New York in ArtArt in New York
The New York Times - Art & Design
New or extended lawns along the coasts of Brooklyn and Queens provide tranquil places to linger, look and promenade. In the hope of reflecting a wider spectrum of attendees, the museum diversifies its staff and welcomes a more included younger management team. New Art Dealers Alliance announces that it will be cancelling its yearly exhibition, one of many in a busy community, and opening a new art galleries for its members.
Tales of Lump-in-the-throat, intimacy that enabled the audience to momentarily ignore the drama, were written in the 9/11 Memorial & Muse. Dorothea Rockburne's mathematic influence; John Lucas and Claudia Rankine investigate blondes; and 23 artist make up an exhibition at Klaus von Nichtssagend. The choice of Klaus Biesenbach as curator of the Contemporary Art Centre posed fanfares and asked about the engagement of a diverse art school.
This is the last in a 1998 serial by two Chelsea art dealers: "Painting:
Stories behind 5 New York art scene legend
It is not known for its durability in the art scene, where the term contemporaries is tossed around as a kind of money. Performers, artisans, art dealers, and even longtime institution come and go without much ceremonies, especially in New York, a town known for swallowing up its story and routine substituting it with something new and more costly.
In 1963, after three years on Newbury Street in Boston, the Pacific Gallery opened its first New York office at 9 East 57th Street. In 1968 he moved to his present premises at 32 East 57th Street and has since opened art studios in Chelsea, London, Beijing, Hong Kong, Seoul, Palo Alto and Geneva.
It all began in Boston in 1960. It was my aim to be the greatest artist in the whole wide underworld. My aim was to have the best art galleries in the whole wide globe - that's all! So I had a mate, Fred Mueller, and we move to New York in 1963.
I don't know - there is such an amazing sadness in the whole wide globe that sometimes pushes me in the right direction. So, it should either be free or it should be everything that' s ever since. We try not to do that; we try to help our people. If you want to run an honorable artisan' artisan' that can survive 58 years, you have to be faithful to yourself.
We' re entering this unfamiliar terrain of a second-generation art galery that is still intensively involved with the art scene and what's going on in the art scene, and it seems to work. However, the galery must also have a premonition. It' an absolute must to work for the art.
It is the number of individuals in this global community who are concerned about art, artisans and modern art that is the most dizzying growing character we don't really have. 1977 the last exhibition of Heiner Friedrich's Galerie took place in SoHo: The New York Earth Room" by Walter De Maria - 280,000 lbs of earth evenly spread over 3,600 sq. m. of the gallery's Wooster Street room.
Friedrich, co-founder of the Dia Art Foundation, opened the Earth Room in 1980 as part of the organization's ongoing rally. In order to make the play look the way it was when it was first set up, Bill Dilworth, a man who has been the administrator of the Earth Room since 1989, irrigates the mud with a grower about once a week. 2.
Earth Room is one of the few things in New York that smell outside, but the room doesn't have the feeling of being a little rust. For one thing, we no longer had pictures of female masters. And, indeed, the Met has a quite good performance by old mistresses. When I was young, I wasn't very embattled; I always said that we couldn't show any more pictures of female performers because we didn't have any others - and there weren't that many good ones anyway!
Since the middle of the 19th centuary, a pub has been located on the 94 Prince Street basement, making it one of the oldest continually working places in New York. In 1922 it became the Fanelli Cafe after being bought by the former fighter Michael Fanelli, who still managed it when artisans and art-gallery moved to the neighbourhood in the early-seventies.
"They just called it SoHo," says Betty Cuningham, who as an assistant in Reese Palley's nearest art galleria had breakfasts and lunches at Fanelli's almost every workday. In 1972, when Reese Palley shut down, Fanelli Cuningham hired a room above the café to open her own artist-garden. When SoHo became more and more crowded with art dealers and art lovers in the 1970s and 1980s, Fanelli's stayed a favourite venue and outlived other icons such as Max's Kansas City, which opened in 1965 and shut down in 1981.
When Fanelli passed away in the early 1980s, his wife and daughter 94 Prince Street went to Hans Noe. Its open system and promises of teaching working art have at various periods drawn Norman Rockwell, Georgia O'Keeffe, Man Ray, Alexander Calder, Mark Rothko, Roy Lichtenstein, Louise Nevelson, Jackson Pollock, Louise Bourgeois, Donald Judd, Robert Rauschenberg, Cy Twombly, James Rosenquist, Gary Hill and Ai Weiwei.
Since more than a hundred years the American Fine Arts Society has been located on East 57th Street. Howard Russell Butler, the artist who financed the project, chose the site because it ran from 57 to 58 Street, so that the aurora borealis favoured by the painters - "it has the greatest constancy during the course of the days; it is a smoother light," says Cassidy.