| ||||||
January 26, 2010
Derrick Adams Welcome to Monument City 23 January - 28 February, 2010 at Collette Blanchard Gallery
Last Saturday was the opening reception for Derrick Adams solo debut at Collette Blanchard Gallery. Derrick is my artworld mentor and big bro (though I'm older..lol) and one of the coolest dudes you'll ever meet. Though it's difficult for me to be impartial the show is of course fantastic. You should def get down to Collette Blanchard Gallery and check out the show. Below is the official release with all the pertinent details about the show.
The Root of it All, 2010 digital photograph 30 x 24 inches Edition of 3
Derrick Adams
Welcome to Monument City
23 January - 28 February, 2010
Derrick Adams' solo exhibition and debut at Collette Blanchard Gallery speaks of fallen empires, resilience and childhood impressions. It also speaks of shiny, glittery memories against muted realities, of broken landscapes and those who once resided within.
Welcome to Monument City draws inspiration from documentaries on ancient civilizations and of societies that end in destruction, left for historians to later cobble together provocative stories of money, power and respect from the scattered evidence that remains. The work is also a reflection on Adams personal witness to the transformation to ruin - architecturally and socially - of his hometown of Baltimore City (designated "Monument City" by President John Quincy Adams in 1827). The exhibition addresses the universal relationship between man and monument, both coexisting in the landscape as a fragmented and distorted representation of each other.
Muted faux-brick panels shelve pseudo-symbolic objects; digital images are combined with hand painted elements and glittered surfaces. His work fuses fairytale perceptions with a current need to search for meaning in fragments and artifacts.
Mr. Adams, who lives and works in New York, is a is graduate of Columbia University and a recent recipient of the 2009 Louis Comfort Tiffany Award. He participated in the inaugural PERFORMA 05; PS1/MoMA's 2005 Greater New York; Open House The Brooklyn Museum of Art; and the Studio Museum in Harlem. Past solo exhibitions include Jack Tilton Gallery (2003), Triple Candie (2004), Participant Inc (2005), and Momenta Arts (2006) The spring Mr. Adams will attend the Fountainhead Residency and will debut Go Stand Next To The Mountain at The Kitchen. His work has been reviewed in the New York Times, New York Magazine and Artforum.
Collette Blanchard Gallery
26 Clinton Street
New York, New York 10002
+1 646 249 7720
Gallery Hours are Wed. - Sun. 12 -6 and by appointment.
For more information, please contact the gallery at 646.249.7720 or gallery@colletteblanchard.com.
For more info on me visit my official website
www.rickyday.net
LeBasse Projects presents: 'One Leads to Another' New work from Andrew Hem
LeBasse Projects presents:
'One Leads to Another'
New work from Andrew Hem
January 16th through Febrary 13th
LeBasse Projects is excited to present, One Leads to Another, an exhibition of new works from Los Angeles based artist Andrew Hem. In this anticipated solo project, Hem confronts the viewer with themes of history and tragedy based on his native Cambodia.
Influenced by the idea of the 'Butterfly Effect,' where small differences in decisions or movements can produce large variations in the long-term outcome of events, Hem creates a series of 'what if' scenarios where one storyline diverges at the moment of a seemingly minor event resulting in two significantly different outcomes. In this case the artist imagines if the violent Khmer Rouge regime in Cambodia had never taken power and how the lives of the people would have been altered.
Hem's paintings return to acrylic after several shows of using oil in order to create a more fluid and layered effect. The detailed characters portrayed are layered over hauntingly sublime backgrounds of a past that has been re-imagined based on the 'Butterfly Effect' and leads to the title of the show: One Leads to Another.
January 16th through Febrary 13th
Artist reception: Saturday, January 16th, 7 to 10pm
For additional inquiries please contact the gallery:
contact@lebasseprojects.com or 310.558.0200
www.lebasseprojects.com
For more info on me visit my official website
www.rickyday.net
Mike Weiss Gallery presents Kopftheater by Berlin based artist Stefanie Gutheil
Stefanie Gutheil / Kopftheater / 2009 / oil and mixed media on canvas / 102 x 158 inches
Mike Weiss Gallery presents Kopftheater, a new exhibition of paintings by Berlin based artist Stefanie Gutheil. This is the artist’s first exhibition in New York and at Mike Weiss Gallery. Stefanie’s bold, multi-dimensional paintings are tactile depictions of her own life. The patterns of unexpected fabrics and aluminum foil adhere to the oils, acrylics and spray paint applied to the surface and come together to form scenes from the artist’s excessive imagination, both playful and grotesque. Her paintings provide the cast and set for her own kopf theater, or theatre of the mind.
