Art
School of American Ballet: 2010 Workshop
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Ballet is a art of contradiction. From the lithe, lean bodies concealing strength and grit, to the seemingly effortless movement quality emerging from a technique designed in opposition to the normal human anatomy. Not many of us are born with the necessary bone structure- the high arches and the one-hundred-and-eighty degree turn-out in the hip sockets. Ballet is an exclusive club and none perhaps is more selective than the School of American Ballet.
At twelve years old, I was first introduced to SAB during an audition for the summer study program. Before the class even began, the instructors circled the room measuring the physical capabilities of each dancer with a simple command, "stand in first position with your best turn-out, then point one foot to the side." Every student is hand-picked for similar characteristics and trained to achieve a uniform level of excellence and aesthetic.
Co-founders Lincoln Kirstein and George Balanchine began SAB in 1934 when Kirstein invited Balanchine to leave the Ballet Russe and join him in America, to which Balanchine accepted with the famous condition, "but first, a school." 32 young pupils were chosen to attend classes in the Madison Avenue studios. Like the art form of ballet itself, SAB has its own contradiction- an old tradition of promoting youth. Balanchine is credited with discovering the exceptionally young and talented baby ballerinas, who would become stars of the Ballet Russe. Initiated by one of the baby ballerinas turned SAB faculty member, Alexandra Danilova, and supervised by Balanchine, the School of American Ballet Workshop was founded in 1965 to showcase young rising stars. In keeping with tradition, SAB presented a careful selection of prodigies in it's 2010 Workshop Performance on June 5 and 8th at the Peter Jay Sharp Theater.
Dance devotees gathered to attend the show and to celebrate the 50th Anniversary of the Lincoln Center of Performing Arts. SAB began its relationship with Lincoln Center in 1967 with the Workshop Performance, and has since become the school's permanent home. Chairman and Artistic Director, Peter Martins, addressed the audience with gracious pride with regards to the students and the faculty whom he called "the heart and soul of the organization", and the 700,000 dollars raised at the annual benefit performance. The night also honored four students- Jillian Harvey, Spartak Hoxha, Alexander Peters, and Elizabeth Wallace- for outstanding promise, and faculty member- music teacher Jeffrey Middleton- for distinguished service with the Mae L. Wein Awards.
The show opened with Scenes de Ballet choreographed by Christopher Wheeldon. With a setting meant to resemble a mirrored studio with a barre dividing the stage down the middle, the piece showcased dancers as young as 9 years old. The piece was a testament not only to the incredible physical capabilities of each young dancer, but also the discipline necessary to carry off the theme of a mirror and dance opposite another person, matching not only steps but line. This is a challenge for dancers of any age, and even more impressive when age is considered. The piece was a perfect demonstration of Balanchines vision for the necessity of a school where young dancers would be trained under one stylistic approach, as well as, a perfect glimpse of the various levels of students performing together.
Second on the program was the Balanchine-choreographed Valse Fantasie, featuring one lead couple and a corps of four women. This was a nice progression from the classroom sett and simpler classroom costumes of Scenes de Ballet, to a lovely, spirited technical display. The choreography not only offered greater opportunity for the dancers to expand beyond proper execution of steps, but also to play with dynamics, completing lightning-fast jumps, or petite allegro, in combination with a carefree lyrical expression in the carriage of the arms and upper body.
Closing the program was another work by Balanchine, the three movement Bourree Fantasque. The music, composed by Emmanuel Chabrier, was dedicated to the composer's friend- pianist Edouard Risler. In a letter to Risler, Chabrier said, "I have made you a little piece which I think is quite amusing. Let us see how you will make this one shine! It should be bright and crazy." These words are fitting, not only for the music- famous for its exceptional tonal varieties and richness, but also for the choreography which demands classical technical precision one moment and quirky entertainment the next.
Each of the three movements had a distinct personality of which the dancers fully embodied. From the flirtatious and Vaudevillian first movement, featuring the sassy long-legged Meaghan Dutton-O'Hara and the buffoonishly charming Alexander Peters, to the lyrical Prelude- where Jillian Harvey and Chase Swatosh broke the comedy with their fluid and effortless quality of movement.
