Monthly Archives: August 2017

An Artist’s Response to Climate Change

Lorenzo Quinn’s large art installation titled Support is in response to the planet’s ever-changing climate. The subject — two massive hands helping hold Venice’s Ca’ Sagredo Hotel — plays with the duality of the human experience, how we’re equally capable of creativity and destruction.

The Need for Support

Represented by Halcyon Gallery, Support marks a first for Venice. Never before has an installation been installed out of the Grand Canal itself.

“The hand holds so much power,” says Quinn, “the power to love, to hate, to create and to destroy.”

Support is both a love letter to Venice and a cry for help. “Venice is a floating art city that has inspired cultures for centuries. But to continue to do so, it needs the support of our generation and future ones, because it is threatened by climate change and time decay.”


Your Painting Needs an Old Master’s Boost: Glazing

Color Choices for Glazes That Make Your Painting Glow

You have the power to make your paintings glow. With this glazing tutorial, Kent Lovelace breaks down every section of a painting and discusses the ways and means to use glazing (or not), including what colors to dip your brush into first.

The painting Dolmen (below) by Kent depicts an area in rural France that’s believed to be the quarry site for a prehistoric dolmen (tomb) found five kilometers up the valley. Below he describes his painting process for this piece, particularly the glazing.

Get inspired by how light-filled Kent’s artwork appears. And remember that you can create the same look and feel for every one of your paintings with Glazing by Michael Wilcox. It is the leading resource for the methods of a technique that goes all the way back to the Renaissance. Imagine! You could get the same “glow” that the Renaissance’s Old Masters are known for! Enjoy!


I paint in oil on a copper support, which gives my finished paintings a luminescence or glow. After sanding the copper support, I create a monochomatic underpainting of the land and plant forms (but not the sky) with Old Holland neutral tint.

Painting with old, stiff brushes allows the copper to come forward. You can see the directional marks in the foreground of Dolmen. I use a razor blade or rubber scraper when I want especially clean marks.

Color Glazing

Once the underpainting is finished, the color glazing begins. For this I use transparent or translucent paints that let hints of copper shine through. The paint films are very thin. Even if you can’t see the copper, you can feel its presence.

Glazing Tree Forms

I began glazing the tree forms of Dolmen primarily with umber green, yellow ochre and cobalt blue. In much of the painting, I utilized the purple-ish underpainting for darks and subtle texture.

I created the light on the trunks by using the transparent nature of both Liquin and Cremnitz white over the warm tone of the copper and the darker neutral tint of the underpainting. I made highlights and shadows with cobalt and manganese violet reddish.

Glazing Upper Land Forms

For the upper elements of the lands forms, I glazed the underpainting with yellow ochre, umber green, violet and Cremnitz white, I chose a mixture of yellow ochre, Cremnitz white and Italian brown pink lake for the area beneath the outcrop.

In the foreground, I glazed with transparent Italian brown pink lake over the textured brushwork of the underpainting.

Glazing the Sky Area

For the sky area, I used cobalt blue, blue violet, manganese violet reddish and Cremnitz white. I painted the sky directly on the copper without an underpainting,

As Istanbul Galleries Face Manifold Challenges, Dealers Band Together

There are big changes afoot in the Turkish art scene. This week, as the city of Istanbul readies for the opening of the 15th Istanbul Biennial, and as Contemporary Istanbul—the city’s main art fair—is about to open one of its most international editions to date, a group of local dealers are launching a new art hub in the neighborhood of Karakoy. The collaborative opening points to a shift in the local scene: the political instability has left its mark on the finances and visibility of many mid-size galleries, and so the global trend towards finding models of working together is here translated into deeply involved synergies.

“About a year ago, a few dealers started coming together to talk about our needs, and began to standardize operations. We tried to stay closer to each other,” gallerist Jade Yesim Turanli, who runs the Istanbul- and London-based gallery Pi Artworks, told artnet News. “We all share the same collector base, and that is new. I’ve had my gallery in Istanbul for 20 years and this is a development of the last five years. We’ve finally figured out that being together is more valuable for all of us.”

Pi Artworks, as well as three other contemporary art galleries including Galeri Nev Istanbul, artSümer, and Mixer have banded together to open under one roof in a newly constructed building in Karakoy. Another gallery, Sanatorium, is moving to an address across the street.

“The political situation created the necessity,” Turanli said. “Foot traffic and international audience both dropped last year. If an art patron is coming to Istanbul for a business trip, previously they’d maybe stay a week, but now it’s just in and out. It’s important that if they have time to see one place, it could be our complex.”

