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Language Undefined Location Website: Display: Don't displayUse alternative description in place of "Hours" (Edit text below): Directions: Address: Javascript is required to view this map.Location Phone: +971 4 346 9305:primaryAdmissions: Collections: Has Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: location fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

The Other Art Fair Sydney Announces Venue and Artists
The Other Art Fair Sydney Announces Venue and ArtistsThe Other Art Fair, the United Kingdom's largest artist-led fair, has announced the artist list and revealed the venue for its first Sydney fair. The inaugural edition of The Other Art Fair Sydney will take place at aMBUSH Project Space at Central Park from September 10-13 where more than 75 artists including two artist collectives will showcase their work direct to the public for the four days of the fair. Selected by a committee of art experts including artist Mikala Dwyer, collector Dr Dick Quan, art advisor Virginia Wilson, curator Meg Robson, and Paris Neilson, the participating artists work across a wide range of mediums spanning installation, sculpture, mixed media, printmaking, painting, video, and photography. Emilya Colliver, Sydney Fair Director of The Other Art Fair, said: “Sydney’s first edition of The Other Art Fair offers visitors the opportunity to buy directly from the best emerging and undiscovered artists from around Australia and beyond.” “The Other Art Fair provides a platform for new and experienced collectors alike to meet and engage with artists directly, ask questions and understand the artist’s story and creative process. It is an exciting chance to meet and invest in an artist who might just be the ‘next big thing’ in the arts world. We are offering the full spectrum: some of our artists are new ‘break-out’ artists whilst others are quite accomplished in their field,” added Colliver. The Other Art Fair Sydney will also present an immersive program of music and performances as well as program of free public workshops. EVENT DETAILS & TICKETING: Tickets for The Other Art Fair are now available online from • Thursday 10 September, 3pm – 5pm: Private View (collectors & VIPs invite only) • Thursday 10 September, 5pm – 930pm: Official Opening Night (tickets $25) • Friday 11 September, 10am – 8pm (tickets $15) • Saturday 12 September, 10am – 6pm (tickets $15) • Sunday 13 September, 10am – 6pm (tickets $15) Highlight artists presenting work at The Other Art Fair include: • Emerging Korean artist collective Reissue Korea creating sculptures and installation; • Wollongong-based artist Sarika Gupta is currently training to be an obstetrician and explores women’s health issues through her photographic practice, drawing on her volunteer medical experiences in Myanmar, Papua New Guinea and India; • Sydney-­‐based artist collective called Black Parrot, which includes 2014 Sulman Prize winning artist Andrew Sullivan; • 2015 Archibald finalist, American-born, Sydney-based painter Kim Leutwyler; • Sydney-based Rachel Wells’ hyper-real digital photographic montages and Rachael McCallum’s ceramic and rope to create three dimensional paintings; • Danielle Emery, presenting work under the name of TINNY, paints tiny dioramas onto the insides of antique tobacco, lozenge and ointment tins; • British illustrator Sarah Beetson explores politics and perversities of popular culture through mixed media and collages on wood; and • Artist Mairi Ward who is using crowd funding site Pozible to fund her booth at the Fair. Published: July 23, 2015 Read full article here

Top 5 Must-Sees at Echigo-Tsumari Art Triennale 2015
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New York
Language Undefined Location Website: Email: gallery@broadway1602.comDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Directions: Address: Javascript is required to view this map.Neighborhood: ChelseaLocation Phone: +1.212.481.0362Admissions: Collections: Has Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: Tuesday to Saturday 2 to 6PMlocation fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Sotheby’s Australia Sets Four Artist Records in Sydney
Sotheby’s Australia Sets Four Artist Records in SydneySotheby’s Australia has set four new artist auction records during July 21 sale of Fine Asian, Australian & European Arts & Design Including Property from the Minter Ellison Collection. New auction records were set for Rosemary Laing, Akio Makigawa, Nell, and Ann Zahalka. Comprising 335 lots, the auction achieved a total of $1.5 million including buyer’s premium against an estimate of $1.1-1.6 million, with 69% sold by volume and 135% by value. According to Sotheby’s Australia, the sale attracted more than 300 registered bidders from around the world. The top lot of the sale was Akio Makigawa’s statuario marble and Carrara white marble sculpture “Wisdom of Water” (1995) which sold for $109,800 against an estimate of $60,000-80,000, setting a new auction record for the artist. Geoffrey Smith, Chairman of Sotheby’s Australia, commented: “Akio Makigawa is one of Australia’s most significant sculptors whose public, corporate and private commissions reveal an acute understanding of the natural and the built environment. “’Wisdom of Water’ (1995) is the most exceptional work by Makigawa to appear for auction and we were honoured to be entrusted with its sale. The work deservedly achieved a new world auction record for the artist.” Makigawa’s “Wisdom of Water” (1995) was one of 56 lots from the Sydney collection of Minter Ellison, one of the Asia Pacific’s leading law firms. The collection achieved 146% by value and realised $489,586. “Minter Ellison’s intelligent and tightly curated collection generated an inspiring response from local and international collectors. We experienced clients bidding from all corners of Australia as well as Asia, Europe and the United States of America,” said Geoffrey Smith Published: July 23, 2015 Read full article here

Q&A: Noah Horowitz On His New Role as Director Americas for Art Basel
Q&A: Noah Horowitz On His New Role as Director Americas for Art BaselNext month, Art Basel will get a new director of the Americas. Noah Horowitz, the current executive director of the Armory Show in New York, has been tapped for the role, which will chiefly involve overseeing the Art Basel Miami Beach fair. In a recent interview with ARTINFO, he spoke about the pull of a truly global enterprise, the skill set that landed him the job, and his ambitious travel plans. What lured you to Art Basel Miami Beach? First of all, it’s not the lure of Miami Beach, but that of the overall broader organization. That’s important to underscore; it’s reflected in the title itself. My core responsibility will be running and managing the fair in Miami Beach and that goes without question but what appealed to me was the combination of the importance of that fair and the global reach of the organization. Art Basel is increasingly active not just once a year, but three times a year, in Miami, Hong Kong, and Basel. I’m moving into the only truly global organization in the fair landscape, which is really exciting. And I’m moving up in terms of running a larger fair. I will go from Miami on the one hand but then also be working around the clock throughout the Americas region to help better the overall institution. Why do you think you got this job? I’ve been quite out there within the community for the last number of years. I’ve worked now for nearly four years for the Armory Show, and I have about two years of experience prior to that starting up the VIP art fair, which is an online art fair. I’ve certainly had very relevant experience for the role in terms of managing and understanding the needs and requisites for both supporting galleries but also on the operational side of actually running a fair. I’ve built up a solid network of relationships within the gallery community, but beyond that, in the museum and collector community as well. My background before all this is more academic, more critical. I like to think I have an incisive critical approach to what we do and I always focus on the goal of supporting the community we serve, which is above all the galleries and extended network of collectors and institutions that trickle down from that. What are you most proud of during your run with the Armory Show?The legacy I’ll be leaving is really rewarding. When I stepped into this situation a number of years ago, the atmosphere around the Armory was murkier than it is now. It had been through some tough times — Frieze New York was coming. There wasn’t a clear path ahead. I think what we’ve done is focus on the core proposition of what the Armory Show is: a great art show in New York. We’ve made it more international, and we’ve dramatically cut down the number of exhibitors in the fair to emphasize quality over quantity. And all of that has come together to rebuild confidence back into the Armory. I’m leaving it now in a place where my successor can really come in and take it forward. And there’s a great team and a really supportive group of exhibitors who have been doing the fair for many years and will continue to do so moving forward. Where are you in the process of organizing the 2015 edition of Art Basel Miami Beach? I’m here at the Armory until the end of next week, and then I begin in earnest at the end of August. Most major decisions for the 2015 edition will effectively be rendered by the time I start. But further detail than that I’m not at liberty to say. What are the biggest challenges facing Art Basel Miami Beach?The biggest challenge all fairs face now is the event-driven landscape in its entirety. This is one thing I inherited at the Armory. The Armory was founded in the mid-’90s when the fair landscape was very different than it is now. I think Basel without a doubt is the leader within this space and is clearly a cut above all other fairs in terms