Drawing Now 2019 highlights

Drawing Now is the name of a historical exhibition that was held in the MoMA at 1976. Check out the MoMA page, its a real treasure, it allows you to dive into every bit of this exhibition. dont miss the catalog, the press release (typing machine is so nostalgic ) the artist list, the works with the curator hand writing comments and more…

Fast forward to the present the latest Drawing Now art fair in Paris, has changed artistic directors.

It is interesting to see how much influence a detail like that has on the overall vibe. French cultural icons can be rather ‘old white man club’, It is nice to replace them with a fresh international Fem touch. get a glimpse of what the fair looks like here:

My first impression was the Pierrette Bloch’s stand, warm grey walls brings out the white paper so elegantly, the press release of the gallery here .

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Just around the corner at Gallery Eric Dupont you can see a beautiful expo by Paul Pagk

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Hanns Schimansky: L’Espace de la ligne at the Jeanne Bucher Jaeger Gallery

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Congratulation to my friend Katrin Bremermann for her duo with German Stegmaier at Goethe institute in Paris and great job to martin for putting that together

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I always thought Paul and German represents two sides of the same coin in the way they exploit their frame.

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It was a nice surprise to see Marine Pagès papers at Gallery Bernard Jordan. hopefully we will see more of them in Paréidolie Marseilles in the summer …

Schema Project @ PAPER/PARIS 2016

Schema projects artists for this year are :

Paula Overby, David Ambrose, Rosaire Appel, Katarina Denzinger, Scott Espeseth, Ken Gray, Mary Judge, Meg Lipke, Matt Kleberg, Audrey Stone, Lawrence Swan, Oriane Stender, Robert Otto Epstein, Vitor Mejuto, Andrew Zarou, Ward Schmaker, Brent Hallard.

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Ward Schmaker

Rosaire Appel

Mary Judge

Meg Lipke

PAPER PARIS 2016

PAPER/PARIS is a new pop up mini art fair produced by L&L, dedicated to contemporary drawing. Launching in April 2016, the event is located just next to the DRAWING NOW art fair in Paris. PAPER/PARIS aims to offer a unique meeting ground for art enthusiasts and the greater public, through gathering international galleries to present a wide range of original works including editions, publications, and more.

The fair’s inaugural edition includes the following galleries:

My '5' List for VOLTA NY

VOLTA NY is the invitational fair of solo artist projects and is the American incarnation of the original Basel VOLTA show, which was founded in 2005 by three art dealers as a fair "by galleries, for galleries".  March 2-6 2016

HERE IS MY LIST OF 5 FROM THIS YEAR PARTICIPANTS:


ZOLOFT II (MONDAY + TUESDAY)
2014 9x12in
oil on canvas

*Participated at our B&W Publication


Untitled, 2014 Oil on canvas, 31 × 23 cm


Lambent #73 (cat. no. JUF014) 2015 Oil, acrylic spray enamel over sublimation print on aluminum 36 × 36 in

 

*Participated at our B&W Publication


Manuel CaeiroMirror 1 2010 acrylic on canvas 200 by 293 cm 78.7 by 115.4 in.

 

Leslie Smith - Airplane.  2012 oil on canvas ca. 26 by 26 in.


Tamar Dresdner Art Projects / Litvak Contemporary, Tel Aviv

Elad Kopler

 Untitled , 2015Acrylic and spray paint on canvas160x128 cm62.4x49.9 inches


"The B&W project" SLUICE art fair , London

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The B&W Project - Instillation view at SLUICE



The B&W project poster in the middle of our special B&W co-edition made for the sluice fair , with Atelier Tchikebe, Marseille.



Lydia Rump going over the Sluice catalog designed by Daniel Devlin



we showed around 30 artists from the 100 in the THE B&W PUBLICATION

Rieko koga looking at the THE B&W PUBLICATION at the opening night

The SLUICE talks program was organized by Ben Street . The art world as an open system talk. participating : Erin Lawlor, Enrico Gomez and Yifat Gat.

Marble dust on windows by y.gat

"The quintessential installation of the fair curated by Charlie Levine - Sluice director, incorporated works by Yifat Gat (who also runs the Black & White Project) and Katherine Di Turi . Using marble dust, Gat created delicate emblems in the mullioned windows of the space that ranged around three sides of a large room. Di Turi installed small, black-and-white photographs of antique mirrors on the walls between some of the windows. In each instance, what was seen within the framed pieces of glass was doubled, and still images were paired with moving. Gat’s Marble dust overlaid views of central London, bringing what was outside of the room inside. The glass protecting Di Turi’s photographs also reflected figures as they moved about, placing the space of the room within the confines of her frames. experienced that last-noted installation with only a handful of other viewers present, and we all commented on the magic of its rough simplicity. That is, of course, what distinguishes Sluice from Frieze. At the former, roughness and simplicity are contrivances that provide a whiff of “authenticity,” when Frieze truly legitimizes what money can buy or is willing to endorse. Sluice offers the possibility of art actively transforming your time with it — no money required." Janet Tyson of Hyperallergic