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ART WYNWOOD 2024

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

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For studio visit please email: [email protected]

 or

call the Director directly: 917-687-2069

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

ENTRY REQUIREMENTS:

1. No primary gallery representation
2. Live and/or work in any of the five NYC boroughs
3. Completed Prospectus Form (download HERE)
4. $50 entry fee

ENTRY INSTRUCTIONS:

1. 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.
2. Please email all virtual documents to [email protected]
3. Email subject line: ART FROM THE BOROS XI, FIRST NAME, LAST NAME
4. Please attach the following to the email:

• Completed Prospectus Form (download HERE)
• 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 2024

MIAMI, FLORIDA        

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.

The life of Belle da Costa Greene, or Belle Marion Greener as she was named at birth, is one for the history books. The title of Librarian seems to be a misnomer for such an exceptional scholar and art entrepreneur of Ms. Greene’s caliber. This woman of color single-handedly developed the most prestigious and treasured library in the world.

The Morgan would not be what it is today without her. She had the courage, scholarship, and moxie to create one of the most important libraries in the world, putting her mostly male peers at bay. Even Mr. Morgan’s keen interest, passion, taste, and great wealth would not have been enough to create such a force in the rare book and art world at that time. The combination of the two was a tour de force. Her life and depth of accomplishment are a testament to her courage, fortitude, and genius.

Despite the unjust shackles that society places on some, both men and women of any color and ethnicity can conquer and aspire to great heights. There are many unsung heroes who rightfully deserve their place in the history books, and Belle da Costa Greene is one of them. Why wasn’t her history shared with us in the classroom in my day? Why didn’t books and teachers discuss great women and people of color? Even being in the Library Club didn’t give me insight into her journey and achievements. Greene’s life of defiance and disguise was the only path that she felt she could take, even sacrificing time with her most treasured father who could not stomach the art of secret passage that she and her family believed they had to subscribe and succumb to in order to have a fulfilled life, home, beauty, and recreation. Much has changed, but too much is still the same.

The story of Belle da Costa Greene was of particular interest to me, prompted by memories of a program for Art Administration I took with my best friend at NYU. One of our collaborations was a paper on the Morgan Library & Museum. It baffles me that neither Morgan nor NYU mentioned the herculean tasks that Greene had to develop such a valuable and comprehensive collection of such world renown. Why didn’t they? My friend and I were two aspiring women who wanted to get involved with the arts, a world still dominated by men, on a high level. I can’t believe we received an A without discussing her at greater length. Why wasn’t she heralded as a great scholar, leader, and entrepreneur? Certainly, she should have been an example and someone to aspire to, not only for all people but particularly for women of color. This valuable information makes a big difference to some and at the very least enlightens others.

I was prompted to take note of this great woman and write this article out of idle curiosity when I was in the wonderful Sanibel Library in Sanibel, Florida. I came across the New York Times bestseller “The Personal Librarian” by Marie Benedict and Victoria Christopher Murray. When I read a synopsis of the story on the back, I couldn’t believe that in all these decades I did not know much about Belle da Costa Greene and her importance. I encourage everyone to read this book. It is beautifully written, an easy read, full of wonderful historical details. Not only does it highlight the incredible life and accomplishments of a woman who had to pass as White, struggling to survive in a world of hypocrisy with all its cruelties, but it also illustrates how societies, both the poor and the privileged, navigated their journeys in life in a United States that is still flawed to this day. Even the existence of this book is hopeful. It is a wonderful story, and it is a true one. We need to celebrate the accomplishments of people like Belle da Costa Greene, pushing forward and advocating for education and awareness for all so that everyone can be enlightened. There is a lot more to the book than its cover.

“The Personal Librarian” by Marie Benedict and Victoria Christopher Murray, Berkley, 2021

Don Kimes is truly what, in some circles, would be referred to as the real deal. Any one of the several titles above would be more than sufficient for anyone to tackle and excel in, but truly, he encompasses all of these and more. His practice deserves to be celebrated!

