Posts tagged with "sculpture"

LongHouse Reserve, East Hampton, 360 MAGAZINE

LongHouse Reserve

LONGHOUSE RESERVE AWARDED $46,756.50 GRANT FROM THE

ROBERT DAVID LION GARDINER FOUNDATION FOR OUTDOOR ART EXHIBITS

LongHouse Reserve in East Hampton has been awarded a $46,756.50 grant from the Robert David Lion Gardiner Foundation. The purpose of the grant is to allow LongHouse to expand its reach into the Eastern Long Island community and beyond with outstanding and affordable cultural and historical experiences. These community outreach efforts center on the undeserved members of the local towns of the East End, primarily the immigrant population and their children. The grant directly assists in defraying rising costs in LongHouse’s Public Art in the Gardens Program, including costs associated with art acquisition, installation, marketing and outreach. 

LongHouse’s Executive Director, Matko Tomicic, says, “A grant from the Gardiner Foundation is a vote of confidence in LongHouse Reserve’s mission to illuminate the unique natural setting and artistic environment that has nurtured and inspired world renowned artists. It is a distinctive cultural designation for the region, nation and the world.”

Public Art in the Gardens is LongHouse Reserve’s year-long exhibition, the cornerstone of the art, garden and educational initiatives. It is open to the public in April and runs through December 2019. Each year, some of the art in the permanent collection is moved to different locations in the garden, providing a fresh perspective and renewed enjoyment to visitors. New art on loan from museums, galleries, artists and collectors is placed throughout the garden. Most of the art is in place for the Rites of Spring Season Opener in April. The placement and installation of the sculpture, often massive in size, is one of LongHouse’s biggest tasks and challenges. 

LongHouse strives to offer the local community programming at little or no cost. Year round programs that benefit from the grant include Rites of Spring, the LongHouse season opener; Family Day, a large community outreach event; Educational Programming, in which over 3,000 schoolchildren visit LongHouse Reserve annually with teachers free of charge; the Student Annual, an art competition that is open to kindergarten through 12th grade students throughout Long Island; Hand in Hand Treasure Hunt, an activity that drives growth of children visiting LongHouse; Garden Programming, or tours of the gardens, and Collaborative Relationships, such as partnerships with other cultural institutions. 

LongHouse uses its website, newsletter, and email marketing to reach its target population. The vibrant social media presence keeps visitors updated on happenings, events, and education programs. LongHouse reaches out to the undeserved members of the community with informal talks, flyers (printed in English and Spanish) and complimentary guest passes to be used during open days. LongHouse has formed an alliance with an English as a Second Language class and offers students and families complimentary bilingual tours. More than half the children who visit LongHouse are from Hispanic and African American households. Outreach events are added to all local media calendars and are featured in newspapers such as The East Hampton Star, The Independent, East Hampton Press, and Newsday. 

About The Robert David Lion Gardiner Foundation

The Robert David Lion Gardiner Foundation, established in 1987, primarily supports the study of New York State history. Robert David Lion Gardiner was, until his death in August 2004, the 16th Lord of the Manor of Gardiner’s Island, NY. The Gardiner family and their descendants have owned Gardiner’s Island since 1639, obtained as part of a royal grant from King Charles I of England. The Foundation is inspired by Robert David Lion Gardiner’s personal passion for New York history.

About LongHouse Reserve 

Long House Reserve in East Hampton, NY exemplifies living with art in all forms. Its collections, gardens, sculpture and programs reflect world cultures and inspire creative life. LongHouse Reserve was founded by Jack Lenor Larsen, internationally known textile designer, author and collector. His home, LongHouse, was built as a case study to exemplify a creative approach to contemporary life. Mr. Larsen believes visitors experiencing art in living spaces have a unique learning experience – more meaningful than the best media.

LongHouse Reserve
133 Hands Creek Road
East Hampton, NY  11937
info@longhouse.org
www.longhouse.org

 

AMERICAN ART TO WEAR

Museum Presents Major Exhibition of Art to Wear

Off the Wall: American Art to Wear – November 10, 2019 – May 17, 2020

This fall, the Philadelphia Museum of Art presents Off the Wall: American Art to Wear, a major exhibition that highlights a distinctive American art movement that emerged in the late 1960s and flourished during the following decades. It examines a generation of pioneering artists who used body-related forms to express a personal vision and frames their work in relation to the cultural, historical and social concerns of their time. Focusing on iconic works made during the three decades between 1967 and 1997, the exhibition features over one hundred one-of-a-kind works by more than fifty artists. Comprised primarily of selections from a promised gift of Julie Schafler Dale, it will also include works from the museum’s collection and loans from private collections. Off the Wall: American Art to Wear is accompanied by a new publication of the same title, co-published by the Philadelphia Museum of Art and Yale University Press.

Timothy Rub, the George D. Widener Director and CEO, said: “This exhibition will introduce to our visitors an exceptionally creative and adventurous aspect of American art which took the body as a vehicle for its expression. We are not only deeply grateful to Julie Dale for her extraordinary gifts and support of the museum but also see this as an opportunity to acknowledge the dynamic role she played in nurturing the growth and development of this movement.”

