the M magazine Vol. 19 No. 3

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Mina Cheon 007 Ms. Kim, 2013. Acrylic on canvas. 48 x 36 x 1.5 inches.

Courtesy: Ethan Cohen Fine Arts, New York.

in the art world i n t h e A r t w o r l d .co m

Vol. 19

No. 4

A Stylish Gateway to the Lower East Side 151 East Houston Street, Lower East Side, NY tel 212-777-0012 www.hoteleasthouston.com

From the Publisher

Iof news delivered in print may seem some-

M

n today’s ephemeral internet age the notion

what anachronistic, but the axiom still rings true, “If it ain’t in print, it didn’t happen.” Our collective attention span is such that what gets tweeted today is forgotten tomorrow, if not sooner. What you read in print, however, stays with you; as if to confirm that it did indeed happen.

With this thought in mind, in this issue we call your attention to several noteworthy galleries that have opened recently in New York, and some that have moved or closed as well. And through interviews, essays and art reviews, we present a snapshot of where the art world is today, from a New York perspective.

Among these interviews, Ting Chen speaks with art fair impresario Nick Korniloff, during the launch of Art New York, together with the fair’s director, Katelijine De Backer. And Julian Lennon, son of John Lennon, discusses his interest in photography with Caryn Kunkle, at the Emmanuel Fremin Gallery in Chelsea. Beyond New York, Elga Wimmer reports from Miami on the winter edition of Art Basel. These are just a few of the insightful articles to be found in these pages.

EDITORIAL

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Art In Brief

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Discussion

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32

Art In Review

Artist Talk

Thank you for reading, and best wishes for an exciting and prosperous New Year!

M. Brendon Macinnis

M intheArtworld.com

LISTINGS

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New York City

44

International

43

National

Vol. 19, No. 4, 2016 ISSN 1534-5394

Publisher/ M. Brendon MacInnis • Executive Editor/ M. Brendon MacInnis • Membership Director/ Lotus Lien•Contributing Writers/ Camille Hong Xin/ Elga Wimmer/ Lee Klein/ Robert Curcio/ Jonathan Goodman/ Douglas Turner • Web Development/ Jason Goodrow • Graphics Print/ Orin Buck/ • Interns/ Jeanea Walker / Evelyn Wang/ Fina Yeung Asia Bureau • Editor/ Vivi Ying He email/ vivi@i n t h e A r t wo r l d .com

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DIRECTORY

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Art Services

The M magazine is published quarterly, four times a year, and the companion M art maps are published bimonthly, six times a year. All requests for permission and reprints must be made in writing to the editor.

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Art In Brief In this space we take a look at recent notable exhibitions and news items in New York.

Lower East Side

Lichtundfire “Everything that makes a mark or a stain, I consider paint. Painting is, among other things, philosophy made manifest.” So says Augustus Goertz, the New York born artist that Priska Juschka chose for the inaugural show of her new gallery, Lichtundfire, located in the former space of the Lynch/Tham gallery in the LES. Goertz, who studied in San Francisco,

Augustus Goertz, exhibition installation shot.

Courtesy: Lichtundfire, New York

with Bruce Nauman and Jay de Feo — the latter a visual artist associated with the Beat generation — returned to New York City in the 1970’s.

His work in this show, Visceral Velocity or the Emotional Speed of Things, reveals the process of production, using paint mixed with chemicals and other nontraditional materials that give evidence of the moment of creation. The gallery’s stated focus is to show mainly contemporary art, while occasionally giving renewed attention to artists from other periods. In this regard, this show bodes well for the future.

Dutton New York dealer Sonia Dutton has opened a new gallery space in the LES (See listing).

Lucien Terras. Long time dealer Lucien Terras (formerly D’Amelio Terras Gallery) has relocated from Chelsea to the LES, on Broome Street.

James Cohan Adding to his flagship gallery in Chelsea and his impressive outpost in Shanghai, James Cohen has opened a third gallery space in the LES. Explaining his latest move to The New York Times, Mr. Cohen says “The Lower East Side is associated with showing younger artists...” But that’s likely to change soon as more heavyweights move in, and bargain rents disappear. In this regard, “gallery buildings, ”where budget minded galleries look for lower rents in the upper floors of industrial buildings — which up to this point were more common in Chelsea — has already begun to gain acceptance in the LES.

Joe Sheftel After a three year run, Joe Sheftel has closed his LES gallery to take a museum job in LA.

Tara Bogart Nadya 2015. Archival pigment ink print, 20 x 16 inches. Courtesy: Elizabeth Houston Gallery, New York

Galerie Richard Dealer JeanLuc Richard has moved from Chelsea to the LES, opening a large ground floor space on Orchid Street (See listing).

gallery molly krom Molly Merson has closed her galley space in the LES to focus on curating shows and participating in international art fairs.

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Elizabeth Houston Owned and directed by Elizabeth Houston, former owner of Hous projects art gallery, Ms Houston has opened a new ground floor gallery in the LES that provides visibility for both emerging and established artists(See listing).

William Bradley There is a Field 2016. Oil on canvas, 84 x 120 inches. Courtesy: Galerie Richard, New York

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Pierogi Founded 1994 in Williamsburg, Brooklyn, by owners Joseph Arnheim and Susan Swenson — and serving as a cultural anchor to that neighborhood’s pre-gentrified gallery scene — Pierogi Gallery has moved to the LES. (See listing).

The gallery’s satellite exhibition space, the BOILER, located in a former factory boiler room with

Patrick Jacobs Double Stump with Rustgill Mushrooms, 2015.

47 x 32 x 29 cm. Courtesy: Pierogi Gallery, New York

Jonathan Schipper The Slow Inevitable Death of American Muscle 2007-2009. Mixed Media, Dimensions variable, Multiple of 3.

Courtesy: Pierogi Gallery, New York

35-foot ceilings that allows for large-scale sculpture, painting, and installation exhibitions, will remain in Williamsburg.

Pierogi features the work of emerging and mid-career artists in an eclectic range of media; from the conceptual drawings of Mark Lombardi to the multi-media works of Jonathan Schipper, and the large-scale paintings of Yoon Lee, to the panoramic and filmic drawings of Dawn Clements. The gallery also features curated exhibitions such as the well received

Dead Tree installation (a recreation of the Robert Smithson work originally shown in Dusseldorf’s Kunsthalle, 1969).

The gallery also features an extensive Flat Files collection that dates back to 1995.

For its inaugural exhibition in the new LES space, Pierogi presents Rage for Art (Once Again), a group show including recent work by gallery artists and others, with pieces ranging from an interactive installation, large scale works on paper, an “Exploding Box” sculpture and more. i n t h e Artworld.com

Minerva's Drawing Studio Formerly known as Spring Studio, for its previous basement location on Spring Street in Soho, Minerva Durham, the spritely octogenarian artist who founded the nonprofit drawing studio back in 1992 decided on a more apt name, Minerva’s Drawing Studio, to mark the inaugural of the studio’s new LES location at 293 Broome Street (See listing).

A professional art studio offering ongoing life drawing sessions from live models, Minerva’s Drawing Studio is a refreshing anormality in today’s Lower East Side, where the combined forces of gentrification, real estate speculation and cut-throat competition among a new breed of gallery dealers chasing the same collector base pie has already left the soul of the neighborhood wanting.

So when an institution with a soul moves in, that’s good news.

Minerva Durham, founder of Minerva’s Drawing Studio, which was formerly known as Spring Studio. New York, 2016.

Photo: Macinnis

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Minerva Durham, founder of Minerva’s Drawing Studio, which was formerly known as Spring Studio, shown at a performance reading at the studio’s previous basement location in Soho, before moving to the LES. New York, 2015. Photo: Macinnis

The relocation of Minerva’s Drawing Studio was made possible in large part through the help of the Chengzhong Culture and Education Focus Foundation, which awarded Ms Durham an Artist of the Year grant. In presenting the award, John Sui, president of the Foundation said “This award a tribute to your courage, resilience and resourcefulness in preserving a precious segment of New York's — and America's — artistic life and heritage. Your valiant and successful effort to find a new home for the precious work you do is, like your life and your life drawing classes, an inspiration to everyone who struggles to make art an essential part of each day's life.”

On a poignant note, shortly after re-opening at the new location, Ms Durham suffered a stroke, on January 19. An avid writer, while recovering in hospital, she penned this essay letter to her supporters: 6

Epiphany in the Hospital Gym, February 8, 2016 I encountered Faith today — Belief, that intangible, formless Grace that is the subject and object of all religious practices, said to be possessed in great measure by virtuous beings, seemingly rejected by wicked beings, avidly sought after by penitents, and passively tolerated and ignored by everyone else.

It was invisible, but it was near me somewhere in the surrounding air. I had never before felt it, although in hindsight I am sure that it had been with me almost always during my life until I had a stroke from a blood clot that lodged in my lower brain.

The clot must have knocked Faith out. I lost it suddenly, not ever having known what Faith is nor where it resides, and not ever having realized that it was accompanying me all along since my beginnings. i n t h e Artworld.com

After the stroke I couldn't walk, my speech was slurred, I couldn't touch my pinky to my thumb and I couldn't draw a straight line. I thought to myself, "It's good that you've spent your life up to this point drawing and painting and being in the company of artists and models and friends who nourish themselves with music, theater, poetry and the spoken and written word.

It's all right if you can never draw again; you can still write your memoirs by typing with one finger."

At the hospital I spend every morning in the Acute Rehabilitation Center with a physical therapist. I walk up and down stairs with a cane while holding on to a railing, so that I will be able to go home and walk up the five flights of stairs that I have been negotiating at least once a day for 38 years.

Today in the rehab gym the therapist had me take one practice

step up onto a platform with only a cane but no railing. I was conscious of the drab and colorless hospital surroundings, unsure of my balance, and afraid that I couldn't take the step. Fear was no more tangible than Faith, I found. It was just there, by my side, accompanying me.

I tried to be positive, focusing my concentration on the task, taking in a deep breath and imagining the step as though I had already taken it successfully. "You need to choose," I told myself. "Believe that you will stay steady." Exhaling, I lifted my foot up, only to be overwhelmed by fear as my thighs pulled my body up. My foot contacted the platform and I wobbled. I caught myself as the therapist reached over to steady me. I imagined a downward spiral that described what the lack of Faith might look like, from insecurity to fear to panic, like the rungs of hell, each stage worse than the previous one.

Lower East Side

GR Gallery Focussed on the avante-garde movements of Kinetic, Programmed, and Optical art, the inaugural of GR Gallery earlier this year presented an un-depth survey of the most important artists in this genre, from the 1960s through today. The group exhibition, The Sharper Perception: Dynamic Art, Optical and be- yond, curated the gallery’s co- founder, Giovanni Granzotto, has been extended through March 20, 2016 (See listing).

"You've lost Faith," I told myself. Then, I commanded myself, "Find it."

Then, all of a sudden I realized that Faith is to be found in the act of breathing, that every breath taken in is an act of Faith, and that Faith is the air itself, always present.

Love, Minerva

Minerva Durham, Marie, March 1, 2016. Drawing of home healthcare worker.

Jorrit Tornquist, Vestito Cerimoniale Della Mongolia, 1992.

Acrylic on folded canvas, 47.2 x 27.5 inches.

Courtesy: GR Gallery, New York

LMAKgallery As an art curator in 2005, Louky Keijsers created LMAKprojects — an abbreviation of Louky’s full name, Louky Marie Antoinette Keijsers — to give emerging international artists a space to develop professionally while connecting with new audiences. Earlier this year the gallery re-opened at a new LES address, 298 Grand St., with an inaugural exhibit of video artist Claudia Joskowicz’s Los rastreadores (2014).

The work adopts the story line of the1956 Fred Zinnemann Western The Searchers as an allegory of Bolivia in the 1980s economic depression in the i n t h e Artworld.com

broader context of Latin American political turmoil, as myth and perception.

Instalation shot of Zig Zag Zim, Part 1, 2/26 - 3/ 20, 2016.

Courtesy: Catinca Tabacaru Gallery, New York.

Catinca Tabacaru One of the most interesting of the younger LES galleries — having opened her ground floor space on Broome St. in 2014 — founder Catinca Tabacaru runs her gallery like an artist collective and the result is a program that is much more creative and risktaking than the typical market driven gallery. In parallel to this LES space, Ms Tabacaru also started an artist residency in Zimbabwe in 2015. The current show, Zig Zag Zim, which runs through April 17, (parts 1 and 2), evolved from that residency program (See listing).

Cindy Rucker Gallery This twoperson show, Charles Dunn / Rusty Shackleford, juxtaposes traditional and non-traditional approaches to painting. On view through April 3, 2016 (See listing).

JCharles Dunn, Untitled, (From Charles Dunn / Rusty Shackleford exhibition, 2016). Courtesy: Cindy Rucker Gallery, New York

Laurel Gitlen Galley After an impressive ten year run, owner/ director Laurel Gitlen has closed her LES gallery at 122 Norfolk St. She can still be reached by phone and email in the coming months at 212 274 0761, email: gallery@laurelgitlen.com 7

Mine read

Woodward Gallery Before the art world started beating a path to the Lower East Side, as the next Big Thing, the mom and pop operation of the Woodward Gallery, which began 1994 in Soho, quietly paved the way to the LES, purchasing a building on Eldridge St., and turning its cavernous ground floor and basement into a veritable museum space. Owner/ direc-

Woodward Gallery, street view. Lower East Side, New York.

