Archive for the ‘Washington’ Category

May 1, 2012

With private collections constantly evolving, collectors are always looking for innovative forums to discuss and market their desirable, high-quality works.

Though these artworks may no longer fit within the narrow focus of one collection, they may be a great acquisition for another.

During the summer months, June through September, Contemporary Wing will present OFF THE WALL, a series of collaborations which bring together serious collectors and the artwork they wish to exchange or acquire with other collectors who share a common passion.

If you have an exceptional work to propose, or a collecting sector you would like to expand, please contact info@contemporarywing.com.

Seeking:
Street Art
Works on Paper/Prints/Photography
Emerging Artists
Established Contemporary Artists
Works by African American Artists
19th Century/Old Masters
Design

NEXT GENERATION: Selections by Artists from the 30 Americans Collection

January 20, 2012


What do artists Nina Chanel Abney, Nick Cave, Rashid Johnson, Rodney McMillian, Gary Simmons, Xaviera Simmons, Shinique Smith, Henry Taylor, Hank Willis Thomas, Mickalene Thomas, and Carrie Mae Weems have in common?  They are all widely acknowledged as top contemporary American artists, all African American, and each artist’s work is included in the seminal Rubell Family collection, 30 Americans, currently on view locally at the Corcoran Gallery of Art.  But there is another connection.  This group of artists also recently assisted Contemporary Wing in selecting the exhibitors featured in its debut show in D.C. entitled, NEXT GENERATION: Selections by Artists from the 30 Americans Collection.  Contemporary Wing asked the artists to provide one or two names of emerging and mid-career, contemporary American artists who, in their opinion, best represent the “next generation” of artists who have the potential to define the American landscape in the next decade.

The result is a fabulous group of artists working in a broad range of media, including photography, painting, sculpture, installation, textiles, drawing, light and new media, as well as works that combine or hover between these media. The twelve participating artists in NEXT GENERATION are: Derrick Adams, Kajahl Benes, Caitlin Cherry, Sonya Clark, Alex Ernst, Wyatt Gallery, Kira Lynn Harris, David Huffman, Jason Keeling, Karyn Olivier, Gary Pennock, and Cheryl Pope. 

NEXT GENERATION runs from February 4 until March 10, 2012, Tuesday through Saturday from 11-6 p.m.  The preview is Friday, February 3, from 6-9 p.m., and the public opening is on Saturday, February 4, from 6-9 p.m.  The artists and Kalia Brooks, who critiqued the work for the exhibition catalog, will be present at both private and public openings.  Because of the scale of the works, the show is being held at an alternative site, at 1250 9th Street, N.W, in Washington, D.C.  NEXT GENERATION promises to present dynamic work of the highest quality that is changing the face of contemporary art, some of which deals directly with issues of race and diversity, and some with social and aesthetic questions more broadly.

A catalog will accompany the exhibition with critiques by Kalia Brooks, Exhibitions Director at MoCADA (Museum of Contemporary African Diasporan Arts) in Brooklyn, NY.

Derrick Adams – Derrick Adams is a New York-based artist who is interested in how perceptions and ideals attach to objects, colors, shapes and materials especially in the built environment. A recurring theme in his work is the relationship between man and monument.

Kajahl Benes – Kajahl Benes is a painter from Santa Cruz, California, who lives and works in New York City.  Benes creates large-scale paintings of figures incorporating divergent cultural symbols as well as ancient and contemporary signifiers within each work.

Caitlin Cherry – Caitlin Cherry is a painter and installation artist from Chicago, Illinois who lives and works in New York City.  In her abstracted self-portraits, she replaces her own figure with an avatar to compelling effect.  Most of her paintings are connected to, or held by, found objects that further engage the themes of her work.

Sonya Clark – Sonya Clark is an installation, fiber, and textile artist based in Richmond, Virginia. She explores the social significance of hair with regard to race and assimilation and related notions of beauty. Using the thin-toothed black combs found in any barber shop, and in some cases, thread, and hair foil, she creates sculptures and tapestries of rapturous form and color.