Born and raised in a small conservative town in southwest Germany, Stefanie moved to Berlin ten years ago and since that time has witnessed the growth of Berlin’s contemporary art scene; an international mish-mash of artists converging on the city after the fall of the Berlin Wall. Her monsters and creatures, both miniature and giant, are gross caricatures of the people in her daily life; artists, musicians, dancers, poets and revelers in the city of Berlin. Tucked into the center of the city’s nightlife pocket, the scene around the artist’s studio provides the visual fodder for what becomes her larger than life imagery.
Influences from the chaotic and cramped compositions of Bosch and Brueghel are evident. In Berg I and Berg II, a massive heap of excrement and bodies rises up from the marred landscape of skulls and stumps; pyramid shaped in subtle homage to Brueghel’s The Tower of Babel. Mostly dirt colored in appearance; the landscapes are punctuated by flecks of silvery aluminum foil and hints of glitter and cheeky floral fabrics. In Kopftheater, for which the exhibition is titled, a Boschian landscape of monsters and gnarled animals peek and crawl out of the angular cave-like structures, one losing its eye in a cinematic projectile thrust from its socket.
The applications of materials to the canvas denote object and action. Sticky, dripped acrylic froths from the mouths of radioactive dogs; globs of oil, shot like bullets at the canvas, spew vomit from the mouths of behemoth monsters; stark geometric, bright floral or swirling blue textiles glued flat and then painted on top of indicate plant life, sea and sky or rooted structure. The diverse stylistic processes used on each painting’s surface bond the chaos within the imagery. Through their variety, they are united, much like the characters in Stefanie’s own life that inspired these scenes.
Stefanie Gutheil lives and works in Berlin, Germany. The artist received her Masters of Art and Bachelors of Art at the Universität der Künste, Berlin. She has exhibited previously throughout Germany and Europe and this is her first exhibition in New York.
Mike Weiss Gallery
520 West 24th Street, New York, NY 10011
Between 10th and 11th Avenues
Nearest Subway: A/C/E 23rd Street & 8th Avenue
Tel. (212) 691-6899 / Fax (212) 691-6877
info@mikeweissgallery.com
Gallery Hours: Tuesday - Saturday, 10 a.m. to 6 p.m.
For more info on me visit my official website
www.rickyday.net
Charles Seliger (1926-2009): A Memorial Exhibition at Michael Rosenfeld Gallery
Charles Seliger
Primal Markings III, 1943/oil on canvasboard
16 1/8" x 12 1/4" /signed and dated
Charles Seliger (1926-2009): A Memorial Exhibition
January 9-February 27, 2010
“My paintings always begin with free improvisation. Then I become fascinated with how I can explore my first creative impulse and develop imagery, through the paint itself, associating shapes and experiences to enrich my work. I am not able to sketch out a painting in advance or to determine where I am headed. . .I begin with an unself-conscious approach, a subconscious, non-rational approach to the painting. But later, I feel that I use all of my knowledge, instinct, and technique to make the painting work, delineating the latent forms and images that I both feel and see.”
— Charles Seliger
(New York City, December 19, 2009) —For its inaugural exhibition of 2010, Michael Rosenfeld Gallery is pleased to present a retrospective honoring the life and work of Charles Seliger. Scheduled to be on view from January 9 to February 27, Charles Seliger (1926- 2009): A Memorial Exhibition, A Retrospective of Paintings features approximately thirty-five paintings covering the full span of Seliger’s career.
For the first time since Michael Rosenfeld Gallery became Seliger’s exclusive representative in 1990, rarely seen works from the 1950s, 1960s, and 1970s will be on view alongside those from more recent decades. Presenting artworks from each decade of Seliger’s career, the retrospective offers a unique opportunity to trace his development as a painter. The exhibition’s focus on progression and change in Seliger’s oeuvre is a fitting tribute to an artist for whom process, transformation, and the notion of becoming were central to both his subject matter and his approach to creating art.
