Mining images from mass media, advertising and entertainment since the late 1970s, Richard Prince has redefined the concepts of authorship, ownership, and aura. Applying his understanding of the complex transactions of representation to the making of art, he evolved a unique signature filled with echoes of other signatures yet that is unquestionably his own. An avid collector and perceptive chronicler of American subcultures and vernaculars and their role in the construction of American identity, he has probed the depths of racism, sexism, and psychosis in mainstream humor; the mythical status of cowboys, bikers, customized cars, and celebrities; and most recently, the push–pull allure of pulp fiction and soft porn, producing such unlikely icons as the highly coveted Nurse paintings.

Richard Prince was born in 1949 in the Panama Canal Zone. Prince’s work has been the subject of major solo exhibitions, including the Whitney Museum of American Art, New York (1992); San Francisco Museum of Modern Art, California (1993); “Fotos, Schilderijen, Objecten,” Museum Boymans–Van Beuningen, Rotterdam (1993); Haus der Kunst / Süddeutsche Zeitung, Munich (1996); Museum Haus Lange / Museum Haus Esters, Germany (1997); “4×4,” MAK Center for Art and Architecture, Vienna (2000); “Upstate,” MAK Center for Art and Architecture, Schindler House, Los Angeles (2000); Museum für Gegenwartskunst, Basel (2001, traveled to Kunsthalle Zurich, Switzerland; and Kunstmuseum Wolfsburg, Germany); “American Dream, Collecting Richard Prince for 27 Years,” Rubell Family Collection, Miami (2004); “Canaries in the Coal Mine,” Astrup Fearnley Museum, Oslo (2006); “The Early Works,” Neuberger Museum of Art, New York (2007); Solomon R. Guggenheim Museum, New York (2007, traveled to Walker Art Center, Minneapolis; and Serpentine Gallery, London, through 2008); “American Prayer,” Bibliothèque nationale de France, Paris (2011); “Prince/Picasso,” Picasso Museum, Spain (2012); and “It’s a Free Concert,” Kunsthaus Bregenz, Austria (2014). Prince’s works are in the public collections of the Metropolitan Museum of Art, New York; Modern Art Museum of Fort Worth, Texas; Museum of Fine Arts Collection, Boston; Museum of Modern Art, New York; and the Victoria and Albert Museum, London.

Prince currently lives and works in New York.

https://www.youtube.com/watch?v=BOYGFS40YTY&feature=youtu.be

“VICTOR VASARELY is a unique artist in the history of twentieth century art. Famous during his lifetime, he distinguished himself from contemporary art with the creation of a new movement: optical art. The evolution of his life of work is inherently coherent, progressing from graphic art to the artist’s determination to promote a social art that is accessible to all.

Victor Vasarely was born in Pécs, Hungary in 1906. In 1925, after graduating from secondary school, he studied medicine briefly at the University of Budapest. Even though he did not pursue these medical studies past two years, Vasarely acquired a commitment to method, objectivity, science and the thirst for knowledge which would follow him all throughout his life.

In 1929, he enrolled in Muhely, known as the Bauhaus of Budapest. This school, founded by Alexander Bortnyik and modeled on the Bauhaus of Dessau, Germany taught the lessons of artists such as Walter Gropius, Wassily Kandinsky, Paul Klee and Josef Albers. The impact of Bauhaus teachings on Vasarely’s lifetime of work would turn out to be considerable. During this period he discovered Abstract art and was introduced to constructivism. This is when he produced his famous “Etude bleue” and “Etude verte” (1929). He also devised and supported theories which promote art that is less individualistic and more collective, art which adapts to the changing modern world and to the world of industry.

Under the pressure of the Hungarian government at the time, numerous avant-garde movements were being associated with the progressive movement that was developing in politics. Like a number of his compatriots, Vasarely left Hungary and settled in Paris in 1930. He began working as a designer/creative artist at the Havas advertising agency and at Draeger’s, a renowned printer of the time. His graphic work in these agencies and later in Dewambez, allowed him to approach the world of design and aesthetics “while playing (his) role as a plastic artist.”

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

Design Miami/ is the global forum for design. Each fair brings together the most influential collectors, gallerists, designers, curators and critics from around the world in celebration of design culture and commerce. Occurring alongside the Art Basel fairs in Miami, USA each December and Basel, Switzerland each June, Design Miami/ has become the premier venue for collecting, exhibiting, discussing and creating collectible design.

