ArtSlant - Closing soon http://www.artslant.com/ew/Events/show en-us 40 Rob Pruitt - Contemporary Arts Museum Houston - October 8th, 2012 - April 30th, 2013 <div class="section"> <p>The Contemporary Arts Museum Houston is pleased to present <em style="background-color: #ffffff; line-height: 1.5em;">The Andy Monument</em>, October 2012 – April 2013, on the Museum’s front lawn at the corner of Bissonnet and Montrose in the heart of the Houston Museum District. Inspired by Andy Warhol’s art and life, New York-based artist Rob Pruitt created the seven-foot tall sculpture as a tribute to the late Pop artist. The ribbon cutting ceremony formally welcoming <em style="background-color: #ffffff; line-height: 1.5em;">The Andy Monument</em> to Houston will take place on Saturday, October 20, 6-8PM, with special guest Lynn Wyatt performing the honors.</p> </div> <div class="section" id="continued"> <p>“We are thrilled to bring Rob Pruitt’s <em style="line-height: 1.5em;">Andy Monument</em> to Houston. This piece graced the spot outside of the old Warhol Factory in Union Square in NY, and it was so popular with area residents that its tenure there was extended twice. It is a piece that makes people first curious and then happy. Even as a young teenager I found in the persona of Andy Warhol license to be the person I wanted to be, and I think that experience is common for many people who learned to love art via Warhol. They will now have a suitable pilgrimage site in Houston,” says Director Bill Arning.</p> <p>Pruitt’s sculpture adapts and transforms the familiar tradition of classical statuary. The figure is based on a combination of digital scanning of a live model and hand sculpting, its surface finished in chrome, mounted atop a concrete pedestal. Andy Warhol (1928-1987) was an American artist and is considered the quintessential Pop artist, celebrating fame, wealth, and glamour and in so doing changing the course of both popular culture and art history—inspiring most artists who have risen to fame in the past 30 years in significant ways. In his larger than life persona Warhol remains one of New York's enduring icons. Today his iconic images of the Campbell Soup can, Elvis, or Warhol are so ubiquitous to appear safe but it’s not hard to remember how strange and downright dangerous these were when they were first hung in museums. Pruitt’s sculpture depicts Warhol as a ghostly, silver presence: a potent cultural force as both artist and self-created myth.</p> <p>Warhol spent some time in Houston in the 1960s and ’70s when John and Dominique de Menil brought him to town replete with his superstars in tow. He became a confidant of the de Menils and found a number of portrait commissions here, including Mrs. de Menil, Caroline Wiess Law, and Lynn Wyatt. In Houston, people can view works by Warhol at both The Museum of Fine Arts, Houston, and The Menil Collection, which has major holdings of his work, including iconic paintings such as <em style="line-height: 1.5em;">Lavender Disaster </em>(1973) (from the Electric Chair series, currently on view) and of the Campbell’s Soup can.</p> <p><em style="line-height: 1.5em;">The Andy Monument </em>was organized by Public Art Fund and was originally on view in Union Square, New York, March 30, 2011 – September 4, 2012; the exhibition was curated by Nicholas Baume, Director and Chief Curator of the Public Art Fund. “Inspired by Warhol and his story, Rob moved to New York as a young man and even met Warhol when he visited the ‘Factory’ to interview for a job. Rob’s memory of the artist that day formed the vision for this sculpture, and I think that personal connection will resonate with many who come to visit, just as it does with me,” said Baume.</p> <p>CAMH was able to raise part of the funds necessary to bring the sculpture to Houston through online crowd-funding campaign launched on indiegogo.com, which received both local and national press.</p> <p><strong style="line-height: 1.5em;">ABOUT ROB PRUITT</strong></p> <p>Rob Pruitt’s work is rooted in a pop sensibility and a playful critique of art world structures. His conceptual projects have included performance-based artworks like his recent <em>Art Awards</em> that were presented at the Solomon R. Guggenheim Museum (2009 and 2010) and modeled after Hollywood awards ceremonies, as well as simple gestures that promote possibilities for creativity in everyday life, as demonstrated in the series <em>101 Art Ideas You Can Do Yourself </em>(2001). His work is always characterized by an incisive humor and exuberant visual flair. Pruitt lives and works in New York City.</p> </div> Sun, 17 Feb 2013 23:28:30 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Flo Peters Gallery - April 10th, 2013 - April 30th, 2013 <p>Eine ungewöhnliche Idee stieß auf ungewöhnliche Resonanz: TALENT ! ALERT - diesen Aufruf startete die Galerie und forderte damit noch unbekannte Nachwuchs-Fotokünstler auf, ihre Arbeiten einzusenden. Innerhalb weniger Tage erreichten die Galerie fast 200 Einsendungen. Aus ihnen wurden 15 ausgewählt, um ihre Werke bis zum 30. April 2013 in der Galerie auszustellen. Zu sehen sind über 60 Arbeiten aller Genres.</p> Sun, 21 Apr 2013 22:34:10 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Galeria Fernando Pradilla - February 8th, 2013 - April 30th, 2013 <p>El proyecto de <strong>Javier Díaz-Guardiola</strong> analiza cómo un nutrido grupo de creadores actuales son testigos de las desviaciones que ofrecen los medios de masas en el ejercicio de su actividad comunicativa. Son jóvenes artistas que trabajan con los contenidos de los media, y que en muchas ocasiones los utilizan como soporte de sus propios trabajos y reflexiones. “Matar al mensajero…” está integrada por doce artistas que presentan propuestas plásticas muy diversas.