included in the exhibition. Installed on the back and side walls, they are collectively titled “Harlem Gold 1, 2, and 3” (all 2015). Each painting is vertically positioned on the walls, with gold, silver, and copper leaf generously applied to each canvas and automatist scribbles etched into the varied surfaces. In fact, the three canvases are quite similar to one another, with the gold leaf dominating, particularly in the lower and upper thirds of the paintings. Mysteriously, somehow, these paintings (done last summer at Hyon’s former studio in Harlem) suggest a kind of necessary decorum, a countervailing innocence, perhaps, used to augment the overall impact of the artist’s indulgent obsession with a modular “headcount.”

  Hyon Gyon, “Harlem Gold 1, 2, and 3” (all 2015)

Hyon Gyon, “Harlem Gold 1, 2, and 3” (all 2015)

The power of the central installation — in fact, the entire space — is staggering, largely due to the emotional structure being dispelled through the re-evocation of a shamanist presence. It suggests that it may be time to bring shamanism back into our thoughts and emotions. In doing so, we might consider “shamanizing” the virtual aspects of our “global environment” that are becoming increasingly abstract and distant from how we actually think and feel.

The overall message I glean from Hyon’s Emotional Drought is to suggest another way of seeing outside the specter of a universalist paranoia. Traditionally, the role of the shaman is about coming to terms with those unreflective indulgences and invisible traumas that media appear to either repress or disguise. To confront the absurd, massive pile of heads is to retrieve the sense of being human in the process of one’s work and, indeed, one’s life.

  Detail of Hyon Gyon, “Headcount” (2016)

Detail of Hyon Gyon, “Headcount” (2016)

Hyon Gyon’s Emotional Drought continues at Shin Gallery (322 Grand Street, Lower East Side, Manhattan) through May 29.

The Artists of One World Trade Center

New York, NY — Edelman Arts in collaboration with The Durst Organization and The Port Authority of NY & NJ presents a public art collection curated for One World Trade Center. One World Trade Center marks the beginning of a new future in the landscape of New York architecture in itself, but also in collaboration with the spirit of art and with it, the diversity of people in this great city. The collection includes a monumental painting by José Parlá, two paintings by Doug Argue, two paintings by Fritz Bultman, a group of seven works on canvas by Greg Goldberg, and a towering sculpture by Bryan Hunt. The collection will remain on view in the North, South, and Sixty Fourth floor lobbies of One World Trade Center, where the installations will be enjoyed by a projected 30,000 visitors per day.

ARTnews: GREG GOLDBERG ON HIS SKY LOBBY PAINTINGS AT ONE WORLD TRADE CENTER

BY Dan Duray POSTED 03/17/15

 

Greg Goldberg's paintings at One World Trade Center were featured in ARTnews.

  Greg Goldberg,   One World Trade Center Series  , 2014, oil on linen, 66 x 72 in.

Greg Goldberg, One World Trade Center Series, 2014, oil on linen, 66 x 72 in.

In January, One World Trade Center debuted seven paintings by Greg Goldberg on its 64th-floor sky lobby, a reception and events area in the building that, as we spoke about them last week, was being filled with chairs for some kind of press conference by the BBC.

“Popular floor,” Goldberg said, smiling.

The seven works in his World Trade Center series are oil on linen, each five and a half feet by six feet, with wavy abstract color samplings that Goldberg describes as having been “woven” together over 16 to 18 layers in each work. Like the sky lounge, Goldberg’s studio in Connecticut, where he worked on the paintings in pairs, faces north, and the light on the 64th floor feels a part of the composition.

The suite, which was made for the space, is installed in a long row, with one on each end of the room and then a cluster of two and a cluster of three along a wall between them. The latter two groups might be considered diptychs or triptychs, though all seven works could be said to work together. “This is the first time I’ve had to think about them as a totality,” Goldberg said. Normally he works on them individually.

Edelman Arts curated the sky lobby, and Goldberg’s proposal for the commission was apparently pretty vague, by necessity. “The colors are determined by the prior colors,” he said. He goes with the flow of the paintings as they develop. So he was happy to have the leniency.

