NASIM NASR: New York Triennial of Asia

  Beshkan (Breakdown),  (video still), 2012 ,  single channel video colour 1.10 loop

Beshkan (Breakdown), (video still), 2012, single channel video colour 1.10 loop

I am delighted to announce that Nasim Nasr has been invited to be one of the participating artists in the New York Triennial of Asia at the Asia Society Museum, New York, in 2020. 

The New York Triennial of Asia will be the first recurring exhibition initiative in the U.S. dedicated to contemporary art from and about Asia and will serve as a platform for intellectual exchange about, and direct engagement with the arts and culture from the region. It will encourage inclusivity and access to this material outside the traditional platform of the Museum and will attract new audiences. The scope of the Triennial reflects the diversity of contemporary art from Asia and the diaspora, and will celebrate and reflect the rich tapestry of Asian cultures that comprise a significant, yet historically underserved, demographic within New York City.

The inaugural edition, entitled “We Do Not Dream Alone”, will be co-curated by Michelle Yun, Senior Curator of Modern and Contemporary Art, and Boon Hui Tan, Vice President for Global Arts & Cultural Programs and Director of Asia Society Museum.

Nasim will be showing two series of works: Beshkan (Breakdown) (2013) and 33 Beads (2018).

This project is a city-wide initiative with venues including Asia Society Museum, Governors Island, Times Square, and Pioneer Works. The exhibition dates will be from June 5 to August 9, 2020.

 

Video stills from Beshkan (Breakdown) (individual hands), 2012 are available for acquisition. Please contact me directly at catherine@catherineasquithart.com for further details.

 

Representation: Nasim Nasr

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I am delighted to announce that Catherine Asquith Art now represents Nasim Nasr as her agent and collection manager.

Since graduating with a Masters of Visual Arts (Research) in 2011, and having completed a Bachelor of Arts in 2006, Nasim Nasr has developed a body of work that has featured in numerous exhibitions, festivals and publications in Australia and internationally.

Nasr’s photographic and video practice has sought to comment upon universal concerns within contemporary society, engaging and articulating notions of State and self-censorship, and the transience of cultural and personal identity.  With an abiding interest in the concept of cultural relationships and their role in contemporary society, her practice has engaged themes of intercultural dialogue.  Through the presentation of multiple channel video works, photography, performance, objects and sound, these collective works have endeavoured to highlight the complexities within contemporary notions of interchangeable identities and cultural difference, as experienced between past and present cultures and homelands, between the West and the East.

Most recently Nasim Nasr’s “Women in Shadow II” was presented at the 10th Anniversary Edition of “A Shaded View on Fashion Film” at the Club De L’Etoile in Paris, and was awarded Winner for best editing.  This was the filmic version of Nasr’s created performance Art, “Women in Shadow II” at the Powerhouse Museum in Sydney, earlier this year, in April.

Nasr has been a finalist in The William and Winifred Bowness Photography Art Prize (2018, 2017), the Fischer’s Ghost Art Prize (2018), the Sovereign Asian Art Prize (2017, Hong Kong), The Blake Prize (2018, 2016), and the Redlands Art Prize (2015).  Her inclusion in curated group exhibitions has included the much lauded “Under the Sun: Reimaging Max Dupain’s The Sunbaker”, “Sixth Sense” at the National Art School in Sydney, “CASCA Contemporary 2015” in Adelaide, and the “Tarrawarra Biennial: Whispers in My Mask” in Melbourne. 

Nasr’s work has also been presented at a number of art fairs, both nationally and internationally, notably, Bazaar Art Jakarta (2017), SPRING1883 (2015), Art Dubai (2015), and Art Stage Singapore (2015, 2013), in addition to participating as a panellist in “Talk Contemporary” at Sydney Contemporary in September this year.

Nasr’s art practice has also been the subject of a wide variety of publications, and in the past year has been elucidated in The Guardian, Elle (Italy), Eyeline, Vogue Australia, Sydney Morning Herald, The Daily Telegraph and Art Collector.  Nasr has also been included in What is Performance Art? Australian Perspectives by Mimi Kelly and Adam Geczy (2018), Video Void (2014) and performance-ritual.document (2014) both by Anne Marsh.

Nasim Nasr’s work is represented in Parliament House Art Collection (Canberra), Artbank, and numerous private collections throughout Australia, and internationally in Germany, the USA, Singapore, Qatar and the UAE.

