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6 posts from November 2008

November 26, 2008

Richard Mosse At Jack Shainman, one New Young Photographer to Watch!

The Richard Mosse photography show at the Jack Shainman Gallery, this is one new young photographer's show you do not want to miss.

It's the first Solo show in NYC, by this recent Yale Photography MFA, and Richard was just additionally awarded The Leonore Annenberg Fellowship in the Performing and Visual Arts. This is a major new grant which will enable Mosse to travel extensively over the coming two years to make new work. So..Congrat's to Richard Mosse.

Richard_mosse_heathrow_2007 When you go see the show.. you won't be surprised Mr. Mosse won a major art award already. You can also check out his work on his website..here..

Actually, You may have have seen his work already, Richard is on the front cover of SOURCE - Photographic Review, a British photography magazine,

OR just, maybe you've read a bit about Richard on Brian Sherwin's Art Blog, MyArtSpace.com
There's a very nice artist interview between Richard and Brian..which was well worth a read.

(photo #1, Richard Mosse, 747 Heathrow, 2007, Digital c-print, 72 x 96 inches)

So you could say.. this young Irish chap has more than just hit the ground running. Richard, already lists Marty Margulies as someone who's collecting his artwork...

Well.. the show is great.. We loved the documentary nature of his photo project. It's a series of Richard_Mosse_747_Schiphol_2007 airplane disasters simulator, which is very much in the same spirit as another one of MAO's favorite British photographers, Sarah Pickering.  But to MAO, Richard's photos come off a bit more literary. For both Dr. Quiz and MAO, they immediately brought to mind an entire genre of scary airplane disaster flicks...  or even a bit of a trace of the 9-11 terrorism.   Maybe these photos are just a sign of the times.. Hmm....

So before everyone heads down to Art Basel Miami Beach 2008 (sadly, to be henceforth known as..The Last Big Art Party Before Tons of Teetering Chelsea Galleries GO BUST)..  or if you're smartly staying in NYC to save some money, this show is up at the Jack Shainman Gallery until December 20th. So, Check it out! And keep your eye on this young photographer/artist, Richard Mosse..

 (photo #2, Richard Mosse, 747 Schiphol, 2007, Digital c-print,60 x 96 inches)

See you all in Miami... MAO will be the one at the Bar..cause something tell's MAO there will be a lot of drinking going on down in Miami next week! Yikes!

November 21, 2008

Mickey Smith photography at the new, Invisible-Exports Gallery

Mickey Smith photography at Invisible-Exports Gallery.

Mickey_smith_blood_coll So it's been a very busy Fall Art season for Dr. Quiz and MAO. This week we actually got to speak with both Jerry Saltz, and Roberta Smith over cocktails Tuesday night. Jerry is oh so much shorter more outgoing than we expected. And, Ms. Roberta...well...she was... Flawless!! As expected.

But one thing we did manage to luckily squeeze into our schedule, was the packed opening last week of the first New York City Solo show for photographer Mickey Smith.

You may know Mickey's work for Jen Bekman's 20 x 200 project.. so far both of her photos there sold out (in both the small and mid size) in just a few minutes.  We missed both!! DAMN!

So clearly.. there's a lot of Mickey Smith fans out there in art blog world. Others may know Mickey's work from The Center for Photography at Woodstock..where she has been featured on the cover of their magazine.. as well as having her work shown there this summer.

Mickey Smith's show is titled "You People" and is up at the Invisible-Exports Gallery until Dec 21th.

(Photo #1, Mickey Smith, Collocation No. 7 (BLOOD), 2008, Forty archival inkjet prints on canvas,
16 x 24 inches each, Edition of 3)

The work, which features her photos of bound periodical magazines, we found totally fascinating. It remained both, Dr. Quiz and MAO of our muchyounger  college days of late night research sessions spent in the dark library stacks.  Mickey refers to herself as a cultural archaeologist... and hence you might say.. MAO really digs her photography work!! Sorry... couldn't help ourselves with that one!

Well..here's a snippet from the gallery press release.. the show is great.. don't miss it! 

FYI... This is only the second show for this new gallery..Invisible-Exports.. hopefully one of many good ones to follow.. because, what this young gallery lacks in shear size.. it's 2 thoughtful owners make up with high energy and big personality!   Clearly one art combination well worth checking out this weekend if you find yourself on the hip lower east side of new york city!

