Venus Over Manhattan Now Represents Estate of Roy De Forest
This week, #ObjectStudies features Joseph Elmer Yoakum's The only woman ruler of Assirea Asia, Se., from 1970: a rare, vertically oriented portrait drawing that gives clues to the artist's early history, a period he spent traveling with the circus through the American West.
This Bay Area artist’s enduring, multifaceted achievement deserves more respect from New York than it has garnered thus far.
Review by Paul Laster
With its usual focus on tightly-curated programming and laser-focused booth concepts, the show once again offering an impressive opening note on the week, with packed hallways and excited buyers buzzing about the aisles.
Whitewall spoke with ADAA Executive Director Maureen Bray about which booths to keep an eye on, as well as first-time participants like David Kordansky Gallery, Gallery Wendi Norris, and more.
This year’s ADAA fair has an impressive roundup of work by lesser-known artists and female trailblazers.
In partnership with the New Museum.
No artist has captured the horror and hilarity of American life quite like Peter Saul. There's Mona Lisa puking on her chin, O.J. Simpson in the electric chair, and Donald Trump getting punched in the face by a cheeseburger. Now, after 60 years making paintings, he's suddenly an art-market darling—and has just mounted his biggest retrospective yet.
The "patron saint" of Day-Glo colors is having quite a moment.
On view from now until May 31.
The 86-year-old artist, seen as one of the fathers of the Pop Art movement, discusses his career of political provocation
Peter Saul is unlikely to get an official, presidential portrait commission any time soon. Perhaps that’s a missed opportunity, as the 85-year-old Californian painter has included a wide array of US Presidents in his paintings
The painter’s biting critiques shape his five-decade retrospective at the New Museum.
His cartoony style and subjects exalt sensation as an end in itself.
A conversation with the painter ahead of his retrospective at the New Museum in New York.
It seems crazy to think that this is the first NYC museum survey for Peter Saul, who has influenced a generation of contemporary artists. For many, Peter Saul is a gateway drug.
Acid in both color and content, Peter Saul's cartoonish political commentaries are still outlandish and relevant 60 years on.
Trump is a shark while god and satan have a dysfunctional father-son relationship.
New York’s Venus Over Manhattan gallery has added to its roster the estate of American painter Roger Brown, who died in 1997.
Counted among the ranks of the Chicago Imagists, Roger Brown possessed a unique sense of figuration and composition.
Öyvind Fahlström (1928–1976) figures prominently in the unwritten histories of Pop and Conceptual art. Relegated to the margins of these major movements, he remains a footnote, which is curious given how deftly he juggled institutional critique with game theory, comics with front-page news.
Chicago Imagist Brown (1941–1997) painted vivid land- and cityscapes as wallpaperlike motifs.
The main fair during Miami Art Week hosts the bluest of the blue chip galleries—and the most expensive price tags. We scoured the aisles of Basel to find truly exceptional artworks for under $25,000. Here they are, in no particular order.
Brown, who died in 1997, was associated with the Chicago Imagists—an eccentric cohort of Pop-surrealist painters who emerged in the nineteen-sixties—but his fire-and-brimstone themes likely derive from his upbringing in Bible Belt Alabama.
Peter Saul's pointed and provocative style of paintinging has been raising brows and hackles since the late 1950s.
Roger Brown named a "Must-See Show" by the editors of Artforum
Here's what's happening this week.
As the artist has his major retrospective at Les Abattoirs, Toulouse, he speaks about his art historical influences and pet peeves
The US artist and designer has had a life-long love affair with collecting
There are some artists whose practice remained obscure in global terms regardless of their domains due to their untimely death. Such is the case with the exceptional innovator Öyvind Fahlström.
Donnelly owns more than 50 works by Saul, ranging from the beginning of his career in the ’50s to the present.
Each week, we search New York City for the most exciting, and thought-provoking, shows, screenings, and events. See them below.
The exhibition Wars at David Nolan evokes political and personal violence as facts of modern life.
At long last, Peter Saul, whose outlandish, vibrant paintings have examined American politics and capitalism through grotesque and often humorous imagery, is getting his first New York survey.
Marking the seminal artist’s first major survey in New York
Occasioned by a gobsmacking great exhibition of works by Joseph Yoakum that recently closed at Venus Over Manhattan, I find myself thinking intensely about the artist and his place in the history of Chicago art once more.
Joseph Elmer Yoakum recollects his adventurous life in signature curvilinear language.
Yoakum's picaresque life and his late embrace of an artistic vocation call to mind traditional myths that assume artists are born, not made.
The visionary landscapist Joseph Elmer Yoakum (1888-1972) has been categorized as an outsider, self-taught or folk artist. Whichever: His place in the expanding canon of 20th-century American art is assured, both for his achievement and influence.
A cornucopia of over 60 exquisitely beautiful quasi-abstract colored-pencil landscapes by Native and African-American visionary Joseph Yoakum — and that look like they might have been made on Mars — is emitting undulant optical auroras at Venus Over Manhattan gallery.
These captivating ballpoint-and-watercolor landscapes are confident improvisations based on the American artist’s extensive travels.
African- and Native-American artist Joseph Elmer Yoakum, one of the best artists of the 1960s, was in his 70s when he began to make art full time.
Joseph Yoakum is an artist we should all know better.
It's another busy week for art in New York as summer officially begins.
Joseph Elmer Yoakum (1890–1972) was a self-taught African-American artist who claimed Native American ancestry. Though records show he was born in Missouri, he asserted that his birthplace was on the Navajo Reservation in Window Rock, Arizona, and repeatedly referred to himself “Na-va-JOE.” (He also said he was of African, French and Cherokee descent.)
For an even wilder walk on the wild side of landscape painting, Venus Over Manhattan gallery in New York presents Joseph Yoakum June 20 through July 26. Yoakum was a self-taught artist, his work variously categorized as “outlier,” “outsider,” “folk,” “naïve,” “vernacular.”
Venus Over Manhattan has created an exhibition of works, that on the surface, seem quite the juxtaposition. Visitors find works by Alexander Calder situated right next to totems and figures from Vanuatu, a Pacific nation of around 80 islands, in ‘Calder Crags and Vanuatu Totems from the Collection of Wayne Heathcote.’
In a contemporary art gallery, it’s not often that Calder takes a backseat to ethnographic artwork but Venus Over Manhattan never fails to turn things on their head. Their latest exhibition, Calder Crags and Vanuatu Totems from the Collection of Wayne Heathcote, on view until June 8, 2019, presents a towering group of historical Vanuatu sculptures from the Ambrym, Banks, and Malekula islands alongside a suite of large-scale standing mobiles and crags by Alexander Calder.
From Björk at the Shed to a power-packed panel on Lucian Freud at Acquavella, there is plenty to keep you busy.
From the Collection of Wayne Heathcote
Whatever happened to “protest art” — issue-specific, say-no-to-power-and-say-it-loud art? Here we are, embroiled, as a nation, in what many in the art world regard as a pretty desperate political situation. Yet with the exception for actions by a few collectives — Decolonize This Place at the Whitney Museum, and Prescription Addiction Intervention Now, or PAIN, at the Guggenheim and the Metropolitan Museum of Art — there’s scant visual evidence of pushback.
Each week, we search New York City for the most exciting and thought-provoking shows, screenings, and events. See them below.
H.C. Westermann is beloved for a type of sculpture that’s a potent mix of Dada and old, weird Americana. But this modest yet gripping exhibition also reveals that he was a marvelous draftsman with a sharp, satirical wit. Along one wall is a group of drawings, inspired by a road trip the artist took with his wife, that skewers 1960s fantasies of the Wild West.
