In: 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.”
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.”
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.”
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.
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.
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.
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.
March 5, 2017
It’s the first week of March in New York City, which for art lovers only means on thing: Armory Week! In its third edition, the Art on Paper 2017 fair exhibits paper-based art that frequently pushed the boundaries of what a work on paper could be. The medium-driven focus of the fair sets itself apart from the other larger-scale Armory Week fairs. The 84 galleries hosted at Art on Paper are from all over the United States, with several international additions from Barcelona, Buenos Aires, Kyoto, London, Shanghai, and Copenhagen.
Upon entering the space, visitors are greeted by two site-specific installation pieces. Tahiti Pehrson’s “The Fates” is composed of three colossal, 17-foot towers of hand cut paper, and Timothy Paul Myers, in collaboration with Andrew Barnes, crafted a domestic installation made entirely of felt. These are the first of many works of art that incorporate and utilize paper, but are not necessarily what you would think of when you hear the term ‘art on paper.’
There was a wide scope of artists included familiar modernists like Picasso & Matisse in the Master Fine Arts Gallery, to the all-star lineup of Sol LeWitt, Ed Ruscha, John Baldessari and Alex Katz at Richard Levy Gallery, and a few unheard of standouts. My favorites included Martin Kline’s rhythmic dry brush oil series “Palm Beach” (cover image) at Heather Gaudio Fine Art, whose bright blue compositions imitate patterns that occur in nature. Also in Heather Gaudio Fine Art were a few equally mesmerizing works by Jaq Belcher, whose sculptural, hand-cut leaves in “Lions Gate” cling to a single piece of paper. More of a traditionalist, Ekaterina Smirnova “Blue Path” at Villa del Arte Galleries appears to be an updated, watercolor version of French Impressionism. And Donald Martiny, whose works appear at Spender Gallery, resemble thick, impasto paint strokes but are actually made of pigmented polymer, and are so three-dimensional that he blurs the line between sculpture and painting.
George Billis Gallery’s display of Steven Kinder’s geometric abstractions and the hodgepodge of artists grouped together in Tamarind Institute were the more underwhelming booths. The most bizarre were the black and white photographs by Morton Bartlett that showed kitschy images of dolls posed in occasionally provocative positions. His display in Marion Harris’s booth was visually eye-catching… When you stepped close enough to realize the subject matter.
Amid the abundance of things to see, and the frenzy of visitors and art professionals, there were a few booths that stand out in my memory. Gallery Poulsen was one with the overtly political works of art, including one entitled “What the Fucking Fuck Just Happened” by William Powhida, as well as Artemesia’s installation created from torn pages of used books, and the technicolor portraits at Sasha Wolf Projects.
Art on Paper is open at Pier 36 (299 South Street) on the Lower East Side of Manhattan on March 2-5
September 25, 2016
Nan Goldin’s The Ballad of Sexual Dependency, arguably her magnum opus, is currently on view at The Museum of Modern Art. The slideshow of nearly 700 images is set to a wide-ranging soundtrack of pop, classical opera, and rock & roll music. The images are of the artist, her circle of friends, lovers, and acquaintances that Goldin affectionately refers to as her ‘tribe’ from the 1970s and 1980s.
Her images are so immediate that you feel as if you are there, in the dive bars and bedrooms of her gritty, real world. By creating The Ballad, Goldin documents the events of her own life and the lives of her friends through images that tell deeply personal stories. Her photographs capture unnerving episodes of addiction, drug abuse, domestic violence, and illness, while simultaneously embodying moments of joy, comedy, youth, ecstasy, and beauty. Goldin wrote that “The Ballad of Sexual Dependency is the diary I let people read. The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.”
There are three rooms dedicated to the display of her photographs. The first includes an installation of materials from Goldin’s archive, early promotional objects for the first iterations of the work, and a mock-up of the book The Ballad of Sexual Dependency. The slideshow has been shown on many occasions since Goldin first created it in 1980. Originally, she changed the slides by hand for an audience comprised of mainly her subjects.
In the second room there is a selection of prints from the MoMA’s collection that constitute some of Goldin’s most evocative images from the film. They show the artist and her subjects grappling with the realities of physical and emotional abuse, while simultaneously indulging in moments of lust and tenderness. Some standouts include “David and Butch Crying at Tin Pan Alley, New York City,” “Rise and Monty Kissing, New York City,” and “Nan and Bryan in Bed, New York City.” Each of these images feels fiercely candid and intimate, as if the viewer was intruding on an intensely personal moment.
