ArtSlant - Openings & events en-us 40 Matthew Ronay, Serge Charchoune, Fernand Léger, Graham Marks, Terry Riley - Andrea Rosen Gallery - June 28th 6:00 PM - 8:00 PM <p style="text-align: justify;">Andrea Rosen Gallery is delighted to present <em>Empirical Intuitive Absorption</em>, an exhibition organized by Matthew Ronay featuring significant and rarely seen works by Serge Charchoune, Fernand L&eacute;ger, Graham Marks and Terry Riley, as well as new works by Ronay. This exhibition, inspired by a conversation with Ronay following his lecture at the Perez Art Museum Miami this spring, exemplifies the intention, exploration and potential behind the gallery&rsquo;s historical program in shaping contemporary dialogues to illuminate new facets of past and present.</p> <p style="text-align: justify;"><strong>Curator&rsquo;s Statement</strong></p> <p style="text-align: justify;">An ongoing interest in the origin of creativity has led me in many directions, with each interpretation I come across supporting its unknowable nature.</p> <p style="text-align: justify;"><em>The Science of the Dogon: Decoding the African Mystery Tradition </em>by Laird Scranton, a book of guerilla scholarship, proposes that the Dogon people of West Africa, whose creation mythology is told through symbols, sculpture, and architecture, had knowledge of the genesis of matter, biology on an atomic level, astronomy, and other psychical phenomena that would have been impossible for them to have understood through direct observation. When viewed thorough this lens, it&rsquo;s uncanny the way some of their symbols echo mitosis or string theory, as if their bodies knew.</p> <p style="text-align: justify;">I wondered, might it be possible that other works of abstraction also have roots in something beyond formal endeavor? Can abstraction be knowledge? Can knowledge be expressed without dogma?</p> <p style="text-align: justify;">Some abstractions, even if unconnected to organized traditions and mythologies, may relate to something empirical. It is possible that in our evolution from stardust to human that we have absorbed some sort of intuitive understanding of our dawning and being, an implicit inherited memory of our existence, charted out in images of biology, botany, geology, astronomy, etc&hellip; Historically, artists have naturally &ldquo;de-conditioned themselves from the community&rsquo;s instinctual distrust of the mystery&hellip;to go between ordinary reality and the domain of ideas.&rdquo;* They&rsquo;ve trained to relax and discharge the repeating song of the universe in its echoing forms of micro and macro, biological knots, and intricacies. These ideas then become narratives, then parallel into mythologies. Does everything loop back into nature?</p> <p style="text-align: justify;">As I warmed to this idea I saw it in works that are inspirations to me by Charchoune, L&eacute;ger, Marks, and Riley.</p> <p style="text-align: justify;"><strong>Serge Charchoune</strong> (1888&ndash;1975). A self described Ornamental Cubist, with Copley, Duchamp, Ernst, L&eacute;ger, and Miro amongst his supporters and patrons. I think he was a synesthete, as his oeuvre is pocked with paintings inspired by music. He also had an affinity for water and saw it and music as mirroring each other. He is undoubtedly another artist whose diagrams and &ldquo;landscapes&rdquo; mimic some instinctual understanding of geology, biology, and even engineering. As his painting progresses, he begins to deplete the color in his work so that by the 1960s he is painting almost entirely in white monochrome.</p> <p style="text-align: justify;"><strong>Fernand L&eacute;ger</strong> (1881&ndash;1955). There is a period of L&eacute;ger&rsquo;s work, from the mid 1920s to early 1930s, that I am particularly interested in, and that I believe is inspired by the &ldquo;close-up&rdquo; in film &ndash; where he seems to be understanding, like a computer, the unconscious psychological associations with objects. He definitely took a turn into the physical / biological world for a moment after this when his strange visual computations blossomed into amoeboid. This period of serious interest in microscopic imagery was inspired by his frequent hiking with Charlotte Perriand.</p> <p style="text-align: justify;"><strong>Graham Marks</strong> (b.1951). Marks&rsquo; vegetal egg structures map the universe and vibrate microscopic cellular or elemental possibilities. Often in repose, they seem to be projecting outward and pulling inward at the same time.</p> <p style="text-align: justify;"><strong>Terry Riley</strong> (b. 1935). Minimalist musician and student of La Monte Young and Pandit Pran Nath, Riley is a flexible and organic contemporary of his minimalist peers. His music bubbles like water boiling, grows like a plant, or freezes into crystalline structures. It reflects something analog but infinitely intricate, like a molecular structure.</p> <p style="text-align: justify;">My own relationship to this proposition of the abstract as more than formalist is obvious in its participation with alien deep sea creatures, glandular secretions, vibrating fields of energy, and tongues and protrusions on scales indeterminable.