The Collective

The Adventurer, The Maker, The Everyman


The inaugural issue of the indie magazine Collective Quarterly -a travel + lifestyle  magazine, is now available for pre-order. One of the more exciting launches to take place within independent publishing. Founded by Jesse Lenz, Seth Putnam, and Jay Gullion, the Collective Quarterly was created to gather like-minded creatives, take them on a journey, and explore the local artisans and crafters of uncommon goods. With beautifully conceived and  well-executed writing and photography, each issue will explore a single location taking the readers on an inspired journey. This is a magazine about creating. The first issue titled Issue Ø, contains fascinating content centered around both the local talent of Marfa, Texas, and the visitors inspired by the quaint, yet eccentric town. Each sequential issue of Collective Quarterly will focus on a different location -a trip to a particular region of the country or the world, bringing talented artists together to unearth the culture and creative voice of the area they visit.


Honoring artists with varied talents and styles, Collective Quarterly not only highlights the creative process of unique and gifted individuals, but they also enlist these artists to create specially crafted goods. Attempting to merge the ever challenging commerce and editorial conundrum, they offer a tightly edited group of products that include clothing, accessories, jewelry, art, and music, all of which are inspired by the magazine’s chosen location, available only through the Collective Quarterly online store. Coinciding with the launch of Issue Ø, the dry goods collection features a range of limited edition and exclusively developed new products, made in collaboration with some favorite brands, including Faribault Woolen Mills Co, Duluth Pack, and Fischer Clothing. The spirit of American hand-made goods. Brilliant.

To learn more, visit The Collective Quarterly, travel along on Instagram, or purchase The Marfa Issue. Always Go.

Moments Between Moments


Gregory Crewdson Book Cover Photo Detail of Untitled (from the Beneath The Roses series), 2003-2008 © Gregory Crewdson/Courtesy of Rizzoli New York, 2013.

A major new monograph from contemporary American photographer Gregory Crewdson, has been released by Rizzoli, with an introduction by Nancy Spector, an essay by Melissa Harris, and a series of image-inspired short narratives by Jonathan Lethem, which captures nearly three decades of the photographer’s iconic work. From the black and white Sanctuary images of 2009, shot at the legendary Cinecittà film studio in Rome, to the elaborately staged, small-town New England set pieces that made him famous, as well as the delicate, little-seen black and white frenzied fireflies shot by the artist during a solitary summer at a family cabin in the Berkshires. This in-depth collection -400 pages with dimensions of 13.9 x 12.9, reveals an artist touched in equal measure by the magic of cinema and a more private, otherworldly strangeness, the “moments between moments” of isolation and wonderment. A signing with the artist will be held 23 Novemeber, 2013, at the Gagosian Shop in New York.


Gregory Crewdson, an American photographer who is best known for elaborately staged scenes of small-town American life, received a B.A. from State University of New York at Purchase in 1958 and a MFA in photography from Yale in 1988. He is Director of Graduate Studies in Photography at the Yale University School of Art, and is represented by Gagosian Gallery in New York city. Crewdson has received numerous awards including the Skowhegan Medal for Photography, the National Endowment for the Arts Visual Artist Fellowship and the Aaron Siskind Fellowship. His work has been included in many public collections, most notably the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Brooklyn Museum, the Los Angeles County Museum and the San Francisco Museum of Modern Art.

Art Of Transformation


Yogini, first half of the 11th century, India, Uttar Pradesh, Kannauj, San Antonio Museum of Art, purchased with the John and Karen McFarlin Fund & Asian Art Challenge Fund.

“Yoga: The Art of Transformation” opens tomorrow at the Smithsonian’s Arthur M. Sackler Gallery and runs through 26 January, 2014. Through Indian masterpieces, this exhibition explores yoga’s goals, its Hindu, as well as Buddhist, Jain, and Sufi manifestations, its means of transforming body and consciousness, and its profound philosophical foundations. This is the first exhibition to study yoga as a visual metaphor spanning centuries of spiritual roots, exploring the roles yogis and yoginis played in Indian society over two thousand years, to its current status as a global exercise technique.


Three Aspects of the Absolute, folio 1 from the Nath Charit, By Bulaki, 1823. India, Rajasthan, Jodhpur, Mehrangarh Museum Trust.

Organized by Debra Diamond, associate curator of South and Southeast Asian art, Yoga: The Art of Transformation includes more than 120 works, from the 3rd century to the early 20th century, that illuminate yoga’s central tenets as well as its obscured histories. Temple sculptures, devotional icons, illustrated manuscripts, court paintings, photographs, books, and films are on view. Borrowed from 25 museums and private collections in India, Europe, and the United States, its highlights include an installation that reunites for the first time three monumental stone yogini goddesses from a 10th-century Chola temple, 10 folios from the first illustrated compilation of asanas (yogic postures) -which was made for a Mughal emperor in 1602 and has never been exhibited in the United States, a Thomas Edison film, Hindoo Fakir (1906) – the first movie ever produced about India, and a 1938 film of T. Krishnamacharya, the grandfather of modern yoga.


With yoga studios popular in cities throughout the United States, the Smithsonian decided to tap into the discipline’s popularity in a practical way. The museum collaborated with Yoga Journal and the Yoga Alliance to launch its Together We’re One campaign in May, raising more than $175,000 -well over its $125,000 goal- on the crowdfunding website Razoo. That money supplements costs for shipping, publications, and public programming (including yoga classes) during the course of the show. Hopefully bringing a degree of spiritual awareness to Washington, D.C.

