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indiantiquest · 2 years ago

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. . Claude Monet - Wild Poppies, 1888 . About the art - In this painting Monet captures the beauty of high summer. The field of wild poppies shimmers in the golden sun bringing the land alive with beauty and saturating the whole with light. This is a perfect example of the "Impressionist" style of painting emphasizing the use of light and texture which brings the scene to life . An exceptional mounted & framed art replica representing a breakthrough in fine art reproduction which enhances the enjoyment of classic oil paintings. It involves intricate handcrafting and features highly accurate colour reproduction with a truly realistic surface texture. Exact brush strokes, troughs, crests, crevices are reproduced so that one can touch and feel the travel of brush just like in the original, It captures forever the look and spirit of a cherished original painting, along with the Certificate of Authenticity framed at the rear side of the art in an unique sandwich frame where the painting and the Certificate can be taken out whenever needed . Provenance - Artograph Reproduction from The Art Museum, Boston, USA, an A.R.T Card by A.R.T Artograph Reproduction Technology Incorporated, Markham, Ontario, for Emirates airlines in year 1990 . . Dimensions 13.5 inches wide 10.25 inches tall . . 🏷 Now on Sale. 🛒 Buy from our Website, Link in Bio. 📦 Free Shipping within India🇮🇳 🌎Paid International Shipping 🚫 No Exchange/No Returns/No Refund. ❌️No COD/ No Booking/ No Reservation . Tag your home decor pictures @indiantiqueclub & get featured for free . Shop for New Arrivals, Special Offers & Featured products at www.indiantiquest.com . INDIANTIQUEST®️ ™️ GST, MSME, IEC Certified Images ©️ Copyrighted . . #indiantiquest #claudmonet #antibes #art #collectables #artdecor #indianartdecor #art #artists #painting #certified #artograph #artmuseum #boston #replica #arthome #paris #gallery #france #artprints #framed #artcard #paintings #walldecor ##walhanging #fineart #handdrawn (at Indian Antique Quest) https://www.instagram.com/p/Cn9N2hkgIrn/?igshid=NGJjMDIxMWI=

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danholtart · 3 years ago

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Dan Holt ART

Dan has always been interested in art and doodling. In fact, he usually got in trouble for doodling and not paying attention in school. He has since figured out that doodling is/was a way for him to pay more attention. https://www.ted.com/profiles/31154267/about

#art reproductions for sale ontario

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barry-kent-mackay · 2 years ago

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Fish Crow. This is acrylic on compressed hardboard, life size. It was used as a cover for Ontario Birds, but they did a poor job of reproduction. It’s one of two paintings I did of this species, but I have yet to photograph the second one. This is a simple painting, but I rather like it as I think it captures the species rather well. Before doing it I spent some time in the Washington D.C. area surrounded by Fish Crows…flew home, borrowed a specimen from the museum, and did the two paintings.

art may be used for non-commercial purposes with attribution

prints and original art for sale on Fine Art America

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yegarts · 7 years ago

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TIX Artist Profile: Karen Bishop

Meet the Artist

Born in Cheltenham, England, Karen Bishop was drawn to art in her youth and fondly remembers sorting through her father’s pastels “he had a beautiful wooden box full of them, all kinds of colours.” She admits she used art to fill the time but did not take it seriously until she moved to Canada.

“When I came to Kingston, Ontario, back in 1992 I couldn’t work for a while so I took some art classes,” says Bishop. Encouragement from her instructor and winning an art competition helped fuel her desire to keep creating, later pursuing a Fine Arts certificate at the University of Alberta's Faculty of Extension. Bishop recalls the first time she felt truly professional, “someone I didn’t know just came up to me and asked if I would consider selling my piece to her!” The sale to a stranger helped legitimize her artistic path and it unfolded from there. “I’ve put myself in positions where opportunity could knock, done my homework, created like mad and when the opportunity did present itself I just kept saying yes!”

Image: Allaq (8 x 16”) Watercolour and Alcohol Ink on Yupo mounted on Wood Panel

Practice and Inspiration

“My work is not intended to be a faithful reproduction of the landscape before me,” says Bishop “instead I paint by feel.” Painting on site, she allows the surrounding and weather to dictate how the piece unfolds.