Courtesy: Woodward Gallery

tor Kristine and her husband John Woodward, who curates the shows, are a natural fit to the neighborhood, presenting important works by New York East Village artists of the 1980s, along side emerging new contemporary artists of today. It’s spring show, BK Foxx: Kingdom, by street artist BK Foxx runs through May 7.

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KANSAS Another newcomer to the LES, KANSAS Galley moved here from lower Soho around the start of this year, and seems off to

Clay Ketter Recalcitration, 2016. Installation view.

Courtesy: KANSAS Gallery, New York

a running start. Its latest show, Clay Ketter's Recalcitration, is the artist’s first solo show with the gallery, and repurposes common materials, questioning the implied meaning of their content. The exhibition runs through April 3.

Soho

West Broadway Gallery Neil Jenney, owner of the Jenney Archive LLC, has opened a new gallery in Soho, located on West Broadway and aptly named, West Broadway Gallery. The inaugural show featured works by the American sculpture, Robert Lobe, together with Jenny.

The next show will feature John Duff.

Lynch/Tham Florence Lynch and Bee Tham have closed their LES gallery to focus on private dealing. The gallery’s former space at175 Rivington St. is the new home of the gallery, Lichtundfire.

(See listing) Neil Jenney, owner of the Jenney Archive LLC, who recently opened the West Broadway Gallery, New York.

Photo: Macinnis

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The dealer Jeffrey Deitch is seen here in is his office window, above the crowds gathering for an opening at Jeffrey Deitch Inc, in Soho.

New York, 2015. Photo: Macinnis

Jeffrey Deitch Inc. Like an art emperor poised above the crowds that flock to see his artists, we caught a glimpse of dealer Jeffrey Deitch working the phones while people lined up to see his first show, since returning to his familiar gallery space in Soho — pictured above in his office window.

After a three year stint as director of MOCA, the Museum of Contemporary Art, Los Angeles, during which time he presented some fifty exhibitions and projects including The Painting Factory and Art in the Streets, (which had the highest attendance in the museum’s history), Mr. Deitch has left sunny LA for good, and returned to NYC to focus on historical and contemporary exhibition projects.

Christian Duvernois Relatively new to Soho but not new to the art world, Christian Duvernois shows works by a group of international artists who explore themes relating to landscape and the environment in a variety of mediums, as well as abstract tendencies in contemporary art.

The gallery’s current show (February 24 — April 23), WILDSCAPES, by Ivan Stojakovic and Paula Winokur, examines two distinct artistic approaches to depictions of nature, with a focus on ecological (dis)balance between the natural and the man made world.

Art Projects International This group show of drawings by nine contemporary artists, MARKING 2: Drawings by Contemporary Artists from Asia, offers a conceptual investigation of abstract line and form and imagery, from very diverse approaches. The works employ a range of techniques, from ink on paper, to three dimensional, to unorthodox drawing.

The exhibiton runs through April 30.

By utilizing different materials, aesthetical approaches and iconographies, both practices deliver compelling takes on wilderness and its fragility and/or pertinence within contemporary cultural context.

Il Lee, MBL-1303, 2013, ballpoint pen on paper, 26 x 20 3/4 inches. Courtesy: Art Projects International

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Chelsea

Elga Wimmer PCC In Les Rogers’ one-person show, Just Married, relationships of a personal nature and painting converge. The personal is not autobiographical, instead it relates to the single panels painted here. Some of the single paintings come together and form a new “couple” who are now starting their life as one. While for others, this coming together was a brief encounter, as they remain single. Rogers explores 20th century American painting styles, creating a hybrid language of cyphers that are hidden in full view.

In Never Part (2015), opposites truly attract with a minimal monochromatic purple/red panel on the right, coupled on the left with an energetic panel of brushstrokes, splashes, solid forms, and drips. At first glance, it would seem there should be some confrontation between

Les Rogers Twinsies, 2015. 80 x 72 inches, oil on wood.

Courtesy: Elga Wimmer PCC, New York

the two, but after seeing the richness of both panels a balance between the two emerges that binds them together. From the reds and purples at the top of the single panel, Watch Over (2015), an apparition seems to emerge from the veils of color.

And in the exhibition’s namesake painting Just Married (2015, two panels form a spirited couple. Both panels have bold brilliant vertical strokes of yellow and greens that are balanced by large flat areas of somber colors.

In a some sense, Rogers’ rich palet and evocative shapes recall the romanticized figurative paintings of another era, as in Marie Laurencin’s depiction of women couples in the early 1920s, though far more abstract. robert curcio

Les Rogers Never Part, 2015. 80 x 72 inches, oil on wood.

Courtesy: Elga Wimmer PCC, New York

Caelum Gallery In her first one-person show in New York, Marie-Hélène Beaudry uses the photographic medium to

Randy Bloom Everything Will Change, 2015. Acrylic on canvas, 62 x 60 inches. Courtesy: Andre Zarre Gallery, New York

Andre Zarre Gallery A series of high frequency vibrations and or chromatic sensations in the form(s) of squares and rectangles populate this densely packed work in Randy Bloom's provocatively titled show, Don’t Shoot: All Lives Matter.

These paintings invite one to take time out to dive deep into the artist's choice of colors arranged like musical notations on muted fields, so as to allow the outlays of piquant hues to sing.

mimic the decay found in nature.

Aptly titled Transmutation, this exhibition of images printed onto aluminum backing — instead of traditional emulsion paper — documents the strangely beautiful destruction wrought by highly toxic fungus on everyday items left in a rural barn in the hills of her native Montreal.

The colors do not simply sit there, they follow one, asking the viewer to investigate in what Space within oneself, where it is that they truly resonate.

michael macinnis

lee klein

Marie-Hélène Beaudry Cendre, 2014. Photographic image on aluminum. Courtesy: Caelum Gallery, New York

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Alexander and Bonin Established 1995 by Carolyn Alexander and Ted Bonin, with the primary purpose of representing the work of emerging, mid-career, and established international contemporary artists, Alexander and Bonin has moved from its three-story building in Chelsea, which was home since 1997, to TriBeCa at 47 Walker St. (boardering Soho). The new location is walking distance from Soho and the LES. The gallery plans to re-open in the summer of 2016.

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Uptown

Anders Wahlstedt Fine Art Taking a long held passion for art to a new level, Swedish native Anders Wahlstedt has opened Anders Wahlstedt Fine Art, at 40 East 63rd St. (See listing). .

Anders first came to New York in 1986, as a professional athlete with spot in the U.S. Pro, a softball tournament that Frank Stella ran at Park Place Squash Club. Fast forward a few decades later, and the pro-athlete turn art dealer — who has been buying and selling modern American and Scandinavian art for years — opened his first show in Frank Stella prints.

Anders Wahlstedt at opening reception for Mel Kendrick, John Newman, Chris Macdonald, Sculptural Drawings exhibition at Anders Wahlstedt Fine Art, New York.

Today Anders specializes in modern and contemporary American & European photography, works on paper, painting & sculpture, with a primary focuses on works on paper by established American artists. His gallery also maintains a large collection of scarce & out of print art related books, many signed by the artist and accompanied by original art works. The gallery’s current show, which ends March 19, Sculptural Drawings, features works on paper by Mel Kendrick, John Newman and Chris Macdonald. This show is followed by an exhibition of selected works by Roy Decarava, through May 14. michael macinnis

Opening reception for Mel Kendrick, John Newman, Chris Macdonald, Sculptural Drawings exhibition at Anders Wahlstedt Fine Art, New York.

Edwynn Houk Gallery This first New York exhibition of Cathleen Naundorf's photographs draws from a range of influences, including her background in painting, travel photojournalism, and fashion photography. Naundorf also had longstanding mentorship with photographer Horst P. Horst which is evident here.

Naundorf photographs one of a kind couture fashions positioned within rich otherworldly scenes that she carefully constructs. Working

Opening reception for Cathleen Naundorf at Edwynn Houk Gallery, New York.

primarily in large format polaroid film, Naundorf embraces the saturated color and unique textures of the medium, which give these prints a painterly atmosphere and unique surface quality.

Sandra Gering Inc. This one person exhibition of paintings

by Netherlands native Kinke Kooi, Preventing the Sharp From Being Sharp, show-

Opening reception for Kinke Koo, Preventing the Sharp From Being Sharp, at Sandra Gering Inc, New York.

cases this artist’s penchant for unabashedly celebrating feminine sensuality in an enticing, otherworldly manner.

Kooi creates highly detailed microcosms that seem to flourish entirely on their own energy, as if each drawing were grown in a petri dish.

Rather than being off-putting, the combination feels sensual, even orgiastic.

Kinke Koo, Preventing the Sharp From Being Sharp, 2016 (detail), at Sandra Gering Inc, New York.

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Art In Review

Mina Cheon Ethan Cohen Fine Arts , New York

By Jonathan Goodman

ina Cheon’s incisive and M humorous show at Ethan Cohen Fine Arts pokes fun at the grimly stalwart regime of North Korea. Consisting of paintings of the artist herself in soldiers’ dress, sometimes in tandem with the supposedly visionary leaders of the country, the exhibition looks to liberate North Korea’s mad, militarized conformity through exaggeration of the government’s own characteristics. While the approach is first and foremost conceptual, Cheon also makes an impact with her paintings, and is stellar in a comic performance as an absurdly patriotic woman soldier reciting the more than fifty names evoking the Great Leader Kim Il Sung. Overall, the show makes a badly needed point; its irony is meant to undermine the heavyhanded tactics of the country’s propaganda, but not so contemptuously that the North

North Koreans would be seen as monsters rather than people.

Still, if there is any dissonance in the experience of the art, it is the implicitly harsh sarcasm of the imagery.

Koreans would be seen as monsters rather than people.

Still, if there is any dissonance in the experience of the art, it is the implicitly harsh sarcasm of the imagery. While the scoffing is coupled to the gentler purpose of persuading us, the Western audience, and indeed them, the North Korean population, that they were in

Mina Cheon Happy North Korean Little Boy, 2013. Acrylic on canvas, 48 x 36 x 1.5 inches Courtesy: Ethan Cohen Fine Arts , New York

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need of humanizing—as opposed to demonizing—influences, the parody could be seen as harsh, if not cruel.

But there is also reason for an extreme approach. Certainly, North Korea has set itself apart from the world, more or less assuming the mantel of a rogue state. Cheon’s message, that the state’s ideology is rigid to the point of being irrational, not to mention lethal, is duly recognized. Indeed, the whole point of the show was to mock the deadly mores of a society made savage by its apotheosis of father and son, who killed and kill without guilt or retribution. Cheon, Korean herself, is likely more personally involved than most Americans in the conflict between Western liberal capitalism and North Korea’s rigid left-wing ideology. The posturing and blind aggression of the latter’s methodologies are repellent

Mina Cheon Three Graces, 2013. Acrylic on canvas, 60 x 48 x 1.5 inches Courtesy: Ethan Cohen Fine Arts , New York

to most, and Cheon clearly comes near to cast the North Koreans as wicked. As a result, beyond the sheer fun of satirizing megalomania, there is also the understated or unspoken purpose of humanizing the enemy. But the emphasis, first and foremost, is placed on the absurdity of North Korea’s vision, with its obsession with choco-pies, which cost there ten times the amount they do in South Korea (where they are made). Vaguely reminiscent of Holland’s tulip mania, the dessert has become a kind of money in an economy that places most in straitened circumstances. Cheon is to be congratulated for her ability to start with derision and pass on, by implication, to a more sympathetic recognition that a government, and perhaps an entire culture, is in deep trouble.

The paintings are poster propaganda; they deny subtlety in favor of a very broad and farcical approach. For example, in one painting, 007 Ms. Kim, a line of women, tricked out like Cheon in her chosen persona, in military uniform, cap, and gloves, goose steps forward into the unforeseeable future. The background, a spiral of alternating red and yellow stripes beginning from near the center of the painting, match the stridency of the female soldiers’ uniformity. This is conceptual painting of a high order, complete with the implication that North Korean conventions are heavily conventional, to the point where they may be discussed as totalitarian. The identification between the artist and the women in her paintings is obvious—the latter display the same haircut Cheon herself wears. But this isn’t autobiographical so i n t h e Artworld.com

much as it is a further construction of her character, which in the opening she maintained in uniform without losing a step. Her public face demonstrates how a totalizing politics does not redeem or salvage the poor but pushes them more deeply into a falsely constructed self, whose dignity is equivalent only to the theatrics of a sham public pose.

In another phantasy poster painting Lil’ Kim, raising North Korean leadership to world prominence, we see Kim Jong-un, grandson of Kim Il Sung and current ruler, on a Time magazine cover. Given the nickname “Lil’ Kim,” the baby-faced tyrant looks ridiculous and menacing at the same time. In the composition, Cheon, again in military garb, stands before her ruler and writes ostentatiously in a red book. The link to Mao’s cult of personality 13

seems obvious here, and so we are treated to a visual absurdity given meaning by the Mainland Chinese, which is still North Korea’s major ally.

The cult-like status of the Great Leader’s descendants is now on its third generation, and gives no signs of letting up. Opposition to the regime appears to be nonexistent— as befits a government whose power is pooled toward a very small number of people.

