The Process: A New Foundation in Art and Design- MUST read for all creatives

Disruptive ideas. Innovation. Creativity. These buzz words drive the conversations in

branding, business, visual design and the arts. And all three boil down to the same pressing question -- how do you create something new?

The way we live and work today -- deferring to apps that tell us where we are, what to do, and what to think; relying on graphic design programs that can only create from pre-existing templates; deferring to precedent and familiarity; crowd-sourcing, focus-grouping and basing work on "likes" -- suggest that creating something new is achieved through what's been done before, what's familiar, what's already been approved...in other words, what's known. And that disruption, innovation and creativity happen free of struggle, risk or deferring to one's own instincts.

No artist who has created anything genuinely new would likely concur with this approach. The idea that creation and innovation and disruption come from what is familiar and safe is utterly inconsistent with my own 21 year career in publishing. None of my great creative concepts had anything to do with whether they would be "liked" or not; all happened without any technological assistance; and each was purely instinctual, at times very risky, had a great deal of struggle associated with them, and seemed to emerge into my consciousness from a place that had, up until the very 'ah ha' moment when the idea occurred, been entirely unknown to me. (And certainly no app could have produced any of them.)

And yet as anyone who studies the media discourse today on creativity or goes to school for any area in the applied arts will likely attest, creativity arising from what is in fact unknown is not, generally speaking, the headline to the story or anywhere on the syllabus.

Enter Richard Wilde.

To practically anyone in advertising or the visual arts, Richard Wilde is considered a living legend. Since becoming Chair of the Advertising and Design departments at the School of Visual Arts in New York City in 1971, Wilde has trained thousands of aspiring artists in his Visual Literacy course how to move into the unknown and thus be empowered with the ongoing gift of knowing where all new ideas come from, and how to tap into this place.

The result of Wilde's work speaks for itself. He is the creative genius behind many of the most famous creative geniuses of our time (see slideshow below), including former Visual Literacy students such as Broadway ad titan (Chicago, De La Guarda, Rent) Drew Hodges; music video director (Iggy Pop, Steve Winwood) Paula Greif; collage artist (The New Yorker, Time) Hanoch Piven; acclaimed book-cover designer (A Million Little Pieces, Fight Club) Rodrigo Corral; feature film director (Million Dollar Arm, Lars and the Real Girl) Craig Gillespie; Graphic designer (Chanel, Nike) Natasha Jen; and HGTV series host (Dear Genevieve) Genevieve Gorder.

And now, in his new book co-authored with his wife Judith Wilde (Professor Emeritus, Kingsborough Community College, CUNY and faculty member at the School of Visual Arts) -- The Process: A New Foundation in Art and Design (Laurence King Publishing, Summer 2015) - the Wildes share with the public their wisdom, techniques and skill sets for how to get into the unknown and create something genuinely new.

Reading Wilde's guidance for getting into the unknown can be a bit like listening to Obi-Wan Kenobi admonishing young Luke to take off his targeting computer; to let go of his conscious self and act on instinct; to, in essence, stop thinking and trust the Force.

Which would seem to be Wilde's central message to all artists, and which he sat down with me to discuss.

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Richard Wilde's new book on how to get into the unknown where all creativity comes from, The Process: A New Foundation in Art and Design (Laurence King Publishing, Summer 2015).

CLN: In The Process you say Visual Literacy puts your students into the unknown. What is the unknown?

RW: At the onset, when we are very young we live in a state of wonder and questioning. This is the unknown. Before one can speak about the unknown, one must first understand what the known is.

As one becomes more socialized and educated -- through parents, relatives, friends, formal education -- one loses this extraordinary gift of openness that we all possessed as children. This loss is characterized by automatized, habitual reactions to anything that one may be confronted with. In short, one no longer responds with a sense of inquisitiveness, but reacts automatically from a learned set of predictable reactions. And it is just here where the dilemma arises which stunts creativity, where one's acquired habitual reactions now rule, and where one's trusts and beliefs adhere to socially accepted dogma. This is the baggage that stands in one's way that must be confronted. It represents the antithesis of creativity.

