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stopover: nyc 2012

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James Clar, Boom, 2011, fluorescent lights and filters, edition of 5 + 2 APs, 83.82 x 119.38 cm. Courtesy the artist and Blythe Projects, Los Angeles. (c) James Clar. See new works by Clar in Blythe Projects’ booth at VOLTA NY (March 8 - 11, 2012). Read more about VOLTA NY on page 13.

tasj is moving to new york! It’s true – we’re finally moving! Seth and I lived in LA for about six years now, and even though we’ve spent a significant amount of that time traveling back and forth to New York, actually being based here is going to be a completely different experience. It will be a big move for us (and our four pets), but it feels like the right time to be doing it. We’ll still have a base in LA, so it’s not a total severing of the ties either. I was going to use this space to answer the questions I asked Amanda, Simmy, Danny, Ben, Jess and Jordan in Perspectives (page 6) – what I like and don’t like about the New York art scene, where I like to see art and what artists I’m paying attention to – but I realized that all those answers can be found by turning the pages of this issue. tasj is like a personal art diary for me: I truly am excited about seeing Stuart Shave / Modern Art at this year’s Independent; I did adore The Steins Collect at The Met; I do trail around that long list

of Chelsea galleries every time I am in town; nothing beats seeing NohJColey and Dan Witz’s art on the street; and while I would buy the Marilyn Minter at Sotheby’s (turn the page) in a heartbeat if I could, I’m content to make it my desktop background and grab the next issues of Cabinet and BOMB instead. On the other hand, what I find hardest about tasj is the limited number of pages we can afford to print and the space I have for text on each of those pages – cutting artists from auction previews and galleries from fair profiles can be an indescribably painful experience. Speaking of fairs, I’d like to conclude with a quick apology to those I had no space to fit in profiles on this time around: SPRING/BREAK, New City, Fountain, Dependent, Art’s Not Fair, Korean Art Show, Salon Zurcher, Red Dot, Verge et al. Sorry, guys – I look forward to supporting you more in the future!

Elisa Carmichael, Editor-in-Chief

tasj is an independent art periodical mailed and distributed from our bases in Los Angeles and New York City to homes, museums, art galleries, auction houses, art fairs, festivals, specialty bookshops, cafés, offices, major talent agencies, boutique clothing stores and other locations in over 150 cities around the world. Stopover, Celebrate, Flash and Portrait are special editions of tasj released during important international cultural events. Contributors: Donna Alberico, Seth Carmichael, David Esfahanian, Becki Fuller, David Heald, Monica Müller, Aakash Nihalani, Linda Nylind, Luna Park, Jaime Rojo, sabeth718, Joe Schildhorn, Benjamin Sutton, Simmy Swinder, Tali Wertheimer and Tanley Wong. tasj would like to extend a special thanks to the featured creative entities and their press representatives for the contribution of their time and materials. Reproduction in whole or in part of tasj is strictly prohibited by law. Opinions expressed are those of the authors. Prices quoted are in US dollars unless otherwise stated. All rights reserved on entire contents unless otherwise noted. Artists, photographers and writers retain copyright to their work. Every effort has been made to reach copyright holders or their representatives. We are happy to correct any errors or omissions in our next issue. Read/Receive: theartstreetjournal.com | Follow: twitter.com/elisacarmichael, twitter.com/sethcarmichael | Join: facebook.com/tasjmagazine | Tumble: tumblr.tasjmagazine.com Ad Rates/Distribution: info@theartstreetjournal.com | Contact: email - elisa@theartstreetjournal.com or post - 5795 Washington Blvd, Culver City 90232 USA Cover Image: Theaster Gates, In Event of Race Riot X, 2011, wood, glass, hose, 86.36 x 68.58 x 22.86 cm and Mantle With Hose, 2011, wood, hose, glass, 83.82 x 101.6 x 22.86 cm.

Courtesy the artist and Kavi Gupta CHICAGO | BERLIN. (c) Theaster Gates

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From Sotheby’s Contemporary Art Sale (March 9, 2012): Lot 117: Marilyn Minter, Crisco, 2002, c-print, 32.3 x 48.2 cm. Est. $8,000 - $12,000. Courtesy Sotheby’s. (c) Marilyn Minter Read more about Sotheby’s Contemporary Art Sale on page 11.

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table of contents a message from the editor: tasj is moving to new york!

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perspectives: chats with amanda coulson (artistic director of volta ny), jess hodin (art advisor at the winston art group), danny poku (collector), simmy swinder (director of carmichael gallery) jordan seiler (artist / founder of public ad campaign) and benjamin sutton (art news editor at artinfo).

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at the auctions: a preview of the march sales at christie’s, sotheby’s and phillips de pury.

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the art of the fair: quick guides to the armory show, volta ny, aada: the art show, moving image, independent, scope ny, pool, aipad, frieze, pulse and nada.

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gallery hop: a tour of some of the best galleries from bushwick to chelsea, with pit stops in soho and the lower east side.

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institutionalized: a glance at the current and upcoming exhibitions at asia society, the bronx museum, the brooklyn museum, guggenheim, icp, the met, moma, moma ps1, the new museum, the queens museum and the whitney.

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screening room: an interview with corinna belz, director of gerhard richter painting, which opens in manhattan on march 14.

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street: a new york photo diary featuring work by aiko, bäst, clown soldier, elbow-toe, elik, gaia, gen2, heat, irgh, lewy, muk123, aakash nihalani, nohjcoley, overunder, oze108, poster boy, rae, rate, smells and dan witz.

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newsstand: grab the spring issues of artforum, bomb magazine, the brooklyn rail, cabinet, paper magazine, and the paris review.

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www dot: eleven of tasj’s favorite nyc-based art blogs.

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detox: slip away to eat, drink, shop and sleep at tali wertheimer’s favorite city spots.

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postscript: inside the studio of brooklyn-based artist, aakash nihalani.

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perspectives a variety of viewpoints on the city’s storied art scene

amanda coulson artistic director volta ny It was Amanda Coulson, co-founder and Executive Director of the slightly older Basel edition, who initiated the New York branch of edgy solo project art fair VOLTA in 2008. She is currently based in Nassau, where she serves as Director of The National Art Gallery of The Bahamas.

interview Best thing about being part of the art scene in New York? New York has a vitality to it that is incomparable to almost any other city; you reach a critical mass of quality art producers, critics and curators, and art is part of the social fabric of the city - it is appreciated in a way that makes you feel like your work is important and not icing on some kind of cake. And as both Sinatra and Jay-Z said, if you can make it there, then you are pretty much good to go elsewhere. And the worst? It’s a tough city; no-one does you any favors, whether it’s the police, the fire department, the cabbies... you practically need a permit to go to the bathroom. I love my Teamster and Carpenter guys - they are all great, lovely people who really try to bend over backwards for me - but, boy, Union rules are a killer (especially the no cursing on the fair floor... I am a constant offender). I’ve worked in other cities where the general art community is also much more supportive of each other, less competitive, and the rules are a lot more flexible; as a result we can pull off much more interesting and challenging things. How do you feel New York compares art-wise to other cities you’ve visited and / or lived in? Well, as I said, I think art is taken extremely seriously here, though perhaps sometimes too seriously. It is without a doubt a place that artists, curators and collectors congregate, so that makes it wonderful for discoveries and conversations. Having said that, living in Germany was a huge surprise for me because there art is taken as a necessity for a community, even contemporary cutting-edge art, and it is seen really as a social engagement and not so much related to status and glamour. Even where I lived in Frankfurt (that’s right, not Berlin) there was an incredible engagement with art and amazing artists, especially because of the Staedelschule; this can be said for other under-appreciated cities, such as Vienna, as well. So, while as a born-and-bred New Yorker I’d love to say that NY body slams all other art centers to the floor, I don’t find this to be the case. There is good work everywhere and living in a lot of cities made me realize just how easy it is to make assumptions about one or the other city being “the” hot place. NY just has more of everything... 6

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Favorite place to see art in New York. Surprise: The Frick! I like to get my head out of contemporary art and be re-inspired by Old Masters. The Frick has a wonderful scale that is completely human and you feel a personality in the collection that many major institutions don’t have, simply because of their size and the amount of people who have had a hand in building the collection. The Frick makes you feel almost at home; you are not immediately overwhelmed when you walk in the door. It is an oasis of calm, a retreat. Name a New York-based artist you love. And why.

