#Cheim and Read

[antronaut]

Louise Bourgeois - Spiral (2009)

gouache on paper 59.7 x 45.7 cm

[garadinervi]

Joan Mitchell: Works on Paper 1956-1992, (adv. from «Artforum»), Cheim & Read, New York, NY, May 10 – June 16, 2007 [Art Books & Ephemera. Joan Mitchell Foundation, New York, NY. © Estate of Joan Mitchell]

Art: Joan Mitchell, Untitled, (pencil and watercolor on paper; detail), 1967-1968

[mentaltimetraveller]

Sylvia Sleigh, Paul Rosano reclining, 1974

Oil paint on canvas 1372 × 1981 mm frame: 1389 × 1945 × 45 mm at Tate

The Female Gaze, Part Two: Women Look at Men, at Cheim & Read 2016

[thinkingimages]

Louise Bourgeois (French-American, 1911-2010) Blue Days 1996 cloth, steel, glass 292.1 × 205.7 × 241.3cm Courtesy Cheim & Read and Hauser & Wirth © Louise Bourgeois Trust / Licensed by VAGA, New York / Viscopy, Sydney

[moonrockworld]

Yoshitomo Nara’s Puff Marshie/Kanazawa Version (2006). Courtesy of Cheim & Read Gallery

[iamjapanese]

Matthew Wong（Canadian, 1984-2019）

The Watcher 2017 Ink on rice paper 111.1 x 106.7 cm via

© 2021 Matthew Wong Foundation / Artists Rights Society (ARS), New York. Photo: Alex Yudzon / Cheim & Read, New York.

[harvardfineartslib]

“I decided to use embroidery in my work after realizing that the language of painting is dominated by men.” – Ghada Amer

Ghada Amer (b. 1963) is an Egyptian-American contemporary artist who uses embroidery in her work. Amer’s work deals with issues of gender and sexuality, and she is known for highly layered embroidered images of women’s bodies often referenced from pornographic imagery.

Amer emigrated from Egypt to France at the age of 11 and currently lives and works between New York and Paris. In 1987, she attended a semester abroad program with the School of the Museum of Fine Arts in Boston, and she learned about important women artists who were using different formal languages. After returning to France, Amer developed her own approach to painting, using embroidery and gel on canvas as her medium and creating her own “feminine language of painting.” (from an interview with Maura Reilly in 2010)

"Many of Amer's paintings make art historical references in subversive and humorous ways. White Girls and White-RFGA subtly makes racial commentary, critiquing whiteness as a convention while addressing Robert Ryman. Landscape with Black Mountains-RFGA conflates the female form as a pastoral setting.[SW1] ” (from the publisher’s note: Cheim &Read, 2018)

Image 1: Ghada Amer, photo by Nat Gory Image 2: “Belle” 2014, acrylic, embroidery, and gel medium on canvas, 72”x 64” Image 3: Detail Image 4: “The Fortune Teller” 2008, acrylic, embroidery, and gel medium on canvas, 50”x 60” Image 5: Book cover featuring detail from “White Girls” 2017, acrylic, embroidery, and gel medium on canvas. 64”x 72”

Ghada Amer New York, NY : Cheim & Read, 2018. HOLLIS number: 990153139110203941

Ghada Amer : rainbow girls New York : Cheim & Read, 2014. HOLLIS number: 990146953240203941

Ghada Amer : color misbehavior New York : Cheim & Read, 2010]. HOLLIS number: 990126578000203941

[rfsnyder]

Cheim & Read 

[yama-bato]

[nftchampion]

The Shift Towards Digital: Why Art Collectors Are Pivoting to NFTs

The art market is experiencing a significant transformation as traditional physical art faces declining valuations while NFTs (non-fungible tokens) emerge as a dynamic alternative. This shift reflects broader changes in technology, consumer preferences, and investment strategies.

Physical Art Market Challenges

The traditional art market has seen notable turbulence recently:

Major Auction Houses Struggling: Christie's canceled its June evening sales for Impressionist, 20th-century, and contemporary art amid a 26% drop in auction sales across major houses.

Gallery Closures: Established galleries like Marlborough Gallery (78 years in operation) and Cheim & Read (26 years) have shut their doors due to declining foot traffic and shifting consumer behavior.

Financial Pressure: Art lenders are issuing margin calls as valuations for high-value artworks drop, requesting additional collateral from borrowers.

The NFT Alternative

NFTs have emerged as a compelling alternative to physical art, offering both aesthetic value and practical utilities:

Digital Ownership: NFTs provide verifiable ownership through blockchain technology, eliminating forgery concerns.

Enhanced Utility: Many NFTs come with additional benefits such as exclusive event access, virtual experiences, or creator collaborations.

Market Accessibility: Digital platforms are democratizing access to art investments through fractional ownership possibilities.

Notable NFT Examples

Several NFT projects highlight the utility and innovation in this space:

Bored Ape Yacht Club: Continues to offer holders exclusive perks including access to private events and metaverse experiences.

Beeple's Work: Includes augmented reality integrations allowing owners to project artwork into physical spaces.

Moonbirds: Gained traction for community-focused utilities including access to exclusive content and voting rights.

Why Collectors Are Making the Switch

Technological Innovation: Blockchain ensures secure transactions and traceable ownership records.

Broader Appeal: Digital platforms make art investment more accessible to new collectors.

Cultural Relevance: Younger generations prioritize experiences over material possessions, aligning with the interactive nature of NFTs.

The art market is at a crossroads. While physical art faces declining valuations, NFTs represent a versatile and innovative asset class. Collectors looking for growth opportunities should consider exploring digital assets not only for their financial potential but also for the enhanced experiences they offer.

[romanhaliday]

Joan Mitchell The Last Paintings at CHEIM & READ

[garadinervi]

Joan Mitchell: Paintings from the Middle of the Last Century, 1953-1962, Edited by John Cheim and Ellen Robinson, Text by David Anfam, Cheim & Read, New York, NY, 2018 [Moe's Books, Berkeley, CA. Art: © Estate of Joan Mitchell]

[mentaltimetraveller]

McDermott & McGough A HALF FORGOTTEN DREAM 1967 2012 Oil on canvas 60 x 48 inches 152.4 x 121.9 centimeters

at Cheim & Read

[jphilspace]

Barry McGee @ Cheim & Read. 2013

[webionaire]

Respected New York contemporary art gallery Cheim & Read is ceasing operations for good following the December 23 close of its current exhibition, a solo show of the work of Kathe Burkhart. The Chelsea gallery founded by dealers John Cheim and Howard Read has been in business since 1997, when it launched with an exhibition of work by Louise Bourgeois and Jenny Holzer; in the twenty-six years following, it gained a reputation for elevating the work of women. Cheim & Read’s longtime director and partner Maria Bueno is set to open her own gallery next year, called Bueno & Co. Besides the art stars she’s inheriting from Cheim & Read—among them Jean-Michel Basquiat, Louise Bourgeois, Joan Mitchell, Alice Neel, and Sean Scully—she will represent heavy hitters including Lynda Benglis, William Eggleston, Louise Fishman, Ron Gorchov, Pat Steir, and Matthew Wong.

[newyorkarttours]

Ron Gorchorv at Cheim and Read Gallery

Pleione, the nymph in Greek mythology who protected sailors, shares a name with this 2016 canvas by Ron Gorchov. Painted on the artist’s signature saddle-stretchers to suggest ancient Greek shields, the colors of each panel range from fleshy to fiery as they reach skyward. (At Cheim & Read through August 25th). Ron Gorchov, Pleione, oil on linen, 76 x 35 x 9 inches, 2016.