ANYONE TAKING THE AP ART HISTORY EXAM MUST MEET ME FOR A BRIEF CHAT TOMORROW DURING THE BREAK IN THE ART HISTORY CLASSROOM 152 !!! BE ON TIME !!! BRING YOUR LUNCH -IF YOU MUST !!!! BE ON TIME !!!!!
Wednesday, April 29, 2015
Art F City’s Guide to New Art Galleries in New York
Opened in 2014: 99 Cent Plus and Handjob Gallery and Store. Photo courtesy the gallery.
Looking for new galleries? Done. We’ve found all of New York’s new
galleries that have opened post-Sandy. Since 2013 it’s been hard to keep
track of all the openings, so this list will hopefully help us all get
out to a few new spaces.
If we’re missing any entries, let us know in the comments. BROOKLYN & QUEENS BUSHWICK 99 Cent Plus and HANDJOB Gallery/Store
238 Wilson Avenue
Founded 2014 Air Circulation
160 Randolph Street
Founded 2014 Art 3 Gallery
109 Ingraham Street #102
Founded 2014 CHASM Gallery
56 Bogart Street
Founded 2014 Honey Ramka
56 Bogart Street, 1st Floor
Founded 2013 Life On Mars
56 Bogart Street
Founded 2013 Los Ojos
12 Cypress Avenue
Founded 2013 Odetta
229 Cook Street
Founded 2014 Outlet Fine Art
253 Wilson Avenue
Founded 2013 Schema Projects
92 St. Nicholas Avenue
Founded 2013 Transfer
1030 Metropolitan Avenue
Founded 2013 Transmitter
1329 Willoughby Avenue, 2A
Founded 2014 Where
1397 Myrtle Avenue, Unit 4
Founded 2013 BEDFORD-STUYVESANT Elgin Gallery
52 Tompkins Avenue
Founded 2014 Good Work Gallery
1100 Broadway
Founded 2014 DUMBO Ouchi Gallery
170 Tillary Street, Suite 105
Founded 2013 This Friday or Next Friday
89 Bridge Street
Founded 2013 FAR ROCKAWAY Whether Again
364 Beach 85th Street
Founded 2014 GOWANUS bkbx
543 Union Street
Founded 2013 SOAPBOX
636 Dean Street GREENPOINT Greenpoint Terminal Gallery
67 West Street #320
Founded 2013 The Java Project
252 Java Street, Suite #100
Founded 2014 Owen James Gallery
61 Greenpoint Avenue
Founded 2014 U.S. Blues
29 Ash Street, Suite 105
Founded 2014 RIDGEWOOD Kimberly-Klark
788 Woodward Avenue
Founded 2014 Lorimoto
16-23 Hancock Street
Founded 2013 Songs for Presidents
1673 Gates Avenue
Founded 2014 WILLIAMSBURG Cathouse FUNeral
260 Richardson Street
Founded 2013 Ernest Newman Contemporary
226 Richardson Street
Founded in 2014 Moiety
166 North 12th Street
Founded in 2014 Royal Society of American Art
400 South 2nd Street
Founded 2013 Underdonk
87 Richardson Street
Founded 2013
Opened in 2013, Denny Gallery in the Lower East Side. Photo courtesy the gallery.
MANHATTAN CHELSEA Azart Gallery
617 West 27th Street
Founded 2014 Berry Campbell
530 West 24th Street
Founded 2013 Off Vendome
254 W 23rd Street # 2
Founded New York location in 2015 (Founded Dusseldorf location in 2013) Svetlana
75 Leonard Street, 3NE
Founded in 2014 HARLEM Tatiana Pagés
2605 Frederick Douglas Boulevard
Founded 2014 LOWER EAST SIDE 33 Orchard
33B Orchard Street
Founded January 2014 Bridget Donahue
99 Bowery, 2nd Floor
Founded 2015 Castor Gallery
254 Broome Street
Founded 2015 Chapter NY
127 Henry Street
Founded in 2013 Christian Berst Art Brut
95 Rivington Street
Founded New York location in 2014 (Founded Paris location in 2005) City Bird Gallery
191 Henry Street
Founded in 2014 D&F Contemporary
86 Delancey Street
Founded 2015 Denny Gallery
261 Broome Street
Founded in 2013 (harbor)
221 Madison Street
Formerly Harbor Gallery, reopened space with Regina Rex starting in 2014 Hester
55-59 Chrystie Street, Suite 203
Founded 2015 Kai Matsumiya
153 1/2 Stanton Street
Founded in 2014 The Lodge Gallery
131 Chrystie Street
Founded in 2013 Kristen Lorello
195 Chrystie Street #600A
Founded in 2014 Monitor
195 Chrystie Street, Suite 502B
Founded New York location in 2014 (Founded Rome location in 2003) Katharine Mulherin
124 Forsyth Street
Founded New York location in 2014 (Founded Toronto location in 1998) Sargent’s Daughters
179 East Broadway
Founded 2013 Shin Gallery
322 Grand Street
Founded 2013 SOHO/ WEST VILLAGE 55 Gansevoort
55 Gansevoort Street
Founded 2013 Allouche Gallery
115 Spring Street
Founded 2014 Longhouse Projects
285 Spring Street
Founded 2013 Taymour Grahne Gallery
157 Hudson Street
Founded 2013 UPPER EAST SIDE Arts and Leisure
1571 Lexington Avenue
Founded 2014
The
Cooper Union, a free institution since 1859, has stirred controversy by
announcing a decision to begin charging undergraduates to attend.