The champions of Art to Wear during the early years were a few forward-thinking museums, among them New York’s Museum of Contemporary Crafts (Museum of Art and Design), collectors, and galleries such as Sandra Sakata’s Obiko, founded in 1972 in San Francisco, and Julie Schafler Dale’s Julie: Artisans Gallery, which opened the following year on Madison Avenue in New York. For over 40 years, Dale’s gallery was a premier destination for presenting one-of-a-kind wearable works by American artists. Through her gallery installations and rotating window displays, she gave visibility to the Art to Wear movement. In 1986, she brought further recognition to the art form by publishing the seminal book Art to Wear—from which the title of this exhibition is taken—which provided in-depth profiles of artists alongside photographs by Brazilian fashion photographer Otta Stupakoff. Dale’s gallery closed in 2013.

Off the Wall is arranged in nine sections; the titles of some are derived from popular music of the ‘60s and ‘70s to suggest the wide-ranging concerns of the artists. The introductory section, The Times They Are A Changin’ (Bob Dylan, 1964), contains works by Lenore Tawney, Dorian Zachai, Claire Zeisler, Ed Rossbach, and Debra Rapoport to illustrate how textile artists in the late ‘50s and ‘60s liberated tapestry weaving from the wall, adapting it to three-dimensional sculptural forms inspired by pre-Columbian weaving. In 1969, a group of five students at Pratt Institute studying painting, sculpture, industrial design, multimedia, and graphic design taught each other how to crochet, leading to remarkable outcomes. Janet Lipkin, Jean Cacicedo, Marika Contompasis, Sharron Hedges, and Dina Knapp all created clothing-related forms that they would describe as wearable sculpture, thus establishing a cornerstone of the Art to Wear movement. A highlight in this section is a wool crochet and knit Samurai Top, 1972, by Sharron Hedges, modeled by the young Julie Dale for the book Creative Crochet, authored by two of the artist’s friends, Nicki Hitz Edson and Arlene Stimmel.

The next section, Good Vibrations (Beach Boys, 1966), traces the migration of many of these young artists from the East Coast to the West Coast where they joined California’s vibrant artistic community and connected with Sandra Sakata’s Obiko. A pair of colorful denim hand-embroidered mini shorts by Anna VA Polesny embroidered while traveling conveys this new youthful spirit. Pacific Rim influences are evident in the Japanese kimono form as a blank canvas offering infinite possibilities for pattern and design. Katherine Westpahl’s indigo blue resist-dyed cotton work, A Fantasy Meeting of Santa Claus with Big Julie and Tyrone at McDonald’s, 1978, and Janet Lipkin’s Mexico at Midday, a coat made in 1988 are exceptional examples. A range of counter-culture influences, evoking ceremony and spirituality, pervade this section.

Come Together (The Beatles, 1969) responds to the popular use of assemblage in art-making, especially the use of nontraditional materials. It also looks at the art of performance, reflected in Ben Compton and Marian Clayden’s Nocturnal Moth, 1974, inspired by Federico Fellini’s film La Dolce Vita (1960). “Mother Earth,” a nod to the publication Mother Earth News Magazine, looks to nature and environmental concerns while This Land is Your Land (Woodie Guthrie, 1940) explores iconic American imagery including reference to the American West and Native American cultures. Examples in this section include Joan Ann Jablow’s Big Bird cape, 1977, made entirely of recycled bird feathers, and Joan Steiner’s Manhattan Collar, 1979, which reimagines New York’s skyline in miniature.

Other Worlds explores fantasy and science fiction, two genres that offered young people an escape from the period’s cultural and political upheavals. Noteworthy here are works by Jean Cacicedo and Nina Huryn, both of whom riff on one of the most widely read English language books at the time, J.R.R. Tolkien’s trilogy Lord of the Rings (1965). Cacicedo responded with a portrait of Treebeard, 1973, a Tolkien character, while Huryn created her own fantasy world in Tree Outfit, with its flowing pants, loose shirt and leather sleeveless jacket containing forest and folklore imagery, a work made especially for Julie: Artisans Gallery in 1976. Other artists turned to dreams, such as Susanna Lewis, who created Moth Cape, 1979, in response to a nightmare that she had of a giant moth enveloping her body.

A section called I Am Woman (Helen Reddy, 1971) underscores the ways in which artists invoked feminism directly and indirectly in Art to Wear. Janet Lipkin, for example, invested her works with symbols of freedom while searching for new directions in her life, as seen in Bird Coat, 1972, Flamingo, 1982, and Transforming Woman, 1992. Other works like Combat Vest, 1985, by Sheila Perez, feature plastic toy soldiers as protective armor for the chest area, while Nicki Hitz Edson’s Medusa Mask, 1975, is a wild expression of fraught emotions surrounding the breakup of her marriage.

Colour My World (Chicago, 1970) reflects the buoyant rainbow color spectrum that was ubiquitous during this era. Recently published works on color theory by Johannes Itten and Josef Albers provided a cornerstone of the new art education. For Linda Mendelson, color, typography, and text became inseparable. She adapted Albers’s ideas relating to after-images in Big Red, and linked color progression with lines from a poem titled Coat by William Butler Yeats from which she drew inspiration. Other artists such as Tim Harding created an effect similar to impressionist brush strokes by slashing and fraying dyed fabrics, as seen in his colorful coat Garden: Field of Flowers, 1991.

