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Opening Saturday June 22, 2013
Citizen Bridge: Nancy Nowacek Recess in Red Hook, Pioneer Works Opening Saturday June 22, 2013, from 4:00 PM to 6:00 PM On View May 10, 2013 - July 30, 2013 www.recessart.org
May 10- July 30, 2013
Middling Reception: June 22, 4-6pm
Closing Reception: July 27, 4-6pm
Recess in Red Hook
Pioneer Works
159 Pioneer Street
Brooklyn, NY 11231
On May 10th Nancy Nowacek will begin a new chapter in her project Citizen Bridge as part of Recess’s signature program, Session. Session invites artists to use Recess’s public space as studio, exhibition venue, and grounds for experimentation. Over the course of her Session, Nowacek will design, create and test a series of prototypes for an eventual footbridge that crosses the Upper New York Bay waterway between Red Hook, Brooklyn and Governor’s Island.
The bridge will cross the waterway known as Buttermilk Channel. Now one of New York’s major shipping channels, this waterway was once accessible to dairy farmers and their livestock during low tide. A love song to Brooklyn’s waterfront, Nowecek’s work seeks to restore this pathway. Citizen Bridge pays tribute to the city’s past and draws connections to the lives of contemporary Brooklynites. The bridge aspires to reclaim the waterfront and empower New Yorkers, offering them the opportunity to step from solid ground onto water.
Since Hurricane Sandy this symbolic act of waterfront reclamation has gained a new urgency. As Nowacek investigates the physical properties of her prototype, she will also navigate the opaque realm of city planning and government agencies. The bureaucratic web through which Nowacek has guided the project over the past year will not only play a practical role in the project’s approval but will serve as conceptual fodder in considering access to urban space.
At stages throughout her Session, Nowacek will ceremoniously transport her prototypes from the Recess project room to the Red Hook waterfront in order to test the bridge. Through these projects and experiments, Nowacek will produce a fully realized design by the end of her Session.
About the Artist:
Nancy Nowacek’s work is rooted in the ecology of the everyday: the processes, codes, values, and habits of life. Her practice is focused on the uses of the body as relates to work, architecture and the practice of space. She has shown in New York, the Bay Area, Los Angeles, Canada and Europe. Nancy has an MFA in Social Practice from California College of Arts and is certified in personal training by the National Academy of Sports Medicine. She lives in Brooklyn.
Redhook 159 Pioneer Street, Brooklyn NY, 11231 646-863-3765 info@recessactivities.org
Opening Thursday May 30, 2013
Carol Bove, Celeste, 2013. Part of the HIGH LINE COMMISSION Caterpillar. On view at the High Line at the Rail Yards. Photo by Timothy Schenck. Courtesy of Friends of the High Line.
Carol Bove, Caterpillar High line Opening Thursday May 30, 2013, 4:30 PM On View May 16, 2013 - May 31, 2014 www.thehighline.org
May 16, 2013 - May 2014
Public Walks Thursdays, Fridays, and Saturdays
Free admission. Advance reservations required, RESERVE HERE!
HIGH LINE COMMISSION, High Line at the Rail Yards
High Line Art presents Caterpillar by artist Carol Bove, a HIGH LINE COMMISSION featuring seven sculptures that punctuate the wild landscape on the High Line at the Rail Yards, the third and final section of the High Line. On view for one year beginning Thursday, May 16, 2013, Bove’s commission is the last opportunity to see this section of the elevated railway in its natural state before it opens as public parkland in 2014. The commission will be viewable during public walks on Thursdays, Fridays, and Saturdays until May 2014. Advance reservations are required. Admission is free and reservations can be made here: http://carolbovecaterpillar.eventbrite.com
Working mainly in the field of sculpture, Bove has been making sculptural installations that range from small-scale, intimate arrangements of objects to monumental outdoors artworks. In the early 2000s, Bove made a series of wall-mounted shelves, which contained disparate elements, such as used books, vintage magazines, vernacular sculptures, and found objects. Alongside these intimate installations, Bove has recently been working on larger compositions which often take over the entire exhibition space, turning the gallery into a landscape or a vitrine. By using platforms and plinths, the artist creates unique environments that combine the tradition of modernist abstract sculpture with the seductive atmospheres of shop windows and commercial displays.
For the High Line, Bove continues her research on the role and function of art in the public space, by creating seven new sculptures which are installed within the self-seeded landscape on the High Line at the Rail Yards. Bove’s site-specific installation highlights the uniqueness of its location and opens a magical environment for viewers. Installed along a 300-yard stretch of the untouched terrain of the High Line, Bove’s sculptures reveal themselves among the unruly vegetation, like mysteriously pristine ruins of a lost civilization or a contemporary version of a Zen garden. Abstract shapes and enigmatic forms are carefully placed along the High Line, creating a unique viewing experience surrounded by the wilderness of the High Line and the stunning views of the Hudson River.
ABOUT THE ARTIST
Brooklyn-based artist Carol Bove (b. 1971, Switzerland) is known for her simple yet intricate assemblages of found and made objects. Recent solo exhibitions include The Common Guild, Glasgow (2013); the Palais de Tokyo, Paris (2010); Horticultural Society of New York (2009); Blanton Museum of Art, Austin (2006); Kunsthalle Zürich (2004); Institute of Contemporary Art Boston (2004); and the Kunstverein Hamburg (2003). Major group exhibitions include In the Holocene, MIT List Visual Arts Center, Cambridge, Massachusetts (2012); The Age of Aquarius, The Renaissance Society at the University of Chicago (2011); Contemplating the Void: Interventions in the Guggenheim Museum, Solomon R. Guggenheim Museum, New York (2010); Unmonumental: The Object in the 21st Century, New Museum, New York (2007); and Greater New York 2005, P.S.1 Contemporary Art Center, New York (2005). Major biennales include dOCUMENTA (13), Kassel, Germany (2012), the 54th Venice Biennale (2011), and the Whitney Biennial, New York (2008). Bove is co-represented by Maccarone and David Zwirner, New York/London.
SUPPORT
High Line Art is presented by Friends of the High Line and the New York City Department of Parks & Recreation. Major support for High Line Art comes from Donald R. Mullen, Jr., with additional funding provided by the Concordia Foundation, and Vital Projects Fund, Inc. High Line Art is supported, in part, with public funds from the New York City Department of Cultural Affairs in partnership with the City Council and from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
Chelsea Between 30th and 34th Streets, New York NY, 10001
Opening Wednesday May 29, 2013
Photography Andy Katz chashama Opening Wednesday May 29, 2013, from 6:00 PM to 8:00 PM On View May 20, 2013 - August 15, 2013 www.chashama.org
Andy Katz's love of photography takes him around the globe. From the deserts of Namibia, the changing cultures of Eastern Europe, and the rolling hills of California wine country, Katz's broad range of subjects is a record and reflection of his discoveries. Each journey is a new exploration of images.
Katz's photography gives viewers unique glimpses into our vast world and the individuals who live within it; connecting places and subjects in subtle ways. Landscapes take on personalities. Portraits echo a quality of time normally reserved for trees and mountains.
Katz's artistry blurs the distinction between the everyday and the extraordinary, allowing for wonder and mystery to infuse moments, people, and places that might otherwise remain unknown.
Katz discovered his passion for photography at a young age. His work has been featured in museums and galleries worldwide (including his own gallery in Healdsburg, CA), and has also been featured on the covers of Doobie Brothers and Dan Fogelberg albums. He has published twelve breathtaking books of photography, and is one of only seven photographers in the world representing Sony's new cameras as a Sony Artisan of Imagery.
For Sales and Information:
Andy Katz
andy@andykatzphotography.com
707-280-5555
Printing sponsored by Duggal Visual Solutions.
Midtown 1155 Avenue of the Americas, New York NY, 10036 Monday - Sunday from 9:00 AM to 6:00 PM
212-391-8151 info@chashama.org
Opening Wednesday May 22, 2013
Momenta Spring Benefit 2013
MOMENTA ART SPRING BENEFIT 2013 Momenta Art Opening Wednesday May 22, 2013, 6:00 PM On View May 10, 2013 - May 22, 2013 www.momentaart.org
*Please purchase your tickets through our website. http://www.momentaart.org/momenta-art-spring-benefit-2013.html
Momenta Art is pleased to invite you to our eighteenth annual spring benefit: an evening including a raffle drawing and a silent auction. As in previous years, it will be an exciting evening to acquire artwork by highly talented emerging and established artists, as well as to celebrate our ongoing mission to support socially engaged and aesthetically sophisticated art.
Momenta Art's 2013 Benefit will present approximately 175 raffle artworks by both emerging and established artists. A raffle ticket guarantees you a work of art and entrance for two to the raffle drawing and silent auction on Wednesday, May 22nd. Tickets are limited to the number of artworks available. So please make sure that you purchase your tickets in advance.
In addition, Momenta Art will offer a number of higher-valued works for silent auction through Paddle 8. Bidding on these works will begin on May 10th and end on May 22nd at 7pm before the raffle begins. Silent auction artists will include Sarah Braman, David Diao, Mark Dion, William Powhida, Hunter Reynolds, Federico Solmi, and Mickalene Thomas.
As a not for profit exhibition organization, Momenta Art depends on the contributions of individuals like you, who value the importance of the emerging art scene where vital artistic and intellectual experiments are possible. We sincerely thank you for your generous support.
Bushwick / Ridgewood 56 Bogart Street, Brooklyn NY , 11206 Friday - Monday from 12:00 PM to 6:00 PM
718-218-8050 info@momentaart.org
Opening Tuesday May 21, 2013
MULTIPLE SINGULARITIES Trong G. Nguyen and Coolife Studio Hotel Particulier Opening Tuesday May 21, 2013, from 6:00 PM to 9:00 PM On View May 07, 2013 - June 08, 2013 www.hotelparticulier.com
MULTIPLE SINGULARITIES.
May 7 - June 8th 2013.
Reception on Tuesday May 21, 2013.
Trong G. Nguyen
Throne, 2012 - 2013
Edition of 64.
Published by Hotel Particulier.
Opening reception: Tuesday, May 21, 6 - 9pm
Hotel Particulier invited Trong Gia Nguyen to encompass the idea of chairs, of early adopters and advocates of new venture. Nguyen’s project Throne created a matrix with the 64 standard metal folding chairs of Hotel Particulier, by adorning each with a distinctly located patch of 24K gold leaf. Conceptually and literally, the 64 puzzled segments of gold form a single, entire golden chair, which can only be fully realized in the mind’s eye of the beholder. The chairs are furnishing Hotel Particulier's café with the golden matrix until acquired, and then gold leafed in 24k.
Trong Gia Nguyen is a multi-disciplinary artist based in Brooklyn, New York. His work is invested in examining and shaking structures of power as they relate to the dynamics of culture, politics, and economy. He has produced everything from iPhone applications (Metaphysical GPS - in collaboration with Christopher K. Ho) to installation, film, painting, sculpture, performances, and web-based actions. Nguyen has exhibited extensively with works in public and private collections.
Coolife Studio
Eclosion
Edition of 100.
Published by Hotel Particulier.
Opening reception: Tuesday, May 21, 6 - 9pm
Hotel Particulier invited creative duo Pauline Rochas and Carole Beaupré of Coolife studio to create a visual, reflecting beginnings for the first series of an edition of notepads - entitled Eclosion. Inspired by the ones found in Hotels, collected and cherished by creatives and writers, the notepad series at Hotel Particulier are published in collaboration with particular individuals highlighting their traits and works."
Carole Beaupré and Pauline Rochas are the still life photography duo behind Coolife. Both FIT alumni, they have worked exclusively with digital cameras and technology since the beginning of their collaboration in 2000. Every image they produce displays precision and purity. Recent clients have included Shiseido, Smirnoff Vodka, Elizabeth Arden, Maestro Dobel Tequila, Koral Jeans Los Angeles, Grey Goose Vodka, Ralph Lauren Fragrances, Estée Lauder, Lancôme, Moët & Chandon, David Yurman, Origins, Casa Dragones, by Kilian, T: The New York Times Style Magazine.
Beth Campbell
Not at Home
Curated by Sarah Murkett
On view until June 8th.
Soho 4 - 6 Grand Street, Between Varick and 6th Avenue, New York NY, 10013 646-329-6341
Opening Monday May 20, 2013
INTERNET WEEK NEW YORK IWNY HQ at the Metropolitan Pavilion Opening Monday May 20, 2013, 8:00 AM On View May 20, 2013 - May 23, 2013 www.internetweekny.com
We believe that New York City is where technology and business and culture meet. This year will begin to explore how technology has disrupted and revolutionized every section of business from food to fashion to healthcare to education.
IWNY, taking place this year from May 20-27 2013, was launched in 2008 in cooperation with the New York City Mayor's Office of Media and Entertainment. It is a week-long festival celebrating Internet business and culture and will attract more than 45,000 Internet professionals, working across all sectors, attending 250+ events produced by IWNY and 150+ citywide event partners. (This year citywide is extending a little further—out to the Hamptons for events there over Memorial Day weekend.) The central hub of the festival is the IWNY HQ at the Metropolitan Pavilion (125 W 18th Street - map). The HQ will bring together 10,000 attendees for four days of celebrity keynotes and lively panel discussions on two live-streamed stages, workshops and tutorials in the official IWNY classroom, dozens of interactive displays, a screening room (new for this year!), media center, a café and a lounge.
Planned content tracks in the HQ will be dedicated to fashion & beauty in tech, music tech, sports & fitness in tech, food tech, and women in tech. We will also continue our mainstay focus on advertising, media, and marketing. There will be deeper dive, co-located conferences on areas such as healthcare & technology. We will also be incubating new topic areas such as how digital is impacting law, real estate, and finance. Beyond that, the overarching themes of IWNY 2013 will be digital education, bridging the digital divide, and empowering small businesses to get online.
SCHEDULE: www.internetweekny.com/schedule
Chelsea 125 West 18th Street, New York NY, 10011 212-210-0793 caroline@internetweekny.com
Opening Sunday May 19, 2013
THOMAS SPOERNDLE NOVELLA Opening Sunday May 19, 2013, 7:00 PM On View May 19, 2013 - June 16, 2013 www.novellagallery.com
a kind in glass and a cousin, a spectacle and nothing strange in a single hurt color and an arrangement in a system to pointing. All this and not ordinary, not unordered in not resembling. The difference is spreading.
-Gertrude Stein
NOVELLA is pleased to present a solo exhibition of recent works by Thomas Spoerndle. Continuing his exploration of abstraction through the use of simple systems to create complex visual experiences, this exhibition will feature a selection of new paintings as well as a site-specific wall drawing that will encompass the entirety of the exhibition space. The opening of this exhibition will also serve as a release for a new collaborative artist book with artist Justin Martin.
The East Village / Lower East Side 164 Orchard Street, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
646-361-4208 novellagallery@gmail.com
Editor's Pick
To The Friends Who Saved My Life Moyra Davey, Hervé Guibert, Heinz Peter-Knes, Jason Simon, Danh Vo̅, Francesca Woodman and Rona Yefman Callicoon Fine Arts Opening Sunday May 19, 2013, from 6:00 PM to 8:00 PM On View May 19, 2013 - June 21, 2013 www.callicoonfinearts.com
“…I’m beginning a new book to have a companion, someone with whom I can talk, eat, sleep, at whose side I can dream and have nightmares, the only friend whose company I can bear at the moment.”
—Herve Guibert
To The Friends Who Saved My Life,
…an exhibition prompted by the introduction of Francesca Woodman’s work to Heinz Peter-Knes and Danh Vō. They in turn suggested a parallel to Hervé Guibert, unknown to us at the time. About a year later, we learned that Nightboat Books, the companion enterprise to Callicoon Fine Arts, was newly engaged with Guibert translations, a publication plan that in turn prompted the gallery to introduce Guibert’s photographs to an American audience. Shared images and writings closed a circle that we hadn’t known of before, including our own works, those of Rona Yefman, an Israeli photographer living in New York, Heinz, Danh, and a single Francesca Woodman, as our starting point.
Guibert’s best known book, To the Friend Who Did Not Save My Life, is a memoir of crisis and roller-coaster years of rushing between doctors and lovers. With extraordinary recall and dispassion, that is, with a photographic voice, even towards his own diagnosis and decline, Guibert maps the early years of the AIDS crisis. In those times when human friends became “friend[s] whose company I can bear at the moment,” perhaps it was photography that eased them through the door.
Among the many formal similarities between Woodman and Guibert, it should be noted that both spent time living and photographing in Rome, where Heinz and Danh were recently in residence, and that the images Woodman and Guibert made there are steeped in its light and shadows. Rona Yefman did not know of Guibert, but she was known to us through her extended photo essay on her brother, and through a pair of striking one-minute films. Moyra’s bottles, Jason’s Polaroids and Rona’s sibling study, all keep the images close to home. Danh and Guibert absorb the Villa Medici residence through its physical effects upon its residents, past and present: the erotics of place carry by association, the knowledge of who was there before. So too does Heinz’s discovery of his own face plastered on the red-lit bathroom wall of a bar, and in his portfolio of black and white prints. Seemingly following an order that appeared in the unedited rolls of 35mm film, flared end frames included, Heinz’s box of prints return us back to the place of the photographer sorting the moments of seeing.
—Jason and Moyra
The East Village / Lower East Side 124 Forsyth Street, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-219-0326 info@callicoonfinearts.com
Opening Sunday May 19, 2013
image: Hervé Guibert, Destruction des negatifs de jeunesse, 1986, gelatin silver print, 5 1/2 x 8 1/2 inches
To The Friends Who Saved My Life Moyra Davey, Hervé Guibert, Heinz Peter-Knes, Jason Simon, Danh Vo̅, Francesca Woodman and Rona Yefman Callicoon Fine Arts Opening Sunday May 19, 2013, from 6:00 PM to 8:00 PM On View May 19, 2013 - June 21, 2013 www.callicoonfinearts.com
“…I’m beginning a new book to have a companion, someone with whom I can talk, eat, sleep, at whose side I can dream and have nightmares, the only friend whose company I can bear at the moment.”
—Herve Guibert
To The Friends Who Saved My Life,
…an exhibition prompted by the introduction of Francesca Woodman’s work to Heinz Peter-Knes and Danh Vō. They in turn suggested a parallel to Hervé Guibert, unknown to us at the time. About a year later, we learned that Nightboat Books, the companion enterprise to Callicoon Fine Arts, was newly engaged with Guibert translations, a publication plan that in turn prompted the gallery to introduce Guibert’s photographs to an American audience. Shared images and writings closed a circle that we hadn’t known of before, including our own works, those of Rona Yefman, an Israeli photographer living in New York, Heinz, Danh, and a single Francesca Woodman, as our starting point.
Guibert’s best known book, To the Friend Who Did Not Save My Life, is a memoir of crisis and roller-coaster years of rushing between doctors and lovers. With extraordinary recall and dispassion, that is, with a photographic voice, even towards his own diagnosis and decline, Guibert maps the early years of the AIDS crisis. In those times when human friends became “friend[s] whose company I can bear at the moment,” perhaps it was photography that eased them through the door.
Among the many formal similarities between Woodman and Guibert, it should be noted that both spent time living and photographing in Rome, where Heinz and Danh were recently in residence, and that the images Woodman and Guibert made there are steeped in its light and shadows. Rona Yefman did not know of Guibert, but she was known to us through her extended photo essay on her brother, and through a pair of striking one-minute films. Moyra’s bottles, Jason’s Polaroids and Rona’s sibling study, all keep the images close to home. Danh and Guibert absorb the Villa Medici residence through its physical effects upon its residents, past and present: the erotics of place carry by association, the knowledge of who was there before. So too does Heinz’s discovery of his own face plastered on the red-lit bathroom wall of a bar, and in his portfolio of black and white prints. Seemingly following an order that appeared in the unedited rolls of 35mm film, flared end frames included, Heinz’s box of prints return us back to the place of the photographer sorting the moments of seeing.
—Jason and Moyra
The East Village / Lower East Side 124 Forsyth Street, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-219-0326 info@callicoonfinearts.com
Opening Sunday May 19, 2013
David X. Levine, "John Williams Stoner", 2013. Colored pencil, collage gouache on paper, 19in x23in
Eat and Die Ross Simonini and David X. Levine Denny Gallery Curated by Molly Rand Opening Sunday May 19, 2013, from 6:00 PM to 8:00 PM On View May 18, 2013 - June 16, 2013 www.dennygallery.com
By Ross Simonini
After Molly asked me to show some drawings in a two-person show with David, I took a trip over to his studio. He works in a clean, compact, windowless box of a room in TriBeCa, where he’s been for a little over a decade, and his artwork is, in some ways, a reflection of this environment. It’s tight, economical, without clutter, and it’s created mostly with a single medium: colored pencil, which he applies for up to ten hours a day, until he’s built up a vibrating texture of color. David showed me hundreds of drawings at his studio and the work is all like this - bold, and fastidious with a singularity of vision.
I’ve always dreamt of having this kind of monastic, consistent focus, but I am, it looks like, a different kind of artist. I work across mediums and tend to find inspiration in distraction, which might be a signifier of my younger, internet-sodden generation. (David and I are about 20 years apart in age.) I’ll spend my day sliding between writing, painting, drawing, and making music, and I like it when the artwork looks like the product of this kind of activity, like it’s an object that comes out of a multifarious life. This is part of the reason why I end up using food in my work, because it’s a pigment I already have around and inside of me.
All of these interests are, in some abstracted way, in the process of my drawings, but David arranges his cultural addiction on the surface of his work. He’ll use iconic images of Amy Winehouse and Brian Wilson in a collage, maybe as a sort of dedication, it’s not clear. This show includes a work with an obituary of the rock writer, Paul Williams, and David mixes it among clippings of Artforum and the New York Times, which he’s made unrecognizable by his careful selection of solid-color chunks. For him, all of these elements are connected, and the act of choosing them, and placing them, is a path toward transforming them into precious, radiant objects.
Choice is something I’m usually trying to avoid. I don’t particularly enjoy decision-making, so I find any kind of stimulus around me to make the decisions for me. Because of this, the drawings end up as documentations of searching, failing, accidents. I also try to draw non-visual, physical feelings, such as a nagging pain in my knee or the naturally erratic movements of a bus ride, or proprioception, which is the sensation of what it feels like to be inside your own body - a tricky kind of perception I learned about through Alexander Technique. Rather than try to ignore or overcome or work through these feelings I try to point the art right at the sensations and squeeze them for images.
It’s not always easy to find images, and as an artist, it’s important to meet other artists and look at your own work through their eyes. It lets that image-making part of your mind forget all its nervous habits. I experienced that with David, when I went to his studio and forgot about my own work for a second when I saw, in his drawings, a single, almost imperceptible imperfection, the way one of his lines appeared initially straight, but was revealed, over a nice long look, to have the wavering, breathing quality of being cut by hand.
David X. Levine was born in 1962 in Boston, MA, and lives in New York City. Levine is a self-taught artist. He has had 10 solos exhibitions in the past 10 years all over the U.S., from NYC to Las Vegas. He is currently preparing for a retrospective show at Boston University in 2014.
Ross Simonini was born in 1982 and is an artist, writer, and musician living in Brooklyn. He is a founder of the music and art project, NewVillager, and has shown his work and performed at Jack Hanley Gallery, Fredericks & Freiser, Human Resources Los Angeles and New York, Brooklyn Museum, Andy Warhol museum and elsewhere. He is the interviews editor of The Believer magazine, the executive producer of KCRW’s The Organist, and the creator of Blood Pillow, an audio project at Clocktower Gallery. He regularly contributes to the New York Times, Frieze, Interview, Art in America, and a book of his interviews with artists will be released by Picturebox.
The East Village / Lower East Side 261 Broome Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-226-6537 email@dennygallery.com
Opening Sunday May 19, 2013
Image Credit: Jomar Statkun
Rock Shop Nadja Frank Denny Gallery Opening Sunday May 19, 2013, from 6:00 PM to 8:00 PM On View May 18, 2013 - June 16, 2013 www.dennygallery.com
Denny Gallery is pleased to announce the first solo exhibition in the United States of Nadja Frank, titled Rock Shop and running from May 18 to June 16, 2013.
Nadja Frank works in the space between painting, sculpture and the architectural environment. The work in her new exhibition, Rock Shop, originated during the artist’s travels across the United States, and focuses on unpopulated areas of the High Desert. Traveling is an important part of her process, as her works maintain a dialogue with the outside world. The relationship between indoor and outdoor, free and enclosed, natural and studio space, is central to Frank’s practice. This produces a tension in the works between their natural and imaginative features, requiring viewers to ask a question about their true source. Her work explores how we experience landscape: visually by moving in time and space, in our interior imaginations, and through ubiquitous images.
Rock Shop displays a series of new paintings alongside of a large-scale sculptural intervention in the gallery space. Each painting is made of a specific sample of earth, found and collected by the artist during her recent travels. By making paintings, the artist is revisiting her earlier practice, paralleling the space’s regression to nature as it is subsumed by prehistoric materials and forms. The second part of the exhibition is a large scale installation, the Rock. Although the sculpture reaches toward a single peak, it is divided into four parts. The viewer is encouraged to walk into the interior world of the Rock and to experience the many images it presents. Set on casters, the pieces of the Rock move, encouraging a spirit of playfulness while engendering a sense of the shifts in geological time.
Nadja Frank was born in 1980 in Lohr am Main, Germany, and lives in New York City. Frank received her Diploma in Fine Arts with Honors from Hochschule fur bildende Künste in Hamburg, Germany in 2008, and her M.F.A. from Columbia University. She has exhibited internationally in solo exhibitions at 401contemporary Berlin/London (Berlin), Margini Arte Contemporanea (Massa, Italy), Galerie Conradi (Hamburg), and in group exhibitions at Kunst und Ausstellungshalle der Bundesrepublik Deutschland (Bonn), Kunstverein Hamburg, Kolbe Museum (Berlin), Chelsea Art Museum (New York), and Socrates Sculpture Park (New York).
The East Village / Lower East Side 261 Broome Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-226-6537 email@dennygallery.com
Editor's Pick
Start as Close to the End as Possible Alyssa Piro, Chris Jehly, Corey Riddell, Dana Sherwood, Forsyth Harmon, Jennifer Nuss, Jesse Weiss, Kiki Smith, Mark Dion and Melis Bürsin Torrance Shipman Gallery Curated by Nathan Catlin Opening Sunday May 19, 2013, from 6:00 PM to 9:00 PM On View May 18, 2013 - June 16, 2013 www.torranceshipmangallery.com
Start as Close to the End as Possible
A show of narrative works on paper
Curated by Nathan Catlin
With works by:
Alyssa Piro
Chris Jehly
Corey Riddell
Dada Sherwood
Forsyth Harmon
Jennifer Nuss
Jesse Weiss
Kiki Smith
Mark Dion
Melis Bürsin
Opening on Sunday May 19th from 6-9
Torrance Shipman Gallery
219 36th Street, Brooklyn, New York 11232
The show will be up from:
May 18th - June 16th
Saturday and Sunday 12-6
and weekdays by appointment.
Sunset Park 219 36th Street, Brooklyn NY, 11232 Saturday - Sunday from 12:00 PM to 6:00 PM
torranceshipmangallery@gmail.com
Opening Sunday May 19, 2013
Jesse Weiss
Start as Close to the End as Possible Alyssa Piro, Chris Jehly, Corey Riddell, Dana Sherwood, Forsyth Harmon, Jennifer Nuss, Jesse Weiss, Kiki Smith, Mark Dion and Melis Bürsin Torrance Shipman Gallery Curated by Nathan Catlin Opening Sunday May 19, 2013, from 6:00 PM to 9:00 PM On View May 18, 2013 - June 16, 2013 www.torranceshipmangallery.com
Start as Close to the End as Possible
A show of narrative works on paper
Curated by Nathan Catlin
With works by:
Alyssa Piro
Chris Jehly
Corey Riddell
Dada Sherwood
Forsyth Harmon
Jennifer Nuss
Jesse Weiss
Kiki Smith
Mark Dion
Melis Bürsin
Opening on Sunday May 19th from 6-9
Torrance Shipman Gallery
219 36th Street, Brooklyn, New York 11232
The show will be up from:
May 18th - June 16th
Saturday and Sunday 12-6
and weekdays by appointment.
Sunset Park 219 36th Street, Brooklyn NY, 11232 Saturday - Sunday from 12:00 PM to 6:00 PM
torranceshipmangallery@gmail.com
Editor's Pick
Alex Kwartler & Elke Solomon Klaus von Nichtssagend Gallery Opening Sunday May 19, 2013, from 6:00 PM to 8:00 PM On View May 19, 2013 - June 23, 2013 www.klausgallery.com
The East Village / Lower East Side 54 Ludlow Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-777-7756 klaus@klausgallery.com
Opening Sunday May 19, 2013
Alex Kwartler & Elke Solomon Klaus von Nichtssagend Gallery Opening Sunday May 19, 2013, from 6:00 PM to 8:00 PM On View May 19, 2013 - June 23, 2013 www.klausgallery.com
The East Village / Lower East Side 54 Ludlow Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-777-7756 klaus@klausgallery.com
Opening Sunday May 19, 2013
"Decisiveness" Group Exhibition. Assigned Titles. Limited Time-Frame. Installation as Content Creation . helper Curated by ruSalon Opening Sunday May 19, 2013, from 5:00 PM to 8:00 PM On View May 19, 2013 - June 15, 2013 www.helperprojects.com
ruSalon and helper are excited to present
"Decisiveness,"
a group exhibition hosted by helper.
May 19th 2013 - June 15th 2013
An Opening Reception will be held on Sunday May 19th from 5pm to 8pm.
The titles of the artworks in the show were provided by ruSalon to the artists by way of an invitation:
“Subjectivity is an Irreducible Element of Objectivity”
“The Maintenance of Unaware Preconceptions”
“That Which We Can Only Call Something Else”
“Include the Knower in the Known”
“Analogy Making as Perception”
“We Don't Control the Controls”
“No Amount of Just Looking”
“The Syllogism Worked Out”
“The Adjectivelessly Banal”
“The Truth of Accountants”
“Capitalized Prepositions”
“Reflexivity is Only a Foil”
“As Serious as Your Life”
“Uni Asymmetric III-IV”
“In the Fog 1, 11, 111.”
“Faithful Re-creation”
“Space is Only Noise”
“So it Comes to This”
“Leave of Presence”
“Oblique Strategy”
“A Real Possibility”
“Element of Style”
“Applied Poetics”
“Autodisabusal”
“Press Release”
“(a/b)/B”
“Outro”
“Fey”
The titles are meant to be suggestive to the artists -- and the collection of
phrases is meant to be suggestive to everybody. They are intended to conjure a meaningful mental-space; implying themes pertaining to the operation of language in describing art, intelligibility as a property of artworks, reflexivity, and, perhaps, the status of intention and meaning.
We do not know what work will be included, nor what kind of work it will be: nor are we certain how many invited artists will choose to participate. We do not now how full or empty the space will seem nor how colorful the show will be. We do not know how prevalent the human figure will be or processes of
photography, the variety of gestural lines or the nature of any allusions to unicorns.
Please contact us at info@rusalon.org or contact@helperprojects.com
ruSalon was formerly an exhibition space in Greenpoint, Brooklyn.
Currently, ruSalon functions occasionally as art. rusalon.org
helper is an exhibition space located at 495 Rogers Avenue
Brooklyn, NY 11225. helperprojects.com
Crown Heights 495 Rogers Avenue, Ground Floor, Brooklyn NY, 11225 858-220-3628 contact@helperprojects.com
Opening Sunday May 19, 2013
Language Objects: Letters in Space, 1970 - 2013 Robert Grenier SOUTHFIRST Opening Sunday May 19, 2013, from 4:00 PM to 6:00 PM On View May 18, 2013 - June 23, 2013 www.southfirst.org
SOUTHFIRST is proud to present "Language Objects: Letters in Space, 1970 - 2013," a retrospective exhibition tracking (via notebooks, holographic & published texts, archival materials and works on paper) the evolution from early typewriter-generated forms to more recent four-color drawing poems in the work of American poet Robert Grenier between 1970 - 2013. The show will be on view from May 18 – June 30, 2013.
On Sunday, May 19, 4 - 6 PM, Robert Grenier will introduce the 'idea' for the show, and speak to/read from & provisionally 'interpret' certain of the materials set forth in the room.
Over the past 40 years, poet/artist Robert Grenier (b. 1941) has constantly pushed poetry into new frontiers of practice and utterance. His handwritten poems, produced in the last two decades, cross the upper limit of inscription to be both writing and drawing. His works include Series (This Press, 1978), SENTENCES (Whale Cloth Press, 1978), Oakland (Tuumba Press, 1980), A Day at the Beach (Roof Books, 1984), Phantom Anthems (O Books, 1986), and OWL/ON/BOU/GH (Post-Apollo Press, 1997), as well as more recent online color drawing poem sequences like POND 1 and PENN SCANS. A graduate of Harvard College and the Iowa Writers' Workshop, Grenier has received two NEA fellowships for poetry writing and a 2013 grant from the Foundation for Contemporary Arts. An archive of his work is housed in the Stanford Libraries' Department of Special Collections. He lives in northern Vermont.
SOUTHFIRST, founded in 2000, is located at 60 N6th Street in Williamsburg, Brooklyn between Wythe and Kent Avenues. Gallery hours are Fri., Sat. and Sun. from 1 - 6 PM and by appointment. Subway: L train to Bedford Avenue. For more information, please contact Maika Pollack at 718 599 4884 or info (@) southfirst.org.
Williamsburg 60 N6th Street, Brooklyn NY, 11211 Friday - Sunday from 1:00 PM to 6:00 PM
718-599-4884 info@southfirst.org
Opening Sunday May 19, 2013
Shanee Epstein at 440 Gallery
Off the Wall recent photographs and collages by Shanee Epstein Shanee Epstein 440 Gallery Opening Sunday May 19, 2013, from 4:00 PM to 7:00 PM On View May 16, 2013 - June 23, 2013 www.440gallery.com
Shanee Epstein's solo show, Off the Wall, is a stark departure from her four earlier shows at 440 Gallery. This installation consists of large architectural photographs hung above small, collaged cigar boxes. One's initial impression might be that the work was made by two different artists. In a way, this is true. Almost every working artist struggles or experiments with conflicting impulses. Most leave that conflict in the studio and choose to show work that "hangs together". Epstein instead embraced this conflict. The abstract formal aesthetic of her photographs appear to be the antithesis of the colorful collaged boxes, but together they create a balanced whole. Off the Wall will be open to the public May 16 - June 23, 2013, with an opening reception on Sunday, May 19, 4:00-7:00 PM.
This new work came from a visit Epstein made to the Tel Aviv Art Museum's new building designed by the architect Preston Scott Cohen. Epstein was inspired by "the amazing experience of being in a space that at any moment I could stop and be within beautiful angles or views of gorgeous abstractions of line, shapes and tone. The light is poetic and dramatic. I found the beauty breathtaking in a formal aesthetic sense, but also moving in an emotional artistic sense."
Epstein's photographs capture the elegance of the architecture, but it is in the boxes that she incorporates and personalizes the experience. Epstein is a collage artist with an ongoing interest in the painted boxes of Richard Diebenkorn. With an affinity for the physicality of the materials, Epstein juxtaposed paper, fabric, photos and found material to create a unique three-dimensional space in each box. Incorporating images from Tel Aviv Museum with other collage elements, she creates depth, a sense of looking through exposed and concealed areas. In this spatial give and take, there is also the tension between the simple and the complex, the narrative and the abstract, and the geometry of architecture with the sensuality of color and texture.
Park Slope 440 6th Ave, Brooklyn NY, 11215 Thursday - Friday from 4:00 PM to 7:00 PM
Saturday - Sunday from 11:00 AM to 7:00 PM
718-499-3844 440gallery@gmail.com
Opening Sunday May 19, 2013
In Motion: Videos by Noah Klersfeld Hunterdon Art Museum Opening Sunday May 19, 2013, from 2:00 PM to 4:00 PM On View May 19, 2013 - September 08, 2013 www.hunterdonartmuseum.org
Visitors to downtown Clinton and the Hunterdon Art Museum are familiar with the nearby truss bridge which has spanned the south branch of the Raritan River for the past 143 years.
But now they'll be able to see the Lowthorp Truss Bridge inside the Museum and from the unique perspective of video artist Noah Klersfeld. Klersfeld has a talent for shooting images of familiar sites and, by compressing time and space, altering the familiar into something quite different. His work will be displayed in a solo exhibition titled "In Motion: Videos by Noah Klersfeld" at the Hunterdon Art Museum beginning Sunday, May 19.
To film the bridge, Klersfeld angled his camera down and shot the corrugated steel at deck level in a way that enabled cars to flow between the camera and the deck.
"You're seeing cars between me and the bridge," Klersfeld said. "My technique is to utilize every single shape as its own video layer so I draw out and separate every single shape."
Klersfeld painstakingly cut apart and played with the timing of the footage he shot at the bridge. "I'm shooting one static image - the bridge - and subdividing all the pieces and shattering it temporally," Klersfeld said. "I don't fabricate anything. If the image doesn't move, it looks the same, and if it does move it reorganizes itself. On the bridge you end up seeing random swatches of colors which are the doors of the cars passing by."
Klersfeld's interest in video art began as an offshoot of his career as an architect. The artist attended the Rhode Island School of Design, where students are encouraged to combine architecture with media classes. After graduating, Klersfeld found what he describes as a "standard corporate architecture job that I didn't like very much." He left that position and later became an associate partner at Manhattan-based Guy Nordenson and Associates Structural Engineers, but continued taking side art projects to stretch his imagination.
"I picked up video as a way to continue to think about architecture," he said. "I started shooting some videos that dealt with space a bit, and thinking about multiple cameras and synchronization. I started writing multiple screen pieces that would synchronize with one another, and that started to feel like I was getting back into planning again, which is architectural. An architectural building also tells its own story: It has a narrative, but it's also material and spatial and temporal."
The flurry of inspiration to squeeze time into space in a video image began for Klersfeld one snowy afternoon. He was staring out his studio window at a brick wall - what he terms the "classic New York City view" - during a torrential snowstorm, watching how the snowflakes' motion affected the view of the pattern of the bricks on the building.
"It was the first time I really saw motion and geometry on top of one another," Klersfeld said. He filmed the image and subdivided it brick by brick and then shifted the timing. The end result is a brick wall that doesn't appear different, but the snow is moving in different directions on every brick.
The process altered how Klersfeld measured and saw motion. While shooting this video, he began seeing the bricks as a quarter of a second or how much time it would take for a person or image to pass by those bricks. "It's as though I'm trying to turn space into time."
Viewers can also see how patterns will affect a video in another piece in the exhibition titled "LSC." For this video, Klersfeld filmed pedestrians and cars from the opposite side of a chain-link fence near the World Trade Center memorial site. By compressing time and space, the viewer sees a colorful rhythm of images through the fence links.
The Museum exhibition, "In Motion: Videos by Noah Klersfeld," will also feature two videos from his "Passive-Aggressive Series." Klersfeld shot random footage of activity on a busy Manhattan street or a subway car and afterwards added voice-over directions to the people in the videos. His entertaining commands make it appear as though he's directing a double-decker tour bus, pedestrians waving at his camera and whatever else passes by either of the three cameras he has focused on the intersection.
With this exhibition, three video projectors will be placed on low pedestals to encourage Museum visitors to pass in front of the screen and become a part of the action.
Special Video Class
Noah Klersfeld, along with producer Jim Pruznick, will be teaching an "Intro to Film and Video" class at our children's Summer Camp from July 8-12. Children, ages 12 to 15, can learn the basic elements of film and video. To enroll, call the Museum at 908-735-8415.
The Tri-State Area 7 Lower Center Street, Clinton NJ, 08809 Tuesday - Sunday from 11:00 AM to 5:00 PM
908-735-8415
Opening Sunday May 19, 2013
Assunta Sera, Globular Clusters, 2012, Oil stick and vine charcoal on prepared paper, 42 x 102 inches, Courtesy of the artist. Photo by Shannon Leslie.
Assunta Sera: Strong Attraction Hunterdon Art Museum Opening Sunday May 19, 2013, from 2:00 PM to 4:00 PM On View May 19, 2013 - June 30, 2013 www.hunterdonartmuseum.org
Assunta Sera's ascent to painting stars and supernovae started not in open fields or an observatory, but in one of the world's busiest transportation hubs: New York City's Grand Central Station.
Sera, whose solo exhibition "Strong Attraction" opens at the Hunterdon Art Museum May 19, recalls first stepping into the main concourse of Grand Central Station when she was nine years old. Her family had just emigrated from Italy en route to Michigan. Years later, the budding artist returned to the terminal on her way to earning a Masters' in Fine Art from New York University, and was entranced. She later worked on a series of paintings about Grand Central, which must have pleased the eyes of someone in the Mass Transit authority because Sera was selected to create a painting of the recently renovated station to be used as a poster.
"The painting is representational," Sera said. "It has an inclusion of the celestial star ceiling and a young girl staring at its magnificence in the foreground." The original painting hangs in the MTA director's office.
About a dozen years ago, Sera's art literally left the station, and she began seeking new frontiers. She devoured books on art and science, including The Tao of Physics, in a search for universal meaning and imagination.
"It was exciting and mysterious," Sera said. Along her journey, she saw Passport to the Universe at the Museum of Natural History's Hayden Planetarium, and the voyage from Earth to the edge of the observable universe piqued her interest. "I knew I had found what I had been looking for," Sera said.
The results of her artistic journey can be viewed, for instance, in "Globular Clusters," which will be part of the "Strong Attraction" exhibition. The piece is a large paper drawing, inspired by matter that gathers into a cluster. Supernovae explode, pushing matter everywhere, and once it settles, attraction begins. "Matter agglomerates in space," Sera said, discussing the work. "Movement through space and time in a cosmic void set the framework for attracting, creating and destroying."
Through swirling forms, Sera asks viewers to see the universe as an abstract, ever-moving pattern that continues beyond visible borders.
Sera creates her work using oil sticks, preferring to draw with them and to mix different sized portions of oil stick and galkyd lite (a fast-drying, low-viscosity fluid). She'll mix multiple colors until arriving at a desired hue. "I always work with paper or canvas hanging on a studio wall, unless I'm working at home on a small drawing," Sera said. "Paint is applied with a brush or directly with the oil stick. I love the luminosity and translucency of color mixed with wax."
The opening reception for "Strong Attraction," which is free to all, will be Sunday, May 19 from 2 to 4 p.m. The exhibition closes June 30.
"Making marks on paper or canvas through an intuitive approach guides me to follow my interests and discover the known and the unknown," Sera said. "Drawing and painting is my joy."
The Tri-State Area 7 Lower Center Street, Clinton NJ, 08809 Tuesday - Sunday from 11:00 AM to 5:00 PM
908-735-8415
Opening Saturday May 18, 2013
Corydon Cowansage, Mark Dorf, Shawn Powell
Surface Intentions Corydon Cowansage, Mark Dorf and Shawn Powell Harbor Opening Saturday May 18, 2013, from 7:00 PM to 9:00 PM On View May 18, 2013 - June 23, 2013 www.harborbk.com
Surface Intentions features three artists who re-examine the tradition of landscape painting to explore the urban, suburban and technological perspectives of our surroundings. Concepts of surface, facade, and perception materialize in the form of monumental paintings and altered photographs. Cowansage’s magnified suburban elements edge into the realm of the sublime while Dorf quantifies and reconsiders the natural environment through digital means. Powell’s surfaces speak to the urban experience, combining interior and exterior environments to create a synthesized world. Landscapes are constructed of elements from our daily lives and set slightly askew. Together the three present an ambiguous view of the world that questions the habitat we take for granted.
Cowansage transforms banal elements of suburban architecture, such as patio fencing, rooftop shingles, and astro turf into vast geometric landscapes. These motifs are extended beyond their normal function to imply a rhythmic emptiness that confounds ideas about home. Dorf studies the rift in understanding that occurs when nature is represented through scientific and mathematical concepts. Wilderness is interrupted with quantifying structural elements, creating a conversation between what is calculated and what is experienced. Powell invites the viewer to peer through windows and over walls into the domestic and urban worlds of his paintings. The surfaces he renders appear familiar, but are exacerbated to intensify their visual presence implying confinement and barriers.
Bushwick / Ridgewood 17-17 Troutman Street, #258, Queens NY, 11385 Saturday - Sunday from 1:00 PM to 6:00 PM
347-460-7360 info@harborbk.com
Opening Saturday May 18, 2013
EN PLEIN AIR Rick Silva TRANSFER Opening Saturday May 18, 2013, from 7:00 PM to 11:00 PM On View May 18, 2013 - June 08, 2013 www.transfergallery.com
The En Plein Air series is an ongoing body of work that has been growing online since January of 2012. The images in this series are created at the locations they depict — an encounter between the tools of digital communication and the unbuilt environment.
From Nicholas O'Brien, net-based artist, curator, and writer :::
Rick Silva’s work takes the historical precedent of Plein Air painting as a point of departure to explore the possibility of the sublime within digital contexts. Through replacing the canvas and easel with software and a computer, Silva delicately repositions digital technology out in the wilderness in a gesture that is once familiar and foreign. When amassed together, his ongoing series En Plein Air positions Silva’s work as a standout collection of meditative clearings from the ever-wild kudzu of media art.
RICK SILVA is an Assistant Professor of Digital Arts at the University of Oregon. His work has been shown in exhibitions and festivals worldwide, including Transmediale (Germany), Futuresonic (U.K.), and Sonar (Spain). His research has been supported through grants and commissions from places such as Rhizome and The Whitney Museum of American Art.
More information at ricksilva.net
A digital publication from Nicholas O’Brien will accompany this exhibition.
Bushwick / Ridgewood 1030 Metropolitan Ave, Brooklyn NY, 11211 Saturday from 12:00 PM to 5:00 PM
transfer.gallery@gmail.com
Opening Saturday May 18, 2013
Sculpture After the Apocalypse Karen Azoulay Primetime Opening Saturday May 18, 2013, from 7:00 PM to 10:00 PM On View May 10, 2013 - June 06, 2013 www.p-r-i-m-e-t-i-m-e.com
Redhook 135 Hutington Street, Brooklyn NY, 11231 Saturday from 12:00 PM to 5:00 PM
203-610-5038 i-n-f-o@p-r-i-m-e-t-i-m-e.com
Opening Saturday May 18, 2013
Conveniently Located Lukas Geronimas and Daniel Heidkamp 247365 Opening Saturday May 18, 2013, from 7:00 PM to 10:00 PM On View May 02, 2013 - May 30, 2013 www.twentyfourseventhreesixtyfive.biz
Redhook 131 Huntington Street, Brooklyn NY, 11231 247365NY@gmail.com
Opening Saturday May 18, 2013
Lorna Williams, Untitled, 2013, mixed media, dimensions variable.
APPOSITIONS: STILL / BIRTH / SHIT Lorna Williams DODGEgallery Opening Saturday May 18, 2013, from 6:00 PM to 8:00 PM On View May 18, 2013 - June 29, 2013 www.dodge-gallery.com
DODGEgallery is pleased to present appositions: still / birth / shit, Lorna Williams’ second solo exhibition with the gallery.
Williams’ anthropomorphic sculptures are meticulous amalgams of unlikely and often provocative material juxtapositions. In appositions: still / birth / shit, Williams continues to use the body as her primary subject while focusing on the specific and essential process of birthing and digesting. Plastic teeth, locked hair, root systems, pipes, stones, thorns and snakeskin, are some of the artist’s materials, assembled to form the material ecosystem of each piece and a collective narrative throughout the body of work.
In stool, fabricated from the carcass of a taxidermied reptile, Williams compresses metaphors of life, death and re-animation into the form of a digestive track. The piece bears an intimate acceptance of life cycles, as the snake was once the artist’s pet living, dying and then re-born. Revealing what is literally hidden beneath the surface, Williams’ unflinchingly embraces bodily function. The serpentine creature is known for its own unique digestive processes; an ideal material for the twisting, turning intestines. stool alludes to human movement through life—gathering, breaking apart, taking what is essential and discarding the waste.
A large assembled rooster, Ro-mer-ee’s Plumage, stands perched atop a pedestal in the gallery. Made from bike parts, violins, chains, rooster feet, pen tips and razor blades, Ro-mer-ee’s Plumage greets the viewer at eye level. Created in response to the work of Romare Bearden, an artist whose process inspires Williams, the piece is an assemblage of striking materials that call attention and shift focus from different vantage points. Williams writes,
Like Bearden, who allows his viewers to experience the creative process of transformation in his work through his shifting sense of scale, his layered images and his considered timing within his compositions, I want viewers to see my hand in the assemblage of these materials and to consider the anatomy and processes of play and experimentation involved in drawing with various objects.
Created for The Harlem Studio Museum’s Bearden Project, and here exhibited in the context of the artist’s work, Ro-mer-ee’s Plumage shows Williams’ interest in what lies beneath the surface, allowing the insides to play an equal role to the decorative “plumage”.
Raised in New Orleans, Williams has been deeply influenced by music and performance. In her first video work to-date, Williams collaborated with filmmaker/artist tiona m. for a silent film. Peeling back the layers between the finished object and maker, the video depicts Williams in the creative process. Here her body “digests” her own work, adding, fragmenting, re-forming and birthing.
Williams’ collaged sculptures serve as a means to express specific, and at times, personal narratives alongside those of the collective human condition. Focusing on the processes of digestion and birthing, she offers the matter-of-fact reality of each as a means to express their symbiotic relationship. While birthing creates and builds life, digestion consumes, breaks down and extracts; yet ultimately they find similarity in the simple event of expelling. Williams’ artistic process itself is grounded in both mechanisms as she accumulates, fuses, extracts, creates, and releases.
Lorna Williams was born in 1986 in New Orleans, Louisiana. She received her BFA from Maryland Institute College of Art in 2010. She studied at New Orleans Center for Creative Arts, School of Museum of Fine Arts, Boston and Tyler School of Art, Philadelphia. In 2009, she attended the Norfolk Program at Yale University. She has exhibited at institutions including Studio Museum Harlem, Montserrat College of Art and the Fine Arts Center, New Orleans. Her work has been reviewed in The New York Times, Art in America, FLATT, Boston Magazine, Concierge Magazine, and The Boston Globe. Williams has received numerous awards and recognitions including Presidential Scholars Program Semifinalist, ARTS Recognition Finalist, National Foundation for the Advancement in the Arts Finalist, Daniel Price Memorial Scholarship, and Annual Black History Art Contest Winner. Her work is included in the collection of Wellington Management. Williams lives and works in Philadelphia, PA.
The East Village / Lower East Side 15 Rivington Street, New York NY, 10002 Wednesday - Saturday from 11:00 AM to 6:00 PM
Sunday from 12:00 PM to 6:00 PM
212-228-5122 info@dodge-gallery.com
Opening Saturday May 18, 2013
Every Building on Avenida Alfonso Ugarte - After Ruscha (12), 2011, C-print, 28 x 42 inches, Edition of 5, 1 AP
Intersections Claudia Joskowicz LMAKprojects Opening Saturday May 18, 2013, from 6:00 PM to 9:00 PM On View May 18, 2013 - June 23, 2013 www.lmakprojects.com
LMAKprojects is pleased to announce Claudia Joskowicz’s solo exhibit Intersections. The exhibit consists of a large video installation and photographs of her project Every Building on Avenida Alfonso Ugarte - After Ruscha. The work is an exploration of the urban landscape of the city of El Alto in her home country of Bolivia through a look at the intersections between everyday life and historical events that resonate in the collective memory of that city and, the country at large.
The photographic series and two-channel video installation Every Building on Avenida Alfonso Ugarte - After Ruscha takes as its inspiration Edward Ruscha’s photo book Every Building on the Sunset Strip (1966). A selection of photographs from the series ponders the juxtaposition of the continuum of time and a still reenactment of an affecting moment in Bolivian history.
The video is installed in the back section of the gallery with two projections on opposite walls, with a true to life ration. As the viewer stands in between the two projections, one is taken along a continuous tracking shot on the major thoroughfare in El Alto. The video takes inventory of a quotidian Bolivian scene reflecting a contemporary developing city. El Alto is one of the largest urban centers and one of the fastest growing cities in Bolivia as well as one of the sites where violent protests related to the Bolivian gas conflict in October 2003 took place. In a continuous take, the mundane is juxtaposed with ritual and social conflict inserting one single still scene of violence into the register of the typical scenery of daily Bolivian life thus capturing the variegated reality of El Alto, and, by extension, also that of all developing countries.
The East Village / Lower East Side 139 Eldridge Street, New York NY, 10002 Wednesday - Saturday from 11:00 AM to 6:00 PM
Sunday from 12:00 PM to 6:00 PM
212-255-9707 info@lmakprojects.com
Editor's Pick
Maria Calandra Pencil in the Studio Maria Calandra Sardine Opening Saturday May 18, 2013, from 6:00 PM to 9:00 PM On View May 18, 2013 - June 23, 2013 www.sardinebk.com
Sardine is pleased to present Pencil in the Studio by Maria Calandra. This exhibition is a selection of the drawings that have been featured on her blog, also titled Pencil in the Studio. The show coincides with the two-year mark since the blogs’ conception and will be the first time they have been seen in an extensive survey. The exhibition opens Saturday, May 18th from 6 to 9 pm and will be up through June 16th.
With Pencil in the Studio, Maria Calandra discovers another way to look at the role of the studio in an artist’s development. Featuring the studios of some of the most dynamic emerging and established artists working today, her drawings are focused on being anthropological studies of her contemporaries. She usually spends an entire day with them drawing, observing, talking and writing. Not only does she render their works, supplies, and source materials, but she also hones in on what makes each of them naturally distinctive. Paintings in progress are stacked on paint cans, brushes are scattered about, pets hang out, and detritus piles up. It’s a humble exploration and exoneration of the present and a sweet vision of the studio as a location for the practice of success and failure.
The artists that she has featured in the series thus far: Andy Cross, Ariel Dill, Chris Martin, Christine Heindl, Chuck Webster, Daniel Heidkamp, EJ Hauser, Elisa Lendvay, Erik den Breejen, Inna Babaeva, Ivin Ballen, Jay Gaskill, Jess Fuller, JJ Manford, Joe Ballweg, Jon Lutz, Joshua Abelow, Jovi Schnell, Joy Curtis, Karla Wozniak, Katherine Bradford, Katherine Newbegin, Kees den Breejen, Kelly McRaven, Keltie Ferris, Lauren Luloff, Liz Ainslie, Matt Jones, Marnet Larson, Michael Berryhill, Michael Mahalchick, Mike Olin, Rob Nadeau, Ron Amstutz, Sarah Mattes, Tamara Gonzales, and Vince Contarino.
Maria Calandra lives and works in Brooklyn. She is a graduate of Cornell University MFA program and has exhibited with Norte Maar, Daily Operation, DNA Gallery, Shoot the Lobster and Storefront.
See Pencil in the Studio online at: pencilinthestudio.blogspot.com.
Sardine is located on the ground floor of 286 Stanhope Street between Wyckoff and Irving Avenues in Bushwick, Brooklyn, one block from the Dekalb L train and near the Knickerbocker M. For more information, please visit sardinebk.com. Contact: Lacey Fekishazy and Jon Lutz at sardinebk@gmail.com.
Bushwick / Ridgewood 286 Stanhope St., Ground Floor, Brooklyn NY, 11237 Saturday - Sunday from 1:00 PM to 6:00 PM
917-374-9431 sardinebk@gmail.com
Opening Saturday May 18, 2013
Maria Calandra Pencil in the Studio Maria Calandra Sardine Opening Saturday May 18, 2013, from 6:00 PM to 9:00 PM On View May 18, 2013 - June 23, 2013 www.sardinebk.com
Sardine is pleased to present Pencil in the Studio by Maria Calandra. This exhibition is a selection of the drawings that have been featured on her blog, also titled Pencil in the Studio. The show coincides with the two-year mark since the blogs’ conception and will be the first time they have been seen in an extensive survey. The exhibition opens Saturday, May 18th from 6 to 9 pm and will be up through June 16th.
With Pencil in the Studio, Maria Calandra discovers another way to look at the role of the studio in an artist’s development. Featuring the studios of some of the most dynamic emerging and established artists working today, her drawings are focused on being anthropological studies of her contemporaries. She usually spends an entire day with them drawing, observing, talking and writing. Not only does she render their works, supplies, and source materials, but she also hones in on what makes each of them naturally distinctive. Paintings in progress are stacked on paint cans, brushes are scattered about, pets hang out, and detritus piles up. It’s a humble exploration and exoneration of the present and a sweet vision of the studio as a location for the practice of success and failure.
The artists that she has featured in the series thus far: Andy Cross, Ariel Dill, Chris Martin, Christine Heindl, Chuck Webster, Daniel Heidkamp, EJ Hauser, Elisa Lendvay, Erik den Breejen, Inna Babaeva, Ivin Ballen, Jay Gaskill, Jess Fuller, JJ Manford, Joe Ballweg, Jon Lutz, Joshua Abelow, Jovi Schnell, Joy Curtis, Karla Wozniak, Katherine Bradford, Katherine Newbegin, Kees den Breejen, Kelly McRaven, Keltie Ferris, Lauren Luloff, Liz Ainslie, Matt Jones, Marnet Larson, Michael Berryhill, Michael Mahalchick, Mike Olin, Rob Nadeau, Ron Amstutz, Sarah Mattes, Tamara Gonzales, and Vince Contarino.
Maria Calandra lives and works in Brooklyn. She is a graduate of Cornell University MFA program and has exhibited with Norte Maar, Daily Operation, DNA Gallery, Shoot the Lobster and Storefront.
See Pencil in the Studio online at: pencilinthestudio.blogspot.com.
Sardine is located on the ground floor of 286 Stanhope Street between Wyckoff and Irving Avenues in Bushwick, Brooklyn, one block from the Dekalb L train and near the Knickerbocker M. For more information, please visit sardinebk.com. Contact: Lacey Fekishazy and Jon Lutz at sardinebk@gmail.com.
Bushwick / Ridgewood 286 Stanhope St., Ground Floor, Brooklyn NY, 11237 Saturday - Sunday from 1:00 PM to 6:00 PM
917-374-9431 sardinebk@gmail.com
Opening Saturday May 18, 2013
The Stuff Things Are Made Of Mathieu Lefèvre Regina Rex Opening Saturday May 18, 2013, from 6:00 PM to 10:00 PM On View May 18, 2013 - June 16, 2013 www.reginarex.org
Bushwick / Ridgewood 1717 Troutman, #329, Ridgewood NY, 11385 Saturday - Sunday from 12:00 PM to 6:00 PM
347-460-7739 info@reginarex.org
Opening Saturday May 18, 2013
Lynn Koble, Natural Order (detail), 2013., Courtesy of the Artist
Lynn Koble: Natural Order Lynn Koble Wave Hill Curated by Gabriel de Guzman Opening Saturday May 18, 2013, 1:30 PM On View May 11, 2013 - June 16, 2013 www.wavehill.org
Lynn Koble’s work reflects an interest in the various forms of constructed and simulated environments—physical, social, psychological, natural—that exist in a technology-saturated world. She looks at the ways in which people order and disrupt these environments according to systems that can be both scientific and personal, as well as tangible and virtual. Devised to make sense of the world, these systems are often specific to a place, a language or a culture and are subject to modification as people’s understanding of their surroundings changes over time.
For her Sunroom Project, Natural Order, Koble creates a sculptural environment with an apparent simplicity that belies her meticulous, handmade process and thorough methodology; the work points toward a realm of fabrication, artifice and surface. Natural Order features two, symmetrical, room-sized shelving units with ordered rows of more than 150 propagation pots. The pots resemble glass beakers, evoking a complex lab experiment. Each beaker contains a single, handmade, cut-paper sprout and is labeled with the plant’s botanical and common names, identifying its place within an invented taxonomy that is partly scientific, partly whimsical. Taking inspiration from 18th-century botanist Carl Linnaeus’s plant classification system, the shapes of Koble’s sprouts are derived from the reproductive organs of plants. While half of these plants can be found in Wave Hill’s gardens, the others are completely fictitious—artificial interlopers in a quasi-natural system. The sculptural installation includes a printed directory of all of the plants’ names, real or fantastical.
Koble received an MFA from Rutgers University, New Brunswick, NJ; and a BFA from Alfred University, Alfred, NY. She also attended the Skowhegan School of Painting and Sculpture. Koble has had solo exhibitions at Swarm Gallery, Oakland, CA; Venetia Kapernekas Gallery, New York, NY; PS122 Gallery, New York, NY; and Braunstein Quay Gallery, San Francisco, CA. Her work has been featured in group exhibitions at the Brooklyn Museum, Brooklyn, NY; Islip Art Museum, East Islip, NY; and Exit Art, New York, NY. The artist has participated in residency programs at The MacDowell Colony, Peterborough, NH; Socrates Sculpture Park, Long Island City, NY; Sculpture Space, Utica, NY; and Djerassi Resident Artists Program, Woodside, CA. She has received artist grants from the Foundation for Contemporary Arts, The Puffin Foundation and Northern Manhattan Arts Alliance.
Additional support has been provided to Lynn Koble by the Puffin Foundation and chashama.
Meet the Artist: Saturday, May 18. 1:30PM in Glyndor Gallery
The Bronx West 249th Street and Independence Avenue, Bronx New York, 10471 Tuesday - Sunday from 10:00 AM to 4:30 PM
718-549-3200 pressroom@wavehill.org
Opening Saturday May 18, 2013
Ernesto Caivanom, Topography 11, Topography 10, 2013, Graphite on antique paper, 9 x 6 in. each
Settlements Ernesto Caivano Pioneer Works Opening Saturday May 18, 2013, from 12:00 PM to 7:00 PM On View May 18, 2013 - July 30, 2013 www.pioneerworks.org
MAY 18 — JULY 30, 2013
PREVIEW: Saturday, MAY 18, 2013 12-7PM RSVP
OPENING RECEPTION: Saturday, JUNE 1, 2013 12-7PM RSVP
Pioneer Works is pleased to present Settlements, a solo exhibition by Ernesto Caivano. Settlements is a comprehensive survey of selected works from 2002–2013. The exhibition is on view from May 18, through July 30th, 2013. A preview of the exhibition will be held on May 18, and a reception for the artist will be held on June 1, 2013.
The reception will be accompanied by a publication with newly commissioned texts on the artist's work.
Ernesto Caivano's work has been the subject of solo shows at White Cube in London, Richard Heller in Los Angeles and at MoMA PS1, where his site-specific mural In the Woods (2004) is permanently installed. Ernesto Caivano has also been included in notable group exhibitions such as No New Thing Under the Sun (2010) at the Royal Academy in London, The Compulsive Line: Etching 1900 to Now at the Museum of Modern Art (2006), Greater New York 2005 at MoMA PS1, and the 2004 Whitney Biennial.
For additional information please contact: info@pioneerworks.org
Redhook 159 Pioneer Street, Brooklyn NY, 11231 718-596-3000 info@pioneerworks.org
Opening Friday May 17, 2013
Ricky Powell NYC 1985 – Bushwick 2013 Ricky Powell David Kesting Curated by Tono Radvany Opening Friday May 17, 2013, from 7:00 PM to 10:00 PM On View May 17, 2013 - June 09, 2013 www.kesting.net
As the recession of the early 1980’s gave way to the wall street excess the decade is known for, the streets of downtown New York were flush with inspired graffiti from a new generation of artists. The poetic, wall written musings of Samo© and rhythmic patterns of Haring’s subway chalk paintings are excellent examples of that new art form. These visual artists accompanied or actively participated in the sounds of a new style of musicians, noise bands and punk rock- hip hop fusions. The term “famous for being famous” created a mystique surrounding this urban revolution launched in the wasteland below 14th street. Scharf, Haring and Basquiat were the logical step from the father of pop art, Warhol. In the same way as the Beastie Boys, known for their punk rock swagger were learned in the school of hip hop instructed by Run DMC.
Bushwick today represents a strong similarity to New York in the mid 80’s. Our country is emerging from a long term recession. The then downtown scene, a place where desolate streets hide art events, performances and late night music behind steel loft doors, is mirrored in the urban wasteland of industrial East Williamsburg and Bushwick. A familiar terrain where like in the decades past, everyone knows everyone, everyone is an artist, actor, writer or musician or possibly a combination thereof. Here and now, as was then, an artist, denied exhibition at the gallery plies their trade with spray paint and wheatpaste, capable of going as far as their creativity will take them. Scharf is the new father figure, showing the new generation tenacity with his late night graffiti walks, as deftly as his installs showcases in a blue chip Chelsea gallery.
It is for this reason, and in this context, that we reflect on the renowned photojournalist work of Ricky Powell. Far from paparazzi, far from fly on the wall, Powell was the peer these artists spent time with. A photographer whose candor reflects in his subjects the intimacy that was Downtown New York. An intimacy that is now found in the Bushwick Scene.
When looked at in large format, Powell’s Jean-Michel Basquiat and Andy Warhol On Mercer Street Going To Tony Shafrazi Gallery, 1985 is reflection of this relationship. This black and white photograph, printed in museum quality as large as the gallery wall is an epic work the size of these epic characters. Basquiat a hero of contemporary street art, heralded a new style of poetry, written in spray paint with a drive to be on museum walls. Warhol, the hero of the Neo-Expressionists, a graphic designer using color, repetition and marketing to mold the art world. Both artists, both quiet, sometimes shy individuals. In a city much like their personalities, shyly protective of its hidden treasure, its underground scene. This photo could easily been seen as taken today, on Bogart street in a moment of transit with an artist and his young peer.
So with this context we are please to announce that David Kesting Presents: Ricky Powell, a collection of photographs from the artists archives reflecting the urban artistic and music references between these two times and cultures. Curated by Tono Radvany a longtime friend of Powell known for cataloging, exhibiting and printing Powell’s work. The exhibition opens to the public with a reception for the artist on Friday May 17 from 7:00 – 10:00pm, and will be open to the public during the Bushwick Open Studios May 31 to June 2 and close on June 9. For additional details please visit http://kesting.net for details. David Kesting Presents: is a contemporary art space in the Bushwick neighborhood of Brooklyn NY. The gallery was originally founded in 2003 as Capla Kesting Fine Art, then in 2008 became Leo Kesting Gallery in the Meat Packing District & Kesting/Ray in Soho in 2011.
Ricky Powell, American Photographer B.1961, Brooklyn NY – Raised in New York City, Powell graduated from Hunter College and has worked as a photographer for numerous international publications. Photographs in Time Magazine, RollingStone and the New York Times have given Powell notoriety as a intimate photographer who captures the private candor of well known musicians, artists and actors.
Powell has four published books and is in the collection of several prominent institutions.
Bushwick / Ridgewood 257 Boerum Street, Brooklyn NY, 11206 Saturday - Sunday from 12:00 PM to 5:00 PM
Opening Friday May 17, 2013
Borrowed Landscape (Tropics of Africa, Asia and the Amazon via Brooklyn), Digital print on vinyl, 120 x 125 inches, 2013
Naomi Reis Unnatural Selection Naomi Reis TSA Opening Friday May 17, 2013, from 7:00 PM to 10:00 PM On View May 17, 2013 - June 23, 2013 www.newyork.tigerstrikesasteroid.com
Unnatural Selection investigates nature and its representation: How have humans conquered and organized nature, both to understand it scientifically, and to use it strategically?
The exhibition opens on Borrowed Landscape (Tropics of Africa, Asia and the Amazon via Brooklyn), a large-scale vinyl print of a photograph taken at the Brooklyn Botanical Garden. It captures the spectacle of a simulated rainforest contained within a glass dome; we know that it is an artificial environment, yet we suspend disbelief and for a moment are transported to a distant tropical rainforest, a place very few of us will visit in person. Together with mixed media collages, paintings, live and artificial plants, and botanical drawings that reference 19th-century scientific drawings in specimen trays, Unnatural Selection explores the pressure points where the natural world and the manufactured collide.
Naomi Reis was born in Shiga, Japan, and lives and works in Brooklyn, NY. She was a recent Winter Workspace 2013 resident at Wave Hill in the Bronx, and will have an article in the Spring 2013 issue of Wilder Quarterly about the experience. Her work has been featured in exhibitions at the IPCNY, Kunsthalle Galapagos, Blackburn 20|20, Lower East Side Printshop, Field Projects, Brooklyn Academy of Music, and Exit Art. She is a graduate of the School of Design at the University of Pennsylvania (MFA) and Hamilton College (BA).
Bushwick / Ridgewood 44 Stewart Ave, #49, New York NY, 11237 Saturday - Sunday from 12:00 PM to 6:00 PM
347-746-8041 newyork@tigerstrikesasteroid.com
Opening Friday May 17, 2013
ELLIOTT SHARP: FOLIAGE 5/17 – 5/26 Elliot Sharp, Janene Higgins, Mary Halvorson, Jessica Pavone, Dither Guitar Quartet, Luke Dubois and Tracie Morris REVERSE Opening Friday May 17, 2013, from 7:00 PM to 9:00 PM On View May 17, 2013 - May 26, 2013 http://reversespace.org
Foliage is a 10 day exhibition showcasing a series of graphic scores created by Elliott Sharp. Musicians will be invited to perform Foliage throughout the show.
Foliage is a long-form graphic music score that Elliott Sharp created by processing musical notation that he composed to make visual pieces that give abstract instructions to performing musicians, opening rooms for different interpretations. Elliott has worked intermittently with graphic notation since 1972 but began to deeply immerse himself in it again a decade ago.
His longtime friend and collaborator Christian Marclay has described Foliage quite succinctly:
“Using graphics software, Elliott creates the visual equivalent of what he does with audio editing software in a live performance: altering what he sees the same way he alters what he hears, by modulating, distorting, filtering, stretching, multiplying, layering, inverting, blurring, and ultimately exploding the traditionally written sheet music.”
In this exhibition, REVERSE will present eighty prints selected from the over 250 generated in the original process. As part of the exhibition, a movie made from the Foliage images by Elliott’s partner, Janene Higgins, will be screened every evening to serve as a score for musical interpretations and performances by a number of virtuosic players including Mary Halvorson, Jessica Pavone, Dither Guitar Quartet, Luke Dubois, Tracie Morris, and others to be announced.
Williamsburg 28 Frost Street, Brooklyn New York, 11211 917-655-2951 info@reversespace.org
Opening Friday May 17, 2013
Carey Denniston / Marley Freeman KANSAS Opening Friday May 17, 2013, from 6:00 PM to 8:00 PM On View May 17, 2013 - June 22, 2013 www.kansasgallery.com
KANSAS is pleased to announce two solo projects: Carey Denniston and Marley Freeman. Opening May 17, the exhibitions will run through June 22, 2013.
Carey Denniston will present a new installation of her ongoing series "To what degree a stone is a stranger / To what degree it is withdrawing." Each of Denniston's screens consist of two custom built frames attached face-to-face - one image partially eclipsed, faces the viewer, the other inward - an act of self-reflexivity. Compositions of natural and architectural elements are obscured and reconfigured, using the structure of the screen as an opacity tool, reducing imagery to an analogous, non-narrative state. Central to Denniston's practice is looking at certain dualistic structures of life; what it is to occupy a structure and to examine our measured existence within it; the flexible space of the real.
In the back gallery, Marley Freeman will present a series of recent small and medium-scale, acrylic paintings that expand her predilection for the fundamental attributes of abstract painting; scale and surface, gesture and color. Structured by motif and visual syntax, Freeman overlays a series of automatic reactions to arrive at paintings that vary from highly layered abstractions to spare calligraphic compositions. Her wet-on-wet application process articulates speedy marks that read as independent images while simultaneously coalescing into harmonious swarms. Drawing influences from textile design and pattern, her process is in search of a particular unknown image, an exploration of temporal production and ritual making.
Carey Denniston (b. 1981, Oregon) lives and works in Brooklyn, NY. She received an MFA in Studio Art from Hunter College, 2012 and a BA from the University of Washington, 2003. Her work was recently shown in Superpositions, New Wight Biennial 2012, UCLA, Los Angeles; College Art Association NY Area MFA Exhibition, Times Square Gallery, NY; When I Come Around: The Artists Around Me, APT Show, Brooklyn, NY; Unfamiliar, Denny Gallery, NY; and Useful Pictures, Michael Matthews Gallery, NY.
Marley Freeman (b. 1981, Massachusetts) lives and works in Brooklyn, NY. She received an MFA in painting from Bard College, 2011 and a BFA from The School of the Art Institute of Chicago, 2008. Her work was recently shown in House Arrest at Franklin Street Works, CT; Reading Boyishly at THIS IS THE PLACE, NY; Significant Ordinaries, The University Art Museum, California State University, CA.
