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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.
*****
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. Is either one of them fit to raise the girls?
"Romanticism," an exhibition of new photographs by Lou Reed at Adamson Gallery in D.C.
Lou Reed, Untitled (Santa Fe), 2009. Pigment print, Image size: 8 x 12 inches, Paper size: 16 x 20 inches
Romanticism
July 25 - September 5, 2009
Opening Reception:
Saturday, July 25th
6:30 - 8:30 pm
Adamson Gallery is pleased to present "Romanticism," an exhibition of new photographs by Lou Reed - stunning black and white images of landscapes and architectural motifs, shot on the artist's travels to Scotland, Denmark, Big Sur and elsewhere. The photographs are taken with a digital camera that Reed had adapted to "see" in the infrared zone, which gives them as aura of strangeness, or otherworldliness. They have a timeless quality but are simultaneously very modern, like Reed himself. They are surprisingly small in scale, making these striking natural images personal, portable, and intimate.
First with his group, The Velvet Underground and then as a solo artist, Lou Reed has been making innovations in music since the 1960s. His name has become synonymous with the New York avant-garde, and with the city itself. With his photography, Reed has been moving out of New York, while his first collection featured portraits of the city, this new one focuses on more pastoral settings.
This collection of photographs takes its name from the 18th and 19th century art movement that sought a return to the emotion, beauty, and unknowability of the natural as a counterpoint to industrial era's emphasis on technological development and the pursuit of rational knowledge. Reed's images recall this impulse: they focus on the aesthetic and the sublime; the splendor of a single tree against a cloudy Scottish sky, suffused with light. There is, however, also something uncanny and eerie about some of the photographs; the absence of human figures, a road leading over a bridge into a dense, shadowy forest. Reed has recently adapted the poet and writer Edgar Allen Poe's The Raven, the supernatural is a theme that underwrites much of his recent work. Perhaps, like the Romantics, Reed is commenting on another Industrial Revolution - the rapid developments of globalization are once again placing the natural into both literal and metaphoric danger - the beauty of his landscapes takes on a more urgent meaning.
Reed says of his work, "I love photography. I love digital. I love digital. It's what I'd always wished for. Being in the camera and experiencing the astonishing accomplishment of the creations of life sparked through the beauty of the detailed startling power of the glass lens. A new German lens brings a mist to me. The colors and light I come to see through the beauty of the camera. A love that lasts forever is the love of the lens of sharpness - of spirit warmth and depth and feeling. It makes my body pour emotion into the heartbeat of the world. A great trade and exchange. I think of the camera as my soul. Much like a guitar. My lovely Alpa has rosewood grips. What more could you need?"
Lou Reed has been working in multiple media for over thirty years. Along with his band, The Velvet Underground, he was inducted into the Rock 'n' Roll Hall of Fame in 1996. He has acted in and composed music for a number of films, and is the recipient of the Chevalier Commander of Arts and Letters from the French government. He is the author of Pass thru Fire: The Collected Lyrics and the play The Raven. His previous books of photography, both published with Steidl, include Lou Reed's New York and Emotion in Action.
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
phone: 202.232.0707
web: www.adamsongallery.com
email: gallery@adamsongallery.com
Contact: Dane Young For Immediate Release
313.790.9027
be_young_pr@yahoo.com
THE CONFESSIONAL
On July 31st 2009 Art Nouveau Magazine and HOP Models and Talent Agency will invade the city of Detroit to present an evening of glitz, glamour and fashion.
For one night only the industrial Tangent Gallery will be transformed into a battleground where sophistication and chic meets the urban streets. Find out what happens when models stop being polite and start getting real, “The Confessional”, Detroit.
“The Confessional” is a production that explores fashion capitals of the world, with an added element of reality. “The Confessional, is our take on America’s Next Top Model and the Real World” according to event coordinator Dane Young. This show will give the audience an insight on what it takes to put on a production as well as introduce the models as fictional reality tv show characters. “Over all fashion as never looked so real.”
The show features designs and styling by local artists Deante J, Gunk, 323, S.N.O.B.B, Esther & Ruth, Paper Dolls and many more. Opening reception is at 7pm, with meet and greet, and show will start immediately following.
When: July 31st 2009
Where: Tangent Gallery
715 Milwaukee St.
Detroit, MI 48202
Time: Doors Open at 7pm
Advance tickets are $10
After Party at same location from 11pm-3am
To RSVP and secure media coverage for the “The Confessional” please email Dane Young at be_young_pr@yahoo.com
For additional or for Interview Requests please contact:
Branden Young
313.790.9027
byoung@artnouveaumagazine.com
After eleven years of presenting the best in experimental music and live DJs, Warm Up has become the highlight of the New York City summer. This year's lineup includes performances by Glenn Branca, Stars Like Fleas, Timmy Regisford, and DJ Danny Wang, among many others. Occurring every Saturday from July 4 through September 5, Warm Up coincides with the installation of Afterparty by MOS, winner of the 2009 MoMA/P.S.1 Young Architects Program competition.
PLOT/09: The World & Nearer Ones » A public art extravaganza in New York
PLOT/09: The World & Nearer Ones »
A public art extravaganza
Installation of Anthony McCall's Between You and I, 2009
This summer, Creative Time launches New York's first public art quadrennial, PLOT, with The World & Nearer Ones, an exhibition on Governors Island featuring 19 individual artists and artist collectives from nine different countries. Minutes away from Manhattan and Brooklyn by ferry, Governors Island in New York Harbor was home to the US military for more than 200 years, but now its fortresses, officer's houses, chapel, theater, and other sites hold contemporary art. Exhibition curator Mark Beasley divides the work, which engages the island's history and future, between indoor and outdoor locales — making the discovery of the artists' projects an adventure.
Light and sound are popular mediums for several of the featured artists. Anthony McCall uses video projectors and haze machines to construct parallel sculptures that move slowly through the darkened Saint Cornelius Chapel and eventually, almost imperceptibly, trade places with one another. Krzysztof Wodiczko presents a video installation — deep in a dark, dank munitions room in old Fort Jay — of a candle flame that flickers with the voices of soldiers recalling the war in Iraq and Afghanistan. Elsewhere, Susan Philipsz amplifies sound from an outdoor speaker, singing "By My Side" from the musical Godspell, asking, "Where are you going? Can you take me with you?" of the not-so-distant Statue of Liberty.
Judi Werthein incorporates another symbol of American patriotism, the national anthem, into the two-channel video installation La Tierra de los Libres (The Land of the Free), which captures two views of Columbian refugees singing their own lively version of "The Star-Spangled Banner." Adam Chodzko tackles patriotism, or at least duty, with his video installation Echo; presented in the ballroom of the former Officer's Club, it mixes tales of a swapping game, which "military brats" supposedly played, with imaginary reflections by current staff and both newly shot and found-film footage. Contrastingly, The Bruce High Quality Foundation satirizes the island's resurgence as an art destination and the current economic death of the art world in Isle of the Dead, a 19-minute zombie film shot and screened in the abandoned movie theater.
I am a participating artist in a great event TONIGHT in New York City. Come check us out at Rush Arts.
_____________________________
TONIGHT Wednesday, July 8th, for Luck Of The Draw, a raffle of small artworks with proceeds supporting future exhibitions at Rush Arts and Corridor Gallery.
For ticket information and to RSVP please contact Rush Arts: 212.691.9552 or 718.230.5002
Individual tickets are $175 and guarantees a choice of artwork based on the order of the draw. Artwork will be presented anonymously; artist name will be revealed after the work is chosen.
For 13 years, Rush Arts has introduced to the art world some of the best and brightest creative talent who have gone on to make significant cultural and artistic contributions - several of which have gone on to international fortune and fame. This is a perfect opportunity to show your support and win a great piece of art at the same time.
This festive evening will include music, a live performance, refreshments and end with the raffle call. There will also be artworks for silent auction.
Donating Artists:
Aaron Gilbert
Adam Pendleton
Anthony Fuller
Arjan Zazueta
Arlene Rush
Ashanti Chaplin
Ayana V. Jackson
Bayeté Ross-Smith
Boris Rasin
Bradley Dean Wollman
Breanne Trammel/ Peter Segerstrom
Brendan Fernandes
Cacy Forgenie
Carlos Sandoval de Leon
Cecile Chong
Chris Clary
David Antonio Cruz
Deana Lawson
Demetrius Oliver
Diane Wah
D-Nice
Donna Stack
Emil Horowitz
Ezra Wube
Fiona Gardner
Greg Ingrham
Hank Willis Thomas
Heather Hart
Hugh Walton
Ian Reid
Jamel Shabazz
James Jaxxa
Janine Gordon
Jaret Vadera
Jayson Keeling
Jennie Baptiste
Jenny Ham
Jerry Gant
Jessica Lagunas
Jessica Vaughn
Jill Galarneau
Jodie Lyn-Kee-Chow
Johannes DeYoung
Keith Anderson
Kevin Berlin
Lainie Dalby
Leor Grady
M.P. Landis
Manuel Acevedo
Marcus Morales
Marie Roberts
Mark Blackshear
Mary Valverde
Michael Paul Britto
Mickalene Thomas
Mona Kamal
Monique Schubert
Nekisha Durrett
O'Neil Lawrence
Pamela Sunstrum
Pierre Obando
Ricky Day
Scott Andresen
Shani Peters
Slyvia Maier
Sungmi Lee
Suntek Chung
Tyson Hall
Wardell Milan
Wayne Hodge
Wendy Mason
William Cordova
William Villango
Yamini Nayar
Yashua Klos
Individual Raffle Ticket $175 Individual Party Ticket w/o Raffle $50
"In My Father's House" By VICTOR EHIKHAMENOR & NEW WORKS By STANLEY AGBONTAEN at International Visions Gallery (Washington DC)
"In My Father's House"
By VICTOR EHIKHAMENOR
&
NEW WORKS
By STANLEY AGBONTAEN
July 18th- August 15th, 2009
Conversations with Victor Thursday, July 16th, 6-8pm
Left- The Heart of the King is in the Hands of God by Victor Ehikhamenor
Right- Rush Hour by Stanley Agbontaen
Victor Ehikhamenor was born in Udomi-Uwessan, Edo State. He graduated from BendelState University, Ekpoma (now Ambrose Alli University) with a BA degree in English and Literary Studies. He also holds an MS in Technology Management from University of Maryland, University College, Adelphi; and in 2006 the department of English at the University Of Maryland, College Park awarded him a fellowship/scholarship to pursue a Masters of Fine Art in Creative Writing.
A resident of the United States since 1996, he has been prolific in producing abstract, symbolic works with unmistakable ties to his Nigerian background. He has had numerous exhibitions with strong following mostly in US and Nigeria.
Terra Kulture recently hosted Ehikhamenor's largest solo exhibition ever - "Mirrors and Mirages". The week-long exhibition held in Victoria Island, Lagos brought crowds of collectors and was covered by major press. Ehikhamenor's most recent body of works featured in "In My Father's House" provides visual commentary on the issue of exploitation - from oil, to gold, to diamonds and the trail of blood and poverty that occur at the source of this "wealth".
Stanley Osaheni Agbontaen grew up on Benin City Edo state, South-south Nigeria. He began his training in the arts at The Creative Art Academy and before finishing his second year he gained admission to a national diploma in General & Fine Art in Auchi Polytechnic. He stood out as one of the best sculpting students of his time, though to much surprise, he majored in painting. During his studies he developed a strong passion for colors because they give him inner joy and fulfillment.
The US state department in 2007, nominated and sponsored Agbontaen on the International Visitor and Leadership Program. He toured nine states of the US in a workshop, Promoting Tolerance through the Arts. Agnontaen is a full time studio artist, participating in several group exhibitions including, Two American Icons & Six Young Nigerian Contemporary Artists, where he exhibited along side Jacob Lawrence an Lois Mailou Jones in 2006. He also had an exhibition in the US in February 2008 where it was put together by the International Visions Gallery.
60's at Cardwell Jimmerson Contemporary Art in Culver City, CA.
60's:
July 18- August 29, 2009
Artist Reception: July 18, 2009 6-8 p.m.
A group exhibition featuring artworks in the abstract, pop and
minimal idioms, proposing a counter history to the dominant narrative of
Southern California art in the decade of the 1960’s. Artists include John
Barbour, Stan Bitters, John Coplans, David Cressey, Robert Dowd, Tom
Eatherton, Jim Eller, June Harwood, Phil Hefferton, Ynez Johnston, Roger
Kuntz, Ron Miyashiro, Clark Murray, and Michael Olodort. These artists
are perhaps less well known than their more celebrated contemporaries.
Yet each is represented here by one or more period artworks of
sufficient force to put the once-settled matter of historical reputation
back into question.
Cardwell Jimmerson Contemporary Art
8568 Washington Blvd.
Culver City, CA 90232
310-815-1100
www.cardwelljimmerson.com
Gallery@CardwellJimmerson.com
Kim Keever, west 152g, 2009. Pigment print, various sizes, Editions of 5
Adamson Gallery is pleased to announce the representation of New York-based photographer Kim Keever, and the concurrent release of nine new prints by the artist.
Keever's fascinating and powerful images play on themes of the eternal landscape and our perceptions of it from Caspar David Friedrich to Tolkien. For each exquisitely staged diorama, Keever handcrafts stones, vegetation, and clouds, which are then arranged in a large aquarium filled with water. Colored lights and pigments are then added to the scenes, creating a unique and otherworldly aura.
The nine new works by Keever are available in three sizes: 34 x 44 inches, 52 x 68 inches, and 62 x 80 inches. Each size is available in an edition of five, and are printed on Hahnemühle Barayta paper. Each is printed and published by Adamson Editions. To view all nine available prints, please click here.
Keever's work is included in the collections of the Museum of Modern Art, New York, and the Hirshhorn Museum and Sculpture Garden, Washington, DC, among others. He has exhibited extensively throughout the United States and abroad.
For more information please contact Laurie Adamson or Erin Boland at (202) 237-0707, or email gallery@adamsongallery.com.
ADAMSON GALLERY
1515 Fourteenth Street NW
Washington, DC 20005
Fabienne Lasserre, Worldless, felt, pigment, acrylic polymer, molding paste, linen, armature, acrylic paint, 2009. Image courtesy of the artist.
Structured Simplicity will present a group of artists, Mai Braun, Hilary Harnischfeger, Elana Herzog, Fabienne Lasserre, and Amy Yoes, who work in sculpture and site-specific installation. From a formalist and abstract perspective, the exhibition will investigate aspects of simplicity, taking purification as a point of departure i.e. making things simpler through structure, be they confined or chaotic. In bringing this group together, the curator, Felicity Hogan, seeks to explore varying manifestations of this concept and how structures are formed and conveyed through diversity of approach and use of materials.
The exhibition debuts new site-specific works by Mai Braun, Elana Herzog and Amy Yoes as well as previously unseen new works by Fabienne Lasserre and Hilary Harnischfeger. Fabienne Lasserre’s humorously crafted and sensual sculptures, striking a bold intelligent balance between the logical and illogical, are positioned alongside Mai Braun's mischievously formed shredded NY Times-mâché piece: Your Emotions Make You a Monster. Mai Braun’s stacked cardboard boxes parallel and echo Amy Yoes' mechanical hard-edged installation. Hilary Harnischfeger’s deftly sliced and angular sculptures complement Elana Herzog’s de-constructed garments and bed linens, patched aggressively with compulsively tacked staples. Additional connections will be reinforced through proximity. An influence of rudimentary materials is common to all artists with processes that revel in tension and release. In the art of Amy Yoes, Hilary Harnischfeger and Mai Braun, the subtle use of planes and angles form associations that display contrasting use of a comparable visual language. Manipulation and the distortion of architectural form further connect works by Amy Yoes and Elana Herzog.
Structured Simplicity was developed in response to the distinctive architecture and character of the DAC gallery. While sculpture and installation are the primary focus, the exhibition also includes bas-reliefs by Hilary Harnischfeger and works on paper by Mai Braun as well as a new video by Amy Yoes created especially for Structured Simplicity.
The summer season at P.S.1 kicks off on June 28 with an all-day opening celebration of Afterparty by MOS, this year's winning design in the MoMA/P.S.1 Young Architects Program competition. Envisioned as an urban shelter, Afterparty comprises a series of tall, hut-like "chimneys" that draw heat upward by induction, creating an immersive "cool-down" refuge that incorporates elements of shade and water, plus seating and bar areas, for visitors to P.S.1 this summer.
P.S.1 also celebrates the tenth anniversary of the Young Architects Program with a decade-long review, as well as new presentations by Michael Joaquin Grey and Carlos Motta.
Warm Up Summer Music Series
July 4 is the first installment of P.S.1's Warm Up summer music series, featuring the best in experimental music and live DJ sets. This year's series features performers such as Stars Like Fleas, Timmy Regisford, and a special line-up curated by agnès b. Warm Up takes place every Saturday through September 5, from 2:00 to 9:00 p.m.
Also on view: Kenneth Anger, Florian Slotawa, Jonathan Horowitz: And/Or, Leandro Erlich: Swimming Pool, Lutz Bacher MY SECRET LIFE, and more.
The 2009 Young Architects Program is sponsored by
Additional support is provided by the Bertha and Isaac Liberman Foundation, Jeffrey and Michèle Klein, Agnes Gund, The Contemporary Arts Council of The Museum of Modern Art, and Con Edison.
Generous funding for Warm Up 2009 is provided by agnès b. and by The Junior Associates of The Museum of Modern Art.
Thursday, June 18 from 6-8PM
as we celebrate the winning photography from the
Px3 Essence of Water Competition.
The Prix de la Photographie Paris (Px3) strives to promote the appreciation of photography, to discover emerging talent, and introduce photographers from around the world to the artistic community of Paris. Px3 is currently taking submissions for its next photographic endeavor the Aftermanth competition. Please visit http://px3.fr/ for more information or contact Ashley@Px3.fr.
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
DCKT Contemporary (in New York) is pleased to present two solo exhibitions: new paintings by CLAIRE SHERMAN and new needlepoint works by MARIA E. PIÑERES
CLAIRE SHERMAN
MARIA E. PIÑERES
June 26 — August 22, 2009
Opening Reception:
Thursday, June 25, 6 - 8pm 195 Bowery
New York, NY
212-741-9955
Claire Sherman: Weeds II, 2008, oil on canvas, 72 x 60”
DCKT Contemporary is pleased to present two solo exhibitions: new paintings by CLAIRE SHERMAN and new needlepoint works by MARIA E. PIÑERES.
CLAIRE SHERMAN's paintings address tragedy, romanticism and ambivalence through landscape. Philosophical writings on the sublime and existentialism influence her recent paintings depicting scenes of vast open spaces, cliffs, ravines, rapids and other ominous topography. The choice of landscape is deliberately idiosyncratic; the scenes can be anywhere or anything: tropical, arctic, lunar, or mundane. However, despite the hopeful curiosity this variety implies, emptiness pervades each environment. SHERMAN’s approach is bold and painterly with large sweeping brushstrokes, from thin to overly thick areas of paint, as her images waver between abstraction and representation.
SHERMAN lives and works in Chicago. Her work is included in the Margulies Collection (Miami) and the Nerman Museum of Contemporary Art (Overland, KS). Recent solo exhibitions include Kavi Gupta Gallery (Chicago) and Hof & Huyser (Amsterdam). She was included in the group exhibition Future Tense: Reshaping the Landscape at the Neuberger Museum of Art (Purchase, NY) in 2008. SHERMAN has been selected as a recipient of The Marie Walsh Sharpe Art Foundation Space Program for 2009-10.
Maria E. Piñeres: deco5, 2009, cotton floss on paper, 7 x 5 ¼” on 9 x 6” paper
MARIA E. PIÑERES’s needlepoint works place the nude figure in an optical duel with decorative arts. Tantalizing black and white nudes are juxtaposed with the sharp bright colors borrowed and built upon from wallpaper patterns of the glamorous Art Deco era, questioning positive and negative space. The black, white and grey figures emphasize both the nostalgic value of erotic nudes of early men’s “physique” periodicals and “girlie” magazines.
PIÑERES lives and works in Los Angeles. Recent solo exhibitions include Walter Maciel Gallery (Los Angeles). She was included in the group exhibitions Pricked: Extreme Embroidery at the Museum of Arts & Design (New York) and Celebrity at the Scottsdale Museum of Contemporary Art (Scottsdale, AZ).
NYC: Farmani Gallery presents Px3 Essence of Water Winners Showcase June 18-27, 2009
Farmani Gallery presents
Px3 Essence of Water Winners Showcase
June 18-27, 2009
Opening Reception: Thursday, June 18, 6-8pm
Photography by Balazs Gardi, Brent Stirton, Simon Harsent, Kent Mathews, Richard W J Koh, Arturo Zavala Haag, Ezra Millstein, Gabe Palacio, Ami Vitale, Martin Soeby, Andrew P Brooks, Alison Jones, Nir Alon, Akshay Mahajan, Jacqueline Berthaume, Phillip Lee Harvey, Michael Schnabel, Hamideh Zolfaaghari, Keith Foster, Lui Roq, JuneYoung Lim, Sergio Pessolano, and John Trotter
(June 11, 2009, Brooklyn, NY) Farmani Gallery is proud to partner with Px3 Prix de la Photographie, Paris in showcasing the winning photographers of the 2009 Essence of Water photograph competition. This group show features twenty-three International photographers and was expertly curated by Susan Baraz, whose vast photographic endeavors include; serving co-chair of the Lucie Awards and Head of Judges for the International Photography Awards.
"These outstanding images portray Water, and the various ways it effects life on our fragile, thirsty planet. Depending on where you were born, Water will play a huge part of your day. One would risk death, to acquire a small bucketful---or thoughtlessly squander it in the simple act of brushing ones teeth. Water is an instrument for fun, work, energy, healing, killing, soothing, torturing, quenching, praying and sanctifying.
"Captured in these compelling photographs, is the intimate, but tenuous, relationship with the REAL elixir, sustaining our world. Water, like any great relationship, must be nurtured and cared for, as if our very lives depend on it--Because it does. Water, The Giver Of Life, The Destroyer of Life, and, Destroyed by Our Life," says curator Susan Baraz.
The Prix de la Photographie Paris (Px3) strives to promote the appreciation of photography, to discover emerging talent, and introduce photographers from around the world to the artistic community of Paris. Px3 is currently taking submissions for its next photographic endeavor the Aftermanth competition. Please visit http://px3.fr/ for more information or contact Ashley@Px3.fr.
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
Beauty Underfoot curated by Jeanne Gerrity at Smack Mellon in Brooklyn, NYC
Yumi Janairo Roth, Pallet::Paleta (Made in the Philippines), 2005
Beauty Underfoot
curated by Jeanne Gerrity
Adriana Farmiga
Petrova Giberson
Isola and Norzi
Fawad Khan
Gareth Long
Alison Owen
Mike Quinn
Yumi Janairo Roth
Jen Schwarting
Secret School and the K.I.D.S.
Charwei Tsai
Exhibition dates: June 20 - August 2
Artists' reception: Saturday, June 20, 5-8pm
Apropos of Robert Rauschenberg, John Cage once remarked, "Beauty is now underfoot wherever we take the trouble to look." His comment suggests not merely that the commonplace can be transformed into art, but that this art has the potential for beauty. The artists in this exhibition take the banalities of life and transform them into poetic statements. The source material for these striking works, ranging from the dust on the floor of the gallery to text from a local newspapers, are rendered virtually unrecognizable by the artists' aesthetic commitment.
The artists in Beauty Underfoot synthesize every moment of our daily experience, creating a sense of the sublime that paradoxically hovers between an extreme connection and a highly removed detachment from its derivation. Each work exists as a testament to their ability to mutate the quotidian into the lyrical. However, Beauty Underfoot goes even further, challenging the viewers to move beyond the aesthetic object, reviewing and confronting its source. When examined more closely, the works refer to mundaneness, hardship, and even injustice without any didacticism. The artists do not shy away from reality, but nor do they allow it to eclipse their creativity. The works in the exhibition ultimately transcend the ordinary, transforming it into the extraordinary.
Art Nouveau Magazine and the Wm Turner Gallery presents “Extraordinary Machine” in Atlanta
Art Nouveau Magazine Invites You to an Evening of Fine Art:
Extraordinary Machine
Time: July 9, 2009 from 6pm to 10pm
Location: Wm Turner Gallery
Organized By: Art Nouveau Magazine (www.an-mag.com)
Event Description:
"Extraordinary Machine"
Through the eyes of visionaries
For Immediate Release
Art Nouveau Magazine and the Wm Turner Gallery presents “Extraordinary Machine”
July 9, 2009, Art Nouveau Magazine will open a portal at the Wm Turner Gallery where imagination meets mechanism. “Extraordinary Machine,” an art show featuring works by two radical visionaries, Kendrick Daye and Corinne Stevie Francilus, will open with a wine reception beginning promptly at 6p.m. The show will run through July 18th.
“Extraordinary Machine” will explore identity, sexuality, culture and societal relationships. Though the exhibition is a two-artist show, Kendrick and Corinne’s work features a variety of media including pencil drawings, oil paintings, photography, video, sculpture, and digital media. All artwork and merchandise will be available for purchase.
The Wm Turner Gallery and the artists themselves believe that fine and performing arts education programs play a vital role in self-esteem and character building among youth and vowed to donate a percentage from the work sold to a non-profit organization that is dedicated to the enrichment of social and cultural experiences in the metropolitan communities of Atlanta.
Please visit www.an-mag.com or www.newvoevents.com for more information.
Featuring the work of:
Laura Battle Sam Bornstein
Charles Cajori Jean Arnold
Natalie Charkow Hollander Sandra Stone
James Farrelly Marianne Gagnier
Cecily Kahn Suejin Jo
Jay Milder Ray Grist
Kyle Staver Janice Nowinski
Mayumi Sarai Takeshi Mukouyama
Kevin Wixted John Gill
Lohin Geduld Gallery invites you to view our current exhibition, Artists' Choice. This show includes the work of nine gallery artists, as well as one work by an additional artist chosen by each.The combination of gallery artists and new artists makes for a lively and exciting exhibition.
Lohin Geduld Gallery is located at 531 West 25th Street in New York and we are open Tuesday through Saturday, 10:30 am to 6:00 pm. For more information or more images of the work, please visit our website at www.lohingeduld.com or call us at 212 675 2656.
Claes Oldenburg: Early Sculpture, Drawings, and Happenings Films Claes Oldenburg and Coosje van Bruggen: The Music Room
May 7-September 6, 2009
One of the most innovative artists of the postwar period, Claes Oldenburg (b. 1929) is best known for sculptures and drawings that disrupt our expectations of how ordinary objects “behave.” In 1976, he began an extraordinary creative partnership with the art historian and curator Coosje van Bruggen (1942-2009) that continued for more than thirty years. The Whitney has championed their work for several decades and now possesses one of the world’s largest collections. Drawn primarily from the museum’s extensive holdings of drawings, sculpture, film, and archival material, this presentation illuminates the themes of metamorphosis and artistic collaboration that are at the heart of their practice.
Iconic examples of Oldenburg's early sculpture on view include Giant BLT (Bacon, Lettuce, and Tomato Sandwich) (1963), French Fries and Ketchup (1963), and Soft Toilet (1966). A highlight of the exhibition is Oldenburg’s Ice Bag – Scale C (1971), which has undergone extensive conservation work in preparation for this exhibition. These and other early sculptures are complemented by several dozen works on paper by Oldenburg and by Oldenburg with van Bruggen. Also, for the first time, rare films of Oldenburg’s Happenings will be shown together in the Whitney’s Film & Video Gallery, projected in loops around the walls. Two of the films – Fotodeath (1961) and Autobodys (1967) have not been seen since they were first screened in the 1960s, and have been restored especially for the exhibition.
A full room has been dedicated to a series of sculptures of musical instruments by Oldenburg and van Bruggen in a presentation entitled The Music Room. As installed at the Whitney, The Music Room includes both hard and soft instruments of differing scales that range in date from 1992 to 2006. Among the objects included are variations on a viola, saxophone, clarinets, French horns, sheet music, and a metronome. A select group of related drawings will hang nearby. The theme and form of musical instruments proved ideal for exploring physical and material transformations and the resulting shifts in meaning. Metamorphosis occurs here through scale and the way soft and hard forms can playfully transform our everyday perceptions of the function or performance of musical instruments. Although these have been concerns of the artists throughout their careers, the Music Room’s display brings these ideas to the fore in a particularly focused way. Curators: Carter Foster, Chrissie Iles, and Dana Miller.
Spencer Finch, The River That Flows Both Ways, rendering, 2007
The River That Flows Both Ways
Creative Time, Friends of the High Line, and the New York City Department of Parks & Recreation are pleased to announce the inaugural art commission by Spencer Finch for the opening of the first section of the High Line as a public park in June 2009.
Inspired by the light and the water of the Hudson River, The River that Flows Both Ways will transform an existing series of windows with 700 individually crafted panes of glass representing the water conditions on the Hudson River over a period of 700 minutes on a single day. The installation will be placed in a semi-enclosed former loading dock where the High Line runs through the Chelsea Market building, between 15th and 16th Streets, viewable from the street and on the High Line. The work links the movement of the river, viewable from the site, with the historic movement of the railway and the atmospheric conditions of its location on Manhattan’s West Side. The piece, with its varied levels of color, translucency, and reflectivity, addresses the impossible search for the color of water.
The title of this work comes from the original Native American word for the Hudson River, Muhheakantuck, which means “the river that flows both ways.” This flow in two directions is analogous to the way both water and glass work optically, as both windows and mirrors, allowing a view into depth as well as a reflection of the surrounding environment.
To create the colors of the glass, Finch fastened a camera to the railing of a tugboat, and used an intervelometer to photograph the Hudson River 700 times, once a minute for 700 minutes. The boat began the trip at the 79th Street Boat Basin and floated upriver with the current to 120th Street, reversed direction with the tide and traveled down to New York Harbor, and lastly back upriver. The boat flowed naturally with the river in both directions, rather than relying on its engines to propel it. After recording the 700 different points in space and time on the Hudson River, Finch carefully selected the exact color of a single point in each photograph to produce a uniquely printed film to be laminated onto glass. The glass was placed in the existing architecture of the High Line to correspond with the pictures chronologically, starting from the top left (if one’s back is to the Chelsea market). The “minutes” progress to the right for 70 panes, and continue from left to right on the next row down.
Spencer Finch will be included in the 53rd Venice Biennale, in the Arsenale this summer. This is his first major public project in New York City.
Kinsey/DesForges presents: COLE STERNBERG: NEW WORKS
IMAGE: What Would You Do? Mixed media on canvas, 60 x 72 inches
Kinsey/DesForges welcomes Los Angeles-based artist Cole Sternberg with his first solo exhibition at the gallery. He will be showing all new works on canvas. The show will open on June 6th with an artist's reception from 7-10pm and continue through July 11th, 2009.
Inspired, in part, by childhood recollections of Monet's water lillies and Twombly's textural narratives, Sternberg's own urban impressions combine saturated pigments with a pastiche of rapid gestural marks. HIs large-scale pieces are built from layers of lyrical texts, graffiti, streaming acrylics and thick oil impasto that co-exist to form a reflection of the artist's composite experience.
ODE TO ODIN works by Ernest Concepcion at NY Studio Gallery in Manhattan
ODE TO ODIN
works by Ernest Concepcion
June 4 - 27, 2009
Artist Reception: Friday June 12, 7 - 9pm
NY Studio Gallery is pleased to present Ode to Odin works by Ernest Concepcion. With an underground reputation for rendering pastoral, warring landscapes peopled by meticulous caricatures of high-density sci-fi populations on canvas, Ernest Concepcion boldly moves into in a new series of aluminum paintings that focus on a single event—the detonation of the atomic bomb. In this new body of work, Concepcion studies NY Times reporter William L. Laurence’s fetishization of the effects of nuclear warfare and testing. Paid off by the CIA to underreport the colossal devastation of the American atomic bomb on Hiroshima and Nagasaki, Laurence reported in 1945 how “watching it as it was being fashioned into a living thing, so exquisitely shaped that any sculptor would be proud to have created it, one . . . felt oneself in the presence of the supranatural." Concepcion dares to suggest as much in a series of enamel paintings of the (in)famous mushroom cloud exploding with color.
In his 2006 painting Ode to Odin, Concepcion captures the primary symbols of war: sex, greed and strife. He begins by depicting colorful idyllic landscapes, using acrylic or oil paint which, following a period of one to three months, he aggressively tags the surface of with Sharpie pens. Miniscule figures and outer-space hybrids find themselves trapped in an endless nightmare of battle. He breaks away from the imposed linearity of modern comics, overlapping, instead, varying scenes in order to suggest that such caricatures share the same space of the viewer.
Recipient of the Reality Gallery American Slide-All 2009: Solo Exhibition at NY Studio Gallery
About Ernest Concepcion
Ernest Concepcion was born in Manila, Philippines where he received his BFA then moved to the US in 2002. Selected exhibits include: Bronx Museum of the Arts, d.u.m.b.o. arts center, Asian American Arts Centre, The Contemporary Museum in Hawaii, Exit Art and a solo show at the Kentler International Drawing in 2008. Concepcion has participated in the LMCC/Workspace 120 Broadway Artist Residency, the Bronx Museum of Art Artists-in-the-Marketplace (AIM) program, the Artists Alliance Inc. Rotating Studio Program and the Lower East Side Printshop Keyholder Residency
4th Annual Artwalk this Saturday in Culver City Arts District
Los Angeles’ Culver City Arts District is hosting its 4th Annual Artwalk this Saturday and its a must see self-guided day of art and culture. With 42 galleries and exhibition spaces open from 12-8pm there is more than you can probably see in one day.
Culver City boasts everything from blue-chip galleries like Blum and Poe, LAX Contemporary and Roberts and Tilton to emerging galleries like Cherry and Martin, Corey Helford, LeBasse Projects and Kinsey/DesForges. There are also some fantastic restaurants like Wilson and Fathers Office to dine in.
Speaking of art and dining, DailyduJour is co-sponsoring the Artwalk After Party at Royal/T, our favorite mini-museum and cafe. Join us and owner Susan Hancock for a great after-artwalk evening from 7-11pm. Grab dinner and some drinks while viewing some amazing artwork from Murakami, KAWS, Tracy Emin and Yoshitomo Nara. Get there early though, as I bet its going to get croweded.
After-Party
Royal/T
7-11pm
8910 Washington Blvd.
Culver CIty, CA
Jonas Mekas: A Few Things I Want To Share With You, My Paris Friends
Galerie du Jour agnes b. in Paris, France presents
A Few Things I Want To Share With You, My Paris Friends
May 16 – June 20, 2009
Jonas Mekas' solo exhibition entitled A Few Things I Want To Share With You, My Paris Friends is currently on view at galerie du jour agnes b., Paris through June 20, 2009. Focusing on the dynamic scope of Mekas' work from recent years, the presentation brings to light his innovations within avant-garde film and contemporary currents of the visual arts. Highlights include the premiere of a 12-monitor installation featuring the monumental 365-Day Project, for which Mekas released one film a day throughout 2007 on his website www.jonasmekas.com. Designated to one month each, the monitors are hooked up to i-pods playing footage that was downloaded directly from the artist's website. Mekas states, "It was a very challenging and demanding undertaking, but I did it. This is the first presentation of the Project as it was intended, that is, as an i-pod project." The exhibition is accompanied by the 365-Day Project catalogue, produced in conjunction with Maya Stendhal Gallery, New York, which offers revealing profiles of each film through descriptions and stills. Mekas' Summer Manifesto (2008) takes form in an installation of 40 nature images that Mekas chose from his vast archival footage. While manifestos tend to be politically charged and oppositional, Mekas' statement finds comfort in the subtle beauty and fleeting happiness of summer. Also on view is an installation of 4 quartet pieces divided into parts entitled Destruction Quartet, SoHo Quartet, Martin Scorsese Shooting "The Departed," and The Education of Sebastion. The work features riveting footage of renowned filmmaker Martin Scorsese at work, the fall of the Berlin Wall and events from 9/11 in combination with images of old SoHo and the artist's journey to Egypt. A Few Things I Want To Share With You, My Paris Friends is dedicated to the long-time friendship between Mekas and fashion designer and supporter of the arts agnes b.
A recent retrospective at Museum Ludwig in Cologne prolifically summarized Mekas' accomplishments in establishing film as art. Viewers were given rare access to the artist's personal archives in the form of documents, photographs, catalogues, texts, and film posters alongside his and later film works, installations, and film still collections. A great success, it drew nearly 100,00 visitors, and was followed by Museum Ludwig's acquisition of the internegative and 4-channel installation of Birth of a Nation for its permanent collection. Mark Gloede of Art in America singled out the presentation for the magazine's International Review issue writing, "[T]he exhibition achieved a striking dynamic: in the space between different mediums, it became clear that the film experience cannot be limited to watching movies in a dark room. With this overview of Mekas's work, the full cosmos of independent cinema opened up." A full-page color exhibition catalogue was published in collaboration with Serpentine Gallery, London and is available through Koenig Books. A second major retrospective on the artist will be exhibited at Serpentine Gallery, London in 2010.
LeBasse Projects presents:
Yoskay Yamamoto's 'Koibito' Release Party
Wednesday, May 27th, 7-10p
www.lebasseprojects.com for more details.
LeBasse Projects is proud to announce the release of Yoskay Yamamoto's gallery edition 'Koibito' vinyl sculpture. Originally produced by Munky King, the white and chrome gallery edition sculpture will be released in an edition of 150. The release party will also feature the release of an Exhibition Catalog of Yamamoto's current solo exhibtion, 'Hello and Goodbye,' as well as a new print from the show.
This will be the artist's second major solo exhibition, and will mark his largest body of work to date both in size and scale. The show represents a breakthrough in work from Yamamoto, and will reflect a continuation of intimate statements of self-expression that began in his last exhibition 'The Upside of Down.'
Yoskay Yamamoto will be in attendance to sign sculptures and catalogs. There will be a series of additional surprises for guests of the show as this will be the last evening to view Yamamoto's exhibition before it closes on May 28th.
For additional inquiries or purchase requests please contact:
Beau Basse, Gallery Director
contact@lebasseprojects.com
310.558.0200
Cardwell Jimmerson Contemporary Art presents Drawings (Broadly Defined)
Drawings (Broadly Defined):
A group exhibition of formal drawings and drawing-like artifacts by gallery artists (and some others) dating from the 1950's to present.
Participating Artists Includes: Bob Burchman, Kenneth Capps, Joe Clower, Jim Eller, Connor Everts, Luciano Perna and Steven Steinman
May 30 - July 11, 2009
Artist Reception: May 30, 2009 12-8 p.m
During Culver City Artwalk 2009
Cardwell Jimmerson Contemporary Art
8568 Washington Blvd.
Culver City, CA 90232
310-815-1100
www.cardwelljimmerson.com
Gallery@CardwellJimmerson.com
Jack Shainman Gallery presents Signs Taken for Wonders
Jack Shainman Gallery is pleased to present Signs Taken for Wonders, an exhibition curated by Isolde Brielmaier. In this presentation six artists, Kader Attia, Jn. Ulrick Désert, Julien Friedler, Jeffrey Gibson, Xaviera Simmons, and Carrie Mae Weems, use Africa as their muse as they examine representation, symbolism and the power of the image within the social, economic, political, historical and cultural spheres of the 20th and 21st centuries. Their work explores iconic figures, events and ideas that have contributed, explicitly and implicitly, to the imaging of the African continent around the world.
In Signs, the artists use a range of media - painting, sculpture, photography, video, mixed media and installation - to articulate a particular person, idea, event or time period that is significant to the role that African countries, cultures and individuals occupy within global politics, popular culture and economy. In so doing, they spotlight both the acknowledged and overlooked roles that international players, African individuals and the continent as a whole, maintain on every level of the world stage.
This exhibition is collaboratively presented as part of a wider project developed by the Spirit of BOZ Collective which was founded by artist Julien Friedler. An important pillar of this collective's global movement is the Forest of Souls, an international engagement and production of art by thousands of people from countries such as China, Rwanda, Argentina, Bulgaria, Chile, Germany, Brazil and Morocco. The exhibition Signs Taken for Wonders is thus intended to inscribe itself in a broader effort to gather a multi-national range of artists who will be featured in a series of globally-oriented exhibitions as part of the Forest of Souls project.
For further information and press photography please contact Jack Shainman Gallery at (212) 645-1701.
Derrick Adams and Nico Wheadon of Rush Arts and their partner Khary Simon collectively known as the Frankenstein Collective have this bi-monthly event called Charm City.
I don't promote clubs on this blog, but...find the info wherever you can and GET IN TO IT!
Nicola López
Shadowland
May 21 - June 26, 2009
Opening reception, Thursday, May 21, 6-8 PM
Nicola López, After the Storm, 2009
ink, gouache, gesso, crayon, graphite on paper, 54 x 45 1/4 inches
In her third solo show with Caren Golden Fine Art, Nicola López resumes her investigation of the dizzying complexity of the urban landscape. As in her past efforts, the dynamic, mixed media works in Shadowland feature the industrial components of the labyrinthine modern city. López portrays the city as both a symbol of achievement and failure; sites of colossal engineering, social coordination and interconnectedness; but also anxiety and dislocation.
Nicola López breaks the city down to its nuts and bolts… or rather, its gears, pipes, joints, girders, grates, wires, cables and bolts, and meticulously reassembles it. Put back together, these reconfigured cityscapes offer multiple vantage points, dramatic perspectival shifts and distorted spatial properties that distill the angular intensity of the modern city to a compositional essence. This new body of work takes her in-depth investigation a step further, capturing the decay and emptiness of a mighty city past its prime. This appraisal of the urban condition functions on both a literal and a metaphoric level. López’s process of combining graphite and ink drawings, overlaid with collaged elements, reflects the twisting and snaking components of the city’s interlinked networks. The additive process and arrangement of elements in the service of a greater superstructure reflects the basic mechanisms of urban growth. In Shadowland Nicola López presents both the pared-down, as in her woodcut on mylar “Steel Embrace,” and the built-up, represented by the rising energy in “After the Storm.” The common thread in all López’s work, whether spare or abundant, is the combination of printing, drawing and other reworking that harnesses the possibilities of mechanical reproduction with her unique perspective and sensibility.
