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In Conversation: Cesar Cervantes and Lorena Jauregui

Posted in: Events_PR|October 10, 2013

In Conversation: Cesar Cervantes and Lorena Jauregui

collectorspace, Saturday, October 12, 2013, 6:30-8pm

collectorspace invites Mexico City-based collector Cesar Cervantes and curator Lorena Jauregui to discuss “collecting without corrupting”a topic that is core to Cervantes’s collecting practice. The event will take place at collectorspace on Saturday, October 12, 2013, 6:308pm.Cesar Cervantes started off by collecting modern Mexican masters, but eventually shifted his attention to works by contemporary international artists. He later began to revisit conceptual works from the 1960s and 1970s, questioning the existing readings of contemporary artistic production. He now contemplates a question rarely discussed: when to end collecting?Lorena J獺uregui currently works at the National Fund for Arts and Culture (FONCA) where she organizes the Young Artists Exhibitions. In the last 15 years, she has been involved with numerous private and public art institutions, and organized exhibitions with both Mexican and international artists in Mexico City.

The talk will be held in English. The event is free and open to all.

Photograph: Sebastiano Opellion
Courtesy of Dominique Gonzalez-Foerster, Esther Schipper, Berlin, and Cesar Cervantes Collection.

The Savage Detectives at the Cervantes Collection

Posted in: Events_PR|August 29, 2013

The Savage Detectives at the Cervantes Collection

September 11November 9, 2013

Cesar Cervantes, Mexico City from collectorspace on Vimeo.

Collectorspace presents The Savage Detectives at the Cervantes Collection, featuring Dominique Gonzalez-Foersters Untitled (Bola簽o) (2011). In this work, Gonzalez-Foerster places a copy of Roberto Bola簽os The Savage Detectives (1998) on a pile of sand, stacked in a corner of the exhibition space, and leaves open the two pages that include a triplet poem, including a straight, wavy, and a broken line. The sand underneath the book does not denote a locational specificity, but rather suggests the authors relationship to a landscape. The landscape also materializes an image from the book, as the wavy line reappears on the sand. Gonzalez-Foerster thus creates a habitat for The Savage Detectives, treating it as a literary text, a visual image, as well as a living being.

Untitled (Bola簽o) reflects collector Cesar Cervantess interest in artworks that are connected to time, history, and the concept of ready-made. Based in Mexico City, Cervantes started off by collecting modern Mexican masters, but eventually shifted his attention to works by contemporary international artists. He later began to revisit conceptual works from the 1960s and 1970s, questioning the existing readings of contemporary artistic production. He now contemplates a question rarely discussed: when to stop collecting?

**

Dominique Gonzalez-Foerster (b. 1965) lives and works in Paris and Rio de Janeiro. Recent solo exhibitions include: Cloud Illusions I Recall (a collaboration with Cerith Wyn Evans), Irish Museum of Modern Art, Dublin (2013); T.451, Tensta Konsthall and the Asplunds library, Stockholm (2012); chronotopes & dioramas, Dia Art Foundation, New York (2009); and TH.2058 The Unilever Series, The Turbine Hall, Tate Modern, London (2008). Selected upcoming and recent group shows with participation of the artist: Montreal Biennale, Montreal (2013); ELLES, CCBB RJ, Rio de Janeiro (2013), and Stage it! (Part II), Stedelijk Museum, Amsterdam (2013).

Cesar Cervantes is a collector and patron of contemporary art based in Mexico City. The Cervantes Collection began by focusing on early works by On Kawara and Gabriel Orozco. The Collection includes numerous conceptual works from the 1960s and the 1970s by artists such as Alighiero Boetti and Robert Filliou, as well as more recent pieces by Bernadette Corporation, Abraham Cruzvillegas, Jimmie Durham, Claire Fontaine, Daniel Guzm獺n, Dami獺n Ortega, and Rirkrit Tiravanija.

collectorspace would like to thank the artist and the collector for participating in this presentation. Special thanks to Mari Spirito, Rocio Gordillo, Philip Dolin, and Esther Schipper, Berlin for their support, advice, and contributions.

Photograph: Sebastiano Opellion
Courtesy of the artist, Esther Schipper, Berlin, andCesar Cervantes Collection.

