ArtSlant - Recently added en-us 40 Zachary Fabri - Museum of Art Fort Lauderdale - January 19th - May 17th <p style="text-align: justify;">In conjunction with <em>The Movement: Bob Adelman and Civil Rights Era</em> <em>Photography</em> exhibition , NSU Museum of Art presents an exhibition of four videos by Zachary Fabri. As a young artist of Jamaican and Hungarian heritage, Fabri&rsquo;s work is created in dialogue with historical events and ideologies that shape our present. The films are scattered throughout the museum as stepping stones for the viewer&rsquo;s passage through time and space. Fabri explores the movement and politics of the body and uses humor as a subversive tool that entices viewers to engage his work, and to ultimately shift their perspective in relation to the subject.</p> <p style="text-align: justify;"><strong><em>Me and Them </em></strong></p> <p style="text-align: justify;">The pronouns Fabri often uses in the titles of his work are deliberately vague. In <em>Me and Them</em>, it is not clear who is being identified as &ldquo;me&rdquo; or &ldquo;them&rdquo;&mdash;the dancers, the Western woman, the artist filming the scene, or the viewer.&nbsp; As in most of Fabri&rsquo;s work, viewers need to locate themselves in relation to the subject as insider or outsider.&nbsp; Fabri used his camera to record three girls performing a traditional dance in Darjeeling, India that from a Westerner&rsquo;s perspective seems exotic.&nbsp; The artist is as much an outsider of this tradition as the cheerful tourist who joins in the dance. The film is funny and uncomfortable as the viewer&rsquo;s response constantly shifts in perspective.</p> <p style="text-align: justify;"><strong><em>olo Combo</em></strong></p> <p style="text-align: justify;">Fabri uses film to record fleeting moments and the ephemeral nature of performance art. In this film, his movements were choreographed to respond to the ephemeral elements of light, shadow, solid and air.</p> <p style="text-align: justify;"><strong><em>Fortune&rsquo;s Bones</em></strong></p> <p style="text-align: justify;">This film was commissioned by the El Museo del Barrio located on New York&rsquo;s Museum Mile on Fifth Avenue. Fabri used video to document his guerrilla performance in which he and a group of participants marched into various museums along Fifth Avenue. During his visit to the Metropolitan Museum of Art, he improvised a ritualistic dance in the African wing.</p> <p style="text-align: justify;">The film&rsquo;s title is a reference to a skeleton of a slave called Fortune, found in a closet and exhibited by the Mattituck Museum in Waterbury, Connecticut until 1970. Fabri notes that his intervention in the Metropolitan Museum of Art&rsquo;s African wing addresses the metaphoric skeletons in the closet of cultural institutions. His performance at the Met was a means to reclaim the forgotten bones of African and indigenous people. His work questions how museums acquire artifacts, especially those of other cultures.</p> <p style="text-align: justify;"><strong><em>Forget me not, as my tether is clipped</em></strong></p> <p style="text-align: justify;"><em>Forget me not, as my tether is clipped</em> is an eloquent mediation on the artist&rsquo;s relationship to history, the ideologies and beliefs that define him and his transformation as he gains experience and knowledge. Shot in 16 mm black and white film in Harlem in and around Marcus Garvey Park, the work is a metaphor for memory and the weight of history.&nbsp; The title beseeches the artist and/or the viewer not to forget the past and the ideas that shape identity even as the action recorded by the film expresses the inevitability of transformation. Even the medium of 16 mm film suggests dated technology, thereby infusing the work with a sense of nostalgia. Fabri&rsquo;s choice of location for his performance is rife with references to the past: Harlem is a historical place that has evolved over time, and Marcus Garvey Park is dedicated to the Jamaican political leader who was a proponent of Black Nationalism and Pan African movements in the early twentieth century. As a young Jamaican man, born and raised in Miami and currently living and working in New York, Fabri used his own dreadlocks as the physical manifestation of the Rastafarian traditions that shaped him.