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Opening Wednesday May 01, 2013
PRUITT・EARLY: THE EARLY YEARS Jack Early and Rob Pruitt McCaffrey Fine Art Opening Wednesday May 01, 2013, from 6:00 PM to 8:00 PM On View May 01, 2013 - June 29, 2013 www.mccaffreyfineart.com
"Pruitt-Early: The Early Years" draws largely upon unseen work from the artistic partnership of Rob Pruitt and Jack Early, during the late eighties and early nineties. The show runs at McCaffrey Fine Art's Upper East Side gallery, at 23 East 67th Street, from May 1st - June 29th.
McCaffrey Fine Art will also present a solo installation of recent work by Jack Early at Frieze New York, from May 10th - May 13th
The Upper East Side 23 East 67th Street, New York NY, 10065 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-988-2200 info@mccaffreyfineart.com
Opening Wednesday May 01, 2013
Eager Feeders (Detail), 2011 -13, Oil on Canvas, 120 x 120’’
Bestiary John Newsom Marc Straus Opening Wednesday May 01, 2013, from 6:00 PM to 8:00 PM On View May 01, 2013 - June 30, 2013 www.marcstraus.com
John Newsom’s “Bestiary” is his first one-person exhibition in NY in seven years and in this interval he has honed his remarkable skills as one of our consummate painters of his generation. At first blush these dense oil paintings with owls, raccoons, deer, hummingbirds, wheat fields – seem remarkably American and indeed Newsom, long in New York, comes from the heartland of middle America. But these are no more about a cockatoo bird than is a Phillip Guston painting about a potato or a Susan Rothenberg about a horse. Newsom like them takes the long view as to how imagery is made by hand with paint. He has reverence for the history of modern painting and Velázquez and Goya are as important to him as de Kooning and Twombly.
John Newsom’s works are elegiac verses where a moment of life is luxuriously captured and lurking on the periphery of our consciousness is the thought that life is fleeting; it is not just seasonal, it is precarious. The wolf against a blood red background is so gorgeous and fully alive with thick impastoed passages that we are almost unable to feel it as threatening. That is because Newsom is not judgmental – life is a gift and man’s relationship to other living things is not the point.
These are paintings each about 2 ½ years in the making and are comprised of layers of mental and physical effort. Early on, before there is imagery, Newsom’s works are entirely abstract, paintings at that juncture that perhaps could easily stand against the best. That is emblematic of what he is after, that a painting has to record its own making and history and tackle the great history of its forebears.
They are sumptuous art works of a master draftsman with finely rendered raccoon whiskers along with uninhibited freedom. Every painting by John Newsom is a full commitment.
- Marc Straus
John Newsom was born in 1970 in Hutchinson, Kansas. Recent one-person exhibitions include The Richard Massey Foundation (NYC) 2011-2012, Patrick Painter Inc., (L.A.) 2011, and Lattuada Gallery (Milan) 2009. Recent group exhibits include Marianne Boesky 2012, EXIT ART 2011, Gasser & Grunert 2011, and The Hudson Valley Center for Contemporary Art 2010. His works are in the collections of numerous public institutions such as the Whitney Museum, the Neuberger Museum, and the San Francisco Museum of Modern Art among others. He received a BFA from the Rhode Island School of Design and a MFA from New York University in 1994. He is represented by MARC STRAUS (NYC) and Patrick Painter, Inc. (L.A.).
The East Village / Lower East Side 299 Grand Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-510-7646 info@marcstraus.com
Opening Wednesday May 01, 2013
Erik Benson
The Park Erik Benson The Arsenal Gallery Central Park Opening Wednesday May 01, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 20, 2013 www.nycgovparks.org
Erik Benson’s paintings depict the landscape of everyday metropolitan life, created with thousands of shapes hand-cut from dried sheets of acrylic paint. Benson uses this painstaking compositional technique to capture the complexity of urban development, with its interplay of construction and creative destruction, density and emptiness. Familiar cityscapes emerge as more complex than they initially appear.
“Originally I was interested in creating a painting vocabulary that depicted the plasticity and temporality of unexamined things such as playgrounds and construction sites,” says Benson. “These interests have been growing into ideas and concerns that deal with the urban landscape, such as how cities grow and shrink, and what these issues mean to the inhabitants.”
In these vivid new paintings, Benson considers the role and impact of playgrounds, trees and parks within evolving communities, often setting the saturated colors and bold shapes of play equipment and dynamic tree branch patterns against the muted backdrops of the surrounding buildings. Inspired by his neighborhood of Bushwick, Brooklyn, he creates works that are not precise representations, but rather archetypes, at once foreboding and optimistic.
The Upper East Side 830 Fifth Avenue at 64th Street, New York NY, 10065 Monday - Friday from 9:00 PM to 5:00 PM
212-360-8163
Editor's Pick
CONTACT HIGH Sarah Braman and Wallace Whitney American Contemporary Opening Wednesday May 01, 2013, from 6:00 PM to 8:00 PM On View May 01, 2013 - June 16, 2013 www.americancontemporary.biz
The East Village / Lower East Side 4 East 2nd Street at Bowery, New York NY, 10003 Wednesday - Sunday from 12:00 PM to 6:00 PM
347-789-7072 nyc@americancontemporary.biz
Opening Wednesday May 01, 2013
CONTACT HIGH Sarah Braman and Wallace Whitney American Contemporary Opening Wednesday May 01, 2013, from 6:00 PM to 8:00 PM On View May 01, 2013 - June 16, 2013 www.americancontemporary.biz
The East Village / Lower East Side 4 East 2nd Street at Bowery, New York NY, 10003 Wednesday - Sunday from 12:00 PM to 6:00 PM
347-789-7072 nyc@americancontemporary.biz
Opening Thursday May 02, 2013
SCREENS Neïl Beloufa, Rachel Harrison, Jon Kessler, Josh Kline, Georgia Sagri, Nicolás Guagnini & Jeff Preiss and Anicka Yi Murray Guy Opening Thursday May 02, 2013, from 10:00 AM to 6:00 PM On View May 02, 2013 - June 15, 2013 www.murrayguy.com
Chelsea 453 West 17th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-463-7372 info@murrayguy.com
Opening Thursday May 02, 2013
Peter Halley, Go On, 50" by 73", acrylic, roll-a-tex/canvas / Installed with Alessandro Mendini Wall Paper Milano, 2013
PETER HALLEY ALESSANDRO MENDIN Mary Boone Gallery Opening Thursday May 02, 2013, from 10:00 AM to 5:00 PM On View May 02, 2013 - June 29, 2013 www.maryboonegallery.com
Midtown 745 Fifth Avenue, New York NY, 10150 212-752-2929 info@maryboonegallery.com
Opening Thursday May 02, 2013
drunken walks / cliché / corrosion fatigue / ebay Cheyney Thompson, Florian Pumhösl, Sam Lewitt, Moyra Davey and Jason Simon Miguel Abreu Gallery Opening Thursday May 02, 2013, from 11:00 AM to 6:30 PM On View May 02, 2013 - June 09, 2013 www.miguelabreugallery.com
The East Village / Lower East Side 36 Orchard Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:30 PM
212-995-1774 post@miguelabreugallery.com
Opening Thursday May 02, 2013
Orly Genger, Untitled, 2012, cast bronze, 8 1/2 x 8 1/2 x 1 1/2 inches
Iron Maiden Orly Genger Larissa Goldston Gallery Pop-Up Space Opening Thursday May 02, 2013, from 11:00 AM to 6:00 PM On View May 02, 2013 - June 22, 2013 www.larissagoldston.com
Larissa Goldston Gallery is pleased to present Iron Maiden, Orly Genger’s fourth solo exhibition with the gallery. For this exhibition the gallery will be opening a pop-up space at 530 W 24th Street. The exhibition will be on view from through June 22, 2013. Iron Maiden coincides with the May 2 opening of Red, Yellow and Blue, a monumental installation using over 1.4 million feet of rope, in New York’s Madison Square Park.
In a departure from her large-scale rope installations, Iron Maiden is Genger’s first exhibition comprised solely of cast metal sculptures. This body of work continues her interest in the contrast of hard and soft materials, juxtaposing the fluid malleability of rope and wax with the rigidity and immutability of bronze, aluminum, and stainless steel. The sculptures are knotted and molded from rope and other materials in the artist’s studio then cast in a lost-wax process rendering a single unique work.
The sculptures on view conflate the materiality of Genger’s signature climbing rope with cast arms and legs of action figures, reiterating the artist’s interest in body builders and the physicality and muscularity of her knotted sculptures. Aside from her indexical presence in the knots (based on the size of her hand) or fingerprints visible in the cast works, the figure has long been present in Genger’s work, from early collage drawings depicting disembodied super hero limbs to large sculptures and performances including figures being consumed and others breaking free.
Orly Genger was born in New York City in 1979. She received her BA from Brown University in 2001 and attended The School of the Art Institute of Chicago in 2002. She has since had solo exhibitions or projects at The Aldrich Contemporary Arts Museum, the Cornell Fine Arts Museum at Rollins College, the Indianapolis Museum of Art, and Madison Square Park. Her work has also been included in exhibitions at MASS MoCA and MCA Denver. She was the 2011 recipient of the Rappaport Prize. Genger has been featured in Sculpture Magazine, Art in America, Interior Design, Modern Painters, ArtNews, The Village Voice, The Boston Globe and The New York Times, among others.
Chelsea 530 W 24th Street, New York NY, 10001 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-206-7887 info@larissagoldstongallery.com
Opening Thursday May 02, 2013
Old Town of Kaixian: East River Bank, 2007
Uprooted YANG Yi Galerie Richard Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 08, 2013 www.galerierichard.com
Galerie Richard is pleased to present the New York debut solo exhibition of Chinese photographer YANG Yi (b. 1971). Yang was born in Kaixian, a small town overlooking a tributary of the Yangtze River. In 2009 Yang’s hometown was completely submerged underwater due to the Three Gorges Dam Project, which displaced over 1.2 million people and destroyed 11 cities. Using photography with digital editing techniques, Yang creates strikingly truthful portrayals of Kaixan and its inhabitants in a submarine universe. The “Uprooted” exhibition opens on Thursday, May 2nd with a public reception from 6 to 8pm.
Upon first view of Yang’s photographs, one’s eyes first adapt to the photographs’ darkness with a sepia rendering. You see a mysterious landscape with few people, adorned in masks and snorkels. The light comes from the upper part of the photographs, expanding into shadows on the walls of a submarine city. These disconcerting images question the viewer in a manner similar to Gregory Crewdson’s photographs.
YANG Yi’s digital manipulations of the photographic medium are particularly relevant because they are deeply connected with his personal life. His work raises the question, how can one build one’s life when one’s home, roots, and childhood memories have been lost forever? Yang replies by recreating the past in capturing the remaining scenery before it disappears forever. Even after the artist transformed the image by submerging the landscape, the villagers display wit and poise.
"It is about all that we have in common there: our accent, our spicy coriander, the nod we give each other, a friendly signal to say hello when we pass one another on the street, these streets that we have traveled alongside our ancestors, that have herded us along together... this series was created for all of that. It will be my personal memoir."
YANG Yi
Yang captures and preserves the nuances that once distinguished this beloved village as an expression of defiance to imposed plight and destitution. Inspired by dreams, the visual documentation opposes the physical reality of the expropriated site. The confrontation between the past and present transforms the topology of the landscape into a place of curiosity and apprehension. Yang’s series records a haunting legacy that proves the fortitude of the human spirit.
The Uprooted series has been recently exhibited at the San Jose Museum of Art, California and the Katonah Museum of Art, New York in the exhibition “Rising Dragon – Contemporary Chinese Photography.” YANG Yi has exhibited throughout Asia, Europe, Canada and Mexico. The artist currently lives and works in Chengdu China.
Chelsea 514 W 24th St, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-510-8181 newyork@galerierichard.com
Opening Thursday May 02, 2013
Alexi Worth, Transparent Flame-Colored Information, 2013, Acrylic on nylon mesh, 52 x 78 inches
States Alexi Worth DC Moore Gallery Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 15, 2013 www.dcmooregallery.com
Catalogue available with a conversation between Alexi Worth and Alexander Nagel
Alexi Worth will present his most ambitious exhibition yet, made in the distinctive mesh-based idiom that he has developed over the past three years. On view in the main gallery will be large images of private and public subjects: solitary smokers, wine-drinkers, crumpled texts, and crowds of protesters in damaged cities. Thanks in part to the “physical halftone” of the mesh support, Worth’s paintings have a tonal delicacy and flat depth reminiscent of print and photographic media. And yet their willful proportions show their origins as freehand drawings, both “hand-made and mind-made.”
A 2009 Guggenheim fellow, Alexi Worth was cited by Roberta Smith in a 2010 article about the continued relevance of painting. Worth’s last exhibition at DC Moore was named one of Artforum’s best shows of 2011.
As in that show, several new paintings feature fingertips sinking into crumpled sheets of paper—an emblem of dissatisfaction, of failure, of starting over. In the recent versions, the paper is a printed text. Deformed words and phrases twist across the picture plane, suggesting the random connections of a mind under pressure.
Here, as in many of Worth’s paintings, the vividness of the images depends partly on a fiction of physical nearness: the large cropped fingers (and looming foreground shadows) are implicitly our own. We view them not as massed spectators looking at a stage, but as individuals facing graspable things. That suggests a kind of literalism; in fact, Worth’s new images are more anti-literal, more rhetorical and playful than ever before.
One key departure in the show is a pair of large “Square” paintings, inspired by media depictions of resistance movements in Egypt, Syria, and elsewhere. A line of men holds irregular shields, onto which our own shadows are projected and fragmented. In one painting, we stand behind them, literally overshadowing them. In another, they face us, stones in their hands, clearly regarding our presence as a threat. Here Worth’s preoccupation with spectatorship takes a new, adversarial turn. In an increasingly POV world, distant protagonists appeal to us, depend on us, or turn on us. What does it mean when we feel near to events far away?
Also on view, in the Project Gallery:
Nearby: Debra Bermingham, Michael Cline, Siobhan McBride, and Dushko Petrovich
Chelsea 535 West 22nd Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-247-2111 info@dcmooregallery.com
Opening Thursday May 02, 2013
CAPTURE PHYSICAL PRESENCE Travess Smalley Higher Pictures Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 01, 2013 www.higherpictures.com
Higher Pictures is pleased to present Capture Physical Presence, the first New York solo exhibition by Travess Smalley. These dynamic, abstract digital photo collages undulate between digital and physical image making, defying the viewer’s expectation of gesture and medium.
Smalley’s work is at the forefront of the exploration of medium in contemporary art and approaches the evolving nature of painting and optics through experimental working methods. He uses the tools of contemporary, digital, computer-based life, such as the home office printer and scanner, laser printer, and Photoshop, to explore alternate color theories, the languages of Modernist composition, and post-1960s definitions of psychedelia. His vivid, color-saturated works challenge viewers to let go of preconceived ideas of what is analog versus what is digital, and see the hybrid visual reality of our digitized world.
Smalley creates graphics using Photoshop, prints them out, cuts them up, collages them, scans them back into Photoshop, and digitally manipulates the results, over and over again. With notions of medium, origin, and objecthood becoming quickly obscured in the process, these resulting works consistently update – and expand upon – traditional boundaries for creating and presenting collage.
Born in rural West Virginia in 1986, Smalley graduated from Cooper Union in 2010. He lives and works in Jersey City.
The Upper East Side 980 Madison Avenue, New York NY, 10075 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-249-6100 office@higherpictures.com
Editor's Pick
GALLERY: DIKE BLAIR: Sculpture UPFRONT: EVE FOWLER/ SAM GORDON Feature Inc. Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 01, 2013 - June 02, 2013 www.featureinc.com
The East Village / Lower East Side 131 Allen Street, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-675-7772 featureinc@featureinc.com
Opening Thursday May 02, 2013
DIKE BLAIR: Hard Shadows, 2012
GALLERY: DIKE BLAIR: Sculpture UPFRONT: EVE FOWLER/ SAM GORDON Feature Inc. Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 01, 2013 - June 02, 2013 www.featureinc.com
The East Village / Lower East Side 131 Allen Street, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-675-7772 featureinc@featureinc.com
Opening Thursday May 02, 2013
Recent Paintings and Drawings Sean Scherer Guided by Invoices Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 08, 2013 www.guidedbyinvoices.us
On May 2, 2013, Guided by Invoices will open an exhibition of recent paintings and drawings by Sean Scherer.
In the ambitious body of new works on view, Scherer expands the vocabulary of a practice informed by early 20th century abstraction and the Russian avant-garde in particular, with decorative geometric work from Islamic tile to 1960's mod fashion patterns.
Here, large works on canvas and intimate pencil drawings reveal the path leading to a breakthrough in Scherer’s practice in which machine and human forms morph and intertwine. The resulting works are powerful and engaging expressions of pure life forces and regenerating permutations. They are akin to both machine and human structures at once referencing industrial manuals as well as blood and artery flow charts.
Sean Scherer attended the School of the Art Institute of Chicago and has participated in the Independent Study Program of the Whitney Museum of Art. His work has been exhibited throughout the United States and Europe. In 2007 he founded Kabinett & Kammer, a design and lifestyle brand that specializes in 19th century objects, instructional posters and diagrams. This is his first show at Guided by Invoices.
The exhibition will continue through June 8th, 2013. For further information, please contact info@guidedbyinvoices.us or visit the website www.guidedbyinvoices.us.
