ArtSlant - Current exhibits en-us 40 Wolfgang Gantner, Ali Janka, Florian Reither, Tobias Urban - 21er Haus - June 5th, 2013 - September 29th, 2013 <p>Following the intervention by Marcus Geiger (2011) and the Hans Schabus solo exhibition (2012), this year the 21er Haus is once again the venue of a site-specific show, created on the spot and occupying the entire building. It began with a solid cube, reaching up to the museum atrium's ceiling. It stood as a mass of material, a mine just waiting to be exploited. However, nothing but emptiness was extracted from it at first. The music began, and the four artists, together with a group of friends they had brought along from around the globe, started digging and quarrying, creating hollows. The holes were filled and their contents then distributed around the space in the form of sculptures.<br /> <br /> Gelatin touched down at the 21er Haus in search of lost form, negative space, and the underside of the surface. This vast titan filled the space with its lightness. Its perfect form was ruined; like some carious tooth, it was bored into and sculpted to create everything else.<br /> <br /> Imperceptibly soft, its role was to create the exhibition and it was eaten away in the process. Gelatin ripped pieces out of the giant, rather like the eagle gouging out Prometheus&rsquo; liver. Classic materials and research into simplicity resulted in sculptures and vice versa. And all this happened with the help of a confusing mass of skilled actors, many hands giving and taking.<br /> <br /> In six days, from 5 to 9 June 2013, Gelatin and their friends created the exhibition on site and before their audience, with musical accompaniment and food and drinks provided. They used the hollows dug out of the vast block as molds for sculptures, which little by little then filled the room. This six-day performance transformed the museum into a cross between a venue, studio, stage, and exhibition space. The exhibition features the sculptures created on site and what remains of their production is on show at the 21er Haus until 29 September.</p> Mon, 15 Jul 2013 22:06:43 +0000 Group Show - 21er Haus - June 21st, 2013 - November 10th, 2013 <p>Changing at regular intervals, the presentation of the collection of contemporary art at the 21er Haus gives insights into Austrian art production while simultaneously placing it in an international context. The current installation <em>The Collection #3 </em>comprises works from the 1940s to most recent positions. Works from the Belvedere&rsquo;s permanently growing holdings and from the Artothek des Bundes are complemented by national and international loans. The section <em>Freedom &ndash; Form &ndash; Abstraction</em> juxtaposes works of Austrian post-war modern art with contemporary positions, thereby demonstrating both thematic and formal similarities. In search of new identities and languages of form after World War II, artists referred to geometrical construction, reduced abstraction, and gestural painting. These formal tendencies reflected such international movements as Tachisme/Art Informel in Paris or Abstract Expressionism in New York. During the following two decades, abstraction as a genre was to develop into a global language. In the past twenty years, contemporary artists have also harked back to non-objective painting in the form of free gesture, constructivism, or monochrome reduction. In the section <em>Sign &ndash; Image &ndash; Object</em>, the focus is on the blurring of boundaries between image and sign, script and language, and object and idea. The play between signifier and signified &ndash; the form of a sign and its meaning &ndash; and their unclear statuses are also addressed by making reference to the pattern of the process of perception and the translation of what is perceived into language. Finally, <em>Body &ndash; Psyche &ndash; Performance</em> deals with social norms and their negotiation in the visual arts since the 1960s. Constructions of the self and their renderings, marked by a tensional relationship between the mind, social issues, and the act of representation as such, serve as a point of departure. Stereotypes and conventions, expressed, for example, by way of role models and their social legitimization, are primarily addressed with regard to body and gender.</p> Mon, 15 Jul 2013 21:53:35 +0000 Jason Nixon - 69 Smith Street Gallery - September 4th, 2013 - September 22nd, 2013 <p>Influenced by writers such as Albert Camus and Franz Kafka, and inspired by the works of Gregory Crewdson, the series follows the unravelling of a working man, terrified by the slow realisation that he is ultimately free to choose, and the sense of displacement that ensues when he finally makes his choice. To climb over the fence. In search of himself.