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The story behind the Affordable Art Fair

Way back in 1966, Will Ramsay opened Will’s Art Warehouse in southwest London to bridge the public’s increasing interested in contemporary art and London’s highbrow gallery scene.  By concentrating on relatively unknown works from about $100 up to $5,000 from a stable of over 150 artists.  The response Will received from his Art Warehouse inspired him to take his approach to the next level, and three years later the Affordable Art Fair was born.  By embracing other friendly galleries selling affordable art, the first fair launched in Battersea Park in October 1999.  10,000 visitors took advantage of the ease of buying, breadth of choice, affordable prices and user-friendly approach.  

Today, Will’s Art Warehouse still stands and the Affordable Art Fair has become something of a global phenomenon.  The Affordable Art Fair now takes place in cities including Amsterdam, Bristol, Brussels, New York, Milan, London, Singapore, Hamburg, Mexico City, Seattle, Stockholm, Hong Kong and Maastricht.  Globally, over 1.4 million people have visited an Affordable Art Fair and purchased over $316 million worth of art.

But Will didn’t just stop with the Affordable Art Fair.  He also founded the contemporary art hub PULSE, held annually in New York and Miami; co-founded Asia’s leading art fair, the prestigious Art HK (which has since become Art Basel in Hong Kong); as well as being a co-shareholder of Art India, the country’s first international art fair, attracting over 190,000 visitors since its launch in 2008.

Click here for more information about the fair

Von Lintel Gallery’s inaugural Los Angeles Exhibition

The week’s blog post celebrates Von Lintel Gallery’s move to the west coast.  Enjoy!

For the inaugural Los Angeles exhibition of the Von Lintel Gallery (opening March 22nd in Culver City after over a decade in Manhattan’s Chelsea Arts District), Lay of the Land curator Farrah Karapetian culled from artists, primarily based in LA, with a variety of perspectives on both photography and the city itself that reinforce the reputation of LA as a place for experimentation and of its landscapes as a well of inspiration. The show recognizes Los Angeles as yielding a rich field of practice precisely because its artistic history and sense of place have never been codified.

Ed Ruscha’s Los Angeles Apartments of the 1960s are a crucial part of that argument: the work is not beholden to the medium’s strictures conceptually or technically just as the imagery is not beholden to the city’s perpetuated myth. These pictures alongside Catherine Opie’s mini-malls, Florian Maier-Aichen’s altered image of a snowy La Brea Boulevard and Peter Holzhauer’s close-ups of mark-makings on city surfaces suggest the broad parameters within which the city landscape and the photographic medium can be understood.

Mateo Tannatt, Untitled, 2013 Archival pigment print, 53 x 36 inches,
Edition of 3, Courtesy of the artist and Marc Foxx Gallery

Many of the works are generated by a conceptual framework but result in imagery transcending its own rules. Anthony Hernandez’s images taken inside homeless camps become projects in abstraction and Sharon Lockhart’s photographs pulled from carefully constructed projects suggest two potentials for interior life: labor and pause. Zoe Crosher’s LAX series grounds dreamy lyricism in the banality of the airport motel and Klea McKenna’s photograms of rain exist on the backdrop of California’s longstanding conditions of drought. Mateo Tannatt’s untitled image of jeans strewn in the branches of a lemon tree becomes a pictograph: a surreal moment of found visual poetry.

Photography can also be a tool that speaks to other kinds of image production. Brice Bischoff’s movements in the Bronson Caves, recorded photographically and producing a colorful haze, suggest opportunities to consider time and its mysteries as much as their environmental backdrop. Amir Zaki’s prints demonstrate the potent and quiet combination of multiple moments: fog obscuring the architecture above seaside cliffs; the viewer’s back remaining to the ocean. Melanie Willhide’s images recovered off a stolen and improperly wiped laptop are deliciously corrupt and, like Zaki’s photographs, deny total access to the presumed content of the work. Soo Kim renders trees from cut paper that are not literally photographic but echo the forms and practices developed through her photographic work.

Klea McKenna, Rainstorm 6 (California, February), 2014,
photogram of rain on gelatin silver fiber paper, unique,
34 x 41 inches, Courtesy of the artist and Von Lintel Gallery

Each of these artists creates work with consequences reaching beyond the borders of Southern California and the photographic medium at large. The legacy of such imagery is that as photography becomes increasingly conversant with other practices, Los Angeles becomes ever more a part of the world.

