Posts tagged New York
Tattooing in "Somewhere NYC": Interview with Astrid and Mars
tattoo-art-newyork.jpg

Interview by The TAX Collection

https://www.instagram.com/somewhere.nyc/

What led to the inception of 'Somewhere NYC?' - Is this something that you had been planning on doing for a while, or did something specific spur its creation? 

Mars: Opening "Somewhere" was definitely a crime of opportunity (or maybe fate?). I had spent the last two years working in a tiny, one-station studio in the back of an art gallery in Bushwick, and although I loved it, it was starting to feel a little cramped. I traveled a lot during that time and kept getting progressively more inspired by all the amazing queer studios that were opening in other cities. I met so many wonderful people who were so deeply committed to offering a safer space to get tattooed in. I wanted to create an equally open space to be able to invite them back to! 

Right after finishing a stint at Minuit Dix in Montreal and Outcast Club in Toronto, I found out that my previous studio mate was leaving New York. Astrid was coming back to New York at exactly the same time and needed a place to work. It felt like a sign!

Astrid: I returned home to California for ten months in 2017 to work in my first shop. As a former home tattooer, I felt obligated to put in the time at a street shop to feel less alienated from the community. Despite my profoundly positive experience (for which I'm forever grateful), I still left feeling discontent with the old school dynamic of a shop owner "running" space — a space consisting of artists who essentially managed their operations independently. I knew I would have to be my own boss. When I moved back, Mars contacted me, and here we are. 

IMG_0114.jpg

I know you have certain feelings towards traditional tattoo shops, what is something different you feel your shop provides? 

Astrid: I'm very collective minded when it comes to workspaces. We wanted a transparent, cooperative partnership where we share primary responsibilities but are more or less autonomous. Our primary mission is to make everyone feel as comfortable as possible. So many young clients of mine have recounted experiences where they felt scared, pressured, and intimidated in a tattoo shop. Artists bullied them into designs they didn't want or belittled their ideas. It's wild to me that any artist would think that's appropriate and I'm glad to see the machismo aspect of the industry drying up. 

Mars: I generally have a strong preference towards private studios (as opposed to more traditional walk-in shops) both for working and being tattooed. I started my career tattooing friends in my bedroom, most of whom were queer and didn't feel comfortable being tattooed in traditional shop environments, which was a feeling I shared. At the time, I think it was much harder to find private spaces or be able to get a sense of which shops would be welcoming. I've heard so many horror stories from friends and clients about being harassed, assaulted, or just not respected by tattooers (all behaviors that have been a big part of mainstream tattoo culture for a long time). That was not an environment I had any interest in replicating. 

IMG_0115.jpg

Has social media (Instagram specifically) helped shape your business? 

Astrid: Social media IS my business. Artists used to be entirely dependent on shops to bring in clientele, and that's where the gatekeeping began. The internet turned the tables completely. People seek out individuals now, not shops. The shops depend on artists. It's been beautiful to see people who were, or would have been turned away from traditional spaces become successful in their own right, in their own style. That's why the changes in social media, mainly punitive algorithms, and shadowbanning, are more than frustrating - they're dangerous. People choose the content they want to see, and trying to restructure those choices makes no sense. 

Mars: I wouldn't have a business at all if it weren't for social media. I wasn't trying to be a tattoo artist or do this professionally at all when I started; I was just tattooing some friends and posting the results on Instagram. If it weren't for people finding and responding positively to my work there, I have no idea what I would be doing with my life right now. 

IMG_0116.jpg

Any upcoming guests we should be checking out? 

Astrid: All of them! It's been so amazing to work with friends and with talented strangers who become friends. We are still very new and like to ask our guests what we can improve on. It's essential to get feedback and keep growing.

Mars: Oh my god yeah, everyone! The main motivation for me leaving my previous studio was to finally have space to share with other artists; it's been such a pleasure so far, and I can't wait to continue expanding our little tattoo family. 

IMG_0117.jpg

If someone reading this wants to book a tattoo appointment, what's the best way for them to go about this? 

Astrid: Email us! We are not a walk-in shop, which is important because it both allows us to be selective and keeps random strangers from walking in and potentially souring the vibe. My books are almost always open. Just remember that answering emails takes time, so please be patient. 

Mars: Everyone working at Somewhere manages their own schedule and has slightly different ways of doing things. If you're interested in making an appointment with any of our guest artists, I'd recommend just checking out their Instagram to see how they prefer to take appointments. I open my books on the 1st of every month and receive all inquiries through a booking form, which will always be posted in my bio during that time, cause trying to figure out how to schedule my life more than a month out is way too much for me to handle!

How many tattoos do you each have? Do you ever tattoo yourselves? 

Astrid: Many of my friends sacrificed their bodies so I could learn, so of course I tattooed myself as well. It would have been unfair to not practice on my own skin first. There are tattoos I did on myself, for better or for worse (mostly for worse), and I have tattoos from fellow artist friends. I decided recently that I only want friends to put art on my body. I always thought the design itself would be most important, but it turns out that the person who did the art is more important to me now. I get to carry them around with me forever. People are surprised that I don't have that many. My grandma doesn't want me to get any more, even though she likes the ones I put on other people. 

Mars: I've definitely tattooed myself because it is a really important step in the learning process when you're still figuring things out, but I absolutely hate it! There are so many amazing artists out there. I'd much rather dedicate the body space to work I really respect than cover myself in my own doodles. I get so tired of seeing my work all the time, and there's so much to learn from trading and connecting with other tattooers.

I'm honestly not sure exactly how many I have at this point; I sometimes try to count them like sheep when I'm going to sleep, but usually, I fall asleep somewhere around 50.

IMG_0118.jpg

Starting a business in NYC is not for the faint of heart - have there been any challenges along the way? 