of its reputation and the draw that it has for galleries and collectors. But some combination of needing to constantly tweak and refine itself is something that Art Basel Miami Beach in particular, but all fairs generally, now are facing. It’s really a question of how to carve out a unique identity, and how to continue to innovate, to continue to bring on great projects and exhibitors and the right people to your fair. What lessons — perhaps tough ones — have you learned from your time with the Armory Show and before that the VIP Art Fair? I think it relates to my previous point. In this current landscape you can’t take anything for granted anymore. There are many galleries at the Armory that many assumed were quote unquote Armory galleries that would come every year. But you’ve got to speak with them and visit them and cultivate them and really give them a reason to come. With the VIP Art Fair, we built that business up from scratch, and it was a very different enterprise. But you’ve got to really work day to day to get the job done. And I think one lesson I’ll take to Basel is to really roll up one’s sleeves, not to be too enamored of the position. The institution already occupies a leadership role above all else, but we’ll have to keep working on this. I think part of the reason I’ve been hired is out of an acknowledgment that the Americas region in particular is so vast that the Basel team needs someone on the ground to be having those touch points more regularly. What fieldwork lies ahead for you — what’s on the agenda? One of the inherently exciting parts of this role is that I’ll be able to do a lot of traveling within our own backyard, so to speak. Even at the Armory I’ve had a difficult time doing this, because we have a much smaller team and a lot of our focus has been international cultivation—so I tended to go to the major international fairs. We’ve done these major focus initiatives at the Armory — spanning China, the Middle East, etc., which are up there in terms of things I’m really proud of. Whereas in the last couple of years I’ve spent a lot of time in Asia and the Middle East and of course in the US, now I’m excited to spend more time on the coast, but also in the Midwest, Canada, Latin America, South America — places where there are both really dense networks of collectors and really interesting cultural institutions, and places where I just haven’t had the space to set a foot in. These areas are integral and essential to bettering Art Basel Miami Beach.  Published: July 22, 2015 Read full article here

Elisabetta Benassi: M’FUMU. Belgian Pavilion, Venice Art Biennale 2015
The Belgian Pavilion at the 56th Venice Biennale presents the work of the Belgian artist Vincent Meessen, together with international ... Read full article here

Donald Trump, an All-American Performance Artist
Donald Trump, an All-American Performance ArtistIn Arthur Miller’s “Death of a Salesman” the protagonist, Willy Loman, goes to the office of his boss, Howard Wagner, hoping for a promotion. Instead he essentially hears two of the most chilling words in the American lexicon: “You’re fired.” The antagonist of that great stage classic is now embodied in the billionaire Donald Trump, who has stirred up the presidential race in ways that have made him a folk hero to a large segment of the Republican Party and a clown and fake to millions of others. “The irony is that Trump, because of his presence in the country’s imagination as the ‘You’re Fired’ guy, has been performing the role of the Destroyer in the quintessential American dream play,’” said Sherry Kramer, a playwright who teaches her craft at Bennington College. “So it’s kind of wacky that he is now the container of the American Dream. In this country, anyone who makes a lot of money is perceived to be more authentic and smarter in some vital way. He has slipped into an existing narrative that some people find irresistible.” Whatever one thinks of Trump, added Kramer, he is “great theater.”  And that is why he has been generating headlines and boosting ratings for news programs even if, at the same time, pundits are decrying his trivialization of the political game. “He appeals to people the way theater does, as an artificial construct,” said Kramer. “He’s a persona performing the role of a presidential candidate. A lot of his power consists of telling people what they want to hear about themselves.” As an entertainer, Trump is part Hulk Hogan and part Dame Edna Everage, the Australian drag artiste who has a viperish personality and look to go with it. In his braggadocio, the billionaire businessman is like a wrestler who enters the ring, praising himself as “the greatest” while insulting his opponents as “losers” (or Willy Lomans). Dame Edna, the popular persona of actor Barry Humphries, has visual markers — the lavender-hued bouffant hair and rhinestone-rimmed glasses — which are the emblems of any great performance artist. Trump’s visual marker, noted Kramer, is his hair. And his stock-in-trade meanness is most essential to his image. Referring to the billionaire’s much-remarked-upon comb-over, the playwright said, “He is clearly always in ‘costume.’ It’s the hair. He doesn’t look like anybody else. And, like Dame Edna, he’s very mean. There have been studies which posit that if someone is either negative or nasty in an essay, people tend to rank them as having a higher intelligence than someone who is positive.  Mean is smart. Mean is true.” Little wonder then that Trump is managing to attract crowds. As Bob Kerrey, the former Nebraska senator and US Navy SEAL, recently told Frank Bruni of the New York Times, “Yeah, 5,000 people showed up at your event. I could get 5,000 people to show up at the bearded lady. [Trump] is, in his way, a freak show.” Published: July 22, 2015 Read full article here

5 Must-See Shows in New York: Grace Weaver, Roger Brown, and More
5 Must-See Shows in New York: Grace Weaver, Roger Brown, and More“Constellation” by Melissa McGill on Bannerman Island This recently launched public-art project on view for the next two years is situated on a small island in the Hudson River, close to Beacon. It’s also the site of a ruined castle constructed by Francis Bannerman, a military-equipment dealer who built the edifice after being booted from Manhattan in the early 20th century for keeping way too much gunpowder in a highly populated area. The castle itself is now crumbling in a picturesque way, and McGill has installed 17 LED lights on tall, thin poles that mark out aspects of the building that no longer exist, as well as alluding to the Lenape Indians’ “belief that the stars of the Opi Temakan — ‘White Road’ or ‘Milky Way’ — connect our world to the next,” she explained. As for Francis Bannerman himself, his singular spirit animates the installation. A tour-guide to “Constellation” lovingly referred to him as a crackpot when I visited, but McGill is more generous. “I can only go by the fantastic lore that surrounds him, but at the very least Bannerman was eccentric,” she said, “first keeping munitions in the middle of New York City and then, when forced to move them, building a Scottish-style castle on an uninhabited island to house his family and the stockpile — a castle created with random scrap materials at hand, seemingly without the intent for it to last, and built to give the exaggerated appearance of a stage-set from land.” McGill’s intervention is subtle but striking: The tiny, solar-powered lights turn on at sunset, and are visible by boat — a nightly excursion can take you there — or from the comfort of the passing Metro North train back to the city. Roger Brown at Maccarone, through August 7 (630 Greenwich Street) Muddling abstraction and figuration, art and design, and earnestness and kitsch, this series of mixed media works from the mid-’90s pairs paintings with found ceramic objects. The full grouping, titled “Virtual Still Life,” numbers 27 works, and the gallery is showing a bit less than half of them. (In some strange way I kept thinking these pieces would resonate nicely with Sarah Charlesworth’s incredible “Objects of Desire” series, which Maccarone presented in its entirety last year.) Brown occasionally conjures landscapes — as in his depiction of a “desert,” all strips of vibrant, fantastical sand populated by easy-to-miss humanoid figurines — whereas in other works the focus is on pattern and color. “A Painting for a Sofa: A Sofa for a Painting” tackles the time-worn lament regarding collectors who purchase artwork with the superficial eye of interior decorators by pairing a tiny model couch with an abstract canvas. In Maccarone’s second space, a 1997 painting by Brown — “Bonsai #5, Literati (Bunjing)” — is used as a curatorial launch pad for a group show of works by Ken Price, Peter Halley, Diane Simpson, Alex da Corte, and Carol Bove.    “What Nerve!” at Matthew Marks Gallery, through August 14 (502, 522, and 526 West 22nd Street) This Dan Nadel-curated extravaganza arrives in New York after a run at RISD Museum, spotlighting the legacy of the Hairy Who, Destroy All Monsters, Forcefield, and the Funk contingent. Nearly 70 works run the gamut from yarn-bombed mannequins to concert posters, cartoons, sculptures of horses and eggs, and paintings that often depict the body as a malleable thing: Porous, leaking, on the verge of rupture. The show isn’t light on recognizable names — Mike Kelley, Peter Saul, Jim Shaw, Karl Wirsum — but there are plenty of discoveries (like Art Green’s 1968 “Disclosing Enclosure,” in which a human face is unzipped to reveal an ice cream cone). Other highlights in a show of highlights: Robert Arneson’s absurd “Miss Liberty Coin (1942 Dame),” 1965, an oversized glazed ceramic coin in which the titular Miss becomes, well... titular in other ways; a pair of ornamented chairs by Jim Nutt and Wirsum; silkscreen-and-linoleum abstracts by Jim Falconer, made in 1968 but as fresh as yesterday; and an array of brightly costumed figures scattered