Yet, because of North Korea’s threat as a nuclear power, the rest of the world wants to see the country contained, under some kind of control. The isolation the government feels is incisively illustrated by Cheon’s iconography of a putative true believer—she even includes portraits of her reallife son and daughter, who stand in the spotlight of what amounts to an autocratic enforcement of closely watched behavior and inflexible ideas.

Cheon’s performance and visual accouterments bring up larger issues in contemporary art. So much art is now devoted to what the late writer Arthur C. Danto called “the political sublime,” it goes

Mina Cheon Happy North Korean Little Girl, 2013. Acrylic on canvas, 48 x 36 x 1.5 inches Courtesy: Ethan Cohen Fine Arts , New York

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without comment that Cheon would speciously immortalize the North Korean government. But one wonders about the intended purpose of this brilliantly conceived, but slightly puzzling pretext. In the artist’s show, North Korea is being fiercely chided; there is relatively little room for an interpretation that would lead us into a garden of mutual regard. But then the fault is not really Cheon’s—it is the stance of the Kim government that has earned its trenchant treatment by her. Really, this is a conceptually politicized exhibition, in which North Korea’s politics are shown what they are to be: demagoguery. Cheon knows that nothing can defend itself against laughter; and so her methods move in the direction of derision. My only concern, as writer and person, is that the country remains human in our eyes, even if only to acknowledge its crimes against its people. Too fierce a sarcasm reduces the country to

the accusation that its inhabitants are evil, a major step in the dehumanization of the populace.

One image particularly haunts the show: the 2013 painting Three Graces, in which three Cheons, identically dressed in dark-green uniforms and high boots, wave and goose kick as they seem to acknowledge recognition from the powers that be. A partial view of a huge North Korean flag hangs as a backdrop behind them; its propagandistic force, taken at face value, presupposes a glorious future to a nation of visionary leaders. But then the harsh reality kicks in, and we see the image for what it is— a travesty of the truth, as well as a sly reference to Western art history. The gap between the surface and the deeper reality of North Korea is Cheon’s main theme; it is a disconnect with tragic implications—so tragic indeed, we may want, as Cheon has, to dissipate the gloom with laughter. Once the tragedy is recognized, we see the artist go after its implications with a comic rendition of what the North Korean reality might look like if closely examined by a liberal mercantile economy such as our own. But our fortitude runs the chance of being made smug through the method of glee alone; we need a nuanced reading of political difference too—as unreasonable as that might be in this particular context.

Downstairs in the lower gallery, viewers found an installation, Eat Choco·Pie Together, of ten thousand (!) choco-pies, nicely stacked in a rectangular arrangement that mimicked the contours of the room. These chocolate treats are given a much higher value in North Korea, once again revealing the unreason of a centrally dictated economy. The show’s audience was encouraged to take

Mina Cheon Lil’ Kim, 2013. Acrylic on canvas, 48 x 48 x 1.5 inches Courtesy: Ethan Cohen Fine Arts , New York

one or more of the desserts home; their free distribution undermined their excessive pricing there. Here, the participatory, performance-oriented conceptualism of Cheon’s project clearly stood out: Who could resist eating a choco-pie when one was at liberty to take as many as they wanted? Contemporary art, in America especially, has a pop aspect in its core; fun is usually intended—ever since Andy Warhol’s silkscreens of the stars. But perhaps the point to be made is that we have a very casual social expression in new art; this flies against the formal, supposedly mighty political truths Cheon is satirizing. By undermining the formality of the country, its reliance on political rituals of unusual savagery, the artist shows that culture as well as politics can lean toward a social control that costs its involuntary participants greatly.

So, in a sense, Cheon correctly points out how culture and politics interact with each other. The two go hand in hand in most totalitarian soi n t h e Artworld.com

cieties—witness the cultural policies of the Third Reich. In a world that has become increasingly, if not completely, capitalist, it is of interest to regard the ruthless manners of a country still committed to a highly idealized financial system. It might well be better if the idealization were directed toward social change and cultural expression, which would betoken greater personal freedom in North Korea. Cheon does us a genuine service in her burlesque of a country that is in deep need of realigning its policies. Her jocularity has a purpose: the subversion of the totalitarian ideal. But not only does North Korea have lessons to learn; it is also possible that Americans might take Cheon’s playful imitations to heart, so given are we to our own brand of jingoistic entitlement and world domination. In the long run, Cheon’s show will be seen, by extension, as a critique of excessive power and its ability to change culture into something very threatening, no matter where the power occurs. M 15

Art In Review

Art Basel Miami Beach & Art Week

By Elga Wimmer

verything seems to have Eof tripled for this years’ edition Art Basel Miami Beach, 2015, and the other art fairs and VIP activities that comprise Art Week in Miami in December. There are more galleries exhibiting, more visitors, more satellite fairs, more museums and foundations. As an indicator of how things have grown, Marc Spiegel, the global director for Art Basel says that his entire staff went from 17 to 55, the newest addition being Noah Horowitz (former director of the Armory Show in New York) who joined the Art Basel team this year as head of its Miami outpost.

If you are lucky enough to get a VIP card for the preview of Art Basel Miami Beach, you still have to maneuver your way around all the private and public foundations and museums, the pop up shows, special exhibitions and receptions. At the “big fair" you might run into celebrity collectors Sylvester Stallone, Leonardo DiCaprio,

There are more galleries exhibiting, more visitors, more satellite fairs, more museums and foundations.

Brad Pitt; art stars Tracey Emin, Marina Abramovic, Kim Sooja, Miguel Angel Rios; art patrons Eugenio Lopez with Patrick Charpenel (respectively the founder and director of the Jumex Museum, Mexico City), Jorge Perez (Perez Art Museum Miami), Gary Nader, (founder of the future Latin American Museum of Art in Downtown Miami designed by Fernando Romero), Martin Margulis (Margulis Foundation), Mera and Ronald Rubell (Rubell Family Foundation), Rosa and Carlos de la Cruz (de la Cruz Contemporary Art Space). Standouts at Art Basel included works by artists Los Carpin-

teros, Jose Davila, Vic Muniz, Teresita Fernandez, Beatriz Milhazes, Miguel Angel Rios, Pablo Atchugarry. Fabian Marcaccio, Julio Le Parc, as well as new comers as Brazilian Paulo

Marcel Wanders, lounge chair for Objet Nomad, 2015. Leather.

Courtesy: Nomades Collection and Louis Vuitton, Miami

Nazareth, who traveled on a foot-bus journey to Art Basel.

He incorporates his long travels into his installation and photography.

Among the noteworthy pop-up shows, there was the collaboration of Larry Gagosian and Jeffrey Deitch at the Moore Building, in a 20 000 square feet space. Dubbed Unrealism, the exhibition included several established artists, such as John Currin, Urs Fischer, Elizabeth Peyton and David Salle.

Discussing the show, Mr. Deitch said “The new energy in figuration inspired me to take this

Nari Ward Sun Splashed, (Undated). Installation view. Courtesy: Pérez Art Museum, Miami.

Photo by STUDIO LHOOQ

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i n t h e Artworld.com

Formento + Formento The Voyage, Cymopoleia II, 2015. Courtesy: Red Digital Cinema, Wynwood, Miami

another piece titled Air Plane Tears (2005), utilized found television set backs and napkins.

The entire museum feels like a place of leisure, filled with music and light, and exudes a certain element of “joie de vivre” rather than a “mausoleum of art.” Indeed, we need more such positive interaction with art.

on and include artists from earlier generations, from the 80s and 90s, who continue to be doing exciting work today.” He continued, “People have made figurative painting since the beginning of all art, it goes back to the cave painting. But every generation redefines it.”

Another show that caught my eye was The Voyage, by the artist couple Formento + Formento in collaboration with Red Digital Cinema at Red Gallery in Wynwood, Miami.

The show was curated by Michelle V. Edelman, of Traffic Creative Management, based in New York. It is not a surprise that recent events in the world have filtered into the art shown during this year's Art Week.

Displacement, cultural migra-

Fabian Marcaccio Abstraction, 2015. 74 x 62 x 6 inches.

Hand woven manilla rope, climbing rope, alkyd paint, silicone, wood, 3D printed plastic Courtesy: Galerie Thomas Schulte and Art Basel Miami Beach

Julio le Parc Mobile bleu,1960/2015. Plexi, nylon. Courtesy: Julio Le Parc and Galeria Sur and Art Basel Miami Beach

tion and memory are central to the theme of this poetic short film and photographic work.

Highly esthetic, the presentation, which included film, juxtaposes loss with an ephemeral timeless beauty.

The Perez Art Museum Miami (PAMM) also proved to be worth a visit. Its Nari Ward show Sun Splashed — a mid career survey — presented some exciting and surprising material. One of the works, Iron Heavens (1995), is comprised of oven pans, ironed cotton, and burnt wooden bats;

i n t h e Artworld.com

Art Basel Miami Beach and the plethora of competing art fairs, notably Art Miami and the ever evolving satellite fairs, continue to dazzle the eye, even when you think you’ve seen it all. It keeps you coming back. M

Nari Ward Iron Heavens,1995. Courtesy: Collection of Jeffrey Deitch and Pérez Art Museum, Miami Photo by STUDIO LHOOQ

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Art In Review

Pedro Calapez LYNCH THAM, New York

By Douglas Turner

thicket of perceptions, A spun from the thread of past experiences, and instinctual habits as old as Hominid: what is safe, what is really there, and that which is imagined, Pedro Calapez’s modus operandi for upending that vail is to engage the unencumbered memories of his childhood in this show, meadow-curtain-round-broken line. Here Calapez examines the intricacies of spatial relationships, landscapes, fragments of memories, objects, perceptions, and use of light evoking color.

Meadow is a canvas of rising and falling landscape, swaying with brilliant colored portraits of both warmth and shadows, flower petals, tall grasses, and beneath the canopy of the forest. The brush stroke solicits a pristineness, while the use of vibrant and darker hues of color provide the natural contradistinction of particular memories.

Painted to the front facing edges of each square and rectangular aluminum object, the set of eight panels in the show varies in circumference and depth. The use of size variations enables the work to both contain and create an infinite landscape.

The brush stroke solicits a pristine-ness, while the use of vibrant and darker hues of color provide the natural contradistinction of particular memories.

Pedro Calapez meadow-curtain-round-broken line, 2014 (Installation shot). Courtesy: LYNCH THAM, New York.

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In curtain there are semblances or illusions of particular objects and landscapes.

Yet in alacrity to make one’s way into light, the prize outshines the process. Inspired by the memory of his mother’s DIY interior-decorating frenzies, with dizzying efficacy Calapez brings sheets of ink on paper drawings into an enormous curtain. Digitally reproduced, the repetitious images intentionally slow down the object oriented nature of the eye, enabling the viewer to feel through the sensory process of finding one’s place of comfort—when things become familiar. Out of darkness into light, the transcendent contrast simultaneously upholds the complect powers of both, and the journey between that which is best defined as destiny of the gaze.

painted black line is its singularity. For they are not lines plural, it is one continuous line broken apart. The bricks were never one, except in formation. The arrangement is spontaneous with infinite combinations. In game-like fashion, there is no end in sight.

The bricks appear in sections, much in the way one compartmentalize one’s gaze.

The individual may see a meadow, a cityscape, or any kind of vista, but the gaze indiscriminately sees an integral frontier arising.

Calapez succeeds in capturing that moment of stillness, the penultimate temptress of the gaze as a thing that lives, not merely as a visual instance but a microcosm; a living thing. The gaze, as such, is inseparable from human

perception; with it everyone bears witness to something magnificent, something of which we are all an integral part of.

The transmission of meadowcurtain-round-broken line is deliberately disorienting, causing the viewer to reconsider what it means to gaze.

While certain spatial relationships are readily available in this work, in the vein of broken line each represents a section of one vista.

Calapez reconciles that separation in abstraction: the making of spatial relationships—observing a new story unfold, while witnessing the gaze itself. The gaze, it can be said, is who we are, not merely what we do. M

Within the circular dimensions of round two parallel bars brace the painting, giving it the look of a venetian blind in abstract, or stabilizers that prevent escape. Yet there is nothing beyond to see. There is no distance beyond the rectangular shapes.

With a depth of six inches, this three dimensionality leads the eye to the edges of the painting, in search of a point of focus. However, there is nothing else to see, perception of depth becomes an ocular enigma.

Broken line suggests Letting Go. In the live installation performed at the opening of the show, the bricks were placed with seemingly minimal intention or preconceived idea. Beginning as a parallel line-up of bricks, each tightly packed row is traced with a wide black (Indian-ink) strip.

The set of 100 bricks is then arranged without narrative into multiple varying formations. The deception of the Pedro Calapez meadow-curtain-round-broken line, 2014 (Installation shot). Courtesy: LYNCH THAM, New York.

i n t h e Artworld.com

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Discussion Although New York’s Lower East Side covers a very small, walkable area, when discussing art galleries the acronym LES is increasingly understood to encompass neighboring swaths of Chinatown, the East Village, the Bowery and even parts of Soho and Noho. Today there are about 80 galleries in the area; but that number includes many that won’t last, and a few that shouldn’t. In the following conversations, we talk with the owners and directors of two LES galleries, that operate on very different business models, to offer some insight into the scene.

