Friday, October 28, 2011
Thursday, October 27, 2011
Tuesday, October 25, 2011
MY FIRST LIMITED EDITION ALISON VAN PELT – Self Portrait X Ray
MY FIRST LIMITED EDITION
ALISON VAN PELT – Self Portrait X Ray
Alison Van Pelt is a Los Angeles, CA artist. Utilizing found images Van Pelt begins the complex process of drawing and painting, then blurring and rebuilding the oil on the canvas, accumulating and disintegrating. Van Pelts work has been exhibited in solo shows at The Fresno Art Museum and The Dayton Art Institute, as well as in galleries throughout the North America and Europe, and is represented in significant public collections, such as the Armand Hammer Museum, the Frederick R. Weisman Art Foundation, the Jumex Foundation in Mexico City, the Los Angeles County Museum of Art, NASA, and the Studio Museum in Harlem.A poster of Van Pelt’s painting Self Portrait, X-Ray.
24″ x 33 1/4″
unframed
Edition of 100
EVERYDAY ART
ART OBJECTS | CURATED GIFTS | SPECIAL PROJECTS
PRINTS | POSTERS | ORIGINAL ARTWORKS |JEWELRY
Ochi Shop is an adjunct of Ochi Gallery, which is located in Ketchum, Idaho.
Since 1974 Ochi Gallery has had the privilege of working with both
contemporary masters and emerging artists.
www.ochishop.com
Monday, October 17, 2011
AH ALLEN : works by louise bourgeois, claes oldenburg, alison van pelt, richard serra, nan goldin, francesco clemente, yoko ono, george condo, brice marden,bernard picasso, william s. burroughs,donald baechler, etc...
AH ALLEN
Product Description:
this huge tribute volume to allen ginsberg was produced to benefit the jack kerouac school of disembodied poetics. LETTERPRESS TYPOGRAPHY BY THE GRENFELL PRESS. INCLUDES RELIEF PRINTS, LITHOGRAPHS, SILKSCREENS, C-PRINTS, DUOTONES, SILVER PRINTS. OUTSTANDING QUALITY.
contains works by and is signed by: brice marden, john giorno, nan goldin, robert frank, arthur miller, antoni tapies, anne waldman, francesco clemente, yoko ono, sebastian guinness, donald baechler, elizabeth murray, bob holman, dennis hopper, joe strummer, terry winters, alison van pelt,
gary snyder, bernard picasso, robert wilson, sandro chia, eileen myles, philip taaffe, robert creeley, gregory corso, george condo, philip glass, john mcnaughton, louise bourgeois, peter orlovsky, gus van sant, robert lavigne, mark dagley, czeslaw milosz, rolf sachs, claes oldenburg, eugene brooks, richard serra, quincy troupe, and gordon ball. signatures of william s. burroughs, louis ginsberg and jack kerouac are stamped. nam june paik and amiri baraka did not sign.
# 53 OF ONLY 200 COPIES . SIGNED BY 41 outstanding ARTISTS POETS AND WRITERS. MAGNIFICENTLY BOUND AND SLIPCASED BY MASTER-BINDER CLAUDIA COHEN
Binding: Hardcover
Edition: 1st & only - limited to 200 copies
Label: a/c editions, new york
Manufacturer: a/c editions, new york
Publication Date: 1998
Publisher: a/c editions, new york
Studio: a/c editions, new york
Features:
- over-the-top quality
- amazing collection of signatures
- brand-new flawless condition
- bound & slipcased by claudia cohen
Sunday, October 16, 2011
Hyperrealism (painting)
Hyperrealism (painting)
Here's the link to this file:
http://en.wikipedia.org/wiki/Hyperrealism_%28visual_arts%29
http://en.wikipedia.org/wiki/Hyperrealism_%28visual_arts%29
Tuesday, October 11, 2011
Hyperrealism
- Hyperrealism
- This article is about the art movement of Hyperrealism. In painting and sculpture, the word "Hyperrealism" describes a photorealistic rendering of people, landscapes, and scenes.
