ArtSlant - Openings & events en-us 40 - Art in General - April 25th 2:00 PM - 6:00 PM <h1>What Now? 2015: The Politics of Listening</h1> <div class="projectPR">&nbsp;</div> <div class="contentwrap"> <p><strong>Friday, April 24, 2015, 12.30&ndash;7pm<br />Saturday, April 25, 2015, 2&ndash;6pm</strong></p> <p>The New School, Anna-Maria &amp; Stephen Kellen Auditorium<br />66 Fifth Avenue, New York City &mdash; Free admission.<br />Please&nbsp;RSVP&nbsp;to&nbsp;<a href="" rel="nofollow"></a></p> <p><a href="" rel="nofollow"><strong>Click here for the complete What Now? 2015 schedule.</strong></a></p> <p><strong>What Now? 2015</strong>&nbsp;is a two-day annual symposium, organized by&nbsp;<strong>Art in General</strong>&nbsp;in collaboration with&nbsp;<strong><a href="" target="_blank" rel="nofollow">the Vera List Center for Art and Politics</a></strong>, which investigates critical and timely issues in contemporary art. Dedicated to the topic of &ldquo;<strong>The Politics of Listening</strong>,&rdquo; the 2015 symposium comprises four panel discussions spanning Friday and Saturday, a keynote delivered by&nbsp;<strong>Lawrence Abu Hamdan</strong>, and a program of sound installations, audio works, film screenings, and performances.</p> <p>&ldquo;What Now? 2015&Prime; examines the idea of listening as a political act, a pedagogical process, and an activity that can lead to the development of an organized protocol for engagement. Opening with an analysis of listening, the symposium considers the scientific definition of the term alongside perspectives on listening that are shaped and informed by diverse social, cultural, technological, and spatial considerations. As keynote speaker Lawrence Abu Hamdan has noted, &ldquo;Listening is not a natural process inherent to our perception of the world but rather constructed by the conditions of the spaces and times that engulf us&rdquo;.(1)<br /><br />In a world in which the production and reception of information encompasses print and digital media, spoken narratives, and the ever-expanding space of social media, the symposium considers how one can listen with agency and intent in an environment characterized by such an onslaught of data. It also explores the often complex relationship between truth and fiction in relation to interpretative listening, media communication, and acts of testimony, translation, and redaction. To what degree are we able to listen to different kinds of intelligences, and how can we incite receptivity? How do we address the fact that the right to listen is relative, and that the right not to listen, or to remain silent, is also a genuine stance? Can we press on and position listening as a political act? And how do we further develop our ability to &ldquo;listen for what is left out, and why&rdquo;? (2)</p> <p>Highlighting the work of artists and other practitioners interested in expanding dialogue beyond the confines of the art world, &ldquo;What Now? 2015&Prime; ultimately considers the notion of listening with intent, and imagines new possibilities that might arise when listening involves a more expansive state of activity. How can we take the procedures of listening&mdash;which involve disciplined attentiveness and<em>&nbsp;</em>an active questioning&mdash;as a means to assist a constituency to find its own power and solutions to diverse sets of problems? How can working across disciplines, or rethinking the processes of how we learn, expand on and deepen our understanding of an issue&mdash;ultimately enabling us to listen, and act, with a more informed mind?