ArtSlant - Closing soon en-us 40 David Chan - Art Seasons Singapore - May 16th, 2013 - June 15th, 2013 <p>“…where are you then looking at? I am hoping that you then have a self reflective act of looking that you are looking, that you are actually seeing yourself see to some degree and it does reveal something about your seeing as opposed to being a journey of mine seeing…”<br />James Turrell explaining about his work to Robert Hughes in American Visions episode 8 hosted by Robert Hughes, created by BBC<br />I was first exposed to James Turrell’s work many years ago when I chanced upon a documentary narrated by Robert Hughes called “American Visions”. In episode 8, James Turrell was introduced as a conceptual artist with grand ideas, many of his creations involved manipulating the viewer’s senses through the use of unique spatial environments. James’ works were essentially very simple and minimalistic to say the least, however the vision that he was trying to achieve caught my attention in a great way.<br />James Turrell’s hope to evoke a self-reflective state in the viewer is a difficult and at times idealistic response to expect from diverse viewers. In most cases, the general public is usually not used to critical or self-reflective examinations. Thus, most artists are hopeful but usually apprehensive when trying to reach this holy grail of art making. However so, in my view many of my artistic heroes have already hit the grand prize, just to name a few, these include MC Escher, Caravaggio, Lorenzo Bernini, Ron Mueck and James Turrell. All of who have successfully manipulated the viewer through certain metaphysical properties of their artworks. Nonetheless to achieve this effect, the works had to be conceived with hindsight; Escher exploited our visual flaws by designing his prints to confuse our sense of perspective and dimensional space, Caravaggio played with lights and shadows in his paintings to focus our attention on the heightened drama, Lorenzo Bernini and Ron Mueck both created realistic figures in their respective eras, hoping to make us conscious of the physical flesh, and finally James Turrell took pains to create grand spatial “windows”, that would force viewers to focus only on one area negating the rest of the void.<br />Well, I am no Caravaggio or MC Escher, but in preparation for my new series, “Every trick only needs one truth”, I became increasingly mindful about the relationship between the delivery of the concept and the outcome of the artwork. Like James Turrell, the trick was to engage the viewer on a sublime and almost psychological manner. In effect, the artwork was not the outcome, but the process of engagement was.<br />It actually doesn’t take much for one to recognize that the method of engagement with an artwork is as important as the physical artwork itself, the challenge is to distillate one’s concept to its most fundamental key-point, and to deliver it in a succinct and interactive way. It took me some time before I could attempt to articulate this relationship in my work.<br />During the initial conceptualization of “Hybrid Society – Schizophrenia”, I was keen to explore the contextual dilemma of preconceived visuals against the meanings of written text, hence the creation of the paintings “Urban Species”. In effect, the series of paintings were composed to first appeal to the viewer from a distance, and as the viewer moved in to read the metallic title on the frame, he or she is confronted with a conflicting name that doesn’t suit the image. Take for example, the image of the wolf below; it bears a highly questionable tag at the bottom of the frame that reads, “Mr. Honest”.<br />For “Urban Species”, the whole setup was to put across the basic premise “to never judge a book by its cover”, and to suggest that our inner personality is often inherently opposite to that of our outward social persona. As with the painting above, many works were also presented in a similar fashion throughout the series. Like many ideas, it didn’t occur to me until much later that many works, including my own, were technically very narrative in nature, hence making it a means to an end. And what made “Urban Species” so appealing to me was the fact that I had played a little “trick” on viewers to induce them to investigate the work further. On realizing that the title and visual was contradictory, viewers would then grasp the full “truth” behind the painting.<br />“Turrell’s art doesn’t happen in front of your eyes, it happens behind it...”, Robert Hughes responding to James Turrell’s statement from the very beginning.