Misplaced Pages

#35964

35-550: Gow Langsford Gallery is a commercial art gallery in Auckland , New Zealand. The gallery was established in 1987 by John Gow and Gary Langsford. Gow Langsford represents many significant New Zealand and international artists, including Max Gimblett , Jacqueline Fahey , Paul Dibble and Dick Frizzell . It has hosted one-man shows by Pablo Picasso (1998), Damien Hirst (2010), Bernar Venet (2006 and 2012), Donald Judd (2002), Tony Cragg (2005 and 2011) and Andy Warhol (2013),and

70-488: A Sydney location on Danks Street, and between 2008 and 2021 another Auckland location on Lorne Street. Anna Jackson, formerly a gallery manager, became director of the gallery in 2015 and co-owner in 2020. In the 2018 New Year Honours , John Gow and Gary Langsford were both appointed Members of the New Zealand Order of Merit . Gow Langsford has mounted more than 500 exhibitions around the country and many abroad. In

105-489: A vanity press does for authors. The shows lack legitimate curation and often include as many artists as possible. Most art professionals are able to identify them on an artist's resume. Contemporary art Art of Central Asia Art of East Asia Art of South Asia Art of Southeast Asia Art of Europe Art of Africa Art of the Americas Art of Oceania Contemporary art

140-485: A group show that included Dick Frizzell , Judy Millar , Greer Twiss and Allen Maddox . Two months later, the stock market crashed and the gallery building's value was halved from what Gow and Langsford had paid for it. In 1990 the gallery moved to The Strand , and then again in 1992 to Kitchener Street, directly opposite the Auckland Art Gallery , its current premises. Between 2002 and 2004 Gow Langsford had

175-544: A new flagship gallery in Onehunga. It is one of the largest commercial art spaces in Australasia, featuring a premium gallery space, dedicated viewing rooms, studios for promising artists, and an extensive visual arts library. This location offers an exhibition programme of cutting-edge contemporary art, along with curated exhibitions of modern and historic art. The gallery still retains its central Auckland premises directly opposite

210-413: A particular issue; galleries and critics are often reluctant to divide their work between the contemporary and non-contemporary. Sociologist Nathalie Heinich draws a distinction between modern and contemporary art, describing them as two different paradigms which partially overlap historically. She found that while " modern art " challenges the conventions of representation , "contemporary art" challenges

245-403: A permanent collection of contemporary art inevitably find this aging. Many use the formulation "Modern and Contemporary Art", which avoids this problem. Smaller commercial galleries, magazines and other sources may use stricter definitions, perhaps restricting the "contemporary" to work from 2000 onwards. Artists who are still productive after a long career, and ongoing art movements , may present

280-569: A portion of art sales; twenty-five to fifty per cent is typical. There are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, though this is considered distasteful in some international art markets. Galleries often hang solo shows. Curators often create group shows with a message about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent exclusive artists, giving them opportunities for regular shows. A gallery's definition can also include

315-486: A private for-profit commercial gallery. These galleries are found clustered together in large urban centers. Smaller cities are home to at least one gallery, but they may also be found in towns or villages, and remote areas where artists congregate, e.g. the Taos art colony and St Ives, Cornwall . Contemporary art galleries are often open to the general public without charge; however, some are semi-private. They profit by taking

350-527: A special type of art, rather than a general adjectival phrase, goes back to the beginnings of Modernism in the English-speaking world. In London , the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using the term were founded in the 1930s, such as in 1938

385-486: A whole is distinguished by the very lack of a uniform, organising principle, ideology, or " -ism ". Contemporary art is part of a cultural dialogue that concerns larger contextual frameworks such as personal and cultural identity, family, community, and nationality. In English, modern and contemporary are synonyms , resulting in some conflation and confusion of the terms modern art and contemporary art by non-specialists. The classification of "contemporary art" as

SECTION 10

#1732858646036

420-543: Is "distinguished by the very lack of a uniform organizing principle, ideology, or - ism" that is seen in many other art periods and movements. Contemporary art does not have one, single objective or point of view, so it can be contradictory and open-ended. There are nonetheless several common themes that have appeared in contemporary works, such as identity politics , the body, globalization and migration, technology , contemporary society and culture, time and memory, and institutional and political critique. The functioning of

