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November 29, 2010
MARGARET WITHERS FEELING UNTETHERED I LAID DOWN MY MEMORIES November 24 - December 18 2010 at Amos Eno Gallery
MARGARET WITHERS
FEELING UNTETHERED I LAID DOWN MY MEMORIES
November 24 - December 18 2010
Artist Reception
Thursday, December 2, 5:30-8:30 PM
Margaret Withers laid the foundation for her art during a largely unsupervised childhood in which she distanced herself from actuality by envisioning her own small world as a theater and casting herself as both playwright and lead actor in countless fictions. In her current paintings she employs materials--resin, pigment, oil paint, string, ink, paper, and clay--in order to manifest forms at once familiar and unrecognizable, visual fictions, compositions on the stage of her canvases full of life and movement. When a viewer encounters her figures, or "guys," as Withers calls them, the initial impulse is to decode or interpret, which is Withers' knock at the door, her invitation to come out and play.
In the painting Thesis and Antithesis dripped dots of blackberry jam on the smock of crying Synthesis, her "guys" intertwined in exuberant unselfconscious postures engage on the levels of imagination and play, narrative and movement. Three small clay heads attached to the canvas oversee the mystery, inviting the viewer to follow the dots and swirls and plunge into this complex and colorful world. In many guys loosely thinking of floating thoughts, her "guys" are queued up like dancers, energized and anticipating their entrance. Withers has generated a distinct vocabulary by which she propels her narratives and proffers a challenge either to discover the story or pretend a new one.
Withers' sculptures are representations of her "guys" in three-dimensional space, their abstraction compounded by her choice of materials--street sweeper bristles, wire, painted vellum, wood, clay, and string. Moving among these sculptures evokes a feeling of wandering the woods at dusk when position and light interact in the still quietude to skew perception.
There is no seediness, no sinister intent in Withers' paintings and sculptures. Instead they serve as a reminder that artistic expression is expansive and inclusive, and there is more than enough room for wonderment and playfulness.
Withers' was born in Austin, Texas and currently lives and works in Brooklyn, NY. She has shown locally and internationally and was recently selected to appear in the New American Paintings Northeastern edition #92, which was judged by Laura Hoptman, former Chief Curator of the New Museum's recent show Brion Gysin -Dream Machine.
* Work above, from left to right - Many Guys Loosely Thinking of Floating Thoughts, 54"x54," resin, pigment, oil, string, painted vellum, 2010 | The Word is the Image of the Thing, 48"x12"x12," wood, steel, string, baling wire, plaster, iron, 2010 | Childhood Unmothered in One Tangled Beat, 30"x40," resin, pigment, oil, string, pen & ink drawing, painted vellum, 2010.
Amos Eno Gallery | 111 Front Street Suite 202, Brooklyn, NY 11201 | 718.237.3001 | Mon Thru Sat 12-6 | www.amosenogallery.org
DCKT Contemporary in New York is pleased to present LAURA LOBDELL’s Traces of Color and SOPHIE CRUMB
DCKT Contemporary
195 Bowery
New York, NY
212-741-9955
LAURA LOBDELL
Traces of Color
In the back gallery
November 23 - December 30
Opening Reception: Tuesday, November 23, 6-8pm
Traces of Color #12, 2010 gouache & ink on rag paper
50 x 38"
DCKT Contemporary is pleased to present LAURA LOBDELL’s Traces of Color, an exhibition of recent paintings on paper. LOBDELL’s gouache paintings are layered meditations on time.
LOBDELL begins by painting color forms in gouache with large, Chinese calligraphy brushes. The spontaneous, gestural sweeps and spills become the starting point for lines and marks made with fine calligraphy brushes and fountain pen ink. These lines are repetitive and somewhat ordered, following a pattern of rules. The reality of the grounds makes strict application of the “rules” awkward or unappealing. The linear marks are a frustrated attempt to create order over the unruly color fields, literally traces of color.
LOBDELL holds a MFA from the School of Visual Arts and has been a participant in the Skowhegan School of Painting & Sculpture’s residency program and the Artist in the Marketplace program at The Bronx Museum of the Arts. She has been included in group exhibitions at The Bronx Museum of the Arts, the Arts Club of Washington and the Art Institute of Chicago.
SOPHIE CRUMB exhibition continues
through December 30th in the main gallery
Sunglasses 3, 2010, ink on paper
4 1/4 x 6" UF; 9 1/2 x 11 1/4" F
DCKT Contemporary is pleased to present SOPHIE CRUMB's debut solo exhibition. This exhibition coincides with the release of the monograph Sophie Crumb: Evolution of a Crazy Artist, edited by her parents R. Crumb & Aline Kominsky-Crumb and published by W. W. Norton.
Exhibitions will be on view at DCKT Contemporary, 195 Bowery (at Spring Street).
Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm.
Liz Markus: Are You Punk Or New Wave? November 18 - December 18, 2010 at ZieherSmith in New York
Liz Markus: Are You Punk Or New Wave?
November 18 - December 18, 2010
Reception for the Artist: Thursday, November 18, 6-8 pm
Recollecting a sequence of youthful inspirations with images gleaned from such wide-ranging sources as Frankie Goes to Hollywood, Johnny Rotten, Christopher Wool and Jean Michael Basquiat, Liz Markus’s third solo exhibition at ZieherSmith, Are You Punk or New Wave? pulls together a disparate cast of characters that have re-invigorated her studio practice with a new immediacy. Always reinforced by a phalanx of art historical referents, Markus offers a postmodern blitz of glamour and glitz in art, fashion, music and culture, subtly referencing contemporary politics, as well.
Painted with fluid, delicate washes of acrylic on unprimed canvas, Markus presents a sequence of three paintings of Sex Pistols lead singer Johnny Rotten that both celebrate the singer and link him conceptually to Andy Warhol and, specifically, his 1963 Double Elvis. The image resonates with various dual corollaries: iconoclastic American rock and roll poses re-translated into heroic caricature, while the emerging artist looks backward to a past master, who made his own self-caricature a crucial part of his practice.
WAR and RELAX, two text paintings featuring the sloganeering of 80’s dance pop sensations Frankie Goes to Hollywood balance a copy of Christopher Wool’s Apocalypse Now a cheeky riff that refers to our own current wars while simultaneously remembering the high flying peaceful times when the originals were created. Markus also captures 80’s art nonpareil Basquiat hamming in a football helmet and Kate Moss from the back, wearing a leather jacket emblazoned with "God Save the Queen" — here a stand in for the artist herself, light-heartedly rebellious in recollection of her own youth in the 1980’s. Moss stands too as a symbol of the success and excess of celebrity culture tinged with scandal, controversy and notoriety.
The lynchpin of the exhibition is a large collage of Artforum advertisements from the 1980’s. Affixed to canvas with the visual imagery covered in silver glitter, Markus defaces the actual object of art and reduces long-past shows to nothing but their salient details. A nod to our current culture’s easy admiration and equally effortless dismissal of celebrity heroes, Markus looks backward with equal parts reverence and suspicion.
Studio Visit is P.S.1’s new web initiative that offers virtual presentations of artists’ studios. Emerging artists working in the five boroughs and greater New York area are invited to upload video or still images of their studios and work. Artists’ submissions will be present on the website for at least one month.
Studio Visit will serve as an online artistic hub and provide viewers a look at the varied artistic practices located within one city.
Check out my Studio Visit page as well as pages for UPL friends Brandon Cox and Duron Jackson and all the other talented artists living and working in the greatest city on earth.
LeBasse Projects presents: Nate Frizzell :: 'I Should Know Who I Am By Now'
LeBasse Projects presents:
Nate Frizzell :: 'I Should Know Who I Am By Now'
Opening Reception: Saturday, November 6th, 7-10p
Exhibition runs: November 6th - December 4th 2010
Since his first solo show at LeBasse Projects, Nate Frizzell has been experimenting with different techniques and media, making a switch from acrylics to oils. The switch amplifies Frizzell's already beautifully rendered figures and animals resulting in gorgeous coloring, clarity, and depth. His themes of self-discovery and examination of the human condition return in the winteresque environment of his solo exhibition 'I Should Know Who I Am By Now.' Frizzell will also debut his first series of sculptures, designed as companion pieces for his paintings.
After 2009's debut solo exhibit for the artist, this upcoming show has already been generating significant excitement as Frizzell has been focused on producing a new level of work for his return to the gallery.
Project Room :: Eric Fortune
The gallery will compliment Frizzell's solo with new works by Eric Fortune, 'A Dream's Reflection' in the Project Room. Mastering a glazing technique with acrylics, Fortune produces a stunning array of work. His delicate renderings and dream like colors provoke a serene yet dynamic imagery, almost eerily elements reminiscent of surrealist art.
For his second exhibit at LeBasse Projects, Fortune also explores oil paintings on canvas, adding to his already impressive skills as a painter and providing collectors even more options with his work.
Eric Fortune :: 'A Dream's Reflection'
Opening Reception: Saturday, November 6th, 7-10p
Exhibition runs: November 6th - December 4th 2010
JAN HULING Walking Under Ladders and Boom & Bust: Ceramic Commentary Featuring: Sin-Ying Ho, Jeff Irwin, Jeffrey Mongrain and Robert Silverman at Lyons Wier Gallery
Steampunk Willy, Mixed media, beads,16 x 9 x 5 inches
JAN HULING
Walking Under Ladders
Opening Reception:
Thursday, November 11 - 6-9pm
Exhibition Dates:
November 11 - December 10, 2010
Gallery Located: 175 Seventh Ave on the NE corner of 20th and 7th Ave.
Nearest Subway: C,E exit at 23rd St @ 8th Ave, 1 exit 23rd @ 7th Ave.
Contact: Michael Lyons Wier - Tel: 212.242.6220
E-mail: gallery@lyonswiergallery.com
Lyons Wier Gallery is pleased to present Walking Under Ladders, a solo exhibition of new sculptural work by Jan Huling.
Neither sketched nor planned, Huling's three-dimensional works draw inspiration from her travels to India and Mexico, as well as imagined, playful scenes reminiscent of childhood fairy tales and fantasies. Huling's work is approachable yet evocative, incorporating spiritual iconography along side humorous artifacts of contemporary popular culture. The armatures for Huling's sculptures are an unpredictable mix of forms ranging from Kewpie and Munny dolls to birds and tiny life-sized insects. This exploration of shape and scale adds to the whimsical charm of her work.
In addition to seed beads, Huling's colorful sculptures incorporate a variety of found objects, such as buttons, coins, tokens and costume jewelry. Huling's slow and meticulous beading process, the intricacy of her swirling, hypnotic patterns, and the spontaneous manner with which Huling approaches each new project results in sculpture that is both delicate and alluring to touch - simply put, she transforms the ordinary into the extraordinary.
Jan Huling received a BFA from the Kansas City Art Institute and Drake University. Her work has been shown at the Noyes Museum, Oceanville, NJ, Jack Fischer Gallery, San Francisco, the American Craft Council Show, Baltimore, SOFA New York and Santa Fe, the Bead Museum, Washington, DC, the Montclair Art Museum, NJ, and Rupert Ravens Gallery, Newark, NJ, among others.
Huling's work has been featured in the New York Times, The New York Post, Beadwork Magazine, 500 Tables (2009),500 Handmade Dolls (2007), Lark Books, HGTV and NJN (PBS). The artist is the author of Ol' Bloo's Boogie-Woogie Band & Blues Ensemble (2010) [Peachtree Publishers], and Puss in Cowboy Boots (2002) [Simon & Schuster].
Jeff Iwin
(Bull Earthenware, glaze, 24 x 24 x 19 inches)
Boom & Bust: Ceramic Commentary
Featuring: Sin-Ying Ho, Jeff Irwin, Jeffrey Mongrain and Robert Silverman
Opening Reception:
Thursday, November 11 - 6-9pm
Exhibition Dates:
November 11 - December 10, 2010
"When bankers get together for dinner, they discuss art. When artists get together for dinner, they discuss money." Oscar Wilde
Sin-Ying Ho, Jeff Irwin, Jeffrey Mongrain and Robert Silverman are four ceramists commenting on the world's recent economic struggles brought about by America's dubious subprime lending and mortgage practices and questionable banking policies. Each artist makes overt references in their work about how they were personally affected by the world's financial market crash.
Sin-Ying Ho displays a six-foot porcelain vessel that combines traditional blue and white Chinese motifs with the iconography of Adam & Eve and their expulsion from the Garden of Eden. Commenting on the trials and tribulations of blind "monetary" pursuits, Ho's work incorporates illustrations of plunging financial indexes within the large silhouetted figures.
Jeff Irwin's iconographical life-size earthenware "Bear" and "Bull" busts represent upward and downward market trends. Each piece also combines knots and branches cast from living trees, drawing attention to issues of conflict between Man and Nature.
For this exhibition, Jeffrey Mongrain transforms a two-dimensional sound wave translation of a quote by President Herbert Hoover into a three-dimensional sculpture in clay. On October 29th, 1929, the New York Stock Exchange collapsed beginning the decade long Great Depression. On December 3rd, 1929, thirty-six days after the Market's crash, President Hoover gave his State of the Union Address stating the economy was "...returning to normal...". The water-drop like ripples coming from the center of Mongrain's circular disc are a sculptural sound translation of Hoover's words "Returning to Normal".
Robert Silverman's large format ceramic panels incorporate his continued fascination with the visual representation of information and language. Using Morse code and graphs that are ultimately abstracted through his artistic process, Silverman creates compositions where the direct semantic exchange in the piece is impossible to decipher but the beauty of a symbolic language emerges. One such piece in the show, "Wealth" illustrates America's dichotomy of wealth between 1920-2000.
Sin-Ying Ho holds an MFA from Louisiana State University and is currently an Assistant Professor in the Art Department of Queens College, City University of New York. Jeff Irwin holds an MFA from San Diego State University, and is a Ceramics Instructor at Grossmont College, San Diego. Jeffrey Mongrain holds an MFA from Southern Illinois University, and is a Professor of Art at Hunter College in New York City. Robert Silverman holds an MFA from Alfred University and is the Director of the Ceramic Center at the 92St Y in New York City.
Kim Dorland New Material November 6, 2010 – January 8, 2011 at Mike Weiss Gallery
Kim Dorland / Studio view / Toronto / 2010
Kim Dorland New Material
November 6, 2010 – January 8, 2011
Opening Saturday November 6th, 6 – 8 pm
Mike Weiss Gallery is pleased to present New Material, Kim Dorland’s first solo exhibition with the gallery. Consisting of paintings, watercolors, assemblage on paper and taxidermy animals, New Material pushes the limits of painting to visually narrate Dorland’s experience growing up in rural Canada. In his most ambitious work to date, Dorland continues his emphatic exploration of materiality through thick layering of paint, wood, feathers, fur and glitter.
The Shack, among the largest works in the exhibition, addresses an occurrence in which, as a teen, the artist stumbled upon an open porn magazine in the woods, engendering both fascination and trepidation. The woods play a crucial role in Dorland’s paintings as the nexus of dyads, most notably reality/fantasy, ease/tension, seduction/repulsion, and pleasure/horror. The tension between pleasure and horror, as seen in Boogeyman, Sasquatch and Night, explores Dorland’s complex childhood relationship with the woods as a potential harbor for phantasmagoria. In all three works the folkloric characters are brought to life through the sumptuous use of impasto and additional media, at once whimsical and terrifying. The combination of fur, paint and crystals produce images that are far more than realistic or even organic; rather, they are quasi-human, aggressively commanding in their presence and unapologetically confrontational. Of this Dorland has noted, “I like the challenge of painting an incarnation of fear.”
Even natural inhabitants of the Canadian woods with which Dorland is so closely acquainted—as seen in Ghost (Deer), Crows, Grey Owl and Wolf – are imbued with a similar magical, if nightmarish, quality. The deer is haunting; the birds are Hitchcockian; and the wolf is predatory. They implore to be touched through their didactic materiality but are unequivocally ominous through the very same means. Extending the materialization of his woodland creatures, Dorland pulls Caribou and Lynx out of the realm of painting and into sculpture. The taxidermy figures are dipped and dripped with paint, glitter and yarn, their potential to attack is diffused by symbols of ultra-femininity and naïveté. Consequently, Dorland allows the works to intimidate and also lure viewers into a mystical forest where illusion eclipses vision and imagination reigns supreme.
Kim Dorland was born in Wainwright, AB and currently lives and works in Toronto, ON. He attended the Emily Carr Institute of Art and received his Masters from York University in Toronto. His previous shows have received reviews from the New York Times and the Los Angeles Times. His work is included in public and private collections most notably: The Beth Rudin DeWoody Collection, Blanton Museum of Art at the University of Texas, Eileen S. Kaminsky Family Foundation in New York, The Glenbow Museum in Calgary, The Montreal Museum of Fine Arts in Montreal, The Neumann Family Collection in New York, and The Oppenheimer Collection, The Nerman Museum of Contemporary Art in Kansas City, MO.
For additional information please contact Anna Ortt, Director at anna@mikeweissgallery.com
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
Curate NYC postcard exhibition at Rush Arts Gallery for an additional week, starting this Thursday through Saturday, November 4-6, from 1:00-6:00 p.m. each day.
Awhile back I told you about the great exhibition I am fortunate enough to be included in called Curate NYC. Here's some information about Curate NYC. Check out the project website (CurtateNYC) and view the work of all the talented New York based artists who participated.
The show has been extended with a special exhibition of all the selected 150 postcards including mine on display at Rush Arts Gallery Nov. 4-6 from 1pm until 6pm each day.
Ricky Day selected as an exhibiting artist in the first CURATE NYC JURIED ART EXHIBITION
I am very happy and very humbled to have been selected as an exhibiting artist in Curate NYC. The selection committee is staffed with a diverse group of industry professionals, nearly 1200 artists submitted entries and 150 artists were selected.
Below find some information about Curate NYC. Check out the project website (http://www.curatenyc.org/)and view the work of all the talented New York based artists who participated. You can view my entry here. Here is the complete list of the selected artists. CurateNYC
New York City is a global arts center, but maintaining that status means cultivating new talent.
To advance the cause, the New York City Economic Development Corporation and Full Spectrum Experience Inc. bring you Curate NYC – a showcase for emerging New York City artistic talent.
Curate NYC is a multi-venue juried exhibition that will display postcard-sized reproductions of images by up to 150 artists selected by the project’s Curatorial Committee.
Each postcard will feature an artist's original image, bio and website address. All entries will remain on the Curate NYC website for ongoing review. Selected entries will be presented at three exhibitions held at venues across New York City.
Images were evaluated along four criteria: originality, technical skill, emergence of a personal vision or voice, and positive subjective impact upon the curators.
Entries were considered across all visual media, including photography, digital images, film/video stills, and photos of drawings, installations, mixed-media, paintings, printmaking and sculpture.
The Exhibitions
From October 21-31, 2010, CURATE NYC will exhibit 5x6" postcard reproductions of images by up to 150 artists at three shows:
Rush Arts Gallery & Resource Center
Exhibition Hours: Thursdays-Saturdays, 12:00-6:00 p.m.
Opening: Thursday, October 21, 5:30-9:00 p.m.
526 West 26th Street
[Between 10th & 11th Avenues, in Chelsea]
New York, NY 10001-5521
C/E train to 23rd Street
A program of Rush Philanthropic Arts Foundation.
Essex Street Market
Exhibition Hours: Thursdays-Saturdays, 12:00-6:00 p.m
120 Essex Street
[at Delancey Street, on the Lower East Side]
New York, NY 10002
J & Z trains to Essex Street
F & M trains to Delancey Street
An NYCEDC-managed property.
Curate NYC Pop-Up Wall
Traveling on weekends between two locations:
La Marqueta Open Plaza
Saturdays, October 23 & 30
Exhibition Hours: 12:00-6:00 p.m.*
1607 Park Avenue
[between E. 115th & 116th Streets, in East Harlem]
New York, NY 10029
6 train to 116th Street
5 train to 125th Street
An NYCEDC-managed property.
St. George Yankees Minor League Stadium
Sundays, October 24 & 31
Exhibition Hours: 12:00-6:00 p.m.*
75 Richmond Terrace
Staten Island, NY 10314
Short walk from Staten Island Ferry Terminal.
An NYCEDC-managed property.
* Note: The Curate NYC Pop-Up Wall will be unveiled at the Rush Arts Gallery opening on October 21 as cited above.
The Project Team
Brian Tate & Danny Simmons
Project Development, Strategy & Production
Mega Digital
Website Development & Strategy
LaRonda Davis & Jana Jarosz
Graphic Design & Website Graphics
Paula Thompson
Artists Liaison & Social Media
Judith Sloan
Public Relations
Nina Ziefvert
Gallery Openings & Coordination
Bios
Photo by Kevin Irby
Brian Tate
Project Development, Strategy & Production
www.tatestrategy.com
Musician/marketing strategist Brian Tate is president of The Tate Group, a consulting firm that specializes in strategic planning, strategic marketing, cultural initiatives, and economic development. Clients have included Brooklyn Tourism, the Greater Philadelphia Tourism Marketing Corporation, the Guggenheim Museum, WNYC Radio, and others. Tate is former executive director of the DC Committee to Promote Washington, a nonprofit organization that marketed the Nation's Capital around the world and generated $93 million per year in city revenues. He is creator/former producer of the Taste of DC Festival, which attracted 1.2 million people per year. He is also creator of the Brooklyn New Music Festival, the Dark Harvest Film Festival, and other projects.
Danny Simmons
Project Development, Strategy & Production
www.rushphilanthropic.org
Painter/gallery owner/arts philanthropist Danny Simmons is Co-Founder/ Vice Chair of Rush Philanthropic Arts Foundation, which awards millions of dollars to arts-in-education programs for young people. He is creator of the Peabody- and Tony-award winning Def Poetry; the multi-venue Project Diversity art exhibitions, which showed work by hundreds of NYC artists; and the Brooklyn Alternate Learning Center Poetry Project, which brought arts workshops to underserved high school students. A champion of arts and culture, Simmons is Chairman of the New York State Council on the Arts. He serves on the Boards of Directors of BAM, Brooklyn Bridge Park, the Brooklyn Public Library, and the National Conference of Artists.
Judith Sloan
Public Relations
www.earsay.org
Actress/radio producer/human rights activist/educator Judith Sloan is Co-Founder of EarSay, Inc, an artist-driven non-profit arts organization dedicated to uncovering and portraying stories of the uncelebrated. EarSay projects bridge the divide between documentary and expressive forms in books, exhibitions, on stage, in sound & electronic media. Committed to fostering understanding across cultures, generations, gender and class, through artistic productions and education. EarSay's Crossing the BLVD (co-created with Warren Lehrer) is a multimedia project about new immigrants and refugees won the Brendan Gill Prize among others. Sloan's solo performances have won multiple awards. Her work has been featured on National Public Radio, in the New York Times, Washington Post and has received support from the Ford Foundation, The National Endowment for the Humanities, and arts in-education awards from various foundations and schools.
The Curatorial Committee
Naomi Beckwith
Assistant Curator, Studio Museum In Harlem
Isolde Brielmaier
Curator/Creative Consultant; Visiting Assistant Professor of Art, Vassar College;
Guest Professor, Barnard College/Columbia University and New York University
Cecilia Jurado
Curator, Y Gallery New York
Matthew Lyons
Curator, The Kitchen
Meridith McNeal
Artist/Curator; Director of Education, Rush Philanthropic Arts Foundation
Lauren Ross
Donald R. Mullen, Jr. Curator and Director of Arts Programs, Friends of the High Line
Amy Sadao
Executive Director, Visual AIDS
Jovana Stokic
Curator, Location One's Abramovic Studio
Meenakshi Thirukode
Curator; Gallery Manager, Guild Art Gallery, NY; Art Critic, Sunday Magazine, The Hindu; Board Member, South Asian Women’s Creative Collective
Hank Willis Thomas
Artist/Independent Curator
Kim Keever & David Maisel October 23 - December 4, 2010 at Carrie Secrist Gallery in Chicago
Kim Keever & David Maisel
October 23 - December 4, 2010
Carrie Secrist Gallery is pleased to announce Kim Keever & David Maisel, two solo exhibitions of new photography. There will be an opening on Saturday October 23rd from 4-7pm at the gallery with both artists present.
Kim Keever's large-scale photographs are created by meticulously constructing miniature topographies in a 200-gallon tank, which is then filled with water. These dioramas of fictitious environments are brought to life with colored lights and the dispersal of pigment, producing ephemeral atmospheres that he must quickly capture with his large-format camera.
Keever's painterly panoramas represent a continuation of the landscape tradition, as well as an evolution of the genre. Referencing a broad history of landscape painting, especially that of Romanticism, the Hudson River School and Luminism, they are imbued with a sense of the sublime. However, they also show a subversive side that deliberately acknowledges their contemporary contrivance and conceptual artifice. Keever's staged scenery is characterized by a psychology of timelessness. A combination of the real and the imaginary, they document places that somehow we know, but never were.
David Maisel's large-scaled photographs show the physical impact on the land from industrial efforts such as mining, logging, water reclamation, and military testing. Because the sites he works with are often remote and inaccessible, Maisel frequently works from an aerial perspective, thereby permitting images and photographic evidence that would be otherwise unattainable.
This exhibition will focus on "The Terminal Mirage" and "The Lake Project" series by Maisel. Both of these series survey the tensions between nature and culture, that are typical in Maisel's photographs. In The Lake Project (2001-2002), David Maisel documents the human destruction of California's Owens Lake, destroyed in 1926 by the Los Angeles Aqueducts. The aerial photographs of the lake present the viewer with images that are both awe inspiring and unsettling. The artist's aerial views scramble traditional depictions of the landscape, turning images of environmentally ravaged land into vast abstract fields. Terminal Mirage (2003-2005) continues the artist's investigation of the impacted environment transforming aerial views of polluted lands and bodies of water into planes of saturated color, belying their foreboding subject matter.
Kim Keever (b. 1955) lives & works in New York City and has a B.S. in Engineering from the Old Dominion University in Norfolk, Virginia. Recent exhibitions include Adamson Gallery (Washington D.C.), Kinz Tillou & Feigen (New York, NY), and the John Michael Kohler Arts Center (Sheboygan, WI). Group exhibitions include Peninsula Fine Arts Center (Newport News, VA), Tucson Museum of Art (Tucson, AZ), Institute of Contemporary Art at Maine College of Art (Portland, ME), Mixed Greens Gallery (New York, NY), Rockford Art Museum (Rockford, IL), Sun Valley Center for the Arts (Ketchum, ID), Brattleboro Museum Art Center (Brattleboro, VT) and the Museum of Modern Art (New York). Public collections include the Metropolitan Museum (New York), the Museum of Modern Art (New York), Brooklyn Museum of Art (New York), Chrysler Museum (Norfolk, VA), the Nassau County Museum of Fine Art (Roslyn, NY) and the Hirschhorn Museum (Washington D.C.).
