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Change is inevitable – let’s embrace it with open arms. FADA turns 30 this year and we’ve evolved along with the the fine art industry. Technology is now a big factor in the globalization of our business. The gallery as a brand is more important than ever, and the web is the best opportunity to reinforce this and attract the audience you want.
 
That said, let’s not forget the proliferation of the art fair for marketing artists and engaging with new clients. When FADA created the LA Art Show 25 years ago, there were only a handful of art fairs nationally. Now there are art fairs around the globe. See FADA Member Galleries popping up at various fairs as 2020 unfolds
 
For your travels to Los Angeles…a few of our personal favorite LA eating spots:
 
Bavel (DTLA)
Bestia (DTLA)
Il Postaio (Beverly Hills)
Manuela (DTLA)
Matsuhisa (Weho)
Otium (DTLA)
Pizzeria Mozza (Hollywood) 
Sunset Tower (Weho)
 
FADA MEMBER GALLERIES @
RECENT FAIRS
 
After 25 years, this August George Stern Fine Arts moved just around the corner in West Hollywood.
 
Their new address is:
501 N. Robertson Boulevard
West Hollywood, CA 90048
 

Check out the new space when you are in the neighborhood!

 

 

Casterline Goodman

 

Kenneth Noland, Mysteries: Maine Painting, 2000, Oil on canvas, Casterline | Goodman Galleries. Click to inquire. 

In conjunction with the start of the school year, this post visually looks back to basic geometry-primarily the circle- and its incorporation in artworks throughout history. 

Under mathematical scrutiny, the circle is scholastically valued for its circumference, but put to the rigors of art history it holds more mystical-rather than mathematical-powers. 

 

Jessie Laino

 

Jessie Laino, T_01, 2016, Tire, white paint and resin, LnS Gallery. Click to inquire. 

 

The circle has been regenerated throughout art history: incorporated in Renaissance canvases, its perfect shape as symbolic of divinity-such as the circular framing of Michelangelo’s Doni Tondo. Today, minimalism has claimed the circle, and highlights the shape as a subject itself, rather than a frame. 

 

Thanos

 

Dan Christensen, Thanos, 1990, Acrylic on canvas, Sponder Gallery. Click to inquire. 

 

This strain of circle fanaticism is seen in FADA’s inventory. Dan Christensen’s Thanos, in the inventory of FADA newest member Sponder Gallery, highlights the mystical characteristics of the circle. The canvas’s display of reverberating circles highlights the potential of the shape’s hypnosis, and showcases the power of even the most elementary of shapes.

 

sprintit25

 

Fletcher Benton, Spring It #25, 2011, Tasende Gallery. Click to inquire. 

 

Three FADA Member Galleries-Jerald Melberg Gallery, Rosenbaum Contemporary and Sponder Gallery-joined 90 other galleries at the fourth edition of Seattle Art Fair. Founded in 2015 by Paul G. Allen, the Seattle Art Fair brings contemporary art to the tech-centric Pacific Northwest. 

Each FADA Member Gallery presented a booth indicative of their collecting specialty at CenturyLink Field and booth highlights can be viewed below. 

 

Jerald Melberg Gallery

Charlotte, NC

 

 

 

 

 

 

 

 

 

 

Rosenbaum Contemporary Gallery

Boca Raton, FL

 

 

 

 

 

 

 

 

Sponder Gallery

Boca Raton, FL

 

 

Floyd Hopper, Ruins, Watercolor, Eckert & Ross Fine Art. Click to inquire. 

 

The month of August is notoriously languid. The unofficial month of the shut down, August inspires this post’s focus on the depiction of architectural break downs. Ruins-particularly ancient  structures-have always factored metaphorically in canvases. Religious imagery in Renaissance canvases often incorporated Greco-Roman ruins as symbolism for the triumph of Catholicism over paganism.

 

 

Alfred Wands, Untitled, Oil on board, David Cook Galleries. Click to inquire.

 

 

Gunnar Widforss, Ruins (Mesa Verde, New Mexico), c. 1923, Watercolor, George Stern Fine Arts. Click to inquire.

 

Today, there is a reverence for ancient ruins, seen in Floyd Hopper’s Ruins, in the inventory of Member Gallery Eckert & Ross Fine Art, a watercolor of Athen’s acropolis. Preservation projects seek to maintain ruins, and artworks of famous ruins perpetuate the visual and cultural history of sites. Perhaps this makes it more jarring to see ruins of contemporary buildings in cities. 

