Why it’s OK for Art and Design to fall in love.
What is art? The eternal debate has taken a new turn in recent years with the relationship between functional design & art.
As we are launching this week an exceptional sale of artist-made outdoor functional objects, we asked Chardonnay Pickard to provide some perspective on art and design collaborations and Astrid de Maismont to give some insight into why we decided to feature one.
Aaron Young, Untitled , 2009. Recycled tire and 24 ct. gold chain. Available here.
How artists and designers collaborate
Chardonnay Pickard is a NY based art and design expert. She previously served as Public Relations Director of the famed, Limoges-based porcelain company, Bernardaud. She currently consults with a wide variety of designers, architects, retailers and manufacturers.
ArtList: So, is it OK for artists to make functional objects?
Chardonnay Pickard: I think that when you ask an artist to collaborate in any kind of product development process with a brand or manufacturer you’re going to end up with something fascinating. So much of the way contemporary craft, design and art are segmented seems really silly to me.
My experience has definitely been that artists are designers, designers are artists and so many incredible objects and projects come from the collaboration between the two.
ArtList: What makes a good artist collaboration with a designer?
Chardonnay: Successful artist collaborations are made when the artist and the brand or manufacturer are able to create something wholly different from what either is known for creating without detracting from either of their brands…In many of these partnerships seeing the brand or product through the eyes of the artists helps the brand clarify and enhance its DNA. A lot of european heritage brands are partnering with artists and I think it’s reinventing them and enhancing their relevance.
Brito’s clutch collaborations with (from left) Carlos Rolón/Dzine, Erik Parker and Kenny Scharf (Wall Street Journal).
ArtList: What kind of recent artist-made objects do you like?
Chardonnay: Apart from Bernardaud’s artist-designed porcelain sets, of course, interior designer and art consultant Maria Brito has created some incredible art clutches that I adore with the likes of Trudy Benson, Erika Parker and Kenny Scharf, which are gorgeous.…More than anything, I get excited that art is no longer being seen as something that’s unattainable and only for academics and certain people. Art is really something that everyone should be able to enjoy and own and I think the world is recognizing that.
7x7x7 Outdoor Contemporary, by ArtList
Exploring this combination of art and desig, ArtList is excited to present a 7 day sale that will feature 7 functional objects and 7 textiles created by leading contemporary artists and in collaboration with Nathalie Karg / Cumulus Studios. Astrid de Maismont, Head of Curation at ArtList, explains the motivation behind the sale.
ArtList: What is 7x7x7?
Astrid de Maismont: It is a 7 day sale that will feature 7 functional objects and 7 textiles created by leading contemporary artists, in collaboration with Nathalie Karg / Cumulus Studios. From a ping pong table by Tom Burr, to a fountain byRob Pruitt, we are selling functional outdoor objects by some of our favorite contemporary artists, that will add personality to any collector’s home just in time for summer.
Rob Pruitt, Untitled, 2008. Tires and electrical pump. Available here.
ArtList: Why do a sale featuring functional objects by artists?
Astrid: We felt that the pieces from this sale blur the distinctions between design and artistic creation, proving that the two fields can collaborate to create playful, interactive pieces. At ArtList, we care about presenting high quality fine art for our collectors. Historically, we have been focusing on unique works of art. However, we liked the idea of artists working under a specific constraint which drives further creativity: Outdoor.
ArtList: Why is “outdoor” such an important element of these works?
Astrid: Today, as a collector, it is difficult if you want to expand your art collection outside. There are design objects but nothing that can act as a direct extension of your indoor collection, nothing functional created by contemporary artists — like a bench, a ping pong table or a swing. These objects offer a unique solution to that problem in that they can serve as either indoor or outdoor additions to a collection.
Tom Burr, Bouncing Balls, 2010. Aluminum, rubber, paint. Available here.
ArtList: Can you tell us about the artists?
We feel strongly for the artist selection and production conducted in collaboration with Nathalie Karg / Cumulus Studios. In our commitment to offering quality for our collectors, we love having works by Ugo Rondinone,Aaron Young, Rob Pruitt, Tom Burr, Neil Beloufa, Liam Gillick, Mark Hagen.
ArtList: Where can these works be purchased?
Astrid: The works are available exclusively on ArtList for a period of 7 days. You can find the details on www.artlist.co/7x7x7 . Get yours in time for the summer! .. and fall in love with them.
Neil Beloufa, Sunset Burger, 2012. Metal, plastic, plexiglass, LED lamp, translucent print. Available here.
Objects for Sale:
Kenny Scharf, Object des Floatz, 2012, poly twill textile.Available here.