ADAA Art Show 2019 Opens in New York: The Art Dealers Association of America (ADAA)’s annually organized fair opened with a VIP benefit and gala for the Henry Street Settlement on Wednesday evening.
The Art Dealers Association of America (ADAA) held its Gala Preview of The Art Show Wednesday night at the Park Avenue Armory. With a new Executive Director and a lighter, airier feel, The Art Show continued its partnership with Henry Street Settlement for the 31st year.
The best thing about the Art Show, the annual fair sponsored by the Art Dealers Association of America in the Park Avenue Armory, is that ticket sales benefit the Henry Street Settlement, which has been bringing art and culture to the Lower East Side since 1893.
The nation’s longest-running art fair, the ADAA Art Show, takes place February 28 to March 3, at the Park Avenue Armory in New York, with a Gala Preview on Wednesday night to benefit Henry Street Settlement. The Art Show has raised over $31 million for this non-profit over more than three decades.
Venus Over Manhattan is pleased to present H.C. Westermann: Works on Paper, an exhibition dedicated to the artist’s signature drawings and illustrated letters.
An exhibition from Adam Lindemann’s gallery called Venus Over Manhattan opened at St. Joseph’s Art Society on January 15, attracting boldface names from every corner of the SF (and NY) arts scene.
San Francisco’s unofficial art week — the third week of January, when the Fog Art + Design and Untitled, Art fairs are held — has become one of the most socially competitive times of the year.
The New York gallery Venus Over Manhattan has taken over the vestry of a deconsecrated church for a pop-up exhibition that will run through March 8.
San Francisco’s grandest new art space is not a gleaming minimalist dwelling or futurist abode but a historic Catholic church that has been restored to an immaculate state after being abandoned for nearly 30 years.
Those who attended Art Basel Miami Beach may have noticed among the shrouds of collector favorites a new trend beginning to emerge﹣ the reintroduction of historically-overlooked artists to new audiences.
Charlotte Perriand (1903 - 1999), a tireless traveler, would have surely appreciated this American trip. The New York gallery Venus Over Manhattan pays tribute to the queen of design, the only woman among the twentieth century greats - Le Corbusier, Pierre Jeanneret, Jean Prouvé, Fernand Léger, Lucio Costa, Ernö Goldfinger and Kenzo Tange - with whom she collaborated.
The huge photograph of architect-designer Charlotte Perriand draped over the iconic Lc4 tubular and steel chaise lounge she designed in 1928 with Le Corbusier and Pierre Jeanneret and a wooden table that stands in front of it, crafted in the mid-century style that shaped her later career, provide a fitting introduction to the stunning exhibition Charlotte Perriand, on view at the Venus Over Manhattan gallery on Madison Avenue until January 12.
The gallery Venus Over Manhattan is presenting an exhibition dedicated to French designer Charlotte Perriand, one of the most famous interior architect of the 20th century, who led the design of all the interiors and furnishings of Le Corbusier’s projects and helped shape the Modernist movement.
Charlotte Perriand (1903-1999) was a pioneer in using tubular steel to create mass-market furniture, helping shape the modernist movement.
A bumper exhibition of Charlotte Perriand’s pioneering furniture designs has gone display at New York’s Venus Over Manhattan gallery.
From Rothkos to Rauschenbergs, Koonses to KAWSes, Art Basel Miami Beach always offers a plethora of billionaire-priced fare from the top of the art market.
Curated in collaboration with Laffanour Galerie Downtown in Paris, a new exhibition at the Venus Over Manhattan art gallery in New York shines a spotlight on the late French designer Charlotte Perriand's life and work.
When the latest edition of the U.S.’s preeminent contemporary-art fair opens to the public on Thursday, it will be anchored by artworks tackling contentious issues like immigration, race and sexual violence.
There are at least a dozen noteworthy art and design fairs taking place in Miami and Miami Beach in December, but the mother of them all is Art Basel in Miami Beach.
Keith Haring once said of his Pop Shop in downtown Manhattan that he wanted it to be “a place where, yes, not only collectors could come, but also kids from the Bronx.”
Charlotte Perriand is one of the most famous designers of the twentieth-century. Her pioneering furniture and interiors helped shape the modernist movement.
Venus Over Manhattan announce their Art Basel Miami Beach exhibition of Maryan’s “Personnage” paintings from his time in New York in the late 1960s and early 1970s
One of the great joys of the New York gallery scene is that we often get museum-quality shows in commercial galleries. This is the case with the current Charlotte Perriand exhibit at the Venus Over Manhattan gallery on Madison Avenue.
When visiting the new exhibition Charlotte Perriand, organized by Laffanour / Galerie Downtown at Venus Over Manhattan, you cannot help but thinking of the memorable story of Charlotte Perriand (1903-99) at 24, when she walked into Le Corbusier’s atelier at 35 rue de Sèvres, asking him to hire her as a furniture designer, just to get his answer 'we don’t embroider cushions here.'
Charlotte Perriand was, without a doubt, one of the most important designers of the 20th century. Yet, in a demonstration of the gender gap so prevalent in the art and design world of the 20th century, she isn’t a household name like Le Corbusier or Walter Gropius.
After a blockbuster week at Frieze and Frieze Masters in Regent’s Park, London, the art world’s descent on Paris (and, more specifically, FIAC, inside the Grand Palais) comes at a time of exciting renewal in the city across the cultural sphere.
The art market, challenged by the recent provocation of Banksy, remains ourishing but dominated by large galleries at the expense of small and medium, at the time of the opening of the 45th edition of the International Fair of Contemporary Art (Fiac) in Paris.
From the 18th to 21st of October, Paris will vibrate to the rhythm of the International Fair of Contemporary Art, installed as every year at the Grand Palais and extended outside the walls.
The world’s art collectors, busily acquiring treasures, may not always realize that they are hot commodities themselves.
Asian collectors have long prized porcelain vases as much as paintings, but until recently, art lovers elsewhere largely treated ceramics like a second-class craft.
In Sally Saul's Together (2017), two happy polar bears stand side by side, holding hands. They look content (if a little befuddled), ready to face whatever the future might bring.
"What’s great about this country,” Andy Warhol wrote in his 1975 tome, The Philosophy of Andy Warhol, “is that America started the tradition where the richest consumers buy essentially the same things as the poorest."
Robert Arneson, Luis Cruz Azaceta, Jack Beal, Joan Brown, William N. Copley, Roy De Forest, David Gilhooly, Red Grooms, Philip Guston, Robert Hudson, Maryan, Willard Midgette, Richard T. Notkin, Jim Nutt, Philip Pearlstein, Peter Saul, Richard Shaw, H.C. Westermann, William T. Wiley
There is nothing intentionally beautiful or soothing in the gallery space, just an anticipation of the kinetics of violence in the air.
In its inaugural public showing, Alexander Calder’s large, late sculpture “Rhombus” (1972), currently on view at the Venus Over Manhattan gallery on Madison Avenue, anchors an exercise in curatorial theater.
While it's fair to wonder whether Noland, a former it girl of the late '80s art world, even belongs in the same room as Calder, the premise behind the pairing of their sculptures - that inert obejcts can embody the physical dynamics of violence - is interesting enough.
If contemporary art is a love story, then Cady Noland is the one who got away.
It’s a truism that capitalism can subsume and make profitable even the critics and criticism that would tear capitalism apart.
