ArtSlant - Recently added en-us 40 Ragnar Kjartansson - New Museum - May 7th - June 29th <div class="body"> <p>&ldquo;Me, My Mother, My Father, and I&rdquo; will be the first New York museum exhibition of Icelandic artist Ragnar Kjartansson (b. 1976 Reykjav&iacute;k, Iceland; lives and works in Reykjav&iacute;k). Born into a family of actors and theater professionals, Kjartansson draws from a varied history of stage traditions, film, music, and literature. His performances, drawings, paintings, and video installations explore the boundary between reality and fiction as well as constructs of myth and identity. He often attempts to convey genuine emotion through melodramatic gestures and conversely reveals sincerity within pretending. Playing with stereotypes usually projected onto the persona of the actor, Kjartansson both celebrates and derides the romanticized figure of the artist as cultural hero. His performances are often feats of endurance, which last for hours or days at a time, taking a motif as simple as a pop song and transforming it through protracted repetition into a transcendent mantra.</p> <p>At the New Museum, Kjartansson will present works with and about his family, including a newly orchestrated performance and video piece entitled <em>Take Me Here by the Dishwasher: Memorial for a Marriage</em> (2011/2014), in which ten musicians play a live composition for the duration of the exhibition. This work takes inspiration from a scene in Iceland&rsquo;s first feature film, <em>Mor&eth;saga</em> (1977), directed by Reynir Oddsson, in which the main character of the film, played by Kjartansson&rsquo;s mother, Gu&eth;r&uacute;n &Aacute;smundsd&oacute;ttir, fantasizes about a plumber, played by Kjartansson&rsquo;s father, Kjartan Ragnarsson, in a sex scene on the kitchen floor. As family legend has it, Kjartansson was conceived the night after the film shoot. Kjartan Sveinsson, composer and a former member of the Icelandic band Sigur R&oacute;s, transformed the scene&rsquo;s dialogue into a ten-part polyphony played by ten musicians, who sing and play guitar in the tradition of the troubadour to accompany a projection of the original film scene. Other works in the exhibition are made in collaboration with Kjartansson&rsquo;s parents, including a new series of drawings of the sea made with his father, entitled <em>The Raging Pornographic Sea</em> (2014), and an ongoing video collaboration with his mother where she repeatedly spits in his face, <em>Me and My Mother</em>, which began in 2000. This exhibition provides an opportunity to look at the way Kjartansson&rsquo;s work explores family ties and delusions of grandeur, as well as to engage with his ongoing interest in the conflation of reality and fantasy.</p> <p>&ldquo;Ragnar Kjartansson: Me, My Mother, My Father, and I&rdquo; will be on view on the Fourth Floor from May 7&ndash;June 29, 2014. The exhibition is curated by Massimiliano Gioni, Associate Director and Director of Exhibitions, and Margot Norton, Assistant Curator.<br /> The exhibition will be accompanied by a fully illustrated catalogue featuring an interview with the artist and new reflections on Kjartansson&rsquo;s practice by Francesco Bonami and Roni Horn.</p> <p>On May 9, 2014, at 7 p.m., join artist Ragnar Kjartansson and his parents, Gu&eth;r&uacute;n &Aacute;smundsd&oacute;ttir and Kjartan Ragnarsson, for a special screening of the film <em>Mor&eth;saga</em> (1977), the first feature film produced in Iceland in which both Kjartansson&rsquo;s parents performed.