Wednesday, January 19, 2011

a few days before it see in Chelsea

Pictures of Summer: Paintings & Works on Paper

9 December - 29 January, 2011


Tuesday, January 18, 2011


The Harlem Fine Arts Show is a fine art exposition showcasing contemporary works created by artists to reflect African- American ancestry. The show consists of premier exhibitors who display the best art pieces by both emerging and established artists. The rewards of the Harlem Fine Arts Show are outstanding. The Show’s unique ability to reach a targeted upscale African-American demographic is incomparable.

This very special Art Show develops the long-neglected area of African-American culture, history and economic structure. The Show’s artists have found that this show brings together a huge audience of knowledgeable and interested African-Americans who also have the wherewithal to purchase this body of original art. This merging of art and buyers have proven to be a strong platform for influencing trends in a pleasant cultural and social atmosphere. It is precisely this atmosphere that corporations can use to leverage consumers who see supporters of the Show as being supporters of African-Americans.

An essential aim of the Show, through sales of their work, is the enabling of these artists to be able to afford to pursue their artistic goals and develop the inherent talents given them. Sales of their artwork are essential to the economic well being necessary to afford classes, art materials, and a living as professional artists. The extremely strong sales at the Show have done just that. One can see the progress made by many of these artists by viewing the growth in the quality of the material they bring to the Show.

While extremely important to African-Americans, the Show is of undeniable benefit to Americans of all colors and ethnicity. The obvious duality of benefit, in this regard, should be recognized. There are many Latinos, Asians and mainstream Whites who attend the Show and can be leveraged towards your brand as well.

In addition, Black History Month heightens the tremendous coverage the Show receives via radio, television, and the printed media.

more infos:

No to be misse' the show on The abstract expressionists At MOMA

@ MOMA of course!

Monday, January 17, 2011

Opening february 9 Upper East Side AT PALITZ GALLERY THE ES





New York, New York— Drawing, an integral part of 19th-century academic training and art-making process, is the focus of the third collaboration in three years between the Dahesh Museum of Art and Syracuse University. The Essential Line: Drawings from the Dahesh Museum of Art, a new exhibition opening this winter at Palitz Gallery/Lubin House (February 9 - March 24, 2011), explores the medium of drawing in all its variety while showcasing the Museum's collection. This exhibition has been organized with the University's Graduate Program in Museum Studies

The rich selection highlights the nature of drawing in the 19th century. Among the 40 works on view, there are rare drawings by Lawrence Alma Tadema, Rosa Bonheur, Léon Bonnat, Alexandre Cabanel, Paul Delaroche, Gustav Doré, Jean Lecomte Du Nouÿ, Frederic Lord Leighton, and Tommaso Minardi, as well as unfamiliar but talented draftsmen. This is the first time the Dahesh Museum of Art's important drawing collection has been exhibited in depth.

Drawing was the cornerstone of 19th-century artistic professionalism and excellence. Initial artistic training at the École and ateliers was exclusively drawing—first copying after Bargue prints and moving on to life studies. A number of more finished figure and portrait studies carry this forward as artists continued to refine their skills throughout their careers. Some figural studies are preparatory for paintings (Dumas, Friant). Other preparatory studies are compositional studies (Alma Tadema). There are highly finished drawings that may even be stand-alone works of art (Doré, Lhermitte). Self-portraits are a genre that speaks both to the self-awareness of artists in this century and a subject matter with a long tradition (Rapin). Subjects range from mythology to history to religion to genre. Some drawings indicate plein-air activity.

The exhibition originated as a joint venture between the curatorial staff of the Dahesh Museum of Art and the Museum Studies Program at Syracuse. The staff of the DMA selected a group of 43 drawings from the collection, plus 5 important drawings on loan from the private collection of Gina Milano, representing the diversity of technique and subject matter of 19th-century academic drawings. Syracuse students had access to these drawings, conducting research, writing didactic labels, organizing an exhibition on campus in the SUArt Galleries, and contributing to a related exhibition at the Palitz Gallery in New York.

According to J. David Farmer, the Dahesh Museum's Director of Exhibitions, "Giving graduate students in Museum Studies the use of our Collection is an ideal extension of the partnership that can exist between a university and a museum, and a model for others interested in opening doors between cultural institutions. In entrusting our collection to future curators, we are helping to prepare the next generation of museum professionals."

While the student exhibition emphasized the academic training process, the show mounted in New York City will be re-focused to illustrate the centrality of drawing for all artistic practice throughout an artist's career. The Essential Line explores how drawing was used in the teaching and training of the young artists; as preparatory sketches for paintings or prints; or a sketch album, as a form of visual note taking. Some drawings follow classical themes, some are humorous—caricatures or proto-cartoons—others are highly finished and existed as works of art in themselves. Nineteenth-century art training was so rigorous that even student works were very often stunning.

