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A Gallery of Experience – Mishpacha Magazine

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A Gallery of Experience – Mishpacha Magazine

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Photos: Naftoli Goldgrab
Y ou could almost miss the door to Antoine Helwaser's gallery on Madison Avenue and 69th Street, wedged between boutiques so exclusive that only a few exquisitely crafted, carefully curated dresses and handbags are displayed in the windows. But behind the black-painted door, up three flights of old staircase, one enters a brightly lit, starkly modern white space that is the Helwaser Gallery.

It's not large, only a reception desk and a couple of large rooms currently hung with the colorful geometric paintings of emerging artist Anton Ginzburg. Only the tall, wrought-iron-framed windows leading to a tiny balcony suggest the prewar origins of the building. (We're led in by Mr. Helwaser's daughter Clara and her husband of ten months, Yaakov Mens, who has been helping his father-in-law with marketing and publicity. Both of them pursued advanced studies at Cambridge, and Yaakov is still associated with the Middle East and North African Forum (MENAF), a foreign policy think tank affiliated with the university.)

Mr. Helwaser now emerges to greet us, dressed with casual Parisian elegance in a dark blazer, sweater, and black yarmulke. About 13 years ago, he and his wife, Anne-Marie, moved their family from Paris to New York. Mr. Helwaser's manner is welcoming yet circumspect, a combination perhaps of European reserve and native modesty.

Like analyzing a complex painting, it will take some time to uncover the layers, and there are many; it will turn out that Mr. Helwaser is very much a Renaissance man, an international art expert who has studied philosophy and psychology; a jazz pianist; a child of Holocaust survivors; and a Jew who elected to embrace his faith after a childhood during which it was vigorously suppressed.

Repairing the Links

Antoine Helwaser grew up in a home with parents who were clearly cultured, intellectual people with talents in music and art. Yet Jewish culture was conspicuously absent.

"My parents weren't simply unreligious," he says. "They did everything they could to suppress their Judaism. They didn't make me a bar mitzvah. We didn't even fast on Yom Kippur."

In fact, he wasn't aware he was Jewish until he was ten years old.

His parents did give him a bris when he was born - 18 years to the day after his father's family was deported to Auschwitz. The significance of the number 18, life, is not lost on him today: The loss of his family in 1942 was transformed into new life 18 years later.

His parents' determination to suppress their Jewish identity was clearly a reaction to the trauma of the war. They were the children of Polish immigrants to Paris, and managed to survive the war in hiding in the French countryside. But the rest of their families were sent away and perished, with the exception of a grandmother who returned from Auschwitz, and an uncle who returned from Buchenwald.

Antoine Jacques, their second child (he has a brother and a sister) was given the Hebrew name Yaakov after a great-uncle Yankel who, according to the reports that came from the camps, had been one of Mengele's victims.

"After the Shoah, the survivors became a sort of vanished generation," Mr. Helwaser says. "My parents never spoke about it. The press never spoke about it. There was a television series called Holocaust in the 1970s that brought more of it to light. It wasn't until Claude Lanzmann made the film Shoah in the 1980s that people even had a word for it. But when I was a teen, there were no words for it."

The silence was deafening. Helwaser found himself like a man without a country.

"We Jews are a people of words," he says. "I needed to put words to something that had no words."

In that silence, he found something of an escape in art, which offered a world of fantasy and dreams.

Even without words, the trauma reverberated through the generations, marking them all in different ways. For Mr. Helwaser's nonobservant siblings, the Shoah remains their main way of connecting to Judaism. His daughter Clara was moved to write her master's thesis, while attending university on a Cambridge European Scholarship, about the media silence in France after the Holocaust.

"I looked at Jewish newspapers in France from the war and on," she says. "There was really no mention of the Holocaust until the 1980s, after the trials of Nazi war criminals. The French didn't want to take responsibility."

Mr. Helwaser's parents began to open up a little more in the 1980s, as the rest of the world also began to speak openly about the Shoah, and Clara's grandmother began telling her stories, as if realizing time was short and they'd be forgotten if she didn't.

The sense of rootlessness and family secrets led Helwaser to explore psychoanalysis as a younger man, and even try psychotherapy himself. In the end, he says, it was Torah and the study of mussar that helped him move on and find the greater personal and Jewish connectivity and fulfillment he'd been searching for.

"I needed to connect to my roots, to Jewish transmission. How can there be a Jewish future without a past? It was as if there was something out there that was mine, but had gotten lost."

He knew his grandparents had been religious, even if he had no idea what that meant. As he searched, he made some friends who were more observant than he was, and began going to a beis medrash in Paris. He met Benny Levy, the prize student of Jean-Paul Sartre who famously left philosophy to study in yeshivah in Strasbourg, and later became a student in Jerusalem of Rav Moshe Shapira and founded the Institut d'Etudes Levinassiennes.

A Happy Accident

Anne-Marie followed Antoine on his journey, evolving along with him. After becoming shomer mitzvos, the Helwasers became close to Rabbi Yosef Haim Sitruk a"h, the chief rabbi of France, whose eloquence and ability to speak to Jews of all levels captivated an entire generation of young Jews. Helwaser and his wife became practically a part of the Sitruk family, spending Pesach with them for several years; he remains close to the Sitruk children and son-in-law Rabbi Ariel Gay, who directs the Centre Alef, a kollel and Torah center in Paris.

In the beginning, Helwaser's parents, especially his father, felt marginalized and betrayed by his newfound enthusiasm for Judaism. But they grew to accept it, and even lit Shabbos candles themselves in later years.

"My father loved life, enjoyed its pleasures," Helwaser says. "I myself always felt more of a separation between myself and the pleasures of this world, but my pleasure now is in learning."

He's currently working on a book about his journey, processing his family relationships, the Holocaust, and his return to Torah.

Their move to Riverdale was a happy accident.

"The Helwasers mostly wanted to move to America for the Jewish experience," his friend Josh Landes relates. "They came to explore, and were looking around at different communities. They got to Riverdale just a few hours before their flight back. There they stumbled on the Riverdale Jewish Center, where Mrs. Miriam Hering a"h was so warm and welcoming, telling them right away where they could send their children to school, even proposing a house that had come up for rent. They ended up making major life decisions right there on the spot."

