Alex Kwartler & Elke Solomon Klaus von Nichtssagend Gallery Opening Sunday May 19, 2013, from 6:00 PM to 8:00 PM On View May 19, 2013 - June 23, 2013 www.klausgallery.com
The East Village / Lower East Side 54 Ludlow Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM 212-777-7756 firstname.lastname@example.org
Opening Sunday May 19, 2013
Start as Close to the End as Possible Alyssa Piro, Chris Jehly, Corey Riddell, Dana Sherwood, Forsyth Harmon, Jennifer Nuss, Jesse Weiss, Kiki Smith, Mark Dion and Melis Bürsin Torrance Shipman Gallery Curated by Nathan Catlin Opening Sunday May 19, 2013, from 6:00 PM to 9:00 PM On View May 18, 2013 - June 16, 2013 www.torranceshipmangallery.com
Start as Close to the End as Possible A show of narrative works on paper Curated by Nathan Catlin
With works by: Alyssa Piro Chris Jehly Corey Riddell Dada Sherwood Forsyth Harmon Jennifer Nuss Jesse Weiss Kiki Smith Mark Dion Melis Bürsin
Opening on Sunday May 19th from 6-9 Torrance Shipman Gallery 219 36th Street, Brooklyn, New York 11232
The show will be up from: May 18th - June 16th Saturday and Sunday 12-6 and weekdays by appointment.
Sunset Park 219 36th Street, Brooklyn NY, 11232 Saturday - Sunday from 12:00 PM to 6:00 PM email@example.com
Opening Sunday May 19, 2013
image: Hervé Guibert, Destruction des negatifs de jeunesse, 1986, gelatin silver print, 5 1/2 x 8 1/2 inches
To The Friends Who Saved My Life Moyra Davey, Hervé Guibert, Heinz Peter-Knes, Jason Simon, Danh Vo̅, Francesca Woodman and Rona Yefman Callicoon Fine Arts Opening Sunday May 19, 2013, from 6:00 PM to 8:00 PM On View May 19, 2013 - June 21, 2013 www.callicoonfinearts.com
“…I’m beginning a new book to have a companion, someone with whom I can talk, eat, sleep, at whose side I can dream and have nightmares, the only friend whose company I can bear at the moment.” —Herve Guibert
To The Friends Who Saved My Life, …an exhibition prompted by the introduction of Francesca Woodman’s work to Heinz Peter-Knes and Danh Vō. They in turn suggested a parallel to Hervé Guibert, unknown to us at the time. About a year later, we learned that Nightboat Books, the companion enterprise to Callicoon Fine Arts, was newly engaged with Guibert translations, a publication plan that in turn prompted the gallery to introduce Guibert’s photographs to an American audience. Shared images and writings closed a circle that we hadn’t known of before, including our own works, those of Rona Yefman, an Israeli photographer living in New York, Heinz, Danh, and a single Francesca Woodman, as our starting point.
Guibert’s best known book, To the Friend Who Did Not Save My Life, is a memoir of crisis and roller-coaster years of rushing between doctors and lovers. With extraordinary recall and dispassion, that is, with a photographic voice, even towards his own diagnosis and decline, Guibert maps the early years of the AIDS crisis. In those times when human friends became “friend[s] whose company I can bear at the moment,” perhaps it was photography that eased them through the door.