Chelsea 558 West 21st Street, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
917-226-3851 info@guidedbyinvoices.us
Opening Thursday May 02, 2013
Philip Taaffe, Chorus, 2011, Mixed media on canvas, 77 3/4 X 76 inches, (197.49 X 193.04 cm)
Recent Work Philip Taaffe Luhring Augustine Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 03, 2013 - June 15, 2013 www.luhringaugustine.com
Luhring Augustine is pleased to announce an exhibition of recent work by Philip Taaffe. The exhibition, the artist’s first solo show of paintings in New York in six years, continues to reveal Taaffe as a philosopher of painting, offering compelling meditations on art and culture, both contemporary and historical, and visual ruminations on the interrelated families of forms and images in art, architecture, and archaeology.
Taaffe’s work is a unique technical amalgam of freely gestural painting that is often contrasted with carefully mapped and measured surfaces, combined with printings from linocuts, hand-drawn relief plates, silkscreens, and stencils. Traditional techniques, such as paper marbling and gold leaf, are often employed. The artist’s meticulous, labor-intensive methods have often been compared to that of medieval manuscripts, yet their contemporary veracity is always evident in their broad embrace and appropriation of the language of modernism. As art historian Charles Stein notes, “Taaffe’s reinvention of the beautiful represents a kind of valiant inquiry, a conscientious refusal of the suppression of human possibility.”
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In this current body of work, Taaffe returns to some of his familiar tropes but employs them in new, previously unseen ways. Sources include natural history illustrations, Roman mosaics, microscopic imaging of Viking artifacts, Syrian embroidery pattern books, masks from Mongolia and the Far East, and devices drawn from calligraphy and book design. Optical vibrancy and visual energy underlie these images, reconnecting abstraction to the natural world and exploring the convergence of the optical and conceptual. “I think the power and possibilities for painting today has to do with binding it to a cultural legacy,” says Taaffe. “Painting is where these symbolic languages or forms somehow crystallize and reveal their ancestry — and that in turn shows a certain sense of future possibility.”
Philip Taaffe was born in Elizabeth, New Jersey in 1955 and studied at the Cooper Union under Hans Haacke and Dore Ashton. His first solo exhibition was held in New York in 1982. He has traveled widely in the Middle East, India, South America, and Morocco. He has been included in numerous important museum exhibitions, including the Carnegie International, two Sydney Biennials, and three Whitney Biennials. His work has been the subject of several museum surveys, including IVAM Centre del Carme, Valencia (2000), the Galleria Civica, Trento (2001), the Kunstmuseum Wolfsburg (2008), and the Irish Museum of Modern Art, Dublin (2011). His work is in numerous public collections, including the Museum of Modern Art, New York, the Philadelphia Museum of Art, The Whitney Museum of American Art, the Solomon R. Guggenheim Museum, the San Francisco Museum of Art, and the Reina Sofia, Madrid. Taaff¬e presently resides and works in New York City.
Chelsea 531 West 24th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
info@luhringaugustine.com
Opening Thursday May 02, 2013
Aaron Wexler, Inverse of What's Light and What's Heavy, 1 (2013), Acrylic On Paper And Print Material On Panel ,11h x 8.5w in (27.94h x 21.59w cm)
THE STUDY Project Space: Aaron Wexler Morgan Lehman Gallery Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 29, 2013 www.morganlehmangallery.com
Artist Statement
There’s something about elements in nature that are always surprisingly abstract to me. I’m interested in shapes in nature as they relate to abstraction in painting. In my work I investigate the curious, rich area of visual potential these shapes exist in. I question how we interpret what we see in terms of abstraction whether it is by chance or intentionally looking at a work of art.
I collect distinctly different representations of abstraction of nature: prints, books, photographs and more. I make drawings and collages from these source materials. They become cut and paste blueprints from which I build my surface layers on the picture plane.
Concealing and revealing in my work is an important form of visual play. I play with the back and forth between what is print, what is paint and what is just negative space. Collage is a form of sampling but for me it’s what’s in between those samples, which is just as exciting. My selection process of shapes, images and paint is based in poetic responses on how I respond to formal elements – it is in that act that I find profound meaning.
Chelsea 535 West 22nd Street, Brooklyn NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-268-6699 art@morganlehmangallery.com
Opening Thursday May 02, 2013
Agathe de Bailliencourt, Paysage 12, 2012, Acrylic paint on raw linen canvas, 66 7/8 x 86 5/8 inches
Sheer Agathe de Bailliencourt Benrimon Contemporary Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 29, 2013 www.bcontemporary.com
On the basis of an inquiry into the materiality of raw linen canvas, Agathe de Bailliencourt’s exhibition deals with the classic question of horizon, as one of painting’s most traditional acts in defining time, space, and a scale of infinity. Following an installation at Art Omi in Ghent, NY in summer 2012, the series conveys the experience of painting in real space and in nature to the act of painting within the defined dimensions of canvas and the studio.
SHEER is characterized by subtle color gradations, produced with acrylic paint, pencil, and water. The untreated linen fiber reacts to these materials in a very particular, extremely sensitive, slow and almost uncontrollable way. At the same time, every action is irreversibly visible, laying bare the history of producing an image of a landscape.
In her own words, the artist sees this process as an intuitive exploration for a domain that incorporates the experience of inside and outside, nature and artificiality, a “third category”. In terms of space, this would be a "transparent" environment, direct and non-representational.
In the Journal of Contemporary Art, Roni Horn said: “Presence occurs if a thing is what it appears to be.” The raw materiality and pictorial openness of Agathe de Bailliencourt’s paintings correspond to this in a very direct way.
Since 2004, de Bailliencourt has been exhibiting internationally; she participated in the Singapore Biennale in 2006 with a site-specific paint installation. In 2007, she completed her first large-scale light projection at the IHZ-Building/Berlin followed by a second light installation in 2008 at the Berliner Dom, as well as an installation for the Shanghai Zendai Museum within the same year. In 2009, she was invited by Mori Art Museum in Tokyo to take part in the Roppongi Art Night and then later that year returned to Japan for the Tokyo Wonder Site Residency. In 2010, she published an artist book with Revolver Publishing and had her first New York solo exhibition at Lu Magnus, Expressway to your Skull. In 2011, she completed a permanent public installation for a high school in France. Most recently, de Bailliencourt took part in two residencies; the prestigious nine month residency with Lower Manhattan Cultural Council's workspace program and the Art Omi residency in Ghent, New York which she has just completed. The artist currently lives and works in Berlin, Germany.
Chelsea 514 West 24th Street, Floor 2E, New York NY, 10011 212-924-2400 info@bcontemporary.com
Opening Thursday May 02, 2013
Maximum Everything Always Zak Smith Fredericks & Freiser Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 08, 2013 www.fredericksfreisergallery.com
Fredericks & Freiser is pleased to announce "Maximum Everything Always," an exhibition of new paintings and drawings by Zak Smith. Smith’s work absorbs dozens of ways we see the world--the pixelled eye of jpegged reality, painterly abstraction, the graphic line of illuminated manuscripts and Japanese prints, comics, diagrams and pictograms. With an intricate visual energy, he re-casts this preternaturally absorbing mixture into a seamless whole.
The iconography in this exhibition ranges from Samuel Beckett in a green suit to an abstract drawing with futuristic shapes to Smith’s ongoing series of women he knows in the adult film industry. In Smith’s meticulously rendered work, reverence and conviction for his subject matter replaces the distancing effect created by irony and mediation. Like the zoo-bound ape that reportedly inspired Nabokov to write Lolita by drawing the bars of his cage, Smith is simply interested in depicting what’s there. What follows are the bright, intoxicating backgrounds and nuanced grays that reach through the picture plane for moments of strange, vibrant clarity and contact.
About the Artist
Zak Smith was born in 1976 and lives in works in Los Angeles. His work is included in several public collections including The Museum of Modern Art, New York; The Walker Art Center, Minneapolis; The Saatchi Gallery, London; and The Whitney Museum of American Art, where his work was included in the 2004 Whitney Biennial. His work has also been exhibited at The San Francisco Museum of Modern Art; The Contemporary Museum of Art, Baltimore; The National Portrait Gallery, Washington DC; and The Carnegie Museum of Art, Pittsburgh. In addition to his illustrated memoir We Did Porn (Tin House Books), two books of his art work have been published--Pictures of Girls (DAP) and Pictures Showing What Happens on Each Page of Thomas Pynchon’s Novel Gravity’s Rainbow (Tin House Books). This is his sixth show at Fredericks & Freiser.
Chelsea 536 West 24th Street, New York NY, 10011 212-633-6555
Opening Thursday May 02, 2013
Don Gummer
Recent Works Don Gummer Allegra LaViola Gallery Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 01, 2013 www.allegralaviola.com
Allegra LaViola Gallery is pleased to present Don Gummer: Recent Works, an exhibition of collage, watercolor and sculpture. The exhibition will be on view from Thursday, May 2nd, 2013 with an opening from 6 to 8pm that evening.
Known for his large-scale sculptural works, this exhibition explores a different side of Gummer’s process and pieces. The encaustic paintings represent images partially brought to the surface of recognition. Stripped of detail, and waiting for full recollection, the viewer must complete the pieces of the puzzle, which are both familiar and unrecognizable.
The collages are made from torn or cut paper painted in four or five different values of grey. The size of the collage elements is limited to the area that encaustic paint can cover before it becomes unworkable. These collage works stand on their own as well as connecting the viewer to Gummer’s sculpture, as the collages are also sculptural pieces.
The sculpture, ranging in material from marble, stainless steel and bronze are, for the most part, maquettes for larger sculptures that are concerned with a bottom up approach to building while defining the transition from chaos to the magic of lyrical simplicity. As in Gummer’s larger works, the viewer is occasionally deceived by material and form: what appears to be solid is air, what appears heavy is light and vice versa. Gummer’s constant attention to the space and how his forms exist in it leads us to address our own surroundings with a sharper eye.
Don Gummer received his BFA and MFA from Yale University, CT and has had numerous solo and group exhibitions both nationally and internationally, including at Sperone Westwater, New York, NY; Salander O-Reilly Galleries, New York, NY; Marlborough, New York, NY; The Albright Knox Gallery, Buffalo, NY; The Aldrich Museum of Contemporary Art, CT; Galeria d’Arte Benucci, Rome, Italy. He has received grants from The National Endowment for the Arts and the American Academy in Rome and his work has been reviewed in Artforum, The New York Times, The Village Voice and Art in America. He currently resides in New York City. This is his first solo exhibition with the gallery.
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
Opening Thursday May 02, 2013
Sara VanDerBeek Metro Pictures Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 08, 2013 www.metropicturesgallery.com
For her first one-person exhibition at Metro Pictures, Sara VanDerBeek presents new photographs and sculptures that explore the phenomenon of experience and the translation of memory into image and form. Continuing her inquiry into the synthesis of place, time and culture, VanDerBeek travelled to Paris, Rome and Naples where she explored archeological sites and museum collections of classical and neoclassical sculpture. During this period of research, VanDerBeek focused on ancient female figures as they exist within evolving visual culture. The exhibition translates and materializes the museum tableaux and sense of scale, space and time VanDerBeek experienced while visiting these collections.
In one room a group of photographs of large marble and metal female figures, colorized with blue and pink Plexiglas, are seen opposite a colonnade of rectilinear modular forms. These imposing sculptures correspond to the monumental scale of the women pictured. In another room are eight close-up photographs of an oxidized metal wall, its rust appearing as a kind of dusk-hued patina. Framed in mirrored glass, the experience of these images is in constant flux as they reflect shifting light and passing viewers. The predominating blue and pink hues of the photographs recall the original colors classical statues were painted while the white of the plaster and concrete sculptures speaks to their present state. VanDerBeek approaches the breadth of civilization with an intimate immediacy, enabling her contemporary experience to exist within the continuum of history.
Sara VanDerBeek studied at the Cooper Union and lives and works in New York City. She has had one-person exhibitions at the Hammer Museum, Los Angeles; the Whitney Museum of American Art, New York; and Fondazione Memmo, Rome. Her work has been in group shows at institutions incudling the Museum of Contemporary Art, Los Angeles; CCS Bard, Annandale-on-the-Hudson, New York; SculptureCenter, New York; Museum of Contemporary Art, North Miami; Museum of Fine Arts, Houston; Aspen Art Museum; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and the Museum of Modern Art, New York.
Chelsea 519 West 24th Street, New York NY, 10011 212-206-7100 gallery@metropictures.com
Opening Thursday May 02, 2013
ANTHONY PEARSON Marianne Boesky Gallery Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 08, 2013 www.marianneboeskygallery.com
Marianne Boesky Gallery is pleased to present an exhibition of new work by Anthony Pearson. This exhibition features lighting design by Keefe Butler. This is the artist’s second solo exhibition with the gallery.
Optical nuance and the handling of materials are at the core of Pearson's practice. His work engages light and atmosphere as a way of revealing a highly consistent formal vocabulary. For this exhibition, Pearson again introduces new iterations of scale and form, expanding on previously established precedents in his work. Rolled and bundled volumes in bronze relief, as well as highly finished Plaster Positives of varied scales, are combined with previous mainstays of Pearson’s practice, his Flares and Solarizations.
As with all of Pearson’s work, it is not only the objects themselves, but the relationships among the objects and the overall environment in which they are presented, that dictate both the formal and conceptual conditions of the work. In this exhibition the arrangement of specific works become additionally activated by an augmentation of the gallery's lighting.
Pearson’s abstract forms allude to the body, landscape, and to art history itself, yet remain undeniable in their material primordial fact. He engages a process driven studio practice that pushes through drawing, photography, painting and sculpture to arrive at something simultaneously ancient and futuristic.
His work is built from the substantive facts of materials such as wood, plaster, metal, clay, as well as the photochemical play of silver gelatin prints. The use of these materials is activated by both a free-form expression and a regulatory logic, but the experience of his objects and images themselves is the ultimate concern. They are designed to foster physical closeness and slow, attentive absorption. In terms of both looking and making, temporality lurks in each of the conceptual recesses of his ongoing project.
The result is an idiosyncratic body of work that is held together only by the pragmatism of its own framework. Using both the analog and the digital, and the classical and the synthetic, Pearson creates an intuitive structure that allows viewers to enter into an open, lyrical, meditative engagement with sensuality and phenomena. This sensuality and phenomena exist both within and beyond the reference of mechanized human intervention and organic from-earth-itself cultivation. For Pearson, the liberation of the artist's gesture and chosen language is best understood and reconciled through categorical classification. The studio is the ground in which both personal expression and absolute order is established.
Anthony Pearson is a Los Angeles artist. Solo exhibitions include Midway Contemporary Art, Minneapolis, Contemporary Art Museum, St. Louis and David Kordansky Gallery, Los Angeles. There have been essays and articles on his work written by Tim Griffin, Liz Kotz, Dominic Molon and Jonathan Griffin. His work is included in the collections of The Museum of Contemporary Art, Los Angeles, Hammer Museum, Los Angeles and The Walker Art Center, Minneapolis.
Chelsea 509 West 24th Street, New York NY, 10000 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-680-9889 veronica@marianneboeskygallery.com
Opening Thursday May 02, 2013
Image: Ann Toebbe, Margie’s Room, 2013, paper, graphite and acrylic on panel, 18 by 22 inches
Rooms Ann Toebbe Monya Rowe Gallery Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 15, 2013
Monya Rowe Gallery is pleased to announce the New York solo debut of Ann Toebbe.
For this exhibition, titled Rooms, Toebbe exhibits seven paintings composed of gouache and various mixed media materials (fabric, yarn and flocking, for example). As the title of the exhibition suggests, each painting is a fastidious depiction of an interior space, rendered in a pseudo-naive fashion. Each scene is drawn from Toebbe’s past and subtly psychologically charged: her mother’s childhood room, the living room of a vindictive neighbor, her parent’s living room during the Christmas holidays. Toebbe relies mostly on memory and old photographs to recreate each setting. “Spaces are my prominent memories. Rooms are things you can remember. There’s something cathartic about recreating those memories on paper.”
For Margie’s Room (2013), a scene of her mother’s childhood bedroom, Toebbe drew on family photos of her grandmother’s hand-sewn curtains, stapled wallboard and linoleum floors, which in her mother’s recollection was a quintessential adolescent girl’s room, replete with sewing machine, horse paintings, and vanity tables. In Jean’s Vision (2012), Toebbe recreated the living room of her mother’s friend, Jean, who claims to have seen The Virgin Mary and each Christmas decorates her entire living room blue. The seemingly mundane interiors of Toebbe’s idiosyncratic subjects are portholes into a stranger’s life that reveal only part of a story.
Toebbe’s paintings and mixed media collages transform those memories into formally executed homages about space, geometry, and color. The work foregrounds geometric patterns and materiality but also reveals moments of unexpected nuance: the landscape outside a window, the glare on a mirror, or the wood grain in a coffee table is subtly transformed into small abstract markings (a painting within a painting).
Rooms is a slice of Americana and a bit of nostalgia within a domestic frame. Are our lives really this structured? Who is doing the dusting? Do objects define us? Are the Christmas decorations an extension of our obsessive self? If I pay homage to The Virgin Mary will she visit my home?