The next time you’re at One World Trade, you should swing by! In the meantime, check out this slide show of the paintings.

 

Copyright 2015, ARTnews LLC, 40 W 25th Street, 6th Floor, New York, N.Y. 10010. All rights reserved.

 

The inspirational art inside One World Trade Center

Today, CBS This Morning covered One World Trade Center art collection curated by Edelman Arts. 

The artists commissioned to create works for One World Trade Center were given only one guideline by the developers: The work had to be unifying. There's no mention of the site's history, but all the artists understood they had to somehow live up to it, reports CBS News correspondent Anthony Mason.

Many of the 104 floors of the new World Trade Center are vacant. The tenants are still moving in, but the art is up on the walls.

In the sky lobby of the 64th floor, with its panoramic views of New York City, Gregory Goldberg has carefully positioned his series of seven paintings, and Brian Hunt has assembled his airship-inspired sculpture.

"I just wanted something weightless and gravity free," Hunt said.

The five artists chosen by consultant Asher Edelman are all American.

"The mission was to get people to turn their phones off and look up," Edelman said. "It had to be a wake-up call. But not about the building; about itself."

The showpiece is a massive mural in the south lobby. Titled "Union of the Senses," it's believed to be the largest painting in the city, 90 feet long by 14.5 feet tall, said artist Jose Parla.

It was at a meeting where he discussed painting the masterpiece.

"I said,' I can do it. Let's do it,"' Parla said.

He said as an artist, being commissioned to paint a picture for the iconic building is the biggest honor, but a monumental responsibility.

Parla said he knew exactly what he wanted to paint.

"I'd been thinking about it. I'd dreamt about it. It absorbed all 24 hours of every day before I even started," he said.

For 10 months straight, the 42-year-old painter worked on the project in his Brooklyn studio. Parla also has murals in the Barclays Center (arena) in Brooklyn and the Brooklyn Academy of Music, but his piece for One World Trace Center, a celebration of diversity, would be his biggest in both size and symbolism. Parla's graffiti-like calligraphy swirl's across its surface.

"I would be up on top of a ladder and as far as my arms would reach, I would do the writing. And when I got to the actual point, I would position my feet on the ladder comfortably, then jump off," he said.

Sometimes the momentum literally threw him out the door.

"This was the most physical piece I've ever done and I wanted to keep that energy," he said.

In the otherwise austere skyscraper, his mural is an explosion of color. The Duke and Duchess of Cambridge admired it on a visit, and Taylor Swift posted a photo of it to Instagram.

"I kept thinking of all my best work that I find are my favorite works, I thought to myself, 'You gotta go beyond that,"' Parla said. "'You gotta work hard . You gotta put all you have into this and make it your best, best painting."'

He said he feels like he's accomplished that.

When the observation deck opens this Spring, Parla's mural will be seen by some 20,000 people expected to pass through the lobby of the World Trade Center every day. That's more than visit New York's Metropolitan Museum of Art.

© 2015 CBS Interactive Inc. All Rights Reserved.

ART REVIEW: Power of Art Succeeds in One World Trade Center Art Collection

One World Trade Center art collection was featured in Hamptons Art Hub's Art Review, written by Charles A. Riley II.

 

Curating at One World Trade Center is a plum assignment, but treacherous. To get it right, the Durst Organization (real estate heavyweights celebrating their centenary with 13 million square feet under management) and the Port Authority (notorious for its chronic tin ear in aesthetic matters) brought in dealer and deal-maker Asher Edelman of Edelman Arts, who set up the art leasing company Artemus to help him manage the task.

Even during construction, Edelman started commissioning site-specific paintings and a sculpture, including what is purported to be the largest painting in New York. The colorful whopper in the ground floor lobby is by José Parlá. It is joined by two more subtle paintings by Doug Argue, two knockout works by Abstract Expressionist Fritz Bultman, and, in the 64th-floor lobby, a suite of seven square paintings by Greg Goldberg along with a ripe new Bryan Hunt sculpture.