In Conversation: Cesar Cervantes and Lorena Jauregui

Posted in: Events_PR|October 10, 2013

In Conversation: Cesar Cervantes and Lorena Jauregui

collectorspace, Saturday, October 12, 2013, 6:30-8pm

collectorspace invites Mexico City-based collector Cesar Cervantes and curator Lorena Jauregui to discuss “collecting without corrupting”a topic that is core to Cervantes’s collecting practice. The event will take place at collectorspace on Saturday, October 12, 2013, 6:308pm.Cesar Cervantes started off by collecting modern Mexican masters, but eventually shifted his attention to works by contemporary international artists. He later began to revisit conceptual works from the 1960s and 1970s, questioning the existing readings of contemporary artistic production. He now contemplates a question rarely discussed: when to end collecting?Lorena J獺uregui currently works at the National Fund for Arts and Culture (FONCA) where she organizes the Young Artists Exhibitions. In the last 15 years, she has been involved with numerous private and public art institutions, and organized exhibitions with both Mexican and international artists in Mexico City.

The talk will be held in English. The event is free and open to all.

Photograph: Sebastiano Opellion
Courtesy of Dominique Gonzalez-Foerster, Esther Schipper, Berlin, and Cesar Cervantes Collection.

The Savage Detectives at the Cervantes Collection

Posted in: Events_PR|August 29, 2013

The Savage Detectives at the Cervantes Collection

September 11November 9, 2013

Cesar Cervantes, Mexico City from collectorspace on Vimeo.

Collectorspace presents The Savage Detectives at the Cervantes Collection, featuring Dominique Gonzalez-Foersters Untitled (Bola簽o) (2011). In this work, Gonzalez-Foerster places a copy of Roberto Bola簽os The Savage Detectives (1998) on a pile of sand, stacked in a corner of the exhibition space, and leaves open the two pages that include a triplet poem, including a straight, wavy, and a broken line. The sand underneath the book does not denote a locational specificity, but rather suggests the authors relationship to a landscape. The landscape also materializes an image from the book, as the wavy line reappears on the sand. Gonzalez-Foerster thus creates a habitat for The Savage Detectives, treating it as a literary text, a visual image, as well as a living being.

Untitled (Bola簽o) reflects collector Cesar Cervantess interest in artworks that are connected to time, history, and the concept of ready-made. Based in Mexico City, Cervantes started off by collecting modern Mexican masters, but eventually shifted his attention to works by contemporary international artists. He later began to revisit conceptual works from the 1960s and 1970s, questioning the existing readings of contemporary artistic production. He now contemplates a question rarely discussed: when to stop collecting?

**

Dominique Gonzalez-Foerster (b. 1965) lives and works in Paris and Rio de Janeiro. Recent solo exhibitions include: Cloud Illusions I Recall (a collaboration with Cerith Wyn Evans), Irish Museum of Modern Art, Dublin (2013); T.451, Tensta Konsthall and the Asplunds library, Stockholm (2012); chronotopes & dioramas, Dia Art Foundation, New York (2009); and TH.2058 The Unilever Series, The Turbine Hall, Tate Modern, London (2008). Selected upcoming and recent group shows with participation of the artist: Montreal Biennale, Montreal (2013); ELLES, CCBB RJ, Rio de Janeiro (2013), and Stage it! (Part II), Stedelijk Museum, Amsterdam (2013).

Cesar Cervantes is a collector and patron of contemporary art based in Mexico City. The Cervantes Collection began by focusing on early works by On Kawara and Gabriel Orozco. The Collection includes numerous conceptual works from the 1960s and the 1970s by artists such as Alighiero Boetti and Robert Filliou, as well as more recent pieces by Bernadette Corporation, Abraham Cruzvillegas, Jimmie Durham, Claire Fontaine, Daniel Guzm獺n, Dami獺n Ortega, and Rirkrit Tiravanija.

collectorspace would like to thank the artist and the collector for participating in this presentation. Special thanks to Mari Spirito, Rocio Gordillo, Philip Dolin, and Esther Schipper, Berlin for their support, advice, and contributions.

Photograph: Sebastiano Opellion
Courtesy of the artist, Esther Schipper, Berlin, andCesar Cervantes Collection.

Philip & Shelley Fox Aarons and Ryan McNamara in Conversation with Merve nsal

Posted in: Program item|January 14, 2013

Philip & Shelley Fox Aarons and Ryan McNamara in Conversation with Merve nsal

Friday, January 18, 2013

collectorspaceinvites New York-based collectors Shelley Fox Aarons and Philip E. Aarons to Istanbul to discuss their collecting practices. Artist Ryan McNamara will also join the conversation. Moderated by artist Merve nsal, the event will take place at collectorspace on Friday, January 182013, 6:308pm.