Ann Toebbe received a MFA from Yale University, CT and a BFA from Cleveland Institute of Art, OH. She received a scholarship from DAAD, Universität der Kunst, Berlin, Germany in 2005, and was awarded a residency at Skowhegan School of Painting and Sculpture, ME in 2000. In 1995, Toebbe participated in the “NY Studio Program” at Parson’s School of Design, NY. Her work was recently exhibited in a group exhibition titled “Open House: Art About Home” at The Elmhurst Museum of Art, Chicago, IL and in solo exhibitions at the Chicago Museum of Contemporary Art (as part of the invitational “12 X 12” series); Ebersmoore Gallery, Chicago; and Steven Zevitas Gallery, Boston, MA. Toebbe’s work is included in an upcoming exhibition titled “Paper” at the Saatchi Gallery in London. This is her first solo exhibition at Monya Rowe Gallery. Toebbe lives and works in Chicago, IL.
Chelsea 504 West 22nd Street, 2nd Floor, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-255-5065 info@monyarowegallery.com
Opening Thursday May 02, 2013
Nancy Lorenz, Palladium Water (2013), Palladium, Mother Of Pearl, Clay, Pigment, Shellac On Panel, 60h x 96w in (152.4h x 243.84w cm)
New Work Nancy Lorenz Morgan Lehman Gallery Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 29, 2013 www.morganlehmangallery.com
Morgan Lehman Gallery is pleased to present Nancy Lorenz’s first solo exhibition with the gallery. The exhibition opens on May 2nd with a reception for the artist from 6-8pm, and will be on view through June 29th.
In her newest body of work Lorenz pulls from her direct experience while at the Cill Rialaig artist residency, located in South West County Kerry, Ireland. The ominous, and often stormy, weather patterns in the region are documented through Lorenz's sketchbook practice. Her daily recordings of the tumultuous cloudscapes are rendered in (peat bog) ash, watercolor and colored pencil on book cloth. These initial drawings capture the fleeting yet visceral energy of the elements and later inform her elaborate paintings of the same subject. Responding to gusts of wind or a rippling ocean, Lorenz’s immediate markings sketchily manifest her transcendental experience of the awe inspiring coastal weather. These deeply personal and elegantly minimal drawings will be exhibited as independent works for the first time in this exhibition. The overall body of work born from the residency evokes in equal parts the tumultuous spirit of 19th century American landscape painters such as Winslow Homer, and the frenetic immediacy of Minimalism’s icon Cy Twombly.
A direct influence of her time in Japan as an adolescent, Lorenz’s paintings have long presented subjects of the sublime in luxurious materials most commonly associated with a craft tradition. Evoking the Atlantic in waves of mother of pearl, moonlight in reflective panels of silver, or squalls of rain in energetic carvings on gold-leafed corrugated cardboard, Lorenz blurs the lines between design and high art. Initiating her process with very loose, gestural drawings in Sumi ink, her paintings evolve into incredibly lavish, worked surfaces that are as complex and moving as the elements she observed in Ireland. Fusing a Japanese aesthetic with the incidental marks and unrestrained brushwork of Abstract Expressionism, Lorenz has inserted her luxurious materiality into the realm of art history. Synchronously a Minimalist in composition, a Modernist in subject matter and a master of her technique, Lorenz has developed an east-meets-west ideology that is uniquely her own.
Nancy Lorenz received her MFA from the Tyler School of Art in 1988, studying in Philadelphia and Rome. A John Solomon Guggenheim award recipient in 1998, Lorenz has exhibited internationally and her work is included in prestigious private and public collections, including the Portland Museum of Art and the United States Consulate in Istanbul. An extensive list of public commissions include the Gucci Towers in Tokyo and Hong Kong, the Beverly Hilton in Los Angeles, the Mandarin Oriental in the Time/Warner Center in New York, and Chanel stores in Paris, Shenyang, Hong Kong, and Ginza. Her third collection of limited edition luxury boxes made in collaboration with Bottega Veneta debuted in Milan in April 2013.
A full color catalog with accompanying essay by critic and poet Geoffrey Young has been published on the occasion of this exhibition. For more information, please contact the gallery at 212.268.6699.
Chelsea 535 West 22nd Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-268-6699 art@morganlehmangallery.com
Opening Thursday May 02, 2013
Tracey Emin
Tracey Emin: I Followed You To The Sun Lehmann Maupin Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 22, 2013 www.lehmannmaupin.com
New York, 18 April 2013—Lehmann Maupin is honored to present Tracey Emin’s fifth solo show in New York from 2 May to 22 June 2013. Tracey Emin: I Followed You To The Sun is a two-part exhibition featuring over 100 works of art, including a series of new bronze sculptures, paintings and drawings, embroideries, and a short film. Lehmann Maupin has published a special artist monograph on the occasion of the exhibition. The gallery will host a book signing with the artist at 201 Chrystie Street on Wednesday, 1 May from 5 to 7 PM. The following evening, on Thursday, 2 May, Tracey Emin will be present for opening receptions at 540 West 26th Street and 201 Chrystie Street from 6 to 8 PM.
Chelsea 540 West 26th Street & 201 Chrystie Street, New York NY, 10001 212-255-2923 newyork@lehmannmaupin.com
Opening Thursday May 02, 2013
Jannis Kounellis, Untitled, 2013, oilstick on paper, 30 x 44 in, 76.2 x 111.8 cm
Jannis Kounellis Cheim & Read Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 22, 2013 www.cheimread.com
Cheim & Read is pleased to announce an exhibition of new work by Greek-born, Italian artist Jannis Kounellis. This exhibition incorporates the themes and concerns of Kounellis’s best known work, while also reacting to and engaging with the gallery as a unique space. Kounellis’s last gallery show with Cheim & Read was in 2006; he recently created an installation for the gallery’s booth at the ADAA Art Show in early March, 2013.
Kounellis was born in Piraeus, Greece in 1936. World War II and ten
years of civil war were backdrops to his childhood. In 1956, he moved to Rome and by 1960 was an active member of the Arte Povera movement. Kounellis has long combined art and history with the immediacy and tangibility of the present. Since February, he has been in residency in Brooklyn conceptualizing and making work for this exhibition; all of the materials have been locally sourced.
Kounellis’s multi-layered, eloquent installations juxtapose earthy substances (i.e. coal, coffee, wool, iron, stone) with evocative objects (such as sewing machines), producing theatrical tableaus in which “art” collides with the “everyday.” In this way, he attempts to deconstruct and re-contextualize artistic and cultural hierarchies, challenging not only the consumerist ideology of the art market but also the viewer’s passive gaze. His ongoing investigation of material, process and adaptability references social and political concerns (commerce, agriculture, trade, labor), while his use of personal artifacts (overcoats, hats, shoes) sympathizes with the human condition, alluding to ideas of transience and regeneration. Though performance-based and sculptural aspects of his work are apparent, Kounellis identifies as a painter; his canvas is real space. This sense of dimensionality was most famously demonstrated by his 1969 exhibition of twelve live horses at Galleria L’Attico, in Rome; the installation addressed the long history of equestrian representation while profoundly transforming the viewer’s experience. Kounellis’s classically-composed, landscape-like scenes are informed by his thorough understanding of art history, narrative and myth. The inherent tension between opposing elements (rigid/malleable, animate/immobile, structured/formless), deepen the poetic resonance of his chosen materials. As he has described: inorganic elements provide structure, organic elements provide sensibility. This dichotomy culminates in installations which are simultaneously pensive and engaged, meditative and provocative, spontaneous and deliberate.
Kounellis lives and works in Rome. His first New York solo show was in 1972. Recently, he has had exhibitions at the Museum of Cycladic Art, Athens, Greece (2012); the Museum of Contemporary Art, Herning, Denmark (2009); the Neue Nationalgalerie, Berlin, Germany (2007); the MADRE Museo d’Arte Contemporanea Donnaregina, Naples, Italy (2006); and the Galeria Nazionale d’Arte Moderna, Rome, Italy (2002), among others. Kounellis’s work is represented in many national and international collections.
Al Held: Alphabet Paintings will remain on view through April 20.
Chelsea 547 West 25th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-242-7727 gallery@cheimread.com
Editor's Pick
Joanne Greenbaum - sculpture Steven Parrino - drawing Kerry Schuss Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 02, 2013 www.kerryschuss.com
The East Village / Lower East Side 34 Orchard Street, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-219-9918 info@kerryschuss.com
Opening Thursday May 02, 2013
Joanne Greenbaum - sculpture Steven Parrino - drawing Kerry Schuss Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 02, 2013 www.kerryschuss.com
The East Village / Lower East Side 34 Orchard Street, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM
212-219-9918 info@kerryschuss.com
Opening Thursday May 02, 2013
Shadow Work Richard Dupont Tracy Williams, Ltd Opening Thursday May 02, 2013, from 6:00 PM to 9:00 PM On View May 02, 2013 - June 28, 2013 www.tracywilliamsltd.com
Richard Dupont
Shadow Work
2 May – 28 June 2013
Opening reception: 2 May, 6-9 pm
FOR IMMEDIATE RELEASE:
Tracy Williams, Ltd. is pleased to present Richard Dupont’s third solo exhibition with the gallery, Shadow Work. The exhibition will consist of a variety of new works in bas-relief: sculptural enlargements of small handmade burlap paintings, altered vacuum-formed rubber and vinyl topographical maps, and poured and peeled silicone rubber reliefs. Shadow Work invites a variety of readings, from references to Jungian psychology, mapping and surveillance, and the Austrian philosopher and social critic Ivan Illich’s 1981 book, Shadow Work.
For Sacco (1) and Sacco (2), Dupont used a high-resolution scanner to laser scan a small series of elemental canvases in burlap and gesso, enlarged the originals roughly 500%, and cast the results in white resin and marble dust. The ensuing monochromatic reliefs open up dynamic new spaces of inquiry for Dupont: They engage abstract painting as a dialogue with external methods and meanings, sample aspects of collage and the readymade, and extend elements of performance into the art object. Collapsing hierarchies of media, these works are part digital enlargement, part sculpture, and part painting. As the titles suggest, the works may allude to Alberto Burri’s Sacco paintings, which he began making on discarded sugar sacks while interned in an American prisoner of war camp after the Second World War.
The exhibition also includes new work based on U.S. Geological Survey (USGS) topographic relief maps and large-scale West German relief maps. With origins in territorial boundaries, the USGS—along with several other international bodies—has now surveyed and mapped via aerial scanning every inch of the earth’s surface. Dupont inverts and embosses the backside of these found rubber maps with cryptic titles appropriated from Walt Whitman poems, which he translates into binary code. In doing so, he creates objects that are at once Orwellian and transcendental.
Issues of mapping are further explored in Shadow Aspect (light) and Shadow Aspect (dark). Dupont brushed rubber over a positive form based on a scan of his head, and then peeled the rubber away as if a “skin.” Visceral and process oriented, these “skins” were collected and assembled on wood panels, and then additional silicone was brushed and poured over them. More unconscious and spontaneous than deliberate, the forms within these compositions may have derived originally from a digital replica of the body, but ultimately devolve into the scatological and formless.
Defined largely by dialectical juxtapositions, these works present simultaneous contradictory conditions: light and dark, revealing and concealing, seen and unseen, natural and industrial, the thing itself and its representation, the two dimensional and the three dimensional, and the handmade and the machine made. They also extend Dupont’s exploration of the techniques of digital and computer-assisted fabrication, as well as the broader social uses and implications of these processes. As the critic Hunter Braithwaite writes, “In 2004, [Dupont] traveled to Wright-Patterson Air Force Base in Dayton, Ohio, in order to truly map his body. This endeavor, which at first seems like a Whitmanesque pilgrimage of self-discovery, is mediated through the contemporary American military-industrial complex…the resulting data used to construct a ‘surrogate body’ is normally sold to arms contractors making blast helmets and flack jackets. It’s also sold to big-box retailers such as the Gap looking to design clothing to fit target demographics….the same research is equally applied to the clothing and the destruction of the body.”
Dupont’s work of the past few years has been characterized by strong visceral and material content and a process-oriented approach. As he recently wrote, “I have always been much more interested in physical, material residue than information, but technology is a great tool as long as you disrespect it…using things, whether ideologies, machines or materials, in ways that they were not meant to be used, can be a good way to work.”
This fall, Richard Dupont’s work will be included in Out of Hand (Materializing the Postdigital) at New York’s Museum of Arts and Design. His solo museum exhibitions include The Middlebury College Museum of Art (2011) and the Hudson Valley Center for Contemporary Art (2008). His work is included in the permanent collections of The Whitney Museum of American Art, The Museum of Fine Arts, Boston, The Brooklyn Museum, The San Francisco Museum of Modern Art, The Hammer Museum, The Cleveland Museum of Art, The New York Public Library Print Collection, and The Museum of Modern Art (MoMA) among many others.
In addition to Shadow Work at Tracy Williams, Ltd., Richard Dupont will present a simultaneous solo show at Carolina Nitsch Project Room, Going Around by Passing Through, opening also on May 2 from 6-8 pm. The exhibitions will run concurrently and will both consist of entirely new works in various media.
For more information, please call 212.229.2757 or email jacqueline@tracywilliamsltd.com.
Chelsea 521 West 23rd Street, Floor 2, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-229-2757 info@tracywilliamsltd.com
Opening Thursday May 02, 2013
Eugen Schüfftan: Untitled Film Still (1927)
Kurt Ralske "Rediscovering Futurism 1920-1929" video installation part of the 8th edition of video_dumbo Kurt Ralske video_dumbo @ Dumbo Arts Center Curated by Caspar Stracke and Gabriela Monroy Opening Thursday May 02, 2013, from 6:00 PM to 9:00 PM On View May 02, 2013 - May 31, 2013 www.videodumbo.org
This video installation by Kurt Ralske is part of the 8th edition of video_dumbo.
This year video_dumbo will take place in two venues:
Dumbo Arts Center:
The video installation Kurt Ralske: Rediscovering Futurism 1920-1929 from May 2 - 31.
Eyebeam, Art+Technology Center:
On view from May 14 - 25, video_dumbo will present fourteen video screening programs, alongside eight installation works under the title Re-Return to Sender.
About Rediscovering Futurism 1920-1929:
The Futurist movement, established by Marinetti in 1909, advocated a passion for technology and for fascism. Its direct influence was slight, but its twin obsessions defined the cultural life of pre-WWII Europe.
The newly rediscovered films of Eugen Schüfftan, created in the 1920s, reveal the lingering Futurist currents in Weimar Germany. Schüfftan, the cinematographer and special effects artist for Fritz Lang's "Metropolis" (1927), developed a complex technique of optical printing. His radically experimental films envision a curious world of machine-time and machine-space.
"Rediscovering German Futurism 1920-1929", a project by Kurt Ralske and Miriam Atkin, boldly rewrites history. By presenting new interpretations of the cultural flows of the past, it inquires into our present-day perspectives on technology and power.
About the artists:
Kurt Ralske's video installations and performances enact a dialogue with history: an exploration of the past that proposes a new view of the future. Kurt is the recipient of a Rockefeller Foundation Media Arts Fellowship, and has received First Prize at the Transmediale International Media Art Festival in Berlin. He teaches at the Rhode Island School of Design in the MFA Digital + Media department.
Miriam Atkin was born in Buffalo, New York. She has an MFA from the School of Visual Arts, and is a PhD candidate at the CUNY Graduate Center.
About video_dumbo 2013:
Kurt Ralske's exhibition is part of video_dumbo 2013 at Eyebeam, featuring the exhibition RE-RETURN TO SENDER, featuring works by Pascual Sisto, Daniel Kötter, Annica Cuppetelli and Cristobal Mendoza, Bram Snijders and Carolien Teunisse, Steina and Woody Vasulka, Chris Shen, and Christoph Meier. As well as 14 different screening programs, including a city special: New Finnish Video Art, and 2 guest curated programs by Videorover and Jim Supanick, running May 16 - 25 at Eyebeam, New York.All screening programs will be repeated at Dumbo Arts Center, May 23 – 31, 2013.
DUMBO 111 front st., suite 212, brooklyn ny, 11201 Wednesday - Saturday from 12:00 PM to 6:00 PM
646-623-6545 videodumbo@gmail.com
Opening Thursday May 02, 2013
The glaciers might be gone soon but they will always be a part of me, 2012, Diptych, 2 C-prints
Local Expeditions Matthew Jensen Third Streaming Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - August 15, 2013 www.thirdstreaming.com
Exhibition Dates: May 2, 2013 – August 15, 2013
Reception: Thursday, May 2, 2013, 6-8pm
Screening: Cleaning a Glacial Pothole, Wednesday, May 15, 2013, Two showings at 7pm and 8pm
Local Expeditions will bring together four years of walking and collection-based projects by the artist, Matthew Jensen. The solo exhibition, his first at Third Streaming, will feature photography, video and sculpture, with many of the works exploring landscapes throughout the five boroughs of New York City. The exhibition will feature a new series, 31 Winter Walks, which combines walking, collection and digital processes to create a visual journal using only sticks and thread. Cleaning A Glacial Pothole, a collaborative video work, is Jensen’s longest video to date. The video is both a document of a process and a portrait of Inwood forest, one of Manhattan’s most majestic landscapes.