After two decades in business, the Von Lintel Gallery is excited to become part of the burgeoning, vibrant Los Angeles art world. Drawn by the growing community of artists living in LA and the opportunity to be part of a developing art center, the move to California will allow the Von Lintel Gallery to expand its vision and scope and most importantly, grow a lemon tree in the backyard.

Melanie Willhide, Trick #2 and Trick #4, Palm Springs, June, 2011,
Archival pigment print, 30 x 28 inches,
Edition of 5, Courtesy of the artist and Von Lintel Gallery

Von Lintel Gallery
Lay of the Land
March 22 – May 2014
Opening: Saturday, March 22, 5-8PM
Artists: Florian Maier-Aichen | Brice Bischoff
Zoe Crosher | Anthony Hernandez | Peter Holzhauer
Soo Kim | Sharon Lockhart | Klea McKenna
Catherine Opie | Ed Ruscha | Mateo Tannatt
Melanie Willhide | Amir Zaki

TEFAF Maastricht 2014

TEFAF Maastricht (14-23 March 2014) is universally regarded as the world’s leading art fair, setting the standard for excellence in the art market. The Fair truly is an event not to be missed by collectors and museum representatives.

Presenting 260 of the world’s leading galleries from 20 countries, TEFAF Maastricht is a continuously evolving showcase for the best works of art currently on the market. In addition to the traditional areas of Old Master Paintings and antique Works of Art, you can see and buy at TEFAF Maastricht a wide variety of Classical Modern and Contemporary Art, as well as Jewellery, 20th Century Design and Works on Paper.

TEFAF Maastricht is unequalled in its level of quality and in the methods it employs to establish and guarantee the authenticity of every painting and object on offer. Participating dealers are admitted only after a strict selection process. TEFAF Maastricht’s ground breaking vetting system involves no fewer than 175 international experts in 29 different categories, who examine every work of art in the Fair for quality, authenticity and condition, ensuring that you can buy with the greatest possible confidence.

Click to visit the fair page on ARTINFO

The Armory Show 2014

With the Armory Show in the very near future, this week’s post is about the history of the art fair.  Enjoy!

The Armory Show, housed in Piers 92 and 94 along the Hudson River on Manhattan’s west side, is the largest art fair in New York and one of the principal annual art events in the international art market calendar. Visited by tens of thousands of people each March, the Armory has for almost two decades been the showpiece for some of the world’s most important modern and contemporary art galleries. Canonical names from Picasso to Pollock have all been presented at the fair, as have, in equal measure, some of the most cutting edge artists of a younger generation. Organized by The Armory Show, Armory Arts Week has emerged as one of liveliest moments in New York’s already rich cultural calendar, with a number of smaller art fairs temporarily alighting throughout the city and the major museums staging their marquee exhibitions to coincide with the fair.

Founded in 1994 by dealers Colin de Land, Pat Hearn, Matthew Marks, and Paul Morris as the Gramercy International Art Fair, named after its initial location in the legendary Gramercy Park Hotel, The Armory Show acquired its new title in 1999 following the fair’s migration to the 69th Regiment Armory on Lexington Avenue. The name was an homage to the legendary 1913 exhibition of the same name that also took place in this building, which famously showcased works by avant-garde European artists never previously seen on American soil side-by-side with their American counterparts. This original Armory Show is widely credited for bringing Modern art to New York, and its eclectic and unorthodox mix of genres, juxtaposing Vincent van Gogh alongside Marcel Duchamp and Edward Hopper, has been a source of inspiration for ensuing decades and continues to linger today, 100 years later.

While its location at the 69th Regiment Armory was only temporary, the current Armory Show was inspired by the idea of bringing new art from all over the globe together under one roof. The fair moved to the west side piers in 2001, initially on Piers 88 and 90. Like the fair’s previous locations, the piers feature prominently in New York City history, and are also a characteristic part of its visual make-up, with their finger-like structures poking out from Manhattan on popular bird’s eye view maps of the island.

The piers are numbered according to their original position amongst over a hundred similarly sized piers from the south tip of the island to the Upper West Side. Located between 52nd Street and 55th Street on Twelfth Avenue. The Armory’s piers are on the edge of midtown, with its characteristic skyline and flashy neon signs hovering just a few blocks away.

Please visit ARTINFO’s The Armory Show fair page to see what the Gallery Guide clients are bringing to the fair this year.