“For me painting allows that perfect quiet, where I am peaceful and at peace with myself, and my surroundings. It's an escape from the everyday, a chance to experience the earth more fully, a chance to breathe and know that all is well. To put it simply, I paint because it makes me happy. My hope is that the viewer can find a similar joy and peace in my work.”

Image: Tea Tower (8 x 16”) Watercolour on Yupo mounted on Wood Panel

What’s Next?

Bishop is currently preparing for two solo shows in May, at The Tea Girl and The Carrot Community Arts Coffeehouse. “I like to paint her [The Tea Girl’s] teacups and being a Brit it’s a perfect match of tea and art,” says Bishop on her work to be shown at The Tea Girl. She also has a fasciation with Canadian wildlife which will fill her Living on the Land show at the Carrot, opening May 30, 2018.

Looking into the future, Bishop plans to approach galleries across Canada to see how far she can take her art practice, “it’s a really exciting time for me.”

Image: denii ghegał (6 x 6”) Watercolour on Yupo mounted on Wood Panel

Words of Wisdom

In Edmonton, Bishop shares that she has met the best, most supportive group of artists that a person could hope for. She feels fortunate to meet people like Phil Alain, Kim Fjordbotten, Amy Loewan, Lewis Lavoie, Jerry Heine, and Jason Blower who happily support and cheer each other on. Being open has presented her new opportunities and allows her to reach out for advice.

“There are people out there who want you to succeed,” says Bishop. “It’s not a competition - we are all in this together and if we work together and support each other we artists can take over the world!”

Follow Karen Bishop on Facebook, Instgram and Twitter.

You can find her original watercolours and prints at the TIX on the Square store!

#yeg #yegarts #yegartist #edmonton #edmonton art #edmonton artist #edmonton arts council #city of edmonton #Tix On The Square #karen bishop

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wallpapernifty · 4 years ago

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Seven Mind Numbing Facts About Sunflower Painting Van Gogh | Sunflower Painting Van Gogh

TORONTO — Physical break measures won’t anticipate art lovers from admiring the works of Vincent van Gogh in an accessible agenda art exhibition that will acquiesce them to booty in the masterpieces from the abundance of their cars.

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In acknowledgment to the COVID-19 pandemic, organizers of the “Immersive Van Gogh” affectation are acceptance ticket-holders to drive their cartage central the 4,000 aboveboard bottom Toronto Star automated barn apartment the agenda art alpha June 18.

The exhibition, which was initially set to accessible May 1, will affectation some of the best acclaimed works by the acclaimed Dutch painter, such as “Starry Night,” and “Sunflowers,” through the use of light, sound, and agenda projections.

Corey Ross, co-producer of “Immersive Van Gogh,” said there will be agenda projections on every apparent central the automated columnist press allowance of the Toronto Star building.

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“The aboriginal affair that strikes you back you see the appearance is this transformation of animate beams and brick walls into amoebic sunflowers and clouds and waves,” he told CTV News Channel on Thursday.

Ross said they had already awash a lot of tickets for the appearance back the communicable addled beforehand this year.

“We started to apprehend all of the added arts organizations in boondocks and beyond Ontario and absolutely beyond Canada accept accomplished operations and arts workers are accident their jobs… And that motivated us alike more, we had to amount out a way that we can accessible this show,” he recalled.

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The barn has a loading berth that Ross said he consistently collection up during the architecture appearance of the exhibit.

“So it addled me one day that if I can accommodate this access and drive up this ramp, again maybe the accessible can do it as well. That was the atom of the idea,” he said.

The drive-in acquaintance will acquiesce 14 cartage central the barn for anniversary timeslot. Patrons will be able to park, about-face off the engine, and watch the 35-minute appearance from central their vehicles.

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Tickets for the drive-in exhibit, which runs from June 18 to June 25, were aboriginal accessible to barter who already had tickets for the walk-thru acquaintance and are now accessible to the public, Ross said.

He said they will acquiesce up to six bodies per agent and anyone who buys a drive-thru admission will be accustomed an added adulatory admission to acknowledgment to the affectation back the walk-thru acquaintance opens in July.