Astrid: We found out that our windows did not keep the rain on the outside and that our heater is selective about when it is or isn't going to turn on. Ridiculous building issues are a classic Brooklyn thing. However, I've had much more trouble dealing with apartments than when I opened our business. To be fair, Mars did most of the work. I recommend a Capricorn + Taurus business partnership whenever possible, whether you believe in the zodiac or not. 

Mars: I can't even count the amount of meltdowns I had in the first couple of months, but I can't imagine going into this project with anyone better suited than Astrid. We've known each other for 6-7 years (where and when we actually met is one of the only things we disagree on), well before either of us were tattooing, and I think we do well balancing each other out and keeping each other sane. It's honestly an earth sign dream team. 

IMG_0119.jpg

What was your worst client/tattoo experience? 

Astrid: Almost everyone I've ever worked with has been wonderful. I think I only experience difficulty with clients who are particularly controlling or demanding, usually people who don't understand the limitations of tattooing. This behavior usually comes from a place of anxiety, and I can empathize with that. The only way to combat these situations is to trust your artist. They are making decisions based beyond aesthetics. They have to think about how the design will work on your actual body and if it will age well. It's not just about how it looks on paper. 

Mars: I think I've been really lucky with all of my clients! Since for the most part everyone finds me through Instagram, I think generally my clients are pretty self-selective; I don't really have anyone come in that I don't really vibe with. 

Unfortunately that doesn't always extend to their friends/boyfriends (usually boyfriends). I think probably the worst thing you can bring to a tattoo appointment is another person who's going to be questioning your decisions the whole time. I'll always give my professional opinion based on how I think the piece will age, fit with other pieces you have, etc, but ultimately the only opinion that really matters is your own. I hear a lot of, "That spot is gonna hurt too much, get it lower/higher/smaller/less visible," from people not getting the tattoo, and it really bums me out because it's not their body. Don't let anyone else make you doubt yourself or get in the way of you getting the piece you're really excited about!

Astrid: Yes, please leave the boyfriend at home. And leave behind the friend that doesn't want to be there or the friend that wants to talk to you like your artist isn't there. I don't only have an investment in the tattoo, but an investment in getting to know you. It's still a privilege to put art on someone’s body and I appreciate having the opportunity to bond with clients.  

If someone wants a tattoo and is not in NYC, will either of you be traveling and doing guest residencies? If so, where? 

Astrid: Definitely! I made a permanent travel "highlight" so people can check in on it as I add destinations. My biggest issue is that I am terrified of flying, so I haven't been traveling as much as I could. And I'm sorry about that. I wish strangers were more down to hold my hand during taking off. 

Mars: I travel pretty frequently, but also unfortunately not as often as I'd like. I have a lot of guilt around the frequency I'm able to get to other cities, but the truth is I have a family, including two dogs here, that I hate to leave. It's really hard to balance time at home, time working, and the time actually spent on vacation. Realistically, when I'm on tour somewhere, my only days off are travel days. That being said, I always post about cities I'm going to as soon as I know I'm going, and there will definitely be many more in the future!

What advice would you give someone getting their first tattoo?  

Astrid: These days, my advice would be to get a little tattoo first. Something simple and small, just so you can understand how the process works and what it feels like. Fear is challenging. Fear will hold you hostage and force you to get an awesome tattoo that is too small in a place where you didn't want it. Choose an artist whose work you love and make sure you see the kind of work you want reflected in their portfolio. The number one rule is that if you don't like the design, or you feel uncomfortable with the artist, don't get the tattoo. Yes, you will lose your deposit, but you don't owe it to anyone to go through with a situation where you don't feel seen, respected, or safe.  

Mars: I think the most important thing is to trust your artist, and a big first step towards that is doing your research in finding someone whose work you value. I'm honestly so jealous of anyone getting their first tattoo now, in a post-Instagram world. When I got my first tattoo, I had no understanding that artists could have different styles or specialties, or that you could even be specific about the type of person or space you wanted to work with. Now it's so easy to find someone who does exactly what you're looking for, and at the same time get a little bit of an idea of who they are as a person before going in. 

I think if you go into it trusting your artist, and being open to their interpretation, you'll end up with a really rad tattoo that you're both super stoked on! But that trust also extends to knowing you can assert your needs at any time. They know what's going to be best in terms of what's realistically possible, what's going to heal well, etc., but you know your body. Like any other situation, make sure whomever you are with can respect your boundaries. If you need a break, you can take a break! If you need to adjust how you're sitting for comfort, talk to your artist, and figure out how to do that. Don't be embarrassed to ask questions at any point in the process, because you're both relying on each other to communicate and make something awesome.

The Stranger, Solo Exhibition by Alex Merritt at Booth Gallery
Alex Merritt - Hermedic Bliss 78x78.jpg

Booth Gallery is proud to present The Stranger, a debut solo exhibition by Alex Merritt, on view May 17 - June 12, 2019, at 325 W. 38th St in New York. Popularly known for his large-scale oils and brutal approach to painting, Alex Merritt will be exhibiting 20 new paintings and drawings in large and small formats.

Merritt’s works include a recurring motif visualized through expansive landscapes juxtaposed by isolated figures which directly confront the viewer. In works like “Hermetic Bliss” (detail above), the subject is visceral and haunting yet vulnerably human. A distinct narrative is intentionally concealed and left for the viewer’s interpretation, much like the artist’s process: it is hidden amongst the layers.

Through a constant working and reworking, the paint is scraped down and built up to range from a thick paste to liquid. The sheer physicality of the canvases showing layers of paint 3-4 inches in depth reveals they are as much of an object sculpturally as they are a 2-dimensional image. Subject and object become one, and the finished works represent a direct result of these layers, weaving in and out of one another, often obfuscating the literal.