Nicola Lopez. I can’t remember when I first saw her work... I wrote a long piece about her in 2005 and curated her into a show I did in Frankfurt called Paper Cuts in 2006. I’ve always loved how she uses paper as a sculptural medium and is not phased by its faux sense of delicacy. Lopez creates amazingly muscular installations with a kind of power that belies the medium. It’s hard to really do something someone’s never seen before, but I think Lopez manages to constantly surprise and indeed creates really unexpected moments. She never became a media darling or a household name, but has constantly and consistently moved forward with a kind of steady pace and overall grace I find impressive in this day and age.

Nicola Lopez, Landscape X : Under Construction, 2011, installation at the Solomon R. Guggenheim Museum, woodblock-printed mylar, woodblock-printed tyvek, vinyl tape, blue painter’s tape, string lights, construction lights, zip ties and extension cords. Photo by David Heale. Courtesy the artist. (c) Nicola Lopez


Danny poku collector Born in Staffordshire, record producer and manager Danny Poku (better known to fans of late 80s house music as D-Mob) has assembled a very personal collection of art in his Manhattan home. From Chinese contemporary to street art masterpieces, Danny has it all.

interview Best thing about being part of the art scene in New York? The diversity! The choice in NYC is amazing from the street up. And the worst? The snobbery - and we all know what I’m talking about! I’ve had some rather interesting situations, but will keep those stories to myself as in the long run I didn’t buy any art.

SIMMY SWINDER DIRECTOR CARMICHAEL GALLERY

How do you feel New York compares art-wise to other cities you’ve visited and / or lived in? I love the New York scene as there is always some-

thing going on and always something new to discover in some of the strangest places. Favorite place to see art in New York. That has to be Brooklynite Gallery, followed very closely by David Zwirner. I love Brooklynite’s space and Rae and Hope McGrath make you feel really at home. Name a New York-based artist you love. And why. José Parlá! The reason’s simple: great art but most of all, he’s one of the nicest people I’ve ever met!

Simmy Swinder is director of Carmichael Gallery, at which she has also curated several exhibitions. She served as Fair Manager for photo l.a. XX | artLA projects in 2011 and, upon graduating from Sotheby’s Institute of Art in 2010, co-founded the New York-based art production and curating team, TS+ Projects.

interview Best thing about being part of the art scene in New York? Working with my friends. Having gone to graduate school at Sotheby’s NY, many of the classmates with whom I’ve traveled, studied, and shared art world experiences live here. They work at auction houses, museums and own galleries. Our past experiences as bright eyed, young art business students has gone a long way and I cannot wait to see how far it takes us. And the worst? Coming into the art world in 2009 was a challenge. The appeal of emerging art, that which we had access to, was limited during the economic crisis. But it did force us to innovate new ways of promoting very contemporary art and use our network of friends and colleagues to support one another. How do you feel New York compares art-wise to other cities you’ve visited and / or lived in? It’s constant and feels like less of a job and more of a lifestyle. Perhaps it relates back to my point about working with friends. Favorite place to see art in New York. On the street! From Public Art Fund commissioned

projects to unsolicitated street art, nothing beats being visually stimulated while you walk. Name a New York-based artist you love. And why. Aakash Nihalani! His tramsformative neon tape installations on the street draw attention to overlooked urban landscapes; they give a space life by adding the illusion of 3 dimensional geometric shapes. I love it when street artists can also make accessible works that can be hung on a gallery wall. Working closely with Aakash on installing works in the Carmichael Gallery booth at VOLTA NY this year has given me a first hand glimpse into how nuanced he is in making his artwork, installing it, and “hitting” the fair’s excess walls with his signature tape technique. theartstreetjournal.com

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Benjamin Sutton art news editor artinfo.com Benjamin Sutton will not be easily forgotten by readers of the L Magazine, the Brooklyn publication to which he contributed four years worth of witty words on everything “from fine art to fine rap, from deathly serious cycling issues to delightfully trivial Tumblrs,” as he himself put it in his final post on the L’s website. The art critic has far from disappeared, however: his eminently enjoyable pieces can now be found on ARTINFO.com.

interview Best thing about being part of the art scene in New York? Having access to every level of the art world, from the biggest Chelsea galleries to the most ephemeral pop-up gallery in a basement in Ridgewood, and from the most expensive and complex large-scale public art in Manhattan parks to the most beautiful and fragile street art on the walls of Brooklyn and Queens. New York is such a city of extremes, and it’s delightful to navigate between them so easily — at least when it comes to art. And the worst? The easy answer is that there’s always too much to see, so you’re constantly missing something amazing. The more complicated answer is that, because the New York art world incorporates everyone from the most powerful collectors to the most obscure, untrained and esoteric artists, the politics and money that influence the way things work are impossible to ignore. It’s very hard to create — and even harder to maintain — an art community in New York that isn’t shaped by those forces to one degree or another. How do you feel New York compares art-wise to other cities you’ve visited and / or lived in? Before moving to New York, I lived in Montreal, which is Canada’s most artistically vibrant city by a long shot, with some phenomenal MFA programs, a fairly strong gallery scene, and a couple of world-class museums. But even there, you always had the sense that any artist who was going to make it would eventually move to New York; and that any big traveling exhibitions that ended up in Montreal were only there because no New York institution expressed interest. It suffers from a pretty acute case of second city syndrome with respect to New York. I was born in Paris, though, and I think that — at least as far as museums are concerned — it has New York beat. Of course it’s also something of a giant urban museum piece, so in terms of galleries, artists and supporting a vibrant contemporary art community, it lags very, very far behind New York — and Berlin and London, for that matter. Favorite place to see art in New York. In terms of neighborhoods, I really like going to galleries on the Lower East Side. All the spaces are so different, each one has so much character, and the streets they’re on are so pleasant to walk along — it’s like the anti-

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Chelsea. In Brooklyn, I like going around to all the galleries in Bushwick, although I can’t keep track of the new ones that are opening every other week. It’s really astounding how many there are out there now. But my absolute favorite places are the ones that are off on their own in weird corners of neighborhoods that aren’t necessarily known for their galleries, like the Invisible Dog Art Center in Boerum Hill, SculptureCenter in Long Island City, Kunsthalle Galapagos in DUMBO, Fowler Arts Collective in Greenpoint and Open Source Gallery in Park Slope. I guess that’s related to my earlier point about the New York art scene’s relative ease of access: when you really have to seek a place out, it makes the experience that much more engaging. Name a New York-based artist you love. And why. Weirdly, for the past couple of years, whenever someone has asked me who my favorite artist is, my answer has been a Los Angeles artist (Allison Schulnik), so I really had to think about this. One artist who’s been at or near the top of my list for a while is Valerie Hegarty. Her dilapidated and overgrown historical artworks are incredibly funny and technically impressive while still maintaining a deep reverence for the storied works they symbolically destroy. And then in January I saw Monica Cook’s exhibition at Postmasters, and that really blew me away; as of this writing it remains my favorite show to date in 2012. The video and the sculptures she used to create it are so beautiful and creepy, yet there’s something so unsentimental about them. I’ve been hooked on Monica Cook since early January. But in terms of street art, my favorite is NohJColey, no question. He’s working at such an incredibly high level right now, it’s really astounding.

Valerie Hegarty, Shipwreck, 2010, poster, tyvek, paper, paint, glue 243.84 x 487.68 x 2.54 cm. Courtesy the artist. (c) Valerie Hegarty


Jess hodin art advisor the winston art group A graduate of Dartmouth College and the New York branch of Sotheby’s Institute of Art, Jess Hodin works as an art advisor with a focus on strategic marketing and client services at midtown Manhattan-based art advisory and valuation firm, The Winston Art Group. She also curates for ArtStar.com, LittleCollector.com and Dagny + Barstow.

interview Best thing about being part of the art scene in New York? Endless number of parties. And the worst? Endless number of parties. How do you feel New York compares art-wise to other cities you’ve visited and / or lived in? New York inherently fosters the artistic spirit and inspiration in a different way from other such historically noted, bucolic places as Paris. New York provokes reaction and critical introspection more than calm reflection, and I think that can be seen in its artists’ works. Favorite place to see art in New York. My favorite place to see art is always in the artist’s studio, hands down, regardless of what city I am in. My favorite New York institution in which to

see art is the Guggenheim because I feel like I am already inside a Frank Lloyd Wright masterpiece before I even see any of the art. I love the way you flow seamlessly through the entire exhibition up to the pinnacle of the atrium. Neue Galerie and MoMA are close seconds. Name a New York-based artist you love. And why. My favorite New York artist right now is Roxy Paine, who is most known for his intricate Dendroid treelike sculptures, recently installed on the roof of the Met. I’m always drawn to work that incorporates science and systems, but one of the reasons I like him so much is because the progression of his work, from his early kinetic and time-based sculptures to his botanical replicas has been, much like his art, natural, fluid, exciting and sophisticated. Besides, who can resist enormous beautiful sculptures so reminiscent of a Tim Burton movie set?

