Paul McMahon “Me”, November 5 – December 13, 2015
Jef Geys: Some Paintings From Belgium:
March 26th to July 23rd, 2015
Opening reception March 26th, 2015
Dan Graham collection!
Opening reception: November 19th, Wednesday, 6-8pm
THAT OBSCURE OBJECT OF DESIRE
September 8th to October 11th, 2014
Opening reception 6-8pm, September 8th, 2014
Betty Beaumont, CRUSHED 001, 2012, Chromogenic print, 26 x 21 x 1.5 inches (framed).
3A Gallery is pleased to announce a solo exhibition of New York based artist Betty Beaumont.
Beaumont has for years produced thoughtful and provocative work in a variety of media including photography, installations, public interventions and new media. Her work challenges global social awareness, as well as socioeconomic and ecological practices. Beaumont has investigated such issues as energy and species diversity and is also involved with solution-based sustainability strategies, which reflect contemporary, historic and cultural perspectives and environmental and social conditions.
Beaumont’s exhibition That Obscure Object Of Desire takes the idea of the object of desire and all of the myths that surround it and puts into three works ideas which deconstruct the fetishized icons of beauty and the branding of identity.
With the tools of deconstruction and notions of sexuality and representation, Beaumont uses three elements. First, the language of narcissism; second, questioning the idea of beauty in a crushed shopping bag first presented in two dimensions as a photograph, then as a moving object on a pedestal; and finally, the motor, which is simultaneously functional and a symbol of the machine behind advertising, branding and the loss of autonomy and identity.
The photograph Crushed 001 (2012) takes the three-dimensional bag out of reality and puts it in a frame, flattening the image of the bag (the photographed object), becoming the symbol of the symbol, that which we desire to possess. The bag remains pristine, inviolate, removed from our ability to touch or grasp.
The sculpture Untitled (Crushed, yellow with black) #332 (2014) presents the bag on a moving pedestal heightening the allure of the artifact under glass. The way it is presented as sculpture is enhanced by placing it in the vitrine, removed from the individual. The brand or the logo is hidden the way the seductiveness is hidden. Yet there is still a recognition. The sculpture is understood by experiencing both front and back of the work. The sound of the motor turning the bag on the pedestal suggests the sound of voracious consumption. The sound lures the viewer to view the motor, which is also encased in glass. Although the bag has been crushed it is not detritus. We want to own, touch or posses it. In its cast off state it is fetishized as a precious object. The recent implosion of the economy crushed the bag, transforming it into a sculpture that has architectural references, no longer retaining its original use. The on-going Untitled (Crushed) works are part of a project begun in 2008 with the Great Recession.
I’d Rather Be… (1991) is a full-length mirror work that borrows a quote from Donna Haraway’s Cyborg Manifesto “I’d rather be a cyborg than a goddess,” and prints it horizontally near the top of the mirror. When one looks into the mirror while contemplating beauty of the self, one is struck by a statement across one’s body that poses the question, What forms the lens you see yourself through? This deconstructive comment cuts the myth of beauty in two.
The sculpture Untitled (Crushed, yellow with black) is indeed on a pedestal like an object of desire. That Obscure Object Of Desire.
Betty Beaumont has received numerous grants and awards including the Distinguished Alumni Award from the University of California at Berkeley, Creative Capital Foundation grants, National Endowment for the Arts fellowships and grants, New York State Council on the Arts fellowships and Pollock-Krasner Foundation grants. She has shown at museums and galleries around the world including The Bibliotheca Alexandrina in Alexandria, Egypt, Whitney Museum of Art, MoMA P.S. 1, Queens Museum, Carriage Trade Gallery (NYC), American Fine Art (NYC), Damon Brandt Gallery (NYC), Hudson River Museum (Yonkers, NY), Katonah Museum (Katonah, NY), National Museum of Modern Art (Kyoto and Tokyo, Japan), Museum Het Domein (Sittard, Netherlands), Bibliotéca Nacional José Marti (Havana, Cuba), Galerie Engstrom (Stockholm, Sweden), Bea Voigt Galerie (Munich, Germany), Stalinova Pomniku, Letenske Plani (Prague, Czech Republic), Ota Gallery (Tokyo, Japan) and the Richard Demarco Gallery (Edinburgh, Scotland). Texts on Beaumont’s work have been written about by a number of art historians and critics including Nancy Princenthal, Jeffrey Kastner, Brian Wallis, Gary Indiana, Martin Kemp, Patricia C. Philliips, Kay Larson, Michael Kimmelman, Amanda Boetzkes, Barbara Metilsky, Sara Selwood, Kim Levin, Amy Gamerman, Marilu Knode, Amber Vilas, Peter Scott and Robert Stefanotti. Beaumont has held academic appointments at the University of California at Berkeley, SUNY Purchase, The School of the Art Institute of Chicago, New York University and Columbia University in New York City.