  "Union of the Senses" by José Parlá, 2014. Acrylic, gesso, ink, enamel and plaster on fire rated MDF board, 14' 2.5" x 89' 5.5." 

"Union of the Senses" by José Parlá, 2014. Acrylic, gesso, ink, enamel and plaster on fire rated MDF board, 14' 2.5" x 89' 5.5." 

After a royal visit in December by Prince William and Kate and a preview for art scene A-listers in February, the public art collection can now be viewed by 30,000 or so daily visitors, some of them just settling into their new Condé Nast offices. 

In almost any other office building in any world capital, the collection would be remarkable if not exactly triumphant, but 1WTC makes demands that test our faith in the power of art itself. That is just the sort of challenge that is a red cape in front of the horns of the audacious Edelman, a leading collector of contemporary art and antiquities from decades ago who went pro and runs a gallery near Union Square as well as the new, innovative art leasing concern.

He has courted controversy as a Wall Street “activist investor” (read “raider’), as an outspoken critic of the auction houses as “overreaching,” as the founder of a private museum in Switzerland where he curated the largest Robert Mapplethorpe exhibition ever, and as a professor in Columbia’s MBA program, which landed him on page one of the Times in the first week of the semester for offering his class a cash bonus if they presented a takeover target. (This once scandalous incentive is now common at Stanford.) Fortunately for 1 WTC and the Dursts, he has an elegant eye as well as balls.

The curatorial strategy leads with abstraction, using high color to counterpunch not just history but the bland, arctic expanses of white marble and sheetrock of the rhetorically styled “Freedom Tower.” Three of the four artists at the opening used the word “difficult” to describe the boring spaces in which the art had to be hung. Parla’s monumentally exuberant Union of the Senses (a 90-foot-long chromatic fantasy in acrylic, gesso, ink, enamel and plaster on board) is a high-decibel salsa soundtrack better suited to the Barclay’s Center arena, where he is also featured.

It echoes a notch too loudly in a Speer-like cavernous lobby so narrow you can barely step away to see it, although some of its layering rewards close looking. A more cerebral effect is offered by Doug Argue’s two cosmological paintings (Randomly Placed Exact Percentages and Isotropic), ambitious in scale yet delicate in touch. Like the coursing light of the illuminated square fountains in the memorial just north of the building, they flicker with the pulse of philosophical inquiry characteristic of his work. Arguably not the most apt choice for ramparts high above an elevator bank, where the hurried refrain of “hold the door” echoes, their embedded texts require close reading from a still point. It is a star turn on an international stage, though, for an artist who bears watching (including at the Venice Biennial starting in May).

                                    Isotropic" by Doug Argue, 2009-2013. Oil on canvas, 9.5 x 13.5 inches

                                  Isotropic" by Doug Argue, 2009-2013. Oil on canvas, 9.5 x 13.5 inches

The absolute highlight of the collection, packing the kind of lyric power that nearly redeems the prosaic architecture as well as the awful feng shui of the place, are the two big-hearted Bultman triptychs that unleash an operatic cri de coeur over the sterile typography of the chrome Condé Nast signage. Rescued from obscurity by Edelman in a recent exhibition and in this high-profile installation, Bultman is himself a story worthy of Vanity Fair.

  "Blue Triptych - Intrusion into the Blue" by Fritz Bultman, 1961. Oil on canvas, 96 x 168 inches.

"Blue Triptych - Intrusion into the Blue" by Fritz Bultman, 1961. Oil on canvas, 96 x 168 inches.

Respected by Pollock and De Kooning, the favorite pupil of Hans Hofmann, best man at Robert Motherwell’s wedding to Helen Frankenthaler, literary fodder for his friend Tennessee Williams, Bultman was a star of the AbEx first generation. He skipped the photo shoot for the famous 1951 Irascibles group portrait for a trip to Europe, and this in part accounts for why he has not assumed his rightful position among those paint-slingers of New York’s titanic moment. Any viewer of Gravity of Nightfalland Blue Triptych can see his importance, even from too many feet behind the reception desk.