Projects in Contemporary Art & Architecture: Between Vision and Function

This week’s post is from one of our favorite Upper East Side Museums – The National Academy Museum & School.  Enjoy!

Projects in Contemporary Art & Architecture: Between Vision and Function, now on view at the National Academy School, showcases work by world-renowned architects of museums, galleries, schools, and cultural spaces. Presented alongside these projects is art by Academy students and faculty that has been inspired by architectural forms. Maurizio Pellegrin, Director of the Academy School, has curated a show that challenges the long-held division between artistic disciplines, while also continuing a dialogue about the changing role of cultural institutions in the 21st century.
“The architects and artists in Projects in Contemporary Art & Architecture deal with principles of line, form, space, and light,” states Pellegrin. For example, with Gluckman Mayner Architects Minhang Museum in Shanghai, China, we see an example of a design in which line and form create a well-organized and developed architectural body rising out of the ground. The building captures the natural light and is integrated with the surrounding landscapes.  A similar debate is addressed in artworks such as Nancy Shapiro’s Ribbon 1, 2, 3.

Gluckman/Mayner Architects, Mihang Museum, Shanghai, China
In the same way that a building’s interior is related to the site it is built on, Shapiro’s sculptural installation considers the relationship between interior and exterior space, creating a form governed by its own inner harmonic rules.
Nancy Shapiro, Ribbon 1,2,3 (detail), 2013, plywood, 21 x 48 x 12 inches
Just as the works in this exhibition highlight the elemental connections between art and architecture, the architectural projects on display challenge the traditional division of cultural spaces. Safdie Architects’ Kauffman Center for the Performing Arts in Kansas City, Missouri is a primary example of the new multifaceted institutions of the 21st century. There is no simple label for this building; it is a container of multiple events including theaters, performance spaces, and public gathering areas.  Among the innovative designs in Projects in Contemporary Art & Architecture are museums that incorporate educational centers, a school that opens into a public park, and theaters and galleries that become places of social interaction.
Safdie Architects, Kauffman Center for the Performing Arts, Kansas City, MO
The works in Projects in Contemporary Art & Architecture present a vision of cultural institutions as interactive, multi-purpose social laboratories.  No longer somber mausoleums designed as containers to house precious artwork, today’s cultural centers are in themselves works of art. These buildings, like the best art, encourage an experiential connection with the viewer. In Projects in Contemporary Art & Architecture, the role of structures and mediums becomes fluid, as both art and architecture generate a magic we seek in our daily existence.

Mary Frank: Elemental Expression at DC Moore Gallery

Mary Frank’s upcoming show at DC Moore Gallery presents a rare opportunity to see major works in clay that established Mary’s reputation as one of the most innovative artists on the New York scene. This is the first extensive exhibition of these works in over twenty years, and recent paintings and photographs are also included to bring the exhibition full circle, highlighting the continuity of the mythic, elemental worlds that she has been creating in several different mediums over the course of more than six decades.

Detail of Arching Woman, c. 1972. Ceramic, 23 x 22 x 13 inches.

Mary Frank is deeply connected to the materials and mediums with which she works, and breathes emotion and insight into these ceramic pieces. Here, she has used clay in unorthodox and experimental ways, creating sculptures that suggest the shifting planes of cubist figures, the mythology of Greek gods and goddesses, and a largely feminine sensuality and corporeality that seems to have morphed and merged organically in to place.

This show, which incorporates work from present and past periods of Mary’s practice is unified through natural, reoccurring motifs, as well as her ability to transcend the various styles that have circled around her throughout the years. Her work has an open and genuine nature, and occupies a space between observation and vision.

Detail of Three Dancers, 1981. Ceramic, 29 x 34 x 25 inches overall.

DC Moore Gallery represents a lively mix of more than twenty contemporary artists and also offers the finest in twentieth-century American painting, sculpture, and works on paper, including Modernism, Ashcan, African American, Regionalism, Social Realism, and mid-century Abstraction. The gallery is open Tuesday through Saturday from 10 am to 6 pm.

For more information, please visit

Questroyal’s Annual Fall Catalog

New York (October 17, 2013) – Questroyal’s annual Important American Paintings catalogue is always eagerly anticipated for its diverse selection of works by America’s leading 19th- and 20th-century painters. This year, gallery owner Louis M. Salerno presents a creative mix of informative commentary and personal anecdotes which contribute to the unique analysis of the 50 paintings within. As featured in the previous volume, a comprehensive timeline of important events in American art over the past year and updated market graphs return to enhance the reader experience.