David Maisel (b.1961) received his BA from Princeton University, and his MFA from California College of the Arts, as well as studying at Harvard's Graduate School of Design. Maisel has recently been an Artist in Residence at both the Getty Research Institute and at the Headlands Center for the Arts. He has been the recipient of an Individual Artist's Grant from the National Endowment for the Arts and a finalist for the Prix Pictet and the Albert Award in the Visual Arts. Maisel's photographs, multi-media projects, and public installations have been exhibited internationally, and are included in many permanent collections, such as the Metropolitan Museum of Art; the Los Angeles County Museum of Art; the Brooklyn Museum of Art; the Santa Barbara Museum of Art; and the Museum of Fine Arts, Houston, among others. His work has been the subject of three monographs: The Lake Project (Nazraeli Press, 2004), Oblivion (Nazraeli Press, 2006), and Library of Dust (Chronicle Books, 2008). A new monograph, History's Shadow, will be published by Nazraeli Press later this year. Maisel currently resides near San Francisco, CA.
Carrie Secrist Gallery
835 W Washington Blvd # 1B
Chicago, IL 60607-2763
(312) 491-0917 www.secristgallery.com
For further information please call Natalie Schuh at 312.491.0917, or email at info@secristgallery.com.
Stanley Lewis Recent Work October 13 - November 13, 2010 at Lohin Geduld Gallery
Porch Steps and Trees, Spring, 2009, oil on canvas, 17 x 24 inches
Stanley Lewis
Recent Work
October 13 - November 13, 2010
Opening Reception Saturday, October 16, 4 to 6 pm
Lohin Geduld Gallery is proud to present our first solo exhibition of paintings and drawings by Stanley Lewis.
Stanley Lewis is a perceptual landscape artist. He enters a painting or drawing with an attuned sense of openness to his surroundings. This sounds easy, but it's not. First, the artist must refuse all pictorial conventions that come to mind, and see what is actually in front of him. Next, he must invent a painting language to convey the ever-shifting chaos of light interacting with the physical world. Lewis turns this communion with his subject into a powerful artistic achievement.
Prosaic views of rural small town life are Lewis’ preferred subjects. Driveways, back porches and telephone lines are elevated to the stuff of high art by his intense scrutiny. Painting sessions can extend over the course of months and years. As seasons change, and winter gives way to spring, the artist is there bearing witness to the perceptual truths unfolding in front of him. Using local color as his muse, Lewis makes us feel a crisp blue winter sky pressing through bare trees, or the warmth of a patchy green lakeside lawn in high summer.
The physical build-up of Lewis’ paint surface becomes magisterial, reflecting the urgency of his activity as he labors to capture a passing cloud or lengthening afternoon shadow. The paint is thick, and additions of paper or canvas are occasionally added to the composition to edit or extend the artist’s line of vision. His drawings have an equal intensity. At times Lewis draws and corrects so vigorously that he tears through the paper. This physicality, in both the paintings and drawings, adds to the sense that one is looking at a scene over an extended period of time. These are not just pictures of places, but rather images infused with the energy of their making. They have a convincing sense of locale, but an even greater sense of the artist's passion for making them. By focusing on the objective task of capturing what he sees, Stanley Lewis has created a powerful vision of the world that is uniquely his own.
Stanley Lewis received an MFA and a BFA from Yale University, and a BA from Wesleyan University. His work has been exhibited and collected in New York and throughout the United States since the early 1970s. A Guggenheim Fellowship recipient, Lewis has held teaching positions at The American University, Washington, D.C.; Smith College, Northampton, MA; and The Kansas City Art Institute, Kansas City, MO. Lewis has served as a guest lecturer and visiting artist at numerous institutions including Chautauqua Institute, Chautauqua, NY, and the New York Studio School, New York, NY. His work has been reviewed in Art in America, The New York Times, Modern Painters, and The New Criterion, among other publications. Stanley Lewis resides in Leeds, MA, and works on-site at various locations.
Portsmouth Museum of Art :: LeBasse Projects Curated Exhibit
'SugiPOP!:
The Influence of Anime and Manga on Contemporary Art'
October 13th 2010 - January 16th 2011
LeBasse Projects is pleased to present 'SugiPOP!: The Influence of Anime and Manga onContemporary Art,' an exhibition curated by Director Beau Basse and PMA Curator Katherine Doyle. The exhibition opens on October 13th at the Portsmouth Museum of Art and features the work of approximately 30 artists tracing the originations of manga, the rise of JapaneseContemporary Art and shows how the art forms have influenced artists around the world.
The exhibition features an international roster of artists including Japanese mastersHokusai and Kuniyoshi in a display of original Edo period woodblock prints. The exhibitalso features Japanese Contemporary artists Takashi Murakami, Yoshitomo Nara,Yoshitaka Amano, Mr., Ai Yamaguchi, Junko Mizuno and Hisashi Tenmyouya. International artists contributing to the exhibit include KAWS, Gary Baseman, SimoneLegno, Audrey Kawasaki, Tomokazu Matsuyama, Yumiko Kayukawa, Seonna Hong, Hush,Morgan Slade, Edwin Ushiro, Luke Chueh, Andrew Hem, Mike Shinoda, SharkToof,Yoskay Yamamoto and more.
SugiPOP! at the Portsmouth Museum of Art
One Harbour Place
Portsmouth NH
Opening Reception: Thursday, October 14th, 2010
For additional inquiries or preview please email:
contact@lebasseprojects.com or 310.558.0200
YOAN CAPOTE / MENTAL STATES / OCTOBER 14 - NOVEMBER 13, 2010 at Jack Shainman Gallery
YOAN CAPOTE / MENTAL STATES / OCTOBER 14 - NOVEMBER 13, 2010
Opening reception for the artist, Thursday, October 14th, 6-8pm
Jack Shainman Gallery is pleased to announce Mental States, the first solo exhibition at the gallery of new work by Cuban artist Yoan Capote. The exhibition opens October 14th, and runs through November 13th. A reception for the artist will take place on Thursday, October 14th, 6-8pm.
Capotes work is the result of psychological analysis of our daily experiences and issues related to the broader social and human experience. The artists process creates analogies between the visual poetry of objects and the intangible world of the mind. Capote utilizes various media and both traditional and unconventional materials, while also exploring multisensory possibilities in installation, photography and video.
Mental States is inspired by the artists first experience with American culture. Reflecting on fast living and the pursuit of success, where the prevailing fantasies of seduction have transformed into permanent obsessions or delusions. Capote is interested in the multiplicity of meanings that stimulate our thinking and internal discussions on behavior relating to social, political and economic interest.
The paintings made using fish hooks, oil paint, canvas and burlap use the materials as subjects in a primal symbolic dichotomy of attraction and repulsion. Using images that range from the iconic, postcard-like tropes to a seascape representing the artists first visage of America as a child, Capote plays with issues of obsessive desire and the risk and drama of migration characterized by the Cuban imagination.
Never solely situated in one geographical space, Capotes work uses the local as a means of addressing the intimate and the personal while investigating constructions that are based in power and difference. Yoan Capote translates the poetic longing of those who are dislocated from their place of identification, representing the contemporary individual as aberration experiencing forced mobility and alienation.
Yoan Capote lives and works in Havana, Cuba. He has exhibited extensively abroad, including in Portugal, Spain, Switzerland, France, England, Panama, Cuba and the United States. He participated in the 7th Havana Biennial and has been the recipient of numerous awards including International Fellowship Grant from the Guggenheim Foundation, a UNESCO Prize, Pollock-Krasner Foundation Grant, Vermont Studio Center Fellowship and a residency at the Brownstone Foundation in Paris.
Upcoming exhibitions at the gallery include Odili Donald Odita: Body & Space, opening November 18th, on view through December 23rd, 2010. Deborah Luster and Carlos Vega will run concurrently, opening January 6th, 2011, on view through February 5th, 2011.
Gallery hours are Tuesday through Saturday from 10am to 6pm. For additional information and photographic material please contact the gallery at info@jackshainman.com.
A NEW KIND OF BEAUTY — Phillip Toledano at Klompching Gallery in Brooklyn NYC
It's been a busy kickoff to fall for me. In my recent travels to D.U.M.B.O. to scout locations for shoots I stopped in to Klompching Gallery to check out the current show "A New Kind Of Reality." Phillip Toledano's work is hauntingly (is that a word? lol) beautiful and elegant. I was also fortunate enough to meet and have a wonderful conversation with Debra Klomp Ching the warm and gracious co-owner of the gallery. We'll be speaking to Deborah in the coming weeks when we launch our new features on the blog. I am sure you will love her and the gallery as much as I do.
Please get out to Brooklyn and see Phillip's work for yourself and please tell Debra I sent you.
A NEW KIND OF BEAUTY — Phillip Toledano
SEPTEMBER 9 — OCTOBER 29, 2010
(NOTE - THE GALLERY IS CLOSED THIS WEEK, RE-OPEN 13 OCTOBER)
Brought together for the first time as a solo exhibition, these breathtaking and provocative portraits depict people who have reconfigured their bodies by means of extensive plastic surgery. The photographs raise questions about self-perception and social paragons relating to what constitutes perceived notions of beauty.
Shot against a stark black back-drop, the large-scale portraits present subjects that are stunningly rendered and isolated. Toledano’s highly-crafted images combine up-close physical observations that are imposing, detailed and display a dramatic illumination that is reminiscent of the chiaroscuro technique of Caravaggio.
Rather than presenting a study of physical augmentation, that simply shows an apparent eradication of individuality via the surgeon’s knife, Toledano’s artistic achievement is the humanity that quietly projects from behind the faces of each subject—pride, hope, sadness, fear, awkwardness and defiance all abound.
Despite their initial spectacle, the photographs emerge as gentle and respectful. Without a doubt, they engender a myriad of responses and debate. Toledano has set the stakes high, both in terms of what he is depicting and the artistic methodologies used.
Phillip Toledano (b. 1968) is a photographer living and working in New York City. Toledano's work is primarily socio-political and varies in medium, from photography to installation. His work can found in the collections of the Museum of Fine Arts (Houston) and the University of South Florida Contemporary Art Museum. His work has been widely exhibited in the US, China, France, Singapore and Spain. His first book, Bankrupt, was published by Twin Palms in 2005 and was followed in 2008 by Phonesex. His most recent monograph, Days With My Father, was published in Spring 2010 to critical acclaim. Days With My Father is a visually sincere and moving memoir of Toledano's life with his father, in the years prior to his father's passing, and will form a solo exhibition at Gallery 339 (Philadelphia) in Fall 2010.
Rush Arts Gallery is pleased to present FLOW, the work of Ed Clark. Rush Founder Danny Simmons says "Ed Clark, in my opinion, is the pinnacle of artist achievement. His abstraction is both beautiful and haunting, his innovation of using a broom to paint was key in furthering the development of abstract expressionism and he is a door-opener for artists of color to walk into the realm of abstraction". We look forward to seeing you there.
FLOW
Works by Ed Clark
Curator: Vanessa Riding
Opening Reception Friday October 9, 2010
On View through October 28, 2010
RUSH ARTS GALLERY
526 West 26th Street
Suite 311
New York, NY 10001
Tel. 212.691.9552 www.rushartsgallery.org
Galerie Orange presents recent work by international renowned painter Deon Venter
October 14 to November 14, 2010
Opening on Thursday October 14, 6pm-9pm
Galerie Orange is proud to present the recent work by international renowned painter Deon Venter. Back in Montreal after a five year hiatus, the artist will unveil a new series of paintings for the first time at Galerie Orange. Deon Venter's work is defined by both the predominant socio-political content and traditional pictoral iconography, where both become inseparable from the contemporary idioms that caracterizes and at the same time distances itself from his work. Resulting in an audacious artistic corpus which invites a multitude of interpretations and meanings. Venter rather avoids imposing an overpowering narrative to give way to free observation and reading of his work.
Similarly, Venter awakens concepts such as belonging and nationalism through the illustration of tragic current events (Flight 182, Missing, Courtroom). Created in series, his works exploit controversial subjects covered and debated by the media, reproduced on linen canvases in a variation of heavy impasto, maskings and pastel colors.
In this present series, Venter's Olympia paintings refer to Manet's Olympia, Goya's La Maya des Nuda, Ingres La Grande Odalisque, Titian's Venus of Urbino, as well as the painting which influenced these artists – Georgioni's Sleeping Venus. As described by the art dealer Robin Relph (Robin Relph Contemporary, Zurich), Venter's figurative work is also in dialogue with, and extends the figurative concepts of artists as diverse as Soutine, Picasso, de Kooning and Lucian Freud. To quote Willem de Kooning – "Flesh is the reason why oil paint was invented."
JJ PEET Shadow September 12 – October 24, 2010 at On Stellar Rays in NYC
(Flash Action, 2010 - acrylic on panel - 7 by 11 inches)
JJ PEET
Shadow
September 12 – October 24, 2010
The Sunday Painter Show screenings:
Sunday, September 26th, noon / Sunday, October 3rd, noon / Sunday, October 24th, noon
Reviews
“JJ PEET, Shadow”, Time Out NY
“Ten more must-sees this fall”, Time Out NY
On Stellar Rays is pleased to present Shadow, JJ PEET’s second solo exhibition at the gallery. Shadow features PEET’s paintings, as well as related ceramics and bi-weekly video screenings.
While engaging in investigations and activities outside the studio, PEET gathers crushed ceramics and minerals, which are later mixed with pigments and paint and applied to handcrafted panels. The painting surfaces carry a material history that serve a broader narrative constructed by the artist over the past decade, weaving together real world events and social concerns with fictitious forces such as “The Resistants,” “Luxury Leader,” and more recently, “The Sunday Painter.” This narrative is suggested though PEET’s unique visual vocabulary; x-marks, floating heads, doubled forms, horizon lines, curtains, hats, glasses, and other utilitarian objects permeate landscapes, interiors, and ethereal spaces.
Political responsiveness is fundamental to all of PEET’s work, recently touching on topics such as the BP oil spill and America’s ongoing wars. For PEET, painting provides a more reflective and personal space to process a range of layered historical influences. He observes current affairs with more distance, in light of a longer history of America’s rise to super-power status and the questionable and often concealed political operatives that ensued. Fraught exploration of elitism, privilege and class in post-war American painting also pervade compositions.
Essential to the exhibition is a modular and mobile painting studio installed in the gallery’s downstairs, entitled Shadow, in which PEET has been working since June. Shadow is at once a laboratory – the space from which the paintings in this show emerge – and itself a work-in-progress that is constantly moving and changing. Its compactness and mutability allow it to be shipped wherever the artist is, and to create works in direct response to his environment and experiences. This mobility is crucial for PEET’s imperative to experience current events in real time.
In addition to the exhibition, PEET will present The Sunday Painter Show, ten-minute episodes that are structured with elements of painting in mind.
The Sunday Painter Show episodes will be broadcast in the gallery at the following times:
Sunday, September 26th, noon
Sunday, October 3rd, noon
Sunday, October 24th, noon
JJ PEET received his MFA from the Yale University School of Art in 2006 and his BFA from University of Minnesota in 1999. Shadow builds on his recent painting exhibition at Gallery Diet in Miami, FL (May 2010) and previous installations of sculpture, video and ceramics at On Stellar Rays (March 2009/January 2010).
Contact Candice Madey candice@OnStellarRays.com for more information.
Address / Contact
Luc Tuymans at the Museum of Contemporary Art in Chicago
Luc Tuymans (Belgian, b. 1958) is considered one of the most significant European painters of his generation and he has been an enduring influence on younger and emerging artists. Born and raised in Antwerp, where he lives and works, Tuymans is an inheritor to the vast tradition of Northern European painting. At the same time, as a child of the 1950s, his relationship to the medium is understandably influenced by photography, television, and cinema.
Interested in the lingering effects of World War II on the lives of Europeans, Tuymans explores issues of history and memory, as well as the relationship between photography and painting, using a muted palette to create canvases that are simultaneously withholding and disarmingly stark. Drawing on imagery from photography, television, and film, his distinctive compositions make ingenious use of cropping, close-ups, framing, and Luc Tuymans sequencing, offering fresh perspectives on the medium of painting, as well as larger cultural issues.
The artist's more recent work approaches the post-colonial situation in the Congo and the dramatic turn of world events after 9/11. These series have led Tuymans to a sustained investigation of the realms of the pathological and the conspiratorial.
Luc Tuymans is co-organized by the San Francisco Museum of Modern Art and Wexner Center for the Arts. It is organized in chronological order, highlighting the fluid progression of the artist's work and spanning every phase of the artist's career. It features approximately 80 key paintings from 1985 to the present and is accompanied by a comprehensive, fully illustrated catalogue.
General Visitor Information
Museum Hours
Monday Closed
Tuesday 10 am - 8 pm
Wednesday through Sunday 10 am - 5 pm
Thanksgiving, Christmas, New Year's Day: Closed
Admission is FREE all day on Tuesdays year round.
Admission Prices
Suggested General Admission $12
Students with ID and Senior Citizens $ 7
MCA Members, members of the military, and children
12 and under (must be accompanied by an adult)
Free
Location
The Museum of Contemporary Art Chicago is located at 220 East Chicago Avenue, just one block east of Michigan Avenue, in the heart of the Magnificent Mile in downtown Chicago.
General Telephone: 312.280.2660
Box Office Telephone: 312.397.4010
FAX: 312.397.4095
TDD: 312.397.4006
Parking
Convenient discounted parking for MCA visitors is available in our parking garage. The garage is adjacent to the museum and may be entered from Chicago Avenue. Visitors must have their parking tickets validated at the admissions desk in order to receive discounted rates. MCA Member's receive a $4 discount off the standard parking rate and non-members receive $3 discount. The parking garage also has a bike rack available for MCA visitors at no charge. If you have any questions, please call the Parking Garage at 312.399.6831.
Standard Hourly Parking Rates:
Less than 30 minutes: $6
30 minutes - 1 hour: $14
1-2 hours: $19
2-3 hours: $22
3-8 hours: $24
8-12 hours: $27
12-24 hours: $32
Early Morning Special: Enter between 6:30 - 9 am and exit before 6 pm: $16
Additional discounted parking with validation is available at The Bernardin, 747 N Wabash Ave, just a short distance past Michigan Avenue at the corner of Chicago and Wabash.
Luis Jacob
Curated by Andria Hickey
Art in General is pleased to present Without Persons, an exhibition, of new and recent works by Toronto-based artist Luis Jacob, including video, painting, and a new work from the artist’s Album series that will be on view from September 16 – November 13, 2010. Receiving increasingly wider recognition, Jacob’s work was first exhibited at Art in General as part of the group exhibition Explosion LTTR: Practice More Failure, in 2004. More recently, Jacob’s work has been included in Documenta 12 and has been the subject of recent solo exhibitions at the Städtisches Museum Abteiberg, Mönchengladbach; Kunstverein, Hamburg; and the Art Gallery of Ontario, Toronto.
Over the past decade, Jacob’s diverse practice has addressed issues of social interaction and the subjectivity of aesthetic experience. Working in video, installation, sculpture and photography, as well as actions in the public sphere, Jacob’s work is often derived from research on a wide variety of subjects. In bringing together unlikely referents, Jacob invites a collision of meaning systems that destabilize our conventions of viewing and open up possibilities for participation and the creation of knowledge.
In the artist’s words, “what is essential for our experience of art—what is foundational—is the experience of non-intelligibility, a kind of dislocation. Aesthetic experience for us today is first of all an encounter with otherness, with strangeness: but an otherness that, crucially, is there demanding appropriation, intelligibility. What is so constructive about aesthetic experience is that it requires a creative act on the part of the viewer, an act of synthesis that is original through and through.”
The artist’s first solo exhibition in the U.S., Luis Jacob: Without Persons features a series of works that explore absence and authenticity in terms of pictorial representation, the legacy of modern art, and the self and others. These works call on the viewer to consider what may lie beneath the surface of the “empty picture,” and what new forms of real and unconscious knowledge may lay dormant in such minimal propositions.
The central installation, “Without Persons,” for which the exhibition is titled, is an immersive multimedia work that features two computer-generated voices, one male and one female, that talk about “being-in-the-city” and “being-with-others.” The adjacent images project an amorphous, plasma-like liquid, with abstract but seemingly bodily movement, as if animated by the artificial voices. As the liquid finds new forms in formlessness, the voices invite the viewer to consider the discord of the alien world without persons, and the coming to consciousness of an infant who knows no persons.
Jacob’s engagement with abstraction is also reflected in the exhibition through a series of paintings the artist made in response to an early suite of Mark Rothko paintings. Considering notions of authenticity and appropriation, Jacob reconstituted the original works using a staining technique on raw canvas for one series, and a vivid tie-dye technique, with two “eye holes” in the accompanying series of paintings.
Likewise, Jacob’s Album IX, newly created for this exhibition, intuitively reconstructs an uncanny narrative of recent art history. Album IX consists of dozens of images culled from a variety of books, magazines, and other publications. These images are montaged together in plastic-laminate panels, and hung sequentially in the gallery in the form of an “image bank”. Through processes of visual association, the images of Album IX compose a poetic narrative around various themes: reductivism in painting and the modernist tradition of creative rupture; base materialism and the aesthetic sublime; embodiment and the monochrome. Using imagery excised from published sources, Album IX becomes an invitation to construct associative narratives about artistic experience by means of the visual material that surrounds us in the expanded cultural environment. In the fall of 2010, Album IX will be published as an artist book by A Prior (Ghent, Belgium).
About the Artist
Luis Jacob’s work has been presented in numerous international group exhibitions including Haunted: Contemporary Photography/Video/Performance, Solomon R. Guggenheim Museum, New York (2010); Animism, Extra City Kunsthal Antwerp; Kunsthalle Bern (2010); Dance with Camera, University of Pennsylvania, Philadelphia and the Contemporary Art Museum, Houston (2009-2010); If We Can’t Get It Together, The Power Plant Contemporary Art Gallery, Toronto, Canada (2008); The Order of Things, Museum voor Hedendaagse Kunst, Antwerp (2008); and Documenta 12, Kassel (2007). His solo exhibitions include the Städtisches Museum Abteiberg of Mönchengladbach (2009), the Hamburg Kunstverein (2008); Platform Seoul, PKM Gallery, Seoul (2008); the Musée d’art de Joliette, Quebec (2008); the Morris and Helen Belkin Art Gallery of the University of British Columbia (2007), and the Art Gallery of Ontario, Toronto (2005). In June 2010, Jacob presented the first of a three-part touring mid-career survey exhibition, Luis Jacob Tableaux: Pictures at an Exhibition, at the Darling Foundry in Montréal; the exhibition will travel to the Museum of Contemporary Art in Toronto and to Vancouver. Jacob lives and works in Toronto.
Photo: They Sleep With One Eye Open series, installation view 2009. Image courtesy of
the artist and Birch Libralato, Toronto.
Jane McClintock: Times Square Reflections V at Amos Eno Gallery in Brooklyn
Times Square Reflections V
Jane McClintock
September 29 - October 23, 2010
Artist Reception
Saturday, October 2, 4-6:30 PM
First Thursday Opening
Thursday, October 7, 5:30-8:30 PM
Amos Eno Gallery is pleased to present Times Square Reflections V, a solo exhibition of one of our longest standing members, Jane McClintock. The work on view is part of a larger body of work, New York Reflections, which goes back to 1983. These paintings are of reflections in glass and steel buildings in New York City which are very much part of the "New York scape".
The paintings in the current show are reflections in windows, rather than reflections in glass and steel buildings, which is somewhat reverse of previous work. The windows are in older buildings, reflecting the current lights and ads of Times Square. Ms. McClintockcombines the old and new to express the nature of Times Square.
Jane McClintock crops and edits photographs that she has taken and then uses them as preliminary sketches. The taking of the photographs is a very important part of the process. She uses the photographs as references when making rather complete studies in watercolor. These studies morph and become abstracted as they develop into the finished paintings.
Ms. McClintockhas been a member of Amos Eno Gallery since 1979. She has exhibited in New York, California, among other locations in the United States and abroad. She received her MFA from Columbia University, her BA from Marymount College, and attended the Skowhegan School of painting and sculpture.
Rory Golden: No Escape from Love October 2 - 16, 2010 at Avisca Fine Art Gallery in Marietta, GA 30060
(Rory Golden "Flowers for the God of Love" Series / Rory Golden "Flowers for the God of Love" Series /Rory Golden "Chickenbones" Series / Rory Golden "Chickenbones" Series)
MARIETTA, GA, August 28, 2010 – Avisca Fine Art Gallery will present a groundbreaking exhibition of works by New York-based artist Rory Golden in his first solo exhibition in the Atlanta area. The exhibition “Rory Golden: No Escape from Love” will feature his enigmatic figurative narrative paintings of recent series, but will also include works from his earlier portrait series depicting black males. The exhibition will be on view at Avisca Fine Art Gallery from October 2 through October 16, 2010.
“Rory Golden is a powerfully articulate artist who takes on some highly charged issues and this exhibition may ruffle some feathers, especially here in the conservative South”, says Byrma Braham, director of Avisca Fine Art Gallery. “But as a gallery that seeks to be relevant, we have to push boundaries sometimes, as well as accommodate a range of voices and a diversity of expressions.”
Rory Golden creates multi-layered figurative work that deals in an unabashed and often provocative way with issues surrounding race, representation, sexual identity and desire. His work takes us to the deep end of our psychic pool where we navigate the psychologically complex and ambiguous waters of our lives, where erotic tension and sexual fantasy are ironically paired with their opposites: struggle and the potential for violence.
In his early work Golden achieved a metaphorical and allegorical engagement with recent history and incidents of violence motivated both by race and homophobia. In the work that forms the core of this exhibition, he pulls us deep into his psyche and into a tenebrous meditation on the dialectics of desire. Stereotypical conventions of racial representation in pornography are appropriated and abstracted to make his point. Nude black males set against a backdrop of macabre, mashed-up color field washings function both as the subjects of curious narratives and as a cultural screen onto which our fears and fantasies are projected.
“What Matisse was to well-kept, demure French women in the 1950’s, Golden is to the sexually seductive, inner-city black man, post-Obama,” says artist and writer Max Eternity, “-think Blue Nude, filtered through graffiti and urban decay. And whether intentional or not, much of art history’s recent discourse can be observed in his compositions; take for instance his placement of Chagal-esque, angelic, figural forms, floating weightlessly, consumed in sensuality and delight, all the while on a crash-course collision with the juvenile mockery, wit and vexation of Basquiat at his best.”
