Leonard Freed by Michael Auer, 1987
Leonard Freed by Michael Auer, 1987

Steven Kasher Gallery_Leonard Freed: Six Stories / Renay Elle Morris_ September 2017

Hassidics of Brooklyn, 1954
Harlem, 1963
Black in White America, 1963-65
Israel, 1962 and 1967
Italy, 1956-58
Germany, 1961-66

As fellow Magnum photographer Cornell Capa expressed in The Concerned Photographer, “… he (Leonard Freed) was a photographer of ordinary people going about their every day lives – at home, at work, and in the streets. He has a keen eye for social hierarchies and, in part because of his working class origins; he felt great solidarity with outsiders, and the oppressed.”

Mario Testino OBE is widely regarded as one of the most influential fashion and portrait photographers of our times. His photographs have been published internationally in magazines such as VogueV Magazine and Vanity Fair. He has contributed to the success of leading fashion and beauty houses, creating emblematic images for brands from GucciBurberryVersace and Michael Kors to Chanel, Estée Lauder and Lancôme.

Alongside his 40-year practice as a photographer, Testino has realised a body of work as a creative director, guest editor, museum founderart collector/collaborator and entrepreneur. In 2007, at the request of his clients to provide full creative direction services, he formed MARIOTESTINO+ which today is a growing team of individuals who support Testino to realise the breadth of his creative output.

by Eugen Berlo 2017-07-15

Tomorrow is the last day, but it’s worth to make an appointment and pay a visit to the gallery. The group show is also a statement by Raluca Soaita and Andrei Breahna. As I like to follow up with a few galleries, I have (Yahveh) to say go and see it!; it is a good one and it will please you to see a nice range of artists, from Razvan Anton, Pavel Braila, Radu Cioca, to Tania Mouraud, Karolina Bregula and Mircea Stanescu. Many thanks to Răzvan Băbiceanu who walked me through.

“This public showing is the way Raluca Soaita and Andrei Breahna responsibly position themselves as related to the artists hosted by their gallery. The constant presence of video in the public space, the American-school photo, the drawing, the installation, the performance, the animation – they all have shaped a certain artist / intellectual profile in the gallery space, one bearing various practices, which EASTWARDS PROSPECTUS is supporting and developing. The exhibition is a coherent and clear discourse about the gallerist/artist relationship, about the exhibition space and the challenges raised by certain works that one feels connected to.” - read more

Brilliant, urgent and provocative, German artist Georg Baselitz is among the most celebrated artists of his time. His engagement with German national identity at a time when many artists were shying away from so difficult a subject was an extraordinary act of self-assertion. Much of his best work appears hideous, unsettling, and in some cases even crude. But there is far more to Baselitz’s paintings and art prints than first meets the eye, and their apparent coarseness camouflages their own astonishing levels of accomplishment. He has famously experimented with mediums, shifting between drawing, wooden sculpture, and painting. Prominent works include the Fracture paintings of the late 60s, which contain echoes of his life in divided Germany, but he is perhaps best known for his iconic upside-down paintings, in which the artist inverts the subject matter in order to highlight the artifice of painting.

by Renay Elle Morris

_2017 holiday greetings_Iceland. Magical. Light and color in an instant. Arctic-scapes reflect volcanic flow. Old Norse descendants revel in tales of ancient times.

_Moscow on a cool and rainy May afternoon.
Passerbys are treated to imagery along a route_an unusual setting to view the arts.

_Judaica and bridal gowns at Israel’s Jaffa shuk. Take a leisurely lunch at a cafe nearby.

Renay Elle Morris / June 2017

For decades, Valera and Natasha Cherkashin have added layer upon layer of philosophical and political ideology to their masterful works of photographic genius. With exhibitions, lectures and talks on an international stage, the art of their images have recently been compiled into a 254 page publication entitled, Actions, Happenings and art performances 1962 – 2016 _ Night with a Pioneer Leader, which delves into a history of 2 artists_a husband and wife team, and the legacy of their talent. What inspires them may not offer an easy answer. Perhaps it is a fearless energy to defend beliefs, or a lifetime of a Soviet regime. Perhaps it was Perestroika, the political movement and the "openness"policy that led to the reforms of the Soviet political and economic system during the1980s that allowed for such ambitious work.

by Sanju Mathew

Nutmeg Editions is a printing and publishing studio specialising in hand lithography, intaglio and relief printing. It was set up by Sanju Mathew. Nutmeg Editions welcomes and encourages innovative and experimental approaches to printmaking. We can guide and facilitate both experienced and relatively inexperienced printmakers; prior understanding of specific techniques is not a necessity. Nutmeg deals with all the practicalities of the printmaking process from start to finish. The technical support artists receive allows them the freedom and the confidence to develop ambitious ideas should they wish to.

