Road trips have always been a favorite way to explore this vast country of ours. What better way to experience the varied landscape, urban and rural space and inherent local flavor than by car.

The Whitney’s latest installment, America by Car, takes us on a tour across country with renowned photographer Lee Friedlander. We pass through vibrant cities, one-horse towns, scenic backdrops, and encounter loads of welcoming citizens, all of which are visualized through the camera lens, as well as the car window.

In each of the black and white square-framed pieces, mostly taken between 2004 and 2008, Friedlander gives us a glimpse of our fabled country, in addition to the interior of his rental car – rear view mirror, dashboard, gear shift, and seat belts. The entirety of the exhibit exudes a mystical quality, although somewhat tedious at times (192 images), and a vivid snapshot of life on the road.

Anyone wishing to get a glimpse of the art world back on the early 1980s should check out the film

Jean-Michel Basquiat: The Radiant Child

Much is already known about the life and death of this prolific painter who would have turned 50 this year. Very little is understood of the personal side of Basquiat’s genius. The film successfully unveils the rags to riches tapestry from a very compelling inside perspective, including an interview from 1983 that was stashed away in a closet until now and intimate nuggets from the likes of Andy Warhol, Julian Schnabel, among others.

We also get to witness NYC back in the heady days of sex, drugs, music, clubs and art. How many of us remember how cool Soho once was and how gritty the area now called Nolita had been?  The art scene was so truly available and accessible, unlike the high brow, elitist landscape it has evolved into today.

As one first proceeds towards the Metropolitan’s Greek and Roman Galleries and gets a glimpse of the long hall of statues ahead, the response is complete awe. For housed in these next rooms are some of the best examples of marble and stone carvings anywhere in the world.

Many are in various states of restoration and most are Roman reproductions of the Greek originals.  However, they are all awe-inspiring. Plus, the natural light, towering ceilings and expansive rooms all aid in bringing a magnificent time in history back to life.

In the center of the first hall is a majestic warrior from the Roman Antonine period, AD 138-181, a copy of a Greek bronze. He holds a shield in his left arm and probably had a spear in his right, as his grandiose presence commands over the long hall and the many fabulous works surrounding him.

Bronze Warrior

There is the Apollo with the missing head, some fragments of the Great Eleusinian Relief, immense ceramic urns, as well as a few robed women from the second half of the Fourth century B.C. The exquisite detail, such as the many creases in the garments, suggests that these pieces are Greek originals and not Roman copies.

Greek Robed Woman

If you turn off to the room to your left you will encounter a marble statue of a Kouros (youth) from the Greek Attic period 590-580 BC. It is one of the earliest marble statues of a human figure carved in Attica and it is clearly derived from Egyptian art. This piece marked the grave of a young Athenian aristocrat.


Now enter the grand light-drenched room – encompassed by a glass-installed atrium with a stately marble fountain in its center – and you will be overwhelmed by many masterful pieces, most of which are from the Roman Imperial period, the 1st to 2nd centuries A.D.

Witness the marble Hercules seated on a rock (only his torso remains), the statue of Aphrodite and that of a seated muse, each brilliant in it own right.  Further along you will pass The Three Graces standing side by side – Aglaia (Beauty), Euphrosyne (Mirth) and Thalia (Abundance) – said to be the handmaidens to Aphrodite.

The Three Graces

Then there are the fabulous over life-sized Hercules’, one youthful, the other bearded, standing across the hall from each other. Both may have been excavated in the remains of public baths constructed under Nero in AD 62 near the Pantheon.

Young Hercules

Bearded Hercules

The Crouching Aphrodite is a particularly special piece as it was designed to be viewed from all angles. The work is of the goddess crouching at her bath with Eros (no longer seen) behind her.

Crouching Aphrodite

Crouching Aphrodite

Towards the back room are the absolutely amazing Sarcophagi. The highlight is the intricately carved structure of Dionyses on a panther with his attendants. The work is Roman from AD 220-230.

Further along is a marble sarcophagus lid with a reclining couple from the Roman Severan period, AD 220. The piece represents the personification of earth and water, with the wife’s head left unfinished, suggesting that the husband likely predeceased her and that no one added her portrait after she died.