Nicola López’s work has been featured in fine art and culture publications including, amongst others, The New York Times, ArtForum, Art in America BOMB and W Magazine. She has participated in numerous international solo and group exhibitions including Phantom Sightings, which originated at the Los Angeles Museum of Art in the Spring of 2008 has traveled to the Museo Rufino Tamayo in Mexico City, the Centro Cultural Universitario in Guadalajara, Mexico and will open at the Museo del Barrio in New York City in March, 2010, American Soil, the opening exhibition of the Nerman Museum in Overland Park, KS, Future Tense: Reshaping the Landscape at the Neuberger Museum in Purchase, NY, Claiming Space at the Stanlee and Gerald Rubin Gallery of the University of Texas in El Paso as well as the Orpheus Selection exhibition at PS1 in 2007-08. She will have a solo exhibition at the Chazen Museum of Art in Madison, WI in the fall of 2009, which will travel to the Mesaros Galleries of West Virginia University (catalog). Also upcoming, López’s work will be included in Embrace! at the Denver Art Museum in Denver, CO and Cut Paper Landscape at the Indianapolis Museum of Art.
NEW YORK PHOTO FESTIVAL 2009
(May 13th - 17th 2009)
The First International Photography Festival
in the United States
The Second Annual New York Photo Festival in Dumbo, Brooklyn.
Photography, one of the most important visual media of our lives, has been surprisingly uncelebrated, particularly in the United States. New York City, home to the most influential commercial and fine art photography community, has lacked—until now—a large-scale event dedicated to photography. The inaugural New York Photo Festival (May 14–May 18, 2008) delivered a dynamic, high-quality event in what is arguably the photographic capital of the world. This event celebrated both contemporary photography and the creative, inspirational talents of the people who produce this work. The New York Photo Festival 2008 took place in DUMBO, an off-the-beaten-track, but easily accessible neighborhood on the Brooklyn waterfront between the Brooklyn and Manhattan Bridges.
Festival Curators for NYPH 09 include photo editor Jody Quon (New York Magazine); William A. Ewing, Director of the Musée de l’Elysée in Lausanne; and Jon Levy, founder of Foto8 and publisher of 8 Magazine as well as founder of HOST Gallery in London.
Celebrating Contemporary Photography
In addition to the curated pavilions, the festival will offer visitors an extensive range of activities that will generate dialogue and buzz among all the communities of photo professionals, amateurs, students, and aficionados of art and culture: seminars, slide shows, book signings, photographic workshops, live performances and events, and a gallery row. The festival will also be documented online in a regularly updated virtual environment.
Our Growing Support
The New York Photo Festival has already received support from major institutions and individuals in the U.S. and abroad: museums and galleries, photo agencies, the media, scholars, and more. The scope of our support demonstrates the expectations of the festival and the high standards on which it has been built thus far.
International attendance
With its unique scope and focus, the festival appeals to all people involved in image-making and collecting: professional photographers and artists, arts editors, scholars, curators, collectors, as well as everyone with an appreciation for what is undoubtedly the most popular fine arts medium. The four primary international photography festivals in Europe and Canada each draw between 100,000 and 1,000,000 people per year. Our ambition is to attract a comparable audience to the second annual NYPH festival in 2009, and to increase substantially in subsequent years as the scope and real estate available for the festival grows.
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Tickets
The New York Photo Festival offers a variety of passes to see all exhibitions and daytime programming. Evening programming is separate. They include the following:
Festival Day Pass (admits you to all exhibitions and daytime programming for the day you purchase your ticket): $20
Festival Pass (admits you to all exhibitions and daytime programming for all four days of the Festival): $30
Student Festival Pass (admits you to all exhibitions and daytime programming for all four days of the Festival): $20
Senior Festival Pass (admits you to all exhibitions and daytime programming for all four days of the Festival): $20
VIP Pass (admits you to all exhibitions, daytime and evening programming, guaranteed prime seating for all programming events, a limited-edition NYPH Gift Bag. Additionally, All VIP Pass holders will get guided group tour through all Curated Pavilions and the Latin American Pavilion): $400
VIP Concierge Pass: (Includes VIP Pass, see above, and a Portfolio Review session with your reviewers of choice! Additionally, this includes an invitation to the exclusive CURATOR’S DINNER on opening night and a lunch with New York Photo Festival directors and curators.): $1,000
Evening programming, please note that all evening programs must be purchased separately and does not include exhibition access.
The Death of the Photo Book (Thursday, May 14th, 8PM) $7
New York Photo Awards Gala Ceremony and After Party (Friday, May 15th, 8PM): $20
New Documentations Special Screening (Saturday, May 16th, 8PM): $8
Please note: Exhibition Pavilions open to festival pass holders on Thursday May 14, 2009 at 10:00am
Press Preview and Curators Reception open to festival VIP Pass holders on May 13, 2009 6:00pm
Exhibition Hours: 10:00am to 6:00pm Thursday May 14 to Sunday May 17, 2009
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The event is held in DUMBO.
Check the website for details and directions.
http://www.nyphotofestival.com/site/
For more information, please contact Viviana Morizet, Media Coordinator
Tel: 212-604-9074 x121, Fax: 212-366-5247
email: viviana@nyphotofestival.com
Drive the new work by Jesse Diamond at Farmani Gallery
The Farmani Gallery is excited to present the latest photographic series by one of the 2004 IPA Photographer’s of the Year, Jesse Diamond.
The series entitled Drive focuses on imagery taken during the late night and documents the driver becoming the passenger to his own stream of consciousness. Lit by street lamps and traffic lights, the night filled with moist landscapes and drizzled car windows; the viewer is gently led on a path to realize the journey is truly the destination.
Diamond's photographs are documentary images. Of this series Drive, Diamond says, “it was developed during those long drives home when the inevitable moods of reflection and contemplation set in. The photographs are my reflection of those feelings."
The Farmani Gallery is proud to feature Diamond’s series Drive, in its debut exhibition and the first New York show for Mr. Diamond. The opening reception will be held on Thursday, May 14, from 6-9PM and coincides with the one-year anniversary of the Farmani Gallery in New York and the New York Photo Festival. The exhibit runs through June 12, 2009. Hossein Farmani states, “We are very proud to feature such a fantastic selection of Jesse’s imagery. We have loved what he has shown for us in Los Angeles and are very excited to exhibit him at our New York gallery, especially during a very special time for us as we celebrate our one-year anniversary. Jesse’s work is a highlighting example of the quality of work we try to present.”
Born and raised in Los Angeles, Jesse attended Cal Arts where he formally trained as a musician and studied visual arts as a secondary course. After his first trip to Africa in 1994, he decided to concentrate entirely on photography. His works ranged from Sony Records to the Harper Collins publication, “A Day in the Life of the U.S. Armed Forces,” part of the highly successful “Day in the Life” book series. That assignment led his photographs to a featured role on NBC’s Dateline and subsequently, his first solo show.
The Farmani Gallery was established in 2003 and has offices in Los Angeles and New York. Its mission is to discover and cultivate emerging artists among the contemporary photography genre. The Farmani Gallery is the brainchild of the Farmani Group, whom among its many charities, businesses and organizations has created The Lucie Awards, The Lucie Foundation, The International Photography Awards, Px3-Prix De La Photographie Paris and the International Design Awards.
The Farmani Gallery was established in 2003 and has offices in Los Angeles and New York. Its’ mission is to discover and cultivate emerging artists among the contemporary photography genre.
The Farmani Gallery is the brainchild of the Farmani Group, whom among its many charities, businesses and organizations has created The Lucie Awards, The International Photography Awards, Px3-Prix De La Photographie Paris, Art for New York and the London International Creative Competition.
Email: info@farmanigallery.com
East Coast
111 Front Street.
Gallery 212
Brooklyn (dumbo), New York 11201
Phone: 718.578.4478
New York Gallery Director:
Elizabeth Barragan
Email: elizabeth@farmanigallery.com
West Coast:
550 N. Larchmont Boulevard
Suite 100
Los Angeles, California 90004
By Appointment Only
Phone: 310.657.5756
Kinkead Contemporary announces Mysterium a group exhibition
Mysterium
May 16 - June 13, 2009
Opening reception Saturday, May 16, 6-9pm.
OverviewImages
Kelly Kleinschrodt, nami (p.1-2), 2008. C-print, 9.5" X 12".
Kinkead Contemporary announces Mysterium, a group exhibition featuring four photographers whose imagery conjures bewilderment, performance, spectacle and trickery. The exhibition's title suggests an arena for mystery. Coincidentally, it also refers to Alexander Scriabin's unfinished work in which the Russian composer aimed to create an over the top performance which required "special artists and a completely new culture" to participate. The dramatic implications of Scriabin's performance provide a tongue-in-cheek dialog with the seemingly dramatic, yet playful work of these four photographers.
Kelly Kleinschrodt's semi-abstract images challenge the viewer's perception of time and space, depth and scale. In her most recent work Kleinschrodt deftly balances deceptive subject matter while mischievously drawing attention to an awareness of surface. The black and white photographs of Lauren Semivan make use of romantic backdrops and props from a seemingly by-gone era; her subjects are veiled and hidden, never facing the camera. This playful subversion of traditional photography creates a potential narrative for the viewer, while remaining elusive as we are unable to fully create a concrete character, time or place. Cullen Stephenson's seemingly sparse or simple images recall film stills. Stephenson's photos in Mysterium exhibit a quiet and effortless composition that belies their sophisticated fragmentation of the world. Melanie Willhide's nostalgic images pay tribute to love and romance. Both humorous and sentimental, Willhide's charming photographs hark back to a time when photography was a simple way to capture a fleeting moment or the conduit to pass along a lighthearted message.
Kelly Kleinschrodt's recent solo exhibition at Crisp London Los Angeles was seen in London and Los Angeles. Kleinschrodt has also exhibited in group shows in New York (Humble Art Foundation, 3rd Ward, Brooklyn), Massachusetts (Nave Gallery, Somerville) and Alabama (Mobile Museum of Art, Mobile) among others. Kleinschrodt received her BFA from the Art Institute of Boston, Lesley University (2005) and will begin her MFA from UCLA this Fall. Kleinschrodt lives and works in Los Angeles.
Lauren Semivan has exhibited her photographs in the Cranbrook Art Museum (Bloomfield Hills, MI), David Klein Gallery (Birmingham, MI), DCFS (Berlin, Germany) and the Cleveland Institute of Art (Cleveland, OH) among other venues. Semivan received her BA from Lawrence University (2004) and her MFA from Cranbrook Academy of Art (2006). Semivan lives and works in Michigan.
Since receiving his MFA from Cranbrook Academy of Art in 2006 Cullen Stephenson has exhibited at Adaptation Gallery (Philadelphia, PA), Watson Gallery (Johnson City, TX), Zeitgeist Gallery (Portland, OR) and Forum Gallery (Bloomfield Hills, MI) among others. Stephenson received his BFA from the University of Kansas. He lives and works in Detroit, Michigan.
Melanie Willhide has had solo exhibitions at Bellwether Gallery in New York (2007), Real Art Ways in Connecticut (200), AOV Gallery in San Francisco (2000) and the Red Eye Gallery in Providence, Rhode Island (1999). Willhide has also exhibited in group shows at High Energy Constructs (Los Angeles), Wallspace Gallery (New York) and SF Camerawork (San Francisco). Willhide received her MFA from Yale University in 2004. She lives and works in Los Angeles.
Mike Weiss Gallery presents Imaginary Enemy, an exhibition of new work by Chinese artist Liao Yibai. The exhibition will run from May 8 to August 15, 2009. Unlike other Chinese contemporary artists, Yibai’s sculpture uniquely explores how the Chinese imagined the myth and threat of America during and immediately following the Cultural Revolution.
Yibai was born and grew up at the site of a bomb and chemical weapons factory, where his father designed cruise missiles to be used against the United States. The artist therefore grew up in an environment of weapons, secrecy, and danger. The key to understanding the Imaginary Enemy series is through stories arising from the artist’s personal memories and dreams.
At first viewing, the stainless steel sculptures prompt laughter. They look disconcertingly strange and unlike most other contemporary art. Yet each one carries complex layers of meaning and significance. Top Secret Hamburger, for example, recalls the artist’s first taste of an American hamburger (considered an icon of American capitalism) and finding it rancid. Cash Fighting represents the continuing economic battles between the two countries, while PLA Whiskey recalls the story of a former Chinese soldier’s dream of forbidden American alcohol. Several of Yibai’s works combine motifs from ancient Chinese art, with memories and dreams from the artist’s childhood such as the Propaganda Machine. In the work, a traditional turtle carries a set of megaphones resembling the ones that blasted Communist slogans from a truck that drove through his town three times a day.
Through his sculptures, Yibai reminds us that ‘enemy’ is a relative concept. Instead of threatening war and competition, the works in Imaginary Enemy encourage us to see these as humorous misunderstandings that must be corrected.
This is the first exhibition of Yibai’s work in New York. The artist attended the Sichuan Academy of Fine Arts, and was an art lecturer at Chongqing University. Yibai’s work has been exhibited throughout China including Beijing; Hong Kong; Guangdong; Shenzhen as well as in Cannes, France and Miami, Florida. He currently lives and works in Beijing and Chongqing.
Imaginary Enemy
Liao Yibai
Opening Friday May 8, 2009, 6 – 8pm
May 8 – August 15, 2009
PRESS RELEASE FOR IMMEDIATE RELEASE
Mike Weiss Gallery presents Imaginary Enemy, an exhibition of new work by Chinese artist Liao Yibai. The exhibition will run from May 8th - August 15th 2009. Unlike other Chinese contemporary artists, Yibai’s sculpture uniquely explores how the Chinese imagined the myth and threat of America during and immediately following the Cultural Revolution.
At first viewing, the stainless steel sculptures prompt laughter. They look disconcertingly strange and unlike most other contemporary art. Yet each one carries complex layers of meaning and significance. Top Secret Hamburger, for example, recalls the artist’s first taste of an American hamburger (considered an icon of American capitalism) and finding it rancid. Cash Fighting represents the continuing economic battles between the two countries, while PLA Whiskey recalls the story of a former Chinese soldier’s dream of forbidden American alcohol. Several of Yibai’s works combine motifs from ancient Chinese art, with memories and dreams from the artist’s childhood such as the Propaganda Machine. In the work, a traditional turtle carries a set of megaphones resembling the ones that blasted Communist slogans from a truck that drove through his town three times a day.
Yibai was born and grew up at the site of a bomb and chemical weapons factory, where his father designed cruise missiles to be used against the United States. The artist therefore grew up in an environment of weapons, secrecy, and danger. The key to understanding the Imaginary Enemy series is through stories arising from the artist’s personal memories and dreams.
Through his sculptures, Yibai reminds us that ‘enemy’ is a relative concept. Instead of threatening war and competition, the works in Imaginary Enemy encourage us to see these as humorous misunderstandings that must be corrected.
This is the first exhibition of Yibai’s work in New York. The artist attended the Sichuan Academy of Fine Arts, and was an art lecturer at Chongqing University. Yibai’s work has been exhibited throughout China including Beijing; Hong Kong; Guangdong; Shenzhen as well as in Cannes, France and Miami, Florida. He currently lives and works in Beijing and Chongqing .
A fully illustrated catalogue will be available with an essay by Barbara J. Bloemink, Ph.D.
Sarah Baley Bois at Collette Blanchard Gallery (May 7th through June 17th, 2009)
Sarah Baley Bois
7 May - 17 June 2009
Opening Reception
Thursday, 7 May 2009 6-8 pm
Collette Blanchard Gallery is pleased to present Sarah Baley's Bois, which will be on view from May 7th through June 17th, 2009.
Through a series of photographs, Baley explores sexuality and gender definitions while specifically highlighting a community called "Bois". Cinematic images of "Bois" dressed in fashions ranging from blue-collar to school boy aesthetic are juxtaposed with photographs of a changing industrial urban landscape in stages of decay and redevelopment.
Through lighting and subject placement, Baley makes the viewers aware that they are observing a behind-the-scenes glimpse into the "Bois" community. The artist places the "Bois" in the foreground of the frame, either gazing directly at the artist/viewers, as in Jasper and Little Prince, or in an intimate pose (e.g. embracing, kissing, in thought) or setting (e.g. bedroom), as in Left Wing, Bed Peace and Kiss. Baley also makes the "Bois" the main focus through the use of lighting; backgrounds blend into darkened masses while the "Bois" are well-lit at the foreground. Through these techniques, Baley brings sub-culture from the periphery to center stage.
For the artist, the urban landscape, reflected in the rapid development in Red Hook, Brooklyn, functions as a metaphor, or mirror, for a fluid, transforming definition of sexuality and gender at the heart of the "Bois" community. Many of the "Bois" are non-conformists that reject gender as a binary system of male or female. Through Baley's photographs, the artist portrays sexuality and gender as more fluid than a two-part system. According to the artist, "Sexuality is prismatic. It is the full spectrum of color...one of the few ways we can still express freedom."
Sarah Baley lives and works in Red Hook, Brooklyn. Baley received her B.F.A in photography at the Art Center College of Design in California. Recently, the Brooklyn Museum acquired Baley's Dug (2005) for their permanent collection. In August 2009, the work will be on display in the museum's American Identities Galleries.
For more information please contact Jocelyn London at 917.639.3912 or jocelyn@colletteblanchard.com.
Galerie Orange welcomes, for the first time, emerging artist Jean-Robert Drouillard, who revisits classic wood sculpture creating a playful universe where paradox and contradiction are ubiquitous.
Jean-Robert Drouillard is one of the only sculptors of his generation working with wood using the practices of traditional craftsmen. His technical abilities unveil with vigor a unique and mythical world. He deliberately leaves his signature on the surface of the wood ; the marks and imprints he unavoidably inflicts onto the material and the pure colors applied on the surfaces gives the work life and disconcerting presence.
The self-portrait is at the heart of Drouillard’s sculptural creations. His renderings in sculpture mirror the use of the first person in litterature; his work is a reflection on both his personal state and today’s fixation with individuality.
In ACTUAL POETRY (C’est à moi que tu parles ?), he chooses an iconography that he qualifies as ‘boreal’. A grouping of imaginary characters, evoking both man and beast, emerges from the raw material. It looks as if a silent dialogue between Ovide and La Fontaine is about to begin. Both realistic and transformed, grotesque and dignified, the beings populating this deceptively naive universe use disguises, but also reveal the depth of their nature.
Jean-Robert Drouillard was born in 1970 in Chatam (Ontario) and spent most of his childhood in Gaspésie before moving to Quebec city. After studying litterature and litterary creation, Drouillard turned towards sculpture. He received his diploma from the École-Atelier de sculpture in Quebec city in 2000 and immediately started to make sculptures and objects in wood, metal and concrete. He works at the ateliers du Bloc 5, a work cooperative which he founded in 2002 in Limoilou with four other artists and crafstmen. He teaches sculpture at the Maison des métiers d’art de Québec since 2004.
Heures d'ouverture | Opening hours
Lundi au vendredi: 10h à 18h | Samedi et dimanche: 11h à 18h
Monday to Friday: 10 am – 6 pm | Saturday and Sunday: 11 am – 6 pm
galerie orange, 81 rue st-paul est montréal qc h2y 3r1 514.396.6670 www.galerieorange.com
ZWELETHU MTHETHWA: NEW WORKS at Jack Shainman Gallery (NYC)
ZWELETHU MTHETHWA
New Works
April 23 - May 23, 2009
Jack Shainman Gallery is pleased to present Zwelethu Mthethwa's fifth solo exhibition at the gallery featuring large format photographs from several new series including, Mozambique, Coal Miners, and Contemporary Gladiators.
Mthethwa, whose stunning portraits show black Africans as dignified and defiant, even under the duress of social and economic hardship, is a key figure in the South African photography movement that exploded onto the world stage following Apartheid's fall in 1994. Working in both urban and rural industrial areas, Mthethwa documents domestic life, labor, the environment, and landscape in South Africa and neighboring countries. His work challenges the conventions of both Western documentary work and African commercial studio photography, marking a transition away from presenting Africa and Africans as the visually exotic and diseased, employing a fresh approach distinguished by his use of scale, color, composition, and his collaboration with his subjects. Drawing from the history of portraiture and photojournalism, Mthethwa's works often comment on gender roles and raise consciousness around issues related to post-apartheid South African society and globalization.
ZWELETHU MTHETHWA (born in Durban, KwaZulu-Natal, South Africa, 1960) earned his BFA from the Michaelis School of Fine Art, University of Cape Town, a then white's only universityspecial ministerial consent. He earned his master's degree while on a Fulbright Scholarship to the Rochester Institute of Technology. Mthethwa has had over thirty-five international solo exhibitions and has been featured in numerous group shows, including the 2005 Venice Biennial, Snap Judgments at the International Center of Photography, New York, Africa Remix, the Gwangju Biennale, the 8th Havana Biennial, the Istanbul Biennale, and The Short Century: Independence and Liberation movements in Africa 1945-1994, curated by Okwui Enwezor. Most recently a solo exhibition of his work was on view at Williams College Museum of Art, Williamstown, MA, and it was included in a group exhibition as part of Prospect 1 in New Orleans, LA. A forthcoming and long-awaited monograph, Zwelethu Mthethwa, will be published by the Aperture Foundation in November 2009.
For further information and press photography please contact Jack Shainman Gallery at (212) 645-1701.
Andrew Bush's exhibition, Vector Portraits, at Yossi Milo Gallery
Get down to Yossi Milo Gallery Thursday, April 23, from 6:00 to 8:30pm for the opening reception and book signing of Andrew Bush's exhibition, Vector Portraits, at 525 West 25th Street.
A book of work from the series, Drive, was published by Yale University Press in 2008. The book is available through the gallery and includes an interview with the artist by Jeff L. Rosenheim, a curator of photographs at the Metropolitan Museum of Art, New York.
Allison Edge: Crystal Days at Like The Spice Gallery in BK
Monthly Dinner Series: Eating On The Edge
Friday, April 24th, 2009, dinner served at 8:00pm
RSVP Required
How does it feel? How would you feel? How does it feel? When your dinner grows cold? You won't have to worry about that with Like the Spice! Up, down, turn around, we won't let you hit the ground. Come let us take care of your needs with Eating On The Edge, our special dinner themed to match our current solo show, Allison Edge: Crystal Days.
Served family style in the gallery itself, our dinner series is designed to let you enjoy a scrumptious meal while having a thoughtful conversation with strangers. This month dinner comes from Joann Kim Just $45 per person covers dinner, drinks and entertainment. Dinner is served at 8:00pm.
Reservations Required!
Make your reservations before Wednesday, April 22nd.
Use our website to reserve your space, or contact us at
718.388.5388 or via our email address, info@likethespice.com
Reservations required!
Allison Edge: Crystal Days
Now Open
Like the Spice is pleased to present Allison Edge: Crystal Days, a show that features Edge's hyper-nostalgic photo-based works.
Inspired by family road trips and their back-of-the-station-wagon Walkman soundtrack, the paintings and watercolor drawings in this exhibition are from two related bodies of work; one a presentation of personal memories as universal and another presenting cultural memories as personal. Visit the website for more details, as well as a special Internet preview.
Allison Edge was born in Raleigh, NC in 1975. She received her BFA in Painting from the University of Georgia in 1997 and her MFA in Painting from the University of North Carolina at Greensboro in 2000. Edge's work has been exhibited in galleries across the country, including Lincart in San Francisco, Motel in Portland, OR, Lump in Raleigh, NC, and various Brooklyn venues, including Like the Spice, as well as venues in Tokyo and Melbourne. Edge lives and works in Brooklyn, NY.
Nicholas Robinson Gallery is pleased to present an exhibition of new paintings by John Copeland, the artist's first solo show with the gallery.
Entitled, "Old Glory", the show makes both oblique and specific reference to 'American' experiences. In the paintings, various protagonists play out 'typical' scenes that are much more than they first appear.
Many of the source images for Copeland's paintings are culled from vintage magazines and found photos - anonymous snapshots that are invariably innocent or wholesome, but whose neutrality or blandness simultaneously allows the artist to infuse them with the tone of his choosing.
The paintings depict respectable citizens locked in an indeterminate temporal frame - somewhere between the demure idyll of the 1950s, and the liberation of societal strictures in the late 60s and 1970s perhaps. Copeland infiltrates their idealized world with his aggressive but controlled brushwork, showing the unpalatable realities of sex and death that they would otherwise fail to acknowledge.
It is possible to discern characters young and old, enacting the various rituals or rites of passage of everyday life - social gatherings, work and leisure activities, playing, praying - but their faces and expressions are distorted by swirls of heavy expressive impasto, heightening the narrative ambiguity, and giving rise to the suspicion that decency is skin-deep and that subversive forces are at work.
Please contact the gallery for further information: 212-560-9075
Henry Gregg Gallery Proudly Presents The Works of Pedro Antonio Abreu
Henry Gregg Gallery
Proudly Presents
The Works of
Pedro Antonio Abreu
April 18 - May 10, 2009
The Henry Gregg Gallery is very pleased to present a special presentation featuring the photography and paintings of Pedro Abreu. The show will feature six oil paintings and photographs.
Pedro Abreu was born in Samaná in the Dominican Republic. He received his first camera, a Kodak Brownie, at age ten and he immediately began his first project: taking pictures of his family. He earned his BFA at the Cooper Union School of Art and Architecture in New York City.
As an independent artist, Pedro has exhibited in numerous solo and group shows internationally including the Indépendants Salon des Artistes in Paris and Museo Del Barrio.
His project "Ghosts in the Streets" is a series of images accumulated over the years. The photos focus on the interactions between people and their immediate surroundings. His realist paintings give a sense of a moment in time being captured and isolated, much like his photographs.
"Most Impressive is the work of Pedro Abreu, A photographer whose images date from the seventies till present and present and reveal a consistently astute eye for spatial surprises, saturated colors and the hallucinatory aspects of everyday life."
Art Review: New York Times - Roberta Smith
Artist Reception
Thursday Evening - April 23rd 6 - 9 pm
Henry Gregg Gallery
111 Front Street, Suite 226
Brooklyn, New York 11201
On View at Rush Arts/Chelsea and Corridor Gallery/Brooklyn
Image: Keith Anderson, Last Night A DJ Save My Life With A Song, photo 30"x40" 2007
Rush Arts Gallery and Resource Center
The Happening: Kinesics as Art Object
Opening Reception Friday April 17, 6-8pm
On view: April 17- May 30, 2009
In the early 1950s, Ray Birdwhistell-a dancer turned anthropologist-termed Kinesics, the study of the way people communicate through posture, gesture, stance, and movement. Media technologies such as film and photography were employed to document, analyze and outline varying levels of communication. Paralleling the birth of the science of expression was an unprecedented cultural awareness of the body's ability to transform creative production away from the tangible and toward a multi-sensory experience. Pioneered by John Cage, Allan Kaprow and others who sought to highlight the gesture as art form, Happenings-or performances, events or situations-prevailed as an improvisational art form that challenged traditional modes of perception and highlighted body language as a nuanced tool of not only expression but also liberation.
The work of Keith Anderson, Johannes DeYoung, Wayne Hodge, Jessica Lagunas, Regina Rocke, Lerato Shadi and Ezra Wube unites and expands upon these foundations laid more than half a century before and employs media to both document an autobiographical exploration of kinesics and place themselves in position or opposition to global discourses on identity and representation. Nico Wheadon, Associate Curator
Image: Neddy Garde, Miss Subways DECEMBER 1967-JANUARY 1968
Rush Arts Gallery and Resource Center
Fiona Gardner- Project Space
Meet Miss Subways
April 17-May 31, 2009
Meet Miss Subways is an exhibition of photographs from Artist Fiona Gardner's on going Miss Subways Series, in collaboration with writer Amy Zimmer.
Fiona Gardener's carefully constructed photographs of former Miss Subways, use sashes and dramatic lighting, that references the glamour of pageantry, yet stages the shoots in the everyday spaces of the women's lives - their homes or places of work. Amy Zimmer's accompanying interviews of the women elicit their reflections on the meaning of the Miss Subways contest and their subsequent life paths.
Artist Fiona Gardner first became interested in the Miss Subways beauty contest when it was revived for one year in 2004 to celebrate the 100th anniversary of the subway system. Between 1941 and 1976, there were nearly 200 winners of The Miss Subways contest. The winners' photographs and aspirations were displayed on placards that ran in subway cars citywide. The Miss Subways contest was far more diverse than similar beauty contests of the time. Well before Vanessa Williams became Miss America, there were African American, Asian American, Latina American, and foreign-born Miss Subways. These women dreamed of modeling careers or starring in films.The contest was wildly popular in its time -- Leonard Bernstein's 1944 musical "On The Town," featured a "Miss Turnstiles" based on Miss Subways. Through the contest, Mona Freeman, a winner from 1941, was discovered by Howard Hughes and went on to star in over twenty films. However, for most of the hundreds of women who held the title Miss Subways, winning the contest was their one moment of fame.
Fiona Gardner, a New York-based artist/photographer, has exhibited work at Black & White Gallery, Rush Art Gallery and Sean Kelly Gallery. She was featured in the Young American Artists of Today show in Moscow. She has a BFA from the Rhode Island School of Design and an MFA in photography from Columbia where she won the Agnes Martin Award for Outstanding Work.
Amy Zimmer, a staff writer for New York City daily Metro, has contributed to the New York Times, public radio program Pacific Time and won a 2004 Independent Press Association for arts reporting. She won the Sapir Prize for Most Outstanding Essay in Anthropology at Yale, where she received her BA. She has a Masters in Journalism from New York University. Derrick Adams, Curatorial Director
526 West 26th Street #311 New York, New York 10001, 212.691.9552 / 212.691.9304 www.rushartsgallery.org
image: Duke Riley, Photograph of Duke Riley in the Acorn Submarine, C-Print 2007
Corridor Gallery Brooklyn
Seaworthy
On view: April 5- May 30, 2009
Exhibiting artists: Monica Canilao, Valerie Hegarty, Miwa Koizumi, Marie Lorenz, Duke Riley, Deborah SimonJuana Valdes, Brooklyn Surfer, founded by Michael Green, in collaboration with Robert Longo, Brooklyn Tattoo Artists: Robert Bonhomme, Royko Miyahara, Willie Paredes and Adam Suerte.
New York is an archipelago with only about one-eighth of the city on the mainland of North America. From the Hudson River to the beaches of Coney Island, our waters have inspired artists, sailors, fishermen, and even the oldest winter bathing organization in the United States-the venerable Polar Bear Club. The artists in Seaworthy are inspired as well. Working in sculpture, photography, performance, painting, tattoo flash, and collage, they explore the conditions of the coastline, the intricacies of marine animals, and the shipwrecks that can serve as a symbol of the erosion of American values.
To say a vessel is "seaworthy" means that it is fit for a sea voyage. This seems to sum up the work included in this exhibition. Like Duke Riley's hand-built bathysphere, the work included in Seaworthy is sound (smart), fit (well-crafted) and sturdy (well conceived). Seaworthy will be used as a teaching tool for Rush Education Programs and will support the 2008/09 Rush Education Programs theme, New York Archipelago: Exploring All Things Aquatic.
Seaworthy will be used as a teaching tool for Rush Education Programs and will support the 2008/09 Rush Education Programs theme, New York Archipelago: Exploring All Things Aquatic.
Curator: Meridith McNeal, Director of Education
Corridor Gallery Brooklyn
Paul Jansen- Project space
On view: April 5- May 30, 2009
Throughout Paul's career as a painter, he looked to portray the expression of universal subconscious notion through consciously executed works, in which decidedly repetitive forms are transformed into abstract patterns. In the 60's while in art school Paul was greatly influenced by both traditional and contemporary artists Franz Kline, Willem de Kooning, Frank Stella, and Albert Durer, as well as the writings of Carl Jung. This inspired a series of abstract expressionist two dimensional flat geometric paintings. Through the 70's the flat geometrics took a more fluid movement and a three dimensional form with expressionist brush strokes. The 80's culminated with representational forms on various shaped canvases and hospital stretchers to illustrate the contradictions within the materials and images reflecting the current times. In the 90's Paul found he needed to return to the original abstract expressionism from his early career and combined it with a representational form. This took shape into oval egg like objects with three dimensional character and texture captured inside cell like boxes. Within the last two years with lung cancer diagnosis Paul found the unconscious representation had matured into a three dimensional abstract expressionist work
Curator: Nina Ziefvert, Manager of Exhibition Programs
334 Grand Ave. Brooklyn, New York 11238, p.718.230.5002 / f.718.638.0741www.corridorgallerybrooklyn.org
Double Exposure: African Americans Before and Behind the Camera
(Hank Willis Thomas
Smokin’ Joe – “You think you can get me to eat my flapjacks without my Blue Bonnet®? Try it!”
From the series Unbranded, 1978/2006 Lambda print
Courtesy the artist and Charles Guice Contemporary)
There's a great exhibit traveling the country and this is the first of a two part post about the show. This is a show you MUST NOT MISS!!!! It opens tomorrow in Chicago at DePaul University Museum and will continue to travel the country to two additional venues through 2011. It features incredible images of African-Americans shot by African-Americans. Some of my favorite photographers and acquaintances have work in the show along side iconic image makers from the 20th century.
____________________________
Double Exposure: African Americans Before and Behind the Camera
at DePaul Art Museum
DePaul University Art Museum
APRIL 16 - JUNE 14, 2009
Opening reception: April 16, 5-7 p.m.
Double Exposure contrasts photographs from The Amistad Center for Art & Culture’s extensive collection of 19th and early 20th century photographs with selections of contemporary photographs and photo-based art from private and public collections, to create a visual conversation that spans generations. The early photographers featured in the exhibition pushed the boundaries of photography to represent a Black world of hope and dignity. Their collaborations with their African American subjects were “double exposures.” They not only recorded a moment in time, but they also created a body of work that depicted the totality of African American life in the years after slavery.
Through new readings of those images, contemporary photographers celebrate and extend the legacy of their artistic antecedents. With the tools of technology and theory, these artists revise and renegotiate photographic conventions and further expose earlier images of, and ideas about, African Americans. The visual dialogue created by this exhibition links past, present, and future generations of African American artists. This dialogue seeks to help viewers explore the universal nature of memory and photographic representation in relation to their own personal histories.
Courtesy of The Amistad Center for Art & Culture
DePaul University Art Museum
Main and North Galleries
2350 N. Kenmore, Chicago IL 60614
Tel: 773-325-7506
Fax: 773-325-4506
Hours: M-TH 11-5, F 11-7, Sa-Su 12-5
From the north and northwest
From the Kennedy Expressway (I-90/I-94) exit at Fullerton Avenue and turn left (east.) The Lincoln Park campus is approximately two mile from the expressway on Fullerton Avenue at Kenmore Avenue.
From the west
From the Eisenhower Expressway (I-290), turn onto the Kennedy Expressway (I-90/I-94) heading toward Wisconsin. From the Kennedy Expressway (I-90/I-94) exit at Fullerton Avenue and turn right (east.) The Lincoln Park campus is approximately two miles from the expressway on Fullerton Avenue at Kenmore Avenue.
From the south
From the Dan Ryan Expressway (I-90/I-94) continue as the expressway becomes the Kennedy Expressway (I-90/I-94). Exit at Fullerton Avenue and turn right (east.) The Lincoln Park campus is approximately two miles from the expressway on Fullerton Avenue at Kenmore Avenue.
From Lake Shore Drive (north or south)
Exit Lake Shore Drive at Fullerton Avenue. Head west for approximately three miles. The Lincoln Park campus is located on Fullerton Avenue at Kenmore Avenue.
Rapid Transit Lines
Three rapid transit train lines service the Lincoln Park area and DePaul's Lincoln Park campus. Exit at the Fullerton station. After coming down the steps, turn left (west) and walk two blocks to Kenmore Avenue. These are the train lines servicing the Lincoln Park campus:
You may transfer to these lines from all other train lines in most downtown stations.
Buses
Bus routes interconnect throughout the city. Several buses stop very near the Lincoln Park campus. All routes are subject to change by the CTA. You may reach the CTA at 312-836-7000 or 1-800-972-7000 or TDD (Hearing Impaired) 312-836-4949. For more information, visit www.transitchicago.com.
* #74 Fullerton Avenue
* #11 Lincoln Avenue
* #8 Halsted Street
Roberto Saletti Rivelazioni - Revelations in the Dark at The Farmani Gallery
Roberto Saletti
Rivelazioni - Revelations in the Dark
April 16 - May 7, 2009
Opening Reception: Thursday, April 16, 6-8PM
(Brooklyn, NY, April 8, 2009) The Farmani Gallery hosts the first stateside solo show for Italian photographer Roberto Saletti on Thursday, April 16 with an opening reception from 6-8PM. Saletti's work was featured in the Best of Arles group exhibition at the Farmani Gallery in Los Angeles. He also exhibits in Paris and in his hometown of Rome, Italy.
Stretching the nature of the photographic image, Saletti uses a dark room process that pushes his original image and creates greater freedom and expressiveness in his photographic artwork. Saletti commented, "I have learned to make optimal photos from a technical point of view; then I have realized I was being bored and I pushed to search for greater freedom."
Like giving movement to a memory, Saletti's process creates images that take flight from the physical time and place. The static subject is unveiled like clouds or smoke signals to the viewer. "What I try to create is images without time, to give life to statues," Roberto Saletti.
The Farmani Gallery was established in 2003 and has offices in Los Angeles and New York. Its mission is to discover and cultivate emerging artists among the contemporary photography genre. The Farmani Gallery is the brainchild of the Farmani Group, whom among its many charities, businesses and organizations has created The Lucie Awards, The Lucie Foundation,
The International Photography Awards, Px3-Prix De La Photographie Paris and the International Design Awards.
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
Lyons Wier Gallery presents Painting with Wool: New Embroidered Portraits by artist Cayce Zavaglia
CAYCE ZAVAGLIA
March 20, 2009 - April 20, 2009
Lyons Wier Gallery presents Painting with Wool: New Embroidered Portraits by artist Cayce Zavaglia.
Over the past 15 years, Cayce Zavaglia's paintings have focused exclusively on the portraits of friends, family, and fellow artists. The gaze of the portrait toward the viewer has remained constant, as has her search for a narrative based on both faces and facture. The presence of actual paint, however, has slowly been disappearing from her paintings. Initial works on canvas, painted so thickly they often resembled cake frosting, transitioned into works on panel that employed thin layers of medium-laden oil paint.
These works subsequently led to her current series, in which the portraits are sewn with crewel embroidery wool and the use of paint is limited to the background only. From a distance the portraits continue to read as photo-realistic paintings and only a closer inspection reveals the work's true construction.
The birth of her daughter eight years ago prompted her to establish a non-toxic studio. As she removed turpentine, varnish, and oil paint from her studio, she found herself replacing these mediums with materials with which she had little history. Remembering back to a crewel embroidery piece she did as a child gave her the idea to incorporate all of her current interests into portraits of wool. As she tried to re-learn the traditional stitches of crewel embroidery, she realized it was the medium alone that she was wishing to employ. The technique needed to borrow from her study of and experience with drawing and painting. The process needed to develop as she worked from portrait to portrait and experimented with the material.
Working with an established range of wool colors proved frustrating at first because she was unable to mix the colors by hand. Consequently, she created a system of sewing the threads in a sequence that would ultimately give the allusion of a certain color or tone. The direction in which the threads were sewn had to mimic the way lines are layered in a drawing to give the allusion of depth, volume, and form. Over time the stitches have become tighter and more complex but ultimately more evocative of flesh and hair and cloth.
Cayce Zavaglia's work unabashedly nods its head to the tradition of tapestry and her own lifetime exposure to and love of craft. Using wool has allowed her to make more of a long-term commitment to each piece, as well as broaden the dialogue between portrait and process. It is her hope that each work would initiate a journey - one that causes the viewer to advance and retreat as they are introduced to a family portrait and a re-interpretation of traditional embroidery
Lyons Wier Gallery aims to discover and champion contemporary artists who bring fresh interpretative visions to their genre.
Their focus is on Representational artists whose insight to form and color is buttressed by the iconography and conceptual context of the work. It is their intention to continue their stewardship of younger artists and to serve as an important exhibition venue for the development of their vision and careers.
Director: Michael Lyons Wier
Lyons Wier Gallery is located at:
175 Seventh Avenue (at W20th Street)
New York, NY 10011
Tel: 212.242.6220
Email: gallery at lyonswiergallery.com
Gallery Hours: Mon - Sat 11 - 7pm, Sun 12 - 6pm
The nearest subway is the 1/9 train,
exit at 18th St @ 7th Avenue,
or the C/E train, exit at 23rd St @ 8th Avenue
Sloan Fine Art is pleased to present, in the main gallery, Shadowless Summer, new works by Elizabeth McGrath.
Elizabeth McGrath has an uncanny knack for making the dark delightful, the edgy accessible and the cold, hard facts digestible. Influenced by the relationship between the natural world and the detritus of consumer culture, McGrath creates tragic yet endearing creatures from a wide range of materials - including resin, foam, wood, ceramic, cloth, paint and found objects - often layering her narratives by hiding tiny objects and dioramas within her sculptures. Each piece becomes an undeniable statement about the condition of our environment, the ruthlessness of our behavior and the shamefulness of our accountability, cloaked in the charm and beauty of a lovingly crafted - and lovable - object.
Self-taught, McGrath has exhibited extensively in the US and Europe but Shadowless Summer is her first solo exhibition in New York. She lives in Downtown Los Angeles with her husband Morgan Slade and their hairless dogs Blue and King Tut. McGrath and Slade also play together in the band Miss Derringer.
Running concurrently with Shadowless Summer, in the gallery’s project room, is Tasha Kusama’s Prismatic.
With a love for light and sparkle, Tasha Kusama uses crystals, rays, metallic paint and glitter to bring her quirky, colorful narratives to life. A recent graduate of Art Center College of Design, Kusama has previously participated in group shows only, making Prismatic her first opportunity to create and present a cohesive collection of works.
