One of the best things you can do this holiday season is take the time to support small businesses. They are the backbone of a community, and we should all do our part to help our friends and neighbors. So, on Small Business Saturday, come to downtown Parkersburg and see what our small businesses have to offer. You might just find the perfect gift, meal, or experience you’ve been looking for. Below is a list of businesses who will be participating in Small Business Saturday.

Artbeat Studio

of Wood County Society – Art from the Heart Shop

* Hours: 8 a.m.-2 p.m.

* Special: Raffle basket entry for any guest and consumer. A value of $150.00. They will also be offering a free gift with a purchase of $50 or more and bundle deals (metal set butterfly or dragonfly, set of metal trees, set of cork ornaments). Sign up for Artful Mondays (every Monday in December).

Artsbridge, Inc.

* Hours: 10 a.m.-3 p.m.

* Special: Artists will be set up and selling their pieces. There will be a drawing for a free Artsbridge t-shirt for anyone who makes a donation towards our fall fund drive.

Blennerhassett Museum

of Regional History

* Hours: 11 a.m.-5 p.m.

* Special: 10% off all gift shop purchases

Crystal Cafe

* Hours: 8 a.m.-2 p.m.

Discovery World on Market

* Hours: 10 a.m.-5 p.m.

* Special: Free kids STEM activity with museum entry from 1-3 p.m. in the Design Studio.

Downtown Hustle

They are hosting a toy drive through Dec. 20. Each toy will get you an entry into the drawing. Stop in and check out their selection of shakes, teas, and classes.

Julia-Ann Square

Historic District

* Special: Annual Victorian Christmas Tour & Tea

* December 1, 2 & 3

* Reservations required. Call (304) 422-9861 to purchase a ticket.

Oil & Gas Museum

* Hours: 11 a.m.-4 p.m.

Parkersburg Art Center

* Hours: 10 a.m.-5 p.m.

* Special: Visit their Artist Market. Artists will set up booths throughout the Art Center and selling handmade arts and crafts. No cost to attend.

* Visit their Holiday Open House, which is also the opening of their Artist Tree Display. Over 15 trees artfully decorated as though they were designed by famous artists. There will be snacks and refreshments available all day, and they will be hosting the award ceremony for the Wood County Schools Young Illustrators. No cost to attend.

Parkersburg

Brewing Company

* Hours: 11 a.m.-10 p.m.

* Special: $1 pretzel bites and $1 beer samples (6.5 oz).

The Blennerhassett

Hotel & Spa

* Hours: 8 a.m.-10 p.m.

* Special: Discount on specialty coffee and delicious delight from The Blennerhassett Cafe.

The Cocktail Bar

* Hours: 5-9 p.m. (dinner) & 9 p.m.-2 a.m. (bar)

* Special: Having Name that Tune starting at 9 p.m.

The Historic Smoot Theatre

* Specials: Three show special package for $109. Package includes:

Valjean, Cosette, and A String Quartet

Rock Rhapsody – Hits of Queen

Lucie Arnaz

Hometown Christmas – December 1 at 8 p.m.

The Smoot’s annual holiday musical celebration. It features a variety of local talent, harmonizing to some of your favorite Christmas melodies.

Festive Family Film Series

Disney’s Frozen – December 2 at 11:30 a.m. (includes princess meet & greet)

National Lampoon’s Christmas Vacation – December 9 at 7 p.m.

It’s A Wonderful Life – December 16 at 7 p.m.

To purchase tickets, go to www.smoottheatre.com/ or call (304) 422-7529.

Wine Down on Market

* Hours: Noon-10 p.m.

* Special: Brunch & drinks features all day. Music from The Gypsy River Band, 6-8 p.m. Call (681) 588-0425 for reservations.

For more information, go to downtownpkb.com/events/smallbiz2023.

***

Jessica Strickler is the events and marketing manager for Downtown PKB.

Mumbai has had a lot to celebrate in recent days. The city had just woken up after a Diwali hangover triggered by an extended weekend of religious celebrations, mithai-fueled foodgasms, and lively parties, when the Indian national cricket team scored a pulsating win in the semifinals of the ICC World Cup on Wednesday. And just a few kilometers away, the inaugural edition of the contemporary art fair Art Mumbai hit a ball out of its own park with a successful opening day on Thursday, November 16 (the event runs through November 19). 