Matthew Jensen is a Brooklyn-based artist who utilizes photography, video, walking and collection building to reinvent the way landscape is represented and understood. His landscape series The 49 States is on view at the Metropolitan Museum of Art until May 27, 2013, and his solo show East Coast, West Coast, The Bronx, The Bronx, is on view from April 2 through May 5, 2013 at Wave Hill in the Bronx. His work was curated by the Aldrich Museum of Art and L.M.C.C. hosted a solo exhibition of his work on Governors Island in 2010. Matthew’s work and projects have been featured in The New Yorker, WNYC, The New York Times, Phaidon.com, Whitewall Magazine online, and the Hartford Courant. He has participated in residencies at the MacDowell Colony, Kimmel Harding Nelson Center for the Arts, Wave Hill and has a forthcoming artist project at the Delaware Center for Contemporary Art.
Soho 10 Greene Street, 2nd Floor, New York NY, 10013 Tuesday - Friday from 12:00 PM to 6:00 PM
646-370-3877 info@thirdstreaming.com
Opening Thursday May 02, 2013
... so much space in the night ... Sheila Ross A.I.R. Gallery Opening Thursday May 02, 2013, from 6:00 PM to 9:00 PM On View May 02, 2013 - May 26, 2013 www.airgallery.org
A photographic odyssey featuring Miriam Healy and Michael Holleran
May 2013, Brooklyn, New York. A.I.R. Gallery is pleased to present ... so much space in the night ..., a photographic odyssey by Sheila Ross, featuring Miriam Healy and Michael Holleran.
This body of work maps the necessary descent into our underlying depth to reclaim our selves. The figures in the photographs slip off the edge of the great dark space, much as our dreams slide into peripheral vision as our waking selves try to grasp them. As in Chinese scroll painting, the central subject is to have no central subject or object, but an experience of emptiness, darkness, depth.
Sheila Ross is an English installation artist and photographer living and working in New York City. Trained as a sculptor at St. Martin’s School of Art in London, on coming to New York she earned an M.F.A. at Hunter College, CUNY. Since then, Ross has shifted from the physicality of substantial materials to work with light, space, and sound, first in environmental installations and now in photography and video. This shift is part of an ongoing attempt to create something that expresses what it feels like to be alive, to be human. Increasingly, Ross’ art practice is influenced by her Zen practice, which helps to strip away the habits of conceptualization to bring us directly to our unique experience of life.
Ross is a member of A.I.R Gallery, and has had fellowships at MacDowell Colony and Virginia Center for the Arts. She has taught in the visual arts programs at Hunter College and Fordham University, and is currently senior designer in the Office of Marketing Communications at Fordham University.
Her environmental installations over the last 20 years have been created largely with light, whether theater lights or projected film, video or slides. They have been shown at The Rotunda Gallery (1987), Experimental Intermedia (1989), BACA Downtown (1990), and Janalyn Hansen White Gallery, Iowa (2001).
Since joining A.I.R Gallery in 2005, she has had two solo exhibitions: NightVision (video and photographs) and {I am} just the birds in the grass... (infrared photographs). Of her several group shows with the gallery, two travelled to Sweden and Hungary. In 2009, photographs from her NightVision series were selected by Barbara O’Brien for “Third Person Singular: Does Gender Still Matter?” at the Art Institute of Boston. In 2008-9 the group show, “Your Documents Please,” toured Japan, Hungary, Germany, Slovakia and Mexico before coming to New York City. Prior to her A.I.R. membership, she was selected by Shamim Momin for the 2003 A.I.R. Biennial.
DUMBO 111 Front Street, #228, Brooklyn NY, 11201 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-255-6651 info@airgallery.org
Opening Thursday May 02, 2013
Varieties of Denial Katie Kahn and Terri Kapsalis A.I.R. Gallery Opening Thursday May 02, 2013, from 6:00 PM to 9:00 PM On View May 02, 2013 - May 26, 2013 www.airgallery.org
Brief reading with Terri Kapsalis at 7:30pm
A.I.R. Gallery is pleased to present Varieties of Denial, an exhibition of new work by artist Katie Kahn and writer Terri Kapsalis. Varieties of Denial pairs Kahn's drawings on New York Times', "Science Times," cover pages with serigraph prints of Kapsalis' texts, which were made using the same "Science Times" pages as source material for her short fictions. This is not a collaboration in the traditional sense of agreements, negotiations, or consensus in the creation of a single, joint work. Rather, Kahn and Kapsalis worked independently and agreed not to share work until each piece was finished. Enlisting pens, gouache, correction fluid and tape, Kahn used simple materials and techniques – sorting, connecting, noticing, divining, revealing, improvising. Kapsalis transformed the page into a lexicon - circling, reordering, cutting up, recognizing, adding, repurposing. After the work was done, Kahn and Kapsalis would bring text and drawing together to witness the collaboration emerge. Perhaps, in this sense, this project is more of a corroboration.
The eight pairings featured in this exhibition are drawn from over two dozen. Even though they are made independently, the drawings and texts in Varieties of Denial are remarkably interdependent. Each pairing has a charged alchemy. As it turns out, these aleatory duets of image and text have something urgent to impart about both “science” and “time.”
Katie Kahn has had solo exhibitions in Chicago, Houston, and New York. She received her MFA from Yale University and is a recipient of the National Endowment for the Arts Individual Artist grant. Kahn is currently Associate Professor in the School of Art at Northern Illinois University. Terri Kapsalis' most recent book is Jane Addams' Travel Medicine Kit. Kapsalis is a founding member of Theater Oobleck, works as a health educator at Chicago Women’s Health Center, and is chair of Visual and Critical Studies at the School of the Art Institute of Chicago.
DUMBO 111 Front Street, #228, Brooklyn NY, 11201 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-255-6651 info@airgallery.org
Opening Thursday May 02, 2013
"This is a story for small children. a true-life love story", HD video, 2012
SUJIN LEE A.I.R. Gallery Opening Thursday May 02, 2013, from 6:00 PM to 9:00 PM On View May 02, 2013 - May 26, 2013 www.airgallery.org
Brief Artist talk Sujin Lee at 6:15pm
A.I.R. Gallery is pleased to present Voicing the Sound, an exhibition of new work by the A.I.R. Fellowship Artist, Sujin Lee. This exhibition will be on view from May 2nd through May 26th and the opening reception will be held on Thursday, May 2nd, from 6pm – 9pm.
Voicing the Sound is an exhibition that features two videos: Text to Speech (Statement) and This Voice. Rhythm is an important element in Lee’s work, and these videos are no exception. Both works present challenges for the artist through their broken rhythmic flows. Lee’s use of rhythm is connected to her interest in speech and language. The artist compares speaking a foreign language to singing, for each requires different rhythms and breathing. This, in turn, often leads to a deeper awareness of the body and the act of making a sound.
Lee’s artist statement is presented in the style of karaoke in Text to Speech (Statement), with words on the screen that become highlighted as they should be spoken. In addition to the video, Text to Speech (Statement) can also be performed live. This piece makes a humorous play on the similarities between performing karaoke (in Korea) and the artist statement as a vehicle for social and promotional presentation of oneself. Peaceful landscapes, which do not have any relationship to the song lyrics in most cases, are typical screen imagery for Korean karaoke. The images in Text to Speech (Statement) often mimic such separation between image and text, while sometimes distinctively corresponding to the text displayed.
This Voice is a single channel video in black and white with a voice-over. In This Voice, the voice-over describes another voice. Mistakes made during the recording of the voice-over have been removed but are clearly distinguished by abrupt silences. Therefore, the flow of the narration becomes disrupted and broken. The black and white images in the video are abstract, fragmented, and layered; their textures have sonogram-like qualities. They comment on the impossibility of describing a voice because it has an ephemeral nature and may be remembered on a deeply personal level.
Voicing the Sound is a continuous exploration of the concepts that Lee has been working with for the last several years – performing language/text, translations between text and spoken words, and the relationship between sound and image.
There is an emphasis on voice and sound in the two new videos in this show.
Sujin Lee has exhibited internationally. She has been awarded residencies from Millay Colony for the Arts, Blue Mountain Center, I-Park and Newark Museum and has participated in the AIM program at the Bronx Museum of Art and the Emerge program at Aljira. Her writing will be published in an upcoming book on the Korean-American artist, Theresa Hak Kyung Cha, in Korea. For more information, please visit www.sujinlee.org.
DUMBO 111 Front Street, #228, Brooklyn NY, 11201 Wednesday - Sunday from 11:00 AM to 6:00 PM
212-255-6651 info@airgallery.org
Opening Thursday May 02, 2013
Debra Bermingham, The King of Denmark's Galliard, 2010, Oil on panel, 22 1/2 x 69 in
NEARBY: DEBRA BERMINGHAM, MICHAEL CLINE, SIOBHAN MCBRIDE, AND DUSHKO PETROVICH DC Moore Gallery Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 15, 2013 www.dcmooregallery.com
In the Project Space, DC Moore Gallery is pleased to present Nearby, a group exhibition of four artists who explore space, scale, perspective, and the quiet allure of the everyday. From the trompe l’oeil surface of Michal Cline’s A.H. to Debra Bermingham’s twilit still lifes, this group complements Alexi Worth’s concurrent exhibition, States, which shows the artist’s preoccupation with the firsthand, close-up sensation of sight. Both exhibitions are on view through June 15, 2013.
Debra Bermingham’s atmospheric paintings of interiors are sparsely dotted with miniatures (ships and soldiers) and everyday objects (teacups and spoons). Their bare backgrounds bring the focus to the shadowy objects and the irregular angles from which we view their tabletops. Bermingham’s works are included in the public collections of The Art Institute of Chicago and The Brooklyn Museum of Art, among others. She is based in upstate New York.
Michael Cline’s A.H. is a trompe l’oeil depiction of a makeshift tree-trunk memorial. A portrait of the Russian occultist Helena Blavatsky hangs from rope, as do other photographs, notes, and a half-burned candle. The objects are personal, rendered even more intimate by their scale, but simultaneously anonymous. Cline lives and works in New York and has been exhibiting in the US and abroad since the early 2000s.
Siobhan McBride’s small gesso paintings on paper, mounted to board, show commonplace but eerie interior spaces, starkly delineated and devoid of human occupants. McBride was born in Seoul, South Korea and has been the recipient of many awards and residencies since 2005. Her most recent solo exhibition, Never While You’re Sleeping…, was at NURTUREart in Brooklyn earlier this year.
Dushko Petrovich is a painter and writer who cofounded Paper Monument, a journal of contemporary art. On view in this exhibition are his small, monochromatic “Black Flower” paintings as well as works on paper featuring imagery from an imaginary Latin American truck, emblazoned “El Oso Carnal” (“the carnal bear”). Petrovich was born in Quito, Ecuador and has taught at Boston University, Rhode Island School of Design, and Yale University.
Chelsea 535 West 22nd Street, 2nd Floor, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-247-2111 info@dcmooregallery.com
Opening Thursday May 02, 2013
TIl Death Do Us Part
In Transit Ghulam Hussain Guddu, Romessa Khan, Sana Kazi and Mariam Hanif chashama Curated by Khuram Hussain Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - May 18, 2013 www.chashama.org
Ilham is pleased to announce its inaugural exhibition featuring four emerging contemporary artists from Pakistan, Ghulam Hussain, Sana Kazi, Mariam Hanif and Romessa Khan. The show highlights the latest trends in contemporary South Asian art while providing a timely window into modern Pakistani society where, given the country’s unique relationship with the U.S., citizens are reflecting on the nature of the social contract and the responsibilities of the individual.
The title ‘In Transit’ refers to the human struggle of meaningfully living in the moment, while responding to a world that is in constant flux. It reflects our journey through life – our origins, relationships, existential search for meaning and death. “In Transit” is a rational attempt to visualize the world we don’t see by tracing the path of human consciousness over time.
The artists present an eclectic collection of viewpoints representing the transition of consciousness. Ghulam Hussain’s works take us back in time to our childhood memories, to find meaning and beauty in simplicity. Hussain constructs his images as an illusion of pattern weaved through paper as illustrated in his piece “Illusion.” Going back to his roots in Pakistan’s province of Sindh, he challenges the notion of high craft by integrating forms of low-craft, such as weaving and brick building, with the historically distinguished miniature style of painting. Romessa Khan references ideas of what could have been to the present, creating a dynamic space of possibilities and impossibilities, to capture the essence of human relationships. Her weave-like structures are metaphors for the individual, with each line representing unanswered questions, collectively creating a sense of mystery and hallucination.
Sana Kazi explores the idea of collective consciousness as humans and societies mature. She proceeds like a skeptic, exploring the concept of the alter ego, questioning whether it is possible to know anything with certainty. Starting with a collection of photographs, she brings her subjects to life by rendering their images using unorthodox materials – ash, brick powder, sawdust and white cement – that work together to represent her fascination with classical art. Sensations are evoked through highly diffused grey images, leading one’s receptivity of these representations into pure intuitive conceptions of the subject. Finally, Mariam Hanif engages with art for reasons that many engage with the spiritual – to explore concepts of death, loss and rebirth. She creates a unique relationship with space, nature and the elements by exploring the meaning that is produced by the question of passing time and approaching death. The end result shows her fascination with the integration of all things, of the flowing movement that draws all creation into its eternal continuum.
“In Transit” will begin with an exclusive invitation-only artist panel moderated by Steve Coll, Pulitzer Prize-winning author of ‘Ghost Wars’ and ‘The Bin Ladens’, known for his research on US-Pakistan relations. He was recently appointed as the next dean of Columbia Journalism School at Columbia University.
The exhibition will take place in Chelsea, at a space provided by chashama, an acclaim NYC-based arts non-profit. chashama, which means “to have vision” in Farsi, reclaims unused properties and transforms them into creative work and presentation spaces. Landowners donate temporarily vacant properties that chashama recycles into creative hubs, and grants to artists, organizations, and youth arts programs without any cost or at highly subsidized rates.
About Ilham
Ilham provides an innovative platform to young and other underrepresented artists to showcase their work both nationally and internationally. Focused on South Asian art, our mission is to support the experimentation of artists,
development of alternative pedagogies and learning through collaboration and exchange.
Ilham means to reveal or to inspire; to put thoughts or ideas into the minds of others. Ilham aims to reveal a new humanist sensibility within art, one that refuses to bow to preservation, regulation and mediation, but instead sets
out to win support for the human-centered goals of discovery, experimentation and innovation.
Chelsea 303 Tenth Ave, New York NY, 10001 Tuesday - Saturday from 11:00 AM to 6:00 PM
212-391-8151 info@ilhamart.org
Opening Thursday May 02, 2013
Tim Hawkinson Pace Gallery Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 03, 2013 - June 29, 2013 www.pacegallery.com
Pace is pleased to present an exhibition of new work by Tim Hawkinson. The exhibition will be on view at 508 West 25th Street, New York, from May 3 through June 29. A public reception for the artist will be held on Thursday, May 2 from 6 to 8 PM. A catalogue with an interview conducted by Jori Finkel will accompany the show.
Tim Hawkinson’s idiosyncratic creations are meditations on nature, machines, mortality, the body and human consciousness. Since the 1980s, Hawkinson has used common household materials, handcrafted and found objects, and mechanical components to shift familiar subject matter askew, creating visual conundrums imbued with deeper meaning. His inventive works range in size from monumental kinetic and sound-producing sculptures to almost microscopic pieces created from such unassuming materials as fingernail clippings and eggshells. Driven by materials and an interest in transformation, Hawkinson continues to create unlikely and thought-provoking associations by repurposing ordinary materials into extraordinary works of art. All of the pieces in this show take their titles from Girl Scout cookies, yielding uncannily accurate descriptive associations with each work and reflecting how daily experience—in this case, his daughter’s cookie drive—influences Hawkinson’s imagination.
Many of the new works are inspired by materials scavenged from Hawkinson’s garden and suburban Los Angeles neighborhood, utilized in unexpected ways. The sculpture Kookabura—a human-bird-man-machine hybrid balanced on its long tail—is made from the leathery palm fronds found at the base of the trunk, with each piece of armor held together with acorn “rivets.” The totemic figure Trefoil is made out of pinecones and jacaranda logs, joined together by a tongue and groove construction that echoes the surface of the pinecones, breaking the branch down to its elemental particles.
The interest in biomorphism recurs in the nearly ten-foot-tall sculpture Animal Treasures, a “fountain” of species, with each smaller creature held by the scruff of his neck by a larger creature, raising ideas of repetition and regeneration while also creating a kinetic effect through the ball bearings installed in the scruff of each “mother’s” mouth. The ideas of chains and repetition reappear both in the biomorphic, corporeal Bondo link sculpture Do-Si-Do, and in Daisy-Go-Round, which consists of Hawkinson’s young daughter’s bike, sliced into chain links. “It’s not so much about chains as confinement,” says Hawkinson. “Instead, it’s more about things that are linked together.”
The works also continue Hawkinson’s fascination with the negative space of the human body. While some take the body as subject matter, others explore the human body as material, with non-figurative pieces functioning as unconventional self-portraits. Tagalong, a four-foot-tall seahorse suspended from the ceiling, is made from resin impressions of the artist’s joints—the smaller parts forming the tail are cast from Hawkinson’s knuckles, the larger pieces from his knees or elbow. Likewise, the windows in the lanterns Double Dutch and Shout Out are made from translucent casts that combine the radii of two body parts to create a lens. By casting the most spherical parts of his body, Hawkinson created convex and concave pieces that retain the imperfect texture of skin, including hair, scars, and pimples. In using his own body, Hawkinson extends his reductive process of using materials that are readily at hand.
