ArtSlant - Recently added en-us 40 - Museum of Fine Arts, Houston (Beck Building) - August 31st - November 30th <p>Drawn from the permanent collection of the Museum of Fine Arts, Houston,&nbsp;<em>Shadows on the Wall: Cameraless Photography from 1851 to Today</em>&nbsp;presents 50 evocative images created with light and chemistry but without the use of a camera.</p> <p>Made for science or for art, the photographs on view vary in size from a few inches to 25 feet. The images reflect a range of techniques as visually diverse as the movements of art to which they belong&mdash;recording the precise outlines of botanical specimens, the alchemy of the darkroom, or the abstraction of form. Although sometimes simply made, the photographs explore the complex relationship between reality and representation.</p> Mon, 01 Sep 2014 01:21:34 +0000 Group Show - Museum of Fine Arts, Houston (Law Building) - July 3rd - September 14th <p><em>Contemporary Art</em>&nbsp;is the second in a&nbsp;<a href="" target="_blank">series</a>&nbsp;highlighting the Museum&rsquo;s exceptional holdings and showcasing works that are new to Houston audiences. A survey across disciplines, media, and three continents, this exhibition offers a fresh view of artists who have shaped the art of today.</p> <p>Works on display range from signature paintings, sculptures, and videos by Anselm Kiefer, Sigmar Polke, Robert Rauschenberg, Richard Tuttle, Andy Warhol, and Peter&nbsp;Fischli and David Weiss,&nbsp;to recent canvases by Mark Flood, Trenton Doyle Hancock, Byron Kim, and Pat Steir.</p> <p>Major recent acquisitions&mdash;on view for the first time in these galleries&mdash;include Julie Mehretu's<em>Mogamma, A Painting in Four Parts: Part 4</em>, a monumental canvas that addresses the aspirations and chaos of the Arab Spring;&nbsp;<em>Soundsuits,</em>&nbsp;two paired figures by Nick Cave; and Monir Shahroudy Farmanfarmaian's brilliantly reflective&nbsp;<em>Nonagon,</em>&nbsp;which unites Minimalist aesthetics with mirror mosaic techniques from Islamic architecture. Among the other highlights are Andrea Branzi's<em>Prototype for Tree 5,</em>&nbsp;in which nature and structure coexist in a delicate balance; the haunting and mournful&nbsp;<em>A negra</em>&nbsp;by Carmela Gross; Norberto Nicola's&nbsp;<em>Queda II,</em>&nbsp;a richly woven wall relief that unites the geometric principles of his paintings with textures drawn from Pre-Columbian artistic traditions; and&nbsp;<em>Mysteries,</em>&nbsp;a text-based painting by Ed Ruscha that captures the melancholy spirit of film noir and the California landscape at twilight.</p> Mon, 01 Sep 2014 01:17:26 +0000 William Greiner - Morris Museum of Art - August 23rd - November 2nd <p>This exhibition, drawn entirely from the Morris Museum&rsquo;s permanent collection, represents a group of photographs that were shot over a period of just a few days in January 2012 and is accompanied by a fully illustrated catalog. In addition to the Morris, William Greiner is represented in the permanent collections of more than sixty museums around the country, including the Ogden Museum of Southern Art, the Art Institute of Chicago, the J. Paul Getty Museum, and the San Francisco Museum of Modern Art.</p> Mon, 01 Sep 2014 01:07:03 +0000 Elizabeth Dove - Missoula Art Museum - September 23rd - January 31st, 2015 <p>This intimate exhibition of nine works from the&nbsp;<em>Corpus of the Unknowable&nbsp;</em>series was created in 2004 by Elizabeth Dove, Associate Professor of Art at the University of Montana. Dove incorporates text into her graphic works as a way of exploring memory and knowledge. She states, &ldquo;I have been cutting up a dictionary for several years now, letter by letter, and saving the definitions to use in artwork.&nbsp;<em>Corpus of the Unknowable&nbsp;</em>displays about a hundred of these cut-up definitions; each print holding text dust behind a skin-like surface. Selecting dictionary definitions and then cutting them up talks about a perpetual search for meaning, the patient digestion of enormous qualities of information in an effort to understand, the impossibility of stabilizing knowledge&hellip;&rdquo;</p> <p>The works that are made of collage, collagraph, and cut-up dictionaries will be featured in the Goldberg Family Library. They were accessioned into the MAM Collection through a generous gift from the artist. MAM is grateful that direct gifts to the museum&rsquo;s collection from practicing artists helps the MAM Collection grow.