 

 

Edward S. Goldman, Ruins (Chicago), Acrylic on canvas, David Cook Galleries. Click to inquire.

 

Art history’s obsession with ruins-first preserving them in Grand Tour mementos to take home-is seemingly misaligned with the popularity of photographs of contemporary ruins, coined ‘ruin porn.’

 

Simon Procter, Chanel,The Broken Cinema, Haute Couture, Paris Grand Palais, C-Print, Rosenbaum Contemporary. Click to inquire.

 

How do pictorial attitudes differ in depicting the ruins of each century. What artistic allure do ruins emanate? Simon Procter’s photograph of Chanel’s 2013 Haute Couture show, in the inventory of Member Gallery Rosenbaum Contemporary, highlights how the lure of ruins has surpassed documentary and artistic renderings-now a set design to enhance the design house’s latest looks. 

 

 

Pierre de Belay, Nature Morte Aux Poissons (Still Life With Fish), c. 1946, Oil on canvas, Guarisco Gallery. Click to inquire. 

 

While this post’s title suggests an art historical survey of fish depicted in their natural aquatic habitat, it seems that most artists prefer to paint fish and their marine kin posed on tables. Though a bit macabre to showcase fish in dry land, fish have fascinated artists and their integral incorporation into Dutch still life paintings of the seventeenth century have made the species synonymous with the art historical genre.

 

 

Charles Warren Mundy, Porgy Fish, Fruit and Brass Vase, 2016, Oil on linen, Eckert & Ross Fine Art. Click to inquire. 

Today, our fascination with fish-and other ocean dwellers-have manifested into the massive programs associated with Shark week (commencing this week). While fish now have become principle subjects on TV (rather than canvases), contemporary artists still depict them-often in reference to the historical still life. FADA Member Gallery Arcadia Contemporary has in their inventory Miguel Angel Moya, who devoted a series to sea creatures.

 

 

Miguel Angel Moya, Shark, c. 2017, Oil on canvas, Arcadia Contemporary. Click to inquire. 

 

Whilst still lifes in FADA’s inventory highlights fish as apart of larger arrangements, Moya’s work showcases fish and sharks as biological specimens-reflecting how artistic approaches towards the subject has evolved from the 17th century. FADA’s inventory has more than dead fish. FADA Member Gallery Jonathan Novak Contemporary recently held an exhibition of Julian Opie’s ‘Nature 1’ series which included black aluminum silhouettes of carps.

 

 

 

 

Fastened to a white wall, they appeared to be swimming. While the depiction of fish is not always indicative of morbid curiosity, artistic fascination with sea creatures-in a way-highlights the mystery of their aquatic existence. 

 

From July 5th-8th, four FADA Member Galleries will be participating at Market Art + Design Hamptons. 

 

Get Tickets

Market Art + Design, the East End’s premier modern and contemporary art fair, returns to the town of Bridgehampton this July 5 – 8 for the fair’s eighth edition. From its coveted location in the heart of the Hamptons – just off Highway 27 at the Bridgehampton Museum – Market Art + Design will showcase presentations by 65 top galleries enhanced by a striking and tightly curated design component pulling from dealers and designers from around the world.

Contessa Gallery

Booth #505 & #605 

Featured Artists

Brendan Murphy 

Hijack 

Mr. Brainwash 

Cayla Birk

Maria Svarbova

Daniele Sigalot 

David Drebin 

SPONDER GALLERY 

Featured Artists

Donald Martiny

Udo Nöger

JM Rizzi

William King

Gene Kiegel

Jane Manus

Dan Christensen

Boaz Vaadia

Timothy Yarger Fine Art 

Booth #319

Featured Artists

David Hockney 

Udo Nöger

Pancho Luma

Mads Christensen 

Shana Mabari

Rodger Stevens

Jeff Quinn

Eric Zammitt

Including a special presentation of 

Richard Misrach

Joann Verburg 

Vertu Fine Art 

Booth #219

 

Featured Artists

Richard Serra

KAWS

Andy Warhol 

Roy Lichtenstein

Alex Katz 

Keith Haring 

Donald Sultan

Anish Kapoor 

 

LOCATION

The Bridgehampton Museum 

2368 Montauk Highway, Bridgehampton, NY

PREVIEW

Thursday, July 5, 2018  6:00pm to 10:00pm

PUBLIC HOURS

Friday, July 6, 2018  11:00am to 7:00pm

Saturday, July 7, 2018  11:00am to 7:00pm

Sunday, July 8, 2018  12:00pm to 6:00pm

 

 

KAWS, You Should Know I Know, 2015, Screenprint, Vertu Fine Art. Click to inquire. 

