Posts tagged reed v. horth
Posts tagged reed v. horth
Reed V. Horth, curador de la exhibición ‘Dalí Miami’, que presenta este fin de semana 200 piezas del pintor español Salvador Dalí en The Moore Bulding del Design District. C.M. GUERRERO / El Nuevo Herald
Si hay algo que la exposición Dalí Miami, en el Moore Building del Design District, podrá demostrar es que Salvador Dalí no era sólo el pintor excéntrico de largos bigotes, obsesionado con relojes derretidos y con su esposa Gala.
La abarcadora exposición, que se inauguró el miércoles con una recepción donde se degustaron algunas de las recetas culinarias preferidas por Dalí, presentará hasta el domingo 200 piezas que proponen un recorrido por la extensa carrera del pintor español (1904-1989). Provienen de coleccionistas privados de Dubai, Londres, Alemania, España y el mismo Miami.
Las obras en Dali Miami, en medios tan diversos como el bronce, el cristal, el dibujo, la acuarela, el gouache y el cine ( Un chien andalou, 1929, con Luis Buñuel) prueban la versatilidad y disciplina de trabajo de uno de los artistas más importantes del siglo XX.
“Dalí pintaba seis días a la semana y los domingos trabajaba en la escultura”, expresó el consultor de arte internacional y especialista en la obra de Dalí, Reed V. Horth, quien se encargó de la curadoría de la muestra, que tiene como uno de sus aspectos más significativos la inclusión de 60 de las 600 esculturas de Dalí.
Según conversaciones de Horth con el fotógrafo francés Robert Descharnes –secretario y amigo de Dalí y en la actualidad una de las personas calificadas para autenticar su obra– cuando se analiza la trayectoria daliniana hay que considerar dos piezas fundamentales: La persistencia de la memoria, óleo de 1931, y la Venus de Milo with Drawers (1964). Esta última es una escultura en bronce cuya idea original concibió en 1936 cuando trabajaba con el también pintor surrealista Marcel Duchamp, su vecino en el pueblo pesquero de Cadaqués, en cuyas cercanías Dalí vivió hasta la muerte de Gala en 1982.
“Dalí se caracterizó por actualizar viejos temas dándoles un nuevo giro”, comentó Horth, que los días previos a la inauguración de la muestra se desplazó a El Nuevo Herald con la escultura de casi cuatro pies de alto y pieza clave de esta exposición.
“El estaba fascinado con Freud; las gavetas representan ese lugar donde guardamos nuestros recuerdos y todo lo relacionado con nuestra sexualidad, aquello que en un final nos identifica”, expresó Horth, tocando el bronce pulido y cubierto con una pátina verde, que invita a interactuar con la obra tridimensional del genio catalán.
Por su parte, el promotor de arte Michael Rosen, organizador de esta muestra, afirmó que se propuso mostrar los múltiples talentos de Dalí para retar la concepción que algunos manejan de que era un “loco”.
“Creo que era un genio y ver todas estas obras bajo un mismo techo lo prueba”, expresó Rosen, presidente y CEO de Colored Thumb, firma consultora de galerías con un rol destacado en la coordinación de ferias como Art Basel, Art Expo y RedDot Fair. Toda esta experiencia le sirvió para atraer a esta exposición a varios coleccionistas de la obra de Dalí.
Exmarchante del pintor brasileño Romero Britto y fundador de Miami Art Magazine, Rosen considera que esta ciudad, con un público educado para apreciar el arte moderno y latinoamericano, es el lugar ideal para estrenar la exhibición de Dalí, que se proponen llevar a otras ciudades.
“Miami es el lugar para visitar si quieres coleccionar arte. Es lo que era París en tiempos del Impresionismo”, opinó por su parte Horth, quien se ocupa de encontrar piezas escultóricas de grandes maestros y servir de intermediario para su compraventa.
Seguidor de la obra daliniana desde su adolescencia, cuando solía visitar con frecuencia el Museo Dalí en St. Petersburg, Horth destaca la intensa curiosidad intelectual del pintor, que lo llevó a interesarse y a incorporar en su obra temas científicos y matemáticos.
