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The Other Art Fair Returns to Los Angeles for Its 10th Edition

By in Art World News

The Other Art Fair Returns to Los Angeles for Its 10th Edition

The Other Art Fair, presented by Saatchi Art, has been nurturing its artist-led event for 70 global editions, serving visitors with surreal experiences and accessible art. The upcoming Los Angeles fair at the Barker Hangar from September 21 to 24 marks ten editions in the city, so celebrations are mandatory. Tickets are available now.

The Other Art Fair’s adoration of L.A. is rooted in the people. The passion locals have to discover art in new ways is unmatched, and this edition hopes to prove no exception. Here are ten reasons why you need a ticket…

10. You can have your photograph taken by a Grey’s Anatomy actor-turned-artist. It’s time to unleash your inner animal as the fair welcomes photographer Charles Michael Davis as its Guest Artist. Each solo photo session will result in one unmasked and one animal-masked action shot—directed and shot by Charles himself.

9. Get a personalized haiku written just for you based on any word or phrase you offer the in-house poet. It’s written art, curated by you!

8. Discover the wonder of light and color in a cosmic light bath installation—a truly “you had to be there” experience.

7. Let fate decide in a mystical fortune-telling experience doused in neon for good measure (and for posting, of course).

6. Peruse art after your drinks are poured. The bar inside the fair offers a selection of alcoholic and non-alcoholic drinks to enjoy while you browse. 

5. Become the artist by making your very own risograph print at the Print Shop LA workshop space.

4. Kick off the weekend with the feel-good vibes of dublab’s vinyl-only DJs.

3. Become the artist again. Delight in the joys of analog with a Polaroid embroidery workshop. 

2. Embrace the rebel spirit with a new exhibition, Acts of Liberation, guest curated by Taylor Bythwood-Porter.

1. Now to the core of what makes The Other Art Fair, well, other. Unlike the usual gallery-led fairs, this event allows you to meet 140 up-and-coming artists. Artists who work with paint, clay, and even pillows (yes, that’s right) will be selling original work from $100. Your home is about to get a lot more interesting.

To learn more and get tickets, visit theotherartfair.com.

 

people browse an art fair

people talk at an art fair

people talk at an art fair

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 Other Art Fair Returns to Los Angeles for Its 10th Edition appeared first on Colossal.

Gallery hosts reception for new artists

By in Native

Gallery hosts reception for new artists

GREENSBURG – Art on the Square Gallery on the north side of the Greensburg Square is displaying the works of artists Vern Bedel and Leslie Newton until the end of September.

Friday evening, during the Farmers Market Fourth Friday, the artists were on hand to greet AOTS patrons and answer questions about the pieces on display.

Newton is a Decatur County native who worked in the Jay School Corporation in Portland, Indiana, for 36 years as an art teacher.

Newton received her Bachelor degree, her Master’s degree and an Endorsement for Gifted and Talented Students at Ball State University, and is following a path set by her mother and grandmother, who are both artists as well.

She won a Lilly Scholarship to study in New Mexico where she found her love for all things southwestern.

In 1999, she received the Indiana Elementary Art Educator of the Year award while helping write the Indiana K-12 Standards for Art Education.

She’s returned to New Mexico seven times since retiring.

She enjoys painting native southwestern architecture and geology, and for this show Newton chose oils and acrylic paintings portraying the Native-American dwellings seen in her travels.

“When you go out west, you see the skeletal bare bones of the earth. Very angular, very flat, and I love the way the light plays, but here in the east, shapes are softer and it seems that everything is covered in green,” she said.

Bedel was born and raised in Decatur County, but explored many different paths before getting his Bachelor degree in Art at Ball State.

Fascinated by the works of M.C. Escher and “tessellation,” a style for which Escher is well-known, Bedel shared Escher’s style with his students while teaching art in Elwood, Indiana.

Bedel’s other works represent different parts of his career as an art teacher and they range in topic and appeal.

The phases in Bedel’s life vary in sharp contrast from each other, and so do the nearly 45 pieces making up his display at the Gallery.

Art on the Square Gallery hours are 11 a.m. to 3:30 p.m. Wednesday through Friday and 11 a.m. to 2 p.m. on Saturdays.