The final section Everybody’s Talkin’ (Harry Nilsson, 1969) explores the use of text in Art to Wear. JoEllen Trilling engages in visual word play using common prepositions on a jacket, while Jean Cacicedo channels her grief over her father’s death using words taken from the bible that celebrated his life in My Father’s House, 1994.

Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costumes and Textiles, who organized the exhibition, said: “We are looking back at this period with a fresh lens through which to consider a uniquely American art form that continues to have a worldwide influence. With roots and connections in fine arts, fiber art, craft, performance and fashion, there are so many important artists to appreciate. For this reason I am delighted by the opportunity to cast a light on such extraordinary talents, including so many adventurous women who deserve much greater recognition.”

Publication
Off the Wall: American Art to Wear is accompanied by a new publication of the same name co-published the Philadelphia Museum of Art and Yale University Press, co-authored by exhibition curators Dilys E. Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costumes and Textiles at the Philadelphia Museum of Art, and independent textile scholar and curator Mary Schoeser, with a contribution written by Julie Schafler Dale. The volume provides the social, political, and artistic context for Art to Wear. ISBN 9780876332917.

Curators
Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costume and Textiles and Mary Schoeser, Independent Textile Historian and Curator

Support
This exhibition has been made possible by Julie Schafler Dale, PNC, The Coby Foundation, the Arlin and Neysa Adams Endowment Fund, the Center for American Art at the Philadelphia Museum of Art, and other generous donors. Credits as of July 8, 2019.

Social Media @philamuseum

Tom Burr at the Wadsworth Atheneum

Portraits by Tom Burr Propel MATRIX Exhibition Series at the Wadsworth Atheneum

Connecticut-born sculptor Tom Burr’s expansive body of portraiture takes a different approach to the relationship between the built environment, material, subjectivity, and historical personalities. Coinciding with the 50th anniversary of the Stonewall Riots and the museum’s presentation of two other portrait centered exhibitions, Tom Burr / MATRIX 182 / Hinged Figures unites a selection of the artist’s reclining figures, several of which are portraits of individuals from queer history and American Modernism. Burr began the series in 2005, and MATRIX 182 constitutes the largest museum presentation of the reclining figures to date. The sculptures will be shown both within the MATRIX Gallery and around the museum, in dialogue with specific artists and architectural spaces, and also at the Austin House.

“I wanted to see the figures spread throughout the different spaces in the museum–spaces that resonate with the history of 20th-century art being shown–but also in other, less expected settings, such as Chick Austin’s house,” says Tom Burr. “I wanted to create a constellation of figures and sites that would engage, in a sense, the museum and the house as a total stage set.”

Burr’s sculptures combine Minimalist forms with figures and material attributes, such as books, magazine pages, notecards, tinsel, and a Chanel dress. He is interested in the way certain figures shape and are shaped by the spaces they inhabit. In this MATRIX project, Burr directly addresses the Wadsworth’s prominent role in the history of Modernism in several portrait subjects, including former director A. Everett ‘Chick’ Austin, and two creatives, writer Gertrude Stein and composer Virgil Thomson. They were commissioned in the 1930s to make the opera Four Saints in Three Acts to inaugurate the newly completed Avery Memorial and its purpose-built theater. Two 33 rpm records of the opera and are featured in Burr’s Chicks, 2008

One foot in the grave (reclining), 2010 references photographer Robert Mapplethorpe whose career is embedded in the Wadsworth’s history.A MATRIX artist in 1984, Mapplethorpe’s work has also been presented in exhibitions in 1990, 2015 and will be included in Be Seen: Portrait Photography Since Stonewall opening June 22, 2019. Burr’s portrait of Mapplethorpe (below) includes a postcard featuring one of the photographer’s black-and-white flower images and a small pile of soil evoking a meditation on illness and the AIDS epidemic.

“Tom Burr’s continual engagement with queer historical figures and modernism identified him as a strong choice for an expanded MATRIX project for the summer of Stonewall 50,” says Patricia Hickson, Emily Hall Tremaine Curator of Contemporary Art at the Wadsworth. “Although most of these sculptures were made some years ago, the personas

they evoke resonate with the Wadsworth’s history in terms of collections, exhibitions, and programming. Burr has remarked on the noteworthy inversion of these departed figures’ ‘return’ to the Wadsworth as memories in the form of sculptures.”

Artist Biography

Tom Burr was born in 1963 in New Haven, Connecticut. Burr has exhibited in group and solo shows throughout the world since 1988, in institutions and museums including the SCAD Museum of Art, Savannah, GA; FRAC Champagne-Ardenne, Reims, France; SculptureCenter, New York, NY; Skulptur Projekte, Münster, Germany; Contemporary Arts Museum, Houston, TX; Nacional Centro de Arte Reina Sofia, Madrid, Spain; The New Museum, New York, NY, and the 2004 Whitney Biennial, Whitney Museum of American Art, New York, NY. The works of Tom Burr are included in numerous private & public collections, including the Art Institute of Chicago, Chicago, IL; Hammer Museum, Los Angeles, CA; The Israel Museum, Jerusalem, Israel; Lenbachhaus Museum, Munich, Germany; Museum of Contemporary Art, Los Angeles, CA; Walker Art Center, Minneapolis, MN; Whitney Museum of American Art, New York, NY.

