ArtSlant - Recently added en-us 40 Tony Cragg - Lisson Gallery - May 29th - July 18th <p style="text-align: justify;">Tony Cragg&rsquo;s first exhibition at the Lisson Gallery Milan consists of several new sculptures in bronze, wood and stone. Alongside these are a number of works on paper. The upright sculptures in the gallery are the result of complex internal formal constructions and geometries that give rise to outer forms that we can recognise, have associations with and give names to. Cragg&rsquo;s complex polymorphic sculptures reveal aspects of the relationship between the rational internal dynamic of materials and our subjective response to material forms. For Cragg this is not only the essence of all sculpture, but of all our experiences in the world as well. His work is full of movement, growth, dynamism and a sense of wonder at the seemingly unlimited possibilities of sculptural form.</p> <p style="text-align: justify;">Cragg exhibits two larger bronze and marble works &ndash;&nbsp;<em>Over the Earth</em>&nbsp;and<em>First Person,&nbsp;</em>the latter outside the gallery. In these works, Cragg looks not only to nature and the forces of energy found in the organic world, but he also references an enhanced and extruded reality as experienced through technology and the multiple perspectives afforded to us by the pace and prisms of modern life.</p> <p style="text-align: justify;">Several of the works at Lisson Gallery Milan have close corollaries with seven of Cragg&rsquo;s sculptures being exhibited concurrently at the Duomo di Milano (as part of the Milan Expo, until 31 October). The centrepiece of his collaboration with the Duomo is a work in the Duomo entitled<em>Paradosso&nbsp;</em>(<em>Paradox</em>), seemingly inspired by the golden statue of the Madonnina (Little Madonna), which sits atop the uppermost spire, traditionally marking Milan&rsquo;s highest point. Cragg&rsquo;s exhibition on the roof terraces of the Duomo presents a further six monumental sculptures, that jostle with the static gothic architecture and the Milanese skyline.</p> <p style="text-align: justify;">The reference to the Madonnina&rsquo;s majestic, skywards gesture is obliquely mirrored at the gallery by a two-metre bronze entitled&nbsp;<em>After We&rsquo;ve Gone</em>(2015), a similarly torqued object suggesting bodily movement.&nbsp;The artist&rsquo;s own physical being expressed in his drawings are the starting point for his three-dimensional practice and contain something of the genesis for each radically rotational form, perhaps revealing how the germ of an idea, an unseen energy, or an observation from life can be brought into matter and eventually into complex, confounding objecthood.</p> Fri, 29 May 2015 09:21:49 +0000 - Seattle Asian Art Museum - December 20th, 2014 - June 21st <div class="sam-event-description" style="margin-top: 15px;"> <p style="text-align: justify;"><em>Indo-Persian Art at the Crossroads</em> presents works from SAM's collection of art that illustrates continuities between Indian and Persian painting while highlighting the subcontinent&rsquo;s place as a cultural crossroads between Europe and Asia. From the 11th century onward, northern India was ruled by a number of Muslim sultanates, culminating in the establishment of the Mughal dynasty in 1526, the most dominant Islamic empire in the history of the subcontinent.</p> <p style="text-align: justify;">During India&rsquo;s various periods of Muslim rule, the Persian language&mdash;and its associated literary classics&mdash;served as a cultural bridge with Islamic courts to the west. Book painting in Iran and Central Asia influenced production in India, and portable works of art&mdash;objects, calligraphies, paintings&mdash;circulated widely and created shared patterns of taste and cosmopolitanism from Shiraz to Delhi. While cultivating cultural exchange with one another, Persian and Indian courts simultaneously looked further east and west for artistic resources and inspiration. The arts of ceramics and jade developed in tandem with Chinese traditions, while European prints, paintings, and jewelry stimulated new techniques and motifs.</p> </div> Thu, 28 May 2015 18:09:06 +0000 Hon'ami Koetsu, Mark Tobey, Xu Bing - Seattle Asian Art Museum - May 9th - October 4th <div class="sam-event-description" style="margin-top: 15px;"> <p style="text-align: justify;">Nearly a thousand years of the history of calligraphy&mdash;from the 11th century to the present day&mdash;can be experienced in this exhibition. In East Asia, calligraphy has long been treasured as a form of art. Even without knowing the meaning of the words, calligraphy continues to be admired for its beauty&mdash;the compositional structure and flow of lines.</p> <p style="text-align: justify;">With representative works ranging from Islamic to archaic Chinese style, to contemporary artist Xu Bing&rsquo;s invented writing system, and the Pacific Northwest artist Mark Tobey&rsquo;s calligraphy-inspired work, the first group introduces an overview, conveying that calligraphy can be appreciated as abstract art across cultures.