Saturday, May 26, 2012
NOW - running through May 28th
Wednesday, January 11, 2012
Louda Larrain ART+COUTURE @ galerie 103, Kaua`i
The Louda Collection started in 1996, when Louda started an art collaboration on fabric and textile designs with top designers Karl Lagerfeld, Christian Dior, Christian Larcroix, Emanuel Ungaro, and many more. Then in 2002 another miracle played out, when Louda was asked to sell her very own Louda designs at Bergdorf Goodman, and which soon picked up by Nieman Marcus. Most notably, in 2009, Louda’s one of kind creations became part of an installation at the Temple of Dendur in the Egyptian wing of the Metropolitan Museum of Art in New York City.
View Fall Collection:
http://www.youtube.com/watch?v=LohCrwYqLQY&context=C31c2043ADOEgsToPDskLkQTMroLLsF1X84fsZ6SQO
Tuesday, January 10, 2012
wHat
Dec 10 '11 - Feb 11 '12
According to the dictionary, what, as a noun, means the true nature or identity of something, or the sum of its characteristics. As an art exhibit at Kauai's galerie 103, wHat will explore the identity and nature of many different manifestations of art, unique forms and their raison d'être as individual objects or a sum of all of them.
Featured in the exhibit will be large-scale abstract paintings by internationally acclaimed artist Tom Lieber, paired with extravagant art-couture by New York artist Louda Larrain. These gowns, created from Louda's handmade fabrics and embroideries largely used by Parisian haute couture houses, became an instant hit in an installation at the Temple of Dendur in the Egyptian wing of the Metropolitan Museum of Art in New York City in 2009. The other, just as important half of the SoHo power couple featured in this exhibit is photographer Gilles Larrain. A prominent figure in the New York art scene for more than four decades, Gilles became well known for his portraits of Salvador Dali, John Lennon, Yoko Ono, Sting, Miles Davis and Billy Joel. In this show, his iconic images of a model wearing a dry fish on her head, known as Dry Season and featuring a hat from Louda’s collection, will without a doubt inspire some questions and demand attention.
Further examining the overlap between the fields of fine art and decorative arts, as well as any alternative terms, the exhibit will include sculptural chairs from found objects and reclaimed materials by Kauai artist Doug Britt , Honolulu's Christopher Reiner, and Santa Fe's Tom Emerson. These unique seating contraptions all flirt with the idea of art-furnishings, their designs ranging from practical to minimal, conceptual to humorous.
In a mixed-media installation of tulle, clay and steel, New York/Kauai artist Roberta Griffith makes reference to human mortality through the concept of play with suspended doll remnants symbolizing universal shortcomings and disasters.
At first thought, the only common element connecting these eclectic selections of art seems to be the 1600 square feet of the main gallery floor. But while this initial disconnect will remain, questions about every one of these works will become far more obvious, and that is the answer to why these works were selected and the connecting thread between them. From fine art to art couture and design, wHat will examine the lines between and question the different art forms, inviting viewers to strike up an artful discussion.
Opening reception will be December 10, 2011. Exhibit will run through February 11, 2012.
Art talk and a special event with visiting New York artists Louda and Gilles Larrain, also celebrating the relaunch of Gilles Larrain's book IDOLS (republished after 30 years) will be held in January and February 2012 at galerie 103 in Kukui`ula. Please check the Web site for updates on specific dates and time.
Dec 10 '11 - Feb 11 '12
According to the dictionary, what, as a noun, means the true nature or identity of something, or the sum of its characteristics. As an art exhibit at Kauai's galerie 103, wHat will explore the identity and nature of many different manifestations of art, unique forms and their raison d'être as individual objects or a sum of all of them.
Featured in the exhibit will be large-scale abstract paintings by internationally acclaimed artist Tom Lieber, paired with extravagant art-couture by New York artist Louda Larrain. These gowns, created from Louda's handmade fabrics and embroideries largely used by Parisian haute couture houses, became an instant hit in an installation at the Temple of Dendur in the Egyptian wing of the Metropolitan Museum of Art in New York City in 2009. The other, just as important half of the SoHo power couple featured in this exhibit is photographer Gilles Larrain. A prominent figure in the New York art scene for more than four decades, Gilles became well known for his portraits of Salvador Dali, John Lennon, Yoko Ono, Sting, Miles Davis and Billy Joel. In this show, his iconic images of a model wearing a dry fish on her head, known as Dry Season and featuring a hat from Louda’s collection, will without a doubt inspire some questions and demand attention.
