Broadway Bound Fine Arts and Entertainment is the first and only company devoted to the seamless merger of all aspects of the visual and performance arts. Fine arts are used to compliment and enhance our entertainment and media presentations and the entertainment and media in turn calls attention to the works of fine art.
The combination of the finest in visual and performance arts has often led to the most remarkable and legendary artistic experiences of the past one hundred years. Think of Picasso, Matisse and Leger with the Ballet Russe de Monte Carlo; Isamu Nouguchi with Martha Graham; Marc Chagall and Mozart at The Metropolitan Opera; or, more recently Andy Warhol and Robert Rauschenberg in collaboration with Merce Cunningham. The paintings and sculptures of these and other extraordinary visual artists are an integral part of the finest performing arts venues in cities all over the world, from Lincoln Center in New York City to Disney Hall in Los Angeles, to the Sydney Opera House in Australia.
Broadway Bound Fine Arts and Entertainment offers affordable, turnkey fine art and entertainment solutions to satisfy the needs of the most demanding corporate clients and institutions. One of our most popular capabilities is the creation of exciting hybrids, where fine arts and entertainment intersect to maximize the potential of each discipline and in so doing further benefit our clients.
Our range of capabilities is broad. Broadway Bound Arts and Entertainment orchestrates the acquisition of a wide range of art works, paintings, sculpture, and photography, for indoor and outdoor installations. These installations include large-scale projects in public places, intimate exhibitions, as well as exciting artwork for residential spaces and premium hotels worldwide.
In summary, Broadway Bound Fine Arts and Entertainment offers expertise in:
Our fine art concepts offer the possibility of a unique collaborative process, in which visual and performance artists work together to achieve a common purpose for the benefit of institutions, corporate clients and the public at large.
The process traditionally begins with the interaction of the Broadway Bound Fine Arts team and a corporate client with a specific need. Working together a practical concept is developed to satisfy the client’s needs. This can be a straightforward process to obtain art works for a designated public space, to create art installations in gallery settings or even to acquire artwork for investment purposes that would also be used to enhance corporate offices. Our team of experts can also facilitate more complicated programs, in which the artwork is related to and becomes part of performances and festivals.
Once a concept is finalized, the acquisition process begins, either by purchasing existing artwork or commissioning unique works for the specific site, gallery, corporate location or performance space. Every effort is taken to insure the process is as cost effective as possible, balancing the needs of the clients, the artists and the quality of the work acquired.
If the concept under consideration is a public space, the artwork will be skillfully integrated into the site in a timely, but unobtrusive, environmentally friendly manner. Corporate acquisitions and gallery exhibitions will be developed for maximum investment potential, profitability and public exposure.
If the artwork is also integral to an entertainment event, the aspect of timing is even more critical, which will require the Broadway Bound Fine Arts team to work closely with the venue to insure this process results in the successful installation of the artwork(s).
Andy Warhol Art Installation at the Remington Contemporary Art Gallery
On the second level of the Remington Contemporary Art Gallery is a long rectangular space that had glaring white walls. I remembered a picture Hank O’Neal had created for an exhibition I curated in 2005 that featured his hand colored portraits of Andy Warhol from photographs he’d taken of Andy many years earlier at The Factory. I asked him if he felt his pictures could be enlarged to fill this entire space. I knew Hank was experimenting with enlarging his images digitally and owing to the fact that Warhol was a pioneer in that field I thought it was a natural fit for the space.
THE BACK STORY
Notes by Hank O'Neal
In late 1984 Allen Ginsberg told me a man named Jerry Aronson was in the process of making a documentary film about his life and times. In January 1985, Jerry was scheduled to conduct an interview with Andy Warhol about his relationship with Allen and to offer any pertinent observations he might care to make about the noted poet. Allen asked if I could take a portrait of Andy Warhol that might be used as a still in the film. A few weeks later Jerry called and asked as well.
The interview was scheduled for January 15, 1985, at Andy Warhol’s last and final factory, the studio where he created his artwork, located at 22 East 33rd Street. I arrived with the crew and we set up in one of the rooms that made up Andy’s studio complex. There were pictures and works in progress scattered about on the floor and people were working on them.
Andy finally appeared, wearing a black turtleneck sweater, ordinary pants, his silver fright wig and a baseball cap. He sat down in a straight back chair, the lights came on, the cameras rolled, Jerry asked his questions and Andy answered them. Or at least he kind of answered them. I took pictures from various angles, close ups, medium shots and a couple of interiors. At the end of the shoot, he held still for a couple of really ordinary portraits.
I developed my film and had a number of photographs from which to choose but the more I looked at them the more I thought I wanted to play with the almost expressionless portraits I had taken and so I did. I chose the three or four that seemed the most bland and began to color them with transparent water colors, red, yellow and blue. I mixed up the colors and mixed up the pictures. I must have done about 120 small 4” x 4” square photographs.
I then assembled the photographs by hand and mounted them as a ten by ten square grid on illustration board. I was essentially doing what Andy had been doing for so many years but I was doing it with his face, in the primary colors he used with such success. Later I made some double and triple and quadruple exposures of my favorite portrait, but only in black and white. Then I began to play with them in other ways.
In 2005 I began to rethink these photographs for an exhibition in New York City. Computer technology made the difference and I was able to refine the images. I could make the pictures any size I wanted. Later I experimented with prints on canvas, smaller at first and then as large as 52” x 52”.
The latest Andy pictures were done in the summer of 2015, when 42 large prints were created to become a permanent installation on the second level of the Remington Contemporary Art Gallery, a three level public art exhibition space that has become the artistic and visual cornerstone of Downtown Markham, a new cultural center in the greater Toronto area. In addition to the 42 large prints on vinyl, an oversized 52” x 52” Double Andy on canvas is displayed in the same location.
Andy Warhol at the Factory, 22 East 33rd Street, NYC, January 15, 1985
Time Lapse video of Nick Walker painting Polychromatic Beams in The Remington Contemporary Art Gallery at Downtown Markham.
The most exciting new development in the world of art in the past few years has been the emergence of street art. Once looked down upon as simple graffiti, street art is blossoming around the world, turning the streets, buildings, corporate spaces, and even parking garages, into ever changing and evolving museum-like public spaces that are free and open for all to enjoy.
Broadway Bound Fine Arts and Entertainment (BBFA&E) has been involved with this dynamic and increasingly popular, youth-oriented art form for many years and is in the forefront of using street artists to create indoor and outdoor murals, as well as photography of long vanished street art to decorate public spaces. BBFA&E works closely with noted street artists to undertake site-specific projects and photographers for special installations and gallery exhibitions.
The company was also instrumental in beginning the process that led to the creation of the book, XCIA – The Street Art Project, the award winning publication that has been described as one of the most important as well as beautiful books on the subject. The BBFA&E - inspired XCIA Street Art Project maintains an in-house library of more than 100,000 especially created photographs that can be drawn upon for company projects.
BBFA&E has been at the forefront of using street art as a vehicle for both marketing and aesthetic purposes for many years and plans to expand the use of this art form substantially in the years to come.
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