<br />“Urban Species” among others, was a minor attempt at engaging the viewer in a direct and humorous way. However, after “Hybrid Society - Schizophrenia” - my last series that spanned 4 years, I was left with a splatter of disparate ideas that couldn’t seem to fit into a nice and neat package.<br />While floundering around to identify what was the common thread that linked all the new ideas together, I came across an online article from the journal: Nature Reviews Neuroscience called "Attention and Awareness in Stage Magic". It was a science research paper conducted by researchers at the Barrow Neurological Institute in Phoenix, Arizona, to look at the neuroscience of magic.<br />Teller, one half of the magician duo of Penn and Teller, was one of the coauthors, and its publication was a signal event in a field some researchers are calling “Magicology: the mining of stage illusions for insights into brain function.” On one hand, the researchers were totally baffled by the cognitive workings of the brain when it responded to the deceptive illusions. But on the other hand, the participating illusionists were having a field trip, contributing to most of the study by providing valuable insights into the age-old craft of fooling the viewer. To say the least, their insights were a joyous read.<br />“The magician must sell people a lie even as they know they're being lied to. Unless the illusion feels more real than the truth, there is no magic.” - Teller<br />Amongst the many tricks that were deciphered, three fundamental facts became apparent; the first, the illusionist assumes that the viewer knows that the trick is a lie, a trick is always designed with this basic condition in mind, by exploiting the heightened sense of the viewer, it is actually easier for the illusionist to turn the tables on the viewer. The second, the illusion is only considered successful when both the mind and the heart of the viewer are befuddled. Finally, and most ironically, the viewer is always a willing participant to the lie; he or she actually wants to be convinced and fooled, failing to do so makes it more disappointing than pleasurable.<br />"Every time you perform a magic trick, you're engaging in experimental psychology," - Teller<br />“Tricks and truths”, have always been partners in crime; to “trick” is to outwit, to deceive with cunning and sinister means if necessary. The outcome of this trickery is a “victim” with an illusion and a piece of arbitrary info that has been internalized as “truth”. However so, according to the article by Barrow Neurological Institute, the victim is often a willing participant and the trickster a possible victim to yet another’s trick. It appears that we are constantly in a cycle of trickster and victim role-play when it comes to handling issues of “truth”.<br />It is noteworthy to realize that this “trick and truth” hypothesis is also prevalent in the real world context as well. Why are we so attracted to beauty and perfection when we know that they are merely visual pleasures? Why trust words when there is a multitude of contradictory meanings? If religion is infallible, can belief turn lies into truth and vice versa? What about the comparison of value, say, symbolic versus physical, life versus death? The list goes on, and the fact of the matter is, in the end, we are all victims and tricksters, willing and contributing participants to our own dilemmas and contradictions.<br />After having this epiphany, I began to link the dots to my concepts, “Every trick only needs one truth” begun to take shape. I was keen to explore the fundamental shortcomings of human perception and our ever-evolving judging criteria. I am also curious about the ironies of humankind as gullible victims to questionable and arbitrary “truths”, and yet guilty of being in cahoots with the sinister trickster at the same time.<br />Granted that contemporary life is marked by many contradictions, it is perhaps only fair to recognize that none of us are that innocent anymore. The most fundamental “trick” that we play is to lie. Be it an inevitable pervasion from our DNA or an erroneous upbringing, each generation struggles to achieve that fine balance of “truths, tricks and lies”. Therefore amidst this balance of self-preservation and that sneaky sleight of hand, I attempt to play the trickster, hopefully to stir up one’s curiosity and reflective understanding of the works presented.<br />While every lie can be made real as long as there is a hint of truth in it, the trick to success depends greatly on the method of delivery. I suppose in the end, every truth needs a trick and every trick only needs one truth.