Seliger was equally celebrated for his meticulously detailed abstractions as well as for the techniques he invented and used to cover the surfaces of his Masonite panels—building up layers of acrylic paint, often sanding or scraping each layer to create texture, and then delineating the forms embedded in the layers of pigment with a fine brush or pen. This labor-intensive technique results in ethereal paintings that give expression to aspects of nature hidden from or invisible to the unaided eye. In his work, texture is as important as line; materials coagulate, freezing time and arresting the fleeting processes of nature long enough for us to apprehend their significance. Like the abstract expressionists with whom he was closely associated, Seliger valued the tangible properties of his materials as much as he did the overall composition; his paintings are about the processes of nature, and they are about the processes of art; the work’s meaning is in the symbiosis between the two.
Although he never completed high school or received formal art training, Seliger immersed himself in the history of art and experimented with different painting styles including pointillism, cubism, and surrealism. In 1943, he befriended Jimmy Ernst and was quickly drawn into the circle of avant-garde artists championed by Howard Putzel and Peggy Guggenheim. Two years later, at the age of nineteen, Seliger was included in Putzel’s groundbreaking exhibition A Problem for Critics at 67 Gallery, and he also had his first solo show at Guggenheim’s legendary gallery, Art of This Century. In 1949, the De Young in San Francisco gave Seliger his first solo exhibition at a major museum.
By the mid-1940s, Seliger had become the youngest artist exhibiting with the abstract expressionists, although his place in the movement is sometimes overlooked in part because of the scale of his work. However, as the current exhibition reveals, he also worked on canvases and Masonite boards in larger dimensions. More importantly, though, this memorial exhibition demonstrates that although Seliger’s paintings lacked the physical enormity typically associated with abstract expressionism, they remain vast in their endless exploration of dynamic inner worlds. Seliger’s work resonates with the vibrant contradictions of an intimate monumentality.
Seliger passionately pursued this inner world of organic abstraction, celebrating the structural complexities of natural forms. Influenced by surrealist automatism (like many artists of his generation), he cultivated an eloquent style of abstraction that explored the dynamics of order and chaos animating the celestial, geographical, and biological realms. Attracted to the internal structures of natural objects and inspired by a range of literature in natural history, biology, and physics, Seliger paid homage to nature’s infinite variety in his abstractions. His paintings have been described as “microscopic views of the natural world,” and although the characterization is appropriate, his abstractions do not directly imitate nature so much as suggest its intrinsic structures. As he once explained: “I attempt through my imagination, to make visible the structure of matter…. I do not observe parts of nature under the microscope; I am not dissecting or analyzing. I have an emotional and intuitive awareness of nature.”
During his lifetime, Seliger exhibited in over forty-five solo shows at prominent galleries in New York and abroad. In 1986, he was given his first retrospective, at the Solomon R. Guggenheim Museum, which now holds the largest collection of his work. His work is represented in numerous other museum collections, including the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art in New York; the Wadsworth Atheneum in Hartford, Connecticut; and the British Museum in London. In 2003, at age seventy-seven, Seliger received the Pollock-Krasner Foundation’s Lee Krasner Award in recognition of his long and illustrious career in the arts. In 2005, the Morgan Library and Museum acquired his journals—148 hand-written volumes produced between 1952 and the present—making his introspective writing, which covers a vast range of topics across the span of six decades, accessible to art historians and scholars. He died of a stroke in October of 2009, and together with his singularly insightful artwork, his gentle manner, generous nature and keen intellect remain an important part of his legacy.
The fully illustrated exhibition catalogue features an essay titled “The Forms of Nature’s Fractions: Charles Seliger (1926-2009) and His Natural World,” by renowned independent art historian and critic, Francis V. O’Connor, who has written extensively on abstract expressionism and on the New Deal art projects of the 1930s. Among his many publications is his 2003 volume on the art of Charles Seliger published by Hudson Hills Press, Charles Seliger: Redefining Abstract Expressionism.
Michael Rosenfeld Gallery is located at 24 West 57th Street, 7th Floor, New York, NY. Gallery hours are Tuesday–Saturday, 10AM-6PM.
For more info on me visit my official website
www.rickyday.net
Collective Memory
Image: ©Doug Keyes, The Holy Bible (1950), 1999
Dye-Coupler Print mounted to acrylic in frame, 15.5" x 22.5", Edition of 5
DOUG KEYES: featuring work from Collective Memory and Becoming Language
KLOMPCHING GALLERY cordially invites you to the solo exhibition of artworks by the US photographer, Doug Keyes—showcasing photographs from his Collective Memory and Becoming Language series.