Textiles for Sale:
More about the sale:
3 Must See Shows
Via the Artlist blog: Art shows you can’t miss this week in New York. We pick only three.
1. Yayoi Kusama at David Zwirner
May 9 — June 13
As Yayoi Kusama’s Give Me Love exhibition at Zwirner enters its final weeks, it is now perhaps the best time to see the exhibit. Through her work, Kusama offers viewers a playful, fantastical respite from the mundane and ordinary. The highlight of the exhibition that has been gaining incredible attention — Kusama’s “Obliteration Room” in which visitors are free to place a series of colored, circle stickers wherever they please — is now at its most colorful and should not be missed.
On display at 519 West 19th Street, NY, NY.
2. Mary Weatherford at Brennan & Griffin
May 16 — August 1
The inaugurating exhibition of Brennan & Griffin’s new gallery space, Red Hookoffers Weatherford the chance to expand her examination of American landscapes. With this most recent series of paintings, Weatherford abstractly represents the reality of the American landscape, looking to industrial, urban centers (such as the series’s namesake Red Hook naeighborhood) as sources of inspiration. She is inspired by landscapes as they are, rather than by a pastoral idealization of them.
On display at 62 Delvan Street, Brooklyn, NY.
(Brennan & Griffin)
3. Niele Toroni at Swiss Institute
June 3 — September 6
The the first institutional solo show of Niele Toroni in New York (and the first show of his in the US in over 25 years) at the Swiss Institute includes both an expansive collection of past works spanning over 50 years of the artist’s career and new site-specific pieces, commissioned especially for the exhibition. The show thus offers both a panoramic view of the painter’s ouevre while giving visitors a taste of newer work. However, in contrasting the two, the exhibit highlights the meditative consistency that characterizes Toroni’s painting.
On display at 18 Wooster Street, New York, NY.
(Contemporary Art Daily)
3 Must See Shows
Art shows you can’t miss this week in New York. We pick only three.
1. Park Seo-bo at Galerie Perrotin
May 28 — July 3
Park Seo-bo, a seminal figure in modern Korean art, often finds himself in the intersection of Western and Eastern expression. After leaving Korea to study at the Sorbonne in Paris, Seo-bo rose to fame in the 1970s as a leading artist in the Dansaekhwa monochrome movement, itself a combination of traditional Korean aesthetics and Western abstraction. In their exhibition of Seo-Bo’s minimalist paintings, French Galereie Perrotin highlights the Franco-Korean tensions that characterize not only Seo-Bo’s works but Seo-Bo himself.
On display at 909 Madison Avenue, New York, NY.
2. Carolyn Salas at Koenig & Clinton
May 28 — July 10
Opening tomorrow, Koenig & Clinton will display a selection of new and past sculptures from Carolyn Salas. The sculptures, both wall-hanging and free standing, illustrate Salas’ ability to manipulate raw materials into seemingly tenuously balanced compositions. Her sculptures suggest a lack of stability or potential collapse in their precarious positioning. This balance is a part of Salas’ aim to examine “our tendency to feel powerless to confront the crises of our existing surroundings…”
On display at 459 West 19th St, New York, NY.
(Koenig & Clinton)
3. Leon Golub at Hauser & Wirth
May 11 — June 20
This retrospective of the late artist’s paintings illustrates Leon Golub’s importance as an artist who was able to join the canon of historical painting while also reinvigorating the genre with a sense of modern, impassioned protest. His works depict the historical and political developments of the 1960s, 70s and 80s with an anger towards the social violence of the eras. This survey of Globu’s work also offers visitors the chance to examine how the artist’s own style evolved through these decades, from his gritty compositions in the 60s to famously aggressive paintings in the 80s.
On display at 511 West 18th St, New York, NY.
(Hauser & Wirth)
Today’s artist profile focuses on abstract painter, Jean-Baptiste Bernadet. You can read more past profiles on the ArtList blog and browse artwork for sale on ArtList.
Jean-Baptiste Bernadet’s oeuvre shows an evolving investigation of numerous artistic styles. His paintings shift from minimalistic to impressionistic to monochromatic seamlessly.
For Bernadet this experimentation with differing styles is necessary, if unavoidable. He sees these stylistic shifts as a representation of life’s unescapable uncertainty.
Untitled (Figure XXI), 2014
But while Bernadet does not restrict his art to a particular style, he examines each new style he assumes in depth, frequently creating series of works that investigate a single composition or aesthetic.