</p> <p>The symposium comprises four sessions: An Analysis of Listening; Taking Listening Seriously; Fact, Fiction and the In-between; and Listening Across Disciplines: A Call to Action. Confirmed presenters and panelists include&nbsp;<strong>Anne Barlow</strong>, Director, Art in General, New York;&nbsp;<strong>Rich Blint</strong>, Columbia University School of the Arts;&nbsp;<strong>Rashida Bumbray</strong>, curator;&nbsp;<strong>Gregory Cast&eacute;ra</strong>, Co-Director, Council, Paris;&nbsp;<strong>Christoph Cox</strong>, Hampshire College, Amherst;&nbsp;<strong>Joshua Craze</strong>, University of Chicago, Illinois;&nbsp;<strong>Lauren van Haaften-Schick</strong>, curator, writer and artist, New York;&nbsp;<strong>Seeta Pe&ntilde;a Gangadharan</strong>, New America Foundation&rsquo;s Open Technology Institute, New York;&nbsp;<strong>James Hudspeth</strong>, The Rockefeller University, New York;&nbsp;<strong>Carin Kuoni</strong>, Director and Curator, Vera List Center for Art and Politics, The New School, New York;&nbsp;<strong>Brian Larkin</strong>, Barnard College, New York;&nbsp;<strong>Shannon Mattern</strong>, School of Media Studies, The New School;&nbsp;<strong>Naeem Mohaiemen</strong>, artist and writer;&nbsp;<strong>Beatriz Santiago Mu&ntilde;oz</strong>, artist;&nbsp;<strong>Julie Napolin</strong>, Eugene Lang College, The New School;&nbsp;<strong>Mendi + Keith Obadike</strong>, artists;&nbsp;<strong>Laurie Jo Reynolds</strong>, University of Illinois at Chicago&rsquo;s School of Art and Art History;&nbsp;<strong>Mohammad Salemy</strong>, The New Centre for Research &amp; Practice, Michigan; and&nbsp;<strong>Kade L. Twist</strong>, artist, writer and member of Post-Commodity. Participatory sessions and art projects presented by&nbsp;<strong>Bigert &amp; Bergstr&ouml;m</strong>,&nbsp;<strong>Iman Issa</strong>,&nbsp;<strong>Mendi + Keith Obadike</strong>,&nbsp;<strong>The Order of the Third Bird</strong>, and&nbsp;<strong>Wato Tsereteli</strong>, Founder, Center of Contemporary Art, Tbilisi, Georgia.</p> <hr noshade="noshade" size="1" /> <p>This is the second annual symposium &ldquo;What Now?,&rdquo; organized by Art in General in collaboration with&nbsp;<a href="" target="_blank" rel="nofollow">the Vera List Center for Art and Politics</a>, as part of Alignment, the Vera List Center&rsquo;s 2013&ndash;15 curatorial focus theme.</p> <p>A new book series relating to the &ldquo;What Now?&rdquo; symposia from 2015 through 2017 will be produced with Black Dog Publishing Ltd., a project that was made possible in part by the Institute of Museum and Library Services.</p> <p>Art in General would like to extend special thanks to the key funders of &ldquo;What Now? 2015&Prime;: the Institute of Museum and Library Services; the Lambent Foundation; and the Trust for Mutual Understanding for their generous support of this initiative. The Vera List Center would like to also thank the Center&rsquo;s Advisory Committee.</p> <p>&nbsp;</p> <p>(1) Lawrence Abu Hamdan (Tape Echo)<br />(2) UltraRed, in Notes on the Protocols for a Listening Session (Glasgow Variation), in On Listening, edited by Angus Carlyle and Cathy Lane, Uniformbooks 2013, p.33.&nbsp;</p> </div> Tue, 21 Apr 2015 03:15:12 +0000 Samira Abbassy, Rajie Cook, Ganzeer, John Halaka, Mary Tuma - FiveMyles - April 25th 5:00 PM - 8:00 PM <h3 style="text-align: justify;">THE ARTISTS:</h3> <p style="text-align: justify;">RAJIE COOK: "I take pride in who I am and where my roots are.</p> <p style="text-align: justify;">As a Palestinian-American artist I feel strongly, as any artist&nbsp;would, about expressing my feelings and experiences&nbsp;relating to human rights &hellip; justice and freedom ... living and&nbsp;dying ... about hurting ... about pride.<br />I work in three-dimensional form to reflect the comedy or&nbsp;tragedy of life. I create miniature, silent, &ldquo;theaters&rdquo; that&nbsp;express my emotions about a range of subjects. My art,&nbsp;constructed with &ldquo;found&rdquo; and fabricated objects (my&nbsp;&ldquo;Thespians&rdquo;), is a series of &ldquo;performances&rdquo; that offer my&nbsp;deepest feelings to my audience.".&nbsp;<a href="" target="_blank"></a></p> <p style="text-align: justify;">GANZEER:&nbsp;Ganzeer&nbsp;is the pseudonym of an Egyptian artist operating mainly between graphic design and contemporary art since 2007. While he&nbsp;regards Bidoun magazine&rsquo;s description of him as a &ldquo;contingency artist&rdquo; as quite accurate, he&nbsp;refers to his own practice as Concept Pop. has placed him on a list of "50 People Shaping the Culture of the Middle East" (2013), and he is also one of the protagonists in a critically acclaimed documentary &ldquo;Art War&rdquo; (2014) by German director Marco Wilms.