A big MAO Congrats go out to Mickey, Risa, and Ben. We wish you all the best.


... Mickey Smith is a cultural archaeologist and You People is her reclamation project. The books and bound periodicals she photographs are a fossil record the 20th century unknowingly left behind. In their own time, these periodicals represented to their readers a concrete and tangible common culture — each reader knowing that there are thousands, perhaps millions, of people around the country reading the very same things — unifying communities of subscribers around shared interests, shared standards and shared identities. But looking at them past their expirations dates has the opposite effect: the publications seem insufficient, the audience for them a universe of disparate and disunited lives, only loosely bound. They become something else, the meaning shifting from their content to the viewer’s own inherited history.

Mickey Smith’s photographs deal with themes of association and disassociation. The titles, repeated one after the other on the shelves of libraries across America, represent a cultural heritage, a kind of serial aspiration on the part of an immigrant nation toward a finally resolved sense of identity. But as Smith shows, forming an identity is not as simple as clustering around one node — or periodical — rather than another. Instead, by showcasing the repetition of these words, she highlights their incantatory power—and suggests that identity and culture have always been a matter not of neat categories but of vague associations.

Mickey Smith is a McKnight Artist Fellow in Photography and has received grants from FORECAST Public Art Affairs and CEC ArtsLink. Currently, her work can be seen at the Center for Photography at Woodstock, in Woodstock, New York, and the Pushkin House as part of the Contemporary Art in Traditional Museums Festival in St. Petersburg, Russia

November 19, 2008

An Emerging Photographer Auction.... check it out!

An Emerging Photographer Auction.... check it out!

So for all those people feeling the intense pain of this art crash recession... here's an opportunity.

Dan Cooney and iGavel are holding an Emerging Photographer auction.

All the prints starting bids are set at only $200. What a great way to do some early MAO Christmas Shopping.

Noah_kalina_igavel_photoMAO was lucky enough to check out these photos last week.. some are great and all are edition-ed (We're not sure on how big some of these editions are, so you'll have to ask Dan for the size specifics of these editions).

Of the 25 photos, we at MAO particularly loved the works by Cara Phillips, Will Steacy, Laura Noel, Dana Miller, and Noah Kalina. (Hint to Dr. Quiz: please bid on these.. cause MAO has been a very good boy this year!!)

In fact, when you read the details, some of these "Emerging" artists are not so emerging. Many already have impressive bio's.. and their work has been selling in galleries at much higher prices. So there are really some great values to be picked up here!

Who knows.. Maybe the next Struth, Sherman or Eggleston is to be found in this list!

(Photo #1, by Noah Kalina, Untiled 20080629 D1FG, Digital C-Print, 20 x 24")

Bidding is open now.. and ends on Dec 10th. Check it out!

November 13, 2008

Some of the Contemporary Art Auction Results are in.....

Train_wreck_at_Montparnasse_1895 As expected, the auction reserves were too high, and the buyers were all too scared.

Very few lots reached even the low end of their presale estimates.. so the fall begins.

Here's  an initial story from Lindsay Pollock and Phillip Boroff of Bloomberg news... we're sure there's going to be many more!

(Since MAO as been worrying about thinking of all our friends at Paris Photo this week.... we choose... Photo #1, Train Wreck at Gare Montparnasse, Paris France, 1895)


Eli Broad Goes Shopping as Sotheby's Art Auction Falls Short

2008-11-12 06:39:27.760 GMT By Lindsay Pollock and Philip Boroff

Nov. 12 (Bloomberg)


Eli Broad and fashion designer Valentino were among the collectors who converged on Sotheby's in New York last night to pick through big-name contemporary art at discount prices.

``It's a half-price sale,'' said Broad, a 75-year-old billionaire who predicted for years that prices would fall. ``Things are a little more reasonable.'' Broad snagged Ed Ruscha's 1969 mustard-hued ``Desire'' fo $2.4 million, 40 percent under the $4 million low estimate.

The 43 lots that sold in the 63-lot auction totaled $125.1 million, far below the presale low estimate of $202.4 million.

Twenty lots, or 32 percent, failed to sell, including several tagged with hefty estimates guaranteed by the auction house.

It was the lowest selling rate for a multiple-owner evening sale of contemporary art at Sotheby's since November 1994.

Sotheby's comparable auction in May totaled $362 million, almost three times last night's tally.