Marc Straus

Marc Straus Gallery A Conversation

By M. Brendon Macinnis

ow did you arrive at this H point, opening a gallery in the Lower East Side? My

entry into the art-world is that I start collecting art in my teens. I began collecting contemporary art, probably close to age of twenty.

You mean collecting art from friends that you believed in?

No, pretty serious stuff. What happened was that I’ve been a collector all through my childhood, and it came down to realizing that I wanted to collect things that were unique. I didn't want stamps, I didn't want coins and I didn't want to collect something that I put in the closet. I wanted things that were, if possible, one of a kind. The only way I was going to buy anything, because I was starting medical school, was to get it before people realized what value it may have eventually. I dug in and read, and went to museums and I started right away with things that I believed have reached the point that they were major.

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Galleries have changed things.

But here there is constant change of what the Lower East Side is. are, there are a couple people who are doctors; but disproportionally low to the number of doctors in the country, relative to their ability to buy some art. I mean they are not hedge-fund guys.

When you started buying art, were you doing studio visits, buying directly from artists? I did that, and I bought from galleries. An example would be, I think my first contemporary purchase was a 1966 Kenneth Noland Chevron.

At what kind of price range did you get back then? Oh it was too much money [for me], though it was less than $10,000. The issue was the amount I was making that year; I was making so little in medicine. It was totally absurd to buy it.

At what point did you make the switch over from medicine? Well I started a practice up in Westchester [Canada], and it became very large, and I stepped away from it about eight years ago. I didn't think of opening a gallery at that time. Now for the first time of my life, I'm not putting a gazillion hours into medicine.

How old were you? I was in my twenties.

During all that time putting together a collection, did you sell some work too?

No, not until much later. Occasionally we sold things for specific reasons. We needed money to launch, and there was no way I was going to have that money unless I sold something.

Often, high earning medical doctors are art collectors.

Not as many as you think.

Because if you really looked at who the best collectors

So how many buildings are they? We have several right here, just on Grand Street, and the reason it’s here is because my father’s business from 1943 was at the corner of Grand and Eldridge. So I grew up working here in a textile store on weekends, right through until medical school. There were 400 tex-

So, you were doing this in your early twenties. Why? Well, I never imagined I was going to be an art dealer. But then I went on and practiced cancer medicine for forty years, I’m an oncologist.

There was not a thought that I would ever be an art dealer.

In fact, I really wasn’t. I didn't trade art, I didn't make any money in the art world.

i n t h e Artworld.com

I understand you own real estate in the Lower East Side. Is that something that came down from your family?

Yes, it was my father’s since the time I was a kid.

tile businesses here, and all the owners were immigrants.

You’ve seen a lot of changes in the neighborhood. Galleries have changed things.

But here there is constant change of what the Lower East Side is. A lot of Chinese people came, and so Chinatown extended all the way to here. When I was a teenager I talked my dad into buying a few more buildings.

On the other hand, you could hardly rent them [to tenents], it wasn't a good investment.

But I never wanted to sell them because they mean a lot to me. I could never have imagined I would put a gallery in one of them. But the day I knew I wanted to open a gallery, I really wanted it to be in this building.

I see more galleries coming here to the Lower East Side.

Yet in terms of real estate, all the bargains are gone.

Why do you suppose they still come? There are no bargains but the art world is coming here. What you can get here is you can be a daring kid, and these people [new gallery owners] are wonderful. You can open a 400 square foot space on the ground floor to begin, or you can get a 1000 square foot, and in five or ten years it’s going to be hard to get those spaces. These kids here are knocking their brains out, not knowing if they could make a dollar. M

Vincent Harrison

Castle Fitzjohns Gallery

A Conversation

By Keziah Quek

hat is Castle Fitzjohn's W business model? I'm working with mid level artists, I'm trying to help their careers, try and get them into museums, get them into auctions, build them up to the

I'm working with mid level artists, I'm trying to help their careers. And then also I like working with the young emerging artists.

blue chip level. And then also I like working with the young emerging artists. You kind of have to separate the two because often, the guys on a certain level, they want to be shown with artists at a certain level or better. So artists selling their work for a $150,000 don't want to be next to someone starting out selling their work for $1000.

But it's also more than just the work, it's the progression of where we think the work is going, the attitude, the drive and ambition of the artist as well.

Does your gallery provide a stipend to artists, or support them in any other way? No, at this stage we don't. I'm looking to do that more in the future. I mean I support emerging artists in other ways, I may give them studio space for a month, or offer a place to stay, so in that respect, yes.

How easy is it to push emerging artists into the art world, do you consider yourself a part of the "branded dealers" who drive the industry? We're all part of it. Being a Manhattan gallery, there is an element of brand association, compared to me having the same artist i n t h e Artworld.com

on a gallery on High Street in North Carolina. So I could take an artist’s work that I'm selling for $500 in North Carolina, bring it to New York and it goes for $2000, because it's on the Lower East Side, and by brand association, the LES adds a perceived value to the work.

How long does it take for an emerging artist at Castle Fitzjohns Gallery to get to auction? It takes a long time; but it also varies because again it comes down to branding. For example, Lucien Smith, he's 24 years old, he was dating the daughter of David Zwirner, one of the biggest, one of the top three art dealers in Manhattan. And so David Zwirner said, “Oh, you should watch this kid, he's one to look out for.” And he only knew him simply because he was dating his daughter. He probably wouldn't have come across him otherwise.

So, because David Zwirner said you should watch this kid, he gets picked up by the Wall Street Journal, and by the Times, and by ArtNews.

People start to look at this kid, soon a Manhattan gallery gives him a show, and pretty much, a year or two years after that first validation from David Zwirner, he's now just gone on through to auction, $400,000 is his record. He's 24 years old. So, it can take time, or it can happen quickly.

M Photo Captions (From left to right): Marc Straus, owner of Marc Straus Gallery/ Vincent Harrison, director of Castle Fitzjohns Gallery

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Discussion

Having transformed South Florida’s oldest art fair, Art Miami, from a local fair into Miami’s leading international contemporary and modern art fair, Art Miami LLC, Nick Korniloff has steadily expanded a portfolio that today includes a virtual who’s who list of top art fairs around the country. To name a few, Art Southampton, Art Wynwood and Art Silicon Valley. Add to this list, Art New York, which held its inaugural here last May on New York’s Pier 94, during Frieze Week. M magazine’s Ting Chen spoke with Mr. Korniloff as the fair opened its doors for the first time.

The ability to build a connection and a long term relationship with a gallerist, without a lot of pressure, is what our show is about.

Nick Korniloff Wynwood in February 2012, during President’s Day Weekend in Miami.

From Art Miami

To Art New York

A Conversation

By Ting Chen

hen did you decide to W expand Art Miami, and launch multiple art

fairs? In 2012 we realized that the Art Miami brand is very strong; we had a network of dealers that were representing very strong primary and secondary market artists.

They wanted more opportunities to show, and since they liked the way we presented their work, how we cultivated collectors for them, we got the idea to launch the first Art 22

On President’s Day Weekend? Yeah. This is the busiest weekend in South Florida. It’s in the height of winter and you get all of the Latin American, European people that vacation or own second homes in Miami. And because it’s the winter months in the North East and Midwest, you’re going to get a great transfer of people down to South Florida [to escape the cold]. This is a very cultural savvy audience, they understand what they’re looking at.

me its not a competitive notion because we know where our sweet spot is in the market. These fairs that we produce are angled to serve the most seasoned collectors, but they also bring in collectors that want to take the first step into the market and be, as it were, educated by a gallery.

The work is very accessible, the dealers are very accessible. The ability to build a connection and a long term relationship with a gallerist, without a lot of pressure, is what our show is about.

Why in did you choose the month of February? Many dealers see it as a second bite at the apple, a great way of following up on December’s fair activity in Miami.

Who do you consider your competitors, aside from the obvious, Art Basel? Well I don't look at it that way. For i n t h e Artworld.com

Even in Miami during December, we know that not only the top collectors are coming and buying, but also people who

temporary market has to offer.

Galleries that have strong mixed programs, strong photography, strong emerging video work and a strong modern secondary market.

are really engaged in entering the market with us. So thats our formula, you have to know who your client base is in any business.

I know most of the dealers at Frieze Art Fair, I know most of the dealers at Art Basel. I’ve done business with a lot of them over the years and it’s just not about, you know, walking into their stand and thinking they are going to do an Art Miami show. We work with a certain network and we continue to raise the bar, the quality, the diversity of the show, and meet a certain sector of collectors, seasoned and new. We are creating those opportunities for out gallerists, it’s all relationship driven. The galleries represent the artists, and we represent the galleries.

How do you chose the galleries you feature? We have an advisory committee for our shows. Many of the galleries we know have a strong international fair pedigree. We take some chances and risks sometimes bringing new people up into our fairs, and curating back their programs, while talking to our advisory committee on an almost daily basis regarding the program.

How do you see your organization evolving in the coming years, given that you now produce several art fairs? Look, I think there are too many fairs, and that is odd coming from me. I think there are too many bad fairs, I think there are too many fairs that aren't focused on the right things. We are an organization that remains at

the forefront by taking tough decisions, keeping production standards high. We have to be real-timed in the technology standpoint, we have to be real-timed in the curatorial standpoint. A fair services a lot of different needs, aside from selling art. We are very philanthropic, we are very social; we work with curators, we work with art institutions, private clubs many charitable organizations inside and outside the art-world. And that will continue.

How would you distinguish Art Miami and Art New York from other art fairs such as Art Basel and the Armory Show? In our fairs you will find works from a few thousand dollars to multimillion dollars, and you will have a fair that has a wide breath of the market, from the cutting edge to modern post war pop classics. And we also have disciplines that you will never see in Art Basel or Frieze. We integrate glass, tribal, things of that nature; objects that are relevant to collectors. This newest fair, Art New York, [which launched as Art Miami New York] is a great cross-section of what the modern and coni n t h e Artworld.com

Some of these fairs are about, you know, emerging talent. We try to bring a wider breadth; we try to bring work that is more accessible, where people can process it. It’s not over the top, and if it is, there is a way to create a juxtaposition or a counterbalance to that.

We are very comfortable in our own skin, not trying to be another Art Basel or another Frieze. I used to work with Lorenzo Rudolf, the former director of Art Basel. So I understand the mentality. I was friends with Sam Keller and very collegial with both. My interest is not to knock on their dealers’ doors and ask them to do Art Miami. We are very comfortable, my partner and I, in the niche of the market that we have cut out for ourselves and for our dealers.

Everybody has a limited amount of galleries that can take in. We have exchanged dealers in the past, some dealers that have been in Art Miami have been accepted into Art Basel. Some that have not come back to Art Basel have come to Art Miami. So that will continue to happen. What gets me excited is always the future, really delivering for our clients.

M

Photo Captions (From left to right): Nick Korniloff and Ting Chen/ Nick Korniloff/ Exhibitor booth

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Discussion

For ten years Katelijne De Backer was the public face of The Armory Show, its longest running director. Today, back on Pier 94 where she shepherded that international art air from its alternative beginnings into a global powerhouse, Ms De Backer has returned to take the helm of Art New York, produced by Art Miami LLC.

Katelijne De Backer

Here you can see art that has been sold, that has been in a collection, in galleries; art that is in the secondary market.

Art New York

A Conversation

M. Brendon Macinnis

alk about Déjà vu, here T94,we are be back on Pier where it all began. You

go back a long way in the art fair business. How did you start? I started as a volunteer doing press and cur a t i n g t h e f i r s t Armory Show in 1999, when it was at the Lexington Ave location.

Yeah, that’s how I started.

Look at that, wow. And then at what point did you become the official director?

In 2001, after two years.

And that lasted until when?

2011.

Then you went to Lehmann Maupin in Chelsea? Yes, as a managing director for almost two years.

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How did you find that, after being director of such a major art fair for ten years?

That was really interesting to me, to see everything from the gallery’s perspective. Because they do a lot of art fairs.

Lehmann Maupin opened a new space in Hong Kong, it’s their third location, in addition to Chelsea and the LES. Yeah. That happened while I was there. They opened Hong Kong and then they also do about eight or nine fairs a year. It was good for me to see how a gallery prepares for an art fair, what’s involved.

It’s such a huge operation, they’re practically a museum. Yeah, I know; they do it at such a professional level.

With all the shipping and things, it was like an eyeopener for me. i n t h e Artworld.com

As a managing director, how is that different from director? They have so many directors there... Yeah. I was sort of more overseeing the whole organization.

And what did you do after that?

I was briefly with SCOPE Art Fair, because they needed somebody and that was totally different, but it was fun. These were totally different kinds of galleries that…

Alternative galleries, if we still say that term. Then I started with Art Miami [Art New York is produced by Art Miami] in January of this year.

How did that come about?

Nick [Korniloff] had asked me to come work for Art Miami.

In Miami? Yes, but I told him that that didn't make sense for me to go to Miami. Then

And I want to put that art next to the new art that comes fresh out of an artist’s studio. when he contacted me again, and he said we are going to start a new fair, Art Miami [Art New York] in New York and we have Pier 94, I was like, okay, that makes sense.

That’s such great fit. I don't see how he can go wrong with this; and then when I saw the exhibitors list, wow.

