Hudson has exhibited art uncompromisingly based on aesthetic -- not business -- principles, as well as the values of pluralism and diversity shaped during his years as an artist and non-profit arts administrator.
When you enter a gallery, especially a well-known gallery with outposts in London and Hong Kong and New York, there is a temptation to believe that one is seeing the "best of the best." But is that always the case?
If you are going to chat with New York based artist Audrey Flack, she might ask you about the color of your lipstick, particularly if it is a shade of classic red as worn by iconic women, say Marilyn Monroe.
As a subtle study of the complexities of female identity (and the negotiations of intimacy and self in general), this work is quite profound; as photography these images are just plain aesthetically gorgeous.
It is 2012, but in the art world it is often still 1966. Some of the "traditions" underlying the business side of the gallery and museum world date back decades. Don't let 'em fool you that they are hip.
Many who love art and enjoy experiencing it at museums, galleries and nonprofit art spaces have little idea that those experiences would not be possible without the efforts and contributions of curators, gallerists, art installers and others working behind the scenes.
Up the stairs and past the steel gates of Acquavella's 79th street townhouse lies a compilation of veritable masterpieces. However aesthetically varied, these paintings testify to Georges Braque's innate ability to constantly reinvent and reconceive his own artistic practice.