Once they arrived, he continues, they were considered such an attractive, colorful family that everyone wanted to invite them for Shabbos.

"They didn't eat at home for a year," Josh claims.

Once in Riverdale, the Helwaser children attended SAR (Salanter Akiba Riverdale). Mr. Helwaser affiliated with the Young Israel of Riverdale, learns with chavrusas in kollel, and considers Rabbi Mordechai Willig his rav.

"Antoine is a masmid. He learns every day, a lot," says Dr. Tsvi Bar David, a popular podiatrist who is a member of Helwaser's chaburah. "He's a very spiritual guy - very sincere and devoted to his learning and his family."

When Clara and Yaakov married last April - a home wedding with only 25 people, due to COVID restrictions - Mr. Helwaser's father was already sick. A few days after the wedding, Clara and her parents all contracted COVID at once, and Antoine was sick enough to require a day in hospital. While there, his father was niftar in France, and of course he was deprived of the chance to get to France to participate in a levayah.

Yet perhaps there's a certain poetic justice in the timing, just seven days after the wedding: The war-scarred generation passed on just as the Helwasers' oldest daughter married, ceding its place to a new family that will launch the next generation of Torah Jews.

The Helwasers' son, a talmid in Yeshivas Toras Moshe in Jerusalem, got married in Israel a few months ago (a real, non-COVID wedding at the time).

"My father-in-law was on a cloud," Yaakov says. "He was so happy to have created the beautiful frum family he hadn't had as a child, and see it grow before his eyes."

In the Imagination

So what compels a Torah-observant Jew like Antoine Helwaser to become involved in this world of exclusive galleries? The art we see on the walls in the current exhibit is a good place to start.

"Anton Ginzburg is a Russian artist who lives in Brooklyn," Mr. Helwaser says. "He's a young, promising artist that we deal with directly." When asked to explain the work, he shrugs and says, "This is a typically Russian style of art, deriving from the Constructivist and Primitivist traditions of Russia in the 1920s. It's geometric - it plays with light and colors."

I'm not sure what distinguishes these canvases from other modern art, or how it introduces something new and important.

"To understand, you have to know what came before," Mr. Helwaser says. "That's how you know if something is truly original, or simply copies another style."

Yaakov volunteers that since coming into the Helwaser family, he's spent some time reading up on modern art, hoping to gain understanding. With a grin, he offers, "It takes background to understand why, when you see a tiger shark in a tank of formaldehyde, people consider it a work of art."

According to Mr. Helwaser, modern art is a very Jewish business; many world-famous artists were (or are) Jewish, and many of the dealers are Jewish as well. But an artist's Jewish background is no guarantee that the resulting art will be Jewish in content or perspective, and in fact Helwaser takes a dim view of lowering an artistic vision by trying to infuse it with Jewish content.

"Much of what we call 'Jewish art' is just decorative," he states. "It's not art for art's sake."

Clara suggests that perhaps Chagall could be considered Jewish art. But her father says no: Chagall took shtetl scenes for inspiration, but he was equally likely to use Christian images or landscapes to create art. Anything was fair game for his larger artistic vision.

In contemporary art, he says, art is meant to be appreciated at the surface level, a two-dimensional plane. Art does not possess the depth of Torah, which exists on many levels and teaches us how to live in the world and behave responsibly.

"Art has no depth," he says. "It's not in this world. It's in the imagination."

In fact, when asked if the culture of the secular art world is ever at odds with Jewish hashkafah, he responds that he doesn't believe most artists are terribly interested or influenced by outside trends in politics or culture. They're just interested in their art, in taking their vision and bringing it to the canvas.

A Passion, Not Just a Parnassah

Mr. Helwaser imbibed art from a very early age. His father a"h, who started off after the war in the "shmatteh business," had a passion for art, and began collecting various works. In the 1970s he opened a gallery, and the children grew up being taken to museums and private galleries.

While Mr. Helwaser modestly doesn't say much about his father's success, his friend Joshua Landes, a hedge fund director who has spent time in France, told Mishpacha, "I was told by an acquaintance that Antoine's father was one of France's most well-respected art dealers."

In 1985, after studying philosophy, psychology and art history, philosophy and conservation at the Université Panthéon Nanterre in Paris (Yaakov slips in that his father-in-law earned a national prize in philosophy during that time), Helwaser fils began working with Helwaser pere. Mr. Helwaser's brother and sister are still in Paris, but he's the only one who pursued the art business.

"You have to have a passion for it," he says. "If not, it doesn't work. It's more than just an intellectual mastery."

His wife Anne-Marie wasn't originally much of an art buff, but when they moved to New York, she began taking classes at the New School and reading up. Now she's extremely involved in the primary market, promoting emerging artists who seem promising.

Thirteen years ago, after 20 years of working with his father in Paris, Mr. Helwaser decided to move to New York. The reasons were both professional and personal: the center of the modern art business is in New York, and New York is a more congenial environment to raise a Jewish family.

"My sons couldn't wear a kippah in Paris," he says. "There is tremendous pressure to conform, to hide one's Jewish identity. New York isn't like that at all. New York is a collection of communities, each one of which feels free to retain its identity."

He has a large network of clients here, and says modern art dealers are a small enough circle that everybody knows everybody. As in other luxury markets, such as jewelry, trust is paramount when dealing with clients. Helwaser's clients trust his expertise, honesty, and judgment, and develop longstanding relationships with him.

"Art is so personal," he says. "When you share art that you love, you share something of who you are yourself. A dealer and a client have to share a certain sensibility, or develop one together."

He takes on the role of teacher to many of his clients, accompanying them to galleries and auctions, showing them how to appreciate fine art and opening their eyes to its depths.

When asked if he has personal favorites among the artists he sells, he's hard- pressed to answer.

"I'm so deeply into art that everything is a favorite," he replies. "When you know the whole body of an artist's work, you develop favorites among those works. An artist like Picasso has many different periods, and I might prefer one period, and within each period there are pieces I like more than others."

Despite his intense involvement with art - or perhaps because of it, and the high standards he deals with on a daily basis - Mr. Helwaser himself doesn't paint or sculpt. Instead, his son-in-law tells us, he's a jazz pianist.

"He sings, too," Yaakov says.