3A Gallery is located at 179 Canal Street, New York, NY 10013. Gallery hours are Friday and Saturday from 11:00am—5:00pm and by appointment: email@example.com
Wineke Gartz, Frank Stürmer, Trevor Shimizu,
Dan Graham, Satoru Eguchi, Daniel Brant, Mieko Meguro
The concept for “We Are All Cats” began one day when I was on an airplane, sitting across from a little boy. The flight was seven hours long, and the entire time he was deeply engrossed in an encyclopedic-style sticker book about animals. I was envious of the boy. I wanted that book. After I returned to New York I bought several of my own sticker books.
From them I learned that Lion is a cat. I was shocked. I had believed that he was a dog. His features make me think he is a dog. However, it turns out that most, infamous, beautiful beasts are cats. Cheetah is a cat. Cougar is a cat. Tiger is a cat. This revelation was the inspiration for my book “We Are All Cats.”
That book brought me another surprise: it was popular. Cats became a common topic of discussion among friends, and soon there were others eager to make cat-related work. From a little lion sticker there grew a large group show, featuring work by incredible artists with a variety of styles. The work ranges from video installations by Frank Stürmer, to paintings by Daniel Brant, to snap-shot photographs by Dan Graham that capture moments of discoveries made by cats.
In the corner of the gallery, sits a patient hunter, sculpted by Satoru Eguchi. The fur is quietly moved by the wind on this delicate paper sculpture, as the little cat stares dedicatedly ahead, absorbed in its private game of cat and mouse. Wineke Gartz, a versatile Dutch artist, has a small, quirky drawing series she created, inspired by google searches for “How to draw a cat.” Trevor Shimizu is showing small photographs of a cat dear to him.
The show is intimate, and fun. Each of the artists is a cat-lover, and the earnest enjoyment each artist takes from his/her subject fills the show with a delightful warmth. “We Are All Cats” is a wonderful fit for the cozy atmosphere of 3A Gallery.
The exhibition will be on view from July 14th, 2014 through August 16th. The opening reception will be held on July 14th, from 6pm to 8pm, and will be open to the public.
Justin Lieberman & Devon Costello, Mega Japan
June 5th to July 5th, 2014
The opening reception: June 5th, 2014 6-8pm
Fuji Photo Film Co., Ltd. was established in 1934 with the aim of being the first Japanese producer of photographic films. Over the following years, the company produced photographic, motion picture, and X-ray film. In the 1940s, Fuji Photo entered the optical glasses, lens, and equipment markets. After the Second World War, Fuji Photo diversified, penetrating the medical, printing, electronic imaging and magnetic materials fields. In 1962, Fuji Photo and UK-based Rank Xerox Limited (now Xerox Limited) launched Fuji Xerox Co., Ltd. through a joint venture. From the mid-1950s, Fuji Photo accelerated the establishment of overseas sales bases. In the 1980s, Fuji Photo expanded its production and other bases overseas, stepping up the scope of its globalized business model. Meanwhile, Fuji Photo developed digital technologies.
Like its rival Eastman Kodak that dominated in the US, Fuji Photo enjoyed a longtime near-monopoly on camera film in Japan. By becoming one of the title sponsors of the 1984 Los Angeles Olympics (an opportunity that Kodak passed on), offering cheaper camera film, and establishing a film factory in the US, Fuji gained considerable market share in the states while Kodak had little success in penetrating Japan. In May 1995, Kodak filed a petition with the US Commerce Department under section 301 of the Commerce Act, arguing that its poor performance in the Japanese market was a direct result of unfair practices adopted by Fuji. The complaint was lodged by the US with the World Trade Organization. On January 30, 1998, the WTO announced a “sweeping rejection of Kodak’s complaints” about the film market in Japan.