Visit Art on the Square Gallery in person or online at www.artonthesquare gallery.com/.

“I wanted to mythologise them”: Tom Ringsby captures a band of fire breathing acrobats

By in Photography

“I wanted to mythologise them”: Tom Ringsby captures a band of fire breathing acrobats

While “performers” may be the most appropriate description of the group, summarising what they do isn’t a simple task because of the sheer breadth of their talents. From fire-breathing and acrobatics, to dance, clowning, juggling, contortion and drumming, their talents are many, and they can often be found performing at all sorts of events and spaces, from cruise ships, hotels, festivals and carnivals, circuses, birthday parties. To capture the gasp-inducing energy, action and magic of their live performances, when with the band Tom created a documentary – Dragon Boys. But for the adjoining photographic element Men on Fire, he wanted to create contrast, instead lensing in on “the calmer moments between the action” away from the audiences, using “considered portraiture” to capture the essence of each member.

While Accra is “a very busy place”, Tom explains that the group had their secret spots, calm places to get away from the bustling city, practice and hang out. “It definitely helped that when the sun is rising or setting on Ghana, there’s nowhere more beautiful,” Tom adds. With such enigmatic figures and a landscape to match, Tom had clear intentions; “I wanted to mythologise them and portray the sense of heroism and mystery they inspire in the local kids.”

The image that fulfils this goal in its entirety is one of Prince on a horse, fire stick in hand, the onset of dusk enveloping the beach he rides down. With Prince turned to the camera with a calm authority and the low light giving the shot a hazy, dream-like quality, the scene has a breathtaking grandeur about it. But alongside such grandeur the quieter, more simple shots also resonate with Tom. In one group shot at the training-ground-cum-club-house, the camera centres on the face of Emmanuel, his face cocked to the side slightly in an offhand manner. While in their costumes and body paint, this in between moments exudes calm and a comfortable kinship. “They’re all such professionals, they’re always pulling amazing poses and looking like superheroes,” Tom says, “but this was a more relaxed moment.”

As well as hoping that his documentary and photo series may help the group get more gigs, exposure, and a chance to share their skills far and wide, Tom also hopes that they will bring more attention to the unique culture and heritage of Ghana. “It’s definitely stepped further into the international consciousness and I hope that continues,” he says. “If this inspires someone to read up on what’s happening in Ghana these days or even visit there, that’s a pretty good result.”

Pace gallery to open in Tokyo next year

By in Art World News

Pace gallery to open in Tokyo next year

After more than one year of hinting, Pace will open a gallery in Tokyo in spring 2024. This will be the mega gallery’s eighth location across six countries, joining spaces in London, Geneva, Seoul, Hong Kong, New York, Palm Beach and Los Angeles.

The 5,500 sq. ft Tokyo gallery will be housed in the lower three floors of a building designed by the British architect Thomas Heatherwick in the new Azabudai Hills development in central Tokyo. This eight-hectare mixed-used urban park is being built by Mori Building, the property developer that owns the Mori Art Museum, one of Japan’s leading private art institutions. The Azabudai development will open in November and cost around $4.4bn.

“It will be a glass pavilion popping through a lawn,” says Marc Glimcher, Pace’s chief executive, of the forthcoming Tokyo gallery. “Heatherwick has designed a huge green sloping expanse that serves as the roof of the building in which our gallery is housed.” A number of cafés, bookstores and the Mori Museum’s Azubadai gallery will also be located in the new development, Glimcher says, while the Borderless experiential art centre of TeamLab, a Japanese artist collective on Pace’s roster, is also nearby. Pace was invited by Mori Building to become one of the last tenants to take an available space in the development.

Rendering of interior of Pace Tokyo

© DBOX for Mori Building Co Ltd Azabudai Hills

Pace’s opening is the latest vote of confidence in the Japanese art market, which this July saw the first edition Tokyo Gendai, the country’s first major international art fair. Around a month before the fair opened, it was announced that the ministry of trade would grant non-Japanese galleries at the fair “bonded status”, allowing them to circumvent certain onerous import tax laws that have long discouraged foreign dealers from doing business in the country. Thus far, only a small handful of Western galleries have opened up Tokyo galleries, such as Perrotin and Blum & Poe.