Helwaser smiles. "My father was a jazz singer, and he made sure to give the children piano lessons," he says. "I didn't enjoy it when I was a child and was forced to practice. But once I started doing it on my own, I loved it."

In the end, the most precious work of contemporary art Antoine Helwaser has acquired turned out to be his own canvas - brushstrokes of a Torahdig life.

The Deal of the Art

The Helwaser Gallery deals in the whole spectrum of modern art: the well-known names and the promising new entrants.

The market for up-and-coming artists like Anton Ginzburg, whose work can be purchased directly from the artist, is known as the primary market. Helwaser's wife, Anne-Marie, takes care of this end of the business. Antoine, on the other hand, deals with the secondary market: art whose value is already established and has been previously owned. He specializes in postwar modern art, which has been centered in New York since the 1940s and '50s: the Abstract Expressionists of the 1950s and '60s (think Rothko, Motherwell, Pollack), pop art (Andy Warhol, Roy Lichtenstein), and conceptual art at the end of the 1960s (Sol LeWitt, Joseph Kosuth, etc.).

But that art is nowhere to be seen in the Helwasers' gallery.

"I have it warehoused elsewhere in New York," Mr. Helwaser says. "It's extremely valuable."

He has dealt with the work of just about every major artist since World War II, and his clients include private collectors, museums, art lovers, and those who simply buy art as an investment, much the same way other investors buy stocks.

Can art really be a lucrative investment? Very much so, Helwaser says, if you invest with enough knowledge and seichel to avoid making mistakes. Returns of up to 12 percent are common, although it's usually better to hold on to a valuable piece of art. Part of his job involves advising art investors, who pay him a commission.

"It's not just a matter of which artist you buy," he explains. "Each artist has his different periods, and within each period, some works are more valuable than others. That expertise is how you know that one painting is worth a million dollars, while another is valued at two and a half million."

Being chosen for exhibition in a museum or gallery adds value to a painting, and the condition of a painting likewise influences its market value. Is it in mint condition, or did it require repairs - and why? New York, as the center of the modern art world, is home to a cadre of experts trained to restore works of art. They can size up a piece and submit a report on its condition to investors.

As everywhere, Covid has affected the art world, restricting travel and canceling gallery showings and museum exhibitions. The business moved mostly online. Yet the art market has remained as strong as ever, if not stronger.

"People see there's money to be made," Helwaser says.

And Yaakov adds, "The rich are getting richer, and when that happens, it always creates a better market for art."
(Originally featured in Mishpacha, Issue 853)

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Photos: Naftoli Goldgrab Y ou could almost miss the door to Antoine Helwaser's gallery on Madison Avenue and 69th Street, wedged between boutiques so exclusive that only a few exquisitely crafted, carefully curated dresses and handbags are displayed in the windows.

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Religion’s Role in the American Conception of Economic Freedom » Mosaic

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Religion’s Role in the American Conception of Economic Freedom » Mosaic

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In this excerpt from his forthcoming book Religion and the Rise of Capitalism, Benjamin M. Friedman seeks to find in American Christianity the roots of the economic ideas that have long prevailed in this country:

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Wednesday night, Israeli planes struck a weapons depot outside Damascus, reportedly killing three pro-Iran fighters. While such attacks have become both routine and widely known, the IDF has also been fighting the Islamic Republic at sea, a fact only recently brought to public attention because of an explosion on an Iranian military vessel on Tuesday. Ron Ben Yishai explains:

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Religion's Role in the American Conception of Economic Freedom " Mosaic

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In this excerpt from his forthcoming book Religion and the Rise of Capitalism, Benjamin M. Friedman seeks to find in American Christianity the roots of the economic ideas that have long prevailed in this country: Sign Up For Our E-Mail List Get the latest from Mosaic right in your inbox Wednesday night, Israeli planes struck a weapons depot outside Damascus, reportedly killing three pro-Iran fighters.

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To contact us, email [email protected] Managing Editor: Dan Kagan-Kans Associate Editor: Andrew N. Koss Editorial Assistant: John Minster Krauthammer Fellow: Tamara Berens Editor-at-Large: Neal Kozodoy Publisher: Eric Cohen Advertising Mosaic welcomes relevant advertisements from newspapers, journals, publishers, and institutions. Specifications and pricing are available in our .

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5 Artists to Follow if You Like Yayoi Kusama - Artsy

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In this monthly series, Artsy's Curatorial team features a group of five emerging and noteworthy artists who are working in a similar style or spirit as a well-known or established artist. This month, we focus on

. The famed Japanese artist, best known for her "Infinity Rooms" and polka-dotted pieces, has created poetic, groundbreaking work across installation, performance, sculpture, and painting for seven decades.

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5 Artists to Follow if You Like Yayoi Kusama

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In this monthly series, Artsy's Curatorial team features a group of five emerging and noteworthy artists who are working in a similar style or spirit as a well-known or established artist. This month, we focus on .

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Clearwater Contemporary Art, LLC (d/b/a "Helwaser Gallery") is committed to protecting and respecting your privacy. This privacy policy describes the Personal Data which Helwaser Gallery collects about you through your use of our Platforms, and also sets out how we use, disclose, and protect this data. It also outlines your choices and rights regarding the personal information you have provided to us.

This policy applies to all Personal Data processed online by Helwaser Gallery through its website, social media platforms, email, and newsletter subscription service.
For the purposes of this Policy:
"Personal Data" means any information relating to an identified or identifiable natural person, where an identifiable natural person is one who can be identified, directly or indirectly, in particular by reference to an identifier such as a name, an identification number, location data, an online identifier or to one or more factors specific to the physical, physiological, genetic, mental, economic, cultural or social identity of that natural person; and

"process", "processed" and "processing" means any operation, or set of operations, which is performed on Personal Data or on sets of Personal Data, whether or not by automated means, such as collection, recording, organisation, structuring, storage, adaptation or alteration, retrieval, consultation, use, disclosure by transmission, dissemination or otherwise making available, alignment or combination, restriction, erasure or destruction.
What information do we collect?
You may give us information about you by filling in forms when using our services, signing up to our newsletter or contacting us with enquiries. Such information can include:

1. Your name, address, telephone number and e-mail address; and

2. Data including artwork information, artworks owned, requested, offered, reserved, purchased, consigned and details of artwork invoices.