&nbsp; The balloons that are tethered to his hair suggest both the weight and buoyancy of past ideologies. His hair defines who he is by gender, race and politics. Yet these definitions also place limits on his identity. As he ritualistically ties the balloons to the coils of matted hair, they form a cocoon from which he emerges transformed after he clips his hair and both balloons and dreadlocks float away.</p> <p>&nbsp;</p> Tue, 15 Apr 2014 12:58:14 +0000 - Museum of HistoryMiami - February 24th - May 31st <p style="text-align: justify;">Every city has a building that is emblematic of its culture and history. New York has the Empire State Building and Paris has the Eiffel Tower. For Miami, Florida, that building is the Ralph Munroe Marine Stadium, a modernist concrete structure that looks like an origami rendition of the Sydney Opera House. Designed in 1963 by a young Cuban architect named Hilario Candela, this 6,566-seat stadium is a marvel of design and engineering that takes its architectural cues from Havana&rsquo;s Tropicana Nightclub. With a football field-length roofline (356 ft.) that was the longest span of cantilevered concrete in the world when it was built, the stadium was designed for watching speed boat racing at a time when Miami was the epicenter of the sport. The Marine Stadium also mirrored the cultural heartbeat of Miami, hosting stars like Jimmy Buffett, Gloria Estefan, Dave Brubeck, the Beach Boys, and Ray Charles on its dramatic floating stage. Flamboyant enough to serve as a set for Elvis Presley&rsquo;s film Clambake, it was also majestic enough to host religious services and political rallies.</p> <p style="text-align: justify;">Though shuttered and neglected since 1992 when the City cited unsafe conditions after Hurricane Andrew, Miami&rsquo;s architectural jewel has continued to be a focal point for cutting-edge artistic trends. Graffiti artists and skateboarders have turned its ramps and raw concrete expanses into one of the nation&rsquo;s most important venues for street art. Contemporary artists, engineering scholars, architects, photographers, and designers continue to be mesmerized and influenced by its soaring roofline and panoramic water views.</p> <p style="text-align: justify;">This exhibit features film clips, antique hydroplanes, videos of Parkour athletes&rsquo; stunts, site-specific graffiti murals, and much more, this multi-media exhibit will bring Miami&rsquo;s most daringly modern building back to dazzling life. This exhibit is curated by Rosa Lowinger and Megan Schmitt, presented by the Coral Gables Museum, and supported by the Friends of the Miami Marine Stadium and the National Historic Trust.</p> Tue, 15 Apr 2014 12:52:04 +0000 Ferdie Pacheco, Angelo Dundee - Museum of HistoryMiami - February 15th - May 31st <p style="text-align: justify;">On February 25, 1964, Muhammad Ali (then Cassius Clay) made history when he defeated reigning heavyweight champion Sonny Liston in a match that took place at the Miami Beach Convention Hall.</p> <p style="text-align: justify;">Revisit one of the greatest upsets in boxing history through artwork, rare artifacts and never-before-seen photographs by <em>Miami Herald</em> photographers. Items on display include trainer Angelo Dundee&rsquo;s corner kit, tickets, promotions and other event ephemera from the Hank Kaplan Boxing Archive at Brooklyn College Library, and paintings by Ferdie Pacheco, Ali&rsquo;s former physician and cornerman.&nbsp;</p> Tue, 15 Apr 2014 12:48:44 +0000 Muher - The Americas Collection - April 4th - May 3rd Tue, 15 Apr 2014 12:38:13 +0000 Bunny Yeager - Gavlak - March 22nd - May 10th Tue, 15 Apr 2014 12:33:14 +0000 Titi Kerndt - Etra Fine Art - April 12th - May 11th <p style="text-align: justify;">Join us for the opening of Titi Kerndt's new solo show entitled, "Constructive Nature". These new works harness Kerndt's command of color and texture in service of more geometric elements, but the core passion and energy and her nature-driven paintings remain intact.</p> Tue, 15 Apr 2014 12:30:37 +0000 Michael Scoggins, Alex Gingrow - Diana Lowenstein Fine Arts - April 12th - May 30th <p style="text-align: justify;">The Diana Lowenstein Gallery is pleased to announce the <strong><em>Your Forest for My Trees</em></strong>, an exhibition featuring new work by <strong>Michael Scoggins</strong> and <strong>Alex Gingrow</strong>.&nbsp; An opening reception will take place Saturday, April 12<sup>th</sup>, from 6 to 9pm during the Wynwood Second Saturday Gallery Walk.&nbsp; The exhibition will be on view through June 7<sup>th</sup>.