Sloan Fine Art is located at 128 Rivington St., New York, NY. Gallery hours are Wednesday through Sunday, noon to 6pm and by appointment. The closest subway stops are the Delancey/Essex stop on the F, J, M or Z and the Second Ave stop on the F or V.
LeBasse Projects presents "Future Perfect" a solo exhibition by Tessar Lo Opening Reception
LeBasse Projects presents "Future Perfect"
a solo exhibition by Tessar Lo
Opening Reception:
Saturday, April 11th, 7-10p
LeBasse Projects
6023 Washington Blvd.
Culver City, CA 90232
Show Preview
LeBasse Projects is proud to announce "Future Perfect," the first solo exhibition from artist Tessar Lo.
Lo developed his first solo show around the idea that the future is completely unforeseeable. Only in our dreams can the future be a utopia, and while anything is ultimately possible, the reality is we do not know where we will find ourselves.
The paintings often depict these ideas and emotions he cannot easily express in words. While on the surface Lo¹s work often has the feel of an intimate storybook, upon closer inspection we see a deep sense of vulnerability and loneliness. The paintings for his solo exhibition continue to develop these feelings as he states his desire to be an island - alone, not needing to rely or respond to anyone but himself. The series of paintings are also larger in scale than anything Lo has worked on before, partly directed from his fear of being a merely decorative artist and partly from his increased confidence in his craft.
The unique emotion and techniques that make up Lo¹s work have turned him into one of the most buzz-worthy emerging artists working today. With shows booked into 2010 from London to Los Angeles and appearances at Art Basel Miami and in NY on the horizon expect Lo's first solo exhibition to be a significant step in what will undoubtedly by a significant career.
For additional inquiries or preview please contact:
Beau Basse, gallery director
beau@lebasseprojects.com or 310.558.0200
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Eric Fortune "Lost in Light" Opens April 11th
in our Project Room
Opening in conjunction with Tessar Lo is a solo exhibition from award winning illustrator Eric Fortune. Fortune has turned his eye towards a career in contemporary figurative art after spending years as an accomplished illustrator. Fortune will present a series of new paintings in our project room and provide us with his largest body of work to date. Fortune has sold out all of his original artwork to date and looks to continue giving his expanding collector base a reason to line up for new paintings.
Recently honored with the 2009 Jack Gaughan Award for Best Emerging Artist, Fortune has also been honored and showcased in The Society of Illustrators New York, The Society of Illustrators Los Angeles, Spectrum: The Best in Contemporary Fantastic Art, The Blue Cube, Aphrodisia, and Lurzer¹s 200 Best Illustrators World Wide as well as being the Artist Guest of Honor for ConGlomeration 2008.
Spring Exhibitions
April 9 - June 6, 2009
Opening Reception: Thursday, April 9th, 7–9pm
Saul Becker: Nature Preserves
Saul Becker has spent the last two years collecting weeds near his home in industrial Brooklyn. From unlikely sites – gas stations, polluted Newtown Creek, corner vacant lots – Becker finds the most hearty of natural specimens in disregarded and unnatural sites. By developing a system of electroplating each plant sample, he archives what is overlooked, undocumented, and generally stepped on or built over. At Artists Space, Becker will exhibit for the first time his electroplated plants, creating idealized fields of flora from un-idealized sources. In collaboration with sound artist and composer Stephen Vitiello, Becker’s plant specimens incorporate sound, echoing their Brooklyn homes. These objects, long used as a reference for Becker’s landscape paintings of industrial sites, are preserved and unlikely objects of beauty. Fierce underdogs of our city’s industrial past and present, the work reminds us that nature is always just below (or creeping above) the surface.
Ilana Halperin: Physical Geology (slow time)
Ilana Halperin’s work explores an impulse to make physical contact with geological time. While conducting research in the geology department at the Manchester Museum, Halperin discovered a fine collection of lava medallions from Mount Vesuvius—magma pressed between forged steel plates to form an imprint (imagine a waffle iron that makes use of lava instead of pancake batter.) During her research, she also came across a small stone relief sculpture that appeared to be carved out of pure white alabaster. The object was in fact a limestone cast created via the same process that forms stalactites in a cave—the residue of a high velocity calcifying process. These findings have led Halperin to contemplate the notion of physical geological time—fast moving lava flows vs. slow time inside a cave. Halperin’s overarching project is to make a geological time diptych involving new lava medallions and cave casts, allowing slow and fast time to hover alongside each other.
Francesco Simeti: Volatili
For over a decade Francesco Simeti has disrupted the decorative history of wallpaper. Through the composition and collage of images borrowed from news and world media into patterns for domestic interiors, Simeti instigates social commentary and political tension. For his most recent project he has collaborated with nine patients in a long-term care facility for the mentally disabled. Located in San Colombano (northern Italy), Simeti’s collaboration is the fourth of an ongoing series of residencies called “Acrobazie” (Acrobatics). After months of experimentation with the group, Simeti introduced his ongoing interest in the work of American orinthologist John James Audubon, whose paintings and 435 life-size prints in “Birds of America” have become an iconic treasure for naturalists. As a symbol of freedom and mobility, birds have a particularly deep resonance for the patients who suffer a feeling of homelessness and instability due to periodic uprooting and transfer by the Italian government. The final wallpaper is a compilation of their drawings inspired by Audubon’s work and assembled by Simeti. The wallpaper is presented with the individual work of the patients, framed and mounted on a papered wall.
Curated by Joseph del Pesco, Meredith Johnson and Raimundas Malasauskas
Visit Artists Space
38 Greene Street, 3rd Floor
New York, NY 10013
Tues thru Sat 12 - 6 p.m. (during exhibitions only)
Admission is free.
Directions
Artists Space is located in SoHo at 38 Greene Street on the corner of Grand Street, one block north of Canal Street. Take the A/C/E/J/M/N/R/6/9 subway to Canal Street. Parking available at the corner of Broadway and Grand, or Greene and Canal.
Last call! Alex Bag, Synthetic, and Elad Lassry: Three Films are closing in the next two weeks, so don’t miss out.
Meanwhile, Jenny Holzer: Protect Protect is still garnering rave reviews ("6 Stars Out of 6" – Time Out New York). Join us for a Holzer-inspired evening of contemporary poetry on April 17, conceived by poet Kenneth Goldsmith.
And Hopper fans will be happy to know we have a number of his works on view on our 5th floor. The mini-exhibit Hopper in Paris explores how the young artist developed his signature style during three trips across the Atlantic.
We hope to see you at the Whitney!
P.S. The Whitney played host to VH1’s Top 20 Video Countdown this week! Set your DVRs: the show airs this Saturday at 3 AM and 9 AM, Sunday at 8 AM and Tuesday at 9 AM.
Sites (closes May 3)
In the postwar period, the traditional notion of art as a discrete object has changed to include environments, places, and sites. The critic Harold Rosenberg famously described painting as "an arena in which to act," and since the 1950s, artists have continuously expanded on that idea. This exhibition, drawn mainly from the Whitney’s permanent collection, explores how the idea of a site allows for a more experiential role for the spectator as well as the creation of new types of spaces, whose qualities might be unbound, drawn in, or otherwise made pliant by their creators.
Artists Making Photographs: Chamberlain, Rauschenberg, Ruscha, Samaras,Warhol (closes May 17th)
Writing about the ascension of photography as a legitimate art medium, Andy Grundberg offered three simplified narratives: "the history of photographers making art, the history of artists making photographs and the history of hybridity in contemporary art." This Gilman Gallery installation focuses on the category of artists making photographs and features works from the Whitney's collection.
Jenny Holzer Protect Protect (closes May 31)
Jenny Holzer's pioneering approach to language as a carrier of content and her use of nontraditional media and public settings as vehicles for that content make her one of the most interesting and significant artists working today. Alternating between fact and fiction, the public and the private, the universal and the particular, Holzer's work offers an incisive social and psychological portrait of our times.
_____________________________________________
Hours and Information
Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY 10021
General Information: (212) 570-3600
The Museum is closed Thanksgiving Day, Christmas Day, and New Year's Day.
The Museum is open Tuesdays for prearranged school programs. For more information, please contact the Education Department at schoolvisits@whitney.org, (212) 570-7721 or fax (212) 570-7711.
Admission
Adults: $15
Senior citizens (62 and over): $10
Students with valid ID: $10
Members, NYC public school students with valid student ID, and children under 12: Free
One-day pass to the Kaufman Astoria Studios Film & Video Gallery only: $6
G FINE ART presents CHAN CHAO - Six Years Eight Months
Deborah, September 2006, Nationality: Spanish, C-Print, 18 3/4 x 36 in. - Shylla, October 2006, Nationality: Peruvian, C-Print, 18 3/4 x 36 in.
G FINE ART
is pleased to announce
CHAN CHAO
Six Years Eight Months
April 18 – May 23, 2009
Opening reception Saturday April 18, from 6:30 to 8:30 pm
In his first solo show with G Fine Art Chan Chao presents the new series Six Years and Eight Months. His portraits of the women of Santa Monica, a low-security prison in Lima, Peru were featured in the group show Portraits at G Fine Art in 2008. Now, in 2009 Chao presents a more complete set of portraits from the series.
Santa Monica holds corrupt government officials, murderers, drug traffickers and thieves. Of the 1,125 inmates at Santa Monica, 198 are foreigners. All the foreign inmates were caught at the airport, trying to smuggle cocaine out of Peru. Six years and eight months is the standard sentence for drug trafficking and is the working title of the project. Chao describes the project as a collective expression of a group of women who share the same predicament, “Santa Monica is not so much a prison project, but rather a starting point - a subtext and intellectual component for a humanistic portrait project.”
Because these women are not required to wear uniforms and the common areas don’t reflect a typical prison atmosphere Chao is able to capture portraits that relate true emotions and have open possibility for interpretation. With each project he has undertaken Chao makes efforts to avoid reinforcing a stereotype. In his restrained sensibility Chao unveils what initially drew him to these women, their extraordinary experiences and the sensations that come with those experiences.
Chan Chao was born in Kalemyo, Burma in 1966. He and his family left Burma for the United States in 1978. Nazraeli Press has published two books by Chao. “Burma: Something Went Wrong”, a series of Burmese freedom fighters and “Echo” series of female nudes. His Burma portraits were included in the 2002 Whitney Biennial. Chao’s photographs are in the permanent collection of Hirshhorn Museum and Sculpture Garden, The Corcoran Gallery of Art, The Whitney Museum of American Art, San Francisco Museum of Modern Art, L. A. County Museum of Art and LaSalle Bank Photography Collection.
Gallery hours: Tuesday –Saturday 11am - 6pm
G FINE ART
1515 Fourteenth St. NW
Washington, DC 20005
T. 202.462.1601
F. 202.462.1604 www.gfineartdc.com
The New Museum presents The Generational: Younger Than Jesus
The Generational:
Younger Than Jesus at
The New Museum
For “Younger Than Jesus,” the first edition of “The Generational,” the New Museum’s new signature triennial, fifty artists from twenty-five countries will be presented. The only exhibition of its kind in the United States, “The Generational: Younger Than Jesus” will offer a rich, intricate, multidisciplinary exploration of the work being produced by a new generation of artists born after 1976. Known to demographers, marketers, sociologists, and pundits variously as the Millennials, Generation Y, iGeneration, and Generation Me, this age group has yet to be described in any way beyond their habits of consumption. “Younger Than Jesus” will begin to examine the visual culture this generation has created to date.
Inspired by the fact that some of the most influential and enduring gestures in art and history have been made by young people in the early stages of their lives, “Younger Than Jesus” will fill the entire New Museum’s building on the Bowery with approximately 145 works by artists all of whom are under the age of thirty-three years old. Hailing from countries including Algeria, China, Colombia, Germany, India, Lebanon, Poland, Turkey, and Venezuela, many are showing in a museum for the first time. The exhibition will span mediums and encompass painting, drawing, photography, film, animation, performance, installation, dance, Internet-based works, and video games. Major support for the exhibition has been provided by The Andy Warhol Foundation.
Consistent with the New Museum’s thirty-year mission to present new art and new ideas, “The Generational: Younger Than Jesus” will be the first major international museum exhibition devoted exclusively to the generation born around 1980, tapping into the different perspectives, shared preoccupations, and experiences of a constituency that is shaping the contemporary art discourse and prescribing the future of global culture. In the United States, this demographic group is the largest generation to emerge since the Baby Boomers, while in India half the population is less than twenty-five years old; the sheer size of this generation ensures its worldwide influence. By bringing together a wide variety of artists and contextualizing their different approaches, “Younger Than Jesus” will capture the signals of an imminent change, identify stylistic trends that are emerging among a diverse group of creators, and provide the general public with a first in-depth look at how the next generation conceives of our world. Revealing new languages and attitudes, the exhibition will comprise a portrait of the agents of change at the beginning of the twenty-first century.
The exhibition is organized by Lauren Cornell, Director of Rhizome and New Museum Adjunct Curator; Massimiliano Gioni, Director of Special Exhibitions; and Laura Hoptman, Kraus Family Senior Curator.
“The New Museum has always been a platform for the new,” comments Lisa Phillips, Toby Devan Lewis Director. “We have given important early exposure to artists at the beginning of their careers, from Keith Haring to Adrian Piper, and Ana Mendieta to Jeff Koons—artists who subsequently changed the course of art. ‘Younger Than Jesus’ continues the New Museum’s tradition and mission of showing the art of tomorrow today.”
“The artists in ‘Younger Than Jesus’ reflect a preoccupation with our future, but also with history and tradition: Rather than foreswearing their parents, they seem interested in imagining new communities and alternative families,” says Massimiliano Gioni. “Their tactics range from role-playing to recycling, from identity tourism to technological archeology, from an hysterical form of realism to an intimate, micro-emotional art.”
According to Lauren Cornell, “The exhibition presents glimpses of a generation that is incredibly diverse, with artists moving seamlessly across mediums. Instead of radically breaking from the past, these artists draw from a myriad of influences across historical movements and geographies to highlight the intergenerational dynamics that drive contemporary art.”
“During World War II, both Pablo Picasso and Giorgio Morandi were both painting still lifes,” explains Laura Hoptman. “Two artists, belonging to the same generation, were imagining two absolutely different realities emerging from a chaos that encompassed the entire world. We hope that ‘Younger Than Jesus’ will offer a look at our world as reflected through the work of many artists belonging to the same time and yet representing entirely different perspectives on its problems and its beauties.”
New Museum
235 Bowery
New York, NY 10002
212.219.1222
* Wednesday 12-6 PM
* Thursday and Friday 12-9 PM
* Saturday and Sunday 12-6 PM
* Monday and Tuesday closed
* The Museum is closed to the public on Monday and Tuesday, except for pre-scheduled group tours on Tuesday.
* CIT Free Thursday Evenings (from 7 PM to 9 PM). Sponsored by CIT
* General Admission: $12
* Seniors: $10
* Students: $8
* 18 and under: FREE
* Members: FREE
Mike Weiss Gallery presents “Drop Dead, Gorgeous,”
Graham Gillmore / Strike Out on Your Own / 2009 / Acrylic, ink, spray paint, graphite, oil on paper mounted on canvas / 112 x 132 in / GG-028
Mike Weiss Gallery presents “Drop Dead, Gorgeous,” an exhibition of new works by Canadian artist Graham Gillmore on view April 2nd – May 2nd, 2009. Gillmore is widely known for his loosely executed text based imagery which reflects his idiosyncratic observations on society and the people in his own life. For this new body of work Gillmore explores the surfaces of some less familiar media and the psychology of the language which serves as the visual signifier.
Featuring paintings on paper and canvas, Gillmore’s new work is a departure from his lustrous oil and enamel on carved panels. Drawing from such disparate inspiration as a lover’s private letter to her ex, short answer psychological survey evaluations and a vintage edition of Norman Peale’s “The Power of Positive Thinking”, the paintings visibly fracture the language of the text. Broken down into each individual letter, words fall from the tops of large colorful canvases and phrases actualize in black acrylic on stark white paper.
Gillmore gives new meaning and context to the wording in his paintings by extracting sentences from their fundamental sources. He places them in bold, bright block letters on naked paper and atop scribbled journal pages offering a new interpretation of the letters dancing in the foreground.
Graham Gillmore lives and works in both New York City and Winlaw, British Colombia. Gillmore has exhibited in a number of international exhibitions including Learn to Read, 2007 at the Tate Modern, London, England. His work is featured in the Museum of Modern Art’s exhibition “Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection” April 22nd to July 27th.
For further information, please contact Helene Necroto, Director, 212 691 6899 or visit our website www.mikeweissgallery.com
Graham Gillmore / Installation View / Drop Dead, Gorgeous / 2009
Graham Gillmore / With your best interest at heart as always / 2009 / Acrylic on paper / 60 x 44 inches / GG-021
March 28 - April 26, 2009, Madrid, Spain
Access to Life Exhibition
For 25 years, AIDS has ravaged the lives and livelihoods of millions of people. Since the early 1980s, nearly 30 million people have died from AIDS. But over the past few years, a quiet global revolution has enabled millions of people infected by HIV to live healthy lives. Magnum and the Global Fund to Fight AIDS, Tuberculosis, and Malaria sent eight photographers to nine different countries to document the effects of free antiretroviral drug treatment.
In 2007, the Global Fund to Fight AIDS, Tuberculosis and Malaria initiated a joint project with Magnum Photos to graphically document the impact that free antiretroviral drug treatment is having on the lives of millions of people living with AIDS internationally. The AIDS pandemic has had a terrible impact in many parts of the world – but it has been particularly devastating in countries where access to even basic health care is limited. Internationally, the story of AIDS’ terrible toll is better known than the global efforts to drive back the pandemic through treating those already sick and preventing new HIV infections.
In order to capture the complex and far-reaching changes that take place when people faced with death suddenly get a new chance at life, the photographic cooperative Magnum Photos harnessed the talents of some of the best photographers in the world. An international team of eight noted photographers traveled to nine countries to document the transformative effects AIDS treatment has had on 33 individuals and their families. In India, Haiti, Mali, Peru, Russia, Rwanda, South Africa, Swaziland, and Viet Nam, the photographers created visual chronicles that encompassed their subjects’ lives both before and after the start of treatment. The resulting exhibition is a powerful testament to the strength and spirit of each person, of the care and commitment of those around them, and of the lifechanging impact of the drugs—drugs which are available thanks to international funding.
"Based on a True Story": Andrew Sendor at Caren Golden Fine Art
Andrew Sendor, Angelino Masseloni, Artist Unknown, 2014, human being and mixed media, dimensions variable, 2008
oil on linen mounted to panel, 26 x 18 inches
Caren Golden Fine Art is pleased to present "Based on a True Story," Andrew Sendor's third solo exhibition with the gallery. This body of work revolves around an ambitious, self-referential discussion about the practice and history of painting. Each painting features an interior exhibition space in which video art, paintings, photographs and, absurdly, human being as art, reside. Through both his content and the painting processes employed, Sendor considers the historical function of the act of painting -- as a mimetic device, as a means of expression, and as an agent of desire. Sendor’s new paintings speculate as to what would happen if taxidermied humans were put on display as art. Would this act demonstrate a new frontier, or an unmentionable taboo? If this is the last content-based taboo left in the realm of art, then what does a painted representation of the act convey?
Sendor’s work asks why, when nothing presented within its walls is considered too outrageous, the site of a museum remains so sacred. His work investigates these circumstances by depicting the figure as macabre sculptures, presented either on pedestals or in museum display cabinets in the isolation of supposed museum spaces. While Sendor’s painting project is rooted in a world of ideas and difficult questions, his loaded and intense imagery evokes a more visceral reaction from the viewer. In their exquisitely rendered beauty and compositional poise, these paintings thrive on the same attraction-versus-repulsion dynamic that drove the work of such painters as Goya, Gorky and Bacon. In addition to this dichotomy of the senses, Sendor puts forth these sharply socio-psychological dialogues and continues to push the limits of his in-depth involvement with representational painting.
Andrew Sendor’s work has been featured in museum exhibitions including “Phantasmania” at the Kemper Museum of Art in Kansas City, MO, “MAD LOVE” at the Arken Museum of Modern Art in Copenhagen, Denmark, and “XS-Size Matters” at the Hudson Valley Center for Contemporary Art in Peekskill, NY, which traveled to the Knoxville Museum of Art in Knoxville, TN. In addition to having a solo show at Mogadishni Gallery in Copenhagen, Denmark in the Fall of 2007,¬ his work has been presented in “Salon Nouveau” at the Engholm Engelhorn Galerie in Vienna, Austria and in “All Too Human: Young American Painters” at Schuebbe Projects in Dusseldorf, Germany. Sendor’s work has been featured in numerous publications including Art in America, New American Painters, Art Premium and M Magazine. His third solo exhibition with Caren Golden Fine Art, “Based on a True Story,” will be on view in the gallery from April 9 through May 16, 2009.
Chewing Color by Marilyn Minter on MTV's giant screen in Times Square
From April 1 to April 30, At 44 1/2, Creative Time’s presentation of video art on MTV’s outdoor, gilded screen located in the heart of New York City’s Times Square, will showcase three works curated by artist Marilyn Minter, in a program entitled Chewing Color. The films include Patty Chang’s Fan Dance, Kate Gilmore’s Star Bright, Star Might, and Marilyn Minter’s Green Pink Caviar. Capturing the spirit of Minter’s investigation into what she calls “the pathology of glamour,” the work in Chewing Color strikes a delicate balance between beauty and disgust.
See a giant tongue lick goo! See a wild dancer drenched in paint! See an artist break a wall with her face!
At 44½ will play at the top of the hour, every hour, according to the following schedule:
Chewing Color, curated by Marilyn Minter begins April 1, 2009.
Monday-Friday: Each video will be shown at the top of the hour, every hour, in the following rotation: Marilyn Minter, Patty Chang, Kate Gilmore
Saturday-Sunday: All three videos will be shown back to back at 12 pm and 3 pm. All other hours follow the weekday rotation.
Creative Time presents video art At 44 1/2: MTV’s outdoor, gilded, HD screen located in the heart of New York City’s Times Square. The larger-than-life screen is located on Broadway between 44th and 45th Streets, directly across the street from MTV’s offices and studio. This video program is part of Creative Time’s long history of presenting public art in Times Square.
Erik Oost - Pine Barrens
April 4 - May 9, 2009
Opening reception Saturday, April 4, 6-9pm.
Erik Oost, Wetter Wetter, 2009. Oil on linen, 24" X 18".
Erik Oost's newest body of work reflects his unique obsession with encountering, imagining, and interpreting natural phenomena. In these lush and layered abstract paintings, Oost takes cues from naturalists Tom Brown, Jr. and Dick Proenneke, who have both relied on their natural surroundings to survive. Brown, whose controversial story is undocumented, claims to have wandered years at a time in the New Jersey Pine Barrens, subsisting on foraging and hunting. Proenneke spent thirty years alone in the Alaskan wilderness. Brown credits his survival to a patient, peripheral awareness, through which he observes subtle, often useful events and casual connections. Oost links this mode of observation to his own practice of abstract image making.
Oost's imagery gradually accumulates through a cycle of intuitive leaps and calculated interruptions. His starting point may be as simple as a shred of fabric or an experience wandering outdoors. From here, he responds to clues already present in the work until it communicates something both unintended and regenerative. These dense and dark "inhabitable abstractions" result from a desire to transform the intimate into something with a capacity for discovery.
Erik Oost received his MFA from Cranbrook Academy of Art in 2008. His work has been exhibited at Kathleen Cullen Fine Art and Björn Ressle Gallery (New York), Art Detour (Seattle), The Museum of Contemporary Art, Detroit, Forum Gallery (Bloomfield Hills, MI) and Shantou University in Guangdong, China. This is his first solo exhibition.
6029 Washington Boulevard, Culver City, CA 90232
T 310 838 7400 F 310 838 7474 gallery@kinkeadcontemporary.com
Ivan Binet (Québec) and Alain Lefort (Montréal) at Galerie Orange
Galerie Orange is proud to present the recent works of two Québec photographers, Ivan Binet (Québec) and Alain Lefort (Montréal), exhibiting two series of works brought together under the title Paysages Polyphoniques.
In his series entitled Répliques (d’après Krieghoff), Ivan Binet playfully re-examines locations in the greater region of Québec depicted by the canadian painter Cornelius Krieghoff in the 20th century. In addition to an obvious desire to actualize the cliché images of the painter synonymous with this genre of panoramic depictions, Binet is also interested in the notion of landscape as a glorification and critic of an unwavering culture. Subtly inserting visual distortions that are almost impossible to perceive, he masterfully amalgates and constructs different points of view.
Following in the tradition of Land Art and Arte Povera photography (Giuseppe Penone, Richard Long and Hiroshi Sugimoto) and with a renewed technical approach, Alain Lefort explores the history of places and the imprint of life on its environment. The series Ce qu’un arbre a dit is part of the photographer’s artistic approach to which he is sensitive to natural phenomenons. He imparts not only the representation of landscape but also the perception of reality. With the help of a soundgraph software transferring the recording of a video extract, he juxtaposes the imprint to the corresponding image. The breathtaking result fuses image and sound as if the two perceptions were one.
Heures d'ouverture | Opening hours
Lundi au vendredi: 10h à 18h | Samedi et dimanche: 11h à 18h
Monday to Friday: 10 am – 6 pm | Saturday and Sunday: 11 am – 6 pm
galerie orange, 81 rue st-paul est montréal qc h2y 3r1 514.396.6670 www.galerieorange.com
Louise Bourgeois
February 26, 2009 to May 17, 2009
"The Hirshhorn presents a major survey of the works of Louise Bourgeois, the French-born artist who emigrated to the United States in 1938. Inspired by ideas and styles from diverse avant-garde art movements in Europe and America—notably Surrealism, primitivism, psychoanalysis, conceptualism and feminism—Bourgeois forged a highly personal amalgam of images and materials. Personal memories play a central role in her works, yet the sculptures themselves fascinate viewers who bring their own emotional associations.
The exhibition opens with Bourgeois' early drawings and paintings, followed by the sculptural series of "Personages," starkly abstracted standing figures created in the aftermath of World War II. Subsequent sculptures hang from the ceiling ("Spiral Woman," "Arch of Hysteria," "Janus" and "Legs"), attach to walls ("Torso Self-Portrait" and "Mamelles"), and are secreted in dramatic enclosures ("Destruction of the Father").
The exhibited works encompass a startling array of images and materials, ranging from traditional plaster, bronze, marble and wood to plastic, resin, latex, wax, steel fences, toy doll fragments, electric lights, fabrics, glass, rubber and found objects. The highlight of the exhibition is a stellar array of Bourgeois' rarely seen masterpieces: the large structured environments known as the "Cell" series, including "Cell (Choisy)," the autobiographical duo "Red Room (Parents)" and "Red Room (Child)," and the nightmarish "Spider" cell. The exhibition is accompanied by a 320-page catalog.
Louise Bourgeois was organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution in association with Tate Modern, London and Centre Pompidou, Paris.
Louise Bourgeois at the Hirshhorn Museum is sponsored by Altria Group, Inc.
A CHANGING RATIO: PAINTING AND SCULPTURE FROM THE COLLECTION at MOCA in LA
Referencing the title of a 1967 essay by Lucy Lippard, A Changing Ratio: Painting and Sculpture from the Collection, explores the trajectory linking non-representational painting of the early 1950s to the sculptural innovations of the late 1960s. Painting, no longer the dictator of production during these years, became secondary as sculpture found its long-sought independence and began to wield significant influence over art production. Art objects became increasingly physical, acting as vehicles for the advancement of both color and form. Jackson Pollock’s large-scale abstract expressionist works exemplify his interest in the objecthood of painting. With the total abandonment of the easel in exchange for working on the floor, his painting process became a very physical act of laying paint upon a dimensional surface. Mark Rothko’s monumental color field paintings—with their frameless, deep-set canvases and worked edges—possess an undeniable dimensionality. Robert Rauschenberg’s Combines act as a bridge between painting and sculpture, incorporating three-dimensional found objects within wall-hung painted surfaces. In sculpture, John Chamberlain introduced the use of new materials such as urethane foam, to render a soft version of his own painted and chromium-plated steel objects from the same era. Experimenting with similar materials, but to a very different end, Lynda Benglis created poured floor works with Polyurethane foam and pigment rendering beautiful, natural forms by way of physical action and gravity. And Carl Andre’s work represented in this exhibition by 8 Blocks and Stones takes to the floor where it runs along the earth in an active rejection of sculpture’s traditional preoccupation with height. Curated by MOCA Assistant Curator Rebecca Morse, A Changing Ratio includes the work of Lynda Benglis, Donald Judd, Franz Kline, Roy Lichtenstein, Robert Morris, Claes Oldenburg, Jackson Pollock, Robert Rauschenberg, Mark Rothko, and Andy Warhol, among others.
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Free Thursday Evenings:
Admission to MOCA Grand Avenue is free every Thursday, 5–8pm, courtesy of Wells Fargo.
PRIMARY FORMS: ILLUMINATED AND OPAQUE at Museum of Contemporary Art in San Diego
PRIMARY FORMS: ILLUMINATED AND OPAQUE
MCASD DOWNTOWN, 1001 KETTNER
Opens March 15, 2009
Primary Forms: Illuminated and Opaque features Minimalist and Post-Minimalist works from the MCASD collection.
As squares and cubes are the basis of the modular sculpture by Sol LeWitt, so are circles and spheres the foundation for Keith Sonnier’s 1970s incandescent light reliefs that explore this medium’s reflection and diffusion. Primary forms also echo in Stephen Antonakos’ staked neon light sculpture, as well as in the hanging neon pieces of Las Vegas-based Pasha Rafat—an artist of a later generation whose work is indebted to both the rigor of LeWitt’s form and to Antonakos' use of neon to inform and articulate space.
Two recent acquisitions of theatrical light and glass pane wall reliefs by Sonnier, exhibited for the first time, are presented with another work, their equivalent in neon. A light box by Chilean artist Alfredo Jaar utilizes the same shapes—the square and circle—but now as part of a documentary piece that remains a beautiful exploration of luminosity through colored film. A two-channel video by the Mexico City-based British artist Melanie Smith completes the exhibition’s lighthearted meditation on formal variation, revealing the sheer labor and exertion behind such pure manifestations of light and matter.
MCASD Downtown—Jacobs & Copley Buildings and 1001 Kettner
1100 & 1001 Kettner Blvd. (between Broadway and B Street)
858 454 3541
San Diego, CA 92101
Fully handicapped-accessible
New Hours Effective February 1
11 AM - 5 PM Thursday* through Tuesday
11 AM - 7 PM Third Thursday of the Month
Closed Wednesday
Admission
General Admission $10
Military/Seniors $5
25 and under Free
MCASD Members Free
Admission is valid for 7 days at all MCASD locations.
25 and under free is generously supported by Qualcomm.
Free Museum admission Third Thursday from 5 to 7 PM.
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Cerca Series: Javier Ramírez Limón
MCASD LA JOLLA
JANUARY 18 THROUGH MAY 10, 2009
Tijuana-based photographer Javier Ramírez Limón mines the ground between photography as straight journalistic document and as a source for conceptual and poetic interrogation. He attains this through breaks and alterations in the image’s representational façade that take various forms: textual application, digital manipulation and, as for this Cerca Series, the pairing of two independent bodies of work to create a third.
The exhibition will present two straight-photographic series that document different moments in the process of migration and adaptation of Mexican communities in the Southern United States. Ramírez Limón’s color portraits in the series Mexican Quinceañera capture central characters in real festivities celebrating the 15th-birthday of adolescent women living in San Diego County—the equivalent to “Sweet 16” parties in the United States. These images are brought together with black-and-white landscape photos taken in an area of the Sonoran desert known as Altar—a remote and dangerous region where illegal migrants and drugs are smuggled north.
Ramírez Limón conceptualizes these pairings as a form of infiltration of the social and ethnographic content of one series into the other that makes the new work at once more informative and also more open to interpretation. The landscapes infiltrate or seep into the cultural discourse of the Mexican Quinceañera series, becoming a backdrop to that celebration and its characters, offering a shorthand social history of a community.
Cerca Series: Javier Ramírez Limón is sponsored by The Frame Maker. The exhibition is made possible by a grant from the LLWW Foundation and gifts to MCASD's Annual Fund.
MCASD La Jolla
700 Prospect Street La Jolla, CA 92037-4291
858 454 3541 (24-hour recorded information)
Fax: 858 454 6985
Fully handicapped-accessible
New Hours Effective February 1
11 AM - 5 PM Thursday* through Tuesday
11 AM - 7 PM Third Thursday of the Month
Closed Wednesday
Admission
General Admission $10
Military/Seniors $5
25 and under Free
MCASD Members Free
Admission is valid for 7 days at all MCASD locations.
25 and under free is generously supported by Qualcomm.
Free Museum admission Third Thursday from 5 to 7 PM.
Directions
Get Directions( Mapquest)
Guided Tours
Free public tours are available at all MCASD locations on the third Thursday of the month at 6 PM and weekends at 2 PM. To book a private guided tour, please contact the Education Department at 858 454 3541 x151 or e-mail education@mcasd.org. (Please remember to book your tour at least three weeks in advance.)
Museum Cafe
Try the Cafe for lunch or an early supper before a film or performance. Reservations are not required.
Museum Cafe Hours:
Monday - Friday 11 AM - 3 PM
Saturday and Sunday 9 AM - 3 PM
Collected: Propositions on the Permanent Collection at The Studio Museum in Harlem
Collected. Propositions on the Permanent Collection presents fourteen takes on the permanent collection of The Studio Museum in Harlem. This set of exhibitions, which includes over two hundred works in a wide range of media, is intended to give multiple perspectives and views on the art of which this Museum is so proud to be the guardian. While a chronological approach allows us to understand how art develops over time and a thematic one helps us to see the relationships between artists, this set of exhibitions takes, in some cases, idiosyncratic approaches to investigating, presenting and analyzing the works of art that the Museum has collected over the last forty years.
Founded in 1968, the Studio Museum began with a mission to present the work of African-American artists and artifacts of the African diaspora. In the Museum’s early history the mandate to collect was strong, with the idea that for the Studio Museum to have a place in the museum world it had to establish a permanent collection. The Museum was very fortunate to have the vision of the founding directors and curators, as well as the generosity of many artists and donors, with which to begin a collection that documents the achievements of artists of African descent.
Over the years there has also been a strategic focus on acquiring works by artists in our exhibitions and from our Artist-in-Residence program. Collected is significant because it charts this history of the Museum. It is an important record of our mission, from New Additions: Recently Acquired Works on Paper, which takes a sweeping look at prints, photographs, collages and drawings new to our collection; to A Family Affair, which looks at the conscious and coincidental relationships between artists who share not only love of art, but also family bonds; to the Highlight sections, each of which focuses on a singular artist or work of art, allowing an in-depth investigation of its subject and how the work relates to the collection.
Organized by the curatorial team, Collected gives us an opportunity for reflection on the great treasures that we steward, and we hope it will prompt a wonderful discussion about art made now and history as seen through the works. Also, it is always wonderful to present works that are not permanently on view. We hope that long-time friends of the Museum will see some old favorites. And we hope that those new to the Museum will see works that will make you want to continue to visit in the years to come. Throughout the Museum’s history we have proudly shown the collection and have been honored to loan works around the country and the world. We are thrilled that at this moment we can highlight our collection and prompt a new era of exploration and presentation.
Jason Blount and Doug Hansen uRbanArt and pHoTograPhy at H&F Fine Arts
Jason Blount and Doug Hansen
uRbanArt and pHoTograPhy at H&F Fine Arts
Opening Reception
Saturday, April 4, 2009 5-8PM
Live Paintings with Jason from 5-8
Exhibition: April 4 - April 25, 2009
Both artists explore their environment by using very distinct and different tools...paintbrush, paint, pen, ink, and a camera. Jason Blount is an hot emerging artist from Prince Georges county and is following in the footsteps of his artist father, Willie Blount, and guided by God. He is only 27 years young and has already founded an Urban contemporary art company. Jason's creative influences are God, his family, music, and foreign cultures. Jason believes God will transform lives through this unique ministry, and that his art will be His light in dark place.
Doug Hansen has been shooting for over 25 years. Initally as a local photojournalist and presenly a bio-medical photographer. He has only recently started capturing urban abstract photos of Baltimore. Doug is influenced by painter Edward Hopper and photographers John Gossage, Aaron Suskind, Robert Adams, and Lewis Baltz. Doug rides his bicycle almost daily as an easy way to access the abstract shots that he captures and we unknowingly drive by everyday without ever noticing.
GALLERY HOURS: Thurs.-Fri. 11am-7pm, Sat. 10am-5pm, Sun. 11am-3pm
www.hffinearts.com
Gallery number 301-887-0080
H&F Fine Arts, 3311 Rhode Island Ave., Mt. Rainier, MD 20712
Kalup Linzy: If it Don’t Fit at The Studio Museum in Harlem
Kalup Linzy: If it Don’t Fit is the first museum survey of the artist’s work, and includes approximately twenty videos made over the last seven years, a drawing suite and a one-night acoustic performance. From his original take on the soap opera and family drama to his foul-mouthed music videos and filmic shorts, this compilation tracks the artist’s range and cast of characters. The title, If it Don’t Fit, is appropriated from a song Linzy used in a recent video, and evokes his exploration of the emotional realities of aspiration, disappointment, sexuality and belonging.
Linzy first presented his motley crew of characters at the Studio Museum in African Queen (2005), and then again in Frequency (2005), a group exhibition of emerging artists. Since then, he has continued to draw on the formal qualities of a variety of American performance genres: the thorny humor of minstrelsy and sketch comedy; the innuendo of prewar blues and hokum; the hyperbole of early cinema and soap opera; and the slickness of popular culture, house music and the gay ball and club scenes.
The video component of If it Don’t Fit is organized into three hour-long programs, on view throughout the duration of the exhibition. Each highlights a recurring theme in Linzy’s work. Taking its point of departure from the artist’s ongoing negotiation of love, longing and loss, The Pursuit of Happyness features both narrative and music videos. Da Churen brings together works from the artist’s iconic “Churen” (2003-05) series, which traces a set of family archetypes, narrated over a series of phone calls. Finally, Ride to Da (Art) Club juxtaposes videos that self-reflexively take on issues of ambition and belonging in the contemporary art world as well as the pop music and club scene.
Carrie Secrist Gallery
835 W. Washington Blvd.
312 491 0917
T-Fr, 10:30AM-6PM
Sat, 11AM-6PM
Through April 25
Carrie Secrist Gallery is pleased to announce the first solo exhibition of paintings by Dana DeGiulio.
DeGiulio's abstract paintings oscillate between being gestural and restrained, quiet and strident. The mark making exhibited in the paintings conveys a tension that resides between order and chaos. Two circular forms struggle to absorb the canvas, seemingly fighting each other for space. Beneath the black and white strokes that engage the majority of the canvas, are subdued shades of blues, greens and grays that hide as if they are not to be noticed. There is no spotlight, no central figure begging to be noticed, instead there is an elegance to the paintings that singles out the canvas as a whole. Parts of the canvas are occupied by aggressive strokes while other areas are left stark white, creating a tension among what is occupied and what is left alone.
That House Is On Fire is a statement of fact, but one generally said with an implied sense of emergency. This implication of direness or urgency sets the stage for a shared purpose. For the moment right after "That House Is On Fire" is said, identity is irrelevant, differences are resolved and only species and safety mater. We are suddenly, if only momentarily, on the same side. This moment of shared experience, when something is happening and is observed is a moment that DeGiulio wants to recreate in her paintings. The paintings occupy a space that is struggling to be heard, a rage quietly brewing, a story wanting to be told, but not necessarily understood.
Dana DeGiulio is a recent graduate of the School of The Art Institute of Chicago, where she now teaches in the painting and drawing department. DeGiulio has shown at the Contemporary Art Workshop, Chicago; Chicago Roots and Culture Contemporary Art Center and this May will be in a show in Copenhagen curated by Marc. R. Leblanc, entitled A Wreath of Poppies.
In the second gallery, curated by Angela Samuels-Bryant, are paintings by Jiwon Yoon, a second year graduate student at The School of the Art Institute of Chicago. Corporeal Universe is a group of paintings that showcase Yoon's interest in the impermeable substances of things, which often translate as being grotesque and visceral. The subject matter of her paintings is derived from an examination of her own body. The process of intimacy and distancing puts the paintings into a place where it becomes neither about painting nor about the body, but about the dialogue between them.
For further information please contact Natalie Popovic, Gallery Manager, at 312.491.0917.
Andrew Smith (1978) is one of Utah's most promising artists. His intricate sculptures, which meld industrial motifs with organic elements, present works of fascination and fancy. His art seems to be a rediscovery of life's simplicities, involving elements such as light, water, sound and movement. Smith has built a reputation on creating objects of curiosity, including many Rolling Ball Sculptures, the largest of which measured over 40 feet in length. Yet he retains the ability to create things in a small scale as well. It is this size range that has exposed Andrew to so many different types of projects and experiences in his career as and artist. Some of his works include elements such as a series of water cylinders with pod like shapes rising and falling as they fill with air, or sculptures that launch smoke rings across the room, or even a tornado in a can. People young and old seem to be continuously drawn to his work which has been the subject of numerous newspaper articles and media reports.
Smith was born and raised in Highland, Utah, the son of Dennis Smith, a well-known and highly respected sculptor and painter. Growing up in this environment gave him a wide exposure to the world of art. After attending art classes at Utah Valley State College, Andrew began to seriously pursue his interest in sculpture. Dennis describes his son's work as a "celebration of curiosity." As Andrew explains, "I like to incorporate moving elements into my sculptures, something that will draw people in and make them wonder how it works. I want to encourage people to step into a new frame of mind where they can see forms and shapes in places they normally wouldn't."
Xanadu Gallery
7039 E. Main St. #101 - Scottsdale, AZ 85251 (Map)
480.368.9929 - 866.483.1306
Thursday, April 2 at 7pm
Holly Miranda and
Scott Matthew
(Doors open at 6 pm)
http://www.myspace.com/hollymiranda
On Thursday, April 2 at 7 pm, Holly Miranda and Scott Matthew will present a free joint concert at Smack Mellon, as part of the gallery's Press Play First Thursdays concert series.