The third room is the slideshow itself, which runs for about 45 minutes with a short intermission. The images are grouped loosely around visual themes, like people in front of a mirror getting ready to go out, uninhibited sex, New York bar culture, drag queens and performers, the weddings of young friends, parenthood and young children, drug addiction and, ultimately, death. The film is scored to an array of musical genres including an aria performed by Maria Callas, the Velvet Underground’s “All Tomorrow’s Parties,” Screamin’ Jay Hawkins’ “I Put A Spell On You,” Petula Clark’s “Downtown,” and James Brown’s “It’s A Man’s World.”
In the age of social media and advertising, where you can be bombarded by images that are photoshopped, filtered, and staged, The Ballad of Sexual Dependency presents the raw, unedited truth of what Nan Goldin and her subjects experienced in the New York of the 1980s.
The Ballad of Sexual Dependency is on view at the Museum of Modern Art on the 2nd floor Contemporary Art Galleries through February 12th, 2017.
September 13, 2016
“But A Storm Is Blowing From Paradise: Contemporary Art from the Middle East and North Africa” at the Solomon R. Guggenheim Museum is the third installment of the UBS Map Global Art Initiative, which aims to add contemporary art to the museum’s permanent collection from underrepresented regions of the world. The previous exhibitions featured works from Latin America and Southeast Asia. The initiative’s objective is to create a more diverse, cross-cultural dialogue about the contemporary art being created and exhibited today.
“But A Storm Is Blowing From Paradise” features seventeen artists whose works span a wide variety of media, including video, painting, photography, works on paper, bronze and copper sculpture, and installation pieces. The curator, Sara Raza (whose Instagram @punkorientalism is fabulous and worth checking out), includes artworks that grapple with immigration, geometry, architecture, and cultural memory.
The first work of art you see once you enter the exhibition is made of the most unusual and surprising material I’ve ever encountered in a museum—couscous! The artist Kader Attia recreated the UNESCO World Heritage Site of the ancient city of Ghardaïa using the Middle Eastern culinary staple. On the two walls behind the sculpture are images of the French architects Le Corbusier and his successor Fernand Pouillon. The two men visited Ghardaïa, Algeria in the 1930s and reworked elements of the local architecture into the aesthetic of European modern architecture, but never acknowledged or credited where they found their inspiration. The piece makes a thought-provoking statement about the colonial past of France and Algeria, and artistic colonization.
Another standout piece is Abbas Akhavan’s ‘Study for a Monument,’ which is a large array of bronze sculptures arranged on the floor not far from couscous sculpture. The bronzes are reproductions of plants native to ‘the cradle of civilization’: modern day Iraq. The decades of war has caused irreparable damage to the environment and ecology of the nation. And the plants Akhavan reproduces are representative of either endangered or extinct species. The title of the work plays with our idea of what a monument is—an object that glorifies or commemorates something forever.
My favorite artist within the exhibition is Nadia Kaabi-Linke. Her stainless steel sculpture ‘Flying Carpets’ hangs from the gallery’s high ceilings. The geometry of the sculpture corresponds to the dimension of blankets used by undocumented immigrant street vendors who sell their goods illegally. Kaabi-Linke encountered many of these vendors during her time in Venice, Italy, and the sculpture mirrors the arch of Venetian bridges. The title alludes to a trope in oriental myth, but is grounded in the realities of the migration crisis. The cage-like sculpture could even stand for the trap these immigrants find themselves in within the black market. These individuals face a constant threat of being arrested or deported for their illegal activity. The geometry of sculpture is breathtaking, and it throws beautifully intricate shadows along the surrounding walls.
One of the things that I appreciated the most about this exhibition is that it doesn’t try to discuss or grapple with every geopolitical, social, religious, or cultural issue that the Middle East and North Africa are dealing with. Instead, it chooses to show how a few contemporary artists can conceptually convey the complexity of the Middle East. Hopefully seeing the exhibition will inspire visitors to reevaluate their impression of the region through the lens of contemporary art.
“But A Storm Is Blowing From Paradise” is on view at the Solomon R. Guggenheim Museum until October 5th, 2016. In 2017, it will travel to the Pera Museum in Istanbul.