</p> Thu, 05 Sep 2013 01:55:29 +0000 Charlotte Clemens - 69 Smith Street Gallery - September 4th, 2013 - September 22nd, 2013 <p>This exhibition consists of digital photos presented as visual collages recalled from a secondary art room in a western suburbs public school as seen through the eyes of an art teacher who is also an artist. They portray images of students on excursions, in festivals and in the classroom, that express the joys and triumphs and frustrations and stresses in a secondary art room. (All identities have been disguised)</p> Thu, 05 Sep 2013 01:57:44 +0000 Zoe Paterson - 69 Smith Street Gallery - September 4th, 2013 - September 22nd, 2013 <p>In Zo&euml; Paterson&rsquo;s &ldquo;Eden&rdquo; series of paintings and poems, nature is symbolic of one&rsquo;s inner landscape. Allegorical figures and shadowy woodland creatures move through luxurious canopies of colour, interwoven with sinuous foliage bristling with unspoken temptation, startling revelations and shy desires. Daring, enticing, beckoning &ndash; these figures invite us into their mystical, enchanted ways.<br /> <br /> Zo&euml;&rsquo;s prayer to know beauty is palpable in both her paintings and her poetry: &ldquo;Under this veil of time / I would marry the universe / to know the secret truth / of its every beautiful molecule.&rdquo; Although based in Sydney, rising star Zo&euml; is also represented overseas in New York by Agora Gallery. Her work will be exhibiting as part Agora Gallery&rsquo;s &ldquo;Kaleidoscope of the Mind&rdquo; exhibition from 29 October to 19 November 2013. A selection of her work is also permanently available at Agora Gallery and enquiries should be directed to<br /> <br /> New York Art magazine, ARTisSpectrum, says Zo&euml;&rsquo;s &ldquo;paintings contain a freshness and immediacy not often seen in the fine art world, as well as a vibrant life force that erupts from the canvas.&rdquo; (Volume 29, page 106). To see for yourself come to the opening night of her exhibition at Gallery 69 from 4pm on Saturday 7 September 2013. <br /> <br /> Zo&euml;&rsquo;s paintings are held in private and also corporate collections throughout Australia and overseas. Her paintings and also her poetry has exhibited at several solo and also group exhibitions in Sydney. <br /> <br /> Zo&euml; was selected by Malaysian designers Sereni &amp; Shentel for their 2013 annual &ldquo;Artist Series&rdquo; and her paintings were reproduced on textiles as the basis of a capsule collection of headbands released since August this year.</p> Thu, 05 Sep 2013 01:59:57 +0000 Joanne Bos - 69 Smith Street Gallery - September 4th, 2013 - September 22nd, 2013 <p>Stepping cautiously through the ruins of 1480 Plenty Road, Whittlesea, I found myself looking for signs of the people that once lived there. Alison (b1931 d1998) and Milton Graff (b1929 d2009), brother and sister remained unmarried until their deaths, rarely venturing from their childhood home. They were considered &lsquo;eccentric&rsquo;, surrounded by piles of newspapers and railway auction purchases. <br /> The paintings and shadowboxes are glimpses into Alison&rsquo;s world, her childhood and young adulthood. *The collage elements including found objects are sourced from the ruins of the Graff homestead. I have attempted to create a sense of their isolated lives, removed, at times suspicious and disinterested in the progress around them. <br /> <br /> *The house is heritage listed. I contacted the owner Mr Andrew Runge and obtained consent for the removal of various papers and small items.</p> Thu, 05 Sep 2013 02:02:53 +0000 Shaun Tan - ACMI (Australian Centre for the Moving Image) - July 16th, 2013 - January 19th, 2014 <p>Set in a city overrun by bureaucracy, Shaun Tan's picture book <em>The Lost Thing</em> tells the story of a boy who befriends a strange creature that doesn't&nbsp;appear to fit in&nbsp;any of the available pigeon holes.<br /> <br /> Melbourne-based production company Passion Pictures Australia&nbsp;invited Shaun to direct an animated version of <em>The Lost Thing</em>. Several years later, the Oscar&reg;-winning short film emerged.<br /> <br /> This exhibition features Shaun's exquisite original drawings and working sketches alongside exclusive footage of the animators and sound artists, demonstrating how the drawings were brought to life on screen with movement, sound effects, music and narration.