(Photo: Wikimedia Commons)
If you think that art school might be an affordable option for higher
education, think again. College tuitions have hit unprecedented highs
across the U.S., Canada, and U.K. And some institutions, like the
University of London’s Central Saint Martins, are trying to balance the
books by cutting foundation courses, yearlong programs that prep prospective students for rigorous full-time study. At CSM, students have been protesting the school’s decision to cut
580 places in the foundation course over the next two years by first
occupying the school’s lobby, and now marching outside the Royal Courts
after CSM took out an injunction against them. (Last week, the Guardian’s Suzanne Moore penned a response.) CSM isn’t the only high profile art school that’s made headlines
recently for turning a longstanding mission on its head in the face of
financial woes. New York’s Cooper Union, originally founded in 1859 as a
free institution, has come under fire for its decision in 2013 to begin charging undergraduates to attend.
Since then, there have been student protests, investigation by the
office of Attorney General Eric. T. Schneiderman, and most recently, the
school offered let its current president go. The concern that art school is fast becoming only accessible to those
who can afford it is best evidenced by the staggering tuition costs of
many of leading art schools. This is not a problem that belongs to
a select few. Below, a sampling of the most recent tuition prices at
some top art schools in the U.S. and U.K.: $53,484 – Columbia University School of the Arts
$47,562 – University of Southern California
$45,810 – School of the Art Institute of Chicago
$45,530 – Rhode Island School of Design
$44,680 – Parsons The New School for Design
$43,400 – California Institute of the Arts
$34,300 – Yale University School of Art
(8,755/22,350 GBP) $13,024/$33,250 – Slade School of Fine Art, University College London*
(9,000/20,000 GBP)$13,389/$29,754 – Goldsmiths, University of London *
(4,280/10,280 GBP) $6,367/$15,293 – Central Saint Martins, University of the Arts London *
$23,465.00 – University of California, Los Angeles * U.K. schools include tuition for EU residents and non-EU residents “Art schools are at the forefront of the sustained attack on
humanities,” writes Ms. Moore. “Languages, humanities, social sciences
and particularly arts are subject to huge losses in funding and are
expected to do just this: become businesses. This is the only model that
our politicians understand.” She directly challenges the popular notion that STEM (science,
technology, engineering, and math) subjects are most financially
valuable, arguing that “real innovation is coming from the crossover
between science and arts. Artists visualize what science models.”
ATTENTION- REMINDER_____________MAKE-UP EXAM WILL BE GIVEN MONDAY APRIL 20TH DURING THE BREAK-IN THE ART HISTORY ROOM (152)! THE MAKE-UP TEST WILL BE GIVEN ONLY ONCE!
A self portrait of Rembrandt from 1628.CreditRijksmuseum
AMSTERDAM — Earlier this month, while announcing plans for his new BBC Series, “The Face of Britain,” and the accompanying exhibition at the National Portrait Gallery in London, the historian Simon Schama called on the younger generation to stop taking selfies and to look at each other instead.
“Go and travel on the Tube,” he said, and you will see that “people are losing that sense of actually eyeballing each other.” He added: “It is something which is absolutely elemental, it’s our first human act.”
But does the act of photographing ourselves necessarily mean that we are entirely solipsistic, or could it help us learn something valuable about both ourselves and others?