Collective Memory is a provocative series of photographs, in which Keyes condenses the content of an entire book into one photograph, through the multiple exposure of the book’s pages onto a single sheet of film. The resulting layered image, re-presented at the same size as the original book, provides a wonderful symphony of color and texture, of opaque pages rendered transparent and which conceal as much as they reveal.
The Becoming Language series, too, elicit photography’s relationship with time, memory and knowledge. In this series, multiple exposures of ubiquitous urban landscapes incorporate subliminal markers of public information. Keyes calls into question the building blocks of our knowledge of these spaces—whether it is developed through direct experience or whether it is a phenomena resulting from experience altered by the unconscious data collected from elsewhere.
Doug Keyes lives and works in Seattle. Over the course of 20 years, his photographs have been exhibited at numerous venues across Northern America. Keyes is the recipient of a number of awards including the Ned Behnke Artist Fellowship, Behnke Foundation (1999), Review Americas (Photolucida) Photographer of the Year, Photo Americas (2001) and Juror’s Choice Award, Project Competition, CENTER (2007). His photographs can be found in several notable collections including the Akron Art Museum, Berkeley Art Museum, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Fine Arts in Houston and the Samuel Dorsky Museum of Art amongst others.
KLOMPCHING GALLERY
www.klompching.com | info@klompching.com | +1 212 796 2070
111 Front Street, Suite 206 | Brooklyn NY 11201
Gallery Hours: Wed-Sat, 11am-6pm and by appointment.
Extended Hours: 1st Thursdays DUMBO Gallery Walk, 11am—8:30pm
For more info on me visit my official website
www.rickyday.net
January 23, 2010
SADE:By Your Side
January 15, 2010
Theodore DeReese "Teddy" Pendergrass, Sr. (March 26, 1950 – January 13, 2010)
Well it seems as if 2010 is starting with a bti of a hangover from the general vibe of 2009 - tragedy. Firsth the terrible earthquake in Haiti and then the premature death of another black music icon Teddy Pendergrass. I was trying to take the month of January off from blogging in an effort to revamp the site and get two new projects launched, but events have decided that isn't possible.
Check out the bio of Teddy Pendergrass below (courtesy of wikipedia) as well as some of the great music he leaves behind. Have a wonderful day and remember to live each day like your last because, well..it could be.
BIO
Theodore DeReese "Teddy" Pendergrass, Sr. (March 26, 1950 – January 13, 2010) was an American R&B/soul singer and songwriter. Pendergrass first rose to fame as lead singer of Harold Melvin & the Blue Notes in the 1970s before a successful solo career at the end of the decade. In 1982, he was severely injured in an auto accident in Philadelphia, resulting in his being paralyzed from the waist down. After his injury, the affable entertainer founded the Teddy Pendergrass Alliance, a foundation which helps those with spinal cord injuries.
Teddy Pendergrass, a native of Kingstree, South Carolina, was born to Ida Geraldine Epps and Jesse Pendergrass. Later, Jesse left the family when Teddy was young and was not a part of his son's life. Tragically, the elder Pendergrass was murdered in 1962. Years later, Teddy moved to Philadelphia. He was a student at the old Thomas Edison High School for Boys in Philadelphia. Teddy sang with the Edison Mastersingers. However, he dropped out in the 11th grade to go into the music business. According to author Robert Ewell Greene, Pendergrass was ordained a minister as a youngster. Later he was to become a drummer for a band, and later lead singer. The church was his initiation for talent and eventual success.
Career
Pendergrass' career began when he was a drummer for The Cadillacs, which soon merged with Harold Melvin & the Blue Notes. Melvin invited Pendergrass to become the lead singer after he jumped from the rear of a stage and started singing his heart out. Months later the group signed with Gamble & Huff on the then-CBS subsidiary Philadelphia International Records in 1972. The Blue Notes had hits such as "I Miss You," "Bad Luck," "Wake Up Everybody," the two million seller "If You Don't Know Me By Now" and many more. Following personality conflicts between Melvin and Pendergrass, Pendergrass launched a solo career and released hit singles like "The More I Get the More I Want," "Close the Door," "I Don't Love You Anymore," "Turn Off the Lights" and others.
His first solo album was self titled Teddy Pendergrass (1977), followed by Life is a Song Worth Singing (1978), Live Coast to Coast and Teddy (1979), 1980's TP and the final Philadelphia International Records album It's Time for Love (1981). He also sang a duet with Whitney Houston on "Hold Me", from her self-titled debut album.