455-480: Is a legitimate and reasonable response to much contemporary art. Brian Ashbee in an essay called "Art Bollocks" criticizes "much installation art, photography, conceptual art , video and other practices generally called post-modern" as being too dependent on verbal explanations in the form of theoretical discourse. However, the acceptance of nontraditional art in museums has increased due to changing perspectives on what constitutes an art piece. A common concern since

490-440: Is a term used to describe the art of today, generally referring to art produced from the 1970s onwards. Contemporary artists work in a globally influenced , culturally diverse , and technologically advancing world. Their art is a dynamic combination of materials , methods, concepts, and subjects that continue the challenging of boundaries that was already well underway in the 20th century. Diverse and eclectic, contemporary art as

525-511: Is exhibited by professional artists at commercial contemporary art galleries , by private collectors, art auctions , corporations, publicly funded arts organizations, contemporary art museums or by artists themselves in artist-run spaces . Contemporary artists are supported by grants, awards, and prizes as well as by direct sales of their work. Career artists train at art school or emerge from other fields. There are close relationships between publicly funded contemporary art organizations and

560-495: Is often said to be reflected in his portrait by Titian (1567) . Art dealers often study the history of art before entering on their careers. Related careers that often cross-over include curators of museums and art auction firms are industry-related careers. Gallery owners who do not succeed may seek to work for more successful galleries. Others pursue careers as art critics , academics, curators of museums or auction houses, or practicing artists. Dealers have to understand

595-496: Is regarded as one of New Zealand’s most influential dealer galleries. Gow Langsford has two Auckland premises, one in the inner city, with a larger space in Onehunga. Gow Langsford was previously associated with John Leech Gallery , whose origins can be traced back to the mid-19th century. Gary Langsford and John Gow jointly founded the gallery in 1987 in a disused Richmond Road petrol station in Grey Lynn . The gallery opened with

630-417: Is simply beautiful." Contemporary art can sometimes seem at odds with a public that does not feel that art and its institutions share its values. In Britain, in the 1990s, contemporary art became a part of popular culture, with artists becoming stars, but this did not lead to a hoped-for "cultural utopia". Some critics like Julian Spalding and Donald Kuspit have suggested that skepticism, even rejection,

665-419: Is subject to economic booms and busts just like any other market. Art dealers must be economically conscious in order to maintain their livelihoods. The mark ups of art work must be carefully monitored. If prices and profits are too large, then investments may be devalued should an overstock or economic downturn occur. To determine an artwork's value, dealers inspect the objects or paintings closely, and compare

700-463: The Contemporary Art Society of Adelaide , Australia , and an increasing number after 1945. Many, like the Institute of Contemporary Art, Boston changed their names from ones using "modern art" in this period, as Modernism became defined as a historical art movement , and much "modern" art ceased to be "contemporary". The definition of what is contemporary is naturally always on the move, anchored in

735-523: The artist cooperative or artist-run space , which often (in North America and Western Europe) operates as a space with a more democratic mission and selection process. Such galleries have a board of directors and a volunteer or paid support staff who select and curate shows by committee, or some kind of similar process to choose art often lacking commercial ends. A vanity gallery is an art gallery charging fees from artists to show their work, much like

SECTION 20

#1732858646036

770-507: The 2010s vary, and are mostly imprecise. Art from the past 20 years is very likely to be included, and definitions often include art going back to about 1970; "the art of the late 20th and early 21st century"; "both an outgrowth and a rejection of modern art"; "Strictly speaking, the term 'contemporary art' refers to art made and produced by artists living today"; "Art from the 1960s or [19]70s up until this very minute"; and sometimes further, especially in museum contexts, as museums which form

805-911: The Auckland Art Gallery. It represents both new and established artists and has mounted around 500 exhibitions since it opened its doors. Through their constant and varied exhibitions, Gow Langsford wishes to expose their artists to different types of audiences, hence, providing a forum for contemporary art on both the local and international scene. Gow Langsford's recent exhibitions included works by several notable artists: Jacqueline Fahey , Tony Cragg , Max Gimblett , Dale Frank , and John Pule . 36°51′01″S 174°45′57″E  /  36.85041°S 174.76573°E  / -36.85041; 174.76573 Commercial art gallery An art dealer in contemporary art typically seeks out various artists to represent, and builds relationships with collectors and museums whose interests are likely to match