</p> Fri, 12 Jul 2013 23:53:08 +0000 Julian Stanczak - Akron Art Museum - April 13th, 2013 - November 3rd, 2013 <p style="text-align: center;"><strong>"If you want to get into his work, guess how many colors are represented in the various pieces on display. For instance, Stanczak used simple black and white in one of his transparencies pieces called &ldquo;Intravert I.&rdquo; When studied and mused upon, a viewer can begin to see other shades &ndash; purple somehow coming through as one tone.</strong></p> <p style="text-align: center;"><strong>In his &ldquo;It&rsquo;s Not Easy Being Green,&rdquo; one might think in this grid work that there are two basic colors being employed &ndash; blue and green. On closer study, there are actually 45 different colors.</strong></p> <p style="text-align: center;"><strong>How does the artist do it? How indeed. You can see, if you look closely enough that Stanczak juxtaposes color and manipulates the closeness or distance between separations of colors. Stanczak may begin by painting a canvas black or white, or green or blue, and then applying stripes of tape (from his own tape machine) in varying distances between lines before he applies the second, or 44th color. According to him, the eye does the rest by making connections and applying some kind of order to what it is looking at.</strong>"</p> <p style="text-align: center;"><strong>-Roger Durbin, Knight Arts</strong></p> <p><em>Line Color Illusion: 40 Years of Julian Stanczak</em> showcases paintings and prints collected by the Akron Art Museum since 1970. The exhibition documents both Julian Stanczak&rsquo;s impressive career as a master of color and the museum&rsquo;s longstanding commitment to his work.</p> <p><br /> A longtime resident of Northeastern Ohio and retired Cleveland Institute of Art professor, Julian Stanczak earned international recognition as a pioneer of &ldquo;Op Art,&rdquo; a style based on optical illusion, following his first New York exhibition at Martha Jackson Gallery in 1964. Soon after, Stanczak&rsquo;s work--which he characterizes as perceptual abstraction&mdash;was included in the Museum of Modern Art&rsquo;s landmark exhibition The Responsive Eye. Stanczak has continued to draw upon his deep understanding of color theory to explore how colors interact and are perceived. While his signature motifs have evolved, his paintings and prints over the years are characterized by lines and colors that set up vibrations and create pulsating patterns.</p> <p><br /> The Akron Art Museum hosted one of the first public museum exhibitions of Julian Stanczak&rsquo;s work and acquired the painting <em>Dual Glare</em> in 1970. Since that time the museum has augmented its collection with paintings and screen prints representing the variety of materials, techniques and formal elements that Stanczak continues to explore.</p> Tue, 23 Jul 2013 07:22:20 +0000 Group Show - Akron Art Museum - July 20th, 2013 - November 3rd, 2013 <div>During the years leading up to and following World War II, many American artists worked in styles that merged influences from European Surrealism with native realist traditions.&nbsp;On the face of it, Surrealists, who explored the subconscious in search of higher realities, and realist artists, who rely on motifs drawn from the observable world, may appear to pursue conflicting styles.&nbsp;However, a number of artists practicing during this tumultuous period married aspects of both approaches to create timely and compelling images.&nbsp;</div> <div>&nbsp;</div> <div>Featuring more than 60 paintings, drawings, prints and photographs dating from 1930 to 1955 drawn from the collection of the Whitney Museum of American Art, <em>Real/Surreal </em>examines how American artists used strikingly naturalistic details to imaginative images inspired by dreams and how they introduced disconcerting undertones into compositions that featured seemingly ordinary scenes.&nbsp;The exhibition features works by both well-known artists, such as Charles Burchfield, Edward Hopper, Charles Sheeler and Grant Wood alongside engaging images by lesser-known talents, among them Francis Criss, Louis Gugliemi and Katherine Schmidt.&nbsp;</div> <div>&nbsp;</div> <div><em>Real/Surreal </em>offers viewers a journey though other realms, be it George Tooker&rsquo;s eerie subway station or Man Ray&rsquo;s pool table careening into space under pastel clouds.&nbsp;And often even ostensibly straightforward scenes, such as Edward Hopper&rsquo;s <em>Cape Cod Sunset</em>, have a disturbing quality, here conveyed by the half-drawn blinds and untrimmed grass suggesting a house that has long been abandoned.