&nbsp; &nbsp;</p> <p style="text-align: justify;"><strong>Michael Scoggins</strong></p> <p style="text-align: justify;"><em>&lsquo;A page out of a notebook, with its blue lines and spiral bound edges, is a familiar image. This is my primary vehicle in utilizing a connection with the viewer. The paper is enlarged to give this common object a sense of importance and to create a new perspective. The text and images placed upon the large page deal with the influences of American culture and how it has shaped my life. The paper is torn, crumpled and folded to implicate a tangible history and to suggest the creation of an object, thus expanding the definition of traditional drawing.&rsquo;</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Scoggins was born in Washington D.C. and earned an MFA in painting from the Savannah College of Art and Design in 2006. He has attended various prestigious residencies including the Skowhegan School of Painting and Sculpture, the MacDowell Colony, and most recently the Fountainhead Residency. Michael has gained international recognition. His works are found in notable collections including, but not limited to, the Hammer Museum in Los Angeles and the Museum of Modern Art in New York. Michael&rsquo;s artwork has been exhibited in over twenty solo shows, fifty curated group exhibitions, as well as written about in countless publications.</p> <p style="text-align: justify;"><strong>Alex Gingrow</strong></p> <p style="text-align: justify;">'<em>I make text-based paintings and drawings that are at turns witty, sardonic, poetic, self-deprecating and revealing.&nbsp; The delivery systems for the narratives are easily recognizable objects such as gallery provenance stickers or a daily desk calendar.&nbsp; These objects are reappropriated with my own writing and carefully rendered text so that from a distance the work appears to be that of a mechanical reproduction.&nbsp; On closer inspection, it is evident that the surface of the work is carefully and delicately modeled with repetitive mark-making: a symbolic meditative homage to the history of painting.&nbsp; Like the goal of all good literature, I strive to make nuanced work that is, at its core, an examination of the oddities and intricacies of the human condition.&rsquo;</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Born in 1979 in Knoxville, Tennessee, Gingrow has lived and studied in various cities such as Boston, Savannah and the small village of Dorf Tirol, in northern Italy.&nbsp; In addition to her own artistic practice, she has participated in numerous panel discussions, fundraisers, speaking engagements, and as a guest artist at various performances and events. Her first solo show in New York City was held at Mike Weiss Gallery in September 2012 and was followed by residency appointments at the Hambidge Center in Georgia and the Fountainhead Residency in Miami.&nbsp; Gingrow has exhibited widely both nationally and internationally and has received critical reviews from publications such as <em>The New York Times</em>, <em>The Wall Street Journal</em>, <em>Modern Painters</em>, and <em>Frieze Magazine</em>. She currently lives and works in Brooklyn, New York.</p> Tue, 15 Apr 2014 12:23:00 +0000 Elaine Reichek - Boca Museum of Art - May 3rd - July 27th <p style="text-align: justify;">Knitted and embroidered artworks with a conceptual twist have made Elaine Reichek's artwork the subject of solo exhibitions at the Museum of Modern Art, The Jewish Museum of New York, the Tel Aviv Museum of Art, and other international venues.</p> <p style="text-align: justify;">The Boca Museum of Art presents an elegant exhibition focusing on the period of Reichek's art dating from 1972 to 1995. This body of work addresses the translation, and mis-translation, of artifacts from outside cultures and colonizers. Reichek finds, enlarges, and colors ethnographic and architectural photographs, pairing them with her own hand-knitted interpretations. Photographs of teepees, ceremonial dress, and others are juxtaposed with knitted forms that mimic the images found in them.</p> <p style="text-align: justify;">The use of knitting and embroidery (often denigrated as simply craft), rather than the usual art materials to produce contemporary art, is central to Reichek&rsquo;s work. As she says, &ldquo;the meaning of an artwork is always bound up with its media and processes and their history.