Related Programs

Tom Burr / MATRIX 182 / Hinged Figures opens during Art After Dark, Thursday, June 6 from 5-8pm, and the artist will give a Gallery Talk at 6:30pm. A docent-led Art In Focus tour of Tom Burr’s Chicks (2008) will take place on Friday, August 21 at noon. Curator Patricia Hickson will lead a Gallery Talk on Thursday, August 29 at noon.

About MATRIX

Inaugurated in 1975, MATRIX is the Wadsworth’s groundbreaking contemporary art exhibition series featuring works by artists from around the world. From its inception, MATRIX has been a forum for art that is challenging, current, and sometimes controversial. Through clear explanation and thoughtful engagement with the viewer, MATRIX exhibitions call into question preconceptions about art and increase understanding of its possibilities. Many MATRIX artists, such as Christo, Sol LeWitt, Gerhard Richter, Cindy Sherman, Andy Warhol, and Carrie Mae Weems are now considered seminal figures in contemporary art.

Exhibition and Program Support

MATRIX 182 is generously supported by the Howard Fromson Exhibition Fund.

The MATRIX program is supported by the Wadsworth Atheneum’s Contemporary Coalition. Sustaining support for the Wadsworth Atheneum is provided by Newman’s Own Foundation and the Greater Hartford Arts Council’s United Arts Campaign

About the Wadsworth Atheneum Museum of Art 

Founded in 1842 with a vision for infusing art into the American experience, the Wadsworth Atheneum Museum of Art is home to a collection of nearly 50,000 works of art spanning 5,000 years and encompassing European art from antiquity through contemporary as well as American art from the 1600s to today. The Wadsworth Atheneum’s five connected buildings–representing architectural styles including Gothic Revival, modern International Style, and 1960s Brutalism–are located at 600 Main Street in Hartford, Conn. Hours: Wednesday-Friday: 11am-5pm; Saturday and Sunday: 10am-5pm Admission: $5-15; discounts for members, students, and seniors. Free admission for Hartford residents with Wadsworth Welcome registration. Free “happy hour” admission 4-5pm. Public phone: (860) 278-2670; website: thewadsworth.org.

 Image:

Tom Burr, Chick, 2008. Plywood, paint, steel hinges, canvas medical straitjacket, white rubber, steel drafting lamp, steel ashtray. Installation view. SculptureCenter, 2008. Collection of Shelley Fox Aarons and Philip Aarons. © Tom Burr.

Art × Blockchain

NYC–Ilon Art Gallery and Intaglio Blockchain will host  Art x Blockchain and The Brave New World, at 204 W 123rd street, on May 16, 2019, from 6-8:30 pm. Email info@workhousepr.com to RSVP for the event. Ilon Art Gallery, which focuses on fine art and photo gallery, is nestled in the heart of Harlem and provides access to an amazing variety artists. Like-minded people assemble at the gallery to view the art in an unique and warm setting, although the gallery is not always open to the public, you can always make an appointment. Intaglio Blockchain provides blockchain as a service for artists, museums, galleries, collectors and auction houses to record authenticity and provenance of objects. These transactions are are date and time stamped, available to the public and cannot be changed. 

A panel of experts in the arts and tech communities will be having a conversation about Blockchain technology and this brave new world. The panel will explore the benefits of having blockchain technology, its potential and why it may be the piece we have been missing since the rise of the digital era. All panelists have years of experience in their fields of art and/or technology, many in both.  The speakers are storytellers within their own mediums whether it is photography, sculpture or writing. 

Moderator:

James Garfinkel is a co-founder of Intaglio Blockchain and a seasoned business entrepreneur with 40 years of experience in finance, art and photography.

Panelists:

Stuart Haber, an experienced cryptographer, is the co-inventor of the blockchain technique for ensuring the integrity of digital data. He functions as Chief Scientist of Intaglio Blockchain. Thanks to him and his co-founder, the integrity of digital data is secured.  

David Burnett, co-founder of Contact Press Images, is a photojournalist with more than five decades of experience.   His past work has included everything from world leaders to Olympic medalists and world conflicts. In the mid 70’s, Burnett focused his camera twice on Bob Marley and now currently on view at ilon Art Gallery, the host venue of our event.  

Phyllis Galembo, a 2014 Guggenheim Fellow, has photographs in various collections, including the Metropolitan Museum of Art. Galembo recent travels  has brought her to South America, Africa and the Caribbean, her current book now hitting store shelves Mexico Maskes | Riturals focuses on tribal peoples of Mexico  

Kevin Abosch works in photography, sculpture & installation, using emerging technologies as a method. His work has been exhibited internationally in museums and civic spaces. They explore ideas surrounding identity, value, and human currency.  

A.D. Coleman is an American critic, historian, educator, photography curator, commentator on new digital technologies. Coleman was the first photo critic for The New York Times, authoring 120 articles during his tenure. His work has been translated into 21 languages and published in 31 nations.