Real passion and fire came in the third movement, Fete Polonaise, as Harison Ball and Angelica Generosa led their fellow performers in a dazzling spectacle of never frenzied, but always feisty, dancing. Generosa was the stand-out performer of the evening. She brought excitement to the stage, not only through her flashy extension and held balances, but for the radiant artistry she exuded through her technique.
There is a good reason for the exclusivity surrounding Balanchine's work. It is the kind of choreography that dancers cannot hide behind; there are few gimmicks, breaks, or tricks to distract from the structural clarity in the staging and in each individual dancer. The work is musically and technically challenging for a dancer of any age, commanding the attack and presence of a seasoned professional. It is work that glorifies those specific bodies, those anatomical wonders, but allows the true artist to leave an almost inhuman imprint on the memory of the audience.
The Workshop did a magnificent execution of showing the transformation a student of SAB undergoes; from a young talent in the classroom, to prodigious technical skills, to an emerging artist. While there may have been a few slip-ups par for developing dancers (a fumbled curtain call for instance), the showcase was a perfect walk through of what it is to be blessed with the genes, the discipline, and the opportunity for those on the road to becoming ballet's next stars. These are the dancers that left this audience member feeling simultaneously very impressed, and at twenty-three, very old.
SEEN: Alexandra Adame, Susan Baker & Michael Lynch, Paige Bluhdorn, Celeste Boele, Mitchell & Margo Krody Blutt, Brie Bythewood Stuart H. Coleman, Chelsea Clinton, Coco & Arie L. Kopelman, Susan Krysiewicz & Tom Bell, Margaret Hayes, Susan Fales-Hill, Effie & Robert Fribourg, Sasha Galantic (Chanel Inc.), Duane Hampton, Jill & Harry Kargman, Pamela J. Joyner, Alexandra Lebenthal & Jay Diamond, Genevieve Labean, Tamara & Josh Leuchtenburg, Peter Martins (Artistic Director and Chairman of Faculty) & Darci Kistler (Principal Dancer), James Marlas, Elizabeth McCreery, Sara Mearns (Principal Dancer) Elizabeth & Richard Miller, Gillian & Sylvester Miniter, Amy Mazzola Flynn, Megan Mullally (Party Down, Fame, Will & Grace), Philip Neal (Principal Dancer), Liz & Jeff Peek, Roswell B. and Susan H. Perkins, Betsy & Rob Pitts, Suzanne Allen Redpath, Jean Shafiroff, Jonathan Stafford (Principal Dancer), Jock Soto (Principal Dancer), Marjorie Van Dercook (Executive Director of SAB), Barbara & John Vogelstein, Jack Watters, and Laura & Will Zeckendorf.
*All photos by Clint Spaulding courtesy of PMc
*1: Megan Mullally and Susan Stroman
*2: Jock Soto and Luis Fuentes
*3: Alexandra Lebenthal
*4: Paul Bluhdorn, Audrey Joan Bluhdorn, Anna Yvette Bluhdorn, and Paige Bluhdorn
*5: Coco Kopelman and Arie L. Kopelman
Artist Sally Weiss: The Carter Burden Center's 307 Gallery
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The famous words on the base of the Statue of Liberty read, "Give me your tired, your poor, your huddled masses yearning to breathe free". Author Emma Lazarus must have had a premonition of the average crowd on the JMZ trains; the sleepy groups of people travelling to work, desperately trying to avoid standing by that person who smells as though they haven't showered in weeks (there is always at least one). Not everything about living in New York is as particularly glamorous.
This is not so true when it comes to artist Sally Weiss who, the instant I met her, reminded me of a kinder version of Meryl Streep's character in the movie rendition of The Devil Wears Prada. Chic and stylish, the artist welcomed me into her beautiful home, which seems to dually serve as a museum for her intriguing art work. This was certainly not the struggling artist type of abode I and so many others are scratching out for ourselves in this great city. While the work itself deserved much attention during our interview, I also wanted to know about her life and attitude as an artist: If there was any secret to success that she could share so that I too, may someday have a long successful career and a home with air conditioning.
Weiss says that she always knew she was going to be an artist, always busy with something from the time she eight years old. She attended the Pratt Institute and worked as a fashion illustrator for Women's Wear Daily. Her artistic talent covers a wide gamut of painting, drawing, and sculpture with an array of materials including stone, wood, and found materials. Weiss described once seeing a piece of metal lying in the gutter that reminded her of Napoleon's hat and using it in one of her pieces.