Design Miami/ is more than a marketplace for design, where the world’s top galleries gather to present museum-quality exhibitions of twentieth and twenty-first century furniture, lighting and objets d’art. Each show balances exclusive commercial opportunities with progressive cultural programming, creating exciting collaborations with designers and design institutions, panels and lectures with luminaries from the worlds of design, architecture, art and fashion, and unique commissions from the world’s top emerging and established designers and architects.

By continuously expanding and enriching its program, Design Miami/ seeks to not only satisfy the demand for a high-end design fair, but also to broaden awareness of modern and contemporary design, fuel the market for collectible design, and provide an exciting yet accessible destination for collectors and enthusiasts alike. – taken from website

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“Various Small Fires is pleased to present its second solo exhibition by The Harrisons.

Newton Harrison worked from 1969 to 2012 with his wife Helen Mayer Harrison (1927-2018), and has continued to work alone since her passing. After reading Rachel Carson’s Silent Spring in the late 1960s, The Harrisons decided to only create artworks that benefit “the great web of life”, leading over many years of research and production to the genesis of the Ecological Art movement. Decades later, despite the prescience of The Harrisons and others, the planet finds itself on a short path to the sixth extinction.

In 2007, The Harrisons began to design and realize interdisciplinary works, employing a range of mediums, including landscape-scale living installations, that would not only protect the life web, but actually counter human destruction by stimulating the life web to assist in its own amelioration. The artworks collected in this exhibition, dating from 1970 to the present, demonstrate this singular approach proposed by The Harrisons to mediate the extinction of our natural world, and provide a rough and ready blueprint for countering the extinction now upon us.

Newton Harrison and his team at the Center for the Study of the Force Majeure at University of California, Santa Cruz, continue to develop and implement projects at large-scale across the globe, “aware of the short time remaining for humans to counter the devastating effect of their own greed”. Now 86 years old, Newton is profoundly encouraged by the rising movement of young environmental activists around the globe, led by Greta Thunberg, who he considers to be answering his (and Helen’s) words from their works The Lagoon Cycle (1979) and Serpentine Lattice(1993).

The Harrisons Studio consists of Newton Harrison (b. 1932) and Helen Mayer Harrison (1927—2018). Often simply referred to as “The Harrisons”, the husband and wife team are leading pioneers of the Ecological Art movement. During their prolific career, the Harrisons have been the subject of over 100 solo exhibitions, and have been included in over 250 group exhibitions. For nearly fifty years, the Harrisons have produced work across a vast range of disciplines, working in collaboration with biologists, ecologists, historians, activists, architects, urban planners and fellow artists to initiate dialogues and create works exploring biodiversity and community development. They have shown work at the 2019, 1980, and 1976 Venice Biennales; Taipei Biennial (2018); documenta 8 (1987); the Los Angeles County Museum of Art, CA; The Whitney Museum of American Art, New York, NY; Museum of Modern Art, New York, NY; The Tate, London, UK; Museum of Contemporary Art Los Angeles, CA; The Hirshhorn Museum, Washington, D.C.; Cooper Hewitt Museum, New York, NY; Museum of Contemporary Art, Chicago, IL; MoMA PS1, New York, NY; Berkeley Art Museum, CA; Boston Museum of Fine Arts, MA; San Francisco Museum of Modern Art, CA; Kunstmuseum Bonn, DE; and Kunstverein Hamburg, DE. Works by the Harrisons are included in many major permanent collections including the Centre Pompidou, Paris, FR; The Museum of Modern Art, New York, NY; the Los Angeles County Museum of Art, CA; and the Museum of Contemporary Art, Chicago, IL. Newton Harrison is a Professor Emeriti at University of California, Santa Cruz, and University of California, San Diego.” – per website

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

UNTITLED, ART is an international, curated art fair founded in 2012 that focuses on curatorial balance and integrity across all disciplines of contemporary art. UNTITLED, ART innovates the standard fair model by selecting a curatorial team to identify and curate a selection of galleries, artist-run exhibition spaces, and non-profit institutions and organizations, in dialogue with an architecturally designed venue. The next edition of UNTITLED, ART San Francisco will take place January 17 – 19, 2020 at Pier 35, 1454 The Embarcadero.