September 1, 2016
As back to school approaches, Art Versed explores the most prestigious and popular MFA programs in the U.S. Whether you’re thinking about returning to school or graduating this year and planning for the future, these programs will certainly guarantee artistic success. A mixture of Ivy League classics and schools specializing in art and design make the list, allowing for artists to choose the school environment best for them.
Yale University— The classic dream school, Yale’s MFA program is incredibly impressive and popular, with notable alumni such as Eva Hesse and Chuck Close. This three year program is especially known for their graphic design and photography programs, proclaimed as the best in the country. The program is also very strong for sculpture, painting and printmaking. Like all Ivy League schools, the prestige that accompanies the Yale name comes at a cost, specifically $33,500 a year. However, with its distinguished faculty and alumni, the connections built within the Yale artistic community, as well as addition of the powerful name Yale to your CV, are worth every penny.
Columbia University of the City of New York— Another Ivy dream school, Columbia provides the beautiful traditional campus of an ivy league school in the heart of NYC, allowing students to explore the diverse cultural scene. Columbia’s MFA is incredibly selective, claiming an admissions rate of only 2%. Columbia also offers a speciality in “new genres” such as Sound Art, setting it apart from other MFA programs. Like Yale, this 2 year ivy program boasts an impressive list of faculty and alumni such as Jon Kessler, Georgia Sagri, Guy Ben-Ner, Lisi Raskin, but also comes with the hefty price tag of $51,676.
The School of the Art Institute of Chicago— Focusing mainly on new media and the intersection of art and technology, SAIC offers a special program in film/video/new media and Sound art, as well as an MA in Visual and Critical Studies, which combines visual art and art theory. The SAIC alumni could not possibly get more impressive, so if you want to wander the same halls once populated by Georgia O’Keeffe, Grant Wood, Claes Oldenburg, and Jeff Koons this is the school for you. Part of the Art Institute of Chicago, and located in the heart of the city, SAIC also provides an opportunity for students to explore the museum’s collection and the city’s art scene. The powerful alumni and great location tip the scales against the school’s big sticker price of $44,010. However, SAIC is known to give a substantial amount of grants and student funding.
The School of the Museum of Fine Arts Boston— This artist founded institution was established in 1876 and is run through Tufts University in partnership with the MFA Boston. Students here have the unique and incredible opportunity of exhibiting their work at the MFA Boston during their 2 years at SMFA. This tiny, (less than 200 students per year) interdisciplinary program, attended by the likes of Jim Dine, Nan Goldin, and Ellsworth Kelly, prominent reputation can perhaps justify the price of $39,020.
Rhode Island School of Design— Compared to some of the previous programs discussed, which combine technique with academic study, RISD stresses technical elements of artistic craft. Offering specialties in a huge variety of areas, RISD is the school for the artist’s artist, looking to work hard. Unlike many of the programs on this list at large universities, RISD has less than 400 graduate students in total, and the average class size is only 11 students. The program can be completed in anywhere between 1-3 years, which could make the price of $42,622 more manageable if you’re able to finish in just one year. Incredible alumni such as Andrea Zittel, Jenny Holzer, Kara Walker certainly bolster the school’s prestige.
Bard College— This tiny school located in Annandale-on-Hudson in upstate New York, offers a unique system allowing students to complete their MFA in three summer sessions and two independent-study sessions, allowing students to also work on building their portfolios while completing their degree. Many of Bard’s alumni return to teach classes, so students may have the chance to study with Amy Sillman, Paul Chan, Carolee Schneeman, David Horvitz, Herb Ritts, or Rachel Harrison at some point during their time at Bard. The chance to study with any of these greats, as well as work in an untraditional setting balances out the sticker shock the accompanies the $55,000 price tag.
Pratt School of Design— Pratt offers its students some of the best and most extensive resources of the schools on this list. With wood, metal, and print shops, as well as ceramics studios and darkrooms, students students have access to a wide variety resources as well as exhibition space in Pratt’s own gallery spaces. If these resources don’t speak for themselves, the extensive list of successful Pratt alumni will, such as Robert Mapplethorpe, Felix Gonzalez-Torres, Mickalene Thomas, and Roxy Paine. All of these resources and prestige come at the lowest price of any of the schools on our list, $28,308 annually.
School of Visual Arts (SVA)— Excelling in the specialities of media arts, such as Computer and video art, as well as the more “traditional” media of painting and sculpture, SVA provides students with all the wonderful opportunities of going to school in NYC at a slightly lower price than Columbia– a refreshing $36,130. Despite its smaller price tag, SVA still boasts an incredible list of alumni such as Keith Haring, Sarah Sze, and Sol LeWitt. Also worth noting, SVA also offers a program called “visual narratives” which combines visual arts and creative writing.
