an artist we’ve met, Penelope Fox at Hoboken open studios, is having an art party next month at Hudson Terrace, 621 west 46th Street,, NYC, NY
Terrace-Art-Splatters-Event
this should be an interesting event, so if you’re in town why not drop by and see for yourself what’s going on. am i showing any of my art? i haven’t been invited so i am just passing along this information.
Looking for artists to rent subsidized space in Long Island City!
Long and short term rental opportunities now available.
25 – 25 44th Drive: 5,000 sq. ft. bank building with tile floors, lots of large windows, an outdoor performance area and possible gallery, event, and studio spaces.
26 – 09 Jackson Ave: 4,500 sq. ft., 3 levels. Top floor with great natural light and wood flooring; ground floor with high ceilings, wood floors and a garage door entrance; basement studio space.
26 – 19 Jackson Ave: 4,500 sq ft. of unobstructed space with high ceilings, garage door and concrete floors – ideal for film shoots and rehearsals.
Highlights of chashama blocka:
# Plans for future growth from 3 to 10 spaces
# Spaces available through 2014
# On-Site Parking
If you are interested in finding out more about chashama’s new
LIC spaces, please contact: janusz@chashama.org
Chashama, a 501(c)3 nonprofit, adopts temporarily vacant commercial properties that are donated by their owners and converts them into spaces available for artists to work and/or present their art. Chashama then re-grants these spaces to artists of all stripes, and cultural organizations at free or heavily subsidized rates. In a city of exorbitant rents and voracious gentrification, chashama is committed to literally opening doors for artists by providing them with the rarest commodity in New York City: affordable space. www.chashama.org
and it doesn’t help that i find people to help me. last week i met admiral and interviewed her for an upcoming project of mine and we agreed to explore a session to see what happens, that’s one of the ways i work not really having a vision of where i’ll wind up at the end of the day, well since it’s art and most of art is a failure but it’s in the trying and failing that the real art is created. i am really not sure what’s going on here but we started doing some dance images and worked our way in or out, depending on ones outlook into some of the other images.
a simple dance image
with costume changes
nude dancer in dressing grown
i am using mixed lighting sources with strobes as the main light but adding some mr 16’s 50w units which add an awfully lot of light, i threw some color on them just of fun.
nude female dancer in dressing grown
and another costume change, well since she’s almost nude to begin with it doesn’t take long to slip from one thing to another.
female nude
odd color on that mr 16 very green and it’s a 3200 kelvin color temp, don’t remember what color it was but if you’re interested i’ll try and look it up.
female nude
what i liked about admiral during our interview was her,’ yes lets try that.’ she saw a couple of my gold face female images and was really up for trying that.
christmas past
don’t you just love the color of her hair?
we have a friend and gallery owner who’s always said he is looking for ‘edgy’ work. define edgy was always our reaction, but what he means is work that’s a bit different but sells. i look at this session and wonder what kind of person would want to look at this image everyday or this one?
bound female nude with gold face
now if you look closely, well you can because your eyes are open and not like the model whom i seem to have caught with her eyes closed all day. i remember shoot with a young japanese model doing some fashion, yea i know didn’t think i had it in me did you, neither did i, but she was always looking down. when i mentioned this to her she said,’ gee my teacher tells me the same thing.’ duh……….. but here it sort of works
this is all part of my non – communication series i am trying to find people to work on. interested ? contact me.
if you’re interested in working with me on any project of mine or have a suggestion of your own drop me a line as i am always interested in meeting interesting people
jene
Paris, Seine river
when mary and i first visited Paris we were very lucky except for the grey sky’s most everyday, after all it was at the end of October a bit chilly and who cared it was Paris and we were together. the streets seeped with history and the museums budged with art and cafes everywhere with fresh baked croissants.
we rented an apartment through Craigs List and sight unseen were located on the right bank two blocks from the Louvre, somewhere around the Rue du Roule talk about luck and location whoo. by the way Paris has a great jazz radio station with even a feed from WBGO here in Newark NJ. the apartment was small but clean with a kitchenette and a double bed.
