To get to the elusive Mildred's Lane, in Beach Lake, Pennsylvania, one must drive 100 miles northwest of Manhattan, moving from the highway to increasingly poorly-marked roads; then to dirt roads, and finally a hand-drawn sign for a half-mile-long driveway through woods and ferns. On the other side is a sloping clearing dotted with small buildings, finished and unfinished artistic and architectural projects, one newly constructed residence, and a slumping two-story home that dates to the 1830s.
Says J. Morgan Puett, Mildred's Lane's proprietor, "Some of my local friends who have worked here tell a story about a portal along the lane, and that once they have passed through it, they have looked at each other with wonder and remarked that they don't have any idea what time it is, what day it is, what year it is—it may be another country or planet..."
In 1992, principals Ursula Hauser and Manuela and Iwan Wirth opened Hauser & Wirth in Zurich, focusing primarily on Modernist works with the purpose of entering the secondary market. Naturally, the gallery quickly gained interest in the contemporary market and opened a second location in Westminster, London, in 2003. At the press lunch last week, Iwan Wirth said that New York has always been on his radar, and the site necessary to make Hauser & Wirth a completely "international" contemporary art enterprise (Wirth set up with David Zwirner in 2000, but has disbanded since Hauser & Wirth arrived stateside). Well here it is, with the public opening of the gallery's Upper East Side space. Read More
Is Art Since the Summer of ’69
an alternative space, a series of itinerant exhibition projects, or a commercial gallery? Its organizers, curator Hanne Mugaas, artist Paul-Aymar Mourgue d’Algue, and Salon 94 director Fabienne Stephan, don't let classification guide their program. Art Since the Summer of ‘69 is first and foremost a curatorial project by the three organizers, dedicating to showcasing emerging art, newly located in a six-by-sixteen-foot sliver of a room in a Lower East Side office building. Often guarded by Mourgue d’Algue’s and Stephan's tiny daschund, Ludwig von Truffle, the space bears an inextricable link to dogs: not only is their next show titled “The Bichon Frisé in Art,” (a small curly lap dog) but after two exhibitions the gallery has mounted, they’ve had two mentions in the New York Times
, both of which were paired with images of canines. Read More