Yet, it is in the realm of the unknown -- which is everyone's birthright -- where the seed of creativity lies. And it is just in this state of unknowing where magic happens. The unknown can be characterized by being in a higher state of consciousness where wonder arises and becomes the gateway to one's essential being where one becomes more self-conscious. And it is this essential aspect of one's being that needs to be rediscovered. This simple fact is missed by most of humanity because it seems nonsensical to reside in one's so called bewilderment. One's reaction to this proposition is to immediately return to the known, which is comfortable and familiar but yields no original results. The impulse to begin in one's comfort zone must be overcome. This will always be a struggle, but the friction that is engendered from struggling against one's habitual nature creates the inner dynamic that opens one to becoming a creative problem solver.

CLN: How did you come about creating the method for Visual Literacy and The Process?

RW: After decades of teaching creativity (which I must say is a daunting task), and by using my studio class at SVA of 150 art students as a forum for discovery and innovation, it became clear that it (creativity) could never be taught directly. What was needed were special conditions that would set the stage where new ideas could arise. That was the birth of Visual Literacy, which is an indirect form of teaching creativity.

CLN: What happens when the artist is put into the unknown?

RW: Being put into the unknown puts one in a condition where questioning arises. Questioning should be understood as the definitive tool of problem solving that leads to new vision in the form of personal expression. One must question the given problem -- it can help jump-start the process, as well as maintain an ongoing connection to the problem.

To maintain an active mind pondering comes into play which helps sustain the creative process. Pondering can be understood by looking at a given problem from different points of view, which in turn expands questioning. Questions can function as a probe. It goes without saying that all questions live in the unknown.

Then comes playing and doodling. Doodling and playing around in the spirit of a child keeps one's learned robotic thinking at bay. It is here where original ideas begin to emerge. This is the playground where experimentation thrives.

A good example of the conditions for creativity provided in Visual Literacy is an experimental assignment -- depicted in The Process -- that pertains to visualizing 64 specific sounds.

For example, students are faced with the problem of creating a visual equivalent of the Sound Of A School Bus Filled With Children with the intent that the image would infer, suggest, or imply this very sound. How would one investigate this problem? One can certainly visualize what a school bus filled with children looks like -- which would come under the heading of the known -- but this is not what the problem calls for. What is needed is to visualize the sound of a school bus filled with children, where by necessity one is thrust into the unknown because there are no given solutions to reference.

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The unknown is a place artists find themselves in when given a creative project for which no known answers exist to call upon, such as being asked to visually depict the sound of a school bus filled with children.

Here is where questioning begins. For instance, one might ask what forms, shapes, lines and colors could denote this very sound? What is its movement, its tempo? Is drama an issue to be considered? Is it a question of spontaneous imagery or carefully crafted imagery? Does it encompass dimensional space or volume? Does the sound emanate from a central focal point? Is the sound rhythmic or chaotic? Is it long, short, or fluid?

Any single one of these questions can give one entry into the problem, and when these questions are coupled with doodling and experimenting with form and color, it sets the groundwork for one to create something new. For this project, as in all of the others that appear in the book, one has to invent the solution, for it has never been done before. So the process puts the artist into the conditions where solutions unexpectedly appear.

CLN: Why did you decide to publish the work and depict Visual Literacy in The Process?

RW: Publishing the work from Visual Literacy in The Process was the way to show evidence of what the unknown can inspire one to accomplish. The hundreds of solutions for each of the 13 projects shown in The Process verify what this seemingly uncomfortable state of unknowing can produce.

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Students in Visual Literacy are asked to gaze at the same cloud formation until a recognizable image appears, and then to depict this image using the cloud formation as a point of departure. The Cloud Project is a great example of how not knowing the answer to a problem beforehand helps the artist tap into great creative power.

CLN: Whom is The Process for?

RW: Although The Process is a book dealing specifically with problem solving in the realm of art and design, it's really a book for anyone who is interested in the creative process. And perhaps, in other creative disciplines (writing, business, music, advertising, etc.), this study might just very well be the condition needed to open one's creative quest.

CLN: Do you think technology is to blame? And what do you think technology's net effect on creativity has been?

RW: The question about technology's effect on creativity can be equated to the saying, "Eat Or Be Eaten". Technology can serve in the creative process providing it is put in its proper place. It must be the servant, not the master.

