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July 30, 2010
New Solo exhibition: THIS IS URBAN POP
The kind of art I create is for and about people. I'm focused on the "performance of self" and all of the people, places and things that inspire, inform and transform our respective performances. It's fitting that art that has "regular" people as one of its core motifs be exhibited in a so-called non-art setting. So on July 29 my new solo exhibition called This is Urban Pop: An exploration of the performance of self in 3 movements opens at Chi Chiz Bar in Greenwich Village. The show is a prospective of 3 bodies of work that are currently nearing completion. The movements are as follows:
Movement One - Meet:Black Power/Black Pride/Black Pop (BP3)- This movement features paintings and digital work from my Red, Black and Green and Pin-Up Girls series. These works are essentially ruminations on what it means to be African-American and exploring our place in American history, the objectification and celebration of women and the ways we find to "escape" the madness of daily life.
Movement Two Greet:A Portrait of The Life - A Portrait of The Life features selected images from the on-going portrait series and forthcoming documentary film of the same title which chronicles the African-American LGBTQ community. For this show I selected primarily male and transgender images, but the completed series will feature a diverse cross-section of the community including couples in long term relationships, iconic performers and entrepreneurs, and wonderful human beings from diverse backgrounds and genders.
Movement Three Skeet:Skeet - Skeet explores the performance of self as it relates to expressions of physical desire and features imagery from the forthcoming fine art 'zine called Skeet. The purpose of the zine is to stimulate open and irreverent conversation about life, love and the pursuit of physical and emotional pleasure. I've shot a few images for the publication which launches this fall and some of this work will be on display.
Though it sounds like alot, it's actually a tight little show that you can take in during a briefly visit. Think of it as a very tasty appetizer sampler. When you add in great drinks, a feel good vibe, great music and a diverse and lively crowd it makes for a very unique art experience. Come check out the show and come chill with me during the opening reception on Saturday August 7 from 6pm until 9pm. These is NO COVER charge and there will be happy hour drink specials. Oh yes and the most important detail of all...THE WORK IS FOR SALE! (I am a Pop influenced artist after all and in the words of one of my fave artists Andy Warhol "business is the best art of all"). So make it rain!!!!
Ricky Day : This is Urban Pop!
July 29 - September 8, 2010
Chi Chiz Bar 135 Christopher Street, New York - (212) 462-0027 http://www.chichiz.com/
PARISIAN LAUNDRY SUMMERTIME IN PARIS EXTREME PAINTING JULY 23 – AUGUST 28 2010
PARISIAN LAUNDRY
SUMMERTIME IN PARIS EXTREME PAINTING
JULY 23 – AUGUST 28 2010
info@parisianlaundry.com
“Summertime in Paris’, Parisian Laundry's annual summer exhibition remixed this year under the semblance of the city wide ‘Extreme Painting’ project. The exhibition brings together six national and international contemporary artists focusing on where paint is used as potential both in 2 and 3D work. Alongside this survey will be a showcase of recent acquisitions from the Tedeschi Collection featuring an international selection of contemporary artists.
GALLERY 1 Survey of the gallery's artists and guest artists installed as a project by Director Jeanie Riddle including works by BGL, David Armstrong Six, Valérie Blass and Jennifer Lefort as well as invited artists Justin Stephens and Montreal premiere of NYC based artist Cordy Ryman.
BUNKER Recent Acquisitions from the Tedeschi Collection including: Abbas Akhavan, Karin Davie, Lotte Geeven, Kirk Hayes, Gregor Hildebrand, Julian Opie, Reinaldo Sanguino, Cordy Ryman, Franz West & Tal R.
Mary Literary Quarterly, in conjunction with the Rashawn Brazell Memorial Fund present a hip hop college scholarship fundraiser at Home Sweet Home
Join MARY as we make over the Home Sweet Home bar into a gay hip-hop paradise.
Mary Literary Quarterly, in conjunction with the Rashawn Brazell Memorial Fund, will be serving up a night of hip-hop inspired mayhem. We will be kicking it old school, new school, and even pre-school st...yle if we have to!
Hip-hop artist extraordinaire, LastO will be performing a special set, and DJ Black Female Executive will be spinning head-bobbing beats.
All proceeds from the event will be donated to the Rashawn Brazell Memorial Fund, a 501(c) incorporated non-profit that provides merit based college scholarships to college-bound NYC students of color committed to the fight against racism, sexism and homophobia.
Sunday, July 18 from 6-9pm
Home Sweet Home
131 Chrystie Street
between Delancey & Broome
New York, New York 10002
Rashawn Brazell Memorial Fund
http://www.rashawnbrazell.com/
Contact:
info@rashawnbrazell.com
The Rashawn Brazell Memorial Fund aims to establish a sustainable tribute to Rashawn that promotes critical thought about the impact of violence and intolerance, particularly upon queer communities of African descent. Through this endeavor, we seek to empower future generations of activists and scholars by providing financial support and mentoring opportunities.
Mary Literary:
Contact: William Johnson
email: maryliterary@gmail.com http://www.maryliterary.com/
Mary is a literary journal dedicated to showcasing Queer/Gay writings of artistic merit.
Zwelethu Mthethwa: Inner Views, Usuable Pasts and more at The Studio Museum in Harlem
Zwelethu Mthethwa: Inner Views brings together three series by South African photographer Zwelethu Mthethwa (b. 1960). “Interiors” and “Empty Beds” document the domestic lives of migrant workers around Johannesburg, South Africa, while “Common Ground” focuses on the shared experience of natural disasters in urban areas, featuring houses in New Orleans, Louisiana after Hurricane Katrina and on the outskirts of Cape Town, South Africa, after wildfires.
(Lauren Kelley - Lindy Train)
(Ahuja Mequitta - Generator 2010)
(Valeria Piraino - With Pen in Hand 2010)
In this year’s installment of the much anticipated Artist-in-Residence exhibition, Mequitta Ahuja (b. 1976), Lauren D. Kelley (b. 1975) and Valerie Piraino (b. 1981) display diverse projects in a range of media, all visually addressing the construction of history and memory. Ahuja makes lush paintings in which mythological warriors and demigods move between landscape, self-portraiture and abstraction; Kelley crafts stop-motion animations and sculptural installations telling stories of material and emotional excess; Piraino repurposes family artifacts to create installations drawing attention to the frames that shape experience and memory.
The Studio Museum in Harlem
144 West 125th Street
New York, New York 10027
Tel: 212.864.4500
Fax: 212.864.4800
Hours:
Monday Closed
Tuesday Closed
Wednesday Closed
Thursday 12 PM-9 PM
Friday 12 PM-9 PM
Saturday 10 AM-6 PM
Target Free Sunday 12 PM-6 PM
The Museum is closed on Independence Day, Thanksgiving Day, Christmas Day, and New Year’s Day.
BRYCE WOLKOWITZ GALLERY is pleased to announce the opening of The New Grand Tour, curated by Amanda Bhalla Wilkes
THE NEW GRAND TOUR
Extended through July 30, 2010
NEW YORK, NY, APRIL 30, 2010- BRYCE WOLKOWITZ GALLERY is pleased to announce the opening of The New Grand Tour, curated by Amanda Bhalla Wilkes. The original concept of the grand tour was born in the late sixteenth century when it became fashionable for young aristocrats to visit the great cities of Europe such as Paris, Venice, Florence, and Rome, as the culmination of their classical education. As rail and steamship travel became more accessible, the practice flourished and served as an educational rite of passage for Englishmen, Germans, French and Americans alike. The goal of The New Grand Tour is to revive, re-invent, redefine, and change the old concept by venturing well beyond a voyage for the privileged elite. Instead, The New Grand Tour would become a mechanism for a group of unique and talented artists to interact with foreign cultures in an appreciative and organic way, rather than simply as voyeurs.
Beginning on October 20, 2007, Young Kim was joined by Deanne Cheuk, José Parlá, Rey Parlá, Rostarr and Davi Russo for thirteen days of travel in the Far East. They began in Shanghai heading for the remote Yunnan Province, in search of the mystical city of Shangri la. With James Hilton’s novel, Lost Horizon as their guide, their journey took them through the beautiful valleys, rivers and lakes between the border of Yunnan Province and Tibet, through the Mei Li Snow Mountains and eventually to Beijing. While on this journey, each artist created new works within their respective medium, inspired by the places they visited during their travels.
This wide-ranging body of work, now showcased in The New Grand Tour exhibition, brings together a diverse group of voices united through their individual and collective experiences on this tour, which reflects both the visual and sensory inspiration they encountered in the many destinations of this shared travelogue. From Suitman’s humorous snapshot portraits of Tsitang school children to José Parlá’s densely layered paintings the works in this exhibition show how materiality and subject intertwine to make an image of their journey. Deanne Cheuk’s meticulous drawings and colorful watercolors inspired by the Shangri La landscape take us there. While the free form calligraphy in Rostarr’s graphic paintings and filmmaker Rey Parlá’s exploration of narrative storytelling through his unique process of distressing and treating celluloid negatives reflect the visual and written, much like the Chinese character as word. Photographer Davi Russo’s snapshots of the sights and sounds he encountered on the journey give a raw and immediate sense to the overall experience.
*Catalog available
For more information please contact Amanda Wilkes at amanda@brycewolkowitz.com or (212) 243-8830.
Our mailing address is:
Bryce Wolkowitz Gallery
505 W24th Street
New York, NY 10011
Cordy Ryman: Scrapple July 17 - September 4, 2010 at Lora Reynolds Gallery
Cordy Ryman: Scrapple
July 17 - September 4, 2010
Opening reception Saturday, July 17, 6 - 8pm
Conversation between the artist and Sue Graze, Executive Director of Arthouse at the Jones Center, begins at 7pm
Lora Reynolds Gallery is pleased to announce our first solo exhibition of new works by New York based artist, Cordy Ryman, entitled Scrapple. Rooted loosely in minimalism and abstraction, Cordy Ryman's paintings and sculptures address elements of architecture with rich texture and a unique color palette. His intuitive and spontaneous process is propelled and determined primarily by the characteristics of his media. Manipulating materials such as wood, metal, Velcro, Gorilla Glue, staples and scraps from his studio floor, Ryman's assemblages convey his hand in physical and humorous ways.
A departure from traditional archetypes, Ryman's paintings possess bold sculptural surfaces and forms. In Devil Dog, Ryman hinges together two roughly cut blocks of recycled wood leaving them angled and agape at the center. On the outward surface Ryman has applied splotches of white paint to reveal the wood's inherently crude texture. The minimalist white also emphasizes a lone, residual, bent nail enflamed with a coat of red paint. Ryman considers even the back of this work, as it dons a vibrant shade of jade - casting a green glow against the white gallery wall.
Cordy Ryman: Scrapple will be on view at Lora Reynolds Gallery, 360 Nueces, Suite 50, Austin, Texas 78701 from July 17 - September 4, 2010. GALLERY HOURS: Tuesday through Saturday, 11:00 am to 6:00 pm. For further information please visit our website, www.lorareynolds.com, contact Emma Cole at 512.215.4965 or emma@lorareynolds.com.
Image: Cordy Ryman, Elephant Ocean, 2010, acrylic, enamel and wood glue on wood, 18-5/8 x 16 x 3-7/8 inches
"FILTHY FIFTIES FRISCO" THE ART OF FOGTOWN By Bradley C. Rader at Flazh!Alley Art Studio in San Pedro, California
"FILTHY FIFTIES FRISCO"
THE ART OF FOGTOWN
By Bradley C. Rader
Four years after his debut show (THE LEGEND OF HARRY & DICKLESS TOM: Original Comic Book Art Work - October - November 2006), Emmy award winning animation artist/director Brad Rader returns to Flazh!Alley Art Studio to celebrate the release of his latest book, the 171 page graphic novel, FOGTOWN (DC/Vertigo, August 10, 2010) written by Andersen Gabrych.
Paraphrasing the author, FOGTOWN is a raw, ugly, and explicitly human pulp/noir detective series, set in the ferociously filthy underworld of ‘50’s San Francisco. It follows the seamy temptations, damnations, and redemptions of Frank Grissel, P.I., an aging, hard-living, and morally ambiguous detective in the Mike Hammer/Sam Spade tradition…who “just happens” to be a pier-trawling, deeply closeted homosexual.
Brad Rader’s original artwork from pages of his book, drawn in black and white pen and ink, comprise the show. Stylistically, the Alaska born artist emulates the comic book artwork of the 1950’s with influence of Russ Heath and E.C. Comics artists Jack Davis and Wally Wood.
An Emmy Award winning animation artist and director, Brad Rader has served as storyboard artist on many animated series including The Real Ghostbusters, Alf, Batman, Gargoyles, Stripperella and most recently, King of the Hill. He has directed several series, including HBO’s Spawn, for which he won an Emmy award (1999). He has illustrated the comic books Batman Adventures, and Catwoman (DC Comics); The Mark (Dark Horse Comics); and Tex: The Fine Art of Character Assassination (Atomic Basement). A graduate of Art Center College of Design (illustration), Mr. Rader returned to his alma mater and to Otis/Parsons to teach storyboarding. His art has been exhibited in galleries in the United States as well as internationally.
The only public receptions and book signings will be on San Pedro's 1st Thursdays Art Walk Nights, August 5 and September 2, 2010 from 7-11 PM ADULTS ONLY (18 and over) "Filthy Fifties Frisco" can also be seen by appointment. Please call, 310.833.3633 or flazhalley@aol.com
Flazh!Alley Art Studio is located at 1113 S. Pacific Ave., Suite B, San Pedro, CA. Park in the large city parking lot behind the Ramona Bakery at Pacific & 11th Street. Enter Flazh!Alley from the alley, of course.
Brandon Anschultz and Nicole Mauser July 16 - August 14, 2010 at Carrie Secrist Gallery in Chicago Curated by Natalie Popovic Schuh
Brandon Anschultz and Nicole Mauser
July 16 - August 14, 2010 (opening reception Friday, July 16th, 5-8pm)
Curated by Natalie Popovic Schuh
Carrie Secrist Gallery is pleased to announce two upcoming exhibitions featuring the work of Brandon Anschultz and Nicole Mauser. These will be the first solo exhibitions in Chicago for both artists.
Dismantling into discrete parts the fundamental elements of formal painting -- chromatics, substrate, composition, dimensionality and presentation -- Brandon Anschultz pays homage to the medium's essential capacity for beauty while challenging every traditional approach to producing it. Paint is directly applied to canvas, then partially removed and pressed against another canvas, creating a wholly new impression. That imprint, in turn, creates another -- removing that particular product even further from its expressive source: the artist's hand. An all-over hue is built by layering multiple coats of flat paint; that meticulous and complex color is disrupted by the chance marks of imprinted paint, the whole canvas then reversed to reveal the otherwise hidden, incidental residues that bled through the raw fabric surface. Canvas is removed entirely from its frame to form sculptural pieces that have both a painterly presence and a slightly disorienting three-dimensionality. By the continual excavation of the medium's potential for novelty and the artist's ability to subvert his own expertise, the work ultimately discloses the simplest of motives: that of immediate, visceral pleasure. In Anshcultz's work, the lushness and tactility of paint continually walk the line of formalist restraint and something rawly and agitatedly subversive. (By Jessica Baren)
Nicole Mauser's approach to abstraction stems from an aim to create tension between the materiality of the painted surface and the constructed image it contains. As she builds paintings through the addition and subtraction of marks, Mauser is careful to allow the process of it's making to remain. While constructing these surface images she maintains an awareness of each painting's objectness, leading to a sense of being able to physically navigate the layers of the finished picture plane. By combining this use of abstraction with an interest in narrative, Mauser seeks to break down distinctions between the organic and synthetic, system and intuition, space and light, abjection and desire. Trespassing through these fields, the painting process becomes a search for form and meaning, both for the artist as its maker and for the viewer.
Brandon Anschultz was born in Judsonia, Arkansas and currently lives and works in St. Louis, Missouri. He received his BFA from Louisiana Tech University and his MFA from Washington University in St. Louis. Stick Around for Joy, a solo exhibition at Laumeier Sculpture Park in St. Louis is currently on view. Anschultz has had recent solo exhibitions at the Center of Creative Arts, White Flag Projects, and Philip Slein Gallery in St. Louis; @Space Contemporary in Santa Ana, California; and Stony Brook University, Stony Brook, New York. Recent group exhibitions include Front Desk Apparatus in New York; Monte Vista Projects in Los Angeles; the Brooks Museum of Art, Memphis; the Daum Museum of Contemporary Art, Sedalia, Missouri; The Dolphin Gallery and Urban Culture Project's La Esquina, in Kansas City and Sun Yat Sen Memorial Hall, Taipei, Taiwan.
Nicole Mauser is a recent graduate of the MFA program at the University of Chicago and has a BFA from the Ringling School of Art in Design, Sarasota, Florida. Mauser has had recent exhibitions at DOVA Temporary, Chicago, IL and at the Arts Incubator of Kansas City. Mauser is the recipient of the Student Fine Art Fund University of Chicago, Grant for Berlin painting research, has studied at Centre pour l'Arte et la Culture, IAU Aix-en-Provence France and was included in the New American Paintings, issue #76, Midwest Region Competition, Curated by Raphaela Platow. Mauser has participated in the Urban Culture Project Residency in KCMO was recently chosen as a Post-MFA Teaching Fellow at The University of Chicago, which begins in 2011.
A reception will be held at the gallery on Friday, 16 July, from 5-8pm. For further information please call the gallery at 312.491.0917, or email at info@secristgallery.com.
Brandon Anschultz, Blue, White and Camo (Reverse), 2010, oil on raw canvas, 52 x 42 inches
Nicole Mauser, Herringbone Homunculus, 2010, oil on canvas, 16 x 20 x 1 inch
Luke Jerram's transparent glass sculptures are created to contemplate the global impact of infectious disease while exploring the edges of perception, scientific understanding and visualization of a virus.
Designed in consultation with virologist Dr. Andrew Davidson from the University of Bristol in England, using a combination of different scientific photographs and models, the sculptures were made in collaboration with a team of specialized scientific glassblowers. Through them the artist reveals the fascinating tension between something that is unusually beautiful but which is also extremely dangerous and plaguing humanity.
Luke Jerram is an inventor, a researcher, an amateur scientist and a multidisciplinary artist. Currently he is a Research Fellow at the University of Southampton, England. Jerram is the recipient of numerous awards and grants and his extraordinary projects and installations have won acclaim in cities around the world.
Thanks for coming out to the Great LGBTQ Photo Show reception
(Malcolm and Tyson 14 x 11 digital c-print 2009 edition of 30)
(Jonte 11 x 14 digital c-print 2008 edition of 30)
Thanks to everyone who came out to THE GREAT LGBTQ PHOTO SHOW reception last night. The event was a mega success! The gallery was packed with wall to wall visitors and there were still tons of people outside. It's the single biggest opening I've personally participated in up to date and I'm thankful for the opportunity. Check out the show which runs thru July 10, 2010.
June 16 - July 10, 2010
____________________________________________________
This group photography show includes a wide range of imagery--documentary, erotic, political, romantic and more. With more than 80 photographers represented from the US and around the world, The Great LGBTQ Photo Show provides viewers with a broad survey of what contemporary queer photographers are working on today. Additionally, on Tuesday, June 29 from 6pm to 8pm, renowned writer, scholar and photography critic, Allen Ellenzweig, will talk about The Great LGBTQ Photo Show and queer photography today.
The following photographers are included in The Great LGBTQ Photo Show:
Thom Adams, Ajamu X, Michael Alago, Tom Baron, Robert Bianchi, Ripp Bowman, Don Campbell, Luis Carle, Lage Carlson, Aaron Cobbett, Brendon Connors, Larry Cwik, Ricky Day, Beau del'Aire, George Dinhaupt, J.D. Dragan, Jess T. Dugan, Mark Edward, Devin Elijah, Billy Erb, Lola Flash, Warren Fletcher, Paul Freeman, Claude Furones, Alex Geana, Brian Gorman, Rebecca Greenberg, Mareike Guensche, Crystal Gwyn, Kim Hanson, Emeric Harney, Michael Harwood, Dahn Hiuni, Hugh Holland, Charles Hovland, Mikka Jacino, David Jarrett, Angela Jimenez, John H. Johnson, Katie Koti, Molly Landreth, Ross Bennett Lewis, Frank Louis, Ricardo Louis, Janice Marshack, David J. Martin, Dick Mitchell, Greg Mitchell, Pierre-Yves Monnerville, Enrique Jayro Montesinos, Grace Moon, Amanda Morgan, Lara Morgan, Ocean Morisett, Patrick Mulcahy, Peter Pfeffer, Gregory Prescott, Andrew Printer, Xavier Radic, Benyamin Reich, Eric Rhein, Ulli Richter, Garry Rissman, Alexis Rodriguez-Duarte, Nicholas Romanoli, Leslie Satterfield, Mathieu Schmutzler, Larry Schulte, Rick Shupper, Robert Siegelman, Bryan Smith, Lars Stephan, Margaret Stratton, Burt Sun, Thomas TRET Tierney, Enrique Toribio, Douglas Blair Turnbaugh, Taschka Turnquist, Johann Van Wyk, Vega, Adam Vincentz, Sophia Wallace, Cynthia Warwick, Fred Watson, Brett Wexler, Jade Yumang
GALLERY HOURS ARE TUES-SAT from NOON-6PM
PLEASE NOTE THAT THE GALLERY WILL STAY OPEN
UNTIL 7:30PM on WED, JUNE 16 and THURS, JUNE 24
ABOUT THE LESLIE/LOHMAN GAY ART FOUNDATION
Described by Pulitzer Prize-winning New York Times art critic Holland Cotter as "...a thoroughly nonmainstream pearl beyond price," the LESLIE/LOHMAN GAY ART FOUNDATION (LLGAF) is a non-profit foundation established to provide an outlet for artwork that is unambiguously gay and which is often denied access to mainstream venues. Founded in 1990, the Foundation mounts exhibitions of art in all media by gay and lesbian artists emphasizing subject matter that speaks to queer sensibilities, including works with erotic, political, romantic and social imagery. LLGAF also provides special support for emerging and underrepresented artists through The ARCHIVE (a quarterly art journal) and a permanent collection of more than 3,000 works, including pieces by artists Duncan Grant, Keith Haring, Andy Warhol, Jean Cocteau and Robert Mapplethorpe. Leslie/Lohman is the premier resource for anyone interested in the rich art legacy of the LGBTQ community and its influence on and confrontation with the mainstream art world.
LESLIE/LOHMAN GALLERY
26 Wooster Street
(between Grand & Canal)
NYC 10013
(212) 431-2609
www.leslielohman.org
TONIGHT COME CHECK OUT THE GREAT LGBTQ PHOTO SHOW June 16 - July 10, 2010 at LESLIE/LOHMAN GALLERY
(Malcolm and Tyson 14 x 11 digital c-print 2009 edition of 30)
(Jonte 11 x 14 digital c-print 2008 edition of 30)
THE GREAT LGBTQ PHOTO SHOW
June 16 - July 10, 2010
____________________________________________________
OPENING RECEPTION
June 15 (Tues)
6pm - 8pm
I've been invited to exhibit new work in The Great LGBTQ Photo Show at Leslie/Lohman Gallery here in NYC. This group photography show includes a wide range of imagery--documentary, erotic, political, romantic and more. With more than 80 photographers represented from the US and around the world, The Great LGBTQ Photo Show provides viewers with a broad survey of what contemporary queer photographers are working on today. To mark the opening of this exhibition, there will be a public reception on Tuesday, June 15 from 6pm to 8pm. Additionally, on Tuesday, June 29 from 6pm to 8pm, renowned writer, scholar and photography critic, Allen Ellenzweig, will talkabout The Great LGBTQ Photo Show and queer photography today.
I've chosen to exhibit two images from my ongoing portrait series about the African-American LGBTQ community called "A Portrait of The LIfe" (formerly This is The Life). There's exciting news about the portrait project coming soon, but this show is a great opportunity to view samples of the work right now.