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We keep your information confidential, but may disclose it to our personnel, suppliers or subcontractors insofar as it is reasonably necessary for the purposes set out in this privacy policy. However, this is on the basis that they do not make independent use of the information, and have agreed to safeguard this information.

In addition, we may disclose your information to the extent that we are required to do so by law (which may include to government bodies and law enforcement agencies) in connection with any legal proceedings or prospective legal proceedings, and in order to establish, exercise or defend our legal rights (including providing information to others for the purposes of fraud prevention).
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Your Personal Data is generally processed by us as necessary for purposes directly related to our functions and activities. This includes any one or more of the following purposes:

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Updated August 2019

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Based in New York City, Helwaser Gallery specializes in Post-war and Contemporary art featuring seminal artists such as Alexander Calder, Helen Frankenthaler, Adolph Gottlieb, and Yayoi Kusama. In January 2019, the gallery will re-open on the Upper East Side with a contemporary art program, featuring Anton Ginzburg, Boedi Widjaja, Christina Kruse, and Lin Yan.

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Veteran Dealers Antoine and Anne-Marie Helwaser Have Opened a New Upper East Side Gallery Space.

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In what marks their eleventh year in New York, veteran private dealers Antoine and Anne-Marie Helwaser have opened Helwaser Gallery on Madison Avenue. The husband-and-wife duo first made their name showing European and American modern masters at the gallery they opened in Paris in 1986, and have been fixtures in the secondary market ever since. They moved to New York in 2008.

The opening of the new space goes hand-in-hand with another development for the pair: Helwaser Gallery is now shifting gears to add a focus on developing the careers of contemporary artists. Among these is Anton Ginzburg, whose latest work is the subject of the space's inaugural exhibition, and centers on his "VIEWs" series of geometric wood-panel paintings that playfully reinterpret Suprematist aesthetics.

Recently, the Helwasers sat down to talk with us about their decision to reopen a brick-and-mortar gallery, the move into contemporary art, and more than a decade in New York.
You've been successful secondary market dealers for decades. How did you decide to shift to contemporary artists and decide to reopen a gallery space?
Antoine HelwaserTo be honest, these are not ideas we had been thinking over for a long time. It was more serendipitous and a reflection of how an encounter with an artist, or a trip to the Venice Biennale, happened to send us down a path. After working in the secondary market for 30 years, launching a full exhibition program struck us as the next step. Then, practically speaking, we needed a space suitable for public exhibitions and programs with enough flexibility to show artworks in all media and across multiple themes.
Tell me a bit about your story. How did you two first meet and was art always a shared passion?
We met in Paris. We were in same circle of friends. Anne-Marie was working as a parliamentary attaché at the time and invited me to the private opening of the exhibition " Impressionism: The Origins, 1859-1869 " at the Musée d'Orsay. I gave her the exhibition catalogue as a gift and inscribed it with my hope that we would have many more art conversations. A few months later, we were married. But we did not begin working together until after moving to New York.
Antoine, you started your gallery in Paris. What brought you to New York?
Antoine: My changing interests and sense of the market. In Paris, I had a strong European collector base developed over many years, based in Impressionist and Post-Impressionist art. In the 1990s, I moved away from these periods and began exploring American trends more, showing and acquiring works by Alexander Calder, Alex Katz, and Andy Warhol. In 2000, after a trip to China where I discovered the amazing works of artists such as Liu Bolin and Chen Ke, we held a Chinese contemporary art exhibition and sold out our booth at the [next] art fair. But Paris felt too limited. Eventually New York prevailed as the choice for our next move.
Since you only began working together in New York, how did dealing emerge as an interest for each of you?
Antoine: My father was an art dealer, so I grew up with art around me, and learned about the art industry as a young child. As a college student, I pursued a degree in art history and philosophy at La Sorbonne. As one would expect, with the prior experience of the art market accumulated through my time at my father's gallery, I opened my own in 1986.

Anne-Marie Helwaser: Unlike Antoine, my parents, first-generation immigrants, did not instill me with the love for arts, but with a pragmatic understanding of the realities of the world. With Antoine, it all changed. Museums and exhibitions belonged to our everyday life and auction catalogues filled our magazine racks. My interest in the art market became stronger after we moved to New York City. I felt connected to New York's art scene and its artists. I loved visiting Dia:Beacon, standing inside Richard Serra's steel sculptures or walking along Dan Flavin 's light sculptures. I decided it was time for me to forge my vision of the arts and I signed up for classes at the New School. One class followed another: art criticism, marketing. I envisioned our profession differently and my involvement in the gallery grew.
You made your name orchestrating exhibitions of artists including Jean Dubuffet, Georges Braque, Jean Metzinger, and Pablo Picasso. Now you're showing many more contemporary artists. Why the change and will the more historical blue-chip artists still play a role in your exhibitions?
Anne-Marie: Yes, the blue-chip artists are still a priority for the gallery, and we will be holding exhibitions of these artists at our space as well. These artists are the foundation of any art history education. They were for me. But as time passes and society progresses, we cannot ignore what is happening around us in the vibrant contemporary art scene today. In a sense, we hope to bring forth a dialogue between the established masters of the past and the artists of the present.
How did your inaugural exhibition set the stage for what you have to come for the rest of 2019?
Anne-Marie: Opening with a solo exhibition by Anton Ginzburg was a logical choice that speaks to our ideals as well. He is a Russian-born artist who moved to New York more than 20 years ago. He draws from this hybrid identity in his work and references the formalist methodology of the European avant-garde with a very contemporary perspective. At the same time, I love art that makes me think. Anton's work intrigues me, it invites us to venture beyond the surface and investigate the making of the painting. His immersive, nuanced color relationships and his multimedia practice contain a real human depth.
What lessons have you learned and how have you adapted to the changing art world over the past 20 years?
Anne-Marie: The last five years have dramatically changed our profession and given us great lessons. The post-internet generation brings a unique opportunity to promote both greater transparency and democratize the art world. Artists create and participate more not only on social media, but in galleries and fairs as well. A younger generation of collectors is receiving art education and making emotional connections with artists. This happens through the internet but I believe galleries must also play a role here, attracting the interest of more people who aren't those we expect to see in art spaces, and gaining their trust. It's all very stimulating.
Looking ahead, what are you most excited for and most nervous about?
Anne-Marie: Of course, discovering young, talented artists and developing close relationships with them. A gallery director should encourage artists to express themselves in the most compelling way possible and work alongside the artist to make their visions possible. My biggest fear will certainly be to see my artists join another prestigious mega-gallery. But wouldn't this also be a measure of success?
Anton Ginzburg: VIEWs is on view at Helwaser Gallery through May 23, 2019.

Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

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Veteran Dealers Antoine and Anne-Marie Helwaser Have Opened a New Upper East Side Gallery Space.

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In what marks their eleventh year in New York, veteran private dealers Antoine and Anne-Marie Helwaser have opened Helwaser Gallery on Madison Avenue. The husband-and-wife duo first made their name showing European and American modern masters at the gallery they opened in Paris in 1986, and have been fixtures in the secondary market ever since.

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Helwaser Gallery (@helwasergallery) • Instagram photos and videos

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Helwaser Gallery (@helwasergallery) • Instagram photos and videos

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"There are things that I'm constantly looking at that I feel should be elevated to greater status, almost to philosophical status or to a religious status. That's why taking things out of context is a useful tool to an artist. It's the concept of taking something that's not subject matter and making it subject matter."
-Ed Ruscha

Texts-writings, readings, signs, titles, guides, catalogues, blog posts like this one-are part and parcel of how art is presented in museums. Curious visitors come hungry for enlightening information, for tidbits to connect the dots or stories that humanize the work on view. Art historians act as writers, readers, and investigators whose success can be measured in published output. For those who work with art and appreciate it, language and art are endlessly intertwined.

The history of text and language in contemporary art encompasses most of the last 60 years. Language was an important tool for Conceptual artists in the 1960s. Many used language in place of more traditional materials like brushes and canvas, and words played a primary role in their emphasis on ideas over visual forms. Though text had been used in art long before this, artists like Joseph Kosuth and John Baldesarri were among the first to give words such a central role.

Conceptual artists also used language in the form of instructions detailing how an artwork should be made. Sol LeWitt was among the principal originators of this strategy, which his peers widely embraced. Arguing that ideas alone can be art, he allowed for a measure of separation between the artist and the physical execution of his or her artwork. His work exemplifies this: he would generate ideas for artworks and write instructions on how to make them, which other people-sometimes whole teams working days or weeks-would then carry out.

At about the same time, a cultural revolution was underway, led by activists, thinkers, and artists who sought to change, and even overturn, what was, in their eyes, a stifling social order ruled by conformity. The Vietnam War incited mass protests, the Civil Rights Movement sought equality for African Americans, and the women's liberation movement gained momentum.

It was in this climate of turbulence, experimentation, and increased consumerism that a new generation of artists emerged in Britain and America in the mid- to late-1950s. These artists began to look for inspiration and materials in their immediate environment. They made art that mirrored, critiqued, and, at times, incorporated everyday items, consumer goods, and mass media messaging and imagery. In reference to its intended popular appeal and its engagement with popular culture, it was called Pop art.

Pop artists strove for straightforwardness in their work, using bold swaths of primary colors, often straight from the can or tube of paint. They adopted commercial advertising methods like silkscreening, or produced multiples, downplaying the artist's hand and subverting the idea of originality and preciousness-in marked contrast to the highly expressive, large-scale abstract paintings of the Abstract Expressionists, whose work had dominated postwar American art. Pop artists favored realism, everyday (even mundane) imagery, and heavy doses of irony and wit.

But many Pop artists, including Andy Warhol and Roy Lichtenstein, were very aware of the past. They sought to connect the traditions of fine art with the mass culture of television, advertising, film, and cartoons. At the same time, they challenged traditional boundaries between mediums and techniques, merging painting with photography and printmaking, combining handmade and readymade or mass-produced elements, and bringing together objects, images, and sometimes text to make new meaning.

It is out of this convergence of Pop Art and Conceptual are that artists like Ed Ruscha and Vernon Fisher were born and influenced generation of artists to follow, like Mark Bennett; Kim Rugg; Kay Rosen; Feodor Voronov; and, Ken Craft. From this stew of pop culture and high art, we find that some of the most interesting art and ideas born of this period are nothing more than our own lives taken Out of Context.

For more information: www.markmoorefineart.com

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Out of Context: A Survey of Art and Language | Mark Moore Fine Art | Artsy

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"There are things that I'm constantly looking at that I feel should be elevated to greater status, almost to philosophical status or to a religious status. That's why taking things out of context is a useful tool to an artist.

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Anni Albers | Josef Albers | Polly Apfelbaum | Rana Begum | Michael Craig-Martin | Carlos Cruz-Diez | Ian Davenport | Patrick Heron | Ellsworth Kelly | Sol LeWitt | Bridget Riley

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Contact Argentina museum macma abstraction géométrique , 

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Contact Argentina museum macma abstraction géométrique , 

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Artsy is the best way to buy and discover art. Use Artsy to explore and buy over 700,000 artworks from the world's top galleries and auction houses. Find the perfect work for you, connect with art galleries, and bid in live auctions from wherever you are.

DISCOVER ART FROM ALL OVER THE WORLD
Artsy partners with over 3,000 galleries, 800 museums, 80 art fairs, and the world's top auction houses to provide the largest art marketplace for buyers around the world.

EXPLORE EVENTS IN THE WORLD'S ART CAPITALS
Navigate art fairs, museum exhibitions, and gallery shows with this comprehensive guide to the art world. City Guide, in partnership with BMW, helps you discover the world's top exhibitions and map out events to create a personalized itinerary.

BUY WORKS BY LEADING ARTISTS FROM TOP GALLERIES AND AUCTION HOUSES
With Artsy, you'll have unprecedented access to works from top galleries and auctions, including transparent pricing information. Find an artwork you're interested in, view the work in your space, and instantly purchase from the gallery directly from the app, wherever you are.

BID ON WORKS FROM THE TOP AUCTION HOUSES
Bid in live auctions from world-renowned auction houses like Christie's and Phillips. Bid on works by artists like Banksy, Warhol, Picasso, Koons, Hirst, Kusama, Calder, Lichtenstein, and many more. Artsy allows you to bid with confidence-get real-time updates about your bid status including outbid notifications and alerts when works by artists you follow come up for auction.