Edward A. Aiken, Director of the Museum Studies Program at Syracuse says, "This project provided an extraordinary opportunity for the students to learn about the fundamental importance of teamwork to the curatorial effort. We are grateful to the Dahesh Museum of Art for the loan of their superb drawings, which enabled our students to take what they learned in a classroom and apply their knowledge to the hands-on curatorial experience of mounting a public art exhibition. In doing so, they demonstrated the University's vision of Scholarship in Action."

The Essential Line; Drawings from the Dahesh Museum of Art can be seen at The Palitz Gallery from Monday to Saturday, 11- 6, beginning February 9, 2011. The Palitz Gallery is located at 11 East 61st Street, between Fifth Avenue and Madison Avenue in New York City. Admission is Free. For more information, call Lubin House (212) 826-0320 or visit and

Sunday, January 16, 2011

Curious about Singapore: read Marie Pierre's French!

Preparing my travel to SINGAPORE so let's talk about...restaurants...


check their website for more information:

New York Time says: "

January 13, 2011, 1:05 PM

An Art Fair in Brooklyn

Verge, the folks who organize satellite fairs for emerging artists in places like Miami Beach, are starting what they say is the first-ever Brooklyn art fair. Called Art Brooklyn, it will be timed to coincide with the Armory Show and will take place in multiple locations throughout the DUMBO neighborhood March 3-6. The aim of the fair is to promote Brooklyn as a cultural hub that will attract artists and collectors from around the world.

As a way of luring young artists and galleries, prices for space at the fair are particularly cheap. A 200-square-foot exhibition space, for example, will only cost $1,950, and artists’ project spaces are inexpensive too, costing those who are accepted a fee of $500 for 100 square feet of space at 111 Front Street.

There will also be a juried exhibition, and there is an open call for artists practicing in every medium. (And Verge is not limiting it to just Brooklyn artists.) Finalists selected from a panel of arts professionals will be given space to show one work from their application at a special section of the fair.

Art Brooklyn is now accepting applications from dealers and artists. Information is available on its Web site,

save the date TALK @ the NEUBERGER MUSEUM of ART

Lectures, Panels, and Dialogues

A member of the Guerrilla Girls takes the audience through how the group came up with some of their many posters, books (The Guerrilla Girls Bedside Companion to the History of Western Art; Bitches, Bimbos and Ballbreakers: The Guerrilla Girls' Guide to Female Stereotypes) and actions about discrimination in art, film, and politics.
She will also perform skits with the audience, and speak about how the group invaded the Oscars with billboard and sticker campaigns on discrimination in Hollywood. And she'll tell all about their 17-foot posters in the 2005 Venice Biennale, Istanbul, Athens and Mexico City.
Presented in conjunction with the exhibition The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973-1991.
The Girls are quippy as well as lippy.
They are the Fun-Guard of feminism.
—Ginny Dougary, The Times (London)


Friday, January 14, 2011

The Queen Sofia Spanish Institute presents.....

Balenciaga: Spanish Master
The Queen Sofia Spanish Institute presents an exquisite exhibit of masterpieces by Cristobal Balenciaga, one of the country's most legendary fashion designers.

Balenciaga "Infanta" evening dress
This fall, the Queen Sofía Spanish Institute will present Balenciaga: Spanish Master, a premiere exhibition on the life and work of Cristobal Balenciaga (1895-1972), one of the country's most famous designers. Hailed as "Fashion's Picasso" by Cecil Beaton, Balenciaga's innovations transformed the way women dressed, and his visionary designs and impeccable standards seduced generations of the best-dressed women in the world.

Hamish Bowles, Vogue's European Editor at Large, will curate the exhibit, which includes more than seventy items of the designer's clothing and accessories. Highlights include the embroidered 1957 wedding dress of Sonsoles Diez de Rivera, matador boleros from 1946 and flamenco-inspired dresses from 1951 and 1961. Balenciaga: Spanish Master will be accompanied by a series of related public programs including exhibition tours and lectures.

When: Nov. 19 to Feb. 19, 2011

Where: Queen Sofia Spanish Institute, 684 Park Ave., New York

Admission: Free


Photo copyright by R.J. Horst, courtesy of Staley/Wise Gallery, NYC.

tout tout tout sur les Abstract expressionnistes..a NY: GO to MOMA before April25

Before and after your visit ,.go to and read...this is so..interesting.....