The following photographers are included in The Great LGBTQ Photo Show:
Thom Adams, Ajamu X, Michael Alago, Tom Baron, Robert Bianchi, Ripp Bowman, Don Campbell, Luis Carle, Lage Carlson, Aaron Cobbett, Brendon Connors, Larry Cwik, Ricky Day, Beau del'Aire, George Dinhaupt, J.D. Dragan, Jess T. Dugan, Mark Edward, Devin Elijah, Billy Erb, Lola Flash, Warren Fletcher, Paul Freeman, Claude Furones, Alex Geana, Brian Gorman, Rebecca Greenberg, Mareike Guensche, Crystal Gwyn, Kim Hanson, Emeric Harney, Michael Harwood, Dahn Hiuni, Hugh Holland, Charles Hovland, Mikka Jacino, David Jarrett, Angela Jimenez, John H. Johnson, Katie Koti, Molly Landreth, Ross Bennett Lewis, Frank Louis, Ricardo Louis, Janice Marshack, David J. Martin, Dick Mitchell, Greg Mitchell, Pierre-Yves Monnerville, Enrique Jayro Montesinos, Grace Moon, Amanda Morgan, Lara Morgan, Ocean Morisett, Patrick Mulcahy, Peter Pfeffer, Gregory Prescott, Andrew Printer, Xavier Radic, Benyamin Reich, Eric Rhein, Ulli Richter, Garry Rissman, Alexis Rodriguez-Duarte, Nicholas Romanoli, Leslie Satterfield, Mathieu Schmutzler, Larry Schulte, Rick Shupper, Robert Siegelman, Bryan Smith, Lars Stephan, Margaret Stratton, Burt Sun, Thomas TRET Tierney, Enrique Toribio, Douglas Blair Turnbaugh, Taschka Turnquist, Johann Van Wyk, Vega, Adam Vincentz, Sophia Wallace, Cynthia Warwick, Fred Watson, Brett Wexler, Jade Yumang
GALLERY HOURS ARE TUES-SAT from NOON-6PM
PLEASE NOTE THAT THE GALLERY WILL STAY OPEN
UNTIL 7:30PM on WED, JUNE 16 and THURS, JUNE 24
Please make every effort to come out to the opening reception and tell all your friends. It's important for us to show the collective strength of our community and our desire to support our artists of color.
ABOUT THE LESLIE/LOHMAN GAY ART FOUNDATION
Described by Pulitzer Prize-winning New York Times art critic Holland Cotter as "...a thoroughly nonmainstream pearl beyond price," the LESLIE/LOHMAN GAY ART FOUNDATION (LLGAF) is a non-profit foundation established to provide an outlet for artwork that is unambiguously gay and which is often denied access to mainstream venues. Founded in 1990, the Foundation mounts exhibitions of art in all media by gay and lesbian artists emphasizing subject matter that speaks to queer sensibilities, including works with erotic, political, romantic and social imagery. LLGAF also provides special support for emerging and underrepresented artists through The ARCHIVE (a quarterly art journal) and a permanent collection of more than 3,000 works, including pieces by artists Duncan Grant, Keith Haring, Andy Warhol, Jean Cocteau and Robert Mapplethorpe. Leslie/Lohman is the premier resource for anyone interested in the rich art legacy of the LGBTQ community and its influence on and confrontation with the mainstream art world.
LESLIE/LOHMAN GALLERY
26 Wooster Street
(between Grand & Canal)
NYC 10013
(212) 431-2609
www.leslielohman.org
A Separate Peace Curated by Anna Ortt and Shane McAdams McNeill Art Group Project Space, 143 Reade Street, NYC June 16 – August 29
A Separate Peace
Curated by Anna Ortt and Shane McAdams
McNeill Art Group Project Space, 143 Reade Street, NYC
June 16 – August 29
Opening Reception, June 16, 6 – 9 PM
Gallery hours by appointment
With the onset of the digital age artists are faced with an unprecedented availability of legitimate content and media for expressing themselves. In order to identify, parse and organize this information, many artists choose to work across media and disciplines, virtually without restriction, embracing new media, while others choose to confront it by returning to traditional modes of mark making and representation, finding novelty in personal mythologies and individualized narratives, creating manageable worlds that do not answer to the pressures outside it.
A Separate Peace features artists who create works featuring their own, unique cosmologies, interior logics and self-enclosed universes in order to maintain an integrity independent of the exterior world.
A Separate Peace features:
Samuel T. Adams
Jonathan Allen
Jeffrey Beebe
Jean Blackburn
Paul Jacobsen
Nick Lamia
Adela Leibowitz
Patte Loper
Shane McAdams
Nat Meade
Dean Monogenis
Christopher Mir
Ryan Mrozowski
Kristen Schiele
Ann Sophie Staerk
For information, please contact Anna Ortt at 917-653-9206 or anna@annaortt.com.
Images for the exhibition can be seen at www.annaortt.com
Shane McAdams is an artist, curator and art critic living in Brooklyn, NY. He has been a contributor to the Brooklyn Rail since 2003 and is former Director of Caren Golden Fine Art. He is currently teaching at the Rhode Island School of Design and preparing for a solo show of his own work to take place this fall at Elizabeth Leach Gallery in Portland, OR.
Anna Ortt has been representing emerging artists in New York City for over 7 yrs, first as an independent curator participating in international art fairs, then as Assistant Director for Littlejohn Contemporary, and finally as a partner of Lyons Wier Ortt Gallery in Chelsea form 2006-2009. Anna is dedicated to finding new emerging art with high craft and concept, and will be focusing on a range of curatorial projects and collaborations.
McNeill Art Group began as an art consulting and acquisitions company in 2005. After establishing a presence as a private dealer and exhibiting artists at international art fairs around the world, McNeill began seeking exhibition opportunities in alternative spaces. McNeill worked with Artisan Lofts to create the McNeill Art Group Tribeca Project Space in an effort to continue the global movement towards enhancing the visibility of contemporary art while not conforming to the traditional gallery structure. The Tribeca Project Space is on the ground floor of Artisan Lofts in Tribeca, New York.
For more information about McNeill Art Group, contact Beth McNeill at 631-838-4843 or email mcneillartgroup@mac.com.
Yossi Milo Gallery in New York presents Retratos Pintados
Yossi Milo Gallery is pleased to announce Retratos Pintados, an exhibition of vernacular hand-colored photographic portraits from Brazil, on view from Thursday, June 24, through Saturday, September 18, 2010
Since the late 19th century through the 1990s, hand-painted photographic portraits were a common feature in homes in the rural areas of the northeastern Brazilian states. At a time when black-and-white photographs were not considered dramatic enough, the retratos pintados ("painted portraits") glamorized and idealized their subjects. Using oil washes and other techniques specific to the region, local artisans embellished the portraits, illustrating the fantasies and desires of their customers. Due to advances in technology, hand-painted photographs have become a rarity in the region, and this unique form of portrait-making is lost. For more information, please visit: http://www.yossimilo.com/exhibitions/2010_06-retr_pint/
Retratos Pintados, a book of 61 four-color plates of photographs with an introduction by Martin Parr and edited by Parr and Titus Riedl was published by Nazraeli Press in 2010 and is available at the gallery.
Francesca Gabbiani: Dream Baby Dream May 22 - July 10, 2010 at Lora Reynolds Gallery
(Image: Francesca Gabbiani, The House of Falling Leaves, 2010, giclée print, colored paper, and gouache on Museo Max paper, 30-3/8 x 22 inches, edition of 4)
Francesca Gabbiani: Dream Baby Dream
May 22 - July 10, 2010
Lora Reynolds Gallery is pleased to announce our third solo exhibition of new works by Los Angeles based artist, Francesca Gabbiani, entitled Dream Baby Dream.
Viewed from a distance Francesca Gabbiani's intricate assemblages are easily mistaken for paintings. Their flattened realism is upon closer inspection composed of thousands of densely layered abstract shapes of cut paper. The often decadent imagery present in Gabbiani's work complements and echoes her craft. Influenced by cinema, the interior space - both physical and metaphysical - as well as melancholia, Francesca Gabbiani illustrates surreal fleeting moments.
Francesca Gabbiani: Dream Baby Dream will be on view at Lora Reynolds Gallery, 360 Nueces, Suite 50, Austin, Texas 78701 from May 22 - July 10, 2010. GALLERY HOURS: Tuesday through Saturday, 11:00 am to 6:00 pm. For further information please visit our website, www.lorareynolds.com, contact Emma Cole at 512.215.4965 or emma@lorareynolds.com.
THE GREAT LGBTQ PHOTO SHOW June 16 - July 10, 2010 at LESLIE/LOHMAN GALLERY
(Malcolm and Tyson 14 x 11 digital c-print 2009 edition of 30)
(Jonte 11 x 14 digital c-print 2008 edition of 30)
THE GREAT LGBTQ PHOTO SHOW
June 16 - July 10, 2010
____________________________________________________
OPENING RECEPTION
June 15 (Tues)
6pm - 8pm
I've been invited to exhibit new work in The Great LGBTQ Photo Show at Leslie/Lohman Gallery here in NYC. This group photography show includes a wide range of imagery--documentary, erotic, political, romantic and more. With more than 80 photographers represented from the US and around the world, The Great LGBTQ Photo Show provides viewers with a broad survey of what contemporary queer photographers are working on today. To mark the opening of this exhibition, there will be a public reception on Tuesday, June 15 from 6pm to 8pm. Additionally, on Tuesday, June 29 from 6pm to 8pm, renowned writer, scholar and photography critic, Allen Ellenzweig, will talb about The Great LGBTQ Photo Show and queer photography today.
I've chosen to exhibit two images from my ongoing portrait series about the African-American LGBTQ community called "A Portrait of The LIfe" (formerly This is The Life). There's exciting news about the portrait project coming soon, but this show is a great opportunity to view samples of the work right now.
The following photographers are included in The Great LGBTQ Photo Show:
Thom Adams, Ajamu X, Michael Alago, Tom Baron, Robert Bianchi, Ripp Bowman, Don Campbell, Luis Carle, Lage Carlson, Aaron Cobbett, Brendon Connors, Larry Cwik, Ricky Day, Beau del'Aire, George Dinhaupt, J.D. Dragan, Jess T. Dugan, Mark Edward, Devin Elijah, Billy Erb, Lola Flash, Warren Fletcher, Paul Freeman, Claude Furones, Alex Geana, Brian Gorman, Rebecca Greenberg, Mareike Guensche, Crystal Gwyn, Kim Hanson, Emeric Harney, Michael Harwood, Dahn Hiuni, Hugh Holland, Charles Hovland, Mikka Jacino, David Jarrett, Angela Jimenez, John H. Johnson, Katie Koti, Molly Landreth, Ross Bennett Lewis, Frank Louis, Ricardo Louis, Janice Marshack, David J. Martin, Dick Mitchell, Greg Mitchell, Pierre-Yves Monnerville, Enrique Jayro Montesinos, Grace Moon, Amanda Morgan, Lara Morgan, Ocean Morisett, Patrick Mulcahy, Peter Pfeffer, Gregory Prescott, Andrew Printer, Xavier Radic, Benyamin Reich, Eric Rhein, Ulli Richter, Garry Rissman, Alexis Rodriguez-Duarte, Nicholas Romanoli, Leslie Satterfield, Mathieu Schmutzler, Larry Schulte, Rick Shupper, Robert Siegelman, Bryan Smith, Lars Stephan, Margaret Stratton, Burt Sun, Thomas TRET Tierney, Enrique Toribio, Douglas Blair Turnbaugh, Taschka Turnquist, Johann Van Wyk, Vega, Adam Vincentz, Sophia Wallace, Cynthia Warwick, Fred Watson, Brett Wexler, Jade Yumang
GALLERY HOURS ARE TUES-SAT from NOON-6PM
PLEASE NOTE THAT THE GALLERY WILL STAY OPEN
UNTIL 7:30PM on WED, JUNE 16 and THURS, JUNE 24
Please make every effort to come out to the opening reception and tell all your friends. It's important for us to show the collective strength of our community and our desire to support our artists of color.
ABOUT THE LESLIE/LOHMAN GAY ART FOUNDATION
Described by Pulitzer Prize-winning New York Times art critic Holland Cotter as "...a thoroughly nonmainstream pearl beyond price," the LESLIE/LOHMAN GAY ART FOUNDATION (LLGAF) is a non-profit foundation established to provide an outlet for artwork that is unambiguously gay and which is often denied access to mainstream venues. Founded in 1990, the Foundation mounts exhibitions of art in all media by gay and lesbian artists emphasizing subject matter that speaks to queer sensibilities, including works with erotic, political, romantic and social imagery. LLGAF also provides special support for emerging and underrepresented artists through The ARCHIVE (a quarterly art journal) and a permanent collection of more than 3,000 works, including pieces by artists Duncan Grant, Keith Haring, Andy Warhol, Jean Cocteau and Robert Mapplethorpe. Leslie/Lohman is the premier resource for anyone interested in the rich art legacy of the LGBTQ community and its influence on and confrontation with the mainstream art world.
LESLIE/LOHMAN GALLERY
26 Wooster Street
(between Grand & Canal)
NYC 10013
(212) 431-2609
www.leslielohman.org
IN THE ZONE, a century gathering of black & white photographs by past and present masters at HENRY GREGG GALLERY in Brooklyn, New York
IN THE ZONE, a century gathering of black & white photographs
by past and present masters
at HENRY GREGG GALLERY in DUMBO
May 13 - June 27, 2010 Opening Night Reception Thursday June 3 from 6-9pm
"All will be yesterday," as the young Hungarian photographer Balazs Turay has observed. Therefore, "nothing has changed, and nothing needs to change, the photo itself will well tell its own tale to each generation to come" adds curator/gallerist Henry Andre Martinez-Reed. "All the photographs in this show, dating from as far back as the 1920s, exemplify the single most important quality to me in a work of art, what the Italians call sprezzatura, an apparent nonchalance, the ability to conceal the careful, conscious effort behind a difficult achievement." Also a musician, Martinez- adds, "In assembling this show, I wanted to have the feeling Duke Ellington must have had when he assembled his orchestra, mixing the ages and styles of his players to generate the tension and passion that guarantees a knock-out performance."
HGG's new show deftly mingles iconic photographs by Robert Frank, Gordon Parks and Russian avant-gardist Aleksandr Rodchenko with sepia-tone masterworks by Georgi Zelma (1906-84), the pioneering Russian photojournalist of the "Eastern Front" school alongside dramatic contemporary Roman cityscapes with crackled surfaces by Balazs Turay. and classic Americana views through the lens of Jim Megargee, professor, author, master printer and documentarian; portraits of New York visual artists from Peter Bellamy's monograph, The Artist Project (1981-1990) and of the city's street life by Brooklyn's Anthony Almeida. New Yorker Robert Herman also focuses on the city's streets. His digital prints, particularly of a near-empty 70s-era subway car, stripped and striped in colored light as it crosses a bridge, are as bravura an achievement as Professor Doug Schwab's gum bichromate nudes and Cornelia Van der Lin's pinhole nudes in their evocation of eternity. Czech scientist turned poet and fine art photographer, Igor Malijevsky, focuses on city life across Europe while North Carolina's Bryce Lankard combines old and new photo technologies in photographs of New Orleans. The photomontagist Mark Blanchette conjures surreal visions layering multiple negatives. Of particular note are photographs by the father and son, both known only as Istvan Soltesz: The father was self-taught and never exhibited, much less celebrated, until his son, by then a professional photographer, assembled a posthumous show of his father's loving pictures of daily life in their Hungarian village. The renowned freelance photojournalist Peter Essick braves impossible conditions the world over, often for National Geographic, to illustrate immediate challenges facing humankind.
"The camera heals us of our separateness," says co-exhibitor Carole Elchert, native of Ohio and longtime chronicler of village life in the Himalayan Mountains. IN THE ZONE endeavors to prove her point.
Inquiries may be directed to the gallery owner, Henry Andre Martinez Reed, at 718-408-1090 or art@henrygregggallery.com. Private viewings also may be arranged; please call 917-335-3673. The Henry Gregg Gallery is located at 111 Front Street, Brooklyn N.Y.,11201, Suite 226 in DUMBO. Open Wed, Thurs, Fri, Sat from Noon-6pm, and Sunday from Noon-4pm. By subway: F to York Street or A,C to High Street, Brooklyn.
Henry Gregg Gallery
111 Front Street, Suite 226
Brooklyn, New York 11201
718-408-1090
www.henrygregggallery.com
art@henrygregggallery.com
LESLIE WAYNE / ONE BIG LOVE / MAY 27 - JULY 16, 2010 at Jack Shainman Gallery
LESLIE WAYNE / ONE BIG LOVE / MAY 27 - JULY 16, 2010
Jack Shainman Gallery is pleased to announce One Big Love, Leslie Waynes eighth solo exhibition at the gallery. Here Wayne presents small, 13 x 10 inch, oil and mixed media paintings on organically shaped panels, from an ongoing series by the same name. The series was inspired by an article in the New Yorker entitled The Eureka Hunt (July 28, 2008), describing a situation in which a fire fighters instinct saved his life. The article articulated an interesting condition of mental acuity, which is not unlike that of an artist and their studio practice in a moment of inspiration. Noting that artists often try to achieve a state of grace - of letting go or getting in the zone - by listening to music, listening to music became a driving principle behind the development of these paintings, and ultimately a condition of their creation.
Waynes process continues to address the dialectic between material memory and the nature of morphogenesis. One Big Love signals a return to the small format and the nature of intimacy.
Leslie Wayne has presented her work in numerous solo and group exhibitions including the Corcoran Gallery of Art, Washington, DC; Peace Tower/Whitney Biennial, Whitney Museum of American Art, New York, NY (both 2006); Bildmuseet, Umea, Sweden; Museum of Fine Arts, St. Petersburg, FL (both 2003); The Museum of Contemporary Art, Miami, FL (2001); Santa Monica Museum of Art, Santa Monica, CA (2000); and The Continuous Painting Wall, Birmingham Museum of Art, Birmingham, AL (1999). She was the recipient of a 2006 New York Foundation for the Arts Fellowship in Painting.
A forthcoming solo exhibition at the Halsey Institute for Contemporary Art, Charleston, SC, is slated to open in January 2011.
A full-color catalogue, One Big Love, featuring a conversation by Amy Smith-Stewart, is available.
Concurrent exhibition at the gallery:
Jonathan Seliger: Spoils, May 27-July 16, 2010.
Upcoming exhibitions at the gallery include Arlene Shechet opening September 10, 2010, on view through October 9, 2010, and Yoan Capote, opening October 14, 2010, on view through November 13, 2010.
Gallery hours through Friday, July 2, are Tuesday through Saturday from 10 am to 6 pm. The gallery will be closed from Saturday, July 3, through Monday, July 5, for the Fourth of July Holiday. Summer hours beginning, July 6, until July 16, are Monday through Friday from 10 am to 6 pm. The gallery will be open by appointment from July 19, through September 2.
For additional information and photographic material please contact the gallery at info@jackshainman.com.
ZieherSmith presents Tucker Nichols June 3 - July 23, 2010 in NYC
Tucker Nichols
June 3 - July 23, 2010
Reception for the Artist: Thursday, June 3, 6-8 pm
In his third solo exhibition at ZieherSmith, San Francisco based-artist Tucker Nichols presents sculpture, panels and works on paper created during a recent residency at the Headlands Center for the Arts in Sausalito, California. Recent projects include Temporary Storage Overflow Plan #3 in collaboration with Baer Ridgway in 2010 and interventions at the de Young Museum when he was artist in residence in 2008. His work will be included in the forthcoming California Biennial at the Orange County Museum of Art. ARTNews selected Nichols as an “artist to watch” in February 2010. Below is an excerpt from an interview with curator Dakin Hart; the entire text is reproduced in an artist’s book available in a limited edition at the gallery.
The work in your new show seems to suggest a kind of bricolage metropolis. You’ve lived in New York and other cities, but now you keep chickens, frequently abandon your studio to a flooding creek and spend lots of time walking in the hills. Is the grass always greener for artists, too?
I love New York, but as soon as I got to California I felt like I could breathe again. Breathing and making things go well together for me. That said I think about NYC often, and for this show I made a lot of the work from the perspective of someone who had heard a lot about New York, maybe from his uncle or from a pamphlet from the World’s Fair, but had never been. He assumed that people in New York would relate better to things that looked like where they live, so he kept trying to capture the city from what he had heard. You can try, but you’re a fool if you think you can really capture something so big and dynamic. Art is so much smaller than New York City.
You’ve been assembling objects—many poignant like the things we collected and kept as kids—for a long time, but you’ve only fairly recently started showing them. Is it hard to let those go, even when you feel like you’ve made a good piece?
The successful sculptures are hard to let go—it’s partly how I know they’re ready. I really didn’t want to be a sculptor. It seemed like such a pain to deal with all the things you end up making, adding more stuff to the world. Drawings pack away so neatly. But I can’t help myself; if I’m interested in our relationship to things, I have to work with things. A lot of the work in this show I made from things I’d like to keep but am secretly hoping I won’t have to ever see again. I’m conflicted about loving things and wishing they’d all go away, and making sculpture is somehow a good way for me to think about all that. Without that it’s just getting rid of stuff and as you know that’s just a relief.
At ZieherSmith you are showing works you made in a sun-dappled studio with window sills, bumbling bees, peeling paint, absolute silence and green stuff outside. In New York, are they going to be fish out of water; frogs crossing a road between culverts; or happy as clams?
Well as of this interview I’m not there yet to see it. But this work was made and chosen to be shown in New York, so it’s where it’s all supposed to go. I’m as curious as anyone how it will translate, but if it looks wrong that might be even better. You can’t make things in one place and have them look just right someplace else. It doesn’t make any sense. I like my things to feel a bit out of place, a bit lost in the shuffle. This show is like a giant postcard to the city. It looked good from this end.
ZieherSmith / 516 West 20th Street / New York, NY 10011 / 212-229-1088 / scott@ziehersmith.com / www.ziehersmith.com
Piet van den Boog I wanted each and every one of them, but choosing one meant losing all the rest May 13 – June 19, 2010 at Mike Weiss Gallery in Chelsea, NYC
(Piet van den Boog / I keep all ... one day I will build my castle / 2009 / Acrylic, clay and oil on black steel / 59 x 39.5 inches)
Piet van den Boog
I wanted each and every one of them, but choosing one meant losing all the rest
May 13 – June 19, 2010
Mike Weiss Gallery is pleased to present new large-scale works by Dutch artist Piet van den Boog. Influenced by Dutch painters Frans Hals and Vermeer, van den Boog evokes an array of emotion in the spectator by allowing him/her to be present in a profoundly intimate setting.
In this new series of paintings, the artist illustrates the dichotomy that the human ability to make choices both affords us and denies us control over our lives. Heavily influenced by the writings of Sylvia Plath, the artist based these works on a passage from Plath’s 1963 novel in which a fig tree metaphorically describes the situation that we often find ourselves in when faced with difficult choices:
I saw myself sitting in the crotch of this fig tree, starving to death, just because I couldn't make up my mind which of the figs I would choose. I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and, one by one, they plopped to the ground at my feet.
- Sylvia Plath (“The Bell Jar”, 1963)
Van den Boog’s method of using etching fluids to oxidize the surface of the unfinished black steel creates a deep and weighty aesthetic. Van den Boog reveals his thematic intention through controlling the corrosion of the steel, therefore manifesting the metaphor of the figs’ demise through his materials. He lays an under-painting in acrylic for quick-drying and a sketchy finish, and then applies a top layer of oil paint. This technique creates nuances and details in the portraits and intensifies the color. In addition, referencing the French tale of the sculptor Rodin and his mistress Camille Claudel, van den Boog uses clay on the surface as a medium and a metaphor. With their complex medium of two-toned steel, two types of paint, and a top layer of clay, these paintings take on an innovative textural and dynamic quality.