“Tenía una inteligencia prodigiosa. Cuando supo del descubrimiento de la estructura molecular del ADN, quiso conocer a [los científicos] James Dewey Watson y Francis Crick, y empezó a incorporar el modelo en su trabajo”, contó Horth, indicando que una de las piezas de la muestra, una escultura de Gala, tiene en la base referencias científicas y matemáticas que son una broma interna para quienes puedan entenderla.
Otro aspecto que caracteriza al Dalí artista es su apetito por la publicidad y por ganar la atención del público, quizás superada solamente por otro maestro de la imagen, Andy Warhol.
“Tengo mi teoría sobre esa necesidad de atención”, reconoció Horth. “Dalí fue nombrado Salvador en memoria de su hermano, muerto dos años antes de que él naciera. Creo que se veía como un sustituto, un reemplazo de su hermano y por eso quiso ser más grande de lo que podía haber sido el otro Salvador. De ahí su preocupación por la muerte y su excentricidad para sacarle el jugo a la vida”.
A pesar de su gusto por el espectáculo y de lo que Horth llama su “ego gigantesco”, Dalí no se consideraba un gran pintor.
“Decía que el único gran pintor era [Diego] Velázquez, y por ello le hizo varios homenajes en su obra. Sin embargo, su dominio de la técnica pictórica es impresionante”, apuntó Horth, añadiendo que la influencia de Dalí se extiende a otros campos como la arquitectura y la moda.
“Lady Gaga no existiría sin alguien como él”, concluyó el historiador del arte, antes de llevarse a la Venus de Milo with Drawers como si cargara un tesoro.
Exposición ‘Dalí Miami’, hoy, 11 a.m. a 8 p.m., sábado 11 a.m. a 10:30 p.m., domingo 11 a.m. a 6 p.m., en The Moore Building, 4040 NE 2 Ave., www.dalimiami.com 720-771-0600.
You know you have been in the art business for quite some time when a painting you had originally sold in 2000 comes back around and you get a chance to sell it again in 2011… More than a decade later.
This is the case with this original oil on canvas painting “Time Transfers” from surrealist master Gil Bruvel, one of my favorite artists. “Time Transfers” is arguably his finest work in oils. Which is quite a heady statement, given the various media which he has distinguished himself in, oils, graphite, gouache, watercolor… heck, he has even done some fantastic editioned bronzes.
This painting was an object of fascination for me when I was working for a gallery in Tampa, FL. Spirits, or what one viewer called “memories”, float in, around and through the female figure. She gently coaxes them upward with a wave of her hand and a soft breath of air. They descend from her helmeted head and embrace her torso as tightly as her own skin. She sustains the floating “memories” through the time which clicks ever-forward.
After staring at the work for hours on end, I sold the work to a couple in the area. In the intervening years, I longed to see it again and had to settle for a print of the work and seeing it in one of Gil’s books on portraiture.
After being provided with the opportunity to find yet another home for the work, I finally have it in my sight-line again. While finding a home for it will not be difficult, giving it up might be.
#RubberDuckie #POPART by dEmo! Newest addition to our #Art collection. How about one for you? www.robinrile.com
#Sculptor Andre Desjardin’s newest #bronze masterpiece “Devinir” | 32” x 13” x 23”| Bronze Edition of 55. Shown as recent placement in Toronto, Canada.
For acquisition information, please email firstname.lastname@example.org or see www.robinrile.com
"With my brush, for a brief moment of a painting, I celebrate the right to live, to love, to speak, to make love…” André Desjardins
André Desjardins was born in Hauterive, Canada in 1964. Even as a child he was interested in the origins, the cultural differences and, most significantly, the uniqueness of every individual. He spent hours in the family’s large library searching through atlases and encyclopedias looking for images and stories of people from far away places. At the age of 12, the sudden, devastating death of his father created in Desjardins an intense desire to create the world without suffering and tragedy – a world of calm, peace and comfort. He spent four years of his adolescence creating a miniature city, his first three-dimensional artistic endeavor. That effort led him to devote his time to technical and artistic drawing giving him an exceptional comprehension of space.
Desjardins completed his degree at the University of Quebec at Montreal in graphic design – a choice of disciplines that combined his personal interests and hobbies. In 1988 he founded his own communication agency which became very successful. Fourteen years later, in 2002, he decided to sell his business in order to return to his most profound interest: artistic creation.
In the same year, Desjardins met Helene Belanger-Martin who quickly became his muse, his inspiration and his motivation. Her perspective, interpretation and appreciation for his artwork gave him the inspiration to transcend the simple representation of likeness by communicating shared emotions arising from the core of humanity.