Currently on view at ilon Art Gallery are works by David Burnet form his series Bob Marley: Soul Rebel. All works int he show are tagged by Intaglio Blockchain and on their blockchain (chain.ilon.com*).

Galembo has collaborated with the Ilon Art Gallery and Intaglio Blockchain to offer you a unique editioned work. Xentolo, an image from her new book, and the back cover, and is available to collectors in a limited edition, 14×14 signed print, tagged and on Intaglio Blockchain’s network. Editions 1-10 are discounted, they will be available at the event or at currently at https://www.ilonartgallery.com/store/ucla-intaglio-exclusive-offer.

*Intaglio Blockchain allows for private licensing of blockchains. These chains are still part of the Intaglio Network and as always public, decentralized and unchangeable. Loni Efron, director and owner of ilon Art Gallery, has been certified by Intaglio to put artworks on her subscription chain.  Loni Efron’s certification allows her to enter works only by artists she represents at the ilon Art Gallery. The works of David Burnett and Phyllis Galembo are on the blockchain chain.ilon.com, a subscription by ilon Art Gallery. 

Kevin Abosch seated in front of his artwork Yellow Lambo and I Am a Coin

Malala Yousafzai by Kevin Abosch

          Stuart Haber | Ted X | December 2018

    Xantolo by Phyllis Galembo

                   Bob Marley: Soul Rebel by David Burnett

                       Bob Marley: Soul Rebel by David Burnett

 

*Featured image:  Lift Off, Apollo Xl ,1969 by David Burnett

Top 7 Luxury Items Every Man Should Aspire to Own

No matter where you are in life, what kind of job you have, or what your style is, there are some luxury items that you, as a man, should aspire to own. Many people think that others own luxury items simply for the sake of owning luxury items. However, luxury items serve a much bigger purpose.

When you own the right luxury items, you feel better about yourself. You feel more confident, sophisticated, and ready to take on the world. The right luxury items will make others see you as someone who knows what he wants in life and isn’t afraid to chase after it.

Plus, luxury items are luxury because of their quality and value. They’re something you can make use of again and again throughout your lifetime, without ever looking “outdated”.

So, what luxury items should you have on your wishlist? Read on to learn about 7 luxury items every man should aspire to own.

1. A Luxury Watch

While many people view the suit as the ultimate gentlemen’s luxury item, we’d argue that a luxury watch is just as important. After all, you can add a luxury watch to pretty much any outfit in order to look classier. Watches communicate to the world that you mean business, and you’re not afraid to show it. Plus, watches are a great investment because, if you take care of them, they never depreciate in value. Make sure you select your luxury watch with great care, as you want it to be something that you’ll love wearing almost everywhere you go and with almost any outfit. You should consider what color you want your watch to be, as well as what materials and sizes you like. You’ll also want to think about the functions you want your watch to have. For example, some of these Rolex watches for sale are water-resistant, and therefore also work as dive watches.

2. A Tailored Suit

A tailored suit is one of the first luxury items you should aspire to own if you don’t already, as it’s one that is extremely functional. Whether you are attending a formal party or walking into a business meeting, the suit you wear can totally change the way people view you. You can buy all the manufactured suits you want, but nothing will ever top the look of a well-fitted, tailored suit. Once you slip your suit on for the first time, you’ll know exactly what we mean.

3. Piece of Art

Even if you’re not the “artsy” type, you should still own a high-quality piece of art, be it a painting, sculpture, or photograph.

The right piece of art shows the world that you have refined tastes, that you’re worldly, and that you’re a well-rounded individual. Plus, a piece of art can be an excellent conversation starter. The piece of art you choose can say a lot about your style. And if you’re just starting to put together the look of your place, a piece of art can serve as a great foundation for styling the rest of your home.

4. First Edition of Your Favorite Book

A first edition of your favorite book is much like a piece of art, in that it shows people you’re both worldly and well-rounded. It’s especially impressive because it shows friends, family, partners, and whoever else that you have a loyalty to something, and that you have the dedication it takes to tracking that something down. While a first edition exudes plenty of luxury on its own, it looks best when it’s amongst other books, perhaps sitting on a hand-carved wooden bookshelf.

5. Something Leather

Don’t worry, we’re not suggesting that you try and pull off leather pants. (Although if you can, go for it.) But, we do think it’s important that every man aspires to own a luxurious leather item. There is a leather item out there for everyone’s taste and goals.

For example, if you want to impress people when you walk into a business meeting, go for a leather briefcase. Not only is a leather briefcase sophisticated, but it is also extremely functional, in that it will prevent you from trying to stuff your pockets every morning with your wallet, keys, etc. For those men who want something a little edgier, a leather jacket is a great idea. Trust us, you don’t have to own a motorcycle to pull off a leather jacket. While you can certainly go for the biker look by wearing a white tee and jeans, you can also pair a leather jacket with pretty much any basic tee to make your look more luxurious. A third leather item that you should aspire to own is a leather passport book. Even though it’s not an everyday item, a leather passport is perfect for when you want to take your luxurious style on the road. Plus, covering your passport in quality leather shows the world that you know how to take care of your things.

