In: Featured

In the world of museum giants, inexhaustible lists of galleries, and raved-about art fairs, art foundations are often hidden gems that not only offer visitors the experience of viewing art and learning more about it, but also actively engage with their community, supporting contemporary artists or preserving the legacy of an individual. While other art institutions or businesses have commercial or collection-building interests, art foundations typically focus more on the development and backing of artists themselves. Here are some of the most reputable and successful art foundations found in Paris.

Fondation Louis Vuitton

Fondation Louis Vuitton, © Iwan Baan / Fondation Louis Vuitton,

Fondation Louis Vuitton, © Iwan Baan / Fondation Louis Vuitton.

Since recently opening in 2014, the Fondation Louis Vuitton has made quite a name for itself in Paris by rising to the top of the city’s cultural ranks. Located just west of the city center, at the Jardin d’Acclimatation in the larger Bois de Boulogne, the foundation is housed within a unique structure designed by the renowned architect Frank Gehry. A visit here is worth it just to admire the dazzling building, which has been called “the iceberg” and described as a “glass cloud.” Personally, I had the impression of walking up to a futuristic pirate ship stranded in a lush forest.  

Fondation Louis Vuitton was born out of the ambition of the LVMH group to continue with their dedication to support art, culture, and heritage by placing strong roots in western Paris. With just about 4,000 sq.m. of exhibition space, FLV holds a permanent collection of 20th and 21st-century works (150 pieces by 71 artists) and puts on impressive museum-grade temporary exhibitions as well as site-specific installations. In its three years of existence, it has exhibited many of the masters of Modern Art, with landmark exhibitions such as Keys to a Passion and Icons of Modern Art: The Shchukin Collection, as well as displays of Chinese and most recently African art. The foundation also organizes a series of events ranging from dance and music performances to talks and activities for students and children.

Fondation Cartier pour l’art contemporain

Jean Nouvel, Bâtiment de la Fondation Cartier pour l’art contemporain, boulevard Raspail, Paris, 1994 © Jean Nouvel / Adagp, Paris, 2011. Photo © Luc Boegly.

Jean Nouvel, Bâtiment de la Fondation Cartier pour l’art contemporain, boulevard Raspail, Paris, 1994
© Jean Nouvel / Adagp, Paris, 2011. Photo © Luc Boegly.

Situated in an industrial-style, entirely transparent glass building by Jean Nouvel, both reflecting its environment and blending with it, the Fondation Cartier has been promoting contemporary art for more than 30 years. Since its opening, the foundation has aimed to stimulate creativity and discovery by revealing young artists to the public and regularly commissioning works for temporary exhibitions or for its own permanent collection, which includes over 1,400 works from 300 artists worldwide.

Fondation Cartier engages in all mediums and forms of artistic expression, from design to photography, from painting to video, and from fashion to performance art. Another unique aspect of their programming, entitled “Nomadic Nights,” places an emphasis on the various forms of performance art including dance, music, film, theater, conferences, installations, and spoken word. After exploring this large variety of activities, visitors can relax in the foundation’s “wild” but carefully curated garden, which mixes diverse flora, art installations, and local cultural heritage dating back to the 18th century.

Fondation Henri Cartier-Bresson

Fondation Henri Cartier-Bresson, 2004 © Martine Franck / Magnum Photos Courtesy Fondation HCB.

Fondation Henri Cartier-Bresson, 2004 © Martine Franck / Magnum Photos Courtesy Fondation HCB.

Opened in 2003, just a year before the death of the iconic photographer, the Fondation Henri Cartier-Bresson was established to preserve the legacy and complete works of Cartier-Bresson and his wife, Martine Franck. It houses various rare publications, vintage prints, and documents assembled from their lives, and it is regarded today as one of Paris’s central locations for photography: it is a space for education, discussion, and admiration for the photographic medium, as well as a resource and support for contemporary photographers. The foundation also sponsors the Henri-Cartier Bresson Prix, awarded every two years.

Perhaps the most aesthetically modest foundation on this list -white washed interior and all-, but certainly an important cultural gem of the city. It is located along a quiet residential street in an atelier dating back to 1912, where Cartier-Bresson’s famous “The Decisive Moment” (1952) has found a home and where all may come to discover the joy of photography.

Fondation d’entreprise Ricard

Fondation d’entreprise Ricard © Aurélien Mole / Fondation d’entreprise Ricard.

Fondation d’entreprise Ricard © Aurélien Mole / Fondation d’entreprise Ricard.

The Fondation d’entreprise Ricard, created in 2006, is much smaller than the other foundations on this list; but what it lacks in size and imposing architecture, it makes up for in its rich programme and involvement in the French art community. Situated right off of the Place de la Concorde, it runs very much like any typical contemporary art gallery, with five to six exhibitions a year and free admission. The foundation is dedicated uniquely to the young French art scene, supporting its emergence and promoting its awareness abroad.

In partnership with the reputable contemporary art fair, FIAC, the two organizations have created the program Young Curators Invitational (YCI), where young curators from around the world are invited to participate in the fair by meeting with artists, collectors, gallery representatives, and other critics to discuss the French art scene and other issues in the art world. Additionally, since 1999 Le Prix Ricard has been annually awarded to an emerging artist working or living in France. The winner receives a purchase of one of their works, the chance to exhibit in the Centre Pompidou, and support in producing a personal project abroad.

So whether you are interested in discovering the fresh talent in the French art scene, are yourself an artist or an art professional looking for resources, or want to attend one of the many monthly performances, conferences, or affiliated programs, there is certainly something to be found at the hyper-active Fondation d’entreprise Ricard.

Fondation Pierre Bergé-Yves Saint Laurent

Fondation Yves Saint Laurent. Facade 5 avenue Marceau, Paris © Sacha / Foundation Pierre Bergé-Yves Saint Laurent.

Fondation Yves Saint Laurent. Facade 5 avenue Marceau, Paris © Sacha / Foundation Pierre Bergé-Yves Saint Laurent.