Savannah College of Arts and Design— Heading South, the Savannah College of Arts & Design offers the largest variety of programs of any school specializing in art and design. Interestingly, many of SCAD’s programs are also available for completion online. With renowned faculty and alumni, many of which focused in photography and graphic design, SCAD provides great opportunities and resources in the charming city of Savannah for their students, at the slightly lower price of $34,250 annually.
CalArts— Transitioning to the West, CalArts is known to be “the best” visual arts program on the west coast. It’s location in sunny Valencia, California means that it has connections to the film and media industries of Hollywood, which are good for post-grad professional opportunities and connections. If alumni such as Mike Kelley and Jack Goldstein aren’t enough to sell you, maybe the fact that the school was “founded” by none other than Walt Disney will be enough to convince you CalArts is the place for you. However, all that sunshine and prestige comes at the expensive price of $41,700 a year.
August 21, 2016
The usually booming New York City art scene is rather slow in August, leaving one to wonder where all of the commotion over contemporary art goes: on vacation to the Hamptons of course! There is a great deal of special exhibitions and openings happening all over the Hamptons this month. Should you find yourself escaping to the Hamptons during these final days of summer, be sure to check out one or all of these events.
- Montauk/ Watermill
On August 7th, “Unfinished Business” opened at the Parrish Art Museum. This exhibit, which will run until October 16th, features the paintings by Ross Bleckner, Eric Fischl, and David Salle, three artists who formed an artistic enclave in Los Angeles in the 1970s and ’80s. The exhibit features 23 canvases and 17 paperworks by these artists and celebrates their innovation and profound influence on the Los Angeles art scene.
Parrish Art Museum, 279 Montauk Hwy, Water Mill, NY 11976
At the Watermill Center, you can catch the light installation “Constellations in Red, Yellow, and Blue” until August 28th. The light sculptures on display by Mexican artist G.T Pellizzi, are inspired by “the mythological, calendrical, and astronomical symbols found on many textiles in The Watermill Collection.”As the title of the exhibit states, the sculptures are lit in the primary colors- red, yellow, and blue. Pelliziz’s work has previously been on display at MoMa PS1, Centre Pompidou, The Whitney, and various other contemporary art spaces.
Watermill Center, 39 Water Mill Towd Rd, Water Mill, NY 11976
2. Bridgehampton is quite busy with art happenings this month. You can catch The Curiosities of Harry Squires” at the Bridgehampton Museum through October. This exhibit features the collection owned and curated by Bridgehampton figure Harry Squires, which includes various oddities such as shipwreck memorabilia and Native American artifacts.
In addition to the permanent collection at the Dan Flavin Institute, the exhibit “Icons” is on view through April. The title “Icons” is a reference to the traditional religious association with the term, however, the works on display are decidedly non-representational, consisting of painted boxes adorned with light features that are dedicated to Flavin’s loved ones.
The Dan Flavin Art Institute is located on Corwith Avenue off Main Street in Bridgehampton, New York 11932
- East Hampton
If you are craving even more minimalism, head to Guild Hall Museum for “Aspects of Minimalism,” which is on view through October. The exhibition features more work by Dan Flavin, as well as Agnes Martin, Gerhard Richter and other minimalist artists. Also on view at Guild Hall are Carol Ross’s Metal Sculptures in the Furman sculpture garden.
Guild Hall, 158 Main Street, East Hampton, NY 11937
The next time you escape to your sanctuary in the Hamptons (or get yourself invited to someone else’s vacation home), pencil in some time in between outdoor brunch and tanning by the pool to check out some fantastic art.
August 3, 2016
“I am full of a sense of promise, like I often have, the feeling of always being at the beginning.” — Diane Arbus, July 1957
With more than 100 never-before-seen photographs, the Met Breuer’s Diane Arbus: In the Beginning explores the early work of a photographer considered by many to be one of the most influential and provocative artists of the 20th century. The exhibit focuses on the first seven years of the artist’s prolific career, from 1956 to 1962, the period in which she developed the idiosyncratic style for which she is now known. The majority of the photographs included in the exhibition are part of the museum’s vast Diane Arbus Archive, acquired in 2007 by gift and promised gift from the artist’s daughters, Doon Arbus and Amy Arbus. The works are intentionally presented neither in sequential nor thematic order, allowing the viewer to wander through the maze-like exhibit any way they choose. That is to say, with no beginning and no end.