In recent years, he relinquished the helm of the Visual Arts Department at the renowned Chautauqua Institute in Chautauqua, NY. Its prestigious art program was nurtured and developed for decades by him and his invaluable assistant, Lois Kimes. For over thirty years it has been a respected and exciting educational visual arts program and artist community. The impact of his teachings and programming, even to this day, can be found and felt in the broad artistic community. Many of the artists he mentored continue to engage in the practice of art and exhibit their work. Dozens follow and remain in touch with him. Retirement seems a misnomer for Kimes. He still works as a professor at  American University and once was the Art Department Chair. His students, whom he also educated and mentored while overseeing the Chautauqua Art Program, have for the most part continued to excel in their practices. And, within the past decade, he has also directed an Artist Residency in Italy. When does the man sleep?

DBFA is honored to have represented him and to have exhibited his work.

We celebrate his lifelong dream of having a large studio come to fruition this past year and are excited to see what the realization of this dream has to offer us in his new work.

In addition to all the talents and experience we have already mentioned, he isn’t leaving any stones unturned. Five of his pieces were recently included in “MAD ABSTRACT” exhibition at Jim Kempner Fine Art, NYC, along such prominent artists as Louise Bourgeois, Mel Bochner, Sam Francis, Charlie Hewitt, Mary Heilman, Jay Kelly, Sol Lewitt, Elizabeth Murray, Paula Scher, Frank Stella, Cy Twombly and Stanley Whitney among others. Last year fifteen of his works were presented at the Singapore Global Art Fair by MK Gallery, South Korea. This Summer he will also be returning to Italy for the ACI residency in Umbria. Additionally he recently juried the Winter Exhibition at Blue Mountain Gallery, NYC. Don Kimes did a great job choosing talent for the show. Among those included were familiar faces such as one of our featured artists Doulas Newton and Erin Karp. We were pleased to be a part of its well attended reception. It felt like a Chelsea Art  reception crawl. It was good to see so many people viewing art and intermingling.

In addition to the milestones of experience that we have mentioned, Kimes was the Program Director of the famous New York Studio School on 8th Street in Greenwich Village prior to his lifelong stint at Chautauqua. The Studio School was an incubator of talent and continues to be. Its influence was obviously a significant one for Kimes. Having heard many “art and artist stories,” you can sense that the Studio School provided Kimes, as well as many like him, with the seeds of creativity, discourse, useful art information, tips, and historical reference, among other things. Artists like Andrew Forge (the associate dean) and Mercedes Matter (chief founder) provided impetus and magic amidst the many talents of that day. Kimes is part and parcel of the bumper crop of artists that make these institutions and processes so sacred and fundamental to many aspiring working creatives.

Don Kimes recently wrote an article on the famous artist Philip Guston. We prompt you to click on THIS LINK to read it.

Kimes met Philip Guston at the Studio School. Guston has certainly been part of the history books for a long time but he has always been an idiosyncratic character. Sometimes in the past, he was to some degree under-appreciated. Guston was a “traitor” in the midst of artists that were reveling in abstract expressionism in the late fifties and earlier sixties; he dared to do what he wanted to do and explored and advocated the world of neo-expressionism. And he did so admirably. He was a force to reckon with. In recent years, he and his work have been getting their due. There have been very important exhibitions of his work in New York, recently in Washington, etc.

Please view and enjoy Don Kimes’s works. You can find them on our website www.denisebibrofineart.com, and Artsy.

Visiting an artist in their studio has always recharged my batteries and excited me. It is wonderful to see and experience recent works and those in progress, as well as to hear the artist share their ideas, concepts and illustrate the processes involved, deepening one’s understanding of their art practice. It’s all life reinforcing!

Ascending some three plus flights of stairs to Wolfe’s expansive work and living space evoked a sense of déjà vu from the late 70s and 80s when I first began to immerse myself in city life, transitioning from my safe, rural upbringing in Litchfield County, Connecticut. It was an exhilarating time for a young college woman like myself from the boonies. At that time numerous soirées, talks, and parties were commonplace in Soho. Back then, it exuded an edgy and vibrant Bohemian atmosphere, vastly different from what it is today.

It was precious to see that there are still “last men standing” from that illustrious era, untouched by the jaws of gentrification.

Stepping into Wolfe’s expansive space I immediately felt free and could breathe. His studio made my own New York apartment seem as cramped as a high school locker! The scent of paint and wood dust lingered in the air, while raw materials such as plaster, wire, frames, and racks of works adorned the space, showcasing his established practice. Encountering creativity head-on, I was captivated.