What would a list of Parisian art and culture be without some fashion? Housed in a traditional Parisian hôtel particulier dating from the Second Empire, at 5 avenue Marceau (just across the street and around the block from the Palais de Tokyo and the Musée d’Art Moderne de la ville de Paris), the Fondation Pierre Bergé-Yves Saint Laurent preserves the legacy of the iconic couturier Yves Saint Laurent. The foundation, whose galleries opened in 2004, occupies the same space that the YSL Haute Couture house operated in from 1974 to its closure in 2002. Its mission is to preserve the 5,000 garments, 15,000 accessories, photographs, sketches, and archives that bear witness to the YSL Haute Couture creative history. The foundation also puts on exhibitions of photography, drawings, paintings, and items from their fashion collection. It also owns and manages the Jardin Majorelle and Berber Museum in Marrakech, Morocco.

The foundation is currently closed for renovations in preparation for the opening of the Musée Yves Saint Laurent on October 3, 2017. This new museum will be dedicated to the life and works of YSL, showing across 450 sq.m. about 50 rotating models with items from the permanent collection as well as providing access to the salons and studio where YSL himself worked. From those who consider Vogue to be their Bible to those who more simply take an interest in design and fashion, this is a place to keep your eye on as October comes around!

Isaac Julien, I Love My Friend (Looking for Langston Vintage Series), 1989/2016 (detail). Courtesy of the artist and Victoria Miro Gallery, London.

Photo London is only in its third year, but this sprightly young fair does not disappoint in the quality and breadth of the work on show. Eighty-nine galleries present a diverse array of emerging artists and established names in this four-day festival. Here are some of our favourites.

 

1. Michael Wolf, ‘Tokyo Compression’

This series of uncomfortable, claustrophobic images depicts one of the many unpleasant realities of life in the metropolis. Catch it on display at the Flowers Gallery booth.

Michael Wolf, 'Tokyo Compression #156' - Archival Pigment Print. © Michael Wolf, courtesy of Flowers Gallery.

Michael Wolf, ‘Tokyo Compression #156’ – Archival Pigment Print. © Michael Wolf, courtesy of Flowers Gallery.

 

2. Stephen Shore, ‘Warhol and The Factory’ (1965-67)

A vintage series presented by Sprüth Magers Gallery captures glimpses of an “off-duty” Andy Warhol and his companions shot in and around The Factory.

Stephen Shore, Andy Warhol in hotel room during filming of My Hustler, 1965-7, © Stephen Shore .

Stephen Shore, Andy Warhol in hotel room during filming of My Hustler, 1965-7, © Stephen Shore .

 

3. Photo London Master of Photography 2017: Taryn Simon

Taryn Simon’s ‘Image Atlas’ is an interactive “work-in-progress” exploring the idea of a universal visual language. Using search engine data from around the world, Simon examines the fluidity of reference and the constant changing of meaning attached to images, in a work that interrogates the impact of censorship on our perception.

Taryn Simon. America, 6/21/2013, 8:18 PM (Eastern Standard Time), Image Atlas, 2012. Website view, dimensions variable. Source: photolondon.org

Taryn Simon. America, 6/21/2013, 8:18 PM (Eastern Standard Time), Image Atlas, 2012. Website view, dimensions variable. Source: photolondon.org

 

4. Discovery Galleries

This year’s edition of Photo London highlights the work of new galleries that are between one and five years old, with sixteen stands making up the ‘Discovery Galleries’.

New talent showcased in this part of the fair includes Juno Calypso and Maisie Cousins, both presented by TJ Boulting Gallery.

Maisie Cousins, from the series 'grass, peonie, bum', 2016, 40 x 26 inches, pigment print on archival paper. © Maisie Cousins. Source: photolondon.org

Maisie Cousins, from the series ‘grass, peonie, bum’, 2016, 40 x 26 inches, pigment print on archival paper. © Maisie Cousins. Source: photolondon.org

 

5. Jacob Aue Sobol’s ‘Road of Bones’, presented by Leica Camera

Shot along the Kolyma Highway in Russia, Jacob Aue Sobol captures life in one of the coldest inhabited regions of the world. Using Leica X and Leica M Monochrom cameras, Sobol starkly portrays the bleakness of an area once notorious for its Gulag camps. 

Jacob Aue Sobol, 2016, Road of bones. © Jacob Aue Sobol, Yakutia, 2016.

Jacob Aue Sobol, 2016, Road of bones. © Jacob Aue Sobol, Yakutia, 2016.

 

6. Michael Hoppen Gallery

Michael Hoppen Gallery presents an engaging selection including Siân Davey’s series depicting the innocent pleasures of youth over a British summer, and the timely “Brexit Wall” offering photographs capturing the essence of ‘Britishness’.

After the Swim Group portrait (ii), © Siân Davey.

After the Swim Group portrait (ii), © Siân Davey.

 

7. Alison Jacques Gallery

This year’s highlights from Alison Jacques Gallery include lightbox images by Catherine Yass from her ‘Decommissioned’ series and Juergen Teller’s brooding portrait of Kristen Stewart for System Magazine.

Catherine Yass, Decommissioned #8 (JCC), 2011-2013. Duratrans transparency, lightbox. 12.7 x 10.2 cm, 5 x 4 ins. 31.5 x 26.5 cm, 12 3/8 x 10 3/8 ins framed. © Catherine Yass

Catherine Yass, Decommissioned #8 (JCC), 2011-2013. Duratrans transparency, lightbox. 12.7 x 10.2 cm, 5 x 4 ins. 31.5 x 26.5 cm, 12 3/8 x 10 3/8 ins framed. © Catherine Yass.

 

8. Galerie Johannes Faber 

This Viennese gallery presents a selection of photographs from before the digital age, including works by Man Ray, Germaine Krull, Dennis Hopper and Horst P. Horst, among others. The elegant, more conservative compositions in black and white offer a sobering contrast to the abundance of technology-heavy works across Photo London. 

Rudolf Koppitz, Bewegungsstudie (Movement Study), 1925. Vintage gelatin silver gaslight print, 24 x 17,8 cm. Courtesy Galerie Johannes Faber.

Rudolf Koppitz, Bewegungsstudie (Movement Study), 1925. Vintage gelatin silver gaslight print, 24 x 17,8 cm.

 

9. Isaac Julien, ‘Looking for Langston’

At the Victoria Miro booth, Isaac Julien combines digital and analogue pre- and post-production techniques in a series of stills from his film ‘Looking for Langston’, which explore black queer identities.

Isaac Julien, The Last Angel of History (Looking for Langston Vintage Series), 1989/2016, Kodak Premier print, Diasec mounted on aluminum. Courtesy of the artist and Victoria Miro Gallery, London.

