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Editor's Pick
Hopper Drawing Whitney Museum of American Art Curated by Carter E. Foster Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - October 06, 2013 www.whitney.org
Hopper Drawing is the first major museum exhibition to focus on the drawings and creative process of Edward Hopper (1882—1967). More than anything else, Hopper’s drawings reveal the continually evolving relationship between observation and invention in the artist’s work, and his abiding interest in the spaces and motifs—the street, the movie theatre, the office, the bedroom, the road—that he would return to throughout his career as an artist. This exhibition showcases the Whitney’s unparalleled collection of Hopper’s work, which includes over 2,500 drawings bequeathed to the museum by his widow Josephine Hopper, many of which have never before been exhibited or researched. The exhibition will survey Hopper’s significant and underappreciated achievements as a draftsman, and will pair many of his greatest oil paintings, including Early Sunday Morning (1930), New York Movie (1939), Office at Night (1940) and Nighthawks (1942), with their preparatory drawings and related works. This exhibition also features groundbreaking archival research into the buildings, spaces and urban environments that inspired his work.
Hopper Drawing is organized by Carter E. Foster, Steven and Ann Ames Curator of Drawing.
The Upper East Side 945 Madison Avenue at 75th Street, New York NY, 10021 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
Opening Thursday May 23, 2013
Hopper Drawing Whitney Museum of American Art Curated by Carter E. Foster Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - October 06, 2013 www.whitney.org
Hopper Drawing is the first major museum exhibition to focus on the drawings and creative process of Edward Hopper (1882—1967). More than anything else, Hopper’s drawings reveal the continually evolving relationship between observation and invention in the artist’s work, and his abiding interest in the spaces and motifs—the street, the movie theatre, the office, the bedroom, the road—that he would return to throughout his career as an artist. This exhibition showcases the Whitney’s unparalleled collection of Hopper’s work, which includes over 2,500 drawings bequeathed to the museum by his widow Josephine Hopper, many of which have never before been exhibited or researched. The exhibition will survey Hopper’s significant and underappreciated achievements as a draftsman, and will pair many of his greatest oil paintings, including Early Sunday Morning (1930), New York Movie (1939), Office at Night (1940) and Nighthawks (1942), with their preparatory drawings and related works. This exhibition also features groundbreaking archival research into the buildings, spaces and urban environments that inspired his work.
Hopper Drawing is organized by Carter E. Foster, Steven and Ann Ames Curator of Drawing.
The Upper East Side 945 Madison Avenue at 75th Street, New York NY, 10021 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
Opening Thursday May 23, 2013
DAVID HOCKNEY: THE JUGGLERS Whitney Museum of American Art Curated by Chrissie Iles Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - September 01, 2013 www.whitney.org
This exhibition marks the U.S. premiere of David Hockney’s first video installation: The Jugglers, June 24th 2012 (2012). Filmed using eighteen fixed cameras, this multiscreen tableau shows a group of jugglers as they move in a procession across a grid of eighteen screens. The figures, dressed in black and juggling brightly colored objects, perform in front of a pink wall and on a blue floor, creating a vibrant, colorful composition whose energy is echoed by a lively musical soundtrack. Hockney’s creation of a composite image from multiple perspectives places the choice of where to look with the viewer, demonstrating his ongoing interest in how technologies can open up new ways of looking at, and making, images.
David Hockney: The Jugglers is organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator.
The Upper East Side 945 Madison Avenue at 75th Street, New York NY, 10021 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
Opening Thursday May 23, 2013
Windows on Fifth: Jennifer Steinkamp National Academy Museum Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - September 08, 2013 www.nationalacademy.org
Jennifer Steinkamp’s video installation, The Vanquished, is a stunning homage to Auguste Rodin.
The Upper East Side 1083 Fifth Avenue (at 89th Street), New York NY, 10128 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-369-4880
Opening Thursday May 23, 2013
William Trost Richards: Visions of Land and Sea National Academy Museum Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - September 08, 2013 www.nationalacademy.org
This exhibition reveals the Academy’s rich collection of work by the major landscape and marine specialist William Trost Richards. The majority of these oils, watercolors and graphite drawings have never before been on public view.
The Upper East Side 1083 Fifth Avenue (at 89th Street), New York NY, 10128 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-369-4880
Editor's Pick
DAVID HOCKNEY: THE JUGGLERS Whitney Museum of American Art Curated by Chrissie Iles Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - September 01, 2013 www.whitney.org
This exhibition marks the U.S. premiere of David Hockney’s first video installation: The Jugglers, June 24th 2012 (2012). Filmed using eighteen fixed cameras, this multiscreen tableau shows a group of jugglers as they move in a procession across a grid of eighteen screens. The figures, dressed in black and juggling brightly colored objects, perform in front of a pink wall and on a blue floor, creating a vibrant, colorful composition whose energy is echoed by a lively musical soundtrack. Hockney’s creation of a composite image from multiple perspectives places the choice of where to look with the viewer, demonstrating his ongoing interest in how technologies can open up new ways of looking at, and making, images.
David Hockney: The Jugglers is organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator.
The Upper East Side 945 Madison Avenue at 75th Street, Brooklyn 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
Opening Thursday May 23, 2013
DAVID HOCKNEY: THE JUGGLERS Whitney Museum of American Art Curated by Chrissie Iles Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - September 01, 2013 www.whitney.org
This exhibition marks the U.S. premiere of David Hockney’s first video installation: The Jugglers, June 24th 2012 (2012). Filmed using eighteen fixed cameras, this multiscreen tableau shows a group of jugglers as they move in a procession across a grid of eighteen screens. The figures, dressed in black and juggling brightly colored objects, perform in front of a pink wall and on a blue floor, creating a vibrant, colorful composition whose energy is echoed by a lively musical soundtrack. Hockney’s creation of a composite image from multiple perspectives places the choice of where to look with the viewer, demonstrating his ongoing interest in how technologies can open up new ways of looking at, and making, images.
David Hockney: The Jugglers is organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator.
The Upper East Side 945 Madison Avenue at 75th Street, Brooklyn 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
Opening Thursday May 23, 2013
Jeffrey Gibson: Said the Pigeon to the Squirre National Academy Museum Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - September 08, 2013 www.nationalacademy.org
Gibson's work has established him as a leading artist of his generation. A member of the Mississippi Band of Choctaw Indians, he explores notions of identity and modernism within a contemporary context.
The Upper East Side 1083 Fifth Avenue (at 89th Street), New York NY, 10128 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-369-4880
Opening Thursday May 23, 2013
Visualizing Time: Narrative Prints from the National Academy Museum Selected by Andrew Raftery, NA National Academy Museum Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - September 08, 2013 www.nationalacademy.org
Showcasing a selection of narrative prints from the Academy's collection, National Academician Andrew Raftery's examination focuses on how printmakers structured the representation of time as they created narratives that were comprehensible to their original audiences and compelling today.