Merritt’s influences include the likes of Chaim Soutine, Joan Eardley, Antonio Mancini, and Frank Auerbach; Inspired by their bravado to compose large-scale works and to experimentation with surface quality.

Alex Merritt was born in 1981 in Washington, DC. In 2015, he received his B.F.A. in painting from the Mary- land Institute College of Art and in 2018 completed his MFA from The New York Academy of Art. The artist joined Booth Gallery in June 2018; this will be his first Solo show to date. Works from are in numerous private collections worldwide and currently has had a collection of works acquired by liana Gore Museum in Tel Aviv, Israel.

On Friday, May 17, 2019, an opening reception will be held from 6-9pm and is open to the public.

Dan Lam: Delicious Monster at Hashimoto Contemporary
Dan Lam, Lemons, 2019.jpg

NEW YORK CITY - Hashimoto Contemporary is pleased to present Delicious Monster, a solo exhibition by Dallas, Texas based artist Dan Lam. Delicious Monster will be the artists inaugural solo exhibition at Hashimoto Contemporary, in which she continues to explore the opposing themes of the beautiful and repulsive, the attractive and revulsive, and how often these two opposing sentiments can come from within the same source. Referencing these dichotemies, the works in Delicious Monster explore color and form while experimenting with new materials and layering processes.

For her latest body of work, Lam was inspired by the monstera deliciosa fruit, whose scientific name literally means ‘delicious monster.’ Resembling an ear of corn with a green exterior, this hexagon patterned fruit is sweet, delicious and tropical, yet it can cause severe throat and skin irritation if eaten before it has fully ripened. Fascinated by the fruits tempting contradictions, the works in Delicious Monster explores this relatable concept - patience is often tested by temptation, and the excitement and desire to have an experience before the appropriate moment can often result in dangerous consequences.

Exploring a variety of textures, from the shimmering iridescent to pointed spikes, Lam’s sculptures appear almost lifelike, as if they were living organisms from a psychedelic universe. Simultaneously alluring and unsettling, their textures, candy colored hues and organic shapes draw the viewer in, tempting you to touch them and enter their alternate universe.

The exhibition will be on view through Saturday, May 25th. For more information, additional images, or exclusive content, please email nyc@hashimotocontemporary.com

About Dan
Dan Lam is a sculptor based in Texas where she creates otherworldly, psychedelic sculptures. Her work has been featured in New American Painting, Juxtapoz and The Creator’s Project, as well as exhibited extensively in the United States.

Hashimoto Contemporary 210 Rivington Street
New York, NY 10002

Art New York Highlight Exhibitor: Cavalier Gallery
Federico Uribe (Colombian, b. 1962)   Black Panther , 2017  Bullet Shells 36 x 72 x 12 in. (91.4 x 182.9 x 30.5 cm)

Federico Uribe (Colombian, b. 1962)
Black Panther, 2017
Bullet Shells
36 x 72 x 12 in. (91.4 x 182.9 x 30.5 cm)

Art New York 2019 at Pier 94

Thu, May 2 - Sun, May 5 

www.artnyfair.com

The highly-anticipated fifth edition of Art New York returns to Pier 94 from May 2-5 during the height of New York’s art and cultural season. 

The Fair showcases noteworthy works by important artists from the contemporary, modern, post-war and pop eras presented by more than 70 international galleries. Art New York provides a fresh alternative for acquiring important, never-before-exhibited works from both primary and secondary markets, including CONTEXT, a platform for a selection of new and established contemporary galleries showcasing emerging, mid-career and cutting-edge talent. The fair annually welcomes both experienced and new art collectors who are looking to experience a carefully-curated, rich-in-content presentation of the best in the global contemporary art market. 

Art New York, at Pier 94, will begin with an elegant, invitation-only VIP Preview event on Thursday, May 2 from 2:00 to 5:00PM. The special preview offers collectors, art advisors, curators, and media the opportunity to examine and acquire the finest works available in the market before the fair opens to the public that evening and continues through Sunday, May 5. 

Federico Uribe (Colombian, b. 1962)   I Love You , 2019  Bullet Shells 72 x 36 x 48 in. (182.9 x 91.4 x 121.9 cm)  ACPB0539


Federico Uribe (Colombian, b. 1962)

I Love You, 2019
Bullet Shells
72 x 36 x 48 in. (182.9 x 91.4 x 121.9 cm)
ACPB0539

Interview with Olivia Pek Gallery Associate, Cavalier Gallery

www.cavaliergalleries.com

Tell us about your gallery and the type of art you exhibit.

Adelson Galleries (New York and Boston) and Cavalier Galleries (New York, Nantucket, Greenwich) have partnered together in opening Adelson Cavalier Galleries on Worth Avenue in Palm Beach, Florida. With a combined 85 years of experience in the art business, each gallery brings their expertise in the fields of Impressionism, Realism, Modernism, and Contemporary Art. Adelson Cavalier Galleries exhibits emerging and established Contemporary artists, as well as historically significant artworks by 19th and 20th Century masters. Adelson Cavalier Galleries is open year-round with rotating exhibits.  

Federico Uribe (Colombian, b. 1962)   Baby Panda (Patient) , 2019  Bullet Shells 15 x 11 x 9 in. (38.1 x 27.9 x 22.9 cm)  ACPB0361

Federico Uribe (Colombian, b. 1962)
Baby Panda (Patient), 2019
Bullet Shells
15 x 11 x 9 in. (38.1 x 27.9 x 22.9 cm)
ACPB0361

Name a few artists that you are bringing to this year's Art New York Fair. 

Here are a few of the artists whose work we are exhibiting:

-Jim Rennert 

-William Nelson

-Guy Stanley Philoche

-Wolf Kahn

-Hans Hofmann

-Federico Uribe

-Magdalena Murua

What are you most excited about in terms of your booth selection this year?

