Art collecting is a passion for many wealthy Americans. This was on display earlier this month, when the collection of Paul Allen, the late cofounder of Microsoft, was auctioned for $1.6 billion, setting a single-evening record. I doubt many of our listeners will have clients who amass a collection of that magnitude, but many will use their wealth to purchase art – either for esthetic reasons or in the hope that its value will appreciate. My guest today will discuss some of the principles and nuances one should know before purchasing art.
KIT WHITE Public Installation, THE HIVE, Times Square, NY
KIT WHITE Public Installation, Via Quadronno, 25 East 73, NY
FreedmanArt presents an extended version of "Shadowboxing" exhibition
ArtDaily August 9, 2020
Exhibition Review "Shadowboxing" on HYPERALLERGIC
Once More Into the Culture Wars
To assert one’s inner life in a time of reactionary politics is a radical act.
Jason Stopa February 22, 2020
In 1995, Ai Weiwei purchased a 2000-year-old ceremonial urn. The artist reportedly paid several hundred thousand dollars for it. He titled the work “Dropping a Han Dynasty Urn,” and as the title would suggest, Ai then dropped and shattered the vessel. By appropriating a work of symbolic Chinese history, he effectively purchased a cultural artifact, only to destroy it.
This act of willful destruction naturally caused an uproar. When pushed for answers, the artist quoted Mao Zedong, stating, “the only way of building a new world is by destroying the old one.” It is arguable that Ai’s gesture eradicates a piece of history in a rather minor way; the Han Dynasty remains with or without the vessel.
What this illustrates, however, is our collective desire for a historical do-over, to perform historical tensions, making the past an ongoing present to be reckoned with. The United States is no stranger to this. The country has been thrust into the culture wars for a second time. Contested memorial sites, erected long after the Civil War ended, have become flashpoints with historical and artistic intersections.
Kit White and nona faustine discuss their exhibition:"Shadowboxing"
FreedmanArt was pleased to host The Princeton Women's Network for a talk with Nona Faustine and Kit White
This was a special event for the Princeton Women’s Network: “Shadowboxing” an exhibition that uniquely pairs the new works of photographer Nona Faustine and painter Kit White. Organized by Lisa A. Banner, ‘85. Artists will be in attendance for intimate discussion and walk-through on Tuesday, December 17 at 6:30pm.
LISTEN TO TALK
BOMB MAGAZINE "Upon This Land: Shadowboxing" Reviewed by Stephanie E. Goodalle
Two artists render the historical legacies of racism.
Shadowboxing at FreedmanArt in New York City joins the works of photographer Nona Faustine and painter Kit White in a tête-à-tête that grapples with history, national memory, landscape, racism, and violence. In 2018, both artists were invited by curator Lisa Banner to discuss their work at the Institute of Fine Arts at New York University, and White then invited Faustine to collaboratively organize this show. Shadowboxing demonstrates the ways in which Faustine and White engage with American history in their respective practices, as well as their use of the photographic image to share distinct perspectives on a contested American landscape, both past and present.
GALLERY PEEPING: 5 SHOWS TO SEE IN NEW YORK THIS OCTOBER KIARA VENTURA
CULTURED MAGAZINE 10.17.2019
Nona Faustine and Kit White, “Shadowboxing” at Freedman Art
October 11 – December 31, 2019
In 2018, Nona Faustine and Kit White sat on panel together at NYU’s Institute of Fine Arts; this conversation was the catalyst for the formation of their two-person exhibition, “Shadowboxing.” Though they come from different backgrounds—Faustine is an African-American woman who works with self-portrait photography and White is a White American man who works with abstract painting—both of their practices are deeply informed by history and rooted in revisiting long-held assumptions about the past in order to move contemporary life forward. In “Shadowboxing,” the artists collectively dissect United States history, particularly pertaining to the Civil War. Considering that we, as Americans, are in a moment of questioning our history, our monuments and how this country was built—this is definitely not an exhibition to miss.