This is Piet van den Boog's second solo show at Mike Weiss Gallery. He is represented in many prominent collections in the United States and abroad, including the Scheringa Museum voor Realisme, Spanbroek, the Eileen S. Kaminsky Family Foundation, New York, and the ING Bank, Amsterdam among others.
Mike Weiss Gallery
520 West 24th Street, New York, NY 10011
Between 10th and 11th Avenues
Nearest Subway: C/E 23rd Street & 8th Avenue
Tel: 212- 691-6899 Fax: 212-691-6877
Gallery Hours: Tues-Sat 10 to 6
www.mikeweissgallery.com
BEYOND THE VIEW — HELEN SEAR at KLOMPCHING GALLERY in Brooklyn, NYC
EXHIBITION DATES: APRIL 28—JUNE 11, 2010
The artwork of Helen Sear (b. 1955) has been published in Arts Review, Creative Camera, HotShoe, Art Newspaper and Art Monthly amongst others. Her photographic practice has developed from a Fine Art background of performance, film and installation work made in the 1980’s with her photographs becoming widely known in the 1991 British Council exhibition, De-Composition: Constructed Photography in Britain, which toured Latin America and Eastern Europe. Collections holding her work include Ernst & Young, Victoria & Albert Museum, British Council (Rome) and the Paul Wilson Collection. She lives and works in Wales (UK).
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
Mary Spring Launch Party Sunday May 23 from 4-7pm The Duplex (Upstairs) 61 Christopher Street (at 7th Ave.) at
Mary Spring Launch Party
NickBurdmary
Photo: Heather Greg
Model: Nick Burd, author
Did you know that spring provides the perfect weather to read literature with high homosexual content?
Come out and celebrate the spring issue of Mary Literary Quarterly!
Sunday May 23 from 4-7pm
The Duplex (Upstairs)
61 Christopher Street
(at 7th Ave.)
NYC, NY 10014
Soul Music provided by: Black Female Executive
Mary is a literary magazine published quarterly. Our mission is to showcase Queer/Gay writings of artistic merit.
Contributors:
Colin Fitzpatrick
Rick Castro
Nicholas Boggs
Curt Weber
Daniel W. K. Lee
Geer Austin
Rod Barry
Heather Gregg
Nodeth Vang
James Magruder
Gregg Shapiro
Douglas A. Martin
Saeed Jones
Frank Lorenz
Gee Henry
Robert Siek
Matthew LeBaron
Aaron Tilford
Black Female Executive
Walter Holland
Elliott D. Breeden
Robert Smith
Khary Simon
Jeffrey Escoffier
Dan Halm
Belasco
Interviews with:
Nick Burd
Vince Aletti
Michael Denneny
Jeffrey Escoffier
The spring issue will be available to purchase online May, 24, 2010!
Art Ready: Selected Work from the Artist Mentorship Program May 19-27 at Smack Mellon in Brooklyn, NY
Art Ready: Selected Work from the
Artist Mentorship Program
May 19-27
Opening reception: Wednesday, May 19 at 6pm
Above image: Smack Mellon's 2009-2010 Art Ready students on a field trip to Storm King Art Center in front of the earth work sculpture by Maya Lin, Storm King Wavefield, 2007-2008
Participating Youth Artists:
Yarhissa Balbuena, Elijah Barrott, Denisia Codrington, Abigail Copantitla, Dennis Cyrus, Joseph Foster, Ashley Georges, Leslie Gonzaga, Kevin Granderson, Ralphí Marte, Elijah McMillan, Kabrina McRae, Andrea Montesdeoca, Jahrus Simmons, Ashley Sims, Mariah Texidor
This exhibition presents the work of students who participated in the 2009-2010 session of Art Ready, Smack Mellon's arts mentorship program for motivated high school students interested in possibly pursuing a career in the visual arts. Working with professional painters, architects, installation artists, jewelry makers, video artists, and photographers, the student artists in this show created an impressive range of work in a variety of media. The art on view includes digital videos and animations, digital photographs, drawings in various media, and collages using cardboard and other unconventional materials. One student worked with a jewelry designer to create an original necklace, and two students collaborated with professional architects to design their ideal school through scale models and diagrams. The work will address such topics as body image, urban planning, and personal iconography.
Art Ready is a mentorship program designed to give students the opportunity to experience firsthand what it is like to be a professional working in a visual arts discipline. Students are exposed to a wide variety of artists and arts professionals, participate in internships, and visit museums and galleries.
Art Ready is made possible with public funds from the New York City Department of Cultural Affairs and the New York City Council, and with support from the Helena Rubinstein Foundation and Smack Mellon's Members.
iona rozeal brown book signing Saturday May 22, 5pm-7pm at G FINE ART in Washington D.C.
G FINE ART is pleased to host
iona rozeal brown
book signing
Saturday May 22, 5pm-7pm
Published by the Museum of Contemporary Art Cleveland, the hard cover catalogue features 43 color images of brown's work, and details her residency at the Museum. Featuring an essay by MOCA Associate Curator and Director of Education Megan Lykins Reich and an interview by Isolde Brielmaier.
Gallery opened Wednesday through Saturday 12pm - 6pm
G FINE ART
1350 FLORIDA AVENUE N.E.
WASHINGTON DC 20002
T 202 462 1601
www.gfineartdc.com
info@gfineartdc.com
Rachel Hovnanian Too Good To Be True May 26 - July 30, 2010 Opening Reception May 26th 6-8 at Collette Blanchard Gallery
The Collector, 2010
edition of 5
photograph in archival ink on rag paper
image 24 x 18 inches, paper 26 x 22 inches
Rachel Hovnanian
Too Good To Be True
26 May - 30 June, 2010
Opening Reception May 26th 6-8
Collette Blanchard Gallery is pleased to present Too Good to be True, which will include an installation, performances, and a selection of archival prints by multimedia artist Rachel Hovnanian. This exhibition will be on view at 26 Clinton Street from May 26 - June 30, 2010.
Hovnanian's work engages the politics of beauty with minimal forms that expose intricate relationships that humans have to one another and inanimate objects. Her minimalist palette is nearly completely devoid of color; gray shadows reveal the soft dimensionality of her sculpted installations. The seemingly pure, neutral palette used in her work contrasts, and thus emphasizes the disturbing, and complex nature of perceived beauty and its delimiting consequences. To quote the artist, her palette "imparts...the precursor to reflection." As such, it becomes impossible to avoid the tensions of dependence, decorum and control that pervade her work. In Hovnanian's print, The Collector, a seated male, his back to the viewer, gazes at the items in his collection-one of which is a poised, life-size female trophy. Objectified to the extreme-literally a female sculpted as object-the figure is dressed as a beauty queen. Her colorless eyes and timid grin face the audience, lacking any particular direction of their own.
Ms. Hovnanian lives and works in New York City and received her education at Parsons School of Design, the National Academy of Design, The Art Students League, and the University of Texas. Her work is exhibited internationally and includes shows at the Parasol unit foundation for contemporary art, Jason McCoy Gallery, Meredith Long & Company, David Beitzel Gallery, and Ann Kendall Richards Gallery. Hovnanian's work has been reviewed in the New York Times, Wall Street Journal Europe, and Elle Décor; she was recently interviewed on NPR.
A catalogue will accompany the exhibition.
For more information, please contact the gallery at 646.249.7720 or gallery@colletteblanchard.com.
The Kitchen presents Derrick Adams' Go Stand Next To The Mountain and Narcissister's This Masquerade TONIGHT AND TOMORROW
NOTE: Bernard Lumpkin and Collette Blanchard invite you to join us for cocktails at Collette Blanchard Gallery immediately following the performances at the Kitchen TONIGHT.
Please RSVP at gallery@colletteblanchard.com
The Kitchen presents
Derrick Adams: Go Stand Next To The Mountain
Narcissister: This Masquerade
Friday and Saturday, May 14 and 15 New York, NY at 8-10PM
The Kitchen
512 West 19th Street
New York, NY 10011
(212) 255-5793
http://www.thekitchen.org/
The Kitchen presents Derrick Adams' Go Stand Next To The Mountain and Narcissister's This Masquerade
Double bill will be performed Friday and Saturday, May 14 and 15
New York, NY, May 10, 2010-On Friday and Saturday, May 14 and 15, The Kitchen presents a double bill in which Derrick Adams and Narcissister will premiere new works. Adams' Go Stand Next To The Mountain is a suite of live performances exploring the complex relationships between man and monuments. Known for wildly original performance vignettes dealing with race, gender and sexuality, Narcissister debuts her new piece, This Masquerade. Curated by Rashida Bumbray, performances will begin at 8:00 P.M. at The Kitchen (512 West 19th Street). Tickets are $10.
Visual and performance artist Derrick Adams' Go Stand Next To The Mountain will evolve through masquerade, dance, sound, video projection and sculptural installation. The piece incorporates divergent pop culture references, ranging from 1970s educational television to the original version of the film Clash of the Titans to Jimi Hendrix's Voodoo Child lyrics. Go Stand Next To The Mountain features an original music score and a live DJ set as the soundtrack.
Narcissister creates absurd and playful vignettes of neo-burlesque, utilizing an array of masks, props, choreography and costumes. For This Masquerade, she debuts a new series of performances alongside her cast of masked cohorts to offer up a complex and riotous critique of popular culture's spurious ideas about black femininity. The piece also features original music by Evan Collier.
Enjoy live music and silent film under the Manhattan Bridge TONIGHT!
Cinema 16 - Thursday, May 6 at 8pm
Enjoy live music and silent film under the Manhattan Bridge!
(Note: this event is not at the gallery)
Doors open at 7pm.
Film screening and live performance by MotMot begin at 8pm.
Presented in the Archway under the Manhattan Bridge, located at Pearl and Water Street in Dumbo, Brooklyn. The featured film is The Adventures of Prince Achmed, by Lotte Reiniger.
Ice cream available from the
Van Leeuwen Artisan Ice Cream Truck
Cinema 16 is part of the gallery's Press Play First Thursdays concert series, a free concert series held in
conjunction with the Dumbo First Thursday Gallery Walk*.
MORE ABOUT CINEMA 16
In an era when film has been reduced to the tiny screens of our laptops and ipods, oftentimes viewed alone, Cinema 16 resurrects communal performance experience. Cinema 16 revives the silent film era in which live music would accompany black and white 16mm projections. Taking from the tradition of vaudeville, the performance is showcased at a variety of spaces. Cinema 16 has been hosted at the National Arts Club, 92Y Tribeca, Galapagos, Starr Space, Greenpoint's Coco66, the Bell House, among many other stellar locations.
Named after the New York-based avant-garde film society in 1947 and inspired by Maya Deren's Greenwich Village exhibition of experimental films, Cinema 16 pairs edgy contemporary musical artists with vintage films, curated by Molly Surno. The performances meld the worlds of art, film and music.
~
MOTMOT is a sound art project comprised of multi-instrumentalists Sahba Sizdahkhani and Shamos Dan. Originally from Iran and Israel, they met in Brooklyn, New York while working in a larger ensemble. Influences are wide but center on native tribal cultures, the hypnotic nature of ritual practices, and the musics of various spiritual traditions throughout history. They currently utilize a conglomerate of electric and acoustic instruments, and the result is simultaneously subtle yet encompassing to the listener. They will score the epic feature length animation, The Adventures of Prince Achmed, by Lotte Reiniger.
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*A festive occasion each month for art lovers. A chance to visit many quality galleries at night in one artsy Brooklyn neighborhood - galleries showing works from artists of many disciplines while hosting receptions, producing live music performances, screenings and curator/artist talks among other highlights. Event is free to the public. No RSVP required. Attendees choose their own routes. Maps & location flyers on-site. Drink specials throughout the evening at local bars.
Tehom : A new work by Angelo Musco at The Carrie Secrist Gallery in Chicago
Tehom : A new work by Angelo Musco
The Carrie Secrist Gallery is pleased to announce our next exhibition, "Tehom", a solo show by Italian artist Angelo Musco. Two years in production, the show includes Musco's photo installation "Hadal", which was shown in the 53rd Venice Biennale last summer.
The title piece, "Tehom", an underwater world populated with tens of thousands of nude bodies, will cover the main wall of the gallery stretching 12 x 48 feet wide. The dialogue between classic art forms and contemporary expressions is one of the main themes of Musco's photographic work. Using mosaic type panels and photo pieces allows the artist to make the entire gallery a unique underwater world experience.
The etymology of tehom comes from Hebrew literally meaning "deep" or "abyss", and in the Bible refers to the great deep of the primordial waters of creation. Musco's Tehom incorporates deep heavenly waters bursting with life, and dark spirals of humanity propelled together with grace and tension, some floating and other bodies fight to make contact and engage the viewer, not unlike the sirens of Greek mythology.
The show is made up of six different pieces. "Hadal" is constructed by 158 panels creating a swirling vortex of two thousand bodies reminiscent of a floating nest or a school of fish, each recurring themes of his work. "Avernus" further explores human forms in an artificial environment constructing patterns found in nature. By contrast, this triptych depicts not the vast open sea but rather an inland lake, one supposed by the Romans to be the entrance to Hades. The smallest work, "Progeny", is an 8 x 8 bundle of limbs and torsos floating like a giant human egg. "Sibille" is a triptych of eleven beautiful woman breaking the surface of the water with an otherworldly attitude that is a direct reference to Greek mythology.
Angelo Musco, lives and works in New York City. His work uses the human body and is inspired by natural architecture relating to birth and the earliest markers of life: the zygote, amniotic fluid, containers of life, nourishment, and the tensions of birth. The artist's own traumatic birth in the eleventh month has left both physical and psychological scares on the artist and it is this experience which inspires and informs his work.
Please contact Natalie Popovic Schuh at 312.491.0917 if you have further questions.
Angelo Musco, Tehom, 2010, 12 x 48 ft, c-print printed on metallic photo paper, and mounted between aluminum and Plexiglas.
LISA EISNER PSYCHONAUT May 1 - June 5, 2010 at M+B in Los Angeles, California
Psychonaut, 2010, photographic assemblage
LISA EISNER
PSYCHONAUT
May 1 - June 5, 2010
Artist's Opening Reception
Saturday, May 1, 6-8 PM
M+B is pleased to present Psychonaut, an exhibition and installation by artist Lisa Eisner. Eisner who is best known for her photographic explorations of the American West (publications include Shriners and Rodeo Girl) has turned her eye to nature with Psychonaut, an amalgam of the past four years of her work. In the artist’s words it is as if she “threw the photos in the air and cut them all up as they were falling down”. Psychonaut is a kaleidoscopic adventure into a vibrant world of seeming randomness, a collection of one-of-a-kind assemblages without editions and without using Photoshop that is her most personal work to date. The exhibition opens May 1, 2010 and will run through June 5, 2010, with an opening reception for the artist on Saturday, May 1 from 6 – 8 pm.
Taking the title from the Greek word meaning literally, “a sailor of the mind/soul,” Psychonaut explores the journey of a spiritual seeker who uses altered states of consciousness to address spiritual questions in a modern way, without the use of psilocybin.
Eisner draws inspiration from the kindred spirit of Buckminster Fuller and his geodesic domes, Native American culture, geometry, nature, birds, and a homegrown spirituality. Her method is to, “accidentally discover what isn’t an accident” by working hands-on with the images. She is informed by the colors and textures of the photos rather than the themes and composition, and allows the process to guide the series. What emerges is a handcrafted, three-dimensional psychedelic explosion that is alternately bright and soothing, meditative and disorienting. Psychonaut does not explain but self-propagates the creative source from where it came. Eisner collaborated with Matt Monroe on the dome structure for Psychonaut and with Haley Alexander van Oosten/L’Oeil du Vert on the scent sculptures.
Lisa Eisner, an avowed psychonaut of the California-by-way-of-Wyoming variety, is a photojournalist, fashion editor and co-founder of Greybull Press. She is a frequent contributor to Vanity Fair, W Magazine, Harper’s Bazaar, Paris Vogue, GQ, and The New York Times Magazine. She currently resides in Los Angeles with her husband Eric and their two sons Charlie and Louie. This is her second solo exhibition with M+B.
For further information, please contact Shannon Richardson at 310 550 0050, shannon@mbfala.com, or visit our website www.mbfala.com.
M+B
612 NORTH ALMONT DRIVE
LOS ANGELES, CALIFORNIA 90069
T 310 550 0050
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BEYOND THE VIEW — HELEN SEAR at KLOMPCHING GALLERY in NYC
BEYOND THE VIEW — HELEN SEAR
OPENING RECEPTION
Thursday, May 13th, 6pm-8pm
KLOMPCHING GALLERY cordially invites you to the opening reception of Beyond The View, by Helen Sear.
In this new series of work, Beyond The View, Helen Sear continues her investigation into the sublime—and an engagement with the retinal and digital—through her innovative use of image superimposition and erasure. The dialogue between the artwork and viewer, as well as the labor of the artist’s hand, is enhanced by a shift in scale that emphasizes the artist’s concern with the viewer’s habits of looking.
Beyond The View is an ongoing exploration, with the photographs originating in and around the agricultural lands south of Milan. The images are a response to the 'hidden' presence of women in this rural environment on the edge of the city. Within this seires, Sear develops the notion of a visual subterfuge, both in the construction of the image itself, as well as positioning the presence of the female subjects within a precarious dichotomy of power/subordination, referencing the clichés of landscape and portraiture, particularly the Northern Romantic tradition of painting.
This exhibition follows Helen Sear’s highly successful first show with Klompching Gallery in January 2009. Later that same year, she was named as one of the UK’s 50 most significant artist photographers by Portfolio.
The artwork of Helen Sear (b. 1955) has been published in Arts Review, Creative Camera, HotShoe, Art Newspaper and Art Monthly amongst others. Her photographic practice has developed from a Fine Art background of performance, film and installation work made in the 1980’s with her photographs becoming widely known in the 1991 British Council exhibition, De-Composition: Constructed Photography in Britain, which toured Latin America and Eastern Europe. Collections holding her work include Ernst & Young, Victoria & Albert Museum, British Council (Rome) and the Paul Wilson Collection. She lives and works in Wales (UK).
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
Winfred Rembert: Memories of My Youth at Adelson Galleries in NYC
Winfred Rembert: Memories of My Youth
In a special event, Adelson Galleries and Peter Tillou Works of Art will present the paintings of Winfred Rembert next spring. This exhibition, taking place April 7-May 28, 2010, will be Rembert's first major
solo exhibition in New York. A fully-illustrated color catalogue with an essay by Jock Reynolds and special events will accompany the show.
A self-taught artist, Rembert grew up working in the cotton fields of Cuthbert, Georgia, in the 1950's. He was arrested after a 1960's civil rights march and survived a near-lynching before serving seven years in jail. It was in jail, creating wallets next to another inmate, that he first learned to hand-tool leather. Years later, at the suggestion of his wife, Rembert integrated storytelling and the tales of his youth into tableaux on sheets of tanned leather. He soon attracted the attention and support of Jock Reynolds, Director of the Yale University Art Gallery, who exhibited his work next to that of renowned African-American artist and educator Hale Woodruff.
Rembert often begins his pictures with drawings to work out detailed patterns. When the stories are carved and tooled into the leather, his images take on texture and depth, and finally he paints the surfaces in vivid dyes. The surface of the piece becomes an important aspect of the composition. The final images offer a flamboyant narrative of life in the still-segregated South of the mid-twentieth century.
Rembert draws heavily from his own experience, populating his paintings with pool sharks, reverends,
midwives and chain gangs—all of which come to life with the richness and vitality of oral tradition. The scenes range from cotton fields to night life. Each is as finely detailed as it is emotionally powerful.
Cotton Rows is a spiritual image. Rembert's vibrating patterns, a consistent theme in his work, undulate in this picture. They flow like music. The workers' arms are raised toward the heavens. Each is bowed in gentle curves that resonate across the painting. Floating cotton balls give the image a mosaic quality. Note the large bags slung over each of the pickers' shoulders, dragging behind with the fresh-picked cotton. The strong color palette and graceful characters convey a beauty that belies the brutal labor taking place.
In Jazz Dancing, we feel the pulsing heartbeats, breathless swinging and strutting feet of exuberant dancers. Jamming, soulful music exudes from the band: we can hear it. Pleasure radiates from the girls in dresses: we share it. Storylines and recurring characters appear throughout Rembert's body of work. You know these are his stories; he was there and he remembers these powerful experiences as if they were yesterday.
Peter Tillou Works of Art in Litchfield, CT, specializes in 17th- and 18th-century American and European
furniture, antique carpets, American folk art, arms and armor, early African sculpture, Pre-Columbian art, European Old Master paintings and sculpture. Peter first met Winfred Rembert seven years ago at a school in Waterbury, CT, and was immediately drawn to the person behind the stories. Over the ensuing years, Peter has remained committed to supporting Winfred and his family and dedicated to getting Rembert's works of art out to public and private collections.
For over 40 years, Adelson Galleries has handled some of the finest American paintings to come to market, placing works in major private collections as well as leading public institutions. Distinguished for its expertise in the fields of American Impressionism, Realism and Modernism, the gallery was founded in 1964 by Warren Adelson in Boston, and is located today in a turn-of-the-century townhouse on New York's Upper East Side.
In addition to sponsoring both the John Singer Sargent and Mary Cassatt catalogue raisonné projects, the gallery regularly handles works by leading 19th- and 20th-century American artists. The gallery also exhibits works by selected contemporary artists, Andrew and Jamie Wyeth, among others. Recent Adelson Galleries exhibitions have included Andrew Wyeth: Helga on Paper; Sargent's Venice; Frederic Edwin Church: Romantic Landscapes and Seascapes; Jamie Wyeth: Seven Deadly Sins; Mary Cassatt: Prints and Drawings from the Collection of Ambroise Vollard; and Stephen Scott Young: New Works.
About the artist
Winfred Rembert (b. 1945)
A native of Cuthbert, Georgia, Winfred Rembert spent his childhood as a fieldworker in the pre-civil rights South. Brought up by his great-aunt ("Mama"), Rembert paints stories that look back to his youth in the days of segregation. Despite the often grim working conditions he encountered (not to mention a near-lynching and years spent on a prison chain gang), Rembert's works focus on the joyous aspects of black life in the 1950s South — the strong family and community bonds, the cultural vibrancy, and the many colorful characters that lifted the spirits of those who had little choice but to labor in the region's cotton and peanut fields.
Marked by tactile surfaces, saturated colors, and lively, rhythmic patterning, Rembert's works are painted on leather sheets that he hand tools and then dyes. These energetic compositions — with their engaging narratives of life in the rural South — have brought Rembert comparisons to noted African-American artists Hale Woodruff, Jacob Lawrence, Horace Pippin, and Romare Bearden. Rembert, who is self-taught, lives and works in New Haven, Connecticut. His paintings are represented in a number of important public and private collections, and were the subject of a major exhibition at the Yale University Art Gallery in 2000.
About the Gallery
For over 40 years, Adelson Galleries has handled some of the finest American paintings to come to market, placing works in major private collections as well as leading public institutions. Distinguished for its expertise in the fields of American Impressionism, Realism and Modernism, the gallery was founded in 1964 by Warren Adelson in Boston, and is located today in a turn-of-the-century townhouse on New York's Upper East Side.
In addition to sponsoring both the John Singer Sargent and Mary Cassatt catalogue raisonné projects, the gallery regularly handles works by leading 19th- and 20th-century American artists, including George Bellows, Frank Benson, Mary Cassatt, William Merritt Chase, Thomas Wilmer Dewing, Thomas Eakins, Marsden Hartley, Childe Hassam, Robert Henri, Winslow Homer, Edward Hopper, Eastman Johnson, John Marin, Georgia O'Keeffe, Maurice Prendergast, John Singer Sargent, Edmund Tarbell, Andrew and Jamie Wyeth, among others. The gallery also exhibits works by selected contemporary artists. Recent Adelson Galleries exhibitions have included Andrew Wyeth: Helga on Paper; Sargent's Venice; Frederic Edwin Church: Romantic Landscapes and Seascapes; Jamie Wyeth: Seven Deadly Sins and Recent Work; and Mary Cassatt: Prints and Drawings from the Collection of Ambroise Vollard.