The essence of life emerges with every stroke of Desjardins’ brush, every texture and nuance, transforming the empty canvas into a statement about the mysteries of life, love and our universe itself. His thoughts become real as hidden faces break free from chaos with a serene and tranquil feeling while muted and subtle colors coax one into a dreamlike state of experiencing the mysteries that Desjardins reveals.
Desjardins’ paintings are poetry. He conjures up life through lines, colors and textures much as other do through words. His works are communicative; they speak, they listen. They grab, entice and seduce. They touch. They demonstrate a fine mastery of depth, both pictorial and human.
In 2008, Desjardins presented his work at New York Art Expo where he realized an impressive and unexpected success. He sold all of the 26 paintings that he had brought and was offered representation by of the United States’ most prestigious artist’s agency, Masterpiece Publishing, Inc. The agency’s solid reputation is based on the quality of its carefully selected and exclusive group of twelve artists and the high caliber of the galleries that carry their artists’ work. Daniel Winn and Randy Slavin, the principals and founders of Masterpiece Publishing, Inc., have brought Desjardins’ career to new heights. He has been recognized as one of the ten most promising new artists in the U.S. by Art Business News magazine and his paintings and sculpture are now exhibited in many U.S. galleries and in prestigious private collections.
“Art is important because it is a universal and timeless language… it makes me feel immortal… to leave something that will last. It’s my way to communicate that kind of emotion.”
Joan Beltrán Bofill (Spanish, 1939-2009)
“Formas de Sol y Viento”
Oil on canvas
P.O.R. For acquisition information, please email email@example.com or see www.robinrile.com
Joan Beltrán Bofill (Spanish, 1939-2009)
- One of the most creative figurative painters of his day, Joan Beltrán Bofill was born near Barcelona, Spain in 1934 and lived in Catalonia all his life. He studied at the Escuela Superior de Artes de San Jordi and then at the Escuela de Artes y Oficio Casa Lonja where several artists of the Catalan School, including Picasso, had also studied. While based in Majorca during his military service, he met the great Catalan painter, Anglada Camarasa, who was an inspiration to him. He also came face to face with the Majorcan landscape which has since had such a significant influence on his work. One of the paintings of that period won a prize in the First Barcelona Press Exhibition and was purchased by The Barcelona Museum. With a solid background in drawing, color theory, and composition, Bofill set out to pursue a career in art in 1972, and since then had devoted himself entirely to painting. His entire professional life had really been an exploration of the effect of light in Mediterranean culture. The idea of space and the use of filtered light, indeed, exemplify his work. Moreover, he brings to his art a lifelong interest in classical figure painting as he champions the rebirth of beauty. Majorca, where much of his painting was done, provided the idyllic conditions that he reflected so masterfully in his compositions. Travel, too, played an important part in his development. The museums of Madrid enabled him to study Goya, Rubens, Bosch, Dürer and Botticelli, to mention a few of the masters that he admired. Visits to Paris and London further enlarged his knowledge of both past and present masters. In viewing Bofill’s paintings, it is evident he is answering a challenge, fighting a duel with light. In his endeavors to give it shape and to make it vibrate on his canvas, he ungrudgingly lavishes all his faculties, all of his technical resources that he has acquired over the years. Dating back to 1972, Bofill has had one-man exhibitions in Barcelona, Palma (Majorca), Valencia and Madrid.
Curator for Coral Gables Country Club (December 2010) exhibit Reed V. Horth of Robin Rile Fine Art explaining Richard MacDonald’s seminal “Joie de Vivre” to special guest. (Photo Courtesy of Daniel Bock- Miami Herald)
Art Week in Miami is said to be the worlds largest art event. This year alone there were more than two million visitors in Miami for the week. Not only were the streets crowded and nearly impossible to navigate, so was one’s calendar of events and shows to attend. Like finding the perfect piece of art for a collection, finding the right show can take one off the beaten path in search of a hidden treasure.One of those treasures was The Robin Rile Fine Art exhibit curated by Reed V. Horth and his lovely fiance Kat Barrow. The exhibition was a story within a story as it was also the rebirth of the Coral Gables Country Club. The club which was originally built by George Merrick in 1923, had been closed since 2005. Nick Di Donato, the president of Toronto-based Liberty Entertainment Group, took over the management of the country club in 2008 and spent $3 million to renovate it. The freshly opulent country club reopened during Art Week and welcomed over 1000 guests.