The gallery is located at 59 Franklin Street, three blocks South of Canal between Broadway and Lafayette. The closest subways are A/C/E,6,J/Z,N/Q/R and W at Canal and the 1 train at Franklin. For additional information, please contact Steven Stewart at KANSAS by calling +1 (646) 559-1423 or emailing steven@kansasgallery.com
Tribeca / Downtown 59 Franklin Street, New York NY, 10013 Tuesday - Saturday from 11:00 AM to 6:00 PM
646-559-1423 info@kansasgallery.com
Opening Friday May 17, 2013
the intelligence of things 2013 Parsons Fine Arts MFA Thesis Exhibition The Kitchen Opening Friday May 17, 2013, from 6:00 PM to 8:00 PM On View May 17, 2013 - May 25, 2013 www.finearts.parsons.edu
For a growing number of contemporary artists and thinkers, the ontology of objects has prompted new investigations and modes of making. Perhaps in reaction to the dominance of screens and images in our daily life, artistic practice has embraced the object-as-thing: estranged, powerful and physical. A likeminded investment in materiality can be observed among the 20 artists in this exhibition. The Intelligence of Things presents these artists’ practices, which attest to the importance of the object in contemporary life. In these works, spanning different aesthetics and mediums—painting, performance, photography, video, sculpture and installation—objects become ciphers for memory, desire and fantasy. Far from simple gestures, the things in these works articulate their place as icons and bodily analogs, and as protagonists in interiors, architectural spaces and the scope of history.
The exhibition privileges the role of the displayed objects over any overarching curatorial concept. As a title The Intelligence of Things both emphasizes this approach and illuminates these artworks’ powerful effect and affect. That is to say that following Kant’s purposeful purposelessness, these artworks upend our notions of a thing’s effect or intent, and each one has a particular character, demeanor, and accent—whether fierce or foppish. The Intelligence of Things brings together a group of works that resist clear categorization and do not adhere to rigid stylistic doctrines. The exhibition and the works therein, rather, critically explore how things and human subjects together produce meaning in the world. For more information contact parsonsmfaexhibition@gmail.com
Parsons Fine Arts is committed to educating artists who will undertake essential roles in our society by offering a progressive, cross-media program that integrates dynamic studio practice with critical theory. For further information go to: finearts.parsons.edu or contact the program director, Simone Douglas at douglass@newschool.edu. Parsons The New School for Design is one of the premier institutions for art and design education. Founded in 1896, it has served as a pioneer in the field for more than a century. Based in New York but active around the world, the school offers undergraduate and graduate programs in the full spectrum of design disciplines. Critical thinking and collaboration are at the heart of a Parsons education. Parsons offers rigorous training that allows for interdisciplinary collaboration across five thematic schools. An integral part of The New School, Parsons builds on the university’s legacy of progressive ideals, scholarship, and pedagogy. Parsons graduates are leaders in their respective fields, with a shared commitment to creatively and critically addressing the complexities of life in the 21st century. For more information, please visit parsons.newschool.edu.
Chelsea 512 West 19th Street, New York NY, 10011 212-255-5793 parsonsfineartsweb@gmail.com
Opening Friday May 17, 2013
Julian Lorber Julian Lorber et al projects Opening Friday May 17, 2013, from 6:00 PM to 10:00 PM On View May 17, 2013 - June 17, 2013 www.etalprojects.com
et al Projects is excited to present new artwork by Julian Lorber. This is Lorber’s second solo exhibition with the gallery and will mark the second anniversary of the gallery’s new location in Bushwick with Lorber’s vivid works that include a multidisciplinary display of paintings, photography, and sculpture. Coming off his recent solo exhibition in Europe this past February, which was titled Externalities, Julian Lorber’s exhibition at et al Projects is untitled and continues this momentum with a display of his ability and drive to create intriguing, dynamic art.
Lorber has created works from observing the visual effects of urban soot on architecture and interiors and the paint build-up from graffiti writing and outdoor mural painting. Other sources for his works include makeup and automotive spray coating. What these materials and applications are actually adding to the language of painting is part of what the artist is interested in showing us. His process of mixed media layering is what he considers as creating his own “architecture of pollution.” The artist has also included window soot into some of the works as a material metaphor. Moving towards the surface, the artist intensifies the viewing experience with color shading and has an illusory balance of surface and depth. Thinking about economics and the growth of industry and its effects on our culture, Lorber asks questions about a system that is a disconnect between the society in which we live and the natural world that the system relies on. Subverting material hierarchies and confronting the negative and positive externalities around him, Lorber presents his art as a science fiction, and puts the urban environment as the driving force behind human visual experience.
May 17 thru June 17, 2013
Opening Reception: May 17, 7pm-10pm
Artist Talk: June 16, 12pm
Julian Lorber is an American artist based in Brooklyn, New York. He studied at the Massachusetts College of Art in Boston. He produces art using paint, drawing, collage, video, sculpture and installation art and has exhibited internationally. He has been interviewed in NY Arts Magazine, Frontrunner Magazine and LVL3. His works have been featured in Whitehot Magazine, Arte- Fuse and Studio Visit Magazine, curated by Ian Berry, Senior Director at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College.
et al projects | 56 Bogart | Brooklyn NY | 11206 | info@etalprojects.com | 914-498-8328
Bushwick / Ridgewood 56 Bogart Street, Brooklyn NY, 11206 Thursday - Sunday from 1:00 PM to 6:00 PM
914-498-8328 info@etalprojects.com
Editor's Pick
Lotus Beaters Joe Bradley Gavin Brown’s enterprise Opening Friday May 17, 2013, from 6:00 PM to 8:00 PM On View May 18, 2013 - June 29, 2013 www.gavinbrown.biz
Greenwich Village / The West Village 620 Greenwich Street, New York NY, 10014 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-627-5258
Opening Friday May 17, 2013
Lotus Beaters Joe Bradley Gavin Brown’s enterprise Opening Friday May 17, 2013, from 6:00 PM to 8:00 PM On View May 18, 2013 - June 29, 2013 www.gavinbrown.biz
Greenwich Village / The West Village 620 Greenwich Street, New York NY, 10014 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-627-5258
Opening Friday May 17, 2013
62 Miles Above Sea Level Osamu Kobayashi Greenwich House Music Opening Friday May 17, 2013, from 5:30 PM to 8:30 PM On View May 17, 2013 - June 10, 2013 www.greenwichhouse.org
Greenwich House Music School Presents: Osamu Kobayashi "62 Miles Above Sea Level". This will be his first solo exhibition in NYC, comprised of works from 2009 to the present. The opening reception will take place from 5:30 - 8 pm in the Renee Weiler concert hall on the second floor.
Hrs: M-F 9:30-9pm Sat 10-5pm
Please call prior to your visit as hours can change.
☎ 212-242-4770
Special thanks to Adarsh Alphons and his efforts in helping me realize this exhibition.
www.osamu-kobayashi.com
Greenwich Village / The West Village 46 Barrow Street, New York NY, 10014 212-242-4770
Editor's Pick
Valerie Hegarty: Alternative Histories Brooklyn Museum Opening Friday May 17, 2013, from 11:00 AM to 6:00 PM On View May 17, 2013 - December 01, 2013 www.brooklynmuseum.org
Valerie Hegarty: Alternative Histories is the second in a series inviting contemporary artists to activate the Brooklyn Museum’s Period Rooms. Hegarty’s site-specific artworks, which address themes of colonization, Manifest Destiny, and repressed history, are on display in the Cupola House parlor and dining room, and in the dining room of the Cane Acres Plantation. Her installation in the Cupola House includes a Native American–patterned rug that appears to be overgrown with grass, roots, and flowers, as well as two portraits in “conversation,” one of George Washington and the other of an unidentified Native American chief. In her signature style, Hegarty has fabricated the portraits to look as though they are partially dissolved. In the plantation dining room, she has created a tableau that includes 19th-century still-life paintings come to life, with fruit bursting from their frames and into the room, to be picked at by three-dimensional crows. The installation’s cultural referents include Alfred Hitchcock, racial segregation, and vanitas paintings (still-life meditations on mortality).
Born in Burlington, Vermont, Hegarty received an M.F.A. from the School of the Art Institute of Chicago. Her work has been the subject of several solo exhibitions, most recently Cosmic Collisions at the Nicelle Beauchene Gallery in New York and Autumn on the Hudson Valley with Branches, a High Line Public Art Project in New York.
Rest Of Brooklyn 200 Eastern Parkway, Period Rooms, 4th Floor, Brooklyn NY, 11238 Wednesday from 11:00 AM to 6:00 PM
Thursday from 11:00 AM to 10:00 PM
Friday - Sunday from 11:00 AM to 6:00 PM
718-638-5000
Opening Friday May 17, 2013
Hall, The Cupola House, circa 1725; woodwork 1756–58. Decorative Arts. Robert B. Woodward Memorial Fund, 18.170
Valerie Hegarty: Alternative Histories Brooklyn Museum Opening Friday May 17, 2013, from 11:00 AM to 6:00 PM On View May 17, 2013 - December 01, 2013 www.brooklynmuseum.org
Valerie Hegarty: Alternative Histories is the second in a series inviting contemporary artists to activate the Brooklyn Museum’s Period Rooms. Hegarty’s site-specific artworks, which address themes of colonization, Manifest Destiny, and repressed history, are on display in the Cupola House parlor and dining room, and in the dining room of the Cane Acres Plantation. Her installation in the Cupola House includes a Native American–patterned rug that appears to be overgrown with grass, roots, and flowers, as well as two portraits in “conversation,” one of George Washington and the other of an unidentified Native American chief. In her signature style, Hegarty has fabricated the portraits to look as though they are partially dissolved. In the plantation dining room, she has created a tableau that includes 19th-century still-life paintings come to life, with fruit bursting from their frames and into the room, to be picked at by three-dimensional crows. The installation’s cultural referents include Alfred Hitchcock, racial segregation, and vanitas paintings (still-life meditations on mortality).
Born in Burlington, Vermont, Hegarty received an M.F.A. from the School of the Art Institute of Chicago. Her work has been the subject of several solo exhibitions, most recently Cosmic Collisions at the Nicelle Beauchene Gallery in New York and Autumn on the Hudson Valley with Branches, a High Line Public Art Project in New York.
Rest Of Brooklyn 200 Eastern Parkway, Period Rooms, 4th Floor, Brooklyn NY, 11238 Wednesday from 11:00 AM to 6:00 PM
Thursday from 11:00 AM to 10:00 PM
Friday - Sunday from 11:00 AM to 6:00 PM
718-638-5000
Editor's Pick
A Different Kind of Order: The ICP Triennial International Center of Photography (ICP) Curated by Kristen Lubben, Christopher Phillips, Carol Squiers and Joanna Lehan Opening Friday May 17, 2013, from 10:00 AM to 8:00 PM On View May 17, 2013 - September 08, 2013 www.icp.org
Every three years, ICP's curators round up some of the most interesting contemporary photography and video works from around the world. The 2013 Triennial, A Different Kind of Order, focuses on artworks created in our current moment of widespread economic, social, and political instability. The exhibition will include 28 international artists who employ photography, film, video, and interactive media. Many of their works reflect the growing importance of new paradigms associated with digital image making and network culture. A Different Kind of Order is organized by Kristen Lubben, Christopher Phillips, Carol Squiers, and Joanna Lehan.
EXHIBITION ARTISTS
Roy Arden b. 1957, Vancouver; lives and works in Vancouver
Huma Bhabha b. 1962, Karachi, Pakistan; lives and works in Poughkeepsie, New York
Nayland Blake b. 1960, New York City; lives and works in New York City
A.K. Burns b. 1975, Capitola, California; lives and works in New York City
Aleksandra Domanovic b. 1981, Novi Sad, former Yugoslavia; lives and works in Berlin
Nir Evron b. 1974, Herzliya, Israel; lives and works in Tel Aviv
Sam Falls b. 1984, San Diego; lives and works in Los Angeles
Lucas Foglia b. 1983, New York City; lives and works in San Francisco
Jim Goldberg b. 1953, New Haven; lives and works in San Francisco
Mishka Henner b. 1976, Brussels; lives and works in Manchester, England
Thomas Hirschhorn b. 1957, Bern, Switzerland; lives and works in Paris
Elliott Hundley b. 1975, Greensboro, North Carolina; lives and works in Los Angeles
Oliver Laric b. 1981, Innsbruck, Austria; lives and works in Berlin
Andrea Longacre-White b. 1980, Radnor, Pennsylvania; lives and works in Los Angeles
Rafael Lozano-Hemmer b. 1967, Mexico City; lives and works in Montreal
Gideon Mendel b. 1959, Johannesburg; lives and works in London
Luis Molina-Pantin b. 1969, Geneva, Switzerland; lives and works in Caracas, Venezuela
Rabih Mroué b. 1967, Beirut; lives and works in Beirut
Wangechi Mutu b. 1972, Nairobi, Kenya; lives and works in New York City
Sohei Nishino b. 1982, Hyogo, Japan; lives and works in Tokyo
Lisa Oppenheim b. 1975, New York City; lives and works in New York City and Berlin
Trevor Paglen b. 1974, Camp Springs, Maryland; lives and works in New York City
Walid Raad b. 1967, Beirut; lives and works in New York City
Nica Ross b. 1983, Tempe, Arizona; lives and works in New York City
Michael Schmelling b. 1973, Pittsburgh; lives and works in New York City
Hito Steyerl b. 1966, Munich; lives and works in Berlin
Mikhael Subotzky / Patrick Waterhouse b. 1981, Cape Town, South Africa; lives and works in Johannesburg / b. 1981 Bath, England; lives and works in Italy, England, and South Africa
Shimpei Takeda b. 1982, Sukagawa, Fukushima, Japan; lives and works in New York City
A Different Kind of Order: The ICP Triennial is made possible with support from the ICP Exhibitions Committee, Mark McCain and Caro Macdonald/Eye and I, Deborah Jerome and Peter Guggenheimer, Joseph and Joan Cullman Foundation for the Arts, Brown Penny Fund, Duggal Visual Solutions, Artis, The Japan Foundation, the Swiss Arts Council Pro Helvetia, Consulate General of Germany New York, and the New York City Department of Cultural Affairs in partnership with the City Council.
Midtown 1133 Avenue of the Americas at 43rd Street, New York NY, 10036 Tuesday - Thursday from 10:00 AM to 6:00 PM
Friday from 10:00 AM to 8:00 PM
Saturday - Sunday from 10:00 AM to 6:00 PM
212-857-0000 info@icp.org
Opening Friday May 17, 2013
Mikhael Subotzky and Patrick Waterhouse, Windows, Ponte City (detail), 2008-2010. © Mikhael Subotzky and Patrick Waterhouse, Courtesy Goodman Gallery, Johannesburg.
A Different Kind of Order: The ICP Triennial International Center of Photography (ICP) Curated by Kristen Lubben, Christopher Phillips, Carol Squiers and Joanna Lehan Opening Friday May 17, 2013, from 10:00 AM to 8:00 PM On View May 17, 2013 - September 08, 2013 www.icp.org
Every three years, ICP's curators round up some of the most interesting contemporary photography and video works from around the world. The 2013 Triennial, A Different Kind of Order, focuses on artworks created in our current moment of widespread economic, social, and political instability. The exhibition will include 28 international artists who employ photography, film, video, and interactive media. Many of their works reflect the growing importance of new paradigms associated with digital image making and network culture. A Different Kind of Order is organized by Kristen Lubben, Christopher Phillips, Carol Squiers, and Joanna Lehan.
EXHIBITION ARTISTS
Roy Arden b. 1957, Vancouver; lives and works in Vancouver
Huma Bhabha b. 1962, Karachi, Pakistan; lives and works in Poughkeepsie, New York
Nayland Blake b. 1960, New York City; lives and works in New York City
A.K. Burns b. 1975, Capitola, California; lives and works in New York City
Aleksandra Domanovic b. 1981, Novi Sad, former Yugoslavia; lives and works in Berlin
Nir Evron b. 1974, Herzliya, Israel; lives and works in Tel Aviv
Sam Falls b. 1984, San Diego; lives and works in Los Angeles
Lucas Foglia b. 1983, New York City; lives and works in San Francisco
Jim Goldberg b. 1953, New Haven; lives and works in San Francisco
Mishka Henner b. 1976, Brussels; lives and works in Manchester, England
Thomas Hirschhorn b. 1957, Bern, Switzerland; lives and works in Paris
Elliott Hundley b. 1975, Greensboro, North Carolina; lives and works in Los Angeles
Oliver Laric b. 1981, Innsbruck, Austria; lives and works in Berlin
Andrea Longacre-White b. 1980, Radnor, Pennsylvania; lives and works in Los Angeles
Rafael Lozano-Hemmer b. 1967, Mexico City; lives and works in Montreal
Gideon Mendel b. 1959, Johannesburg; lives and works in London
Luis Molina-Pantin b. 1969, Geneva, Switzerland; lives and works in Caracas, Venezuela
Rabih Mroué b. 1967, Beirut; lives and works in Beirut
Wangechi Mutu b. 1972, Nairobi, Kenya; lives and works in New York City
Sohei Nishino b. 1982, Hyogo, Japan; lives and works in Tokyo
Lisa Oppenheim b. 1975, New York City; lives and works in New York City and Berlin
Trevor Paglen b. 1974, Camp Springs, Maryland; lives and works in New York City
Walid Raad b. 1967, Beirut; lives and works in New York City
Nica Ross b. 1983, Tempe, Arizona; lives and works in New York City
Michael Schmelling b. 1973, Pittsburgh; lives and works in New York City
Hito Steyerl b. 1966, Munich; lives and works in Berlin
Mikhael Subotzky / Patrick Waterhouse b. 1981, Cape Town, South Africa; lives and works in Johannesburg / b. 1981 Bath, England; lives and works in Italy, England, and South Africa
Shimpei Takeda b. 1982, Sukagawa, Fukushima, Japan; lives and works in New York City
A Different Kind of Order: The ICP Triennial is made possible with support from the ICP Exhibitions Committee, Mark McCain and Caro Macdonald/Eye and I, Deborah Jerome and Peter Guggenheimer, Joseph and Joan Cullman Foundation for the Arts, Brown Penny Fund, Duggal Visual Solutions, Artis, The Japan Foundation, the Swiss Arts Council Pro Helvetia, Consulate General of Germany New York, and the New York City Department of Cultural Affairs in partnership with the City Council.
Midtown 1133 Avenue of the Americas at 43rd Street, New York NY, 10036 Tuesday - Thursday from 10:00 AM to 6:00 PM
Friday from 10:00 AM to 8:00 PM
Saturday - Sunday from 10:00 AM to 6:00 PM
212-857-0000 info@icp.org
Editor's Pick
Windows Andreas Schulze Team Gallery Opening Friday May 17, 2013, from 6:00 AM to 8:00 PM On View May 17, 2013 - June 23, 2013 www.teamgal.com
Team (gallery, inc.) is pleased to present an exhibition of new paintings by Köln-based artist Andreas Schulze. The exhibition will run from 17 May through 23 June 2013. Team (gallery, inc.) is located at 83 Grand Street, cross streets Wooster and Greene. Concurrently, our 47 Wooster Street space will house a group exhibition organized by Todd von Ammon.
Andreas Schulze’s practice has most frequently resulted in immersive installations that simulate domestic settings, such as that mounted at Team’s Wooster Street space in April of 2012. Schulze appropriates familiar modern design typologies and manipulates their aesthetics into bulbous cartoonish forms, creating environments that are simultaneously familiar, uncannily bizarre and somewhat ominous. For this exhibition, Schulze has created a new cycle of paintings, all representations of windows, which play with art historical attitudes towards the authority of perception. They will be presented here within a standardized white-cube setting, thereby undercutting their illusionistic tendencies.
Particularly in the Baroque era, painters tested their mastery by creating trompe l’oeil tableaux, literally fooling their viewers into believing that the painting in front of them was a real, tangible mise en scene. A genre of window paintings developed from this tradition, where the frame of the painting became analogous to the frame of a window; the actual painting was supposed to represent a vista and create the same sensation as looking out of an actual window. Schulze carries forth with this tradition, reducing it to its formal essentials: frame, rendered in his typical bulbous style, and view, completely sfumato and flattened. His windows complexify the tradition of the landscape in painting history by introducing a more contemporary notion – the void. Drained of scenery, these muted vistas subvert our expectations and create, in Schulze’s own words, “a feeling of yearning by means of perspective.”
Five of the paintings feature handles on the frame of the window, as if to invite the viewer to open them. The two large-scale paintings in this cycle deviate from the rest and give way to views of ambiguous spaces. Through one set of windows the viewer sees an interior courtyard, while through the other, one sees simplistically rendered vines climbing the façade of the building from which the viewer is “looking.” The imagery in these paintings is opaque enough that, while they establish a plausible setting (perhaps a country villa), they resist the creation of a narrative. In this sense, these paintings reveal a kinship with the landscapes of de Chirico and Magritte; they are barren and seem to point to an underlying melancholic psychology, as well as a metaphysical sense of dislocation between past and present. Alarmingly sharp contrasts between light and shadow create an aura of poignant yet foreboding mystery in an otherwise blank scene. To gaze into a Schulze Window is to gaze into the joyously inscrutable.
Schulze destabilizes our intimacy with familiar, mundane subjects to question not only our relationships with these objects but the very nature of seeing. Emerging in the fertile Köln scene of the 1980s, during a renaissance of painting, Schulze became associated with a group of young painters of the Mülheimer Freiheit, the name of a shared studio in which they exhibited their work. This group included the painters Hans Peter Adamski, Peter Bömmels, George Condo, Walter Dahn, Jiri Georg Dokoupil, Gerard Kever and Gerhard Naschberger. Though working closely and frequently collaborating with these peers, Schulze has developed an anomalous and haunting painting practice whose influence is more and more widely regarded.
Schulze was born in Hannover in 1955 and has been exhibiting his work since 1981, his longstanding relationship with gallerist Monika Sprüth beginning in 1983. Schulze’s work has been exhibited at museums internationally including the Museum of Modern Art in New York, the Tate Museum in London, the Kölnischer Kunstverein, the Solomon R. Guggenheim Museum, Kunstaele in Berlin and at the Kunstverein and the Sammlung Falckenberg, both in Hamburg.
Gallery hours are Tuesday through Saturday, 10am to 6pm, Sunday noon to 6pm. For further information and/or photographs please call 212 279 9219.
Soho 83 Grand St, New York NY, 10013 Tuesday - Saturday from 10:00 AM to 6:00 PM
Sunday from 12:00 PM to 6:00 PM
212-279-9219 kayode@teamgal.com
Opening Friday May 17, 2013
Andreas Schulze Ohne Titel (Basler Fenster 5), 2012 acrylic on untreated cotton 31 1/2 x 39 3/8 inches; 80 x 100 cm
Windows Andreas Schulze Team Gallery Opening Friday May 17, 2013, from 6:00 AM to 8:00 PM On View May 17, 2013 - June 23, 2013 www.teamgal.com
Team (gallery, inc.) is pleased to present an exhibition of new paintings by Köln-based artist Andreas Schulze. The exhibition will run from 17 May through 23 June 2013. Team (gallery, inc.) is located at 83 Grand Street, cross streets Wooster and Greene. Concurrently, our 47 Wooster Street space will house a group exhibition organized by Todd von Ammon.
Andreas Schulze’s practice has most frequently resulted in immersive installations that simulate domestic settings, such as that mounted at Team’s Wooster Street space in April of 2012. Schulze appropriates familiar modern design typologies and manipulates their aesthetics into bulbous cartoonish forms, creating environments that are simultaneously familiar, uncannily bizarre and somewhat ominous. For this exhibition, Schulze has created a new cycle of paintings, all representations of windows, which play with art historical attitudes towards the authority of perception. They will be presented here within a standardized white-cube setting, thereby undercutting their illusionistic tendencies.
Particularly in the Baroque era, painters tested their mastery by creating trompe l’oeil tableaux, literally fooling their viewers into believing that the painting in front of them was a real, tangible mise en scene. A genre of window paintings developed from this tradition, where the frame of the painting became analogous to the frame of a window; the actual painting was supposed to represent a vista and create the same sensation as looking out of an actual window. Schulze carries forth with this tradition, reducing it to its formal essentials: frame, rendered in his typical bulbous style, and view, completely sfumato and flattened. His windows complexify the tradition of the landscape in painting history by introducing a more contemporary notion – the void. Drained of scenery, these muted vistas subvert our expectations and create, in Schulze’s own words, “a feeling of yearning by means of perspective.”
Five of the paintings feature handles on the frame of the window, as if to invite the viewer to open them. The two large-scale paintings in this cycle deviate from the rest and give way to views of ambiguous spaces. Through one set of windows the viewer sees an interior courtyard, while through the other, one sees simplistically rendered vines climbing the façade of the building from which the viewer is “looking.” The imagery in these paintings is opaque enough that, while they establish a plausible setting (perhaps a country villa), they resist the creation of a narrative. In this sense, these paintings reveal a kinship with the landscapes of de Chirico and Magritte; they are barren and seem to point to an underlying melancholic psychology, as well as a metaphysical sense of dislocation between past and present. Alarmingly sharp contrasts between light and shadow create an aura of poignant yet foreboding mystery in an otherwise blank scene. To gaze into a Schulze Window is to gaze into the joyously inscrutable.
Schulze destabilizes our intimacy with familiar, mundane subjects to question not only our relationships with these objects but the very nature of seeing. Emerging in the fertile Köln scene of the 1980s, during a renaissance of painting, Schulze became associated with a group of young painters of the Mülheimer Freiheit, the name of a shared studio in which they exhibited their work. This group included the painters Hans Peter Adamski, Peter Bömmels, George Condo, Walter Dahn, Jiri Georg Dokoupil, Gerard Kever and Gerhard Naschberger. Though working closely and frequently collaborating with these peers, Schulze has developed an anomalous and haunting painting practice whose influence is more and more widely regarded.
Schulze was born in Hannover in 1955 and has been exhibiting his work since 1981, his longstanding relationship with gallerist Monika Sprüth beginning in 1983. Schulze’s work has been exhibited at museums internationally including the Museum of Modern Art in New York, the Tate Museum in London, the Kölnischer Kunstverein, the Solomon R. Guggenheim Museum, Kunstaele in Berlin and at the Kunstverein and the Sammlung Falckenberg, both in Hamburg.
Gallery hours are Tuesday through Saturday, 10am to 6pm, Sunday noon to 6pm. For further information and/or photographs please call 212 279 9219.
Soho 83 Grand St, New York NY, 10013 Tuesday - Saturday from 10:00 AM to 6:00 PM
Sunday from 12:00 PM to 6:00 PM
212-279-9219 kayode@teamgal.com
Opening Thursday May 16, 2013
Swordfish and Saw Blade at Smelt Brook, Cape Breton, Nova Scotia
Modern Petroglyphs Show of prints, photos and video of recent stone carvings from across the United States Kevin Sudeith 308 at 156 Project Showroom Curated by Kevin Sudeith Opening Thursday May 16, 2013, from 7:00 PM to 9:00 PM On View May 17, 2013 - June 14, 2013 http://308at156.tumblr.com
For the past three years, artist Kevin Sudeith has been traveling through the United States making stone carvings in immovable rock outcroppings. Sudeith is the only petroglyphist working today, and his work resides in a nether-region between fine art and outsider or folk art. His first solo show in New York City will feature a unique form of printmaking: Sudeith makes archival impressions of the petroglyphs on paper. To make the impressions, the carvings are painted with pigmented ink and then wet paper is applied to the carving; the paper absorbs the colored ink and captures the three dimensional space of the carving as an embossing. Also featured in the show will be time lapse videos of Sudeith making the petroglyphs and impressions. An array of Sudeith's signature motifs, or emblems, will be on display. Sudeith does not permit photographic reproduction of these emblems, so one must go to a petroglyph site or see an impression. Also on display will be two new movable carvings on granite and marble slabs.
Sudeith has renewed the most antiquated art, carving petroglyphs, and infused it with contemporary life. Traveling alone and meeting diverse people along the way, Sudeith documents their lives, their stories, and their work in the most indelible medium. Each petroglyph is site specific and composed of images of the nature and endeavors near the petroglyph site. For example, in North Dakota, Sudeith carved broad-acre farming and oil production: tractors, combines, pumping derricks and tanker trucks. In Cape Breton, Nova Scotia, Sudeith has carved -at true life scale- the fish brought ashore at the petroglyph site. Sudeith's petroglyphs fuse art with science and technology, for all his works include aerospace imagery: satellites, space-based scientific instruments, and space vehicles. The artist’s choice of imagery is inspired by the brilliance of human exploration, invention, and adventure.
Sudeith (b. 1965, St. Paul, MN) received a BFA from the San Francisco Art Institute and an MFA from the School of Visual Arts in New York City, where he has lived for the past 20 years. His work has been featured at the Earl McGrath Gallery and Charles Cowles Gallery, both in New York City, and Gallery Paule Anglim in San Francisco. He has been making rock art since 2003. Sudeith is currently 'at large', traveling America making petroglyphs. His journey is chronicled on his website, Petroglyphist.com.
Flatiron / Gramercy 156 Fifth Avenue, Suite 308, New York City NY , 10010 718-809-0006 ks@petroglyphist.com
Opening Thursday May 16, 2013
TIM BAVINGTON, Bungle (In the Jungle), 2013, synthetic polymer on canvas, 72 x 24 inches
New Paintings Tim Bavington Jack Shainman Gallery Opening Thursday May 16, 2013, from 6:00 PM to 8:00 PM On View May 16, 2013 - June 29, 2013 www.jackshainman.com
Opening reception for the exhibition: Thursday, May 16th, from 6 – 8 PM at 524 West 24th Street.
Jack Shainman Gallery is pleased to announce New Paintings, Tim Bavington’s fourth solo exhibition with the gallery. With this exhibition, Bavington continues to translate music into exuberant patterns and color fields that emote a vibrancy and electricity through the precisely painted synthetic polymer atop canvas. Each piece is an evocation of a song’s bridge, melody, a section of notes, systematically reinterpreted for the eye resulting in a vivid synesthesia of the senses.
Marking a new direction in Bavington’s oeuvre, Quadrophenia moves the more classical and strictly vertical and horizontal lines into an intense swirl of brilliant blues, magentas, greens and yellows. Bavington creates a visceral and emotional reverberation using The Who’s operatic album as a departure point and what results is an almost hypnotic optical experience that references the four-point structure of quadraphonic audio.
The overlapping influences of music and art in Bavington’s work results in energetic canvases which connect compositional concepts between supposedly disparate disciplines while allowing for the influences of color field and optical painting from the 1960’s and 1970’s to peek through. The structured, defined lines suggest a strict approach, but simultaneously Bavington’s work signifies a looseness and freedom which emanate from the music he chooses as the work’s core inspiration. David Hickey writes, “Their renewal, refurbishment, and re-conceptualization of a traditional modernist painting format (the stripe), makes them seem at once joltingly new and unceasingly familiar”. His systemic approach which designates sound to color is not a literal translation but a masterfully intuitive one.
Tim Bavington is a British-born, Las Vegas-based artist. He has participated in numerous national and international solo and group shows. Selected group exhibitions include Seeing Songs, Museum of Fine Arts, Boston, Massachusetts, 2009; Soundwaves: The Art of Sampling, Museum of Contemporary Art, San Diego, California, 2008; California Diaspora at the Las Vegas Art Museum, Las Vegas, Nevada, curated by Dave Hickey, 2007; Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, New York, 2005; Specific Objects: The Minimalist Influence, Museum of Contemporary Art, San Diego, California, 2004; New in Town, Portland Museum of Art, Portland, Oregon, 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, Florida, 2000; and DiverseWorks Artspace, Houston, Texas, 1998. His work is included in numerous public collections including the Museum of Modern Art, New York, New York, and the Museum of Contemporary Art, San Diego, California.
Concurrently on view at 513 West 20th Street is Toyin Odutola: My Country Has No Name, from May 16th through June 29th.
Upcoming exhibitions at the gallery include Hank Willis Thomas at our 24th Street location, opening July 11th and on view until August 17th. During this time we will be operating with our Summer hour schedule of Monday through Friday from 10am to 6pm.
Gallery hours are Tuesday through Saturday from 10am to 6pm. For additional information and photographic material please contact the gallery at info@jackshainman.com.
Chelsea 524 West 24th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-337-3372 info@jackshainman.com
Opening Thursday May 16, 2013
Walking on Treetops, 2012, Oil on canvas, 9 1/4 x 15 1/8 inches, 23.5 x 38.4 cm
John Lees Betty Cuningham Gallery Opening Thursday May 16, 2013, from 6:00 PM to 8:00 PM On View May 16, 2013 - June 22, 2013 www.bettycuninghamgallery.com
New York, NY – Betty Cuningham Gallery is pleased to announce an exhibition of new paintings and drawings by John Lees. This will be the artist’s third solo show at the gallery.
Lees characteristically spends years working and reworking his paintings and drawings. The build up and sanding down of paint, tears, patches and even written diary logs of dates are among the physical reminders of the lengthy time spent on each painting. Although the works in this exhibition are recently completed, many were in fact started decades ago.
John Lees paints as if his paintings were recurring dreams. In this exhibition, Lees’ dreams include: simple dreams such as an Umbrian landscape or swaying treetops; childhood dreams of Dilly Dally - an early TV character with whom Lees identified, or of Rte 66 – his family’s escape route to the West Coast; and psychological dreams, particularly one of the lonely clown as painter. More complex memories come into play in his portraits: one of his mother, Mater, started in 1979 and completed in 2012, and another of Lees father, Man in an Armchair – a subject of more than one painting in this show. In two works featuring the Metropolitan Museum Cloisters’ angel, Lees has transformed earlier ‘stream’ paintings into the flowing Romanesque angel. Memory moves to form - the stream - and the form moves to meaning - a Romanesque angel. Throughout, for Lees, the media is as deep as the memories and vice versa.
Lees is the recipient of numerous awards and grants, including the American Academy of Arts and Letters’ Hassam, Speicher, Betts, and Symons Purchase Fund Award; the Francis J. Greenburger Award; the John Simon Guggenheim Memorial Foundation Grant; and the National Endowment for the Arts Fellowship Grant. His work can be found in a host of public institutions, most notably the Detroit Institute of Art, Detroit, MI; the Fogg Art Museum, Cambridge, MA; The Kemper Collection, Kansas City, MO; the Museum of Modern Art, New York, NY; and The New Museum, New York, NY.
John Lees was born in 1943 in Denville, NJ. He received his BFA and MFA from the Otis Art Institute in Los Angeles, CA. He has been exhibiting in New York since 1977 and has been an instructor at the New York Studio School since 1988. He lives and works in upstate New York.
Chelsea 541 West 25th Street, Ground Floor, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-242-2772 info@bettycuninghamgallery.com
Opening Thursday May 16, 2013
George Little, Alice B. Delined (at The Holy Palate), 2013, oil, acrylic and spray paint on canvas, 85 x 75 in (215 x 190 cm)
Classification Bouillabaisse Razvan Boar, George Little, James Visccardi Razvan Boar, George Little and James Viscardi Ana Cristea Gallery Opening Thursday May 16, 2013, from 6:00 PM to 8:00 PM On View May 16, 2013 - June 22, 2013 www.anacristeagallery.com
Ana Cristea Gallery is pleased to present “Classification Bouillabaisse,” a group exhibition that brings together the diverse and accomplished work of three artists: Razvan Boar, George Little and James Viscardi.
Collectively the works on view question the need for a rigidly defined aesthetic classification within the post-historical present. For instance, what necessitates the firm distinction between abstract and figurative works? Our ability to perceive, interpret and categorize depends upon the context of the work itself, as well as the circumstances of its presentation. Here, much of the obvious (or expected) context has been blurred or reconfigured. The viewer must sift through the layers to discern wherein lays the meaning, and what is merely ornamental or suggestive. We are forced to reconsider and approach from a new vantage point. As the distinction between figuration and abstraction dissolves, it’s tempting to conclude that painting has become the subject of the works, as well as the medium of presentation. While this is certainly part of the equation offered, reality, its cultural implications and subjective import take the main stage.
Mundane elements of everyday life are appropriated to emphasize the act of making, portraying reality as it is subjectively experienced by individuals, insider groups and particular cultural arenas – each with their own visual language. Representing a myriad of sources from a preoccupation with the restaurant and the formality of dining in Little’s work to Viscardi’s engagement with advertising and cartoon and Boar’s development of vintage photography, these are worlds that can only exist somewhere between figuration and abstraction, somewhere beyond definition. Peering into these private landscapes gives one the impression of a voyeur; but as the glass is tinted, abstracted, we’re not entirely sure what scene we’ve encountered or what dialogue we’re interrupting. What we are witnessing is a playful heuristic strategy. The tension created by a dissonance between figurative and abstract, public and private, cultural and subjective, historical and post-historical is eased by the creation of these new worlds. We’re reminded that the distinction between figurative and abstract is also a construct, one which yields misguided information as often as it does clarity.
Razvan Boar’s new body of work brings his accomplished drawing practice into the realm of painting. Alternating between hyper-realistic representations of the human body and decomposed images of body parts which remain barely decipherable in form, his works embrace a newly minimal approach highlighting empty canvas space and isolated symbols. Razvan Boar (b. 1982) was born in Romania and, currently lives and works in Bucharest, Romania. The recipient of the Constantin Brancusi fellowship granted by the Romanian Cultural Institute, Boar is currently completing his PhD from the National University of Arts, Bucharest.
George Little’s work exhibits carefully constructed layers that reveal themes and motifs referencing an underbelly of culture surrounding food, dining and the service industry. His canvases unfold into brightly colored locales where presentation, transparency and perception collide. With frequent nods to his predecessors and the wealth of history before him, the viewer is extended an intimate invitation to forage through the scraps and uncover the delectable composites which he has served to us. George Little (b. 1988) was born and, currently, lives and works in London. In 2012, he graduated from the Royal College of Art in London and had works exhibited at the Liverpool Biennial and with the Bloomberg New Contemporaries at the ICA. Earlier this year, Little had his first solo exhibit, “Overdo” at Ana Cristea Gallery and was selected as one of ArtReview’s 2013 Future Greats.
James Viscardi describes his practice as an act of cannibalism which is central to a contemporary spirit working within this current post-historical moment. The present of his canvases is co-opted from recycled fragments of a historical narrative. By shifting their context and incorporating elements from film, television, theater, advertising and cartoon, they take on new meaning beyond the fragments of their former selves. With hyperbolic, even slapstick emphasis that exceeds the boundaries of common sense and objective perception, his paintings push us to the edge of meaning, to a dramatic space where reality and caricature are indiscernible. James Viscardi (b. 1985) was born and currently lives and works in New York. In 2011, he graduated from the Royal College of Art in London.
Chelsea 521 West 26th Street, Floor 1, New York NY, 10001 Tuesday - Saturday from 12:00 AM to 6:00 PM
212-904-1100 info@anacristeagallery.com
Opening Thursday May 16, 2013
TOYIN ODUTOLA, All these garlands prove nothing IV, 2012 pen ink and marker on paper, 14 x 17 inches, 23 1/2 x 26 1/2 x 1 1/2 inches framed
My Country Has No Name Toyin Odutola Jack Shainman Gallery Opening Thursday May 16, 2013, from 6:00 PM to 8:00 PM On View May 16, 2013 - June 29, 2013 www.jackshainman.com
Opening reception for the exhibition: Thursday, May 16th, from 6 – 8 PM at 513 West 20th Street.
Jack Shainman Gallery is pleased to announce My Country Has No Name, an exhibition of pen ink drawings on paper, metallic marker drawings, ink on black board and new lithographs by Toyin Odutola. Together, the range of works represent Odutola’s practice which is grounded in an obsessively fine and meticulous application of line that has become the specified visual language through which she explores the human form as a landscape. My Country Has No Name is an exploration of identity rooted in the friction created by hyphenated nationalities and a study into what comes from a reconciliation of seemingly distant and divergent cultural homes to form a new multilayered reality.
Her pen markings, dense and engraved, either stand alone or cover kaleidoscopic color fields that emanate from within. The acute depictions of skin and hair both portray the figure, often Odutola, as well as reference scientific renderings of subdermal muscular structures. While concerned with the historical representation of the black subject in modern and contemporary portraiture, Odutola’s focus shifts to the transcendence of skin (color) and placement (origin), opening a field for the viewer to place themselves in the work; finding spaces to belong or to reject, to possess, to implant one’s self or to find freedom from the rejection of that space.
All These Garlands Prove Nothing is a series of self-portraits recording the range of hairstyles donned by the artist. By isolating the figure against the blank white background and repeating the subject, Odutola is confining the differences mainly to the hair and position of the body. The interest is less in style and more in the undertones and associations this specific physical embellishment provides when thinking about the pliability of identity. These works dance between the understandings of one’s own identity and the understanding of one’s identity as it relates what is being reflected back from another’s gaze.
In Come Closer: Black Surfaces. Black Grounds, Odutola uses black ink on black board to question the validity, the aesthetic and the meaning of the material aspect of blackness and how those connotations feed into social identities and as she describes, “a personal rejection of all the ideas I associated with blackness in myself”. The series Gauging Tone employs the same black board, but instead of black ink, Odutola uses a metallic Sharpie to cast lines and fill the negative space. Odutola questions the inversion of her own aesthetic and in doing so looks upon the equally problematic proposition of how black people see one another.
Toyin Odutola, born in Nigeria, currently lives and works in Alabama. Her work has been exhibited throughout the United States. Selected group exhibitions include Ballpoint Pen Drawing Since 1950, Aldrich Contemporary Art Museum, Ridgefield, Connecticut, 2013; The Progress of Love, Menil Collection, Houston, Texas, 2012-2013; and Fore and Gordon Parks: A Harlem Family 1967, The Studio Museum in Harlem, New York, 2012-2013. She is a recipient of the Murphy and Cadogan Fellowship Award; Ellen Battell Stoeckel Fellowship Grant, Yale/Norfolk; and the Erzulie Veasey Johnson Painting & Drawing Award. She is included in the public collection of the Birmingham Museum of Art, Birmingham, Alabama; The Contemporary Museum, Honolulu, Hawaii and The National Museum of African Art, Smithsonian Institution, Washington, D.C.
Concurrently on view at 524 West 24th Street is Tim Bavington: New Paintings, from May 16th through June 29th.
Upcoming exhibitions at the gallery include Hank Willis Thomas at our 24th Street location, opening July 11th and on view until August 17th. During this time we will be operating with our summer hour schedule of Monday through Friday from 10am to 6pm.
Gallery hours are Tuesday through Saturday from 10am to 6pm. For additional information and photographic material please contact the gallery at info@jackshainman.com.
Chelsea 513 West 20th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-645-1701 info@jackshainman.com
Opening Thursday May 16, 2013
Zoetic Drew Testa Rush Arts Gallery Project Space Curated by Charlotte Mouquin Opening Thursday May 16, 2013, from 6:00 PM to 8:00 PM On View May 16, 2013 - June 01, 2013 www.rushartsgallery.org
Zoetic, a solo exhibition with artist Drew Testa curated by Charlotte Mouquin, will be opening at RUSH Arts Gallery project space on Thursday, May 16th from 6-8pm at Rush Arts Gallery, 526 W 26th St Suite 311, New York, NY. There will be a closing reception with performance Artist Marious [Or Am I] Platypus on Saturday, June 1st from 3-5pm.
Testa's tactile biomorphic sculptures are created of knitted yarn, masonite, and insulation foam which live both on and off the wall. These breathing forms swirl in the Rush Arts Gallery Project Sapce forming a living forest of textiles. Inspired by the vastness of the universe and the smallness of single organisms, these shapes warp perceptions of scale. One form seems to grow out of another as if taking on a life of it's own, hence Zoetic. The sculptures are born out of meticulous, meditative, and obsessive knitting come to life with the addition of various types of foam.
Tessta hails from the Capital Region of New York State with a BS in Studio Art from Skidmore College and a MS in Art Education from the College of St. Rose. Testa is one of the selected artists from the Rush Arts Gallery and Corridor Gallery submission process, which is free and open to all artists.
Zoetic, the Chelsea debut for Testa, combines wall sculptures, aerial sculptures, and floor pieces, which come together to create an entire living environment. The closing reception on Saturday June 1st 3-5pm,will also feature the character performance artist Marious [Or Am I] Platypus who will be reacting conceptually to the living walls of the Rush Arts Gallery Project Space in Zoetic.
Chelsea 526 West 26th Street, Suite #311, New York NY, 10001 Wednesday - Saturday from 12:00 PM to 6:00 PM
charlotte@rushartsgallery.org
Opening Thursday May 16, 2013
Video still from Melanie Manchot's "Leap After the Great Ectasy"
Re-Return to Sender Bram Snijders and Carolien Teunisse, Chris Shen, Annica Cuppetelli and Cristobal Mendoza, Christoph Meier, Steina and Woody Vasulka, Daniel Canogar, Daniel Kötter and Pascual Sisto Eyebeam Art+Technology Center Curated by Caspar Stracke and Gabriela Monry Opening Thursday May 16, 2013, from 6:00 PM to 9:00 PM On View May 14, 2013 - May 25, 2013 www.videodumbo.org
video_dumbo is proud to present its eighth annual festival and exhibition of contemporary moving image art, co-presented by Eyebeam Art + Technology Center. On view from May 14 - 25, video_dumbo will include fourteen video screening programs, alongside eight installation works under the title Re-Return to Sender.
Re-Return to Sender, speculates about the imagined consciousness of digital and electromagnetic moving image displays and projection apparatus. With the emergence of video art-- its novelty of closed circuit TV and feedback loops-- in the early 70s, video began by looking at itself; early on, Rosalind Krauss detected the narcissistic qualities within it.
Forty years later, moving image technology has multiplied, oversaturated and accelerated to such an extent that we are forced to take a step back to consider its omnipresence. Now, radically stripped of its hallucinatory aura and spectacle, we come full circle to ask fundamental questions regarding the state of contemporary moving image media, including its reflection and narcissism, in an age of increasingly intelligent machines. Re-Return to Sender is an exhibition comprised of apparatus that recognize, investigate and celebrate themselves. Their relationship and interactions with humans-- both passive and active—becomes less significant as all signal emissions, events, and occurrences are projected back onto its originator-- a historical Re-Returning to Sender.
As part of the screening programs video_dumbo presents 106 artists from 30 different countries, including new video works by: Christian Jankowski, Eija-Liisa Ahtilla, Nicolas Provost, Matthias Mueller/Christoph Girardet, Bjørn Melhus, Johan Grimonprez, Mike Hoolboom, Jesse McLean, and Mark Lewis.
Please go to www.videodumbo.org for full program schedule.
Chelsea 540 W21 St., New York City NY, 10011 Tuesday - Saturday from 12:00 PM to 6:00 PM
646-623-6545 videodumbo@gmail.com
Opening Thursday May 16, 2013
James Busby, Michael Bevilacqua, Jeff Elrod
Shaking the Habitual Michael Bevilacqua, James Busby and Jeff Elrod KRAVETS WEHBY Opening Thursday May 16, 2013, from 6:00 PM to 8:00 PM On View May 16, 2013 - June 14, 2013 www.kravetswehbygallery.com
Kravets Wehby Gallery is pleased to present “Shaking the Habitual” A three-person show featuring the work of Michael Bevilacqua, James Busby, and Jeff Elrod. These artists cleanse, fold, and manipulate the idea of the modernist central image in painting. They are dealing with the everyday pixelated fuzz, the chop and screw of information and culture with the desire to drown out the bombardment of imagery.
Jeff Elrod, in his new paintings, softens and erases the image in a single expanse of muteness. There is no beginning or end to his visual profundity.
James Busby has expanded the ideas of Minimalism using techniques of drawing and grid making to create mirror like surfaces pushing them into depths of extreme space and fluidity.
Michael Bevilacqua has evolved from a very graphic approach to an all out assault use of spray paint to produce his canvases. Like Kandinsky; music fuels the paintings. The artist’s evolution is not unlike the stylistic shift in music from Punk to Electronica, an evaporation of descriptive lines to the ethereal.
For further information please call (212) 352-2238 or email info@kravetswhebygallery.com
Chelsea 521 W 21st Street, Ground Floor, New York NY, 10011 Tuesday - Friday from 11:00 AM to 6:00 PM
212-352-2238 info@kravetswehbygallery.com
Opening Thursday May 16, 2013
No war, 2013, UV-laminated Fujicolor Crystal Archive C-print, 37-1/2 x 30 inches, Edition of 5
Show Mark Woods Newman Popiashvili Gallery Opening Thursday May 16, 2013, from 6:00 PM to 8:00 PM On View May 16, 2013 - June 20, 2013 www.npgallery.com
Newman Popiashvili Gallery is pleased to present Show, a solo exhibition of recent photographic works by Mark Woods. These are pictures of dysfunctional signage: an almost empty display case, a nearly blank sign, a decorative stone frame for an absent plaque, and so on. Each of these things is conflicted between showing and not showing its own subject matter. The subject matter, in its own way, allegorizes that conflict, which in turn allegorizes the photograph depicting it and its conflicts.
For example, the peeled-off letters that read Quality is Only 2nd, To Honesty allegorize the tension between beauty and truth inherent in documentary photography. A padlock labeled Security, unable to secure a menu case blown off a restaurant at Ground Zero on September 11, reflects photography’s conflict between permanence and impermanence. The remains of a departed sign that spelled out Funeral Home evoke photography’s limbo between life and death. A tarred-over street-paint symbol for disabled parking symbolizes its own disabling.
The signage, as it appears in these photographs, shows more in its blanked or deteriorated state than when it was fully functional. The nuance of a display’s expired purpose and peculiarly imperfect blankness can be an invitation to projection of our identities, concerns, or issues. So the artist lets the “not showing” show. Martin Heidegger wrote “It shows itself only when it remains un-unconcealed and unexplained.” Diane Arbus said “a photograph is a secret about a secret. The more it tells you, the less you know.”
Woods explains: “I want to compare the conflicts of the signage with those of my photographs, and I’m drawn to photograph things that seem to be asking for that comparison. These photographs are, after all—like the things they show—visible objects conceived of invisible conflicted intentions and accidents.”
Mark Woods lives and works in New York. He received an A.B. in Philosophy from Harvard College and an M.F.A. in Photography from Arizona State University. Art museums owning his photographs in their permanent collections include: the Yale University Art Gallery; the Museum of Fine Arts, Houston; the Center for Creative Photography, Tucson; and the Brooklyn Museum of Art.
Chelsea 504 West 22nd Street, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-274-9166 contact@npgallery.com
Opening Thursday May 16, 2013
Physically Practiced Samson Contompasis, Musa Hixson, John Lee and Jonathan Villoch Depoe RUSH Arts Gallery Curated by Charlotte Mouquin Opening Thursday May 16, 2013, from 6:00 PM to 8:00 PM On View May 16, 2013 - June 01, 2013 www.rushartsgallery.org
Physically Practiced will be opening at RUSH Arts Gallery in the main exhibition space curated by Charlotte Mouquin, which includes artists Samson Contompasis, Musa Hixson, John Lee, and Jonathan Villoch (Depoe). Physically Practiced draws together b-boying and martial arts with earth art, meditation, pop portraits, and street art. The opening Reception will be on Thursday May 16th from 6-8pm at Rush Arts Gallery 526 W 26th St Suite 311, New York, NY. There will be a closing reception with performance Artist MarIo [Or Am I] Platypus on Saturday, June 1st from 3-5pm.
In Physically Practiced Parsons MFA candidate John Lee incorporates B-boying and Taekwondo into his art making practice. His performance pieces are captured on video as he creates drawings and painting by moving his physical form through space. Lee's philosophy "movement is the most profound proof of existence in time and space" is exemplified through his dances with molten glass, taekwondo destruction form of painting, and the meditation of his body as a physical moving shape creating drawings captured on video. Musa Hixson a Brooklyn based installation artist and sculptor is inspired through practiced meditation on materials. Hixson states, "I am not attempting to turn materials into some 'thing' I help the soul of the material reveal itself." Installed at Rush Arts Gallery for the first time is an enlarged Soul Tablet titled Illuminated Song, which consist of wood, earth, writing and weaving connecting the viewer to space, earth, time and movement. This meditation is mirrored in the floor sculpture Vision Pod 2.
On display Samson Contompasis has large scale paintings from two series including Creating the Icon and The Art of Violence. Creating the Icon examines the way an iconic portrait is created through reducing images to bare essentials, instead of using pop icons Contompasis is creating his own through portraits of real women in his life. By commemorating the women around him Contompasis is also raising awareness of women's rights. He is planning to create a total of 500 portraits. Some of the portraits from the Creating the Icon series overlap with another project Contompasis has developed The Art of Violence, which combines the violence of fighting with the creation of action painting abstraction. Debuting at Rush Arts Gallery will be the trailer of this intense physical project. Creating the Icon began through collaboration by breaking down a 12 x 20 foot mural at The Marketplace Gallery in Albany, NY by street painter and muralist Jonathan Villoch also know as Depoe. Villoch uses abstraction and bold colors to create a pictographic language telling stories of his surroundings to create large-scale murals. Villoch is also an avid printmaker; the murals begin with notes taken in etchings, woodcuts, and silkscreen. At Rush Arts Gallery he will be creating a wall painting, as well as showing a video documenting his practices.
Chelsea 526 West 26th Street, Suite #311, New York NY, 10001 Wednesday - Sunday from 12:00 PM to 6:00 PM
charlotte@rusharts.org
Opening Thursday May 16, 2013
Publication Studio Micro-Residency in Eyebeam's Storefront Eyebeam Opening Thursday May 16, 2013, from 6:00 PM to 9:00 PM On View May 16, 2013 - May 23, 2013 www.eyebeam.org
Publication Studio comes to Eyebeam, May 16-23!
Opening reception: Thursday May 16, 6-9pm. Sponsored by Brooklyn Brewery.
Eyebeam is excited to announce its upcoming partnership with Publication Studio—a social publishing endeavor based in Portland, OR.
From May 16-23, Publication Studio will engage in a micro-residency in Eyebeam’s storefront bookstore. The week will be used to develop new projects with Eyebeam artists-- including the launch of a book by Kristin Lucas-- host public events and discussions with Eyebeam fellows, present an exhibition on the work of the studio and its authors, and further explore the future of print and screen-based books.
The exhibition, REBIND, presents 42 iconic paperback books, each rebound into a unique and original cover designed and created by 42 artists and produced by Publication Studio. A full list of participants is included below.
Events include a panel entitled “Maker and Destroyer of Books”—a public discussion on the resilience and transformation of the book as technology and object in an expanded field of publishing. Publication Studio staff will discuss the history and philosophy of the studio with Eyebeam director Roddy Schrock, Eyebeam fellows Brad Troemel, Brian Droitcour, and Laurel Ptak, and Rhizome Program Director Zoë Salditch.
The public is invited to visit at any point throughout the residency and may explore and purchase a number of collaborative books. Sign up for our email list to receive more updates and event information.
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Publication Studio is a social publishing endeavor founded in Portland, Oregon in 2009. Their team prints and binds books on demand, creating original work with a variety of artists and writers. Publication Studio’s mission is to use any means possible to help writers and artists reach a public: physical books; a digital commons (where anyone can read and annotate books for free); eBooks; and unique social events with our writers and artists in many cities. Publication Studio attends to the social life of the book, and is a laboratory for publication in its fullest sense—not just the production of books, but the production of a public. This public, which is more than a market, is created through physical production, digital circulation, and social gathering. Together these construct a space of conversation, a public space, which beckons a public into being.
Like Publication Studio, Eyebeam Art + Technology Center promotes the work of interdisciplinary creators, and facilitates engagement and dialogue with the public. Since its founding in 1997, Eyebeam's mission has been to champion dynamic and risk-taking work at the intersection of art and technology, and in doing so, address the cultural issues of our time. Eyebeam runs an active fellowship and exhibition program, a key component of which is its book store space, which invites collaboration and exploration.
REBIND artists include:
Alex Felton
Morgan Ritter
Vic Haven
Raf Spielman
Kevin Champoux
Chase Biado
Israel Lund
Johanna Jackson
Sydney S. Kim
Luc Sante
Oriana Lewton-Leopold
Delaney Allen
Dina No
Lizzie Fitch
Sarah Meadows
Midori Hirose
Dana Dart-McLean
Amy Bernstein
Aki Sasamoto
Jim Papadopoulos
Nan Curtis
Ruby Sky Stiler
M Blash
Elizabeth Jaeger
Zak Kitnick
Colter Jacobsen
Diana Balmori
Nicole Ondre
Monique Mouton
Sara Greenberger Rafferty
Oscar Tuazon
Calder
Bree Goertzen
Aidan Koch
Hollister and Porter Hovey
Justin Maung
B. Wurtz
Amy Yao
Patrick Long
Chris Johanson
Phil Elverum
John Knight
Chelsea 540 W 21st Street, New York NY, 10011 Tuesday - Saturday from 12:00 PM to 6:00 PM
212-937-6580
Opening Thursday May 16, 2013
Maria E. Piñeres, Hic et Nuc (Here and Now), 2012, cotton floss on plastic mounted on wood panel, 22 1/2 x 48"
PLAYLAND Maria E. Piñeres DCKT Contemporary Opening Thursday May 16, 2013, from 6:00 PM to 8:00 PM On View May 17, 2013 - July 07, 2013 www.dcktcontemporary.com
DCKT Contemporary is pleased to present PLAYLAND, MARIA E. PIÑERES’s fourth solo exhibition with the gallery. PIÑERES’s signature medium of stitched needlepoint places the nude figure in an optical duel with the eye-catching graphics of the pinball machine playfields and backglasses of her adolescence.
PLAYLAND, a now defunct 1980s’ Times Square gaming arcade, stood as a shiny, visually stimulating beacon to youth, nestled in perverse contrast with the then ubiquitous porn palaces, peep shows and sex shops. PIÑERES’s works set youthful rent boys and pin-up girls into the contextual backdrop of pinball, where their sexuality can be seen in a playful and sentimental light void of shame and smut. Preserving the common pinball themes of luck and chance, the Latin phrases that appear as machine names lend airs of levity and existentialism, alluding more to the real game of life than one of fantasy.
Hic et Nunc (Here and Now), Ex Malo Bonum (Good out of Evil) and Caveat (Beware) are among PIÑERES’s largest works to date and their heroic nude figures enliven more narrative landscape scenes. Varied stitching patterns and angles create a mixture of textures and added shading, allowing for the expansion of the image graphics while referencing historic Bargello needlework. The Latin phrases recontextualize the imagery and mask the actual pinball game names, which are often double entendres.
PIÑERES lives and works in Los Angeles. Other solo exhibitions include Walter Maciel Gallery (Los Angeles). Group exhibitions include Stitched at the Armory Center for the Arts (Pasadena, CA), Pricked: Extreme Embroidery at the Museum of Arts & Design (New York) and Celebrity at the Scottsdale Museum of Contemporary Art (Scottsdale, AZ). She has been included in publications such as The Wall Street Journal, The New York Times, Time Out New York, The New Yorker, Time, The Village Voice and V.
The exhibition will be on view at DCKT Contemporary, 21 Orchard Street (between Canal & Hester).
Hours are Wednesday through Sunday, noon - 6pm.
For further information, please contact Dennis Christie or Ken Tyburski at the gallery.
The East Village / Lower East Side 21 Orchard Street (between Canal & Hester), New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-741-9955
Opening Thursday May 16, 2013
Men and Women Tom Wood Thomas Erben Opening Thursday May 16, 2013, from 6:00 PM to 8:30 PM On View May 16, 2013 - June 22, 2013 www.thomaserben.com
Thomas Erben is excited to present a third solo exhibition with celebrated photographer Tom Wood (b. 1951, Ireland). Since his last show with the gallery in 2003, Wood has been recognized as a defining presence in early British color photography, along with Martin Parr and Paul Graham. Most recently, the Photographers’ Gallery (London) featured Wood in a highly acclaimed exhibition. His work is currently on view in the major retrospective Tom Wood: Britain 1973-2012, at the Ekaterina Foundation (Moscow), and in a two person show with Martin Parr at the Liverpool International Photo Festival. The works at Thomas Erben are selected from Wood’s forthcoming pair of books, Men and Women (Steidl), on which he collaborated with artist Padraig Timoney.
After studying at the conceptually oriented Leicester Polytechnic until 1976, Wood moved to Merseyside, an English county which includes Liverpool, where he lived and photographed until 2003. By working within this limited area he gradually became very much a part of the environment, accepted among his subjects as “Photieman,” which later became the title of his 2005 book.
Wood does not consider himself a documentary photographer; his aim is to explore the richness and complexity of the photograph as a picture. Photography initially entered his practice through the collecting of postcards, which he would purchase in bulk from thrift stores and then examine and organize in broad categories – a methodology that still characterizes his process. Wood takes his photographs in an open manner, shooting quickly yet precisely, to admit chance into both content and form. From thousands of prints, a second process of discovery consists of choosing and editing, determining over time which of the pictures fit his criteria for an image that, as he says: “works.”
The resulting photographs are spectacularly considered in terms of composition as well as the use of color and shape. While it is easy to emphasize subject matter in Wood’s work, the formal aspects are at least as important: a singular way of tilting the horizon just so, of slightly cropping a man’s hand right at the fingertips, or relating one lady on the far left side of an image to another on the right. These photographs manage to look equally off-kilter and perfectly balanced. And Wood tempers his direct and unapologetic gaze with a subtle form of empathy, vividly showing his subjects as they are, neither mocking nor romanticizing them. His unique combination of form and content makes for substantial, exceedingly complex photography, decisively confirming Wood’s position as one of the major photographers of his generation.
Tom Wood: Photographs 1973-2013, the artist’s first full UK retrospective, is currently on display at the National Media Museum Bradford, which also acquired 80 of his prints for the National Photography Collection. Forthcoming is a three volume book of Wood’s landscapes, the two volume The DPA Work, and Inside Looking for Love, which – along with the seminal Looking for Love (1989) and All Zones Off Peak (1998) – will bring the total number of monographs to ten. Wood has had numerous solo exhibitions, at galleries such as The Approach, London; Galerie Albrecht, Berlin; and Galerie du Jour Agnes B., Paris, and institutions including the ICP, New York; C/O, Berlin; Museum of Modern Art, Oxford; Suermondt-Ludwig Museum, Aachen; and The National Museum of Photography, Copenhagen, to name a few. His work is held in major collections such as MoMA and the ICP, New York; the Art Institute of Chicago; and the Victoria & Albert Museum, London. He was shortlisted for the Beck's Futures Award in 2001 and received the Prix Dialogue de l’Humanité at Les Recontres d’Arles in 2002. The artist now lives and works in North Wales.
Chelsea 526 West 26th Street, 4th Floor, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-645-8701 info@thomaserben.com
Opening Thursday May 16, 2013
The Flesh and the Book, 2013, 4 Channel video installation with sound, video still
The Flesh and the Book Jaye Rhee DOOSAN Gallery Opening Thursday May 16, 2013, from 6:00 PM to 8:00 PM On View May 16, 2013 - June 15, 2013 www.doosangallery.com
DOOSAN Gallery New York is pleased to announce The Flesh and the Book, a solo exhibition of JayeRhee, from May 16 to June15, 2013. The exhibition occupies her four-channelvideo and installation which explores the intersections between performance, themoving image, and sound installation.
Casting original dancers of the Merce Cunningham Dance Company, Rheerenders the human body as minimalist shapes that convey an improvisationalselection of ‘notes’ within a musical composition co-created with Elliott Sharp.The dancers’ movements, both choreographed and organic, shift horizontallyacross the row of screens. At times, the movements flow synchronically withthe sound while in other moments therelationship between the visual and auralbecomes a series of independent juxtapositions.
As in many of Rhee’s works, at the heart of The Flesh and the Book liesan irreconcilable tension; here it exists between physical dance and musicalnotes. The dancers perform within a ‘musical staff’ made of five thick rubberbands that are suspended at different heights yet are equidistant from eachother. A visual loss occurs when the two-dimensional music notes transition intothe three-dimensional dance, and vice versa. As more notes are gained, moredancers are lost; the two must maintain a balanced yet opposed existence.
Jaye Rhee was born in 1973 in Seoul, Korea. She received her M.F.A and B.F.A from School of The Art Institute of Chicago. She has completed Skowhegan School of Painting and Sculpture and artists residency program in Lower Manhattan Cultural Council. She has had solo exhibitions at Cais Gallery (2010, Seoul, Korea),Stephan Stoyanov Gallery (2010, New York, USA), Corridor Gallery (2010, New York, USA), KCCLA (2009, Los Angeles, USA) and Gallery Factory (2007, Seoul, Korea). Her works has also been included in Norton Museum ofArt (2012, Florida, USA), Mori Museum of Art (2012, Tokyo, Japan), CU Art Museum (2012, Colorado, USA), Seoul Museum of Art (2011, Seoul Korea), and St. Cecilia (2010, New York, USA).
Chelsea 533 West 25th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-242-6343 newyork@doosangallery.com
Editor's Pick
video_dumbo Film Festival at Eyebeam Eyebeam Curated by Caspar Stracke and Gabriela Monroy Opening Thursday May 16, 2013, from 6:00 PM to 9:00 PM On View May 16, 2013 - May 25, 2013 www.eyebeam.org
Eyebeam is pleased to present video_dumbo's eighth annual festival and exhibition of contemporary moving image artwork, curated by Caspar Stracke and Gabriela Monroy. On view from May 16 - 25, video_dumbo will include fourteen video screening programs, alongside eight installation works under the title Re-Return to Sender.
video_dumbo presents 106 artists from 30 different countries, championing the diversity of today's experimental, moving image landscape. Screenings include several US premieres and new video works by: Christian Jankowski, Eija-Liisa Ahtilla, Elizabeth Price, Nicolas Provost, Matthias Mueller/Christoph Girardet, Almagul Menlibayeva, Bjørn Melhus, Johan Grimonprez, Mike Hoolboom, Jesse McLean, and Mark Lewis.
The concurrent installation, Re-Return to Sender, speculates about the imagined consciousness of digital and electromagnetic moving image displays and projection apparatus.
Event website: http://www.eyebeam.org/events/videodumbo
Other highlights include a video installation by Kurt Ralske at Dumbo Arts Center, a book presentation by Cooper and Battersby and Mike Hoolboom, and a Special Program of New Finnish Video Art, including an interactive installation by Lauri Astala: http://www.eyebeam.org/events/lauri-astala-on-disappearance
Chelsea 540 West 21 Street, New York NY, 10011 Tuesday - Saturday from 12:00 PM to 6:00 PM
212-937-6580 meredith@eyebeam.org
Opening Thursday May 16, 2013
still from Melanie Manchot, "LEAP after The Great Ecstasy"
video_dumbo Film Festival at Eyebeam Eyebeam Curated by Caspar Stracke and Gabriela Monroy Opening Thursday May 16, 2013, from 6:00 PM to 9:00 PM On View May 16, 2013 - May 25, 2013 www.eyebeam.org
Eyebeam is pleased to present video_dumbo's eighth annual festival and exhibition of contemporary moving image artwork, curated by Caspar Stracke and Gabriela Monroy. On view from May 16 - 25, video_dumbo will include fourteen video screening programs, alongside eight installation works under the title Re-Return to Sender.
video_dumbo presents 106 artists from 30 different countries, championing the diversity of today's experimental, moving image landscape. Screenings include several US premieres and new video works by: Christian Jankowski, Eija-Liisa Ahtilla, Elizabeth Price, Nicolas Provost, Matthias Mueller/Christoph Girardet, Almagul Menlibayeva, Bjørn Melhus, Johan Grimonprez, Mike Hoolboom, Jesse McLean, and Mark Lewis.
The concurrent installation, Re-Return to Sender, speculates about the imagined consciousness of digital and electromagnetic moving image displays and projection apparatus.
Event website: http://www.eyebeam.org/events/videodumbo
Other highlights include a video installation by Kurt Ralske at Dumbo Arts Center, a book presentation by Cooper and Battersby and Mike Hoolboom, and a Special Program of New Finnish Video Art, including an interactive installation by Lauri Astala: http://www.eyebeam.org/events/lauri-astala-on-disappearance
Chelsea 540 West 21 Street, New York NY, 10011 Tuesday - Saturday from 12:00 PM to 6:00 PM
212-937-6580 meredith@eyebeam.org
Opening Wednesday May 15, 2013
The spirits that I called Dan Colen Oko Opening Wednesday May 15, 2013, from 8:00 PM to 10:00 PM On View May 15, 2013 - June 15, 2013 www.okooko.org
Oko to Present New Works by Dan Colen
The spirits that I called
Oko
May 15 – June 15, 2013
Opening Reception – May 15, 8-10PM
New York, NY…Beginning May 15th, Oko is proud to present key selections from a new series of oil paintings by Dan Colen. The spirits that I called places the artist’s most recent work in juxtaposition with that of a 19th century kindred spirit, in an exploration of the ways in which fantasy, theatricality and deliberate challenges to high culture standards have preoccupied artists across time.
The spirits that I called will remain on view at Oko through June 15th.
Dubbed “the Miracle paintings” by the artist and inspired in part by Walt Disney’s celebrated 1940 animated film classic Fantasia, Dan Colen’s latest canvases depict non-figurative and relatively empty landscapes that quote the movie’s overwrought visual elements of magic and fantasy. These paintings are oriented around arcs of shimmering fairy dust – effects referred to by Colen as “miracles” – with trompe l'oeil surfaces achieved through suspension of dry pigments in viscous paint and varnish. “The Miracle paintings” result from a binary process: Colen attempts to control highly volatile pigments and liquid mediums on the canvas’ surfaces while simultaneously allowing and even encouraging unintended or chance effects. The oscillating forces of control and chance in his process result in a type of painterly alchemy – positioning the viewer within an atmosphere of theatrical transformation.
His canvases appear as hyper-real snapshots of the fantastic, tableaux that deploy paint not to reiterate what the eye sees but to ignite fantasies of what we would find if we could rupture the screen of representation and gain access to the magical.
With “the Miracle paintings”, Colen has drawn inspiration from the background scenery typically found in 20th century hand-drawn and colored animation cells – masterfully rendered, extravagant images that nevertheless were relegated to the role of theatrical backdrops, influencing viewers’ perceptions while their consciousness was otherwise engaged on the story taking place at the front of the picture plane. Colen’s interest in this lush, arcane material expresses his deep affection for an art making technique that is rapidly disappearing in our current age of computer-generated imagery. His paintings at Oko ask us to open ourselves to parallel realities by focusing upon visual experiences that usually are rendered transparent by our intuitive attraction to foreground action.
In addition to the movie Fantasia, Colen’s new works are indebted to Fairy Painting, a genre popularized in the mid-19th century by the Pre-Raphaelites. Known for its radical break with the formal and technical conventions of its era, the Pre-Raphaelite Brotherhood eschewed academic precision and embraced the tenants of dramatic and literary theatricality. Seeking to escape ‘progress’ and rapidly accelerating industrialization, and rejecting photography’s new claims of verisimilitude, the Pre-Raphaelites created works inspired by medieval folklore as well as drug-induced hallucinations and dreams. It is no accident that Fairy Painting coincided directly with the rise of Romantic ballet and its overheated stage productions; by virtue of its reliance upon both Romantic ballet’s visually hedonistic scenery and melodramatic Shakespearian story lines as sources of inspiration, Pre-Raphaelite art was associated critically with the perceived cultural cheapness of theater. This notion of theatricality as an expression of low culture relates directly to Colen’s very deliberate use of animation, a medium generally understood as craft rather than art. His embrace of magic as a key referent echoes the Pre-Raphaelites’ sentimental attachment to fantasy and the supernatural, reinventing it in the present while paying homage.
The spirits that I called conflates the 19th century avant-garde Pre-Raphaelite subculture and its analog in the 21st century – a strain of contemporary pop culture that insists upon escapism and drug-fueled fantasy. The Oko exhibition juxtaposes two of Colen’s “Miracle paintings” with an archetypal Fairy Painting by John Anster Fitzgerald titled ‘Titania and Bottom: A Scene from a Midsummer-Night’s Dream,’ painted in the years between 1848-1851. While not considered a primary member of the Pre-Raphaelite Brotherhood, Fitzgerald was a pre-eminent Fairy painter, often producing works that joined Shakespearian style drama with the sorts of grotesque monsters that populated the fevered dreams of 19th century laudanum addicts.
In an exhibition that explores the hierarchical organization of culture, both Dan Colen and John Anster Fitzgerald open paths to psychic escape through fantasy while celebrating the conceptual and visual experiences inherent to art forms that are rendered obsolete by technology.
Oko is open to the public Thursday through Saturday, from 12PM – 6PM and by appointment.
For additional information or to request images for publication, please contact: info@andreaschwan.com
The East Village / Lower East Side 220 East 10th Street, Brooklyn NY, 10003 Thursday - Saturday from 12:00 PM to 6:00 PM
212-460-5321 info@okooko.org
Opening Wednesday May 15, 2013
GB. England. Kent. Margate. 1986. © Martin Parr / Magnum Photos
Life's a Beach Martin Parr Aperture Gallery and Bookstore Opening Wednesday May 15, 2013, from 7:00 PM to 9:00 PM On View May 02, 2013 - July 03, 2013 www.aperture.org
Opening reception: Wednesday, May 15, 7:00-9:00 pm
Portrait Shoot and Beach Party with Martin Parr: Saturday, May 18, 9:00 am-6:00 pm
In conjunction with the May release of the beach-bag-size edition of Life’s a Beach, Aperture is pleased to present an exhibition featuring the best selections from Martin Parr’s beach photography.