Weiss' skill and creativity will be showcased on Thursday, May 27th, from 6:00 to 8:00 pm, when she will open her solo exhibition presented at the Carter Burden Center's Gallery- Gallery 307, entitled Sculpture and Assemblage. The show runs until June 26 and features a sampling of Weiss' sculptures, mixed media, stone and wood carvings, drawings and assemblages of found objects and metal.
Gallery 307, located in Chelsea, is a studio and gallery space for Making Art Work, The Carter Burden Center’s program which gives a voice to older artists, self-taught artists, and artists with special needs. However, it is not simply Weiss' age that makes her the perfect artist to be featured at Gallery 307, it is the work itself. It is a sad fact that the elder population, as artists and as a generation, are often considered lost in the fast pace of the world. Yet, the works at Gallery 307 begs to differ.
Before sitting down to chat, Weiss allowed me to look around her space filled with her fascinating creations. In all of her work, I felt a sense of whimsy and humor in the choice of colors and subject matter. It is this characteristic that makes the match between Gallery 307 and Weiss so fitting. It was incredible to look at these beautiful finished creations and remember that once, they were just a block of wood or a humble piece of metal deemed by someone else as garbage. Using her craft of assemblage, paint, and sculpture, Weiss transforms what might have easily gone to a dump into a unique delight. Giving a fanciful nature to earthy materials, gives each piece a base in reality with a flourish of fantasy. Viewing her work gives a refreshing sense of possibility, rebirth, and beauty in the world.
During our interview, Weiss described how thrilled she is to show at Gallery 307 and how lucky she has been. "It was actually a friend who suggested me to the gallery", she says, of how her work comes to be shown there. Weiss shared that she loves the work aspect of being an artist, but doesn't care much for the business side, the promoting or submitting. For her, it is all about the art, a passion that never wavered in her life. Weiss is not only lucky in talents, and opportunity, but in self-belief. In his book, Outliers, author Malcolm Gladwell describes a general 10,000 hours of practice time needed to become skilled at any craft, basing this theory on the success found by tycoons like Bill Gates and performers such as The Beatles. Weiss, as someone who has always known her passion for art and has a lifetime of work behind her, is in good company.
Perhaps the real secret to success is knowing that putting in that kind of time will amount to something, a kind of faith and energy. Weiss' work is a reminder that so much is at our disposal- if you are creative and curious and willing to try. It takes a huge amount of talent and hard work to make it as an artist, let alone make it to living without three messy roommates. The mix of materials and fantastical elements in her work serve as the perfect reminder of transformation, that things can be better or more than what they seem. This is exactly what Lazarus' poem on the Statue of Liberty means to me; that I may be stuck in a far-away apartment riding the smelly J train, but I may not be forever. As writer Oscar Wilde said, "We're all in the gutter, but some of us are looking at the stars."' As for Weiss, she's scouting out and utilizing the material in the gutter that transforms her into a well-deserving star.
For more information on Sally Weiss, Gallery 307 and The Carter Burden Center for the Aging, please visit: Gallery 307 or Carter Burden Center
*image 1: Sally Weiss: Elegant Lady
*image 2: Sally Weiss: Bottoms Up
*image 3: Sally Weiss: She's a Bird on a Gilded Cage
*image 4: Sally Weiss: Circus Strongmen
The 26th Annual ICP Infinity Awards
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One question many artists constantly face is, "Which is more important: the tools or the talent?" Recipients of the 26th Annual International Center of Photography Awards fortunately, have both... even if one had to hide his camera in a loaf of bread to document important political events.
On Monday, May 10th, artists and art-lovers gathered at the Chelsea Pier to join ICP in honoring nine artists for their excellent work in the ever-expanding and enduring field of photography. The red-carpet gala celebrated the contributions of influential photographers and emerging artists with cocktails and a dinner menu created by star chef Mario Batali.
The event also served as a fundraiser for ICP, with ticket sales going towards the needs of the Museum and School to ensure the continued excellence and education that the Center provides.