The beginning of the new millennium witnessed the rapid spread of digital technology in cameras. Demand for photographic films showed a sudden plummet in line with the growing popularity of digital cameras. In response, Fuji Photo implemented management reforms aimed at effecting drastic transformation of its business structures. Even as early as the 1980s, the company had foreseen the switch from film to digital, so “it developed a three-pronged strategy: to squeeze as much money out of the film business as possible, to prepare for the switch to digital, and to develop new business lines.” While both film manufacturers recognized this fundamental change, Fuji Photo adapted to this shift much more successfully than Eastman Kodak (which filed for bankruptcy in 2012). Fuji Photo’s diversification efforts also succeeded while Kodak’s had failed; furthermore Kodak built up a large but barely profitable digital camera business that was undone quickly by smartphone cameras. In 2006, Fujifilm announced plans to establish a holding company, Fujifilm Holdings Corp., of which Fujifilm and Fuji Xerox are subsidiaries. A representative of the company reconfirmed its commitment to film, which accounts for 3% of sales.
Hokusai’s date of birth is not known for certain, but is often said to be the 23rd day of the 9th month of the 10th year of the Hōreki era (in the old calendar, October 31, 1760) to an artisan family, in the Katsushika district of Edo, Japan. His childhood name was Tokitarō. It is believed his father was the mirror-maker Nakajima Ise, who produced mirrors for the shogun. His father never made Hokusai an heir, so it is possible that his mother was a concubine. Hokusai began painting around the age of six, possibly learning the art from his father, whose work on mirrors also included the painting of designs around mirrors.
Hokusai was known by at least 30 names during his lifetime. Although the use of multiple names was a common practice of Japanese artists of the time, the amount of names he used far exceeds that of any other major Japanese artist. Hokusai’s name changes were so frequent and so often related to changes in his artistic production or style that they are useful in breaking his lifetime up into periods.
At the age of 12, he was sent by his father to work in a bookshop and lending library, a popular type of institution in Japanese cities where reading books made from wood-cut blocks was a popular form of entertainment for the middle and upper classes. At 14, he became an apprentice to a wood-carver, where he worked until the age of 18 before being accepted into the studio of Katsukawa Shunshō. Shunshō was an artist of ukiyo-e (a style of wood block prints and paintings that Hokusai would master) and head of the so-called Katsukawa school. Ukiyo-e, as practiced by artists like Shunshō, focused on images of the courtesans and Kabuki actors popular in Japan’s cities at the time.
After a year, Hokusai’s name changed for the first time, when he was dubbed Shunrō by his master. It was under this name that he published his first prints in 1779, a series of pictures of Kabuki actors. During the decade he worked in Shunshō’s studio, Hokusai married his first wife, about whom very little is known except that she died in the early 1790s. He married again in 1797, although this second wife also died after a short time. He fathered two sons and three daughters with these two wives, and his youngest daughter Sakae, also known as Ōi, eventually became an artist.
Upon the death of Shunshō in 1793, Hokusai began exploring other styles of art, including European styles he was exposed to through French and Dutch copper engravings he was able to acquire. He was soon expelled from the Katsukawa school by Shunkō, the chief disciple of Shunshō, possibly due to studies at the rival Kanō school. This event was, in his own words, inspirational: “What really motivated the development of my artistic style was the embarrassment I suffered at Shunkō’s hands.”
Hokusai also changed the subjects of his works, moving away from the images of courtesans and actors that were the traditional subjects of ukiyo-e. Instead, his work became focused on landscapes and images of the daily life of Japanese people from a variety of social levels. This shift was a breakthrough in ukiyo-e and in Hokusai’s career. Fireworks at Ryōgoku Bridge (1790) dates from this period of Hokusai’s life.