Rory Golden
Rory Golden has exhibited his work widely in solo and group shows at venues such as the New York and San Francisco Public Libraries and the Denver International Airport. Upcoming exhibits include a group show, “Ordinary Torture” at John Jay College of Criminal Justice in New York City, and Albion College in Michigan. He has received fellowships from Yaddo, the Bemis Center for Contemporary Arts, the Blue Mountain Center and the National Academy of Fine Arts. Recent grants include an Idea Capital Grant, a Puffin Foundation Grant and a recent grant from Duke University Libraries Special Collections.
Golden holds an MFA in Book Arts from the University of Alabama and his work can be found in public and private collections across the country.
Avisca Fine Art Gallery
Avisca Fine Art Gallery is a contemporary fine art gallery specializing in artworks created by black artist in the Americas, Africa and the Caribbean. In addition to its particular focus, the gallery also strives to present a diverse range of artistic expressions and to serve the local art community by featuring local talent. Through its programs, exhibitions, educational activities and an extensive library of books on African American and Caribbean art, the gallery seeks to be a vital cultural resource and to contribute to the cultural enrichment of the Marietta community and the greater Atlanta area.
Content Advisory: This exhibition contains male nudity and explicit content
Rory Golden: No Escape from Love
October 2 - 16, 2010
(OPENING RECEPTION: Saturday, October2, 6:00-10:00 PM)
Avisca Fine Art Gallery
507 Roswell Street, Marietta, GA 30060
T: 770.977.2732 www.aviscafineart.com
Gallery Hours: Thursday-Saturday 12:00 pm – 6:00 pm + by appointment/Admission: Free
Nicholas Robinson Gallery is pleased to present 'The Interrupted Image'
Nicholas Robinson Gallery is pleased to announce the exhibition, The Interrupted Image. Curated by Sam Bardaouil and Till Fellrath of Art Reoriented, the exhibition features five artists living and working in different cities throughout the world, including Berlin, Lahore, Vienna and New York. The result is a diversified portrait of contemporary art premised upon the challenge posed by the fragmentation of visual perception.
Wafaa Bilal transforms celebrated master works into reciprocal video installations. Using Edouard Manet's painting, A Bar at the Folies Bergere, Bilal harnesses new media technology to introduce an interactive version of the work, endeavoring to resolve the work's meaning, and/or develop the psychological ambiguities inherent in Manet's original painting - elements of human perception and interaction that have been debated since the work's completion in the late nineteenth century.
Birgit Graschopf's large-scale photographic prints transform people in cafés and malls into a plethora of color spots scattered on apparent blank surfaces. Graschopf's simultaneously panoramic and birds-eye views take on a microscopic quality, toying with the viewer's perception of space and distance.
Bob Knox remodels photographic images of domestic interiors into large-scale paintings, continuously reconstructing the geometry of space within these intimate locales. Knox's paintings range from brightly colored to semi-abstract and flirt with the concept of reality while maintaining strong ties to conventional realism.
Rashid Rana composes images of veiled women and Persian carpets, using clippings of pornography and photographs from slaughterhouses respectively. Through the juxtaposition of traditionally conservative motifs and explicit, disturbing images, Rana's work challenges viewers' awareness of these common depictions within Middle Eastern Art.
Steve Sabellaʼs psychedelic collages are constructed from photos taken daily, documenting his state of mind while living in exile. Sabella's abstractions expand his physical displacement to the mental and psychological by repeating a familiar image hundreds or thousands of times.
The Interrupted Image brings together a selection of painting, photography and video that comments on the act of perception and the role an artist can play in challenging one's preconceived notions of viewing. Alternately political, sociological, anthropological and art-historical in reference, the works in The Interrupted Image render the familiar ambiguous, the mundane enticing, and what would be otherwise unnoticeable remarkable upon closer scrutiny.
Please contact the gallery for further information: 212.560.9075 / info@nrgallery.com
Art Reoriented was founded by Till Fellrath and Sam Bardaouil in 2009 and is a curatorial practice specializing in contemporary art from the Middle East with the mission to instigate a constructive cultural discourse through creating innovative multidisciplinary exhibitions and public programs away from the cultural labels permeating much of contemporary art practice.
KRISHNA REDDY Master Printmaker, Sculptor and Artist BOOK LAUNCH and SIGNING at
KRISHNA REDDY
Master Printmaker, Sculptor and Artist
BOOK LAUNCH and SIGNING
with author Dennis Forbes, artist Joyce Wellman + other special guests
Saturday, September 25, 6.30-8.30pm
Dennis L. Forbes, the author of Studios and Workspaces of Black American Artists and Collecting Limited Edition Prints: Contemporary African American Printmakers, will present his new book on artist Krishna Reddy. Reddy is a pioneer and master of the printing process visconsity, "an invention that has been a springboard for generations of printmakers," Forbes writes. The book is dedicated to the late Bob Blackburn, Reddy's close friend and creative partner of over 40 years.
Join us in supporting this local author and independent publisher, and enjoy being the first to experience this incredible new book!
BOOK ORDERS MAY BE PLACED IN ADVANCE
Call the gallery [202.234.5112] or email intvisions@aol.com
to reserve your copy of Krishna Reddy ($35)
PURCHASE ALL THREE AND RECEIVE AN EXCLUSIVE DISCOUNT!
Studios & Workspaces + Contemporary African American Printmakers + Krishna Reddy for $125
International Visions Gallery
2629 Connecticut Avenue NW
Washington D.C. 20008
202.234.5112 Inter-Visions.com
Henry Gregg Gallery Celebrating It's Seventh Season presents Orisha Capturing the Spirit The Paintings of André Martinez-Reed September 9 - October 3, 2010
Henry Gregg Gallery
Celebrating It's Seventh Season
presents
Orisha
Capturing the Spirit
The Paintings of André Martinez-Reed
September 9 - October 3, 2010
Opening Reception: Saturday Sept. 25 from 5:00 - 9:00 pm
during the DUMBO Arts Festival
featuring the music of André Martinez Reed.
Friday Sept. 24, 7pm Avant ensemble Earth People
reunite for the first show in almost two years
at the Underwater Lounge, 66 Water Street (www.earthpeople.tv)
Saturday Sept. 25, 12pm - 2pm André Martinez leads
The Drum Circle, Tobacco Warehouse
André Martinez-Reed is a native Brooklynite. His philosophy and ideas coalesce in the exhibition, "Orisha: Capturing the Spirit", which will be presented at Henry Gregg Gallery (www.henrygregggallery.com), 111 Front Street, Suite 226 in Brooklyn's DUMBO neighborhood. It will showcase 9 oil paintings.
"I believe, to understand the workings of the Spirits roaming the Universe, one must first become aware of its existence. Once you do, it is only a matter of stepping through the door. It is impossible to look back as you explore your subtle surroundings and realize the wonder of all the infinite possibilities that exist around us. As an artist, you need not labor to capture the unexplained in a photograph or in a painting. With openness, it's presence makes itself known. Be open and keen, then your work will become a living entity."
What makes you stop unexpectedly before a face painted on canvas. You've seen countless faces in every day life, countless, the images forwarded as art, news and history. Yet there are times when an image seemingly similar to others beckons one to stop and look again.
It's a magnetism drawing one into a scene. One transcends rational observation for more penetrating, revealing characteristics that trigger recognition of a profound state of being exuded from the depths of the third and fourth dimensions. A face and its surroundings move, taking shapes, released from fixed patterns by no external manipulation. One comes face to face in communion with mysterious forces inhabiting the subject. Forces we know to exist in ourselves in dream states in wakened naked embrace of the spiritual within the soul of our existence, named and no- named. Language recedes giving way to feelings. A face emits an aura embracing our very own inner sanctums of self consciousness. Standing before the image one realizes sensations embedded in the psychic fabric of the mind; elements haunting and liberating, painful and ecstatic.
André Martinez Reed employs the mediums of paint to journey the viewer into the realm of the para-normal. I prefer to call his work: transport to the spirit world.
The exhibition, his sixth. A master jazz musician,gallerist and gifted artisan, Martinez transposes his base mastery onto the visual plain via multiplicity of layered oils, inks, varnish, chalks, lead and Venetian plasters. Bold and free, after utilizing brushes, he shapes his subjects, tableau, by hand, fusing the material to the visceral. In this fashion the painter surrenders to the hypnotic. The results are captivating, enabling the viewer a portal into the micro cosmos of life forms, entry into the known, inexplicable caverns of that which is so often overlooked in one's self, in the surrounding universe.
This exhibition is designed to create an atmosphere of spiritual dialog between painter, subject and visitor. It can easily extend as a long journey, a metaphysical voyage. All one need do, as I have done, is look, look again.
I met a cool artist named Chris Beckman at the Paul Mullins opening at Collette Blanchard Gallery. He is in a group show on Long Island and if you are out that way you should check out the entire show (which looks pretty good) and his work in particular.
The Fireplace Project presents
"THE END OF THE AFFAIR"
a group exhibition
curated by Edsel Williams
September 10 - October 4, 2010
Opening Reception: Saturday, September 11, 6-8PM
Featuring: Chris Beckman, Shane Campbell, Jeremy Everett,
Judith Hudson, Marc Hundley, Natalya Laskis, David Salle,
and Max Snow.
This past Saturday I went to check out my friend Cacy Forgenie's new solo exhibit JADED on display at Chi Chiz Bar 135 West Christopher Street in the Village.
Jaded gets its title from the idea that patrons frequenting Chi Chiz Bar (the only Black gay bar in NYC) people living in the Tri-State area, inter-generational Blacks and Latinos of different socio-economic backgrounds, have seen or done it all. By showing photographs of figures in their most trying circumstances, the photographer hopes to traverse the venue as a site of expectation, disillusionment and eroticism and further ...transform it into a space of empathy, solidarity and recognition.
Photographs feature the captured trauma of strangers on the streets of New York City and include images of the 9/11 attack, street fights, car accidents; and the arrests and subjugation of young black men by New York City Police.
The images of Jaded are part of a larger body of work called "LIVE! From New York", shown in NYC, Rio, Berlin and Novo Mesto as part of solo and group show installations and projections. They were made with disposable, 35mm and digital cameras during routine walks around NYC between 1998 and 2010.
Photographs measure 30x40 inches and run in Editions of 10. Some photographs were published by AP World Wide Photos (9/11 images) and The NY Post (9/11 images; "Cop Car Crash" is archived). Russell Simmons' OneWorld magazine published "The Fire Next Time" in 1999).
Kudos to Cacy on a great show and thought provoking works of art.
If It's All the Same T' You, a selection of new paintings by Paul Mullins at Collette Blanchard Gallery
(Collette Blanchard, Paul Mullins and beautiful sister whose name I do not know)
Paul Mullins has created a terrific collection of paintings of richly painted animals and portioned figures. The sometimes almost melancholy works "sometimes have moments when sentiments, that are assumed polar opposites, become intertwined" as stated in the press materials released by the gallery.
All in all the show is full of very well done works by an obviously talented artist. The artist currently lives and works in San Francisco and received an MFA from Ohio University and a BFA from Marshall University. His works have been exhibited widely in venues including the Frye Art Museum, the Triton Museum of Art, the Corcoran Museum of Art, and the Walker Art Center.
If It's All the Same T' You, a selection of new paintings by Paul Mullins. This exhibition will be on view at Collette Blanchard Gallery - 26 Clinton Street from September 12th through October 24th, 2010.
The opening night reception for Else at Tilton Gallery was everything you want an art opening to be and more!
Last night I dropped in to see ELSE , the new group exhibition presenting a selection of work situated in between the recognizable and indistinguishable. A combination of sculpture, painting, printmaking, video and installation bringing about various overlapping conversations and exploring the way we interpret cultural, religious and personal narrative in a way that gives the viewer a glimpse into something uncanny.
The show is at Tilton Gallery and is co-curated by Derrick Adams + Jack Tilton and includes PARTICIPATING ARTISTS:Noel Anderson | Adler Guerrier | Arjan Zazueta | Carlos Rigau | David Antonio Cruz | Diane Wah | Frohawk Two Feathers | Jaret Vadera | Langdon Graves | Simone Leigh | Yashua Klos | Felandus Thames
It's a great show with terrific work by a diverse group of artists. If you haven't been to Tilton it's a treat as well because it is a wonderful space on two levels with a friendly and warm staff headed by Jack Tilton and family.
EXHIBITION DATES:
September 9- October 16, 2010
Check out a handful of images below and add me on facebook or follow me on Twitter to see a complete gallery of images.
MASSIMO VITALI September 11 - October 16, 2010 at M+B 612 North Almont Drive Los Angeles, California 90069
New York does not have a monopoly on great art. As a matter of fact there's some evidence that LA may even have equaled or surpassed NYC as the art capital of the country. I wont wade into that argument, but I will make sure to offer a much more diverse selection of shows in the coming months from LA, Chicago, Dallas, Chicago, Washington D.C. and Asia in addition to the offerings right here in NYC.
If you're in LA make sure to check out this great show opening this weekend.
MASSIMO VITALI
September 11 - October 16, 2010
Opening Reception
Saturday, September 11, 6-8 PM
Sacred Russian Pool (#3140), 2009, c-print on diasec, 72 x 86 inches, edition of 6
M+B
612 North Almont Drive
Los Angeles, California 90069
310 550 0050
www.mbart.com
info@mbart.com
M+B is pleased to announce an exhibition of new work by internationally acclaimed artist Massimo Vitali. Vitali's unique views of the rites and rituals of modern-day leisure have garnered praise since he began photographing in his signature style in 1994. Featuring new work from 2009 and 2010, the exhibition includes eight large-scale color photographs from Austria, Croatia, Sicily and Turkey. The exhibition opens September 11, 2010 and runs through October 16, 2010 with an opening reception on Saturday, September 11 from 6 to 8 pm. In Fall 2010, Steidl will publish their third monograph of Vitali's work titled Landscape with Figures 2.
Vitali's photography occupies a place between documentary realism and the surreal. His landscapes are casually inhabited by figures such as sunbathers and tourists who often forget about the photographer's presence, as he waits for such a moment while perched 20 feet in the air on a platform. Ever interested in the ways in which people interact with their environment and each other, Vitali's images satisfy a sociological desire as well as a voyeuristic longing to observe unawares. On this level his works are happily profitable, as each mural-sized work allows for the intimate perusal of hundreds of candid portraits.
Massimo Vitali was born in Como, Italy in 1944. Internationally respected for his acclaimed oeuvre of large-scale works depicting people at play and masses at leisure, he has photographed beach scenes, ski locations, as well as tourist destinations. Vitali has exhibited extensively in museums and galleries worldwide, and his work is found in some of the most important private and public collections in the world. This will be his third exhibition with M+B.
For further information, please contact Shannon Richardson at 310 550 0050, shannon@mbart.com, or visit our website www.mbart.com.
M+B
612 NORTH ALMONT DRIVE
LOS ANGELES, CALIFORNIA 90069
T 310 550 0050
F 310 550 0605
WWW.MBART.COM
INFO@MBART.COM
PARTICIPATING ARTISTS:
Noel Anderson | Adler Guerrier | Arjan Zazueta | Carlos Rigau | David Antonio Cruz | Diane Wah | Frohawk Two Feathers | Jaret Vadera | Langdon Graves | Simone Leigh | Yashua Klos | Felandus Thames
ELSE group exhibition presents a selection of work situated in between the recognizable and indistinguishable. A combination of sculpture, painting, printmaking, video and installation bringing about various overlapping conversations and exploring the way we interpret cultural, religious and personal narrative in a way that gives the viewer a glimpse into something uncanny.
Sloan Fine Art is pleased to present Stomach Acid Dreams, new paintings by Mia Brownell.
Invoking the Old Masters while simultaneously commenting on contemporary food culture, Mia Brownell's paintings challenge our ability to digest the intellectual as well as the sensual experience of what we choose to eat. With intertwined vines, clusters of ripe fruit, dramatic chiaroscuro, and bold perspectives, Brownell's vibrant compositions simultaneously reference 17th century Dutch Realism and the coiling configurations of molecular imaging. These dynamic (un)-still life paintings re-conceive DNA, amino acids, and protein chains as the architecture on which her food subjects dangle.
In Stomach Acid Dreams Brownell addresses the natural and spurious origins and our relationship to food in a scientifically altered, consumer society, all while challenging our understanding of both still life and abstract painting by fusing the two in a surprising new form. As Donald Kupsit said of her work, "Brownell has invented a unique, convincing way to synthesize Old Master realism and Modern Master abstraction – and make a metaphysical as well as social point by doing so.”
With this new body of work, Brownell pushes the veristic boundaries of her previous works, finding opulent visions in muscle, bone and sinew to create her dense and exquisite allusions. As we examine these paintings, the sheer machinery of nature comes to mind, as do the seemingly abstract manipulations of the genetic biologist and consumer markets – revealing alarming depths in the loveliest of pictures.
Mia Brownell was born in Chicago, Illinois to a sculptor and biophysicist. She has had solo exhibitions at venues in several major American cities including the National Academy of Sciences in Washington, DC. She was recently selected to participate in the Aldrich Museum’s Radius program for emerging artists and a Visiting Artist residency at The American Academy in Rome. Mia’s paintings have been included in group exhibitions worldwide and are currently on exhibit at the Mattatuck Museum.
CORDY RYMAN at DCKT Contemporary Opening Reception: Sunday, September 12, 5-7pm September 9 - October 31, 2010
CORDY RYMAN
Opening Reception: Sunday, September 12, 5-7pm
September 9 - October 31, 2010
Trapped Wave, 2010, acrylic and enamel on wood, 62 x 62 1/2 x 2"
DCKT Contemporary is pleased to present CORDY RYMAN's second solo exhibition with the gallery. RYMAN manipulates and reconstitutes an inherited visual language, defining himself in relation to it. 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 are physical and humorous.
A number of new works created for this exhibition, including Trapped Wave, are recycled from Third Wave, a monumental installation work exhibited in RYMAN's first show with the gallery. The careful consideration of the painted wood and its contours guides the artist in the geometric patterning of his reconstructions. RYMAN's paintings and sculptures address elements of architecture with rich texture and a vivid color palette. RYMAN's process allows the work to dictate its own direction and evolution, oftentimes referring back to other pieces or ideas and often referencing the materials used.
RYMAN also works in an architectural mode where he creates a dialogue between his work and its surroundings. These spaces can be specific in location or as common as a 90 degree corner. In the sculptural installation Red Bricks, RYMAN stacks and steps multitudes of painted wood chunks to envelope the gallery's front window facing wall. Wrapping around the existing wall and facing into the gallery is Scrap Wall, a year's worth of leftovers monumentally recycled. The works respond to the unique aspects of their placement in a three dimensional manner. The space in many ways becomes a canvas.
RYMAN's previous solo exhibitions include Kavi Gupta Gallery (Chicago, IL), Mark Moore Gallery (Santa Monica, CA) and Lora Reynolds Gallery (Austin, TX). Previous group exhibitions include Aberrant Abstraction, Nerman Museum of Contemporary Art (Overland Park, KS), One More, Esbjerg Museum of Modern Art (Esbjerg, Denmark) and Greater New York 2005 at P.S. 1 Contemporary Arts Center (Long Island City, NY). His work is included in the Microsoft Art Collection (Redmond, WA) and the Rubell Family Collection (Miami, FL).
The exhibition will be on view at DCKT Contemporary, 195 Bowery (at Spring Street).
Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm.
For further information, please contact Dennis Christie or Ken Tyburski at the gallery.
PAUL MULLINS If It's All the Same T' You September 12 - October 24, 2010 at Collette Blanchard Gallery
PAUL MULLINS
If It's All the Same T' You
September 12 - October 24, 2010
Opening Reception Sunday, September 12th 5-8
Untitled (Woman) DETAIL, 2010 oil on panel 48 x 48 inches
Paul Mullins
If It's All the Same T'You
12 September - 24 October, 2010
Opening Reception Sunday, September 12, 6-9
Collette Blanchard Gallery is pleased to present If It's All the Same T' You, a selection of new paintings by Paul Mullins. This exhibition will be on view at 26 Clinton Street from September 12th through October 24th, 2010.
Within Mullins's compositions richly painted animals and portioned figures become metaphors for the intricacies of the human condition. Mullins skillfully locates moments when sentiments, that are assumed polar opposites, become intertwined. His luscious paintings make contemporary references that complicate his pictorial content and gesticulated technique. To paraphrase the artist, such contexts emerge from the "base behaviors" of human beings, which evidence a connection to other animals.
While imagery in Mullins's paintings is not easily congruent (The viewer finds a sorrowful dog, the boots worn by wrestlers, hints at men and women who have lived hard, and even references to Star Wars); the flavor of a certain social class and place presents itself throughout. The torso of Princess Leah suggests not only the earliest feelings of lust felt by countless boys but also the broken remains of action figures left out in innumerable back yards.
The football player's crotch, cropped to only depict shorts with centered creases of latent masculinity, it's a sight that more than flirts with the homoerotic. The image vacillates between the two extremes demarcated by society; however, Mullins considers homoeroticism and masculinity as inherently connected. Tensions between other assumed extremes inform the references that the artist makes to the real.
In other renderings, his crude subjects are placed side by side with fragile and dainty imagery. Through representation, which the artist maintains "has to be held onto", Mullins makes monuments to that which is observed, through means that would be accessible to most -and in his words "would fly back home"-home being West Virginia. It is Mullins's particular means of representation, highly-selective within obfuscated contexts, that infinitely complicates the work beyond that which is represented.
The artist currently lives and works in San Francisco and received an MFA from Ohio University and a BFA from Marshall University. His works have been exhibited widely in venues including the Frye Art Museum, the Triton Museum of Art, the Corcoran Museum of Art, and the Walker Art Center. Mullins's work has been reviewed by ArtNews, Artnet, and FlashArt Magazine.
For more information, please contact the gallery at 917.639.2912 or gallery@colletteblanchard.com.
Liao Yibai Real Fake September 10 – October 30, 2010 Opening Friday September 10, 6 – 8 pm
Liao Yibai
Real Fake
September 10 – October 30, 2010
Opening Friday September 10, 6 – 8 pm
Liao Yibai / RF Perfume / Stainless steel / 26 x 16 5/8 x 12 1/4 inches / Edition of 3 / 2010
Mike Weiss Gallery and ATM Gallery are pleased to present Real Fake, an exhibition of new works by Chinese artist Liao Yibai. The exhibition opens September 10, 2010 and runs through October 30, 2010. By collapsing the concepts of “real” and “fake” through mash-ups of luxury labels, the appropriation of real fake brand names, and the creation of his own luxury brands; Yibai with wit and originality questions China’s rags-to-riches story of material obsession through his exquisitely detailed, hand-welded stainless steel sculptures.
Liao Yibai / Vertu / Stainless steel / 39 1/8 x 16 5/8 x 7 3/8 inches / Edition of 3 / 2010
In China it is difficult to determine what is real while so many fake brands have assimilated into its culture. Liao Yibai’s exhibition Real Fake exposes this cultural phenomenon and questions the skewed concept of value on a variety of levels. The oversized lavished sculptures of watches, rings, handbags, and high heel shoes confront the multitudes of popular brands and logos and their overwhelming presence in today’s society. Yibai’s newest body of work examines this increasing obsession with opulence and luxury goods while glorifying and laughing at it simultaneously.
Liao Yibai describes some of the symbols used in his sculptures as being, taken from the Chinese “Fake Makers”, who take an image from a magazine, copy the shape and logo, and fabricate it subsequently integrating a new fake into the Chinese market. Brand names are transformed into new products, such as “Hiphone” and “CHIMA.” Yibai explains, “Inspired by that tactic I invent my own hybrids, such as a Real Sprada handbag or a Rolls Phillipe watch.” With “Rolls Phillipe” watch, Yibai references ancient Chinese craftsmen using emblems of clouds and water instead of embellishing the sculpture with faux diamonds and gold as the “Fake Makers” would.
Yibai’s second solo show at Mike Weiss Gallery in New York is met with high expectations. His first show, Imaginary Enemy garnered worldwide press, including full-page articles in the New York Times, ARTnews and Sculpture Magazine among others. Imaginary Enemy illustrated the challenges Yibai faced during childhood amidst a secret missile factory in China during the Cold War era and his paralleled fascination with American Culture. Liao Yibai is currently in the group show, I Love You, alongside the artists Jeff Koons, Damien Hirst, Barbara Kruger, and Pipilotti Rist at ARoS Aarhus Museum of Modern Art, Denmark. He lives and works in Chongqing, China with his wife and daughter.
Liao Yibai / Slipper / Stainless steel / 4 x 15 x 6 1/4 inches / Edition of 3 / 2010
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
ATM Gallery
542 West 24th Street, New York, NY 10011
Between 10th and 11th Avenues
Nearest Subway: C/E 23rd Street & 8th Avenue
Tel: 212-375-0349
Gallery Hours: Tues-Sat 11 to 6 www.atmgallery.com
HEBRU BRANTLEY Wait a Cotton Picking Minute and CHRISTOPHE ROBERTS Journey of a Thousand Eyes September 10 – October 10, 2010 at Lyons Wier Gallery
HEBRU BRANTLEY
Wait a Cotton Picking Minute
CHRISTOPHE ROBERTS
Journey of a Thousand Eyes
Opening:
Friday, September 10, 2010
6:00 – 9:00 pm
Exhibition Dates:
September 10 – October 10, 2010
Hebru Brantley, Front Door, Back Door, In House, Out House, (Detail), Mixed Media
Christophe Roberts, Journey of a Thousand Eyes, Mixed Media
Gallery Hours: Monday - Saturday 11-7, Sunday 12-6
Gallery Located: 175 Seventh Avenue 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
Mass Media meets Mass Production: New works by Chicago natives Hebru Brantley and Christophe Roberts will be presented at Lyons Wier Gallery in concurrent exhibitions that blur the boundaries between fine art, social commentary and consumer products. Each artist will present a body of work that engages and navigates contemporary urban realities with critical wit, precision, agility, and vision.
Hebru Brantley presents “Wait a Cotton Picking Minute”
From the absurd and blatant to the subtle and subversive, Hebru Brantley’s work explores the stereotypes and racist propaganda found in American mass media, such as early Warner Brothers and Disney cartoons. What emerges is an intelligent and vivid deconstruction of America’s social history and the chilling possibility that we have all in someway been infected by the same subliminal, racially insensitive media virus.