</p> <p><strong>Carlos Aires</strong> <em>(Ronda, 1974)</em> exhibe un conjunto de 16 fotografías intervenidas con incisiones de oro, pertenecientes a la serie Long Play. El artista se introduce en los grandes archivos, en este caso los de ABC, la Biblioteca Nacional y el Fotomuseum de Amberes, recopilando imágenes asociadas a un concepto determinado. Es una nota característica de estos trabajos la introducción de letras doradas, de cierta caligrafía gótica, que hacen referencias a títulos de famosas canciones pop.</p> <p><strong>Ignacio Bautista</strong> <em>(Madrid, 1982)</em> utiliza el papel periódico como soporte y sobre él dispone una doble página original de un diario, no importa su ideología. A su lado, la misma doble, es intervenida por el artista, mediante el uso de barras y lápices de pastel sobre el original. En ellas, los representantes políticos y jefes de Estado que ilustraban las informaciones se desvanecen, de forma que las apariencias de los valores que representan se ocultan y, al tiempo, se revela el poder oculto, invisible de la imagen en nuestros medios de comunicación. Una vez que los políticos desparecen, solo quedan los decorados de sus representaciones, verdaderos escenarios del poder, ahora atrezo manierista y retórico.</p> <p><strong>Alejandro Bombín</strong><em> (Madrid, 1985)</em> reproduce al milímetro, sobre lienzo o papel, algunas imágenes extraídas de medios impresos, periódicos y revistas. Para ello, va acotando sus partes, cubriendo el resto, y reproduciendo poco a poco lo que queda al descubierto. El resultado final, como en el caso de trabajos como Cierre u ¡Oiga, mire! (2012), intenta ser lo más fiel posible al original, pero la imposibilidad de haber realizado la labor de forma global, sino por fragmentos, da como resultado imperfecciones, fronteras borrosas, piezas que no casan… Una especie de escaneado de naturaleza física pero realmente mental. Porque a Bombín le interesa el concepto de desobjetualización de la información, la desaparición de los formatos impresos y cómo buena parte de nuestra memoria aún está albergada en un formato analógico. La pintura inmóvil intenta atrapar cierto movimiento.</p> <p><strong>Salvador Díaz</strong> <em>(México, 1977)</em> también se sirve de las páginas de los periódicos para intervenirlas, con capas y capas de pintura. Sus intervenciones eliminan fragmentos de texto, subrayan determinados iconos, complementan la información, la resaltan, dan su lectura personal… El resultado final es una expresiva malla de elementos y mensajes en las que se solapan las referencias, se cruzan los motivos, se reafirman o se contradicen. Son las noticias de la noticia. Nuevos titulares. Nuevos puntos de vista, basados en la potencialidad de la pintura, que una vez más se defiende de las acusaciones de estatismo.</p> <p><strong>Juanma Carrillo</strong> <em>(Logroño, 1978)</em> y <strong>Félix Fernández</strong> <em>(Lugo, 1977)</em> presentan un proyecto colectivo: el vídeo This Leak, con la colaboración del músico Rubeck. La pieza audiovisual nació pensada como videoclip, desarrollada por un creador como es Carrillo que navega entre las aguas del vídeo y el cine, y por el artista y performer <strong>Félix Fernández</strong>, que amplifica las posibilidades plásticas de la imagen en movimiento. La obra sitúa a su protagonista, un broker que trabaja en Wall Street en la ciudad de Nueva York, inmerso en la maraña de relaciones impuestas por el sistema capitalista y afectado por sus decisiones, que difícilmente puede controlar. Las noticias extractadas de los diferentes medios de comunicación audiovisuales norteamericanos (que oímos de fondo) se convierten en una especie de banda sonora que termina martilleando su conciencia. Es así como el vídeo nos conecta con una energía de cambio y un proceso catártico personal, que confirma que ninguna noticia nos es ajena.</p> <p><strong>Daniel Martín</strong> <em>Corona (Madrid, 1980)</em> exhibe nuevos dibujos a lápiz de su serie 3-2-1. El artista se centra en la realidad que pretenden vender los medios audiovisuales. Para ello, toma los telediarios de las más destacadas cadenas nacionales e internacionales y las reduce a sus líneas maestras en función de cuatro parámetros: logo, sintonía de cabecera, infografía empleada y la mesa sobre la que trabajan los presentadores. El resultado es una especie de universo futurista, más virtual que real, de unos medios que se esfuerzan por hacernos creer estar lo más cerca posible de “la verdad” y del “mundo real”. Esos mismos escenarios son intercambiables (lo mismo da llamarlos RTVE o BBC), dado que lo que menos importa es la información con la que “se rellenan”. Con sus obras en papel, Corona los reduce a sus esencias en pocas líneas, tan frágiles como manipulables.</p> <p><strong>Carlos Salazar Arenas</strong> <em>(Bogotá, 1973)</em> presenta obras en las que la intención va más allá de lo meramente documental, proponiendo una mirada crítica e irónica de la realidad circundante. Valiéndose de las portadas de diferentes periódicos internacionales presenta su serie de papeles de “Primera plana” que dejan de lado el poder de los grandes titulares, para obligarnos a reparar en la fuerza de la imagen, irreal por descontextualizada. Real por manipulada.