but not everyday was gloomy there were some lovely days and being with my honey made up for any rainy days
Seine river with Eiffel tower
Museum passes in hand we headed out into the great city of lights to see what we could discover. no we didn’t do the Louvre first as we wanted to be outside enjoying Paris. we walked around a lot since we were in the middle of everything. mary was taking a photography class back in NJ so she had homework assignments, not a bad place to do your homework.
but this isn’t about Paris yet connected in every way in my mind. we discovered the photographic exhibit called Edward Steichen In High Fashion, The Conde Nash Years at the Jeu de Paume Museum, organized by the Foundation for the Exhibition of Photography, Minneapolis and The Musee de L’Elysee,Lausanne. We never had a clue it would be there nor did we know too much about Steichen’s work.
the photography exhibit blew me away and how much of it that was on display wow. the portrait of Gloria Swanson 1924 has to be seen in person it’s just amazing. all of the prints were wonderfully done as one would expect from an artist such as Steichen even though he’s long gone. along with all the prints there was a movie interview with him in his studio which i fell in love with because it showed all his lighting equipment and he sat next to a huge camera sort of a Steichen at work type of thing. the floor was covered with big black wires powering the plato convex spotlights, floods etc of that period.
At the end of the exhibit comes the book store and trinket shop. i picked up the accompanying book and wanted to buy it right away but alas i am just a dumb american who can’t read French, besides it’s a pretty big book to lug around europe. Steichen worked in B&W photography which is pretty amazing in it’s own right. What he did with his limited space and flats is pretty amazing.
so i am in a book buying binge now and i ordered one from amazon having just finished it this week. i must say it to is a wonderful book especially for people who never had an opportunity to see the traveling exhibit which has long gone into retirement. i wish i had been able to read the book and then see the exhibit again. i think would have gotten more out of the exhibit at the time but one can’t, at least i haven’t found a way to time travel yet.
i recommend this book to anyone who has a love of B&W photography or fashion history, it’s a real treasure.
some say artist working in commercial endeavors looses touch with the art. we all got to eat and would like other people to enjoy our work, i always feel that i am sending my children to a foster home when someone buys a picture. Steichen had this to say in a letter to
Mrs Chase;
“in connection with our idea about dignified and distinguished presentation of ‘Beauty’ pictures if they can be done in Duotone they will be greatly enhanced. there are some works of art in the Louvre that if presented in a peep show would be condemned s pornographic. in the Louvre they are art – make Vogue a Louvre.”
don’t we all just want to be loved for what we do? i’ve fallen in love here with a master of B&W photography and this book shows why he’s considered such.
this is the next place i want to stay in Paris or maybe Amsterdam
house boats
jene
if you remember i’ve written about DNA before when they were being threatened with a rent increase that would drive them from their downtown location. well negotiations are continuing so when and where DNA will be is still up in the air. Maybe writing to Mayor Bloomberg asking to preserve this dance institution might help, it couldn’t hurt, and might be the right thing to do.
i always feel a kinship with dancers knowing how hard their lives are in creating such an ephemeral art form as dance.being a member of a dance company in the 70’s i saw how hard they worked. believe me it’s not an easy life but young people are drawn to it everyday? one wonders why?
why does any artist create? a question i ask myself every once in a while. i’ve yet to come up with a definitive answer except to say it feels right and makes me sleep better.
dance seems to be in the air this week what with the movie Black Swan opening this week. see the NYTimes article which begins with ‘ TEN years of serious training and then five more toiling in the ranks. That’s how many years of dedicated study it takes on average to become a principal ballerina at a top company.’ a quick rise to the top.
but back to our subject of Griselda Healy art exhibit ‘Figure in Motion‘ in the upstairs gallery of DNA. There is no charge for admission to the exhibit. Figure in Motion is a series of figure movement sequences; working from life with DNA founder Laurie De Vito’s company of seven dancers as models; it consists of drawings and oil sketches with graphite and charcoal materials on horizontal scroll lengths of paper.