Hyperrealism is a genre of
painting and sculpture resembling a high-resolution photograph. Hyperrealism is considered an
advancement of Photorealism by the
methods used to create the resulting paintings or sculptures. The
term is primarily applied to an independent art movement and art
style in the United States and Europe that has developed since the
early 2000s. [1]
Contents:1. History
2. Style and methods
3. Themes
4. Hyperrealists
5. References
1. History
Belgian art dealer Isy
Brachot coined the French word Hyperréalisme, meaning
Photorealism, as the title of a
major exhibition and catalogue at his gallery in Brussels in 1973. The exhibition was
dominated by such American Photorealists as Ralph Goings, Chuck Close, Don
Eddy, Robert Bechtle and
Richard McLean;
but it included such influential European artists as Gnoli,
Richter, Klapheck and Delcol. Since then, Hyperealisme has
been used by European artists and dealers to apply to painters
influenced by the Photorealists.
Early 21st century Hyperrealism was founded on the
aesthetic principles of Photorealism. American painter Denis Peterson, whose pioneering works are
universally viewed as an offshoot of Photorealism, first used
[2] "Hyperrealism" to apply to
the new movement and its splinter group of artists.
[3] [4]
[5] Graham Thompson wrote "One
demonstration of the way photography became assimilated into the
art world is the success of photorealist painting in the late 1960s
and early 1970s. It is also called super-realism or hyper-realism
and painters like Richard Estes,
Denis Peterson, Audrey Flack, and Chuck Close often worked from photographic
stills to create paintings that appeared to be photographs."
[6]
However, Hyperrealism is contrasted with the
literal approach found in traditional photorealist paintings of the
late 20th century. [7] Hyperrealist
painters and sculptors use photographic images as a reference
source from which to create a more definitive and detailed
rendering, one that often, unlike Photorealism, is narrative and emotive in
its depictions. Strict Photorealist painters tended to imitate
photographic images, omitting or abstracting certain finite detail
to maintain a consistent over-all pictorial design.
[8] [9] They
often omitted human emotion, political value, and narrative
elements. Since it evolved from Pop Art, the photorealistic style
of painting was uniquely tight, precise, and sharply mechanical
with an emphasis on mundane, everyday imagery.
[10]
Hyperrealism, although photographic in essence,
often entails a softer, much more complex focus on the subject
depicted, presenting it as a living, tangible object. These objects
and scenes in Hyperrealism paintings and sculptures are
meticulously detailed to create the illusion of a reality not seen
in the original photo. That is not to say they're surreal, as the illusion is a convincing
depiction of (simulated) reality. Textures, surfaces, lighting
effects, and shadows appear clearer and more distinct than the
reference photo or even the actual subject itself.
[11]
Hyperrealism has its roots in the philosophy of
Jean Baudrillard, ”the
simulation of something which never really existed.”
[12] As such, Hyperrealists create a
false reality, a convincing illusion based on a simulation of
reality, the digital
photograph. Hyperreal paintings and sculptures are an outgrowth
of extremely high-resolution images produced by digital cameras and
displayed on computers. As Photorealism emulated analog photography, Hyperrealism uses
digital imagery and expands on it to create a new sense of reality.
[2] [13]
Hyperrealistic paintings and sculptures confront the viewer with
the illusion of manipulated high-resolution images, though more
meticulous. [14]
2. Style and methods
The Hyperrealist style focuses much more of its
emphasis on details and the subjects. Hyperreal paintings and
sculptures are not strict interpretations of photographs, nor are
they literal illustrations of a particular scene or subject.
Instead, they utilize additional, often subtle, pictorial elements
to create the illusion of a reality which in fact either does not
exist or cannot be seen by the human eye.
[15] Furthermore, they may incorporate
emotional, social, cultural and political thematic elements as an
extension of the painted visual illusion; a distinct departure from
the older and considerably more literal school of Photorealism.
