One of the most “in-the-know” hallmarks of September in the city is Fashion Week. Not too long ago, the energy of the moment felt firmly rooted in Chelsea. Now, with boundaries increasingly blurred—as so much is today—you can feel the celebration unfold almost anywhere. I noticed it the moment I stepped out of my Village apartment on Eighth Street.
The streets were jammed with young people not only seeking fashion but creating their own statements through what they wore. Handwork, bold color, and unabashed grunge were everywhere—vibrant from head to toe. From Eighth Street to the lively characters in Washington Square Park, the fashion once labeled an “East Village vibe” has become an undeniable part of the city’s overall fabric, reflecting the diversity and exuberance of life in New York City.
MOTION, SOUNDS, AND FASHION
Washington Square Park has long been a crossroads of jazz, art, and countercultural expression in New York City. From the steady pulse of drums and the shimmer of tambourines carrying across the plaza to gatherings of painters, poets, and performers, the park has served as a living stage for creative movements since the Beat era. Its blend of street musicians, experimental artists, NYU energy, and free-spirited crowds continues to make the park a vibrant incubator where jazz improvisation and artistic innovation collide in real time.
LOUIS VUITTON – 57TH & FIFTH AVE
Louis Vuitton transformed its flagship store on Fifth Avenue in New York City into a massive, eye-catching stack of oversized luggage trunks to conceal the scaffolding during a major renovation project. Designed by the brand’s in-house team, this creative facade paid homage to the company’s 19th-century origins as trunk makers. The installation resembled several stacked grey trunks, complete with hyper-realistic details like enormous 5,000-pound handles, signature locks, and rivets. This temporary, yet unmistakable, architectural statement turned a typical construction site into a brilliant piece of branding and a highly photographed luxury landmark in the heart of Manhattan.
Artwork by Julian Schnabel
TIFFANY & CO. – 747 FIFTH AVENUE
Breakfast at Tiffany’s? Not quite… but you can enjoy the bedazzle at their tearoom. Beyond the high-end jewelry—diamonds, pearls, and all the rest—the newly remodeled Tiffany is itself a work of art, filled with remarkable artworks throughout.
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Denise Bibro Fine Art is proud to announce our virtual open call for the upcoming virtual exhibition #COLLAGENOW.
Employing the internet and social media as a platform for showcasing art has become extremely important in recent years, when virtual exhibitions and showrooms are now the new norm. After the success of last year’s show, we are once again announcing an open call for artists working in collage, especially for those actively using social media such as Instagram as a platform to promote and expose their art.
We will pick several finalists to showcase their work in our #COLLAGENOW exhibition. The chosen pieces will be featured on our online platforms and promoted on all our social media.
APPLICATION DEADLINE: November 28, 2025
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ENTRY REQUIREMENTS
This call is open to artists working in collage or media that is at least 80% collage-based.
No primary gallery representation.
Completed Prospectus Form.
$50 entry fee
ENTRY INSTRUCTIONS
Please pay via PayPal to [email protected]. Include your first and last name OR
Make a check payable to Denise Bibro Fine Art: PO Box 1071, New York, NY 10011
Holly Gordon is far from a common traveling photographer. With decades of experience and a mastery of groundbreaking photographic technologies, she approaches every subject with a mission to transform the ordinary into the extraordinary. Her photographs weave compelling narratives drawn from both the natural world and everyday life. The world is truly Gordon’s oyster.
Gordon will share stories and images from her many travels—spanning from Antarctica to Cuba and beyond. Gordon’s work reveals her early grounding in painting and drawing, continuing to inform her photographic eye.
Her acclaimed Water Music Series, for example, captures spontaneity, force, and the power of nature, while conveying abstraction within realism. Her deliberate choices of angles, light, and perspective illustrate a visual language fusing Impressionistic sensibilities with the clarity of modern photography.
Gordon has presented numerous exhibitions across Long Island, including shows at the Southampton Arts Center, Molloy University, and the Bayard Cutting Arboretum. Her work has been featured in Newsday, exhibited at The Heckscher Museum of Art—including the 2010 Biennial, where her piece Foggy Harbor was shown—and is represented in the permanent collections of Molloy University, NYU Langone, and Stony Brook Hospital.
