We have Instagram!

ifastagram

The IFA gets Instagram! As part of the IFA’s contemporary art blog, formerly the Contemporary Art Consortium, we are posting your contemporary art-related pics with the handle “ifastagram” — check it out!

Though ifacontemporary’s re-launch date is September 15, we’re accepting your Instagrams now — and anytime during the semester! Think a trip to Dia Beacon, art seen on your summer travels, a thought-provoking gallery visit, or even a Stieglitzian cloudscape — and include a one-sentence caption that ties it back to the blog, art history, or the IFA. (This account is meant to act as a counterpart to the blog, so posts should retain an appropriateness in line with the scholarly-yet-friendly atmosphere of our site.)

We are posting almost daily, so check back to see when yours is up!

http://instagram.com/ifastagram

Elizabeth Buhe and Caroline Barnett, editors

Re-launch scheduled for September 15!

 Christopher Williams (American, born 1956). Kodak Three Point Reflection Guide / © 1968, Eastman Kodak Company, 1968/(Meiko laughing)/Vancouver, B.C./April 6, 2005. 2005. Chromogenic color print, paper: 20 x 24″ (50.8 x 61 cm); framed: 34 x 37 3/4″ (86.4 x 95.9 cm). Glenstone. Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne. © Christopher Williams


Christopher Williams (American, born 1956). Kodak Three Point Reflection Guide / © 1968, Eastman Kodak Company, 1968/(Meiko laughing)/Vancouver, B.C./April 6, 2005. 2005. Chromogenic color print, paper: 20 x 24″ (50.8 x 61 cm); framed: 34 x 37 3/4″ (86.4 x 95.9 cm). Glenstone. Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne. © Christopher Williams

So fresh and so clean, clean!

Our editors have been hard at work planning a new look and garnering fresh material for the resuscitation of ifacontemporary - check in again on September 15 for our latest round of articles on contemporary art exhibitions, installations, and events in and around New York (peppered with a few insights from abroad).

Make it easy: subscribe and receive an email whenever we post something new!

Watch this space!

Gordon Matta-Clark's Conical Intersect in construction, 1975.

Gordon Matta-Clark’s Conical Intersect in construction, 1975.

Right now the CAC blog is undergoing some exciting transitions, which we hope to share with you in 1-2 months. Keep us on your radar, and thanks for all the engaging conversations you’ve given us so far!

Kristen Gaylord and Rachel Nackman, editors

Opulence in 2013? Welcome to TEFAF

Three hours after boarding a train near Amsterdam, I stepped into the medieval town of Maastricht, which perks up around this time every year since The European Fine Art Foundation, or TEFAF, began in 1988. I joined the throngs of collectors, dealers, students, and art lovers in the wings. And then the doors opened to the world’s most lavish art fair, featuring exquisite fine art, antiques, jewelry and other treasures from more than 260 dealers.

TEFAF is as well known for putting on a spectacle as it is for its rigorous vetting process. To ensure that collectors can buy with highest confidence, a committee of 175 experts in various categories painstakingly examines each work for authenticity, condition, and quality. They employ XRF technology, and TEFAF was the first fair to incorporate The Art Loss Register. Furthermore, the fair is by invitation only: a gallery must have a fine pedigree in order to participate. Official categories include paintings, antiques, modern works, manuscripts, classical antiquities, haute joaillerie, design, and paper-based works. I was surprised at the diversity I encountered within these areas: modern sculpture, Uruguayan equestrian gear, Renaissance leather wall panels, Chinese porcelain, Iznik tiles, seventeenth-century metalwork, Japanese prints, Australian aboriginal art, and contemporary ceramics.

Though the fair’s calling card is Old Master paintings, the exhibition design boasted a modern flair, with sharp edges, sweeping high walls, a color palette of black, white, and gray, and a large-scale contemporary work adorning the entrance (Figure 1).

Figure 1. Entrance hall of TEFAF 2013 featuring Joanna Vasconcelos’ piece, Mary Poppins. Photograph by Harry Heuts.

Figure 1. Entrance hall of TEFAF 2013 featuring Joanna Vasconcelos’ piece, Mary Poppins. Photograph by Harry Heuts.

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(Nearly) Invisible Art: the Leiden University Medical Center Art Collection

The Leiden University Medical Center (LUMC) is a world-renowned university and teaching hospital. What few people may realize is that it boasts an art collection and free public gallery, which hosts five shows per year. The LUMC holds an exhibition of nominees and winners of the Hermine van Bers visual arts prize—a yearly award that stimulates the development of young artists—and invites contemporary artists to create site-specific pieces in a large open hall with an abundance of natural light. The collection, primarily photographs, prints, and drawings, which began 25 years ago, continues today through the efforts of one curator, Sandrine van Noort. Interestingly, the purpose of the collection is markedly different from that of institutions devoted to art. Instead, the works provide the background for photos of newborn babies, offer a temporary escape from nail-biting stress, and splash color onto otherwise depressingly industrial cement walls. The art distracts from the hospital environment and brings a labyrinthine institution down to a more human scale.

David Lindberg, 45T Chinese Purple, mixed media, 2012.

David Lindberg, 45T Chinese Purple, mixed media, 2012.

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