&nbsp;Ganzeer&nbsp;is currently based in Brooklyn, New York. His website is at&nbsp;<a href="" target="_blank"></a></p> <p style="text-align: justify;">JOHN HALAKA: Palestinian refugees have become the forgotten survivors of the world. They exist,&nbsp;unseen and unheard, in the margins of the marginalized, while their experiences in exile&nbsp;continue to be deliberately ignored and their voices repeatedly silenced. &nbsp; &nbsp;Presenting&nbsp;the portraits and preserving the stories of indigenous Palestinians puts a living name, a&nbsp;human face and unique sets of experiences on their ongoing refugee crisis. &nbsp;It&nbsp;humanizes and personalizes the abstract notion of the displaced masses, making the&nbsp;experiences of the refugees more real, comprehensible and unforgettable.<a href="" target="_blank">&nbsp;</a></p> <p style="text-align: justify;">MARY TUMA: Mary Tuma's&nbsp;work addresses issues of the transformation of the body and the spirit through the use of clothing forms applied to found objects or placed within a contextual environment. The use of old fabrics and found objects is important in creating a work or environment that evokes a feeling of loss, or distant memory. She is interested in the sorting of images from the past, images that are like shadows or ghosts, something not quite whole and no longer real but still of great influence and power.</p> <p style="text-align: justify;">SAMIRA ABBASSY:&nbsp;On Message is made up of eleven 12X12" gesso panels, displayed closely&nbsp;together to reveal a fragmented overview of a deconstructed story. The multi-paneled format allows the panels to be ordered in a variety of ways,&nbsp;allowing the telling of various narratives, so that the story of History itself&nbsp;can be retold or "mistold" by its various presentations in our museums.&nbsp;Each panel represents a page taken from a fragmented manuscript of the&nbsp;Persian epic: The Shahnameh - the Book of Kings. These manuscripts&nbsp;(15th C) are illustrated epic poems, written in Farsi, documenting the invasions of the Persian Empire. &ldquo;On Message&rdquo; incorporates the use of propaganda as a long standing weapon of war. The cameras are lined up facing &nbsp;one another like standing armies, creating conflicting narratives of the&nbsp;same events.<br />The battlefield is brought into the focus of a sepia lens, showing the carnage, detritus &amp; the horrors of violence. The choice of materials: brown oil&nbsp;paint on gesso panels, deliberately places this work in the "Western Cannon" and brings to mind Goya's "Disasters of War". There is a sense of&nbsp;timelessness and the repetitive cycles of History: war, genocide, ethnic&nbsp;cleansing, occupation and exile. Contemporary war vernacular defines the&nbsp;idea of victory as "winning hearts and minds", a Martyr becomes a "Suicide&nbsp;Bomber" and so Martyrdom translates as terrorism.&nbsp;The subject of this piece is as much about the story of History being retold&nbsp;or "mistold" by its various presentations in our museums, as well as &ldquo;History being retold by the victor&rdquo;.&nbsp;<a href="" target="_blank"></a></p> Mon, 23 Mar 2015 15:30:32 +0000 Samira Abbassy, Rajie Cook, John Halaka, Ganzeer, Mary Tuma - FiveMyles - April 25th 5:00 PM - 8:00 PM <p align="right">For immediate release</p> <p align="right">Contact: Hanne Tierney, 347-534-6776</p> <p align="right"><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong><a href="" rel="nofollow"></a></p> <p align="right">&nbsp;</p> <p><strong>&nbsp;</strong></p> <p><strong>April 23 &ndash; May 24, 2015</strong></p> <p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;</strong></p> <p><strong><em>Artistic Weapons of Mass Communication</em></strong></p> <p>Curator: <strong>Souhad Rafey</strong></p> <p><strong>&nbsp;</strong></p> <p>Artists: <strong>Samira Abbassy, Rajie Cook, John Halaka, Ganzeer, Mary Tuma</strong></p> <p>&nbsp;</p> <p><strong>Reception:&nbsp;&nbsp;&nbsp; </strong>Saturday, April 25, &nbsp;5pm &ndash; 8pm</p> <p><strong>Hours:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>Thu thru Sun, 1 to 6 p.m. or by appointment: 718-783-4438</p> <p><strong>Location:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>FiveMyles, 558 St. Johns Place, Brooklyn, NY 11238</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Directions below</p> <p>&nbsp;</p> <p>A common thread connects the selected works being shown in this exhibition.