</p> <p>Ragnar Kjartansson was born in Reykjav&iacute;k, Iceland, in 1976, where he continues to live and work. His recent solo exhibitions and performances include &ldquo;The Palace of the Summerland&rdquo; at Thyssen-Bornemisza Art Contemporary, Vienna (2014), &ldquo;The Explosive Sonics of Divinity&rdquo; at the Volksbühne, Berlin (2014), &ldquo;The Visitors&rdquo; at Luhring Augustine Gallery, New York, Migros Museum für Gegenwartskunst, Zurich (2012&ndash;13), Thyssen-Bornemisza Art Contemporary Vienna (2013), Hangar Biocca (2013&ndash;14), &ldquo;It&rsquo;s Not the End of the World&rdquo; at the Fondazione Sandretto Re Rebaudengo, Turin (2012&ndash;13), &ldquo;Endless Longing, Eternal Return&rdquo; at the Frankfurter Kunstverein (2011), and &ldquo;Take Me Here By the Dishwasher: Memorial for a Marriage&rdquo; at the BAWAG Foundation, Vienna (2011). His first American solo museum exhibition, &ldquo;Song,&rdquo; was organized by the Carnegie Museum of Art in 2011 and traveled to the Museum of Contemporary Art in North Miami and the Institute of Contemporary Art in Boston. Additionally, Kjartansson recently participated in &ldquo;The Encyclopedic Palace&rdquo; at the 55th Venice Biennale (2013) and performed &ldquo;A Lot of Sorrow&rdquo; featuring The National at MoMA P.S.1 (2013). Kjartansson was the recipient of Performa&rsquo;s 2011 Malcolm McLaren Award for his performance of <em>Bliss</em>, a twelve-hour live loop of the final aria of Mozart&rsquo;s <em>The Marriage of Figaro</em>, and in 2009, he was the youngest artist to represent Iceland at the Venice Biennale.</p> </div> Fri, 18 Apr 2014 01:59:49 +0000 Mark Flood - Zach Feuer Gallery (LFL) - May 13th - May 17th <p align="center">Hi</p> <p align="center">&nbsp;</p> <p align="center">This is Mark Flood</p> <p align="center">&nbsp;</p> <p align="center">As most of my fans know, my body, my life, my career and my art are managed by my</p> <p align="center">cat Sparky</p> <p align="center">&nbsp;</p> <p align="center">And hes doing a gater job</p> <p align="center">&nbsp;</p> <p align="center">Now Sparle and I want to invite you to a special event that takes place in</p> <p align="center">&nbsp;</p> <p align="center">These been a loytta confusion that this has something to do with Cheksea Handlers</p> <p align="center">vagina not true, shes not an art handler or a career handler shes a talk show ghost.</p> <p align="center">&nbsp;</p> <p align="center">that takes place in Chelsea New york City Manhattan, on the second floor above Zacg</p> <p align="center">Feuer gallery. Its during the second week of my show Available NASDAQ SYmbol but its</p> <p align="center">a different show</p> <p align="center">&nbsp;</p> <p align="center">Actually its an art fair of my own, a private art fair but hopen to the pubic.</p> <p align="center">&nbsp;</p> <p align="center">The INSIDER ART FAIR------insider your rod, inside your vagina, inside your body where</p> <p align="center">the internal organs jostle around in the pools of blood trying to spell out certain words,</p> <p align="center">insider the black rooms of the secret art whorld</p> <p align="center">&nbsp;</p> <p align="center">Sparkle wants to take us all ther so dont miss out dont wuss out.</p> <p align="center">OTO YOLO WTF</p> <p align="center">dates go here like the tunnel of lobe</p> <p align="center">&nbsp;</p> <p align="center">paw print</p> Fri, 18 Apr 2014 01:35:35 +0000 Mark Flood - Zach Feuer Gallery (LFL) - May 9th - June 14th <p>Spare change can drive hard-wired evolutionary changes in corporate logos in a matter of generations. A University of Passion Cove-led study, published in the journal Fuzzy Letters, overturns the common assumption that evolution only occurs gradually over hundreds of thousands of dollars.</p> <p>Instead, researchers found significant financially transmitted changes in laboratory populations of corporate logos in just 15 generations, leading to a doubling of the age at which the logos dissolve into puddles of meaningless goo, and large changes&nbsp;in failure-to-impress-target-audience rates. The results have important implications in areas such as the survival of the human race, and corporate image mismanagement because they demonstrate that image de-evolution can be a mindfuck even in the short-term.</p> <p>Professor Darth Haddock, of the University of Passion Cove's Faculty of Biological Sciences, said: "This demonstrates that spare change and logo evolution are completely up each other's ass and cannot reasonably be considered separate.