Jordan Seiler artist and founder publicartcampaign Jordan Seiler is an artist, activist, cultural instigator and the founder of PublicAdCampaign. Over a hundred artists to date have taken part in PAC’s large-scale, non-violent civil disobedience projects, known as Street Advertising Takeovers, in New York, Toronto and Madrid.

interview Best thing about being part of the art scene in New York? Not having to be a part of the art scene in New York. And the worst? New York’s art scene is so large I know I cant be a part of everything thats going on. I often get the feeling that I’m missing out on something amazing, which is probably the case given the incredibly diverse cultural production happening here.

How do you feel New York compares art-wise to other cities you’ve visited and / or lived in? Somehow in New York I feel like everyone is quietly complicit in the cultural scene even if they dont fancy themselves a creator. From the police to Wall Street, even those you would never expect to contribute to our cultural landscape somehow have an impact on the art coming out of this city. While I’ve never really called any other city home, I can’t say I’ve felt this way in any other place. Favorite place to see art in New York. On the street. Name a New York-based artist you love. And why. There is a guy who sits in a wheelchair at the 14th St and 8th Avenue ACE station named Joseph. He draws aliens abducting dogs and derailing elevated trains in colored pencil. While I cant tell if he is homeless or just a little off his rocker, Joseph seems to find his way with his apocalyptic renderings. I have several of his pieces and never pass up the opportunity to talk to him about his strange obsession.

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at the auctions a preview of some of the spring’s contemporary art sales at christie’s, sotheby’s and phillips de pury.

CHRISTIE’S first open postwar contemporary art sale

Lot 33: Yoshitomo Nara, Pilgrim Heads , 1999, five elements - acrylic, lacquer and cotton collage on fiberglass reinforced plastic, 5/10, each 35.6 x 48.6 x 24.4 cm. Est. $100,000-150,000. Courtesy Christie’s. (c) Yoshitomo Nara

Christie’s First Open Postwar and Contemporary Sale at the auction house’s Rockefeller Center location commences with Nobody’s Fool, a work on paper by Yoshitomo Nara that was prominently featured in the artist’s popular 2010 exhibition of the same name at Asia Society. While it is expected to perform well beyond its $20,000-$30,000 estimate, the Nara to watch is the set of five Pilgrim Heads (Lot 33, est. $100,000-$150,000). Other Asian artists with works going under the hammer include Takashi Murakami (Lot 32, $40,000-$60,000) and Do Ho Suh (Lot 34, $80,000-$120,000). The balance feels off in this sale, with paintings by Lisa Yuskavage, Roy Lichtenstein and Juan Uslé all but disappearing into the sea of photography from Shirin Neshat, Lorna Simpson, Gabriel Orozco, Isaac Julien, Sophie Calle, Hiroshi Sugimoto and Cindy Sherman. Most exciting in this sale, however, are the mixed media works, which range from Tom Friedman’s polystyrene Cloud (Lot 35, $20,000$30,000) and Yinka Shonibare MBE’s Victorian Philanthropist’s Parlor (Lot 25, $120,000-$180,000) to Teresita Fernandez’s box within a box (Lot 2, $10,000-$15,000) and Marongrong (Lot 97, $10,000$15,000), Robin Rhode’s video installation.

Lot 2: Teresita Fernández, Twice, 2005, two elements ink on plexiglas, 6/8, 33 x 38.1 x 38.1 cm. Est. $10,000-15,000. Courtesy Christie’s. (c) Teresita Fernandez

date: march 7 2012, 10am address: 20 rockefeller plaza website: christies.com

Lot 97: Robin Rhode, 2002, Marongrong, digital betacam cassette and dvd, duration: 01:00 minutes, 1/5. Est. $10,000-15,000. Courtesy Christie’s. (c) Robin Rhode

Christie’s contemporary spring SALES : NYC 2012 MARCH First March South March

Open Post-War Contemporary Art: 7 2012 10am Asian Modern and Contemporary Art: 19 2012 10am

APRIL Photographs: April 5 2012 10am Prints & Multiples: April 25-26 2012 10am & 2pm

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MAY Post-War and Contemporary Art Evening Sale: May 8 2012 7pm Post-War and Contemporary Art Morning & Afternoon: May 9 2012 10am & 2pm


Lot 203: George Rickey, Weathervane, 1976, kinetic sculpture comprised of stainless steel on marble base, 64.8 x 87.6 by 21.6 cm. Est. $10,000-15,000. Courtesy Sotheby’s. (c) The Esate of George Rickey Lot 207: Andy Warhol, Big Cat, c. 1959, ink on paper 53 x 35.5 cm. Est. $12,000-18,000. Courtesy Sotheby’s. (c) The Estate of Andy Warhol

Sotheby’s contemporary art sale There aren’t many surprises in the list of lots carrying the highest estimates at Sotheby’s Contemporary Sale on March 9: from Calder to Condo, Rauschenberg to Richter, the big names are all there. Aside from works such as Condo’s Peripheral Beings (Lot 30, $80,000–120,000), Louise Bourgeois’ Femme (Lot 12, $50,000-$70,000) and Lisa Yuskavage’s Little Curlie II (Lot 9, $40,000-$60,000), however, the sale is characterized by mostly small works on paper from artists such as Ghada Amer, Julie Mehretu, Elizabeth Peyton, Ed Ruscha, Kiki Smith, Alexander Calder and Andy Warhol. Richter himself is represented by just two works on paper - the 88 x 61 cm Montag from 1983 (Lot 48, $250,000–$350,000), and the small, insignificant Lot 2 – a different story to the auction house’s Contemporary Evening Sale in London this February, to which the six featured Richters realized a hefty portion (£17.6 million) of the £50+ million result. Another highlight of that auction was the sale of an Andreas Gursky for £713,250; Sotheby’s has continued the trend of strong photography into their New York sale by including work from Cindy Sherman, Candida Hofer, Marilyn Minter, Zhang Huan, Elger Esser, Ugo Rondinone, Florian Maier-Aichen, Rineke Dijkstra and Philip-Lorca diCorcia. date: march 9 2012, 10am & 2pm address: 1334 york ave website: sothebys.com

Lot 9: Lisa Yuskavage, Little Curlie II, 2003, oil on canvas, 30 x 23 cm. Est. $40,000-60,000. Courtesy Sotheby’s. (c) Lisa Yuskavage

Sotheby’s contemporary spring SALES : NYC 2012 MARCH Contemporary Art: March 9 2012 10am Modern & Contemporary South Asian Art: March 19 2012 10am

MAY Contemporary Art Evening Auction: May 10 2012 7pm Contemporary Art Day Auction: May 10 2012 10am

APRIL Photographs : April 3 2012 10am Prints: April 26-27 2012 10am

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phillips de pury evening sale Phillips de Pury’s 37 lot-strong Contemporary Art Evening Sale on March 8 is far from their most impressive showing, but is still punctuated with a number of exciting works. Steering away from the overhyped, underwhelming Otis Maybach (Lot 1, $100,000-$150,000) of Jay-Z and Kayne West music video fame, highlights include a strong photogram by Walead Beshty (Lot 3, $15,000-$20,000), whose mixed work, FedEx Kraft Box, sold for nearly £40,000 above its high estimate in the auction house’s London sale in February, a shimmering, plexiglas-boxed acrylic and PVC foil Anselm Reyle (Lot 8, $100,000-$150,000) and a magnificently eerie Clown portrait by Cindy Sherman (Lot 9, $300,000500,000), a relative of which sold for £433,250 in February’s sale. The auction house will be hoping Sulfochlorophenol (Lot 20, $700,000-$1,000,000), a member of the seemingly infinite family of Damien Hirst cacophonies of spots on canvas series that has received much attention of late, will fare better than the horrific mess of painted bronze that failed to sell in London. date: march 8 2012, 7pm address: 450 park ave website: phillipsdepury.com