Later career
On March 18, 1982, in the Germantown section of Philadelphia on Lincoln Drive, Pendergrass was involved in an automobile accident. The brakes failed on his 1981 Rolls-Royce Silver Spirit, causing the car to hit a guard rail, cross into the opposite traffic lane, and hit two trees. Pendergrass and his passenger, Tenika Watson, a transsexual nightclub performer with whom Pendergrass was casually acquainted, were trapped in the wreckage for 45 minutes. While Watson walked away from the accident with minor injuries, Pendergrass suffered a spinal cord injury leaving him paralyzed from the waist down.
In August 1982, PIR also released This One's for You, while Pendergrass was recovering from his accident. In 1983, the album Heaven Only Knows was released. This was his last album containing his pre-accident recordings. Ten years after the accident, he recorded a version of "One Shining Moment," the theme for March Madness Basketball on CBS.
After completing physical therapy, he returned to the studio to record the album Love Language, featuring the 1984 ballad "Hold Me", a duet with a then-unknown Whitney Houston. He also returned to the public for a performance on July 13, 1985, at the historic Live Aid concert in Philadelphia, then continued to record throughout the 1980s and 1990s. In 1996, he starred alongside Stephanie Mills in the touring production of the gospel musical Your Arms Too Short to Box with God. In 1998, Pendergrass released his autobiography entitled, Truly Blessed.
Though generally inactive in his later years, Pendergrass' “Wake Up Everybody” has been covered by a diverse range of acts from Simply Red to Patti LaBelle and was chosen as a rallying cry during the 2004 Presidential campaign by Kenneth "Babyface" Edmonds to mobilize voters. In addition, Little Brother, Kanye West, Cam’Ron, Twista, Ghostface, 9th Wonder, DMX and DJ Green Lantern have utilized his works.
In 2006, Pendergrass announced his retirement from the music business. In 2007, he briefly returned to performing to participate in Teddy 25: A Celebration of Life, Hope & Possibilities, a 25th anniversary awards ceremony that marked Pendergrass' accident date, but also raised money for his charity, The Teddy Pendergrass Alliance, and honored those who helped Pendergrass since his accident.
Death
In 2009, Pendergrass underwent surgery for colon cancer and had difficulty recovering from that disease from which he eventually died on January 13, 2010, at age 59, while hospitalized at Bryn Mawr Hospital in suburban Philadelphia.
Eddie Martinez at ZieherSmith in NYC
Eddie Martinez
January 14 – February 13, 2010
In his recent paintings, Martinez expands an ever-widening visual vocabulary. Thoughts this cacophonous and grandiloquent do not translate to mere language, they are the stuff of dreams. Here, exclamations of color are object enough. Still lifes explode with vibrant flora; a tugboat is distilled to its most elemental, abstract parts; imperious tabletop constructions serve as psychologically charged landscapes or transform into a thought bubble’s torrential rant; and, finally, where the figure emerges, ducks and skulls shed a knowing tear, while bright eyed, helmeted child warriors stand guard. All boldly conceived in thick, juicy clots of pigment— these hieroglyphs and barely delineated figuration teeter on the edge of decipherability.
One of three six by nine foot canvases features four figures holding court at a glimmering green table strewn with shapes and colors, makeshift fragments created with Martinez’s signature urgency. An empty chair to the left of the scene invites the viewer to join in and let the gamesmanship begin. In direct challenge to the bright detritus of the aforementioned works are two sets featuring new modes of working: all white tableaux whose gestures come straight from the tube and black canvases incised to reveal previous layers of subtle coloration, reductive scratchiti of primal immediacy.
Accompanying the suite of paintings are works on paper, small pieces that are crucial to Martinez’s practice, and a suite of hand-colored etchings produced in a collaboration with Forth Estate. Martinez’s work was recently seen in “New York Minute” at MACRO, the Museum of Contemporary Art, Rome and has been included in shows at Blum & Poe, Deitch Projects, Peres Projects, Alexander & Bonin, and the Deste Foundation, among many others. He was named one of 2009’s top fifteen young artists by Interview Magazine. This is his third solo exhibition at ZieherSmith.