The Upper East Side 1083 Fifth Avenue (at 89th Street), New York NY, 10128 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-369-4880
Screening Thursday May 23, 2013
STREAMING MARATHON EXPO 1: NEW YORK MoMA PS1 Screening Thursday May 23, 2013, from 12:00 PM to 4:00 PM www.momaps1.org
In addition to the cinema program, a marathon screening will be presented in collaboration with Are.na, an internet software enabling users to collect and share media through topical channels. Continuously streaming material can be accessed online at any time focused on EXPO 1: New York’s themes and submitted by EXPO participants, organizers, and audiences.
Long Island City 22-25 Jackson Ave., Long Island City NY, 11101718-784-2084 mail_ps1@moma.org
Screening Thursday May 23, 2013
Film Series: The Cinema of Immigration I REMEMBER MAMA Queens Museum of Art Screening Thursday May 23, 2013, from 2:00 PM to 5:00 PM www.queensmuseum.org
I REMEMBER MAMA (1948), directed by George Stevens, 134 min. Irene Dunne stars in this adaptation of Kathryn Forbes’ memoir about growing up in a Norwegian immigrant family in San Francisco. With Barbara Bel Geddes.
This 10-week series explores the immigrant experience in the U.S. through films that reflect its ethnic and cultural diversity. Mark Ethan introduces each screening and leads discussion afterwards.
Mark Ethan, a member of the Actors Studio, has appeared in films including “The Secret Lives of Dentists,” “The Confession” and “Lesser Prophets.” He has been presenting the Film Series at the Queens Museum of Art since 1998, and a variety of cinema classes for 92Y since 2003.
Rest Of Queens New York City Building, Flushing Meadows Corona Park, Queens NY, 11368718-592-9700
Lecture / Artist Talk Thursday May 23, 2013
JOHN MILLER EXPO 1: NEW YORK MoMA PS1 Lecture / Artist Talk Thursday May 23, 2013, from 2:00 PM to 4:00 PM www.momaps1.org
John Miller, whose installation A Refusal to Accept Limits is on view at EXPO 1: New York, is an artist and writer based in New York and Berlin, and a professor of professional practice at Barnard. He will discuss Vilem Flusser’s Toward a Philosophy of Photography and describe the impact of cybernetic information technologies on future social structure.
Long Island City 22-25 Jackson Ave., Long Island City NY, 11101718-784-2084 mail_ps1@moma.org
Lecture / Artist Talk Thursday May 23, 2013
Public Sewing / Hangout Days Amanda Browder: PRISM/LIVIN/ROOM Allegra LaViola Gallery Lecture / Artist Talk Thursday May 23, 2013, from 3:00 PM to 6:00 PM www.allegralaviola.com
Come sew, learn to sew, trim, hand sew, chat, alter, draw, chill out..... Amanda Browder will be in the Project Space transforming her installation PRISM/LIVIN/ROOM into a new configuration. Join us and hang out!
DONATE! (do you have fabric you would like to get rid of?)
Bring it to the space, and we can add it to the show...or a future building piece!
All levels, all ages, No experience necessary!
The East Village / Lower East Side 179 East Broadway, New York NY, 10002allegra@allegralaviola.com
Screening Thursday May 23, 2013
COURTESY NAOMI UMAN
NAOMI UMAN: UKRAINIAN TIME MACHINE: VIDEO DIARY 2-1-2006 TO THE PRESENT EXPO 1: NEW YORK MoMA PS1 Screening Thursday May 23, 2013, 4:00 PM www.momaps1.org
Ukrainian Time Machine: Video Diary 2-1-2006 to the Present (2011) by Naomi Uman, video, 83 min, Ukraine/United States
“In 2006, experimental filmmaker Uman returned to the Ukraine, where her great-grandparents had lived a hundred years earlier. While there, she used a 16mm camera to capture rural life and a video camera to record her personal experiences, which she assembled into Video Diary 2-1-2006 to the Present. The elder babushky welcomed her warmly, but she struggled to adapt to local customs. Uman’s “reverse immigration” develops into a revealing personal narrative exploring gender disparity, the history of Judaism, and global immigration.” – MoMA Documentary Fortnight
Long Island City 22-25 Jackson Ave., Long Island City NY, 11101718-784-2084 mail_ps1@moma.org
Opening Thursday May 23, 2013
Shio Kusaka, 2013
SHIO KUSAKA Anton Kern Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 23, 2013 - June 22, 2013 www.antonkerngallery.com
Chelsea 532 West 20th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-367-9663
Lecture / Artist Talk Thursday May 23, 2013
At The Same Time / Launch and Reception Printed Matter Lecture / Artist Talk Thursday May 23, 2013, from 6:00 PM to 8:00 PM www.printedmatter.org
At the Same Time is a self-published photography book by six artists: Steven Beckly, Dylan MacNeil, Ted Kerr, Zachary Ayotte, Colin Quinn and Oisín Share. Drawing and expanding on a variety of photographic traditions, the collaboration explores the nature and development of their romantic relationships from three different parts of the world over the past three years. Features essays by AA Bronson, Paul Mgapi Sepuya, and Sholem Krishtalka. Some of the artists will be present to sign copies.
Chelsea 195 Tenth Avenue, New York NY, 10011212-925-0325
Editor's Pick
Daniel Lefcourt: Modeler Mitchell-Innes & Nash Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 23, 2013 - June 29, 2013 www.miandn.com
Mitchell-Innes & Nash is pleased to present our first solo exhibition of Daniel Lefcourt. Daniel Lefcourt: Modeler will include new paintings and graphite panels within a modified exhibition framework.
The exhibition title Modeler evokes someone – or something – making a scale model construction. It is this emphasis on making that captures Lefcourt’s interest: a fixation on material process in relation to simulation.
This dynamic between making and simulating is played out at every level of the exhibition. Unpainted false walls, of a type used in theatre production, imply that the exhibition itself is a type of model. Fiberboard panels entitled Drawing Boards have been machined using a computer controlled wood-router, and delicately finished by hand with graphite.
This layering of simulated and physical procedures is performed most elaborately in the paintings. Even the very act of painting is modeled – enacted at a micro scale on a platform in the artist’s studio. Fleeting material transformations – often on a scale invisible even to the artist – are captured using a macro lens on a digital camera. Later, these transitory moments are recreated in large pictorial-relief using a combination of digital 3D modeling, computer controlled machining, sculptural casting, and finally adhering a cast film of paint onto the surface of a canvas. While the production of the work is technologically mediated, the artist is keenly attentive to the vagaries of materials – allowing for chance occurrences in each stage of the process to function as generative elements of each individual work. The final result is a body of work that is simultaneously luminous and concrete, immediate and distant, uncannily simulated and corporeally present.