[16]
Hyperrealist painters and sculptors make allowances
for some mechanical means of transferring images to the canvas or
mold, including preliminary drawings or grisaille underpaintings and molds. Photographic
slide projections or multi media projectors are used to project
images onto canvases and rudimentary techniques such as gridding
may also be used to ensure accuracy. [17]
Sculptures utilize polyesters applied directly onto the human body
or mold. Hyperrealism requires a high level of technical prowess
and virtuosity to simulate a false reality. As such, Hyperrealism
incorporates and often capitalizes upon photographic limitations
such as depth of field, perspective and range of focus. Anomalies
found in digital images, such as fractalization, are also exploited
to emphasize their digital origins by some Hyperrealist painters, such as Chuck Close, Denis Peterson, Bert Monroy and Robert Bechtle.
[18]
3. Themes
Subject matter ranges from portraits, figurative
art, still life, landscapes, cityscapes and narrative scenes. The
more recent hyperrealist style is much more literal than Photorealism as to exact pictorial detail
with an emphasis on social, cultural or political themes. This also
is in stark contrast to the newer concurrent Photorealism with its continued avoidance of
photographic anomalies. Hyperrealist painters at once simulate and
improve upon precise photographic images to produce optically
convincing visual illusions of reality, often in a social or
cultural context. [19]
[20]
Some hyperrealists have exposed totalitarian
regimes and third world military governments through their
narrative depictions of the legacy of hatred and intolerance.
[21] Denis
Peterson, Gottfried
Helnwein and Latif Maulan
depicted political and cultural deviations of societal decadence in
their work. Peterson's work
[22] focused on diasporas, genocides
and refugees.
[23] Helnwein developed unconventionally
narrative work that centered around past, present and future
deviations of the Holocaust. Maulan’s work is primarily a critique of
society’s apparent disregard for the helpless, the needy and the
disenfranchised. [24] Provocative
subjects include enigmatic imagery of genocides, their tragic
aftermath and the ideological consequences.
[25] [26]
Thematically, these controversial hyperreal artists aggressively
confronted the corrupted human condition through narrative
paintings as a phenomenological medium.
[27] These lifelike paintings are an
historical commentary on the grotesque mistreatment of human
beings. [28]
[29]
Hyperreal paintings and sculptures further create a
tangible solidity and physical presence through subtle lighting and
shading effects. Shapes, forms and areas closest to the forefront
of the image visually appear beyond the frontal plane of the
canvas; and in the case of sculptures, details have more clarity
than in nature. [30] Hyperrealistic
images are typically 10 to 20 times the size of the original
photographic reference source, yet retain an extremely high
resolution in color, precision and detail. Many of the paintings
are achieved with an airbrush, using
acrylics, oils or a combination of both. Ron Mueck’s lifelike sculptures are scaled much
larger or smaller than life and finished in incredibly convincing
detail through the meticulous use of polyester resins and multiple
molds. Bert Monroy’s digital images
appear to be actual paintings taken from photographs, yet they are
fully created on computers.
4. Hyperrealists
- Robert Bechtle
- Jacques Bodin
- Claudio Bravo
- Juan Francisco Casas
- Hilo Chen
- Chuck Close
- Boris Dragojevic
- Gilles Paul Esnault
- Richard Estes
- Carole Feuerman
- Franz Gertsch
- Duane Hanson
- John De Andrea
- Gottfried Helnwein
- Antonio López
- Ian Hornak
- Mark Jenkins
- David Kassan
- Sebastian Kruger
- Andrey Lekarski
- Nestor Leynes
- Jorge Melicio
- Bert Monroy
- Ron Mueck
- Robert Neffson
- Jerry Ott
- Denis Peterson
- Patricia Piccinini
- Terry Rodgers
- Alicia St. Rose
- Zeljko Srdic
- Suzana Stojanovic
- Dragan Malesevic Tapi
- Paul Thek [31]
- Glennray Tutor
- Alison Van Pelt
- Willem van Veldhuizen
- Paul John Wonner
5. References
- Bredekamp, Horst, Hyperrealism - One Step Beyond. Tate Museum, Publishers, UK. 2006. p. 1
- ^ Thompson, Graham: American Culture in the 1980s (Twentieth Century American Culture) Edinburgh University Press, 2007 P. 77-79
- Jean-Pierre Criqui, Jean-Claude Lebensztejn interview, Artforum International, June 1, 2003
- Thompson, Graham: American Culture in the 1980s Edinburgh University Press, 2007 P. 77-79
- Robert Bechtle: A Retrospective by Michael Auping, Janet Bishop, Charles Ray, and Jonathan Weinberg. University of California Press, Berkeley, CA, (2005). ISBN 978-0-520-24543-3
- Thompson, Graham: American Culture in the 1980s (Twentieth Century American Culture) Edinburgh University Press, 2007 P. 78
- Mayo, Deborah G., 1996, Error and the Growth of Experimental Knowledge, Chicago: University of Chicago Press. P. 57-72
- Chase, Linda, Photorealism at the Millennium, The Not-So-Innocent Eye: Photorealism in Context. Harry N. Abrams, Inc. New York, 2002. pp 14-15.
