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Peres Projects Allegedly Bans Artist From the Premises, KGB Bar Goes to Miami, and More Juicy Art World Gossip

By in Art World News

Peres Projects Allegedly Bans Artist From the Premises, KGB Bar Goes to Miami, and More Juicy Art World Gossip

PERES PROJECTS BANS ARTIST FROM THEIR PREMISES 

At this point in my Wet Paint tenure, I’ve been around the block when it comes to why artists leave their galleries and how, so I’m wise enough to know that it’s never quite as collegial as a press statement would have you believe. From Lucas Zwirner’s fumbled handling of Harold Ancart to Joe Bradley’s apparent case of restless leg syndrome, I feel like what I’ve seen has run the gamut of what can lead to a non-amicable divorce between artist and gallerist. 

Thus far, though, I have yet to see relations become so tense that a gallery will ban their artist from even stepping onto their premises. Last week, over a series of since-deleted Instagram posts, artist Richard Kennedy posted the email they received from their gallery Peres Projects, whose Berlin-based director Franzi Mueller wrote to inform them that they had been “banned from entering Peres Projects’ gallery premises at any of our gallery locations in Berlin, Milan, or Seoul,” and added that if they break the ban, “we will inform local police immediately.” 

Below Kennedy’s post, they wrote a dizzying sermon about the various ways the gallery had wronged them in Spanish. Translated, the caption begins: “When you find out your gallery has stolen 400k + from you, ruined so much of your art, sabotaged your life, stole your ideas…” before trailing off into an impassioned diatribe: “BURN IT ALL DOWN!!! And then sue them for everything they are worth,” they wrote. “Where is Terrence koh? Where is dash snow ?WHO KILLED RIVER PHOENIX?! #scamlikely.” 

I do not have the answers to those questions, but I think I have an answer to the question that’s likely on your mind. What the hell happened? According to the gallery’s founder, Javier Peres, Kennedy’s claims of stolen money and art are categorically false. “We will reiterate what we have told our employees, artists, and clients. Our decision not to continue representing this artist came after painful discussions with everyone involved,” he said in an emailed statement.  “Our gallery is built on the belief that artists deserve care and support, and unfortunately, we are just not the right partners for them anymore. We hope they find this support elsewhere and live a prosperous professional and personal life.”

Kennedy declined to comment. I’ll keep my eyes on the court dockets. 

MIAMI VICE: THE KGB GOES TO THE BEACH

It tends to hit me like a ton of bricks in early Fall when I get my first email invite for an event happening during Art Basel Miami Beach. Usually the first one is something like, “Dear Annie, join us on the blockchain for Soho Beach House’s first ever NFT meta-cocktail with special guest Diplo” (I made that up entirely). As soon as my brain calculates that the invites are about to start rolling in, “Flight of the Valkyries” starts playing in my head. Winter is coming. 

Just to whet our whistles before we take a breather for Thanksgiving next week, I thought I’d share with the class my personal favorite email I’ve gotten thus far. This year at the small satellite fair Aqua Art Miami, one of the downtown art world’s favorite bars, KGB, will be making an appearance in the form of a gallery. Confused? So was I! 

Apparently, the beloved Soviet-themed watering hole in the East Village that we all congregate at after openings and for readings actually began as a gallery in 1983 when Kraine Art Gallery was opened by Denis Woychuk, who eventually took over KGB. Forty years later (whoa), the gallery portion of the space is coming back, according to a release: “Marking its inaugural Basel showcase, the Kraine Gallery collective at Aqua Art Miami epitomizes the richness and diversity of contemporary art, bringing a fresh perspective to this internationally acclaimed event.” 

The artists they’re bringing to the fair are perfectly on-pitch for KGB: writer Anthony Haden-Guest is presenting work, as is Rose Hartman, who famously photographed Bianca Jagger riding a horse into Studio 54, and one of Spike Lee’s favorite artists, Josh Gosfield, will bring work, among others.

So there you have it. In case you’re getting the pre-Miami scaries, there’s a little spot of fun to look forward to. See you in December.

