Have a Francis Bacon to sell? London is where many auction house experts are advising collectors to try their luck. “We’ve seen extraordinary prices paid for Bacons in London in recent years,” said Brett Gorvy, international chairman of Christie’s postwar and contemporary art department. “Americans have competed as aggressively as buyers from emerging markets.” And with so many rich Russians and Middle Easterners putting down roots in London, it’s the obvious place to sell.
That explains the image on the catalog cover for Christie’s Feb. 14 London sale of postwar and contemporary art. It’s a 1963 portrait of Henrietta Moraes, the model and friend of Bacon’s, reclining naked on a white bed in a room with a deeply saturated lilac wall and a bright red floor.
Bacon generally painted his subjects from photographs rather than from life, and for this picture he commissioned his friend John Deakin to shoot Ms. Morales in 1961. Christie’s estimates the painting will sell for about $23 million to $30 million.
The record price for a Bacon painting at auction is $86.3 million, achieved in May 2008 when Sotheby’s in New York sold a 1976 triptych, supposedly to Roman Abramovich, the Russian oligarch. Christie’s in London sold “Triptych 1974-77” that same year for a robust $51.6 million and a year later auctioned “Three Studies for a Self-Portrait” (1975) for $34.4 million. And in June Christie’s London sold “Study for a Portrait” (1953) for $28.7 million.
Mr. Gorvy isn’t saying who is selling “Portrait of Henrietta Moraes,” but art experts familiar with Bacon’s work said it was Sheldon Solow, the New York real estate developer and a well-known collector who bought the painting from Ernst Beyeler, the Swiss dealer, in 1983.
Mr. Solow is not known as an auction seller but at 83 is re-evaluating his collection.
The Bacon portrait is not all Mr. Solow is said to be selling at Christie’s next month. Two other works from his collection are coming to auction on the evening of Feb. 7: a 1925 Miró painting, “Painting-Poem,” which is expected to fetch $9.2 million to $13.8 million; and “Reclining Figure: Festival,” a 1951 sculpture by Henry Moore, expected to bring about $5.3 million to $8.5 million.
It may seem as if the art world is in the winter doldrums, but organizers of New York City’s contemporary art fairs are gearing up for the onslaught of events in March and May.
Those putting together the 14th edition of the “Armory Show — Contemporary,” which runs from March 8 to 11 on Pier 94, are eager to make a better impression than they did last year. “Our aim is for comfort and hospitality,” said Paul Morris, the fair’s founding director. They hired the Brooklyn architects Bade Stageberg Cox to open up the space, giving it two aisles rather than three.
This year’s fair will feature 113 international exhibitors representing 31 countries, fewer participants than last year in an attempt to improve quality and give the dealers more space. Gallery Hyundai, which has not participated in the show since 2004, will be back with works by Ai Weiwei and Lee Ufan. Sprüth Magers from Berlin will be back, as will Greene Naftali from New York. There will also be a new section, Solo Projects, dedicated to single artist exhibitions.
Because the fair’s location — 55th Street and 12th Avenue in Clinton — isn’t the easiest to get to, the organizers have met with the New York City Taxi and Limousine Commission and will use a text service to alert cabdrivers when they are needed. They will also offer free shuttle busses to neighborhoods in Manhattan.
Also in March is the Art Dealers Association of America’s annual Art Fair at the Park Avenue Armory, on 67th Street . Then come more fairs in May around the time of the big spring auctions.
Frieze, the London fair, will have its first iteration in New York, May 4 through 7, on Randalls Island. Those same days the New Art Dealers Alliance, otherwise known as NADA, has decided to test the New York City waters too.
“We’ve never done anything like this on our home turf,” said Heather Hubbs, director of NADA’s fair, which will occupy three floors of the former Dia Center for the Arts building at 548 West 22nd Street in Chelsea and include about 50 primarily younger dealers dedicated to new art.
2012年1月19日星期四
2011年12月13日星期二
Maritime artists contribute to Sail M.V.'s holiday art sale
There are boats, seascapes, fish, seabirds, and shells and there are…more boats. Not surprisingly, a good number of the artistic contributions to Sail Martha's Vineyard's Holiday Maritime Art Sale feature boats: sail, row, fishing, and of course, an icon of Island living, the ferry. However, given the number of artists contributing to the show, everywhere you look you'll see a different take on a seascape or a nautical scene.