</p> Thu, 09 May 2013 00:17:21 +0000 Steve Brudniak - Avis Frank Gallery - May 3rd, 2013 - June 15th, 2013 <p>Steve Brudniak’s work has been exhibited in more than 150 shows, critiqued in over 200 publications and documentaries, (including 8 books), and collected by major art museums, including Houston’s own Museum of Fine Arts.</p> <p>Works include the first assemblages to travel into outer space, the only art to integrate the oldest life discovered on earth, the first sculptures to incorporate electrical lightning, unique applications of human blood and more.</p> Fri, 14 Jun 2013 22:51:54 +0000 Ben Mata - BLUEorange - May 18th, 2013 - June 15th, 2013 <p>Ben Mata (b. 1969, San Antonio) was raised on the Southside of San Antonio. He studied painting at Southwest Texas State University (1997-2000) and at Palo Alto College in San Antonio (1993-96). During his studies, he was a resident artist at the Guadalupe Cultural Arts Center Annex Building.  </p> <p>Mata works on aluminum panels using artist oils and power tools to manipulate the surface. The luminous metallic surface allows him to create a variety of textures and depths. Mata claims that this allows for a process of discovery; he is led by intuitive responses to the surface which guide him in the execution of the work.  </p> <p>Mata has exhibited at Blue Star Contemporary Art Center; Guadalupe Cultural Arts Center; Galería Ortiz, Anarte Gallery; San Antonio,Art House Gallery, Houston; and Martinez Gallery in Troy, New York. His work has appeared in Domino Magazine (2007), Brilliant Magazine (2005), and San Antonio Magazine (2007). In addition, he has been involved in several community-based projects. In 2000 he created a mural with South San Antonio High School students, and through the Guadalupe Cultural Arts Center Juntos en Arte program, assisted inmates from the Comal Detention Center in the creation of a portable mural (2000).</p> <p>Individual projects include a forty foot mural at Kluzos Martini Bar; San Antonio(2008) and a mural for the Mary, Mother of Priest Chapel in Rome, Italy; commissioned by Rohn and Associates Design Inc. in 2010. Mata's work is in the University of Texas at San Antonio Art Collection and many other private collections.</p> Sat, 13 Apr 2013 02:03:50 +0000 William Copley - Confiserie Schiesser - June 1st, 2013 - June 15th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Celebratory Reception, Monday June 10, 2013</span></p> <p style="text-align: justify;"><span style="font-size: small;">From June 1st through June 15th, and in conjunction with the annual Art Basel fair in Switzerland, Venus will present the second part of its homage to William Copley with<strong> Confiserie CPLY</strong>. This project is a collaboration between the gallery and the historic Confiserie Schiesser, the oldest café and chocolate shop in Basel, Switzerland, founded in 1870 and renowned across Europe for its approach to candy making as fine art.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">For two weeks, the Confiserie will offer customers to its street level shop a special limited edition product: hand made chocolates decorated in relief with figures from CPLY’s painting ‘Villa Rosa’ (1959). In the tea salon located on the second of third levels of its landmark building across from the Drei König Hotel (Grand Hotel Les Trois Rois), Confiserie Schiesser also will serve kirsch with CPLY chocolates alongside its regular menu items, in spaces decorated with custom-made CPLY wallpaper derived from the wallpaper pattern key a CPLY canvas. In these rooms Venus will present eight major paintings by the artist.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Confiserie CPLY</strong> coincides with the 40th anniversary of Art Basel’s first special single-country exhibitions in 1973 – a show devoted to American art.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Confiserie Schiesser is located at Markplatz 19, in Basel Switzerland. It is open to the public</span></p> <p style="text-align: justify;"><span style="font-size: small;">Monday through Saturday, from 9AM to 6PM. The Confiserie will remain open until 1AM from 1 June through 15 June, in conjunction with the </span><strong style="font-size: small;">Confiserie CPLY</strong><span style="font-size: small;"> project.</span></p> Fri, 07 Jun 2013 20:28:44 +0000 Ingo Nussbaumer - Galerie Hubert Winter - April 26th, 2013 - June 15th, 2013 <p>Ingo Nussbaumer is not only proficient in absolute geometry, it is also color that appoints his artistical and theoretical work. There is no way of avoiding Goethe, who speaks in his theory of color about the aesthetic and moral effect of color. Colors are able to record and express the vaguest and the strongest movements of the soul and simultaneously they claim dedication to the depth and to the abundance of their character. Their area stays mysterious and unseizable.