WE HEAR 

Downtown’s resident party photographer Matthew Weinberger has released a zine of photos of Jerry Saltz taking selfies with his fans, which looks pretty irresistible to me… Magenta Plains has picked up representation of the estate of experimental filmmaker Stan VanDerBeek… Fionna Flaherty has been promoted to partner at Lehmann Maupin… Word to the wise: the O’Flaherty’s opening of Christian Ludwig Attersee paintings I mentioned last week has been pushed to this Saturday… Failed assassin and noted Silver Jews fan John Hinckley claims that he will have his first ever show of his cat paintings in Baltimore early next year… Did anyone else clock that Peter Schjeldahl‘s daughter, Ada Calhoun, was listed as one of the contributing ghostwriters for Britney Spears‘s memoir?

SPOTTED

Don and Mera Rubell dining at Harkawik. Photo by Annie Armstrong.

Harkawik hosted a dinner for Constance Tenvik’s new show, where Don and Mera Rubell, Chloe Wise, Jonathan Travis, and Emma Stern ate dolloped clams and candied apples beneath Tenvik’s ebullient paintings *** Björk stopped by No Agency‘s book launch in Paris last week *** Can anyone riddle me what these “Yes” and “No” buttons do in White Cube’s elevator at their new space on the Upper East Side? *** 

Courtesy a tipster.

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Resignations Roil Documenta Show as War in Gaza Polarizes Art World

By in Native

Resignations Roil Documenta Show as War in Gaza Polarizes Art World
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The entire team in charge of selecting the leading avant-garde exhibition’s next curator has now resigned, putting the future of the 2027 edition in question.

Documenta, the German contemporary art exhibition considered one of the most prestigious in the world, fell into crisis this week after the entire team tasked with finding its next artistic director resigned after a series of disputes with administrators related to the Israel-Hamas War.

The break up of the committee meant the start date for Documenta’s next edition may have to be pushed back later than 2027, when it was scheduled to open in Kassel, Germany, a Documenta spokeswoman said in an email.

The last four members of the search committee stepped down Thursday, just days after its other two members had resigned, all for reasons related to the ongoing war in Israel and Gaza and the debate surrounding it in Germany.

The four who resigned on Thursday night — Simon Njami, Gong Yan, Kathrin Rhomberg and María Inés Rodríguez, who are museum directors and curators — said in an open letter that they were stepping aside in part because the political climate in Germany around the war in Israel and Gaza meant it now appeared impossible to stage an art show that allows “diverse perspectives, perceptions and discourses.”

In a news release Documenta, which is rivaled only by the Venice Biennale for art world prestige and public attendance, acknowledged the search committee’s work had become fraught “in view of the terrorist attacks by Hamas on Oct. 7, 2023, and the growing antisemitism in Germany as well as the polarized debates surrounding it.” Documenta’s board and staff would now try to work out how the selection process could proceed, the news release said.

The crisis started on Nov. 10, when Bracha Lichtenberg Ettinger, who is Israeli, resigned after administrators rejected her request for a pause in the committee’s search, in recognition of the recent deaths in Israel and Gaza.

On Nov. 12, Ranjit Hoskote, an Indian art critic and poet, resigned from the Documenta committee after the administrators repeatedly urged him to distance himself from a petition he had signed in 2019, about an event in India on the links between Hindu nationalism and Zionism, that described Israel as an apartheid state.

The upheaval at Documenta is just one example of how Europe’s art world is being torn by debates about Israel and Gaza, as some institutions have moved to postpone the shows of artists who have criticized Israel.

On Monday, the Folkwang Museum in Essen, Germany, ended a collaboration with Anaïs Duplan, a Haitian curator based in the United States, just days before an exhibition his studio was working on was scheduled to open. The museum said in an email to Duplan — which the artist posted to Instagram — that he had made unacceptable social media posts describing Israel’s actions in Gaza as genocide. (In an emailed statement, the museum said that it instead was posts on Duplan’s Instagram supporting the Boycott, Divestment and Sanctions movement against Israel, of B.D.S., that led to the decision.)

The following day, the Art Newspaper reported that the Lisson Gallery in London had canceled a show by Ai Weiwei, the popular Chinese artist, scheduled to open on Nov. 15, after he wrote on X about how the “Jewish community” had a significant influence in the United States. “The sense of guilt around the persecution of the Jewish people has been, at times, transferred to offset the Arab world,” Ai added in the post from Oct. 24.