&nbsp;The exhibition also offers insights into the challenges Americans faced during this critical era, including the ravages of the Dust Bowl depicted by Joe Jones in <em>American Farm </em>and the promises and threats of technology referenced by Peter Blume in <em>Light of the World. </em></div> <div><em>&nbsp;</em></div> <div><em>&nbsp;</em>First presented as an exhibition drawn from the permanent collection at the Whitney Museum of American Art in New York in 2010, <em>Real/Surreal </em>was greeted with critical praise that inspired its tour to four additional museums nationwide.&nbsp;The Akron Art Museum showing, accompanied by significant interpretive programming, is made possible by generous support from The Henry Luce Foundation.&nbsp;</div> <div>&nbsp;</div> <div>This exhibition was organized by the Whitney Museum of American Art, New York.</div> Tue, 23 Jul 2013 07:27:51 +0000 Alison Rossiter, Minor White, Hiroshi Sugimoto, Christopher Bucklow, Adam Fuss, Margaret De Patta - Akron Art Museum - July 27th, 2013 - January 26th, 2014 <p><em>With a Trace: Photographs of Absence</em> features photographers spanning several generations who do not merely capture scenes but create distinct moments in time. Their images bear traces of human presence, the transmission of energy, atmospheric phenomena and experiments with light. Among the artists, Christopher Bucklow, Margaret De Patta, Adam Fuss, Alison Rossiter, Minor White and Hiroshi Sugimoto use a wide range of processes to render their enigmatic subjects. Primarily analog or even camera-less photographers, they highlight the versatility of non-digital photography in capturing what the eye may not see. Whether picturing a place or thing or pure abstraction, the photographs in With a Trace emanate a palpable absence, which is precisely what invites the mind to enter the scene.</p> Fri, 30 Aug 2013 06:28:00 +0000 - Akron Art Museum - August 10th, 2013 - January 5th, 2014 <p>In collaboration with Kent State University School of Architecture faculty, Akron Art Museum staff charged third-year architecture students with their first assignment based on a real-world project: create a design for the museum&rsquo;s proposed outdoor sculpture gallery. This complex challenge involved conceiving of an outdoor space to showcase contemporary sculpture, installation and multimedia work that can also accommodate concerts, parties and possibly even a caf&eacute;. The flexibility the museum seeks for the area reflects its embrace of the museum&rsquo;s role as a cultural hub.</p> Fri, 30 Aug 2013 06:25:38 +0000 Kay Field Parker - Alaska State Museum - April 5th, 2013 - October 12th, 2013 <p>Ravenstail weavings by this prolific artist woven over the last 20 years, includes robes, tunics, aprons, and other selections.</p> Thu, 09 May 2013 01:41:32 +0000 Tommy Joseph - Alaska State Museum - April 5th, 2013 - October 12th, 2013 <p>This noted artist and carver has produced a wide range of artwork including totems, house posts, masks and bentwood containers. "Rainforest Warriors" consists of Tlingit armor and clothing.</p> Thu, 09 May 2013 01:44:13 +0000 - Alaska State Museum - May 3rd, 2013 - October 12th, 2013 <p>Six individual artists from The Canvas each bring their unique perspective to the ceramic pieces encompassed in this show. The Canvas is a community outreach and day program for REACH, an independent non-profit organization serving people who experience disabilities.</p> Thu, 09 May 2013 01:46:35 +0000 Nicholas Galanin - Alaska State Museum - May 17th, 2013 - October 12th, 2013 <p>Having trained extensively in traditional as well as contemporary approaches to art, this Tlingit/Aleut multi-disciplinary artist draws on a wide range of indigenous technologies and global materials to explore his ideas.</p> Thu, 09 May 2013 01:49:04 +0000 Gottfried Helnwein - Albertina - May 25th, 2013 - October 13th, 2013 <p>Gottfried Helnwein is one of the most important internationally known Austrian artists. On the occasion of his 65th birthday, the Albertina is dedicating the first retrospective of his works in Europe to him.<br /> <br />More than 150 works from all phases of his career provide insight into Helnwein's creative work, which is characterised by a pointed dialogue with society, its bete noires and taboo subjects. He primarily became known for his hyperrealistic paintings of wounded and bandaged children. Even Disney figures take on a menacing aspect in Helnwein's works. Pain, injury and violence are recurring motifs in his unsettling and disturbing works.<br /> </p> Sun, 26 May 2013 01:02:09 +0000