Yeah, and I think that’s another reason why I accepted the offer. The organization has such a good reputation, they’re very professional, very organized. I thought, Yes! Is your role to direct specifically Art New York, or will you oversee other fairs too?

I think Nick produces eight

tors, but each fair has somebody that looks after it.

In the selection process, how much say do you have in choosing galleries that participate? When Nick approached me, he already had a lot of dealers that do Art Miami on board. So I had that, to start with, and then he had already talked to other galleries too, that we would consider. We don’t have a selection committee, yet. But we do have an advisory committee that could turn into a selection committee.

So you are basically the person who decides. I get advice and then we kind of yeah, decide.

sold, that has been in a collection, in galleries; art that is in the secondary market. And I want to put that art next to the new art that comes fresh out of an artist’s studio. So you can see great, established works, and then you have a young gallery [in the next booth].

Do you have special priced booths for young galleries, like what Art Basel does with their NOVA section?

No we don't have that. I mean, because it’s the first fair, I really wanted to keep these things very simple and straight forward. Then when you sort of know how the basic thing works, then you can start molding it and add like that. Also, with special events there are talks, but it’s very kind of straight forward, not too much complications for the first year.

Are there other criteria, concerning the selection process? For example, does a gallery have to be in business for a certain number of years, or perhaps be recommended by o t her dealers, in order to be considered? No. I mean the galleries know when they download the application, it’s the same for everyone.

fairs now, under the auspices of Art Miami. Specifically this one, but I told Nick that if he wants my help with any of the other fairs, yeah.

How are all these other fairs organized now? Do they have eight directors? I don't know if there is eight direc-

When you were director of The Armory Show, the motto for their selection process was “New Art by Living Artists.” Then they added a “Modern” section. Does Art New York have a specific focus, like that? Well, here it is the two together. Here you can see art that has been i n t h e Artworld.com

Is there anything else that you might want to tell people? I think we touched on kind of everything.

Great. Good to see you again, thank you! M

Photo Captions (From left to right): Katelijne De Backer / M. Brendon Macinnis and Katelijne De Backer

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Artist Talk

Before the opening of Julian Lennon’s photography exhibition, Horizon, at Emmanuel Fremin Gallery, New York, Caryn Kunkle spoke with Lennon about the work in the show and the story behind the subject matter of the images.

Julian Lennon

Emmanuel Fremin Gallery, New York

Caryn Kunkle

ould you point out some C of your favorite works?

Favorite is not a fair word.

But most significant to you, among these... Certainly, and you are right. Favorite is not a fair word but we can use it. There were so many photos that went into this show, it was difficult to sit down and choose only what's in this room; and you know, there are enough certainly for a Horizon II, at least. Emmanuel [the gallery owner] and myself chose these that are here, to speak to this theme. But there are so many more, so many good ones. If it were up to me and space was infinite I might show all of them.

I think, for myself, I would have to say the people [in the photographs] really speak to me; it's the eyes.

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There's another kind of wisdom thats not learned in a classroom, that comes with this kind of culture.

This group standing here, can you tell me about them?

They were gathered here together listening to a man, a white man, speaking another language, and were treating the experience as something almost sacred. They obviously aren't taking in a word he's saying, but they still are so fixated on his message, the respect is visibly enormous. The gathering in itself had almost a special quality to it, a magic of sorts. It was just this moment of intense listening, and it struck me — the variance of sex and age and language, all centered together hanging on one moment. I was fortunate to be at the right place at the right time and just capture the moment. I'm constantly taking images, and this was the one that summed it all up, that captured that feeling of the magic of that moment.

The sense of specialness, of studied attention is so clear across the group. You really caught it. In our culture, we would never stand around to listen to someone in another language. Exactly.

There's another kind of wisdom, thats not learned in a classroom, that comes with i n t h e Artworld.com

this kind of culture. It's learned through living and having skills passed down through families and villages. There's an innate respect of elders and tradition, and time to listen to new things. I keep coming back to that word sacred, it has that quality. And it is shared.

Visibly. And this woman in the doorway here, [next image] this is reminiscent of Dorothea Lange’s Migrant Mother. A sort of haunted personal history happening here behind those eyes.

This one is the first time we were allowed into one of the houses, into one of their huts to see how they lived. And I was just amazed, this was just natural light in the doorway of the house. And you could just see the years of wear and tear on her life, on her face. I felt it was a moment I was lucky enough to capture; it was just a split second. Without question one of my favorites, because it tells the story of, you know, how hard women have to really work out there. It’s a serious struggle. That’s what, more than anything, really took me aback in Ethiopia. A lot of

men sit around drinking coffee all day.

So this is Ethiopia? Yeah, Yeah.

I just read this statistic that the number of young girls that are educated in the UK is the same number of young girls that are not educated in Ethiopia. Probably so. You also have to consider the fact that these communities and villages are spread over vast areas. Because they’re fighting for their own lives; fighting for food and things like water, never mind trying to get educated. This is a question of survival for them. And many of them, not all, but many wish to remain in their communities and what they know and love, with their families. It’s a different scenario, I don’t think you could compare. But obviously it’s amazing to acknowledge the fact that there are many, many kids out there without any education. Again, they have a different education, a cultural education. You stick a child from the UK in the middle of nowhere in Ethiopia and they probably wouldn’t last even a few minutes.

Very True Whereas it wouldn’t be true the other way around.

Africa is very timeless. It’s incredibly timeless. The Ethiopians in particular have quite a particular look. There’s something absolutely stunning and beautiful about this look. This is one of my favorite pictures [next image] if not my favorite; purely because you don’t see any stress in his or her eyes. You see a strength, you see hope, you see a desire to be strong and move forward, a comfort and ease that you can see just in the way they are holding their hands. For me, it really took me aback, because you wouldn’t expect that in the middle of nowhere, after sitting in the back of a jeep for six hours over plains and mountaintops, where you come to this little village and see this boy or girl looking at you like that. I’m going, “are you kidding me?” .

Are you familiar with some of the, I don’t want to use the word mythological; the legend of the lost tribes of Israel making their way to Ethiopia? I feel like that has a certain magic in the

culture there, a certain extra… Possibly. I couldn’t comment on the religious aspect of it. All I know is the people, the cultures there, are beyond resilience.

In all of Africa some of the most unique traditions are held in Ethiopia. The legend is the arc of the covenant was spirited away there. The people there have a very sacred mind set. I wasn’t aware of that. I did see at certain gatherings, you know this is only a very small portion of the photos I collected, I saw there were great celebrations that were borderline religiously orientated. There was a lot of giving thanks and praise with all kinds of gesturing. Again, it’s moving, their way of giving thanks and reverence.

To be honest I wasn’t sure what your art was until yesterday, and I had only known you for music. Right!

As soon as I found out the theme of your work, a friend of mine sent me a message and said: Oh my cousin met him, Julian is on a mission to save the world and he loves the underdog! That really touched me, because though I’m visual artist, I also enjoy writing. I feel like it has a symbiotic power.

Yes, yes. If you’re interested in the arts and you’re guided by that, then I think whatever medium you’re involved in; it transfers. It’s only really the media, and everybody else, that tries to pigeon hole artistry in every way shape and form. Us as artists, we just get on with being an artist. Whatever form follows, follows. M

Photo Captions (left page): Caryn Kunkler, Julian Lennon / (right page): Emmanuel Fremin, Caryn Kunkler, Richard Kalisher (center).

Courtesy: Emmanuel Fremin Gallery, located at 547 West 27th St., Ste. 510 New York, NY 10001

i n t h e Artworld.com

27

Artist Talk

Born in Japan, Ahhi Choi is a Korean artist whose work is widely collected.

Ahhi recently produced body of work during his artist in residence at ARPNY, under the auspice of Kips Gallery, New York. We spoke with him here about his work and his and life.

Ahhi Choi

Kips Gallery, New York

It was fine but that was not really what I wanted to do; I wanted to do art.

M. Brendon Macinnis

ou are originally from Japan, but you make art in Korea? Yes. I was born in Japan, but my nationality is Korean. I moved to Korea after I graduated from University. I was 22 and I didn’t speak any Korean.

Y

What did you study? I studied economics in Japan. Then I went to Korea for two years, and I studied Korean; and after that I studied in LA.

What happened after LA? I went back to Japan and worked at a bank. It was terrible; I didn’t like the work.

I can understand that after traveling and studying for a few years, going to work in a bank must have been a come down. Japan is all about hard work.

What gave you the idea to go to LA? My brother lives there. I went to a language school to study English. I also played golf, there are a lot of golf courses in LA. It was very cheap to play, and the weather was nice. I lived with my brother for the first two months. Then he move back to Japan, so I ended up living alone in his apartment.

Did you also study art there?

No art.

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i n t h e Artworld.com

How long did you work at the bank? Just one year.

So even though the money was probably good, you didn't like it? It was fine but that was not really what I wanted to do; I wanted to do art.

After the bank, what did you do? When I was work-

ing at the bank, it was really hard. I had to count money all day and the hours were long. I got sick, some mental health issues. So I quit the bank. But then I wasn’t able to do anything; I went back home, and started drawing everyday.

Art can be very therapeutic for people who feel overwhelmed with everyday life.

Yeah, I can show you [a sketch book of drawings].

This is interesting, to get this background, because when I first saw your work I got the sense right away that this was coming from some place real, that it’s not purely academic. At first I couldn't concentrate when I drew; I was so sick I couldn't do anything.

Did you go for treatment?

No, my family told me to; but I didn't go.

How long did this go on?

Two years at home.

And then you started on canvas? Yeah this is the first time I used canvas.

This is very interesting work.

When you doing this at home, did your family or friends say, “Maybe you can do something with this”?

Yeah, my friend has a gallery.

We went to the bar one day, just hanging out, and then he saw my art work. I had my sketchbook on me. He was very interested in my work and he told me I can have an exhibition in his gallery.

Oh great. And your family helped you out? Oh yes of course.

How do you like New York?

The studio here [ARPNY] is the same as it is in Korea and Japan. But outside of the studio, it’s very different.

I understand. The art world in New York, especially the concentration of art galleries here, is like no place else.

So what’s next? I’m going to Milano where I have an exhibition with Kips Gallery.

M

Did you sell some work?

Yeah. It was at a café gallery.

So it was a café that showed artwork? That's a typical way to start showing. What happened after? I had a show in Korea, someone saw my work and introduced me to a gallery owner. i n t h e Artworld.com

Photo Captions: (left to right): Ahhi Choi (painting) Acrylic on Wood Panel, 2012./ Ahhi Choi / (drawing) Ink on Receipt, 2013. Courtesy: ARPNY and Kips Gallery, New York

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Artist Talk

Adam Straus has always found inspiration in the work of the 19th century American landscape painters that portrayed the tremendous vastness and beauty of the country. His recent paintings at the Nohra Haime Gallery in New York take a distinctly 21st century approach, tweaking traditional painting styles. So as to offer insight for young artists today finding their way in the art world, we spoke with Straus about his early years in New York.

I was about thirty-three or so, and if I didn’t do it then and soon, I wasn’t going to do it; and if I didn’t I would be really sorry at some point.

Adam Straus

Nohra Haime Gallery, New York

M. Brendon Macinnis

or probably most artists, Fmake it’s their ultimate dream to a living from their art,

These were small paintings encased in lead that were very much objects, but they involved images, and it kind of was a marriage between my love of the object and the photographic image. Then I moved to New York in 1990, and I worked for an art moving company in Soho for several years. Nohra kept showing me every year, either a small or big show, every year since 1990. Then in the mid 1990s, the gallery

to kick that day job. You’re a professional full time artist.

Did you have to do other work to pay the bills, before arriving at a point where you could focus entirely on making art? Oh sure. I certainly did that for a number of years. Everybody has; but I have been incredibly lucky because I started showing with Nohra [Nohra Haime Gallery] in 1990, before I even moved to New York. At the time, I was living in Tallahassee, Florida. I had a small show of paintings that I was doing, in the late 1980s.

30

i n t h e Artworld.com

sales with Nohra were enough that started making my living just from art.

Was it that you were being paid a percentage from sales after each show, or that you were getting paid a guaranteed amount? No, I think I just got to the point where I made enough to survive. I don’t remember her guarantying anything; I just remember that at some point she said that I could stop driving the truck.

For a long time I was working

4 and 5 days a week, but with this job, it would go 10 to13 hours, only making $10 an hour driving a truck. And I realized that I could make almost the same amount working 3 days a week as opposed to 5 days. So I cut it down to 3 days a week driving, so that I could have time to make art. Nohra kept selling for me, but they were small paintings at about $1,200 each.

How much does the artist and gallery get from that?

It’s fifty, fifty now; pretty much every gallery is 50% today.

Do any galleries still do 60%, 40%? I don’t think a gallery has been 60%, 40% since Rauschenberg had it with Castelli [Leo Castelli Gallery] or somebody. It was 60% for the artist and 40% for the gallery from what I heard. This is just probably rummer, but he was the only artist that Castelli had that got 60%. That shifted years ago, in the 1980s probably.

You have been showing with Nohra for a long time now.

Yes. In my case, I’ve always felt that Nohra did a fantastic job handling my work. At a certain point, before I was with Nohra and more established, I spent a lot of time taking slides and sending slides out [to gallery owners] and I would go to galleries and ask them to look at it.

