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Walter Randel Gallery is takes great pleasure in announcing the opening of Part II of Winter Kunstkammer which will take us into spring of 2010.

The critic Edward Lucie-Smith has described the Kunstkammer as an assemblage of various art objects in a single room; despite their miscellaneous character, these works of art, found in the studios of artists, studies of scholars and homes of collectors of discernment from the past, may be said to precede the practice of shows in formal galleries and museums of today.

The seven contemporary artists in this part of the exhibition are as different and diverse as the works of art from the past with which they exhibit their work — along side works of art spanning a timeline of four millennia and from all over the work. Works of art from European, Asian, African, Oceanic, and New World cultures are represented. Variety and choices for the collector abound. We hope that this exhibition can demonstrate that collecting can be understood as a wonderful, exciting process.



Painter and glass artist Arlan Huang was born in Bangor, Maine, in 1948 and grew up in San Francisco’s Chinatown. He graduated from Pratt Institute in Brooklyn. The paintings he presents in this show are his latest works dating from 2009. His awards include a grant from the Andy Warhol Foundation for the Visual Arts and recognition from the Department of Cultural Affairs of New York City. Huang’s current project is an ambitious commission at the Laguna Honda Hospital, in California, where thirty blown glass rondels laminated on ten frosted mirror glass panels with four large windows with blown glass forms inside glass blocks will be installed in early March.

Pictured: Untitled 2, oil and acrylic on canvas, 28 inches x 28 inches, 2009


Ernest Kafka, a New York photographer, is an enthusiastic collector of art from ancient and medieval times to the present. His photographs of a recent voyage to Jordan and Egypt appropriately record how modern-day people live today surrounded by vestiges of the past among the ruins of some of the oldest cradles of civilization. The images both record the flow of time and put the viewer in the places and epochs in history when some of the works in the exhibition were created or derived their inspiration.

Pictured: Bosra Roman Ruins, pigment inks on Epson Exhibition Papers,
14 inches x 21 inches, 2009




Bruna Stude is a photographer who first studied law in Split, Croatia. After years of working as a journalist and radio reporter, she left Croatia in 1987 to pursue a life as a crewmember at sea, where she became a photographer of the ocean and its forms; she has circumnavigated the globe several times. Since 2002, she has made her home on the island of Kauai, recording the sea’s changes and the things that live in it. Her work was recently included in two museum collections at which she exhibited: 20 Going On 21: Honoring the Past, Celebrating the Present, Looking to the Future at The Contemporary Museum Honolulu and Artists of Hawaii 2009 at The Honolulu Academy of Arts juried by Laura Hoptman, the Kraus Family Senior Curator of the New Museum of Contemporary Art, New York, NY.

Pictured: Circles, pigment inks on archival paper, 20 inches x 20 inches on sheet size 22 inches x 22 inches AP from an edition of 5, 2005



An artist for 25 years, Charles Birnbaum studied clay sculpture at the Kansas City Art Institute with Ken Ferguson, the noted teacher of ceramics. He then did his graduate work at the Tyler School of Art in Philadelphia. His hand-sculpted porcelain art is subtle and precise, conflating intricate organic imagery. He received a prestigious Honorable Mention in the 2008 International Ceramics Festival in Mino, Japan.

Pictured: Floating Wall Piece IX, porcelain, 18 inches x 18 inches x 15.5 inches, 2008





Josef Levi studied at the University of Connecticut and Columbia University. In 1965 he had his first show in New York City. His work can be found in the Museum of Modern Art, the Albright Knox Gallery, the Aldrich Museum, and the Corcoran Gallery. Corporate collectors of his art include the Bank of New York and Exxon. Originally a painter, Levi has since 2002 been altering his “still lives” of known faces from paintings of women by old and modern masters as well as commissioned portraits on the computer, so that there is a greater bias toward abstraction.

Pictured: Bellona: from Variations on a Theme,
archival inks on paper, 19 inches x 13 inches, 2009







Mark Sengbusch was born in Ravenna, Ohio, in 1979. He received his MFA from the Cranbrook Academy of Art in Michigan. He currently lives and works in Brooklyn. The imagery in his paintings, influenced by Sengbusch’s experiences with a loom and computer games, can be described as “future artifacts” – compositions in which a rich tapestry of weaving and functional computer data are merged.

