Paul Kolker (b. 1935) is a New York-based artist with doctorate degrees in medicine and law. He is Fellow American College of Surgeons, Fellow American College of Legal Medicine and Emeritus Chief of Cardiothoracic Surgery at Northwell Glen Cove Hospital, having practiced cardiothoracic surgery on Long Island from 1969 to 2013. In October 2001 Kolker moved his Long Island studio to his current address in the Chelsea art district so that he could produce his works and curate his exhibitions as an experiment in perception. His studio and gallery have together become his laboratory in which the viewer is the measuring instrument for Kolker’s art as a perceptual experiment; therefore linking Kolker’s curation and exhibition with his art production. Gesundheit Reimagined! is Kolker’s sixtieth solo exhibition.
Paul Kolker: Gesundheit Reimagined! is on view from September 28 through November 10, 2017, at the Paul Kolker collection, 511 West 25th Street in Chelsea, adjacent to the Highline between Tenth and Eleventh, Avenues. Also on view at 600 Third Avenue is Abstract Decalcomania… An ExperiHighlinePerception.
For information or press materials, please call 212.367.7300, email firstname.lastname@example.org or visit http://www.paulkolker.com and the exhibitions.
Address: 564 W 25th St, New York, NY 10001
Video Link: https://youtu.be/W4HdG_ynBks
Artist: CATHERINE MACKEY
Exhibition Title: Taking Measure (Celebrating the City)
Exhibition Dates: Oct 5 -17, 2017
Gallery Link: http://stricoff.com/catherine-mackey/
Walburga/Wally Neuzil was not only Egon Schiele’s model from early 1911 but also his girlfriend and faithful companion until the spring of 1915. Having started out as one of many models, she soon played a key role in Schiele’s life and works. Schiele created himself, his vision of an artist, through his works, while Wally revealed to him a world that was indispensable for this development – an open sexuality that had progressed from the constraints and dangers encountered by adolescents towards an emotionality enjoyed on an equal footing, an ability to have relationships and with it a more stable, reliable self.
While she modeled for Schiele, Wally was also working as a sales assistant, a cashier and mannequin at a clothing store. Together with Schiele she moved to Krumau in the spring of 1911 and visited him in Neulengbach. She stood by him during his time in prison in April 1912, trusted in his integrity and provided active support throughout this crisis. Until early 1915 she remained the person the artist related to most closely.
Diego Rivera, Calla Lilly Vendor (Vendedora de Alcatraces), 1942, oil on masonite, (Banco Nacional de Mexico, Mexico City) Speakers: Dr. Beth Harris and Dr. Steven Zucker.
YouTube Channel: Smarthistory. art, history, conversation.
Stuart Davis American, 1892–1964
Stuart Davis (December 7, 1892–June 24, 1964), was an early American modernist painter. He was well known for his jazz-influenced, proto pop art paintings of the 1940s and 1950s, bold, brash, and colorful, as well as his Ashcan School pictures in the early years of the 20th century. With the belief that his work could influence the sociopolitical environment of America, Davis’ political message was apparent in all of his pieces from the most abstract to the clearest. Contrary to most modernist artists, Davis was aware of his political objectives and allegiances and did not waver in loyalty via artwork during the course of his career. By the 1930s, Davis was already a famous American painter, but that did not save him from feeling the negative affects of the Great Depression. No one was exempt from the effects of the Great Depression and led to Stuart Davis being one of the first artists to apply for the Federal Art Project. Under the project, Davis created some seemingly Marxist works; however, Davis was too much of an independent person and thinker to fully support Marxist ideals and philosophies. Despite several works that appear to be nondemocratic or push Marxist views, Davis’ roots in American optimism is apparent throughout his lifetime.
Originally a magazine illustrator, Davis seriously turned to painting after viewing the Armory Show of 1913. His works featured banal images (a cigarette packet, signs, notices), altered with strong colors and words in script, suggesting the rhythm of an urban environment suffused with jazz
YouTube Channel: Tuen Tony Kwok
Video Link: https://youtu.be/vS_ShWfYtqg
Exhibition Title: ART NEW YORK FAIR 2017
Exhibition Dates: May 3 – 7, 2017
Gallery Link: http://www.artnyfair.com
In this year that started charged up with strong conflicting views and reactions, it should be an interesting time in American Art. For the seventy eight installment at the Whitney, the sixty-three artists and collectives presented thought provoking works in various medium to train their lens on race, economics and politics that is on a volatile cauldron – erupting like the constant lava flows of Hawaiian volcanoes. This is our America where questions and reactions level more to the surface. We are forced to confront, react and learn how what we see then process affects our deepest sensibilities to self then in relationship to our community. The climate is uncertain now in America but we have ART to be the defining force that galvanizes us together to reflect upon our humanity.
There are some highlights to this year’s survey as they are the most attention grabbing, works more on our curated view of contemporary art, and had a previous brush historically in ARTE FUSE. But we encourage all future visitors to the Whitney to see the breadth of works from this year’s Biennial.
Here is our quick snapshot of the Whitney Biennial 2017: Tommy Hartung we have seen him in a group show at On Stellar Rays. As always the arresting and biomorphic imagery is a slow burn standout. KAYA had a suspended raw installation that pulsated an urban vibe with a volatile current. Leigh Ledare produced witty images and her subjects colored it. Celeste Depuy Spencer added static verve to the everyday mundane like the youthful DJ browsing his decks. Jordan Wolfson with the swath of chains actually is a liberated nuance art piece. Matt Browning brought a simple minimalist story of the grid to the forefront which gives us a pause about boundaries we make or that need to be crossed. Raul de Nieves with the majesty of his sculpture amidst a stained glass background provided a reverent respite. Harold Mendez showed grace in his industrial material installation where its stark presence is a revelation.
As previously stated, all the works from the artists and collectives included in this year’s Biennial are to be seen and considered as one of the many notes that serenades the art viewer. We can only hope the symphony moves us to a better reflection of our uncertain times which we can hope for a better understanding then perhaps a positive pro-active resolution. Collectively that is our real power as Americans.
The 2017 Whitney Biennial
@ Whitney Museum of American Art
99 Ganseevort Street. NYC, NY 10014
On View: March 17 – June 11, 2017