“Tokyo is at an inflection point,” Glimcher says. “It’s only time before others open up here too. They just have to wake up.” The American dealer says that tax laws for overseas galleries in Japan are “moving well in the same direction” as Tokyo Gendai, and that he expects to soon be able to operate in the same way as he can at the fair.

Rendering of interior of Pace Tokyo

© DBOX for Mori Building Co Ltd Azabudai Hills

But it was especially the success of Pace Seoul, which opened in 2017, that led Glimcher to move ahead with a space in Tokyo. Seoul has “charted a new path for an East Asian city to become incredibly connected to the international art world in a short amount of time”, he says. “It is true that Japan is still relatively isolated to the global market. But I heard this when I announced plans to open in Seoul—that it’s a ‘closed system’ which I’d never be able to break in to. And look now. I think Korea has prodded Japan into action.”

Japanese collectors’ and consumers’ interest in luxury goods and fine art has led to a wealth of partnerships between artists and fashion brands—a phenomenon that is becoming increasingly common in the West, albeit to dubious critical reception. Asked whether Pace Tokyo’s opening will see the gallery explore more luxury partnerships, Glimcher says: “There are things that culturally feel okay in Japan that don’t feel so good elsewhere. But we are definitely going to be looking at things that we haven’t in the past, and play catch up too.”

Pace currently represents three Japanese artists or artists groups: TeamLab, Yoshitomo Nara and Kohei Nawa. It also counts on its roster Lee Ufan, who is South Korean but spent a significant amount of time in Japan. The opening show for the Tokyo gallery has not been announced; its director has yet to be selected.

3D photography on your iPhone? Apple’s future Ultra model could make it happen

By in Photography

3D photography on your iPhone? Apple’s future Ultra model could make it happen

In the coming year, Apple’s Vision Pro is poised to make a splash in the market, potentially reshaping our perception of virtual reality. Featuring a cutting-edge 3D camera for snapping spatial photos and videos, the Vision Pro promises to bring us closer to the futuristic worlds seen in sci-fi movies. What’s more, if the latest rumor is to be believed, the Vision Pro might not be the only Apple device dabbling in the world of 3D capture. A recent leak, uncovered by MacRumors, hints at Apple’s potential development of an iPhone Ultra featuring a 3D camera. This future iPhone Ultra could have the capability to capture spatial photos and videos designed for viewing on Apple’s Vision Pro headset. The rumor goes as far as to suggest that this innovation will “lead the market to rethink what kind of photos and videos a mobile phone should take.”However, don’t hold your breath just yet – if this pans out, we’ll likely have to wait a long time for this iPhone Ultra model. As for the exact release date, well, that’s still up in the air, especially considering it’s all based on a single leak. We’ll have to wait and see, possibly in 2024 or beyond. One thing we can be quite sure of is that if the rumor becomes a reality, you’d definitely need a Vision Pro headset to enjoy those spatial photos and videos.

Let’s dive into the topic of spatial photography for a moment

Spatial photography, often referred to as 3D photography, is a technique that captures images in a way that conveys depth and a three-dimensional sense of space. It typically involves taking multiple photos from slightly different angles or using specialized cameras to create a stereoscopic effect. It’s commonly used in virtual and augmented reality and 3D modeling. At this year’s WWDC 2023, Apple dropped the idea of spatial photos and videos, which will let people relive cherished moments as if they are there again (Black Mirror, much?). With the Apple Vision Pro headset, you can rewatch those moments and even capture new ones.

 

The Apple Vision Pro headset is loaded with sensors on the outside. Some of these sensors keep track of how far away things are in front of you (depth maps), and others are cameras that capture what you see. Now, when it comes to spatial photos and videos, they rely on having multiple cameras spaced apart just right. This setup helps create that 3D effect and depth perception in the images and videos you capture.