</p> Mon, 01 Sep 2014 00:36:00 +0000 Kate Hunt - Missoula Art Museum - September 12th - February 21st, 2015 <p>MAM is thrilled to share this exhibit of work by one of the West&rsquo;s most important and innovative artists: Kate Hunt. Hunt has mastered transforming an everyday material that is usually used once then discarded into a powerful medium. She uses newspaper to create formally and conceptually strong sculptural works of varied shape, thought provoking content, and strange beauty.</p> <p>This exhibition is full of surprises. These recent works are easily recognizable as Hunt&rsquo;s because of her signature method of working with newspaper, for she has long used it as a sculptural medium. These new works, however, include strong formal sensibilities incorporating both the walls and floors. The central work in the exhibition is entitled Floor and incorporates an assembly of more than 30 columns arranged in a repetitive fashion on the floor. The sheer number of pieces in the center of the Carnegie Gallery demands attention. This large sculpture is in reality an installation.</p> <p>Initially, the viewer brings with them a preconceived notion that newspaper should be recycled and is fragile and disposable. But one of the powerful messages manifested by Hunt in this exhibit is the idea that newspaper is strong, durable, and resists decomposition. There is a sense of discovery in uncovering the human energy and ingenuity in the construction of her work.</p> <p>There is an influence of minimalism present in Hunt&rsquo;s work. Minimalism, or what some people refer to as reductivism, is an aesthetic where the artist reduces the expression to the bare essential design elements. Her strong formal sensibilities invite us to explore, and the resulting work speaks to the resilience of what we, at one time, perceived as fragile and come to see as tough. While there is no representational narrative in her work, newspaper becomes a sculptural material; paper assembled in a repetitive fashion becomes durable and powerfully expressive, and the layering in her work mimics nature. We instinctively know that where there is sedimentation there is a record.</p> <p>Hunt is driven by the clarity with which she understands her materials. She is ingenious in marrying skills. She is an artist who brings together the skills of a print shop trimmer, drill press operator, metal fabricator, and construction worker. She paints, draws, and fabricates. She has a very strong drive and direction and knows exactly where she wants to arrive. Included in the exhibition are two drawings of goats, each a companion in her creative journey.</p> <p>While this might seem incongruous, they are included as part of a way to more completely understand and appreciate the artist, her life, and her life&rsquo;s work where all ideas swirl around in the creative process.</p> <p>Today Kate Hunt lives and maintains a studio in Creston, MT. She received a BFA from Kansas City Art Institute and a MFA from Cranbrook Academy of Art, Bloomfield Hills, MI. She has had many solo exhibitions in venues throughout the country, including Portland Art Museum; Nicolaysen Art Museum, Casper, WY; Leedy-Voulkos Art Center, Kansas City, MO; Yellowstone Art</p> <p>Museum, Billings, MT; and in years past MAM. She has been the recipient of a Montana Arts Council Individual Artist Award, and an Adolf and Esther Gottlieb Individual Support Grant. Her work is included in numerous collections, including Seattle Office of Arts and Cultural Affairs,</p> <p>Yellowstone Art Museum, Eiteljorg Museum of American Indians and Western Art, and the Missoula Art Museum.</p> Mon, 01 Sep 2014 00:32:54 +0000 Annette Messager - K21 STÄNDEHAUS - September 27th - March 22nd, 2015 <p>Annette Messager is a key figure on today&rsquo;s international art scene, an artist whose oeuvre prepared the ground for contemporary French art. Nonetheless, her last solo show in a German museum took place almost 25 years ago. Now, this exhibition at the K21&nbsp;provides art lovers with an opportunity to rediscover her. On view will be works dating from the late 1980s to the present. The series Les interdictions en 2014 was produced especially for the exhibition at the K21.</p> <p>The Kunstsammlung Nordrhein-Westfalen purchased the large-scale installation&nbsp;<em>Sous vent</em>&nbsp;(2004&ndash;10) in 2011, thereby augmenting its collection with a major position in contemporary art. Diverse objects including an oversized hand, a foot,&nbsp; bodily organs, and plush animals, all covered by a black silk veil that is set into motion by air streams generated by three fans. In this work, the artist alludes to the forces of nature, but also to the unconscious and to the fears that lurk in the deep layers of the psyche. During the exhibition at the K21, Sous vent will be on view in an installation measuring more than 20 meters in length.