&nbsp; We found that seemingly sacred designs devolve rapidly in response to lack of respect and stupified idle tinkering, as when bored grad students pull the wings off flies. This can have major consequences such as rioting crowds swarming thru urban areas, police forces laying down their super-weapons in exchange for a chance to pet kittens, the repurposing of corporate headquarters as detention, reeducation, torture and extermination centers, or helping along a population of obsolete managers heading for rapid and merciless extinction at the hands of informed and ambitious young people who, so far, believe in nothing, absolutely nothing at all."</p> <p>Although previous research has implied a link between radiation-enhanced, mutation-based changes in corporate logos' physical characteristics and the nature of human social evolution, the Cove-led study is the first to prove a causal relationship between rapid logo evolution and better, higher highs in a controlled experimental drug-use setting.</p> <p>The researchers worked with corporate logos that were collected from the wild and then raised in 18 glass tubes. Forty percent of adult logos were left in the Macs of bored junior high students. A similar proportion of logos were left on Facebook in a further six tubes, while no "adolescent hijinks" were conducted in the remaining third of the tubes.</p> <p>Lead author Dr Sassy Links, a postdoctoral Fellow in the Faculty of Pseudo-human Sciences at Passion Cove at the time of the research and now based in Uvula University, Sweden, said: "We saw significant evolutionary changes relatively quickly. The rates of laughable weirdness and stupidity of the logos in the tubes doubled over about 15 generations,&nbsp;because they were being authoritative in a different way than they would in the wild. Removing the coolness caused them to remain as targets for contempt even longer, because the genetics were responding to the high chance that they were going to die from graffiti as soon as they were used in public.</p> <p>When they did eventually mature, into sickly future insects with a rabid craving for blood, and a fierce desire to exploit, maim and murder human beings, they were so enormous they could lay all of their poison eggs very quickly."</p> <p>The initial change in the logos' environment - from the wild into the design laboratory reeking of marijuana smoke - had a disastrous effect on the population, putting the authority of the logos on an extinction trajectory. However, in every population, including those subjected to torture by bored, hormone-crazed and lonely juveniles, the trajectory switched after only five degenerations of evolution, and the new designs were allowed to live simply to amuse their captors, though they no longer had any power or control.</p> <p>The researchers found that the laboratory environment was selecting for those logos that turned into shiny, needlessly complicated, insectile-metallic components. Under the competitive conditions in the tubes, the fast evolving logos were more "wow" when they matured, meaning they could have more retweets.</p> <p>Dr Links said: "The logo evolution that resulted in an investment in shiny metallic exoskeleton production at the expense of legibility led to a slight growth in viewing time and a subsequent re-imagining of human reality, rescuing the stoners from boredom, and the art world from wave after grey wave of boring conceptual crap.&nbsp;This is evolutionary rescue in action, and suggests that logo evolution can help human populations respond to the complete enslavement of the human race by the Fortune 500 and the human traitors who serve them."</p> <p>Professor Benton said: "The traditional idea would be that if you put new logos in a new market, the way that most people do as they're told would stay basically the same, but the way they experience gnawing existential despair changes, because of variables like the amount of food, sex, and fun their corporate masters allow them to have.</p> <p>However, our study proves that the logo evolutionary effect - the instantaneous bizarre change in the logos' appearance in&nbsp;response to the human need to run one's own life - can happen&nbsp;at the same time as the Fuck-this-shit response. Social reality - whatever the hell that might be - and creative activity are&nbsp;intertwined," he said.