Doors open at 6 pm for a free beer tasting sponsored by Kelso of Brooklyn.
"Born in Detroit and raised somewhere between Michigan and Tennessee. Holly Miranda was never the kind of girl to do one thing at a time. Singer and guitarist for "experimental/indie/rock" band, The Jealous Girlfriends, she also performs as a solo act. A trained pianist and self-taught guitarist, she formed TJG in the autumn of 2003.
Holly is due to release her first "official" record as a solo artist this fall. Produced by Dave Sitek (TV On The Radio) and Katrina Ford (Celebration), 'The Magicians Private Library' combines an eclectic array of influences from Jeff Buckley to Tool via Edith Piaf and Nina Simone. This record promises to be a diamond in the rough for 2009."
Rivelazioni - Revelations in the Dark Photographic Imagery by: Roberto Saletti
Rivelazioni - Revelations in the Dark
Photographic Imagery by: Roberto Saletti
April 16 - May 7, 2009
Opening Reception: Thursday, April 16, 2009, 6-8PM
(Brooklyn, NY, March 25, 2009) Italian artist Roberto Saletti conjures images from a time and space less defined and more like enigmatic memories with his "partial revelation" darkroom techniques.
Saletti's photographic explorations go beyond what is captured through his camera lens and begins with the creative work in the darkroom. Stretching the nature of the photographic image, Saletti uses a process of painting developing solution onto the white photograph paper with a rag before exposing the image onto the paper. This technique pushes his original image and creates greater freedom and expressiveness in Saletti's photographic artwork. Saletti commented, "I have learned to make optimal photos from a technical point of view; then I have realized I was being bored and I pushed to search for greater freedom."
Like giving movement to a memory, Saletti technique creates images that take flight from the physical time and place where the subject was photographed and become ethereal and haunting. The static subject photographed through the artist lens is stretched to become a dreamlike representation of the subject, unveiling like clouds or smoke signals to the viewer. "What I try to create is images without time, to give life to statues," Roberto Saletti.
Mr. Saletti's artworks will be exhibited at the Farmani Gallery beginning on April 16, 2009 with an opening reception from 6-8PM.
The Farmani Gallery was established in 2003 and has offices in Los Angeles and New York. Its mission is to discover and cultivate emerging artists among the contemporary photography genre. The Farmani Gallery is the brainchild of the Farmani Group, whom among its many charities, businesses and organizations has created The Lucie Awards, The Lucie Foundation,
The International Photography Awards, Px3-Prix De La Photographie Paris and the International Design Awards.
111 Front St., Suite 212, Brooklyn, NY 11201 • 718-578-4478 • www.farmanigallery.com
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
DCKT Contemporary is pleased to present WILLIAM SWANSON's second New York solo exhibition. In SWANSON's acrylic on wood panel paintings architecture attempts to hold rein in a tumultuous battle with natural forces. Each presents a fictitious setting and fuses elements of nature, technology and architecture.
Holding to a belief that disaster can be a transformative process, SWANSON's spaces play with end into beginning as in all natural cycles. Floods of light and debris spin in and out of view in unraveled space. Remnants of buildings, infrastructure and dilapidated structures are charted out in a survey of the damage. These are potential scenes of disaster.
SWANSON's palette is a mix of deep blues, blacks and grays with contrasting hot pinks and warm acrid citrus. The paint alternates between loose floods of blended pools, streaks and harder edge flat planes of solid color mass. Concentrated masses of form gather in piles of teetering planes and surfaces.
In Trace Dispersal, a black field is bisected by crystalline planes of color. Outcroppings of rock drift like remains of a larger development; the scraps of earth barely provide footing for temporary structures, pipes and other human networks. In another new painting, a wide expanse of glowing space floods an indeterminate horizon. Structures such as banks of computer monitors and display units stand without any use or users; a collective energy of information is swelling in the atmosphere.
SWANSON lives and works in Oakland, CA. Recent solo exhibitions include the Marx & Zavattero (San Francisco) and Walter Maciel Gallery (Los Angeles). SWANSON was included in the recent group exhibition Future Tense: Reshaping the Landscape at the Neuberger Museum of Art (Purchase, NY).
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.
The Robert and Joyce Menschel Photography Gallery, third floor
In August of 2004 Paul Graham (British, b. 1956), who had moved from London to New York in 2002, set out on the first of many trips around the United States to see and photograph the country for himself. This exhibition has been selected from the resulting series of photographic works, which Graham published in twelve volumes as a shimmer of possibility (steidlMACK, 2007). Each simple but structurally inventive series includes varying numbers of pictures, from one to more than ten, and provides a vivid glimpse into unheralded moments in the lives of individuals Graham encountered on his travels. A series showing a woman eating a take-out meal or a man waiting at a bus stop transcends its nominal subjects and describes aspects of life that, while ordinary, are imbued by the photographer with affection and curiosity. a shimmer of possibility is a call for attention to the brief, indefinite intervals of life. As Graham has said, "Perhaps instead of standing at the river's edge scooping out water, it's better to be in the current itself, to watch how the river comes up to you, flows smoothly around your presence, and reforms on the other side like you were never there."
Mike Weiss Gallery presents “Drop Dead, Gorgeous,”
(Graham Gillmore / Studio View / 2009)
Mike Weiss Gallery presents “Drop Dead, Gorgeous,” an exhibition of new work by Canadian artist Graham Gillmore on view April 2nd – May 2nd, 2009. Gillmore is widely know for his loosely executed text based imagery which reflect his idiosyncratic observations on society and the people in his own life. For this new body of work Gillmore explores the surfaces of some less familiar media and the psychology of the language which serves at the visual signifier.
Featuring paintings on paper and canvas, Gillmore’s new work is a departure from his lustrous oil and enamel on carved panels. Drawing from such disparate inspiration as a lover’s private letter to her ex, short answer psychological survey evaluations and a vintage edition of Norman Peale’s “The Power of Positive Thinking”, the paintings visibly fracture the language of the text. Broken down into each individual letter, words fall from the tops of large colorful canvases and phrases actualize in black acrylic on stark white paper.
Gillmore gives new meaning and context to the wording in his paintings by extracting sentences from their fundamental sources. He places them in bold, bright block letters on naked paper and atop scribbled journal pages offering a new interpretation of the letters dancing in the foreground.
Graham Gillmore lives and works in both New York City and Winlaw, British Colombia. Gillmore has exhibited in a number of international exhibitions including Learn to Read, 2007 at the Tate Modern, London, England. His work is featured in the Museum of Modern Art’s exhibition “Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection” April 22nd to July 27th.
For further information, please contact Helene Necroto, Directorm, 212 691 6899 or visit our website www.mikeweissgallery.com
Jenny Holzer's pioneering approach to language as a carrier of content and her use of nontraditional media and public settings as vehicles for that content make her one of the most interesting and significant artists working today. Alternating between fact and fiction, the public and the private, the universal and the particular, Holzer's work offers an incisive social and psychological portrait of our times. PROTECT PROTECT centers on Holzer's work since the 1990s and is the artist's most comprehensive exhibition in the United
Hours and Information
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Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY 10021
General Information: (212) 570-3600
The Museum is closed Thanksgiving Day, Christmas Day, and New Year's Day.
The Museum is open Tuesdays for prearranged school programs. For more information, please contact the Education Department at schoolvisits@whitney.org, (212) 570-7721 or fax (212) 570-7711.
Admission
Adults: $15
Senior citizens (62 and over): $10
Students with valid ID: $10
Members, NYC public school students with valid student ID, and children under 12: Free
One-day pass to the Kaufman Astoria Studios Film & Video Gallery only: $6
March 19 - April 18, 2009
Opening Reception: Thursday, March 19, 2009, 6-8pm
Jack Shainman Gallery is pleased to announce the opening of Survey, Jane Alexander's first solo exhibition at the gallery of photomontage prints. Alexander works in a range of mediums, including sculpture, installation, photography and video.
In these photomontage prints she has composed images of her hybrid sculptures into African environments, images that make reference to land as a resource and site of human and animal presence in the context of social manipulation, migration, conflict and security. Using her own photographs to compose images from multiple components through the medium of Photoshop, Alexander has considered intervention and change in particular locations such as an actual south western diamond field; an estuary which has been sparsely settled since prehistoric times (Verlorenvlei); a central reserve for wild animals; and the North African frontier of Melilla, separating Africa from Europe.
Jane Alexander was born in Johannesburg, South Africa in 1959 where she earned her Master of Arts in Fine Art in 1988 from the University of Witwatersrand. She lives and works in Cape Town and is a Professor in the Michaelis School of Fine Art at the University of Cape Town. She has exhibited her work internationally and has been included in numerous biennale's including Meeting Point, The 10th edition of the Havana Biennial opening in March 2009; Re-Thinking Dissent: Fourth Gothenburg Biennial, Gothenburg Sweden, 2007; How to live together: 27th Sao Paulo Biennale, 2006; and Identita e Alterita. Venice Biennial, Palazzo Grassi, 1995. Her work was included in The Short Century: Independence and Liberation Movements in Africa 1945 - 1994, curated by Okwui Enwezor, and Africa Remix curated by Simon Njami. A solo exhibition of her work entitled Being Human is on view at the Galilee Chapel, Durham until March 22nd.
For further information or press photography please contact the gallery at (212) 645-1701 or info@jackshainman.com.
Opening Reception
Thursday, March 19, 2009
6 - 8 pm
Collette Blanchard Gallery is pleased to present Héroe, Oscar Cueto's first exhibition with the gallery. Featuring a light table with drawings, video, and sculpture, Héroe will be on view from March 18th through April 29th.
The works Cueto has created for this upcoming exhibition incorporate restructured world maps. The drawings focus on the universal connection of the contemporary art world and the interactions of nations that have resulted in poignant conflict. Inspired by the actions of global citizens, the artist renders realigned continents in commenting upon relationships between persons inhabiting these land masses. In some drawings, recognizable territories intersect in overlapping patterns to disguise their original form with a simple red stain marking the penetration of one territory into another. Other drawings simply show a world view with some or all of the leading countries removed as if they never existed. In one drawing, the eastern point of Europe pierces the center of the United States; in another, Europe is rotated and annexed by western Canada. At once, these renderings reference the geography of Pangea and look forward to the realignment of today's land masses as they may exist in the distant future. Navigating between these extremes, the artist's positioning of the continents reflects his thoughts of monetary and political power, which supersede mere shifts in geographical landscape. Europe, Asia, and the Americas vacillate between recognizable continents and fetish objects, abstracted figures, and/or crows as their orientation and placement vary.
Within the installation, hand sewn flags are strategically placed with black coverings on each side to conceal the instant recognition of the country it represents. The only indications of each flag are sporadically placed holes on the surface and the edge of the pole where colors and patterns are carefully discerned. Cueto furthers his rendering of continental forms with two silent videos. The video animations are made from hand drawn frame to frame images on a digital notepad putting to motion the line of the corresponding drawings. In one video, Cueto portrays a series of moving maps. Dramatically reducing the scale of the continents, the artist, in a second video, contextualizes land masses as musical paraphernalia, as a rock band uses cut out maps as its instruments. A series of unframed gouache drawings entitled Brujeria/Witchcraft will accompany the other works in the show. Through his work, Cueto, without overbearing specificity, whimsically engages prescient and often painful happenings, which have continually defined human experience.
Oscar Cueto was born in Mexico City, where he currently lives and works. Cueto received the Youth Creators Grant (CONACULTA) in 2007 and his work was recently acquired by the Jumex Collection. He previously showed at the Festival la Mar de la Música in Cartagena, Spain and he has been included in solo and group exhibitions throughout Mexico. Cueto has been the subject of numerous solo exhibitions internationally, has shown regularly in Mexico City for the past five years, and has also shown with the Walter Maciel Gallery. In conjunction with the Collette Blanchard exhibit, Cueto will be having a similar show on the West Coast at the Walter Maciel Gallery in Los Angeles.
For more information please contact the gallery at 917.639.3912
Art Opening - GORDON CHEUNG - The Promised Land at Jack Shainman Gallery in New York
GORDON CHEUNG
The Promised Land
March 19 - April 18, 2009
Opening Reception: Thursday, March 19, 2009, 6-8pm
Promised Land
-noun
1. Heaven.
2. Canaan, the land promised by God to Abraham and his descendants. Gen. 12:7.
3. (often lowercase) a place or situation believed to hold ultimate happiness.
Dictionary.com
Jack Shainman is pleased to present British born Chinese artist Gordon Cheung's first solo gallery show in the USA. His dual background has fuelled his interest in paradoxically belonging and not to both cultures, a condition that led him to focus his work on existence in the artificial landscape of globalization. For Cheung we are all in an in-between state.
Using Financial Times stock listings as a ground in his multi-media paintings Cheung depicts spaces inspired by 19th-century Romantic landscape paintings and Science Fiction. The listings are a metaphor for the dominant global economic ideology that maps the torrential streams of capital around the world.. Cheung's paintings are 'virtual-reality environments' where 'faith' in the numbers of the stock exchange to deliver a 'Promised Land' dictates our lives. An overarching theme of his work is of the 'techno-sublime'; instead of an overwhelming experience of nature bringing us closer to God, the visual rhetoric of the sublime has exchanged to omnipotent information which overwhelms us with an artificial landscape.
Cheung based the show around the romantic myth of the pioneering spirit and the ideas of manifest destiny. He is fascinated by the landscape genre where there is an undercurrent of propaganda of taking what God has 'given' you, never mind the blood soaking along the way - Beauty, Shock and Awe; War on Terror and political gain. Paintings of Rodeo riders become both Romantic icons of conquest and allegories for man's relationship with the environment. Bull riders, contemporary versions of the Minotaur, combine man and bull to serve as an analogy for the financial bull market and extreme corporate being.
Cheung's Technicolor palette scorches the sentimental sepia and flesh tones of the stock listings and creates luminosity within the work. His colors are toxic with a psychedelic and hallucinatory vision referencing the counter-cultural movement, a neon glare, a nuclear sunset, a drug induced vision or even a religious heavenly light. They are artificially luminous, a metaphor perhaps for a techno-utopian vision; when the Internet and mobile phones became readily available it fuelled the digital and communications revolution that gave rise to such terms as Information Superhighways, digital frontiers and global villages. All of which fell into dystopia after the millennium bug, the dotcom crash, collapse of Enron, destruction of the twin towers - and all before the current recession. Yet despite the post-apocalyptic mood the paintings offer glimmers of hope, their multi-layered spaces encourage perception beyond what is at first visible.
Gordon Cheung lives and works in London. He earned his Master of Fine Arts in Painting from the Royal College of Art in 2001 and has exhibited his work in both solo and group exhibitions internationally at such venues as the Hirshhorn Museum & Sculpture Garden, Washington, DC; the Aldrich Museum, Connecticut; the Royal Academy of Arts, London; Arizona State University Art Museum, Arizona; and the BALTIC, Gateshead. He has a forthcoming major museum solo show at the New Art Gallery, Walsall UK 2009.
For further information or press photography please contact the gallery at (212) 645-1701 or info@jackshainman.com.
LeBasse Projects Opens New Gallery March 21
Opening Reception:
Saturday, March 21st from 7-11pm
PREVIEW ONLINE NOW: www.lebasseprojects.com
LeBasse Projects will be launching their inaugural gallery exhibition ‘Vous Avez Eté Juste Servi' at a newly remodeled 2400 sq/ft gallery space in the heart of Culver City's Art District. Over the past two years, the former project:gallery has established itself as a center for developing some of the most highly talked about emerging talent. The inaugural exhibition will showcase an exciting array of international artists that will be showing with the gallery in 2009.
The show will include Yoskay Yamamoto (Japan), Meryl Donoghue (UK), Tessar Lo (Indonesia), Koralie (France), Melissa Haslam (Australia), Brian Donnelly (Canada), Ryuichi Ogino (Japan), Lisa Alisa (Russia), Kentaro Hiramatsu (Japan), Nate Frizzell, Edwin Ushiro, Amanda Visell, Eric Fortune, Jason Redwood, Scott Belcastro, Alicia Ross, Jack Long, Michele Valigura, Laura Ball and Casey Ruble.
The opening reception will be supported by Gen Art, a leading arts and entertainment organization in Los Angeles, as well as across the country. Gen Art is dedicated to showcasing emerging fashion designers, filmmakers, musicians and visual artists and is partnering to launch the new LeBasse Projects as part of their continuing support of cutting edge contemporary art.
Music and Beverages sponsored by Gen Art. Food by Kogi.
Exhibit - Franz West, To Build a House You Start with the Roof: Work, 1972–2008
Franz West, To Build a House You Start with the Roof: Work, 1972–2008
March 12–June 7, 2009
LACMA in Los Angeles
A figure of international stature whose work includes sculpture, installation, and design, Franz West appears in his most comprehensive form to date in this retrospective exhibition, with objects ranging from early interactive works from the 1970s to large installations comprised of bright aluminum and epoxy objects that dramatize their surroundings with bold colors and oversize scale. For the past three decades, West has played a critical role in contributing to developments in post-1965 art, redefining the possibilities of sculpture as a social and environmental experience. His manipulation of found materials, papier-mâché, and furniture leads to an art that is unlike any other in appearance and application. Distinctly European in its look and origins, West’s art is now decidedly global, with monumental works populating plazas throughout the world. Organized and circulated by the Baltimore Museum of Art, this exhibition seeks to reveal the history and position of this fascinating artist. Curator: Darsie Alexander, senior curator of contemporary art, Baltimore Museum of Art. Curator at LACMA: Stephanie Barron, senior curator of modern art.
This exhibition was organized and is circulated by The Baltimore Museum of Art.
Generous support was provided by Constance R. Caplan, Andrew and Christine Hall, Aaron and Barbara Levine, and Lin Lougheed. Support for the Los Angeles presentation was provided by the Austrian Consulate General Los Angeles, Gagosian Gallery, Galerie Meyer Kainer, Steven Neu, Galerie Eva Presenhuber, and Mr. and Mrs. Howard E. Rachofsky.
LACMA is located at:
5905 Wilshire Boulevard
Los Angeles, California 90036
323-857-6000
* Hours
* Directions and Public Transportation
* Parking
* Wheelchair Access
* Pay What You Wish After Five
* Construction and Collections Access
Hours
LACMA is open every day except Wednesdays, Thanksgiving, and Christmas.
Monday 12 noon–8 pm
Tuesday 12 noon–8 pm
Wednesday CLOSED
Thursday 12 noon–8 pm
Friday 12 noon–9 pm
Saturday 11 am–8 pm
Sunday 11 am–8 pm
Directions and Public Transportation
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.
March 14th-April 18th, 2009
Opening March 14th, 6-8pm
Video Screening & Panel Discussion: March 18th, 7pm
The Box is excited to have the first solo-exhibition of works by moving image artist, Stan VanDerBeek (1927-1984) in Los Angeles. VanDerBeek viewed images as a complex and ever evolving medium. He was continuously exploring and expanding the possibilities of this medium throughout his life. From his work with film and multi-media installations to his published manifestos such as Re:Vision and "Culture: Intercom" and Expanded Cinema, he was driven to interpret, evaluate and project a response to the visual criteria of his time.
If you would like to view "Culture Intercom": and Expanded Cinema in its entirety as well as additional writings and works by Stan VanDerBeek please visit http://www.guildgreyshkul.com/VanDerBeek/SVB-re.html
KIDS BEHAVING BADLY:
Larry Clark, Karlheinz Weinberger, Nan Goldin, David Armstrong, Jack Pierson, Mark Morrisroe, Ryan McGinley, Jill Greenberg, Brian Finke, John Arsenault, Marc Yankus, Michael Meads, Thatcher Keats, Janine Gordon, Collin LaFleche.
BLAKE FITCH: EXPECTATIONS OF ADOLESCENCE
In the Project Room
March 19 - April 25, 2009
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Body Accounts
works by Yen-Hua Lee
March 5 - 28, 2009
NY Studio Gallery is pleased to present Body Accounts: Works by Yen-Hua Lee.. Using the space inside of her figures as a platform for her work, Lee’s narratives are taken from stories, dreams and memories. Lee utilizes various media as a vehicle for her illustrations, from the pages of old books to etched ceramic pieces, to an installation of drawings under glass.
Through her illustrations, the artist recreates friends’ stories or uses her own. Ms. Lee states: “Our body is a container. It not only has our organs inside, but also holds memories of our life. At one time my friends told me about sadness in their lives. We need a strong home (body/container) to protect us. I try to open my mind to find the kinds of memories (funny, sad, etc.) that I can use in my drawings.”
Having spent her early life on a farm in rural Taiwan, Lee identifies strongly with Taiwan’s local culture. Her first artistic medium was Chinese calligraphy and her intimate ink drawings are deeply influenced by this traditional art form.
Recipient of the Reality Gallery American Slide-All 2008: Solo Exhibition at NY Studio Gallery
About Yen-Hua Lee
Yen-Hua Lee earned her M.F.A. from Northern Illinois University in 2007. She has participated in residencies in the Kecskemek International Ceramics Studio, Hungary, Kunstforum, Vienna, Austria and I-Park, East Haddam, CT and in 2008 received awards from International Cultural Exchange Grants, National Arts and Cultural Foundation, Taiwan, “Open Doors 08”, Newark Arts Council and The Taipei Cultural Center (TECO) in New York, New York. Selected solo exhibitions include Gallery Uno, Chicago ,IL; Conduit Gallery, Dallas, TX and 214 Gallery, Northern Illinois University, DeKalb, IL.
NY Studio Gallery
154 Stanton Street @ Suffolk, New York, NY 10002
info@nystudiogallery.com 212.627.3276 www.nystudiogallery.com
Thursday - Saturday 12 - 6pm or by appointment
Artist Profile - Liz Markus: Hot Nights At The Regal Beagle
Liz Markus: Hot Nights At The Regal Beagle
March 19 – April 18, 2009
Reception for the Artist: Thursday, March 19, 6-8 pm
In Liz Markus’s second solo exhibition at ZieherSmith, she moves beyond the hippie era subjects of her last show to an unexpected side of American culture. Instead of portraits of long-haired drop-outs, the artist now approaches emblematic subjects of opposite persuasions:
Too young for a first hand experience of the 60s, I was 13 when Reagan took office as president. My knowledge of Nancy Reagan was limited to her penchant for red Bob Mackey dresses, the “Just Say No” anti-drug campaign, and the obvious power she held in the White House. My parents ingrained in me a distaste for the Reagan administration but I didn’t think much more about Nancy until I came across a classic photo of her in Vanity Fair several years ago. There was something about her face that was compelling. Initially, I had hoped that she wouldn’t immediately read as Nancy but as a generic WASP matriarch of that era. Nope. Everyone knew she was Nancy. I think she must be very tightly wound up inside and I still absolutely dislike her politics. However, I can see that she was a strong and powerful woman in a time when there weren’t a lot of examples like Hillary Clinton or Michelle Obama around. –Liz Markus
The exhibition is not limited to images of the former first lady, but Markus freely associates imagery from the Reagan era and beyond. Taxidermy obliquely refers to WASP interiors, while Kenneth Noland inspired targets pay homage to the mid century idols that inform her techniques. Further subjects in the series range from punk rocker John Rotten to the editor and writer George Plimpton, while motorcycles speak as much to mid-life crises as to the Easy Rider protagonists of her past work. Somehow the spectrum of a distant life pokes its spectral countenance through smeared lenses. Through these ghosts— both icon and iconoclast suffer and shine under her caustic, reverent brush.
In all, the works are united by her practice with saturated washes of acrylic on unprimed canvas. Though she has a remarkable degree of control, Markus also surrenders to chance as she pushes and pulls the paint with both brushes and gravity. The results of fresh paint mixing erratically convey both a sense of urgency and unlikely surprises of color, gesture and a chemical vibrancy.
Liz Markus is based in Brooklyn, New York. She received an MFA from Tyler School of Art and a BFA from School of Visual Arts. Her work is currently featured in a group show at Nicholas Robinson Gallery, New York and will be included in an exhibition curated by Angela Dufresne, SCA Contemporary, Albuquerque later this year. Other recent group shows include those at Gallerie Opdahl, Stavinger, Norway; James Graham & Sons, New York; and Werkstatte, New York among others.
ZieherSmith / 533 W. 25th St. / NYC / 212-229-1088 / info@ziehersmith.com / www.ziehersmith.com
Art Opening - Seonna Hong, Caroline Hwang & Saelee Oh at Sloan Fine Art
Seonna Hong, Caroline Hwang & Saelee Oh
I Know What You're Thinking...
Wednesday, March 18th, from 7 to 9 pm
All three artists will be present
The exhibition runs through April 11, 2009
Sloan Fine Art
128 Rivington Street
(corner of Norfolk)
New York, NY 10002
212.477.1140
sloanfineart.com
Brought together by years of friendship, an appreciation for alternate materials such as fabric, wallpaper, cut outs and yarn, and an intense interest in human communication (and miscommunication), Seonna Hong, Caroline Hwang and Saelee Oh will take over Sloan Fine Art for their three-person exhibition I Know What You’re Thinking…
While Seonna Hong’s paintings exude nostalgia and whimsy, they are equally sophisticated, soulful and elegantly rendered. Having mounted several successful solo exhibitions – at Kaikai Kiki Gallery in Tokyo, Oliver Kamm/5BE in New York, the Knoxville Museum of Art in TN and sixpsace in Los Angeles – Hong takes this opportunity to further explore her love of collaboration and mixed media in several large and small scale two-dimensional pieces and site-specific installation. Hong, also an Emmy Award winning animation art director and the author of the children’s book “Animus,” lives and works in Los Angeles.
Brooklyn-based Caroline Hwang is known for elaborate stitched and quilted work made from fabric, thread and paint. For her current series she appropriates and reinterprets the nautical flag system, humanizing their imagery and messages with the ideas, issues and predicaments that challenge us all in our daily lives. She will be exhibiting a collection of new “flags” alongside smaller flag-inspired works and at least one site-specific installation. Hwang has exhibited at galleries including New Image Art in Los Angeles, Beaver Projects in Copenhagen, Cinders in Brooklyn, Clementine in New York and Giant Robot in New York, Los Angeles and San Francisco.
With her delicate painted and cut paper pieces and intricate constructions, Saelee Oh embraces a feminine aesthetic and fanciful palette without sacrificing serious ideas. Often incorporating found objects (including one exhibition in which she utilized tampon disposal bags stolen from a ladies room) and elements found in nature such as live plants, sticks and rocks, Oh tells stories of connectedness, alienation, identity and female empowerment.. Her work has been shown at the Riverside Art Museum, the Santa Monica Museum of Art, New Image Art and Tinlark in Los Angeles and Giant Robot in New York, Los Angeles and San Francisco, among others. For I Know What You’re Thinking… she will exhibit new two- and three-dimensional works.
Sloan Fine Art is located at 128 Rivington St., New York, NY. Gallery hours are Wednesday through Sunday, noon to 6pm and by appointment. The closest subway stops are the Delancey/Essex stop on the F, J, M or Z and the Second Ave stop on the F or V. All three artists will be in attendance at the reception, which is free and open to the public.
Contact info@sloanfineart.com to request preview images and/or additional information.
Beneath the triviality of the everyday, Ianick Raymond questions the human environement by examining modes of transportation, encounters, exchanges and communications. The work of the artist explores the primary meaning of signs and icons. Thus, as spectators, we bare witness to the subjective configuration of the components in the painting (road markers, bullets, street lights, checkerboards). The recent series consistes of drawings (ink on paper) and paintings (acrylic on canvas) – which also include diptychs and triptychs – ending with the presentation of an intriguing box-home which can be handled and discovered by the viewer. This box-home, entitled État des lieux (The state of place), is made up of screen-prints on wood, a poetic offering that refers back to its own form.
Born in the Laurentian region, Ianick Raymond lives and works in Montreal. He completed his degree in visual arts at UQÀM in 2007. In 2005-2006, he did a residency at the École supérieure des Beaux-Arts in Marseille, France. In 2007, he received the Robert-Wolfe excellency award from UQÀM for the exhibition Printemps Plein Temps. In 2009, he honoured with the title of most promising up-and-coming artist by the Musée d’art contemporain des Laurentides. His works are part of numerous private and public collections (Collection Loto-Québec, Progressive Insurance).
This exhibition, organized by Carol Squiers and Vince Aletti, will present the most innovative fashion photography of the last few years, from photographers who draw on a range of influences, including art, sexuality, narrative, digital media, and youth culture. It will also consider the impact of graphic design on the way that fashion photography is presented. Along with original photographic prints, the exhibition will feature hundreds of tear sheets and magazine covers from both mainstream and independent publications, by a range of photographers including Steven Meisel, Cindy Sherman, Mario Sorrenti, Nick Knight, Steven Klein, Miles Aldridge, Paolo Roversi, and Sølve Sundsbø.
An exhibition of 175 works by Edward Steichen drawn largely from the Condé Nast archives, this is the first presentation to give serious consideration to the full range of Steichen's fashion images. Organized by the Musée de l'Elysée, Lausanne, and the Foundation for the Exhibition of Photography, Minneapolis, in conjunction with the International Center of Photography, the exhibition will open at ICP after an extensive tour in Europe. Steichen's approach to fashion photography was formative and over the course of his career he changed public perceptions of the American woman. An architect of American Modernism and a Pictorialist, Steichen exhibited his fashion images alongside his art photographs. Steichen's crisp, detailed, high-key style revolutionized fashion photography, and his influence is felt in the field to this day—Richard Avedon, Robert Mapplethorpe, and Bruce Weber are among his stylistic successors.
Edward Steichen: In High Fashion features the finest examples of his fashion and celebrity portraiture made for Vogue and Vanity Fair. Much of the exhibition is drawn from the Steichen Archive at Condé Nast, which contains more than two thousand original vintage prints. A select group of prints from the George Eastman House, International Museum of Photography and Film in Rochester will be shown only at ICP. Some of the images in the exhibition are well-known, iconic images in various histories of photography. Never before, however, have more than a modest selection of these prints been exhibited or published. The exhibition will be accompanied by a book devoted to images from Steichen's Condé Nast years. The book's authors are William A. Ewing, Carol Squiers, and Nathalie Herschdorfer, co-curators of the exhibition along with Todd Brandow, and Tobia Bezzola. The exhibition is traveling to ICP after presentations in Paris, Zurich, Madrid, and Reggio Emilia, Italy.
Myoung Ho Lee
Tree
March 19, 2009–April 18, 2009
Artist’s Reception
Thursday, March 19, 2009, 6:00–8:00 pm
Yossi Milo Gallery is pleased to announce an exhibition of color photographs by Myoung Ho Lee, entitled Tree. The exhibition will open on Thursday, March 19 and close on Saturday, April 18, with a reception for the artist on Thursday, March 19 from 6:00 to 8:00 pm. This will be the artist’s first solo exhibition in the United States.
Myoung Ho Lee photographs solitary trees framed against white canvas backdrops in the middle of natural landscapes. To install the large canvases, which span approximately 60 by 45 feet, the artist enlists a production crew and heavy cranes. Minor components of the canvas support system, such as ropes or bars, are later removed from the photograph through minimal digital retouching, creating the illusion that the backdrop is floating behind the tree.
The series includes diverse species of trees photographed with a 4x5 camera in a variety of seasons and at different times of day. Mr. Lee allows the tree’s natural surroundings to fill the frame around the canvas, transforming the backdrop into an integral part of the subject. Centered in the graphic compositions, the canvas defines the form of the tree and separates it from the environment. By creating a partial, temporary outdoor studio for each tree, Mr. Lee’s “portraits” of trees play with ideas of scale and perception while referencing traditional painting and the history of photography.
Myoung Ho Lee is the recipient of awards including the first Young Photographer’s Award from the Photo Artist’s Society of Korea in 2005, Korea’s Photography Critics Award in 2006 and a grant from the Culture and Art Fund from the Arts Council of Korea in 2007. Mr. Lee was born in Daejon, South Korea in 1975 and currently lives and works in Seoul, South Korea.
This past weekend was incredible! Good weather, good art, good parties and good times. First of all we had a couple of days where the mercury hit a balmy 60 plus degrees. Then there were 4 great days of incredible art. I hit the Armory and Armory Modern shows, as well as Pulse, Scope and Volta. Liked them all to varying degrees and even found a few pieces that inspired me. There'll be more details on all that in coming days.
Saturday night Collette Blanchard Gallery hosted the party of the weekend. The music was provided by guest DJ's iona rozeal brown, Derrick Adams, Michael Paul Britto and Jayson Keeling. They rocked it playing everything from old school hip hop and R&B to club classics and everything in between. Now if clubs could only figure out how to do this consistently then maybe there'd be a reason for me to go out. Sorry, I digressed. The party was a who's who of the contemporary art world with a guest list that included; iona rozeal brown, Nico Wheadon, Wardell Milan, Hank Willis Thaomas, Kalup Linzy, Dimetrius Oliver, Jarvis DuBois, Stacy-Lynn Waddell, Fahamu Pecou, Shawn Cupid and for some reason they let me in too...LOL.
It's official begun. The art fairs are in town and I'm all over it. Stay tuned for reports from all the major fairs. For info about where to go or what to do check out the earlier posts here on urbanpoplife.net
Have a great weekend and tall all your friends to Pop everyday!
The Official Urban Pop Life NYC Art Fair Roundup 2009
It's that time of year when NYC become ground zero for major art fairs. New York is home to the biggest and best museums and galleries in the city and possibly the world, but this weekend there's a whole other level of excitement in the air as several major art fairs roll into town.
Urban Pop Life presents the line up of major fairs and events you don't wanna miss! There's a lot going on and I'm gonna try to present the best of the best without overwhelming you. Here we go.
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The Armory Show 2009
The Armory Show - International Fair of New Art
PIER 94
MARCH 5-8, 2009
The Armory Show – The International Fair of New Art, has been the world's leading art fair devoted exclusively to contemporary art since its introduction in 1999. The fair is the successor to the highly acclaimed Gramercy International Art Fairs that attracted thousands to their New York, Los Angeles and Miami shows between 1994 and 1998.
The Armory Show was first presented in February 1999 at the 69th Regiment Armory, the site of the now-legendary Armory Show of 1913 that introduced Modern art to America. The fair became part of the Merchandise Mart family in 2007.
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The Armory Show - Modern
PIER 92
MARCH 5-8, 2009
The Armory Show – Modern is a new section dedicated to international dealers specializing in historically significant Modern and contemporary art. This new program is being held on Pier 92 concurrent with The Armory Show, The International Fair of New Art on Pier 94. With one admission ticket, visitors to The Armory Show on March 5 - 8 will now have access not only to the newest developments in the art world, but also to the masterpieces that heralded them.
Piers 92 & 94
Twelfth Avenue at 55th Street
New York City
The Armory Show 2009 Opening Day takes place Wednesday, March 4th for invited guests.
Opening Hours:
Thursday, March 5 - Saturday, March 7 Noon to 8 pm
Sunday, March 8 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.
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.
Admission tickets are available at the door during show hours.
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 Dual Pass US$40
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Pulse New York
Mar 5-9, 2009 the art fairs invade the city. I will share information of each of the major fairs with you starting with Pulse. Pulse is a fair that focuses on Contemporary Art (that means art being made NOW!). I plan to attend several of the fairs and parties and hope to see some of you there as well. First up: Pulse.
PULSE NEW YORK, Mar 5-9, 2009
PULSE New York returns to Pier 40 following a record breaking 2008 fair, featuring a diverse list of premier, international galleries, and new installations and performances as part of its critically acclaimed series of cultural programming. The 2008 fair experienced solid sales and its highest New York attendance to date, with more than 12,000 visitors (up from 9,500 in 2007), including major collectors, art professionals and critics, attending the fair.
Location
PULSE New York
Pier 40
353 West Street @ West Houston
New York, NY 10014
Fair Hours
Thursday, March 5
Press and First Access
9am - 10am
VIP Private Preview 10am - 12pm
Open to public 12pm - 8pm
Friday, March 6 12pm - 8pm
Saturday, March 7 12pm - 8pm
Sunday, March 8 12pm - 5pm
Admission
General Admission $20.00
Students/Seniors $15.00
Group Discount $12.00
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Scope
Photo by James Painter Belvin
NEW YORK- Building on Miami's overwhelming success, SCOPE launches its 2009 season with its flagship fair, SCOPE New York 09. SNY09, an invitation only edition of SCOPE art fairs, 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 VIP Zipcars, 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 2009's 50 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 4, 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
Opening Schedule
FirstView
for all VIPs and press
or $100 donation at the door
Wednesday | March 4 | 3pm-9pm
PressView
Wednesday | March 4 | 6pm-9pm
RSVP to adam@susangrantlewin.com
General Admission Fair Hours
Thursday | March 5 | noon - 8pm
Friday | March 6 | noon - 8pm
Saturday | March 7 | noon - 8pm
Sunday | March 8 | noon - 7pm
Admission
Free for VIP cardholders
FirstView | Wednesday Only | $100
General | Thursday - Sunday | $15
Student | Thursday - Sunday | $10
Opening Night Party
Friday | March 6 | The Plumm
246 W 14th St between 7th and 8th Avenues
Doors open at 9pm
Open Bar 9pm - 10pm
All are welcome
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.
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Volta NY
VOLTA NY was 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 affair that would be a place for discovery and concentrate on current and topical art production.
VOLTA NY 2008 introduced a new format with exclusively solo projects, conceived to complement the exciting program of art available during The Armory Arts Week. The Armory Show Executive Director Katelijne de Backer stated, "The VOLTA fair is one of these gems that has emerged on the art fair circuit in recent years and that no one can ignore. As we are part of the same family now, it was only obvious that we invite them to New York."
In 2009 VOLTA NY will be organized as an invitational curated show by the directorial team of art critic/curators Amanda Coulson (Executive Director) and Christian Viveros-Fauné (Curatorial Advisor). By putting the focus back on artists through exclusively featuring solo projects, VOLTA NY promotes a deep exploration of the work of its selected artists and galleries, an opportunity for discoveries that move beyond those afforded by a traditional art fair.
This year's show, entitled Age of Anxiety, will focus on areas currently underexposed by the art world (Eastern Europe, the Middle East and Latin America), while also identifying trends that point towards newly critical aspects of emerging art. The show’s title—taken from W.H. Auden’s 1948 poem of the same name—suggests reexamination as well as novel imaginative departures that herald new beginnings.
VOLTA NY is located at 7W 34th Street, directly across from Manhattan's classic icon, The Empire State Building.
Location
7 West 34th Street
betw. 5th Ave. and 6th Ave.
Ticket Price
Admission: Regular US$ 15 Reduced US$ 10
The Armory Show + VOLTA NY Combination Pass: US$ 40
VIPs
The Armory Show and VOLTA NY mutually acknowledge each other's VIP cards and access to both fairs is allowed with either card.
Getting there
A regular shuttle service will run every 20 mins to and from The Armory Show and VOLTA NY, from Thursday March 5th through Sunday March 9th, from 2 to 9 pm
The yellow N /Q/R/W line and orange B/D/F/V line stop directly at 34th St and 6th Ave./Broadway. Walk a half block east.
The green 6 line stops at 33rd and Park Ave (do not take 4/5, they are express!). Walk 2 1/2 blocks west.
Contact Info
info@voltashow.com
For more information, please write to info@voltashow.com
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Bridge Art Fair
Following a highly acclaimed debut in 2008, Bridge New York '09 returns to the historic Waterfront Building, located in Manhattan’s Chelsea’s Gallery District. Taking place during the celebrated New York Armory Art Week, Bridge New York is noted as one of the most influential presenters of international emerging contemporary art, and it is a top destination for collectors, curators and arts patrons. Bridge New York '09 will feature over 50 exhibitors, a large percentage of which will be international.
SCHEDULE ::
March 5
7 pm-10 pm Opening-Night Vernissage
March 6
12 pm-8 pm General Admission Fair Hours
1:00-Panel: New Media Art & Affect
A panel discussion with Tiffany Holmes, jonCates, Katherine Behar, Huong Ngo, and Seth Hunter.
March 7
12 pm-8 pm General Admission Fair Hours
1:00- Panel: REALCORE - the digital porno revolution
A monologue / lecture / performance by Sergio Messina
Discussion to follow with Barbara DeGenevieve and Charles Lum
11 pm: WGA Afterparty at Supreme Trading (213 N8th Street)
Collette Blanchard Gallery is pleased to announce our participation in PULSE New York 2009. Together, SunTek Chung and iona rozeal brown have created a site-specific project, which will feature photographs, mixed-media works and neon sculpture.
Thursday, March 5
FAIR HOURS 9am-10am: Press and First Access
10am-12pm: VIP Private Preview
12pm-8pm: Open to public
Friday, March 6
FAIR HOURS 12pm-8pm:
Saturday, March 7
FAIR HOURS 12pm-8pm
PARTY for Suntek Chung and iona rozeal brown - Collette Blanchard Gallery 9PM - 1AM
Sunday March 8
BRUNCH for gallery artists Yoram Wolberger and Cindy Wright - Collette Blanchard Gallery 11am - 1pm
FAIR HOURS 12pm - 5pm
Lyons Wier Ortt Gallery invites you to visit us at PULSE New York (booth G-02)
Lyons Wier Ortt Gallery will present, Reception a mixed-media installation by New York based artist Vadis Turner. Turner's work juxtaposes gender roles and cultural measures of worth in traditional and contemporary contexts.
Utilizing the universal value of objects historically made by women, Turner is developing a series of contemporary heirlooms that will ultimately comprise her "Dowry". Traditionally exchanged for marital advancement, conventional dowries differ from Turner's in that hers illustrates the values of her generation and will be traded solely for professional advancement.
Reception lavishly celebrates, and at the same time politely ignores, the marital convention of consummating and receiving.
We will also have highly anticipated new work by Amanda Besl, Alex Blas, Kermit Berg, Ryan Bradley, Chris Cosnowski, Mary Henderson, Cheryl Kelley, Anthony Lister, Fahamu Pecou, Melodie Provenzano, James Rieck, Matt Straub & Cayce Zavaglia. Also introducing Adam Cohen and Lauren DiCioccio.