The unique collection has been gathered for the fourth year now as a benefit for Sail M.V., the local organization founded in 1992 dedicated to offering youth programs for Island children in sailing, seamanship, and wooden boat building; to attracting historic vessels to the community; and to providing opportunities for all ages in maritime education, rowing, and sailing.
The show, which runs through December 23, includes painting, photography, sculpture, jewelry, and other gift items, and a couple of working boats. Taking up most of the westerly wall in the one-room show is a full size canoe by Rick Brown of Far Cry Boats, which has a price tag of $3,333. The catboat that graces the front of the historic building is also for sale for $4,444.
The rest of the collection is considerably less pricey and more living-room friendly. Approximately 25 artists are represented with prices ranging from $50 to $1,600 (there are also inexpensive cards and gift items). "The water and boats inspire everybody in so many dimensions," said Pam Flam, show coordinator. "There's something for everybody's price range and also for every taste."
Works by a handful of well-established artists are among the group show, including a black and white print by Allen Whiting called "Bequia Boat," which is a departure from his signature style and has an almost expressionist feel.
A large monochromatic work by John Holladay stands out. It's a study of lobster traps in greys and blacks with a few splotches of red. Two very attractive paintings of Squibnocket by Donna Straw dominate one of the rooms. They are done in muted blues and tans highlighted by bold outlines and sun streaks of metallic gold.
Marston Clough has the most paintings in the show with 10 works whose simplicity is very appealing, especially in ones whose rustic appeal is contrasted by painted gold frames. The works, many of which are quite small, in prices ranging from $50 to $350, would make great Christmas gifts, as would lovely little landscapes by up-and-coming local artist Dan VanLandingham, and some attractively priced paintings by Thaw Malin.
A large oil painting of Sail M.V.'s two pilot gigs — Cassie and Grace — is perhaps the most eye-catching piece in the show, and also the priciest painting at $1,600. Cassie, whose green and red color scheme has made her a very recognizable feature of the Vineyard Haven harbor, is also the subject of a number of other works in the show. A series of photos by David Dandridge feature Cassie, both in color and black and white. Mr. Dandridge is a skipper for the Steamship Authority who, according to Ms. Flam, always has his camera with him. "He gets shots of sights that mere mortals don't get a chance to see," she said.
Among Mr. Dandridge's contributions to the show are two wonderful photos with Cassie in the foreground and ghostly images in the misty background — one in color with the ferry and one in black and white with a barely visible schooner. These two are treasures that could easily be missed in a peremptory viewing of the show.
Other photographers whose work is represented are Alison Shaw, L.A. Brown, Jeff Serusa, Susan Safford, Dick Clark, Lisa Vanderhoop, Jhenn Watts, and Louisa Gould. Each has a distinctive style, from Ms. Vanderhoop's popping colors to Ms. Watts' emulsion lifts on glass, to Ms. Gould's popular action shots from sailing races. Mr. Clark has on display many photos at different price points, including some unframed prints for $30.
Sketch artist Tim Winchell also offers some unframed matted prints for under $50, as well as framed prints and originals. His charcoal sketches of Menemsha are masterfully executed and display his eye for detail. One print of the Menemsha wharf vista from above, with circling seagulls in the foreground, is a wonderful portrayal from an unusual perspective.
Metal sculptures by Charles Gibbs include a very attractive fish made from corrugated metal and other found objects. Woodworker J.P. Uranker has contributed a hand-carved boat hook and an oar to the collection. His wife, Fran Uranker, offers neat nautical gifts including rope-wrapped vases and decanters, sailor's knot-adorned stoppers, and monkey's fist necklaces.
There are two calendars — Catboats by catboat owner Jim O'Connor and Ms. Vanderhoop's popular Vineyard Seadogs. There is a small selection of jewelry including some lovely, simple modern pieces crafted by Kenneth Pillsworth from silver, titanium, and pearls, and there are hand-painted boxes by Lorraine Wells. A variety of artists have also contributed packaged cards.
The artists all keep 75 percent of the price with the remainder going towards Sail M.V. "This is great for the artists right now when they don't have a lot going on," said Hope Callen, Sail M.V. administrative director.