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bestreports · 5 years ago

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Global Infertility Treatment Devices & Equipment Market Outlook & Worldwide Foresight to 2026

AUG 07, 2019: The global infertility treatment devices and equipment market size is expected to reach USD 420.7 million by 2026, according to a new report by Radiant Insights, Inc. It is projected to expand at a CAGR of 9.3% during the forecast period. According to the United Nations (UN), the global fertility rate is expected to decline to 2.4 births per woman by 2030 and 2.2 births per woman by 2050. Currently, 46% of the global population lives in countries with low levels of fertility. Another 46% population lives in countries with intermediate fertility and the remaining 8% population lives in countries with high fertility.

To Request A Sample Copy Of This Report @: https://www.radiantinsights.com/research/infertility-treatment-devices-and-equipment-market/request-sample

Demand for Assisted Reproductive Technology (ARTs) is growing due to growth in infertility rate across the globe. The patients are offered several options for the infertility treatment depending on the causes. Technological advancements in developing regions offer promising growth for fertility clinics, hospitals, and device manufacturers to expand the market presence. Healthcare facilities specializing in ART treatments are required to obtain a license from the respective authorities present in the country.

To Browse Full Research Report @: https://www.radiantinsights.com/research/infertility-treatment-devices-and-equipment-market

Availability of various reimbursement schemes in developed regions is likely to drive growth of the market in the forthcoming years. For instance, the Singapore government offers around 75% co-funding for various assisted reproductive treatments. The Ontario government had announced a fertility program worth USD 50 million to cover the treatment of 5,000 people in 2016.

Key players operating in the infertility treatment devices and equipment market are adopting strategies such as acquisitions and partnerships to strengthen their presence in other regional markets. For instance, Vitrolife entered into an agreement to acquire OCTAX Microscience GmbH in 2016. The company strengthened its position in the IVF market by the expansion of its product portfolio through this acquisition.

Further key findings from the study suggest:

• Sperm separation devices led the type segment in terms of revenue share in 2018. These devices are used in assisted reproductive treatments such as IVF and artificial insemination to purify the semen samples

• Imaging systems is expected to be the fastest growing segment over the forecast period as time-lapse imaging systems prevent embryos from getting disturbed in the culture during their assessment, eliminating manual handling

• Fertility clinics led the end use segment in 2018, in terms of revenue share. These clinics offer couple counselling and plan treatments based on the causes and severity of their infertility

• Europe led the overall market in terms of revenue in 2018 owing to the constantly declining fertility rate in the region. Increasing number of couples opting for ARTs along with growing medical tourism in some European countries is further fueling the growth

• Some of the key players operating in the infertility treatment devices and equipment market are The Cooper Companies, Inc.; Hamilton Thorne, Inc.; Cook; Vitrolife; and DxNow, Inc. among other

Table of Contents

Chapter 1 Methodology And Scope

1.1 Market Segmentation & Scope

1.1.1 Type

1.1.2 End Use

1.1.3 Regional Scope

1.1.4 Estimates And Forecast Timeline

1.2 Research Methodology

1.3 Information Procurement

Chapter 2 Executive Summary

2.1 Market Outlook

2.2 Segment Outlook

2.2.1 Type

2.2.2 End Use

2.2.3 Region

2.3 Competitive Insights

Chapter 3 Market Variables, Trends & Scope

3.1 Market Lineage Outlook

3.1.1 Parent Market Outlook

3.1.2 Related/Ancillary Market Outlook

3.2 User Perspective Analysis

3.2.1 Consumer Behavior Analysis

Continued…

To See More Reports of This Category by Radiant Insights: https://www.radiantinsights.com/catalog/medical-devices

About Radiant Insights: Radiant Insights is a platform for companies looking to meet their market research and business intelligence requirements. It assist and facilitate organizations and individuals procure market research reports, helping them in the decision making process. The Organization has a comprehensive collection of reports, covering over 40 key industries and a host of micro markets. In addition to over extensive database of reports, experienced research coordinators also offer a host of ancillary services such as, research partnerships/ tie-ups and customized research solutions.

Media Contact:

Company Name: Radiant Insights, Inc

Contact Person: Michelle Thoras

Email:

[email protected]

Phone: (415) 349-0054

Address: 201 Spear St #1100, Suite #3036

City: San Francisco

State: California

Country: United States

For more information, Visit:

http://www.radiantinsights.com

#Infertility #Treatement #devices #market #2019

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caveartfair · 7 years ago

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What Makes 1982 Basquiat’s Most Valuable Year

Basquiat smoking, 1983. Roland Hagenberg Galerie Peter Sillem

Jean-Michel Basquiat, La Hara, 1981. Courtesy of Christie’s.