Parr has been photographing beaches for thirty years, documenting all aspects of them, including close-ups of sunbathers, rambunctious swimmers caught mid-plunge, and the eternal sandy picnic underway. His international career, in fact, could well be traced to the launch of The Last Resort, a 1986 book depicting the seaside resort of New Brighton, near Liverpool.
What may be less known is that this obsession has led Parr to photograph beaches around the world. This compilation, his first on the topic, presents photos of beachgoers on far-flung shores, including Argentina, Brazil, China, Spain, Italy, Latvia, Japan, the United States, Mexico, Thailand, and, of course, the UK. The exhibition brings to the fore Parr’s engagement with a cherished subject matter—that rare public space in which general absurdities and local quirks seamlessly fuse together.
This selection of photographs shows Parr at his best, startling us with moments of captured absurdity and immersing us in rituals and traditions associated with beach life the world over.
Martin Parr (born in Epsom, England, 1952) is a key figure in the world of photography, recognized as a brilliant satirist of contemporary life. Author of over thirty photography books, including Common Sense, Our True Intent Is All for Your Delight, and Boring Postcards, his photographs have been collected by museums worldwide, including the Getty Museum in Los Angeles, New York’s Museum of Modern Art, and Tate Modern, London. A retrospective of his work continues to tour major museums around the world since opening at the Barbican Art Gallery, London, in 2002. Parr is a member of Magnum Photos.
Life’s a Beach is made possible with support from Canon U.S.A., Inc., Gosling’s Rum, and Mondrian Soho.
Chelsea 547 West 27th Street, New York NY, 10001 212-505-5555
Opening Wednesday May 15, 2013
Hunter MFA Thesis Exhibition Spring Hunter College / Times Square Opening Wednesday May 15, 2013, from 6:00 PM to 8:00 PM On View May 15, 2013 - June 15, 2013 www.huntermfathesis2013.com
Midtown 450 West 41st Street, New York NY, 10036 Tuesday - Saturday from 1:00 PM to 6:00 PM
Opening Wednesday May 15, 2013
SCOTT ZIEHER'S CONCRETE POET Scott Zieher Charles Bank Gallery Opening Wednesday May 15, 2013, from 6:00 PM to 9:00 PM On View May 15, 2013 - June 16, 2013 www.charlesbankgallery.com
"The title CONCRETE POET seemed to make clear my general approach to a first solo exhibition after 20 years of making art with no thought toward corralling what I made into anything coherent, all while simultaneously writing poetry. I've had to reconcile the two impulses in some way, and the way to most effectively eliminate any distraction was to make them one. The collages themselves consist primarily of paper I've found walking the streets of New York with an eye to the ground. I have always carried a notebook around, and I walk a lot, so I see a lot of discarded books and magazines, and both approaches are fed simultaneously in that way. Since childhood I've been a scavenger, and an argument could be made that my poetry is sometimes an act of hunting and gathering. Specifically, finding a 20 foot tall pile of late 60's through late 70's architecture magazines fueled this body of collages. I've only gone through about half of them. Because there is something architectonic about the idea behind concrete poetry (for me), I see another allusion to both practices in the actual source material. Each fragment, or part, builds on itself if nothing else. And my writing is a decided collage process. So these confluences make the decision to twin the two impulses fairly straightforward. I think the term concrete poetry is really enticing on a lot of levels, but here I'm thinking of the visual as a plastic, layered poem as object. My approach is formal first, finding a fluid line or a color pairing that clicks, shuffling them into two shapes seeking a third, like words or lines or stanzas in need of company." -- Scott Zieher
The East Village / Lower East Side 196 Bowery (at Spring street), New York NY, 10012 Wednesday - Friday from 11:00 AM to 6:00 PM
Saturday - Sunday from 12:00 PM to 6:00 PM
212-219-4095 charlesbank@charlesbankgallery.com
Opening Wednesday May 15, 2013
Elena Berriolo, "Transcriptions and Variations from Domenico Gnoli," thread, paper, pen and watercolor, 11.3 x 14 inches, 2012
Paper Goods Andrea Belag, Elena Berriolo, Tom McGlynn, Joan Waltemath, Chuck Webster and Saya Woolfalk Susan Eley Fine Art Curated by Kara L. Rooney Opening Wednesday May 15, 2013, from 6:00 PM to 8:00 PM On View May 15, 2013 - June 22, 2013 www.susaneleyfineart.com
‘A language might also be compared to a sheet of paper. Thought is one side of the sheet and sound the reverse side.’ -Ferdinand de Saussure
Susan Eley Fine Art is pleased to present Paper Goods, a group exhibition curated by Brooklyn-based artist and critic, Kara L. Rooney. The use of paper signals a dance between the written and the visualized, the real and the imagined, the linear and the expansive. For millennia it has aided in the act of transcription and served as the archive, giving voice to our innermost thoughts, desires and philosophical reflections. Paper’s communicative power—as a mobile, compact, lightweight support—registers here in its ability to synthesize phenomenological experience as well as its applicability to various media: thread, watercolor, ink, paint and beyond. This timeless medium has long fascinated artists, serving not only as an evocative tool for communication, but expanding our notion of ‘humanness’ via its inherent duality as both recorder and speech act.
Utilizing sets of various constraints, from the singular dedication to a specific material as in the unique hand-made books of Elena Berriolo, to Andrea Belag’s production of completed watercolors in a single session, abstraction and paper conjoin as metaphor for the limits of experience. Via a more structured approach, Joan Waltemath and Tom McGlynn draw upon the grid as a codifier for human sentience—pushing and probing the boundaries of language and memory—while Chuck Webster’s intentionally ambiguous symbolism and Saya Woolfalk’s fantastical paper-pulp ‘hides’ conjure something altogether different, signaling, in their hyper-saturated and peripatetic forms, a departure from the restraints of this world and an embrace of the narrative ‘other.’ Allied by this common language, each of the participating artists employs the medium of paper as a vessel for relational inquiry, not only as a material prop, but as fodder for the creative act itself.
Featured artists include: Andrea Belag, Elena Berriolo, Tom McGlynn, Joan Waltemath, Chuck Webster and Saya Woolfalk.
The Upper West Side 46 West 90th Street, 2nd floor, New York NY, 10024 Tuesday - Thursday from 11:00 AM to 5:00 PM
917-952-7641 susie@susaneleyfineart.com
Opening Wednesday May 15, 2013
Hunter BFA Degree Show Stephen V. Ballard, Michael Barraco, Macey L. Brady, Wendy Fulenwider Liszt, Darya Larine, Irina Lotarevich and William Wasserman Hunter College Second Floor Gallery Opening Wednesday May 15, 2013, from 6:00 PM to 8:00 PM On View May 15, 2013 - June 15, 2013 www.hunterbfathesis.com
Hell's Kitchen 450 West 41st Street, Second Floor, New York NY, 10036 Tuesday - Saturday from 1:00 PM to 6:00 PM
917-216-4709 ilotarevich@gmail.com
Opening Wednesday May 15, 2013
Yves Klein | Leap into the Void, 1960 | Gelatin silver print, 10 x 8 in (25.9 x 20 cm)
Blink Martin Creed, Holger Ecksein, Margaret Evangeline, Roland Flexner, Hiroshi Sugimoto, Nancy Hwang, Yves Klein, Alexandra Posen, Clifford Ross, Andy Warhol and wowe LYNCH THAM Opening Wednesday May 15, 2013, from 6:00 PM to 8:00 PM On View May 15, 2013 - June 23, 2013 www.lynchtham.com
LYNCH THAM is pleased to present Blink, featuring the works of eleven international acclaimed artists.
Martin Creed, Holger Ecksein, Margaret Evangeline, Roland Flexner, Hiroshi Sugimoto, Nancy Hwang, Yves Klein, Alexandra Posen, Clifford Ross, Andy Warhol, and wowe.
Blink is a follow up to the critically acclaimed exhibition, The Pleasure of Slowness. The works from Slowness brought our attention to creative time, its inclusion and effect on process, completion, and viewing. Long, deliberate time, remaining forever a part of the process and a part of the work. Blink reverses that process and takes account of works that are created in nanoseconds. During that climactic, split-second moment before the cowboy hits the ground, or the ink bubble falls on the paper creating the unchangeable image, or the soldier pulls the trigger and hits their target, or the photo booth button is depressed, a moment is captured, an instant artwork is created. If that moment is missed, it is gone. When the action is caught, it is uniquely fast. Made in the blink of an eye, and experienced with equal speed.
The East Village / Lower East Side 175 Rivington Street, New York NY, 10002 Wednesday - Saturday from 10:00 AM to 6:00 PM
Sunday from 12:00 PM to 6:00 PM
212-387-8190 info@lynchtham.com
Opening Wednesday May 15, 2013
The 25th Annual Contemporary Art Education Student Exhibition BRIC Rotunda Gallery Curated by Hawley Hussey Opening Wednesday May 15, 2013, from 6:00 PM to 8:00 PM On View May 15, 2013 - June 14, 2013 www.bricartsmedia.org
Curated by Hawley Hussey
Director of Contemporary Art Education,
BRIC Arts | Media | Bklyn
This year’s Contemporary Art Education Exhibition will celebrate a quarter century of shows displaying the work of public school students, grades pre-K through high school, who participate in BRIC’s contemporary art residency program. Through the program, BRIC’s artist teachers partner with classroom teachers to design residencies that introduce students to visual art concepts and techniques while helping them better understand a range of academic subjects. Similar to 2012, the student exhibition will be thematic, with works created in a variety of media centering around a common idea or premise.
Don’t miss this landmark anniversary exhibition of BRIC’s engagement in public schools in Brooklyn and beyond.
Brooklyn Heights 33 Clinton Street, Brooklyn NY, 11201 Tuesday - Saturday from 12:00 PM to 6:00 PM
718-683-5604 contemporaryart@bricartsmedia.org
Opening Wednesday May 15, 2013
Ricardo Chavarria, #51 Acrylic on canvas 48 x 100 inches 2013
51 – 55 Ricardo Chavarria The Proposition Opening Wednesday May 15, 2013, from 12:00 PM to 6:00 PM On View May 15, 2013 - June 23, 2013 www.theproposition.com
The Proposition is pleased to present Ricardo Chavarria’s first New York solo exhibition.
These new paintings explode beyond the physical boundaries of his former work, creating a new parameter in which improvisation takes place within the strict rules of symmetry and form.
In Charvarria’s practice, plastic syringes and squeeze bottles are used to control the flow of the paint. The color choices, textures and the forms created are arbitrary. The challenge is in finding ways to use these elements in a manner that creates the pulse or energy inevitably conveyed by these visual mantras.
Ricardo Chavarria was born in El Paso, TX in 1980. He studied at The Conservatory of Recording Arts and Sciences in Tempe, AZ. His career as a sound engineer began in New York in 1999 at The Knitting Factory. Since then, he has worked in world-class recording studios in NYC and London including Quad Recording, Sony Studios, and The Hit Factory. Artists he has worked with include Paul McCartney, Bob Dylan, AC/DC, and The Pet Shop Boys. He lived in Brooklyn, NY from 1999-2009. Since 2008 he has focused exclusively on painting and now has his studio in El Paso. His works are in private collections throughout the United States.
The East Village / Lower East Side 2 Extra Place, New York NY, 10003 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-242-0035 info@theproposition.com
Opening Wednesday May 15, 2013
Search for the Unicorn An Exhibition in Honor of The Cloisters' 75th Anniversary The Metropolitan Museum of Art Opening Wednesday May 15, 2013, from 9:30 AM to 5:30 PM On View May 15, 2013 - August 18, 2013 www.metmuseum.org
Given by John D. Rockefeller, Jr., in time for the opening of The Cloisters in 1938, the Unicorn Tapestries are its best-known masterpieces; yet, seventy-five years later, their history and meaning remain elusive. They have been seen both as complicated metaphors for Christ and as emblems of matrimony, and they are beloved as quaint indications of medieval notions about the natural world. This exhibition of some forty works of art drawn from the collections of the Metropolitan, sister institutions, and private collections will invite audiences to see the Unicorn Tapestries anew, as the finest expression of a subject widely treated across cultures, and in both European art and science, from the Middle Ages, through the Renaissance.
The Upper East Side 1000 Fifth Avenue, New York NY, 10028 Tuesday - Thursday from 9:30 AM to 5:30 PM
Friday - Saturday from 9:30 AM to 9:00 PM
Sunday from 9:30 AM to 5:30 PM
212-535-7710
Opening Monday May 13, 2013
Because Reasons Dena Yago MALRAUX'S PLACE Opening Monday May 13, 2013, from 7:00 PM to 9:00 PM On View May 13, 2013 - June 14, 2013 www.malrauxsplace.com
Sunset Park 253 36th St. Brooklyn, Brooklyn NY, 11232 info@malrauxsplace.com
Opening Sunday May 12, 2013
New Paintings: Vienna Vittorio Brodmann Leslie | Fritz Gallery Opening Sunday May 12, 2013, from 6:00 PM to 8:00 PM On View May 12, 2013 - June 16, 2013 www.lesliefritzgallery.com
The East Village / Lower East Side 44 Hester Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-609-3535 office@lesliefritzgallery.com
Opening Sunday May 12, 2013
Seth Price Reena Spaulings Opening Sunday May 12, 2013, from 6:00 PM to 9:00 PM On View May 12, 2013 - June 09, 2013 www.reenaspaulings.com
Long Island City 165 East Broadway, New York NY, 10002 Thursday - Sunday from 12:00 PM to 6:00 PM
212-477-5006 reena@reenaspaulings.com
Opening Sunday May 12, 2013
Hats and Balls Nancy Lupo Soloway Opening Sunday May 12, 2013, from 6:00 PM to 8:00 PM On View May 12, 2013 - June 16, 2013 www.soloway.info
Williamsburg 348 South 4th Street, Brooklyn NY, 11211 Saturday - Sunday from 12:00 PM to 5:00 PM
347-776-1023 contactsoloway@gmail.com
Opening Sunday May 12, 2013
Image: Drawing from Peter Joel Harrison’s Gazebos and Trellises
Beyond the Hedges (Slivered Gazebo) Heather Rowe Socrates Sculpture Park Opening Sunday May 12, 2013, from 2:00 PM to 6:00 PM On View May 12, 2013 - July 07, 2013 www.socratessculpturepark.org
Brooklyn-based sculptor Heather Rowe investigates the transitional space between architecture, sculpture, and installation through perspectival framing, formal inversion, and material deconstruction. Rowe's latest work, Beyond the Hedges (Slivered Gazebo), is a site-specific installation of mirrors, corridors, and spatial slices presented at Socrates Sculpture Park; it is her first outdoor public artwork.
Beyond the Hedges (Slivered Gazebo) inverts the routine relationships we have with our surroundings by restructuring the familiar and reimagining architectural experiences. While many experience architecture in a state of distraction, Beyond the Hedges invites us to focus beyond our current space. Rowe interprets the traditional gazebo or trellis—structures typically placed within a park to frame picturesque views—as a sliced and cropped dimensional space that, sandwiched between pieces of plywood, becomes the framed view. Inspired by Peter Joel Harrison’s illustrated book Gazebos and Trellises, the plywood shapes suspend fragile moments of the garden pavilion, frozen in precarious states of decay or undoing. Complicating the internal network of latticework are mirrored insertions, offering an active relationship to the natural surrounds and Park visitors.
Heather Rowe is an artist based in Brooklyn, New York who received her MFA from Columbia University. She has exhibited in numerous museums and galleries including MoMA PS1, Long Island City, New York; Indianapolis Museum of Art, Indianapolis, Indiana; University of Michigan Museum of Art, Ann Arbor, Michigan; Galerie Zink, Berlin, Germany; D'Amelio Terras, New York; Michael Benevento Gallery, Los Angeles; Ballroom Marfa, Texas; Andrea Rosen Gallery, New York; White Columns, New York; and Artists Space, New York; and in 2008, her work was featured in the Whitney Biennial.
Long Island City 32-01 Vernon Boulevard at Broadway, Long Island City NY, 11106 718-956-1819
Editor's Pick
do it (outside) John Baldessari, Jerome Bel, Paul-Armand Gette, Joan Jonas, Ilya Kabakov, Alison Knowles, Suzanne Lacy, Lucy Lippard, David Lynch, Betrand Lavier, Paul McCarthy, Yoko Ono, Clifford Owens, Michelangelo Pistoletto, Kazuyo Sejima, Gabriel Sierra, Andreas Slominski, Ai Weiwei and Franz West Socrates Sculpture Park Curated by Hans Ulrich Obrist Opening Sunday May 12, 2013, from 2:00 PM to 6:00 PM On View May 12, 2013 - July 07, 2013 www.socratessculpturepark.org
In collaboration with Independent Curators International (ICI), Socrates Sculpture Park presents do it (outside), an exhibition conceived of and curated by Hans Ulrich Obrist. With historical antecedents in Dada and Fluxus, do it (outside) is a selection of artists' instructions interpreted by other artists, performers, community groups, and the public. The instructions and resulting works will be presented outdoors utilizing a site-specific design by Christoff : Finio Architecture, the NY-based architecture and design studio of Taryn Christoff and Martin Finio. In the last 20 years, versions of do it have been presented in over 50 venues worldwide, giving new meaning to the concept of the “Exhibition in Progress.”
do it (outside) at Socrates Sculpture Park will be the first presentation of the exhibition in New York City and the first to be presented completely outdoors in a public art venue. The opening of the exhibition on May 12 coincides with the launch of the publication, do it: the compendium (co-published by Independent Curators International and D.A.P.) from which the instructions presented have been selected.
do it (outside) sparks a critical conversation about the exchange and transformation of ideas by engaging a diverse group of people to create extraordinary works by internationally accomplished artists. At Socrates, over sixty published artist instructions will be brought into existence by artists, performers, community groups, and the public resulting in installations that range from the explicitly sculptural, to the performative, to the poetic or absurd. Socrates Sculpture Park will produce a digital publication to accompany do it (outside) to document the process and participants.
This 20th-anniversary show premieres a significant number of new instructions along with those from the first do it experiments. Artists’ instructions presented at Socrates Sculpture Park will include:
John Baldessari, Jerome Bel, Paul-Armand Gette, Joan Jonas, Ilya Kabakov, Alison Knowles, Suzanne Lacy, Lucy Lippard, David Lynch, Betrand Lavier, Paul McCarthy, Yoko Ono, Clifford Owens, Michelangelo Pistoletto, Kazuyo Sejima, Gabriel Sierra, Andreas Slominski, Ai Weiwei, and Franz West among many others.
Long Island City 32-01 Vernon Boulevard at Broadway, Long Island City NY, 11106 718-956-1819
Opening Sunday May 12, 2013
do it (outside) John Baldessari, Jerome Bel, Paul-Armand Gette, Joan Jonas, Ilya Kabakov, Alison Knowles, Suzanne Lacy, Lucy Lippard, David Lynch, Betrand Lavier, Paul McCarthy, Yoko Ono, Clifford Owens, Michelangelo Pistoletto, Kazuyo Sejima, Gabriel Sierra, Andreas Slominski, Ai Weiwei and Franz West Socrates Sculpture Park Curated by Hans Ulrich Obrist Opening Sunday May 12, 2013, from 2:00 PM to 6:00 PM On View May 12, 2013 - July 07, 2013 www.socratessculpturepark.org
In collaboration with Independent Curators International (ICI), Socrates Sculpture Park presents do it (outside), an exhibition conceived of and curated by Hans Ulrich Obrist. With historical antecedents in Dada and Fluxus, do it (outside) is a selection of artists' instructions interpreted by other artists, performers, community groups, and the public. The instructions and resulting works will be presented outdoors utilizing a site-specific design by Christoff : Finio Architecture, the NY-based architecture and design studio of Taryn Christoff and Martin Finio. In the last 20 years, versions of do it have been presented in over 50 venues worldwide, giving new meaning to the concept of the “Exhibition in Progress.”
do it (outside) at Socrates Sculpture Park will be the first presentation of the exhibition in New York City and the first to be presented completely outdoors in a public art venue. The opening of the exhibition on May 12 coincides with the launch of the publication, do it: the compendium (co-published by Independent Curators International and D.A.P.) from which the instructions presented have been selected.
do it (outside) sparks a critical conversation about the exchange and transformation of ideas by engaging a diverse group of people to create extraordinary works by internationally accomplished artists. At Socrates, over sixty published artist instructions will be brought into existence by artists, performers, community groups, and the public resulting in installations that range from the explicitly sculptural, to the performative, to the poetic or absurd. Socrates Sculpture Park will produce a digital publication to accompany do it (outside) to document the process and participants.
This 20th-anniversary show premieres a significant number of new instructions along with those from the first do it experiments. Artists’ instructions presented at Socrates Sculpture Park will include:
John Baldessari, Jerome Bel, Paul-Armand Gette, Joan Jonas, Ilya Kabakov, Alison Knowles, Suzanne Lacy, Lucy Lippard, David Lynch, Betrand Lavier, Paul McCarthy, Yoko Ono, Clifford Owens, Michelangelo Pistoletto, Kazuyo Sejima, Gabriel Sierra, Andreas Slominski, Ai Weiwei, and Franz West among many others.
Long Island City 32-01 Vernon Boulevard at Broadway, Long Island City NY, 11106 718-956-1819
Opening Sunday May 12, 2013
Folly 2013 Toshihiro Oki architect Socrates Sculpture Park Opening Sunday May 12, 2013, from 2:00 PM to 6:00 PM On View May 12, 2013 - August 05, 2013 www.socratessculpturepark.org
tree wood by Toshihiro Oki architect
opening May 12 from 2-6PM | on view through summer 2013
Socrates Sculpture Park and The Architectural League of New York are pleased to announce the selection of Toshihiro Oki architect for tree wood as the winner of this year’s “Folly” competition – an extraordinary opportunity for emerging architects and designers to experiment and build large-scale projects for outdoor exhibition.
Socrates Sculpture Park and the League launched “Folly” in 2012 as a residency and exhibition program to explore the intersections between architecture and sculpture. “Folly” has grown from a pilot initiative to a highly anticipated competition – submissions increased by 40% from last year - for emerging architects and designers to conceive, design, build, and exhibit original works in the public realm.
tree wood will be a rigid yet airy geometrical wooden structure placed within a grove of trees – a lush and dense area at Socrates Sculpture Park. Visitors will peer into the structure through the floor beams where a formal, ornate chandelier will be suspended. The installation creates a dialogue between built structures and systems with the irregular and organic.
Toshihiro Oki architect – consisting of team members Toshihiro Oki, Jen Wood and Jared Diganci - was selected from over 150 submissions by a jury of architects and artists who reviewed over 150 submissions, including Michael Arad, Architect, Partner, Handel Architects; Orly Genger, Visual Artist; John Hatfield, Executive Director, Socrates Sculpture Park; Granger Moorhead, Architect, Principal, Moorhead & Moorhead; and Billie Tsien, Architect, Principal, Tod Williams Billie Tsien Architects.
“Folly” is an interpretation of the architectural folly. Especially popular among the Romantics of the 18th and 19th centuries, architectural follies are small-scale structures, which often have no discernible purpose, that are placed within a garden or landscape as a means to draw the eye to specific points or to frame a view. The folly is a perfect subject for architects to investigate materiality, spatial interaction, and concepts about our urban and natural environment.
Visit the Architectural League for more information on the winning project and detailing the competition process, including prominent architectural themes woven throughout proposals: Read more at www.archleague.org.
The winner of the 2012 “Folly” competition was Curtain, a project conceived by architects Jerome W. Haferd and K Brandt Knapp. Curtain, which closed on March 31st, combined minimal structural framing with a mutable plastic chain that bisected the landscape from multiple angles, creating a voluminous whimsical interior space.
SUPPORT
Socrates Sculpture Park’s Exhibition Program is supported by Bloomberg Philanthropies, Mark di Suvero, Lambent Foundation Fund of Tides Foundation, and Spacetime C.C. This program is also supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and by public funds from the City of New York Department of Cultural Affairs in partnership with the City Council.
Special thanks to the City of New York, Mayor Michael R. Bloomberg, Queens Borough President Helen M. Marshall, City Council Speaker Christine C. Quinn, Assemblywoman Catherine Nolan, City Councilmembers Jimmy. Van Bramer and Peter F. Vallone Jr., and the Department of Parks & Recreation, Commissioner Veronica White.
Long Island City 32-01 Vernon Boulevard at Broadway, Long Island City NY, 11106 718-956-1819
Opening Sunday May 12, 2013
Broadway Billboard: Chitra Ganesh Socrates Sculpture Park Opening Sunday May 12, 2013, from 2:00 PM to 6:00 PM On View May 12, 2013 - August 05, 2013 www.socratessculpturepark.org
Her Nuclear Waters, an 11' x 28' image by artist Chitra Ganesh, is the newest installment of the Park’s ongoing Broadway Billboard series. Chitra Ganesh’s drawing-based practice seeks to excavate buried narratives typically excluded from official canons of history, literature, and art. Her installation, text-based work, and collaborations dissect mythologies and layer disparate visual languages, inviting the viewer to consider alternate narratives of femininity, sexuality, and power as untold stories rise to the surface. Ganesh’s works harness a broad range of visual referents, drawing equally from German expressionism and Japanese woodblock prints, and contemporary visual idioms such as psychedelic print culture, anime, and comics. Her projects are also shaped via an engagement with literary narrative in its many forms: folk and fairy tales, song lyrics, science fiction, and mythology. In this process, the figures is fractured, multiplied, obscured, and distorted, offering points of rupture as potent sites of social and sexual transgression, contemplation, and transformation.
About the Artist
Chitra Ganesh was born and raised in Brooklyn, NY, where she currently lives and works. Ganesh’s work has been exhibited widely at venues including the Brooklyn Museum, the Queens Museum of Art, the Asia Society, Bronx Museum of Art, Exit Art, White Columns, Momenta Art, and Apex Art in New York. International venues include the Gawngju Art Museum in Korea, Fondazione Sandretto in Italy, Nature Morte in New Dehli, Montehermoso Center in Spain, ZKM in Germany, and the Royal College of Art in London. Her works have been featured in several publications including the New York Times, Flash Art, Art Asia Pacific, and Time Out New York. Her work has been recognized with grants from the Astraea Foundation (2004), NY Community Trust (2006), New York Foundation for the Arts (2005, 2009), Printed Matter Inc. (2009), the Art Matters Foundation (2010), and the Joan Mitchell Foundation for Painters and Sculptors (2010). Residencies she has been awarded include the Lower Manhattan Cultural Council Workspace Residency, Smack Mellon Studios, Headlands Center for the Arts, and the Brodsky Center for Innovative Editions. Her work is represented in prominent international collections such as the Museum of Modern art, San Jose Museum of Art, Saatchi Collection (London), Devi Art Foundation (new Delhi), amongst others. Ganesh is the recipient of a 2012 John Simon Guggenheim memorial foundation Fellowship in the Creative Arts, with recent solo presentations at the Gothenburg Kunsthalle, PS 1/MOMA, and The Andy Warhol Museum.
Support
Broadway Billboard is supported through generous contributions from Agnes Gund, Charina Endowment Fund, Bloomberg Philanthropies, Mark di Suvero, and Lambent Foundation.
This exhibition is also supported, in part, by public funds from the New York State Council on the Arts, a state agency, and by public funds from the City of New York Department of Cultural Affairs.
Long Island City 32-01 Vernon Boulevard at Broadway, Long Island City NY, 11106 718-956-1819
Opening Sunday May 12, 2013
Rain Room MoMA Opening Sunday May 12, 2013, from 10:30 AM to 5:30 PM On View May 12, 2013 - July 28, 2013 www.moma.org
Random International’s immersive environment Rain Room (2012), a major component of the MoMA PS1 exhibition EXPO 1: New York, is presented in the lot directly adjacent to The Museum of Modern Art. A field of falling water that pauses wherever a human body is detected, Rain Room offers visitors the experience of controlling the rain. Known for their distinctive approach to contemporary digital practice, Random International’s experimental projects come alive through audience interaction—and Rain Room is their largest and most ambitious to date. The work invites visitors to explore the roles that science, technology, and human ingenuity can play in stabilizing our environment. Using digital technology, Rain Room creates a carefully choreographed downpour, simultaneously encouraging people to become performers on an unexpected stage and creating an intimate atmosphere of contemplation.
Rain Room is open daily during regular Museum hours. Note: Admittance to the queue will end once it reaches capacity, prior to Museum closing.
The entrance to Rain Room is on West 54 Street, between Fifth and Sixth avenues. Same-day MoMA admission, EXPO 1 admission, or a MoMA membership card is required for entry. An EXPO 1 admission ticket may be applied toward the price of a Museum admission ticket or MoMA Membership through July 28.
MoMA members and their guests enjoy priority access to Rain Room at all times, as well as an exclusive early member viewing hour, from 9:30 to 10:30 a.m. daily throughout the run of the installation. (Not a MoMA member? Join now.)
In order for visitors to enjoy the sensory experience of Rain Room, capacity is limited to 10 people at a time. Entry is on a first-come, first-served basis and wait times are expected to be significant. Entry is not guaranteed.
Please keep the following information in mind as you plan your visit.
Visitors should be aware that this is a dark installation featuring falling water. It is possible that you may get slightly wet.
In order for the technology to work most effectively, visitors are discouraged from wearing black, dark shiny fabrics, or skinny high heels.
Children must be closely supervised at all times and visitors should proceed slowly through the installation.
Rain Room is subject to close for brief periods during the day if maintenance is required.
Photography is encouraged in Rain Room. Post your photos or videos on Twitter, Instagram, Vine, and Flickr with the hashtag #RainRoom, and they will appear in a live stream at MoMAPS1.org/expo1.
The presentation of Rain Room at The Museum of Modern Art is the U.S. premiere of this monumental environment. The piece debuted at Barbican Centre, London, in October 2012. For more details, please visit the EXPO 1: New York website.
Midtown 11 West 53rd Street, New York NY, 10019 Saturday - Thursday from 10:30 AM to 5:30 PM
Friday from 10:30 AM to 8:00 PM
212-708-9400
Opening Saturday May 11, 2013
Rejectance Ben Noam Culture Room Opening Saturday May 11, 2013, from 7:00 PM to 10:00 PM On View May 11, 2013 - May 25, 2013 www.cultureroom.org
Culture Room is pleased to announce the exhibition “Rejectance” by Ben Noam. The exhibition will feature an installation exploring the artist’s decision never to attend a master's program.
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Secular Americans in the 21st century enter life as debtors, owing unspecified and unpayable emotional debts to their parents as well as exorbitant financial debts to educational gatekeepers. In order to secure desirable employment and make good on their parents’ early investments in their futures, Americans pay enormous tolls to the academic establishment, which functions like a secular priesthood, amassing land and capital in the manner of the medieval Church.
The original universities in the Western world organized themselves as guilds. From the first, their chief mission was to produce not learning but graduates, with teaching subordinated to the process of certification. In their zeal to exclude and accredit, they mirrored the artisan guilds, who had long burdened new members with lengthy and wasteful periods of apprenticeship under the guise of “training.” By erecting barriers to entry, artisans kept their numbers small and their services expensive.
In the intervening centuries, the concept of apprenticeship has spawned a massive and powerful academic infrastructure whose primary function is to stratify entrants to the workforce. For this privilege, students often pay hundreds of thousands of dollars. The purchase of a degree bestows a ranking as well as an affiliation with a cartel of fellow graduates. Beyond the Ivy walls, of course, the only training that matters is on the job, just as the only preparation for life is life.
In “Rejectance,” artist Ben Noam, born to academic parents in Cambridge, Massachusetts—the epicenter of the credentialing establishment—dissects and rejects the culture of accreditation. In a series of framed drawings, Noam shreds together collegiate seals oxidized on copper first with acceptance letters from MFA programs, then with his own rejection of these matriculation offers, and finally with an email from Noam's mother in which she proposes to provide the artist with $200 for each completed Masters application. On the wall opposite the drawings hangs a large, colorful painting entitled "Ivy League Autumn." In the painting, ivy foliage with an autumn-themed gradient clings to the foreground while in the background distorted Ivy League seals psychedelically swirl into abstraction. Noam uses analog painting processes to produce a cyborg blend of expressionist painting and contemporary digital-image manipulation.
Two neo-classical pillars stand in each corner while concrete cast multiples are scattered on the floor below. The first pillar, constructed of solid wood, is sanded bare. The second pillar is covered in decades of cracked, gray lead paint, into which Noam has hammered 32,500 copper nails. Copper nails are typically used to secure roofing and institutional domes throughout New England; they are also used to kill trees by process of oxidization, earning them the nickname “stump killers.” The number 32,500 corresponds to the dollar amount of one year’s tuition at Yale’s School of Art.
This pillar’s brutal treatment and bristling surface recalls African power idols, highlighting the connection between power, totem, credentialing, and violence. Noam’s “Rejectance” is directed not only at the specific institutions whose tokens he defaces but also, by extension, at the baroque system of accreditation that pervades the art world and defrauds the artist.
-Christopher Glazek, 2013
Bushwick / Ridgewood 163 Starr Street #4L, Brooklyn NY, 11237 ashley.zangle@cultureroom.org
Opening Saturday May 11, 2013
I Suppose My Doctor Is Dead Anna K.E. Interstate Projects Opening Saturday May 11, 2013, from 7:00 PM to 10:00 PM On View May 11, 2013 - June 09, 2013 www.interstateprojects.com
What is it?
A design for a four-post bed for the most comfortable sleep?
Or a guillotine for the eternal nap?
Maybe this is a protective construction for pets?
Or something like the basic foundation for architectural structures?
Perhaps this is a first substantial draft for a design idea?
So many questions can generate only something that regardless of the question "what is it?" bears paramount strength of charm; in fact that is what our consciousness wants to comprehend.
It is at this level of non-graspable charm that Anna K.E. works.
Interstate Projects is pleased to present I Suppose My Doctor Is Dead, an exhibition of large-scale installations, drawings, and video. Anna K.E.’s constructions capture us with mysterious silence where suddenly, like flashes in the deaf and dumb cosmos, embedded texts of video clips appear, printed or painted images of exalted human stories: hysteria, despair, sadness and sometimes deep religious insight.
Entering the space of her exhibition, we find ourselves on the stage and rendered to the performance, which is ours – our personal performance of tremendous power well known from our very own experience – the full drama of our souls. This young artist does not want to entertain us. With her elegant and mysterious artistic language she speaks to us about our lives – our very feelings that we try to clean out from our daily existence because they do not correspond well to the exchange values that structure our society.
May 11 - June 9, 2013
Opening reception May 11, 7-10 pm
Interstate Projects focuses on young, emerging artists, and works to connect artists and ideas from across the country. The gallery is located in Bushwick at 66 Knickerbocker Ave, Brooklyn NY 11237. Our hours are Friday – Sunday 12 – 6 and by appointment. For further information or images contact Tom Weinrich, tom@interstateprojects.com, or visit www.interstateprojects.com.
Directions: L train to Morgan Ave. The gallery is located on the first floor of 66 Knickerbocker Ave, with the entrance to the gallery located inside a gated outdoor courtyard. Signs are located on the exterior of the building.
Bushwick / Ridgewood 66 Knickerbocker Ave, Brooklyn NY, 10000 Friday - Sunday from 12:00 PM to 6:00 PM
tom@interstateprojects.com
Opening Saturday May 11, 2013
Carolee Schneemann, Flange 6rpm 2011-13, foundry poured aluminum sculptures, motors 6rpm each unit; 7 units, 9 x 20 x 3 feet
Flange 6rpm Carolee Schneemann P·P·O·W Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 22, 2013 www.ppowgallery.com
P·P·O·W is pleased to present Carolee Schneemann’s fourth exhibition at the gallery entitled Flange 6rpm. Originally a painter, Carolee Schneemann is a pioneer of extended media, from her explorations of 'geometry of motion' in Lateral Splay, 1963, the provocative group performance Meat Joy, 1964, her self-shot erotic film Fuses, 1965, and the meditation of solitary movements in Up To and Including Her Limits, 1973-76.
Upon entering the gallery the viewer is immersed in the projected foundry fires of Schneemann’s latest multi-sensory installation, Flange 6rpm. Seven motorized sculptural units; containing hand-sculpted components are uniquely, cast in aluminum from a lost wax process. The aluminum sculptures are not polished, but maintain a rough textured sill marked from the fire of the foundry. The sculptural units are each mounted on a motorized base which moves them at six revolutions per minute – slowly, side to side, as well as forward and back – in a continuous motion so that the sculptural elements are almost touching, creating a sense of tension and unpredictability.
Schneemann notes 'The fundamental life of any material I use is concentrated in that material's gesture -- gesticulation, gestation, source of compression (measure of tension and expansion), resistance, developing force of visual action. Manifest in space, any particular gesture acts on the eye as a unit of time.' This statement reigns true to the materials of the four Dust Paintings, 1983-86, that occupy the walls of the second gallery. Degraded materials, ashes, soot, layers of dust, spilled paint, circuit boards, posit a visual correlative to the endless bombardments of Lebanese and Palestinian villages.
Saw Over Want, 1980-82 and Vulva’s Morphia, 1995, are composed from photographic grids separated by strips of text that accentuate and destabilize their associated images. The text in Saw Over Want, is taken from Schneemann’s childhood alphabet exercises. The words “saw”, “want”, and “over” have been repeatedly practiced. Strips of text underline images of ordinary objects and self-shot erotic body details. This contrast produces an aesthetic seepage. Vulva’s Morphia consists of thirty-six images which address normative taboos within an undulating grid of Paleolithic vulvas inscribed on rocks as well as sacred, obscene, scientific, and self-photographed vulvic images. Each sectional grid is underlined with a taboo reflection. For instance, “Vulva reads biology and understands she is an amalgam of proteins and oxytocin hormones which govern all her desires....”
A feature length film on Schneemann’s work and history entitled Breaking the Frame by Marielle Nitoslawska has recently been completed and shown at the Telluride Film Festival, BFI/London Film Festival, FNC Montreal, Glasgow, Cleveland and this month at the WRO Biennial, Wroclaw, Poland and Videoex, Zurich. Schneemann’s work has been exhibited worldwide, at institutions including the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art, New York; the Centre Georges Pompidou, Paris; The Reina Sophia Museum, Madrid and The Museum of Modern Art, New York. Her published books include Cezanne; She Was A Great Painter (1976); Early and Recent Work (1983); More Than Meat Joy: Complete Performance Works and Selected Writings (1979); Correspondence Course (2010) by Kristine Stiles and Imaging Her Erotics–Essays, Interviews, Projects (2002). Color brochure to accompany the exhibition with essay by Melissa Ragona.
Chelsea 535 West 22nd Street, 3rd Floor, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-647-1044 info@ppowgallery.com
Opening Saturday May 11, 2013
Carolina Beach, North Carolina #1, 2013 Type C print, 30 x 45 inches / 16 x 24 inches
Strangers and Relations Laurel Nakadate Leslie Tonkonow Artworks + Projects Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 29, 2013 www.tonkonow.com
We are extremely pleased to announce our third solo presentation of works by Laurel Nakadate. The exhibition features twenty large-scale color photographs made during the past two years.
During the summer of 2011, Laurel Nakadate began to photograph strangers, inviting friends of friends, Facebook “friends,” and curious members of the online community, to meet her at night in remote corners of the United States and Europe. Under darkened skies, using simple techniques including long exposures, available starlight, moonlight, and a single handheld flashlight, Nakadate created Star Portraits, a series of photographic performances that recorded the urgency of first encounters between the artist and her subjects.
That same summer, Nakadate, whose paternal lineage is Japanese-American, took a DNA test in order to uncover information about her maternal side. She wrote to distant cousins on DNA websites and soon arranged to meet them, also at night, in order to make their portraits. Just as they did in the Star Portraits, Nakadate’s subjects appeared without prior instructions, choosing their own clothing and/or props. During the past twelve months, Nakadate made further contacts through genealogical research. She crossed America numerous times, logging nearly thirty-seven thousand miles in thirty-one states as she photographed her distant cousins and their children. In these portraits of strangers, Nakadate presents a complex family album, a portrait of America in 2013 recalling great photographic projects of the last century such as August Sander’s physiognomic portrayal of the German people and Mike Disfarmer’s photographs of the citizens of Heber Springs, Arkansas.
Since the earliest video pieces in which she recorded herself interacting with men met through chance encounters, Nakadate has used her art to explore connecting with strangers. Now, as she moves behind the lens, she remains visible in the DNA that she shares with women, men, and children of widely varying racial, religious, and socioeconomic backgrounds. Her genealogical family includes the descendants of slaves and Mayflower pilgrims, the McCoy clan of the famous Hatfield/McCoy feud, the early Protestant feminist Anne Hutchinson, the Quaker martyr Mary Dyer, and many other fascinating individuals. She writes:
In my early videos, I physically appeared in the work. In these new portraits, I am allowing my body, my DNA, to navigate my direction; where I will travel and whom I will meet. These strangers, who are also distant cousins, share bits of DNA with me – in some ways, these images become modern day self-portraits. I see these strangers, who are also relatives, as little glimmers of the ancestors who connected us hundreds of years ago.
The exhibition includes seventeen works from the Relations series and three images of “strangers” from the Star Portraits series.
Laurel Nakadate was born in Austin, Texas in 1975 and raised in Ames, Iowa. From 1999 to 2001, while completing her MFA in photography at Yale University, she began to create provocative works in video, photography, performance and film that challenge conventional perceptions of power, seduction, tenderness and trust. Nakadate’s early relationship to the fixed single viewpoint of the camera (as both artist and subject), her insistence on simple production values, and her upending of public and private ritualistic behaviors, anticipated the amateur video aesthetic of YouTube diaries and internet blogs. A major monograph, 365 Days: A Catalogue of Tears, featuring a yearlong photographic “performance,” in which the artist forced herself to cry each day during the year 2010, was recently published by Hatje Cantz and the Zabludowicz Collection, London.
Laurel Nakadate has participated in solo and group exhibitions at museums and galleries worldwide, including a critically acclaimed ten-year survey Laurel Nakadate: Only the Lonely at MoMA PS 1 in 2011. Her works are in the collections of The Museum of Modern Art; the Whitney Museum of American Art; the Cincinnati Art Museum; the Yale University Art Gallery; the Princeton University Art Museum; the Hessel Museum of Art at Bard College; the Museum of Modern Art, Warsaw; and other distinguished institutions. The artist has also received widespread acclaim for two feature-length films, Stay the Same Never Change, which premiered at the 2009 Sundance Film Festival, and The Wolf Knife (2010), which was nominated for Gotham and Independent Spirit Awards and was the featured work in The Believer Magazine’s 2012 annual film issue. Works by Laurel Nakadate will also appear in In the Heart of the Country, at the Museum of Modern Art, Warsaw, Poland (opening May 14, 2013), and Damage Control: Art and Destruction Since 1950 at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (October 24 – February 9, 2014).
Leslie Tonkonow Artworks + Projects is located on the sixth floor of 535 West 22nd Street, between Tenth and Eleventh Avenues. Gallery hours are 10:00 am to 6:00 pm.
Chelsea 535 West 22nd Street, 6th Floor, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-255-8450 info@tonkonow.com
Opening Saturday May 11, 2013
Christian Holstad: The Book of Hours With Sound Installations by Martin Maugeais Andrew Kreps Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 22, 2013 www.andrewkreps.com
The Andrew Kreps gallery is pleased to present The Book of Hours, Christian Holstad’s first solo exhibition with the gallery, which will feature sculpture, installation and drawings in an immersive installation. Enhanced by sound works by Martin Maugeais the show takes as its point of departure the religious devotionals of the same name.
Books of Hours are often characterized as the “bestseller” of the Middle Ages. The most famous of these religious books were richly decorated with gilding and inks made with pigments of ground precious stones. These books were commissioned by the upper class and were meant to occupy ones time absorbing the reader in the rich and layered visual illustrations of the texts of Christianity. They were named for the time spent pouring through them perhaps in the same way a reader might pour over a morning newspaper. Both documents act as a snapshot of the time in which they were created but differ in their purpose. The Book of Hours promotes the rejection and/or suppression of natural desires as a path of religious enlightenment. In contrast, it could be seen that a contemporary newspaper is filled with stories that are the result of this same rejection of nature that have ultimately lead to spiritual erasure and ecological degradation.
Mirroring street scenes around him through inexplicably crafted soft sculptures Christian depicts this disconnect from nature in a contemporary capitalist society. Discarded diapers both infant and adult lay discarded in a corner with an abandoned stroller - a tree stump emerging from a cobblestoned patch of dirt is hovered over by it’s own amputated trunk grown through an electrical wire and hordes of bees crashing out of the sky in a death fall present the perversity of our contemporary reality with harrowing beauty.
It is this beauty – and the process of the creation of the hand-made environments and their respective monsters that give some accidental hope to these scenes with piles of feces topped with shrimp lovingly sewn of millinery thread and sequins. Sounds of harpsichord and organ emanate from within - the chords of which are derived from the accidental aural events that Martin Maugeais recorded in his daily early morning attempts at a perfect tone giving the scene a Baroque-like backdrop and bringing together the layers of the contemporary Book of Hours.
Christian Holstad has had solo shows at Kunsthalle Zurich, Museum of Contemporary Art Miami, PS1, New York, and has been included in group shows at San Francisco Museum of Modern Art, Indianapolis Museum of Art, Indianapolis, The Power Plant, Toronto, Kunsthalle Düsseldorf, MoMA, New York, The Whitney Museum of American Art and the New Museum, New York.
Martin Maugeais lives and works in Paris and New York. He studied computer programming, musical composition and visual music at the University of Paris 8 (Saint-Denis) and completed a Masters degree in in 2012. His practice includes music composition (both instrumental and digital), sound installations, and performing with bands Femme Fractale and The General Society.
Chelsea 525 West 22nd Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
grady@andrewkreps.com
Editor's Pick
LIMINAL SQUARED Julie Mehretu Marian Goodman Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 22, 2013 www.mariangoodman.com
Marian Goodman Gallery is very pleased to present our first major solo exhibition by Julie Mehretu.
LIMINAL SQUARED will be the inaugural exhibition of Julie Mehretu’s work in our New York space. The show will open on May 11th and continue through June 22, 2013.
A series of new paintings will be on view as well as a suite of five new etchings. The works were created over the past three years in New York in the aftermath of events of the Arab Spring which were the point of departure for the monumentally scaled MOGAMMA (In Four Parts), 2012, recently presented at Documenta (13), 2012, Kassel. They follow a group exhibition “In Praise of Doubt” at Punta dell Dogana, Venice in 2011; and a recent presentation of her Mind Breath and Beat Drawings at our Paris space in January-March 2013.
Julie Mehretu’s paintings are structured through layers of clear acrylic, architectural tracings, drawing, ink, graphite, erasure and mark-making. The works are built up in stages with additive elements generating, erasing, or re-inscribing the previous. Culled from archival sources, with architectural structures serving as a foundation for her renderings--- from ancient city plans, civic buildings, urban designs, public squares, tombs, palaces, ruins – the paintings combine meticulous graphic drawing with spontaneous gesture. Mehretu begins with the premise of architecture as a medium of social history and power and proceeds to imagine a new present, a fictional topography realized through a formal vocabulary of line, color, gesture, markings, grids, characters, swarms, blurs, washes, which are overlaid and stratified on the surface of the canvas. In exploring palimpsests of history, from geological time to a modern day phenomenology of the social, the works engage us in a dynamic visual articulation of contemporary experience, a depiction of social behavior and the psychogeography of space. “I am interested in ways to picture or map [civilization] … weaving in and out of functioning, resistance, understanding.”1 “I am interested in the potential of ‘psychogeographies’, which suggests that within an invisible and invented creative space the individual can tap a resource of self-determination and resistance. […] This impulse is a major generating force in my drawing and my larger conceptual project as a painter.”2
Her meditation on subject matter, whether a spontaneous uprising in a revolutionary square, an algorithm of behavior of the everyday workplace, or post-human culture as it mutates towards the machine, is mirrored in a complex and personal lexicon of painting, a uniquely individual language that ruminates, in a mimetic way, on the swarming, morphing cosmology that is our historical moment, ever persistent in its process of becoming, ever mutating on a precipice of change.
It is in this space of the liminal – literally, threshold – the stage of standing on the verge between one’s previous way of structuring identity, time, or community and a new way-- that her new body of work has developed. In the new works, one witnesses the exploration of a new language of abstraction, embracing entropy, resistance, and the imperatives of social agency as they coalesce towards the inchoate nexus of collective history.
As TJ Demos writes in a forthcoming essay, “Painting and Uprising: Julie Mehretu’s Third Space”, “The paintings’ system of architectural drawings, the various marks and vectors, in this sense, don’t map out a single space, geopolitical context, revolutionary history, or continuous surface, and they don’t propose an image of a coherent spatiotemporal location. Rather, they construct what Mehretu herself calls a “third space,” a term that provocatively designates the visual relations between architecture and gesture, between representation and abstraction, a relationality that remains productively uncertain….. Mehretu’s is no neo-Futurist attempt to portray the vitalism of urban space. Instead these are visualizations that open up a third space of potentiality…. the various elements—multitudes, architectures, revolutionary histories, lines of flight—take on indeterminate relations to one another, where there is no shared or unified temporality, and similarly no predictability or final determination. Their resolution remains a future potential but present impossibility.
In the North Gallery, Invisible Sun (algorithm), 2012, a large canvas on a black ground, points to an emergent abstract language of mark making in Mehretu’s recent work. Similarly, Chimera, 2013 having evolved from, as the artist says “a place of retreat”, reveals projections of the ruins of a palace traced and then embedded in an acrylic surface with ink renderings. The Round City, Hatshepsut, 2013, contains architectural traces of Baghdad itself–its title referring to the historical name given to the city in ancient maps. Ra 2510, 2013 juxtaposes a hybrid of ancient and futurist, its underpinnings ranging from the Gates of Babylon to modernist architecture and stadia; a panorama of clusters, points, vectors, erasure, and ink marks above. Insile, 2013 built up from a poignant photo image of Believer’s Palace amid civilian buildings, activates its surface with painterly ink gestures, blurring and effacing the ruins beneath. Fever graph (algorithm for serendipity), 2013 whose title borrows from technology’s ability to artificially intuit human behavior, invokes the refuse of the past amid an energy of emergence, presenting a white surface on which intense colors, stains, dyes are smeared and immersed into an armature of urban plans of Cairo’s Tahrir Square. Co-Evolution of the Futurhyth Machine (after Kodwo Eshun), 2013 with its vibrant color and sharp geometric lines covering layers of ink that seemingly melt downwards, contains a foundation of iconic buildings: floor patterns of mosques as part of its tracings, suggesting a persistent tension between the path of the ceremonial and the futurist.
In the South Gallery, Beloved (Cairo), 2013 with its mirror-image and rotating perspective, Cairo on the right and the Nile at left, takes Tahrir Square-- site of tradition, diplomacy, and protest as its subject. Cairo, home of the Omar Makram Mosque, Zamalek, Mogamma, Heliopolis, Avenue of Martyrs, Hilton Hotel, and Egyptian Museum, with the el Tahrir Palace inverted, its iconic structures falling from the vestiges of the canvas, intersecting with voids and areas within.
Concurrent with our exhibition, MOGAMMA (A Painting in Four Parts) and other recent works will be presented in a partner exhibition across the Atlantic, at White Cube Bermondsey, London.
A catalogue Liminal Squared, with color reproductions and essays by TJ Demos and Tacita Dean, will be published this summer, on the occasion of the joint exhibitions at Marian Goodman Gallery and White Cube.
Julie Mehretu was born in 1970 in Addis Ababa, Ethiopia and raised in Michigan, USA. She studied at Kalamazoo College in Michigan (BA, 1992) and at the Université Cheikh Anta Diop in Dakar, Senegal (1990–91). She received an MFA in painting and printmaking from the Rhode Island School of Design in 1997. Mehretu has participated in numerous international exhibitions and biennials and has received international recognition for her work, including, in 2005, the American Art Award from the Whitney Museum of American Art, New York, and the prestigious MacArthur Fellows award. In 2009 and 2010 Mehretu exhibited a cycle of large paintings in Julie Mehretu: Grey Area at the Deutsche Guggenheim Berlin, which then travelled to the Solomon R. Guggenheim Museum in New York.
Please join us at our opening reception for the artist on Saturday May 11th from 6-8 pm.
For further information, please contact the Gallery at 212 977 7160.
1. «Looking back : E-mail Interview between Julie Mehretu and Olukemi Ilesanmi» in Julie Mehretu: Drawing into Painting (Minneapolis: Walker Art Center, 2003), p. 13.
2. Ibid p. 14.
Midtown 24 West 57th Street, New York NY, 10019 Monday - Saturday from 10:00 AM to 6:00 PM
212-977-7160 goodman@mariangoodman.com
Opening Saturday May 11, 2013
Julie Mehretu
LIMINAL SQUARED Julie Mehretu Marian Goodman Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 22, 2013 www.mariangoodman.com
Marian Goodman Gallery is very pleased to present our first major solo exhibition by Julie Mehretu.
LIMINAL SQUARED will be the inaugural exhibition of Julie Mehretu’s work in our New York space. The show will open on May 11th and continue through June 22, 2013.
A series of new paintings will be on view as well as a suite of five new etchings. The works were created over the past three years in New York in the aftermath of events of the Arab Spring which were the point of departure for the monumentally scaled MOGAMMA (In Four Parts), 2012, recently presented at Documenta (13), 2012, Kassel. They follow a group exhibition “In Praise of Doubt” at Punta dell Dogana, Venice in 2011; and a recent presentation of her Mind Breath and Beat Drawings at our Paris space in January-March 2013.
Julie Mehretu’s paintings are structured through layers of clear acrylic, architectural tracings, drawing, ink, graphite, erasure and mark-making. The works are built up in stages with additive elements generating, erasing, or re-inscribing the previous. Culled from archival sources, with architectural structures serving as a foundation for her renderings--- from ancient city plans, civic buildings, urban designs, public squares, tombs, palaces, ruins – the paintings combine meticulous graphic drawing with spontaneous gesture. Mehretu begins with the premise of architecture as a medium of social history and power and proceeds to imagine a new present, a fictional topography realized through a formal vocabulary of line, color, gesture, markings, grids, characters, swarms, blurs, washes, which are overlaid and stratified on the surface of the canvas. In exploring palimpsests of history, from geological time to a modern day phenomenology of the social, the works engage us in a dynamic visual articulation of contemporary experience, a depiction of social behavior and the psychogeography of space. “I am interested in ways to picture or map [civilization] … weaving in and out of functioning, resistance, understanding.”1 “I am interested in the potential of ‘psychogeographies’, which suggests that within an invisible and invented creative space the individual can tap a resource of self-determination and resistance. […] This impulse is a major generating force in my drawing and my larger conceptual project as a painter.”2
Her meditation on subject matter, whether a spontaneous uprising in a revolutionary square, an algorithm of behavior of the everyday workplace, or post-human culture as it mutates towards the machine, is mirrored in a complex and personal lexicon of painting, a uniquely individual language that ruminates, in a mimetic way, on the swarming, morphing cosmology that is our historical moment, ever persistent in its process of becoming, ever mutating on a precipice of change.
It is in this space of the liminal – literally, threshold – the stage of standing on the verge between one’s previous way of structuring identity, time, or community and a new way-- that her new body of work has developed. In the new works, one witnesses the exploration of a new language of abstraction, embracing entropy, resistance, and the imperatives of social agency as they coalesce towards the inchoate nexus of collective history.
As TJ Demos writes in a forthcoming essay, “Painting and Uprising: Julie Mehretu’s Third Space”, “The paintings’ system of architectural drawings, the various marks and vectors, in this sense, don’t map out a single space, geopolitical context, revolutionary history, or continuous surface, and they don’t propose an image of a coherent spatiotemporal location. Rather, they construct what Mehretu herself calls a “third space,” a term that provocatively designates the visual relations between architecture and gesture, between representation and abstraction, a relationality that remains productively uncertain….. Mehretu’s is no neo-Futurist attempt to portray the vitalism of urban space. Instead these are visualizations that open up a third space of potentiality…. the various elements—multitudes, architectures, revolutionary histories, lines of flight—take on indeterminate relations to one another, where there is no shared or unified temporality, and similarly no predictability or final determination. Their resolution remains a future potential but present impossibility.
In the North Gallery, Invisible Sun (algorithm), 2012, a large canvas on a black ground, points to an emergent abstract language of mark making in Mehretu’s recent work. Similarly, Chimera, 2013 having evolved from, as the artist says “a place of retreat”, reveals projections of the ruins of a palace traced and then embedded in an acrylic surface with ink renderings. The Round City, Hatshepsut, 2013, contains architectural traces of Baghdad itself–its title referring to the historical name given to the city in ancient maps. Ra 2510, 2013 juxtaposes a hybrid of ancient and futurist, its underpinnings ranging from the Gates of Babylon to modernist architecture and stadia; a panorama of clusters, points, vectors, erasure, and ink marks above. Insile, 2013 built up from a poignant photo image of Believer’s Palace amid civilian buildings, activates its surface with painterly ink gestures, blurring and effacing the ruins beneath. Fever graph (algorithm for serendipity), 2013 whose title borrows from technology’s ability to artificially intuit human behavior, invokes the refuse of the past amid an energy of emergence, presenting a white surface on which intense colors, stains, dyes are smeared and immersed into an armature of urban plans of Cairo’s Tahrir Square. Co-Evolution of the Futurhyth Machine (after Kodwo Eshun), 2013 with its vibrant color and sharp geometric lines covering layers of ink that seemingly melt downwards, contains a foundation of iconic buildings: floor patterns of mosques as part of its tracings, suggesting a persistent tension between the path of the ceremonial and the futurist.
In the South Gallery, Beloved (Cairo), 2013 with its mirror-image and rotating perspective, Cairo on the right and the Nile at left, takes Tahrir Square-- site of tradition, diplomacy, and protest as its subject. Cairo, home of the Omar Makram Mosque, Zamalek, Mogamma, Heliopolis, Avenue of Martyrs, Hilton Hotel, and Egyptian Museum, with the el Tahrir Palace inverted, its iconic structures falling from the vestiges of the canvas, intersecting with voids and areas within.
Concurrent with our exhibition, MOGAMMA (A Painting in Four Parts) and other recent works will be presented in a partner exhibition across the Atlantic, at White Cube Bermondsey, London.
A catalogue Liminal Squared, with color reproductions and essays by TJ Demos and Tacita Dean, will be published this summer, on the occasion of the joint exhibitions at Marian Goodman Gallery and White Cube.
Julie Mehretu was born in 1970 in Addis Ababa, Ethiopia and raised in Michigan, USA. She studied at Kalamazoo College in Michigan (BA, 1992) and at the Université Cheikh Anta Diop in Dakar, Senegal (1990–91). She received an MFA in painting and printmaking from the Rhode Island School of Design in 1997. Mehretu has participated in numerous international exhibitions and biennials and has received international recognition for her work, including, in 2005, the American Art Award from the Whitney Museum of American Art, New York, and the prestigious MacArthur Fellows award. In 2009 and 2010 Mehretu exhibited a cycle of large paintings in Julie Mehretu: Grey Area at the Deutsche Guggenheim Berlin, which then travelled to the Solomon R. Guggenheim Museum in New York.
Please join us at our opening reception for the artist on Saturday May 11th from 6-8 pm.
For further information, please contact the Gallery at 212 977 7160.
1. «Looking back : E-mail Interview between Julie Mehretu and Olukemi Ilesanmi» in Julie Mehretu: Drawing into Painting (Minneapolis: Walker Art Center, 2003), p. 13.
2. Ibid p. 14.
Midtown 24 West 57th Street, New York NY, 10019 Monday - Saturday from 10:00 AM to 6:00 PM
212-977-7160 goodman@mariangoodman.com
Editor's Pick
Valori Plastici Jesse Chapman, Jennifer Paige Cohen, Kristen Jensen, Jill Mason and Adam Putnam Nicelle Beauchene Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 09, 2013 - June 09, 2013 www.nicellebeauchene.com
Nicelle Beauchene Gallery is pleased to present Valori Plastici, a group exhibition that brings the tradition of Pittura Metafisica into a contemporary context through painting, sculpture, installation and photography. Borrowing its title from a Roman magazine, this exhibition includes work by Jesse Chapman, Jennifer Cohen, Kristen Jensen, Jill Mason, and Adam Putnam.
Known for the paintings of Giorgio de Chirico and Carlo Carrá, Pittura Metafisica was a short-lived movement that served as a predecessor to surrealism and a reaction to the extreme avant-garde of the early 1900’s. Influenced by Nietzsche’s theories of eternal return, De Chirico and Cará attempted to access a mysterious ‘true reality’ in their work, masked by the experience of the banal. The strange, evocative paintings of this movement evoked a sense of dislocation between past and present and the individual subject and their inhabited space.
Jesse Chapman’s paintings are contextually elusive, yet characterized by recognizable iconography. Fictive spaces play host to ambiguous, expressionless figures while rituals are performed between the animate and inanimate. These oneiric territories become governed by sharp contrasts of light and shadow that come together with time, to slowly reveal the disjointed strangeness of the human experience.
Jennifer Paige Cohen's sculptures contain a corporeal material presence where implied movement becomes static through the transformation in her process. By incorporating textiles and personal effects (sweaters, pants and other remnants) into the work carnal structures emerge, yet only an underlying shape of the figure remains.
Kristen Jensen creates introspective relationships between material and form in her sculptural objects. The immediate and seductive physicality of the materials gives way to evocative representations of every day objects. The relationships that develop between the forms offer literary clues suggesting an unfolding, shifting narrative that magnifies one's perception and asks for careful attention.
Following an incongruous internal logic, the objects depicted in Jill Mason’s paintings are invested with anthropomorphic qualities that are at once awkward and mutable. Painted in saccharine pinks, blues and browns, the most abstract of her pictoral elements develops personality, inhabiting a sort of spare parts world that is at once surreal, bathetic and whimsically abstract.
Considering the twin dimensions of space and memory, Adam Putnam’s recent work explores the boundary between exterior and interior spaces. Arches, columns and other follies are constructed from the barest of essentials in the hope of traversing the threshold between both a perceived and psychological experience of architecture.
For further information please contact Cary Potter at cary@nicellebeauchene.com
Gallery hours are Wed-Sun from 11-6pm or by appointment
The East Village / Lower East Side 327 Broome Street (between Bowery & Chrystie), New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-375-8043 cary@nicellebeauchene.com
Opening Saturday May 11, 2013
Jill Mason, One More Night, 2012, Oil on linen, 15 3/4 x 17 3/4 inches
Valori Plastici Jesse Chapman, Jennifer Paige Cohen, Kristen Jensen, Jill Mason and Adam Putnam Nicelle Beauchene Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 09, 2013 - June 09, 2013 www.nicellebeauchene.com
Nicelle Beauchene Gallery is pleased to present Valori Plastici, a group exhibition that brings the tradition of Pittura Metafisica into a contemporary context through painting, sculpture, installation and photography. Borrowing its title from a Roman magazine, this exhibition includes work by Jesse Chapman, Jennifer Cohen, Kristen Jensen, Jill Mason, and Adam Putnam.
Known for the paintings of Giorgio de Chirico and Carlo Carrá, Pittura Metafisica was a short-lived movement that served as a predecessor to surrealism and a reaction to the extreme avant-garde of the early 1900’s. Influenced by Nietzsche’s theories of eternal return, De Chirico and Cará attempted to access a mysterious ‘true reality’ in their work, masked by the experience of the banal. The strange, evocative paintings of this movement evoked a sense of dislocation between past and present and the individual subject and their inhabited space.
Jesse Chapman’s paintings are contextually elusive, yet characterized by recognizable iconography. Fictive spaces play host to ambiguous, expressionless figures while rituals are performed between the animate and inanimate. These oneiric territories become governed by sharp contrasts of light and shadow that come together with time, to slowly reveal the disjointed strangeness of the human experience.
Jennifer Paige Cohen's sculptures contain a corporeal material presence where implied movement becomes static through the transformation in her process. By incorporating textiles and personal effects (sweaters, pants and other remnants) into the work carnal structures emerge, yet only an underlying shape of the figure remains.
Kristen Jensen creates introspective relationships between material and form in her sculptural objects. The immediate and seductive physicality of the materials gives way to evocative representations of every day objects. The relationships that develop between the forms offer literary clues suggesting an unfolding, shifting narrative that magnifies one's perception and asks for careful attention.
Following an incongruous internal logic, the objects depicted in Jill Mason’s paintings are invested with anthropomorphic qualities that are at once awkward and mutable. Painted in saccharine pinks, blues and browns, the most abstract of her pictoral elements develops personality, inhabiting a sort of spare parts world that is at once surreal, bathetic and whimsically abstract.
Considering the twin dimensions of space and memory, Adam Putnam’s recent work explores the boundary between exterior and interior spaces. Arches, columns and other follies are constructed from the barest of essentials in the hope of traversing the threshold between both a perceived and psychological experience of architecture.
For further information please contact Cary Potter at cary@nicellebeauchene.com
Gallery hours are Wed-Sun from 11-6pm or by appointment
The East Village / Lower East Side 327 Broome Street (between Bowery & Chrystie), New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-375-8043 cary@nicellebeauchene.com
Opening Saturday May 11, 2013
Image: Lucas Blalock, "Log Lady," 2013, Chromogenic print, 53.5 x 42 inches.
B.B.S.Q. Math Bass, Lucas Blalock, Michael Queenland and Andreas Slominski Wallspace Opening Saturday May 11, 2013, from 6:00 PM to 9:00 PM On View May 11, 2013 - June 22, 2013 www.wallspacegallery.com
Wallspace is pleased to present B.B.S.Q., a group exhibition that brings together the work of Math Bass, Lucas Blalock, Michael Queenland and Andreas Slominski. The title and spirit of the exhibition play on (and nod to) Duchamp’s L.H.O.O.Q., engaging with notions of the readymade, the body and the often surreal and absurd spaces in between. Furthermore, all of these works evince a studied exploration of the thresholds of their mediums, pushing against the edges as both a strategy of discovery and a locus of meaning.
Math Bass lives and works in Los Angeles. Bass received a BFA at Hampshire College, Amherst, MA and an MFA from UCLA, Los Angles, CA. Recent exhibitions include P&Co., Thomas Duncan Gallery, Los Angeles, CA (2013); This Is It With It As It Is, Lora Reynolds Gallery, Austin, Texas (2012); Dogs and Fog, Overduin and Kite, Los Angeles, CA (2011); riDYKEu-lous HITS BOTTOM, Leo Koening Inc. Projekte, New York, NY (2009); The Way That We Rhyme, Yerba Buena Center for the Arts, San Francisco, CA (2009).
Lucas Blalock (b. 1978) lives and works in Los Angeles and New York. Blalock will finish a master’s degree at UCLA this spring. Recent exhibitions include a solo exhibition at White Cube, London opening this month; New Pictures of Common Objects, MoMA PS1, New York, NY (2012); Second Nature: Abstract Photography Then and Now, DeCordova Sculpture Park and Museum, Lincoln, MA (2012); Towards a Warm Math, curated by Chris Wiley, On Stellar Rays, New York, NY (2012). He is represented by Ramiken Crucible, New York, and will have a second solo exhibition there in the fall.
Michael Queenland (b. 1970) lives and works in New Haven, CT, where he is assistant professor of sculpture at Yale University Graduate School of Art. Recent exhibitions include, Rudy’s Ramp of Remainders, curated by Jeffrey Uslip, Santa Monica Museum of Art, Santa Monica, CA (2012); Whitney Biennial, Whitney Museum of American Art, New York, NY (2008); Nina in Position, Artists Space, New York, NY (2008); The MORL or NYC-Apartment, LA>
Andreas Slominski (b. 1959) lives and works in Hamburg, Germany. Recent exhibitions include Sperm, Metro Pictures, New York, NY (2012), Galerie Neue, Berlin, Germany (2012), Ecce Homo, Galerie Neue, Berlin, Germany (2012); Oeuvres Récentes, Galerie Thaddeus Ropac, Paris, France (2012) Sadie Coles HQ, London, UK(2011); Morality: Power Alone, Witte de With Center for Contemporary Art, Rotterdam, Netherlands (2010); Moby Dick, CCA Wattis Institute for Contemporary Art, San Francisco, CA (2009); Red Sand and a Happy New Year, Museum Boijmans van Beuningen, Rotterdam, Netherlands (2007).
A special thanks to Overduin & Kite, Ramiken Crucible, Marlborough Chelsea and Metro Pictures for their generous collaboration. For further information or for images, please contact Nichole Caruso, nichole@wallspacegallery.com.
Chelsea 619 West 27 Street, New York NY, 10001 212-594-9478 info@wallspacegallery.com
Opening Saturday May 11, 2013
MARTIAL RAYSSE Luxembourg & Dayan Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - July 13, 2013 www.luxembourgdayan.com
For Immediate Release
Media Contact: Andrea Schwan, Andrea Schwan Inc.
+1 917 371.5023 info@andreaschwan.com
RARE EARLY WORKS BY FRENCH ARTIST
MARTIAL RAYSSE TO GO ON VIEW IN NEW YORK CITY
MAY 11 – JULY 13, 2013
OPENING RECEPTION – Saturday May 11, 6-8 PM
New York...In spite of his vital contributions to the European Neo-Avant-Garde, French artist Martial Raysse has been conspicuously under-represented in American art critical discourse. He is perhaps best known for early vivid paintings that appropriate images from advertisements, fashion magazines and familiar art masterpieces. With his signature palette of hyper-saturated colors and his unconventional incorporation of found objects and neon tubing on the surface of canvases, Raysse has been viewed until now through the lens of American Pop art – an altogether inadequate perspective on a seminal postwar artist who departed from Pop’s optimism and fascination with celebrity culture to introduce fresh, albeit disturbing, suggestions of real human confusion and growth behind the shiny surface of all things new.
Beginning May 11th 2013, Luxembourg & Dayan will present Martial Raysse: 1960 – 1974, the first U.S. exhibition in four decades devoted to this compelling figure. On view will be a group of rare early works by Raysse, including assemblages, paintings, sculptures and experimental films made during the first fifteen years of his career. The gallery will present an example of Raysse’s first Nouveau Réaliste assemblage objects from 1960; a selection of painterly depictions of iconic female beauty; and several poetic works from his much-mythologized ‘Coco Mato’ exhibition of 1974. Through these objects, Luxembourg & Dayan will look beyond the old characterizations of Raysse to investigate more thoroughly the aesthetic and conceptual ruptures that typify the artist’s practice.
Martial Raysse: 1960 – 1974 will remain on view through July 13th. It will be accompanied by the first English language catalogue devoted to the artist in more than 40 years and will include texts by Otto Hahn, Alison Gingeras, and Anaël Pigeat. Designed by Joseph Logan, the catalogue will feature previously unpublished archival material from the 1960s.
Martial Raysse was born into a family of ceramists in Vallauris in the South of France. From a young age, mass-produced materials, particularly plastic, fascinated him. An exhibiting artist by the end of the 1950s, Raysse developed what became known as his “hygiène de la vision” characterized by an intensive focus on consumer society. “I wanted my works to possess the serene self-evidence of mass-produced refrigerators… to have the look of new, sterile, inalterable visual hygiene,” he wrote. “Life is horrible. It’s evident that we are going to die. Thus we become even closer accomplices of all that bares within itself the seed of death… to use this as a means of arousing emotion is what I term speculation on cellular decay.”
By the mid-60s, Raysse had become critical of the conclusive discourse around Pop Art, with its Warhol Marilyns and upbeat shine. Considering that prevailing style to be a superficial codification of beauty, celebrating “idols not icons,” he responded with a parallel art in which the icy beauty of mechanically produced images and objects functioned as the central concern. In Raysse’s sanitized tableaux, the detritus of life in the commercial world is scrubbed, bleached, lit with neon and reconstituted. Acid-colored women and gleaming surfaces are vacuum-sealed inside flashing plastic obelisks built not to deify the past but to convey the troubling neutrality of the department store specialty counter.
Martial Raysse’s proto-Pop paintings and sculptures of this decade focused primarily upon the physical alterations he made to existing images of women, mostly anonymous models found in readily available fashion publications and ads (and, frequently, snapshots of his own wife France). In these early paintings Raysse obsessively examined the possibility of accessing beauty through artifice. His surfaces were alternately degraded and exaggerated, enlarged and cropped; their visual syntax was reframed or reordered in a way that rendered each resulting composition simultaneously more and less “real.” Martial Raysse: 1960 – 1974 will include several examples of such works.
The exhibition also features two of Raysse’s reprisals of iconic masterpieces, selections from the group of works known informally as his ‘Made in Japan’ series. Appropriating canvases by such figures as Ingres, Cranach, Gérard and Tintoretto, Raysse deployed photomontage, assemblage, neon and a garish palette to deform and degrade cherished emblems of high culture. The result is art that illustrates aphorisms Raysse was known to pronounce during this period. “One must push this falseness to its limit,” he declared. “Bad taste is the dream of too much wanted beauty.”