The unique collection has been gathered for the fourth year now as a benefit for Sail M.V., the local organization founded in 1992 dedicated to offering youth programs for Island children in sailing, seamanship, and wooden boat building; to attracting historic vessels to the community; and to providing opportunities for all ages in maritime education, rowing, and sailing.
The show, which runs through December 23, includes painting, photography, sculpture, jewelry, and other gift items, and a couple of working boats. Taking up most of the westerly wall in the one-room show is a full size canoe by Rick Brown of Far Cry Boats, which has a price tag of $3,333. The catboat that graces the front of the historic building is also for sale for $4,444.
The rest of the collection is considerably less pricey and more living-room friendly. Approximately 25 artists are represented with prices ranging from $50 to $1,600 (there are also inexpensive cards and gift items). "The water and boats inspire everybody in so many dimensions," said Pam Flam, show coordinator. "There's something for everybody's price range and also for every taste."
Works by a handful of well-established artists are among the group show, including a black and white print by Allen Whiting called "Bequia Boat," which is a departure from his signature style and has an almost expressionist feel.
A large monochromatic work by John Holladay stands out. It's a study of lobster traps in greys and blacks with a few splotches of red. Two very attractive paintings of Squibnocket by Donna Straw dominate one of the rooms. They are done in muted blues and tans highlighted by bold outlines and sun streaks of metallic gold.
Marston Clough has the most paintings in the show with 10 works whose simplicity is very appealing, especially in ones whose rustic appeal is contrasted by painted gold frames. The works, many of which are quite small, in prices ranging from $50 to $350, would make great Christmas gifts, as would lovely little landscapes by up-and-coming local artist Dan VanLandingham, and some attractively priced paintings by Thaw Malin.
A large oil painting of Sail M.V.'s two pilot gigs — Cassie and Grace — is perhaps the most eye-catching piece in the show, and also the priciest painting at $1,600. Cassie, whose green and red color scheme has made her a very recognizable feature of the Vineyard Haven harbor, is also the subject of a number of other works in the show. A series of photos by David Dandridge feature Cassie, both in color and black and white. Mr. Dandridge is a skipper for the Steamship Authority who, according to Ms. Flam, always has his camera with him. "He gets shots of sights that mere mortals don't get a chance to see," she said.
Among Mr. Dandridge's contributions to the show are two wonderful photos with Cassie in the foreground and ghostly images in the misty background — one in color with the ferry and one in black and white with a barely visible schooner. These two are treasures that could easily be missed in a peremptory viewing of the show.
Other photographers whose work is represented are Alison Shaw, L.A. Brown, Jeff Serusa, Susan Safford, Dick Clark, Lisa Vanderhoop, Jhenn Watts, and Louisa Gould. Each has a distinctive style, from Ms. Vanderhoop's popping colors to Ms. Watts' emulsion lifts on glass, to Ms. Gould's popular action shots from sailing races. Mr. Clark has on display many photos at different price points, including some unframed prints for $30.
Sketch artist Tim Winchell also offers some unframed matted prints for under $50, as well as framed prints and originals. His charcoal sketches of Menemsha are masterfully executed and display his eye for detail. One print of the Menemsha wharf vista from above, with circling seagulls in the foreground, is a wonderful portrayal from an unusual perspective.
Metal sculptures by Charles Gibbs include a very attractive fish made from corrugated metal and other found objects. Woodworker J.P. Uranker has contributed a hand-carved boat hook and an oar to the collection. His wife, Fran Uranker, offers neat nautical gifts including rope-wrapped vases and decanters, sailor's knot-adorned stoppers, and monkey's fist necklaces.
There are two calendars — Catboats by catboat owner Jim O'Connor and Ms. Vanderhoop's popular Vineyard Seadogs. There is a small selection of jewelry including some lovely, simple modern pieces crafted by Kenneth Pillsworth from silver, titanium, and pearls, and there are hand-painted boxes by Lorraine Wells. A variety of artists have also contributed packaged cards.
The artists all keep 75 percent of the price with the remainder going towards Sail M.V. "This is great for the artists right now when they don't have a lot going on," said Hope Callen, Sail M.V. administrative director.
2011年12月6日星期二
Pier Antiques Show Boasts Strongest Opening Line Yet
The Pier Antiques Show has built a following for presenting a solid and interesting mix of traditional antiques, Modern and design offerings, as well as collectibles at its shows. The November 19–20 edition lived up to its standards and then some.