In the back room are housed some very singular works. Witness the portrait head of Emperor Constantine I, from the Roman Constantine period, AD 325-370. Constantine was the first emperor of Rome and this bust is an ideal example of what an emperor should look like – neat, clean-shaven, imperial.

Emperor Constantine l

The immense bronze statue of Emperor Trebonianus Gallus, AD 251-253, is one of the very few nearly complete statues of the Third Century preserved today and has gone through several campaigns of restoration.

Trebonianus Gallus

Meandering through these halls one can easily get lost in thought of times long ago. The many benches in the main hall offer the ability to spend hours here, gazing at the exquisite carvings, soaking in the chronicles and legends of history.


If you love color and abstraction, you won’t want to miss the Georgia O’Keefe exhibit currently on display at the Whitney Museum in NY.  By now you’ve read multiple reviews, but it can honestly be said that this is one show you have to see in order to “experience”.

While it is true that Georgia O’Keefe’s flowers and landscapes made her one of the most celebrated figures of twentieth-century art, the radical abstractions she created throughout her career are much less well known. Yet they are equally spectacular. In fact, it is her abstract work that ultimately led to her creation of landscapes and florals, and not the other way around.

For O’Keefe, abstraction offered a medium in which she could portray the “unknown” – the many intense thoughts and ideas she could not express in words. Her work conveys emotional response to people and places, as well as the rhythms of nature and the experience of being enveloped by its mystery and beauty.

The exhibit also chronicles the life saga of an extremely prolific artist, allowing us to feel her emotions as she went through different stages of elation and agony. At times her pieces explode with color, at other more distressful times, color becomes somewhat subdued.


In 1916, O’Keefe burst onto the New York scene with her charcoal abstracts –  some of the most radical works ever produced in the US in the twentieth century. Renowned photographer Alfred Steiglitz, who would shortly become her personal and professional partner, gave her a show in 1917, exhibiting her work for the first time at his “291” gallery.

Witness “Early Abstraction” from 1915 – a linear work that takes on the form of a piece of sculpture.


"Early Abstraction," 1915

Vibrant Oils

She first introduced oils at the Anderson Galleries in 1923, marking the public’s first view of her work since 1917 at “291.” It was a jubilant time for O’Keefe, both artistically and personally, and the vibrant colors she uses – fiery reds, lush greens, erotic greens and yellow – convey her exhilaration. Favorites of ours include “Pink and Green,” 1922, “Corn Dark,” 1924, “Red Canna,” 1925-1928, and “White Sweet Peas,” 1926 (you’ll have to see these for yourself in person).


"Abstraction," 1926


"Grey, Blue & Black-Pink Circle," 1929


"Flower Abstraction," 1924


"Abstraction White Rose," 1927

There is one particularly darker piece from this time period, a work that portrays her experience of undergoing anesthesia before an operation to remove a benign breast cyst – “Black Abstraction,” 1927.

O’Keefe married Steiglitz in 1924 and they spent winters in NYC and summers at his home on Lake George. Many of the colorful lake series were produced during the peaceful times spent there.

Darker times

O’Keefe first started to travel to New Mexico in 1929. Steiglitz was having an affair with a younger woman and she felt the need to escape. In 1932 she suffered a nervous breakdown and stopped painting altogether until 1934. For the next ten years abstraction figured very little into her work until the Black Place Series, which were based on an area in New Mexico 150 miles west of her home at Ghost Ranch.

Paving the way

After Steiglitz’s death in 1946, O’Keefe moved permanently to New Mexico, at which time she began to introduce flat geometric planes of color, a factor that would play a central role in the art of the 1960’s. A great example is “Black Door with Red” from 1954.

A personal favorite is the opening work to the exhibit – “Above the Clouds” – an absolute masterpiece, which was created in the early 1960’s.

Although the exhibit stops around this time period, O’Keefe would go on to expand and evolve through her painting. She died in 1986 – at the ripe old age of 98 – having left an indelible mark on the world of abstract art.

To view the ArtistsinAuction website click here.


