The New York Observer, January 13, 2015
This week, Glenn Horowitz Bookseller will open its new Manhattan gallery space Rare, along with the inaugural exhibition. Located on West 54th Street, across the street from MoMA’s sculpture garden, the 1,000-square-foot gallery will showcase first editions, manuscripts, letters, archival materials, fine art, and decorative arts spanning the 19th century to contemporary. Its first exhibition, titled “Matter/Giacometti,” opens this Thursday, January 15 (with a reception from 6 to 8 p.m.) and will examine Swiss designer and photographer Herbert Matter’s book of the same title.
The book is an intimate portrait of the (also) Swiss artist whose signature tall, thin, figurative sculptures (the results of years of experimentations with movements like abstraction and surrealism) have become famous worldwide. But Matter’s book is a highly personal project that took 25 years to create, published after his death in 1986 by his wife. For its debut exhibition, 26 photos of the artist at work taken by the designer during their more than 30-year friendship, along with hand-written notes, photo negatives, typeface designs, and other ephemera from the book’s production, will be shown to the public for the very first time.
Rare will also host lectures, readings, and exhibition-related panels. After “Matter/Giacometti,” the gallery’s program will feature exhibitions on architect James Evanson’s furniture and lighting designs, the Constructivist graphics of 1920s Soviet cinema, artist Sari Dienes, and contemporary pop-up books.
ARTNews, January 8, 2015
Next week, Glenn Horowitz Bookseller will open a new gallery in Manhattan, called Rare, which will showcase “editions, manuscripts, letters, archival material, fine art, photography, and decorative art from the 19th century to the present,” according to an announcement from the gallery. Horowitz runs an office out of Midtown and has a space in East Hampton, but this is their first serious gallery in Manhattan since shuttering John McWhinnie @ Glenn Horowitz Booksellers on 64th Street, after McWhinnie’s death in 2012.
“We didn’t really have an appropriate and suitable space in New York City,” Horowitz said in a phone interview. “So after some minutes of reflection, we leapt at this opportunity.”
The new space, on West 54th Street, across the street from the Museum of Modern Art, is 1,000 square feet and occupies a former dentist’s office. The first show, which opens January 15, will focus on a book about Alberto Giacometti compiled by photographer Herbert Matter over the course of 25 years. The show brings together the contents of the book as well as ephemeral material about its making, all culled from Matter’s archives and “sources connected to Giacometti.”
“It’s in keeping with the spirit of what we do because we’re looking at things retrospectively,” Horowitz said. “We’re not representing artists and we don’t deal with legitimate contemporary art, though we’re not opposed to working with material related to contemporary artists.” With that in mind, he said, the next show at Rare will be an assortment of furniture, drawings, and blueprints from members of the Memphis Group, the Italian design collective.
The new gallery continues Horowitz’s history of bridging the art world with a larger literary archival project. Horowitz’s East Hampton outpost currently has a show of Paton Miller’s older paintings of the sea, which closes January 11, and the bookseller recently oversaw the sale of Tom Wolfe’s papers to the New York Public Library and represented the family of Gabriel García Márquez in the acquisition of the author’s papers by the University of Texas at Austin’s Harry Ransom Center. Last year, along with another New York bookseller, Karma, they published a little-known play by Don DeLillo, which featured illustrations by Richard Prince.
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East Hampton Star: The Art Scene, November 20, 2014
“Paton Miller: The Edge of the World,” an exhibition of recent and older works that reflect the Southampton artist’s longstanding exploration of the interface between land and sea, will open Saturday at Glenn Horowitz Bookseller in East Hampton and remain on view through Dec. 31. A reception will take place Saturday from 5 to 8 p.m.
The New York Times, November 24, 2014
Gabriel García Márquez, who died in April at 87, was a strong critic of American imperialism who was banned from entry to the United States for decades, even after “One Hundred Years of Solitude” vaulted him to international celebrity and, in 1982, the Nobel Prize in Literature.
But now García Márquez, who was born in Colombia and lived much of his adult life in Mexico City, has “gone to Texas,” as they say.
The Harry Ransom Center at the University of Texas in Austin will announce on Monday that it has acquired García Márquez’s archive, which contains manuscripts, notebooks, photo albums, correspondence and personal artifacts, including two Smith Corona typewriters and five Apple computers.
At the Ransom Center, one of the nation’s leading literary archives — and the only one “in the country’s borderlands with Latin America,” noted Steve Enniss, its director — García Márquez’s literary remains will be preserved alongside those of James Joyce, Ernest Hemingway, William Faulkner, Jorge Luis Borges and other global figures.
The Guardian, November 24, 2014
The Harry Ransom Center has a coup. The University of Texas at Austin’s deep-pocketed modern literature archive announced today that after almost a year of negotiation, it has acquired the papers of the prizewinning Colombian novelist Gabriel García Márquez, who died in April aged 87. Neither the author’s family nor the Ransom Center will disclose the amount of money that changed hands in the deal, but the Center, and the dealer it worked with, New York’s Glenn Horowitz, are well known for the substantial prices they pay for the work of 20th-century writers. In May this year, the center acquired the novelist Ian McEwan’s archive for a reported $2m.