You’re invited to join us on June 16th, 2025 at 6 PM ET on Zoom for an intimate Artist Talk with Christine Graf, presented by DBFA.
Christine will delve into the inspirations, materials, and philosophies that shape her evocative mixed media work, offering a behind-the-scenes look at her creative process and storytelling approach.
We hope you’ll join us for this special evening of art and conversation.
Don’t forget to checkout her website HEREand include questions you might have!
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Holly Gordon introduced the term photo-liminalism, representing her creative journey with technology over nearly four decades. The word “liminal” refers to a state of transition, where established norms are in flux and the new order has yet to emerge.
In 2012 Gordon likened her current creative process to a Pinkham Ryer inchworm suspended in space with no solid ground beneath her. Her work is layered and complex, defying easy classification or definition. It evolves organically, much like the methodical process of painting. Through all this time she has worked to humanize technology. She is part of the twenty-first-century international art / social movement known as Techspressionism, where artists are exploring innovative ways to use technology in their work.
Drawing on her deep knowledge of art and art history, Gordon blends traditional wet-darkroom techniques with the flexibility of digital darkroom methods.
Each image begins as a photographic file, which serves as a foundational base. From there, Holly layers the image, building it up like a painting created through glazes and washes. Although there is no rigid plan, her rich artistic experience shapes the outcome of each piece.
Inspired by Long Island’s artistic legacy, Gordon’s work aims to create something original rather than mimic existing forms. By pushing photography beyond traditional limits, she may be paving the way for a new chapter in the evolution of art.
The climate for the 2024-25 Art Fair season largely mirrored that of the previous year, with one notable difference: the buzz surrounding cryptocurrency and NFTs, once infamous for their controversies, seemed to have faded from the public’s mind. At least the hot air balloons that once hovered over the beaches were gone, no longer dominating the conversation. Perhaps, with the new administration in place, we’ll see a change—but let’s hope it doesn’t lead us down a slippery slope.
Despite the general stability, the influx of travelers from across the U.S. and around the world brought a sense of trepidation to Basel week and into January. The charged political and social climate dampened the fierce appetite for art that had been evident in the past decade. While some still thrived, many dealers reported a soft market, with sales proving difficult.
There’s a palpable sense that we are walking on eggshells these days, and even those eggs seem harder to come by. The unexpected and the unknown seem to be on everyone’s minds, regardless of their circumstances. While the wealthiest 3% may not feel this as acutely, for most others, the struggle is real. Costs—whether related to funding, staffing, shipping, exhibiting, or installation—are top concerns for buyers, collectors, dealers, galleries, museums, and, of course, artists.
Still, Basel carries on, largely undeterred, and continues to meet expectations more consistently than many other events. However, it, too, has evolved—becoming a reflection of both the recent past and distant history. People still flock to Basel, eager to see and be seen, and to engage with the top artists and galleries. New formats and artist-gallery collaborations have emerged within Basel, adapting to the urgency of staying relevant in the present moment. Even Basel is in a state of flux.
Other fairs, like Art Miami and Art Context, face a tougher road ahead. The rising costs of exhibiting are pushing some of the next tier of primary galleries out of the picture. This mirrors the domino effect seen in high-rent markets like New York and London, where gallery spaces are becoming increasingly unaffordable. The vacuum left by these galleries is often filled by less compelling alternatives, which can impact the quality of the overall experience for audiences. One can’t help but wonder: Where are the new frontiers for the emerging professionals who want to discover and promote talented artists? Without sponsorships, what options do they have? And what does this mean for all of us when it comes to supporting promising primary artists whose careers and work need to be nurtured?
This landscape is not for the faint of heart or those with shallow pockets. We must continue to advocate, support, and educate in any way we can, and above all, keep engaging with art.
ART RIGHT OUT OF ART BASEL
At Art Basel Miami, fashion trends often mirror the vibrant, bold spirit of the art world, blending high-end luxury with cutting-edge street style. Attendees embrace eclectic, statement-making outfits that push creative boundaries—think neon colors, oversized silhouettes, and avant-garde accessories. The event’s glamorous cocktail parties and gallery openings are filled with bold prints, sleek tailoring, and high-fashion sneakers, with influencers and artists alike using fashion as a form of self-expression. Sustainability also takes center stage, with many choosing eco-conscious brands and upcycled materials, showcasing an intersection between style and social consciousness.
