YU YAMAUCHI
PRESS
HARPER'S MAGAZINE (May 2013)
Tokyo-based photographer Yu Yamauchi's DAWN series - capturing a boundless space from the top of Mt. Fuji - is illustrated in HARPER'S MAGAZINE, May 2013 issue (page 18-19).
MOTHER MAGAZINE Volume 2
This UK-based art/fashion/culture magazine will feature a long interview of Yu Yamauchi on his DAWN series and full page sprays of DAWN photographs.
JOSEPH BURWELL
SOLO EXHIBITION
Reconstruction of the Garage: the Dormant Stage
Curated by John J. McGurk
On view: May 8 - May 12, 2013
School Nite "Wish Meme," Ideas City Festival, New Museum
Old School, 233 Mott Street, Nolita, New York
GROUP EXHIBITION
Epic Fail
Storefront Bushwick, NY
Opening Saturday June 1, 7-10PM
On view: June 1 - June 23, 2013
School of the Viking Spaniard Revisited
The Halsey Institute of Contemporary Art, SC
Opening Friday August 23, 5-7PM
On view: August 23 - October 5, 2013
MILCHO MANCHEVSKI
SOLO EXHIBITION
FIVE DROPS OF DREAMS
Solyanka Gallery, Moscow
On view: May 1 - June 6, 2013
Internationally acclaimed film director Milcho Manchevski's elegant and skewed photo compositions of street scenes he took in five continents between 1999-2010.
PROJECT
Collaboration with VGIK (Russian State Film University) Milcho Manchevski is leading a 3-month program in film acting and directing at VIK. The Moscow Times featured the story (April 25, issue 5117).
CLEVERSON OLIVEIRA
GROUP EXHIBITION
Satellite: An MerzBausubtropical Experience
Bienal Internacional de Curitiba, Brazil.
For its Second Edition, Cleverson Oliveira is invited to create an architectural installation which includes video projections, performances and experimental sounds.
Opening: Saturday, August 31, 2013
YANA DIMITROVA
RESIDENCY
New York based painter Yana Dimitrova is currently taking part in RU international artists residency program in New York.
Residency period: February - June 2013
JOSE LUIS FARINAS
PROJECT
Goethe's Faust
Renowned Spanish art book publisher LIBER ediciones will be publishing Goethe's Faust fully illustrated by Cuban artist Jose Luis Farinas. This is their third collaboration, which previously includes two First National Prize for Book of High Bibliophilic Art from Spain (Apocalipsis in 2010, Cervantes in 2006).
TAKAKO AZAMI
GROUP EXHIBITION
Ohara Contemporary
Ohara Museum of Art, Okayama, Japan
On view: April 20 - July 07, 2013
UPCOMING EXHIBITION
ITS IN THE CARDS
Curated by David Gimbert
Opening: Thursday June 6, 6-8pm
On view: June 6 - July 20, 2013
Artists: Paco Cao, Scott Goodman, Andrew Graham, Taylor Shields, Paul Hunter Speagle, Billy Rennekamp, Joshua Weibley
Group exhibition presenting works focused on cards as a medium for social discourse, interactivity, and leisure.
Japanese photographer Yu Yamauchi (b. 1977) has achieved a series of color photographs of open sky at dawn seen from the near summit of Mt. Fuji (12,389 ft) while living there a total of 600 days over four years. In collaboration with Tokyo's independent publishing house AKAAKA, Yamauchi created his first monograph "DAWN (夜明け)" (2010) just before the massive earthquake/tsunami and nuclear plant crisis devastated his nation. The nature's sublime infinity Yamauchi experienced and grasped became an instant sensation among young Japanese readers.
In fall 2012, Miyako Yoshinaga Gallery presented this amazing series for the first time outside Japan. Once we released the exhibition information, the cyberspace community reacted immediately by circulating the dawn images borderless. In May 2013 issue of Haper's Magazine, the second oldest monthly magazine in the United States, Yamauchi's DAWN #37 and DAWN #16 were featured on page 18 and page 19, thanks to the great support by its art director Stacey Clarkson.
Yu Yamauchi's DAWN series is available as a framed or sheet print in limited editions. For details, please contact us at info@miyakoyoshinaga.com.
Joseph Burwell was interviewed by Lara Hidalgo in a recently published online article in the New York Foundation For the Arts' website. Burwell is a 2011 NYFA Fellow (Printmaking/Drawing /Artists Books). To read the article, please click here.
The online catalog of Joseph Burwell exhibition (not through April 13, 2013) is now available online. Please click, view, and save it! http://miyakoyoshinaga.com/images/artists/reviews/JB_catalogue_.pdf
A Happy Year of the Snake!
Click here to explore our online presentation of Jan/Feb exhibition: "Soul's Documents'," featuring Jose Luis Farinas' drawings.
Enjoy viewing each image in an enlarged format as well as a slide show!
We're happy to inform you we will reopen Tuesday Nov. 6. Please also read this review article for our current show "DAWN" truly majestic photographs by Yu Yamauchi. We wish our colleagues, artists, and anyone affected by the hurricane Sandy a safe and speedy recovery.
Flavorpill>ART>PHOTOGRAPHY
by Emily Temple, Sun. Oct. 28, 2012
For five months a year over four years, self-taught Japanese photographer Yu Yamauchi lived in a small hut on the top of Mt. Fuji, some 10,000 feet above sea level, and rose every morning to shoot the absurdly magnificent sunrises. The resultant project, Dawn, which we spotted over at Feature Shoot, is a breathtaking reminder of the beauty and changeable nature of the natural world — each of these photographs was taken from the same spot, the colors and shapes changing not just by the day, but by the second.
“This space, “above-the-clouds,” exists far from the ground where we live our daily lives,” Yamauchi writes. “It is also a space between the earth and the universe. Being there simply reminds me of the face that we live on the earth which is a planet within an infinite space of the universe.” Stop by and see Dawn at Miyako Yoshinaga gallery in New York, where it will be on display through November 21, or head on over to Yamauchi’s website to see many more beautiful sunrises.
We hope you are safe and sound, and Hurricane Sandy did not affect you, your family, or your business in a major way. As you may know by now, the West Chelsea gallery community was impacted by flooding and is experiencing ongoing power outages. We are very fortunate that our building and gallery space were not damaged, but many others are going through a very difficult time. We wish all members of the art community a safe and speedy recovery.
