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  • AMNY Work of the Day: Steffen Dam "Wunderkammer"

    5/04/15

    by Art Miami New York

    Steffen Dam

    Wunderkammer, 2014

    glass in wood presentation box

    34 1/4 x 34 1/4 x 7 1/8 in. (87 x 87 x 18.1 cm) 

    Courtesy Heller Gallery, New York 

  • Interviewing AMNY: Andy Burgess (Arte Fuse Extended Mix)

    5/03/15

    by Art Miami New York

    John Hood got with Pop Geometer Andy Burgess for Arte Fuse; what follows is an extended mix of the interview. 

    Imagine what Vasari might’ve come up with had he been schooled under Euclid at the Bauhaus, gifted a set of magic brushes by David Hockney, then told to paint his way through the Lives of Modernism’s Most Distinquished Architects and you’d have some inkling of the big, bright ideas being realized by Andy Burgess. Home would be have to be Burgess’s London rather than Florence of course, and Tuscon would need to take the place of Vasari’s Rome, at least as far as light’s concerned. But all in all, this is the gist of Burgess’s latest sensations. He’s calling the series The Painted Cube, which, as always, falls under the umbrage of his own Pop Geometry. And it’s a gist that’s borne of the mythic.

    Hyperbole aside (or beside the point anyway), Burgess does evoke thoughts of that 16th century artist/wordslinger, especially when you think about it. Like Vasari, Burgess is largely inventing a new form, and like his predecessor, he’s bound by no laws other than those drafted by the best who’ve yet to come.

    In Burgess’s case, that now means the laws laid down by flawless builders of breathtaking buildings, be they California bungalows or Central European Brutalist monoliths. Prior to this they’ve paid homage to everyone from automobile designers such as Virgil Exner and Raymond Loewy to the anonymous creators of mid 20th century emphemera. But whether Burgess’s work is immersed in the wile of Mad Men or Renaissance Masters, you can be sure it’s all Burgess, and that it will be some kinda wonderful to behold.

    Art Fuse got with the British born Arizonan in advance of the inaugural Art Miami New York, where his works will be shown among the wonders to be had through The Cynthia Corbett Gallery of London. Here’s what the Pop Geometer had to say: 

    In a sentence or three, could you please define/describe Pop Geometry?

    Pop Geometry signifies the coming together of different influences on my work - Pop Art with it's mash up of styles, bright colors and references to popular culture. My collage in particular references a golden age of American advertising and graphic design from the 1930s to the 1960s with its witty typographic flourishes and stylish Art Deco influences. The geometric impulse which is found in everything I do is a product of my ongoing fascination and with early Twentieth Century Art Movements, from Cubism to De Stijl, Bauhaus and Russian Constructivism. 

    If bidden to narrow things down to a Big 3, who might you say would be its Holy Trinity? 

    That's almost impossible to answer but I'll give it a go: Picasso for his ceaseless invention, Matisse for his color and design, and Mondrian for his reduction of the picture plane to the simplest elements of form. 

    Might there also be a Mother to this Father, Son and Holy Ghost?

    Sonia Delaunay might bring some much needed circularity to this male dominated world of squares, rectangles and straight lines!

    How about offspring?

    Well there are some important uncles I have to mention, none more so than Kurt Schwitters, the father of Twentieth Century collage! But as for offspring lets's say that David Hockney took all that color and fabulous drawing and flew off to California paving the way for my own transcontinental migration many years later!

    Which of the above might you say opened your eyes to the charms of matchbooks (and likewise-sized ephemera)?

    Schwitters is the single biggest influence on my art - the sublime beauty that can come from making art out of trash, found objects, dirty bits of paper and ephemera. The Cubists started it, Schwitters owned it and a lot of the pre and post war British Modernists embraced collage as an art form. Oh, and then there's Robert Motherwell too! 

    And to the beauty of the buildings of The Bauhaus? 

    I love so much of what came out of The Bauhaus - and especially the color work of Ittens and Albers and Paul Klee, but I have also come to appreciate the clean lines and beautiful proportions of Bauhaus architecture. I like the lack of fuss and decoration, the intersecting planes and open plan interiors. Mondrian paintings in three dimensions.  

    How’d you get from matchboxes to Bauhaus buildings anyway?