Image: Sarah, Dance Sequence graphite and charcoal on paper 2010
Griselda Healy was born in St. James, Long Island, New York. She studied still-life and landscape painting with Paul Russotto before moving to Europe, where she studied and worked as a musician and artist. Healy recently relocated to Manhattan and now has a studio affiliated with the NARS Foundation in Brooklyn, NY. She is presently continuing her work with figure and context.
i am always amazed by the positive energy dancer students exude and DNA is full of that. it fills the air around them even when they are sitting still.
this picture reminds me of a conversation i had with a Radio City Music Hall Rockette during a time we both worked the Christmas Show. She told me of her husbands friends in Atlanta reactions upon hearing she was a Rockette as being so ‘glamorous’ to which she smiled and nodded. she had thought of this conversation while sitting in the rehearsal hall floor dressed in sweaty tights, a t-shirt, eating an orange and dog tired. what a glamorous life. she couldn’t imagine her husband’s business associates siting on the floor. but that’s what dancers do when not dancing.
so go see this exhibit when you are downtown to see how drawing, painting, photography and dancing are all part of the human experience. enjoy the rich cultural offerings this city has to offer. hey check out DNA offerings and see one of their shows.
it’s a wonderful space it would be a shame to see them lose it after all the work they’ve put into the space.
THE 2011 TRAVEL AND STUDY GRANT PROGRAM
Deadline: February 28, 2011
ELIGIBLE DISCIPLINES: MUSIC, THEATER, and VISUAL ARTS
The 2011 Travel and Study Grant Program will award grants to emerging creative artists (composers, sound artists, playwrights, creators of performance art and experimental theater, and visual artists). Minnesota-based executive and program administrators working for nonprofit organizations in music, theater, and visual arts are also eligible to apply.
The deadline for applications in Music, Theater, and Visual Arts is February 28, 2011.
Applications must be postmarked on or before the deadline to be eligible for consideration. Fax and e-mail submissions are not permitted.
The 2011 Travel and Study Grant Program is supported by the General Mills Foundation, the Art and Martha Kaemmer Fund of HRK Foundation, and the Jerome Foundation.
The Travel and Study Grant Program places emphasis on individual exploration and growth. The program supports such activities as research leading to the creation of new work, the development of collaborations, participation in specific training programs, time for reflection and individualized study, investigating artistic work outside of Minnesota or New York City, and dialogue on aesthetic issues.
Application materials are available on the website at www.jeromefdn.org and in paper form upon request to the Jerome Foundation office:
400 Sibley Street, Suite 125
Saint Paul, Minnesota 55101-1928
Telephone: 651.224.9431 or 1-800-995-3766.
courtesy of smack Mellon, Brooklyn NY
i was going to try and finish up the california trip today having caught up with posting expenses etc, cleaned my kitchen yesterday washed the window always a hard job because the window has an exhaust fan in it that gets the window screen greasy so ammonia has to be used. the one positive effect of cleaning with ammonia is i can breathe easier now. but that’s why i left the chemical darkroom the smell of the fixer.ugh
but reading my email this morning i had some pleasant news from the International Aperture Awards
Aperture Award announcement
pretty cool huh? i love this image maybe because i know the story of when and where. it was taken on RT 7 in Vermont during the time i was showing mary around where i grew up and where my family was from. We had an exhibit in Burlington and decided to drive up there to deliver the prints and stay for the opening.
this picture looks across farmland in front of Lake Champlain [not seen] toward the mountains of new york state in the background. mary stopped the car and pulled over and i took a couple of exposures. i loved the lone tree and the rays of lighting. it reminds me of how i’ve felt most of my life, me against the world.
this is the same trip where i asked mary if she would be my wife. life has changed for me now, i don’t feel as if i am alone in this world. even if i’d not asked and mary accepted my proposal did i feel the same old negative feelings of being alone. i had mary in my life but i wanted to make a statement, to whom i am not sure, the world? how i felt about her and what she really meant to me.
having her in ones corner is a real asset because once she makes up her mind, she’s there. so maybe this tree symbolizes mary and not me. i have to remember life isn’t all about me nor are the pictures. they actually present themselves to the world for all to see and if i am lucky enough to be there and capture the moment with my brownie i have a way of remembering and sharing that moment of beauty with others.
just like now, being married to mary, we both have the legal & moral right to share and enjoy our work together. my life has improved so much after meeting her, being open with her is something i highly recommend as is having love in ones life. it does open new vistas and opportunities. but don’t get any funny ideas as she is taken and we don’t share well with strangers.
so any award i win we both win as she is a part of what and where i do life along with how open my eyes and ears are. having a life and sharing it is a wonderful thing, i highly recommend it.
so maybe you can think of ways you can share your life and the wonders that befall you, or just turn to the stranger next to you and say hello. it does make a difference.