Brantley’s subjects are often cinematic, gleaned from “Blaxploitation” films and science fiction thrillers. His spray-painted and stylistically brushed canvases show the influence of Romare Bearden, Keith Haring, Jean-Michel Basquiat, and Black Folk Art. The raw emotion and youthful expression in Brantley's work depicts themes of race like an open, unhealed wound. The characters in Brantley's art, such as his “Coon Toons” series, reveals our shared past co-mingling with our present consciousness and sensitivities.
How should we deal with our racial history and all the artifacts that come along with it? Do we bury the offending materials and pretend it never existed or do we inject the materials into the ongoing public dialogue about race and racism in America? These questions serve as both impetus and fodder for Brantley’s work. The magic and mythology of childhood animation meets a fitting analysis, through a young artist whose critical eye dismantles the soft power of this “entertainment.”
Christophe Roberts presents “Journey of a Thousand Eyes”
By collecting and re-purposing Nike shoeboxes, Christophe Roberts creates striking and meaningful life-size sculptures of wild animals that invite the viewer to consider the environmental impact of the production, sale and consumption of consumer goods.
Made with found materials, spray paint, cardboard and glue, minus the aid of blueprints, Roberts’ beasts are constructed in a freestyle manner from the depths of the artist’s imagination. The sculptures can at once be viewed as visual metaphors for consumerism and society’s general disregard for its wastefulness. Nike’s main advertising pitch aims at convincing the public that their product can impart health, physical acumen and sexual allure. However, the by-product of this positioning is tons of waste generated by the disposal of the packaging itself.
One’s immediate reaction to Roberts’ work is that it could be an exaltation of corporate branding. Upon further examination it becomes clear that Roberts is using art to remind of us that the animals he creates are being destroyed by the very medium he employs, consumer waste.
Whether Roberts’ is admiring or admonishing societal norms, he is certainly addressing it ironically. The very strength and power of his sculptures is surely put in harm’s way by the actual medium of his message. However, by re-purposing these raw abandoned geometric receptacles, he renders connotations of renewal and possibility.
KEYS OF LIGHT - a solo exhibition by MANUEL ACEVEDO at Bronx River Art Center
KEYS OF LIGHT - a solo exhibition by MANUEL ACEVEDO
On View from July 16 – August 28
curated by José Ruiz
Keys of Light encompasses significant projects made by Manuel Acevedo over the past ten years across a wide course of artistic practices such as photography, video/animation, drawing, and site-specific installations/interventions.
While not a survey or a retrospective, the show collates Acevedo’s underlying interest in the metaphysics of light and optics as a concrete material for intervention in public/urban and private/domestic spaces. In each of the works, the artist’s use of projections, whether physical or envisioned, is embodied with imagery native or responsive to the given work’s surrounding architecture, city or community. The effect not only casts juxtaposed utopian/dystopian illusions but also penetrates physical space to mediate the tension between material surface and the act of “looking through”—while simultaneously commenting on the tenuous relationships between the urban landscape and its citizens during pivotal moments of transformation.
Through this exhibition, BRAC also acknowledges Acevedo’s career and conviction to primarily work with alternative, non-profit and community-based art centers as an integral model for artistic activism and pedagogy. To this end, Keys of Light also poises the possibilities of transformation during an important moment in BRAC’s organizational history, as it will mark the last exhibition in its current gallery, which it has occupied for over 25 years. This fall, the Center will break ground on a major Capital Program and undergo a 7 million dollar renovation to its facility and enter a 2-year phase of roving arts programming while the building is being reconstructed.
It is in these types of contexts that Acevedo’s practice gleams. One new, site-specific work creates a large-scale camera obscura that subtly projects the real-time exterior landscape onto the walls. In his Untitled (Night Projection) series from 2002, an archetypal house in Newark becomes a screen for the city’s collective condition. WTC Tropism 2007 studies the site of Ground Zero from the same angle, as seen through his studio window while in residence at the Lower Manhattan Cultural Council’s Workspace Program, through numerous manipulated Polaroids that propose alternatives to architectural memorials.
In other works, Manuel Acevedo carries the same interest in blurring the division between interior and exterior and further illuminates the process and craft of the optics of light with direct, subversive artwork that serves as evidence and documentation of projected ideas.
ABOUT THE ARTIST:
Manuel Acevedo was born in 1964 in Newark, NJ and lives in Queens, NY. Acevedo is a recipient of the 2009Visual Artists Network, New Orleans, LA; Artist in Residence for the Camera Communis project, Knoxville, TN; Center for Book Arts, AIR Workspace Program 2007; Visiting Artist at NYU 2007; VAN Award 2007; SPACES’ World Artists Program 2006 and LMCC Residency Program 2006. His awards include the Joan Mitchell Foundation Grant 2005; Longwood Arts Project: Digital Matrix Commission 2005; the Mid-Atlantic Foundation’s Artist as Catalysts Award 1999 & 2001 & The Studio Museum in Harlem, AIR 1998-99. Group exhibitions include Museo de la Ciudad, Spain; Museo de Arte de Puerto Rico, Real Art Ways, Exit Art, Queens Museum of Art, PS 1, El Museo del Barrio, the Drawing Center, Westfaelischer Kunstverein, Germany with solo exhibitions at Jersey City Museum and the Los Angeles Center for Photographic Studies.
Bronx River Art Center
1087 East Tremont Ave., Bronx, NY 10460
T (718) 589-5819 • F (718) 860-8303
info@bronxriverart.org
GALLERY HOURS:
Monday - Friday: 3pm - 6pm
Saturday: 12pm - 5pm
Gallery hours are only in effect during the exhibition dates.
OFFICE & CENTER HOURS:
Monday - Thursday: 10am - 6pm
DIRECTIONS: By Train: Take #2 or #5 to West Farms Square/East Tremont. Walk one block east to Bronx Street. By Bus: Take #'s B9, 21, 36, 40, 42, or Q44 to East Tremont and Boston Road. By Car: Take Bruckner Expressway to Sheridan Expressway, and exit at East Tremont Ave. Turn left at the traffic light one block down onto EastTremont. Turn left after one block onto Bronx St. (Cross Bronx Expressway) towards Rosedale Ave, then exit. Turn left onto Rosedale Ave, then take a left onto Tremont Ave. Drive four blocks to West Farms Square.
Jack Shainman Gallery is pleased to announce the following fall exhibitions and highlights
PREVIEW / FALL / 2010
Jack Shainman Gallery is pleased to announce the following fall exhibitions and highlights:
On view at Jack Shainman Gallery:
Arlene Shechet
The Sound of It
September 10 - October 9, 2010
Opening reception for the artist, Friday, September 10, 6 - 8 pm
Arlene Shechets hybrid sculptures formed from clay and colored with an amazing palette of innovative glazes confront the viewer with the tension between East and West, old and new, sexuality and androgyny, art and craft. As the forms inhale and exhale, entwine and unravel, they refer to emotional states and the fragile nature of the human condition.
Yoan Capote
Mental States
October 14 - November 13, 2010
For his premiere solo exhibition with the gallery, Yoan Capote will present new two-dimensional and sculptural work inspired by his personal interaction with American reality and everyday objects. Inspired by politics and human psychology, the physical, intellectual, and emotional experiences of the artist can be translated through each piece, where sensorial play becomes a medium to create strong metaphors about our own behavior. The works include timely references to immigration, illusion, seduction, and obsessions.
Odili Donald Odita
Body & Space
November 18 - December 23, 2010
In this exhibition of new wall paintings, canvases, and paintings on Plexiglas, Odita explores the works metaphoric ability to address the human condition through pattern, structure and design, as well as its possibility to trigger memory. The patterns resemble scrambled TV sets, an image so ingrained in modern culture, reflecting the way information is disseminated to us. Each color Odita uses is hand-mixed separately, and therefore unique, which further underscores his fascination with human nature.
Art Basel Miami Beach, Booth B21, December 4 - 8, 2010
Other exhibitions:
El Anatsui, When I Last Wrote to You About Africa, at the Institute for Contemporary Culture, Royal Ontario Museum, Toronto, Canada, opens October 2, 2010
Lynette Yiadom-Boakye at the Studio Museum in Harlem opens November 15, 2010
Regular gallery hours beginning September 10th: Tuesday - Saturday, 10 am to 6 pm.
For additional information and photographic material please contact the gallery at info@jackshainman.com.
The Museum of Contemporary Art in Los Angeles (MOCA) is doing it big this summer in it's 3 locations. What follows is an overview of what's going on.
DENNIS HOPPER DOUBLE STANDARD
07.11.10 - 09.26.10
Dennis Hopper Double Standard is the first comprehensive survey exhibition of Dennis Hopper's (b. 1936, Dodge City, Kans.) artistic career to be mounted by a North American museum. Best known for his work in film, Hopper has produced an oeuvre of remarkable breadth that blurs the boundaries between art, film, and popular culture. Curated by Julian Schnabel, whose own work has been inspired by Hopper's fusion of art and film, the exhibition will assemble key selections and bodies of work examining the artist's creative development with a focus on artworks made between 1961 and present day, as many of Hopper's earlier paintings were destroyed in his studio by the 1961 Bel Air fire. The exhibition will be organized in several sections reflecting the cyclical and serial nature of the artist's work. The layout will bring together various groupings of work emphasizing Hopper's interest in Duchampian appropriation of common objects and the dialogue between pop and progressive culture. It will also highlight the ways in which Hopper has utilized a range of styles-from abstraction, the ready-made, and pop art to conceptual and performance art-to further his investigation into the "return to the real." Tracing the evolution of Hopper's artistic output, Dennis Hopper Double Standard will feature more than 200 works spanning his prolific 60-year career in a range of media, including an early painting from 1955; photographs, sculpture, and assemblages from the 1960s; paintings from the 1980s and '90s; graffiti-inspired wall constructions and large-scale billboard paintings from the 2000s; his most recent sculptures; and film installations.
Dennis Hopper Double Standard is presented by The Eli and Edythe Broad Foundation.
THE GEFFEN CONTEMPORARY AT MOCA 152 NORTH CENTRAL AVENUE, LOS ANGELES, CA 90013
THE GEFFEN CONTEMPORARY AT MOCA
A former police car warehouse in Little Tokyo renovated by the noted California architect Frank O. Gehry, The Geffen Contemporary at MOCA (formerly The Temporary Contemporary) opened in 1983. This location offers 40,000 square feet of exhibition space and a branch of the MOCA Store.
MUSEUM HOURS
MON 11am–5pm
TUES, WED CLOSED
THURS 11am–8pm
FRI 11am–5pm
SAT, SUN 11am–6pm
Closed New Year's Day, Independence Day, Thanksgiving, and Christmas Day.
Map
ADMISSION
General Admission: $10
Students with I.D.: $5
Seniors (65+): $5
Children under 12: Free
Jurors with I.D.: Free
Free Thursday Evenings
ANY EVER
07.18.10 - 10.17.10
Any Ever is the American premiere of the artist Ryan Trecartin's (b. 1981, Webster, Tex.) 2007-10 body of work, produced in Miami with collaborator Lizzie Fitch and contributors ranging from friends and artists to working child actors. The entire exhibition space will be devoted to the non-sequential series of seven movies, which are structurally conceived as a diptych consisting of a trilogy, Trill-ogy Comp (2009), and a quartet, Re'Search Wait'S (2009-10). The movies are interconnected spatially via networked viewing rooms and an ambient soundscape, and materially by characters, semblances of plot, and formal, recurring motifs. Having emerged from the 2000s as an innovator of ecstatic new frontiers in art and cinema, the influence of Trecartin's practice has grown within the art world and among a broader, intergenerational set of thinkers and cultural consumers. Consistent with his work to date, this latest series mines emergent evolutions of identity, narrative, language, and visual culture for content and propels these matters forward as expressive mediums, through darkly jubilant and categorically frenetic formal experimentations. Any Ever at MOCA is the exhibition's first American presentation on an international tour that began at The Power Plant in Toronto, Canada (March 2010). It will continue to the Museum of Contemporary Art, North Miami, FL, (2011) before traveling to further international venues. In 2011, Trecartin will also be the subject of solo exhibitions at MoMA PS1, Long Island City, NY, and the Musee d'Art modern de la Ville de Paris, France. Forthcoming print and digital catalogues will be the first publications uniquely dedicated to Trecartin's work and will reflect the entirety of his practice to date.
MUSEUM & STORE HOURS
MON CLOSED
TUES–FRI 11am–5pm
SAT, SUN 11am–6pm
Closed New Year's Day, Independence Day, Thanksgiving, and Christmas Day.
Please note that MOCA Pacific Design Center will closed at 3pm on Sunday, August 8th and be closed to the public Friday, August 27th–Sunday, August 29th.
ADMISSION
Admission to MOCA Pacific Design Center is FREE
GROUP ADMISSION
Prescheduled, accredited school groups receive free admission. Reservations must be made at least 10 business days in advance of visit by calling the Group Reservations line,
213/621-1745.
ARSHILE GORKY: A RETROSPECTIVE
06.06.10 - 09.20.10
Arshile Gorky (b. c.1902, Khorkom, Armenia; d. 1948 Sherman, Conn.) was a seminal figure in the movement toward abstraction that transformed American art in the middle of the 20th century. Born in an Armenian village on the eastern border of Ottoman Turkey, Gorky was a first-hand witness to the Turkish government's Armenian Genocide of 1915, which led the artist's family and thousands of others to flee. In 1920, Gorky emigrated to the United States and eventually settled in New York, where he became a largely self-taught artist. At a time when the American avant-garde privileged originality over traditional working methods, Gorky was a nonconformist who developed his personal vocabulary through a series of intensive apprenticeships to the styles of other artists, including Paul Cezanne, Pablo Picasso, Fernand Leger, and Joan Miro, before developing his own unique and deeply influential visual language in the early 1940s. Gorky's prominence in the New York art scene led him to befriend Andre Breton and Roberto Matta-fellow emigres and key figures in the surrealist group-who came to have an enormous impact on Gorky's mature style. Arshile Gorky: A Retrospective positions Gorky as a crucial founder of abstract expressionism, but also as a passionate and dedicated artist whose tragic life often informed his groundbreaking and deeply personal paintings. The first full-scale survey of Gorky's work since 1981, this timely exhibition features Gorky's most significant paintings, sculptures, and works on paper, including two masterworks from MOCA's permanent collection - Study for The Liver is the Cock's Comb (1943) and Betrothal I (1947). Arshile Gorky: A Retrospective is organized by Michael Taylor, the Muriel and Philip Berman Curator of Modern Art at the Philadelphia Museum of Art, where the exhibition was on view October 21, 2009, through January 10, 2010, before traveling to Tate Modern, London, February 10 through May 3, 2010. MOCA's presentation, the third on the exhibition's tour, is organized by MOCA Chief Curator Paul Schimmel. Arshile Gorky: A Retrospective is accompanied by a fully illustrated catalogue that includes new essays by Harry Cooper, Jody Patterson, Robert Storr, and Kim Theriault
Arshile Gorky: A Retrospective is organized by the Philadelphia Museum of Art in association with Tate Modern, London, and The Museum of Contemporary Art, Los Angeles.
MOCA GRAND AVENUE 250 SOUTH GRAND AVENUE, LOS ANGELES, CA 90012
MOCA GRAND AVENUE
Designed by Arata Isozaki, MOCA Grand Avenue is host to elegant underground galleries, a café, the flagship location of the MOCA Store, and staff offices.
MUSEUM HOURS
MON 11am–5pm
TUES, WED CLOSED
THURS 11am–8pm
FRI 11am–5pm
SAT, SUN 11am–6pm
Please note that the MOCA Store at MOCA Grand Avenue will be closed for maintenance on Wednesday, August 4.
Closed New Year's Day, Independence Day, Thanksgiving, and Christmas Day.
ADMISSION
General Admission: $10
Students with I.D.: $5
Seniors (65+): $5
Children under 12: Free
Jurors with I.D.: Free
Free Thursday Evenings:
Admission to MOCA Grand Avenue is free every Thursday, 5–8pm, courtesy of Wells Fargo.
New Solo exhibition: THIS IS URBAN POP RECEPTION THIS SAT. 5P-8P
Join me as I celebrate THIS IS URBAN POP my solo exhibition of photography, painting and digital work at the popular west village watering hole known as Chi Chiz. The show features selections from my on-going portrait series "A Portrait of The Life" as well as paintings from the Red, Black and Green series and new Pin-Up girls works.
Happy hour drink specials, lots of great music (guest dj announced soon) and more!
This is an evening of art in a very alternative space.
Admission is 100 percent FREE and I'd love to see you ALL THERE!
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/
John Baldessari: Pure Beauty June 27, 2010–September 12, 2010 and Catherine Opie: Figure and Landscape July 25, 2010–October 17, 2010 at LA County Museum of Art
John Baldessari: Pure Beauty
June 27, 2010–September 12, 2010
John Baldessari is one of the most influential American artists working today. This long overdue retrospective will feature more than 150 works spanning the artist's career from 1962 to the present day, and include works on canvas, photography, videos and artist's books. Baldessari's text and image paintings from the mid-1960s are widely recognized as among the earliest examples of Conceptual Art, while his 1980s photo compositions derived from film stills rank as pivotal to the development of appropriation art and other practices that address the social and cultural impact of mass culture. Throughout and continuing today, Baldessari's interest in language, both written and visual, raises questions about the nature of communication. The exhibition is curated by LACMA's Leslie Jones, Prints and Drawings, with Jessica Morgan, Contemporary Art, at Tate Modern. It will also feature a special installation conceived just for this retrospective.
Catherine Opie: Figure and Landscape
July 25, 2010–October 17, 2010
The Los Angeles County Museum of Art features recent work by the internationally renowned and LA-based photographer Catherine Opie. The show’s primary focus is high-school football, a subject that allowed Opie to explore issues of masculinity, community, and national identity. Over the last three years, Opie photographed football games and players in seven states across America. Atmospheric cues locate each regional site, while gestures and gazes reveal the adolescent players’ disparate psychologies. Looking past the clichés associated with football, Opie perceives diversity in the individuals and communities that celebrate the game. Shown in conjunction with LACMA’s exhibition Manly Pursuits: The Sporting Images of Thomas Eakins, Opie’s work similarly addresses and overturns conventions of idealism and realism.
This exhibition was organized by the Los Angeles County Museum of Art and made possible by the Wasserman Foundation.
General Admission
A general admission ticket is a one-day pass to LACMA’s permanent galleries and non-ticketed exhibitions. To purchase general admission tickets, click here.
Adults: $12
Seniors (62+ with ID): $8
Students (18+ with school ID): $8
Children (17 and under): Free
Free Admission with Membership
Members receive unlimited FREE general admission to the permanent galleries and non-ticketed exhibitions for two adults and for their children under 18. (Individual members may bring one adult guest FREE). For more information, click here.
NexGen members also receive unlimited FREE general admission to the permanent galleries and non-ticketed exhibitions. One adult guest is also admitted FREE. For more information, click here.
Free Admission for All at Selected Times
On the second Tuesday of each month, general admission to the permanent galleries and non-ticketed exhibitions is free to all.
After 5 pm, you may pay what you wish.
For more information about becoming a LACMA member, click Membership or call 323 857-6151.
LACMA is located on Wilshire Boulevard between Fairfax and Curson avenues—midway between Downtown Los Angeles and Santa Monica.
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From the Santa Monica Freeway (10), take Fairfax Avenue north 2 miles to Wilshire Boulevard. LACMA is on Wilshire between Fairfax and Curson Avenue.
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From the southbound Hollywood Freeway, take Highland Avenue 3.5 miles south to Wilshire Boulevard; take a right on Wilshire and proceed 1 mile west to LACMA.
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For additional maps and driving instructions, see Mapquest.
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For public transportation information, call 1.800.COMMUTE or use the Trip Planner at www.metro.net to find the route that's best for you. Enter 5905 Wilshire Blvd., Los Angeles 90036 as your destination.
Target Free Holiday Mondays
Special programming and free general admission* for all on:
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Monday, February 15, President's Day
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Monday, May 31, Memorial Day
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Saturday, July 17, Target Arts and Wonder Free Family Event
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Monday, September 6, Labor Day
* Does not include free admission to ticketed exhibitions.
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 5pm until 8pm. 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
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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.
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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
F 310 550 0605
WWW.MBFALA.COM
INFO@MBFALA.COM
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
235 Bowery
New York, NY 10002
212.219.1222
General Admission: $12
Seniors: $10
Students: $8
18 and under: FREE
Members: FREE
* Wednesday 12-6 PM
* Thursday and Friday 12-9 PM
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* Monday and Tuesday closed
* The seventh floor Sky Room with panoramic views is open on weekends only.
* The Museum is closed to the public on Monday and Tuesday and on Thanksgiving Day, Christmas Day, and New Years Day.
* Free Thursday Evenings (from 7 PM to 9 PM).
* The New Museum's Visitor Services program is sponsored by Bloomberg
By Subway
From the East Side of Manhattan
Take the downtown 6 train to Spring Street. Exit the station and walk one block north on Lafayette Street to Prince Street. Turn right and proceed until Prince Street ends four blocks later at Bowery.
From the West Side of Manhattan
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From Brooklyn
Take the Manhattan-bound F or V train to 2nd Avenue. Exit at Houston Street, and walk one block west to Bowery. Turn left, and proceed one and a half blocks south to Prince Street.
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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
The list of artists for 2010, the Whitney Biennial, which will take over the Museum from February 25 through May 30, 2010 have been announced. The fifty-five artists participating were selected by curator Francesco Bonami and associate curator Gary Carrion-Murayari. The Biennial includes established and emerging artists from all over the country. Visit whitney.org to see a video of the curators reading the list of names.
Martin Wong: Everything Must Go at P•P•O•W in New York City
Martin Wong
Everything Must Go
Curated by Adam Putnam
December 10, 2009– January 30, 2010
Opening Reception: Thursday, December 10, 6-8pm
P•P•O•W is pleased to announce an exhibition of work by Martin Wong, curated by Adam Putnam. Martin Wong, who died in 1999 due to an AIDS related illness, was born in 1946 in Portland, Oregon and moved to New York City in 1978. He received a degree in ceramics, but decided to become a painter when he was thirty years old. He first started exhibiting at the Semaphore Gallery in New York. Martin Wong's last exhibition at P•P•O•W was in 2000.
For most of his time in NYC, Martin Wong stayed nestled in the Lower East Side, enmeshed in the fabric of his neighborhood and the people around him. His work has traditionally been described as a document of that time in the 1980's and 1990's, capturing a moment in the history of the city marked by vacant lots, graffiti and a burgeoning club culture.
This exhibition presents an intuitive ramble through the estate left by this unique and visionary artist. It offers a glimpse into a private world populated by crumbling tenements, vacant lots, prisoners (with those burning eyes), closed gates (and open legs), downtown poets, hustlers, and if we are lucky, perhaps an off-duty Fireman.
Martin Wong wanders through an urban landscape and refashions it into something new. His paintings take us inward, through a hidden, alternative landscape of longing and deeply felt subjectivity. Following this logic of desire, a crumbled brick tenement can become laced with the erotic or a painting of a single cactus can carry all the restrained passion of an unmet gaze from a sexy stranger.
Also on view are several rarely seen photo collages on loan from The Fales Library archives as well as drawings and sketches. These photos are remarkable for the fact that they not only exist as source material for some of the larger paintings but also as a rare document of the long walks the artist would take in and around the Lower East Side.
The vacant lots have long since been filled in, but don't let the glass facades fool you. There is always the torn seam or frayed edge... you just need to know where to look.
The exhibition is accompanied by a full color illustrated catalog with an essay by Carlo McCormick.
On January 26th there will be a panel discussion tentatively based upon the themes of secret languages in the work of Martin Wong. The event will be hosted by the NYU Steinhardt School of Art and Arts Professions.
Adam Putnam is an artist living and working in NYC. His work has been exhibited at P.S.1, Art Statements Basel, the 2008 Whitney Biennial and most recently, at Taxter and Spengemann Gallery. In 2006 Adam Putnam, with artist Shannon Ebner, curated the show Blow Both of Us at Participant Inc.
1,3,8 Characters: Works by Eunjung Hwang at NY Studio Gallery
1,3,8 Characters
works by Eunjung Hwang
November 12 – December 12, 2009
NY Studio Gallery is pleased to present 1,3,8 Charaters: animation, sculpture and drawings by Eunjung Hwang. These works are inspired by the concept of animism, where all objects even those regarded by science as 'inanimate' possess a soul and unique personal character.
Hwang's characters represent unique combinations of digital and physical form. Her projects start by creating a variety of characters derived from personal dreams and subconscious imagery. Fantasy narratives unfold as the characters act out their roles within a structure interwoven by dream logic. This method attempts to formalize a larger and more intangible narrative. The works are meant to be enjoyed like rhythmic structure of music rather than as a readable story.
Recipient of the Reality Gallery American Slide-All 2009: Solo Exhibition at NY Studio Gallery
About Eunjung Hwang
Born in Seoul, Korea and currently working and living in New York, Eunjung Hwang received her MFA in Computer Arts from the School of Visual Arts, New York. Selected solo and two person exhibitions include: “Eunjung Hwang” LA Center for Digital Arts (2008) and “Creature Feature” Sungkok Art Museum, Seoul, Korea (2007). "The Third Part of Ghosts", Allgirls International Berlin, Germany (2009) "Siebren Versteeg and Eunjung Hwang", Sheppard Fine Arts Gallery, Reno (2008). Grants and Residencies include Lower Manhattan Cultural Council, New York (2004) Moving Image Division Artist Residency, EYEBEAM, New York (2003), Soelyst Artist Center, Denmark (2009) New York State Council on Arts Grant, New York (2006) Akademie Schloss Solitude Fellowship, Stuttgart, Germany (2008-09)
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
Tracey Snelling’s installation Woman on the Run at Smack Mellon in Brooklyn
Smack Mellon is pleased to present Tracey Snelling’s installation Woman on the Run and Michael Paul Britto’s new video works in Society’s Children. The two artists incorporate elements of pop culture, cinema, and reality to very different ends. Snelling uses architectural elements and multimedia effects to create fictional character and scenarios full of intrigue, while Britto uses personal observation and surveillance footage to emphasize the injustices of actual occurrences. In the tradition of a film noir femme fatale, Snelling constructs a three-dimensional narrative around an ambiguous female persona wanted for questioning in relation to a crime. The visitor becomes a player in the story, searching for the enigmatic woman. Boundaries blur between victim and violator, fact and fiction, feminism and outdated views. Britto’s harsh characters are more straightforward and urgent in both presentation and purpose, exposing pressing concerns in contemporary urban African-American culture. His video Verbal Assault shows the same actor portraying a father and son in a heated argument marked by mutual disrespect, while his video Daughters shows footage of a police officer brutally restraining a girl whose only crime is staying out past curfew.