Then I had gotten a gallery in Miami, Ann Jaffe Gallery, to show my work and that’s actually where Nora first saw my paintings; she bought a couple of them. She is in Miami a lot, and she would often go to the Ann Jaffe Gallery.

I was delivering a painting to the gallery one time and she was there; and I was just thinking about leaving Tallahassee and moving to New York because I was at that point where I felt like I had to do it, you know, go to the city. I love the city [New York] and I wanted to try to live here. I was about thirty-three or so, and if I didn’t do it then and soon, I wasn’t going to do it; and if I didn’t I would be really sorry at some point. i n t h e Artworld.com

So I was telling her that, and a few weeks latter I got a call from Nohra saying that she would like to do a show of some of my work. That was before I even moved.

So there was a confidence there from the start, that’s great when that happens between artist and dealer. Well, she knew that I wanted to paint. M

Photo Captions: (left to right): Adam Straus Colors Of Winter, 2013-14. Oil on canvas, 48 x 72 x 2 inches. / Adam Straus (photo of artist) / Adam Straus Woods And Clearing: Winter, 2013-14. Oil on canvas, diptych. 48 x 80 x 2 inches. Courtesy: Nohra Haime Gallery, 730 Fifth Avenue New York, NY 10019

31

rfan Önürmen graduated from Istanbul Fine Arts Academy (now known as Mimar Sinan Fine Arts University), Department of Painting, in 1987. His

Artist Talk

work has been shown in numerous exhibitions, including the 10th Istanbul Biennial.

We spoke with Önürmen at his latest

solo show in New York, PENDULUM, at C24 Gallery in Chelsea.

İrfan Önürmen

C24 Gallery, New York

I started as a painter, figurative painting, and I work in multimedia. So I’m directly involved in the whole process, I like to do everything.

M. Brendon Macinnis

hy the title of this show, W Pendulum? My work in the past few years has swung back and forth between political concerns, addressing my outward environment; and looking inward, how I per-

32

sonally feel about things. So I see this show as a kind of pendulum between the two.

When you say political, in the context of Turkey there is so much happening in that

i n t h e Artworld.com

region. Do you mean the issue of Kurdish rights? Not only the Kurdish problem, which has escalated a lot with the Syrian problem and what’s happening in neigbo-

ing countries.I’m looking at fear and insecurity, how we feel in our daily lives; what the media pushes us to beleave and how terror is perceived. What this means for our families, our children, how bleak things look. So it’s more a political statement about the whole structure of the region.

Befor the mess today, where the region exploded in war, people had talked about Turkey as the one country in the area where things seemed to be going in a positive direction, as a bridge between East and West.

What do you think of the current president, Erdoğan?

I don't like his style of management, and half the population thinks this too. My work does not include current political messages, but against war and violence and in favor of peace and freedom.

But Erdoğan wins elections.

Yes, he gets fifty percent, because the other half of the population [the opposition] is dispersed. This leaves him

with a majority, compared to other parties. But he doesn’t represent a majority of the population.

In your work, does religion play any role? Religion is a form of power; a symbol of power, and so I don't believe in this system. My work is not about religion, but sometimes I satirize the political system; how people live in this system.

You mean like the sculpture statue you made from chocolate [Statue of a Laborer, 2011]? Yes, that was about the Turkish workers who were leaving to find work in Germany [during the rebuilding after World War II].

It was done to mark the 50th anniversary of when these workers started to immigrate to Germany. When they came home to their families in the summer they would bring back chocolate...

I see. You use such a wide range of materials in your work, from painting to sculpture to making instalations.

Do you see yourself more as i n t h e Artworld.com

a conceptual artist, rather than someone working in a particular medium? I started as a painter, figurative painting, and I work in multimedia. So I’m directly involved in the whole process, I like to do everything.

Aside from your politically tinged instalations, a lot of the pieces in this show have a strong aesthetic appeal.

Yes, on the other side there is my personal or introspective work, which is more lyrical, concerned with space. The subject matter often depicts daily life.

How would you describe the art scene in Turkey today?

Since the Istanbul Biennial was started in the 1980s, and international curators got involved, it has opened up and evolved into a real contemporary, scene, where artist experiment with lots of nontraditional materials. M Photo Captions: (left to right): Instalation view of rfan Önürmen’s solo show, PENDULUM, and the artist at C24 Gallery, 560 W 24th Street New York, NY 10011 646- 416- 6300

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LES

Gallery Short List

Abrons Arts Center

The Clemente

Lucien Terras.

Non-profit art and performance space

Multi-cultural arts center

466 Grand St, 10002 212 598 0400 abronsartscenter.org Tue-Sat 11-6; Sun 12-6

107 Suffolk St, 10002 212 260 4080 csvcenter.org

325 Broome St,10002 Fri-Sun 11-6 917 517 4929 lucienterras.com

Aicon Gallery 35 Great Jones St, 10012 212 725 6092 aicongallery.com

Amy Li Projects 166 Mott St,10013 347 981 2715 amy-li.com Wed-Sun 12-7

Anastasia Photo

James Cohan 291 Grand St, 10002 212 714 9500 jamescohan.com

Con Artist 119 Ludlow St, 10002 646 504 2323 conartistnyc.com

Lichtundfire

Denny Gallery

Andrew Edlin Gallery

Dorian Grey Gallery

AVANT GARDE by MMC Vapor lounge and art space

319 Grand St, 10002 212 334 5444 avantgardebymmc.com

Ashok Jain Gallery 58 Hester St, 10002 212 969 9660 ajaingallery.com Wed-Sun 12-6

Betty Cuningham Gallery 15 Rivington St, 10002 212 242 2772 BettyCuninghamGallery.com

Brian Morris Gallery 163 & 171 Chrystie St, 10002 347 261 8228 brianmorrisgallery.com

Cuchifritos Gallery 120 Essex St,10002 212 420 9202 artistsallianceinc.org Tue-Sun 12-6

Castle Fitzjohns Emerging and mid-career artists, with select secondary market pieces from gallery collection.

98 Orchard St, 10002 212 260 2481 castlefitzjohns.com

Causey Contemporary 29 Orchard St, 10002 212 966 2520 causeycontemporary.com Tue-Sat 11-7; Sun 12-6 6

Christian Duvernois Gallery 648 Broadway, No. 804, 10012 212 268 3628 Mon-Sat 10:30-6 christianduvernois.com

Cindy Rucker Gallery 141 Attorney St, 10002 212 388 9311 Wed-Sun 12-6 cindyruckergallery.com

34

Lehmann Maupin 201 Chrystie St, 10002 212 254 0054 lehmannmaupin.com

261 Broome St 10002 212 226 6537 dennygallery.com

212 Bowery, 10012 212 206 9723 edlingallery.com

94 Allen St, 10002 917 388 2464 launchf18.com

A community of working artists

143 Ludlow St, 10002 212 677 9725 anastasia-photo.com Tue-Sat 11-7; Sun 12-7

(New Address)

Launch F18

437 E 9 St 10009 516 244 4126 doriangreygallery.com

Dutton 124 Forsyth St, 10002 917 214 1838 soniadutton.com

Elizabeth Houston Gallery Adrian Tone "Shoeshine Punch", painting Jan 27 thru Apr 3

34 E 1st St, 10003 Wed-Sun 11-6 646 247 1657 elizabethhoustongallery.com

frosch&portmann 53 Stanton St, 10002 646 266 5994 froschportmann.com

Gallery onetwentyeight 128 Rivington St, 10002 212 674 0244 Tue-Sun 12-7 galleryonetwentyeight.org

Group Show "Linea Lingua Universalis or Random Connectivity", painting, sculpture, paper, photo Feb 3 thru Mar 13

175 Rivington St, 10002 212 925 3765 lichtundfire.com Wed-Sat 12-6; Sun 1-6

Ludlow 38 38 Ludlow St 10002 212 228 6848 ludlow38.org

Marc Straus 299 Grand St, NY 10002 212 510 7646 marcstraus.com Wed-Sun 11-6

McKenzie Fine Art 55 Orchard St, 10002 212 989 5467 mckenziefineart.com

New Museum 235 Bowery, 10002 212 219 1222 newmuseum.org

The Phatory 618 E 9 St, 10009 212 358 0028 phatory.com

Pierogi

William Holman

155 Suffolk St, 10002 Wed-Sun 11-6 646 429 9073 pierogi2000.com

65 Ludlow St, 10002 212 475 1500 wholmangallery.com

Galerie Richard

GARIS & HAHN

121 Orchard St, NY 10011 212 510 8181 galerierichard.com

263 Bowery 10002 212 228 8457 garisandhahn.com

Station Independent Projects

GR Gallery

138 Eldridge St, No. 2F, 10002 917 698 2012 stationindependent.com

255 Bowery, 10002 212 473 2900 gr-gallery.com Tue-Sat 12-7

Sperone Westwater

Lesley Heller Workspace

257 Bowery St, 10002 212 999 7337 speronewestwater.com

54 Orchard St, 10002 212 410 6120 lesleyheller.com

Turn Gallery

ideal glass 22 E 2nd St, 10003 212 598 3030 idealglass.org

KANSAS 210 Rivington St, 10002 646 559 1423 kansasgallery.com

37 E 1st St, NY 10003 917 773 8263 turngallerynyc.com Wed-Sat 12-7; Sun 12-5

Woodward Gallery 133 Eldridge St, 10002 212 966 3411 woodwardgallery.net

XY Atelier

Minerva's Drawing Studio

Poetry, Fashion, Performance Arts space

(new address) 293 Broome St, 10002 212 226 7240 springstudiosoho.com

81 Hester St, 10002 612 203 8336 www.xyatelier.com Tue-Sun 11-6

i n t h e Artworld.com

Soho

Chelsea

Benrubi Gallery

Galleria Ca' d'Oro

Artelier for exclusive functional art

521 W 26 St, 2nd Fl, 10001 212 888 6007 benrubigallery.com

529 W 20 St, 9 Fl 10011 ca-doro.com 305 323 2442 Tue-Sat 11-6

Berry Campbell

Hixenbaugh Ancient Art

530 W 24 St, 10011 212 924 2178 berrycampbell.com Tue-Sat 10-6

537A W 23 St, 10011 212 989 9743 Tue-Sat 11-6 hixenbaugh.net

Aqua gallery 78 Grand St, 10013 212 219 9922 aquagallery.com

Art Projects International Group Show "MARKING 2: Drawings by Contemporary Artists from Asia", Mar 3 thru Apr 30

434 Greenwich St, 10013 Tue-Sat 11-6 212 343 2599 artprojects.com

Bill Hodges Gallery

Brooke Alexander

529 W 20 St,10011 212 333 2640 billhodgesgallery.com Tue-Fri 10-6; Sat 12:30-5:30

59 Wooster St, 10012 212 925 4338 baeditions.com

Blue Mountain Gallery

Jeffrey Deitch Inc.

530 W 25 St, 4th Fl, 10001 646 486 4730 Tue-Sat 11-6 bluemountaingallery.org

76 Grand St, 10013 212 343 7300 deitch.com

Bortolami

Leslie-Lohman Museum of Gay and Lesbian Art

520 W 20 St, 10011 212 727 2050 bortolamigallery.com

26 Wooster St 10002 212 431 2609 leslielohman.org

Bryce Wolkowitz

Michele Mariaud 153 Lafayette St, 10013 917 783 5737 michelemariaudgallery.com Tue-Fri 11-7; Sat 11-6

505 W 24 St 10011 212 243 8830 brycewolkowitz.com

Caelum Gallery

Ronald Feldman Fine Arts

508-526 W 26 St, Ste. 315, 10001 212 924 4161 Tue-Sat 11-6 caelumgallery.com

31 Mercer St, 10013 212 226 3232 feldmangallery.com

Carolina Nitsch

Salomon Arts Gallery Artist workspace that hosted film, art and dance exhibits and performances.