Born to an affluent New York family in 1923, Diane Arbus was fascinated by photography even before she received her first professional camera in 1941 at the age of 18, a present from her husband, actor and photographer Allan Arbus. She photographed intermittently for the next 15 years while working with him as a stylist in their fashion photography company, which gained such notable clients as Vogue, Harper’s Bazaar, and Glamour. In 1956, however, she quit the commercial photography business, and began taking classes at the New School under photographer Lisette Model, the artist’s mentor and lifelong friend. That same year, Arbus numbered a roll of 35mm film #1, as if to claim to herself that this moment would be her definitive beginning.
In addition to Arbus’s photographs, also on view are works by her two biggest influencers, Lisette Model and portraitist August Sander, as well as some of Arbus’s contemporaries. The exhibit also presents photographs from the artist’s only portfolio, A box of ten photographs. Among these images are some of Arbus’s most iconic works, such as Identical Twins, Roselle, New Jersey, 1967; Jewish Giant, taken at Home with His Parents in the Bronx, New York, 1970; and A Young Man in Curlers at Home on West 20th Street, N.Y.C. 1966. Like so many artists, Arbus only achieved real fame after her death in 1971 at the age of 48 when she took her own life. She did exhibit in major venues during her lifetime, but even then, her work was often polarizing. Young Man in Curlers was notably spat on during a group exhibition at MoMA in 1967. A print of this work sold at auction in 2004 for $198,400.
In her work Arbus explores the fine line between fact and fiction, the candid and the posed, revealing something fundamental to human nature. We behave differently when we are being observed—we tend to perform for one another. In fact, many of Arbus’s subjects were performers, from “female impersonators” to circus acts and cartoon characters who straddle that oh-so familiar line between real and imaginary.
While reading the gallery copy of the exhibition catalogue, I happened to sit down next to Patricia Bosworth, journalist and author of a 1984 biography on Arbus. Mrs. Bosworth was having a lively conversation with her husband about the show. They lamented over a lack of “honesty” in the show, as well as the absence of her biography and Arthur Lubow’s recent biography in the museum’s pop-up bookstore, which only sells books published by Phaidon. As for the lack of “honesty,” I believe Mrs. Bosworth was referring to the fact that the museum glossed over some of the most interesting and controversial aspects of the artist’s life, from her open marriage and active libido to her lifelong struggle with clinical depression, details which both Lubow and Bosworth include in their biographies. It is no coincidence that Arbus quit commercial photography during the rise of counterculture in the 1950s and 60s–she documented this culture as much as she was a part of it.
Arbus once said “Something is ironic in the world and it has to do with the fact that what you intend never comes out like you intend it.” A photograph only represents a split second in time, but in these small moments Arbus was able to capture the humanity in her subjects in a way that many others cannot. You stand in front of them and they return your gaze, asking you to consider the reality of their lives. Whatever conclusions you may draw about these subjects or the intentions of the photographer, it does not take away from one simple truth. At least you know they exist.
Diane Arbus: In the Beginning is on view at the Met Breuer through November 27, 2016.
July 21, 2016
Making my way up 22nd Street in Long Island City towards UOVO Fine Art Storage, the midday sun soaked the pavement in shimmering heat which wrapped around my ankles in heavy tendrils. The vast, 280,000 square foot minimalist building loomed closer, its front dosed in cobalt blue with Queensboro Bridge stretching beyond, disappearing into the city—I imagined the stifling streets of Manhattan, choked by humidity. Half of a song later, I was standing before UOVO’s glass entrance. After two attempts at tugging open the door, I realized the small doorbell to my right. Pausing for a moment, and hearing nothing, I gave another wholehearted tug, and almost tripped backwards as the door happily obliged, swinging open effortlessly and breathing a sigh of cool air.
The reception area is reminiscent of the lobby of a chic, boutique hotel one may find in Chelsea or SoHo, sleek and minimalist while remaining warm and hospitable. However, the space also retained a certain sense of a gallery setting: absolutely pristine, from the perfectly buffed concrete floors to the polite, hushed greeting from the two, well-dressed receptionists. The walls play host to artworks from UOVO’s founder, art collector Steve Guttman’s personal collection. A few guests relax on the mid-century modern furniture, sipping cold brew out of blue, UOVO marked glasses and chatting quietly. I suddenly found myself wondering if I had somehow stumbled into the wrong place.
