Strong Attendance and Sales at Debut Fair

CYNTHIA-REEVES' strong performance at this weekend's inaugural Art13 London Fair received accolades in industry press, with solid sales to European and Asian collectors. New England-based artists Sarah Amos and George Sherwood were among those widely sought-after in their respective media and unique visionary thesis, along with Chinese minimalist painter, Shen Chen, and Conceal Project watercolor painter, Dawn Black.

Amos' artwork was featured in the U.S. edition of the Wall Street Journal on March 2. Other select artists featured at Art 13 London included Canadian printmaker Catherine Farish and American sculptor Jonathan Prince, whose geometric stainless steel outdoor sculpture, G2V, remains on public view at the Dag Hammerskjold Plaza in New York City through April 2013.

Among the near 25,000 attendees at Art13 London were noted collectors and institutions, including: Sir Nicholas Serota, Tate Museum; Charles Saumarez Smith, The Royal Academy; Julie Peyton Jones, Serpentine Gallery; Charles Saatchi, and Don and Mera Rubell, among others.

CYNTHIA-REEVES will augment its international presence in 2013 - 2014.
The gallery's fair calendar for 2013 will be updated in April.

Daniel Kohn Commission Underway at Broad Institute MIT / Harvard

Daniel Kohn has begun a 10-month, seven-floor installation of his experimental work, Instance of a Dataset, commissioned by the Broad Institute of MIT and Harvard in Cambridge, Massachusetts. This gradually unfolding public piece is a visual manifestation of a cross-disciplinary inquiry into the intersection of art and science, the result of Kohn's long-term collaboration with Broad scientists.

Based on a dataset of thousands of digitized watercolors, the artwork is comprised of 1,572 discrete tiles exhibited across seven floors. On each floor, the tiles form uniquely patterned grid assemblies. Since the first assemblies were installed in October, Kohn has revisited his artwork monthly to expand, transform, and reconfigure the piece. This monthly improvisational process will continue through June, with tiles being moved and added until each grid is complete. Inspired by and reflective of genomic experimentation, the piece is a working hypothesis that explores and echoes the work being conducted at the Broad, and in the broader field of genomic science.

The assembly patterns are reminiscent of genetic sequencing data, and the grid structure of each assembly forms the basis from which Kohn's improvisational work can evolve. In particular, it allows elements to be rotated, flipped or exchanged - a fundamental aspect of the pattern generation upon which Kohn founded the work.

The single tiles and sets first arranged in October both created a spatial tension and provided clues to Kohn's unfolding process. Since then, each monthly stage of the commission has seen his assemblies grow and morph, negative space giving way to vibrant color, gestural marks, and rhythm. In the fifth and most recent stage, new processes have emerged. The dialog between order and chaos within the system will continue throughout the remaining stages.

Kohn's work is the product of an open and collaborative exchange that he has enjoyed with many Broad scientists, under the guidance of Todd Golub, the Broad's Chief Scientific Officer. Kohn writes: "Todd has helped me see the Art/Science dialogue as a reflection of the way people think in a Post-Newtonian world. In this context, art isn't a means to an end, but a process of becoming. Broad scientists have taught me that the modern space is determined by new ways of thinking: its processes are non-linear, embracing complexity rather than attempting to reduce it. I want my artistic process to mirror that radical evolution in thought - the many paths, and multitude of iterations, of dynamic change."

Alongside his public artwork, Kohn developed Assembly Space, a software application that allows viewers to play with his 'Dataset' in a browser environment. Assembly Space is an active arena where viewers can "think" visually, create their own assemblies, and build upon the designs of others. Kohn suspects that his own view of this visual language will shift as users' saved assemblies reveal patterns he could not foresee.