<br /> _</p> <p style="text-align: justify;"><strong>Matthew Ronay</strong> (b. 1976) lives and works in New York. His work has been exhibited internationally, and is currently on view in concurrent solo-exhibitions at the Perez Art Museum Miami (through January 15, 2017) and The Blaffer Art Museum, Houston (through October 1). A new monographic catalogue illustrating major recent and new bodies of work will conjunctively be published by Gregory R. Miller &amp; Co. at the end of the summer.</p> <p style="text-align: justify;">*Terence McKenna and The Shaman, Re:Evolution, 1992.</p> Wed, 22 Jun 2016 09:46:06 +0000 - David Nolan Gallery - June 28th 6:00 PM - 8:00 PM <p style="text-align: justify;">David Nolan Gallery is pleased to present <em>drawing ROOM</em>, an exhibition curated by Markus Dochantschi. On view from June 28 through July 29, the show brings together a wide array of artists dealing with complex notions of space, and who challenge our sensation of the world around us.</p> <p style="text-align: justify;">According to the curator: &ldquo;My very first introduction to architecture, other than walking through space, was behind the lens of my father&rsquo;s 1963 Exacta 35mm Camera. My fascination to capture space, memorialize, and flatten it into a two dimensional media, became an obsession in my teenage years. This very obsession turned into my passion for art and architecture: a constant exchange and dialogue between 2 dimensional drawings, perspectives, and later computer animations, visualizing space.&rdquo;</p> Thu, 16 Jun 2016 17:52:44 +0000 Charles Woodard - Higher Pictures - June 28th 4:00 PM - 6:00 PM <p style="text-align: justify;">Higher Pictures is pleased to present the work of Charles Woodard. The 60 four-by-six-inch flashcards on view here comprise the complete set of drawings Woodard made as an undergraduate in 2007 when he was a student in Nick Muellner&rsquo;s notoriously difficult history of photography survey course at Ithaca College. This is the first time these original pieces have been shown and this is Woodard&rsquo;s first solo gallery exhibition.</p> <p style="text-align: justify;">Without a working printer, Woodard chose to hand-draw the flashcards he used as exam study aids. Presented chronologically-from the German scholar Athanasius Kircher&rsquo;s description of a double-chambered camera obscura in 1646 to Thomas Struth&rsquo;s large-scale museum photograph Art Institute of Chicago II, Chicago, dating to 1990- the drawings tell the history of photography through humorously reductive, but tellingly successful, reproductions of some of the most iconic images. When compared to their sources some details in Woodard&rsquo;s sketches are exaggerated (Bayard&rsquo;s unnervingly defined abdominal muscles in Self-Portrait as a Drowned Man, 1840), while others are uncannily faithful (crossed legs and the right hand raised and touching the face, in Diane Arbus&rsquo;s Topless Dancer, San Francisco, 1968), but none is thoroughly described. That so many of the photographs are readily identifiable from such scant information underscores the power of a truly compelling image, the reductive nature of visual memory, and the collective process of building and perpetuating cultural histories.</p> <p style="text-align: justify;">Charles Woodard received his BFA in Film, Photography, and the Visual Arts from Ithaca College in 2009 and his MFA in Film and Video Production at the University of Iowa in 2013. The History of Photography in Pen &amp; Ink was published by A-Jump books in 2009 and is now in its second printing, 2012. Woodard lives and works in Philadelphia, Pennsylvania.</p> Wed, 22 Jun 2016 11:04:07 +0000 Richard Ibghy & Marilou Lemmens - International Studio & Curatorial Program (ISCP) - June 28th 6:00 PM - 8:00 PM <p>Richard Ibghy &amp; Marilou Lemmens&rsquo; exhibition&nbsp;Measures of Inequity&nbsp;will feature a series of sculptures that give material form to the abstract diagrams used to map the unequal distribution of wealth. Ibghy &amp; Lemmens are interested in forms of thought&ndash;ways of reasoning, systems of classification and the measurement of socioeconomic status&ndash;and how these forms create, adopt and reproduce knowledge.</p> <p>Inequality is one of today&rsquo;s most controversial and widely discussed issues, especially during this election year in the United States. The starting point for these new works are economic diagrams and graphs mostly from the last thirty years that the artists have culled from academic journals. These sculptures vividly render the ways that neoliberal economic policies during this time have reinforced uneven access to employment, education, health services as well as other resources.</p> <p>The exhibition includes more than twenty geometric sculptures built from everyday materials including string, wooden sticks and colored plastic; their handwritten titles reflect the data they are based on such as&nbsp;Income Inequality in the United States 1910-2010; Class, Cultural Capital and Social Reproduction&nbsp;and&nbsp;Disparities in Access to Care for Selected Groups.Melding historical information with future speculation, the exhibition breaks down complex data into intuitively readable objects, challenging the way that information is constructed.