Isaac Julien, The Last Angel of History (Looking for Langston Vintage Series), 1989/2016, Kodak Premier print, Diasec mounted on aluminum. Courtesy of the artist and Victoria Miro Gallery, London.

 

10. Mat Collishaw, ‘Thresholds’

Mat Collishaw debuts his ambitious project ‘Thresholds’. The immersive, multi-sensory installation uses a virtual reality headset to recreate the 1839 exhibition of photography staged by the British Association for the Advancement of Science. In collaboration with Blain|Southern Gallery –which simultaneously displays some of the artist’s recent works in The Centrifugal Soul, Collishaw uses 21st-century visual technology to bring to life the cutting-edge photographic technology of two centuries ago and introduce virtual reality as part of the evolution of the photographic image. Collishaw’s work juxtaposes the scepticism that photography once faced with our modern anxiety towards new forms of technology and artificial intelligence. If you missed it at Photo London, ‘Thresholds’ will be on display at Somerset House until 11th June.

Mat Collishaw, 'Thresholds' (virtual reality space). Photograph: Somerset House

Mat Collishaw, ‘Thresholds’ (virtual reality space). Photograph: Somerset House

Can’t afford the price tag of an original print? A strong contingent of publishers, including TASCHEN, teNeues and Thames & Hudson, offer up their latest photography publications in the fair’s central pavilion. Check them out!


Photo London is at Somerset House, The Strand until Sunday 21st May.

 

 

Artist Alexa Meade is a painter who does not use a canvas.

Her artistic practice hovers somewhere between painting, installation, and performance art. She paints directly onto the bodies of her live models, using loose brushstrokes to collapse the appearance of depth and make her subjects appear two-dimensional. She then photographs her models, and the still images visually resemble paintings on canvas.

Double Take, 2010. © Alexa Meade.

Double Take, 2010. © Alexa Meade.

Trompe l’oeil is an artistic technique that artists have been using for centuries to trick the eye into believing that a two-dimensional image looks as real as a three-dimensional one by creating extremely detailed, hyper-realistic depictions of objects. Meade takes the concept of trompe l’oeil and turns it on its head. Once painted, that which is three-dimensional looks as if it was created on a two-dimensional surface. She paints her subjects and their surroundings with heavy, large brushstrokes, which creates an optical illusion that collapses any sense of depth.

“K, 2015” 2015. © Alexa Meade.

Meade is entirely self-taught; as she ruminates on in her TEDx talk “Your body is my canvas,” after earning her degree in political science from Vassar College she made a career path U-turn and ended up teaching herself how to paint in her parent’s basement. At first, she used her own body as her canvas, creating a series of self-portrait photographs of herself covered in angular paint strokes.

BLUE PRINT, 2010. © Alexa Meade.

BLUE PRINT, 2010. © Alexa Meade.

These initial works of art were only documented and circulated as photographs. In the past year, the Los Angeles-based artist has broken out of that format and created more interactive works that have appeared at Art Paris Art Fair, Boom Basel in Miami, and the United Nations in New York City. These “Living Paintings” are created on temporary sets in public spaces, where viewers can see Meade painting the model, and then see the finished product. She has had live models pose in gallery settings and has even done a live painting session in the streets of Tokyo as a promotional event for Mini Cooper in 2013.

Artist painting model for 'Hesitate'. © David Branson.

Artist painting model for ‘Hesitate’. © David Branson.

Meade’s performance art-style displays ride the same wave of Instagram-able art that Pipilotti Rist’s Pixel Forest & Yayoi Kusama’s infinity rooms. This is probably because you can photograph her work from any angle and the illusion still holds up. Her immersive, painted environments simulate the act of walking into a painting. And in some cases, it is her models  walk out of their paintings. Her latest collaboration with hip hop dancer Jon Boogz in “The Color of Reality” has the two central dancers move out of their painted space onto the street.

Alexa Meade wants her audiences “to find the strange in the familiar… to look beyond what’s already been brought to light, and to see that there can always be more than meets the eye.”

Ndidi Emefiele

“I feel like everyone wants me to give them some drama about this show,” Touria El Glaoui, Founding Director of 1:54 Contemporary African Art Fair, said with a laugh, “but it’s actually been one of the easiest set-ups…with New York, there’s this window of opportunity and visibility for the artists and a unique engagement with institutions that you don’t really see in any other city.”

1:54 was founded and organized by Moroccan curator Touria El Glaoui to improve the representation of contemporary African art worldwide.  Now, 1:54 is the foremost art fair dedicated to contemporary African art in the primary art market, showing in London during the October Frieze Week since 2013, and 1:54 NY during the May Frieze New York since 2015.  Entering its third year in New York, 1:54 NY is showcasing over 60 emerging and established contemporary artists, bringing 19 international galleries together from 10 countries.

1:54 view

1:54 aerial view. Courtesy Marissa Nadeau

1:54 is a ratio that runs parallel to the entirety of the fair’s mission, representing the entirety of Africa: 1 continent, 54 countries.  As the title suggests,  1:54 tries to preserve rather than blend together the differences between each country’s histories and cultures. Taking a look at this year’s 1:54 NY, the fair exemplifies its goal in representing individual countries, illustrating local development with global engagement, while connecting to common themes such as female representation, a hugely controversial topic in America as well as worldwide.

The role of gender identity and the fragile state of humanity come up in many of the pieces, always based from the African perspective, which within these topics play a fascinating role.  For instance, Lawrence Lemaoana, an artist from South Africa represented by Johannesburg-based Afronova Gallery, creates graphic works that critically engages with the media in present-day South Africa.  He views the relationship between media and the people of South Africa as extremely problematic and expresses this view through his trademark cynicism emblazoned on kanga fabric, a traditional fabric with its own complex history.  In one of Lemaoana’s kanga canvases at 1:54 NY, the phrase “MY FATHER WAS A GARDEN BOY” reflects upon the time of Apartheid when the easiest job for a man to get was a gardener, and those who worked as gardeners were called “garden boys” by their white employers.  Lemaoana brings up a part of South African history on a piece of fabric that lines modern day streets at markets.  Kanga fabric is also considered to be a female cloth, so along with telling the story of his father in the past, Lemaoana is toying with gender identity and who the use of this fabric is truly for.