</p> Fri, 18 Apr 2014 01:29:45 +0000 Mark Grotjahn - Blum & Poe - May 1st - June 21st <p>Blum &amp; Poe is pleased to announce the inaugural exhibition of its New York gallery at 19 East 66th Street. <em>Mark Grotjahn: Butterfly Paintings</em>, curated by Douglas Fogle, will be a select survey of this important series of paintings by the Los Angeles-based artist. Consisting of loans from private collections as well as public institutions, the exhibition will illustrate the evolution of Grotjahn's butterfly paintings with seminal examples dated between 2001 and 2008. &nbsp; <br /> <br /> The butterfly paintings, whose name derives from their wing-like, formal qualities, hold a key place within the development of Grotjahn's body of work. The artist employed a strategy of nearly compulsive repetition and reiteration of rules and stylistic elements -- variations on a theme in the lines radiating&shy; from their central spines -- which allowed the artist to experiment within a circumscribed set of conceptual limits. With contextual influences ranging widely from the history of geometric modernism in the works of artists such as Mondrian and Malevich, to experiments in musical and filmic composition and typographic design, Grotjahn's butterflies playfully blur the once rigorous boundaries between representation and abstraction, between surface and depth, and between the conceptual and the concrete in artistic production. &nbsp; <br /> <br /> In the works on view, we see an artist setting up an experimental station for the study of the evolution of the painterly line, in which the butterfly is the end result. The exhibition offers a unique opportunity to see the implications of these experiments in the concrete formation of an artist's vision over a condensed period of time. A catalog will be produced in conjunction with the exhibition and will include an essay by Douglas Fogle, images of the individual paintings, and installation photographs of the works in the new gallery. &nbsp; <br /> <br /> Mark Grotjahn (b. 1968) holds a B.F.A. from the University of Colorado, Boulder and an M.F.A from the University of California Berkeley. He has upcoming solo exhibitions at the Kunstverein Freiburg, Freiburg, Germany and the Nasher Sculpture Center, Dallas, TX. Past solo exhibitions include venues such as the Aspen Art Museum, Aspen, CO; Portland Art Museum, Portland, OR; Kunstmuseum Thun, Thun, Switzerland; Whitney Museum of American Art, New York, NY; and Hammer Museum, Los Angeles, CA. He has been included in group exhibitions at the San Francisco Museum of Modern Art, San Francisco, CA; Museum of Contemporary Art, Los Angeles, CA; New Museum, New York, NY; Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY; Museum of Modern Art, New York; Stedelijk Museum, Amsterdam, Netherlands; Royal Academy of Arts, London, UK; Museum of Contemporary Art, Chicago, IL; Carnegie Museum of Art, Pittsburgh, PA; and many other institutions.</p> Fri, 18 Apr 2014 01:21:52 +0000 Joseph Hart, Eddie Martinez - David Krut Projects - May 1st - June 28th <p>David Krut Projects is pleased to present <em>Dread Blush</em>, Joseph Hart&rsquo;s second solo exhibition with the gallery.</p> <p>&nbsp;</p> <p>Hart&rsquo;s work is a collision of choreographed and happenstance mark-making, brutal editing and reinvention. Utilizing drawing, painting and cut-paper collage, Hart&rsquo;s process is structured around cursory gestures: errant dashes, ticks, quick lines, scrawls, swoops and zigzags. This set of preliminary and exploratory maneuvers&nbsp;are then built upon, reconfigured or impulsively edited out until a composition begins to emerge. In his paper pieces, smaller scale drawings are often grafted directly into larger works, interrupting the initial picture plane while also reactivating it. The results are abrupt but retain a compelling and provocative elegance.