At this moment we are unsure when power will be restored, and our gallery will remain closed until next Tuesday.
As for our Yu Yamauchi Talk event scheduled for Nov. 1, we have decided to hold a more intimate, casual presentation in Shetler Studios, 244 West 54th Street, 12th Floor, Room 1203 (bet. 8th Ave. & Broadway). The start time is still 7pm. Our alternative number is 917 805 5651.
Yu Yamauchi, who spent 600 days near the summit of Mt. Fuji, knows this extreme situation, and is looking forward to sharing his story with everyone who can make it. We hope his current solo exhibition "DAWN" is back as soon as possible, and hope you can come and see this amazing show soon.
For five months a year over four years, self-taught Japanese photographer Yu Yamauchi lived in a small hut on the top of Mt. Fuji, some 10,000 feet above sea level, and rose every morning to shoot the absurdly magnificent sunrises. The resultant project, Dawn, which we spotted over at Feature Shoot, is a breathtaking reminder of the beauty and changeable nature of the natural world - each of these photographs was taken from the same spot, the colors and shapes changing not just by the day, but by the second.
"This space, "above-the-clouds," exists far from the ground where we live our daily lives," Yamauchi writes. "It is also a space between the earth and the universe. Being there simply reminds me of the face that we live on the earth which is a planet within an infinite space of the universe." Stop by and see Dawn at Miyako Yoshinaga gallery in New York, where it will be on display through November 21, or head on over to Yamauchi's website to see many more beautiful sunrises.
Following this year's PULSE NY participation, we are pleased to present works by a selection of our artist at PULSE MIAMI 2012. For more information, please visit PULSE official website.
When a recognized filmmaker exhibits still photographs, I think we all come with the expectation that these images will be "cinematic" in some identifiable way, perhaps in their use of motion, their exploitation of camera angles or their building of narrative arcs. But Macedonian filmmaker Milcho Manchevski's globe trotting street photographs consistently turn on formal and structural elements, abstracting scenes and compositions from everyday life into two dimensional lines, geometries, and blocks of color. His sense for the cinematic comes through in their presentation, where the individual photographs are grouped into sets of 5 and then sequenced into what he calls "strings", resulting in finished works that combine abstraction with narrative progression, visual echo, repetition, and formal interplay.
Each of these works is almost like a puzzle to be unraveled or a rebus to be decoded, and slower, more deliberate looking uncovers more progressive harmonies and repetitions, especially using shadows and window reflections. Or maybe each is some form of photographic sonata, taking primary and secondary themes through introduction, exposition, development, recapitulation, and coda. Whatever the underlying structure, Manchevski's strings being movement to his formal street photographs, adding a sense of playful, symbiotic interconnection to his found abstractions.
Joseph Burwell is in 3 Exhibitions!
"MAPnificent: Artists Use Maps" Curated by Yulia Tikhonova and Brooklyn House of Kulture.
July 2nd - Aug 24th 2012
Opening Reception: July 2nd, Monday, 5pm - 7pm
At Mulberry Street Library
10 Jersey Street (Between Lafayette and Mulberry)
MAPnificent: Artists Use Maps features paintings, works on paper and sculpture that reflect the artists’ concerns for the current state of our society, conveyed though charts and diagrams, and their admiration of the map as a symbol of longing and the unknown. The works included either illustrate a scientific research in demographics, or a flow of capital, or distribution of patterns, but also present the artists’ reverence for maps. For some of the exhibiting artists, mapping is a tool to create interactive visuals with the help of sophisticated tools for image manipulation that arrange numbers into intricate geometrical forms. Maps are primarily received as directional; a subway or bus map is understood as a tool to get somewhere. In fact, the title of this exhibition borrows from a google-map application, MAPNIFICENT, which calculates the time between places via public transportation. For the artists, however, a map is often an end in itself: a work of art, filled with revelation and delight.
MAPnificent: Artists Use Maps is the part of the series Borough to Borough: Artists in Libraries that has been curatated by Yulia Tikhonova and Brooklyn House of Kulture. This series has been supported by the Brooklyn Art Council grant.
"One Year Later: Part 1" The 2011 Studio Immersion Project Fellows
July 5th - 26th 2012
Opening Receoption: July 12th, Thursday, 6pm - 8pmAt
Blackburn 2020Robert Blackburn Printmaking Workshop at The Elizabeth Foundation for the Arts
5th Floor, 323 West 39th Street NY NY 10018
*One more exhibitrion will be announced soon!
Yana Dimitrova in “Deconstructing the Habit” curated by Angela Washko
In an era characterized by conspicuous consumption, a slipping middle class, 60 hour work weeks, and systematically habitual models and standards for living, the exhibiting artists respond to the foundations of routine. The artists in “Deconstructing the Habit” respond to contemporary lifestyle models shaped by the blurring of news and advertising—the dissolving of “wants” into “needs”. Yana Dimitrova present detailed moments that are consumed daily and frequently taken for granted. The Council on Gender Sensitivity and Behavioral Awareness in RPGs unearths both subtle and not-so-subtle gender-based stereotypes in role-playing video games while Kristoffer Orum and Anders Bojen create live action role playing opportunities for already marginalized enthusiasts.
The opening reception for “Deconstructing the Habit” will take place from 6pm to 8pm on Wednesday, June 6, 2012 at Spattered Columns, 491 Broadway, 5th Floor, New York, NY 10012 featuring performance artists Zehra Khan and Tim Winn.
www.artconnectsnewyork.org
Following last year's participation in IMPULSE, We are participating in PUSLE New York 2012 from May 3 to May 6.
Our featured artists include JOSEPH BURWELL (drawing/print), CAROLYN SWISZCZ (painting), VOSHARDT/HUMPHREY (video/photography), JONATHAN HAMMER (drawing/sculpture), and HANS BENDA (painting).