Among the many formal similarities between Woodman and Guibert, it should be noted that both spent time living and photographing in Rome, where Heinz and Danh were recently in residence, and that the images Woodman and Guibert made there are steeped in its light and shadows. Rona Yefman did not know of Guibert, but she was known to us through her extended photo essay on her brother, and through a pair of striking one-minute films. Moyra’s bottles, Jason’s Polaroids and Rona’s sibling study, all keep the images close to home. Danh and Guibert absorb the Villa Medici residence through its physical effects upon its residents, past and present: the erotics of place carry by association, the knowledge of who was there before. So too does Heinz’s discovery of his own face plastered on the red-lit bathroom wall of a bar, and in his portfolio of black and white prints. Seemingly following an order that appeared in the unedited rolls of 35mm film, flared end frames included, Heinz’s box of prints return us back to the place of the photographer sorting the moments of seeing. —Jason and Moyra
The East Village / Lower East Side 124 Forsyth Street, New York NY, 10002 Wednesday - Sunday from 12:00 PM to 6:00 PM 212-219-0326 firstname.lastname@example.org
Lecture / Artist Talk Tuesday May 21, 2013
"Rust Belt," a series of compelling images, with Sean Hemmerle, a leading American photographer New York Public Library Lecture / Artist Talk Tuesday May 21, 2013, from 6:30 PM to 8:30 PM www.nypl.org
Once the fourth-largest city in the United States, Detroit's spectacular economic and social decline is writ large in the disintegration of its architectural fabric, with its former manufacturing industries decimated and parts of downtown Detroit becoming a depopulated wasteland. This illustrated lecture features his photographs – at times poetic, at others unnerving – of the city's former urban glory, both industrial and residential. His striking work serves as both architectural record and effective social commentary.
Midtown Mid-Manhattan Library, 455 Fifth Avenue, New York NY, 10016
62 Years Later: Gender Politics in the Arts Robert Miller Gallery Lecture / Artist Talk Wednesday May 22, 2013, from 6:00 PM to 8:00 PM www.robertmillergallery.com
Robert Miller Gallery is pleased to present 62 Years Later: Gender Politics in the Arts a special panel discussion investigating gender politics within the art world 62 years after Lee Krasner’s first solo exhibition. Moderated by economist and founding President of Center for Talent Innovation Sylvia Ann Hewlett the panel features Lauren Flanigan, RoseLee Goldberg, Anne Pasternak, Laurie Simmons, and Heather Watts.
62 Years Later is organized on the occasion of the gallery’s current exhibition (Untitled) Hybrid, a reflection on the legacy of Lee Krasner’s contributions to contemporary artistic practices featuring work by Polly Apfelbaum, Alisa Baremboym, Sarah Cain, Leidy Churchman, Joanne Greenbaum, Julia Hechtman, and Dona Nelson curated by Boston University Art Gallery Director Kate McNamara.
In contemplation of Krasner’s struggles in becoming fully recognized as an important figure in the male-dominated Abstract Expressionist movement, this panel discussion will explore the ebb and flow of the art community’s dynamic relationship with gender.
Sylvia Ann Hewlett is president and CEO of the Center for Talent Innovation, a nonprofit think tank where she chairs a Task Force focused on fully realizing the new streams of talent in the global marketplace. She is the author of 10 Harvard Business Review articles, 12 critically acclaimed nonfiction books including Winning the War for Talent in Emerging Markets and Forget a Mentor, Find a Sponsor (Harvard Business Review Press, Sept. 2013), and is ranked #11 of the world’s top business thinkers. Her writings have been widely published and she’s a featured blogger on HBR.org. A Kennedy Scholar and graduate of Cambridge University, she earned her PhD in economics at London University.
Lauren Flanigan is an American operatic soprano who has had an active international career since the 1980s. Named by TIME Magazine as "the thinking man's diva" and awarded by ACSAP and the Center for Contemporary Opera for her commitment to performing the works of living composers, Flanigan has firmly established herself as a unique musical presence in the world today. She has been featured on the Live from the Met telecast of I Lombardi (opposite Luciano Pavarotti) and the Live from Lincoln Center telecasts of The Richard Tucker Gala, Lizzie Borden, and Central Park, which was written for her. She has performed at many of the world’s leading opera houses including La Scala, Teatro San Carlo, Bayerische Staatsoper, Lyric Opera of Chicago, San Francisco Opera, and the Metropolitan Opera. Last year Flanigan was given a prestigious yearlong creative residency at The Park Avenue Armory, during which she founded the group Not Your Mothers Kurt Weill Ensemble and was given 25 Weill songs cut from movies and shows to arrange and perform. Two of those programs called Unknown/Unsung: The Music of Kurt Weill are regularly performed to sold out houses at The Neue Galerie. Flanigan is also the founder and the director of Music and Mentoring House, a not-for-profit organization providing upscale affordable housing and hands on mentoring to students studying in the arts in NYC. Most recently, Flanigan was selected to be part of a world premiere performance of Beauty Intolerable, a collection of love songs composed by Sheila Silver based on the poetry of Edna St. Vincent Millay, co-presented by American Opera Projects, The Edna St. Vincent Millay Society, ClaverackLanding, and Symphony Space.