In an email, Ai said that he had three other shows canceled, too, because of the post — one at Lisson in New York, in 2024, as well as shows at Galerie Max Hetzler in Paris and Berlin — and that he did not understand the decisions. “What baffles me is why a gallery would stifle my expression and moral judgment,” Ai said of Lisson’s move. (A Lisson spokeswoman said in an email that its shows had been postponed in agreement with the artist.)

For the artists and curators involved, the cancellations are a growing concern, but to some politicians in Germany, this is an overreaction. On Thursday, Claudia Roth, Germany’s culture minister, said in an interview with Die Zeit, a German newspaper, that the idea that institutions now had to Google whether artists supported a boycott of Israel was “complete nonsense.”

Protecting artistic freedom was one of her most important jobs, she said, although that freedom had its limits if it crossed into hate speech, especially at a time of rising antisemitism in Germany.

Documenta was initially staged in 1955 as the first large-scale exhibition in West Germany of the art of the European avant-garde. It was a direct response to the Degenerate Art Show, the denunciatory exhibition of modern art staged by the Nazis in Munich in 1937. Each edition since then — it now takes place twice a decade, from June to September, and is known as a “Museum of 100 Days” — has attempted to bring the art of the whole world to Germany.

But it has struggled to move forward following its highly polarizing 2022 edition, which brought Documenta’s global ambitions into direct conflict with Germany’s “memory culture” or institutional efforts to face its Nazi past. It opened with the prominent display of an agitprop mural from Indonesia that included antisemitic caricatures. Although the mural was taken down, it set off a monthslong debate in Germany’s art world about antisemitism, Palestinian activism and Germany’s relationship to formerly colonized countries. The show’s director-general resigned that summer. Its artistic leadership was called to testify before parliament, and officials threatened to revoke funding.

Hoskote said Documenta was one of the art world’s greatest events, partly because it had always been a forum for new ideas. He worried that core idea was now at risk. In Germany, at least, he said, art institutions seemed to be losing their focus on the “imagination and creative,” and are instead just focusing on one issue.

Native American Heritage Month

By in Native

Native American Heritage Month
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November is Native American Heritage Month, dedicated to celebrating the enrichment of the culture, history, and traditions of Native Americans, Alaska Natives, Native Hawaiians, and other affiliated Island groups in the United States. 

In America, this month is typically filled with Thanksgiving celebrations, often overshadowing the observance of Native American Heritage Month. What many people may not realize is that the day after Thanksgiving, commonly referred to as Black Friday, is Native American Heritage Day: the day of recognition that the Native Americans were the first people in this nation. The story of Thanksgiving commonly taught to Americans at home and in school is often presented with a positive and harmonious perspective. Many educators are encouraged to teach curriculums that emphasize a false narrative of amicable assistance between Native Americans and White settlers, which enabled them to establish a new life for themselves. Even though children are increasingly taught a more positive view of Native American culture, it is crucial to recognize and educate them about the actual historical occurrences as they mature, to guarantee their ongoing support of the culture and knowledge about proper history. 

Regardless of how this history is conveyed to the American public, it cannot erase the oppression and genocides that Native Americans endured upon the settlers’ arrival in the New World. Native American numbers began to decline after settlers arrived, with more than 80% dying within the first 100 years. Therefore, many Native Americans decide to not celebrate Thanksgiving and instead view it as a day of remembrance and mourning. Despite the violent events that occurred over 200 years ago, it wasn’t until 1990 that Native American Heritage Month was officially recognized. Yet, even through all of this violence and cruelty, some Native Americans do choose to embody the Native Heritage, and cultural contributions and make Thanksgiving into a positive commemoration. No matter how one chooses to celebrate, it should be acknowledged how the Native Americans were discriminated against when the settlers arrived. 

In November, Indigenous communities are honored not only through Native American Heritage Month but also through events, festivals, dances, art, and businesses that promote Native American-owned products are just some of the ways Native Americans are being represented during this month. That being said, if there are no such events in the vicinity, or events are not accessible, there are numerous other ways to show support for Native American communities; these methods can include supporting Native American art, artists, authors, literature, podcasts, and music. All of these activities can be completed in the comfort of your home and still make a significant impact on the Indigenous community. 