Ryan McNamara is an artist based in New York. McNamaras practice, with a focus on video and performance, intertwines the art community, social networks, and technology. He worked in temporary and collaborative projects in various biennial exhibitions, museum benefits, and one-night performances. Exhibitions and performances include Greater New York, MoMA PS1, the 2009 Athens Biennial, The Whitney Museum of American Art, The Kitchen, The Artists Institute, Performa 09 at X Initiative, and MoMA, New York.

Shelley Fox Aarons and Philip E. Aarons are collectors and devoted supporters of contemporary art. They have loaned works from their collection to numerous exhibitions in Museums and alternative arts spaces worldwide, and have supported the publication of many exhibition catalogs and artists publications. The Aarons are actively involved in many nonprofit art organizations in New York City,including MoMA PS1, the New Museum, Printed Matter, the High Line Art Program, and Creative Time, among others. The Aarons also have a book collection that consists of over 10,000 publications with a focus on zines and independent books by artists from 1965 onward.

Merve nsal is an artist based in Istanbul. She is currently interested in tracing artistic production through the lecture format. She has previously explored this topic through writing, editing, and visual and verbal collages that employ automatization and found imagery. She is the co-founder ofm-est.org, an artist-centered online project in which artist works, studio visits, and articles based on or related to conversations on visual practices are published.

Image: Courtesy of the artist and Elizabeth Dee, New York.

 

And Introducing Ryan McNamara in the Aarons Collection

Posted in: Program item|December 22, 2012

Presenting the
Aarons Collection:
And Introducing
Ryan McNamara

January 17March 2, 2013

 

Collection visit with Philip and Shelley Fox Aarons from Collectorspace on Vimeo.

Hello,

Recently collectors Shelley Fox Aarons and Philip E. Aarons asked me to stage my pieceAnd Introducing Ryan McNamara at collectorspace. On January 17th, 18th, and 20th, I will be in the project space, equipped with photos, videos, and memorabilia dating from my birth to April 2010, waiting to familiarize others with my early years.

I’ll give you a tour, talk about things that matter (or have mattered) to me; hopefully, if all goes as planned, you’ll reciprocate. This meeting will be customized to fit your availability. You can call Collectorspace to schedule a time, but walk-ins are welcome.

See you soon,

Ryan

***

Ryan McNamara is an artist based in New York. McNamaras practice, with a focus on video and performance, intertwines the art community, social networks, and technology. He worked in temporary and collaborative projects in various biennial exhibitions, museum benefits, and one-night performances. Exhibitions and performances include Greater New York, MoMA PS1, the 2009 Athens Biennial, The Whitney Museum of American Art, The Kitchen, The Artists Institute, Performa 09 at X Initiative, and MoMA, New York.

Shelley Fox Aarons and Philip E. Aarons are collectors and devoted supporters of contemporary art. They have loaned works from their collection to numerous exhibitions in Museums and alternative arts spaces worldwide, and have supported the publication of many exhibition catalogs and artists publications. The Aarons are actively involved in many nonprofit art organizations in New York City,including MoMA PS1, the New Museum, Printed Matter, the High Line Art Program, and Creative Time, among others. The Aarons also have a book collection that consists of over 10,000 publications with a focus on zines and independent books by artists from 1965 onward.

Image: Courtesy of the artist and Elizabeth Dee, New York.

Collectorspace presents Americas Pop Collector

Posted in: Program item|November 20, 2012

Americas Pop Collector at Contemporary Istanbul

Contemporary Istanbul, November 2225, 2012, Booth LK703

collectorspace is pleased to screen the 1974 documentaryAmericas Pop Collector: Robert C. ScullContemporary Art At Auction at Contemporary Istanbul. The 72 minute-long film, directed by John Schott and E. J. Vaughn, chronicles the first contemporary art auction of a single private collection. This 1973 sale in New York City resulted in unprecedented prices for works by living artists, and assured the value of contemporary art as a financial asset. The documentary records the pre-sale activities, the auction, as well as the protests that followed this historical sale.