It’s safe to say that already my experience of UOVO is not what one expects, nor what one normally finds, when they visit a storage facility. From my observations alone, storage facilities, even ones used by gallerists or collectors to safeguard artworks, are usually dark and dingy. They consist of a gruff guard behind thick glass who shoves a clipboard under your nose, and grumpily takes you up a grated industrial elevator to a cold and damp floor where they leave you to wander until you find your unit. This, of course, doesn’t take into consideration the fact that you must then attempt to remember the exact location of the piece you need, which usually ends in having to pull out half of the unit’s contents to access the art, and then—Tetris style—putting everything back. One can extrapolate that Guttman had an experience similar to the one I have described above, for UOVO’s facility boasts something of quite the opposite nature.
My musings were interrupted by the introduction of my tour-guide, UOVO’s Marketing and Communications Associate, Hannah Schmidt. After a short exchange and the light touch of a keycard, I was brought into a wide, curving hallway that bent out of site. Upon inquiring about the card access system, Hannah informed me that the keycard is the kernel of UOVO’s custom-designed, UL rated security system. It is programmed with specific electronic pathways for individual holders, and tracks a person’s movements throughout the facility. During my time at UOVO, she would use her card to access all of the public spaces in the building, including the elevators.
As we walked down the hall deeper into the building, the gradient of the wall slowly deepened into a royal blue, beckoning the viewer forward. After commenting, Hannah informs me that it is a site-specific installation by Belgian artist Pieter Vermeersch. Drawing my attention away from the artwork, she points to a large, closed overhead door on the opposite wall. With enthusiasm, she tells me that recently, the space, one of six large viewing rooms on site, was used by a client to host a month-long public exhibition of their collection. Continuing on, we encountered two extremely fashionable women hurriedly pushing a rack of beautiful garments, their hands encased in short, wrist-length silk gloves, skirts flitting around their ankles. Before I could further investigate their outfits, they disappeared into another of the viewing rooms, the large, bright space enveloped in billowing fabrics and haute couture. The scene dissipated, swallowed by the curving wall.
Before exploring the upper floors of the facility, Hannah led me to the loading docks, nine in total. Passing through an airlock door, we entered the loading docks. The hangar-like space reminded me of something out of a sci-fi movie, and despite the sterility of the docks, fully enclosed for climate control, it was bright and airy. When entering the facility, artworks pass through two covered loading docks and an airlock chamber to provide the proper protection against environmental factors. While surveying the space, she described UOVO’s electronic barcoding system. Artwork is scanned into the facility using an iPhone integrated digital barcode system. As the art is moved, it is scanned into its new location, providing for convenient retrieval of a work.
Exiting the loading docks, I was informed that I was stepping into a separate building, passing over the 8-inch seismic gap that ensures the structure can move relatively free from the ground should an earthquake occur, preventing damage. She also noted that the building is a post-Hurricane Sandy structure, comprised of concrete and steel, and resting 16 feet above sea level, whereas FEMA only recommends structures to be 7 feet above sea level to be out of the flood zone. It seems that the $200 million worth of artwork destroyed by Sandy has not been forgotten by art dealers and collectors alike.
In the elevator on our way upstairs, Hannah informed me that the airflow throughout the building was designed by William Lull, who has worked with both MoMA and The Met in the past. Stepping out of the elevator, white storage units, or rather, private rooms, sprawl out across the expansive space. Like the loading docks, the area doesn’t feel stifling but rather very spacious. Some clients have their doors open, exposing rooms that blend together the luxury of a private office with the functionality of storage—a man, deep in concentration, bends over a desk placed in the center of the space surrounded by racks of paintings. Noticing my curiosity, Hannah comments that clients frequently use their storage rooms as workspaces. A few units down, a UOVO employee gives a tour to a potential client. As I pass the pair, I overhear the employee describe UOVO’s ability to customize a private room to each client’s specific needs with the help of the in-house spatial planners.
However, as Hannah tells me, not all clients need frequent, active access to their art, nor do they require substantial storage space—this is where UOVO’s concierge storage comes into play. Artwork is stored in a large, co-mingled space only accessible to UOVO’s art technicians while still affording the client all of UOVO’s core services, such as collection management, packing and crating, and transportation. Also, a shared work space and a private room for collection-related services is available to those with works in concierge storage.