CLN: So what you're saying is that Visual Literacy (as depicted in The Process) gets your students as well as artists and designers, etc., to unlearn what they've learned -- to de-educate them so to speak.

RW: Yes, as Picasso said, "Every child is an artist. The problem is how to remain an artist once one grows up." We must become children again who reside in a world of spontaneity, openness and risk taking.

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In The Sound Project students are directed to visually represent dozens of different sounds, including that of a jackhammer, an assignment that definitely requires an openness to new ideas and a willingness to take risks in order to solve.

CLN: Can you create something new and also think about whether it's going to get "likes" or not? Is it possible to trust your own instincts and also wonder whether what you create will be liked or not?

RW: Whether something will be "liked" or not has no place in the creative process. One needs to take an impression at every stage of the process as a guiding force. The act of taking an impression is to look objectively at what has been created, and use its directives to further the problem solving process. "Likes" is a social phenomenon that comes after the act of creation.

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In The Process readers are privy to how Wilde's students at SVA solved problems like being prompted to produce visual renderings of New York City hostility using taxi cab imagery....whether the solutions would be "liked" or not was not a part of the assignment.

CLN: The Process is a demonstration of your method in a course using visual design. How can people in areas other than the applied arts -- writers, scientists, entrepreneurs, etc., -- get themselves into the unknown?

RW: The process for creating anything new is to go against one's habitual nature and to ask meaningful questions regardless of the field. For instance, just changing your posture while you work can change the way you think because it gets you out of the known. Working with a group if you normally work alone can achieve the same effect. Just doing the opposite of what you would normally do can put you into the unknown as well.

CLN: What are your students like when they enter Visual Literacy and what are they like when they leave?

RW: When students enter my visual literacy class, although they come with a wish to learn, they also bring their tensions, fear of failure, fear of the blank page...in short the usual baggage that we all carry.

The School of Visual Arts creates an environment for experimental teaching to thrive. In my Visual Literacy course students learn how to question everything. Questioning is the path to becoming a real student, coupled with the rigorous experience of solving the projects shown in The Process. They leave having learned how to embrace real struggle, which is one of the keys for empowerment in the arts as well as a lifetime career.



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8 Things You Didn't Know About The Artist Vincent Van Gogh

The work of post-Impressionist painter Vincent van Gogh has been widely celebrated in the time since his death, at the age of 37, in 1890. In recent years, two Academy Award-winning films featured his work -- "Lust for Life" and "Midnight in Paris" -- though the Dutch artist died believing his life's work was a failure. Legend has it that the artist only sold a single painting in his lifetime, and van Gogh was no star in the art world. He lived a life plagued by self-doubt, crippled by numerous behavioral conditions.

When van Gogh completed "The Starry Night," arguably some of his finest work, the artist didn't even think it was any good -- a sentiment the world's initial response seemed to confirm. However, in 1941, the painting became part of the permanent collection of the Museum of Modern Art in New York City; in 1973, a museum in Amsterdam opened with its primary commitment to house works by van Gogh.

A recent Vanity Fair article called into question the details surrounding van Gogh's final years and untimely death. Accordingly, The Huffington Post examined more of the unknown. Here are eight things you didn't van Knowgh:1. Vincent van Gogh apparently placed lit candles in his hat so he could paint at night.

It is not exactly certain that van Gogh painted with candles lining the brim of his straw hat -- in one letter to his brother, Theo, van Gogh mentions "Starry Night over the Rhone" was painted "actually under a gas jet" -- but the story is often repeated.

In another letter to his brother, van Gogh stated, "It often seems to me that the night is much more alive and richly colored than the day." If the stories are true, van Gogh would seek out cafes at night to paint, wearing his candlelit straw hat beside other customers. In a letter to friend and fellow artist Anthon van Rappard, van Gogh wrote about a fable in which a candle represents a woman and a moth a man:

Viewed thus, men don’t play a very noble role -- well, but that is in fact the case. It doesn’t apply in general, though, because ... does the candle burn for the sake of the moth? If one knew that -- well then -- it might well be worthwhile committing suicide that way.

