Cultural Counsel

Cultural Counsel

Cultural Counsel is a New York-based consultancy focused on communications, strategic partnerships, and the development of public programming in the worlds of contemporary art, design, and architecture.

 

Through our valued relationships with artists, writers, curators, patrons, and creative professionals, we facilitate significant contributions to the cultural dialogue.

 

Communications is at the core of Cultural Counsel, but our vision is to catalyze something greater. The firm’s understanding of these specialized fields, as well as the worlds of fashion, hospitality, and real-estate development, allows us to promote projects to the public with a refined sense of context, and to facilitate seamless collaborations among an international clientele.

 

Established by Adam Abdalla in 2015.

 

 

Client List

 

Aljira, a Center for Contemporary Art

Anthony Meier Fine Arts
ART21
ARTA

Avant Gardner

Blanton Museum of Art

Cai Guo-Qiang
Creative Time
Culture Lab Detroit
Dallas Art Fair
Davis Museum at Wellesley College

Day for Night

Derek Fordjour

Doug Aitken Workshop

Empty Gallery

Fathomers
GARAGE Magazine
Garage Museum of Contemporary Art

Headington Companies

The Joule

LIRCAEI

LUMA Foundation

Magnolia Pictures

Mark Flood

Marlborough Contemporary

Museum of Contemporary Art Detroit

Nahmad Contemporary

Netflix
New Art Dealers Alliance (NADA)
Night Gallery

ProjectArt
Prospect New Orleans
Red Bull Arts New York

Reyes Projects

Salad for President

SculptureCenter

Seattle Art Fair
Skarstedt Gallery

Temple Contemporary

United States Artists

United Talent Agency

Whitney Museum of American Art

Doug Aitken

Doug Aitken: Mirage

Doug Aitken’s MIRAGE is a site-specific installation set in the Southern California desert. Utilizing the form of a ranch-style suburban American house, the sculpture is composed of reflective mirrored surfaces. MIRAGE distills the recognizable and repetitious suburban home into the essence of its lines, reflecting and disappearing into the vast western landscape. MIRAGE opened on February 25, 2017 as a part of Desert X, a site-specific contemporary art exhibition curated by Artistic Director Neville Wakefield.

The California ranch style, which is unique to the West, was informed by the ideas of Frank Lloyd Wright, who believed that architecture should be both in and of the landscape. Like a human-scale lens, MIRAGE works to frame and distort the evolving world outside of it — each experience of this living artwork will be unique.

 


T Magazine – Watch Doug Aitken’s Mirrored Ranch House Transform Over Time

Los Angeles Times – Doug Aitken's 'Mirage': a funhouse mirror for the age of social media

Vogue France – Doug Aitken: A mirage in the Californian desert

Architectural Digest – This Reflective House in the California Desert Is Mind-Bending

Travel + Leisure – This Mirrored House Blends Right Into the Desert

 

LIRCAEI

The Repatriation of the White Cube

On April 21 and 22, Cercle d’Art des Travailleurs de Plantation Congolaise (the Congolese Plantation Workers Art League, or CATPC) and the Amsterdam-based Institute for Human Activites (IHA) inaugurated a new museum space Lusanga, Kwilu Province, Democratic Republic of the Congo.
 
The new museum space, in the white-cube style of modernist art galleries and museums the world over, was designed by the Office for Metropolitan Architecture (OMA). It functions as the cornerstone of the Lusanga International Research Centre for Art and Economic Inequality (LIRCAEI) on the site of a former Unilever palm oil plantation in the Congolese forest. LIRCAEI aims to create a model for the “post-plantation,” a system that retains the resources of local plantation workers and artists for reinvestment in the community. Its objective is to reverse the global capital flows, originating in Lusanga on the former plantation, that exploited local labor to the benefit of distant corporations, and ultimately funded arts institutions in Europe and elsewhere.
 
To mark the opening of the new research program centered on the definition and implementation of the post-plantation, CATPC curated an exhibition on the interconnectedness of art, ecology, and the economy that served to activate the White Cube and put it in the service of Lusanga’s people. CATPC’s newest works were unveiled alongside contributions by other prominent Congolese and international artists such as Kader Attia, Sammy Baloji, Marlène Dumas, Carsten Höller, and Luc Tuymans.

 


Artforum – Chika Okeke-Agulu on Cercle d'Art des Travailleurs de Plantation Congolaise

ARTnews – Congolese Plantation Workers Art League to Open Art Center on Former Plantation

The Art Newspaper – Can art redress economic inequality? A new white cube museum on a former Congo plantation aims to find out

VICE / Creators – A New Art Museum Stands on a Former Plantation in the Congo

France24 – RDC: après les plantations Unilever, un rêve contre la pauvreté

Yahoo! News – Congolese plantation sprouts art centre to help the poor

Rental Gallery

Oliver Twist, Chapter 2

For over a decade, dealer-curator-artist Joel Mesler called New York City's Lower East Side his home. This winter, he made the decision to relocate both his business and family East, where he reopened Rental Gallery in the Hamptons. The gallery celebrated its new outpost this May, opening its inaugural exhibition, Oliver Twist, Chapter 2.

