check out this excellent show by Mitchell Algus who I really admire. It includes gallery artist Paul P. “Invitation to a Voyage” at Algus Greenspon carries Romantic, pre-Raphaelite and Symbolist art into the present. (Rosenberg, New York Times)
96 pages / color / 2011 / 700 copies / published by Pork Salad Press / € 18,-
Will be released in september 2011
That the film projection is essentially a trick of the light is a fact embraced by Susanne Winterling. Her 16mm films are tight phenomenological articulations in which the subjects double back on themselves to articulate the conditions of the medium itself. …the flickering light of the pictured fire, flame or sparkler simulates the flicker of the projected light…..Drifting bubbles, flickering candles, fizzling sparklers are all inevitably destined to burst or burn out, but here they become eternal in this short- looped filmic life.
Despite the phenomenological questions they pose, and their self-reflexive propositions about the nature of film, Winterling’s works are not entirely hermetic. They may use the propensities of film to suggest a kind of looking-glass alternative reality, but the tricks of perception she employs also reflect other reversals of a more social leaning. In Untitled (the pressure behind your nailcolour my dear), 2009, the wrestling arms are unexpectedly pale and hairless and while one the skin of one is decorated with graphic tattoos, the wrist of the other is wrapped with pearls. The masculine strength test is transposed to female protagonists, each with opposing personal styles. Winterling brings in lace, accessories, jewelry, trinkets and such inconsequential fripperies as unorthodox talisman to shed light not only on questions of a perceptual nature, but also about personal identity, gender inequalities, and the lopsided power relations between men and women. Often focusing on that precarious moment of change in a young woman’s life from girlhood to womanhood, Winterling opens up a space for possibility, where hopes and expectations are still unfettered and not stifled by the reality of social possibilities limited by gender. While Winterling does not depict a parallel world, perhaps it is true to call it a parallel vision, a de-centered view that sidles along the centerfield masculine outlook to suggest an alternative to the social authority it proscribes.
Page last modified on July 31, 2011, at 09:48 PM
Daniel Reich Gallery is relocating.
In this new venture, I look forward to the continued, generous and enthusiastic support that all of you have given to me. I am lucky to work with artists who are wonderful in the intrinsic nature of their accomplishment and in their appreciation of me.
While our 23rd Street location was very successful, I want to scale back for a term and then do a different space. I am frustrated not to be in the office and itchy to do shows. In the original spirit of the gallery, which began out of my apartment in the winter after 9/11, I feel that this moment has a specificity which is ripe for change. One of my favorite things about my gallery is that it exists close to the earth and is a gallery of its time. People reach to galleries for a feeling of more immediate connection to an artist or because of a shared interest. As free art spaces, galleries have enormous followings – not simply in New York City but around the world where a young reader can pick up on an article or a reproduction of an artwork consequential to them and trace it back to its source. The potential consequence of this aspect of gallery work is unfathomable. It is additionally emotional to provide a climate for the accomplishment and journeys of others and to try to create to the best of ones ability an environment that fosters creativity.
But so many of us who have galleries of my generation have been involved in discussions of a new format for the art gallery and I’m sure we can all identify areas where we see experimentation now among galleries older and younger than my own. After the crash of 1987, my old ecumenical boss Pat Hearn moved to an office on Broadway for a year after which she found a new model – a 2000 square feet / $1000 / month taxi cab garage down the block from the DIA Center for the Arts on 22nd Street. I naturally model my gallery after those who taught me how to do my job: Jack Tilton, Pat Hearn and Colin De Land. These individuals let me know that it was not easy and one had to persist as though on a mission. Through them I gained a completely useful fragmented oral history of an industry that is constantly changing. In navigating this change, I want to stick more to these roots and to what makes me different while evolving in a way hospitable to my integrity, interests and beliefs. Singularity is ultimately the strength of a gallery of my predisposition.
So it’s a new era and I will look for a new space with careful consideration. While the gallery is an entity that doesn’t stop even while its owner is moving boxes (I got a call from Staples asking if I needed file cabinets for a new gallery), my ambition at this fortuitous moment is to have a gallery that is more reflective of myself somehow. So art history (in its present form) is long and cumulative and as we are seeing with the surprising and thought provoking museum shows of this period, it is not the conventional wisdom of a single decade – rather it ebbs and flows. And I have been very lucky and am very much looking forward to the future and to talking with you!