19 EAST 82ND STREET
NEW YORK, NY 10028
TEL. (212) 439-6800
MONDAY THROUGH FRIDAY
FROM 9:30 - 5:30
OPEN SATURDAYS THROUGH MAY 22ND
FROM 10:00 - 5:00
Galerie Orange is pleased to present the recent works by photographer Laurent Guérin.
Four years after the launch of his catalogue and similarly titled exhibition Nipponga ("a view on Japan"), the Montreal-based photographer comes back full force with Samayou ("restless wandering"), a series accomplished from his prolonged travels in Japan over the past three years. From the islands of Okinawa to Tokyo and the most Northern point of the country, Guérin built up a corpus of photographs as type of visual journal. A chronicle of restless wondering where "walking, waiting and searching" are subscribed to the most natural of approaches between the artist and his subjects. Close to fifty photographs will be unveiled, including two mosaics capturing Tokyo by day and night.
His camera celebrates and desecrates at the same time all subjects, shifting with ease from the most serious to the most humoristic. Guérin's photographs are not to be mistaken as a mask eluding reality, but rather an instrument of measure and a sharp extension of his singular vision. Here the artist rejects the grey matter like one would push away categorical conventions in order to get closer to a form of dream-like truthfulness.
Laurent Guérin does not wish to dominate what he sees, neither does he want to surrender to it. Without any pre-established method, his photographs juxtapose the raw and poetic form, like the automatic gesture found in painting. Centered around the theme of liberty, these photographs are underlined by the influences in Japanese photography of the 1950s and 1960s, inspiring the artist through his pilgrimage amongst the Japanese land and its inhabitants.
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Information : Annie Lafleur - (514) 396-6670.
Galerie Orange, 81 rue St-Paul Est (coin/corner St-Gabriel), Montréal.
Métro Champ-de-mars.
RYAN HUMPHREY Early American May 8 – June 20, 2010 at DCKT Contemporary in NYC
RYAN HUMPHREY
Early American
May 8 – June 20, 2010
Opening Reception: Friday, May 7, 6-8pm
DCKT Contemporary is pleased to present Early American, RYAN HUMPHREY’s third solo exhibition with the gallery. HUMPHREY explores duality through an altered, customized version of an 18th century American interior. The installation hijacks the format of a formal and affluent interior, infusing it with cast-offs and objects more likely found in a rural garage than an antique shop. Class and taste are called into question and the hierarchy of materials associated with social stratification is discarded.
Take a period room from a museum, filter it through the worlds of car culture, metal and hip hop music and the X Games and you end up with this: hand-painted faux wood paneling, console tables, wing back chairs, chandeliers, rugs, girandole mirrors and candlesticks all made from bottle caps, rubber coatings, broom handles, car rims, pop rivets, license plates and sheet metal.
Tread is a hand-painted and lettered found sign from a Brooklyn “flat fix” storefront transformed into a contemporary “DON’T TREAD ON ME” echo of a flag flown during the American Revolution. A series of bird houses incorporate “firebirds” from late 1970s Pontiac Trans Am muscle cars, symbolic of the mythical phoenix resurrecting itself. Good Gay, a banner with the logo from heavy metal band Judas Priest fused with a gay pride rainbow flag, creates a new symbol which highly alters the traditional meanings of the individual parts.
HUMPHREY lives and works in New York City. He will have a solo exhibition at Kunsthalle Galapagos (Brooklyn, NY) September 15 through November 7, 2010. Previous solo exhibitions include The Galleries at Moore (Moore College of Art and Design, Philadelphia) and the Kemper Museum of Contemporary Art (Kansas City). Group exhibitions include Queens International 4, Queens Museum of Art (NY) and the traveling group exhibition Will Boys be Boys?: Questioning Adolescent Masculinity in Contemporary Art, curated by Shamim M. Momin. He completed the Independent Study Program of the Whitney Museum of American Art, received his MFA from Hunter College in New York and his BFA from Ohio University.
The exhibition will be on view at DCKT Contemporary, 195 Bowery (at Spring Street).
Hours are Tuesday through Sunday, 11am – 6pm.
Sarah Lutz: Recent Work at Lohin Geduld Gallery New York
Sarah Lutz, Burst, 2009, oil on canvas, 60 x 48 inches
Sarah Lutz: Recent Work
April 29 - June 5, 2010
Opening reception Saturday, May 1, 5 to 7 pm
Lohin Geduld Gallery is proud to present our second exhibition of paintings by New York artist Sarah Lutz.
Sarah Lutz is an artist who thoroughly enjoys the visceral pleasures of oil painting. Her lush, colorful surfaces ooze with rich impasto and translucent shimmering glazes. The sensuality of Lutz’s paint handling puts the viewer in a subjective and participatory position by creating a cornucopia of physical and mental sensations.
What is seen during this synesthetic experience is a phantasmagoria of squiggles, pile-ups, blobs and drips that suggest a primordial hothouse where all manner of cross-pollinations occur. Lutz has cited sources ranging from Venetian chandeliers to the experience of snorkeling as part of her studio discourse, and one can sense the thrill of discovery as she ventures through these opulent and animated realms.
Lutz revels in the technical extremes of her medium, pushing the qualities of the paint to register as palpable metaphor. As her thoughts turn to underwater caverns the paint literally thins to an aqueous state. Other passages focus on piles of donut shapes, slathered on and encrusted like the excessive confections of an overzealous pastry chef. Her color choices of vibrant reds, fleshy pinks, watery blues and biting greens underscore the buoyant sense of discovery and playfulness found in these works. This exhibition finds Sarah Lutz having a great deal of fun. Her formal inventions are equaled only by her vivid imagination.
Sarah Lutz received a BS in Studio Art from Skidmore College and an MFA from American University. She has exhibited her work at the Richmond Art Center at the Loomis Chaffee School, Windsor, CT; 55 Mercer Gallery, New York, NY; The Painting Center, New York, NY; The Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY; The Bromfield Gallery, Boston, MA; DNA Gallery, Provincetown, MA; Brick Walk Books and Fine Art, West Hartford, CT; and Miranda Fine Arts, Port Chester, NY, among others. Her work has been reviewed in the New York Observer, the Boston Globe and the Village Voice.
Julie Heffernan: Boy, Oh Boy at P•P•O•W Gallery in New York
Julie Heffernan: Boy, Oh Boy at P•P•O•W Gallery
April 29 – June 5, 2010
Opening Reception
Thursday, April 29, 6-8pm
P•P•O•W is pleased to announce Boy, Oh Boy, our sixth solo exhibition of paintings by Julie Heffernan. Using the male figure for the first time, Heffernan’s new works explore the idea of human progress on both personal and political levels. The figures are an homage to transition and the passing on of wisdom from one generation to the next. The space of the canvas meditates on how we move into new chapters of our lives, both personally and as a planet.
Stuart Cumberland at Nicholas Robinson Gallery in NYC
Nicholas Robinson Gallery is pleased to present the first New York solo exhibition of British painter, Stuart Cumberland, a continuation of his practice recently articulated in a solo show at the approach in London. Called Fort/Da, (Gone/There in German) and quoted from Freud's Beyond the Pleasure Principle from 1920, the show sought to examine the presence and absence of Freud's game in painterly form.
In similar vein, the paintings in Gone/There assert a clear and strong physical presence through the use of bold, black, quasi-cartoon outlines of figural elements. Blocked areas of these passages are then obscured, palimpsest-like, to allow for a simpler pictorial element to exist on top.
At times this passage shows the ghost marks of the line underneath, and in others a solid color of bravura painterliness takes their place. In both instances, the unequivocal flatness of the surface remains unchallenged, and the overlaid element - the creator of the 'absence' - in turn asserts its own emphatic (ironic) presence.
The works are decidedly homemade, but quote and parody the tropes of mechanical production. For instance, the CMYK palette mimics the composition and extrapolation of colors in digital printing. The immediacy of the painted line uses a drawn schema that is then projected onto the surface and loosely utilized as compositional template (explaining the multiple permutations of the figural idioms from one painting to the next), and the use of benday dots imply silkscreen and/or printing processes, but are in fact executed by means of painting through hand-cut stencils.
Redolent with knowing humor and arch references, Cumberland makes serious paintings that develop the diversity present in modern and contemporary painting. Variously evoking Lichtenstein, Polke, Durham and even Oehlen, Cumberland makes fresh, energetic and sophisticated paintings that slyly use caricature without falling victim to its superficial triteness.
Based in London, Cumberland has exhibited worldwide, was the recipient of a Saatchi Royal College of Art Fellowship, and was most recently exhibited at the prestigious Bloomberg Space in London.
Please contact the gallery for further information: 212.560.9075 / info@nrgallery.com
Elektra, by Kristen Schiele and The Forest for the Trees, by Clare Grill at Sloan Fine Art in NYC
Sloan Fine Art is pleased to present Elektra, by Kristen Schiele in the front gallery and The Forest for the Trees, by Clare Grill in the project room.
With her new body of work Elektra, Kristen Schiele continues her celebration of strong female characters and deconstruction of architectural settings. Utilizing a variety of techniques including silkscreen, painting and ink transfers, Schiele achieves a disjointed, densely layered effect, creating paintings that are at once timeless, nostalgic, fierce and contemporary. Compositions are cut apart, x-rayed and reassembled. Stages are set and cast with subjects straight from classic pulp novel and fashion magazine covers. As in her inspiration, B movie and classic horror films, the objects, patterns, costumes and characters are mythological, kitsch symbols. The final works are designed and decorated environments in which the “bad girl” clearly holds all the cards - if not a knife.
Kristen Schiele earned her BFA from Indiana University, her MFA from American University and also studied at the Hochschule der Kunste in Berlin. Her work has been exhibited worldwide at CWB Gallery in Berlin, Caren Golden Fine Art in New York, the Portland (Oregon) Institute for Contemporary Art and the Corcoran Museum of Art to name a few. She participated in the Bronx Museum’s Artist in the Marketplace program and has completed residencies at the Provincetown Work Center, the Lower Manhattan Cultural Council and the Lower East Side Printshop. This is Kristen Schiele’s second solo exhibition at Sloan Fine Art. She currently lives and works in Brooklyn.
Through exquisite paint manipulation that includes transparent layering, aggressive sanding and delicate impasto, Clare Grill executes romantic, filmy images that evoke memories of beliefs and stories handed down, held dearly, or sadly lost through the years. Rendered in a color palette that wavers between washed-out and burnt-in, Grill's paintings allude to the confusion, fear, obedience, and anxiety attached to discovering the world we inherit and the histories we are part of. In The Forest for the Trees, Grill encourages the viewer to see what’s familiar in all its complexity.
Clare Grill studied in St. Paul, MN before moving to New York where she earned her MFA from Pratt Institute. She has exhibited at venues including Edward Thorp and Jen Bekman in New York, Rare Device in San Francisco, Roots and Culture in Chicago, the Center on Contemporary Art in Seattle and the Islip Art Museum. She has participated in the Bronx Museum’s Artist in the Marketplace program, the Drawing Center's Viewing Program, Aljira's Emerge Program and the Vermont Studio Center’s residency program. Clare Grill lives and works in Queens.
Sloan Fine Art is located at 128 Rivington Street on the Lower East Side of New York City. Hours are Wednesday to Sunday, noon to 6, and by appointment.
Tod Wizon The Little Darknesses at Nicholas Robinson Gallery
Nicholas Robinson Gallery is pleased to present an exhibition of The Little Darknesses, a suite of nocturnes completed by Wizon in 1996.
Consisting of 14 paintings on panel numbered sequentially, The Little Darknesses are each suggestive of a primordial atmosphere/landscape. Ostensibly abstract and overtly referencing painterly invocations of the sublime, the suite of works both hint at and reflect the artist's preoccupation with Promethean creativity, counter-culture psychedelia, literature and music.
Evoking an aura reminiscent of early nineteenth century romanticism, the resonances of Martin, Blake, Fuseli et al are unmistakable within the suite. Lacking linear or literal narrative the sequence nevertheless suggests a progression or crescendo of sorts, culminating in the painting Mars, rendered solely in Mars black.
These enormously labor intensive works are painted in acrylic, meticulously layered with glazes of diaphanous color.
Jewel-like in their brilliance, the works possess an internal illumination, evoking a hermetic world of mysticism, asceticism and dark beauty, yet also suggesting the tumult of irresistible forces.
Informed by an intensely personal sphere of influences, Wizon's paintings are as much renderings of his own psychological landscape as they are evocations of environments and atmospheres. The works are at once painterly, melodic and lyrical - modest in scale but emotionally baroque.
Wizon has been exhibiting for over 30 years and has shown with some of the world's foremost galleries, including the Willard Gallery, Annina Nosei, Bruno Bischofberger, Daniel Templon and Ramis Barquet. His works have also been widely exhibited in Museums and are included in the permanent collections of the Metropolitan Museum of Art New York and Museum of Contemporary Art, Los Angeles.
Please contact the gallery for further information: 212.560.9075 / info@nrgallery.com
Last weekend I attended a great exhibit and art talk at a great gallery called Renaissance Fine Art
Last Sunday I attended an exhibition and artist talk at a great new African-American owned gallery in Harlem called Renaissance Fine Art. RFA's mission is to cultivate emerging collectors, provide stellar gallery representation to well-established and emerging artists, and afford individuals and groups with a quaint neighborly space for business and cultural affairs. I believe the gallery is well on it's way to fulfilling it's stated mission.
Girl Talk: Narratives by Eight Women co-curated by Deborah Willis, photographer, author of the "Posing Beauty in African American Culture from 1890 to the Present," chair of the Department of Photography & Imaging Department at the Tisch School of the Arts, New York University and M. Liz Andrews, performance artist and arts administrator. Girl Talk was a presentation of photographs, paintings, film, jewelry and quilted pieces exploring the themes of imposed identity, beauty, tradition and self-definition. The title of the show is inspired by the song "Girl Talk" by Dakota Staton. "Her rendition of "Girl Talk" reminds us of the importance of women sharing stories and telling histories. The history of women in this nation is comprised of a multitude of stories, struggles and successes." Willis declares.
Through their artistic works, the eight women represented in Girl Talk honor and extend the narratives of many women. "It is a celebration and an opportunity for reflection about those who give and sustain life with their bodies, spirits and voices," says Andrews.
The artists included: Ifetayo Abdus-Salam, a photographer whose work prompts contemplation of the notion of power, sexuality and identity; Micaela Anaya, a painter influenced by Frida Kahlo and Salvador Dali who will feature portrait pieces with a deliberate political; Delphine Fawundu-Buford, a photographer, whose portraits are emblematic of the song Four Women by the iconic Nina Simone; Anna Maria Horsford, better known as a television and film actor, presented jewelry and adornment designs; Letitia Huckaby, a photographer and journalist, uses quilts to create intimate narratives that reflect the cultural history of African Americans;
Melvina Lathan, the first female licensed Boxing Judge in New York and artist who uses fiber to create works whose subjects range from history to contemporary culture; Carla Williams, a writer and photographer who presented portraits capturing images of femininity and
Kathe Sandler, an award winning independent documentary filmmaker who explores race, gender, culture, identity, and history.
About the Gallery
NEW YORK October 16, 2009 - Curtis Jacobs, Founder/President of Renaissance Fine Art, Inc. ("RFA"), located at 2075 Adam Clayton Powell, Jr. Blvd (7th Ave.), New York, New York 10027 is pleased to announce the gallery's official launch.
In a joint effort to contribute to the redevelopment and artistic enrichment of Harlem, Jacobs has invited curator Paula Coleman to join RFA as Director. Jacobs and Coleman are thrilled to have this unique opportunity to participate in Harlem's ever-growing and dynamic cultural life. RFA displays the works of contemporary painters, sculptors, and photographers, specializing in the works of artists from the Diaspora. In support of other artistic expressions, the gallery provides a venue for film screenings, book signings, educational workshops, and seminars. RFA will also be available for rentals, artistic salons, private parties, and business meetings. RFA's mission is to cultivate emerging collectors, provide stellar gallery representation to well-established and emerging artists, and afford individuals and groups with a quaint neighborly space for business and cultural affairs.
Curtiss Jacobs is a current Wall Street executive with a fond appreciation for the visual arts. Jacobs worked for a number of years as a successful commercial photographer, specializing in fashion and beauty developing his skills while working under legendary photographers Richard Avedon and Annie Leibovitz. Jacobs has always been passionate about the unparalleled creativity that emerged during the Harlem Renaissance period, which was the inspiration for the gallery's name.
As the nexus of the famed 1920s Harlem Renaissance -- where countless artists, writers, poets and musicians converged to create a cultural Mecca - RFA Fine Art will offer a local venue for community artists and creative visionaries. The gallery is dedicated to Joseph David Jacobs a talented painter in his own right and Jacobs' father.
Paula Coleman, Director, emerged on the New York art scene in 2001 at the beginning of the gentrification of Harlem. She co-founded the P.C.O.G. Gallery for six years with the renowned sculptor Ousmane Gueye. Coleman has been an Education Consultant for the past four years, teaching curatorial workshops at Community Prep H.S. in Manhattan. In 2009, she added W.L.Bonner Center's cultural program to her portfolio, teaching their first intergenerational art workshop. As a Harlem resident, Coleman stays involved with its cultural life and continues to work and stay committed to local artists and small businesses.
Renaissance Fine Art | 2075 Adam Clayton Powell Jr Blvd, New York, New York, 10027
Hours: Wednesday – Saturday, 11:00 am - 7:00 pm
Dawn of a New Era New Paintings by de la Haba at NY Studio Gallery
Dawn of a New Era
New Paintings by de la Haba
Curated by Raúl Zamudio Taylor
April 15 - May 8, 2010
Reception Friday April 16 7-9pm
Gorden Burn: If you got to make a fool of somebody, who would it be?
Damien Hirst: God
de la Haba: Damien Hirst
NY Studio Gallery is pleased to host Dawn of a New Era new work by de la Haba.
This exhibit by a New York born-and-raised bad boy paradoxically riffs on the richest artist in the world and opens on tax day. In response to Damien Hirst’s recent exhibit “The End of An Era”, where the conceptualist master was panned by the press for his technical abilities, multi-media artist and painter’s painter de la Haba has created new and never-before-seen oils depicting spring and renewal, rebirth, procreation, and apocalyptic imagery. The work fills a gap that New York Times critic Roberta Smith recently identified in her article “Post-Minimal to the Max.” “What’s missing,” she states, “is art that seems made by one person out of intense personal necessity, often by hand. A lot but not all of this kind of work is painting, which seems to be becoming the art medium that dare not speak its name where museums are concerned.”
The source imagery for de la Haba’s large scale oils is both the figure, de la Haba himself and his two young sons, and the epic Equus Maximus, made of three life-size taxidermy show-horses in full Vegas dance-hall regalia. Two are gray mares lying upon a broken casino table kicking under a rearing black stallion, all three displaying exaggerated sex organs. This emotionally provoking installation as well as the incarnations that follow are a well concerted bridge between Conceptualism, Eroticism, representation and most importantly perhaps, painting.
About de la Haba
Apart from being an exceptionally skilled painter with a pedagogical lineage that stretches back to the great Neoclassicist Jacques-Louis David, de la Haba is a gambler in more ways than one. Hosting casino nights in his loft where a 14' craps table takes center stage the artist spent more than 10 years at Belmont and Saratoga racetracks handicapping the ponies-and winning, to the point where he became horse owner, stepping into the winner's circle on more than one occasion (hence the horse iconography in his work). Selected solo and group exhibitions by de la Haba include: “Equus Maximus” Jack the Pelican Presents “Queens International 4” Queens Museum, Pool art fair 2010, Gershwin Hotel. Trash Art Museum, Munich. Salzburg arts festival, Austria. Bridge art fair, Miami “Surfboards and Skateboards” World Erotic Art Museum of Art ,.
About Raúl Zamudio Taylor
Raúl Zamudio Taylor is a New–York based independent curator and critic. He was Art Director, Other Gallery, Shanghai; and Director of Exhibitions, White Box, NY. He has curated over 60 exhibitions in the Americas, Asia and Europe. Recent exhibitions include co-curator, 2009 Beijing 798 Biennale, co-curator, 2008 Seoul Media Art Biennale, and artistic director, 2008 Yeosu International Contemporary Art Festival. As a critic, he has authored over 200 texts published in books, encyclopedias, museum and gallery exhibition catalogs, magazines and journals.
Barbad Golshiri 'Nothing Is Left to Tell' at Thomas Erben Gallery in New York
Nothing Is Left to Tell
Barbad Golshiri
April 15 - May 15, 2010
Opening Reception: Thursday, April 15, 6-8:30 pm
Thomas Erben Gallery is proud to present the first US solo exhibition of Tehran based conceptual artist Barbad Golshiri (b. 1982). The five pieces in Nothing Is Left to Tell are exemplary of the artist's prolific practice that includes media arts, theater, "Aktion" and critical writing.
Central to his work is the examination of media and their potential to manipulate as well as the arts' plane of the feasible; the impossibility of quitting the possible field of what Golshiri calls "exhibiting". A recurring theme is loop and répétition: "One acts in loop," he remarks, "when one is trapped and the belief in any transcendence and escape is far from hand, that is when one is obliged to do the same thing."
In the video What Has Befallen Us, Barbad? (2002, 26 min.), the artist's long hair is falling unto a lit surface as it's getting cut, the condition set by the newspaper he worked for as an art critic at the time. In what he calls "a Faustian experience; selling not just my soul, but also my body," he is "exhausting [himself] with art." Referencing an earlier short story by his father Houshang Golshiri (a famed Iranian writer), instead of speaking up, he lets the poetic imagery protest silently.
Extending from Jxalq [(dzxælgh) v.t. & i., act of creating a masturpiece] (2006), which was included in Looped and Layered at this gallery last spring, Masturpiece (2006, 12 min.) presents to us a woman, bundled in white and lying on her stomach slowly undulating back and forth. Via voice over and subtitles, a treatise meanders like a dream sequence, conflating the video image with thoughts around Descartes' Meditations and the painting The Stone Operation (1475-1480) by Hieronymus Bosch, depicting the removal of the stone of folly.
A megaphone built into the short end of a protruding v-shaped mirror appears as a multi-pedaled flower in Narcissus Echoes (2009-10), see image above. When drawing close, one witnesses a remorseful confessor - the artist - who has gone through numerous répétitions only to become another descendent, a new echolalic agent of the ideology of the "Sacred System". He speaks within a cluster of "truths", revealed to him under mental and physical abuse in prison. In solitude - where no "alien" thoughts could penetrate - the artist confesses his socio-political, sexual and cultural sins. An ambivalent symbol of authority and spectacular atonement in Narcissus Echoes, the megaphone is liberated in the documented "Aktion" Distribution of the Sacred System (2010) and becomes the mouthpiece of dissent.
Displayed in the project room is Golshiri's First Aplasticist Exhibition (2009) in which he has removed all paintings and papers from Malevich's Last Futurist Exhibition (Petrograd, 1915).
With intellectual confidence, Golshiri embeds a wealth of references - literary, bodily, philosophical, autobiographical, historical, political - into his works entrusting the audience to decipher not only what can be seen in the artist's pieces, but also what has been injected between the proverbial lines. In his home country, Golshiri has acquired a reputation, constantly walking a very fine line between the expectations of an audience for critical commentary and the need to maintain an art practice and livelihood granted by the authorities. He adapts this condition pro-actively and turns it into a conceptual approach that seems free of fear - even playful - and saturated with a deep sense of political urgency as well as humor.