Daniel Lefcourt was born in New York and lives and works in Brooklyn. He received his MFA from Columbia University and is a member of the faculty of the Rhode Island School of Design. Lefcourt has exhibited in museums and galleries worldwide, including solo exhibitions at Taxter & Spengemann in New York, Campoli Presti in Paris, Sutton Lane in London, and at White Flag Projects in St. Louis. His work has been included in numerous group exhibitions including First Among Equals at ICA Philadelphia; Knight’s Move at Sculpture Center in Long Island City, New York; Reel to Real: Photographs from the Traina Collection at the de Young Museum in San Francisco; and Greater New York at MoMA P.S.1 Contemporary Art Center, Long Island City, NY. His upcoming web project hosted by the Dia Center will launch in the Fall of 2013 and will be available as a working preview at diacenter.org/lefcourt beginning June 1.
Chelsea 534 West 26th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-744-7400 josie@miandn.com
Opening Thursday May 23, 2013
Daniel Lefcourt: Modeler Mitchell-Innes & Nash Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 23, 2013 - June 29, 2013 www.miandn.com
Mitchell-Innes & Nash is pleased to present our first solo exhibition of Daniel Lefcourt. Daniel Lefcourt: Modeler will include new paintings and graphite panels within a modified exhibition framework.
The exhibition title Modeler evokes someone – or something – making a scale model construction. It is this emphasis on making that captures Lefcourt’s interest: a fixation on material process in relation to simulation.
This dynamic between making and simulating is played out at every level of the exhibition. Unpainted false walls, of a type used in theatre production, imply that the exhibition itself is a type of model. Fiberboard panels entitled Drawing Boards have been machined using a computer controlled wood-router, and delicately finished by hand with graphite.
This layering of simulated and physical procedures is performed most elaborately in the paintings. Even the very act of painting is modeled – enacted at a micro scale on a platform in the artist’s studio. Fleeting material transformations – often on a scale invisible even to the artist – are captured using a macro lens on a digital camera. Later, these transitory moments are recreated in large pictorial-relief using a combination of digital 3D modeling, computer controlled machining, sculptural casting, and finally adhering a cast film of paint onto the surface of a canvas. While the production of the work is technologically mediated, the artist is keenly attentive to the vagaries of materials – allowing for chance occurrences in each stage of the process to function as generative elements of each individual work. The final result is a body of work that is simultaneously luminous and concrete, immediate and distant, uncannily simulated and corporeally present.
Daniel Lefcourt was born in New York and lives and works in Brooklyn. He received his MFA from Columbia University and is a member of the faculty of the Rhode Island School of Design. Lefcourt has exhibited in museums and galleries worldwide, including solo exhibitions at Taxter & Spengemann in New York, Campoli Presti in Paris, Sutton Lane in London, and at White Flag Projects in St. Louis. His work has been included in numerous group exhibitions including First Among Equals at ICA Philadelphia; Knight’s Move at Sculpture Center in Long Island City, New York; Reel to Real: Photographs from the Traina Collection at the de Young Museum in San Francisco; and Greater New York at MoMA P.S.1 Contemporary Art Center, Long Island City, NY. His upcoming web project hosted by the Dia Center will launch in the Fall of 2013 and will be available as a working preview at diacenter.org/lefcourt beginning June 1.
Chelsea 534 West 26th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-744-7400 josie@miandn.com
Performance Thursday May 23, 2013
Volumes for Sound Closing Reception Melissa Dubbin and Aaron S. Davidson Recess Performance Thursday May 23, 2013, from 6:00 PM to 8:00 PM www.recessart.org
March 26 – May 25, 2013
Middling reception: April 17, 6-8pm
Performance by Richard Sides: May 1, 2013, 7-9pm (ongoing, stop in anytime)
Closing Reception: May 23, 6-8pm
On March 26, Melissa Dubbin and Aaron S. Davidson will begin work on Volumes for Sound as part of Recess’ signature program, Session. Session invites artists to use Recess’ public space as studio, exhibition venue, and grounds for experimentation.
Over the course of their Session, Dubbin and Davidson will create new works influenced by the geometries of sound. Funneling, folding and porting sound requires physical structures. Electric guitar amplifiers and cabinets make use of an imperfect architecture for energy, while acting as totems delineating an ancestry of sound amplification. These forms address archaeoacoustics and the pre-electrical harnessing of sound within architecture, while employing the staggered geometries of loudspeaker time-alignment and the slurred voicing of phase cancellation.
The artists will use photography as a method of recording various conditions. Sound waves reach our ears after traveling along different paths that describe overlapping triangles; a folded, warped and sonified camera-obscura. Cameras render an optical compression of tones akin to a constrained dynamic range in the audible realm. An image’s lack of sound becomes a way of defining the aural.
This Session will continue themes developed in earlier iterations of Volumes for Sound. Earlier works used untreated fiberboard sculptures as objects with potential for sound. These forms descend from familiar objects drawn together in domestic and architectural situations – such as the triangulation that occurs when a listener sits in a chair in front of a pair of speakers. This triangulation is collapsed into objects containing several variations for configuration. Artists were invited to create performances using the volumes. Between events they were left silent and photographs provided evidence of the previous configurations.
The artists will punctuate their Session with informal performances and presentations.
About the artists:
Melissa Dubbin and Aaron S. Davidson have an ongoing collaborative practice that combines various media. Recent solo shows include exhibitions at Audio Visual Arts (AVA), New York City (2013), Henie Onstad Kunstsenter, Høvikodden, Norway (2012), and The Living Art Museum, Reykjavik, Iceland (2012). They have exhibited internationally at museums, galleries, and art centers including SculptureCenter, New York; Exit Art, New York; New Museum of Contemporary Art, New York; 2004 Gwangju Biennale, S. Korea; and Moderna Museet, Stockholm.
Dubbin and Davidson live in Brooklyn, New York.
Soho 41 Grand Street, New York NY, 10013646-863-3765 info@recessactivities.org
Editor's Pick
GENIUS OF LOVE EJ Hauser, Jaqueline Cedar, Andrea Belag, Shara Hughes, Rick Briggs, Farrell Brickhouse and Emily Noelle Lambert Brian Morris Gallery Curated by Jason Stopa Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 22, 2013 - June 23, 2013 www.brianmorrisgallery.com
The East Village / Lower East Side 163 Chrystie Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
347-261-8228 info@brianmorrisgallery.com
Opening Thursday May 23, 2013
GENIUS OF LOVE EJ Hauser, Jaqueline Cedar, Andrea Belag, Shara Hughes, Rick Briggs, Farrell Brickhouse and Emily Noelle Lambert Brian Morris Gallery Curated by Jason Stopa Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 22, 2013 - June 23, 2013 www.brianmorrisgallery.com
The East Village / Lower East Side 163 Chrystie Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
347-261-8228 info@brianmorrisgallery.com
Opening Thursday May 23, 2013
Monkey Face: Pictures for Looking At, Drawing for Photography Jason Evans Aperture Gallery and Bookstore Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 23, 2013 - July 03, 2013 www.aperture.org
Jason Evans’s photographs circulate in many worlds, from fashion magazines and websites to record covers and museums, and he’s often interested in subverting the conventions of the genres and venues in which he works. Such is the case with this portfolio of seventeen images, which is the first such series Evans has created for photography collectors.