NEW YORK – TED, the progressive California nonprofit that brings luminaries of technology, entertainment, and design together for the sake of world betterment, has made an unexpected choice for its seventh annual $100,000 TED Prize: JR, a 27-year-old street artist who, under a mysterious cloak of semi-anonymity, has been pasting monumental black-and-white photographs across the urban infrastructure of the world’s poorest slums.
In the past, the prize — given to a charitably-minded figures from diverse fields who then choose a “wish to change the world” — has been allotted to such global figures as Bill Clinton and Bono, as well as members of the arts sphere like author Dave Eggers, architect Cameron Sinclair, and photographers James Nachtwey and Edward Burtynsky. According to a statement, TED singled out the 2011 winner for the dramatic interventions the artist — whose provocative London dealer was recently profiled in Modern Painters — has staged around the globe.
“In Rio, he turned hillsides into dramatic visual landscape by applying images to the facades of favela homes,” the statement says. “In Kenya, focusing on ‘Women Are Heroes,’ he turned Kibera into a stunning gallery of local faces. And in Israel and Palestine, he mounted photos of a rabbi, imam and priest on walls across the region — including the wall separating Israel from the West Bank.”
According to JR’s own Web site, his artistic practice — which he writes “mixes Art and Act, talks about commitment, freedom, identity and limit” — began when he found a camera in the Paris subway leading to his ownership of “the biggest gallery in the world”: the world itself. He dislikes being called a street artist, and prefers the title “photograffeur” (graffeur means “graffiti artist” in French), the New York Times reported. The Times also referred to JR as a “Robin Hood-like figure,” although he will not announce until the TED Conference next March how he plans to use the prize to help the impoverished subjects of his work.
In recent years, the money has been to fight against obesity (British chef Jamie Oliver, the 2010 winner) and to build up a healthcare system in Rwanda (Clinton, a 2007 recipient). JR will likely use his winnings to continue his guerrilla artistic installations, as he has done with money earned at auction and in galleries in the past
JR first heard of the existence of the TED prize two weeks ago, and initially was wary in communicating with prize officials through Skype, disguising himself in dark glasses and a low-brimmed hat, according to the Times. “I’m kind of stunned,” he told the paper. “I’ve never applied for an award in my life and didn’t know that somebody had nominated me for this.”
this week we, mary and i attended the affordable art fair at 7 west 34th street, first annual fall fair.
AAF
the affordable art fair has been a staple of spring time art going that Will Ramsey expanded to twice a year here. you don’t need to be an art expert to enjoy see and collecting art you. which was Will Ramsey’s idea when he first launched AAF in london in 1999. now eleven years later AAf has become an outstanding global contemporary art fair with events taking place in Amsterdam, Bristol, Brussels, London, Melbourne, Milan, New York, Singapore and Sydney.
this event has workshops in collecting art, framing your collection and open artist studios courtesy of Jen Bekman Project, as well as a kids ‘walk in’ workshops. this is a family adventure, see the web site for schedules
aisle a
with 70 worldwide galleries participating this month one has an eyeful of world tastes and artist, from painters, sculptors, collagest, photographers and installations; one is treated to a wide variety of eye candy. there is even a kiddie corner
kiddie corner
where one can see budding artist. hey why not bring your own budding Michelangelo along for fun. there is something for everyone crammed in the aisles A through F.
aisle f
the fair opened on wed with a private invitation gathering of VIP,friends, families, lots of strollers and kids writing on the walls more than enough to keep ones eyes open. i returned on friday morning as the fair opened to take some pictures and talk to gallery owners. due to time limitations i didn’t have a chance to speak with everyone nor make notes. these pictures are only a small smattering of what i saw.