</p> <p>&nbsp;</p> <p><em>Dread Blush </em>emphasizes Hart&rsquo;s interest in the boundaries presented by scale and context, compositional management, and the paradoxical relationship between strategy and chance. Through the physical limits of his reach, the edges of over-sized works are hastily (and sometimes literally) pointed out with slashes in graphite or oil stick. These gestures, or reaches, function as an armature for his next set of marks and are balanced by carefully placed items such as insect decals, rubber elastics and miscellaneous studio detritus. These collaged components introduce bursts of shape and hue, ultimately assisting in subsequent formal decisions. When in process, Hart frantically moves the work multiple times from table, to floor, to wall and back, providing evidence of action, adjustment and touch.</p> <p>&nbsp;</p> <p>Hart sites &ldquo;over-thinking things&rdquo; as both destructive and critical to his practice. Works often deemed too tight, contrived, disastrous, or other, are disassembled and recycled into newer pieces, transforming the ghosts of failure into important moments of discovery and intrigue. Hart relies heavily on this act of revitalization. This system of working capitalizes on the unscripted, can simplify the complex, and champions micro exchanges between intentions and actualities, blemish and beauty, vice and virtue.&nbsp;</p> <p>&nbsp;</p> <p><em>Originally from New Hampshire, Joseph Hart is a Brooklyn, New York-based artist. His work has been exhibited at Galerie Vidal Saint Phalle in Paris, Galleri Tom Christofferson in Copenhagen, </em><em>Alexander &amp; Bonin, CRG Gallery, Klaus Von Nichtssangend Gallery, and Halsey Mckay Gallery in New York, among others. Hart&rsquo;s work has also been included in notable shows at the Bronx Museum of the Arts, Santa Monica Museum of Art and The Elizabeth Foundation for The Arts. He has been featured in periodicals such as FlashArt, Modern Painters, and The New York Times.&nbsp;He is currently a resident artist at the </em><em>Dieu Donn&eacute; </em><em>Workspace Program, in New York. Hart holds a BFA from the Rhode Island School of Design.&nbsp;</em></p> <p>&nbsp;</p> Thu, 17 Apr 2014 20:16:03 +0000 Geraldo de Barros - Tierney Gardarin Gallery - May 6th - June 21st <p>Tierney Gardarin Gallery is pleased to present a solo exhibition of works by Geraldo de Barros (1923-1998). This historic exhibition, the first solo presentation of the artist&rsquo;s work in New York, features a diverse group of works that span de Barros&rsquo; extraordinary career. Geraldo de Barros: Purity of Form, explores a practice that, across decades, movements, and media, demonstrated a dogged commitment to artistic experimentation and abstraction. Geraldo de Barros: Purity of Form opens on Tuesday, May 6th and will be on view through Saturday, June 21st, 2014. The opening reception will be on Friday, May 9th from 6pm until 8pm.<br /><br />Geraldo de Barros is a seminal figure in Brazilian art whose multi-faceted oeuvre, much like that of his contemporary Lygia Clark, is remarkable in its depth and scope. An early leader of Brazil&rsquo;s Concrete movement, his practice engaged with painting, photography, sculpture and industrial design. De Barros first rose to prominence as a painter and founding member of Grupo XV in the 1940s, and soon after gained notoriety as an innovative and experimental photographer. He explored minimal form in photography through manipulating negatives, superimposing, scratching and painting on them, to create arresting abstractions he called Fotoformas. This technique of distillation and precision was later carried into sculpture, painting, and eventually industrial design. Geraldo de Barros: Purity of Form includes key pieces from de Barros&rsquo; practice, presenting the life work of a figure who is widely considered to be one of the most influential Brazilian artists of his generation.<br /><br />Geraldo de Barros: Purity of Form will feature exceptional examples of the various aspects of de Barros&rsquo; practice. For example, brightly contrasted Formica paintings will be included, installed alongside the fantastic early Fotoformas. Also included are the later Sobras&mdash;a series of intricate photo collages created in the last two years of his life when, debilitated by illness, he returned to earlier photographs and original negatives. The unity and consistency of the works across decades and disparate media underscore the consistent theme of de Barros&rsquo; practice: purity of form.