Lot 8: Anselm Reyle, Untitled, 2005, acrylic and pvc foil on canvas, in plexiglas box, 234 x 198.4 x 21 cm. Est. $100,000-150,000. Courtesy Phillips de Pury. (c) Anselm Reyle

Lot 17: Ed Ruscha, Ting..., 1984, dry pigment on paper, 58.4 x 73.7 cm. Est. $80,000-120,000. Courtesy Phillips de Pury. (c) Ed Ruscha

phillips de pury contemporary Spring Sales : NYC 2012

Lot 23: Jean-Michel Basquiat, Untitled (Skull), 1981, chalk on black paper, 52.1 x 35.6 cm. Est. $120,000-180,000. Courtesy Phillips de Pury. (c) The Estate of Jean-Michel Basquiat

MARCH Under The Influence: March 8 2012 12pm Contemporary Art Evening Sale: March 8 2012 7pm APRIL Photographs: April 4 2012 Evening Editions: April 25 2012

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MAY Contemporary Art Evening Sale: May 10 2012 Contemporary Art Day Sale: May 11 2012 Latin America Evening Sale: May 21 2012 7pm Latin America Day Sale: May 22 2012 11am


the art of the fair one thing ny is never short on in the spring is art fairs, and with the addition of frieze in may, there are now more than ever. . check out our guide from a - v.

The Armory Show It may have some hefty competition sprouting up around it, but The Armory Show’s 2012 edition has a strong field of exhibitors. A few quick booth picks from Pier 94: Pilar Corrias and Victoria Miro (London), Fredericks & Freiser and David Zwirner (New York), Kaikai Kiki (Taipei), Ambach & Rice and Mihai Nicodim (Los Angeles) and Kavi Gupta (Chicago / Berlin), who will be exhibiting work by tasj cover artist and the Armory’s 2012 commissioned artist, Theaster Gates. I’m particularly looking forward to the fair’s Nordic-focused section; curated by Jacob Fabricius, director of the Malmö Konsthall, it includes V1 (Copenhagen), CRYSTAL (Stockholm) and i8 (Reykjavik). Talks I’ll be attending include The Efficacy of Art to Incite Structural Change (featuring Theaster Gates) and What is art worth NOW?, both on March 9.

dates: march 8-11 2012 hours: march 8-10, 12 to 8pm march 11, 12 to 7pm address: pier 92 & 94 12th ave at 55th st website: thearmoryshow.com

Maximilian Toth, Leap Frog, 2009, graphite, grease pencil, chalk, charcoal, and oil on canvas, 194.31 x 205.74 cm. Courtesy the artist and Fredericks & Freiser, New York. (c) Maximilian Toth

volta ny 80 galleries are presenting solo projects by emerging artists at VOLTA NY, The Armory Show’s edgy and concurrently running little sister fair. I really enjoy visiting the booths at VOLTA and always come away with a fairly good sense of the featured artists’ range; this simply isn’t possible at other fairs, where there are ten or so artists featured in each booth. My first stops this year will be Ana Cristea (New York) to see Razvan Boar and Blythe Projects (Los Angeles) for James Clar, artists and galleries I have a lot of respect for. Lotte Van den Audenaeren at Galerie Fortlaan 17 (Ghent), Rachel Beach at Blackston (New York) and Terry Haggerty at KUTTNER SIEBERT (Berlin) are also on my must-see list. Like The Armory Show, VOLTA NY has a Nordic Spotlight: theirs includes Copenhagen’s HENNINGSEN gallery, Stockholm’s GALLERI JAN WALLMARK and Helsinki’s Kalhama & Piippo Contemporary. I’m looking forward to their presentations of Emil Salto, Mats Pehrson and Liisa Lounila, respectively.

dates: march 8-11 2012 hours: march 8, 2 to 7pm march 9-11, 11am - 7pm address: 7 west 34th st 11th floor website: ny.voltashow.com Razvan Boar, Foam Sister, 2010, oil on canvas, 60 x 50 cm. Collection of Thomas Fayad. Courtesy the artist and Ana Cristea Gallery, New York. (c) Razvan Boar theartstreetjournal.com

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ADAA: The Art show The list of solo and two person exhibits at the 24th edition of The Art Show, which opens a day before the other fairs, reads as if a multi-museum spectacular is taking place at the Park Avenue Armory (and many of the featured artists do indeed have institutional exhibitions this spring): Blum & Poe is showing new work from Henry Taylor, Metro Pictures is exhibiting Cindy Sherman’s 1976 Murder Mystery collage series, Marian Goodman has work by Francesca Woodman and Tanya Bonakdar will present sculptures and installations by Sarah Sze. Other solo booth highlights include Matthew Monahan at Anton Kern, Ori Gersht at CRG, John Baldessari at L&M Arts, William Leavin at Margo Leavin, John McCracken at The Elkon Gallery, Inc. and Yoshitomo Nara at The Pace Gallery. In the Thematic Exhibitions section, I’m most excited about Artist as Author at Lehmann Maupin, Color and Gesture at Brooke Alexander, Postwar Abstraction and Figuration at Acquavella and A History of Darkness at James Cohan. A two-part panel on Catalogues Raisonnés will take place at the fair on March 9 and 10 – see you there.

dates: march 7-11 2012 hours: march 7-10, 12 to 8pm march 11, 12 to 6pm address: park avenue armory 643 park ave website: artdealers.org/artshow.html

Mickalene Thomas, Le Jardin d’Eau de Monet, 2011, mixed media collage, 34.3 x 48.9 cm, 55.2 x 69.2 cm (framed). Courtesy the artist and Lehmann Maupin Gallery, New York. (c) Mickalene Thomas

Moving image The second edition of contemporary video art fair Moving Image will take place once again in the atmospheric Waterfront New York Tunnel with presentations from 31 internationally based artists, including Martha Zurkow (bitforms gallery, New York), Jesse Fleming (The Company, Los Angeles) and Alex Prager (Yancey Richardson, New York), whose acclaimed short film, Despair, is what I’m most looking forward to seeing. In addition to screenings of works by historically significant new media artists such as Zhang Peili, Ken Jacobs and VALIE EXPORT, expect large-scale installations from Josh Azzarella (DCKT Contemporary, New York) and Janet Biggs of Winkleman Gallery, New York), amongst others. I’ll probably visit Moving Image on Saturday, March 10, so that I can both check out the fair and attend the 2pm Spotlight Panel : What Do You Get When You Buy Video Art?

Marina Zurkov, Mesocosm (Northumberland UK) 2011, color, animation, sound, custom software, computer, video duration: 146-hour cycle (24-minute day, 146-hour year), display dimensions variable. Courtesy the artist and bitforms gallery, New York. (c) Marina Zurkov.

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dates: march 8-11 2012 hours: march 8-10, 11 to 8pm march 11, 11 to 4pm address: waterfront new york tunnel 269 11th ave website: moving-image.info


Jack Hanley Gallery, New York and China Art Objects, Los Angeles at Independent, 2011. Photo by Tom Powel Imaging. Courtesy Independent / Tom Powel Imaging.

independent I’m sure there are people out there who didn’t enjoy the past editions of Independent, but I haven’t met any of them. The self-described ‘temporary exhibition forum’, which will take place for the third time in the former Dia Center for the Arts building on W 22nd St in Chelsea, attracts what I personally feel are some of the most interesting young and mid-tier galleries in Europe and the US. The 2012 list of participants (which does also include one Mexico City gallery (Labor), as well as Dubai’s Third Line, features New Yorkers Bortolami, Gavin Brown’s enterprise, Bureau, Jack Hanley, UNTITLED and Elizabeth Dee, who co-founded the fair with Darren Flook of Hotel, London. US west coast stars include China Art Objects and David Kordansky, both based in Los Angeles, while London’s Stuart Shave / Modern Art, Maureen Paley and Sprüth Magers (who also have a Berlin space) are safe bets to stop in at, if consistently strong curation and sophisticated presentation are anything to go by. dates: march 8-11 2012 hours: march 8, 4 to 9pm, march 9 & 10, 11am to 8pm, march 11, 11am to 4pm address: 548 w 22nd st website: independentnewyork.com

SCOPE NY SCOPE will open the 2012 edition of its New York fair in a location across the street from The Armory Show, a move that is expected to positively impact foot traffic and sales for the 55+ participating galleries. Proceeds from the VIP and press preview on March 7 benefit chasama, one of New York’s oldest non-profit arts organizations and whose booth I will definitely be stopping in at. Other exhibitors to check out include Christopher Paschall (Bogotá), White Walls (San Francisco), Corey Helford (Los Angeles) and Waterhouse & Dodd (London and New York). I will also be checking out Focus: Puerto Rico, which brings together work by Juan A. Negroni, Martin Albarran, Omar Velazquez, Rogelio Baez Vega and Samuel Toro Rosa, and the books and magazines at Aperture’s booth.