first i started with the art installations, take a left coming off the elevators head down the hallway towards the cafe just before the entrance is Jennifer Murray’s The Love Story, 2010 by Raandesk Gallery is comprised of a found wooden ship, a sculptured pierced clay tuna and hanging sculpted clay tear drops. love story begins with the capture of the ‘big one’ ending with symbolically with regret and sadness that couples with the barbaric actions of completing such a capture.
the love story
next is Kamol Akhunov’s vivid Earth Leak installation, courtesy of Emmanuel Fremin Gallery, about the rising dependency on fossil fuel and the consequences of that caustic addiction. tangled, dissonant and spontaneously structured pipes represent the uncontrollable need and unquenchable proclivities towards this natural resource. the earth which is hanging powerlessly drenched with oil represents the current quandary we humans face. this non-escapist idea that we are all connected, linked and splattered by this oil greed and addiction is our desolation and destruction and choice.
earth leak with artist
between these two installations are John LaMacchia’s Canned Laughter sound installation, courtesy of Galeria Bickar, no pictures as i’ve yet to successfully capture it on film, opps pixels. these sound tracks from Tv producers provide a guide as to when we should laugh. the artist explores the artificial cue as content and response.
next along the wall are Jen Blazina’s Bittersweet, cast rubber lockets, courtesy of Divergence Fine Art. this installation of 1100 amber rubber lockets, which hold images represent relationships between people taken from anonymous family photographs. Most of these people are unknown and lost to a family narrative history. the power of representation creates an intimate moment for the viewer as they approach each piece and engage the idea of holding someones image.
Bittersweet
then we begin with booth 001 where i met two brothers from Barcelona, Spain representing Crisolart Gallery and we talked about that lovely city where i’ve always wanted to go since reading ernest hemingway’s novels about spain.
crisolart gallery
next door is the Hamburg Kennedy Photographs from nyc, something i can get my teeth into. a lovely blue photoshop composition on the wall caught my eye.
Hamburg Kennedy Photographs
so in no particular order because i am not sure where everything is – i just show what caught my eye. this Le Siants Gallery from Barcelona paintings stood out and attracted me
Le Siants Gallery
until i saw this. i didn’t have a chance to talk to the gallery owner here, one of those missed opportunities i would liked to have over again.
Woman in Red
And then these paper sculptures from Bulgaria at Latoart gallery
Latoart Gallery
to these unglazed porcelain wall and free standing organic pieces from the Russell/Projects of Richmond Va.
Russell Projects
to Cube Gallery 3D wall boxes which really needs to be seen in person to appreciate – as do all of these art pieces.
Cube Gallery
here are our old friends busy at work in the Emmanuel Fremin Gallery with an art patron in the background.
Emmanuel Fremin Gallery
some very inventive art, photography and sculptures are on display for the rest of this weekend, including these French galleries. these two from the LM gallery, Paris, France the first from a photographer while the second from a collagest.
Regis Guerin
and wandering around i discovered these two artist at Envie D”Art also from France
Manolo Chretien @ Envie D'Art
Artist Manolo Chretien ‘ NY Citillusions’ printed on brushed aluminium while Edouard Buzon below works on wood with layers of polyurethane, sanded and polished
Edouard Buzon @ Envie D'Art
last but not least we visited that far away land, home of the long gone dodgers, Brooklyn to the RHV fine art where i talked to henry chung about his computer punch tape pieces, who now has to learn to use a new material as punch tape is discontinued.
rhv fine art
this is just a small sampling of what’s available and with packages of bubble wrapped objects flying in and out of door ways one never knows what creations one will see. you can actually walk out the door with your purchase or have it delivered to your home. now how’s that for service?
i do have a suggestion for galleries doing these type of shows. it’s very helpful if they brought along with then gallery bio’s along with the artist bio’s. to say it’s on our web site is fine but writing from notes is still the way i work. i didn’t write about the galleries who didn’t have handouts, maybe i wasn’t important enough but i did have clean clothers and took a shower before leaving the house.
well these are my wanderings for this weekend hope you enjoy this beautiful day.
