Archives For Galleries

Art that understands the vocabulary of its past always catches my eye. Beth Lipman who shows at the wonderful Claire Oliver Gallery in New York knows still life. Her glass sculpture speaks to that over the top still life tradition of the 17th century where bountiful excess was all the rage. (Wait!!! That seems to be our era as well!) History has a way of repeating itself but not Beth. These are really wonderful works that take this ancient tradition and spin it so that it speaks to us here and now.

Keep an eye out for her exhibition in April 2015.

 

cut_table

pitcher-with-vines-back

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All images via Claire Oliver Gallery

 

 

 

The Work of Beth Lipman

Holland Cotter won a Pulitzer for his reporting on the art world and is one of the voices more should listen to when it comes to the overreaching influence of money on how and why art is made today.

…”Visit art schools or galleries, and you get the impression that a substantial portion of the art world is content to serve as support staff to a global ruling class. The reality is that, directly or indirectly, in large ways and small, the current market system is shaping every aspect of art in the city: not just how artists live, but also what kind of art is made, and how art is presented in the media and in museums”…

…”If archaeologists of the future unearthed the Museum of Modern Art as it exists today, they would have to assume that Modernism was a purely European and North American invention. They would be wrong. Modernism was, and is, an international phenomenon, happening in different ways, on different timetables, for different reasons in Africa, Asia, Australia and South America. Why aren’t museums telling that story? Because it doesn’t sell. Why doesn’t it sell? Because it’s unfamiliar. Why is it unfamiliar? Because museums, with their eyes glued to box office, aren’t telling the story”…

via Lost in the Gallery-Industrial Complex Holland Cotter Looks at Money in Art – NYTimes.com.

Nice profile about the rise of the David Zwirner Gallery and a excellent fly on the wall view into the obtuse workings of the art world by the folks over at The New Yorker.

“One of the reasons there’s so much talk about money is that it’s so much easier to talk about than the art,” Zwirner told me one day. You meet a lot of people in the art world who are exhausted and dismayed by the focus on money, and by its dominance. It distracts from the work, they say. It distorts curatorial instincts, critical appraisals, and young artists’ careers. It scares away civilians, who begin to lump art in with other symptoms of excess and dismiss it as another garish plaything of the rich. Of course, many of those who complain—dealers, artists, curators—are complicit. The culture industry, which supports them in one way or another, and which hardly existed a generation ago, subsists on all that money—mostly on the largesse and folly of wealthy art lovers, whether their motivations are lofty or base”

via The New Yorker article:

Dealer’s Hand

by Nick Paumgarten

via: http://www.newyorker.com/reporting/2013/12/02/131202fa_fact_paumgarten

Yes indeed Amazon Art Marketplace to sell art online again and once again changes the game in online art sales…

New York Times Article Here

Survey which found Online art buying soars as almost three-quarters of collectors go online here

Here is why:

A survey of more than 200 collectors by the international insurance company Hiscox, released in April, found that almost two-thirds had bought art online, without first seeing it in person, and that one-quarter of the collectors surveyed had spent $75,000 or more on works from online sellers or those they had seen only in JPEGs sent by galleries.

“We’ve seen that the price point people are willing to pay is rising,” said Catherine Levene, a co-founder and the chief executive of Artspace, which began selling art online in 2011. The company does not disclose overall sales figures but says that more than 200,000 people are now registered as members. Artworks pushing past the $100,000 mark have been showing up increasingly on the site, which charges a commission from galleries like 303 and Luhring Augustine in New York and Sadie Coles in London. Artspace has sold pieces like an engraved granite bench by Jenny Holzer for $125,000.

via The New York Times

Stephen Daiter Gallery offers fine and vintage examples of important American and European photography from the 20th century. Our areas of specialty are avant garde, experimental, documentary and photojournalism. They include the Chicago School of Design, the Bauhaus, the Photo League, and the André Kertész Estate. Our exhibitions and publications have been by turns interesting, challenging, and controversial. Our publications have stressed fine printing and original scholarship and we delight in bringing art and artists to light that have been heretofore overlooked or unknown.

Daiter Contemporary presents recent work by young, as well as established mid-career artists. These artists reflect the ever changing ideas and looks of contemporary photography and push the rules of how photos are made as well as how they are looked at. Within a separate yet conjoined space Daiter Contemporary maintains a concurrent exhibition schedule alongside that of Stephen Daiter Gallery. Our joint goal is to present the viewing public an opportunity to enjoy the diverse range of photographic art that we represent.

via the gallery web site