By the end of the 1960s and in tandem with his painting practice, Raysse began to make experimental films, some of which were projected on the surface of his pictorial compositions. Luxembourg & Dayan will screen five of these works as part of Martial Raysse: 1960 – 1974, including ‘Jesus Cola’ and ‘Homero Presto.’ They embody the spirit of the 1960s and dovetail with the art Raysse was making at the time of the French student protests of 1968 – a moment when shifting politics inexorably altered the formal trajectory of his career. Having lived in New York City for much of the previous decade, Raysse returned to Paris in 1968 to join the protestors at the Ecole des Beaux Arts, where he began working collectively on posters and propaganda connected to workers’ movements. His well-known Coco Mato works emerged as the direct result of the artist’s circumstances and radicalization.
In 1974, the Coco Mato “things” (Raysse prefers the word to more codified terms such as “sculpture”) were shown in an exhibition organized by the artist’s brother in a temporary space rented on Paris’s rue du Dragon. Taking their name from the Italian designation for red and white spotted mushrooms that have a hallucinatory and aphrodisiac effect, the Coco Mato things were precarious constructions made of paper mâché and such found objects as string, feathers, beads, clothespins, bits of plastic, and other shamanistic materials. Simplistic and aesthetically naïve, these works testify to Raysse’s ongoing investigation of the fragile relationship between nature and culture. With the deceptively benign painted mushroom confabulation ‘Le Sage sur le champignon’ (1970), and the delicate feather-and-light bulb wall piece ‘La Ligne’ (1973), the exhibition at Luxembourg & Dayan reveals an artist concertedly attempting to reassert humanistic ideals in the face of consumer society.
For additional information, or to request an exhibition checklist or publication quality images, please contact info@andreaschwan.com.
The Upper East Side 64 East 77th Street, New York NY, 10075 Tuesday - Saturday from 10:00 AM to 5:00 PM
212-452-4646
Opening Saturday May 11, 2013
Diamond Crossing Marianne Vitale Zach Feuer Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 15, 2013 www.zachfeuer.com
Zach Feuer Gallery is pleased to present Diamond Crossing, a new sculpture by Marianne Vitale composed of decommissioned manganese steel railroad tracks in the form of a dramatic junction.
The dominating intersection, extending from the center of the space, creates a wall-to-wall iconic X, obliging visitors to walk, or trip, over the heavy lines in order to see the work from different vantages. The rails are set on severed 2x4s, creating an ominous shadow line, imposing an incongruous lightness to the five tons of steel.
Diamond Crossing expands on Vitale’s established preoccupation with mining archetypal relics of the American frontier - its history and mythology as well as the hysterics associated with Westward Expansion as the country shifted from an agrarian culture to an industrial society. Recent works include sculptures out of reclaimed lumber that recall burned bridges, tombstones, outhouses and false fronts. As the railroad was essential to the development of this Wild West and crucial in the industrialization of the country, Diamond Crossing, through the mirror of this past, confronts the anxiety and predilections of contemporary culture.
The minimalist geometries found in Vitale’s recent reclaimed lumber sculptures are brought to the fore in Diamond Crossing. The sculpture’s formal elegance is countered by the material, which is left untreated, bearing rust, rail stamps and handwritten markings. The repurposed rails, which are loaded with history and have art historical precedent, provide a set of new formal challenges to the artist – the least of which is weight.
Metaphor continues to play a key role in Vitale’s work as well. X marks the spot. Both a dominating symbol and generic marking, X represents the unknown. It cancels out the gallery space, conjures up ideas of crossroads or meeting point as well as confronts us with a dissected narrative.
Marianne Vitale (b. 1973) graduated in 1996 from the School of Visual Arts, New York. Her work has been featured in exhibitions at the Whitney Museum of American Art, The Kitchen, White Columns, the Brooklyn Museum, Anthology Film Archives; and international venues such as Le Confort Moderne, France; Tensta Konsthall, Sweden; UKS, Norway; Cass Foundation, London; Contemporary Art Center of Vilnius, Lithuania. Upcoming projects include a Frieze Projects/New York commission; a solo exhibition of new work at Kunstraum Innsbruck opening in September and a Performa New York commission in November.
Chelsea 548 West 22nd Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-989-7700 info@zachfeuer.com
Opening Saturday May 11, 2013
Rossella Biscotti, "The Trial," 2011. Keys taken from the high-security courthouse in Foro Italico, Rome.
The Trial Rossella Biscotti e-flux Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - July 20, 2013 www.e-flux.com
On April 7, 1979, a number of militants and intellectuals, formerly members of Potere Operaio (Workers Power) and Autonomia Operaia, were arrested across Italy on charges of terrorism. They were accused of being leaders of the armed organization the Red Brigades, and for the kidnap and execution of Aldo Moro. As head of the governing Christian Democratic Party, Moro was on the eve of successfully engineering a "historic compromise" between the Christian Democrats and the Italian Communist Party. Evidence to support the prosecution was, and remains unfounded, yet the majority of the prosecuted were held in preventative prison from 1979 until the trial's close in 1984. It is this 1982–84 trial that artist Rossella Biscotti takes as her point of departure for the performance and exhibition The Trial at e-flux.
The core of The Trial is a six-hour audio edit of the original courtroom recordings. Initiating the show on May 11 and 12 is a two-day simultaneous live translation of this sound piece from Italian to English. The act of translation is central to the exhibition, as both a transferral and an embodiment of the historical trial's language within the present time. Projected on the wall is a black and white silent film that traces a performance held in the high-security courthouse, designed by rationalist architect Luigi Moretti in 1934, in which the trials took place. Remnants taken from the courtroom, wooden benches and keys, are present in the exhibition, activating the history of the courthouse building. A series of red silkscreen prints are hung on the wall, and documentation of previous translation performances are on view. Over the course of the exhibition, Biscotti, Yates McKee, (co-editor of the magazine Tidal: Occupy Theory, Occupy Strategy), and special guests will co-facilitate a reading group devoted to the historical legacies of Autonomist Marxism relative to recent struggles including but not limited to those affiliated with Occupy.
The Trial must be situated within the period of social and political unrest experienced by Italy beginning with its rise in economic productivity following World War II. Before its dissolution in 1973, the Potere Operaio movement was influential in pushing for an alliance between the libertarian student protests of 1968 and the autonomous workers movement of 1969. This formed the backdrop against which Autonomia Operaia would emerge in the mid-1970s as a rhizomatic network of intellectuals throughout Italy. The thinkers of the Italian autonomia movement were the first to recognize a massive integration of labor, exploitation, and creativity that artists around the world continue to grapple with today. In unfurling a decisive moment in its history, Rossella Biscotti reminds us that our work still happens within a political project, even if its name is not apparent.
Rossella Biscotti was born in 1978 in Molfetta, Italy. She has had solo exhibitions at the CAC Vilnius (2012), Fondazione Galleria Civica di Trento (2010), and the Nomas Foundation, Rome (2009), and participated in group exhibitions at dOCUMENTA(13), Kassel (2012), Manifesta 9, Genk (2012), MAXXI National Museum for 21st Century Art, Rome (2010–11), Witte de With, Rotterdam (2010), and Museu Serralves, Porto (2010). Biscotti received the Premio Italia Arte Contemporanea Award in 2010. Biscotti will participate in the forthcoming Venice Biennial 2013 and has a solo exhibition at the Wiener Secession opening in July 2013.
Rossella Biscotti and e-flux would like to thank: Arianna Bove, Kevin van Braak, Danilo Correale, Kelman Duran, Chicco Funaro, Michel Hardt, Lily Lewis, Louis Luthi, Rossana Miele, Max Mosca, Timothy Murphy, Nick Mirzoeff, Toni Negri, Alessandra Renzi, Wilfried Lentz, Toon de Zoeten, all the defendants of the 7 April trial, and Radio Radicale for the original recordings.
For further information please contact laura@e-flux.com.
The East Village / Lower East Side 311 East Broadway, New York NY, 10002 Tuesday - Saturday from 12:00 PM to 6:00 PM
212-619-3356 laura@e-flux.com
Opening Saturday May 11, 2013
WILL LAUGHLIN + ERIC N. MACK Anna Kustera Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - May 25, 2013 www.annakustera.com
Chelsea 520 West 21st Street, Ground Floor, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-989-0082 info@annakustera.com
Opening Saturday May 11, 2013
SEER SCREENS Jared Clark MULHERIN + POLLARD Opening Saturday May 11, 2013, from 6:00 PM to 9:00 PM On View May 08, 2013 - June 09, 2013 www.mulherinpollard.com
"We used to live in the imaginary world of the mirror, of the divided self and of the stage, of otherness and alienation. Today we live in the imaginary world of the screen, of the interface and the reduplication of contiguity and networks. All our machines are screens. We too have become screens, and the interactivity of men has become the interactivity of screens. Nothing that appears on the screen is intended to be deciphered in depth, but actually to be explored instantaneously, in an abreaction immediate to meaning—or an immediate convolution of the poles of representation." –Jean Baudrillard
Mulherin + Pollard is pleased to present “Seer Screens,” an exhibition of new works by Jared Clark. Conjuring everything from the interwoven design and functionality of first generation iMacs to Jared C Jean Baudrillard’s notion of man as occupying an existence within an imaginary world of interactive screens, Clark examines the relationship and interplay of object and viewer, where each becomes a screen interfacing with one another and the resultant mirroring and reversal of roles becomes the site of polymorphous meaning.
Clark is primarily known for his Bilds, sculptures constructed with a three-dimensional collage-like sensibility from a wild array of found objects, manipulated materials, and assorted detritus. Like the Bilds, Seer Screens is another example of Clark's joyfully chaotic compositions but with a more restrained and almost minimalist sense of color & design. These luminescent Pop, day-glo, resin covered, faintly recognizable objects may be anything from Rubik’s Cubes to cermic ducks or bunnies. Clark accentuates the nature of their form and status as objects, rather than their original contexts as artifacts from pop culture or the everyday world.
These new works inhabit space on the floor or hover from affixed points on the wall like refugees from a Claes Oldenburg Store dipped into a delectable swirl of candy colors and transparent goo, innocently asserting and commenting on the formal qualities of paint and sculptural form while basking in the sheer delight of color, light, and objecthood.
Clark earned a BFA at Brigham Young University, Provo, UT, and holds an MFA from Virginia Commonwealth Univerity in Richmond, Virginia. His work has appeared in exhibitions throughout the United States including recent solo shows at the Salt Lake Arts Center, Salt Lake City, UT in the winter of 2011; the Virginia Museum of Contemporary Art in the spring of 2012, and at the VOLTA Art Fair in New York City with ADA Gallery, Richmond, Virginia thispast March. He has participated in residencies at the Kompact Living Space, Berlin, Germany (2008); Vermont Studio Center, Johnson, VT (2007); Art Omi, Omi, NY (2007), and was the recipient of numerous fellowships from the Virginia Museum (2006), the Dedalus Foundation, NY (2007), the Vermont Studio Center (2007), and the Utah Arts Council (2012).
Jared's work has been collected by Cindy Sherman & Knight Landesman ( & some other pretty cool people)
He is represented by ADA Gallery, Mulherin Pollard’s sister gallery in Richmond, Virginia
The East Village / Lower East Side 187 Chrystie Street, New York NY, 10002 Wednesday - Saturday from 12:00 PM to 6:00 PM
Sunday from 1:00 PM to 5:00 PM
212-967-0045 john@mulherinpollard.com
Opening Saturday May 11, 2013
Dreier Offerman Park, Brooklyn, 2010
Some New York Handball Courts Charlie Johnstone Julie Saul Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 09, 2013 - June 29, 2013 www.saulgallery.com
In the project gallery we will show Charles Johnstone for the first time with selections from his new monograph Some New York Handball Courts (2013.) A self-taught photographer and native New Yorker, Johnstone makes his documentary color photographs in the spirit of Hilla and Bernd Becher and Ed Ruscha, working serially with specific urban subjects. Through his photographs, the standard scale, demarcated lines and patinated surfaces of the handball courts are transformed into outdoor colorfield paintings. Johnstone's past projects include A Few Empty Pools (2012), Thirty-Four Basketball Courts (2008), New York Storefront Churches (2012), and Havana (2006). He has published limited edition artist's books for each project that are sold individually or provided to collectors when a print is acquired.
Johnstone and Svenson share the formalism of the urban grind in their respective series, one high above and the other firmly on the ground.
A book signing event with Svenson and Johnstone will be held at the conclusion of the shows.
Chelsea 535 West 22 Street, 6th Floor, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-627-2410 mail@saulgallery.com
Opening Saturday May 11, 2013
Endless Bummer II / Still Bummin' Lucas Ajemian, Alan Belcher, Phil Chang, John Divola, Brad Elterman, Ryan Foerster, Brendan Fowler, Jonah Freeman/Justin Lowe, Liam Gillick, Samara Golden, Mark Hagen, Joey Kotting, Liz Larner, Klara Liden, Christian Marclay, John Miller, Steven Parrino, Karin Sander, Paul Sietsema, Jim Skuldt, Emily Sundblad, Kaari Upson, James Welling and Eric Wesley Marlborough Chelsea Curated by Drew Heitzler and Jan Tumlir Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 29, 2013 www.marlboroughchelsea.com
Inherent Vice: Hidden defect (or the very nature) of a good or property which of itself is the cause of (or contributes to) its deterioration, damage, or wastage. Such characteristics or defects make the item an unacceptable risk to a carrier or insurer.
Marlborough Chelsea is pleased to present Endless Bummer II / Still Bummin’ a group exhibition curated by Drew Heitzler and Jan Tumlir. In the summer of 2010, Heitzler mounted Endless Bummer/Surf Elsewhere, a group exhibition at Blum & Poe in Los Angeles featuring a range of works that appeared to be celebrating some emblematic aspects of the Southern California lifestyle: sunshine, beaches, youth, beauty, conspicuous consumption, self-realization and ecstatic self-loss.
Endless Bummer was inspired in name by Bruce Brown’s 1966 surfing documentary, Endless Summer and by the genre of “Sunshine Noir” –specifically Thomas Pynchon’s 2009 novel Inherent Vice. The book foregrounds the element of impermanence and corruption that threatens all things in the legal terminology of inherent vice. Still Bummin’ is a sequel of sorts to Endless Bummer. The L.A.-centric focus of the first show will be blurred in favor of treating the topic of inherent vice more directly in relation to the physical properties of the artwork.
If a large part of the appeal of all commodities resides in perpetual newness – and one that we generally know to be a fantasy – then this would have to be especially true for art. At the same time, this only heightens awareness of the art’s vulnerability to destructive forces, what might be described as its existential dimension, which is also a source of its value. This paradox, inherent in the things that we covet, is represented in this exhibition through works that either represent a process of destruction or physically undergo that process.
Inherent vice points out the transience and mutability of all material. It asks us to acknowledge this process and to insure against it. The more fragile the object, the greater the risk it has and the costlier the insurance for it is. This is a relatively simple equation, but this exhibition is less about objective fragility than it is about the quasi- religious implications of the concept. Inherent vice is an object’s version of original sin, and this raises the question of whether this sin is to be found in the thing itself, in its substance or “nature,” or in the expectations we bring to it.
Artists Included: Lucas Ajemian, Alan Belcher, Phil Chang, John Divola, Brad Elterman, Ryan Foerster, Brendan Fowler, Jonah Freeman/Justin Lowe, Liam Gillick, Samara Golden, Mark Hagen, Joey Kotting, Liz Larner, Klara Liden, Christian Marclay, John Miller, Steven Parrino, Karin Sander, Paul Sietsema, Jim Skuldt, Emily Sundblad, Kaari Upson, James Welling, and Eric Wesley.
For more information please contact Vera Neykov at vera@marlboroughchelsea.com or 212-463-8634.
Chelsea 545 West 25th Street, New York NY, 10001 212-463-8634 vera@marlboroughchelsea.com
Opening Saturday May 11, 2013
Some Feelings, 1984, 1970 CARTER Marc Jancou Opening Saturday May 11, 2013, 6:00 PM On View May 11, 2013 - June 29, 2013 www.marcjancou.com
Midtown 24 West 57th Street, 6th Floor, New York NY, 10019 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-473-2100 info@marcjancou.com
Editor's Pick
Alicia McCarthy Alicia McCarthy Jack Hanley Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 09, 2013 www.jackhanley.com
Jack Hanley Gallery is pleased to present its fifth solo exhibition of works by San Francisco Bay Area artist, Alicia McCarthy.
Alicia McCarthy’s vivid works weave together color, pattern and occasional lyrical or understatedly profound phrases. The artist is a core figure of the Mission School, a movement beginning in the early 1990s in the Mission District of San Francisco. Her ever-honest artworks continue to evolve essential components of the School’s character.
The artist is drawn to the discarded. Digesting the city’s landscape, ambivalent everyday items sheared from their original intent are re-appropriated into intimate art objects. Abandoned wood is scouted, and repurposed as a foundation. McCarthy applies found house paint, colored pencil, liquid graphite and spray paint transforming recycled materials into paintings with a lively folk and punk aesthetic.
McCarthy lives and works in Oakland, California where she was born in 1969. Most recently, the artist was the recipient of the 2013 Artadia Award, San Francisco. She received her BFA from the San Francisco Art Institute in 1994 and also attended the Skowhegan School of Painting/Sculpture, Skowhegan, ME, and the New York Studio Program, New York, NY. In 2007 she received her MFA from the University of California, Berkeley.
McCarthy has exhibited her work in New York, California, and internationally and is the recipient of awards from the Headland Arts Center and New Langton Art in San Francisco, California.
For more information or images, please contact brandy@jackhanley.com.
The East Village / Lower East Side 327 Broome Street, New York New York, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
646-918-6824 brandy@jackhanley.com
Opening Saturday May 11, 2013
Alicia McCarthy Alicia McCarthy Jack Hanley Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 09, 2013 www.jackhanley.com
Jack Hanley Gallery is pleased to present its fifth solo exhibition of works by San Francisco Bay Area artist, Alicia McCarthy.
Alicia McCarthy’s vivid works weave together color, pattern and occasional lyrical or understatedly profound phrases. The artist is a core figure of the Mission School, a movement beginning in the early 1990s in the Mission District of San Francisco. Her ever-honest artworks continue to evolve essential components of the School’s character.
The artist is drawn to the discarded. Digesting the city’s landscape, ambivalent everyday items sheared from their original intent are re-appropriated into intimate art objects. Abandoned wood is scouted, and repurposed as a foundation. McCarthy applies found house paint, colored pencil, liquid graphite and spray paint transforming recycled materials into paintings with a lively folk and punk aesthetic.
McCarthy lives and works in Oakland, California where she was born in 1969. Most recently, the artist was the recipient of the 2013 Artadia Award, San Francisco. She received her BFA from the San Francisco Art Institute in 1994 and also attended the Skowhegan School of Painting/Sculpture, Skowhegan, ME, and the New York Studio Program, New York, NY. In 2007 she received her MFA from the University of California, Berkeley.
McCarthy has exhibited her work in New York, California, and internationally and is the recipient of awards from the Headland Arts Center and New Langton Art in San Francisco, California.
For more information or images, please contact brandy@jackhanley.com.
The East Village / Lower East Side 327 Broome Street, New York New York, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
646-918-6824 brandy@jackhanley.com
Opening Saturday May 11, 2013
ICONOCLASHES Erik Berglin and Clement Valla MULHERIN + POLLARD Opening Saturday May 11, 2013, from 6:00 PM to 9:00 PM On View May 08, 2013 - June 09, 2013 www.mulherinpollard.com
"As is well known from art historians and theologians, many sacred icons that have been celebrated and worshipped are called acheiropoiete; that is, not made by any human hand. Faces of Christ, portraits of the Virgin, Veronica's Veil; there are many instances of these icons that have fallen from heaven without any intermediary.To show that a humble human painter has made them would be to weaken their force, to sully their origin, to desecrate them."
-Bruno Latour, What is Iconoclash?, 2002
"Iconoclashes" are a clashing of objects in various time periods, in an assortment of cultures, representing a multiplicity of religions.
The starting point of these images is the Metropolitan Museum of Art's public web archive; specifically all photographs of objects tagged with the keywords 'God' or 'Religion.'
These source images were randomly grouped and digitally merged with a Photomerge script inside Adobe Photoshop. The script is a common algorithm used to stitch separate images together into longer panoramas. In the case of "Iconoclashes," the script attempts to blend these "God"-tagged images together, creating chimeric deities, hybrid talismans, and surreal stellae, gods and statues.
The "Iconoclashes" appear as a typical cataloging of a museum's archive. The Met Museum uses standards when photographing their archive- all objects are presented on a generic grey surface, with similar lighting and they all occupy the same percentage of the frame, regardless of scale. The "Iconoclashes" exploit this styling; the photomerge script works only because of this stylistic consistency.
Yet these are not typical museum images; these are not objects that could ever exist. The images are smooth and photoreal, but the space, the colors and the physics simply don't add up. Their strangeness is the product of an algorithm rather than a human creator.
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Erik Berglin is a Swedish artist with an MFA from the University of Photography in Gothenburg, Sweden. His practice spans from internventions in urban environments to fact/fictional storytelling about sad characters and forgotten stories to appropriation of images found online. His latest works have been exploring the possibilities to generate images with the help of computer algorithms. His work has been shown widely around Sweden and can be found in the collections of Gothenburg Museum and Hasselblad Center. His was recently published in Art and Theory's new book about Contemporary Swedish Photography. He lives in New York City.
Clement Valla is an artist, programmer and educator. His artworks explore computer programs, revealing the usually hidden processes, mechanisms and biases embedded in everyday algorithmic systems. He has collaborated with a number of artists, architects, designers, scientists and archaeologists, developing novel uses for digital technologies. His work has been exhibited internationally, shown on BBC television, and recently written about in Time Magazine, the Huffington Post, Wired, boingboing, the Guardian, Liberation, and El Pais. He received a BA from Columbia University and an MFA from the Rhode Island School of Design in Digital+Media. He is currently an associate professor of Graphic Design at RISD. He lives and works in Brooklyn, NY
ALSO EXHIBITING
May 8 - June 9, 2013 at Mulherin + Pollard: JARED CLARK : SEER SCREENS
The East Village / Lower East Side 187 Chrystie Street, New York NY, 10002 Wednesday - Saturday from 12:00 PM to 6:00 PM
Sunday from 1:00 PM to 5:00 PM
212-967-0045 john@mulherinpollard.com
Opening Saturday May 11, 2013
Robotica (detail), 2013
Irreversible Los Carpinteros Sean Kelly Gallery Opening Saturday May 11, 2013, from 6:00 PM to 9:00 PM On View May 11, 2013 - June 22, 2013 www.skny.com
Sean Kelly announces Irreversible, an exhibition of new work by Los Carpinteros. The show will be installed in all three of the gallery’s exhibition spaces and will include new sculptures as well as a video installation—a first for the artists.
An installation entitled Tomates will be presented in Gallery One. It comprises over 200 sculptural elements that appear to be ripe tomatoes splattered on the walls of the gallery, obliquely referencing tomatoes hurled by protestors during political rallies over the centuries throughout the world.
Presented in Gallery Two are sculptures from a recent series that articulate the artists’ unique response to the architectural monuments and buildings erected during the Cold War era. The series began with works derived from various memorials in the former Yugoslavia commemorating the victims of World War II and the ensuing civil conflicts. Los Carpinteros created their own versions of these structures in LEGO® bricks, the well-known children’s toy, thus obfuscating the potentially fraught political connotations of the work. Of the three sculptures in the exhibition, Podgaric Toy references a memorial in the former Yugoslavia, while the other two works are based on buildings in Russia–VDNKH on the Monument to the Conquerors of Space, in Moscow, and Robotica on the State Scientific Center for Robotics and Technical Cybernetics, in St. Petersburg.
Additionally, two aluminum portraits entitled Cachita and Emelino will be installed in Gallery Two. These pieces, perhaps the most intensely personal to date in Los Carpinteros’ oeuvre, are backlit, outline portraits based on the monumental stylized representations of Cuban political icons Che Guevara and Camilo Cienfuegos installed on the sides of government buildings in the Plaza de la Revolución in Havana. With Cachita and Emelino, the meaning and effect of the original portraits are subverted, as the subjects are not leaders of the Revolution, but rather portraits of two of the artists’ relatives—representatives of the people of the same generation, who lived through the Revolution, but who did not benefit from it.
The exhibition derives its name from the video installation in Gallery Three—Conga Irreversible—a performance originally conceived and produced, to great acclaim, by Los Carpinteros for the 2012 Havana Biennial. In Conga Irreversible, the artists inverted a comparsa—a traditional performance by a conga band and dancers at Latin American Carnival celebrations—by reversing all the elements of the presentation. The music, lyrics and dancers’ movements were performed backwards in this live event on Havana's Paseo del Prado, a location chosen by the artists for its historical and cultural significance in the city.
As an exhibition, Irreversible addresses themes of community, the passage of time, and the effects of historic events as endured by the anonymous individuals who comprise a society. Los Carpinteros’ work conflates conflicting periods, styles and subject matter to articulate the push and pull that major social and political events exert on the citizens who experience them.
Los Carpinteros’ work is featured in the collections of the Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; The Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; and The Tate Modern, London, among others. Free Basket, a site-specific commission by the Indianapolis Museum of Art in 2010, is permanently installed in the 100 Acres Park on the museum’s grounds. TBA21 and Walther König published a comprehensive monograph, Los Carpinteros: Handwork-Constructing the World, in 2010. Recent exhibitions have included Candela at Matadero Madrid in Spain and Silence Your Eyes at the Kunstmuseum Thun in Switzerland, which also traveled to the Kunstverein Hannover in Germany. Their “art-bar” installation, Güiro, produced in collaboration with Absolut Art Bureau, was installed on the Beach in Miami during Art Basel Miami Beach 2012.
For media inquiries, please contact:
Concetta Duncan at FITZ & CO at 212.627.1455 x232 or via email at Concetta@fitzandco.com.
Hell's Kitchen 475 Tenth Avenue, New York NY, 10018 Tuesday - Friday from 11:00 AM to 6:00 PM
Saturday from 10:00 AM to 6:00 PM
212-239-1181 info@skny.com
Opening Saturday May 11, 2013
Comic Books, Inverted Stamps, Paranoid Literature Drew Heitzler Marlborough Chelsea Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 29, 2013 www.marlboroughchelsea.com
Marlborough Chelsea is proud to present Comic Books, Inverted Stamps, Paranoid Literature, a new project by Drew Heitzler. Comprising 37 works on paper and a new film, the exhibition continues Heitzler’s excavation of history through a re-appropriation and re-interpretation of the past that finds, event by event, full circle connections between seemingly disparate sources.
Computer generated prints of web-sourced images of valuable comic book covers, rare stamps and first-edition dust jackets have been exposed to haphazard sprays of water. In the collecting of works on paper, the worth of the mechanically reproduced objects is determined by rarity and condition. Rarity is the given, determined by limited runs, production mistakes, and material fragility coupled with the original marginal status. Condition is the variable. Tears, stains, or water damage can make a priceless paper collectible worthless.
Heitzler has inverted this equation. Here, water damage creates individuation, literally blurring the line between the unique, the edition, and the unique edition. The damage becomes analogous to painting with watercolors, minus the romanticism of the artist’s touch. Once the image is selected, it is the machine and gravity that make all the decisions.
Heitzler’s 16mm film, When the Levee Breaks, shows Art Clokey’s beloved Claymation creation Gumby re-edited to play the song of the same title on a tiny piano. Originally recorded by Kansas Joe McCoy and Memphis Minnie in 1927, the song was covered in 1971 by Led Zeppelin and in 1986 was sampled for the Beastie Boys’ Rhymin’ and Stealin’. For the soundtrack, Heitzler continues the extended repurposing of this melody by recording a piano version played from a book of Led Zeppelin sheet music.
With this work Heitzler also reinforces his ongoing investigation into the Hollywood movie industry, especially its more adventurous and marginal offshoots. Clokey developed Gumby in the 1950s wile studying Kinesthetic Film Principles under the Serbian avant- garde filmmaker Slavko Vorkapic at The University of Southern California. More recently, another well-known Los Angeles artist Raymond Pettibon has appropriated Gumby as a recurring character in his drawings. The fact that Pettibon began his career making inexpensive ‘zines which are now tremendously valuable, begins to neatly tie Heitlzer’s film and watercolors together into a free-associative meditation on the intersections of cultural history, art, and the economics of the low-brow.
Drew Heitzler was born in 1972 in Charleston, South Carolina and now lives and works in Los Angeles. Selected solo exhibitions include Green Gallery in Milwaukee; Blum and Poe, Los Angeles; Renwick Gallery, New York; LAXArt, Los Angeles; and MoMA PS1, New York. He has participated in group exhibitions internationally including Museo de Arte Contemporaneo de Vigo, Pontevedra, Spain; Kunsthalle Zurich; Galerie Lange + Pult, Zurich; “Greater L.A.” (curated by Benjamin Godsill), New York; “The Artist as Collector” (curated by Olivier Mosset), Museum of Contemporary Art, Tuscon, AZ; “Made in Tucson, Born in Tucson, Live in Tucson” (curated by Olivier Mosset) at the Museum of Contemporary Art, Tucson, AZ; Galerie Vidal Cuglietta, Brussels; “Amy Granat, Drew Heitzler, Olivier Mosset” at The Suburban, Oak Park, IL; “Bendover/Hangover” White Flag Projects, St. Louis, MO; Pepin Moore, Los Angeles, CA; Museum of Contemporary Art, Los Angeles, CA; and Anthology Film Archives, New York. He was included in the 2012 Venice Beach Biennial, Los Angeles (curated by Ali Subotnik); The California Biennial (2010) curated by Sarah Bancroft; the Whitney Biennial (2008), New York.
For more information please contact Vera Neykov at vera@marlboroughchelsea.com or 212-463-8634.
Chelsea 545 West 25th Street, New York NY, 10001 212-463-8634 vera@marlboroughchelsea.com
Opening Saturday May 11, 2013
Slippery...at dusk Art Guerra and Gwendolyn C Skaggs SUGAR Opening Saturday May 11, 2013, from 6:00 PM to 10:00 PM On View May 11, 2013 - June 22, 2013 www.sugarbushwick.com
Bushwick / Ridgewood 449 Troutman St. , #3-5, buzz #21 3rd floor, Brooklyn NY, 11237 Saturday - Sunday from 12:00 PM to 5:00 PM
917-443-1986 sugar@sugarbushwick.com
Opening Saturday May 11, 2013
Leslie Thornton, Luna, 2012, Three–channel HD video (exhibited on three large vertically mounted monitors), 60 minutes
Luna Leslie Thornton Winkleman Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 22, 2013 www.winkleman.com
Chelsea 621 West 27th Street, New York NY, 10001 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-643-3152 info@winkleman.com
Opening Saturday May 11, 2013
Arne Svenson, Neighbors #2
The Neighbors Arne Svenson Julie Saul Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 09, 2013 - June 29, 2013 www.saulgallery.com
Julie Saul Gallery is pleased to present Arne Svenson's most recent series, The Neighbors. Svenson has turned outward from his usual studio based practice to study the daily activities of his downtown Manhattan neighbors as seen through his windows into theirs. Svenson has always combined a highly developed aesthetic sense viewed from the perspective of social anthropology in his eclectic projects with subjects ranging from prisoners to sock monkeys. His projects are almost always instigated by an external or random experience which brings new objects or equipment into his life- in this case he inherited a bird watching telephoto lens from a friend.
The grid structure of the windows frame the quotidian activities of the neighbors, forming images which are puzzling, endearing, theatrical and often seem to mimic art history, from Delacroix to Vermeer.
Voyeuristic and investigative, The Neighbors is social documentation in a very rarified environment. The large color prints have been cropped to various orientations and sizes to condense and focus the action. In a recent review in Photograph from his LA show C. Wagley wrote, "had you not read the press release, you might think these were film stills from some slow-moving art-house picture." Svenson has shown with the gallery since 1992 and is known for such diverse bodies of works as the aforementioned Prisoners (1997), Sock Monkeys (2003) and recent book projects Strays (2012), Chewed (2011), and Mrs. Ballard's Parrots (2005). He recently completed the solo exhibition About Face at the Warhol Museum in Pittsburgh. His work is in the collections of the Mutter Museum, Philadelphia, the Museum of Fine Arts in Houston and the San Francisco Museum of Modern Art.
Chelsea 535 West 22 Street, 6th Floor, New york NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-627-2410 mail@saulgallery.com
Opening Saturday May 11, 2013
William Anastasi Half Gallery Opening Saturday May 11, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 21, 2013 www.halfgallery.com
In 1964, Philip Guston recommended that Betty Parsons take a look at the work of an exciting new artist named William Anastasi recently arrived in Manhattan by way of Philadelphia. He exhibited publicly for the first time in her space and later that year in a solo show at Washington Square Gallery where he displayed cardboard collages and his now legendary Sink floor sculpture. From 1966 to 1970, Anastasi was at the forefront of conceptual art in New York with four landmark exhibitions at the Dwan Gallery. It was during these critical years that his blind drawings, pioneering sound art, in situ paintings and wall displacements debuted. The scope of his influence is hard to understate: Urs Fischer, Richard Serra, Matthew Barney, Eva Hesse, Carl Andre are just a few contemporary artists echoing elements that Anastasi initiated. Currently William Anastasi is represented domestically and abroad at institutions including The MoMA, The Metropolitan Museum of Art, The Walker Art Center, The Art Institute of Chicago, The Guggenheim, The Whitney, the Museum of Fine Arts, Boston, Museum Ludwig in Cologne, and the Kunstmuseum, Düsseldorf.
The Upper East Side 43 East 78th Street, New York NY, 10075 Tuesday - Friday from 10:00 AM to 5:00 PM
Saturday from 12:00 PM to 4:00 PM
212-744-0151 info@halfgallery.com
Opening Saturday May 11, 2013
A More Perfect Union Ralph Fasanella Andrew Edlin Gallery Opening Saturday May 11, 2013, from 5:00 PM to 7:00 PM On View May 09, 2013 - June 22, 2013 www.edlingallery.com
Andrew Edlin Gallery is pleased to present Ralph Fasanella: A More Perfect Union, its first solo exhibition for the legendary self-taught New York painter. A 64 page catalog published for the exhibition features an essay by Erika Doss, an art historian and professor of American Studies at the University of Notre Dame.
In March 2008, Senator Barack Obama delivered an empathetic and energizing speech that, as the New Yorker later declared, indisputably convinced Americans “of all colors” to vote him into the White House that November as the nation’s first African American president. Named after a phrase in the Preamble of the U.S. Constitution, Obama’s “A More Perfect Union” speech called on Americans to move past their “profoundly distorted” and “divisive” views, especially those pertaining to race, and re-engage in a collective “march for a more just, more equal, more free, more caring and more prosperous America.”
Ralph Fasanella (1914-1997) would have loved that speech. Many of the boldly colored and intricately detailed paintings that this working class New Yorker produced for over fifty years resonate with the same yearnings, the same expectations, for a more perfect America. Like Obama, Fasanella believed that a nation founded on aspirations of liberty, freedom, and collective social progress should, in fact, live up to those ambitions; similarly, he didn’t sugarcoat how the nation had failed, or fallen behind. Frequently combining scenes of what was with what could be, often referencing the reformist initiatives of twentieth-century labor unions and other progressive political movements, Fasanella pictured an imagined America, a more perfect union.
Spanning his entire career, the works collected in this exhibition reveal many of the subjects and scenes that most captivated Fasanella: urban neighborhoods, labor activism (the Great Strike of 1912, Lawrence, MA), and national tragedies (the assassination of JFK) and traumas (the execution of Julius and Ethel Rosenberg). Today, as demonstrated by the surge of protest by groups like Occupy, and growing recognition of the abiding facts of American economic disparity, Ralph Fasanella’s paintings are more revelatory, and relevant, than ever.
Chelsea 134 Tenth Avenue, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-206-9723 ae@edlingallery.com
Opening Saturday May 11, 2013
Tuttle Installation Shot, May 8, 2013 at Pocket Utopia
THE THRILL OF THE IDEAL Richard Tuttle: The Reinhart Project Pocket Utopia Opening Saturday May 11, 2013, from 5:00 PM to 7:00 PM On View May 11, 2013 - June 09, 2013 www.pocketutopia.com
Armin Kunz of C.G. Boerner first met Richard Tuttle when he was looking for prints by the German Romantics. Immersing himself in the art and the writing of the Romantics also triggered Tuttle's own writing. An insightful review by Tuttle appeared in the Brooklyn Rail on a comprehensive retrospective of the work of Philipp Otto Runge (1777-1810) staged by the Kunsthalle Hamburg in 2011. The invitation to write on Johann Christian Reinhart (1761-1847), an artist from the small town of Hof in Franconia in Bavaria, came from F. Carlo Schmid, one of the foremost scholars on the artist who co-curated the first comprehensive museum exhibition of Reinhart's work for the Kunsthalle Hamburg and the Neue Pinakothek in Munich in 2012-13.
Schmid heads the German branch of C.G. Boerner in Düsseldorf and when the gallery was able to acquire a complete set of the Malerisch-radirte Prospecte von Italien, which includes 72 etchings by Johann Christian Reinhart, Albert Christoph Dies (1755-1822), and Jacob Wilhelm Mechau (1745-1808), it was obviously tempting to approach Richard Tuttle with this box of prints and ask him if he would be interested in curating a small exhibition at Pocket Utopia.
We are indeed thrilled that Richard Tuttle graciously agreed to this project. When visiting for the first time and meeting the gallery's owner Austin Thomas, Tuttle pointed out that art historians more and more act like artists when organizing exhibitions. Tuttle sees it as only a logical conclusion that artists can then act-at least occasionally-like art historians.
The East Village / Lower East Side 191 Henry Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-375-8532 ats@toast.net
Opening Saturday May 11, 2013
G.T. PELLIZZI
THE RED AND THE BLACK G.T. PELLIZZI Y Gallery Opening Saturday May 11, 2013, from 2:00 PM to 6:00 PM On View May 11, 2013 - June 16, 2013 www.ygallerynewyork.com
The East Village / Lower East Side 165 Orchard Street, New York NY, 10002 Tuesday - Sunday from 12:00 PM to 7:00 PM
718-406-1141 info@ygallerynewyork.com
Opening Saturday May 11, 2013
Akram Zaatari. On Photography, People and Modern Times. 2010. Two-channel synchronized HD projection (color, sound), 38 min. Courtesy the artist and Sfeir-Semler Gallery, Beirut / Hamburg. © 2013 Akram Zaatari
Projects 100: Akram Zaatari MoMA Curated by Ana Janevski and Eva Respini Opening Saturday May 11, 2013, from 10:30 AM to 5:30 PM On View May 11, 2013 - September 23, 2013 www.moma.org
Working in photography, film, video, installation, and performance, Beirut-based artist Akram Zaatari has built a complex, compelling body of work that explores the state of image-making today. One of the founders of the Arab Image Foundation, which aims to track down and preserve photos from North Africa, the Middle East, and Arabic communities around the world, Zaatari collects, examines, and recontextualizes a wide range of documents—from found audiotapes to family photographs to videos found on YouTube—that testify to the cultural and political conditions of Lebanon’s postwar society. His artistic practice involves the study and investigation of the way these documents straddle, conflate, or confuse notions of history and memory.
Projects 100 features the American premiere of two video installations: Dance to the End of Love (2011) and On Photography, People and Modern Times (2010). Comprised of found YouTube clips made by Arab youth and shared freely online, Dance to the End of Love examines the role of social media as a space that is both intimate and public. On Photography, People and Modern Times, which tracks photographic records that Zaatari researched and collected for the Arab Image Foundation in the late 1990s, is a meditation on intimate past moments evoked by photographs and a present environment that secures their preservation. Cutting across temporal and geographic borders, these two video installations probe the nature of time and assert the permeability of memory.
This exhibition is organized by Ana Janevski, Associate Curator, Department of Media and Performance Art, and Eva Respini, Associate Curator, Department of Photography, with Katerina Stathopoulou, Curatorial Assistant, Department of Photography.
The Elaine Dannheisser Projects Series is made possible in part by the Elaine Dannheisser Foundation and The Junior Associates of The Museum of Modern Art.
Projects Gallery, second floor
Midtown 11 West 53rd Street, New York NY, 10019 Saturday - Thursday from 10:30 AM to 5:30 PM
Friday from 10:30 AM to 8:00 PM
212-708-9400
Opening Friday May 10, 2013
Larger Than Love & Being Green Opening Reception TEMP Art Space Opening Friday May 10, 2013, from 8:00 PM to 10:00 PM On View May 08, 2013 - May 25, 2013 www.tempartspace.com
Tribeca / Downtown 57 Walker Street, New York NY, 10013 Thursday - Saturday from 12:00 PM to 7:00 PM
646-678-5431 tempartspace@gmail.com
Opening Friday May 10, 2013
A Portrait of the Artist as a Young Dude David Sandlin, Jason Roy, Josh Freydkis, Lale Westvind, Maren Karlson and Mike Taylor Booklyn Opening Friday May 10, 2013, from 7:00 PM to 10:00 PM On View May 10, 2013 - June 23, 2013 www.booklyn.org
A Portrait of the Artist as a Young Dude explores the personal narratives of six self-publishing artists, featuring prints, comics, drawings, and artists’ books by David Sandlin, Jason Roy, Josh Freydkis, Lale Westvind, Maren Karlson, and Mike Taylor.
Working primarily through drawing and silk-screened editions, these artists share a common self-referential and satirical perspective, tackling everyday life idiosyncrasies with humor and personal anecdotes. Their collective observational approach explores personal revelations, documentation of their surroundings and reflections on culture, politics, and the human condition. The work in this exhibition illustrates not only an autobiographical portrait of the artist, but also a portrait of their attitude, philosophy and unique point of view.
We are presented with their intimate depictions of themselves, politics, religion, love, society, subcultures, and the artworld. The work portrays a shared impulse to narrate observations, through both positive interpretations and dissatisfied critiques. Coming from different backgrounds, cities, countries, and generations, the artists all are currently living in New York and questioning how their personal histories have influenced their lives and their work. While art making is generally insular, by working in the form of multiples (printmaking, comics, artists’ books and zines) their work, views of themselves, and perspectives are able to disseminate and courageously confront or ally with a wider audience.
A Portrait of the Artist as a Young Dude is the sixteenth in a series of group exhibitions dedicated to providing self-publishing artists, who generally share their work through printed matter and other ephemeral media, with a platform for exhibition, experimentation and exploration outside of the printed format. Curated by Aimee Lusty.
A Portrait of the Artist as a Young Dude is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
For more information please contact aimee@booklyn.org
Greenpoint 37 Greenpoint Avenue, Brooklyn NY, 11222 Thursday - Tuesday from 12:00 PM to 5:00 PM
aimee@booklyn.org
Opening Friday May 10, 2013
Left at Crystal Brook Boulevard Ross Racine The Front Room Opening Friday May 10, 2013, from 7:00 PM to 9:00 PM On View May 10, 2013 - June 09, 2013 www.frontroom.org
Williamsburg 147 Roebling Street, Brooklyn NY, 11211 Friday - Sunday from 1:00 PM to 6:00 PM
718-782-2556
Opening Friday May 10, 2013
The Devil Tricked Me Matt Freedman Studio10 Opening Friday May 10, 2013, from 7:00 PM to 9:00 PM On View May 10, 2013 - June 16, 2013 www.studio10bogart.com
Studio10 is pleased to present The Devil Tricked Me, an exhibition of work by Matt Freedman. The exhibition is organized around the recent publication of Relatively Indolent but Relentless, a graphic journal Freedman wrote last Autumn.
In July 2012 Freedman learned that he had Adenoid Cystic Carcinoma, a rare and slow growing cancer. Treatment entailed thirty-five days of radiation and weekly doses of chemotherapy over seven weeks. Just before treatment, a friend gave Matt a blank notebook and suggested he should fill it up. Matt did complete the therapy and the notebook as well. He said, “It seemed like it would in the end give me the last laugh over my cancer treatment.” This exhibition serves to extend Freedman’s experience of his treatment, the subject of the journal, into the six months that have now passed between the end of treatment and this exhibition’s opening.
All thirteen works take as their subject bad luck. This idea is embodied in Freedman’s iconic constructions that portray folk admonitions. These signs seek to control bad luck by taking such precautions such as avoiding walking under ladders or opening umbrellas indoors. Another significant component of the show is the notion of disability. Freedman continues to feel side effects from his treatment as well as from the drugs he takes to quell those effects. Though functioning effectively, the fact that he should not drive because the narcotics would render him technically “under the influence” is for Freedman an objective marker of what he feels and knows to be true: He is not himself or at his best.
The idea of disability is communicated by hand written signs of explanation, which function as the conceptual framework for the exhibition. Freedman’s sign details the reasons for the restrictions he placed upon himself for the creation of the work: each work consists of totally “de-skilled” labor. He collected objects either from the street; broken umbrellas and cigarette stubs, or from his house and studio; A couch, a collection of pennies. He also allowed himself to use components from previous work repurposed for the show.
Matt Freedman is a sculptor, performer, writer and curator. He has exhibited with Valentine Gallery, Pierogi Gallery, vertexlist, Flipside, Fivemyles, The SculptureCenter and Long Island University. Venues of performances include PS 1 MOMA, The Brooklyn Museum, The Kitchen, Brooklyn Fireproof, Brooklyn Academy of Music at Fivemyles, Galapagos Performance Space. He teaches at the University of Pennsylvania and has taught at The University of Iowa, Parsons the New School for Design, The Pratt Institute, The Rhode Island School of Design. NEA Sculpture (1987, NYFA, Fiction (2000). Freedman has written for Art News, Review and Cabinet, among others. For more information and images, please contact Annelie McGavin at (718) 852-4396.
Gallery hours: Thursday through Sunday 1 - 6 pm or by appointment
Contact: studio10bogart@gmail.com (718) 852-4396 www.studio10bogart.com
The gallery is across the street from the Bogart Street exit at the L Train Morgan stop.
Bushwick / Ridgewood 56 Bogart Street, Brooklyn NY, 11206 Thursday - Sunday from 1:00 PM to 6:00 PM
718-852-4396 studio10bogart@gmail.com
Opening Friday May 10, 2013
Margaret Weber Ramiken Crucible Opening Friday May 10, 2013, from 7:00 PM to 10:00 PM On View May 10, 2013 - June 23, 2013 www.ramikencrucible.com
Andra Ursuta on Margaret Weber:
For her debut at Ramiken Crucible, Margaret Weber shows large sculptural tapestries made from pieces of industrial carpeting stripped almost bare. Hung on walls or slumped onto the floor, these ghostly objects are suspended in a sort of afterlife; in their former glory, they furbished the offices, classrooms, sales floors, and waiting areas that make up the modern world, mapping dull gray expanses of corporate interstitial space. In their present, varying unraveled states, most of the soft matter has been picked clean with a relentlessness that feels both calculated and out of control. Weber's reductivist touch is traditionally female work turned against itself. To fashion tapestries, she exacerbates generative manual labor (the kind that spins soft materials into concrete form, ectoplasm-like), its monotony and introversion, to the point it becomes malignant.
Weber's upright works move once-horizontal floor covers to a vertical, contemplative plane, enacting a kind of resurrection. But these mastodons are wall-to-wall carbon copies of the places they once occupied, vaguely crooked rectangles with the odd missing corner. This ensures their perpetual awkward habitation of any other space. The work's unyielding scale also challenges the wasteful monumentality of much successful contemporary art, favoring restrained, targeted stripping over a cumulative approach. Through methodical pulling and teasing, the soft surface layer, the one that would record the stains, spills and footprints of everyday use, has been reduced to discretely repeating specks of minimal noise that distantly echos larger organizational systems that comprise our lives.
The East Village / Lower East Side 389 Grand Street, New York NY, 10002 Thursday - Sunday from 12:00 PM to 6:00 PM
917-434-4245 ramiken@ramikencrucible.com
Opening Friday May 10, 2013
Late Works: 1981-85 Ana Mendieta Galerie Lelong Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 22, 2013 www.galerielelong.com
The sculptures, drawings, photographs, mixed media works, and films in Ana Mendieta: Late Works 1981-1985 at Galerie Lelong reveal Mendieta’s translation of her ephemeral practices in the landscape to independent art objects. Beginning in 1980, Mendieta took several trips to her birth country of Cuba. These visits brought a resolution that allowed the completion of her identity-oriented works and the seeking of an aspect of universality. In 1983, Mendieta left New York to begin a fellowship and residency at the American Academy in Rome, a period that redefined her creative process. Her time in Rome influenced the organization of the current retrospective at the Castello di Rivoli Museo d’Arte Contemporanea in Turin and inspired a documentary film currently in post-production, Itali-Ana, Mendieta in Rome, directed by Raquel Cecilia. The exhibition at Galerie Lelong opens during Frieze New York, with a public reception on May 10th from 6-8pm. The artist’s sister, Raquelin Mendieta, will be present.
In the 1980s, Mendieta began to shift away from performative, documented work as exemplified in two of her last films, Ochún and Birth from 1981. These films depict siluetas, potent traces of the artist’s body in the landscape, transformed by the ocean tide or ignited gunpowder. In 1982, she began creating numerous drawings directly onto fresh leaves she found in the landscape, using a variety of tools such as nails, needles, and pencils. Like her outdoor site-specific works, she embraced the natural effects of time on objects, such as the shifting color and texture of the leaves as they dried. Mendieta sought to fuse earth and form in her drawings, photographs, and sculptures. She created several sculptures that year including Fernwoman (1982), a unique sculpture standing close to five feet tall. Carved in an anthropomorphic shape from an Osmunda fern root, this work recalls primitive art. Mendieta often repeated imagery in different media, such as the “labyrinth” figure seen in La Concha de Venus (1981-82), a drawing on amate (bark) paper, and in outdoor sculptures molded in mud which she then photographed. Works like these not only show Mendieta’s continued interest in imagery of the female body, but also show her attempt to make her work more accessible to art audiences and collectors in the 1980s.
Mendieta’s late sculptures translate her familiar silueta-like forms into more tangible objects that became less specific to her own body and not tied to an exact location. This development can be seen in the floor sculptures Figure with Nganga (1984) and Untitled (1983-84), which show an affinity to works she made in the landscapes of places like Cuba, Iowa, and Mexico. A breakthrough in her practice at this time was combining imported sand and soil – from different locations significant to her including Cuba, the Nile in Egypt, and the Red Sea – with different binding materials to create indoor floor sculptures that carried the energy of these places. She also began making free-standing sculptures from hollowed tree trunks and wooden slabs that could rest against gallery walls. Ranging from five to seven feet tall, the wood pieces required physical rigor to transport from the forest to the studio, where she carved and burned organic patterns onto the surface. Mendieta’s archives from this period reveal that she had a strong interest in creating permanent works like these sculptures on a larger scale for public art projects. Unfortunately, some of these projects, such as her plan for an installation in Los Angeles’ MacArthur Park, were never realized due to her untimely death.
Ana Mendieta: Late Works 1981-1985 is the ninth solo exhibition of Mendieta’s work at Galerie Lelong, which has represented her Estate since 1991. Mendieta has had over 30 solo exhibitions worldwide, at museums including the Centro Galego de Arte Contemporanea, Santiago de Compostela; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Kunstmuseum Luzern; Whitney Museum of American Art, New York; and Museo Tamayo, Mexico City. This January, the Castello di Rivoli began the second wave of large-scale retrospectives with the exhibition Ana Mendieta: She Got Love, which closes on June 16, 2013. The Hayward Gallery in London will open a retrospective curated by Stephanie Rosenthal on September 24 this year. In 2015, the Katherine E. Nash Gallery of the University of Minnesota will present an exhibition devoted to Mendieta’s films curated by Howard Oransky.
Chelsea 528 West 26th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-315-0470 art@galerielelong.com
Opening Friday May 10, 2013
Tofer Chin
Ar Tofer Chin Lu Magnus Opening Friday May 10, 2013, from 6:00 PM to 9:00 PM On View May 10, 2013 - June 29, 2013 www.lumagnus.com
The East Village / Lower East Side 55 Hester Street, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-677-6555
Opening Friday May 10, 2013
Disorderly Order Nancy Baker, Janice Caswell and Debra Hampton Calico Opening Friday May 10, 2013, from 6:00 PM to 10:00 PM On View May 10, 2013 - May 31, 2013 www.calicobrooklyn.tumblr.com
The title for this exhibition at Calico is derived from The Disorderly Orderly, a 1964 American comedy film released by Paramount Pictures and starring Jerry Lewis. The film was produced by Paul Jones with a screenplay by director Frank Tashlin. As an orderly at the Whitestone Sanatorium, Jerome Littlefield is afflicted by a psychosomatic condition in which he assumes the emotional symptoms of his charges. The film’s director, Frank Tashlin, is noted for his use of the diegetic rupture, a theatrical device in which break the expected interior narrative and look into the camera and directly address the audience, dislocating the viewers temporal order. These two artifices that are central to the film; diegetic rupture and the processing of disorder, could well be taken as the creative directives of many artists. In the most general terms, artists are the canaries in the mines; the filtering vessels whose sorting, organizing, tasting, breathing, and digesting reflect the unformed and unsaid made visible. They face their audience directly, imposing their critical view, while articulating and expunging barriers.
Debra Hampton, Janice Caswell and Nancy Baker are three artists whose practice methods are informed by creating a greater whole than the sum of its humbled and disordered parts. They cut, paste, enumerate, and file; and from these disparate and solitary objects, assemble a cohesive narrative that attempts to satisfy and solidify a disordered beginning. Passion, obsession and minutiae are the slightly offbeat driving forces that characterize their work methodology, especially in these times of the re-entrenchment of the minimal and the deadpan.
Janice Caswell’s current work is an exercise in organizing, an effort to make order out of chaos. By compiling, disassembling, sorting and arranging she attempts to create an illusion of control over an overly complicated life. Through a process of ordering and reordering, a final drawing emerges that is contained, logical and rhythmic; evoking a sense of calm. She is a maker and collector of basic geometric shapes, reflecting a desire for fundamental stasis and equilibrium. Caswell has exhibited extensively in the US, she has had two solo shows in NYC with Schroeder Romero Gallery, and the Aldrich Contemporary Art Museum in Connecticut.
Debra Hampton’s work has spanned various unconventional medium and process while investigating issues of commodity, identity, and appropriation. She is best known for mixed-media mashup collage portraits which are created from 1000s of magazine cutouts, splattered ink, and intricately stippled shapes. Accompanying the portrait series are sculpted objects such as headdresses, talisman, and full-size armor. Hampton will represent Gallery Poulsen, Copenhagen, Denmark, in Volta9 Basel, 2013. Recently, she was selected by the New York City Department of Transportation to design & implement a public mural spanning 600 feet of pedestrian/bicycle pathways along the Brooklyn waterfront. Ms. Hampton’s work is in the collections of the Museum of Modern Art Permanent Drawing Collection, and The Frederick R. Weisman Foundation, and has been featured in publications such as ArtReview, the New York Times, New York Arts, FlavorPill, Queens Chronicle, Etapes Graphiques, and The New York Art World. She has been recipient of the Chashama AREA Studio Residency and an A.I.R. Gallery fellowship.
Nancy Baker collects image files of hardware parts, jewels, and connecting devices that she arranges and prints out on an archival printer. Sometimes she spray paints over various layers, which can be built up so that a tactile effect is achieved. She floats these assembled pieces on the wall, so that complex shadows are created, which imparts a multi-dimensional illusion. Baker has consistently employed language in her work, mostly in a political context. She is currently employing different phrases in the work that seem relevant to her now; such as in Kafka’s story, ” In the Penal Colony”, where a diabolical machine inscribes the law a prisoner has broken is on his body. The phrase “BE JUST” is a final inscription on the perpetrator of the machine.
Baker has had many solo exhibitions in the US; Denise Bibro Fine Arts and Winkleman Gallery in NYC, Jancar Gallery in LA, Marcia Wood in Atlanta, and Heriard Cimino in NOLA. She was the recipient of two Visual Arts fellowships from NC, and a National Endowment for the Arts grant.
Greenpoint 67 West St #206, Brooklyn NY, 11211 Friday from 12:00 PM to 5:00 PM
calicobrooklyn@gmail.com
Opening Friday May 10, 2013
seven @ SEVEN 2 The Boiler Opening Friday May 10, 2013, from 6:00 PM to 9:00 PM On View May 10, 2013 - June 09, 2013 www.seven-miami.com
MAMIE HOLST (FEATURE INC) • FABIAN MARCACCIO (BRAVINLEE Programs) • KIM JONES (PIEROGI) • DAVID DIAO (POSTMASTERS) • HUNTER REYNOLDS (P.P.O.W) • BRUCE PEARSON (RONALD FELDMAN FINE ARTS) • YOKO INOUE (MOMENTA ART)
Expanding its model of a collaborative platform for presenting and experiencing contemporary art, SEVEN will hold its second New York area exhibition in Williamsburg, Brooklyn at The Boiler, opening May 10, 2013. Launched in 2010 by seven galleries from New York and London, SEVEN is a unique initiative committed to presenting artworks on their own terms and providing an intimate, personal way to engage the viewer. Since its inception, SEVEN has evolved by inviting new galleries and guests in both independent and institutional locations. SEVEN was recently invited to exhibit within the Dallas Contemporary Art Museum. Participating galleries in seven @ SEVEN 2 are Feature Inc., BravinLee programs, Pierogi, Postmasters, P•P•O•W, Momenta Art, and Ronald Feldman Fine Arts, five of which are original participants.
Seven @ SEVEN 2 will present the work of one artist from each of the participating galleries and will feature installations, paintings and sculptures in a co-curated, dynamic presentation. This emphasis on cooperation rather than competition is a founding principle of SEVEN that truly puts the art viewing experience ahead of all other considerations.
Entry to seven @ SEVEN is free. The opening reception is Friday, May 10th from 6 – 9 pm in conjunction with Williamsburg 2nd Friday.
Below is a preview of highlighted artists:
Feature Inc. will present paintings by Mamie Holst. Holst distances her subject matter with the use of a limited palette of black, white, and gray. This helps the paintings close down on notions of illustration and, as well, expand out into diagrams. In the midst of all that, there are moments in the paintings that open the door to science fiction. Yet this is countered with a big breath of non-fiction as much of her imagery is gleaned from her experiences with Chronic Fatigue and Immune Dysfunction Syndrome, and is so noted in the titles. The heavier textures, which are the most recent development in the work, bring a funkier and more eccentric expressiveness to the table that allows this work to feel more urgent, personal, and singular. Mamie Holst began exhibiting with Feature Inc. in 2000, and has had four one-person exhibitions with the gallery. Born in Gainesville, FL, she has a MFA from School of Visual Arts (1987) and currently lives and works in Fort Myers, FL.
BravinLee programs will present Table, by Fabian Marcaccio. Marcaccio’s structural canvas work integrates photography, painting and sculpture. The Table-top contains items likely to be present on a table in a secret interrogation chamber. The essential cruelty of the evil premise is explored obliquely through the cluttered banality of an inquisitor’s work surface. The table is illuminated by a single light bulb hanging down from the Boiler’s 30 foot ceiling. The creepy beauty and black-box brutality of The Boiler’s interior amplifies the subject matter of Table existing in a clandestine and horrific chamber. Fabian Marcaccio recently had one person shows at CAAM in the Canary Islands, The Museum Lehmbruck, in Duisburg, Germany, The Kunstmuseen and the Museum Haus Esters, both in Krefeld, Germany. In conjunction with the Krefeld exhibitions, a book on Marcaccio’s rope paintings titled Some USA Stories was published, edited by Martin Hentschel.
Momenta Art will present a selection of work from Yoko Inoue’s Mandala Flea Market Mutants: Pop Protocol and the Seven Transformations of Good-luck National Defense Cats (Smack Mellon, Brooklyn 2012). This takes the form of a multi-disciplinary installation that affects and aestheticizes the appearances and mechanics of a marketplace, materially consisting of excessive accumulations of banal objects, commoditized sacred figures, or good luck icons that are individually hand cast and manipulated in porcelain and stoneware. Inoue is a multi-disciplinary artist whose work explores the commoditization of cultural values and assimilation and identity issues in the form of installation and public intervention performance art. Originally from Kyoto, Japan, Inoue earned an MFA from Hunter College. Her work has been shown at Brooklyn Museum, Sculpture Center, Rubin Museum, Momenta Art and Art in General in New York and at other international and national venues.
Pierogi will present the most recent in Kim Jones’ ongoing war drawing series, a five by ten foot graphite on oilcloth work. Jones became known early on for his performance persona, ‘Mudman,’ and could be seen walking the streets of Los Angeles and Venice, CA during the 1970s, and then New York City and New York’s subway system during the 1980s, and most recently in 2012. Throughout this time he was also developing drawings and paintings on paper. His works on paper, some consisting of intricate graphite drawings involving ‘X’ and ‘O’ figures and erasures indicating movement of different forces are referred to as ‘war drawings.’ Over the years, Jones has developed a language of materials and marks: sticks, mud, twine, rats, and ‘X’ and ‘O’ symbols. Jones’ work was the subject of a comprehensive traveling retrospective, Mudman: The Odyssey of Kim Jones, and was included in numerous Pacific Standard Time exhibitions in the LA area in 2012, and has been included in exhibitions at The Museum of Modern Art (NYC), The New Museum (NYC), among others.
Postmasters Gallery will present Glissement (1984) — a large painting by David Diao from his seminal series based on the image of Malevich’s installation in “0,10″ exhibition in Petrograd (1915). Bold, yet painterly, following the Constructivists’ palette of black, red and white, Glissement was a key painting in Diao’s first show with Postmasters in 1985 in the East Village. It marked his return to painting after a five-year hiatus. It has not been exhibited in the US since. For over 40 years Diao has nurtured a practice which looks critically at painting and its history. He questions how value is assigned to art and artists, and often implicates himself in the contradictions of this process.
P·P·O·W will present Hunter Reynolds’ photo-weaving We Die in the Streets, 2011, and Mummification Performance Skin, 2000. For over twenty years Reynolds has been using photography, performance and installation to express his experience as an HIV positive gay man. His work addresses issues of gender, identity, socio-politics, sexual histories, mourning, loss, survival, hope and healing. We Die in the Streets is part of Reynolds’ Survival AIDS series, which is comprised of photographic grid-collages of scanned newspaper clippings that Reynolds began collecting between 1989 and 1993. A reference to Reynolds’ Mummification performances can be seen in the center of this composition and also on the floor of the installation. The ‘skins’ are made from layers of plastic and brightly colored tape, cut away and reconfigured as prevailing reminders of the many re-embodiments of the artist over time.
Hunter Reynolds was born in 1959 in Rochester, Minnesota. His work is held in private and public collections including the Yale University Art Gallery, The Art Institute of Chicago, and The Addison Gallery of American Art. The Fales Library and Special Collections/New York University currently maintains the archives of Hunter Reynolds for its Downtown Collection.
Ronald Feldman Fine Arts will present works by Bruce Pearson. The paintings in the Encyclopedia Series are “made up of hundreds of irregularly shaped, diversely colored tesserae that blanket the surface of the painting. […] No color is repeated within the painting. The overlaid elements include the phrase of the title (a kind of found poem Pearson assembled by underlining phrases in a newspaper story)” and images taken from various 18th and 19th century iconographic encyclopedias. (from a review by Raphael Rubinstein, Art in America, Nov. 2003)
Bruce Pearson is an artist living in New York. His work is in the collection of the Museum of Modern Art, the Whitney Museum, and the Brooklyn Museum, among others. He will be having an upcoming show at Ronald Feldman Fine Arts in the fall of this year.
For more information, please email us at info@seven-miami.com or contact Joe Amrhein at Pierogi Gallery, 718-599-2144.
HOURS:
Friday, May 10 (opening): 6-9 pm
Saturday – Sunday May 11-12 : 12-6 pm
Thursday – Sunday May 16-19: 12-6 pm
Thursday – Sunday May 23-26: 12-6 pm
Thursday – Sunday May 30-June 2: 12-6pm
Thursday – Sunday June 7-9: 12-6pm
Twitter: www.twitter.com/sevenmiami
For press inquiries, please contact Wendy Olsoff at info@ppowgallery.com, Magdalena Sawon postmasters@thing.net.
Williamsburg 191 North 14th Street, Brooklyn NY, 11211
Editor's Pick
At Ninety Ellsworth Kelly Matthew Marks Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 29, 2013 www.matthewmarks.com
Matthew Marks is pleased to announce Ellsworth Kelly at Ninety, the next exhibition in his galleries at 502 and 522 West 22nd Street and 523 West 24th Street. Kelly celebrates his 90th birthday a few weeks after the opening of the exhibition.
The exhibition includes fourteen paintings and two sculptures made in the past two years. Kelly’s recent work continues the rigorous exploration of line, form, and color he first established nearly seven decades ago, and features new compositions as well as variations on earlier themes.
The paintings are executed in oil, built up with many layers of luminous color, including bright yellow, red, and several different blues, in addition to black and white, pale gray and subtle white-on-white works, where shadows are an integral part of the image. The paintings include both single shaped canvases, multiple canvases joined end to end, and canvases superimposed on top of one another to create a three-dimensional relief. The painted aluminum sculptures project from the wall and have reflective black or white surfaces in contrast to the matte surfaces of the paintings.
The gallery at 523 West 24th street features Curves on White (Four Panels), consisting of four individual relief paintings, which together span nearly fifty feet. Each painting is comprised of a curved panel painted a single color superimposed over a rectangular white canvas, whose “interplay of differences and similarities weaves a work of powerful internal unity,” writes Jean-Pierre Criqui in his catalogue essay. Gold with Orange Reliefs, a three-panel painting based on a collage from 1962, will be shown by itself at 502 West 22nd street. This work marks the first time Kelly has used a metallic color in a painting.
The exhibition will be accompanied by a fully illustrated hardcover publication, with essays by Robert Storr, Jean-Pierre Criqui, Christopher Bedford, and Tricia Y. Paik.
Ellsworth Kelly (born 1923) lives and works in upstate New York. His first one-person exhibition in New York was at The Betty Parsons Gallery in 1956. Since 1958, Kelly’s work has been included in four Whitney Biennial exhibitions, five Carnegie Internationals, four Documenta exhibitions, and twice at the Venice Biennale, including a room of his recent paintings in 2007. Retrospectives of his work have been organized by the Museum of Modern Art, New York (1973); the Stedelijk Museum, Amsterdam (1979); and the Guggenheim Museum, New York (1996). In honor of his 90th birthday, eight museums and institutions have organized Kelly exhibitions, including two museum exhibitions opening in May: Ellsworth Kelly: The Chatham Series, at the Museum of Modern Art, New York (opens May 25) and Ellsworth Kelly: Sculpture on the Wall at The Barnes Foundation, Philadelphia (opens May 4).
Ellsworth Kelly at Ninety will be on view from May 11 through June 29, 2013, Tuesday through Saturday, from 10:00 A.M. to 6:00 P.M. at 502 and 522 West 22nd Street and 523 West 24th Street, New York.
For further information, please contact Jacqueline Tran at (212) 243-0200, or email jacqueline@matthewmarks.com.
Chelsea 502 and 522 West 22nd Street & 523 West 24th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-243-0200 jacqueline@matthewmarks.com
Opening Friday May 10, 2013
Ellsworth Kelly
At Ninety Ellsworth Kelly Matthew Marks Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 29, 2013 www.matthewmarks.com
Matthew Marks is pleased to announce Ellsworth Kelly at Ninety, the next exhibition in his galleries at 502 and 522 West 22nd Street and 523 West 24th Street. Kelly celebrates his 90th birthday a few weeks after the opening of the exhibition.
The exhibition includes fourteen paintings and two sculptures made in the past two years. Kelly’s recent work continues the rigorous exploration of line, form, and color he first established nearly seven decades ago, and features new compositions as well as variations on earlier themes.
The paintings are executed in oil, built up with many layers of luminous color, including bright yellow, red, and several different blues, in addition to black and white, pale gray and subtle white-on-white works, where shadows are an integral part of the image. The paintings include both single shaped canvases, multiple canvases joined end to end, and canvases superimposed on top of one another to create a three-dimensional relief. The painted aluminum sculptures project from the wall and have reflective black or white surfaces in contrast to the matte surfaces of the paintings.
The gallery at 523 West 24th street features Curves on White (Four Panels), consisting of four individual relief paintings, which together span nearly fifty feet. Each painting is comprised of a curved panel painted a single color superimposed over a rectangular white canvas, whose “interplay of differences and similarities weaves a work of powerful internal unity,” writes Jean-Pierre Criqui in his catalogue essay. Gold with Orange Reliefs, a three-panel painting based on a collage from 1962, will be shown by itself at 502 West 22nd street. This work marks the first time Kelly has used a metallic color in a painting.
The exhibition will be accompanied by a fully illustrated hardcover publication, with essays by Robert Storr, Jean-Pierre Criqui, Christopher Bedford, and Tricia Y. Paik.
Ellsworth Kelly (born 1923) lives and works in upstate New York. His first one-person exhibition in New York was at The Betty Parsons Gallery in 1956. Since 1958, Kelly’s work has been included in four Whitney Biennial exhibitions, five Carnegie Internationals, four Documenta exhibitions, and twice at the Venice Biennale, including a room of his recent paintings in 2007. Retrospectives of his work have been organized by the Museum of Modern Art, New York (1973); the Stedelijk Museum, Amsterdam (1979); and the Guggenheim Museum, New York (1996). In honor of his 90th birthday, eight museums and institutions have organized Kelly exhibitions, including two museum exhibitions opening in May: Ellsworth Kelly: The Chatham Series, at the Museum of Modern Art, New York (opens May 25) and Ellsworth Kelly: Sculpture on the Wall at The Barnes Foundation, Philadelphia (opens May 4).
Ellsworth Kelly at Ninety will be on view from May 11 through June 29, 2013, Tuesday through Saturday, from 10:00 A.M. to 6:00 P.M. at 502 and 522 West 22nd Street and 523 West 24th Street, New York.
For further information, please contact Jacqueline Tran at (212) 243-0200, or email jacqueline@matthewmarks.com.
Chelsea 502 and 522 West 22nd Street & 523 West 24th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-243-0200 jacqueline@matthewmarks.com
Opening Friday May 10, 2013
Armin Boehm, HT - GL, 2013 Oil, paper, and fabrics on wood, 47.24 x 45.28 inches (120 x 115 cm)
RAUMNEUROSE ARMIN BOEHM Harris Lieberman Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 15, 2013 www.harrislieberman.com
ARMIN BOEHM
RAUMNEUROSE
10 May – 15 June 2013
Opening Reception: Friday, May 10, 6-8 pm
Harris Lieberman is delighted to announce an exhibition of new work by Armin Boehm. This will be the artist’s first solo exhibition in New York.
Armin Boehm’s multi-media approach to painting transforms the traditionally two-dimensional surface into a nearly sculptural experience. By using materials ranging from fabric to concrete, Boehm imbues his works with an unmistakable physicality. However, this material quality feels equally fragile, as if the works themselves threaten to dissolve just as naturally as they formed.
In this exhibition, Boehm presents a new series of densely populated urban landscapes and interiors. Fluctuating between the figural and the symbolic, these fractured groupings appear both plausible and surreal. Influenced by Freud’s psychoanalytic theories, Boehm’s collages seek to examine the tension between human society and the metaphysical mind. By pulling content from memory, the tangible world, and the imaginary, Boehm’s works are as much a mental assemblage as a physical one. The title “Raumneurose”, the fused German words for “room” and “neurosis”, speaks directly to a space where both the unconscious mind and reality may coexist simultaneously.
This tension between the visible and the unseen reasserts itself in Boehm’s faceted abstractions of aerial locale. Although these works are based on precise sites, their original narrative content is obscured to induce subjective interpretation. Oscillating freely between the recognizable and the unknown, these works challenge not only the viewer’s perception of optical depth, but also his or her own sense of physical and spiritual wholeness.
Much like his German Expressionist predecessors, Armin Boehm’s works investigate a sense of personal estrangement, from oneself and others, now made customary by our increasingly technological age. By giving physical life to inner thought and asserting the resistance of materials, he serves to reintroduce subjectivity into contemporary existence.
Armin Boehm was born in 1972 in Aachen, Germany. He graduated from the Staatliche Kunstakademie Düsseldorf and currently lives and works in Berlin. Recent solo exhibitions include WALD HOCHWALD HOLZFÄLLEN at Meyer Reigger Gallery in Berlin and Chiffon Rouge at Galeria Minini in Milan. In 2012, his work also appeared in group shows at CAPC, Bordeaux; Peter Kilchmann Gallery, Zurich; the Stadtgalerie Kiel; Städelmuseum Frankfurt and the Goethe-Institut Johannesburg.