With 500 exhibitors filling Pier 94, Stella Show Mgmt Co. also presents its popular Fashion Alley section of the show that draws in buyers seeking vintage couture and jewelry. The promoters upped the ante with a fall autograph show this year featuring 15 dealers from the Professional Autograph Dealers Association, ensuring there was something for every taste at the Pier.
"We are just getting out a survey this week to the dealers but things seemed very positive. The opening line was the longest ever," said Jeanne Stella after the show. Indeed, the line by 10 am when the gate officially opened had not only filled the lobby with buyers, but snaked around the outside of the building forming two lines heading off in opposite directions.
Americana and traditional antiques show fare were ably represented with such dealers as Art & Antique Gallery, Worcester, Mass. Standouts among elegant oil paintings included a Hayley Lever painting of a wagon crossing on a snowy winter's day, Louis Ritman's "The Looking Glass" and John White Alexander's still life titled "Beautiful Flowers." A more modern feel but equally compelling was achieved by Blanche Lazzell's colorful "Shore Boats."
One of the most talked-about objects at the show was a folky and handmade life-size horse in the booth of Kabinett & Kammer, which is a contemporary curiosity shop of antiques, natural wonders and art. With an upstate location since 2007, the company opened a branch in New York City in March, so it did not have far to travel to do this show.
Dealer Sean Scherer said the turn-of-the-Nineteenth Century tack shop display figure was made of paper mache and was the hit of the show. This was the dealers' first antiques show and Scherer was pleased with his decision to test the waters. The dealers mostly sold taxidermy mounts and the most interesting objects seemed to be the big sellers, including an antique bear skull and a Coney Island shooting game target, as well as Nineteenth Century prints and a charter.
Modern design was also well represented at the Pier. Among its purveyors were Linda and Dennis Elmore, Westfield, N.J., who seemed to have little in the way of merchandise to pack up by the show's end Sunday afternoon. "We had a great Pier Show," said Linda Elmore. "Among the things we sold was a pair of signed Danish chests, a Lucite-based center table, a pair of Bruno Mathsson webbed arm chairs [very popular with the attendees], a pair of 1950s Italian calla lily-shaped lamps and numerous decorative small items. Also, a nice set of zebrawood Italian bar stools. Essentially a clean, timeless, Modern design was our focus."
The industrial look was elegantly captured in the booth of Strawser & Smith, Brooklyn, N.Y., which featured a fetching pair of wooden chairs with their seats upholstered in an aviation-themed fabric, while oversized artworks of machines hung on the booth walls.
A great showing was also had by Nancy Steinbock Posters, Chestnut Hill, Mass.; Steinbock reported this was her best Pier Show since 2007. The vintage poster dealer only does the November edition of this show and said while many people were still price-conscious, it was a healthy sign that more people seemed to be buying again. Sales ran the gamut from posters relating to fashion, American literary, military, travel, bicycling and expositions.
With 500 exhibitors filling Pier 94, Stella Show Mgmt Co. also presents its popular Fashion Alley section of the show that draws in buyers seeking vintage couture and jewelry. The promoters upped the ante with a fall autograph show this year featuring 15 dealers from the Professional Autograph Dealers Association, ensuring there was something for every taste at the Pier.
"We are just getting out a survey this week to the dealers but things seemed very positive. The opening line was the longest ever," said Jeanne Stella after the show. Indeed, the line by 10 am when the gate officially opened had not only filled the lobby with buyers, but snaked around the outside of the building forming two lines heading off in opposite directions.
Americana and traditional antiques show fare were ably represented with such dealers as Art & Antique Gallery, Worcester, Mass. Standouts among elegant oil paintings included a Hayley Lever painting of a wagon crossing on a snowy winter's day, Louis Ritman's "The Looking Glass" and John White Alexander's still life titled "Beautiful Flowers." A more modern feel but equally compelling was achieved by Blanche Lazzell's colorful "Shore Boats."
One of the most talked-about objects at the show was a folky and handmade life-size horse in the booth of Kabinett & Kammer, which is a contemporary curiosity shop of antiques, natural wonders and art. With an upstate location since 2007, the company opened a branch in New York City in March, so it did not have far to travel to do this show.