Lawrence Lemaoana

Lawrence Lemaoana, My Father Was a Garden Boy. Courtesy Marissa Nadeau

Nigerian-American artist Wura-Natasha Ogunji’s diasporic view and love for the fusion of opposites creates an upfront look into micro- and macro-relationships.  She was born in the United States but currently lives in Nigeria (and is represented by London-based gallery 50 Golborne), allowing her to mold the experience of a life spent between two countries.  Her delicate lines build private and public scenes on trace architect paper, the translucency of the background and fragility of the paper’s surface translating to a bigger idea of the delicacy of humanity.  Just like in Lemaoana’s work, Ogunji is playing with bigger topics that are experienced worldwide but adds personal elements such as her life as a Nigerian-American woman.

Wura-Natasha Ogunji, The Atlantic. Courtesy Marissa Nadeau

Someone to keep an eye on? Nigerian artist Ndidi Emefiele (featured image). Represented by London-based gallery Rosenfeld Porcini, her work is confrontation and humorous, mixing the contemporary (cut-outs taken from magazines or printed from Instagram) with the traditional (Nigerian dress colors or patterns found in modern settings).  The pieces showcased at 1:54 NY hold a message of female empowerment, while the glasses found on most of the girls act as a layer of protection from the world, particularly the “male gaze”.  In her 2017 piece Taxi, the exposure of the subject’s skin in comparison to the Matisse-like figures dancing in the background paintings is just one of the contemporary vs. traditional comparisons that can be immediately interpreted.  Emefiele confronts popular topics such as gender as a social construct and the portrayal of female bodies within the media while incorporating traditional patterns, foods, and stances from her Nigerian roots.

1:54 NY does an incredible job of not only representing separate African countries but respecting those differences while creating worldwide topics that can be picked up by anyone who comes to visit the fair.  


1:54 NY

May 5th – May 7th 12-8pm

Pioneer Works (159 Pioneer Street), Brooklyn

The exhibition Matisse/Diebenkorn, co-organized by the San Francisco Museum of Modern Art and The Baltimore Museum of Art, is an excellent examination of two brilliant artists and shows the extent of how a single artist’s admiration of another can live through works produced years after their deaths. Although there are more paintings and drawings of Richard Diebenkorn’s showcased than of Henri Matisse’s (60 to 40), Matisse enters each piece of work due to the way Diebenkorn held the great French master in a very high regard.

In 1943, at the age of 21, Diebenkorn encountered works by then 75-year-old Matisse for the first time while visiting the Palo Alto home of Sarah Stein, an important early supporter of the French artist. A decade later Alfred H. Barr, the founder of New York City’s Museum of Modern Art, organized a Matisse retrospective in LA, the show that led Diebenkorn to fully absorb Matisse’s approach to painting. While abstract expressionism ruled the art scene when Diebenkorn moved back to the Bay Area in 1953, Matisse’s paintings inspired him to add certain elements to his own work, such as unusual color combinations and compositions organized through distinctive passages.

Left: Richard Diebenkorn, 'Berkeley #47', 1955. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © The Richard Diebenkorn Foundation. Right: Henri Matisse, 'Yellow Pottery from Provence', 1905. The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland. The Baltimore Museum of Art. © 2013 Succession H. Matisse/Artists Rights Society (ARS), New York.

Left: Richard Diebenkorn, ‘Berkeley #47’, 1955. The Doris and Donald Fisher Collection at the San Francisco Museum of Modern Art. © The Richard Diebenkorn Foundation.
Right: Henri Matisse, ‘Yellow Pottery from Provence’, 1905. The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland. The Baltimore Museum of Art. © 2013 Succession H. Matisse/Artists Rights Society (ARS), New York.

1955 began the 12-year interval in Diebenkorn’s career that later would be known as his Bay Area Figurative Period. Diebenkorn shifted his focus to subjects of daily life, catching many by surprise; the sudden nature of his switch to representation coincided with Matisse’s death in 1954.

Left: Richard Diebenkorn, 'Still Life with Orange Peel', 1955. Oil on canvas, 74.3 × 62.2 cm. © The Richard Diebenkorn Foundation.

Left: Richard Diebenkorn, ‘Still Life with Orange Peel’, 1955. Oil on canvas, 74.3 × 62.2 cm. © The Richard Diebenkorn Foundation.
Right: Henri Matisse, ‘The Pewter Jug’, circa 1917.

Matisse never fully fades from Diebenkorn’s overall work. A commonality between the two artists was the female figure as a central subject painted in ‘quiet moments’.  Attention to the female form was further exemplified through ink, charcoal, and watercolor drawings –both of them enjoyed working directly with a model as a means to experiment for future paintings. A small room off of the exhibition’s main path contains an exquisite collection of these drawings, leveling Matisse and Diebenkorn as equals in this medium.

Left: Richard Diebenkorn, 'Coffee', 1959. San Francisco Museum of Modern Art, fractional and promised gift of Barbara and Gerson Bakar. © The Richard Diebenkorn Foundation. Right: Richard Diebenkorn, 'Man and Woman in a Large Room', 1956. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. © The Richard Diebenkorn Foundation.

Left: Richard Diebenkorn, ‘Coffee’, 1959. San Francisco Museum of Modern Art, fractional and promised gift of Barbara and Gerson Bakar. © The Richard Diebenkorn Foundation.
Right: Richard Diebenkorn, ‘Man and Woman in a Large Room’, 1957. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. © The Richard Diebenkorn Foundation.

Matisse’s influence slowly began to infiltrate Diebenkorn’s works once more as his Figurative Period came to its close –Diebenkorn turned to elements in his workspace, highlighting his own work and furnishings, with reminiscences of some of Matisse’s studio scenes from the 1910s.

Left: Richard Diebenkorn, 'Interior with Doorway', 1962. © The Richard Diebenkorn Foundation. Right: Henri Matisse, 'Interior with a Violin', 1918. National Gallery of Denmark.

Left: Richard Diebenkorn, ‘Interior with Doorway’, 1962. © The Richard Diebenkorn Foundation.
Right: Henri Matisse, ‘Interior with a Violin’, 1918. National Gallery of Denmark.