The new hub is in fact a direct result of the current situation in Turkey in more than one way. The building was originally planned as a hotel, but the tourist industry has also suffered a blow, and the art dealers were able to take over the construction project that a hotel developer wasn’t able to finish.

The Turkish art scene has known better days. Neighborhoods like Beyoglu and Nisantasi are considered as the city’s oldest gallery districts, but between 2008 and 2012, following the opening of the museum Istanbul Modern, a slew of galleries opened in the area of Tophane.

“We founded Tophane Artwalk, created a map and organized open Sundays. On one open Sunday, I remember around 350 visitors. It was a great atmosphere,” Asli Sümer, of artSümer, told artnet News.

But then came the violent attacks on the galleries in Tophane by angry mobs in 2010. By 2012, many gallerists have moved away or closed down entirely.

The echoes of these attacks still resonate. In the new multi-level building, the ground floor is going to be a café as none of the dealers wanted to be visible and accessible from the street, Turanli explained.

“We have to be sensitive to the general audience, and I think some shows could work better in an environment that we can control. There have not been any incidents [in Karakoy] but we feel more secure like this,” she added.

The synergies between the galleries operating the building are also possible thanks to the fact that their programs are complementary rather than competitive. artSümer, for example, focuses on emerging artists, most of whom had their first gallery show with Sümer. (The gallery represents Gözde İlkin, a young artist who is part of the 15th Istanbul Biennial.)

Pi Artworks, on the other hand, works with mid-career artists, while Mixer specialize in editions and prints.

But besides sharing an address and patrons, Sümer points out that other, deeper synergies are possible, citing models like the highly popular gallery swap program, Condo. “Collaboration—local or international—is key in developing new audiences and I think everyone is aware of this now,” she told artnet News. “Gallerists in Istanbul who decide to close their spaces but continue representing their artists is also a strong possibility.”

“I think this is important because this keeps the art world sustainable; as long as the artist have space to show work they can keep creating.”

Art Industry News: Ann Freedman Settles Final Lawsuit Over Knoedler Forgery Scandal

Art Industry News is a daily digest of the most consequential developments coming out of the art world and art market. Here’s what you need to know this Monday, September 11.


The Story Behind That Stolen de Kooning – More than 30 years after the painting was cut from its frame at the University of Arizona Museum of Art, authorities are investigating how Willem de Kooning’s newly recovered Woman-Ochre (1955) ended up in the bedroom of a now-deceased New Mexico couple. A leading theory: They stole it simply to enjoy it. (New York Times)

Darren Aronofsky in Hot Water Over Mural  The mother! director has apologized after an advertising agency, Apparition Media, painted over a well-known Sydney mural with an ad for his film without the proper authority. Aronofsky has said he is “embarrassed and furious” and will pay to replace the mural. (BBC)

Ann Freedman Settles Final Lawsuit – The embattled former Knoedler director settled the last of 10 lawsuits against her over the $70 million forgery ring that rocked the art world. The lawsuit was brought by California collector Frances Hamilton White over a fake Pollock. Knoedler and its parent company are still facing two ongoing lawsuits. (The Art Newspaper)

Sterling Ruby Discusses His Latest for Calvin Klein – The art world descended on Fashion Week to see Sterling Ruby’s latest collaboration with designer Raf Simons: a mobile sculpture, Sophomore (2017), created for the designer’s spring 2018 horror-themed fashion show. “Three weeks ago, Raf said, ‘You think you can do it? Can we repurpose the mobile but integrate horror?’” Ruby recalls. (ARTnews)


Sir Howard Hodgkin’s Collection Hits the Block – More than 350 works from the little-known collection of the late painter will be sold by the artist’s partner, Antony Peattie, at Sotheby’s. Proceeds from the October 24 sale of works by Patrick Caulfield, Sir Peter Blake, and Bhupen Khakhar will be used to execute the painter’s final wishes, “in which he left a lot of money to a lot of people,” Peattie says. (BBC)

Following Hurricane Damage, Art Fairs Cancel – In light of damage caused by Hurricanes Harvey and Irma, ArtMRKT Productions has suspended the 2017 editions of both the Texas Contemporary Art Fair in Houston and the Miami Project fair. Both are expected to resume as normal next year. (Glasstire)

Tala Madani Signs With 303 Gallery – New York’s 303 Gallery now represents the LA-based artist, known for her provocative paintings and video works. Madani had a big year in New York, with works on view at the Museum of Modern Art and the Whitney Biennial. (Press release)

La Biennale Paris Relaunches – The prestigious art fair, which is underway at the Grand Palais through September 17, is evolving under new American management. Formerly known as the Biennale des Antiquaires, the event will now be held annually in an effort to better compete in the crowded art marketplace.