- Nochlin, Linda, The Realist Criminal and the Abstract Law II, Art In America. 61 (November - December 1973), P. 98.
- New Britain Museum of American Art - Educational Resources
- Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 12.
- Jean Baudrillard, "Simulacra and Simulation", Ann Arbor Mich.: University of Michigan Press, 1981
- Horrocks, Chris and Zoran Jevtic. Baudrillard For Beginners. Cambridge: Icon Books, 1996. p. 80-84
- Bredekamp, Horst, Hyperrealism - One Step Beyond. Tate Museum, Publishers, UK. 2006. p. 1-4.
- Fleming, John and Honour, Hugh The Visual Arts: A History, 3rd Edition. Harry N. Abrams, Inc. New York, 1991. p. 680-710
- Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980.
- Meisel, Louis K. Photorealism. Harry N. Abrams, Inc., Publishers, New York. 1980. p. 12-13.
- Battock, Gregory. Preface to Photorealism. Harry N. Abrams, Inc., Publishers, New York, 1980. pp 8-10.
- Petra Halkes, "A Fable in Pixels and Paint - Gottfried Helnwein's American Prayer". Image & Imagination, Le Mois de la Photo à Montréal, McGill-Queen's University Press, 2005 (ISBN 0-7735-2969-1)
- Alicia Miller, "The Darker Side of Playland: Childhood Imagery from the Logan Collection at SFMOMA", Artweek, US, Nov 1, 2000
- Jean Baudrillard, "The Precession of Simulacra", in Media and Cultural Studies : Keyworks, Durham & Kellner, eds. ISBN 0-631-22096-8
- Thompson, Graham: American Culture in the 1980s Edinburgh University Press, 2007 P. 77-79
- Robert Ayers, Art Critic, “Art Without Edges: Images of Genocide in Lower Manhattan”, Art Info June 2, 2006 [1]
- Daniel Boorstin, The Image: A Guide to Pseudo-Events in America (1992). ISBN 978-0-679-74180-0
- Christoper Ashley, Denis Peterson - Don't Shed No Tears"
- Julia Pascal, "Nazi Dreaming", New Statesman, UK, April 10, 2006
- George Ritzer, The McDonaldization of Society (2004). ISBN 978-0-7619-8812-0
- Christoper Rywalt, "Denis Peterson", NYC Art, June 7, 2006
- Robert Flynn Johnson, Curator in Charge, "The Child - Works by Gottfried Helnwein", California Palace of the Legion of Honor, Fine Arts Museums of San Francisco, ISBN 0-88401-112-7, 2004
- Daniel Boorstin, The Image: A Guide to Pseudo-Events in America (1992). Random House ISBN 978-0-679-74180-0
- During 1967 Paul Thek's exhibition at the Pace Gallery in New York City called Death of a Hippie, [2], predicted the hyperrealist sculptural movement.
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Oil Painting by Robert Dawson, Inspiration - Photorealism and Hyperrealism
Inspiration - Photorealism and Hyperrealism
In thinking about what to paint, I find
myself remembering art movements and artists I discovered in art school.
When browsing art in bookstores and libraries, I tend to initially
gravitate towards more realistic art. And one of the art movements I
loved in art school is photorealism.