<br /><br />Geraldo de Barros has been the subject of major solo exhibitions worldwide, most recently at The Photographer&rsquo;s Gallery in London and the SESC Vila Mariana in Sao Paulo. His work is included in the permanent collections of internationally renowned institutions a such as the Museum of Modern Art, New York, NY; Mus&eacute;e de l&rsquo;Elys&eacute;e, Lausanne, Switzerland; Cisneros Fontanals Art Foundation, Miami, FL; Ludwig Museum, Cologne, Germany; Museum of Fine Arts, Houston, TX; Tate Modern in London, UK; among many others. A major monograph about his life and work, entitled geraldo de barros: isso, was published in 2013 by SESC Editions.</p> Thu, 17 Apr 2014 16:12:34 +0000 Julian Schnabel - Gagosian Gallery- 24th St. - April 17th - May 31st <p>A lot of what I do is about being in the moment&hellip;The residue of what happens; that's what's in the paintings.</p> <p>&mdash;Julian Schnabel</p> <p>&nbsp;</p> <p>Gagosian is pleased to present &ldquo;View of Dawn in the Tropics: Paintings, 1989&ndash;1990,&rdquo; an exhibition of paintings</p> <p>by Julian Schnabel that are being shown in New York for the first time, twenty-five years after they were made.</p> <p>&nbsp;</p> <p>In the late 1980s and early 1990s, Schnabel approached painting as an act as susceptible to chance and</p> <p>circumstance as life itself. Working in the wake of American antecedents such as Robert Rauschenberg and Cy</p> <p>Twombly&mdash;who brought a certain sense of freedom to bear on their evident romance with European art and</p> <p>aesthetics&mdash;Schnabel made audaciously scaled paintings and sculptures whose richly hybrid sources were</p> <p>expressed in an attitude of baroque excess combined with improvisational daring. Broken plates, Kabuki theater</p> <p>backdrops, tarpaulins and boxing mats; thickly applied oil paint, collage, viscous resin, and flat digital</p> <p>reproduction; fragments of text in different languages: these are just some of the diverse materials with which</p> <p>Schnabel engages life's grand themes&mdash;sexuality, obsession, suffering, redemption, death, and belief.</p> <p>&nbsp;</p> <p>For paintings such as Paintings With and Without Bingo and Ozymandias, executed en plein air on the site of a</p> <p>ruined neoclassical building during a sojourn in Florida, Schnabel used old tarpaulins, sailcloth, and rolls of velvet</p> <p>as grounds on which to render reflections of his immediate surroundings subject to uncontrollable forces, from</p> <p>tropical storms to his dog Bingo's seemingly random but deliberate paw prints. These paintings, and others</p> <p>made in similarly unorthodox conditions in Montauk and San Sebastian, reveal an individualistic interplay</p> <p>between site and and mark-making, both intentional and incidental, that eschews pictorial hierarchies of</p> <p>authorship, subject, and style.</p> <p>Schnabel&rsquo;s persistent allegiance and magnanimous, catch-all approach to painting attests to the palimpsest of</p> <p>emotion, memory, and chance that drives a gleaner's relationship to material and image: from collected words</p> <p>and phrases to allusions to specific moments, places, friends, and family, and narratives of surface, materiality,</p> <p>and studio process. These visceral paintings&mdash;where velvet is drenched in sea water, or tablecloths are doused</p> <p>in paint and used as sponges on visibly patched tarpaulins&mdash;embody an alternative, iconoclastic approach to</p> <p>&ldquo;the sacred cloth,&rdquo; shared with the aforementioned American forbears, as well as kindred spirits Francis Picabia,</p> <p>Yves Klein, Alberto Burri, and Sigmar Polke, to name but a few. There is no substitute for the authenticity of</p> <p>Schnabel's gesture; twenty-five years after their making, his elegant yet exuberant and intrepid paintings have</p> <p>renewed vigor and urgency, anticipating the gestural, aleatory, and readymade painting so pervasive among</p> <p>emerging artists today.