Devon Costello and Justin Lieberman have installed an exhibition referencing the cultural legacy of Japan. Both born in the US, Costello and Lieberman use cameras, hats, ceramics, and paint to synthesize a Japanese American experience. Although neither Costello nor Lieberman have visited Japan, the works on view in this exhibition generate questions about cultural fetishism and the tourist’s perspective or interpretation of a place from an appropriated history.
Food Show 2: March 21st to April 18th, 2014
Understanding food is a function of intelligence.
Dan Graham, Marc Joseph Berg, George Skelcher, Isabel Schneider, Mieko Meguro
The opening reception; March 21st, Friday, 6-8pm
Dan Graham and Antoine Catala Collaboration work,
Dolphin’s Smile (And More) ;
Story by Dan Graham, illustrations by Antoine Catala
October 25th to November 22nd
Opening Reception: October 25th, 6-8pm
3A Gallery; 179 Canal Street, #3A, New York, NY 10013
(On Canal Street between Mott and Elizabeth Street)
Phone; 1-212-219-7523 or 1-347-542-0811
Gallery is open Thursday, Friday 2-5pm and by appointment
The Angel of History
Aura Rosenberg and John Miller
September 19th-October 11th
Opening Reception: September 19th, 6-8pm
A Klee painting named ‘Angelus Novus’ shows an angel looking as though it is about to move away from something it is fixedly contemplating. Its eyes are staring, its mouth is open, its wings are spread. This is how one pictures the angel of history. Its face is turned toward the past. Where we perceive a chain of events, it sees one single catastrophe, which keeps piling wreckage and hurls it in front of its feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in its wings with such violence that the angel can no longer close them. The storm irresistibly propels it into the future to which its back is turned, while the pile of debris before it grows skyward. This storm is what we call progress.
The true picture of the past flits by. The past can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again.
–Walter Benjamin, “Thesis on the Philosophy of History”
The angel of history is the inspiration for Aura Rosenberg’s film. Compressed into five minutes, this film animates the ruin and progress of history, starting with formation of planets from gas clouds through to the present. The pile, culled from an online pictorial archive, depicts Benjamin’s single catastrophe. A flash of original paradise interrupts the cataclysmic momentum and reminds the viewer of the dialectic of history in which the past can be recalled only in relation to the demands of the present.
The installation will include Symmetrical Arrangement by John Miller
3A Gallery is pleased to show
Josh Thorpe: A Dog at Sea
May 31st – June 28th 2013
Opening Reception Friday, May 31st 5 – 8 pm
3A Gallery 179 Canal Street, #3A, New York, NY 3agallery.com 212.219.7523
Gallery Hours: Thursday, Friday 2-5 pm, or by appointment 347-542-0811
Poems about wayward dogs, loose figurations in low light, a large wall painting about a Roman toga. Maybe some ukulele
or electric guitar. Doodles, sketches, funny faces, nocturnes
Josh Thorpe makes installations, paintings, drawings, music, and texts. He teaches writing at University of Toronto and works at a heritage architecture firm called ERA. Recent work includes exhibitions or special projects at Toronto Sculpture Garden, Museum of Contemporary Canadian Art, Plug In ICA, Printed Matter, and David Roberts Art Foundation, UK. Articles and interviews have been published by Canadian Art, Border Crossings, and the Power Plant, and in 2009 Art Metropole published Thorpe’s book, Dan Graham Pavilions: A Guide. In 2011, Thorpe was a finalist in the Toronto Friends of the Visual Arts Artist Award and was elected to the Sobey Art Award Ontario Long List.
For images and information, please go to www.joshthorpe.com.
3A Gallery is pleased to show
Galleria Massimo Minini’s 40th Anniversary Show: The Postcard Days – May 10th to May 24th, 2013
Opening reception Friday, May 10th, 6-9:30pm
Gallery hour; Thursday, Friday 2-5pm and by appointment
Galleria Massimo Minini “The Postcard Days”——————————————————————— Dan Graham
Massimo Minini, one of Europe’s most admired art dealers has been operating his gallery for 40 years and has become a collector, not only collecting fine art, but postcards. It’s not old-fashioned to collect postcards. 60’s artists had this passion, sometimes making art out of postcards, one example being On Kawara’s postcard piece: “I woke up at…” Minini, along with the 60’s generation of artists, collect and display in their private homes artworks of friends and postcards – postcards are cherished as both a kitsch-like art-form and an emblem of shared friendships. An exhibition of Minini’s personal postcard collection will be featured from Friday, May 10th to May 24th at 3A Gallery
Galleria Massimo Minini history; http://www.galleriaminini.it/contacts/
THE POSTCARD DAYS by Massimo Minini
Once upon a time the world was different, maybe no worse, maybe no better, who’s to say.