ZieherSmith / 516 West 20th Street / New York, NY 10011 / 212-229-1088 / info@ziehersmith.com / www.ziehersmith.com
Eddie Martinez at ZieherSmith in NYC
Eddie Martinez
January 14 – February 13, 2010
In his recent paintings, Martinez expands an ever-widening visual vocabulary. Thoughts this cacophonous and grandiloquent do not translate to mere language, they are the stuff of dreams. Here, exclamations of color are object enough. Still lifes explode with vibrant flora; a tugboat is distilled to its most elemental, abstract parts; imperious tabletop constructions serve as psychologically charged landscapes or transform into a thought bubble’s torrential rant; and, finally, where the figure emerges, ducks and skulls shed a knowing tear, while bright eyed, helmeted child warriors stand guard. All boldly conceived in thick, juicy clots of pigment— these hieroglyphs and barely delineated figuration teeter on the edge of decipherability.
One of three six by nine foot canvases features four figures holding court at a glimmering green table strewn with shapes and colors, makeshift fragments created with Martinez’s signature urgency. An empty chair to the left of the scene invites the viewer to join in and let the gamesmanship begin. In direct challenge to the bright detritus of the aforementioned works are two sets featuring new modes of working: all white tableaux whose gestures come straight from the tube and black canvases incised to reveal previous layers of subtle coloration, reductive scratchiti of primal immediacy.
Accompanying the suite of paintings are works on paper, small pieces that are crucial to Martinez’s practice, and a suite of hand-colored etchings produced in a collaboration with Forth Estate. Martinez’s work was recently seen in “New York Minute” at MACRO, the Museum of Contemporary Art, Rome and has been included in shows at Blum & Poe, Deitch Projects, Peres Projects, Alexander & Bonin, and the Deste Foundation, among many others. He was named one of 2009’s top fifteen young artists by Interview Magazine. This is his third solo exhibition at ZieherSmith.
ZieherSmith / 516 West 20th Street / New York, NY 10011 / 212-229-1088 / info@ziehersmith.com / www.ziehersmith.com
Rick Leong and David Armstrong Six at Parisian Laundry
Parisian Laundry opens its winter 2010 program with the highly anticipated solos of Canadian painter Rick Leong and sculptor David Armstrong Six, two artists interested in the monumental be it man made or natural. This same evening, the gallery plays host to the launch of Issue 5 of Hunter & Cook, a contemporary art magazine out of Toronto.
RICK LEONG
I AM NATURE
For his second solo at Parisian Laundry, Leong continues to observe and explore the unknown in nature. After a fall research sojourn in Banff, Alberta, Leong’s newest landscape paintings are dense with the fieldwork intensity of a botanist or naturalist. Often biomorphic or transformative, Leong’s amplified imagery includes trees, fungi, mosses and rocks that sometimes become skeletons of animals or graffiti like script. On view will be 10 new paintings in which the artist locates phenomena in the everyday sensorial experience of being in nature; entering woods, stumbling along a river’s edge, observing and magnifying the extraordinary worlds of lichen on the forest floor or the moon at night. Leong’s paintings depict a meeting place of micro worlds translated into macro-majestic pictorial fields.
Rick Leong is a Montreal based artist; he obtained his MFA from Concordia University. His work is found in the collections of The Montreal Museum of Fine Arts, The Canada Council Art Bank, Senvest, ALDO Group, as well as privately.
BUNKER
DAVID ARMSTRONG SIX
THE DRY SALVAGES
For his first solo presentation at Parisian Laundry, Armstrong Six pays homage to the modernist monument. Working in situ and using the gallery as a process based laboratory, Armstrong Six has thoughtfully built a mapped man-made constructed space that houses a massive sculpture and has been slowly contaminating it with everyday objects such as vases, plexi-glass, mattress foam and paint. This anti-decorating accentuates the problematic of these iconic structures in public space such as, vandalism, time and weather while illuminating a personal narrative of the artist at work. Accompanying this major sculpture will be a selection of new spray-paint drawings as well as 2 smaller sculptures.
David Armstrong Six has exhibited widely, most recently at the musée d’art contemporain de Montréal as part of the inaugural Québec triennial "Nothing is Lost, Nothing is Created, Everything is Transformed", 2008.
PARISIAN LAUNDRY
3550 St-Antoine Ouest Montréal QC H4C 1A9
t +1 514.989.1056 | f +1 514.989.7550
info@parisianlaundry.com
www.parisianlaundry.com
Jered Sprecher - Monumental Dust at Kinkead Contemporary in Culver City, CA.