Alex Ernst – Alex Ernst is a New York-based sculptor who uses wood, string, and rudimentary tools requiring only the power of her effort.  Her process is intentionally stripped down, leaving form, the inherent beauty of materials, and a record of her impact upon them.

Wyatt Gallery – Wyatt Gallery is a photographer who often documents humanitarian crises.  This body of work, Tent Life: Haiti, is a series of photographs taken after the devastating 7.0 magnitude earthquake in 2010.

Kira Lynn Harris – Kira Lynn Harris was born and raised in Los Angeles, and currently works in Harlem, New York.  She is a multi-media artist interested in light, space, and perception.  Her installations destabilize perception in order to reveal a new orientation.

David Huffman – David Huffman is an abstract painter based in Oakland, California. His works are an amalgam of the formal concerns of abstract painting and social identity.

Jayson Keeling
– Jayson Keeling is a New York-based artist whose works evoke an ominous glamour.  He uses glitter on canvas to portray skeletons or nuclear explosions, and the tension created by disjunction in form and content draws the viewer to his work.

Karyn Olivier– Karyn Olivier was born in Trinidad and Tobago and works currently in Brooklyn, New York.  Olivier often uses playground elements in her work, since the playground is where children learn about isolation and socialization. Olivier also favors the repetition of identical forms–twin dilapidated houses or multiple tether balls–to transform banal elements into works of art.

Gary Pennock – Gary Pennock is a Brooklyn-based artist who works primarily with light, sound, and video projection.  With titles like “A Line Through the Center of Space,” and “Across the Stillness of Time,” Pennock transports viewers virtually to another dimension.  Beauty is a chief concern in his work.

Cheryl Pope – Cheryl Pope is a multi-disciplinary artist who incorporates collaboration and community into her process.  She is showing work from her “Hoop Dreams” series that is based on conversations with African American youth, many of whom expressed the belief–remarkably, to this day–that professional basketball is the only future open to them.

To preview the works please contact info@contemporarywing.com

Contemporary Wing would like to extend a special thanks to          CAS Riegler and City Interests for their generosity

HAPPY HOLIDAYS & WINTER/SPRING 2012 SAVE THE DATES

December 27, 2011

ALL OF US AT CONTEMPORARY WING WOULD LIKE TO WISH YOU A VERY HAPPY HOLIDAY SEASON

*     *     *

GALLERY NEWS

IVORY TOWER  (RECAP).  Thanks to all who took time from the hustle and bustle of the Miami art fairs to visit “Ivory Tower.”  It was a hugely successful debut for Contemporary Wing, and we would like to extend special thanks for their assistance with this exhibition to:  Deborah Shelton Tynes, Veronica Jackson at The Jackson Design Group, Bill Apter at Avitecture, and John Gargus at Christie Digital.  If you missed the exhibition, please check out an amazing photo-recap, courtesy of “Look into my Owl.”

NEXT GENERATION  (FEBRUARY/MARCH 2012).   Our inaugural exhibition in Washington, D.C., opens February 4, 2012, at 1250 9th Street, NW.  “NEXT GENERATION” complements the Corcoran Gallery of Art’s exhibition of Mera and Don Rubell’s collection, “30 Americans,” on display through February 12, 2012.  For “NEXT GENERATION,” Contemporary Wing invited each artist represented in the “30 Americans” exhibition to identify one or two American artists that he or she believes is a critical “up and comer” of the next generation.  Selected artists from Los Angeles, Chicago, New York, Baltimore, and Richmond, VA, among other places, will be announced in January.  A catalog will accompany the exhibition with critiques by Kalia Brooks, Exhibitions Director at MoCADA (Museum of Contemporary African Diasporan Arts) in Brooklyn, NY.
Contemporary Wing would like to extend special thanks to CASRiegler Real Estate Development for its generous support.

I’M COMING HOME.  (MAY/JUNE 2012) Appropriately named for Contemporary Wing’s first exhibition in its home gallery space at 1412 14th Street, “I’m Coming Home” is a solo exhibition of new works by gallery artist, Hedieh Javanshir Ilchi relating to home life and domestic space in Iran.