Evans, whose work was featured in Aperture 210, takes advantage of the nebulous understanding we have of the term photographer, its applicability to artists and amateurs alike. The academic language of the art world is not for him; with Evans’s photographs, visual pleasure reigns over conceptual armature. These works, all titled Monkey Face, are part of his ongoing series Pictures for Looking At, Drawing for Photography. They consist of Evans’s own photographs, to which he has applied brightly colored stickers, mainly from Japan and Germany. The stickers’ patterns are randomly and intuitively generated, and create an oscillation between foreground and background, image and abstraction, pattern and randomness. The resultant works are a workout for the eyes and the mind, a visual exercise that can be understood by everyone who encounters them. As Evans says, “I’d rather see something than look at it, but you can only see by looking. When you really see something you get the feeling.” Over time, the stickers will lose their grip on the photographic prints; they will fall off the surface, collect at the bottom of the frame, and reveal more of Evans’s original images.
For information regarding print sales and additional jpgs, contact prints@aperture.org.
Jason Evans (born in Holyhead, Wales, 1968) first fell in love with photography at the age of 12 when he was lucky enough to capture a bolt of lightning over the desert where he grew up. It was with his first camera which had 3 aperture settings; sunny, partly cloudy and cloudy. That rush stayed in him and years later he strives to capture that electric moment whether it is at the peak of athletic performance or in the clarifying pauses of preparation and reflection. His work has been recognized by Photo District News, American Photographic Artists, and with a solo exhibit at the Newport Art Museum. Clients include Hewlett Packard, The International Olympic Committee, Nike, TaylorMade, and Toyota.
Chelsea 547 West 27th Street, New York NY, 10001
Opening Thursday May 23, 2013
From Tree to Sea, 2011-2013, Oil, watercolor, charcoal, graphite on paper and linen, 68 X 64 inches
On Country Ground Darius Yektai Tripoli Gallery Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 23, 2013 - June 20, 2013 www.tripoligallery.com
Southampton, NY – The Tripoli Gallery is pleased to open its summer season with an exhibition of new paintings by Darius Yektai, entitled, On Country Ground. The show will open with a reception for the artist on Thursday, May 23rd, from 6 to 8 pm.
Born in Southampton, NY, and having lived out here for the last 12 years Darius Yektai is, as the title implies, simply on country ground. His studio and love for nature is cradled in our small community but his vision extends beyond our shores. “It is only here where the beaches run for miles and the sky is unrestricted that I can breathe at ease and focus on the complexities in the painted surface of my work." he has said. We know from looking at his newest work on view at the gallery that this surface he labors on is of the utmost concern to the artist.
The subjects of his recent work are not necessarily from or of the east end; they vary from the young at swimming holes in the Adirondacks to cliffscapes in Mallorca and St. Barths. But what they do all share is a sense of landscape as armature for the physical act of his painting. The figure/ground relationship of his brushstrokes and the figure/ground relationship of his subjects seem to create an interesting plane for contemplation -a metaphysical surface for his didactic painting.
In the painting “From Tree to Sea”, 2012-2013, a bathing suit clad man casually with arms up hangs from a tree branch overlooking a mountainous cove. The man and tree branch are rendered in watercolor and charcoal on paper. They have been folded, cut, and pasted in oil paint to the painted image of the cove. Mr. Yektai is using paint in two distinct and separate ways. It is being used both as to the service of illusory depth as in the verisimilitude of the distant landscape that falls behind the figure receding into space, and paint as to the service of adhesion, a quality that speaks about the nature of the material and that floats on the surface of the canvas. It is in this way that Mr. Yektai’s work is activated. He is constantly shifting his approach to the painting, and the paint is constantly negotiating itself as truth in material and to the illusion of representation.
Darius Yektai studied at Occidental College in Los Angeles, and the American University in Paris where he completed his BA in art history. Over the years, his work has been recognized with various awards including, Best Representational Work (2010), Best Sculpture (2008), and Best In Show (2002), from Guild Hall’s annual members show. This will be his second solo exhibition at the Tripoli Gallery.
For press inquiries or further information, please contact info@tripoligallery.com or call 631.377.3715
Long Island / The Hamptons 30a Jobs Lane, Southampton NY, 11968 Monday - Sunday from 11:00 AM to 6:00 PM
631-377-3715 info@tripoligallery.com
Opening Thursday May 23, 2013
(Installation shot)
The Battle of Carnival and Lent Judith Schaechter Claire Oliver Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 23, 2013 - June 29, 2013 www.claireoliver.com
Please join us for the opening reception with the Artist:
Thursday, May 23rd from 6 to 8 p.m.
Schaechter draws on mythology, the Bible, and even famous works of art from ages past for her archetypes struggling with an angel on one shoulder and a devil on the other. "When I saw Judith's new works, my thoughts went to Guernica, Bruegel and Diego River's murals on industry or Otto Dix's paintings looking at war. She's (Schaechter) looking at this moment and the issues of humanity and those artists were too."
Elisabeth Argo, Curator at the Philadelphia Museum of Art
Chelsea 513 West 26th Street, New York New York, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-929-5949 info@claireoliver.com
Performance Thursday May 23, 2013
Photo of Karen Finley by Timothy Greenfield-Sanders
“Sext Me if You Can” by Karen Finley Performance and Installation New Museum Performance Thursday May 23, 2013, from 6:00 PM to 9:00 PM www.newmuseum.org
Presented as part of NEA 4 in Residence.
“Sext Me if You Can” is an interactive performance installation taking place in the New Museum Lobby in full view of Museum visitors. For this performance, Karen Finley creates a limited edition of paintings inspired by “sexts” that she receives from participating patrons. Participation takes the form of a commission and requires a ten-minute private and anonymous sitting on-site during announced performance times (bring your own cell phone!). Through this process, the erotic exchange with the artist—bound by rules of commerce—transforms into a lasting and collectible work of art. For more information on how to participate, please see below.
