Hole cropped

source: speronewestwater

Sperone Westwater Fischer was founded in 1975, when Italian art dealer Gian Enzo Sperone, Angela Westwater, and German art dealer Konrad Fischer opened a space at 142 Greene Street in SoHo, New York. (The gallery’s name was changed to Sperone Westwater in 1982.) An additional space was later established at 121 Greene Street. The founders’ original program showcased a European avant-garde alongside a core group of American artists to whom its founders were committed. Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of Bruce Nauman’s seminal early shows; eleven Richard Long exhibitions; and the installation of one of Mario Merz’s celebrated glass and neon igloos in 1979 — part of the gallery’s ongoing dedication to Arte Povera artists, including Alighiero Boetti. Other early historical exhibitions at the Greene Street space include a 1989 group show, “Early Conceptual Works,” which featured the work of On Kawara, Bruce Nauman, Alighiero Boetti, and Joseph Kosuth, among others; a 1999 Fontana exhibition titled “Gold: Gothic Masters and Lucio Fontana”; and selected presentations of work by Piero Manzoni. From May 2002 to May 2010, the gallery was located at 415 West 13 Street, in a 10,000-square foot space in the Meatpacking District.

Renowned American artists Bruce Nauman and Susan Rothenberg have been with Sperone Westwater since 1975 and 1987, respectively. They are joined by established and internationally-recognized artists, including Guillermo Kuitca, Richard Long, Malcolm Morley, Evan Penny, William Wegman and Not Vital, as well as a younger generation of artists like Bertozzi & Casoni, Wim Delvoye, Kim Dingle, Charles LeDray, Tom Sachs, Jan Worst and Liu Ye.

Sperone Westwater also has in its inventory work by Carla Accardi, Alighiero Boetti, Lucio Fontana, Heinz Mack, Piero Manzoni, Mario Merz, Otto ‘Piene, Julian Schnabel, Richard Tuttle, and ZERO Group.

In September 2010, Sperone Westwater inaugurated a new Foster + Partners designed building at 257 Bowery in New York. Today, over 35 years after its conception, the gallery continues to exhibit an international roster of prominent artists working in a wide variety of media.

In 2011, the Municipal Art Society of New York presented Foster + Partners (with Adamson Associates, architect of record) their MASterworks Award of Best New Building for Sperone Westwater at 257 Bowery. Organized annually by the Municipal Art Society, the MASterworks Awards recognize projects from the preceding year that exemplify excellence in architecture and urban design, and make a significant contribution to New York’s built environment.

In 2012, The Royal Institute of British Architects (RIBA) awarded the building its International Award for architectural excellence.
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source: tillfashiondouspart-yyblogspot

Last but not least, Charles LeDray, un artista neoyorkino, funciona como sastre, costurero, y sombrerero, pero en tamaño increíblemente pequeño, un poco mayor que una muñeca de juguete, pero menor que un niño. LeDray se interroga acerca de la identidad masculina a través de la miniaturización conmovedora de ropa ficticiamente personalizada que una vez sintió el calor espectral de cuerpos imaginarios. Chaquetas, camisas y corbatas cuelgan en sus perchas, destrozadas por debajo de la región media del tórax ( “Traje Rasgado”, 1997-1999, Colección de Eileen Harris Norton) o limpiamente agujereadas en el pecho y el abdomen ( “Hole”, 1998, Colección Cartin). Esto implica actos de violencia, indicando la destrucción de la persona, tanto física como psicológicamente.
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source: labastidanefr

Charles LeDray, artiste multi techniques américain né en 1960, vit tel Gulliver dans le monde de Liliput, les vêtements sont miniaturisés à l’extrême, d’une parfaite réduction d’échelle dans les moindres détails.

Je n’ai pas toujours réussi à comprendre la démarche de l’artiste vu par d’autres. Mais j’ai la sensation en regardant chaque photo, d’une sentiment de vide, de malaise, comme si l’humain, s’était évaporé, disparu d’un monde matériel, petit et étroit, une impression dérangeante mais en même temps soulageante, paradoxe aux yeux de celui qui me lit, j’ai l’impression que l’artiste a symbolisé ce que je ressens chaque jour que les vêtements ne sont que masques, usées, élimés, uniforme d’une civilisation qui tente à disparaître ensevelie sous la poussière qui s’accumule, sous une abondance inutile, et une société de consommation, qui obstrue à nos yeux l’essentiel, abruti par le travail et la compétition, l’obsession de la performance. Nous ne laisserons dernière nous que nos vêtements élimés.
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source: arteseanpblogspot

Charles LeDray (1960-) Nasceu em Seattle. Vive e trabalha em Nova York. Escultor americano autodidata. Começou a trabalhar com cerâmica na infância. Passou a construir sua obra com tecidos, cerâmica e ossos humanos. Sua tentativa é de criar uma miniatura do mundo. Ele trabalha só, construindo ele mesmo seus objetos e instalações. Exibições em grandes museus Whitney Museum of American Art, Nova York, Institute of Contemporary Art, Boston, Institute Contemporary Art, Los Angeles e Saatchi Collection, Londres.