Winning the Lifetime Achievement Award was John G. Morris, aka 'the world's most influential photo editor. Morris dedicated seven decades of service to photojournalism, working with a wide variety of topics including the personal American life and the military. Author Luc Sante, who won the Writing Award for his newest book Folk Photography; The Real-Photo Postcard; Gilbert C. Maurer, responsible for the majority of the Hearst Corporation's growth and creativity, won the ICP Trustees Award, and winning the Art Photography Award was Lorna Simpson, a native New Yorker whose work challenges conventional thinking surrounding identity, history, and memory.
Creating a splash in the sea of black attire was Daniele Tamagni, clad in a fashion-forward bright orange suit. Tamagni was fittingly the recipient for the Applied/Fashion/Advertising Award for the attention and impact he created with his book, Gentlemen of Bacongo, which documents the colorful street fashion of the "Sapuers", or dandies, in the Democratic Republic of Congo. Winning the Publication Award was National Gallery of Art Photography- Curator Sarah Greenough for her photo-book Looking In: Robert Frank's The Americans. The book documents Frank's tour of the country between 1955 and 1956 with letters, work prints, and vintage contact sheets. Raphael Dallaporta, who created a series of still lifes from anti-personnel land mines and Paris buildings where slaves have been forced into labor, won the Young Photographer Award.
Every artist, even with the right tools and the talent to use them, struggles in some way. Few however, have endured what Iranian-French photojournalist and Photojournalism Award recipient, Reza Deghati has gone through to fight injustice with his artistic talent. Shooting for National Geographic, the artist, philanthropist, and architect- known simply as Reza- has shot wars, revolutions, and national disasters. He was imprisoned in Iran for some of these photos, to which his response was to found AINA (Afghan Media and Culture Center) which educates and empowers women and children in Kabul, Paris, and Washington through the use of media and communication.
Equally dedicated no-matter-the-cost was the Cornell Capa Award winner, Peter Magubane, a South African photographer (who has been interrogated, imprisoned, shot, even had his nose broken and house burned down) for his political coverage between 1950 and 1985. Attending the festivities with his daughter, Magubane said, "What makes you is what you refuse to be limited by." This extraordinary artist, clearly boundless in creativity in his art or his antics to cover what he feels necessary to be documented, even if through a yeasty roll, helped make his career as influential as it has been and made his presence at the Gala so special to those in attendance.
I must confess, it was rather embarrassing, as a member of the press, to attend an awards ceremony for outstanding photography, when my own camera is an old digital with dying batteries and a broken flash (it spends too much time rolling around in my over-sized purse). In comparison to photographer Ansel Adams' worst fear, "a brilliant image of a fuzzy concept", my out-of-date tool would likely not provide clear documentation... and perhaps warrant ridicule.
However, what was impeccably evident from this event, was the power, versatility, and beauty in the field of photography. Technical progression coupled with the ideals and talents of these varied artists prove the relevance of art and the contribution it can have on the world at large. These artists bring clarity and brilliance to their work, and luckily for me, it does not take a top of the line piece of equipment to recognize that.
SEEN: Designer Calvin Klein, musician Moby, photographers Mary Ellen Mark, Craig McDean, Mark Seliger, and Nigel Perry, Editor in Chief of Harper's Bazaar- Glenda Bailey, NBC's Ann Curry and ABC's Christiane Armanpour, photo editors Michele McNally, Chris Dougherty, and Aidan Sullivan, chair Kim Vernon, and rep and Infinity Award co-chair Jed Root.
*All photos courtesy of Patrick McMullan Company.
*photo 1: Glenda Bailey, Harper’s Bazaar and Gilbert C. Maurer, ICP Trustees Award winner
*photo 2: John G. Morris, Lifetime Achievement winner, and Peter Magubane, Cornell Capa Award Winner
*photo 3:Daniele Tamagni, Fashion Photography Award winner and guest
*photo 4: Jay Kos and Gaby Basora
Alexander Charriol "Human Flow" Opening Night with KiptonART and Whitewall Magazine
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Thursday, April 22nd: Artist Alexander Charriol captivated guests with twenty new paintings at the opening of his show, Human Flow. In collaboration with KiptonART and Whitewall Magazine, the evening celebrated his new body of work focusing on the mystery behind the human touch. Each painting tells the story of an overpowering energy that feeds our desire to connect to each other while exploring the feeling of loneliness, our instinct for survival and the inevitability of death which all unite us towards an ultimate goal, LIFE.