Image: Flickr user Asia Datnova


2. Although it has been believed that Vincent van Gogh committed suicide, he may have been murdered.

vincent van gogh dead

The Pulitzer Prize-winning biographers Steven Naifeh and Gregory White Smith released a book in 2011, called Van Gogh: The Life, which claimed that van Gogh did not commit suicide but rather a local teen bully murdered him. Art historians have still not fully embraced this theory -- the Van Gogh Museum in Amsterdam still lists his death as a definitive suicide -- but Vanity Fair published an article in November 2014 that featured a forensic scientist's skeptical take on the possibility that van Gogh shot himself, due to the artist's inability to hold the gun so close to his body and the absence of burn marks on his hands.

As pointed out in Naifeh and Smith's book; the gun was never found, the easel van Gogh claimed to be painting on was never recovered and the walk van Gogh claims to have taken from a wheat field to an inn where he was staying is unbelievably long for someone with a fatal wound (it was about a mile). Though speculative, the author's also discuss van Gogh's paintings around the time of his death as far too lighthearted and that van Gogh made it clear he was against suicide in various letters.

For what it's worth, the idea van Gogh committed suicide did come straight from van Gogh himself, as at the inn he claimed that he wanted to die and refused medical help, saying to his brother, "The sadness will last forever."

Images: WikiCommons


3. Somebody else might have cut off Vincent van Gogh's ear.

First off, the entirety of van Gogh's ear was not removed. A portion of his left earlobe was cut off. According to a report by Le Petit Journal, just three days after the incident, van Gogh did in fact give a part of his earlobe to a prostitute, but whether he cut the earlobe off himself is highly questionable.

Van Gogh had been living with friend and fellow artist Paul Gauguin at the time of the incident. Gauguin was an expert fencer. The two would often fight violently, and the night van Gogh's earlobe was cut was no exception. Although the two both claimed that van Gogh had cut the earlobe off himself, this may have been to cover up shame on the Dutch artist's part. Also, van Gogh may have had a tendency to lie. Van Gogh liked Gauguin more than Gauguin liked him and van Gogh's brother, Theo, had gone so far as to bribe Gauguin to keep living in the house.

For some reason, van Gogh claimed he had no recollection of the night, although he did write to Theo: "Luckily Gauguin ... is not yet armed with machine guns and other dangerous war weapons."

Image: Flickr user Herman Schouwenburg


4. Vincent van Gogh painted "The Starry Night" while peering out the window as a self-admitted patient at the Saint-Paul asylum in Saint-Rémy.

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In January 1889, van Gogh was discharged from a hospital in Arles following the incident that wounded his left ear. However, he felt as if his mental health had not recovered and a few months later, in May, van Gogh checked himself into the Saint-Paul asylum. As the Van Gogh Museum points out, Theo van Gogh wrote his brother shortly after:

It pains me to know that you’re still in a state of incomplete health. Although nothing in your letter betrays weakness of mind, on the contrary, the fact that you judge it necessary to enter an asylum is quite serious in itself. Let’s hope that this will be merely a preventive measure. As I know you well enough to believe you capable of all the sacrifices imaginable, I’ve thought that there’s a possibility that you may have thought of this solution to encumber less those who know you.

While in the asylum, van Gogh painted many of his now classic works, including "Irises," "The Olive Trees" and "The Starry Night."

Van Gogh referred to "The Starry Night" as a failure. Writing his brother, the artist stated that he would be mailing several his way (which Theo tried to sell without success). Van Gogh noted that the painting "says nothing to me." It was not even "a little good," he wrote, like other paintings mentioned in the letter. Without enough postage to send all the paintings he had intended, "The Starry Night" was left out of the package.


5. Growing up, Vincent van Gogh would walk by a tombstone with his own name, due to the early death of his infant brother.

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Van Gogh was born and raised in Zundert, Netherlands. His father, Theo van Gogh, was named pastor of a Dutch Reformed church in 1849. Van Gogh's brother by the same name, Vincent, died as a baby and is buried in the church that still stands today.

Zundert still celebrates itself as the birthplace of van Gogh. The town includes Vincent van Gogh Square, commemorative statues of van Gogh and his brother, Theo, and a Vincent van Gogh house. The original house on the Zundert main street at Markt 29 was unfortunately torn down.