Making our way up to the 8th floor, Hannah quickly checks to see if any meeting rooms are available: “you have to see the view,” she tells me. Luckily, the conference room was open. Like other common areas throughout UOVO, artworks and furniture from Guttman’s collection decorated the room. A large wooden screen with mirrors by Phillip Powell complements the dark wood table and Vilhelm Lauritzen chairs. However, the room’s best feature is the large window that provides a spectacular view of Manhattan, with Midtown East seeming to be only a stone’s throw away. The prospect was a reminder of how close Long Island City is to the city, easily accessible by car, as well as the multitude of trains that converge in the area.
Pulling myself away from the view and surveying the conference room, I concluded that the convenience provided by UOVO’s facility would be difficult to ignore. A client can host viewings and showcase work, hold meetings, and store their artwork all in the same location, without needing to schlep works back and forth between a storage unit and a viewing space. Also, no more inexperienced interns lugging poorly packaged pieces down 10th Avenue, everything is handled by the UOVO technicians.
On our way back to the reception area, Hannah took a circuitous route, pausing to show me what could be described as the epicenter of UOVO’s cultural community, the client café. As UOVO’s clientele is comprised of individuals from all different sectors of the art world, the café is a place for clients to converge over coffee or lunch. Moreover, the communal area contributes to UOVO’s all-in-one, community and culturally-oriented space.
UOVO’s Long Island City facility is akin to a members-only collective—they are extremely protective of their clients’ privacy—paired with the hospitality of a 5-star hotel. With elements of today’s shared workspaces, UOVO is defined by its versatility and its promotion of innovation; beyond simply storage, the facility provides collectors, dealers, and advisors with the opportunity to interact with their art in new and creative ways, hassle-free. As my tour ended, I realized that at the heart of UOVO is a desire, a need, to care for and preserve our shared cultural legacy.
On my way out, I stop to enjoy a cold brew in the reception area—they even know how to do coffee right.
Every May, I look forward to the colorful parade of celebrities in over the top outfits from the Met Gala. I must admit I am quite fond of a well executed “naked dress.” I am equally enthusiastic about the Met’s costume exhibits, except for Alexander McQueen’s in 2011, which I could not get into. I was absolutely dazzled by this year’s show “Manus X Machina: Fashion in an age of Technology,” which is a stunning celebration of both haute couture and modern ready-to-wear fashion. The exhibit, set up in the Robert Lehman Wing and on view until August 14th, focuses on the growing distinction between the hand (manus) and the machine (machina) in the fashion world. Traditional techniques of embroidery, artificial flowering, and pleating are juxtaposed with technologically advanced ones such as 3D printing and laser cutting. Visitors can expect to be both captivated and overwhelmed by the abundance of luxurious garments, as well as fascinated by the intricacies of the craft of haute couture.
The entrance of the exhibit features a majestic Chanel wedding gown designed by Karl Lagerfeld—Brian Eno’s “An Ending (Ascent)” plays, the notes quietly looming throughout the domed atrium. My companion and I spent about ten minutes or so staring at the beautiful twenty foot train train of the gown and meticulously attempted to get the perfect angle for our Instagram posts. After admiring the wedding gown, we moved on to conquer the other halls in the exhibit of seemingly endless concoctions of tulle, silk, and sequins. The rest of the exhibit is organized according to various métiers, or crafts, which include tailoring, lace, feather-work, and flowering. Each installation is accompanied by a copiously detailed description of the construction process of the garments. Out of the 170 pieces on display, I could not possibly pinpoint a singular “best” item. Manus X Machina features opulent gowns by Dior, whimsical structural dresses by Issey Miyake, a wall of Chanel Suits, and other designs by Alexander McQueen, Margiela, and many other important innovators in fashion.
While the curators of the exhibit could have very easily infused Manus X Machina with too much esoteric detail about the technology of these garments, the exhibit is at once viscerally and intellectually stimulating. It neither presents fashion as frivolous nor does it skimp on the wow factor. This exhibit is certainly one of the most ambitious projects undertaken by the Costume Institute and I think it will be difficult to top in terms of scale and grandeur. Manus X Machina is a perfect summer outing for fashion nerds and science nerds alike. Be sure to peruse the gift shop at the end which in addition to adorable children’s books about Coco Chanel, offers some stylish items including the coveted Issey Miyake Bao Bao bag. I will definitely return to Manus X Machina to brainstorm for my future gown closet and perhaps leave with a Miyake bag or two. A girl can dream, right?