We are excited to bring a fantastic selection of artists to Art New York this year. The centerpiece of our booth is the astonishing mixed media piece,  I Love You, by Colombian artist Federico Uribe. Just a few blocks away, at our gallery on 57th Street, our 3,800 square foot ground floor space is currently dedicated to the outstanding work of Federico Uribe, with his solo exhibition “Mesmerized,” on view through June 1st.  

Please share a few tips for fair visitors or new collectors.

Bring your checkbook!

May 1st is Collectors Day at Moniker Art Fair
Moniker London 2016. Photo courtesy of Moniker Art Fair.

Moniker London 2016. Photo courtesy of Moniker Art Fair.

We’re just a few days away from Moniker Art Fair and in addition to all of the exciting things planned throughout its run, this year, the fair will be kicking off with a special opening event called Collectors Day. Read on to learn more!

Moniker Art Fair is pleased to introduce Collectors Day, a unique concept designed to encourage art buying from fairs, galleries and artists alike. Taking place on opening day, May 1st, 2019 at the fair’s new NoHo location, 718 Broadway, this exploratory initiative challenges and defies the traditional VIP vernissage for art fairs. Providing more than a VIP preview, the day fosters education and accessibility to art collecting through a series of talks and Q&A’s led by collectors, gallery directors, curators, and artists. Moniker’s second New York edition will take place on May 1-5, 2019.

Collectors Day will feature tours across the expansive, multi-level fair lead by Moniker Director Tina Ziegler. Special programming for the day will include panel discussions with art world professionals on a wide range of topics that matter both to veteran and emerging collectors including: how and why to collect contemporary art, the best way to approach building a collection, and investment opportunities and elitism within the art world.

Fair Director Tina Ziegler says, “Collectors Day means real, mature discussion on subjects that matter to our collectors. What are the pros and cons of buying direct from artists? How long can it take for art to mature significantly in value? How do I even begin collecting? These are all things we can and should answer, and we can’t wait to see the effect Collectors Day has on our guests.” Collectors Day will also host talks led by accomplished collectors, gallery directors, curators and artists. Moniker’s approach to the new programming for this New York edition is the latest in a series of initiatives that Moniker has undertaken over the last 10 years to make art collecting accessible to the public.

Photo courtesy of Evoca 1 and Moniker Art Fair.

Photo courtesy of Evoca 1 and Moniker Art Fair.

As part of the Collectors Day program collectors will have a chance to hear short presentations from galleries and Spotlight Artists. The 2019 New York edition continues to exemplify the fair’s commitment to exhibiting the depth and breadth of urban contemporary art from across the globe. 2019 New York edition participating galleries include Vinyl on Vinyl Gallery, Philippines; Mazel Galerie, Brussels; Damien Roman Fine Art, The Hamptons; Fousion Gallery, Barcelona with Spotlight artists WK Interact, Christian Boehmer, Evoca 1, ICY & SOT who are recognized leaders in the urban and new contemporary art movement.

Partners for the Collectors Day include: Art Money, Art Law, Barnebys Auction House, Greenpoint Innovators, It’s a Small World, Juxtapoz Magazine, Norwood Club, Soho House, and Tagsmart among others.

Opening of Moniker Art Fair 2019 | 3pm

Drinks Reception and welcome to the fair | 3pm - 4pm

Fair Tour with Fair Director Tina Ziegler | 4:30pm - 5:30pm

Each person will receive headsets for the tour so they can hear the tour throughout the fair. Each exhibitor will get 5 minutes to introduce their collection to the tour. This gives collectors a guided one-on-one with each gallery and artist.

Collecting Art 101: Starting a Collection | 5:30pm

This program explores questions every new collector should ask themselves: how do you define your personal taste as a collector? What type of collector are you? How to purchase art for passion and purpose?

Collecting Art 101: Investing in Art | 6:15pm

A round table discussion on how collectors control the market, why it’s important to collect in today’s climate, and the good and bad aspects of buying art on Instagram. Guest Speakers include: Derek Gores, Professional Artist, part of the Open Studios Program; Jonathan Levine, Director of Jonathan Levine Gallery (New York); Evan Pricco Editor-in-Chief of Juxtapoz Magazine; Damien A Roman, Director of Damien Roman Fine Art Gallery, The Hamptons; Yasha Young Director and Curator of Urban Nation Museum, Berlin; Tina Ziegler, Director and Curator of Moniker Art Fair.

Additional speakers and programming to be announced.

Mural program, Moniker London 2015. Photo courtesy of Moniker Art Fair.

Mural program, Moniker London 2015. Photo courtesy of Moniker Art Fair.

Dates:

Wednesday, 1st May
VIP Collectors Day: 3pm - 10pm
Ticket price: $75 (Including a $50 credit towards any purchased artwork)

Thursday, 2nd May
Public Opening: 12pm - 9pm

Friday, 3rd May
Fair Open: 12pm - 9pm

Saturday, 4th May
Fair Open: 11am - 8pm

Sunday, 6th May
Fair Open: 11am - 6pm

FREE Entrance Times:
Access to the fair is free to all members of the public for 90 minutes each day.
Thursday 12pm - 1:30pm
Friday 12pm - 1:30pm
Sunday 11am -12:30pm

Location
718 Broadway, NoHo, Manhattan, New York, 10003

Website
www.monikerartfair.com

Hashtag
#monikerNY19 #monikerartfair

Twitter
@monikerartfair

Instagram
@monikerartfair

Facebook
www.facebook.com/monikerartfair

Moniker Art Fair | New York May 1-5, 2019
Tina Ziegler, Fair Director. Photo courtesy of Moniker Art Fair.