</p> <p>Richard Ibghy &amp; Marilou Lemmens&rsquo; work has been shown at the 14th Istanbul BiennialSALTWATER: A Theory of Thought Forms, 2015; La Biennale de Montr&eacute;al,&nbsp;L&rsquo;avenir (looking forward), 2014; 27th Images Festival, Toronto, 2014; Manif d&rsquo;art 7: Quebec City Biennial, 2014; La Filature, Sc&egrave;ne Nationale, Mulhouse, France, 2013-14; Henie Onstad Kunstsenter, Norway, 2013; Centre for Contemporary Arts, Glasgow, 2012; and the 10th Sharjah Biennial, 2011. Their recent solo exhibitions were held at Leonard &amp; Bina Ellen Gallery, Montreal, 2016; VOX, Montreal, 2014; Trinity Square Video, Toronto, 2014; La Bande Video, Quebec City, 2014; Forrest City Gallery, London, Ontario, 2013; Monte Vista Projects, Los Angeles, 2012; and G Gallery, Toronto, 2012.</p> <p>The opening reception and exhibition are FREE and open to the public.&nbsp;</p> <p>This exhibition is curated by Kari Conte, Director of Programs and Exhibitions.</p> <p>This program is supported, in part, by The Andy Warhol Foundation for the Visual Arts, Greenwich Collection Ltd., New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts.</p> <p>For further information, including related public events, visit our website&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Tue, 21 Jun 2016 14:21:02 +0000 Group Show - Viridian Artists - June 28th 6:00 PM - 8:00 PM <p align="center"><strong>Viridian's 27th Annual International Juried Exhibition</strong></p> <p align="center"><strong>Juried by Tumelo Mosaka, Independent Curator</strong></p> <p align="center"><strong>June 28 &ndash; July 16, 2016</strong></p> <p align="center"><strong>Opening Reception: Thursday, June 30, 6-8 pm</strong></p> <p align="center">&nbsp;</p> <p align="center"><strong>1<sup>st</sup> prize</strong><strong> Deb Flagel, </strong><strong>2<sup>nd</sup> prize</strong><strong> Holly Wilson, </strong><strong>3<sup>rd</sup> prize </strong><strong>Jeannette Cherry,</strong><strong> <br /></strong></p> <p align="center"><strong>Emmanuel Monzon, Doohyun Yoon, Megan Klim, Devin Carrick, Feng Guo, </strong></p> <p align="center"><strong>Andrea Barnes, Lauren Yandell, Marlene Siff, Lenore Mills, Deborah Druick, Shawn, Marshall,<strong>Emmanuel Monzon, Doohyun Yoon, Megan Klim, Devin Carrick, Feng Guo, <br /></strong>&nbsp;Nancy Brown, Beatrice Dauge Kaufmann, Naomi Christianson, Puiyan Ma, </strong></p> <p align="center"><strong>Colette Standish, Petrea Noyes, Jeffrey Robinson,&nbsp; Cindy Avroch, Nela Steric, Yama Barkaee, Kyoyoung Keum, Maria Belford, Cecilia Charlton <br /></strong></p> <p><strong>Chelsea: Viridian Artists Inc.</strong> is pleased to&nbsp;present&nbsp;our 27<sup>th</sup> International Juried Exhibition curated by <strong>&nbsp;, independent Curator,&nbsp;&nbsp; New York. </strong>The exhibition opens <strong>June 28<sup>th</sup> </strong>and continues through <strong>July 16<sup>th</sup>, 2016. </strong>In celebration, a special reception will be held on <strong>Thursday, June 30<sup>th</sup>, 6-8pm.</strong> We are especially pleased to present awards to the 1<sup>st</sup>, 2<sup>nd</sup> and 3<sup>rd</sup> place winners of this important competition that brings the art of emerging and under-recognized artists to the attention of museum curators.</p> <p>Over 300 artists submitted nearly 1500 submissions. The competition selection was especially difficult for there were so many outstanding submissions and the nature of art in our world today encompasses a wide variety of methods, materials and conceptualizations of what art is in today's world.</p> <p>In his curatorial statement, Mosaka wrote <em>"In 1966 singer Paul McCartney from Beatles wrote the song Here, There and Everywhere, reflecting on the importance of living life to the fullest. Our every life seems to be overly committed and narrowly defined by histories, geographies and identities. When do we find time to reflect and appreciate things and people around us? How do we make our lives worthwhile in a rapidly transforming society? Artists&rsquo; in many instances have always responded to the time in which they live. They grasp and express ideas, sentiments, frustrations and desires evident in our society offering valuable insights into the social realities confronting our times. </em></p> <p><em>Like the song Here, There and Everywhere, the artworks I selected for this exhibition constitute a broad exploration of themes informed by architecture and landscape. These works for the most part use non-linear and fragmented visual narratives that range in style from the literal to the imaginary calling into question facile distinctions between private and public, tradition and modernity, whilst emphasizing a myriad of similarities and differences. They deploy light, line, color and space to draw our attention towards imaginary landscapes that defy conventional definitions of community, place-hood, and self-identity. The works explore through symbols questions about being here, there and everywhere.&rdquo;&nbsp; </em></p> <p>As always, Viridian makes an effort to expand the opportunities of more artists' being seen so the gallery Director's Choices will also be viewable in digital form. We feel it important to tangibly demonstrate that curatorial choice is often as much about personal taste as it is about the "quality" of the art.