Part of the history of the Tibor de Nagy gallery is embedded in the camaraderie that grew within a community of artists, poets, and writers.
The attack against “Degenerate Art” struck free thought and artistic expression at its core.
Her diaristic approach to personal history such as a failed marriage or the death of a loved one are what Olivieri called, “emotional hurricanes that are fodder for my work.”
Recently, the New York Times featured an article about the convergence of big dollars and art fairs. It questioned the reality of a collector—of modest means—finding first-rate works.
“Once you are involved in making art, everything seems secondary.”
In this exhibit of artists of Guyanese heritage, almost forty works of photography, painting, welded steel, works on paper, and sculpture provided the foundation for expression that covered a continuum from abstraction to political subtext.
While his father’s side of the family inspired a progressive path for Shaw, his mother was aghast at his choice—at age 26—to travel to New York City to study with Stuart Davis.
Prominently featured in Fatal Promises is actress and activist Emma Thompson. In addition to making powerful public service announcements, Thompson is the co-curator (with Elena, a trafficking survivor), of the interactive art installation Journey. The work puts the viewer directly into the experience of a sexually trafficked woman.
Art movements, like their political siblings, are messy. People don’t agree, groups splinter, and history is up for grabs.
The gathering was billed as “The New York Art World Votes.” My e-vite outlined a forum on why New York artists, curators, critics and dealers believed that Barack Obama was the best choice for the Democratic nomination. Lucy Mitchell-Innes, who told me she had been introduced to the Obama message through her 20-year-old daughter, hosted […]