July 26th, 2015
July 23rd, 2015
(Based on an article by Julia Halperin in the Art Newspaper, 20 July 2015. Excerpts below.)
By Victoria Kennedy, Fine Art Consultant
Anyone who is watching the world of modern art will know that street and wall art have become a movement, and a coveted novelty, in the past decade. Along with the over-publicized Banksy, who became collected by celebrities and auction houses worldwide, has grown a new rank of artists challenging the public perception of art as belonging solely on a canvas. Wall art, to say, has become the new thing.
“Collectors have long dismissed wall drawings as intimidating and esoteric, but the technique is gaining visibility—and market traction. Popularized by the conceptual artists Sol LeWitt and Lawrence Weiner in the 1960s, the method is also being embraced by a younger generation, including Wangechi Mutu, Ugo Rondinone and Jeff Elrod.
“Wall drawings could be considered the oldest form of art: the Lascaux Cave paintings in France were created 17,300 years ago. The technique “re-emerges to suit the needs of each cultural moment”, says Claire Gilman, the senior curator of the Drawing Center in New York, which is currently showing a wall drawing by the French artist Abdelkader Benchamma.”
(Part of the Hello Walls installation at Gladstone Gallery, New York. Courtesy of Gladstone Gallery.)
So how does one acquire a wall painting? Where some wall artists have transferred to canvas for the ease of portability and showings, others charge for a certificate of ownership.
“The popularity and market clout of artists like Banksy (whose site-specific works can be sold with a certificate from his studio) and Kara Walker (whose installations of cut paper sell for as much as $500,000) have made collectors more comfortable with works applied directly to the wall. “It’s a bit more of a commitment, but we are seeing more and more people do get there,” Flaum says.
“Installation costs, for example, vary; a text work by Michael Craig-Martin can cost less than $100 (collectors simply order the press type online) whereas a major LeWitt can cost more than $10,000 if the collector has to fly in an estate-approved draftsperson to execute the work. When purchasing a conceptual wall drawing, “we pay for the manifestation of the concept,” says the art advisor Liz Parks. The good news: it is far less pricey to insure a wall drawing certificate than a painting, while storage and shipping fees are non-existent.”
Will wall art last? Or is this simply a re-emergence of a human instinct? Judge for yourself and read more below.
July 18th, 2015
At Gallery MAR, we encourage photography and interact with our gallery guests as they browse our artists’ works. In NYC, interaction with visitors is less common, but when a “selfie-inducing” show premiers one of the most well respected galleries in the world, the Iphones come out… and the visitors start to get (too!) close to the art.
“It’s the biggest selfie-generating show I’ve ever seen,” said docent Alexa West, standing at New York’s David Zwirner Gallery on Tuesday afternoon, in a show devoted to reflective works by De Wain Valentine (b. 1936).
Zwirner has taken the rare step for a commercial gallery of stationing docents at its 19th Street venue; they talk to visitors about the exhibition while reminding them not to touch the fragile works or to draw too near as they explore the show’s selfie potential.
“People want to get as close as possible, so we’re part informational, part security,” said a bespectacled Daniel Pillis, an MFA candidate at Carnegie Mellon who was sporting a necktie.
West is an art student at Cooper Union. They’re hardly the proper elderly women you might think of when you hear the word “docent.”
Zwirner has mounted a lot of highly photogenic shows that have spawned thousands of visitor self-portraits—two exhibitions by Yayoi Kusama in the last two years, and, in 2014, Jordan Wolfson’s show featuring an animatronic dancer in front of a mirror, the ultimate provocation to get out your iPhone.
The Valentine show includes nearly two dozen sculptures by the Colorado-born California Light and Space artist, made in a polyester resin that the artist developed himself. Existing varieties of resin couldn’t be cast at more than 50 pounds, as they were prone to cracking. Working with a scientist, Valentine developed a more durable brand that’s now known as Valentine MasKast Resin.
The docent job is an excellent gig, he and West agreed. “Visitors ask questions, and that leads to more questions, and then you’re in a conversation,” West said.
July 13th, 2015
This weekend, we brought a new show of work to the Summit Series at Powder Mountain, and installed a collection of encaustic paintings by Bridgette Meinhold in an on-mountain, open air “Mirror” gallery. We wanted to make sure to share these beautiful works with our collectors, especially those of you interested in seeing the latest pieces from this Utah-based artist. The show was a resounding success. And we have five new paintings as a result!
You can see the new encaustic paintings, here and click on the thumbnails: http://www.gallerymar.com/artists/bridgette-meinhold/.
Please enjoy the new artworks, and if you have any questions please don’t hesitate to get in touch with the gallery.
July 13th, 2015
The museum’s Great Hall rises 159 feet. Photo via: Dezeen
Courtesy of ArtNet and written by Henri Neuendorf. If you live in Washington D.C., why not grab a towel and a pair of flip flops and head to the “beach”?
The National Building Museum has tapped design agency Snarkitecture to transform its iconic Great Hall into a seaside landscape, complete with an ocean made of over a million transparent plastic balls.
The 10,000 square feet installation, entitled “The BEACH,” also features all-white deck chairs and umbrellas. A mirrored wall creates the illusion of an endless horizon, and there’s even a beach bar where visitors can grab a cold drink.
The museum invites visitors to hang out on the shore, read a book, or indulge in a game of paddle ball.
“Although it is bound to be an entertaining retreat from the summer heat for our visitors, it also turns our understanding of the natural environment on its head and offers us the opportunity to question our own expectations of the built environment and see where pushing the boundaries can take us,” Chase W. Rynd, director of the National Building Museum, said of the installation in a statement.
A visitor relaxes in the installation
Photo via: Dezeen
“We see the commission as an exciting opportunity to create an architectural installation that reimagines the qualities and possibilities of material, encourages exploration and interaction with one’s surroundings, and offers an unexpected and memorable landscape for visitors to relax and socialize within,” Alex Mustonen, Snarkitecture co-founder, added.
The installation includes deck chairs at the “shoreline”
Photo via: Dezeen
“The BEACH” is on view at the National Building Museum, Washington D.C., from July 4-September 7, 2015.