Public Debut of Painting on Paper: Vera Lutter's Old Master Photographs
from the Los Angeles County Museum of Art (LACMA)
“Coffee Talks” Discussion Series with International Museum Experts Xavier Salomon, Emerson Bowrey, Esther Bell, Ulysses Dietz
, and More
October 28 – November 1, 2017
Park Avenue Armory, New York City
October 2, 2017 (New York, NY)
– TEFAF New York Fall
today announced the line-up of cultural programming for the second edition of the Fair, which will take place at the Park Avenue Armory in New York City from October 28 to November 1, 2017.
The cultural programme encompasses a dynamic series of panel discussions, lectures, and events with international art world leaders and institutions, including the Metropolitan Museum of Art
, The Frick Collection
, and Neue Galerie
. A special exhibition of new photographs by acclaimed photographer Vera Lutter
, Painting on Paper: Vera Lutter's Old Master Photographs,
is on loan from the Los Angeles County Museum of Art
(LACMA) and forms the centerpiece of the cultural programme at TEFAF New York Fall.
The exhibition and programming is available to all TEFAF New York Fall ticketholders (RSVP may be required). Additional information and the complete schedule of programs follow below.
TEFAF NEW YORK FALL 2017
Loan Exhibition from LACMA
Painting on Paper: Vera Lutter's Old Master Photographs
A collection of new large-scale photographs by Vera Lutter make their public debut at TEFAF New York Fall. Created as part of the artist’s residency at LACMA, which began in February and continues through March 2018, this dynamic new body of work draws inspiration from the museum’s architecture, gallery interiors, and vast permanent collections. The presentation at TEFAF New York Fall offers visitors an exclusive opportunity to preview a selection of photographs from the still-ongoing project, which culminates in a major survey exhibition at LACMA in 2019. Vera Lutter’s residency at LACMA is supported by Sotheby’s.
“We are thrilled to host this very special sneak peek from LACMA at TEFAF New York Fall,” comments Michael Plummer, Managing Director of TEFAF New York. “These exceptional works by Vera Lutter are important documents of LACMA’s evolving physical structure and world-class collections. We look forward to offering TEFAF visitors the unique opportunity to experience this stimulating West Coast project here in New York—and to seeing how Lutter’s residency continues to evolve in the coming months.”
Lutter’s Camera Obscura
Born in Germany and based in New York City, Vera Lutter creates monumental photographs using one of the oldest optical technologies still in use: the camera obscura
. Lutter began to use a camera obscura in the mid-1990s, shortly after moving to New York, when she transformed part of her apartment into a room-sized camera to document the city outside her window. Since then, Lutter has adopted the camera obscura as her singular working method, building enormous versions out of plywood or adapting portable structures (such as shipping containers) to photograph a range of sites and subjects. Each photograph is a completely unique work.
For her residency at LACMA, Lutter is utilizing several custom-built cameras constructed on-site at the museum. Although the artist has previously photographed classical and modern sculptures, the LACMA residency represents her first time photographing two-dimensional works of art. Among the LACMA paintings featured in the presentation at TEFAF New York Fall are Lutter’s photographs of Frans Snyders’s Game Market
(1630s), Ludovico Mazzanti’s The Death of Lucretia
(c. 1730), and Pieter Saenredam’s Interior of the Mariakerk, Utrecht
Download high-res images of Vera Lutter exhibition highlights here:
Download images LACMA Vera Lutter
Painting on Paper: Vera Lutter's Old Master Photographs at TEFAF New York Fall, is sponsored by Bank of America
, which supports more than 2,000 nonprofit arts organizations worldwide each year through exhibitions, loans from the Bank of America collection, grants, education programs, and employment opportunities. Since 2010, Bank of America has awarded a series of grants l as part of its Art Conservation Project, providing funding to conserve more than 120 projects in 30 countries on six continents to date. Representing different art movements, styles, media, and time periods, selections range from eighth-century BCE stellai from Assyria (Brooklyn Museum) to Frank Stella’s Tahkt-I-Sulayman Variation II
, 1969 (Minneapolis Institute of Art) to Joan Miro’s Portrait II
, 1938 (Museo Nacional Centro de Reina Sofia). The full list of 2017 grant recipients will be announced at a special event during TEFAF New York Fall.