</p> <p>Represented in &ldquo;Artistic Weapons of Mass Communication&rdquo; are five artists who utilize different artistic means in order&nbsp;to communicate strong statements through their work. In this context weapons may be construed to include art that is used to gain a strategic, material or mental advantage over traditional mindset.</p> <p>&nbsp;</p> <p>With the Middle East in focus, the show&nbsp;reflects&nbsp;opposition to&nbsp;wars of aggression, military occupations of foreign lands, and the&nbsp;necessary&nbsp;change to&nbsp;the destructive reality of&nbsp;"empire as a way of life."&nbsp;</p> <p>&nbsp;</p> <p><strong>Samira Abbassy</strong>&nbsp;includes&nbsp;a fragmented painting from her "Eternal War" series. &nbsp;The timelessness and repetitive nature of cycles of war, occupation and exile throughout history&nbsp;is captured here.&nbsp;With&nbsp;similarities to Persian miniature painting, the artist portrays the dismal realities of combat. Abbassy uses brown oil paint on gesso panels which&nbsp;deliberately places the work in the "Western Canon" and brings to mind Goya's "Disasters of War."&nbsp;</p> <p>&nbsp;</p> <p><strong>Ganzeer </strong>concentrates on civic responsibility and social justice. &nbsp;</p> <p>He&nbsp;takes a poem which can&nbsp;be considered a rather outdated form of mass communication, and not only repackages it in a singing style that matches the spirit and times of today, but also in an artistic music video that can be shared on the internet and distributed to the masses at large.&nbsp;</p> <p>&nbsp;</p> <p>Through her use of incorporeal forms <strong>Mary Tuma's</strong> work portrays a sense of loss. It invokes a feeling of distant memories; Images are like shadows or ghosts, something not quite whole and no longer real. Reality and surreality or humor and sadness usually come into play,</p> <p>&nbsp;&nbsp;</p> <p>The works of <strong>John&nbsp;Halaka</strong> and <strong>Rajie&nbsp;Cook </strong>are specific to the&nbsp;Israeli-Palestinian "conflict."&nbsp;&nbsp;</p> <p>&nbsp;</p> <p>The Palestinian-American artist<strong> Rajie Cook</strong> constructs intricate miniature silent theaters, small boxes attached to the wall, that conveying his feelings about the tragic situation in the Middle East.</p> <p>&nbsp;</p> <p>Through <strong>John Halaka's</strong> fabric photographs of fragmented portraits, he puts a human face on the abstract notion of the displaced masses, making the experiences of the refugees more real, comprehensible and unforgettable.</p> <p>&nbsp;</p> <p><strong>Souhad Rafey</strong> has an M.A. in Museum Studies from Virginia Commonwealth University. She has worked in over a dozen NYC museums and galleries,&nbsp;among which are the Cooper Hewitt, American Craft Museum, Museum of American Folk Art, Galerie St. Etienne, and Andy Warhol's Studio. &nbsp;Currently, she is the Curator of Exhibitions at the American Academy of Arts and Letters, and she&nbsp;oversees a private art collection.&nbsp;&nbsp;</p> <p><strong>&nbsp;</strong></p> <p>Directions: Take the 2,3,4 or 5 train to Franklin Ave. in Brooklyn. Walk two blocks against the traffic on Franklin Ave., turn left into St. Johns Place, Walk &frac12; block to 558 St. Johns Place. FiveMyles is located</p> Wed, 15 Apr 2015 19:03:43 +0000 Nichole van Beek - Jeff Bailey Gallery - April 25th 6:00 PM - 8:00 PM Fri, 10 Apr 2015 06:32:22 +0000 Cody Hoyt - Jeff Bailey Gallery - April 25th 6:00 PM - 8:00 PM Fri, 10 Apr 2015 06:33:02 +0000 Leidy Churchman - Murray Guy - April 25th 6:00 PM - 8:00 PM Wed, 25 Mar 2015 07:24:10 +0000 Robert Grosvenor - Paula Cooper Gallery - 534 W. 21st Street - April 25th 6:00 PM - 8:00 PM <div class="listing_primary"> <p style="text-align: justify;">The Paula Cooper Gallery is pleased to present a selection of works by Robert Grosvenor from April 25th through June 26th at 534 West 21st Street. The exhibition will include two large-scale sculptures from different periods as well as a selection of recent photography, all shedding light on Grosvenor&rsquo;s artistic evolution over the past forty years. An opening reception will be held on April 25th from 6 &ndash; 8 pm.