FOLLOW YOUR FAVORITE ARTISTS FOR TAILORED RECOMMENDATIONS
Be the first to browse new available works by artists you love. Follow artists to get live updates when new works are added to Artsy, and discover new artists related to those you follow.

Version 5.0.5

This release fixes a bug where the user interface would be displayed incorrectly while submitting a consignment. It also fixes an occasional crash when selecting a country while registering for an auction.

Editors' Notes

If you don't have a private jet to fly you around the world in search of priceless paintings, Artsy is the next best thing. This sleek, minimalist app pulls together thousands of works of art, letting you browse a self-curated collection in the palm of your hand. Follow your favourite artists, discover intriguing new talents, explore museum exhibits or even inquire about purchasing one-of-a-kind pieces from galleries worldwide.

Not as good as before

The app was great a while back. Now they removed other features like magazine/news content. It would have been good to be able to access this news content from the app. You put so much editorial work into it, not sure why you would remove it from being read and to increase readership on that content.

Hi there, and thank you so much for reaching out to Artsy with your thoughtful feedback. I can assure you that your feedback is well received, and our design team pays close attention to user feedback like yours. In the meantime, kindly note that the Artsy Magazine is always accessible on the mobile web. As it's designed now, our iOS app focuses on our art marketplace, where you can browse, discover, make offers on, bid for, and purchase art. Our Magazine articles are designed to be viewed on the mobile web, complete with cross-linking and other important editorial functionality. For this reason, we recommend opening links from the Facebook application, or your email, using your mobile device's Safari or Chrome browser, not our iOS app. We hope you continue to enjoy reading and learning from Artsy's editorial content on the mobile web, and wish you all the best!

Not Working

I am unable to add any categories other than the only one I chose when I first opened the APP. (Impossible to return to that page.) Tried deleting the APP and reopening.
The one Category I was able to open in the beginning has very clear photos. Where are the categories so I can add more? Have tapped on literally everything offered to no avail. Does it need to be this difficult?
One page only partially displays so parts of words are missing. I got the same results using my iPad.
The Help Center responded quickly and tried hard to help me.
I'm using 11.3.1 IOS on 6s+ iPhone. So very disappointed as I am an artist active on Instagram and Pinterest and heard good things about it May 11, 2018, on an artists' podcast (Artists Helping Artists)

Editors' Notes

If you don't have a private jet to fly you around the world in search of priceless paintings, Artsy is the next best thing. This sleek, minimalist app pulls together thousands of works of art, letting you browse a self-curated collection in the palm of your hand. Follow your favourite artists, discover intriguing new talents, explore museum exhibits or even inquire about purchasing one-of-a-kind pieces from galleries worldwide.

Information

Compatibility

Requires iOS 9.0 or later. Compatible with iPhone, iPad, and iPod touch.

Age Rating

You must be at least 17 years old to download this app.

Infrequent/Mild Mature/Suggestive Themes

Infrequent/Mild Sexual Content and Nudity

Location

This app may use your location even when it isn't open, which can decrease battery life.

Wallet

Get all of your passes, tickets, cards, and more in one place.

Family Sharing

With Family Sharing set up, up to six family members can use this app.

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‎Artsy is the best way to buy and discover art. Use Artsy to explore and buy over 700,000 artworks from the world's top galleries and auction houses. Find the perfect work for you, connect with art galleries, and bid in live auctions from wherever you are. DISCOVER ART FROM ALL OVER THE WORLD Artsy...

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Getting Started with Buy Now & Make Offer Selling Options

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Disclaimer: Buy Now & Make Offer are currently limited to galleries with a bank account and primary address located in the United States
This article will walk you through the steps needed to enable Buy Now and Make Offer. To enable these selling options, you will first need to connect a Stripe account to your Artsy CMS and add a U.S. verified business address.

Enabling Buy Now and Make Offer payment options is completely optional. Artworks sold through Buy Now and Make Offer selling options are subject to a 3% processing fee (collected by Stripe) and a commission that varies based on your subscription plan. Commission is 15% for Standard plans, 12.5% for Preferred plans, and 10% for Premium plans. To learn more, review your Artsy Subscription Terms of Service.

Step 1: Connecting a Stripe account
Note: If you've already connected a Stripe account to your Artsy CMS, please skip to Step 2
To begin, click "Connect With Stripe" in the banner at the top of your CMS Dashboard.

You will be automatically redirected to the Stripe platform. Here, you can create a Stripe account by entering your US bank account information. When creating a Stripe account, make sure you have your social security number and bank routing number on hand! This information is needed to create a new Stripe account.
Note: If you already have a Stripe account, when initially directed to the Stripe set up page, simply click "sign in" to connect the account to Artsy CMS.
When you make sales on Artsy and collect funds through the new selling options, Stripe will direct the funds to the bank entered here.

Once you have entered all necessary information, click "Authorize access to this account."

You will then be automatically redirected back to Artsy CMS where you will see a message that says "Merchant Account was successfully created." You now have successfully connected your Stripe account to your Artsy CMS.

Step 2: Add a verified business address

In order to enable the Buy Now and Make Offer selling options, you must enter at least one business address.

To add your verified business address, you can log into your CMS, and navigate to Account -> Settings -> Locations.

Select the address type "Business".

Continue to fill out your address in the fields below.

Select whether you'd like your verified business address to be publicly viewable or not by clicking on On/Off button.

Lastly, click the "Save Changes" button to confirm your address.
Note: If you have already have your business address in CMS, navigate to locations under your CMS settings and click "edit". Select Business for the address type and make sure all required fields have been filled out, and click "save". If you have multiple business addresses in CMS (for example if you have three gallery locations), please make sure all of these addresses have Business Address selected as the Address type.
You have now successfully enabled Buy Now and Make Offer!

--

What's Next?

Next, choose specific works for Buy Now & Make Offer in your CMS

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Getting Started with Buy Now & Make Offer Selling Options

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Disclaimer: Buy Now & Make Offer are currently limited to galleries with a bank account and primary address located in the United States This article will walk you through the steps needed to enable Buy Now and Make Offer. To enable these selling options, you will first need to connect a Stripe account to your Artsy CMS and add a U.S.

