Frederico Seve Gallery un leguaje que acerca al Coleccionista

Una gran iniciativa empieza en la galería de arte Frederico Seve Gallery,  Una colección de arte comienza con una pasión personal y el amor por el arte. Cada uno define el arte de otra manera, un todo son válidas. Pero todos podemos estar de acuerdo con el hecho de que el arte tiene un valor especial en nuestras vidas y nuestro aprecio crece más encariñado cuando empezamos a recoger.
Entonces, ¿dónde puedo empezar? Aquí en FredericoSeve Gallery! En el espíritu de la temporada de invierno, te animamos a comprar obras de arte para su colección o como un regalo para difundir la alegría de la recolección.
Inventario más notable y asequible de la galería se exhibe en esta muestra con una gran cantidad de obras dentro de los $ 200 - rango de $ 5.000. Le animamos a visitar y tomar una lista de precios, siga el plan de piso, visitar el muro que se encuentra más atractivo y elegir un trabajo que te gusta!
Le ofrecemos una experiencia nueva galería. Queremos que se vaya feliz y siente que tiene una pieza especial para disfrutar en tu colección!
Así que no pierdas el tiempo y tomar ventaja de esta oferta por tiempo limitado esta temporada de invierno!

Pinta feria de arte Moderno y Contemporáneo de América Latina en Londres

Fanny Sanín, acrílico N.  en Frederico Séve Gallery

El pasado 6 de junio del 2012 en Londres se inauguro la feria de arte Pinta, una feria de arte Moderno y Contemporáneo de América Latina,  que se puso en marcha en Nueva York en 2007 y que ya el año pasado se extendió en la capital británica para extender un mercado en proceso de construcción entre las galerías que estuvieron presentes: Aina Nowack, AAC, Madrid, Alison Jacques Gallery, London  Anita Schwartz Galería de Arte, Rio de Janeiro, Arevalo Arte, Miami, Art Nouveau Gallery, Miami, Arteconsult, Panama, Baro Galeria, Sao Paulo, Bendana/Pinel Art Contemporain, Paris, Blanca Soto Arte, Madrid, Casa Triangulo, Sao Paulo, C.H.I.N.A Zavaleta Lab, Buenos Aires, Christinger de Mayo, Zurich, Cynthia Corbett Gallery, London , Durban Segnini, Miami, England & Co Gallery, London , El Museo, Bogota , Rafael Ortiz – Equipo 57, Sevilla Espacio Mínimo, Madrid, Espaivisor - Galería Visor, Valencia, Estudio Arte 8, Caracas, Federico Luger, Milan, Fernando Pradilla, Madrid, Frederico Sève Gallery - Latincollector, New York , Galería Filomena Soares, Lisbon, GC Arte, Buenos Aires, González y González, Santiago, Graça Brandao, Lisbon, Henrique Faría Fine Art, New York, Ideobox Artspace, Miami, Isabel Aninat, Santiago, Jaggedart, London , José de la Mano Galería de Arte, Madrid, La Caja Negra, Madrid, La Galería - Arte Contemporáneo, Bogota, LGM Arte Internacional, Bogota, Luciana Brito Galeria, Sao Paulo, Luis Adelantado, Valencia, Maddox Arts, London Max Wigram Gallery, London, Oscar Roman, Mexico DF, Pan American Art Projects, Miami, paz y comedias Galería, Valencia, Post Box Gallery, London, Prometeo Gallery, Milan, Rafael Ortiz, Sevilla Roberto Paradise, San Juan, Salar Galería de Arte, La Paz Sammer Gallery, LLC, Miami, Sprovieri, London, The Americas Collection, Miami, TJ Boulting, London , Y Gallery, New York 

Iván Contreras Brunet, Galería Isabel Aninat

Las Ferias de Arte en New York, The Armory Show, scope art, volta show. Rafael Barrios

Georgina Chumaceiro and Elizabeth Hazim Art Nouveau Gallery Directors, proudly announce that their artist Rafael Barrios has been selected to install ten large scale sculptures in Park Avenue New York.

Also taking notice of Latin American art’s rising popularly is The Armory Show and its Focus program that provides an annual platform for one of the world’s thriving arts communities. After featuring Berlin in 2010, the show's second edition of Armory Focus has turned its attention to Latin America. An invitation-only component of the fair, it features a selection of galleries from Argentina, Brazil, Chile, Colombia, Mexico, Peru, and Venezuela. “New York City has long been a center of Latin American art,” says Katelijne De Backer, Armory Show executive director. “Armory Focus: Latin America will highlight this vital force in the city’s.

MutualArt spoke with several leading gallery directors in Mexico, Marcio Botner of in Brazil, Ignacio Liprandi  in Argentina and Isabel Aninat in Chile - all of which are first-timers at The Armory Show.

All agree that Latin American art has evolved into a global market hot spot. “The world is looking to Latin America as a new place for investment and a cultural spot as never before because of its fresh and different worldview. For Latin America, art fairs like Armory are important because they allow us to show our art forms in a more globalized world,” says Aninat Utera.