As stated in a previous article, Indigenous Peoples’ Day and the Native history of Geneseo, So, we here at The Lamron would just like to attribute a land acknowledgement for the land in which the college benefitted from. It exists due to the efforts against the rights inherent to all peoples that were stripped away from the Native people in favor of possession. We are receiving an education on top of land that was originally attributed to what is now known as the Seneca Nation of Indians and the Tonawanda Seneca Nation, who are now confined to living on eleven different reservations that are spread all throughout the Western New York region.

Thumbnail Photo of Haudenosaunee flag courtesy of WikiMedia Commons

Pop-Up Holiday Art Market in Bethel

By in Art World News

Pop-Up Holiday Art Market in Bethel

Pop-Up Holiday Art Market – Give the gift of art this season

This festive community event features the art of Diana Gubbay, David Gesualdi, David Daignault, Frank Kara, Jim Felice and others.

Opening reception at Big Bunny Gallery on November 25 from 5-7 pm with finger food, wine, beer and other drinks provided by La Zingara restaurant.

Gallery will be open December 2&3, 9&10. 16 & 17 and 23.

Learn more http://www.bethelartsct.org/event/holiday-art-market-give-the-gift-of-art-this-season/

‘Unique, creative genius’ | Atlanta native, internationally renowned artist Radcliffe Bailey dies at 54

By in Native

‘Unique, creative genius’ | Atlanta native, internationally renowned artist Radcliffe Bailey dies at 54

Bailey grew up in Atlanta and his early inspirations included visits to the High Museum and classes at the Atlanta College of Art.

ATLANTA — Radcliffe Bailey, an internationally renowned artist from Atlanta whose works highlighted the Black experience historically in America and explored the broader experiences generally of the African diaspora, died this week at 54 years old.

His death reportedly came after a battle with brain cancer.

Bailey grew up in Atlanta, and attended Mays High School. His early inspirations included visits to the High Museum and classes at the Atlanta College of Art.

In 2011 he was featured at the High, one of his most significant exhibitions to that point, for “Radcliffe Bailey: Memory as Medicine.” The museum at the time described his themes that probed “American history and memory to encourage healing and transcendence through art.”

He was known in part for the use of common objects in his installations, including the keys taken from 400 pianos that punctuated his famed work “Windward Coast.” 

“Bailey harmonizes an intuitive balance of world history and familial memory,” the High Museum noted in 2011. “Through exploration of the past, the present, and the unknown, Bailey layers meaning into his art by layering objects.”

“A lone head, painted glittery black, bobs in this expanse, suggesting isolation and the trauma of the slave trade as well as recent natural disasters,” the New York Times’  Hilarie M. Sheets wrote of Windward Coast in 2011, noting that Bailey also found a way to “(fuse) pain with transcendence.”

This Radcliffe Bailey artwork takes up an entire gallery on the street level of the KMA! 🤯

The monumental,…

Posted by Knoxville Museum of Art on Tuesday, October 11, 2022

He told The Times of the piece: “I think about all the music that was probably played on those keys. An ocean is something that divides people. Music is something that connects people. Duke Ellington or Thelonious Monk — it’s a different sound that takes you somewhere else. It’s also about being at peace.”

In a statement, Atlanta Mayor Andre Dickens said Bailey had for decades “shaped Atlanta’s cultural landscape through his own unique, creative genius.”

“While often bringing the intersectionality of ancestry, race and art to the forefront of a discussion, his talent was both personal and accessible to our community,” the mayor said. ““I had the privilege of visiting with him Friday to express Atlanta’s gratitude for all his contributions to our city. Our Administration has been working with his family and team on a fitting way to honor his incredible life and legacy, and we look forward to sharing those details in the near future. My thoughts are with his family and all who knew and loved him.”

Atlanta Public Schools said it was “sending sincere and heartfelt condolences to the family and friends of world-renowned artist and Mays HS graduate Radcliffe Bailey, who passed away earlier this week.”

“While we mourn his passing, the impact this proud Raider made on the art world will live on forever,” the school system said.

Of his hometown Atlanta, Bailey said in a 2011 gallery interview: “Atlanta has this interesting past that makes you want to dig deeper and understand what was once there, even though it may be covered. Sherman burnt down the city. They say when you want to get rid of something, you burn it, but you don’t really get rid of it. I can look out my back door and see a lot.”

According to reports, his is survived by his wife Leslie Parks Bailey, who appears in the photo above this article, as well as his two children Olivia and Coles.