In any case that world was there, just waiting to be seen even by mere mortals like ourselves, tourists driven by curiosity: not dauntless African explorers, just earnest pilgrims in our humble red Fiat 500 “Topolinos”, Renault Dauphines, and Ford Anglias.
Wearing our sailor suits – as Susanna Agnelli would say – we roamed through Italy, then Europe and America, which to us mainly meant New York.
Some truly adventurous souls even made it as far as Los Angeles.
We were travelling in the days before highways, before cell phones, calling home from pay phones that took tokens: in Italy, these were made of copper, with two grooves on one side and one groove on the other.
Back then you could count on fog in winter, fireflies in May, and swallows till the beginning of August.
The world was quite a discovery; though it had been discovered long ago, we were seeing it for the first time and just had to let our family and friends in on the joy.
So how did we tell our loved ones all about it? With postcards, of course!
Colorful little pictures of vacationland, beaches lined with umbrellas, mountains cloaked in snow, a lady on skis in Cortina doing a stem Christiana, the Swiss Alps full of cows, Tyroleans playing their long horns, Munichers swigging tankards of beer, Scottish men with hairy legs and red cheeks puffing bagpipes, airplanes flying the skies, ships sailing the seas, Emilio Comici climbing mountains, the Lake Garda of every German’s dreams...
Artists were no exception, and like maiden aunts, would send us pictures of newborn babies, absurd cards from some kitschy restaurant, overflowing soccer stadiums, very avant-garde postcards with very old-guard subjects.
Some artists not encumbered by modesty would send their own portraits or one of their works as a memento, lest we need reminding.
Then came the Internet, the web, Facebook, Twitter, and everything changed. The world is different now, maybe no worse, maybe no better, but the postcards have stopped coming.
And so we’ve gathered together those cherished old pictures and put them in a little book for posterity, presenting them in May 2013 at the New York gallery of our friend Mieko Meguro: one of those old-fashioned people who every so often will still fire off a postcard...
IL TEMPO DELLE CARTOLINE scritturata Da Massimo Minini
C'era una volta un mondo diverso, non peggio del nostro, non meglio, chissà.
Comunque c'era, quel mondo, ed era lì bello e pronto per essere visto anche da noi comuni mortali, turisti per curiosità, non eroici pionieri dell'Africa, ma onesti viaggiatori sulle topolino amaranto, sulle Dauphine Renault, sull'Anglia, sulla Cinquecento Fiat.
Vestivamo alla marinara e giravamo qua e là per l'Italia, poi l’ Europa e l’ America che, per noi era principalmente New York.
Qualche avventuroso si spingeva addirittura a Los Angeles.
Viaggiavamo prima della costruzione delle autostrade, prima dei cellulari, telefonavamo dalle cabine a gettoni che in Italia erano di rame con due scanalature da una parte ed una sola dall'altra.
Allora d'inverno c'era la nebbia, a Maggio le lucciole e le rondini fino ai primi d'Agosto.
Il mondo era una scoperta, anche se era già stato scoperto da tempo, ma noi lo
vedevamo per la prima volta e non potevamo non comunicare questa gioia ad amici e parenti.
Come potevamo far parte ai nostri cari di tutto questo? Ma con le cartoline!
Piccole colorate immagini di vacanza, spiagge con gli ombrelloni, montagne con la neve, una sciatrice a Cortina che fa lo Sten Christiania, le Alpi svizzere con le mucche, Tirolesi che suonano il grande corno, Tedeschi a Monaco che bevono birra a boccali, Scozzesi con le gambe pelose e gote gonfie mentre soffiano nelle cornamuse, aeroplani in volo, navi che solcano i mari, Emilio Comici che scala i monti, il lago di Garda sogno dei tedeschi...