&nbsp;</p> <p align="center"><strong>Director's Choice to be presented digitally</strong></p> <p align="center"><strong><em>Emmanuel Monzon * </em></strong><strong><em>Andrea Barnes * Lauren Yandell * </em></strong><strong><em>Cindy Avroch *</em></strong><strong><em> Holly Wilson *</em></strong></p> <p align="center"><strong><em>Nela Steric * Maria Belford * Deb Flagel * Nancy Brown *</em></strong><strong><em>Naomi Christianson * </em></strong><strong><em>Petrea Noyes</em></strong><strong><em> *</em></strong></p> <p align="center"><strong><em>Jeannette Cherry</em></strong><strong><em> * Madeline Arnault * Danielle Austen * Pamela Mooney * Robert Augstell * </em></strong></p> <p align="center"><strong><em>M</em></strong><strong><em>ax Neuman * </em></strong><strong><em>Marcella Hackbardt * </em></strong><strong><em>Richard Hricko * </em></strong><strong><em>Karen Gibbons * David Bartlett * </em></strong></p> <p align="center"><strong><em>Jeannine Hunter Lazzaro * </em></strong><strong><em>Tom Fleming * Jimmy Salmon *</em></strong><strong><em>Maki Hajikano * Josepha Gutelius</em></strong><strong><em> * </em></strong></p> <p align="center"><strong><em>Barbara Hillerman Lieske * </em></strong><strong><em>Ed Herman * Rosalind Tobias * A</em></strong><strong><em>lla Boldina * Len Rosenfeld * Craig Cheply *</em></strong><strong><em> Jeff Watts * </em></strong><strong><em>Toto Takamori * </em></strong><strong><em>J</em></strong><strong><em>ason McGroarty * </em></strong><strong><em>Alex Woodhouse</em></strong></p> <p align="center"><strong>&nbsp; <br /></strong></p> <p align="center"><strong>Gallery hours: Tuesday through Saturday 12-6PM&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong></p> <p align="center"><strong>For further information please contact Vernita Nemec, Gallery Director at 212 414 4040 or </strong><a href="" rel="nofollow">&nbsp;&nbsp;&nbsp;</a><a href="" rel="nofollow"><strong></strong></a><strong> or view the gallery website: </strong><a href="" rel="nofollow"><strong></strong></a></p> <p><strong>&nbsp;</strong></p> Wed, 15 Jun 2016 14:20:38 +0000 Ericka Beckman, Yoji Kondo, Tom Morrill, Akiko Maruyama & Philippe Roy, Rebecca Naegele, Trevor Shimizu - 3A Gallery - June 29th 6:00 PM - 8:00 PM <p>Six Films show of a veteran film artist Ericka Beckman and young artists.</p> <p>Ericka Beckman: Tension Building<br /> Yoji Kondo: Parasol<br /> Tom Morrill: Justice Coin Gold<br /> Akiko Maruyama &amp; Philippe Roy: Koropokkuru<br /> Rebecca Naegele: Cyclops<br /> Trevor Shimizu: Yawn</p> Sat, 25 Jun 2016 10:59:34 +0000 Amin Husain, Victoria Sobel - Artists Space : Books & Talks - June 29th 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">In <em>Strike Art: Contemporary Art and the Post-Occupy Condition</em> (Verso, 2016), Yates McKee shows that during the five years since Occupy Wall Street&mdash;a period that has also witnessed the upsurge of the black liberation movement, climate justice mobilizations, the struggles of workers, debtors, students, tenants, and more&mdash;artists have increasingly embedded their practice in expanded fields of political organizing. While much such work has taken place outside the art system, in many cases it has also involved doubling back upon art institutions themselves as arenas of action in ways exceed the traditions of Institutional Critique, including the work of groups such as The Natural History Museum; Free Cooper Union; the Global Ultra Luxury Faction, known for its actions at the Guggenheim; and the recent intervention of the Decolonial Cultural Front at the Brooklyn Museum. In such work, creative direct action is coupled with long term movement-building work in which the reclaiming of certain artistic infrastructures proceeds alongside the cultivation of new political formations that far exceed the domain of art per se. </span><br /> <br /><span style="font-size: small;"> This conversation takes the release of <em>Strike Art</em> as the occasion to address the following proposition: If we are seeing a move from Institutional Critique to institutional liberation (the latter being an admittedly multivalent term) it is imperative that an ethos of decolonization be developed in the process&mdash;one that draws links between struggles against displacement, dispossession and white supremacy from the occupied Lenape territory of Manhattan itself, to the frontiers of real estate speculation in New York such as Chinatown and Bushwick, and the ongoing colonization of Palestine.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Yates McKee is an art historian whose work has appeared in venues including <em>October</em>, <em>Grey Room</em>, <em>Oxford Art Journal</em>, <em>e-flux Journal</em>, <em>Texte zur Kunst</em>, <em>South Atlantic Quarterly</em>, and <em>The Nation</em>.</span><br /> <br /><span style="font-size: small;"> Nina Felshin is an independent curator, writer, and activist. She is the editor of <em>But Is It Art?: The Spirit of Art as Activism</em> and her past exhibitions include <em>Black and Blue: Examining Police Violence</em>; <em>Disasters of War: From Goya to Golub</em>; <em>Global Warning: Artists and Climate Change</em>. Earlier this year, she edited the fake <em>New York Times</em>, produced by Jewish Voice for Peace (JVP), which parodied the paper's skewed Israel-Palestine coverage. Her critique of the Brooklyn Museum's "This Place" exhibition appeared last month in <em>Hyperallergic</em>: <a href="" target="_blank"></a>.