When Jean-Michel Basquiat was 21, he painted a canvas that would sell later that year for $4,000. It depicted a crowned skull, composed of thick, vigorous brushstrokes against an electric blue backdrop. Basquiat didn’t know it then, but it would become one of his most mythical and sought-after works.

In 2017, the same painting, Untitled (1982), sold for $110.5 million at Sotheby’s—over 10,000 times its original value, after adjusting for inflation. The sum shattered the artist’s previous $57.3 million record, fetched at Christie’s the year prior for another untitled 1982 work. His third-highest auction record, $48.8 million in 2013 at Christie’s, was also a 1982 painting, Dustheads. The wunderkind artist’s works from 1982 have become the most desirable to collectors and, subsequently, the most highly valued amongst his roughly decade-long output.

Why is this year so coveted? Experts say it can’t be boiled down to a single factor. A number of forces combined in 1982: His “shift from street to studio,” as Sotheby’s contemporary art specialist David Galperin put it; a new supply of large canvases, courtesy of his new dealer; a string of solo shows around the world; and a freedom from the market pressures that would come to weigh on him in the last few years of his short life.

“It’s simply his best work,” said Michael Baptist, a post-war and contemporary specialist at Christie’s, of the artist’s 1982 paintings. “But, of course, it’s more complex than that.”

Installation shot of “One Basquiat.” Photo by Jonathan Dorado.

Basquiat was born in Brooklyn, New York, in 1960. As a teenager in the late ’70s, he adopted the moniker “SAMO,” slang for “same old, same old,” which he scrawled on city walls alongside cryptic poetry. His fellow street artists and New York City denizens took notice of phrases like “SAMO © 4 THE SO-CALLED AVANT-GARDE” and “SAMO © AS A CONGLOMERATE OF DORMANT-GENIOUS” as they cropped up across Brooklyn, Manhattan, and the Bronx.

“He scoured the streets of downtown New York tagging walls…becoming infamous for his graffiti,” said Galperin of Basquiat’s early work.

It wasn’t until 1981 that the art establishment began to notice Basquiat. By that year, he had started drawing and painting on paper and found surfaces like leather jackets. It was a selection of these pieces that curator Diego Cortez included in his 1981 landmark show “New York/New Wave” at MoMA PS1, alongside artists such as Andy Warhol, Keith Haring, Nan Goldin, and Robert Mapplethorpe. It was Basquiat’s first inclusion in a museum exhibition, and the moment when “we can point to his discovery,” said Galperin.

Who discovered him at that show? According to a 1985 New York Times Magazine profile on Basquiat, only a handful of art-world power players made it to the then-fledgling institution in Queens for the exhibition. But those who did—including Swiss dealer Bruno Bischofberger and influential curator Henry Geldzahler, who had previously worked at the Metropolitan Museum of Art and as New York City’s commissioner of cultural affairs—were struck by Basquiat’s work.

Jean-Michel Basquiat, Untitled, 1982. Courtesy of Christie’s.

A few months after the show, Geldzahler acquired a piece by the young artist, a collage made from torn posters and the artist’s distinctive scribbles on a found door. “It was covered with as dense and rewarding an array as a 1955 Rauschenberg,” Geldzahler told the Times. “I decided to overpay. I offered $2,000 for it. I knew he was authentic and I wanted to say, ‘Welcome to the real world.’”

Around the same time, Basquiat was picked up by his first New York dealer, Annina Nosei, whose SoHo gallery had opened in 1980 and would go on to represent the likes of Barbara Kruger and Robert Longo. She also gave the young painter his first proper studio in the gallery’s basement, as well as a slew of large-scale canvases and “access to all the materials he needed, including high-quality paints,” said art dealer Jeffrey Deitch, who knew Basquiat in the ’80s and read the artist’s eulogy at his funeral after his untimely death in 1988, at the age of 27.

Blossoming support from the art world, as well as the shift “from the street to the studio,” as Galperin put it, set the young artist up for his breakout year. It was then that he made a number of his most iconic canvases—the same ones now selling for tens of millions.