Image: Getty


6. Vincent van Gogh didn't start painting until he was 27 or 28, but his oeuvre included nearly 900 works -- an average of about 2 per week -- before he died at 37.

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Before he pursued painting, van Gogh attempted to be a lay minister, teacher and art dealer, among other professions. Then, as Van Gogh Gallery points out, he wrote his brother, Theo, in late December 1881:

Theo, I am so very happy with my paintbox, and I think my getting it now, after having drawn almost exclusively for at least a year, better than if I had started with it immediately ... For, Theo, with painting my real career begins. Don't you think I am right to consider it so?

Van Gogh created almost 900 paintings and more than 1,100 works on paper before his death. Prolific, yes, but van Gogh may have had a form of epilepsy (which he was diagnosed with in his lifetime) and a behavioral condition called hypergraphia which causes those afflicted to have an intense need to write, or, in van Gogh's case, paint.


7. The distinct yellows that Vincent Van Gogh used in his paintings have faded and browned over time.

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Van Gogh used a signature yellow in his paintings that was made possible by the industrial revolution and a new pigment called chrome yellow, a "toxic lead chromate and like many of the pigments of the period was chemically unstable."

Unfortunately these yellows, used in paintings such as "Bedroom in Arles," have significantly faded and browned over the years and so contemporary viewers aren't quite seeing the original luminance of the works.

This change is permanent, according to Koen Janssens, the leader of a group of researchers who tested samples of the browning paint. "To reverse this chemical reaction would likely cause more damage to the paintings,” he said.

Images: Getty


8. The oldest living person met Vincent van Gogh in her lifetime and remembered him as "dirty, badly dressed and disagreeable."

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Born in 1875, Jeanne Calment had the longest confirmed human lifespan when she died in 1997 at 122. She lived her life in Arles, France, where van Gogh spent time in 1888. During that year, van Gogh came to a shop Calment's uncle owned to buy paints. Calment later described van Gogh as "dirty, badly dressed and disagreeable."

Calment was 12 or 13 at the time and, according to a New York Times obituary, also said van Gogh was "very ugly, ungracious, impolite, sick -- I forgive him, they called him loco.''


BONUS: Vincent van Gogh painted over 30 self-portraits, but photographs of the artist may exist.

bedroom arles

The portrait (at right) is an oil painting by van Gogh, completed Dec. 31, 1886; the photograph (at left) was also taken in 1886. It was bought at an antique store for $1 in the early 1990s. Forensic scientists believed they confirmed it was an original photograph of van Gogh in 2004.

The Van Gogh Museum did not authenticate the photograph at the time and only a handful of photos of van Gogh at a much younger age have been deemed real. The address below the photo has also been called into question as it marks a Canadian location, and van Gogh never lived outside of Europe. The eyes seem a bit unfamiliar, but maybe it just takes an impressionist's vision to fully see the resemblance.

Images: WikiCommons

CORRECTION: A previous version of this article incorrectly stated Vincent van Gogh's older brother, Vincent, died at the age of one when the death was actually a stillbirth.

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10 Upcoming Auction Lots; 10 Exhibitions Opening

SIMPSON & HIS DONKEY

SIMPSON & HIS DONKEY by Horace Moore Jones

A Watercolour by Horace Moore Jones will be sold on Jul 22 2015 in The Important, Early & Rare Sale at International Art Centre.
The Estimated sale price is between $200,436 and $334,060.

Many works by the artist have previously sold at auction including: 'Simpson And His Donkey' sold at International Art Centre sale of 'Important, Early & Rare' in 2015 for $167,993; and 'The Marae' sold at ART+OBJECT sale of 'The Bev & Murray Gow Collection' in 2007 for $1,424.


COWBOYS AND INDIANS (FELDMAN & SCHELLMANN II.377-386)

COWBOYS AND INDIANS (FELDMAN & SCHELLMANN II.377-386) by Andy Warhol

A the portfolio of ten screenprints in colors by Andy Warhol will be sold on Jul 22 2015 in The Contemporary Living: Post-War Photographs, Prints & Design Sale at Sotheby's New York.
The Estimated sale price is between $200,000 and $300,000.