</span><br /> <br /><span style="font-size: small;"> Amin Husain is an artist and organizer with groups including MTL, Global Ultra Luxury Faction, Decolonial Cultural Front, and Direct Action Front For Palestine. With Nitasha Dhillon, he is currently completing <em>On This Land</em> (<a href="" target="_blank"></a>), a film about the Palestinian struggle.</span><br /> <br /><span style="font-size: small;"> Victoria Sobel&nbsp;is an artist and one of the many founders of Free Cooper Union. She is currently a fellow at the Vera List Center for Art and Politics at The New School, where she is exploring alternative models of student governance, transparency, and accountability. She writes, "I want to sit down in the street, you don't let me sit down in the street."</span> </h2> Wed, 22 Jun 2016 09:54:44 +0000 David Antonio Cruz, Yashua Klos, Tschabalala Self, Yoon Ji Seon - BRIC Arts | Media House - June 29th 7:00 PM - 9:00 PM <p style="text-align: justify;">Featuring paintings, works on paper, and mixed-media work by <a href="" target="_blank"><strong>David Antonio Cruz</strong></a>, <a href="" target="_blank"><strong>Yashua Klos</strong></a>, <a href="" target="_blank"><strong>Tschabalala Self</strong></a>, and <a href="" target="_blank"><strong>Yoon Ji Seon</strong></a>, <em>Look up here, I&rsquo;m in heaven</em> focuses on work by artists who&nbsp;construct portraits using unconventional media and pictorial formats.&nbsp;While race, cultural identity, and contemporary realities are central elements of the work on view, these artists create imagery that goes beyond&nbsp;the here and now to establish a more transcendent sense of self.</p> <p style="text-align: justify;">In conjunction with the exhibition, a series of performance art, music, and dance programs will take place in the gallery.&nbsp;All are free, on Wednesday nights at 7pm.</p> Wed, 01 Jun 2016 18:56:24 +0000 Tai Hwa Goh - BRIC Arts | Media House - June 29th 7:00 PM - 9:00 PM <p style="text-align: justify;">Artist <strong>Tai Hwa Goh</strong> creates brightly colored, delicately layered installations from hand-printed paper. The title of her installation, <em>Leaks</em>, references the unintended and therefore undesired openings for fluid to escape a container. Leaks can also be seen as the point where the contents of a container and exterior material can be exchanged. For her installation at BRIC, Goh uses BRIC House as a metaphorical body or container of the brimming creative minds of the people that walk its halls and inhabit its spaces. Her installation is an open expression of the intended leaks at BRIC House: the emotions, creativity, and paradigms that the hallway struggles to contain.This hallway installation was conceived in dialog with the exhibition <a href="" target="_blank"><em>Look Up Here, I&rsquo;m In Heaven</em></a>.</p> <p style="text-align: justify;"><em>BRIC Hallway Commissions provide space for visual artists to create installations, frequently in dialogue with exhibitions on view in the Gallery.</em></p> Wed, 01 Jun 2016 18:57:00 +0000 David Antonio Cruz, Yashua Klos, Tschabalala Self, Yoon Ji Seon - BRIC Arts | Media House - June 29th 6:00 PM - 9:00 PM <p>BRIC presents <em>Look up here, I'm in heaven</em>, a show of contemporary portraits.</p> <p>Opening reception Wednesday, June 29, 6-9pm</p> <p>On view through August 14</p> <p>&nbsp;</p> <p>Featuring paintings, works on paper, and mixed-media work by David Antonio Cruz, Yashua Klos, Tschabalala Self, and Yoon Ji Seon, Look up here, I&rsquo;m in heaven focuses on work by artists who construct portraits using unconventional media and pictorial formats. While race, cultural identity, and contemporary realities are central elements of the work on view, these artists create imagery that goes beyond the here and now to establish a more transcendent sense of self.</p> <p>In conjunction with the exhibition, a series of performance art, music, and dance programs will take place in the gallery. All are free, on Wednesday nights at 7pm.</p> <p>&nbsp;</p> <p>Venue Information:</p> <p>Located in Downtown Brooklyn, the 3,000 square-foot Gallery in BRIC House has soaring 18-foot ceilings that permit major exhibitions focusing on emerging and mid-career artists and curators.</p> <p>Exhibition information:</p> <p></p> Thu, 09 Jun 2016 20:11:49 +0000 David Antonio Cruz, Yashua Klos, Tschabalala Self, Yoon Ji Seon - BRIC Arts | Media House - June 29th 6:00 PM - 9:00 PM <p>BRIC presents <em>Look up here, I'm in heaven</em>, a show of contemporary portraits.</p> <p>Opening reception Wednesday, June 29, 6-9pm</p> <p>On view through August 14</p> <p>&nbsp;</p> <p>Featuring paintings, works on paper, and mixed-media work by David Antonio Cruz, Yashua Klos, Tschabalala Self, and Yoon Ji Seon, Look up here, I&rsquo;m in heaven focuses on work by artists who construct portraits using unconventional media and pictorial formats. While race, cultural identity, and contemporary realities are central elements of the work on view, these artists create imagery that goes beyond the here and now to establish a more transcendent sense of self.</p> <p>In conjunction with the exhibition, a series of performance art, music, and dance programs will take place in the gallery. All are free, on Wednesday nights at 7pm.</p> <p>&nbsp;</p> <p>Venue Information:</p> <p>Located in Downtown Brooklyn, the 3,000 square-foot Gallery in BRIC House has soaring 18-foot ceilings that permit major exhibitions focusing on emerging and mid-career artists and curators.