</p> <p>During more than 40 years of artistic activity, Annette Messager (born 1943) has developed a highly concentrated visual language. While in the early 1970s, she worked primarily with stuffed birds, embroidery, and collections of images, the spectrum of materials and themes later expanded quickly. Added were photographs, installations with cuddly toys and&nbsp; items of clothing, and beginning in 2001, large mechanical systems as well. Playing a central role for Messager in&nbsp; particular is the human body and its attributes. These are dismembered by the artist, who then twists them together&nbsp; into something new using thread and mesh. Through the accumulation and stringing together of the most delicate elements, Messager generates a visually stunning cosmos.</p> <p>Among Annette Messager&rsquo;s recent works is the striking installation<em>Continents noirs</em>&nbsp;(2010&ndash;12). Like tiny islands, black, crumpled elements hover in the air. The piece is reminiscent of the setting of a science fiction film, but is also evocative of a bleak future. Inspired by Gulliver's Travels, the work&rsquo;s title returns to a statement by Sigmund Freud, who said that&nbsp;&nbsp; female sexuality was like a dark continent that represented an uncharted continent for psychoanalysis. The new work&nbsp;<em>Les interdictions en 2014</em>&nbsp;consists of 68 drawings (a reference to the revolutionary events of May 1968 in Paris) that&nbsp; represent various forms of prohibition from around the world. These range from everyday restrictions such as bans on taking photographs or smoking, all the way to censorious laws based on cultural-political values such as the ban on&nbsp; women driving in Saudi Arabia. Here as well, Annette Messager addresses serious themes, the forces that concern and define people in everyday life, in a poetic and humorous manner.</p> Mon, 01 Sep 2014 00:10:26 +0000 Wael Shawky - K20 GRABBEPLATZ - September 6th - January 4th, 2015 <p>In his first major museum exhibition in Germany Egyptian artist Wael Shawky (*1971) presents his film trilogy&nbsp;<em>Cabaret Crusades</em>, in which marionettes cabaret-like reenact the history of the medieval crusades. Shawky&rsquo;s multiple awarded films explore the ways in which projections and manipulations of the foreign, as well as confrontations with it, actually function. What lies behind the multi-faceted mechanisms of constructing and telling history? While the first two parts of Shawky&rsquo;s&nbsp;<em>Cabaret Crusades</em>&nbsp;will be expansively screened at Grabbehalle from 6 September, the in cooperation with the Kunstsammlung Nordrhein-Westfalen produced third part&nbsp;<em>The Secrets of Karbala</em>&nbsp;will be shot in the same space and premiere at 4 December. Until then Wael Shawky and the Kunstsammlung Nordrhein-Westfalen will transform the&nbsp; exhibition space into a site of art production in an unprecedented way.</p> <p>In<em>&nbsp;Cabaret Crusades</em>, among the much discussed discoveries at Documenta 13, richly detailed and costumed marionettes perform against fantastical backdrops, reenacting the martial events of the eleventh-twelfth centuries in ways that are simultaneously childlike and gruesome. The scenario of the trilogy is based on the book &ldquo;The Crusades Through Arab Eyes&rdquo; (1983), the work of the French-Lebanese author Amin Maalouf (*1949). Shawky mixes together the European perspective, notoriously shaped by fantasy and wishful thinking about the Middle East, with Arab forms of representation. With the historical Crusades, Shawky takes up a theme that seems highly current today, even 1000&nbsp; years later, in light of current and ongoing conflicts in the Middle East. Today as well, the locations featured in the film, among them Aleppo, Damascus, and Baghdad, are theaters of war. Inevitably, these puppets, controlled by strings, and seemingly set in motion by remote control, pose the question: Who really pulls the strings of history?<br /><br />In addition to the Wael Shawky and Slevogt/Klee exhibitions, the theme of Egypt is also the pivotal reference point for the program &ldquo;F3. Approaching an Unknown Future&rdquo; at the Schmela Haus. Scheduled for autumn of 2014 at this venue are numerous events dealing with the Egyptian situation. Inaugurated at the same time is the Curator in Residence Program, which receives support from the Goethe Institute. The initial phase involves three jury-selected curators from Egypt, who will contribute in productive ways during their visits through their own concerns and themes to the events program at the Schmela Haus, with its orientation toward exchange and dialogue. The Egyptian-themed activities&nbsp; planned for the Schmela Haus, the exhibitions&nbsp;<em>To Egypt!