Kinetics of Violence: Alexander Calder + Cady Noland
curated by Sandra Antelo-Suarez
If you’re a mere art lover and not a collector, big art fairs can sometimes make you feel out of sorts.
THE GREAT GIFT Frieze London bestowed on art aficionados this year was to propel them into galleries and museums.
Frieze Masters 2017 is hosting a special section titled the "Frieze Spotlight" which is on view at London's Regent Park.
London’s Frieze has swung open its doors to commence the fall season.
In 1973, Betty Tompkins packed up her latest paintings—tightly cropped images of couples having sex—and sent them to Paris for a gallery show. They never arrived.
IN HIS 2016 BOOK Mémoires d’outre-France, Gavin Bowd, a lifelong Marxist and close friend of Michel Houellebecq, reminisced about a night spent drinking with the novelist in Paris’s thirteenth arrondissement.
On June 3, 2017, the day after writer Michel Houellebecq’s exhibition, French Bashing, opened at Venus Over Manhattan, three Islamist terrorists killed eight people, and wounded 48 more, on London Bridge and in the nearby Borough Market.
On a return trip to a five-star hotel that served as a location in his novel “The Map and the Territory” (2010), Michel Houellebecq took advantage of the escapades amoureuses on offer and signed up for a recommended balloon ride to survey the sprawl of hospital complexes, hypermarkets, and parking lots amid the rolling hills of otherwise bucolic Bourgogne.
For those versed in feminist art history, Venus Over Los Angeles’s show CUNT, is an intimate art collection from six key players of the feminist art movement.
When Venus Over Los Angeles titled its summer show of six female artists “CUNT,” a sort of low buzz began among female art worlders in L.A.
“We feel nostalgia for a place simply because we’ve lived there; whether we lived well or badly scarcely matters."
Prolific French writer Michel Houellebecq is not one to shy away from controversy.
Artist Valie Export held a watch when she performed Touch Cinema in the late 1960s.
Venus is pleased to present Cunt, an exhibition featuring work by Judith Bernstein, Valie Export, Dorothy Iannone, Marilyn Minter, Carolee Schneemann, and Betty Tompkins.
JTF (just the facts): A total of 31 color photographic works (30 single images and 1 triptych), unframed and mounted on aluminum, and alternately hung spotlit against black walls in the main gallery space/entry area and against white walls in the side room (with laminated tourist placemats covering the floor).
Michel Houellebecq is a wielder of blunt instruments.
The history of women in art has been largely the story of women as subjects or as muse. A reality that seeks to put in check CUNT , the collective that opens this July 15 at the Venus Los Angeles gallery.
The French writer was present in New York for the inauguration of his very first exhibition in the American city within the Venus gallery.
Michel Houellebecq is undoubtedly the most talked about French writer.
French novelist Michel Houellebecq is also a photographer.
Michel Houellebecq appreciates an aerial view — but a low one, slightly askew, not too far off the ground.
Michel Houellebecq was at home the other afternoon. He lives in an apartment in a nineteen-seventies high-rise in the Thirteenth Arrondissement of Paris, a neighborhood of efficiency hotels and Asian grocery stores.
There’s a description in the French writer Michel Houellebecq’s best novel, The Map and the Territory, that recurs to me often.
About an hour into my conversation with Michel Houellebecq at VENUS over Manhattan, Adam Lindemann's Upper East Side gallery where Houellebecq photography exhibition "French Bashing" will be on display until August 4, Houellebecq wanted to go outside and have a cigarette.
I know (and I love) Michel Houellebecq books. But I didn’t know he is an artist.
Two years ago, the French author Michel Houellebecq again found himself at the center of controversy with his novel “Submission,” in which an Islamic political party wins the French election in 2022.
The French scandal author Michel Houellebecq has presented a selection of his works of art in the USA for the first time.
Scandalous author Michel Houellebecq has presented a selection of his works of art in the USA for the first time.
Author, poet, filmmaker in his spare time, Michel Houellebecq is also a photographer.
Acclaimed author Michel Houellebecq is an “aging enfant terrible”[1] of French literature.
Time goes by and Michel Houellebecq does not come.
The French writer Michel Houellebecq lands overseas and does so in a visual artist shoes.
Last Friday, LSP met French lit star Michel Houellebecq in New York City at the opening of his first US art show "Michel Houellebecq: French Bashing," a miniature adaptation of his Paris 2016 exhibit "Rester Vivant" (To Stay Alive).
Michel Houellebecq shows for the first time his photographic skills in New York.
Michel Houellebecq était vendredi à New York pour inaugurer sa première exposition dans la métropole américaine, mais il a été peu disert et a même annulé au dernier moment une intervention, étant un peu souffrant.
Dozens of photos and photomontages have been on display since Friday at Galerie Venus on the Upper East Side in New York.
Exhibition: Venus Over Manhattan - Michel Houellebecq: French Bashing
VENUS (980 Madison Avenue) opens the first US exhibition of photos and photomontages by French novelist Michael Houellebecq.
France's bad boy of literature, Michel Houellebecq, is about to open his first exhibition in the US, a multimedia work titled French Bashing that takes a mournful look at the country's “peri-urban” wastelands whose inhabitants vote largely for far-Right leader Marine Le Pen.
After Staying Alive, at the Palais de Tokyo in 2016, a shrewd, obsessive and banal film director, the famous French writer, comes to the United States with a new version mixing photomontages and immersive soundscapes.
Michel Houellebecq launches a new exhibition in the United States
He is not only a successful writer Michel Houellebecq: he has also been a filmmaker, actor, singer and photographer.
Houellebecq back to take care of the visual arts with a new project between paranoia and obsessions that exhibited for the first time in New York.
Following the author’s participation in Europe’s roving Manifesta 11 biennale and his major show at Paris’s Palais de Tokyo last June, American fans will finally get a chance to see the French novelist’s artworks at Adam Lindemann’s Venus Over Manhattan gallery in New York this summer.
Not long ago, I recommended a show, entitled, Concrete Islands (plural), which, although it didn’t exactly shy from the allusion to J. G. Ballard’s dystopian novel of contemporary urban life, was more speci cally inspired by Marcel Broodthaers and the concrete ‘islands’ and chasms of language and meaning.
Michel Houellebecq—the controversial, award-winning French author of novels including Atomised and Platform—is showing his photographs, photomontages and installations at Venus gallery in New York next month (2 June-4 August), marking his exhibition debut in the US.
Amid an unsteady market, dealers and collectors turn to under-recognized names from the 1960s and '70s.
From the art to the prices, there's plenty to marvel at in this year's fair.
The sixth edition of Frieze New York kicked off on Thursday morning at Randall’s Island, when an eager VIP preview crowd filtered into the fair’s expansive tent to visit over 200 galleries hailing from 30 countries and six continents.
“Far from being the youngest, Los Angeles was the oldest city of the twentieth century, the Troy of its collective imagination. The ground courses of our deepest dreams were layered into its past among the filling stations and freeways.”
— J. G. Ballard, The Kindness of Women
Bernard Buffet (1928–1999) was once seen as the quintessential young French postwar figurative painter.
Most of Manhattan’s gallery neighborhoods are losing their shape as dealers pursue viable perches wherever they find them.
Word on the street is they got the Crenshaw Cowboy. Into a gallery, that is.
VENUS in New York is hosting Bernard Buffet's "Paintings from 1956 to 1999" on view through May 27, 2017.
Two admissions are needed to make the case for Bernard Buffet, a painter so long considered minor that his work is—or was—unredeemable even in the realm of camp taste: First, one must accept that painting is a serious vehicle for artistic expression; second, one must admit that anything sufficiently seen eventually comes to sit normatively in the eye.