Harris Lieberman is located at 508 West 26th Street, on the ground floor. Gallery hours are Tuesday through Saturday from 10am to 6pm. For further information please contact the gallery at 212.206.1290 or by email at gallery@harrislieberman.com
Chelsea 508 West 26th Street, Ground Floor, New York NY, 10011 212-206-1290 gallery@harrislieberman.com
Opening Friday May 10, 2013
A cage went in search of a bird Eve Bailey, Rachel Bernstein, Ryan V Brennan, Diana Heise, Roxanne Jackson, Coralina Meyer, Sono Osato, Malingering Uvula Camilla Ha and Michael Merck and Gabriela Vainsencher Radiator Gallery Curated by Sarah Walko Opening Friday May 10, 2013, from 6:00 PM to 9:00 PM On View May 10, 2013 - June 19, 2013 www.radiatorarts.com
The exhibition "The City of K. Franz Kafka and Prague" permanently on display at the Kafka Museum was the impetus for this exhibition. Kafka’s relationship with cities through his surreal lens coupled with his imagination and during the context of his time brought the simultaneous nightmare/dreamscape of the budding technological age into the realm of the real in his stories, projecting super psyches onto our cities.
The artists in this exhibition are all exploring the surreal space of our time now. Large cultural and philosophical shifts due to massive environmental and economic challenges and the level of technology we are reaching and working with daily is all ushering in new branches of consciousness and new approaches to how we live. The artists, like Kafka did, address our current cosmic predicament in various ways; our relationship with nature, our relationship to self within today’s technological tools, and with objects of alchemical/shamanic ritual and ceremony. They are writing out the dreamscapes of our now and a vision of the future that lacks the pasts’ patriarchal aesthetic and imagines the opening up of a future with more feminine traits, including acts of reclamation and the healing of our past and ourselves within our cities.
Sarah Walko is a multimedia artist and writer. She is currently the executive director of Triangle Arts Association. El Cadaver Exquisito, a feature length experimental documentary collaboration film she created with with director Victor Ruano and Rossemberg Rivas, is currently in festival circuits and her second film Lux/Nox with collaborator Malado Baldwin is in post production. Her fiction and non fiction essays have been published by While Whale Review Literary Journal and Hyperallergic Art Blog where she is a regular contributing writer. Her visual artwork has been published by The Dirty Goat, Redivider, Blood Lotus, Apple Valley Review, 2 River, A Capella Zoo, Awosting Alchemy, 5x5 Literary Magazine, Bathhouse, Cincinnati Review and Host Publications. Her recent exhibitions include Preternatural at the Museum of Nature, a science museum in Canada, Codex Dynamic in New York and Wonder Cabinet at Flux Factory in New York. She has participated in many artists residency programs including one currently at the Elizabeth Foundation in New York and she is working on new sculpture/installations, film and a novel.
Long Island City 10-61 Jackson Ave, 2nd Floor, New York New York, 11106 6:00 PM to 9:00 PM
134-767-7341 info@radiatorarts.com
Opening Friday May 10, 2013
soul Ugo Rondinone Gladstone Gallery Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - July 03, 2013 www.gladstonegallery.com
Gladstone Gallery is pleased to announce “soul,” an exhibition of new sculptures by Ugo Rondinone. Rondinone has long embraced a fluidity of forms and media. Taken as a whole, his work represents a complex network of responses to social and physical structures. By allowing himself the freedom to work within a wide variety of disciplines and media, Rondinone creates the conditions necessary to explore a broad emotional range. His work has become widely recognized for its ability to channel both psychological expressiveness and profound insight into the human condition.
For the series of sculptures included in “soul,” bluestone – the material out of which the works are made – has been rough-cut into blocks, which are stacked atop one another to form the human figure. The methods by which the stone has been worked are apparent to the viewer, and have not been obscured by subsequent handling. Visible traces, including drill-holes and split structures, evidence the work done at the quarry, where the blocks were removed from the ground. The work evinces the true nature of the stone: heavy and coarse material, marked by wind, weather, and corrosion. The simple presence and natural surface of the sculpture contrasts with the artificial surface of the poured concrete pedestals. The exhibition itself functions as a sort of hall-of-mirrors turned inwards. The stone figure is repeated and reflected in several scales, and installed in an immersive raw concrete environment.
The exhibition will be complemented by “Human Nature,” a large-scale installation presented by the Public Art Fund. Nine 16 to 20-foot tall stone sculptures will be on view April 23 through June 7 in the plaza at Rockefeller Center.
Born in 1964 in Brunnen, Switzerland, Rondinone has recently been the subject of solo exhibitions at: the Museum of Cycladic Art, Athens, Greece; Kunst Historisches Museum Wien, Wien, Vienna; Museum Dhondt Dhaenens, Deurle, Belgium; and Museo de Arte Contemporáneo de Castilla y León, France. This year, Rondinone will have solo exhibitions at Museum Leuven, Brussels, Belgium, and at the Art Institute of Chicago. In 2007, Rondinone represented Switzerland at the 52nd Venice Biennial and curated “The Third Mind” at Palais de Tokyo in Paris. He currently lives and works in New York.
For further information please contact contact Abby Margulies
+1 212 206 9300 or amargulies@gladstonegallery.com
New York Gallery hours beginning June 18: Monday – Friday, 10am – 6pm
Chelsea 530 West 21st Street, New York NY, 10011 212-206-9300 amargulies@gladstonegallery.com
Opening Friday May 10, 2013
PRISM/LIVIN/ROOM Amanda Browder Allegra LaViola Gallery Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - May 24, 2013 www.allegralaviola.com
PRISM/LIVIN/ROOM is a fabric installation that breeches the public/private conversation by creating a physical duality between a living room and a fabric art installation. Though apparent opposites, these two environments are connected by the presentation of contemporary art. Browder seeks to open the gallery up to non-traditional audiences and to encourage a sense of positive "comfort" in the stereotypically non-comfortable space of the gallery. She plans to hold two Public Sewing Days that encourage the viewer to become her collaborator. This is achieved either physically with donation of fabric, trimming or sewing or by joining in the atmosphere: sitting in the space, reading a book and enjoying the oversized colorful installation. Browder thinks of the space as fluctuating conceptually and sees it as paralleling the optical illusion of the Rabbit and the Duck. Kaninchen und Ente (German) - both exist equally, but are separated by a mysterious bond that seems physical but non-tangible.
PUBLIC SEWING/HANGOUT DAYS : Sat May 18, 12-5PM, Thursday May 23rd, 3-6pm
The East Village / Lower East Side 179 East Broadway, New York NY, 10002 Wednesday - Saturday from 12:00 PM to 6:00 PM
Sunday from 1:00 PM to 6:00 PM
917-463-3901 allegra@allegralaviola.com
Editor's Pick
Vincent Como: Paradise Lost Vincent Como MINUS SPACE Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 15, 2013 www.minusspace.com
MINUS SPACE is pleased to present the exhibition Vincent Como: Paradise Lost. This is the Brooklyn-based artist’s first solo exhibition with the gallery and it will feature a suite of small-scale black monochrome paintings illuminated by candlelight.
Working in a wide array of media, including installation, painting, drawing, printmaking, and artist books, the subject of Vincent Como’s artistic practice is the color black and he draws on divergent concepts from fields, such as art history, color theory, astrophysics, science, alchemy, philosophy, religion, mythology, and the occult. Como states, “The common denominator and unifying factor in all of these fields is rooted in some form of belief and the human capacity for prehension”.
For his new body of work, Como channeled John Milton’s epic poem Paradise Lost (1667), which chronicles the Biblical story of the fall of humankind, the temptation of Adam and Eve by the fallen angel Satan, and their subsequent expulsion from the Garden of Eden. The paintings in this series are produced using the classical oil painting methods and materials of the Old Masters – successive layers of warm and cool black pigment glazes varnished to a highly reflective surface resulting in a profoundly deep pictorial space. Shelves with varying numbers of lit black tapered candles are installed directly below each of the paintings. The flames are reflected in the paintings’ glossy mirror-like surfaces and leave faint traces of heat, smoke, and soot behind.
Como remarks, “The works are catalysts; manifest ideas that contain multiple meanings. They are meant to challenge the viewer’s sense of history, memory, evolution, and transcendence”. He continues by saying, “This paradise, as an intellectual or utopian ideal, has failed. It has been misplaced and forgotten”.
Vincent Como (b. 1975, Kittanning, PA; lives Brooklyn, NY) has exhibited his work throughout the United States and abroad, including in Mexico, England, and Vienna. Recent solo and group exhibition include Art in General, BRIC Rotunda Gallery, Momenta (all NYC); Samson Projects (Boston, MA); Illinois State Museum (Lockport, IL); Western Exhibitions, University of Illinois (both Chicago, IL); Evanston Art Center (Evanston, IL); SPACES (Cleveland, OH); Urban Institute for Contemporary Arts (Grand Rapids, MI); Art Museum of the University of Memphis (Memphis, TN); and House Gallery (Salt Lake City, UT), among many others.
Como’s work was included in two recent group exhibitions with the gallery: Neither Here Nor There But Anywhere and Everywhere (Brooklyn) and MINUS SPACE en Oaxaca (Oaxaca, Mexico). His work has been discussed in publications, such as The Wall Street Journal, ArtSlant, Progress Report, WagMag, The Boston Phoenix, Chicago Tribune, Chicago Journal, and Salt Lake Tribune, among others. He holds a BFA in Drawing from the Cleveland Institute of Art (Cleveland, OH).
DUMBO 111 Front Street, Suite 226, Brooklyn NY, 11201 Wednesday - Saturday from 12:00 PM to 6:00 PM
347-525-4628 info@minusspace.com
Opening Friday May 10, 2013
Vincent Como: Paradise Lost, MINUS SPACE, Brooklyn, NY, 2013
Vincent Como: Paradise Lost Vincent Como MINUS SPACE Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 15, 2013 www.minusspace.com
MINUS SPACE is pleased to present the exhibition Vincent Como: Paradise Lost. This is the Brooklyn-based artist’s first solo exhibition with the gallery and it will feature a suite of small-scale black monochrome paintings illuminated by candlelight.
Working in a wide array of media, including installation, painting, drawing, printmaking, and artist books, the subject of Vincent Como’s artistic practice is the color black and he draws on divergent concepts from fields, such as art history, color theory, astrophysics, science, alchemy, philosophy, religion, mythology, and the occult. Como states, “The common denominator and unifying factor in all of these fields is rooted in some form of belief and the human capacity for prehension”.
For his new body of work, Como channeled John Milton’s epic poem Paradise Lost (1667), which chronicles the Biblical story of the fall of humankind, the temptation of Adam and Eve by the fallen angel Satan, and their subsequent expulsion from the Garden of Eden. The paintings in this series are produced using the classical oil painting methods and materials of the Old Masters – successive layers of warm and cool black pigment glazes varnished to a highly reflective surface resulting in a profoundly deep pictorial space. Shelves with varying numbers of lit black tapered candles are installed directly below each of the paintings. The flames are reflected in the paintings’ glossy mirror-like surfaces and leave faint traces of heat, smoke, and soot behind.
Como remarks, “The works are catalysts; manifest ideas that contain multiple meanings. They are meant to challenge the viewer’s sense of history, memory, evolution, and transcendence”. He continues by saying, “This paradise, as an intellectual or utopian ideal, has failed. It has been misplaced and forgotten”.
Vincent Como (b. 1975, Kittanning, PA; lives Brooklyn, NY) has exhibited his work throughout the United States and abroad, including in Mexico, England, and Vienna. Recent solo and group exhibition include Art in General, BRIC Rotunda Gallery, Momenta (all NYC); Samson Projects (Boston, MA); Illinois State Museum (Lockport, IL); Western Exhibitions, University of Illinois (both Chicago, IL); Evanston Art Center (Evanston, IL); SPACES (Cleveland, OH); Urban Institute for Contemporary Arts (Grand Rapids, MI); Art Museum of the University of Memphis (Memphis, TN); and House Gallery (Salt Lake City, UT), among many others.
Como’s work was included in two recent group exhibitions with the gallery: Neither Here Nor There But Anywhere and Everywhere (Brooklyn) and MINUS SPACE en Oaxaca (Oaxaca, Mexico). His work has been discussed in publications, such as The Wall Street Journal, ArtSlant, Progress Report, WagMag, The Boston Phoenix, Chicago Tribune, Chicago Journal, and Salt Lake Tribune, among others. He holds a BFA in Drawing from the Cleveland Institute of Art (Cleveland, OH).
DUMBO 111 Front Street, Suite 226, Brooklyn NY, 11201 Wednesday - Saturday from 12:00 PM to 6:00 PM
347-525-4628 info@minusspace.com
Opening Friday May 10, 2013
Image: Michael Wang, Global Tone, 2013. Photo: Danielle Levitt.
GLOBAL TONE MICHAEL WANG Foxy Production Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 22, 2013 www.foxyproduction.com
May 10 - June 22, 2013
Reception: Friday, May 10, 6:00 PM - 8:00 PM
Extended Hours: Saturday, May 11, thru 8:00 PM
Foxy Production presents Global Tone, a solo exhibition by Michael Wang. Wang examines episodes from the history of the 20th century in which systems—political, scientific, artistic —collide. At their intersection is a transfer of energy, disruption, and feedback. The global effects of these interactions trace a chain of relationships among history, politics, aesthetics, biology, physics, and popular culture.
Individual works look to iconic figures from the political and artistic spheres: Jacqueline Kennedy, Hermann Göring, and Isamu Noguchi. Instead of treating them in a narrative vein as heroes, villains, or geniuses, they are understood as neutral points at which a range of natural and cultural forces coincide.
Kennedy puts art in the service of politics when she arranges the loan of the “Mona Lisa” from Paris to Washington to solidify Franco-American relations at the height of the Cold War. Göring aligns biology with national destiny when he successfully interbreeds American and European bison to strengthen the diminished genetic stock of the European herd. Noguchi equates monument-building with the reconstruction of a state when he proposes—unsuccessfully—to memorialize the victims of the atomic bomb at Hiroshima with a granite cenotaph.
In each encounter—between the Old World and the New, East and West—a singular image or object emerges from the historical cacophony: the beaded gown that Kennedy wears to the opening of the “blockbuster” Mona Lisa show; the monument in Meissen stoneware that Göring commissions to commemorate the success of his bison breeding program; Noguchi’s one-fifth scale cenotaph in polished black stone.
These objects do not arrive into the present unaltered. Kennedy's gown has outlived the event that was, originally, its sole destiny. Safeguarded in the holdings of the John F. Kennedy Library and Museum, it is now treated, like the Mona Lisa herself, with a conservator’s care. The Mona Lisa Gown (2013) amplifies the veneration afforded this object. Envisioned as the centerpiece of a traveling exhibition, the gown is untethered from its specific historical context to become a mutable, global symbol.
After the war, Göring’s sculpture is cut into pieces and buried. In the mid-1990s, it is unearthed, re-assembled, and put on public display in a small forest town. In 1982, thirty years after submitting his original proposal to the city of Hiroshima, Noguchi returns to his cenotaph, re-making the original plaster model in granite at a much larger scale. In the exhibition’s drawings, these sculptures are subject to invisible forces of dissolution. Göring’s sculpture comes apart at its mortar seams. Noguchi’s arch explodes into its beveled stone blocks.
Running beneath each of the works is a general movement of strategic diffusion: a bleeding outwards. Each individual gesture of fragmentation, transport, or exchange becomes part of a larger trend toward global dispersal—the imagined limit of which would be a state of global equilibrium, a global average.
A cast of professional female models, invited to the show’s opening, represent this future world in which the human species itself arrives at a stable state of equilibrium. A casting director has selected only models whose complexion matches a current “global average” skin tone—a specific color calculated with the assistance of biological anthropologists and a computer-imaging specialist. In a nearly invisible performance, these uniformly bronze models will mix among the other gallery-goers. Extending the logic of assimilation to its ultimate conclusions, they are a vision of a future, perfected humanity: 21st century globalization’s answer to 20th century eugenics.
Michael Wang (Olney, MD, 1981) holds degrees from Princeton, NYU, and Harvard. Recent exhibitions include: Spaces for Drawing, The Hite Collection, Gangman-gu, Seoul (2013); Differentiation Series, Primetime Gallery, Brooklyn, NY (solo); Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (two-person); and Carbon Copies, Foxy Production (solo project)(all 2012). He lives and works in New York City.
For further information please contact the gallery, telephone +1 212 2392758 or respond to this email.
Gallery hours: Tuesday - Saturday, 11-6PM
Chelsea 623 West 27th Street, New York NY, 10001 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-239-2758 info@foxyproduction.com
Opening Friday May 10, 2013
SP PAINTINGS Sterling Ruby NAHMAD CONTEMPORARY Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 10, 2013 www.nahmadcontemporary.com
The Upper East Side 980 Madison Avenue, 3rd Floor, New York NY, 10075 info@nahmadcontemporary.com
Opening Friday May 10, 2013
The Grand Tour Mark Shetabi Jeff Bailey Gallery Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 22, 2013 www.baileygallery.com
Jeff Bailey Gallery is pleased to present Mark Shetabi, The Grand Tour. In new paintings and sculpture, Shetabi explores ideas about travel, transition and escape.
Several sculptures of Campers serve as points of departure on this tour of relics. Their exteriors are neutral in color and the windows emit a soft, glowing light. Resting on cylinders, with no attachment to a car or a truck, they could be new or old, ready for use or abandoned. Their simplicity recalls early examples of modernist architecture or sculpture.
Another sculpture, Arcade, is a pared down version of a video game, circa 1980. Its outer form is like a shell, a repository for a technology that was once dazzling, now obsolete. Even so, the screen still gives off a faint light.
Girl on a Bicycle is a painting of a girl pedaling down a sun-dappled road - a moment of leisure drawn out in the slow time of painting. It is difficult to date the image, as the girl’s clothing might be from the 1950s, ‘80s, or even today. Caspian Sea Hyatt depicts the once chic lobby of a 1970s hotel. Like other hotels before and after it, its style has become passé.
Other paintings and sculptures recall forms that constitute the visual white noise of the adolescent memories of the artist: a double-kick drum set on a glowing stage is modeled after a kit played by Keith Moon; or the heroic opening sequence of Stanley Kubrick’s 2001: A Space Odyssey.
Within this framework of the familiar and archetypal, Shetabi seeks to depict objects and images in a way that invites further consideration. Addressing these subjects through the static forms of painting and sculpture, Shetabi provides a place for resistance against the eventual disappearance of things.
This is Shetabi's fourth solo exhibition with the gallery. His work has been exhibited in numerous solo and group exhibitions throughout the United States. He is a 2002 recipient of a Pew Fellowship in the Arts. Exhibition reviews have appeared in Art in America, The Philadelphia Enquirer, artnet.com and other publications. Shetabi lives and works in Philadelphia, where he is Assistant Professor of Painting and Drawing at Tyler School of Art.
For further information or images, please contact the gallery at 212.989.0156 or info@baileygallery.com.
Chelsea 625 West 27th Street, New York NY, 10001 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-989-0156 info@baileygallery.com
Opening Friday May 10, 2013
Mushroom Hunter Joanne Greenbaum, Katharina Grosse and Chris Martin The Journal Gallery Opening Friday May 10, 2013, from 6:00 PM to 9:00 PM On View May 11, 2013 - June 23, 2013 www.thejournalinc.com
Williamsburg 106 North 1st Street, Brooklyn NY, 11249 Tuesday - Sunday from 12:00 PM to 6:00 PM
718-218-7148 info@thejournalgallery.com
Opening Friday May 10, 2013
Three artists: Jamian Juliano-Villani, Jan Kempenaers and Wolfgang Streeck Beginnings— Curated by Matthew Giordano Opening Friday May 10, 2013, from 6:00 PM to 10:00 PM On View May 10, 2013 - June 02, 2013 www.beginnings-nyc.com
"The Sirens: it seems they did indeed sing, but in an unfulfilling way, one that only gave a sign of where the real sources and real happiness of song opened. Still, by means of their imperfect songs that were only a song still to come, they did lead the sailor toward that space where singing might truly begin. They did not deceive him, in fact: they actually led him to his goal. But what happened once the place was reached? What was this place? One where there was nothing left but to disappear, because music, in this region of source and origin, had itself disappeared more completely than in any other place in the world: sea where, ears blocked, the living sank, and where the Sirens, as proof of their good will, had also, one day, to disappear."
-Maurice Blanchot
Greenpoint 110 Meserole Avenue, Brooklyn NY, 11222 Friday - Sunday from 12:00 PM to 7:00 PM
860-416-8059 beginnings.newyork@gmail.com
Opening Friday May 10, 2013
Wim Delvoye, Penta Suppo (Counterclockwise), 2013, nickeled bronze, 98 x 11 cm, Courtesy of Sperone Westwater
Wim Delvoye Wim Delvoye Sperone Westwater Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 28, 2013 www.speronewestwater.com
In his fourth solo show at the gallery, Wim Delvoye presents recent laser-cut stainless steel and bronze sculptures, including the monumental Gothic tower Untitled (Suppo)which will be suspended from the gallery ceiling. By combining religious symbols with Gothic, Baroque and Rococo architectural elements and industrial machinery, Delvoye recontextualizes these items, often creating work that is subversive and provocative. The exhibition will be on view on floors 1 and 2 through June 28.
The East Village / Lower East Side 257 Bowery, New York New York, 10002 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-999-7337 info@speronewestwater.com
Opening Friday May 10, 2013
Mark Greenwold, A Jewish Couple, 2011, oil on linen mounted on panel, 22 x 28 inches, Courtesy of Sperone Westwater
Mark Greenwold Murdering the World, Paintings and Drawings 2007-2013 Mark Greenwold Sperone Westwater Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 28, 2013 www.speronewestwater.com
Complex in execution, psychology, and pictorial space, Mark Greenwold's small-scale, meticulously crafted paintings and drawings confuse the imagined and real. Due to his painstaking painting process, Greenwold rarely exhibits. This is his first show at the gallery and will be on exhibition on floor 3 through June 28.
The East Village / Lower East Side 257 Bowery, New York New York, 10002 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-999-7337 info@speronewester.com
Opening Friday May 10, 2013
"What Possessed You" exhibition
What Possessed You Jonathan Durham, Ben Fain, Gigi Gatewood, JR Larson, Molly Lowe and George Terry Fowler Project Space Curated by George Terry Opening Friday May 10, 2013, from 6:00 PM to 9:00 PM On View May 10, 2013 - June 07, 2013 http://www.fowlerprojectspace.org
Perhaps the most distinguishing trait that separates human from animal is the compulsion to express the soul within, and to give it form. Could this be the reason art exists? The six artists included in "What Possessed You" deal with the mysterious, amorphous, and untouchable powers felt within us. Each are offering a contemporary response to ritualistic traditions from places and subject matter as far afield as Trinidad and Tobago, the Appalachian Mountains, Middle America, the Southern Bible Belt, and mythology.
Jonathan Durham uses his work to explore subjects of faith, violence, doubt, humor and the body as a sculptural application. For "What Possessed You," Durham presents Pentecostal church footage of various incredible feats of faith, all of which he has edited into a trance-like loop.
With a simultaneously pointed and absurdist tone, Ben Fain’s work confronts culture head on. Using parade floats, film, and sculpture he examines the complications, prohibitions, and institutional contradictions operating within social spaces and contexts. His new work using logos from huge corporations like Starbucks and Whole Foods keenly bridges resistance and submission to the brand. He re-imagines the polished multi-national logos as home-made, even primitive symbols. In doing so, Fain is investigating the modern act of high-end consumption as a way to fulfill social, political and philanthropic desires.
Gigi Gatewood is a searcher, an open eye. Her interest in religion, science and magic leads her to explore the “space that exists somewhere between reality and the imaginary." This pursuit most recently brought her on a Fulbright Grant to explore the multiple religions and uniquely mixed culture found on the Islands of Trinidad and Tobago. "What Possessed You" marks the first presentation of her work from that trip.
Using a natural palette, raw materials and intuitive formalism, JR Larson’s work has an intense energy and presence. Larson uses many materials that exist within our own bodies, and so an encounter with his work can elicit a physical response, a recognition.
Through sculpture, installation, costume, performance and video, Molly Lowe reveals uncanny relationships between everyday objects, organic materials, and interiors both in and outside the body. Lowe’s work "Cycle," presented here, uses deconstructed narratives and a strong aesthetic sense of light and color, to produce evocative imagery of a myth-like, paganesque allegory.
For George Terry, an artistic pursuit is no different than a holy endeavor. For him, “studio practice” has become an adult metonym for what “play” was as a child. It is this aspect of play that keeps his practice vital. He feels that it’s important to open up his brain and just let things fall out.
Please join us for the opening reception of "What Possessed You," Friday, May 10th from 6-9pm. The reception will be taking place during a special Gallery Night event in Greenpoint. For more information on this event, go here: greenpointgalleries.org
What Possessed You is on view from May 10th to June 7th, 2013. The exhibition is on view by appointment.
Contact us here to make an appointment: fowlerartsbrooklyn@gmail.com
Greenpoint 67 West Street, #216, Brooklyn NY, 11222 646-691-8598 fowlerartsbrooklyn@gmail.com
Opening Friday May 10, 2013
Gedi Sibony Greene Naftali Gallery Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 09, 2013 - June 15, 2013 www.greenenaftaligallery.com
Chelsea 526 West 26th Street, 8th Floor, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
info@greenenaftaligallery.com
Opening Friday May 10, 2013
Documenting Cadere: 1972 - 1978 André Cadere Artists Space : Books & Talks Curated by Lynda Morris Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 11, 2013 - June 23, 2013 www.artistsspace.org
I think the American attitude is all about power. “We have dollars, we have atomic bombs, we have the power, so shut your mouth, we are right.” I am not in an economically powerful situation. I am not in a socially powerful situation. I am an émigré. Not from a rich country but from a completely undeveloped and dirty East European country. In front of the entire Occidental world, a communist is dirty.
I am not a real communist; I am a traitor because I left my communist world. It is a really horrible, dirty situation. It means that from my position there is nothing to lose. A Marxist position: “the proletariat has nothing to lose but its chains.” I feel myself in this position.
– André Cadere
André Cadere (born Warsaw, Poland, 1934) was a key figure in an avant-garde generation that contested the nature of the art object and the institutional framework of the art world in the 1970s. Artists Space presents an exhibition curated by art historian and writer Lynda Morris that comprises material produced around his actions – documents, photographs, gallery invitations and interviews that span a period from 1972 up to his untimely death in 1978.
The actions of Cadere centered on appearances with his Barres de Bois Rond – “round bars of wood” made of brightly painted cylindrical units. Although he presented his work in galleries, these appearances at public sites and at the openings of renowned Conceptual artists, constituted a provocative approach towards art’s dependence on context. The correspondence and documentation around these interventions and his interactions with other artists, gallerists, collectors and critics serve as important sites for Cadere’s ideas, providing particular insight into his thinking around the politics of space, both social and institutional, against the backdrop of the economic crisis of the 70s.
Cadere undertook actions in cities across Europe and in New York. His first visit to New York was in 1975, and further trips over the following three years saw Cadere exhibit work in galleries such as David Ebony Gallery, as well as in public spaces. In 1976 and 1978, during afternoon walks along West Broadway, he presented a Barre de Bois Rond at locations such as a grocery store, a Chinese restaurant, and a model agency. During his visits to the city Cadere met with artists, gallerists and writers including Ian Wilson, Benjamin Buchloh, Ileana Sonnabend, Lawrence Weiner, Sarah Charlesworth and Sylvère Lotringer.
Exhibition curator Lynda Morris developed a close correspondence with Cadere in the last three years of his life, including the organization of a series of eight “pub presentations” in Oxford and London in 1976. The exhibition draws on Morris’ personal archive, and the archives of the Herbert Collection, Ghent; Massimo Minini, Brescia; and Barry Barker, London.
Lynda Morris is Professor of Curation at Norwich University College of the Arts, UK, where she established the hugely successful EASTinternational open submission exhibition in 1991. She curated the first UK exhibitions of artists such as Agnes Martin, Bernd & Hilla Becher, Gerhard Richter, and more recently was co-curator of the exhibition Picasso; Peace and Freedom for Tate Liverpool (2010).
Documenting Cadere was initiated by Modern Art Oxford, UK and is accompanied by a fully illustrated catalogue, edited by Lynda Morris and Paul Luckraft. The exhibition is the first to take place at Artists Space : Books & Talks, Artists Space’s second venue at 55 Walker Street. This location houses a bookstore, and an auditorium for talks, screenings and performances. A space for exhibitions will focus on displays that address the discursive aspects of cultural production.
Curated by Lynda Morris, in collaboration with Modern Art Oxford, Mu.ZEE, Ostend and Artists Space, New York
With thanks to the estate of André Cadere and Galerie Herve Bize, Nancy; and Gregorio Magnani, London. Image courtesy of Massimo Minini, Brescia
Tribeca / Downtown 55 Walker Street, New York NY, 10013 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-226-3970 books@artistsspace.org
Opening Friday May 10, 2013
TROY BRAUNTUCH © Courtesy of the artist & Petzel Gallery
TROY BRAUNTUCH Petzel Gallery Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 13, 2013 www.petzel.com
“The word in language is half someone else, and The word in language is half someone else’s.”
— Mikhail Bakhtin
That Texas summer was so hot; dried dust permuted continuously. Reddish, yellow and brown hazes influenced the measuring of distance and sight. The fire spread rampantly. It quickly scorched the trees, removing moisture from objects until they evaporated into light, silky flakes falling at ease, transfigured by the blaze.
A camera sits on a table and the flames are recorded in the reflection of the lens. It watches the fire until the flames touch its face. The film turns to ash and images become ash; there are now no more images. The once “A Kind of History” is spread into the air. The camera’s content comes to light and is shared throughout the space. Soot buries all remaining objects and billows outwards as visitors walk through these ruins. Attaching to the facades, the ash re-covers every surface of the building’s interiors. Or are they exteriors?
Troy Brauntuch’s surfaces, pigments and residue of images for this show, his fourth at Petzel Gallery, locate themselves amongst the haze of an American mythology and the space in which all things are recorded…and then forgotten. Sheets of soot arrange and re-arrange the history of the object and the horizontal picture plane that catches them. Lying on the surface and softly erased, pigments depict interiors and exteriors that become indistinguishable through ruin, appropriation and reflection. The pictures are constantly in view of and in conversation with one another. Motion and gaze set off a chain of events. The far-reaching consequence of the outward image and the uncertainty of what these subjects are seeing.
The Blue haze gradually gives way to emergency and taillights of the State Trooper’s vehicle. The road is empty, becoming smaller and more vague; the dashed lines disappear on the asphalt. Who is out there? There is no one out there.
The yellowish-grey racehorse is now being put to sleep; the half drawn fabric is pulled further up while the stall door turns silently on its hinges. The horse’s ears stand to catch the sound of the man entering.
The horizontal iron bars appear over the dim, black background. Stretched across his face, entrapping the eye, the silver bull lifts his head to glimpse at the man behind camera.
Across the room, the fugitive sits low in the back of a car ready for departure, hands cuffed behind, body forced to slump. The palms of his eyes push outward through the echo of the thin, black power lines reflected on the window. The youthful head has charred bands across his face.
A woman figure enters the scene. In some light, the image is heavy; in another light she seems to float on the surface. The dress weighs down onto the picture-plane. As she is pulled forward for a moment, the light hits every fold: she soon recedes because she knows she is leaving.
In the drawing room 4.35, the image rusts away; an arranged interior used for describing space without the aid of a camera. The dirty-red spined objects hook onto a wooden structure that is covered by a thin bed sheet. The prop-room has little to offer the students and the youthful class is tired from the heat. The heavy white-plaster statue is rolled out once again and remnants of its pusher are evidenced by the charcoal-stained fingerprints.
Chelsea 456 West 18th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-680-9467 info@petzel.com
Opening Friday May 10, 2013
John Stezaker, Nymph I 2011 Readymade 5.3 x 3.3 inches
Nude and Landscape JOHN STEZAKER Petzel Gallery Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 13, 2013 www.petzel.com
Petzel Gallery is pleased to present the exhibition John Stezaker: Nude and Landscape from May 8 – June 13, 2013. This is the artist’s third exhibition with the gallery. There is an accompanying catalogue published by Ridinghouse that highlights the work. The book contains an essay by the curator Sid Sachs, who first presented Nude and Landscape at the University of the Arts in Philadelphia in 2012.
Born in Worcester, United Kingdom in 1949, Stezaker was educated at the Slade School in London where his teachers included William Coldstream, Ewan Uglow and Richard Wollheim.
As one of the youngest members of the first British Conceptual Art group in the 1960s, Stezaker was also conceptualism's earliest defector - to an image, rather than concept-based practice, and as such, became a key bridge-figure between the conceptual art generation and the Pictures generation in America. Stezaker's media-image appropriations, however, tended to be more intimate in scale than spectacular, as was also the case with his American contemporaries like Richard Prince and Cindy Sherman. For the most part, this decision was based on the artist’s intention and desire to retain the formal image in its original state and scale. Influenced by the thinking on the media image by the French Situationists of the 1960s, Stezaker focused on cinematic imagery, although through the 1970s his attachment moved from current media images to earlier images (predominantly 1940s film stills, publicity portraits, and old postcards). The artist has stated that Joseph Cornell gave him the confidence for this regression or 'time travel,' as he has referred to it, as a means of evading the imperative of contemporaneity in modern art. He also found intellectual support for his decision in the thinking of Walther Benjamin and Maurice Blanchot, who he stated freed him to yield purely to image fascination and to image obsolescence.
Stezaker's work with cinematic imagery remains his best known. He has, however, worked with a number of other found image sources over the past 30 years. Most notably, the topographic images that make up his 'Bridge' collages and the anatomical nude images that make up his 'Fall' and 'Expulsion' series. This show is dedicated to these series of collages. In the early 1980s, when Stezaker first switched from the cinematic imagery of the 1970s to the nude, he declared it to be a part of a desire to move from an engagement with the culture of the image to the nature of the image. Over the years since then, his work on film still collages tends to alternate between works based on the nude or on land/cityscapes, depending on his interest in aspects of the nature or culture of images.
Whether from landscape sources or artist anatomy books, the material sources of Stezaker's images tend to be vintage. Thus, these oddly harmonious yet disquieting landscapes take on an aura of the remembered past, and the "truth" of photographic reality collapses into a recombinant modernist hybrid.
Stezaker lives and works in London. Exhibiting since 1969, the artist has become much more prominent in the last decade with extensive solo exhibits in Europe, Asia and the United States. He has had over forty one-person exhibitions and has exhibited in Adelaide and Sydney, Australia; Graz, Austria; Brussels, Belgium; Hong Kong, China; Copenhagen, Denmark; Paris and Avignon, France; Berlin, Bremen, Cologne, Düsseldorf, Frankfurt, Freiberg and Münich, Germany; London, Edinburgh, Birmingham, Cambridge, Liverpool, Norwich, Oxford, and Southhampton, Great Britain; Rotterdam, Holland; Tel Aviv, Israel; Kyoto and Tokyo, Japan; Brescia, Milan, Rome, and Venice, Italy; Lisbon, Portugual; Lucerne, Switzerland; and Houston, Los Angeles, Miami, Minneapolis, New York, and Saint Louis in the United States
Chelsea 456 West 18th Street, New York NY, 10011 212-680-9467 info@petzel.com
Opening Friday May 10, 2013
Yoshitomo Nara
Yoshitomo Nara Pace Gallery Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 29, 2013 www.pacegallery.com
Chelsea 534 West 25th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-421-8987 sgoulet@pacegallery.com
Opening Friday May 10, 2013
Tyler Healy, Dean Levin, Evan Robarts Tyler Healy, Dean Levin and Evan Robarts Ed. Varie Curated by Karen Schaupeter Opening Friday May 10, 2013, from 6:00 PM to 9:00 PM On View May 10, 2013 - June 02, 2013 www.edvarie.com
Ed. Varie is please to present new work from New York based artists Tyler Healy, Dean Levin and Evan Robarts. Participants in a private residency, Artha Project, based in the Brooklyn Navy Yards, each artist has been able to examine previous practices and develop new bodies of work, as well as create collaborative projects within their studio walls.
Tyler Healy, born and raised in New York, holds a BFA in Product Design from Parsons the New School for Design. As an ongoing study of the physical, technological, cultural and emotional connection that one shares with current technologies Healy installs a record of the explorer and the voyeur. Healy re-contextualizes every day iconography and unaltered low-resolution images, turning small flashes of everyday imagery into large-scale works of art, forcing the viewer to face how they experience the modern world through technology, and the mundane. Healy has participated in group exhibitions in Manhattan at 48 Bowery, Bleecker Street Art Club, Lesley Heller Gallery, RH Gallery, Nicola Formichetti Studio and Temp, in Brooklyn at AMO and Monster Island.
Dean Levin born in Johannesburg, and raised in Los Angeles, holds a BARCH from Pratt Institute. Critiquing the diversions that individuals create to escape the daily routine, Levin redefines and extends the literal gallery space with the use of televisions and plant life. Levin continues his exploration of the mental diversion known as escapism with the use of movies and fantasies of vacation to alleviate and forget one’s own troubles or problems. Levin has participated in group exhibitions in Manhattan at Bleecker Street Art Club, Lesley Heller Gallery, RH Gallery, Nicola Formichetti Studio and Temp, and in Brooklyn at AMO and Monster Island.
Evan Robarts born in Miami, holds a BFA in Sculpture from Pratt Institute. Employing both new and found objects that personally and freely associate childhood and nostalgia, Robarts investigates material, color, and object as a sculptural platform. By removing these objects from their intended usage, Robarts creates a unique narrative and highlighting particular elements compelling to the artist and viewer. Robarts has participated in group exhibitions in Paris at Galerie Olivier Robert, in Manhattan at White Box Gallery, RH Gallery, Temp, and Schoolhouse, in Brooklyn at Still House and Open Source, and in Miami at the South Florida Art Center and the Martin Margulies Warehouse.
Serving as a documentary project, an untitled booklet, based on the process and studio environment of Healy, Levin and Robarts, photographed by Clément Pascal and Johnny Knapp, designed by GG - LL, and published in collaboration with Ed. Varie, will be available in a very limited edition on opening night.
Alphabet City 618 E. 9th Street, East Storefront, New York NY, 10009 Saturday - Sunday from 12:00 PM to 5:00 PM
646-823-9353 info@edvarie.com
Opening Friday May 10, 2013
STEWART UOO AND JANA EULER: OUTSIDE INSIDE SENSIBILITY Whitney Museum of American Art Curated by Jay Sanders Opening Friday May 10, 2013, from 1:00 PM to 9:00 PM On View May 10, 2013 - August 11, 2013 www.whitney.org
Stewart Uoo and Jana Euler are emblematic of an emerging group of artists whose work interrogates how the social, technological, cultural forces at work today shape the contemporary “self.” In this exhibition, Uoo’s dystopic cyborg-mannequins are juxtaposed with Euler’s multilayered figurative painting within an environment designed by Uoo. Seen together, the works suggest new ways of thinking about contemporary portraiture.
Stewart Uoo and Jana Euler: Outside Inside Sensibility is organized by curator Jay Sanders.
The Upper East Side 945 Madison Avenue at 75th Street, New York NY, 10021 Wednesday - Thursday from 11:00 AM to 6:00 PM
Friday from 1:00 PM to 9:00 PM
Saturday - Sunday from 11:00 AM to 6:00 PM
212-570-3600 info@whitney.org
Editor's Pick
Jack Goldstein x 10,000 The Jewish Museum Curated by Joanna Montoya and Philipp Kaiser Opening Friday May 10, 2013, from 11:00 AM to 5:45 PM On View May 10, 2013 - September 29, 2013 www.thejewishmuseum.org
The first American retrospective of the Canadian-born artist Jack Goldstein (1945 - 2003) brings to light his important legacy. This comprehensive exhibition frames Goldstein as a central figure of the Pictures Generation of the 1970s and 1980s and showcases his influential paintings and films, while also including installations, ephemera, writings, and pioneering sound recordings. The artists of the Pictures Generation, such as Cindy Sherman, Sherrie Levine, Laurie Simmons, Barbara Kruger, David Salle and Robert Longo, explored a new stylistic vocabulary grounded in their interest in popular culture, appropriating images from books, magazines, advertisements, television, and film.
Goldstein transformed, restaged, and remade films in such a way as to strip out specific details, context, and function. Exhibition highlights include his celebrated film of a growling Metro-Goldwyn Mayer lion. Another signature work is the film The Jump featuring a leaping diver, performing a somersault and disintegrating into fragments. Given Goldstein's legacy and his increasing relevance to younger artists, this long overdue retrospective is essential to a larger re-evaluation of post-1960s American art.
JACK GOLDSTEIN x 10,000 was organized by the Orange County Museum of Art and curated by guest curator Philipp Kaiser.
The Jewish Museum presentation has been organized by Joanna Montoya, Neubauer Family Foundation Assistant Curator.
The exhibition is made possible by a grant from The Andy Warhol Foundation for the Visual Arts, Inc.
Additional support is provided by Jean and Tim Weiss, the National Endowment for the Arts, Barbara and Victor L. Klein, and Karyn D. Kohl.
The Jewish Museum presentation is made possible by the Melva Bucksbaum Fund for Contemporary Art. Generous support is also provided by Venus Over Manhattan.
The Upper East Side 1109 Fifth Avenue at 92nd Street, New York NY, 10128 Friday - Tuesday from 11:00 AM to 5:45 PM
Thursday from 11:00 AM to 8:00 PM
212-423-3200 info@thejm.org
Opening Friday May 10, 2013
Jack Goldstein Still from Metro-Goldwyn-Mayer, 1975, 16mm film; color; sound; 3 min. Courtesy Galerie Daniel Buchholz, Berlin/Cologne and the Estate of Jack Goldstein
Jack Goldstein x 10,000 The Jewish Museum Curated by Joanna Montoya and Philipp Kaiser Opening Friday May 10, 2013, from 11:00 AM to 5:45 PM On View May 10, 2013 - September 29, 2013 www.thejewishmuseum.org
The first American retrospective of the Canadian-born artist Jack Goldstein (1945 - 2003) brings to light his important legacy. This comprehensive exhibition frames Goldstein as a central figure of the Pictures Generation of the 1970s and 1980s and showcases his influential paintings and films, while also including installations, ephemera, writings, and pioneering sound recordings. The artists of the Pictures Generation, such as Cindy Sherman, Sherrie Levine, Laurie Simmons, Barbara Kruger, David Salle and Robert Longo, explored a new stylistic vocabulary grounded in their interest in popular culture, appropriating images from books, magazines, advertisements, television, and film.
Goldstein transformed, restaged, and remade films in such a way as to strip out specific details, context, and function. Exhibition highlights include his celebrated film of a growling Metro-Goldwyn Mayer lion. Another signature work is the film The Jump featuring a leaping diver, performing a somersault and disintegrating into fragments. Given Goldstein's legacy and his increasing relevance to younger artists, this long overdue retrospective is essential to a larger re-evaluation of post-1960s American art.
JACK GOLDSTEIN x 10,000 was organized by the Orange County Museum of Art and curated by guest curator Philipp Kaiser.
The Jewish Museum presentation has been organized by Joanna Montoya, Neubauer Family Foundation Assistant Curator.
The exhibition is made possible by a grant from The Andy Warhol Foundation for the Visual Arts, Inc.
Additional support is provided by Jean and Tim Weiss, the National Endowment for the Arts, Barbara and Victor L. Klein, and Karyn D. Kohl.
The Jewish Museum presentation is made possible by the Melva Bucksbaum Fund for Contemporary Art. Generous support is also provided by Venus Over Manhattan.
The Upper East Side 1109 Fifth Avenue at 92nd Street, New York NY, 10128 Friday - Tuesday from 11:00 AM to 5:45 PM
Thursday from 11:00 AM to 8:00 PM
212-423-3200 info@thejm.org
Opening Friday May 10, 2013
XL: 19 New Acquisitions in Photography MoMA Curated by Roxana Marcoci and Eva Respini Opening Friday May 10, 2013, from 10:30 AM to 5:30 PM On View May 10, 2013 - January 06, 2014 www.moma.org
This exhibition offers a critical assessment of photography’s influential role in contemporary art through a selection of recent major acquisitions, comprised primarily of multipart and serial works by 19 artists. These works—each of which is being presented at MoMA for the first time—are grounded in diverse photographic traditions, suggesting the creative fertility of the medium from 1960 to today. They range from postwar experiments with darkroom processes, such as photograms and photomontages; to 1970s feminist performances conceived for the camera; to political and documentary engagements with themes of labor history and globalization in the 1980s; to post-appropriative forms of archival and historical reconstitution since 2000. The cross-generational group of 19 international artists features Yto Barrada, Phil Collins, Liz Deschenes, Stan Douglas, VALIE EXPORT, Robert Frank, Paul Graham, Leslie Hewitt, Birgit Jürgenssen, Jürgen Klauke, Bela Kolářová, Lynn Hershman Leeson, Dóra Maurer, Oscar Muñoz, Mariah Robertson, Allan Sekula, Stephen Shore, Taryn Simon and Hank Willis Thomas.
Galleries 1–4 open May 10; gallery 5 opens August 23
The exhibition is organized by Roxana Marcoci, Curator, Sarah Meister, Curator, and Eva Respini, Associate Curator, Department of Photography.
Major support for the exhibition is provided by Peter Schub, in honor of Anne and Joel Ehrenkranz.
Midtown 11 West 53rd Street, New York NY, 10019 Saturday - Thursday from 10:30 AM to 5:30 PM
Friday from 10:30 AM to 8:00 PM
212-708-9400
Opening Friday May 10, 2013
Subliming Vessel Matthew Barney The Morgan Library & Museum Opening Friday May 10, 2013, from 10:30 AM to 9:00 PM On View May 10, 2013 - September 02, 2013 www.themorgan.org
Subliming Vessel is the first museum exhibition devoted to Matthew Barney's works on paper. Featuring nearly one hundred drawings spanning the artist's career to date, the exhibition will include Barney's earliest drawings made in the late 1980s, drawings created in conjunction with the CREMASTER film cycle (1994–2002), and those related to his current project RIVER OF FUNDAMENT.
Also on view will be a selection of Barney's storyboards for his films and videos—composed of sketches, photographs, clippings, and books—used to map out the narrative structure of his projects. For the exhibition, the artist has selected items from the Morgan's collections to display as part of his storyboards, underscoring the importance literature and mythology play in the elaboration of his stories.
Subliming Vessel will also mark the creation of a new DRAWING RESTRAINT performance, the twentieth in this ongoing series that examines the relationship between self-imposed resistance and creativity. The drawings created during the performance will be on view in the Morgan's Clare Eddy Thaw Gallery.
This exhibition is made possible by a lead grant from the Henry Luce Foundation. Major funding is provided by The Andy Warhol Foundation for the Visual Arts, with further generous support from the Ricciardi Family Exhibition Fund, the Charles E. Pierce, Jr. Fund for Exhibitions, Barbara Gladstone, Maja Oeri and Hans Bodenmann, and Nancy Schwartz.
Artist Talk
Matthew Barney
Wednesday, May 15, 7 p.m.
At nearby New York Public Library:
LIVE from the NYPL
Matthew Barney in Conversation with Paul Holdengräber
Tuesday, May 21, 7 p.m.
Films
Matthew Barney: No Restraint
Friday, May 10, 7 p.m.
Friday, June 7, 5 p.m.
The Cremaster Cycle: A Conversation with Matthew Barney
Friday, June 21, 7 p.m.
Between the Lines
Subliming Vessel: The Drawings of Matthew Barney
Saturday, June 1, 11 a.m.
Gallery Talk
Subliming Vessel: The Drawings of Matthew Barney
Friday, June 14, 7 p.m.
Midtown 225 Madison Avenue at 36th Street, New York NY, 10016 212-685-0008
Opening Friday May 10, 2013
White Snow and Prince on Horseback, 2012, Black walnut, 148.6 x 81.3 x 157.5 cm / 58 1/2 x 32 x 62 in
Sculptures Paul McCarthy Hauser & Wirth Opening Friday May 10, 2013, from 10:00 AM to 6:00 PM On View May 10, 2013 - June 01, 2013 www.hauserwirth.com
Chelsea 511 West 18th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-790-3900 newyork@hauserwirth.com
Opening Friday May 10, 2013
Horizontal, 2012, Platinum silicone, fiberglass, aluminum, stainless steel, natural hair, pigment, paint, wood door with laminate, wood sawhorses, 102.9 x 268 x 90.5 cm / 40 1/2 x 105 1/2 x 35 5/8 in
Life Cast Paul McCarthy Hauser & Wirth Opening Friday May 10, 2013, from 10:00 AM to 6:00 PM On View May 10, 2013 - July 26, 2013 www.hauserwirth.com
The Upper East Side 32 East 69th Street, New York NY, 10021 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-794-4970 newyork@hauserwirth.com
Opening Thursday May 09, 2013
Egan Frantz Tilton Gallery Opening Thursday May 09, 2013, from 6:00 PM to 8:00 PM On View May 10, 2013 - June 22, 2013 www.jacktiltongallery.com
Tilton Gallery is pleased to present Egan Frantz: Multiples, from May 10 - June 22, 2013. An opening reception will be held on Thursday, May 9th from 6 – 8 pm.
For this exhibition Egan Frantz has focused his attention on artist multiples. He is interested in multiples, in part, because they are united by their lack of uniqueness, a characteristic usually regarded as a prerequisite in a work of art. However we know, at least since Duchamp's ready- made, that a work of art as multiple does not preclude a unique historical event from taking place.
As a student Frantz was mentored by the late poet, Robert Seydel, with whom he developed a love for artists, poets, writers, and philosophers sharing a tendency towards seeing communication as a construction in and of language itself. These formative interests in the affective power of words would lead Frantz towards the appreciation of psychoanalysis, of Sigmund Freud, Jacques Lacan, and the groups that continue to maintain and develop psychoanalytic work today. Specifically convinced by Lacan’s belief that “mathemetization” is the key to the Real, an idea that has influenced such contemporary philosophers as Slavoj Žižek, Alain Badiou, and Quentin Meillassoux, Frantz believes there is a comparable key for the artwork; that its formalization alone can reach a Real.
The influence of culture on our interests in art is distilled explicitly with the artist’s own distinctive humor and acute sense of the absurd. Part ready-made, part appropriation, yet entirely produced by hand, Frantz transforms objects themselves literally back into themselves: indoor/outdoor bucket sculptures respectively titled “Monochromes,” appear to be distilling something with sparkling water bottles bubbling in their water filled buckets; real baguettes have been dried out, crushed and mixed with an epoxy, then put into molds made from the original baguettes to become “Baguette Sculptures.” Metal wall bound-works Frantz has titled “Baguette & Crab” sculptures are composed of stainless steel baking pans donned with the image of a crab, hand-stamped into aqua colored seals, before being framed by the artist himself.
The artist points out that if we have at any point associated food, drink, love, and even culture itself with France; here we are also associating food, drink, love, and culture with the work of “Frantz,” some even “framed by Frantz.” Produced by seemingly circular means, food sculptures are made with food, drink sculptures are made of drink, wall sculptures concerning the production of French culture, e.g. French bread, are composed of pans on which it is baked, and in other works “Erotic Sculptures” are walls of arrows. These multiples are unique; these unique sculptures are multiples.
Also included in this exhibition is a leather-wrapped baguette sculpture produced in collaboration with the artist Ben Schumacher.
Egan Frantz was born in 1986 in Norwalk, Connecticut, USA. Recent exhibitions include “Room Temperature” at Roberts & Tilton, Los Angeles; “The Serial Poem 1 & 2 & 3 & 4 & 5 & 6” at Tomorrow, Toronto; and “Sequence 3” at Miguel Abreu Gallery, New York; Forthcoming exhibitions include “Tails” at Brand New Gallery, Milan, Italy and Art Statements, Art 44 Basel, Basel, Switzerland. Frantz graduated from Hampshire College in 2009.
The Upper East Side 8 East 76th Street, New York NY, 10021 212-737-2221 info@jacktiltongallery.com
Opening Thursday May 09, 2013
Joseph Sywenkyj
Verses: A Family in Odesa, Ukraine Joseph Sywenkyj The Camera Club of New York (CCNY) Opening Thursday May 09, 2013, from 6:00 PM to 8:00 PM On View May 09, 2013 - May 25, 2013 www.cameraclubny.org
A CCNY Darkroom Residency solo exhibition
Verses, a solo exhibition by 2012 CCNY Darkroom Resident Joseph Sywenkyj, is a project that documents a Ukrainian family living with HIV for the past decade. This exhibition marks the final of four solo exhibitions from the recipients of the 2012 CCNY Darkroom Residency Program.
Joseph Sywenkyj says about this project: Verses is the story of a family in Odesa, Ukraine. Sasha, Ira, and their daughter Masha are the lead characters in my ongoing documentation. This is not a story of quick change or fast healing. The story progresses slowly, yet captures moments of family life and dynamics that cover a variety of situations and emotions.
Sasha and Ira were both diagnosed HIV-positive in the late 1990s. Several days after I met them in 2001, Ira gave birth to her sixth child Masha. A year later they were informed of Masha’s HIV-positive status. Ira has had 3 more children since Masha’s birth. Currently 11 children (including 3 grandchildren) live with them in their small home. Their children range in age from 4 to 20 years old.
Masha, who turned 11 years old in August, is their only child who is HIV-positive. Watching her grow is not only a testament to her personal strength, but also a way to observe the program that gives her free antiretroviral therapy, which keeps her healthy and alive. In Sasha’s case, his health has fluctuated over the years even though he receives antiretroviral therapy.
The overall objective of Verses is to highlight family planning issues and the importance of free or inexpensive antiretroviral therapy for HIV-positive people who cannot afford it. This will always remain a central goal. However, the power of this project is that it does not attempt to make sweeping judgments about society and its problems. The power of Verses is that it is a story about family, intimacy, relationships, values, and love and all the anxieties and difficulties that accompany it.
Despite stepped up efforts to fight the disease, Ukraine has one of the fastest growing HIV infection rates in the world and the worst infection rate in Europe. UNAIDS estimates that approximately 350,000 Ukrainians are living with HIV⁄AIDS and that there have been about 24,000 deaths due to the disease.
According to Dr. Dmitro Donchuk, a Ukrainian infectious disease specialist, in 2010 there were 20,500 new infections of HIV officially registered in Ukraine. Approximately 4,000 of those cases were babies infected with HIV through mother to child transmission, as Masha was 11 years ago.
Joseph Sywenkyj (b. 1978) is an American specializing in documentary photography and photojournalism. In 2003, a year after graduating with honors from the School of Visual Arts in New York, he moved to Ukraine on a Fulbright Grant.
Joseph has worked extensively on assignment throughout Central and Eastern Europe, Central Asia, as well as in Africa and the Middle East. His photographs have been exhibited in numerous galleries and museums including the George Eastman House in Rochester, New York; Musée de l’Elysée in Lausanne, Switzerland; Les Rencontres d’Arles in Arles, France; The Richard B. Russell Senate Office Building in Washington, DC and the United Nations Visitor’s Lobby in New York. His photographs have appeared in various publications such as The New York Times, Conde Nast Portfolio, Departures, GQ, Time, Newsweek, The New Yorker, and many others.
In 2002 Joseph attended the World Press Photo Joop Swart Masterclass. Photo District News named him one of the 30 Emerging Photographers to watch in 2003. He was twice a finalist for the W. Eugene Smith Grant in Humanistic Photography in 2009 and 2011 and was also a finalist for a 2010 Hasselblad Masters Award. Kodak Professional has sponsored the creation of his work in Ukraine as well as in the Democratic Republic of Congo. In 2012 he was awarded a Camera Club of New York Darkroom Residency. His website is www.josephsywenkyj.com.
The CCNY Darkroom Residency Program offers local photographers much-needed workspace in New York City as well as access to the CCNY community and programs. Each year, emerging photographers living in New York City are invited to apply for this program. The four recipients of the 2012 CCNY Darkroom Residency Program – Tiana Markova-Gold, Rachelle Mozman, Rob Stephenson, and Joseph Sywenkyj – are the first residents to have solo exhibitions, thanks to the generous support of The Jerome Foundation. For more information about the CCNY Darkroom Residency Program, please visit our website.
Hell's Kitchen The Arts Building, 336 West 37th Street, Suite 206, New York NY, 10018 Monday - Saturday from 12:00 PM to 6:00 PM
212-260-9927 info@cameraclubny.org
Opening Thursday May 09, 2013
GAME CHANGER, OR HISTORY IS MADE AT NIGHT: Dionisios Fragias RARE Gallery Opening Thursday May 09, 2013, 6:00 PM On View May 09, 2013 - June 20, 2013 www.rare-gallery.com
RARE Gallery is pleased to present Game Changer, or History Is Made at Night, Dionisios Fragias' third solo show at the gallery. Comprised of three-dimensional objects and wall-relief paintings, the exhibition continues the artist's investigation into human nature's simultaneously competing tendencies toward creation and destruction. Game Changer runs from May 9 through June 20, with an opening night reception on Thursday, May 9.
Fragias' sculptures amass the weight of myth and allegory within the context and immediacy of contemporary objects. They connect our past to the present by exploring humanity's cyclical tendencies while highlighting biological and socio-political drives that shape these behaviors, demonstrating the chain of connections that are woven into the fabric of mankind's history. For example, The Death of Chiron (Humvee), 2013, brings together two military icons from different eras - the dying Chiron, the noble centaur-warrior, is fused with a partially deconstructed, overturned Humvee. The implied explosion turns this amalgamation into a Baroque-like form which sits on a patch of recreated roadway that in turn rests atop a Queen Anne revival coffee table, a style of furniture that became very popular during the Industrial Revolution.
In Tower (Babel), 2013, Fragias utilizes a contemporary infrastructure to erect a scaled replica of the fabled Tower of Babel. Grand Central Station's 7-train subway tracks are taken out of their horizontal context and are made to spiral upward in a continuous photographic image to form the Tower. A metal frame mimicking a single-strand RNA molecule holds the photographic element in place to prevent it from collapsing as its ancient predecessor did. The tracks, which depict the accumulated refuse of many nationalities, offer a contemporary take on the Tower, yet the structure of the sculpture itself has a close visual kinship to Pieter Bruegel the Elder's painting of this Biblical icon. Fragias' conceptual alchemy is also at work in An Unlimited Supply of History, 2013, an interactive, kinetic sculpture in which a faux marble carving of the word "history" perches on an industrial paint shaker. When viewers turn on the machine, history shakes - over time it will crumble, providing wry commentary on the malleability of history and the difficulty of faithfully recording our present and later interpreting our past.
Three hybrid paintings by Fragias are metal wall reliefs on the surface of which the artist has created an oil painting. Each work juxtaposes elements from vastly separated time periods - a Greek temple to the god of metal work and technology painted on an angst-ridden contemporary profile, lamb roasting on a spit covering the fuselage of a military drone, an early American flag draped over a dying centaur - to indicate how throughout history various symbols by which societies measure and represent their respective ideals require inevitable sacrifices to uphold those ideals.
Fragias received his BFA from the Fashion Institute of Technology in New York. He is participating in Visually Sound, April 26 - July 2, a group show with four other RARE artists curated by Aaron Michael Skolnick at Land of Tomorrow in Louisville, KY. His work was included in the 11th International Biennial of Miniature Art at the Gornji Milanovac Museum in Serbia (2012); Curate New York, an online exhibition curated by Chad Stayrook for the Bronx River Art Center (2011); Pergament, a group show that traveled to Geneva, Brussels, and Sarajevo (2011-12); and Greater New York at MoMA PS1 (2005).
Chelsea 547 West 27 Street, No. 514, New York NY, 10001 Tuesday - Saturday from 11:00 AM to 6:00 PM
646-339-6050 raregallery@earthlink.net
Opening Thursday May 09, 2013
Tom Shannon, Nothing, installation view
Nothing Tom Shannon SHOW ROOM Opening Thursday May 09, 2013, from 6:00 PM to 8:00 PM On View May 09, 2013 - June 09, 2013 www.showroom170.com
SHOW ROOM is proud to announce the upcoming exhibition Nothing, a collection of work by Tom Shannon.
Employing hidden mechanisms, magnets, and motion, Tom Shannon explores the ways of the natural world. While underlining the fundamental conditions of existence—gravity, weight, location, time—the works embody long study and share vast insights in a collection of deceptively simple motions as works levitate, turn, pivot, shifting the viewer’s point of reference.
In Shannon’s Relativity Clock, a clock is rotated one revolution-per-minute counter-clockwise, thus canceling the one revolution-per-minute clockwise motion of the clock's second hand. The hand moves through time but not through space. In Airfield, hundreds of red spheres are arranged in a lattice structure, lit by ambient light and swayed by air currents. Aeros balances two stainless steel forms in a magnetic pull.
On Nothing, Shannon writes:
The space around things, between things, under things has always played an important role in configuring my work. Space is breathing room but not empty, since air space is invisibly full of atoms, water vapor, microbes, electric charge, photons, magnetism, radiation, sound...
Even the perfect black vacuum of space between the stars, the largest feature of our existence, is not empty; it's teeming with waves emitted by all the things. In the endless search through space for nothing, nothing has been found or not found. Not surprisingly, since nothing has, by definition, never been seen or sensed in anyway.
An artist and inventor, Tom Shannon holds several patents, and has experimented in painting, architecture, sculpture. In 1968, Pontus Hultén included Shannon’s work in the Museum of Modern Artexhibition The Machine as Seen at the End of the Mechanical Age. A year later Shannon was awarded first prize at the 72nd annual exhibition at the Art Institute of Chicago. His work has been displayed in the Museum of Modern Art, New York; the Whitney Museum, New York; P.S. 1, New York; the Stedelijk Museum, Amsterdam; the Centre Georges Pompidou, Paris; the Musée d’Art Moderne, Paris; and the Detroit Institute of Fine Art. He has been included as well in the biennials of Venice, Sao Paolo, and Lyon.
The East Village / Lower East Side 170 Suffolk Street, New York NY, 10002 Thursday - Sunday from 12:00 PM to 6:00 PM
646-559-2856 info@showroom170.com
Opening Thursday May 09, 2013
Pavel Wolberg, Hebron (Purim), 2010 C-print 23.5 x 35.5 inches / 60 x 90 cm Edition of 5
Pavel Wolberg Andrea Meislin Gallery Opening Thursday May 09, 2013, from 6:00 PM to 8:00 PM On View May 04, 2013 - June 15, 2013 www.andreameislin.com
Andrea Meislin Gallery is pleased to announce Pavel Wolberg’s first exhibition at the gallery and in New York. The exhibition will open on May 4 and will be on view through June 15.
An objective yet empathetic observer, Wolberg intuitively photographs moments of wonder, spectacle, and solitude. He began his career in photojournalism, where his instinctual way of working allowed him to capture climactic and historic moments. Yet his photographs, which often depict various communities and their respective rituals in Israel, lean more towards the poetic than the political.
An avid museumgoer as a child growing up in Russia, he is inspired by great masters like Gericault and David, and his photographs often feel like paintings. Whether close to the action or revealing an expansive perspective, Wolberg maintains the position of a foreign observer and refrains from passing judgment or designating right or wrong. Renowned journalistic photographer Micha Bar-Am says of Wolberg, “He understands that life is sufficiently dramatic and theatrical and he has the proper combination of the laws of the chase and knowledge, in making a visual and artistic statement.”
Whether capturing the revelry of Purim, men dancing in gay clubs in Tel Aviv, sacred moments of a Hasidic wedding, or conflict-laden landscapes, Wolberg handles all of his subjects with sensitivity and respect, always aware of his responsibility as a visual communicator.
About the Artist
Born in 1966 in Leningrad, Wolberg moved with his family to Israel when he was nine years old. Upon completing school he joined the Army, and then after working various odd jobs, he studied at the Camera Obscura School of Art in Tel Aviv. Wolberg later worked as a photographer in the news department of Ha’aretz, and with the European Pressphoto Agency (EPA). He is the recipient of the Gérard Lévy Prize for a Young Photographer, the Israel Museum, Jerusalem and the Constantiner Photography Award for an Israeli Artist, Tel Aviv Museum. His work was featured in the 2007 Venice Biennale, and is in the collections of the Israel Museum, the Tel Aviv Museum of Art, the Jewish Museum (New York), the Kadist Foundation (San Francisco, Paris), and many notable private collections.
For all press inquiries, please contact Courtney Richter at courtney@andreameislin.com
Chelsea 534 West 24th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-627-2552 info@andreameislin.com
Opening Thursday May 09, 2013
Settling Erin Murray Nancy Margolis Gallery Opening Thursday May 09, 2013, from 6:00 PM to 8:00 PM On View May 09, 2013 - June 15, 2013 www.nancymargolisgallery.com
Nancy Margolis Gallery is pleased to announce the opening of Erin Murray’s first solo New York exhibition, “Settling”, on May 9, 2013 and on view through June 15, 2013. The artist’s reception will take place May 9 from 6-8 pm.
Murray’s landscapes take built environments as their subject and formalize their banality as art. The show’s series of graphite and charcoal drawings features Murray’s characteristic austerity and, like the exhibition’s oil-on-panel paintings of unsettling landscapes, examines the real world in a surreal way. Devoid of people, Murray’s landscapes are permeated by an intensity that creates an anthropomorphic connect and imbues their mundane architecture with a significance otherwise unrealized.
Murray skillfully and innovatively employs different approaches to each drawing and painting so that, while the works in “Settling” vary in medium, the show’s mood and theme are consistent. Murray’s drawings are defined by their meticulous execution, striking perspectives, and high contrast, rendering these works near-portraits of the structures they depict, albeit cold and aloof. Through these techniques Murray monumentalizes her subjects, as in the large-scale Body Building (2012, 36″x108″). Intentionally stark, but dramatic, the drawing compels the viewer to empathize with the forgotten structure and find beauty in its symmetry.
The series of paintings offers a different mode of reductiveness. In contrast with Murray’s drawings, the paintings are replete with lush colors, radiantly rendered skies, depth of space, and lyrical, curvilinear forms. Nevertheless, they exude a similar timelessness and theatricality. Through titles such as Settling (potential energy) (2013, 24”x24”), Murray makes oblique references to the scene—the presence of a propane tank, electrical panel and solar array—while alluding to her landscapes’ emptiness, engendering nostalgia and contemplation.
A set of smaller paintings, titled Block Party (2013), likewise exposes the inherent artfulness of everyday structures. Each work hones in on a block-built wall, making abstract compositions of its colors, lines, shapes and patterns.
Interested in both the architectural history from which even the most humble of structures derive, and the cultural and economic realities they represent, the artist seeks meaning in seemingly meaningless spaces. In their precision and quietude, Murray’s works call attention to the oft-overlooked essence of built environments, making us see the extent to which we settle for our surrounds.
Erin Murray earned her B.F.A from the Maryland Institute College of Art in 2001. She first showed at Nancy Margolis Gallery in 2011 with significant success. Since then, she has continued to show widely in Philadelphia and her work has been featured in several publications, including The Artblog, The Philadelphia Inquirer, New American Paintings Magazine, Tabletop Zine, and The News Journal. Her work is included in the collections of The Center for Emerging Visual Artists, Philadelphia, PA, Temple University, Philadelphia, PA, and The West Collection, Oaks, PA.
Chelsea 523 West 25th Street, New York NY, 10001 212-242-3013 margolis@nancymargolisgallery.com
Opening Thursday May 09, 2013
MARCIA KURE Susan Inglett Gallery Opening Thursday May 09, 2013, from 6:00 PM to 8:00 PM On View May 09, 2013 - June 15, 2013 www.inglettgallery.com
Susan Inglett Gallery is pleased to present new works by Marcia Kure in her second solo exhibition with the Gallery from 9 May to 15 June 2013. A reception for the artist will be held Thursday evening, 9 May from 6 to 8 PM.
We feel content and safe within the confines of the world we understand. "Tease" intends to poke holes, cut into, and fragment the perceptual matrix that is our world; daring the viewer to imagine existential possibilities beyond the familiar and the ordinary. "Tease" is a populated space, a universe of hybrid bodies and masked and secret things existing at the very edges of our daily lives.
The realities described by drawings, collages and sculptures in "Tease" are only imaginable through access to terrifying and exhilarating knowledge-knowledge we gain by prying open the locked closet, gazing into the dark sky, chanting a ritual song, or opening closed windows of the mind.
With familiar objects such as children's toys, kitchen utensils, bed sheets, rugs, and other common household items, "Tease" probes our fear of the unknown and the hidden, and tickles the pleasure of revelation. It asks the question: to what extent does the acquisition of more knowledge contribute to the (un-)making of the human? What is the existential value of curiosity, that primal urge to peer into the unknown? What desires are fulfilled or lost in encounters with partially obscured images and objects on the verge of disappearance/recovery?
"Tease" is a place of possibility, a space of becoming; it is an unsettling, off-kilter space, not unlike the world outside. It is at the moment of our greatest discomfort when we are compelled to ask the most important questions about our lives, and our world.
"Tease" is that place.
- Marcia Kure
Born in Nigeria, Marcia Kure has appeared in museum and gallery exhibitions in Nigeria, Germany, the United States, Spain, the Netherlands, United Arab Emirates, Japan, Canada, Austria, and Switzerland. Most recently the work was featured at the Palais de Tokyo in the Paris Triennial 2012; "The Art and Legacy of Fela Anikulapo Kuti" at The New Museum, NYC; The 7th Sharjah Biennale; and the 2nd Seville International Biennial curated by Okwui Enwezor. Reviews have appeared in the New York Times, The New Yorker, the New York Observer, Time Out, Frieze, Nka: Journal of Contemporary African Art, African Arts and Flash Art among others. The work will be exhibited next in a three person exhibition at the Kemper Museum of Contemporary Art, Kansas City in the Fall.
The exhibition will be on view at the gallery located 522 West 24 Street Tuesday to Saturday 10 AM to 6 PM. For additional information please contact Susan Inglett Gallery at 212/647-9111, or info@inglettgallery.com
Chelsea 522 West 24th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-647-9111 info@inglettgallery.com
Opening Thursday May 09, 2013
Amilcar de Castro, Untitled, 1980s. Corten steel. 47.24 x 47.24 inches. (© Everton Ballardin)
Concrete Remains: Postwar and Contemporary Art from Brazil Geraldo de Barros, Sergio Camargo, Amilcar de Castro, Lygia Clark, Iran do Espirito Santo, Fernanda Gomes, Jac Leirner, Hélio Oiticica and Daniel Steegmann Mangrané Cristin Tierney Gallery Curated by Jacopo Crivelli Visconti Opening Thursday May 09, 2013, from 10:00 AM to 6:00 PM On View May 09, 2013 - June 22, 2013 www.cristintierney.com
Cristin Tierney is pleased to present Concrete Remains: Postwar and Contemporary Art from Brazil, a group exhibition curated by Jacopo Crivelli Visconti and opening to the public on Thursday May 9, 2013. A special talk by the curator and walkthrough of the exhibition will be held on Saturday, May 11 at 3:00 p.m.
Concrete Remains will be on view at Cristin Tierney Gallery through June 22, 2013. Artists included in this exhibition are: Geraldo de Barros, Sergio Camargo, Amilcar de Castro, Lygia Clark, Iran do Espirito Santo, Fernanda Gomes, Jac Leirner, Hélio Oiticica, and Daniel Steegmann Mangrané.
Concrete Remains examines different moments of Brazilian art of the 20th and 21st centuries, specifically looking at the lasting legacy of Concrete art and Neoconcretism. Artworks by significant figures such as Amilcar de Castro and Hélio Oiticica will be juxtaposed with pieces by contemporary Brazilian artists, including Iran do Espirito Santo, Fernanda Gomes, and Jac Leirner. This exhibition will demonstrate both formal and conceptual affinities between generations, and the growing importance of these artists' work within the context of a global art world. A variety of media will be featured, including photographs, works on paper, sculpture and installation.
In 1959 a group of Brazilian artists—including Amilcar de Castro and Lygia Clark—published the Neo-Concrete Manifesto. In this manifesto they argued for a continued preoccupation with abstraction and certain tenets of Concrete Art, but suggested that a greater freedom of expression was needed, emphasizing the subjectivity of both artist and viewer and moving beyond rationalism and formalism. These artists were not dogmatic in their definition of art, and their expansive approach allowed for a completely new kind of art to flourish in Brazil. Often geometric in appearance, these artworks were concerned with the activation of their surrounding space and the conversion of the viewer from passive to active participant in the creation of meaning.
Untitled, by Amilcar de Castro, exemplifies an adherence to these early Neoconcretionist principles: extreme economy of form, elegant lines, and a richness of surface that proves seductive in its simplicity. As the viewer walks around the piece subtle transformations occur: shifts of light and shadow, mass and void. Castro’s engagement of environment through form bears comparison to recent works by Jac Leirner, whose Vagos also have an abstract sensibility but a decisively humorous sense of space and structure. Twist, a work by Iran do Espirito Santo, similarly animates its architectural environs through its austere geometry, its minimal folds echoing those of Geraldo de Barros’ Fotoformas.