  "Gravity of Nightfall" Fritz Bultman, 1961. Oil on canvas, 3 panels, 96 x 144 inches.

"Gravity of Nightfall" Fritz Bultman, 1961. Oil on canvas, 3 panels, 96 x 144 inches.

Among  the many lessons Bultman learned from Hofmann, the building of a positive instead of recessive pictorial space is the compositional coup that makes these paintings so effective on the massive white marble walls. They project their brooding vision with a  fullness that is as brilliant as the artist, a thinker (like Motherwell) whose reading embraced James Joyce, Hart Crane, Oswald Spengler and C.G. Jung. You can sense in the paintings that he would have comprehended the depth of significance of offering a painting in a place steeped in tragedy.

                    "Gravity of Nightfall" Fritz Bultman, 1961. Oil on canvas, 3 panels, 96 x 144 inches. 

                  "Gravity of Nightfall" Fritz Bultman, 1961. Oil on canvas, 3 panels, 96 x 144 inches. 

Bultman’s grandsons Tristan and Gwyther were on hand for the opening, and pointed out that their mother, Bethany, was a contributing editor at House and Garden, one of Condé Nast’s premier magazines. Long identified with his native New Orleans and the Provincetown arts scene in its heyday, the artist also lived on the Upper East Side in nearly daily contact with Mark Rothko, Barnett Newman, Richard Lindner and Giorgio Cavallon. “Friz has returned home,” Tristan observed, as he reminisced about playing in the Condé conference room as a child.

Up on floor 64 the aesthetic air thins. Goldberg’s seven brightly colored canvases gamely face a bank of picture windows with drop-dead views of midtown. Goldberg cased the room as raw space, and took as his tonic keys the primary colors (two gestural paintings are based on red, two on yellow and three on blue). “I punched up these really strong colors so the physical presence of the paintings would not get lost,” the artist remarked. 

Bryan Hunt’s Axis Mundi is a slightly paunchy, purple version of the streamlined Brancusian airships for which he became known. Backlit, the translucent papery skin reveals an intriguing substructure of wooden girders, and the bulbous base is stylishly organic. The palette is glowing (the burgundy is in the same family as some of the warmer violets in the Bultman and Parla paintings below), and the effect is at least blood-warm (which cannot be said of the architecture).

  Anita Durst with "Axis Mundi" by Bryan Hunt, 2014. Wood, steel. polyester fabric, lacquer, 12.25 feet high by 2.5 feet diameter.

Anita Durst with "Axis Mundi" by Bryan Hunt, 2014. Wood, steel. polyester fabric, lacquer, 12.25 feet high by 2.5 feet diameter.

Hunt was cheered on at the opening by his friends and East End neighbors Eric Fischl (who, as some might recall, struck out on his own ill-advised Rodinesque cut at a 9/11 commemoration). Along with many major collectors and curators, Anita Durst, who chairs the board of the nonprofit Chashama, was also on hand as Edelman charmed the festive crowd, banging back Prosecco and canapes, with a brief recollection of walking along a wooden scaffolding in the unfinished sky lobby as he scoped out the project.

“I don’t like heights,” he admitted. “We wanted to accomplish something elegant and meaningful, a return to people looking at art, looking up from their devices.”

The dreadful qi of the place lingered unspoken. Abstraction (as in absolute music, by contrast with commemoration) is one way for aesthetics to make a stand against the curse of a place so weighted with disaster. Some art plays on the drama (a visit by this critic to Ai Wei Wei’s Alcatraz installation a week later brought home the difficult imbalance between artifice and real suffering). Bleaching a site in monumental white stone is not the answer, either, as a visit to Tiananmen Square can prove.

Just outside the windows, the usually magical Santiago Calatrava’s over-budget transit building looked expensive but just pretty, and a spotlit Jeff Koons balloon piece in the plaza of 7 WTC (predating Edelman’s project) was banal to the point of being an insult. The trouble is that for those who lost somebody at the World Trade Center, only the power of truly great art (the Bultman paintings?) stood a chance.