    Well it's not such a leap - I'm crazy about Dada as well as Bauhaus and these two movements dovetailed in Europe and Berlin after World War I. If you add Duchamp and the “ready-made” to Cubism and Kandinsky you get Dada. Dada gave birth to collage with text and type. Bauhaus was the home of International Style architecture. I'm like a waterskier who insists on staying on two skies! One is Dada, Schwitters, Merz, ephemera, graphic design and the other is Mondrian, Reitveld, Gropius and Mies Van de Rohe and all that jazz. I need both!

    Will the former eventually give way to the latter as you build up The Painted Cube?

    You see, The Painted Cube is both! Paintings of buildings and geometric collages - abstract shapes in color. Currently I use found and vintage paper in my collages, but I also use hand painted paper - so, like Jasper John's flag, they are both collage and painting! There will always be both.

    Speaking of The Painted Cube, would it be fair to say it’s kind of the Pop Geometry equivalent of Vasari’s Lives (had the Lives been concerned solely with 20th architecture)?

    I've been studying modern architecture just because it interests me. I like being a student. Studying, making notes, drawing, putting together the narrative. So I'm working my way through the buildings and architecture that I admire. It's not particularly scientific - I just follow my interests and instincts. But thanks for the comparison - I'll take it!

    What (other) Great Books have you turned to for inspiration with the new series?

    I do love collecting exhibition catalogues - and the recent Diebenkorn catalogue for the Berkeley Years that was produced by SF Moma was fantastic. I'm a crazy book collector and I'm always having to build new bookshelves! I particularly love collecting books on the St. Ives artists - a major movement within British modern art - influenced by the wonderful light and color of this famous fishing/surfing/art community on the Cornish coast.

    Might we one day see something encyclopedic from you entitled The Painted Cube?

    Well I don't want to say too much but there is a big book project in the works - hopefully it will be out in 2016 to celebrate twenty years of art-making! A retrospective of sorts but not encyclopedic!

    If you were forced to hazard a guess, which building’s re-rendering might grace the cover?

    Well I'm pretty in love with Richard Neutra's Kaufman House in Palm Springs and the whole West Coast mid-century modernism vibe.

    Will the world get to see said painting at the inaugural Art Miami New York?

    Yes! I have painted a new Kaufman House oil on canvas especially for AMNY! and I'm really happy with it. I'm also bringing some brand new collages - more intensely colorful than previous ones - very geometric, very abstract, very pop! Can't wait to get them all on the walls!

  • AMNY Work of the Day: Sonya Fu "I See"

    5/02/15

    by Art Miami New York

    Sonya Fu (Hong Kong 1982)

    I See, 2014

    Digital painting, face mount diasec

    120 x 120 cm Edition of 5 

    Courtesy AP Contemporary, Hong Kong

    Artist Biography: Sonya FU Man Yi (b.1982 in Hong Kong) is a Chinese visual artist based in Hong Kong. Growing up in the former British Colony where East meets West, Fu is influenced by both Oriental and Western culture.  
Starting from 2010, Fu has exhibited in galleries and international art fairs across Hong Kong, China, America, Australia and Europe. Fu's work has been featured in many renowned art publications including Curvy, Laminate Most Wanted and the Semi-Permanent art books.

    In 2011, Fu was endorsed by Semi-Permanent Hong Kong as a notable and emerging artist. In the same year, Fu was awarded with Perspective Magazine's '40 Under 40' which celebrates top young creative talent throughout Asia.

    Fu's chosen medium - digital painting - encompasses an intricate process which enables her to paint with very detailed and delicate brushstrokes. Using inspirations from dreams and spirituality, Fu blends her subject matters with symbolic metaphors and the unseen beauties she encountered during Hypnagogic state - the transitional state between wakefulness and sleep. All of this combined introduces an eerie and obscure atmosphere in Fu's visual narratives.

    "Art is a powerful visual language and creating art is a calming and therapeutic process. I would like to share with people my dreamscape, its beauty and its oddity. It might be an eerie creature, a whimsical scenery or a disturbed beauty who speaks words of wisdom - they are all embodiments of my subconscious mind. If my work manages to stir emotions and provoke thoughts, then I am doing the right thing as an artist - creating and conveying emotion." says Fu.