PULSE New York is located at Pier 40
• 353 West Street @ West Houston, New York, NY 10014
FAIR HOURS:
• Thursday, March 5: 9am - 12am Press, First Access & VIP
• Thursday, March 5: 12pm - 8pm Open to public
• Friday, March 6: 12pm - 8pm
• Saturday, March 7: 12pm - 8pm
• Sunday, March 8: 12pm - 5pm
Current Gallery Exhibition
Gallery I - Matt Straub:Stand Still, You Buzzards Don't Go For Those Guns!
Gallery 2 - BUCKLE: The Art and Craft of the Western Belt Buckle
The gleam of pure silver meets the punch of pop art in a groundbreaking exhibition running thru March 12th. Lyons Wier Ortt Gallery combines the bold, iconoclastic vision of New York painter Matt Straub who takes on the American West with the visceral art-to-wear of fourteen of the nations' finest Western belt buckle makers.
Straub tackles the highs and lows of society with a comic visual vocabulary and a bold, fresh Sixties sensibility. Like a good Country Western song, the show Stand Still, You Buzzards Don't Go For Those Guns!, profanes the sacred while poking fun at the good, the bad and the ugly.
The art of the buckle is one of the few bridges between the world of the cowboy, the art of the graphic designer, and the heritage of the European tradition of engraving, mastered by a select few silversmiths who are making award-winning, museum quality pieces.
(Claudette Schreuders,The Bystander, 2008, Obeche wood and enamel paint, 38 5/8 x 13 3/8 x 11 3/4 inches)
Jack Shainman Gallery
Participating in The Armory Show
March 4 -8, 2009
Pier 94: Booth 621
Exhibiting works by:
El Anatsui
John Bankston
Tim Bavington
Nick Cave
Gordon Cheung
Till Freiwald
Todd Hebert
Barkley Hendricks
Nir Hod
Bharti Kher
Kerry James Marshall
Richard Mosse
Zwelethu Mthethwa
Adi Nes
Robert and Shana ParkeHarrison
Odili Donald Odita
Jonathan Seliger
Claudette Schreuders
Arlene Shechet
Malick Sidibe
Hank Willis Thomas
Carlos Vega
Leslie Wayne
The Armory Show
Public hours:
Thursday, March 5, noon - 8 pm
Friday, March 6, noon - 8 pm
Saturday, March 7, noon - 8 pm
Sunday, March 8, noon - 7 pm
For further information please contact Jack Shainman Gallery at (212) 645-1701.
Art Opening: Kaye Wone by Ibou Ndoye and Considerations II by Marlene Godoy at International Visions The Gallery
Face With a Question by Ibou Ndoye,2008, 32x40)
Kaye Wone
by Ibou Ndoye
and
Considerations II
by Marlene Godoy
show. March 4th- March 28th, 2009
opening reception. March 7, 6:30-9pm
We cordially invite you to the exhibition of African artist, Ibou Ndoye and Brazilian artist, Marlene Godoy.
Kaye Wone, Ibou explains,"literally means come on and show us what you have or what you can do." The main idea is to demonstrate to others the common culture values we share as thinkers, artists, educators and ordinary people, from all walks of life.
We will also be featuring mixed media artist, Marlene Godoy, who employs fragments of Brazilian wood as a medium. Godoy's encaustic technique serves as a material support for her relief and assemblage sculptural paintings. Her work reflects influences of a diversity of cultures: Indigenous, European, African, and Brazilian.
International Visions The Gallery | 2629 Connecticut Ave NW Washington, DC 20008
gallery hours. wed-sat, 11am-6pm or by apointment | t. 202 234 5112 www.inter-visions.com
Mar 5-9, 2009 the art fairs invade the city. I will share information of each of the major fairs with you starting with Pulse. Pulse is a fair that focuses on Contemporary Art (that means art being made NOW!). I plan to attend several of the fairs and parties and hope to see some of you there as well. First up: Pulse.
PULSE NEW YORK, Mar 5-9, 2009
PULSE New York returns to Pier 40 following a record breaking 2008 fair, featuring a diverse list of premier, international galleries, and new installations and performances as part of its critically acclaimed series of cultural programming. The 2008 fair experienced solid sales and its highest New York attendance to date, with more than 12,000 visitors (up from 9,500 in 2007), including major collectors, art professionals and critics, attending the fair.
Location
PULSE New York
Pier 40
353 West Street @ West Houston
New York, NY 10014
Fair Hours
Thursday, March 5
Press and First Access
9am - 10am
VIP Private Preview 10am - 12pm
Open to public 12pm - 8pm
Friday, March 6 12pm - 8pm
Saturday, March 7 12pm - 8pm
Sunday, March 8 12pm - 5pm
Admission
General Admission $20.00
Students/Seniors $15.00
Group Discount $12.00
The Art Fairs are coming to NYC: The Armory Show - International Fair of New Art and The Modern
The Armory Show - International Fair of New Art
PIER 94
MARCH 5-8, 2009
The Armory Show – The International Fair of New Art, has been the world's leading art fair devoted exclusively to contemporary art since its introduction in 1999. The fair is the successor to the highly acclaimed Gramercy International Art Fairs that attracted thousands to their New York, Los Angeles and Miami shows between 1994 and 1998.
The Armory Show was first presented in February 1999 at the 69th Regiment Armory, the site of the now-legendary Armory Show of 1913 that introduced Modern art to America. The fair became part of the Merchandise Mart family in 2007.
_____________________________________________
The Armory Show - Modern
PIER 92
MARCH 5-8, 2009
The Armory Show – Modern is a new section dedicated to international dealers specializing in historically significant Modern and contemporary art. This new program is being held on Pier 92 concurrent with The Armory Show, The International Fair of New Art on Pier 94. With one admission ticket, visitors to The Armory Show on March 5 - 8 will now have access not only to the newest developments in the art world, but also to the masterpieces that heralded them.
Piers 92 & 94
Twelfth Avenue at 55th Street
New York City
The Armory Show 2009 Opening Day takes place Wednesday, March 4th for invited guests.
Opening Hours:
Thursday, March 5 - Saturday, March 7 Noon to 8 pm
Sunday, March 8 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.
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.
Admission tickets are available at the door during show hours.
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 Dual Pass US$40
James Jaxxa Earth, 2004 8" diameter Styrofoam, sequins, photographs, beads, plastic film and straight pins
Rush Arts is doing it big! First off there's a great new exhibition called Latitude that's going on right now in the gallery. Rush Arts is also presenting a great show of work at Scope Art Fair called Small is The New Big.
SCOPE International Art Fair/New York
March 4-8, 2009
We are pleased to announce that Rush Arts Gallery has been invited to participate in the 2009 SCOPE International Art Fair as one of 50 invitees who uphold its unique tradition of solo and thematic group shows presented alongside museum-quality programming, collector tours, screenings, and special events. This is a great opportunity and exposure for Rush and the artists we support.
Small is the New Big, is the concept for our selection process which brings together a diverse collection of sculptural objects, drawings and photographs that operate as modest gestures and meditations on grander concerns, often highlighting the increasingly complex relationship between scale and value.
For more information on SCOPE clink the link below:
http://www.scope-art.com/Index.php/new_york/
Also On View Thru March 28, 2009
RUSH ARTS GALLERY/CHELSEA
image: Brendan Fernandes: Africa Shop, 2007. Variable dimensions
Latitude
Rush Arts Gallery & Resource Center
Opening reception: Friday, January 30, 6 - 8 PM
On view February 3 - March 28, 2009
In the many modes that latitude can describe place on both a personal and global scale, Sung Jin Choi, Brendan Fernandes, Mona Kamal, Sungmi Lee, Vered Sivan and Jessica Vaughn investigate the complexities of mixed cultural identity and the increasingly unstable political and emotional notions of homeland. Each approaches visual narrative and representation uniquely yet shares a communal emphasis on material and process. The line is often articulated as a symbol that references memory, points of departure and the linking of time and space. Much like the longitudinal and latitudinal lines of the globe, the highly-detailed, repetitive quality in these works highlights the prescribed parameters of the gallery space and challenges this rigidity to further complicate the boundary of experiences. Ideological constructs and pre-existing binaries are deconstructed as these six artists come together in this installation-based exhibition to redefine notions of identity, authenticity and heritage outside of a hegemonic vernacular.
Curator: Nico Wheadon, Associate Curator
Image: Pierre Obando, Nowhere (detail), 2008, oil & acrylic on paper, 18"x24"
Pierre Obando
Nowhere
Rush Arts Gallery & Resource Center
Opening reception: Friday, January 30, 6 - 8 PM
On view February 3 - March 28, 2009
The works of Pierre Obando operate with a minimal and graphic aesthetic that suggests blankness, and a lack of identity. The paintings challenge our tendency to place them in customary categories like abstraction or representation, and also emotional categories like sincere or ironic. His work in painting and photography is inspired and grounded in observations of the everyday where abstraction and formal play is a by-product of our cultures desire for efficiency and order.
Born in Belize, Pierre Obando grew up in the U.S. Virgin Islands, Miami, FL and Jackson, MS. Pierre completed his MFA at Hunter College, New York City, in May 2001. In 1997 he completed his undergraduate studies at New World School of the Arts, Miami, Florida. His work has been exhibited at Queens International 2004; Queens Museum of Art; Angela Hanley Gallery; Rockland Center for the Arts; and MACO Mexico Art Fair in Mexico City. The artist lives and works in Queens, NY.
Curator: Derrick Adams, Curatorial Director
526 West 26th Street #311 New York, New York 10001, 212.691.9552 / 212.691.9304 www.rushartsgallery.org
image: Mary A. Valverde, Fractal Forms, 2008, wood, ink and acrylic, variable dimensions
Mary A. Valverde
Mappings and Transformations
Corridor Gallery Brooklyn
On view February 4 - March 28, 2009
Informed by memory, ritual and native South American culture, Mary A. Valverde's drawings and installations reveal a connection between common every-day objects and the various systems that governs our lives. The use of materials such as salt and copper pennies in her installations, show a conversion of the ordinary into the divine. The complex geometric designs and organic shapes in her drawings are inspired by ancient Incan calendars and cubic mathematics. Valverde's work serves as mappings of cultural migration and transformation.
Mary A. Valverde received her BFA at the School of Visual Arts in 1999. Valverde's exhibitions include "Fragmentations of the Self" at Rush Arts Gallery, 2006; "Queens International 2006" at the Queens Museum of Art, 2006; "Tropicalisms" at the Jersey City Museum, NJ 2006; "Black Rock" at Gallery Aferro, NJ, 2007; "S-Files 2007" at El Museo del Barrio, NY, 2007; and "Emerge 8" at Aljira, a Center for Contemporary Art, NJ, 2007. Valverde was born in Queens, NY and currently lives and works in New York City.
Guest Curator: Rose Ojo
image: Florence Neal, Runes, 2008, found pine charcoal on paper
Florence Neal
Out of the Woods
Corridor Gallery Brooklyn Project Space
Opening reception, Sunday, February 1, 4 - 6 PM
On view February 4 - March 28, 2009
Out of the Woods is an exhibition of block prints and drawings by Alabama born, Red Hook, Brooklyn-based artist Florence Neal. Neal's goal is to question the notion of the known, whether in or out of the woods. To do so she will transform the gallery space into an arboretum of graphic explorations of leaves and trees. Neal will install the work so as to create a dialogue between individual works - a conversation between bold and subtle images in different mediums reflecting on observations from the woods.
Florence Neal has exhibited her work throughout the United States, the Netherlands and the Czech Republic. In 2008 she was an artist in Residence at The Banff Centre, Leighton Artists' Colony, Banff, Alberta, Canada; in 2007 she was a 2007 Nominee for the prestigious Louis Comfort Tiffany Foundation Award and she is a recipient of a Pollock-Krasner Foundation Grant. In addition to her own studio practice, Florence Neal is the Co-Founder and Executive Director of Exhibitions of Kentler International Drawing Space, a not-for-profit exhibition space located in Red Hook, Brooklyn.
Curator: Meridith McNeal, Director of Education
334 Grand Avenue Brooklyn, New York 11238, p.718.230.5002 / f.718.638.0741 www.corridorgallerybrooklyn.org
Night Moves - Angles of View
Photographs by
Steve Duncan • Helen K Garber • Robert Vizzini • Jill Waterman • Marc Yankus
Co-curators: Jill Waterman and Daryl-Ann Saunders
March 5 - April 11, 2009
Opening Reception: Thursday, March 5, 6-8 PM
New York, NY (February 7, 2009) The photographic works of thirteen artists who toil under cloak of darkness are featured in two neighboring galleries at 111 Front Street in DUMBO. Night Moves - Angles of View is exhibited at the Farmani Gallery and Night Moves - Exploring the Horizon is exhibited next door at Safe-T-Gallery beginning Thursday, March 5. Both shows feature works selected by co-curators Jill Waterman and Daryl-Ann Saunders. Night Moves is a convergence of photographers who have a deep understanding of the techniques employed in night photography and who use the night and its illuminated landscape, be it man made or natural, to capture the distinctive, yet elusive, atmosphere of the world after dark through the camera lens.
In the Farmani Gallery exhibit, Steve Duncan's panoramic cityscapes from atop New York's magnificent bridges induce vertigo with their dizzying heights, while black and white diptychs from Helen K. Garber's LA Noir series entice viewers with the implied motion of shadowy figures suspended within architectural fragments. Robert Vizzini's jewel-like renderings of Manhattan's buildings and parks balance deep shadows against rich colors and shimmering lights, and Jill Waterman's graphic, urban views emanate the cool blue tones of midnight. Finally, Marc Yankus' impressionistic depictions of New York transform the city at twilight into a wash of foggy shapes and soft colored lights.
Several special events run concurrently with the exhibits. The first two are events for those interested to learn about night photography processes and hands-on techniques. On Monday, March 9, a night photography symposium will be held from 10:30 - 4:30PM in conjunction with B&H Photo. On Sunday, March 15 and 22, the co-curators will offer a night photography workshop in collaboration with Workshops@Adorama. The final event addresses the collector, and features a gallery talk with local artists in the Farmani Gallery and Safe-T-Gallery spaces. Scheduled to coincide with the last day of the AIPAD photography show, this event will be held from 2-4:30PM on Sunday March 29.Co-curators Daryl-Ann Saunders and Jill Waterman are both night photography specialists, whose photographs have been widely exhibited. Ms. Waterman has recently published, Night and Low-Light Photography (Amphoto, August 2008).
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; Tuesdays, by appointment. Information: www.farmanigallery.com or info@farmanigallery.com or ph# 718-578-4478.
REMINDER - Definition: The Art And Design Of Hip Hop AT RUSH ARTS tomorrow night
One Night Event
Rush Arts Gallery/ Chelsea
Thursday, February 26, 2009 from 6-8pm
Join the Authors of Definition: The Art And Design Of Hip Hop, Cey Adams with Bill Adler in an informal conversation, slideshow and book signing.
Compiled by legendary designer Cey Adams, DEFinition: The Art and Design of Hip-Hop is the first serious survey of the visual work created under the banner of hiphop during the last 35 years. A boon to the eyes as well as the ears, hiphop -- according to DEFinition -- is a culture that has made its mark on everything from fine art to the label on a bottle of Hawaiian Punch, including fashion, automobiles, movies, television, advertising, and sneakers. DEFinition highlights the careers and artwork of such crucial hip-hop elders as Lady Pink, Haze, Run-DMC, Dapper Dan, Buddy Esquire, Spike Lee, and Snoop Dogg, as well as contemporary giants like Kehinde Wiley, Mr. Cartoon, Shepard Fairey, Dalek, Mike Thompson, Jor One, Claw Money, and dozens of others. Featuring more than 200 stunning photographs and illustrations as well as compelling essays by some of hip-hop's most seasoned voices, DEFinition illuminates the culture in a form that speaks to aficionados and newcomers alike.
Cey Adams is a hip-hop graphic artist whose career has taken him from bombing subway trains to designing album covers, stage backdrops, sportswear, and indelible logos. His clients include Def Jam Recordings, Bad Boy Records, Roca Wear, Adidas, Burton Snowboards, Coca-Cola, Moët & Chandon, Comedy Central, HBO, Warner Brothers, and many others. He lives in Brooklyn, New York.
Bill Adler was the original director of publicity for Def Jam Recordings and Rush Artist Management, where he promoted the careers of hip-hop legends Run-DMC, the Beastie Boys, Public Enemy, LL Cool J, 3rd Bass, and Slick Rick, and many others. Between 2003 and 2007 he was the owner and curator of the Eyejammie Fine Arts Gallery, an exhibition space devoted to hiphop's visual arts.
Art Opening - Wei Dong at Nicholas Robinson Gallery
Nicholas Robinson Gallery is pleased to present its first exhibition of paintings by Wei Dong.
Most of the works depict a single hybrid female figure, naked or semi-naked, and with legs that culminate in a fish tail. These paintings, whilst rendered in the artist's superbly fastidious realist style, are generally more fanciful and self-reflective than previous bodies of work, which tended to focus on multi-figure compositions satirizing life in China during the Mao era.
Unlike most other Chinese painters, Wei Dong's technique and composition are classically academic, but in a Western sense - they most often take their cues from seminal artists of the Western canon, including, but not limited to, Botticelli, Parmigianino, Ingres and the Pre-Raphaelites.
Though obviously fictive, the ‘fish girls' are painted in order to appear compellingly real, as they are rendered in a fashion that defies idealization. They are often contradictory - faces are beautiful, breasts are ripe, and yet the disturbing passages where flesh becomes fish illustrate a physicality that is convincing yet alien. The demeanors are serene but the physical corruptions are menacing.
A fully illustrated catalogue, accompanies the exhibition with an essay by Lilly Wei, and with an interview with Jeffrey Uslip, in which the artist discusses his work in detail:
"The references or scenes themselves are not as relevant as some may think...There is no story here. The fish girls are both the subject and the tool. They are fantastical and do not exist in reality...a normal scene appears mysterious, fish and girl merge into one, animal instinct is humanized, and human desire is animalized.
I grew up in a military academy, right in the middle of the Cultural Revolution. People around me wore the same uniform in which gender is simply invisible... No one would talk about sexuality, as if it was too dirty and evil...I was first introduced to figurative nude paintings from the Western art books my father kept secretly at the house. I started to make up my own stories...but these stories are for my own fantasy world and not to tell... When I grew up, I had this irresistible desire to reveal the stories that were intended for myself to others. In a way my obsession with female sexuality and attentiveness to flesh are ways to explore my own desires as well as cultural and social constructions."
PLEASE CONTACT THE GALLERY FOR FURTHER INFORMATION: 535 West 20th Street, New York / 212 560 9075 / nrgallery.com
Art Opening - Thomas Beale: Conjure at Kinsey/DesForges in LA
Thomas Beale: Conjure
February 28 - April 4, 2009 OPENING RECEPTION: SATURDAY, FEBRUARY 28, 6-9PM
Kinsey/DesForges is delighted to present New York-based artist Thomas Beale
with his first solo show in Los Angeles. The exhibition of mixed-media sculpture
opens with a reception on February 28th and continues through April 4th.
While highlighting the intricate textures of fallen branches and scattered shells,
Thomas Beale reinvigorates the possibilities of sculpture, reclaiming the destinies
of these otherwise forgotten materials. His resulting assemblages form a fusion
between the human-made and the natural, where a street reflector becomes an
object of curiosity and mysterious origin and a vintage record player swells into
a dramatic sculpture besieged by wooden fractals, like budding coral overtaking
a sunken ship. The artist allows his highly wrought, tactile surfaces to accumulate
over found objects, while other works are born solely from the elemental nature of
the raw materials themselves. Beale explains, "The working process is slow,
labor intensive, and meditative, and I am interested in how the final pieces, while
static and still, may resonate with this concentration of energy."
Born in Rochester, NY in 1978, Thomas Beale studied at Dartmouth College,
where he received a B.A. in Studio Art and English Literature in 2000. In 2003
Beale was selected for one of five U.S.-Japan Creative Artist Fellowships, an
award administered by the National Endowment for the Arts. He was the young-
est recipient of this honor in the award's 30-year history. The fellowship gave
him the resources to travel to Kyoto, Japan, where he studied traditional
architecture and made sculpture for nine months. In 2004, Beale returned to
the U.S. and moved to New York City, where he established Chelsea¹s innovative
Honey Space gallery and continues to live and work today.
From left to right: Derrick Adams, MTV's Sway, Tangie Murray, Danny Simmons and Honrees: Sonja Okun, Franklin Sirmans and Beverly Bond
NEWS HIGHLIGHTS
2009 GOLD RUSH AWARDS/RECAP
February 11, 2009 - New York, NY - Rush Galleries in conjunction Rush Philanthropic Arts Foundation's hosted it first Gold Rush Awards, a multi-media fundraising event and cocktail party, honoring outstanding individuals in the arts for establishing groundbreaking community arts programs or projects that embody social awareness and engagement, brought out an eclectic crowd of art enthusiasts, VIP guests and celebs last night at Red Bull Space in Soho.
Host of the evening, MTV's Sway, alongside artist and Rush Philanthropic Co-Founder, Danny Simmons and Rush Galleries Curatorial Director, Derrick Adams, presented the first ever Gold Rush honorees with custom designed award medallions created by designers, Kevin Merkel and Jerry Gant. Honoree included Beverly Bond, DJ and Founder of BLACK GIRLS ROCK! Inc., Sonja Okun, Founder of Exalt Youth Program and Writer/Curator Franklin Sirmans.
Alternative Hip-Hop group, AntiPop Consortium kicked off the night's live music, mixing it up on stage with their innovative sound experience. Talib Kweli closed out the evening with a dynamic performance and introduced surprise guests, fellow recording artists Res and Graph who, with Kweli, form the group Idle Warship. DJ Cassidy kept the crowd grooving all night, only taking a break so he could record Kweli's performance for his blog with his personal handheld camera. All performances were donated in support of the organization. The evening also included video installations, a special silent art and luxury auction. The evening's cocktails were donated by Americana Vodka and Red Bull.
Guests included Grammy® Award winner Estelle, actor Jamie Hector, renown photographer Jamel Shabazz, Bill Adler, Cey Adams and artists Mickalene Thomas, Shinique Smith, Wardell Milan, Giant Magazine Editor-In Chief Emil Wilbekin and designers Jose Duran, Zulema Griffin and Brian Wood.
Rush Arts Gallery (Chelsea, NY) and Corridor Gallery (Clinton Hill, Brooklyn), founded in 1996, a core program of the Rush Philanthropic Arts Foundation, a 501(C)3 organization started by brothers Russell, Danny and Joseph "Rev. Run" Simmons and headed by Tangie Murray, Director, dedicated to providing urban youth with significant exposure and access to the arts, as well as providing exhibition opportunities to artists. All exhibition programs are headed by Derrick Adams, Curatorial Director, with inclusion of curatorial projects presented by Nico Wheadon, Associate Curator, Danny Simmons, Co-Founder and Vice Chair, Meridith McNeal, Director of Education, Nina Ziefert, Manager of Exhibition Programs and invited Guest Curators. In 2008 the galleries received The Major's Award for Art & Culture. The exhibitions and education programs of the galleries are also sponsored in part by a grant from the New York State Council for the Arts, and are free and open to the public.
Rush Arts Gallery promotes the work of a diverse group of emerging artists. Concurrent with its efforts to support a unique constellation of creative practices-a constellation broadly defined by experimental ventures in performance, visual art, curatorial work and community involvement-Rush Arts aims to provide an inclusive space for new audiences and broaden the parameters of the artistic community. Since its establishment, the gallery has exhibited the work of hundreds of underrepresented, early and mid-career artists. Subsequent to their involvement with Rush Arts, these artists have had their work exhibited by a prestigious collection of galleries and museums including Studio Museum in Harlem, PS1, Brooklyn Museum, Whitney Museum, Smithsonian, and the Museum of Modern Art.
Corridor Gallery Brooklyn, the Brooklyn extension of Rush Arts Gallery, exhibits the work of a artists primary living and working in locally. With a strong emphasis on maintaining a relationship with the local community, Corridor Gallery offers opportunities to artists working in a broad range of media unique to its audience. In addition to supporting these creative practices, Corridor aims to provide an inclusive space for new audiences and broaden the parameters of the artistic community in the area of Clinton Hill, Brooklyn.
For more information
email: RushandCorridorGallery@gmail.com
Bradley Castellanos
The Divide
February 26 - April 4, 2009
Opens February 26 6:00 PM - 8:00 PM
Caren Golden Fine Art is pleased to present Bradley Castellanos’ “The Divide.” Known for his harmonious pairing of two unlikely mediums – photography and painting – Castellanos resumes his exploration of these media in depth, scaling back on his use of resin in order to bring the other components into high relief. With its tradition as a documentary agent and an objective recorder of the visual universe, photography has cultivated a culture distinct from the expressive subjectivity of painting. Castellanos harnesses the inherent differences in the each medium and, by blending them, uses them as metaphors for extra-artistic dualities: culture vs. nature; abstract vs. concrete; virtual vs. actual.
These oppositions provide the conceptual scaffolding for the nine new works comprising his second solo show with Caren Golden Fine Art. In the absence of toxic spills, synthetic hues and expanses of resin, these subtler issues come to the fore. Paintings such as “Motel,” retain the directness of their original large-format photographs, even as passes of abstract painting peek through the negative spaces meticulously cut away around tree trunks, branches and leaves. Castellanos seamlessly braids painting and photo-collage into a whole in which mysterious vignettes transcend the sums of either medium. Often bringing the natural and the man-made worlds into confrontation, the content in these works, such as the trident wielding Roman god of the sea perched on a man-made fountain in “Neptune”, function in similar ways in their ability to resolve seemingly incongruous elements into captivating and slightly askew compositions.
Bradley Castellanos’ paintings have been widely exhibited in museum and cultural institutions including PS 1, The Nueberger Museum in Purchase, NY, The McDonough Museum of Art in Youngstown, Ohio and The Brooklyn Academy of Music. His work was presented last summer in a solo exhibition at Mogadishni Gallery in Denmark and have been exhibited in Salzburg, Austria; Turino, Italy and San Francisco, CA as well as in numerous group exhibitions in New York City. “The Divide” is Bradley Castellanos’ second solo exhibition with Caren Golden Fine Art.
For further information and to be added to our mailing list, please email: info@carengolden.com
Caren Golden
539 West 23rd Street
New York, NY 10011
Tel. 212.727.8304
Fax 212.727.8360
Carla Edwards, Dreamery Re-Do’s and Such (still), 2004, Courtesy the artist
VideoStudio is a new, ongoing series of video and time-based art. Just as the frames of a video change with the passing of time, this project presents programs that rotate monthly. Programs include both compilations of work by several artists organized around a loose but pointed theme, as well as presentations of selected work by individual artists and art collectives. Expanding the Museum’s engagement with digital and new media practices, VideoStudio reflects the influence of recent technology on contemporary art. Focusing on emergent projects as well as on work that has played an invaluable role in the histories of modern art and black thought, this initiative explores video art’s experimental history and continued possibilities for shifting our perspectives as viewers, artists, individuals and communities.
This season, we are pleased to feature video work by Elizabeth Axtman, Sanford Biggers, Jonathan Calm, Nanna Debois Buhl, Carla Edwards, Rico Gatson, Adler Guerrier, Jayson Keeling, Bouchra Khalili, Wangechi Mutu, My Barbarian, Robin Rhode, Abbey Williams and Lauren Woods.
Fall/Winter 2008-09 Calendar
November 12-December 11, 2008: Filmic
December 12, 2008-January 8, 2009: Psychogeography
January 9-February 12, 2009: Letters from the Left Coast . . .
February 13-March 15, 2009: Muted—
November 12—December 11, 2008: Filmic
Rather than using video as a tool for simple documentation or as a performance partner, the artists in Filmic take a critical look at cinema and its history, and have turned their cameras on the camera itself. Since the earliest days of video art, artists have been cognizant of the medium’s predecessor in cinema, as well as cinema’s unique cultural place between fine art and mass culture. As such, cinema creates reference points for many people who are strangers to each other but carry shared memories and experiences from the movies they’ve watched. In this program, some artists borrow liberally from commercial films, using clips as found objects. Others manipulate film images to create new cinematic collages, and still other artists reenact famous scenes to examine how films create collective memories, shaping our sense of the world and ourselves.
Sanford Biggers (b. 1970, Los Angeles, California; lives and works in New York, New York)
Carla Edwards (b. 1977, Winfield, Illinois; lives and works in Brooklyn, New York)
Rico Gatson (b. 1966, Augusta, Georgia; lives and works in Brooklyn, New York)
Jayson Keeling (b. 1966, Brooklyn, New York; lives and works in New York, New York)
December 12, 2008—January 8, 2009: Psychogeography
Psychogeography: The study of the specific effects of the geographical environment (whether consciously organized or not) on the emotions and behavior of individuals.
From the Surrealists to the French avant-garde Lettrist movement, the city has been a privileged site for examining the psychological relationship to the space that surrounds us—a position most aptly described above by Guy Debord. Urban spaces can be limiting in their grid-like order, but liberating at the same time; “breaking the grid” exposes radical possibilities for reshaping the use of the city and even creating a new psychic relationship to ourselves. The artists presented in this program realize that transiting through any landscape is a psychological journey as much as it is a physical one. Whether moving through streets, in buildings or even across borders, the subjects of each of these videos—for the most part, the people are hidden or never fully reveal themselves—grapple with the consequences of being in and feeling out a space.
Jonathan Calm (b. 1971, Brooklyn, New York; lives and works in New York, New York)
Adler Guerrier (b. 1975, Port-au-Prince, Haiti; lives and works in Miami, Florida)
Bouchra Khalili (b. 1975, Casablanca, Morocco; lives and works in Paris, France)
Robin Rhode (b. 1976, Cape Town, South Africa; lives and works in Berlin, Germany)
January 9—February 12, 2009: Letters from the Left Coast . . .
January 9-25, 2009:
My Barbarian (Malik Gaines, Jade Gordon and Alexandro Segade; founded 2000, Los Angeles California)
January 28-February 12, 2009:
Lauren Woods (b. 1979, Kansas City, Missouri; lives and works in San Francisco, California)
February 13—March 15, 2009: Muted—
Bringing together videos in which viewers do not hear sounds that should correspond to the images we see, Muted— asks what kind of voice can be assigned to silent subjects. By drawing attention to these shifts in sonic quality, the videos in this program draw attention away from what we see, towards alternative forms of representation. Not all the videos are silent; yet, they collectively question the aesthetic structures that suture image to sound and give the viewer/listener/reader access to information. Barriers between viewer and image, as well as between artist and subject, emphasize the intractability of objects—art or otherwise—as well as the unrecognized world of their murmurs and mutterings.
Elizabeth Axtman (b. 1980, Andrews Air Force Base, Maryland; lives and works in Oakland, California)
Nanna Debois Buhl (b. 1975, Aarhus, Denmark; lives and works in Brooklyn, New York)
Wangechi Mutu (b.1972, Nairobi, Kenya; lives and works in New York, New York
Abbey Williams (b. 1971, New York, New York; lives and works in Brooklyn, New York)
About Studio Museum Harlem
Address
144 West 125th Street
New York, New York 10027
tel: 212.864.4500
fax: 212.864.4800
Public Transportation
Take any of the following public transit methods to 125th Street station:
Subway: 7th Avenue: #2 or #3
8th Avenue: A, B, C or D
Lexington Avenue: #4, #5, or #6
Bus: M-2, M-7, M-10, M-100, M-101, M-102 or BX 15
ONE NIGHT ONLY - Definition: The Art And Design Of Hip Hop at RUsh Arts Gallery
One Night Event
Rush Arts Gallery/ Chelsea
Thursday, February 26, 2009 from 6-8pm
Join the Authors of Definition: The Art And Design Of Hip Hop, Cey Adams with Bill Adler in an informal conversation, slideshow and book signing.
Compiled by legendary designer Cey Adams, DEFinition: The Art and Design of Hip-Hop is the first serious survey of the visual work created under the banner of hiphop during the last 35 years. A boon to the eyes as well as the ears, hiphop -- according to DEFinition -- is a culture that has made its mark on everything from fine art to the label on a bottle of Hawaiian Punch, including fashion, automobiles, movies, television, advertising, and sneakers. DEFinition highlights the careers and artwork of such crucial hip-hop elders as Lady Pink, Haze, Run-DMC, Dapper Dan, Buddy Esquire, Spike Lee, and Snoop Dogg, as well as contemporary giants like Kehinde Wiley, Mr. Cartoon, Shepard Fairey, Dalek, Mike Thompson, Jor One, Claw Money, and dozens of others. Featuring more than 200 stunning photographs and illustrations as well as compelling essays by some of hip-hop's most seasoned voices, DEFinition illuminates the culture in a form that speaks to aficionados and newcomers alike.
Cey Adams is a hip-hop graphic artist whose career has taken him from bombing subway trains to designing album covers, stage backdrops, sportswear, and indelible logos. His clients include Def Jam Recordings, Bad Boy Records, Roca Wear, Adidas, Burton Snowboards, Coca-Cola, Moët & Chandon, Comedy Central, HBO, Warner Brothers, and many others. He lives in Brooklyn, New York.
Bill Adler was the original director of publicity for Def Jam Recordings and Rush Artist Management, where he promoted the careers of hip-hop legends Run-DMC, the Beastie Boys, Public Enemy, LL Cool J, 3rd Bass, and Slick Rick, and many others. Between 2003 and 2007 he was the owner and curator of the Eyejammie Fine Arts Gallery, an exhibition space devoted to hiphop's visual arts.
For East and West Germany during the Cold War, the creation of art and its reception and theorization were closely linked to their respective political systems: the Western liberal democracy of the Federal Republic of Germany (FRG) and the Eastern communist dictatorship of the German Democratic Republic (GDR). Reacting against the legacy of Nazism, both Germanys revived pre-World War II national artistic traditions. Yet they developed distinctive versions of modern and postmodern art—at times in accord with their political cultures, at other times in opposition to them. By tracing the political, cultural, and theoretical discourses during the Cold War in the East and West German art worlds, Art of Two Germanys reveals the complex and richly varied roles that conventional art, new media, new art forms, popular culture, and contemporary art exhibitions played in the establishment of their art in the postwar era.
Art of Two Germanys is the first special exhibition to go on view in
LACMA’s new Renzo Piano designed-building, the Broad Contemporary Art Museum (BCAM). Divided into four chronological sections, the exhibition includes approximately 300 paintings, sculptures, photographs, multiples, videos, installations, and books, by 120 artists. The show features large-scale installations and recreations of major works by Hans Haacke, Heinz Mack, Sigmar Polke, Raffael Rheinsberg, Gerhard Richter, and Dieter Roth,
as well as a number of videos and performance-based works. After LACMA, the exhibition will travel to Germanisches Nationalmuseum, Nürnberg (May 23–September 6, 2009), and Deutsches Historisches Museum, Berlin (October 3, 2009–January 10, 2010).
Curated by Stephanie Barron, Senior Curator of Modern Art, LACMA, and co-curator Dr. Eckhart Gillen, Kulturprojekte Berlin GmbH.
This exhibition was organized by the Los Angeles County Museum of Art in cooperation with Kulturprojekte Berlin GmbH. It was made possible in part by an award from the National Endowment for the Arts and the Foreign Office of the Federal Republic of Germany. Additional support was provided by LACMA's Art Museum Council. The international tour has been funded by the German Federal Cultural Foundation and Stiftung Deutsche Klassenlotterie.
Hours
LACMA is open every day except Wednesdays, Thanksgiving, and Christmas.
Monday 12 noon–8 pm
Tuesday 12 noon–8 pm
Wednesday CLOSED
Thursday 12 noon–8 pm
Friday 12 noon–9 pm
Saturday 11 am–8 pm
Sunday 11 am–8 pm
Directions and Public Transportation
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.
Four BMW Art Cars, designed by Roy Lichtenstein, Robert Rauschenberg, Frank Stella, and Andy Warhol, will be on display in the BP Grand Entrance for two weeks, February 12-February 24.
The Art Cars have been touring around the world including stops in Korea, India, and Russia; after their stop at LACMA the Art Cars will travel to New York, then Mexico. Rare, behind-the-scenes footage of the four cars will also be on display. The videos reveal a young Warhol constructing his car, and Frank Stella and Robert Rauschenberg discussing their inspirations and influences.
The BMW Art Car Project was originally conceived by the French racecar driver Hervé Poulain, who in 1975 commissioned American artist Alexander Calder to paint his BMW racing car. Since then, prominent artists throughout the world have joined the cast of Calder, Stella, Warhol, Lichtenstein and Rauschenberg, and have designed sixteen BMW Art Cars, based on both racing and production vehicles.
The most recent contributors to the BMW Art Car program are David Hockney (1995), Jenny Holzer (1999), and Olafur Eliasson (2007). New artists are chosen by a panel of international judges, and BMW is currently in discussions for the development of the seventeenth art car.
Hours
LACMA is open every day except Wednesdays, Thanksgiving, and Christmas.
Monday 12 noon–8 pm
Tuesday 12 noon–8 pm
Wednesday CLOSED
Thursday 12 noon–8 pm
Friday 12 noon–9 pm
Saturday 11 am–8 pm
Sunday 11 am–8 pm
Directions and Public Transportation
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.
Embarking on its third decade, ADAA presents the 2009 Art Show to benefit Henry Street Settlement. Once again bringing together 70 of the nation’s leading fine art dealers, The Art Show will feature paintings, sculpture, drawings, prints, and photographs by artists of all periods. The exhibition will run February 19th through 23rd, 2009 at the Park Avenue Armory and will feature an opening gala on February 18th. All proceeds from admissions to the gala and run-of-show benefit Henry Street Settlement, one of New York’s oldest and most comprehensive social service agencies.
Today—February 23, 2009
Park Avenue Armory
Park Avenue at 67th Street
New York City
Admission $20
Thursday – Saturday: noon to 8 pm
Sunday: noon to 6 pm
Monday: noon to 5 pm
Gala Preview
Wednesday, February 18, 2009
For further information on Preview Tickets please call 212.766.9200 ext. 248
Gavin Brown's enterprise and Michael Werner Gallery are pleased to announce a joint exhibition of new works by Peter Doig. This is the artist's first solo exhibition of new paintings in the United States in nearly 10 years.
Peter Doig is widely recognized as one of the most accomplished and inventive painters working today; few artists of his generation have done as much to explore the evocative possibilities of paint and its capacity for depth and meaning. His large-scale scenes depicting atmospheric landscapes and lone figures explore the psychological and physical spaces between description and invention, representation and abstraction. The works are often derived from photographic sources, but these are merely a point of departure for the artist's imagination. His uncommon palette and varied approach to the material and surface of paint mediates his art's literal sources into artificial scenes evocative of dreams or recollections. Peter Doig's paintings, by turns melancholic and hallucinatory, are quiet occasions for contemplation and looking that take us outside the realm of our normal daily experience.
People look at paintings in a very different way from how they look at just about anything else...It's a sort of strange, lost scrutiny...
-the artist in conversation with Chris Ofili, August 2007
Peter Doig: New Paintings follows the artist's widely acclaimed traveling exhibition organized in 2008 by Tate Britain, London, in coöperation with ARC/Musée d'Art moderne de la Ville de Paris and Schirn Kunsthalle Frankfurt. This survey exhibition explored recurring images and motifs in the artist's work by bringing together important series of major paintings and related works on paper from the past 20 years. It was the most in-depth and comprehensive overview of Peter Doig's work to date.
Peter Doig was born in Scotland in 1959 and raised in Canada before returning to Britain in 1979. He lived for many years in London before moving to Trinidad, where he now lives and works. Peter Doig was awarded the prestigious John Moores Foundation Prize in 1993 and was nominated for the Turner Prize the following year. From 1995 to 2000 he was a trustee of the Tate Gallery. In 2008 he was awarded the Wolfgang Hahn Prize from the Society for Modern Art, Museum Ludwig, Cologne.
Important solo museum exhibitions include Homely, Gesellschaft für Aktuelle Kunst, Bremen, 1996; Blizzard Seventy Seven, Kunsthalle Kiel, Kunsthalle Nuremburg, and Whitechapel Art Gallery, London, 1997; Echo Lake, Museum of Contemporary Art Miami, Berkeley Art Museum, and St. Louis Art Museum, 2000; Almost Grown, The Power Plant, Toronto, 2001; Charley's Space, Bonnefantenmuseum, Maastricht and Carré d'Art contemporain de Nimes, 2003; Metropolitain, Pinakothek der Moderne, Munich and Kestnergesellschaft, Hannover, 2004; and STUDIOFILMCLUB, Museum Ludwig Cologne and Kunsthalle Zurich. His work was included in the 2004 Carnegie International; Day for Night, the 2005 Whitney Biennial; Still Points of the Turning World, SITE Santa Fe's Sixth International Biennial, 2006; and The Painting of Modern Life, Hayward Gallery, London, and Castello di Rivoli, Turin, 2007.
Peter Doig: New Paintings opens 17 January and is on view at Gavin Brown's enterprise and Michael Werner Gallery through 14 March. An opening reception will be held at Gavin Brown's enterprise, 17 January, 6 to 8 p.m.
Michael Werner Gallery, 4 East 77 Street, is open Monday through Saturday from 10 to 6. Gavin Brown's enterprise, 620 Greenwich Street, is open Tuesday through Saturday from 10 to 6. For more information contact Jason Duval at Michael Werner Gallery (jason@michaelwerner.com); and Jenny Borland at Gavin Brown's enterprise (jenny@gavinbrown.biz).
Drawn at Kinkead Contemporary in Culver City, California
Drawn
Featuring Michael Jones McKean, Bettina Sellmann, Jared Sprecher and Kevin Zucker
February 21 - March 28, 2009
Opening reception Saturday, February 21, 6-9pm.