KAREN FINLEY’S LIMITED EDITION “SEXT ME IF YOU CAN” PAINTINGS ON COMMISSION AT THE NEW MUSEUM STORE
Thursday May 23–Sunday May 26
New Museum Store patrons are invited to commission a participatory work of art by Karen Finley for their personal collection. Here’s how it works: Patrons who wish to participate process their commissioning fee online or in person at the New Museum Store and are subsequently provided with a time to be present for a ten-minute on-site sitting during announced performance times. Sittings are completely private, discrete, and anonymous. During your sitting, you will receive access to a private phone number for the purpose of sending Finley a “sext.” This sext will, in turn, serve as the inspiration for a painting, or series of paintings, created by the artist in a temporary studio set up in the New Museum Lobby. The paintings will be displayed for the duration of the installation, from May 23–26. At the end of the installation, participating patrons (now collectors) will take home one of the paintings inspired by their sext.
Participants must be at least eighteen years old. No exceptions.
PRICING
Large Oval Canvas – $500 (Edition of 8)
Small Oval Canvas – $300 (Edition of 12)
Works on Paper – $200 (Edition of 25)
Commissions are not yet available for purchase. To secure your commission in advance, please email NEA4@newmuseum.org, subject: “Karen Finley Commission.”
Finley is a New York–based artist whose performances have long provoked controversy and debate. Her performances have been presented at the Lincoln Center (NY), the Guthrie (Minneapolis), American Repertory Theater (Harvard), the ICA (London), the Steppenwolf (Chicago), and the Bobino (Paris). Her artworks are in numerous collections and museums including the Pompidou in Paris and the Museum of Contemporary Art, Los Angeles. Finley attended the San Francisco Art Institute receiving an MFA and an honorary PhD. She has received numerous awards and fellowships including a Guggenheim Fellowship, two Obies, two Bessies, Ms. magazine Woman Of The Year Award, NARAL Person of the Year Award, and NYSCA and NEA Fellowships. She has appeared in many independent films, including Jonathan Demme’s 1993 Oscar-winning film Philadelphia. She has authored and/or edited eight books including Shock Treatment (City Lights, 1990), Enough is Enough (Poseidon, Simon and Schuster, 1993), Living It Up (Doubleday, 1996), Pooh Unplugged (Smart Art Books, 1999), A Different Kind Of Intimacy: The Collected Writings of Karen Finley (Thunders Mouth Press, 2000), and Reality Shows (2011). Current projects include “Unicorn in Red” (an ongoing series of performances in which Finley receives automatic messages from those departed and turns those messages into artworks), Broken Negative (a re-examination of her infamously defunded work We Keep Our Victims Ready), and Open Heart (a public memorial for children killed during the Holocaust created in collaboration with survivors, children, and locals). Finley is a professor at Tisch School of the Arts at New York University in the department of Art and Public Policy.
Presented in conjunction with “NYC 1993: Experimental Jet Set, Trash and No Star” and IDEAS CITY.
TICKETS
General Public Free
Members Free
½ Gallery Admission with same day event ticket purchase.
The East Village / Lower East Side 235 Bowery, New York NY, 10002212-219-1222
Opening Thursday May 23, 2013
Circulation: Date, Place, Events Takuma Nakahira Yossi Milo Gallery Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 23, 2013 - July 12, 2013 www.yossimilo.com
Circulation: Date, Place, Events
May 23–July 12, 2013
Opening Reception and Book Launch
Thursday, May 23, 6:00–8:00 pm
Yossi Milo Gallery is pleased to announce Circulation: Date, Place, Events, the first solo show of Japanese photographer Takuma Nakahira in the United States. The exhibition will open on Thursday, May 23, and will be on view through Friday, July 12, 2013. An opening reception and book launch for, Circulation: Date, Place, Events, will be held on Thursday, May 23, from 6:00 – 8:00PM.
Takuma Nakahira (Japanese, b. 1938) is a writer, critic, political activist and photographer with a legendary past who radically changed Japanese visual culture. By shooting stark, black-and- white images that are purposely blurry and grainy, Nakahira broke with Japan’s photographic history of social realism and allowed elements of uncertainty and expression into his work. Nakahira bases his photographic practice in the act of seeing and attempting to capture “pieces of reality cut out by means of the camera,” a statement made by Nakahira and critic, Kōji Taki in the first issue of Provoke. They go on to say that, the artist strives to create a “new form of thought” by transforming conventional language with the use of images that “at times...explosively ignite the world of language and concepts,” proving that the relationship between language and photography is central to Nakahira’s artistic practice. Nakahira would declare that the exhibition Circulation: Date, Place, Events first materialized this photographic methodology.
Circulation: Date, Place, Events was first exhibited in 1971 as part of the Seventh Paris Biennale. Each day, for seven consecutive days Nakahira photographed, developed and exhibited approximately one hundred photographs. The photographs are random glimpses from Nakahira’s daily activities in Paris, including strangers’ faces, produce stands, subway platforms, street posters and even his breakfast setting. Developing the photographs each night, Nakahira exhibited them without omission the following day. Once the walls of the exhibition space were crowded with photographs, the artist spread them onto the floor. The resulting project presented a limited reality dictated by guidelines of “date,” “place” and “events.” Following an argument with event organizers, Nakahira cut his project two days short. A few years later, in a dramatic break with his past work, Nakahira burned most of his earlier negatives and prints. For unknown reasons, the negatives of Circulation: Date, Place, Events were preserved.
Yossi Milo Gallery presents Circulation: Date, Place, Events using the Seventh Paris Biennale as inspiration. A selection of approximately 75 gelatin silver prints produced from the original 35mm black-and-white negatives will be on view.
Takuma Nakahira was born in 1938 in Harajuku, Tokyo. He graduated from the University of Foreign Studies with a degree from the Spanish Department. Following graduation in 1963, Nakahira began his career as the editor of the new-left magazine, Contemporary Eye. That same year, he met photographer Shomei Tomatsu, who encouraged Nakahira to produce his own images. In 1968, Nakahira’s revolutionary ideas and essays about art and photography culminated in the ground-breaking journal, Provoke, subtitled “Provocative Materials for Thought,” which he co-founded with critic Kōji Taki, photographer Yutaka Takanashi, poet Takahiko Okada, and photographer Daido Moriyama, who joined during the second edition. Although Provoke lasted only two years, publishing three issues and one book, its impact on visual art in Japan was profound and introduced the public to the are, bure, boke style, which translates to: rough, blurred and out of focus. Nakahira and his colleagues questioned the process of photography and pushed the medium to reflect the rapid urban expansion and social upheaval sweeping across Japan.