Barbad Golshiri studied painting at The School of Art and Architecture, Azad University, Tehran. He has worked both as media artist and critic. His art has been shown widely in institutions: Goteborg Konstmuseum 2009/2006-07; Saatchi Gallery London, Chelsea Art Museum New York, both 2009; ZKM - Center for Art and Media, Karlsruhe, 2008-09; Jeu de Paume Paris, Barbican Center London, both 2008; Museum für Neue Kunst Freiburg, 2006; Apexart New York, 2005; as well as in galleries: Aaran Gallery Tehran, 2010; Bétonsalon Paris, and Access Artist Run Center Vancouver, both 2008; Azad Art Gallery Tehran, 2008/2007; Apeejay Media Gallery New Delhi, 2005; and in international biennials: First Contemporary Art Biennial of Thessaloniki 2007; Fifth Gyumri International Biennial of Contemporary Art 2006; the Sixth Tehran Contemporary Painting Biennial Tehran Contemporary Museum of Arts, 2003.
Gallery hours: Tue-Sat, 10-6. For further information and visuals, please visit www.thomaserben.com or contact the gallery.
Thomas Erben Gallery
526 West 26th Street, floor 4
New York, NY 10001
212.645.8701
info@thomaserben.com
Leslie Hewitt: On Beauty, Objects, and Dissonance Curated by Rashida Bumbray March 27–May 10 at The Kitchen
Leslie Hewitt: On Beauty, Objects, and Dissonance
Curated by Rashida Bumbray March 27–May 10 at The Kitchen
This solo exhibition presents the US premiere of Leslie Hewitt's most recent investigations in photography, sculpture, and video installation that explore her long-standing interest in non-linear perspective and early twentieth century notions of double-consciousness. Known for a practice that traffics in a realm between the sculptural and the photographic, and riffs on political, social and personal material in order to expand confining narratives, Hewitt's current proposition evokes similar concerns. Using Claude Brown's Harlem migration text Manchild in the Promised Land (1965), as a point of departure, Hewitt creates visually elegant and thoughtfully composed situational works that question the contemporary moment through the exigencies of time.
Also on view with Hewitt’s exhibition, The Kitchen is pleased to present Louis Cameron’s video Christmas Tree as part of the monthly video series LIFT. In Christmas Tree, he pays homage to the experimental approaches of Stan Brakhage, creating amorphous streams of shifting color taken from an image of a star constellation. Cameron positions light and the illusion of movement as the main concerns of this animation, leaving viewers in a vertically suspended state.
Exhibition Hours: Tues-Fri, 12-6pm; Sat 11-6pm FREE
This exhibition features a new film installation created in collaboration with cinematographer Bradford Young. There will be a discussion between Hewitt and Young, moderated by Rashida Bumbray on Sunday, May 9 at 4:00 P.M. Admission is free.
This exhibition is made possible with generous support from Cristina Enriquez-Bocobo, Debra and Dennis Scholl, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a state agency. Additional support was provided by Deluxe.
Skin Fruit: Selections from the Dakis Joannou Collection Curated by Jeff Koons at The New Museum in NYC
Skin Fruit: Selections from the Dakis Joannou Collection
Curated by Jeff Koons
“Skin Fruit: Selections from the Dakis Joannou Collection” is the first exhibition in the United States of the Athens-based Dakis Joannou Collection, renowned as one of the leading collections of contemporary art in the world. This is also the first exhibition curated by artist Jeff Koons, who was invited to organize the show by the New Museum and whose work inspired Joannou to start his collection in 1985.
Including over 100 works by fifty international artists spanning several generations, the exhibition explores the age-old preoccupation with the human body as a vessel and vehicle for experience, a distinctive focus of the collection. Koons’s title “Skin Fruit” alludes to notions of genesis, evolution, original sin, and sexuality. “Skin” and “fruit” evoke the tensions between interior and exterior, between what we see and what we consume. In the exhibition role-playing games and dramas occur: a man will stage a religious ritual; a sculpture literally sings out; white-chocolate monuments tower above visitor’s heads; voracious creatures eat themselves and each other while bodies are buried or frozen.
It is no coincidence that Joannou’s collection developed in the cultural context of Greece, where classical sculpture defined the Western canon of anatomical representation. Artists have arrived at a much more uncertain image of humankind in this new century, a time in which bodies are still admired but also are assaulted by forces of our own making. Joannou’s collection is comprised of more than 1,500 works by 400 contemporary artists, from the most eminent to those just emerging. For “Skin Fruit,” Koons has selected works in many mediums including sculptures, works on paper, paintings, installations, and videos.
The show also marks the premiere of new works such as Charles Ray’s re-envisioned Revolution Counter-Revolution (1990/2010), on view on the fourth floor; a public installation of Jenny Holzer’s Selections from the Survival Series (1984) on the New Museum’s façade; and a special 3-D book commission by Italian artist Roberto Cuoghi available in the bookstore. “Skin Fruit” features only one work by Koons—his One Ball Total Equilibrium Tank (1985)—the first major artwork that Joannou acquired, initiating the collection that would grow to be one of the world’s finest. Within the context of the exhibition this influential object, with its both familiar and mysterious basketball suspended in fluid, becomes a point of origin and of departure.
According to Koons, “When you collect within the time of your own life, you confront your own mortality, and things that you respond to…you enter into the metaphysical aspect of art and art history. The vocabulary is not just linear, it’s like how light bends in time. History bends in time. And a collection bends in time.”
The exhibition is a merging of viewpoints: Dakis Joannou’s keen, critical eye, and Jeff Koons’s obsession with vision, clarity, and transparency. The works on display represent some of the best examples of contemporary art from the past twenty-five years, which Joannou acquired before hierarchies and values had been settled. Koons’s recent paintings are testament to his panoptical gaze: large canvases with superimposed figurative fragments from different original and appropriated images, including commercial photos, stylized details from Courbet paintings, comics, and cartoons. It is the same approach that Koons uses to curate the exhibition; “Skin Fruit” is installed so that most of the work is visible at the same time. For Koons, seeing means seeing everything; within the exhibition, Koons’s hyper-vision translates into an increasingly complex quest to strike a balance between disorder and form, between noise and music.
Catalogue
A full-color catalogue titled Skin Fruit: Selections from the Dakis Joannou Collection accompanies the exhibition, and features Jeff Koons in conversation with the Lisa Phillips, Toby Devan Lewis Director of the New Museum, and an essay by Massimiliano Gioni, New Museum Director of Special Exhibitions. An anthology of essays previously commissioned for Dakis Joannou’s DESTE Foundation publications is also included in the catalogue, with texts by Nicolas Bourriaud, Jeffrey Deitch, Peter Halley, Nancy Spector, and Lynne Tillman. The book includes more than 100 full-color illustrations of works in the exhibition, as well as images of other artworks in the Dakis Joannou Collection. The catalogue is available ($45 / $36 Members) at the New Museum Store or online newmuseumstore.org.
The Imaginary Museum
With the exhibition “Skin Fruit,” the New Museum launches The Imaginary Museum, a new exhibition series that will periodically showcase leading private collections of contemporary art from around the world, providing the opportunity for rarely seen, great works of art to be accessible to a broader public.
About the Dakis Joannou Collection and the DESTE Foundation
Dakis Joannou, a noted philanthropist, arts patron, and New Museum Trustee based in Athens, Greece, has worked closely with artists and curators since 1985 to assemble an unparalleled collection of iconic contemporary works that reflect his distinctive passion and fervor. Focusing on contemporary art from the ’80s to the present, the collection is constantly enriched with works by emerging artists. The collection contains major concentrations of works by some of the most distinguished and influential artists of the late twentieth and the beginning of the twenty-first century. Curated shows from the collection have been presented at the Palais de Tokyo, Paris; Kunsthalle, Vienna; Museum Moderner Kunst Stiftung Ludwig, Vienna; the Macedonian Museum of Contemporary Art, Thessaloniki; and the Nicosia Municipal Arts Center, Cyprus, among other international venues.
“Collecting is, for me, an adventure, a set of different ‘lived’ experiences, a constant flow of meeting, talking, listening, looking. It is an act of understanding and participating. And within this never ending involvement with ‘what is happening,’ the moments when I see exciting works for the first time constitute some of the highlights of my life,” says Joannou.
In 1983, Joannou established the DESTE Foundation for Contemporary Art—a nonprofit institution based in Athens, Greece, at the suggestion of Pierre Restany. Ever since, DESTE has been organizing exhibitions and supporting projects and publications internationally. Through an exhibition program that promotes emerging as well as established artists, the DESTE Foundation aims to broaden the audience for contemporary art, to enhance opportunities for young artists, to explore the connections between contemporary art and culture, and to encourage new scholarship on contemporary art. DESTE has established the Contemporary Greek Artists’ Archive, a resource for curators and researchers, as well as a specialized art library which is open to the public.
Selected Artists (50)
Paweł Althamer
Born 1967 in Warsaw, Poland
Lives and works in Warsaw, Poland
David Altmejd
Born 1974 in Montreal, Canada
Lives and works in London, United Kingdom, and Montreal, Canada
Janine Antoni
Born 1964 in Freeport, Bahamas
Lives and works in New York, NY
assume vivid astro focus
Born sometime between the twentieth and twenty-first centuries, in various parts of the world
Nomads
Tauba Auerbach
Born 1981 in San Francisco, CA
Lives and works in New York, NY, and San Francisco, CA
Matthew Barney
Born 1967 in San Francisco, CA
Lives and works in New York, NY
Vanessa Beecroft
Born 1969 in Genoa, Italy
Lives and works in Los Angeles, CA
Ashley Bickerton
Born 1959 in Barbados, West Indies
Lives in Kuta Bali, Indonesia
John Bock
Born 1965 in Gribbohm, Germany
Lives and works in Berlin, Germany
Mark Bradford
Born 1961 in Los Angeles, CA
Lives and works in Los Angeles, CA
Maurizio Cattelan
Born 1960 in Padua, Italy
Lives and works in New York, NY, and Milan, Italy
Paul Chan
Born 1973 in Hong Kong, China
Lives and works in New York, NY
Dan Colen
Born 1979 in Leonia, NJ
Lives and works in New York, NY
Nigel Cooke
Born 1973 in Manchester, United Kingdom
Lives and works in London, United Kingdom
Roberto Cuoghi
Born 1973 in Modena, Italy
Lives and works in Milan, Italy
Nathalie Djurberg
Born 1978 in Lysekil, Sweden
Lives and works in Berlin, Germany
Haris Epaminonda
Born 1980 in Nicosia, Cyprus
Lives and works in Berlin, Germany
Urs Fischer
Born 1973 in Zurich, Switzerland
Lives and works in New York, NY
Robert Gober
Born 1954 in Wallingford, Connecticut
Lives and works in New York, NY
Matt Greene
Born 1972 in Atlanta, GA
Lives and works in New York, NY
Mark Grotjahn
Born 1968 in Pasadena, CA
Lives and works in Los Angeles, CA
Adam Helms
Born 1974 in Tucson, AZ
Lives and works in New York, NY
Jenny Holzer
Born 1950 in Gallipolis, OH
Lives and works in Hoosick, NY
Elliott Hundley
Born 1975 in Greensboro, North Carolina
Lives and works in Los Angeles, CA
Mike Kelley
Born 1954 in Detroit, MI
Lives and works in Los Angeles, CA
Terence Koh
Born 1977 in Beijing, China
Lives and works in New York, NY
Jeff Koons
Born 1955 in York, Pennsylvania
Lives and works in New York, NY
Liza Lou
Born 1969 in New York, NY
Lives and works in Los Angeles, CA
Nate Lowman
Born 1979 in Las Vegas, NV
Lives and works in New York, NY
Mark Manders
Born 1968 in Volkel, the Netherlands
Lives and works in Arnhem, the Netherlands
Paul McCarthy
Born 1945 in Salt Lake City, UT
Lives and works in Los Angeles, CA
Dave Muller
Born 1965 in San Francisco, CA
Lives and works in Los Angeles, CA
Takashi Murakami
Born 1963 in Tokyo, Japan
Lives and works in Tokyo, Japan and Long Island City, NY
Tim Noble and Sue Webster
Tim Noble: Born 1966 in Stroud, Gloucestershire, United Kingdom
Sue Webster: Born 1967 in Leicester, United Kingdom
Live and work together in Shoreditch, East London, United Kingdom
Cady Noland
Born 1956 in Washington, D.C.
Lives and works in New York, NY
Chris Ofili
Born 1968 Manchester, United Kingdom
Lives and works in London, United Kingdom
Seth Price
Born 1973 in East Jerusalem, Israel
Lives and works in New York, NY
Richard Prince
Born 1949 in Panama Canal Zone, Panama
Lives and works in Rensselaerville, NY
Charles Ray
Born 1953 in Chicago, IL
Lives and works in Los Angeles, CA
Tino Sehgal
Born 1976 in London, United Kingdom
Lives and works in Berlin, Germany
Jim Shaw
Born 1952 in Midland, MI
Lives and works in Los Angeles, CA
Cindy Sherman
Born 1954 in Glen Ridge, NJ
Lives and works in New York, NY
Kiki Smith
Born 1954 in Nuremberg, Germany
Lives and works in New York, NY
Christiana Soulou
Born 1961 in Athens, Greece
Lives and works in Athens, Greece
Jannis Varelas
Born 1977 in Athens, Greece
Lives and works in Athens, Greece, and Vienna, Austria
Kara Walker
Born 1969 in Stockton, CA
Lives and works in New York, NY
Gillian Wearing
Born 1963 in Birmingham, United Kingdom
Lives and works in London, United Kingdom
Andro Wekua
Born 1977 in Sochumi, Georgia
Lives and works in Zurich, Switzerland
Franz West
Born 1947 in Vienna, Austria
Lives and works in Vienna, Austria
Christopher Wool
Born 1955 in Chicago, IL
Lives and works in New York, NY
New Museum
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SELECT GENDER
Curators: Rafael Soldi, Paolo Morales & Elle Perez
April 01, 2010 – May 22, 2010
Opening Public Reception: Thursday, April 1, 2010, from 6-830PM
Photographic works by: Daniel Aguirre, Carl Bower, Caleb Cole, Nicolas Djandji, Jason Hanasik, Jamil Hellu, Monique Bergen Henegouwen, Kate Hutchinson, Katie Koti, Diane Russo, J. Aiden Simon, Sarah Sudhoff, and Molly Landreth + Amelia Tovey
Farmani Gallery is proud to present Select Gender, introducing fourteen rising photographers communicating their contemporary viewpoint within fine art photography. The exhibition, co-curated by budding artists Rafael Soldi, Paolo Morales and Elle Perez, will present a diverse selection of innovative artworks that focus on the theme of gender perceptions and the role of sexual assignments in America and abroad. This exhibition embraces the mission of the gallery and the curators in their support of promising talent and our hopes to further a conversation through photographic works of present-day subject matter.
For inquiries or to obtain an electronic press kit please contact mail@farmanigallery.com or call 718-578-4478. For other inquiries please contact team@farmnigallery.com. Please visit us at www.farmanigallery.com or follow us on Twitter and Facebook for the latest gallery updates.
Farmani Gallery is located at 111 Front St., Ste. 212, Brooklyn, NY in the DUMBO neighborhood between Washington and Adams St. By subway take A or C to High St., F to York St. or 2 and 3 to Clark St. Station. Gallery hours: Wed. – Sat.: 1 – 6PM. Information: www.farmanigallery.com or info@farmanigallery.com or ph# 718-578-4478.
ALIX PEARLSTEIN Talent at On Stellar Rays in NYC April 11 – May 23, 2010
ALIX PEARLSTEIN
Talent
April 11 – May 23, 2010
Opening reception: April 11, 2010, 6 - 8pm
On Stellar Rays is pleased to present two new videos by NY-based artist Alix Pearlstein, Talent and Finale. Together the works explore the perimeters of the performance score, related shifts in subjective and objective perception, and the subtle difference between being, acting and performing.
Both videos share the same set, a dance studio which doubles as a performance venue, and the same cast, comprised of 10 professional actors. Talent consists of a sharply structured and edited sequence of acts, actions and interactions among the actors, alternately suggesting a contest, audition, rehearsal, performance and shoot. The camera bisects the studio as it tracks laterally, back and forth along a white line on the floor, creating a physical and psychic division between cast and crew. Further complicating the composition is a mirrored wall behind the actors, reflecting and exposing the activity of the camera, crew and artist / director, while implicating them in the scene. This construct recalls aspects of two widely divergent, iconic works that premiered concurrently in 1975: Michael Bennett’s A Chorus Line and Dan Graham’s Performance / Audience / Mirror.
Finale takes a decidedly more introspective mood. Shot at dusk, the studio windows reveal the sun setting behind the Manhattan skyline. A centrally positioned camera rotates continuously counter clockwise in the space. For the duration of a single long take, cast and crew refer and respond to actions from Talent. They circulate freely throughout the space, alternately stepping in and out of their roles, as the structured acts of the preceding hours unravel.
Running times for Talent and Finale are 10:30 and 10:20 minutes, both works are from 2009.
Alix Pearlstein’s work in video and performance has been widely exhibited internationally. Selected solo exhibitions include the Contemporary Art Museum, St. Louis; The Kitchen, NYC; MIT List Visual Arts Center, Cambridge MA; Lugar Commum, Lisbon; Greenberg Van Doren Gallery, NYC; The Museum of Contemporary Art, Chicago; The Museum School of Fine Arts, Boston and Postmasters Gallery, NYC. Her works have been included in exhibitions at Internationale D’Art De Quebec; The Center for Contemporary Art, Tel Aviv; Annual Exhibition of Visual Art, Ireland; BAM / PFA, Berkeley; SMAK, Ghent; The Whitney Museum of American Art, NYC; ICA Philadelphia; Biennale de Lyon, France; and The Museum of Modern Art, NYC. Pearlstein lives in New York.
On Stellar Rays
133 Orchard Street
New York, NY 10002
212.598.3012
candice@onstellarrays.com
Anthony Lister How to Catch a Time Traveler and "Size DOES Matter", curated by basketball legend Shaquille O'Neal
Lyons Wier Gallery is pleased to present Anthony Lister's second solo exhibition with the gallery, How to Catch a Time Traveler. The exhibition follows directly on the heals of Lister's 50-foot, site-specific mural, "Red Dot", created for the Pulse Art Fair, NYC (2010), showcasing Lister's undeniable signature style that has garnered him international acclaim.
Known in the Low Brow movement for his intriguing, playful hybrid of street art, expressionism, and cubism all manifested in non-traditional media such as spray paint. In his latest series, Lister continues his examination of pop culture and how a generation raised on American television processes and interprets the symbols and imagery of their youth. The result is gender bending cartoon characters, and superheroes such as Wonder Woman and Bat Girl, that uncover the unconscious sexual desires and repressed taboos embedded in these seemingly innocuous popular icons. Lister's practice is indeed about reality. A reality his work does not claim to resolve, but rather to question, loudly.
Gallery Hours: Monday - Saturday 11-7, Sun. 12-6 • Subway: C, E exit 23rd @ 8th Ave. 1, 9 exit 23rd @ 7th Ave.
"Size DOES Matter", curated by basketball legend Shaquille O'Neal
The FLAG Art Foundation is pleased to present "Size DOES Matter", curated by basketball legend Shaquille O'Neal. This exciting exhibition, on view from February 19, 2010 - May 27, 2010, includes works from international artists exploring the myriad ways that scale affects the perception of contemporary art. Included is work from gallery artist James Rieck's collection "Issues with Authority". Through amplified scale and severe cropping, Rieck's painting "Cops" re-contextualizes the source material to draw attention to the obvious as well as the subtle psychological underpinnings of the model and the viewer. Pared down to just slivers, politically and sexually charged, Rieck's paintings dominate and titillate the viewer into near arrest.
CRG presents a new body of work by Lyle Ashton Harris titled “Ghana” which has been inspired by the cultural space that is taking shape at the confluence of contemporary globalization and a rich cultural tradition haunted by the relics of the slave trade.
As spectator and participant, Harris is insider and outsider simultaneously; exploring his personal experience in Ghana, Harris excavates the shared historical legacy of America and Africa. In his video installation, “Untitled (Cape Coast)”, 2008, Harris combines multiple layers of video over hanging panels of printed silk organza. Images of a serene and idyllic beach scene are superimposed with images of the surrounding environment evoking different historical and anthropological layers; fleeting images of traditional Ghanaian festivals overlay a landscape that is home to what was once one of the largest slave trading forts on the former Gold Coast.
While collage has long been integral to Harris’s practice, in his recent “Jamestown Prison Erasure Images,' exhibited here for the first time, Harris undertakes a visual conversation with wall collages by prisoners who resided in a former colonial era fort, that at one time also held Kwame Nkrumah as a political prisoner prior to taking office as the first president of Ghana upon its independence as a nation in 1957.
The prison collages, consisting of images of cars, women, and other objects of desire, bear an uncanny resemblance to Harris’s large-scale wall collages that incorporate his own photographs with layers of ephemera and other printed material.
“Untitled (Black Power),”2010, a new three channel video work borrows its title from the controversial yet seminal 1957 travel essay by literary giant Richard Wright. Captured here are intimate moments as powerful metaphors for embodied cultural hybridity. Inhabiting the space of a local gym in Accra, Harris traces the rituals movements of Herculean body builders performing repetitions with improvised weights fashioned out of what appear to be welded tractor gears. Harris has divided his time between New York and Accra, Ghana, since 2005, serving as a professor at New York University’s Accra campus. This current body of work has emerged from Harris’s experiences living in Ghana and provides a framework with in which he continues expanding on themes characteristic of his past work: meditations on race, masculinity, and performative gestures captured within the photographic medium. The exhibition includes video as well as collage-based installation and still photographs.
Harris was born in the Bronx and raised in New York City and Dar Es Salaam, Tanzania. For the past twenty years Lyle Ashton Harris’ work has explored narratives of ethnicity, identity and shifting definitions of self, resulting in significant contributions to the field of contemporary art and photography. Works from earlier projects—Americas, (1987/88); Constructs (1989); The Good Life (1994); Memoirs of Hadrian (2002); and Billies (2002)—have been included in landmark exhibitions such as "Black Male: Representations of Masculinity in Contemporary American Art", at the Whitney Museum of American Art (1994) and "Rrose is a Rrose is a Rrose: Gender Performance in Photography " at The Solomon R. Guggenheim Museum (1997). Works produced throughout this period continue to be selected for museum shows, including "For the Love of the Game: Race and Sport in America," at The Wadsworth Atheneum Museum of Art (2007); "Double Consciousness: Black Conceptual Art Since 1970," at Contemporary Arts Museum, Houston (2005); "Photography of the Self: The Legacy of F. Holland Day," at the Whitney Museum of American Art (2007); and "Kreyol Factory," at Parc de la Villette, Paris (2009).
This Spring 2010 …. Excessive Exposure: The Complete Chocolate Portraits. This book, to be published in Spring 2010 by Gregory R. Miller & Co., includes an introduction by Henry Louis Gates, Jr., a critical essay by Okwui Enwezor and an interview with Chuck Close
CRG GALLERY
535 W 22nd St, New York, NY 10011 | T 212-229-2766 F 212-229-2788 | www.crggallery.com
(Google Maps)
Transportation: C and E trains to 8th Ave at 23rd St / M23 Bus to 10th Ave and 23rd St
ROSS RUDEL: BURGEON / MARCH 18 - APRIL 17, 2010 at Jack Shainman Gallery
Ross Rudel
burgeon
March 18, 2010 April 17, 2010
Opening reception for the artist, Thursday, March 18th, 6 8 PM
Jack Shainman Gallery is pleased to present burgeon an exhibition of new sculpture by Los Angeles artist Ross Rudel. For this body of work Rudel has drawn upon dreams, odd personal experiences and his ongoing spiritual relationship with nature. Resurrection of the Green Man was inspired by a dream in which a man was murdered in the Mojave Desert and his corpse sprouted vegetation that transformed the landscape into a lush Eden. A chance meeting with a Yoruba Priest and a related encounter with an urban hawk led to the creation of Solicitation. A long aesthetic struggle with the strange gnarls on the surface of a log found while hiking resulted in the double-helix carving Sequence.