Drawn examines the role of drawing within an artist's larger practice. The exhibition showcases four artists whose works on paper provide a deeper understanding of both their discipline and their process, while inviting the viewer deeper into the thinking behind their work in general. Drawn presents a variety of approaches with regards to the act of drawing. McKean, a sculptor, produces collages mirroring the assemblage of his larger works. Sellmann is the most traditional of the group; many of her drawings directly relate to her watercolor on canvas paintings. Sprecher's gouache works on paper serve as an experimental proving ground for his paintings. And Zucker produces smaller drawing versions of his larger conceptual works on canvas. The drawings in Drawn serve to demonstrate these very different approaches, while highlighting each artist's primary practice of art making.
Kinkead Contemporary is a new contemporary art gallery dedicated to emerging artists. Founded by collector John Kinkead, the gallery's mission is to introduce new voices through an ambitious series of solo and curated group exhibitions. Over the next 24-months a series of co-curated group shows are planned in concert with leading emerging gallerists from Chicago and New York. A native of California, John Kinkead is a graduate of both The Art Institute of Chicago and Cranbrook Academy of Art. A passionate art collector and patron, he is a member of the MOCA Contemporaries as well as LACMA's Print and Drawing Council.
Kinkead Contemporary
6029 Washington Boulevard
Culver City, CA 90232
T 310.838.7400
F 310.838.7474
Gallery Hours:
Tues - Sat 11-6
John Kinkead, Director
john@kinkeadcontemporary.com
Embarking on its third decade, ADAA presents the 2009 Art Show to benefit Henry Street Settlement. Once again bringing together 70 of the nation’s leading fine art dealers, The Art Show will feature paintings, sculpture, drawings, prints, and photographs by artists of all periods. The exhibition will run February 19th through 23rd, 2009 at the Park Avenue Armory and will feature an opening gala on February 18th. All proceeds from admissions to the gala and run-of-show benefit Henry Street Settlement, one of New York’s oldest and most comprehensive social service agencies.
February 19—23, 2009
Park Avenue Armory
Park Avenue at 67th Street
New York City
Admission $20
Thursday – Saturday: noon to 8 pm
Sunday: noon to 6 pm
Monday: noon to 5 pm
Gala Preview
Wednesday, February 18, 2009
For further information on Preview Tickets please call 212.766.9200 ext. 248
It All Began in 1997
It is a rare and wonderful gift to have a dream come to fruition. In 1997, after several years of nurturing and garnering support for his vision, Josh Wainwright, launched the first annual National Black Fine Art Show. We are privileged and blessed to see that dream embraced by so many people. Our lives, and the lives of our patrons, have been enriched beyond measure with the association with the Show. So much beauty and power have been shared with us all.
Our artists have chronicled our lives and experience in ways that other mediums cannot convey. The intent is not only to showcase the work to the African American community, but also, to awaken the broader American community to the richness, vitality and vision of the Black fine art movements. This historic, bold and pioneering venture proved to be in resonance with the public. The numbers that attended that first event in 1997 evidenced the need and appetite for such a show. The primarily African American audience was drawn from all segments of the population and included celebrities like S. Epatha Merkerson and Jesse L. Martin (of NBC's Law & Order), Spike Lee, Ed Bradley, Oprah Winfrey, Cicely Tyson, Tyra Banks, Russell Simmons, Angela Bassett and Warren Beatty.
Widening Appeal
From its origins of being primarily an African American event, infusing racial pride, the NBFAS has gained acceptance among art collectors of all ethnicities. The Show, today, is the largest single gathering of the vast spectrum of original Black fine art and artists, and has become the most important event in the marketing of such art. This is the only serious art show of its kind regularly reviewed by The New York Times.
Broadest Selection of African American Art
The National Black Fine Art Show is the only venue where collectors, students, and curators can view and buy from the full gamut of original Black art in a single venue. This Show attracts leading galleries and dealers in both the primary and secondary markets from across the United States, Canada, Europe and the Caribbean. It provides a rare opportunity to view and purchase works by such early African American masters as Edward Bannister, Robert Duncanson, Henry Tanner; Harlem renaissance masters like Aaron Douglas, Palmer Hayden, Ellis Wilson, Charles Alston, Hale Woodruff, and William Johnson; modern masters such as Romare Bearden, Eldzier Cortor, Benny Andrews, and Elizabeth Catlett; young giants like, Danny Simmons, Cheryl Warrick, Francks Deceus, Carrie Mae Weems and Frank Morrison. The Show provides immense diversity in terms of age, accomplishments, media, content, stylistic and cultural influences, and range from the self-taught to the classically trained.
Great Art, Great Values
While the value of works by African American fine artists have escalated over the past decade, it is widely accepted in the art community that the works of Black artists offer some of the best bargains in today’s art market. Even 18th century Black masterworks, while pricey for some collectors, are still grossly undervalued when compared with their non-Black contemporaries. However, with growing interest stimulated by the NBFAS and a burgeoning secondary market, the potential for appreciation in value is enormous. The show has even become a source for secondary market dealers to purchase work for resale at a profit. The large numbers of emerging artists exhibited in the show, many of whom have begun to garner critical acclaim, offer works that provide significant value.
All Artwork is for Sale
The National Black Fine Art Show, the premier fine art fair featuring an impressive array of original artwork by Black artists, is a yearly meeting place for knowledgeable curators, collectors and interested novices.
The Show will be held at 7 West 34th Street, across from the Empire State Building in the heart of Manhattan.
40 of the finest international dealers exhibiting work by 19th–21st century masters as well as newly emergent artists will be offered in a range of media from paintings, photography, limited edition prints, mixed media and works on paper to fiber art and sculpture.
Show Dates and Hours
Friday, February 13
Saturday, February 14
Sunday, February 15
Noon – 8:00 pm
11:00 am – 8:00 pm
11:00 am – 6:00 pm
Opening Charity Preview Thursday, Febuary 12
General Admission
Daily Tickets/Passes available at the door only. Cash & checks only, admission includes Show Catalog.
Adults $15 (Students $10, with student I.D.)
2-Day Pass $25
Children 16 & under admitted free when accompanied by an adult.
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Location
7 West 34th Street between 5th & 6th Avenues, across from the Empire State Building in the heart of Manhattan.
The Show is wheelchair accessible.
No strollers are allowed on the Show floor.
Café & Bar available at the Show.
Art Opening - Dubai Underground at Like the Spice Gallery
Like the Spice Gallery and Mezze are proud to present the opening of Dubai Underground, an exhibition featuring seven artists from Dubai whose works reveal the hidden complexity of this glitzy Persian Gulf city. The artists featured in Dubai Underground are Hind Mezaina, Sheikha Bin Daher, Jalal Abu Thina, John Hollingsworth, Mohamed Somji, Khalid Mezaina and Reem Al Ghaith. Palm tree shaped islands, the world's tallest building, opulent hotels and the extravagant lifestyles that go along with it- these are the first images that come to mind with the mere mention of Dubai. But beyond this superficial image is a city steeped in contradictions and paradoxes. Dubai Underground explores these contrasts as portrayed by this group of artists, some of which are Emirati (nationals of the United Arab Emirates), and others who represent the city's international complexion, coming from Tanzania, Libya and the UK.
Their works reflect the myriad realities coexisting in Dubai, from juxtaposition of the wealthy elite's conspicuous consumption against the hidden plight of the laborers, who are quite literally building the city brick by brick, to the challenges young Emiratis face in defining and retaining their cultural identity when they have become a minority, making up just 15 percent of the city's population. Dubai is the city and Emirate that forms one of the seven members of the union of the United Arab Emirates, formed in 1972 on the tip of the Middle Eastern peninsula. The city has been grabbing headlines in recent years for its ambitious architectural projects, creation of world-class enterprises and also very recently as a new hub for the emergence of the visual arts in the Middle East. The recent arrival of all the major auction houses, art fairs, a growing number of galleries and intent of museums such as the Guggenheim and Louvre to establish themselves in the neighboring Emirate of Abu Dhabi, have signaled a new awareness and interest in the way art and culture influences the shaping of this city.
Reem Al Ghaith, one of our seven participating artists, has just been featured in an ArtNews article that discusses themes that will be explored in Dubai Underground!
224 Roebling Street. Brooklyn, NY 11211} {718-388-5388} {info@likethespice.com} {Mon, Wed - Sat 12-8:00, Sun 12-7:00}
New Art from The Middle East at The Saatchi Gallery in London
One of the reasons I love art so much and that I am driven to share it with people who make not seek it out, is because I am convinced of its power to break down barriers. I know that art can help people to start to see each other as human beings with common struggles and common sources of joy like family, humor and lovemaking.
One of the most violent and most misunderstood areas of the globe is the Middle East. There is a great new exhibit open in London that shares the artist vision of 19 artists from the region with the world. Check it out in my comments below and visit the gallery's web site. http://www.saatchi-gallery.co.uk/artists/unveiled/
The Saatchi Gallery in London is hosting the second in its trilogy of exhibitions of contemporary art from emerging global markets, Unveiled: New Art from the Middle East (on view through May 9) follows last year’s show of new Chinese art, and precedes a survey of work from India. There are 19 young artists from the Middle East in this show. The artists offer varying and often provocative perspectives on the sensibilities of the region and artists who call the region home. From what I can ascertain in reading and in photographs of the work it is an incredible show! I only wsh I was there to see it in person. I'm posting this in the hopes that some of you may be able to attend and write back with your personal accounts.
The Saatchi Gallery has moved to Chelsea, and is now open.
The Duke of York's HQ, Sloane Square, offers an ideal environment to view contemporary art, with very large well-proportioned rooms and high ceilings. The Gallery occupies the entire 70,000 sq ft building giving the gallery scope for a book shop, educational facilities and a café/bar. It is ideally located in a central London location on Kings Road, Chelsea.
Address:
Duke of York's HQ
King's Road
London
SW3 4SQ
By Underground:
The gallery is 3-4 minutes' walk from Sloane Square Underground (District and Circle lines) and 10-12 minutes' walk from Victoria (Victoria, District & Circle lines).
By Bus:
11,19,22,49,211,319 (King's Road), 11,137,211 (Lower Sloane Street).
By Train:
The nearest mainline railway station is Victoria. It is 10-12 minutes' walk from the gallery.
Josée Pellerin’s photographic œuvre at Galerie Orange
Galerie Orange is pleased to present for the first time Josée Pellerin’s photographic œuvre. How do we manage the feat of living together? This question is at the heart of theme and at the core of the artist’s recent work. Inspired by the narrative games found in Italo Calvino’s writings, the artist constructs photographic micro-fictions where the individuals seem subject to a gregarious life. For several years now Josée Pellerin’s work has developed into a continual exchange between photography and literature, thus the creation of a hybrid language. The juxtaposition and the sequence of images and texts orchestrate a narrative of temporal leaps and spacial boundaries. Rooted in her own texts, the permutations, created by this crossed approach, produce relations that permit the emergence of a fictional space. These micro-narrations reflect upon the human condition, with images oscillating between the burlesque and contemporary tragedies.
Jack Shainman is battling Collette Blanchard for my favorite gallery. He reps some of my favorite artists, it's another gallery with friendly staff and a very well designed and laid out floor plan. This week two of my favorites have a show opening at the same time. John Bankston and Hank Willis Thomas. I plan to be there if my body cooperates, so I hope to see you there too.
JOHN BANKSTON
The Fabulist's Colored Life
February 12 - March 14, 2009
Opening Reception: Thursday, February 12, 2009, 6-8pm
Jack Shainman Gallery is pleased to announce the opening of The Fabulist's Colored Life, an exhibition of new paintings by John Bankston whose work is concurrently on view in the "30 Americans" exhibition that opened at the Rubell Family Collection during Art Basel Miami Beach in December. This is Bankston's fourth solo show at the gallery. Employing his signature coloring book style with equal parts painting and drawing, abstraction and figuration, he creates visual narratives. Like pages in a coloring book the overall compositions are graphic with large areas of negative space counterbalanced by patches of vibrant colors referencing various painting traditions from throughout the 20th Century. The Fabulist, a teller of tales, is both the imaginary author and subject of the stories. Large-scale paintings present scenes from his fantastical life. In the title, the word "colored" implies multiple meanings; topics of race, gender, identity, equity and isolation are all at play in these exquisite works that straddle the imagined and the real.
John Bankston has a forthcoming solo exhibition opening at the University of Alabama, Visual Arts Gallery, Birmingham, AL in March 2009. He was the subject of a one-person exhibitions at the de Young Museum in San Francisco, 2006, at The Studio Museum in Harlem, New York, NY in 2001 and has exhibited his work in numerous group exhibitions, including Black Panther Rank and File, Yerba Buena Center for the Arts, San Francisco, CA (2006); Seeing Double: Encounters with Warhol, The Andy Warhol Museum, Pittsburgh, PA (2005); East of the Sun and West of the Moon, White Columns, New York, NY (2004); Splat Boom Pow: The Influence of Comics in Contemporary Art, The Contemporary Art Museum Houston, Houston, TX (traveled to the Institute of Contemporary Art, Boston, MA and Wexner Center for the Arts, Columbus, OH) and Freestyle, The Studio Museum in Harlem (2001). Bankston is the recipient of the Fleishhacker Award (2004), the Joan Mitchell Foundation Award (2002), the SECA Art Award (2002), and the Louis Comfort Tiffany Foundation Fellowship (2001). His works are represented in the collections of The Hartford Athenaeum, The de Young Museum, The Herbert F. Johnson Museum of Art Cornell University, Smith College Museum of Art; the San Francisco Museum of Modern Art; the Berkeley Art Museum; the City of Chicago; the Norton Family Foundation, Santa Monica; the Studio Museum in Harlem; and the University of Illinois, Chicago.
If you live in Chicago or plan to visit soon, check out this great show. Also, please feel free to tell me about openings in your city or town so that I can share them with as many people as possible.
DAVID LEFKOWITZ
JANUARY 23 - MARCH 21, 2009
If geneticist Gregor Mendel had cross-bred pointillist Georges Seurat and minimalist Donald Judd in the garden of Edward Scissorhands, he may have developed something akin to the paintings in 'New Works,' David Lefkowitz's solo exhibition at Carrie Secrist Gallery in Chicago, which opened on Friday, January 23.
The show is comprised of paintings of unlikely topiary structures isolated like specimens on a ground of Baltic birch plywood. The images, representations of natural forms that have been manipulated to resemble representations of culture, come out of a desire to embody internal contradictions of our ambivalent stance toward nature. The work reiterates a theme that Lefkowtiz often returns to which is an interest in bringing into question the idea that the natural world and the world of human endeavors are separate and distinct realms of experience.
At first glance, these paintings suggest ostensibly natural forms, but their artifice is emphasized. Compositionally, they appear as single 'specimens' removed from their spatial context and isolated on a ground. Though painted by hand, they almost read as decals applied mechanically to the wood surface.
Calling these seemingly benign arboreal follies "cultivars", a term used to describe different genetic variations of a plant developed through science, implies human intervention at an earlier state than one might normally associate with topiary. Some may suggest practical use value, which is not feasible when these forms are composed of shrubs. A slide with a prickly/leafy surface is not conducive to slippery play. The permeability of a bush would make a fairly ineffective Cultivar. Others allude to natural forms that 'grow' in alternate ways- A Palm without fronds and an upside-down conifer (Inverted Pine). These play with assumptions about certain iconic symbols of nature.
The exhibit remains on display through March 21. For further information please visit www.secristgallery.com or contact Natalie Popovic, Gallery Manager at 312.491.0917.
Art Opening - Sloan Fine Art on the Lower East Side
AARON SMITH
MANDRAKES, MARTYRS & MUCK SNIPES
and
SARAH BEDFORD
PEAKS & VALLEYS
Opening reception Wednesday, February 11th, from 7 to 9 pm
Sloan Fine Art is located at 128 Rivington St., New York, NY. Gallery hours are Wednesday through Sunday, noon to 6pm and by appointment. The closest subway stops are the Delancey/Essex stop on the F, J, M or Z and the Second Ave stop on the F or V.
Last Thursday I went to check out a new group exhibition in Harlem called Layers of Current-cy: Memory and Imagery of Black History in America for a New Time. One of the participating artists is Shani Peters. Shani and I were among the group of artists who just participated in White Lies: Black Noise at Rush Arts Gallery. Shani's a talented artist and a very cool person and I went out to support her and check out the work of all the artists in the show.
I enjoyed the show and if you're in Harlem you should check it out too. Peep these pics from the opening night reception.
Layers of Current-cy: Memory and Imagery of Black History in America for a New Time
The Harlem School of the Arts
645 St. Nicholas Avenue, New York, NY 10030 U.S.
Thomas Heath, b. 1949, American. Heath has participated in solo and group shows throughout NY, including the Harlem Open Artist Studio Tour, NY; He is also published in African American Art: The Long Lost Struggle, edited by Crystal Britton.
Gail Shaw-Clemons, b. 1953, American. Shaw-Clemons has exhibited her work at Skylight Gallery, NY; South Broadway Cultural Center Gallery, NM; and is presently showing at Columbia University, NY.
Shani Peters, b. 1981, American. Peters is an MFA student at City College of NY. She has exhibited at Harlem Textile Works, NY; RushGallery, NY; and participated in Harlem Open Artist Studio Tour, NY.
Monday, February 9, 2009
5:30 p.m.
MoMA Monday Nights
Film Screenings & Events
MoMA Monday Nights
One Monday a month, MoMA stays open until 8:45 p.m. Drop in after hours for exhibitions, films, entertainment, and a cash bar. Visitors have an extended opportunity to view special exhibitions, as well as the Museum's renowned collection of modern and contemporary art. Entry to Modern Mondays, the Museum's weekly series of screenings and discussions with contemporary filmmakers, is included in the cost of admission. Entrance to Modern Mondays screenings is on a first-come, first-served basis.
Check out this opening night coming up in East Harlem.
This was emailed to me from East Harlem Presents. Here's a statement about their objective from their website.
OUR OBJECTIVE
We want to make the arts an integral part of the neighborhood growth for now and the future to stimulate and encourage presentations of performing arts and fine arts and to encourage public interest in the arts.
We envision an entity that would showcase the area's rich artistic culture, produce collaborations between resident and international artists and pump the already growing local economy.
"The idea is to hold a activities where we celebrate a lot of the arts of East Harlem and bring in artists from outside."
"We're trying to generate additional excitement around our individual events, and create a model for a collaborative international festival," Cultural participation may be a “path of engagement” to other forms of civic participation.Further, cultural participation may provide a basis for strengthening community bonds. In this view, cultural participation helps people articulate important aspects of themselves and their communities, thus encouraging attitudes, values and social ties that underpin a well-functioning society. This initiative provides a meeting ground for people interested in expanding arts and cultural participation and people interested in strengthening communities.
The Wallace Foundation conducted a survey of five communities and asked about any live music, theater and dance events attended during the previous year and any visual arts seen during that time. The answers were analyzed to compare participation broadly defined – that is, including the full range of music and dance styles, types of theater, and examples of visual arts that respondents identified – with participation narrowly defined – that is, including only the music, theater, dance, and visual arts that have been specified in previous national surveys.
The artist creates large-scale mixed media pieces using photos of his ancestors and discarded objects on canvas.
While visiting family in Jamaica, Kendall sorted through old photos of his relatives and their friends from the 1940’s to the 1960’s. The photos impressed the artist because despite of having meager means, his family had “delightful expressions” and “possessed the costume and countenance of movie stars”. The artist quotes his grandmother: “just because you’re broke doesn’t mean you need to show it.”
The title of this series pairs coon, an inflammatory word for a black person, with alchemy a word expressing the resourcefulness of transformation. “Doing so I am changing the context of coon from an ethnic slur to a term of endearment achieved by the ability to make something out of nothing. This elevated them (portrait subjects) above their original limitations. I call this gift and curse Coon Alchemy. People of color in the colonized world have always had to use the discarded, and reinvent themselves and their culture, to create a sense of pride.”
NY Studio Gallery 154 Stanton St. @ Suffolk St. New York, NY 10002
212.627.3276 / info@nystudiogallery.com / www.nystudiogallery.com
Thursday – Saturday, 12 – 6 pm or by appointment
Walker Evans is a great American photographer and has recently become one of my favorites. This exhibit shows that we also have something else in common a love for creating and collecting postcards. I plan to check this show out asap. You may want to do the same.
This exhibition will focus on a collection of 9,000 picture postcards amassed and classified by the American photographer Walker Evans (1903–1975), now part of the Metropolitan’s Walker Evans Archive. The picture postcard represented a powerful strain of indigenous American realism that directly influenced Evans’s artistic development. The dynamic installation of hundreds of American postcards drawn from Evans’s collection will reveal the symbiotic relationship between Evans’s own art and his interest in the style of the postcard. This will also be demonstrated with a selection of about a dozen of his own photographs printed in 1936 on postcard format photographic paper.
Accompanied by a publication.
1000 Fifth Avenue at 82nd Street
New York, New York 10028-0198
Information: 212-535-7710
TTY: 212-570-3828
Please note that you may enter the Museum at Fifth Avenue and 81st street or at Fifth Avenue and 82nd Street.
Hours
Monday: Closed (Except Holiday Mondays*)
Tuesday–Thursday: 9:30 a.m.–5:30 p.m.**
Friday and Saturday: 9:30 a.m.–9:00 p.m.**
Sunday: 9:30 a.m.–5:30 p.m.**
(Closed Thanksgiving, Christmas, and New Year's Day)
Admission
Fee includes same-day admission to the Main Building and The Cloisters Museum & Gardens. There is no extra charge for entrance to special exhibitions.
Suggested
Adults $20
Seniors (65 and older) $15
Students $10*
Members (Join Now) Free
Children under 12 (accompanied by an adult) Free
Exhibit Opening - Mark Ruwedel: Westward the Course of Empire
Mark Ruwedel
Westward the Course of Empire
February 5, 2009–March 7, 2009
Artist’s Reception and Book Signing
Thursday, February 5, 2009, 6:00–8:00 pm
Yossi Milo Gallery is pleased to announce an exhibition of black-and-white photographs by Mark Ruwedel. The exhibition, entitled Westward the Course of Empire, will open on Thursday, February 5 and close on Saturday, March 7, with a reception and book signing by the artist on Thursday, February 5 from 6:00 to 8:00 pm. This will be the artist’s first solo exhibition in New York.
Mark Ruwedel photographs the sites of 19th and 20th century railway lines in the American and Canadian West using a large-format view camera. The collapsed tunnels, deteriorating trestles, and eroding cuts and grades of over 130 abandoned railroad lines are documented in photographs taken between 1994 and 2006. The detailed gelatin silver prints record the remains and ruins of railway networks, as well as evidence of industries that moved in after the decline of the railroad, such as uranium-claim markers, mine entrances, and bomb craters at abandoned army fields.
In the tradition of the New Topographics, Mr. Ruwedel acts as an archivist, cataloging the effects of past usage on the current landscape. The titles of the images, faintly hand-lettered in graphite directly on the mount by the artist, name the defunct rail lines, evoking both place and destination, such as “Carson and Colorado” or “Tonopah and Tidewater”. By echoing the photographic surveys and topographical studies done during the growth of the railroad enterprise, the project serves as a coda to the rise and impact of the railroad and industry on the forgotten terrain of the West.
Mark Ruwedel was born in Bethlehem, Pennsylvania in 1954. His photographs are held in numerous collections, including Yale University Art Gallery, New Haven, CT; The J. Paul Getty Museum, Los Angeles; Los Angeles County Museum of Art; U.S. Library of Congress, Washington, DC; Fonds Nationale d’Art Contemporain, Paris; Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art; and the Stedelijk Museum, Amsterdam. The book Westward The Course of Empire was published by Yale University Art Gallery in 2008. Mr. Ruwedel currently teaches at California State University, Long Beach, CA.
Layers of Current-cy: Memory and Imagery of Black History in America for a New Time
Check out this new group exhibition opening in Harlem. One of the participating artists is Shani Peters. Shani and I were among the group of artists who just participated in White Lies: Black Noise at Rush Arts Gallery. Shani's a talented artist and a very cool person. Come out to support her and see the work of all the artists in the show.
The Harlem School of the Arts
645 St. Nicholas Avenue, New York, NY 10030 U.S.
Layers of Current-cy: Memory and Imagery of Black History in America for a New Time
In this momentous year for American socio-politics, HSA celebrates Black History Month with a dynamic group show of artists working in our own Harlem community. Together, these very disparate works offer a unique sketch of African American experience through our modern American lens. All three artists fuse the past and the present, both literally through the layering of media, and figuratively by layering past ideologies and present perspectives.
Thomas Heath is an American born painter who explores his connection to his African roots on an intuitive level. He has never been to Africa, but believes through collective memory he is inspired to produce images that come to mind as he layers acrylic paint on canvas. Gail Shaw-Clemons’ work is inspired by early American currency printed with images of slavery. She works in mixed-media sculpture and collage exploring the relationship between legal paper tender and the human property it could once appropriate. Her work has phenomenal relevance to our immediate state of affairs, shedding light on our economic history. Shani Peters’ work represents the post-Civil Rights evolution of the black family in society. Her videos and collages layer familiar pop culture icons with ideologies of the Black Panther movement. They are symbolic of the distance between social ideals and reality that underlies all inequality in society.
Artists:
Thomas Heath, b. 1949, American. Heath has participated in solo and group shows throughout NY, including the Harlem Open Artist Studio Tour, NY; He is also published in African American Art: The Long Lost Struggle, edited by Crystal Britton.
Gail Shaw-Clemons, b. 1953, American. Shaw-Clemons has exhibited her work at Skylight Gallery, NY; South Broadway Cultural Center Gallery, NM; and is presently showing at Columbia University, NY.
Shani Peters, b. 1981, American. Peters is an MFA student at City College of NY. She has exhibited at Harlem Textile Works, NY; RushGallery, NY; and participated in Harlem Open Artist Studio Tour, NY.
Jack Shainman Gallery is pleased to exhibit Recent Soundsuits, Nick Cave's second solo exhibition at the gallery. A diverse selection of the highly imaginative, mixed-media, wearable sculptures, Soundsuits, for which Cave has become well-known, are on view through February 7th.
A row of suits of woven hair in vibrant colors, from fluorescent orange and lime green to royal blue, lines one wall in the back gallery. These creatures with their amorphous and undefined bodies are apparitions hovering between a human form and an abstract painting. A U-shaped runway situated opposite these figures features another diverse group of Soundsuits, some with sleeker, formfitting bodysuits comprised of found fabrics and materials including buttons, sequins and beads that are combined and sewn together into intricate patterns and designs. Metal armatures adorned with a range of objects including painted ceramic birds, flowers, brass ornaments, and strands of beads, top the figures and serve as headdresses that activate the sculpture and provide a visual and textural contrast to the soft bodysuit.
Soundsuits, named for the sounds made when the sculptures are worn, are as reminiscent of African and religious ceremonial costumes as they are of haute couture. A multitude of references bring to mind not only disparate cultural traditions but they also highlight Cave's diverse background and artistic training. Cave studied and danced with Alvin Ailey and created his own clothing line which he featured in a shop he opened and ran for ten years. He is as interested in fashion and cultural, ritualistic and ceremonial concepts as he is in politics, a domain that has always been part of his work as demonstrated by acts of collecting and reconfiguring elements and concealing the identity, race, and gender, of those who wear his suits. Rendering them faceless and anonymous the suits help these individuals transcend the political realm in order to enter the realm of dreams and fantasy.
Here Cave also presents a number of new sculptures that break from his traditional form, the Soundsuit. Comprised of recognizable ready-made objects these sculptures are overt political statements in
themselves.
A major traveling solo exhibition of Cave's work will open at Yerba Buena Art Center, San Francisco, in March. Cave's work is concurrently on view at the Rubell Family Collection as part of the ?30 Americans?. He has mounted other solo exhibitions, at venues including the Chicago Cultural Center, IL (2006), the Jacksonville Museum of art, FL, the Telfair Museum, Savannah, GA and the Cornell Fine Arts Museum, FL (2007), and has participated in numerous group exhibitions including Freestyle Frequency, Studio Museum in Harlem, New York, NY (2005). Cave has received several prestigious awards including, the Joan Mitchell Foundation Award (2008), Artadia Award (2006) the Joyce Award (2006), Creative Capital Grants (2002, 2004 and 2005), and the Louis Comfort Tiffany Foundation Award (2001). Cave, who studied fiber arts at the Cranbrook Academy of Art, is Associate Professor and Chairman of the Fashion Department at the School of the Art Institute of Chicago.
For further information please contact Jack Shainman Gallery at (212) 645-1707.
Check out this review from the New York Times
NICK CAVE
Recent Soundsuits
Jack Shainman
513 West 20th Street, Chelsea
Through Feb. 7
Nick Cave’s “Soundsuits” — elaborately ornamented, wearable sculptures — have won this artist and former Alvin Ailey dancer a devoted following. In his second solo at the Shainman gallery, Mr. Cave plays up the fashion element of the Soundsuits by installing them on a U-shaped runway.
In each suit the head is completely covered by a torpedo-shaped hood or a cluster of found objects: metal spinning tops, ceramic figurines. Buttons, beads and a garment district’s worth of sequined trimmings add to the Mardi Gras aesthetic. In a welcome departure, Mr. Cave also introduces dyed and woven hair to his repertory of embroidered, crocheted, bedazzled and otherwise adorned textiles. The Soundsuits in this grouping look as if a Color Field painter had crossed paths with Sasquatch.
Mr. Cave’s new sculptures in the front gallery incorporate vintage figurines that might be categorized as “black memorabilia.” Each features a statue of a smiling minstrel or servant, topped by a treelike metal armature adorned with birds, flowers and other tchotchkes. The wall-based works in the second gallery fare slightly better, if only because they are less formulaic. Still, the figures in this series — some from carnival games — have a life of their own, and are not easily subsumed into assemblages.
The Soundsuits are more optimistic creations, sometimes interpreted as uniforms for a postracial utopia. In any case, these profusely decorated objects have ceremonial and mood-enhancing properties. KAREN ROSENBERG
Kalup will be performing at The Kitchen. Curated by Rashida Bumbray. Comedy, Tragedy, Sketches of Me. For these evenings, I will debut a new, solo theatrical work in which I will play piano, sing, and be accompanied by video projections that feature my ever-expanding cast of riotous characters. Thursday, Feb 12 and Friday, Feb 13. 8pm. $8-$12
519 West 19th Street - 212.255.5793 - info@thekitchen.org
Art Production Fund is producing a documentary about Kalups work and his contributions to Prospect 1, New Orleans. Included here is a promo clip!!!!
New at MOMA (that's the Museum of Modern Art in NYC)
a shimmer of possibility. Photographs by Paul Graham
February 4–May 18, 2009
The Robert and Joyce Menschel Photography Gallery, third floor
In August of 2004 Paul Graham (British, b. 1956), who had moved from London to New York in 2002, set out on the first of many trips around the United States to see and photograph the country for himself. This exhibition has been selected from the resulting series of photographic works, which Graham published in twelve volumes as a shimmer of possibility (steidlMACK, 2007). Each simple but structurally inventive series includes varying numbers of pictures, from one to more than ten, and provides a vivid glimpse into unheralded moments in the lives of individuals Graham encountered on his travels. A series showing a woman eating a take-out meal or a man waiting at a bus stop transcends its nominal subjects and describes aspects of life that, while ordinary, are imbued by the photographer with affection and curiosity. a shimmer of possibility is a call for attention to the brief, indefinite intervals of life. As Graham has said, "Perhaps instead of standing at the river’s edge scooping out water, it’s better to be in the current itself, to watch how the river comes up to you, flows smoothly around your presence, and reforms on the other side like you were never there."
The artist creates large-scale mixed media pieces using photos of his ancestors and discarded objects on canvas.
While visiting family in Jamaica, Kendall sorted through old photos of his relatives and their friends from the 1940’s to the 1960’s. The photos impressed the artist because despite of having meager means, his family had “delightful expressions” and “possessed the costume and countenance of movie stars”. The artist quotes his grandmother: “just because you’re broke doesn’t mean you need to show it.”
The title of this series pairs coon, an inflammatory word for a black person, with alchemy a word expressing the resourcefulness of transformation. “Doing so I am changing the context of coon from an ethnic slur to a term of endearment achieved by the ability to make something out of nothing. This elevated them (portrait subjects) above their original limitations. I call this gift and curse Coon Alchemy. People of color in the colonized world have always had to use the discarded, and reinvent themselves and their culture, to create a sense of pride.”
About the artist
Ibn Kendall lives and works in his native Brooklyn. He holds a BFA from the University of the Arts, Philadelphia P.A. Solo exhibitions include Lichtpunkt Gallery in Munich, Germany, and Salon Ciel, New York, N.Y. Selected group exhibitions include 31 Grand Gallery, Exit Art, and Gale-Martin Gallery.
NY Studio Gallery is pleased to present the “And Your Very Flesh Shall Be A Great Poem” An installation created by Barrie Cline, Richard Alvarez, and Cousin Frank.
Jan 27 thru Feb 3, 2009
The artists have crafted an installation that embodies themselves and their deep roots in New York’s 1980s underground culture –while creating an especially relevant and radical practice for the present age. Born of an era where the squalor created by the economic crisis of the 70s and the dark forbidding spaces in the city spelled possibility and a gritty kind of equal opportunity, this DIY sensibility facilitated their unique, unsanctioned versions of identity and beauty as well as adaptive and sensual life.
While their individual styles vary, each of these artists has adopted their own unorthodox approach to their genres, materials and the place for art itself. This show seeks to create a more inclusive environment for art, redefining the art-going public.
Poised as we are at the brink of another potential period of hard times for NYC, this installation suggests an adaptive and humanistic opportunity for bottom-up growth. A lush and cacophonous soundscape created by Jacob Cox of MO$FO shall accompany the exhibit.
WELCOME TO NYSG
NY Studio Gallery combines exhibition and workspace to create a dynamic atmosphere of interaction, collaboration and integration of media, styles and artistic genres. Visitors have the opportunity to interact with artists at work, participate in an ongoing portrait project, or attend a variety of artists’ events.
MISSION
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.
NYSG • 154 Stanton St. • New York, NY 10002
PHONE: 212.627.3276 • EMAIL: info@nystudiogallery.com • URL: nystudiogallery.com
Latitude at Rush Arts Gallery Opening Night TONIGHT
I can't be there personally as I am basking in the warm South Florida sunshine, but if you're in NYC you should check out the new show at Rush Arts that opens tonight called Latitude.
LATITUDE
February 3 - March 28, 2009
Opening Reception: Friday January 30th, 2009 6-8PM
Sung Jin Choi
Brendan Fernandes
Mona Kamal
Sungmi Lee
Vered Sivan
Jessica Vaughn
In the many modes that latitude can describe place on both a personal and global scale, the six artists in this exhibition investigate the complexities of mixed cultural identity and the increasingly unstable political and emotional notions of homeland. Each approach visual narrative and representation uniquely yet share a communal emphasis on material and process. The line is often articulated as a symbol that references memory, points of departure and the linking of time and space. Much like the longitudinal and latitudinal lines of the globe, the highly-detailed, repetitive quality in these works highlights the prescribed parameters of the gallery space and challenges this rigidity to further complicate the boundary of experiences. Ideological constructs and pre-existing binaries are deconstructed as Sung Jin Choi, Brendan Fernandes, Mona Kamal, Sungmi Lee, Vered Sivan and Jessica Vaughn come together in this installation-based exhibition to redefine notions of identity, authenticity and heritage outside of a hegemonic vernacular.
Vanity Fair Portraits: Photographs 1913–2008 is the first major exhibition to bring together the magazine's historic archive of rare vintage prints with its contemporary photographs. The exhibition explores the ways in which photography and celebrity have interacted and changed, with portraits from the magazine's early period (1913–1936) displayed in conjunction with works from the contemporary Vanity Fair (1983–present). The Los Angeles presentation, which is sponsored by Burberry, will be the only U.S. stop on the exhibition's international tour. Photographers to be represented include Cecil Beaton, Harry Benson, Julian Broad, Imogen Cunningham, Annie Leibovitz, Man Ray, Mary Ellen Mark, Steven Meisel, Helmut Newton, Herb Ritts, Edward Steichen, Mario Testino, and Bruce Weber.
Curators: Terence Pepper, curator of photographs, National Portrait Gallery, and David Friend, editor of creative development, Vanity Fair. Curator at LACMA: Charlotte Cotton, photography.
A collaboration between Vanity Fair and the National Portrait Gallery, London.
Sponsored by
Vanity Fair is a registered trademark of Advance Magazine Publishers Inc.
LACMA is open every day except Wednesdays, Thanksgiving, and Christmas.
Monday 12 noon–8 pm
Tuesday 12 noon–8 pm
Wednesday CLOSED
Thursday 12 noon–8 pm
Friday 12 noon–9 pm
Saturday 11 am–8 pm
Sunday 11 am–8 pm
Directions and Public Transportation
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.
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) | $8
* 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.
Ever wonder what ever happened to Marilyn Manson? Well Imma tell you anyway...he's still makin music, but he's also been making art for over 15 years. Check this out.
Multi-talented artist Marilyn Manson, legendary for the cult status of his music career and persona, has simultaneously been creating a large and remarkable body of paintings over the past two decades has been been revealed for the first time in the US.
Just as Manson’s lyrics are provocative, driving the expressive form of music to its limits, the artist’s paintings, though aesthetically pleasing, play with the grotesque and confront the viewer with the dark side of the American Dream - its obsessions and pitfalls. This exhibition of more than twenty paintings is presented by the Cologne-based Galerie Brigitte Schenk in cooperation with 101 Exhibit, a dynamic new art space in Miami’s Design District.
The artist known as Marilyn Manson took his pseudonym from the names Marilyn Monroe and Charles Manson - figures whom he sees as reflecting the ultimate and most disturbing dualism of American culture. "Marilyn Manson is a living work of art and an anti-popstar." stated his gallerist Brigitte Schenk.
"101/exhibit is a unique space dedicated to exhibiting exceptional fine and decorative art and design. Located in the heart of Miami's Design District, 101/exhibit seeks to provide a dynamic program not restricted by era, locale, or convention."
Located at 101 NE 40th Street Miami, Florida 33137
305-573-6101
MOMA is one of my favorite museums in the world. Check out this exhibit on display now.
George Lois: The Esquire Covers
April 25, 2008–March 30, 2009
The Philip Johnson Architecture and Design Galleries, third floor
From 1962 to 1972, George Lois changed the face of magazine design with his ninety-two covers for Esquire magazine. He stripped the cover down to a graphically concise yet conceptually potent image that ventured beyond the mere illustration of a feature article. Lois exploited the communicative power of the mass-circulated front page to stimulate and provoke the public into debate, pressing Americans to confront controversial issues like racism, feminism, and the Vietnam War. Viewed as a collection, the covers serve as a visual timeline and a window onto the turbulent events of the 1960s. Initially received as jarring and prescient statements of their time, the covers have since become essential to the iconography of American culture.
The Museum of Modern Art
(212) 708-9400
11 West 53 Street,
between Fifth and Sixth avenues
New York, NY 10019-5497
Getting to MoMA
MoMA is located at 11 West Fifty-third Street, between Fifth and Sixth avenues.
Subway: E or V to Fifth Avenue/53 Street; B, D, or F to 47-50 Streets/Rockefeller Center.
Bus: M1, 2, 3, 4, 5 to 53 Street
Please note: The Museum requires visitors to check backpacks of any size, shopping bags, and bags 11 x 14 inches (28 x 35.5 cm) or larger. To avoid a lengthy wait in the checkroom line, visitors should not bring such items. The checkroom will not accept laptops or luggage of any size.
Pipilotti Rist: Pour Your Body Out (7354 Cubic Meters)
Pipilotti Rist: Pour Your Body Out (7354 Cubic Meters)
November 19, 2008–February 2, 2009
The Donald B. and Catherine C. Marron Atrium, second floor
An Evening with Pipilotti Rist
Pipilotti Rist's lush multimedia installations playfully and provocatively merge fantasy and reality. MoMA commissioned the Swiss artist to create a monumental site-specific installation that immerses the Museum's Marron Atrium in twenty-five-foot-high moving images. Visitors will be able to experience the work while walking through the space or sitting upon a sculptural seating island designed by the artist.
The Museum of Modern Art
(212) 708-9400
11 West 53 Street,
between Fifth and Sixth avenues
New York, NY 10019-5497
Getting to MoMA
MoMA is located at 11 West Fifty-third Street, between Fifth and Sixth avenues.
Subway: E or V to Fifth Avenue/53 Street; B, D, or F to 47-50 Streets/Rockefeller Center.
Bus: M1, 2, 3, 4, 5 to 53 Street
Please note: The Museum requires visitors to check backpacks of any size, shopping bags, and bags 11 x 14 inches (28 x 35.5 cm) or larger. To avoid a lengthy wait in the checkroom line, visitors should not bring such items. The checkroom will not accept laptops or luggage of any size.
This past Friday night I attended the opening reception for The Brand New Heavies at Collette Blanchard Gallery. Brand New Heavies is Mickalene Thomas's curatorial debut and the show is TERRIFIC!!!!!!!!! Mickalene has proven to be as adept at curating as she is accomplished as an artist. The 3 participating artists Lauren Kelley, Deana Lawson and Jessia Ann Peavy have created work that speaks to your intellect while offering just as much stimulation for your senses. I highly recommend that you stop by the gallery and see the show.
The opening night event was actually a lot of fun too. If I sound surprised it's because these types of events are not necessarily a good time. They can sometimes be a bit stuffy, but not this on this night. Collette Blanchard has a very charming spirit that permeates the gallery. She greets every guest with a warm and engaging energy that sets the standard for the atmosphere in the room. As a result the night was a lot of fun and featured great art, good people and of course the champagne was flowing. Some of the people in attendance included: Derrick Adams (Rush Arts Gallery), Wardell Milan III (artist), Rashid Johnson (artist), Demetrius Oliver (artist) and Carmen Macleod.
Check out a few images from the event.