| Written by Ann Levin, Associated Press |
Thursday, 26 August 2010 02:13
 Robert-Falcon-Scotts-Hut |
|
NEW YORK, N.Y. – The Museum of Modern Art’s photography collection is so rich that it can present virtually the entire history of the medium using only images taken by women and in many cases, of women. It’s instructive to realize that whatever genre or style in which men worked, even industrial photography, women were doing the same. The show is organized chronologically, beginning with a gallery of 19th and early 20th century photographs that illustrate the two traditions of documentary and pictorial photography. For much of photography’s 170-year history, women have expanded its roles by experimenting with every aspect of the medium.Pictures by Women: A History of Modern Photography presents a selection of outstanding photographs by women artists, charting the medium’s history from the dawn of The show continues with a stunning array of photographs by European artists in the 1920s and 1930s, including Ilse Bing’s 1931 “Self-Portrait in Mirrors,” which shows her looking straight at the viewer and in profile at the same time, an illusion made possible by using her camera as a third eye. the modern period to the present. Including over two hundred works, this exhibition features celebrated masterworks and new acquisitions from the collection by such figures as Diane Arbus, Berenice Abbott, Claude Cahun, Imogen Cunningham, Rineke Dijkstra, Florence Henri, Roni Horn, Nan Goldin, Helen Levitt, Lisette Model, Lucia Moholy, Tina Modotti, Cindy Sherman, Kiki Smith, and Carrie Mae Weems, among many others. The exhibition also highlights works drawn from a variety of curatorial departments, includingBottoms, a large-scale Fluxus wallpaper by Yoko Ono. The most compelling in the first category is a series of photos taken by Frances Benjamin Johnston at the all-black Hampton Institute (now Hampton University), founded to educate former slaves. At the other end of the spectrum are the self-conscious, artistic photographs by Gertrude Kasebier, known for her symbolic, soft-focus images of Victorian motherhood such as the 1899 “The Manger” and 1904’s “The Heritage of Motherhood.” And since the art world seems to be having a Picasso moment, with major shows in museums and galleries and the record-breaking sale of one of his paintings at auction, be sure to look at an untitled work from 1930 by Picasso’s lover and muse Dora Maar, a highly regarded artist in her own right. It shows a woman from the rear with her long black coat lifted up in the wind. The show continues with a stunning array of photographs by European artists in the 1920s and 1930s, including Ilse Bing’s 1931 “Self-Portrait in Mirrors,” which shows her looking straight at the viewer and in profile at the same time, an illusion made possible by using her camera as a third eye.  Ilse-Bing-Self-Portrait-New You’ll also want to spend time in front of two prints by French photographer Germaine Krull, whose beautifully composed images of urban landscapes show that women could do muscular photographs of architectural structures as well as any man. Although Dorothea Lange is among the best-known U.S. photographers, male or female, the curators have rightly devoted an entire wall to almost 20 of her photographs, all the subjects girls and women. They range from her iconic Depression-era picture “Migrant Mother, Nipomo, California” to the poignant image of Japanese-American children saying the pledge of allegiance soon after President Roosevelt ordered the relocation of 120,000 Japanese-Americans into grim camps in the West. The mid-to-late 20th century is represented by MoMA’s newly acquired colour photographs of New York street life by Helen Levitt, best known for her work in black and white, and uncomfortable but affecting images by Austrian-born Lisette Model and Diane Arbus. Witty wallpaper just outside the entrance shows close-ups of human buttocks, reproduced from a 1960s-era film made by Yoko Ono. The images look vaguely human up close but resolve into a pillowy abstraction when seen from a distance. And as you leave the show, “29 Palms: Mortar Impact,” a large, black-and-white photograph by Vietnamese-American photographer An-My Le, depicts a few clouds of smoke rising from the barren desert floor, framed by the distant peaks of a rugged mountain range. It suggests the bleakness of war, hints at U.S. engagement in Iraq, and in its simplicity and clarity, is a work of stunning beauty. The sixth gallery of the exhibition will close on Aug. 30, and the other five will remain on view through 21 March, 2011. Visit on the Net: http://www.moma.org/ |
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