AMP Gallery, or Art Market Provincetown, describes itself as a “live exhibition space” specializing in “cutting edge art.” It rotates art every two or three weeks during the summer months to accommodate an array of mediums that includes drawing, painting, photography, sculpture, installation, new forms, writing, music and film. AMP Gallery’s platform focuses on art discourse empowering the discovery process and providing the opportunity for artists to share their creative energy with audiences. The acronym AMP suggests the electricity of the moment and the energy Debbie Nadolney infuses into the space. Artist Jeannie Motherwell approached Nadolney about showing at AMP because she liked its vibe. Nadolney says that her space is similar in character to Sun Gallery — which operated in Provincetown from 1955 to 1959 — in its ability to tap into a sense of joie de vivre, idealism and … [Read more...] about LIMITLESS MOTHERWELL: AMP’D UP VIBE IN PROVINCETOWN
FRANKENTHALER AT PAAM: AN ODE TO PROVINCETOWN SUMMERS
Helen Frankenthaler (1928-2011) is the subject of one of the most important exhibitions to come to the Provincetown Art Association and Museum (PAAM) in its 104-year-old history. “Abstract Climates: Helen Frankenthaler in Provincetown,” opening July 6 and on view through September 2, weaves together the fabric of what makes the very tip of Cape Cod a remarkable arts colony: working artists, families (original or logical) and the light. The show begins with works dating from the time when Frankenthaler studied briefly with Hans Hofmann in Provincetown in 1950, and unfolds with expansive works created from 1960 through 1969, when she summered there with artist Robert Motherwell, her husband from 1958 to 1971. The exhibition is co-curated by Lise Motherwell — a daughter of Robert Motherwell, stepdaughter of Frankenthaler, and PAAM board president — and Elizabeth Smith, founding executive … [Read more...] about FRANKENTHALER AT PAAM: AN ODE TO PROVINCETOWN SUMMERS
WELCOME: FROM BRIAN GOSLOW
by Brian Goslow, Managing Editor bgoslow@artscopemagazine.com Welcome to our Summer 2018 issue! We put this issue together after publisher Kaveh Mojtabai and national correspondent Nancy Nesvet had visited Art Basel 2018 in Switzerland and I had returned from a visit to the Greater Binghamton and Oneonta, New York regions, which served as the perfect warmup to composing a collection of New England and upstate New York art wanderlust road trip features. Several of Artscope’s writers have put together travelogues of their favorite visual and performing art venues, places to eat and drink and — in some instances — stay during the summer months. You might find them a perfect daytrip or the someplace new where you’ve been looking to spend a week. Our cover features the work of photographers Ken Browar and Deborah Ory, whose collection of NYC Dance Project portraits are on view at … [Read more...] about WELCOME: FROM BRIAN GOSLOW
Parcours at Art Basel 2018. The good and the bad.
Last year, the Parcours sector at Art Basel was so good I did not think it could be topped, and I was right. Perhaps overconfidence, or the fact that the really good projects were done last year emerged, but this year’s Parcours just did not measure up to the quality of the projects from the last two years. The highlights of the sector were video and sculpture, with the best Julian Charriere’s film, An Invitation to Disappear (2018), with techno beats, backgrounding strobe sequences, and a visual grid of a plantation that recalls the volcanic eruption of Krakatoa in Indonesia 200 years ago. The similarities between environmental disaster and party lights and sounds creates an edginess in the piece. With Cate Blanchett featured in thirteen roles, Manifesto, a film by Jullian Rosefeldt (2017) presents the philosophies of artist manifestos including Fluxus, Dada, and surrealism acted in … [Read more...] about Parcours at Art Basel 2018. The good and the bad.
Unlimited at Art Basel: Ritual and Community Building
The Unlimited sector at Art Basel 2018 had great video and fabulous installations that alternately made me laugh, think and cry. Lots of work could be categorized as social justice, running the gamut. Alfredo Jaar’s The Hong Kong Project, including A Hundred Times Nguyen, runs four different images of a little girl who befriended Jaar in a Vietnamese refugee camp, repeating to total 100 pigment prints. Mikhael Subotzky and Patrick Waterhouse’s installation, Ponte City, 2008-2014 (Lelong Galerie, New York and Paris). Displayed their six-year documentation of the social community within a fifty-four story Johannesburg apartment building. Their installation exposes problems and relations in attempting to gentrify a run-down apartheid era building. In Ponte City, community comes to the fore as relationships build amongst the former white, privileged inhabitants of the apartments under … [Read more...] about Unlimited at Art Basel: Ritual and Community Building
Galleries Sector at Art Basel
Basel, Switzerland ⎯ The Galleries sector of Art Basel was lively and bustling on the last day of VIP entrance. Lots of lookers, buyers, and stimulating conversations with gallery directors. Crowds of people lined up to talk about the works. The larger number of VIPS compared to last year's group probably meant there were more people there to buy. And of course the parties were in full swing too, jam-packed with art-admirers. Moving focus back to the show, work was a bit dour in color compared to years past. Browns and greys dominated in painting and photographs with a general feeling of acceptance of things in the state of the world as it now is, since there’s little we can do. But then, while walking along the galleries sector, a booth brought in strong color, exuberance, lifting the mood momentarily. The eye catches Bernd Koberling in his Memories of Water I-III (acrylic on wood, … [Read more...] about Galleries Sector at Art Basel