SHADOWBOXING: Photographs by Nona Faustine and Paintings by Kit White
Opening Reception: Friday October 11, 5:30 - 7:30pm
The artists will be in attendance
“Shadowboxing is a way to exercise and train the mind to see what one has never seen, and to connect the abstract with the concrete. Faustine's photographs reveal a new way of seeing both man-made and natural monuments and places that are familiar, with a vision of the soul of the place, and the power of experience that has transpired there, or been forgotten. White's paintings bring together the concrete, documentary aspect of place or landscape, with a personal and intentional private narrative. Together, they reconnect soul to place. Both artists explore time, history and its imprint on the landscape, on the people who walk there, and on the earth.” - Lisa Banner
FreedmanArt opens an exhibition of new paintings by Kit White
ArtDaily
April 23 2019
NEW YORK, NY.- FreedmanArt is presenting Walls and Occupied Spaces, new paintings by Kit White, opening April 16, 2019. The spaces in these paintings exist as metaphorical landscapes occupied by linear structures derived from both the organic and inorganic. Kit White's new work incorporates photographic images into his paintings as poignant backdrops to abstract lines. The photograph provides a material, worldly context for the drawing, which, though abstract, represents the real as an analog mark. This new series of works seek out images of land that have been scarred by conflict. Initially, the images were of contested spaces of what we have traditionally referred to as the Middle East, places where competing claims to land have led to war-like confrontations. Conflicts of all kinds, violent and non-violent, surround us and announce themselves through walls, barriers, and borders. These collisions, not always physical, are manifestations of the fraught politics of occupation, both actual and symbolic. The artist also found himself drawn to the photographs of Matthew Brady (1822 - 1896) and others of the Civil War, and meditating on the figurative wall born of that conflict, a psychological division that continues to separate us. view as [pdf]
Kit White in Conversation with Jason Stopa
FreedmanArt
April 20, 2019
As part of the Madison Avenue Gallery Walk presented by ARTnews, FreedmanArt is pleased to invite you to:
Kit White in Conversation with Jason Stopa
Saturday, April 27, Noon
"Landscape is more than the picturesque and the scenic. It articulates our collective sense of self. The spaces it describes are not merely physical, but psychological and cultural. It is a complex conflation of ambitions, affinities, identities and mythologies. Landscape is, by its very nature, political." - Kit White, 2019
Kit White Artist Statement: Walls and Occupied Spaces
March 2019
Over the years, I have approached the space of my paintings as metaphorical landscapes. They have horizons and are occupied by linear elements that act as surrogates for structures both organic and inorganic. But because paintings are wholly created spaces, the parameters by which they are judged are formal in nature. All content reaches the viewer through a formal lens. Yet, it is the other lens, the photographic lens, through which we now receive most of our knowledge of the world and contextualizes most of what we know of it. (download PDF to read full statement)
PRESS RELEASE: Kit White Walls & Occupied Spaces
FreedmanArt is very pleased to present Walls and Occupied Spaces, new paintings by Kit White, opening April 16, 2019. The spaces in these paintings exist as metaphorical landscapes occupied by linear structures derived from both the organic and inorganic. Kit White’s new work incorporates photographic images into his paintings as poignant backdrops to abstract lines. The photograph provides a material, worldly context for the drawing, which, though abstract, represents the real as an analog mark. This new series of works seek out images of land that have been scarred by conflict. Initially, the images were of contested spaces of what we have traditionally referred to as the Middle East, places where competing claims to land have led to war-like confrontations. Conflicts of all kinds, violent and non-violent, surround us and announce themselves through walls, barriers, and borders. These collisions, not always physical, are manifestations of the fraught politics of occupation, both actual and symbolic. The artist also found himself drawn to the photographs of Matthew Brady (1822 – 1896) and others of the Civil War, and meditating on the figurative wall born of that conflict, a psychological division that continues to separate us. Kit White studied at Harvard University, A.B. Fine Arts, Cum Laude, and had his first solo exhibition with Betty Parsons at Parsons/Dreyfuss Gallery in 1977. His work has been the subject of more than twenty- five solo exhibitions in galleries and Museums. He received a Louis Comfort Tiffany Award for painting and was a professor of painting for twenty-one years at Pratt Institute. His work is the subject of a monograph by Carter Ratcliff, Line Into Form, and Kit is the author of the international best-selling book 101 Things To Learn In Art School, published by MIT Press. A large selection of the original drawings from this book are in the collection of the Luther W. Brady Art Gallery at the Corcoran School of Art and Design, George Washington University. FreedmanArt established in 2011, serves to educate the public with an active exhibition program, guided by invitational artist exhibitions and special project conceptions both historical and new.