<br /> Miguel Soler (Sevilla, 1975) presenta una animación visual conformada por un cubo suspendido en el espacio que va rotando, y en cada una de sus caras nos muestra el logo de un medio de comunicación: radio, televisión, prensa, agencias de noticias… Son más de un centenar. Cada uno es diferente del anterior. Cada uno nos ofrece el poder de su marca y la idea de ser el único que nos entregará la verdad absoluta. Pero, en esa danza enigmática, todos nos terminan pareciendo iguales.</p> <p>Los dibujos recientes de la serie “Cada día en superficie es un día bueno”, de la francesa Françoise Vanneraud (Nantes, 1984) estén llenos de blancos, de vacíos, de información ausente. Vanneraud reproduce las portadas de los grandes diarios internacionales, pero solo copia en blanco y negro, aquellas noticias con un sentido positivo. Fuera quedan catástrofes, crímenes, casos de corrupción… Pero se nos congela en cierta manera la mirada al comprobar cómo gran parte de estas informaciones están relacionadas con la frivolidad, con la cultura como comparsa; en definitiva, con lo superfluo.</p> <p><strong>Diego Vallejo</strong> <em>(Salamanca, 1986)</em> rescata imágenes de los medios a las que dota de una segunda oportunidad. Las obras de su serie “Incidentes” surgen como evidencias visuales de paisajes en los que, omitiendo los textos de la noticia en las que tienen su origen, su contexto se torna en un lugar de sucesos. La imagen, que pasó a ser una representación a partir de la toma fotográfica con intención periodística, queda así de nuevo representada y rescatada de su intencionalidad primera para mostrar las alteraciones visuales de la instantánea en la prensa.</p> <p><strong>Roberto Villalón</strong> <em>(Ermua, 1973)</em> analiza de forma irónica los excesos del mundo de arte. Su cámara recorre algunas inauguraciones expositivas recientes para conformar un mosaico de cierta “fauna” que pulula por esos actos sociales y los chispazos de irrealidad que en ellos se suceden.Gente que transforma toda esta parafernalia, a veces caduca en sus formas, en su propio medio. Un medio que, como los de masas, debe ser analizado.</p> <p><strong>Martín Vitaliti</strong> <em>(Buenos Aires, 1978)</em> entiende el conjunto de viñetas como si de un mapa –a veces mental– se tratara, donde la historieta dota de desarrollo espacial al tiempo, formalizándolo esquemáticamente y seriándolo. Nuevos ecosistemas para personajes tan conocidos como El Capitán Trueno, Asterix o Los Cuatro Fantásticos. La capacidad narrativa del formato se reconstruye y se amplía.</p> <p><strong>Febrero 2013</strong></p> Sat, 23 Mar 2013 04:12:22 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Chakaia Booker - Georgia Museum of Art - April 30th, 2012 - April 30th, 2013 <p>Referred to as a "radial radical," the African American contemporary artist Chakaia Booker used tires as her primary material in constructing these large-scale sculptures on loan from Marlborough Gallery, Chelsea, N.Y. Spiky, dark, imposing and beautiful, these works interact with the museum's peaceful, minimalist sculpture garden in new ways. Booker, who received her MFA from the City College of New York, has work in the collections of the Metropolitan Museum of Art, the Studio Museum in Harlem and the National Aeronautics and Space Administration (NASA), among many others. She also designs clothing and accessories from rubber and creates headpieces from unconventional materials.</p> Sat, 02 Jun 2012 00:35:24 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Walead Beshty - Kunsthal Charlottenborg - April 2nd, 2013 - April 30th, 2013 <p>POST is an exhibition series for which the invited artists send the works and materials by post. The staff at Kunsthal Charlottenborg is responsible for installing the exhibition following the artist's enclosed instructions. The exhibition series started 1 February 2013<br /><br />Walead Beshty is the third artist presented in the exhibition series POST.</p> <p style="margin: 0px;">“<em>In his early works the theme of ‘in-betweenness’ is literally represented in the sites he chose to photograph… depicting locations trapped in a state of geographic and temporal limbo, neither fully abandoned, nor actively integrated in the urban context. More recently, this engagement with the in-between has grown into a means of production, making use of such mundane procedures as air travel or sending a package, activities that usually recede into the background of an artist’s productive life… From his early inquiries into the problem of photographic transparency, the means of production and how the work enters the world has become a chief concern.” -</em> Jacob Fabricius, foreword to <em>Natural Histories </em>(JRP|Ringier, 2011)</p> <p style="margin: 0px 0px 12px;">For POST Walead Beshty developed a new project that, in addition to being shown in the exhibition hall, will take place in the offices of Kunsthal Charlottenborg and at the Art Academy, on the other side of the yard. Using handbills and posters scavenged from his neighborhood in Los Angeles, Beshty plays with how global themes that are as pertinent to Los Angeles as they are to Copenhagen (the credit crisis, unemployment, and predatory loaning practices), are expressed in the vernacular of the local, in forms that are sometimes only legible when taken out of context. Taking the term “post” as his point of departure, Beshty uses “postings” or public solicitations, to explore this question of the local. The paternalistic tone of voice present in the signage is drawn into conflict with its new surroundings, highlighting the fragility of its own authority as much as those of the voices that are native to its new context.