Diebenkorn used Matisse’s compositional characteristics as a guideline for his own vision: the foreground does not overshadow the background or vice versa –they are treated as equally important to the overall scene; the perspective creates the illusion of being within an interior space with a view of the outdoors; and geometric structures are emphasized (a throwback to organizing the composition based on distinctive features in the Berkeley series).

Left: Richard Diebenkorn, 'Recollections of a Visit to Leningrad', 1965. © The Richard Diebenkorn Foundation. Right: Richard Diebenkorn, 'Nude on a Blue Ground', 1966. © The Richard Diebenkorn Foundation.

Left: Richard Diebenkorn, ‘Recollections of a Visit to Leningrad’, 1965. © The Richard Diebenkorn Foundation.
Right: Richard Diebenkorn, ‘Nude on a Blue Ground’, 1966. © The Richard Diebenkorn Foundation.

Diebenkorn’s Ocean Park series (1967-88) was the result of a combination of two major events that he experienced in the 1960s: his trip to Russia (back then the Soviet Union) in 1964, and the 1966 LA exhibition Henri Matisse: Retrospective. Diebenkorn took cues from the works he encountered in Russia –such as the large scale compositions and the use of Matisse-esque decorative patterns and flourishes– while exemplifying the ability to adapt what he observed for his own means.

The Ocean Park series is Diebenkorn’s most sustained body of work, in which he returned to abstraction with the same suddenness of his technical switch in 1955. As in his Bay Area Figurative Period, where he wrestled with trying to incorporate his love and knowledge of abstraction, this series bears vestiges of his figurative work. In this area of the exhibition, Matisse’s 1947 ‘Two Girls, Red and Green Background’ offers a bolder palette with broad areas of color and shape, a recurring theme in Diebenkorn’s incorporation of Matisse’s style that resonates with the compositional strategies in his late abstractions of Ocean Park.

Left: Richard Diebenkorn, 'Ocean Park, No. 6', 1968. Oil on canvas, 91 3/4 x 71 3/4 in. (233.2 x 182.3 cm), Smithsonian American Art Museum Gift of Arthur J. Levin in memory of his beloved wife Edith © 1968, Richard Diebenkorn 1999.17. Right: Henri Matisse, 'Two Girls, Red and Green Background', 1947.

Left: Richard Diebenkorn, ‘Ocean Park, No. 6’, 1968. Oil on canvas, 91 3/4 x 71 3/4 in. (233.2 x 182.3 cm), Smithsonian American Art Museum Gift of Arthur J. Levin in memory of his beloved wife Edith © 1968, Richard Diebenkorn 1999.17.
Right: Henri Matisse, ‘Two Girls, Red and Green Background’, 1947.

Although Diebenkorn made it clear Matisse’s techniques were merely incorporated and adjusted to fit his own work, he left his legacy in the form of a love letter to Matisse. What started with Matisse’s transference onto Diebenkorn’s work has continued to live on through artists of our time. Along with paintings and drawings, books on Matisse from Diebenkorn’s personal library are showcased throughout the rooms, clearly well-read in the never-ending study of Matisse’s work undertook by the American painter. The impact Matisse had on just a single young artist creates a link to his work that lives on today, 63 years after his death.

Matisse/Diebenkorn is open until May 29, 2017 on the 4th floor at SFMOMA. Tickets are available here. If you’re in the Bay Area be sure to plan a trip and see how Diebenkorn translated his home onto the canvas!

Beginning in the 1940s, a group of painters who we now collectively refer to as The New York School (or Abstract Expressionism artists) broke away from conventional technique and subject matter to better express subjective emotional reality in their art practice. As the name suggest, these paintings were abstract and simultaneously expressed the maker’s inner state of mind and the universal truths of the human condition. Historically speaking, these artists were working in the wake of the Great Depression, experiencing the crisis and aftermath of World War II, and painting in the era of bebop jazz and the Beat poets.

Jackson Pollock at work.

Artists in New York during the mid-20th century were also exposed to the work of many Europeans who sought refuge in the United States during World War II, such as Salvador Dalí, and Max Ernst. The techniques used by these Surrealist artists, like automatic drawing and free improvisation, were an important component of the techniques adopted by Abstract Expressionists. The most widely known artists from this period, Jackson Pollock and Mark Rothko, embody the two elements that Abstract Expressionist painters chose to explore: gesture and fields of color.

Jackson Pollock used a radical technique consisting in dripping and splashing paint onto a canvas with sticks and the ends of brushes. His paintings are created through dynamic gestures, and the resulting images are highly expressive and dramatic. These pieces are considered the first entirely non-objective works in the history of art. The enormous scale of the images, the lack of subject matter, and the technique he used was shocking and innovative for its time.

Joan Mitchell, ‘Untitled’, 1992. Oil on canvas (diptych), 102 3/8 x 157 1/2 inches (260 x 400.1 cm). Collection of the Joan Mitchell Foundation, New York. © Estate of Joan Mitchell.

This type of action painting is based predominantly on spontaneity, which gives the work a level of immediacy. Many other artists besides Pollock used action and gesture to convey  vigorous energy. Instead of letting paint drip onto the canvas, artist Lee Krasner (who also happened to be Pollock’s wife) used traditional brushes but applied paint in a frenzied tangle of lines that seem to explode on the two-dimensional surface. While other gestural painters filled their canvases, Joan Mitchell often chose to leave passages of her works blank, letting her flurries of color have room to breath. Willem de Kooning, who along with Pollock came to embody the popular image of the macho -the hard-drinking archetype of Abstract Expressionism- never truly abandoned real subject matter; his famous Woman series is highly abstracted and violently gestural, but still rooted in reality.

Willem de Kooning, ‘Woman I’, 1952. Oil on canvas, 6′ 3 7/8″ x 58″ (192.7 x 147.3 cm). The Museum of Modern Art, New York. © 2017 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York.

In the other side of the spectrum, Mark Rothko’s work explores the emotionalism that can be conveyed through large-scale blocks of color. He was deeply interested in the type of meditative or contemplative response that the juxtaposition of color can elicit from the viewer. Rothko’s paintings usually consist in a couple of flat, large swaths of luminous color. Again, the vast scale of the works is crucial for their effectiveness.

Mark Rothko with one of his works.

The washes or layers of color are supposed to be seen at close proximity so that the viewer would be enveloped in the image. Being surrounded by those fields of color can be a sublime, quasi-religious experience that can only be achieved by pure abstraction.