As Shakespeare asked in sonnet 65, “How with this rage can beauty hold a plea, whose action is no stronger than a flower?”

BASIC FACTS: The art collection at One World Trade Center is open to the public. The building is located at 1 World Trade Center, New York, NY 10006. The collection features 13 works of art curated by Asher Edelman of Edelman Arts.

___________________________

Charles Riley II, PhD, is an arts journalist, curator and professor at the City University of New York. He is the author of thirty-one books on art, architecture and public policy. Upcoming books include Echoes of the Jazz Age and Sacred Sister (in collaboration with Robert Wilson). His articles on art have appeared in Art & AuctionFlashArtArt & Antiques, Antiques and Fine Art. He has written over a hundred exhibition catalogue essays.

____________________________

Copyright 2015 Hamptons Art Hub LLC. All rights reserved.

Original Link: http://hamptonsarthub.com/2015/02/28/art-review-power-of-art-succeeds-in-one-world-trade-center-art-collection/

Fritz Bultman - Robert Motherwell

A remarkable tribute to Robert Motherwell and his contemporaries at the New York School has been launched at Hunter College N.Y.C. Fritz Bultman, Motherwell's close friend and best man at his wedding is a feature of the exhibition. Motherwell said of Bultman in 1987 "...I am still convinced that he (Bultman) is one of the most splendid, radiant and inspired painters of my generation and of them all, the one drastically and shockingly underrated." 

Bultman is represented in the MOMA, the Met, the Whitney and recently two Triptychs were chosen by One World Trade Center to hang in it's North Lobby. 

- Asher Edelman 

The Fritz Bultman Estate is represented by Edelman Arts Inc. For Further information contact: 

Tristan Bultman

212-472-7770

tbultman@edelmanarts.com

 

                        Trembling Prairie III  , 1959,   Oil on Canvas,   16 x 24 in

                      Trembling Prairie III, 1959, Oil on Canvas, 16 x 24 in

THE BERTHA AND KARL LEUBSDORF ART GALLERY

(Entrance on 68th St. between Park and Lexington Ave.)

February 12-May 2, 2015
Opening Reception: Saturday, February 14, 5-7pm

Gallery Hours: Tuesdays-Saturdays, 1-6pm
 
THE EXHIBITION
Robert Motherwell recounts that in 1951, Edna Wells Luetz, the newly appointed Chair of Hunter's Department of Art, reached out to the Museum of Modern Art's founding curator, Alfred Barr, in search of "a modern artist, and one who is articulate." This marked the beginning of Hunter College's commitment to artists as teachers, and to hiring artists fully engaged in the questions of the art of their time.  Barr recommended Motherwell, and at Motherwell's urging, Luetz would bring to Hunter a number of artists associated with the New York School. The artists included in this exhibition are William Baziotes, Fritz Bultman, Richard Lippold, Ray Parker, and George Sugarman. This remarkable cohort defined the fundamental aesthetic and professional ambitions of Hunter's art department, and affirmed its commitment to creative practice. 
 
In addition to a selection of works by Motherwell and the artists he brought to Hunter College, the exhibition will offer a collection of archival materials to make the case for the aesthetic and intellectual remaking of Hunter's Art Department.  His syllabi and lecture notes and those of others, particularly Baziotes, whom Luetz hired on Motherwell's recommendation in 1952, document a new thrust in teaching, one that situated the problems of the modern artist at the center of a young artist's education. Among other archival materials the exhibition will include is an unpublished statement Motherwell drafted in the mid-1950s, entitled "The Aim of the Art Department at Hunter College." 
 
This unique exhibition documents Motherwell's role in permanently transforming Hunter's Department of Art and Art History through the dedicated modern painters and sculptors he brought to the faculty. Through the works of Motherwell and his colleagues, as well as the archival materials assembled here, the exhibition makes clear how intricately woven the history of Hunter's art department is through the story of modern art in New York.
 