Tracey Snelling, Woman on the Run
“Woman on The Run is an installation that intricately mixes architecture, scale modeling, video, photography and 3-D story telling with a heady dose of Hollywood glamour and Hitchcock-like built-in suspense. A multimedia project, Woman on the Run explores a fragmented narrative about a fated woman. The main character, a combination of heroines and femme fatales from 1950’s and 1960’s film noir is trying to escape her fate. A crime has taken place, and she is wanted for questioning. Throughout the installation, different clues are given about what might have happened and who the woman is. Is she the victim, or the perpetrator? A study in feminism or an example of outdated ideas?
An alternate world of shrunken buildings, neon signs, and a life size motel offer a selection of clues that conspire to initially draw the viewer to the action and then help them thread together the disconnected story that just happened. The viewer quickly becomes a witness and to some extent an actor within the story, often assuming the role of a detective. Video plays in windows and conversations can be overheard. Reality becomes based more in perception than in absolutes. The blacks and whites of life shift to grey, and the truth becomes shrouded in mystery.
I have been interested in the idea of reality being something that continually changes, due to perception and according to an individual’s ideals and own subjectivity. I explore this viewpoint through shifting scale and presenting a particular subject in a myriad of ways. A large building can inspire a small sculpture of that building, which in turns becomes a photograph and eventually gets incorporated into another piece of art. Video is often placed in the sculptures – usually of people, sometimes doing mundane activities, repeated continually. Other times the characters might remain the same but the actions that are repeated change slightly and contradict each other. Influences in my work are heavily anchored in Americana and fed by post-war US popular culture from literature to cinema, while my work consistently and simultaneously celebrates, demystifies and re-interprets those cultural clichés with the view to making them both timeless and fresh.”
Tracey Snelling is an internationally exhibiting artist living and working in Oakland, California. She graduated with a BFA in Art Studio from The University of New Mexico in 1996. She explores reality and scale through sculpture, photography, and video. Her works are featured in numerous collections, including the Baltimore Museum, the Museum of Fine Arts, Houston, de Saisset Museum, and The West Collection, Pennsylvania. Her work has been exhibited internationally, including Gemeentemuseum Helmond in the Netherlands, Selfridges in London, solo exhibitions in Brussels, Amsterdam, London, and Miami, and at Art Basel. She recently returned from a 4 month art residency and solo exhibition in Beijing.
Smack Mellon
92 Plymouth Street @ Washington
Brooklyn, NY 11201
Gallery hours are Wednesday-Sunday, 12-6pm
Smack Mellon is easily accessible by either the F or the A/C subways.
F Train to York. Exit to the right and walk downhill on Jay Street, towards the water.
Make a left at the next block, Front Street. Make a right on Washington Street.
92 Plymouth is 2 blocks down, on the corner.
AC Train to High Street. Use Fulton Street Exit.
Cross the street (Cadman Plaza West), enter park and follow curved pathway to
Washington Street. Make a slight left to exit park and walk down Washington towards river, 3 blocks to Plymouth Street.
B61 Bus to York and Gold Streets.
Walk down York. Take right on Washington Street and walk to end at park to
Plymouth. 92 Plymouth is at the corner.
On Foot: Enjoy the beautiful walk across the Brooklyn Bridge. The first set of stairs you reach in Brooklyn will drop you off on Washington Street. Take a left out of the stairwell and walk down the hill for three blocks. 92 Plymouth Street is the last building on the right side of the street, right before the park.
By Car:
via Brooklyn Bridge: Take the Brooklyn Bridge across the East River and get off at the first exit on the right, Cadman Plaza. The exit will drop you off on Cadman Plaza - follow this street through the first two lights toward the East River. Take a right on Front Street (just after the off-ramp from the BQE), a left on Main Street, drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington.
via BQE: If heading South on the BQE, exit at the Cadman Plaza exit. At the stoplight, make a hard right on Front Street, almost making a u-turn. Take a left on Main Street. Drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington.
via Manhattan Bridge: Take the Manhattan Bridge to Brooklyn and make a right on Tillary Street. Follow Tillary through three lights (you will pass the entrance to the Brooklyn Bridge) and take a right on Cadman Plaza East. A park will be on the left. Follow this street underneath the BQE and through the first light. Take a left on York Street at the stop sign. This street will curve to the right and eventually deadend. Take a right on Front Street and then an immediate left on Main Street, drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington
For more info on me visit my official website www.rickyday.net
SunTek Chung: Kingdom Come 18 November - 10 January, 20, 2010 at Collette Blanchard Gallery
Last week I attended the opening of SunTek Chung's new solo show at Collette Blanchard. The work is thought provoking and beautiful and the event was a blast as usual. Below I have posted a few photos from the event as well as the official press blurb on the show. Check out the images and exhibit release and then make some time to get down and check out the show for yourself. Collette operates a wonderful space and one of the few African-American owned contemporary art galleries in the country and it's first class!
SunTek Chung
Kingdom Come
18 November - 10 January, 20, 2010
Collette Blanchard Gallery is pleased to present its first gallery exhibition with SunTek Chung, entitled "Kindom Come," on view from November 18, through January 20, 2010.
Neon light sculpture and staged photographs appear with bronze sculptures, all of which, in the specificity of their presentation, are informed and re-contextualized by circumstances dictated by the artist. Leveraging verbal language and mixed mediums, Chung presents narrative works that linger between exhaustive detail and minimalist form. At any juncture within this spectrum, his work presents alternatives to preconceived notions that are never completely lucid, thus requiring incessant interrogation. Adept in his use of color, neon-light and form, Chung seduces the viewer into the essence of his work at once with a combination of references to current happenings and in response, conceptualized fictions. The work of SunTek Chung requires the viewer to abandon the pedantic discourse of cultural affinity and identity in its reconsideration of the misconstrued.
Mr. Chung graduated with an MFA from Yale University in 2002 and participated in Skowhegan School of Painting and Drawing. He has exhibited in numerous solo and group exhibitions in locations such as New York, Los Angeles, Canada, Berlin, and Tokyo. Chung's work has been reviewed in ArtForum, the New York Times, Beautiful Decay (cover) and many other prominent publications.
For more information,
Collette Blanchard Gallery
26 Clinton Street
New York, New York 10002
917.639.3912
Michael Paul Britto: Society's Children at Smack Mellon in Brooklyn
Michael Paul Britto, Society's Children
Smack Mellon is pleased to present Tracey Snelling’s installation Woman on the Run and Michael Paul Britto’s new video works in Society’s Children. The two artists incorporate elements of pop culture, cinema, and reality to very different ends. Snelling uses architectural elements and multimedia effects to create fictional character and scenarios full of intrigue, while Britto uses personal observation and surveillance footage to emphasize the injustices of actual occurrences. In the tradition of a film noir femme fatale, Snelling constructs a three-dimensional narrative around an ambiguous female persona wanted for questioning in relation to a crime. The visitor becomes a player in the story, searching for the enigmatic woman. Boundaries blur between victim and violator, fact and fiction, feminism and outdated views. Britto’s harsh characters are more straightforward and urgent in both presentation and purpose, exposing pressing concerns in contemporary urban African-American culture. His video Verbal Assault shows the same actor portraying a father and son in a heated argument marked by mutual disrespect, while his video Daughters shows footage of a police officer brutally restraining a girl whose only crime is staying out past curfew.
Exhibition dates: November 21, 2009 - January 3, 2010
Michael Paul Britto, Society's Children
“Much of my work is about being a person of color in America and the misconceptions and assumptions that go along with that. My art allows me to use the customary as metaphor to raise political and cultural awareness. By manipulating images taken from popular culture I aim to illicit feelings of rage, happiness, sadness and empathy to make viewers rethink mass medias’ depictions of people of color, and what is deemed as acceptable behavior by society.”
Verbal aggression has been determined to be more damaging than physical aggression. There are many sources to blame for verbal aggression including human nature, ethics, victimization, abnormal psychology, and the mass media. In the video Verbal Assault, the role of father and son are juxtaposed to show the son’s aggression as a mirror image of his father’s. While the father cares for his son, his abusive approach contradicts his intention to help his son. Frustration is sensed from both characters as the overlapping dialogue focuses on their fears and mutual desires for acceptance and achievement.
In the video Daughters, a dashboard video-camera recording of a white police officer’s assault on a 15 year old African-American girl, is paired with John Mayer’s song “Daughters” giving a timely and important alternative meaning to the lyrics of this pop song, posing the question “will this girl love like she’s been loved?”
Born and raised in Brooklyn, NY, Michael Paul Britto received his BA from the City College of New York. His work ranges from video to digital photography, sculpture, and performance. Britto has had residencies at the New Museum, Smack Mellon and The Marie Walsh Sharpe Foundation (NYC). His work has been featured in shows at El Museo del Barrio, The Studio Museum of Harlem, The Zacheta National Gallery in Warsaw and the Victoria and Albert Museum in England. Britto has been written about in The New York Times, Art In America and the Brooklyn Rail.
Smack Mellon
92 Plymouth Street @ Washington
Brooklyn, NY 11201
Gallery hours are Wednesday-Sunday, 12-6pm
Smack Mellon is easily accessible by either the F or the A/C subways.
F Train to York. Exit to the right and walk downhill on Jay Street, towards the water.
Make a left at the next block, Front Street. Make a right on Washington Street.
92 Plymouth is 2 blocks down, on the corner.
AC Train to High Street. Use Fulton Street Exit.
Cross the street (Cadman Plaza West), enter park and follow curved pathway to
Washington Street. Make a slight left to exit park and walk down Washington towards river, 3 blocks to Plymouth Street.
B61 Bus to York and Gold Streets.
Walk down York. Take right on Washington Street and walk to end at park to
Plymouth. 92 Plymouth is at the corner.
On Foot: Enjoy the beautiful walk across the Brooklyn Bridge. The first set of stairs you reach in Brooklyn will drop you off on Washington Street. Take a left out of the stairwell and walk down the hill for three blocks. 92 Plymouth Street is the last building on the right side of the street, right before the park.
By Car:
via Brooklyn Bridge: Take the Brooklyn Bridge across the East River and get off at the first exit on the right, Cadman Plaza. The exit will drop you off on Cadman Plaza - follow this street through the first two lights toward the East River. Take a right on Front Street (just after the off-ramp from the BQE), a left on Main Street, drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington.
via BQE: If heading South on the BQE, exit at the Cadman Plaza exit. At the stoplight, make a hard right on Front Street, almost making a u-turn. Take a left on Main Street. Drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington.
via Manhattan Bridge: Take the Manhattan Bridge to Brooklyn and make a right on Tillary Street. Follow Tillary through three lights (you will pass the entrance to the Brooklyn Bridge) and take a right on Cadman Plaza East. A park will be on the left. Follow this street underneath the BQE and through the first light. Take a left on York Street at the stop sign. This street will curve to the right and eventually deadend. Take a right on Front Street and then an immediate left on Main Street, drive two blocks and take a right on Plymouth Street. 92 Plymouth is one block, at the corner of Washington
Joseph Santore: Recent Work at Lohin Geduld Gallery NYC
Joseph Santore
Recent Work
November 18 - December 24, 2009
Lohin Geduld Gallery, 531 West 25th Street, New York, NY, is proud to present our first exhibition of paintings and drawings by Joseph Santore.
Time is a critical element in the art of Joseph Santore. He studies his subjects for months, searching collections of objects, figures, and interiors for intriguing relationships. The longer he looks the more that is revealed. This unmasking of reality unfolds slowly over the course of many painting sessions. As time passes and his experience grows, Santore plumbs the depths of what it means to see without preconception.
Santore believes the mechanics of perception and understanding go hand in hand. Reality is not a fixed viewpoint, but a series of shifting focal points that capture spatial relationships, light, and color. The meaning of Santore’s work is not derived solely from his selection of subject matter, but also from the accumulative experience of “looking” over an extended period of time. The nature of Santore’s vision is the real subject, and through the intensity of his gaze we partake of a world that normally hides in plain sight.
For all of his attention to detail, Santore composes like an abstractionist, packing his paintings with information. Pushing, pulling, and squeezing shapes together, forming associations of gesture, edge, weight, and counterpoint. Combined with a masterful technique capable of conjuring up the palpable sensations of flesh, flowers, metal, or cloth, Santore’s paintings present us with actual experience. They hum in their devotion to the real, and make us want to look at everything anew.
Joseph Santore received an MFA from Yale University and a BFA from the Philadelphia College of Art. He has had solo exhibitions at Edward Thorp Gallery, NY; Phoenix Art Museum, AZ; The Philadelphia Art Alliance, PA; The New York Studio School, NY; and Yale University. His work has been appeared in numerous group exhibitions including the Whitney Biennial, The Whitney Museum of American Art, NY; The Tucson Museum of Art, AZ; The American Academy & Institute of Arts & Letters, NY; The National Academy of Design, NY; The Butler Institute of American Art, OH; The Aspen Art Museum, CO; and The Pennsylvania Academy of the Fine Arts, PA.
Santore’s work has been reviewed in Art in America, ArtForum, The New York Times, ArtNews, and Art & Antiques. His work is in the public collections of The Metropolitan Museum of Art, NY; The Denver Art Museum, CO; The Cincinnati Museum of Art, OH; Phoenix Art Museum, AZ; The National Academy of Design, NY; Yale University, CT; among others.
Recently, MoMA affiliated P.S.1 in Long Island City opened their fall exhibitions which include Chitra Ganesh's large-scale wall drawing The Silhouette Returns (2009), commissioned by Klaus Biesenbach as part of the On-Site program. It will be on display through April 5, 2010. For more information please view P.S.1's website.
The November issue of Art in America addresses in its cover feature the recent flurry of exhibitions on contemporary Iranian art, including Looped and Layered, held at this gallery from May 14 through July 10. In the Heat of the Moment was written by New York Times' Benjamin Genocchio.
Thomas Erben Gallery
526 West 26th Street, floor 4
New York, NY 10001
212.645-8701
www.thomaserben.com
info@thomaserben.com
Gallerists Tonya Jordan and Jarvis DuBois opened their new show group show SIGHTscene at Spoonbread Atelier this past Saturday, I'm one of the participating artists in the show. Check out these shots from the opening reception.
The show is on display through the new year. Gallery hours are Fridays 2-5pm and Saturdays 1pm-6pm and by appointment.
smART Gallery Hop Party
Saturday, November 21st
1pm - 6pm
You want to see some great art? Of course you do! That's why you should head over to Williamsburg on November 21st and jump on the art bus! smART is a chance to enjoy a tour of all the Williamsburg galleries without walking, thanks to the free shuttles that will be prowling the area. Visit the smART website for more details!
Of course, we want you to see it all. From 1-6, Like the Spice Gallery will be featuring wine, cheese, loads of fun, and artists Jenny Morgan and David Mramor in person! It's a great chance for you to talk to them about their current show, Civil Union. Read about the opening here and then get ready to party, party, party, all Saturday long!
Jenny Morgan and David Mramor: Civil Union at Like the Spice in Brooklyn
Like the Spice is pleased to present Civil Union, featuring the individual and collaborative works by Jenny Morgan and David Mramor. To someone encountering their individual works, Morgan's meticulously psychological portraits and Mramor's intuition driven photo/paintings would not appear so perfectly complimentary. And yet, once combined, they fit so precisely, each artist making the other stronger.
Morgan's portraits are tightly controlled photorealistic renderings of people known very well to the artist. She often scrapes away areas of the figures, revealing both the layers of technique and the metaphorical flesh of her subjects. Morgan's works are at the very pinnacle of planning, discipline, and control in the service of emotional clarity, tied quite specifically to the individuals she depicts.
Mramor's hybrid paintings are alchemical combinations of photography and painting. Reacting to digitally manipulated imagery printed onto canvas, Mramor "corrects" the images by adding layers of intuitive marks in many media, recently even including collage. The marks have a wild quality, seeming almost random at first encounter, but there is a deep formal intelligence and perverse beauty to Mramor's works; they are absolutely fearless.
Worked by each artist in several turns, the collaborative works are built in layers of intervention and invention. The Apollonian Morgan and Dionysian Mramor inform each other's input while respectfully resisting each other's positions. The artists talk of these collaborations as an exercise in trust, giving up personal ego and control, as well as a way to use each other as a tool, performing a partially-outsourced creative act.
Jenny and David met in graduate school at the School of Visual Arts in New York during the fall of 2006. Having studios next to each other, they found comfort in each other's artistic process, Morgan in the looseness of Mramors innate strokes and line, and David in Jenny's flat symbolic masterful portraits. After grad school they merged studios and while both working on their own paintings sporadically produced multiple collaborative works. "Both of our work has totally transformed as a result of that first collaborative piece we did, and continue to change with each piece we make together".
Jenny Morgan was born in Salt Lake City, Utah in 1982. She had her first solo show in New York at Like the Spice Gallery in January of 2009, and has exhibited nationwide in solo shows at the Plus Gallery and the Pirate Gallery in Denver, Colorado. Ms. Morgan has participated in group shows at Columbia University, The LeRoy Neiman Gallery, Smithsonian Institute's National Portrait Gallery, and multiple galleries in Colorado, Florida and New York City.
David Mramor was born and raised in Cleveland Ohio in 1984. Mramor has exhibited nation wide in group and solo exhibitions in such galleries as Massimo Audiello in New York City, Plus Gallery in Colorodo, and Texas Fire House in Queens NY. Both Jenny Morgan and David Mramor work at Marilyn Minter Studio and currently live and work in Brooklyn, NY.
{224 Roebling Street. Brooklyn, NY 11211} {718-388-5388} {info@likethespice.com} {Wed - Sun 12-7, Mon by appt. only}
This weekend I am exhibiting photography for the first time in Washington D.C.
Gallerists Tonya Jordan and Jarvis DuBois present SIGHTscene at Spoonbread Atelier this Saturday, November 14, 4-7p. The gallery is at 4303 Rhode Island Avenue, Brentwood, MD 20722. This event is part of Fotoweek DC. I will be showing abstract and streetscape works from my Beautiful Decay series.
Hope all my D.C. friends and collectors stop by Spoonbread Atelier this Saturday to check out the work and have a great time.
KLOMPCHING GALLERY cordially invites you to the opening reception of Foreign Body, the first solo exhibition in the United States of Antony Crossfield.
The artist describes his work as closely related to the manual labor of painting. His artworks comprise of several points of view, of multiple images that are compressed into a single frame of meticulous construction. The illusion of wholeness masks an uncertain and fractured reality, that defies the Cartesian idea of a stable viewpoint. The resulting photographs of the male form are at once unsettling, yet weirdly beautiful. They elicit an intellectual response, but also one that is visceral and even physical.
Antony Crossfield has previously exhibited at the National Portrait Gallery (London), Institute of Contemporary Art (London) and Fulham Palace (London). In 2008, he was the winner of The Independent Photographer's Terry O'Neill Award. He has been published in Eyemazing and Creative Review, amongst others, with an upcoming feature in Hotshoe.
EXHIBITION CONTINUES THROUGH DECEMBER 19, 2009
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
From November 5, 2009 - January 9, 2010, the gallery will present an exhibition of photographs by Robert Bergman. The exhibition coincides with the artist's debut solo exhibitions at The National Gallery of Art, Washington, D.C. http://www.nga.gov/press/exh/3106/index.shtm October 11, 2009 - January 10, 2010 ) and at P.S.1 Contemporary Art Center, New York http://ps1.org/exhibitions/view/301 October 25, 2009 - January 4, 2010).
Mr. Bergman's book, A Kind of Rapture, was published in 1998 by Pantheon and contains essays by Nobel Prize and Pulitzer Prize recipient Toni Morrison and renowned art historian Meyer Schapiro.
For more information, please visit the gallery's website: http://www.yossimilo.com/exhibitions/2009_11-robe_berg/
Nicholas Robinson Gallery is pleased to present its second solo exhibition of new paintings by Florian Süssmayr
The current exhibition, entitled Interieurs, focuses both the artist's and viewers' attention on various iterations of interior spaces, one of the traditional genres of art history. Frequently de-populated and executed with the artist's characteristic somber palette of monochromatic dark browns, Süssmayr's interiors create an evocative atmosphere that is simultaneously disquieting, banal, and even, on occasions, gloomy or sinister. His fleeting glimpses of these spaces are often ambiguous - both artist and viewer participate in the viewing of the scene and yet are somehow also clearly excluded from belonging in them.
A number of the paintings tackle another traditional genre - that of the self-portrait. The artist is depicted either as a reflection in a surface in which he is photographing himself, or as part of a pin-board collage containing an image of himself and other biographically relevant images or references. The depiction of self is thus never direct, and continues the theme of detached observation and exclusion.
Florian Süssmayr has his roots in the social and political subculture pervasive in Germany in the 1980s. Originally a musician in the leftist post-punk scene, he has also been a film cameraman, and began painting in the late 1990s.
Süssmayr has had a solo exhibition at the Haus der Kunst in Munich, and has participated in numerous other important gallery and museum exhibition in the last five years.
Florian Süssmayr was born in 1963 in Munich, Germany, and lives and works in Munich.
Maya Gold: Wake October 29, 2009 - January 9, 2010 at Mike Weiss Gallery in NYC
Maya Gold / Untitled (detail), 2009 / Oil on canvas / 55 x 94 inches / MG-020
Maya Gold: Wake
October 29, 2009 - January 9, 2010
Opening Thursday October 29, 6-8pm
Mike Weiss Gallery is excited to present Wake, an exhibition of new oil paintings on canvas by Israeli artist Maya Gold. This is the artist’s first solo exhibition in New York and at Mike Weiss Gallery. Her use of a combination of soft, nearly see-through backgrounds and precisely executed subjects in the foreground blend the genres of abstraction and figuration and challenge the viewer to make that distinction.
This series of paintings is greatly influenced by the artist’s time spent living in Israel and her proximity to the sea and urban landscape. In some works, a female figure dressed in a bikini the colors of the Israeli flag stands alone in a vast empty field of muted gray or blue. She is throwing a life preserver out into the empty space or crouching on the shore arranging the seashells on the sand in futile exercises to call for help. In one work the same figure holds a large beach umbrella, attempting to pierce the ground with its tip seemingly unaware that she is standing on a brick walkway. In some works the figure is unrepresented and its presence, either male or female, is completely obstructed by open umbrellas that play across the surface of the canvas like a bag of scattered marbles. The artist composes the works so that they are a visual trick to behold, undefined, offering a several meanings at once.
The title of the exhibition, Wake, is meant to conjure the same curiosity as to which particular meaning it denotes. All at once, Wake is a reference to the shape of water when it parts behind a boat after it passes, the time after dreaming when we slip into present consciousness, and the services that are attended by friends and family after the passing of loved one. The viewer, hovering, peering down ghostlike above the world below is left to guess from where they are supposed to be viewing this world. It is the ambiguity of the moment, the uncertainty of the time that the artist captures on the canvas.
The surfaces of the canvas, although rich with detail are surprisingly flat. The artist begins by laying in a translucent wash of color over the white canvas to indicate the sky, water or brick. Each element, the background shadow or figure, is painted from start to finish in one sitting to keep the texture of the paint and the canvas even and flat. The figures or subjects are painted in last with delicate and almost photographic realism. The artist does not however take her subjects directly from photographs and instead works from various imagery and is most reliant on her own memory. In the end, what we are given is a composition that is contrastingly different in its appearance and meaning, at once minimal in its imagery but also riddled with the clues to a deeper story and symbolism.
aya Gold lives and works in Tel Aviv, Israel. The artist received her Bachelors of Art at the Bezalel Academy of Art & Design in Tel Aviv and continued with post graduate studies at the Slade School of Fine Art, University College of London and the Bezalel Academy. The artist was the youngest recipient of the Gottesdiener Award, which resulted in a solo exhibition of her work at the Tel Aviv Museum of Art. The artist has exhibited previously in Tel Aviv, Israel and this is her first exhibition in New York.
For more information about the upcoming Maya Gold exhibition or prices please contact
Helene Necroto, Director.
Pop Life: Art in a Material World at Tate Modern Level 4 West Thursday 1 October 2009 – Sunday 17 January 2010
Pop Life: Art in a Material World
Tate Modern Level 4 West
Thursday 1 October 2009 – Sunday 17 January 2010
Admission £12.50 ( concessions)
Opening hours: Sunday to Thursday, 10.00–18.00. Friday and Saturday, 10.00–22.00. Last admission into exhibitions 17.15 (Friday and Saturday 21.15).
Public information number: 020 7887 8888.
Public information URL: http://www.tate.org.uk/modern/exhibitions/poplife/default.shtm
Pop Life: Art in a Material Worldproposes a re-reading of one of the major legacies of Pop Art. The exhibition takes Andy Warhol’s notorious provocation that ‘good business is the best art’ as a starting point in reconsidering the legacy of Pop Art and the influence of the movement’s chief protagonist. Pop Life: Art in a Material World looks ahead to the various ways that artists since the 1980s have engaged with mass media and cultivated artistic personas creating their own signature 'brands'. Among the artists represented are Tracey Emin, Keith Haring, Damien Hirst, Martin Kippenberger, Jeff Koons, Takashi Murakami and Richard Prince.
Pop Life: Art in a Material World argues that Warhol’s most radical lesson is reflected in the work of artists of subsequent generations who, rather than simply representing or commenting upon our mass media culture, have infiltrated the publicity machine and the marketplace as a deliberate strategy. Harnessing the power of the celebrity system and expanding their reach beyond the art world and into the wider world of commerce, these artists exploit channels that engage audiences both inside and outside the gallery. The conflation of culture and commerce is typically seen as a betrayal of the values associated with modern art; this exhibition contends that, for many artists working after Warhol, to cross this line is to engage with modern life on its own terms.
The show begins with a focused look at Warhol’s late work, examining his related initiatives as a television personality, paparazzo, and publishing impresario. Highlights include a number of works from his initially controversial series known as the Retrospectives or Reversals. Reprising his celebrated Pop icons from the 1960s, in a manner initially deemed cynical, the Retrospectives look ahead to installations by a number of artists including Martin Kippenberger and Tracey Emin, who overtly engage the self-mythologizing impulse manipulating their personas as a medium, like silkscreen or paint.
Pop Life: Art in a Material World includes reconstructions of both Keith Haring’s Pop Shop and Jeff Koons's seldom reunited Made in Heaven. Haring opened the Pop Shop in 1986 on New York's Lafayette St. to merchandise his branded artistic signature as editioned objects such as t-shirts, toys and magnets aimed at as wide an audience as possible. Jeff Koons’s Made in Heaven, which debuted at the Venice Bienniale in 1990, immortalized his marital union with the Italian porn star and politician known as La Cicciolina. A specially-commissioned new installation by the celebrated Japanese artist Takashi Murakami debuts in the exhibition's final gallery.