(pictured left to right Deana Lawson, Jessica Ann Peavy, Collette, Mickalene Thomas, Lauren Kelly)
(pictured left to right unidentified guest from London, Demetrius Oliver, Collette Blanchard, Alvin Hall)
(pictured left to right Ricky Day, Collette Blanchard)
(pictured left to right Ricky Day, Lauren Kelly)
(pictured left to right Mickalene Thomas, Carmen Macleod, Rashid Johnson)
(pictured left to right Demetrius Oliver, Derrick Adams)
On display NOW!!!!!!!!!!!!!!!!
Collette Blanchard Gallery is pleased to present The Brand New Heavies, Curated by Mickalene Thomas. The exhibition will be on view from January 23 - March 8, 2009 and will include three dynamic contemporary artists innovatively working in fundamental mediums. Lauren Kelley, Deana Lawson, and Jessica Ann Peavy present recent work conveying salient sentiments through means that are at once, sensual, opulent, and psychological.
The works of all three artists offer staged scenes, referencing theater and performance, while incorporating embellished caricatures through collaboration with and/or commentary on their varied subjects. Lauren Kelley's videos present meticulous, comprehensive, fictitious narratives in overwhelming detail. In Get Bones from 88 Jones, Barbie dolls, an array of plastic sweets, sculpted elements and malleable, inconstant clay form an accelerated narrative satiated with the metaphorical implementation of materials and imagery. Kelley's whimsy informs the happenings in the love life of a librarian with detail similar in degree to the sculpture crafted by Liza Lou. The environments in Kelley's work also resonate with the staged frames in the work of photographer, Deana Lawson. In Anna the everyday patterned couch blending with the drapes in the background is disrupted by the sequins adorning and condition of the thin, staid figure. The minimalist palette and compositions of Lawson's work bring to mind paintings by Barkley Hendricks and the videos of Jessica Ann Peavy. Peavy's A Conversation Piece also references intimate relationships as Get Bones from 88 Jones, though in this case the sensual narratives are articulated through tales of food-making and consumption as two videos play simultaneously and transverse from each other. Similar to some work of Chantal Akerman, Peavy's piece incorporates pauses and static frames, giving the viewer an opportunity to contemplate the different ways in which women communicate which each other. One character speaks candidly about food likes and dislikes, while the other vivaciously recalls an anecdote of food preparation, nourishment, intimacy and rejection.
Lauren Kelley received her MFA from the School of the Art Institute of Chicago and is currently participating in the Core Residency Program in Houston. Deana Lawson, who has been included in several exhibitions over the past year, was recently interviewed by Tova Carlin for Time Out New York, and received a MFA from the Rhode Island School of Design. Jessica Ann Peavy graduated with an MFA from the School of Visual Arts. Recent recipient of NYSCA, Peavy's work is currently on view at the Contemporary Arts Museum Houston and will be included in an upcoming show at the Bronx River Arts Center.
This exhibition is Mickalene Thomas's curatorial debut. She graduated with an MFA from Yale University and currently shows with Lehmann Maupin Gallery in New York, Rhona Hoffman Gallery in Chicago, and Susanne Vielmetter Projects in Los Angeles. Her work has been featured in various catalogues and reviewed in Art in America, The New York Times, The New Yorker, New York Post, NY Arts, Modern Painters, Essence, Whitewall, Frieze, and Artforum. For more information please contact the gallery at 917.639.3912.
Friday, January 23, 2009
6:00pm - 8:00pm
Collette Blanchard Gallery
26 Clinton Street
New York, NY
gallery@colletteblanchard.com
(Lauren Kelley, Get Bones from 88 Jones, film still)
(Deana Lawson, Anna)
(Jessica Ann Peavy, A Conversation Piece, film still)
I was introduced to The Kinsey Collection by a DC based art collector and friend. Upon doing further research I have become fascinated by the depth of the collection and the passion of The Kinsey Family. Check out the video clip and description of the collection from the official website. If this introduction captures your attention then click on the link below and peep their website.
the Kinsey Collection is an extensive exhibition drawn from the artistic and historical treasures collected by California residents, Bernard and Shirley Kinsey. the Kinsey Collection: The Personal Treasures of Bernard and Shirley Kinsey presents the journey of the Kinseys as they embrace and acquire art and artifacts. From rarely seen slave owners’ documents and brilliant expressions in paint to glimpses into private eighteenth and nineteenth-century lives, the Kinsey Collection reflects a rich cultural and historical heritage which they hope to preserve for future generations.
the Kinsey Collection includes works of art by important African American artists such as Romare Bearden, Elizabeth Catlett, Sam Gilliam, William H. Johnson, Jacob Lawrence, and Henry O. Tanner; as well as historical documents and artifacts of Benjamin Banneker, Frederick Douglass, Harriet Ann Jacobs, Alain Locke, Phillis Wheatley, and Malcolm X. When viewed as a whole, the ninety plus objects reveal important aspects of American history and culture.
“Art is precious, but historical documents are rare,” says Bernard Kinsey.
Christina Orr-Cahall, Director of the Norton Museum of Art, added “To have members of our own community develop and share with us their outstanding collection of African American art and historical pieces is extraordinary. We are most grateful to Bernard and Shirley Kinsey for letting us learn through seeing some of the incredible achievements of African Americans in the last four centuries. Each and every one of us of us should make certain that we take advantage of this experience”.
Bernard, the former Xerox vice president who became chief operating officer and co-chair of Rebuild Los Angeles in Los Angeles in 1992, and his wife Shirley, have been collecting for more than 35 years. They started collecting as a way to savor and share their travels, but their art soon became a repository for African American intellectual, historic and artistic works. A vast array of art, artifacts and historical documents fill their home and reinforce the Kinseys’ philosophy that tangible objects are evidence of history.
As the Kinseys evolved as collectors, they began to identify and collect the work of artists who make up and define African American art, such as Lane, Tina Allen, Ernie Barnes, Ed Dwight and Richard Mayhew. Moreover, they collect documents that illuminate historical moments. They see themselves as caretakers of their collection, their ownership temporary. They say, “We’ve assembled our vision and interests. The next stewards may take it elsewhere.”
(Jessica Ann Peavy, A Conversation Piece, film still)
OPENING TONIGHT TONIGHT TONIGHT
Collette Blanchard Gallery is pleased to present The Brand New Heavies, Curated by Mickalene Thomas. The exhibition will be on view from January 23 - March 8, 2009 and will include three dynamic contemporary artists innovatively working in fundamental mediums. Lauren Kelley, Deana Lawson, and Jessica Ann Peavy present recent work conveying salient sentiments through means that are at once, sensual, opulent, and psychological.
The works of all three artists offer staged scenes, referencing theater and performance, while incorporating embellished caricatures through collaboration with and/or commentary on their varied subjects. Lauren Kelley's videos present meticulous, comprehensive, fictitious narratives in overwhelming detail. In Get Bones from 88 Jones, Barbie dolls, an array of plastic sweets, sculpted elements and malleable, inconstant clay form an accelerated narrative satiated with the metaphorical implementation of materials and imagery. Kelley's whimsy informs the happenings in the love life of a librarian with detail similar in degree to the sculpture crafted by Liza Lou. The environments in Kelley's work also resonate with the staged frames in the work of photographer, Deana Lawson. In Anna the everyday patterned couch blending with the drapes in the background is disrupted by the sequins adorning and condition of the thin, staid figure. The minimalist palette and compositions of Lawson's work bring to mind paintings by Barkley Hendricks and the videos of Jessica Ann Peavy. Peavy's A Conversation Piece also references intimate relationships as Get Bones from 88 Jones, though in this case the sensual narratives are articulated through tales of food-making and consumption as two videos play simultaneously and transverse from each other. Similar to some work of Chantal Akerman, Peavy's piece incorporates pauses and static frames, giving the viewer an opportunity to contemplate the different ways in which women communicate which each other. One character speaks candidly about food likes and dislikes, while the other vivaciously recalls an anecdote of food preparation, nourishment, intimacy and rejection.
Lauren Kelley received her MFA from the School of the Art Institute of Chicago and is currently participating in the Core Residency Program in Houston. Deana Lawson, who has been included in several exhibitions over the past year, was recently interviewed by Tova Carlin for Time Out New York, and received a MFA from the Rhode Island School of Design. Jessica Ann Peavy graduated with an MFA from the School of Visual Arts. Recent recipient of NYSCA, Peavy's work is currently on view at the Contemporary Arts Museum Houston and will be included in an upcoming show at the Bronx River Arts Center.
This exhibition is Mickalene Thomas's curatorial debut. She graduated with an MFA from Yale University and currently shows with Lehmann Maupin Gallery in New York, Rhona Hoffman Gallery in Chicago, and Susanne Vielmetter Projects in Los Angeles. Her work has been featured in various catalogues and reviewed in Art in America, The New York Times, The New Yorker, New York Post, NY Arts, Modern Painters, Essence, Whitewall, Frieze, and Artforum. For more information please contact the gallery at 917.639.3912.
Friday, January 23, 2009
6:00pm - 8:00pm
Collette Blanchard Gallery
26 Clinton Street
New York, NY
gallery@colletteblanchard.com
(Lauren Kelley, Get Bones from 88 Jones, film still)
(Deana Lawson, Anna)
(Jessica Ann Peavy, A Conversation Piece, film still)
Inauguration (transfer drawing, mixed media, collage on paper) 2009 Ricky Day
I am thankful to be participate in a group art exhibition in Washington DC called Obama: Art and Politics. I couldn't make it to the opening reception, but the piece I contributed to the show sold on opening night and the entire show is a huge success!
OBAMA - Art & Politics
Exhibition: January 15 - January 31, 2009
Special Viewings:
Dr. King Day: Jan. 19, 11AM-5PM
Inauguration Day: Jan. 20, 10AM-5PM
Hope, Change, Believe, Victory, Unite, Media, Frenzy, Icon
Barack Obama has become the most art inspired politician ever. The official Artists for Obama, who worked diligently on his campaign, and thousands of others throughout the world, have embarked on a frenzy of paintings, drawings, collages, photographs, even digital art to depict the most art-inspired public figure ever.
Artists participating in the Obama: Art and Politics exhibition are as follows: Anthony Armstrong, Joan Belmar, Bip, Rachel D. Crouch, Rebecca D. Crouch, Alonzo Davis, Ricky Day, Antar Dayal, Dana Ellyn, Liani Foster, Pamela Hilliard, Tim Hinton, Victor Holt, Rafael Lopez, Hampton Olfus, Anne Elise Pemberton, Joe Louis Ruffin Desiree Sterbini and Marcel Taylor
H&F Fine Arts
3311 Rhode Island Avenue
Mount Rainier, MD 20712
301.887.0080 gallery
301.574.9692 cell www.hffinearts.com
Follow along as I take a little mini tour of Rush Arts during the final days of White Lies: Black Noise (the group show that I am currently in). Little did I know as I was leaving the gallery that an airliner was landing a few blocks away from me on the Hudson River.
Exhibit - The Brand New Heavies Curated by Mickalene Thomas at Collette Blanchard Gallery
(Jessica Ann Peavy, A Conversation Piece, film still)
What do you get when you team up one of the most talented, passionate and successful new gallerists in the city (Collete Blanchard) with Mickalene Thomas, one of the worlds most successful and talented artists who happens to be making her curatorial debut? You get an eciting and eagerly awaited new exhibit called The Brand New Heavies.
The information below is from the gallery's official Facebook page. I plan to be there for the opening and I recommend you check out the show as well.
Collette Blanchard Gallery is pleased to present The Brand New Heavies, Curated by Mickalene Thomas. The exhibition will be on view from January 23 - March 8, 2009 and will include three dynamic contemporary artists innovatively working in fundamental mediums. Lauren Kelley, Deana Lawson, and Jessica Ann Peavy present recent work conveying salient sentiments through means that are at once, sensual, opulent, and psychological.
The works of all three artists offer staged scenes, referencing theater and performance, while incorporating embellished caricatures through collaboration with and/or commentary on their varied subjects. Lauren Kelley's videos present meticulous, comprehensive, fictitious narratives in overwhelming detail. In Get Bones from 88 Jones, Barbie dolls, an array of plastic sweets, sculpted elements and malleable, inconstant clay form an accelerated narrative satiated with the metaphorical implementation of materials and imagery. Kelley's whimsy informs the happenings in the love life of a librarian with detail similar in degree to the sculpture crafted by Liza Lou. The environments in Kelley's work also resonate with the staged frames in the work of photographer, Deana Lawson. In Anna the everyday patterned couch blending with the drapes in the background is disrupted by the sequins adorning and condition of the thin, staid figure. The minimalist palette and compositions of Lawson's work bring to mind paintings by Barkley Hendricks and the videos of Jessica Ann Peavy. Peavy's A Conversation Piece also references intimate relationships as Get Bones from 88 Jones, though in this case the sensual narratives are articulated through tales of food-making and consumption as two videos play simultaneously and transverse from each other. Similar to some work of Chantal Akerman, Peavy's piece incorporates pauses and static frames, giving the viewer an opportunity to contemplate the different ways in which women communicate which each other. One character speaks candidly about food likes and dislikes, while the other vivaciously recalls an anecdote of food preparation, nourishment, intimacy and rejection.
Lauren Kelley received her MFA from the School of the Art Institute of Chicago and is currently participating in the Core Residency Program in Houston. Deana Lawson, who has been included in several exhibitions over the past year, was recently interviewed by Tova Carlin for Time Out New York, and received a MFA from the Rhode Island School of Design. Jessica Ann Peavy graduated with an MFA from the School of Visual Arts. Recent recipient of NYSCA, Peavy's work is currently on view at the Contemporary Arts Museum Houston and will be included in an upcoming show at the Bronx River Arts Center.
This exhibition is Mickalene Thomas's curatorial debut. She graduated with an MFA from Yale University and currently shows with Lehmann Maupin Gallery in New York, Rhona Hoffman Gallery in Chicago, and Susanne Vielmetter Projects in Los Angeles. Her work has been featured in various catalogues and reviewed in Art in America, The New York Times, The New Yorker, New York Post, NY Arts, Modern Painters, Essence, Whitewall, Frieze, and Artforum. For more information please contact the gallery at 917.639.3912.
Friday, January 23, 2009
6:00pm - 8:00pm
Collette Blanchard Gallery
26 Clinton Street
New York, NY
gallery@colletteblanchard.com
(Lauren Kelley, Get Bones from 88 Jones, film still)
(Deana Lawson, Anna)
(Jessica Ann Peavy, A Conversation Piece, film still)
Brooklyn Museum - 21: Selections of Contemporary Art from the Brooklyn Museum15
Long-Term Installation
Contemporary Art Galleries, 4th Floor
More than forty works from the Brooklyn Museum’s expanding collection of contemporary art goes on long-term view in 5,000 square feet of space newly renovated for this purpose. With contemporary works ranging from Andy Warhol’s Fragile Dress (1966) to Mickalene Thomas’s A Little Taste Outside of Love (2007), 21: Selections of Contemporary Art from the Brooklyn Museum focuses primarily on work produced since 2000, particularly from the richly diverse artistic community of Brooklyn. This installation marks the first time in a decade that the Museum has dedicated space to the long-term display of selections of its collection of contemporary art and reflects a renewed interest in acquiring and presenting recent work.
This exhibition is co-organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, and Patrick Amsellem, Associate Curator of Photography, Brooklyn Museum.
The generous support of the John and Barbara Vogelstein Contemporary Acquisitions Challenge has made possible many recent additions to the collection featured in 21: Selections of Contemporary Art from the Brooklyn Museum.
The creation of the new contemporary galleries was made possible, in part, through support provided by the New York City Council through the efforts of Council Member Bill de Blasio.
Museum Hours *
Sunday
11 a.m. – 6 p.m.
Monday and Tuesday
Closed
Wednesday – Friday
10 a.m. – 5 p.m.
Saturday
11 a.m. – 6 p.m.
First Saturday of Each Month
11 a.m. – 11 p.m
The Brooklyn Museum has a suggested contribution of $8 for adults and $4 for Seniors and Students with valid I.D. Members and children under 12 accompanied by an adult are admitted for free. (Special pricing applies to children’s school groups and group tours for adults and college students.) Advance tickets to the Museum can be purchased online through Ticketmaster. By purchasing these tickets online you agree to pay the full suggested admission plus a $1.50 per ticket service charge. Should you wish to pay less than the suggested admission, you may do so by purchasing tickets at the Visitor Center in the Museum.
Join today to receive free admission to the Museum for one year and other special benefits. In addition, during the month of August Members may admit their guests for only $5 each.
http://www.brooklynmuseum.org
For my info on me visit my official website
www.rickyday.net
Inauguration (transfer drawing, mixed media, collage on paper) 2009 Ricky Day
I've been invited to participate in a great art exhibit in Washington DC which opens this weekend. The gallery called H&F Fine Arts is owned by two incredible black women who are making
OBAMA - Art & Politics
Art Inspired by the recent election
Opening Reception
Sunday, January 18, 2009 3-6PM
Exhibition: January 15 - January 31, 2009
Special Viewings:
Dr. King Day: Jan. 19, 11AM-5PM
Inauguration Day: Jan. 20, 10AM-5PM
Hope, Change, Believe, Victory, Unite, Media, Frenzy, Icon
Barack Obama has become the most art inspired politician ever. The official Artists for Obama, who worked diligently on his campaign, and thousands of others throughout the world, have embarked on a frenzy of paintings, drawings, collages, photographs, even digital art to depict the most art-inspired public figure ever.
Artists that will be participating in the Obama: Art and Politics exhibition are as follows: Anthony Armstrong, Joan Belmar, Bip, Rachel D. Crouch, Rebecca D. Crouch, Alonzo Davis, Ricky Day, Antar Dayal, Dana Ellyn, Liani Foster, Pamela Hilliard, Tim Hinton, Victor Holt, Rafael Lopez, Hampton Olfus, Anne Elise Pemberton, Joe Louis Ruffin Desiree Sterbini and Marcel Taylor
H&F Fine Arts
3311 Rhode Island Avenue
Mount Rainier, MD 20712
301.887.0080 gallery
301.574.9692 cell www.hffinearts.com
Electronic Arts Intermix (EAI)
535 West 22nd Street, 5th Floor
New York, NY 10011
www.eai.org
Admission free
EAI is pleased to present a screening and talk with artist Kalup Linzy. The evening will include the New York premier of Linzy's new video, Keys To Our Heart, which was created for Prospect.1 New Orleans in 2008. Linzy will also screen two recent works, Melody Set Me Free (2007) and SweetBerry Sonnet (Remixed) (2008). The artist will be present to introduce and speak about these works, as well as his practice in video, performance and music. Following the screening, there will be a Q&A with the artist.
In his videos and performances, Kalup Linzy creates satirical narratives inspired by television soap operas and Hollywood melodramas. In works that take an irreverent approach to stereotypes of race, gender and sexuality, Linzy performs, most often in drag, in a series of memorable roles. The artist also voices and overdubs the dialogue of multiple characters. At once comic, raunchy and poignant, Linzy's unique narrative videos fuse dramatic intensity with melodramatic irony.
Filmed on location in New Orleans, Linzy's newest work, Keys To Our Heart, is a black-and-white narrative in which the artist stars as a misanthropic grande dame who dispenses advice to a trio of troubled young lovers. Linzy, who performs all of the characters' dialogue, shot and directed Keys To Our Heart in the style of a Hollywood melodrama. Keys To Our Heart was commissioned by Creative Capital.
Melody Set Me Free is an alternately hilarious and heartbreaking narrative about contestants in an American Idol-style talent show competition and their quest for fame and stardom. Writes Linzy, "Vying to win a recording contest, they must take a Whitney Houston song and make it their own." SweetBerry Sonnet (Remixed) is a remixed version of Linzy's recent "video anthology." In a series of music videos that were made to accompany the songs on Linzy's 2008 album, SweetBerry Sonnet, Linzy performs as several of his recurring characters; the songs trace a melodramatic arc of love and desire.
EAI is proud to announce that a selection of Kalup Linzy's video work is now available through EAI. Please visit www.eai.org for more information.
Kalup Linzy was born in 1977 in Stuckey, Florida. He received a BFA in 2000 and an MFA in 2003, both from the University of South Florida in Tampa. He also attended the Skowhegan School of Painting and Sculpture. He has received awards from the Louis Comfort Tiffany Foundation, the John Simon Guggenheim Memorial Foundation, Creative Capital Foundation, and the Jerome Foundation. He has had solo exhibitions in The Moore Space, Miami, FL; Taxter & Spengemann, New York, NY; and P.S. 1 Contemporary Art Center, Long Island City, NY. He has been included in group exhibitions at Zacheta National Museum, Warsaw, Poland; Studio Museum, Harlem, NY; Glasgow International: Festival of Contemporary Visual Art, Glasgow, Scotland; The Hydra School Project, Hydra, Greece; The Whitney Museum of American Art, New York; The El Salvador Biennial; Moscow Biennial, and The Museum of Contemporary Art, Sydney, Australia, among others. He has performed and screened work at venues including The Museum of Modern Art, New York; The London Lesbian and Gay Film Festival; British Film Institute, London, and Beursschouwburg, Brussels, Belgium. Linzy's work was included in Prospect.1 New Orleans in 2008. He lives and works in Brooklyn, New York.
P.S.1 Contemporary Art Center presents NeoHooDoo: Art for a Forgotten Faith, an exhibition co-organized by The Menil Collection that brings together a multigenerational group of North, South, and Central American artists who address the value of ritual in the artistic process and the wider implications of spirituality in contemporary art. On view in the 2nd Floor Main Gallery, Project Rooms, and Corner Gallery.
Including some 50 works of sculpture, photography, assemblage, video, performance, and other media, NeoHooDoo asserts that the drive towards a spiritual practice is as relevant today in our burgeoning global society as it has ever been. Artists have long engaged with ritualism to enrich their work, drawing on the traditions of shamans, griots, and oral historians. NeoHooDoo “grew out of a desire to explore the multiple meanings of spirituality in contemporary art,” states P.S.1 Curatorial Advisor and Menil Curator of Modern and Contemporary Art Franklin Sirmans.
In the late 1960s poet Ishmael Reed adopted the 19th-century term “HooDoo,” referring to forms of religion and their practice in the New World to explore the idea of spiritual practice outside easily definable faiths or creeds and ritualism on contemporary works of literature and art. “Neo-HooDoo,” he writes in his 1972 collection of poetry, Conjure, “believes that every man is an artist and every artist a priest.” His seminal poems, “The Neo-HooDoo Manifesto” and “The Neo-HooDoo Aesthetic,” delve even deeper into this artistic practice to demonstrate its vitality as an international, multicultural aesthetic that embraces spiritual creativity and innovation.
From Vancouver to Havana, Guatemala City, and Bahia, the artists in NeoHooDoo began using ritualistic practice as a means to recover “lost” spirituality and to reexamine and reinterpret aspects of cultural heritage throughout the late 1970s and early 1980s. Visual artists from across the Americas, such as Jean-Michel Basquiat (1960–1988), José Bedia (b. 1959), Rebecca Belmore (b. 1960), Jimmie Durham (b. 1940), and Ana Mendieta (1948–1985) have freely combined disparate materials and mediums to create spaces where art and audience can interact unhindered by history or societal constraints. For these artists, ritual practice often emerges as a form of catharsis and political critique to approach issues such as race, gender, slavery, and colonization. This exhibition also will look at younger artists such as video artists Michael Joo and Regina José Galindo, who carry on many of these practices and themes decades later, reconfiguring the work of their predecessors into performative displays of ritual through film and gallery installations.
Challenging conceptions of “insider” and “outsider” art, the artists in the exhibition frequently create work using everyday objects that resonate both within the confines of a gallery or museum and among their own localized audiences who may or may not visit art institutions. Situating their work in a vernacular aesthetic, the meaning of the work fluctuates according to its context. Items such as light bulbs, wine bottles, artificial flowers, piano keys are repositioned in assemblages confronting themes of exploitation, genocide, and poverty. The 53 pieces of discarded waste paper comprising Jimmy Durham’s A Street-level Treatise on Money and Work are brought to the center of a dialogue on the destruction of native cultures and Dario Robleto addresses American notions of manifest destiny in Deep Down I Don’t Believe in Hymns by taking a military-issued blanket and “infesting” it with hand-ground dust made from vinyl recordings of Neil Young’s “Cortez the Killer” and Soft Cell’s “Tainted Love.”
Franklin Sirmans developed NeoHooDoo as one of P.S.1’s curatorial advisory programs, a unique system that allows diverse curators to present experimental exhibition work. Current curatorial advisors include Chief Curatorial Advisor Klaus Biesenbach, Senior Curatorial Advisor Neville Wakefield, Andrea Bellini, Phong Bui, Lia Gangitano, Susanne Pfeffer, and Franklin Sirmans.
NeoHooDoo: Art for a Forgotten Faith will be accompanied by a fully illustrated catalogue featuring texts by Arthur C. Danto, Greg Tate, Robert Farris Thompson, Jen Budney and Julia Herzberg. The catalogue will also include an interview with Ishmael Reed by Franklin Sirmans and a work by renowned poet Quincy Troupe. The fully illustrated, color catalogue will be available for purchase at Artbook @ P.S.1 (144 pp., $45.00).
Artist List:
Terry Adkins, Janine Antoni, Radcliffe Bailey, José Bedia, Rebecca Belmore, Sanford Biggers, Tania Bruguera, James Lee Byars, María Magdalena Campos-Pons, William Cordova, Jimmie Durham, Regina José Galindo, Felix Gonzalez-Torres, David Hammons, Michael Joo, Brian Jungen, Kcho, Marepe, Ana Mendieta, Amalia Mesa-Bains, Pepón Osorio, Adrian Piper, Ernesto Pujol, Dario Robleto, Betye Saar, Gary Simmons, George Smith, Michael Tracy, Nari Ward
P.S.1 Contemporary Art Center
22-25 Jackson Ave at the intersection of 46th Ave
Long Island City, NY 11101
(718) 784-2084
Hours
12:00 p.m. to 6:00 p.m., Thursday through Monday. We are closed on Tuesdays, Wednesdays, Thanksgiving, Christmas, and New Years Day. Le Rosier Café and artbook@ps1 are open during regular hours.
Admission
Admission is a $5.00 suggested donation for Adults, 17 and older; $2.00 for students and senior citizens; free for MoMA members and MoMA admission ticket holders. The MoMA ticket must be presented at P.S.1 within thirty days of the date on the ticket and is not valid during Warm Up or other P.S.1 events or benefits.
José Bedia - Las Cosas que me Arrastran (The Things That Drag Me Along)
1996/2008
Dimensions variable (approx. 25’ across)
Mixed media
Photo: Matthew Septimus. Courtesy P.S.1 Contemporary Art Center.
Pepón Osorio
Lonely Soul
2008
Approx. 106 ½ x 83 x 77 inches
Wooden crutches, fiberglass, Styrofoam, wood, resin, photographs, metals, human hair, one-thousand pins, hair clips, and wheelchair wheels
Courtesy Ronald Feldman Fine Arts, New York
Photo: Matthew Septimus. Courtesy P.S.1 Contemporary Art Center
Brooklyn Museum - Burning Down The House: Building a Feminist Art Collection
October 31, 2008–April 5, 2009
Elizabeth A. Sackler Center for Feminist Art, 4th Floor
Burning Down the House: Building a Feminist Art Collection is an exhibition of nearly fifty works focusing on recent acquisitions and major loans, including works by artists such as Kiki Smith, Tracey Emin, Tracey Moffatt, and Lorna Simpson.
The exhibition title refers to the idea of the “master’s house” from two perspectives: the museum as the historical domain of male artists and professed masters of art history, and the house as the supposed proper province of women.
Most of the paintings, sculpture, works on paper, and videos in the exhibition are by self-declared feminists and artists of later generations working within the historic framework of feminist art. The widely diverse forms and ideas on view suggest that feminist art is not limited to a specific look or reading.
Among the works on view are Carrie Mae Weems's Untitled (Man Smoking/Malcolm X), 1990, which explores human experience from the vantage point of an African American female subject; a "femmage" painting by Miriam Schapiro titled Agony in the Garden that pays homage to Frida Kahlo; a haunting print by Kara Walker of a self-empowered heroine from the American antebellum South; and a “bunny” sculpture by Nayland Blake that challenges constructions of masculinity. Among the important loans from the Arthur M. Sackler Collections is one of Hannah Wilke's major sculptures, Rosebud, from 1976.
Burning Down the House: Building a Feminist Art Collection is the latest in a series of exhibitions in the main temporary exhibition space of the Elizabeth A. Sackler Center for Feminist Art. The exhibition is co-curated by Maura Reilly, founding curator of the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, and Nicole Caruth, independent curator and former Manager of Interpretative Materials, Brooklyn Museum.
Burning Down the House: Building a Feminist Art Collection is made possible by the Elizabeth A. Sackler Foundation.
Museum Hours *
Sunday
11 a.m. – 6 p.m.
Monday and Tuesday
Closed
Wednesday – Friday
10 a.m. – 5 p.m.
Saturday
11 a.m. – 6 p.m.
First Saturday of Each Month
11 a.m. – 11 p.m
The Brooklyn Museum has a suggested contribution of $8 for adults and $4 for Seniors and Students with valid I.D. Members and children under 12 accompanied by an adult are admitted for free. (Special pricing applies to children’s school groups and group tours for adults and college students.) Advance tickets to the Museum can be purchased online through Ticketmaster. By purchasing these tickets online you agree to pay the full suggested admission plus a $1.50 per ticket service charge. Should you wish to pay less than the suggested admission, you may do so by purchasing tickets at the Visitor Center in the Museum.
Join today to receive free admission to the Museum for one year and other special benefits. In addition, during the month of August Members may admit their guests for only $5 each.
November 21, 2008–March 29, 2009
Hall of the Americas, 1st Floor
This exhibition of twenty-five portraits by internationally renowned photographer Timothy Greenfield-Sanders is a documentary project that explores being Black in America. Sanders also directed a series of filmed interviews conducted by noted film critic Elvis Mitchell that will be presented along with the photographs. Serena Williams, Chris Rock, Colin Powell, Toni Morrison, Russell Simmons, Al Sharpton, Kareem Abdul-Jabbar, and Sean Combs are among the many African Americans whose faces are seen and voices heard in The Black List Project. The images, photographic and filmed, are the core of the collaboration between Greenfield-Sanders and Mitchell that has resulted in The Black List: Volume One, an HBO documentary that premiered at the Sundance Film Festival in 2008 and was aired nationally for the first time in August 2008, and a multi-city museum exhibition organized by the Museum of Fine Arts, Houston. The entire film will be presented at various times, to be announced, throughout the run of the exhibition.
The Black List Project: Timothy Greenfield-Sanders and Elvis Mitchell has been organized by the Museum of Fine Arts, Houston.
Sponsored by Credit Suisse
Using kiosks in the gallery, visitors are sharing their personal experiences related to race and the impact it has had on their lives and accomplishments. Some people answered the questions, some people are just a lot of fun to watch and listen to. How has race affected your life? Please post your comments on my blog or send me links to your video response to this question. uptownsun@aol.com
Videos are uploaded directly to the Brooklyn Museum's The Black List Project YouTube Channel. Check out some of the videos here. The rest can view directly from the museums's YouTube Channel.
Soundsuits, Stephen Sprouse and more aka My First Night Out of 2009
I'm kind of a stay in da crib, make art, listen to music and be at peace kinda guy. However, sometimes you gotta get out and LIVE!!!!! I knew I had to peep the Nick Cave show at Jack Shainman Gallery (and it was CRAZZZZZZZZZYYYYYYYYY GOOD!!!!). The new work is incredible and I highly recommend seeing the show. As a matter of fact we are overdue on a field trip so maybe I will schedule one to see Nicks show.
Earlier in the day my relatively new homey (and brother in spirit) Malcolm Harris invited me to go with him to the opening events for the Stephen Sprouse show at Deitch Projects in SoHo. So after seeing Nick Cave's joint I bounced over to Soho to catch the Sprouse show. The show was great, the crowd waz a who's who of contemporary art scene icons as well icons and legends. Sprinkle in the stylish fashionistas, Marc Jacobs, Kehinde Wiley, my new friend to be June Ambrose (it was so much fun hangin with you), Emil Wilbeken (Giant Magazine) and of course the homey Malcolm Harris and it made for an event with style, class, sass and everything in between. In a word I had a blast!!!
Check out images from the show and make sure that you make you way down to check out one or both of these great shows. They ARE FREE OF CHARGE, OPEN TO THE PUBLIC AND MUST SEE EVENTS!!!
Nick Cave
Recent Soundsuits
January 8 - Feb 7, 2009
Jack Shainman Gallery is pleased to announce the opening of Recent Soundsuits, Nick Cave’s second solo exhibition at the gallery. A diverse selection of the highly imaginative, mixed-media, wearable sculptures, Soundsuits, for which Cave has become well-known, are on view starting January 8th. A row of suits of woven hair in vibrant colors, from fluorescent orange and lime green to royal blue, lines one wall in the back gallery. These creatures with their amorphous and undefined bodies are apparitions hovering between a human form and an abstract painting.
A U-shaped runway situated opposite these figures features another diverse group of Soundsuits, some with sleeker, formfitting bodysuits comprised of found fabrics and materials including buttons, sequins and beads that are combined and sewn together into intricate patterns and designs. Metal armatures adorned with a range of objects including painted ceramic birds, flowers, brass ornaments, and strands of beads, top the figures and serve as headdresses that activate the sculpture and provide a visual and textural contrast to the soft bodysuit. Soundsuits, named for the sounds made when the sculptures are worn, are as reminiscent of African and religious ceremonial costumes as they are of haute couture. A multitude of references bring to mind not only disparate cultural traditions but they also highlight Cave’s diverse background and artistic training.
513 West 20th Street
NY, NY 10011
info@jackshainman.com
____________________________________________________________
New York
The 11th Annual Postcards From the Edge Benefit
Start the new year off right -- 1,500 postcards unveiled at Metro Pictures!
January 9-10, 2009
Hosted by Metro Pictures
519 West 24th Street, NYC
Benefit Sale -- ONE DAY ONLY!
Saturday, January 10, 2009 from 11:00 - 7:00
$5, suggested admission
Over 1,500 original postcard-sized works of art.
$75 EACH. Buy 4 cards and get 1 free!
First-come, first served.
Preview Party
Friday, January 9, 2009 from 6:00 - 8:00 PM
Your only chance to get a sneak peek at the entire show. No sales but one lucky winner will select any postcard! $75 admission includes one raffle ticket. Additional raffle tickets $20.
___________________________________________________________
New York
KALUP LINZY
Artist Talk + Screening
Wednesday, January 14, 2009
6:30 pm
Electronic Arts Intermix (EAI)
535 West 22nd Street, 5th Floor
New York, NY 10011
www.eai.org
Admission free
EAI is pleased to present a screening and talk with artist Kalup Linzy. The evening will include the New York premier of Linzy's new video, Keys To Our Heart, which was created for Prospect.1 New Orleans in 2008. Linzy will also screen two recent works, Melody Set Me Free (2007) and SweetBerry Sonnet (Remixed) (2008). The artist will be present to introduce and speak about these works, as well as his practice in video, performance and music. Following the screening, there will be a Q&A with the artist.
In his videos and performances, Kalup Linzy creates satirical narratives inspired by television soap operas and Hollywood melodramas. In works that take an irreverent approach to stereotypes of race, gender and sexuality, Linzy performs, most often in drag, in a series of memorable roles. The artist also voices and overdubs the dialogue of multiple characters. At once comic, raunchy and poignant, Linzy's unique narrative videos fuse dramatic intensity with melodramatic irony.
Filmed on location in New Orleans, Linzy's newest work, Keys To Our Heart, is a black-and-white narrative in which the artist stars as a misanthropic grande dame who dispenses advice to a trio of troubled young lovers. Linzy, who performs all of the characters' dialogue, shot and directed Keys To Our Heart in the style of a Hollywood melodrama. Keys To Our Heart was commissioned by Creative Capital.
Melody Set Me Free is an alternately hilarious and heartbreaking narrative about contestants in an American Idol-style talent show competition and their quest for fame and stardom. Writes Linzy, "Vying to win a recording contest, they must take a Whitney Houston song and make it their own." SweetBerry Sonnet (Remixed) is a remixed version of Linzy's recent "video anthology." In a series of music videos that were made to accompany the songs on Linzy's 2008 album, SweetBerry Sonnet, Linzy performs as several of his recurring characters; the songs trace a melodramatic arc of love and desire.
EAI is proud to announce that a selection of Kalup Linzy's video work is now available through EAI. Please visit www.eai.org for more information.
Kalup Linzy was born in 1977 in Stuckey, Florida. He received a BFA in 2000 and an MFA in 2003, both from the University of South Florida in Tampa. He also attended the Skowhegan School of Painting and Sculpture. He has received awards from the Louis Comfort Tiffany Foundation, the John Simon Guggenheim Memorial Foundation, Creative Capital Foundation, and the Jerome Foundation. He has had solo exhibitions in The Moore Space, Miami, FL; Taxter & Spengemann, New York, NY; and P.S. 1 Contemporary Art Center, Long Island City, NY. He has been included in group exhibitions at Zacheta National Museum, Warsaw, Poland; Studio Museum, Harlem, NY; Glasgow International: Festival of Contemporary Visual Art, Glasgow, Scotland; The Hydra School Project, Hydra, Greece; The Whitney Museum of American Art, New York; The El Salvador Biennial; Moscow Biennial, and The Museum of Contemporary Art, Sydney, Australia, among others. He has performed and screened work at venues including The Museum of Modern Art, New York; The London Lesbian and Gay Film Festival; British Film Institute, London, and Beursschouwburg, Brussels, Belgium. Linzy's work was included in Prospect.1 New Orleans in 2008. He lives and works in Brooklyn, New York.
Lester Monzon
Do Not Alter
January 10 - February 14, 2009
Opening reception Saturday, January 10, 6-9pm.
Overview
Under the guise of pursuing abstract painting, Lester Monzon is actually a representational painter. What he represents are images of abstraction. He is not the first painter to follow this path. He comes from a rich, if somewhat recent tradition.
Like the Brushstroke series of Roy Lichtenstein, Monzon's brushstrokes are not passionate bursts of expression the way the work of Franz Kline may be; they are calculated and highly rendered images of brushstrokes. Monzon's work shares this same intellectual approach even though it may appear to be lush and expressionistic. Monzon's brushstrokes are not traces of impassioned gestures - they are fetishes.
Monzon began his career painting textile patterns - stripes and plaids from his own collection of shirts and boxer shorts. From the outset he was walking a line between dutifully representing his world and simply pursuing hard edge abstraction.
His new work presents the viewer with a double layer: the background is hard-edged, reminiscent of the work of Brigit Riley or in some cases an overt tip of the hat to Gerhard Richter, although the patterns are now beginning to break apart becoming less regimented or predictable. Floating slightly over this ground so as not to produce too great a depth, are his rendered brushstrokes. Now and then these strokes fall under the background like a weaving in a textile, which is where the work began. And perhaps for the first time we begin to see real abstraction, a real brushstroke here and there, painted almost transparently as if hiding in plain sight.
Kinkead Contemporary
6029 Washington Boulevard
Culver City, CA 90232
T 310.838.7400
F 310.838.7474
Gallery Hours:
Tues - Sat 11-6
John Kinkead, Director
john@kinkeadcontemporary.com
Whitney Carter, Assistant Director
whitney@kinkeadcontemporary.com
Rock on Mars, a retrospective exhibition of the work of Stephen Sprouse
January 09, 2009 — February 28, 2009
18 Wooster Street, New York
Rock on Mars, a retrospective exhibition of the work of Stephen Sprouse, will transform Deitch Projects’s 18 Wooster Street gallery into a realization of Sprouse’s rock and roll futuristic vision.
Stephen Sprouse (1953-2004) was one of the most influential fashion designers of his time and a key figure in the dynamic mix of punk rock, wild style graffiti, and street influenced fashion that characterized the downtown New York community in the early 1980s. He was one of the first to build on the influence of Andy Warhol to create a fusion of art, music and fashion. He continued on a course that disavowed any division among these fields throughout his career.
The exhibition will introduce Sprouse’s extraordinary pop-influenced paintings to the larger art audience. His paintings of iconic rock and roll imagery including stacks of loudspeakers, Sid Vicious with his pants down, and an Iggy Pop crucifixion, have rarely been seen. The show will also include a selection of the video works made to accompany his runway shows, examples of his fabric and furniture design for Knoll, and fifty of his most influential fashion looks.
In conjunction with the exhibition project, Marc Jacobs has created a new collection for Louis Vuitton, inspired by Sprouse’s famous collaboration with Louis Vuitton in 2001, which featured the classic monogram bag scrawled with Stephen Sprouse graffiti. The new limited edition Stephen Sprouse – Louis Vuitton collection will be available in Louis Vuitton stores worldwide from January 9, 2009, the opening date of the exhibition.
_______________________________________
"How To Attract Men" a retrospective exhibit of the art of Liz Renay
January 09, 2009 — January 31, 2009
76 Grand Street, New York
Deitch Projects and the Burlesque Hall of Fame present "How To Attract Men" a retrospective exhibit of the art of Liz Renay. Pre-pop , Pre-punk, and an outsider on the inside- Liz Renay created her own reality and an enormous body of work along the way including four books, three dozen films and miles of printed publicity. In the first New York showing of her paintings in fifty years, Deitch Projects 76 Grand Street gallery will feature original paintings as well as a salon of important collages, costumes, and artifacts from Ms. Renay's archives in the Burlesque Hall of Fame.
Liz’s life story weaves itself through almost every American subculture during her life time-burlesque, the Hollywood studio system, television, rock and roll, sexploitaion and punk films, the mafia and women's prison. She precipitated and participated in the sexual revolution. Through it all she created a large body of paintings and art. This work would seem unbelievable if created by any other artist- but in the case of Liz Renay, it is a direct reflection of a life as art.