Many works by the artist have previously sold at auction including: 'Silver Car Crash (double Disaster)' sold at Sotheby's New York 'Contemporary Art Evening Auction' in 2013 for $105,445,000; and 'Triple Elvis [ferus Type]' sold at Christie's New York 'Post-war & Contemporary Art Evening Sale' in 2014 for $81,925,000.


MONASTERY STEPS

MONASTERY STEPS by Frances Hodgkins

An Oil on canvas by Frances Hodgkins will be sold on Jul 22 2015 in The Important, Early & Rare Sale at International Art Centre.
The Estimated sale price is between $167,030 and $233,842.

Many works by the artist have previously sold at auction including: 'Portrait Of Arthur Lett-haines' sold at Sotheby's London sale of '20th Century British Art' in 2006 for $79,756; and 'Market Scene, Dordrecht, Circa 1906' sold at International Art Centre sale of '19th & 20th Century New Zealand Paintings Together With Contemporary Masterpieces' in 2010 for $43,937.


PAST AND PRESENT

PAST AND PRESENT by Charles Frederick Goldie

An Oil on canvas by Charles Frederick Goldie will be sold on Jul 22 2015 in The Important, Early & Rare Sale at International Art Centre.
The Estimated sale price is between $113,580 and $146,986.

Many works by the artist have previously sold at auction including: 'Kawhena - 'johnny Coffin' 1892' sold at International Art Centre sale of 'Important, Early & Rare' in 2013 for $518,300; and '"an Aristocrat" Atama Paparangi. A Chieftain Of The Rarawa Tribe Of Maoris, New Zealand' sold at Christie's King Street sale of 'Australian Art' in 2013 for $502,618.Riverfests-Tour-d’Art-480x298 v0_master ao288 ao287 ao283 ao285 ao284 ao278 ao280a ao281 ao270 ao272 ao280


OUGI

OUGI by Kazuo Shiraga

An oil on canvas by Kazuo Shiraga will be sold on Jul 22 2015 in The First Open/NYC Sale at Christie's New York.
The Estimated sale price is between $80,000 and $120,000.

Many works by the artist have previously sold at auction including: 'Gekidou Suru Aka' sold at Sotheby's Paris sale of 'Contemporary Art' in 2014 for $5,312,868; and 'Bb56' sold at Christie's New York 'Post-war & Contemporary Art Evening Sale' in 2014 for $4,869,000.


THE BIG SWIRL

THE BIG SWIRL by Dan Colen

An acrylic and spray enamel on canvas by Dan Colen will be sold on Jul 22 2015 in The First Open/NYC Sale at Christie's New York.
The Estimated sale price is between $70,000 and $90,000.

Many works by the artist have previously sold at auction including: 'Boo Fuck'n Hoo' sold at Christie's New York 'If I Live I'll See You Tuesday: Contemporary Art Auction' in 2014 for $3,077,000; and '53 Rd & 3 Rd' sold at Sotheby's New York 'Contemporary Art Evening Auction' in 2013 for $1,085,000.


FASSADE II

FASSADE II by Günther Förg

An acrylic on panel in artist's frame by Günther Förg will be sold on Jul 22 2015 in The First Open/NYC Sale at Christie's New York.
The Estimated sale price is between $70,000 and $90,000.

Many works by the artist have previously sold at auction including: '12 Works: Ohne Titel' sold at Phillips New York, Upper East Side 'Contemporary Art Evening Sale' in 2015 for $581,000; and 'Washington Square Ii (3-teilig)' sold at Ketterer Kunst Munich sale of 'Post War / Contemporary Art' in 2015 for $506,686.


MOON-STAR ZAG XII

MOON-STAR ZAG XII by Louise Nevelson

A painted wood black by Louise Nevelson will be sold on Jul 22 2015 in The First Open/NYC Sale at Christie's New York.
The Estimated sale price is between $60,000 and $80,000.

Many works by the artist have previously sold at auction including: 'Sky Cathedral' sold at Sotheby's New York 'Contemporary Art Day Auction' in 2014 for $989,000; and 'Night Wall Ii' sold at Sotheby's New York 'Contemporary Art Day Auction' in 2012 for $782,500.