</em>&nbsp;and&nbsp;<em>Wael Shawky. Cabaret Crusades</em>, as well as the production of the third part of Shawky&rsquo;s&nbsp;<em>Cabaret Crusades</em>Trilogy under the auspices of the Kunstsammlung Nordrhein-Westfalen, promise to offer a multifaceted perspective of the art, culture, and reality of this land, so steeped in history, whose future is currently being renegotiated.</p> Mon, 01 Sep 2014 00:05:42 +0000 - Denver Art Museum - August 31st - August 27th, 2017 <p>This reinstallation of the Joan &amp; George Anderman Gallery of Oceanic Art offers a glimpse at the variety of creative design and ingenious construction possible through the unique medium of bark cloth (or tapa) used across the Pacific. Techniques and styles for decorating varied from island group to island group.&nbsp;Painted, printed, and beaten patterns decorate supple and sometimes expansive bark cloths. Elaborate masks made with tapa stretch over rigid stick or cane frames.&nbsp;In addition to cloth, in New Guinea, coils of solid bark were used to create belts embellished with intricate carvings of figurative and abstract forms.</p> <p>The new gallery space also features an all new family activity area. Draw inspiration from the work of contemporary Samoan artist, Mary Pritchard. Learn about how tapa is made through photos and videos. And, try your hand at making your own patterns by drawing or using upeti (pattern boards) from American Samoa. &nbsp;</p> Sun, 31 Aug 2014 23:52:31 +0000 Debra Barrera, Nathaniel Donnett, Carrie Marie Schneider - Contemporary Arts Museum Houston - August 23rd - November 30th <div class="section"> <p>With&nbsp;<em>Right Here, Right Now: Houston,</em>&nbsp;the Contemporary Arts Museum Houston showcases artists living in the city and celebrates our region&rsquo;s vibrant creative community. Houston has been a lively breeding ground for artistic innovation for decades now and is increasingly considered a global art center alongside New York, Los Angeles, London, and more recently, Berlin. The Houston of today is a globally networked city where a manageable cost of living and affordable studio space allows innovators to maintain practices at a highly professional level without having to sacrifice international recognition or an excellent quality of life.&nbsp;<em>Right Here, Right Now: Houston&nbsp;</em>is a dynamic portrait of the artistic developments taking shape in studios across this city and features solo presentations of work by Houston-based artists Debra Barrera, Nathaniel Donnett, and Carrie Marie Schneider. It marks the beginning of an occasional and ongoing series through which the museum will investigate localized artistic practices.</p> </div> <div id="continued" class="section"> <p>CAMH&rsquo;s Director Bill Arning, Senior Curator Valerie Cassel Oliver, and Curator Dean Daderko respectively selected Barrera, Donnett, and Schneider. Each artist and curator pair worked together closely from the conception to the installation of the artist&rsquo;s individual project. A complement of public programs will be presented in conjunction with the exhibition. (Please check CAMH&rsquo;s online calendar for a complete listing.)&nbsp;<em>Right Here, Right Now: Houston</em>&nbsp;is the first solo museum exhibition for each of the participating artists.</p> <p>CAMH sees itself as a nexus point for making sure that information on cutting edge culture flows in two directions: into and out of our unique metropolis. Along with CAMH&rsquo;s recent drawing survey of Houston-based artist Trenton Doyle Hancock and an upcoming Perspectives exhibition of work by Robert Hodge, as well as a survey of the work of Mark Flood slated for 2016, this exhibition will bring work by some of Houston&rsquo;s most talented art makers to both area audiences for whom their work may be familiar, as well as act as an introduction to wider audiences outside of the region.</p> <p>About&nbsp;<em>Debra Barrera: Avalon</em><br />In&nbsp;<em>Avalon</em>, Debra Barrera&rsquo;s ongoing exploration of the very human desire for escape is explored in drawing, installation, and objects. In her earliest mature works, she focused on modes of transportation combined with cinema&mdash;both methods of getting outside of or away from one&rsquo;s present circumstances. She identifies far way places real and unreal, accessible and impossible, and provides hints of how we can get there from wherever we are. In this installation, drawings of unlikely escapes, such as the puff of smoke the Wicked Witch used to vanish in the Wizard of Oz, are mixed with motorcycle helmets and taxi lights that all but declare &ldquo;get me out of here.