6. A Cocktail Set

If you’re looking for something luxurious that you can use to entertain guests, a cocktail set is your answer. Even if you’re not a pro yet at slingin’ cocktails, a luxury cocktail set will at least show your guests that you’re serious about entertaining. Make sure your cocktail set has all the staples: a martini shaker, strainers, muddlers, jiggers, stirring spoons, and pourers. With these items, you’ll be able to make pretty much any drink that’s requested.

7. Writing Desk

If there’s one piece of furniture that screams luxury, it’s a nice writing desk.

Sitting at your writing desk is way more luxurious than sitting on the couch with your laptop propped up on your knees. Plus, writing desks can help increase your productivity. For the ultimate luxury, buy a writing desk that is hand carved out of wood. So, there you have it, the 7 luxury items every man should aspire to own. Is there something on this list that you’re already saving up for? Let us know in the comments below.

Lionel Smit’s Divide Exhibition

By Krishan Narsinghani

As of late, South African Artist, Lionel Smit, hosted his first solo show on the West Coast of the United States of America in Los Angeles, CA. 360 Magazine had the opportunity to join Smit for his pre-night & VIP showing to discuss his art work and upbringing as a Caucasian male in South Africa.

The exhibition featured work from his studio in Cape Town, South Africa as well as his previous solo exhibition OBSUCRA, held at the Museum of Contemporary Art in Miami. This being the first of his work to be released commercially.

Smit was born in Pretoria, South Africa and later moved to Cape Town. There, he discovered his passion for the culture and history behind the city, specifically with the Cape Malay women. Smit explains how these individuals are genetically created in the sense that there is a mixture between the European, African and Malaysian bloodlines. This discovery can be related to many other countries which Smit used as a starting point to spark conversations on who we are and where we are going on an emotional level.

During the interview, Smit touched on his experience during apartheid as a White South African and explained, “everyone knew what was happening… but you lived in this bubble… and there was a whole generation that wasn’t responsible for it but still went through the same kind of motions. My idea was to steer away from that and create something that’s more universal and speaks to us on a universal level.”

Smit’s art will be available at ArtLife Gallery, located at 655 N. Robertson Boulevard in West Hollywood until October 28th.

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The Untitled Space × Defining Form

DEFINING FORM
A Group Show of Sculpture Curated by Indira Cesarine

RECEPTION: July 11, 2018
VIP + PRESS PREVIEW (by invitation) 4pm – 6pm //
OPENING RECEPTION 6pm – 9pm

EXHIBITION ON VIEW
July 11, 2018 – August 1, 2018

THE UNTITLED SPACE

45 Lispenard Street Unit 1W New York, NY 10013

The Untitled Space is pleased to present “DEFINING FORM,” a group exhibition of contemporary artists exploring 2 and 3-dimensional sculpture opening on July 11, 2018 and on view through August 1st, 2018. Curated by Indira Cesarine, “DEFINING FORM” takes a comprehensive look at the manifestations of contemporary sculpture today, engaging a dialogue of the narratives resonating amongst sculptors through works in mediums such as metal, stone, clay, wood, glass, textiles, recycled and repurposed materials, as well as mixed media.

DEFINING FORM presents figurative and abstract works by over 50 emerging and established artists. The group show investigates progressive themes in sculpture, including contemporary feminism, gender identity and political art, as well as new technologies in digital sculpture, with an emphasis on originality and innovative usage of materials. Technological advances in fabrication and digital sculpture have had a massive impact on the art form over the past few decades. Classic techniques such as chiseling stone and casting in bronze have shifted towards new technologies such as 3-D printing, materials such as silicone, plastics, and textiles as well as found, recycled and re-purposed materials. The domination of large-scale works has given way to delicate and intimate pieces as well as a wave of sculptural installations that deconstruct notions of space and form. Artists are pushing the boundaries of the art form integrating components of sound, video, light and performance as well as painting, photography and other mediums.

As the art form evolves in new directions with the impact of contemporary culture, it has transcended from the conventional portrait to works that challenge the status quo, address gender identity and racial stereotypes, LGBTQ ideologies and queer constructs, explore themes of the resistance movement as well as progressive feminist narratives and activism. Exhibit DEFINING FORM presents the new narrative of sculpture with works that interrogate ideologies of the art form, pushing forward experimental works that engage all of our senses and ignite fresh dialogues.

EXHIBITING ARTISTS

Alexandra Rubinstein, Andres Bardales, Ann Lewis, Arlene Rush, Barb Smith, Christina Massey, Colin Radcliffe, Cristin Millett, Daria Zhest, Desire Rebecca Moheb, Dévi Loftus, Elektra KB, Elizabeth Riley, Emily Elliott, Gracelee Lawrence, Hazy Mae, Indira Cesarine, Jackie Branson, Jamia Weir, Jasmine Murell, Jen Dwyer, Jennifer Garcia, Jess DeWahls, Jocelyn Braxton Armstrong, Jonathan Rosen, Kacy Jung, Kate Hush, Kelsey Bennett, Laura Murray, Leah Gonzales, Lola Ogbara, Maia Radanovic, Manju Shandler, Meegan Barnes, Michael Wolf, Nicole Nadeau, Olga Rudenko, Rachel Marks, Rebecca Goyette, Ron Geibel, Ronald Gonzalez, Roxi Marsen, Sandra Erbacher, Sarah Maple, Seunghwui Koo, Shamona Stokes, Sophia Wallace, Stephanie Hanes, Storm Ascher, Suzanne Wright, Tatyana Murray, Touba Alipour, Whitney Vangrin, Zac Hacmon