There may not be another way to skin a cat…
but during Basel, there are many ways to sell paintings!
ART MIAMI 2024
WYNWOOD MIAMI 2024
ART OF COOKING, TASTING, AND LOOKING
Just under an hour from the five boroughs, you can find great adventures, including a visit to the Culinary Institute of America in Hyde Park, easily accessible by car or train.
My sister is a modern woman, though she doesn’t label herself as such. She’s seamlessly transitioned from one career to another and has become an articulate, informed, and compassionate social worker. Her skills were honed while running her farm-to-table catering business, Cream of the Crop, in Litchfield County, and further refined during her time at the Culinary Institute, from which she graduated.
I was fortunate to attend one of her alumni events in October over Columbus weekend. It started with a tour of the campus, followed by a few days of delicious food, much of it inspired by the Hudson Valley. I had visited the Culinary during her senior year, watching her work at the Escoffier Room—one of her final tests. It was a stressful but rewarding experience for her, and a tasty one for us!
This recent visit was a different but equally special treat. It was wonderful to see my sister enjoying the food and products, rather than preparing them. The dedication and professionalism of the staff and students were evident. We experienced the art of food, service, and the beautiful surroundings of the campus, which sits on 100 lush acres overlooking the Hudson River Valley. The main building, once a Jesuit retreat, is a stunning example of Romanesque architecture.
Even if you don’t eat, the campus is worth visiting. The dining room, pictured here, has been beautifully restored, showcasing the craftsmanship that has gone into preserving it. The Culinary Institute has called this campus home for over fifty years, with additional locations across the U.S.
The event also featured tastings of Northeast bourbon with honey, Texas barbecue, fine Italian pasta, and more. The experience was truly a multi-sensory journey—an art of food in every sense.
A visit to Hyde Park is a great getaway. Stay at a local bed and breakfast, explore the Culinary Institute, dine at its public restaurants, and walk the grounds to enjoy the breathtaking views of the Hudson River. It’s the perfect way to recharge.
ST AUGUSTINE: A TREASURE TROVE OF UNHERALDED HISTORY AND ART
After visiting photographer and DBFA artist Holly Gordon to curate some of her work in her new winter haven just outside of Orlando, we spontaneously decided to visit a place I had always been curious about—St. Augustine—while celebrating our anniversary. We promised not to discuss art for a few days (since we are always doing so), and just relax. Of course, that was impossible!
I’ve been wanting to visit St. Augustine since I started exploring parts of Florida, especially after our involvement in the fairs during Art Basel in Miami. I never had a chance to go until now, but I wholeheartedly recommend it—especially if you’re interested in rich history, architecture, Black history, and, of course… art!
St. Augustine is the oldest city in the U.S. Not many people are aware of it, but it rivals Plymouth Rock and the Mayflower story in terms of age. If you’re a fan of centuries-old castles, you’re in luck—they have one! To truly experience the essence of St. Augustine, I recommend staying in a bed and breakfast rather than a modern hotel. This way, you’ll be immersed in the full flavor of southern hospitality and charmed by the architecture, which blends Old New Orleans, Martha’s Vineyard-style gingerbread, and old Moorish Spanish influences. The best part of the city is the historic downtown area, where you can witness the rich architectural features firsthand.
You’ll walk along handmade brick and stone streets, with the names of people and businesses from the past etched into the pavement. This walk gives you a sense of the city’s diverse history. It’s especially magical to stroll around at night, when the silhouettes of the buildings and the picturesque landscape come to life—especially under the warm, balmy weather of the South. The large Spanish Moss trees, with their undulating branches, are breathtaking, particularly when silhouetted against the night sky. If you visit in January, as we did, you’ll be able to enjoy the city’s Festival of Lights, where the entire city is illuminated. It’s enchanting. We even splurged on a horse-drawn carriage ride, where our Irish driver gave us a fascinating history of the city, sprinkled with humor and tips on what to see. The horse seemed to know the route well, adding a special touch to the tour.