About the Curator: Jacopo Crivelli Visconti is a writer and curator based in São Paulo, Brazil. He holds a degree in Humanities from the University of Naples and a Ph.D. from the University of Sao Paulo, Faculty of Architecture and Urbanism (FAU-USP). As curator of the Fundação Bienal de São Paulo (2007-2009), he was responsible for the Brazilian Pavilion in the 52nd Venice Biennial, the Cuenca Biennial (Ecuador) and the Lulea Biennial (Sweden), among other international exhibitions. His texts and essays have appeared in numerous contemporary art, architecture and design magazines, in addition to exhibition catalogues and artists’ monographs.
For more information and images, or to RSVP for the curator talk and walkthrough, please contact Maria Kucinski at 212.594.0550 or maria@cristintierney.com.
Chelsea 546 West 29th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-594-0550 info@cristintierney.com
Opening Thursday May 09, 2013
PUNK: Chaos to Couture The Metropolitan Museum of Art Opening Thursday May 09, 2013, from 9:30 AM to 5:00 PM On View May 09, 2013 - August 14, 2013 www.metmuseum.org
The Met's spring 2013 Costume Institute exhibition, PUNK: Chaos to Couture, will examine punk's impact on high fashion from the movement's birth in the early 1970s through its continuing influence today. Featuring approximately one hundred designs for men and women, the exhibition will include original punk garments and recent, directional fashion to illustrate how haute couture and ready-to-wear borrow punk's visual symbols.
Focusing on the relationship between the punk concept of "do-it-yourself" and the couture concept of "made-to-measure," the seven galleries will be organized around the materials, techniques, and embellishments associated with the anti-establishment style. Themes will include New York and London, which will tell punk's origin story as a tale of two cities, followed by Clothes for Heroes and four manifestations of the D.I.Y. aesthetic—Hardware, Bricolage, Graffiti and Agitprop, and Destroy.
Presented as an immersive multimedia, multisensory experience, the clothes will be animated with period music videos and soundscaping audio techniques.
The exhibition is made possible by Moda Operandi.
Additional support is provided by Condé Nast.
The Upper East Side 1000 Fifth Avenue, New York NY, 10028 Tuesday - Thursday from 9:30 AM to 5:00 PM
Friday - Saturday from 9:30 AM to 9:00 PM
Sunday from 9:30 AM to 5:00 PM
212-535-7710
Opening Wednesday May 08, 2013
Shang fang (Petition). 2009. China. Directed by Zhao Liang
Chinese Realities/Documentary Visions MoMA Curated by Sally Berger and Kevin B. Lee Opening Wednesday May 08, 2013, 7:00 PM On View May 08, 2013 - June 01, 2013 www.moma.org
Amid China’s epochal transformations over the last two decades, new documentary aesthetics emerged, as the overwhelming cultural and societal challenges caused by China’s transition to a free-market economy compelled professional and amateur filmmakers alike to capture new realities on screen. Working largely outside the state media apparatus, pioneer filmmakers like Wu Wenguang, Zhang Yuan, and Duan Jinchuan provided bracing alternative visions of both society and filmmaking, with an ethos based on direct observation of reality and uncensored personal expression. This newfound fascination with unbridled realism also informed the work of filmmakers as disparate as Zhang Yimou and Jia Zhangke and artists like Ai Weiwei and Ou Ning. The proliferation of the “reality aesthetic” has led to more complex notions of what reality means and how it is represented.
This series aims to reflect the evolution of documentary practice in China over the past 25 years, revealing the growth and ever-increasing influence of nonfiction film and media. The selections, encompassing a wide expanse of Chinese film and media, including state-approved productions, underground amateur videos, and Web-based Conceptual art, provide a vivid look into a society in perpetual transformation. Some screenings will be presented by the filmmakers and scholars.
Organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, and Kevin B. Lee, independent curator and Vice President, Programming and Education, dGenerate Films.
FILM SCREENINGS & EVENTS
Jiu zu fan bao de cun (The Satiated Village)
2011. China. Directed by Zou Xueping. Courtesy of China Independent Documentary Film Archive. In Mandarin; English subtitles. 88 min.
Wednesday, May 8, 2013, 7:00 p.m., Theater 2, T2 (Followed by a discussion with Wu Wenguang)
Tuesday, May 28, 2013, 7:00 p.m., Theater 2, T2
Zhongguo cunmin yinxiang jihua (China Villagers Documentary Project)
2005. China. Various directors. Courtesy of China Independent Documentary Film Archive. In Mandarin, various Chinese dialects; English subtitles. 95 min.
Thursday, May 9, 2013, 4:00 p.m., Theater 2, T2 (Followed by a discussion with Wu Wenguang)
Thursday, May 30, 2013, 7:00 p.m., Theater 2, T2
Cao ta ma de dianying (Fuck Cinema)
2005. China. Directed by Wu Wenguang. Courtesy of Wu Wenguang/China Independent Documentary Film Archive. In Mandarin; English subtitles. 150 min.
Thursday, May 9, 2013, 7:00 p.m., Theater 2, T2 (Followed by a discussion with Wu Wenguang)
Thursday, May 30, 2013, 4:00 p.m., Theater 2, T2
Heshang (Presenting River Elegy)
1988. China. Directed by Xia Jun, Mi Ling Tsui. Courtesy of Deep Dish TV and Shu Lea Cheang. In Mandarin; English subtitles. 58 min.
i.Mirror by China Tracy (aka: Cao Fei) Second Life Documentary Film
2007. China. Directed by Cao Fei. In Mandarin; English subtitles. 28 min.
Friday, May 10, 2013, 4:00 p.m., Theater 2, T2
Friday, May 17, 2013, 4:00 p.m., Theater 2, T2 (Followed by a discussion with Ying Zhu, PhD., Professor and Chair, Department of Media and Culture, CUNY- College of Staten Island)
Baring Your Stuff: An Evening with Wu Wenguang
Liu lang Beijing (Bumming in Beijing: The Last Dreamers)
1990. China. Directed by Wu Wenguang. Courtesy of Wu Wenguang/China Independent Documentary Film Archive. In Mandarin; English subtitles. 70 min.
Friday, May 10, 2013, 7:00 p.m., Theater 2, T2
Mama
1990. China. Directed by Zhang Yuan. Courtesy of Zhang Yuan. In Mandarin; English subtitles. 100 min.
Saturday, May 11, 2013, 1:00 p.m., Theater 2, T2
Wednesday, May 15, 2013, 7:00 p.m., Theater 2, T2
Qiu Ju da guan si (The Story of Qiu Ju)
1992. China. Directed by Zhang Yimou. Courtesy of Sony Pictures Classics. In Mandarin; English subtitles. 110 min.
Saturday, May 11, 2013, 4:00 p.m., Theater 2, T2
Friday, May 17, 2013, 8:00 p.m., Theater 1, T1
Bi an (The Other Bank)
1994. China. Directed by Jiang Yue. Courtesy of Jiang Yue. In Mandarin; English subtitles. 140 min.
Saturday, May 11, 2013, 7:00 p.m., Theater 2, T2
Thursday, May 16, 2013, 4:00 p.m., Theater 2, T2
Bajiao nanjie shiliu hao (No. 16 Barkhor South Street)
1996. China. Directed by Duan Jinchuan. Courtesy of Duan Jinchuan. In Tibetan, Mandarin; English subtitles. 100 min.
Sunday, May 12, 2013, 2:00 p.m., Theater 2, T2
Hui dao feng huang qiao (Out of Phoenix Bridge)
1997. China. Directed by Li Hong. Courtesy of Li Hong. In Mandarin; English subtitles. 120 min.
Sunday, May 12, 2013, 5:00 p.m., Theater 2, T2
Lao gou/Khyi rgan (Old Dog)
2011. China. Directed by Pema Tseden. Courtesy of dGenerate/Icarus. 88 min.
Wednesday, May 15, 2013, 4:00 p.m., Theater 2, T2
Thursday, May 16, 2013, 8:00 p.m., Theater 2, T2 (Followed by a discussion with Pema Tseden and La Frances Hui, Assistant Director, Cultural Programs, and Film Curator, Asia Society)
Friday, May 17, 2013, 4:30 p.m., Theater 2, T2
Saturday, May 18, 2013, 7:00 p.m., Theater 1, T1 (Followed by a conversation with Chris Berry, La Frances Hui, and Pema Tseden)
Sunday, May 19, 2013, 5:30 p.m., Theater 2, T2
Monday, May 20, 2013, 4:00 p.m., Theater 2, T2
Confronting Reality: The New Chinese Documentary Movement
Program approximately 90 min.
Friday, May 17, 2013, 7:00 p.m., Theater 3, mezzanine, Education and Research Building
Tie Xi Qu: West of the Tracks (Parts 1 and 2)
2003. China. Directed by Wang Bing. Courtesy of Documentary Educational Resources. In Mandarin; English subtitles. 370 min., plus 60 min. intermission at 185 min.
Saturday, May 18, 2013, 1:00 p.m., Theater 2, T2
Tie Xi Qu: West of the Tracks (Part 3)
2003. China. Directed by Wang Bing. Courtesy of Documentary Educational Resources. In Mandarin; English subtitles. 186 min.
Sunday, May 19, 2013, 1:00 p.m., Theater 2, T2 (Followed by a discussion with Sukhdev Sandhu, author, film critic, Associate Professor of English, and Social and Cultural Analysis, NYU)
Beijing de feng hen da (There's a Strong Wind in Beijing)
1999. China. Directed by Ju Anqi. Courtesy of Ju Anqi. In Mandarin; English subtitles. 50 min.
Xi wang zhi lu (Railroad of Hope)
2002. China. Directed by Ning Ying. Courtesy of Documentary Educational Resources. In Mandarin, Sichuan dialect; English subtitles. 56 min.
Monday, May 20, 2013, 4:15 p.m., Theater 1, T1
Thursday, May 23, 2013, 4:00 p.m., Theater 2, T2
An Evening with J. P. Sniadecki
Yumen
Courtesy of the filmmakers. 65 min.
Monday, May 20, 2013, 7:00 p.m., Theater 2, T2 (North American premiere)
San Yuan Li
2003. China. Directed by Ou Ning, Cao Fei. Courtesy of dGenerate/Icarus. No dialogue. 45 min.
Xianshi shi guoqu de weilai (Disorder)
2009. China. Directed by Huang Weikai. Courtesy of dGenerate/Icarus. In Mandarin, Cantonese; English subtitles. 58 min.
Wednesday, May 22, 2013, 4:00 p.m., Theater 2, T2
Monday, May 27, 2013, 4:00 p.m., Theater 2, T2
Er shi si cheng si (24 City)
2008. China. Directed by Jia Zhangke. Courtesy of Cinema Guild. In Mandarin; English subtitles. 107 min.
Wednesday, May 22, 2013, 7:00 p.m., Theater 2, T2
Wednesday, May 29, 2013, 8:00 p.m., Theater 1, T1
Niu pi er (Oxhide II)
2009. China. Directed by Liu Jiayin. Courtesy of dGenerate/Icarus. In Manadarin; English subtitles. 133 min.
Thursday, May 23, 2013, 7:00 p.m., Theater 2, T2
Wednesday, May 29, 2013, 4:30 p.m., Theater 1, T1
Jiao dai (Tape)
2010. China. Directed by Li Ning. Courtesy of dGenerate/Icarus. In Mandarin; English subtitles. 120 min.
Friday, May 24, 2013, 4:00 p.m., Theater 2, T2
Friday, May 31, 2013, 7:00 p.m., Theater 2, T2
Wo hai you hua yao shuo (When Night Falls)
2012. China. Directed by Ying Liang. Courtesy of the Jeonju International Film Festival. In Mandarin; English subtitles. 70 min.
Friday, May 24, 2013, 7:00 p.m., Theater 2, T2 (New York premiere)
Sunday, May 26, 2013, 7:00 p.m., Theater 2, T2 (New York premiere)
Shang fang (Petition (long version)
2009. China. Directed by Zhao Liang. Courtesy of Zhao Liang. 30 minute intermission. In Mandarin; English subtitles. 310 min.
Saturday, May 25, 2013, 1:00 p.m., Theater 2, T2 (Followed by a discussion with Sukhdev Sandhu, author, film critic, Associate Professor of English, and Social and Cultural Analysis, NYU)
Liu lang Beijing (Bumming in Beijing: The Last Dreamers)
1990. China. Directed by Wu Wenguang. Courtesy of Wu Wenguang/China Independent Documentary Film Archive. In Mandarin; English subtitles. 70 min.
Saturday, May 25, 2013, 8:00 p.m., Theater 2, T2
Lao ma ti hua (Disturbing the Peace)
2010. China. Directed by Ai Weiwei. Courtesy of Ai Weiwei Studio. In Mandarin, Sichuan dialect; English subtitles. 78 min.
Cha fang (The Questioning)
2013. China. Directed by Zhu Rikun. In Mandarin; English subtitles. 22 min.
Sunday, May 26, 2013, 4:00 p.m., Theater 2, T2 (Followed by a discussion with Alison Klayman, filmmaker, director, Ai Weiwei: Never Sorry)
Saturday, June 1, 2013, 1:30 p.m., Theater 2, T2
Chunmeng (Longing for the Rain)
2013. China. Directed by Yang Lina. Courtesy of Chinese Shadows. In Mandarin; English subtitles. 98 min.
Monday, May 27, 2013, 7:00 p.m., Theater 2, T2
Saturday, June 1, 2013, 4:00 p.m., Theater 2, T2
Yi chang ge ming zhong hai wei lai de ji ding yi de xing wei (Some Actions which Haven’t Been Defined Yet in the Revolution)
2011. China. Directed by Sun Xun. No dialogue. 13 min.
Wo sui si qu (Though I Am Gone)
2007. China. Directed by Hu Jie. Courtesy of dGenerate/Icarus. In Mandarin; English subtitles. 68 min.
Tuesday, May 28, 2013, 4:00 p.m., Theater 2, T2
Saturday, June 1, 2013, 7:00 p.m., Theater 2, T2
Shang fang (Petition (two-hour version))
2009. China. Directed by Zhao Liang. Courtesy of Cinema Guild. In Mandarin; English subtitles. 124 min.
Friday, May 31, 2013, 4:00 p.m., Theater 2, T2
Midtown 11 West 53rd Street, New York NY, 10019 212-708-9400
Opening Wednesday May 08, 2013
Gazing Ball Jeff Koons David Zwirner Opening Wednesday May 08, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 29, 2013 www.davidzwirner.com
David Zwirner is pleased to present Gazing Ball, the world debut of a new series of sculptures in the gallery’s West 19th Street spaces.
One of the most prominent artists working today, Jeff Koons is well known for his bold paintings and sculptures. Typically working in series, his art holds up a mirror to contemporary consumer culture, using the photorealistic, commercial aesthetic familiar from an earlier generation of Pop artists to generate his own unique and universally recognizable style. His subjects range from toys to inflatables to household items to luxury goods and sexualized imagery. His references to popular media are evidenced not merely in his choice of subject matter but also in his visual techniques: his sculptures often involve smooth, glistening surfaces while his paintings employ bright and saturated colors.
Born in 1955 in York, Pennsylvania, Koons studied at the Maryland Institute College of Art in Baltimore and the School of the Art Institute of Chicago. He received his B.F.A. from the Maryland Institute College of Art in 1976.
Beginning with his first solo exhibition in 1980, Koons has exhibited steadily in the United States and abroad. His work was the subject of four major solo presentations in 2008, including a large survey at the Museum of Contemporary Art in Chicago; Celebration sculptures shown on the rooftop of the Metropolitan Museum of Art in New York and at the Neue Nationalgalerie in Berlin; and an exhibition at the Château de Versailles, which opened its doors to a living artist for the first time with Jeff Koons: Versailles. He presented the Popeye series at London’s Serpentine Gallery in 2009, and Artist Rooms, a collection of contemporary art jointly owned by Tate and the National Galleries of Scotland, toured until 2011. In 2012, the artist had his first solo show in a Swiss museum at the Fondation Beyeler in Basel as well as concurrent shows in Frankfurt at Schirn Kunsthalle, with an exhibition of paintings, and at Liebieghaus Skulpturensammlung, where his sculptures were shown alongside permanent collection works.
A major retrospective is being organized by Scott Rothkopf, Curator of the Whitney Museum of American Art in New York. Opening in January 2014 at the Museum of Contemporary Art in Los Angeles, it then goes to the Whitney in June, and travels to Centre Georges Pompidou in December, with possible additional venues in Europe. This will be the first ever one-person show to occupy all five floors of the Whitney. It will mark the final exhibition at the Marcel Breuer-designed building on Madison Avenue, before the Whitney moves into its new building in downtown Manhattan, near Chelsea and the High Line.
Koons earned renown for his public sculptures, such as the monumental floral sculpture Puppy (1992), shown at New York’s Rockefeller Center and permanently installed at the Guggenheim Museum Bilbao. Another floral sculpture, Split-Rocker (2000), was installed at the Palais des Papes in Avignon and at the Château de Versailles.
Koons has received numerous awards and honors in recognition of his cultural achievements. In 2012, he was recognized by Secretary of State Hillary Rodham Clinton for his participation in the U.S. Department of State’s Art in Embassies program. Created to promote deeper cultural understanding through sharing art, the program — which marked its 50th anniversary in 2012 — selects and displays artwork purchased or borrowed for embassies, consulates, and ambassadors’ residences. In 2009, he received the John Singleton Copley Award from the American Associates of the Royal Academy Trust and the Governor’s Awards for the Arts (from the Pennsylvania Council on the Arts), where he was given the Distinguished Arts Award. In 2007, former French President Jacques Chirac promoted Koons to Officier de la Légion d’honneur.
Work by the artist is in numerous public collections, including The Broad Art Foundation, Santa Monica, California; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; Museum of Contemporary Art, Tokyo; Museum Ludwig, Cologne; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Tate Gallery, London; and the Whitney Museum of American Art, New York. He lives and works in New York.
Chelsea 525 & 533 West 19th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-727-2070
Opening Wednesday May 08, 2013
Shruti Ghatak, 2012, THE FLIGHT, 60" x 42", oil on canvas
MFA Thesis Exhibition 2013 The New York Studio School Opening Wednesday May 08, 2013, from 6:00 PM to 9:00 PM On View May 08, 2013 - May 22, 2013 www.nyss.org
Françoise Cambilargiu
www.francoisecambilargiu.com
Mariano Henestrosa
www.marianohenestrosa.com
Shruti Ghatak
www.shrutighatak.com
Holly Hency
www.hollyhency.com
Amanda Millet-Sorsa
www.amandams.com
Nicolai Nickson
www.nicolainickson.com
Sara Nili
www.saranili.com
Leah Raab
www.leahraab.com
Jimena Román
www.jimenaportraits.com
Ashlee Rubinstein
www.ashleerubinstein.com
Shany Saar
www.shanysaar.com
Thomas Stavovy
www.artspacenh.org
Amanda Stephenson
www.astep14.wix.com/ams8
Takuya Yoshida
www.taksartwork.com
Greenwich Village / The West Village 8 West 8th Street, New York NY, 10011 Monday - Sunday from 10:00 AM to 6:00 PM
212-673-6466 info@nyss.org
Opening Wednesday May 08, 2013
Karen Heagle
Battle Armor Karen Heagle Churner and Churner Opening Wednesday May 08, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 22, 2013 www.churnerandchurner.com
Churner and Churner presents “Battle Armor,” an exhibition of new work by Karen Heagle. It is the artist’s first exhibition with the gallery.
In her bold and brash large-scale works on paper, Heagle uses gold and copper leaf, acrylic paint and colored paper to depict symbols of masculine pageantry. The works in this series are inspired by Heagle’s research into 17th-century genre paintings, particularly memento mori and vanitas paintings. Like her earlier work, which depicted animal carcasses, fruits, vegetables, and other symbolic props, these vivid paintings are direct confrontations of mortality and sexuality. As a queer artist who grew up in a strict Catholic family, Heagle employs religious imagery to expose a fascination with the forbidden. The bright and iridescent hues and overcharged symbolic content – in this exhibition, peacocks, motorcycles, knights in armor, virgin and child breastplates – recall Pierre and Gilles’ highly stylized photographs. With “Battle Armor,” Heagle connects 17th-century iconography to contemporary practice.
ABOUT THE ARTIST
Karen Heagle was born in Wisconsin. She earned her MFA at Pratt in 1995, and attended Skowhegan in 1997. She has had solo exhibitions at I-20 in New York and 31GRAND in Brooklyn. Heagle’s work has been included in group shows at the Weatherspoon Art Museum (2012); Brooklyn Academy of Music (2010); the Deste Foundation Centre for Contemporary Art, Athens, Greece (2006), among other institutions, as well as recent gallery shows at Allegra LaViola Gallery (2013, 2012) and Invisible Exports, New York. She is included in the forthcoming exhibition “The Power of Paper” at Saatchi Gallery, London. Heagle’s work has been reviewed in The New York Times, Artforum, Art in America, Time Out, and The New Yorker, and other publications. Her work is in the collection of the Museum of Modern Art, New York; the Saatchi Gallery, London; the Deste Foundation for Contemporary Art, Athens; and the Fundación/Colección Jumex, Mexico City.
Chelsea 205 10th Avenue, New York NY, 10011 212-675-2750 rachel@churnerandchurner.com
Opening Wednesday May 08, 2013
Miles Aldridge, Short Breaths #5, 2012, C-print, 60 x 45 1/4 in, From an edition of 6 + 2 AP's.
I Only Want You to Love Me Miles Aldridge Steven Kasher Gallery Opening Wednesday May 08, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 08, 2013 www.stevenkasher.com
February 20, 2013 – New York, NY – Steven Kasher Gallery is honored to present
Miles Aldridge: I Only Want You to Love Me, a retrospective of the internationally renowned British artist’s cinematic fashion-based work. The 20 large-scale color photographs in the exhibition present a satirical, darkly humorous view of women, fashion, and commodification today. Aldridge creates an entirely believable world just slightly beyond our own: hyper-sexualized, hyper-materialistic, and full of dread. Think Stepford Wives on acid.
This exhibition launches Aldridge’s two new books: Miles Aldridge: I Only Want You to Love Me (Rizzoli, 2013, introduction by Glenn O’Brien), and Other Pictures (Editions 7L/Steidl, 2013). This is the artist’s second show at Steven Kasher Gallery.
In Miles Aldridge: I Only Want You to Love Me the viewer is transported to a fantastically opulent dreamlike world populated by beautiful flawlessly dressed women playing stereotypical female roles, such as “secretary,” “soccer mom,” “housewife,” and “vamp.” But there is something wrong in these meticulously composed scenes. Aldridge’s women are strangely disengaged. It is as if the pressure of being an object of desire 24/7 has become too much to endure. They are on the verge of nervous breakdowns. What to buy, how to afford it, how to do it all? Why does my daughter hate me, will he still love me tomorrow, why am I knifing this cake??
Aldridge, born in 1964, lives and works in London. Fashion icons have surrounded him all his life. His father worked with the Beatles, the Stones, David Bailey, and Terence Stamp. His three sisters are prominent models; he has been married to a supermodel.
Aldridge is first of all an artist of the subconscious, and secondly a fashion photographer. The anxious narratives of his dream-driven style have been compared to Bergman, Bunuel, Hitchcock, and David Lynch. While decidedly postmodern, his work is infused with Pop imagery of the 1960s, and the Kodachrome and Technicolor palette of 1950s Hollywood. Aldridge delivers a lavish onslaught of unease: a bare-breasted “blonde” eating lobster and caviar, a “brunette” skewered by a carousel, a “school girl” engulfed in too many teddy bears.
Aldridge’s work has been exhibited worldwide; his photographs reside in many significant public and private collections. His previously published books of photographs include The Cabinet, 2007, with an introduction by Marilyn Manson; Acid Candy, 2008; and Miles Aldridge: Pictures for Photographs, 2009.
Miles Aldridge: I Only Want You to Love Me will be on view May 8th through June 8th, 2013. Steven Kasher Gallery is located at 521 W. 23rd St., New York, NY 10011. Gallery hours are Tuesday through Saturday, 11 AM to 6 PM.
Press Contacts: Andrea Smith, andreasmith202@gmail.com, 646-220-5950; Christiona Owen (at gallery) christiona@stevenkasher.com, 212 966 3978.
Chelsea 521 West 23rd Street, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
646-220-5950 info@stevenkasher.com
Opening Wednesday May 08, 2013
Ring of Waves Ian Hamilton Finlay David Nolan New York Opening Wednesday May 08, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 22, 2013 www.davidnolangallery.com
Chelsea 527 West 29th Street, New York NY, 10001 212-925-6190 info@davidnolangallery.com
Opening Wednesday May 08, 2013
Simon Hantai, photograph by Antonio Semeraro, 1989
Simon Hantaï Paul Kasmin Gallery Opening Wednesday May 08, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 15, 2013 www.paulkasmingallery.com
Simon Hantai Paul Kasmin Gallery is pleased to present a selection of never before seen works by Simon Hantai, on view from 8 May - 15 June, 2013 at 515 West 27th Street, New York, providing a rare opportunity to experience the work of this significant post war artist. Expansive explosions of color and inventive geometry, these works testify to Hantai’s brilliance as a colorist and mastery of his own signature techniques. Born in 1922 in Bia, Hungary, Simon Hantaï left his native country in 1948 and settled in France, befriending the surrealist community of Andre Breton. He became known for his large, abstract canvasses, distinct from the gestural influences of both American Abstract Expressionism and European Art Informal, Hantaï staked out a unique technique both automatic and expressive. Calling it “pliage,” Hantai folded and tied un-stretched canvas to produce geometric patterns that guided his application of rich color. Throughout his career, Hantaï devoted himself to developing these techniques, exemplified by such series as the Etudes, Tabulas and Blancs. They recall the towering cut-outs of Matisse as well as the impressive gesture of Pollock. Alongside the exhibition at Paul Kasmin Gallery in New York, and in memoriam of Hantai’s life and significant contributions to the history of art, the Centre Georges Pompidou, Paris will also present a retrospective of his work from 22 May– 9 September, 2013. The exhibition “will constitute the extraordinary rediscovery of a dazzling artist who is numbered amongst the most important figures of the second half of the 20th century.” From his early explorations in surrealism to his forays into sign, gestural, miniature and text painting, the exhibition builds toward his singularly unique “folding as method” works of the 60s.
Major surveys of Hantai’s work have been featured at the Centre Georges Pompidou, 1976 and at the Venice Biennale, 1982, where he represented France. Though significantly respected and exhibited, Hantai’s work has been exhibited with relative rarity in America, largely due to his own resistance to embrace the ever-intensifying commerce of the post war art market. Hantai died in Paris in September 2008, during the same week the international community recognized it had entered a global financial crisis. Hantai’s work is included in the permanent collections of the Centre Georges Pompidou, the Musée d’Art Moderne, the Tate Modern, the Vatican Museum, the National Gallery of Art, the Hishhorn Museum in Washington, D.C.; Albright-Knox Art Gallery, the Solomon R. Guggenheim Museum, and the Museum of Modern Art, New York.
Join the "Simon Hantaï" conversation on social media by mentioning @KasminGallery and using the #HantaiKasmin hashtag when posting.
For more information, contact: Jen Lee, FITZ & CO: jen@fitzandco.com / Bethanie Brady, Paul Kasmin Gallery: bethanie@paulkasmingallery.com
Chelsea 515 West 27th, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-563-4474 bethanie@paulkasmingallery.com
Opening Wednesday May 08, 2013
Deer Beds Katherine Wolkoff Sasha Wolf Gallery Opening Wednesday May 08, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 30, 2013 www.sshawolf.com
Katherine Wolkoff: Deer Beds
A solo show, Color Photographs
May 8-June 30, 2013
The exhibition will open on Wednesday, May 8th with a reception from 6 to 8 p.m.
Sasha Wolf Gallery is proud to present, Katherine Wolkoff: Deer Beds.
This is Wolkoff’s second solo show with the gallery.
Katherine Wolkoff’s show Deer Beds consists of seven pictures made on Block Island, located off the Rhode Island coast. The pictures are of the imprints made in the grass by sleeping deer. Wolkoff found these deer beds by following the paths of the deer to the nests where they spent the night. Each time she came upon a bed she felt as if the deer had just departed, leaving its warm impression on the earth. She was always aware of their proximity. The photographs are at once a physical reminder of a living breathing animal and an abstract rendering of a field of grass. In this work, Wolkoff continues her decade-long investigation of the flora and fauna of this small, unique island, where she also photographed the collection of birds for her previous show, Found.
This is Katherine Wolkoff’s second exhibition at the Sasha Wolf Gallery. Her photographs have been widely exhibited, including exhibitions at Danziger Projects, the New York Photo Festival and Women in Photography. Her photographs are included in the collections of the Addison Gallery of Art and the Norton Museum of Art and the Yale Library. Born in 1976, Wolkoff graduated from Barnard College and received her MFA in photography from Yale School of Art.
The East Village / Lower East Side 70 Orchard Street, New York NY, 10002 212-925-0025 info@sashawolf.com
Opening Wednesday May 08, 2013
A-CHAN, Untitled, Tokyo, 2000-04 C-Print, printed 2013, 8 x 10 in (20.3 x 25.4 cm)
Vibrant Home A-Chan Steven Kasher Gallery Opening Wednesday May 08, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 08, 2013 www.stevenkasher.com
Steven Kasher Gallery is proud to present two exhibitions by A-CHAN. The first, titled Off Beat, runs from March 28th through May 4th. The show is comprised of twenty black and white photographs made in New York between 2008 and 2009 and is drawn from the publication A-CHAN, Off Beat (Steidl, 2012). The second exhibition, Vibrant Home, opens May 8th and runs through June 8th. This exhibition will feature color photographs taken in Tokyo, 2000-04, in Fujishiro, 2004-06 and in New York City, 2006-08, which are featured in A-CHAN, Vibrant Home (Steidl, 2012).
A-CHAN was interviewed by Steven Kasher, March, 2013:
What time do you like to photograph?
During day time. I don't know if I like to photograph just before sunset, but I have photographed a lot during that time, before going home, getting dark.
How do you know when to press the shutter?
Intuition and combination of pieces and pieces.
Who is your favorite artist?
Beside Robert Frank, Edward Hopper.
What kind of light do you like?
Winter morning.
Do you like to print?
It is ok, because I am very fast.
When and what did you make your first photograph?
18 years old. I think I photographed an oil heater. There were two buttons on the top, red and green.
Who do you show your pictures to?
Friends
Do you work in a series?
No, I normally don't make any concept before photograph. I let it be free.
When does a series start and end?
After certain numbers of prints. I try to listen what story they hold and find the way how I could put them together.
Do you like to make books?
I do very much. But in order to make sequence, I have to get lost thousands times.
From where came the name A-CHAN?
It was my nickname. The reason I use the name is because she seems like she is my friend.
Do you like to be in New York?
I know there is not many chance in my life to be able to feel so important. I feel that now, to Robert and June. I like to be here and that is very sure.
What is photography for you?
For me it is more like things in refrigerator next to scallion. But also a key to accept myself or to be a better person or something like that.
A-CHAN was born in Tokyo in 1978. She moved to New York in 2006. She has been an assistant to photographer Robert Frank since 2007. Her solo exhibitions include: Gotham, Impossible Project Space, Tokyo, Japan, 2011; Country, Factory, Tokyo, Japan, 2005; Ban, Gallery Nadar, Osaka, Japan, 2004 and Atsuihi, Gallery Nadar, Tokyo, Japan, 2003. Her publications are: Vibrant Home (Steidl, 2012); Off Beat (Steidl, 2012); Lighting Store (Match and Company Co., Ltd., Tokyo, 2012); Picture (Self-Published, Tokyo, 2002).
A-CHAN: Off Beat will be on view from March 28th through May 4th, 2013.
A-CHAN: Vibrant Home will be on view from May 8th through June 8th, 2013. Steven Kasher Gallery is located at 521 W. 23rd St., New York, NY 10011. Gallery hours are Tuesday through Saturday, 11am to 6pm.
Chelsea 521 West 23rd Street, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-966-3978 info@stevenkasher.com
Opening Wednesday May 08, 2013
Lenore Lim • Blossoms 4 • lithograph • 44 in × 30 in • 2010
Calado Lenore Lim Tally Beck Contemporary Opening Wednesday May 08, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 21, 2013 www.tallybeckcontemporary.com
Lenore Lim‘s solo exhibition Calado will be on display at Tally Beck Contemporary, 42 Rivington Street, New York, from May 8 to June 21, 2013. There will be an opening reception at the gallery from 6:00 pm to 9:00 pm on May 8. Tally Beck will give a brief talk on the history of contemporary art in the Philippines at the gallery on May 22, with a reception beginning at 6:00 pm and the program beginning at approximately 7:30 pm. An artist’s talk and Q&A with Lenore Lim will take place at the gallery on May 29, with a reception beginning at 6:00 pm and the program beginning at approximately 7:30 pm.
The East Village / Lower East Side 42 Rivington Street, New York NY, 10002
Opening Wednesday May 08, 2013
James Nares Broadway Rap, 2013, thermoplastic and acrylic on linen, 96 x 120 inches 243.8 x 304.8 cm
ROAD PAINT James Nares Paul Kasmin Gallery Opening Wednesday May 08, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 22, 2013 www.paulkasmingallery.com
Paul Kasmin Gallery is pleased to present ROAD PAINT, a selection of new paintings by James Nares, on view from 8 May – 15 June 2013 at 293 Tenth Avenue in New York. These works continue the artist’s ongoing kinetic investigations—exploring the form, direction, rhythm, and repetition of objects in motion. The result of a completely new technique developed by Nares exclusively for this exhibition, this unique practice seeks to capture movement’s own moment of creation, its own primal genesis.
Recalling the extremely slow frame rate of STREET, Nares slows down the processes of action and creation in his ROAD PAINT series in order to fastidiously record the minute nuances of movement. Isolating the idiosyncratic in the industrial, Nares utilizes a mechanical road striper to run extremely viscous white paint across the black ground of his canvases. Within the fresh strokes, tiny glass beads known as microspheres are deposited, producing an iridescent effect. This highly mechanical but also poetic process creates paintings that inventively echo the organic imagery of his well-known brushstroke paintings, as both uniquely record the passage of the mark-maker through both space and time.
Nares’ film STREET has recently been exhibited at the Wadsworth Atheneum (2012), the Saint Louis Art Museum (2012–2013), and the Museum of Contemporary Art Jacksonville (2013). STREET, is currently on view at The Metropolitan Museum of Art, New York alongside more than 60 works selected by Nares from the Metropolitan’s diverse collections, March 5 – May 27, 2013.
James Nares was born in London in 1953 and currently lives and works in New York. In 2008, Anthology Film Archives hosted a complete retrospective of his films and videos. His work is included in a number of public and private collections including the Museum of Modern Art, the Whitney Museum of Art, and the Albright-Knox Art Gallery.
For more information contact: Clara Ha at claraha@paulkasmingallery.com / Bethanie Brady at bethanie@paulkasmingallery.com
Chelsea 293 Tenth Avenue, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-563-4474 claraha@paulkasmingallery.com
Opening Wednesday May 08, 2013
Pizzerias_001, Polaroids, 2013
A Clean Sweep Lucien Smith The Suzanne Geiss Company Opening Wednesday May 08, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 22, 2013 www.suzannegeiss.com
The Suzanne Geiss Company is pleased to present an exhibition by Lucien Smith of brooms and Polaroids. Motivated by the transformations of downtown New York during the reign of former mayor Rudolf Giuliani, Smith has assumed the task of documenting the relics of a bygone New York. Through a series of categorical Polaroids and a sculptural installation, Smith remembers the once raw cityscape that was smoothed in favor of gentrification.
The main gallery will host a legion of freestanding brooms that inspire contradictory allusions. When grouped together, they are magicked into an anthropomorphized army. On the other hand, they recall the daily dirt and purge of the city. Sense-of-place readymades, the brooms were collected by Smith and his friends off the streets as they walked to the studio each morning. In 43 sleeves of nine Polaroids each, Smith documents New York with scientific
efficiency. With a biologist’s or baseball card collector’s enthusiasm for organization and subtle differentiation, the functional objects and natural adornments of New York City’s streets are categorized. Trashcans, crosswalks, park signs, bodegas and piles of slush take on new importance when grouped together with their peer genuses.
ABOUT LUCIEN SMITH
Lucien Smith was born in 1989 in Los Angeles, California. He lives and works in New York, New York. Smith received his BFA from Cooper Union in 2011.
Soho 76 Grand Street, New York NY, 10013 Tuesday - Saturday from 12:00 PM to 6:00 PM
212-625-8130 info@suzannegeiss.com
Opening Wednesday May 08, 2013
Booed at Cannes BAM Rose Cinemas Opening Wednesday May 08, 2013, 4:30 PM On View May 08, 2013 - May 23, 2013 www.bam.org
Another year, another scandal at the Cannes Film Festival. Contemporary filmmakers take heart—among the directors who have felt the wrath of the French festival’s fickle audiences are titans like Antonioni, Bresson, Truffaut, and Fellini. Many of their works, now heralded as masterpieces, were first met with incomprehension, disdain, and deafening jeers.
In this series, BAMcinématek gathers some of the most notorious films maudits, many of which are now revered as masterpieces.
Gertrud
Wed, May 8, 2013
4:30pm / 7pm / 9:30pm
RUN TIME: 115 minutes
RATED: NR
FORMAT: 35mm
Directed by Carl Theodor Dreyer
With Nina Pens Rode, Bendt Rothe, Ebbe Rode, Baard Owe, Axel Strøbye
After his final masterpiece was poorly received at Cannes, Dreyer allegedly gave the audience an up-yours. This chronicle of a woman’s conflicted relationships with the men in her life is “[Dreyer’s] most supernatural film, glowing with a more secret magic than any previous work” (Elliott Stein).
Under the Sun of Satan
Thu, May 9, 2013
4:30pm / 7pm / 9:30pm
RUN TIME: 93 minutes
RATED: NR
FORMAT: 35mm
Directed by Maurice Pialat | 1987
With Gérard Depardieu, Sandrine Bonnaire, Maurice Pialat, Alain Artur, Yann Dedet
A priest (Depardieu) is plunged into a severe spiritual crisis brought on by an encounter with a horse trader—who may really be the devil—and a fixation with a teenage murderess (Bonnaire). Pialat’s stark, ultra-intense rumination on faith—which Jonathan Rosenbaum called “a major work by a major filmmaker”—was greeted with boos upon winning the Palme d’Or.
In French with English subtitles
L’Eclisse
Fri, May 10, 2013
1:30pm / 4:15pm / 7pm / 9:45pm
RUN TIME: 126min
RATED: NR
FORMAT: 35mm
Part of BAMcinématek series Booed at Cannes
Directed by Michelangelo Antonioni | 1962
With Alain Delon, Monica Vitti, Francisco Rabal, Louis Seigner, Lilla Brignone
Antonioni ventured even further into non-narrative abstraction with this final installment of the trilogy he began with L’Avventura. Art-house siren Monica Vitti plays a literary translator who has a brief fling with a stockbroker (Delon)—but Antonioni’s real interest lies in the urban landscape of modern Rome, which he renders as unfamiliar as the surface of Mars. L’Eclisse won the Special Jury Prize at Cannes, where it played to an alternately baffled and worshipful audience.
In Italian with English subtitles
Twin Peaks: Fire Walk With Me
Sat, May 11, 2013
1:30pm / 7pm
RUN TIME: 134 minutes
RATED: R
FORMAT: 35mm
Directed by David Lynch | 1992
With Sheryl Lee, Ray Wise, Madchen Amick, Dana Ashbrook, Phoebe Augustine
Lynch was anointed with his second booing at Cannes, after Wild at Heart, with this prequel to the cult television show. It follows the final days of Laura Palmer (Lee), a seemingly all-American high-school student drawn into a hellish underworld of sex and drugs, before her murder. It remains one of Lynch’s most underrated efforts in its evocation of the damaged psyche of a lost teenager with disturbing nightmare imagery.
Wild at Heart
Sat, May 11, 2013
4:15pm / 9:45pm
RUN TIME: 124 minutes
RATED: NR
FORMAT: 35mm
Directed by David Lynch | 1990
With Nicolas Cage, Laura Dern, Willem Dafoe, Crispin Glover, Harry Dean Stanton
David Lynch throws Southern Gothic melodrama, The Wizard of Oz, surreal-kinky violence, and Elvis into a brewing cauldron for this nightmarish soap opera. Outlaw lovers Sailor (Cage) and Lula (Dern) go on the run through a menacing Deep South populated by the usual stable of unsettling Lynchian weirdos. The director received the Palme d’Or amid “the most violent chorus of boos and hisses to be heard in a decade” (Dave Kehr).
The Mother and the Whore
Sun, May 12, 2013
2:30pm / 7pm
RUN TIME: 215min
RATED: NR
FORMAT: 35mm
Directed by Jean Eustache | 1973
With Bernadette Lafont, Jean-Pierre Léaud, Françoise Lebrun, Isabelle Weingarten, Jacques Renard
Sex, sex, sex—that’s all anyone has on their mind in Eustache’s amazing, seemingly-improvised-but-not debut. Stars Léaud, Lafont, and Lebrun comprise a supposedly sexually enlightened ménage a trois, negotiating the perils, pitfalls, and endless confusion of modern romance. Initially met with suspicion for its frank handling of the subject at hand, The Mother and the Whore has since been recognized as the first great post-New Wave, post-May ’68 French masterwork.
In French with English subtitles
The Voice of the Moon
Thu, May 16, 2013
4:30pm / 7pm / 9:30pm
RUN TIME: 122min
RATED: NR
FORMAT: 35mm
7PM screening is free for BAM Cinema Club members at the Movie Buff II level and above. RSVP to Membership@BAM.org
Directed by Federico Fellini | 1989
With Roberto Benigni, Paolo Villaggio, Nadia Ottaviani, Marissa Tomasi, Angelo Orlando
Fellini’s seldom-seen (it was never released in America) final film is a sprawling fantasia that follows a wandering misfit (Benigni) who hears voices whispering from wells as he roams the Italian countryside of the director’s youth. He encounters a host of oddball characters and phantasmagorical sights, including a striking scene in which an infernal disco is miraculously transformed into a dreamy waltz.
In Italian with English subtitles
Crash
Fri, May 17, 2013
2pm / 4:30pm / 7pm / 9:30pm
RUN TIME: 100min
RATED: NC-17
FORMAT: 35mm
Directed by David Cronenberg | 1997
With James Spader, Rosanna Arquette, Holly Hunter, Deborah Kara Unger
After a head-on collision, a TV director gets entangled in the kinky, scary underworld of car accident fetishism, in which twisted metal, shattered glass, and scars are erotic objects. Cronenberg’s mind-bending exploration of the link between sex and technology—Roger Ebert called it “a porno movie made by a computer"—provoked one of the all-time great Cannes controversies.
Taxi Driver
Sat, May 18, 2013
2pm / 4:30pm / 7pm / 9:30pm
RUN TIME: 113 minutes
RATED: R
FORMAT: 35mm
Directed by Martin Scorsese | 1976
With Robert De Niro, Jodie Foster, Harvey Keitel, Cybill Shepherd, Albert Brooks
Between fares, increasingly unhinged cabbie Travis Bickle (De Niro) haunts 42nd St. porno houses, develops an infatuation with a nice-girl political aide (Shepherd), and vows to clean up the cesspool that is 1970s New York City. Scorsese’s expressionist urban nightmare courted controversy for its shocking violence (he was required to desaturate the blood-spattered climax) since its premiere at Cannes—which didn’t stop it from winning the Palme d’Or.
L'Argent
Sun, May 19, 2013
2pm / 4:30pm / 7pm / 9:30pm
RUN TIME: 85min
RATED: NR
FORMAT: 35mm
Directed by Robert Bresson | 1983
With Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Van den Elsen
Even the revered Robert Bresson took a booing at the hands of the unsparing Cannes audience for his final film, an adaptation of a Tolstoy story that follows a forged 500 franc note as it changes hands and overturns lives—culminating in one of the most jaw-dropping final scenes in any filmmaker’s career.
In French with English subtitles
El
Mon, May 20, 2013
7pm / 9:30pm
RUN TIME: 92min
RATED: NR
FORMAT: 35mm
Directed by Luis Buñuel
With Arturo de Córdova, Delia Garcés, Carlos Martínez Baena, Manuel Dondé, Fernando Casanova
Hardly a stranger to controversy, Buñuel faced a particularly tough audience at the Cannes premiere of this Mexican production. According to Georges Sadoul, “the jury described it as a bad B-picture and it was booed by 200 war veterans.” In truth, El is a perverse, sacred-cow-skewering portrait of a husband gripped by insane jealousy, a film so effective that Jacques Lacan screened it for his students as an exemplar of irrational paranoia.
In Spanish with English subtitles
Mademoiselle
Tue, May 21, 2013
7pm
RUN TIME: 106min
RATED: R
FORMAT: 35mm
Directed by Tony Richardson | 1966
With Jeanne Moreau, Ettore Manni, Keith Skinner, Umberto Orsini, Georges Aubert
A deliciously depraved portrait of sadomasochism in the French countryside, this Marguerite Duras adaptation of a Jean Genet story has a strong following today, rock goddess Patti Smith being a particularly ardent fan. But upon its release, it was derided for the casting of Moreau (against Genet’s wishes) and its depiction of libido-fueled arson and animal poisoning.
In French and Italian with English subtitles
Seconds
Tue, May 21, 2013
7pm
RUN TIME: 106min
RATED: R
FORMAT: 35mm
Directed by John Frankenheimer | 1966
With Rock Hudson, Salome Jens, John Randolph, Will Geer
Seeking an escape from his white-bread suburban existence, a middle-aged banker is surgically transformed into a square-jawed hunk (Hudson) and begins a new life as a bohemian artist. But starting over isn’t easy. This chilling science-fiction nightmare—a flop upon its release and now a cult classic—imparts an ever-mounting sense of dread, heightened by Saul Bass’ ultra-creepy title sequence and psychedelic cinematography by James Wong Howe.
The Soft Skin
Wed, May 22, 2013
4:15pm / 7pm / 9:45pm
RUN TIME: 133min
RATED: NR
FORMAT: 35mm
Directed by François Truffaut | 1964
With Jean Desailly, Françoise Dorléac, Nelly Benedetti, Daniel Ceccaldi, Laurence Badie
Still unfairly overlooked, Truffaut’s follow-up to Jules and Jim had its premiere at Cannes, an event the director called a “complete fiasco.” This Hitchcockian domestic drama about a mild-mannered literary critic (Desailly) having an extramarital affair was heralded by J. Hoberman as “one of Truffaut’s best… He treats it like a crime film—low-key yet tense, filled with carefully planted potential 'clues' and an undercurrent of anxiety.”
In French with English subtitles
Tropical Malady
Thu, May 23, 2013
4:30pm / 7pm / 9:30pm
RUN TIME: 108 minutes
RATED: NR
FORMAT: 35mm
Directed by Apichatpong Weerasethakul | 2005
In Thai with English subtitles
GENERAL ADMISSION: $13
BAM CINEMA CLUB MEMBERS: $8
STUDENTS/SENIORS: $9 (29 and under with a valid ID, Mon—Thu)
Rest Of Brooklyn Peter Jay Sharp Building, 30 Lafayette Avenue, Brooklyn NY, 11217 718-636-4100
Opening Wednesday May 08, 2013
DSM-V The Future Moynihan Station Curated by David Rimanelli Opening Wednesday May 08, 2013, from 11:00 AM to 6:00 PM On View May 08, 2013 - June 04, 2013
Vito Schnabel is pleased to present the uniquely situated and timely new exhibition, DSM-V, curated by distinguished art critic David Rimanelli. With over three dozen works by artists from Picasso, Warhol, and Manzoni to Cecily Brown, Bjarne Melgaard, and George Condo, the show brings together an exceptional collection of artworks from mid-century to the present day by artists whose projects raise questions about the norms of conventional perception and behavior.
The exhibition’s title, DSM-V, is short for The American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders. First published in 1952, the fifth revision of the DSM is due in bookstores later this month. In our era, when naming often suggests a promise of recovery, a prescription covered by insurance, or, for the amateur, a chance to self-diagnose from a tantalizing list that includes mood, anxiety, factitious, dissociative, impulse-control, identity, sexual and gender, and adjustment disorders, the publication of the DSM-V, following 13 years of intense debate, has powerful implications.
Since no one can fail to encounter a few familiar reflections in the exhaustive pages of the DSM, the fantasy of inclusion, “is that me they are talking about?,” hovers over the exhibition, collapsing the distance between audience and artwork. From Daniel Buren’s awning stripes, to Rashid Johnson’s black soap, Jade Berreau and Dash Snow’s undergarments, and Nancy Barton’s human remains, no material in DSM-V remains neutral - least of all, the exhibition site itself.
The show will be held at the historic Moynihan Post Office on 32nd Street and 8th Avenue, across from Madison Square Garden. Within the next year, the post office will undergo major renovations as it becomes part of the new Penn Station. DSM-V will be held in part of the building that has been closed off for the past few decades, and will not be used again before the renovations. Once the heart of Manhattan’s postal system, the building’s vast second floor included jail cells and an infirmary, a parallel world, grown dysfunctional, and long hidden from public view – opens itself for the next month to a new form disorder.
Midtown 421 8th Avenue (Entrance on 31st Street), New York NY, 10199 Tuesday - Saturday from 11:00 AM to 6:00 PM
Opening Wednesday May 08, 2013
George Sugarman
Painted Wood George Sugarman Gary Snyder Gallery Opening Wednesday May 08, 2013, from 11:00 AM to 6:00 PM On View May 08, 2013 - June 15, 2013 www.garysnyderart.com
Gary Snyder Gallery is pleased to announce George Sugarman: Painted Wood, an exhibition of sculpture at 529 West 20th Street. Opening on May 8, 2013, the exhibition is the most comprehensive presentation of the artist’s work in over twenty-five years. Nine of the artist’s exuberant, polychromed wood sculptures will be on view, including one that has never before been exhibited—Archer (1968). A fully illustrated catalogue will accompany the exhibition, with an extensive essay by Raphael Rubinstein.
The exhibition and its accompanying publication offer an in-depth look at Sugarman’s work during the 1960s—large-scale wood sculptures of eccentric, proliferating forms painted in brilliant hues. Works in the exhibition such as The Shape of Change (1964), Yellow and White (1967), and Threesome (1968–1969) well exemplify the radical, innovative spirit of Sugarman’s sculpture from this period. As early as 1959, Sugarman broke with many prevailing sculptural conventions: he dispensed with the pedestal and began placing his work directly on the floor; he decentralized his compositions, breaking individual sculptures into multiple related “units”; foremost, he employed a dramatic, almost baroque use of color.
“In my sculpture, the color is as important as form and space. The important thing is that it has a tremendous emotional impact, and the experience of the spectator, in seeing color allied to a three-dimensional form, is something that is quite novel at first, in fact, quite shocking. An important aspect is that the color is not used decoratively. It’s not used to be pretty or attrac- tive. It is used to articulate the sculpture in space.”
Born in Bronx, New York in 1912, George Sugarman attended New York City College. During the early 1950s, using his GI Bill benefits, Sugarman travelled to Paris and studied with Cubist sculptor Ossip Zadkine. This was his only formal art training. Upon his return to New York in 1955, the artist found himself newly inspired by the city’s diverse architecture (in contrast to the “unity” of Paris). By the early 1960s, this gleefully disjunctive, haphazard quality had worked its way into Sugarman’s sculpture. It remained omnipresent until his death in 1999.
Throughout his career, Sugarman had solo exhibitions at many of the most influential and prestigious galleries, including: Stephen Radich Gallery (1961, 1964, 1965, 1966, New York), Fischbach Gallery (1967, 1968, 1969, New York), Galerie Schmela (1967, Düsseldorf), Galerie Renée Ziegler (1967, Zürich), Zabriskie Gallery (1974, New York), Robert Miller Gallery (1977, 1978, 1980, New York), Galerie Rudolf Zwirner (1980, Cologne), and Washburn Gallery (1990–1991, 2002–2003, 2006, 2010, New York). In 1969–1970, Kunsthalle Basel organized his first European retrospective. It traveled to the Städtisches Museum (Leverkusen, Germany), Haus am Waldsee (Berlin), and the Stedelijk Museum (Amsterdam). Other retrospective exhibitions include: Shape of Space: The Sculpture of George Sugarman (1981–1982, Joslyn Art Museum, Omaha; Institute of Contemporary Art, University of Pennsylvania, Philadelphia; Columbus Museum of Art, Ohio) and George Sugarman: Painted Wood Sculpture (1985–1986, Whitney Museum of American Art, New York).
Chelsea 529 West 20th Street, 10th Floor, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-929-1351 info@garysnyderart.com
Opening Wednesday May 08, 2013
Artists' files in the MoMA Library, MoMA QNS, 2013
Please Come to the Show, Part I (1960–1980) MoMA Curated by David Senior Opening Wednesday May 08, 2013, from 10:30 AM to 5:30 PM On View May 08, 2013 - July 15, 2013 www.moma.org
Since its beginnings, the MoMA Library has housed several collections of artists’ files and subject files, which contain assorted printed ephemera like announcement cards, press clippings, posters, and flyers. These materials illustrate an elaborate range of artistic activities and can contain unique elements from an artist’s practice. This two-part exhibition gathers a sample of innovative printed invitations, small posters, and flyers from the early 1960s to the present. The selection traces ways in which artists, designers, and galleries have used invitation cards and other printed announcements as a part of the staging of conceptual works, installations, performances, and other time-based events and screenings. This diverse grouping of ephemera explores the various, surprising ways that we have been invited to experience art.
Organized by David Senior, Bibliographer, MoMA Library.
Mezzanine, The Lewis B. and Dorothy Cullman Education and Research Building
Midtown 11 West 53rd Street, New York NY, 10019 Saturday - Monday from 10:30 AM to 5:30 AM
Wednesday - Thursday from 10:30 AM to 5:30 PM
Friday from 10:30 AM to 8:00 PM
212-708-9400
Opening Tuesday May 07, 2013
Superflex, Modern Times Forever. Video still. Courtesy the artists.
Superflex, Modern Times Forever HIGH LINE CHANNEL 14 High Line Opening Tuesday May 07, 2013, 7:00 PM On View May 07, 2013 - June 19, 2013 www.thehighline.org
A look at what would happen to a building if nature was allowed to take its course over thousands of years.
Presented by Friends of the High Line, High Line Art commissions and produces public art projects on and around the High Line. Founded in 2009, High Line Art presents a wide array of artwork including site-specific commissions, exhibitions, performances, video programs, and a series of billboard interventions. Curated by Cecilia Alemani, the Donald R. Mullen, Jr. Curator & Director of High Line Art, and produced by Friends of the High Line, High Line Art invites artists to think of creative ways to engage with the uniqueness of the architecture, history, and design of the High Line and to foster a productive dialogue with the surrounding neighborhood and urban landscape.
Chelsea West 14th Street, New York NY, 10011
Opening Tuesday May 07, 2013
Aux quatre vents Agnes Lux Martos Gallery Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - May 24, 2013 www.martosgallery.com
The Italian Antonio Marzi was positioned in Udine between 1944 and 1945 where he wrote a diary including observations of the events important to the war. This information was transferred to a contact person encrypted. Later, he forgot his own system of encoding, so that nobody including himself was able to read the notes. Marzi recalled, that the encryption was based on the line Un giovinetto pallido e bello of the poem Corradino di Svevia by Aleardo Aleardi. The code was cracked on February 23rd 2013.
Agnes Lux is an artist living and working in New York City. A catalog available at Martos Gallery will be published on the ocassion of the exhibition.
Chelsea 540 West 29th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-560-0670 gracie@martosgallery.com
Opening Tuesday May 07, 2013
Multiple singularities Beth Campbell Hotel Particulier Curated by Sarak Murkett Opening Tuesday May 07, 2013, from 6:00 PM to 9:00 PM On View May 07, 2013 - June 08, 2013 www.hotelparticulier.com
Campbell is known for both her text based drawings, My Potential Future Based on Present Circumstances, and room-filling installations that play with perception by reflecting the simulacra of our mundane everyday environments without the use of a single mirror. This exhibition in the gallery at Hotel Particulier focuses on recent works by Campbell that serve as the antidote to our mass-produced lives. Lamps, sinks and towels – the stuff of modern domestication – that often fade into the background, reduced to their functionality, here take center stage.
Part of an ongoing series, Campbell’s Lamps have a sense of humor and humility in their compromised states. They are not so much defective as perfect in their deformity. Each is immaculately executed with bespoke lampshades custom tailored to fit the position of its matching base. These hand-made works of art are not so much the nomadic objects of most free-standing sculpture, but are rather ready to turn on and light up any room of your house.
While on the Arts/Industry Residency at the John Michael Kohler Arts Center in 2010 Campbell worked in the factory and manipulated the castings for a standard bathroom sink so that the ceramic basin slumps and heaves in anything but a neat circle around the drain. Even just these slight alterations to the basic form of the sink create a sense of spatial-temporal displacement so that they seem to quiver under the influence of something like a hang-over. Each Sink is unique and plumbable for use.
In 2011 she was invited to work with the print department at the Cleveland Institute of Art. Feeding off of her experimentation with ceramics at Kohler and playing off the tradition of a collagraph, Campbell devised a new way to make a printing plate. Instead of depicting its likeness, she filled a towel with gel medium, shaped it like you would a wet sweater and then let it dry. She used the hardened towel itself as the plate, working with the master printer to push the ink into every stitch and terry loop. The result is a series of prints where the image looks so uncannily real you feel like you could reach right out and touch it.
Beth Campbell, (American, born in Illinois in 1971), received her MFA from Ohio University. In 2007, Campbell exhibited Following Room, a solo project at the Whitney Museum of American Art. She has also held solo exhibitions at Manifesta 7; the Public Art Fund; White Columns; the Sculpture Center, Cleveland, OH; Nicole Klagsbrun Gallery, NY; and Country Club, Los Angeles, CA and Chicago, IL. She received a Guggenheim Fellowship in 2011, a residency at Kohler Arts Center in 2010, and a Louis Comfort Tiffany Fellowship in 2009. Her work has additionally been shown at MoMA PS1, the New Museum of Contemporary Art, the Brooklyn Museum of Art, and Artists Space. Past works are in the collections of the Museum of Modern Art and the Whitney Museum of American Art. Campbell currently lives and works in Brooklyn, New York.
Soho 4-6 Grand Street, New York NY, 10013 sarah@murkandco.com
Opening Tuesday May 07, 2013
WINDOWS, CARPETS AND OTHER PAINTINGS Betty Woodman Salon 94 Freemans Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - June 14, 2013 www.salon94.com
For more than 50 years, the work of Betty Woodman has pivoted around the subject of the vase like an axis. She once again returns to the use and representation of vessels in her hybrid painting-sculpture ceramic pieces.
With the splashy bright color and curvaceous line she is known for, Woodman presents a theatrical vision of home, courtyard and garden. Her installation at Salon 94 Freemans divides the gallery into ideas about “inside” and “outside”. One side of a wall contains vases, figures, shells and bouquets, where the flowers too are rendered in glazed ceramic. A small, flat silhouette in the shape of a vessel is painted on one side with a nude female Venus figure, and on the other side with abstract patterns in washy colors—a careful method with a quick look inherited from Modern painting masters. This is the home’s interior, defined here as a place for the presentation and display of objects and vessels.
Woodman stages the other side of the space like a walled garden or interior courtyard with paintings on canvas and ceramic hung on the walls framed as “windows.” Paintings with ceramic lie flat on the floor like “carpets.” The domestic objects are made both lively and strange. Clay segments are taken from the left-over bits and scraps of vases, shells, and other shapes that require cut-outs in the studio. The recycled remnants are used like “ready-mades”, existing pieces found in the studio and collaged into new pieces with a raucous surface orchestration that recall the paper cut-outs of Matisse. The canvas grounds of the floor works, referencing mid-century expressionistic monochromes, are brushy, wet and bright, as the surfaces are loaded with gestures rather than figures. Recycling her own materials and laying them out as both surface decoration and structural armature, Woodman underscores her trademark vision of domestic objects that marry three-dimensional components to flat surfaces. Her wall pieces perform a similar union of painting and sculpture—the central element of the painted canvas is a plinth that juts out from the belly of the composition to support two unglazed vases, comically crude and overscaled, as if to present an ultimate form.
A large site-specific mural done in the artist’s freewheeling drawing style fills the back wall. Flat yet textured ceramic fragments represent columns topped with vases and vines, where vaulting arabesques and clashing patterns perform like lively human surrogates. The horizontal composition fills the width of the gallery and functions like a horizon line, or a view out onto the garden, as if from a window or terrace. Moments of bare ceramic and fractured line point to the sophisticated use of absence within the composition. Woodman’s pieces activate the space like a stage, stretching out beyond the picture plane and spilling onto the floor, charging every surface and negative space with the audacity and exuberance of her eccentric forms.
In another buoyant gesture, Woodman presents a new “wallpaper” work, a composition assembled from over 90 small ceramic cutaway pieces that are the recycled fragments removed from larger forms like the wings of vases and the periphery of the mural. The artist sometimes refers to these leftovers as “bones” as if they provide an essential structural framework to a body where non-ceramic wall space is a connected surface or flesh. Glazed, arranged and displayed, these fragments are then offered to the public for the taking. The individual elements will be given away on a first-come, first-serve basis to any viewers who would like to have them. The gesture reiterates the act of recycling, and also reflects a deeper archeological history of ceramics, where individual pieces—most often vases and vessels—are taken by their finders, individual parts divided amongst separate museums around the world. The performance of dispersal and the act of gifting is an enthusiastic staging of something like a ritual that engages what will eventually be a blank wall in the gallery, situated in between interior and the outside world.
This is Woodman’s third solo exhibition at Salon 94. A catalogue on the occasion of the exhibition will be published in June 2013, and will include a conversation between the artist and art critic Barry Schwabsky. Woodman's work was the subject of a major one-person retrospective at the Metropolitan Museum of Art in 2006. It is in the collections of over 50 museums worldwide. Her solo presentations include the Stedelijk Museum, Amsterdam; the Gulbenkian Museum, Lisbon; the Gardiner Museum, Toronto; Wadsworth Atheneum Museum of Art, Hartford, Connecticut; and the Musee des Arts Decoratifs, Paris among many others. Woodman has been the recipient of honorary doctorate degrees from the Rhode Island School of Design, the Nova Scotia College of Art and the University of Colorado.
The East Village / Lower East Side 1 Freeman Alley, New York NY, 10002 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-529-7400
Editor's Pick
IN THE GREEN ROOM Amy Bessone Salon 94 Bowery Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - June 14, 2013 www.salon94.com
Salon 94 is pleased to present In the Green Room by Los Angeles-based artist Amy Bessone. Bessone mines the cultural representation of female form in history, from Greco-Roman marble nudes and the odalisques of high modernism to contemporary thrift-store objects. Considering the rich art history of female figuration and the concept of the male gaze,Bessone meditates on the dichotomies of form and gender, high and low, still and moving.
Bessone presents several red on green paintings of a single female figure fitting the canvas frame in a truncated foot-to-neck seated profile view. Bessone uses the body as a framework and motif to repeat and reconsider. Bessone insistently re-adjusts the figure and color in each composition to both sustain a prolonged interest in a single, sketchy body and to refine a serious study of the gaze through slight and vigorous variation. With subversive suggestions of only parts of a nude, the central unidentifiable figure is represented without a literal relationship of body parts to one another. A single eye, foot, or breast is detached and embellished, and in some cases, merged with unlike parts functioning like a pictograph or hieroglyph. This painterly push-and-pull allows for figures that are positioned and repositioned within single compositions, strangely shifting in scale and vibrating between two and three dimensions and painting, drawing and writing. The contrasting use of red highlights on green grounds underscores the variation, as does the juxtaposition of these canvases with one another in Bessone’s careful configuration of the pieces in the gallery. Some canvases appear black on blue, purple on green, and some a heightened crimson on jade. Bessone tweaks the degrees of hue and gestures of shape just so, in a slowly and steadily intensifying inquiry into the painted representation of the body. The concept of “the green room” is significant as it relates to the site of rehearsal and construction for actors to prepare themselves to be viewed. Green rooms in literal practice for theater, film, and television, are rarely actually the color green—the environmental “green” is emblematic of a safe haven, where a performer takes a respite from performance and audience. Stripping down her palette, Bessone uses the color green as the flat ground to her paintings, connecting the works to mysterious etymologies and ideas about spaces of practice. The persistent development of a figure is also seen in her short films, where the small porcelain figurines she is known for painting on a large scale are the “characters”. In Daughters of the Revolution, a flea market troupe of small ceramic tchotchkes come together and join forces to hold a protest of a few seconds duration. One stop-animation film presents drawings of sculptures in a garden enjoying a daytime interlude. In Sunny-Side Up, Venus de Milo salt and pepper shakers cheaply refashioned with small heads and oversized breasts are seen repositioned, journeying across a kitchen to perform their functional duties. The Green Head considers a single sculptural head through different lenses, filters, and lights, like Monet’s Haystacks via the various filters of smart phone camera apps. The videos can also be viewed as moving portraits, slipping into still-life and taking up the concerns and genres of traditional painting. In conjunction with the paintings and videos, Bessone developed a series of ceramics, silkscreens and vinyl prints in various sizes that reiterate ideas about obsessive rehearsal and insist on a variable material, scale, and shape of the female body. This is Amy Bessone’s second exhibition at Salon 94. Bessone was born in 1970 in New York, and lives and works in Los Angeles. She has mounted recent solo exhibitions at David Kordansky Gallery, Los Angeles, Praz-Delavallade, Paris, and Veneklasen Werner, Berlin. Her work is included in the collections of the Museum of Contemporary Art, Los Angeles, Frac Bretagne, Chateaugiron, France, The Saatchi Collection, London, UK, Rennie Collection,Vancouver, Canada, and Rubell Family Collection, Miami.
The East Village / Lower East Side 243 Bowery, New York NY, 10002 Tuesday - Saturday from 11:00 AM to 6:00 PM
Sunday from 1:00 PM to 6:00 PM
212-979-0001
Opening Tuesday May 07, 2013
IN THE GREEN ROOM Amy Bessone Salon 94 Bowery Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - June 14, 2013 www.salon94.com
Salon 94 is pleased to present In the Green Room by Los Angeles-based artist Amy Bessone. Bessone mines the cultural representation of female form in history, from Greco-Roman marble nudes and the odalisques of high modernism to contemporary thrift-store objects. Considering the rich art history of female figuration and the concept of the male gaze,Bessone meditates on the dichotomies of form and gender, high and low, still and moving.
Bessone presents several red on green paintings of a single female figure fitting the canvas frame in a truncated foot-to-neck seated profile view. Bessone uses the body as a framework and motif to repeat and reconsider. Bessone insistently re-adjusts the figure and color in each composition to both sustain a prolonged interest in a single, sketchy body and to refine a serious study of the gaze through slight and vigorous variation. With subversive suggestions of only parts of a nude, the central unidentifiable figure is represented without a literal relationship of body parts to one another. A single eye, foot, or breast is detached and embellished, and in some cases, merged with unlike parts functioning like a pictograph or hieroglyph. This painterly push-and-pull allows for figures that are positioned and repositioned within single compositions, strangely shifting in scale and vibrating between two and three dimensions and painting, drawing and writing. The contrasting use of red highlights on green grounds underscores the variation, as does the juxtaposition of these canvases with one another in Bessone’s careful configuration of the pieces in the gallery. Some canvases appear black on blue, purple on green, and some a heightened crimson on jade. Bessone tweaks the degrees of hue and gestures of shape just so, in a slowly and steadily intensifying inquiry into the painted representation of the body. The concept of “the green room” is significant as it relates to the site of rehearsal and construction for actors to prepare themselves to be viewed. Green rooms in literal practice for theater, film, and television, are rarely actually the color green—the environmental “green” is emblematic of a safe haven, where a performer takes a respite from performance and audience. Stripping down her palette, Bessone uses the color green as the flat ground to her paintings, connecting the works to mysterious etymologies and ideas about spaces of practice. The persistent development of a figure is also seen in her short films, where the small porcelain figurines she is known for painting on a large scale are the “characters”. In Daughters of the Revolution, a flea market troupe of small ceramic tchotchkes come together and join forces to hold a protest of a few seconds duration. One stop-animation film presents drawings of sculptures in a garden enjoying a daytime interlude. In Sunny-Side Up, Venus de Milo salt and pepper shakers cheaply refashioned with small heads and oversized breasts are seen repositioned, journeying across a kitchen to perform their functional duties. The Green Head considers a single sculptural head through different lenses, filters, and lights, like Monet’s Haystacks via the various filters of smart phone camera apps. The videos can also be viewed as moving portraits, slipping into still-life and taking up the concerns and genres of traditional painting. In conjunction with the paintings and videos, Bessone developed a series of ceramics, silkscreens and vinyl prints in various sizes that reiterate ideas about obsessive rehearsal and insist on a variable material, scale, and shape of the female body. This is Amy Bessone’s second exhibition at Salon 94. Bessone was born in 1970 in New York, and lives and works in Los Angeles. She has mounted recent solo exhibitions at David Kordansky Gallery, Los Angeles, Praz-Delavallade, Paris, and Veneklasen Werner, Berlin. Her work is included in the collections of the Museum of Contemporary Art, Los Angeles, Frac Bretagne, Chateaugiron, France, The Saatchi Collection, London, UK, Rennie Collection,Vancouver, Canada, and Rubell Family Collection, Miami.
The East Village / Lower East Side 243 Bowery, New York NY, 10002 Tuesday - Saturday from 11:00 AM to 6:00 PM
Sunday from 1:00 PM to 6:00 PM
212-979-0001
Opening Tuesday May 07, 2013
Bruce Conner Paula Cooper Gallery Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - June 22, 2013 www.paulacoopergallery.com
NEW YORK — The Paula Cooper Gallery is pleased to announce a one-person exhibition of works by renowned artist and avant-garde film pioneer Bruce Conner (1933-2008), which will be on view at 521 W 21 Street beginning May 7.
This exhibition presents a selection of felt-tip pen and inkblot drawings dating from 1962 to 2000. The works underscore Conner’s ongoing interest in abstraction and the development of an intricate visual vocabulary: undulating densities of line, kinetic geometry, plays of light and dark. A prolific artist whose interests ranged from punk rock to non-Western mysticism, Conner maintained a crucial relationship to abstraction not only his drawings but also throughout his career.
Central to the exhibition will be EASTER MORNING, considered to be Conner’s most abstract film. EASTER MORNING is a montage of dreamlike images generated from footage shot by the artist on a spring morning in San Francisco in 1966. Like the assemblages for which he first gained critical attention and the rhythmic patterning of his drawings, Conner’s films have been described as collages that explode linear narrative and produce a sense of “optical overload.”1 EASTER MORNING breaks with the artist’s signature deconstructive editing process. He achieved the hypnotic rhythms in camera using frame rates, camera movements, and multiple exposures; Conner called it a “perfect movie.” The film was completed in 2008 shortly before the artist’s death. It is considered his last major work.
In conjunction with the Jay DeFeo retrospective at The Whitney Museum of American Art, Conner’s 1967 short film, THE WHITE ROSE will be screened from April 25 to May 12, 2013. In 2000, the Walker Art Center in Minneapolis organized an exhibition of Conner’s work titled “2000 BC: The Bruce Conner Story, Part II.” This show traveled to the Modern Art Museum of Fort Worth, the M.H. de Young Memorial Museum in San Francisco, and the Los Angeles Museum of Contemporary Art. His works have been included in major exhibitions, such as the historic 1961 “The Art of Assemblage” at The Museum of Modern Art. His works are also in the collections of many major museums, including The Guggenheim Museum; The Metropolitan Museum of Art; The Whitney Museum of American Art; The Museum of Modern Art; The San Francisco Museum of Modern Art; Los Angeles County Museum of Art; The Walker Art Center, Minneapolis; The Art Institute of Chicago; The National Gallery of Art, Washington DC; Hirshhorn Museum and Sculpture Garden, Washington DC; and The Centre Pompidou, Paris.
This exhibition has been organized with the support of the Conner Family Trust, San Francisco and Michael Kohn Gallery, Los Angeles.
—
1. Boswell, Peter. “Bruce Conner: Theater of Light and Shadow,” 2000 BC: The Bruce Conner Story Part II, Walker Art Center, Minneapolis, 2000, p. 27.
Chelsea 521 West 21st Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-255-1105 info@paulacoopergallery.com
Opening Tuesday May 07, 2013
Brock Enright, Detail, Da, 2013, pastel on paper
VERDIGRIS Brock Enright Kate Werble Gallery Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - June 15, 2013 www.katewerblegallery.com
Soho 83 Vandam Street, New York NY, 10013 212-352-9700 info@katewerblegallery.com
Opening Tuesday May 07, 2013
CECILY BROWN, Untitled, 2012, Oil on linen, 89 x 85 inches (226.1 x 215.9 cm)
Cecily Brown Gagosian Gallery Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - June 22, 2013 www.gagosian.com
Gagosian Gallery is pleased to present recent paintings by Cecily Brown, her first solo exhibition in New York since 2008.