To make spatial photography happen on a future iPhone Ultra, Apple would have to stick an extra sensor on the back. This extra sensor has to be the right distance (or similar to the distance between your eyes) from the other cameras to give that 3D effect. But here’s the catch: doing this on a smartphone isn’t a walk in the park. So, while spatial photos and videos sound cool, we’re not sure if it’s doable on a phone just yet.

And let’s keep in mind that the iPhone Ultra is still just a rumor. It might be the fanciest option for the iPhone 16 lineup next year, but there’s no official word that Apple is actually working on it. So, it’s a bit of a mystery right now.

[INTERVIEW] Phillips Asia chairman sees Korea as foothold in Asian art market

By in Art World News

[INTERVIEW] Phillips Asia chairman sees Korea as foothold in Asian art market
Jonathan Crockett, chairman and head of 20th century and contemporary art at Phillips Asia, poses in front of Julien Nguyen's 'New World Order' (2016) prior to his interview with The Korea Times at Songwon Art Center in central Seoul, Aug. 31. The global auction house is hosting a pop-up group exhibition, 'Briefly Gorgeous,' at the center until Saturday on the occasion of Frieze and Kiaf Seoul. Korea Times photo by Choi Won-suk
Jonathan Crockett, chairman and head of 20th century and contemporary art at Phillips Asia, poses in front of Julien Nguyen’s “New World Order” (2016) prior to his interview with The Korea Times at Songwon Art Center in central Seoul, Aug. 31. The global auction house is hosting a pop-up group exhibition, “Briefly Gorgeous,” at the center until Saturday on the occasion of Frieze and Kiaf Seoul. Korea Times photo by Choi Won-suk


‘Briefly Gorgeous’ exhibition offers unique blend of established, emerging artists

By Park Han-sol

It isn’t just the galleries and museums across Korea that are joining the art-filled action on the occasion of the return of two major art fairs ― Frieze and Kiaf Seoul ― this week.

As the leading global auction houses have mounted their own free pop-up exhibitions throughout the capital city, dazzling art lovers who are traveling beyond the fair venue at COEX in southern Seoul, Phillips is stealing the limelight with its fresh approach.

Whereas Sotheby’s and Christie’s have zeroed in on bringing multimillion-dollar Basquiats, Warhols, Banksys and Harings, Phillips has used a notably different tactic in its presentation, putting the works of established masters like Alexander Calder and David Hockney in dialogue with those of the emerging creatives.

Lee Yoo-ra, Oh Se, Kim Ho-jae and Annette Hur are some of the rising Korean-born artists featured in the roster of more than 30 artists in its group show, “Briefly Gorgeous,” which runs until Saturday at Songwon Art Center in central Seoul.

Such a blend of art titans and next-generation talents in its showcase reflects the auction house’s reputed role in bringing emerging international names to the market in addition to 20th century luminaries, according to Phillips Asia chairman Jonathan Crockett.

Jonathan Crockett, chairman and head of 20th century and contemporary art at Phillips Asia, poses in front of Julien Nguyen's 'New World Order' (2016) prior to his interview with The Korea Times at Songwon Art Center in central Seoul, Aug. 31. The global auction house is hosting a pop-up group exhibition, 'Briefly Gorgeous,' at the center until Saturday on the occasion of Frieze and Kiaf Seoul. Korea Times photo by Choi Won-suk
“Briefly Gorgeous” includes 20th-century icon Alexander Calder’s “One Yellow Crinkle” (1975), a moving sculpture ― or “mobile” ― valued at $1 million. Courtesy of Phillips


Jonathan Crockett, chairman and head of 20th century and contemporary art at Phillips Asia, poses in front of Julien Nguyen's 'New World Order' (2016) prior to his interview with The Korea Times at Songwon Art Center in central Seoul, Aug. 31. The global auction house is hosting a pop-up group exhibition, 'Briefly Gorgeous,' at the center until Saturday on the occasion of Frieze and Kiaf Seoul. Korea Times photo by Choi Won-suk
Korean-born artist Oh Se’s three ceramic works are on view at “Briefly Gorgeous.” Courtesy of Phillips


“It’s long been in Phillips’ DNA to be the house that works on the cutting edge of the contemporary market, bringing new names in our auctions and selling exhibitions… It’s important for us to give the opportunity to artists and use our auction as a platform to reach a wider, more global audience than they might be able to do within their own pre-existing ecosystem,” he said in an interview with The Korea Times, Aug. 31.