This exhibition is organized by Howard Singerman, Phyllis and Joseph Caroff Chair, Department of Art and Art History, Hunter College with Sarah Watson, Acting Director and Curator, Hunter College Art Galleries and Annie Wischmeyer, Assistant Curator, and will be accompanied by an illustrated catalogue featuring an essay by Howard Singerman. Additional curatorial assistance has been provided by Jocelyn Spaar, Assistant to the Director, and Irini Zervas, Graduate Fellow. 
 
Robert Motherwell and the New York School at Hunter is made possible with the generous support of the Dedalus Foundation.

UPCOMING EXHIBITION - Frank Stella: OUT-STANDING

 
  FRANK STELLA   IL DIMEZZATO (#7, 3D-3X)  1987 Paint on fabricated aluminum 88" x 95" x 53"  Private Collection

FRANK STELLA
IL DIMEZZATO (#7, 3D-3X)
1987
Paint on fabricated aluminum
88" x 95" x 53"
Private Collection

Douglas Durst, Asher Edelman and David Storper are pleased to present

FRANK STELLA:
OUT-STANDING

 

An installation by ARTEMUS
Curated by FreedmanArt and Edelman Arts

On view September 19 to October 31, 2014
Opening Reception Thursday, September 18 from 6:30 to 8:30 pm
RSVP  info@edelmanarts.com 

At Anita's Way
Through Block from West 43rd Street to West 42nd Street, between Avenue of the Americas and Broadway

This installation brings an exemplary selection of Stella’s wall reliefs in a public setting, offering a new and fresh perspective on his remarkable oeuvre. Few artists’ works transition from the private to public sphere as seamlessly and successfully as those by Frank Stella.

The opening reception will also inaugurate the founding of ARTEMUS, an art leasing company providing corporations an advantageous way to enhance their work spaces with important and inspiring works of art.

Edelman Arts At Art Southampton

ArtSouthampton_2013_LOGO_dates.jpg

Join Edelman Arts at Art Southampton - Booth A18

You are cordially invited to attend the second annual edition of  Art Southampton International Contemporary and Modern Art Fair on view July 25 - 29.  

Doug Argue
Wild West
2013
Watercolor, Gouache and Pastel on Paper
40 x 60 in.

 

PRESENTING WORKS BY:
Doug Argue 
Fritz Bultman  
Yasmine Chatila
Torkil Gudnason
Franz Kline
Paulo Laport
Cathy McClure
Will Ryman
Andy Warhol
Christopher Winter

 Click here for your printable General Admission passes for two, good for the duration of the fair. And if you are able to join us on the 25th, please reply to this email as your RSVP for VIP Access. VIP passes offer entrance to the preview reception benefiting the Southampton Hospital on Thursday, July 25th from 6 - 10PM, unlimited admission throughout the entirety of the fair, and of course exclusive access to the VIP lounge with entrance to select VIP events and after parties.  

Art Southampton is the Hamptons premier art fair and marketplace.  This renowned event is housed by an elegant, state-of-the-art 75,000 square foot Pavilion behind the Southampton Elks Lodge,  conveniently located directly off Montauk Highway. The proximity of the Pavilion provides perfect access for art lovers and collectors alike, who find the Hamptons as beautiful as the exhibitions themselves.  

The fair will feature more than 90 leading international galleries showcasing the finest works of art from the 20th and 21st centuries. In addition, Art Southampton boasts curated indoor and outdoor projects, an exclusive VIP Lounge and Café catered by the Southampton Social Club, and convenient hours to accommodate your summer schedule.

 
Art Southampton Pavilion
Southampton
Elks Lodge
605 County Road 39
Southampton
, NY 11968
art
-southampton.com

Fair Hours:

VIP Preview: Thursday, July 25 | 6PM - 10PM 
General Admission:  Friday, Saturday and Sunday, July 26 - 28 | 12 - 7PM
Monday, July 29 | 12 - 5PM