In the Lincolnville area of old downtown, you’ll encounter the proud and often painful history of the Black, Brown, and Latino communities that helped shape the city. This area was a hotbed for civil rights discourse, where figures like Martin Luther King Jr., Andrew Young, and John Lewis spoke, marched, and stayed at great personal risk. It was also the site of the first diner sit-in, and the counter is still preserved in a museum, reminding visitors of that pivotal moment in history. We spent time exploring this area, visiting the Black African Museum, which even had Ray Charles’s piano—an item he played while in town. The revitalization of the area was heartening to see, with local shops, including one run by a Black woman offering various goods, contributing to the vibrant atmosphere.
Adjacent to this area, you’ll find another district that attracted artists from all over the U.S., particularly from New York and Chicago. Walking through the streets, you’ll come across Avis Street, an important hub for creatives. An art association, which still thrives today, was born here, and we enjoyed visiting local gems like a hand-tooled leather shop and an artist-run cooperative gallery.
In the heart of the city, not far from the historic district, stands a magnificent Spanish Renaissance, Gilded Age, and Moorish Revival building built by Standard Oil industrialist Henry Flagler. Flagler invested heavily in Florida’s development and infrastructure, and he nearly single-handedly transformed the state. In addition to the iconic Ponce de León Hotel, Flagler was also responsible for the development of the Florida East Coast Railway and the stunning Breakers Estate in Palm Beach, now a hotel. The Ponce de León Hotel, built at record speed with no budgetary constraints, was once considered the best hotel in the world. The craftsmanship and materials were second to none. It’s impossible not to be in awe of its beauty. The hotel now serves as Flagler College, and although many students shared their admiration for the surrounding beauty, it was surprising that some didn’t fully appreciate the history and grandeur of their environment. While we missed the guided tour, visitors can still marvel at the lobby, which boasts a stunning mosaic marble floor with intricate designs, hand-carved woodwork, and Tiffany stained glass windows. The dining room, used by students today, features around 100 Tiffany windows—arguably the largest collection of Tiffany glass in the world. It’s a testament to the remarkable beauty and quality of the building, which was constructed in an era without power tools. The magnificent courtyard, lined with vintage trees and swaying palms, adds to the serene atmosphere.
Nearby, at one of the town hall buildings, we discovered a fantastic exhibition sponsored by Hamm University. The show featured works from the Samuel H. & Roberta T. Vickder Collection, focusing on artists who worked in St. Augustine and the surrounding areas of north-central Florida. The exhibition was curated by a talented intern from the university’s fine arts program, Lucy (Huixin) Li. It skillfully illustrated the cross-pollination of artistic ideas and friendships that flourished among these artists, many of whom came from cities like Philadelphia, New York, and Chicago, escaping the cold winters of the Northeast. Some fell in love with St. Augustine and made it their home.
In the evening, although many Floridians aren’t night owls like us New Yorkers, there’s plenty to do. The city has a range of cafes, bars, and music venues. You can hear live music echoing through the streets, adding to the city’s charm.
Unfortunately, our visit was short, but we’re already planning to return for more exploration. We definitely look forward to revisiting this wonderful place.
DENISE BIBRO FINE ART, NYC is pleased to share the recent reviews of Iliyan Ivanov’s solo virtual exhibition “NO RE-ENTRY”
November 1, 2024 – January 3, 2025
NO RE-ENTRY III. 2, 2024, Acrylic on Paper
“Like remnants of a dream, the works don’t tell a full story, but create a feeling palette that invites the viewer to explore what is being stirred internally. I find the art work meditative, and the titles of the three cycles very poetic.”
Milena Kazakov, psychoanalyst and art collector
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“Iliyan’s recent show, NO RE-ENTRY, exposes the viewer to stark and spare images splayed on the canvas like wounds on a body. The slashes of paint suggest not only trauma, but the possibility of healing from that trauma. In time-honored fashion, he uses art to both illuminate pain and suggest a way through pain with confrontation and understanding. He has an original vision pertinent to today’s fractured world.”