Jered Sprecher - Monumental Dust / January 9 - February 13, 2010
Jered Sprecher, Dry Leaves, 2009. Oil on canvas, 20" X 16".
Jered Sprecher's (b. 1976) paintings explore the "handwriting" of humankind. Taking cues and samples from our visually cluttered landscape, Sprecher incorporates and imports them into his abstract painting and drawings.
In 2009, he received a John Simon Guggenheim Memorial Foundation Fellowship. Most recently, Sprecher's paintings were exhibited at Jeff Bailey Gallery (New York), Steven Zevitas Gallery (Boston), ADA Gallery (Richmond, Virginia), Cheekwood Museum of Art (Tennessee), and Calvin College (Michigan). In previous years Sprecher's paintings were included in group shows at The Drawing Center (New York), Mark Moore Gallery (Santa Monica, CA), Wendy Cooper Gallery (Chicago), and solo exhibitions at the Irish Museum of Modern Art (Dublin), The Flourescent Gallery (Knoxville) and Arthouse (Austin, TX) among others. Sprecher received his M.A. and M.F.A. from the University of Iowa and is currently an Assistant Professor at The University of Tennessee in Knoxville, Tennessee.
Kinkead Contemporary | 6029 Washington Blvd. Culver City, CA 90232 T 310.838.7400 F 310.838.7474
January 14, 2010
Helping Haiti
This is one of those times when I am more than happy to join the chorus and sing the same tune everyone is singing. By now you are all aware of the extremely tragic events unfolding in Haiti as we speak. Please join me in doing everything we can to reach out and help the people of Haiti survive and recover from this terrible tragedy.
Text yele to 501501 and a $5 donation will be billed directly to your phone or go directly to http://yele.org to donate larger amounts.
love.
Ricky
love.
January 05, 2010
Gabriel Orozco at MOMA (NYC) December 13, 2009–March 1, 2010
Gabriel Orozco
December 13, 2009–March 1, 2010
The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor
In conjunction with the exhibition Gabriel Orozco: Samurai Tree Invariants
With a body of work that is unique in its formal power and intellectual rigor, Gabriel Orozco (Mexican, b. 1962) emerged at the beginning of the 1990s as one of the most intriguing and original artists of his generation—and one of the last to come of age in the twentieth century. Orozco resists confinement to a single medium, roaming freely and fluently among drawing, photography, sculpture, installation, and painting. From one project to the next, he deliberately blurs the boundaries between the art object and the everyday environment, instead situating his contributions in a place that merges "art" and "reality," whether in exquisite drawings made on airplane boarding passes or in sculptures made from recovered trash.
Many of Orozco's works—which are often created specifically for the occasion of an exhibition—have become indisputable classics of 1990s art, such as the Citroën automobile surgically reduced to two-thirds its normal width (La DS, 1993) and a human skull covered with a graphite grid (Black Kites, 1997). This exhibition presents many of these works for the first time in New York, alongside rich selections of work from Orozco's vast body of smaller objects, paintings, and works on paper.
The exhibition in New York will be followed by presentations at Kunstmuseum Basel, April 18–August 10, 2010; Musée national d'art moderne, Centre Georges Pompidou, Paris, September 15, 2010–January 3, 2011; and Tate Modern, London, January 19–April 25, 2011.
For more info on me visit my official website
www.rickyday.net
New Show at Lyons Wier Gallery in NYC
Leonardo Nierman, Paintings & Sculpture
Mike Lash, Stuff
* Artists' Reception Friday, January 8th, 2010 - 6-8PM
* Exhibition dates: Friday, January 8th to February 5th, 2010.
* Gallery hours: Monday - Saturday 11-7, Sun. 12-6.
* Gallery located on the NE corner of 20th and 7th Ave.
* Nearest Subway: C, E exit 23rd @ 8th Ave., 1,9 exit 23rd @ 7th Ave.
* Contact: Michael Lyons Wier, gallery@LyonsWierGallery.com
Lyons Wier Gallery is pleased to announce Paintings & Sculpture by Leonardo Nierman.
At 78 years old, Mexican artist Leonardo Nierman is still in his studio every day, painting and synthesizing five decades of personal investigations into physics, mathematics, color theory and music.