LOCATION
PULSE New York The Metropolitan Pavilion
125 West 18th Street Chelsea, New York, NY 10011
FAIR HOURS
Thursday May 3
9am-12pm Press and VIP Private Preview hosted by art net Auctions
12pm- 8pm General admission
FridayMay 4
9am-10am Private VIP Hour
10am-8pm General admission
Saturday May 5
12pm-8pm General admission
Sunday May 6
12pm-5pm General admission
"In the summer of 2011, photographer and dear friend Takahiro Kaneyama ventured to the distant shores of northeastern Japan to visit and photograph Mt. Osore. Literally translated as “Mount Fear,” this active volcano is one of the holiest destinations in all of Japan, believed to be the final passageway as one journeys to hell. This spiritual site often attracts visitors to console and remember the many lost souls. It is believed by some that here you will be able to spiritually connect with lost ancestors. A visitor himself, Taka was able to capture the essence of both fearful and tranquil elements of this holy land through his gift of photography." ... read more
The exhibit will run through April 21. Please come by!
Inbal Abergil has been nominated for her series Nothing Left Here But The Hurt by Francis Hodgson.
Now in its fourth cycle, the Prix Pictet has established itself as one of the world’s leading photography prizes. The theme of this cycle is Power, a theme that has enormous breadth, embracing hope and despair in equal measure. It is a contradictory theme that has the potential to uncover images and issues that are both awe-inspiring and disturbing. As always with the Prix Pictet the challenge is to identify images that in their own distinctive ways respond to the theme. Although it is not supposed to be in any way proscriptive, you will find a note below that is intended as a guide to the ways in which the theme might be addressed.
The Prix Pictet has two elements: the prize of CHF 100,000 awarded to the photographer who, in the opinion of the independent jury, has produced a series of work that responds most convincingly to the theme of the award; and a Commission in which a shortlisted photographer is invited by the Partners of Pictet & Cie (the leading Swiss Bank that sponsors the award) to undertake a field trip to a region where the Bank is supporting a sustainability project.
The shortlist for Prix Pictet Power will be announced with a special screening at Les Rencontres d’Arles photography festival in July 2012, and the award exhibition will be held at the Saatchi Gallery in London in October 2012. The 2011 festival featured a special presentation by Mitch Epstein, who won the Prix Pictet Growth award for his seriesAmerican Power. Chris Jordan was invited to complete the Growth Commission, and following a field trip to Kenya a monograph of photographs that he made there was published in November 2011.
In awarding the third Prix Pictet to Mitch Epstein, Kofi Annan, Honorary President of the Prix Pictet, acknowledged the power of the photography shortlisted for the award, “It is difficult to look at these works without being moved, even angered. And yet, however bleak their message, the creativity and spirit of these artists also gives us hope that we, the human race, have the capacity to find, to agree and to realise the answers to these challenges. I want to congratulate each of the photographers for the power and beauty of their work.”
Inbal Abergil is a photographer. She was born in Israel and currently lives and works in New York City. Her photographs investigate the aesthetic and societal norms held by Israeli culture and the world at large through their conceptions of time and memory-- concepts which take on great importance, coming from a culture in which loss is a substantial part of daily life. Inbal holds an M.F.A. in Visual Art from Columbia University. She also studied photography at Jerusalem’s Hadassah College and received her B.Ed.F.A. with honors from the Midrasha School of Art. Her work has been exhibited in New York City, Miami, Washington D.C., Philadelphia, Amsterdam, and throughout Israel. Her most recent solo show, 24 Frames Per Second, was presented at the Miyako Yoshinaga Gallery in New York City. Her work has won a Rabenovich Prize from Tel-Aviv's Department of Art and Culture, as well as awards from the Gale Rubin Photography Competition and The America-Israel CulturalFoundation (AICF). Inbal currently maintain an active studio practice and teach photography at Pace University, Columbia University and ICP.
Our artist Conor McGrady's acclaimed oversized drawings is featured at Carol Jazzar, a Miami gallery, in a two person show paired with another Brooklyn-based artist Roberto Visani. The exhibition is on view through April 22, 2012.
Full spectrum Dominance considers the manifestation of dominance in global politics. Through the use of reductive strategies and familiar icons, both artists reveal distinct elements of the economic, cultural and political brutalities that surround us. Visani's sculptures make direct reference to these phenomena by articulating the primary physical instrument of conquest and revolution, the gun. His transformation of weapons into art objects inverts the violence associated with them into calls for cultural adaptation and empowerment. McGrady's works depict groups of quasi-uniformed men engaged in acts of planning, or performing social rituals as a unit. Their sense of cohesion or individual hubris can be read as a bulwark against an unseen enemy, or collective triumph over unseen victims.
Roberto Visani started his now extensive series of guns after living in Ghana, West Africa in the late 90's. Created using found objects and unconventional materials, his sculptures recontextualize guns as totems of cultural, political and historical efficacy through the use of symbolism and improvisation.
Visani holds a BFA from Mankato State University, MN and a MFA from the University of Michigan, MI. Since 1998, Visani has shown his works extensively in museums and galleries throughout the US and abroad including The New Museum, NY, Barbican Gallery in London, England, The Studio Museum, Harlem, NY, The Bronx Museum, NY and The Ghana National Museum in Accra, Ghana.
Conor McGrady's drawings focus on the role of authority in contemporary society. Executed in black gouache and surrounded by expanses of white space, these works examine the relationship between ideology, individual and collective psychology, and conceptions of spatial control.
McGrady holds a BA from the University of Northumbria, Newcastle, UK and a MFA from the School of the Art Institute of Chicago, IL. McGrady has shown his works extensively since 1994 throughout the US and Europe and was part of the 2002 Whitney Museum Biennial.
Review of Emna Zghal’s Solo exhibition, Plato/Pineapple at Miyako Yoshinaga art prospects, New York City, February 2 – March 10, 2012
When I learned of Emna Zghal’s latest solo exhibition at Miyako Yoshinaga art prospects, I excitedly leapt at the opportunity to review her work. Zghal hails from Tunisia, the birthplace of 2011’s Arab Spring. What an opportunity to see how such mesmerizing political events would be reflected in art! I assumed Zghal’s art would drip with revolutionary fervor.
How wrong I was.
Rather than an infusion of political and revolutionary drama, Plato/Pineapple - a collection of clean, bright prints and drawings - is a meditation on the beautiful simplicity of nature. But don’t let “meditation” fool you into thinking this is a sleepy collection. Zghal’s exhibition is anything but subdued—the intense colors (many citrusy) in Plato/Pineapple are so vibrant, one can almost taste the tang of the pineapple at the center of her work.
Zghal happened to be in the gallery when I visited, and she gamely sat for an impromptu interview. With hesitancy, I came clean about my pre-formed political expectations. With empathy, Zghal explained that she understands that one must have some sort of context on which to approach an artist or art but, she offered, “If you bring prejudices to a show, you better be prepared to be challenged.”
