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International Rescue Committee Print Auction

December 1, 2014 — Leave a comment

My work will be auctioned in London this week for International Rescue Committee 

***UPDATE: The print sold at Auction for £2,000 which as agreed with IRC the following 4 prints in the edition will be sold for that amount. I will donate portion of sales after expenses on remaining 4 prints. The print can be purchased on my web site here: http://www.studio-4a.com/-/ttrdp/jobs/international-rescue-committee-print 

Article in Financial Times with links ( and more info below): http://www.ft.com/intl/cms/s/2/e95d93dc-6b1f-11e4-be68-00144feabdc0.html#slide25

irc print

 

 

 

 

 

 

 

 

 

 

 

 

 

 

International Rescue Committee Print

Nocturne #6 (Special Edition Print)  by Thomas Brummett

17.5×40″ or 44×101 cm Silver Gelatin Fiber Based Print.

This print will be in an edition of 5. The first print will be auctioned off in London which will set the price for the following 4.

With the following 4 prints the artist will donate 50% of all sales (less expenses) to International Rescue Committee.

How to bid

This year bidding will include absentee bids as well as live bids on the evening. Bidding will open at midday (12pm GMT) on Wednesday November 26 and close on 4pm (GMT) on Wednesday December 3.

The highest absentee bid will have a representative who will make a bid on your behalf.

Absentee bids

Bidding is open for absentee bids. To register, please email contactus@rescue-uk.org or 44 (0)20 7692 2751 with your full name, mobile phone number, landline number, email address, lot title and your maximum bid.

We will call you to finalise your registration and payment details if you are the highest bidder.

 

In Galleries, Photography, Uncategorized
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Joel-Peter Witkin & Jerome Witkin: Twin Visions

June 30, 2014 — Leave a comment

Most are familiar with the incredible photographic tableaux’s  of Joel Peter Witkin but until this exhibition I did not know there was an equally talented yet estranged twin brother named Jerome Witkin. Take a few minutes and soak in the exhibition of a unique moment in the history of art; Separated twin artists reunited for the first time over 70 years later.

(Check out the video….Very interesting to see how their work (which is equally visionary in many respects) compares and contrasts).

Las Meninas, 1987. Gelatin Silver Print, 30 x 40 inches ©Joel-Peter Witkin & Courtesy of Jack Rutberg Fine Arts, Los Angeles

Las Meninas, 1987. Gelatin Silver Print, 30 x 40 inches
©Joel-Peter Witkin & Courtesy of Jack Rutberg Fine Arts, Los Angeles

 

Twin Visions: Jerome Witkin & Joel-Peter Witkin

An historic exhibition united two celebrated artists – identical twin brothers – Jerome Witkin & Joel-Peter Witkin

March 1, 2014 at Jack Rutberg Fine Arts in Los Angeles.

Jerome Witkin and Joel-Peter Witkin are acknowledged as two of the greatest contemporary artists in their respective genres. Jerome Witkin is a painter cited by critics and curators as the finest narrative contemporary artist. Joel-Peter Witkin is equally regarded as a master of his genre – a groundbreaking photographer famous for masterfully conjuring his uniquely surreal images. These identical twin brothers, artistically estranged, have enjoyed remarkable success during their respective careers spanning more than fifty years, have never exhibited together. Until now.

via Jack Rutberg Fine Arts

 

©Jerome Witkin THE GERMAN GIRL, 1997 Oil on Canvas Courtesy of Jack Rutberg Fine Arts, Los Angeles

©Jerome Witkin
THE GERMAN GIRL, 1997
Oil on Canvas
Courtesy of Jack Rutberg Fine Arts, Los Angeles

 

JOEL-PETER WITKIN & JEROME WITKIN : TWIN VISIONS

In Art, Exhibitions, Galleries, Photography , , ,
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International Center of Photography Will Close 2015

March 20, 2014 — Leave a comment
Photo by Jim Henderson

Photo by Jim Henderson

 

The International Center of Photography will be closing its Midtown museum. Executive director Mark Lubell confirmed this to artnet News in a statement. Its lease with its landlord, the Durst Organization, is coming to an end in January 2015, and the center has not renegotiated a new lease. Currently the organization, which includes a photography museum, school, and research center, is on the lookout for a new space for its museum.At our request for an interview, Lubell issued the following statement.

“The International Center of Photography has been and continues to be at the center, both nationally and internationally, of the conversation regarding photography and the explosive growth of visual communications. In advancing this conversation, ICP has decided to move its current museum to a new space. This decision reflects the evolution of photography and our role in setting the agenda for visual communications for the 21st century. ICP will announce our future sites this spring. The school will remain at 1114 Avenue of the Americas in Midtown Manhattan.”

The museum, which was founded in 1974, has been at its Midtown location, in the ground floor retail space, since the 1980s. According to Jordan Barowitz, director of external affairs for the Durst Organization, the ICP has been a tenant of the Durst Organization since 1968 when the ICP was known by its earlier name, the International Fund for Concerned Photography. The sum that the ICP pays, he said, is and always has been nominal during the time of institution’s tenancy with Durst. “They only pay operating expenses and don’t pay rent,” Barowitz said, though he refused to go into detail about the terms of the ICP’s current lease.

via International Center of Photography Set To Close Its Midtown Museum – artnet News.

 

International Center of Photography Will Close 2015

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Holland Cotter: Lost in the Gallery-Industrial Complex

January 18, 2014 — Leave a comment

Holland Cotter won a Pulitzer for his reporting on the art world and is one of the voices more should listen to when it comes to the overreaching influence of money on how and why art is made today.

…”Visit art schools or galleries, and you get the impression that a substantial portion of the art world is content to serve as support staff to a global ruling class. The reality is that, directly or indirectly, in large ways and small, the current market system is shaping every aspect of art in the city: not just how artists live, but also what kind of art is made, and how art is presented in the media and in museums”…

…”If archaeologists of the future unearthed the Museum of Modern Art as it exists today, they would have to assume that Modernism was a purely European and North American invention. They would be wrong. Modernism was, and is, an international phenomenon, happening in different ways, on different timetables, for different reasons in Africa, Asia, Australia and South America. Why aren’t museums telling that story? Because it doesn’t sell. Why doesn’t it sell? Because it’s unfamiliar. Why is it unfamiliar? Because museums, with their eyes glued to box office, aren’t telling the story”…

via Lost in the Gallery-Industrial Complex Holland Cotter Looks at Money in Art – NYTimes.com.

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The Rise of the David Zwirner Gallery

December 2, 2013 — Leave a comment

Nice profile about the rise of the David Zwirner Gallery and a excellent fly on the wall view into the obtuse workings of the art world by the folks over at The New Yorker.

“One of the reasons there’s so much talk about money is that it’s so much easier to talk about than the art,” Zwirner told me one day. You meet a lot of people in the art world who are exhausted and dismayed by the focus on money, and by its dominance. It distracts from the work, they say. It distorts curatorial instincts, critical appraisals, and young artists’ careers. It scares away civilians, who begin to lump art in with other symptoms of excess and dismiss it as another garish plaything of the rich. Of course, many of those who complain—dealers, artists, curators—are complicit. The culture industry, which supports them in one way or another, and which hardly existed a generation ago, subsists on all that money—mostly on the largesse and folly of wealthy art lovers, whether their motivations are lofty or base”

via The New Yorker article:

Dealer’s Hand

by Nick Paumgarten

via: http://www.newyorker.com/reporting/2013/12/02/131202fa_fact_paumgarten

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