Joel Harrison, Award nominated/winning composer, published author and art collector
NO RE-ENTRY III. 3, 2024, Acrylic on Paper
“Iliyan Ivanov, a gifted artist and fellow psychiatrist, presents an evocative collection that bridges the emotional depth of art and the introspective nature of the human experience. His work challenges viewers to confront inner truths and navigate the complexities of personal growth. With a masterful use of color and form, Ivanov’s exhibit invites audiences to engage with the nuanced interplay between emotion, identity, and transformation.”
Johnny Lops, psychiatrist, actor, Oscar nominated film producer and published author
NO RE-ENTRY I.1, 2024, Acrylic on Paper
“Iliyan’s paintings are strikingly modern, showcasing a captivating interplay of bold colors and dynamic compositions. As an art collector, I’m particularly drawn to his expressive brushstrokes and the masterful use of texture that defines his work. Each piece radiates a unique energy, and his artistry brings a unique energy to any space.”
Ron Jackson, Grammy nominated jazz musician and art collector
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“Iliyan Ivanov’s latest series, NO RE-ENTRY, masterfully embodies the convergence of art and the human condition, offering a profound exploration of loss, inevitability, and transformation. As a fashion design professor, I am struck by how his layered techniques and textures mirror the creative process itself as an interplay of construction and deconstruction, defining shapes and allowing them to dissolve.
Ivanov’s work speaks to the emotional elasticity of the human spirit, much like the flexibility of fabric that bends, stretches, and reforms to shape new identities. His juxtaposition of muted tones with bold, scraped accents evokes the tension between fragility and resilience, reminding us that each decision, each stitch in life carries unforeseen consequences.
What makes this collection particularly compelling is its rhythmic, almost kinetic quality. The fluid brushstrokes and disrupted lines invite us into a narrative that is both deeply personal and universally relatable. Ivanov challenges us to embrace the concept of NO RE-ENTRY not as an endpoint but as a perpetual cycle of reflection and growth, an idea central to the very act of creation. His artistry is not only visually arresting but also intellectually enriching—a rare gift in contemporary art.”
Aneta Genova, Fashion Professor at Parsons School of Design, Book Author, Designer and Friend
NO RE-ENTRY II. 1, 2024, Acrylic on Paper
“Elemental and stark, ILIYAN IVANOV’s new series NO RE-ENTRY conjures bold brush strokes and layers of texture and color to deliver a powerful artistic experience that is simultaneously psychological and emotional. These paintings have an energetic urgency that evokes a modern day Rohrsach test that challenges the viewer to meditate on final things.”
Bill McGarvy, Best-selling author, musician, award winning film maker and animator
NO RE-ENTRY I. 3, 2024, Acrylic on Paper
“The bulbous, diffuse masses in this series evoke no recognition, for recognition is of the past, and these works are about evolution into the new. The somber, subdued, always perfectly blended colors and varying textures (slow gradations in tone, blotting, cribbing, internal streaks, background within the foreground) draw the eye not to the boundary, but to the interior inducing psychological reflection. Above all, one feels motion, thus time and inevitability, not just remembered brushstrokes, but active arching flows, vacillations, a dramatic swirling vortex, always nearly engulfing the softly hued white space. Time marches on, evolution is ceaseless, invading every available dimension, constantly generating new forms, callously indifferent yet innately playful. There is an Arrow of Time, you always move forward, but you have NO RE-ENTRY.”
Joseph O’Neill, Professor of Child Psychiatry, UCLA Semel Institute for Neuroscience
Nora Speyer, Pitch Pine Tree Over Pond, 1999, 62″ x 52″Nora Speyer, Dream Sequence 7, 1996
It is with great sadness we note one of our artists, Nora Speyer’s recent passing.
Nora was a gifted artist, special human being, and a good friend. Nora had numerous solo and group exhibitions with Denise Bibro Fine Art from the late 80’s in our gallery in Soho and later in our Chelsea gallery until we closed our brick and mortar in 2022. You can view her work on our website and are other platforms.
Nora was a consummate artist, supporter, and advocate of her art community. With her equally gifted artist husband, Sideo Fromboluti, they carved out a special world for themselves in the arts. Always anchored in Greenwich Village/Soho, but also part of the thriving communities of Woodstock in earlier years and then lastly for many years the artistic community of the Cape Cod area with there base in their summer home and studios in Wellfleet Maine. They were some of the founding artists that made up the respected the Landmark Gallery in Provincetown. Also founded by noteable artists as Motherwell, Leo Mansoetc, and Sidney Simon to name a few.