“Manus x Machina: Fashion in an age of Technology,” is on view from May 5 through August 14, 2016.
June 17, 2016
In a seemingly unstoppable and swift movement—galleries, art dealers, art aficionados, trend-spotters, and urban socialites—are flocking to the Lower East Side to enjoy the charms of the experimental food scene, hip and often quirky bars at every corner, the thriving nightlife, and of course, the ubiquitous art presence. From street art, to endless graffiti tags and random public installations, the art scene is evidently booming especially as many galleries, established and new, make their way downtown to partake in the infinite energy.
Located solidly in the Lower East Side, right next to Two Bridges and a just a few blocks from the East River, Sargent’s Daughters first opened its doors in November 2013 as the joint venture of dealer Allegra LaViola and Meredith Rosen, former director of BravinLee programs in Chelsea.
The East Broadway physical location was converted from LaViola’s eponymous gallery into the current gallery space. In an area mostly dedicated to minimalist, conceptual, and experimental contemporary art, Sargent’s Daughters stands out as a gallery focusing on more traditional mediums such as painting, drawing, and sculpture with the intent to bridge the gap between the historic and classical and more modern contemporary aesthetics. LaViola and Rosen search for innovation within already established mediums, genres, and aesthetic conceptions to prove that the contemporary can have strong ties to the past in interesting and meaningful ways. Quality with a sense of tradition and lineage trump overt flash and quirky trends in this gallery space.
Owner and Director, Meredith Rosen, shares what this joint venture is all about with Art Versed as well as her views on working within the art world.
What is Sargent’s Daughters mission?
Our interest is in artists whose work combines the qualities of tradition and cutting edge.
In addition to exhibitions by represented gallery artists, Sargent’s Daughters creates collaborations as a platform for exploring new conversations within a wider context of galleries, artists and objects.
What were the motivations behind making the switch in 2013 from working at BravinLee programs in Chelsea to opening Sargent’s Daughters in the Lower East Side with Allegra LaViola?
I wanted to be able to work with artists and create ambitious exhibitions without the constraints of an existing platform. My partnership with Allegra had a lot to do with timing and instinct.
As a relatively recent space, was it difficult getting the gallery up on its feet?
Of course! To do anything well is very hard, but I love the challenge. I think the gallery model is constantly changing so as a dealer you can never get too comfortable.
Everyone seems to be saying that the Lower East Side is turning into the new gallery quarter—what were your reasons for moving into the neighborhood and has the location proved favorable to you?
We love our location. It’s a great space, across from a park and right next to the subway.
I’ve read in previous interviews that you chose the name “Sargent’s Daughters” in reference to John Singer Sargent, regarding him as a risqué innovator within his time. Can you explain this concept in relation to contemporary art and how it fits into your vision for the gallery?
We loved that John Singer Sargent was an innovator working in a traditional medium and wanted this statement to represent the context of our growing program. We exhibit work that has a strong historical lineage by artists who push the limits of contemporary art today – formally through various mediums and intellectually through their choice of content.
What kind of artists, if there even is a specific, are you looking to represent?
We aren’t interested in a specific kind of work. We are always interested in work of the highest quality whether it’s something brand new or shedding new light on an artist with an established presence.
Do you have a favorite from the shows you’ve put on?
Our last exhibition by Cy Gavin is one of our best exhibitions to date. I really feel each show gets better and better as we have more experience, reflect on past exhibitions and create a stronger dialogue with gallery artists.
What makes Sargent’s Daughters different from other galleries?
When we opened most galleries on the LES were interested in building programs with young and emerging artists. We didn’t open with a roster of artists. We started putting together the best shows we possibly could with the artists we discovered and established artists that we admire.
Do you have any future plans for the gallery that drastically differ from what you are doing now?
To hopefully grow our program and with the artists we bring to the table.
What are your thoughts on the art market today and the increasing interest and importance of art fairs and biennials?
I think art fairs are very important to build an international audience for wide range of artists. I find it very interesting to go to an event where I can see so many dealers in action. You can learn so much by example.
Who is your favorite non-contemporary artist?
What is your favorite museum (world-wide range)?
Fondation Beyeler – I look forward to seeing their exhibitions every June when in Basel.
179 E Broadway, New York, NY