In 1969, Nakahira participated in the Sixth Paris Biennale, and in the same year he received the Newcomer Award from the Japanese Photography Critics’ Association. In 1970, Nakahira published his first book of photography, For A Language to Come, which became a landmark publication of post-war Japanese photography. In 1973, the artist published Why an Illustrated Botanical Dictionary?, in which he rejected his previous body of work and presented objective color photographs devoid of any personal expression. In 1977, Nakahira lost much of his memory and command of language due to health issues. Undeterred, Nakahira published two photo books, A New Gaze in 1983, and Adieu à X in 1989, in conjunction with his solo show of the same name at Foto Daido gallery, run by Daido Moriyama. In 2002, he published a book of his color photographs entitled Hysteric Six, Nakahira Takuma. A retrospective was held in 2003 at the Yokohama Museum of Art, titled Nakahira Takuma: Degree Zero – Yokohama that displayed over 800 photographs and revitalized public interest in his work. Numerous solo exhibitions of Nakahira’s work have been held in Japan including ShugoArts in Tokyo; The Art Gallery of Chukyo University in Nagoya; and the Hachinohe City Museum of Art. In 2010, Osiris republished For A Language to Come and in 2012 released the first publication of Circulation: Date, Place, Events, which includes three essays from the early 1970s by the artist. Takuma Nakahira lives and works in Yokohama.
Chelsea 245 Tenth Avenue, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-414-0370 info@yossimilo.com
Lecture / Artist Talk Thursday May 23, 2013
Lecture by David Forgacs The Drawing Center Lecture / Artist Talk Thursday May 23, 2013, 6:30 PM www.drawingcenter.org
In conjunction with the exhibition Giosetta Fioroni: L’Argento, David Forgacs, Mariuccia Zerilli-Marimò Chair in Contemporary Italian Studies at New York University, will speak about the fertile renaissance in Italian film in the 1960s—which boasted such directorial greats as Michelangelo Antonioni, Luchino Visconti and Pier Paolo Pasolini—and the cinematic influences on Fioroni’s work.
Soho 35 Wooster Street, New York NY, 10013212-219-2166 info@drawingcenter.org
Opening Thursday May 23, 2013
Left: Ornament Falcon (2012), Right: Tempest Drawing (2013)
Never Ending Story New Work by Jennifer Murray Jennifer Murray Porter Contemporary Curated by Porter Contemporary Opening Thursday May 23, 2013, 6:30 PM On View May 23, 2013 - June 22, 2013 www.portercontemporary.com
New York, NY. Porter Contemporary is pleased to announce Never Ending Story, a solo exhibition highlighting the new works of Jennifer Murray opening with an artist’s reception on May 23 from 6:30 to 8:30 PM, an artist talk and music listening party on May 30 and continuing through June 22, 2013.
Charcoal, ink, acrylic, photography and animal skulls are simply the beginning of the story to Jennifer Murray’s second solo exhibition at Porter Contemporary. Murray imagines a totemic tribute to the power of mythology rooted in nature through a digital and technical lens. Murray will explore the ways in which we experience the power of the natural world using the color white in its varied patterns as the basis for inter-connectivity. In Ornament (Falcon) the white is the micro—the construction of space around living creatures that characterizes an era of surveillance and crowding. Tempest Drawing illustrates the macro of planetary movement, of weather patterns, of the increasingly interconnected ecosystem and world. Murray continues to explore this idea throughout Never Ending Story through various mediums and juxtapositions of work.
“The ‘story’ in these works is my contribution to the timeless practice of harnessing the primordial power of animals and nature to express the mythology of human imaginative existence. That this mythology must constantly be reimagined and retold for each new time is what makes it never ending,” says Jennifer Murray.
Listing Information
What: Never Ending Story – Solo exhibition of new works by Jennifer Murray
Exhibition Dates: May 23 – June 22, 2013
Opening Reception with the Artists: May 23, 6:30 – 8:30 PM
Press Preview: May 23, 4:30 – 6:30 PM
Artist Talk & Music Listening Party: May 30, 6:30 – 8:30 PM (RSVP required)
Where: Porter / Contemporary, 548 W. 28th Street, 3rd Floor, NYC
Gallery Hours: Tues & Wed by appointment; Thurs 11 - 8 PM; Fri & Sat 11 - 6 PM
General Inquiries: info@portercontemporary.com
Press Inquires: media@portercontemporary.com
About Jennifer Murray
Jennifer Murray is originally from Livermore, California. She utilizes both her study of visual art at Carnegie Mellon University, and, more recently, her study of sociology, history, and gender politics at NYU, to construct a body of work that chronicles her personal observations of social unrest, power structures, and the fallibility of culture. In addition to multiple locations in New York City, Jennifer has shown her work in Los Angeles, Seattle, Philadelphia, Pittsburgh, Chicago, Miami, and Mermaid Beach, Australia. She has participated in International art fairs in both New York City and Miami, most recently the Aqua Art Fair during Art Basel Miami Beach. She lives and works in Bushwick, Brooklyn.
About Porter Contemporary
Launched in 2006, Porter Contemporary is dedicated to showcasing emerging and established artists from around the world whose work embodies both skill and risk taking. The mission of Porter Contemporary continues to be based on founder Jessica L. Porter's vision of opening contemporary art collecting to a broader audience. Over the past seven years, the gallery has earned a dedicated following of new and established collectors who value art that pushes boundaries.
In addition to presenting many distinctive exhibitions throughout the year, Porter Contemporary also provides art consultation services, collection management and artwork installation. Porter Contemporary is located in New York's Chelsea district at 548 West 28th Street, just steps away from the beautiful High Line Park -- like the gallery, a place to experience art and life from a new perspective.
Chelsea 548 West 28th Street, 3rd Floor, New York NY, 10001 Thursday from 11:00 AM to 8:00 PM
Friday - Saturday from 11:00 AM to 6:00 PM
212-696-7432 info@portercontemporary.com
Lecture / Artist Talk Thursday May 23, 2013
Jack Goldstein, Still from Some Butterflies, 1975, 16 mm color silent film, 30 sec. Courtesy of Galerie Daniel Buchholz, Berlin/Cologne, and the Estate of Jack Goldstein. © Estate of Jack Goldstein.
Dialogue and Discourse: Where is Jack Goldstein? Douglas Crimp, Jens Hoffmann The Jewish Museum Lecture / Artist Talk Thursday May 23, 2013, from 6:30 PM to 7:30 PM www.thejewishmuseum.org
Douglas Crimp, Critic and Fanny Knapp Allen Professor of Art History at the University of Rochester, and Jens Hoffmann, Deputy Director for Exhibitions and Public Programs, discuss Jack Goldstein as a pioneer of conceptual art practices.
Free with Pay-What-You-Wish Admission, but, RSVP required >
The Upper East Side 1109 Fifth Avenue at 92nd Street, New York NY, 10128212-423-3200 info@thejm.org
Screening Thursday May 23, 2013
A still from Michael Ballou's film Drivers
Film and Music: "Michael Ballou's Super 8s" Brooklyn Museum Screening Thursday May 23, 2013, 7:00 PM www.brooklynmuseum.org
Raw/Cooked artist Michael Ballou screens a selection of his Super 8 films onto one of his pieces that resembles a semitruck, with live musical accompaniment by Brian Dewan. Based on the Four Walls Slide and Film Club, an informal monthly venue for collaborative and homespun time-based works that was hosted in Ballou’s Williamsburg garage studio. Tickets, which include Museum admission, are available at the Visitor Center or at www.museumtix.com.