For more information about the gallery and exhibitions, please visit contemporarywing.com or contact info@contemporarywing.com

header image: Paul D. Miller (DJ Spooky), Ice Sonification, Antarctica Project, DVD, 8:08 minutes, edition of 5 + 2 AP, 2011. Courtesy of Look into my Owl and the Artist

Sorry Visitors to our Art Museums

February 9, 2010

and Monuments… But right now there is 2 more feet coming down (check out the image below) making it 5, nothing is going to open for a while:

Auction Sees Record Result in DC-area

October 14, 2009

Sloans and Kenyon in Chevy Chase, MD set the Washington-area auction record this October when they sold an 18th-century unsigned oil painting of Venice’s Grand Canal (estimated at $6,000 – $8,000) for $687,125 (price includes buyer’s premium).

From the “school of” (a work by a pupil or follower of the artist, in his style) the 18th-century artist Giovanni Antonio Canaletto.

An 18th-century painting of Venice's Grand Canal is believed to be the most  expensive painting ever sold at an auction in the Washington, D.C., area. (Courtesy Sloans & Kenyon)

An 18th-century painting of Venice's Grand Canal is believed to be the most expensive painting ever sold at an auction in the Washington, D.C., area. (Courtesy Sloans & Kenyon)

There was a nice article in The Post, but since I personally use and trust Sloans & Kenyon, I asked my friend and specialist Lisa Jones for some insider information about the exciting sale:

Lisa L. Jones, Director of Silver & Decorative Arts at Sloans & Kenyon

Lisa L. Jones, Director of Silver & Decorative Arts at Sloans & Kenyon

Specullector: What kind of condition was the painting in, presumably it hadn’t been restored if it had been hung or stored by a Bethesda woman all this time?

Lisa: There was a small amount of prior restoration including some minor in-painting but overall the condition of the painting was very good.

S: Specialists make frequent trips to people’s home valuing works for resale, was the employee on this call instantly struck when they saw the work or was there a certain point when someone at the auction house, some secondary viewer said, ” I think we’ve got something…”?

L: I think a bit of both was involved with this painting. The quality of the painting is evident upon the first glance. After we started our research and marketing it became evident to both the art department and our buying audience that this painting was outstanding.

S: What was the vibe in the auction house once it came into inventory?

L: There was a very optimistic attitude among the staff concerning the painting. We knew it would achieve a handsome price at auction but we still had to rely on the current market to confirm our expectations.

S: The Grand Tour story is every valuer’s best and worst case provenance, were their other supporting documents that added value, say letters or journal entries recounting its purchase or her trip to Italy?

L: In this case because there were no supporting paper documents concerning the sale, we had to rely upon family history. It was common knowledge that the consignor’s grandmother took a Grand Tour through Italy.

S: Though the seller remained anonymous, was she present in the auction room and did you guys at least offer her a tea to calm her nerves?

L: The consignor was not present on the gallery floor when the painting was auctioned. Many consignors are too nervous to be present when their items sell. The consignor was contacted immediately after the sale and was absolutely floored at the selling price.

S: 6-8k is a very low estimate (sometimes auction houses use low estimates to create a buzz among collectors and build a bigger audience of those “looking for a deal”), like a very low estimate, was this your team’s strategy?

L: A conservative estimate is definitely a strategic move. We wanted to reach a cross-section of collectors and potential buyers. Today’s art market is not yesterday’s market. The pricing structure is different to reflect the changing buying atmosphere.

S:  I was thinking that if Charles Beddington was an advisor to one of the bidders (and luckily for the British, they don’t need an export license to get a work out of the US like everyone else needs for the UK), I’m thinking it will be restored, repriced and returned to where it was first acquired.  Maybe to one of our favorite Bond Street windows, Mr. Colnaghi or Mr. Green perhaps? Or maybe we’ll see it again at TEFAF. What are you thoughts on my speculation?

L: Any thoughts would be pure speculation but we know the painting is going to London. We feel sure the painting will be re-priced and will appear at some point on the market. It will most likely not be restored.