Further examining the overlap between the fields of fine art and decorative arts, as well as any alternative terms, the exhibit will include sculptural chairs from found objects and reclaimed materials by Kauai artist Doug Britt , Honolulu's Christopher Reiner, and Santa Fe's Tom Emerson. These unique seating contraptions all flirt with the idea of art-furnishings, their designs ranging from practical to minimal, conceptual to humorous.
In a mixed-media installation of tulle, clay and steel, New York/Kauai artist Roberta Griffith makes reference to human mortality through the concept of play with suspended doll remnants symbolizing universal shortcomings and disasters.
At first thought, the only common element connecting these eclectic selections of art seems to be the 1600 square feet of the main gallery floor. But while this initial disconnect will remain, questions about every one of these works will become far more obvious, and that is the answer to why these works were selected and the connecting thread between them. From fine art to art couture and design, wHat will examine the lines between and question the different art forms, inviting viewers to strike up an artful discussion.
Opening reception will be December 10, 2011. Exhibit will run through February 11, 2012.
Art talk and a special event with visiting New York artists Louda and Gilles Larrain, also celebrating the relaunch of Gilles Larrain's book IDOLS (republished after 30 years) will be held in January and February 2012 at galerie 103 in Kukui`ula. Please check the Web site for updates on specific dates and time.
Saturday, February 26, 2011
WEBCAST: Rosa Silver live from galerie 103
Live gallery webcast during the installation and de-installation of Rosa Silver's RE-APPEAR AT SOURCE
http://www.ustream.tv/channel/rosa-silver-galerie103
INSTALLATION: live from 103 2/23 - 3/1 @ noon
DE-INSTALLATION webcast schedule TBD
[ detailed scedule posted @ www.galerie103.com ]
RE-APPEAR AT SOURCE follows Silver's recent installation, VERITATEM PROPONO: Garden Island Immersion, exhibited in the Biennial of Hawai`i Artists IX, also at The Contemporary Museum, Honolulu.
This installation is a highly imaginative hypothetical display formulated after observations made of her recent room installation at the Museum. Small-scale drawings and paintings, sculptures and intimate video snippets, engage each other through a grid, drawn with a delicate line of blue watercolor pencil directly on the gallery walls.
March 3 - April 30 2011
Opening reception March 3 6 - 8 pm
http://www.ustream.tv/channel/rosa-silver-galerie103
INSTALLATION: live from 103 2/23 - 3/1 @ noon
DE-INSTALLATION webcast schedule TBD
[ detailed scedule posted @ www.galerie103.com ]
RE-APPEAR AT SOURCE follows Silver's recent installation, VERITATEM PROPONO: Garden Island Immersion, exhibited in the Biennial of Hawai`i Artists IX, also at The Contemporary Museum, Honolulu.
This installation is a highly imaginative hypothetical display formulated after observations made of her recent room installation at the Museum. Small-scale drawings and paintings, sculptures and intimate video snippets, engage each other through a grid, drawn with a delicate line of blue watercolor pencil directly on the gallery walls.
March 3 - April 30 2011
Opening reception March 3 6 - 8 pm
Thursday, February 25, 2010
"Amorous of island art, Kauai's Galerie 103 blends local and global talent in one smart space", By Jaimey Hamilton, Honolulu Advertiser, Feb.21.2010
Galerie 103 rises above the tourist art galleries that proliferate on the islands, and even puts the college and university art galleries to shame. How? By conceiving of a space that combines the best of local talent with international artists in spare, smart shows that challenge the notion of regionalism that has preoccupied Hawai'i artists, gallerists and collectors for so long. In opening a world-class gallery on the south shore of Kaua'i, Stude proves that instead of endlessly comparing ourselves to other art centers, the Hawai'i arts community can simply take pride in the fact that we are part of a vibrant global art culture — that internationally important art can and does happen here.
Galerie 103 opened its doors last August in the new Kukui'ula Village commercial space in Po'ipū and features, among others, the large-scale paintings of Sally French, Tom Lieber and Mack James. It also has an annex with works on paper, art furniture, objets d'art, and a selection of artist books that rivals West Coast collections. There are also plans in the distant future for video/multimedia space. Stude makes no apologies for what could be seen as an idiosyncratic collection (which includes West Coast funk artist H.C. Westermann, the under-exposed visionary talent of Kaua'i's Kathleen Adair Brown, and Croatian artist Ante Mandarić). Why should she? Instead, she works from the gut to cultivate the best talent that Kaua'i has to offer, puts them into dialogue with her international stable of artists, and then lets the art speak for itself. Her choices are courageous, highly cultivated and impassioned. All of it is well-crafted, smart, layered, and yet deeply playful.