 

Oliver Twist, Chapter 2 includes work by artists Zachary Armstrong / Conor Backman / André Butzer / Matteo Callegari / Matthew Chambers / Holly Coulis / Robert Davis / Daniel Feinberg / Brendan Fowler / Aaron Garber-Maikovska / Daniel Gordon / Van Hanos / Roger Herman / Loie Hollowell / Sheree Hovsepian / Ridley Howard / Alex Israel / Johanna Jackson / Chris Johanson / Rashid Johnson / Sherrie Levine / Eddie Martinez / Sam Moyer / Joshua Neustein / Anthony Pearson / Danica Phelps / Kour Pour / Jon Pylypchuk / RH Quaytman / Jon Rafman / Ry Rocklen / Jennifer Rubell / Mason Saltarrelli / Kenny Schachter / Hubert Schmalix / Ruby Sky Stiler / Henry Taylor / Kon Trubkovich / Jordan Wolfson / Jonas Wood / Thomas Zipp and maybe Darren Bader.

 

On the occasion of its inaugural show, the gallery released a new film featuring Joel Mesler.

 

 

 

ARTnews – True Confessions of a Justified Art Dealer, Part Seven: Go East, No Longer Young Man

 

artnet News - Watch the Hilarious Video That Art Dealer Joel Mesler Is Using to Debut His New East Hampton Gallery

 

Artspace - "I'm Surprised I'm Not Richer": Dealer Joel Mesler on Why Mid-Tier Galleries Are Disappearing, And How East Hampton Could Be His Solution

 

Art Agency Partners Podcast - Episode 9: The Road Less Travelled with Joel Mesler

Salad for President

Salad for President: A Cookbook Inspired by Artists

A visually rich collection of inventive recipes and conversations with artists, architects and musicians, Salad for President: A Cookbook Inspired by Artists offers a rare glimpse into the everyday lives of the most creative characters. Artist, cook, creative director, and author Julia Sherman visits unusual live/work spaces from Kyoto to Mexico City, interviewing and photographing her subjects as they cook and share a meal. The resulting volume offers insight into the inner lives of artists with a uniquely vegetable-obsessed perspective.
 
Salad for President: A Cookbook Inspired by Artists includes 75 of Sherman’s own recipes organized by occasion from ‘F*%k Brunch’ to ‘Salad In Sweatpants: Casual Meals For People Who Already Love You.’ In addition, the book features contributions from: artist, musician, and director Laurie Anderson; photographer William Wegman; chef/activist Alice Waters; artist Tauba Auerbach; musicians Shinji Masuko and Maki Toba of Boredoms; architect Luis Barragán and the Luque Family, and more. Engaged with everything from politics to ecology to art, Salad for President is more than a collection of delicious recipes—it is a celebration of the more intimate everyday practices that define the artists we know and love.
 

 

The New Yorker – How to Make Salad Into Art

 

Vogue – From Golden Beets to Bronze Fennel, Three Artistic Recipes From Salad for President’s First Cookbook

 

PAPER – Talking to Julia Sherman About Her Salad for President Cookbook

 

New York Magazine’s Grub Street – Salad for President’s Julia Sherman Hauls Citrus and Avocados Back From Los Angeles


Man Repeller – How to Make a Salad That People Want to Eat

Sophie Calle

Here Lie the Secrets of the Visitors of Green-Wood Cemetery

 

Here Lie the Secrets of the Visitors of Green-Wood Cemetery is a 25-year-long new public artwork by the internationally renowned French conceptual artist Sophie Calle, co-presented by Creative Time and Green-Wood Cemetery.
 
During the two-day opening, in a setting nestled among the mausoleums and monuments of Green-Wood’s verdant rolling hills, visitors transcribed their secrets onto paper, and deposited them through a slot on a marble obelisk of Calle’s design, into the earth below. The artist was on hand to receive some visitors’ secrets. Visitors to the Cemetery can now see Calle’s installation during regular cemetery hours and independently deposit secrets into the marble obelisk. Calle has also pledged to return periodically over the next 25 years, each time the grave is filled, to exhume and cremate them in a ceremonial bonfire service and moment of remembrance.

 

 

The New York Times – A Grave of Secrets is Dug in a Brooklyn Cemetery

 

Vogue – Sophie Calle Will Take Your Secrets to the Grave

 

The New Republic – Sophie Calle’s Grave Matters

 

New York Magazine's The Cut – Burying Secrets in Green-Wood Cemetery With Sophie Calle and Creative Time

DAZED – We asked artist Sophie Calle to take our secret to the grave

Eric Fischl

Eric Fischl: Late America

Eric Fischl’s Late America, an exhibition of new paintings, opened at Skarstedt Chelsea on May 2, 2017. In these major works, Fischl continues his exploration of moral ambivalence and social malaise against a suburban backdrop. Here, the backyard swimming pool serves as a stage set for a variety of personal dramas that can scale up to reflect a society in crisis.

 

The titular painting echoes our precarious times. A young boy draped in the American flag examines a crumbled male, while two immigrant day laborers passively mine the landscape in the background. This is a striking depiction of a fractured nation divided not only by class, ethnicity, or political affiliation, but by the hope, potential, and desire for connection embodied by the small child, and the depressed paralysis of the older man, presumably his father. Painted in the immediate aftermath of the 2016 presidential election, Late America is response to a moment marked by bewilderment and incomprehension.

 


The New York Times – What to See in New York Art Galleries This Week

 

Forbes – A Triumph Of Bad Taste: Eric Fischl's "Late America" In The Age Of Trump
 
Financial Times – Artists respond to Trump: “I’m a Muslim, I’m black”

 

Artsy – In Eric Fischl’s Paintings of Trump’s America, Daddy’s in Trouble

 

Artspace – "It's Profoundly Tragic": Eric Fischl on Painting America in Decline

Affidavit