In conjunction with Painting on Paper: Vera Lutter's Old Master Photographs
, TEFAF New York Fall presents two special featured events:
SATURDAY, OCTOBER 28
A CONVERSATION WITH
MICHAEL GOVAN, CEO AND WALLIS ANNENBERG DIRECTOR OF THE LOS ANGELES COUNTY MUSEUM OF ART
Michael Govan, Director of the Los Angeles County Museum of Art (LACMA) joins Thomas Marks, Editor, Apollo Magazine, for a conversation about photographer Vera Lutter’s residency at LACMA and his plans for the museum’s future.
SUNDAY, OCTOBER 29
A CONVERSATION WITH VERA LUTTER
The artist discusses the exhibition “Painting
on Paper: Vera Lutter’s Old Master Photographs” and her residency at the Los Angeles County Museum of Art with J. Patrice Marandel,
Curator Emeritus, and former Chief Curator of European Painting and Sculpture, LACMA.
For reservations/registration please visit www.tefaf.com/tefafweek from October 5th
TEFAF COFFEE TALKS
October 28 –November 1, daily 10:30-11:30 am, Empire Restaurant, Board of Officers Room, Park Avenue Armory
TEFAF Coffee Talks are complimentary with admission to the Fair. As space is limited, reservations are strongly recommended. For reservations, please visit www.tefaf.com/tefafweek
Saturday, October 28
Hidden Splendor: What’s happening in painting conservation around the Venetian Lagoon?
Can Old Masters still surprise? Can those paintings or painters we think we know so well still have new things to tell us? The recent restoration projects of two works by Paolo Veronese prove that they can, providing a foretaste of the exhibition “Veronese in Murano, Two Venetian Renaissance Masterpieces Restored” at The Frick Collection, this discussion provides new insights into the artist’s materials and practice. This panel examines both restoration projects and general issues of conservation to do with Veronese and more broadly with Venetian art over the past decade.
: Christopher Apostle, Senior Vice President and Director, Old Master Paintings, Sotheby’s; Michael Gallagher, Conservator in Charge, Department of Painting Conservation, Metropolitan Museum of Art; Toto Bergamo Rossi, Director, Venetian Heritage Foundation
: Xavier Salomon, Senior Curator, The Frick Collection
Sunday, October 29
Sculpture and Intimacy: Materiality and the Personal
Sculpture is often considered to be a monumental, public art form. But there is a long, parallel history of sculpture engendering intimate encounters: bronze statuettes seen in flickering candlelight, ivory bodies that warm to the touch, and aged surfaces that invite reverie. How can we explain our instinctual desire to connect with sculpture? This panel explores the peculiar properties of sculpted objects, and considers issues of tactility, scale, and viewing conditions, as well as the varying sensual environments of museum galleries and private interiors.
Frances Beatty, President, Adler Beatty; Jon Landau, collector; Dino Tomasso, Tomasso Brothers Fine Art
: Emerson Bowyer, Associate Curator, European Painting and Sculpture, Art Institute of Chicago
Monday, October 30
Fingerprints in the Paint and The Expert Eye
What questions does the specialist ask when poised before the canvas and how do they deal with surprises? This panel relay their own stories of the unexpected and the often-thrilling path of discovery when examining an object, and debate how an expert’s eye can extract information about authorship, an artist’s working method, and the original intent of a picture. What do we learn from close looking? And what is the role of connoisseurship in modern day museum and market practice?
Claire Barry, Director of Conservation, Kimbell Art Museum; Jack Kilgore, Jack Kilgore & Co.; Mary Morton, Curator and Head of French Paintings, National Gallery of Art;
Esther Bell, Curator of Painting and Sculpture, Clark Art Institute
This talk is organized in association with the Sterling and Francine Clark Art Institute
Tuesday, October 31
Surface or Substance? Jewelry as Adornment and Power
The human desire to embellish and ornament is timeless. Over the course of millennia, it has been chronicled and critiqued, lauded and lambasted. Jewelry is perhaps the most obvious manifestation of this desire. But does our cross-cultural fascination with jewelry represent simply a superficial fancy for adorning ourselves, or can this impulse to ornament our bodies mean something more? This panel addresses jewelry’s multiple functions across cultures and over time; its participants – hailing from various professions and cultural perspectives – discuss jewelry’s deeper meanings: from symbols of political power and spiritual significance, to souvenirs of friendship and love – or even agents of provocation.
: Navina Haidar, Curator, Islamic Art, Metropolitan Museum of Art; Freyja Hartzell, Assistant Professor, Bard Graduate Center; Jonathan Wahl, Jewelry Artist and Director, Jewelry Center, 92nd
Street Y; Beth Wees, Curator, American Decorative Arts, Metropolitan Museum of Art
Ulysses Dietz, Curator, Decorative Arts, Newark Art Museum
Wednesday, November 1
Perils, Pitfalls, and Adventures in Art Finance
Art can be used as loan collateral, a consignment advance, an auction room guarantee, or to pay large estate taxes. It brings with it unique challenges – and drama - unlike any other asset. This panel of specialists has experienced it all and shares frontline stories from the war rooms of lending and finance.