</p> <p>Galerie Hubert Winter will present new works by the Viennese artist Ingo Nussbaumer: four paintings, four watercolors and a staggered object. The last one  mentioned consists of seven panels. It is titled „Bild-Abnahme“ (picture-abatement) and relates to Jaques-Luis David´s „Oath of the Horatii (Le Serment des Horaces)“ from 1784 (Louvre, Paris). This is the first part of a larger project that the artists calls „Die Befreiung der Horatier“ (The release of the Horatii)“. Ingo Nussbaumer focuses on the geometrical composition that was developed in the French Age of Enlightment and expresses the beginning to autonomy of geometry in paintings.  (please compare to <i>Hans Körner</i>, <i>Auf der Suche nach der ‚wahren Einheit‘. Ganzheitsvorstellungen in der französischen Malerei und Kunstliteratur.</i> Munich 1988)</p> <p>The watercolors are from the series „Kaspar Hauser’s Versuch die befohlene Tonlage zu torpedieren“(Kaspar Hausers´attempt to torpedo the ordered theme). It is the sentence that Kaspar Hauser was taught by the stranger who kept him „A söchtener Reuter möcht i wern, wie mein Voater gwen is“(I want to be a cavalryman, as my father was) that became for him a universal applicable explication, usable for various meanings. Ingo Nussbaumer modulates the theme figurative on the basis of a leading structure.<b> </b></p> Sat, 11 May 2013 21:44:18 +0000 Oliver Czarnetta, Wolfram Ebersbach - Galerie Queen Anne - May 4th, 2013 - June 15th, 2013 <p>Buildings made of concrete constructed from the inside out, contrary to the viewer’s perspective, let us curiously discover a labyrinth of walls, ceilings and floors. Houses become cities. Sometimes a stair case obstructs the view. The concept of disguise provokes a detailed and scanning observation.</p> <p>In the same way, attention is needed for Wolfram Ebersbach’s works, which are also concerned with urban spaces. Reductively, with little colour, but with purposefully placed highlights and contrasts, he designs/arranges his images with finest nuances of brightness. Ebersbach focuses on the apparently unappealing and provides it with a mythical dimension. At the same moment he breaks it up into abstraction. After decrypting the extract you will recognise the perspective and a motive. He works with the scheme of vista and consciously creates viewing windows in his pictures, which is similar to Czarnetta’s three-dimensional work. His sculptures lend the feeling of walking down a street of houses, which guide us through the gallery. Transit. Keep on moving.</p> <p> </p> <p><strong>Wolfram Ebersbach</strong> was born in 1943 in Zwickau. He studied in Wolfgang Mattheuer’s class at the Academy of Visual Arts Leipzig where he also taught from 1992 to 2008. Since then, he works and lives in Leipzig and Wurzen. </p> <p><strong>Oliver Czarnetta</strong>, born in 1966 in Düren, obtained his doctorate in Art History. Since 2011 he lives and works in Leipzig and Aachen.</p> Sun, 05 May 2013 23:16:36 +0000 Lucinda Bunnen - Hagedorn Foundation Gallery - April 26th, 2013 - June 15th, 2013 <p align="left">ATLANTA – Hagedorn Foundation Gallery is pleased to presenta solo exhibitionof Lucinda Bunnen’s photographic series on thenude. The artist’s twenty two black and white works shot in natural and studio lighting are a departure from her strong resume of landscapes and travel photography, but align with them in their exploration of the ephemeral everyday and fresh view of subject. Like the surrealists of the thirties and forties and the feminists of the seventies and eighties,* Bunnen’s work in this exhibition frequently questions assumptions about seeing and about gender expectations by producing images that are uncertain in nature. At first ambiguous, her photographs call into question the viewer’s perception: is her subject a body, another form or some other categoryof artistic expression.</p> <p align="left"> <br /> <strong>Lucinda Bunnen</strong> is a practicing artist (photographer) living in Atlanta, Georgia.  She has traveled worldwide for her work and has had numerous one and two person shows throughout the Southeast.  She has also participated in many national, international and regional juried shows such as:  “Atlanta Artists in Buenos Aires” in Argentina; “Atlanta in France” in Toulouse, France, “New Southern Photography:  Between Myth and Reality” at the Burden Gallery in New York City. She has lectured, given workshops and curated exhibitions across the Southeast United States.  