Dealer Sean Scherer said the turn-of-the-Nineteenth Century tack shop display figure was made of paper mache and was the hit of the show. This was the dealers' first antiques show and Scherer was pleased with his decision to test the waters. The dealers mostly sold taxidermy mounts and the most interesting objects seemed to be the big sellers, including an antique bear skull and a Coney Island shooting game target, as well as Nineteenth Century prints and a charter.
Modern design was also well represented at the Pier. Among its purveyors were Linda and Dennis Elmore, Westfield, N.J., who seemed to have little in the way of merchandise to pack up by the show's end Sunday afternoon. "We had a great Pier Show," said Linda Elmore. "Among the things we sold was a pair of signed Danish chests, a Lucite-based center table, a pair of Bruno Mathsson webbed arm chairs [very popular with the attendees], a pair of 1950s Italian calla lily-shaped lamps and numerous decorative small items. Also, a nice set of zebrawood Italian bar stools. Essentially a clean, timeless, Modern design was our focus."
The industrial look was elegantly captured in the booth of Strawser & Smith, Brooklyn, N.Y., which featured a fetching pair of wooden chairs with their seats upholstered in an aviation-themed fabric, while oversized artworks of machines hung on the booth walls.
A great showing was also had by Nancy Steinbock Posters, Chestnut Hill, Mass.; Steinbock reported this was her best Pier Show since 2007. The vintage poster dealer only does the November edition of this show and said while many people were still price-conscious, it was a healthy sign that more people seemed to be buying again. Sales ran the gamut from posters relating to fashion, American literary, military, travel, bicycling and expositions.
2011年8月3日星期三
Artist says oil painting is a lifelong love
Patrick Dinunzio said art has been a part of his life almost as long as he can remember and he hopes it will stay with him until the end.
Dinunzio, a Bruce Township resident, is the featured artist during August at the Wolcott Mill Historic Center. Dinunzio will feature a variety of his oil paintings. The artist said he has been interested in the subject from an early age and luckily never got too far from it.
"I got my first paint set in the early '60s, so I've been painting for about 50 years," he said.
Dinunzio studied art at the Center for Creative Studies, Wayne State University and Macomb Community College, but said he is primarily self-taught.
Dinunzio worked as a machinist, machine repairman and programmer, but he said he always found time to jump into painting - especially now that he is retired.
"I am kind of changing my style and getting a little more painterly," he said, adding that his work is becoming a little looser. "I am changing and I have noticed through the years as my personality changes, I'm getting older, that is the evolution of my painting according to how I feel."
Dinunzio said despite his long history as a painter he finds himself primarily drawn to one medium.
"I know some artists diversify with pastels and waters, and I just got attracted to oils and that is it," he said, adding that he also works in ceramics. "I like the idea that you have time to do corrections. With watercolors, you can't. Acrylics dry too quickly. Oils are just an appealing medium to work with."
As for subject matter, Dinunzio said he really enjoys portraits but he isn't afraid to diversify.
"I'll work in portraits for a week or two and then I kind of get burnt out, and I jump to landscapes and still life," he said.
Dinunzio, a Bruce Township resident, is the featured artist during August at the Wolcott Mill Historic Center. Dinunzio will feature a variety of his oil paintings. The artist said he has been interested in the subject from an early age and luckily never got too far from it.
"I got my first paint set in the early '60s, so I've been painting for about 50 years," he said.
Dinunzio studied art at the Center for Creative Studies, Wayne State University and Macomb Community College, but said he is primarily self-taught.
Dinunzio worked as a machinist, machine repairman and programmer, but he said he always found time to jump into painting - especially now that he is retired.
"I am kind of changing my style and getting a little more painterly," he said, adding that his work is becoming a little looser. "I am changing and I have noticed through the years as my personality changes, I'm getting older, that is the evolution of my painting according to how I feel."
Dinunzio said despite his long history as a painter he finds himself primarily drawn to one medium.
"I know some artists diversify with pastels and waters, and I just got attracted to oils and that is it," he said, adding that he also works in ceramics. "I like the idea that you have time to do corrections. With watercolors, you can't. Acrylics dry too quickly. Oils are just an appealing medium to work with."
As for subject matter, Dinunzio said he really enjoys portraits but he isn't afraid to diversify.
"I'll work in portraits for a week or two and then I kind of get burnt out, and I jump to landscapes and still life," he said.