Since graduating, it seems that a new variety of that movement has sprung to life called hyperrealism, which essentially takes photorealism to a new level by making a work of art look more realistic than a photograph. This is achieved by adding richer shadows, brighter highlights, and more saturated colors. In the Wikipedia article on hyperrealism above, I found several artists whose work I particularly admire:
What I like about photorealism and hyperrealism is that they showcase technical proficiency. You cannot deny that the artist can paint, draw, or sculpt what he or she sees. (That is, unless they employ technical assistance, like a projector or tracing paper, tricks that may be common and can certainly be justified with a simple, if "immoral," plea to the inherent goodness of technological progress.) You look at their work and instinctively think, "This artist has talent."
However, what I dislike, and more so in the case of photorealism, is that their work typically looks exactly like a photograph. But, so what? The question isn't, "Can you make a painting look like a photograph?" but, rather, "Why should you?" I applaud technical ability, that seemingly basic ability to draw what you see, but such fidelity, while a fundamental of visual art, does not define or encapulate it. Art is more than drawing. Art is also about creativity and ideas.
So, while I deeply admire photorealism and hyperrealism, I find that they lack creativity and, aside from the call to appreciate beauty in the everyday, fail to communicate compelling ideas.
Yet, we can all certainly agree that photorealistic and hyperrealistic art can be visually stunning. With that in mind, here is another gallery of hyperrealistic artists, many of which do offer visually stunning works of art.
Since graduating, it seems that a new variety of that movement has sprung to life called hyperrealism, which essentially takes photorealism to a new level by making a work of art look more realistic than a photograph. This is achieved by adding richer shadows, brighter highlights, and more saturated colors. In the Wikipedia article on hyperrealism above, I found several artists whose work I particularly admire:
- Antonio López
- David Kassan
- Sebastian Kruger
- Andrey Lekarski
- Jerry Ott
- Glennray Tutor
- Alison Van Pelt
What I like about photorealism and hyperrealism is that they showcase technical proficiency. You cannot deny that the artist can paint, draw, or sculpt what he or she sees. (That is, unless they employ technical assistance, like a projector or tracing paper, tricks that may be common and can certainly be justified with a simple, if "immoral," plea to the inherent goodness of technological progress.) You look at their work and instinctively think, "This artist has talent."
However, what I dislike, and more so in the case of photorealism, is that their work typically looks exactly like a photograph. But, so what? The question isn't, "Can you make a painting look like a photograph?" but, rather, "Why should you?" I applaud technical ability, that seemingly basic ability to draw what you see, but such fidelity, while a fundamental of visual art, does not define or encapulate it. Art is more than drawing. Art is also about creativity and ideas.
So, while I deeply admire photorealism and hyperrealism, I find that they lack creativity and, aside from the call to appreciate beauty in the everyday, fail to communicate compelling ideas.
Yet, we can all certainly agree that photorealistic and hyperrealistic art can be visually stunning. With that in mind, here is another gallery of hyperrealistic artists, many of which do offer visually stunning works of art.
Oil Painting by Robert Dawson Inspiration - Photorealism and Hyperrealism
Inspiration - Photorealism and Hyperrealism
In thinking about what to paint, I find
myself remembering art movements and artists I discovered in art school.
When browsing art in bookstores and libraries, I tend to initially
gravitate towards more realistic art. And one of the art movements I
loved in art school is photorealism.
Since graduating, it seems that a new variety of that movement has sprung to life called hyperrealism, which essentially takes photorealism to a new level by making a work of art look more realistic than a photograph. This is achieved by adding richer shadows, brighter highlights, and more saturated colors. In the Wikipedia article on hyperrealism above, I found several artists whose work I particularly admire:
What I like about photorealism and hyperrealism is that they showcase technical proficiency. You cannot deny that the artist can paint, draw, or sculpt what he or she sees. (That is, unless they employ technical assistance, like a projector or tracing paper, tricks that may be common and can certainly be justified with a simple, if "immoral," plea to the inherent goodness of technological progress.) You look at their work and instinctively think, "This artist has talent."