Inspired by the relationships within crowds, Charriol was fascinated at how people from various backgrounds come together for a single purpose. The inspiration suited the evening perfectly as five hundred diverse members of the New York art scene, nightlife crowd and social set gathered in the space.
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ellow artists Andrea Tese and David Foote marveled at the professional lightening, agreeing that the 5,000 square foot space, located in Gramercy, could match the caliber of any New York Chelsea gallery.
Amid the elaborate furnishings provided by Maria Gabriela Brito Lifestyling, music transcended through the art, as Charriol was greatly influenced by Jazz and the Blues seen amongst works such as "Blues Dancers" and "Morning Curves." Many of the artworks' figurative shapes take on instrumental forms of musical horns like the trumpet. Complimenting the musical theme, at random intervals during the evening, the Stumblebums Brass Band marched through the crowds blaring their tuba and drum while singing funky tunes.
SEEN: Grammy winner and violinist extraordinaire Joshua Bell, Kelly Bensimon, film producer Andrew Lauren with candy maven sister Dylan Lauren, chef Todd English, socialite Byrdie Bell, designer Nicole Hanley Mellon, glam financial analyst Lauren Remington Platt, Voguette Serena Nikkhah, Annie Churchill Albert, Ian Stanley, designer Maggie Norris, Marielle Safra, Marlborough Gallery's Melyora Kramer, Eileen Guggenheim, Elisabeth Saint-Amand, Anastasia Rogers, Kipton Cronkite, David Wassong, Susan Shin, Kimberly Guilfoyle, Anisha Ahooja, Vanessa Noel, Paige Hardy, Sam Hamadeh and Tatiana and Campion Platt,
Marisa Brown, Shirin Kooros, Cena Hackler Jackson, Katherine Cohen, Korinne and Nicole Korvos, designer Amy Smilovic, Director of Public Relations Liz Walker, and Coralie Charriol styled in Tibi.
The exhibition will run through May 15th at 4 East 27th Street (between 5th and Madison) by appointment only.
For more information about Alexander Charriol, the "Human Flow" exhibition and/or his artwork, please visit his online portfolio at www.KiptonART.com/artists/Alexander-Charriol.
Watch Alexander Charriol's video HERE
*image 1 by Alexander Charriol: Key in the Hole 86" x 80"
*image 2 by Alexander Charriol: Women at Rest 36" x 36"
*image 3 by Alexander Charriol: Never Trust a Woman in Heat 39" x 44"
*image 4 by Alexander Charriol: Night Owls 58" x 80"
*event info courtesy of KiptonART
SOFA: Manhattan's Decorative Arts Show
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The 13th Annual SOFA New York 2010 at the Park Avenue Armory, culminated Monday on a positive note. The Sculpture Objects and Functional Art Fair hoped to rally the market place and encourage guests and collectors to spend again. With the slight economic upswing, high-end decorative arts have been the last contenders to see any noticeable change since last years setbacks. Though most dealers regarded the modest turnout, they also noted the rise in sales.
Over 55 galleries from eleven countries showcased their finest collections ranging from glass work to ceramics to furniture to jewelry. SOFA is one of the few events in the art world to present such a niche division.
SBS Faves:
Sienna Gallery- Lenox, MA
Top: Monika Krol + Danielle Rizzolo
L: Seth Papac: Neckpiece (part 1 of MICHAEL)
R: Sayumi Yokouchi: Coil Necklace Red
Berengo Studio- Venice, Italy
L: Massimo Lunardon Esseri, 2009 mirrored glass, installation, various sizes (photo: Francesco Allegretto)
R: Leonardo Cimolin
physalia physalis - Medusa assassina, 2009 glass 53 x 66 x 69" (photo: Cristina Culetto)
LLe-Dom- New York, NY
Contemporary Art Glass by Abby Modell
Amaridian- New York, NY
L: Astrid Dahl: Dendrobium I and II, 2009 earthenware 34 x 12 x 16" (photo: Peter Murdock)
R: Bernard Zondo and Jabu Nene (Ardmore Ceramic Art) Leopard Urn, 2009 hand-painted ceramic 27 x 14 x 11" (photo: Peter Murdock)
Nelise Ometto Art & Bijoux- São Paulo, SP Brasil
ceramic, gems and silver plated metal
Vintage Treasure Chest: Pop-Up Shop
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Sunday, March 21st, 2010: What's better than a boutique opening? A pop-up shop offering vintage, accessories, delicious food, art and other delights!