RoseLee Goldberg is Founding Director and Curator of Performa, the leading organization for the research, production and presentation of visual art performance, which launched the Performa biennial to great international acclaim in New York in 2005. Former director of the Royal College of Art Gallery in London and curator at the Kitchen in New York, she pioneered the study of performance art with her book Performance Art from Futurism to the Present, first published in 1979 and available in 12 languages. Other books include Laurie Anderson, and Performance Since the 1960s. She is the recipient of the Agnes Gund ICI Curatorial Award, and is a Chevalier of the Order of Arts and Letters presented by the French government. She is Clinical Professor in Art History at New York University where she has taught since 1987.
Anne Pasternak, the President and Artistic Director of Creative Time, joined the organization in the fall of 1994, with the goal of presenting some of the most adventurous art in the public realm. Creative Time began commissioning innovative art in New York City in 1972, introducing millions of people every year to contemporary art while making sure it plays an active role in public life. Just a few years ago, Creative Time began working nationally making it the only national public arts organization with programs that have reached from New York to New Orleans, from Denver to Dallas, and from PA to LA. Renowned projects under her direction range from exhibitions and performances in the historic Brooklyn Bridge Anchorage, sculptural installations in Grand Central Station’s Vanderbilt Hall, sign paintings in Coney Island and skywriting over Manhattan to the Tribute in Light, the twin beacons of light that illuminated the former World Trade Center site six months after 9/11. She has worked closely with such artists as Doug Aitken, Laurie Anderson, David Byrne, Jenny Holzer, Gary Hume, Vik Muniz, Takashi Murakami, Shirin Neshat, Steve Powers, Cai Guo Qiang, and many more. In addition to her work at Creative Time, Pasternak curates independent exhibitions, consults on urban planning initiatives, and contributes essays to cultural publications. She lectures extensively throughout the United States and Europe, and she served as a guest critic at Yale University.
Laurie Simmons is an internationally recognized artist. Since the mid-70’s, Simmons has staged scenes for her camera with dolls, ventriloquist dummies, mannequins and occasionally people, to create images with intensely psychological subtexts. Her photographic based works are collected by many museums including in New York: The Metropolitan Museum of Art, The Museum of Modern Art, The Whitney Museum of American Art and the Guggenheim as well as The Museum of Contemporary Art, Los Angeles, Walker Art Center and the Hara Museum, Tokyo. In 2006 she produced and directed her first film titled "The Music of Regret", starring Meryl Streep, Adam Guettel and the Alvin Ailey 2 Dancers with cinematography by Ed Lachman. The film premiered at The Museum of Modern Art, New York, and has been screened at many international museums and film festivals including the Whitney Museum. Simmons was featured in Season 4 of the PBS series "Art 21: Art in the Twenty- First Century". Her most recent exhibitions were at Salon 94 Bowery, NYC, Wilkinson Gallery, London Baldwin Gallery in Aspen, The Gothenburg Museum in Sweden and Koyama Gallery in Tokyo. Her book titled “The Love Doll” was published last January. Simmons lives and works in New York City and Cornwall, Connecticut with her husband, the painter Carroll Dunham.
Heather Watts was born in Los Angeles, and was brought to New York to study at the School of American Ballet on a Ford Foundation scholarship. She was invited to join New York City Ballet by George Balanchine in 1970, and he promoted her to Principal Dancer in 1978. During her career at NYCB, Watts worked closely with Balanchine and Jerome Robbins, dancing leading roles in virtually all of the company's ballets, and both Balanchine and Robbins created roles especially for her. In addition to her career at NYCB she traveled extensively as a guest artist, and was an acclaimed international star. Since her retirement from the stage in a gala performance in 1995, Watts has been a contributing cultural editor at Vanity Fair magazine, has served as a panelist for the NEA, and serves on the Artists Committee for the Kennedy Center Honors. She taught academic courses in 2006 and 2007 on Balanchine’s life and work at Harvard University, and she received two Derek Bok awards for distinguished teaching. She was the Class of 1932 Visiting Lecturer in Dance at Princeton University for 2011-12, and also recently co-created a new seminar for the Dance Education Laboratory at the 92nd St Y. Among the many awards that Watts has received are the Jerome Robbins Award, the Dance Magazine Award, the Lions of the Performing Arts Award from the New York Public Library. In 2012, she received a Doctorate in Fine Arts honoris causa from Hunter College.