The art scene around Downtown Los Angeles has experienced phenomenal growth, with galleries opening in big warehouses along the Los Angeles River (and not without some local controversy).
Adam Lindemann discusses his Venus Over Manhattan gallery’s presentation of a survey of Bernard Buffet’s paintings.
Assembling a spectrum of work spanning six decades, Concrete Island is most fluent when it addresses contemporary vulnerabilities and concerns.
"Welcome to Concrete Island: an overlooked city within a city, an entropical paradise where leisure is lean."
Since opening in the spring of 2015, the Venus gallery has occupied a spacious, formerly industrial space in the city’s Boyle Heights neighborhood: directly east of downtown and the Arts District, and across the snaking concrete Los Angeles river.
The fair goes beyond easy classifications in its 14th year.
Fundada por Adam Lindemann, VENUS opera dos galerías con objetivos de programación separados.
Condé Nast Publications might be sitting on a gold mine: its archive of some eight million photographs and illustrations from Vanity Fair, The New Yorker, Vogue, Architectural Digest and other magazines. Now, given the tenuous state of the media industry, the company has plans to exploit it.
Holton Rower’s work has long been concerned with notions of accumulation and sequencing.
VENUS is pleased to present Mike Kelley: Kandors, an exhibition of sculpture and related work by Mike Kelley from 2007.
The artist Mike Kelley may be most closely associated with the sculptures he made out of hand dolls and stuffed animals — ostensibly cheerful objects suffused with the sadness of his short life, given that he committed suicide in 2012 at 57.
An exhibition of sculptures by Mike Kelley, titled “Kandors,” is on at Venus over Manhattan, New York till January 27, 2017.
See some of our favorite shows right now.
"Billy Al Bengston: My BSA 350CC GOLDSTAR & BLUE FOR AUB (get it?)"
A humble monument by a Swiss artist. The influence of one of Latin America’s most important religious icons. And the importance of alchemy in art. Plus: A paean to pop on the west side. Here are eight events to check out in the coming week.
The West Coast legend is showing in New York.
Networks are today ubiquitous, whether familial, professional, or electronic; they give rise to interconnections, but can also breed uniformity and delimited worldviews.
THE DAILY PIC: At Venus Over Manhattan, Billy Al Bengston's 1961 "motorcycle" paintings, from L.A., rival New York's Pop Art.
Venus Over Manhattan gallery is exhibiting both old and new works by legendary L.A. artist Billy Al Bengston.
“Fort Greene,” an exhibition featuring the artworks of multiple artists will run through October 29, 2016, at VENUS, Los Angeles.
Walking into VENUS, the year-old Los Angeles outpost of NY’s Venus Over Manhattan, you’ll probably feel like you’re at an auto trade show rather than an art gallery.
Renowned contemporary artists get their motors running at petrol-fuelled Los Angeles exhibition...
Cars and art have more in common than you think. That's the premise, anyway, of "Piston Head II: Artists Engage the Automobile," a new show at Venus gallery in the fitting location of Los Angeles.
Few cultural symbols are more indicative of modern life than the automobile – particularly in Los Angeles, the city that grew around cars.
If you want to sew a custom made message into one of Filipino participatory art pioneer David Medalla's new works, you better head to NYC's Venus Over Manhattan gallery in Manhattan, and soon.
In December of 2013, Adam Lindemann created a refreshingly original exhibition at the Herzog & de Meuron designed parking garage on Lincoln Road in Miami called Pistonhead.
How often does Mario Andretti get brought up at a VIP art opening?
Lapo Elkann is spending the summer in California exploring what he loves most: cars and customization, plus technology and entertainment.
Exploring the relationship between art and automobile, LA’s venus gallery presents ‘piston head II’, an exhibition spotlighting the ways in which a car can be both a cultural icon and sculptural object.
Talk to a Ferrari or a Maserati car lover and they will argue passionately that these are sculptural objet d’art.
Standing on the elegant spiral staircase of London’s Apsley House, former home of the first Duke of Wellington, artist David Medalla is photographed holding a swathe of tattered yellow fabric.
The relationship between art and the automobile has become more and more prevalent in recent years.
Opening: David Medalla at Venus
The second exhibition at Venus of work by the seminal kinetic and participatory artist David Medalla, this show will provide a holistic overview of Madella’s artistic practice, featuring paintings, photographs, sculpture and ephemera.
Warhol is known for his Marilyns and Campbell’s Soup Cans, but his most disturbing and profound effort was undoubtedly the “Death and Disaster” series of the 1960s.
Right now the New York gallery world is awash in what are often called museum-quality shows.
From Los Angeles to Paris.
Venus Over Manhattan will show “Little Electric Chairs”, a collection of eighteen paintings from Andy Warhol’s “Death and Disaster” series.
Venus Over Manhattan has opened an Andy Warhol show, just in time for Frieze.
An important part of Andy Warhol’s seminal “Death and Disaster” series—which also includes suicides, race riots and car crashes—the electric chair paintings were based on a news image of the deadly electric chair that was used to execute Julius and Ethel Rosenberg at New York’s Sing Sing Correctional Facility in 1953.
Unlike the English word fetish, fétiche in French specifically means a charm embodying magical powers, a definition that serves as the jumping-off point for this disarming exhibit juxtaposing African and Oceanic ritual objects with works by modern and contemporary artists.
The ouroboros, an ancient symbol composed of a snake or dragon eating its own tail, is central to 11 recent sculptures by New York-based Canadian artist Elaine Cameron-Weir in her solo debut at Venus Over Los Angeles.
Snake With Sexual Interest In Its Own Tail is on view at Venus Over Los Angeles through April.
Venus Over Los Angeles has opened an exhibition of new work by the Canadian artist Elaine Cameron-Weir. Weir, born in 1985, is known for her interest in the natural world and her sculptural work is often described simply as ‘cinematic’.
Spring is nearly here, and it’s time to look ahead. We’ve culled gallery listings worldwide to highlight 50 must-see exhibitions over the next three months, spanning 14 cities and ranging from historical surveys to cutting-edge contemporary work, from all-female group exhibitions to debut solo shows.
For the past nine months, the artist Elaine Cameron-Weir has been making snake with sexual interest in own tail, her solo exhibition that opened this week at Venus Over Los Angeles, powerhouse dealer Adam Lindemann's new gallery in Downtown L.A.
“Fétiche” is on view at Venus in New York through Saturday, April 16.
This intriguing show makes an argument for artworks having the same mystical power as religious icons by combining pieces of modern and contemporary art with African and Oceanic artifacts.
VENUS is pleased to present Fétiche, a group show juxtaposing contemporary Western art with historic African and Oceanic works to examine the literal power that art objects confer.
A cross-shaped wooden box on a pedestal faced the entrance to this exhibition of H.C. Westermann’s sculptures, prints and drawings at Venus (formerly Venus Over Manhattan).
Lined three deep on a massive table, the H. C. Westermann sculptures in this exhibition were stunning in their craftsmanship, blistering in their satire, and sometimes, as in the case of Walnut Box, 1964—a walnut box filled with walnuts—just plain funny.
In many ways 2015 was a year of historical return for New York’s galleries, with successful exhibitions of the Memphis group (“wacky, boldly kitsch-adjacent design”), Hollis Frampton (“penetrating, conceptually-oriented photography”), and septuagenarian Lynn Hershman Leeson (“started making alliances between art and science well before trendy millennial artists”).