Wolfe had new, more three-dimensional pieces. In the past DBFA has shown a number of his wall pieces, although they are often assemblages, the works that I saw were  primarily free-standing sculptures. Some reminded me of the ephemeral pieces one might encounter in the studios of artists like Brâncuși or Giacometti – raw materials displayed, studied, and repurposed for their intrinsic value. In Wolfe’s case, these materials included plaster, wood, rope, and construction wire among others. There was a palpable physicality to his work, celebrating the raw beauty inherent in the recycled materials used to create these sculptures and assemblages.

Wolfe focuses on articulating space, form, and volume while respecting the character of each material he employs. They do not feel predetermined, they are as organic as many of the materials chosen. Even though the compositions are new their whole and parts evoke a sense of an experienced past. Having traveled extensively, Wolfe assimilates his experiences and surroundings into his visual vocabulary, imbuing his compositions with a sense of intimacy and uniqueness that resonates with the viewer. Beyond the sense of space, Wolfe encourages viewers to embark on their individual journeys with his work, engaging with its mystery.

As we sat in old, comfy chairs, Wolfe shared his personal history. Growing up in a modest home in New Jersey, he left at a young age to pursue a life in art, eventually becoming an Art Director in Advertising, all while consistently creating his own work. His story resonates with the familiar struggles of many creatives. Having paid his dues for many years, he has been dedicated to persevere in Soho and continue his art practice both in the city and his upstate home in New York.

We encourage you to view Gerald Wolfe’s work on our website www.denisebibrofineart.com, Artsy, and 1stDibs. For a studio visit please contact: Denise Bibro Fine Art at [email protected].

UPDATE: We are no longer accepting applications. Thank you to everyone who has applied for our open call.

Denise Bibro Fine Art, NYC, 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 during the past 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 the 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: January 30, 2024

ENTRY REQUIREMENTS:

• This call is open to artists working in collage or media that is 80% collage-based
• No primary gallery representation
• Completed Prospectus Form
• $50 entry fee

ENTRY INSTRUCTIONS:

• Please pay via PayPal [email protected]. Include first name and last name OR make a check payable to Denise Bibro Fine Art: PO Box 1071, New York, NY 10011
• Please email all virtual documents to [email protected]
• Email subject line: #COLLAGENOW, FIRST NAME, LAST NAME
• Fill out this application form including:

* 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

* Instagram handle (if applicable)

SELECTION PROCESS:

Jurying will begin on a rolling basis. Artists will be notified within two weeks after deadline if they are selected.

Judy Chicago: Herstory

10/12/23 – 01/14/24

New Museum

235 Bowery

New York, NY 10002

212.219.1222

At the New Museum is the long overdue and most deserved first comprehensive survey of the 20-21st Century feminist artist Judy Chicago. The museum has dedicated four floors of space to encompass and illustrate the girth and breath of her work including painting, sculpture, installation, drawing, textiles, photography, stained glass, needle work, and printmaking.

The strength and influence of Chicago’s work is emphasized and well illustrated by putting it in historical context. Alongside “Judy Chicago: Herstory,” New Museum also presented “City of Ladies,” which is an exhibition within the exhibition. “City of Ladies” comprises artworks, photographs, film, writings of powerful female artists, thinkers, writers, dancers, photographers from across the centuries. Included among them are Simone de Beauvoir, Hildegard of Bingen, Artemisia Gentileschi, Zora Neale Hurston, Frida Kahlo, Hilma af Klint, Virginia Woolf, Louise Nevelson, Martha Graham, etc. All of these creatives impacted Chicago’s art and work of an enormous number of living contemporary artist of all genders, cultures and ethnicities.

Going from the upper floors of this survey, viewing Judy Chicago’s early minimalist works of the 60’s and 70’s makes the best sense. By viewing in this progression one can sense the power and evolution of a woman creative that has a lot of guts, soul, relentless intellect, courage and resolve. Her vocabulary and craft are limitless. She employed any media and excelled on many fronts such as sculpture, painting, drawing, installation, sewing, stained glass. Each finished piece is not an ending and instead seems to present another challenge or discussion. On the lower floors her revolutionary feminist works can be seen as well as her narrative works from the 70’s, 80’s, and 90’s. Her most recent works confront concerns about the environment, disasters and perils, creation, masculinity, and morality.