A gallery dedicated to the so-called ‘Young British Artists’ focuses on their early performative exploits including ephemera from Tracey Emin and Sarah Lucas’s shop in Bethnal Green where they created and sold their work. Renowned pieces such as Gavin Turk’s Pop 1993 also feature, as does selected works representing Damien Hirst’s recent Sotheby’s auction, Beautiful Inside My Head Forever. Tate Modern will also restage Hirst’s performance originally shown at Cologne’s ‘Unfair’ art fair in 1992. Identical twins will sit beneath two identical spot paintings for the duration of Pop Life: Art in a Material World. Tate Modern is appealing for identical twins to take part in this performance.
The exhibition is organized by Tate Modern and is co-curated by Jack Bankowsky, Artforum’s Editor at Large, Alison M. Gingeras, Chief Curator of the François Pinault Collection and Catherine Wood, Tate Modern Curator of Contemporary Art and Performance, assisted by Nicholas Cullinan, Curator, International Modern Art, Tate Modern. Pop Life: Art in a Material World will travel to the Hamburger Kunsthalle from 6 February – 9 May 2010 and then to the National Gallery of Canada, Ottawa from 11 June – 19 September 2010. The exhibition is accompanied by a fully illustrated catalogue.
THE EXPERIENCE OF GREEN at D.U.M.B.O. Arts Center (DAC)
THE EXPERIENCE OF GREEN
Wade Kavanaugh and Stephen B. Nguyen
Opening Reception: Friday, September 25, 6 - 9 PM
Exhibition Dates: September 25 - November 29, 2009
Artists' Talk: Thursday, November 5, 7 PM
Gallery Hours: Wednesday - Sunday, 12 - 6 PM
Wade Kavanaugh and Stephen B. Nguyen have filled the Dumbo Arts Center with their enormous site-specific installation The Experience of Green. Opening September 25, 2009, the exhibition emphasizes the contrast between the organic and the built environment. Viewers step out of Dumbo’s stark brick-and-glass commercial district into a fantastical forest; a walk-through labyrinth of old growth trees made entirely from red kraft paper. The spectacular network of gnarled tree trunks and twisted roots extends over every inch of the gallery, suspending the boundaries of space and time while fully immersing the viewer.
The Experience of Green is Kavanaugh and Nguyen's most ambitious work to date as well as the artists' first major debut in NYC of their ongoing collaborative series of visually phenomenal, meticulously crafted paper installations. Here, the staggering volume of paper that the artists stack, splice, layer and coil is in a brilliant crimson, burning an impression in the viewers’ mind. The Experience of Green may come most clearly into focus only after viewers exit the gallery, the color persisting as an optical after-image, accentuating the relationship between experience and memory, landscape and longing, nature and the sublime.
The Experience of Green, a full-color catalog with accompanying essay by Jen Schwarting, will be published by DAC in December, 2009.
DAC will be open until 8:30PM October 1 and November 5. We are a proud participant in the Dumbo First Thursday gallery walk series.
D.U.M.B.O. Arts Center (DAC)
30 Washington Street
Brooklyn, NY 11201
Robert Bergman: Selected Portraits
On view October 15, 2009 - January 4, 2010
Robert Bergman
Untitled
2009
C-print
37" x 25"
Courtesy the artist
P.S.1 Contemporary Art Center is pleased to announce Robert Bergman: Selected Portraits, an exhibition of twenty-four large-scale color portraits of everyday people the artist photographed on the streets of various American cities from 1985 to 1997. The exhibition will be on view in the first floor Drawing and Painting Galleries.
Using a handheld 35mm camera and precisely integrated natural lighting, Bergman explores both the poignant expressions of each individual and the formal structures of their surroundings. As art historian Meyer Schapiro wrote, "Certain photographers-Robert Frank, as well as Robert Bergman, come to mind-discover, like the poets, otherwise ignored qualities of the person and environment, hidden moments of feeling, and present them to our entranced scrutiny-for our meditation."
Bergman's epic series of portraits documents the physical and spiritual manifestation of Americans at the approach of the millennium. Of this series Toni Morrison has written, "Occasionally there arises an event or a moment that one knows immediately will forever mark a place in the history of artistic endeavor. Robert Bergman's portraits represent such a moment, such an event. In all its burnished majesty his gallery refuses us unearned solace and one by one by one each photograph unveils us, asserting a beauty, a kind of rapture, that is as close as can be to a master template of the singularity, the community, the unextinguishable sacredness of the human race."
Robert Bergman (b. 1944, New Orleans) now divides his time between Minnesota and New York City. The exhibition is accompanied by a catalogue featuring an essay by David Levi Strauss.
Organized by Phong Bui, P.S.1 Curatorial Advisor.
The exhibition is made possible by Alfred and Ingrid Lenz Harrison. The accompanying publication is made possible by Agnes Gund.
Justine Cooper: Living in Sim at DANEYAL MAHMOOD GALLERY
Justine Cooper
October 22nd - December 31st, 2009
Opening Reception: Thursday October 22nd, 6-8pm
Royal Familiy, C Print 2009
Justine Cooper’s timely new project Living in Sim is a mixed reality artwork that includes a website, online social media, photography, video and installation to explore the complexities present in the current health care environment and online social media. On the Living in Sim website she deploys medical mannequins typically used as patient simulators to train medical staff as surrogates to present intricate relationships between our sense of identity, culture and health care in a technologically advanced society. She draws a playful and interesting parallel between our culture's obsession with self-documentation and our presentation of individual identity through online media, with her fictional documentation of the mannequins' identity and world.
At LivingInSim.com, Cooper introduces a social community of characters, played only by mannequins, who blog and debate health care issues and medical incidents from both a pop culture and ethical standpoint. It invites public participation and dialogue. Set in a fictional Midwestern clinic the mannequins play the patients, as well as the entire staff including doctors, nurses, hospital administrators, insurance agents and visiting drug reps. They inhabit a fiction that we as potential patients and online users fully recognize. In videos, photography, and storytelling Living in Sim mirrors the role-play utilized in medical simulation scenarios but in an experimental and often tongue-in-cheek manner. Cooper states “The mannequins operate in a dysfunctional health care system, not much more far-fetched than our actual one, but at least theirs can offer us some form of actual pain relief, without a co-pay.”
Both the Living in Sim website and exhibition include two videos. The first, If It Weren't For You, is in the form of a music video where an unseen clinician serenades the mannequins with a brilliantly catchy pop ballad. Emoting on the depth of their relationship, she apologizes to the mannequins for what they go through in the name of patient safety and the improvement of her clinical skills, crooning the chorus “If it weren’t for you, I’d be sued.” The second video, Indemnity General, is a 4 part satirical mini-soap opera depicting the woes at the axis of an absurdist medical industrial complex.
The gallery exhibition features imagery from the actual world of medical simulation and its population of mannequins and clinical devices, at once both familiar and foreign. A grouping of large photographs show images inflected with classical references. A formal family portrait of mannequins, bathed in ethereal light; a disconnected mannequin head lays like a modern day John the Baptist upon a stainless surgical tray; an anatomical still life resembles a botanical drawing. A chiaroscuro-like tableau appears to be unfolding with an MRI machine and limbs. Along another wall, a series of rhythmic small prints on canvas depicting the characters from the blog come to life in snippets of seemingly narrative moments.
Lastly, an installation with an actual medical mannequin occupies the gallery space. Intoning that while medical simulation may be an educational fiction, and online identities and communities may be virtual, we also inhabit a place where health care and medicine revolve around a failing physical body.
Accompanying the exhibition a compact education program of lively discussions staged around Cooper's multi-faceted practice including an exclusive meet the artist session will take place in the gallery and is guest curated by Sara Raza, a former curator of public program at Tate Modern and current independent curator and co-editor of ArtAsiaPacific magazine.
Opening Reception for the Artist:
Tuesday, October 13th
6 - 8 pm
Adamson Gallery is pleased to present an exhibition of photographs by Edward Burtynsky. "Oil" examines the resource from all sides, depicting the mechanics of its extraction and refinement, the details of its consumption and the effects; physical, political, and economic, of its influence. The large-scale photographs are reminiscent of the tradition of landscape painting, yet the landscapes they depict force the viewer to rethink the connection between nature and industry.
Burtynsky has traveled the world to document the influence of oil, taking photographs of oil fields in Azerbaijan, Canada, California, highways in Texas, and industrial parks in Shanghai, among other places. Like the landscape painter before him, the artist shoots from a distance, letting the scale and sprawl of his subjects overwhelm the piece and its viewer. Like paintings in the sublime tradition, Burtynsky's photographs inspire awe as well as apprehension-the images are very beautiful, but they document a frightening reality.
Highway #2 is an aerial shot of a highway loop in Los Angeles - the road twists and turns, making complicated, abstracted swirls. The patterns are mesmerizing to the eye and remind the viewer of the power of technological and industrial innovation. However, in the context of this series, and when placed alongside Burtynsky's other photographs, this piece acts as a powerful reminder of the continuum of production. These dual messages are a potent commentary on contemporary life.
The artist writes, "These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear. We are drawn by desire - a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success. Our dependence on nature to provide the materials for our consumption and our concern for the health of our planet sets us into an uneasy contradiction. For me, these images function as reflecting pools of our times."
This project is part of a larger inquiry into the interactions between nature and industry. Burtynsky has also completed series of photographs of shipyards, quarries, and urban mines which have been exhibited internationally. Images from the series are also on display at the Corcoran Gallery of Art and have been collected in a new artist book from Steidl. Edward Burtynsky's work has been collected by the National Gallery of Art, the Brooklyn Museum of Art and the Solomon R. Guggenheim Museum, among many other institutional and corporate collectors. He lives and works in Toronto, Canada.
For questions or more information please contact Laurie Adamson or Erin Boland at (202) 232-0707.
ADAMSON GALLERY
1515 fourteenth street nw
washington dc 20005
www.adamsongallery.com
p: 202.232.0707
email: gallery@adamsongallery.com
Stéphane Calais: Flowers for America
October 8 – November 7, 2009
Reception for the Artist: Thursday, October 8th, 6-8 pm
Composites both practical and conceptual are at the center of the Stéphane Calais’s process in his second exhibition with ZieherSmith Flowers for America. The installation features paintings and sculpture as well as the artist’s own multifaceted approach to drawing.
In Pleiades, Calais morphs by superimposition eight watercolor drawings of “famous” men from three centuries into a sequence of sixteen pulsing, frenetic silkscreen portraits. Hanging in a formidable grid, their antique stateliness is, in fact, a mockery of identity and power, each sitter’s visage illegible; crumpled into seven others like last week’s news. These apparitions also question traditions in portraiture drawn by hand, considered by some today as almost quaint. The individual value of each precedent artist’s work and the sitter themselves are equally dismissed and enhanced, each silkscreen acting as a reverse palimpsest. This process could be seen as a critique or demystification, an understanding of tradition as cumulative, or as sheer delight in the capabilities of having everything at once.
In a series of sculptures Calais calls Ornaments, crimes and delights, macramé plant hangers filled with basketballs, feathers and plastic leaves hang from the ceiling like storks delivering Calais’s creative spawn. These collages of found and repurposed materials embrace lowly, crafty supplies and employ a symbolic, embroidered veil for the toy at the center of a multi-billion dollar industry. Undaunted by the decorative, Calais also approaches the ornamental with exuberant floral still lifes executed in tondi form and collectively titled Flowers for America. Not your typical flora, these abeyant blooms appear to smoke cigarettes, implode and spontaneously combust at once. They float on backdrops of dueling color amalgamations, blurred as though seen through a prism, laid over with vectors of saturated color.
Calais turns away from handy categorizations, urging “It’s better to be incomprehensible,” embracing aspects of a playful, absurdist tradition. Here he translates into French e.e. cummings’s lines “since the thing perhaps is/to eat flowers and not to be afraid.” The text piece acts as an anchor to the installation, as the wall drawing continues in a splatter of black paint on a length of white carpeting that buckles and heaves along the floor, extending the long poem of his perpetual creative evolution. Recognition tends to drift from painting to painting, sculpture to sculpture. Soon plants become portraits, ready-mades turn organic, and the printed page becomes a graffito wall in which poem begets drawing that morphs into the sculpture of the very ground beneath us.
Stéphane Calais was a finalist for the 2008 Marcel Duchamp prize and has exhibited widely at an international list of galleries and museums. In 2009, he has also had solo exhibitions at the Ashdod Art Museum, Israel and, in Paris, at Galerie des Multiples and at Espace Claude Berri.
The gallery’s forthcoming schedule will include exhibitions by renowned French artist Stéphane Calais; the New York debut of British artist Matt Stokes’s these are the days, a video installation co-produced by ZieherSmith and Arthouse, Austin; and book launches for the Stokes catalogue as well as Wes Lang’s The Paradise Club and Scott Zieher’s IMPATIENCE.
ZieherSmith’s new address is 516 West 20th Street, New York, NY 10011. The phone number and email remain 212-229-1088 and info@ziehersmith.com. Gallery hours are Tuesday – Saturday, 10 am – 6 pm and by appointment. www.ziehersmith.com
ZieherSmith
516 West 20th Street
New York NY 10011
212-229-1088
917-837-7201
My good friend and fellow artist Humphrey Cobb is holding a special one night only showing of his first new work in years called Portraits on Red. These incredible hand rendered drawings are incredibly detailed and passionate works.
All are welcomed to stop by on October 29 and enjoy the works for yourself.
Humphrey Cobb: Portraits on Red
October 29, 2009 7PM
137 Duane Street 3A
New York, New York
September 17 – October 5, 2009
Opening Reception: Thursday, September 17, 6-8pm
P·P·O·W Gallery is pleased to announce Migratory Drift, our first solo exhibition with George Boorujy. In his expansive and finely observed drawings, Boorujy uses a naturalist's eye to depict iconic North American animals and landscapes, presenting a vision of life on the continent that is at once foreign and familiar.
Within vast landscapes, plausible yet imagined human structures exist in environments that exhibit evidence of change. Not only has the climate and ecology shifted in these places, so has the interaction and behavior of their inhabitants both human and animal. Something big has happened, what is not clear is whether these are scenes of collapse – or renewal.
Through these images, Boorujy explores ideas of community; of the relationship between the built and the natural; and the cycles of predation and interdependence which postindustrial cultures hold at a distance. The connection of these concepts creates a vision that may be a glimpse into the not so distant future, an allegory for our own times, or the revelation of an alternate history.
George Boorujy was born and raised in New Jersey and now lives and works on the far Western tip of Long Island.
Alison Jacques Gallery announces the first UK solo show of acclaimed American artist Ryan McGinley with an exhibition of 24 new colour photographs shot in caves across North America. Over the last year, McGinley and his crew explored huge caves underground, venturing into unknown territory, seeking out spectacular natural spaces, some previously undocumented. The title of the show “Moonmilk” alludes to the crystalline deposits found on the walls of many caves; it was once believed that this substance was formed by light from celestial bodies passing through rock into darkened worlds below. A book of McGinley’s new photographs will be published by Morel books to coincide with the opening of the London show on September 10.
GALLERY
16-18 Berners Street London W1T 3LN
Telephone +44 (0) 20 7631 4720
Fax +44 (0) 20 7631 4750
OPENING HOURS
10-6pm Tuesday - Saturday, or by appointment.
The gallery is closed on Mondays
TRANSPORT
Derrick Adams + Collette Blanchard Gallery and MOMA = Magic
Check out my boy Derricks Adams participation in two very exciting events this coming weekend.
MoMA MIXX
The Museum of Modern Art
Saturday, September 26, 2009, 8:00 p.m. -12:00 a.m.
Featuring Derrick Adams and Mickalene Thomas AKA DJ Professor of Music and Dean of Admissions, Hercules and Love Affair, and Justin Carter and Eamon Harkin. MoMA MiXX pairs major artists with world-class musicians or DJs. At each dance party, both the DJ and the artist will spin a set of music that has been influential in their lives and work.
A benefit dance party hosted by The Junior Associates of The Museum of Modern Art . Tickets for cocktails and dancing start at $75. http://www.moma.org/visit/calendar/events/7277.
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The Kitchen Block Party: A Neighborhood Street Fair
The Kitchen
Saturday, September 26, 12-5pm
Featuring a project by Derrick Adams + Arvay Adams What's A Wiz? Second Life; Silkscreen T-shirt project in collaboration with Housing Works
Kick off the fall season with a free, family-friendly street festival featuring an afternoon of live performances alongside dozens of artist-led activities and crafts, including face-painting, puppet and mask-making, temporary tattoos, cookie decorating, collaborative sculpture projects, unusual photo booths, hula-hoop and drumming workshops, and many, many more! http://www.thekitchen.org/
For those of you who won't be able to come down this weekend, please be sure to look for Collette Blanchard Gallery at the NADA Art Fair this December, where Mr. Adams will have solo booth and perform Bizarro Wiz. http://www.newartdealers.org/miami/2009/
December 3-6, 2009, 2009
The Deauville Beach Resort
6701 Collins Avenue
Miami Beach, FL 33141
DANEYAL MAHMOOD GALLERY
511 West 25 St. 3FL, New York, NY 10001
Looking at Stephen j Shanabrook's work is like watching the horse jumping over an obstacle and instead of landing on the other side it starts to float and you are lost. Like a man on a wire, Shanabrook restlessly walks the disturbing line between heaviness and zero gravity, between painful and sweet, death and beauty; melting them together - metaphorically and literally - into one frozen state, one fossil. In 'Hopping Hills, the Pharmaceutical Landscape', the artist melts plastic prescription pill bottles and presses them into the form of Easter bunnies. An installation of running and hopping rabbits made out of hundreds of empty pill vessels suggests that prescription drugs have become the new religion, with addiction to drugs the new American side effect - the result of lost hopes and multiplying disconnections between people and reality.
In Shanabrook's sculpture 'Island of the Lotus-Eaters' the viewer is seduced by the beauty of a huge flower, which upon closer examination becomes again, just a pile of melted drug bottles. On his long journey back home Odysseus visited the lethargic island of Lotus-Eaters. The lotus fruits and flowers, which were narcotic and addictive, were the primary food of the islanders. The Lotus-Eaters entertained Odysseus' men to the drug causing them to forget about their strong desire to go home, now they only wished to stay and eat more lotuses. The labyrinthine journey back home is the methaphor of our lives. While drug induced illusions have the tendency to bring us 'home', most of the time it's a wrong turn on a slippery road - and often a fatal one.
Shanabrook isn't a stranger to addiction, he went to hell and back on his own. Whith a mix of materials in non-stop experimental process, which for the addictive personality is never enough, in combination with themes of longing for home - strongly reminds us of another mover - Martin Kippenberger. With similar types of gestures, such as one where Kippenberger painted his Ford Capri in brown paint imbued with oatmeal, Shanabrook covers common plastic soldiers in delicious dark chocolate in his new installation 'Battle of Losers and Lovers'. The sweet, desirable chocolate dripping on the white surface of stacked office tables (an allegory of the everyday working process) becomes messy bloody evidence of fear and dissatisfaction with one's self.
In his rather horrifying statement 'The Chocolate Soldier or Heroism - The Lost Chord of Christianity' C.T. Studd (1860-1931) said "a soldier without heroism is a chocolate soldier! ...dissolving in water and melting at the smell of fire. Sweeties they are! Bonbons, lollipops! Living their lives in a glass dish or in a cardboard box, each clad in his soft clothing, a little frilled white paper to preserve his dear little delicate constitution." More than a hundred years later we understand that there should be place for all - chocolate soldiers, losers and lovers. While, and especially because, society puts so much pressure on people's lives, that every day feels like a battlefield. And in the end of the day we want a prize, we want chocolate, we want home. Shanabrook remembers reading an account of a field medic from the Vietnam War. "He was explaining what he carried with him in his medic satchel, these bare necessities as he called them included: gauze, morphine, tape, comic books and M&Ms. The candies were for the mortally wounded soldiers, the ones that would never make it to the field hospitals. For these soldiers the candy was a way to satisfy a simple desire to feel closer to home, before they slipped away into that unknown jungle." (Veronika Georgieva, 2009)
Kinsey/DesForges presents: Angelika J. Trojnarski After The Gold Rush
Kinsey/DesForges presents:
Angelika J. Trojnarski After The Gold Rush
OPENING RECEPTION: Saturday, September 12, 6-9pm
Kinsey/DesForges is delighted to welcome Düsseldorf-based artist Angelika J. Trojnarski to Los Angeles for her second solo exhibition with the gallery. The show will open on September 12th with an artist’s reception from 6-9pm, and will continue through October 10th.
Variegated decay and abandonment are the protagonists of Trojnarski’s work—dissolving dwellings and orphaned amusement parks, rusted ship hulls and the rickety edifices of a civilization desperately denying its own condition and fate. Focusing on the architectural remains and industrial excess of an economic fall-out, Trojnarski examines how humanity’s true strengths can be dwarfed by the greed and myopia of a dominant few, leaving those affected clinging to their residual past and wondering what went wrong.
In this investigation, Trojnarski creates a certain Baudelairean beauty; fractured planes propel outward, sustained by unfaltering scaffolds and solid foundations, all brilliantly illuminated under a wash of radiant light. A heroic optimism motivates the apparent wreckage, demonstrating the vast potentiality for change and regrowth. She explains, “This exhibition is a dichotomy of attraction and rejection, temptation and redemption.“ These “seductive still lifes of destruction,“ caught in arrested motion like a neglected construction site, hauntingly bear witness to the traumas within our collective memory. Like skeletons of their former selves, the images seem to lament an irrevocable loss while implicitly calling for an effort to move forward and rebuild the twisted spine of social conscience.
Born in Poland in 1979, Trojnarski lives and works in Düsseldorf, currently studying at the Academy of Fine Arts in Düsseldorf (Düsseldorf Kunstakademie). Her works have been shown in Germany and the U.S. as well as in London and Basel, Switzerland.
Wadsworth Jarrell at International Visions The Gallery in Washington D.C.
Wadsworth Jarrell emerged on the Chicago Art Scene just as the Civil Rights Movement was rapidly escalating. As an African American artist, he felt compelled to produce relevant work that would not only echo the liberation movement, but influence the visual identity of black culture. His visual language would pull from traditional African art forms, luminous colors, rhythmic patterns, and black subject matter to envoke pride, power, and self-awareness.
Jarrell's work became distiguished for its vibrant character, as well as for the artist's loyalty to African symbolism and geometric pattern. Even as Jarrell has added three-dimensional works to his repertoire, he remains dedicated to the aesthtic. As Dr. Robert Douglas wrote in the book Wadsworth Jarrell: The Artist as Revolutionary, "Because his life has been a continued thrust for independence and free expression, because his art has remained truthful to African people's struggles, Wadworth Jarrell, the artist as revolutionary, is a beacon of possibilty for others."
Jarrell's iconic work has been featured in close to 200 exhibitions, including 28 solo shows. Major instutions like the Philadelphia Museum of Art, the Contemporary Museum of Art in Chicago, and the Smithsonian International Gallery have exhibited his work. Collectors include the Shomburg Center, the High Museum of Art, the Coca-Cola Corporation, Atlanta Life Insurance Company, and the Montreux Office of Tourism (Switzerland). He completed his undergraduate studies at the Art Institute of Chicago, and received his Masters of Fine Arts at Howard University.
International Visions The Gallery | 2629 Connecticut Ave NW Washington, DC 20008
gallery hours. wed-sat, 11am-6pm or by appointment | t. 202 234 5112 www.inter-visions.com
"No Show" At Nicholas Robinson Gallery in New York
Nicholas Robinson Gallery is pleased to present a group exhibition exploring the employment of trompe l'oeil devices in contemporary art, and in particular how this technique/premise is more readily embraced by sculptural work than painting, the traditional antecedent.
The exhibition focuses on a few artists who are among the most interesting practitioners of these ideas, including Susan Collis, Jud Nelson and Gavin Turk. The intention is for the show to appear very casual in its manner of installation, reinforcing the fact that much of this work meticulously replicates detritus or humble household items, subverting not only the materiality of sculpture, but also the kind of things that are traditionally considered 'worthy' of being represented in sculptural form.
Also relevant to the show is a consideration of the Duchampian readymade, and how many of the included works turn this key concept of modernism on its head. Fastidious and obsessive lengths are gone to in order to convince the viewer that they are viewing actual rather than facsimile items.
The exhibition will include works executed in virtually every possible media, including carved and painted wood, painted bronze, paper, carved marble, glazed ceramic, wood veneers and semi-precious stones.
For more information, please contact the gallery at 212.560.9075 or www.nrgallery.com
Tim Bavington: Up in Suze's Room at Jack Shainman Gallery in NYC
TIM BAVINGTON
Up in Suze's Room
September 11 - October 10, 2009
Opening Reception:Thursday, September 10, 6 - 8 pm
Jack Shainman Gallery is pleased to present Up in Suze's Room, an exhibition of new paintings by British-born, Las Vegas-based artist Tim Bavington.
Taking music as a starting point, Bavington translates chords, notes, guitar necks and solos into visual systems by approximating their equivalents in color and then spraying them with synthetic polymer onto canvas. Here Bavington presents a number of large-scale paintings in vibrant hues of red, fuchsia, orange, green, electric and pale blue, which pulsate like sound on the surface of the canvas. While the exhibition includes vertically striped paintings that are typical to Bavington's oeuvre, it also features a new style of work such as All I Want to Do Is Rock (Fretboard) that displays a grid of larger bands of color. It also includes Cold Fire and Up in Suze's Room, which both exhibit an uninhibited looseness where colors bleed into one another or fade in and out creating open spaces of white light within the composition. Vertical lines stand alone or mix with diagonals or horizontal bands. In some instances hazy, Rothko-like compositions inspired by album covers replace lines altogether. The album covers serve only as initial inspiration for these works that take on a life of their own. In doing this, Bavington unleashes colors intuitively to create paintings that offer harmonious visual impressions rather than simple representations of his source material.
Along with references to popular music such as jazz, Paul Weller, David Bowie, REM and Oasis, Bavington's influences include the desert landscape of the West, neon signage, and color field and optical paintings from the 1960s and 70s. Further, on a more conceptual level, Bavington's works refer to Newton and Goethe's studies of the relationship between sound and color, which continued through the paintings of Kandinsky and the composers of early 20th century Russia. He also deals with contemporary neurological studies of synesthesia--the concept of joined perception or the fusing of separate senses.
Bavington balances a systematic approach with intuitive paint handling, resulting in canvases that dazzle the eye while bridging the gap between the dueling concepts of real vs. synthetic, digital vs. analog and straight symbol vs. coded metaphor.