She was both donor and curator of “<em>Subjective Vision:  the Lucinda W. Bunnen Collection of Photographs,</em>” a collection of contemporary photographs assembled for Atlanta’s High Museum of Art.  </p> <p><br /> Ms. Bunnen’s work is in the collections of the Museum of Modern Art, NY; the Whitney Museum of American Art, NY; the Museum of Fine Arts, Boston; the High Museum, Atlanta; and the National Museum of Women in the Arts, Washington D.C., among others.</p> <p><br /> This year, Lucinda Bunnen has been chosen to receive the fourth annual Nexus Award from the Atlanta Contemporary Art Center in Atlanta, Georgia. The award publicly acknowledges an individual who has made a profound contribution to contemporary visual art in Atlanta and beyond.</p> Sun, 26 May 2013 00:31:06 +0000 - Ippodo Gallery, Tokyo - June 6th, 2013 - June 15th, 2013 <p>南北に長い国日本には、その地その気候風土に寄り添うように染めもの、織りものがあります。農閑期の女たちの織りものから始まり、アートとして日本伝統工芸展や国画会に出品するような貴重な布になって来ました。<br /> 又、更紗はインドネシアのビンテージ、豊穣を意味し本場の植物染料で染め上げた布を美しい帯に仕上げました。和更紗も加わり、珍しい布が集まります。<br /> 見た目にも涼しげな布に触れていただきたいと思っております。<br /> <br /> 17世紀の古い金更紗もございます。</p> Wed, 05 Jun 2013 22:46:24 +0000 Mario Merz - Konrad Fischer Galerie Düsseldorf - May 3rd, 2013 - June 15th, 2013 <p>Die Konrad Fischer Galerie freut sich, Arbeiten aus dem Frühwerk von Mario Merz (1925–2003) präsentieren zu dürfen.<br /> <br /> Mario Merz gilt als ein Hauptvertreter der Arte Povera, die mit ihren Bezügen zur Konzeptkunst, zur Land Art, zum Informel sowie zur Art Brut und mit den Werken von Giovanni Anselmo, Alighiero Boetti, Per Paolo Calzolari, Gino de Dominicis, Giuseppe Penone, Michelangelo Pistoletto und Gilberto Zorio zu den wichtigsten Bewegungen der europäischen Kunst nach 1945 gehört.<br /> <br /> Obgleich das Oeuvre von Mario Merz eher mit den ikonischen Iglus aus Stein, Glas und Reisig und den installativen Arbeiten mit Fibonacci-Zahlen aus Neon verbunden wird, beginnt die künstlerische Karriere des Autodidakten in den frühen 1950er Jahren als Maler.<br /> <br /> Neben den frühen, bisher noch nie gezeigten Öl-Portraits aus den Jahren 1956 und 1960 zeigt die Konrad Fischer Galerie in Zusammenarbeit mit den Nachlass von Mario Merz erstmals auch frühe abstrakte oder an vegetativ-animalischer Motivik orientierter Malerei aus den Jahren 1955 bis 1965. Dazu zeigen wir die wandfüllende Arbeit „Pantere sul cono“ von 1978, zuletzt gezeigt 1994 im Stedelijk Museum in Amsterdam und davor im Guggenheim Museum, New York.</p> <p><br /> Konrad Fischer Galerie gladly announces an exhibition of early paintings by Mario Merz (1925–2003).<br /> <br /> Mario Merz has to be considered as being the principal representative of Arte Povera – one of the most influential European postwar movements in art which includes references to Conceptual Art, Land Art, Informel and Art Brut and features works by Giovanni Anselmo, Alighiero Boetti, Per Paolo Calzolari, Gino de Dominicis, Giuseppe Penone, Michelangelo Pistoletto and Gilberto Zorio.<br /> <br /> Though the oeuvre of Mario Merz is, more or less, connotated with his iconic igloos made of stone, glass and brushwood as well as with his neon Fibonacci numbers the actual carreer of the self-taught artist began as a painter.<br /> <br /> Along with his early oil portraits executed in 1956 and 1960, Konrad Fischer Galerie and the Estate of Mario Merz are presenting early abstract paintings including vegetative and animalistic motifs. In addition, we show the wall-size "Pantere sul cono" (1978) which has been exhibited before at Stedelijk Museum Amsterdam and at Guggenheim Museum, New York.</p> Sat, 04 May 2013 21:38:25 +0000 Nancy Douthey, Patrick Turk - Lawndale Art Center - May 10th, 2013 - June 15th, 2013 <p>The Lawndale Artist Studio Program is part of Lawndale’s ongoing commitment to support the creation of contemporary art by Gulf Coast area artists. With an emphasis on emerging practices, the program provides three artists with studio space on the third floor of Lawndale Art Center at 4912 Main Street in the heart of Houston’s Museum District. This exhibition features residents for the seventh round of the Lawndale Artist Studio Program, DOMOKOS  /  FUTURE BLONDES (Domokos Benczédi), Nancy Douthey &amp; Patrick Turk.</p> <p><strong>DOMOKOS  /  FUTURE BLONDES</strong> presents new works on aluminum, installations, disposable/free items, video manipulations and a sound series to accompany his new body of work created during Lawndale's 2012-2013 Artists Studio Program. These works are a visual / aural extension of the sound and concept of his ongoing work with the experimental music project, <em>future blondes network / network / </em>.