UNTITLED

UNTITLED by Jean Michel Basquiat

An oilstick on paper by Jean Michel Basquiat will be sold on Jul 22 2015 in The First Open/NYC Sale at Christie's New York.
The Estimated sale price is between $60,000 and $80,000.

Many works by the artist have previously sold at auction including: 'Dustheads' sold at Christie's New York 'Post-war & Contemporary Evening Sale' in 2013 for $48,843,750; and 'The Field Next To The Other Road' sold at Christie's New York 'Post-war & Contemporary Evening Sale' in 2015 for $37,125,000.


THE SAILOR

THE SAILOR by Malcolm Morley

An oil on canvas by Malcolm Morley will be sold on Jul 22 2015 in The First Open/NYC Sale at Christie's New York.
The Estimated sale price is between $60,000 and $80,000.

Many works by the artist have previously sold at auction including: 'Ss Amsterdam In Front Of Rotterdam' sold at Christie's King Street 'Post-war & Contemporary Art Evening Auction' in 2015 for $1,890,948; and 'Cristoforo Colombo' sold at Sotheby's London 'Contemporary Art Evening Auction' in 2008 for $1,000,376.

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Jeffrey Vallance: The Medium is the Message
at CB1 Gallery
Los Angeles, CA, USA
Jul 25, 15 - Sep 05, 15

Jeffrey Vallance: The Medium is the Message at CB1 Gallery For his exhibition in the main gallery at CB1 Gallery, Jeffrey Vallance will exhibit a series of “Spirit Photos” relating to each dead artist channeled during a series of séances. Historically spirit photography came in vogue around the end of the 19th century when photography was in its infancy. The early photographers use of double exposure and trick photography now looks quaint to 21st century eyes. read more...


Virginia Beahan: Elegy for an Ancient Sea
at Museum of Contemporary Art San Diego, La Jolla
La Jolla, CA, USA
Jul 25, 15 - Sep 06, 15

Virginia Beahan: Elegy for an Ancient Sea at Museum of Contemporary Art San Diego, La Jolla Virginia Beahan’s haunting photographs of the Salton Sea and its surrounds capture the lake’s layered history and precarious present. In Elegy for an Ancient Sea, Beahan presents images from her explorations of the California desert, as she brings a nuanced eye to the landscape’s fraught past. Through her visually sumptuous photographs, the Salton Sea becomes a kind of character, struggling to sustain life as its physical reality deteriorates. read more...


Sub-Scheme
at Western Exhibitions
West Loop - Chicago, IL, USA
Jul 24, 15 - Aug 29, 15

Sub-Scheme at Western Exhibitions Western Exhibitions is pleased to present Sub-Scheme, a collection of recent works by the Rhode Island School of Design MFA 2015 Painting Class, featuring Anthony Bragg, Irmak Canevi, Andy Giannakakis, Suzy Gonzalez, Michael R. Leon, Jon Merritt, Whitney Oldenburg, Sarah R. Pater, Fernando Pezzino, and Katie Darby Slater, selected and organized by Chicago-based critic and curator Stephanie Cristello. read more...


APEX: Margie Livingston
at Portland Art Museum, Oregon
Portland, OR, USA
Jul 25, 15 - Nov 15, 15

APEX: Margie Livingston at Portland Art Museum, Oregon Seattle artist Margie Livingston makes sculptural objects out of paint, pouring gallons of acrylic to form skins that she hangs on nails, drapes over pegs, leans against the wall, piles like discarded laundry, and cuts into planks. Her paint is both object and subject—it may be a minimal abstract shape that stretched over an armature becomes a table, or it may seem like flesh but resemble a net or wooden paneled wall. The dichotomy between object and subject creates seductive, visceral, and mysterious works of art. read more...


Veils of Color: Juxtapositions and Recent Work by Elizabeth Osborne
at James A. Michener Art Museum
Doylestown, PA, USA
Jul 25, 15 - Nov 15, 15

Veils of Color: Juxtapositions and Recent Work by Elizabeth Osborne at James A. Michener Art MuseumThrough juxtapositions of newer and older work, Veils of Color: Juxtapositions and Recent Work by Elizabeth Osborne explores the arc of the artist's nearly six-decade career, a career of incredible artistic production and exploration distinguished by a subtle pas de deux between abstraction and realism, a duet that is both revealed and concealed by veils of color that wash across every canvas. The paintings in the exhibition demonstrate the power of color when at the command of Elizabeth Osborne’s brush. read more...