Horth will quickly share that his first passion in art is sculpture. Be that as it may, there was an equal representation of fine paintings as well. One such artist is another fellow Canadian, Daniel Bilodeau. As one walked into the central drawing room, the larger than life pieces demanded an audience. The original oil on canvas piece, Universal Individual, was over 6 foot high and 5 foot wide. Massive and striking. The subject of the painting was a black man with dripped white paint but there’s also a fantastical graphic element in the background. Bilodeau contrasts not only the subject but the style of traditional realism with the digital surrealism. It is an expression seen throughout his works. Another striking piece was Light Touch of the same black figure with white paint in a nude embrace with a white woman with brown paint. One visitor to the exhibit referred to it as Adam and Eve and the new name has stuck.Several of the artists that Horth works with are based locally and participated in the event. Mike Rivamonte is a sculptor who incorporates nostalgic parts of fifties era bikes, fans, and other antiques and creates new whimsical figures. Rivamonte was at the gallery and shared his inspirations as being his love of science which is expressed in his quirky robots, spacemen, and cars. His imagination along with his finds from flea markets to eBay are his chosen medium.
As one talks to Horth, one can see that he is in love with art. He loves the art pieces but also all that goes with it in terms of the artists themselves, the history, and the industry filled with collectors, agents, and brokers. He is not a gallery or a collector but a Fine Art Concierge. As with any concierge, the mission is to understand what his client wants and to get it for him at a fair price. He considers himself to be a combination of concierge and private investigator as he discovers pieces that his clients don’t have the skill, time, or ability to uncover. Horth shares his stories from his 14 year career in the art industry of working for client X (privacy of the clients is extremely important in this field) and finding them the perfect piece for a home or office.
Horth also shared why he chose to do a stand alone show versus participate in one of the larger events around town. He chose this venue as it offered him the valued ability to spend quality time with each potential client. Time used to build a rapport and to really understand what they wanted in a piece. This one-on-one approach has allowed Robin Rile Fine Art to differentiate his services from others in the industry. He shared that he or one of his team members would spend on average 45 minutes with visitors walking them through the exhibition and getting to know them. It is for that reason, many of the shows 174 pieces will be going home with a different owner.This show was not for everyone. That’s just fine with Horth whose enlightened strategy was to provide an experience for the select client versus the masses. Much like the contrasting story of the country club being the tale of the old and its rebirth, he put together an eclectic show of opposites; well-known vs. up-and-comers, serious vs whimsical pieces, sculptures vs. paintings. Horth and his show was a treasure, delightfully not easily found and off the beaten Art Basel path.
By Reed V. Horth, for Robin Rile Fine Art
In 2002, upon the unveiling of his September 11th-related sculpture Tumbling Woman, American sculptor and painter Eric Fischl weathered a veritable whirlwind of negative criticism and outright vitriol. Students, scholars and the general public lambasted the grotesque bronze as being in extraordinarily poor taste. The sculpture, depicts one of the estimated 200 victims who leaped to their deaths in the final split second before their body landed on the ground. It’s vicious realism, and frank portrayal of the days events horrified viewers in Rockefeller Center, many of whom witnessed the events occur, and knew the individuals involved.
The sculpture, when taken solely upon aesthetics, is a valid and noteworthy work, in the recumbent sculptural tradition of French Master Auguste Rodin’s “Martyr” and Aristide Maillol’s “The River”. The coarse texture evokes Rodin’s bronzes cast from the famous Alexis Rudier foundry; which were more landscape-like and provided viewers with the sense of motion, undulating waves… or in this case, flight.
A plaque near the sculpture read Fischl’s words: “We watched, disbelieving and helpless, on that savage day. People we love began falling, helpless and in disbelief.”
One wonders if the context and timing were the most limiting factors in the public’s overwhelming and swift reaction to this sculpture. Understandably, many will not search for the deeper meanings in Art and most will jump to the most convenient and obvious conclusions about its author. The general public simply had not had the time to digest and reflect upon the events of that day, or to lay to rest the savage reality of an event which altered lives world-wide. Television programs recycled images of the planes plunging into the towers so often that we became numb. We imagined…. questioned…. dreamt.