The materials that Rudel incorporates in his work often have personal or symbolic significance. The Green Man and related work in the exhibit were created entirely of algae from the Los Angeles River that blooms prodigiously every Spring following the purging winter floods. An antler from the Black Hills, manzaneta root burl from a spiritual center at Mt Shasta and fabric related to Rudels deceased brother were incorporated in Solicitation. The playing cards used to create Proprietary Dream Mandala had run a full cycle at the poker tables of the Silverado Casino in Deadwood, SD, which Rudel believes imbued them with significant residual energy. Humor finds its way into the Mandala, as Rudel saw this artwork in a dream at a collectors home and obsessed about plagiarizing it.
As with past work, Rudel has a fetishistic approach to detail. These objects tend to trap the viewer between the rawness of allusions and the elegance of presentation. His work speaks of solitary ritual and reverberates a disquieting presence.
Rudel has a BA from Montana State University and an MFA from UC Irvine.
His work has been exhibited in solo and group exhibitions nationally and internationally, including: Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art San Diego; New Museum of Contemporary Art, New York City; the Museo Cantonale dArte, Lugano, Switzerland; The Panza Collection, Varese, Italy; Museo di Arte, Trento e Rovereto, Italy; Angeles Gallery, Los Angeles; and Studio la Citta, Verona, Italy. This will be Rudels fifth solo exhibition at Jack Shainman Gallery.
Concurrent exhibition at the gallery, Todd Hebert: Recent Work, March 18 April 17, 2010.
Upcoming exhibitions include Lynette Yiadom Boakye - Essays and Documents and Carrie Mae Weems - Slow Fade to Black opening April 22 on view through May 22, 2010.
For more information and press photography please contact the gallery at 212.645.1701 or info@jackshainman.com
Image caption: Double Helix, 2008, wooden spiral on nightstand, 96 x 14 x 14 inches
This Friday join me at the artist reception for the group show I'm in called LATENT: an En Foco exhibition Curated by Terry Boddie.
ARTIST RECEPTION: Friday, March 12 from 6:00 to 9:00pm
Umbrella Arts + Projects
317 East 9th Street (between 1st & 2nd Ave)
New York, NY 10003
212.505.7196 / www.umbrellaarts.com
LATENT: an En Foco exhibition Curated by Terry Boddie
Featuring:
Wilfredo Benitez
Shraddha Borawake
Ricky Day
Vanina Feldsztein
Terri Garland
Rizzhel Mae Javier
Margaret LeJeune
Jaime Permuth
Wendy Phillips
Magdalena Solé
Stacey Tyrell
Elizabeth Valentin
March 3-27, 2010
The theme Latent, refers not only to the process of photography, but the positive potential of the exhibiting photographers.
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After the reception join us for the new art party presented by Derrick Adams* Nico Wheadon* Ricky Day...
DORIAN GRAY : THIS PARTY WILL NEVER GET OLD!
Every Friday night Derrick Adams, Miss Nico Wheadon and yours truly are hosting a great new party called Dorian Gray. This party will never get old and it features great music (dance-pop, b-more beatz, hip hop and more!), creative people from the art, design, music and fashion worlds, creative folks from all backgrounds, women, men and diverse New Yorkers who share a love of good music, good art and good times. Check the blog or facebook for more details.
TODD HEBERT / RECENT WORK / MARCH 18 - APRIL 17, 2010 at Jack Shainman Gallery in NYC
TODD HEBERT / RECENT WORK / MARCH 18 - APRIL 17, 2010
TODD HEBERT
Recent Work
March 18 April 17, 2010
Opening reception for the artist, Thursday, March 18th, 6 8 pm
Jack Shainman Gallery is pleased to announce the opening of Recent Work, Todd Heberts second solo exhibition at the gallery. Hebert creates hyper-realistic paintings and works on paper featuring common subject matter, from nighttime cityscapes, to snowmen, Christmas lights, and Fourth of July sparklers. His paintings combine areas of sharp focus within blurred compositions that draw the viewer in. Their overall mood is contemplative and detached.
Todd Hebert earned his BFA from the University of North Dakota in 1996, and his MFA from the Rhode Island School of Design in 1998. He has been a fellow at the Fine Arts Work Center in Provincetown, MA; and the Core Program, Glassell School of Art, in Houston, TX. Hebert has exhibited his work in numerous solo and group exhibitions at venues including The Aldrich Contemporary Art Museum, The Carpenter Center, Harvard University, Cambridge, MA, and the Contemporary Art Center, New Orleans, LA, 2007. His work is included in prestigious public and private collections including the Los Angeles County Museum of Art, Los Angeles, CA and the Neuberger Berman Collection, NY. Publications that have reviewed his work include the Los Angeles Times, Art Review, the New York Times and Art Lies.
Concurrent exhibition at the gallery, Ross Rudel: burgeon, March 18 April 17, 2010.
Upcoming exhibitions include Lynette Yiadom Boakye - Essays and Documents and Carrie Mae Weems - Slow Fade to Black opening April 22 on view through May 22, 2010.
For more information and press photography please contact the gallery at 212.645.1701 or at info@jackshainman.com
Image caption: Snowman With Lights #7, 2009, Acrylic on canvas over panel, 60 x 48 inches
The AIPAD Photography Show New York March 18 - 21, 2010
The AIPAD Photography Show New York
March 18 - 21, 2010
March 17, 2010
Gala Preview to benefit the John Szarkowski Fund, an endowment for photography acquisitions at The Museum of Modern Art, New York.
(To purchase Gala tickets, please visit www.moma.org/aipad2010.)
One of the most important international photography events, The AIPAD Photography Show New York, will be presented by the Association of International Photography Art Dealers (AIPAD) from March 18 through 21, 2010.
More than 70 of the world's leading fine art photography galleries will present a wide range of museum-quality work including contemporary, modern and 19th century photographs, as well as photo-based art, video and new media, at the Park Avenue Armory in New York City.
The 30th edition of The AIPAD Photography Show New York will open with a Gala Preview on March 17 to benefit the John Szarkowski Fund, an endowment for photography acquisitions at The Museum of Modern Art in New York City.
The AIPAD Photography Show New York is the longest running and foremost exhibition of fine art photography.
Show Hours
Thursday, March 18 11:00 a.m. to 8:00 p.m.
Friday, March 19 11:00 a.m. to 8:00 p.m.
Saturday, March 20 11:00 a.m. to 8:00 p.m.
Sunday, March 21 11:00 a.m. to 6:00 p.m.
Admission
$40 run of show pass (includes catalogue)
$25 one day pass
$10 one day pass with valid student ID
DORIAN GRAY IS TONIGHT - DON'T MISS THE PARTY OF THE YEAR!
I've joined forces with Derrick Adams and Miss Nico Wheadon to create and exciting new party on Friday nights. The party is called Dorian Gray. It's a party centered around the art world, but open to everyone. Artists, curators, gallery owners, models, fashion professionals, regular people with a creative spirit, black, white, latino, straight, gay, bi, everyone is welcome. This event is our contribution to a new world where people come together in the spirit of creativity, love and all things funky.
Derrick Adams, Nico Wheadon and Ricky Day present
DORIAN GRAY
"This party will never get old"
Every Friday starting this Friday March 5, 2010
at Le Royale
21 Seventh Avenue (at the corner of Leroy Street)
10pm until 4am (Free before Midnight and $10 after)
21 and over with i.d.
Attire: Chic, but casual, creative and sexy (don't be afraid to let your creativity reign)
VIP bottle service available upon request. (advance table reservation suggested)
Dance-pop, hip hop, freestyle and b-more beats by our deejays:
Derrick Adams and Designer Imposter
Featuring special performances by:
Lainie Dalby
Jacolby Satterwhite
Tiny Dinosaur
It's that time of year when all the Art Fairs are in town, PLUS the Whitney Biennial, PLUS a group photography show that I am participating in. So grab your walking shoes, some cab fare and your reading glasses and get out and enjoy great art from all over the world.
After you look at all the great art you can join Derrick Adams, Nico Wheadon and myself as we host a great new party:
Dorian Gray "This party will never grow old"
Check for details in a separate post. So for now here's the information on the largest fairs. Google NY Art Fairs to find out about other fairs and events.
THE ARMORY SHOW
Piers 92 & 94
The Armory Show is America's leading fine art fair devoted to the most important art of the 20th and 21st centuries. In its eleven years, the fair has become an international institution. Every March, artists, galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week.
Twelfth Avenue at 55th Street
New York City
The Armory Show 2010 Opening Day takes place Wednesday, March 3rd for invited guests.
Opening Hours:
Thursday, March 4 - Saturday, March 6 Noon to 8 pm
Sunday, March 7 Noon to 7 pm
Piers 92 & 94 are located on Manhattan's far West side on the Hudson River (Twelfth Avenue) at 55th Street in the Passenger Ship Terminal complex. The piers are easily accessible by public transportation, taxi, and private vehicle. The nearest subway stop is four cross-town blocks east at 50th Street and Eighth Avenue.
Ticket prices
General Admission US$30
Students US$10
Groups (10+) US$15
Run of Show Pass (4 day) US$60
The Armory Show/VOLTA NY Pass US$40
Shuttle Bus Service
Shuttles are available between The Armory Show on Piers 92 & 94 and VOLTA NY on 34th street near 5th Avenue.
Mass Transit
Piers 92 & 94 can be reached by public transportation via the Eighth Avenue subway, E or C trains to 50th street, then via M50 bus line. The M50 bus runs West on 49th Street (to the pier) and East on 50th Street (from the pier) connecting at Eighth Avenue (E or C subway) and at Seventh Avenue (1 or 9 subway). Also, bus lines M16 and M42 provide service to 42nd Street and Twelfth Avenue. For subway and bus information and schedules, call (718) 330-1234 or click here.
By Car
From the Lincoln Tunnel, take 42nd Street west to Twelfth Avenue. Continue north on Twelfth Avenue to Piers 92 & 94 (at the Passenger Ship Terminal). From the Queens-Midtown Tunnel, go west via 34th Street to Twelfth Avenue. Continue north to the piers (at the Passenger Ship Terminal). Access to the piers for private cars via at 55th Street and Twelfth Avenue. All vehicles should follow signs for the Passenger Ship Terminal parking.
Parking
Roof top parking is available for all visitors and exhibitors. No reservations are necessary. Only cash and travelers checks are accepted. For more information, call (212) 246-5450. Additional public parking facilities are available across Twelfth Avenue and throughout the neighboring vicinity.
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PULSE Contemporary Art Fair
PULSE Contemporary Art Fair is the leading US art fair dedicated solely to contemporary art. Held annually in New York and Miami, PULSE bridges the gap between main and alternative fairs and provides participating galleries with a platform to present new works to a strong and growing audience of collectors, art professionals and art lovers.
The Fair is divided into two sections and is comprised of a mix of established and emerging galleries vetted by a committee of prominent international dealers. The IMPULSE section presents galleries invited by the Committee to present solo exhibitions of artist's work created in the past two years.
In addition, PULSE develops original cultural programming with a series of large-scale installations, its PULSE Play> video lounge, the PULSE Performance events, and the recently launched PULSE Profiles series of artists and curators talks. The PULSE Prize is awarded in New York and in Miami to one of the artists presented in the IMPULSE section. PULSE supports numerous nonprofit art organizations and schools.
PULSE New York
330 West Street @ West Houston
New York, NY 10014
Fair Hours
Thursday, March 4
Press and VIP Private Preview
9am - 12pm
Open to public 12pm - 8pm
Friday, March 5 12pm - 8pm
Saturday, March 6 12pm - 8pm
Sunday, March 7 12pm - 5pm
Admission
General Admission $20.00
Students/Seniors $15.00
Group Discount $12.00
Please note that the group discount applies to groups of ten or more.
Entrance for Children under 12 is free.
Shuttle Service
PULSE will offer a shuttle service, Thursday March 4 - Sunday March 7, between the Armory Show at Piers 92 and 94 and PULSE.
MASS TRANSIT
Via Subway
Take the 1 or 9 train to Houston Street. Walk west four blocks on Houston to the West Side Highway. 330 West is the building just before crossing the West Side Highway.
Via Bus
From the East. Take the #21 bus west on Houston Street to Washington Street. Walk west on Houston to the West Side Highway.
From the North or South. Take the #20 bus (Hudson Street north, 7th Avenue south) to Houston Street. Walk west on Houston to the West Side Highway.
DRIVING
East Side and New England
Take the FDR Drive south to the HOUSTON Street Exit Make a right onto HOUSTON and head west to the Hudson River.
Via Queens- Midtown Tunnel
Go Southwest on FDR DR and turn RIGHT onto E 34TH ST. Turn LEFT onto 12TH AVE/ WEST SIDE HWY. Continue to follow NY-9A S/WEST SIDE HWY. Make a U-TURN at CLARKSON ST onto West St. WEST SIDE HWY. End at 330 West ST.
Via Lincoln Tunnel
Start out going SOUTH on WEST SIDE HWY toward W 34TH ST. Continue to follow NY-9A S / WEST SIDE HWY. Make a U-TURN at CLARKSON ST onto WEST SIDE HWY. End at 330 West ST.
Via George Washington Bridge
Merge onto NY-9A S via EXIT 1 toward DOWNTOWN. Make a U-TURN at CLARKSON ST onto WEST ST/ WEST SIDE HWY. End at 330 West ST.
Via Holland Tunnel
Take EXIT 1 toward WEST ST. Turn SLIGHT LEFT onto LAIGHT ST. Turn RIGHT onto WEST ST/WEST SIDE HWY. End at 330 West ST.
Parking
Parking is available at Pier 40. Please see the costs below:
Up to 12 hours - $21.96
Up to 24 hours - $27.03
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SCOPE New York 2010
Photo by James Painter Belvin
NEW YORK- Building on Miami's overwhelming success, SCOPE launches its 2010 season with its flagship fair, SCOPE New York Art Show. SCOPE proudly returns to Manhattan's most famous cultural icon, Lincoln Center, with a glass facade pavilion situated in Lincoln Center's Damrosch Park, at the corner of 62nd Street and 10th Avenue. SCOPE New York is just blocks from the Armory Show and serviced daily by shuttles and pedicabs.
Last year's fair featured galleries from four continents and 20 countries, including China, Mexico, Japan, Korea, Brazil, Italy, France, Belgium, the Netherlands, Norway, Switzerland, Germany, UK, Spain, and Canada. SCOPE New York's invitees will uphold its unique tradition of solo and thematic group shows presented alongside museum-quality programming, collector tours, screenings, and special events. The fair opens to Press, SCOPE and Armory VIPs on Wednesday, March 3, 3-9pm with the FirstView benefit, a $100 charitable donation for all non-VIP cardholders.
Introducing artists, curators, and cutting-edge galleries to new audiences internationally has made SCOPE the most comprehensive destination for the emerging art world available anywhere. With art fairs in Miami, Basel, New York, London, and the Hamptons, SCOPE is proud to be an influential presence in the expanding global art market.
Location
Lincoln Center Damrosch Park
62nd Street and Amsterdam (10th Avenue)
New York, NY 10023
General Admission Fair Hours
Thursday | March 4 | noon - 8pm
Friday | March 5 | noon - 8pm
Saturday | March 6 | noon - 8pm
Sunday | March 7 | noon - 6pm
SCOPE FOUNDATION
Film Program | Daily | March 4 - 7
Thursday | March 4 | Martha Colburn | "Political Revolution in my Basement"
Friday | March 5 | A Shaded View on Fashion Film curated by Diane Pernet | A selection of films for A Shaded View on Fashion Film Festival
Saturday | March 6 | Zach Layton | "d.i.y. sci-fi"
Sunday | March 7 | Divya Mehra and Rammy Lee Park | "The Interruption" a hyperreal installation and selection of films from the MFA Film Program at Columbia University
Markt | Curated by Diane Pernet | March 4 - 7
PDA (Personal Development Auction)
Final Bid | Saturday March 6 | 6p
Admission
Free for VIP cardholders
FirstView | Wednesday Only | $100
General | Thursday - Sunday | $20
Student | Thursday - Sunday | $10
Subway
Take the 1 train to 66th Street/Lincoln Center Station or the 1, A, B, C, D to 59th Street/Columbus Circle and proceed towards 62nd Street on Columbus Avenue.
Bus
The M5, M7, M10, M11, M20 M66, and M104 bus lines all stop within one block of Lincoln Center.
By Car
From Long Island
Take Long Island Expressway to Midtown Tunnel. Follow signs to Uptown/West Side and go cross-town at 34th Street to 8th Avenue. Turn right onto 8th Avenue and proceed to 59th Street. Turn right onto Columbus Circle, making another right onto Broadway. Take Broadway to West 62nd Street and turn left. Cross Columbus Avenue. The Lincoln Center parking garage entrance is on the northern side of the street (right side).
From Southern New Jersey
Take the Lincoln or Holland Tunnels.
From Lincoln Tunnel take the exit on the left towards 40th Street and North. Turn left onto West 42nd Street. Turn right onto 10th Avenue, continuing all the way to 65th Street. Turn right onto West 65th Street. The Lincoln Center parking garage entrance is on the southern side of the street (right side).
From Holland Tunnel follow signs to Exit 1 (Uptown and Canal Street) into Laight Street. Follow Laight Street to West Side Highway (Joe DiMaggio Highway). Follow to 56th Street, staying to the right after 42nd Street. Turn right onto West 56th Street. Turn left onto 11th Avenue. Turn right on West 65th Street. Cross Amsterdam Avenue. Lincoln Center parking garage entrance is on the northern side of the street (right side).
From Northern New Jersey
Take I-95 North/US-9 North/US 1 North. This becomes I-95 North/Upper Level George Washington Bridge/US-9. Take the Henry Hudson Parkway/178th Street exit. Follow signs to Henry Hudson Parkway South/West Side Highway (Joe DiMaggio Highway). Merge onto Henry Hudson Parkway South. Take the West 79th Street (Boat Basin) exit. Follow the circle and exit onto 79th street. Turn right onto West End Avenue, heading south. Turn left onto 65th Street. Cross over Amsterdam Avenue, continuing on 65th Street. The Lincoln Center parking garage entrance is on south side of the street (right side).
From Southern Connecticut
Take I-95 South to Cross Bronx Expressway, taking the last Manhattan exit (leading towards George Washington Bridge). Follow the Henry Hudson Parkway South. Take the West 79th Street (Boat Basin) exit. Follow the circle and exit onto 79th street. Turn right onto West End Avenue, heading south. Turn left onto 65th Street. Cross over Amsterdam Avenue, continuing on 65th Street. The Lincoln Center parking garage entrance is on south side of the street (right side).
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VOLTA NY
VOLTA NY is the American incarnation of the successful young fair founded in Basel in 2005. VOLTA NY was conceived to continue the original mandate to create a tightly-focused, boutique event that is a place for discovery and a showcase for current art production and relevant contemporary positions—regardless of the artist or gallery’s age.
VOLTA NY is an invitational show, organized by art critic and Fair Director Amanda Coulson, to complement the offerings across town at The Armory Show, with whom VOLTA NY shares the VIP and Talks Programs and shuttles to and from both fairs. By putting the focus back on artists through exclusively featuring solo projects, VOLTA NY promotes a deep exploration of the work of its selected projects, an opportunity for discoveries that move beyond those afforded by a traditional art fair.
A platform for challenging, often complimentary, sometimes competing ideas about contemporary art, the strictly solo format is what gives the fair its unique character. While visitors have positively compared VOLTA NY to doing a series of intense studio visits, nonetheless the dedication to a single artist, while surely the most striking of presentations in any economic landscape, has always be something of a risk. The dedication and confidence shown by the exhibiting galleries to continue to commit themselves to a risky and challenging format has therefore given rise to this year’s title: No Guts No Glory, a phrase that can be applied both to the work on show, its creators and its supporters/presenters.
Previews
Thursday, March 4th, 2010
Guest of Honor: 11 am - 12 pm (accessible by invitation from VOLTA or with The Armory Show VIP card)
VIP: 12 pm - 2 pm
During the first week of March 2010, the international art world will converge in New York City during the 22nd annual Art Show, organized by the Art Dealers Association of America (ADAA) to benefit Henry Street Settlement. The 2010 edition of The Art Show continues ADAA's tradition of bringing the highest quality artworks to one monumental art exhibition space at the Park Avenue Armory. The 70 selected exhibitions, presented by the nation's leading art galleries, will feature museum-quality works ranging from 19th and 20th century Old Master works to recently completed contemporary painting, drawing, sculpture, photography and multi-media. The Art Show and its Gala Preview, on March 2, 2010, will benefit Henry Street Settlement and continue an art world institution.
March 3–7, 2010
Park Avenue Armory
Park Avenue at 67th Street
New York City
Admission $20
Wednesday – Saturday: noon to 8 pm
Sunday: noon to 6 pm
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Introducing Dorian Gray: This party will NEVER get old!
I've joined forces with Derrick Adams and Miss Nico Wheadon to create and exciting new party on Friday nights. The party is called Dorian Gray. It's a party centered around the art world, but open to everyone. Artists, curators, gallery owners, models, fashion professionals, regular people with a creative spirit, black, white, latino, straight, gay, bi, everyone is welcome. This event is our contribution to a new world where people come together in the spirit of creativity, love and all things funky.
Derrick Adams, Nico Wheadon and Ricky Day present
DORIAN GRAY
"This party will never get old"
Every Friday starting this Friday March 5, 2010
at Le Royale
21 Seventh Avenue (at the corner of Leroy Street)
10pm until 4am (Free before Midnight and $10 after)
21 and over with i.d.
Attire: Chic, but casual, creative and sexy (don't be afraid to let your creativity reign)
VIP bottle service available upon request. (advance table reservation suggested)
Dance-pop, hip hop, freestyle and b-more beats by our deejays:
Derrick Adams and Designer Imposter
Featuring special performances by:
Lainie Dalby
Jacolby Satterwhite
Tiny Dinosaur
Dean Monogenis Above the Railing, Above the World 5 March - 18 April, 2010 at Collette Blanchard Gallery
Dean Monogenis
Above the Railing, Above the World
5 March - 18 April, 2010
Opening Reception Friday, March 5, 6-9
Collette Blanchard Gallery is pleased to present its first gallery exhibition with Dean Monogenis entitled "Above the Railing, Above the World", on view from March 5th - April 18th.
Monogenis continues his presentation of inventive landscapes that explore the natural progressions of entropy. The subjects of his works depict architecture in different phases of construction including buildings, tents, antennas, electrical posts, windmills and scaffoldings. The focus however is not on the placement of each structure within the landscape but rather on the notion of each monument as a means to articulate transition and purpose. Monogenis re-positions real structures from his encounters in his ever-changing neighborhood in eastern Williamsburg to communities and places he visits around the world. The process of conceptually removing a building from its natural environment and rendering it in an imaginative space with lush landscape and dramatic skies challenges the visual, historical and resourceful components of traditional city planning.
Done in acrylic on wood panels with a high gloss finish, the paintings reveal a distinction between the bold flat areas used to create the architecture with the tightly rendered areas of rock formations and highly textured depictions of greenery. A building can serve two purposes--it can be built as a functioning space or it can be non-space simply existing as a structure with physical matter supporting its construction. Aside from his experience of living among the architecture that is represented in the work, Monogenis's interest in architectural forms is inherent from his many childhood experiences touring ancient ruins while visiting family in Greece. His works often includes depictions of older monuments shown in comparison with contemporary architecture.