Ion Țuculescu s-a născut la 19 mai 1910 la Craiova, provenit dintr-o familie de intelectuali. Urmează cursurile Colegiului Național "Carol I" din Craiova, unde în orele de desen primește primele îndrumări de la profesorul său Eugen Ciolac, de la care a aflat o parte din tainele picturii. Prima expoziție la care a fost remarcată prezența "pictorului diletant Ion Țuculescu" - alături de a fratelui său Șerban - este cea organizată în 1925, în sala de recepții a Palatului Administrativ al județului Dolj. Deși apreciat pentru talentul său artistic, Țuculescu nu se va îndrepta către o școală superioară cu profil artistic, ci se înscrie la Facultatea de Științe Naturale a Universității din București, pe care o va absolvi în 1936. Paralel frecventează și Facultatea de Medicină, obținând doctoratul în 1939 cu calificativul magna cum laude. Deși se dedicase studiului, Ion Țuculescu continuă să picteze și are prima expoziție personală în 1938 în sala Ateneului Român din București.

Până în anul 1960 participă la mai multe expoziții colective, expune la Salonul Oficial în 1941 și 1945, deschide șapte expoziții personale în clădirea Ateneului Român.

Dacă medicina nu l-a solicitat prea mult, cu excepția anilor de război, când fiind medic militar uimește prin devotament și abnegație, biologia devine celălalt pol al existenței sale în calitate de cercetător științific la Academia Română, zilele și nopțile împărțindu-le între paletă și microscop.

Pictura a învățat-o ca autodidact și distanța de la primele sale tablouri până la cele din epoca maturității a parcurs-o muncind cu înverșunare disperată. Deși a fost prezent în viața artistică fără întrerupere, opera lui a rămas aproape fără ecou, adevăratele sale dimensiuni vădindu-se abia în anii când nu mai expune, claustrat în locuința lui, unde materia lui plastică avea să se cristalizeze orbitor după îndelungate și misterioase mutații.

© treasure of the heritage_st petersburg / renay elle morris /photopressimages.com/ 2017

linocut print in gold and burnt sienna with gold pigment dusted over

© Genu Berlo

- Hamilton-Selway

Brushstrokes, 1967

Screenprint on off-white wove paper

23 x 31 inches

Edition of 300, signed

Barnett Newman declared that black and white were the colors that an artist used when he wanted to reinvent his work. In the case of Hantaï, each of these three paintings addresses and reinvents one of the fundamental concerns of visual art: the theme of figure and ground. In the Meun painting of 1968, we are confronted with an abstract figure set against a ground. With the Study of 1969, a late example of the series in which the artist declared that he had discovered “what my true subject is: the resurgence of the ground beneath my feet”, we find that this figure has floated free and that the ground has established its own autonomy. Finally, in the late Left-Over Tabula, we find that figure and ground are no longer conceived as divided, contrasting entities but are rather fused into an enigmatic new presence. Viewed together, and set against the tendencies of modern and contemporary art in the post-World War Two era, these three paintings reveal the extraordinary depth and complexity of the artist’s aesthetic inquiry. …

Wu Guanzhong, Pandas, Ink And Colour On Paper, Estimate HK$ 3,000,000-5,000,000.

“ Pandas only come in black and white, they are pretty lazy. This is how I depict my pandas: they are fat, they have an open heart, their black and white colours are clearly delineated, and they live among stalks of bamboos. But I don’t paint pandas for the sake of the pandas. What I want is to juxtapose bold black grids embracing pudgy white grids, tossing and turning … Pandas inspire me to search for disarray and eternity.” – Wu Guanzhong

Wu Guanzhong, Scenery of Zhangjiajie, Ink and Colour on Paper, 1979, Estimate HK$ 6,000,000-9,000,000.