Jeffrey Lawson is the Founder and owner of Art Fairs Unlimited, LLC, UNTITLED, ART and ELEMENTS Global Trade Show, LLC. Lawson has produced and consulted on large-scale trade shows globally for the past 12 years. In 2010, Lawson founded Elements Showcase. In 2012, he established UNTITLED, ART which launched in December 2012 on the sands of Miami Beach at Ocean Drive and 12th Street, and debuted on the West Coast in San Francisco in January 2017.

In July 2017 UNTITLED, ART appointed Manuela Mozo as Director to lead the international development of UNTITLED, ART and oversee the curatorial and strategic vision of the fairs in Miami and San Francisco. Manuela Mozo was a partner at Simon Lee Gallery from 2013, where she established the gallery’s office in New York. Prior to this, Manuela was a Director at Metro Pictures and Skarstedt Gallery, both in New York. Manuela holds a Masters in Contemporary Art Theory and Cultural Studies from New York University and currently sits on the advisory board of RxArt.

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

Untitled, Art is an international, curated art fair founded in 2012 that focuses on curatorial balance and integrity across all disciplines of contemporary art. Untitled, Art innovates the standard fair model by selecting a curatorial team to identify, and curate a selection of galleries, artist-run exhibition spaces, and non-profit institutions and organizations, in dialogue with an architecturally designed venue. The next edition of Untitled, Miami Beach will take place on the beach at Ocean Drive and 12th Street, December 5 — 9, 2018.

Jeffrey Lawson is the Founder and owner of Art Fairs Unlimited, LLC, Untitled, Art and ELEMENTS Global Trade Show, LLC. Lawson has produced and consulted on large-scale trade shows globally for the past 12 years. In 2010, Lawson founded Elements Showcase. In 2012, he established Untitled, Art, which launched in December 2012 on the sands of Miami Beach at Ocean Drive and 12th Street, and debuted on the West Coast in San Francisco in January 2017. 

In July 2017 Untitled, Art appointed Manuela Mozo as Director to lead the international development of Untitled and oversee the curatorial and strategic vision of the fairs in Miami and San Francisco. Manuela Mozo was a partner at Simon Lee Gallery from 2013, where she established the gallery’s office in New York. Prior to this, Manuela was a Director at Metro Pictures and Skarstedt Gallery, both in New York. Manuela holds a Masters in Contemporary Art Theory and Cultural Studies from New York University and currently sits on the advisory board of RxArt. – from website

– for more information on additional images from this event please contact EMS at [email protected] 

or Instagram at @ericminhswenson

(from website) Untitled, Art is an international, curated art fair founded in 2012 that focuses on curatorial balance and integrity across all disciplines of contemporary art. Untitled, Art innovates the standard fair model by selecting a curatorial team to identify and curate a selection of galleries, artist-run exhibition spaces, and non-profit institutions and organizations, in dialogue with an architecturally designed venue. The next edition of Untitled Art, San Francisco will take place January 18 – 20, 2019 at Pier 35, 1454 The Embarcadero.

Jeffrey Lawson is the Founder and owner of Art Fairs Unlimited, LLC, Untitled, Art and ELEMENTS Global Trade Show, LLC. Lawson has produced and consulted on large-scale trade shows globally for the past 12 years. In 2010, Lawson founded Elements Showcase. In 2012, he established Untitled, Art, which launched in December 2012 on the sands of Miami Beach at Ocean Drive and 12th Street, and debuted on the West Coast in San Francisco in January 2017. 

In July 2017 Untitled, Art appointed Manuela Mozo as Director to lead the international development of Untitled and oversee the curatorial and strategic vision of the fairs in Miami and San Francisco. Manuela Mozo was a partner at Simon Lee Gallery from 2013, where she established the gallery’s office in New York. Prior to this, Manuela was a Director at Metro Pictures and Skarstedt Gallery, both in New York. Manuela holds a Masters in Contemporary Art Theory and Cultural Studies from New York University and currently sits on the advisory board of RxArt. 