83 Leonard St, (4th Fl), 10013 212 966 1997 salomonarts.com

Sacred Gallery NYC 424 Broadway (2nd Fl) 10013 Mon-Sun12-7 212 226 4286 sacredgallerynyc.com

Soho Photo Gallery 15 White St 10013 212 226 8571 sohophoto.com

West Broadway Gallery 383 West Broadway 4th Fl, 10012 646 335 5155 westbroadwaygallery.com Sun-Mon 11-8

Chelsea

534 W 22 St,10011 Tue-Sat 11-6 212 645 2030 carolinanitsch.com

Claire Oliver Gallery

Jack Shainman Gallery 513 W 20 St 10011 jackshainman.com 212 645 1701 Tue-Sat 10-6

Jack Shainman Gallery 524 W 24 St, 10011 jackshainman.com 212 337 3372 Tue-Sat 10-6

James Cohan Gallery 533 W 26 St 10001 jamescohan.com 212 714 9500 Tue-Sat 10-6

Jim Kempner Fine Art 501 W 23 St, 10011 212 206 6872 jimkempnerfineart.com

JoAnne Artman Gallery Ray Turner "Population Defaced", painting Mar 16 thru May 28; Group show "JoAnne Artman Gallery at the Affordable Art Fair 2016 (Booth 1.4)", painting, sculpture, paper, multimedia, photo Mar 30 thru Apr 3

511-A W 22 St, 10011 Wed-Sat 11-6 949 510 5481 joanneartman@aol.com joanneartmangallery.com

Danese Corey

Joseph Gross Gallery

511 W 22 St 10011 danese.com 212 223 2227 Tue-Sat 10-6

548 W28 St, ground floor, 10001 646 535 6528 josephgrossgallery.com Tue-Sat 11-6 ; Thu 11- 9

DC Moore Gallery 535 W 22 St, 2nd Fl 10011 212 247 2111 dcmooregallery.com

Kathryn Markel Fine Arts

De Buck Gallery

529 W 20 St 10011 212 366 5368 Tue-Fri 10-6; Sat 11-6 markelfinearts.com

545 W 23 St, 10011 debuckgallery.com 212 255 5735 Tue-Fri 10-6; Sat 11-6

Lehmann Maupin

Ethan Cohen Fine Arts

540 W 26 St 10001 212 255 2923 Mon-Fri 10-6 lehmannmaupin.com

251 W 19 St 10011 212 625 1250 ecfa.com

Fergus McCaffrey

529 W 20 St, 10011 212 206 8080 acagalleries.com

514 W 26 St 10001 fergusmccaffrey.com 212 988 2200 Tue-Sat 10-6

Allan Stone Projects

Five Eleven

535 West 22 St, 3rd Fl. 10011 212 987 4997 allanstoneprojects.com

511 W 27 St 10001 five-11.com 646 838 8674 Tue-Sat 11-6

Andre Zarre Gallery

Flomenhaft Gallery

529 W 20 St, 10011 212 255 0202 andrezarre.com

547 W 27 St, 10001 212 268 4952 Tue-Sat 10-5 flomenhaftgallery.com

530 W 25 St, 4th Fl. 1000 917 680 1084 Tue-Sat 11-6 artemisagallery.com

527 W 23 St,10011 212 366 4490 Mon-Sat 10-6 hoerle-guggenheim.com

513 W 26 St,10001 212 929 5949 Tue-Sat 10-6:30 claireoliver.com

ACA Galleries

Artemisa Gallery

Hoerle-Guggenheim

Fluxus Foundation

Leila Heller Gallery 568 W 25 St 10001 leilahellergallery.com 212 249 7695 Mon-Fri 10-6

Littlejohn Contemporary 547 W 27 St, Ste 207 10001 203 451 5050 littlejohncontemporary.com

Magnan Metz Gallery 521 W 26 St 10001 magnanmetz.com 212 244 2344 Tue-Sat 10-6

Margaret Thatcher Projects 539 W 23 St 10011 thatcherprojects.com 212 675 0222 Tue-Sat 10-6

454 W 19 St, 10011 212 675 4392 fluxusfoundation.com

i n t h e Artworld.com

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Chelsea

Uptown

Adelson Galleries

Keith de Lellis Gallery

520 W 27 St 10001 212 966 6676 nancyhoffmangallery.com

730 Fifth Ave, 10019 212 439 6800 adelsongalleries.com

Noho Gallery - M55 Art

Alaska on Madason

1045 Madison Ave, 3rd Floor, 10075 212 327 1482 keithdelellisgallery.com Tue-Fri 11-5:30; Sat 11:30-5

530 W 25 St, 4 Fl, 10001 nohogallery.com 212 367 7063 Tue-Sat 11-6

1065 Madison Ave, 10028 212 879 1782 Tue-Sat 1:30-6 alaskaonmadison.com

Nancy Hoffman Gallery

Paul Kolker collection 511 W 25 St, 10001 paulkolker.com 212 367 7300 Mon-Sat 10-6

Robert Mann Gallery 525 W 26 St 10001 robertmann.com 212 989 7600 Mon-Fri 10-6

Anders Wahlstedt Fine Art Mel Kendrick, John Newman, Chris Macdonald "SCULPTURAL DRAWINGS", Jan 28 thru Mar 19; Roy DeCarava "New York 19", Mar 31 thru May 14

Metropolitan Museum of Art 1000 5th Avenue at 82 St, 10028 212 535 7710 metmuseum.org Tue-Thu 9:30-5:30; Fri-Sat 9:30-9:00; Sun 9:30-5:30

Moeller Fine Art Advisory 35 E 64 St, NY 10065 212 644 2133 moellerfineart.com By appointment

Ricco/Maresca Gallery

40 E 63 St, Ste 2, 10065 917 868 9010 wahlstedtart.com Tue-Fri 11-6; Sat 11-3

529 W 20 St, 3 Fl, 10011 riccomaresca.com 212 627 4819 Tue-Sat 11-6

The Gabarron Foundation

MoMA

Senior & Shopmaker Gallery

The Foundation is a meeting point for people, organizations and governments to promote the exchange of world cultures.

11 W 53 St, 10019 212 708 9400 moma.org

210 11th Ave 10001 212 213 6767 Mon-Fri 10-6

Nathan A. Bernstein & Co.

seniorandshopmaker.com

149 E 38 St, NY 10016 212 573 6968 gabarron.org Mon-Fri 10-6

Herman Struck “The Art Of Etching 18761944”, Apr 11 thru Jul 31

Stricoff Fine Art Ltd.

Gagosian Gallery

564 W 25 St 10001 stricoff.com 212 219 3977 Tue-Sat 11-6

21 65 St, 2nd Fl 10065 212 288 8970 nathanbernsteinart.com

980 Madison Ave, 10075 212 744 2313 Tue-Sat 10-6 www.gagosian.com

The Curator Gallery 520 W 23 St, 10011 212 243 1806 Tue-Sat 11-6 thecuratorgallery.com

Thomas Erben Gallery 526 W 26 St, 4th Fl 10001 212 645 8701 Tue-Sat 10-6 thomaserben.com

Unix Gallery

Galerie Mourlot Specializing in graphic works by modern and contemporary artists

16 E 79 St, 10075 212 288 8808 Mon-Sat 10-6 galeriemourlot.com

Sandra Gering Inc Specializing in graphic works by modern and contemporary artists

Machiko Edmondson "Everything in Equal Measure", painting Mar 3 thru Apr 2; Machiko Edmondson "Everything in Equal Measure", painting Mar 3 thru Apr 2

14 E 63rd St, 10065 646 336 7183 Tue-Sun 10-6 sandrageringinc.com

532 W 24th St 10011 unixgallery.com 212 209 1572 Tue-Sat 10-6

Ierimonti Gallery

Viridian Artists INC Namiyo Kubo "‘Water Series Vol. 24’", painting Feb 23 thru Mar 12; Bob Tomlinson "Mythic Fragments", painting Mar 15 thru Apr 2; Robert Smith "It's curtains!", Apr 5 thru Apr 23

548 W28th/ 547 W27 St, 10001 212 414 4040 Tue-Sat 12-6 viridianartists.com

Whitney Museum 99 Gansevoort St, 10014 212 570 3600 whitney.org Mon 10:30-6; Wed-Thu 10:30-6; Fri-Sat 10:30-10; Sun 10:30-6

Salvo (Salvatore Mangione) "Salvo. Io sono il migliore", painting Feb 4 thru Mar 16

24 W 57th St, 10019 212 581 1619 ierimontigalleryusa.com

Jadite Galleries 413 W 50 St, 10019 jadite.com 212 315 2710 Tue-Sat 12-6

James Reinish & Associates, Inc 20th Century Paintings, Sculpture, Works on Paper. Specializing in American Modernism, mid-century Abstraction, Realism & Post-War Art. Artists include Ault, Avery, Benton, Bluemner, Crawford, Dove, Drewes, Gallatin, Hartley, Hopper, Kent, Lozowick, Marin, Maurer, Motherwell, O’Keeffe, Prendergast, Schamberg, Stankiewicz, J. Stella, Storrs, and others

25 E 73 St, 2nd Fl, NY 10021 212 734 7332 Mon-Fri 9:30-5:30 jamesreinish.com

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Nohra Haime Gallery Hugo Bastidas "Illuminations I", painting Feb 3 thru Mar 5; Carole Seborovski "Physical Intuition", painting, sculpture Mar 8 thru Apr 9; Valerie Hird "Genesis Tree", installation Mar 22 thru Apr 30

730 Fifth Ave, 10019 212 888 3550 Tue-Sat 10-6 nohrahaimegallery.com

Shepherd W & K Galleries Specialises in modern art, dealing in works on paper that unite the great Austrian artists from around 1900 such as Gustav Klimt, Egon Schiele, Oskar Kokoschka, and more

58 E 79 St, 10075 212 861 4050 shepherdgallery.com Tue-Sat 10-6

Stux Gallery 24 W 57 St, 10019 Tue-Sat 10-6 212 352 1600 stuxgallery.com

Throckmorton Fine Art 147 E 57 St, 3rd Fl 10022 212 223 1059 Tue-Sat 11-5 throckmorton-nyc.com

Van de Weghe Fine Art 1018 Madison Ave at 78 St, 10075 212 744 1900 Mon-Fri 10-6 www.vdwny.com

Vallois French Deco furniture, objects and lighting by Ruhlmann, Frank Dunand, Giacometti, DupreLafon, and others / Important African Art

27 E 67 St, Mezz. Level,10065 212 517 3820 artdeco@vallois.com Tue-Fri 10-6; Sat 10-5

i n t h e Artworld.com

Brooklyn

Los Angeles

Anderson Galleries

Modernism, Inc.

101 Grand Street, 11211 718 302 2242 Fri-Sun 1-6 art101brooklyn.com

354 N Bedford Dr, Beverly Hills 90210 310 858 1644 andersongalleries.com

685 Market St, 94105 415 541 0461 Tue-Sat 10-5:30 modernisminc.com

Brooklyn Museum

2727 S. La Cienega Blvd, 90034 310 836 2062 blumandpoe.com

San Francisco Museum of Modern Art (SFMOMA)

Carmichael Gallery

151 Third St, 94103 415 357 4000 sfmoma.org

Art 101, Inc.

200 Eastern Parkway Brooklyn, NY 11222 718 501 6354 brooklynmuseum.org

The Boiler 191 N 14th St, 11211 718 599 2144 Thu-Mon 12–6 pierogi2000.com

Pierogi (Moved to LES)

155 Suffolk Street New York, NY 10002 646 429 9073 info@pierogi2000.com pierogi2000.com Wed-Sun 11-6

Williamsburg Art & Historical Center (WAH) 35 Broadway, 11211 718 486 6012 wahcenter.net Sat-Sun 12-6

Blum & Poe Gallery

5795 Washington Blvd, 90034 323 969 0600 Tue-Sun 1-7 carmichaelgallery.com

Chung King Project 510 Bernard St, 90012 213 625 1802 chungkingproject.com

Gagosian Beverly Hills 456 N. Camden Dr, Beverly Hills 90210 310 271 9400 gagosian.com

Gemini G.E.L 8365 Melrose Ave, 90069 323 651 0573 geminigel.com

LA Contemporary

San Francisco

Yerba Buena Center for the Arts 701 Mission St, 94103 415 978 2787 ybac.org

Chicago

Museum of Contemporary Art Chicago 220 E Chicago Av, 60611 312 397 4095 mcachicago.org

Roy Boyd 739 N Wells St, 60654 312 642 1606 Tue-Sat 10-5:30 royboydgallery.com

Queens

2634 S. La Cienega Blvd, 90034 310 559 6200 Tue-Sat 11-5 lacontemporary.com

P.S.1 Contemporary Art Center

Sam Lee Gallery

740 N Franklin, 60654 312 202 9305 Tue-Sat 11-5 melaneecoopergallery.com

990 N. Hill St, No.190, 90012 323 227 0275 samleegallery.com

Richard Gray

22-25 Jackson Ave, LIC 11101 718 784 2084 mail@ps1.org ps1.org Thu-Mon 12-6

Socrates Sculpture Park Broadway at Vernon Blvd, LIC 11106 718 956 1819 socratessculpturepark.org

Von Lintel Gallery 2685 S La Cienega Blvd, 9004 310 559 5700 vonlintel.com

San Francisco Asian Art Museum of San Francisco 200 Larkin St, Civic Center, 94102 415 581 3500 asianart.org

Melanee Cooper

875 N Michigan Av, Ste, 2503, John Hancock Blg, 10014 312 642 8877 Mon-Fri 10-4:30 richardgraygallery.com

Carl Hammer 740 N Wells St, 60654 312 266 8512 Tue-Fri 11-6; Sa 11-5 hammergallery.com

Richard Norton

Jenkins Johnson Gallery

Merchandise Mart Blg, 60654 Ste 612 312 644 8855 Mon-Fri 9-5 richardnortongallery.com

464 Sutter St, 94108 415 677 0770 sf@jenkinsjohnsongallery.com

Miami

George Krevsky Gallery 77 Geary St, 94108 415 397 9748 Tue- Sat 11-5:30 georgekrevskygallery.com

Bass Museum 2121 Park Ave, Miami Beach, 33139 305.673.7530 info@bassmuesum.org bassmuseum.org

Diana Lowenstein 2043 N Miami Ave, 33127 305 576 1804 info@dlfinearts.com dlfinearts.com Tue-Sat 10:30-6

Lyle O. Reitzel 2441 NW 2nd Ave, 33127 305 573 1333 lyleoreitzel.com WedFri 10-6, Sat 12-6