“I don’t feel any certainty about life, so I want my work to reflect that uncertainty. I will never be the kind of artist who does one thing.” — Jean-Baptiste Bernadet (W Magazine)
Across styles, his works are further united by their aesthetic totality: Bernadet seeks to create paintings that obscure their own origins. He does not want viewers to discern the origin or seperate elements of the work, but to accept the world wholly, like hearing a burst of music.
Vetiver, 2012 (Karma)
And thus the balanced tension that categorizes Bernadet’s art emerges: it is changing yet steadfastly focused, reinvented yet theoretically connected to preceding works.
But perhaps what characterizes Bernadet’s work most is an inability to settle. He is a painter continually searching, along with his viewers for answers within art.
“I’m not pretending I’m a Master or a visionary. I’m just searching for something, and I think that’s what the viewer and I have in common, in art as in life. That’s how we are fragile, humans, and humanists.”— Jean-Baptiste Bernadet
Jean-Baptiste Bernadet in front of one of the paintings from his Vetiver series.
Jean-Baptiste Bernadet lives and works in Brussels, Belgium. He has had solo exhibits at American Contemporary in New York City, Red Barton in London, Karma in New York City, Casado Santapau in Madrid and Torri in Paris. He has completed residencies with Triangle Arts in Brooklyn, APT Studios in Brooklyn and the Chinati Foundation in Marfa, Texas.
3 Must See Shows This Week
Our 3 Must See NYC picks of the week are back on the Artlist blog! You can check out more of our past selections as well as artist profiles on our blog or browse artwork for sale on ArtList.
1. Harold Ancart at Clearing
May 12 — July 12
With his paintings, drawings and sculptures, Harold Ancart creates works that exist not only as independent objects but as conscious examinations of the architectural and social spaces in which they are viewed. Ancart has admitted that he likes, “…to envision exhibits not so much as a succession of objects to be looked at, but as tensions created between the various zones of emptiness. Clearing Gallery’s solo exhibition of the rising artist offers a profound look into this artistic, spatial investigation.
On view at 396 Johnson Avenue, Brooklyn, NY.
Untitled, 2015 (Clearing Gallery)
2. Lisa Ruyter at Eleven Rivington
May 20 — July 3
Beginning today, both of Eleven Rivington’s Lower East Side locations have devoted their spaces to a singular exhibition of Lisa Ruyter paintings: Let Us Now Praise Famous Men. The paintings present recolored and abstracted Depression era photographs, depicting the American Dream at its most desperate. The re-coloration forces a distance between the image — which questions the essence of the American experience — and the viewer — who can therefore examine the American identity within these images while remaining separate from it.
On view at 11 Rivington St & 195 Chrystie St New York NY
Verona, New Jersey. Sewing the edge of an American flag at the Amnin Flag Company, 2011 (Eleven Rivington)
3. Lee Ufan at Pace Gallery
May 15 — June 27
This new solo exhibition of Lee Ufan’s work, following his solo show at the Guggenheim and his recent installation at the Château de Versailles, showcase the artists “Relatum” works. The series, which Ufan began creating in 1968, illustrates an intensive investigation of spatial relations and the nature of elements in interaction. This spatial examination is defining of the Japanese artistic movement, Mono-ha (or “School of Things) that Ufan helped to found in the 1960s.
On view at 534 West 25th St, NY, NY.
Relatum - Dialogue, 2008
The latest subject of our artist profiles is Leif Ritchey, whose paintings combine the texture of fashion with the harmony of music. As always, you can read more past artist profiles on the ArtList blog and browse artwork on ArtList.
The works of Leif Ritchey walk a fine line between fragility and resilience.
Papaya Place, 2014 (ltd gallery)
With his signature process of white impasto, Ritchey creates textured works of paint and fabric with pastel palettes that give these layered, constructed works a deceptively light, delicate facade.
He uses paint to not only create his works but also as a means of adhering textural elements to his canvases, turning his process of construction into a chance for deeper fusion.
“I don’t use glue, I use paint. It fuses it. It seeps in. The colors meld. Where one thing begins and another thing ends is a blurring process. A blend from one song to another. The mix.”— Leif Ritchey
Ritchy’s work is infused with a sense of musicality.
In addition to viewing the elements of his works as separate “songs,” he is a member of the band Shades, consistently listens to music while painting and sees his painting process as a mixing of elements, similar to the composition of a song or the curation of music on the radio.
Jasmine, 2014 (ltd gallery)
However, fashion plays into his works as much as musicality. He is, along with his designer wife, a co-founder of the Leif and Tooya Clothing Company. Ritchey sees his fashion line, like his artistic works that often incorporate fabric textures, as a chance to bring the exceptional to quotidian life.
