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Personal Taste<\/b><\/p>\n
While the gallery\u2019s foundation was built on early 20th-century artists like Kandinsky, Mir\u00f3, and Picasso, it has expanded over the years to embrace postwar and contemporary figures. \u201cWe\u2019ve worked with artists like Botero, Christo, and Robert Indiana,\u201d Bscher said. \u201cWhen you build those relationships over time, the art becomes personal. You see it through their eyes.\u201d<\/p>\n
Her own taste leans toward drawings and watercolors, but her curatorial vision encompasses a wide range. \u201cI\u2019m drawn to so many different things,\u201d she said. \u201cEspecially when you work closely with an artist\u2014you develop a bond, and their work becomes more personal.\u201d<\/p>\n
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Strategic Look at Trends <\/b>in American Collecting<\/b><\/p>\n
As the Aspen Art Fair returned to the historic Hotel Jerome this summer, few booths reflected the intersection of heritage and modernity as vividly as Galerie Gmurzynska. Its show, \u201cAn American Generation: Basen, Indiana, Strider, and Wesselmann,\u201d was a curated glimpse into the various offshoots of the 1960s and \u201970s American art scene. \u201cIt\u2019s such an exciting week to be in Aspen,\u201d said Bscher. \u201cThere\u2019s ArtCrush, there\u2019s the museum, and so many collectors are here. It was a wonderful fair for us.\u201d<\/p>\n
The gallery\u2019s offerings included standout pieces such as Robert Indiana\u2019s Four<\/i> (1964), Louise Nevelson\u2019s Royal Winds <\/i>(1960\u20131961), and Marjorie Strider\u2019s Untitled (Leopard Triptych) <\/i>(2010), alongside works by Tom Wesselmann, Ronnie Cutrone, and Will Cotton. The selection highlights Galerie Gmurzynska\u2019s growing focus on postwar and contemporary American artists\u2014a shift that has evolved organically through generations. Bscher will bring the same artists back to her gallery in the Fuller Building at 595 Madison Avenue this September.\u00a0<\/span><\/p>\n <\/p>\n Long-Standing Relationships<\/b><\/p>\n The Aspen presentation was particularly meaningful for the gallery, both as a celebration of its long-standing relationships with iconic artists and as a strategic look at trends in American collecting. \u201cWe\u2019re having great success with Marjorie Strider, a female pop artist whose work is now being recognized by major institutions like the Louis Vuitton Foundation,\u201d Bscher said. \u201cWe also brought Robert Indiana and Nevelson\u2014artists we\u2019ve worked with for a long time. And we also had a fantastic Kandinsky, as well as a work by Alfredo Lam, whose retrospective is coming to MoMA this November.\u201d<\/p>\n When asked about American collectors, Bscher emphasized the diversity of motivations: \u201cYou get emotional buyers, you get investment-driven buyers, and then some want to make a political statement through art. It\u2019s a very personal thing.\u201d<\/p>\n That personal connection is one reason Galerie Gmurzynska continues to thrive in Aspen. \u201cWe met people from all over the world there\u2014last year, a buyer came from Singapore, and another from Indiana,\u201d she said. \u201cWhen someone approaches you at the fair, it\u2019s often because they\u2019ve had an emotional reaction to the work hanging on the wall. And from there, a conversation starts.\u201d<\/p>\n