</p> <p><strong>Nancy Douthey</strong> wanders through the Lawndale halls in Dom’s polkadot pajama pants and oversized slippers. He has let her borrow these items in an attempt to help her look presentable for tonight’s guest. She has locked herself out of the studio for the fourth time  - this time without pants and only in a blue striped button down men’s shirt in which she has a three foot pile of in the studio and has given as a gift only once to Lane Hagood. Meanwhile, Patrick hosts the <em>Looking at Art</em> collectors group and is in no position to provide words of comfort or advice – she loves his advice. Her phone is also locked in the studio. She tries to use Facebook on Dom’s computer from 2001 to make contact with the outside world – this world consists of one person – Dennis Nance. She is known to make regular late night phone calls to Dennis requesting the third set of keys to get back into her studio all the while trying to take a bath in the large industrial sink on the third floor with the orange industrial soap in order to wash all the pink sugar off of her body in hopes of regaining a good grip on the 10 lb. camera she is borrowing from her cop friend that she met during her last car accident on the way to work. She is making work based on ideas around the drama of performance and the mystery of what is and what might be and what we can only wish for.</p> <p><strong>Patrick Turk</strong>'s highly detailed collages not only use images of the body, or body parts, but are meant to excite a physiological experience for the viewer. Turk is a story teller who uses psychedelic movements and intricate designs to captivate the viewer and bring them into an exotic reality where the body becomes more than it seems. The work produced during the Lawndale Artist Studio Program is a glimpse into Earth’s future as <em>The Superorganism</em>, in which the planet’s surface becomes one gigantic, interconnected biomass comprised of all of the flora and fauna on Earth.  The integration is both biological and telepathic creating a planetary network in which the whole truly is comprised by the sum of its parts. This transformation begins as a last ditch effort to save humanity, reduced by plague, from imminent extinction.</p> Sat, 04 May 2013 23:35:49 +0000 Justin Boyd - Lawndale Art Center - May 10th, 2013 - June 15th, 2013 <p>Through installations, sculptures, videos, and sound pieces, Justin Boyd’s work explores Americana and the American Landscape in search of true American spirit and inspiration. In finding these moments and stories that define us and the environment we live in, it is Boyd’s hope to make work that expands upon those histories and locations, and opens them up for current day exploration and participation. Boyd will be creating a site-derived sound installation in the Cecily E. Horton Gallery employing the sounds of heartbeats, railroads, comets and homecoming mum-bells.</p> Sat, 04 May 2013 23:38:21 +0000 Abhidnya Ghuge - Lawndale Art Center - May 10th, 2013 - June 15th, 2013 <p>Abhidnya Ghuge’s installation begins with an original wood block carving that is printed on thousands of paper plates, which are transformed through simple folds to create a larger organic form. For Ghuge, the meditative process of carving the woodblock, printing and transformation of the paper plates suggests the possibility of preciousness and indispensable beauty. The site-specificity of the installation allows the form to change, thus echoing the global and ever changing nature of “home” in today’s fast pace, mobile culture.</p> Sat, 04 May 2013 23:41:05 +0000 Massa Lemu - Lawndale Art Center - May 10th, 2013 - June 15th, 2013 <p><em>PRECARIOT </em>is a self-portrait of the artist as a continental drifter in perpetual precarity. The Precariat is a term that combines the word “proletariat” with “precarious” to describe an emerging “barbarian” class of migrant laborers and professionals living and working precariously, holding temporary underpaid jobs, lacking a political voice and increasingly frustrated by their living and working conditions. Attracted by its revolutionary aspects, Massa Lemu embraces the label and adopts it as his title. For Lemu the old patriot was proud of, and ready to die for fatherland, the “precariot” however is one whose only possession is the unstable and indeterminate terrain of precarity, staking claims and maneuvering in this uncertain landscape. In the age of heightened mobility, <em>PRECARIOT</em> focuses on processes of inspection and scrutiny, labeling and branding to highlight the realities of migration.