Sun You, Untitled, 2011, plastic rod, painted wooden rod, fashion magazine, fabric, colored thread, sliver myler, pin, dimensions variable. Courtesy the artist and chasama, New York. (c) Sun You.

dates: march 8-11 2012 hours: march 8-10, 11am to 8pm march 11, 11am to 7pm address: 57th st & 12th ave website: scope-art.com

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Justin Wood, Structures of Time, 2011, inkjet ink and polypropylene on wood with video projection, 243.84 x 121.92 cm. Courtesy the artist. (c) Justin Wood

pool art fair PooL Art Fair New York, which has sister fairs in Guadeloupe, Martinique and Miami Beach, takes place over three days at The Flatiron Hotel on W 26th St, where individual guestrooms act as exhibition spaces. Organized by the non-profit group, Frere Independent, the focus is on giving artists without gallery representation an opportunity to exhibit and sell their work. The 2012 participants I’ll be going there to see include Hebru Brantley, Erol Gundez, Anne-Marie Cosgrove, Yoshiya Homma and Justin Wood, a New York-based artist who creates engrossing works that merge mixed media painting with video projections. dates: march 9-11 2012 hours: daily, 3 to 10pm address: the flatiron hotel, 9 w 26th st website: poolartfair.com

aipad A few weeks after the early March fairs have cleared out of town, The AIPAD Photography Show, one of the most important annual photography events in the international art world calendar, opens up at the Park Avenue Armory. 2012 will see 75 participating galleries, including Bryce Wolkowitz, Yancey Richardson and Danziger (New York), M+B and Kopeikin (Los Angeles) and new AIPAD member David Zwirner, who will be exhibiting new works by Philip-Lorca diCorcia. Five panel discussions, all of which sound worth attending, will take place on Saturday, March 31: A Conversation with Rineke Dijkstra at 10am is probably my first choice, followed by A Celebration of Francesca Woodman at 4pm. I can’t wait to see both of their shows at the Guggenheim. How to Collect Photographs: What Collectors Need to Know Now at 2pm could also be interesting.

Susanna Majuri, Red, 2012, c-print, diasec, edition of 6, 100 x 144 cm. Courtesy the artist and Bryce Wolkowitz Gallery, New York. (c) Susanna Majuri

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dates: march 29 - april 1 2012 hours: march 29-31, 11am to 7pm april 1, 11am to 6pm address: park avenue armory, 643 park ave website: aipad.com/photoshow/new-york


FRIEZE ART FAIR Frieze is about to descend upon New York (Randall’s Island, to be exact) and it is doing so with a bang: over 170 galleries have signed onto the American sister of October’s Regent’s Park fair. In the main section, Fortes Vilaça (São Paulo), Johann König (Berlin), The Breeder (Athens), Almine Rech (Brussels), Regen Projects (Los Angeles), Standard (Oslo), Nicolai Wallner (Copenhagen), A Gentil Carioca (Rio de Janeiro), Perrotin (Paris), Sadie Coles, Lisson and White Cube (London) and Tomio Koyama (Tokyo) are the galleries I’ll be stopping in at first, while Mary Mary (Glasgow), Limoncello (London) and Plan B (Cluj) are my top picks from the Focus lineup.

David Zwirner’s booth at Frieze Art Fair 2011. Photo by Linda Nylind. Courtesy Frieze / Linda Nylind.

dates: may 4-7 2012 hours: may 4 & 5, 12 to 7pm, may 6 & 7, 12 to 6pm address: randall’s island park, randall’s island website: friezenewyork.com

PULSE NY Although they will still have a slight presence in March with the gallery walk they have scheduled for the 6th, PULSE NY is the main fair to defect to May in order to join New York newcomers Frieze and NADA. Artists to look out for as you trail the booths include Kim McCarty at Morgan Lehmann, Ben Weiner at Benrimon Contemporary, Thomas Ruff and Ed Ruscha at Richard Levy and Anne Lindberg at Carrie Secrist. I also recommend seeing what Fred Torres Collaborations and Meulensteen (New York) have on display.

Visitors at PULSE New York 2011. Photo by Monica Müller. Courtesy PULSE.

dates: may 3-6 2012 hours: may 3, 12 to 8pm may 4, 10am to 8pm may 5, 12 to 8pm may 6, 12 to 5pm address: the metropolitan pavilion 125 w 18th st website: pulse-art.com/newyork

Nada The inaugural NADA NYC will take place at 548 W 22nd two months after Independent has come and gone. I always enjoy the Miami Beach edition of this fair, so I’ll definitely be in attendance here. Who else will be there? New Yorkers THE COMPANY, Ana Cristea, Eleven Rivington, Laurel Gitlen and UNTITLED, Angelenos Honor Fraser and ltd, Tokyo’s NANZUKA and Europeans Ancient & Modern (London) and Croy Nielsen (Berlin). If this isn’t enough for you, use the break between the March and May fairs to head to the Cologne edition of NADA, which opens April 18. dates: may 4-7 2012 hours: may 4 & 5, 12 to 7pm may 6 & 7, 12 to 6pm address: 548 w 22nd st website: nadaartfair.org

Luettgenmeijer’s booth at NADA Art Fair Miami Beach 2011. theartstreetjournal.com

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gallery hop from underground art spaces to some of the highest profile powerhouses in the business, there is always an opening or special event to attend in nyc, no matter the neighborhood. Skewville, Hype Box, 2012, all sides of box silkscreened 2 color, edition of 50, 40.64 x 27.94 x 30.48 cm. Courtesy the artists and Factory Fresh, New York. (c) Skewville

Bushwick / williamsburg It’s an exciting time for art in Brooklyn, especially in Bushwick, now that Luhring Augustine’s 10,000 sq ft space on Knickerbocker is finally open to the public. The gallery’s first exhibition, a video installation by Charles Atlas entitled The Illusion of Democracy, opened in February and remains on view through May 20, giving everyone who missed the opening the chance to see it. Luhring Augustine isn’t the only reason to come to BK, of course: Bushwick and Williamsburg alone are both filled with wonderful alternative, often artist-run spaces, such as English Kills, Pandemic, Pierogi, SUGAR, Like the Spice, the journal gallery (an exhibition of works by Colin Snapp is on view there through April 29) and Factory Fresh, who recently presented Skewville’s 80th Birthday: A Retro Retrospective. Finally, don’t miss the Bushwick Open Studios from June 1-3.

Charles Atlas, The Illusion of Democracy, 2012, Installation View, Luhring Augustine, Bushwick. Courtesy the artist and Luhring Augustine, New York. (c) Charles Atlas

Chelsea My recommendation for “doing Chelsea” is to start at W 19th and 10th Ave and work your way up; that way, your first stop can be the invariably impressive David Zwirner, whose spring schedule ranges from Fred Sandback and Stan Douglas in March to Yan Pei-Ming and Alice Neel in May. Cross the road for Lombard-Fried and Chambers Fine Art before moving on to W 20th, where Anton Kern, Bortolami, Flowers and ZieherSmith are just some of the must-visits. W 21st is where things really start to get crowded: 303, Casey Kaplan, Gagosian and Gladstone (the latter two are also on W 24th), anyone? If that’s not enough for one block, add to your list Haunch of Venison, Tanya Bonakdar and Paula Cooper (also on W 23rd), whose Tauba Auerbach exhibition in May is one of the most highly anticipated of the spring. On to W 22nd and another all-star list of art spaces, including Friedrich Petzel, Meulensteen, Matthew Marks (also on W 24nd), Sonnabend, Zach Feuer and the first of The Pace Gallery’s three Chelsea spaces. Danziger on W 23rd is one of Chelsea’s best photographyfocused galleries (their Andy Warhol: Photographer show runs through April 21) along with Yancey Richardson on W 22nd and Metro Pictures on W 24th, both of whom are showing popular Terry Winters, Tessellation Figures (4), 2011, oil on linen, female photographers – Alex Prager and Cindy Sherman, respec203 x 193 cm. Courtesy the artist and Matthew Marks Gallery, tively – in April. Also on W 24th are Hasted Krauetler (more New York. (c) Terry Winters photography!), Mary Boone, Bryce Wolkowitz, Fredericks & Freiser, Luhring Augustine and Marianne Boesky. If you’re not exhausted at this point, hit Cheim & Read and Marlborough on W 25th before tackling the W 26th block, a personal favorite of mine as it houses Ana Cristea, Pace Prints, Magnan Metz, Galerie Lelong, Lehmann Maupin and (many) more. End the day (or start the next) with Foxy Production, Paul Kasmin and Winkleman on W 27th and Cristin Tierney, David Nolan, Peter Blum and Sean Kelly on W 29th. And that’s just scratching the surface...