Brown’s most recent paintings treat the subject of the nude ensemble, revealing an attitude that draws equivocally from the genre of history painting and pop culture. By freeing her subjects and inspirations from their original contexts, Brown subverts the role of narrative in the construction of genre and points to the slippage inherent in quoting from source. In her visible grapple with formal concerns, she crowds each canvas with stylistically diverse anonymous figures—some loosely suggested, others identifiably expressive—who fulfill her explicit aim of conveying figurative imagery in a just-elusive shorthand, as directly and vigorously as possible.
In fleshy yet chromatically sober paintings, such as a monumentally scaled untitled work of 2012, clusters of diverse and individuated nudes crowd the scene, glaring and grimacing, as if from some unnamed purgatory. At the base of the painting, the odd limb is visible, the body to which it belongs buried beneath the confrontational energies of the group. Fragmented figures and faces, reduced to complexions or expressions, dissolve into kaleidoscopic concentrations of grey, purple, and sienna with a sudden accent of electric teal or orange. Eyelashes, teeth, hair, the curve of a breast or a shoulder blade may stand out from contrasting brushwork, or separate into momentary tonal distillations amidst the compositional chaos. Brimming with the intensity of human presence, these paintings play out Brown's persistent fascination with the tension between bold painterly gesture and figurative content.
Cecily Brown was born in London in 1969. Public collections include the Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; and Tate Gallery, London. Solo exhibitions include “Directions: Cecily Brown,” Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2002); MACRO, Rome (2003); Museo Nacional Centro de Arte Reina Sofia, Madrid (2004); Museum of Modern Art, Oxford (2005); Kunsthalle Mannheim (2005–06); Des Moines Art Center, Iowa (2006); Museum of Fine Arts, Boston (2006–07); Deichtorhallen, Hamburg (2009);“Based on a True Story,” GEM, Museum of Contemporary Art, The Hague (2010, traveled to Kestner Gesellschaft, Hannover); Essl Museum, Klosterneuburg, Austria (2012).
Brown lives and works in New York.
For further information please contact the gallery at newyork@gagosian.com or at +1.212.744.2313.
The Upper East Side 980 Madison Avenue, New York NY, 10075 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-744-2313 newyork@gagosian.com
Opening Tuesday May 07, 2013
Image: Anna Plesset, Observe, Notice, Understand, June 1 – November 30, 2010, 2010-11, Found twigs and twigs made of clay and gouache, dimensions variable, courtesy of the artist.
Observe, Notice, Understand June 1 – November 30, 2010 Anna Plesset The Horticultural Society of New York Project Space Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - July 03, 2013 www.hsny.org
The Hort is pleased to inaugurate a Project Space program for emerging New York artists, beginning with Anna Plesset. For this work, Plesset set a goal to collect a twig every day for six months. When she could not find a twig or forgot to collect one, she created her own trompe l’oeil facsimiles from clay and gouache. Plesset’s sculpted twigs are impossible to distinguish from their real life counterparts. Collectively, they form a calendar of perceived, experienced, and constructed reality, with each twig marking a passed day. Plesset's recent exhibition, A Still Life, at Untitled in the Lower East Side was the artist's first solo exhibition in New York. It was reviewed in Artforum, The New York Times, and Time Out New York.
Hell's Kitchen 148 West 37th Street, 13th Floor, New York NY, 10018 212-757-0915 info@thehort.org
Opening Tuesday May 07, 2013
The Lost Album Dennis Hopper Gagosian Gallery Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - June 22, 2013 www.gagosian.com
This is a story of a man/child who chose to develop his five senses and live and experience rather than just read.
—Dennis Hopper
Gagosian Gallery is pleased to present photographs from The Lost Album of the late Dennis Hopper. This historically significant body of work from the 1960s has not been exhibited in the United States since 1970.
Hopper established his reputation as a cult director with Easy Rider (1969), while maintaining his reputation as an edgy character actor with gritty performances in The American Friend (1977), Apocalypse Now (1979), Blue Velvet (1986), and Hoosiers (1986). Before his rise to Hollywood stardom, he captured the establishment-busting spirit of the 1960s in photographs that travel from Los Angeles to Harlem to Tijuana, and which portray iconic figures including Tina Turner, Andy Warhol, and Martin Luther King, Jr. The Lost Album in its entirety comprises over 400 black and white photographs taken between 1961—when his first wife Brooke Hayward gave him a Nikon camera for his birthday—and 1967. He would not make photographs again until the early 1980s.
Exhibited in its entirety, The Lost Album reveals casual portraits of artistic luminaries (Jasper Johns, Roy Lichtenstein, Robert Rauschenberg), leading actors (Jane Fonda, Paul Newman, John Wayne), and mythic musicians (James Brown, The Byrds, Jefferson Airplane), as well as stirring images of the Civil Rights Movement. There are also hippie gatherings, the Apollo 11 lunar landing, Mexican bullfights, and catchy advertisements for popular cars, soft drinks, and newspapers.
Hopper’s photographs, shot with a Nikon camera and a 28-millimeter lens, are uncropped and produced with available light. His preference for full-frame added to his candid approach, producing such poignant images as Beverly Renee on Bed, where the model's intentional but awkward pose is underscored by the nonchalance of the setting, from the unmade bed to the dark upper reaches of the image. This and other photographs of women reveal more intimate, playful and voyeuristic aspects of Hopper's gaze. In one of many photographs that he took of Hayward, she peers coquettishly from behind cat's-eye sunglasses, wearing a crown with the price tag attached.
Hopper followed Martin Luther King, Jr. during the Selma-to-Montgomery marches of 1965, capturing the fervor of the national quest for civil rights, from King speaking into a cluster of microphones before a spellbound audience to young black men holding aloft American flags, embodying the hope that the stars and stripes would come to represent a nation of equals under the law. These images, together with the many other cultural events, iconic individuals, and intimate moments that caught Hopper’s attention, constitute a panoramic view of the sixties that combines political idealism and humanistic optimism with California cool.
Dennis Hopper was born in 1936 in Dodge City, Kansas, and died in Venice, California in 2010. His photographs are included in the permanent collections of The Metropolitan Museum of Art, The Museum of Modern Art, Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, and Carnegie Museum of Art, Pittsburgh. Major exhibitions include “Dennis Hopper: Black and White Photographs,” Fort Worth Art Center Museum, Texas (1970, traveled to the Corcoran Gallery of Art in Washington, D.C.); “Dennis Hopper: A Keen Eye; Artist, Photographer, Filmmaker,” Stedelijk Museum, Amsterdam (2001); “Dennis Hopper: A System of Moments,” Museum für angewandte Kunst, Vienna (2001); and “Dennis Hopper: Double Standard,” Museum of Contemporary Art, Los Angeles (2010). The Lost Album was originally exhibited at Martin Gropius Bau, Berlin in 2012.
For further information please contact the gallery at newyork@gagosian.com or at +1.212.744.2313.
The Upper East Side 980 Madison Avenue, New York NY, 10075 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-744-2313 newyork@gagosian.com
Opening Tuesday May 07, 2013
Why is Everything the Same? Works from the Collection of Anne Collier and Matthew Higgs Shoot the Lobster Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - May 24, 2013 www.martosgallery.com
Artists:
Rita Ackermann
Tariq Alvi
Dan Asher
Josh Brand
Carina Brandes
Alejandro Cesarco
Paul Cowan
Moyra Davey
Tom Fairs
Rocco Fama
Magdalena Frimkess
Kim Gordon
Karin Gulbran
Janice Guy
Richard Hawkins
Karl Holmqvist
David Korty
Ella Kruglyanskaya
Shio Kusaka
Jim Lambie
Linder
Judy Linn
Nate Lowman
Agnes Lux
Dwight Mackintosh
Eileen Quinlan
Noam Rappaport
Sabine Reitmaier
Nick Relph
Daniel Rios Rodriguez
Allen Ruppersberg
Borna Sammak
William Scott
Josh Smith
John Stezaker
David Tibet
Type 42 (Anonymous)
B. Wurtz
Over the past decade or so we have acquired – through purchases, trades or gifts – at least a hundred individual art works, perhaps considerably more. Almost by accident, certainly not by design, we have become art collectors. When Jose Martos invited us to present works from our collection at Shoot The Lobster we immediately agreed. The exhibition comprises only a small percentage of the works we own and is far from representative. However the works are, as you will notice, mostly small. Their scale tells you as much about the history of our disposable income as it does about the realities of living in one-bedroom apartments in New York. The show’s title - ‘Why Is Everything The Same?’ - is taken from a piece by Allen Ruppersberg that we bought from a White Columns’ benefit auction. A lot of Al’s work deals with collecting and with collecting couples in particular. We have rarely, if ever, discussed what we plan to buy: the decisions have mostly been impulsive.
We often acquire things independently of one another. What does our collection say about us? It is hard to say, but we certainly own a lot of works that are portraits of one kind or another and a lot of works that might be thought of as folk-like or outsider-ish. (We probably own twenty works made by artists associated with the Creative Growth Art Center in Oakland, and we encourage you to do the same: www.creativegrowth.org). Owning art is both a privilege and a responsibility. We are currently in the process of cataloging the works that we own – as in many instances we don’t know the title, date or specific medium of a particular work, hence the lack of detailed information in the show’s checklist.
We would like to thank Jose and the team at Shoot The Lobster for the invitation to make this exhibition. We would also like to thank all of the artists in our collection (including those whose work isn’t presented here).The opportunity to show a part of our collection is an opportunity for us to share some of our enthusiasms and also an occasion for us to take stock of what our ‘collection’ looks like and to think about where it might go next. Most of all though our collection is a work-in-progress, an ongoing record of the conversations we’ve had with each other and with the artists whose work we love.
Anne Collier and Matthew Higgs, May 2013.
Chelsea 540 W 29th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-560-0670 contact@shootthelobster.com
Opening Tuesday May 07, 2013
Zustandseffekte Reto Pulfer Swiss Institute / CONTEMPORARY ART Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 08, 2013 - June 23, 2013 www.swissinstitute.net
The opening includes a performance by Eisklares Echo (Mia von Matt / Reto Pulfer) at 7:30PM For Immediate Release
The enigmatic body of work by Swiss artist Reto Pulfer (b. 1981, lives in Berlin) might be said to occur at the intersection of architecture and performance. In his first solo-exhibition in the United States, Pulfer suspends large swathes of hand-painted cloth from the ceiling structure, countering the architecture of Swiss Institute’s main gallery while exploring an ethereal environment.
Visitors enter into a mysterious back-lit interior. The walls, enveloped in the unbleached cotton cloth, sway with movement, while dramatic pinpoints of swirling color are splayed out on the fabric-covered ceiling. This illuminated starry sky extends in a diagonal band from corner to corner across the space. The exhibition’s title, Zustandseffekte, roughly translated, means the effects of a given state, referring to a contradictory process of both stagnation and transformation.
For this exhibition, Pulfer innovates ancient rhetoric, deploying it as a compass for his temporary intervention. Drawing from the ancient Greek strategy of mnemonics, the artist translates thought patterns into three-dimensional form: second hand bedsheets, Raku-ceramics, and the handmade crate in which the work is shipped are used as vocabulary. The method of combining loosely associated words is central to his practice. Often these language chains aid one in remembering what might be otherwise elusive details. Similarly, in the artists’ studio, the mental repetition of a phrase rhythmically guides the drawing on and sewing together of textiles. Contemplation of language is the pivot point between the fabric and its display.
At Swiss Institute, viewers are welcomed to an interior space that oscillates between reality and imagination. However, the language itself remains concealed from the viewer, much in the same way the architecture of the gallery is veiled by the diaphanous installation. One is left to explore the temporary and transparent room, tacitly experiencing an uncertain state that mingles mnemonic, meditation, performance, production, and installation. The results are grasped yet their cause remains elusive, just out of reach.
Reto Pulfer has exhibited at CCS Bard College (2013); Kunstverein Nürnberg, Germany (2013); Künstlerhaus Graz (2013); Kunsthaus Baselland (2012); Istituto Svizzero di Roma (2011); and the Museum of Applied Arts / Contemporary Art Vienna (2011), among others.
Soho 18 Wooster Street, New York NY, 10013 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-925-2035 info@swissinstitute.net
Opening Tuesday May 07, 2013
Brie Ruais, Unfolding (Liquid Color) (detail), 2011, The artist's body weight in clay spread out in all directions, Stained blue, yellow, and green clay, white and brown stoneware, fired with clear glaze, 60 x 65 x 1 inches; courtesy of the artist and Nicole Klagsburn Gallery, NY
VESSELS Nicole Cherubini, Francesca DiMattio, Brie Ruais, Beverly Semmes and Betty Woodman The Horticultural Society of New York Curated by Chris Murtha Opening Tuesday May 07, 2013, from 6:00 PM to 8:00 PM On View May 07, 2013 - July 03, 2013 www.thehort.org
The Hort is pleased to present Vessels, a group exhibition of recent works by five NY-based ceramic sculptors, ranging from emerging to the firmly established.
The artists are influenced by traditional ceramic objects, from storage vessels, to pots and planters, to vases, but use the medium to defy prevailing associations with decoration and utility.
From Brie Ruais' sculptural performances to Nicole Cherubini’s pot assemblages, each artist in Vessels finds unique ways to mold clay to successfully evoke and challenge ceramic convention to examine entangled issues of body, function, craft, domesticity, and beauty.
For additional information, please contact Chris Murtha, Director of Exhibitions, at 212.757.0915 x121 or cmurtha@thehort.org.
Hell's Kitchen 148 West 37th St, 13th Floor, New York NY, 10018 Monday - Friday from 10:00 AM to 6:00 PM
212-757-0915 cmurtha@thehort.org
Opening Tuesday May 07, 2013
Moon Goddess, 2012, plane tree, 21 x 24 x 9 in
Wang Keping Women Wang Keping Zürcher Studio Opening Tuesday May 07, 2013, from 3:00 PM to 6:00 PM On View May 08, 2013 - June 23, 2013 www.galeriezurcher.com
Zürcher Studio is pleased to present the second New York solo exhibition of Wang Keping’s newest body of work, Women. He is known as one of the founders of the Chinese avant-garde group, Xing Xing (The Stars), formed in 1979. He has been living near Paris since 1984 and he has been represented by Zürcher Paris / New York since 1986.
The East Village / Lower East Side 33 Bleecker Street, New York NY, 10012 Tuesday - Saturday from 12:00 PM to 6:00 PM
Sunday - Sunday from 2:00 AM to 6:00 PM
212-777-0790 studio@galeriezurcher.com
Opening Tuesday May 07, 2013
Zoo Ken Price Franklin Parrasch Gallery Opening Tuesday May 07, 2013, from 10:00 AM to 6:00 PM On View May 07, 2013 - July 12, 2013 www.franklinparrasch.com
Franklin Parrasch Gallery is pleased to announce Ken Price: Zoo, a survey exhibition focused exclusively on Price’s ceramic cups and unique works on paper involving the depiction of animals. The show includes examples of some of the artist’s most iconic subject matter, ranging from sea turtles, squid, tree frogs, and Gila Monsters to a host of other amphibious and subterranean characters. This is the first exhibition to illuminate Price’s aesthetic engagement with Animalia.
Animals have a starring role in Price’s drawn depictions of an imagined world immersed in endless narrative drama. Some of these animals are depicted in specific detail (e.g. the emblazoned frill of an Australian lizard), while others morph outside the bounds of clear recognition, such as an asexually reproducing organism – perhaps an ancient jellyfish, or an Al Capp shmoo. Sexuality was a pervasive and mysteriously expressed theme in Price’s work throughout his entire career; often these creatures lurk or coil, poised to engage in primal surges. If these animals do convey any pathos, it's that of survival: deadpan and focused.
Included in this exhibition is the artist’s first snail cup, dating from 1965. Struck by the gesture of a small, store-bought ceramic snail, Price made a palette-shaped cup to which he fused the souvenir, engaging the two seemingly unrelated forms. The gestures of both cup and creature take on similar characteristics of stance and stature. In a 2006 interview with Douglas Dreishpoon, Price recalled, "When I made that series, I was very interested in reptiles and amphibians, and didn't feel it was unnatural to have lizards or snails on cups. They go together, don't you think?"
Early in his career, Price embraced drawing as a separate and vital aspect of his creative process; the gestures and forms of his animal subjects clearly relate to the core inclinations of his sculptural work. For Price, drawings of specific creatures served as a means to explore and derive a sense of life and motion that he would then absorb into his sculptural oeuvre. The qualities of shape, contour, color, texture, and interaction with light organically translate from the gestures of his early animals to his later amorphous sculpture. Deriving the vitality of a pre-human history, Price's images – representative and abstract alike – are reflections of a subliminal world.
Ken Price: Zoo will be on view at 20 West 57 Street from May 7 through July 12, 2013, and will overlap the opening of two major retrospective exhibitions of Price's works in New York City: Ken Price: Slow and Steady Wins the Race, Works on Paper, 1962-2010 at The Drawing Center (June 19-August 18) curated by Douglas Dreishpoon, Chief Curator at the Albright Knox Art Gallery, Buffalo, NY; and Ken Price Sculpture: A Retrospective, at The Metropolitan Museum of Art (June 18-September 22) curated by Stephanie Barron, Chief Curator of Modern and Contemporary Art at the Los Angeles County Museum of Art.
Ken Price: Zoo is Franklin Parrasch Gallery's tenth solo exhibition of Price’s work in its twenty year history of exhibiting this enigmatic American artist. For further information, please contact the gallery at info@franklinparrasch.com or call 212-246-5360, Tuesday-Saturday 10a-6p.
Midtown 20 West 57 Street, New York NY, 10019 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-246-5360 info@franklinparrasch.com
Opening Monday May 06, 2013
Der Geist auf der Höhe
, 1913, 151, (The Spirit on the Heights), Ink on paper on cardboard, 3 1/8 x 1¾ in. (7.9 x 4.6 cm), Zentrum Paul Klee, Bern
Paul Klee: Early and Late Years, 1894-1940 Moeller Fine Art Opening Monday May 06, 2013, from 10:00 AM to 6:00 PM On View May 06, 2013 - June 14, 2013 www.moellerfineart.com
Moeller Fine Art is pleased to announce "Paul Klee: Early and Late Years, 1894-1940," to take place in its New York gallery from 6 May - 14 June. The exhibition brings together 35 works, including loans from the Zentrum Paul Klee, Bern, rarely seen examples from private collections and works for sale, highlighting seminal moments from the artist's oeuvre of the 1910s to the poignancy of his final years.
Dame, ruhend, 1911, among the earliest works in the exhibition, already shows Paul Klee (1879-1940) working in a characteristic vein of whimsical simplicity, as he depicts a woman lying under a parasol in black and white. Cubist and Futurist tendencies further refined such whimsy by 1913, and were intensified with the introduction of color following Klee's visit to North Africa the following year. Works like Städtebild, 1915 are emblematic of this new and daring palette, which Klee expertly employed to depict stacked forms condensed in a shallow space. At the same time, Klee was honing the delicate line which would come to typify his work, often heightened by poetic allusion in its content and experimentation with new media. Auserwählter Knabe, 1918, a pivotal work of this period, shows an ethereal child, suspended among hovering forms in a composition created from two pieces of primed linen cut and recombined on cardboard.
With the rise of the Nazi regime, the pathos latent in such images only deepened when Klee was dismissed from his position at The Academy of Fine Arts in Dusseldorf in 1933 and returned to his native Bern. At this time he began to see himself as a damaged fruit, as, for instance, in Beulen Birne, 1934, which once belonged to Ernest Hemingway. In this work, Klee finds a visual parallel of his inner state in an overripe pear, depicted in deepest blue. In 1935, Klee was diagnosed with scleroderma, a debilitating disease which at once forced him to face his own mortality and spurred his creative output. Klee's final years communicate the essence of his work more immediately than any other period: Das kranke Herz, 1939, displays a colorful lexicon of pained, child-like symbols with a punctured heart at its center. In der Leibeshöhle, 1940, created the year of the artist's death, depicts a black bird-like figure with an amorphous mass in its body cavity, perhaps consuming itself from within or sending inspiration out into the world.
An illustrated catalogue, including an essay by Christine Hopfengart, will accompany the exhibition.
The Upper East Side 35 East 64th Street, New York NY, 10065 Monday - Friday from 10:00 AM to 6:00 PM
Saturday from 11:00 AM to 5:00 PM
212-644-2133 mail@moellerfineart.com
Opening Sunday May 05, 2013
Aiko Hachisuka Eleven Rivington Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View May 05, 2013 - June 14, 2013 www.elevenrivington.com
Eleven Rivington is very pleased to present the NY solo debut of Japanese-born artist Aiko Hachisuka, on view from May 5 – June 14, 2013 at our 11 Rivington Street location. The exhibition will feature five abstract sculptures of varying scales created over the last 3 years as well as unique works on paper.
Hachisuka creates elaborately constructed soft sculptures out of clothing which are silkscreened with dozens of varying marks and hues: the artist uses blank screens to apply layers of color on materials which have been intuitively folded, creased and manipulated, and then unfolded and re-arranged again; this accumulation of colors and fold marks accrue to create their own patterns. Each piece is then carefully filled and stuffed with foam. Comprising individual articles of dressing - each with its own particular fabric weight, texture and weave - these carefully made objects become elaborate forms, often alluding to the body, and each with their own idiosyncratic physiognomies. Each element is emblazoned with layers of inked impressions and individually hand-sewn onto another piece, forming an abstract assemblage of distended shapes. While removed from their original materiality (including sweaters, pants and shirts once worn by the artist), they nonetheless retain their strong connection to the human form; each large, bulbous form has a hollow, vessel-like core. Beyond the apparent references to cloth and the body, however, these sculptures take on highly individual identities: with their bold patterns, complex constructions, and expressive color palettes reminiscent of a three-dimensional Rorschach test. They pose on wooden plinths, evoking disparate references and associations: from the technical complexity and opulence of Asian textiles to the bold exuberance of Pattern & Decoration, as well as from the graphic and deadpan nature of Pop artists such as Claes Oldenburg to the physical reconfigurations of car parts by John Chamberlain.
Aiko Hachisuka was born in 1974 in Nagoya, Japan, educated at CalArts, CA (MFA) and Ringling School of Art & Design, FL (BFA), and currently lives and works in LA. Group exhibitions include 7 Sculptors at Brennan & Griffin, NY; Tables & Chairs at D’Amelio Terras, NY; Core 2002 at Museum of Fine Arts, Houston; and Snapshot: New Art from Los Angeles at the Hammer Museum, LA (traveled to Museum of Contemporary Art, Miami). Hachisuka’s work has been featured in Frieze, Flash Art, TAR, and LA Weekly, among others.
The East Village / Lower East Side 11 Rivington Street, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-982-1930 gallery@elevenrivington.com
Opening Sunday May 05, 2013
Jeronimo Elespe
New Paintings Jeronimo Elespe Eleven Rivington Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View May 05, 2013 - June 14, 2013 www.elevenrivington.com
Eleven Rivington is thrilled to present a solo exhibition of recent work by Madrid-based Spanish artist Jeronimo Elespe, on view from May 5 – June 14, 2013 at our 195 Chrystie Street location. This is the artist’s thirteenth solo exhibition since he first started exhibiting in 1999 and his second show with Eleven Rivington. It will feature new paintings on aluminum as well as never before exhibited drawings. Elespe was the subject of a solo museum exhibition in 2012 at Centro de Arte Contemporaneo (CAC) in Malaga, Spain, which was accompanied by a hardcover catalogue with text by Dan Byers.
Elespe is known for his intimately scaled paintings in oil on aluminum, but drawing has been a key part of his practice for many years. The gallery is pleased to be exhibiting drawn works for the first time in tandem with recent paintings. These small works on paper entail a long process of adding and subtracting marks, lines, tones and textures, developing into a series of abstract diaries. Although they are autonomous in nature, the artist considers the drawings as a guide to the viewer, proposing a more complete reading of the paintings. The artist’s accumulative process is perhaps more explicit in the drawings and helps to underscore the experimentation of painting idioms developed in the painted aluminum works. As in his past work, the subjects and points of departure in the artwork are autobiographical. Created in Elespe’s home studio in Madrid, they begin as images from observation and memory, including interior domestic scenes, solitary figures, and still-life compositions, serving as a meditation on daily domestic and studio life. Over the course of their creation, some remain specifically representational while others become layered abstract ruminations on nature and time, with fictional elements attempting to enter the pictures. Others tap even more into the artist’s subconscious imaginings. The dualities that manifest in the work - the tranquil and the obsessive, experimentation and literality, intuition and rationality - have their root embedded in the nature of the slow process of their making in the Elespe's studio.
Jeronimo Elespe was born 1975 in Madrid, Spain where he currently lives and works. He was educated at Yale (MFA) and SVA (BFA). Recent group exhibitions include Sikkema Jenkins, NY; Pedro Cera, Lisbon; and Nusser and Baumgart, Munich. His work has been featured in The New York Times, New Yorker, New York, and El Pais.
Chelsea 195 Chrystie Street location, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-477-2507 gallery@elevenrivington.com
Opening Sunday May 05, 2013
Faith so certain shall never be shaken by heaviest sorrow Florian Meisenberg Simone Subal Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View May 05, 2013 - June 23, 2013 www.simonesubal.com
The East Village / Lower East Side 131 Bowery, 2nd floor, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
917-409-0612 info@simonesubal.com
Opening Sunday May 05, 2013
Shipper In Jail / Ads For New Album / Six Sets Brendan Fowler UNTITLED Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View May 05, 2013 - June 16, 2013 www.nyuntitled.com
1. “I have worked for other artists and in galleries but have never been employed as anyone who writes condition reports. As such, I am often surprised to see very detailed reports for my sculptures when they are transported that read like 'frame is piercing other frame / plexi is cracked in 5 places / work is broken' etc. All of these moments that I'm sort of laboriously faking with these things art transporters will often very meticulously catalog, which I know that they must do to protect their ends, lest it should appear that they picked up 4 photographs from the gallery which somehow made it into this sculptural collision on the ride over to whomever they are delivering the work to. Joel and I started to joke about taking them literally — work is broken here, here and here — and then wondering what if these condition reports were really cover ups to cover the shippers accidents with the work? Who are these fucked up shippers breaking these perfectly fine framed photographs? We always joke that we have shipper problems.
A few years ago I made monochrome versions of my usual sort of pieces by silkscreening solid purple over the inkjet prints before they were framed and as well over the fronts of the frames themselves. How my work functions typically, or engages within histories of painting or sculpture, or considerations of how this body of work functions differently within those histories aside, we were joking about what kind of crazy fucked up shipper would pick up these four photographs and on the way to delivering them not only get them jammed into this sculpture, but would some how get the whole thing purple? That shipper would have to be fired, right? No, man, they’re going to jail!
Part of making the purple ones initially was to recycle the test prints and ‘bad’ prints and ‘mis-stained’ frames that occurred as byproduct from my regular working (these were the elements I printed over with solid purple), but more so I was curious to find out how these kind of image dependent sculptures would function if all the imagery was exhausted out of them, or literally blocked in, buried under, painted over. I chose purple the first time because it is my favorite color, and tried to match the shade to the color of smoothie I had been making every morning before going to work (...literally a choice based on taste...sorry... ). All told, I liked how the purple monochromes functioned and I wanted to make another set of monochromes, but another color this time. Black seemed a logical choice given how much I have been making work around/involving/dependent on the mirroring effects generated by framing dark images behind regular, glossy, UV plexiglass, turning the image into a mirror. Black'ed out ones could bring up a whole other set of questions. Is blacking out more something than purpling out? Less? Are these ‘murdered out’? (Technically, yes). Does the content in fact glare back at you with its eyes closed like an angry cartoon child in the very bright sun? Arms crossed, ‘hmmph’ing out? And what about this other color, the third set of monochromes, it is kind of like a different purple, different berry. Full disclosure, I’m not very good at seeing color.”
2. Ads for new album.
3. Several performances, And Martin (Brendan Fowler), all performances 20-30 minutes.
Friday 05/10/13 5:30 pm
Sunday 05/12/13 11:00 am
Sunday 05/12/13 5:30 pm
Friday 05/17/13 2:30 pm
Saturday 05/18/13 5:30 pm
Sunday 05/19/13 5:30 pm
The East Village / Lower East Side 30 Orchard Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-608-6002 info@nyuntitled.com
Editor's Pick
Speakchamber Constance DeJong Bureau Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View May 05, 2013 - May 25, 2013 www.bureau-inc.com
May 5 - May 25 2013
Opening reception for the artist:
Sunday May 5, 6 - 8 p.m. (no public performance - see schedule below)
Bureau is honored to announce the new production by seminal text and performance artist Constance DeJong, SpeakChamber. During the month of May, Bureau will be transformed into an intimate theater to host DeJong's hour-long spoken performance derived from a work of prose and accompanied by recorded sound and moving image.
DeJong has worked for over three decades on narrative form within the context of avant-garde music and contemporary art. The fiction in SpeakChamber focuses on the world of inanimate objects through styles and histories. We follow DeJong's story from dusty homes to salvation armies and from war-torn mountain ranges to luxury consignment shops. DeJong writes her narrative work specifically for the medium in which it will be presented, for the physical page or for the mouth as spoken in the present moment. In performance, her audience follows the captivating auteur, live, telling the story of objects through a continuous present moment.
DeJong is considered one of the progenitors of video and media art, what can be referred to as 'time based media'. She shapes her art of narrative with an intricate attention to content and literary form. Each detail is scrutinized so that every moment is an eternity and an expanse. The work is presented as a continuous present flowing from the mouth of the artist, in real time. The work thus stands both in contrast and in recognition of the contemporary attention-deficient media genre, which she has helped define. The work is one of continuous language paired with continuous video imagery that unfolds conjuring new images of some combined fiction derived from the seen image and heard text.
Nothing says impermanency like the relentless sequence of one word giving way to the next, each one dropping out of sight. -CDJ
Constance DeJong has exhibited and performed both locally and internationally over the past three decades at venues such as, the Walker Art Museum, Minneapolis MN; The Wexner Center, Columbus OH; Philadelphia Museum of Art; and in New York at The Kitchen, Threadwaxing Space, The Whitney Museum of American Art and the Dia Center for the Arts. She composed the libretto for the Philip Glass opera Satyagraha in 1983 which has been staged at opera houses worldwide including the Metropolitan Opera, NY; The Netherlands National Opera, Rotterdam, NL and The Brooklyn Academy of Music, NY. She has had several books of fiction published including Modern Love (Standard Editions, 1977) and I.T.I.L.O.E (Top Stories, 1983)
This exhibition will be accompanied by a limited edition publication, SpeakChamber.
Public Performance Dates *
Friday May 10, 4 p.m.
Saturday May 11, 4 p.m. (full)
Sunday May 12, 4 p.m.
Friday May 17, 7 p.m. (full)
Saturday May 18, 4 p.m.
Sunday May 19, 7 p.m.
Wednesday May 22, 7 p.m.
Thursday May 23, 7 p.m.
Saturday May 25, 4 p.m.
*all performances require RSVP to office@bureau-inc.com
space is LIMITED: you will be emailed a confirmation if there is space
children not admitted
The East Village / Lower East Side 127 Henry Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
office@bureau-inc.com
Opening Sunday May 05, 2013
Speakchamber Constance DeJong Bureau Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View May 05, 2013 - May 25, 2013 www.bureau-inc.com
May 5 - May 25 2013
Opening reception for the artist:
Sunday May 5, 6 - 8 p.m. (no public performance - see schedule below)
Bureau is honored to announce the new production by seminal text and performance artist Constance DeJong, SpeakChamber. During the month of May, Bureau will be transformed into an intimate theater to host DeJong's hour-long spoken performance derived from a work of prose and accompanied by recorded sound and moving image.
DeJong has worked for over three decades on narrative form within the context of avant-garde music and contemporary art. The fiction in SpeakChamber focuses on the world of inanimate objects through styles and histories. We follow DeJong's story from dusty homes to salvation armies and from war-torn mountain ranges to luxury consignment shops. DeJong writes her narrative work specifically for the medium in which it will be presented, for the physical page or for the mouth as spoken in the present moment. In performance, her audience follows the captivating auteur, live, telling the story of objects through a continuous present moment.
DeJong is considered one of the progenitors of video and media art, what can be referred to as 'time based media'. She shapes her art of narrative with an intricate attention to content and literary form. Each detail is scrutinized so that every moment is an eternity and an expanse. The work is presented as a continuous present flowing from the mouth of the artist, in real time. The work thus stands both in contrast and in recognition of the contemporary attention-deficient media genre, which she has helped define. The work is one of continuous language paired with continuous video imagery that unfolds conjuring new images of some combined fiction derived from the seen image and heard text.
Nothing says impermanency like the relentless sequence of one word giving way to the next, each one dropping out of sight. -CDJ
Constance DeJong has exhibited and performed both locally and internationally over the past three decades at venues such as, the Walker Art Museum, Minneapolis MN; The Wexner Center, Columbus OH; Philadelphia Museum of Art; and in New York at The Kitchen, Threadwaxing Space, The Whitney Museum of American Art and the Dia Center for the Arts. She composed the libretto for the Philip Glass opera Satyagraha in 1983 which has been staged at opera houses worldwide including the Metropolitan Opera, NY; The Netherlands National Opera, Rotterdam, NL and The Brooklyn Academy of Music, NY. She has had several books of fiction published including Modern Love (Standard Editions, 1977) and I.T.I.L.O.E (Top Stories, 1983)
This exhibition will be accompanied by a limited edition publication, SpeakChamber.
Public Performance Dates *
Friday May 10, 4 p.m.
Saturday May 11, 4 p.m. (full)
Sunday May 12, 4 p.m.
Friday May 17, 7 p.m. (full)
Saturday May 18, 4 p.m.
Sunday May 19, 7 p.m.
Wednesday May 22, 7 p.m.
Thursday May 23, 7 p.m.
Saturday May 25, 4 p.m.
*all performances require RSVP to office@bureau-inc.com
space is LIMITED: you will be emailed a confirmation if there is space
children not admitted
The East Village / Lower East Side 127 Henry Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
office@bureau-inc.com
Opening Sunday May 05, 2013
SEBASTIAN BLACK / JACOB KASSAY ROOM EAST Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View May 05, 2013 - June 16, 2013 www.roomeast.com
"One could say that the press release, considered as a medium, meets its match – for fraughtness, for derision inspiring valedictorianism, for metonymic fidelity to the churning undercurrents of value, taste, power, etc – in the medium of painting. Fine. One could also say that saying that is the cheapest price of admission to the Show.
Now that we’ve paid, I have to tell you that this show – in its lowercase leisure – does not yet exist. I guess that in a way this lightens our load and description can slouch into speculation. For instance, I speculate that there will be at least three paintings. I speculate there will be some other things, that are not paintings, but are similar to paintings. Also, I promise there won’t be any plants. Beyond these vague offerings not much else needs to be said. The specifics, as is often the case in the realm of the aesthetic, remain to be seen.
For now though, I’m going to relish the future’s blurry vista. Maybe there is no better tool for revealing the contingent nature of boundaries than astigmatism. We should roll with it, internalize it, embody it. Roger Caillois called this kind of radical mimesis “an incantation frozen at its high point,” although to be fair he was talking about bugs. I’d maintain that its a pretty good description of a painting, which is both defined by and overflowing its limit."
Sebastian Black
25 April 2013
The East Village / Lower East Side 41 Orchard Street, New York NY, 10002 212-226-7108 info@roomeast.com
Opening Sunday May 05, 2013
Pop Tarts Matthew Darbyshire, Simon Mathers, Eddie Peake, Prem Sahib and Marianne Spurr James Fuentes Curated by Henry Kinman Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View April 26, 2013 - May 26, 2013 www.jamesfuentes.com
James Fuentes is pleased to announce Pop Tarts, curated by Henry Kinman and featuring work by Nicolas Deshayes, Matthew Darbyshire, Simon Mathers, Eddie Peake, Prem Sahib, and Marianne Spurr.
Pop Tarts brings together six London based artists, whose practices engage with the synthetic nature of popular culture and the lifestyle aspirations that are embodied within it. Making specific references to consumerism, advertising and contemporary design the exhibition explores the allure of homogeneous design and the fetishism of commercial aesthetics.
Matthew Darbyshire (born in Cambridge, 1977) makes sculptures and installations that provocatively question the appealing nature of interior design, decor and the general role of the consumer. Appropriating objects that range from glamorized couture to budget home-ware, Darbyshire questions the principals of contemporary living with his critical analysis of postmodernity.
Nicolas Deshayes (born in France, 1983) produces sculptures and installations, which make cultural references to 21st century design and architecture, utilizing industrial materials such as PVC, stainless steel and polystyrene in a way that alludes towards a complex materiality; organic qualities are often present in stark contrast to the manufactured materials that he chooses to work with.
Simon Mathers (born in London, 1984) works predominantly in painting, using abstraction as a means to explore color, surface and the process of mark making. His subjects vary, but are unified by an overall exploration of the empirical and essential objects or circumstances that we interact with on a daily basis.
Eddie Peake (born in London, 1981) has an extremely varied and dynamic practice, which incorporates performance, painting, photography, sculpture and installation. Exploring notions of gender, sexuality and urban sub-cultures, Peake's work often emphasizes upon notions of voyeurism and eroticism in a playful and stylistic manner.
Prem Sahib (born in London, 1982) mainly works in sculpture and installation, exploring notions associated with queer theory and sexual identity. Often making references to club culture and nightlife, his works adopt a seemingly minimalist aesthetic, combining the principals of formalism with an autobiographic narrative.
Marianne Spurr (born in London, 1981) works with utilitarian materials and found objects to produce multifaceted sculptures and installations, which concern materiality, placement and process. Reoccurring motifs such as plastic grids and translucent materials indicate her formal interest in flatness and layering; her works have a sensibility for assemblage, examining the ephemeral and the everyday.
For more information please contact James Fuentes or Adrianne Rubenstein at info@jamesfuentes.com
The East Village / Lower East Side 55 Delancy Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-577-1201 info@jamesfuentes.com
Opening Sunday May 05, 2013
"Snakes and Ladders" by Tatyana Murray
In the Woods Tatyana Murray BOSI Contemporary Opening Sunday May 05, 2013, from 6:00 PM to 9:00 PM On View May 05, 2013 - June 02, 2013 www.bosicontemporary.com
The East Village / Lower East Side 48 Orchard Street, Ground Floor, New York NY, 10002 212-966-5686 info@bosicontemporary.com
Opening Sunday May 05, 2013
Maria Petschnig. Petschniggle, 2013 (video still)
Petschnigs' Maria Petschnig On Stellar Rays Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View May 05, 2013 - June 16, 2013 www.onstellarrays.com
--- Tsarina Katarina, fetch the tuning fork for Clover’s twittering machine. From where I transcend as this manger’s manager, a proper script morphs twins as badgered duplicate, batty cinemaddicts, prickling neckbraces. Speaking insectually, freckly Shawnique may borrow your legs and you her arms, drawing upon truncated centipede haunting walls that encircle the garden that belongs to the vicar of vicariousness.
--- Ya, ya. Truly trivial, but trivially true, too.
--- Please step forward. C’mere! C’mon. Feel right at home.
--- Thanks, but my trusty rifle’s a trifle rusty. Thump desire. Sunshine, so tickled when Hapsburg snow melted. Shy eyes lie. Ree and Tomas bow their heads, now braver than any war world apart. Kiss bonded, mind and heart weaving silken shrapnel.
--- Attendez! Close your yap! Show some respect! Through corridors fire ants wriggle and sashay through the U.S. of A., a story line that hammers vital organs into teasing shrugs after the annunciatory blue angel smoke releases. Far behind the braided ropes please linger.
- Charles H. Lynch
The East Village / Lower East Side 133 Orchard Street, New York NY, 10002 Wednesday - Saturday from 10:00 AM to 6:00 PM
Sunday - Sunday from 12:00 PM to 6:00 PM
212-598-3012 info@onstellarrays.com
Opening Sunday May 05, 2013
Chadwick Rantanen ESSEX STREET Opening Sunday May 05, 2013, 6:00 PM On View May 05, 2013 - June 09, 2013 www.essexstreet.biz
The East Village / Lower East Side 114 Eldridge Street, New York NY, 10002 Thursday - Sunday from 12:00 PM to 6:00 PM
917-263-1001 info@essexstreet.biz
Opening Sunday May 05, 2013
Lewis Baltz, Park City #61, 1980, Gelatin silver print, 8 x 10 inches (20.3 x 25.4 cm)
PAINT HOTEL Lewis Baltz, Ross Bleck, Daniel Buren, Alex Da Corte, Nicolas Guagnini, Sherrie Levine, Carter Mull and Viola Yesiltac Joe Sheftel Gallery Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View May 05, 2013 - June 09, 2013 www.joesheftelgallery.com
Lewis Baltz
Ross Bleckner
Daniel Buren
Alex Da Corte
Nicolas Guagnini
Sherrie Levine
Carter Mull
Viola Yesiltac
“[T]he potential for painting will emerge in the conjunctive deconstruction of the three instances that modernist painting has dissociated (the imaginary, the real, and the symbolic).“
Yve-Alain Bois, “Painting: The Task of Mourning”
“We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the ‘ideas’ with which we have learned to freeze the shifting phantasmagoria which is our actual experience.”
Joan Didion, The White Album
Objects are inevitably images. As we nuance our terminology for reading imagery within artwork, generalities like abstract and realistic begin to lose their meanings. The image, inserted, referenced or transposed, may no longer be easily read, as layers of meanings, contexts and references hover over its surface and rest beneath its layers. Paintings become locations of temporary lodging where different forms of meaning live in longer or shorter stays – paying individual or corporate rates, at the bar, in the suite, or in the unused workout room in the basement.
Concepts that have been applied to the works at hand demand theories and philosophies that impose meanings onto artistic choices – choices that may be purely aesthetic, ideological, or perhaps unknowable. Rather than aligning and juxtaposing artworks by those theories, Paint Hotel seeks to destabilize fixed theoretical and genealogical narratives. The point is not to be anti-theory, but rather to allow for an immediate experience.
Perhaps it is time to accept the verdict that what we are looking at triggers human curiosity with its desire for a story, a moral and a resolution, and to replace these filters of viewing with more neutral filters that release the narrative.
The works in this exhibition explore how we filter the politics of what would be “interesting” for us to know in order to create coherence. They investigate the chasm between trauma and narrative in the space where artists can create works that may in fact “doubt the premises of all the stories.”
For press inquiries and images, please contact the gallery at mail@joesheftelgallery.com.
The East Village / Lower East Side 24A Orchard Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-226-4900 mail@joesheftelgallery.com
Opening Sunday May 05, 2013
Edgardo Aragón
Edgardo Aragón Laurel Gitlen Opening Sunday May 05, 2013, from 6:00 PM to 8:00 PM On View May 05, 2013 - June 16, 2013 www.laurelgitlen.com
Laurel Gitlen is pleased to present the first New York gallery exhibition by the young Mexican artist Edgardo Aragón. Born in 1985 in Oaxaca, Aragón has emerged as part of new generation of Mexican artists originating from outside Mexico's capital, whose aesthetic, political and social concerns differ drastically from the capital's more internationally recognized artists of the 1990s. Using photography and video, Aragón focuses his attention on the arid and open landscape of his country, poignantly negotiating the space between the land as the most faithful witness to history and the escalation of violence and subsequent media attention that plagues the region.
The landscapes in Aragón's work juxtapose those idealized by Western films and traditional Mexican painting with a real landscape transformed by misery, corruption, exploitation, and abandonment. In earlier works, land marred by narcotrafficking, violence, and death is turned into a psychological backdrop to a more personal narrative, connecting the artist's childhood to the inherited landscape of his father's and grandfather's Mexico. Often incorporating folksongs, oral histories and personal narratives, Aragón's critical approach is always underscored by a textured familiarity and sensitive attachment to the land.
In this new body of work, Treasure, Aragón presents intimate portraits of ten families from Mexico City and Oaxaca (including his own) that document the meager jewels they have managed to conserve across generations despite mounting financial pressures. The images reflect the failings of a broken society, where inheritance includes cheap gold and mutilated pieces of jewelry, but also debts accumulated from the historical system of tiendas de rayas, company stores that tie workers into a system of small debts (abanos chiquitos), and their contemporary counterparts whose usurious interest terms continue to create unsustainable financial burdens. In order to relieve these debts, families are often forced to pawn their last belongings, typically these small jewels and inherited keepsakes.
A new video work, La Encomienda, links the jewelry trade back to Oaxaca's mining history, underlining a people's deep connection to a landscape and its resources while addressing the exploitation of this land by foreign companies for economic gains. In this work, a choir of young men performs a baroque composition of mining protest slogans from different Latin American countries. Framed in the opening of an abandoned mine shaft, the young singers are surrounded by the trees that ring the entrance to the cave-like space, and the trickling water that has returned to the mine is audible above their song.
On Sunday, May 12, and Sunday, June 16, a lone singer will perform this composition outside of the Tiffany's flagship store on 5th Avenue. Performance times will be confirmed shortly.
Edgardo Aragón (b. Oaxaca, Mexico, 1985) received a B.A. from Mexico's National School of Painting, Sculpture and Engraving. His work has been the subject of solo exhibitions at numerous institutions including the Museum Universitario de Arte Contemporaneo (MUAC), Mexico City; MoMA PS1, New York; and the LAXART at Luckman Gallery, Los Angeles. Recent group exhibitions include Resisting the Present, Musée d'Art Moderne de la Ville de Paris (2012); Disponible: A Kind of Mexican Show, San Francisco Art Institute (2011); and El horizonte del topo, Palais des Beaux-Arts, Brussels (2010); and forthcoming exhibitions at the Kadist Foundation, San Francsico; and the Modern Art Museum of Forth Worth, TX. Aragón was also included in the 3rd Moscow Biennial of Young Artists, the 12th Istanbul Biennial, and the 8th Mercosul Biennial. He currently lives and works in Oaxaca, Mexico.
The gallery is open Wednesday–Sunday, 11am–6pm. For more information or images, please e-mail gallery@laurelgitlen.com
The East Village / Lower East Side 122 Norfolk Street, New York NY, 10001 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-274-0761 gallery@laurelgitlen.com
Editor's Pick
The Painter of the Hole Jonathan VanDyke Scaramouche Opening Sunday May 05, 2013, from 5:00 PM to 8:00 PM On View May 05, 2013 - June 23, 2013 www.scaramoucheart.com
Scaramouche is pleased to present The Painter of the Hole, Jonathan VanDyke's second solo exhibition with the gallery. VanDyke's new work evolves from his wall-mounted and free-standing sculptures, first exhibited at Scaramouche in 2009, that "perform" as they continuously drip paint directly onto the floor, and from his many recent live performances, in which actors and dancers move silently for hours while paint drips upon them and passes from body to body. The works offer signifiers we associate with painterly process - canvas, stained and marked with color, appears in objects and is represented in photographs - yet VanDyke has pushed and pulled painting in such a way that these signifiers are displaced. Undoing media-specific boundaries, VanDyke re-orients modernist conventions, conflating painting with fiber arts, fashion, dance, textile design, and photography. With multiple collaborators and processes involved, the work subverts notions of painting's singularity and challenges the idea of individual authorship.
The title of the exhibit is borrowed from a series made by George Grosz in the late 1940s. Grosz portrayed a figure who, searching for a new vocabulary of making, found himself endlessly painting an image of a hole. Into this void VanDyke proposes, "painting not as a form so much as a restless mood, a conduit, a matrix that includes the making, presenting, perceiving, desiring, acquiring and physical decaying of paintings...I want to perform The Painter and perform painting, this stubborn manner of coloring that doggedly mirrors, marks, and circles us."
A series of large-scale, sewn canvas works in the exhibit evolved from a long-term collaboration with the dancers Bradley Teal Ellis and David Rafael Botana, who are also a couple. In a durational, live performance entitled Cordoned Area, the two improvise from VanDyke's score, wrestling, dancing, and negotiating each other's bodies while liquid paint drips and seeps from their costumes: they start clean and conclude covered in sweat and color. In the midst of spectators, Ellis and Botana publicly navigate that space between a performed and an actual relationship. Following Cordoned Area, VanDyke invited the two back to the studio to work with him away from public view. There Ellis and Botana, with paint inserted in their clothing, interpret VanDyke's directions, dancing and making contact atop raw canvas. The paint serves as an unconscious trace, a trail of their interaction. This studio process results in a group of massive, marked canvases. VanDyke uses the canvases as raw material, cutting them into pieces and intermixing them to form opulent geometric patterns, and then sewing them back together. The patterns themselves reference 19th-century Amish quilts, Sonia Delauney fabric designs, the pants of Picasso's harlequins, the brickwork of a modern Danish housing block - patterns found next to and near the body.
Each painting is displayed on a partition placed in the midst of the space. The backs of the paintings, with their web of seams, are revealed, while the walls of the gallery remain empty. Hanging behind each painting is a photograph. For the creation of this series, Ellis and Botana's canvases (in their uncut stage) were used as backdrop and floor in elaborate studio sets. Models (friends and performers from other works) strike poses that exist somewhere between private ritual and fashion shoot. This image of the still body in front of the marked canvas recalls VanDyke's own 2011 solo performance The Long Glance, in which he stood and stared at a major Jackson Pollock work for 40 hours, making himself immobile in front of an "action" painting. The photographs also reference the work of artists who used the camera to explore private realms aside of their primary practice, such as the 1920's self-portraits of Gertrud Arndt - an important fiber artist at the Bauhaus - and the charged tableau of George Platt Lynes, who made elaborately staged photos of performers, his lovers and friends. The heavily made-up models in VanDyke's series wear Mondrian necklaces and Jackson Pollock jeans amidst ab ex curtains and geometric partitions. We are reminded that, despite the value and language we add to it, despite the relentless preservation of its surfaces, painting exists, too, as swaths of fabric: like an outfit or piece of clothing, it moves out into the world, embedded with its own histories, posing and projecting meaning, always becoming something else.
Jonathan VanDyke is a visual artist based in New York City. Recent solo projects include The Long Glance at the Albright-Knox Art Gallery in Buffalo; With One Hand Between Us, a project for Performa11 in New York; and Obstructed View, a performance and installation commissioned by The Power Plant in Toronto for the exhibition Coming After. VanDyke received an MFA in Sculpture from Bard College in 2005, attended the Skowhegan School in 2008, and in 2007 attended the Atlantic Center for the Arts, where he was mentored by the artist Paul Pfeiffer. His work has been reviewed in ArtForum, Modern Painters, TimeOut New York, White Hot, Artslant, Art Papers, and The Philadelphia Inquirer. VanDyke's work has been featured in exhibitions at Socrates Sculpture Park, Islip Art Museum, The Museum of Fine Arts, Tallahassee, Vox Populi, Rutgers University, University of Wolverhampton, England, and Exile Gallery, Berlin, among others. He has received awards from the Mid-Atlantic Arts Foundation and the Joan Mitchell Foundation, and has served as a Visiting Artist Fellow at the University of Chicago and Illinois State University. Upcoming VanDyke's work can be seen in No Name at On Stellar Rays, New York, and do it (outside), the newest iteration of the instruction-based exhibition curated by Hans Ulrich Obrist at Socrates Sculpture Park, Long Island City.
The East Village / Lower East Side 52 Orchard Street, New York NY, 10002 Wednesday - Saturday from 12:00 PM to 6:00 PM
Sunday from 1:00 PM to 5:30 PM
212-228-2229 info@scaramoucheart.com
Opening Sunday May 05, 2013
Image: Jonathan VanDyke, Painting No9 (detail), oil on canvas, 47 x 66 in.
The Painter of the Hole Jonathan VanDyke Scaramouche Opening Sunday May 05, 2013, from 5:00 PM to 8:00 PM On View May 05, 2013 - June 23, 2013 www.scaramoucheart.com
Scaramouche is pleased to present The Painter of the Hole, Jonathan VanDyke's second solo exhibition with the gallery. VanDyke's new work evolves from his wall-mounted and free-standing sculptures, first exhibited at Scaramouche in 2009, that "perform" as they continuously drip paint directly onto the floor, and from his many recent live performances, in which actors and dancers move silently for hours while paint drips upon them and passes from body to body. The works offer signifiers we associate with painterly process - canvas, stained and marked with color, appears in objects and is represented in photographs - yet VanDyke has pushed and pulled painting in such a way that these signifiers are displaced. Undoing media-specific boundaries, VanDyke re-orients modernist conventions, conflating painting with fiber arts, fashion, dance, textile design, and photography. With multiple collaborators and processes involved, the work subverts notions of painting's singularity and challenges the idea of individual authorship.
The title of the exhibit is borrowed from a series made by George Grosz in the late 1940s. Grosz portrayed a figure who, searching for a new vocabulary of making, found himself endlessly painting an image of a hole. Into this void VanDyke proposes, "painting not as a form so much as a restless mood, a conduit, a matrix that includes the making, presenting, perceiving, desiring, acquiring and physical decaying of paintings...I want to perform The Painter and perform painting, this stubborn manner of coloring that doggedly mirrors, marks, and circles us."
A series of large-scale, sewn canvas works in the exhibit evolved from a long-term collaboration with the dancers Bradley Teal Ellis and David Rafael Botana, who are also a couple. In a durational, live performance entitled Cordoned Area, the two improvise from VanDyke's score, wrestling, dancing, and negotiating each other's bodies while liquid paint drips and seeps from their costumes: they start clean and conclude covered in sweat and color. In the midst of spectators, Ellis and Botana publicly navigate that space between a performed and an actual relationship. Following Cordoned Area, VanDyke invited the two back to the studio to work with him away from public view. There Ellis and Botana, with paint inserted in their clothing, interpret VanDyke's directions, dancing and making contact atop raw canvas. The paint serves as an unconscious trace, a trail of their interaction. This studio process results in a group of massive, marked canvases. VanDyke uses the canvases as raw material, cutting them into pieces and intermixing them to form opulent geometric patterns, and then sewing them back together. The patterns themselves reference 19th-century Amish quilts, Sonia Delauney fabric designs, the pants of Picasso's harlequins, the brickwork of a modern Danish housing block - patterns found next to and near the body.
Each painting is displayed on a partition placed in the midst of the space. The backs of the paintings, with their web of seams, are revealed, while the walls of the gallery remain empty. Hanging behind each painting is a photograph. For the creation of this series, Ellis and Botana's canvases (in their uncut stage) were used as backdrop and floor in elaborate studio sets. Models (friends and performers from other works) strike poses that exist somewhere between private ritual and fashion shoot. This image of the still body in front of the marked canvas recalls VanDyke's own 2011 solo performance The Long Glance, in which he stood and stared at a major Jackson Pollock work for 40 hours, making himself immobile in front of an "action" painting. The photographs also reference the work of artists who used the camera to explore private realms aside of their primary practice, such as the 1920's self-portraits of Gertrud Arndt - an important fiber artist at the Bauhaus - and the charged tableau of George Platt Lynes, who made elaborately staged photos of performers, his lovers and friends. The heavily made-up models in VanDyke's series wear Mondrian necklaces and Jackson Pollock jeans amidst ab ex curtains and geometric partitions. We are reminded that, despite the value and language we add to it, despite the relentless preservation of its surfaces, painting exists, too, as swaths of fabric: like an outfit or piece of clothing, it moves out into the world, embedded with its own histories, posing and projecting meaning, always becoming something else.
Jonathan VanDyke is a visual artist based in New York City. Recent solo projects include The Long Glance at the Albright-Knox Art Gallery in Buffalo; With One Hand Between Us, a project for Performa11 in New York; and Obstructed View, a performance and installation commissioned by The Power Plant in Toronto for the exhibition Coming After. VanDyke received an MFA in Sculpture from Bard College in 2005, attended the Skowhegan School in 2008, and in 2007 attended the Atlantic Center for the Arts, where he was mentored by the artist Paul Pfeiffer. His work has been reviewed in ArtForum, Modern Painters, TimeOut New York, White Hot, Artslant, Art Papers, and The Philadelphia Inquirer. VanDyke's work has been featured in exhibitions at Socrates Sculpture Park, Islip Art Museum, The Museum of Fine Arts, Tallahassee, Vox Populi, Rutgers University, University of Wolverhampton, England, and Exile Gallery, Berlin, among others. He has received awards from the Mid-Atlantic Arts Foundation and the Joan Mitchell Foundation, and has served as a Visiting Artist Fellow at the University of Chicago and Illinois State University. Upcoming VanDyke's work can be seen in No Name at On Stellar Rays, New York, and do it (outside), the newest iteration of the instruction-based exhibition curated by Hans Ulrich Obrist at Socrates Sculpture Park, Long Island City.
The East Village / Lower East Side 52 Orchard Street, New York NY, 10002 Wednesday - Saturday from 12:00 PM to 6:00 PM
Sunday from 1:00 PM to 5:30 PM
212-228-2229 info@scaramoucheart.com
Opening Sunday May 05, 2013
FABRIKA Travis Boyer, Paul Branca & Jeannine Han, Marley Freeman & April Chambers and Julia Sherman Court Square Opening Sunday May 05, 2013, from 4:00 PM to 8:00 PM On View May 05, 2013 - June 02, 2013 www.ctsq.info
Long Island City 21-44 45th Avenue, #2, Long Island City NY, 11101 Saturday - Sunday from 12:00 PM to 5:00 PM
info@ctsq.info
Opening Sunday May 05, 2013
Works Sited, reprised Cleopatra's Curated by Olivian Cha Opening Sunday May 05, 2013, from 3:00 PM to 5:00 PM On View May 05, 2013 - June 30, 2013 www.cleopatras.us
Works Sited, reprised presents a set of reflections, deflections and thoughtful quotations linked through a shared involvement in a series of displays and programs at the Los Angeles Public Library. The artworks, publications and ephemera that make up this exhibition exist in a peculiar state of displacement. Works Sited, as a reprise or perhaps as an index, severs its physical connection to the library but remains contextually tied to its original site. Many of these works are newly conceived, while others have been previously shown, performed or used as reference material; they are presented here as a collection that was never intended to be one.
With:
Miles Ake, Kathryn Andrews, Joshua Callaghan, Fiona Connor & Michala Paludan, Cayetano Ferrer, Aurelien Froment, Liz Glynn, Peter Harkawik, Will Holder, Jason Hwang, Daniel Ingroff, Angie Keefer & Robert Snowden, Brian Kennon, Sung Hwan Kim (curated by Janine Armin), Natalie Labriola & J Patrick Walsh III, Anthony Lepore, Nancy Lupo, Shana Lutker, Virginia Poundstone, Justin Thomas Schaefer, Slavs & Tatars, Mateo Tannatt.
Exhibition design by artist Jason Lindsay.
Works Sited is an exhibition series featuring work with themes relating to the Los Angeles Central Library's collections and practices. The project addresses the site of the public library as exhibition space and explores conventional notions of display within this context.
Greenpoint 110 Meserole Ave, Brooklyn NY, 11222 info@cleopatras.us
Opening Sunday May 05, 2013
Saul Ostrow, Gravity Index: word list, 2012
GRAVITY OF SCULPTURE: PART II Dorsky Gallery Curatorial Programs Curated by Saul Ostrow Opening Sunday May 05, 2013, from 2:00 PM to 5:00 PM On View May 05, 2013 - July 03, 2013 www.dorsky.org
BILL ALBERTINI, BETH CAMPBELL, TONY FEHER, BRIAN GAMAN, ROBERT GERO, JEFF GRANT, DeWITT GODFREY, SARAH KABOT, PETER KREIDER, RUSSELL MALTZ, CURTIS MITCHELL, ROXY PAINE, PAUL O’KEEFFE, ALEX SETON, STEPHEN SCHOFIELD, JEANNE SILVERTHORNE, AND BARRY UNDERWOOD
Long Island City 11-03 45th Ave, Long Island City NY, 11101 718-937-6317 info@dorsky.org
Opening Sunday May 05, 2013
Day is Long Erin Shirreff Lisa Cooley Opening Sunday May 05, 2013, from 10:00 AM to 6:00 PM On View May 05, 2013 - June 16, 2013 www.lisa-cooley.com
Erin Shirreff: Day is LongLisa Cooley is pleased to present new work by Erin Shirreff in her second solo exhibition with the gallery, Day is Long.
For the past few years, Shirreff has explored the effect of mediation on our experience of form. In works that draw together the mediums of photography, sculpture, and video, she has explored how the body responds to moments that are largely imagined, and the uncertainty at the root of knowing something that has transpired in a time or place other than our own.
An extension of these interests, the new body of work on view in Day is Long both reflects and speaks to ideas of process. The photographs, sculptures, and videos allude to the daily labors of a studio— repetition, vestigial form, documentation, remnants, blunt material fact. But of interest to Shirreff are the broader ideas at play: the twin acts of making and un-making, the burden of permanence, and what remains of an object once it is gone. Taken together, the works in the exhibition speak to a more general anxiety about finding one’s place within our moment in time.
No. 2, No. 3, No. 4, No. 8, No. 11, and No.19, seem to depict celestial bodies or minutely detailed geologic surfaces, but are in fact standardized documentation of daily residue from the artist’s studio. The images, single editions that are part of a larger set of 31 photographs, exist as highly specific markers of time and labor, and also as portals, sites of projection and fantasy.
In Drop (no. 1) and Drop (no. 3), small, hand-cut paper scraps—shapes that are formed by accident and left behind—are translated into large sheets of raw hot-rolled steel. Named after the factory shorthand for leftover material, the sculptures hang by steel rods in seemingly temporary layered arrangements of surface and edge that, from the side, disappear into line and curve. Despite their weight and stark materiality the sculptures appear almost two-dimensional. Despite their scale, the cut of scissors is still legible in their form. The works take on a monumental presence but are rooted in chance and debris.
Mounted along the gallery’s south wall is a series of sculptures titled Catalogue. Curved blocks of solid graphite-pigmented plaster sit along plaster-topped steel shelves in angled arrangements that resemble book collections or architectural models from another era. The curves derive from line drawings by Shirreff, each object formed from a unique mold. Their dark gray surfaces have a weathered relic-like appearance but they have no story to tell: they are mute, closed things, and exude a sense of blankness. They are objects that are collected and preserved, but for a purpose that is forgotten.
Adjacent to these works is the video Strip, rear-projected onto a double-sided vertical screen. The video tracks the edge of a photographed form, traveling quickly up and down its side, and the side of the photograph itself. Pieced together from multiple cuts, the motion flows and jumps at an erratic pace and creates a simple, stark abstraction by bisecting the video frame at a series of vertical angles. The entire form is never pictured—the video presents a series of fragmented views—but the speed of movement and the scale of the projection pulls at the body nonetheless.
Projected in the west gallery is Medardo Rosso, Madame X, 1896, a looped video that takes as its subject a catalogue reproduction of Rosso’s well-known sculpture. Rosso often photographed his own work but this particular image is documentation taken in the 50s after his death depicting Madame X alone atop a pedestal peering out from the gloom. Shirreff reprinted this image on papers with varying surface finishes and, like in earlier videos, re-photographed these secondary images while using a collection of hand-held lights and basic analog studio effects, choreographing the video by sequencing the resulting stills. Madame X, whose identity has always been in question, comes in and out of presence as the video progresses: she sits trapped beneath the half-tone dot pattern of the original black-and-white reproduction only to then emerge beneath the animating glow of a flashlight. Rosso sculpted material in a manner that would come alive under natural light. In this way Shirreff’s video of Madame X is a continuation of these aims—an attempt to prolong the resonance of her gaze.
Erin Shirreff (b. 1975) was born in British Columbia, Canada, and now lives and works in New York. Pictures, a solo exhibition of her film and video work is currently on view at the Contemporary Art Gallery in Vancouver. Also on view is Erin Shirreff: Inside the White Cube at White Cube in London, and Lake at Yerba Buena Center for the Arts in San Francisco. Recent and upcoming group exhibitions include Lens Drawings, Marian Goodman Gallery, Paris; Remainder, Philbrook Museum of Art, Tulsa; The Camera’s Blind Spot, Museo di Nuoro, Sardinia; Lost Line, Los Angeles County Museum of Art; Once Removed, Yale University Art Gallery; and Voice of Images, François Pinault Foundation, Venice. She will be an artist-in-residence at Artpace, San Antonio in fall 2013. A catalogue of her work was recently co-published by the Carleton University Art Gallery, Agnes Etherington Art Centre, and the Contemporary Art Gallery.
The gallery is located at 107 Norfolk Street, just one block east of Essex Street between Rivington and Delancey. Gallery hours are Wednesday through Sunday, from 10am to 6 pm, and always by appointment. The closest subways are the F/J/M at the Delancey/Essex stop and the D at Grand Street. For more information, please contact Kelly Woods at kelly@lisa-cooley.com or 212-680-0564.
The East Village / Lower East Side 107 Norfolk Street, New York NY, 10002 Wednesday - Sunday from 10:00 AM to 6:00 PM
212-680-0564 kelly@lisa-cooley.com
Opening Saturday May 04, 2013
Form Follows Benjamin Jay Shand Shand PIPS Opening Saturday May 04, 2013, 8:00 PM On View May 04, 2013 - June 02, 2013 www.pipsout.com
Williamsburg 158 Roebling Street, Brooklyn NY, 11211 347-674-7706 play@pipsout.com
Opening Saturday May 04, 2013
Loop Jorge Macchi, XYZ, 2012 Jorge Macchi Alexander and Bonin Opening Saturday May 04, 2013, from 6:00 PM to 8:00 PM On View May 04, 2013 - June 22, 2013 www.alexanderandbonin.com
Alexander and Bonin is pleased to announce Loop, the first one person exhibition by Jorge Macchi in New York.
For this exhibition Macchi will divide the gallery into three spaces. Each space will contain works which manifest the measure of time and reiterate its extension in space through a series of projections, objects and watercolors. Jorge Macchi’s finely tuned vocabulary results in works which are simultaneously poetic and uncanny.
Time stands still in a number of Macchi’s recent works. Pendulum, 2013 a curved I-beam supported by two plastic stools, appears to buckle under its own weight. As the title suggests, this tensile irregularity also demarcates the path of a pendulum’s swing, as if to solidify the infinite number of repetitive momentary positions of its arc. First Second, 2013 employs a similar logic, capturing a moment in a material. Macchi has cast the narrow wedge between the hour marking twelve and the tick of the first second on a clock’s face in concrete. This cast triangle renders space-time solid while at the same time leaving open the possibility of development, like a step on a spiral staircase of simultaneity.
The video installation, XYZ, 2012 will occupy the rear space of the gallery. The image of a station clock with hands frozen is projected in such a way that the three hands rest perfectly into the seams of the corner of a darkened room. In his work Macchi fuses architecture, space and time into a simple yet unfamiliar congress.
The two-channel video projection From Here to Eternity, 2013 will be shown on the gallery’s second floor. This work is the most recent collaboration between the artist and the musician Edgardo Rudnitzky. Two clips were extracted from the classic Hollywood film: the first from the opening title sequence and the second while the words ‘THE END’ appear on the screen. The clips have slightly different lengths creating a chaotic sound mixture and are combined with a third audio channel in real time using notes from the original soundtracks and from music sung by women.
Jorge Macchi was born in 1963 in Buenos Aires where he continues to live and work. Since the mid-1980s, his work has been shown throughout the Americas and Europe. Currently, ten large-scale installation works from 2007–2013 are being shown in ‘Container’ a one-person exhibition at the Kunstmuseum, Lucerne. In 2011, his work was the subject of a survey exhibition, ‘Music Stands Still’ at the Museum of Contemporary Art (SMAK) in Ghent. His work was represented in the 11th Biennale de Lyon (2011); the 12th Istanbul Biennial (2011); ‘All of this and nothing’, Hammer Museum, Los Angeles (2010); ‘Brave New Worlds’ at the Walker Art Center (2007). In 2005, Jorge Macchi, in collaboration with Edgardo Rudnitzky, represented Argentina at the Venice Biennale. His installation for the 2012 Liverpool Biennial, Refraction will be exhibited in June in the Art Unlimited section of Art Basel.
For press inquiries, please contact Sabina Roslyakova at 212 367-7474 or sr@alexanderandbonin.com.
Chelsea 132 Tenth Avenue, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-367-7474 sr@alexanderandbonin.com
Opening Saturday May 04, 2013
Kenichi Nakajima
Significant Matters Nobutaka Aozaki, Miwa Koizumi, Kenichi Nakajima and Andrew Zarou Projekt722 Curated by Gen Hayashi Opening Saturday May 04, 2013, from 6:00 PM to 9:00 PM On View May 04, 2013 - May 26, 2013 www.projekt722.com
Significant Matters introduces the achievements of artists whose work makes us reevaluate mundane objects and things discovered in daily life, including common industrial products, scenery that could be overlooked, and the capability of body parts that are taken for granted. This exhibition features the work of four artists: Nobutaka Aozaki, Miwa Koizumi, Kenichi Nakajima, and Andrew Zarou.
Nobutaka Aozaki plays with everyday interactions to explore the relationships between art and the everyday, between artistic and non-artistic labor, and between artists and their audiences. He often collects or produces traces of interactions with other people as mementos of collaborations and creates collective mixed-media installations from them.
Miwa Koizumi uses materials to express her ideas on the full gamut of contemporary artistic practice, using natural phenomena to reveal simple facts about our everyday existence. She brings one’s attention to those simple wonders that are easy to forget in everyday life.
Kenichi Nakajima regularly uses humans’ legs and feet as motifs for his work. As is commonly recognized, the function of legs and feet is for walking. However, according to Nakajima, legs and feet connect with mind on a more equal level than do hands and arms, which are more controlled by commands from the brain. He thus considers legs and feet to have emerged by themselves out of human existence.
Andrew Zarou is represented by examples of two ongoing series of work. One is about his awareness of the outside world, the other is about his need for material and conceptual order in the studio. Although the contexts and motivations for each series are unique, the connections are clear and self-evident.
Organized by Gen Hayashi, Significant Matters will be on view at Project 722, 722 Metropolitan Avenue, 2nd floor, Brooklyn, NY 11211, from May 4th to 26th, 2013.
Williamsburg 722 Metropolitan Ave, Floor 2, Brooklyn New York, 11211 Saturday - Sunday from 12:00 PM to 6:00 PM
722-722-7222 projekt722@gmail.com
Opening Saturday May 04, 2013
Garth Weiser, WYNC Sustaining member Haiku, 2013
Garth Weiser Garth Weiser Casey Kaplan Opening Saturday May 04, 2013, from 6:00 PM to 8:00 PM On View May 04, 2013 - June 22, 2013 www.caseykaplangallery.com
Chelsea 525 W 21st Street, New York New York, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-645-7335 alex@caseykaplangallery.com
Opening Saturday May 04, 2013
Rose Shoulder Colby Bird HALSEY MCKAY GALLERY Opening Saturday May 04, 2013, from 6:00 PM to 8:00 PM On View May 04, 2013 - May 27, 2013 www.halseymckay.com
HALSEY MCKAY is pleased to present Rose Shoulder, Colby Bird’s first solo exhibition with the gallery. Through laborious but simple efforts such as sanding, sawing, and staining, Bird has transformed various mundane materials into simple, elegant, associative sculptures--all functioning electric lamps.
The primary medium of this installation is light itself. Bird’s photographic practice accounts for his overdeveloped sensitivity to—and reverence for—light and its infinitely variable character, temperature, and intensity. Bird eagerly reaps the ubiquitous utility of electricity and artificial light--the lamps are a fetishistic, perhaps even idolatrous, gesture that celebrates modern-day convenience. The bulbs run continuously, and some will inevitably burn out and require replacement. Bird is interested in the maintenance that the pieces require--his work often demands a continuous measure of labor from a gallery attendant, collector, or museum preparator. The lamps are also dependent upon the labors of city workers distantly removed from the piece: the men and women who toil away at the power plants responsible for the generation and distribution of electricity.
As ardently engaged with the past as the present, the exhibition calls to mind moments in art history ranging from primitive fertility idols to Jeff Wall’s re-staging of the opening chapter of Ralph Ellison’s Invisible Man--the protagonist pictured in a cramped, cluttered room with a sea of lightbulbs engulfing the ceiling. Bird’s lamps also find parallels in rudimentary Paleolithic Venus figurines, not only in appearance but also in the awe, wonder, and thanks the votives inspired in their idolaters.
Rough and sometimes crude but socially and historically engaged, Bird’s project demonstrates a disposition for both youthful insouciance and unabashed earnestness. Although Bird’s work may seem to have a casual relationship to fabrication and assemblage, it is the result of countless hours of painstaking labor, rich with allusions to art history, and represents Bird’s intense engagement with contemporary culture.