The Abstract Expressionist's work has played a leading role in the extraordinary drama that is modern Mexican art. Nierman started to exhibit at a time when art in Mexico was undergoing a period of drastic change--the influence of the long-established Muralists was being challenged by the ideas of a new generation open to modernist internationalism.
In this newest body of work, Nierman hearkens back to his Mexican predecessors, as well as to the modern lessons of cubism and abstraction, combining Western artistic revolutions. His hyper-real paintings of crumbled paper employ many old tropes yet read surprising fresh as the mind wanders from the sheer technical deftness of hand to the conceptual recognition of subliminal images or words, real or imagined, within these densely rendered compositions.
Nierman's "flame sculptures" echo the elements of infinity, straight and curved lines, and reflected light that rise toward the sky. "A candle is constantly creating sculptures," says Nierman. "The form of the flame is always perfect, [it] represents hope, light out of darkness, a form of happiness". His sculptures combine the forces of nature and intellect, referencing contrasting aspects of the physical world released as turbulent energy and then frozen into intricate structures whose forms are a visible expression of physicality.
Leonardo Nierman's work is featured in major collections around the world including the Vatican Museum of Contemporary Art & Vatican Gardens, Rome, Italy, the Museums of Modern Art, Haifa and Tel Aviv, Israel, the Museum of Modern Art, Mexico City, Mexico, the Spanish Museum of Contemporary Art, Madrid, Spain, the Museum of Fine Arts, Boston, MA, Harvard University Art Museum, Cambridge, MA, the Detroit Institute of Fine Arts, Ml, the Albert Einstein Institute of New York, the Massachusetts Institute of Technology (MIT), the Kennedy Center in Washington D.C., and the Art Institute of Chicago. He lives in Mexico.
________________________________
Lyons Wier Gallery is pleased to announce Stuff by Mike Lash.
Mike Lash's new work is a marked departure from his well-known figurative work. While he maintains his wry sense of humor without losing the base banality he has become known for, Lash's new work is less focused on image and concentrates on ideas or "stuff".
Whilst his works still may have renderings of things one may recognize, Lash moves towards a more abstract, if not conceptual, picture plane. Many of the pieces are in fact simply text-based works.
The artist pushes the viewer to expect the unexpected, taking the viewer between the boundaries of hard science and the inner angst of the individual. His paintings maintain a ready-made feel as well as the immediate gesture of his rendering style.
Lash flatly proposes in his artist statement: "I make stuff, mostly paintings and drawings. The stuff I make kind of documents things I'm personally interested in and think about. Sometimes people like them. I hope you like them."
Mike Lash was included in "To Have it About You: The Dorothy and Herbert Vogel Collection," Frederick R. Weisman Art Museum University of Minnesota and "Lies for Leo, A Book Signing and Exhibition" at Agnes b. Tokyo, Japan, & Agnes b. Madison Ave, New York. He is the author of "Lies for Leo", "Pervert" and "Draw Your Own Conclusions." Lash received a Master of Arts from Northern Illinois University, DeKalb in 1985. He currently resides in New York.
***
Lyons Wier Gallery - 175 Seventh Ave @ 20th St., NYC 10011 - (212)242.6220
gallery@lyonswiergallery.com • Lyons Wier Gallery
For more info on me visit my official website
www.rickyday.net
January 01, 2010
HAPPY NEW YEAR
Welcome 2010.
Here's to a blessed, healthy, prosperous, art filled, love filled, sexy 2010.
Tell all ya friends, tell all ya enemies to 'Pop with me EVERYDAY of the new year.
Enjoy, be safe, be loved.
Ricky
Search
Categories
Recent Posts
- Rush Arts: THE MOTHERSHIP HAS LANDED
- Derrick Adams Welcome to Monument City 23 January - 28 February, 2010 at Collette Blanchard Gallery
- LeBasse Projects presents: 'One Leads to Another' New work from Andrew Hem
- Mike Weiss Gallery presents Kopftheater by Berlin based artist Stefanie Gutheil
- Charles Seliger (1926-2009): A Memorial Exhibition at Michael Rosenfeld Gallery
- Collective Memory
- SADE:By Your Side
- Theodore DeReese "Teddy" Pendergrass, Sr. (March 26, 1950 – January 13, 2010)
- Eddie Martinez at ZieherSmith in NYC
- Eddie Martinez at ZieherSmith in NYC
Powered by
Movable Type 3.2ysb5-20051201
Movable Type 3.2ysb5-20051201