“For Basquiat, it all converges in 1982,” said Deitch. “Those of us who were there at the time and saw those paintings just couldn’t believe it. The level of achievement was just astonishing. It was almost a miracle,” he remembered.

“Everybody around him knew that these were extraordinary.”

Obnoxious Liberals, 1982. Jean-Michel Basquiat "Jean-Michel Basquiat: Now's the Time" at Art Gallery of Ontario (AGO) (2015)

Stylistically, Basquiat’s paintings from 1982 blended the energetic, forceful lines of his street work with his deep knowledge of art history. Basquiat had pored over great art in New York’s museums since his youth (by age six, he was a card-carrying “junior member” of the Brooklyn Museum and visited the Met regularly throughout his teens). In single paintings, he combined allusions to New York urban life, such as autobody shop signs and the courts where children played the street game “skelly,” with expressive gestures inspired by his Abstract Expressionist predecessors, like Jackson Pollock. Deitch refers to this period as the time of Basquiat’s “first mature work.”

The bold lines, big central figures, and bright color palette of his 1982 paintings also radiate with the excitement of an artist hitting his stride—and being recognized by the establishment for the first time. “His peers had already anointed him as the best artist in the community, and he had the accolades of ‘New York/New Wave,’” continued Deitch. The attention inspired “an increased confidence in the painting: in the strength, in the line.” Baptist agreed: “There is a clarity of vision and narrative in the work from 1982 that speaks to his blossoming confidence.”

The level of visual audacity and enthusiasm captured in Basquiat’s works peaked in 1982 (and, in some cases, appeared in late 1981 and early 1983, as well). By 1984, Basquiat started feeling pressure from his dealers and began bickering with them, Deitch said. At times, this tension created a “lack of energy and focus in the work,” he added.

Six Crimee, 1982. Jean-Michel Basquiat MOCA, Los Angeles

In 1982, on the other hand, Basquiat “wasn’t making paintings because he had to give them to Bishofberger for his stipend, or for his show at Mary Boone,” said Deitch. “He was making them because he was compelled to make them, so they are filled with personal passion.”

A string of important exhibitions throughout 1982 also boosted Basquiat’s energy—and, later, the desirability of his work from that year. His first New York solo show with Nosei kicked things off. After came solos at Gagosian Gallery in Los Angeles, Bruno Bischofberger in Zurich, and another New York solo show at Fun Gallery. A February group show at Alexander F. Milliken Gallery presented Basquiat’s now-$110.5 million painting for the first time. That year, he was also included in his first major international institutional exhibition: Documenta, an influential show of contemporary art that takes place in Kassel, Germany, every five years, and has been dubbed the most serious of the art world’s international group exhibitions by New York magazine art critic Jerry Saltz.

This succession of shows in 1982 also served to jumpstart Basquiat’s market; it was the year, Galperin said, “when collectors started to acquire his work en masse.” Nosei was said to be selling his paintings at a breakneck pace—“So brisk, some observers joked, that the paint was barely dry,” Cathleen McGuigan wrote in the 1985 New York Times profile.

Many of Basquiat’s 1982 paintings were included in these landmark exhibitions—which, today, add to the appeal of a given work’s provenance. “These shows around the world created a kind of aurora borealis that led to this very exciting moment,” said Galperin. “Collectors recognize that those exhibitions—and that year—are critical to both Basquiat’s biography and output.”

Untitled (Two Heads on Gold), 1982. Jean-Michel Basquiat Gagosian

Contemporary collectors are also attracted to the rarity of Basquiat’s major canvases from 1982, of which there are 200 in total, according to the third edition of the artist’s catalogue raisonné published in 2000. “There are really only a small group of pictures from ’82 that are in that top category,” said Baptist. They’re also not released into the market very often—collectors have been known to hang onto them for decades. “A lot of these pictures resided in collections for 10 to 20 years, coming out of purchases in the late ’80s and ’90s,” he continued.

Take the the astronomical price achieved by Untitled in 2017. It was spurred, in part, by “the story behind the work, and its provenance,” Galperin noted. Since its original sale in 1982 through Nosei, the painting had only changed hands three times—and all between 1982 and 1984. From 1984 until 2017, it was not only kept off the market, but also never exhibited or seen in public.