</p> <p style="text-align: justify;">Known primarily as a sculptor, Grosvenor produced a number of broken or fissured horizontal wood beams in the early to mid 1970s. Conceived while experimenting with the infinite lines and abrupt tears of masking tape, the logs were fractured using precise and repeated force from heavy machinery. On view in the front gallery,&nbsp;<em>Untitled</em>, 1975, rests soberly on the ground. Patinaed with creosote and grease, its darkened wood accentuates splintered surfaces and riven ends. The object&rsquo;s resolute stillness and judicious placement shifts the optical energy of the gallery, creating an ambiguous sense of space. In the words of critic and curator, Bruce Kurtz, they &ldquo;do not give the impression of great weight, nor do they seem to hover in air, but they have a subtle sense of relating to the horizon as though they were in water&rdquo; (<em>Arts Magazine</em>, October 1975). Though the artist resists specific metaphorical readings of his works, their strange seduction lies in these allusive &ndash;and elusive&ndash; comparisons.</p> <p style="text-align: justify;">During the 1980s, Grosvenor&rsquo;s sculptures became increasingly heterogeneous. By the artist&rsquo;s account, his protracted, tactile process lends to unique works rather than serialized projects. Constructed in 2005-2006, the large-scale work on view,&nbsp;<em>Quadrum</em>, is enunciated in four discrete parts across the main gallery. In the center, a cobalt aluminum piece stands on an oval metal plinth. Its vibrant hue and flat, irregular contours contrast with two vertical steel components spaced diagonally on opposite sides. Thoroughly enigmatic while asserting a confident and matter-of-fact presence, the work achieves a dynamic pragmatism that is playfully inscrutable. As the viewer moves, its various planes shift in and out of view, blurring volume and line, inertia and activity. The individual components suggest references to organic or industrial objects. Yet, ultimately they function as mere reflexive presentations of irreducible parts.</p> <p style="text-align: justify;">For his recent series of photographic works, Grosvenor translates this formal vocabulary into two-dimensional snapshots of everyday life. The intimate images present a breadth of familiar objects in striking &mdash;and often comical&mdash; arrangements. In one, an orange traffic cone pokes out of murky gray water to face off against its wooden lookalike. In another, a toy motorboat cruises down a waterway, alongside vehicles on a paved road. Viewed in succession, the images reveal a tableau of shapes that are suggested in his sculpture: a curved roof, a horizontal lintel, a floating log. As in his sculptures, Grosvenor applies his particular and peculiar brand of abstraction. Toting flattened colors, silhouetted subjects and cropped perspectives, they offer an alternate reality that is parallel to ours, yet oddly alien and abstruse.</p> <p style="text-align: justify;">Born in New York City in 1937, Robert Grosvenor studied at the Ecole des Beaux-Arts and the Ecole Sup&eacute;rieure des Arts D&eacute;coratifs in France and the Universit&aacute; di Perugia in Italy. He began exhibiting in the 1960s and was a member of the artist collective Park Place. His work has been prominently included in important exhibitions such as &ldquo;Primary Structures&rdquo; (Jewish Museum, 1966) and &ldquo;Minimal Art&rdquo; (Gemeentemuseum Den Haag, 1968), which helped define minimalism. He soon diverged from this movement to create challenging works that resist assimilation to any of the prevailing art movements. Important one-person exhibitions of Grosvenor&rsquo;s work have been presented at the Kunsthalle Bern (1992) and the Funda&ccedil;&atilde;o de Serralves, Porto (2005). Most recently, he participated in the 2010 Whitney Biennial. Grosvenor&rsquo;s work is included in the collections of the Walker Art Center, Minneapolis, Storm King Art Center, New York, the Museum of Modern Art, New York, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., the Whitney Museum of American Art, New York, and the Serralves Museum, Porto.