Tina Ziegler, Fair Director. Photo courtesy of Moniker Art Fair.

Create! Magazine is excited to be partnering with Moniker Art Fair for its 11th edition in New York this spring. Read on to learn more about what exciting things you can look forward to at this incredible contemporary art fair!

This May 1 - 5, Moniker Art Fair returns to New York, welcoming international and local collectors to a five-day celebration of New Contemporary Art in Manhattan.

Moniker Art Fair is an acclaimed contemporary art fair with urban influences, which has for 10 years delighted collectors and art lovers in both New York and London with hyper-curated, fully-immersive and broad-scope events.

The next edition, held 1 - 5 May 2019, will dominate the heart of the New York art scene in its 15,000 square-foot venue in NoHo, continuing the never-conventional, always-pioneering fair format that has launched the careers of numerous artists in the past decades in partnership with international galleries.

Moniker has become the go-to for art collectors to learn more about the contemporary art world and to buy art assured by the curation, instinct and advice of professionals.

Moniker London 2018. Photo credit: Sam Roberts.

Moniker London 2018. Photo credit: Sam Roberts.

NEW YORK EXHIBITORS LIST

INTERNATIONAL GALLERIES

GAREY THE THIRD | LA & Hong Kong

FIERCELY CURIOUS | Brooklyn

MAZEL GALERIE | Brussels & Singapore

FOUSION GALLERY | Barcelona

VINYL ON VINYL | The Philippines

ROMAN FINE ART | The Hamptons

CAKE AGENCY | Chicago, Illonois 

11.12 GALLERY | Moscow, Russia

LIVING ART GLOBAL | UK

ANALOG CONTEMPORARY | Philadelphia

PERSEUS GALLERY | New York

 

OPEN STUDIOS

SIRIS HILL | UK

FATHERLESS | Illinois

DEREK GORES | Florida

BURAK KARAVIT | Istanbul

NICK FEDAEFF | Russia

ARTHUR BECKER | New York

TXEMY & AMAIA ARRAZOLA | New York

 

SPOTLIGHT ARTISTS

EVOCA 1 | Dominican Republic

CHRISTIAN BOEHMER | Cologne

WK INTERACT | New York

ICY & SOT | Iran

YOK & SHERYO | The Philippines

ARINZE STANLEY | Nigeria

NUNO VIEGAS | Portugal

Photo credit: Icy & Sot. Photo courtesy of Moniker Art Fair.

Photo credit: Icy & Sot. Photo courtesy of Moniker Art Fair.

FAIR SCHEDULE 2019

Wednesday 1 May 2019
Collectors Day: 3pm-7pm 
VIP Celebration: 7pm - 10pm
$75 (Includes $50 towards your first original artwork purchase)

A program of educational talks, panel discussions and networking sessions
around collecting contemporary and urban art.

Thursday 2 May 2019 
Public Opening | 1pm - 5pm 
Opening Celebration | 5pm - 9:30pm 
$25

General Fair Days
Friday 3 May | 1 - 10pm 
Saturday 4 May | 12 - 8pm 
Sunday 5 May | 11am- 6pm 
$15

STUDENTS AND SENIORS

Students can visit Moniker free of charge. A valid student ID will be required before entry.

Seniors (65+) ticket price is $10 (+booking fee) with code: REDUCED.

FAIR ACCESS

Children under the age of 16 do not need a ticket to visit the fair.

Well behaved leashed pets are welcome on site.



For more information, please visit their website: https://www.monikerartfair.com/ or follow them on Instagram.

Photo credit: WK Interact. Photo courtesy of Moniker Art Fair.

Photo credit: WK Interact. Photo courtesy of Moniker Art Fair.

Paradigm Gallery at Art on Paper 2019

For their fourth showing at Art on Paper, Paradigm Gallery will be presenting artwork by Alex Eckman-Lawn, Drew Leshko, Evan Hecox, Hyland Mather, and Seth Clark. The artists have all created their artwork using their own unique methods, but will be coming together for a fair display not to miss. Click on the artist names below to see their collections. The newest pieces by each artist will be added to their linked collection pages on Friday, March 8th. Email sara@paradigm-gallery.com if you would like to see a preview of the collections prior to that date.

Paradigm Gallery | Booth 105 | Featured Artists
Alex Eckman-Lawn
Drew Leshko
Evan Hecox
Hyland Mather
Seth Clark

Fair Dates/Hours/Location
March 7 - 10, 2019 | 299 South Street - Pier 36, Downtown Manhattan

OPENING NIGHT
Art on Paper Preview
Thursday, March 7, 2019 • 6:00pm to 10:00pm

PUBLIC FAIR HOURS
Friday, March 8 • 11:00am to 7:00pm
Saturday, March 9 • 11:00am to 7:00pm
Sunday, March 10 • 12:00pm to 6:00pm 

Art Miami Exhibitor Highlight: Leslie Feely Gallery

www.lesliefeely.com

December 4 –9, 2018

In its 29th edition, Art Miami maintains a preeminent position in America's modern and contemporary art fair market and is globally recognized as a primary destination for the acquisition of the most important works from the 20th and 21st centuries.

Friedel Dzubas,  First Run , 1972 Acrylic on Canvas, 96Hx96Win

Friedel Dzubas, First Run, 1972 Acrylic on Canvas, 96Hx96Win

Interview with Dakota Sica

Briefly tell us about your gallery and what type of art you specialize in.

Leslie Feely Gallery is located on the Upper East Side in New York City. We specialize in Post War and Contemporary Art.

What can visitors expect from your booth this year and what specific works should they pay attention to?

This year we have a dedicated a section to Richard Diebenkorn, highlighting works from every period of his career.

Including examples of early abstract drawings, stunning figurative works, and an impressive Ocean Park.