&rdquo; The installation employs the real exits of CAMH using pink and black, respectively, to make the existing emergency exit and trap door appear to promise alternative escape routes. The title&nbsp;<em>Avalon</em>&nbsp;refers to an imaginary place that derives from our shared mythic histories, which when sung by Bryan Ferry in Roxy Music&rsquo;s&nbsp;<em>Avalon</em>, was the perfect location for unreal romance.</p> <p>About&nbsp;<em>Nathaniel Donnett: Nothing to See Hear</em><br />Nathaniel Donnett&rsquo;s&nbsp;<em>Nothing to See Hear</em>&nbsp;is an investigation into how sound and light can create a space of remembrance and meditation. Through the use of minimalist gestures, Donnett has created an immersive environment that integrates light, sound, sculpture, and works on paper that give visibility to the contemporary portrayals of resistance and protest, loss and mourning. Donnett pays homage to the numerous men and women who have died while placing themselves on the front line for justice. His installation functions as a visual eulogy to their sacrifice as well as a conscious and thought provoking call toward social awareness.</p> <p>About&nbsp;<em>Carrie Marie Schneider: Incommensurate Mapping</em><br />For this exhibition, Carrie Marie Schneider has created architectural models of CAMH that stage a variety of conceptual, social, archival, structural, and imagined possibilities for the Museum. Each model builds on CAMH&rsquo;s iconic parallelogram footprint, which opened in 1972 and was designed by Gunnar Birkerts, and considers aspects of CAMH&rsquo;s place within Houston&rsquo;s broader cultural fabric. With their variety of scales, diverse media, and aesthetic sensibilities, these speculative models &ldquo;situate the Museum within webs of broader organizational and intellectual concerns to investigate CAMH&rsquo;s wider cultural function, its place in the city, and the space it provides for art(ists),&rdquo; says Schneider. Her polyphonic display is &ldquo;full of possibilities and informed by survival creativity, good humor, desperate imagination, and the political charge to project a future forward. The models operate in the funky overlap where we envision and build a new world while we still occupy this one.&rdquo;</p> </div> Sun, 31 Aug 2014 23:32:17 +0000 Sharon Feder - Boulder Museum of Contemporary Art - August 28th - November 16th <p>The exhibition features a new body of paintings by Colorado-based artist Sharon Feder. The new paintings stem from Feder&rsquo;s long-standing interest in urban archaeology. This series of work is based on photographs Feder has compiled over the last five years of &ldquo;big-box stores,&rdquo; such as Target and&nbsp;IKEA, and of vacant and empty store signs. The work explores how the ubiquity of such stores in both urban and rural environments across the country negatively impacts society and nature. For Feder, the empty signs signify the spoiling effects of American mass-consumerism, which leaves an overabundance of things to buy and makes it difficult for small, independently owned stores to survive. The surplus of readily purchasable goods and materials has instilled a greed for convenience that in turn generates a &ldquo;throw-away society&rdquo;&mdash;whether it is in the product purchased or the unimaginative architectural planning of retail stores built quickly and carelessly to serve the needs of mass-consumerism.</p> <p>Feder&rsquo;s approach to painting exists between abstraction and representation. She is interested in both the visual and metaphorical geometry and emptiness of the large retail stores and their signs. Her handling of paint and use of color draw our attention from the subject of the work to the formal elements of the painting. One can look at the works and see color, shapes, and paint, rather than or in addition to the representation of a retail store. Obvious visual references to specific stores, parking lots or buildings remind us that Feder paints scenes mired in quotidian detail.</p> <p>Sharon Feder (b. 1957, Denver, Colorado) is a third-generation Denverite who has studied painting intently since early childhood. Feder&rsquo;s work has been exhibited in New York, Los Angeles and extensively in the Denver area. Her paintings and murals are included in a number of national and international corporate, private and public collections.</p> <p>BMoCA at Macky is a series of exhibitions curated by BMoCA and presented in the Andrew J. Macky Gallery in the foyer of the Macky Auditorium Concert Hall at the University of Colorado Boulder. The Macky Gallery is located at the intersection of 17th Street and University Avenue on the CU Boulder campus. Admission to the gallery is free and open to the public Monday&ndash;Friday, 10am&ndash;5pm and to ticketed patrons during Macky Auditorium performances and events.