</p> <p style="margin: 0px 0px 12px;">Walead Beshty (b. 1976, London, UK) is an artist and writer working in Los Angeles, and Associate Professor in the Graduate Art Department of Art Center College of Design. Recent solo exhibitions include, <em>Travel Pictures</em> at Thomas Dane Gallery, London; <em>Securities and Exchanges </em>at Ullens Center for Contemporary Art, Beijing; <em>A Diagram of Forces</em> at Malmö Konsthall, Sweden / CA2M, Madrid and <em style="letter-spacing: 0px;">PROCESSCOLORFIELD </em>at Regen Projects, Los Angeles; among others. Beshty’s work is included in many public collections including The Museum of Modern Art, New York; The Guggenheim Museum, New York; The Hammer Museum, Los Angeles; The Museum of Contemporary Art, Los Angeles; and The Whitney Museum of American Art, New York, among others. Beshty is represented by Regen Projects, Los Angeles; Thomas Dane Gallery, London; and Galerie Rodolphe Janssen, Brussels.</p> Sat, 27 Apr 2013 01:48:10 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Vanessa Safavi - KUNSTHALLE BASEL - June 10th, 2012 - April 30th, 2013 <p>Vanessa Safavi, 1980 in Lausanne geboren, Iranisch-Schweizer Herkunft, lebt und arbeitet in Berlin und Basel, verbringt jedoch immer wieder sehr viel Zeit auf Reisen. Ihre Auseinandersetzung mit anderen Kulturen geht einher mit einem Interesse an Ethnografie, Entfremdung und Identität. Dieses Interesse gilt sowohl den Eigenschaften einer möglichen universellen Natur des Menschen, als auch der Untersuchung, auf welche Weise sich bestimmte Bevölkerungsgruppen und ihre kulturellen Identitäten innerhalb einer Population herausbilden. Der Einzelne ist dabei als Teil der Gemeinschaft ebenso wichtig wie sein Umfeld, das Einfluss auf ihn ausübt. Safavi schafft es, dieses Interesse am Sozialen wie Politischen in ihre Praxis zu übernehmen und auf ihre Werke zu übertragen. Diesem Ansatz folgend bedient sich Safavi unterschiedlicher Materialien. Sie hat ein ausgeprägtes Gespür zu observieren und Materialien auf der Grundlage ihrer Beobachtung auszuwählen und als Bedeutungsträger weiter zu verhandeln.</p> <p>In ihren Installationen <em>Real Life is Elsewhere</em> (2011) im Kunsthaus Glarus und <em>Plenty of None</em> (2010) in der Galerie Chert in Berlin verwendete Safavi Sand, den sie grossflächig im Ausstellungsraum verteilte. Vollkommen natürlich wirkte die Oberfläche der Installation, die mit einer unglaublichen Präsenz den Raum einnahm. Während man in der Berliner Arbeit verschiedene Kleidungsstücke im Sand ‒ teils vergraben, teils besser sichtbar ‒ ausmachen konnte, fand man im Glarus kleine Sandskulpturen in der Installation. Die Wüste als Symbol unendlicher Fläche und Freiheit ist ebenso ein Ort von Angst und Einsamkeit. Die Auseinandersetzung mit einem so spezifischen Material wie Sand geht einher mit einem Interesse an verschiedenen Kulturen sowie Geographien wie denen des Kontinents Afrika. Das Land ist geprägt von Gegensätzen, eigenen kulturellen Identitäten, Machtungleichheiten innerhalb nachkolonialer Kulturen, vom Tourismus und seinen Auswirkungen auf Volk und Land gar nicht erst zu sprechen. Safavi ‒ sie hielt sich für ein Atelierprogramm in Kapstadt auf ‒ setzt sich mit diesen Eigenschaften und dem kulturellem Erbe auseinander. Sie verweist auf eine höchst spannende Art auf den auch heute noch wichtigen Einfluss von Volkskunst, traditioneller Kunst, innerhalb zeitgenössischer Kunstproduktion und somit auf eine Ästhetik, die auch in der Imitation des sogenannten „Primitiven“ in der Kunstgeschichte wiederzufinden ist; die Adaption von fremden Kulturen. Safavi bedient sich oft einfacher Materialien und die Arbeiten werden mit einfachen Mitteln umgesetzt. Allerdings geht es ihr nicht nur um die Beschäftigung mit historischen Referenzen, sondern auch um die Aussagekraft dieser künstlerischen Praxen und Kunstrichtungen.</p> <p>Die Auseinandersetzung mit dieser bestimmten Formensprache ist auch in ihrer neuen Arbeit <em>After the Monument Comes the People</em> zu erkennen. Ausgang ist die mehrteilige Arbeit <em>Les Figures Autonomes</em>, die im Kunsthaus Glarus und im Centre Culturel Suisse in Paris gezeigt wurde. Im Jahr 2011 entstanden, bilden die abstrakten Figuren, die vereinfachte zeichenhafte Abbildungen des menschlichen Individuums sind, einen komplexen Werkkörper. Individualität findet sich dahingehend, dass sich jede Skulptur von der anderen in Form, Farbe und Grösse unterscheidet. So hinterfragt sie die Möglichkeit der Ausbildung von Identität mittels physikalischer Merkmale auf eine ironische Art und Weise.</p> <p>Mit <em>After the Monument Comes the People</em> greift Safavi die Arbeit an <em>Les Figures Autonomes</em> erneut auf und schafft abstrakte, schlanke und aufrechte, das Individuum widerspiegelnde Formen. 