Another star of our booth is “First Run" a rare large-scale painting by Friedel Dzubas - this never before seen work is a Dzubas masterpiece.

It will be accompanied by smaller paintings that illustrate the artist’s contributions to color field painting.

We are also proud to present the works of Kikuo Saito. These large-scale gestural abstractions sing with color!

What tips would you share with new art collectors or fair visitors?

I recommend that visitors ask questions. It is very rewarding to talk with people about the work of an artist they may or may not know. Art Miami is an inclusive fair where experienced and new collectors come to learn and grow their collections.

Space for Women's Stories: Interview with Hiba Schahbaz

Hiba Schahbaz was born in Karachi, Pakistan and lives in Brooklyn, NY. She works primarily with paper, black tea, and water-based pigments. She depicts women’s bodies while referencing self-portraiture, creating a space for herself and other women to tell their stories and reclaim their histories. Since migrating to the United States, her practice has expanded from miniature painting to human-scale works on paper.

Schahbaz trained in miniature painting at the National College of Arts, Lahore and received an MFA in painting from Pratt Institute. Her solo shows include The Garden (Spring/Break Art Show, 2018), Hiba Schahbaz: Self-Portraits (Project for Empty Space, 2017), Hanged With Roses (Thierry Goldberg Gallery, 2015), and In Memory (Noire Gallery, 2012). 

Schahbaz has participated in numerous group exhibitions; including shows at NiU Museum of Art, The Untitled Space, and Center for Book Arts; and at art fairs such as Pulse Art Fair, Art.Fair Cologne, and Vienna Fair. Her work has been written about in Vice, Hyperallergic, The Huffington Post, Coveteur, Vogue, NY Magazine, Art Critical, and others.

Schahbaz has curated painting exhibitions in Pakistan and India. She was an artist-in-residence at Mass MoCA, The Wassaic Project, Vermont Studio Center, and the Alfred Z. Solomon Residency at the Tang Museum. She teaches miniature painting at the Art Students League in NY.

Interview by Sarah Mills

HIBA SCHAHBAZ__30_artist portrait_photo by Maxim Ryazansky.jpg

When did you know you wanted to be an artist?

I can’t say that there was a single decisive moment. When I was a young girl, I would keep little scraps of paper, markers, and a torch under my pillow. I would draw imaginary landscapes hidden under my blanket when I was supposed to be sleeping. I always assumed that I would be an artist, and luckily life flowed in that direction.

When did you decide to start creating large-scale works? What pushed you to do so?

I began painting larger human scale works a couple of years ago. It was a big shift from miniature painting, and although I’d been thinking about it for years, I was still hesitant to do so. I think the shift happened because I had become very comfortable and settled as a miniature painter. I needed to develop something different. I craved growth (no pun intended). 

In part, the transition also happened because I began painting the gaze. When I moved to New York, I wasn’t painting faces at all. Over time, I began painting the side profiles of figures and eventually the women in the paintings turned to face the viewer. At this time I wanted to make their eyes life size to further this engagement.

Untitled_2015_.jpg

How did your work in miniatures inform your large-scale works?

I trained as a miniaturist and painted within the genre for over a decade. I see the human sized paintings as an extension of my miniature works. I still paint very stylized bodies and imaginary landscapes. My use of tea, pink, and turquoise are the same colors I utilized in miniature paintings. I also still use a fine miniature brush to articulate areas of detail. Most of the materials I use are a direct extension of my miniature practice, such as handmade paper, tea, gouache, watercolor, and gold leaf.

Summer Studio 2015.jpg

Can you tell us a little about your studio practice? 

I’m a full time artist. My studio practice is entirely self-disciplined and self-motivated. I like working at my own pace and being in a state of flow at the studio. I prefer to paint without goals for exhibiting my work, and I don’t need deadlines to get things done. I find I’m most satisfied when I work without pressure and my paintings develop organically. The opportunities to show these paintings arise along the way.

I appreciate harmony. I wake up with the sunrise and come to the studio first thing in the morning. Early mornings are very important to me, since I’m most centred and productive when I have substantial mental space and quiet time in which to work. 

In the studio I often work on more than one thing at a time. These days I’m not working from preliminary sketches or drawing or color studies. All my energy is going into the paintings themselves. If I get stuck, I shift my attention to another work until things fall into place. I often shift scale, moving from working on large paintings to small ones.

What has been the biggest surprise you have faced in your art career thus far?

I think the biggest surprise has been all the support and encouragement I have received from both inside and outside the art world since moving to New York. Even when things got rough in my own personal journey as an artist, I always feel stronger and more accepted when I received a note from someone who had seen and experienced my paintings for the first time. It’s always a surprise and it’s always welcome. I feel a lot of gratitude towards everyone who has supported me on my path.

_LOU2246.jpg

What is one piece of advice that you got that you feel our readers would benefit from hearing?

Believe in yourself and make work for yourself. If you’re fulfilled as an artist, the rest of the world will come around. Ninety percent of the validation you need should come from within. Consistency is key, so work everyday—it’s not about ‘feeling’ inspired. Lightning will probably strike you before inspiration does! You’re an artist, so create your own inspiration. Never give up.

Ken Goshen

Ken Goshen earned his BFA in Fine Arts with a minor in Printmaking from Parsons School of Design (NYC). Goshen was born in 1988 in Jerusalem, Israel. In his teens he studied art at various institutions in Israel and in New York, such as Charles A. Smith Jerusalem High School for the Arts and LaGuardia High School for the Arts, followed by three years of service in a highly classified IDF unit demanding a variety of artistic skills. He is also a graduate of the three-year Master Class classical painting program at Hatahana Studio for Figurative Drawing and Painting (Tel Aviv).