“But we’ve also been simultaneously developing our success in the 20th century art market with some significant sales recently.”

In Phillips’ New York sale in May 2022, Jean-Michel Basquiat’s “Untitled” (1982), a monumental red painting of a horned devil, was hammered for $85 million ― the most expensive lot the house has sold in its history.

“The work was consigned by an Asian consignor and went to an Asian buyer. This means that our Asian client base has proved to be invaluable to our success as a company on a global level,” he added.

Jonathan Crockett, chairman and head of 20th century and contemporary art at Phillips Asia, poses in front of Julien Nguyen's 'New World Order' (2016) prior to his interview with The Korea Times at Songwon Art Center in central Seoul, Aug. 31. The global auction house is hosting a pop-up group exhibition, 'Briefly Gorgeous,' at the center until Saturday on the occasion of Frieze and Kiaf Seoul. Korea Times photo by Choi Won-suk
Installation view of “Briefly Gorgeous” at Songwon Art Center / Courtesy of Phillips


Phillips was a relative latecomer to the Asian art market compared to its rivals, launching its first auction in Hong Kong in 2015.

But at the helm of its current executive chairman Edward Dolman, the house has prioritized the expansion of its business in the region, hiring more than 100 employees over the years across eight different cities, including Hong Kong, Seoul, Tokyo and Shanghai. Last March, it opened its new Asia headquarters in the West Kowloon Cultural District ― the largest of any auction house in Hong Kong.

The participation from Asian clients is growing year by year, both regionally and internationally, in all of its major auctions, Crockett noted. “Approximately 35 percent of our buying activity comes from Asia on a global level now, based on the results seen from the last three years.”

The firm opened a regional office in Seoul’s Yongsan District in 2018. Last September, in time for the debut of Frieze Seoul, it hosted its first curated pop-up exhibition in the city, “New Romantics.” Shortly after, it announced the appointment of a new regional director of Korea to expand its footprint in the country.

“Korea remains very important and highly relevant in the pan-Asian stage. I think it’s very much up there with other leading art hubs in Asia, including Hong Kong and perhaps Shanghai,” said the Asia chairman.

The country’s strategic location in the Northeast Asian region as well as its key economic conditions ― existing tax incentives for artworks and openness that makes the import and export of art pieces feasible, among others ― makes its art ecosystem a viable and attractive one, he added.

Jonathan Crockett, chairman and head of 20th century and contemporary art at Phillips Asia, poses in front of Julien Nguyen's 'New World Order' (2016) prior to his interview with The Korea Times at Songwon Art Center in central Seoul, Aug. 31. The global auction house is hosting a pop-up group exhibition, 'Briefly Gorgeous,' at the center until Saturday on the occasion of Frieze and Kiaf Seoul. Korea Times photo by Choi Won-suk
Scott Khan’s “Resting by the Stream” (1985) is currently on display at “Briefly Gorgeous.” Courtesy of Phillips


And as for the collectors’ buying activities, Phillips’ transactions coming from Korean clients have risen by some 340 percent since 2018. The auction house has also witnessed a rising demand from Korean collectors for works by lesser-known artists, signaling a shift in the market dynamics.

“Koreans have long been pioneers in collecting artwork from around the globe by some of the world’s leading artists,” he said. “That continues today with a younger generation of collectors who are looking to experiment and invest in the most in-demand yet youngest names ― as in names that are new to the market here. This is a phenomenon that’s happening across Asia, but we see it happening in Korea on a heightened level.”

For instance, Scott Kahn, a 77-year-old American landscape artist who lived in obscurity for most of his life, has recently found success in the secondary market. Khan’s “Resting by the Stream” (1985) is currently on display at the Seoul show.

“There’s something here for everyone at all price points within all media ― sculptures, works in paper editions, or unique works on canvas,” the chairman spoke of “Briefly Gorgeous.”

“And the show represents Phillips in a way that it is truly international and also promotes artists from Korea, too.”

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