The exhibition deftly conceptualizes her feminist methodology with many art movements. It successfully illustrates the critical and impactful role Chicago has played not only as an artist in her own right, but also as an advocate in claiming space for women artists.

Maria Prymachenko: Glory to Ukraine

7 October 2023 – 7 April 2024

The Ukrainian Museum

222 East 6th Street

New York, NY 10003

212 228 0110

The Ukrainian Museum in the heart of the East Village is a jewel of a museum. Its recent exhibition of one of Ukraine’s most beloved artists, Maria Prymachenko, should be a must see.

I was particularly provoked to see the show not only because of the horrors of the ongoing war Russia brought upon Ukrainian people, but because of my own father who was born in a Polish country village, similar to Prymachenko’s. Many of her works remind me of the stories from those days. The animals, farms, daily chores, and doings of ordinary life. I was happy to see her wonderful depictions of people, her craft work, her garments. What I saw endeared me to think of my own Grandmother. She had little, yet still sent me a handmade skirt and vest to show love for a granddaughter whom she didn’t know, and to share her culture that her son abandoned because of war. I revel in pride that Poland has opened their arms to welcome refugees from their neighboring countries. There is something to learn from this for everyone.

Maria Prymachenko was a born in a peasant family in the village of Bolotnya, Kiev Oblast. She was self-taught and relentless in creating her art. She has been loved for her vividly colorful, decorative, and sensitive perception of reality. Her works primarily depict animal scenes, often with mythological context, village life, and provide social commentary. Her works have been used on Ukrainian currency snd stamps.

This is the first exhibition of the artist’s work outside of Europe. She exhibited in France, Bulgaria, and other Eastern European venues. In France Picasso saw an exhibition of her work and said, “I bow down before the artistic miracle of this brilliant Ukrainian.”

Prymachenko knew war well. She knew and felt loss, having lost family members through war, including her brother. Many of her works were created from these experiences. It is so sadly ironic that due partly to war some of here work is gone, making this exhibition and the work even more relevant.

Although self taught, her work’s strength is in its resilient use of color and simple forms all in their brute force. Its strength is in the truths that it empowers. There is a frankness and immediacy in her work that captures the viewers attention.

When going through this exhibition I thought of an affiliated artist of ours, Ola Rondiak, whose works also often illustrate the social and political issues of Ukraine, particularly in reference to Ukrainian women’s roles in society. Her husband is still staying in the country, even despite the ongoing war. Rondiak’s works of Ukrainian women in traditional garments illustrate the valuable role models that are powerful in her country. I was pleased to see her prints and posters displayed and offered at the museum shop, and supported her by buying a print.

Ola Rondiak, “Unforgivable,” 2022, acrylic and charcoal collage on canvas, 12 x 12 in

I encourage everyone to go to this exhibition and support the museum. The admission is nominal and becoming a member does not cost much more either. It is public and world knowledge that Ukraine is being ravished physically, socially, and financially. Its people, their homes, artifacts, art, and architecture are being destroyed, which further shows the urgent need to support institutions like this and help them preserve and share the wonderful culture of Ukraine.

Clio Art Fair

On one of our walks through Chelsea, we popped into an international curated Clio Art Fair, a fair new to us. It focuses on showcasing independent artists who are not represented by any NYC gallery. It is worth noting, its very existence, as so many other recent satellite and pop up fairs, reflect the challenges, the difficult quirks, curatorial problems, and severe economic concerns that affect all these venues, artists, and the artistic community at large. Nevertheless, such things as the lack of opportunities and the closing of physical galleries continue to inspire the community to seek out alternatives, and broaden horizons, despite the many pitfalls any of these options may have.

It was interesting to notice the organization of this fair echoed some issues we’ve noticed at Art Miami and Art Context. Because of the current economics and all the various costs that come with organizing and participating in such an event, there was some lack of space and possibly the need to compromise the quality of installations in some respect.

Despite the fact that the art fair was perhaps not ideally curated and the quality of features work was uneven, yet it was a joy to see how artists and curators poor their hearts and soul into promoting independent talent. It is vital for us as a community to support the artists and curators as mush as possible.