The fair’s success is another sign of the recent resurgence in the Indian art market. So, what is behind this buoyancy? First off, India’s economy has scaled up significantly in recent decades, with more than six percent growth expected in the coming year, according to the Federation of Indian Chambers of Commerce and Industry. This is largely driven by private industry, particularly manufacturing, as global supply chains attempt to lessen their dependence on China.

The government also has ambitious plans to invest in digital infrastructure and support innovation and research in emergent technologies. Consequently, the International Monetary Fund (IMF)’s World Economic Outlook projects India to become the third largest economy in the world in less than five years, leapfrogging the U.K., Germany, and Japan to come just behind the U.S. and China. 

New Delhi and Kolkata gallery Akar Prakar’s stand at Art Mumbai.

Mumbai itself is the undisputed financial capital of India and is currently in hyper-wealth-creation mode. As the primary hub of private enterprise, the city has benefited from the growth in new business sectors and enterprises, which has spawned a whole new set of wealthy individuals. According to a Henley & Partners Report (2023), Mumbai already has more centi-millionaires (those with more than $100 million in investable assets) than Dubai, Sydney, Seoul or Miami. Outside the U.S. and China, only London and Singapore have more billionaires than Mumbai. The report also estimates that the number of centi-millionaires in Mumbai will grow by 80 percent over the next 10 years, a much faster rate than in other global cities. 

The city has also been a beehive of gallery activity lately, further underscoring the need for a dedicated art fair. In addition to the opening of Akara Contemporary, an advisory-turned-gallery focusing on both Indian and international contemporary artists, TARQ moved into a larger space in Fort while Kolkata’s Experimenter gallery opened its first outpost in the city in Colaba. Chemould Gallery, which is currently celebrating its 60th anniversary, also opened Chemould CoLab nearby to support emerging artists last year. Building on the presence of legacy museums and heritage architecture, Fort, Colaba, and adjoining neighborhoods have morphed into a robust contemporary arts district in the city. And Mumbai Gallery Weekend, which was started by nine local galleries in 2012, saw 32 galleries participate in 2023. 

Mumbai gallery TARQ’s stand at Art Mumbai.

Now, Art Mumbai opened its first edition with 50 galleries—and interestingly, around half of them are from New Delhi, which already has its own India Art Fair, held in February. The international galleries taking part in the fair are either diaspora-owned or specialize in art from India. The programming additionally leans on Bollywood, fashion, and the performing arts, which are deeply embedded in the city’s cultural scene. 

What makes the city especially attractive for the art industry is its existing cultural collector base and the greater appetite for contemporary art. “We have always sold more works to collectors based in Mumbai than Delhi due to the nature of the type of art we work with,” said dealer Peter Nagy of Gallery Nature Morte. “While there are exceptions, collectors in Mumbai normally are more open to experimental and progressive art forms, while collectors in Delhi tend to be more conservative in their tastes.” 

Puneet Shah, the founder of Akara Contemporary in Mumbai, told me that in India, “younger buyers today are extremely well-travelled and their exposure and relationships are global.” He started Akara as an art advisory in 2009 and pivoted to a gallery model in 2015. This year, he opened Akara Contemporary to follow the evolution of his clients’ personal tastes. “They prefer a more eclectic collection.” 

Kolkata and Mumbai gallery Experimenter’s stand at Art Mumbai.

Priyanka Raja, a co-founder of Experimenter Gallery, is encouraged by the number of clients in India who are invested in building a collection. What she finds remarkable is that a lot of the new interest is coming from smaller towns beyond the metros. “We are now selling works to clients in places like Jamshedpur, Surat, Raipur, Indore, Chandigarh and Pune. The base is now far more diverse and has expanded beyond the South Mumbai or South Delhi demographic,” she said, pointing to the rise in presenting art on digital platforms as a significant factor in this development. “Social media has broken the accessibility barrier further, both locally and globally.”  