In his exploration of the body and biomorphism, Hawkinson also addresses the way in which humans are enslaved by their senses. Inspired by images of Houdini, the bronze sculpture Samoa is a life-size cast of the artist’s own body, with chains linking the artist’s hands and mouth. The joints of the chain are casts of the artist’s tongue and lips, which join another chain originating from the hands, made of casts of Hawkinson’s thumb and index finger. Though he has previously explored the realm of the senses in his photo-collage and sculpture, this is the most startling work to date.
Tim Hawkinson (b. 1960, San Francisco, CA) received his B.F.A. from San Jose University (1984) and an M.F.A. from the University of California at Los Angeles (1989). Hawkinson works across a wide range of media, from sculpture, installation, and painting, to photography and collage, and many of is highly original works include moving components and sound, inventing new ways for seeing and thinking about the world around us.
Hawkinson’s work has been featured in more than forty solo exhibitions and seventy-five group exhibitions since 1981, including the Venice Biennale (1999), the Whitney Biennial (2002), as well as Fantasy Underfoot: The 47th Biennial Exhibition at the Corcoran Gallery of Art, Washington, D.C. (2003). Four of his idiosyncratic clocks are currently included in the exhibition 0 to 60 at the North Carolina Art Museum, Raleigh, a continuation of his ongoing interest in horology.
In 2008, the Museum of Contemporary Art, Sydney presented Tim Hawkinson: Mapping the Marvelous. In 2007, Zoopsia: New Works by Tim Hawkinson, referring to the visual hallucination of animals associated with delirium tremens, went on view at The J. Paul Getty Museum, Los Angeles. A major mid-career retrospective at the Whitney Museum of American Art, New York (2005) also traveled to Los Angeles County Museum of Art. Other significant solo exhibitions have been presented by the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Contemporary Arts Center, Cincinnati and Arnoff Center for the Arts, Alice F. and Harris K. Weston Art Gallery, which later traveled to the Akron Art Museum, Ohio; Center for the Arts, Yerba Buena Gardens, San Francisco; Southeastern Center for Contemporary Art, North Carolina; and John Michael Kohler Arts Center, Wisconsin (1996-97).
In 2002, the Stuart Collection at the University of California, San Diego, unveiled the artist’s monumental sculpture Bear, a 180-ton, 23-1/2-foot-tall teddy bear constructed from eight uncarved granite boulders, which will remain on view permanently. Hawkinson is currently at work on a major commission for the Transbay Terminal in San Francisco. Sponsored by the San Francisco Arts Commission, the project will use chunks of reclaimed concrete to create a human figure standing more than 40 feet tall. It will be completed in 2014.
Hawkinson’s work can be found in numerous important public collections, including the Indianapolis Museum of Art; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, San Diego; and Whitney Museum of American Art, New York.
Hawkinson joined Pace Gallery in 2005. He lives and works in California.
For more information about Tim Hawkinson, please contact Sarah Goulet, sgoulet@pacegallery.com / +1 212 421 8987. For general inquiries, please email newyork@pacegallery.com; for reproduction requests, email reprorequest@pacegallery.com.
Chelsea 508 West 25th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-989-4258 newyork@pacegallery.com
Opening Thursday May 02, 2013
Nicolas de Staël, Caption: Méditerranée, Le Lavandou, 1952, oil on canvas
NICOLAS DE STAËL Mitchell-Innes & Nash Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - May 31, 2013 www.miandn.com
Mitchell-Innes & Nash is pleased to present an exhibition of paintings by Nicolas de Staël (1914 – 1955). This will be the first solo exhibition of de Staël’s work in New York since the gallery’s inaugural exhibition in 1997. The show will include a dozen paintings from the 1950s, the artist’s most prolific and significant period. Loans for the exhibition have been secured from public and private collections, including several paintings that will be shown for the first time in New York.
Nicolas de Staël was one of the most influential and celebrated European painters of the post-War period. In the course of a tragically brief career he became a leading figure of what is now called the School of Paris. Expanding on the tradition of artists including Henri Matisse and de Staël’s close friend Georges Braque, he forged his own unique and unparalleled style. Hovering between figuration and abstraction, his paintings are marked by their heavily impastoed surface, their simplicity of composition, and a bold but sophisticated use of color. De Staël was once quoted as saying that painting consisted of “l’entre-deux, what lies between the two.” This notion is evident everywhere in his painting, as the juxtaposition of abstract shapes of color creates the sense of space, place and light for which he is known.
Nicolas de Staël was born into an aristocratic Russian family in 1914. Forced to emigrate in the aftermath of the Russian Revolution, the family relocated to Brussels where de Staël later studied at the Académie Royal des Beaux-Arts. As a complement to his formal schooling, de Staël traveled throughout the Mediterranean region, and the landscape, light and colors of the bright southern climate remained a source of inspiration throughout his life.
De Staël’s career was brief but intense, spanning only about 15 years. He first began exhibiting in Europe in the 1940s. By the early 1950s, he was well-known in Europe and had begun to exhibit in New York, most notably at Knoedler & Co. and at the Paul Rosenberg Gallery. De Staël’s work is included in many museum collections in the US and Europe, including the Solomon R. Guggenheim Museum in New York, Tate Modern in London, the Centre Pompidou in Paris and the Phillips Collection in Washington, D.C. His work has been the subject of several museum exhibitions, most recently a major retrospective in 2003 at the Centre Pompidou and a 2007 exhibition at the Fundació Caixa Catalunya, Barcelona. Other notable exhibitions have taken place at the Phillips Collection, the Art Institute of Chicago, and the Schirn Kunsthalle, Frankfurt.
The exhibition will be accompanied by a fully-illustrated catalogue with a new essay by English art historian Michael Peppiatt.
The Upper East Side 1018 Madison Avenue (between 78th and 79th Streets), New York NY, 10075 Monday - Friday from 10:00 AM to 5:00 PM
212-744-7400 info@miandn.com
Opening Thursday May 02, 2013
Kim Dorland, Dripping Dream, 2013, Oil and acrylic on jute over wood panel, 72 x 96 in (182.9 x 243.8 cm)
Ghosts of You and Me Kim Dorland Mike Weiss Gallery Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 08, 2013 www.mikeweissgallery.com
Mike Weiss Gallery is pleased to present Canadian artist Kim Dorland's third solo exhibition at the gallery, a tour-de-force of large-scale works on canvas that transport us to a place of heightened psychological portent as they transfix us with an undeniably sensual physicality. Known for his thick impasto marks and near-sculptural effect, Dorland’s newest body of work amps up recent color palettes, returning to fluorescent oranges and penetrating, acrid greens, liberating their application into a looser expression of drips and washes. The title, Ghosts of You and Me, besides being a Leonard Cohen lyric and woeful personal reflection, alludes to the at-times otherworldly glow that now grips his subjects: lone drunks and sleepwalking dreamers, ghostly clearings in dark forests, and glimpses of the artist so engulfed in his own creative act, that we, as viewers, seem to hover at their perimeter.
No matter how visionary the subject matter, it is a newly evolved graphic and color sensibility that drives this body of work, via hyper-saturated hues and relentless, ever-variegated blacks. Continuously influenced by historical Canadian landscape painters The Group of Seven, Dorland’s outdoor scenes venture into darker, more psychological realms, with interiors and single portraits that bring to mind the scumbled figures of Francis Bacon and Eugène Leroy. A prolific and energetic worker, Dorland typically keeps numerous paintings measuring 6 by 8 feet cooking at once in his studio, producing clusters of enigmatic narratives and loose-lying resemblances. As a result, these seemingly disparate bodies of work form subtle, unlikely connections through their shared material concerns, tangential colors, and ghostly parallels.
The mysterious death of legendary Canadian painter Tom Thomson is the chilling subtext of The Painter and His Canoe, told by Dorland in a narrative of stark yet bilious greens and blacks, while in The End, epiphanic sun-flares of acrid yellow and alizarin burst through a dark stand of trees, evoking Jay deFeo's The Rose in composition. Three Arms depicts the artist’s wife Lori, a recurring muse for Dorland, this time emblazoned with neon color fields and the residual optic ghosting of one of her limbs. Finally, in Zombies (The Year That Was), we witness glowing silhouetted figures slouching through wooded territory as if toward some unseen rite, nodding to the ubiquitous impact of Canadian myth and geography, while perfectly distilling the artist's idiosyncratic mix of bad-boy youth culture and studio craftsmanship.
In early years, Dorland’s imagery could be found dominated by disaffected youth, death-metal graffiti etched into birch tree trunks, taxidermy animals, and ominously bare forests. Now, married with two sons, we find the artist’s canvases subtly declaring a love for paint itself, with an Op-Art palette and luscious drippings – at times as loose as Morris Louis – that belie a lurking psychological gravitas. Ghosts of You and Me transcribes Dorland’s successful transition to another level, one of enduring scale and bravura, and of subsuming raw energy into an offbeat maturity.
Kim Dorland (b. 1974 in Wainwright, Alberta) lives and works in Toronto, Ontario, and has shown extensively around the world. His work is included in prominent public and private collections including the Museum of Contemporary Art San Diego, the Musée d'art Contemporain de Montréal, the Beth Rudin DeWoody Collection, the Blanton Museum of Art at The University of Texas, the Eileen S. Kaminsky Family Foundation in New Jersey, the Glenbow Museum in Calgary, the Montreal Museum of Fine Arts, the Neumann Family Collection in New York, the Richard Massey Foundation in New York, the Royal Bank of Canada, the Sander Collection in Berlin, and The Oppenheimer Collection at the Nerman Museum of Contemporary Art in Kansas City, MO.
Chelsea 520 West 24th Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-691-6899 info@mikeweissgallery.com
Opening Thursday May 02, 2013
Fathom Spencer Finch James Cohan Gallery Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 15, 2013 www.jamescohan.com
James Cohan Gallery is pleased to present Fathom, Spencer Finch’s debut solo exhibition at the gallery, opening on Thursday, May 2nd and running through Saturday, June 15th. An opening reception for the artist will take place on May 2, 2013, from 6 – 8 PM.
To “fathom” is to comprehend the essence of something colossal or ineffable by translating it into terms we can grasp. For more than twenty years, Spencer Finch’s practice addresses such a need to capture and frame experience. In site-specific installation as well as drawing and sculpture, Finch has combined scientific calibration and calculation with a romantic’s engagement with nature and faith in the limitless rewards of observation.
A fathom is also a unit of measurement approximately six feet in length that is used to measure the depth of water, and a key reference point for the exhibition. After learning about Henry David Thoreau’s 1846 survey of Walden Pond, in which the famed polymath performed soundings to determine the lake’s depth at 102 feet and debunk a popular myth that it was bottomless, Finch received permission from the Walden Pond State Reservation to take a boat on the lake and perform that seminal survey for the second time. Dropping rope into the pond, as Thoreau had, while also employing an electronic depth meter — combining old and new technology — Finch further measured longitude and latitude as well as color-matching the water at each sounding point.
The resulting work is a 120-foot long rope – the rope Finch used in the soundings, and the artist's description of the depth of Walden Pond. It serves as the physical record of the findings as well as an armature: paper tags for each of the approximately 700 soundings appear along the rope at their equivalent measure of depth along with their exact coordinates and a swatch of matched color, applied in watercolor. Neither entirely documentation nor sculpture, the long line may best be considered a drawing of Walden Pond.
The main gallery will include several other works delving into the idea of delineation, from continuous-line drawings of encircling vultures observed by the artist in Spain to abstract renderings of meteorological models used to predict weather patterns. Other new and recent works on view for the first time in New York address themes as varied as the color of the light on Mars, the breeze through Emily Dickinson’s bedroom window and the attempt to render wind through chalk pastel drawings of the movement of the curtains at Ludwig Mies van der Rohe’s famous pavilion in Barcelona.
Spencer Finch was born in New Haven, Connecticut, in 1962. Recent solo exhibitions and commissions include: Following Nature, Indianapolis Museum of Art, Indianapolis, IN (2013); Painting Air, Rhode Island School of Design Museum of Art, Providence, RI (2012); Lunar, The Art Institute of Chicago, Chicago, Rome, Museum of Contemporary Art San Diego, La Jolla, CA, Between the light - and me, Emily Dickinson Museum, Amherst, MA (2011); My Business, With the Cloud, Corcoran Gallery of Art, Washington, DC, Evening Star, Pallant House, Chichester, UK, Between The Moon and The Sea, Frac des Pays de la Loire, Carquefou, France (2010); As if the sea should part and show a further sea, Queensland Gallery of Modern Art, Brisbane, Australia (2009). He has taken part in numerous group exhibitions, including Light and Landscape, Storm King Art Center, Mountainville, New York, NEON, La material luminosa dell'arte, MACRO, Rome (2012); More Light, Museum De Fundatie, Zwolle (2011); Haunted: Contemporary Photography/Video/Performance, Solomon R. Guggenheim Museum, New York (2010); Making Worlds: 53rd International Art Exhibition, La Biennale di Venezia (2009); 50 Moons of Saturn, Turin Triennial (2008); Refract, Reflect, Project: Light Work from the Collection, Hirshhorn Museum, Washington D.C. (2007); Light Art from Artificial Light, ZKM Karlsruhe and Colour After Klein, Barbican Art Gallery, London (2005). Finch lives and works in Brooklyn, New York.
For press inquiries, please contact Jane Cohan at jane@jamescohan.com or at 212-714-9500.
For other inquiries, please contact Jessica Lin Cox at jcox@jamescohan.com or at 212-714-9500.
Chelsea 533 West 26th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-714-9500 jcox@jamescohan.com
Opening Thursday May 02, 2013
Carl Palazzolo, Tears of Things #1. 2012, 40 x 36”
New Paintings Carl Palazzolo Lennon, Weinberg Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View April 27, 2013 - June 08, 2013 www.lennonweinberg.com
Lennon, Weinberg is pleased to present its sixth solo exhibition of Carl Palazzolo’s work. Aesop is the earliest of the paintings in this exhibition, and is the most closely related to the prior cycle of work titled Traces of Absence that was presented in his exhibition at Texas Gallery in Houston several years ago. Each painting in that series featured an object that served to anchor a layered composition of subtly modulated colored fields, freehand brushstrokes and a scatter of rose petals and numbers across the surface.
The petals in Aesop are paired with numbers that, like the yardstick, advance from one to thirty-six, and are a readily legible metaphor for the passage of our fleeting measure of time. Palazzolo’s paintings develop slowly as he builds and refines the layers, and this painting was still on the easel in the spring of 2011 when he learned that his close friend of forty years, painter Stephen Mueller, had been diagnosed with cancer.
Palazzolo has described the central themes of his work as memory and loss, impermanence and an undercurrent of longing and desire; the progression of Mueller’s illness made his sense of these feelings all the more immediate. Stephen Mueller died in September 2011, and the rest of the paintings in this exhibition are a particularly specific and personal expression of homage, appreciation and love from one friend, and painter, towards another.
The paintings in the series Tears of Things are painted on the canvas drop cloths from Mueller’s studio that bear the traces of his materials and process. In these paintings, Palazzolo exchanged the symbolic objects of the prior work for elements that quote from Mueller’s own paintings. He stretched sections of the drop cloths, added layers of color, tinted rose petals and numbers, and introduced hard-edged shapes in graduated colors that echo Mueller’s vocabulary of rounded forms. The Tears of Things series is as eloquent a statement of the underlying themes in Palazzolo’s work as he has ever produced.
The nine small paintings that comprise A Suite of Fragrances for Stephen were painted concurrently with the Tears of Things. Each depicts the bottle of a particular brand of fragrance, each representing a memory of where it was purchased and why it was chosen, when it was worn and with whom it was shared.
In earlier cycles of work, Palazzolo had deconstructed a particular painting by John Singer Sargent, The Daughters of Edward Boit, and subsequently explored imagery from classic Italian films of the 1960s. His last show here in 2006 introduced some of the elements present in the current work. All of these paintings are personal in one way or another, but are rife with references that go beyond that aspect and demonstrate his intelligence and wit as well as a stance that values sincerity over irony.
Carl Palazzolo studied at the School of the Museum of Fine Arts, Boston, and Tufts University. His work was included in the 1975 Whitney Biennial. Lennon, Weinberg represents Carl Palazzolo in New York and has presented six solo exhibitions of his paintings and watercolors since 1988. He has also had solo shows at Texas Gallery in Houston; Rebecca Ibel Gallery in Columbus, Ohio; Robert Bowman Ltd in London; Stephen Wirtz Gallery in San Francisco; Marguerite Oestreicher Fine Arts in New Orleans and Thomas Babeor in La Jolla, California. In her role as curator, Joan Sonnabend of Obelisk Gallery in Boston, an early and long time supporter of Palazzolo’s work, acquired many works for the collections of the international Sonesta Hotels. His work is represented in numerous public and private collections.
Palazzolo has taught at the School of the Museum of Fine Arts, Boston, the University of New Orleans, Massachusetts College of Art, the School of Visual Arts and Syracuse University. He has received grants and awards from the National Endowment for the Arts, Massachusetts Council on the Arts, the Museum of Fine Arts Boston and the Peter Reed Foundation.
In conjunction with the 2013 Spoleto Festival USA, the Gibbes Museum in Charleston, South Carolina, will present The Spoleto Watercolors of Stephen Mueller and Carl Palazzolo from the collection of David and Carol Rawle. The exhibition will be on view from May 24 to September 15, 2013.
Palazzolo lives and works in Houston, Texas and Robinhood, Maine.