John Singer Sargent, Zattere, Spirito Santo and Scuola, watercolor on paper

New to this edition are contributions from the entire staff at Questroyal, revealing the range of knowledge and varied expertise the gallery has to offer. This year’s 144-page volume presents 50 color plates of important Hudson River School, tonalist, impressionist, and modernist paintings.

Marsden Hartley, Wild Rose, 1936, oil on board

Highlighted 19th- and 20th-century American artists include: George Bellows, John George Brown, Charles Burchfield, George Inness, Marsden Hartley, Martin Johnson Heade, John Frederick Kensett, John Marin, Thomas Moran, Grandma Moses, Guy Pène du Bois, William Trost Richards, Norman Rockwell, John Singer Sargent, John Sloan, Guy C. Wiggins, and Irving Ramsay Wiles.

William Bradford, Men Fishing in a Cove, Labrador, 1874, oil on board

To request a copy of Important American Paintings, Volume XIV: Forever call 212-744-3586 or visit the gallery’s website.

All images courtesy of Questroyal Fine Art, LLC, New York

Zakaria Ramhani at Julie Meneret Contemporary Art

Today’s post presents Zakaria Ramhani’s New York debut and the first exhibition of a new Lower East Side gallery.  Julie Meneret Contemporary Art is pleased to announce May Allah Forgive Me, Vol. 1 and 2, a two-part solo show opening November 6.

Faces of Your Other #50, 2013, 95 x 79 inches, Acrylic on linen

Ramhani is a Moroccan painter whose large-scale portraits use Arabic calligraphy as a formal gesture. The paradox at the core of Ramhani’s work is the tradition of aniconism in Islam. His fascination with portraiture is at odds with the practice of Islamic calligraphy, which has long been a venerated art form for representing the divine. Ramhani grew up in a Muslim society and in an artistic household; his father was a landscape painter who avoided portraying the human figure for religious reasons. He occasionally had to paint commissioned portraits and explained to his son that he would ask God’s forgiveness. May Allah Forgive Me refers to a sense of guilt that haunts both the artist and his paintings. Each person who reads this title is uttering a prayer, one of the most potent linguistic constructions.

The Unknown General, 2013, 95 x 79 inches, Oil on Linen

Inspired by recent political activism in Egypt and the Middle East, Ramhani has caused controversy by questioning religious tradition and denouncing violence. Authorities at Art Dubai last year censored Ramhani’s You Were My Only Love for its depiction of police brutality in Tahrir Square. Ramhani altered the famous image of the “blue bra woman,” who became a symbol of Egyptian protest against extreme military power, showing her struggling against gorillas as Van Gogh looks on disapprovingly.

For this exhibition, Ramhani continues to provoke thought by altering well-known media imagery. His series of famous dictators in a state of childhood anonymity points to a kind of impossibility of obtaining truth through representation—who can tell from their young portraits what kind of men these boys become? His paintings are also deeply personal, meditating on the ways that language impacts configurations of the artist’s own identity. What can be conveyed about subjectivity hovers between text and image, between the system of language and the individual’s dream of a cohesive self.

I’m Sorry Father (Adolf, Saddam, and Osama), 2013, 60 x 48 inches, Oil on Canvas

Zakaria Ramhani launched his professional career in 2006, when he became the youngest Moroccan citizen to be awarded a residency at the Cité Internationale des Arts in Paris. Since then he has exhibited throughout Europe and the Middle East, including at The Barbican Centre London, Institut du Monde Arabe in Paris, The British Museum at the DIFC Dubai, and The Cairo Biennial.

Please visit Julie Meneret Contemporary Art for additional information

Photography by Mark Woods, Courtesy of Julie Meneret Contemporary Art and Zakaria Ramhani

Chamberlain/Francis on the Upper East Side

This week’s blog post is brought to you by one of our favorite Upper East Side Galleries Van Doren Waxter.  The gallery’s focus on the secondary market can be seen in their latest exhibition, combining the works of two major artists in an organic and unique manner.  Enjoy!

Van Doren Waxter is pleased to present Chamberlain/Francis, a two-person exhibition featuring sculpture by John Chamberlain and work on paper by Sam Francis.  The exhibition will be on view from July 11th to September 27th, 2013.