Colby Bird was born in Texas and now lives and works in New York City. He earned his MFA from the Rhode Island School of Design and his BFA from the University of Colorado at Boulder. Recent solo exhibitions have been with Fitzroy and CRG Gallery in New York, Real Fine Arts, Brooklyn, Lora Reynolds Gallery in Austin and Texas State University. His work is held in numerous public and private collections including the Whitney Museum of American Art, New York and was included in the recent exhibiton The Anxiety of Photography at the Aspen Art Museum, Aspen and Arthouse at the Jones Center, Austin
Long Island / The Hamptons 79 Newtown Lane, East Hampton NY, 11937 Thursday - Sunday from 11:00 AM to 6:00 PM
631-604-5770 info@halseymckay.com
Editor's Pick
Transoms Sarah Dornner HALSEY MCKAY GALLERY Opening Saturday May 04, 2013, from 6:00 PM to 8:00 PM On View May 04, 2013 - May 27, 2013 www.halseymckay.com
HALSEY MCKAY is pleased to present Transoms, Sarah Dornner’s first solo exhibition with the gallery. Culling from disparate epochs in design, history, architecture and mathematics Dornner’s work explores the nature of perception and its destabilizing effect on spatial engagement.
Comprised of two-dimensional works and sculpture, repetitive patterns and isometric forms are deconstructed and presented as pure line. Employing aluminum, steel, lacquer and wood, line is used to translate a two-dimensional screen into a three dimensional sculptural cage and back again to wall based powder-coated, hand-etched panels. This trans- lated and re-translated dialogue is assembled and presented in a way that frustrates a clear comprehension of the envi- ronment in which the works are placed. Fountain, the centerpiece of the exhibiton references a wrought iron screen, The Oasis, by Edgar Brandt. The screen is exemplary of Art Deco, a period that’s influence resonates through the exhibiton both stylistially and conceptually. In Dornner’s piece, perfect semi-circular bends radiate from a center column– metal rods flow as if propelled from a jet stream. It is an object full of potential, appearing as if it could be played like a harp–capable of producing patterns in sound as well as the visual patternation reflected from its forms.
Transoms presents the possibility of a frustrated, impossible, absurd or magical interaction between objects and space. Dornner considers this relationship in terms of the psychological dynamics of domestic spaces and the power roles embedded within. Through her works she looks to confound these dominant frameworks and suggest alternatives. Much like Deco emerged during a period of rapid industrialization and technological advancement–a clear parallel can be drawn to our gadget obsessed contemporary existence as our social lives are trapped increasingly in technological ether.
Sarah Dornner was born in 1979 in Valencia, CA. She studied at the University of California, Los Angeles and later received an MFA in Sculpture at the Yale University School of Art in New Haven, CT. Solo exhibitions include Primavesi House, Bureau (2013) and Sarah Dornner, Casey Kaplan Gallery (2007). Dornner’s works have also been included in the goup shows Summer Whites, Rachel Uffner Gallery (2011) Sixth Sax, Halsey McKay Gallery (2012) as well as at the Socrates Sculpture Park, Queens (2013). She was recently named as one of Modern Painters ‘Artists To Watch’.
Long Island / The Hamptons 79 Newtown Lane, East Hampton NY, 11937 Thursday - Sunday from 11:00 AM to 6:00 PM
631-604-5770 info@halseymckay.com
Opening Saturday May 04, 2013
Transoms Sarah Dornner HALSEY MCKAY GALLERY Opening Saturday May 04, 2013, from 6:00 PM to 8:00 PM On View May 04, 2013 - May 27, 2013 www.halseymckay.com
HALSEY MCKAY is pleased to present Transoms, Sarah Dornner’s first solo exhibition with the gallery. Culling from disparate epochs in design, history, architecture and mathematics Dornner’s work explores the nature of perception and its destabilizing effect on spatial engagement.
Comprised of two-dimensional works and sculpture, repetitive patterns and isometric forms are deconstructed and presented as pure line. Employing aluminum, steel, lacquer and wood, line is used to translate a two-dimensional screen into a three dimensional sculptural cage and back again to wall based powder-coated, hand-etched panels. This trans- lated and re-translated dialogue is assembled and presented in a way that frustrates a clear comprehension of the envi- ronment in which the works are placed. Fountain, the centerpiece of the exhibiton references a wrought iron screen, The Oasis, by Edgar Brandt. The screen is exemplary of Art Deco, a period that’s influence resonates through the exhibiton both stylistially and conceptually. In Dornner’s piece, perfect semi-circular bends radiate from a center column– metal rods flow as if propelled from a jet stream. It is an object full of potential, appearing as if it could be played like a harp–capable of producing patterns in sound as well as the visual patternation reflected from its forms.
Transoms presents the possibility of a frustrated, impossible, absurd or magical interaction between objects and space. Dornner considers this relationship in terms of the psychological dynamics of domestic spaces and the power roles embedded within. Through her works she looks to confound these dominant frameworks and suggest alternatives. Much like Deco emerged during a period of rapid industrialization and technological advancement–a clear parallel can be drawn to our gadget obsessed contemporary existence as our social lives are trapped increasingly in technological ether.
Sarah Dornner was born in 1979 in Valencia, CA. She studied at the University of California, Los Angeles and later received an MFA in Sculpture at the Yale University School of Art in New Haven, CT. Solo exhibitions include Primavesi House, Bureau (2013) and Sarah Dornner, Casey Kaplan Gallery (2007). Dornner’s works have also been included in the goup shows Summer Whites, Rachel Uffner Gallery (2011) Sixth Sax, Halsey McKay Gallery (2012) as well as at the Socrates Sculpture Park, Queens (2013). She was recently named as one of Modern Painters ‘Artists To Watch’.
Long Island / The Hamptons 79 Newtown Lane, East Hampton NY, 11937 Thursday - Sunday from 11:00 AM to 6:00 PM
631-604-5770 info@halseymckay.com
Opening Saturday May 04, 2013
Casual Sunday
Lazy Reader Andrew Seto Theodore:Art Curated by Stephanie Theodore Opening Saturday May 04, 2013, from 6:00 PM to 10:00 PM On View May 04, 2013 - June 16, 2013 www.theodoreart.com
Theodore:Art is pleased to present “Lazy Reader”, an exhibition of paintings and drawings by Andrew Seto. This will be London-based Seto’s first one-person show in the United States.
Bushwick / Ridgewood 56 Bogart Street, Lower Level, Brooklyn NY, 11206 Friday - Sunday from 1:00 PM to 6:00 PM
212-966-4324 theodoreart@gmail.com
Opening Saturday May 04, 2013
Secession Secession Roger Ballen, Winona Barton-Ballentine, Claude Cahun, Colin Doyle, Kate Drendel, Nancy de Holl, Kyle Knodell, Deana Lawson, Leigh Ledare, William Mortensen and Ben Ruggiero Fitzroy Gallery Curated by Colby Bird Opening Saturday May 04, 2013, from 6:00 PM to 8:00 PM On View May 04, 2013 - June 30, 2013 www.fitzroygallery.com
Fitzroy Gallery is pleased to announce the exhibition Secession Secession, organized by Colby Bird and featuring artists Roger Ballen, Winona Barton-Ballentine, Claude Cahun, Colin Doyle, Kate Drendel, Nancy de Holl, Kyle Knodell, Deana Lawson, Leigh Ledare, William Mortensen, and Ben Ruggiero.
Secession Secession is a group exhibition of photo-based artists who combine a keen eye for formal qualities with a pluralism of technique. Through deliberate and often awkward lighting and framing methods, plus a willingness by the artist to confront the act of photographing, these artists address the reflexivity inherent to the medium.
This focus on the mythos and artifice of the studio-setup encourages a multi-layered reading of the works -- addressing the subject, the artist, and the image itself. Surrealist photographers of the early 1900s provide a historical context for many of these artists, through their presentation of the figure and the emphasis on emotion and sexuality. Many of the works in Secession Secession use the vocabulary of cinema, by drawing attention to human emotion and an often theatrical approach to the representation of reality, with an inclination toward decadent and debased subject matter. A presentation of all of the works on a thin shelf, running the length of all the walls of the gallery, provides for a reading of the images as both window and object.
The title of the show originates from the “Photo Secession” group founded by Alfred Stieglitz in the early 1900s. These artists were adherents to the Pictorialist philosophy that photographs were of equal artistic value to painting, and painterly techniques were utilized, such as scratching, toning, and otherwise altering the image. Years later, through his own practice and through his publication “Camera Work”, Stieglitz began to distance himself from the Pictorialists and put his focus instead on the value of the “straight image”. Secession Secession is a contemporary interpretation of such a departure, and a re-statement of the value and definition of the “straight” photographic image.
Secession Secession will be on view May 4 through June 30, 2013 with an opening reception on Saturday, May 4 from 6 - 8pm.
The East Village / Lower East Side 195 Chrystie Street, New York NY, 10002 Wednesday - Saturday from 11:00 AM to 6:00 PM
Sunday from 12:00 PM to 6:00 PM
212-343-8670 info@fitzroygallery.com
Opening Saturday May 04, 2013
David Bowie in Ziggy Stardust and the Spiders from Mars. Courtesy of Pennebaker Hegedus Films.
Play This Movie Loud! Museum of the Moving Image Opening Saturday May 04, 2013, 5:00 PM On View May 04, 2013 - June 09, 2013 www.movingimage.us
“This film should be played loud!” is the title card at the beginning of The Last Waltz, Martin Scorsese’s 1978 concert film featuring The Band. Scorsese raised the music film to a cinematic art form, with top-notch cinematography and a superbly crafted stereo sound mix. Other music films, such as D.A. Pennebaker’s Don’t Look Back, offer a more raw and spontaneous experience, capturing the excitement of live performance and the candid reality of backstage life. And some, such as Richard Lester’s Hard Day’s Night, put a real band into a fictional context. This series features all three of these types of films: concert films, vérité documentaries, and fiction films. What the movies all have in common is that each one focuses on a single performer or band… and all of them are meant to be seen—and heard—in a theater, played LOUD!
Long Island City 36-01 35 Avenue, Astoria NY, 11106 718-777-6888
Opening Saturday May 04, 2013
Sam Gordon & Eve Fowler
An Exhibition of Books and Posters Eve Fowler and Sam Gordon Printed Matter Opening Saturday May 04, 2013, from 5:00 PM to 7:00 PM On View May 04, 2013 - May 25, 2013 www.printedmatter.org
Printed Matter is pleased to present an exhibition of works by artists Eve Fowler & Sam Gordon. The show will focus on the artists' books, posters, video works and original artworks that the artists have created independently and as part of their ongoing collaborative practice. An earlier version of the exhibition was previously mounted at USC Roski School of Fine Arts. On view at Printed Matter from May 4 – May 25, a concurrent presentation will be shown at Feature Inc. on the Lower East Side. Join us for an opening reception with the artists, Saturday, May 4, 5-7 PM, featuring a reading organized by Katerina Llanes with poets and writers Jess Arndt, Corrine Fitzpatrick, Paul Legault and Litia Perta.
The exhibition will gather the complete inventory of Fowler's newsprint zines alongside Gordon's collection of photo books and artists publications. Works from Fowler include a series of untitled photocopied books showing a collection of portraits investigating gender, identity and lesbian subculture. Gordon includes his oversized Warhol scrapbook, Artist in Residence: Giverny / Tennessee, and a B&W publication compiling 100 portraits of Walt Whitman. Fowler and Gordon have also created THE FOWLER / GORDON READER, a small print publication and PDF gathering various texts and images derived from their previous projects including reprints of their respective interviews in North Drive Press.
The Printed Matter window will feature overlapping posters from the two artists. Fowler's A Spectacle and Nothing Strange is a series of brightly-colored letterpress posters with fragments of text taken from Gertrude Stein's Tender Buttons. The lively phrases --"A difference of very little difference", "Very like the last time", "There are the ones who do see me," and so on – are scripted over a range of colorful gradients, both queer and challenging for their focus on language and flexible meaning. Produced by the now defunct Colby printing, a commercial printer in LA, the posters were distributed by Fowler throughout the city in the spirit of concert promos and other advertisements, taking on a public life that is at once faux-informational and underhandedly poetic.
In 2012 during a visit to Los Angeles to host a 24 hour screening at the Mandrake of The Lost Kinetic World, Gordon's ongoing video project capturing art moments, Fowler and Gordon began their collaboration by putting Gordon's sweepings from his studio onto Fowler's posters. Riffing off Fowler's text appropriation, Gordon choose a recent poster of Karl Holmqvist's which samples lyrics of Patti Smith, a poster of Stephen Prina's, and an early poster of Dean Daderko's pulled from his archive and selected with the idea that text would be the link between. Original works that take posters and zine ephemera as the starting point are also on view. Fowler will show two large-format acrylic on wood panel works from the Tender Buttons series. Gordon will show Street Vendor, a mixed media painting including bleach, acrylic paint, spray paint, and inkjet transfers, on sewn clothes and canvas remnants which depicts the zines and books by other artists in which his work is included.
Also as part of the window installation videos from the artists will be screening. Sam Gordon has been documenting art moments, events, and exhibitions for almost a decade now. The Lost Kinetic World, Volume 1, is the first in a series of art world video records that chronicle the art the artist has experienced. Likening the video to a magazine disguised as a movie, Gordon describes the piece as a free-form poem coalescing the scope of possibilities within a multitude of contemporary art practices; video as snapshot. Running parallel, Gordon's 1000 Sketchbook Pages turns scans from his ongoing sketchbooks into a slideshow loop. Fowler will debut a video which recreates one of Warhol's more infamous experimental films.
evefowler.com
samgordon.com
featureinc.com
Chelsea 195 Tenth Avenue, New York NY, 10011 212-925-0325
Opening Saturday May 04, 2013
Marc Quinn, Map of the Space-Time Continuum, 88" by 79" by 126", bronze, 2013
All the Time in the World Marc Quinn Mary Boone Gallery Opening Saturday May 04, 2013, from 5:00 PM to 7:00 PM On View May 04, 2013 - June 29, 2013 www.maryboonegallery.com
Chelsea 541 West 24th Street, New York NY, 10001 212-752-2929 info@maryboonegallery.com
Opening Saturday May 04, 2013
Textures: the Written Word in Contemporary Art ACA Galleries Opening Saturday May 04, 2013, from 3:00 PM to 5:00 PM On View May 04, 2013 - June 15, 2013 www.acagalleries.com
Including:
Jean-Michel Basquiat - Romare Bearden - Jonathan Borofsky
Richard Bosman - William Burroughs/Brion Gysin
Squeak Carnwath - Robert Colescott - Gregory Corso
Steve Dalachinsky - Alan Davie - Elaine de Kooning
Allen Ginsburg - Grace Hartigan - Deborah Kass - Fulano Librizzi
Rick Librizzi - Deloss McGraw - Jack Micheline - Malcom Morley
Richard Pettibone - Richard Prince - Elaine Reichek
Rene Ricard - Faith Ringgold - Aminah Robinson
Jan Sawka - Beth Ames Swartz - Dondi White - Flo Oy Wong
Isn't a picture enough? This is art we're talking about here, visual art, the kind of stuff that hangs in art galleries and museums. Why muck up the pictures with words and scribblings? For many artists, the answer to that first question is "No, sometimes a picture is not enough." For them, written text accompanying images on a canvas or other surface are as much a part of the work as form, shape, line and color. In fact, for certain artists, text is not only a conveyor of message, it is form, shape, line and color.
ACA Galleries' exhibition TEXTURES: The Written Word in Contemporary Art will showcase the work of artists who have incorporated written text as part of their aesthetic, their politics, and even their state of mind.
Written text has a long history in art. Whether it was the devotional and laudatory text spread across the walls of ancient Egyptian tombs, the sometimes bawdy text in "oxturn" inscribed into Classical Greek pottery, or Jan Van Eyck ensuring that posterity knew he was the attending portraitist by inscribing "Johannes de Eyck fuit hic" (Jan van Eyck was here) above a mirror's reflected image of himself in the 1434 painting of the Arnolfini wedding, artists have used text to lure us more deeply into their created moment. In our own time, written text, in visual art or simply on a page of paper, must also confront the challenge posed by the ubiquitous fonts of the computer. To paraphrase the poet Dylan Thomas, it is no longer "The hand that signed the paper" but the hand that taps a keyboard. Thus, in visual terms at any rate, the hand that still physically creates or applies text retains a significant human power.
In the courageous or adventurous minds and masterful hands of artists such as Romare Bearden, Robert Cole- scott Grace Hartigan, Elaine de Kooning, Aminah Robinson, Faith Ringgold and Flo Oy Wong, hand-applied text expresses that human power. In their work, written text is not only part of the formalities of composition, line, color and so on, but an organic statement of presence. As African Americans, Asians and/or women in the arts, communities which had often been marginalized by the American art world's cultural gatekeepers, their use of text, while it may indeed convey a social, political, cultural or aesthetic message, can also be likened to van Eyck's personal "fuit hic." Their written text, whether in paint, applied paper or sewn fabric, further insists on their presence.
This is especially true in the work of Elaine Reichek. Using the historically associative thread and fabric of "women's' work," Reichek brings women's traditions to bear on the larger concepts of image-making and storytelling. Taking myths and tales from history or from literature, such as works by Shakespeare, Reichek's embroi- dered text removes these stories from an experience of mind and renders them instead as intimate, personal and even tactile experiences.
In the precocious mind of Jean-Michel Basquiat, text was as totemic as the glyphs mixed media on canvas, 84 x 60 in of the ancient world and as aggressive as the graffiti saturated street, two realms with which he identified in equal measure. The urban street has historically been a place of text-based visual communication. Handbills, advertising posters, community announcements, news bulletins and revolutionary sloganeering have been pasted on and scrawled across city walls since ancient times. Graffiti, criminalized by modern authorities but with roots traceable at least as far back as ancient Rome, is an expression of that tradition, whose energetic presence continues today on streets around the world. New York graffiti artist Dondi was among the city's outlaw pioneers of the 1970s graffiti revival, spreading his colorful, spray painted presence across walls and subway trains, angering officialdom but delighting more adventurous members of the public. His later work, studio based and gallery accepted, nevertheless remained faithful to contem- porary graffiti's anarchic purpose.
Text as avant garde or outlaw statement has also found a place in more rarefied intellectual circles as well.
Jonathan Borofsky, Malcolm Morley Dream at 3,029,086, 1984, mixed media on canvas 44 x 46 in. Beat Generation writers, already breaking standardized, rigid boundaries of accepted "taste," put their savvy language to visual use, as Allan Ginsberg does in "Hum Bom!" where the stanzas of his incantation-like poem descend like dark nuclear fallout onto a drawing of a diseased and mutant organism. For Gregory Corso, the exquisite control he exercised over the craft of his street-inflected poetry was abandoned in a wild experience of visual interplay in his annotated drawing of a Medieval battlefield. And perhaps the most reprobate of the Beats, William S. Burroughs, together with Brion Gysin, found an utter purity in visually unadorned handwritten words and the hypnotic states they can conjure.
Hypnotic qualities are also embedded in the fantasies of Jonathan Borofsky, who shares with us his sweet and childlike dream of the artist Malcolm Morley and the cultural commentary of Deborah Kass. Kass's 2012 neon sculpture "Enough Already" does indeed hypnotize through the pink and red glow of its declarative statement. A reiteration of that same declaration written only in paint in her series Feel Good Paintings for Feel Bad Times of six years earlier, Kass, then and now, uses text to beguile, much the way the neon lights and dreams of Broadway beguile, which Kass admits is among her influences. But there are other influences and concerns at work in Kass as well; there is also Andy Warhol, pop culture, art history, her Jewish and Lesbian cultural identities, her political sympathies; the magnitude, messages and weight of all of this combines into the declarative statement, enough already.
In ACA Galleries' TEXTURES: The Written Word in Contemporary Art, curator Mikaela Sardo Lamarche has produced an exhibition which assures us that the written word as visual message, symbol, totem, line or shape remains—and must remain—an important human touchstone. Letters formed by the hand as they have been for millennia (those ubiquitous computer fonts notwithstanding) are part of our shared consciousness. The works on view in this exhibition tap into that consciousness. We are forced to address a larger issue than simply the question we started with: "Isn't a picture enough?" We have to wonder what becomes of the human experience with- out words shaped by our hands.
Chelsea 529 West 20th Street, 5th Floor, New York NY, 10011 212-206-8080 info@acagalleries.com
Opening Saturday May 04, 2013
Pablo Honey, 2005 Acrylic, graphite and collage on handmade Khada paper 39 x 52 inches
MICHAEL BEVILACQUA: Radio Amnesia A SURVEY OF WORKS ON PAPER 1997-2013 GERING & LóPEZ GALLERY Opening Saturday May 04, 2013, from 11:00 AM to 5:00 PM On View May 04, 2013 - June 15, 2013 www.geringlopez.com
GERING & LóPEZ GALLERY is pleased to present MICHAEL BEVILACQUA: Radio Amnesia: A Survey of Works on Paper, 1997-2013. This will be the artist’s fourth solo exhibit with the gallery.
In this exhibition, the gallery presents a select group of Bevilacqua’s works on paper, a seemingly boundless and easily manipulated medium that has consistently proven inspirational for the artist. For over 15 years, and for the most part unbeknownst to many who have followed his work, Bevilacqua has experimented with his ideas on paper not as a way to gain clarity in painting, but to add another layer of development to his broader image-making practice. When taken together, one can see the depth of connectedness each medium has on the other. When viewed separately, one is struck at how much variety of form the works on paper present. Painting, collage, photography, drawing, stenciling, cut-outs; there seem to be no rules when it leads to finishing a work. Recently, even manipulating the frames of drawings and supports of canvases has not proved off limits. While the earliest works remain emphatically graphic in nature, the viewer is now presented with a timeline of development in Bevilacqua’s experimentation with any tools that have been at his disposal.
The survey is complimented by a small selection of works on paper by several artists who have drawn from the same freedom of definition, including Robert Rauschenberg, David Salle, Sigmar Polke & David Wojnarowicz. They are not specific influences per se, although each has had an impact on the artist, as have many others. Instead, they remind the viewer that rule-based drawing is a particular mindset that none of these artists, Bevilacqua included, have followed.
Michael Bevilacqua was born in Carmel, California in 1966. He attended Long Beach State University and Santa Barbara City College, later continuing his studies at the Cambridge College of Art and Technology in Great Britain. Bevilacqua has exhibited internationally including solo shows in Beijing, Copenhagen, Milan, Tokyo, Madrid, Barcelona, and New York. His work is in numerous public collections including The Mitsuni Collection, Tokyo, Japan; San Francisco Museum of Modern Art, San Francisco, CA; Deste Foundation, Athens, Greece; Astrup Fearnley Museum, Oslo, Norway; The Whitney Museum of American Art, New York; and The Dallas Museum of Art, Dallas, TX.
Gallery hours are Tuesday through Friday, 10am to 6pm and Saturday, 11am to 5pm. For further information please contact Laura Bloom at 646.336.7183 or laura@geringlopez.com.
Midtown 730 Fifth Avenue, Between 56th and 57th Streets, New York NY, 10019 Tuesday - Friday from 10:00 AM to 6:00 PM
Saturday from 11:00 AM to 5:00 PM
646-336-7183 info@geringlopez.com
Opening Saturday May 04, 2013
JOHN BRILL, Trish, 2013, Video still from installation
HYPNOTHERAPY John Brill, Aleister Crowley, Llyn Foulkes, Pablo Helguera, David Lynch and Jill Spector Kent Fine Art Opening Saturday May 04, 2013, from 10:00 AM to 6:00 PM On View May 04, 2013 - June 29, 2013 www.kentfineart.net
THE NEW YORKER'S PASSPORT TO THE ARTS
Saturday, May 4
10 am - 6 pm
Kent Fine Art is pleased to open a special project, Hypnotherapy, in tandem with The New Yorker's Passport to the Arts event on May 4, from 10:00 am to 6:00 pm. Hypnotherapy, which continues through June 29, presents a multigenerational group of artists working in several media who share an intense and introspective working process:
Hypnosis is a way to connect with the subconscious rather than the conscious mind. The mind accepts what the subconscious creates, however bizarre. Among these artists there is a common thread of a relentless, even myopic, focus on work so personal that its intrinsic value is much greater for the artist than for the audience. Their bond lies in their obsessiveness, idiosyncrasy, and disregard for the mainstream.
* * *
JOHN BRILL (b. 1951, Newark, New Jersey) is a school-bus driver and self-taught photographer, whose work has been recently seen in exhibitions at the Austrian Cultural Council in New York and the Museum of Contemporary Photography in Chicago. He has been the co-chair of the Photography Judging Committee of the American Killifish Association since 1982 and is a former instructor with the International Center of Photography.
LLYN FOULKES (b. 1934, Yakima, Washington) came up in the Los Angeles art scene of the early 60s and has been both a maverick and a force to be reckoned with ever since. His recent exhibition credits include the 2011 Venice Biennial and Documenta 13. Foulkes's current retrospective at the Hammer Museum in Los Angeles, curated by Ali Subotnick, is a tribute to his craft, his dark humor, and his relentless vision of America on the edge. The retrospective travels to the New Museum in New York, where it opens on June 12.
PABLO HELGUERA (b. 1971, Mexico City) is a visual and performance artist whose projects have included a school that traveled from Anchorage to Tierra del Fuego, complete with portable schoolhouse; the recording of dying languages on wax cylinders; a memory theater; and the founding of the Instituto de la Telenovela. His work has been seen most recently at CIFO in Miami, the 2012 Havana Biennial, and the Centro de Arte Reina Soffia in Madrid. Helguera's first solo show with Kent Fine Art will open in September 2013.
DAVID LYNCH (b. 1946, Eagle Scout) was studying at the Pennsylvania Academy of Fine Arts, painting "figures just sort of coming out of the darkness," when he made his first film, in 1966: "The only reason I did a film the first time was to see a painting move . . . and feel a mood." In the 70s Lynch began to work seriously in film and made his name with Eraserhead in 1977. Although he went on to make many more acclaimed films, he has continued to paint and exhibit. In 2007 the Fondation Cartier in Paris mounted a forty-year survey of his art, film, and music.
JILL SPECTOR (b. 1976, York, Pennsylvania) has called her sculptures both "performers" and "performances" . . . and has even referred to a sculpture as "she." Working in improbable combinations of materials, she builds movement from the inside out, in open structures that offer audience and backstage views. Spector's work was included in the recent exhibitions Drawing, Stretching, and Fainting in Coils, curated by Diana Thater for the Bayerische Staatsoper in Munich, and Made in L.A. at the Hammer Museum in Los Angeles.
Special Appearance by ALEISTER CROWLEY.
For further information contact Douglas Walla (dkw@kentfineart.net) or Jeanne Marie Wasilik (jmw@kentfineart.net). Gallery hours are Tuesdays through Saturdays, 10:00 to 6:00.
Chelsea 210 Eleventh Avenue — 2nd Floor, (Between 24th & 25th Streets), New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-365-9500 dkw@kentfineart.net
Opening Saturday May 04, 2013
© Courtesy of the Paula Cooper Gallery
Little Dancer Mark di Suvero Paula Cooper Opening Saturday May 04, 2013, from 10:00 AM to 6:00 PM On View May 04, 2013 - June 29, 2013 www.paulacoopergallery.com
NEW YORK—The Paula Cooper Gallery is pleased to present Little Dancer, a new large-scale steel sculpture by Mark di Suvero. The work is an assemblage of intersecting l-beams and carved kinetic spirals. It will be exhibited for the first time beginning May 4 at 534 West 21st Street.
Mark di Suvero was given his first retrospective exhibition in 1975 at the Whitney Museum of American Art. In addition to countless museum shows, di Suvero has had acclaimed citywide exhibitions in Nice (1991), Venice (1995, on the occasion of the 46th Venice Biennale) and Paris (1997). In 2011, eleven monumental works were installed on Governor’s Island in New York Harbor, the largest outdoor exhibition of work in New York since the 1970s. That same year di Suvero received the National Medal of Arts, the nation’s highest honor given to artists.
On May 22, 2013 the San Francisco Museum of Modern Art will open a major outdoor exhibition of Mark di Suvero's works at historic Crissy Field, a former airfield and military base near the Golden Gate Bridge. The works will remain on view through May 16, 2014. A number of di Suvero sculptures are permanently installed at the Storm King Art Center, Mountainville, New York, a sculpture park that has also organized important exhibitions of the artist’s work in 1985, 1995-96, 2005-6 and 2008. Di Suvero lives and works in New York.
Chelsea 534 W 21st Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-255-1105 info@paulacoopergallery.com
Opening Friday May 03, 2013
Tumble, 2011-12 Oil on wood panel, 60 x 32 inches
Don Voisine McKenzie Fine Art Opening Friday May 03, 2013, from 6:00 PM to 8:00 PM On View May 03, 2013 - June 09, 2013 www.mckenziefineart.com
Don Voisine is well known for his hard-edged abstractions executed in oil on wood panels. His works explore the seemingly limitless possibilities of a standard format of overlapping geometric fields of black set against light grounds, bracketed by bands of color. Narrow colored stripes are sometimes added next to the bands, creating movement and additional contrast. The black geometric fields, sometimes rectilinear, sometimes irregular, are set atop one another, differentiated by the use of matte and glossy textures, as well as by directional brushwork. The black fields and colored bands are laid over neutral grounds ranging from cool, icy whites to creamy, warm tones.
In his new work there is a strong feeling of containment, as many of the colored bands are situated left and right as opposed to top and bottom. This format enhances a feeling of compression in the compositions. In some, matte black border bands have been added, creating an all-around framework. The central black fields occasionally overlap the black borders, appearing to step outside the framework of the composition. In the new work, the colored bands have become more vivid and intense in palette, and there is a distinct shift away from muted tones. The twisting and crossing black geometric fields of the earlier work have been abandoned in favor of a greater irregularity in the newer paintings, but the tension between angled edges and the underlying sense of movement remain. Some of the black fields are playfully suggestive: swinging doors and walking figures spring to mind. The artist employs a diptych format in several paintings, creating rhythms back and forth, like a paired dance. In some, symmetry is retained even though the forms don’t mirror one another exactly. Throughout, with a deceptively reductive abstract vocabulary, Voisine mines the manifold possibilities of his format and creates taut, muscular, and elegant compositions with rich surface textures and complex inner tensions.
The East Village / Lower East Side 55 Orchard Street, New York NY, 10002 Wednesday - Saturday from 11:00 AM to 6:00 PM
Sunday from 12:00 PM to 6:00 PM
212-989-5467 info@mckenziefineart.com
Opening Friday May 03, 2013
Mika Rottenberg, Texture 3 & 4 (detail), 2013 © Mika Rottenberg
Lynda Benglis, Sean Bluechel, Jean Dubuffet, Mika Rottenberg, Axel Salto Andrea Rosen Gallery Opening Friday May 03, 2013, from 6:00 PM to 8:00 PM On View May 04, 2013 - June 22, 2013 www.andrearosengallery.com
For Mika Rottenberg's current exhibition at Magasin 3, she produced an impressive and arresting group of sculptures — cast resin and hand-painted textures that seem to have been ripped from the walls of one of her film sets. These sculptures reference an iconic tactility that is key to all of her films and installations. Since Gallery 2's program is committed to encouraging alternative modes for understanding new and historical material through filters that may alter our perception, Andrea Rosen Gallery is delighted to announce a complex new group exhibition that juxtaposes Rottenberg's sculptures with the evocative surfaces of works by Lynda Benglis, Sean Bluechel, Jean Dubuffet, and mid-century ceramicist Axel Salto.
An important painting from Dubuffet's Texturologie series avoids all figuration, but is not abstract. Literally a vast view of the ground seen from above, the gestural and gritty painting was intended to evoke a continuous, infinite space beyond the fragmented sphere of human action and intervention. Sean Bluechel prefers this dysfunctional arena, and his "Drunk Photos" engage multiple iconographies of sexuality, race and gender with a rough, physical sensibility. Axel Salto experimented with wild, organic forms and colors that were a radical departure from the prevailing, cool abstract styles of modern ceramics. Although his vessels are undoubtedly decorative, Salto was a trained painter fixated on formal problems – how does the thickness and sheen of a glaze change as it slides over bumps and into grooves? The dense, multi-colored accretions on Lynda Benglis's wax paintings are sensuous and visceral, but they are also ground-breaking, transitional pieces that demonstrate the artist's struggle to redefine painting and the relationship between the artwork and viewer in space.
All of these works give form to our sensory perceptions. As Lynda Benglis said, "I am involved with bodily response so that the viewer has the feeling of being one with the material and that action, both visually and muscularly…in other words, you draw out the complete body through the work."
About Gallery 2
Andrea Rosen conceived Gallery 2 in 1999 as a liberating arena in which to consider new ideas and create parallel perspectives to the Gallery's primary program, and as a means of fulfilling the Gallery's responsibility to broaden visual references and education for its audience. An inspiring and highly important part of the Gallery's exhibition program, Gallery 2 was formerly located adjacent to the main gallery at the 525 West 24th Street location, prior to the recent opening of separate Gallery 2 space at 544 West 24th Street. Gallery 2 has developed a reputation for significant historical exhibitions, presenting first-time, one-person shows, and shedding light on lesser-known aspects of prominent artists' practices.
Chelsea 525 West 24 Street, New York NY, 10011 212-627-6000 andrea@rosengallery.com
Opening Friday May 03, 2013
ANSELM KIEFER, Morgenthau Plan, 2012, Acrylic, emulsion, oil and shellac on photograph mounted on canvas, 149 5/8 x 149 5/8 inches, (380 x 380 cm)
MORGENTHAU PLAN Anselm Kiefer Gagosian Gallery Opening Friday May 03, 2013, from 6:00 PM to 8:00 PM On View May 03, 2013 - June 08, 2013 www.gagosian.com
Beauty requires a counterpart. And in thinking about this flaw, the other flaw occurred to me as well: the Morgenthau Plan. For it too ignored the complexity of things.
—Anselm Kiefer
Gagosian Gallery is pleased to present an exhibition of recent paintings and sculpture by Anselm Kiefer, which further explores the historical and formal concerns of "Morgenthau Plan," his exhibition that inaugurated Gagosian Le Bourget in Paris last October.
Born at the close of World War II, Kiefer reflects upon and critiques the dangerous myths that propelled the Third Reich to power. Fusing art and literature, painting and sculpture, the artist engages German history and the ancestral epics of life, death, and the cosmos to reinforce lessons of the past.
The exhibition at Le Bourget and the subsequent body of work on view in New York draw upon the Morgenthau Plan as an apt metaphor for a common pitfall of the creative process—namely, works that put forth beauty without any other detectable motive. Kiefer presents the shortsighted, wrong-minded initiative as a representation of ideas—artistic and political—that ignore “the complexity of things.”
Proposed in 1944 by former United States Treasury Secretary Henry Morgenthau, the plan was conceived to transform post-war Germany into a pre-industrial, agricultural nation, allegedly in order to limit the country’s ability to wage war. Morgenthau sought to divide Germany into two independent states, annexing or dismantling all German centers of industry in an arrangement that would have led to the death of millions by pestilence and starvation. Although the Morgenthau Plan was never realized in its original and most extreme form, it represented an alternative post-war Germany potentially occupied more by farmland and plant-life than industry. In his latest paintings, Kiefer explores the landscape of this double-sided initiative. Flowers—one of his central leitmotifs—bloom through the devastation.
Revisiting a process used earlier in his career, Kiefer paints directly onto color photographs of fields in bloom that he took near his property in southern France, then printed to fit canvases of various sizes. Der Morgenthau Plan depicts an area overgrown with flowers, rendered in thick impasto that completely obscures the original photograph. From top to bottom, the vast canvas dramatically transitions from light to dark, ending in a carpet of drab, black and green mulch. Morgenthau Plan: Laßt tausend Blumen Blühen / Let a thousand flowers bloom conflates the travesty of the German post-war plan with Mao Zedong’s shrewd co-optation of the idealistic classical Chinese maxim, “Let a hundred flowers bloom; let a hundred schools of thought contend,” designed to expose and flush out anti-Communist dissidents. Kiefer reflects on the misappropriation of this passage for autocratic purposes: amid pastel blossoms, black petals spring up above the rest into a muddled ochre landscape.
O Halme, ihr Halme, O Halme der Nacht, a huge dark canvas that transports the viewer to a desolate world by night, features an airplane wing that Kiefer fabricated from metal, jutting from its upper center. Like chalk on a blackboard, faded German cursive hovers in the night sky: ‘O Halme, ihr Halme, O Halme der Nacht' (O Stalks, your stalks, O Stalks of the Night). In the barren landscape below, only a few stalks are blooming.
Anselm Kiefer was born in 1945 in Donaueschingen, Germany. After studying law, he began his art education in Karlsruhe and then Düsseldorf, where he studied informally under Joseph Beuys. His work has been shown and collected by major museums throughout the world. Recent retrospective surveys include “Anselm Kiefer: Heaven and Earth,” the Modern Art Museum, Fort Worth, Texas (2005, traveled to Musée d'art contemporain de Montréal, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., and the San Francisco Museum of Modern Art) and “Anselm Kiefer,” Guggenheim Museum Bilbao (2007). In 2007, Kiefer inaugurated the “Monumenta” program at the Grand Palais, Paris with a vast site-specific installation of sculptures and paintings. In 2009, he directed and designed the sets for Am Anfang (In the Beginning) at the Opéra National de Paris.
Kiefer lives and works in France.
For further information please contact the gallery at newyork@gagosian.com or at +1.212.741.1717.
Chelsea 522 West 21st Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-741-1717 newyork@gagosian.com
Opening Friday May 03, 2013
Ara Peterson, Intersecting Streams (Blue), acrylic on wood, 48 x 96 inches, 2012
XSTRACTION: A survey of new approaches in abstraction The Hole Opening Friday May 03, 2013, from 6:00 PM to 9:00 PM On View May 03, 2013 - June 20, 2013 www.theholenyc.com
The Hole is proud to announce a major survey of new approaches in abstraction, featuring almost forty innovators within the field. This show includes influential abstract painting legends, some “overlooked” older artists, some completely unknown young artists, and indeed many of the most exciting emerging and established artists in the genre. We hope to present some of the overlapping tendencies within the tradition of abstract painting, tracing where they began to where we are today. This exhibition will open in the main gallery concurrently with Holton Rower's solo exhibition in Gallery 3.
While a director at the former Deitch Projects, Kathy Grayson was inspired by Nicola Vassel’s exhibition “Substraction” in 2008 that looked at abstraction influenced by the streets (including Sterling Ruby, Dan Colen, Rosson Crow, Aaron Young, Kristin Baker and Elizabeth Neel). Grayson then curated her own sister show there, “Constraction”, that featured artists working in a more conceptual abstract mode (including Tauba Auerbach, Joe Bradley, Peter Coffin, Xylor Jane, Mitzi Pederson and Ara Peterson). These two exhibitions remain fresh and influential today, and introduced two of the many tendencies this larger show “X-straction” will explore. The “X” stands for any prefix one might want to adhere, any angle with which the viewer would like to approach this exhibition, beyond the few additional strains singled out below:
One of the commonalities of the works in this exhibition is a textile-based and “craftstraction” approach haha just kidding; I promise no more neologism. This kind of shredded, woven, ragged, wrinkled and dyed abstraction includes artists like Landon Metz or Sam Moyer (who use dyes and bleach respectively) or Dianna Molzan or Ethan Cook who weave, sew and stitch their canvasses. Ayan Farah uses silks or unusual linens and the exposure to the elements to create her “forensic” abstract works that show light and soil and heat, or even volcanic activity, as registered on her fabrics. Even Mark Flood, whose main oeuvre may be said to be intensely punk and political, contributes a work from his elegant “lace paintings” that somehow convey in paint torn skeins of lace or burlap around a black void.
A new and timely update to the tradition of abstract painting involves the use of digital tools or digital aesthetics in the works, beginning perhaps with the computer chipped and networked paintings of Peter Halley, whose style developed in the 80s when home computers were barely emerging. His artworks and essays are an inspiration for young artists like Travess Smalley or Wendy White, as well as a pioneer of digital printing techniques like Wade Guyton or vanguard new media artist Cory Arcangel. Adam Henry is a young artist who paints like a CMYK printer, squirting out bits of additive color that mix into a final color, while Trudy Benson paints with lines and textures that come out of the language of Photoshop tools. Greg Bogin, Sayre Gomez, Stefan Bondell, Peter Demos, Wil Murray, Evan Gruzis, even Xylor Jane’s hand-made number systems: these pixelated, airbrushed, gradient-ed, or Photoshopped works show the ways that computers can both be a tool and a subject for abstract explorations.
Another strain of abstract thinking comes from a tradition exemplified in the influential career of Rudolf Stingel, whose literalness in approach to materials and phenomenology introduced the interest in young artists for trodden-upon, dirtied, worn-out or even “entropic” abstraction. The works may be accidental, disposable, destroyed. These pieces come out of life: they are what they are, but then magically, and irresistibly, can’t help but also be something intangibly else. Andrew Sutherland composes his acrylic paintings within a large folded trash bag; Angel Otero bunches up paint-soaked "oil skins" around an armature to resemble a ruched and rumbled sack of a painting. The work of Sarah Braman, Oscar Murillo, James Krone, Kadar Brock and Thomas Øvlisen perhaps fit in best here as well, where materials take on a tendency that seems almost an inertia in the aesthetic realm. “Relational Abstraction” would be a word I would be sorely tempted to make up here. Or even “Distraction” hahaha sorry.
In a more general way material-driven and un-painterly abstraction is an overlapping theme, where the artist’s hand is not only invisible but out of the question. These artists have found ways to make wall works that refer to the tradition of abstract painting while never involving paint or fabric or brushes. Davina Semo presents a painting made from only industrial orange chains, Tim Bergstrom works with glue and wire, Peter Sutherland with sand, McArthur Binion with wax and crayon, Ara Peterson with laser-cut wood slats, etc. These artists may do amazing things that transform these untraditional materials into something rich and strange, but always do so within the confines and logic of the materials chosen. Richter’s squeegee, Anoka Faruqee’s handmade rake-brushes or Karl Klingbiel’s woodblocks fit into a branch of this un-traditional painting which involves an innovation in the tools of the painter.
This exhibition will be documented (along with the two previous Deitch Projects exhibitions) in a new “encyclopedia” of abstraction available during the run of the exhibition printed by Anteism Books, available on the gallery website immediately and in bookshops this fall.
A full list of participating artists will be available at the opening and wall labels will elucidate each artist's contribution on the walls.
To preview any artworks please email kathy@theholenyc.com
This exhibition received support from so many enthusiastic and helpful people like Paul Bright, Leo Koenig, Kavi Gupta, Sean Horton, Joe Sheftel, Jesper Elg, V1 Gallery, Loyal Gallery, Zach Feuer, Jeffrey Deitch, Canada Gallery, Mitchel-Innes & Nash, Halsey McKay, Fabrizio Affronti, Ron Warren, Lehmann Maupin, Higher Pictures, Alexandra Wetzel, Lisa Jacobs, Jeremy Kost, Toby Clarke, Rachel Uffner, Nicola Vassel, Eric Cahan, Miriam Katzeff, Harley Smart, Peter Halley Studio, Alexandre Stipanovitch, Michael Nevin, Stefan Bondell and all my buddies who like to discuss art with me and sniff out new talent and track down awesome artworks.
The East Village / Lower East Side 312 Bowery, New York NY, 10012 Tuesday - Saturday from 12:00 PM to 7:00 PM
212-466-1100 poke@theholenyc.com
Opening Friday May 03, 2013
HOLTON ROWER, Focus Paintings The Hole Opening Friday May 03, 2013, from 6:00 PM to 9:00 PM On View May 03, 2013 - June 20, 2013 www.theholenyc.com
The Hole is proud to announce the second solo exhibition by Holton Rower at the gallery presenting two bodies of work side by side. Rower’s “Pour paintings” debuted here last May with a full-gallery survey of the diverse results achieved by the artist through his innovative and deceptively simple process of pouring hand-made acrylic paints over wood. In conjunction with ten new pours that elaborate upon this approach, Rower will introduce a new body of work titled “Focus paintings” that, perhaps, are equally simple in construction and complex in effect. The fact is, we do not know how the artist achieved these seemingly out of focus paintings, whether they were poured over a curved support, doused with urethane, or dried on a vibrating surface; the method of their contruction will remain an artist’s secret so the viewer can focus on the visual effect they produce and their quizzical relationship to the history of abstract painting. Like the pours, that are no more like Morris Louis than like Lynda Benglis, the focus paintings are superficially somewhere in between Richter and Hirst, or perhaps even further back like a Kandinsky quivering field of pure color or Emile Nolde poppy field. The relationship between the two bodies of work is challenging as well: we here have decided that they both come from an artist who is a true “chemist of paint” and a sculptor of paint more than a traditional abstract painter.
The East Village / Lower East Side 312 Bowery, New York NY, 10012 Tuesday - Saturday from 12:00 PM to 7:00 PM
212-466-1100 Kathy@theholenyc.com
Opening Friday May 03, 2013
BODY LANGUAGE UNDER THE SUN AND MOON Nicola L BROADWAY 1602 Opening Friday May 03, 2013, from 6:00 PM to 8:00 PM On View May 04, 2013 - June 22, 2013 www.broadway1602.com
BROADWAY 1602 is pleased to announce the first solo show of New York based French artist Nicola L who began her career in Paris in the 1960s as a conceptual artist working in installation, performance, functional art, - and since 1976 in film.
The show presents a parcour of works central to the artist’s career from the 1960s to the present and focusing on Nicola L’s radical perspective of the painfully or joyfully gendered body and its presence in states of fragmentation, penetration and disintegration.
Nicola L had her first exhibition at Galerie Daniel Templon, Paris in 1969, where she introduced her performance-based sculptures – Penetrables - in conjunction with her functional art objects. Critic Pierre Restany targeted the exceptional vision expressed by Nicola L in his essay "A Long Journey to the End of the Skin."
Nicola’s intriguing larger-than-life-size installation penetrable sculpture for three performers, The Cylinder, debuted at La Biennale de Paris in 1967 with the rock group The Soft Machine and was then invited to LA MAMA Theater in New York City, marking her first trip of many to the US.
From the beginning she has engaged a feminist perspective in her work, producing erotically charged objects such as La Femme Commode (1969-2012), The Lover’s Wardrobe (1967-70), The Lips Lamp (1969) and soft sculptures such as The Giant Foot (1967-2013) and Giant Woman Sofa (1970-2012). Nicola’s functional objects became classics of 1960s - experimental furniture and soft art design. In 1974, Nicola participated in the exhibition "Grandes Femmes, Petits Formats" at the innovative Galerie Iris Clert in Paris, presenting her provocative multimedia sculpture, Woman Pregnant from TV (1970).
Nicola L created The Red Coat for Eleven People or Same Skin For Everybody in 1969. Described as “her pivotal “collective object of performance,” it was first performed in 1969 with legendary Brazilian musicians Caetano Veloso and Gilberto Gil at the Isle of Wight Pop Music Festival. Henceforth, Nicola L carried The Red Coat in a suitcase to various places and unfolded her performances with spontaneous participants in the streets of Paris, Brussels, and Amsterdam. During her performance in Barcelona Nicola was arrested by the militia of the Franco regime. Another Red Coat performance - documented on film - was enacted on the snowy slopes of the French Alps with 11 professional skiers trying to ski collectively down a mountain. This hilarious scenario anticipated the surreal comedy of Beatles films and Monty Python. In 1973, Charlotte
Moorman invited The Red Coat to her 12th Avant-Garde Festival in New York. The original Red Coat still exists and is in the show at BROADWAY 1602.
By 1979, Nicola moved definitively to New York City where she witnessed and was inspired by its new counter-cultural movements and vibrant experimental art milieu. In 1981, she directed a film on the radical social activist and leader of the "Yippie" movement, Abbie Hoffman: My Name is Abbie: Orphan of America.
Nicola L continues to work on her Penetrable Universe series. The first Penetrables were life size canvas sculptures with extensions for the head, arms and legs for the performers to step into. An intriguing film from 1975 shows the performance group Plan K enacting a spontaneous intervention with the Penetrables in the Palais des Beaux Arts Brussels and on the streets and in the subway of the city. Nicola L created the first Giant Penetrables for her 2002 show in Cuba. No longer performance-related, they were now autonomous sculptures. Animated in character, eerie and whimsical, they are emanations of shiny vinyl and rough canvas representing the elements and planets: Ocean, Forest, Earth, the Sun and the Moon.
"If the PENETRABLE is on a different scale to the human body (either infinitely smaller or much bigger) then the penetration is only visual. While the small ones challenge our perception of inside/out, the larger ones take on the divine qualities of gods." (Nicola L)
Recent Exhibitions (selected):
2012
re.act.feminism #2. A Performing Archive, Fundacion Antoni Tapies, Barcelona, Spain
11th Havana Biennial - La Bienal de La Habana, Havana, Cuba
2009
elles@centre pompidou, Paris, France
The Death of the Audience - Wiener Secession, Vienna, Austria
2004
Aimer, travailler, exister - Propositions communautaires dans l'après-1968, Mamco - musée d´art moderne et contemporain, Geneva, Switzerland
Public Collections (selected):
Centre Pompidou, Paris, France
Gallery of Modern Art, Glasgow, United Kingdom
MAMCO Musée d'Art Moderne et Contemporain, Genève, Switzerland
Mukha Museum of Modern Art, Antwerp, Belgium
CO-INCIDING EVENT:
DOORS AJAR AT THE CHELSEA HOTEL
Documentary film written and directed by Nicola L Premiere and performance on Monday, May 13 2013 at 8 PM French Institute Alliance Française (FIAF) 22 E 60 Street, New York, NY 10065
Flatiron / Gramercy 1181 Broadway, Floor 3, New York NY, 10001 212-481-0362 gallery@broadway1602.com
Opening Friday May 03, 2013
RESURRECTION Katie Bell, Suzanne Goldenberg, Rachel Hayes, JR Larson, Matt Miller, Bridget Mullen and Ross Tibbles The Active Space Curated by James Prez Opening Friday May 03, 2013, from 6:00 PM to 10:00 PM On View May 03, 2013 - May 24, 2013 www.566johnsonave.com
Bushwick / Ridgewood 566 Johnson ave (entrance on Stewart), Brooklyn NY, 11237 Friday - Sunday from 1:00 PM to 6:00 PM
917-297-7765 resxhibit@gmail.com
Opening Friday May 03, 2013
Hansjoerg Dobliar, Distorted Flower, 2013. Acrylic, oil, lacquer on canvas, 80 x 65 cm.
Hysterie und Abstraktion Hansjoerg Dobliar Johannes Vogt Gallery Opening Friday May 03, 2013, from 6:00 PM to 8:00 PM On View May 03, 2013 - June 15, 2013 www.vogtgallery.com
JOHANNES VOGT GALLERY is pleased to announce German artist Hansjoerg Dobliar’s first solo show with the gallery, Hysterie und Abstraktion (Hysteria and Abstraction). For the exhibition, Dobliar presents a new body of paintings on canvas and aluminum. Additionally the artist has designed an immersive wallpaper scheme for the rear room that serves as backdrop for an installation of paintings.
Dobliar’s paintings engage with the oil medium on a very material level. In his works, Dobliar builds up thick but fluid brushstrokes to form images. Dobliar’s practice strongly recalls and builds upon the traditions of German expressionism. In Dobliar’s engagement with abstraction, he enlivens the tension between figuration and abstraction. Subjects can be recognized, but only uncertainly, as if through a haze. In this way, he prioritizes the expressive handling of the material, neither blending his strokes to render his hand invisible, nor abandoning a subject in favor of pure abstraction. The expressionist brushstroke is understood for its ornamental value. This exchange is a theme also explored in his works on paper. By overpainting onto old magazine pages, Dobliar selectively obscures and represses the figures in these images. By intervening in the imagery of mass circulation, Dobliar symbolically questions cultural narratives, and the ways in which reality is undermined by myth.
Among the works in the front gallery is a series of small paintings on canvas. Referred to by Dobliar as the “dot paintings,” these works appear like a series of bullseyes, or a string of echoed permutations. In exploring a similar composition over a large number of small canvases, Dobliar enacts the decorative concealment of abstraction, and expresses a fixation with the aesthetic surface. These issues of representation and presentation also inform his practice of designing the manner in which his works are displayed. Previously, Dobliar has installed wallpaper, constructed shelving, and painted on the walls to modify the atmosphere in which his works are received. Dobliar continues this practice for his show at the gallery.
Dobliar’s vibrant paintings evoke the psychic worlds of the subjective experience. In his energetic and tactile engagement with the paint, Dobliar creates works that point beyond the limits of our knowledge, and forces the viewer to ask where the abstraction ends and their projection begins.
Hansjoerg Dobliar was born in Ulm, Germany in 1970. Dobliar’s work has been exhibited internationally, including Sammlung Rheingold at Kunsthalle Düsseldorf; Sammlung Falckenberg / Deichtorhallen, Hamburg; the Pinakothek der Moderne, Munich; Daniel Hug Gallery, Los Angeles; Kunstverein Oldenburg; and Beijing Biennale. Recent solo exhibitions include Sies + Höke gallery, Düsseldorf; Galerie Akinci, Amsterdam; Galerie Ben Kaufmann, Berlin as well as a solo presentation at Independent Art Fair in New York in 2011. He lives and works in Munich and Berlin.
Since its inception only two years ago, the gallery has taken on a challenging program leading to a change of location in November 2012. Johannes Vogt Gallery is committed to bringing attention to the complex artistic and cultural ties that bind New York to both Europe and Latin America.
For further details please contact Samuel Draxler at samuel@vogtgallery.com or at 212 255 2671.
Chelsea 526 West 26TH Street, Suite 205, New York NY, 10001 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-255-2671 samuel@vogtgallery.com
Opening Friday May 03, 2013
Pornalikes Piotr Uklański KARMA Opening Friday May 03, 2013, from 6:00 PM to 8:00 PM On View May 03, 2013 - June 08, 2013 www.karmakarma.org
Karma is pleased to present Piotr Uklański's Pornalikes (2002–ongoing): a series of photographs derived from the artist’s image archive depicting porn actors who strongly resemble famous contemporary personalities.
Cultural readymades, these Pornalikes are contributed to ‘men’s magazines’ or celebrity obsessed blogs such as Loaded or phica.net by their readers. Uklański’s image compilation offers a hyper sexualized portrait of our celebrity obsessed culture. By focusing on the exploitative power structures that drive the current politics and entertainment industry, Uklański takes our ‘fame whoring’ zeitgeist to extreme ends by conflating the exploitative male gaze of pornography with the obscene desire that propels the pursuit of fame.
Uklański’s Pornalikes was first exhibited at Zachęta National Gallery of Art in Warsaw in 2012.
Forthcoming in June 2014, KARMA will publish Uklański's lushly illustrated artist book Pornalikes.
The East Village / Lower East Side 39 Great Jones St, Groundfloor, New York NY, 10012 Monday - Saturday from 12:00 PM to 7:00 PM
shop@karmakarma.org
Opening Friday May 03, 2013
Rodney Graham
Rodney Graham 303 Gallery Opening Friday May 03, 2013, from 6:00 PM to 8:00 PM On View May 03, 2013 - June 15, 2013 www.303gallery.com
303 Gallery is pleased to present our 7th exhibition of the work of Rodney Graham, and our inaugural exhibition in the gallery's new home at 507 West 24th Street, designed by principal architect StudioMDA with Murdock Solon Architects..
Graham continues his focus on allegorical self-portraiture, inserting himself into variously arcane, humorous, and pathos-ridden scenarios. In "Cactus Fan," Graham imagines himself as the title character of Carl Spitzweg's painting "The Cactus Enthusiast." In the original, a scholar in his study examines a cactus that appears to be peering back at him. In Graham's version, the artist plays a science professor, staring at a cactus with balloons and colored foil attached to it, obviously a birthday or graduation gift he is not particularly excited to receive. The format mimics the Spitzweg original, though the tranquil serenity is upended by the gaudy technicolor features of the cactus and its accoutrements. Graham's buttoned-up professor, arms crossed and starched full-length lab coat in tow, seems to have a moment of disgust with the cactus and all it signifies, as if this limp, potted cactus with balloons represents not only his birthday, but the ridiculous culmination of his life up to this point. The wonderment of Spitzweg's original protagonist, his delight animating nature itself, has been replaced by the stark, cold reality of a middling career and the blighted hope of the unfulfilled.
In "Paddler, Mouth of the Seymour," another lightbox photograph based on a 19th century painting, Graham stars as Max Schmitt in Thomas Eakins' "The Champion Single Sculls (Max Schmitt in a Single Scull)." Graham's boating environment is altogether less idyllic than Eakins' was, as the entropy of time has ravaged most of the joy from the boating excursion, leaving a solitary Graham to interact with a rusty modernist bridge to an industrial park in place of the rolling hills and boating compatriots of the original painting. Graham himself appears a bit weathered and nonplussed, going through the motions for the sake of the picture. In "The Drywaller," Graham stands lackadaisically on stilts, taking a smoke break, with a nod to Abstract Expressionism in the patterns of the primed wall before being coated. "Old Punk on Pay Phone" uses a similar trope, as graffiti creates a kind of color field painting behind the subject. In each of these character-driven scenarios, there is a feeling of dissatisfaction converging in a quiet moment of self-reflection - the artist takes a break, the professor stares listlessly at a gift, the paddler has a breath before embarkation. Each character is at a point past his prime, left to revel in the remnants of his former aspirations. The overarching theme, though, is one of acceptance, as there is always hope to be bestowed on each protagonist: life goes on.
Rodney Graham will present "Torqued Chandelier Release" as a solo exhibition at the Art Institute of Chicago from March 8 - June 21, 2013. He has been selected to participate in the 2013 Carnegie International in Pittsburgh and has had recent solo exhibitions at the Museum of Contemporary Art, Barcelona; Kunstmuseum, Basel; Hamburger Kunsthalle; Jeu de Paume, Paris; Sprengel Museum, Hannover (where he was the recipient of the Kurt Schwitters Prize), and the BAWAG Foundation in Vienna, Austria. Recent group exhibitions include Under Influences, La Maison Rouge, Paris; Traffic: Conceptual Art in Canada 1965-1980, Vancouver Art Gallery; Imagine the Imaginary, Palais de Tokyo, Paris, FR and 101 Collection: Route 3, CCA Wattis Institute, San Francisco. Graham lives and works in Vancouver.
303 Gallery represents the work of Doug Aitken, Valentin Carron, Hans-Peter Feldmann, Ceal Floyer, Karel Funk, Maureen Gallace, Tim Gardner, Dominique Gonzalez-Foerster, Rodney Graham, Mary Heilmann, Jeppe Hein, Jens Hoffmann, Larry Johnson, Matt Johnson, Jacob Kassay, Karen Kilimnik, Elad Lassry, Florian Maier-Aichen, Nick Mauss, Mike Nelson, Kristin Oppenheim, Eva Rothschild, Collier Schorr, Stephen Shore, Sue Williams, Jane and Louise Wilson,
303 Gallery is open Tuesday-Saturday from 10 am - 6 pm. For further information please visit us at www.303gallery.com or contact Cristian Alexa or Kathryn Erdman.
Chelsea 507 West 24th Street, New York NY, 10000 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-255-1121 info@303gallery.com
Opening Friday May 03, 2013
On the Beach, 2.0 Richard Misrach Pace Gallery Opening Friday May 03, 2013, from 6:00 PM to 8:00 PM On View May 04, 2013 - June 29, 2013 www.pacegallery.com
Pace and Pace/MacGill Gallery are pleased to present On The Beach 2.0, an exhibition of new large-scale photographs by Richard Misrach. The exhibition will be on view at 510 West 25th Street from May 4 through June 29, 2013. An opening reception will be held on Friday, May 3 from 6 to 8 PM.
Nine years after introducing his On the Beach series at Pace, Misrach revisits the same subject matter to create a dynamic dialogue with the earlier work. New digital technology has enabled him to capture movement and also to freeze the motion of the water, yielding an abstract, painterly effect heretofore unseen in his work.
Shooting from a hotel balcony in Hawaii, Misrach documents the sea’s changes in color and energy, as well as the humans who enter the ocean’s immensity to float, swim, surf, perform, and sometimes curl at its edge. Parts of this body of work are the closest Misrach has come to portraiture, though while human figures are present, they are dwarfed in the vast landscape—usually comprised entirely of the sea. The artist obscures their faces, or captures them obscuring themselves, wrapping their bodies in a towel or holding up a newspaper to protect their skin from the scorch of sun. The natural world remains the central character—powerful and unknowable. Nineteenth-century Romanticism filters through Misrach’s Californian sensibility to yield a new sublime.
The first On the Beach series was named after Nevil Shute’s 1957 post-apocalyptic novel that ends with a couple in a submarine searching for other surviving humans. However, Misrach’s messages of warning—his recent book Petrochemical America documents chemical run-off in the Mississippi, an area known as Cancer Alley—have not prevented him from depicting the magnificence of the earth, all the while exploring issues relating to the planet’s potential destruction.
Some of Misrach’s first artistic forays took place in the desert, where he drove around in a van with a cumbersome 8 x 10 view-camera. New digital equipment permits him to photograph with speed, capturing a couple shifting through the movements of a tandem surfing routine, or in low light to arrest subtle tones of the sea at dawn or dusk.
The individual works have neutral titles, reflecting the date and time that they were made (Untitled, February 14, 2012, 6:19 PM). By contrast, the exhibition title, On the Beach 2.0, conjures Silicon Valley and software technology with built-in obsolescence, as rusted and dated as the Sputnik that was launched into orbit the same year that Shute’s On the Beach was published. By contrasting temporal moments with the unfathomable qualities of the sea, Misrach—typically interested in physically liminal spaces—turns his attention to the metaphysical shifts in consciousness that may occur while surrounded by the sea.
Richard Misrach (b. 1949, Los Angeles) received a B.A. in 1971 from the University of California, Berkeley. He is the recipient of numerous awards, including four National Endowment for the Arts Fellowships (1973, 1977, 1984, 1992), a Guggenheim Fellowship (1979), the International Center of Photography Infinity Award for a Publication (1988), the Kulturpreis for Lifetime Achievement in Photography from the German Society of Photography (2002), and the Lucie Award for Achievement in Fine Art Photography (2008).
Misrach’s photographs have been the subject of numerous exhibitions and can be found in over 50 museum collections worldwide, including the Centre Pompidou, Paris; the High Museum of Art, Atlanta; the Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Houston; the Museum of Modern Art, New York; the National Gallery of Art, Washington, D.C.; the San Francisco Museum of Modern Art; and the Whitney Museum of American Art, New York.
Monographs of his work include: Telegraph 3 A.M.: The Street People of Telegraph Avenue, Berkeley (1974); Desert Cantos (1987); Bravo 20: The Bombing of the American West (1990); Violent Legacies: Three Cantos (1992); Crimes and Splendors: The Desert Cantos of Richard Misrach (1996); The Sky Book (2000); Richard Misrach: Golden Gate (2001); Pictures of Paintings (2002); Chronologies (2005); On the Beach (2007); Destroy This Memory (2010); Petrochemical America (2012); and Golden Gate (2012).
Misrach lives in the San Francisco Bay Area and works predominantly in the American West. He has been represented by Pace/MacGill Gallery since 2002. For more information about Richard Misrach: On The Beach 2.0 or press requests, please contact Sarah Goulet at Pace, sgoulet@pacegallery.com / 212.421.8987, or Nicollette Eason at Pace/MacGill Gallery, nicollette@pacemacgill.com / 212.759.7999. For general inquiries, please email info2@pacegallery.com.
Chelsea 510 West 25th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-255-4044 info2@pacegallery.com
Opening Friday May 03, 2013
Disclosures Anna Ostoya and Barbara Leoniak Bortolami Opening Friday May 03, 2013, from 6:00 PM to 8:00 PM On View May 03, 2013 - June 22, 2013 www.bortolamigallery.com
ANNA OSTOYA AND BARBARA LEONIAKDISCLOSURES (TEXT) BY ANNA OSTOYA
1. DESIRES
MY DESIRES WERE GRAND.
I WANTED TO CHALLENGE HOW ART IS SEEN AND PRODUCED.
AS IF MAKING A COLLAGE, I AIMED TO REARRANGE FAMILIAR ELEMENTS.
I WANTED TO ADDRESS THE MARKET AND ITS DECADENCE.
I WANTED TO ADDRESS THE ART-WORLD AND ITS CYNICISM.
I WANTED TO ADDRESS GENDER AND ITS INEQUALITY.
I WANTED TO SAY NO TO THEM.
I WANTED TO CONTRIBUTE TO THE COMMON GOOD.
2.THE PLAN
I PLANNED TO INVITE BARBARA LEONIAK, A SCULPTOR AND MY FIRST ART MENTOR, TO EXHIBIT WITH ME.
I PLANNED TO PAINT LARGE CANVASES.
I PLANNED TO WRITE ABOUT DISCLOSURES.
Bortolami is pleased to announce the exhibition Disclosures, featuring new works by Anna Ostoya and Barbara Leoniak. As the centerpieces of her second show at the gallery, Ostoya presents four paintings and a text piece. Leoniak, who was invited by Ostoya to collaborate on the show, presents a series of six sculptures.
Painted over a period of two years, Ostoya’s works are semi-abstract compositions in oil on canvas. The artist based them on both reproductions of figurative works by early 20th century artists, and a snapshot of a recent social situation involving an eminent art-historian and a distinguished artist. Ostoya’s text piece Disclosures (Text) presents her desires for the exhibition and the ideas that shaped it.
The Leoniak’s sculptures respond to Ostoya’s sources. Modeled using strips of cardboard dipped in resin, they reinterpret Ostoya’s imagery through another medium and sensibility. While Ostoya’s paintings fragment the appropriated figures, Leoniak’s sculptures reconstitute them as fanciful anthropomorphic fillets.
The show embraces a modernist tradition of object-based art, yet it aims to situate each work in a dialogue with its spatial and conceptual context. The works can be viewed as autonomous paintings and sculptures, but they can also be seen in relation to each other and to Disclosures (Text). In this way, the overall constellation surpasses the meaning of any single piece and the intentions of either artist.
The works in this show also revisit key moments in the history of the avant-garde, but they belie that history’s rhetoric of discontinuity and rupture. While the historic works, the key objects of appropriation, represent important episodes of vanguard criticality, Ostoya and Leoniak both embrace and subvert this tradition. They impishly mock the avant-garde “boys’ club” while acknowledging its social and political relevance in an age of inequality and unrest.
Underlying this whole endeavor is a belief in continuity. The dialogues between these paintings and sculptures as well as between the objects and text reflect a deeper commonality of voices and ideas. The contributions of each artist are manifestly distinct, but they are never univocal.
Although Leoniak was Ostoya’s first artistic mentor, the exhibition presents this relationship as polymorphous and non-hierarchical. Just as their appropriations of modern art emphasize recurrence over formal innovation, their dialogue places artistic continuity and communication over Oedipal competition. Such engagements seek to redefine artistic practice as inherently collaborative and to present the history of art as a conversation rather than a sequence of monologues.
Anna Ostoya is an artist living in Brooklyn. She graduated from the Whitney Independent Study Program in 2009. Her work has appeared in Manifesta 7, Rovereto, the 2nd Athens Biennial, and other exhibitions internationally. It will also be included in the forthcoming show New Photography at the Museum of Modern Art in New York.
Barbara Leoniak is an artist living in Cracow. She graduated from the Academy of Fine Arts there in 1977. Her work was shown internationally in the 1980s, and she received a golden leaf medal, in 1985, and a silver metal, in 1990, at the Winter Sculpture Salon in Warsaw.
Chelsea 520 West 20th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-727-2050 info@bortolamigallery.com
Opening Friday May 03, 2013
Rosaire Appel - Untranslated
Untranslated: Sequences, Solos and Books Rosaire Appel Schema Projects Opening Friday May 03, 2013, from 6:00 PM to 9:00 PM On View May 03, 2013 - May 26, 2013 www.schemaprojects.com
Schema Projects is pleased to present an exhibition of works by author and artist Rosaire Appel. After painting for several years, Appel took up writing; she was intrigued by the idea of applying certain concepts of painting to fiction and also began to work with photography. Much of her work is an exploration of the territory that lies between word and image. Her most recent work uses the computer but the richness and complexity found here, sit solidly on a background in visual arts.
Included in Untranslated: Sequences, Solos and Books are her abstract comics, a new visual form, here presented in single cell, multiple cell or accordion fold format and limited edition books. Created solely by digital means, these prints have surprising richness and drama and contain a lacework of visual and linguistic references: a whiff of film noir, a dash of pop iconography, a glimpse down an alley in sharp winter sun, a warped reflection on the top of an oil slick, some fractured calligraphy; her work presents a wreathing morphology. Further enhancing these effects is Appel’s deft use of scale and varying paper finish (glossy vs matt) in the creative process. Out of digital means, not unlike a darkroom, these rich and disorienting collages emerge, and invest the youthful comic book art form with a new mature twist. This overview of her recent works will include chapbooks, handmade books, digital prints and singular stand alone works, all in print media on paper.
Born in New York City, Rosaire Appel grew up in a variety of small towns before returning to the city to study art and writing. Two of her novels were published in the nineties and her photographs and drawings have been exhibited locally. Embracing technology, Appel learned digital graphics through tutorials that were included with early graphic software. As a digital artist, she has exhibited widely online and in print publications, as well as participated in numerous gallery exhibits. Her work is well-recognized and respected in the international communities of abstract comics and asemic writing and she is a long-standing member of the art book community.
Schema Backspace:
Carmon Colangelo: Glocal Yocals, Drawings, Sketches and Other Recent Musings
Here we present Carmon Colangelo’s random collage installations and sketchbooks in stream of consciousness fashion. Carmon Colangelo’s recent work muses about cultural narratives, urban life, human ecologies, sustainability, globalism, social networking, transcendence, and recording everyday ideas. Using printed media, text, and juxtaposing the iconography from modernism with conceptual artmaking strategies, Colangelo’s sketchbooks and drawings record fleeting messages and digital flotsam composed of watercolor, prisma color, graphite, ink, digital media and collage and drawing assemblage. Glocal Yocals is a play on global and local communities mapped by images and ephemeral media as well as our changing notions about place and shifts between geographic location and local identity while contemplating a globalized future. Two new wall collage/drawing installations will be featured for the first time at Schema Projects.
Born in Toronto, Canada, Carmon Colangelo received his M.F.A. from Louisiana State University, Baton Rouge, Louisiana. His work has been exhibited widely in the United States as well as in Canada, Italy, Puerto Rico, Mexico and Korea. His works are in collections at the National Museum of American Art, the Whitney Museum of American Art, the Saint Louis Art Museum, and the Fogg Art Museum at Harvard University. He is the Dean of the Sam Fox School of Design & Visual Arts at Washington University in St. Louis and holds the E. Desmond Lee Professor for Collaboration in the Arts.
Chelsea 92 St Nicholas Ave, Brooklyn NY, 11237 Friday from 1:00 PM to 5:00 PM
Saturday - Sunday from 1:00 PM to 6:00 PM
info@schemaprojects.com
Opening Friday May 03, 2013
Silent Partner Vincent Pomilio, Rimi Yang, Sally Egbert and Mary Schiliro IMOGEN HOLLOWAY GALLERY Opening Friday May 03, 2013, from 6:00 PM to 10:00 PM On View May 03, 2013 - May 25, 2013 www.ihgallery.com
The Tri-State Area 81 Partition Street, Saugerties NY, 12477 Friday - Saturday from 12:00 PM to 5:00 PM
Sunday from 11:00 AM to 5:00 PM
347-387-3212 diane@ihgallery.com
Opening Friday May 03, 2013
Phillip Buntin, Untitled, 2013, Acrylic on canvas, 36" x 36" ©2013RobertHenryContemporary
On Not Knowing Phillip Buntin Robert Henry Contemporary Opening Friday May 03, 2013, from 6:00 PM to 9:00 PM On View May 03, 2013 - June 09, 2013 www.roberthenrycontemporary.com
Phillip Buntin’s paintings in acrylic on canvas and enamel on Plexiglas are visual explorations of complexity, ambiguity and understanding. He explores the experiential aspects of incompleteness by creating abstract structures that are explorations between categories of thought in philosophy, science and art. This exhibition will feature 10 new works.
In pursuit of something elusive and unstable, layers of graphs, charts and notations taken from varied scientific sources offer copious amounts of conflicting, complex information without necessarily understanding. Always in motion or states of change, his compositions allude to our strivings and limitations when seeking to understand the phenomenal world. Buntin is interested in how we come to terms with complexity and how complex phenomena always on some level elude our grasp. Just as reality itself is ephemeral, so too are the understandings we construct in the attempt to come to terms with such complexity. Buntin says, “It is my hope that…my viewers realize through absence that our interpretations and understandings of complex phenomena are illuminating yet incomplete, and as such, are always open to reevaluation.”
Phillip Buntin received a BS in Psychology from Kennesaw State University, Kennesaw, GA in 1989, a BFA in 1997 from The Atlanta College of Art and an MFA from the University of Connecticut, Storrs CT in 2002. His work has been exhibited nationally since 1998. He teaches art at the Trumbull Campus of Kent State University in Warren, OH, where he lives and maintains his studio.
Bushwick / Ridgewood 56 Bogart Street, Brooklyn NY, 11206 Thursday - Sunday from 1:00 PM to 6:00 PM
718-473-0819