Wednesday, January 12, 2011

invitation par FLorence Brun pour voir le travail de Jamel Beribeche

Pour la 1ere fois a NY, Jamel Beribeche alias Serio presente ces affiches.

Venez le rencontrer et voir ce travail epoustouflant
Jeudi 20 Janvier a partir de 6pm dans les locaux de International Center NY.

International Center NY :

in Courchevel...SKI and also....BORN DESIGNERS...

Worth investigating..........

14 Sculptors
Founded as exhibition space exclusively for boundary-pushing sculpture, the gallery has expanded to include work from Dan Bergman, Esther A. Grillo, Chuck von Schmidt and other contemporary artists. By appointment only.
332 Bleecker St., Ste. K35, btw Christopher & W. 10th sts.,

Tuesday, January 11, 2011

About Buildings in NYC today: the Bertelsmann Building in Times Square

Bertelsmann Building, originally known as 1540 Broadway,[3] is a 42-story, 733 foot (223 m) office tower in Times Square in Manhattan, New York City, standing at West 45th Street.[1] The building is the North American headquarters of Bertelsmann.[1][2]
Started in 1989 and finished in 1990, the tower is one of the few in Times Square to contain class A office space.[2][1] Also found in the tower is Planet Hollywood's first Official All Star Café.[2][1]
In the 1990s the Bertelsmann subsidiary of Random House looked to build a skyscraper across 45th Street from its parent and be connected to it via a neon-lighted bridge across 45th Street connecting them.[4] When the deal fell through it built the Random House Tower 10 blocks uptown.

Thursday, January 6, 2011

Art Palm Beach Contemporary Art Fair January 20 - 24, 2011

NALL will be @....Art Palm Beach Contemporary Art Fair January 20 - 24, 2011

NEXT ART WALK NEW YORK,,,on a saturday

Let's go to New york and do it on a Saturday..
FIRST visit is ........SOHO....

Wednesday, January 5, 2011

George SEGAL "Walk, Don't Walk" 1976


In Walk, Don't Walk, three people stand on a street corner. They are waiting for the signal of the street sign to change so they can cross. Do they look like people you know? They might. They are cast from real people. Notice their clothing, hair and shoes. Even the buttons and wrinkles are there. They look real but they are all white. Look at the street sign. The electric lights flash red and green. Have you seen a street sign like this? The sign is not a casting. It is real.'s+Walk,+Don't+Walk.-a011334156

Monday, January 3, 2011

Research around a .....Ladder


Title Georgia O'Keeffe's Abiquiu House, Laddder Against Studio Wall
Artist/Creator O'Keeffe, Georgia
Creation Date undated
Creation Location Abiquiu (N.M.)
Materials/Medium photographic print
Dimensions 5 1/4 x 3 1/2 in
Subject Abiquiu (N.M.)
Repository Georgia O'Keeffe Museum
Online Collection Photography Collection
Accession No. 2006-06-1420
Copyright Georgia O'Keeffe Museum
Credit Line Gift of The Georgia O'Keeffe Foundation. Georgia O'Keeffe Museum.
Rights Statement The texts, images, video clips and other data on the Georgia O'Keeffe Museum website are protected by copyright and may be restricted in other ways as well. Users assume full responsibility for observing all copyright, property and libel laws as they apply. Please contact the Georgia O'Keeffe Museum for further information as it pertains to this material at

