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Gallery 151 in NYLON Magazine
From NYLON Mag:
“there are certain songs that would just go really well with the photos I’m seeing…If this doesn’t happen to you, it’s OK… because the team behind Soundwall feels the same way..
Even cooler though, is the fact that they’ve put on an entire exhibit in NYC featuring pieces made by awesome artists. And even though the pop-up art show, Inseperable: The Soundwall Experience, is happening IRL with Rock Paper Photo at Gallery 151 in Chelsea, you can still check out the photo and music pairings online, from anywhere, right here.
Our favorite piece? Probably Allan Tannenbaum’s photo of Andy Warhol and Debbie Harry, which he chose to pair up with Blondie’s “Hanging on the Telephone”–pretty rad.”
Gallery 151 in V Magazine
From V Magazine:
The Opening for Lina Viktor’s ARCADIA, curated by Laura O’Reilly for Gallery 151, is Thursday May 22nd, 2014 from 6-9pm. The show promises to immerse the viewer into “her golden world, an idyllic paradise of visual harmony expressed through universal truths encompassed by the golden ratio.” Beauty, Harmony, GOLD: consider us there! Drawing on Classical conceptions of beauty as an object of love and ancient techniques of hand gilding, Lina updates these cornerstones of Art with digital technology. Through this mash-up of the archaic and the contemporary, ARCADIA promises to ask the viewer to “explore concepts of infinity and universal principles.”
Gallery 151 in The Daily Beast
From The Daily Beast:
“I call this period in my life ‘The Golden Age,’ for obvious reasons”, 27-year-old Lina Viktor tells me in the home of her first solo exhibit, Chelsea’s Gallery 151. The London native is a painterly mix of singer M.I.A. and Nicki Minaj, with a cool persona, soft British accent, and unique style—she’s decked in a black bodysuit, quilted baseball hat, and a vintage Versace fanny pack. But it’s the medium in which she’s chosen to create her art that is the most formidable: 24-karat gold. Utilizing patterns and symbolism in a strictly black, white, and gold palette (this is the first exhibit where she introduces a vibrant blue hue to the mix), Viktor’s work is an interesting juxtaposition between medieval regality and contemporary pop culture. Her exhibition, named Arcadia, is a reference to a Greek location or utopia that was known for existing in a golden age, a time of harmony, balance, and beauty in the sense of the universe, she explains. The name, however, clearly has a double meaning, with Viktor selecting gold as her main material for producing her art.
Gallery 151 in The Huffington Post
From the Huffington Post:
As Rock Paper Photo‘s latest curator, the stage and film actor, TV personality and podcast host has hand-picked a collection of 25 photographs of music and film legends who inspire him. Subjects include The Beatles, The Rolling Stones, Michael Jackson, Elizabeth Taylor and David Bowie. In short, he has created a “best of” pop culture photography as seen through his well-trained eyes.
Earlier this month Rock Paper Photo celebrated Alec Baldwin’s curated collection with a party at Gallery 151 in New York City. Many photographers whose work Alec selected were in attendance. Check out the party shot showing our guest curators with photographers Ron Pownall, Allan Tannenbaum, Deborah Feingold and May Pang. See more photos from the event here.
At the gallery event, Alec said, “Rock and roll photography was an essential part of that whole period of my life. I mean, who didn’t have a Beatles poster in their bedroom? Who didn’t have Robert Plant, Dylan, The Stones, Hendrix, Santana, Yes, The Who, The Dead, The Doors, you name it, on some wall?”
Gallery 151 in The Wall Street Journal
From The Wall Street Journal:
Actor Alec Baldwin is delving into the art world, on the heels of his most recent controversy.
On Monday evening, Mr. Baldwin unveiled an art exhibit he curated for Gallery 151 in Chelsea. “Well, it’s crowded,” he said, perusing a room of journalists and observers. Fruit, cheese and complimentary 15-year-old scotch were on hand at the opening, sponsored by InsideHook.
Gallery 151 in Huffington Post
From Huffington Post:
There are shows you walk out of, not knowing what you’re going to write. You don’t know what you’re going to write, but you do know you’ll have to figure it out – you’ve promised so-and-so; you’ve promised yourself; it’s a show you really “should” cover. Although they make you a better writer, they wear you down, come often and have you working for days just to come close to what you would have liked to say. But there are also shows you think about, riding the subway home, that fill you with an unmistakable and enduring light — you might not know why exactly, but you know you’ve spent the past couple of hours doing something good and affirming for yourself (and your eyes). These are the shows that make you both a better writer and a happier one.
Samuel Stabler’s A Long Way from Dixie is that kind of show. The kind you feel compelled to write about in your notebook, with a couple stops to go on the C train.
I was introduced to Stabler’s work last spring — my first real studio visit — and I remember feeling filled with a similar light. Gallery 151’s A Long Way from Dixie presents a tighter series of works than I had seen a year ago, but their identity and make-up remains intact. In his neon’s, as they are called, rigorous pen and ink drawings of Old Master paintings (and images that simply appear as old and hallowed) are cast in his trademark neon. Nearly monochromatic, they feature subtle gradations of color, which call our attention to details typically minor or mere in the originals — they also occasionally use a touch of gold, when a detail is particularly irresistible to note. Here’s “Untitled (Neon Floral Still Life)” — gold fly and all.
Gallery 151 In Whitewall Magazine
From Whitewall Magazine:
Curator Jasmine Wahi’s exhibition opened at Gallery 151 last month with an impressive line-up of artists and a powerful and important curatorial impetus. “The Least Orthodox Goddess” comes from a personal and sincere attempt to address the physical, emotional and psychological contexts under which a woman’s self-awareness and body is perceived.
Wahi has always focused her shows on ideas around the empowerment of women, lending a lens by which we see works of artists as reiterating strength rather than instigating passive sympathy. This current exhibition has conversations along that line through the works of artists Julie Heffernan, L’OR, Wardell Milan, Divya Mehra, Leila Lal, Peter Gronquist, Carrie Mae Rose, and a collaborative series by Anjali Bhargava and Swati Khurana.
The show in itself is constructed around a fictitious narrative around of a character that unequivocally embodies the idea of “Least Orthodox Goddess,” constructing a story of who this female archetype is.
The works included are meant to be looked at from what Wahi describes as “ the lens of an anthropologist and an archeologist who uses the discovery of both utilitarian objects and cultural evidence to create a well-rounded understanding of a newly discovered civilization.” Gronquist’s Untitled(2013), a taxidermy deer head with gilded gold horns that grow out into weapons, function as symbols of power, much like traditional religious iconography. Here, though, a new language for power is being created. It’s a language of empowerment rather than oppression through specific symbols.
Read the full article HERE.