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LOWER EAST SIDE There is a certain undefinable charm that permeates the streets and shopfronts of the Lower East Side; while it has far fewer galleries than Chelsea, it’s still one of the best places to see art in New York. Start your tour of the neighborhood at the Delancey / Essex St subway stop (F, J, M, Z). Head north on Norfolk from Delancey and you’ll quickly find Thierry Goldberg, whose solo exhibition with Hannah Whitaker opens April 22. Continue north on Norfolk, take a left onto Rivington and another left onto Orchard to arrive at On Stellar Rays (did you know their name was inspired by 9th century Arab philosopher Al-Kindi’s text, de Radiis?) and Rooster Gallery, whose exhibition of Contemporary Taiwanese Painting runs through April 15. I’d suggest next taking a left onto Houston and another left onto Bowery for Sperone Westwater and Salon 94 (who also have a space tucked away in nearby Freeman Alley), where David Benjamin Sherry’s show opens on April 26. Conveniently providing its address in its name, Eleven Rivington is just a few minutes walk away; don’t miss Jackie Saccoccio’s show there in March / April. Going north on Chrystie will take you to Lehmann Maupin – in many ways, I prefer this space to the main gallery in Chelsea. After Juergen Teller comes down here, Nari Ward goes up. Haven’t had enough? Head south to Christopher Henry on Elizabeth and Canada on Chrystie, then north on Orchard to UNTITLED and Laurel Gitlen, and you’ll practically be right back to where you started.

Andreas Schulze, Ohne Titel, 2012, Installation View, Team Gallery, New York. Courtesy the artist and Team Gallery, New York. (c) Andreas Schulze

N. Dash, Healer 10, 2011, indigo, linen, staples, wood support, 138.4 x 134.6 cm. Courtesy the artist and UNTITLED, New York. (c) N. Dash

Jackie Saccoccio, Portrait (Rapture), 2012, oil and mica on linen 213.36 x 182.88 cm. Courtesy the artist and Eleven Rivington, New York. (c) Jackie Saccoccio

SOHO

If you find yourself in the equal part trendy and art-friendly SoHo, my favorite starting point is at Wooster and Spring, where one of Peter Blum’s two Manhattan spaces is situated (the other is on W 29th in Chelsea). From there, continue down Wooster toward Broome – here you will find Brooke Alexander Editions, whose current show, The Way We Live Now, runs through April and includes prints and editioned work by John Baldessari, Raymond Pettibon, Lorna Simpson, Martin Kippenberger and many more. Cross Broome and head into the first Team Gallery space (the second is just around the corner to the left on Grand). Team has an exciting spring lineup: Andreas Schulze / Davis Rhodes through March 24, followed by Stanley Whitney / Alex Bag & Patterson Beckwith in April, Ryan McGinley at both spaces in May (count yourself lucky if you can squeeze into either of those openings – the last McGinley show at the Grand St space was famously shut down by the fire department when an estimated 1,000 fans showed up to celebrate the photographer) and Garder Eide Einarsson / Santiego Sierra in June.

Will Ryman, Everyman, 2012, silver bottle caps, shoes, denim, aquaresin, steel armature, 426.7 x 2743.2 cm. Photo by Mark Markin. Courtesy the artist and Paul Kasmin Gallery, New York. (c) Will Ryman theartstreetjournal.com

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institutionalized nowhere in the world rivals new york when it comes to museums. this spring sees an outburst of showstoppers at moma, the met and more.

Clockwise from left: Henry Taylor, Oh Johnnie Ray (my brother), 2010, acrylic on canvas, 101.6 x 101.6 cm. Courtesy the artist and UNTITLED, New York. (c) Henry Taylor. Cindy Sherman, Untitled Film Still #21, 1978, gelatin silver print, 19.1 x 24.1 cm. The Museum of Modern Art, New York. Horace W. Goldsmith Fund through Robert B. Menschel. (c) 2012 Cindy Sherman. John Chamberlain: Choices, 2012, Solomon R. Guggenheim Museum, Installation View. Photo by David Heald. (c) Solomon R. Guggenheim Foundation. Keith Haring, Untitled, 1981, sumi ink on paper, 182.9 x 243.8 cm. Collection Keith Haring Foundation. (c) Keith Haring Foundation

The long awaited, highly acclaimed and unendingly impressive Cindy Sherman (through June 11, 2012) and John Chamberlain: Choices (through May 13, 2012) shows are finally open at MoMA and the Guggenheim, retrospectively, but while they may draw some of the largest crowds, they are far from being the only exhibitions to catch at New York’s museums this spring. MoMA alone has Print/Out (through May 14, 2012), a survey of printed materials, The Shaping of New Visions: Photography, Film, Photobook (April 18, 2012 – April 29, 2013) and Taryn Simon: A Living Man Declared Dead and Other Chapters (May 2 – September, 2013) on their calendar. Head uptown to Museum Mile, stopping in along the way at Asia Society to see Sarah Sze: Infinite Line (through March 25, 2012), the first exhibition to focus on the delicate drawings and works on paper of the artist who will represent the US at the 2013 Venice Biennale. A few blocks away lies The Whitney and its 2012 Biennial (through May 27, 2012), which has invoked the invariable art media frenzy. Of the approximately 50 participants, standouts include Oscar Tuazon, Nicole Eisenman and Werner Herzog. Follow the Biennial up with a trip to The New Museum’s Triennial; after it closes on April 22, the Bowery-situated institution is overrun with female artists – Nathalie Djurberg, Phyllida Balow, Tacita Dean and Klara Lidén (varying dates from May to August, 2012). I try hard to keep tasj focused on contemporary art and ignore every other historical period I’m interested in, but no spring tour of New York’s museums is complete without a visit to The Met’s The Steins Collect: Matisse, Picasso and The Parisian Avant-Garde (through June 3, 2012). It is a true showstopper in every sense of the overused art world adjective. Another highlight of The Met’s spring calendar is fashion photography exhibition, Schiaparelli and Prada: Impossible Conversations (May 10 – August 19, 2012). The Guggenheim is also having a photography moment, with retrospectives dedicated to the equally wonderful Francesca Woodman (March 16 – June 13, 2012) and Rineke Dikstra (June 29 – October 3, 2012). For more shutterbug fun, head to ICP and the gloriously graphic Weegee: Murder Is My Business (through September 2, 2012). Finally, head into the outer boroughs for Henry Taylor (through April 9, 2012) at MoMA PS1, Keith Haring (March 16 – July 8, 2012) and Heather Hart (April 13 – June 24, 2012) at the Brooklyn Museum, Juan Downey (through May 20, 2012) at the Bronx Museum and the Queens International 2012 (through May 20, 2012) at the Queens Museum. 20

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screening room corinna belz offers insights into her award-winning documentary, gerhard richter painting, which opens at the ny film forum on march 14.

interview How did you first meet Gerhard Richter? When I first called his studio in 2005 to propose making the short film, Gerhard Richter Window (2007), Ms. Ell, his studio manager, promised to talk to him; I was amazed at how easy it seemed. And she actually did call back two hours later: Mr. Richter was interested, but he himself would not be available for the project. It was ten months before I finally met him for the first time, during a site meeting at the cathedral, and we had a nice short talk about Jackson Pollock. It took some months before we first filmed him together with his assistant and the chief architect of the Cologne cathedral, though. It helped that the people who used to work with him supported the project, and Richter is a person you can count on when he gets interested in something. You avoid many conventions of the documentary art form – biographical notes, formal interviews - and focus quite literally on ‘Gerhard Richter painting’, so that audiences really come away feeling that they too have spent time in his studio. Was this atypical approach your intention all along? I personally don’t like films that start with adoration -