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The Getty Digitizes a Rare 16th-Century Manuscript from Indigenous Mexico

By in Art World News

The Getty Digitizes a Rare 16th-Century Manuscript from Indigenous Mexico

“Glue-hardening process,” Book 9, Folio 64v, Artist K. All images courtesy of The Getty

In 1577, Franciscan friar Bernardino de Sahagún finished a monumental encyclopedia of Mesoamerican culture. Working in collaboration with Nahua writers, artists, and elders, Sahagún documented life in the Aztec empire around the time of the Spanish conquest, together creating nearly 2,500 illustrations and 12 books recording the daily practices and culture of 16th-century Mexico. The text is widely regarded as one of the most important resources of Indigenous knowledge, especially considering most history is derived from colonial perspectives.

The Getty Research Institute recently released a digitized version of La Historia General de las Cosas de Nueva España, which is best known as the Florentine Codex—this name comes from the text’s mysterious storage in the Medici family libraries for centuries. Although the Library of Congres and UNESCO’s Memory of the World have offered scanned iterations of the books since 2012 and 2015, respectively, this edition is the most widely accessible because of its searchable interface and additional context.

Organized by topic, text, and images, the new platform contains both the original Nahuatl and Spanish writings alongside English translations. In a conversation with Hyperallergic, Kim Richter, a researcher leading the project, described the dual texts as complementary and offering unique perspectives on the same events. Although the manuscript was originally thought to lack “aesthetic value…Today, we see them as an important testament of a tumultuous period in Mexico in the early decades following the conquest of Mexico,” Richter says.

The books, which begin with gods and rituals and end with conquest, are available to view page-by-page, with special sections devoted to deities, animals, and other aspects of everyday life from tamales and cacao to coyotes and chapulin, or grasshoppers. Included are Nahua ritual calendars, depictions of midwives attempting to heal those suffering from a grim smallpox outbreak, and the omens and horrors that accompanied the Spanish invasion.

Since launching earlier this month, the Florentine Codex has already inspired a video game set amid the aftermath of the 1520 Toxcatl massacre. The Getty also plans to release additional resources in conjunction with the digital archive, which provides a necessary addendum to colonial history.

 

an image of a sideways sun with a face emerging from the left side of a moon with a face

“Metztli icualoca: lunar eclipse,” Book 7, Folio 7r, Artist N

two figures wearing white approach another who is wearing stripes and holding an axe

“Disguised merchants in Tzinacantlan,” Book 9, Folio 18v, Artist N

two brown and beige fish swim in a swirling blue water

“Papalomichin and Ocelomichin,” Book 11, Folio 62v

a yellow butterfly emerging from a chalice

“Xicalpapalotl,” Book 11, Folio 100r

a person wearing an animal like costume carrying a pack with feathered objects walks on yellow gorund

“Macuilocelotl,” Book 9, Folio 58r

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article The Getty Digitizes a Rare 16th-Century Manuscript from Indigenous Mexico appeared first on Colossal.

Planeta Blu

By in Printmaking

Planeta Blu
Four teenagers are called upon by the animal kingdom to hold off environmental catastrophe in this new YA fantasy tale by hip-hop artist Tem Blessed.

Q & A: Photographer Thomas Hennessey

By in Photography

Q & A: Photographer Thomas Hennessey
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Thomas Hennessey is a part-time photographer based in Mechanicsville. He recently received an honorable mention for his photo, “Bear Rocks Preserve,” in the Adult Landscapes category of the Jamestown, New York, Audubon Community Nature Center 2023 Nature Photography Contest. Last week, he spoke with Mechanicsville-Ashland Local staff writer Payton Kifus about being recognized for his work and his journey to becoming a photographer.

Kifus: Are you currently a full-time photographer?

Hennessey: No, I’m not. I am an amateur photographer, it’s my retirement hobby.

I read that you have a degree in biology, what inspired you to pursue photography as well? Did that play into your interest in nature photography?

It did. I did a little bit of photography in college, actually, with some of the things we were doing in biology. We had to take photos of things. We were using an electronic microscope and so you end up with a photograph that you had to then develop and print, and I thought that was interesting. After college, while I was working, I decided to pursue photography part-time. I went to the Art Institute of Pittsburgh to study photography at night school. That was back in the 35 millimeter days and for awhile I had a dark room at home that I used to do all of that. I ended up eventually taking a job where I was traveling pretty much full-time, so the photography fell to the wayside.