My reaction to the gallery is no doubt affected by Stude's own infectious and ongoing love affair with Hawai'i and its art. This is evident in the current show, which is a kind of love letter to Hawai'i, and all of the islands that have shaped a life of artistic adventure. Inspired by Westermann's lithograph "An Affair in the Islands" (1972), the exhibit features an eclectic intercontinental group of artists who have responded to the ways in which islands are the settings, inspiration, and even the protagonists for impassioned relations.
Instead of perpetuating the clich of island "fantasy," Stude curated a show in which an island "affair," with its commingling of love and politics, is more suggestive. It incorporates three bodies of work all loosely informed by the feminist decorative arts movement of the '70s: the romantically inclined quilt collages of Karen Gally, the beaded faux-naive work of A. Kimberlin Blackburn, and the Victorian-esque Xerox collages of Kathleen Adair Brown. The show also features some never-before-exhibited paintings and small assemblages by Doug Britt, which in turn were informed by Westermann and W.T. Wiley, '70s own folk-funk aesthetic. All of the pieces exude a hopeful energy, while also hinting at the darker side of island affairs, especially when western bravado comes traipsing in. Doug Britt's "Quiet" from 1985, in which a collaged face in a helicopter oafishly peers down at the brilliant blue of Hanalei Bay, captures how our love for Hawai'i can lead to other embroiled passions.
Doug Britt calls it like he sees it. Stude does the same in her choices for the gallery walls, responding honestly and from the heart, and expecting Hawai'i's art audiences to do the same. Her next show, "A-HA," Art by Hawai'i-based artists, which she has invited Inger Tully of The Contemporary Museum to curate, promises to continue to raise eyebrows and to elicit our passion for Hawai'i-based art.
Galerie 103 opened its doors last August in the new Kukui'ula Village commercial space in Po'ipū and features, among others, the large-scale paintings of Sally French, Tom Lieber and Mack James. It also has an annex with works on paper, art furniture, objets d'art, and a selection of artist books that rivals West Coast collections. There are also plans in the distant future for video/multimedia space. Stude makes no apologies for what could be seen as an idiosyncratic collection (which includes West Coast funk artist H.C. Westermann, the under-exposed visionary talent of Kaua'i's Kathleen Adair Brown, and Croatian artist Ante Mandarić). Why should she? Instead, she works from the gut to cultivate the best talent that Kaua'i has to offer, puts them into dialogue with her international stable of artists, and then lets the art speak for itself. Her choices are courageous, highly cultivated and impassioned. All of it is well-crafted, smart, layered, and yet deeply playful.
My reaction to the gallery is no doubt affected by Stude's own infectious and ongoing love affair with Hawai'i and its art. This is evident in the current show, which is a kind of love letter to Hawai'i, and all of the islands that have shaped a life of artistic adventure. Inspired by Westermann's lithograph "An Affair in the Islands" (1972), the exhibit features an eclectic intercontinental group of artists who have responded to the ways in which islands are the settings, inspiration, and even the protagonists for impassioned relations.
Instead of perpetuating the clich of island "fantasy," Stude curated a show in which an island "affair," with its commingling of love and politics, is more suggestive. It incorporates three bodies of work all loosely informed by the feminist decorative arts movement of the '70s: the romantically inclined quilt collages of Karen Gally, the beaded faux-naive work of A. Kimberlin Blackburn, and the Victorian-esque Xerox collages of Kathleen Adair Brown. The show also features some never-before-exhibited paintings and small assemblages by Doug Britt, which in turn were informed by Westermann and W.T. Wiley, '70s own folk-funk aesthetic. All of the pieces exude a hopeful energy, while also hinting at the darker side of island affairs, especially when western bravado comes traipsing in. Doug Britt's "Quiet" from 1985, in which a collaged face in a helicopter oafishly peers down at the brilliant blue of Hanalei Bay, captures how our love for Hawai'i can lead to other embroiled passions.
Doug Britt calls it like he sees it. Stude does the same in her choices for the gallery walls, responding honestly and from the heart, and expecting Hawai'i's art audiences to do the same. Her next show, "A-HA," Art by Hawai'i-based artists, which she has invited Inger Tully of The Contemporary Museum to curate, promises to continue to raise eyebrows and to elicit our passion for Hawai'i-based art.
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