However, what I dislike, and more so in the case of photorealism, is that their work typically looks exactly like a photograph. But, so what? The question isn't, "Can you make a painting look like a photograph?" but, rather, "Why should you?" I applaud technical ability, that seemingly basic ability to draw what you see, but such fidelity, while a fundamental of visual art, does not define or encapulate it. Art is more than drawing. Art is also about creativity and ideas.
So, while I deeply admire photorealism and hyperrealism, I find that they lack creativity and, aside from the call to appreciate beauty in the everyday, fail to communicate compelling ideas.
Yet, we can all certainly agree that photorealistic and hyperrealistic art can be visually stunning. With that in mind, here is another gallery of hyperrealistic artists, many of which do offer visually stunning works of art.
Since graduating, it seems that a new variety of that movement has sprung to life called hyperrealism, which essentially takes photorealism to a new level by making a work of art look more realistic than a photograph. This is achieved by adding richer shadows, brighter highlights, and more saturated colors. In the Wikipedia article on hyperrealism above, I found several artists whose work I particularly admire:
- Antonio López
- David Kassan
- Sebastian Kruger
- Andrey Lekarski
- Jerry Ott
- Glennray Tutor
- Alison Van Pelt
What I like about photorealism and hyperrealism is that they showcase technical proficiency. You cannot deny that the artist can paint, draw, or sculpt what he or she sees. (That is, unless they employ technical assistance, like a projector or tracing paper, tricks that may be common and can certainly be justified with a simple, if "immoral," plea to the inherent goodness of technological progress.) You look at their work and instinctively think, "This artist has talent."
However, what I dislike, and more so in the case of photorealism, is that their work typically looks exactly like a photograph. But, so what? The question isn't, "Can you make a painting look like a photograph?" but, rather, "Why should you?" I applaud technical ability, that seemingly basic ability to draw what you see, but such fidelity, while a fundamental of visual art, does not define or encapulate it. Art is more than drawing. Art is also about creativity and ideas.
So, while I deeply admire photorealism and hyperrealism, I find that they lack creativity and, aside from the call to appreciate beauty in the everyday, fail to communicate compelling ideas.
Yet, we can all certainly agree that photorealistic and hyperrealistic art can be visually stunning. With that in mind, here is another gallery of hyperrealistic artists, many of which do offer visually stunning works of art.
Saturday, October 8, 2011
Interview with WLM Art Advisor Hayley Miner
Hayley Miner gets interviewed
September 3, 2011
Interview with WLM Art Advisor Hayley Miner
Posted on September 1, 2011 by OchiGallery| Comments Off
Hayley in the middle of a Mia Babalis installation at Ochi Gallery New Years EveHayley Miner has worked as an interior designer at her firm, Hayley Miner Design and is currently a partner of WLM Advisors art consulting (wlmadvisors.com). She splits her time between Los Angeles, CA and Sun Valley, ID.
How did you first get interested in contemporary art?
I’ve always been moved by art so I started to go to art fairs around the world. The contemporary art fairs were the most stimulating. The main draw of contemporary art is the accessibility of living artists’ works. As an art consultant, having the chance to talk with them about their work, attend their lectures and see them in their work environment is a plus. As I was looking for art for clients’ homes, it was evident that unless they have heirlooms to display, most of them were interested in collecting vibrant and more accessible works that have significance yet feel current. It’s also hugely inspiring to be in L.A. as it has become the hot center for contemporary art. With its numerous prestigious art schools exploding with talent as well as the impressive number of gallery districts, collecting contemporary art has never been more enjoyable and enriching.
As a contemporary art consultant with an interior designer background, how do you balance “matching art to the couch” with your interest in cutting-edge art?
I don’t! I started my design education at Michael S. Smith Inc. where I was lucky to work with the most talented and celebrated boss as well as the best resources. We would never source art to match anything! The clients I worked with typically had their own impressive collection that we would mine from. If they didn’t, we would scour auctions, art fairs and established galleries to compile collection-worthy pieces. To set the right mood and style for a room, sometimes we do select a piece of work with that in mind, but never because it goes nicely with the sofa or that it has the right colors for the room. That’s objectionable in my design book!! Quality design deserves important art, regardless of color scheme.