23 Figuren reihen sich repetitiv nebeneinander und füllen die Rückwand der Kunsthalle Basel. In ihrer Gänze eignet sich die Arbeit etwas Monumentales an, während sie gleichzeitig in einer Leichtigkeit daherkommt, die nur selten bei Arbeiten dieser Grösse zu finden ist. Die dünnen, leichten Stahlrahmen ‒ weiss beschichtet, in drei verschiedenen Grössen ‒ treten aus der Wand hervor. Teilweise findet man offene Messingringe an den oberen Enden der Arbeiten, die der Figur ein „Gesicht“ gibt und ein weiterer Verweis auf die Individualität jeder einzelnen Figur ist, die hier als Teil einer „Gemeinschaft“ daherkommen könnte. Die weissen Rahmen stehen jedoch kaum im Kontrast zur blass-grauen Fassade; sie verschmelzen mit dem Hintergrund und heben erneut den Gemeinschaftsgedanken der Arbeit hervor. In Safavis Werk, in den vorhergehenden Skulpturen <em>Les Figures Autonomes</em> wie in den neuen Installationen, finden sich Ähnlichkeiten zum Konstruktivismus und späteren Entwicklungen innerhalb der Geometrischen Abstraktion.</p> <p>Safavi setzt sich mit der Bedeutung von Monumenten in verschiedenen Kulturen auseinander. Sie hebt deren ursprüngliche Funktion als Verkörperung der Gemeinschaft oder Sinnbild der Macht auf und verweist mit dem Titel auf das emanzipatorische Potenzial sozialer Bewegungen; nach den Monumenten kommt die Gemeinschaft. Oft meint man, Monumente würden die Ideale und Ziele des Volkes verkörpern. Meist unterstützen sie jedoch die politischen Ziele des Staates ‒ eines Staates, der Monumente vom Volk für das Volk bauen lässt. Safavi bietet hier einen Ansatz, der die Auflösung dieser ideologischen Sichtweise vorschlägt und Hoffnung liefert. Sie geht darauf ein, dass nach der Bedeutungsauflösung der einzelnen Monumente ‒ sei es die Ablösung der Regierung, des Regimes oder die Zerstörung des Monuments ‒ die Gemeinschaft, das Volk, zurückkehrt, mit seinen eigenen Werten und seiner eigenen ideologischen Sichtweise, welche sie zu einer Einheit wachsen lässt. Giorgio Agamben führt dies mit treffenden Äusserungen in seinem Werk „The Coming Community“ (Dt.: „Die kommende Gemeinschaft“) aus. Er beschreibt darin eine Gesellschaft, die nur eine „neue“ zukunftsbringende sein kann, wenn sie noch keine festgelegten ideologischen Grundsätze hat, sondern sie erst aus der Gemeinschaft heraus entwickelt. Safavis Arbeit repräsentiert eine Sichtweise auf unser historisches Erbe und stellt in Frage, wie man sich als Individuum gegenüber diesem positioniert bzw. wie man als Gemeinschaft mit diesen kulturprägenden Phänomen ideologisch errichteter Stätte umgehen soll. Ihr Ansatz und ihr Rückschluss ist im Titel auf den Punkt gebracht: <em>After the Monument Comes the People</em>. Nach dem Monument, der diktierten Ideologie, kommen die Menschen, die Gemeinschaft und diese formuliert ihre eigenen Ziele.</p> Wed, 13 Jun 2012 15:06:33 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Cleland Powell - Sibley Gallery - April 6th, 2013 - April 30th, 2013 <p>Join us in celebrating new paintings by Cleland Powell.</p> <p>* All artist proceeds to benefit TEAM GLEASON</p> Thu, 28 Mar 2013 17:33:14 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Trias Gallery - April 1st, 2013 - April 30th, 2013 <p>Selected new works from gallery artists.</p> Sun, 27 Oct 2013 04:38:13 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Museum of Fine Arts Boston - January 18th, 2013 - May 1st, 2013 <p>Don’t miss your chance to see one of the icons of Roman art on view in the MFA’s Roman Art Gallery only through May 1. The Capitoline “Brutus,” a world-famous bronze portrait of a Roman statesman is on loan from the Palazzo dei Conservatori/Capitoline Museum, Rome, for just a short time. The loan of this extraordinary work of art is part of an ongoing partnership between the Museum of Fine Arts and Italy that started with the transfer of thirteen antiquities to Italy in 2006. The head is believed to be of L. Junius Brutus, founder of the Roman Republic, and possibly ancestor to the Brutus who assassinated Caesar. Long associated with liberty—and one of the earliest examples of Western portraiture—this image has been an icon of Roman art since its discovery in the 16th century.</p> Sat, 12 Jan 2013 01:15:46 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Veronica Dyer - Archway Gallery - April 6th, 2013 - May 2nd, 2013 <p><strong>Veronica Dyer</strong> has included a new series of abstract portraits in this exhibit. She describes her art as spontaneous. "In each of my pieces anything is possible and each work is wrought with risk. Yet in spite of this, many times I consciously leave empty spaces - blank, untouched canvas - which leaves the viewer to traverse the blank areas in the process, feeling the integration of the whole." </p> <p>Working primarily with acrylics, she builds her artwork in consecutive layers. It is the constant progression of a piece that excites her - the changes, the challenges and the accidents, too. From that comes her enjoyment and fulfillment, seeing and feeling the canvas acquire its own life, an expression of the intangible coming from all realms of her experiences.</p> <p>Dyer was born in Venezuela and has resided in the United States for the last 12 years. Her love of art and special capacity for painting are natural extensions of her family gifts. She took her first art classes at age 13 with her grandfather, Italian artist Nerino de Panfilis, who painted in the style of the figurative movement, which ultimately lead Dyer to the self-discovery at an early age that her "style" was one that offered more freedom, one that represents a combination of different cultures, blending an Old World sensibility with the new.</p> <p>Dyer's paintings can be found in private collections in Venezuela, Canada, the United States, Mexico and Switzerland. Her work is currently represented by Affaire D'Arte in Galveston, TX, Galeria Regina, Mixed Emotions Fine Art and Archway Gallery in Houston, TX.