This selection of John Chamberlain’s sculptures presents a wide range of his work over the span of his career.  The early works from 1966-1975 are modest pieces constructed from urethane foam and cord, galvanized steel, paper bags, mineral-coated synthetic polymer resin and aluminum foil.  These works showcase a more restrained side of Chamberlain’s work with the manipulation of household or small-scale industrial materials.  His most notable of these early works are the foam sculptures that present a vulnerable counterpart to Chamberlain’s iconic metal works with an inherent softness and sexuality.  This exhibition mounts these early sculptures alongside a few later pieces made of cut metal twisted, welded and painted into colorful, assertive objects.

Sam Francis‘ Blue Ball series, created between 1960-1963. depicting clusters of vivid blue cell-like forms floating against white backgrounds, is at the center of this exhibition.  Color as light, air and space, is an essential concept in Francis’ work and one clearly visible in this series.  Francis’ signature rich blue manifests itself in forms similar to cosmic phenomena, where energetic fields of color burst upon neutral grounds.  Know for his signature form of Abstract Expressionism that drew upon the New York School and Bay Area painting, yet defied categorization, this period of Francis’ career was especially experimental and innovative.

This collection of work focuses on the organic and biomorphic forms that emerge in both Francis’ two-dimensional paintings and Chamberlain’s sculptures.  Of and relating to the body, Chamberlain’s supple foam sculptures and small early work play with notions of flesh, sensuality and the human ability to manipulate materials, while his late work bring forth corporeal awareness through larger forms and rough industrial media.  Francis’ Blue  Balls were painted during the time he was suffering from renal tuberculosis, combatting intense pain and highly sensitive to the internal dysfunction of his body.  Resembling cell-structures and molecular activity the Blue Balls series heighten the consciousness of the internal and cerebral function of the body.  Chamberlain and Francis both highlight the process of physically making these work and their independent relation to the body whether internally of externally, rendered with each artist’s courageous use of color.

New Chelsea Partnership forms Tierney Gardarin Gallery

This week’s gallery guide post highlights a new partnership in Chelsea that boasts a smart curatorial eye and a commitment to the artist’s vision.  Enjoy!

In early May, Cristin Tierney, owner of the Cristin Tierney Gallery announced that she would be partnering with Denis Gardarin (most recently hailing from White Cube in London) to form the Tierney Gardarin Gallery, located on West 29th Street in the heart of the Chelsea arts district of New York City.

Denis Gardarin and Cristin Tierney. Photograph by Luke Fontana, 2013.

“Denis and I formed this partnership because we envision a gallery that connects artists and art history through thoughtful, carefully curated exhibitions,” says Cristin Tierney. “Together, we hope to broaden the gallery’s international scope and focus on presenting exhibitions that take risks. A gallery should be an incubator for innovative ideas, not merely an economic mechanism.”

In May, the gallery presented its first exhibition under the new partnership, Concrete Remains: Postwar and Contemporary Art from Brazil, curated by Jacopo Crivelli Visconti – just named one of the “10 Cutting-Edge Curators from Around the World” by Artinfo. This exhibition demonstrated the gallery’s commitment to exploring under-recognized contemporary art movements with museum-quality exhibitions.

Currently on view is Ryan Mosley: Thoughts of Man (through August 9). The first New York solo exhibition by the British painter, the show features his inventive style in fantastical large-scale paintings where the history of art, the South Seas and even the Wild West cohabitate.

Ryan Mosley, Thoughts of Man, 2013. Oil on canvas. 102.38 x 72.13 inches.Courtesy of the Artist, Tierney Gardarin Gallery, New York and Alison Jacques Gallery, London. Photograph by Michael Brzezinski.

Opening September 12, the gallery will present the first New York exhibition by Toronto-based duo, Jennifer Marman + Daniel Borins: Pavilion of the Blind. The show will occupy the entire gallery space with a large-scale, kinetic installation and series of related paintings interrogate and gently mock the history of abstract art and its place in everyday life.

Jennifer Marman + Daniel Borins, Pavilion of the Blind, 2013. mechanized vertical blinds, shades, and panel systems (custom colored), motors, micro controller. Courtesy of Georgia Scherman Projects, Toronto and Tierney Gardarin Gallery, New York.

Opening October 31, the gallery is proud to present its first solo show with German-born, Brazilian-bred and Brooklyn-based painter Janaina Tschäpe, whose new work is rooted in German Romanticism, Brazilian fairy tales and early twentieth century Surrealism.

For more information please visit their Gallery Guide site or