“It was a mythical picture for all of us Basquiat fanatics and experts, because we knew it only by this small thumbnail reproduction in the artist’s catalogue raisonné,” Galperin said.

Indeed, Basquiat’s canvases from 1982 have achieved something of a mythological status, with meteoric prices to match. But the reasons behind their rise can be pinpointed to concrete milestones in Basquiat’s life, and the stylistic choices he made in response to them. His paintings from this momentous year are, as Galperin said, “demonstrative of an artist who’s really at the height of their powers, who’s being seen for the first time, and who’s taking all of that instinctive energy and language and power and putting it onto canvas.”

from Artsy News

#Artsy News

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promomagazine · 8 years ago

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The World’s Largest Fine Art Show, Artexpo New York, Announces 2017 Interactive Programming

-Four-day experience featuring extraordinary fine art, seminars, live demonstrations, and more-

NEW YORK (March 31, 2017) – Artexpo New York, the annual juried art show taking place April 21–24 at Pier 94 in the heart of New York City, announces its lineup of interactive programming, including Art Talks, Meet the Artist sessions, live demonstrations, Art Labs, the Spotlight Artist Program, the Topics & Trends Educational Series, and more. This year’s show will once again host more than 400 exhibitors, representing over 1,000 art publishers, gallery owners, and artists from around the globe.

These programs provide a dynamic experience for attendees to view and interact with site-specific works and performance pieces by leading international artists.

SPOTLIGHT ARTISTS

The Spotlight Artist Program offers a focused look at several cutting-edge artists and galleries. This year, the artists selected are Paul Brandejs (Toronto, Ontario, Canada), Dwight Baird (Montreal, Quebec, Canada), Vlad Korol (Paris, France), Junaid Sénéchal-Senekal (Knysha, Garden Route, South Africa) and Diane Fontaine (Gatineau, Quebec, Canada).

TOPICS & TRENDS EDUCATIONAL SERIES

The Topics & Trends Educational Series comprises four days of complimentary seminars and conference classes offering expert perspectives on subjects ranging from art and the economy, small business management, and art marketing to social media for artists, design and decor trends, and more. This year’s topics include:

· Six Spheres of Success

· From Conception to Customer: Extending Sales By Maintaining A Vision

· The Journey of a Working Artist

· The Hidden Path of the Career Artists

· 60 Tips in 60 Minutes

· Elements of Design

· Getting the Right Color in Art Reproduction

· Celebrating the 30th Anniversary of Ardmore Ceramic Art

· Secrets of the Art World

· Understanding Art Licensing

· Celebrating Sculpture

ART TALKS

Art Talks offer attendees an inside look at the artistic experience by way of panel discussions, conversations, and provocative artistic discourse with leading artists, curators, designers, gallerists, and art-industry professionals.

MEET THE ARTIST AND LIVE DEMONSTRATIONS

Meet the Artist sessions immerse the audience with the artists, giving them the opportunity to learn about each artist’s inspiration, story, and medium. In many cases, the artist also does a live demonstration, creating his or her next work of art.

ART LABS

Art Labs feature special curated projects by leading galleries, art institutions, and art collectives within the show.

· ART LAB 1: South African Art Collective

Sponsored by the South African Department of Small Business Development and its desire to support the creative industries through market access platforms, the South African Art Collective Art Lab will showcase creative diversity, while supporting the goals of development and access in an expanded marketplace for the artists. Get the chance to meet four of the artists from the Collective: Pauline Mazibuko, Ephia Mmbidi, Azael Langa, and Majolandile Dyalvane—and watch as Langa and Dyalvane create their next piece of work.

· ART LAB 2: [PLATFORM] Artist of the Year Awards

See the full display of the winner and finalists of the [PLATFORM] Artist of the Year contest. Besides seeing the artwork of the Artist of the Year, Kevin Grass, the winner of the Popular Vote will be announced.

POSTER CHALLENGE

See the unveiling of the winning original artwork of this year's Artexpo New York Poster Challenge, Worlds Unite by Juan Luis Perez. Born in Havana, Cuba, in 1970, Perez is a self-taught artist who has lived all over the world, including Spain, France, Italy, Argentina, Brazil, and the United States. Having immersed himself in many different cultures, Perez has a unique perspective on the human experience and strives to explore people’s commonalities and differences in his work. The Poster Challenge theme for 2017 was "Harmony" and the contest garnered more than 400 entries.