For one day only, 170 Franklin Avenue in Greenpoint transformed into a pop-up shop providing select choices from Williamsburg vintage store- Sweet Virginia, rare books, handmade accessories, and refashioned dresses made from recycled items.
Guests also enjoyed homemade sweet and savory treats including bite-size sammies: fig-olive tapenade over ricotta cheese on crusty bread, chocolate and ricotta cheese with Thai purple basil on crusty bread, chipotle-marinated white beans with cilantro on home made tortilla chips, and peanut-butter cups... can you say yum?!
In between the event hosts taking shifts to step out of the store and enjoy a nice walk or bike ride in the sun, they gave free "how to brew" Kombucha Tea classes with starter kits available for purchase. Shoppers and browsers came mostly from the neighborhood, many people who had recently moved to the hood and had read about the event online.
In the evening, the space became an after-hours art opening, showcasing local and emerging artists, with sangria for guests and live music. Some of the guests actually helped make the switch and participated in an impromptu jam sesh... how Billyburgian.
For more info, please visit: www.temporaryvintage.blogspot.com
Glitterous: Zach Hyman and The Shaltzes
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9 Days + 10 Lbs. of Glitter + 1100 Miles = GLITTEROUS
Following the controversial and tremendous success of Decent Exposures, Zach Hyman debuts his latest collection, Glitterous, at Chair and the Maiden this Tuesday, March 23rd, 2010.
For this adventure, Hyman teamed up with Carrie Shaltz "to romp around in the desert, lose $8,000 in Vegas, and disregard all federal and common law." The dynamic duo hopped the security fence to the famous Airplane Graveyard in Mojave, capturing Hyman's signature exploration of the human body amidst man's machine.
After this stimulating and difficult excursion, Hyman and Shaltz ventured onto the City of Sin, continuing to challenge and cement our voyeuristic tendencies and obsessions for that which we can't have... or in the case of Las Vegas, binge on taboo delights for a weekend, then exonerating ourselves once we return home.
O
pening Reception: March 23rd, 6-8PM
Chair and the Maiden Gallery
19 Christopher Street
New York City
RSVP: rsvp@chairandthemaiden.com
Glitterous runs from March 23rd - April 11th, 2010
The Armory Show 2010: SBS Faves
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Armory Arts Week 2010: March 4-7, 2010
PIER 94:
The Armory Show is America's leading fine art fair devoted to the most important art of the 20th and 21st centuries. In its eleven years, the fair has become an international institution. Every March, artists, galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week.
PIER 92:
The Armory Show – Modern is a section dedicated to international dealers specializing in historically significant Modern and contemporary art.
Scene B Seen Faves:
Gottfried Helnwein
The Murmur of the Innocents 10
2009
Mixed media (oil and acrylic on canvas)
http://michaelrosenfeldart.com
Benny Andrews
Down the Road, 1971
oil with fabric collage on canvas
55" x 48"
Jonathan Delachaux
Somewhere With Jean-Louis Costes, 2010
Acrylic on canvas
Diptych, each 240 x 100 cm
http://www.contessagallery.com
David Drebin
Girl in Red Dress, 2004
Digital C Print
30 x 37 1/2 inches
http://www.marlboroughgallery.com
Juan Genovés
Girostato, 2008
Acrylic on canvas board
70 7/8 x 59 inches
I Love New York Exhibition
Visit Franco Soffiantono Gallery to watch video
Kate Gilmore
Come Around, 2009
Mixed-media sculpture with video, color, sound, dimensions variable
Header Image: Still from Standing Here, 2010. Mixed-media sculpture with video, color, sound, dimensions variable
Video:
Pilar Albarracín
La ponedora / Laying hen, 2006
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KiptonART Kick-off of Armory Arts Week: Party at The Box
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March 3, 2010 - Tuesday night, KiptonART kicked off Armory Arts Week 2010 downtown-style at The Box with featured headliner Paula Valstein.
A packed house of Upper East Siders, downtown hipsters and heavy weight art patrons like; William T. Hillman, SFMoMA's David Ross, Terrence Meck, Marlborough Chelsea's Melyora Kramer, Christopher Canizares, PS1's Tim Goossens and artists David LaChapelle, Nir Hod and Izhar Patkin, filled the intimate performance club to capacity.