</p> Sat, 06 Apr 2013 01:25:57 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list ROGER WEIK - Elgiz Museum of Contemporary Art - January 22nd, 2013 - May 3rd, 2013 <p>A new selection will be displayed, which concentrates around the theme of “Alienation/Estrangement”. These prominent terms that have gained significance in the sociological, conceptual, psychological, political and philosophical sense, in and after the twentieth century. Curated by Billur Tansel, this theme is explored through suggestions offered by different international artists via video installation, sculpture, painting and texture.</p> <p>Proje4L was founded by collectors Sevda and Can Elgiz under the name of “Istanbul Museum of Contemporary Art” in its former premises in Levent. The museum opened in 2001, when there were no non-profit institutions in Turkey dedicated to contemporary art. In September 2011, Elgiz Museum started celebrating the 10th year of its commitment to contemporary art in Turkey with a book and a panel of international women collectors as well as special exhibitions and events that will be lasting until September 2012.</p> <p>Established with a mission to promote the development of contemporary art in Turkey, the initiative focused on providing space, support and international visibility to projects by young Turkish artists. As new art institutions and museums bloomed in Turkish art scene in 2005, the collectors converted the space to a private collection museum under the name ‘Elgiz Museum of Contemporary Art’ to host the Elgiz Collection. Proje4L/Elgiz Museum of Contemporary Art is located in the dynamic business district of Istanbul, Maslak and is open to the public free of charge.</p> <h3>The First Institution of Contemporary Art in Turkey</h3> <p>Elgiz Collection consists of works of by influential Turkish and international artists, such as Ömer Uluç, Fahrelnissa Zeid, Abdurrahman Öztoprak, Tracey Emin, Jan Fabre, Barbara Kruger, Cindy Sherman, Andy Warhol, Julian Schnabel, Sol LeWitt, Peter Halley, Paul McCarthy, Gilbert &amp; George, Robert Rauschenberg, Doug Aitken. The eclectic content of the collection allows the viewer to enjoy a comprehensive journey through the major contemporary art movements of the last two decades, while promoting the globalization of Turkish art. With the integration of new works by young artists the Elgiz Collection maintains its dynamism and prevalence.</p> <p> </p> Mon, 10 Jun 2013 01:14:26 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Peter Beste - Houston Museum of African American Culture - March 1st, 2013 - May 3rd, 2013 <p>Documentary photographer Peter Beste grew up in the Houston area, and began photographing an in-depth study of Houston's rap culture in late 2004. A collaboration with writer Lance Scott Walker during that period has produced two books<em>,<strong> Houston Rap</strong></em>, and <em><strong>The Houston Rap Tapes</strong></em>, both of which will be released by Sinecure books in spring 2013. The former is a 280 page photo book with an oral history and an introduction by Bun B of UGK, while the latter is a book of Walker's interviews with an introduction by Willie D of Geto Boys. This exhibit will include images from both books and others from Beste's collection of thousands of photographs of members of the Houston rap community and the neighborhoods of Fifth Ward, Third Ward and South Park.</p> <p>Beste has had solo exhibitions in London, New York, Tokyo, Stockholm, Copenhagen, Bogotá, Berlin, Oslo, San Francisco, Austin, Los Angeles, Atlanta and many others. His work has appeared in American Photo, Arkitip, British Journal of Photography, Dazed and Confused, London Observer, Modern Painters, VH1, MTV, NRK (Norway), XXL and many others.</p> Sat, 13 Apr 2013 01:25:14 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Boo Ritson - Marfa Contemporary - February 25th, 2013 - May 3rd, 2013 <p>Boo Ritson depicts characters and still lifes drawn from her own imagined narratives merged with borrowed Americana.  For each piece she paints her subject in a thick emulsion and then has the scene photographed while the paint is still wet.  The resulting image sits somewhere between painting, sculpture, performance and photography. Ritson has always located her work in an American cultural context and has been fascinated by the process and the history of painting.</p> <p>“The hyper-real, high-key cast of American stereotypes are drawn from imagined narratives and American iconography,” Ritson said.  “The fictional timeless American landscape is collaged together from elements found closer to home, in Chesham, England or Cornwall.  It’s a very English-centric view of utopia that takes the language from the wide-open spaces that we associate with America.”</p> <p>This exhibition is accompanied by a beautifully illustrated catalogue available for sale.</p> Mon, 11 Mar 2013 22:35:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Soomin Jung - REM Gallery - March 8th, 2013 - May 3rd, 2013 <p>Once Zhuangzi dreamt he was a butterfly, a butterfly flitting and fluttering around, happy with himself and doing as he pleased. He didn't know he was Zhuangzi. Suddenly, he woke up and there he was, solid and unmistakable Zhuangzi. But he didn't know if he was Zhuangzi who had dreamt he was a butterfly, or a butterfly dreaming he was Zhuangzi. Between Zhuangzi and a butterfly there must be some distinction! This is called the Transformation of Things. (2, tr. Burton Watson 1968:49) We perceive the world around us by finding an object, investigating it, and labeling (process and understand) it. All sorts of previous knowledges are involved throughout the process of perceiving an object. My interest lands on where the imagination will go if we deny things we believe true. My work is about perception, and ambiguity is the key. Is what we think what we see what it is? Is it my reflection in a mirror, or am I a reflection in a mirror? Do bats sleep upside down, or is everything else upside down? What if…? When you pay attention to what is ambiguous, you will unlock the portal to another dimension within. Ordinary is extraordinary, nothing becomes anything when you openyour mind.