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Our invitations are too formal : or too beautiful and people friends not in the art world don’t open them !

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Our invitations are too formal : or too beautiful and people friends not in the art world don’t open them !

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Group Exhibition, María Berrío, Caroline Walker, Flora Yukhnovich at Victoria Miro, Wharf Road, London, United Kingdom | Ocula

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View images of the exhibition and selected artworks. Group Exhibition, María Berrío, Caroline Walker, Flora Yukhnovich at Victoria Miro, Wharf Road, London, United Kingdom.

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similar to social media, email nurturing the sale should be strategized in the 2ndary market: in our Tuesday's meetings writing down ideas on artworks acquired or not sold : 1 by 1 : and create a page where (a table) we know what is happening for each : i order not to forget about less obvious ideas like the Calder cans in Sommerset thingy etc...Sherman and museum Chicago etc...
also antoine needs to be guided: he ca do the work but we need to create a more consistant plan.

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ARTMO | Social Art Network | Collections | Galleries | Artists | Exhibitions

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ARTMO | Social Art Network | Collections | Galleries | Artists | Exhibitions

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ARTMO | Social Art Network | Collections | Galleries | Artists | Exhibitions

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ARTMO | Your Social Art Network, join-in for free, connecting the art-world, see amazing collections | Galleries | Artists | Buzz | Exhibitions

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Michael Rosenfeld Gallery presents the group exhibition Spiritual by Nature, featuring a selection of works by artists directly inspired by the natural world and informed by Eastern thought and spirituality.

This exhibition includes the work of Mary Bauermeister, William Baziotes, Joseph Cornell, Louis Eilshemius, Claire Falkenstein, Yayoi Kusama, Norman Lewis, Alfonso Ossorio, Richard Pousette-Dart, Theodore Roszak, Charles Seliger, Theodoros Stamos, Toshiko Takaezu, Lenore Tawney, Alma Thomas, Mark Tobey, and Charmion von Wiegand. Working across a range of media and drawing on personal aesthetic vocabularies, these artists strove to find a universal language to express their singular visions of the world at large. Six of the artists on view are currently represented in Artistic License: Six Takes on the Guggenheim Collection at the Solomon R. Guggenheim Museum, New York, NY. Artistic License is the first-ever artist-curated exhibition mounted at the Guggenheim and the inclusion of these artists is a testament to their continuing relevance and impact.

Richard Pousette-Dart (1916-1992), Suspended Light, 1978, acrylic on linen, 72 1/8" x 54 1/8", signed

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pictures and details of spiritual by nature at michael rosenfeld gallery

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2019 – contemporary art with installation views

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Spiritual by Nature at Michael Rosenfeld Gallery, New York

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Michael Rosenfeld Gallery presents the group exhibition Spiritual by Nature, featuring a selection of works by artists directly inspired by the natural world and informed by Eastern thought and spirituality.

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Klaus Carl Founder of ARTMO - the platform that connects artists

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Klaus Carl Founder of ARTMO - the platform that connects artists

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by Kay Hare

Social platforms are a good idea, but I also find some to be time consuming and uninteresting. However, as momentum for online conversations and confidence in selling increases, people are starting to recognise the necessity for more specific sites. Huge social media platforms become like supermarkets and if you have the time to browse through the information posted this can be entertaining, but most of us want relevant informative information quickly and without charges. I was interested in signing up for ARTMO because I felt it represented the artists and offered the opportunity to engage not just with artists but other professionals in the arts. ARTMO offers not only the investment of finding what you want quickly but also the opportunity to connect internationally specifically to your practice or field of art.
Why was ARTMO created?
ARTMO started in 2017 as a start-up, now it's taking off with an ever increasing speed. Traction and self-growing momentum have kicked in.We wanted a comprehensive, friendly but professional platform and there was nothing like it out there. Most of the art pages were either shops or simple blogs, with little integrity for the artists work or promotion.

As we are of course growing and expanding this is always interested and open to more funding, venture capital and investment partnerships.
Where are you based? Do you work from an office or is it all virtual?
Since ARTMO's operations are based in Germany and our Web-Development subsidiary is in Shanghai, I am based in both locations depending on the actual needs for being present. However, you are right, things go very often remote with online-live meetings and even online live working sessions.
Did you start with a vision for ARTMO or was it more of an organic process?
It was a clear vision in the first place: Connecting the Art World
What is the 'mission statement' for ARTMO or do you prefer to work daily making changes as you go along?
The vision is the mission statement: Connecting the Art World

Applying changes as you go along is something happening when it comes to web development, content, UX design, etc., but when we are talking about the business model, then there was and is a clearly formulated concept which has been already proven to be successful.
How many artists do you represent?
None, since ARTMO is not an agent. ARTMO is an open platform, a social art network, an entertaining art platform plus a market place for art. Perhaps rephrasing your question, how many artists have a profile on ARTMO? Going towards 10.000 members right now from more than 100 countries, we have one new user sign-up every 10 minutes with ever-increasing speed.
What country do you find offers artists the most support - for example, you are represented in China - do you think there are more opportunities for artists in China than in other countries?
We are not especially represented in China or any other physical place where we work on the ARTMO platform. As mentioned earlier we have signed-up members on ARTMO already from more than 100 countries. ARTMO offers four different types of user profiles. Members, or better to say art-lovers and anyone who is involved in the art world in some way, artist profiles, gallery profiles and university profiles (art faculties).

Nevertheless, my opinion about opportunities for artists; it is not related to their country, but to the region that they are living and creating art. Almost every capital city or popular metropolis is a good market place for contemporary art, regardless of the country.