Chelsea 524 West 26th Street, New York NY, 10001212-366-4774 email@example.com
Opening Thursday May 23, 2013
Hopper Drawing Whitney Museum of American Art Curated by Carter E. Foster Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - October 06, 2013 www.whitney.org
Hopper Drawing is the first major museum exhibition to focus on the drawings and creative process of Edward Hopper (1882—1967). More than anything else, Hopper’s drawings reveal the continually evolving relationship between observation and invention in the artist’s work, and his abiding interest in the spaces and motifs—the street, the movie theatre, the office, the bedroom, the road—that he would return to throughout his career as an artist. This exhibition showcases the Whitney’s unparalleled collection of Hopper’s work, which includes over 2,500 drawings bequeathed to the museum by his widow Josephine Hopper, many of which have never before been exhibited or researched. The exhibition will survey Hopper’s significant and underappreciated achievements as a draftsman, and will pair many of his greatest oil paintings, including Early Sunday Morning (1930), New York Movie (1939), Office at Night (1940) and Nighthawks (1942), with their preparatory drawings and related works. This exhibition also features groundbreaking archival research into the buildings, spaces and urban environments that inspired his work.
Hopper Drawing is organized by Carter E. Foster, Steven and Ann Ames Curator of Drawing.
The Upper East Side 945 Madison Avenue at 75th Street, New York NY, 10021 Friday from 1:00 PM to 9:00 PM Saturday - Sunday from 11:00 AM to 6:00 PM 212-570-3600 firstname.lastname@example.org
Opening Thursday May 23, 2013
DAVID HOCKNEY: THE JUGGLERS Whitney Museum of American Art Curated by Chrissie Iles Opening Thursday May 23, 2013, from 11:00 AM to 6:00 PM On View May 23, 2013 - September 01, 2013 www.whitney.org
This exhibition marks the U.S. premiere of David Hockney’s first video installation: The Jugglers, June 24th 2012 (2012). Filmed using eighteen fixed cameras, this multiscreen tableau shows a group of jugglers as they move in a procession across a grid of eighteen screens. The figures, dressed in black and juggling brightly colored objects, perform in front of a pink wall and on a blue floor, creating a vibrant, colorful composition whose energy is echoed by a lively musical soundtrack. Hockney’s creation of a composite image from multiple perspectives places the choice of where to look with the viewer, demonstrating his ongoing interest in how technologies can open up new ways of looking at, and making, images.
David Hockney: The Jugglers is organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator.
The Upper East Side 945 Madison Avenue at 75th Street, Brooklyn NY, 10021 Wednesday - Thursday from 11:00 AM to 6:00 PM Friday from 1:00 PM to 9:00 PM Saturday - Sunday from 11:00 AM to 6:00 PM 212-570-3600 email@example.com
Opening Thursday May 23, 2013
Daniel Lefcourt: Modeler Mitchell-Innes & Nash Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 23, 2013 - June 29, 2013 www.miandn.com
Mitchell-Innes & Nash is pleased to present our first solo exhibition of Daniel Lefcourt. Daniel Lefcourt: Modeler will include new paintings and graphite panels within a modified exhibition framework.
The exhibition title Modeler evokes someone – or something – making a scale model construction. It is this emphasis on making that captures Lefcourt’s interest: a fixation on material process in relation to simulation.
This dynamic between making and simulating is played out at every level of the exhibition. Unpainted false walls, of a type used in theatre production, imply that the exhibition itself is a type of model. Fiberboard panels entitled Drawing Boards have been machined using a computer controlled wood-router, and delicately finished by hand with graphite.