“In both [mine and my wife’s] work, we try to tap into the magic of everyday items — to realize magic that’s already there.” — Leif Ritchey (Paper Magazine)
Ritchey lives and works in New York City. He has had solo shows at the the Jounral Gallery in Brookly, ltd los angeles in Los Angeles, Martos Gallery in New York City and ATM Gallery in Brooklyn. His work has also been exhibited at the Journal Gallery in Brooklyn. He has also shown at Venus over Manhattan in New Yorka nd Jeanroch Dard in Paris.
Our latest artist profile delves into the weavings and paintings of Ethan Cook, who attempts to examine the influence of human error in artistic creation. You can find artworks by Ethan Cook on ArtList and check out past blog posts on the ArtList blog.
Cook began making dyed artworks, comprised of dyed and bleached pieces of canvas, creating a work not by adding elements to canvas but rather by changing what the canvas was itself. The canvas became not only the base for Cook’s paintings but also the subject of them.
Cook’s investigation of the canvas as both artistic media and subject led him to inquire into its physical construction, with Cook learning to weave and construct canvases himself.
Untitled, 2014 (American Contemporary)
His solo show at American Contemporary last year gave him the chance to exhibit his self-made canvases alongside mechanically constructed ones, onto which he painted.
“I now see the loom as a canvas printer — as with a printer, there is error involved, those errors in the canvas become the gestures and the artist’s hand and mark making. I present the pieces I make on the loom sewn together with store bought canvas to highlight these tiny gestures that come out of the weaving process.”
— Ethan Cook (Interview Magazine)
— Ethan Cook (Interview Magazine)
This exhibition offered Cook the chance to juxtapose his handcrafted and inherently flawed canvas creations with those produced that were mechanically produced to perfection.
Thus, through his minimalist compositions Cook plays the human against the machine to examine not only the presence of human error, but how we as viewers view and value this trace of humanity in art.
Ethan Cook lives and works in New York City. He had a solo show at American Contemporary in New York City and has also shown at the National Museum of Capodimonte in Naples, Paul Kasmin at Middlemarch in Brussles, Roberts & Tilton in Los Angeles and The Hole in New York City.
Our latest artist spotlight is on German painter Gerhard Richter. You can read more of our artist profiles on the ArtList blog and browse other artworks for sale on ArtList.
Gerhard Richter’s body of artwork represents both the introduction of schisms and the attempt to resolve them. However, this theme of conflict traces back to Richter’s early life, before his career as an artist.
Abstract Painting (809–3), 1994 (Courtesy of Tate)
Growing up in Germany in the the 1940s and 50s, Richter’s life was subject to the country’s Nazi and Communist regimes. But in his artistic training, Richter found a way to bridge the divide imposed by German communism.
Richter studied Socialist Realist painting in Dresden before moving to West Germany, where he studied avant-garde art in Düsseldorf, befriended fellow students Sigmar Polke, Konrad Fischer-Leug and Georg Baselitz and joined Polke’s new Capitalist Realist movement.
“I don’t believe in the reality of painting, so I use different styles like clothes: it’s a way to disguise myself.”- Gerhard Richter (1978)
In the 60s Richter developed his highly acclaimed Photo-Paintings series, in which he painted over existing photographs, reconciling both the avant-garde and realism of his artistic training, just as his training itself reconciled two sides of a divided Germany.
Richter in the process of applying paint to a photograph.
“Painting is traditional but for me that doesn’t mean the academy. I felt a need to paint; I love painting. It was something natural — as is listening to music or playing an instrument for some people. For this reason I searched for themes of my era and my generation. Photography offered this, so I chose it as a medium for painting.” — Gerhard Richter (1999)
Richter’s following series investigated the purity of color, free from purposes outside of itself. His Color Charts pieces broke with his abstractionist works to examine the relations established through the interaction of different, pure colors.
192 Colors, 1966 (Courtesy of Gerard Richter)
Still up until today, Ritcher’s work oscillates between avant-garde abstractionism and naturalistic depiction; refraining from fully resolving the divisions he creates within his own body of work.
Gerhard Richter lives and works in Cologne, Germany. His work has set multiple price records at auction and been the subject of solo exhibitions at the Centre Pompidou in Paris, the Mariam Goodman Gallery in New York, the National Portrait Gallery in London and the Guggenheim Museum in Bilbao. He has also participated in the Venice Biennale multiple times. He has been awarded many accolades including the Praemium Imperiale, the Wolf Prize and the Oskar Kokoschka Price.