As much as she is moved by the politics of the Arab Spring, Zghal does not necessarily have to be political, she explained. She is wary of playing to a Muslim or Tunisian or female (or whatever) identity: “I am not interested in being reductive,” Zghal affirmed.
Politics aside, then!
In Plato/Pineapple, the causal action of nature is revealed to be sublime. Take a closer look, though, as the artist does with detailed magnifications of cross-cuts of the fruit, and marvel at a world of intricate threading and, occasionally, whimsical diversions from the repetition better seen from afar. From up close or at a distance, Zghal’s pineapple-inspired art is simultaneously recognizable and pleasingly abstract.
The common motifs of the exhibition are pattern and repetition, as revealed by horizontal and vertical paper-thin pineapple slices, as well as its barbed skin. To re-imagine patterns that, essentially, repeat ad infinitum - that is, to make this repetition interesting, Zghal employs a multitude of techniques. At times, the artist zooms in to show microscopic details of the fruit’s fibers, and then explodes the image into outsized abstractions. Just as often, though, Zghal pulls back to display the pineapple so we might recognize its skin or a rounded chunk. Through processes of digital tracing, transfers, etchings and silkscreens, and then, finally, an application of vivid hues, bland repetition becomes punctuated, interrupted, imaginative.
Suddenly, as in “Brown Sun,” a simple pineapple slice appears to be the sun trying to shine through a sepia sky. That same slice, however, takes on eerie definition in “Ananas Island,” a photo negative representation that resembles an empty, volcanic island, as seen from above, lost in a sea of inky waters. A summer-hued, lengthwise rendition of the pineapple vibrates with high voltage in “Electronic Pineapple,” while “Pineapple Sun,” a large silkscreen and etching with a dramatic golden corona, is full-to-bursting with energy.
“Pineapple I” presents a close-up, biological vantage on the pineapple slice. One of the larger pieces in the show, the buff-colored pineapple slice contains what looks like a nucleus (the center of the slice) in an amniotic sea populated with strands of chromosomes and other miniscule, organic matter. The image is reminiscent of Kandinsky’s late work when he dabbled in the same biological minutiae.
In Plato/Pineaple, the outside of the pineapple gets just as much attention as its innards. In “Pineapple Scribble,” loose traces of the fruit’s outer skin recall a thick flock of doves or gulls taking to a blue sky. In “Red Spikes,” however, the work is grounded: one is reminded of (and saddened by) a clear cut forest, though whether you see a field of tree stumps or resilient saplings is likely determined by your mood that day. “Green Tiles II” is more uplifting—indeed, striking: the repetitive skin cells interspersed with streams of bold, hunter green are mesmerizing; the piece is reminiscent of the natural imagery of eastern Asian art.
In short, Zghal’s compositions—be it a singular sunburst or a geometric carpet - are simple, but lively. They are also “poetry for the eye,” a descriptor Zghal invokes as a reason for coming to painting (she trained in woodcuts). Her visual poetry directly addresses the “Plato” in the show’s title, for it was the philosopher who banned the poet from his ideal city: “He and his kind have no place in our city,” he professed, “their presence is forbidden by our code.” Zghal’s grievances with Plato’s damning exclusion, as well as her ideas on art and subversion, can be found in the exhibition’s accompanying book, Plato Pineapple Poetry Painting.
Plato/Pineapple does not easily conform to any political, philosophical, or academic identity - believe me, I tried. The best I could offer Zghal was that some of the circular works in the show (e.g., “Pineapple Sun” or “Pineapple Web”) reflect the patterns ubiquitous in Islamic art and culture. She conceded the possibility, admitting that Islamic culture has measures of influence on her art, her thinking, her living.
Yet the ascription of Islam onto her prints seems gratuitous. To force a political or theoretical underpinning onto Plato/Pineapple is folly. Rather, one must simply enjoy the collection for what it is: poetry for the eye.
Emna Zghal is the featured cover artist for Warscapes thismonth. Click here to read more...
Shaun Randol is the Founder and Editor in Chief of The Mantle. He is also an Associate Fellow at the World Policy Institute in New York City, and a member of the National Books Critics Circle.
In conjunction with Tunisian-born Emna Zghal's solo exhibition Plato/Pineapple, the gallery hosts a special public program on February 23, 6:30 PM to 8PM. The program features a dialogue between Zghal and Lisa Binder, Curator at the Museum for African Art, on the recent cultural and social uprising in Tunisia, where Zghal visted last May.
About the speakers:
Lisa Binder Ph.D., Curator of Contemporary Art, Museum for African Art, joined MfAA in 2007. She received her doctorate from the University of East Anglia where her research focused on contemporary African artists in the United Kingdom such as El Anatsui, Sokari Douglas Camp and Magdalene Odundo. She has worked with artists throughout Africa and has conducted research in major art centers in Africa such as Bamako, Lagos, Nairobi, Dakar, Johannesburg, Cape Town, and Tunis, among others. Prior to her position as contemporary curator at the MfAA, Dr. Binder taught at the School of World Art at the University of East Anglia, the M.A. course in the Arts of Africa for the Sainsbury Research Center, and at the University of Colorado at Denver. She has also worked at the Cleveland Museum of Art and the Denver Art Museum. Dr. Binder is the curator ofEl Anatsui: When I Last Wrote to You about Africa as well as several other internationally traveling exhibitions. She is president-elect of the Arts Council of the African Studies Association.
Emna Zghal is a Tunisian-born visual artist based in New York. Her work has been featured in numerous solo and group exhibitions throughout the United States, Europe and Tunisia. She is the recipient of the American Academy of Arts & Letters Purchase Award (New York), the President of the Republic's Prize for the Best Young Artist (Tunisia); fellowships from the Blue Mountain Center (Blue Mountain, New York), Cité Internationale des Arts (Paris), Weir Farm Trust (Wilton, CT) and Vermont Studio Center (Johnson, VT); and residencies from the Newark Art Museum (Newark, NJ) and the Centre des Arts Vivants (Radès, Tunisia). Reviews of her work have appeared in The New York Times, The New Yorker, Art Forum, ARTnews and The Philadelphia Inquirer. Her portfolio of prints The Prophet of Black Folk was acquired by the Schomburg Center for Research in Black Culture in Harlem, NY. Other works are part of the collections at the New York Public Library, Yale University, the Museum for African Art, NY, as well as Grinnell College, IA.