Even before there was Pop Art, Peter Saul was making it. Born in 1934, Saul gave birth to his idiosyncratic style while living in Paris and Rome in the late 1950s and early 1960s.
Asked what one of his blazingly original assemblages meant, artist H.C. Westermann (1922–1981) replied, “It puzzles me, too. How can I explain a work like that?”
Mark Manders’s work makes a good argument for banishing the term “contemporary.” It’s a silly term.
Now on view at Venus Over Manhattan, See America First is an exhibition of over 80 sculptures and works on paper by H.C. Westermann created between 1953 and 1980.
Despite her having just closed three concurrent solo shows at the New York and L.A. locales of Venus (formerly Venus Over Manhattan and Venus Over Los Angeles) and Carl Freedman, the long, narrow space is bursting at the seams with brightly colored, electric paintings of watermelons, sharks, and bananas.
Consider that Westermann was a veteran of two major battles of the twentieth century - World War II and the Korean War - and those "charming little robots and Shaker-style objects that people call "nice" and "cute suddenly seem a lot more funereal, prosthetic, terrified.
H.C. Westermann: 'See America First: Works from 1953-1980' (through Dec. 19) No one who cares about contemporary art should miss this terrific exhibition of sculptures, drawings, prints and illustrated letters by H.C. Westermann.
"See America First," a comprehensive exhibition of sculptures and drawings by the late, great H.C. Westermann, is on view now at Venus Over Manhattan. The installation features a wide range of Westermann's work, spanning from 1953 to 1980. Here are 11 Things You Need To Know about the artist before you visit the exhibition:
“Homage to American Art (Dedicated to Elie Nadelman)” is one of 38 sculptures in “See America First,” a terrific exhibition of works by the great American visionary H. C. Westermann (1922–1981) at Venus (formerly Venus Over Manhattan).
One of the latest hot young artists from America to grace these shores is Katherine Bernhardt, whose new paintings have virtually sold out at Carl Freedman’s Shoreditch gallery.
What does America look like? It depends on your perspective.
Check out our suggestions for the best art exhibitions you don’t want to miss, including gallery openings and more
NEW YORK, NY.- Venus presents See America First, an exhibition of sculptures and works on paper by American artist, H.C. Westermann (b. Los Angeles, 1922–1981).
Venus Over Manhattan (980 Madison Avenue) has a show by "eccentric art world maverick" H.C. Westermann called "See America First" opening on November 2nd, 6 to 8 p.m., and up until December 19th.
Venus Over Manhattan is pleased to present Pablo and Efrain, an exhibition of new work by painter Katherine Bernhardt, on view beginning September 9, 2015.
Katherine Bernhardt, whose FRUIT SALAD—a mural covering the exterior of Venus Over Los Angeles in downtown L.A led to a stream of selfies this summer—is back with a new series of still-life paintings installed at Venus Over Manhattan. The exhibition, “Pablo and Efrain,” is named after twin artists Bernhardt met during a recent residency in Puerto Rico.
Dana Schutz and Katherine Bernhardt are among the liveliest American painters to emerge in this country in 15 years, and both opened big new shows over two nights a few weeks ago.
After bursting onto the contemporary art scene with her thickly-painted portraits of magazine models, Katherine Bernhardt turned her attention to making "pattern paintings": large-scale works that present banal store-bought products such as toilet paper, Doritos chips, and cigarettes in jazzy, semi-abstract combinations that bring to mind doodles or graffiti.
I find myself drawn towards artist Katharine Bernhardt’s work in spite of an inner resistance I feel towards work that could be described as “cute” in the most basic of ways.
Katherine Bernhardt first gained notice for her drippy portraits of supermodels, which, like the paintings of some of her contemporaries in figuration—Sophie von Hellermann and Chantal Joffe, say—ply aggressively unfussy paint.
Bernhardt's work was inspired by a trip to Puerto Rico, so be prepare for lots of flora, fauna, and fruit along with the occasional non sequitur, like cigarettes and toilet paper.
A Los Angeles gallery gets a new look, thanks to Katherine Bernhardt’s Fruit Salad mural
Venus Over Los Angeles presents, Katherine Bernhardt: Fruit Salad, a large mural covering the exterior walls of the L.A. gallery; a public iteration of her signature wildly colorful still life patterned paintings.
Katherine Bernhardt‘s Fruit Salad, while certainly a feast for the eyes, isn’t necessarily the kind of summer treat you’d want to eat.
Inspired by her frequent residencies in San Juan, Puerto Rico, and the city’s colorful La Perla slums, the artist Katherine Bernhardt recently shifted the focus of her object-based paintings.
The wonderful exhibition “Peter Saul: From Pop to Punk”—challenging, engrossing, troubling—which consisted of sixteen ambitious paintings and five equally ambitious drawings from the 1960s and ’70s, was woefully mistitled: There was nothing waywardly adolescent about this show, nothing punk, as I understand the meaning of both word and style.
I doubt Peter Saul will ever get his critical due as the significant painter of his generation that he is. Like Robert Colescott, another artist who did not hesitate to offend in his skewering of U.S. culture, Saul has never toed the line of art-world taste (or tastefulness), remaining staunchly figurative and political, and a painter to the core.
Last fall in New York, one of the most talked about works at the Independent Projects art fair was a fountain of foaming soap bubbles. As mountains of suds rose and fell, the sculpture, Cloud Canyons, continually morphed into different shapes.
The American cowboy died, by most accounts, in 1999 when the Marlboro Man was forever laid to rest by the ban on tobacco billboards.
“The cowboy has been written about as if it were the pinnacle of freedom … In fact, it was a sleepless drudgery almost beyond imagination.”
Peter Saul is probably older—and cooler—than your favorite artist. Last Friday night at Neuehouse, he and contemporary art star Joe Bradley took part in a conversation moderated by Dallas Art Fair founder Chris Byrne.
On a recent afternoon, Dylan Brant, stepson of media mogul and art collector Peter Brant, whom he refers to as “Dad,” was in the office at Venus Over Manhattan, Adam Lindemann’s gallery on the Upper East Side. Brant was preparing for a show he curated that opens next month at the gallery.
Now, here’s an interesting pairing. Peter Saul, who has a mad funhouse of a show up at Venus Over Manhattan, will be talking to one of this decade’s most prominent market darlings, Joe Bradley.
Caught up in the fluorescent reds, acidic greens, and woozy ultramarine blues coating erotic entanglements of cartoons and classical figuration, politics and fantasy, in these acrylic and oil canvases, you could just miss the black marker insignia “SAUL ’68” on Target Practice.
In August 1970, civil rights activist Angela Davis became the third woman ever to be placed on the FBI’s “Ten Most Wanted” list.
“From Pop to Punk,” a show at Venus over Manhattan featuring his work from the sixties and seventies, brims with candy-colored violence and lush, vibrant grotesqueries.
Peter Saul’s anarchic imagination is a singular phenomenon in American art.
Even before there was Pop Art, Peter Saul was making it. Born in 1934, Saul gave birth to his idiosyncratic style while living in Paris and Rome
“Peter Saul: From Pop to Punk” is a stunning, museum-quality survey of Peter Saul’s early work, from 1961 to 1973.
Peter Saul: ‘From Pop to Punk’ (through April 18) This selection of paintings and drawings owned by Allan Frumkin (1927-2002), Mr. Saul’s longtime dealer (30 years), brings a new clarity to Mr. Saul’s early development.
The New York art dealer Ileana Sonnabend once avowed — somewhat self-servingly — that the best collectors are people in her line of work. Every so often the evidence mounts, as it does with “Peter Saul: From Pop to Punk” at Venus Over Manhattan.