Even so, after last week's main impressionist sale at Sotheby's sold 64 percent of lots, dealers were relieved.

``It wasn't so bad,'' said Marc Glimcher of PaceWildenstein. ``That's the overwhelming feeling.''

The evening got off to a strong start. John Currin's 1999 ``Nice `N Easy,'' depicting two nude young women, went to an anonymous telephone bidder for a record $5.46 million. The seller was Los Angeles television executive Dean Valentine. Currin's previous auction record of $847,500 was set at Christie's International four years ago with a painting of two men making pasta.

Unsold Lichtenstein

The evening's marquee lot, Roy Lichtenstein's 1963 ``Half Face With Collar,'' attracted no bids. The archetypical pop-art painting, featuring a businessman tugging at his collar, sported a $15 million to $20 million presale estimate.

Broad gave paddle No. 434 a workout, buying a large orange Donald Judd aluminum and Plexiglas sculpture for $1.1 million and a small Robert Rauschenberg painting for $2.6 million. For the Broad Art Foundation, he bought Ruscha's ``Desire'' and a gaudy Jeff Koons sculpture for $2.2 million.

Prices include a buyer's premium, or commission, of 25 percent of the hammer price up to $50,000, 20 percent of the price from $50,000 to $1 million and 12 percent above $1 million.

Estimates do not include commissions.

The tanned front-row fixture Valentino Garavani scored two Andy Warhol paintings and a Joan Mitchell canvas with little competition, after being outbid during the frothy May sales. Gap Inc. founder Donald G. Fisher bought a glossy Gerhard Richter for less than the low estimate. Actor Steve Martin and Blackstone Group Vice Chairman J. Tomilson Hill III were among the collectors witnessing how the contemporary art market held up after the Standard & Poor's 500 Index fell 39 percent this year.

Fuld Collection

Christie's holds its contemporary auction tonight, featuring Lehman Brothers Holdings Inc. Chief Executive Officer Richard S. Fuld Jr.'s drawing collection, estimated to bring in about $20 million. Works by younger artists go under the hammer on Nov. 13 at Phillips de Pury & Co.

Last night's top lot was French painter Yves Klein's 1960 blue, roughly surfaced, 6 1/2-foot-tall ``Archisponge (RE11)'' which has 13 sponges and dozens of pebbles affixed to the canvas.

It sold for $21.4 million, below its $25 million estimate, to an anonymous phone bidder.

Guaranteed Guston

Museum of Modern Art trustee Donald L. Bryant Jr. sold Philip Guston's 1954-55 flesh-toned ``Beggar's Joy'' for $10.2 million, almost a third below its $15 million estimate. He'd paid $1.6 million in 1996 at Sotheby's in New York. According to the catalog, the seller was given a guaranteed minimum price.

Sotheby's anticipated that the auction would not sell a number of lots. As in last week's impressionist auctions, sellers locked in guarantees months earlier. Last week, Sotheby's projected in its third-quarter earnings statement that it would book $17 million in losses from guarantees to sellers at this week's contemporary sale.

Demand for recently fashionable artists such as Richard Prince, Damien Hirst and Takashi Murakami thinned. ``It's a buyer's market,'' said Josh Baer, publisher of the Baer Faxt, an art market newsletter.

--Editors: Stephen West, Le-Min Lim.

November 10, 2008

MAO Interview with Photographer Taiji Matsue, Part 2

MAO Interview with Photographer Taiji Matsue, Part 2

Taiji_Matsue_ECUADOR_70346 So before we complete the interview.. we just wanted to point out a great new hardcover photobook that just hit some of our favorite bookshops from Taiji Matsue. Cell, Taiji Matsue, published by Akaaka sha, 2008. The book is well worth checking out, cause it has many more images which couldn't make it into the show.  Matsue's Nest show is up on 57th street at the Cohen Amador Gallery, till the end of the year.

Mao.. Matsue...Interview Part II

6. MAO : One of your key trademarks in your past work, has been the successful use of survey-use aerial photography, how is this current body of work connected in concept to that work? How is this current work an extension or departure from that work?

Matsue : The aerial photography is only a small part of my works. Most of my works are taken by a large format camera and a tripod.

The new series "cell" are chosen from all my color photography including the aerial photography.

The new series of large-sized color photographs does not include aerial photography.