</p> <p>&nbsp;</p> <p>Julian Schnabel was born in New York City in 1951 and studied at the University of Houston (1969&ndash;73) and the</p> <p>Whitney Museum Independent Study Program (1973&ndash;74). Public collections include Metropolitan Museum of Art,</p> <p>New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R.</p> <p>Guggenheim Museum, New York; Museum of Contemporary Art, Los Angeles; Broad Art Foundation, Los</p> <p>Angeles; National Gallery of Art, Washington, D.C.; Tate Gallery, London; Centre Georges Pompidou, Paris; and</p> <p>Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid. Recent solo exhibitions include Inverleith House, Edinburgh</p> <p>(2003); Schirn Kunsthalle, Frankfurt (2004); Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid (2004); Mostra</p> <p>d'Oltramare, Naples (2005); Schloss Derneburg, Germany (2007); Tabacalera Donostia, San Sebastian, Spain</p> <p>(2007); Beijing World Art Museum (2007); Saatchi Gallery, London (2008); Art Gallery of Ontario (2010); Museo</p> <p>Correr, Venice (2011); Centro Italiano Arte Contemporanea, Foligno, Italy (2013); and Brant Foundation Art Study</p> <p>Center (2013&ndash;14).</p> <p>&nbsp;</p> <p>&ldquo;Julian Schnabel: An Artist Has A Past (Puffy Clouds and Strong Cocktails),&rdquo; an exhibition of fifteen paintings</p> <p>produced over the past decade, will be on view at Dallas Contemporary from April 11&ndash;August 10, 2014.</p> <p>&nbsp;</p> <p>Draw a Family, a fully illustrated book focusing on Schnabel's paintings of the past forty years, was published by</p> <p>Karma in April of 2014.</p> <p>&nbsp;</p> <p>Schnabel lives and works in New York City and Montauk.</p> Thu, 17 Apr 2014 15:52:32 +0000 Alan Gaynor - Viridian Artists - April 29th - May 17th <p align="center"><strong>ALAN GAYNOR</strong></p> <p align="center"><strong>"REMEMBRANCES"</strong></p> <p align="center"><strong>APRIL 29- MAY 17, 2014</strong></p> <p align="center"><strong>Reception Thursday May 1 6-8PM</strong></p> <p>Chelsea, NYC: Viridian Artists is pleased to present new work by Alan Gaynor. His exhibition of photographs entitled "Remembrances" continues from April 29 through May 17, 2014 with an opening reception, Thursday May 1, 6-8PM.</p> <p>The images in this exhibit are a departure from Gaynor's usual subject matter of urban architecture and instead are a tribute to his late wife Sharon Silbiger, a Professor of Medicine at Montefiore Medical Center and Albert Einstein School of Medicine. In these works, Gaynor uses the beauty of dying flowers, as a metaphor for her death after a long illness.&nbsp;</p> <p>Though he hopes to return to focusing on architectural patterns in his photographic work, changing his imagery during his grieving has provided solace. The images in this exhibit are another poignant example of the power and importance of art in our lives.&nbsp; In these powerful floral portraits, Gaynor has gone beyond the usual imagery of flowers in art, instead creating a potent metaphor of the beauty and naturalness of the evolution of life and death.</p> <p>Until this body of work, perhaps because he is also a licensed architect, Gaynor's focus has been an all-encompassing examination of the architecture of the urban landscape. As architecture is often said to be "frozen music", Gaynor's photographs demonstrate that in a city, it is the layering of the buildings played against one another, creating an overall ensemble that one could say resembles music.&nbsp; There is an equally powerful sense of rhythm in these unique flower images.</p> <p>The artist has studied with the master photographers George Tice (urban landscapes), John Sexton (black &amp; white imagery of nature and Ansel Adams' assistant) &amp; Jock Sturges noted for his B&amp;W photographs of Naturists &amp; beautiful people.</p> <p>This will be the artist's 2nd solo exhibit at Viridian. He has received many awards for his photography including a Bronze Award in the 2012 International Loupe Awards, Terabella Media&nbsp; Urban Landscape, Epson International, Tank Photo Award and many others. His work has been featured in publications including Best of Photography 2012, The Photographer, CoverArt and Photo Review to name just a few. He has been exhibiting his photography since 2000 at many galleries, including FotoFusion, Spectra '07, Saf-T-Gallery, Black Box Gallery, Camera Obscura, Soho Photo and others.