However, when it comes to remoter areas, countrysides and islands, then artists have to see how they can get their message out there, how to show the world what they create. ARTMO is a perfect place to expose to the world, quickly and without costs who they are and what they do regardless of their location. ARTMO, the Social Art Network.
What is the difference between ARTMO and other artists platforms, for instance, Saatchi Art?
Let us have a closer look, as you mentioned Saatchi Art for example. That is not a platform at all; it is merely an art online shop, nothing more, nothing less. It only serves the purpose of selling art with no social aspect, no focus on entertaining content, just online sales, that's it; and that is the same with other art pages such as Artsy, Artnet, Artfinder and so on. All of them are online shops only, at least that is their core business model, and that is what you see when you land on their homepages.
ARTMO in a nutshell
Imagine a LinkedIn for art, with social aspects matching Facebook, plenty of interactive discussions entertaining and informative content as well as serving as an online shop open not only to artists to sell their works, but also open to anyone who wants to sell artworks. Have you ever tried to sell a contemporary artwork which you have purchased in a gallery or online? You cannot find either a gallery which would take it back to sell it for you nor an art online shop allowing you to open a seller account and publish it for sale. None of the existing online shops accepting private collector seller accounts; we do!
Where do you hope to see ARTMO in 5 years' time?
Think of art - think of ARTMO

Since we already have ARTMO users signed-up from one hundred countries, growing the community is something which is already happening as we speak.

What we are excited about is new and entertaining art content, such as VR exhibitions, interactive and creative tools, performance live broadcastings; the list is endless. New technologies are already available, but to implement them, we need to wait a bit before we can put things live, since, i.e. VR tools need high-speed WiFi to be entertaining and exciting. However, we are ready with that as soon as 5G is out there.

For more information contact:

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Klaus Carl Founder of ARTMO - connecting the art world - The Real Riviera

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An interview with CEO and Founder Klaus Carl of ARTMO by Kay Hare Social platforms are a good idea, but I also find some to be time consuming and uninteresting. However, as momentum for online conversations and confidence in selling increases, people are starting to recognise the necessity for more specific sites.

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Artsy - A Better Way to Sell on Artsy: Buy Now & Make Offer

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Buy Now & Make Offer selling options allow galleries to sell listings at a fixed price and consider serious, payment-verified offers from collectors.

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Upper East Side / UES and Midtown Art Gallery Tours | ART SMART

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Upper East Side / UES and Midtown Art Gallery Tours | ART SMART

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Upper East Side / UES and Midtown Art Gallery Tours

The Upper East Side/ UES galleries tend to be more refined and tony, especially those situated in townhouses. Gagosian, Acquavella Gallery, Jack Tilton, and Luxembourg & Dayan are among the many gallery mainstays. Blum & Poe on 66 th is among the newer galleries in the area connecting the traditional UES gallery district with those gathered along 57 th in midtown. Among the 57 th Street Midtown galleries you'll get a more commercial gallery feel during your guided art tour, yet we'll be able to see spaces more quickly as they are often located in suites neighboring one another.

What to Expect

We can visit about 6-10 art galleries during your two-hour guided gallery tour, or explore longer and more if you prefer. We put the gallery and works in context in a manner that invites discovery and discussion. Along the way, you'll get an overview of the Upper East Side/ UES and Midtown gallery scene. As we do not offer public group tours, all of our tours are private tours. Your tour will be led by a qualified art historian with a background in modern and contemporary art and experience in the field.

During the customization process, you can let us know your preference in:

media (painting, sculpture, photography, etc.)

preferred periods (of the moment contemporary, more mid-century modern, or something more traditional)

tendency towards emerging talents or internationally acclaimed artists

We'll use our experience and knowledge to create a unique guided itinerary based on your art interests.

For those interested in purchasing works of art, we can arrange for a behind-the-scenes viewing of galleries' larger holdings.
More about our advisory

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Upper East Side / UES and Midtown Art Gallery Tours | ART SMART

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The Upper East Side/ UES galleries tend to be more refined and tony, especially those situated in townhouses. Gagosian, Acquavella Gallery, Jack Tilton, and Luxembourg & Dayan are among the many gallery mainstays. Blum & Poe on 66 th is among the newer galleries in the area connecting the traditional UES gallery district with those gathered along 57 th in midtown.

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[Case Study] How Instagram Ads Resulted in a 688% Increase in Traffic

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[Case Study] How Instagram Ads Resulted in a 688% Increase in Traffic

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Learn How to Sell Art Online - Art Storefronts Blog

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Schedule a 10-minute intro call with the form below. We'll give you a quick overview, show you how our augmented reality tool works, and fill you in on how we can help you get more traffic from collectors.
If you like what you see, you can schedule a more in-depth demonstration for later.

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[Case Study] How Instagram Ads Resulted in a 688% Increase in Traffic

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Schedule a 10-minute intro call with the form below. We'll give you a quick overview, show you how our augmented reality tool works, and fill you in on how we can help you get more traffic from collectors. If you like what you see, you can schedule a more in-depth demonstration for later.

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Widewalls | EIS Crowdfunding Investment | Seedrs

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Widewalls | EIS Crowdfunding Investment | Seedrs

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When investing, capital is at risk. We connect art lovers and art dealers

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DO WE NEED IT?

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Thank you . on a different perspective ...I  think communications need 
 to  be discussed together in advance , trying to find angles  together at least once , and after  you can
Manage it alone  ..could you put in
Our next meetings a moment for this ? (maybe we should do that once a month)   going over the artists and  try finding a good angle . Exchanging our thoughts is always  productive .  in secondary market as well ( can we plan Gottlieb and Nolan for Tuesday ?) and after we can write fact sheet internally and  posts as well  
 .. please ask Kaylan to list artists birthdays ... and create a calendar with all this type of events we can use .. I am going to email you  an extensive list of artists for secondary market and she can use highlighted names there ( those we sold or bought on the last 3/4 years Thanks 

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ART SMART in the Press  | NYC Guided Art Tours

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ART SMART in the Press  | NYC Guided Art Tours

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Food & Wine
February 24, 2016
"Food fans tired of the same old walking tours in New York now have a new option: a private, food-art tour inside the Metropolitan Museum of Art.

ART SMART - a company that hosts all kinds of museum and gallery tours-just announced "Feast Your Eyes," their latest offering."

Read More

Child Magazine

November 2002

"ART SMART Adventures, a New York- based company offers cultural classes and tours at several museums... The theory behind these programs is that cultivating visual literacy has lifelong benefits."

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ART SMART in the Press | NYC Guided Art Tours

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February 24, 2016 "Food fans tired of the same old walking tours in New York now have a new option: a private, food-art tour inside the Metropolitan Museum of Art. ART SMART - a company that hosts all kinds of museum and gallery tours-just announced "Feast Your Eyes," their latest offering."

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The videos feature Jack Shainman Gallery artists and exhibitions.