CURATORIAL STATEMENT

“What is sculpture today? I invited artists of all genders and generations to present their most innovative 2 and 3-dimensional sculptures for consideration for DEFINING FORM. After reviewing more than 600 artworks, I selected sculptures by over 50 artists that reflect new tendencies in the art form. DEFINING FORM artists defy stereotypes with inventive works that tackle contemporary culture. Traditionally highly male dominated, I was inspired by the new wave of female sculptors making their mark with works engaging feminist narratives. The artworks in DEFINING FORM explode with new ideas, vibrant colors, and display a thoroughly modern sensibility through fearless explorations of the artists and unique usage of innovative materials ranging from fabric, plastic, and foam to re-purposed and found objects including chewing gum, trash and dirt. Recycled materials are celebrated along with works engaging new digital technologies. The exhibit displays works that are politically charged, contrasted with those full of satire and humor. In the investigation of new tendencies, I felt it was important to juxtapose figurative works with the abstract, new materials with the classics, creating an immersive exhibit that defines new trends in sculpture and contemporary constructs of the art form.” – Indira Cesarine

Official Exhibit Website: http://untitled-space.com/defining-form-a-group-show-of-sculpture

The Untitled Space

www.untitled-space.com

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British Ceramics

Last chance to see British Ceramics! Exhibition closes Saturday 26 May 2018.

Twenty seven works by:

Godon Baldwin

Joanna Constantinidis

Hans Coper

Ruth Duckworth

Ian Godfrey

Gwyn Hanssen Pigott

Ewen Henderson

Jennifer Lee

Lucie Rie

James Tower

John Ward

The exhibition is fully illustrated on our on our website.

Opening hours:

Tuesday to Saturday 10am-6pm

ONE YEAR OF RESISTANCE

Critically acclaimed exhibition ONE YEAR OF RESISTANCE returns this April with a benefit auction hosted by ARTSY. Celebrate art for activism with works by more than 65 emerging and mid-career artists including Ann Lewis, Grace Graupe-Pillard, Rebecca Leveille, Michelle Pred, Indira Cesarine, Signe Pierce and Parker Day, among many others. Every work sold goes toward supporting the American Civil Liberties Union (ACLU) and its mission to defend and preserve the rights and liberties guaranteed by the constitution of the United States. 

The ARTSY benefit auction features artwork across all mediums addressing the issues our society has been confronted with such as immigration rights, health care, reproductive rights, climate change, transgender rights, white supremacy, gender equality, gun control and more. It will additionally feature many new works by artists of the ONE YEAR OF RESISTANCE exhibition.

Bidding opened today at 12 noon and will close on April 19th at 5pm! Head over now to bid and help raise funds for the ALCU. 

ONE YEAR OF RESISTANCE BENEFIT AUCTION ARTISTS: 

Alexandra Rubinstein, Alyson Provax, Ann Lewis, Anna Rindos, Annika Connor, Anya Rubin, Bradford Scott Stringfield, Cabell Molina, Camilla Marie Dahl, Danielle Siegelbaum, Daryl Daniels, Desdemonda Dallas, Desire Moheb Zandi, Dessie Jackson, Diana Casanova, Dolly Faibyshev, Domenica Bucalo, Eleni Giannopoulou, Elisa Garcia de la Huerta, Elise Vazelakis, Erin Victoria Axtell, Fahren Feingold, Gabriela Handal, Grace Graupe Pillard, Hannah Stahl, Indira Cesarine, James Hsieh, Jamia Weir, Jamie Martinez, Jen Dwyer, Joanne Leah, Joel Tretin,Kate Hush, Katya Kan, Kristin Malin, Kristin O’Connor, Leah Schrager, Leslie Kerby, Leslie Sheryll, Lola Jiblazee, Lola Ogbara, Manju Shandler, Marne Lucas, Mary Tooley Parker, Michael Reece, Michele Pred, Miss Meatface, Nichole Washington, Olga Filippova, Olive Allen, Panteha Abareshi, Parker Day, Rada Yakova, Rebecca Leveille, Rosary Solimanto, Rosemary Meza-DesPlas, Rute Ventura, Sarah Dillon, Signe Pierce, Stephanie Hanes, Tatana Kellner, Tommy Mitchell, Touba Alipour, Valerie Carmet, Valery Estabrook, Vanessa Teran, Yuri Murphy

VIEW AUCTION CATALOGUE

BID NOW ON ARTWORKS

 

 SELECT PRESS ON
“ONE YEAR OF RESISTANCE”

Vogue 
“The Untitled Space Gallery Checks In With Nasty Women, One Year Later

CNN
“Artists mark Trump’s inauguration anniversary with day of protest art”

The Guardian
“One Year of Resistance: the exhibit chronicling the year in anti-Trump art” 

INTERVIEW
“What One Year Of Resistance Looks Like In The Art World”

New York Daily News
“Trump’s America reflected in ‘One Year of Resistance’ art show” 

Good Trouble
“White Lies: One Year of Resistance”

Metro News
“80+ artists commemorate ‘One Year of Resistance’” 

 

 

“impulses, restraints, tones”

“impulses, restraints, tones” New Compositions by Hannah Quinlivan

Opening Reception: March 1, 2018, 6-8pm
Exhibition Dates: March 1 – April 20, 2018

February 16, 2018 (New York, NY) – JanKossen Contemporary is pleased to present impulses, restraints, tones an exhibition by Australian contemporary artist, Hannah Quinlivan. impulses, restraints, tones is the artist’s first exhibition in New York and will be on view from March 1 – April 20, 2018 with an opening reception on March 1 from 6-8pm.