A Conversation with Carter Ratcliff and Jean Shin
FreedmanArt
January 11, 2019
In conjunction with our current exhibition, Hiding in Plain Sight: Objects Common & Curious, a conversation with Carter Ratcliff and Jean Shin at FreedmanArt.
Art From Objects at FreedmanArt
Modern Painters Magazine
January 2, 2019
"Hiding in Plain Sight", an exhibition of unconventional works of art, often created spontaneously...
view as [pdf]
Exhibition explores the transformation of common objects
ART DAILY
October 23, 2018
NEW YORK, NY. - FreedmanArt is presenting an exhibition that explores the transformation of common objects. "Hiding in Plain Sight celebrates the artist's power to transform the ordinary. As revision becomes visionary, art becomes revelatory, and we begin to see common objects as the bearers of previously unimagined possibilities." - Carter Ratcliff
view as [pdf]
“Hiding in Plain Sight” at FreedmanArt, New York
BLOUIN ART INFO
October 5
“Hiding in Plain Sight,” an exhibition of objects common, and curious will be on view at FreedmanArt, New York through December 29, 2018. The exhibition explores the transformation of common objects. The works of art have been made of marble, bronze, or oil paint on well-prepared canvases. Modernism turned artists’ attention to fugitive materials.
NYC Gallery Scene - Highlights
Hamptons Art Hub
September 30
FreedmanArt presents “Hiding in Plain Sight, Objects Common & Curious,” in collaboration with American art critic, writer, and poet Carter Ratcliff. An investigation of the transformation of common, found, and readymade objects, the exhibition features works by early 20th century masters through today’s contemporary masters including Alexander Calder, Joseph Cornell, Helen Frankenthaler, Pablo Picasso, Nancy Graves, Frank Stella, and Jean Shin, among others.
Hiding in Plain Sight
PRESS RELEASE
FreedmanArt - September 27
FreedmanArt is pleased to present its next exhibition, which explores the transformation of common objects. "Hiding in Plain Sight celebrates the artist's power to transform the ordinary. As revision becomes visionary, art becomes revelatory, and we begin to see common objects as the bearers of previously unimagined possibilities." - Carter Ratcliff
Glenn Goldberg's Patchwork Universe
The New Criterion (Mario Naves)
June 19, 2018
To get an idea of the curious byways an artist might find himself exploring, here, in the twenty-first century, you can’t do better than head to the New York Studio School’s “Glenn Goldberg: Plums and Breezes,” an adumbrated, if somewhat bumpy, overview spanning forty years. “Plums and Breezes” begins in 1977, when Goldberg entered the Studio School as a student, and works its way to pieces of a more recent vintage by the now–Associate Professor of Painting at Queens College. Goldberg’s trajectory, and more so his landing place, offer an example of how quixotic the artist’s lot has become. Contemporary artists work in a media landscape teeming with imagery, not to mention a culture inured to the notion that art is an endeavor free of standards or definition. Creative types have been left to their own devices in ways that were unimaginable one hundred, let alone five hundred, years ago. The challenge of operating within this increasingly fluid playing field isn’t realizing an individual vision, but instead making that vision matter. Given the rabbit holes into which artists ensconce themselves nowadays, the big question is why the rest of us should feel obliged to follow. READ MORE…