My work explores the role of representational art objects in an era of digital image ecstasy by highlighting the function of subjectivity in perceptions of the “real.” By bringing together traditional techniques with contemporary outlooks, I strive for my work to embody both the weight of nostalgia and an exhilaration of the unexplored.

This recent body of work, titled “Good Times Strange Times”, is my attempt to engage, express, and explore memories from my time serving in the Israeli Defense Forces. What captures me most when reflecting on those years is a sharp contrast between two opposing experiences: the somber reality of a nation in conflict and a seemingly inevitable ambient of youthful play. Israelis are mandated to join the military directly after high school, giving rise to a schizophrenic coexistence: the adolescent mentality must hastily adapt to incorporate mortal stakes and consequences. This results in an unstable hybrid of youth and maturity, full of charming imperfections. This project is inspired by moments when the child can be seen through the cracks in the soldier veneer, casting a dream-like spell on their everyday concrete surroundings.

"Fate Of The Union" by Mike Davis at Spoke NYC

Opening Reception: September 8th, 6 - 8pm On view: September 8th - 29th, 2018

Spoke NYC is pleased to present Fate Of The Union, a solo exhibition by San Francisco-based artist Mike Davis. We are thrilled to be exhibiting his work at our Lower East Side location after a 10 year exhibition hiatus in NYC. Fate Of The Union will be Davis’ inaugural solo exhibition at Spoke Art, where he will be exploring themes of social and political dichotomies.

The artist’s highly complex narrative based works are painted in the style of Flemish Primitives such as Bosch, Bruegel and van Eyck. Originating in the 15th century, painters from the Flemish Primitives movement blended elements of realism and symbolism, creating worlds and scenes that had greater depth of emotional complexity than was ever seen before.

Davis’ paintings are full of symbolism referencing mortality, folly and egotism, creating rich scenes and storylines. Figures move across the landscape, building and carrying objects, busying themselves with bizarre tasks. Recurring elements are scattered throughout the landscapes, including keys, ufos, birds, snakes, ladybugs and butterflies. Hybrid creatures such as fish with legs and men with tree trunk heads inhabit this universe, creating an alternate reality that is surreal yet familiar.

Consisting of 15 oil paintings, the scenes are a combination of arcane personal symbolism and social and political commentary. In our current politically tumultuous times, the artist draws inspiration from the American political climate and the world at large, delving into the social divides of today to reflect our own reality though a new lens.

About the exhibition, Davis states, “my work depicts a world of myth and colliding timeframes, a land ‘on the other side of the bridge’ but one that resonates with our own - not as a memory but as a dream.”

Please join us Saturday, September 8th from 6 - 8pm for the opening reception of Fate Of The Union. The artist will be in attendance.

For more information, or additional images, please email nyc@spoke-art.com.

ABOUT THE ARTIST

Mike Davis is a modern surrealist painter who currently lives and works in San Francisco, California. Self-taught, Davis began painting seriously in 1997. His inspirations range from his mother’s

woodwork, hand-tooled leather, and home projects to art of the ancient world, to surrealism, to the Flemish masters of the Northern Renaissance. He renders complex surrealist works embedded with symbols of mortality, folly and hubris, fixed within whimsical compositions.

In addition to painting, Mike Davis is an active musician, woodworker and owner of internationally- renowned Everlasting Tattoo.

MIKE DAVIS: https://www.mikedavisfineart.com

FACEBOOK EVENT PAGE : https://www.facebook.com/events/1775813592468325

SPOKE ART : http://www.spoke-art.com

‘CON Art’ Exhibition Featuring Dan Alva at Guy Hepner (Curated by The Tax Collection)

- Guy Hepner and The TAX Collection present "Con Art" - an inagural solo show by Miami based artist Dan Alva (@dan.alva) 

- Opening reception August 16th (7-10 PM) at Guy Hepner Contemporary Art Gallery

- 520 West 27th Street, Suite 303, Chelsea NY

Guy Hepner is pleased to present our upcoming exhibition ‘CON Art’ featuring Miami based artist Dan Alva, and curated by The TAX Collection. Alva’s works are a hybrid of mixed media and pop culture references, often including subversive undertones. This particular combination of style comes from a family history of Spanish Fine Artists as well as his 12 year career in creative advertising. Much of Alva’s work is inspired from his experiences as a creative director in the advertising industry. He utilizes his marketing background to satirically comment on the messages of recognizable ad campaigns, highlighting the excess of materialism in lifestyle marketing. Alva’s artworks are a mix of words and phrases superimposed on prints. He will then puncture a spray can allowing the paint to freely explode on the advertisement. Alva shares his love/hate relationship with the advertising industry through his personal artwork which has no bounds.His ‘Brandalism’ series, which directly uses advertisements, with phrases and paint laid atop, is his most recent collection. Alva shares that his process typically begins with an online mockup of the potential outcome that he then recreates in real life. His actual creation of the works involves words and phrases being superimposed on prints. He then will puncture a spray can and allow the paint to freely explode over the advertisement, creating a stark contrast between his creative and marketing sides. While the two aspects compliment each other, they also act as opposing forces, shadowing Alva’s love/hate relationship with the advertising industry.He defines a clear differentiation between work and art by sharing that, “As a creative in the advertising world, ideas get watered down from time to time. The original concept rarely ends up being the final product. In the studio I have full creative control. It’s on me to make my vision come to life.”Escaping the advertising world to his studio allows Alva to make mistakes and create more freely. Guy Hepner + The TAX Collection invite you to join us for Alva’s first ever solo exhibition, opening August 16th at 7 PM.

Art as a Celebration: Podcast Interview with Alonsa Guevara

On this episode, join us for a fun and inspiring conversation with artist Alonsa Guevara. Alonsa shares her journey of growing up in Chile, moving to New York and developing her career as a brilliant painter.

