FAY GOLD is pleased to present Mike and Doug Starn
September 4, 2014 – September 27, 2014
The latest photographic body of work by artists of international renown, Mike and Doug Starn, dear friends of Fay’s. On Thursday, September 4th from 6 to 8pm at the Westside Cultural Art Center, founded by Dr. James Chappuis. 780 10th Street Atlanta, 30318. Exhibetion through September 27th. Valet Parking.
Titled The No Mind, Not Thinks, No Things the series finds its roots in the iconic conceptual studies the brothers pursued through their Blot Out the Sun and Structure of Thought artworks and explorations of chaos from their acclaimed site specific Big Bambú installations.
The artists write:
“…trees are hierarchal structures: a trunk leading to a limb, the limb branches off and smaller and smaller branches- but if you silhouette the tree there is no hierarchy- it becomes rhizomatic- connections happen at any point: This is the Structure of Thought. We are fascinated by seemingly impossible and intricate connection systems and rhizomatic fluency. The trees’ natural hierarchy is collapsed when the trees are silhouetted, creating rhizome-like connections everywhere. It is representative of thought and creativity and the invisible architecture of societies and how we all move through life.These dendritic forms make structure and force fluid. The structure of thought is a living dendritic accumulation of intersections and layers.
The No Mind pieces are made of several different images combined, the lines of one branch do not continue across an unbroken image, the connections are lost, the eye moves from following the image to following the physical edge of the sheet of paper and then picks up another image line and follows that, until the physical interrupts you again- a break of concentration…the discipline needed to achieve the No Mind is fought for.
“no mind not thinks no things”- it is a statement of the virtual impossibility of any mind actually not thinking; which is a statement in the negative, but on the other hand , in the positive, no mind is also signifying a noun- the “No Mind” – , the No Mind does have the ability to have no thoughts about no things, or nothing.”
Gallery Hours: Wedensday-Saturday 11-4 pm for further information contact Amy Fisher 404-625-9094
760 10th Street NW Atlanta, GA 30318
FAY GOLD invites you to the opening of CAOMIN XIE’S exhibition “Black Lotus”
Thursday evening August 7th
from 6 to 8 pm at the Westside Cultural Arts Center
760 10th Street NW
Pleased to present the work of Caomin Xie:
Mandala is a circular form that represents meditation meeting with mathematics. Mandala first appeared in Tantric Buddhism as a form of sand painting. In the making of Mandala, different colored sands are processed in metempsychosis like pictures changing in a kaleidoscope. It embodies the Buddhist concepts of creation, maintenance, destruction and emptiness. When we are confronting the stupendous creative and destructive powers of today’s technology, for Xie, Mandala is the greatest visual metaphor of our existence.
The representation of abstract faces in some of the works suggest the make-up used in the Bejing Opera to obliterate the faces of the players. They reflect the changing face of Chinese society after rapid radical economic reform after the 1980s.
The lotus is a symbol of eastern tradition which means enlightenment and transformation, this group of Black Lotus paintings express Xie’s positive hope that today’s world turmoil will have a peaceful resolution.
Caomin Xie, Mandala #36, 2014
Caomin Xie was born in Shanghai in 1974 and has been working in the US since 1999. From 1989 to 2000 he studied sculpture and painting at China Academy of Art and Savannah College of Art & Design. Xie holds a BFA in sculpture and an MFA in
2006 at Smithsonian National Portrait Gallery; Altered Traditions 2007 painting. He moved to Atlanta in 2003 and is currently a Professor of Visual Arts at Clayton State University.
Xie’s works have been widely exhibited nationally and internationally. His exhibitions include: The Outwin Boochever Portrait Competition, at Ethan Cohen Fine Arts in New York; Electronic Media Painting 2008 at Shanghai Duolun Museum of Modern Art in China; solo exhibition Samsara at the Museum of Contemporary Art Georgia in 2011; and Contemporary Expressionism at the San Diego Art Museum in 2013. Caomin is also the winner or the Museum of Contemporary Art Georgia Working Artist Project Award 2010-2011. His paintings have been collected by Savannah College of Art & Design, Savannah Telfair Museum, The Museum of Contemporary Art Georgia and Hao Museum in Shanghai China.
Check out our mention and review in the link below!
Check out the article in the link below:
Here is a quick time lapse of what happens behind the scenes at Fay Gold Gallery!
Stay tuned for our next event.
The new graffiti show “Art in the Streets” is now open until October 12th, 2013.
Stop in to see the show as a teaser to our “Graffiti Mashup” show that starts October 24th and runs through January 4th, 2014.
Click on the thumbnails below to view the full size images of the gallery’s installation.