As Mark Rothko once said, “We assert man’s absolute emotions. We don’t need props or legends. We create images whose realities are self evident. Free ourselves from memory, association, nostalgia, legend, myth. Instead of making cathedrals out of Christ, man or life, we make it out of ourselves, out of our own feelings.”

Other color field artists achieved a similar effect using different methods. Instead of working with conventional brushes, Helen Frankenthaler chose to create fields of color by pouring thinned paint directly onto the canvas, letting it pool in organic shapes.

Helen Frankenthaler, ‘The Bay’, 1963, acrylic on canvas, 6 feet, 8-7/8 inches x 6 feet, 9-7/8 inches (Detroit Institute of Arts).

Barnett Newman interrupted his large swaths of color with ‘zips’, or vertical bands that bisect his canvases, and Clyfford Still used thick impasto paint to juxtapose bright, jagged flashes of color. All of them created images that allow the eye to wander, offering the viewer the opportunity to stop and experience the myriad of feelings that these colors can arouse.

Barnett Newman, ‘Vir Heroicus Sublimis’, 1950-51. Oil on canvas, 7′ 11 3/8″ x 17′ 9 1/4″ (242.2 x 541.7 cm). MoMA, New York. © 2017 Barnett Newman Foundation / Artists Rights Society (ARS), New York.

This group of artists shaped a watershed moment in American art. The breakthroughs made by Abstract Expressionist painters effectively shifted the focus of the art world from war-torn Europe to New York City.

Located at PIER 90 on Manhattan’s Westside, the 10th anniversary of VOLTA NY, the signature solo-focus artist show of the Armory Arts Week, featured a plethora of beautiful and thought-provoking works by artists from 39 nations that collectors and art enthusiasts alike were able to enjoy. Yet, of the 96 Galleries and artist-run spaces presenting this year, perhaps the most poignant, politically-oriented works were found in the show’s thematic Curated Section.

The timeliness of the artworks presented was undeniable, with their subject matter feeling ripped from today’s newspaper headlines. Beginning with a video wall at the entrance of Volta, the Curated Section, titled Your Body Is a Battleground, was aptly found at the heart of the show. Its deviser, New York-based writer and independent curator Wendy Vogel, drew inspiration from Barbara Kruger’s photomontage Untitled (Your Body Is a Battleground), produced for the 1989 Women’s March on Washington. “After the enormous turnout for the recent international Women’s Marches, Kruger’s work reads as a vital precedent for art that protests the erosion of civil rights,” said Vogel. “Though these artists’ works are a generation removed from Kruger’s, they continue her legacy of examining media and representation.”

Entrance to Your Body Is a Battleground, with installation by Carmen Winant, titled ‘What Would You Do If You Weren’t Afraid? (Women in the News Before November 8, 2016)’. Photo courtesy of Wendy Vogel.

Taking an intersectional feminist approach, Vogel selected eight artists from across North America and the Caribbean whose works explore, through various corporal representations, the treatment and controversy around Queer Bodies, Black Bodies, Latinx Bodies, and Women’s Bodies. “I was thinking about all the types of bodies that are in danger under the current political circumstances that we are living through”, stated the curator.

This is unsurprising as Vogel conceived the show last November shortly after the U.S. Presidential election. However, in a refreshing twist, not a single image of President Trump was presented —an intentional choice—, because “all of this work has staying power, and it’s political without feeling so tied to one particular moment in time.”

Melissa Vandenberg, ‘The Roof Is On Fire’, 2016. Match burn on Arches paper, 29.5 x 40 in.

With that said, much of the artwork showcased was created specifically for Volta. With most of her work out of the country, Melissa Vandenberg’s burn drawings, presented by Maus Contemporary | beta pictoris gallery, were made just eight weeks before the exhibition. Integrating text into the images created with matches, an outline of America with the phrase “Wish You Were Here” has an intentionally camp sensibility, while the use of matches add greater symbolic meaning, linking the work to Wiccan cleansing rituals and cremation. Vandenberg said:“A lot of the work has to do with mortality and loss, whether it is our innocence as a nation or personal, intimate loss.”

Nona Faustine, ‘Lobbying The Gods For A Miracle’, Image Courtesy of Baxter St.

In contrast to these typographic images, Nona Faustine’s striking photography was perhaps the most literally corporeal of the Section. Presented by Baxter St Camera Club of New York, many of the photographs depicted the artist partially or fully nude at historical sites where slaves lived, died, or were buried. In the photograph “Lobbying the Gods for A Miracle,” part of a Triptych from 2016, she embodies an escaping slave from the Lefferts House. Smoking gun in hand, children’s shoes around her waist, she presses her back against a tree in the woods anticipating her captors. The woods where she hides are the same that Americans fought in during the Revolutionary War, reflecting the complex relationship of being black in America. “My work is autobiographical; it’s more about how I feel in relationship to the history as a native New Yorker and as an African American,” said Faustine.

Works by Kent Monkman. Photo courtesy of Wendy Vogel.

With the Trans Rights Movement and the Dakota Access Pipeline in the background, Kent Monkman’s work takes on an additional level of intensity; Monkman is of Cree and Irish ancestry and identifies as both queer and two-spirit. His paintings, presented by Peters Projects, re-appropriate the narratives around indigenous people by utilizing the Western European tradition of historical paintings to poke subversive fun at romanticized depictions of Native Americans and colonialism. Miss Chief Eagle Testickle, Monkman’s drag alter ego, also made an appearance at Volta in the collage series “Fate is a Cruel Mistress” (2017), in which she transforms into Biblical temptresses. In the portrait Judith you see Miss Chief in a headdress looking out determinedly before she beheads an inebriated Holofernes, depicted as a white colonial man —a clear victory.

Joiri Minaya performing ‘Siboney’.

The idea of temptresses and fantasy women was also taken on by Joiri Minaya, presented by Casa Quien. Her work #dominicanwomengooglesearch (2016) features pixelated depictions of dismembered female limbs floating in space, a commentary on the exoticized representations of Dominican women. The piece alone is intriguing, but its message is strengthened by Siboney, a performance in two parts, displayed on the video wall. In her latter work, Minaya documents the painstaking process of copying a found tropical pattern into a mural (around a month of work). She then lies seductively before the floral wall and pours water over her form before rubbing herself against the mural, effacing and transforming the piece simultaneously. Intercut with words like “Islander,” the performance challenges the viewer’s vision of an idealized land and people.