Chelsea 514 West 25th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-941-0012 mary@lennonweinberg.com
Opening Thursday May 02, 2013
Cells Ori Gersht CRG Opening Thursday May 02, 2013, from 6:00 PM to 8:00 PM On View May 02, 2013 - June 15, 2013 www.crggallery.com
CRG Gallery is pleased to announce Ori Gersht’s sixth show with the gallery, Cells. The recent film and photographs are the result of the artist’s visit to the Andalusia region of Spain in 2012. As in prior work, Gersht considers private and collective histories. His work simultaneously inhabits spaces of volatility and harmonious elegance.
Spain established their modern bullfighting tradition in the early eighteenth century. A highly ritualized event, an impeccably adorned matador baits a bull with a cape, drawing the animal in and out and around the bullfighting ring. The event most often culminates in the bull being slain. The Offering (2012) is a three-channel narrative which traces the matador’s meticulous spiritual and physical preparation, inhabits the bull’s holding pen, and finally bears witness to the encounter between man and animal. Interspersed with the bullfight staging are images of Italian, French and Spanish Old Master paintings. Titian and Juan Bautista Martínez del Mazo’s royal portraits highlight the ornate and stately nature of the matador’s dress. Guido Reni’s arrow-pierced Saint Sebastian (1617-1619) and Edouard Manet’s Dead Toreador (1864) allude to religious and secular violence against man.
In the accompanying Cells images, the holding pens from The Offering are considered formally, the three-dimensionality of these spaces virtually erased, the surface qualities emphasized. What becomes most notable about these staging areas are the bull’s actions against it. One can imagine that in his anxious anticipation, he rams into the wood and mortar walls, scratching and cracking the surfaces, drawing blood from himself.
The Love Me Love Me Not photographs actively resist identification. They are highly abstract, appearing alternatively as miniature flowers or as mandalas, metaphysical or symbolic representations of the cosmos. Using a high definition camera, Gersht captures a drop of blood as it disperses through milk. Initially, the blood appears as a black puncture hole, growing symmetrically and gradually outwards. It becomes a deep red as it pushes away from its inception, transforming into a pale pink before the two fluids coalesce into a single entity. The purity of the milk is at odds with the blood, an aggressive contaminant. In three separate places, the Torah says that the devout may not “boil a kid in its mother’s milk,” which is the basis for the requirement that meat and dairy cannot be eaten together.
As with the bullfighting images, these works are simultaneously seductive and repellant, vital and deadly. As primal as bullfights are, a sense of beauty is captured in its ritual, tradition, and in the continuation of its practice throughout Spain. Though the protagonists in the film remain anonymous, the film is indexical, memorializing, and reverential. It is simultaneously biographical and exemplary of a larger cultural heritage. In the same way, the Love Me Love Me Not works refer to a religious or maternal heritage, to a start or a beginning that hovers outside the image. Informed by these veiled histories, Gersht sees recollections of violence through a lense of quiet subtlety.
Ori Gersht was born in Tel-Aviv, Israel in 1967. He received his BA from the University of Westminster, London (UK) and his MA in Photography from the Royal College of Art, London (UK). He lives and works in London. He is currently the subject of solo exhibition at The Gund Gallery, Kenyon College, Ohio. He has previously been the subject of solo exhibitions the Museum of Fine Arts, Boston, The Imperial War Museum, London (UK), The Tate Britain, London (UK), The Tel Aviv Museum of Contemporary Art, Jerusalem (Israel), The Santa Barbara Museum, The Hirshhorn Museum and Sculpture Garden, Washington DC, The Jewish Museum, New York, The Yale Center for British Art, Connecticut, and the Gardner Arts Centre, Brighton (UK).
Gersht is included in the public collections of the British Council, London (UK), Deutsche Bank, Government Art Collection, London (UK), the Hirshhorn Museum and Sculpture Garden, Washington DC, the Imperial War Museum, London (UK), The Museum of Fine Arts, Boston, The Israel Museum, Jerusalem (Israel), The Jewish Museum, New York, the J. Paul Getty Museum, Los Angeles, the Knoxville Museum of Art, Knoxville, the Los Angeles County Museum, Los Angeles, the San Francisco Museum of Modern Art, San Francisco, the Santa Barbara Museum of Art, Santa Barbara, the Solomon R. Guggenheim Museum, New York, The Tate Britain, London (UK), the Tel Aviv Museum of Art, Tel Aviv (Israel), the 21C Museum, Louisville, and the Victoria and Albert Museum, London (UK).
Chelsea 548 West 22nd Street, New York NY, 10011 Tuesday - Saturday from 10:00 AM to 6:00 PM
212-229-2766 info@crggallery.com
Opening Friday May 03, 2013
Student artwork: Jade Costanzo, fourth grade, PS 48, Staten Island. Teaching artist: Mark Dzula. Classroom teacher: Karenanne Whalen. Photo: Ashley Gunter
A Year with Children 2013 Solomon R. Guggenheim Museum Opening Friday May 03, 2013, from 10:00 AM to 5:45 PM On View May 03, 2013 - June 19, 2013 www.guggenheim.org
Learning Through Art, the pioneering arts-education program of the Guggenheim Museum, presents A Year with Children 2013, an exhibition that showcases selected artworks by New York City public-school students in grades two through six. These students participated in a yearlong artist-residency program that partners professional teaching artists with classroom teachers in each of the city's five boroughs to design collaborative projects that explore art and ideas related to the classroom curriculum. Approximately one hundred creative and imaginative works, including drawings, prints, photographs, sculptures, paintings, and collage, will be on display during this six-week installation.
See the A Year With Children 2013 benefit page for information on supporting the exhibition and the Learning Through Art program.
Learning Through Art and A Year with Children 2013 are generously supported by Gail May Engelberg and The Engelberg Foundation, as well as The Seth Sprague Educational and Charitable Foundation. Support is also provided by The Edmond de Rothschild Foundation and the New York City Department of Cultural Affairs.
Additional funding is provided by the Sidney E. Frank Foundation; Guggenheim Partners, LLC; the National Endowment for the Arts; the Horace W. Goldsmith Foundation; the Gap Foundation; The BRIM Fund; the Milton & Sally Avery Arts Foundation, Inc.; and the Office of the Manhattan Borough President Scott M. Stringer.
The Leadership Committee for Learning Through Art and A Year with Children 2013 is gratefully acknowledged for its support.
The Upper East Side 1071 Fifth Avenue (at 89th Street), New York NY, 10128 212-423-3500
Editor's Pick
from Neue Welt Wolfgang Tillmans 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
Chelsea 525 West 24 Street, New York NY, 10011 212-627-6000 andrea@rosengallery.com
Opening Friday May 03, 2013
Wolfgang Tillmans, Kilimanjaro II, 2012 © Wolfgang Tillmans
from Neue Welt Wolfgang Tillmans 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
Chelsea 525 West 24 Street, New York NY, 10011 212-627-6000 andrea@rosengallery.com
Opening Friday May 03, 2013
Cover Image: “After Hours 2: Murals on the Bowery.” Rendering of mural by Michael Craig-Martin. Photo: Art Production Fund
After Hours 2: Murals on the Bowery IDEAS CITY Bowery Street Opening Friday May 03, 2013, from 6:00 PM to 12:00 AM On View May 03, 2013 - August 31, 2013 www.ideas-city.org
Art Production Fund and the New Museum are pleased to present “After Hours 2: Murals On The Bowery,” a public art exhibition. The project launch will coincide with IDEAS CITY and will remain on view throughout the summer. This series, in its second installment, once again invites the public to stroll around the Bowery guided by a map and audio tour, and to view roller shutter murals of works by emerging and established artists. “After Hours 2: Murals on the Bowery” is intended as both a destination and an unexpected art encounter for the passerby. Art Production Fund is a 501©3 nonprofit organization dedicated to commissioning and producing ambitious public art projects, reaching new audiences, and expanding awareness through contemporary art.
Chelsea Bowery between Delancey and East Houston, New York NY, 10002
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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 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 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
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
FIAF: World Nomads Tunisia Exhibition and conference as part of New Museum's IDEAS CITY 2013 White Box Opening Saturday May 04, 2013, from 5:00 PM to 8:00 PM On View May 04, 2013 - May 18, 2013 www.whiteboxny.org
Opening Reception: Saturday May 4, 5 - 8pm
Women of Tunisia Conference: Tuesday May 7, 1pm
The East Village / Lower East Side 329 Broome Street, Ground Floor, New York NY, 10002 212-714-2347 press@whiteboxny.org
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
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
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
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
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
counterweight/01, 27 x 37 inches, c-print, 2012
Public Viewing Zach Nader Michael Matthews Curated by Joe Arredondo Opening Saturday May 04, 2013, from 6:00 PM to 9:00 PM On View May 04, 2013 - May 18, 2013 http://michaelmatthe.ws
Michael Matthews is pleased to present Public Viewing: artworks by Zach Nader selected by Joe Arredondo. This exhibition continues our picture-based line of programming as we further investigate current trends in photographic practices.
Arredondo has chosen works from Nader’s recent production to examine current possibilities in image manufacture and understanding. Positioning this work outside of the often-cited “crisis of meaning” in photography, Arredondo makes the case in an accompanying essay that Nader is “defamiliarizing and reworking codes, forms and habits of picturing and seeing.”
- gallery open by appointment
Harlem 414 W. 145th Street, Basement, New York NY, 10031 214-683-3576 michael.matthews.gallery@gmail.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
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
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
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
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
Maria Walker, Untitled (Reverse), 2012, Acrylic, unprimed drop cloth, wood, 48 x 48 x 3"
Saturation Point Amy Brener, Josh Dihle, Dan Sutherland and Maria Walker Dutton Opening Saturday May 04, 2013, from 6:00 PM to 8:00 PM On View May 01, 2013 - May 19, 2013
The East Village / Lower East Side 215 Bowery, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM
917-214-1838
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 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 Sunday May 05, 2013
Matt Saunders
MATT SAUNDERS Harris Lieberman Opening Sunday May 05, 2013, 12:00 PM On View May 05, 2013 - May 19, 2013 www.harrislieberman.com
- HARRIS LIEBERMAN ANNOUNCES THE OPENING OF 34 ORCHARD STREET -
MATT SAUNDERS
CENTURY ROLLS
May 5 – 19 2013
Opening: Sunday, May 5, 12pm
Harris Lieberman is delighted to announce the opening of 34 Orchard Street, the gallery’s new project space located on the Lower East Side. The screening of Matt Saunder’s Century Rolls will serve as the space’s inaugural exhibition.
Century Rolls, a 10 minute 45 second long animated film, was first exhibited at the Tate Liverpool, London in 2012. Composed of numerous ink on Mylar drawings, Century Rolls displays Saunders’s uncanny ability to produce images that are at once mesmeric and wavering. Flickering between shadow and light, color and smoke, Saunders’s amalgamation of drawing, photography and film displays a keen understanding of material presence.
Matt Saunders was born in 1975 in Tacoma, Washington. He received his BA in Visual and Environmental Studies from Harvard College, MA and graduated from Yale University School of Art with a MFA in Painting/Printmaking. Saunders lives and works between Berlin and Cambridge, MA. He has recently had solo shows at the Tate Liverpool in London, the Carpenter Center in Cambridge, MA and The Renaissance Society in Chicago. His work also appeared in such group exhibitions as The Anxiety of Photography at the Aspen Art Museum in Colorado in 2011. In March of this year, Matt Saunders was awarded the Jean-François Prat Prize for notable contemporary artists. His works are in the permanent collections of the MoMA, New York; The Whitney Museum, New York; The Guggenheim Museum, New York; SFMoMA, San Francisco and the Museum of Fine Arts in Boston.
Hours for 34 Orchard Street are Wednesday through Sunday from 12am to 6pm.
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
The East Village / Lower East Side 34 Orchard Street, New York NY, 10002 Tuesday - Saturday from 1:00 AM to 6:00 PM
212-206-1290 gallery@harrislieberman.com
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
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
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
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
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
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
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
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
"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
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
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
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
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
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
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
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 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 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 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
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
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
School of Death Family Business Curated by Cabinet and Simon Critchley Opening Tuesday May 07, 2013, from 6:00 PM to 9:00 PM On View May 07, 2013 - May 18, 2013 www.cabinetmagazine.org
Cabinet is pleased to present, in collaboration with philosopher Simon Critchley, the first incarnation of the School of Death, an educational institution dedicated to exploring the relationship between death and the examined life. As the institution's motto declares, "If the examined life is not worth living, then is death not worth examining?"
A new lesson—taking the form of a drawing, a chart, a story, a parable, an anecdote—will be written each day on a chalkboard installed at Family Business. In addition, there will be a number of evening talks and programs at the exhibition space.
PROGRAMS
7 May 2013, 6–9 pm: Opening, Performance, and Talk
For the opening of the school, the organizers are pleased to present a reading of Giacomo Leopardi’s 1824 “Dialogue between Fashion and Death” by Nikki Columbus and a surprise guest, as well as a short talk by D. Graham Burnett on “The Metachrotic Swan Song.”
16 May 2013, 6:30–9 pm: Lecture
Simon Critchley will give a lecture entitled “Learn How to Die.”
18 May 2013, 2–5 pm: Suicide Note and Epitaph Workshop
A hands-on workshop on suicide notes (2–3:30 pm) run by Simon Critchley, will be followed immediately by a workshop on epitaphs (3:30–5) run by Jeff Dolven. Please bring your works-in-progress for classroom discussion.
List of events and participants is in formation—please check this page or familybusiness.us for further information and updates on opening hours and programming.
ABOUT SIMON CRITCHLEY
Simon Critchley, who is not dead yet, teaches philosophy for a living at the New School for Social Research. He writes for the New York Times and his new book Stay, Illusion!: The Hamlet Doctrine, co-written with Jamieson Webster, will be published by Pantheon in June.
ABOUT FAMILY BUSINESS
Family Business is an exhibition space initiated by Maurizio Cattelan and Massimiliano Gioni. It is a free time-share: a space made available to people who have something interesting to say; a way to get to know new families and friends. Family Business is powered by the Center for Curatorial Studies at Bard College. A guest + a host = a ghost. Nadja Argyropoulou is the Family Business guest (or ghost) curator for 2013.
Chelsea 520 West 21st Street, New York NY, 10011
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
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
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
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
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
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
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
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
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
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
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 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 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
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
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
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
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
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
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
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
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
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
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
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
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
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 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 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
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
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
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
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
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
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
SUMMER SHOWS Opening PARTY: NICK PARKER & promo video by INGRID JACOBSEN Hundred Forsyth Curated by A.W. Strouse and Max Ferro Opening Thursday May 09, 2013, from 7:00 PM to 9:00 PM On View May 09, 2013 - May 19, 2013 www.hundredforsyth.tumblr.com
The East Village / Lower East Side 100a Forsyth Street, New York NY, 10002 718-570-4117 info.summershows@gmail.com
Opening Thursday May 09, 2013
600 HIGHWAYMEN: EVERYONE WAS CHANTING YOUR NAME Abrons Arts Center Opening Thursday May 09, 2013, 8:00 PM On View May 09, 2013 - May 19, 2013 www.abronsartscenter.org
600 HIGHWAYMEN premieres Everyone Was Chanting Your Name, a living portrait of eight individuals spanning six decades in age. Helmed by directors Abigail Browde and Michael Silverstone, 600 HIGHWAYMEN has earned accolades as a rising star on the landscape of contemporary theater, with performances that have been awarded distinctions by The Village Voice, Flavorpill, The New York Times, and Time Out New York.
May 9, 2013 - May 19, 2013
Thursdays-Saturdays | 8 pm
Sundays | 5 pm
TICKETS: $20
The East Village / Lower East Side 466 Grand Street (at Pitt Street), New York NY, 10002 Thursday - Saturday from 8:00 PM
Sunday from 5:00 PM
212-598-0400 info@henrystreet.org
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 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
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
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
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
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
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
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
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
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
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
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
"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
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
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
Left: Paula Abreu Pita, Yasmira’s Bathroom, from the series Buena Vista 504, 2012, Inkjet print. Right: Lynn Sung Hae Baik, Untitled, 2013. Ultramarine-colored pencil on hand-cut Arches paper.
PRATT GRADUATE FINE ARTS 2013 EXHIBITION Pratt Manhattan Gallery Opening Friday May 10, 2013, from 6:00 PM to 8:00 PM On View May 09, 2013 - May 21, 2013 www.pratt.edu
A group exhibition featuring painting, drawing, printmaking, sculpture, photography, installation, video, and new media work by students receiving an M.F.A. in 2013 from the Pratt Institute School of Art & Design’s Department of Fine Arts.
Graduating artists:
Felix Aarts/ Loney Abrams/ Rabia Ajaz/ Lynn Sung Hae Baik/ Melissa Beck/ Jesse Gammage/ Xiaojun Gao/ Jean Paul Gomez/ Johanna Hamm/ Judith Heiden/ Raul Hott/ Courtney Hughes/ Levi Jackson/ Jiyoung Jang/ Young Min Kim/ Mary Kudlak/ Tao Kulczycki/ Drew Malbin/ Macklen Mayse/ Amy Mathis/ Ruth Mora/ Paula Elena Abreu Pita/ Lucia Pedi/ Erik Plambeck/ Nelson Plaza/ Shahpour Mahmoud Pouyan/ Erica Quinn/ Naroa Lizar Redrado/ Marika Robak/ Patrick Rowe/ Eric Rue/ Johnny Stanish/ Karla Stingerstein/ Ian Swanson/ Erica Terluin/ Gina Whitt/ Brian Wittmuss/ Shahori Yamamoto/ Alexandra Zucker
The Look & Listen Festival, which presents new music within contemporary art spaces, will be hosting a three-concert series at the Pratt Manhattan Gallery during the run of this exhibition (Friday, May 17: 8pm; Saturday, May 18: 8pm; and Sunday, May 19: 4pm). For a full list of performers and to purchase tickets (required), visit www.lookandlisten.org.