throughout the space, courtesy of Providence, Rhode Island-based Forcefield, which start to resemble campy security guards overseeing the proceedings. “No Vacancy” at Marianne Boesky Gallery, through August 7 (509 West 24th Street) Summer in Chelsea is home to the broadly defined group show. This one purports to be about “the viewer’s experience of form, density, depth, and perceptual access,” which at first glance would technically seem to apply to anything created in three dimensions. Regardless, this survey of work by Miyoko Ito, Phillip King, Robert Morris, and Lisa Williamson has some excellent moments, primarily in the juxtaposition of work by the latter two artists. A pairing of a tall, undulating column by Williamson — recalling a phallic pillar of conjoined bowling pins — stands proudly before a wall-mounted, densely layered heap of felt by Morris, the combo having something of a sophomoric joke about it (or maybe I’m just a pervert in this heat). Nearby, two tall, pared-down Williamson sculptures resembling large matchsticks have a totemic presence in proximity to a 1960s drawing of a maze-like structure by Morris and a sculpture by King that’s like a chalky, oversized grave marker.  Grace Weaver at Thierry Goldberg Gallery, through August 7 (103 Norfolk Street) Let me first say that I’d love to curate a show of works by Weaver alongside works by Jonathan Gardner that would be about the eroticization of tennis in the afterglow of both “Lolita” and “Infinite Jest.” (In Weaver’s “Match Point,” the simple act of tying one’s shoe on the court pretty much sets the whole world topsy-turvy.) Press materials note that the exhibition title, “Teenage Dream,” is taken from Katy Perry — don’t judge — and that the artist thinks of each painting as a discrete pop song. To me, a work like “Love Song,” 2015, is more like a film still, edging on the Hitchcockian: A preppy girl in a purple sweater, perky and cupid-lipped, waves while a strange man’s silhouette is doubled in her sunglasses, his shadow falling, quasi-sinister, across her face. In other Weaver paintings, couples are contorted and made pleasantly strange: A girl mounts her lover, his head cropped by the frame’s edge, and her attention taken up by the book she’s reading rather than his body; in “Detente,” 2014, limbs liquify as a man in bed peruses his laptop and his girlfriend checks herself out in a hand mirror. Weaver’s style plucks from Picasso as liberally as more contemporary influences — Sanya Kantarovsky, Dana Schutz, Dasha Shiskin — but the end result is all her own. ALSO WORTH SEEING: The strange narratives conjured by Nobuyoshi Araka’s photographs at Anton Kern gallery — sex toys! plastic dinosaurs! S&M! — which my colleague Noelle Bodick covered in depth; and “A Room of One’s Own,” a suite of studio-focused photography from the likes of Anne Collier and Paul Mpagi Sepuya, at Yancey Richardson Gallery through August 21. Published: July 22, 2015 Read full article here

VIDEO: Chinese Couturier Guo Pei Plans New Parisian Couture Line
VIDEO: Chinese Couturier Guo Pei Plans New Parisian Couture LineWhen pop star Rihanna walked up the stairs at the Met Gala in a gigantic yellow Chinese robe replete with rich embroideries and fur trimming, she unleashed a flood of often unflattering memes on social media but brought immediate international attention to Chinese couturier Guo Pei. A well-known couturier in China, thanks to her numerous flamboyant costume creations for popular TV shows seen by millions in her homeland, Guo Pei was still relatively unknown in the West though she has an impressive rolodex of private international clients who appreciate the exquisite craftsmanship of her designs. With two of her elaborate gowns selected to be part of the Met exhibition “China through the Looking Glass,” including a giant golden bell inspired by Imperial China, the petite-designer’s work has now also received the recognition of the Costume Institute of the Metropolitan Museum. During Haute Couture Week, earlier this month, the designer chose to present her flamboyant designs in Paris, for the first time. The location, the Musee des Arts Decoratifs, was very symbolic for the designer as her creations are anchored into traditional crafts, largely thanks to an atelier of more than 300 skilled people. Born in Beijing in 1967, Guo Pei studied fashion at a time when millions were still wearing the ubiquitous Mao shirt. After graduating in 1986, she started designing children’s clothing before moving to a privately-owned women’s clothing company, Beijing Tian Ma Garments & Accessories Co. In 1997, she took the plunge and opened Rose Studio with her husband, who is now the CEO of the company. The presentation at the Musee des Arts Decoratifs was an appetizer for her new haute couture brand, Guo Pei Paris, which she intends to formally unveil next January with a runway presentation. Published: July 22, 2015 Read full article here

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