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What drew you back into it?

I often would carry around a little digital camera with me when I traveled, just to help me with my job and take pictures of things that I was doing for my reports. Then, back in about 2011, I was at a friend’s house and they had just had their house remodeled, and he had asked me to take a couple of pictures of him and his wife. He handed me his Canon digital 35 millimeter camera and I was like, “Oh, this is pretty nice. I kind of like this,”. So, I thought maybe I could get back into this. I bought one of my own back in 2011 and I’ve been working at it ever sense.

I was reading your profile and I saw that you prefer minimal editing. What led to this preference?

Well, the goal is to take a photograph that right out of the camera doesn’t need anything. Back when I was doing the 35 millimeter, when I did a lot of color work, I was doing color slides. With color slides, you send them off to be developed, you get them back and then you have what you have, there was no post-processing. So, I kind of like, as much as possible, to get the result without having to do a whole lot to it. I mean, I will edit, I’m pretty good with Lightroom [photo editing software]. However, what I don’t like is when people do so much photo shopping and you can’t tell what a real photograph from what’s fake is. I see people with photographs where it’s obvious that they took a picture of something, like the sky, and then they take that sky and edit it into another photo. It’s a nice image, but it’s not what I want to do. I want to take a picture with the sky that’s there at the time. Sometimes it works out, and sometimes it doesn’t. You’ve got to do the best with what you can and try other things.

What drew you to Crossroads Art Center?

Back after I bought my camera, I was taking these photographs and a friend of my wife’s mentioned Crossroads Art Center and another place where they have art shows. I thought, “Well, that’s interesting,” so I entered what they call their Media Show. They happen about every two months and it includes photography, painting and sculpture. Back in 2012, I entered one of their shows and a print I had was accepted and it sold. I thought that was a pretty cool thing, so I continued entering the shows and a lot of that is because it drives me to try to do better. They’ve gotten bigger and more and more people entering the shows and I still enter. I have a piece that was accepted for the September show and won second prize. So, you know, I’m happy about that and doing that. I now have a space at Crossroads where I sell my photography.

You recently received an honorable mention in the Audubon Nature Photo Contest. What sparked your interest in submitting your work there and what was that experience like?

A friend of mine had sent me a link to it and I thought, “Hey, that looks good,” so I entered. Then I heard from them that I received an honorable mention and that felt good to be recognized. I enjoy entering contest and I got to be the judge for one as well. I know it’s a very difficult thing to do because the judge is always wrong. Everybody who has entered a contest has experienced going and seeing something that won and thinking, “Oh, that’s not the best in the show,” because everyone has a different take on it. I felt very much that way when I judged a show a few years ago. It’s stressful. There’s a lot of things here and every time I look at them I have a different opinion of what I think is the best. So, I was aware of that going into it, but it’s always nice to be recognized. Whether it be first place, second place, honorable mention, it’s nice to have the recognition on something you worked on. You get a sense of accomplishment with it.

What is the story behind the photograph that received the honorable mention?

The photograph I took is a sunrise at Bear Rocks Preserve, which is an area in the Dolly Sods Wilderness in West Virginia. I went there with my wife a few years ago. It’s a really nice rocky place. We didn’t get there until mid-morning the first time we went there, so the sun was up in the sky, but I could tell from where I was that that would be a really nice location for a sunrise. Last year, we went back there and I knew I wanted to go back to that spot for sunrise. It takes about an hour to get there from where we were staying and the sunrise was supposed to be at about 7 a.m., which means having to get there at 6:30 a.m., so we left around 5 a.m. to drive there. The last five miles are up a steep and windy gravel road, and when we were about a mile from where we needed to get, there was a tree across the road that had blown down during the night. My wife and I had managed to drag the tree off the road so that we could continue to get where we needed to get. We eventually set up and got to see a very nice sunrise. I took some photographs from different angles and that one I was very happy with.

Hennessy will have another piece of his work featured at the Crossroads Art Center show on November 17. To see more of his work, visit https://tomhennessy.zenfolio.com/all-photographs

For more information about Crossroads Art Center, visit https://www.crossroadsartcenter.com/.



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