</p> </div> Wed, 22 Apr 2015 16:56:25 +0000 Adam Cvijanovic - Postmasters - April 25th 5:30 PM - 8:00 PM Fri, 10 Apr 2015 08:38:40 +0000 Holly Zausner - Postmasters - April 25th 5:30 PM - 8:00 PM Fri, 10 Apr 2015 08:39:04 +0000 Pierre Obando - Thierry Goldberg Gallery - April 26th 6:00 PM - 8:00 PM Wed, 25 Mar 2015 15:13:32 +0000 Ruth Asawa, Edith Heath, Sheila Hicks, Karen Karnes, Dorothy Liebes, Alice Kagawa Parrott, Lenore Tawney, Eva Zeisel - Museum of Arts and Design - April 28th 11:00 AM - 6:00 PM <div class="description_block_body"> <div class="field field-name-field-exh-body-left-1 field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;"><em>Pathmakers:</em><em> Women in Art, Craft and Design, Midcentury and Today </em>considers the important contributions of women to modernism in postwar visual culture. In the 1950s and 60s, an era when painting, sculpture, and architecture were dominated by men, women had considerable impact in alternative materials such as textiles, ceramics, and metals. Largely unexamined in major art historical surveys, either due to their gender or choice of materials, these pioneering women achieved success and international recognition, laying the ground for the feminist movement that followed.</p> <p style="text-align: justify;">Featuring more than 80 works, <em>Pathmakers </em>focuses on a core cadre of women&mdash;including Ruth Asawa, Edith Heath, Sheila Hicks, Karen Karnes, Dorothy Liebes, Alice Kagawa Parrott, Lenore Tawney, and Eva Zeisel&mdash;who had impact and influence as designers, artists, and teachers, using materials such as clay, fiber, and metals in innovative ways. Significantly, the group came to maturity along with the Museum of Arts and Design itself, which was founded in 1956 as the center of the emerging American modern craft movement.</p> <p style="text-align: justify;">The exhibition also highlights contributions of European &eacute;migr&eacute;s, including Anni Albers and Maija Grotell, who brought with them a conviction that craft could serve as a pathway to modernist innovation. Parallels between women creating work in Scandinavia and the United States are emphasized by the inclusion of important Scandinavian designers such as Rut Bryk, Vuokko Nurmesniemi and Vivianna Torun B&uuml;low-H&uuml;be.</p> <p style="text-align: justify;">The legacy of these women is conveyed through a section of the exhibition that presents works by contemporary female artists and designers that reflect and expand upon the work of the earlier generation. International and United States-based artists and designers featured in this section include Polly Apfelbaum, Vivian Beer, Front Design, Hella Jongerius, and Magdalene Odundo, among others.&nbsp;</p> <p style="text-align: justify;"><em>Pathmakers </em>is organized by guest curators Jennifer Scanlan and Ezra Shales, along with Barbara Paris Gifford, Curatorial Assistant and Project Manager. The exhibition will be accompanied by a special issue of the <em>Journal of Modern Craft</em>, guest edited by MAD&rsquo;s Windgate Research Curator Elissa Auther. The issue will serve as an in-depth exploration of subjects raised in the exhibition, and will feature articles by international scholars including Helena Kaberg, Professor and Curator at the Nationalmuseum in Stockholm, Sweden; Dr. Sarah Lichtman, Assistant Professor of Art &amp; Design Studies and Director of the Cooper Hewitt&rsquo;s Masters in Decorative Arts and Design; and &nbsp;Dr. Simon Olding, Professor and Director of the Crafts Study Centre at the University of Creative Arts in Surrey, UK.</p> <p style="text-align: justify;"><em>Pathmakers: Women in Art, Craft and Design, Midcentury and Today</em> is supported by Hans and Jayne Hufschmid, the Coby Foundation, The Brian and Edith Heath Foundation, the Helena Rubinstein Foundation, the Lenore G. Tawney Foundation, the Tapio Wirkkala Rut Bryk Foundation, and the Consulate General of Finland in New York. Research was supported by a Craft Research Fund grant from The Center for Craft, Creativity &amp; Design, Inc.