Photography by: Stephanie M. Eley
On June 27, Fay Gold held court at the opening of her long-awaited art gallery in the new Westside Cultural Arts Center on West 10th Street. The distinguished 81-year-old dealer has been working as an art adviser since closing her previous gallery in 2009, after three decades in the business. Shuttering her Buckhead gallery “was like getting a divorce,” says Gold, while the new space “is like getting remarried four years later: it’s the same but different.”
She was invited by James Chappuis, a surgeon who has owned the 12,500-square-foot building for more than 10 years, to run a gallery in the facility, giving her about 8,000 square feet to do with as she wished. Chappuis intends to host a range of events there — jazz performances, lectures, receptions — all of which could increase the exposure of artists to viewers who might not otherwise visit a gallery. And not many galleries come with a built-in reception area and bar.
Gold inaugurated the space with photographs by Sandy Skoglund (on view through August 30), an artist best known in the late 1980s and 1990s for her room-size installations. Skoglund, who has shown with Gold since 1999, made new prints of previous works for the occasion.
Accordingly, the show felt rehashed, but to her credit Gold pulled it together with four weeks’ notice. She had earlier planned to open with the “50 Americans” exhibition of Robert Mapplethorpe photographs organized by Sean Kelly Gallery (how perfect the timing would have been with the Supreme Court’s recent striking down of the Defense of Marriage Act), but long delays caused by building permit issues proved problematic. Gold, who has represented Mapplethorpe or his estate since 1982, expects to present that or another show of the artist’s work, as well as one by Keith Haring, in the near future. For now, her storage racks are mostly empty, and a handful of artists have works installed in the back room.
When Gold opened her first gallery in 1980, she showed such artists as George Segal, Robert Rauschenberg, Alex Katz and Irving Penn. She says she’ll continue “to bring to Atlanta what no one else can” and is also scouting around for emerging talent, since her former artists have moved on to other galleries. So far, she’s discovered and has already sold works by Savannah College of Art and Design MFA candidate Tyrus Lytton; Taras Sereda, a 22-year-old Ukrainian artist based in New York; and Atlantan J.P. McChesney
Fay Gold is ready for her next act, after living through the closing of her renowned gallery three years ago and the death of her beloved husband, Donald. “Once in a while a miracle happens,” she explains, “and an artist or an art dealer not only survives middle age but also remains creative. After 65, I got my second wind.”
Gold, who turned 81 this past spring, leans forward to explain, “Accepting the inevitable, [i.e.] dealing with death since my husband died—I know it’s a reality. But by accepting the inevitable, I’m no longer weighed down by it. I am released from it, which gives me joy when I open my eyes each morning and have another day. I want to penetrate the mystery of things and, in doing that, celebrate the ultimate mystery of human life. At 90, Picasso said ‘When I paint, I don’t grow old; I leave my body at the door.’ I love that.”
Gold has been busy as a consultant to a few select clients and working on revamping her own living space. Currently, she’s opening the Fay Gold Gallery in the Westside Cultural Arts Center on the corner of 10th Street and Brady Avenue, in collaboration with Dr. James Chappuis. You can’t miss the building—all four sides are adorned with murals painted by the artist Hense.
Why go back into the retail art world and expend the reimagination that running a business requires? “It’s the idea that I can make something happen, change people’s lives, make them see the world differently, awaken the imaginary part of the brain so that they question things. That makes me feel like I’m making a difference.” So, does age play a role for Gold? “No, age has a great sense of peace and freedom for me. I no longer need the ego of youth.”
For many, with age comes freedom. You’re not encumbered by obligations because the deference given to age gives you the freedom to act—to be who you want. Many are no longer worried about convention or societal censure—becoming selfish in a good way. Gold tips her head and gives a measured look. “In many ways, you become young again. I’m alone, and it gives me the chance to rediscover me. I don’t feel old.”
She flashes a smile. “I have the freedom to play as I did when I opened [my first gallery] in 1980, and that’s what I want to do now—have the freedom to do things that no one else in Atlanta is doing. They say that I started contemporary art, artists like Basquiat—which I did! My role now is to educate, to bring in shows that no one else can do. I discovered Radcliffe Bailey right here in Atlanta—and if another Radcliffe Bailey comes along, I’m ready to promote their career, [too].”
Needless to say, whether she’s consulting or running another gallery, the Atlanta art scene will never be dull with Gold firmly ensconced in the epicenter.
The Atlantan|May 21, 2013
Fay Gold will be interviewed today with Turner on the “Rise of Graffiti in Main Stream Culture” for the tbs show Trends With Benefits. Broadcast date coming soon.
Fay Gold is looking for a motivated and talented college student or alumnus. Candidate will focus on writing and editing an autobiography about Fay Gold. Intern will assist Fay Gold in developing the book outline, writing new chapters, and editing the book.
