DeWoody’s Bunker Art Space opens season

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Art collector Beth Rudin DeWoody and artist E. V. Day photographed during the Sunday afternoon seasonal opening of The Bunker Art Space in West Palm Beach while seated inside Tales from the Crate Room, a multi-dimensional installation created by Day with more than 60 pieces selected from DeWoody's collection.

With Art Basel’s aesthetic convergence set to open next week, where better than Palm Beach to stage a New Wave Art Weekend themed around inclusivity and immigration with lectures and exhibitions on both the East Side and the West Side, capped on Sunday afternoon by the opening of Beth Rudin DeWoody’s The Bunker Art Space in West Palm Beach. More than 400 collectors, artist, gallerists, museum directors and aesthetes gathered to see the latest from DeWoody’s showcase. In addition to the work of DeWoody’s co-curators Maynard Monrow, Laura Dvorkin, and Phillip Estlund, Eric Shiner, artistic director of NYC’s White Cube, and artist E. V Day curated two rooms utilizing pieces from her collection.

Laura Dvorkin, co-curator, in the Lobby that she co-curated with Maynard Monrow. Left, Amy Sherald’s All the Unforgotten Bliss (The Early Bird), 2017. Oil on canvas. Right, Kehinde Wiley’s Passing/Posing #10, 2002. Oil on canvas.
In the East Gallery, co-curator Maynard Monrow, with Arthur Duncan and Peter Medvin.
L to R.: Marjorie Mayrock.; Robert Pittinger.
Mumbi O’Brien.
Lobby, view to the East Gallery. The centerpiece sculpture is John Ahearn’s Kevin in Thought, 1986. Oil on fiberglass.
Douglas E. J. Fredericks and Judy Schrafft.
Alexis Rockman, DisneyWorld I, 2005. Oil on wood.
Carla Felter and Dalton Freed. Left, Kehinde Wiley’s Passing/Posing #10, 2002. Oil on canvas.
Inner Course: The Agony Of It All, 2018. Originally performed at Smack Mellon, NYC, in July 2018, Inner Course is a project by Rya Kleinpeter and Tora López. The Agony Of It All “conjures the spirit of Lucille Ball’s bedroom from the I Love Lucy show … Guests are invited to choose a book and read to the artists or be read to …” The books “… survey peculiar feminisms and ‘mansplained’ issues about women.” Curated by Laura Dvorkin.
Max Levai and Pascal Spengemann.
East Gallery, second floor. Co-curated by Laura Dvorkin and Maynard Monrow.
Hillie Mahoney, Bob Merrill, and Sharon Phair.
E. V. Day, standing in front of Mark Flood’s Amazon Environment Diptych, 2015. Recently awarded the Rome Prize for Visual Arts by the American Academy in Rome, Day’s work can be found in the permanent collections at The Whitney Museum, MoMA, New York Public Library, National Museum of Women in the Arts, Saatchi Collection, and the Smithsonian National Air & Space Museum.

Tales from the Crate Room – curated by E. V. Day

“Day has imagined The Crate Room at the Bunker Art Space as a salon where the artworks are in various forms of undress, resting temporarily, like backstage players awaiting their next big scene. With their box tops removed, in this casual environment, new relationships are formed that otherwise might not have occurred in the capacious formality of a bright white gallery.”

Crate Room, entrance. Alex Da Corte’s Demons of the Damned, 2016, an anodized aluminum chain curtain creating a screen for the Crate Room beyond.
Evan Penny’s Untitled-Anamorph#3,2005, constructed of silicone, pigment, hair, fabric, and aluminum.
Greer Lankton, Freddie & Ellen, 1982. Fabric, acrylic, wire, paint, and glass.
Tales from the Crate Room, 2018. Curator, E. V. Day.
In the Crate Room, artist E. V. Day with Zaha Hadid’s Z-Car, 2005, mixed media.
L to R.: Sue Stoffel.; Ruthie Lawrence.
Wendy Olsoff and Penny Pilkington.

Her is Here – curated by Eric Shiner, artistic director, White Cube — NYC.

“In this show, I selected works by woman artists in the collection with the basic notion of structure at the core of each work … The cacophony of structures and critical responses to structure represented here, I hope are the new normal, filled with power and loaded to constantly erode the status quo.”

Jane Hammond, Forests of Fire #2, 2001. Oil on 18 wood panels.
L to R.: Betty Tompkins, Ravishing, 2015. Acrylic on canvas.; Moyna Flannigan’s Mona Lisa, 2007. Oil on canvas.
Tom and Eva – Thank You for the Staffordshire, 1974. “Tom and Eva discover a new dimension in their relationship.” An acrylic on canvas, artist Robert Colescott.
Oil Man, 1990. Acrylic on canvas, artist Robert Colescott.
In the East Gallery, Jim Cohan and Howard Ganek.
Serge Strosberg and Ray McAuliffe.
Beth DeWoody and E. V. Day, inside the Crate Room, seated on Jude Tallichet’s Dr. Freedman’s Analytical Couch, 2008. Cast bronze. A fascinating tableaux.

Photography by Augustus Mayhew.

Augustus Mayhew is the author of Palm Beach-A Greater Grandeur

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