Lauren Gault & Allison Gibbs: fugue states
at The Centre for Contemporary Arts
Glasgow, UK
Jul 24, 15 - Sep 06, 15

Lauren Gault & Allison Gibbs: fugue states at The Centre for Contemporary Arts Lauren Gault and Allison Gibbs come together for the first time in a two-person exhibition investigating the margins of sight, sense and connectedness. Positioning their research around the reception and transmission of information, the artists explore metaphysical and unverifiable qualities of materials, objects and processes to survey how the sensory may function; how it may have evolved. The exhibition has facilitated a communal, cross-continental enquiry, sharing research and writing into the properties (alchemical, technological, biological, biographical) of materials and objects, as well as imagery and forms suggestive of physical and psychological states – wet, dry, geographical, psychogenic. read more...


Alexis Boyle: New Works
at La Petite Mort Gallery
Ottawa, ON, Canada
Jul 24, 15 - Jul 30, 15

Alexis Boyle: New Works at La Petite Mort Gallery Darkness is the birthplace of all things—the damp earth, the seemingly empty space between stars, and the ripe pocket of the womb. In this exhibition, multi-disciplinary artist Alexis Boyle brings together heavenly stars and earthly bodies, through her meditation on plasma, the slippery fourth state of matter (alongside solids, liquids, and gases) that makes up over 99% of the universe. Present in our blood and in outer-space, plasma acts as a mighty conduit between all things, and is the housing of all future hatchlings. read more...


Nicholas Crombach: Trapped
at Angell Gallery
Toronto, ON, Canada
Jul 24, 15 - Aug 15, 15

Nicholas Crombach: Trapped at Angell Gallery ANGELL GALLERY is pleased to present NICHOLAS CROMBACH: TRAPPED, a solo exhibition of recent figurative sculpture by this award-winning artist. The show runs in the east gallery from July 25 to August 15, 2015, with an opening reception on Saturday, July 25, 1:00 to 4:00 PM. Within Canada, emerging artist Nicholas Crombach is quickly joining the ranks of Evan Penny, Stephen Scofield and Karine Giboulo as an important figurative sculptor. read more...


Gavin Turk: Yard
at CCA Andratx
Mallorca, Spain
Jul 25, 15 - Dec 15, 15

Gavin Turk: Yard at CCA Andratx The CCA Andratx is pleased to present “Yard”, a solo exhibition by Gavin Turk. One of the leading proponents of the Young British Artists movement, Gavin Turk is best known for his elaborate re-enactments of art history’s legends – from Marat and Magritte to Boetti and Warhol – adopting their works’ aesthetics, creative processes, and even their public personas for his own critical and democratic myth-making. This artistic ‘regeneration’ – here applied to his own practice – is the underlying concept of Turk’s latest work: Yard, a short film shot in the vacant lot adjacent to Turk’s studio, one of the few industrial plots not yet re-developed in East London’s property boom. read more...


Teresa Burga: Air Structures
at Malba- Fundación Costantini
Buenos Aires, Argentina
Jul 24, 15 - Nov 16, 15

Teresa Burga: Air Structures at Malba- Fundación Costantini In the framework of the project to recognize and valorize work by historical artists from Latin America (a project to be housed in Gallery 3), MALBA will hold the first exhibition in Buenos Aires of Peruvian artist Teresa Burga (Iquitos, Peru, 1935) An emblematic participant in the renewal of Peruvian art that took place in the sixties and seventies and a member of the Grupo Arte Nuevo (1966-1968), Teresa Burga was at the forefront of the dissolution of the art object; she made use of experimental processes and novel creative strategies to produce a decidedly conceptual body of work. The exhibition will feature two major—and extremely current—installations from the seventies, projects directly related to the work being done at the Centro de Arte y Comunicación (CAYC) in Argentina at the time. read more...