2011年7月18日星期一
Art that adapts to the venue
Betrant Peret as a DJ at the Esperantopolis 2011, a cultural event featuring a variety of arts, held at the French Consulate in Ho Chi Minh City last month.
A space, an atmosphere where art interacts with life in a way that everyone is comfortable, no matter what his or her background, no matter what the person’s age, no matter what the person’s relationship to art – Esperantopolis 2011 aspired to create this space.
Betrant Peret, his partner Sandrine Llouquet (a Viet kieu artist), and Sophie Gambart of the French consulate organized the multi-art exhibition at the French Consulate in Ho Chi Minh City last month.
The show brought together works by some 20 French and Vietnamese artists, including graffiti, photography, installation art, plays and hip-hop performances.
Event-goer Mai Thao discovered “many strange things at the unique cultural event,” including a fashion show of “remakes” by a Vietnamese designer.
“I was also moved by the graffiti by Seth. The French artist’s talent amazed me,” she said.
“The story of the Vietnamese lady in his painting somehow expressed people’s feelings about changes caused by urbanization.”
For Peret, the show succeeded in one of its key aims, because the audience seemed to feel at home.
“Esperanto used to be a utopian language in the early 19th century. The ambition of that language was to be universal… and polis, in Greek, means the city,” said Peret, explaining the title of the exhibition.
“That is what we had in mind… Could we consider art and art events as this universal zone?”
Peret said he together with the co-organizer, Sophie Gambart, wanted to create an event with high-quality art for everybody without assigning any theme or topic to it.
“To me, it’s really important for everybody and anybody, from the xe om (motorbike taxi driver) to the director of a gallery, to feel comfortable in the environment of esperantopolis.”
It was not the first time Peret, a graduate of France’s Ecole National des Beaux Arts de Bordeaux, had tried to create this universal space.
He has organized many events and exhibitions “in the spirit of esperantopolis,” mainly in France, but also in the US, Germany, Cuba, Singapore and other countries, before he came to Vietnam.
As an artist and an art event organizer with more than 20 years’ of experience, Peret said he’s always been interested in the relationship between a venue and the public.
Any venue has potential for displaying art work, while art has to adapt to the venue, which allows the venue to generate its own public, he said.
“I would say that painting or organizing an event is nearly the same to me, it’s a question of composition, a question of how to invest, to use a delimited zone.”
“I like the public, any public, to be able to feel happy and comfortable in any location… then art becomes part of the environment and the public, too.”
The 40-year-old artist had earlier developed the idea of an “Art Total” that blurs the borders between art and life, creating “ephemeral and utopian moments.”
Over the last four years he has felt that his shows in Vietnam have been reaching an increasingly larger, mixed audience of both Vietnamese and expatriates, and that there is a greater expectancy for such events.
So he aims at an Esperantopolis 2012 which is “bigger, stronger and longer.”
Asked about his journey to Vietnam, Peret said that after he and his partner Llouquet had completed a lot of projects in France, they decided to come here to start doing “some exchanges between the two countries and the two cultures… to try to be part of the exciting adventure an emerging country like Vietnam can provide.”
He is also a founding member of the artists’ collective, Mogas Station, which brings together French, German, Japanese, American and Vietnamese artists.
“The energy we can find in Vietnam is super strong, that is the fuel we need to go on, in life and art.”
A space, an atmosphere where art interacts with life in a way that everyone is comfortable, no matter what his or her background, no matter what the person’s age, no matter what the person’s relationship to art – Esperantopolis 2011 aspired to create this space.
Betrant Peret, his partner Sandrine Llouquet (a Viet kieu artist), and Sophie Gambart of the French consulate organized the multi-art exhibition at the French Consulate in Ho Chi Minh City last month.
The show brought together works by some 20 French and Vietnamese artists, including graffiti, photography, installation art, plays and hip-hop performances.
Event-goer Mai Thao discovered “many strange things at the unique cultural event,” including a fashion show of “remakes” by a Vietnamese designer.
“I was also moved by the graffiti by Seth. The French artist’s talent amazed me,” she said.
“The story of the Vietnamese lady in his painting somehow expressed people’s feelings about changes caused by urbanization.”
For Peret, the show succeeded in one of its key aims, because the audience seemed to feel at home.
“Esperanto used to be a utopian language in the early 19th century. The ambition of that language was to be universal… and polis, in Greek, means the city,” said Peret, explaining the title of the exhibition.