This layering of simulated and physical procedures is performed most elaborately in the paintings. Even the very act of painting is modeled – enacted at a micro scale on a platform in the artist’s studio. Fleeting material transformations – often on a scale invisible even to the artist – are captured using a macro lens on a digital camera. Later, these transitory moments are recreated in large pictorial-relief using a combination of digital 3D modeling, computer controlled machining, sculptural casting, and finally adhering a cast film of paint onto the surface of a canvas. While the production of the work is technologically mediated, the artist is keenly attentive to the vagaries of materials – allowing for chance occurrences in each stage of the process to function as generative elements of each individual work. The final result is a body of work that is simultaneously luminous and concrete, immediate and distant, uncannily simulated and corporeally present.
Daniel Lefcourt was born in New York and lives and works in Brooklyn. He received his MFA from Columbia University and is a member of the faculty of the Rhode Island School of Design. Lefcourt has exhibited in museums and galleries worldwide, including solo exhibitions at Taxter & Spengemann in New York, Campoli Presti in Paris, Sutton Lane in London, and at White Flag Projects in St. Louis. His work has been included in numerous group exhibitions including First Among Equals at ICA Philadelphia; Knight’s Move at Sculpture Center in Long Island City, New York; Reel to Real: Photographs from the Traina Collection at the de Young Museum in San Francisco; and Greater New York at MoMA P.S.1 Contemporary Art Center, Long Island City, NY. His upcoming web project hosted by the Dia Center will launch in the Fall of 2013 and will be available as a working preview at diacenter.org/lefcourt beginning June 1.
Chelsea 534 West 26th Street, New York NY, 10001 Tuesday - Saturday from 10:00 AM to 6:00 PM 212-744-7400 firstname.lastname@example.org
Opening Thursday May 23, 2013
GENIUS OF LOVE EJ Hauser, Jaqueline Cedar, Andrea Belag, Shara Hughes, Rick Briggs, Farrell Brickhouse and Emily Noelle Lambert Brian Morris Gallery Curated by Jason Stopa Opening Thursday May 23, 2013, from 6:00 PM to 8:00 PM On View May 22, 2013 - June 23, 2013 www.brianmorrisgallery.com
The East Village / Lower East Side 163 Chrystie Street, New York NY, 10002 Wednesday - Sunday from 11:00 AM to 6:00 PM 347-261-8228 email@example.com
Opening Thursday May 23, 2013
Featured Image: Michael H. Hall, Lost Count, 2012, video still.
Videorover: Season 6 Bridget Batch + Kevin Cooley, Heather Delaney, Kerry Downey + Jen Rosenblit and Joanna Seitz, Michael H Hall, Constantin Hartenstein, Gabriel Hosovsky, Lindsay Packer, Daniel Seiple, Alina Tenser, Jacob Tonski and Roland Wegerer NURTUREart Curated by Rachel Steinberg and Giana Gambino Opening Thursday May 23, 2013, 7:00 PM On View May 23, 2013 - December 15, 2013 www.nurtureart.org
NURTUREart is pleased to present Videorover: Season 6 in partnership with RAPID PULSE, an International Performance Art Festival based in Chicago.
The sixth season of Videorover will showcase performance-inspired works made for the camera and to be presented on screen. The works in this exhibition are created using performance as a departure point and medium, privileging the body as the vehicle for production but also looking to the camera as a collaborator. In these works, performance acts allow the camera to complete them, mediating the gap between performer and audience.
Expanding the boundaries of what is or can be performance art is one of the many focuses of RAPID PULSE, as well as questioning ideas on presence, live-ness and mediation. Curated by Rachel Steinberg and Giana Gambino, Videorover: Season 6 will feature works by artists: Bridget Batch + Kevin Cooley, Heather Delaney, Kerry Downey in collaboration with Jen Rosenblit and Joanna Seitz, Michael H Hall, Constantin Hartenstein, Gabriel Hosovsky, Lindsay Packer, Daniel Seiple, Alina Tenser, Jacob Tonski, and Roland Wegerer.