Alonsa and Kat talk about inspiration, overcoming challenges, making money doing what you love and showing up for yourself as an artist. Alonsa's breathtaking paintings, personal story, hard working spirit and sunny personality will be sure to inspire you.

Alonsa Guevara is a Brooklyn based artist. She was born in Rancagua, Chile. Her paintings blur the lines between fantasy and reality while celebrating the connection between humankind and nature. A big part of her inspiration derives from her childhood spent living in the Ecuadorian rainforest with her family, growing up surrounded by tropical landscapes and a diverse wildlife.

Alonsa received her BFA from the Pontific Catholic University of Chile in 2009 and moved to New York in 2011. She was awarded the Elizabeth Greenshields Grant in 2013 while being at the MFA Program of the New York Academy of Art, and after graduating she was granted the Academy's Fellowship award 2015.

Alonsa's work:

https://www.alonsaguevara.com/

Anna Zorina Gallery:

http://annazorinagallery.com/exhibitions/

New York Academy of Art:

https://nyaa.edu/

It Starts With The First Stitch: Podcast Interview with Olek

On this episode, Olek openly shares her story of growing up in Poland, moving to New York and establishing herself as a leading contemporary artist. She offers invaluable advice on maintaining a rigorous studio practice, trusting your intuition, showing up for yourself and much more. Warning: Olek’s passion for art and community is contagious. 

Olek's Website:

http://oleknyc.com/

Other Links:

Betty Tompkins

https://www.instagram.com/bettytompkinsart

Olek's Art:

Work by Bruce Brooks 

Pointillism Revisited: Interview with Dimitri Likissas

Guy Hepner and Tax Collection are pleased to present the first US Solo show of Belgium-born artist Dimitri Likissas. The exhibition will run in the New York City gallery from May 10th to June 22nd.

Dimitri’s work stems from a long tradition of using distinct dots of color in art, which the viewer’s mind blends together to create the final image. Playing with chromatic tonality and the dissection of visual planes, Dimitri creates works that seem to move and undulate within the canvas as if attempting to escape their two dimensional confines. While the dots work together in harmony to create the image, their circular nature acts in opposition to his square or rectangular canvases, reminding us of the basic elements of life and how atoms are in a constant movement – propelling against each other – creating matter itself.

Having studied the works of the original Pointillist masters, such as Georges Seurat and Henr Edmond-Cross, as well as pop artists like Roy Lichtenstein and Keith Haring, Likissas gives us a fresh interpretation on the usage of dots in painting.

While having been painting and experimenting with dots and color for over 20 years, his body of work has maintained the same technical and stylistic approach over all these years while the content has developed as he has moved through different countries and life events.

What is your artistic background and training?

I am an autodidact (no formal training). I would say that I was born an artist. I have the personality of a creator, I have a need to create, conjure things and have a lot imagination and am driven to manifest my creations. 24 years ago I started to work in a newspaper as a graphic designer making advertisements the old fashioned way making Xerox copies of clipart books then cut the clipart with scissors and assemble an advertisement which was really a collage using adhesive putty, and then go to the dark room and shoot the ad, expose the film, make the separations, burn the plates etc, so I learned all this graphic work (pre-press) by doing. When I was a kid I used to paint Americana (logos) on jeans pants and jeans jackets for the kids in school for money. 

pink lips-and-nose.jpg

When did you decide to use dots to create your images? What initially inspired you?

In the very beginning I somehow always wanted to incorporate 2 to 3 circles in my works. I felt they had a certain energy. My reasoning was that there is ‘circulation’ in a circle compared to a square that has corners (no one likes to be pushed in a corner) in a circle you are free. Freedom is important to me. I also likened the combinations of circles or dots as a molecule which is a group of atoms which have patterned geometries and vibrate. I used to call them powerdots. Lateron I discovered Roy Lichtenstein’s and his use of ‘Ben Day Dots’ which almost came as a revelation to me where for example a mass – methaporically, just like the molecules, atoms of one color spread out in a pattern can make up an other color, like a pattern of magenta dots, spread out far enough creates pink. The only thing I didn’t like is the pattern, a pattern is again where we lose freedom, it’s a set of rules. But in life we need to follow a set of rules to reach certain goals. In my case I use a combination of that pattern which creates not only illusions of colors of its own but also each neighbouring different color dots like with Albers’ color theory create yet again another color illusion. All this fascinates me. 

What would you say your current work is about?

Since I use that pattern and colors, no matter what colors I give each dots which in turn create a visual subject from a distance, in the past, now or in the future, my work is about the interaction and affecting the sensations of the viewer.

Name a few artists both historical and contemporary that inspire you.

Victor Vasarely for his geometrical abstract art

Roy Lichtenstein for the use of his dot patterns

Warhol for putting singular objects on a pedestal

What do you hope to communicate through your latest exhibition at Guy Hepner?

I hope to convey that we are lucky to be alive and to be fascinated with life, to not see things as they are but to be curious and explore.

Tell us about your typical day. What do you do to stay inspired and productive in the studio?

I am not aware of days and hours (I am in my own world, which can be annoying to get things done in the real world, synchronicity), so I work in the studio at hours when I feel like it, however, my mind is constantly focused on creating things. Once a work is started, it becomes an obsession. I have a sketch book which is full with clips from magazines, newspapers and other print mediums. I cut out images that give me a certain sensation. I have enough inspiration to paint than I am able paint!

boogie-woogie.jpg

Share a piece of advice for artists trying to find their unique voice and style.

Finding your unique voice and style comes from within you and being true to yourself and which can only come from experience, I mean, your ultimate style is shaped until it fits you totally. It can take years. It must also be something you are personally happy with. It is also sticking to your guns.