“The Late Rembrandt” exhibition in Amsterdam (at the Rijksmuseum until May 17) might offer some insight on the merit of looking at ourselves. The 17th-century Dutch painter was arguably the original master of the “selfie,” as well as a master portrait painter. He created at least 80 images of himself throughout his life in oil paints, drawings and etchings, more than any other artist of his era, and perhaps of all time.
Photo
A self-portrait from 1659 is part of the ‘‘The Late Rembrandt’’ exhibition at the Rijksmuseum.CreditNational Gallery of Art, Washington
Together, Rembrandt’s self-portraits — which are scattered around the world in various museums and private collections — create an autobiography in pictures that began in his early 20s and continued until just before his death at age 63 in 1669, revealing the physical and emotional changes of the artist as he ages.
“The Late Rembrandt” opens with three self-portraits of the artist in his old age that provide visitors a moment to stare directly into the eyes of the master, just before heading into a display of more than 100 paintings, drawings and etchings, many of them portraits of other people.
Throughout his later work, Rembrandt focused on depicting the gaze: usually one that reflects thoughtfulness, suffering or some other implied inner complexity. That is something that is expressed in his self-portraits too, said the Rijksmuseum’s head of fine arts, Gregor Weber, who is also chief curator of “The Late Rembrandt” exhibition, created in collaboration with the National Gallery in London, where it first opened last fall.
“In the self-portraits, he’s getting calmer and calmer,” Mr. Weber said. “In the beginning he’s showing laughter and anger, and he’s trying funny things, wearing funny headdresses and so on. Later on he’s more serious, more calm and he sees himself more in the distance. I think he then has a feeling already that he’s an artist from the past, a figure in the history of art.”
Rembrandt created images of himself for two reasons, according to Ernst van de Wetering, chairman of the Rembrandt Research Project in Amsterdam and author of six volumes of “The Corpus of Rembrandt Paintings,” including “Volume IV, The Self-Portrait.”
First, he used them as a way to study the face, to learn how to depict light and facial expressions. “He was his own most patient model,” said Professor van de Wetering. “Quite a number of what we tend to call self-portraits are in the strict sense not self-portraits, they’re just studies made in the mirror to explore how a human being looks
Rembrandt explored ways of shading his own eyes or wrinkles around his mouth and used those techniques to portray others for commissioned portraits or in historical paintings.
“I can only imagine that thinking about yourself, and suggesting an inner person, a soul or a character, or whatever you want to call it, must have had a pretty profound impact on the way that he presented other people,” said H. Perry Chapman, author of “Rembrandt’s Self-Portraits: A Study in Seventeenth-Century Identity,” and professor of Northern Baroque Art at the University of Delaware.
Photo
Rembrandt's self-portrait from 1669.CreditRoyal Picture Gallery Mauritshuis, The Hague
The second reason he created self-portraits, Professor van de Wetering said, was to sell “as merchandise” to art lovers, including members of the Italian de’ Medici family, who wanted to showcase their patronage of great artists.
There may also be more than practical reasons that Rembrandt created so many images of himself. “There’s also some inner drive there,” said Professor Chapman. “However much they were marketed and how much he could sell them, the sheer effort and intensity and engagement and how varied they are indicate that he was kind of obsessed with it,” she said.
That focus on himself was probably not an indication of self-consciousness as we think of it in the post-Freudian sense, said Professor Chapman, but rather an interest in establishing his own place in the art historical pantheon. “He’s looking at lasting art by Raphael, Titian, Dürer, and he’s claiming his place in history,” she said.
The “selfie” of the 17th century, which was used to a lesser extent by other artists as well, can also be seen as a parallel development to what was happening in the realms of literature, science and discovery: It was the Age of Reason, the beginning of the Enlightenment, in which the Delphic dictum, “Nosce te ipsum” (Know thyself!) was echoed in universities and philosophy halls.
Writers of the era explored their own personal lives and thoughts in a way that was previously unknown in literature, including Michel de Montaigne’s “Essays,” René Descartes’s “Discourse on Method” — (“Cogito Ergo Sum”) — and the diaries of the London civil servant Samuel Pepys. “Inner-looking was very important at that time,” Mr. Weber said.
Often 17th-century painters sneaked images of themselves in group portraits or historic scenes, too, a tradition going back to the Italian Renaissance. The Dutch artist Jan Steen, who painted scenes of domestic chaos intended to teach moral lessons about civility, often depicted himself as one of the revelers. And Rembrandt used his own face on characters in several biblical scenes.