Sunday, January 2, 2011

Emily Fisher Landau Gives Major Gift to the Whitney Museum

Gift includes seminal works by Carl Andre, Willem de Kooning, William Eggleston, Peter Hujar, Jasper Johns, Glenn Ligon, Agnes Martin, Robert Rauschenberg, James Rosenquist, Susan Rothenberg, Ed Ruscha, Kiki Smith, and Andy Warhol
Whitney exhibition planned for early 2011
New York, May 7, 2010–Emily Fisher Landau, the noted philanthropist and art collector, and one of the Whitney’s most generous trustees, has made an important gift of 367 works of art, including works from the Fisher Landau Center for Art, that have been pledged to the Museum, it was announced today by Adam D. Weinberg, Alice Pratt
Brown Director of the Whitney Museum of American Art. The gift comprises works in all media by nearly one hundred key figures in American art, including Carl Andre, Richard Artschwager, Carroll Dunham, William Eggleston, Peter Hujar, Jasper Johns, Glenn Ligon, Agnes Martin, Robert Rauschenberg, James Rosenquist, Susan Rothenberg, Ed Ruscha, Lorna Simpson, Kiki Smith, and Andy Warhol. An exhibition with an accompanying catalogue is planned for early 2011.
Mr. Weinberg noted, “Emily has been a dear friend and supporter of the Whitney for nearly forty years, and a trustee since 1987. Her commitment—to artists, to the artistic imagination, to exploring the new, and to the Whitney Museum—is unwavering. We are delighted that she has chosen the Whitney as the home for so much of her stunning collection and we thank Emily and her family for all they’ve done for the Museum over the last several decades. This spectacular gift came about through the involvement of our Chairman Emeritus, Leonard A. Lauder, who has been working with Emily for many years towards this landmark acquisition for the museum. This superb donation helps ensure that the Whitney will continue to flourish for many more decades to come.”
Emily Fisher Landau commented, “I’m delighted to see these works go to the Whitney, an institution close to my heart, and want to acknowledge Leonard Lauder and Amy Cappellazzo for their friendship and wise counsel.”
The works in the Fisher Landau donation serve to fill important gaps in the Museum’s holdings as well as supplement current areas of depth. Among the many highlights of the gift are the following:-- Seven works by Carl Andre, including a selection of his seminal typewriter drawings and poems of the early 1960s and the large-scale sculptures, 28 Lead Rectangle (1968) and Paraglyph (1989);
-- Twelve works by Richard Artschwager, ranging in date from 1977 to 2002 and including one of his most monumental paintings, City of Man (1981), which spans almost fifteen feet;
-- Four works by John Baldessari, including What This Painting Aims to Do (1967), a prime example of his important early text paintings;
-- A selection of eight 1980s works by Carroll Dunham, including a pair of his early breakthrough paintings on wood veneer;
-- A complete set of William Eggleston’s photographic portfolio From the Seventies: Volume Two (Untitled), which contains some of Eggleston’s best-known images;
-- Fifteen photographs by Peter Hujar, ranging in date from 1975 to 1985, including iconic portraits of Andy Warhol, Diana Vreeland, Susan Sontag, and Robert Wilson;
-- Forty-four works by Jasper Johns, including the first of the artist’s recent Catenary paintings to enter the museum’s comprehensive holdings of his work, as well as a complete set of the thirty-one screenprints he made between 1968 and 1982;
-- Two works by Willem de Kooning, a 1952 Woman drawing and a noteworthy 1987 painting, Untitled, which becomes the latest de Kooning canvas in the Whitney’s collection;
-- Nineteen early works by Glenn Ligon, who will be the subject of a Whitney retrospective in 2011, including one of the very first of Ligon’s Richard Pryor paintings, which constitutes one of his most important series;
-- A total of seventeen works by Robert Rauschenberg, among them the large 1974 work PULL (Hoarfrost Suite), in which he applied his solvent transfer process to fabric;
-- Four works by James Rosenquist, including House of Fire II, a mural-size work from 1982;
-- Seven works by Susan Rothenberg from the early 1980s, including the key painting Tuning Fork (1980);
-- Six works by Ed Ruscha, ranging in date from 1965 to 2002, among them two important canvases, Give Him Anything and He’ll Sign It (1965), one of his wry bird paintings, and Lion in Oil (2002), from the artist’s recent series of mountain paintings;
-- Five works by Kiki Smith, ranging in date from 1994 to 2006, including Arm with Mushrooms and Head with Bird I (Side), both from 1994;
In addition to the works mentioned above, the gift also includes significant paintings by Burgoyne Diller, Agnes Martin, Georgia O’Keeffe, and Andy Warhol; the earliest Robert Gober sculpture to enter in the Whitney’s collection; a lyrical Martin Puryear work in cedar and pine; and a large mixed-media installation by Lorna Simpson.
Donna De Salvo, the Whitney’s Chief Curator and Associate Director for Programs, said, “In addition to showcasing the best of American art, this gift speaks to Emily’s enterprising vision and longtime support of artists, often from the start of their careers. It is a perfect fit with the Whitney’s own collecting history and mission.”
Emily Fisher Landau began collecting art in the 1960s; since the early 1980s she has focused on building an important collection of contemporary American art. In 1985, she provided funds for the Whitney to purchase a painting by Burgoyne Diller. Among the other works that she has given or enabled the Whitney to purchase is a landmark painting by Georgia O’Keeffe (Music – Pink and Blue II) (1919). In 2002, she made a partial and promised gift of a recent painting by Ruscha, and made a promised gift of a large-scale painting by Cy Twombly. With the present donation, the gift of these two landmark paintings is being completed.
At the Whitney, Ms. Fisher Landau has served as co-chair of the Contemporary Committee; a member of the Library Fellows; a member of the Chairman’s Council; and has participated on several other Museum committees. In 1995, she generously established an endowment to support the Biennial, the Whitney’s signature contemporary exhibition. That same year, the fourth floor galleries at the Whitney were named in her honor. In recognition of her many years of generosity, she was honored at the Whitney’s 2006 annual fall Gala. Ms. Fisher Landau’s daughter, Candia Fisher, has served on the
Whitney’s Print Committee (1996-2000) and Photography Committee (since 2007), continuing the family’s tradition of generous support for the Whitney Museum.
Emily Fisher Landau has shared her time and generosity beyond the walls of the Whitney. In 1991, the Fisher Landau Center for Art was established in Long Island City, housed in a former parachute harness factory. The Center, designed by Max Gordon in association with Bill Katz, is devoted to art education and the exhibition and study of the Fisher Landau collection of contemporary art and stages regular exhibitions drawn from its important holdings. The Columbia University MFA Thesis exhibition will be on view there from May 3 to 23, 2010. Ms. Fisher Landau has served as a trustee of SITE Santa Fe and the Georgia O’Keeffe Museum, both in Santa Fe, New Mexico. She has also served on acquisition committees at the Museum of Modern Art, New York, for several decades. In 1999, she established the Fisher Landau Center for the Treatment of Learning Disabilities at Albert Einstein College of Medicine at Yeshiva University and has supported a program at Columbia University Teachers College and New York University that has helped New York City private-school students with learning disabilities. She was made a Chevalier, Ordre des Arts et des Lettres, by the government of France in 1986, received the Haym Solomon Award from the Anti-Defamation League in 2006, and was honored with the 2008 CITYarts Making a Difference through the Arts A ward.
About the Whitney
The Whitney Museum of American Art is the leading advocate of 20th- and 21st-century American art. Founded in 1930, the Museum is regarded as the preeminent collection of American art and includes major works and materials from the estate of Edward Hopper, the largest public collection of works by Alexander Calder, as well as significant works by Jasper Johns, Donald Judd, Agnes Martin, Bruce Nauman, Georgia O'Keeffe, Claes Oldenburg and Coosje van Bruggen, Kiki Smith, and Andy Warhol, among other artists. With its history of exhibiting the most promising and influential American artists and provoking intense critical and public debate, the Whitney's signature show, the Biennial, has become the most important survey of the state of contemporary art in America today. First housed on West 8th Street, the Whitney relocated in 1954 to West 54th Street and in 1966 inaugurated its present home at 945 Madison Avenue, designed by Marcel Breuer. The Whitney is currently moving ahead with plans to build a second facility, designed by Renzo Piano, located in downtown New York at the entrance to the High Line in the Meatpacking District.