Iris and B. Gerald Cantor Auditorium, 3rd Floor
Rest Of Brooklyn 200 Eastern Parkway, Brooklyn NY, 11238718-638-5000
Lecture / Artist Talk Thursday May 23, 2013
No Kidding: Women Writers on Bypassing Parenthood Strand Books Lecture / Artist Talk Thursday May 23, 2013, from 7:00 PM to 8:00 PM www.strandbooks.com
It’s May, and the evenings are mild and divine, so amble down to the Strand and take the elevator to the rare books room. You’ll find a group of hilarious ladies from Amy Stiller to Carol Siskind reading their essays from No Kidding: Women Writers on Bypassing Parenthood. The pieces tackle the divisive topic of remaining childfree by giving a voice to an underrepresented but rapidly-increasing group of childless women. The number of women choosing to remain childfree is at an all-time high. This group of ladies has been repeatedly questioned, shamed, or silenced—until now. We’ll get to hear some of their touching, hilarious tales when fourteen contributors to No Kidding join us for the evening!
The number of women choosing to remain childfree is at an all-time high. This group of women has been repeatedly questioned, shamed, or silenced—until now. Now, we’ll hear some their touching, hilarious tales.
Buy a copy of No Kidding: Women Writers on Bypassing Parenthood or $15 gift card in order to attend this event. All options admit one person. Please note that payment is required for all online event orders at the time of checkout. The event will be located in the Strand's 3rd floor Rare Book Room at our store at 828 Broadway at 12th Street.
Soho 828 Broadway at 12th, Rare Books, 3rd floor, New York NY, 10003212-473-1452
Performance Thursday May 23, 2013
SpeakChamber Constance DeJong Bureau Performance Thursday May 23, 2013, 7:00 PM 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, 10002office@bureau-inc.com
Opening Thursday May 23, 2013
Curating for a Cure The Bishop Opening Thursday May 23, 2013, 7:00 PM On View May 23, 2013 www.bishoponbedford.com
(Pre-Sale)
Tier One: $20 - Hors d'oeuvres, 1 raffle ticket, open bar
Tier Three: $45 - Hors d'oeuvres, 3 raffle tickets, open bar, admission to one class of your choice, private ½ hour viewing before event.
At Door:
Tier One: $25 - Hors d'oeuvres, 1 raffle ticket, open bar
Tier Three: $50 - Hors d'oeuvres, 3 raffle tickets, open bar, admission to one class of your choice, private ½ hour viewing before event.
Raffle tickets at the door - $10.00/each
For Immediate Release
THE BISHOP AND CURATING FOR A CAUSE TO HOST CHARITY AUCTION FOR LEUKEMIA LYMPHOMA SOCIETY
BROOKLYN, NY – The Bishop in partnership with Curating for a Cause will host a charity art auction to benefit the Leukemia Lymphoma Society on Thursday, May 23, 2013 at 7:00PM.
The mission of The Leukemia & Lymphoma Society (LLS) is to cure leukemia, lymphoma, Hodgkin's disease and myeloma, and improve the quality of life of patients and their families. LLS is the world's largest voluntary health agency dedicated to blood cancer. LLS funds lifesaving blood cancer research around the world and provides free information and support services.
Curating for a Cause has generously supported LLS in the past, and seeks to continue the relationship by hosting an art auction at The Bishop. The event will be curated by Jackie Cantwell and Molly Myer. Tickets are available for purchase by contacting info@bishoponbedford.com.
For more information about this event please call 703-888-7591.
Curating for a Cause creates and executes art auctions to benefit non-profit organizations. Not only does a Curating for a Cause event benefit organizations monetarily, it also increases awareness of the non-profit and their mission, and promotes artistic talent by providing professional exhibition and installation opportunities. Above all, Curating for a Cause strives to unite non-profit organizations, artists, and audiences through great causes and quality art.
The Bishop is a versatile exhibition and project space located in the heart of the Bedford-Stuyvesant neighborhood of Brooklyn. Pulling from the diversity and rich culture in the surrounding community, we provide an exciting program mixing art exhibitions, philanthropic activities, and educational workshops.
Bedstuy 916 Bedford Avenue, Brooklyn NY, 11205 703-888-7591 info@bishoponbedford.com
Editor's Pick
Videorover: Season 6 Bridget Batch + Kevin Cooley, Heather Delaney, Kerry Downey + Jen Rosenblit and Joanna Seitz, Michael H Hall, Constantin Hartenstein, Gabriel Hosovsky, Lindsay Packer, Daniel Seiple, Alina Tenser, Jacob Tonski and Roland Wegerer NURTUREart Curated by Rachel Steinberg and Giana Gambino Opening Thursday May 23, 2013, 7:00 PM On View May 23, 2013 - December 15, 2013 www.nurtureart.org
NURTUREart is pleased to present Videorover: Season 6 in partnership with RAPID PULSE, an International Performance Art Festival based in Chicago.
The sixth season of Videorover will showcase performance-inspired works made for the camera and to be presented on screen. The works in this exhibition are created using performance as a departure point and medium, privileging the body as the vehicle for production but also looking to the camera as a collaborator. In these works, performance acts allow the camera to complete them, mediating the gap between performer and audience.
Expanding the boundaries of what is or can be performance art is one of the many focuses of RAPID PULSE, as well as questioning ideas on presence, live-ness and mediation. Curated by Rachel Steinberg and Giana Gambino, Videorover: Season 6 will feature works by artists: Bridget Batch + Kevin Cooley, Heather Delaney, Kerry Downey in collaboration with Jen Rosenblit and Joanna Seitz, Michael H Hall, Constantin Hartenstein, Gabriel Hosovsky, Lindsay Packer, Daniel Seiple, Alina Tenser, Jacob Tonski, and Roland Wegerer.
NURTUREart’s video program, Videorover aims at becoming an ever-expanding forum for new and emerging video artists. The works included in this season will be shown in a screening event both at NURTUREart Gallery on May 23 and at DEFRIBILLATOR Gallery on June 5 in Chicago as part of RAPID PULSE’s ten day long international performance art festival.
Bushwick / Ridgewood 56 Bogart Street, Brooklyn NY, 11206 Thursday - Monday from 12:00 PM to 6:00 PM
719-782-7755 gallery@nurtureart.org
Opening Thursday May 23, 2013
Featured Image: Michael H. Hall, Lost Count, 2012, video still.