</p> <p style="text-align: justify;">The striking juxtaposition of two primary categories of Japanese calligraphy&mdash;<em>kana </em> and <em> kanji</em>&mdash;is featured in the second and third groups. The elegance of<em> kana </em> calligraphy often lies in its line, flow, and rhythm; whereas <em> kanji </em> calligraphy, akin to its Chinese counterpart, emphasizes the overall composition in addition to each individual line.</p> </div> <p style="text-align: justify;">The exhibition is organized by the Seattle Art Museum.</p> Thu, 28 May 2015 18:05:36 +0000 Amy Guidry, Group Exhibition - LeMieux Galleries - June 6th - July 25th <p>Group exhibition of works reflecting the ideas of rebirth, transformation, life and death, infinity, and impermanence.<br /> <br /> Opening reception:<br /> June 6th, 6-9pm (in conjunction with Artwalk)<br /> <br /> June 6- July 25, 2015</p> Thu, 28 May 2015 15:43:33 +0000 Leigh Anne Lester and Abelardo López - Ruiz-Healy Art - June 11th - August 1st <p><br />Ruiz-Healy Art is pleased to present Infinite Horizons featuring recent works by Abelardo L&oacute;pez &amp; Leigh Anne Lester. Infinite Horizons highlights both pillars of the gallery program (Latin American and Texas connected artists) and showcases what RHA does best, juxtaposing the artistic hemispheres of its niche. Furthermore, the exhibition takes a micro/macro view of the natural environment by contrasting two artists whose artistic outputs are both immersed in nature</p> <p>The expansive landscapes of Abelardo L&oacute;pez echo the title of the exhibition, presenting eternal vistas of fields, mountain, and sky that imagine infinite, ordered realms of pastoral serenity. Leigh Anne Lester&rsquo;s intricate floral fantasies beguile with a contrasting vision: incredible multi-species hybrids rendered with a delicate hand, their delightful effulgence belying the warning of genetic engineering mishaps or possible effects of environmental degradation.</p> <p>From Oaxaca, Mexico, Abelardo L&oacute;pez portrays the cultivated valley of his native land in rich impasto that sculpts the surface of his canvases, adding an immediate, tactile element to scenes that hover in the middle to far distance. Depicted without traces of human habitation or figures, these idealized landscapes are yet imbued with human presence. Oaxaca maintains a rich agricultural tradition that has extended from centuries before European contact. L&oacute;pez revels in presenting the balance between nature and man that has resulted from countless seasons of plantings, capturing often in his depictions the lush months before harvest.</p> <p>In the lower third of his paintings, thick passages of crosshatched greens and yellows reveal ordered rows of crops or dense fields of grasslands that march towards a central horizontal band--the Sierra Madres that surround the Valley of Oaxaca and demarcate the horizon of the composition. Spaced in rhythmic pulses, a line of trees or bushes may dot below the mountains and sky above like a low flying flight of birds or patterned frieze.</p> <p>By portraying aspects of both the physical and cultural geography of Southern Mexico, L&oacute;pez defines himself as a uniquely Oaxacan painter, picturing the valley as a harmoniously inhabited place.</p> <p>Based in San Antonio, Texas, Leigh Anne Lester combines bits and pieces of wildly divergent species grafted together, the results of genetic modification plans. Utilizing historical botanical drawings as source images, Lester makes delicate graphite drawings on Mylar, layering the film to create composite images, to which she adds additional layers of cells blocked in colored pencil to symbolize the manipulated genome of the plant. Mixing a blown-up view of the microscopic with the naturalistic botanicals, the result runs L&oacute;pez&rsquo;s evocation of infinite distance in reverse.</p> <p>Also contrasting with L&oacute;pez is Lester&rsquo;s use of transparencies and line rather than densely saturated paintings. Instead of broad panoramas, Lester offers organic clusters that float in space, untethered to earth and unbounded by horizon. She explores flora at the cellular level, investigating genetic modifications and often times creating her own species of botanical beings. Her artworks provide the viewer with a glimpse into the plant&rsquo;s genesis and inner morphological struggles, an intimate point of view normally only experienced by their creator.</p> <p>Abelardo L&oacute;pez&rsquo;s work is in the permanent collections of public institutions in Mexico City, including Acervo Patrimonial de la Secretaria de Hacienda y Cr&eacute;dito P&uacute;blico, Centro M&eacute;dico ABC Campus Santa Fe, and Academia Mexicana de la Lengua. He has exhibited at Centro de Cultura Casa Lamm, Mexico City; Museum of Latin American Art, Long Beach, CA; Museo de Arte Contempor&aacute;neo de Oaxaca, Oaxaca, Mexico; Centro Cultural Galileo, Madrid, Spain, and other venues internationally.</p> <p>Leigh Anne Lester is the winner of the 2011 Hunting Art Prize and recipient of a Visual Art Award from the Artist Foundation of San Antonio. Her work is in numerous collections, including Pennsylvania Academy of Fine Arts, University of Texas in San Antonio, and The Woman&rsquo;s Hospital of Texas, Houston. Her work has been shown at the McNay Art Museum, San Antonio; Artpace, San Antonio; Museo Guadalupe, San Antonio; Galveston Center of Art</p> Wed, 27 May 2015 18:57:11 +0000 Group Show - MONA - Museum of New Art - May 8th - June 5th <div class="doc-content fixedWidthForIE "> <div id="past-event-content" class="event-section clearfix"> <div id="past-event-description-wrap" class="line margin-bottom"> <p>The Selfie Show: An Art Exhibition of Self-Portraits:&nbsp;</p> <p>Self-portraiture has been a staple of artistic practice for centuries.