During the autumn of 1979, Wu Guanzhong travelled to Changsha to create his large oil painting Shaoshan. Afterward, he travelled to Western Hunan to Fenghuang to paint its beauteous landscapes. There he had the sudden urge to paint in Zhangjiajie. This is how he recalled that journey: “It was a simple road for vehicles for the purposes of forest protection. It was pretty bumpy, lined with stones and pebbles. Lorries would jerkily move along the road …

(Left) Lin Fengmian, Fishing Boats at the Dock, Ink And Colour on Paper, Estimate HK$ 300,000-400,000. (Right) Lin Fengmian, Residence Perching on Cliff, Ink And Colour on Paper, Estimate HK$ 260,000-350,000.

These two works belonged to the founder of the Asia Society, Mr and Mrs John D.Rockefeller 3rd. They were originally gifts from Mr and Mrs Henry Luce, the founder of Time and Life magazines. Luce (1898–1967) was a staunch supporter of the Nationalist government during the Second World War, even visiting China in May 1941, meeting with Chiang Kai-shek in Chongqing...

Lin Fengmian, Residence by the Stream, Ink and Colour on Paper, Estimate HK$ 2,000,000-3,000,000.

Although this work is not dated, looking at the style of the brushstrokes, signature and stamp, we can deduce it dates from the 1950s, comparable to Ladies in a Garden belonging to the Hong Kong Museum of Art. The treatment, especially the fine brushwork depicting every flower and plant, can only be traced to a short period during the painter’s career that never recurred afterward....

(Left) Lin Fengmian, Four Magpies on the Branch, Ink And Colour on Paper, Estimate HK$ 1,400,000-1,800,000. (Right) Lin Fengmian, Autumn Woods, Ink And Colour on Paper, Estimate HK$ 1,600,000-2,000,000.

This series originates from noted Shanghai art connoisseur Wang Yiping’s collection. Lin Fengmian left Shanghai for Hong Kong in October 1977. Two years later, Lin wrote to Wang Yiping and other friends, informing them that he wanted to donate the 105 paintings he left in Shanghai’s China Art Academy to the Chinese government. ...

Lin Fengmian, Still Life, Ink And Colour on Paper, Estimate HK$ 1,800,000-2,400,000.

This work belongs to the Cheng Xin Xuan Collection of 19th and 20th century paintings. Although the canvas was not signed, according to written records, it dates from 1957.

Wu Guanzhong, Boating in Jiangnan, Ink and Colour on Paper, Estimate HK$ 2,800,000-4,000,000.

The water towns of Jiangnan with its winding rivers and bridges, no matter whether the hometown of Lu Xun or the famed locale of Yixing, are frequent subjects of Wu Guanzhong’s output of the 1980s. Although this work belongs to that period, it is unusual in its composition and approach. In the foreground is a stone bridge that cuts across the width of the work with the river flowing below. ...

Xu Beihong, Galloping Horse, Ink On Paper, 1951, Estimate HK$ 2,200,000-3,000,000.

This painting was a gift from Xu Beihong to Li Rumian. During the Korean War, the painter suffered from bad health, finishing only a few works, although he tried his best to put ink on paper. This painting depicts a horse galloping in mid-air, as if it could traverse a thousand miles in a day. It is testament to Xu’s immense level of energy of that moment. Perhaps this was given to Li as a token of support during the time when China was standing on the opposite side of America on the Korean peninsula...

In 2003, Thomas Ruff published a photographic collection of "Nudes" with a text by the French author Michel Houellebecq. Ruff's images here are based on Internet pornography, which was digitally processed and obscured without any camera or traditional photographic device. In 2009, the aperture Foundation in New York published jpegs, a large-scale book dedicated exclusively to his monumental series of pixelated enlargements of internet-culled images, all compressed using the standard JPEG format which intentionally uses JPEG artifacts. His Substrat series, based on images from Japanese manga and anime cartoons, continued this exploration of digitally altered Web-based pictures. However, he alters and manipulates the source material such that the work becomes an abstraction of forms and colors with no visual memory of the original source material. On February 7, 2011, one of his Nudes pictures appeared on the cover of New York Magazine.