Contact Deitch
76 Grand Street
New York, NY 10013
p: 212.343.7300
f: 212.343.2954
e: info@deitch.com
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
Long Island City Location
Deitch Studios
4-40 44th Drive
Open to the public Thursday through
Sunday from 2PM to 8PM
UPDATE: We realize that you have many options this evening and therefore, we are asking that people donate whatever they can at the event... We hope to see you all this evening.
www.PopUpCharity.org
Presents
FASHION for FOOD
on
Thursday, December 18th, 2008
7:00 p.m. – 10:00 p.m.
at
The National Arts Club
15 Gramercy Park South, NYC
The Board of Governors, the President and the recently formed Contemporary Art Department of the National Arts Club invite you to a special cocktail reception to respond to the immediate need of hunger in New York and provide relief for the holidays.
Experimental Art Performances include:
MTV’s The Shop – Master Barber Turbo Teddy supplying art haircuts
SANTALOPE! Performance Intervention by Andrew Erdos
Art Performance by Dynasty Handbag
Curated by National Arts Club Chief Curator Contemporary Art, Stacy Engman
Fashion and art join together for an amazing awareness and fundraising evening to assist the FOOD BANK FOR NEW YORK CITY in their noble efforts during this difficult holiday season. Representatives from the Food Bank For NYC will be on hand to inform attendees how they can assist in ending food poverty in New York City. Food Bank of NYC supporters includes Gwyneth Paltrow, Helena Christensen, Kevin Bacon, Stephen Colbert, and many other prominent figures. There will also be a special fashion presentation by New York’s top Fashion Designers.
The evening will be filled with surprise "Pop-Up-Celebrity-Guests" from the worlds of fashion, art, food, and entertainment...
Includes admission to after party at
Citrine
59 West 21st Street, NYC
10:00 p.m. – until
rsvp@PopUpCharity.org
For those of you who expressed an interest in this weekend's field trip here's the details. We're going to visit Rush Arts Gallery this Saturday. We will meet at 1:45PM (sharp) at BBQ's on 23rd street and 8th Avenue. From there we'll walk over to visit Rush Arts. Afterward anyone who wants to can grab lunch with us at a nearby eatery.
This should be a nice afternoon of culture, camaraderie and affordable cuisine.
"White Lies, Black Noise"
FREE ADMISSION
at Rush Arts Gallery at 526 W 26th Street 3rd Floor
(between 10th & 11th Avenues)
Viewing until January 24th, 2008
Call Rush Arts at: 212.691.9552 for opening hours and other info.
Well I left the sun, surf and art of Miami to return to the cold, dark night called winter in New York. My second consecutive visit to Miami for Art Basel was everything I wanted it to be and more!
I met new friends, did plenty of networking, saw lots of great art, hung out with some incredible artists, curators, collectors and characters from all over the world. You can easily forget how big and diverse the world is when you spend too much time in one place. Art Basel Miami Beach is a reminder of how big, diverse, entertaining and colorful the world really is.
Regrettably I don't have a ton of photos for you because most of the fairs didn't allow cameras or I simply didn't feel like dragging a camera around. Also, some of the events I attended like private parties were hardly places for cameras so I left mine at my Miami home.
Thursday was a great day. I relaxed a bit, had a nice brunch at Balans on Lincoln Road and then went to Photo Miami (which was probably my favorite fair of them all this year). The highlight of that event was seeing Charles Guice's booth. He is the dealer for one of my favorite artists and associate Hank Willis Thomas (more on Hank in an upcoming artist profile). The booth was a solo presentation of Hanks' "Un-Branded" series which sold extremely well all weekend. I am very happy for Charles and Hank. They are both great guys who are among the first people in the art world to be kind to me and offer words of encouragement. My long time homey and rep Jarvis DuBois arrived late Thursday.
Friday Jarvis and I took in the Photo Miami (2nd time for me), Scope and Art Miami fairs. After a nice dinner at Nexxt on Lincoln Road we met up with our friend and super talented artist Iona Rozell Brown and went to Russell Simmons and Mickalene Thomas' hot little party at the Mondrian. That party was off the chain. It was a who's who of the movers and shakers in contemporary art. Though it was a very diverse crowd, it was also the biggest concentration of successful African-Americans in fine art I have been at since the Kehinde Wiley opening at the Studio Museum. As I honestly admit, I am a new face in this world and sorta like a freshman on campus. As such you can imagine how nice it felt when Mickalene Thomas' assistant Jordan Buschur recognized me because she reads this blog. (Special shout out to Mickalene and Jordan I really appreciate the kind words and your welcoming me).
After the party Jarvis and I got a late night snack at a Diner and did a 10 minute walkthru of one of the clubs on Washington Avenue before we each got some much needed rest.
Saturday Jarvis and I went to see "30 Americans" at The Rubell Family Collection which was incredible! There'll be a separate post about this show featuring African-American artists a little later. Then we hopped a shuttle back to South Beach to peep the "main fair" ART BASEL MIAMI BEACH. The show was good and of course it has to be when the biggest galleries in the world are showing their superstar artists, but it wasn't my favorite. We did get to stop and see friends and associates like Jack Shainman, stop in to see great booths like Dietch Projects where I met Nicola (who is incredibly talented, supremely beautiful and with whom I share a mutual friend in (clothing designer Malcolm Harris). After a quick change, we hopped BACK ON THE DAMN SHUTTLE (lol) and went to the Rush Arts reception for their show on display in Miami's design district.
As if all that art wasn't enough, I had to hit the streets too and I caught up with my people in Miami and hit up a night club as well.
On Sunday, Jarvis caught a flight back to DC and I spent the day hanging with another friend as I returned to Photo Miami to pick up my copy of Jessica Backhaus's new photo book called "What Still Remains" and made a brief visit to the Pulse and Gensai art fairs.
The weekend ended with my safe return to the confines of the cold, dark and crowded city that I love so much. I'm energized, excited and ready to return to work on my current projects and elevate my art practice still higher.
FYI - All the images found in this post are from work by African-American artists featured in the "30 Americans" show at the Rubell Family Collection in Miami. http://www.30americans.com/
My friends at Rush Arts had a major presence at Art Basel Miami. First there was Freeze Frame on display at 4141 NE 2nd Avenue in a great little space that allowed them to put up a very nice show. Nico Wheadon the assistant curator at Rush curated the show. Freeze Frame presented a collection of video still prints by thirty international artists working in narrative, non-narrative, experimental and documentary video. Independent of it's original context a video still may convey the fragmented representation of a grander narrative, exploration or event where subjects and objects are inert, awaiting the progression of temporality. In basic terms for those of you bored with art world speak, essentially when you take still images from a video and view them out of context the images can be perceived in many different ways Freeze Frame embraces the immense possibilities this presents.
Saturday night Michael Cabrera and Max Pierre hosted a closing night reception which included performances. There was a second show called Satellite at Scope Miami. Satellite was a curatorial project that expenaded upon the conceptual framework of Freeze Frame and further deconstructed the visual narrative into it's constituent parts to test the durability of durational structures.
I've included some pictures from the reception on Saturday night.
While in Miami for Art Basel I was fortunate enough to see a great new exhibit called "30 Americans."
The show features some of the greatest African-American artists of all time along side contemporary African-American artists who are already doing incredible work. All the work comes from the collection of the Rubell family. I enjoyed the show thoroughly. It gave me an opportunity to see great works I'd only seen in books and on Saturday a chance to actually hear a few of the artists speak during a series of artist talks with the Rubell family themselves. The featured artists include: Nina Chanel Abney, John Bankston, Jean-Michel Basquiat, Mark Bradford, Iona Rozeal Brown, Nick Cave, Robert Colescott, Noah Davis, Leonardo Drew, Mickalene Thomas, Kehinde Wiley, Carrie Mae Weems, Barkley L. Hendricks, Kalub Linzy, Hank Willis Thomas, Renee Green, David Hammons, Rashid Johnson, Glenn Ligon, Kerry James Marshall, Rodney McMillian, Wangechi Mutu, William Pope L., Gary Simmons, Xaviera SimmonsLorna Simpson, Shinique Smith, Jeff Sonhouse, Henry Taylor, Kara Walker, Pervis Young
The Rubell Family Collection (RFC) is one of the leading collections of contemporary art in the world. Started in 1964, soon after Don and Mera Rubell were married, the collecting group expanded some years later when their children Jason and Jennifer, then quite young, joined their parents in buying and collecting art. Recently Jason’s wife Michelle joined the collecting team alongside her husband. The family’s extensive collection of works dates from the 1960s to the present. You've got plenty of time to see the show because it is open until November 28, 2009.
Rubell Family Collection
95 NW 29th Street
Miami, Florida 33127
Phone: (305) 573-6090
Fax: (305) 573-6023
info@rfc.museum
If you're an art junkie, then print this out and use it as your guide because I am sure you are already down here or arriving shortly. If you're not, then this is sort of a window into the world of fine art. Fine art isn't on television everyday and it is not always the sexiest thing in the world, but it is HUGE! The art world is classy and sophisticated, but it is also shallow and ridiculous sometimes like all other industries. Bottom line is that it is what yo make of it, but ultimately there's lots of talent, lots of great work and lots of great ways to experience it. Sometimes buying and collecting things you love turns out to be a great investment by default.
Below is the rundown on all the fairs taking place in Miami right now. Print this out, plan your weekend and have a ball.
Art Basel Miami is here. In addition to the big fair located at the Miami Beach Convention Center, be sure to visit some of the other art fairs. Last year, the satellite fairs provided tremendous visual treats and museum quality works. Visit them and you'll see talented, established and emerging artists represented by top tier art galleries from around the world. Local museums and galleries are also planning special events and parties. If you're interested in visual art, the first week of December you should be in Miami.
Additional details about each art fair, including pictures from
last year, visit http://art-collecting.com/
-------------------------------------
Art Basel Miami Beach
December 4-7, 2008
220 leading art galleries from around the world will be exhibiting 20th and 21st century art works by over 2000 artists. There are also numerous special exhibits and events organized by the fair. Some exhibitions and private openings occur on the December 3rd, be sure to check their website for additional details listed under visitor information.
http://www.artbaselmiamibeach.com/
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artASIA
December 4-7, 2008
Wynwood Art District, 3000 NE 1st Avenue, Miami
artASIA will inaugurate it’s first International Asian Contemporary Art Fair in 2008 from December 4-7 with a special preview on December 3rd. The fair will host 60-80 leading world galleries selected through an international selection committee and will further feature a strong program of talks, presentations and discussions by leading authorities in contemporary art – curators, artists, critics, notable collectors and other art specialists – concerning issues that matter in Asian contemporary art today.
http://www.artasiafair.com/
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Aqua Art Miami - Aqua Hotel
December 4-7, 2008
Aqua Hotel, 1530 Collins Avenue, Miami Beach
This art fair features 44 galleries, with a strong representation of west coast dealers especially Seattle, Portland, San Francisco and Los Angeles. The hotel is a nice venue for both looking at art and enjoying the outdoors; all of the rooms face an outside courtyard. You'll also find several other hotel art fairs within walking distance, plan on spending a whole day looking at art fairs on Collins Avenue.
http://www.aquaartmiami.com/
Aqua Art Miami - Wynwood
December 3-7, 2008
Wynwood Art District, 42 NE 25th Street, Miami
50 galleries exhibiting contemporary art. This fair like the Aqua Hotel has a strong showing of west coast galleries. The fair is located in the Wynwood district not far from Pulse and will most likely be open during the evening of the Wynwood art walk.
http://www.aquaartmiami.com/
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Art Miami
December 3-7, 2008
Miami Midtown Arts District, located just north of downtown Miami along Biscayne Boulevard. Midtown Blvd (NE 1st Avenue) between NE 32nd & NE 31st Street.
More than 100 leading national and international galleries participated in the 2007 fair, which attracted more than 20,000 attendees. Plans are currently in progress for this year’s fair to include a designer VIP Lounge, a café offering delectable cuisine and beverages, ample parking, space for outdoor sculptures. Shuttle service will be available between select Miami Beach hotels, the Miami Beach Convention Center (Art Basel) and Art Miami.
http://www.art-miami.com/
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Art Now Fair
December 4-7, 2008
The South Seas Hotel, 1751 Collins Avenue, between 17th and 18th Streets, Miami Beach
This fair encourages participation from new and emerging galleries as well as established galleries new to the art fair scene. The South Seas offers a unique one of a kind oceanfront hotel location with access to the beach. Located close to several of the other art fairs, dining and bars on Collins Avenue including, the Bridge Art Fair, The Artist Fair, Ink and Aqua.
http://www.artnowfair.com/
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The Artist Fair
December 4-7, 2008
The Shelborne Hotel, 1801 Collins Avenue, Miami Beach
This fair was created as a resource for artists to exhibit during the prime Art Basel Miami Beach week. Most of the existing fairs cater only to galleries, leaving no opportunity for talented, successful and working artists to participate. The Artist Fair was created to fill this void and to allow professional artists to exhibit without gallery representation their paintings, photographs, mixed media and works on paper. The fair is also open to galleries who wish to exhibit a solo artist, curators and installation artists.
http://www.theartistfair.com/
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Bridge Miami Beach
December 4-7, 2008
Catalina and Maxine Hotels, 1732 Collins Avenue, Miami Beach
This is the third year for Bridge Miami Beach, and they are conveniently located within a few blocks of Art Basel Miami and the convention center. Visitors can browse nearly 80 rooms of international emerging and contemporary art. Each Bridge Art Fair features an international focus, defined both by geography and culture, providing each show with its own distinctive curatorial premise. Shuttles will run between each Bridge Fair locations 12pm-10pm daily. Several other art fairs are within walking distance, including Art Basel Miami at the convention center, Art Now, Ink Miami, The Artist Fair, and Aqua Art Miami, plus hotel bars and restaurants on Collins Avenue.
http://www.bridgeartfair.com/
Bridge Miami Wynwood
December 3-7, 2008
NE 1st Avenue and NW 34th Street, Miami
Building on three highly successful years in Miami Beach, Bridge will host their inaugural Bridge Miami Wynwood. The fair will feature some of the best in international emerging art, presented in a modular, museum grade exhibition space, built on a 60,000 square foot development in Miami Midtown, immediately adjacent to Art Miami, Photo Miami, and centrally located between Scope, Pulse and Aqua. In addition to a spectacular booth fair, Bridge Miami Wynwood will also showcase an outdoor sculpture project. Shuttles will run between the Bridge Fair locations 12pm-10pm daily.
http://www.bridgeartfair.com/
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Design Miami
December 3-6, 2008
NE 39th Street and 1st Court, Miami
Inspired by the galvanizing effect of Art Basel Miami Beach, the founders of Design Miami/ set out to create a design fair unlike any other that came before. Design Miami/ is the global forum for collecting, exhibiting, discussing, and creating design. The Design Miami/ show includes the Design Galleries, Satellite Exhibitions, Design Talks, and the Designer of the Year Award.
http://www.designmiami.com/
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Full House PooL Art Fair
December 5-7, 2008
Cavalier Hotel, 1320 Ocean Drive, Miami Beach
The simple, modest approach of the PooL Art Fair offers an exciting alternative to the "art fair" experience for dealers and collectors as well as the general public. PooL's purpose is to create a meeting ground for outstanding artists, primarily those artists who do not yet have gallery representation. The show will be comprised of young contemporary art dealers, artist agents, emerging galleries, artists' collectives, and non-profit organizations.
GEISAI Miami
December, 2008
Wynwood Art District, 2136 NW 1st Avenue, Miami
On July 14th, we were told that Geisai Miami would be back for 2008. Six years since the first inception of GEISAI in Japan in the summer of 2001, this is the American debut of a fair that has been a launch pad into the art world for many emerging artists. Artist are selected by jury and not charged a fee. Last year the fair was hosted by the Pulse Art Fair and they were located in the same complex, no details about this year’s location but most likely the same.
http://www.geisai.us/
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INK Miami
December 4-7, 2008
Suites of Dorchester, 1850 Collins Avenue, Miami Beach
Thirteen notable publishers and dealers will exhibit new publications, projects and acquisitions by leading contemporary artists. If you're looking to purchase prints or works on paper, you should plan on attending this small art fair. It is located just a few blocks from the convention center and Art Basel Miami. Sponsored by the International Fine Print Dealers Association.
http://www.inkartfair.com/
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NADA ART FAIR MIAMI 2008
December 3-7, 2008
Ice Palace, 1400 N. Miami Avenue, Miami
Organized by New Art Dealers Alliance, in 2007 this fair featured eighty-one dealers and galleries showing contemporary artists from around the world. They also featured a section for small publishers and one of the best "Art T-Shirt" selections in Miami.
http://www.newartdealers.org/
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Photo Miami
December 3 - 7, 2008
Wynwood Art District, Miami (31st and North Miami Avenue)
This is primarily a contemporary photography art fair, showing photo based art, video and new media. Over 60 new and established galleries will present highly anticipated works many that will be seen in the U.S. for the first time. Photo MIAMI 2008 will also have a dedicated Solo Projects section. If you are looking to see the latest trends in photography check out this fair.
http://www.artfairsinc.com/
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Pulse Miami
December 3-7, 2008
Wynwood Art District, 2136 NW 1st Avenue, NW 21st Street, Miami
The fair will follow its successful invitational format, representing about 70 galleries invited by the Pulse Invitational Committee. They will be located in the same venue as last year and also have a shuttle service running to Art Basel. They usually have a wonderful preview party; if you have a chance to attend don't miss it. Shuttle service available.
http://www.pulse-art.com/
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Red Dot Fair
December 3-7, 2008
Wynwood Art District, Miami
Red Dot Miami's move to a booth-based event in a temporary structure will provide the exhibitors with a sophisticated, friendly environment, and ample space in which to build upon the engaging presentations and diverse styles that the fair has already established. Last year this art fair was hotel based. Approximately 60 galleries will be showing contemporary art.
http://www.reddotfair.com/
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Sculpt Miami
December 3 - 7, 2008
Wynwood Art District, 46 NW 36 Street, Miami
The fair is created to exhibit an outstanding sculpture collection by prominent modern artists from around the world (Jorge Blanco, John Berry, James Taylor, L’oriano Galloni, among many others). It focuses on the newest aesthetic tendencies in contemporary art, innovative techniques and the use of original materials. Sculpt Miami will be the only art space completely dedicated to showcasing contemporary sculptures, making it a vital source for art lovers who wish to discover the new developments in modern sculpturing. This is the first time in Miami.
Ori Gersht - Blow Up #1, 2007 - Light jet print mounted on aluminum
PULSE Contemporary Art Fair is pleased to announce PULSE Miami 2008, which returns to Soho Studios in the Wynwood Art District to present its largest edition, with more than 100 national and international exhibitors. Taking place December 3-7, 2008, concurrent with Art Basel Miami Beach, PULSE will feature a range of new exhibitors, and its highest proportion of international exhibitors to date. PULSE’s critically acclaimed original programming will debut a series of panel discussions on the contemporary art market hosted by the Financial Times and CORE:, and host an expanded GEISAI Miami.
PULSE Miami 2008 is pleased to host the second edition of the acclaimed GEISAI Miami. Produced by Kaikai Kiki Co., Ltd., the studio founded by Takashi Murakami, GEISAI Miami will provide a group of 20 artists the opportunity to present their work directly to the public in a professional art fair setting. In a special twist on last year’s fair, GEISAI Miami has also invited five award winners from past Japanese editions of the fair to exhibit in Miami.
Complimentary Shuttle Service
PULSE Miami is pleased to provide complimentary shuttle between PULSE Miami and The LOEWS Hotel at 1601 Collins Avenue (at 16th Street); Art Basel Miami Beach at The Miami Beach Convention Center (Please note that shuttles at the Convention Center will on the N W corner of 17th and Washington); NADA and Design Miami.
General Information:
PULSE Miami will take place Wednesday, December 3 - Sunday, December 7, 2008 at Soho Studios, 2136 NW 1st Avenue (entrance on NW 21st Street), Wynwood Art District, Miami.
About PULSE Contemporary Art Fair:
PULSE Contemporary Art Fair is held annually in New York and Miami and presents high-quality artworks in an environment that serves both seasoned and emerging collectors. The format is divided between a main section devoted to a select choice of international galleries, and the IMPULSE section featuring solo and two person exhibitions by emerging galleries invited by the Selection Committee. The Fair provides a friendly, highly selective and innovative context for all of its constituents.
For more information about PULSE Contemporary Art Fairs, please visit
http://www.pulse-art.com or call +1 (212) 255-2327
Waz goin on people? Sorry it's been awhile since I posted any new entries. I've been very busy with some semi-secret stuff that you're gonna love when I can share. I was also getting prepared for the trip I am on now. I am in South Beach for Art Basel Miami Beach. I will drop in all week to share images and more from this great weekend or art, parties and more art. Check out this post for an explanation of what Art Basel Miami Beach is. The crazy thing is that there are like 10 other art fairs going on at the same time. This city is FULL OF dealers, collectors, artists and hangers on from all over the world!
Art Basel Miami Beach takes place December 4 - 7, 2008.
Art Basel Miami Beach is the most important art show in the United States, a cultural and social highlight for the Americas. As the sister event of Switzerland's Art Basel, the most prestigious art show worldwide for the past 39 years, Art Basel Miami Beach combines an international selection of top galleries with an exciting program of special exhibitions, parties and crossover events featuring music, film, architecture and design. Exhibition sites are located in the city's beautiful Art Deco District, within walking distance of the beach and many hotels.
An exclusive selection of more than 250 leading art galleries from North America, Latin America, Europe, Asia and Africa will exhibit 20th and 21st century artworks by over 2,000 artists. The exhibiting galleries are among the world's most respected art dealers, offering exceptional pieces by both renowned artists and cutting-edge newcomers. Special exhibition sections feature young galleries, performance art, public art projects and video art. The show will be a vital source for art lovers, allowing them to both discover new developments in contemporary art and experience rare museum-calibre artworks.
Top-quality exhibitions in the museums of South Florida and special programs for art collectors and curators also help make the event a special time for encountering art. And every year, a greater number of art collectors, artists, dealers, curators, critics and art enthusiasts from around the world participate in Art Basel Miami Beach - the favorite winter meeting place for the international art world.
The Panza Collection
October 23, 2008 to January 11, 2009
Count Giuseppe Panza di Biumo is one of the world's foremost collectors of American and European contemporary art. The Hirshhorn recently acquired thirty-nine works from Dr. Panza's collection, all of which are on view this fall. As a group, the pieces provide an overview of the critical premises driving Conceptual, Light and Space, Minimal, and Environmental art. Created in the late 1960s and early 1970s by an international roster of artists, the works shed light on an era when many artists began to reject traditional media and aesthetic concerns. Instead, they redefined art in a broader range, from Conceptual works that favored ideas over the creation of unique objects to large-scale installations that challenge prevalent notions about the boundaries between an artwork and the surrounding environment.
The Panza Collection features paintings, sculptures, installations, film, and wall drawings that attest to the remarkable diversity of artistic practices that flourished amidst a wide-ranging interrogation of the nature and meaning of art. These artists dismissed conventional concerns in favor of an avid engagement with ideas, processes, social and political issues, the body, and phenomenological experiences. The acquisition includes multiple works by Joseph Kosuth, Robert Irwin, Robert Barry, Hamish Fulton, and On Kawara, among others, which will enable the Museum to survey these individuals' most salient projects during a critical period in both their individual development and the trajectory of twentieth-century art.
Dr. Panza distinguished himself by his willingness to collect art that few museums or private collectors at the time were willing to acquire, such as Conceptual works that exist only as documentary certificates or room-sized installations that require vast storage space and significant resources to install. Now, as part of the Hirshhorn's collection, these works offer visitors new perspectives on the art of this pivotal historical moment, as well as the ways contemporary artists continue to both draw on and reconsider the ideas of previous generations. This exhibition is organized by Associate Curator Evelyn Hankins in association with Giuseppe Panza.
HOURS
Open daily except December 25
Museum: 10 am to 5:30 pm (EST)
Plaza: 7:30 am to 5:30 pm
Sculpture Garden: 7:30 am to dusk
Admission is free.
Information: 202-633-1000 or 202-633-5285 (TTY)
Street Address: Independence Avenue at Seventh Street SW
On this past Friday as I ran errands (n the extreme cold), I decided to make one of my many impromtu visits to the Studio Museum in Harlem on 125th Street. I really can't stress enough what a great venue it is and it's sitting their right under our collective Harlem noses. Anyway, inside was a show I have been waiting for featuring the art of an African-American visual art legend BARKLEY L. HENDRICKS.
The show was full of super-sized portraits of beautiful black people from the 70's and 80's, a few landscapes and a whole lotta soul. This is art every person of color can fully appreciate. Paintings of people so real and so cool you will feel like you know them. This makes complete sense, because you DO KNOW THEM. They're your Uncle, cousin, brother and sister. They will remind you of your Aunt, Uncle and parents as you've seen them in snap shots. These paintings are a beautiful and passionately photo-realistic representation of us.
The show runs through March 15, 2009, but don't wait to see it. Catch it soon and then see it again and again. It's like a black family reunion in a museum. I'm going back and you should holla and join for a visit.
BARKLEY L. HENDRICKS: BIRTH OF THE COOL
November 12, 2008–March 15, 2009
Barkley L. Hendricks, Sweet Thang (Lynn Jenkins), 1975, Courtesy Nasher Museum of Art at Duke University, Courtesy the artist
This fall, The Studio Museum in Harlem will be the second stop for the first career retrospective of renowned African-American painter Barkley L. Hendricks (b. 1945). Hendricks was born in Philadelphia, trained at the Pennsylvania Academy of the Fine Arts and Yale University and now lives and works in New London, Connecticut. He is best known for his life-size portraits of people of color living in urban areas in the 1960s and 70s.
This unparalleled exhibition of Hendricks’s paintings will include work from 1964 to the present. Alongside his iconic portraits, Barkley L. Hendricks: Birth of the Cool will feature many of Hendricks’s lesser known, older works and his newest pieces, small plein air studies of the Jamaican landscape. This exhibition was organized by the Nasher Museum of Art at Duke University and is curated by Trevor Schoonmaker, and will travel to the Santa Monica Museum of Art, the Pennsylvania Academy of the Fine Arts in Philadelphia and the Contemporary Arts Museum Houston after it leaves the Studio Museum.
This exhibition is sponsored in part by the Andy Warhol Foundation for the Visual Arts, Inc., the National Endowment for the Arts, which believes that a great nation deserves great art, the Mary Duke Biddle Foundation, and the North Carolina Arts Council with funding from the state of North Carolina.
And don't for get about...
TARGET FREE SUNDAYS
Sunday is the day that Harlem truly comes alive, and the day that many make time to visit The Studio Museum in Harlem. To make sure that the Museum is accessible to all, we would like to introduce Target Free Sundays at the Studio Museum, thanks to generous support from Target. The program, which will offer free Museum admission every Sunday between 12 and 6 PM, reflects a shared commitment to engage the community and offer a vital cultural experience to all.
In addition to free Museum admission on Sundays, the Education and Public Programs Department has organized free programs and events geared to all our different audiences. From hands-on family workshops to theater performances, whatever their age or interest, visitors will find something to love at Target Free Sundays at the Studio Museum. Join us, as we explore how art and visual communication can ignite the imagination, engage the mind and reflect our human experience-past, present and future.
One of the most influential photographers of the last half-century, William Eggleston has defined the history of color photography. This exhibition is the artist's first retrospective in the United States and includes both his color and black-and-white photographs as well as Stranded in Canton, the artist’s video work from the early 1970s. The exhibition will travel throughout the United States as well as to the Haus der Kunst in Munich following its New York presentation. I'm gonna check this show out this week and suggest you do too. This guy practically invented color photography as an expression in Modern Art.
I went to see the show yesterday AND I LOVE IT!!!!!!!!!!!! His eye is exact, insightful and raw. The spontaneity in his images has the ironic effect of making you stop and stare and examine the moment in time captured via his lens. The use of color is incredible, the incidental sense of narrative is compelling and above all you can tell the man simply loves doing what he does. I was also surprised to see how similar my work is to his (not having discovered him until recently). The show provided more proof for a theory Adam Irby and I share that "we are all much more alike than we are different."
Hours and Information
Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY 10021
General Information: (212) 570-3600
The Museum is open Tuesdays for prearranged school programs. For more information, please contact the Education Department at schoolvisits@whitney.org, (212) 570-7721 or fax (212) 570-7711.
Admission
Adults: $15
Senior citizens (62 and over): $10
Students with valid ID: $10
Members, NYC public school students with valid student ID, and children under 12: Free
One-day pass to the Kaufman Astoria Studios Film & Video Gallery only: $6
This past Friday was the opening reception for White Lies-Black Noise the group exhibition I am a participating artist in. The show opening reception at Rush Arts in Chelsea was a great event with wine, art, great people and even a handful of art world stars dropping in to lend their support and celerate the next generation of great artists.
I am very happy to have been selected as an artist in the show and after seeing everyone's else's work and I am even more humble and grateful. There are some great artists in the show and their work is amazing. I am proud of my own work as well which has been very well received.
White Lies-Black Noise is on display until January 24, 2009 at Rush Arts Gallery located in Chelesea on 26th Street between 10th and 11th Avenues. They are open Tuesday thru Saturday 11am until 6pm. I will be organizing a couple of field trips to the arts district in Chelsea to see our show as well as a couple of other exhibits going on now.
My rep Jarvis DuBois
Participating artists, left to right - Amin Rehman, Shani Peters, Ricky Day, Latoya Ruby Frazier, Anthony Fuller and Philip A. Robinson
Fine art photographer Hank Willis Thomas and yours truly
Exhibit curators Derrick Adams and Nico Wheadon
My long time friend and "sister" model Lisa Butler
Blogger, my web designer and close friend Adam Benjamin Irby
Left to right, writer (and best homie) Akim Bryant, Jarvis DuBois, participating artist Latoya Ruby Frazier
Close friend and Eternal Bachelor clothing line founder Fohat Aird
Fashion stylist and photo retoucher David De La Cruz
The talented and beautiful photographer and artist Latoya Ruby Frazier
In 3 days (counting today) my NYC major gallery debut takes place as I join 5 other incredibly talented artists in White Lies-Black Noise at Rush Arts Gallery and Resource Center in Chelsea. Take a look below at their newsletter for more information.
The show is on view from November 18 until January 24 with an opening reception on Friday November 14.
The group show will be on display at Rush Arts Gallery and Resource Center 526 West 26th street studio 311 (3rd floor). Phone number 212-651-9552. Gallery hours Tuesday - Saturday 11am until 6pm. Free of admission.
Also, for those of you who live in DC Saturday Nov. 15th is the 1st Annual Velocity Magazine Awards and I will be on hand as a presenter. I will post details on how to get tickets and where the show will be broadcast as soon as I have them.
I'm gonna be real busy next weekend and u should join me
One week from today my NYC major gallery debut takes place as I join 5 other incredibly talented artists in White Lies-Black Noise at Rush Arts Gallery and Resource Center in Chelsea. Take a look below at their newsletter for more information.
The show is on view from November 18 until January 24 with an opening reception on Friday November 14.
Also, for those of you who live in DC Saturday Nov. 15th is the 1st Annual Velocity Magazine Awards and I will be on hand as a presenter. I will post details on how to get tickets and where the show will be broadcast as soon as I have them.
One of my favorite artists is back with a new show November 01, 2008 — December 20, 2008
at Deitch Projetcs 18 Wooster Street, New York.
Deitch Projects presents Down, an exhibition of new paintings by Kehinde Wiley, opens at Deitch Projects on November 1, 2008. This exhibition consists of four new large-scale paintings inspired by images of fallen warriors, saints, and classical mythology.
Last weekend a collector of my work hosted a private salon for me at his Harlem condo. It was a great evening for all and I actually sold some art as well. I like these types of events alot because they're a great way for me to meet people who may be interested in the work. They're also a great opportunity for me to accomplish my greater goal of sharing fine art with people who may have not been exposed to a lot of fine art growing up.
The evening was chilled and relaxed. Guests asked questions about the work and why I do it. Of course everyone got to mingle and network with each other as well and it was a really cool grown and sexy kind of event. They were even a handful of familiar faces there as well. It's such a small world.
I will be participating in a series of these events over the course of the next year in various cities nationwide. If you are a collector or potential collector who is interested in hosting an event like this in your city please contact my rep Jarvis DuBois(check my website for contact information - www.rickyday.net) and we'll see if we can make it fit into this crazy schedule of mine.
New exhibit - Black Panther: The Revolutionary Art of Emory Douglas
Check out this interesting new show opening in my hometown later this month. I don't know much about the artist, but it seems very interesting. I think I'm gonna check it out. This show illustrates how art and artists who don't seem so important or groundbreaking at the time are often recognized later as having made significant contributions to art history. Today's CD art work might be tomorrows collectors items.
Black Panther: The Revolutionary Art of Emory Douglas
OCT 21, 2007–FEB 24, 2008
MOCA Pacific Design Center
Black Panther: The Revolutionary Art of Emory Douglas traces the graphic art made by Emory Douglas while he worked as minister of culture for the Black Panther Party from 1967 until its discontinuation in the early 1980s. Douglas's powerful visuals helped define the trademark visual style of the group's newspapers, posters, and pamphlets. Douglas's substantial body of work exists as a powerful graphic record of the Black Panthers' legacy, reflecting their development and evolving mission to improve the lives of African Americans by calling for resistance and change, as well providing social services to their communities. With a firm understanding of the need to disseminate information and communicate the party's agenda visually, Douglas's bold illustrations and striking images spoke forcefully to a community ravaged by poverty, police brutality, and poor living conditions. With unmistakable humanism, Douglas portrayed a populace that was emerging from segregation and proudly fighting to assert their rights to equality. Organized by MOCA Ahmanson Curatorial Fellow Sam Durant, the exhibition includes approximately 150 of Douglas's most influential works, which serve as a testament to the efficacy of visual art to communicate a political position.
Sympathy for the Devil: Art and Rock and Roll Since 1967 September 29, 2007 - January 6, 2008
Thaddeus Strode - In The Wild With The Ox (Herding the Bodhi Mind), 2006
Collection of Hiroshi Taguchi, Tokyo / Courtesy of Galerie Michael Janssen, Cologn
If you love Rock and Roll and you dig art, this is the perfect synthesis of the two. The Museum of Contemporary Art n Chicago is hosting this cool show. I'm actually thinking about going to check it out.
Sympathy for the Devil: Art and Rock and Roll Since 1967 is the most serious and comprehensive look at the intimate and inspired relationship between the visual arts and rock-and-roll culture to date, charting their intersection through works of art, album covers, music videos, and other materials. The exhibition addresses the importance of specific cities such as London, New York, Los Angeles, and Cologne, Germany; rock-and-roll’s style, celebrity, and identity politics in art; the experience, energy, and sense of devotion rock music inspires; and the dual role that many individuals play in both the sonic and visual realms.
Since the late 1950s, rock and roll has undeniably impacted society while also drastically changing with the times. Artists from the ’60s to the present have maintained a strong connection to rock, beginning with Andy Warhol’s involvement with The Velvet Underground (which released its Warhol-produced landmark album The Velvet Underground & Nico in 1967--the same year the MCA opened its doors). Many noted rock musicians including Bryan Ferry, John Lennon, and Peter Townshend attended art schools, and more recently, artists such as Slater Bradley, Mike Kelley, and Raymond Pettibon have created album covers and music videos that transcend both art and music genres.
The Dumbo Arts Center (DAC) is pleased to present the D.U.M.B.O. ART UNDER THE BRIDGE FESTIVAL,™ sponsored by Current TV, now in its 12th year. Don't miss Dumbo, Brooklyn, when it becomes a multi-sensory art arena, FREE FREE FREE and open to all.
Over the FESTIVAL weekend, art will be happening everywhere: streets, sidewalks, storefronts, elevators, lobbies, the water, the waterfront, parks, nooks, crannnies, on the NY Water Taxi, and more. Along with the 65+ new public art projects, over 100 local artists will open their studios to the public and at the new Galapagos Art Space, video_dumbo will feature a non-stop program of cutting edge video art from NYC and around the world.
The FESTIVAL presents art that breaks the white cube: art that is touchable, accessible and interactive. The appeal is universal: for many of the anticipated 150,000 visitors, the FESTIVAL will be their first encounter with art and artists.
DAC, the big impact small non-profit, has been making the annual 3-day event possible since it was founded by local artists in1997. As New York City's creative edge is increasingly threatened by skyrocketing rents, DAC is committed to preserving what is possibly the last urban oasis of its kind: a site where young artists can test their ideas in the public domain, have unprecedented freedom and play. Visual artists have a long tradition of harnessing New York City as their canvas, seeing no boundaries between studio and street. The FESTIVAL allows artists to act upon that impulse by providing them with a place where the unpredictable, the spontaneous and the downright weird can still happen. Save the dates and join us!
This show sounds hot. If I were able to get to Houston to see it I would. If you're in the Houston area check it out. To my knowlege the museum faired ok during Hurricane Ike, but I would give them a call first to make sure they are open on the dy you want to visit.
Houston Collects: African American Art showcases the institutional and private efforts to collect, document, and preserve African American art in Houston during the 20th and 21st centuries.
More than 250 works, many of which have never before been exhibited to the public, illustrate themes that encompass early crafts, self-taught artists, Southern academic circles (including the publication of Black Art in Houston by the McAshan Foundation), the Harlem Renaissance, the Civil Rights movement, abstraction, photography, Houston masters, and the New School.
Located in the heart of Texas’s largest city, the Museum of Fine Arts, Houston, is a dynamic cultural complex consisting of two museum buildings, two art schools, two decorative arts centers, and a sculpture garden.
With its encyclopedic collection and an exciting schedule of international loan exhibitions and award-winning programs, the Museum of Fine Arts, Houston, is one of the premier destinations in the United States for art lovers.
Art Nouveau Magazine is a bi-monthly online art, fashion, music, film, literature and culture magazine that was started in 2007 by Kendrick Daye and Phillip Holmes. Kendrick likes reading, writing, break beats and Madonna. He hates ghetto literature, smokers, people that write like ThIs! and math—unless it involves counting $$$. He does not speak Ebonics. Phillip likes skipping class, laughing, and showing skin. He hates clear bra straps on girls, dirty white flip-flops and string track back-packs. His pet peeve is dirty fingernails. Phillip is a better dancer than Kendrick, but, Kendrick is a better writer. They are equal yet different, a perfect balance of art and fashion, love and hate.
In the future they'll be links to articles from the magazine here on Urban Pop Life. I love this magazine , hopefully they will know who I am and love me too someday soon...lol.
New York Times: Black in America, Painted Euphoric and Heroic
Aaron Douglas (1899–1979) was considered the foremost visual artist of the Harlem Renaissance. In paintings, murals, and book illustrations, he incorporated elements from music, dance, literature, and politics to produce powerful artistic forms that had a lasting impact on American art history and the nation’s cultural heritage. Working from a politicized concept of personal identity, he combined angular Cubist rhythms and seductive Art Deco dynamism with traditional African and African American imagery to develop a radically new visual vocabulary that evoked both current realities and hopes for a better future. Aaron Douglas: African American Modernist, curated by the Spencer Museum of Art/The University of Kansas, is the first nationally touring retrospective to celebrate his art and legacy. This special traveling exhibition features the four Douglas murals from the Schomburg Center’s Art and Artifacts Division.
Aaron Douglas: African American Modernist
From September 11, 2008 through November 30, 2008
Latimer/Edison Gallery
Schomburg Center for Research in Black Culture, 515 Malcolm X Boulevard, New York, NY 10037-1801 (directions)
Hours: Monday through Saturday 10 a.m. to 6 p.m. and Sunday 1 p.m. to 5 p.m.
For Tours, please call (212) 491-2207.
I'm a lucky man. First of all I get up everyday and make beautiful things and on a really good day I get paid to shoot photos of beautiful people and things. Every now and then I get to meet and shoot legends which is what I did earlier this year for Bleu Magazine when I met and shot Broadway legend George Faison.
Mr. Faison is an icon and a pleasure to work with. He will also be featured in my portrait series about the African-American LGBT community called This is The Life.
My NYC Major Gallery debut / White Lies-Black Noise
(Jonte: Homage to Grace)
I've been selected as one of six artists to participate in the group exhibition White Lies-Black Noise
curated by Derrick Adams, Curatorial Director at Rush Arts Gallery &
Resource Center on view from November 18, 2008 - January 17, 2009.
The official description of the show describes as follow: the photography, sculpture, video and text-based work of Shani Peters,, Amin Rehman, LaToya Frazier, Anthony Fuller, Phillip Robinson and myself are juxtaposed to demonstrate how source material is used to explore subculture and subtext and question social awareness and relevance.
White Lies-Black Noise is my major Gallery debut here in New York City after my first solo show in Washington DC earlier this year. White Lies-Black Noise is the kickoff to what looks like a very exciting and busy Fall/Winter for me. Come back here for details on other projects in the works.
Enjoy your day and see you at the opening.
(This is The Life 2007)
(You Are What You Dream II 2007)
This past weekend I was in Atlanta, Georgia for a few reasons. It was a decent weekend (food poisoning aside). My best friend Akim and I needed an effffing vacation from the stress and strain of a difficult, yet good year thus far for both of us. I also went to down to throw a club event with my promotion partners and to soak up a lil ATL culture.
While in ATL, I paid a visit to the High Museum of Art to check out History Remixed:Photographs of the Civil Rights Movement and After 1968: Contemporary Artists and the Civil Rights Legacy. Both exhibits were good, but both made me wonder about history and it's rightful place in relation to the present.
"History Remixed features work by more than twenty photographers. Included is the work of press photographers and amateurs who made stirring visual documents of marches, demonstrations and public gatherings out of a conviction for the social changes that the movement represented. After 1968: Contemporary Artists and the Civil Rights Legacy includes newly commissioned and recently produced work by ten emerging contemporary artists.The artists in this exhibit—born in or after 1968—have processed the visual and historical data of that year, including images from the High Museum of Art's singular archive of civil rights photographs. They have created works in all media that honor the legacy of the civil rights movement while exploring its ongoing relevancy and influence upon subsequent generations in diverse ways."
If you're in ATL make sure to stop by the High Museum.
(Graham Gillmore / Studio View / 2009)
(Rock Band, 2008-09, DVD Animation, Loop 1 minute/ 8 Seconds - Edition 2/5)
(it looks worse than it was trust me...lol)