Tim Bavington earned his BFA at the Art Center in Pasadena, CA and his MFA at the University of Nevada, NV. He has participated in numerous group shows, including Seeing Songs, Museum of Fine Arts Boston, MA (Current); Diaspora at the Las Vegas Art Museum, Las Vegas, NV curated by Dave Hickey (2007); Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, NY (2005); Specific Objects: The Minimalist Influence, Museum of Contemporary Art San Diego, CA (2004); New in Town, Portland Museum of Art, Portland, OR (2002); Neo Painting, Young Eun Museum of Contemporary Art, Kwangu-City, Korea (2002); The Magic Hour: Dir Konvergenz von Kunst Und Las Vegas; and Ultralounge, University of South Florida Art Museum of Contemporary Art, Tampa, FL (2000); and DiverseWorks Artspace, Houston TX (1998). His work is included in numerous public collections including MOMA New York, NY and the Museum of Contemporary Art, San Diego, CA. This will be Bavington's third solo exhibition at Jack Shainman Gallery.
DUMBO ARTS CENTER in Brooklyn: THE EXPERIENCE OF GREEN by Wade Kavanaugh and Stephen B. Nguyen
DUMBO ARTS CENTER WILL PROUDLY INAUGURATE THE FALL SEASON WITH:
THE EXPERIENCE OF GREEN
by Wade Kavanaugh and Stephen B. Nguyen
Opening Reception: Friday, September 25, 6 - 9 PM
Exhibition Dates: September 25 - November 29, 2009
Artists' Talk: Thursday, November 5, 7 PM
Gallery Hours: Wednesday - Sunday, 12 - 6 PM
Dumbo Arts Center (DAC) 30 Washington Street Brooklyn, NY 11222
www.dumboartscenter.org
Directions: F train to York Street A/C train to High Street B61 to York and Gold Streets.
Wade Kavanaugh and Stephen B. Nguyen will fill the Dumbo Arts Center with their enormous site-specific installation The Experience of Green. Opening September 25, 2009, the exhibition will emphasize the contrast between the organic and the built environment. Viewers will step out of Dumbo’s stark brick-and-glass commercial district into a fantastical forest; a walk-through labyrinth of old growth trees made entirely from red kraft paper. The spectacular network of gnarled tree trunks and twisted roots will extend over every inch of the gallery, suspending the boundaries of space and time while fully immersing the viewer.
The Experience of Green is Kavanaugh and Nguyen's most ambitious work to date as well as the artists' first major debut in NYC of their ongoing collaborative series of visually phenomenal, meticulously crafted paper installations. Here, the staggering volume of paper that the artists stack, splice, layer and coil will be in a brilliant crimson, burning an impression in the viewers’ mind. The Experience of Green may come most clearly into focus only after viewers exit the gallery, the color persisting as an optical after-image, accentuating the relationship between experience and memory, landscape and longing, nature and the sublime.
DAC and the artists acknowledge the following for making The Experience of Green possible:
The Walentas Family and Two Trees Management Co. LLC, who generously donated a studio space for six months to the artists; DAC Board Members, Michael Murray, CEO surroundart, and Jake Salik, CEO, Talas, whose efforts substantially cut production costs, and Anna Kraske, Attorney, for legal counsel.
The Experience of Green, a full-color catalog with essay by Jen Schwarting will be published by DAC in December, 2009.
DAC will be open until 8:30PM October 1 and November 5, 2009. We are a proud participant in the Dumbo First Thursday gallery walk series.
Dumbo Arts Center (DAC) is a 501 (c) (3) non-profit public registered charity. DAC is supported in part, by public funds from the New York City Department of Cultural Affairs, the New York State Council on the Arts and the National Endowment for the Arts. This organization also receives additional funding from The Robert Lehman Foundation, The Andy Warhol Foundation for the Visual Arts, The Joan Mitchell Foundation, The Lily Auchincloss Foundation, The Dedalus Foundation, The Milton and Sally Avery Arts Foundation, The Greenwich Collection Ltd., and The Cowles Charitable Trust. DAC's gallery and office space is generously donated by the Walentas Family and Two Trees Management Co. LLC.
Helen Mayer Harrison and Newton Harrison: The Force Majeure at Cardwell Jimmerson in Culver City, CA
Helen Mayer Harrison and Newton Harrison:
The Force Majeure
September 12- October 31, 2009
Artist Reception: September 12, 2009 6-8 p.m.
There is a gentle beauty in their work, and much charisma in the otherworldly maps and text panels
that are poetic and personal rather than dryly official. The exhibition is, of course, a call to action,
but is foremost a lyrical meditation on what ecological disaster and collective recovery might one day look like.
Elizabeth Mahoney, The Guardian, 2008
Helen Mayer and Newton Harrison will be exhibiting a new multimedia installation
titled The Force Majeure at Cardwell Jimmerson Contemporary Art. The Force
Majeure takes form as a body of photos, text, drawings, large-scale mappings,
ecologically based proposals and global warming narratives. Indeed, the crisis of
global warming is not a recent concern for these artists, but one they have
addressed throughout an exhibition career going back to 1970. (The 1970-71
period, for example witnessed the Harrisons’ Ecosystem of the Western Salt Works at
LACMA’s famous – or notorious – Art and Technology exhibition, their controversial
Portable Fish Farm project at London’s Hayward Gallery and as well, a spirited debate
with artist Robert Smithson on the paradoxes of art and ecology). The Harrisons, whose
proposals have influenced long-term public policy planning, are internationally recognized
for their visionary artworks grounded in the natural sciences.
8568 Washington Blvd.
Culver City, CA 90232 www.cardwelljimmerson.com
310-815-1100
Tuesday-Sunday
11AM until 6PM
NICOLAS RUEL 8 secondes at Galerie Orange in Canada
NICOLAS RUEL
8 secondes
From September 16 to October 4 2009
Opening : Wednesday September 16, from 6 – 9 pm
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In connection with Mois de la Photo (Montréal), Galerie Orange is pleased to present 8 secondes, a solo exhibition of photographs by Nicolas Ruel. 8 secondes depicts urban civilization captured by the photographer in sustained interval of eight seconds. He explored evocative cities, in daytime and nighttime settings, such as Paris, Tokyo, New York and Sydney. This series, exclusively printed on stainless steel, benefits from the intrinsic and intense luminosity of its support material. Focusing on the concept of the Monumental, this interconnected approach creates parallels between urbanism, architecture and the citizen, entities that become indivisible within a few tumultuous seconds.
¬ Nicolas Ruel was born in Montreal, Québec in 1973. Recent solo exhibitions include Galerie Seine 51, Paris (2009) and Thompson Landry Gallery, Toronto (2009). His works can be found in art collections such as Colart, Loto-Québec, TD Bank, MGM Grand, Microsoft, Power Corporation, Rothschild Investment Banking, Warner Brothers, and various private collections in North America and Europe. He lives and works in Montreal.
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An exhibition catalogue will be available.
For further inquiries please contact the gallery.
info@galerieorange.com / 514.396.6670
Joseph Smolinski, Sycamore, 2008 ink, watercolor, graphite on paper, 26” x 40” courtesy of the artist & Mixed Greens, NY
Disjointed Terrains
September 3 – October 3, 2009
Curated by: Zeina Assaf
Works by: Stanislav Ginzburg, Kim Holleman,
Lisa Lebofsky, Asya Reznikov, Joseph Smolinski
Artists Reception: Wednesday September 9, 7-9pm
NY Studio Gallery is pleased to present Disjointed Terrains. This group exhibition brings together works depicting un-sublime frontiers from modern day realities of interventions with nature to imaginary dystopic landscapes.
Stanislav Ginzburg's photographs and video reflect a state of mind or unreal scenes where daydreams, memories, and flashbacks replace the real-time environmental encounters.
In blending art, science, technology, and architecture Kim Holleman addresses concepts of utopia, utilitarianism and environmentalism. She examines our relationship to conceptual and physical space by co-opting found physical forms and changing them physically with new matter, created and found.
While using aluminum as her canvas, Lisa Lebosky paints landscapes strewn with devastation fluctuating from a portrayal of tragedy to a realm of disassociation and contemplation.
Asya Reznikov layers culturally specific imagery, situations, and artifacts into unexpected combinations aiming to diminish the gap between different cultural realities. In her work she creates places that are a fusion of elements from actual locations, built models and imaginary structures.
The subjects in Joseph Smolinski’s drawings include parasitic cell tower trees that populate the landscape and spinning tree turbines that question the notion of control of the environment and envision an optimistic and apocalyptic view of the future.
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
Tauba Auerbach HERE AND NOW/AND NOWHERE at Deitch Projects SoHo
HERE AND NOW/AND NOWHERE
enlarge poster
September 03, 2009 — October 17, 2009
18 Wooster Street, New York
The collapsing of two conflicting states is the central theme of HERE AND NOW/AND NOWHERE, Tauba Auerbach’s new exhibition at Deitch Projects. The artist deliberately composed the title as an anagram. The paintings, photographic works, sculpture and the musical instrument that comprise the show are all structured around the threshold between order and randomness. The philosophical conflicts explored in the work include:
The liminality, or intermediate state between two dimensionality and three dimensionality.
The past and the present.
A combination of the two: a past three-dimensional state and a present two-dimensional state.
Being HERE vs. Being THERE, and being both HERE and THERE at once.
Randomness vs. Determinism and the unpredictable order of chaos.
In the marrying of two conflicting states, the work is also about the number 2, a concept that is inherent in the remote interdependence central to the sculptural works in the exhibition.
There are five bodies of work represented in the exhibition:
Crumple Paintings
The next generation of the Crumple paintings previously shown in Deitch Projects’ Constraction exhibition last summer and in the New Museum’s Younger Than Jesus. These new works have been created for the large space of Deitch’s 18 Wooster Street gallery and require that the viewer stand far back from the work to perceive the illusion of a crumpled surface constructed from large Ben Day dots.
Static Photographs
A new series of more representational, but still undecipherable Static photographs. They focus less on the emergence of pattern as in the previous series, also shown in Younger Than Jesus, and more on the emergence of form. They address the question of what makes something “something.”
Fold Paintings
A series of incrementally sized fold paintings, painted on raw canvas with an industrial paint sprayer. They explore the merging of a past three-dimensional state with a present two-dimensional state.
A sculpture that is half inside the gallery and half outside of it.
There will be a form resembling a black orb hanging from the gallery façade. It will blow in the breeze. Inside the gallery, there will be a light source dangling from a thin rod, moving around exactly the same way as the form outside. The sculpture is based on the phenomenon of entangled particles, two particles that, when separated from one another, continue to behave identically, even at a great distance. If you stimulate one, the other reacts too. It is as though they are supernaturally connected.
The Auerglass
The Auerglass, which is the central work in the show, is a two-person wooden pump organ designed by the artist with her friend Cameron Mesirow of the band Glasser. The instrument cannot be played alone. It requires two people to play. One player has to pump in order for the other to play and vice versa. There is a four-octave scale that is divided so that each of the two players plays every other note. Auerbach and Mesirow will play a composition written specifically for the instrument. It combines music that Auerbach wrote as a child, songs from Glasser and new material. The Auerglass will be played at the opening on September 3rd, as a prelude to a Glasser performance at 8pm on September 11th, and daily at 5pm from Tuesday through Saturday during the exhibition. Ida Falck Øien, who creates the costumes for Glasser, has created special costumes with shifting states for the Auerglass players to wear.
Deitch Projects has locations on 76 Grand Street and 18 Wooster in SoHo. These spaces are open to the public Tuesday through Saturday from 12pm to 6pm. We are easily accessible by subway via 1-9 train, the A, C, E train, the N, R, W train and the 4, 5, 6 train at the Canal St. stop.
Deitch Studios, located at 4-40 44th Drive in Long Island City, is currently open for special events. Deitch Studios can be reached by taking either the E or V Train to the 23rd Street/Ely, the G train to LIC/Court Square or the 7 train to 45 Road/Court House Square. Walk down 44th drive to the water's edge. Deitch Studios is located on the left hand side.
SoHo Locations:
76 Grand Street
Open to the public Tuesday through Saturday from 12PM to 6PM
18 Wooster Street
Open to the public Tuesday through Saturday from 12PM to 6PM
SoHo Locations:
Deitch Studios
4-40 44th Drive
Open to the public Thursday through Sunday from 2PM to 8PM
Black Light: An exhibition of photographs by Kehinde Wiley
(Kehinde Wiley and Ricky Day)
Last night I attended the opening of the new Kehinde Wiley show called Black Light at Deitch Projects in SoHo. If you're already a Kehinde fan this show will be a treat for you because it provides a glimpse into the process behind his paintings which have always been photo based works. Check out the summary of the show from the Deitch Projects website.The show is accompanied by, Black Light, a full-color book published by Powerhouse and which is also available at Deitch Projects.
September 03, 2009 — September 26, 2009
76 Grand Street, New York
Deitch Projects is pleased to present Black Light, an exhibition of photographs by Kehinde Wiley that thrusts the black male image, captured by means of light manipulation and digital technology, into focus. This shuffle of Wiley’s artistic process reveals an integral component of his studio practice rarely seen while remaining, uniquely, Kehinde Wiley portraiture.
Enlisting the technical tenor of Hype Williams’ hip-hop videos from the 90’s, Wiley saturates his consummately styled subjects of Fulton Street Mall pedigree— caps flipped backward, wearing gear of New York legend— in “super rapturous light”. To transcendental and beatific effect, such illumination proffers a new measure of Wiley’s technical abilities, so that the medium of photography propels each figure to the point before paint consumes canvas— the moment when flesh, at its three dimensional, truth-telling, reveals scars long ago enacted. Browned fingernails, questioning red-glazed eyes and voluptuously glossed, cigarette-charred lips heighten what, for some, is no longer visible: a vulnerable microcosm of our metropolis— a black light. Through the 17 photographs on display, Wiley produces an intimate study of embattled psychologies whose adherents are at once flawed and majestic, canonized and misunderstood.
The exhibition Black Light will be accompanied by, Black Light, a full-color book published by Powerhouse and will be available at Deitch Projects.
Deitch Projects has locations on 76 Grand Street and 18 Wooster in SoHo. These spaces are open to the public Tuesday through Saturday from 12pm to 6pm. We are easily accessible by subway via 1-9 train, the A, C, E train, the N, R, W train and the 4, 5, 6 train at the Canal St. stop.
Deitch Studios, located at 4-40 44th Drive in Long Island City, is currently open for special events. Deitch Studios can be reached by taking either the E or V Train to the 23rd Street/Ely, the G train to LIC/Court Square or the 7 train to 45 Road/Court House Square. Walk down 44th drive to the water's edge. Deitch Studios is located on the left hand side.
SoHo Locations:
76 Grand Street
Open to the public Tuesday through Saturday from 12PM to 6PM
18 Wooster Street
Open to the public Tuesday through Saturday from 12PM to 6PM
SoHo Locations:
Deitch Studios
4-40 44th Drive
Open to the public Thursday through Sunday from 2PM to 8PM
FROM THE PERMANENT COLLECTION: ROBERT FRANK’S “THE AMERICANS”
06.14.09 - 10.19.09
In 1955, the Swiss-born photographer Robert Frank won a John Simon Guggenheim Memorial Foundation grant to photograph American people and places. For two years, Frank traveled by car throughout the United States, amassing over 20,000 negatives. The edited portfolio of 83 photographs was published in book form as Les Américains by Robert Delpire in France in 1958, and as The Americans in 1959 by Grove Press in New York. The American edition included an introduction by Jack Kerouac, the Beat writer most famous for his novel On the Road. Describing the emotional scope of Frank’s portfolio, Kerouac wrote: “After seeing these pictures you end up finally not knowing whether a jukebox is sadder than a coffin.” Frank’s photographs, which have become landmarks in the history of photography, were created with a hand-held Leica camera, often with a wide-angle lens, resulting in compositions that appear unplanned, spontaneous, and are ultimately revealing. In this 50th anniversary year of its publication, MOCA presents a rare showing of the complete set of photographs comprising The Americans, in the order carefully devised by Frank for the book. MOCA’s portfolio, which is the only complete set on the West coast, was purchased in 1995 with funds provided by Ralph M. Parsons Foundation. From the Permanent Collection: Robert Frank’s “The Americans” was initiated by Rebecca Morse and Corrina Peipon.
Jefferson Pinder and José Ruiz at (G Fine Art) El Museo del Ghetto
Jefferson Pinder, José Ruiz, Roulette, video, 2009
EL MUSEO DEL GHETTO
Is pleased to present
Jefferson Pinder and José Ruiz
At G Fine Art, Washington DC
September 26 – October 24 20009
Opening reception September 26, 2009, from 6:30 to 8:30 pm
Curated by Christopher K. Ho
At 625-27 E Street NW Washington DC 20004
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(G Fine Art) El Museo del Ghetto is pleased to present new, major collaborative and individual works by Jefferson Pinder and Jose Ruiz at its temporary location on 625-27 E Street, NW, Washington, DC. El Museo del Ghetto at once deepens and exceeds the constellation of issues—about history, narrative, and identity—explored with various intensity in Pinder’s 2006 solo show at G Fine Art, and subjects them to the sly, deadpan humor evident in Ruiz’s own previous solo shows, in 2005 and 2007.
Perhaps the signal piece is Roulette, a collaborative video projected in the main space, Pinder puts a gun to his head and pulls the trigger. Ruiz responds by taking a different kind of shot—of tequila. The initial set up—a simple alternation, registered by the camera’s back and forth movement—engenders radically divergent, even contradictory, narrative structures. The anxious anticipation of watching Pinder’s game of Russian roulette eventually softens into staccato rhythm, while Ruiz becomes increasingly incapacitated by alcohol. That Pinder is African American and Ruiz is Latin American adds yet another layer.
Other works evidence Roulette’s deceptive simplicity (one might even say formalism). Ruiz’s Picasso Wore Mascara remakes Picasso’s Desmoiselles d’Avignon with Mexican wrestling masks in place of African ones. Pinder’s Mercury Capsule is a version of the 1959-61 eponymous NASA spacecraft made with wood from President Obama’s inauguration platform. And in the spirit of cultural communion, Pinder’s Missionary Project explores the Mexican underground commuter scene by delving into music. Using Afro-American sounds as a representation of self; the multi-channeled video performance brings the viewer into these precious exchanges in the underbelly of Mexico City. Rhythms harmonize (and clash) as the artist hawks his culture for ten pesos on crowded trains.
In Ruiz’s One Liners, two vinyl sentences, from respective positive reviews of Pinder and Ruiz’s previous solo exhibitions at the gallery, grace the walls, testing their accuracy and longevity in this new context, as well as underscoring the irony of a critically supported gallery now looking for a new home. Such irony might be the gist of Pinder’s video Lazarus, in which volunteers help the artist push a stalled car, only to (metaphorically) circle back to the same place. But then again, it is perhaps the enthusiastic involvement of so many between the start and the finish, regardless of the distance traveled (or not), which is the central point.
Jefferson Pinder’s work has been in numerous group shows at venues including The Studio Museum in Harlem, the Wadsworth Athenaeum Museum of Art in Hartford, Connecticut, the Zacheta National Gallery in Warsaw, Poland, and the Smithsonian’s National Portrait Gallery (RECOGNIZE! Hip Hop and Contemporary Portraiture). Currently, he is showing new work in After 1968, a traveling exhibition that originated at the High Museum in Atlanta. Pinder received his B.A. in theatre from the University of Maryland, and studied at the Asolo Theatre Conservatory in Sarasota, Florida before returning to received is MFA in mixed media (2003). Based in Washington, D.C., Pinder is now an assistant professor at the University of Maryland, where he teaches art theory and foundations.
José Ruiz is a New York City-based artist and curator, by way of Lima, Brasilia, Washington D.C., and San Francisco, who has shown his concept-based installations, videos, images, and objects nationally and internationally. His socio-political interests mirror his exhibition history through a preference in working with non-profit and alternative spaces. He is a member of several interdisciplinary collectives, such as Band Wagon (New York, NY), The Global Collective (UK, France, Netherlands, USA), and was a founding member of Decatur Blue, a D.C. art collective currently on sabbatical. He has served as a professor at Sarah Lawrence College, a guest speaker at the Rhode Island School of Design, The College of New Jersey, and the Transart Institute, and as an Alumni Representative for the San Francisco Art Institute. He has recently exhibited at the Incheon Biennial in Korea, Context Gallery in Ireland, Vox Populi in Philadelphia, and Moti Hasson Gallery, Cuchifritos, Longwood Arts Project, El Museo del Barrio, and the Queens Museum of Art, all in New York. Ruiz has recently participated in the Cisneros Fontanals Art Foundation’s Grants & Commissions Program, Emerge10 Artist Fellowship at Aljira, a Center for Contemporary Art, and the Jamaica Center for Arts & Learning’s Workspace Residency Program. Currently, he is working on projects for El Museo del Barrio (NY), Van Abbemuseum (Netherlands), and Momenta Art (NY).
The day Michael Jackson died hundreds of people descended on the Apollo Theater to share our love of Michael and his music. I of course brought my Nikon with me. I was one of God knows how many photographers on the scene documenting the experience. Angel L. Brown has curated a show of photography from that day at the Apollo called Gone Too Soon.
I have two pieces of work in the show and both are for sale. The show is at Billie's Black in Harlem and opens on Sunday August 30, 2009 the day after what would have been Michael's 51st birthday. There is an opening reception from 4pm until 8pm which will include live performances and a chance to meet and greet the artists. I will make an appearance at the event along with my fellow artists.
Last night I was invited by my good friend and business associate Lee Soulja to check out the fragrance launch party for the new Diesel scent "Only The Brave" ( I dunno bout that name...hmmm). The spokesperson for the campaign is rapper Common. I've def liked a few of his songs, but could never call myself a fan. Hip Hop in general has kinda bored me for the last few years and backpackers while meaning well and being VERY talented and among the most "pure" of hip hop artists kind of have that weird holier than thou vibe that doesn't sit well with me. So for all these reasons and more I could never call myself a fan of Common though I have always respected him.
After watching him rrrrrrrrip his set last night I have the following statement to make: "Common...brotha...I AM SORRY AND I PUBLICLY APOLOGIZE! You are the shit LIVE! A dynamic performer who is clearly passionate about his art form and the people who support it" You have to love and respect a guy who is that passionate about something he loves!
He killed the set! Common commanded the stage with the energy of a 22 year old and the swagger of a gangsta rapper all with the maturity of an artist who's been in the game for years and has the class to be engaging without uttering a single curse word. Kudos, love and respect. Now I hope I get to shoot images of the brotha someday.
By the way, I hear the fragrance smells pretty good. I can't be sure because there was none in the room.
...and I'm out.
Oops one last thing..here's a few pics from the event. There were lots of sexy ladies and handsome gents. Spotted in the room were Memsor Karamake of Vibe, DJ Baker, Artist Baron, Jessie O, Lee Soulja, and Puff of Notorious.
Nico Wheadon is a bright up and coming curator. She is assistant curator at Rush Arts in Chelsea and also doing lots of independent curating on her own. I recently attended Young Curators, New Ideas II at P.P.O.W. Gallery in Chelsea.
Below is a description of the show which I liked a lot. I attended opening night which was a major scene. The gallery was packed with art lovers, young artists and collectors. Check out the show before it closes and keep an eye open for Nico in particular. She is a talent to watch and I personally expect great things from her in the future. And I'm not just saying this because she's beautiful (but her beauty sure doesn't hurt...lol).
Amani olu projects, in conjunction with P.P.O.W Gallery is pleased to present Young Curators, New Ideas II, a curator focused exhibition that examines new voices in contemporary art through the perspective of seven New York based curators. These varied micro-exhibitions experiment with curatorial practice and an exploration of ideas as physical form.
Curators: Karen Archey // Cecilia Jurado // Megha Ralapati // Jose Ruiz // Nico Wheadon // Cleopatra’s (Bridget Donahue, Bridget Finn, Kate McNamara & Erin Somerville) // Women in Photography (Amy Elkins & Cara Phillips)
Thursday, August 6, 2009 at 6:00pm - Friday, August 28, 2009 at 5:00pm
P.P.O.W Gallery
511 W. 25th Street, ste. 301
New York, NY
The Sweeney years at The Guggenheim Museum in New York
When the Guggenheim Museum first opened its doors in October 1959, the Frank Lloyd Wright rotunda was filled with a selection of more than 120 works from the permanent collection. While the exhibition represented, to a limited extent, the Guggenheim’s history as the former Museum of Non-Objective Painting with works by Vasily Kandinsky and other modernists, the inaugural presentation also included 40 works dating from the 1950s. Drawn from the contemporary paintings and sculpture acquired by director James Johnson Sweeney during his tenure from 1952 to 1960, The Sweeney Decade: Acquisitions at the 1959 Inaugural features examples of international postwar trends in abstraction including Abstract Expressionism, CoBrA, Tachisme, and Art Informel, by artists Karel Appel, Alberto Burri, Eduardo Chillida, Willem de Kooning, Jimmy Ernst, Hans Hartung, Jackson Pollock, Pierre Soulages, Antoni
Tapies, and others.
Sweeney was known to be critical of Wright’s building design as well as the efforts of the museum’s first director, Hilla Rebay. He had the interior walls painted white (in opposition to Rebay’s preference that they be fabric covered), removed canvases from their oversized frames, and added sculpture— including a group of important pieces by Constantin Brancusi—to the collection that at that time was focused on paintings. Sweeney acquired works by vanguard painters working in New York—Abstract Expressionists such as William Baziotes, James Brooks, Ernst, de Kooning, and Pollock—whose work emphasized the emotional aspect of abstraction. He also looked to Europe to find artists who were breaking with traditional composition through gestural and spontaneous means, acquiring examples of the diverse trends of Art Informel (from the French informe, meaning unformed or formless) that proliferated in the 1950s. To this already international mix of abstraction, Sweeney added to the collection, for the first time, works by Asian artists.
The vision that Sweeney presented in the 1959 inaugural exhibition demonstrated the museum’s ability to embrace art that was new and challenging. By including a robust selection of works from the 1950s, made after Solomon R. Guggenheim’s death in 1949, Sweeney in fact remained faithful to the museum’s commitment to innovation championed by its founders. In March 1960, months before he resigned from the Guggenheim, Sweeney published an article titled “New Directions in Painting” in the Journal of Aesthetics and Art Criticism. There he made the case that in contemporary art, constant change should be seen as an assurance of integrity rather than a sign of fickleness, and that it is the “artist’s business” to be original: “Actually, this so-called ‘instability’ in the art of our period is its health. It is the sign of life in it, a sign of that constant urge to refreshment which, only, will keep the language of art alive.”