: Evan Beard, National Art Services Executive, US Trust; Andrea Danese, CEO, Athena Art Finance; Nanne Dekking, CEO, Artory, Inc.; Mitchell Zuckerman, Art Market Advisors
: Elizabeth von Habsburg, Managing Director, Winston Art Group
This talk is organized with the assistance of the Appraisers Association of America.
Note for editors:
Go to www.tefaf.com/press for press releases and high-resolution images
TEFAF is a not-for-profit foundation acting as an expert guide for both private and institutional collectors in a global art marketplace, and inspiring lovers and buyers of art everywhere. TEFAF now runs three Fairs internationally: TEFAF Maastricht, TEFAF New York Fall and TEFAF New York Spring.
About TEFAF New York
A joint venture between TEFAF and Artvest Partners, TEFAF New York was founded in early 2016 to host two annual art fairs in New York at the Park Avenue Armory, TEFAF New York Fall and TEFAF New York Spring. Each Fair features over 90 leading exhibitors from the around the globe. Tom Postma Design, celebrated for its innovative work with leading museums, galleries, and art fairs, has developed designs for the Fairs that interplay with the spectacular spaces while giving them a lighter, contemporary look and feel. Exhibitor stands will flow throughout the Armory’s landmark building encompassing the Wade Thompson Drill Hall and extending to both the first and second floors of the Armory’s period rooms, creating a Fair of unprecedented depth and impact in New York City.
TEFAF New York Fall 2017 will be held October 28 through November 1, 2017.
About TEFAF Maastricht
TEFAF Maastricht, the world’s leading art and antiques Fair, champions the finest art dealers and experts from around the world. It was the first art fair to be run by dealers for dealers, and inspires lovers and buyers of art everywhere. The 31st
edition of TEFAF Maastricht will be held in the Maastricht Exhibition & Congress Centre from March 10-18, 2018.
Since 2005, TEFAF has been supporting research and international collaboration by means of a special Chair of Oncology at the research institute GROW, the School for Oncology and Developmental Biology at the Maastricht University Medical Centre.
Since its inception in 1965, the Los Angeles County Museum of Art (LACMA) has been devoted to collecting works of art that span both history and geography, in addition to representing Los Angeles's uniquely diverse population. Today LACMA is the largest art museum in the western United States, with a collection that includes more than 130,000 objects dating from antiquity to the present, encompassing the geographic world and nearly the entire history of art. Among the museum’s strengths are its holdings of Asian art; Latin American art, ranging from masterpieces from the Ancient Americas to works by leading modern and contemporary artists; and Islamic art, of which LACMA hosts one of the most significant collections in the world. A museum of international stature as well as a vital part of Southern California, LACMA shares its vast collections through exhibitions, public programs, and research facilities that attract over one million visitors annually, in addition to serving millions through digital initiatives such as online collections, scholarly catalogues, and interactive engagement. LACMA is located in Hancock Park, 30 acres situated at the center of Los Angeles, which also contains the La Brea Tar Pits and Museum and the forthcoming Academy Museum of Motion Pictures. Situated halfway between the ocean and downtown, LACMA is at the heart of Los Angeles.
About TEFAF’s Sponsors:
Athena Art Finance
Launched in October 2015 with $280 million of equity capital led by the Carlyle Group and investors of the private equity unit of the Pictet Group, Athena is an independent specialty finance company, dedicated to serving the financing needs of the global art market. Building upon the strength of its founding shareholders, The Carlyle Group and investors of the private equity unit of the Pictet Group, Athena specializes in lending solutions secured by blue-chip fine art collections. www.athena-art.com
For further information:
Josh Schoenfelder, Js@Sharpthink.com
, +1 212 829 0002
Lucy Barry, Lucy@Goldensquared.com
, +44(0)20 7439 2822
TEFAF: Jan Peter Verhagen, firstname.lastname@example.org
, +31 411 760 023
Xiaoling Xu, Collectioninchina@163.com
,+86 138 1731 2289
Gaëlle De Bernède, Gaelledebernede@gmail.com
, +33 175434680
Britta Fischer, email@example.com
, +49 611300877
Roberta Barbaro, Gestione3@Studioesseci.net
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, +31 6 52600055
5268 HD Helvoirt
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TEFAF New York
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