  • AMNY Work of the Day: Banksy "Choose Your Weapon"

    5/01/15

    by Art Miami New York

    Banksy

    Choose Your Weapon

    Courtesy Cheryl Hagan Contemporary Art, New York

  • Art Miami New York Artist of the Day: Helen Frankenthaler

    5/01/15

    by Art Miami New York

    She spent a pivotal summer studying privately with Abstract Expressionist kingpin Hans Hofmann (whose students also include Perle Fine, Red Grooms, Louise Nevelson and Larry Rivers); she got her first shot from art critic Clement Greenberg (at LACMA's infamous Post-Painterly Abstraction in 1964); and she defined, refined and epitomized the movement known as Color Field (a feat duly acknowledged upon her passing by The New York Times).

    She was none other than Helen Frankenthaler, art star of the entire second half of the 20th Century and one half of what was known as New York's "Golden Couple" (the other half was of course previous AMNY Artist of the Day Robert Motherwell). 

     

    Art Miami New York is proud to announce that Frankenthaler's work will be among the wonders exhibited by Baltimore's Goya Contemporary.

    See you at the.Fair! 

    Pictured Helen Frankenthaler "Untitled" (1977) courtesy Goya Contemporary and Helen Frankenthaler in her studio (1956) courtesy Life Magazine 

     

  • AMNY Work of the Day: Yang Yongliang: From the New World

    4/29/15

    by Art Miami New York

    Yang Yongliang (Shanghai, China 1980)

    From the New World, 2014

    300 x 600 cm

    edition of 3 

    Courtesy of Galerie Paris-Beijing, Paris/Brussels, Beijing  

    Literature:

    Yang, Yongliang, Paysages, Paris Beijing

    Yang Yongliang, Grand Church, China Machine Press

  • Art Miami New York Artist of the Day: Yves Klein

    4/29/15

    by Art Miami New York

    He invented his own color (International Klein Blue), then used nude women to apply it (at MOMA no less); he traded empty space for gold bullion, then threw half of the proceeds into the Seine.

    He had a show about nothing that showed, well, nothing (well before Seinfeld), he sounded off long and he sounded off silent (preceding both La Monte Young and John Cage), and had a heart attack while watching he and his kind in an exploitation classic (Mondo Cane).


    He was out there before it was in, up to tricks before they were for kids and taken with bad taste before it was considered good form.

    He was Yves Klein. And some of the wild wonder that he was will be seen at the inaugural Art Miami New York via David Benrimon Fine Art.

    See. You. There. 

    Pictured: "Victoire de Samothrace" (1962); Yves Klein (1961) courtesy Yves Klein Archives

  • Art Miami New York Artist of the Day: Alexander Calder

    4/27/15

    by Art Miami New York

    Hard to say where to begin with regards to the remarkable career of Alexander Calder. In addition to the kinetic sculptures Marcel Duchamp christened "mobiles" (a hybrid of "mobile" and and "motive"), which sprang from his Cirque Calder (the best which is on view at The Whitney), the American multi-dimensionalist created jewelry (Peggy Guggenheim famously wore one of his earrings paired with another from Yves Tanguy at the opening of Art of This Century), theatrical sets (for such luminaries as Martha Graham and Erik Satie) and monuments (including the 35 ton "Mountains and Clouds" which dominates the atrium of Washington DC's Hart Senate Office Building). Then too there were the paintings, which Calder kept at through the whole of his life.

     

    Art Miami New York is proud to announce that two of those paintings -- "Blue and Yellow Butterfly" (1973) and "Rouge et Bleu" (1971) -- will be among the works respectively featured by Chowaiki and Co. and Hollis Taggart Galleries at the inaugural edition of the Fair.

     

     

  • AMNY Work of the Day: Margaux Ogden "A Multitude of Sins"

    4/25/15

    by Art Miami New York

    Margaux Ogden

    A Multitude of Sins, 2015

    acrylic on raw canvas

    70 x 66 in. 

    Courtesy Freight + Volume, New York

  • AMNY Work of the Day: Seung Mo Park "Maya 7657"

    4/23/15

    by Art Miami New York

    Seung Mo Park (1969 South Korea)

    Maya 7657, 2014 

    Stainless steel mesh

    82 x 3 x 61 in (210 x 8 x 155 cm) 

    Courtesy BLANK SPACE, New York 

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