“That is what we had in mind… Could we consider art and art events as this universal zone?”
Peret said he together with the co-organizer, Sophie Gambart, wanted to create an event with high-quality art for everybody without assigning any theme or topic to it.
“To me, it’s really important for everybody and anybody, from the xe om (motorbike taxi driver) to the director of a gallery, to feel comfortable in the environment of esperantopolis.”
It was not the first time Peret, a graduate of France’s Ecole National des Beaux Arts de Bordeaux, had tried to create this universal space.
He has organized many events and exhibitions “in the spirit of esperantopolis,” mainly in France, but also in the US, Germany, Cuba, Singapore and other countries, before he came to Vietnam.
As an artist and an art event organizer with more than 20 years’ of experience, Peret said he’s always been interested in the relationship between a venue and the public.
Any venue has potential for displaying art work, while art has to adapt to the venue, which allows the venue to generate its own public, he said.
“I would say that painting or organizing an event is nearly the same to me, it’s a question of composition, a question of how to invest, to use a delimited zone.”
“I like the public, any public, to be able to feel happy and comfortable in any location… then art becomes part of the environment and the public, too.”
The 40-year-old artist had earlier developed the idea of an “Art Total” that blurs the borders between art and life, creating “ephemeral and utopian moments.”
Over the last four years he has felt that his shows in Vietnam have been reaching an increasingly larger, mixed audience of both Vietnamese and expatriates, and that there is a greater expectancy for such events.
So he aims at an Esperantopolis 2012 which is “bigger, stronger and longer.”
Asked about his journey to Vietnam, Peret said that after he and his partner Llouquet had completed a lot of projects in France, they decided to come here to start doing “some exchanges between the two countries and the two cultures… to try to be part of the exciting adventure an emerging country like Vietnam can provide.”
He is also a founding member of the artists’ collective, Mogas Station, which brings together French, German, Japanese, American and Vietnamese artists.
“The energy we can find in Vietnam is super strong, that is the fuel we need to go on, in life and art.”
2011年6月26日星期日
paintings on display
The June exhibit at the Back Mountain Memorial Library’s Art Display Wall is a collection of artwork by Gary Bucchalter, of Trucksville.
Bucchalter has enjoyed art since his childhood and has continued his enthusiasm for art by receiving a Bachelor’s degree in Fine Arts from the Pratt Institute. He also earned his Master’s degree in Fine Arts from Brooklyn College.
Bucchalter’s exhibit will include oil paintings, charcoal and pencil drawings as well as Pen and ink drawings. He is also “introducing” a young artist of whom he is especially proud, his 12-year-old son, Lorenzo, and has included one of Lorenzo’s pieces in his exhibit.
Bucchalter explains that his artwork offers him “peace of mind” and describes his favorite piece in this exhibit: an oil painting titled “John’s Place,” featuring a scene of John Lennon.
Bucchalter has enjoyed art since his childhood and has continued his enthusiasm for art by receiving a Bachelor’s degree in Fine Arts from the Pratt Institute. He also earned his Master’s degree in Fine Arts from Brooklyn College.
Bucchalter’s exhibit will include oil paintings, charcoal and pencil drawings as well as Pen and ink drawings. He is also “introducing” a young artist of whom he is especially proud, his 12-year-old son, Lorenzo, and has included one of Lorenzo’s pieces in his exhibit.
Bucchalter explains that his artwork offers him “peace of mind” and describes his favorite piece in this exhibit: an oil painting titled “John’s Place,” featuring a scene of John Lennon.
2011年5月18日星期三
Plein Air Festival Returns to Wayne Art Center
Beginning Tuesday, May 17th and running until May 21, the Wayne Art Center will be hosting 32 artists from around the country for its 5th annual Plein Air Festival. Artists will travel from as far as Tennessee and Indiana to paint local landscapes.
Plein Air, which means “in the open air,” originated in Laguna Beach, California about fifteen years ago. In Plein Air festivals, artists have two to four days to paint as many on location landscapes as they can. Each painting takes two to three hours—a nonnegotiable time frame, since an artist can only paint a scene for as long as the light stays the same.
This year, artists will spend the first two days painting within a 15-mile radius of Wayne. The next day they will expand to Philadelphia, and on the final day, they will all paint in central Wayne. When they finish painting in Wayne at 1 p.m. on Saturday, they bring the paintings (some still wet, all already framed) to the Wayne Art Center.