Anonymous No More


Ang Sang, Faces of Buddha, 2011, Acrylic on canvas, Shelley and Donald Rubin Private Collection.

Anonymous: Contemporary Tibetan Art, an exhibition of contemporary Tibetan art presented by the Samuel Dorsky Museum of Art at SUNY New Paltz is on view now through 15 December, 2013, featuring over 50 works of painting, sculpture, mixed media, installation, and video art created by 27 artists living in Tibet. Tibet, which has been occupied by China since 1951, is largely closed off from the Western world. Travel outside of the country is restricted and there are staunch limitations on its exports. To help make Tibetan art more accessible to American audiences, curator of the museum Weingeist conceived the show “Anonymous.” She invited Tibetan artists living all over the world to submit their work anonymously for the exhibition, believing that this option would allow artists to “express themselves without any repercussions.” When she began organizing the exhibition, however, she found that the opposite was true -despite possible consequences, all of the artists 
wanted to sign their work.


Dedron, Mona Lisa, 2012, Mineral pigment on canvas, Shelley and Donald Rubin Private Collection.

Anonymous seeks to explore the tension between an ancient culture’s unbroken artistic tradition and the personality-​​driven world of contemporary art. In traditional Tibetan art, a formal system of art production was used to support the transmission of Buddhist culture. In the present atmosphere however, art is becoming a vital medium of self-​​expression for Tibetans -increasingly, artists are creating work focused on the individual. A cautious 21st century visual language steeped in irony, metaphor, and allusion has fully emerged. The resulting show is a candid depiction of modern Tibetan life and is one of the first museum exhibitions of contemporary Tibetan art to be presented in the United States.

Monday, November 4, 7:30 pm
Distinguished Speaker, Robert A. F. Thurman 

Presented in conjunction with The Dorsky exhibition, Anonymous: Contemporary Tibetan Art Robert A. F. Thurman is the Jey Tsong Khapa Professor of Indo-Tibetan Buddhist Studies in the Department of Religion at Columbia University, President of the Tibet House U.S., a non-profit organization dedicated to the preservation and promotion of Tibetan civilization, and President of the American Institute of Buddhist Studies, a non-profit affiliated with the Center for Buddhist Studies at Columbia University and dedicated to the publication of translations of important texts from the Tibetan Tengyur. For more information and tickets visit here


The exhibition will travel to the Fleming Museum at the University of Vermont and the
 Queens Museum of Art in New York next year. The majority of artworks in the exhibition are on loan from Shelley and Donald Rubin, who donated a vast collection of Himalayan art to the Rubin Museum of Art in New York. They are also the founders of the Shelley and Donald Rubin Foundation, a philanthropic organization that has conducted seminars on Tibetan literature and art, generated online art databases, and launched a campaign to compile comprehensive biographies of Tibetan Buddhist and Bon masters, among other projects. Weingeist is a senior advisor to the foundation, and has helped promote Tibetan art by bringing artists from that region to the Rubin’s Artist-In-Residency Program in Vermont and organizing exhibitions such as this.

Healing Magic


Anne Siems “Healing” Recent Paintings Exhibition Card,  Image: Bird Medicine, 48 x 48 in, Acrylic & Mixed Media on Panel, 2013, Courtesy and © Anne Siems.

Recent paintings and works on paper by artist Anne Siems are on view in her solo exhibition “Healing” at Littlejohn Contemporary, New York, now through 20 July, 2013. Anne Siems magical paintings are inspired by her love of the European Masters, Early American Folk Art, as well as vintage and modern photography. Ritual elements and mythological animals from Native American Indian traditions, medicine and lore, are prominent subjects in Siems’ menagerie. Her cast of highly stylized animal and human characters emerge into dreamy colonial landscapes and fable-like ghost story narratives, that are at once both whimsical and haunting, tame and wild, leaving a compelling residue of history, forgotten beliefs, and the mysterious natural world to contemplate.


Anne Siems, Lynx Spirit, 36 x 36 in, Acrylic on Wood Panel, 2012, Courtesy and © Anne Siems.

In her biography, Siems says that she “continues her interest in the human figure (medical and botanical works inspired her earlier works), and the attributes that surround it. These attributes show something about the being without giving a specific narrative. Ideas about life and death, sensuality, sexuality, nature, experiences in the realm of dreams, psyche and spirit” are her ongoing motifs.


Anne Siems, St. Bee, 40 x 40 in, Acrylic on Wood Panel, 2011, Courtesy and © Anne Siems. 


Anne Siems, Bell Rites, 48 x 36 in, Acrylic & Mixed Media on Panel, 2013, Courtesy and © Anne Siems.


Siems, a Fulbright Scholar, has exhibited in Canada and in Europe and widely throughout the United States. Her work is included in such collections as the Arkansas Art Centre, Boise Art Museum, Cleveland Clinic Foundation, and the Tacoma Art Museum. Her work is represented by several galleries across the United States, including Littlejohn Contemporary, NY & Obsolete, CA. Siems currently lives in the northwestern United States.

Anne Siems, who is German-born and currently lives in the northwestern United States, has drawn inspiration from the Guide on Wildlife in Europe, featuring unforgettable animal portraits. These, along with her youthful cast of animal and human characters, celebrate the joys and mysteries of life. Distinct identities emerge in each portrait with fable-like stories becoming the narrative. Ritual elements from Native American medicine and culture, rabbits, deer, owls and mythological animals, their pelts and feathers, are prominent subjects in Siems’ menagerie. The muse of the artist is both real and imaginary.More Information:[/url]
Copyright ©