In addition to personal correspondence and photo albums, the collection includes two typewriters, five computers and an estimated 2,000 letters from correspondents such as Julio Cortázar, Milan Kundera and Graham Greene.
Stephen Enniss, the director of the Ransom Center, sounded jubilant today as he described García Márquez’s literary significance, which he considers comparable to James Joyce’s.
East Hampton Star, October 16, 2014
Those who think they are starting to see Colin Goldberg everywhere are probably right. By Jennifer Landes.
Hampton Arts Hub, October 11, 2014
Art & Architecture Quarterly East End (AAQ)
Medium: "Backchannel," October 10, 2014
"If Picasso Had a Macbook Pro: Artist Colin Goldberg’s New Movement Marries Computers and Craft," by Kendra Vaculin
East Hampton Star
Glenn Horowitz Bookseller has joined with Leif Hope to present an exhibition that allows some of the spotlight from the annual Artists & Writers Game to shine on practicing and historical South Fork artists and writers.
Bomb, Dec 09, 2013
by Veronika Vogler
In 2008, after the crash of the art market, Adam Stennett found himself in a quandary that many were facing at the time of how to continue as an artist while sustaining an income. The Artist Survival Shack is designed as a performance piece, equipped with everything needed to live and paint, from an antique camp stove that uses kerosene to a biodegradable toilet that creates fertilizer. In preparation for his solo show at Glenn Horowitz Bookseller, Inc. this fall, Adam spent over a month living and working on 12 works for the show including object related pieces.
In late August, I had a chance to visit Adam at his remote Artist Survival Shack hidden in the brush of a Bridge Hampton golf course. He taught me to shoot Zen archery, a Japanese martial art that focuses not on the violent outcome but rather on the meditative process of movement. Weeks later, within the course of two days, Adam and I engaged in a 6 hour long text message conversation sifting through Heidegger, meditation and the tectonics of preparing for an exhibition while living in a 6.5 by 9.5 shack (click here for full article).
White Hot Magazine, White Hot Cities, East Hampton, Long Island, September 2013
Almond Zigmund: Interuptions Repeated
by Janet Goleas
Interruptions Repeated, Almond Zigmund’s sculptural installation at the Sag Harbor Whaling and Historical Museum is a space-warping, grid-bending architectural intervention that has been plunged into the museum's ground floor like a rogue wave. Part of the Parrish Art Museum’s excellent summer program, "The Parrish Road Show", brainchild of Andrea Grover, Curator of Special Projects there, here in Sag Harbor Zigmund’s two soaring structures are thrust into the delicate architecture of the museum's 19th century parlor room. Like fraternal twins, the shapes are closely matched yet separate and distinct. One is solid and the other is void – one is up and the other is down. The see-through sculpture is a lacy, L-shaped form that evokes a combination of Islamic design, highway sound baffles, and mid-century patio furniture. Made from thin sheets of die cut plywood, the structure seems to lean back in elegant repose, as if reclined in a comfortable chair. Its hulking sister, "the solid", is cantilevered above, upended in a precarious and somewhat menacing counterstance. The physical space they occupy is mobilized both by their formal relationship to one another and by a visual kinesis that bounces the eye between the sculptures, the space between them, and the elaborate cornices, Corinthian columns and geometric ceiling treatment in the parlor.
Zigmund, whose works range from tabletop sculpture and paintings on paper to shape-shifting installations such as this one, has a knack for improvisation. Key to her oeuvre is the structural dynamism she affects in two and three dimensions which, at its best, is performative. It’s as if time moves within these installations at a pace that is both fast and slow. A tumult of memory, parallax, and precision, "Interruptions Repeated" unfolds into associations to domestic interiors and the sort of vast industrial landscape that stretches out across interstate highways, suburbia, and the modern urban environment.
A concurrent exhibition of smaller works, Interruptions Repeated (again and again), on view at Glenn Horowitz Bookseller in East Hampton examines a kindred patois, in this case, on a more intimate scale. The works are punchy and fanciful, stacked on shiny cubes with surfaces that bounce between zippy tessellations to smooth wood veneer. Doing double-time as plinths or pedestals, the cubes appear different from every angle, inviting perspectival twists that elicit a sort of sensory whiplash. The sculptures are oddly utopian, with crisp, buoyant imagery that is fixed, yet fleeting.
In B/W, a bulging form wriggles from the inside out like a small riot trapped inside a plastic girdle. The sense of animation here is palpable. Zigmund employs the most primal methodology – stacking – in Stacked Blocks, in which white rectangles are crisscrossed atop one another in a precise, architectonic mound. Assembled on a flaming red cube, they could reference an apartment complex in downtown Beijing or a post-modern island cairn.
In selected small paintings on view, Zigmund translates aspects of her three-dimensional imagery into fast moving tableaus that fly over the page the way hi-beams dart across a darkened living room. Like a clip from a stop-action film, time seems frozen in these vignettes, conjuring links to memory and transition, sunrise and shadows, passage and pageantry, as if larger fictions loom mightily just outside the margins.
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