Reception starts at 6:30 with refreshments. Dialogue starts 7pm and continues for about 45min. followed by Q&ALimited seats -RSVP required (click here)
November 29, 2011, New York -- Donations towards TILL ALL IS GREEN, our October 20 benefit auction, exhibition, and concerts, have reached $25,000 as of November 29, 2011.
The benefit, organized by a team of New York-based art professionals, including Miyako Yoshinaga, Yukiko Kakiuchi, Taeko Dolatowski, Mayumi Hayashi and Nobuho Nagasawa, took place at MIYAKO YOSHINAGA art prospects, a contemporary art gallery in the heart of New York’s Chelsea art district, from October 12-22, 2011, in the prime of the fall art season and seven months after the Great East Japan Earthquake of March 2011.
The selection of artists and artworks was made by gallery director Miyako Yoshinaga with TILL ALL IS GREEN team members, all born and raised in Japan. All contributors share the mission to raise awareness of the emotional struggles and traumas affecting children in Japan as a result of the sudden and massive losses and interruptions caused by the earthquake, tsunami and radioactive exposure.
Installed in two adjunct spaces and open to the public for ten days, TILL ALL IS GREEN presented a united artistic statement by 56 environmentally- and socially-conscious contemporary artists. The artworks in TILL ALL IS GREEN referred to the hope for the restoration of destroyed landscapes, communities and especially childhoods, as well as the support of clean and renewable energy alternatives to nuclear power. Ranging in market value between $200 and $10,000, two-thirds of the donated artworks found bidders as far as China, Japan, the United Kingdom and Germany through the two-week online auction. Media sponsors NY Art Beat, Artnet and ArtCat generously donated a website banner for two weeks.
The reception was attend by Fumio Iwai and Masakazu Kigure of the Consulate General of Japan; Joe Earl of Japan Society ; and Leslie Haley of ChildFund International, among other special guests. The evening was concluded by a musical tribute to children and caregivers in the affected area: PENDULO, a meditative audiovisual remembrance of the disaster by León Grauer;and ODE TO SCHROEDER, a delightful toy piano and toy instrument performance by prominent John Cage pianist Margaret Leng Tan. Ms. Tan also donated MetroGrand Piano, her original piano handcrafted out of recycled Metrocards, as well as her music CD and DVD. The fantastic performances collected a total donation of $1,200. TILL ALL IS GREEN also received monetary donations totaling $700.
All proceeds go to ChildFund Japan, the alliance member of ChildFund International, which currently focuses onpsychological care of the affected children, providing guidance to caregivers and clinical psychology professionals for workshops and grief counseling programs. Childfund also published the Handbook for Care of Post-Disaster Children in multiple languages (English, Japanese, Chinese, Korean and Filipino), which can be downloaded from its website.
TILL ALL IS GREEN extends its sincere gratitude to the Consulate General of Japan, New York, for their official recognition and support; Pinetree Groups and Priska C. Juschka Fine Art for additional spaces; CLV Art Services for art supplies; and to the following sponsors for the reception: Nadia Wellisz (wine), Ito-en (tea), Thoreau Wine Society (wine), Lasso (food), Lady M(dessert), Adore (flowers) and Sean Seibel (DJ).
TILL ALL IS GREEN is also grateful for the additional help and volunteer work provided by Kumiko Suda, Megumi Tomomitsu,León Grauer, Yoshiyuki Shimamoto, Helen Pickett, Midori Akiyama, Lin Yan, Kaoru Maki of Tsuru Project, Yojiro Imasaka, Yuri Shimojo, James Reingold, Florence Lynch, Jim Nagahama and Jeffrey Haddow.
To make y making post-event donation, please visit ChildFund International wesite.
October 25, 2001, New York — Through an online auction and a gallery silent auction, TILL ALL IS GREEN — a benefit exhibition featuring more than 60 donated artworks — raised more than $20,000 in support of psychological care for post-disaster children in Japan.
The benefit, organized by a team of New York-based art professionals, including Miyako Yoshinaga, Yukiko Kakiuchi, Taeko Dolatowski, Mayumi Hayashi and Nobuho Nagasawa, took place at MIYAKO YOSHINAGA art prospects, a contemporary art gallery in the heart of New York’s Chelsea art district, from October 12-22, 2011, in the prime of the fall art season and seven months after the Great East Japan Earthquake of March 2011.
The selection of artists and artworks was made by gallery director Miyako Yoshinaga with TILL ALL IS GREEN team members, all born and raised in Japan. All contributors share the mission to raise awareness of the emotional struggles and traumas affecting children in Japan as a result of the sudden and massive losses and interruptions caused by the earthquake, tsunami and radioactive exposure.
Installed in two adjunct spaces and open to the public for ten days, TILL ALL IS GREEN presented a united artistic statement by 56 environmentally- and socially-conscious contemporary artists. The artworks in TILL ALL IS GREEN referred to the hope for the restoration of destroyed landscapes, communities and especially childhoods, as well as the support of clean and renewable energy alternatives to nuclear power. Ranging in market value between $200 and $10,000, two-thirds of the donated artworks found bidders as far as China, Japan, the United Kingdom and Germany through the two-week online auction. Media sponsors NY Art Beat, Artnet and ArtCat generously donated a website banner for two weeks.
The reception was attend by Fumio Iwai and Masakazu Kigure of the Consulate General of Japan; Joe Earl of Japan Society ; and Leslie Haley of ChildFund International, among other special guests. The evening was concluded by a musical tribute to children and caregivers in the affected area: PENDULO, a meditative audiovisual remembrance of the disaster by León Grauer; and ODE TO SCHROEDER, a delightful toy piano and toy instrument performance by prominent John Cage pianist Margaret Leng Tan. Ms. Tan also donated MetroGrand Piano, her original piano handcrafted out of recycled Metrocards, as well as her music CD and DVD. The fantastic performances collected a total donation of $1,200. TILL ALL IS GREEN also received monetary donations totaling $700 as of October 25.
All proceeds go to ChildFund Japan, the alliance member of ChildFund International, which currently focuses on psychological care of the affected children, providing guidance to caregivers and clinical psychology professionals for workshops and grief counseling programs. Childfund also published the Handbook for Care of Post-Disaster Children in multiple languages (English, Japanese, Chinese, Korean and Filipino), which can be downloaded from its website.