read more.....

From Minimalism to Post minimalism

Minimalism had literally knocked sculpture off its pedestal. Artists such as Andre, Donald Judd, and Dan Flavin challenged the traditional conventions of sculpture: representation, illusionism, craftsmanship, permanence, and even the object itself. Minimalism presented a new set of formal strategies: the grid, seriality, identical modular units, geometric structure, industrial materials, and fabrication. Post-Minimalists eagerly adopted these precepts as new jumping-off points for sculptural invention: use of unorthodox materials, serial repetition, and physicality, but with allusive references and sometimes whimsy or erotica in their creations.

Termed "anti-form" by Robert Morris, "dematerialized" by Lucy Lippard, and "post-Minimalist" by Robert Pincus-Witten, the sculpture that emerged in the late 1960s and 1970s was a subversive response to Minimalism. Eva Hesse is often cited as an influential iconoclast, as well as Mel Bochner, Lucas Samaras, and Bruce Nauman. (4) Because of her age and ethnicity, Mendieta has rarely been placed in this category, but most of the movement's characteristics apply to her work as well. (5) Adjectives such as anthropomorphic, biomorphic, handmade, mixed-media, psychologically attenuated, and organic apply equally to Mendieta and Hesse. Both accepted the pared-down, abstracted aesthetic of Minimalism, and each used the style to convey her own subjective meaning.

As Lippard foretold in her introduction to the Eccentric Abstraction exhibition in 1966, "The future of sculpture may well lie in such non-sculptural styles." (6) At the same time, as noted by feminist historians like Lippard and Whitney Chadwick, (7) women artists emerged as shapers of the art world, mirroring the larger cultural phenomenon of the feminist movement.

and again more infos on Eva Hesse....

“She worked with rope, latex, rubberized cheesecloth, clay, metal, and wire mesh in pieces that are additive, tactile, and radical in their witty and iconoclastic use of media. Hesse adopted emotionally associative materials and structures in which layering, displacement, and serialization focused attention on process, anti-industrial technologies, and siting.” (Chadwick)