The latest of our artist profiles is up on the ArtList blog! You can learn more about or acquire a work by Robert Motherwell on ArtList, or keep up to date with our bi-weekly profiles at the ArtList blog.
Robert Motherwell joined the founders of abstract expressionism in American through a distinctly intellectual and international perspective.
It was in Paris that he was first inspired to become a painter, in Mexico that he completed his first works and in New York that he realized his importance as a distinctly American artist, only after receiving two degrees in philosophy and one in art history.
At Five in the Afternoon, 1949 (Estate of Helen Frankenthaler)
Upon his return to New York in the early 1940s, he became a founding member of the New York School, an artistic movement that united such contemporaries as: Jackson Pollock, Mark Rothko, William de Kooning and Philip Guston.
The New York School fostered the American development of abstract expressionism, which sought to demonstrate both universal emotionality and the individual psyche of artists. With his philosophical, analytical background, Motherwell was especially drawn to the movement defining American art.
“All [American artists] needed was a creative principle, I mean something that would mobilize this capacity to paint in a creative way, and that’s what Europe had that we hadn’t had; we had always followed in their wake. And I thought of all the possibilities of free association — because I also had a psychoanalytic background and I understood the implications — might be the best chance to really make something entirely new which everybody agreed was the thing to do.” — Robert Motherwell
Over the next five decades, Motherwell created over 1,000 works that demonstrated the influences of his past philosophical, psychoanalytical studies and strove to establish their own American voice, independent of established artistic culture.
The Hollow Men no VI, 1983 (Courtesy of Mint Museum)
In the 1980s, Motherwell completed one of his most significant series of drawings and paintings: Hollow Men. With this series, he sought to dispel superficiality in his work and cut through, directly to the genuine.
However, while Motherwell’s works were highly conceptual, he believed there was a specific place for analysis in art creation:
“It’s not that the creative act and the critical act are simultaneous. It’s more like you blurt something out and then analyze it.” — Robert Motherwell
Motherwell received a B.A. in literature, psychology and philosophy from Stanford University before going on to study philosophy at Harvard University and art history at Columbia University. He served as a professor at Hunter College.
Motherwell has been the subject of solo exhibitions at the Metropolitan Museum of Art in New York City, Solomon R. Guggenheim Museum in New York City, Paul Kasmin Gallery, the Bernard Jacobson Gallery in London the Peggy Guggenheim Collection in Venice and Andrea Rosen Gallery in New York City.
Continuing our bi-weekly artist posts, our latest profile is on post-conceptual artist Wade Guyton. You can keep up to date with our artist profiles by checking the ArtList blog and learn more about Guyton works at ArtList.co.
Guyton creates paintings without considering himself a painter. In true post-internet fashion, he uses printers, scanners and computers to affect his images, rather than applying ink to canvas by hand.
That’s how it started. I was trying to do these stupid marker drawings, something hard-edged and geometric, and I got so bored. It was too much work. I could just type the same thing into the computer, and the printer did a much better job. — Wade Guyton (Interview Magazine)
Guyton creates his own geometric images on his computer or applies geometric markings to a scanned image before printing it onto a canvas that he feeds into his Epson Stylus Pro 9600 (having to fold the canvas in half to fit it into the printer).
Untitled, 2006 (Wade Guyton)
In 2013, Guyton’s work was the subject of a solo survey exhibit on the artist. The show included some of Guyton’s flame paintings, in which Guyton adorns scanned images of flames with letters and geometrical shapes.
The series demonstrates how technology can contain something as wild powerful as fire, and the tensions this creates between the mechanic and the natural.
Guyton maintains that there is still a space for error and creativity, even when working with machines in the internet age. He preserves the imperfections that his canvases develop from paper jams, ink clogs or from simply being dragged across his studio.
He asserts that there is still space for individuality and human error in the internet age; he gives us hope that we can retain humanity in the face of, and even in conjunction with, technology.
Untitled, 2006 (Courtesy of the Whitney Museum)
He also gives us hope for the future of the art world.
Last year, Guyton tried to torpido his own auction sale by threatening to produce copies of his fire series, in order to dissuade the prospective seller. Guyton is a vocal oponent to the unjust duopoly of the auction house giants; a mission that we at ArtList share in splitting our commission on all sold works 50/50 with artists.
Guyton lives and works in New York City. His work was the subject of solo exhibitions at the Whitney Museum of Art in New York and at the Art Institute of Chicago. He has also been part of two-person exhibitions at the Petzel Gallery in new York, the Museo d’Arte Moderna di Bologna.
You can acquire a Wade Guyton print now at artlist.co