This is an unpaid internship that will start on May 14th until August 3rd (20 hours per week flexible).
Please send cover letter, resume, and writing samples to email@example.com
Fay Gold and Bram Majtlis, both longtime Atlanta residents, have joined forces. Fay, the arts specialist, has a passion for travel and Bram the travel specialist, has a passion for the arts. Combining their knowledge and expertise in their respective fields of the arts and travel, Fay and Bram create exclusive travel experiences for art collectors and art admirers alike. Together they search the world and discover distinctive art fairs, galleries, artists’ studios, private art collections, museums, local cuisine and culture.
With significant experience in their respective fields, their combined resources guarantee a luxurious and memorable tour for the discerning art enthusiast. These special tours are indeed “treasures”, in that they provide a true insight in the art scene of every chosen destination.
Fore more information, visit the tour’s website here.
CAUSE: “She is extremely amiable and charming,” says former High Museum photo curator Julian Cox. “But she never loses sight of the prize.” Last fall the tenacious Gold helped shepherd another art grande dame, moving Louise Nevelson’s sculptural installation Dawn Forest from the Georgia-Pacific building lobby to its new home at the Naples Museum of Art in Florida; she organized a spring show of Nevelson’s work at Emory.
The No Mind, Not Thinks, No Things sonbet 2009-14, inkjet print on Konzo paper with varnish, 21 x 72 inches. Unique
EMORY UNIVERSITY CENTER FOR CREATIVITY & ARTS
REQUESTS THE PLEASURE OF YOUR COMPANY AT
CREATIVITY THROUGH THE LIFE CYCLE
THURSDAY APRIL 14, 2011
FIVE O’ CLOCK
EMORY UNIVERSITY THE SCHWARTZ CENTER
1700 NORTH DECATUR ROAD ATLANTA 30322
THE THEATER LAB
WORKS ON LOAN FROM PRIVATE ATLANTA COLLECTIONS
CURATED BY FAY GOLD
This season, the Naples Museum of Art unveils the most important addition to its permanent collection since the museum opened in 2000: Louise Nevelson’s monumental Dawn’s Forest. Nevelson’s largest and most complex sculptural environment, Dawn’s Forest consists of a dozen separate sculptures, created in the mid-1980s and containing elements from previous sculptures dating to 1971. It is also Nevelson’s last major work.
Nevelson (1899-1988) was one of the most important and influential figures in postwar American art, and the most internationally celebrated woman artist of her time. Her work continues to inspire contemporary sculptors today and is represented in hundreds of museums and private collections around the world.
Commissioned and owned by Georgia-Pacific LLC, and MetLife at the Georgia-Pacific Center in Atlanta since the 1980s, Dawn’s Forest has never before been shown in a museum setting. The sculptural installation was gifted to the Naples Museum of Art in 2010 and moved to its new permanent home in the museum’s Figge Conservatory.
LOUISE NEVELSON: DAWN’S FOREST — November 14,2011-June 30, 2011
BY CATHERINE FOX | Jun 11, 2009
Stuart Horodner, The Contemporary’s co-director, is an art-community environmentalist. He understands that the health of any one aspect, from individual artists to mighty institutions, depends on the health of all the others, and he’s developed a range of programs to nurture them all. The Contemporary sponsors a running conversation with artists, critics, curators and gallerists, from within and beyond Atlanta.
In that spirit, Horodner stepped forward to honor Fay Gold, who recently closed her gallery after almost 30 years, and her impact on the art community. The retrospective video shown at the party crowded with collectors she had nurtured told the tale. Especially in the 80s, Fay Gold Gallery was Atlanta’s connection to the cutting-edge. Robert Mapplethorpe. Jean-Michel Basquiat (so supremely wasted at the reception that I couldn’t interview him). Keith Haring. Graffiti art. Andres Serrano. Cindy Sherman and her cohort, now chronicled in “The Pictures Generation” at the Metropolitan Museum of Art.
And let’s not discount showmanship. Art galleries are a personality-driven enterprise, and Gold’s looms large. Taking her cues from New York dealers like the late Holly Solomon, she dressed sharp, threw great parties, kept celebrity artists close, courted attention. Has another dealer in town commissioned portraits from the photographers exhibiting in her gallery, including the one by Annie Leibovitz in which she posed stripped to her underwear, and hung them in her office?
Her story highlights the role that galleries play in the art ecosystem. They offer free exhibits, educate collectors and induce them to buy art. Art that goes into Atlanta homes might be donated to the High Museum. Patrons nurtured by gallerists might be more open to the art that the Contemporary showcases. And on it goes. So thanks, Fay, for Fay Gold Gallery. And thanks, Stuart, for reminding us why it matters.