</p> </div> </div> </div> </div> Sat, 07 Feb 2015 00:03:29 +0000 - The Boiler (Pierogi) - April 28th 8:00 PM - 10:00 PM <p style="text-align: justify;">Featuring the Film Club Band: Brian Dewan, Tony Maimone, Paul Scher, David Scher, Tim Spelios</p> Thu, 23 Apr 2015 17:23:54 +0000 - Anthology Film Archives - April 29th 7:30 PM - 9:30 PM Fri, 03 Apr 2015 18:22:15 +0000 Tony Oursler - Lehmann Maupin - Chrystie Street - April 29th 6:00 PM - 8:00 PM Sat, 04 Apr 2015 11:07:37 +0000 Daniel Wiener - Lesley Heller Workspace - April 29th 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong>Front Gallery</strong><strong>:</strong>Lesley Heller Workspace presents "Kooks and Villains," Daniel Wiener's third solo exhibition with the gallery. Though best known as an abstract sculptor, three years ago Wiener began drawing and modeling fantastic heads and faces. In this series Wiener asks, what is more powerful than looking at someone face to face?&nbsp;</p> <p style="text-align: justify;">Originally the project began as a way to re-imagine the politicalvillains of our time as grotesques, continuing the tradition of Philip Guston's "Poor Richard." In tinkering in the studio, Wiener began to focus on inner demons and so a variety of historical influences took root: Romanesque gargoyles, the hellish gods of Himalayan cloth paintings, the Rat Fink comics of Ed 'Big Daddy' Roth, and James Ensor's paintings of masked revelers confronting death. Far from traditional representation, these faces live on the edge of abstraction.&nbsp;</p> <p style="text-align: justify;">In opposition to a villain, typically a kook&nbsp;is slightly wacky, an endearing name for someone eccentric but lovable. But in the world of surfing, of which Wiener is an active member, "kook" is a negative and derogatory term&mdash;beginning surfers who naively get in the way. Despite their inconvenience in the water the artist has found himself increasingly drawn to the clumsy aspiration and dogged determination of the kook. In surf culture, no one would admit to being a kook. But kooks endure the pain and confusion of failing over and over again, as well as appearing the fool, not unlike an artist. In his work, Wiener emulates the kook's innocent enthusiasm.&nbsp;</p> <p style="text-align: justify;">We see figures and bodies in the clouds above; we recognize a face on the surface of the moon. Wiener&rsquo;s work extends this notion, reducing the facial form of his kooks and villains to a series of abstractions, yet subtly preserving a thread of recognition. The artist pushes twisted strands of Apoxie-Sculpt, a two-part, clay-like epoxie, into hand-crafted molds, reproducing shapes without creating copies, a great variety generated from the same starting point. Exploiting the attributes of Apoxie-Sculpt, the artist paints in three-dimensional space where heads appear like chimera in and behind the nooks and crannies of the larger works.</p> <p style="text-align: justify;">Wiener's kooks and villains are as beautiful as they are monstrous. Like any mask, they expose and obscure emotion, often at the very same time.</p> <div> <p style="text-align: justify;"><em>Daniel Wiener, who recently received a Guggenheim Fellowship, grew up in Los Angeles County but has lived in or around NYC for close to thirty years. A professional artist since 1977, Daniel&rsquo;s first show was at the Stephen Wirtz gallery in San Francisco, held shortly after his graduation from University of California at Berkeley. In 1982 Daniel was awarded a fellowship for an unusually long stay at Yaddo, which inspired his exodus to the East Coast. Daniel&rsquo;s work has been exhibited nationally and internationally in both group and one-person shows, notably at Bravin/Post Lee Gallery in New York and Acme Gallery in LA. Though he is known primarily for his intense and viscerally arresting sculptures, Daniel also works in pen and ink, watercolors, and animation.</em></p> </div> Wed, 22 Apr 2015 16:45:57 +0000 Lisa Corinne Davis, Elisa Jensen, Michael Krondl, Holly Miller, Natalie Moore, Ellie Murphy - Lesley Heller Workspace - April 29th 6:00 PM - 8:00 PM <p style="text-align: justify;">Lesley Heller Workspace presents&nbsp;<strong>KEEP OUT</strong>, featuring the work of Lisa Corinne Davis, Elisa Jensen, Michael Krondl, Holly Miller, Natalie Moore, and Ellie Murphy. This exhibition explores both the intended and unintended consequences of borders, and argues that borders are the place where real dialogue occurs.