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when in the beginning, five or ten friends or collaborators tell me how gorgeous the portrait person is. And I didn’t want to build up another hero; not only is Richter himself so critical about our need for heroic idealization, it is simply not my approach - I try to focus on the actual person and his work. Nevertheless, Gerhard Richter is the hero of my film, just not in the classical sense. How do you feel your use of archival footage gives audiences a deeper insight into Richter’s evolution as an artist? The archival footage is important for the film, because Richter makes some statements that are both basic qualities for art in general and that are still important for him today. You also see the artist as a young man at the beginning of his career, just five years after he left East Germany. He is shy, but his will to succeed is strongly felt. Can you talk a bit about the music featured in the film? It plays an important role in setting the atmosphere in Richter’s studio and underscores the magnitude of the art we see being created onscreen. I used the music Richter himself was listening to while we


Film Stills from Gerhard Richter Painting, a film by Corinna Belz, 97 minutes in German and English, with English subtitles. Courtesy the filmmaker.

were filming. He also likes to improvise on the piano, but he didn’t want me to film that. So I gave him a little tape recorder in case he was ever in the mood to record something. Later in the editing room, we decided to use parts of his music for the scene where he sits on the steps to his garden and takes a break. But Richter didn’t want his contribution to the score to be mentioned in the credits. It must have been challenging to capture such an introspective and intense creative process; did you find yourself adjusting your usual way of working in order to meet the demands of the project? I needed a lot of time for the research, filming and editing. We stopped counting shooting days and it took us more than three month to edit the film. I also had to change my approach as Richter hates ‘sit down’ interviews and never does or says things twice – there were no second takes in the film – so I had to develop a more spontaneous, improvised manner of asking questions. Richter himself appreciated this method of filming and got more and more involved. The biggest gift was that he trusted me.

The past few years have seen Richter’s fame and success grow particularly rapidly; how did this impact the making of the film? It had no impact, aside from the fact that the financing was a little bit easier. But if you want to be there in the studio and film the process of working, you have to forget about fame. A number of documentaries about artists have been made in the last few years - why do you think there is such interest in these figures at this time? On one hand, artists are interesting because they have the freedom to work with every aspect of our inner and outer reality. On the other hand, it might be that celebrity culture has really begun to invade the art world. What is one of the most important things you took away from your time spent with Richter in his studio? It was a great experience to work with someone who has such tremendous range and experience. There is a thrilling balance between control and chance in his work. To accept and to embrace this became an important part of my filmmaking. theartstreetjournal.com

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street a photo diary.

RAE. Courtesy the artist.

Elik, Irgh, Overunder, Gen2, Oze108 and Muk123. Photo by Luna Park.

Quel Beast. Courtesy the artist.

Elbow-Toe. Photo by Benjamin Sutton.

Aiko and B채st. Courtesy Aiko. 24

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Gaia. Photo by Jaime Rojo.


Heat. Photo by sabeth718.

Poster Boy. Courtesy the artist.

Dan Witz. Photo by Jaime Rojo.

NohJColey. Courtesy the artist.

Aakash Nihalani. Courtesy the artist.

Smells, Rate and Lewy. Photo by Becki Fuller.

Overunder and Clown Soldier. Photo by Jaime Rojo. theartstreetjournal.com

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newsstand a selection of the most exciting, informative and provocative ny-based arts and culture magazines - go out and grab them all!

Don’t miss the opportunity to pick up the 200th issue of The Paris Review! Interviews with Bret Easton Ellis and Terry Southern, which writer Maggie Paley has been working on since 1967, headline this special edition of the (contrary to its name) New York-based quarterly, followed by a strong collection of fiction, poetry and essays.

“Rome was not built in a day,” begins the 44th issue of Cabinet, “but could a magazine be produced in twenty-four hours? This was the question that the current issue of Cabinet was designed to consider.” A few highlights from the contributors, who based their work on this premise: Tim Davis’ Speed of Light and Adventure on the Vertical by Mark Dorrian. 26

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Highlights of the March 2012 issue include a tribute to John Chamberlain, reviews of Donald Judd at Sprüth Magers London and Alighiero Boetti: Game Plan at The Museo Nacional Centro de Arte Reina Sofía and Pattern and Recognition, an interesting article on collecting textiles. This month’s Top Ten are compiled by Berlin and New Yorkbased artist and filmmaker, Loretta Fahrenholz.

Artistic personalities featured in the 119th issue of BOMB Magazine include K8 Hardy, whose photographs, sculptures and runway show performance art piece form part of the 2012 Whitney Biennial, Charles Long, whose current solo exhibition at Tanya Bonakdar Gallery in Chelsea is on view through April 7, the always-engaging abstract artist, Liz Deschenes (also in the Biennial) and director, choreographer and media artist, Dean Moss.

The Brooklyn Rail’s four March 2012 covers include a vibrantly hued oil on linen by Sperone Westwater artist, Malcolm Morley, the above work by conceptual artist, Michelle Grabner, a mixed media piece by Tona Pellizzi & Ray Smith and a list of the 376 participants in the 2012 Brucennial. Featured art editor in this issue is Robert Storr.

A green-haired Nicki Minaj graces the cover of Paper’s spring 2012 issue; inside is an article on past tasj cover artist Ai Weiwei and Alison Klayman, director of Ai Weiwei: Never Sorry, plus profiles on Suzanne Geiss and Davida Nemeroff. These are punctutated with the artsy, out-there photo shoots that dedicated Paper readers have long learned to expect.


C-MONSTER

www dot

NY ART beat

from specialized niche to comprehensive survey, these are just some of the many great art blogs based in nyc, but accessible the world over.

ARRESTED MOTION

curbs and stoops

art observed

wooster COLLECTIVE

the street spot

Brooklyn street art

ARTINFO

hyperallergic

ARTLOG

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detox: escape the art by tali wertheimer, curatorial assistant at performa and born & raised new yorker.

eat / Drink Star gazers should head to The Lion in the West Village, but for those who take their oysters more seriously and like a solid happy hour, go to Maison Premiere in Brooklyn. New to Noho is the upscale Scandinavian cuisine at ACME, where the lounge downstairs is a great spot for cocktails. So is Le Baron if you can work your way past the velvet rope. At night, I like to dance at Westway and The Wooly. The Lion, 62 West 9th St.

sleep The Bowery Hotel is my favorite in NY. I love the style and service. Their lobby lounge is a great place to unwind and the heated patio is a terrific spot to enjoy one of my favorite hot toddies in the city. If you want to try Michael Fassbender’s position up against a window facing the Hudson River in Alex McQueen’s erotic thriller, Shame, you need to get a room at The Standard, but the most comfortable hotel bed in NY is at the Carlyle... The hotel became notorious for hosting the secret rendezvous between JFK and Marilyn Monroe and their lounge, Bemelmans, is lovely if you find yourself on the Upper East Side.

The Carlyle, 35 E 76th St. 28

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The Bowery Hotel, 335 Bowery.


Shop Mercer Street between Spring and Prince has a row of shops for everything from underwear to outerwear that’s both chic and functional: Agent Provocateur, APC, rag & bone, Journelle and 3.1 Phillip Lim are some of the best. For those on a budget, Reformation has my favorite cashmere sweaters, leather hot pants, and little black dresses with a bit of edge and perfect tailoring. They also make my favorite basic white tee.

Reformation, 156 Ludlow St. Photo by Donna Alberico.

rag & bone, 119 Mercer St.

Agent Provocateur, 133 Mercer St.

ACME, 9 Great Jones St. Photo by Joe Schildhorn. theartstreetjournal.com

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postscript: aakash nihalani a peek inside aakash nihlani’s brooklyn studio as he prepares to present a new series of works entitled de form with carmichael gallery at volta ny 2012. interview One of the things I’d like us to talk about is how you feel your work has evolved over the past few years. It was your solo at 17 Frost in 2008, along with all the media coverage your street work was starting to get, that first introduced me, and probably a lot of other people, to your work. Since then, things have steadily grown more complicated, intellectualized, mature and confident, yet you’ve managed to maintain that fun and simplicity that drew people in to begin with. Is it hard to stay accessible while becoming more complex? I think it helps that the shapes I use are, in their base form, so familiar to people, but when you give them a slight twist, it makes you see what you thought you knew in a new light. The forms have definitely gotten more complex, though. I also just recently started experimenting with the distortion of shapes – that’s something new people will see in the body of work I’m showing at VOLTA NY.