“A lot of these I haven’t seen since I sent them off!” the painter Peter Saul announced as he walked briskly around an exhibition of his work from the 1960s and early ‘70s at the Upper East Side’s Venus Over Manhattan gallery.
The latter inclination was revealed when discussing Saul’s current show at Venus Over Manhattan, comprised of works made in the 1960s.
Women artists are finding power in extreme exhibitionism.
Peter Saul is a national treasure, a man who still, at the age of 80, is making exuberantly perverse paintings of the really important stuff — like pastries, having sex with each other.
"I'm a nutcase when I get in the studio!"
Peter Saul may be 80 years old, but inside he feels like a 14-year-old boy. Since the 1950s, Saul has offended, grossed out and entranced the art world with his neon infused, cartoon snarls, jam-packed with gore, psychosexual mumbo jumbo and all kinds of visual excess.
While Maurizio Cattelan is supposed to be retired, and hasn’t shown anything new in a few years, his previously exhibited works never looked as fresh and new as they do recycled here in this smart and engaging two-part show, “Cosa Nostra.” Organized by Venus Over Manhattan founder and sometime musician Adam Lindemann, the exhibition features 20 of Cattelan’s greatest hits.
This season’s post-war and contemporary art sales might be over here in New York, but “Cosa Nostra,” as Sotheby’s S/2 and Venus Over Manhattan are calling their joint Maurizio Cattelan exhibition, is still very much on view.
David Medalla's iconic Bubble Machine is on display at the Independent New York art fair.
Despite his much-publicised retirement in 2012, Italian artist Maurizio Cattelan has far from disappeared. There are several quirky collaborations on the go, like the artzine ToiletPaper, created with photographer Pierpaolo Ferrari.
Whether a person is buying or not, art fairs are great for perusing the latest and greatest on the market. In essence, they’ve become sprawling pop-ups with a blend and diversity of work impossible to find or replicate elsewhere.
It’s not clear whether the art world, or even the New York art world, needs another art fair. There are already scores of them, and some of our bigger galleries participate in as many as 20 a year. But the intrepid organizers of the smaller, edgier fair known as the Independent evidently think we do. Independent Projects, which opened last night, is taking a newish form and will last ten days instead of the usual four or five.
New York does not need another art fair, but Independent Projects, a new spinoff from the Independent Art Fair held in March, is not just another art fair. Opening today in Chelsea’s former Dia building, it brings together 40 international galleries with focused, mostly monographic shows that will remain on view to the public through November 15.
Independent Projects opened last night at 548 West 22nd Street in Manhattan, billed as a unique mix of art fair and traditional exhibition (and touted by curatorial advisor Matthew Higgs as an assortment of “40 solo shows”).
Started by the creators of the Independent, Armory Week’s alterna-fair, and taking place in the same location, the former Dia Art Foundation building on West 22nd Street in Chelsea, Independent Projects simultaneously builds on and slims down its sister fair’s model.
The art fair has become a primary vehicle for viewing and selling art, but this doesn’t mean it’s a static form. Independent Projects, a hybrid art fair and exhibition installed in the former Dia Art Foundation space on West 22nd Street in Chelsea, is a welcome mutation.
Tied to the auctions, the fair brings in the secondary market.
This week, Maurizio Cattelan, the artist who is known for his irreverent pieces will open a survey of his work at two venues, Sotheby’s S|2 Gallery tonight, and on November 7 at Venus Over Manhattan.
Stepping into the darkly lit gallery, we had the distinct impression that proprietor Adam Lindemann has as much fun installing this show as the now retired Cattelan did making the sculptures.
"He once told me that he cooked a cat with a priest in Milan," says writer Dodi Kazanjian, at the start of the trailer for "Maurizio Cattelan: The Movie." "I asked him if he ate it, and he said he did."
In "Maurizio Cattelan: The Movie," director Maura Axelrod provides a window into the life of the conceptual artist.
Fifteen years in the making, a new documentary about Italian conceptual artist Maurizio Cattelan is set to be released in the summer of 2015.
Whether you love him or hate him, implies the trailer for a new documentary about Maurizio Cattelan, you’re probably going to want to watch a movie about him. Which is maybe true!
Venus Over Manhattan and Salon 94 in New York City put the artist’s works on dramatic display
Sotheby's S|2 Gallery & Venus Over Manhattan, New York, are to show "Maurizio Cattelan: Cosa Nostra," from 30 October until 26 November, 2014.
Nearly 337,000 people visited the Guggenheim Museum in New York to see the Maurizio Cattelan retrospective, which opened in 2011. Wild and wacky, it featured many of this Italian artist’s much loved sculptures — an old woman stuffed in a refrigerator, a pope felled by a meteorite, the rear end of a taxidermied horse and the artist himself as a boy riding a tricycle — all hanging from ropes down the center of the museum’s Frank Lloyd Wright rotunda.
On a recent afternoon, the directors of a small Contemporary art gallery were reviewing the list of dealers participating in the art fair Independent Projects, which opens to the public on November 7. Independent, the somewhat alternative four-year-old fair has historically featured galleries devoted to emerging and early-mid-career artists, and the dealers were predicting the usual scruffy suspects.
Twenty-five things to see, hear, watch, and read.
“Fire!” is an ebullient if overly familiar survey of sculptures and vessels in glazed ceramics and sometimes glass that has been organized by Michaela de Pury and her husband, Simon de Pury, the former chairman and chief auctioneer of Phillips de Pury & Company. It has dazzling variety: function, nonfunction, abstract representation, all kinds of color and also transparency.
Take a peek into the life of auctioneer, collector, and artnet News columnist Simon de Pury. Via his Instagram, he will be sharing a bit of glamour and a bit of excitement with us—whether he’s trotting the globe or on the scene closer to home.
Venus Over Manhattan opens a group show of contemporary ceramics called "FIRE!" on Wednesday, September 17, 6 to 9 p.m. The exhibition was curated by de Pury de Pury -- aka Simon de Pury and his wife Michaela -- and includes works by Ai Weiwei, Sterling Ruby, Rosemarie Trockel, Takuro Kuwata and more.
Down the hall, at Venus Over Manhattan Gallery, there’s a group show curated by Mr. de Pury, this one called “Fire!,” named such because each piece is kiln-made or glass-blown—believe it or not, it’s a ceramics show. So he’s got the whole floor.
A year and a half after stepping down as the head of Phillips, Simon de Pury has curated a ceramics show alongside his wife Michaela
Simon de Pury curates a show of ceramics at the ever hot Venus Over Manhattan. An art world crucible if there ever was one.
After auctioneer Simon de Pury resigned in 2012 as the chairman of Phillips de Pury & Company, he moved into brokering private art deals—a very discreet business. But on September 18 the charming macher will be back in the spotlight, with “Fire!,” an exhibition he curated at Venus Over Manhattan, Adam Lindemann’s New York gallery.
Art dealer and auctioneer Simon de Pury is making his first foray into the art world since his departure from Phillips de Pury & Company in early 2013. Under the name de Pury de Pury, Simon and his wife Michaela have curated an exhibition of ceramic and glass works entitled FIRE!, at New York’s Venus Over Manhattan gallery.
“Fire!” Curated by de Pury de Pury at Venus Over Manhattan
Simon de Pury makes his art-world comeback with a sensational ceramics show.
The Journal Gallery at Venus Over Manhattan includes commissioned works from the gallery’s 21 current and former artists celebrating the zine and subsequent gallery.