PĂŠrez Art Museum Miami 1103 Biscayne Blvd, 33132 305 375 3000 pamm.org

i n t h e Artworld.com

37

Paris

Beijing

Galerie l'Inlassable

Pekin Fine Arts

Hong Kong

13rue de Nevers , Paris 75006 +33 620 994 117 linlassablegalerie.com

No. 241 Cao Chang Di Village, Cui Ge Zhuang, Chaoyang District, Beijing 100105 +86 10 5127 3220 pekinfinearts.com Wed-Sun 10-6

11/F Hollywood Centre 233 Hollywood Road, Sheung Wan, Hong Kong +852 2844 1112 aaa.org.hk

Chambers Fine Art Beijing

G/F, 248 Hollywood Road, Sheung Wan, Hong Kong cbal.com.hk +852 3571 8200

Marian Goodman 76 rue de Tumple, Paris 74003 +33 148 16 16 57 mariangoodman.com Tue-Sat 11-7

Perrotin 76 rue de Turenne, Paris 75003 10 Impasse Saint Claude, Paris 75003 +33 142 16 79 79 perrotin.com Tue-Sat 11-7

Gallery Schukin 4 avenue Matignon, Paris 75008 +33 145 61 25 63 galleryshchukin.com Tue-Sat 10-6

Red No. 1-D, Cao Chang Di Village, Chaoyang District, Beijing 100015 +86 10 5127 3298 bj@chambersfineart.com chambersfineart.com Tue-Sun 10-6

De Sarthe Beijing 328-D Caochangdi, Chaoyang District 100015 Beijing, China +86 010-84182441 desarthe.com

Red Gate Gallery

Prague

Levels 1 & 4, Dongbianmen Watchtower Chongwenmen, Beijing 100600 +8610.6525.1005 redgategallery.com Sun-Sat 10-5

Jungmannova 3, Prague 11000 +42 07 3433 2420 latin-art.com

Gallery Schukin

Latin Art Gallery Prague

IAM unlimited Stepanska 61 , Praha 1, 11602 +60 225 5961 iam.cz

GASK Gallery of the Central Bohemian Region Barborska 53, Kutna Hora, 28401 +42 06 0670 3215 gask.cz

London

Shine Artists 49 Albemarle Street, London, W1S4JR +44207499166 shineartists.com

Victoria Miro

4 avenue Matignon, Paris 75008 +33 145 61 25 63 galleryshchukin.com Tue-Sat 10-6

Asia Art Archive

Contemporary by Angela Li

Edge Gallery 46 village Road, Hong Kong, edge-gallery.com +852 9535 7978

Identity Art Gallery G/F, 53 Tung Street, Sheung Wan, Hong Kong identityartgallery.com +85 2 2540 5353

Puerta Roja Shop A, G/F wai yue building, 15-17 New Street Sheung Wan, Hong Kong puerta-roja.com +852 2803 0332

The Cat Street Gallery 222 Hollywood Road, Sheung Wan, Hong Kong thecatstreetgallery.com +85 2 2291 0006

Shanghai

10 Chancery Lane Gallery

39 North Maoming Road Shanghai, 200041 +86 021 5228 7550 andrewjamesart.com

A gallery

Andrew James Art

Art Labor Gallery 570 Yongjia lu, Bldg 4, 570 Yongjia Lu, , Shanghai 200031 +86 21 3460 5331 artlaborgallery.com

Elisabeth de Brabant

16 Wharf Road N1 7 RW, London +44 20 7336 8109 victoria-miro.com

600 Shanxi North Road Shanghai, 200041 +86 021 6466 7428 elisabethdebrabant.com Mon-Sat 10-7

Victoria Miro Mayfair

M97 Gallery

14 St George Street London W1S 1FE +44 20 3205 8910

No. 97 Moganshan Rd. 2nd floor, 200060 +86-021-6266-1597 m97gallery.com

Matthew Liu Fine Arts Suite 201-203, 115 Yuan Ming Yuan Rd, Shanghai 200020 +86 21 63151582 mlfinearts.com Tue-Sat 10-6

G/F, 10 Chancery Lane, SoHo, Central, Hong Kong +852 2810 00659 10chancerylanegallery.com

2-4 MeeLun Street, Hong Kong a-gallery.com.hk +852 2868-0776

Amelia Johnson G/F 6 - 10 Shin Hing Street,Central, Hong Kong ajc-art.com +85 2 2548 2286

Anna Ning Fine Art Room 101, St. George's Building,2 Ice House Street, Central, Hong Kong annaningfineart.com +85 2 2521 3193

Art Beatus 50 Peel Street, Ground Floor,Central, Hong Kong artbeatus.com +852 2522-1138 +852 2526-0818

Ben Brown Fine Arts 301 Pedder Building,12 Pedder Street, Central, Hong Kong +85 2 2522 9600 benbrownfinearts.com

Blindspot Gallery 24-26A, Aberdeen Street, Central, Hong Kong +85 2 2517 6238 blindspotgallery.com

De Sarthe Gallelry 8/F Club Lusitano building,16 Ice House Street, Central, Hong Kong +852 2167 8896 desarthe.com

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i n t h e Artworld.com

Edouard Malingue Gallery First Floor, 8 Queen's Road Central, Hong Kong +85 2 2810 0317 edouardmalingue.com

Gagosian Gallery 7F, Pedder Building, 12 Pedder St, Central, Hong Kong +85 2 2151 0555 gagosian.com

Galerie du Monde 108 Ruttonjee Centre, 11 Duddell Street, Central, Hong Kong, +85 2 2525 0529 galeriedumonde.com

Pearl Lam Galleries 601-605 Pedder Building, 12 Pedder Street, Hong Kong +852 2522 1428 pearllam.com

Seoul

Singapore

313 Dosan-daero, Gangnam-gu, Seoul +82 8 3446 3137 313artproject.com

9 Lock Road, #03-21 Gillman Barracks, Singapore 108937 +65 6734 0775 arndtfineart.com

313 artproject

Arario Gallery 84 Bukchon-ro 5-gil, Jongno-gu Seoul, Seoul, 110-200 +82 2 541 5701 arariogallery.com Tue-Sun 10-7

Artsonje Center 87 Yulgok-ro 3-gil Jongno-gu, Seoul, 110-200 +82 2 733 8945 artsonje.org

Gallery Hyundai 80 Sagan-dong, Jongno-gu Seoul, Seoul 110-260 +82 2 2287 3500 galleryhyundai.com

Gana Art Seoul

ARNDT Gallery

Chan Hampe Galleries 328 North Bridge Road, #01-21 Raffles Hotel Arcade Singapore 188719 +65 6338 1962 chanhampegalleries.com

FOST Gallery 1 Lock Rd, Singapore 108932 +65 6694 3080 fostgallery.com

Gajah Gallery 39 Keppel Road Tanjong Pagar Distripark #03-04, Singapore 089065 +65 6737 4202 gajahgallery.com

Objectifs

97 Pyongchang-dong Jongno-gu Seoul, Seoul, 110-012 +82 2 720 1020 Mon-Sun 10am-7pm ganaart.com

155 Middle Road, Singapore 188977 +65 6336 2957 objectifs.com.sg

Hakgojae 1

Pearl Lam Galleries

50 Samcheong-ro, Jongno-gu, Seoul, 03053 +86 21 6205 0699 hakgojae.com

9 Lock Road, #03-22 Gillman Barracks, Singapore 108937 +65 6570 2284 pearllam.com

Hakgojae 2

Singapore Art Museum

Voxfire Gallery

48-4 Samcheong-ro, Jongno-gu, Seoul, 03053 +82 2 720 1524-6 hakgojae.com

71 Bras Basah Rd, Singapore 189555 +65 6589 9580 singaporeartmuseum.sg

1/F, 52 Gage St, Central, Hong Kong +85 2 2581 3385 voxfiregallery.com

Kukje Gallery

White Cube Hong Kong

54 Samcheong-ro, Jongno-gu Seoul, Seoul 110-200 +82 2 735 8449 kukjegallery.com Mon-Sat 10-6

Singapore Tyler Print Institute

Simon Lee Gallery 304, Pedder Building, 12 Pedder Street, Central, Hong Kong +85 2 2801 6252 simonleegallery

Sundaram Tagore Gallery 4/F, Central, Lee Roy Commercial Building, 57-59 Hollywood Rd, Central, Hong Kong +852 2581 9678 sundaramtagore.com

50 Connaught Road Central Hong Kong +85 2 2592 2000 whitecube.com Tue-Sat 11-7

Yan Gallery Chinachem Hollywood Centre, 1 Hollywood Rd, Hong Kong +852 2139 2345 yangallery.com

Taipei

Asia art Center Taipei 1 No.177, Sec. 2, Jianguo S. Road, Taipei 106, Taiwan +886 2 2754 1366 asiaartcenter.org

ONE AND J. Gallery 31-14 Bukchon Ro, Jongno Gu Seoul, Seoul 110-260 +82 745 1644 oneandj.com Tue-Sun 11-6

Pyo Gallery 314 Sowol Road, Yongsan-Gu, Seoul, +82 2 543 7337 pyoart.com

Pyo Gallery South B112 NaturePoem B/D 461 Apgujeong Road, Gangnam-Gu, Seoul, +82.2.511.5295 south.pyoart.com

Asia art Center Taipei 2

41 Robertson Quay, Singapore 238236 +65 6336 3663 stpi.com.sg

Auction Houses Christie’s

20 Rockefeller Plaza, 5th fl, New York, NY 10020 212.636.2000 christies.com

Doyle New York 175 E 87, New York, NY 10128 212.427.2730 doylenewyork.com

Phillips 450 Park Ave, New York, NY 10022 212 940 1300 phillips.com

Sotheby’s

No.93, Lequn 2nd Rd., Taipei 104, Taiwan +886 2 8502 7939 asiaartcenter.org

1334 York Ave, New York, NY 10021 T 212.606.2000 .sothebys.com

Art Services

Galerie Grand Siècle Established in 1999 by Richard (Hsueh-Kung) Chang, the gallery focuses on Taiwanese contemporary art, especially new media art.

Richard Chang also serves as director of Art Kaohsiung and Formosa Art Show art fair

Artwork Photography Artwork Photography services: Guenter Knop 212 831 3672 12.30@gmail.com

1F,No.17,Alley 51,Lane 12, Sec.3, Bade Rd.,Taipei 10559, Taiwan +886 2 25785630 changsgallery.com.tw

Artist Website Design Website Design for artists: Orin Buck 917 676 7738 orin@buckart.com

i n t h e Artworld.com

39

1918 ArtSPACE Shanghai 47 532 Gallery / Thomas Jaeckel 37 A

ACA Galleries 37

Brooke Alexander 36 Americas Society 40

Anastasia Photo 35 Art 101 44

Artists Space Gallery 36 Asia Society 40

Axelle Fine Arts 36

B

Nathan A. Bernstein & Co., Ltd. 40 Bertrand Delacroix Gallery 37

Betty Cuningham Gallery 37 The Boiler 44

Bonhams & Butterfields San Francisco 47 Bullet Space 35 C

Causey Contemporary 44 Ceres 37

Chambers Fine ArtBeijing 47

F

Feature Inc 35

Ronald Feldman Fine Arts 36 Forum Gallery 40

Fountain Gallery 40 The Frick Collection 40

G

The Gabarron Foundation, Carriage House Center for the Arts 40 Gagosian Gallery 37, 40

Contrasts Gallery 47 D

DC Moore 37

Doyle New York 47

E

Eli Klein Fine Art 36

Elisabeth de Brabant 47

MOCA Shanghai 47 Moe's Meat Market, a gallery 35 MoMA 40

N

Nancy Hoffman Gallery 37

The National Academy Museum 40

P

H

Nohra Haime Gallery 40

High Line Gallery 37 Irena Hochman Fine Art Ltd 40 Bill Hodges Gallery 40

I

ifa 47 J

Jadite Galleries 40

Kathryn Markel Fine Arts 37

Ethan Cohen Fine Arts 36

U

Guggenheim Museum 40

Howard Greenberg Gallery 40

China Square 35

Christopher Henry Gallery 35

Mike Weiss Gallery 37

Metropolitan Museum Throckmorton Fine of Art 40 Art, Inc. 40

The New Museum 35

Cheim & Read 37

Christie’s 47

The Drawing Center 36

Galerie St. Etienne 40

The Jewish Museum 40

China Institute 40

Messineo & Wyman 37

K

Kips Gallery 37 L

Lehmann Maupin 35 Lehmann Maupin Gallery 37

Leslie Hindman Auctioneers 47

M

M55 Art 44

M97 Gallery 47

Matthew Marks Gallery 37

O

OK Harris Works of Art 36 P.S.1 Contemporary Art Center 44 Parker's Box 44

Pekin Fine Arts 47

The Pen and Brush, Inc. 35

Peter Blum SoHo 36

Phillips de Pury & Co 47 Pierogi 44

Q

QCC Art Gallery 44 R

Red Gate Gallery 47 Reis Studios 44

Ricco / Maresca 37

Robert Miller Gallery 37

Michael Rosenfeld Gallery 40 S

Socrates Sculpture Park 44

Soho Photo Gallery 36 Sotheby’s 47

Staley-Wise Gallery 36 T

Umbrella Arts - Fahey Bodell 35 V

Van de Weghe Fine Art 40 W

WAH 44

Ward Nasse Gallery 36

White Box Bowery 35 Whitney Museum of American Art 40 Woodward Gallery 35