NURTUREart’s video program, Videorover aims at becoming an ever-expanding forum for new and emerging video artists. The works included in this season will be shown in a screening event both at NURTUREart Gallery on May 23 and at DEFRIBILLATOR Gallery on June 5 in Chicago as part of RAPID PULSE’s ten day long international performance art festival.
Bushwick / Ridgewood 56 Bogart Street, Brooklyn NY, 11206 Thursday - Monday from 12:00 PM to 6:00 PM 719-782-7755 firstname.lastname@example.org
Opening Saturday May 25, 2013
ORIENTATIONS R.E.H. Gordon, Eve Lateiner and Matthew Schrader Garden Party/Arts Curated by Garden Party/Arts Opening Saturday May 25, 2013, from 4:00 PM to 8:00 PM On View May 25, 2013 www.gardenpartyarts.com
GARDEN PARTY/ARTS PRESENTS: ORIENTATIONS May 25, 2013 4-8pm. 147 Halsey Street, Brooklyn, NY. R.E.H. Gordon / Eve Lateiner / Matthew Schrader
“[The] queer object, the one out of line, on a slant, the odd and strange one, is hence encountered as slipping away, as threatening to become out of reach. The question is less what is a queer orientation than how we are oriented toward queer moments when objects slip. A queer phenomenology might involve an orientation toward what slips, which allows what slips to pass, in the unknowable length of its duration. In other words, a queer phenomenology would function as a disorientation device; it would not overcome the disalignment of the horizontal and vertical axis, allowing the oblique to open another angle on the world. If queer is also an orientation toward queer, a way to approach what is retreating, then what is queer might slide between sexual orientation and other kinds of orientation. Queer would become a matter of how one approaches the object that slips away, a way to inhabit the world at the point at which things fleet.”
GARDEN PARTY/ARTS is pleased to announce ORIENTATIONS, the first of our series of exhibitions slated for the Summer of 2013. A group show featuring the work of R.E.H. Gordon, Eve Lateiner, and Matthew Schrader, ORIENTATIONS borrows its title from Sara Ahmed’s 2006 essay “Orientations: Toward a Queer Phenomenology”.
Phenomenology is the philosophy of the first-person experience of consciousness, where the point from which the world unfolds is always the body. To be “oriented” is to know where our bodies are in space and which direction we are facing. A body takes shape as it moves through space by tending towards familiar objects and away from others. The objects we find around us are not casual, but in fact “reveal the direction we have taken in life.” The repetition of “tending towards” familiar objects creates a line, like a path on the forest floor, that attracts other bodies along that same line. The subject reproduces the lines of the path it follows: this is the production of normativity. When a body encounters a queer object- one that is strange, slanted, out of line- orientation acts as a straightening device, shifting our perception so that the object appears in line.
Ahmed’s proposal for a queer phenomenology is, in part, to approach objects from behind. She writes, “we need to face an object’s background, redefined as not only the conditions for the emergence of the object (we might ask: how did it arrive?) but also the act of perceiving the object, which depends on the arrival of the body that perceives.” The works in this show “arrive” through the distinct backgrounds of each artist’s practice: performance, painting, and sculpture, respectively. Yet the objects only truly take shape through their encounter with the viewer or “the body that perceives” through the intimate co-habitation of space. Thus, the potential for a “queer” moment, a moment of disorientation, exists not in the object but the space of the encounter.
As Ahmed explains, the spaces where we gather are not neutral but directive. Spaces are where we find the lines we follow. It has always been one of the goals of Garden Party/Arts to build a space that is oriented towards feminism. This means we tend towards feminist and queer objects and tend to perceive feminism and queerness in objects. But Ahmed makes an important distinction when she explains that “it is important that we do not idealize queer worlds or simply locate them in an alternative space. After all, if the spaces we occupy are fleeting, if they follow us when we come and go, then this is as much a sign of how heterosexuality shapes the contours of inhabitable or livable space as it is about the promise of queer.” Instead, we need to ask what we will do in the moment we encounter an object that disorients us. These are the encounters that make it possible to change the direction we face, to follow new paths, and create space for difference.