Your Bright Future: 12 Contemporary Artists from Korea at LACMA in Los Angeles
Your Bright Future: 12 Contemporary Artists from Korea
June 28th - September 20th
This exhibition presents the work of twelve artists from South Korea who were born between 1957 and 1972. Coming of age amid political turmoil and increased freedom, they are keenly aware of their position as citizens of an increasingly prosperous but divided country in a rapidly globalizing cultural and economic environment. By focusing, often humorously, on the ephemerality of life and identity as well as the limitations of communication across languages, cultures, and generations they make presence, absence, and change the center of their work.
Note: In conjunction with Your Bright Future, LACMA commissioned YOUNG-HAE CHANG HEAVY INDUSTRIES to create a series of artworks to serve as introductions to this web feature; play them randomly by clicking the panel at left. Two more commissioned works by YHCHI are in the exhibition.
In East Asia, family names are written first, followed by the given name. Sometimes names are written as two separate words; other times they run together. Some of the artists in Your Bright Future follow East Asian conventions. Two also run their last and first names together. Others adopt Western conventions when they show their work in the West. We have capitalized the family name of each artist at the beginning of the section about his or her work.
This exhibition was organized by the Los Angeles County Museum of Art and Museum of Fine Arts, Houston, in association with SAMUSO: Space for Contemporary Art, Seoul.
It is made possible by grants from The Korea Foundation, the Andy Warhol Foundation for the Visual Arts, Inc., and the National Endowment for the Arts. The Los Angeles presentation of Your Bright Future: 12 Contemporary Artists from Korea is made possible by Hanjin Shipping Co., Ltd. Additional support was provided by LACMA's Wallis Annenberg Director's Endowment Fund.
In-kind media support provided by The Korea Times-Hankook Ilbo.
General Admission
A general admission ticket is a one-day pass to LACMA’s permanent galleries and non-ticketed exhibitions. To purchase general admission tickets, click here.
Adults: $12
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Children (17 and under): Free
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Free Admission for All at Selected Times
On the second Tuesday of each month, general admission to the permanent galleries and non-ticketed exhibitions is free to all.
After 5 pm, you may pay what you wish.
For more information about becoming a LACMA member, click Membership or call 323 857-6151.
Hours
LACMA is open every day except Wednesdays, Thanksgiving, and Christmas.
LACMA is located on Wilshire Boulevard between Fairfax and Curson avenues—midway between Downtown Los Angeles and Santa Monica.
From the Santa Monica Freeway (10), take Fairfax Avenue north 2 miles to Wilshire Boulevard. LACMA is on Wilshire between Fairfax and Curson Avenue.
From the southbound Hollywood Freeway, take Highland Avenue 3.5 miles south to Wilshire Boulevard; take a right on Wilshire and proceed 1 mile west to LACMA.
For additional maps and driving instructions, see Mapquest.
For public transportation information, call 1.800.COMMUTE or use the Trip Planner at www.metro.net to find the route that's best for you. Enter 5905 Wilshire Blvd., Los Angeles 90036 as your destination.
Parking
Parking is now available in the new 6th Street parking garage, located just east of Fairfax Avenue. The charge is $7 and may be prepaid at all Welcome Centers, with credit cards now accepted.
Other parking options:
Petersen Automotive Museum parking lot (Fairfax south of Wilshire) | $2 per half hour, $12 daily maximum
Page Museum of La Brea Discoveries lot (Curson north of 6th) | $8
Metered city parking is also available along 6th Street. But please read signs carefully; vehicles in violation will be towed.
Evening special: Vehicles entering the 6th Street parking garage after 7 pm park for free.
We encourage visitors to carpool or use public transportation.
Among the most influential designers of our time, Ron Arad (Israeli, b. 1951) stands out for his daredevil curiosity about technology and materials and for the versatile nature of his work. Trained at the Jerusalem Academy of Art and at London's Architectural Association, Arad has produced an outstanding array of innovative objects over the past twenty-five years, from almost unlimited series of objects to carbon fiber armchairs and polyurethane bottle racks. He has also designed memorable spaces, some plastic and tactile, others ethereal and digital. This exhibition will be the first major retrospective of Arad's design work in the United States.
Arad relies on the computer and its rapid manufacturing capabilities as much as he relies on the soldering apparatus in his metal workshop. His beautiful furniture can even receive and display SMS and Bluetooth messages from mobile phones and Palm Pilots. Idiosyncratic and surprising, and also very beautiful, Arad's designs communicate the joy of invention, pleasure and humor, and pride in the display of their technical and constructive skills. The exhibition will open in Paris in the fall of 2009.
The exhibition is organized by The Museum of Modern Art, New York, in collaboration with the Centre Pompidou, Paris, Musée national d'art moderne/Centre de création industrielle, and the Stedelijk Museum, Amsterdam.
The exhibition is supported by Notify.
Additional funding is provided by The Contemporary Arts Council of The Museum of Modern Art.
The accompanying publication is made possible by The International Council of The Museum of Modern Art
August 18-25, 2009
Opening Reception: August 17, 6-9 pm
Travancore Palace - New Delhi
Kasturba Gandhi Marg, Connaught Place, near Bharti Vidya School
Thomas Erben Gallery and Aparajita Jain of Seven Art are excited to present Moment as Monument, a curated exhibition of work in a variety of media by thirteen artists from Brazil, Canada, Germany, India, Iran, Pakistan and the United States, many of whom are part of the South Asian diasporas.
Moment as Monument explores the dynamic relationships between the temporal and the authoritative, in the overlap where politics, social systems and cognitive structures intersect. Through varied strategies, processes and materials, the artists in the exhibition all seek to question, challenge, expose or destabilize the often unacknowledged ideological, social, psychological, aesthetic and philosophical constructs that surround us daily.
The concept of "moment" implies sequentiality, a before and after. The criterion of isolating one moment from another is marked by intensity - of a political nature, for example, in Rit Premnath's (b. 1979, Bangalore) Surrender, a photograph of Somali pirates buzzed by a U.S. Navy helicopter. Cropped and reframed as a triptych, the singularity of the scene assumes the quality of a cinematic event. In his interactive video-installation, Kiran Subbaiah (b. 1971, Sidapur, India) heightens our awareness of the moment by duplication and temporal displacement whereas Barbad Golshiri's (b. 1982, Tehran) Jxalq [(d_ælgh) v.t. & i. act of creating a masturpiece], in part, is a meditation on the mutability inherent in the cyclical, or "looped" in video parlance.
Mahbub Shah's (b. 1978, Sindh, Pakistan) seemingly unorganized arrangements of dots cropped from colorful magazine ads solidify a scintillating universe in which shifting patterns and structures emerge. Similarly visually fragmented, Haeri Yoo ((b. 1970, Korea) systematically suspends in her paintings stories of disrupted feminist and cultural narratives. This new body of work evidences her shift towards the dissolution of a linear narrative, testing the inherent possibilities in the foundational language of painting itself.
By its function, the monument solidifies the moment and, through amplification, projects itself as an overriding principle pushing other moments into oblivion. Interested in the detritus of buried narratives, marginal figures and parallel histories, Chitra Ganesh (b. 1977, Brooklyn) ink-jets, in a new body of work, disparate visual materials and languages onto unstretched canvas which she further elaborates upon with paint additions and collaged elements.
Siamak Filizadeh (b. 1970, Tehran) uses the visual language of advertising with its authorial intentions, not only as a tool to mock Iranian's high end consumerist aspirations but also ironically points to the impossibility of the production of these products in contemporary Iran.
Yamini Nayar's (b. 1975, Rochester, NY) photographs of meticulously constructed and intervened, small-scale architectonic works situate themselves at a very specific place of time defined by an intersection of personal, historical and psychological story lines that converge for an instance and diverge again. Keeping the images in flux, her formal skills transform the transient and ephemeral into iconic images. Similarly, the paintings and photographs of Vijai Patchineelam (b. 1983, Rio de Janeiro) are trapped in a perpetual state of transit. Idea and result are conflated into a present continuous, which is both the impetus behind and the product of the work.
Jaret Vadera (b. 1976, Toronto) is exhibiting work from the Here be Dragons series where he layers photographic prints - taken from experimental paintings - and re-presents them on light boxes. The resulting, back-lit images float back and forth between something abstract and decipherable, clinically cold and subtly seductive, digitally high-tech and biomorphic.
Vacancy, a collaged travelogue by Matthias Müller (b. 1961. Bielefeld, Germany) explores the city Brasilia, "the ultimate utopia of the 20th century" (Umberto Eco), abandoned by its inhabitants - kept alive today only by its staff. The film exudes a strangely obsessive feeling of time and space, documenting this vast and failed modernist utopian monument.
In her installation, Hemali Bhuta (b. 1978, Mumbai) uses cacti as her primary, unwieldy and literally prickly material to create a visceral experience for the viewer that elicits synesthetic associations. She processes her materials formally and uses accumulation to create large-scale environments.
All of these works finally demonstrate that such categories as moment and monument are inextricably linked, constantly shifting and forever being reconfigured. Their malleability is finally determined through each artists strategies and processes, and, ultimately within the viewer.
Thomas Erben, Curator
Thomas Erben Gallery
526 West 26th Street, floor 4
New York, NY 10001
212.645-8701 www.thomaserben.com
info@thomaserben.com
Remains of the Day curated by Vadis Turner at Lyons Wier Gallery in NYC
Remains of the Day
curated by Vadis Turner
Opening Reception for Remains of the Day is Monday, August 3rd, 6 - 9PM
- Exhibition Dates: FIVE DAYS ONLY August 3rd to August 7
- Opening Reception: Monday, August 3rd from 6-9 pm
- Closing Date: Friday, August 7, 2009
- Gallery Hours: Monday - Saturday 11-8, Sunday 12-8 pm
- Gallery Address: 175 Seventh Ave @ 20th St.
- Nearest Subway: C, E to 23rd St., or 1, 9 to 23rd St.
"Remains of the Day", curated by Vadis Turner, is a five-day exhibition featuring artwork by Ivin Ballen, Carlton DeWoody, Graham Gillmore, David Goodman, Midori Harima, Cassandra C. Jones, Mike Quinn, Leslie Roberts & Saya Woolfalk whose work serves as evidence of circumstances from the past. The work visualizes the documentation of time or a construction born from a deconstructive process.
African Voices and Imagenation Film Festival present
an evening of music, poetry and film
Harlem jazz sensation Bill Saxton and poet Autumn Ashante will perform before the screenings!
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Now through Monday, August 31, 2009
New York International Latino Film Festival 'I am Happy' ('Eu Sou Feliz') Premier
This week the City is hosting the New York International Latino Film Festival. Soraya Umewaka is a documentary filmmaker from Tokyo. Upon winning Princeton's Labouisse Fellowship in 2006 she went to Rio de Janeiro, Brazil to make a documentary entitled 'I am Happy' on the creative culture that resides in the slums of Rio. Her prior documentary 'Street Witness' debuted at the Miami Film Festival with critical acclaim.
Clearview Cinemas (260 West 23rd Street between 7th and 8th Avenues)
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RUINED
EIGHTH AND FINAL EXTENSION!
Must Close September 6, 2009
From Lynn Nottage, the Obie Award-winning author of such plays as Fabulation and Intimate Apparel comes this extremely topical and highly acclaimed new work. A co-production with the Goodman Theatre, where it debuted to a shower of rave reviews, RUINED is a haunting, probing play about the resilience of the human spirit during times of war.
See RUINED now through September 6 for just
$49.50 (Reg. $75)
Tickets:
ONLINE: CLICK HERE or visit www.nycitycenter.org/ and enter code 4519.
PHONE: Call CityTix® at 212-581-1212 and mention code BTO.
IN PERSON: Bring a printout of this offer to the NY City Center box office at 131 West 55th ST., (between 6th and 7th Aves.) up to two hours before curtain.
BOX OFFICE HOURS: Mon-Sat 12-8pm; Sun 12-7pm
Performance Schedule:
Tues 7, Wed-Sat 8; Wed, Sat, Sun 2
GROUP SALES (15+): Marcia Pendelton/WTG Group Sales
646.467.7393 | wtggroupsales@aol.com
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Harlem Stage The Bachata Roja Legends
Featuring singers Ramon Cordero, Augusto Santos and "El Chivo Sin Ley" (The Lawless Goat), guitar giant Edilio Paredes; and young bachatero star, singer-guitarist Joan Soriano a.k.a. "El Duque" (The Duke); with Frank Mendez - guitar, Samuel Paredes - bass, Roberto Santos - guira and Randy Alejo - percussion.
Saturday, August 15, 2009
2:00 - 7:00 pm - Rain or Shine in the PS 161 Field - entrance at Amsterdam and West 134th Street
2:00 pm: Gates open
FREE!
For more information visit HarlemStage.org or call 212-281-9240, ext. 19 or 20
No chairs allowed. Bring a blanket to sit on.
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The Riverside Theater
Thursday, August 6 - Monday, August 17
The Riverside Theatre and BeBop Theatre Collective present two one-act plays celebrating the bold spirit of poet and Black Arts Movement playwright Sonia Sanchez.
The Riverside Theatre
91 Claremont Ave @120th St.
For tickets, call
212 870-6784
www.theriversidetheatre.org
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Cote Di'voire CIDW Festival
Saturday, August 8, 2009
Festivities at: MORNINGSIDE PARK, HARLEM USA
Including Musical performances, Food, Face Painting
Danse workshop, Fashion Show, Art Exhibit, Health Screening
For More Information Contact:
George Konan, CIDW Executive producer
email: cotedivoire7@gmail.com
Join FACEBOOK: COTEDIVOIRE7
Like the Spice presents Off the Clock a group exhibition
Let me start this blurb with one simple statement I LOVE LIKE THE SPICE GALLERY!!!!!
Like The Spice is a very cool little gallery in Brooklyn, New York. Marisa Sage (Sage, Like the Spice...get it? lol) is a talented artist and instructor who was my first photoshop instructor. The gallery focuses on contemporary art and artists and hosts several great shows every year. Marisa also hosts regular artist dinners in which a group of art lovers engage in a stimulating discussion of art and culture with an exhibiting artist over a homegrown, delicious and healthy meal. Below is a blurb on the new exhibition in the space. Check it out.
Like the Spice is pleased to present Off the Clock, a group exhibition of works by artists who work or have worked as studio assistants to other artists, featuring works by Rachel Beach who has assisted Roxy Paine, Jason Bryant who assists Kehinde Wiley, Allison Edge who has assisted McDermott & McGough and Jeff Koons, Charlie Ledbetter who also has assisted Jeff Koons, Jenny Morgan and David Mramor who assist Marilyn Minter and Reuben Negron who assists Papa Colo. The seven artists in this show have each spent a considerable amount of time working in another artist's studio. Here we present their personal artwork, giving viewers an introduction to the next generation of artists who may one day have assistants of their own as well as a chance to consider the studio assistant's place in the art world more generally.
Rachel Beach makes wooden sculptures with a tromp l'oeil kick, playing three-dimensional reality against two-dimensional illusion. Jason Bryant's cropped, photorealistic paintings of models and celebrities bring mystery and humanity back to the age of overexposure. Allison Edge investigates tween psychology, innocence, and nostalgia in her highly detailed oils. Charlie Ledbetter combines images inspired by multiple texts in compositions that playfully evoke grand literary themes. Jenny Morgan's portraits conflate the physicality of paint and person, psychology and physiology. Her collaborative works with David Mramor, investigate the tension and fluidity of portrait and landscape, abstraction and representation. In his sensuously painted watercolors, Reuben Negrón explores the private lives of people in love and lust, exposing and elevating them at once.
Peek through the doors of Like the Spice Gallery, and you'll see an example of how art can be clever
and all-encompassing at the same time. In our space at 224 Roebling Street, between S 2nd and S 3rd, in Williamsburg, Brooklyn, Like the Spice promotes art that carries both meaning and beauty.
Like the Spice artists are encouraged to push their limits and find new directions in their work, bringing
art that is resonating, not just hanging. From pencil and oil to sculpture and video; our paintings are fresh and our digital art is not just about the pixels.
Like the Spice is happy to be a part of Williamsburg 2nd Fridays. Click here to learn more!
{224 Roebling Street. Brooklyn, NY 11211} {718-388-5388} {info@likethespice.com} {Wed - Sun 12-7, Mon by appt. only}
Google Maps
Chaperone John Waters' Desperate Living (1977) w/ Kalup Linzy WEDNESDAY, JULY 22. 7PM
Chaperone John Waters' Desperate Living (1977) w/ Kalup Linzy
WEDNESDAY, JULY 22. 7PM. FREE. EFA Project Space, 323 W. 39th Street, 2nd Floor
"For a long time, I was a fan of John Waters' film Serial Mom with no familiarity of his previous work. Shortly after beginning the Conversations Wit de Churen series, I was accepted into the Skowhegan School of Painting and Sculpture. There, the faculty and my mentors suggested I look at early John Waters films. One film in particular,Desperate Living (1977), captured my imagination the most. Having first viewedDesperate Living a quarter of a century after its release, this classic film gave me the courage to freely and subversively explore subjects of race, gender and sexuality in my own video work - in particular, Conversations Wit de Churen 4: Play Wit de Churen and KK Queen Survey. In these particular works, psycho-sexually charged domestic drama, bad nerves, irreverent relationships, and characters who often could care less about each other's feelings all reflect Waters' influence." - Kalup Linzy
From June 10th through July 29th, 2009, EFA Project Space presents Chaperone. This weekly series consists of films handpicked by a group of artists, all whose work provocatively explores disparate aspects of our culture's love affair with mediated reality.
Kinkead Contemporary is pleased to announce that Heather Cantrell's exhibition, A Study in Portraiture: Act 1, curated by Caryn Coleman, will be extended through August 15, 2009.
Heather Cantrell - A Study in Portraiture: Act 1
June 20 - August 15, 2009
Curated by Caryn Coleman
Opening reception Saturday, June 20, 6-9pm.
Heather Cantrell, A Study in Portraiture (Laura Howe), 2008. Silver rag archival ink jet. Ed. Unique (2 A.P.s), 15" X 12.5".
A Study in Portraiture deals with the subversion and altering of identity through portraiture and how those issues manifest themselves through Heather Cantrell's exploration of tribes and subcultures, specifically those of the art world. The project explores her usage of theatricality and references to historical artworks within her chosen medium of photography to document the performative. Involving much more than mere photography, Cantrell's artistic practice entails a conceptual strategy that incorporates performance, theater, painting, sculpture, and sociology. The resulting photographic image represents this in one captured moment with all its beautiful ambiguity and intrigue - it is a 'play-still.'
Kinkead Contemporary will be turned into an "in-house" photography studio for Heather Cantrell's A Study in Portraiture: Act I where members of the Los Angeles art community will be invited to participate in the performative act of having their portrait taken. Using hand-painted backdrops and a variety of costume and prop materials, Cantrell pushes her role as a director, embracing ideas of the theater, by making each exhibition of A Study in Portraiture an act in a play (hence the titling "Act I" and "Act II" etc.) where each individual has the ability to realize and portray a character. Referencing West African photographers Seydou Keita and Malick Sidibe as well as the 18th century society portraits of British painter Thomas Gainsborough, she addresses the subject's complicity in constructed identity and the role the artist also has in creating this. Like these artists, she does this while simultaneously documenting a generation - hers being an ethnographic exploration in the exclusivity of the contemporary art world.
Cantrell's portrait studio will remain in the main gallery throughout the exhibition functioning as the site for scheduled sessions throughout the show (these will occur both privately and publicly) and as an installation object when not in use. Also on display will be selected framed portraits and a wall where small photographs will be added as each session occurs. The website www.studyinportraiture.com is a documentary component to the series featuring project history, images of the sessions, portrait photographs, news, and interviews.
LeBasse Projects presents: 'A Distorted Lens' New work from David Flores and Lisa Alisa
LeBasse Projects presents:
'A Distorted Lens'
New work from David Flores and Lisa Alisa
Artist reception: Saturday, July 18th, 7 to 10pm
Music and Beverages sponsored by DailyduJour
LeBasse Projects is proud to announce, 'A Distorted Lens,' a two-artist exhibition featuring gallery artists David Flores and Lisa Alisa. Both artists have worked with the gallery since the first group show hosted by director Beau Basse in 2005. Coming full circle, the artists are each presenting new bodies of work to open the summer season at LeBasse Projects' new gallery.
In his first Los Angeles show since 2006, Flores delivers all new artwork that embodies his unique interpretation of pop iconography. In addition to his paintings he has embellished dozens of vintage fashion, music and news magazine spreads with his vision of the world around him. Flores' stained-glass window style creates a warped view of the pop icons he simultaneously idolizes and mocks.
Lisa Alisa is clearly influeced by Japanese artists like Hayao Miyazaki and Takashi Murakami, but her work tends to have much more bite. Generally featuring thinly veiled self-portraits, her paintings are what she refers to as 'new feminist' artwork. While bloody and violent, the paintings are a metaphor for both the brutality of life and the desire for change within the artist herself. There's a thick vein of dark, surreal humor running through the images
The pair both paint in the 'superflat' style, but have clearly found their own voices in making their individual commentary on society. Alisa is openly shouting her feminist views while Flores' work is subtly, but undeniably masculine. Together Alisa and Flores reflect both sides of the dynamic that distinguishes between men and women.
For additional inquiries or preview please contact us at:
contact@lebasseprojects.com or 310.558.0200
The ascendancy of Obama...and the continued need for resistance and liberation. A dialogue between Cornel West and Carl Dix.
July 14, Tuesday, 7pm
Harlem Stage at Aaron Davis Hall
150 Convent Avenue at west 135th Street
Tickets: $20 - Premium Tickets: $100. Group rates also available.
To purchase tickets:
From Revolution Books: 212-691-3345, or on line at www.revolutionbooksnyc.org/Purchase.htm
From Harlem Stage: 212-281-9240 ext.6, or online www.harlemstage.org
For more information or to volunteer, call Revolution Books at 212-691-3345, Email: cornelcarldialogue@gmail.com
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African Voices Presents Tips on Using the Internet to Promote Your Book
Saturday, July 18, 2009, from 1:30 pm-2:45pm
African Voices magazine will host "Doin' It: Promoting & Selling Your Book Online," a discussion on the resources available for authors to successfully use new technology to promote and sell their book online.
Guests will include a panel of publicists, authors, and other professionals who specialize in Internet marketing, everything from blogs, e-newsletters, social media networking, and the use of mobile phones will be covered in this exciting presentation. Learn how to get the word out about your new book without having a multi-million dollar marketing budget!
The program is a part of the historic Harlem Book Fair and will be held at County Cullen Library, Auditorium (Corner 136 St. & Malcolm X Blvd.). For information call: 212 865-2982.
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Dwyer Cultural Center Community Works Presents:
Inaugural Summer Programs
July 7 - August 31, 2009
Affordable cultural and performing arts events for the community!
Group Rates and discounts for youth and seniors!
Jumpin' @ The Dwyer
All Performances are at 11 AM and 1:30 PM
IMPACT REPERTORY THEATRE
Tuesday, July 14
Join this Oscar-nominated group as they celebrate the extraordinary talents and unique visions of Harlem's young people; addressing issues important to all communities through energetic song, dance and spoken word. Post show discussion.
SARAFINA
Thurs. July 16
A screening of the acclaimed movie musical about South African students involved in the notorious 1976 Soweto Riots in opposition to apartheid. An inspirational story about having the courage to fight for a better world at any age! Please join producer Voza Rivers who brought this award winning film to Broadway and Harlem in 1984 for an in- depth post discussion on this groundbreaking film.
For more information on these events go to
http://www.dwyercc.org/
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New York African Chorus Ensemble : The Gathering IV
A night of African Traditional, Popular, and Art music & Awards ceremony Directed by Joyce Adewumi
Featuring: Mai Lingani-Vocal, Yacouba (Cora) Mahamadou (Dejembe), Aya Kato-Piano, New York African Chorus Ensemble Inc, South African Harlem Voices
Place: The Riverside Theater (91 Claremont Ave., 120th street)
Donation $10.00
Date: Saturday July 18, 2009
Time: 7pm sharp
For Tickets Call Joyce at 212-862-4858, Gloria at 212-368-5444, Paul at 917-539-7271
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Gospel Uptown - Harlem's Inspirational Place
Friday, July 24 - 8:00pm
$30 cover
Call For Ticket Information:
(212) 280-2110
Hezekiah Walker
Bishop Hezekiah Xzavier Walker, Jr. (born December 24, 1962, in Brooklyn, New York) is a Grammy Award-winning gospel music artist, founder and leader of the Love Fellowship Choir, and Pastor & Bishop of the Love Fellowship Tabernacle, with locations in Brooklyn, New York, and Bensalem, Pennsylvania, in the United States. Bishop Walker is also the Founder and Overseer of the Covenant Keepers International Fellowship, which spiritually covers, giving guidance and direction to, numerous pastors and their churches in the US - including multiple Love Fellowship Tabernacle - The Kingdom Church, with locations throughout the US and in South Africa.
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Sonia Barnett Art Exhibit "Evolution"
Hamilton Grange Branch Library at 503 West 145th Street between Amsterdam and Broadway
Exhibition Dates: July 1, 2009-October 31st, 2009.
Reception: Wednesday, July 1st. 5:00 PM-7:00 PM.
Open to the Public
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Exhibitions Curated by Laura R. Gadson
Harlem Sewn Up: Quilted Reflections of a Community
June 20th - November 2009
Dwyer Cultural Center, 258 St Nicholas Ave @ 123rd St.
Mon-Fri 10am-6pm, Sat 11am-5pm
A group quilt exhibition featuring Faith Ringgold, Michael Cummings, Ife Felix, Laura Gadson, Dindga McCannon, Myrah Brown Green, Bisa Butler, Adriene Cruz, Diane Pryor Holland and the Harlem Girls Quilting Circle.
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Jewelry as Art - an exhibition featuring the fine work of Jewelry Artisans
July 2nd - Aug. 16th
Gallery M, 123 West 135th Street
Tues - Sat: Call for gallery hours (212) 234-4106
Jewelry artisans are often not recognized in a formal visual arts setting. This exhibition will shine a bright light on their artistry and celebrate their craft.
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Sincere's Heart, a play by Brandi Webb
Opening Wednesday, July 8th, 2009!
Show Dates/Location: July 8th through the 12th at Producers Club Grand Theatre at 358 West 44th St. (btw. 8th & 9th Aves.) NY, NY 10036.
Synopsis: Sincere struggles to support his two teenage sisters however, his transition from brother to parent proves him to be ill-prepared. Tensions surface when his uncle, Jerold - a drug addict, steps in as the legal guardian of his sisters.