For all enquiries including a copy of a catalogue of works, please email me at catherine@catherineasquithart.com or telephone me on 0422 753 696.  I will be delighted to take your enquiries.

 

*within the state of Victoria, and on the international circuit.

Nasim Nasr

  33 beads #11,  2018, from the series  33 beads,  pigment ink-jet print, 120.0 x 90.0 cm

33 beads #11, 2018, from the series 33 beads, pigment ink-jet print, 120.0 x 90.0 cm

Nasim Nasr is a finalist again, for the second consecutive year, in the William and Winifred Bowness Photography Prize 2018, with the above artwork, “33 Beads #11”.

Artist statement

Since relocating from Iran to Australia, I have attempted to highlight the complexities within contemporary notions of interchangeable identities and cultural difference. My practice of multiple-channel video, photography, performance, installation, 3D objects and sound, seeks to establish a symmetry or counterbalance of cultural and intellectual separation between East and West. ‘#11’ from the 33 beads series, engages these conditions through the compulsive and predominantly male habit of handling traditional prayer and non-prayer beads (worry beads/tasbih), in response to the fluctuating conditions of being ‘worried’ or ‘unworried’ about major life issues and concerns. The tension between the female hands and the worry beads suggests an unspoken metaphor – to hold on to one’s past or to let it go, sensing the cyclical and infinite nature of the human condition.

William and Winifred Bowness Photography Prize.

Established in 2006 to promote excellence in photography, the annual William and Winifred Bowness Photography Prize is an initiative of the MGA Foundation. The Bowness Photography Prize has quickly become Australia's most coveted photography prize. It is also one of the country's most open prizes for photography. In the past, finalists have included established and emerging photographers, art and commercial photographers. All film-based and digital work from amateurs and professionals is accepted. There are no thematic restrictions.

The prize creates a snapshot of contemporary photographic practice in Australia and continues to showcase excellence in photography, this year’s selection is no exception!

The market for Artemisia Gentileschi

 Artemisia Gentileschi,  Self Portrait as Saint Catherine of Alexandria , 1615–17. © The National Gallery, London. Courtesy of The National Gallery, London.

Artemisia Gentileschi, Self Portrait as Saint Catherine of Alexandria, 1615–17. © The National Gallery, London. Courtesy of The National Gallery, London.

Artemisia Gentileschi, (1593 – c.1656), was an Italian Baroque painter, whose oeuvre focussed on mostly, female allegorical subjects, depicting powerful figures during moments of highly emotive, sometimes violent points in history.  Unusually, she managed to enjoy significant success during her lifetime and was well-respected by her peers and the arts community, and was the first woman to be accepted into the Accademia di Arte del Disegno in Florence.  Today she is considered one of the most accomplished painters of her generation.

 Artemisia Gentileschi,  Lucretia , ca. 1630–45. © Dorotheum.

Artemisia Gentileschi, Lucretia, ca. 1630–45. © Dorotheum.

The market for Gentileschi has witnessed a burgeoning interest in her work; in July of this year, her extraordinary painting, “Portrait as Saint Catherine of Alexandria” (ca. 1615-17) was acquired by the National Gallery of London.  This week, her work “Lucretia” sold for €1.8m at Dorotheum in Vienna, and is headed to an Australian collection.  Additionally, Gentileschi’s inclusion in Ghent’s Museum of Fine Art’s exhibition on Baroque female painters (on now) suggests a recalibration of Western Art History’s canon to include more female artists.

 

In the wider arena, social media is highlighting some of her works, as a means of expressing discontent and alignment with social commentary, with “Judith Slaying Holofernes” (ca. 1620) going viral during the hearings leading up to the confirmation of Judge Brett Kavanaugh to the U S Supreme Court.  This painting is perhaps especially poignant – the subject being Judith’s act of a confident, yet bloody vengeance – given the fact that Gentileschi was a survivor of sexual assault and indeed, did take her attacker to court.

 Artemisia Gentileschi, Judith and Holofernes, ca. 1620, Uffizi Gallery, Florence

Artemisia Gentileschi, Judith and Holofernes, ca. 1620, Uffizi Gallery, Florence

According to some arts commentators, the market has been slow to catch up with art historians: Gentileschi was first re-examined in the 1947 novel by art historian Anna Banti’s “Artemesia”.  Some four decades later, feminism took an interest, with Mary Garrad’s influential 1989 text, “Artemesia Gentileschi: The Image of the Female Here in Italian Baroque Art”.   It was not until 2014, when the work, “Mary Magdalene” sold for over USD1m (Sotheby’s, Paris), establishing a new record for the artist, that the market’s attention was piqued.