Gli artisti non facevano eccezione, e come vecchie zie, ci mandavano foto delle bambine appena nate, improbabili cartoline di un ristorante kitsch, stadi di calcio strapieni di folla, cartoline molto d'avanguardia con soggetti molto di retroguardia.
Qualche artista, senza modestia, ci mandava il proprio ritratto o una propria
opera a mo' di memento, non si sa mai, magari ce ne dimenticassimo.
Poi è arrivato internet, il web, Facebook, Twitter, e tutto è cambiato. Oggi il mondo è diverso, non peggio, non meglio, ma cartoline non ne arrivano più.
Così abbiamo raccolto le vecchie care immagini e le abbiamo messe in un piccolo libro, a futura memoria, presentate a New York nel Maggio 2013, nella galleria di Mieko Meguro, nostra amica, una all'antica, che ogni tanto manda - ancora- cartoline....
Wineke Gartz; American Pain – March 22nd to April 19th, 2013
Opening reception Friday, March 22nd, 6-8pm
Gallery hour; Thursday, Friday 2-5pm and by appointment
Wineke Gartz ,“American Pain”
Wineke Gartz, an Amsterdam based artist, will show at 3A Gallery from March 22nd until April 19th, in an exhibition titled “American Pain(ting)”. This work combines video, drawings and collage with sound mixes. Gartz’s work was last shown in New York at 303 Gallery in 2009 in a group exhibition curated by the artist, Dan Graham. “American Pain” involves an investigation of the American dream landscape, linking historical 19th Century American “luminist” landscape painting (such as Thomas Cole) to the present-day Disneyotic Fantasyland in the suburban arcadia setting of the Native American operated “Mohegan Sun” casino-entertainment complex.
The casino’s theme-park-like setting can be viewed as a temple linking America’s Native American past to the promised future dreams of monetary success and a luxurious glamour “life style” for visitors who flock to “Mohigan Sun” ‘Country’ by bus from Chinatown. Gartz visualizes “Mohegan Sun’s” interior architecture as a Kafkaesque “Nature Theater”.
3A Gallery is pleased to show
Susan Grayson; Opening reception Friday, February 15th, 6-8pm
Nancy Haynes – THE PAINTING UNDRESSED
Opening reception; Wednesday, December 12, 2012 6-8pm
Gallery hour; Thursday, Friday 2-5pm and by appointment
3A Gallery is pleased to show
Peter Scott – Pardon Our Disappearance – Part One
Wednesday 12, September – Friday 19th, October
Opening reception Wednesday 12, September 6-8pm
Gallery hour; Thursday, Friday 2-5pm and by appointment
While photography is normally tasked with “capturing” its subject, the images in the photographically derived paintings in “Pardon Our Disappearance, Part One” seem to perpetually “come and go.” Painted on the reverse of raw cotton, the front side of the canvas appears blank. While a closer look gradually reveals a face, the residual image resists a fixed definition.
Conveying the relationship between aspiration and societal standards of beauty, these portraits of “makeovers” and “look-a-likes” employ a perceptual ambiguity which slows down the process of looking, removing some of the intentionality of the original images as they’re rendered more speculative.
In the second part of the exhibition, at Sometimes (works of art), the makeover process is considered in the context of urbanism, with photographs that reveal the significance of lifestyle culture in the reshaping of both the perception and reality of the built environment.
Peter Scott is an artist, writer, curator, and director of the non-profit gallery carriage trade. His work has been exhibited in the U.S. and Europe, including one-person exhibitions in the U.S., U.K., Holland, France, and Belgium. His writing has appeared in Artscribe, ArtUS, Zing Magazine, artnet, The Architect’s Newspaper, and Art Monthly as well as several exhibition catalogues. His projects have been featured in various publications including Artscribe, artforum.com, The New York Times, The New Yorker, The New York Observer, Time Magazine, Huffington Post, ArtCards, and artnet magazine.