Mr. Monogenis received a BFA from the School of the Art Institute of Chicago in 1996. Monogenis is included in the group exhibition Skeptical Landscape at the Herter Art Gallery, University of Massachusetts in Amherst. His work has been exhibited in group shows at Robert Miller Gallery, Annina Nosei Gallery and Priska C. Juschka Fine Art and iis currently on view at Walter maciel Gallery. He was recently featured in New American Paintings. A series of ten images was reproduced in the September 2009 edition of the Georgia Review. A 66 page catalogue with a an essay by curator Elizabeth Grady will accompany the exhibition.
For more information, please contact the gallery at 646.249.7720 or gallery@colletteblanchard.com.
It's that magical time again. Opening today is the 75th Whitney Biennial at the Whitney Museum of American Art in NYC.
This year marks the seventy-fifth edition of the Whitney’s signature exhibition. While Biennials are always affected by the cultural, political, and social moment, this exhibition “simply titled 2010” embodies a cross section of contemporary art production rather than a specific theme. To underscore the idea of time as an element of the Biennial and to demonstrate the influence of the past on 2010, familiar and less well-known artists from previous exhibitions are brought together in Collecting Biennials, an accompanying installation drawn from the Museum’s collection on view on the fifth floor. Balancing different media ranging from painting and sculpture to video, photography, performance, and installation, 2010 also serves as a two-way telescope through which the Whitney’s past and future can be observed.
Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY 10021
General Information: (212) 570-3600
info@whitney.org
How to get there:
Subway: 6 Train to 77th Street
Bus: M1, M2, M3, M4 to 74th Street
Car: Two parking garages offer
discounts with Whitney ticket
validation.
General admission: $18
Ages 19–25: $12
Ages 62 and over: $12
Full-time students: $12
Ages 18 and under: FREE
Members: FREE
Admission is pay-what-you-wish on Fridays, 6–9 pm
Tickets include admission to all current exhibitions.
Check out these videos from a couple of Biennial artists
Untitled #86 (Lopez), 2009, Cibachrome, edition of 3 + 1 AP, 10 x 10" image
DCKT Contemporary is pleased to present new photographs by JOSH AZZARELLA. AZZARELLA manipulates images from cinema, journalism and amateur photography. His photographs muddy the waters between the artificial beauty of a cinematic set and the inherent beauty of the natural landscape. Absent their most significant events, AZZARELLA’s images raise questions about how our society constructs a narrative of our collective history.
The emptying of the photographs presents each scene in its formal beauty but leaves a ghost of its narrative past. The viewer is tempted to draw relational lines between individual photographs and to decipher patterns and groupings, taking cues from color and film grain. Movie stills, homemade images and documentary footage mix together, as in our collective memory. How individual and collective memories form, the possibilities of confusing memories with realities or creating memories where none previously existed are all key to his oeuvre.
In one photograph vines drape across branches, hearkening documentary photographs of the Vietnam War although its true source is the B movie classic Creature from the Black Lagoon. Emptied seascapes recall the stillness of Hiroshi Sugimoto photographs. The backs of two men on an Elvis Presley film set evoke 1960s family photographs, perhaps of a picnic.
AZZARELLA lives and works in New York City. Solo and group exhibitions include Mark Moore Gallery (Santa Monica, CA); Vancouver Art Gallery (British Columbia); Kavi Gupta Gallery (Chicago); Akademie der Künste (Berlin). He was the recipient of the 2006 Emerging Artist Award and a solo exhibition from The Aldrich Contemporary Art Museum (Ridgefield, CT). His work is included in the permanent collection of the San Francisco Museum of Modern Art. This is his third solo exhibition with DCKT Contemporary.
LeBasse Projects presents: 'Deva Loka: Los Angeles ' A Solo Exhibition by Yoshitaka Amano Los Angeles, CA
LeBasse Projects presents:
'Deva Loka: Los Angeles '
A Solo Exhibition by Yoshitaka Amano
Los Angeles, CA - LeBasse Projects is excited to present, 'Deva Loka' an exhibition of work from influential Japanese artist Yoshitaka Amano.
Legendary artist Yoshitaka Amano will make a rare U.S. appearance with his newest exhibit, DEVA LOKA, created especially for a U.S exhibition and named for the ancient Indian land of God. As an ode to his childhood love for American comics, culture and automobiles, Amano's latest breathtaking and vibrant pieces are boldly coated with auto paint and metallic glitter.
Amano is widely acclaimed for his work in animation and video games. He is renowned for designing the characters for the hit video game, Final Fantasy, as well as for anime films including Vampire Hunter D, Guin Saga, Final Fantasy, and Front Mission.
"Between the late 60's and the 70's, and during my early years in the art world, I was greatly influenced by American comic books and pop culture. I'd like to show my gratitude for the inspiration America gave me with this exhibit. With the theme of DEVA LOKA, all of my concepts and influences are able to come together, centered in one place. I hope everyone enjoys my show."
Deva Loka will be Amano's first major exhibition in Los Angeles in nearly a decade.
February 20th through March 13th
Opening Reception: Saturday, February 20th, 7 to 10pm
For additional inquiries or preview please contact:
Beau Basse, Gallery Director
at beau@lebasseprojects.com or 310.558.0200
www.lebasseprojects.com
Sloan Fine Art is pleased to present Just Off, a group exhibition curated by Peter Drake and Alix Sloan in the front gallery and Always Moving, a solo exhibition by Ryan Scully in the project room.
The most profoundly uncanny moments in life aren’t recognizable as such. They are like a ringing in the ears or a frame permanently askew, the missing object on a mantelpiece that lets you know that the scene has been disturbed. For Just Off, curators Peter Drake and Alix Sloan have brought together eleven uncannily like-minded emerging artists. With disconnected gestures, anatomical drawings of non-existent creatures, detritus still lives that remind one of ceramic figurines and everyday environments disrupted by unsettling forces, their imagery is similarly, subtly, disquietingly unhinged. The collected works are at their core familiar and beautiful but together they are undeniably and intriguingly Just Off.
Peter Drake is an artist and curator living in New York City. Curated exhibitions include Normal at Linda Warren Gallery and The Burbs at DFN Gallery.
Ryan Scully grew up in the shadow of the DOE Hanford Nuclear Site in Richland, WA. The unique influence of dependence on a controversial industry, a striking desert landscape and the ominous importance of resources deeply impacted the young artist’s development. In Always Moving, his canvases are populated with rough landscapes and amorphous characters in a state of anxious flux. Rocky overhangs struggle to break free. Threatening clouds sweep in and out of frame. Multiple inhabitants scurry towards perceived safety or to join in a group offense. These elements share an unsettling yet cooperative relationship. They are in a state of push and pull, an ever twisting but also evolving relationship in which life and it’s environment struggle against each other yet ultimately become equal and find space to co-exist.
Ryan Scully earned his BFA from Central Washington University and his MFA from the New York Academy of Art. His work has been exhibited nationwide and will be included in “New American Paintings, No. 86” on newsstands Spring of 2010. He lives and works in Brooklyn.
Sloan Fine Art is located at 128 Rivington Street on the Lower East Side of New York City. Hours are Wednesday to Sunday, noon to 6, and by appointment
Sofi Zezmer: Remote Control February 27 - April 3, 2010 at Mike Weiss Gallery
Brazil LS1 / 2010 / Plastic, metal / 63 x 49 1/4 x 35 3/8 inches (160 x 125 x 90 cm)
Sofi Zezmer: Remote Control
February 27 - April 3, 2010
Opening Saturday February 27, 6 - 8pm
Mike Weiss Gallery presents Remote Control, a multimedia installation including sculpture, photography and drawing by artist Sofi Zezmer. This is the artist’s third solo exhibition at Mike Weiss Gallery. Her use of the fragments of manmade, mostly synthetic materials shift the common definition of the objects we use to inform our everyday lives and confront the viewer with his or her own relationship to consumption, mass production and overflow.
With an engineer’s precision, Zezmer constructs her works by a gradual additive process dependent on intuitive responses to the materials and objects she uses forming color-saturated assemblages. Evolving out of a large selection of manmade curiosities, each piece takes on an identity and physical body of its own; some remain self-contained in their form while other spread out along the walls like micro organisms.
Among the abundant elements she incorporates are objects which in their original context were distinctly purposeful such as drinking straws, IV drip tubing, construction netting, film, foil, packing materials, bicycle helmets, cable ties and funnels. In fusing the elements and breaking them down, Zezmer disrupts the common meaning assigned to the items and calls into question our own familiarity with them. Zezmer’s sculptures suggest irrational Duchampian hybrids of mechanical and biological systems. They are embodiments of the complexity of life in the modern age, ruminations on the omnipresence of mass-production, space travel and biotechnology.
Sofi Zezmer structures some of her recent works as interactive sites, inviting simultaneously accessible multiple viewpoints, which provoke conflicting chains of associations. REM LS1, for instance, consists of a mobile, translucent panel attached to the wall with two hinges. The sculpture literally occurs on both sides of the panel as well as in between the two sides. Similarly, the large hanging work Brazil LS1 hovers at the viewer’s eye-level above ground and rotates slowly, disclosing simultaneously numerous vantage points.
Sofi Zezmer lives and works in Germany. Her work has been exhibited in numerous international galleries and museums. Most notable were her solo exhibition at Museum Wiesbaden, at the 21st Century Museum of Contemporary Art, Kanazawa, Japan and her forty two foot long hanging sculpture, Es Darf Kein Mangel Herrschen, commissioned by the NASPA Bank, Wiesbaden, Germany.
For more information please contact Helene Necroto, Director: 212.691.6899 or helene@mikeweissgallery.com
mike weiss gallery
520 west 24th street
new york, new york 10011 mikeweissgallery.com
Jason Horowitz's provocative large-scale and extreme close-up photographs of expressive drag queens conjure a multitude of reactions at the Curators Office in Washington D.C.
Horowitz continues his ongoing interest in exploring the intersection of landscape and portraiture and how hyper-realism morphs into abstraction. Shot with the same "glamour" lighting set-up used for fashion images, these photographs subvert that process to look at what is real rather than ideal.
In the new body of work entitled DRAG, a new psychological element enters the artist's earlier explorations of faces and bodies. The theatrical artifice of the make-up, similar to a mask, is at once concealing and revealing. We find ourselves shocked, drawn in, immersed, fascinated, yet a bit squeamish. Horowitz masterfully plays with the tension between attraction and repulsion. The over-the-top vamping and exhibitionist joy of drag queens is tempered by a simultaneous sadness and introspection. By exploding scale, Horowitz reveals not only the fascinating visual terrain of the face but also challenges our own hidden biases about femininity and masculinity, beauty and ugliness, gay culture, race, sexuality, and aging.
Horowitz initiated this series by shooting Washington DC's acclaimed drag queen, Shi-Queeta Lee. Word spread quickly among her friends, so Horowitz was able to photograph many of the city's finest performers over the past two years.
Curators Office
1515 14th St NW
Suite 201
Washington, DC
20005
Elene Usdin Femmes d'Interieur Photographs and Illustrations at
(Infante on sofa d'après Velasquez)
Elene Usdin
Femmes d'Interieur
Photographs and Illustrations
Opening Reception with the Artist, Thursday, February 18, 2010 (6-8PM)
Exhibition: February 18 - March 27, 2010
The exhibition will feature unique hand-painted selections from Usdin's newest series as well as digital based collage editions and un ensemble petite of original c-prints selected and editioned by the artist. The exhibition will be on view from February 18 - March 27, 2010. Elene Usdin will be at the opening reception.
For more information please visit www.farmanigallery.com or email us at info@farmanigallery.com. We can also be reached via phone at 718-578-4478.
(Penelope d'après Ghirlandaio)
The Farmani Gallery is located at 111 Front St., Ste. 212, Brooklyn, NY in the DUMBO neighborhood between Washington and Adams St. By subway take A or C to High St., F to York St. or 2 and 3 to Clark St. Station. Gallery hours: Wed. – Sat.: 1 – 6PM. Information: www.farmanigallery.com or info@farmanigallery.com or ph# 718-578-4478.
'Deva Loka: Los Angeles ' A Solo Exhibition by Yoshitaka Amano at LeBasse Projects in Culver City, California
'Deva Loka: Los Angeles '
A Solo Exhibition by Yoshitaka Amano
LeBasse Projects is excited to present, 'Deva Loka' an exhibition of work from influential Japanese artist Yoshitaka Amano.
Legendary artist Yoshitaka Amano will make a rare U.S. appearance with his newest exhibit, DEVA LOKA, created especially for a U.S exhibition and named for the ancient Indian land of God. As an ode to his childhood love for American comics, culture and automobiles, Amano¹s latest breathtaking and vibrant pieces are boldly coated with auto paint and metallic glitter.
Amano is widely acclaimed for his work in animation and video games. He is renowned for designing the characters for the hit video game, Final Fantasy, as well as for anime films including Vampire Hunter D, Guin Saga, Final Fantasy, and Front Mission.
"Between the late 60's and the 70's, and during my early years in the art world, I was greatly influenced by American comic books and pop culture. I'd like to show my gratitude for the inspiration America gave me with this exhibit. With the theme of DEVA LOKA, all of my concepts and influences are able to come together, centered in one place. I hope everyone enjoys my show."
Deva Loka will be Amano's first major exhibition in Los Angeles in nearly a decade.
February 20th through March 13th
Opening Reception: Saturday, Ferbuary 20th, 7 to 10pm
NATHAN SKILES: Black Forest / White Lightning & HEATHER SHERMAN: Feral at SLOAN FINE ART
(Image left: Nathan Skiles, “The Vanitas of Vineta B," 2009, corrugated plastic & foam rubber, 36" x 32" x 10"
Image right: Heather Sherman, "Suck It, Suburbia," 2009, oil on paper, 38" x 50")
NATHAN SKILES: Black Forest / White Lightning
HEATHER SHERMAN: Feral
OPENING RECEPTION: Wednesday, January 27th, 2010 from 6 to 8 pm
EXHIBITION: January 27 through February 20, 2010
SLOAN FINE ART
128 Rivington Street
(corner of Norfolk)
New York, NY 10002
212.477.1140
sloanfineart.com
Sloan Fine Art, in conjunction with Greene Contemporary, is pleased to present Black Forest / White Lightning by Nathan Skiles in the front gallery and Feral by Heather Sherman in the project room.
In Black Forest / White Lightning, Nathan Skiles presents a collection of densely adorned cuckoo clocks, ranging from the intricately elegant to the over-the-top outrageous, as a means to invigorate his method of associative image making and feed his interest in the incongruous. While the clocks lend themselves easily to observations on the convenient clichés and “rules” of time and space, specific (and repeated) themes within the works expand beyond immediate associations and evolve into musings on the self-consciousness and limits popularly ascribed to these rules. Specifically, in “Two Headed Boy Part 1” and the pair “The Vanitas of Vineta (A & B),” Skiles uses iconography such as the ouroborus, a wishbone, the Cottingley Fairies, George Washington’s wooden teeth and the Inverted Jenny Stamp to investigate how time, space, legend and chance influence our perceptions of identity, continuity, value and truth. And with his innovative use of foam rubber as his primary material, Skiles tricks the eye and obliterates the baggage of immediate recognition, further challenging his audience to look beyond the immediate and investigate the core issues presented in his work.
Nathan Skiles earned his BFA from Ringling School of Design and his MFA from Montclair State University. This is his second solo exhibition in New York.
Three years ago, Heather Sherman purchased a mysterious bag of Kodak slides (meticulously organized and labeled “Puppies,” “Vacation,” “Christmas,” etc.) from a thrift store in Florida. While buzzing and clicking through them in her 70’s era slide projector, the artist found her voyeuristic exploration of these people’s lives exposed connections to, and elements of, her own past. In a photograph of lawn chairs, she saw the New Year’s Eve spent drunk and alone, watching neighbors cheerfully light fireworks while quietly hating them. In a slide of two German Shepherds eating from a woman’s hand, she remembered the day she witnessed her mother being attacked by the family dog. And in their fenced-off New Jersey backyard, she envisioned the golf course she grew up on, and regularly vandalized - a bored, rich, gay teenager acting out in the suburbs of Orlando, Florida. In Feral, Sherman projects her psychology onto these strangers and their memories, using them as a vehicle to confront her own personal history. Some of the stories are fictional, some autobiographical, but all reinforce the need for connectedness and feelings of alienation so rampant in, and integral to, suburbia.
Heather Sherman earned her BFA at Ringling School of Design in Florida before fleeing to New York where she will complete her MFA at NYU this year.
Through his gallery Greene Contemporary, and now as an independent curator and consultant, Jonathan Greene strives to discover, encourage and present emerging and mid-career artists with a commitment and dedication to creating innovative work in a wide range of mediums. Both Nathan Skiles and Heather Sherman exhibited previously at Greene Contemporary. This is the first collaboration between Greene Contemporary and Sloan Fine Art.
Sloan Fine Art is located at 128 Rivington Street on the Lower East Side of New York City. Hours are Wednesday to Sunday, noon to 6, and by appointment.
Titouan Lamazou Women February 20 - March 27, 2010
Lola, Sydney, Australia, 2005 . Pigment print.
Titouan Lamazou
Women
February 20 - March 27, 2010
Opening Reception for the Artist:
Saturday, February 20th
6:30 - 8:30 pm
Adamson Gallery is pleased to present an exhibition of new photographs by Titouan Lamazou. Lamazou is an artist but also a documentarian, ethnographer, and it might be argued, an activist and humanitarian. For six years, Lamazou has traveled the world photographing 230 women and recording their biographies. The resulting images are beautiful and sometimes haunting. They reveal an artist that has a unique eye into the experiences of the peoples he encounters.
Titouan Lamazou has been voyaging around the globe nearly his entire life. Born in 1955 in Morocco, at age seventeen he decided to be a navigator and spent the next several years sailing on the seas of the world. In 1990, he won the Vendée Globe, a race around the world. Long accustomed to documenting the people and sites he encountered on his travels via photography, drawing, painting and even film, Lamazou decided to embark on his current project in 2001 and was named a United Nations Educational, Scientific & Cultural Organization "Artist for Peace," a title that reinforces the humanitarian aspect of his project. The result is a collection of photographs, sketches and video recordings, which have been exhibited worldwide and collected into several catalogues published by Gallimard, as well as shown on short segments on French television.
Katrine and Noris, Cali, Columbia, 2005. Pigment print.
At Adamson Gallery, Lamazou will be exhibiting some of the photographs from the project, beautifully rendered as large-scale digital prints. Each shot has hyper resolution and perspective, which Lamazou achieves by shooting as many as 200 images for each scene, which are then constructed into a mimetic image. This gives the resulting large format print a viewpoint that cannot be approximated by any camera lens and more closely mimics how we view scenes. Although each photograph tells a compelling story, their presence alongside one another is a powerful commentary on the commonalities and differences of experience around the globe.
Lamazou has the gift of rendering images that are remarkably full of narrative. Each woman poses in her own environment, surrounded by items that hint at the circumstances surrounding her life. In the photograph, "Lola, Sydney Australia, 2005," both the subject and her domestic surroundings are clad in leopard print. Behind her hangs a large portrait of the musician Jimi Hendrix, and above her head, a chandelier draped in foliage. Her head is titled slightly towards a barely visible window. We do not know anything about Lola, but we are compelled by what has been revealed. "Daniela, Bulgaria, 2006" is photographed with several children, looking over her shoulder as she walks to a dilapidated shack hung with sheets for insulation. Her story is all too familiar, but personalized in a unique way in the context of the other photographs. Together, the images begin to tell the story of the experience of women throughout the world.
To view more images from the exhibition, please visit our website. For more information, please contact Laurie Adamson or Erin Boland at (202) 232-0707 or email gallery@adamsongallery.com.
ADAMSON GALLERY
1515 fourteenth street nw
washington dc 20005
tel: 202.232.0707
web:www.adamsongallery.com
hours of operation:
tuesday - saturday
10:30 am - 5:30 pm
THE TILLER EFFECT, February 11 – March 13, 2010 at NYSG
Charlotte Becket, Inkblot V (detail), 2009, Insulation tape, plastic, motors, 16” x 36” x 19”
THE TILLER EFFECT
February 11 – March 13, 2010
Artists Reception: February 12, 2010 7-9pm
Charlotte Becket, Christian Maychack, Chad Mitchner, Kristine Moran, Benjamin Tiven
Curated by: Emmy Mikelson
NY Studio Gallery is pleased to present The Tiller Effect. The title derives from an expression describing certain steering mechanisms that entail turning in the opposite direction of where you want to go - turn left to go right, turn right to go left. It is a counterintuitive movement that involves a rhythmic balance of contradiction.
The artists in the show are equally engaged with movements or gestures that disrupt an intuitive sense of balance. Form, material, and intention are explored as unstable states and presented at the threshold of disequilibrium. Balance is antithetically conceived of as a dynamic and fluctuating state. The work within the show is perpetually disrupting a rational Euclidean plane and advocating for a space in which the subject is constantly negotiating her/his environment.
Charlotte Becket’s kinetic sculptures move slowly – sometimes imperceptibly – as their looping, rhythmic motion transforms these motorized machines into figural abstractions or landscapes. Her recent work includes wall mounted geometric forms with black-mirrored surfaces. As the forms slowly shift and redirect light they become hallucinogenic and unstable.
Christian Maychack’s newest sculpture consists of a towering architecture of sorts, constructed from marbleized Magic-Sculpt, and grafted onto a living houseplant. The construction simultaneously constrains and redirects the growth of the plant, while becoming a necessary support. Maychack will add to and adjust the piece in response to the plant’s growth over the duration of the exhibition.
In Chad Mitchner’s to-scale installations of interior rooms there is the constant tension between familiar fictions and uncanny spaces. The work is an attempt at reconstructing memories while occluding their existence in the present tense. The resultant spaces are filled with a nostalgic amnesia where even the artist himself becomes a fictitious figure.
Kristine Moran’s hallucinogenic territories are fractured and distorted, yet balanced by the richness in palette, gesture and reference. With witty shifts that collapse time, space and sound, Moran plays up the inherent drama of painting, as passages of excess are contradicted by denial and withholding.
The two-panel print by Benjamin Tiven selects a passage from Theodore Adorno’s Minima Moralia and pairs it with the translation by a German immigrant living in the U.S. since 1943, roughly when the Adorno text was written. Both texts are designed according to the aesthetic principles of the German book designer Jan Tschichold, who turned to a humanist classicism after rejecting his pre-war commitments to radical, Bauhaus-inflected modernism.
MISC Video and Performance features a variety of emerging, mid-career and established artists working in diverse genres ranging from video, animation, live performance, audio or video installation. Video loops and installations will be acceessable during gallery hours, while performances are scheduled. click here for the application. ARTIST OPEN CALL DEADLINE: FEBRUARY 15
About NY Studio Gallery
NY Studio Gallery combines exhibition and workspace to create an atmosphere of interaction, collaboration and integration of media, styles and artistic genres for US and international artists.
NY Studio Gallery
154 Stanton Street @ Suffolk, New York, NY 10002
info@nystudiogallery.com l 212.627.3276l www.nystudiogallery.com
Thursday – Saturday 12 - 6pm or by appointment
ALPHA & January 10 - February 21, 2010 at On Stellar Rays in NYC
Maria Petschnig
Born to Perform (performance still), 2009
ALPHA &
January 10 - February 21, 2010
Alpha & is an exploration of the body and the body in time. The exhibition proposes, or questions, transient acts and their permanence in the physical world.
In Alpha &, traces of the figure are evident in physical depictions of the human form (heads, hands, torsos), handcrafted efforts (stitching, burning, molding, welding, collage), and physically imposing sculptural works. Disembodiment and disintegration of the figure contradict a fixed physicality and singularity visible in each work. Here, the reimagination of the body, together with endlessly renewable narrative possibilities, signals a new means for permanence, survival, and perseverance.
With works by Ana Cardoso, Anya Gallaccio, Yasue Maetake, Maria Petschnig, Tia Pulitzer, Kirstine Roepstorff, Clare Stephenson and my play sister Stacy Lynn Waddell.