For some pundits, Gentileschi is “having a moment”, following on from a renewed interest in Old Masters; others view the interest as a type of ‘inter-disciplinary’ approach by dealers and art fairs – the confluence of contemporary and Old Masters artworks in fair booths and curated exhibitions; or perhaps the result of contemporary artists utilising and highlighting their sources and historical artworks in new work.

Nevertheless, there can be no denying the importance of addressing the deficit in museum and gallery collections across the globe of the inclusion of significant female artists’ work.

Zhang Xiaogang headlines Phillips' Hong Kong Auction

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Phillips Hong Kong sale on May 27th will feature a $5m collection of Chinese Contemporary art entitled Pioneers of Modernism: A Selection from the Scheeres Collection. The lead lot is a Zhang Xiaogang work, Bloodline, Big Family No. 9 (above) that comes to market with an estimate upon request. Another work from this same series sold in China five months ago for $4.4m for a much later work. The record for these Big Family works and the artist is slightly more than $12m achieved in 2014.

Comprising 20 lots estimated in excess of HKD 40 million, the collection include historically significant contemporary Chinese works by celebrated artists such as Zhang Xiaogang, Fang Lijun, Yue Minjun, as well as such modern masters as Richard Lin, Sanyu, Le Pho, among others.  The highlights will be unveiled in a touring exhibition across key cities in Asia .  

onouring its debut appearance in the market, Pioneers of Modernism: A Selection from the Scheeres Collection will be presented in a dedicated auction preview in H Queen’s Atrium in Hong Kong from 24 to 27 May 2018 alongside Phillips Hong Kong’s Spring Sale 2018 preview held in Mandarin Oriental Hong Kong.

Nasim Nasr, Winner: "People's Choice"

 Nasim NASR,  Forty Pages 5,  2016, giclée digital print on 330gsm smooth white cotton rag, 100 x 80cm, edition: 5/8

Nasim NASR, Forty Pages 5, 2016, giclée digital print on 330gsm smooth white cotton rag, 100 x 80cm, edition: 5/8

Sydney-based artist, Nasim Nasr has been awarded the "People's Choice" Award for her extraordinary photographic work, "Forty Pages 5", included in the Finalists' exhibition for the William and Winifred Bowness Photography Prize held at the Monash Gallery of Art.

The work is from Nasim's series, "Forty Pages".  As described in the artist's words: 

Forty Pages contemplates personal or global history in the context of movement from one culture to another in the contemporary world, and refers to forty pages in a passport.
 
Each passport stamp, representing either the departure from or entering a country, is integral to one’s history of the difficulties of freedom of movement and disempowerment by country of birth and its life-boundaries. At every national border one is submissive and defenseless to officialdom. This is a potent control upon individual existence and independence, especially in the contemporary world of displacement and separation between East and West.
 
This gradual accumulation of stamps feels like layers upon my personal history, upon my passport photo, upon my face, its aggregation steadily evolving into an identity I no longer recognize, apart from the eyes—a transformation
 
Forty Pages presents my body as a site or platform for the compilation of these stamps of the last decade of my life, and therefore part of the history of the transience of my being.

 Nasim NASR, "Forty Pages" series, 1 to 5 (l to r)

Nasim NASR, "Forty Pages" series, 1 to 5 (l to r)

About the artist
 
Nasim Nasr completed a Bachelor of Arts in Graphic Design at the Art University of Tehran, Iran in 2006, and a Master of Visual Arts (Research), South Australian School of Art, Architecture and Design, University of South Australia, in 2011.
 
Since graduating, Nasim has developed a body of work that has been featured in various exhibitions, festivals and publications in Australia and internationally. Her photographic and video practice has sought to comment upon universal concerns in contemporary society, engaging and articulating notions of State and self-censorship and the transience of cultural and personal identity. Being interested in the concept of cultural relationships and their role in contemporary society, her practice has engaged themes of intercultural dialogue. Through the presentation of multiple channel video works, photography, performance, objects and sound these collective works have attempted to highlight the complexities within contemporary notions of interchangeable identities and cultural difference, as experienced between past and present cultures and homelands, West and East.
 