For Minal Vazirani, a co-founder of Saffronart and of Art Mumbai, the first year is about “building a platform which enables our galleries to showcase the best of South Asian art and artists to collectors, curators and institutions,” she said. In the long run, she hopes that they will be able to present Mumbai and its relationship with the arts to the wider world. 

On the fair’s opening day, the ambience was almost festive. The event’s founders, Minal and Dinesh Vazirani, brought together key stakeholders, starting with their own existing auction house clients and local galleries, to leaders from private museums and biennales. The prevailing consensus seemed to be that collaboration is the way to take the Indian art market to the next level, and that everyone stands to benefit if the market expands in the right way. Many galleries also appeared to be making their presentations more accessible for first-time buyers, by including smaller or paper-based works in their booths. 

Kiran Nadar Museum of Art’s Tribute to artist Vivan Sundaram (1943-2023) at Art Mumbai.

New York-based AICON Contemporary, whose works ranged from $3,000 to $60,000, had sold 10 out of the 15 works on show in its stand by the fair’s first public day on Thursday. Buyers included both private collectors and institutions, including the private Kiran Nadar Museum of Art in New Delhi. Projjal Dutta, a partner at the gallery, was excited by the fact that his first two sales were to new buyers. “It is such a natural proposition that you must really ask—why wasn’t an art fair already happening in Mumbai?” he told me. “Commercial considerations apart, I also have long-standing relationships with collectors, friends and artists based here—and I grew up in India; it did not need any convincing for me to participate in this fair.” 

Experimenter Gallery, with galleries in Kolkata and Mumbai, which also regularly participates in Frieze and Art Basel among other international art fairs, sold one or more works by each of the 17 artists they were showing on the opening day. The works on display ranged from $5,000 to $50,000. Raja, the gallery’s co-founder, said there was “tremendous energy” on the first day. “We are also very happy to note that we sold to new collectors whom we had not met before, which is unusual in a domestic fair for us,” she added.   

Mumbai advisory-turned gallery Akara Modern’s stand at Art Mumbai.

Sanya Malik of Black Cube, a young gallerist who was making her first appearance in an art fair, was charged up by the experience. “For a new alternate gallery model like ours without a physical space, art fairs are an imperative to connect directly with new clients,” she said. Black Cube was showcasing previously unseen works by Modern masters like Krishen Khanna, Thota Vaikuntam, and Jogen Chowdhury, alongside emerging contemporary artists, with prices ranging from $1,200 to $85,000. “Rest assured; we are already planning our return for the next edition.” 

And the Delhi-born and New York-based artist Tara Sabharwal, whose works were on show at the Art Alive Gallery booth and who was visiting the city for the fair, ahead of a big solo exhibition in New Delhi next month, said: “What impressed me most was the exuberance, reflective of a sense of optimism against all odds. Optimism which is rooted in collectiveness.” 

Art Mumbai is held at the Mahalaxmi Race Course, Member’s Enclosure in Mumbai, from November 16–19, 2023.

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While some risk was offloaded to third-party guarantors at the November series, and sales hit estimates, Sotheby’s saw a loss on a Rothko and seemingly the Fisher Landau collection.

In “Gravity and Grace,” Japanese artist Shinji Ohmaki poses a broad, if not daunting, question: what does it mean to exist? The installation, which features an imposing vessel carved with flora and fauna, radiates from the center and casts shadows in varied sizes and opacities around the gallery. Bulbous near the base with a slimmer neck that reaches toward the ceiling, the work’s shape evokes the tower of a nuclear power plant and spills light in every direction.

This iteration of “Gravity and Grace,” which is part of a series ongoing since 2016, is included in Ohmaki’s exhibition Interface of Being on view now at Tokyo’s National Art Center. The solo show features works made in response to the devastating 2011 earthquake and tsunami that killed nearly 20,000 people and caused the Fukushima Daiichi Nuclear Power Plant to melt down and release radioactive water.

Reaching up to a whopping 840,000 lumens, “Gravity and Grace” harnesses the interplay of light and shadow to critique modern society’s dependence on energy, literally mapping illuminated patterns onto the viewers who pass by. The contrast also draws attention to nature’s cycles and the artist’s enduring interest in time and space, particularly the reminder that we all inhabit this planet for a relatively brief moment.