Pratt Manhattan Gallery is a public art gallery affiliated with Pratt Institute. The gallery aims to present significant, innovative and intellectually challenging work in the fields of art, architecture, fashion, and design from an international perspective as well as to provide a range of educational initiatives to help viewers relate contemporary art to their lives in a meaningful way.
Chelsea 144 West 14th Street, Second Floor, New York NY, 10011 Tuesday - Saturday from 11:00 AM to 6:00 PM
Thursday from 11:00 AM to 8:00 PM
212-647-7778 exhibits@pratt.edu
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
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 10, 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
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
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
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
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
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
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
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
Momenta Spring Benefit 2013
MOMENTA ART SPRING BENEFIT 2013 Momenta Art Opening Friday May 10, 2013, from 6:00 PM to 9:00 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 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
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
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
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
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
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
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
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
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
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
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 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 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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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
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.
---------------
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
Lecture / Artist Talk Sunday May 12, 2013
FRIEZE Lower East Side Morning at PARTICIPANT INC Participant Inc. Lecture / Artist Talk Sunday May 12, 2013, from 10:00 AM to 12:00 PM www.participantinc.org
On view: Gary Indiana, GRISTLE SPRINGS
The East Village / Lower East Side 253 East Houston Street, Ground Floor, New York NY, 10002212-254-4334 participant@participantinc.org
Lecture / Artist Talk Sunday May 12, 2013
Special poster workshop: "How to copy my signature" with Florian Meisenberg Frieze LES Morning Simone Subal Gallery Lecture / Artist Talk Sunday May 12, 2013, from 10:00 AM to 12:30 PM www.simonesubal.com
On view in the gallery:
Florian Meisenberg
Faith so certain shall never be shaken by heaviest sorrow
On view at Frieze New York/ Frame:
Solo booth with Frank Heath (B20)
The East Village / Lower East Side 131 Bowery, 2nd floor, New York NY, 10002917-409-0612 info@simonesubal.com
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
Editor's Pick
OPENING OF EXPO 1: NEW YORK FEATURING A CONVERSATION BETWEEN YOKO ONO, KLAUS BIESENBACH & HANS ULRICH OBRIST MoMA PS1 Lecture / Artist Talk Sunday May 12, 2013, from 12:00 PM to 6:00 PM www.momaps1.org
In celebration of the opening of EXPO 1: New York, Yoko Ono, Hans Ulrich Obrist, and Klaus Biesenbach will discuss “dark optimism” and the need to address ecological issues at 3:00 PM.
Long Island City 22-25 Jackson Ave, Long Island City NY, 11101718-784-2084 mail_ps1@moma.org
Lecture / Artist Talk Sunday May 12, 2013
OPENING OF EXPO 1: NEW YORK FEATURING A CONVERSATION BETWEEN YOKO ONO, KLAUS BIESENBACH & HANS ULRICH OBRIST MoMA PS1 Lecture / Artist Talk Sunday May 12, 2013, from 12:00 PM to 6:00 PM www.momaps1.org
In celebration of the opening of EXPO 1: New York, Yoko Ono, Hans Ulrich Obrist, and Klaus Biesenbach will discuss “dark optimism” and the need to address ecological issues at 3:00 PM.
Long Island City 22-25 Jackson Ave, Long Island City NY, 11101718-784-2084 mail_ps1@moma.org
Screening Sunday May 12, 2013
PREVIEW OF CINEMA PROGRAM EXPO 1: NEW YORK MoMA PS1 Screening Sunday May 12, 2013, from 12:00 PM to 6:00 PM www.momaps1.org
In honor of the opening of EXPO 1: New York, trailers for films featured in the upcoming Cinema program loop continuously all day.
Long Island City 22-25 Jackson Avenue, Long Island City NY, 11101718-784-2084 mail_ps1@moma.org
Lecture / Artist Talk Sunday May 12, 2013
TRIPLE CANOPY INTRODUCES SPECULATIONS ("THE FUTURE IS_______") EXPO 1: NEW YORK MoMA PS1 Lecture / Artist Talk Sunday May 12, 2013, from 12:00 PM to 6:00 PM www.momaps1.org
Fifty days of lectures, discussions, and debates about the future,
May 12 to July 28, 2013, as part of EXPO 1: New York
Triple Canopy is pleased to announce Speculations (“The future is ______”), fifty days of lectures, discussions, and debates about the future, as part of EXPO 1: New York at MoMA PS1. Speculations will take place from May 12 to July 28, in a structure created by artist José León Cerrillo and in an installation designed by artist Adrián Villar Rojas. Participants include Marina Abramović, Laurie Anderson, Jacob Appelbaum, David Auerbach, Gopal Balakrishnan, Klaus Biesenbach, Ray Brassier, Ted Chiang, Jace Clayton, Adam Cohen, John Crowley, Chris Csikszentmihalyi, Mary “Missy” Cummings, Ruth DeFries, Samuel Delany, Agnes Denes, Silvia Federici, Peter Frase, Rivka Galchen, Alex Gourevitch, David Graeber, Group Theory, N. Katherine Hayles, Thomas Keenan, Myung Mi Kim, Katie Kitamura, Josh Kline, Benjamin Kunkel, Ajay Kurian, Rachel Kushner, Lynn Hershman Leeson, Kelly Link, Marie Lorenz, Niklas Maak, Danny Marcus, Mary Mattingly, Joseph McElroy, Maureen McHugh, Yates McKee, Mileece, John Miller, Naeem Mohaiemen, Evgeny Morozov, Ted Nelson, Trevor Paglen, Ashwin Parameswaran, Otto Piene, Laura Poitras, Fatima Al Qadiri, Srikanth Reddy, David Rieff, Ben Rivers, Kim Stanley Robinson, Carne Ross, Norman Rush, Saskia Sassen, Taryn Simon, Elizabeth Stark, Astra Taylor, Mierle Laderman Ukeles, Ellen Ullman, Kathi Weeks, and Ben Wizner. The full schedule is posted below.
We know all the ways the world will end. And yet, we continue. Our action in the present implies an optimism about the future, even if that optimism is skeptical, worried, or dark. For Speculations (“The future is ______”), Triple Canopy is inviting writers, artists, scientists, activists, economists, and technologists to bet on futures they want to see realized and to describe them as clearly as possible, while considering what demands these futures make on the present. The speculations will take the form of daily lectures and debates in Villar Rojas’s installation and discussions within the structure created by Cerrillo, which will also house a library and an offline file-sharing network for collective speculations, designed by artist and programmer Dan Phiffer.
All Speculations participants will be filling out a standard questionnaire about their future and its demands on the present, for eventual publication. The public is also invited to speculate on the future and reconsider the present by answering the questionnaire, which will be available all summer at MoMA PS1. A call for applications is posted below; the deadline is extended to Wednesday, May 8.
Format
Mondays, Thursdays (except July 4), and Fridays
One speaker will give a two-part presentation, each part an hour long. The first part, a seminar, taking place at 2 p.m., will be a discussion of a historical speculation on the future—a short text or other work that the speaker has found generative. The second part, a talk or lecture, taking place at 4 p.m., will present the speaker’s own speculation on the future, to be followed by a Q&A.
Saturdays (through June 22), Sundays, and Thursday, July 4
Weekend days and July Fourth will have a wider range of formats: debate, conversation, keynote, performance, etc. Generally, sessions will begin at 3 p.m. (times will vary) and last for up to two hours.
Schedule
Sunday, May 12, 12–6 p.m.
Opening of EXPO 1: New York and Speculations (“The future is ________”). The School will be open all day, with talks by Triple Canopy editors and others.
About EXPO 1: New York
EXPO 1: New York is a large-scale exploration of ecological challenges in the context of the economic and sociopolitical instability of the early twenty-first century. Acting in the guise of a festival-as-institution, EXPO 1: New York reconsiders the museum from the ground up, presenting a simultaneity of modules, interventions, solo projects, and group exhibitions that encompass all of MoMA PS1 and other locations such as MoMA and Rockaway Beach. EXPO 1: New York is made possible by a partnership with Volkswagen.
Long Island City 22-25 Jackson Avenue, Long Island City NY, 11101718-784-2084 mail_ps1@moma.org
Lecture / Artist Talk Sunday May 12, 2013
Listening Session: John Maus John Maus, Ross Simonini Frieze Lecture / Artist Talk Sunday May 12, 2013, 1:00 PM www.friezenewyork.com
John Maus (musician, New York)
Ross Simonini (interviews editor of The Believer, New York)
The prolific musician discusses his influences, playing some of the songs and videos that have inspired him. He is in conversation with musician and writer Ross Simonini.
Rest Of Manhattan Randall’s Island, New York NY, 10035info@frieze.com
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
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
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
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
Lecture / Artist Talk Sunday May 12, 2013
Book Talk: "Theater of Architecture," by Hugh Hardy The Noguchi Museum Lecture / Artist Talk Sunday May 12, 2013, from 3:00 PM to 4:00 PM www.noguchi.org
On the second Sunday of each month, The Noguchi Museum hosts public programming at 3:00PM, unless otherwise noted. This May, the Museum is pleased to present Hugh Hardy's new book Theater of Architecture, released April 2013. Hardy will engage in an interview and conversation with moderator, Julie Iovine. Architect Hugh Hardy, of H3 Hardy Collaboration Architecture, is known for design of distinctive new buildings, restoration of historic structures, and planning projects for the public realm. Theater of Architecture reviews twenty of Hardy's projects both in and around New York City.
Long Island City 9-01 33rd Road (at Vernon Boulevard), Long Island City NY, 11106718-204-7088
Lecture / Artist Talk Sunday May 12, 2013
Joan Jonas (artist, New York) Frieze Lecture / Artist Talk Sunday May 12, 2013, 3:30 PM www.friezenewyork.com
Rest Of Manhattan Randall’s Island, New York NY, 10035info@frieze.com
Performance Sunday May 12, 2013
GEORGIA SAGRI EXPO 1: NEW YORK MoMA PS1 Performance Sunday May 12, 2013, 4:00 PM www.momaps1.org
As part of the group show ProBio, Geogia Sagri enacts a performance within her installation, Williamsburg (2013).
Long Island City 22-25 Jackson Avenue, Long Island City NY, 11101718-784-2084 mail_ps1@moma.org
Performance Sunday May 12, 2013
SpeakChamber Constance DeJong Bureau Curated by Constance DeJong Performance Sunday May 12, 2013, 4:00 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 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
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
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
Performance Sunday May 12, 2013
Arcane Collective: Cold Dream Colour Solomon R. Guggenheim Museum Performance Sunday May 12, 2013, 7:30 PM Additional Performances: Saturday May 11, 2013 from 7:30 PM
Sunday May 12, 2013 from 7:30 PM
www.guggenheim.org
$35, $30 members
Box Office: 212 423 3587
For this performance, enter via ramp at 5th Ave and 88th Street.
In homage to Ireland’s foremost 20th-century painter, Louis le Brocquy, Arcane Collective brings the canvas to the stage in a mesmerizing celebration that transforms the artist’s imagery into music and dance. Irish broadcaster John Kelly moderates a discussion with director and choreographer Morleigh Steinberg, choreographer Oguri, and composers Paul Chavez and The Edge of U2. The spirit of the paintings come to life as the company performs excerpts from their latest production Cold Dream Colour.
The Upper East Side 1071 Fifth Avenue (at 89th Street), New York NY, 10128
Reading Sunday May 12, 2013
MRS. WATSON'S MISSING PARTS A reading of Gary Indiana’s new play by Kate Valk, Jim Fletcher, John Lovett, and Gary Indiana PARTICIPANT INC Reading Sunday May 12, 2013, 8:00 PM www.participantinc.org
A special event for FRIEZE at PARTICIPANT INC
MRS. WATSON'S MISSING PARTS is a play for puppets and live actors adapted from the 1922 Grand Guignol Theater adaptation of Octave Mirabeau's 1899 novel The Torture Garden, a legendary tale of sexual mania and cruelty in French Indochina and Shanghai. In Mrs. Watson's Missing Parts, the structure of the Grand Guignol play remains intact, while all lines of dialogue have been drastically altered. Speech is reduced to the minimal threshold of intelligibility, becoming the exclusive expression of the characters' limitless libidinal hunger and moral depravity, exampling the corrupting effect of European colonialism.
The East Village / Lower East Side 253 East Houston Street, New York NY, 10002212-254-4334 participant@participantinc.org
Performance Sunday May 12, 2013
47 CANAL, GAVIN BROWN'S ENTERPRISE, HERALD STREET, SANTOS PARTY HOUSE, THE MODERN INSTITUTE, THE GREEN GALLERY, AND WHITE COLUMNS PRESENT SUNDAY NIGHT FEVER Santos Party House Performance Sunday May 12, 2013, 10:00 PM www.santospartyhouse.com
with Eric Duncan (Dr. Dunks / Rub N Tug), Spencer Sweeney (Emergency Party), Matthew Higgs (White Columns), Nick Relph (GBE)
May 12, 2013
upstairs
Doors @ 10 PM
$10
The East Village / Lower East Side 96 Lafayette Street, Ground Floor South, New York NY, 10013212-584-5492 info@santospartyhouse.com
Screening Monday May 13, 2013
STREAMING MARATHON EXPO 1: NEW YORK MoMA PS1 Screening Monday May 13, 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
Lecture / Artist Talk Monday May 13, 2013
When the Past isn’t Past Dominic Molon, Jenny More, Dan Fox Frieze Lecture / Artist Talk Monday May 13, 2013, 1:00 PM www.friezenewyork.com
Dominic Molon (chief curator, Contemporary Art Museum St. Louis)
Jenny More (associate curator, New Museum, New York)
Chair: Dan Fox (senior editor, frieze)
We are increasingly beginning to see survey exhibitions of the very recent past. How and why do decades come to be packaged as they do? What gets forgotten in these attempts to remember? And what does it mean to present ‘authoritative’ surveys of a time that is still very much in flux?
Rest Of Manhattan Randall’s Island, New York NY, 10035info@frieze.com
Lecture / Artist Talk Monday May 13, 2013
RACHEL KUSHNER EXPO 1: NEW YORK MoMA Lecture / Artist Talk Monday May 13, 2013, from 2:00 PM to 4:00 PM www.momaps1.org
Rachel Kushner is author of the novels The Flamethrowers and Telex from Cuba (a finalist for the National Book Award and the Dayton Literary Peace Prize) and is a 2013 Guggenheim Fellow. She will describe a future in which the American prison system has been dissolved.
Long Island City 22-25 Jackson Ave, Long Island City NY, 11101718-784-2084 mail_ps1@moma.org
Editor's Pick
Douglas Crimp Frieze Lecture / Artist Talk Monday May 13, 2013, 3:30 PM www.friezenewyork.com
Douglas Crimp (art historian, curator and professor of art history, University of Rochester, New York)
Ahead of the publication of his memoir, Before Pictures, Douglas Crimp’s lecture explores the New York art world of the 1970s, considering the intersections of dance and critical theory, prior to his curating the seminal group show ‘Pictures’ at Artists Space in 1977.
Rest Of Manhattan Randall’s Island, New York NY, 10035info@frieze.com
Lecture / Artist Talk Monday May 13, 2013
Douglas Crimp Frieze Lecture / Artist Talk Monday May 13, 2013, 3:30 PM www.friezenewyork.com
Douglas Crimp (art historian, curator and professor of art history, University of Rochester, New York)
Ahead of the publication of his memoir, Before Pictures, Douglas Crimp’s lecture explores the New York art world of the 1970s, considering the intersections of dance and critical theory, prior to his curating the seminal group show ‘Pictures’ at Artists Space in 1977.
Rest Of Manhattan Randall’s Island, New York NY, 10035info@frieze.com
Screening Monday May 13, 2013
COURTESY ICARUS FILMS
NIKOLAUS GEYRHALTER: OUR DAILY BREAD EXPO 1: NEW YORK MoMA PS1 Screening Monday May 13, 2013, 4:00 PM www.momaps1.org
Our Daily Bread (2005) by Nikolaus Geyrhalter, 92 min, video, Austria
“Welcome to the world of industrial food production and high-tech farming! To the rhythm of conveyor belts and immense machines, the film looks without commenting into the places where food is produced in Europe: monumental spaces, surreal landscapes and bizarre sounds—a cool, industrial environment which leaves little space for individualism. People, animals, crops and machines play a supporting role in the logistics of this system which provides our society’s standard of living.” – Nikolaus Geyrhalter Filmproduktion
Long Island City 22-25 Jackson Ave, Long Island City NY, 11101718-784-2084 mail_ps1@moma.org
Lecture / Artist Talk Monday May 13, 2013
Book Launch: Distance and Desire: Encounters with the African Archive Dashwood Books Lecture / Artist Talk Monday May 13, 2013, from 6:00 PM to 8:00 PM www.dashwoodbooks.com
Please join The Walther Collection and Dashwood Books in celebrating the launch of Distance and Desire: Encounters with the African Archive on Monday May 13th
Soho 33 Bond Street, New York NY, 10012212-387-8520 info@dashwoodbooks.com
Lecture / Artist Talk Monday May 13, 2013
"The Refugee Hotel," with Gabriele Stabile, an Italian photojournalist based in New York. New York Public Library Lecture / Artist Talk Monday May 13, 2013, from 6:30 PM to 8:30 PM www.nypl.org
This illustrated lecture documents refugees, from their first steps on American soil to the cities and towns where they're rebuilding their communities.