</p> <p style="text-align: justify;">From national boundaries to gated communities, from class divisions to religious affiliation, we create fences, walls, borders and every conceivable kind of barrier to entry. Some barriers are designed to intimidate, like the Berlin Wall, while others wax poetic, as the Yuma/Calexico desert fence. Borders like school zones and voting districts are not physical but can cause strife. Others are barely noticeable, such as the cut in a field of grass dividing Guinea and Sierra Leone. Each border has its own character and level of porosity, but all borders are meant to define, protect, and exclude. Their reasons for being are as numerous as their effects; even as they keep us in or out, they represent the line at which ideas and cultures intermingle.</p> <p style="text-align: justify;">The overlays of informational structures in&nbsp;<strong>Lisa Corinne Davis&rsquo;</strong>&nbsp;paintings give the viewer a glimpse into the complex relationships of race, culture, and history. Working with the logic of the poet rather than that of a demographer, Davis sets up categories, collects data, codes information, and creates graphs and charts to play with place as a geographical, metaphorical, and metaphysical concept.</p> <p style="text-align: justify;"><strong>Elisa Jensen</strong>&rsquo;s paintings of the Greenpoint, Brooklyn Neighborhood where she lives explore a wide range of boundaries. Her paintings of graffiti explore the ways in which brick walls and razor wire-topped fences serve their intended purpose, while at the same time providing a canvas for creative expression, while her work dealing with bottle collectors and the homeless explores the often invisible barriers we erect in the face of socio-economic disparity.</p> <p style="text-align: justify;"><strong>Michael Krondl</strong>'s photographs seek to break through the gallery wall, to place the viewer&nbsp;<em>in</em>&nbsp;the space of the image rather than looking&nbsp;<em>at</em>&nbsp;the space of the image. Throughout the history of photography, people with cameras have sought to &ldquo;capture the moment,&rdquo; to document a distant (in time or place) reality.&nbsp; Especially in the case of landscape photography, the images have functioned much like windows, a trope inherited from landscape painting.&nbsp; Here trompe l'oeil strategy seeks to abolish that distance, to smash the window, replacing the "fourth wall" of the gallery with a wall of ice.</p> <p style="text-align: justify;">The threaded lines conceal the surface of the canvas in&nbsp;<strong>Holly Miller</strong>&rsquo;s paintings, suggesting a tactile and physical barrier that simultaneously&nbsp;works as an opening into the painted ground. An effect of "inside out" is created; a transparency is revealed through the repetitive rhythm of the punctured line.</p> <p style="text-align: justify;">The scrim effects of&nbsp;<strong>Natalie Moore</strong>&rsquo;s woven sculptures explore the dynamics of what is revealed and concealed. Forms harken to structures that have been battled and twisted by the wind and rain, while the hand weaving of common material is both an absurd endeavor and a wandering meditation.</p> <p style="text-align: justify;"><strong>Ellie Murphy</strong>&rsquo;s fabric and acrylic yarn installations evoke the physical and emotional barriers to the entry of a teenage room.&nbsp; With its nostalgic materials and methods, her work straddles the line between childhood and adulthood while also questioning the borders between fine art and traditional craft forms.&nbsp;</p> <p style="text-align: justify;">Combining references to doll hair, needlework, folk motifs, feminist art and Americana from her 1970&rsquo;s childhood in Kansas; these large sculptures describe the tension between the cultural and the personal, between the public and the intimate, and between the comic and the serious.</p> Wed, 22 Apr 2015 16:47:31 +0000