If you’re in Tokyo, you can see Interface of Being, which also includes a gossamer sculpture that undulates across the gallery like billowing fabric, through December 25. Otherwise, find more from Ohmaki on his site and Instagram.

Detail of “Gravity and Grace” (2023). Image courtesy of A4 Art Museum

“Gravity and Grace” (2023), installation view at National Art Center. Photo by Keizo Kioku

Detail of “Gravity and Grace” (2023)

“Liminal Air Space—Time Vacuum Fluctuations,” installation view National Art Center. Photo by Keizo Kioku

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 Botanical Patterns Spill from Shinji Ohmaki’s Existential Vessel appeared first on Colossal.

Comprised of approximately 350 gallerists, art publishers, and fine art dealers, the Association of German Galleries and Fine Art Dealers, known as BVDG, maintains a mission of promoting and securing the best interests of its members across spheres—public, political, and economic. The largest union of its type in the world, BVDG is an important and influential partner and consultant within the art market and greater art world, providing special insight into the unique and often diverse activities of gallerists, dealers, and publishers.

Amongst its many partnerships, one of BVDG’s most significant collaborations is with Art Cologne art fair, widely considered the oldest fair of its kind. With the opening of the 2023 edition underway, Vice Chairwoman Anke Schmidt of BVDG held a press conference, highlighting the new and ongoing facets of the two organization’s collaboration.

Anke Schmidt, Vice Chairwoman BVDG; ©Anke Schmidt.

Each year, Art Cologne and BVDG together organize the New Positions, a funding program for young and emerging artists, which helps enable them to gain better access to the market at large. Leveraging the wealth of experience and knowledge of BVDG’s member galleries, the juried initiative has chosen 20 artists to support, including Natalie Paneng, Céline Ducrot, and Jonas Roßmeißl. “Galleries are the real discoverers of new talents, and this has been honored by the Art Cologne sponsorship program since the early 1980s. It is a best-practice model with a high impact, because the selected artists are given a wonderful opportunity to grow into the art market,” said Schmidt.

Another important part of the fair and union’s collaboration is the Art Cologne Prize, an annual award that recognizes exceptional commitment and contribution to the art world. The 2023 awardee is the inimitable Walther König, a veteran force with the realm of arts publications who has dedicated himself to the production of artists’ books—a mode he pioneered through close relationships and working partnerships forged over the course of many decades. He has served as present of Art Cologne for 56 years; a stalwart fixture of the fair that has garnered him and his practice both followers and admirers. The Art Cologne Prize is accompanied by an endowment of €10,000, presented jointly by BVDG and Koelnmesse.

Walther König. Courtesy of BVDG.

“Walther König is the first Art Cologne prize winner who is equally important for the entire art scene—for the artists, museums, art associations and galleries with whom he has made an incredible number of books” Schmidt commented. “And for legions of art lovers, academics, specialists, and other readers… also for anyone who just wants to buy a postcard or a shop item in a museum.”

Birgit Sturm and Silvia Zörner (both of BVDG) at the “Praxistag für Galerien” (Workshop Day for Galleries) conference organised by the BVDG in Cologne (2022). Photo: Raphael Hingst, Galerie Frank Schlag & Cie.

One of the leading concerns of both BVDG and its members has been the VAT rate for the commercial art market within Europe. In 2014, the E.U. abolished a reduced rate of VAT for businesses such as galleries, placing a significant tax burden—19 percent in Germany—to all commercial art business. However, due in large part to ongoing and persistent petitioning and pressure from BVDG in partnership with other stakeholders, last year a coalition agreement was made, and the German government took steps to reconsider implementing a reduced VAT rate for art objects. This mirrors steps other E.U. countries have already taken, which had led to inequitable treatment of German galleries and art businesses, including art publishers, to date. The new rate would see the VAT as low as 7 percent, and reflects Germany’s cultural policy of fostering and promoting the arts within the country through beneficial business practices.

Spoken about by Schmidt at the opening of the 2023 edition of Art Cologne, the fair marks a new chapter and new horizon for the German—and international—art world.

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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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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/

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.

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

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

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

“Xicalpapalotl,” Book 11, Folio 100r

“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.