 

High fashion’s embrace of streetwear is mirrored in the art world slowly bestowing credence to street art. In fact, the two cultural worlds have intersected in sell-out partnerships between designers and popular street artists. This culminated in Gucci’s collaborative project with ‘Gucci Ghost,’ a New York based street artist. Gucci’s emblem was recast as a street tag: seemingly spray painted on accessories and introduced via graffiti billboards across cities. While street art is marked for its transitory and informal quality-easily painted over the urban landscape it decorates, the auction and museum realms have recently celebrated street art as stand alone artworks. Boston’s ICA recently devoted a solo exhibition to Bay Area street artist Barry McGee and the (obvious) staggering auction value of Basquiat at auction demonstrates how the sub-culture of street art has increasingly become more mainstream. 

 

 

Mr. Brainwash, Tomato Spray, 2016, Stencil and Mixed Media on Fiberglass Brick Panel, Contessa Gallery. Click to inquire. 

 

FADA’s inventory encompasses various outlet of street art. New FADA Member Gallery Vertu Fine Art holds in their inventory prints by KAWS, Shepard Fairey and Erik Parker-familiar names and brands amongst the art world. Likewise FADA Member Contessa Gallery holds in their inventory canvases and sculptures by Mr. Brainwash-best know for his pinnacle role in the film Exit Through the Gift Shop (the search for the illusive Banksy). 

 

Shepard Fairey, Paint it Black, 2015, Three color relief print, Vertu Fine Art. Click to inquire. 

 

The movie’s early fascination with the secretive and undercover activities of street artists greatly juxtaposes today’s cultural (and political) celebration of street artists’ work, and how street artists are no longer anonymously attached to their work, but recognized as fully-fledged artists.

 

 

KAWS, Presenting the Past, 2014, Screenprint, Leslie Sacks Gallery. Click to inquire. 

 

Helmuth Naumer, New Mexico Landscape, pastel on paper, 7 1/2 x 7 1/4 in, Addison Rowe Gallery.  Click to inquire. 

 

This blog post is dedicated to the pastel: the artistic medium best espousing the end of the school year. Beyond being one of the first mediums introduced to young students, the pastel demands to be blended and smudged-informal and light. Whilst the medium is favored by artists for preparatory studies and quick sketches, the pastel can be dedicated to a completed composition.

 

 

Edgar Dégas, Après le bain, pastelcounter proof, 14 x 21 3/4 in., Galerie Michael.  Click to inquire. 

 

Perhaps the magnus opus of pastel drawings is Maurice-Quentin de La Tour’s full length portrait of Marquise de Pompadour (c. 1748-55), the famed French court figure.

 

 

 

The composition’s details-from Pompadour’s dress to the carved desk-are impeccably rendered. However, the pastel medium reveals itself above Pompadour’s head: a halo of smudged blue pastel encircles her. The pastel is also used to render a portrait in FADA’s inventory: Juan Bastos’ Gore Vidal Portrait in the collection of #FADA Member Denenberg Fine Arts. Like in Pompadour, the pastel, coupled with the portrait subject, communicate gravitas and warmth.

 

 

Juan Bastos, Gore Vidal Portrait, 2006, pastel, 20 x 17 in, Denenberg Fine Arts.  Click to inquire. 

 

The medium never fails to surprise: for it can produce the densest pigments while still retaining an airy quality. A medium that leaves the most trace, whether on your fingers or your clothes, its flexibility and varied application ushers in a carefree summer.

 

Hughes Claude Pissarro, La pêche-au-coup à Gloton (Bords de Seine), pastel on card, 14 5/8 x 20 1/8 in., Guarisco Gallery. Click to inquire. 

 

In fact, most of the pastels in FADA’s inventory are used for summer subjects. The warm, hazy and slightly humid quality of summer air is the most complementary to the personality of the pastel medium. 

 

Glen Cooper Henshaw, Sunset over the Hills, 1922, pastel, 14 x 17 in., Eckert & Ross Fine Art.  Click to inquire. 

 

 

William A. Griffith, California Desert, pastel on paper, 15 x 19 in., George Stern Fine Arts. Click to inquire.