</p> Sun, 31 Aug 2014 23:05:36 +0000 - ARKANSAS ART CENTER-MUSEUM OF ART - August 12th - November 2nd <p>Something primal links human beings with trees. Through the millennia, we have made houses out of boards, eaten fruit and nuts picked from trees, carved art and useful objects from wood, hunted woodland creatures, and sought refuge beneath spreading branches. Villages and forests are equal gathering places of life.</p> <p>Groves, woods, gardens, orchards and urban tree canopies have inspired many contemporary artists, as you will see in the visual forest that has sprung up in the Alice Pratt Brown Atrium. As you make your way through other galleries, you will continue to encounter the myriad ways artists have portrayed trees and human figures throughout the centuries. We encourage you to linger among the trees and consider the many varied connections between us.</p> <p>&nbsp;</p> Sun, 31 Aug 2014 22:46:31 +0000 Lida Abdul, Yael Bartana, Emily Jacir, Isabel Rocamora - Arizona State University Art Museum - September 9th - November 29th <p>Featuring international artists who use film and video to explore the Middle Eastern desert as a site charged with meaning, this exhibition explores zones of conflict, including the Israel-Palestine border and Afghanistan, and the shifting personal, political and geographical landscapes of the Middle East. Artists include: Lida Abdul (Afghanistan), Yael Bartana (Germany/Israel), Emily Jacir (Palestine/New York) and Isabel Rocamora (Spain/U.K.).</p> Sun, 31 Aug 2014 22:39:24 +0000 - Arizona State University Art Museum - August 9th - November 8th <p>Inspired by the essays of American transcendentalists Henry David Thoreau and Ralph Waldo Emerson, this exhibition explores the value of seclusion and self-reflection. The works, which range in date and medium, consider both the pain and pleasure of isolation, ultimately posing the question: At what point does solitude cease to be a refuge from society?</p> Sun, 31 Aug 2014 22:33:06 +0000 - ISTANBUL MUSEUM OF MODERN ART - September 25th - December 31st <p>Within the scope of its 10th&nbsp;year, Istanbul Modern is preparing an exhibition in honor of the 100th&nbsp;anniversary of Turkish film: &ldquo;One Hundred Years of Love&rdquo;. A first in Turkey, this research exhibition covers this century-old adventure of film in Turkey starting from 1914, considered to mark the birth of the history of cinema in Turkey. The exhibition features moments of encounter between film and audience and the amazing collective and individual worlds created by this encounter. Compiling visual and written representations of film such as posters, photographs, box office reports, gala invitations, newspaper clippings and advertisements, lobby cards, and autographed photos of stars, the exhibition aims to render visible the memory of a history whose sources have been poorly preserved and has been kept alive only by personal efforts.</p> <p>&ldquo;One Hundred Years of Love&rdquo; begins by treating of the audience&rsquo;s most concrete relationship with cinema, in other words, cinema spaces. Emphasizing that movie theaters are &ldquo;temples of audience&rdquo;, the exhibition offers a presentation ranging from the first movie houses in Turkey to today&rsquo;s festival halls. Elements connecting the audience with films and the cinema also constitute a major part of the exhibition: Newspaper advertisements, programs and flyers, brochures, magazines, and posters about films distributed by movie theaters. Another important section in the exhibition features scenes from close to 50 Turkish films showing spectators and auditoriums.</p> <p>For the exhibition, a comprehensive catalogue for the exhibition will be published. The catalogue will feature articles focusing on the relationship between film and audience, along with various archival visual material.</p> Sun, 31 Aug 2014 22:27:07 +0000 Tristan Perich, Zarouhie Abdalian, [The User] - David Winton Bell Gallery - August 30th - October 12th <p><em>Audible Spaces</em>&nbsp;presents three sound installations that encourage participants to explore the subtleties of listening.&nbsp;<strong>Tristan Perich</strong>,&nbsp;<strong>Zarouhie Abdalian</strong>, and&nbsp;<strong>[The User]</strong>&nbsp;have each created immersive environments using seemingly uniform sounds that dissolve into tonal, tactile, and temporal variations as participants engage with them. Perich&rsquo;s&nbsp;<em>Microtonal Wall</em>(2011), on view in the Cohen Gallery at the Granoff Center, demonstrates the extraordinary complexity that can be generated using only the most basic electronic tools. Drone like from a distance, this 25 ft long sound&nbsp;field of 1-bit noise dissolves into 1500 unique frequencies. Abdalian&rsquo;s&nbsp;<em>In Unison</em>&nbsp;(2014) draws attention to each individual&rsquo;s singularly embodied experience of listening. Eight parametric speakers embedded in the Bell Gallery&rsquo;s ceiling project sonic avenues of the same frequency that disrupt binaural hearing as they reverberate throughout. Twelve glass vessels, each filled with enough water to produce the same tone, also populate the gallery. In their conspicuous silence they make visible the horizon of sound, as each participant explores her own phenomenological limits.