TILL ALL IS GREEN extends its sincere gratitude to the Consulate General of Japan, New York, for their official recognition and support; Pinetree Groups and Priska C. Juschka Fine Art for additional spaces; CLV Art Services for art supplies; and to the following sponsors for the reception: Nadia Wellisz (wine), Ito-en (tea), Thoreau Wine Society (wine), Lasso (food), Lady M (dessert), Adore (flowers) and Sean Seibel (DJ).
TILL ALL IS GREEN is also grateful for the additional help and volunteer work provided by Kumiko Suda, Megumi Tomomitsu, León Grauer, Yoshiyuki Shimamoto, Helen Pickett, Midori Akiyama, Lin Yan, Kaoru Maki of Tsuru Project, Yojiro Imasaka, Yuri Shimojo, James Reingold, Florence Lynch, Jim Nagahama and Jeffrey Haddow.
To make a donation, please send a check payable to ChildFund International (with note: TILL ALL IS GREEN) and mail it to: MIYAKO YOSHINAGA art prospects, 547 West 27th Street, New York, NY 10001 USA. For inquires, please email relief@miyakoyoshinaga.com or call 212 268 7132.
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RSVP tel. 212 268 7132 email:relief@miyakoyoshinaga.com
Suggested Contribution $25
MARGARET LENG TAN will perform ODE TO SCHROEDER, a program of works for toy piano and toy instruments. Ms. Tan has been called “the queen of the toy piano” (The New York Times) and “the toy piano’s Rubenstein” (The Independent, UK).Transforming humble toys into real instruments, Ms. Tan’s diminutive music-theater of humor and nostalgia has delighted audiences around the world. This performance is part of our gallery's fundraising project TIll All Is Green.
Reception & silent auction, Thursday, Oct. 20, 6-9PM
MIYAKO YOSHINAGA art prospects is pleased to present Till All Is Green, a special art exhibition on view from October 12 through October 22, 2011, with reception and silent auction on Thursday, October 20. All proceeds from this event will go to help children who have been affected by the 2011 Japan earthquake and its aftermath.
Endorsed by the Consulate General of Japan in New York, Till All Is Green, will take place in the prime of the fall art season and commemorate the past six months of the disaster in Japan. The “green” in the title is a metaphor for the restoration and rebirth of the devastated natural landscape and a symbol of hope for a better and healthier future. In the light of the nuclear crisis at Fukushima, “green” also refers very specifically to clean, renewable and ecologically safe energy.
Till All Is Green will feature artwork donated by internationally renowned as well as emerging artists, and the works will directly and indirectly address ongoing issues faced by the disaster victims, in particular the life-threatening conditions for children survivors.
Proceeds of the sale/auction will go to ChildFund International, a non-profit organization that serves vulnerable children throughout the world and currently focusing their efforts on helping children devastated by the Japan earthquake and tsunami.
ChildFund has been actively engaged on the ground distributing rice, powdered milk, butane cartridges and other emergency relief items. In addition, they have been providing psychosocial childcare and grief counseling, and creating principal care manuals based on the experience of American children affected by the September 11 terrorist attacks. ChildFund supports the use of art therapy as a particularly effective method for helping children to cope with the stress and symptoms of traumatic experiences. In Till All Is Green, the unique power of art is the living thread connecting our artists and collector donors to those children in need.
Till All Is Green runs from October 12 through 22 and takes place at MIYAKO YOSHINAGA art prospects, located at 547 West 27th Street in Manhattan. As a highlight of the exhibition, we will have a reception and silent auction on October 20, 5-9PM. At 7PM, there will be a slide presentation and live music performances.
For further information, please contact Miyako Yoshinaga at 212 268 7132 or email relief@miyakoyoshinaga.com.
すべて緑になる日まで
---東日本大震災の被災子供たちへのチャリティ展覧会
Till All Is Green
--- A Benefit for Children affected by Japan Earthquake
１０月１２日（水）〜 １０月２２日（土）2011
レセプション＆サイレント・オークション １０月２0日（木）5- 9PM
チェルシーの現代美術ギャラリー MIYAKO YOSHINAGA art prospects では、来たる10月中旬の10日間、東日本大震災で被災した子供たちへの支援を目的とするチャリティ展覧会Till All Is Green (すべて緑になる日まで) を行います。
大震災から５ヶ月がたち、被災地の子供たちの生活にも新しい日常が戻りつつあるようですが、その子供たちの笑顔の奥には測り知れない心の傷が残っています。未曾有の規模で数々の喪失を一度に体験した記憶は日々の不安や不眠の原因となっています。
この展覧会は、ニューヨークを中心に活躍する国際的なアーティストたちに働きかけ、寄付作品の展示販売とオークションを行い、収益金を被災地の子供たちの心のケアやカウンセリングを提供している非営利福祉団体チャイルド・ファンド・インターナショナル(www.childfund.org)に寄付いたします。
Till All Is Green (すべて緑になる日まで) と題するように、この展覧会は、破壊された土地や自然の再生、福島原発事故により切望されているクリーン・エネルギーの実現、そして過去の失敗と現在の葛藤を乗り越えより良い将来に対する希望を意味する「緑」をテーマにかかげました。
寄付先であるチャイルド・ファンド・インターナショナルが発行する「被災後の子供の心のケアの手引き」は、現在、被災地の教師や大人たちのワークショップに利用されています。その手引きは9.11テロを含む他の災害時の経験に基づいて作成され、特にお絵描きやコラージュなどのアート療法は子供たちの心を開かせるのに役立っているそうです。本展覧会では、寄付者であるアーティストや美術愛好家が被災地の子供たちとアートの治癒力で結ばれ、また日本の3.11が本年で十周年目を迎える9.11テロと子供たちの心のケアという点で結ばれていきます。
Till All Is Green (すべて緑になる日まで) はマンハッタンのチェルシー地区547 West 27th Streetのギャラリーおよび特設スペースを利用して、秋のアート・シーズン最中の１０月１２日から１０月２２日まで行われます。本展のハイライトとして、１０月２0日（木）5 - 9PMにはレセプションとサイレント・オークションを行います。被災地写真のスライド・ショーや音楽家によるパフォーマンスも催される予定です。
なおニューヨーク日本総領事館の後援のほか、いくつかの企業スポンサーからイベントのための資材供給を受ける予定です。 詳細については、212 268 7132またrelief@miyakoyoshinaga.comまでお問い合わせください。
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Anders Ruhwald is amont the twenty-five artists in Overthrown: Clay Without Limits, a large-scale exhibition currently on view at Denver Art Museum. Ruhwald's ambitious ceramic installation was made especially for Overthrown in direct dialogue with the museum's dynamic Daniel Libeskind-designed architecture. For more information, please go to the museum's website. Click here for the images.