image: Peter Scott Double Portrait (before/after), 2012, acrylic on reverse of canvas
Pardon Our Disappearance, Part Two will take place at Sometimes (works of art), 83 Canal Street 610, September 19-October 30. Opening September 19 at 6pm with a 7:15 pm performance by David Watson and Matthew Ostrowski. Gallery hours Wednesday and Friday, 10:30 am – 6:00 pm., and by appointment. 646-714-7470
3A Gallery is pleased to show
Kurt Finsten-Paintings, August 2nd-26th, 2012
opening reception August 2nd, 6-8pm
(Sara Coleridge: from “Poppies” 1834)
Kurt Finsten b. 1943. Artist. Director of Krabbesholm Højskole. Living in Western Jutland, a remote part of Denmark. http://www.krabbesholm.dk
ARTIST ASLEEP, PILLOW AT WORK
JUNE 8TH – JULY 22ND, 2012
OPENING RECEPTION JUNE 8TH / 6-8PM
Fine Art Photography; May 5th 2012- May 20th 2012
3A Gallery is glad to announce the collaboration with Galleria Massimo Minini.
Galleria Massimo Minini and 3A Gallery collaborate to present the exhibition Fine Art Photography,
inspired by Vision #5
The artists involved in both Vision #5 and Fine Art Photography are known for working in mediums other than photography, mostly painting and sculpture.
The works are not just studies, but give visual clues into the artists’ conceptual processes.
Photography which is a universal medium nowadays but that for its immediacy can give us an immediate glimpse on the artist’s life and perception.
Francesco Clemente, Dan Graham, Sol LeWitt, Luce Wilson, Robert Barry, Lawrence Weiner, Peter Halley, Ghada Amer, Reza Farkhondeh, Paul P., Haim Steinbach, Gwen Smith, Betty Woodman, George Woodman,Gianfranco Gorgoni, Francesco Simeti, Thea Westreich Wagner, Lucio Pozzi, Gianni Pettena, Pamela Giaroli,
Massimo Minini, Sienna Shields, Chuck Close, Mieko Meguro.
This show will coincide with the participation of Galleria Massimo Minini at the Frieze Art Fair in New York, May 4th -7th 2012. This is a one night event for friendship. Galleria Massimo Minini welcomes America and their American friends.
Let’s get together for Drinks May 5th, 6-9 pm at 3A Gallery, 179 Canal Street, 3rd floor.
The show continues until May 20th 2012.
3A Gallery thanks Galleria Massimo Minini.
179 Canal Street,
#3A New York, NY
T: +1 212 219 7523
GALLERIA MASSIMO MININI
Via Apollonio 68
25128 Brescia – Italy
T: +39 030 383034
F: + 39 030 392446
HASEGAWA; ARCHITECTURAL DRAWINGS
February 18th-March 18th, 2012
Japanese architect Itsuko Hasegawa’s architectural drawings from the Dan Graham collection.
Biography Hasegawa was born in Shizuoka, received her degree in architecture from Kanto Gakuin University (1964), trained with Kiyonori Kikutake. In 1969, Hasegawa entered Kazuo Shinohara’s lab at the Tokyo Institute of Technology as a graduate student. After two years, she became his assistant, a far greater honor and responsibility in Japan than the expression suggests in English. In 1979 she formed her own design firm, Itsuko Hasegawa Atelier, which has designed a number of award-winning buildings in Japan and abroad. Hasegawa is an Honorary Fellow of the Royal Institute of British Architects, and has received the Avon Arts Award, the Building Contractor’s Society Prize for the Shonandai Cultural Center, the Cultural Award for Residential Architecture (Fukuoka, Japan), and a Design Prize from the Architectural Institute of Japan.
FOOD SHOW December 18, 2011- January 22, 2012
The food show includes new sculptures by three Japanese/Japanese American artists:
Satoru Eguchi, Mieko Meguro and Trevor Shimizu.
A printed conversation between Asad Raza and Dan Graham, which gives great insight into food and some local restaurants, will also be available to take home.
* 3A Gallery is open intermittently and by appointment
* See also Trevor Shimizu’s Late Work solo show at 47 CANAL, (47 Canal Street, 2nd floor, NY, NY 10012 Phone 646-415-7712 www.47canalstreet.com/) Jan. 5 – Feb. 12, 2012.
ROCK MUSIC SHOW Sept. 25 – October 30th 2011.
3AGallery; 179 Canal Street, #3A, New York, NY 10013 Phone; 212-219-7523