Rafael Barrios Sculpture on Park Avenue New York

 “There is a growing vibrancy and energy and new enthusiasm in Latin American art, but also a growing awareness of the history and the cross-references between Latin American art and European art,” said Linda Blumberg, the executive director of the Art Dealers Association of America.

Several institutions have led the way, Ms. Leval said, like the Museum of Fine Arts in Houston under Peter C. Marzio, who died last year; the Bronx Museum of the Arts under Holly Block; and the New Museum under Marcia Tucker, who died in 2006. El Museo del Barrio, which recently reopened after an extensive renovation, has become perhaps New York’s leading Latino cultural institution. In June, the museum plans to explore the visual arts and aesthetic development across the Caribbean in collaboration with the Queens Museum of Art and the Studio Museum in Harlem.

The Modern has a long track record with Latin American Art; its holdings include the sculptor Gego, the painter Jesús Rafael Soto and the painter and sculptor Joaquín Torres-García. Most recently, the museum has established a special fund for Latin American and Caribbean acquisitions, with Patricia Phelps de Cisneros, a longtime champion of Latin American art at the museum, as its chairwoman. 

SCOPE Art Show,  PINTA NY ART FAIR

Pinta Art Fair - The Latin American Art Exhibition, New York - London

PINTA is a unique event exhibiting annually ­ for sale through the participating galleries ­ the best of Latin American art, coinciding with Christie’s and Sotheby’s Latin American art auctions and with important exhibitions in museums and cultural institutions in New York City.
The fair organizers have invited the most prestigious galleries from the United States, Latin America and Europe to participate in this event. Thus, PINTA will be an exclusive fair which will include the participation of fifty select art galleries showing museum-quality works representative of abstract, concrete, neo-concrete, kinetic and conceptual art, as well as of other contemporary art movements.
It’s a little embarrassing to watch the New York art world “discovering” Latin American modernist art year after year, as if forever only half-aware of its existence. And it’s depressing to know that the Museum of Modern Art, which could have been collecting widely in the field for decades, had to wait for a windfall in the form of a gift collection to deal with this material in a serious and committed way. We are, after all, talking about the art of a continent and a century, not just a fad from yesterday.
No surprise then, given the circumstances, that the city is only now getting its first fair devoted to Latin American art.
With just 35 galleries, Pinta is a big event in a small package. The layout, by the architect Warren A. James, is stylish and airy. In general a less-is-more sensibility prevails. For once, a fair looks like an art exhibition, not a job-lot display. And when a booth is crowded, the pieces can be blamed, as is the case at Appetite, a gallery with branches in Buenos Aires and Brooklyn that shows young artists working in an accumulative mode.

The thread that runs through Pinta, and partly accounts for its stripped-down appearance, is modernist painting and sculpture from the 1940s through the ’70s. The first thing you see is a group of open-work steel and glass sculptures by the Brazilian artist Waltércio Caldas presented by Gabinete de Arte Raquel Arnaud from São Paulo. “Transparent” is the word Mr. Caldas applies to this work, and it is apt.

Durban Segnini Gallery of Miami has abstract pieces, including a kind of tabletop tower with a curling window from 1967 by Eduardo Ramírez Villamizar, a mini-Frank Gehry before Frank Gehry came into his own. At Leon Tovar there’s a subtly kinetic piece by Jesús Rafael Soto (1923-2005); the slightest breeze will set its curtain of dangling rods into optically shimmering motion.

A 1952 sculpture in clear plastic by María Freire at Sammer Gallery Miami is exemplary of the soaring utopianism of a heady era. And something like this spirit survives into the present in paintings by Fanny Sanin and Tony Bechara at Latin Collector, of recent date but in classic abstract geometric style.

At the same time “classic” is defined many ways in Latin American art: by a spidery 1962 León Ferrari ink drawing at GC Estudio de Arte; by figurative paintings by Wifredo Lam at Treart; by a booth full of Xul Solar watercolors at Rubbers International Gallery; and by the marvelous etchings by Gego (Gertrude Goldschmidt, 1912-94) at Cecilia de Torres, a gallery that, along with Mary-Anne Martin Fine Art (not in the show), has long been one of the city’s primary showcases for Latin American material, old and new.

Pinta has its share of new art too, with up-to-the-minute work by Alexandre Arrechea, Eugenia Calvo, Arturo Duclos, Darío Escobar, Nicolas Guagnini, Marco Maggi and Damián Ontiveros Ramírez scattered here and there. (Don’t miss the witty and moving 2007 video by Liliana Porter at Hosfelt Gallery.)

Notably sparse, however, is overt religious or political imagery of a kind that still defines contemporary Latin American art for many people. And it is hard not to see a direct correlation between the playing down of such content and the current spurt of interest in Latin American work by the New York art world mainstream.

In any case all such balances could shift next year when, if things go as planned, the fair will increase the size of its exhibition space and, presumably, the number of participants. If strength really is in numbers, maybe New York, a Latin American city, will finally see what it has been missing all this time.
By HOLLAND COTTER, 2007