Erika deVries has a new work in neon installed in the windows of HUGO BOSS located at 401 West 14th Street, NYC. The installation will be up for the Spring of 2011 through June 2.
Click here for more info and pictures.
Inbal Abergil is showing her latest photo installation as a participant of Columbia University School of the Arts, 2011 MFA Thesis Exhibition at Fisher Landau Center for Art through May 22, 2011. Photos can be found on the artist's page, here.
On March 24, Thursday, 6-8pm, Tomoaki Hata will sign his 2010 photobook "Night Is Still Young" (by powerHouse and Akaaka) in conjunction with his solo exhibition with the same title here at our gallery, 547 West 27th Street, 2nd Floor.
THANK YOU. We Wrapped Up This Project on May 1st, 2011
We are happy to announce that as of May 1, 2011, 40 donors raised the sum of $5,300 by purchasing Takahiro Kaneyama's benefit photo prints of Northern Japan. The proceeds went to Japan Earthquake Relief Fund set up by New York's Japan Society Inc to help victims of the 2011 Great East Japan Earthquake. Together with Mr. Kaneyama, we would like to thank our donors for their generous support. We are proud to be part of a united fundraising effort in the New York art community. For the coming Fall, we have also planned a benefit exhibition and online auction to continue our support for the victims in Japan. For more information, please email us at relief@miyakoyoshinaga.com.
For information about the artist, please visit http://miyakoyoshinaga.com/artists/Takahiro_Kaneyama or http://www.tkaneyama.com/
MIYAKO YOSHINAGA art prospects
Thank you for your support to our first participation in PULSE, NY during the Armory weekend. The solo presentation of Joseph Burwell was extremely well received and covered by press and bloggers.
Hyperallergic "Trendspotting at Pulse 2011" by Kyle Chayka, March 4, 2011
According to What, "Pulse Art Fair 2011" by Owen Houhoulis Mach 5, 2011
artnet, "Jonny's Too Long At the Fair" by Peter Plagens, March 7, 2011
L Magazine, "Armory Week 2011: Wrapping Things Up at Pulse" by Benjamin Sutton, March 7, 2011
MARCH 3-6, 2011 | Metropolitan Pavilion | 125 West 18th Street, New York
March 3, 10am -1pm Press and Private Preview
March 3, 1pm - 8pm
March 4&5, 12 noon - 8pm
March 6, 12 noon - 5pm
From March 3 to 6, 2011, we are pleased to present Joseph Burwell at Booth I-11 at IMPULSE section of PULSE New York, held at Metropolitan Pavilion on 18th st. bet. 6th & 7th Ave. Our booth is located on the second floor of the Pavilion.
Following his 2009 gallery installation with the same title, Joseph Burwell reconstructs an environment based on his former studio, a converted garage in Brooklyn, New York. The result is a carefully staged artist’s workshop referred to as School of the Viking Spaniard: Reconstruction of the Garage which plays off his half-Puerto Rican heritage and Icelandic birthplace. It's phrasing uses the language of art history to obscure both the era and the authorship.
On walls, shelves, and sawhorses, an array of Burwell’s artwork is displayed, along with maps, photographs, tools and other artifacts. For his color drawings intensely executed with pencil and marker pen, Burwell fuses miscellaneous historical and archeological information from different cultures and religions. His sculptural forms reflect his interest in negative architecture and compliment the spaces in his drawings. While it’s true that the remnants of archeological information are often used to help reconstruct history, they may also be used to invent it. It is through this misinterpretation that Burwell eliminates established hierarchies and composes his potential stories.
Burwell’s installation, with bright colors, clashing patterns and absurdist sensibilities, demonstrates his surreal sense of humor over the more serious topics of religious and cultural identities. At the same time, his makeshift studio in a gallery space signifies both the vitality and vulnerability of contemporary artists who, like Vikings or Spaniards, without knowing it themselves, might well be creating their legacies for future historians or archeologists.
Joseph Burwell (b.1970) began to study Architecture at Savannah College of Art and Design in 1988. He received his B.A. in Studio Arts in 1993 from the College of Charleston. In 1999, Burwell received his M.F.A. in Sculpture from Tulane University in New Orleans, and in 2000 he moved to New York City. He has participated in residencies at The Cooper Union, PS 122 Project Studio Program and The Lower Manhattan Cultural Council’s Workspace Program. Burwell has shown in New York, Switzerland, Finland, Ireland, Egypt and Canada among others. New York venues include PS 122, NURTUREart, Exit Art, Vertex List and M.Y. Art Prospects.
Come join us for our annual Holiday Toast. Our renowned photobooks will be discounted up to 30% and gift items by our artists will be available. For more information, please call 212 268 7132. Email us info@myartprospects.com for RSVP.
"...AND THE PURSUIT OF HAPPINESS" an exhibition of works by Yana Dimitrova
Consulate General of Republic Bulgaria- New York
121 East 62 Street New York, NY 10065
Free admission, open Mon. - Fri. 9:30 - 12:30
And the Pursuit of Happiness includes recent works by Bulgarian born artist Yana Dimitrova. The title of the exhibition is borrowed from the American patriotic phrase “Life Liberty and the Pursuit of Happiness”. Through the ironic play on words, the place and possible story of the work is revealed. Suggesting the idea of the American dream, Yana's paintings intend to question the validity and meaning of that statement, or where and what exactly is that happiness?
The majority of the exhibited paintings are portraits of Bulgarians living in the US. In the root of the imagery is a process involving performance, video/photo documentation. Yana' s "heroes" were instructed to read a poem by Bulgarian writer Ivan Vazov, titled "I am Bulgarian" - one of the first works of literature which Bulgarian children have to learn. While videotaping, Yana arranges a pose in the style of Bulgarian patriotic photography from the late 1700. In result, based on the documentation Yana created the portraits in a heroic, almost theatrical setting, similar to the imagery from the Bulgarian 18th century portraits. Opposing the ideals stated in the poem, based on the time and place of the "performance" this notion fractures concepts, meanings and personal beliefs, and also becomes historically archived through painting.