Best known for her work within the movement of experimental drawing, Quinlivan expands upon the medium to create drawings that employ wire, steel, salt, yarn, shadow, and LED light, constantly evolving and dissecting the elements of a drawing to investigate the confines of the line itself. Twisted wire structures are the basis for her shadow drawings, which Quinlivan later develops further into sculptures; 2D drawings turn into 3D drawings, that are then turned back into 2D drawings. With a deep commitment to the exploration of and innate response to her materials, Quinlivan composes lyrical artworks that stitch together a response to the passing of time. Each element of the work is endlessly translated into an infinite looping web; traveling through our consciousness and drawing attention to the subjectivity of the phenomena of recollection and forgetting.

impulses, restraints, tones exhibits brand new “Spatial Drawings,” as well as two delicate, yet powerful, site-specific and interactive installations that respond to the gallery space and flux of bodies within it. The well-known “Spatial Drawings” walk the line between sculptural weaving and graphic mark making and explores concepts of temporal reality and memory. Quinlivan’s “Spatial Drawings” performance develops from wire armatures suspended from the ceiling. The shadows of these wire armatures are the basis for Quinlivan’s live and in-person crystalline salt drawings that will be developed over the course of three weeks during exhibition.

This work, shown for the first time in New York City, forms part of a series of site-specific ephemeral drawings Quinlivan has been making in Cambridge, Berlin, Hong Kong, Australia, and Colorado from since 2016.

Curator Marguerite Brown, explains “Linear threads and their manipulation have for millennia been symbolically connected to notions of time. The Moirai of ancient Greek mythology, also known at the Fates, were three goddesses who through the act of spinning thread with distaff and spindle, controlled the life of every person from birth to death, when their thread was abruptly cut. Similar female deities exist in Roman, Norse and Slavic mythologies, where thread is consistently wielded as a manifestation of destiny. As such, a simple strand and the way it is stretched, allotted and truncated, became an ancient way of comprehending the movement of a human life through time.”

ABOUT HANNAH QUINLIVAN
Hannah Quinlivan, named by BMA Magazine as one of the Six Canberra Artists to watch in 2018, was a finalist for the 2014 Alice Prize and has received such prestigious accolades as the Canberra Critic Circle Award, Shire of East Pilbara Residency Award, Cox Prize, Don Moffat & Cecilia Ng award, People’s Choice Award, Megalo Print Studio and Gallery Residency Award, and the Jan Brown Drawing Prize. She has exhibited major presentations at Canberra Museum and Art Gallery, Canberra; National Portrait Gallery, Canberra; Colorado State University, Fort Collins; Cambridge University, London, Pembroke College, Cambridge; Deakin University, Melbourne; The Hong Kong Harbourfront, Hong Kong; and Kuala Lumpur Biennale, National Art Gallery of Malaysia, Kuala Lumpur. She is in such prestigious public collections as National Gallery of Australia, Gregory Allicar Museum, The Australian High Commission (Singapore), Philip Cox Collection, Deakin University, The Australian National University, KPMG Art Collection, Gaw Capital collection, Colorado State University, Megalo Print Studio + Gallery, Shire of East Pilbara, Ormond College Collection. She was recently selected by the curators of Urban Art Projects to create a major public art commission where her work will be featured on the glazed screen of every platform of the Canberra Light Rail network.

ABOUT JanKossen
JanKossen Contemporary, founded in 2009 by Dr Jasmin Kossenjans, is an international dealer of contemporary art representing artists working across disciplines. Its principal focus is the representation of an international group of contemporary artists whose diverse practices include painting, drawing, sculpture, video, large scale installation, and performance. Aside from its represented artists, the gallery collaborates directly on exhibitions and projects with other artists and guest curators. The gallery is committed to presenting its artists’ work in an international context and to firmly establishing their contributions to the cannon of art history. Gallery artists are in the collections of, and have been part of exhibitions at, many museums around the world. Their works have been widely published as artist monographs, in art journals, and among critical theory texts. The gallery operates in Basel, Switzerland; Venice, Italy; New York, NY; and will open a new exhibition space in Hong Kong in 2019.

Related Events
Opening Reception
March 1, 2018
6-8pm

Daily Performances
March 1 – 17, 2018
1-3pm

Artist Talk and Final Performance
March 17, 2018
6-8pm

Location
JanKossen Contemporary
529 W 20th Street, 7th floor, 7W
New York, New York 10011

Gallery Contact
Karen Gilbert
Karen.gilbert@jankossen.com

Media Contact
Lainya Magaña, A&O PR
347 395 4155
lainya@aopublic.com