Robert C. Scull, a New York-based taxi tycoon, started building a postwar American art collection in the mid-1950s, buying works from living artists such as Andy Warhol, Jasper Johns, and Robert Rauschenberg at an early stage, when a market for such work was not yet established. In 1973, Scull auctioned off fifty works from his collection at Sotheby Parke Bernet, as Sothebys was then called, and walked away with $2.2 million(about $11.46 million in 2012 dollars).

RauschenbergsThaw, bought by Scull for $900 in the late 50s, sold at the auction for $85,000; WarholsFlowers, bought for $3,500, went for $135,000; and JohnsDouble White Map, bought for $10,000, brought $240,000the highest price of the evening. While some argued that the sales raised the artists prices for their future work, the auction brought street protests against the collectors large profits; andNew York Magazineart critic Barbara Rose expressed her outrage in her text titled Profit Without Honor. At the night of the auction, Rauschenberg, as recorded in the film, said: The Sculls helped artists at a time when there wasnt enough activity to support them. Yet the artist changed his opinion after the auction, proclaiming: Ive been working my ass off just for you to make that profit!

Americas Pop Collector: Robert C. ScullContemporary Art At Auctionpremiered in 1974 at Whitney Museum of American Arttwo blocks south of Sotheby Parke Bernet.It is a rarely shown 16 mm film that is fading, and is in need of remastering.The screenings at Contemporary Istanbul take place in collectorspaces booth at LK 703 in the Art Initiatives section of the fair with the following schedule:Thursday, November 22nd at 6pm;Friday, November 23rd at 4pm;Saturday, November 24th at 2pm; andSunday, November 25th at 12pm.

Special thanks to Sylvia Kouvali, Stuart Comer, John Schott, Mari Spirito, Kitty Cleary, Asl覺 Altay, and Stephane Ackermann for their contributions to this project.

Martin and Rebecca Eisenberg in conversation with Can Altay

Posted in: Program item|October 30, 2012

Martin and Rebecca Eisenberg in conversation with Can Altay

collectorspace, October 16, 2012

collectorspaceinvites New York-based collectorsMartin and Rebecca Eisenbergto Istanbul to discuss their collecting practice. Moderated by artistCan Altay, the event will take place at collectorspace onTuesday, October 16, 2012,78:30pm.

Martin and Rebecca Eisenberg are collectors of contemporary art, and supporters of various public art institutions in and around New York City. Over the past twenty-five years, the Eisenbergshave built a noteworthy collection of primarily painting and sculpture by recognizing young talents early, and supporting their careers. The Eisenberg collection was subject of an exhibition at CCS Bard Hessel Museum of Art in 2010, curated by Matthew Higgs and titledAtHome/Not at Home. A book with the same title was published to accompany the exhibition. A recent addition to their collection, Criminal Stickup in Yellow(2012) by EllaKruglyanskaya is currently on display at collectorspace. Accompanying the exhibition is avideo interviewwith the collectors at their home.

Can Altay is an artist living in Istanbul. He investigates the functions, meaning, organization and reconfigurations of public space.Altay is also an Assistant Professor at Istanbul Bilgi University.Altay has had solo exhibitions at Casco, Utrecht (2011), The Showroom, London (2010), Kunstlerhaus Bethanien, Berlin (2008), and Sala Rekalde, Bilbao (2006). His work has been included in the biennials of Istanbul, Havana,Busan, Gwangju, and Taipei; as well as in museums and galleries such as the Walker Art Center (USA), Van Abbemuseum (Netherlands), ZKM (Germany), P.S.1 MoMA (USA), and Platform Garanti (Turkey). He was recently commissioned by London 2012 Festival and Frieze Foundation to develop a public artwork.

The talk will be in English. The event is free.

Criminal Stickup in Yellow at the Eisenberg Collection

Posted in: Program item|August 22, 2012

Criminal Stickup in Yellow at the Eisenberg Collection

September 12October 27, 2012

Download PDF


Criminal Stickup in Yellow at the Eisenberg Collection fromcollectorspace on Vimeo.

Ella KruglyanskayasCriminal Stickup in Yellow(2012) is the first figurative paintingexhibited at collectorspace. This large, colorful, visually overpowering painting depicts a vicious quarrel between two fashionable, highly feminine figures, where the arguments nature is at odds with the characters look. Thesomehow chauvinistic tone of one of the women is manifest in hermenacingshadow that resembles a gangster holding a gun hip-high. The other woman, underneath the startled, innocent expression on her face, is charged with a vile attitude.The work unmercifully caricaturizes the two-facedness, cruelty, and backbiting that inflict women of supposedly sophisticated upper-echelons of our society.