S. Lastly,  a “sleeper” in the Old Master market is every auction house and dealer’s dream, thus I assume there was a lot of excitement and even a little eccentricity. Were there any funny back stories or anecdotes that happened during the auction process you can share?

L: Luckily in this case nothing too crazy occurred. We had a bit of a commotion trying to reach a dozen international phone bidders (some in foreign languages). We had some shouting and in the end we provided the audience with some great excitement. It was a pure adrenalin rush.

I would much rather have this over a diamond studded skull

September 26, 2009

“They don’t seem to want to work in the winter, and when it rains too much, their silk becomes viscous and cannot be used”  that sounds a lot like me!  But seriously, these spiders produced a stunning work of art.  Hopefully it will travel from the American Museum of Natural History (in NY) to the permanent collection of the Smithsonian National Museum of Natural History (in DC).

A detail of the textile, with its traditional Malagasy motifs. (Fred R. Conrad/The New York Times)

A detail of the textile, with its traditional Malagasy motifs. (Fred R. Conrad/The New York Times)

Below the streets of NW DC

August 19, 2009

Most museum visitors don’t realize that the institutions they are visiting exhibit only about 15% of their overall collection, the rest lies below your feet in storage.  So it is no surprise that the National Geographic Society has followed this example with what has been described as  a “secret” museum below the streets of NW Washington, DC.

“For many years,” Randy Kennedy writes, “there has been a kind of secret museum of photography under the streets of northwest Washington — an immense, windowless, climate-controlled archive with roots reaching back more than a century.”

Equally exciting is the news that the works will be sold.

“The pictures comprise the archive of the National Geographic Society, and it was this sentiment said Mr. Bonner, the society’s archivist, that motivated him and officials there to explore the idea of opening up the holdings to the fine-art market for the first time. National Geographic’s goal is to find private and institutional collectors for the vintage black-and-white prints and later color images.”

I wish for the NGS’s sake that someone would have thought of this in 2006-2007, but I always applaud new material on the market – there has got to be some exciting sleepers for the niche photojournalism market.

Thank you NYTimes Art & Design: Treasures From an Underground Trove and I’m curious if we’ll be able to preview some of the rare works during Fotoweek DC before they are shipped off to Chelsea?  Perhaps it would be a good marketing tool and would increase the chances of keeping some of these treasures in DC-based collections?

Courtesy of The New York Times, B. Anthony Stewart/National Geographic Society and Steven Kasher Gallery.

Courtesy of The New York Times, B. Anthony Stewart/National Geographic Society and Steven Kasher Gallery.

August in DC

August 4, 2009

What to do, what to do.  Here are 2 random things in DC that won’t take a lot of brain power but seem interesting:

First Major Exhibition About Parking’s Role in Our Society to be Explored

ZipCar Dispenser proposal, 2004. Courtesy of Moskow Linn Architects Inc and ArtDaily.com.

WASHINGTON, DC. Open from October 17, 2009 through July 11, 2010, House of Cars: Innovation and the Parking Garage is the first major exhibition to explore this familiar structure and open conversations about parking’s role in our society and innovative parking solutions for the future.

Featuring artifacts such as a 1927 Ford Model A, sculptures and other works of art, interactive models, multimedia from popular movies and television shows, and historic photographs, House of Cars explores how the built environment has evolved to accommodate the automobile. The exhibition also highlights innovative parking solutions from the past century including images of the first underground garages, a touchable model of a ramp system, and parking garage designs by famous architects including Santiago Calatrava and Frank Lloyd Wright.

In conjunction with House of Cars, the National Building Museum is developing a variety of education programs that will further examine some of the topics in the exhibition. A lecture series will include programs that explore the future of parking and an overview of the cost of designing cities for cars instead of people. The Museum will also host a film series titled From Comedy to Creepy: Parking Garages in American Media that surveys the parking garage’s role in American film and television, from the shadowy world of “Deep Throat” in All the President’s Men to the cast of Seinfeld getting lost in a parking garage.

