Here at Gertrude we are trying to redefine the way we experience art. Therefore, if you’ve never attended a Salon before, you may not quite know what to expect. While the subject matter of each salon and the format may vary, there are certain features you can expect at any Gertrude Salon.
A Chance to Really Experience Art: Salons aim to give guests a truly immersive experience, different from the cold world of gallery shows. It’s not a static viewing of art but a chance to really understand the work shown in the warmth of discuss and in the light of the curator’s and the artist’s own words. By the way, we borrowed the term “Salon” from a long French tradition of informal gatherings around art.
Anyone can join: Because Salons facilitate learning and interacting about the artwork, they are open to all types of individuals, regardless of prior art knowledge. Salons are not merely events for those highly involved or connected in the art world but for anyone with an interest in art or who wishes to learn more about art. Our event pricing reflects this open attitude.
An Intimate Event: No Gertrude Salon will exceed 40 attendees. This figure ensures that the events maintain the conversational feel that defines the Salon experience.
An Interactive Event: Salons are discussions, not lectures. Because we keep our events small, attendees can both listen to and engage with the curator of the event, and most of the time the artist is present. The experience can be rewarding for anyone because such a discussionary environment allows the event to address the topics in which guests are most interested.
One hour only : Each salon must abide by specific rules; besides the cap on guests, the salon lasts 1 hour and the doors close 15 minutes after the start time. We are aware of attendees’ busy schedules and design our events for individuals who are interested in art, though not necessarily immersed in it, for people who have other things to do as well.
Premiere selection: But, rest assured that the time you spend at a Salon will be enriching. Our curators are hand selected for their level of expertise on the salon’s subject matter just as the location of the salon is chosen to best compliment the subject. We like to think they are today’s Gertrude Steins. Proof of the thought and knowledge that goes into creating our salons: we have worked with 4 out of “20 Young Artists to Collect,” which recently appeared in Architecture Daily.
Complimentary champagne: Many of our events include a complimentary glass of Pommery Champagne. Because nothing pairs better with good art and engaging conversation than an elegant glass of champagne.
Ready to try your first Salon? Browse Salons you find interesting and book online, we’ll see you there!
PRE-OPENING CONVERSATION BETWEEN ARTIST AND DEALER
Wednesday, November 06 / 7:00PM to 8:00PM / Chelsea, NYC
Nicole Klagsbrun will present the artist Brie Ruais in a conversational format with an intimate group before the opening of her exhibition on November 8th
Ruais makes ceramic sites based on the weight of bodies – her own or a combination of hers with another. On the floor, hundreds of pounds of clay are laboriously spread out from a large mound and pushed to the clay’s limits.
As you know, we’ve spent the past months hosting secret Salons in places ranging from a church in Brooklyn, a penthouse on the UES to Google’s Chelsea office, working with premiere curators to select leading artists and promising new talent.
Nobutaka Aozaki is a New York-based artist who was born in Japan. His work plays with everyday interactions in order to explore the relationships between artistic labor and non-artistic labor, an artist and their audiences, and art and commodity.
He holds an MFA from Hunter College. His recent exhibitions include “C12 Emerging Artist Fellowship Exhibition” at Marianne Boesky gallery, New York (2013), “New Wight Biennale 2012”, University of California, Los Angeles (2012), “Welcome To The Real”, TEMP Art Space, New York (2013).
Harold Ancart’s newest solo show with C L E A R I N G, Anaconda Standard, explores the romanticism between the natural and the manufactured, the idealised and the devastated; through subtle contradictions, entropy is delicately presented to the viewer.
Thick oil stick works hang on the wall, and through the minimal base, vibrant, romantic shards of colour cut through, creating a passionate duality. Idyllic images and scenes are also displayed, but their picturesque quality is challenged, and also enhanced, by delicately applied burns. These works are accompanied by a thick, immersive burning jungle wallpaper that fluently defies the white cube.
With powerful colours, images and objects, Ancart aims to trigger the instincts of the viewer and then reverse their assumed comfort and understanding. Ancart includes two of his sculptures in the show as well that similarly, but in the third dimension, explore simple, relatable materials, (concrete and metal). The way they are presented is intriguing and evokes past activity, utilitarianism and something almost tribal.
Leo Gabin Untitled (Black and White House), 2013 Silkscreen and spray-paint on Trovitex PVC foam-board 39.37 x 28.35 inches (100 x 72 cm)
Image courtesy of Elizabeth Dee Gallery
Leo Gabin have worked as a collective since the early 2000’s in a variety of media including video, painting, drawing and sculpture (Vito Schnabel). The collective, Leo Gabin, teaches at The Royal Academy of Fine Arts in Ghent, Belgium, where they received their Fine Art degrees. Their practice reflects how user-generated content has become a core part of American culture. Inspired by the contradictions and creative potential of the Internet as a medium, endless amounts of socially shared footage posted on the Internet has provided a rich, fertile source of inspiration for Leo Gabin’s inventive 21st Century practice (NY Art Beat). Limitations of mediums are lifted from Leo Gabin as they explore video, digital media, painting, sculpture, drawing, and print works - a representation of a media savvy generation that consumes information in varying ways constantly.
As we strive to discover the effects social media and constant access have had on our cultures, Leo Gabin’s practice demonstrates directly how these platforms are inspiring and adjusting contemporary art practices.
Elizabeth Dee is pleased to announce Post Culture, a group exhibition that features intergenerational artistic strategies in a time of relative, variant and abundant image dissemination. Exploring various actual and imagined subtexts—pre and post digital reality, the dematerialization of narrative, co-authorship, mass consciousness and social evidence, works in the exhibition explore various artistic and political responses to notions of reality and time. Focusing on delivery versus demonstration, Post Culture further assesses a variety of perspectives active in the United States and Europe at a transitional moment.
Post Culture features Gabriele Beveridge, Leo Gabin, Tamar Halpern, Miranda Lichtenstein, Torben Ribe, and Julia Wachtel. The exhibition will be on view through October 26, 2013. Elizabeth Dee Gallery is located at 545 West 20th Street, New York.
Rob Carter uses photography, stop-motion animation, time-lapse video and installation to spotlight buildings and their shifting political and historical significance. Architectural themes and histories are invented or modified using physically cut-up and digitally manipulated photographic images of specific buildings, towns and landscapes. This process simulates paths of urban development and recontextualizes traditions such as sport, religion and science. His works often involve the display and manipulation of living flora. The interaction of plant life with photo-based structures represents the irrepressible strength of nature that our buildings attempt to shield us from, as well as the temporality and fluidity of the environs we inhabit.
Gertrude’s upcoming Salon (9/25) will feature Rob Carter, whose new video films4peace premiers on World Peace Day (9/21). For more information on Rob Carter’s Salon, visit Gertrude’s Salon Page.
Salon #13. Stephen Felton - The boundary between drawing and painting.
Sunday, September 15. 7pm.
Curated by Jessica Bower.
Stephen Felton has described his process of creating work as reflective not only of his emotions, but on the atmosphere of his actions, decisions and lifestyle. All of Stephen’s paintings are created using a language that Stephen has been working to perfect throughout his career. Stephen is inspired by whatever is around him. He draws from life. The content of his paintings always has to do with what he is going through on that particular day.
Stephen insists he can never paint the same thing twice, because each time he touches a brush to canvas it is influenced by his mood and the circumstances of that particular day. In this way, he considers his paintings as documentaries. Felton’s works speak loudly to the present atmosphere in painting, walking away from historical predilections. Within each piece, the instigating thought process can be experienced as the launch pad for the artist’s journey through the work. Each proceeding piece refines and deepens the language of Felton’s paintings.