&nbsp; Finally, [The User]&rsquo;s<em>Coincidence Engine One: Universal People&rsquo;s Republic Time</em>&nbsp;(2008) makes the entropy of time audible. This amphitheater-like space filled with thousands of ticking clocks provokes questions about homogeny, loss, and the spaces of public address. Unified by a shared economy of means, all three projects prompt participants to consider the dynamic relationship between sound, space, and personal subjectivity, while addressing a distinct set of historical, social, and sonic concerns.</p> <p>Sound artist and theorist Brandon Labelle argues that &ldquo;sound is intrinsically and unignorably relational: it emanates, propagates, communicates, vibrates, and agitates; it leaves a body and enters others; it binds and unhinges, harmonizes and traumatizes; it sends the body moving, the mind dreaming, the air oscillating.&rdquo;<a href="" rel="nofollow">[1]</a>&nbsp;This notion has permeated sound art since its inception and has driven artists to continually explore both the formal properties of singular sounds, and the conditional nature of listening. In the 1960s, minimal musicians in particular took up this cause. They developed radically simplified compositional structures to experiment with the spatial and temporal apperception of sound, in the hopes of expanding the horizons of aesthetic experience. Drawing on their critical strategies, the artists in&nbsp;<em>Audible Spaces</em>&nbsp;use monotony, seriality and repetition&mdash;both visually and sonically&mdash;as they consider both&nbsp;<em>what</em>&nbsp;and&nbsp;<em>how</em>&nbsp;we hear.</p> <p>&nbsp;</p> Sun, 31 Aug 2014 22:06:30 +0000 - РОСФОТО (Rosphoto) - September 5th - October 12th <p>The 100th Anniversary of World War I is to be marked in 2014. That global war was one of the deadliest conflicts in history, which shook humanity to its core and paved the way for major political changes and tragic events of the 20th century.</p> <p>The State Museum and Exhibition Center ROSPHOTO presents a unique exhibition project On Both Sides, which gives an opportunity to look at the events of WWI from a point of view of two participants of the conflict &ndash; a Russian and German gunner officers. The display features the rare and unique photographs from wartime photo albums from ROSPHOTO&rsquo;s collection.</p> <p>Alas, World War I is not a well-explored theme for the Russians, we know little about its heroes and military operations. No sooner had the war finished than the Revolution and the Civil War broke out. The First World War I was treated as an imperialistic conflict by the Soviet power and thus, they did their best to wipe it from memory: no books were written, no films were made to pay tribute to fallen heroes and victims of war. All that remained were archival documents and photographs.</p> <p>The exhibition On Both Sides not only reconstructs the dramatic events of WWI, but also makes the viewers feel spiritual connection with Russia that we have lost.&nbsp;</p> <p>The guests to the display will see the amateur photographs from the album of Platon Alekseyev (1882&ndash;1952), a staff captain of the 1st Life Guard Artillery Brigade, covering his life on the frontline from the first days of war to the February revolution of 1917.</p> <p>The featured album represents a record of all events that Platon Alekseyev witnessed during wartime: combat actions and redeployments, the killed and wounded, prisoners of war, burials of comrades-in-arms, decoration ceremonies and prayer services, holidays and everyday life of soldiers and officers, battlefield brotherhood.&nbsp;<br /><br />The second part of the exhibition is dedicated to the photo album depicting the life of the officers of the German Army. Those pictures were taken from &ldquo;the other side of the frontline&rdquo; by Karl Johannes Konrad Strauss, a lieutenant of the 2nd Bavarian Regiment of Field Artillery.</p> <p>One can see both albums in digital form at the exhibition. Besides, they have prepared a special project &ldquo;On the Eve of&hellip;,&rdquo; covering the life of the Russian Empire in 1913 on the eve of WWI.</p> Sun, 31 Aug 2014 00:38:35 +0000