Adam Lindemann's Venus Over Manhattan (980 Madison Avenue) opens a group show this week by 21 artists that defined The Journal Gallery.
For the last 15 years, the journal magazine has reflected New York’s underground art and culture scenes with uncanny insight.
THE NEWEST EXHIBITION AT THE MADISON AVENUE SPACE CELEBRATES ANOTHER GALLERY IN ADDITION TO PROMISING YOUNG ARTISTS
Julia Dippelhofer had come to the United States from Germany to work as an au pair when she met Michael Nevin in a photography class at the Montserrat College of Art in Beverly, Mass. Then 19, Nevin had recently started a photocopied zine out of his dorm called The Journal that was dedicated to his twin passions: snowboarding and art.
Since the 1970s, Los Angeles-based artist Raymond Pettibon has been metabolizing America – its history, literature, sports, religion, politics, and sexuality – in a barrage of drawings and paintings in a style born of comic books and the “do-it-yourself” aesthetic of Southern California punk rock album-covers, concert flyers, and fanzines.
Raymond Pettibon’s oeuvre of drawings presents its ambivalent attitude to avant-garde resistance by illustrating acts of sexual or violent depravity via mainstream American iconography, produced at an industrial scale and rate of production.
Presently, the walls of the Venus Over Manhattan gallery are covered in every oceanic shade of blue, aqua, and green, drenching the concrete space with waves of intense cool. More than forty frames—some larger than chalkboards, some the size of table menus—fill Are Your Motives Pure?, an exhibition comprised solely of the surfer paintings Raymond Pettibon has made since 1985.
Unlike the free spirits depicted in this 25-year survey of Raymond Pettibon’s paintings and watercolors on paper, the artist and former L.A. punk-scene habitué doesn’t actually surf.
Just in time for the winter thaw, the uptown gallery Venus Over Manhattan has opened “Are Your Motives Pure?,” a show of surfer paintings by the artist and cult punk-rock illustrator Raymond Pettibon.
Los Angeles came as a natural base to Raymond Pettibon, an artist who has been portraying the American society since the 70s.
When people think of Southern California, sun-drenched images of palm trees and epic ocean waves come to mind. But L.A. is more than just a scenic beach postcard. Take those ocean waves and mix in some baseball players and pinup girls, punk rock energy, D.I.Y. aesthetics and a Dada state of mind.
The big-wave dramas played out in Raymond Pettibon’s surfer paintings must be seen in person, and you’re in luck, because there’s a dynamo collection going on view at Venus Over Manhattan.
Venus Over Manhattan (980 Madison Avenue) opens a major show of Raymond Pettibon's surfer paintings called "Are Your Motives Pure?" on Thursday, April 3rd, 6 to 8 p.m.
Venus Over Manhattan celebrates a decade of the Journal Gallery’s contributions to the contemporary art scene
Astride giant swells or a still ocean, it’s a welcome break from this eternal winter to visit the shore with two new exhibitions.
This exhibition will focus exclusively on Raymond Pettibon’s “surfer paintings.”
Balanced somewhere between a spiritual adventurer and an adrenaline junkie, the surfer is a Californian icon and the hero of Raymond Pettibon’s symbolic works, currently being revisited at Venus Over Manhattan, New York.
Venus Over Manhattan will present the first exhibition dedicated to Raymond Pettibon’s acclaimed “surfer paintings”. Are Your Motives Pure? brings together 40 works from 1987-2012, and includes small, monochrome India ink paintings to vibrant, large-scale paintings up to ten feet wide.
This show at Venus Over Manhattan, the gallery owned by Observer columnist Adam Lindemann, focuses on the draftsman’s most thrilling series: fearsome, engulfing waves on which lone, brave surfers ride, tempting death.
Adept at making the most ordinary, industrial materials into striking statements about collective cultural values – such as bathroom counters and vinyl siding taken thrillingly out of context – Charles Harlan is taking over avant-garde, Upper East Side hotspot Venus Over Manhattan (a geographical paradox, if ever there was one), where visitors will be greeted by a ten-foot, roll-down gate, before being forced to navigate a claustrophobic passageway formed from an ‘endless wall of corrugated steel’, as Harlan puts it.
“Upon arriving at Venus Over Manhattan, visitors will be greeted by Harlan’s 10-foot roll-down gate, a barrier to circumnavigate to a new world. The gallery’s main space is enclosed, in Harlan’s words, ‘in an endless wall of corrugated steel’ that runs parallel to the perimeter walls, without any doors or windows offering access to what lies within the structure.
Harlan's site-specific installation may frustrate some viewers, but it does raise interesting points about the psychology of space.
You have to acknowledge Adam Lindemann’s skill. In a short time, Venus Over Manhattan has become a reference-setting gallery with pop-up locations in Miami and who knows where else?
“… a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Nike of Samothrace.” declared artist Filippo Tommaso Marinetti in his Futurist Manifesto of 1909. Not just the Futurists were inspired by the machine that for over 125 fascinates people. Many artists have a passion for cars, and create art influenced by the automobile.
Walking into Calder Shadows, on view at Venus Over Manhattan, I felt the same childish camaraderie with the artist, only this time it held fear of the bogeyman.
View photos from Piston Head, the car art exhibition.
Thomas Hirschhorn’s Gramsci Monument; Trisha Baga at Greene Naftali and the Whitney; William Copley and Bjarne Melgaard at Venus Over Manhattan; Trisha Donnelly at MoMA and Rosemarie Trockel at the New Museum, lingering from the end of 2012; and Banksy’s month of art in New York. Just kidding about that last one.
Cars have been a fascination for artists since they sputtered onto the road. They are cultural objects, gleaming social markers, symbolic vessels of all that is modernity.
Take an elevator to the 7th floor of an open-air parking garage, and you’ll find Piston Head, an exhibition of over a dozen artist-designed cars, motorcycles, and trucks shipped from all over the world. It takes a whole lot of money to make that happen—and it’s that very same display of wealth that perfectly sums up the Miami art fairs.
With so much art swirling around the downtown-Miami Beach axis this week, it’s hard to know where to start. This year, the art itself feels especially interesting --- and yes, even worth braving the traffic! Here are a few of our must-see choices.
Read more here: https://www.miamiherald.com/entertainment/visual-arts/art-basel/article1958275.html#storylink=cpy
“PISTONHEAD: ARTISTS ENGAGE THE AUTOMOBILE” GROUP SHOW AT MIAMI ART BASEL, MIAMI
The link between cars and art has always been strong. While the Italian Futurists - perhaps the first movement to really engage with the rapid motorisation of the world - hailed the vision of speed, chaos, dust and destruction the motor car promised, others have embraced it for purely sybaritic reasons; fast cars are one of the perks of fame, fortune and an unconventional approach to life.
For its first ever runway show, held on a massive pier off New York’s West Side Highway this past fall, Opening Ceremony rolled out a procession of Bentleys, Ferraris, and other gleaming beauties.
On Tuesday, November 29, 2011, for example, the collector-writer-dealer Adam Lindemann went on strike. “Let’s agree to boycott the whole thing,” he wrote in his column for the New York Observer.
"Piston Head: Artists Engage the Automobile," powered by Ferrari, brought the big guns to Miami Beach this week. And by big guns, we mean large-scale art, powerful cars, and Playboy Bunnies.
Whether you name it Omar or treat the trunk as a closet, we all have unique relationships with our cars. No matter where you look in recent history, the car has been ingrained within our culture as a symbol; it’s an object of daily life to which everyone can relate.