Videorover: Season 6 Bridget Batch + Kevin Cooley, Heather Delaney, Kerry Downey + Jen Rosenblit and Joanna Seitz, Michael H Hall, Constantin Hartenstein, Gabriel Hosovsky, Lindsay Packer, Daniel Seiple, Alina Tenser, Jacob Tonski and Roland Wegerer NURTUREart Curated by Rachel Steinberg and Giana Gambino Opening Thursday May 23, 2013, 7:00 PM On View May 23, 2013 - December 15, 2013 www.nurtureart.org
NURTUREart is pleased to present Videorover: Season 6 in partnership with RAPID PULSE, an International Performance Art Festival based in Chicago.
The sixth season of Videorover will showcase performance-inspired works made for the camera and to be presented on screen. The works in this exhibition are created using performance as a departure point and medium, privileging the body as the vehicle for production but also looking to the camera as a collaborator. In these works, performance acts allow the camera to complete them, mediating the gap between performer and audience.
Expanding the boundaries of what is or can be performance art is one of the many focuses of RAPID PULSE, as well as questioning ideas on presence, live-ness and mediation. Curated by Rachel Steinberg and Giana Gambino, Videorover: Season 6 will feature works by artists: Bridget Batch + Kevin Cooley, Heather Delaney, Kerry Downey in collaboration with Jen Rosenblit and Joanna Seitz, Michael H Hall, Constantin Hartenstein, Gabriel Hosovsky, Lindsay Packer, Daniel Seiple, Alina Tenser, Jacob Tonski, and Roland Wegerer.
NURTUREart’s video program, Videorover aims at becoming an ever-expanding forum for new and emerging video artists. The works included in this season will be shown in a screening event both at NURTUREart Gallery on May 23 and at DEFRIBILLATOR Gallery on June 5 in Chicago as part of RAPID PULSE’s ten day long international performance art festival.
Bushwick / Ridgewood 56 Bogart Street, Brooklyn NY, 11206 Thursday - Monday from 12:00 PM to 6:00 PM
719-782-7755 gallery@nurtureart.org
Performance Thursday May 23, 2013
Ligia Teixeira & Ivan Franco: Strings Of Thought #2 Harvestworks Performance Thursday May 23, 2013, 7:00 PM www.harvestworks.org
An interactive sound installation/performance
Thursday, May 23, 7pm
Admission: FREE
Location:
Harvestworks – www.harvestworks.org
596 Broadway, #602 | New York, NY 10012 | Phone: 212-431-1130
Subway: F/M/D/B Broadway/Lafayette, R Prince, 6 Bleeker
Strings of Thought #2 is an hybrid art piece of music, performance and installation, that depicts the process of human mental activity and its decomposition into the simpler synaptic events of the brain.
The audience enters a room to find a woman sitting on a chair. From her hair several strings protrude, which in turn are attached to piezoelectric sensors. The plucking of the strings generates voltage spikes on the sensor array that sends these electrical pulses to the computer, while a program written in Supercollider reinterprets this data and shapes it into sonic structures. This process very clearly resembles its biological counterpart, which happens at the neural level.
The result is a peek into the soul of this lady character, as the audience is invited to play the instrument and create a soundscape composed of music and also the inner voices of this woman’s reasoning.
Through the digital aesthetic the artists Ivan Franco and Lígia Teixeira explore the electronic recreation of the process of neural transmission in the brain and how this biological process evolves into the complexity of consciousness.
IVAN FRANCO explores the intersections between art, technology and science. His multidisciplinary approach led him to work in different fields like Geographical Information Systems, Virtual Reality, Electronic Music, Digital Art and Human-Computer Interaction.
His work focuses on the development of new interfaces and devices for interactive music, installation and performance. Through the years he’s also collaborated with several artists such as Konic Thtr, Su-studio, Bert Bongers, Carlos Zíngaro, Rui Horta, Marko Brajovic or Pedro Carneiro.
LÍGIA TEIXEIRA holds a BA in Dance, specializing in Performance, from Escola Superior de Dança (PT) and is currently a 2013 MFA candidate in Performance and Interactive Media Arts at CUNY Brooklyn College (NY), with a full scholarship from Calouste Gulbenkian Foundation and FLAD (Luso American Foundation). During the last 7 years she has been developing work in the intersection between dance and technology, with a particular focus on physical computing applied to dance. She is a founding member and co-artistic director of Milliways.
Soho 596 Broadway, #602, New York NY, 10012212-431-1130
Screening Thursday May 23, 2013
Two Films by Charles Dekeukeleire lightindustry Screening Thursday May 23, 2013, 7:30 PM www.lightindustry.org
Impatience, Charles Dekeukeleire, 16mm, 1928, 27 mins
Histoire de détective, Charles Dekeukeleire, 16mm, 1929, 37 mins
An unjustly overlooked figure of the European avant-garde, Belgian filmmaker Charles Dekeukeleire made only four experimental works in the 1920s. Two of them—Impatience and Histoire de détective—are nothing less than hidden masterpieces of the era, though they reportedly baffled audiences in their own day. In this pair of films, Dekeukeleire proposes an enigmatic disassembling of silent cinema’s constitutive logics, presaging the concerns of structural film by many decades and dramatically upending conventions of narrative form.
Impatience is built around what Dekeukeleire called the four “characters” of the film, introduced in a title card as The Mountain, The Motorcycle, The Woman, and Abstract Blocks. Each element appears in a succession of discrete, repeated shots, their relationship suggested exclusively via montage, yet never granting the viewer the climactic payoff of fiction they at first appear to promise. The evocation of speed and a vertiginous cinematography seem in tune with the loopier elements of the 20s avant-garde, but ultimately Impatience feels less allied to contemporaneous experiments such as Ballet mécanique and more like a forgotten ancestor to the internal-combustion erotics of Kustom Kar Kommandos.
If Impatience suggests a foray into pure cinema by stressing the primacy of phenomenological experience, Histoire de détective overturns this very project through its deployment of a film-within-a-film that constitutes a failure of optical investigation. The story concerns Mme. Jonathan, who hires T, a detective, to trail her neurasthenic husband around Belgium and Luxembourg. T uses a motion-picture camera to follow M. Jonathan, and most of Histoire is taken up with T’s shaky, idiosyncratic footage of street scenes and local architecture. Providing few clues of their own, T’s digressive shots are interrupted by elaborately designed intertitles that bear almost all of the narrative information of the film. This distended structure plays with the tropes of the crime serial, but almost sadistically denies the viewer any of the genre’s expected visual pleasures in favor of less obvious effects. “My greatest concern,” Dekeukeleire once noted, “is to make the camera’s lens live like the eye, like a glance...conditioned by the inner life.”
Impatience and Histoire de détective will be screened on unsubtitled 16mm prints courtesy of the Royal Film Archive of Belgium. For tonight’s event, the intertitles will be translated live by Luc Sante.
Tickets - $7, available at door.
Please note: seating is limited. First-come, first-served. Box office opens at 7pm.
Flatiron / Gramercy 155 Freeman Street, Brooklyn NY, 11222information@lightindustry.org