Winter Kunstkammer: Part I Contemporary Art exhibited with works of art spanning two millenia from European Asian African Oceanic and New World Cultures

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Alizarin Crimson Over Black, 2008 Acrylic On Canvas 24 Inches X 24 Inches © Walter Randel Gallery
Fucanlong, 2007 Porcelain © Charles Birnbaum
Six Style Sandwich Vortex, 2006 Acrylic On Plexiglas, Reverse Painted 12 X 12 X 1 Inches © Mark Sengbusch
Icefall, 2008 Archival Pigment Inks On Epson Exhibition Paper 28 Inches X 21 Inches © Ernest Kafka
Kore Society Mask, 19th Century Wood With Ritual Patina 17 Inches Tall © Walter Randel Gallery
Ice Melt, 2008 Archival Pigment Inks On Hahnemuehle Fine Art Paper 44 Inches X 55 Inches © Michael Hall
Seated Subodai, one of the ten great disciples of Buddha, ca. late-18th/early-19th century Gilt, Lacquered And Painted Wood With Inselt Glass Eyes Height: 21 Inches © Walter Randel Gallery
Picasso and the primitive sculpture, 4 Nov 1955 Silver Gelatin Print, Mf One Of An Edition Of 30 2007 20 Inchex X 16 Inches © Lucien Clergue
Ombre a Kyoto Japon, 1986 Silver Gelatin Print © Lucien Clerge
Unitled #13, BL from Botanical Scans Pigment Inks On Archival Paper 30 Inches X 30 Inches © Chad Kleitsch
Warring States Vessel, 5th Century BC High Fired Earthenware Height: 19 Inches © Walter Randel Gallery
Winter Kunstkammer: Part I Contemporary Art exhibited with works of art spanning two millenia from European Asian African Oceanic and New World Cultures
Curated by: Yoo-Jong Kim

287 Tenth Avenue - 2nd floor
Between 26th& 27th Streets
New York, NY 10001
December 18th, 2009 - January 28th, 2010

(212) 239-3330
Tue-Sat 11-6
photography, digital, figurative, modern, sculpture


W A L T E R   R A N D E L  G A L L E R Y



Walter Randel Gallery is pleased to announce the rotating winter exhibition Kunstkammer I & II.


The critic Edward Lucie-Smith has described the Kunstkammer as an assemblage of various art objects in a single room; despite their miscellaneous character, these massive groupings of works of art, found in the homes of artists, scholars and collectors of discernment of the past, may be said to precede the practice of shows in what is today called the "white cube" or formal galleries and museums.


This exhibition includes important works from all over the world—Europe, Asia, Africa, Oceania, and New World cultures are represented, spanning two millennia. Visitors will have the opportunity to see and acquire paintings, sculptures, ceramics, and photography, made by both historical figures and living artists; in the proximity of their installation, care has been taken to develop interactive relations between the objects, regardless of their date or culture.


Informed appreciation for art is based upon an individual’s quest for quality and knowledge.  In short, it is a matter of connoisseurship, a skill that can be trained by experience over time.  Our sensibility must be fueled by curiosity; looking at art from differing cultures is actually not so daunting as the task might seem.  For today's collector, with so much art available to the public, finding out what to collect is not the major issue; rather, one can seek and enjoy the formal success of almost any work of art, that is, how the way its appearance in relation to its intent, affects the viewer. 


Understanding works from earlier periods does not have to depend upon obscure historical scholarship; rather, appreciation can be developed by recognition of an artwork’s innate characteristics—something the painter Willem de Kooning recognized when he wrote in a sketchbook that “There’s no way of looking at a work of art by itself it’s not self-evident.  It needs a history; it needs a lot of talking about.  It’s part of a whole man’s life.”


If we listen to de Kooning, collecting can be understood as a wonderful, exciting process whereby the object’s distance—the result of institutional possession—is denied.  Collecting is in fact the expression of sensibility. As a result, the immediacy of proximity and ownership is a life-enhancing and, sometimes, a life-changing experience.  The variety of fine and decorative arts available in this two-part show Kunstkammer I & II fights the pernicious myth that art is a luxury; indeed, it is more of a requirement, in which the viewer’s contact with creativity is truly a matter of absolute necessity.

Part II of this exhibition will be rotated January 28 and will run through March 6, 2010 and will include paintings by Arlan Huang and photographs by Bruna Stude

Contact: Yoo-Jong Kim or Walter Randel

For photographs and select list of works in exhibition contact:  Cecelia Capps, Gallery Associate & Media Liaison