chelsea galleries


Self-misunderstanding, Rivane Neuenschwander

1층에 조그만 달걀이 숟가락에 올려져 있습니다. 

2층에 올라가면 대형 달걀이 기다리고 있죠. 

25킬로 정도 된다고 해서 저걸 누가 왜 쓰나 했는데 한 남자가 쓰고 돌아다닙니다. 옴마야~

친구로 보이는 남자는 재밌다며 사진을 찍어주네요. 

까딱 잘못하면 목이 꺾여 다시 알을 깨고 나오기 전 상태로 돌아가는 건 일도 아니겠다 싶어 전 그냥 셀카만 찍고 나왔습니다. 

현대 미술의 낯선 모습과 마주친다면 당황하지 말고 ‘새로운 무엇인가를 시도하려고 노력하고 있구나~’ 라고 생각하면 쉽게 이해할 수 있을 거라던 글이 생각나는 하루였네요. 


Now Open: Zhang Huan: Let There Be Light includes Zhang’s largest ash painting to date, measuring 122 feet long. Based on a photograph taken on June 15, 1964, the painting represents Mao Zedong surrounded by the central leaders of his government and over 1,000 loyal followers. The 18-panel work was made by laying it flat on the floor, priming the canvas with preparatory glue and then applying the ash, which is sourced from Buddhist temples in the Shanghai region. The temples know now what I am looking for. When they have enough ash they contact me. and we send a truck and make a donation [in return], Zhang says in an interview with Art Asia Pacific. 

Visit the exhibition at 510 West 25th Street on view through Saturday, December 5.

“Brian Jones in car on the way to Palazzo Dello Sport Stadium in Milan during the ‘Stones European tour for two sell out concerts that day. Wyman captured this through the driver’s rear view mirror. Milan, 8th April 1967.”
[via Proud Gallery]

There’s an exhibition of Bill Wyman’s photography, ‘Around The World in 80 Years’ at the Proud Chelsea Gallery (161 Kings Road, London) from 19th October - 27th November 2016.

Photo by Bill Wyman.


Mark Ryden


Paul Kasmin Gallery

Amazing show of Mark Ryden’s latest work. Amazing amount of detail to his process from painting on a lift with rollers to manufacturing the frames overseas to exacting specifications. There is no other world like his. Even the Fan Mom and Daughter dressed up and brought their favorite Mark Ryden dolls. It’s a macabre world where innocence and the gruesome comingal in an ethereal world. Check it out through January 23, 2016.


I wanted to share some work in progress shots from one of my paintings (sorry for terrible cell phone quality). This is  ‘View from the High Line - 26th Street’, completed late last year. 

The painting is based on photos I took from the High Line park, which is a repurposed elevated railroad track that runs through parts of the Meatpacking District and Chelsea on the west side of Manhattan. I love the High Line because it is covered in lots of interesting plants, but the views are pretty great as well. From this vantage point, you can see the Hudson River and Jersey City at the end of the street in the far distance. The large building at the end of the street with the horizontal bands of windows is the Starrett-Lehigh Building. Built 1930-31, it is an interesting early example of International-Style Modern architecture in an industrial building. This was historically a very industrial area, but it is now the heart of the Chelsea gallery district. The buildings on the left and right foreground, along with most of this block, are home to several high-end galleries. 

For the painting, I worked on Arches Hot Press 300lb watercolor paper. The size of the art is roughly 18 x 26 inches. I start with a detailed perspective drawing of the entire scene in pencil. As you can see from the progress photos, I worked from left to right, nearly finishing each section of the painting as I go - but always going back and polishing previous sections as needed. This strategy of moving across the painting helps me keep track of how much progress I have made, but i do not focus in on each little section and mechanically copy inch by inch from the photo. As with all watercolor, the painting generally starts light and the darkest colors and finest details are added last by necessity. I use a mix of watercolor tubes, most of which are Winsor Newton brand. I didn’t use any gouache or opaque white. I usually use a small amount of masking fluid and masking tape but I don’t think I needed much for this painting.   From start of the drawing to finish, this painting took about one month to complete - working on average a few hours a day.

I approach the overall process of a painting like this as if it were a traditional landscape painting. I am most concerned with balancing lights and darks, color vibrancy, warm/cool, etc. throughout the whole painting so that the final product is harmonious and compostionally pleasing. Balance was incredibly important in a composition like this one, which is so dramatically split down the middle. 

Sorry for rambling on, hopefully someone finds this interesting!