&rdquo;</p> Tue, 15 Apr 2014 12:09:15 +0000 - Boca Museum of Art - May 3rd - July 27th <p style="text-align: justify;">The international exhibition, <em>Afghan Rugs: The Contemporary Art of Central Asia</em>, features over 40 rugs from a private European collection, traveling for the first time to museums in North America. Selected for their exceptional quality and stunning imagery, the rugs in this exhibition represent a unique category in decorative arts. They constitute some of the most powerful visual inventions of the late 20th century and are skillfully crafted with hand-spun and dyed, tightly knotted wool.</p> <p style="text-align: justify;">These exquisitely woven works of art are designed with thoroughly untraditional motifs. Approximately half of the rugs&mdash;some produced well before the Soviet invasion of Afghanistan in 1979&mdash;feature cityscapes, portraits, landscapes, and world maps, framed by tanks and helicopters. Other rugs in the include weapons and fighting scenes made by weavers in Afghanistan, or in the North-West Frontier Province of Pakistan. No matter the central imagery, each rug is traditionally bounded by an intricately framed and detailed border design offering incredible works of art to be enjoyed on the floor as well as the wall.</p> Tue, 15 Apr 2014 11:59:27 +0000 Russell Maltz - Alejandra Von Hartz Gallery - April 10th - June 7th <p>Alejandra von Hartz Gallery is very pleased to announce the installation of new work by New York-based artist Russell Maltz. This is Maltz&rsquo;s first solo exhibition with the gallery.</p> <p>Russell Maltz&rsquo;s most recent works are the product of an ongoing project begun in January 2004. These works by mapping the element of time and duration explore issues of fabrication, transportation, painting, assembly, disassembly and the integration of the work&rsquo;s elements into the public realm.&nbsp; These newest works of the S.P. series consist of plywood plates painted and suspended from steel posts attached to the wall of the gallery. In their raw physical state, they convey the concept of semblance, an assembly of everything they are; an ordered representatioof the unseen process, that go into their making. Onto these structures Day-Glo paint and industrial enamels are applied as &ldquo;material on material,&rdquo; defining areas or zones on the raw plywood surfaces generating layers of information. It is this layering that curbs the perception of entropy and fosters a discussion of painting in terms of process and duration and time, as its form and as its content.</p> <p>The altering of manufactured material such as steel plates and beams, glass, metal stud, lumber, drywall and CMU etc.; for the purposes of making art becomes an act of ventriloquism by the artist. This ventriloquism manifests itself in the artist&rsquo;s ability to take the basic, intrinsic and intended use of a material by its manufacturer, as defined by the requirements of a society and transform these into art-works that function on several levels simultaneously, without relinquishing its original, newly found or potential, future identity. In addition to the S.P. works, Russell Maltz will engage the gallery space with a new installation work that will examine the phenomena of conveyance as an event.</p> <p>Russell Maltz (b. 1952, Brooklyn, NY) has exhibited work in numerous solo and group exhibitions throughout the United States and internationally, including in Australia, Germany, Austria, France, Italy, Israel, Denmark, Mexico, Switzerland, Japan and New Zealand.&nbsp;</p> <h3>His work has been reviewed in publications such as The New York Times, Artforum, Art in America, and Village Voice. His works are in the collection of The Brooklyn Museum, Yale University Art Museum, Fogg Art Museum, Harvard University Art Museum, Kunstraum-Alexander Burkle, Freiburg, Germany, San Jose Museum of Art, San Jose, California, Arkansas Art Center, Little Rock, Arkansas, Saarland Museum, Saarbrucken, Germany, Stiftung fur Konkreter Kunst, Reutlingen, Germany, Wilhelm-Hack Museum, Ludwigshafen , Germany, Gallery of Western Australia, Perth, Australia . &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <span style="font-size: 12px;">He has been facilitating with Critical Practices Incorporated since its inception and serves on its advisory board.</span></h3> <p>Critical Practices is currently participating in the&nbsp; 2014 Whitney Biennial as a think tank for intellectual participation and critical theory.</p> <p>Russell Maltz lives and works in New York City.</p> Mon, 14 Apr 2014 21:56:12 +0000