"Black Door with Red," 1954

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"Above the Clouds," 1962-63


Unpredictable, quirky, innovative and quite varied – some of the adjectives to describe the latest Icons of the Desert: Early Aboriginal Paintings from Papunya exhibition at NYU’s Grey gallery. I would also add dreamy, hypnotic and spiritual to the list

In 1971, schoolteacher Geoffrey Bardon provided a select group of men in Papunya, a community 160 miles west of Alice Springs in Australia, with acrylics and boards. Before these boards were made available, most artistic renderings had been in the fleeting form of body decoration, ceremonial objects and temporary ground paintings.

The new pieces established an artistic permanence as well as a striking new visual language, featuring dream motifs, ceremony, storytelling, song and the ancient tradition of mark making that dates back more than 10,000 years.

These Papunya boards, of which fewer than 600 remain, formed the genesis of the Western Desert Art Movement. Approximately fifty of these exhilarating pieces are on exhibit by notables such as Clifford Possum Tjapaltjarri, Shorty Lungkarta Tjungurrayi, Johnny Warangkula, and Mick Namararri Tjapaltjarri.

I urge you to go and experience the sweat, tears and love that has been poured into each individual piece. The intensity is real, the vitality is powerful. Do not miss this one-of-a-kind exhibit which runs through December 5th.

To view the ArtistsinAuction website click here.

Rainbow and WaterWomen-s-Dreaming-Abo-4e5fbd6b8aeaWater-Dreaming-1972--4b1690c85ccdCeremonial-Story-for-4906b5de1742Big-Cave-Dreaming-wi-46589eb65948An-untitled-1973-wor-4b0d90687c22-4af8a4d5dde0Medicine-Story-1971--4447a52c1646

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CMA Auction 038ArtistsinAuction

If you ever wondered whether an art auction was a good way to sell art, you would have clearly found your answer had you attended the Children’s Museum of the Arts 5th Annual Art Auction last Thursday.

With more than 40 pieces up for sale, both through live and silent auction, the event was a stellar opportunity for collectors to purchase a wide array of fabulous Contemporary Art by both emerging and established artists.

Works showcased included a Farah Fawcett Polaroid by Andy Warhol,  a William Wegman dog portrait, and a Dusty Boynton mixed media piece, among many others. Also for sale was a favorite of ours by Antoine Verglas.

Nina Chanel Abney

Nina Chanel Abney

Dusty Boynton

Dusty Boynton

Antoine Vergals

Antoine Vergals

Mark di Suverno
Mark di Suverno

Plus, the event was a blast, drawing in hundreds of socialites to the hosting gallery of Phillip’s de Pury and Company in New York City’s Meatpacking district.

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And most importantly, the auction brought in a tidy sum, all of which will go towards expanding CMA’s outreach programs for underprivileged children.

To view the ArtistsinAuction website click here.



Saturday night was the opening reception for Dreamer’s Rendezvous, a group show at the A-forest Gallery in NYC’s midtown area.  We were proud to view the most recent work of our very own featured photographer, Mike Lindwasser.

Outside of the traditional Chelsea gallery neighborhood, the empty, dark street was a contrast to the bright, inviting feeling of the small gallery.  The show highlighted wonderful works in photography, painting, pen and mixed media by six different artists.

It was intriguing to see what Mike had been working on since we brought him on board at ArtistsinAuction.  Although he’s a local guy, (born and raised in NY, living in Jersey), Mike has been traveling a great deal.  His current photography is a reflection of his latest journeys to Japan (where he participated in another group show) and Mexico.

Mike prefers to shoot many of his pieces at night, without the aid (or as he might say, distraction) of lighting.  He works with long exposures, sometimes up to 30 seconds at a time, which create surreal-like images with a ghostly lighting effect.  One of our favorites at the show was of a tree Mike had photographed in Japan. The consequence of the extended exposure created a “whitening” that gave the appearance of a photo taken at midday.

Mike is also a transformation artist, manipulating everyday objects into surreal images by shooting from below.  Many of the pieces in our current auction, from the Building and Truck series, are small slivers of places or things encountered everyday.  But, by pointing upward, Mike creates an entirely new perspective, forcing the viewer to take a second look.

City of lightsrainbow Sky

Lately, Mike’s preferred work is his Truck series, a personal favorite of ours as well. Most of the images were shot in yards around his New Jersey home. Once he had mastered entering the areas at night without getting caught he discovered fabulous details and vibrant colors that called out to him.