Both Nora and Sideo were in the village working in the mix with some of the greatest artists of the “Cedar Tavern” days. Although, in the melee of the abstract abstraction movement with artists like Jackson Pollack and Joan Mitchell, they continued to champion human and natural inspired forms. Their Pensylvania painter roots never left them.
Nora was an extremely gifted artist. She was not only a fine painter, but had a skilled hand in drawing- particularly the human form. She had a keen sense of form and space. She worked steadily throughout the years, often with life models in her studio. The richness of her figures enhanced her pictorial land and human compositions. Her love for the mystery of nature and human physiological content was also enhanced by her robust use of layers of paint. She often worked in series. Denise Bibro Fine Art highlighted her exploration of dreaming through her Dream Collage Series. Denise Bibro Fine Art also showcased her Flora Series depicting the richness of flora and fauna, as well as many other exhibitions of her allegorical works. Nora’s rich compositions of variants of light and shadow successfully captured the element of time, place and subject matter. There is always multilayers of nuance and oeuvre in her works.
She successfully employed her well informed eyes and mind, and imbued her work with the best information she got from viewing and experiencing the works of artists like Bonnard, Ingress, and Monet. She amalgamated all her years of seeing and experiencing and made her own.
It’s that time of the year, Denise Bibro Fine Art is having its open call for Art from The Boros XI, 2024. For the past ten years we have selected diverse and hardworking artists to participate in this annual group show highlighting talent found within New York City’s five boroughs. The mission of the exhibition is to seek and find the pulse of talent in the city that is often overlooked and underexposed.
We are asking artists in the five boroughs to submit all works virtually. From these submissions we will choose artists for a virtual exhibition. From these artists we will then choose ONE artist to have a solo virtual exhibition later this year.
APPLICATION DEADLINE: September 30, 2024
Open to all mediums; performance art must be digital
Please make a check payable to Denise Bibro Fine Art and mail it to the following address: PO Box 1071, New York, NY 10011 OR pay via PayPal ([email protected]). Include your first name and last name.
A maximum of 10 hi-res images as jpgs (file title should be title of the work)
Email should include title, date, size, medium, and retail price for all works
State whether you paid via PayPal or check
CV as a Word document
SELECTION PROCESS:
Jurying will begin on a rolling basis. All artists that are considered for the exhibition must be agreeable to be available for a Director studio visit if needed.
ART WYNWOOD, a continuation of the art happenings inaugurated by Basel and Art Miami in December, doesn’t quite possess all the sparks it did PRE-COVID. Remnants of the bad, the good and even the ugly from the December fair can still be found. Nevertheless, for those who truly seek, there are still some commendable works in the mix. As we’ve already delved into the momentum of the fairs in our previous newsletter, we’ll leave you with a few words and images encapsulating the positive aspects of the event.
Our friend Frank Hyder had two booths showcasing several works from his Janus series. Additionally, there was an installation featuring his illuminated canoe vessels, inspired by his travels and experiences in South America.
Among the memorable booths we encountered in passing were those of Latin Core (Miami), Cernuda Arte (Coral Gables), and Eternity Gallery (Aventura), among others. Masters like Fernando Botero (Latin Core) and contemporary Latin artists have a strong presence here, reflecting Miami’s profound support and admiration for Latin American art. Exploring earlier drawings and paintings by Botero was a special treat, offering a deeper understanding of his work beyond the typical visually striking beauteous female and male forms often seen at Basel and Art Miami. The Latin Core booth provided a rich context for Botero’s oeuvre, highlighting the gallery’s commitment to promoting his work within the art milieu. Similarly, Cernuda Arte (Coral Gables) continued this scholarly approach, showcasing the works of Wifredo Lam, Gina Pellón, and other esteemed contemporary Latin artists.
MoMA
Do you ever wonder if museums display their entire inventory? MOMA currently provides an answer to that question, offering a fascinating glimpse into its extensive collection. Now on view you can see the pieces from three distinct periods: 1880s — 1940s, 1950s — 1970s, and 1980s — Present.
