Friday 8/24/2012
Lucio Fontana
Concetto spaziale, Attese. 1961
Waterpaint on canvas, Red / idropittura su tela, rosso
24 x 18 Inches (61 x 46 cm)
Signed, Title and inscribed on the back / Firma, titolo e scritta sul retro:
ART GALLERY
LOS ANGELES/NEW YORK
Specializing in Established 20th Century Art
And Emerging Avant Garde Artists
LOS ANGELES/NEW YORK
Specializing in Established 20th Century Art
And Emerging Avant Garde Artists
Saturday 1/28/2012
Jean Tinguely
‘Matrac’ (Bascule), 1967
Steel plate and bar, wood panels, electric motor: painted black
60 x 48 x 27 cm
Catalogue Raisonné: Bischofberger Vol.1 No. 422
Leon Golub
Untitled, c.1965
Oil, paper, graphite, and crayon on panel
24 x 24 (60.96 x 60.96 cm)
This painting exemplifies Golub’s most significant period and belongs to the Napalm works that were made in reaction to the Vietnam war. Literally a painting of a figure that has been stabbed through the back, stifled, and fallen on his knees one cannot help but think that Golub is telling us that war is the most profound betrayal man commits. It is disloyalty against our own selves as much as it is against humanity. The scale and the iconic impact of this picture make it an outstanding work.
Friday 1/27/2012
Pentti Monkkonen
Hydra, 2006
Bronze and Concrete
72 x 72 x 48 inches
(182.88 x 182.88 x 121.92 cm)
Margaret V Haines & Orlando Tirado.
F.O.Y.L.F.W.P. Fuck of your life for world peace, 2010
Artificial Boulders
Dimensions Variable
Pascual Sisto
Soyons Cruels (Let us be Cruel), 2010
Neon
90 x 30 inches
(228.6 x 76.2 cm)
3/3
Pascual Sisto
Ne Travaillez Jamais (Never Work), 2010
Neon
84 x 48 inches
(213.36 x 121.92 cm)
2/3
Thursday 1/26/2012
SARA CLENDENING
Laissez-faire (Rub Down), 2011 (Detail)
Mixed Media
75 x 24 x 40 inches (190.5 x 60.96 x 101.6 cm)
Wednesday 1/25/2012
Liz Craft
Candy Colored Clown (Soccer Scarf Beard), 2010
Metal, Bronze, and Yarn
59 x 48 x 11 ½ inches (149.9 x 121.9 x 29.2 cm)
LIZ CRAFT
Candy Colored Clown (Harlequin with Tear), 2010
Metal, Bronze, and Yarn
65 1/2 x 48 x 15 inches
(166.4 x 121.9 x 38.1 cm)
Tuesday 1/24/2012
C. COY
Pseudochrome 14, 2011
Gatorboard, Acrylic, Vinyl
60 x 48 inches (152.4 x 121.92 cm)
Monday 1/23/2012
Robert Rauschenberg
Lotus Bed 2008, Archival Ink Jet print
60 3/4 x 45 3/4 inches (152.4 x 114.3 cm)
Ed. of 20
Statement: ART GALLERY NYC, USA
ART GALLERY NYC
NEW YORK, USA
Established & Historically Significant Artists
With a Program of Emerging Avant Garde Art.
With a Program of Emerging Avant Garde Art.
Statement:
By ESTEBAN SCHIMPF
* * * * * * * * * * * * * * * * * * * * *
There are certain guidelines that I believe are significant in the dealing of art.
1. Few things are Greater in Value than Art. [ Life perhaps ]
2. Art breathes Life into Life. It is the human spirit.
3. Art is Complex, Illusive, and truly Beautiful. Powerful and most Brilliant.
4. Few have access to the great studios and the significant collections of the world.
5. Great Art is Rare.
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Collecting, Patronage, Philanthropy.
Culture aside, Art does not exist without generous patronage. Patronage can come in many many forms. The existence of museums and public collections meant for the collective enlightenment of a society to the drawing aficionados that support the life of a dozen struggling artists. Without money they say, the world cannot go round. As a business person it is my job to not only act prudentially, but to be wise, and enterprising with my holdings and the efforts I make for my artists. Hard work and honesty is the cornerstone of my business practice.
To maintain a system of support for challenging Avant Garde work the gallery maintains a strong array of works by significant 20th Century Masters include Robert Rauschenberg, Jean Tinguely, and Leon Golub. This allows the gallery to have freedom and elasticity in its creative program.
The best galleries in the world do not traffic in commodities like the bankers on wall street, They show and sell Art above all else. I am of that school but it is my choice and sincere effort to enrich our clients with top quality works.
Art constitutes amongst the most desired and valued objects on Earth thus they constitute amongst the most valuable philanthropic contributions one can make. Such a trajectory is important not only to share the wealth of the arts but also to create lasting collections.
A collector must feel that they are working with a curator who is insightful and scrupulously ahead of the curve. A collector needs the good guys on their side to ensure that they themselves stay ahead of the curve.
As a curator I seek to place the best works in the best hands and do it in a way that is both personal, down to earth, discreet but that is also in the best interest of the artist and the field of culture.
These are Simply my Opinions but I hold them to be true.
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It is my stated mission above all to put Art & the Artist that creates it first. An Artist must feel Free and Confident to work in an honest and financially supportive system that enables them to make bold creative actions.
The artist is the most significant figure in our field. They are the wells from which we feed. They are the bearers of our time; of our passion. The effort put into art demonstrates that their work is significant and meaningful to us.
Having trained as an artist I have an intimate relation to the production of art and ideas and a close relation to the figures that propel artistic thought. I have honed my eyes from a young age to identify works of the highest and most distinctive quality.
Early on I came to the realization that it is my purpose to contribute to the field of culture in the most forward capacity I am allowed. Here I am fulfilling my service; my own humble contribution.
To achieve the highest level of communication between the artist’s work and of the viewers’ comprehension I make careful curatorial choices that aim to enable the art experience to happen most fluidly and openly.
As a curator, primary advisor, and Artist, my most important goal is to safeguard and propel culture.
Saturday 9/24/2011