</p> <p><b>Bio:</b></p> <p>Originally from South Korea, Soomin Jung moved to San Antonio, Texas in 2002. She attended the University of Texas at San Antonio (UTSA) where she graduated with a B.F.A. in Art and Art History in 2005. Three years later, she received an M.F.A., also in Art and Art History, and is currently a drawing instructor at UTSA.</p> Thu, 28 Feb 2013 09:25:48 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Sylvia Sleigh - Tate Liverpool - February 8th, 2013 - May 3rd, 2013 <p>Although widely over-looked in the field of modern and contemporary art, Sylvia Sleigh was a realist painter who became an important part of New York’s feminist art scene in the 1960s and beyond. She was particularly well-known for her explicit paintings of male nudes, which challenged the art historical tradition of male artists painting female subjects as objects of desire. The exhibition at Tate Liverpool will be Sleigh’s first UK retrospective, and the largest exhibition of her work to date. </p> <p>Sleigh trained in painting at Brighton art School at a time when female art students were, as she recalled, ‘treated in a second-rate fashion’. Despite having a solo exhibition at Kensington Art Gallery in 1953, she received little public recognition until her move to New York in the 1960s. There Sleigh and her husband, the art critic and Guggenheim curator Lawrence Alloway, together created a home that welcomed artists, writers and musicians, many of whom Sleigh painted. These works radiate a sense of friendship and emotional attachment between the artist and her sitters, in addition to presenting an array of significant cultural figures from the time.    </p> <p>Sleigh painted portraits of both genders, including details such as body hair and tan-lines which rejected the idealisation of female bodies previously found in art history. By portraying the humanising and individual details of each person Sleigh aimed to remove objectification, not desire, from art.  Sleigh’s practice produced a body of work that highlights the beauty to be found in every person painted, regardless of their gender and supposed imperfections. Her female gaze still has a powerful impact on viewers and the formal qualities of her painting seem poignantly contemporary. </p> <p>Tate Liverpool has invited LA-based artist Frances Stark to respond to the exhibition, offering an interpretation of Sleigh’s work and a contemporary consideration of her relevance and impact.</p> Sat, 09 Feb 2013 02:04:03 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Elisa Sighicelli - Gagosian Gallery - Geneva - March 12th, 2013 - May 4th, 2013 <p><em>My work is a constant questioning of the medium of photography, of its two-dimensionality, display, and subject matter. I work with the space of the photograph, to find ways to extend the space of representation into the real space of the viewer as well as to show a space beyond the picture plane.</em><br /> —Elisa Sighicelli<br /> <br /> Gagosian Gallery is pleased to present recent works by Elisa Sighicelli.<br /> <br /> Sighicelli's latest body of work uses light, objects, and singular installation methods to explore the physical qualities of the photograph, expanding the image beyond the two-dimensional picture plane. In <em>Untitled (Tape)</em> (2011), she joins the photograph of a sheet of back-lit paper with a fragment of tape placed on each side with an actual piece of tape, placed directly onto the photographic image, thus creating three distinct spatial planes, wherein two photographic representations merge with the tangible object. In <em>Untitled (Leningrad at Night)</em> (2011) she takes a photograph printed from an old Soviet slide, and artfully folds and installs it in the corner of a room, transforming a banal image into an architectural aspect of its chosen space. The lightbox <em>Untitled (Blue Fabric)</em> (2012) features a swathe of blue fabric, bathed in sunlight from an unseen window. Certain areas of the photograph have been masked by applying black paint to the reverse side of the lightbox, so that the manipulated light creates a glow around the edges of the fabric. Light, used here like a painter's palette, acquires a sculptural quality that unites the second and third dimensions.<br /> <br /> The works in the exhibition explore the relationship between representation and reality in diverse ways. Some engage with the idea of trompe l'oeil, while others explore the possibiblity of creating images that balance the concerns of abstraction with the reality of the object photographed. In photography the mechanics of display—mounting, framing—are usually assumed, however Sighicelli proposes a dramatic re-thinking by making the subject matter of the photograph coincide with its display, as in the case of <em>Untitled (Punctum)</em> (2012) and <em>Untitled (Wood)</em> (2012). In <em>Untitled (Puntum)</em>, a single nail is used to fasten an image of three brightly colored, intertwined pieces of string to the wall. The nail also gives the illusion of being a part of the photograph; the means by which the photographic string is joined together. <em>Untitled (Wood)</em> (2012) is a photograph of a sheet of wood, mounted on two actual slabs of the same wood Sighicelli photographed, to form a three-dimensional hanging object--here, the display exists as an integral part of the work.