GLOBAL EXHIBITOR BASE

Artexpo New York truly has an international exhibitor base, highlighting artists and galleries from around the globe, including Argentina, Armenia, Australia, Austria, Belgium, Brazil, Cambodia, Canada, Chile, China, Colombia, Denmark, Ecuador, France, Georgia, Germany, Hungary, India, Israel, Italy, Japan, Mexico, Netherlands, Poland, Romania, Russia, Slovenia, South Africa, South Korea, Spain, Sweden, Taiwan, Tajikistan, Turkey, Ukraine, United Kingdom, Uzbekistan and Venezuela…just to name a few!

SHOW PARTNERS & SPONSORS

· Airbus Corporate Jets: With a special installation from artists Berndnaut Smilde and RJ Muna, the Airbus Corporate Jets brand comes alive in the Artexpo VIP Lounge. The artists’ Nimbus Collection is a representation of the ACJ audience’s world: no borders, no barriers, no limits, the sky as freedom. It’s an invitation to join the world above the world. Learn more and meet artist RJ Muna in the Artexpo VIP Lounge throughout the show.

· Maison Louis Jadot: One of the most renowned Burgundy Houses is a platinum sponsor of the show and the exclusive wine sponsor. Visit the Louis Jadot Lounge at the end of rows 700 and 800 to sample an array of varietals during all show hours. Full pours will be exclusively served during the Opening Night Preview Party on Friday, April 21, from 4 p.m.— 8 p.m.

For more information on Artexpo New York, please visit www.artexponewyork.com.

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DATE:

Friday, April 21 – Monday, April 24, 2017

SHOW HOURS:

Opening Night Preview Party

Friday, April 21, 2017 | 4 p.m. – 8 p.m. (Open to all attendees)

Open Show Days:

Friday, April 21, 2017 | 12 p.m. – 8 p.m. (TRADE DAY)

Saturday, April 22, 2017 | 11 a.m. – 7 p.m.

Sunday, April 23, 2017 | 11 a.m. – 7 p.m.

Monday, April 24, 2017 | 10 a.m. – 3 p.m. (Free art wrapping station for purchases)

VENUE:

Pier 94

711 12th Ave (55th Street & the West Side Highway)

New York, NY 10019-5399

ADMISSION COST:

· MULTI-DAY PASS: $40 | Valid for entire event: Friday’s Opening Preview Party and Saturday through Monday

· OPENING NIGHT PREVIEW PARTY: $20 | Valid for Friday’s Opening Preview Party

· GENERAL ADMISSION: $20 | Valid for one admission: Saturday, Sunday, or Monday

· SENIOR ADMISSION (ages 60+): $15.00 | Valid for one admission: Saturday, Sunday, or MondaySTUDENT ADMISSION (Middle and High School/College—ID Required): $15 | Valid for one admission: Saturday, Sunday, or Monday

· Children aged 12 and under get in FREE

About Redwood Media Group

Since 2009, Redwood Media Group (RMG) has been revolutionizing the global fine art community by helping artists and gallery owners grow their businesses through fine art exhibitions and publications, art business education, mentoring, marketing, and social media. Today, RMG owns and operates six fine art shows: Artexpo New York, Spectrum Miami, Art San Diego, Spectrum Indian Wells, Art Santa Fe, and Red Dot Miami. Artexpo New York, the world's largest fine art trade show for 39 years and counting, attracts more than 30,000 art enthusiasts every year, including 5,000 industry buyers. Spectrum Miami and Red Dot Miami attract more than 40,000 art aficionados during Miami Art Week, an annual attraction that draws over 100,000 art collectors to the city. Over the past eight years, RMG has welcomed hundreds of thousands of visitors to their events, sold millions of dollars' worth of art, and helped thousands of unrepresented and established artists launch or grow their careers. Aside from hosting multiple high-end art shows throughout the year, RMG also owns Art Business News, an art industry publication.

For more information, visit:

www.redwoodmg.com, www.artbusinessnews.com, www.artexponewyork.com, www.art-sandiego.com, www.spectrum-miami.com, www.spectrum-indianwells.com, www.artsantafe.com, and www.reddotmiami.com.

#Art #News #New York #inspiration

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