</p> <p>Exhibition information:</p> <p></p> Thu, 09 Jun 2016 20:13:32 +0000 Stefan Brüggemann - Hauser & Wirth 69th Street New York - June 29th 6:00 PM - 8:00 PM <p style="text-align: justify;">Beginning 29 June 2016, Hauser &amp; Wirth will present an exhibition of new paintings by the Mexico City and London-based artist Stefan Br&uuml;ggemann. Spanning &ndash; and sometimes combining &ndash; sculpture, video, painting, and drawing, Br&uuml;ggemann&rsquo;s work deploys text in conceptual installations rich with acerbic social critique and a post-pop aesthetic. This will be Br&uuml;ggemann&rsquo;s first exhibition with Hauser &amp; Wirth, and will fill the gallery&rsquo;s East 69th Street townhouse with site-specific extensions of two of his best known, ongoing series: Headlines and Last Line in the Movies and Timeless.</p> <p style="text-align: justify;"><strong>About the Exhibition</strong><br /> On the gallery&rsquo;s ground floor, Br&uuml;ggemann will install &lsquo;Headlines and Last Line in the Movies (Wall)&rsquo; (2016), a new work for his signature series Headlines and Last Line in the Movies, initiated in 2009. The installation will consist of the final lines of dialogue from such classic films as Citizen Kane (1941), spray painted onto contiguous mirrored panels and overlaid with headlines drawn from news stories published by major media outlets during the week in which the work is made.</p> <p style="text-align: justify;">Br&uuml;ggemann will complement &lsquo;Headlines and Last Line in the Movies (Wall)&rsquo; with a similar installation on the third floor, where texts will be painted onto marble panels &ndash; a first use of the material by the artist. Br&uuml;ggemann&rsquo;s intention with the Headlines and Last Line series is to juxtapose reality and fiction in a way that throws myths into high relief: In the era of instantaneous global communication and citizen journalism, the products of the news media and the movie industry are parallels and fraternal twins that reflect our culture&rsquo;s desires while manipulating and distorting our comprehension of society.</p> <p style="text-align: justify;">On the gallery&rsquo;s second floor, visitors will find &lsquo;Timeless (69th Street, NYC)&rsquo; (2016), the latest addition to another ongoing conceptual series by Br&uuml;ggemann. Time Paintings feature a grid of individual mirrors appliqu&eacute;d with black and white vinyl texts &ndash; original text by the artist appears in black letters in the Arial font, while appropriated text appears handwritten &ndash; swathed with aluminum paint. &lsquo;Timeless (69th Street, NYC)&rsquo; is Br&uuml;ggermann&rsquo;s anxious articulation of a contemporary society in which time has accelerated to the point at which it is no longer perceived as linear, and dissolves into abstraction.</p> Wed, 22 Jun 2016 10:55:37 +0000 Graham Anderson, Sadie Benning, Sara Greenberger Rafferty, Byron Kim - James Cohan Gallery - Lower East Side - June 29th 6:00 PM - 8:00 PM <p style="text-align: justify;">James Cohan is pleased to open&nbsp;<em>Certain Skins</em>, an exhibition of works by Graham Anderson, Sadie Benning, Sara Greenberger Rafferty, and&nbsp;Byron Kim. The exhibition opens Wednesday, June 29 and will be on view through September 11 at the gallery's Lower East Side location.</p> <p style="text-align: justify;">The works collected in this exhibition explore the role materials may play in the construction of images. Utilizing a range of invented and hybrid processes that underscore the mutability between surface and image, the featured works incorporate elements of painting, sculpture, drawing, and photography into novel material states that embody rather than depict images. </p> <p style="text-align: justify;">Byron Kim stains his recent paintings with natural dyes and then works them with oil and earth pigments on a variety of fabric including canvas, linen, muslin, burlap and silk. The physical nature of the fabric - its absorbency, texture, thickness, strength, transparency and color - informs the process which evolves as the painting develops. Kim became interested in bruises upon encountering a passage in a poem by Carl Phillips about his sleeping lover&rsquo;s bruise illuminated by dawn&rsquo;s light.&nbsp; Phillips describes the bruise &ldquo;lifting itself over time from the darker/ blues to, slowly, something like amber/ to at last whatever, before the wounding/ the flesh was.&rdquo;&nbsp; Kim recognizes the bruise with or without the context of flesh as a perfectly rich subject, something he would like to imagine and to bring into the world as a metaphor. &nbsp;</p> <p style="text-align: justify;">Sara Greenberger Rafferty&rsquo;s new five panel work is comprised of photographic prints, hand-cut Plexiglas, and paint. Here, Rafferty comfortably plays with the slippage between image and surface in photo-objects of garments, as well as found and re-formatted texts. Like shedding one&rsquo;s skin, the garments and text are open to the viewer to be refitted and tried, waiting for the body to activate them.