(Photo #1, Taiji Matsue, "

ECUADOR 70346" 2008, C - Print )

7. MAO : Why did you choose the title Nest for your current show? What was the specific inspiration and message for this show and work?

Matsue : There are 2 series shown at this current show. One is the new series of large-sized color photographs. The another is the "cell" series.

The new series of "cell" is created by the trimming of a tiny part of all of my color works.

"Nest" is an exhibition showing both zooming "out" and "in" works at the same time, hence constructing the "nested" relation ship.

The word "Nest" was inspired from the technical terminology of computer programming.

8. MAO : When you were making the original source photos, were you thinking about creating these cell images or was it only a post photo inspiration ?

Matsue_Cell_50BCNMatsue : The "cell" images are the new discovered details by zooming in the original photographs.

(Photo #2, Taiji Matsue, "50BCN" 2008, 19" x 19", Edition of 5, C - Print )

9. MAO : As I've looked though your new book (which is totally wonderful..congrats) several of the cell images look almost like they were created and paired as "Dypticks" ?

Taiji_Matsue_27SVQMatsue : The "Dypticks" kind of images were actually decided with the editor, in the process of editing the new book.

10. MAO : When you're not working on your photography, what's your favorite recreational activities?

Matsue : I like, "Observing" (not just watching) TV programs, web surfing, and exploring cities.

(Photo #3, Taiji Matsue, "27SVQ" 2007, 19" x 19", Edition of 5, C-Print)

Note : All photos: (c) Taiji Matsue and Courtesy of TARO NASU and Cohen Amador Gallery

FYI.. If you missed Part I of the Matsue Interview..click here....

November 04, 2008

MAO Interview with Artist and Photographer Taiji Matsue (Part 1)

Today we have the first part of an interview with Japanese Artist and photographer, Taiji Matsue.

Some of you may have already seen Taiji's amazing new show, "Nest", up currently at the Cohen Amador Gallery on 57th street. If not.. you need to see this show ASAP!

Some of the smart MAO Photobook obsessed readers, may also know Taiji Matsue by his book Taiji Matsue, 2001 which was included in Martin Parr and Gerry Badger's The Photobook: A History, Part 1, and is frequently listed among the most "significant" Japanese Photography books.

Here's Part 1 of our MAO Matsue interview...


Taiji_Matsue_JP_03 1. MAO : As a Japanese artist, you have been brought up in a rich culture of photography, which

Japanese artists have been your biggest inspirations? Which Non-Japanese Artists?


Matsue :  Within Japanese, it's Daido Moriyama. With, Non-Japanese they are Carleton Watkins and Lewis Baltz.

(Photo #1, Taiji Matsue, "JP-22 03" 2005, C Print)


2. MAO : Your photographic projects almost span the globe..your photographic body has included many urban, and well as several rural settings. What was your favorite location to work, and why?

 Matsue :  There is no favorite location in particular. My ideal is to homogenize the whole world, that's why.  In my opinion, artist's personal and private feeling against the location have no influence over spectators.


3. MAO : Do you have a "Matsue" signature style to your photographic work, is this something you particularly strive for or is it more organic.. can you describe this "Matsue" look?


Matsue : The "Matsue" look ... I think this is what the spectators decide, not myself.

(Photo #2, Taiji Matsue, "CHI 0254" 2002, gelatin silver print)

4. MAO : For your last show in

New York City at the Cohen Amador Gallery in 2006, the New York Time's critic Benjamin Genocchio, described your work as ".....scientific precision that gives his pictures a diverting presence and analytic crispness. But there is little emotional engagement."

Do you agree with this analysis? Is this the type of reaction to your art you were looking to achieve? (FYI, here's a link to the Aug 11, 2006, NY Times review..click here)

Matsue : I agree with the half of it, but not all of them. I take the photo by feeling a passion for "sunlit" surface of the earth. That gives the scientific precision to my works. 


Taiji_Matsue_BJX_41115 (Photo #3, Taiji Matsue, "BJX 41115" 2008, C Print)


5. MAO : Many purist, "old world art photographers," regard the use of Photoshop as almost cheating.   Can you tell us how and why you use Adobe Photoshop in your work?

Matsue : Denying the use of Photoshop for digital photographs means the same thing as denying the darkroom for analog photographs. Contradicting digital photography is nonsense. It's just nostalgia for the good old days, I think.


Note : All Taiji Matsue photos courtesy of  TARO NASU and Cohen Amador Gallery.