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

Venice, CA — L.A. Louver is pleased to present an exhibition of prints by Los Angeles artist Alison Saar. For the past 30 years, Saar has maintained a robust printmaking practice, creating more than 90 prints over the course of her career. Addressing issues of race, gender and spirituality, Saar’s lithographs, etchings and woodblock prints are evocations of her sculptures, powerful depictions of figures carved from wood or cast in bronze, that are articulated with found objects – material artifacts enriched with a narrative all their own. As such, a focused selection of sculptures will be installed in dialogue with Saar’s prints, in L.A. Louver’s second floor gallery and open-air Skyroom. As an activity maintained in connection to and in tandem with her sculpture making, Saar undertakes printmaking with the same tangible approach to unconventional materials and methods. Cast-off objects like old chair backs and found ceiling tin become the foundations for etching or lithography plates. Carved panels used for woodblock prints echo the techniques established in her hewn wooden forms. A direct comparison between Saar’s sculptures and prints can be seen in the juxtaposition of White Guise Print (2018-19), a woodblock print of a woman holding an iron dripping with blood, and Sugar (2018), a sculpture of a young girl clasping a machete, her figure carved from wood and surfaced with reclaimed ceiling tin. Both are similarly expressed with the same forward stance, simple dress and cotton branches tethered to their hair. But more than subject matter, they possess a corporeal presence, embodied through an assertive use of materials and a continuity of mark-making across mediums. Saar created these as part of a series inspired by the character of Topsy from Harriet Beecher Stowe’s Uncle Tom’s Cabin. However, in Saar’s revisionist account of the story, the slave girl spurns any attempts at pacification and instead takes up arms using her tools of labor. In addition to printing on paper, Saar repurposes worn fabrics that she has collected over time, embracing tears and stains that point to evidence of use. When conceiving these prints, Saar considers the nature of the cloth to inform the content of the imagery. In Redbone Blues (2017), a striking portrait of a young man is printed directly onto a vintage handkerchief, his likeness an imaginary rendering of the handkerchief ’s original owner. Breach (2017) portrays a nude female figure steering a raft through rising waters, burdened by her belongings. Saar applied the imagery onto fabric sourced from linen seed sacks, a material not unlike the sandbags used to fortify the levees during the Great Mississippi Flood of 1927. This subject was initially realized in a large sculpture that Saar created prior to the print. The translation from a three-dimensional to a flat representation affords Saar FOR IMMEDIATE RELEASE January 2020 Media Contact: Darius Sabbaghzadeh Email: [email protected] White Guise Print, 2018-19, woodcut, relief, shellac-stained paper, handtainted iron, 55 x 27 1/2 in, (139.7 x 69.9 cm) 29 January – 29 February 2020 Reception for the artist: Wednesday, 29 January, 6-8pm the opportunity to further establish surroundings, atmosphere and environs. Saar states, “Making a 2-D work meant I could introduce all these other things that couldn’t be part of a sculpture… Here, I could dictate that context, create a scene, a tableau, a narrative.” For Saar, printmaking has become an integral part of her artistic practice, where she can experiment and collaborate with master printmakers from Tandem Press, Tamarind Institute, Mullowney Printing and others. Moreover, the process offers Saar the ability to holistically contemplate themes addressed in her sculptures and paintings. “Printmaking allows me to step back from the real physical work of sculpting,” says Saar. “I think of making prints as an intermezzo, a time to go back and reflect, and maybe rework ideas. Carving woodblocks can be tiring, but it’s nothing like the chainsaws. Making prints has become a resting period, like a lave tet, or a cleansing of the mind.”

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

https://www.youtube.com/watch?v=UIv_b5oVVrU&feature=youtu.be

Felix was co-founded by Dean Valentine and brothers Al Morán and Mills Morán. The fair’s mission is to create an intimate experience that prioritizes connoisseurship, collaboration, and community. A return to the hotel fair format, in the spirit of the storied Gramercy International Los Angeles at the Chateau Marmont, Felix grants galleries an efficient exhibition opportunity while offering the city’s collector-base intimate access and maximum flexibility. The informal setting allows for more extended conversations among collectors, dealers, and artists alike. In 2019, the inaugural edition of the fair welcomed a diverse creative audience, bringing in over 12,000 guests to experience galleries from Europe, North America, China, South Africa and Australia. The 2020 edition takes place February 13-16 at the Hollywood Roosevelt Hotel in Los Angeles.

– for more information on additional images from this event please contact EMS at [email protected] or Instagram at @ericminhswenson

https://www.youtube.com/watch?v=LRJYpo6yvzo&feature=youtu.be