Sculpture has been a method of remembering for centuries. Not simply monuments whose heroic subjects can be portrayed in a prideful or positive light but often sculptures which require us to get our hands dirty mentally. We build permanent monuments for fallen soldiers, firefighters, police officers, victims of massacres and innocents that we choose not to forget quite so easily. We erect pillars to signify victory, defeat or the location of something significant. We place sculptures on mausoleums to honor family and friends. We use sculpture in an attempt to have a permanent physical reminder of our emotions, both positively and negatively. Where many monuments in the past many have made us feel good, we have entered an age where we require our monuments to be a bit disquieting, humbling and sometimes somber remembrances. Whether the public has demanded this, or whether artists have dictated it, remains open to debate.
What is certain is that artists often depict negative or pessimistic views in order to assimilate the zeitgeist metaphorically. Artists and writers during the 18th and 19th centuries conjured images of tempestuous locales that assisted the public in processing the events, politics and angst of contemporary society. The general trepidation at the dehumanization which many felt would be firmly implanted in the new century caused society to look towards the arts for solace in Utopian lands where native girls danced, the sun shone brightly and alcohol flowed copiously. Auguste Rodin cynically approached the prevailing winds and with morose, sullen and vacant characters. He used the public’s angst to shock Salon viewers with images they were unaccustomed to and uncomfortable with. He depicted nude bodies erotically twisting in the Hell wrought by Dante and Milton, the wicked gardens of Baudelaire; the locales frequented by Bosch, Carpeaux and Doré. Ironically, we enter a similar ideological crossroads as we forge the roots of our new Millennia.
“The ugly in art is that which is false; that which is artificial; that which seeks to be pretty or beautiful, instead of being expressive…”- Rodin, as quoted by Gsell
It is perhaps ironic that on September 11, 2001, portions of the largest American collection of Rodin sculpture were held within the offices of Cantor Fitzgerald, housed on the 105th Floor of the North Tower of The World Trade Center.
Kenneth Treister’s “Holocaust Memorial” in Miami Beach, Florida is a monument which encompasses viewers in a labyrinthine maze which closes in on the viewer bit by bit, stone by stone. This makes the revealing of the enormous hand pleadingly thrust toward the sky all the more jarring. The hand pleads for breath. Menacing numbers adorn the forearm as bodies (souls) writhe in a viscous, pullulating mass of primordial muck. Mothers clutch dying babies as their husbands attempt to embrace them one last time. Lifeless, eyeless and emaciated corpses pile one on top of another in an effort to find air.
It is painful to look at. It is painful to walk down the stone hallway to the courtyard it is housed within. An architect by trade, Treister’s hallway narrows into a veritable gas chamber, while the names of the camps adorn the headstones. Auschwitz, Bergen Belsen, Dachau. Sobibor. Buchenwald. The endless litany of names of the dead extends in an arc around in a tombstone of black marble.
The pain is made all the more tangible for those individuals who survived. Smelled the death. Felt the cold. But it also gives the contemporary viewer the sense of impending doom, despite our safety and distance from the events themselves.
One reminisces of Constantin Brancusi’s (1876-1957) Le Supplice I, from 1906, which depicts a twisted child wincing in pain, or Medardo Rosso’s (1858-1928) tormented busts of melting flesh on sick and dying children.
This is what a monument does, and is meant to do… Make you remember. And for those who do not remember… it allows us not to forget.
However, would this work be accepted if it was designed and built within months following the liberation of these camps? Possibly not.
The trauma has been digested and processed. Remembered vividly, but muted in a way that allows monuments such as this to offer some measure of healing. Treister’s statement, much like Fischl’s, serves as mute testimony to enrage a people into insuring that events such as this do not take place again.
“In all works … dense, anxious in researches,
burning, we should not forget, with the long hand-to-hand of the artist with his art,
the human body, face, arms, hands,
the all body plays the drama.”
What did we do on Sept 12? We picked ourselves up. Dusted ourselves off. And DECIDED we could not afford to forget. We placed American flags on our cars, and in our yards. The sunlight has faded their color and the wind tattered their edges, but they stood sentry for us as faceless reminders. They provided us assurances that, despite the Pandora’s box of pain which remains gaping in our national landscape… we will, for better or worse… Remember.