Installation (detail view) of Joiri Minaya’s #dominicanwomengooglesearch, 2016-17. Photo courtesy of Wendy Vogel.

Through thoughtful analysis and exploration of the human form, Your Body Is a Battleground offered an introduction into several hot-topic issues without sacrificing aesthetics or relying exclusively on shock value. Yet, even though subject matter varies, when combined the artworks revealed a unified front against oppressors.

Other artists included in Your Body Is a Battleground were Zachary Fabri (ROCKELMANN & in collaboration with Aljira, A Center for Contemporary Art), Deborah Roberts (Art Palace), Sable Elyse Smith (The Museum of Contemporary African Diaspora Arts), Carmen Winant (Fortnight Institute), Chelsea Knight and Autumn Knight.


Volta NY 2017 took place at Pier 90 (W 50th Street at Twelfth Avenue, Manhattan) from march 1st through March 5th, 2017.

Ryan_Stanier

In 2011 Ryan Stanier launched the Other Art Fair. Eliminating the middleman (galleries), Ryan created a space for artists to come and show their talent. Tremendously popular from the very beginning, the fair attracts more than 40,000 visitors and exhibits over 100 artists. The last London edition opening featured 130 contemporary artists, art investment tours and the much-anticipated Virtual Reality project, Underworld, by the Guardian. I met with Ryan in the hip part of Coven Garden last week to discuss how it all started and what we can expect in the future.

How did you come up with the idea for the Other Art Fair?

I don’t really have an art background. I got interested in art by being constantly surrounded by friends who are artists. And then I saw my friends struggle to produce an exhibition: it could be an amazing show, but nowhere accessible. That was the problem; it is so expensive to rent a space that artists have a little way out. They have little exposure; dealers and publicists don’t usually visit this kind of shows.

I thought, what if I create a show of the kind, but in Central London? It came out naturally, out of love for my friends. And that’s the thing: unless it comes out of your interest and passion, it has low chance to succeed. The material part was completely irrelevant at that stage. I looked for a space for a while, browsing around London, calling agents, and after hundreds of calls, I found one. I set up an informal gallery in Coven Garden in 2009. It was good timing, as after the financial crisis a lot of spaces were empty. We stayed at that place for a while putting up shows, selling art…

I realized after a while that I don’t want to be a gallerist. It wasn’t something I was interested in. My background in events gave me an idea to create a fair for artists, without galleries being involved. And so, the fair for the artists who don’t have an exclusive contract with a gallery was launched.

Did you think about the competition, big shots like Frieze?

Yes, but it’s a completely different market. We created a space where new collectors can come and buy art. We all go to big art fairs, but we don’t buy anything. There’s an experience, for sure. With that in mind, we decided to create something more accessible, more fun, and equally aspirational. We always knew how we are different with a unique position in the market. It’s all about the artists. People like Gordon Ramsey visit, we’ve been working with UBS for a while to create artworks for their offices… We’re also looking to launch an art prize.  We promote our artists and a lot of them make contacts through the Other Art Fair. It’s the same cost to rent a stand for everyone, so it comes down to the artists to make the most out of the fair.

How does the selection process work?

The upcoming fair had 1100 applications and we only have 100 slots. There’s a panel that selects artists, simply saying ‘yes’ or ‘no’. We’re interested in different types of mediums, so there are no specific selection criteria.

Who is your target customer?

It varies. We try to create a unique experience like nowhere else. We have a guest artist each fair, usually a known figure in the arts. For example, last year we had Tracy Emin create exclusive work for us in editions of 500, 50 pounds each. So, someone who has never bought art before could afford to buy an Emin. More than 50% of our audience has never bought art before, so we’re focusing on this ‘new collector’ type. The Other Art Fair is also interesting, it’s not intimidating. It’s never the same. What breaks all the barriers, I think, is that anyone can talk to artists and not a gallery sales person.

Tell me about your recent partnership with SaatchiArt.

It started last July. SaatchiArt is the biggest platform for artists, so we created the partnership where all the Other Art Fair artists are now available on SaatchiArt all year round. It came from my initial idea of how to help artists sell their work and create opportunities throughout the year.

Your first international edition was in Sydney last year. Why go to Australia first, and not, say, New York?

The city like London has around 30 art fairs a year, New York – twice more. In Sydney, there are only two art fairs every other year and such an enthusiasm for the arts from the public. It was a natural decision.

This year you’re expanding to New York, but not during the Frieze Week. Why?

In London, we run fairs both during the Frieze Week in October and one in the spring. The thing is, we haven’t noticed a large difference in visitor numbers and sales between the two. So, in NY we decided to develop a clear message about who we are and see who is interested in joining. We’re also expanding to Europe next year with 11 art fairs throughout the year.

Do you personally prefer museums or art galleries?

Museums. There’s no pressure and, you know, there are more impressive shows.

Do you have an advice for someone trying it out in the art world?

Don’t get overwhelmed by tradition. Don’t buy into it. Everyone will have to adapt to innovation.

 

P.S. Keep an eye on the place, in a few years it could be in your town.

Sadegh Souri

Four years ago, award-winning artist Aida Muluneh spearheaded efforts to create East Africa’s first international photography festival, Addis Foto Fest. Of course, she couldn’t have done it without her team at Desta for Africa Creative Consulting (DFA), a Private Limited Company founded by Aida Muluneh herself. Desta works to spread education through art, and so a festival like Addis Foto Fest was an almost obvious step for their efforts.

Aida Muluneh by Emeka Ogboh. Source: addisinsight.com

Aida Muluneh was born in Ethiopia but has spent most of her life in other countries. However, she had always fantasized about returning to her home land, and in 2007 she got the opportunity to do so while working on a documentary. She saw the allurement of Ethiopia and decided to leave her life in Canada to stay in Addis Ababa, where she worked as an advocate for the culture and beauty of her native country. It was this idea that became the fundamental philosophy and goal behind Desta, which is an acronym for “Developing and Educating Society Through Art.”

Yonas Tadesse, Ethiopia. Addis Foto Fest 2016. Photo credit: Okay Africa.