Right now, the art world and its glamorous interlopers are revving their engines for this year's Art Basel Miami Beach, which opens to the public on Thursday. Meanwhile, at the city’s premier automotive temple, grease monkeys are putting the final touches on an exhibition of cars as art.
In addition to the BMW Art Cars showing up at Art Basel in Miami, the annual event will also feature cars that have been transformed into sculptures in the exhibit “Piston Heads: Artists engage the automobile.”
In the past year Adam Lindemann’s energetic Venus Over Manhattan gallery has exhibited Jack Goldstein paintings of lightning, explosions, and aerial bombardments; partnered with legendary chocolate shop Confiserie Schiesser, in Basel, Switzerland, to pay sweet homage to William Copley; and, most recently, teased out the shadows of Alexander Calder sculptures.
The gallery is outfitted like a fallout-shelter might be; cold cement floors and dark grey walls enshrine Jack Goldstein’s large-scale canvases. The walls are stripped of all that might hide their bones, exposed beams read “ GYPSUM PANEL SHEETROCK BRAND FIRECODE.”
Calder Shadows, which opened last week at Adam Lindemann’s Upper East Side gallery Venus Over Manhattan, is two shows in one.
If, like us, you thought you had seen all there is of Alexander Calder, think again. The iconic American artist is the subject of a new exhibition at New York’s Venus Over Manhattan gallery that is uniquely staged in the dark.
Walter Dahn’s 4th Time Around (My Back Pages), an exhibition curated by Richard Prince, is a presentation of paintings, “anti-silkscreens,” and rare bronze sculptures by artist Walter Dahn, presenting a taste of his artistic practice since 1981. The title of the exhibition is derived two Bob Dylan songs, both favorites of the two artists (who have been friends since the late 80’s early 90’s).
More than twenty years ago the critic Deborah Solomon observed that Cologne—hometown of Max Ernstand Jean Arp, Martin Kippenbergerand Rosemarie Trockel—was a city where “yesterday’s rascal is today’s blue-chip master.”
Walter Dahn was a player in the ’80s–’90s Cologne, Germany, art scene, whose Neo-Expressionist paintings of anxiously energetic figures, taken from dreams and ethnological sources, were featured in several New York solos at the time.
If much of the work in this sprawling, energetic two-gallery group show looks fresh and unfamiliar — and as if it might not come from New York — there’s a reason. Everything on view was made in and around Los Angeles, fairly recently and often by artists who are either young, unknown in these parts or both.
At a time when just about any exhibition or art fair, anywhere in the world, is just a click away, it’s easy to forget that art-making is still an intensely local affair, that individual scenes and real-world interactions between artists still matter, perhaps now more than ever.
It’s a busy night at Gavin Brown’s Enterprise, with shows featuring the Afrika Bambaataa Master of Records vinyl archive and monochromes by the mysterious Henry Codax opening alongside “Made In Space,” a group show curated by Peter Harkawik and Laura Owens that’s also going to be at Venus Over Manhattan.
“Jack Goldstein x 10,000,” the first American museum retrospective of this brilliant but elusive artist, is both a celebration and a cautionary tale.
Whatever you want to say about Bjarne Melgaard, you can’t accuse him of being boring.
William N. Copley was a proto-pop surrealist folk artist with a considerable libido. The whimsical provocateur began his lifelong affair with art as a dealer for surrealist giants Rene Magritte, Man Ray, Max Ernst, Joseph Cornell and Yves Tanguy.
Collector and art writer- turned-gallerist Adam Lindemann opened his Madison Avenue Venus Over Manhattan space Thursday to show off “Gang Bust” — an exhibition of paintings by William N. Copley (a k a CPLY) alongside provocative new riffs on the works as curated by artist Bjarne Melgaard.
From art director Sofía Sanchez Barrenechea to choreographer Benjmain Millepied, a creative collective turned out to support a new exhibition of works by the late William Copley, with a few pieces from Norwegian artist Bjarne Melgaard, Thursday night.
Charles Bronson, known as Britain's most unruly prisoner, serves as the point of departure for Andra Ursuta's latest show, which takes its title from a fitness book Bronson wrote while in solitary confinement.
Jack Goldstein, who died a suicide at 57 in 2003, was one of contemporary art’s mystery men. He made his mark in New York in the late 1970s as one of a group of artists working with media-inspired imagery, some of whom were associated with a career-sparking show called “Pictures.”
In the past three years, she’s had three solo exhibitions at Ramiken Crucible, along with works in group exhibitions such as “Ostalgia” (2011) at the New Museum. In 2013, along with a solo exhibition at blue-chip gallery Venus Over Manhattan, she has already been granted a spot in the non-profit exhibition space at Frieze New York.
Re-examining the apocalyptic photorealistic paintings of Jack Goldstein in 2012, the opening salvo of Gravity’s Rainbow, Thomas Pynchon’s 1973 classic about the human drive for self-annihilation, springs to mind.
Many people in the art world consider Jack Goldstein one of the most influential American artists of the 1980s, yet during his lifetime he never made it big. He took his own life nearly 10 years ago, leaving behind an extraordinary body of work that he would never see garner the accolades they deserved.
It is more than an exhibition title — it is a tease, a refrain and a haunting melody.
You can head up to the Venus Over Manhattan gallery at 980 Madison (that’s between East 76th and 77th Street), which tonight is playing host to a relatively rare performance of Jack Goldstein’s Two Fencers (1976) piece.
The answer to the titular question is unhappily tragic. An enigmatic and mercurial figure, the Canadian-born Goldstein started out the Left Coast as a member of CalArts' first graduating class, in 1972.
Peter Coffin’s first solo show in New York City in four years, A,E,I,O,U, is on view through November 2nd at Venus Over Manhattan Gallery at 980 Madison Avenue.
For anyone lamenting the disappearance of the artist’s hand in contemporary sculpture today, Peter Coffin has just the piece for you: a twelve and a half foot tall wooden construction built to resemble the universal symbol for “O.K.”
In a conversation between Peter Coffin and Maurizio Cattelan published in 2007, Coffin warned against the “tendency to clutter things up, to try and make sure people know something is art, when all that’s necessary is to present it, to leave it alone.
“Bulletin Boards” at Venus Over Manhattan, collector Adam Lindemann’s new uptown gallery, is the product of a collaboration with White Columns, the downtown alternative art space directed by Matthew Higgs.
This week, we crawled out of our blog cave to set out on a new adventure for our “We Went to _____” series: the Upper East Side. To be expected from the UES, we saw some blue chip art, but we also found some surprises, like a show by emerging net artists. What we liked, and what we should’ve skipped, below.
With the economy slowly creaking back to life and a good deal of speculation about an imminent art market bubble burst, the intrepid collector and writer Adam Lindemann has seen fit to open a brand-spanking-new gallery in the lap of luxury at 980 Madison Avenue.
Last night, an unseasonably cool summer evening in New York signaled the opening of Venus Over Manhattan's sophmore exhibition, Bulletin Boards.
Brooklyn label RVNG Intl. is taking part in Bulletin Boards, a group show curated by Matthew Higgs (White Columns Gallery), at Venus Over Manhattan (980 Madison Ave, 3rd Floor) tonight (7/19).
Venus Over Manhattan is a new exhibition space in New York City created by art collector and writer Adam Lindemann. The new gallery opened to the public on May 9, 2012 with a group show titled A rebours.
It’s been in the rumor mill for a while, and now the famously cocky collector and New York Observer columnist Adam Lindemann has announced that he’s opening his own gallery, called Venus Over Manhattan, at 980 Madison Avenue.