Smithsonian’s Lemelson Center Celebrates National Inventors’ Month by Building World’s Largest LEGO Light Bulb

The Lemelson Center for the Study of Invention and Innovation will be hosting a two-day collaborative build of an 8-foot-tall light bulb made entirely of LEGO bricks. Courtesy of ArtDaily.com

WASHINGTON, DC. The Lemelson Center for the Study of Invention and Innovation and LEGO Systems Inc. are celebrating National Inventors’ Month by hosting a two-day collaborative build of an 8-foot-tall light bulb made entirely of LEGO bricks Aug. 1 and 2 at the Smithsonian’s National Museum of American History. The universal symbol of a big idea, the light bulb will be assembled by museum visitors together with the help of LEGO master builders. The activity aims to reinforce the connections between play and invention explored in the Lemelson Center’s “Invention at Play” exhibition.

Street/Studio Schedule @ Irvine

June 13, 2009

Program and Events for Street/Studio

Lineup: Shepard Fairey (LA), Swoon (NY), Gaia (Brooklyn), Imminent Disaster (Brooklyn), Oliver Vernon (Brooklyn), James Marshall (Dalek) (NY and Raleigh, NC), EVOL (Berlin), and PISA73 (Berlin).

June 17-20: On-site wall murals and installations in progress

Artists will create murals and installations in the alley and rear of the gallery at 14th and P Streets. Preview day: Friday, June 19, 1:00-4:00PM.

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Above: new works by James Marshall (Dalek). Arcylic on panel, 10 x 10 and 14 x 14 inches each

June 19: Public Program: Katzen Arts Center, American University Museum, 7:00 PM

Panel discussion on the impact of street art in the contemporary artworld with curators and artists. Panelists include Pedro Alonzo (Independent Curator, and Curator of the Shepard Fairey Retrospective at the Boston Institute of Contemporary Art), Anne Goodyear (Assistant Curator, Smithsonian National Portrait Gallery), and artists Oliver Vernon, EVOL, Pisa73, and Gaia. Moderator: Martin Irvine, Director, Irvine Contemporary. Katzen Arts Center, American University Museum, Washington, DC.

EVOL (berlin, Germany) Berlin Shroud, 2009. Spray paint, stencil on cardboard. 20 x 20 inches

EVOL (Berlin, Germany) Berlin Shroud, 2009. Spray paint, stencil on cardboard. 20 x 20 inches

June 20: Opening Reception and Alley Block Party, 6:00-11:00 PM

Join us for an opening reception with the artists and block party in the alley behind the Irvine Contemporary gallery, 14th and P Streets, NW, Washington, DC. Live music by DJs Iona Rozeal Brown and Jahsonic. New wall murals and installations by the artists will be on view.

New Image

Gaia Brooklyn, NY) Hand print on found plywood, street mural, 2009.

New print edition by Gaia for the exhibition published by Irvine Contemporary. Three-color screenprint on Kitakata paper. Edition of 30. Printed by Pyramid Atlantic, Silver Spring, MD.

GaiaPrint.st

Gaia, Bear. 2009. 3 color screenprint on Kitakata paper, ed. of 30. 20 x 13.5 inches

It’s That Time Again

April 14, 2009

INTRODUCTIONS5: Call for Submissions
An exhibition of works by recent art school graduates in August 2009

APPLICATION PROCESS
Deadline: Friday June 5, 2009
Notification: No later than June 21, 2009
Eligibility: Artists who have graduated in 2008 or 2009 and are available for gallery exhibition

Application must include:
•    Artist’s statement
•    Artist’s resume
•    A CD-ROM of up to ten images.  For New Media and Time Based Media (Sound, Film/Video, etc)
please submit only ten minutes worth of work.
•    Self-addressed stamped envelope – required to have submitted materials returned

Submitted materials will be handled with care, but Irvine Contemporary cannot assume responsibility for lost or damaged materials.

Send to:
Lauren Gentile, Director of Sales
Irvine Contemporary
1412 14th Street, NW
Washington, DC 20005

Irvine Contemporary specializes in contemporary art by emerging and mid-career artists with
growing national and international reputations.  We participate in major nation and international art
fairs and have launched the careers of young artists now in major private and institutional
collections.

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