Kruglyanskayaspainting is fresh from the artists first solo show at a commercial gallery in New York City. The significance ofthis work,like all contemporary art, has to be judged over time. It is, however, the type of work that demonstrates the ability of its collector to spot fresh takes in a medium with a long history. Taking this painting as the starting point of discussion, collectorspace presents the Eisenberg Collection that includes many master-pieces of contemporary art, which were, at the time of their acquisitions, merely strong works by promising young artists. Over the past 25 years, Martin and Rebecca Eisenberghave built a noteworthy collection of primarily painting and sculpture by recognizing young talents early, and supporting their careers.

Martin and Rebecca Eisenberg will be in Istanbul on Tuesday, October 16th for a conversation with artist and scholar Can Altay to discuss their approach to collecting art. For more information, please visit collectorspace.org.

***

New York-based artist Ella Kruglyanskaya (b. 1978, Riga) holds a BFA from Cooper Union and an MFA in Painting from the Yale School of Art.Kruglyanskaya’s solo debut in New York was at White Columns in 2011,followed by an exhibition at Gavin Brown’s enterprise earlier this year.In 2011, her work was displayed in the renowned windows of the Barneys New York.In 20092010, the artist took part in the Artist in Residence studio program at the Henry Street Settlement/Abrons Art Center, New York.

Martin and Rebecca Eisenberg are Westchester County-based collectors of contemporary art, and supporters of various public art institutions in and around New York City. Their collection was subject of an exhibition at CCS Bard Hessel Museum of Art in 2010 curated by Matthew Higgs and titled At Home/Not at Home. A book with the same title was published to accompany the exhibition.

Ella Kruglyanskaya, Criminal Stickup in Yellow, 2012 (detail)
Oil and oil bar on linen
56 x 78 inches (142.2 x 198.1 cm)
Martin and Rebecca Eisenberg Collection
Image courtesy of the artist and Gavin Brown’s enterprise, New York
Image credit: Thomas Mueller

Living With Video: The Way Things Go at the Kramlich Collection

Posted in: Program item|July 11, 2012

Living With Video: The Way Things Go at the Kramlich Collection

July 12August 25, 2012

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Living with Video: The Way Things Go at The Kramlich Collection from collectorspace on Vimeo.

The Way Things Go (Der Lauf der Dinge) is an art film by the artist duo Peter Fischli and David Weiss that premiered in 1987 at Documenta 8. The work depicts a nearly half-hour long series of sustained chain reactions involving non-glamorous every-day objects such as kettles, chairs, mattresses, balloons, tires, ladders, and trash bags. These ordinary objects perform a kinetic display of cause and effect as they crash, burn, melt, explode, ignite, dissolve, rotate, slide, and bang, exhausting the energy released from the breakdown of one another. The film documents a constant battle between predetermined precision and probabilistic implausibility; and the artists ensure a seemingly miraculous continuity in scene after scene where disorder and failure would have been the more likely outcome. Carefully choreographed by Fischli/Weiss, the objects in this 100 feet-long installation on stage in a large warehouse seem to have been given performing roles by the artists, and meticulously trained for their act. As Jeremy Millar describes in his book on this particular work, the film embodies many of the qualities of Fischli/Weisss oeuvre: “slapstick humor and profound insight, a forensic attention to detail, a sense of illusion and transformation, and a dynamic exchange between states of order and chaos.”

collectorspace is very pleased to present the Kramlich Collection with this iconic example of video art that happened to be one of the first pieces that entered the collection. Based in San Francisco, Pamela and Richard Kramlich have been collecting video, film, and time-based art for over two decades. In 1997, they established The New Art Trust along with Tate Modern, The Museum of Modern Art, and San Francisco Museum of Modern Art to support research and preservation of time-based media art.

* * *

Peter Fischli (b. 1952) and David Weiss (19462012) worked as an artist duo between 19872012. Fischli/Weiss won the Golden Lion Prize at the 2003 Venice Biennale. A retrospective of their work was exhibited at Tate Modern, London in 2006, and traveled to Kunsthaus Zurich and the Deichtorhallen Hamburg.

* * *

With special thanks to VIP Art Fair for allowing the screening of the collection visit video as part of the presentation of the Kramlich Collection at collectorspace.