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Sadie Benning&rsquo;s materially ambiguous constructions are often described as paintings, but such distinctions feel artificial. Equally indebted to drawing as to sculpture, Benning&rsquo;s constructions are made of jigsaw cut pieces of wood that have been hand contoured, coated in resin and fit back together into puzzle-like compositions. In a trio of works, Benning demonstrates the way she uses these conjoined surfaces to create the site on which to explore the breakdown of forms into even smaller forms. In <em>Services</em>, two rows of figures stand in profile waiting in queues; in another red monochrome work, thin lines efficiently shape the form of a meat grinder at work, and a third composition depicts an exploded field of raw material that stretches across the surface like confetti; matter ultimately reduced to its simplest element of individual pixels. </p> <p style="text-align: justify;">Pointillist canvases by Graham Anderson dissolve figure and ground into flattened, synthetic illusions. Founded on the elusive ability to locate and hold together identity, each figure is outlined and defined, but its borders are tenuous and permeable. The marks Anderson create become their own discreet entities whose presence is always left recorded; some becoming decorative elements, while others amass into optically charged fields causing the viewer&rsquo;s perception of the image to change.&nbsp; As this perception shifts, the composition continuously recalibrates and reformulates itself into a dot matrix of varying skin tones that speaks as much to the resilience of collective memory as to its waning.</p> Sat, 25 Jun 2016 10:22:47 +0000 Olivia Baldwin, Rachel Beach, Samantha Fields, Kira Nam Greene, Jason Middlebrook, Carmen Neely, Ian Wright - Jane Lombard Gallery - June 29th 6:00 PM - 8:00 PM <p>Jane Lombard Gallery is pleased to present <em>Contexture</em>, a summer group show curated by Cey Adams. The exhibition features painting, sculpture, and mixed media works by <strong>Olivia Baldwin</strong>, <strong>Rachel Beach</strong>, <strong>Samantha Fields</strong>, <strong>Kira Nam Greene, Jason Middlebrook, Carmen Neely</strong>, and <strong>Ian Wright</strong>.</p> <p>Adams, an artist himself, brings a focused eye to this exhibition, uniting individual works and artists into a narrative of material exploration. Each featured artist shares a commitment to a deeper exploration of texture and surface through a variety of source material and media. Paper, textiles, beads, paint, and found objects are intricately and painstakingly worked into compelling narratives and manifestations of broader commentaries on contemporary culture, identity, and modern life.</p> <p><strong>Olivia Baldwin</strong> works intuitively, immersing herself in the landscape of her home in upstate New York. Merging line, form, and color, she slowly builds richly layered paintings through a meditative and spontaneous process.</p> <p><strong>Rachel Beach</strong>&rsquo;s sculptures distinctly echo the concrete verticals and horizontals of the gallery space itself, but their strictness of form is countered by a sense of mischievous joy via their painted surfaces. Beach&rsquo;s rigorous approach to painting revels in textures and colors that manifest pure playfulness and spirit, even creating trompe l&rsquo;oeil moments that are directly in dialogue with the wood materials she builds with.</p> <p><strong>Samantha Fields</strong> weaves fiber and beads into large-scale sculptural works, creating complex narratives with her hands, absent of language and figuration. Instilled in the process of weaving the works are reflections on class and gender, as the labor to produce each piece becomes part of the work itself.</p> <p><strong>Kira Nam Greene</strong>&rsquo;s work is deeply personal, with an intensive process of layering collaged images of food and intricate patterns which represent the plurality and multiplicity of her own Asian American female identity. She works between abstraction and figuration, using layers of gouache, watercolor, and pencil to create work that is at once loose and playful, yet scrupulously detailed.&nbsp;</p> <p><strong>Jason Middlebrook</strong> uses sliced sections of wood as an organic, sculptural canvas on which to paint intricate abstract works. His colorful geometric patterns play with the unique curves, undulations, and knots of the wood&rsquo;s surface, resulting in an unexpected conversation between organic form and painterly gesture.</p> <p><strong>Carmen Neely</strong> combines painting and found objects to create works that reference sexuality, gender, and the body. Neely is deeply aware of her own context, inserting her identity as a young black woman into a larger conversation about signification in painterly abstraction. Born out of her painterly obsession with gesture, every mark is a vital component and acts as its own self-contained character, each form acting as a subtle subversion.</p> <p><strong>Ian Wright</strong> embraces unconventional materials generally not associated with portraiture, including salt, cassette tape, buttons, beads, luggage labels, paper cups and drawing pins. His practice is a continuation of his exploration into the re-use of the easily available and deliberately inexpensive, as well as the unpredictability that these materials offer.