</p> Sat, 04 May 2013 23:44:40 +0000 Ann Toebbe - Monya Rowe Gallery - May 2nd, 2013 - June 15th, 2013 <p>For this exhibition, titled <i>Rooms</i>, Toebbe exhibits seven paintings composed of gouache and various mixed media materials (fabric, yarn and flocking, for example). As the title of the exhibition suggests, each painting is a fastidious depiction of an interior space, rendered in a pseudo-naive fashion. Each scene is drawn from Toebbe’s past and subtly psychologically charged: her mother’s childhood room, the living room of a vindictive neighbor, her parent’s living room during the Christmas holidays. Toebbe relies mostly on memory and old photographs to recreate each setting. “Spaces are my prominent memories. Rooms are things you can remember. There’s something cathartic about recreating those memories on paper.”</p> <p>For <i>Margie’s Room</i> (2013), a scene of her mother’s childhood bedroom, Toebbe drew on family photos of her grandmother’s hand-sewn curtains, stapled wallboard and linoleum floors, which in her mother’s recollection was a quintessential adolescent girl’s room, replete with sewing machine, horse paintings, and vanity tables. In <i>Jean’s Vision</i> (2012), Toebbe recreated the living room of her mother’s friend, Jean, who claims to have seen The Virgin Mary and each Christmas decorates her entire living room blue. The seemingly mundane interiors of Toebbe’s idiosyncratic subjects are portholes into a stranger’s life that reveal only part of a story.</p> <p>Toebbe’s paintings and mixed media collages transform those memories into formally executed homages about space, geometry, and color. The work foregrounds geometric patterns and materiality but also reveals moments of unexpected nuance: the landscape outside a window, the glare on a mirror, or the wood grain in a coffee table is subtly transformed into small abstract markings (a painting within a painting).</p> <p><i>Rooms</i> is a slice of Americana and a bit of nostalgia within a domestic frame. Are our lives really this structured? Who is doing the dusting? Do objects define us? Are the Christmas decorations an extension of our obsessive self? If I pay homage to The Virgin Mary will she visit my home?</p> <p></p> <p><b>Ann Toebbe </b>received a MFA from <i>Yale University</i>, CT and a BFA from <i>Cleveland Institute of Art</i>, OH. She received a scholarship from <i>DAAD</i>, <i>Universität der Kunst</i>, Berlin, Germany in 2005, and was awarded a residency at<i> Skowhegan School of Painting and Sculpture</i>, ME in 2000. In 1995, Toebbe participated in the “NY Studio Program” at <i>Parson’s School of Design</i>, NY. Her work was recently exhibited in a group exhibition titled  “Open House: Art About Home” at <i>The Elmhurst Museum of Art</i>, Chicago, IL and in solo exhibitions at the <i>Chicago Museum of Contemporary Art</i> (as part of the invitational “12 X 12”<i> </i>series); <i>Ebersmoore Gallery</i>, Chicago; and <i>Steven Zevitas Gallery</i>, Boston, MA. Toebbe’s work is included in an upcoming exhibition titled “Paper” at the <i>Saatchi Gallery</i> in London. This is her first solo exhibition at <i>Monya Rowe Gallery</i>. Toebbe lives and works in Chicago, IL.</p> Sat, 05 Sep 2015 10:18:37 +0000 Eduardo Basualdo - Rochechouart Museum of Contemporary Art - March 1st, 2013 - June 15th, 2013 <p>The Museum will host the first comprehensive show of the Argentinian artist Eduardo Basualdo. The recreation of natural forms, the ambiguity of the representation of nature and the physical impact of the works of art on the exhibition space are the challenges of his artistic research.</p> Sat, 09 Mar 2013 02:37:48 +0000 Roger Foley-Fogg, Jessica "Jess" Cook - Slot - May 14th, 2013 - June 15th, 2013 <p>To coincide with Sydney's VIVID festival of lights, Australia's pioneer of Lumino Kinetic Art - Roger Foley-Fogg (also known as Ellis D Fogg) - returns to SLOT with a new collaborative artwork created with Redfern talent Jessica "Jess" Cook.<br /> Utilising electronically controlled LEDs and steel mesh, this dynamic lightwork combines Cook's cloth weaving process with Foley's recent forays into rope lighting.  Despite a forty-year difference in their age, Cook 'n Fogg share a passion for artistic collaboration and alternative process.<br /> The ribbon LEDs play wonderfully with the street scape, their bounced reflection on the shop window mingling with street signage and the tail lights of passing traffic.</p> Fri, 17 May 2013 09:06:07 +0000