Video produced byPhilipDolin & Molly Bernstein of Particle Productions, New York.

Curating Collections with Lynne Cooke, Frances Morris and Jens Hoffmann

Posted in: Program item|March 2, 2012

Panel Discussion “Curating Collections”: Lynne Cooke and Frances Morris, moderated by

Jens Hoffmann

The Exhibitionist 5 Issue Launch

Cezayir B羹y羹k Salon,March 10, 2012

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Curating Collections Panel Discussion with Lynne Cooke and Frances Morris, moderated by Jens Hoffmann fromcollectorspace on Vimeo.

collectorspaceis pleased to host the launch ofThe Exhibitionists fifth issue on Saturday, March 10, 2012, from 6:30-8 pm at Cezayir Buyuk Salon in Istanbul. The launch event presents a discussion betweenLynne Cooke, chief curator and deputy director of the Museo Nacional Centro de Arte Reina Sofia in Madrid, andFrances Morris, head of collections at Tate Modern (International Art) in London.Jens Hoffmann, editor ofThe Exhibitionist, will moderate the conversation.

In the last twenty years, discussions around the curatorial practice have focused on temporary exhibitions and biennials. In this context, how do art institutions create innovative models to present their collection, and what role does the museum hold in the 21stcentury? Taking cue from these questions, the speakers will explore the changing parameters for collection-building and collection displays at museumsa timely subject for art communities around the world, in which emerging private and corporate collections are increasingly opening to the public and evolving into institutional collections.

* * *

The Exhibitionistis a journal made by curators, for curators, focusing solely on the practice of exhibition making. The objective is to create a wider platform for the discussion of curatorial concerns, encourage a diversification of curatorial models, and actively contribute to the formation of a theory of curating.

 

 

 

Collectorspace presents Herb and Dorothy

Posted in: Program item|November 22, 2011

Herb & Dorothy Visiting an Artfair in Istanbul

Presentation of a film by Megumi Sasaki

2427 November 2011

Contemporary Istanbul, Booth IKM710

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HERB & DOROTHY Trailer from Herb & Dorothy on Vimeo.

Directed and produced by Megumi Sasaki, Herb and Dorothy (2008) tells the extraordinary story of Herbert Vogel, a postal clerk, and Dorothy Vogel, a librarian, who managed to build one of the most important contemporary art collections in history with very modest means. In the early 1960s, when very little attention was paid to minimalist and conceptual art, Herb and Dorothy quietly began purchasing the works of unknown artists. Devoting all of Herbs salary to purchase art they liked, and living on Dorothys paycheck alone, they continued collecting artworks guided by two rules: the piece had to be affordable, and it had to be small enough to fit in their one-bedroom Manhattan apartment. Within these limitations, they proved themselves curatorial visionaries; most of those they supported and befriended went on to become world-renowned artists including Sol LeWitt, Christo and Jeanne-Claude, Richard Tuttle, Chuck Close, Robert Mangold, Sylvia Plimack Mangold, Lynda Benglis, Pat Steir, Robert Barry, Lucio Pozzi, and Lawrence Weiner.1

After years of collecting, the Vogels accumulated a collection that filled every corner of their rent-controlled apartment. In 1992, they decided to move their entire collection to the National Gallery of Art in Washington, DC, and gifted the vast majority of it to the institution. However, they continued collecting. Many of the works they acquired appreciated so significantly over the years that their collection of more than 4,500 artworks is now worth millions of dollars. Still, the Vogels never sold a single piece. In late 2008, they launched The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty Statesalong with the National Gallery of Art, the National Endowment for the Arts, and the Institute of Museum and Library Services. The program donated 2,500 works to 50 institutions across 50 US states, and was accompanied by a book of the same name.

The core message of Herb & Dorothy is “you don’t have to be a Rockefeller to collect art.” Collectorspace presents this 89 minute-long film with Turkish subtitles at a well-attended artfair in Istanbul.

***

Herb and Dorothy received the Golden Starfish Award for the Best Documentary Film and Audience Award from the 2008 Hamptons International Film Festival. It has also received Audience Awards from the 2008 SILVERDOCS Film Festival and the 2009 Philadelphia Cinefest. Palm Springs International Film Festival named Herb & Dorothy one of their “Best of Fest” films in 2009.

1www.herbanddorothy.com

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