<br /> <br /> <strong>Elisa Sighicelli</strong> was born in Turin, Italy in 1968 where she lives and works today. She studied at the Slade School of Fine Art in London. Exhibitions include "Santiago", Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain (2000); "No World Without You: Reflection and Identity in New British Art," Herzliya Museum of Contemporary Art, Tel Aviv, Israel (2001); Fondation Salomon, Alex, France (2003); "Guardami, la Percezione del Video", Palazzo delle Papesse, Centro Arte Contemporanea, Siena, Italy (2005); Galleria Civica d'Arte Moderna e Contemporanea, Turin, Italy (2007); Italian Pavilion at the 53rd Biennale di Venezia, Venice, Italy (2009); "Silences Where Things Abandon Themselves", Museum of Comtemporary Art, Zagreb, Republic of Croatia; and "Marking Time," Museum of Contemporary Art, Sydney, Australia (2012).<br /> <br /> <br /> <br /> <em>Mon travail est un constant questionnement sur la technique photographique, son caractère bidimensionnel, son affichage et son objet. Je travaille avec l'espace de la photographie, afin de trouver des moyens d'étendre l'espace de la représentation dans l'espace réel de l'observateur et de dévoiler un espace au-delà du plan pictural.</em><br /> —Elisa Sighicelli<br /> <br /> Gagosian Gallery est heureuse de présenter des œuvres récentes d'Elisa Sighicelli.<br /> <br /> Les dernières œuvres de Sighicelli se servent de la lumière, d'objets et des méthodes d'installation singulières pour explorer les qualités physiques de la photographie, en étendant l'image au-delà du plan pictural bidimensionnel. Dans <em>Untitled (Tape)</em> (2011), elle joint la photographie d'une feuille de papier éclairée par derrière, un fragment de bande adhésive placé de chaque côté de celle-ci, avec un véritable morceau de bande adhésive, placé directement sur l'image photographique. Elle crée ainsi trois plans spatiaux dans lesquels deux représentations photographiques s'unissent avec l'objet tangible. Dans <em>Untitled (Leningrad at Night)</em> (2011) Sighicelli prend une photographie imprimée à partir d'une ancienne image soviétique, la plie de façon artistique et l'installe dans le coin d'une pièce, transformant une image banale en un aspect architectural de son espace choisi. Le caisson lumineux <em>Untitled (Blue Fabric)</em> (2012) présente une bande de tissu bleu, baignant dans la lumière du soleil d'une fenêtre invisible. Certaines zones de la photographie ont été masquées en appliquant de la peinture noire au dos du caisson, de sorte à ce que la lumière manipulée crée un halo lumineux autour des bords du tissu. La lumière, utilisée ici telle la palette de couleurs d'un peintre, acquiert une qualité sculpturale qui unit les seconde et troisième dimensions.<br /> <br /> Les œuvres présentées dans le cadre de l'exposition explorent la relation entre représentation et réalité de différentes façons. Certaines s'inspirent de l'idée du trompe l'œil alors que d'autres explorent la possibilité de la création d'images mettant en parallèle les préoccupations de l'abstraction avec la réalité de l'objet photographié. En photographie, les mécanismes de presentation—montage, composition—sont habituellement assumés. Toutefois, Sighicelli propose une vision dramatique repensée en accordant le sujet de la photographie avec la présentation de celle-ci, comme dans le cas d'<em>Untitled (Punctum)</em> (2012) et d'<em>Untitled (Wood)</em> (2012). Dans <em>Untitled (Punctum)</em> (2012), un simple clou est utilisé pour accrocher au mur une image à l'aide de trois fils colorés entremêlés. Le clou donne également l'illusion de faire partie intégrante de la photographie, moyen par lequel le fil photographique est attaché. <em>Untitled (Wood)</em> (2012) est une photographie d'une planche en bois, montée sur deux dalles du même bois photographiées par Sighicelli, de sorte à former un objet suspendu tridimmensionnel. La présentation existe ainsi telle une partie intégrante de l'œuvre elle-même.<br /> <br /> <strong>Elisa Sighicelli</strong> est née à Turin en Italie en 1968, où elle vit et travaille aujourd'hui. Elle a suivi des études auprès de la Slade School of Fine Art à Londres. Ses expositions comprennent notamment "Santiago," Centro Galego de Arte Contemporánea, Saint-Jacques de Compostelle, Espagne (2000); "No World Without You: Reflection and Identity in New British Art," Herzliya Museum of Contemporary Art, Tel Aviv, Israël (2001); Fondation Salomon, Alex, France (2003); "Guardami, la Percezione del Video, Palazzo delle Papesse," Centro Arte Contemporanea, Sienne, Italie (2005); Galleria Civica d'Arte Moderna e Contemporanea, Turin, Italie (2007); Italian Pavilion at the 53rd Biennale di Venezia, Venice, Italy (2009); "Silences Where Things Abandon Themselves," Museum of Comtemporary Art, Zagreb, République de Croatie; et "Marking Time," Museum of Contemporary Art, Sydney, Australie (2012).</p> Thu, 21 Feb 2013 06:27:29 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list