While all the works on display are remarkable, a significant portion of gallery space is dedicated to the important works of Jacob Lawrence, a pivotal black artist of the 20th century. It’s crucial to pay special attention to these pieces. The series of works presented illustrate concerns such as poverty, justice, and discrimination from not so long ago—issues that unfortunately remain poignant today. These bold, colorful, strong compositions resonate deeply with the black and marginalized human experience in America, a narrative that persists even in the 21st century. His use of bold geometric spaces mirrors the strength and complexity of his subjects’ situations. Lawrence skillfully captures the enormity of the human condition through rhythmic and repetitive figures and patterns, speaking loudly and compellingly to the audience.
Another noteworthy exhibition within the collection features primarily unknown photographers from the earliest years of photography. These works showcase the remarkable excitement and interest in photography, not only as an art form but also as a means of capturing history and circumstance.
THE MORGAN LIBRARY & MUSEUM
In addition to the special attention that the Morgan Library and Museum is giving to introducing us to its past Director Librarian, Belle da Costa Greene, there is an exhibition showcasing the works and historical ephemera to celebrate the importance of Beatrix Potter, the renowned British female writer and illustrator best known for “The Tale of Peter Rabbit.” This exhibition not only features delightful drawings of Peter Rabbit and other materials authored by Potter but also offers a fresh perspective on her life’s work. This exhibition will run through June 9, 2024.
By placing her work in historical context, the exhibition provides insight into Potter’s multifaceted identity. She wasn’t just an artist; she was also a significant activist, feminist, and historian. Potter was truly ahead of her time, celebrating the beauty of the land and its natural environment, along with the animals inhabiting it. Notably, she had the means to support her beliefs, investing in both recording farmland, farm life, and the countryside’s beauty and advocating for conservation by generously donating hundreds of acres for preservation in Yorkshire, England’s largest county.
Concurrently, the Morgan is hosting a photography exhibition featuring recent acquisitions that is equally captivating. Alongside works by established artists such as Diane Arbus and Irving Penn, there are also intriguing early photographs by unknown photographers adeptly documenting the human condition. The ongoing changes in programming at the Morgan and MoMA, which now actively acquire and promote the work of lesser-known artists, mark a positive shift from past practices. It’s a commendable step forward for these esteemed institutions.
SOTHEBY’S PRINTS & MULTIPLES AUCTION (12 – 19 April, 2024)
Having found myself near Sotheby’s, I serendipitously wandered into the lobby of their building on 72nd and York Avenue. Upstairs, I discovered an impressive assortment of prints by important contemporary artists, including masters such as Jasper Johns, Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Keith Haring, Wayne Thiebaud, and others. This exhibition serves as a preview of works to be offered in their Prints & Multiples Auction (12 – 19 April, 2024). It was a delight to experience this exhibition, not only because of the spacious, airy environment conducive to leisurely contemplation of the artwork, but also because it provides the public with an opportunity to see prints by many great artists displayed side by side, allowing for comparisons of their creative output, sometimes produced concurrently.
What struck me particularly was how important bodies of print work of some of these artists have become over the course of time, since there is very little of their primary work available. It’s also fascinating to observe how certain pieces by individual artists are valued differently for various reasons—be it popularity, limited editions, or other factors. For those interested in delving into the print market for a particular artist, comparing editions, not only between artists but also within an artist’s body of work, can be both meaningful and educational. With numerous Jasper Johns print works up for sale, one might speculate if Sotheby’s aims to mark a new era of business with his prints, especially considering his advanced age. Collectors must navigate the intricacies of each artist’s history to contextualize each piece, educating themselves on which works fall within certain price ranges. While purchasing art can be a gamble, but for those like me who aren’t in a position to buy, the educational value of viewing such exhibitions is truly priceless.
Adjacent to the preview of Contemporary Prints, another group of gallery spaces celebrates the life and era in which Tamara de Lempicka worked at the beginning of the 20th century. Lempicka, one of the most important female early 20th-century artists, epitomized the vibrant, bold spirit of the roaring ’20s and the industrial rush of the era through her colorful brash, and bold works.