Midtown Mid-Manhattan Library, 455 Fifth Avenue, New York NY, 10016
Lecture / Artist Talk Monday May 13, 2013
Hamish Fulton, Walk 2: Margate Marine Pool, photo © Dan Bass
Muriel Enjalran in Conversation with Yevgeniy Fiks and Renaud Proch ICI Curatorial Hub Lecture / Artist Talk Monday May 13, 2013, from 6:30 PM to 8:00 PM www.curatorsintl.org
ICI’s 2012 Curatorial Fellow, Muriel Enjalran, will speak about the current articulation of politics and aesthetics in relation to the renewal of forms of artists’ engagement in the public sphere. Enjalran will question the notion of autonomy in art and the distance produced by the work of art. In order to be called political, must art be recognized as politically politicized? Is it political only because its subject is political or perceived from the point of politics? Does the political impact of a work depends upon its “aesthetic distance” as Jacques Rancière states? Enjalran will explore these questions and others during her session at ICI’s Hub.
This event is free and open to the public. Please RSVP to rsvp@curatorsintl.org with MURIEL ENJALRAN in the subject field. For more information, please contact ICI’s Public Programs & Research Coordinator Misa Jeffereis at misa@curatorsintl.org.
Muriel Enjalran
She is currently working on a monographic project with Hamish Fulton, which will be presented in 2013 at the CRAC Languedoc Roussillon in Sète, France. In addition, Enjalran is developing a collaborative network that brings together artists from Portugal, Brazil and Morocco, where she also regularly curates projects for L’appartement 22, an independent art space in Rabat. Since 2006, Enjalran has worked at the D.C.A – the French association for the development of art centers – where as Project Manager she has helped to coordinate a structure of 50 art spaces across France, and enable connections between them and other European institutions. She was an Associate Curator for the first edition of the Biennale de Belleville, Paris, in 2011; and for the 3rd Arts in Marrakech International Biennale, in 2009. She regularly contributes essays and reviews to publications such as Particules, Mag’Art, and Paris Art.
Yevgeniy Fiks
Yevgeniy Fiks was born in Moscow in 1972 and has been living and working in New York since 1994. Fiks has produced many projects on the subject of the Post-Soviet dialog in the West, among them: “Lenin for Your Library?” in which he mailed V.I. Lenin’s text “Imperialism: The Highest Stage of Capitalism” to one hundred global corporations as a donation for their corporate libraries; “Communist Party USA,” a series of portraits of current members of Communist Party USA, painted from life in the Party’s national headquarters in New York City; and “Communist Guide to New York City,” a series of photographs of buildings and public places in New York City that are connected to the history of the American Communist movement. Fiks’ work has been shown internationally. This includes exhibitions in the United States at Winkleman and Postmasters galleries (both in New York), Mass MoCA, the Philadelphia Museum of Modern Art, the Moscow Museum of Modern Art, and Marat Guelman Gallery in Moscow, Sala de Arte Público Siqueiros in Mexico City, and the Museu Colecção Berardo in Lisbon. His work has been included in the Moscow Biennale of Contemporary Art (2011, 2009, 2007, and 2005), Biennale of Sydney (2008), and Thessaloniki Biennale of Contemporary Art (2007).
Renaud Proch
Renaud Proch is ICI’s Deputy Director. Prior to this he was the Senior Director at the Project in New York, where he worked on developing the careers of a roster of 21 artists. Most recently, he co-curated a retrospective of South African performance artist Tracey Rose for the Johannesburg Art Gallery, South Africa, and the Umea Bildmuseet, Sweden. He has lectured at Camberwell College, London, the Royal College of Art, London, the California College of the Arts, San Francisco and Otis College of Art and Design, Los Angeles.
Tribeca / Downtown 401 Broadway, Suite 1620, New York NY, 10013
Editor's Pick
John Yau and Arlo Quint Readings in Contemporary Poetry Dia: Chelsea Reading Monday May 13, 2013, 6:30 PM www.diaart.org
$6 general admission; $3 Dia members, students, and seniors
Advance ticket purchases recommended.
Tickets are also available for purchase at the door, subject to availability.
Publications by poets in the series can be found on diabooks.org.
John Yau is a poet, fiction writer, critic, and editor, as well as publisher of Black Square Editions, a press devoted to poetry, fiction, and translation. He recently published a book of poetry, Further Adventures in Monochrome (Copper Canyon Press, 2012) and a chapbook, Egyptian Sonnets (Rain Taxi, 2012). He has received numerous grants and fellowships including one from the John Simon Guggenheim Foundation (2006), and the National Endowment for the Arts (1976). He teaches at Rutgers University, Mason Gross School of the Arts and lives and in New York City.
Arlo Quint is the author of Drawn In (Fewer & Further, 2010) and Photogenic Memory (Lame House, 2007). He collaborated with writer Charles Wolski on Check Out My Lifestyle (Well Greased, 2012), and his book Death to Explosion is forthcoming from Skysill in 2013. He is an editor of Brawling Pigeon and program coordinator for The Poetry Project at St. Mark's Church in New York City.
Chelsea 535 West 22nd Street, 5th Floor, New York NY, 10011212-989-5566
Reading Monday May 13, 2013
Image: John Yau and Arlo Quint
John Yau and Arlo Quint Readings in Contemporary Poetry Dia: Chelsea Reading Monday May 13, 2013, 6:30 PM www.diaart.org
$6 general admission; $3 Dia members, students, and seniors
Advance ticket purchases recommended.
Tickets are also available for purchase at the door, subject to availability.
Publications by poets in the series can be found on diabooks.org.
John Yau is a poet, fiction writer, critic, and editor, as well as publisher of Black Square Editions, a press devoted to poetry, fiction, and translation. He recently published a book of poetry, Further Adventures in Monochrome (Copper Canyon Press, 2012) and a chapbook, Egyptian Sonnets (Rain Taxi, 2012). He has received numerous grants and fellowships including one from the John Simon Guggenheim Foundation (2006), and the National Endowment for the Arts (1976). He teaches at Rutgers University, Mason Gross School of the Arts and lives and in New York City.
Arlo Quint is the author of Drawn In (Fewer & Further, 2010) and Photogenic Memory (Lame House, 2007). He collaborated with writer Charles Wolski on Check Out My Lifestyle (Well Greased, 2012), and his book Death to Explosion is forthcoming from Skysill in 2013. He is an editor of Brawling Pigeon and program coordinator for The Poetry Project at St. Mark's Church in New York City.
Chelsea 535 West 22nd Street, 5th Floor, New York NY, 10011212-989-5566
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
Lecture / Artist Talk Monday May 13, 2013
Dr. Rashid Bashir for Thomas Bayrle The Artist’s Institute Lecture / Artist Talk Monday May 13, 2013, 7:00 PM www.theartistsinstitute.org
Terminator 2 is the one with T-1000, the shape-shifting robot made of liquid metal.
That was 1991. Today, scientists use nanotechnology to make tiny biological machines that enter the bloodstream.
Dr. Rashid Bashir, from the Micro and Nanotechnology Laboratory at the University of Illinois, introduces us to the “bio-bot.”
Monday, May 13th
7pm
Organized by Research Fellows Emily Edison, Coco Lopez, and Isabella Vitti.
The sixth season at The Artist’s Institute is dedicated to Thomas Bayrle.
Our address is 163 Eldridge Street in New York City.
The East Village / Lower East Side 163 Eldridge Street, New York NY, 10002718-730-4349 info@theartistsinstitute.org
Screening Monday May 13, 2013
An Evening with Kerry Tribe MoMA Screening Monday May 13, 2013, 7:00 PM www.moma.org
Kerry Tribe (American, b. 1973) uses the formal mechanics of the moving image to explore the instability of recall and the subjective nature of perception. This evening culminates in a live performance of Tribe’s Critical Mass, based on the 1971 Hollis Frampton film of the same name. In Frampton’s film, an improvised argument between a young man and woman is captured, copied, cut up, and reassembled to produce a frenetically edited, highly structural, distanced yet evocative work. Tribe’s piece reenacts Frampton’s film cut-by-cut with two live actors, inverting the role of film as performance document while exploring the historical specificity of language and gender. The performance has undergone a series of evolutions since it was first staged at the Whitney Museum of American Art in 2010; this will be the New York premiere of the new iteration, with actors Emelie O’Hara and Nick Huff.
Theater 2 (The Roy and Niuta Titus Theater 2), T2
Midtown 11 West 53rd Street, New York NY, 10019212-708-9400
Lecture / Artist Talk Tuesday May 14, 2013
Daniel Reich: Believer Henry St Settlement Playhouse, Abrons Arts Center Lecture / Artist Talk Tuesday May 14, 2013, from 4:00 PM to 7:00 PM www.abronsartscenter.org
A Gathering for Daniel
Tuesday May 14th, 2013 4 pm
all are welcome
The East Village / Lower East Side 466 Grand Street (at Pitt Street), New York NY, 10002212-598-0400 info@henrystreet.org
Lecture / Artist Talk Tuesday May 14, 2013
Michel Auder and Andrew Neel, The Feature, 2008. Still from video, 177 minutes.
Launch of e-flux journal #44, (Im)practical (Im)possibilities guest-edited by Carlos Motta e-flux Lecture / Artist Talk Tuesday May 14, 2013, from 6:00 PM to 8:00 PM www.e-flux.com
Join us on May 14 at e-flux, where Gregg Bordowitz, Malik Gaines, Pati Hertling and Eileen Miles, and Carlos Motta will discuss the role of creative strategies of queer resistance in contemporary art, activism, and cultural production.
Gregg Bordowitz is a writer and artist. His most recent book General Idea: Imagevirus was published as part of Afterall Books’ One Work series. Bordowitz is currently the Program Director of the School of the Art Institute of Chicago Low-Residency MFA Program.
Malik Gaines is an artist and writer in New York. With the collective My Barbarian, he has presented work nationally and internationally, including solo exhibitions at Hammer Museum, LA; Museo El Eco, Mexico City; and Participant Inc., New York. He received his Ph.D. in Performance Studies from UCLA and currently serves as Assistant Professor of Art at Hunter College, CUNY, teaching combined media, performance, and theory.
Pati Hertling is an attorney and independent curator. From 2005-2010 she organized Evas Arche und der Feminist, a monthly series of salon events presenting works by two artists for one night, first in Berlin and later in New York. She recently founded Le Potage de Madame Zazouf, a monthly performance salon in New York City. She is also co-curating the 2013 Fire Island Performance Series.
Eileen Myles is a poet. Snowflake/different streets (poems, 2012) is the latest of her 18 books. Inferno (a poet’s novel) came out in 2010. In 2010 the Poetry Society of America awarded Eileen the Shelley Prize. She is a Prof. Emeritus of Writing at UC San Diego. She’s a 2012 Guggenheim fellow.
Carlos Motta is an interdisciplinary artist whose work has been presented at the Tate Modern, London; Guggenheim Museum, New Museum and MoMA/PS1, New York; Museu Serralves Porto; Castello di Rivoli; Museo de Arte del Banco de la República, Bogotá; X Lyon Biennale; and in many other independent spaces around the world. Motta is a 2012 Creative Capital Grantee and a 2008 Guggenheim Fellow; and is part of the faculty at Parsons The New School of Design and The Milton Avery School of the Arts at Bard College. Motta guest edited e-flux journal #44.
Julieta Aranda is an artist currently living and working between Berlin and New York. Aranda’s work has been exhibited internationally in venues such as Witte de With (2013), MACRO Roma (2012) dOCUMENTA (13) (2012), N.B.K. (2012), 54th Venice Biennale (2011), Portikus, Frankfurt (2011); amongst others. As co-director of e-flux together with Anton Vidokle, Julieta Aranda has developed the projects Time/Bank, Pawnshop, and e-flux video rental.
The East Village / Lower East Side 311 East Broadway, New York NY, 10002
Lecture / Artist Talk Tuesday May 14, 2013
Image: Julie Mehretu, Stadia II, 2004, Ink and acrylic on canvas. Collection of Carnegie Museum of Art, Pittsburgh. Courtesty of the artist and Marian Goodman Gallery.
ARTISTS AT THE INSTITUTE Julie Mehretu Institute of Fine Arts at NYU Lecture / Artist Talk Tuesday May 14, 2013, 6:30 PM www.nyu.edu
Tuesday, April 23, 2013
6:30 PM in the Lecture Hall
The Institute of Fine Arts, New York University
followed by a reception
Julie Mehretu's wall paintings and works on paper overlay architectural plans, diagrams and maps of both the urban and natural environments with abstract forms and personal notations to convey the energy and chaos of today's globalized world. These shards of color and planar forms seem to be suspended between surface and ground, often caught in centrifugal motion around the axis of her compositions, calling attention to the tensions between "movement and stasis, freedom and control, chaos and order, and individual action and collective power." Drawing from her own itinerant biography, Mehretu comments on border-crossing and travel, emphasizing the dynamism of international cities, but also their dangerous militarization of spaces and bodies.
Born in Ethiopia, Mehretu earned her BA from Kalamazoo College (1992) and MFA from Rhode Island School of Design. Her works are in the collections of the Museum of Modern Art, NY; Museum of Fine Arts, Boston; the Hammer Museum, Los Angeles; and National Gallery of Art, Washington DC.
Taking advantage of the IFA’s location in one of the world’s leading art centers, the Graduate Student Association invites artists to discuss their work at the Institute. Begun in 1983, these talks are now funded by a generous gift in memory of late IFA Professor Kirk Varnedoe, who inspired the series.
The lectures are free and open to the public, but an RSVP is required. To make a reservation for this event, please click here. Please note that seating in the Lecture Hall is on a first-come first-served basis with RSVP.
Student Coordinators: Anne Wheeler and Jeffrey Uslip
The Upper East Side 1 East 78th Street, New York NY, 10075
Editor's Pick
Brooklyn Commons: Janine Antoni and Anastasia Ax International Studio & Curatorial Program (ISCP) Lecture / Artist Talk Tuesday May 14, 2013, 6:30 PM www.iscp-nyc.org
Seating is limited so please arrive early.
Brooklyn Commons, a discussion series this spring at ISCP, presents intellectual and artistic pairings between the established Brooklyn-based artist community and ISCP residents. This series puts artists in conversation who have not shared a dialogue in the past and focuses on the vibrant and diverse cultural practitioners living and working in Brooklyn, both long- and short-term.
On May 14th, Janine Antoni and Anastasia Ax will consider sculptural production in relation to process and the body.
Janine Antoni’s artwork captures the human condition in a complex and subtle way. Her work takes on a physicality that speaks directly to the viewer’s body, unleashing a deeply felt emotional response. She employs a variety of mediums to captivate her viewers including sculpture, photography, installation, and video. Born on January 19,1964 in Freeport, Bahamas, Antoni received her BA in 1986 from Sarah Lawrence College and her MFA from Rhode Island School of Design in 1989. Her work has been shown in exhibitions nationally and internationally. Antoni lives in New York and is represented by Luhring Augustine Gallery.
Anastasia Ax was born in 1979 and lives and works in Stockholm. She works in a variety of media such as drawing, installation, sound, performance and sculpture. Her performance acts and site-
Lecture / Artist Talk Tuesday May 14, 2013
Janine Antoni, Loving Care, 1992, Performance with “Loving Care” hair dye, Natural Black, Dimensions variable, photographed by Prudence Cuming, Associates at Anthony d’Offay Gallery, London, 1993
Brooklyn Commons: Janine Antoni and Anastasia Ax International Studio & Curatorial Program (ISCP) Lecture / Artist Talk Tuesday May 14, 2013, 6:30 PM www.iscp-nyc.org
Seating is limited so please arrive early.
Brooklyn Commons, a discussion series this spring at ISCP, presents intellectual and artistic pairings between the established Brooklyn-based artist community and ISCP residents. This series puts artists in conversation who have not shared a dialogue in the past and focuses on the vibrant and diverse cultural practitioners living and working in Brooklyn, both long- and short-term.
On May 14th, Janine Antoni and Anastasia Ax will consider sculptural production in relation to process and the body.
Janine Antoni’s artwork captures the human condition in a complex and subtle way. Her work takes on a physicality that speaks directly to the viewer’s body, unleashing a deeply felt emotional response. She employs a variety of mediums to captivate her viewers including sculpture, photography, installation, and video. Born on January 19,1964 in Freeport, Bahamas, Antoni received her BA in 1986 from Sarah Lawrence College and her MFA from Rhode Island School of Design in 1989. Her work has been shown in exhibitions nationally and internationally. Antoni lives in New York and is represented by Luhring Augustine Gallery.
Anastasia Ax was born in 1979 and lives and works in Stockholm. She works in a variety of media such as drawing, installation, sound, performance and sculpture. Her performance acts and site-