On Stellar Rays
133 Orchard Street
New York, NY 10002
The Lucie Foundation presents MONTH of PHOTOGRAPHY Los Angeles (MOPLA)
The Lucie Foundation
presents
MONTH of PHOTOGRAPHY Los Angeles (MOPLA)
Opening Night Saturday, April 3, 2010, 7:00 p.m – 10:00 p.m.
Featuring Pro’jekt LA Part One. Official exhibitions presented by
Frank Pictures Gallery and Robert Berman Gallery.
Bergamot Station - 2525 Michigan Ave. Santa Monica, CA 90404
February 10, 2010 (Los Angeles, CA) - The Lucie Foundation will present the 2nd annual Month of Photography Los Angeles (MOPLA) with an opening reception Saturday, April 3, 2010 from 7pm-10pm. Last year’s well attended and highly acclaimed inaugural showcase was an immediate success, creating a following for the entire month. MOPLA promises to deliver the most comprehensive celebration of the Los Angeles Photography Community. The city of Los Angeles was incorporated 160 years on April 4th, 1850 and with the support of the Photography Community, MOPLA will showcase the work of 160 Photographers through Exhibitions, Projections and Discussions. MOPLA will also endorse a variety of photographic exhibitions and events that take place during the month of April. As an inclusive event, MOPLA aims to inspire and engage the professional, enthusiast, emerging artist and collector, both young and seasoned. This effort will organize and galvanize the already thriving photography and art community in LA.
Partial programming highlights include:
Pro’jekt LA - Outdoor Projections
A five-part series dedicated to projecting photographs onto the walls and spaces in Los Angeles. MOPLA’s opening night will feature the first installment of Pro'jekt LA, MEXLA: Our Neighbor Mexico- Through the Eyes of Jeff Antebi, Livia Corona and Marc Smith, hosted by Frank Pictures Gallery. Every Tuesday, starting April 6th through April 27th, Space15 Twenty located in Hollywood, California, will host weekly, curated projections as soon as the sun sets.
Cost: Free with RSVP to projections@luciefoundation.org
Fresh Fairs V.I.P. Opening Party (April 23, Pier 59 Studios, 2415 Michigan Ave., Santa Monica 7:00 p.m – 10:00 p.m.) - Fresh Fairs is the newest addition to the world of photography. In concert with Foundation’s other programs, Fresh Fairs is committed to the presentation, promotion, and nurturing of the medium of photography and its makers. Via innovative and dynamic programming Fresh Fairs brings you Fresh Look: A unique portfolio review and Fresh Dialogues: Insightful conversations from a variety of industry players. We begin the three-day long Photography Fair with the Fresh Fairs V.I.P. Opening Party featuring a sneak-peak at Fresh exhibitors, music and drinks. A benefit event for The Lucie Foundation.
Cost: $25.00
Fresh Take (April 23rd-25th 2010, during FRESH FAIRS, Pier 59 Studios, 2 415 Michigan Ave., Santa Monica)
Fresh Take showcases the personal and meaningful work of photographers, most of whom are without gallery representation or for whom representation is of a mostly commercial context. Fresh Take offers the general public, galleries and collectors an innovative and engaging format in which to access, purchase, and engage with the work alongside its creator. The exhibiting photographers are handpicked by a professional jury of influential members of the photographic arts community and run the gamut from the highly visionary and adept to the dedicated and undeniably talented novice. Exhibitor submissions accepted through March 19th at www.freshfairs.com
Fresh Look (April 23-24, 2010)
Fresh Look is the Lucie Foundation’s very own juried portfolio review that brings together photographic talent with influential industry-insiders. Through one-on-one reviews Fresh Look gives photographers an opportunity to gain invaluable insight about their work and those reviewing a new avenue for gaining access to passionate and dedicated photographers. Portfolio submissions accepted through March 19th at www. freshfairs.com.
Highlight Exhibitions and Events
The J. Paul Getty Center
Art exhibits exclusive to the world of photography displayed at the J. Paul Getty Museum. Urban Panoramas featuring Opie, Liao and Kim, highlighting images by contemporary photographers, including live demonstrations. Photographer Luther Gerlach demonstrates how to make platinum prints using authentic cameras, lenses, and procedures from the 19th century. Tasteful Pictures, a selection of more than 20 works of art enticed by the subject of food since the earliest years of the medium. A live demonstration by photographer Luther Gerlach on how to make platinum prints using authentic cameras, lenses, and procedures from the 19th century. For more info, www.getty.edu
SnapShop! – An all day workshop for LA High School students (April 17, 10am-4pm, Santa Monica City College)
SnapShop! aims to cultivate the photographic minds of the future and for youth to acquire skills that might not be available to them at their home, schools and communities. High School students are paired with established photographers who are able teach technical and aesthetic skills needed for them to successfully express themselves through the art of photography. Students will learn important tools such as the art of selecting a captivating caption in photojournalism, the process of working with toy cameras, the art of low-light photography, and how to connect your emotions to your images and bring your vision to the next level. Instructors include David Healey, Susan Burnstine, Tom Paiva, Frank Jackson, Meg Madison and Natalie Franco. Admission: Open to pre-registered high school students only, at no cost. For more info, contact rclark@luciefoundation.org
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About the Month of Photography Los Angeles (MOPLA)
MOPLA's two-fold mission is to advance dynamic programming designed to engage and stimulate the photography community, as well as to present a comprehensive resource of exhibitions and events in April 2010. www.mopla.org
About the Lucie Foundation
The Lucie Foundation’s three-fold mission is to honor master photographers, discover and cultivate emerging talent and to celebrate the appreciation of photography worldwide. The photography communities from countries around the globe pay tribute to the year’s most outstanding photographic achievements at the annual Lucie Awards ceremony. The Lucies recognize men and women whose life’s work in photography merits the highest acclaim by their peers. The winners of IPA Photographer of the Year, the Discovery of the Year and Deeper Perspective Photographer of the Year are announced at the Lucies and are awarded cash prizes and statues. The Lucie Foundation is a 501(c)3 non-profit charitable foundation.
The Lucie Foundation | 550 N. Larchmont Boulevard Suite 100 | Los Angeles, CA 90004 | 310-659-0122 www.luciefoundation.org
Terri Thomas, Hedone and Melodie Provenzano, It's My Birthday! at Lyons Wier Gallery
Terri Thomas, Hedone
* Terri Thomas, Hedone
* Artist's Reception Friday, Feb 12th, 2010 - 6-9PM
* Exhibition dates: Friday, February 12th - March 8th, 2010.
* Gallery hours: Monday - Saturday 11-7, Sun. 12-6.
* Gallery located on the NE corner of 20th and 7th Ave.
* Subway: C, E exit 23rd @ 8th Ave., 1,9 exit 23rd @ 7th Ave.
Lyons Wier Gallery is pleased to present Hedone an exhibition of recent work by Austin, Texas artist Terri Thomas. An investigation of the taboo, Thomas' manipulated self-portraits and Swarovski crystal encrusted object-trophies explore the motivations and contradictions of physical and material desire. Playful, precisely rendered, laden with sexual implications and symbolism, the work in Hedone combines frivolity, fantasy, escapism and pleasure with paradox, self-analysis, media-influence and artifice.
Thomas uses the theme of hedone, the Greek word for "pleasure" or "delight," to question how we might, as a media driven culture, individually pursue pleasure. Today, hedone, the root word of "hedonism", usually implies a short sightedness and disregard for future consequences. The Ancient Greeks' notion of pleasure was divided. Some believed the highest pleasure was tranquility and could be reached through an ascetic, intellectual philosophy. Others believed that bodily gratifications were the supreme good and they lauded immediate gratification without regard to long-term gain. Through the narrative of Hedone, Thomas explores the origins of our desires through wildness, freedom, beauty and power. Her work is crafted with a glaring precision that often illuminates the irony of these ideas as much as it supports them in their role as things to be desired.
"Thomas' paintings and sculptures are simultaneously appealing and appalling, and mesmerize viewers who feel a little embarrassed for looking so closely at images similar to those more conventionally viewed in private. But Thomas is not embarrassed and frankly reveals herself and in doing so, unveils things about the society in which we live and the secret life of the individual in the context of the cognitive dissonance produced by normative expectations." – Joseph Bravo, art critic, San Antonio, TX.
Terri Thomas received her BFA from the Corcoran College of Art & Design in Washington D.C. Her work is currently included in the exhibition Reflected Gaze at the Torrance Art Museum, L.A. Hedone is Terri Thomas' first solo exhibition in New York.
Melodie Provenzano, It's My Birthday!
* Melodie Provenzano, It's My Birthday!
* Artist's Reception Friday, Feb 12th, 2010 - 6-9PM
* Exhibition dates: Friday, February 12th - March 8th, 2010.
* Gallery hours: Monday - Saturday 11-7, Sun. 12-6.
* Gallery located on the NE corner of 20th and 7th Ave.
* Subway: C, E exit 23rd @ 8th Ave., 1,9 exit 23rd @ 7th Ave.
Lyons Wier Gallery is pleased to present It's My Birthday! an exhibition of new work by New York based artist Melodie Provenzano.
Still-life drawings of toys and figurines are the subject matter included in Melodie Provenzano's artwork, but their arrangements and iconography are the crux of it. These meticulously rendered compositions allow a brief glimpse into the artist's personal world. They function as dreamscapes that offer many interpretations but are based upon root emotions like love, longing, and hope.
Set forth as mock dramas, the paintings tell a tale that oscillates between fantasy and reality, accomplishment and disappointment, understanding and bewilderment. They build narrative momentum as the audience begins to assign meaning to the objects, and unravel the specificity of the icons. Deciphering each painting and drawing, the viewer begins to see the ‘bigger picture' as they assess and assert how the set-ups that are drawn from life actually imitate it.
Melodie Provenzano graduated with a BFA from the Parsons School of Design in 1996. She was recently included in Playing Around at the Brattleboro Museum, Brattleboro, VT and Champagne & Baloney at Jeff Bailey Gallery, New York. This Melodie Provenzano's second solo exhibition at Lyons Wier Gallery.
Femmes D’Interieur Elene Usdin Photographs and Illustrations at Farmani Gallery in Brooklyn, NY
Femmes D’Interieur
Elene Usdin
Photographs and Illustrations
February 18 – March 27, 2010
Opening Reception: Thursday, February 18, from 6-8PM
The Farmani Gallery presents the New York debut of Femmes D’Interieur, the latest series from Paris based artist Elene Usdin, with an opening reception on Thursday, February 18, 2010 from 6-8PM. In this series, Usdin combines both her talents of photography and illustration and creates stunning imagery that also provides social commentary regarding the place of women as the decorations within their own domesticated situations.
Usdin, a member of the creative collective Hartland Villa, which includes art directors Lionel Avignon and Stefan Vivies, was recently awarded with the London Photographic Associations Gold in Fashion for the “fair-etale” series. She has also been awarded the 2008 Px3 Prix De La Photographie Paris and the International Photography Awards honorable mention for her earlier series “Self Portrait with Mattress.” Her editorial and fashion work can also be seen in Eyemazing, Twill, and The World Magazine.
This latest series “Femmes D’Interieur,” which has already exhibited at the Gallery of Graphic Arts in Paris, Usdin reflects upon the representation of women as a decorative element, morphing objects like common household items, furniture, and even the countryside with that of women painted in the style of portraits from the Classical Era. This offbeat reinterpretation of “woman-as-object” is at one time unsettling and yet Usdin has the ability to convey this strong subject matter with wit and charm in her stunning artworks. It is has been said of Usdin’s work, “it is always about women – the women of fairytales, of mythology, and of fantasy,” and she provides that same ideology in this series.
Each artwork is a unique original, hand painted C-print mounted on aluminum. For the exhibition the gallery will show a mix of originals and reproductions available in two sizes. For more information please visit www.farmanigallery.com or email us at info@farmanigallery.com. We can also be reached via phone at 718-578-4478.
The Farmani Gallery is located at 111 Front St., Ste. 212, Brooklyn, NY in the DUMBO neighborhood between Washington and Adams St. By subway take A or C to High St., F to York St. or 2 and 3 to Clark St. Station. Gallery hours: Wed. – Sat.: 1 – 6PM. Information: www.farmanigallery.com or info@farmanigallery.com or ph# 718-578-4478.
Dinh Q. Lê Elegies at P•P•O•W Gallery in NYC February 4 – March 13, 2010
Dinh Q. Lê
Elegies
February 4 – March 13, 2010
Opening Reception: Thursday, February 4, 6-8pm
P•P•O•W is pleased to present Elegies, our sixth solo exhibition with Dinh Q Lê. Elegies is an installation of two videos, From Father to Son: A Rite of Passage (2007) and South China Sea Pishkun (2009) and related large scale photographic works. This will be the first New York screening for both videos. The videos focus on the specters that embody the psychological and physical inheritance of the Vietnam War. They also act as endings, one as an ending of the journey of a father and a son, and the other as an ending of America's misadventures in Vietnam. South China Sea Pishkun has been shown in Hong Kong and at the recent Fukuoka Triennale.
Click here for full press release...
Elegies is connected to the upcoming solo exhibition Dinh Q Lê will be having at MoMA in June 2010 entitled The Farmers and The Helicopters.
A Queens Affair at The Farmani Gallery in Brooklyn, New York
A Queens Affair
Photography by Kris Graves and Eric Hairabedian
Book pre-Launch and Exhibition
February 04-13, 2010
Opening Reception: Thursday, February 04, from 6-8PM
(January 15, 2010, Brooklyn, NY) The Farmani Gallery will host the book pre-launch for A Queens Affair, a collaborative photography endeavor by Kris Graves and Eric Hairabedian, due out summer of 2010. The opening reception will be held on Thursday, February 4, 2010 from 6-8PM at which time book pre-orders will be made available. A Queens Affair is priced at $40 and for the first 100 individuals to pre-order will receive one 8x10” signed archival pigment print from each photographer. These artists prints are exclusive to the book pre-order and will not be reprinted in this style once they are sold out. Both artists will attend the reception and the exclusive artists prints will be made available to take home with a pre-order during the reception.
A Queens Affair is a culmination of eight years of photographing the development, fixed characteristics and spirited nature of Queens, New York. Both Kris Graves and Eric Hairabedian were born and raised in and around Queens and through their photographic partnership share a visual history of their beloved borough.
A special selection of images from the book will be on exhibit and available for purchase for the duration of the show. After which these images will be available in small editions at the Farmani Gallery web site.
Kris Graves, photographer and creative force behind the +kris graves projects is a graduate of SUNY Purchase College and is currently exhibited in Versus, a group show at Haus Projects in New York. His Queens photography will have its debut with this exhibition at the Farmani Gallery.
Eric Hairabedian, photographer and graduate of both SUNY Purchase College with a B.F.A. and the School of Visual Arts with an M.F.A. has been exhibited in the group show, Ten Photographers, Ten Days and his solo show, Remembrance.
For more information please visit www.farmanigallery.com or email us at info@farmanigallery.com. We can also be reached via phone at 718-578-4478.
The Farmani Gallery is located at 111 Front St., Ste. 212, Brooklyn, NY in the DUMBO neighborhood between Washington and Adams St. By subway take A or C to High St., F to York St. or 2 and 3 to Clark St. Station. Gallery hours: Wed. – Sat.: 1 – 6PM.
EL ANATSUI February 11 - March 13, 2010 at Jack Shainman Gallery NYC
Photo by Jodi Bieber/INSTITUTE
EL ANATSUI / / OPENS WEDNESDAY, FEBRUARY 10TH, 2010
EL ANATSUI
February 11 March 13, 2010
Opening reception: Wednesday, February 10, 6 - 8 pm
Jack Shainman Gallery is pleased to present an exhibition of large-scale sculptures by internationally acclaimed artist El Anatsui. Several monumental wall sculptures made from thousands of discarded bottle tops, will be on view. Anatsui transforms simple materials into large shimmering forms by assembling elements into vibrant patterns with a unique visual impact. An astute observer, he composes his sculptures with meticulous orchestration, masterfully managing material and color. Here Anatsuis palette ranges from black and red to silver and gold.
Fluidity of form is a significant quality inherent to the sculptures. As Alexi Worth from the New York Times Magazine pointed out in a recent feature on Anatsui from Spring 2009, Their most peculiar feature is that they are physically unfixed: Anatsui insists that his hangings be draped rather than hung flat, but he doesnt insist on draping them himself, and in fact is perfectly happy to have galleries or museums do so. He has preferences horizontal ripples are better than vertical ones but he doesnt regard any particular arrangement as final. Naturally, professional curators are disconcerted by this freedom; Anatsui has little patience with their scruples. Museum people are trained not to be creative, Anatsui complains. I find that very frustrating. To Storr, the provisional, shifting shape of Anatsuis art is one of the keys to its originality. In the catalog to the coming Museum for African Art retrospective, Storr argues that Anatsuis work is f undamentally anti-monumental: it does not stand its ground. . . . Rather it takes the shape of circumstances and so epitomizes contingency. For Storr, that is no minor innovation: Anatsui opens a new chapter in the history of sculpture. Its possible that the appetite for contingency that Storr praises is particularly African. Lisa Binder, the curator in charge of the Anatsui exhibition, points out thattraditional African objects, unlike European paintings and sculpture, are often highly adaptable, designed to be reused. Anatsuis work brings this adaptable, unfixed quality into sculptural practice as jazz brought an African unfixedness into Western music.
El Anatsui was born in Anyako, Ghana in 1944, and holds degrees in sculpture and art education from the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana. He is Professor of Sculpture at the University of Nigeria, Nsukka, where he has lectured since 1975. His work has been exhibited extensively in international solo and group exhibitions, including the 1990 and 2007 Venice Biennales, the 1995 Johannesburg Biennale, the 2004 Gwangju Biennale, Prospect.1 New Orleans in 2008, and the 2009 Sharjah Biennale. A solo show, Gawu, traveled throughout Europe, North America, and Asia. His work is in numerous public and private collections throughout the world including The British Museum, London; The Centre Pompidou, Paris; The Metropolitan Museum of Art, and The Museum of Modern Art, New York; Los Angeles County Museum of Art, and the Nelson-Atkins Museum, Kansas City. Most recently, Anatsui created an installation on-site at Rice Gallery at Rice University, Houston, TX, on view through March 14.
A major retrospective of Anatsuis work, When I Last Wrote to You About Africa, curated by Lisa Binder from the Museum for African Art, New York, begins a North American tour at the Royal Ontario Museum in Toronto, Canada, on October 2, 2010, followed by its presentation at the Museum for African Art, New York, as one of the inaugural exhibitions at the museums new building.
This is El Anatsuis second solo exhibition at Jack Shainman Gallery. A hardcover catalogue is available.
Upcoming exhibitions at the gallery include Ross Rudel and Todd Hebert opening March 18, on view through April 17, 2010, and Lynette Yiadom Boakye and Carrie Mae Weems opening April 22 on view through May 22, 2010.
Gallery hours are Tuesday through Saturday from 10 am to 6 pm. For additional information and photographic material please contact the gallery at info@jackshainman.com.
Nicholas Robinson Gallery is pleased to present the first solo exhibition of Robert Zungu. The exhibition, entitled Poor Theater, includes sculptures and photographs that examine environmental conservation and the formation of marginalized social communities.
The exhibition's title references Jerzy Grotowski's eponymous Polish theater company that rose to prominence during post-war Europe. In Grotowski's Poor Theater, the stage is reduced to its bare elements, props are made from impoverished materials and the actors rely on the rigorous physicality of their bodies.
Using Grotowski's theories as a point of departure, and through a collaboration with the US Holocaust Museum, Zungu creates a makeshift backdrop of the Podgorze Ghetto as the locus for his exhibition. The image of the gates explores how communities can be sequestered and endangered by social isolation.
The exhibition investigates the ethics of science in relation to cultural and medical advancement. The photograph Untitled (Five Gorillas) depicts five plaster death masks made from a family of Mountain Gorillas. These masks, made by Dr. Carl Ackley in the 1920s, and hunted under the auspices of science, became the foundation for the dioramas at the Museum of Natural History. In addition, Zungu's sculpture Untitled (Horseshoe Crabs: Dialytic Grouping) is composed of three horseshoe crabs cast in bronze, each with a white patina to appear as if they were bled dry. Horseshoe crab blood is essential to contemporary medical research and is widely harvested to test the purity of vaccines and intravenous medical equipment.
Each artwork in the exhibition incorporates natural materials; the sculpture Eridanus, for example, is composed of 30 white, North American tiger moths pinned to the gallery wall in the formation of The River constellation. Each moth, signifying the location of a corresponding star, composes an abstract wall drawing. Other works in the exhibition include materials such as cast paper, painted bags of flour, bronze, stalactites, plaster, ebonized wood, and rolled copper.
Poor Theater also addresses issues of environmental conservation. In the photograph Striped Land Snails (X), ten snails are documented on a vintage map of an elevator circuit board. The composition maintains a surreal tone by relating the circles and spirals found in nature with the hand drawn lines of an electrical blueprint. The photograph considers the formation of communities and the consequences of industrialization on the biological world; what was once a forest is now an urban grid.
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
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
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.
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.
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
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
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
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.
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.
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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.
LA County Museum of Art presents Heroes and Villains: The Battle for Good in India's Comics
Heroes and Villains: The Battle for Good in India's Comics
October 17, 2009–February 7, 2010
This exhibition examines the legacy of India’s divine heroes and heroines in contemporary South Asian culture through the comic book genre. Indian superheroes and their archenemies are visualized from ancient archetypes that have long been depicted in traditional painting and sculpture, and are deeply ingrained in India’s historical imagination. In the twenty-first century new incarnations of ancient Indian gods and goddesses are made manifest as modern superheroes brought to Earth to vanquish the evil forces. Demons take the form of modern villains, and raise havoc in today’s troubled times. Today comic book production takes place in a global cultural context and within a multimedia framework that combines traditional hand-drawn illustrations with computer design and animation technology. These issues are explored through a selection of vintage Indian and American comics, and contemporary pencil-and-ink-drawn character explorations by Indian artists from the Liquid Comics series Ramayan and Devi. To illustrate the continuity of the heroic narrative tradition in Indian art, a selection from LACMA’s historical collection of Indian paintings will also be on view. These include folios from Mughal illustrated manuscripts, paintings and drawings from the northern Indian princely states, and story-telling paintings from central India. Curators: Julie Romain, Tushara Bindu Gude.
Los Angeles County Museum of Art
5905 Wilshire Boulevard
Los Angeles, CA. 90036 http://www.lacma.org
Scott Belcastro at LeBasse Projects in Los Angeles
LeBasse Projects is proud to present the first US solo exhibition from Scott Belcastro as he returns to Los Angeles with his largest body of work to date. Belcastro's paintings are a collection of thoughts on existentialism, meditation, religion, prayer, isolation, sin and forgiveness. Subtle washes of color and finely detailed elements create environments designed for the viewer to get lost in. Taking on new form and structure the work is not about the artists view of the world - but more about what can manifest through patience and self awareness.
'Chasing the Last Glimpse of Light'
Scott Belcastro
Saturday, December 12th, 7-10pm
For more info or preview, please contact the gallery at:
contact@lebasseprojects.com or 310.558.0200
The gallery will complement Belcastro's show with the debut solo exhibition of Linda Kim, a recent graduate of Pasadena's Art Center College of Design.
Linda Kim was also a participant in "The Kids are Alright," a group show series curated by LeBasse Projects. Now Kim will be presenting a new body of paintings and sculptures for her first solo project. Her work features a whimsical style that engages the viewer with scenes of interaction between nature and man.
'A Light Within' by Linda Kim
Project Room:
Saturday, December 12th, 7-10pm
For more info or preview, please contact the gallery at:
contact@lebasseprojects.com or 310.558.0200
LeBASSE Projects
6023 Washington Blvd
Culver City, CA 90232
310.558.0200 www.lebasseprojects.com