Currently a Finalist in The Bowness Photography Art Prize, Melbourne Nasim was also a finalist in the prestigious international 2017 Sovereign Asian Art Prize in Hong Kong; earlier this year.  Previously, Nasim was a Finalist in the Blake Art Prize, at Casula Powerhouse in Sydney, (2016), and the Redlands Art Prize, National Art School Gallery, Sydney, (2015).

 Installation view, Sixth Sense, National Art School Gallery, Sydney, 2016

Installation view, Sixth Sense, National Art School Gallery, Sydney, 2016

Nasim’s participation in important curated group exhibitions include Under the Sun: Reimagining Max Dupain’s Sunbaker, at the Australian Centre for Photography, Sydney (touring to Monash Art Gallery, Melbourne); and Sixth Sense, National Art School Gallery, National Art School, Sydney.
 
Her work has also been presented at Bazaar Art Jakarta (2017), Art Dubai, (2015 & 2016); and Art Stage Singapore (2013 & 2014)
 
Her work is represented in many collections including the Parliament House Art Collection, Canberra; Artbank, Sydney; and private collections in Australia, Germany, USA, Singapore, Qatar and the UAE.


Catherine Asquith Art is delighted to present this exceptional artwork, “Forty Pages 5” (image above) by Nasim Nasr for sale.  For details regarding the artwork including price please email or phone 0422 753 696.

The art or printmaking

High quality prints in limited editions are masterly examples of the virtuosity of printmaking and demonstrate why prints (or “editions”) have remained so popular a medium for art collectors. Moreover, .limited edition prints will very often provide the astute investor the opportunity to acquire recognized and 'prize-winning' names in art, adding a certain gravitas to one’s developing collection.

What is a fine art limited edition art work?

A Limited Edition Print is derived from an image produced from a block, a plate, a stone, on zinc, copper or some similar surface on which the artist has worked closely with a print maker or master printer. Unlike paintings or drawings, prints exist in multiples.  The total number of impressions an artist decides to make for any one image is called an edition.

Each impression in an edition is numbered and personally signed by the artist. An image may be based on an original painting, 'after an oil', or the artist may paint "maquettes" specifically for prints. The artist may also create an image directly onto the plates, depending upon the chosen medium.

The Processes

Each of the various methods of printmaking yields a distinct appearance.  Artists choose a specific technique in order to achieve a desired result. The choice made by the artist to produce an image "in print" is the same as choosing to work in oil or any other medium.  The only difference in print lies in the possibility of producing a number of near identical images.  Etchings, silkscreens, woodcuts and collagraphs are some of the principle printmaking techniques.

With expert print-makers producing a range of Limited Editions to international standards, these artworks remain highly collectible not to mention, very affordable!

©Catherine Asquith October 2017

Catherine Asquith has been working within the Australian art market, and more recently, the Asian art market, across both the primary and secondary sectors for the past twenty years and is a member of the Art Consulting Association of Australia (ACAA).

 Jason BENJAMMIN, "The Crows", 2005, edition of 60, multi-plate etching, Image size: 54 x 80cm,Paper size: 78 x 108cm, printed on Hahnemuhle 100% rag 300gsm

Jason BENJAMMIN, "The Crows", 2005, edition of 60, multi-plate etching, Image size: 54 x 80cm,Paper size: 78 x 108cm, printed on Hahnemuhle 100% rag 300gsm

PARIS PHOTO 2017

Paris Photo, touted as the world's largest international art fair dedicated to the photographic medium, will hold its 21st edition at the historic Grand Palais in Paris from November 9th through 12th, 2017.

The annual event for collectors, professionals, artists, and enthusiasts, Paris Photo offers its visitors a selection of quality and diverse artworks alongside an ambitious public programme of events, talks and forums.

Over 180 galleries and publishers will present a complete panorama of the history of photography: from vintage and modern works to contemporary creations, rare and limited editions, and avant-premiere book releases. The recently launched PRISMES sector, held in the prestigious Salon d'Honneur, will feature a curated presentation of large format, series, and video and/or installation works.

An educative art fair, Paris Photo aims to enhance the visitor experience by scheduling exhibitions, awards, signature sessions, special events, talks and discussions with artists, curators, critics, and historians. The "In Paris during Paris Photo" programme, created in partnership with renowned museums and arts organizations throughout the city of lights, offers visitors a complementary selection of exhibitions featuring some of the most important photographic collections in the world.

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