One fundamental difference between Rembrandt’s self-portraits and the selfies of today, scholars note, is that the artist’s renderings involved a long process of self-examination that was both very deliberate and usually solitary.
“You have to picture Rembrandt alone in a room representing himself on canvas while looking in the mirror, alone with himself and his image of himself,” Professor Chapman said. “I don’t know if the selfie generation is doing it that creatively.” She added that many selfies are taken at the spur of the moment: “You might think you’re taking a picture for posterity, but who knows when it’s going to disappear?”
The most important lesson Rembrandt can teach us about the selfie, perhaps, was that in order to begin to understand others, we must first look at ourselves. But it is a process that begins with really looking, and not just pointing and clicking. Making a self-portrait “involves careful self-observation, and that’s not like making a selfie in a second,” Mr. Weber said. “It has to do with: ‘What truly is happening in my face?”
A man who reportedly communicated through drawing before
learning the ability to speak and whose first word was pencil, the
Spanish "piz," certainly seemed fated to become one of the most
recognized artists of his century.
Although these particular
details may be a bit of exaggerated myth-making (they come from his
mother's accounts of his childhood), few similar greats have the same
colorful backstories as this artist. Pablo Picasso -- or as he was born,
Pablo Diego José Francisco de Paula Juan Nepomuceno María de los
Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso -- died on
this day, April 8. In memory: Here are five stories to color your understanding of the late Cubist founder.
1.
It is now believed that Pablo Picasso had a hand in stealing art from
the Louvre before he was famous. He was also accused of stealing the
"Mona Lisa."
In
1911, authorities discovered that Picasso was in possession of two
Iberian statues that were stolen from the Louvre by his known
acquaintance, Géry Pieret, four years earlier. (A good friend of
Picasso's at the time, Guillaume Apollinaire, employed Pieret as a
secretary.) At the time, the artist claimed he had no idea that the
statues were stolen, but in recent years it has been argued by art
historians such as Silvia Loreti and art history professor Noah Charney,
that Picasso had full knowledge of the origins and may have even
commissioned the heist. The entire ordeal has gone down in history as
the "affaire des statuettes."
In Charney's paper, "Pablo Picasso, art thief,"
the professor concludes that there is “beyond reasonable doubt” that
Picasso requested the theft, partly because the statues aligned
specifically with his tastes and he actively hid the works while openly
displaying other similar possessions. Charney further explained:
Picasso
was a regular visitor to the Louvre and a passionate admirer of Iberian
art, which he felt was the root of all Spanish art. It is inconceivable
that he would not recognize the statue heads presented him by Géry
Pieret ... It is also beyond plausibility that Géry Pieret would
randomly choose to steal a pair of statues that were so ideally suited
to Picasso’s tastes, and then happen to offer them ... to the Spaniard.
As the New York Times
described, Apollinaire and Picasso were both in a sort of clique around
this time. What led to the discovery of Picasso's stolen art was that
these two were accused of the bigger crime of stealing the "Mona Lisa."
Both were questioned during investigations, and Apollinaire -- who had
signed an agreement to "burn down the Louvre" -- accused Picasso of the
crime. They were both eventually let go and two years later it was
discovered that a former Louvre employee, Vincenzo Peruggia, had hidden
Leonardo da Vinci's masterwork in his small apartment. Images: Pablo Picasso / Commons.
2. When he was only nine years old, Picasso completed his first painting -- "Le Picador."
Picasso's father was a painter himself and taught his son at a young age, leading Picasso to finish "Le Picador" before he was even in the double digits.
A few years after this, Picasso enrolled into the School of Fine Arts in Barcelona, where his father was employed,
and ended up renting him a studio. Around this time, Picasso finished
his "first large academic canvas" in 1895, which was called, "First
Communion."
Apparently, his father vowed to give up his own painting when Picasso was just 13, as the young child had already surpassed him in talent. Images: Pablo Picasso / Commons.
3. Picasso would carry around a revolver loaded with blanks and fire at people he found dull.
As historian Arthur I. Miller (not the playwright) details in his book, Einstein, Picasso: Space, Time And The Beauty That Causes Havoc,
Picasso was inspired by the lifestyle and works of French writer Alfred
Jarry. One of many quirks associated with Jarry was his habit of
carrying around a loaded revolver.