Upon arrival, guests witnessed warm-up performances by drag-comedian Brandon Olson and male stand-up Kim Smith.
At midnight, Paula Valstein rocketed to the stage performing four of her own songs including favorites "My My" and "Do You Know", leaving the packed house teary-eyed and screaming for more.
Born in Tel Aviv, Valstein started playing the piano at age 4 and has been obsessed with writing songs ever since. "New York was always a dream of mine, and so, one day I just bought a ticket and came," says an exuberant Valstein. This positive attitude resonates well with KiptonART who has built a cult following since 2005 and held over 40 events supporting emerging artists and musicians. "Our kick-off party for Armory Arts Week featuring Paula celebrated a milestone for our organization and deepened our commitment to raise funds through the 501©3 KiptonART Foundation founded last year," states Founder, Kipton Cronkite.
SEEN: Real Estate scion Michael Shvo, designer Rafael Cennamo, OUT's Aaron Hicklin, Elisabeth Saint-Amand, Whitewall's Michael Klug, Greg Calejo, Dalia Oberlander, Sarah Basile, Bianca Kawecki, Anastasia Rogers, Diane Pernet, Scott Buccheit and Quest's Daniel Cappello joined event hosts Patrick Duffy, Thomas Rom, Paper Mag's Peter Davis, Gregory Dufner, Affirmation Art's Marla Goldwasser, Brian Gorman, Francesca Hammerstein, Daniel Heighes Wismer, Jack Kirkland, Marcia Levine, Karline Moeller and James Salomo.
VIPs received a KiptonART Sampler CD containing three singles; featuring headliner one single by Paula Valstein, one track by 22-year-old jazz sensation, Eldar, and the third by Edwin Vazquez (who mixes a fusion of rumba, flamenco, bolero and bassanova).
To read KiptonART insider scoop on Paula Valstein, please click HERE
MR. BRAINWASH: ICONS EXHIBIT 2.11
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When I think about pop art, I think Andy Warhol—most people do in fact, as he still stands to remain the king-of-pop… art. Last night in New York’s Meatpacking District, however, a new Warhol may have been born.
A select crowd was chosen to bare witness to the New York solo debut of the controversial and renowned Pop Street Artist, MR. BRAINWASH. This private preview of BRAINWASH’s latest exhibition, titled ICONS, was held last night inside the artist’s 15,000 square-foot warehouse-style studio, located at 415 W 13th Street. With retro-fabulous, afro-chic cocktail waitresses running glasses of bubbly, and large-scale sculptural installations accompanied by vibrantly colorful paintings, BRAINWASH makes a statement about the pop art we know and love, and its transition into the future. Loud and clear might I add, across every square-inch of last night’s bustling studio.
With subjects of all eras and disciplines, such as President Obama, the Beatles, Madonna, Muhammad Ali, Kate Moss, Einstein, Charlie Chaplin, Michael Jackson, Karl Lagerfeld, and many more; MR. BRAINWASH’s ICON exhibit gets its name. The manner in which these subjects—and icons—result into art forms, however, is what might make MR. BRAINWASH an ICON himself.
Through use of fragmented records and color-soaked screen prints, MR. BRAINWASH’s renditions of the many unmistakable cultural figures emulate the work of Andy Warhol, it’s almost as if they bring the legend back to life right before your very eyes. It’s uncanny—Campbell’s-soup-uncanny!
Right down to the warehouse itself, which possesses this magically fascinating feel of transporting through time, as if becoming a fly on the wall in the Factor— Warhol breathes through BRAINWASH. From larger-than-life spray-paint-can statues adorned in Tootsie Roll wrappers and Campbell’s Soup labels, to an actual NYC taxi encased in a gigantic Hot Wheels box; BRAINWASH breathes through Warhol.
But dare I say he does it better? And by it, I mean Warhol, and by he, I mean BRAINWASH.
Does BRAINWASH do Warhol better than Warhol did Warhol?
I guess you’ll just have to see for yourself and decide.
MR. BRAINWASH’s ICON exhibit will be open to the public on February 14th at 3:00P.M. The first 300 people to attend the opening will receive a hand-finished, limited-edition screen print, signed by the artist.
Photo Credit: Mr. Brainwash