Addis Foto Fest was established only a few years after Desta was created, and was the result of Muluneh’s  attendance to the Rencontres Africaines de la Photographie in Bamanko, where she was to receive the European Union Prize. There she became aware of a strong global misrepresentation and belittling of Africa, both in photography and in the film. Muluneh stated that “This world is not perfect and neither are we, but why is it always our imperfections that are in the lead as opposed to the balanced story of who we are?”. Addis Foto Fest was thus created to rethink what defines Africa, and to show images that truly represent all aspects of the different African cultures.

Sarah Waiswa, Uganda. Addis Foto Fest 2016. Photo credit: Okay Africa.

This festival is all about communicating with artists and educating not only those who are in involved with the festival but the whole world in this progression towards re-branding the African continent. In a recent article in Vogue Italia —a sponsor of the festival—, Muluneh described Addis Foto Fest as “an educational tool; it is a form of cultural exchange that fosters mutual understanding and simultaneously furthers the bigger conversation—that the creative sector is part and parcel to development”.

Addis Foto Fest has been a huge success since its beginnings and is now recognized as one of the leading photography festivals in the whole of Africa. The show is set up every two years —in 2016 it was held between the 15th and the 20th of December. There were amazing events taking place every day, including portfolio reviews by international professionals, lectures, and dance performances. A total of 126 artists from more than 40 countries around the world exhibited their work, shaping an outstanding display where many different contemporary approaches to photography were represented.

Touria-el-Glaoui

I met Touria El Glaoui during the opening of 1:54 art fair this October. Already familiar with Touria’s tremendous success in not only establishing the fair four years ago, but also expanding to New York only two years after the inauguration, I was intrigued to meet her.

Elegant in her long silky dress with a stylish, and warm for English weather, cardigan, Touria made you feel 1:54 was not simply an art fair, but a home. The amiable, pleasant atmosphere of the Somerset House, which you don’t typically find in a large-scale art fair, made me feel like a guest to a home party, rather than a stranger in a museum. There was no sense of pretensiosness.

While we were sipping hot morning coffee and treating ourselves with a warm butter croissant, Touria shared how she built the brand, or better say the platform for contemporary African artists, and what it took to get 1:54 to the level of today.


You earned your MBA in Strategic Management and have an impressive background working both in banking and IT industries. What made you decide to turn to the art one?

I grew up in Morocco in the house of an artist – my father, Hassan El Galoui – and he was the person who gave me my artistic education. For this reason, art – particularly African art – has always been a part of my life. Much later on – in fact, during my career in the IT industry – I was travelling extensively around Africa and the Middle East, and this is when I fully realised how absent African and African diaspora artists were from the international markets in Europe and the US. Having the seen the incredible work being made on the continent, I decided it was time to the bridge the gap and create a platform.

How did you personal background (your farther is a famous artist) influence you throughout your career?

Many of my earliest memories are of my father’s studio with its incredible smell of oil paint. I would spend hours watching him transform his canvases, and the life of an artist became my daily norm. Because of this, my approach to running 1:54 has always been centred on the artist and on maintaining the integrity of the work. I have also organised and co-curated a number of my father’s exhibitions, and have also been working on the catalogue raisonné of his life’s work, and these experiences have certainly shown me much about the realities of being an artist working on the continent verses in Europe and America.

How did the idea for 1:54 come about? What challenges did you face/still facing?

When I established 1:54 back in 2013, the biggest challenge was finding both the interest and the support. This underpinned much of my decision to launch in London. In 2011 I could already see evidence of a growing interest in African and African diaspora art – for example with the Tate launching its two-year African art programme. I will never forget the incredible backing that I received in that first year, yet every year we continue to face the financial challenge of making the fair happen. We are incredible grateful this year to our main sponsor, Floreat, as well as to Christie’s education and the Arts Council England who have both sponsored this year’s FORUM.

Are you planning on expanding the fair to other locations? What’s the importance of having the fair now in both London and NY?

As I said, London was the most obvious ‘home’ for 1:54 for a few reasons, its internationality being one. Once London was up and running, we began to toy with the idea of New York, and began to see that our galleries and collectors were keen to make the move. We first launched as a pop-up edition, in May 2014, but returned again this year to enjoy our second edition. The two fairs are actually quite different due both to the buildings they are housed in as well as the different audiences they attract, and so the importance of having both editions is to widen the diversity and outreach of the fair. It’s very exciting for us when collectors are able to visit both.

Who’s your favourite artist?

This is always such a difficult question! I can never choose and it would be unfair for me to do so. All the artists and galleries that we welcome to each new edition brings something unique to 1:54 and my greatest hope is always that our visitors will explore and appreciate this diversity, and appreciate each artist in their own right.
6. Tell us what is new in this year’s edition of 1:54 art fair.

I am particularly excited about our incredible line up of Special Projects joining us this year. We have 10 in total, and each one is incredibly unique and will add a whole new element to the fair. Zac Ové’s installation, for example, will extend the fair into the Edmond J. Safra Fountain Court for the first time ever; Ifeanyi Oganwu’s lounge design – created in collaboration with Phoebe Boswell – and Barthélémy Toguo’s Mobile Cafeteria will introduce vibrant, interactive spaces; and we will also be extending out over the airwaves with a live three-day broadcast by a new music-radio platform, Worldwide FM. Of course the Malick Sidibé exhibition – created in collaboration with Somerset House and MAGNIN-A – is also incredible exciting. We are thrilled to have the opportunity to showcase such an influential African photographer, and to be able to extend the exhibition past the four days of the fair, throughout Somerset House’s winter season.

154_fair

1:54 Contemproary Art Fair, Somerset House Courtyard View. Zak Ove installation. Courtesy of Artsy.

Who are the artists to watch at 1:54 this year in London?

I want to draw attention to the fact that this year we are delighted to be welcoming 16 Africa-based galleries, of which 6 are from North Africa. Many of these are joining us in London for the first time, including Village Unhu from Harare, Zimbabwe; Mashrabia Gallery of Contemporary Art from Cairo, Egypt; and L’Atelier 21 from Casablanca, Morocco.

What are your future plans for the fair and beyond?

1:54 is constantly evolving, this year we welcome an incredible 40 exhibitors with over 130 artists exhibiting with us this year. Despite this, we want our ethos to stay the same: to create a platform for African and African diaspora artists in the international art market while putting the artist first. In terms of expanding further afield, we first want to ensure that our London and New York editions are as good as they can be.

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