Galactic Truck

Galactic Truck



Previously displayed at a show at the Brooklyn Collective, our December 5th Auction will mark the first time these exciting pieces have been offered for sale.  We know you’ll love them as much as we do.

To view the ArtistsinAuction website click here.

To view more of Mike Lindwasser’s work, click here.


Currently, an ongoing exhibit throughout the month of October, this quirky mishmash of things scattered east to west along 14th street, is a lesson in futility.

You can actually pick up maps at various locations that specify the many installation locations, but in my recent outing at least 8 out of 10 indicated spots I visited, mainly street corners, were completely barren. Even the artwork supposedly housed in specific storefronts was next to impossible to find.

This is not to say all was lost. If you’ve ever wandered along 14th street in Manhattan, you know that you’ll not be remiss for lack of activity. Union Square in and of itself is one of the most lively destinations in NYC, especially on a warm Fall afternoon.

And art is, in fact, in many odd places in the Big Apple. I was searching for a piece called “Distressed” on the southeast corner of the park. To no avail. However, I did come across some familiar figures from my recent DUMBO outing. I think these guys are everywhere, trying to make a point no doubt, although I’m not quite sure what it is.
Art in Odd Places 001

Art in Odd Places 004

Next stop, moving westward, was Good Stuff Diner. Nada. The owner didn’t even know to what I was referring. A tad more luck at Artie’s Hardware. At least they knew about the artwork in question. Unfortunately, neither the artist not the artwork ever appeared.

Just next door, was an installation on the second floor windows of Pratt Institute. Art, I guess. In an odd place, hmmmmm. Onward.

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The Andrew Norwood House had a small neon light piece called “Brick” on its brick façade. The manager kindly turned the lights on so I could see what all the fuss was about. Further along, at Dubspot, a great little coffee shop, the attendant knew exactly what I wanted. I had to wait while he served an espresso, but then he used the remote to turn the TV on. “Lost Sheep” was the title of this psychedelic panorama. At this point I had pretty much “lost” my patience.



"Lost Sheep"

"Lost Sheep"

Finally, at Tenth Avenue Car Wash, I thought I hit pay dirt. Just my bad fortune that the piece was only viewable during the night hours.

So, during the month, if you happen to be strolling along 14th street, keep your eyes open. There are, in fact, some pieces of art in odd places. You just have to be very, very lucky to find them.

To view the ArtistsinAuction website click here.

Kandinsky 007


That is the question.

The work of Vasily Kandinsky, the Russian born pioneer of abstract painting, is overwhelming in and of itself. Put together 150+ pieces in one show and you have a dizzying uphill swirl that is the Guggenheim. There comes a point where you just need to sit and find your bearings…and wish it would end.

The dizzying and electrifying journey is somehow easier on the way down, maybe because breathing has finally kicked in.

Still, Kandinsky should be seen. His oeuvre clearly examines the capacity of color to communicate, and his experimentation with form and line ventures into a distinct realm of abstract expressionism.

The exhibit brings together the three largest holdings of the artist’s work, from the Guggenheim Museum in New York, the Centre Pompidou in Paris, and the Stadtische Galerie im Lenbachaus in Munich, as well as private collections, and traces the artist’s life over three distinct periods:

Munich and Murnau 1908-1914

A highly creative, discovery period that is my personal favorite. The use of soft lines and a beautiful blend of color can be referred to as a controlled chaos. There is a sense of abstract with meaning and one feels that a story is being told. Two pieces “Black Lines” and “Light Picture,” both from 1913 and part of the Guggenheim collection, are fabulous. (Please note: the pieces below are works from 1914, not the works I just mentioned above. I was shortly banned from picture-taking after snapping these shots.)Kandinsky2 002

Kandinsky2 003

Bauhaus 1922-1933

The work from this period is exciting, yet rigid, utilizing bright primary colors and elementary forms with sharp lines. The triangle embodies active, aggressive sentiments the square evokes calm and peace, while the circle conveys the spiritual, cosmic realm.

Paris 1933-1944

During this time of political turmoil and later war Kandinsky experimented with material and a softer, subtler palette, often depicting biomorphism (free form or design suggestive in shape of a living organism) as well as scientific imagery.