&nbsp; But &hellip; Is the selfie a new and legitimate art form?&nbsp;Has the selfie set itself apart from the self-portrait, ushering in a new style of artistic representation?</p> <p>The reality of our personal identity is that it is not only fluid but also self-assigned. As individuals in the Digital Age, we have more control of the construction of our own identity than ever.</p> <p>Website:&nbsp;<a href="" rel="nofollow"></a>&nbsp;</p> </div> </div> </div> <div id="event-comments-section" class="doc-content talk memberinfo-widget-root" data-original-title="">&nbsp;</div> Mon, 25 May 2015 05:49:51 +0000 Doug Aitken - Schirn Kunsthalle Frankfurt - July 9th - September 27th <p style="text-align: justify;">Civilization raises hopes &ndash; civilization is terrifying. These feelings are palpable in the inimitable works of art by the American artist Doug Aitken. His spectacular film and sound works take visitors on a synaesthetic journey around the world and into themselves &ndash; in an irresistible maelstrom of expressive images and rhythmic landscapes. With four expansive film installations and correlating sculptures as well as a site-specific sound installation, the exhibition will present an overview of the internationally renowned artist&rsquo;s heterogeneous oeuvre throughout the entire exhibition area of the SCHIRN &ndash; and beyond. Aitken&rsquo;s kaleidoscopic universe revolves around life&rsquo;s existential questions, yet it does not supply any simple answers. Instead, the artist lends expression to an almost na&iuml;ve fascination with being human and people&rsquo;s sense of collectivity and cooperation. Consequently, the recent projects by the Los Angeles-based artist have redefined the exhibition format and gained him worldwide attention, for instance through the illumination of the exterior walls of museums, like at the National Mall in Washington, D.C., or through an elaborately staged happening with the participation of various artists on the Station to Station train journey from New York to San Francisco lasting several weeks.&nbsp;</p> <hr /> <p style="text-align: justify;">Zivilisation macht Hoffnung &ndash; Zivilisation macht Angst. Diese Gef&uuml;hle sind in den einzigartigen Kunstwerken des US-Amerikaners Doug Aitken sp&uuml;rbar. Seine spektakul&auml;ren Film- und Soundarbeiten nehmen die Besucher mit auf eine syn&auml;sthetische Reise um die Welt und zu sich selbst &ndash; in einem unwiderstehlichen Sog aus ausdrucksstarken Bildern und rhythmisierten Landschaften. Mit raumf&uuml;llenden Filminstallationen und korrelierenden Skulpturen sowie einer ortsspezifischen Soundinstallation wird die Ausstellung das vielf&auml;ltige Werk des international bekannten K&uuml;nstlers auf der kompletten Ausstellungsfl&auml;che der SCHIRN &ndash; und dar&uuml;ber hinaus &ndash; im &Uuml;berblick vorstellen. Aitkens kaleidoskopisches Universum dreht sich um die existenziellen Fragen des Lebens, liefert jedoch keine einfachen Antworten. Stattdessen bringt der K&uuml;nstler eine fast naive Faszination f&uuml;r das Menschsein und ein gemeinschaftliches Wesen und Zusammenwirken zum Ausdruck. Folgerichtig haben die j&uuml;ngsten Projekte des in Los Angeles beheimateten K&uuml;nstlers die Form des Ausstellens neu formuliert und weltweite Aufmerksamkeit erlangt, etwa durch die Illuminierung der Au&szlig;enfassaden von Museen, wie auf der National Mall in Washington D.C., oder durch ein aufwendig inszeniertes Happening verschiedener K&uuml;nstler auf einer mehrw&ouml;chigen &bdquo;Station to Station&ldquo;-Zugreise von New York nach San Francisco.</p> <p>&nbsp;</p> Sun, 24 May 2015 17:13:17 +0000 Carrie M. Becker - William Shearburn Gallery - June 5th - July 11th <p style="text-align: justify;">William Shearburn Gallery&nbsp;is pleased to present <em>Of Small Rooms</em>, a solo exhibition of recent work by Carrie M. Becker. This will be the artist's first show with the Gallery. Combining her talents as a photographer and sculptor, Becker&rsquo;s practice involves creating 1:6 scale handcrafted dioramas of domestic interiors, which are then photographed to appear life-size. Becker's large-scale photographs suggest interiors of neglected buildings. "But I am not an urban explorer of abandoned buildings, " she says. Instead, she creates the walls, floors, ceilings and props for cardboard dioramas that fit on a tabletop in her &nbsp;studio. She then scales, lights and photographs to create an illusion of buildings in beautiful decay. The predilection for creating tiny details may seem like an odd or maddening hobby to some, but the artist&rsquo;s end goal is to create a universe that she alone has jurisdiction over. The finished scenes are complete products of her own undertaking, and therefore reflect a more complete personal point of view. &nbsp;</p> <p style="text-align: justify;">The exhibition will open with a reception for the artist on Friday, June 5, 6 - 8 pm and will continue through July 11, 2015&nbsp;</p> Sun, 24 May 2015 17:01:15 +0000