What are some of the most important pointers you give to neophyte collectors?
I’m sure most of them have heard the art collecting adage: buy what you love within your budget. I always remind collectors that they have to live with the piece and look at it daily so put your money into a piece that brings you immense joy, lifts your spirits and/or ones that you feel represent your philosophical & social beliefs. Something you would like your children to keep one day would be a bonus. If budget is a main concern, instead of allowing that to stop you, look into photography, prints or works on paper. They are typically more affordable than paintings or sculptures.
Any artists more people should know about?
El Anatsui, Vik Muniz, Katy Moran, Mona Hatoum, Annie Lapin, Alexandra Grant, Alison Van Pelt.
What kind of work are you drawn to?
Difficult work, works that expose the human condition and ones that makes us think or feel deeply. Labor intensive work. Works that require an emotional investment. (I loathe lazy works by artists who give us flimsy slap-ups or works that are intentionally bad).
Who are you personally most interested in collecting now?
Louise Bourgeois, William Wiley, Eric Fishl, Peter Doig, Mark Bradford, Alex Prager, Cecily Brown, Kelly Kleinschrodt.
If there were no constraints (money, availability, access etc.), what piece of art would you most like to own?
It is pure torture to allow only one piece of art! Forgive me if I cheat slightly but…Here are my top 5:
1. Louise Bourgeois’s “Cell (Choisy”) 1990-1993 (a marble house with a guillotine above)
2. A self-portrait by Lucien Freud
3. Cecily Brown’s “Girls eating birds” 2004
4. Gerhard Richter’s painting he did in Japan of bamboo fields (exhibited at Documenta 1992)
5. Andy Warhol’s “Orange Marilyn”
Favorite Ketchum spot for people watching?
A toss up: Outdoor summer concerts and our monthly art walks. At the Avett Brothers concert at the Sun Valley Pavilion this summer, the grooviest bunch of fun loving and impressive dancers were spotted.
Favorite LA spot for people watching?
Culver City gallery opening nights, especially the ones during the September art storm. The most outrageous sartorial choices, dogs in strollers, the most touted L.A. food trucks, celebrities, hipsters and groovy art collectors abound. Besides that, I would say the stretch of Silverlake where Intelligentsia cafe is located. Total hipster central. Joan’s On Third is popular among the fashion and film industry crowds. Oh, and of course, Gjelina resto in Venice.
Favorite Ochi Gallery show?
Young collectors show. I look forward to more of these types of well-curated, fresh and exciting shows. Also, I am obsessed with the newly launched Ochi Shop.
We appreciate that!
Favorite artist quote?
Louise Bourgeois often spoke of pain as the subject of her art, and fear. Her work expresses themes of anxiety and loneliness. About the spiritual and emotional energy that she poured into her work she said, “I’m afraid of power. It makes me nervous. In real life, I identify with the victim. That’s why I went into art.”
Fall shows you’re looking forward to?
Pacific Standard Time – the art event starts in October celebrating the birth of L.A. art scene.
“De Kooning: A Retrospective” at MOMA, opening Sept 18, 2011
Kelly Kleinschrodt’s solo show at Carter & Citizen unveils Sept 10
Frieze Art Fair in London
Art Platform L.A. – Oct 1
Ai Weiwei’s installation of “Circle of Animals/ Zodiac heads” at LACMA
Maurizio Cattelan at the Guggenheim Nov 4
Hayley with a Marilyn Minter
Posted by WLM Advisors
Filed in art fairs, contemporary art, contemporary artists, Los Angeles ·Tags: Ai Weiwei, Alex Prager, Alexandra Grant, Alison Van Pelt., Andy Warhol, Annie Lapin, Art Platform, Avett Bros, Cecily Brown, El Anatsui, Eric Fishl, Frieze Art fair, Gerhard Richter, Katy Moran, Kelly Kleinschrodt., Louise Bourgeois, Marilyn Minter, Mark Bradford, Maurizio Cattelan, Mia Babalis, Mona Hatoum, Pacific Standard Time, Peter Doig, Vik Muniz, Willem de Kooning, William Wiley
Wednesday, October 5, 2011
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