In the last panel at the very top of the museum is a piece from 1942, a copy of which is in my parent’s kitchen.

All being said, do not skip the watercolor pieces, housed in a separate side room. These works on paper are as important as his canvases, demonstrating his experimentation with the transparency and opacity of watercolor paint. They chart the evolution of his oeuvre – from the landscapes and seascapes of the early years, to the geometric patterns of the 20s and 30s, through to his final biomorphic works in the 40s.

To view the ArtistsinAuction website click here.

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Dumbo has changed. A lot.

Since venturing into this sliver of a wasteland under the Manhattan Bridge almost ten years ago, I have witnessed no less than a complete turnaround. When the D.U.M.B.O. – Art Under the Bridge Festival began in 1997, abandoned and dilapidated manufacturing structures were becoming home to a growing number of artists, all in search of affordable studio spaces. There was perhaps one corner deli that served the area.

Now,  pet grooming stores, not to mention a Chase bank, posh clothing and furniture stores, as well as a growing number of eating and drinking establishments, blanket the area.  And the familiar trend – artists move in, area grows hip, trendy stores gain a foothold, tourists and mainstream New Yorkers discover the area, housing becomes unaffordable, artists move out – is becoming clearly evident.

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Still, the festival draws an ample crowd and the event is highly entertaining. The outdoor performance and public art are good fun – witness the fish parade and the knitted zombies – and the remaining artists, many of whom have been here since the beginning, open the doors to their colorful studios, displaying a wide array of creative talent.

To view the ArtistsinAuction website click here.

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Wind Nomads

Wind Nomads


Amongst the medley of exhibitions currently on display on Governor’s Island, one really stands out – Wind Nomads – a spectacular gathering of 400 paintings that flutter like a flock of birds in the wind. Set on the grand field, with the majestic NYC skyline in the backdrop, the presentation couldn’t be a more stellar combination of art, design, color and landscape.

Wind Nomad

Wind Nomad

Wind Nomad

Wind Nomad

SLeM of Holland is behind this awe-inspiring temporary landscape, calling on 382 artists representing 30 countries around the world to collectively create a series of paintings, each demonstrating a unique and individual modernist style. We spoke to the team’s curator, Bruno Doedens, who is eager to expand this project worldwide.

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All wind nomads are currently for sale and run the range from $1200 to $4000. The exhibition, which first took root on the Dutch coast, will eventually move from New York to South Africa. To learn more visit

To view the ArtistsinAuction website click here.

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If you had the chance to visit the 2009 Chelsea International Fine Art Competition Exhibition at the Agora gallery in NYC you would have been in for a real treat. If you haven’t, there are still a couple of days left before the show closes.

The exhibition, that opened August 14 and runs through September 2, featured nearly 30 artists from around the world and the collection was a vibrant mix of media from photography to sculpture,  the surreal to the conservative.  The artists of the competition often represented the countries and communities they hailed from, each piece reflecting a little of humanity’s many-faceted soul.

We definitely had our favorites, but the show as a whole was a spectacular demonstration of collective work from talented artists worldwide.

To view the ArtistsinAuction website click here.

Kathy Liao

Kathy Liao

Charles Imbro

Charles Imbro

Judith Kramer

Judith Kramer

Andre Netto

Andre Netto


We were blown away by Tom Smith’s solo show entitled “Double Vision” at Eye Level BQE Gallery in Williamsburg last Saturday. Our very own-featured artist did a fantastic job of expanding his concept from a one-dimensional body of work into a three- dimensional show. Tom’s recent works, which can only be described as playful, energetic and mesmerizing, translated seamlessly into a series of 3-D sculptures. Tom also showcased a series of photographs featuring his 3-D pieces floating in mid-air. Set against the Manhattan Skyline they offered a surreal perspective of his works. All pieces were stunning and priced reasonably, ranging from $200-$1200. Many happy buyers and collectors walked away with prizes in their hands as the show was nearly sold out. Congratulations Tom!

To view the ArtistsinAuction website click here.

To view more of Tom Smith’s work, click here.

Tom Smith's Solo Show DOUBLE VISION Tom Smith’s Solo Show DOUBLE VISION