Like on my email inbox, I try to clear it out so the number ends in a five or a zero. It’s shit like that, that OCD tendency in me, that makes my art work so well, because I need everything to be so clean, and the lines have to fit so precisely. I think it’s one of the reasons why your work really stood out when you started putting it on the street - it was so different from what other people were doing. That never crossed my mind; I didn’t go out to the street wanting to do something new. It was just something I wanted to do. And I never felt comfortable with spray-paint, because I didn’t want to fuck up property or deal with the law in that way. And I wanted to use my real name. I could never be content with the idea of putting up work anonymously and not taking responsibility or credit for it. So tape was the perfect medium for me because I could always take it down.

You’ve traveled a The new canvases are lot in the last few very different to what years, both for exAakash Nihalani, De Form III, 2012, acrylic on canvas, 122 x 122 cm. you were making in hibitions and for Courtesy the artist and Carmichael Gallery. (c) Aakash Nihalani 2008/9. public art projects. I was trying be a lot Have any experiences more painterly in my stood out as having early canvases, plus I was studying printmaking at been particularly formative or made you rethink the that time. I loved silkscreening because I could way you work? take an image, print it out 100 times, cut it out, I’ve enjoyed visiting India. In some ways, traveling and then start forming endless compositions. When I there is weird, because while my parents are Indistarted doing this on canvas, I would lay the paint an, I was born in Queens, raised on the east coast, down, take a squeegee and pull it across in a way and now live in Brooklyn, where street art and grafnot unlike what Richter does, then print the shape. fiti are integral parts of the cityscape. In India, Although there was a clear disconnect between the if somebody’s putting art up on the street, people painting and printing, I think taking a technique don’t understand why, unless it’s religious or funcand not necessarily doing it the right way helped tional in some way. So working there is interestlead me to where I am now. ing because I can interact with people who really are fascinated with what I’m doing and why I’m doOne of the main things I remember when I first met ing it. Photographing them interacting with the work you in 2009 was the precision with which you worked. was also really fun. People were always really cool I think the work that I do goes hand-in-hand with about it; I even got a couple security guards to my personality, because I’m really obsessive compose in photos with the work. pulsive. I’ve been this way for a while, since middle school. One year it would be germs, and then it What about fellow artists? Does anyone stand out as would switch to... I don’t know, it’s a weird thing. having been particularly inspirational?

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tasj stopover : nyc 2012


Inside Aakash Nihlani’s studio as he prepares for VOLTA NY 2012. Photos by Aakash Nihalani and Tanley Wong.

I don’t really look to other people for inspiration. I don’t work like that. Not to say that there’s not a crazy amount of good shit out there, and amazing people making it, but there’s no one person that I immediately jump to and think, “I love his work, and that’s why I’m an artist”. I studied Political Science at NYU and was planning to be a lawyer – I only got into art because I loved working with my hands. I started painting on shirts and shoes, and that led to what I do now. It definitely didn’t begin with learning about art or seeing one particular work of art that blew me away. Let’s focus for a minute on De Form, the series of work you’re showing at VOLTA NY. What are your personal thoughts on it? All of the pieces play with perspective and spatial awareness in new ways – and the layering is much more intricate than before. The canvases, woodworks and metal pieces are all my most ambitious yet: ev-

erything used to fit really cleanly together, and while there are some pieces where that still happens, you’ll see in many of them that the shape is stretched out or deformed in some way. The color schemes in the canvases are also new and change the way you interpret the patterns – what starts out as a logical design breaks apart when the colors are added in, allowing you to move in and out much more organically than before. How do you feel it compares to past bodies of work? I’m definitely taking a few more risks here; I’m more confident with where I’m at. I think I played it safe, a lot safer, in the past and was starting to get a bit tired of it. But I feel myself finally excited about things again. This is probably my proudest body of work to date. It’s not my favorite, because I don’t think I’ve made my favorite yet, but it’s definitely a step toward getting there, the closest I’ve ever been. theartstreetjournal.com

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n o r d i c s p o t l i g h t: peter holst henckel s p e c ta copenhagen andreas Johansson Flach stockholm liisa lounila kalhama & piippo helsinki m at s p e h r s o n Jan Wallmark stockholm e m i l s a lt o henningsen copenhagen nicola samori larm copenhagen

s o l o p r o J e c t s b y: tiong ang << r e W i n d << neW york d a ry o u s h a s g a r / elisabeth gabriel brotkunsthalle Vienna o r e e t a s h e ry pristine nueVo leon rachel beach blackston neW york r a z Va n b o a r ana cristea neW york pat r i c k b r e n n a n h a l s e y m c k ay east hampton peter buechler morgen berlin stephen bush s u t t o n g a l l e ry melbourne kent christensen / h a r ry c o ry W r i g h t eleVen london James clar b ly t h e c u lV e r   c i t y marianne csáky inda budapest

sanJa iVekoVic e s pa i V i s o r Va l e n c i a

Julianne sWartz mixed greens neW york

pat r i c k J a c o b s pool nyc neW york

n e a l ta i t Vigo london

sophie Jodoin b at tat montreal

a o ta J i m a balzerartproJects basel

erika keck enVoy neW york

timotheus tomicek Jenkins Johnson san Francisco

mark khaisman pentimenti philadelphia

m i c h e l t u F F e ry bca rarotonga

shin il kim simon seoul

l o t t e Va n d e n audenaeren Fortlaan 17 ghent

s t e Fa n k r a u t h baer dresden martin krenn zimmermann k r at o c h W i l l graz marlena kudlicka stedeFreund berlin

andreW masullo s t e V e n z e V i ta s boston k e n m at s u b a r a ma2 tokyo r a q u e l m a u lW u r F F r e d e r i e k e tay l o r neW york m at t h e W m c c a s l i n Fred london r ya n m e n d o z a liVingstone the hague Francesco merletti magrorocca milan

ralph dereich chaplini cologne

c h r i s t i a n pat t e r s o n r o b e r t m o r at hamburg

Jorge diaz-torres rica san Juan

JeFF perrott l a m o n ta g n e south boston

kerstin drechsel Va n e neWcastle upon tyne

d aV i d e . p e t e r s o n aleJandra Von hartz miami

z a c k a ry d r u c k e r luis de Jesus los angeles

domenico piccolo Federico bianchi milan

a n d r e J d u b r aV s k y Jiri sVestka prague / berlin

ed pien pierre-François ouellette montreal

dumitru gorzo slag neW york Jason gringler s t e Fa n r ö p k e cologne manor gruneWald highlight san Francisco Jana gunstheimer römerapotheke zurich özlem gunyol / m u s ta Fa k u n t heike streloW FrankFurt treVor guthrie barbarian art zurich t e r ry h a g g e rt y kuttner siebert berlin

carl emanuel WolFF schuebbe düsseldorF

mindaugas lukosaitis V a r ta i Vilnius

aakash nihalani carmichael c u lV e r c i t y

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Jeremy dean cynthia corbett london

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Janet Werner pa r i s i a n l a u n d r y montreal

carina linge J a r m u s c h e k + pa r t n e r berlin

dean monogenis W a lt e r m a c i e l los angeles

henrik eiben pa b l o ’ s b i r t h d ay neW york

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roberto pugliese / ta m a r a r e p e t t o guidi & schoen genoa a r aya a s d J a r m r e a r n s o o k tyler rollins neW york m at t r i c h samsøn boston Jens schubert kleindienst leipzig martin schWenk number 35 neW york s t e Fa n s e h l e r pa r k e r ’ s b o x neW york roWan smith W h at i F t h e W o r l d cape toWn adam sorensen pdx portland mladen stilinoVic p74 lJublJana

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tasj stopover : nyc 2012

Thu, March 8th – Sun, March 11th, 2012 An invitational solo project fair for contemporary art 7W 34th Street – 11th Floor Opposite the Empire State Building, between 5th and 6th Avenues Preview (by invitation only): Thursday, 11am – 2 pm Public Hours: Thursday, 2pm – 7pm Friday – Sunday, 11am – 7pm Mutually acknowledged V I P access and shared shuttle service with The Armory  Show www.voltashow.com

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tasj magazine : stopover : nyc 2012  

The complete issue of tasj magazine : stopover : nyc 2012, available for the first time online.

tasj magazine : stopover : nyc 2012  

The complete issue of tasj magazine : stopover : nyc 2012, available for the first time online.

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