Dealing with ideas of social transformations and concepts of nationalism, often through the use of research or her personal biography, Yana’s focus is the idea of deceptive space. Panoramic views of rural and urban terrains, architectural interiors, shopping malls architecture, empty billboards and other monuments of American mass culture also take place in the exhibition. Some are combined with text, phonetically typed Bulgarian words with Latin letters, which Yana connects to recent media communication in which the use of Slavic alphabet is slowly disappearing.
Yana Dimitrova was born in 1983 in Yambol, Bulgaria. She graduated from the School of Fine Arts “Acd. Iliya Petrov” in Sofia, Bulgaria in 2002 and the Savannah College of Art and Design in Savannah and Atlanta, Georgia (USA) in 2006 (BFA) and 2008 (MFA). Her most recent exhibits took place in Berlin, Budesldorff (Germany), Manchester, Bath, London (UK), New York, Chicago, Philadelphia, Atlanta (USA) and Bulgaria. Yana currently lives and works in New York.
Photography by Cleverson from the"Frontier" series will be exhibited in our Project Room during the Fifth Annual Latin American Cultural Week (LACW) in New York, November 10th – 17th, 2010
In 2005, artist Cleverson took unusual routes from New York to his hometown in Brazil, across 12 countries in the North, Central, and South Americas. To celebrate this annual city-wide celebration Latin American Culture Week, our project room will present a selection of his magical and otherworldly images including those of ancient trees and snow-capped Andes based on this 2005 trip that challenges both geographical and psychological limits.
The Latin American Cultural Week - LACW - in New York is a yearly citywide series of events organized by PAMAR - Pan American Musical Art Research, Inc. LACW seeks to highlight the diversity of Latin America by featuring performances and exhibitions created by artists who are either from or inspired by this region’s rich culture.
Opens Nov. 10th through Nov. 17th - open Sunday, Nov. 14 & closed Monday Nov. 15
For more information please call 212 268 7132 or email info@myartprospects.com
Telling Evening was launched by Miyako Yoshinaga in April 2009, aiming to stimulate an intimate discussion and exchange among artists, art professionals, collectors and critics. Typically we invite one speaker, and topics are varied (see below). Admission is free, and active participation and food/drink contributions are encouraged. If you are interested in receiving the information on next-scheduled Telling Evening, please email us at te@myarprospects.com
2009/2010 Telling Evening topics
David Gibson “Fiction or Nonfiction: Curating As Cultural Form” May 11,2010 Megumi Sasaki “Herb & Dorothy 50 x 50: Passing Down Their Legacy to Next Generation” March 11, 2010 Joseph Burwell “Misinterpretations of Artifacts” January 14, 2010 Yana Dimitrova “New Power: Contemporary Young Artists from Former East Europe” November 10, 2009 Kara Gorycki “Can We Learn from Larry Salander? Indictment of A Self-Proclaimed Visionary” July 29, 2009 Alfred Steiner “Is the Concept of Artistic Merit Obsolete in Contemporary Art?” June 11, 2009 Jenny Marketou “Children as Collectors – About Collecting” May 7, 2009
Art historian and contemporary art and film studies specialist Wanda Bershen will talk about pioneering work by American avant garde filmmakers from the 1960s and 70s. The artists who will be discussed include Stan Brakhage, Bruce Connor, Kenneth Anger, Jonas Mekas, Chick Strand, Andy Warhol, the Kuchar Brothers and Hollis Frampton. Their films are in the collections of museums and cinematheques worldwide, but are otherwise rarely seen despite their enormous influence on younger artists.
Telling Evening, Vol. 10, Wednesday, November 10, 2010, 7:00 p.m. to 9:00 p.m.
"American Avant Garde Films 1960-70's" Informal Talk by Wanda Bershen
Background history
In the 60's and 70's, a small group of artists were developing an avant garde film practice largely in NYC and California at first, much influenced by the American visual arts which by the 1950's was finally shedding the influence of Europe. Called Underground Cinema -- for lack of a better term - it grew out of interest in the visual, spatial, time-based qualities of cinema, following the 1920's tradition of Ferdinand Legers' Ballet Mecanique, René Clairs' Entr'Acte, et al. Like their predecessors, these artists experimented on film with non-narrative, associative, non-realist forms and ranged through a broad set of genres - collage, painting, minimalist/structuralist embracing abstraction along with feminist, satiric and pop culture themes. Throughout the 60's and 70's, this work and these artists were widely shown in the US and in Europe, in museums, art schools, art fairs and cinematheques. By the early 80's, however, the notion of American "Independent" film began to take over this "alternative" space in film culture - and ultimately became part of the low budget commercial film industry.Since it did not fit the commercial structures of production or distribution, the earlier avant garde work was unfortunately less and less seen. Nevertheless committed critics, scholars and artists continued to create, show, teach and write about the American avant garde, and the tradition survives today. Younger artists took up the experiments in form and content, combining them with contemporary themes and art practice.
Wanda Bershen was trained as an art historian specializing in contemporary art, film studies, and photography history. She has been a consultant to state arts councils for New Jersey, New York, Massachusetts and Pennsylvania. She was a curator and the department head at the Jewish Museum for media arts working on exhibitions including Eleanor Antin's installation for Inside/Out: Eight Contemporary Artists, Bridges and Boundaries: African-Americans and American Jews, Russian Jewish Artists: A Century of Change, and she curated the Ilene Segalove Retrospective.Her companies, WB ARTS CONSULTING & RDP have organized arts/film/video projects, symposia, and traveling exhibits with the Brooklyn Museum of Art, the American Museum of the Moving Image, the Film Society of Lincoln Center, and the Brooklyn Academy of Music. Her articles have been published in American History Review, American Quarterly, Artforum, Art in America, Film Quarterly, & DOCUMENTARY (IDA Magazine). Please check out http://www.reddiaper.com.Wanda Bershen consults on strategic planning, marketing and fundraising for a variety of arts organizations, & has taught at Rutgers, Temple, NYU and Philadelphia College of Art. She is currently teaching Arts Management on the Graduate Faculty at CUNY/Baruch.