840-490: The art world is dependent on art institutions, ranging from major museums to private galleries, non-profit spaces, art schools and publishers, and the practices of individual artists, curators, writers, collectors, and philanthropists. A major division in the art world is between the for-profit and non-profit sectors, although in recent years the boundaries between for-profit private and non-profit public institutions have become increasingly blurred. Most well-known contemporary art

875-448: The business side of the art world. They keep up with trends in the market and are knowledgeable about the style of art people want to buy. They figure out how much they should pay for a piece and then estimate the resale price. They are also often passionate and knowledgeable about art. Those who deal with contemporary art promote new artists, creating a market for the artists' works and securing financial success for themselves. The art world

910-623: The commercial sector. For instance, in 2005 the book Understanding International Art Markets and Management reported that in Britain a handful of dealers represented the artists featured in leading publicly funded contemporary art museums. Commercial organizations include galleries and art fairs. Corporations have also integrated themselves into the contemporary art world , exhibiting contemporary art within their premises, organizing and sponsoring contemporary art awards, and building up extensive corporate collections. Corporate advertisers frequently use

945-418: The early part of the 20th century has been the question of what constitutes art. In the contemporary period (1970 to now), the concept of avant-garde may come into play in determining what artworks are noticed by galleries, museums, and collectors. The concerns of contemporary art come in for criticism too. Andrea Rosen has said that some contemporary painters "have absolutely no idea of what it means to be

980-422: The fine details with similar pieces. Some dealers with many years of experience learn to identify unsigned works by examining stylistic features such as brush strokes, color, form. They recognize the styles of different periods and individual artists. Often art dealers are able to distinguish authentic works from forgeries (although even dealers are sometimes fooled). The term contemporary art gallery refers to

1015-471: The present with a start date that moves forward, and the works the Contemporary Art Society bought in 1910 could no longer be described as contemporary. Particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has perhaps been a lack of natural break points since the 1960s, and definitions of what constitutes "contemporary art" in

1050-554: The prestige associated with contemporary art and coolhunting to draw the attention of consumers to luxury goods . The institutions of art have been criticized for regulating what is designated as contemporary art. Outsider art , for instance, is literally contemporary art, in that it is produced in the present day. However, one critic has argued it is not considered so because the artists are self-taught and are thus assumed to be working outside of an art historical context. Craft activities, such as textile design, are also excluded from

1085-406: The realm of contemporary art, despite large audiences for exhibitions. Art critic Peter Timms has said that attention is drawn to the way that craft objects must subscribe to particular values in order to be admitted to the realm of contemporary art. "A ceramic object that is intended as a subversive comment on the nature of beauty is more likely to fit the definition of contemporary art than one that

Gow Langsford Gallery - Misplaced Pages Continue

1120-468: The very notion of an artwork . She regards Duchamp 's Fountain (which was made in the 1910s in the midst of the triumph of modern art) as the starting point of contemporary art, which gained momentum after World War II with Gutai 's performances, Yves Klein 's monochromes and Rauschenberg 's Erased de Kooning Drawing . Contemporary artwork is characterised by diversity: diversity of material, of form, of subject matter, and even time periods. It

1155-646: The work of the represented artists. Some dealers are able to anticipate market trends , while some prominent dealers may be able to influence the taste of the market. Many dealers specialize in a particular style, period, or region. They often travel internationally, frequenting exhibitions , auctions , and artists' studios looking for good buys, little-known treasures, and exciting new works. When dealers buy works of art, they resell them either in their galleries or directly to collectors. Those who deal in contemporary art in particular usually exhibit artists' works in their own galleries. They will often take part in preparing

1190-497: The works of art to be revealed or processed. Art dealers' professional associations serve to set high standards for accreditation or membership and to support art exhibitions and shows. The art dealer as a distinct profession perhaps emerged in the Italian Renaissance , in particular to feed the new appetite among collectors for classical antiquities , including coins. The somewhat disreputable character of Jacopo Strada

1225-562: The years preceding the 2020 COVID-19 pandemic the gallery participated in international art fairs and showed at Art Basel Hong Kong and Sydney Contemporary . Gow Langsford Gallery's stable of represented artists is now composed primarily of established artists from Australasia, but has also attracted artists from Europe and America. The gallery has sponsored an annual Gow Langsford Gallery Art Prize, awarded to an outstanding recent visual arts graduate who has demonstrated excellence and resilience in their field. In 2024, Gow Langsford opened

#35964