“It’s like a triathlon of painting,” said Patti Hallowell, program coordinator at the Wayne Art Center. “It’s very rich and stimulating.”
Artists are required to produce at least two paintings, with some finishing with as many as fifteen. All in all, the Art Center hangs about 200 paintings. This is one of its two major fundraisers and one of the top selling exhibitions. Karen Louise Fay, director of special programs, cites familiarity and accessibility as the reason for the exhibit’s popularity. “People understand the subject matter,” she said.
The paintings, including those that have been sold, will be on display for the public until June 24 at the Davenport Gallery.
Although producing a large volume of paintings in a short time can be exhausting, many artists are trained in Plein Air techniques.
“These are people who seek challenge,” said Hallowell. Many painters enjoy the experience of painting from nature, where they can “hear the birds chirping.” Artists have their own styles and color palettes, and as Fay pointed out, even “clouds are interpreted differently.”
Local artist and participant Valerie Craig said that there is a “great spirit and energy” surrounding the festival. Craig, who helped found the festival, has painted at Androssan Farm and the Daylesford train station. Although she has painted since she was eight, Craig was originally a nurse.
The artists were chosen from an applicant pool of 80 by Billy O’Donnell. O’Donnell, a lifelong resident of Missouri, is a nationally recognized landscape painter. His other duties in the festival include deciding on the recipients of $4,000 of prize money and conducting a Plein Air demo and a Plein Air painting workshop.
The festival is made possible by contributions of business sponsors, patrons, and 43 committee members. The committee is chaired by Barbara Berry.
In an area where trees line the sides of the road and parks are plentiful, the community often overlooks the area’s landscapes and greenery. The Plein Air festival draws attention back to Radnor’s surroundings. “It highlights the beauty of the area,” Craig said of why she loves the festival. “I feel like a guest in my own hometown.”
Plein Air, which means “in the open air,” originated in Laguna Beach, California about fifteen years ago. In Plein Air festivals, artists have two to four days to paint as many on location landscapes as they can. Each painting takes two to three hours—a nonnegotiable time frame, since an artist can only paint a scene for as long as the light stays the same.
This year, artists will spend the first two days painting within a 15-mile radius of Wayne. The next day they will expand to Philadelphia, and on the final day, they will all paint in central Wayne. When they finish painting in Wayne at 1 p.m. on Saturday, they bring the paintings (some still wet, all already framed) to the Wayne Art Center.
“It’s like a triathlon of painting,” said Patti Hallowell, program coordinator at the Wayne Art Center. “It’s very rich and stimulating.”
Artists are required to produce at least two paintings, with some finishing with as many as fifteen. All in all, the Art Center hangs about 200 paintings. This is one of its two major fundraisers and one of the top selling exhibitions. Karen Louise Fay, director of special programs, cites familiarity and accessibility as the reason for the exhibit’s popularity. “People understand the subject matter,” she said.
The paintings, including those that have been sold, will be on display for the public until June 24 at the Davenport Gallery.
Although producing a large volume of paintings in a short time can be exhausting, many artists are trained in Plein Air techniques.
“These are people who seek challenge,” said Hallowell. Many painters enjoy the experience of painting from nature, where they can “hear the birds chirping.” Artists have their own styles and color palettes, and as Fay pointed out, even “clouds are interpreted differently.”
Local artist and participant Valerie Craig said that there is a “great spirit and energy” surrounding the festival. Craig, who helped found the festival, has painted at Androssan Farm and the Daylesford train station. Although she has painted since she was eight, Craig was originally a nurse.
The artists were chosen from an applicant pool of 80 by Billy O’Donnell. O’Donnell, a lifelong resident of Missouri, is a nationally recognized landscape painter. His other duties in the festival include deciding on the recipients of $4,000 of prize money and conducting a Plein Air demo and a Plein Air painting workshop.
The festival is made possible by contributions of business sponsors, patrons, and 43 committee members. The committee is chaired by Barbara Berry.
In an area where trees line the sides of the road and parks are plentiful, the community often overlooks the area’s landscapes and greenery. The Plein Air festival draws attention back to Radnor’s surroundings. “It highlights the beauty of the area,” Craig said of why she loves the festival. “I feel like a guest in my own hometown.”
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