</p> <p>For Adams, it is important to exhibit artists who are deeply engaged with both their medium and their era, dealing with traditional artistic concerns as well as the issues we face in everyday existence. He is, as he notes, &ldquo;compelled by artists who make work as a metaphor for life&rdquo; and enjoys creating dialogue among those in different stages of their career and practice. On the mural wall of Jane Lombard Gallery&rsquo;s outdoor exhibition space, Cey Adams will create a site-specific mural in conjunction with the opening of <em>Contexture.</em></p> <p><strong>Cey Adams</strong>, a New York City native, emerged from the downtown graffiti movement to exhibit alongside fellow artists Jean-Michel Basquiat and Keith Haring. He appeared in the historic 1982 PBS documentary <em>Style Wars,</em> which tracks subway graffiti in New York. As the Creative Director of <em>Def Jam Recordings</em>, he created visual identities, album covers, logos, and advertising campaigns for Run DMC, Beastie Boys, LL Cool J, Public Enemy, Notorious B.I.G., Maroon 5, and Jay-Z. Adams' own practice involves dismantling various imagery and paper elements to build multiple layers of color, texture, shadow, and light. He draws inspiration from 60's pop art, sign painting, comic books, and popular culture, and focuses on themes including pop culture, race and gender relations, cultural and community issues.&nbsp;</p> Wed, 22 Jun 2016 18:20:24 +0000 - Queer Thoughts - June 29th 7:00 PM - 9:00 PM Thu, 23 Jun 2016 16:05:08 +0000 Gallery artists - Robin Rice Gallery - June 29th 5:30 PM - 8:30 PM <p align="center">&nbsp;</p> <p>The Robin Rice Gallery is pleased to present the annual Summertime Salon, a photographic exhibition featuring the works of the gallery artists as well as a few newcomers. This year's opening reception will be held on Wednesday, June 29, from 5:30 to 8:30 pm. The show will run through September 11, 2016.</p> <p>&nbsp;</p> <p>In the hazy, warm New York summer, little is more refreshing than reclining on the beach in the mist of the icy ocean waves or enjoying a family trip to the country house. Each summer, Rice curates her favorite show, the Summertime Salon, which reminds us of this exact seasonal sentiment. The two, long walls of the gallery become mosaicked, top to bottom, side to side, in photographs that evoke all the preeminent feelings and memories of summer. Each year, the Summertime Salon matures and Rice&rsquo;s annual masterpiece comes into fruition. This year is no exception. The show is a haven of what the Robin Rice Gallery stands for, a community of art and experience.</p> <p>&nbsp;</p> <p>As the largest annual exhibition, the Summertime Salon is carefully pieced together, the results are staggering. The works of the 53 gallery artists come together communally, reinforcing the overall sense of unity that the show creates as a whole. In knowing the photographs so fluently, Rice strategically places them together in a way that will enhance the individual stories contained in each. Details from one image flow from into the next, elevating every photograph in a distinctly unique way.</p> <p>&nbsp;</p> <p>This year&rsquo;s invitational image, &ldquo;Surf Club&rdquo; by Silvia Lareo-Vazquez, features a woman in a vintage sun hat reclining in the pool with a drink. The black and white image evokes an extreme sense of nostalgia in its cinematic portraiture and supple texture. Though the figure of the woman is tauntingly beautiful, the drink is the darkest tone, nearing black, and is centered in the frame. With this, we are reminded of the refreshing notes of summer and the utter serenity of taking the day off to relax.</p> <p>&nbsp;</p> <p>The show&rsquo;s imagery is evocative of all eras of summer, thus any viewer can relate or connect to one of the images. As Rice likes to say, &ldquo;There&rsquo;s something for everyone.&rdquo; One image by Benjamin Heller details a strong owl flying past the camera, with a blurry, forested background. This photograph hints at the adventurous, nature-filled summer; one filled with hiking and treasure hunts. Another image by Nenad Samuilo Amodaj details a thin black woman in a round, textured skirt, grasping onto a white orb-like shape covering her head. This image evokes the sense of wanderlust that summer so often indulges and plays well into the selection of more obvious summer scenes that Rice has incorporated as well. &nbsp;</p> <p>&nbsp;&nbsp; &nbsp;</p> <p><em>Participating Artists: </em>Ted Adams, Thomas Alleman, Dorothee Brand, Todd Burris, Roger Camp, Lynda Churilla, Lance W Clayton, Paul Dagys, John Dolan, Richie Fahey, Chris Fan, Stewart Ferebee, Mindaugas Gabrenas, Barbara Gentile, Isabella Ginanneschi, Gladys, Victoria Goldman, Ron Hamad, Kristen Hatgi, Patricia Heal, Benjamin Heller, Melissa Incampo, H. Nazan Isik, Pete Kelly, Haik Kocharian, Tanya Malott, Everett McCourt, Patricia McDonough, Micheal McLaughlin, Steve Miller, RJ Muna, Rosanne Olson, Brian Pearson, Bill Phelps, Jose Picayo, Lauren Pisano, Amy Postle, Kim Reierson, Robin Rice, Kevin Ryan, Laurence Salzmann, Nenad Samuilo Amodaj, David Saxe, Gesi Schilling, Zack Seckler, Keith Sharp, Mark Sink, Gordon Stettinius, Kathryn Szoka, Silvia Lareo-Vazquez, Tina West, Harriet Zucker</p> <p>To view a small selection of the 100 images exhibited, please direct yourself to <a href="" rel="nofollow"></a>. For more information please contact Robin Rice at (212) 366-6660.</p> <p>&nbsp;</p> Sun, 29 May 2016 17:58:07 +0000