For a time, Picasso seemed to be mimicking Jarry, carrying around a Browning revolver of his own, filled with blanks. Miller explains:
He
would fire at admirers inquiring about the meaning of his paintings,
his theory of aesthetics, or anyone daring to insult Cézanne's memory.
Like Jarry, Picasso used his Browning as a pataphysical weapon, in a
sense playing Père Ubu au natural, disposing of bourgeois boors, morons and philistines.
For
the uninitiated, "Père Ubu" was a character in an early play of
Jarry's. In the work, Ubu has a conversation with his conscience about
how harder sciences like geometry needed to be inserted into
conversations of art, mainly because Friedrich Nietzsche had recently
declared God dead and artists, Jarry implied, needed to fill the
epistemological void. Image: Getty
4. Henri Rousseau was "discovered" by Picasso, who found Rousseau's art so terrible, it was good. Picasso held a party to mock Rousseau's art, but instead accidentally catapulted him to fame.
The
artist Henri Rousseau -- also known as Le Douanier (customs officer)
Rousseau, as his day job was as a toll collector -- was barely
recognized as an artist during most of his life, and, for the most part,
only received fleeting recognition from the Parisian avante-garde.
Writer Paweł Soszyński
details this in length along with a particular joke party and
faux-celebration of Rousseau's work that Picasso held early in his own
rise to fame, which largely changed the way history remembers the artist
behind "The Sleeping Gypsy."
Soszyński
describes how Picasso claimed that he'd found Rousseau's artwork in a
junk shop as a teenager. This encounter ended up sparking an ironic love
of the little known -- and much older -- artist. Eventually Picasso
started inviting Rousseau to hang out with his friends, which Rousseau
apparently didn't understand was anything but earnest. Rousseau was
self-assured in his genius and just wanted an audience.
In 1908,
the then wealthy Picasso decided to throw a lavish party in his
apartment, bringing in flags and other such accoutrements to capture the
vibe of a grand ceremony, like a French Independence Day celebration.
Rousseau was invited along with other up-and-coming artists of the day,
most of whom were in on the joke, like Gertrude Stein. People drank excessively, more established art critics crashed, and the party became part of art legend.
Thinking
that this truly had been an honor, the extremely drunk Rousseau
allegedly pulled Picasso aside at the end of the night and said, "You
and I are the greatest painters of our time." Rousseau continued, "You
in the Egyptian style, I in the modern!" Image Left: Commons. Image Right: Getty.
5.
A Nazi officer raided Picasso's Parisian apartment, and after seeing a
photograph of "Guernica," asked the artist if he had done it. Picasso
responded "No, you did."
This may be a bit of a tall tale,
but as the story goes, Picasso stayed in Paris throughout the Nazi
occupation of WWII. During that time, the Gestapo decided to raid his
apartment, possibly due to his rumored ties in helping with the
Resistance. A Nazi officer viewed a picture of "Guernica" on Picasso's
wall and asked, with disgust, “Did you do that?” Picasso's reply was simply, "No, you did."
Another
similar story recalls the Nazis offering coal to Picasso to to heat his
apartment. Picasso's response: "A Spaniard is never cold." Image: Getty
In death, Picasso was remembered as "the titan of 20th century art."
The New York Times
obituary began by calling the late artist "the titan of 20th- century
art." In his last few years, his work was apparently "less tortured,"
involving "much more softness," according to a festival curator who was
planning on exhibiting over 200 of the artist's last works. Picasso was
91. Four of Picasso's works ("Le Rêve," "Garçon à la pipe," "Nude, Green
Leaves and Bust" and "Dora Maar au Chat") still remain in the top 15
most expensive paintings ever sold.
R.I.P., Pablo.
GIOTTO CIMABUE LIMBOURG BROTHERS JAN VAN EYCK ROGIER VAN DER WEYDEN BOSCH GHIBERTI BRUNELLESCHI MASSACIO DONATELLO VERROCHIO BOTTICELLI FRA ANGELICO MANTEGNA PIERO DELLA FRANCESCA LEONARDO MICHAELANGELO RAPHAEL BELLINI GEORGIONI TITIAN PARMIGIANO TINTORETTO GRUNEWALD DURER HOLBEIN BRUEGEL EL GRECO VELAZQUEZ BERNINI CARRAVAGIO RUBENS REMBRANDT VERMEER HUGO VAN DER GOES
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