Pictured: Rectangle Eater #1, acrylic on plexiglass, reverse painted,
12 inches x 12 inches x 1 inch, 2007



Ted Kurahara was born in Seattle, Washington, and moved to New York after graduate work done in Peoria, Illinois. An abstract painter of unusual subtlety, Kurahara has worked for many years in downtown New York. He has received grants from the Guggenheim Foundation and the National Endowment for the Arts; and has exhibited worldwide, in France, Italy, Sweden, and Switzerland. His second solo exhibition at Walter Randel Gallery this past fall of 2009 was met with great critical acclaim and was reviewed by Jonathan Goodman on artcritical.com.

Pictured: Cadmium Red over Alizarin Crimson, acrylic on canvas,
28 inches x 28 inches, 2008






For more information contact Yoo-Jong Kim or Walter Randel yjk@wrgallery.com
 

 

Walter Randel Gallery is pleased to announce the rotating winter exhibition Kunstkammer I & II. The critic Edward Lucie-Smith has described the Kunstkammer as an assemblage of various art objects in a single room; despite their miscellaneous character, these works of art, found in the studios of artists, studies of scholars and homes of collectors of discernment from the past, may be said to precede the practice of shows in formal galleries and museums of today.

This exhibition includes important works from all over the world – Europe, Asia, Africa, Oceania, and New World cultures are represented, spanning two millennia. Visitors will have the opportunity to see and acquire paintings, sculptures, ceramics, and photography, made by both historical figures and living artists; in the proximity of their installation, care has been taken to develop interactive relations between the objects, regardless of their date or culture.

Informed appreciation for art is based upon an individual’s quest for quality and knowledge. In short, it is a matter of connoisseurship, a skill that can be trained by experience over time. Our sensibility must be fueled by curiosity; looking at art from differing cultures is actually not so daunting as the task might seem.


For today's collector, with so much art available to the public, finding out what to collect is not the major issue; rather, one can seek and enjoy the formal success of almost any work of art, that is, how the way its appearance in relation to its intent, affects the viewer. Understanding works from earlier periods does not have to depend upon obscure historical scholarship; rather, appreciation can be developed by recognition of an artwork’s innate characteristics – something the painter Willem de Kooning recognized when he wrote in a sketchbook that “There’s no way of looking at a work of art by itself it’s not self-evident. It needs a history; it needs a lot of talking about. It’s part of a whole man’s life.”


If we listen to de Kooning, collecting can be understood as a wonderful, exciting process whereby the object’s distance – the result of institutional possession – is denied. Collecting is in fact the expression of sensibility. As a result, the immediacy of proximity and ownership is a life-enhancing and, sometimes, a life-changing experience. The variety of fine and decorative arts available in this two-part show (“Kunstkammer I and II”) argues against the pernicious myth that art is a luxury; indeed, it is more of a requirement, in which contact with creativity is truly a matter of absolute necessity.




Part II of this exhibition will be rotated January 28 and will run through March 27, 2010 and will include paintings by Arlan Huang and photographs by Bruna Stude.



Pictured:

Top Left: Africa, Bamana Peoples, Kore Society Mask,
19th Century, Height: 17”

Middle Left: Ted Kurahara, Alizarin Crimson over Black,
Acrylic on Canvas, 2008, 24” x 24”

Bottom Left: Charles Birnbaum, Foucanlong,
2007, Porcelain, Height: 12”


        

Pictured Above:

Left: Lucien Clergue, Picasso and the Primitive Sculpture (Cannes, 1955),
Silver Gelatin Print, 2007,  20” x 17”

Center: Japan, Edo Period, Subodai: one of the ten great disciples of Buddha,
18th-19th Century, Gilt and Lacquered Wood with Inset Glass Eyes,  Height: 20.5”

Right: Late Zhou Dynasty earthenware vessel, ca. 5th Century BC - 3rd Century BC, Height 17



Installation Part 1


Hours: Tuesdays - Saturdays 11:00AM - 6:00PM
Contact: Yoo-Jong Kim or Walter Randel.
Additional images available upon request to Cecelia Capps: info@wrgallery.com




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