&nbsp;</p> <p align="center">Gallery hours are Tuesday through Saturday 12-6PM</p> Wed, 16 Apr 2014 15:30:44 +0000 Sandro Chia - Steven Harvey Fine Art Projects - April 23rd - April 23rd <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Press Release:<br /> Sandro Chia: Sator Arepo<br /> April 23&ndash; May 25, 2014<br /> Opening: April 23, 6-8 pm<br /> shfap | steven harvey fine art projects<br /> 208 Forsyth Street New York, NY 10002 Weds &ndash; Sun 12 &ndash; 6pm and by appointment</p> <p>Steven Harvey Fine Art Projects presents a solo exhibition of recent mixed media works on paper by Sandro Chia (b. 1946) focussed on his classic motif of a solitary male figure in the landscape. Chia is a significant figure in the Transavanguardia movement, an Italian outgrowth of Neo-expressionism, which garnered international attention in the 1980s. This will be the first exhibition of Chia&rsquo;s work at Steven Harvey Fine Art Projects. The title of the exhibition, &ldquo;Sator Arepo,&rdquo; is adopted from a Latin palindrome word square with magical associations, found inscribed on ancient Roman stone tablets.</p> <p>After graduating from the Accademia di Belle Arti in Florence in 1969, Chia travelled throughout Europe and India. Upon his return to Rome, he began exhibiting what he now refers to as &lsquo;mythical conceptual&rsquo; painting and sculpture. During the late 1970s, he transitioned to a more figurative style, quickly establishing himself as a key Transavanguardia artist, along with contemporaries Francesco Clemente, Enzo Cucchi and Mimmo Paladino.</p> <p>Realized on small sheets with watercolor, pastel and other media, Chia&rsquo;s vibrant colors, cubist spaces and expressive draftsmanship appropriate, echo and send up romantic figures of art history including Carlo Carra, Matisse, Chagall, Picasso and Courbet. His imagery often draws upon classic mythology and makes references to antiquity. Yet, as Dr. Maurizio Vanni observes in his essay &lsquo;The Loneliness of the Hero&rsquo;, &ldquo;Chia tends to humanize his heroes, making them almost everyday subjects.&rdquo;</p> <p>Chia presents painting as a magic alchemical language, able to give voice to man&rsquo;s inexplicable search for meaning. In an interview conducted by Richard Milazzo, Chia defines his relationship to his work:</p> <p>&ldquo;Many people see art as something that comes from something positive or elevated inside us, as a humanistic enterprise. I disagree with that. I&rsquo;m not even sure that it comes for us. It probably comes from &lsquo;outside,&rsquo; from nature, from everything that surrounds us, and we are not the center but rather the &lsquo;empty space&rsquo; in between. Maybe we are not even the source, but this source is given to us, it goes through ourselves.&rdquo;</p> <p>Chia&rsquo;s work has been included in the Biennale of Paris and San Paolo and the Venice Biennale. He has had solo exhibition at many of the most important museums worldwide, among them: Stedelijk Museum of Amsterdam (1983), The Metropolitan Museum of New York (1984), The National Gallery of Berlin (1984, 1992), The Museum of Modern Art of Paris (1984).</p> <p>In 2003, the Italian State acquired three of Chia&rsquo;s works for their permanent collection at Palazzo Madama, and in 2005, the Province of Rome installed two monumental sculptures by Chia in front of its headquarters in Via IV Novembre. Chia&rsquo;s work was the subject of an exhibition entitled Gods and Heroes at the Boca Raton Museum of Art, Florida in 2007.</p> <p>Today Sandro Chia divides his time between Miami, Rome and his Castello Romitorio vineyard in Tuscany.</p> <p>For more information or images please contact the gallery at 917.861.7312 or</p> <p>SHFAP @ PROJECTOR, our second space located around the corner at 237 Eldridge Street, presents a group show featuring paintings by Chuck Bowdish, Katherine Bradford, Paul Resika and Bob Thompson in conversation with the work of Sandro Chia.&nbsp;</p> </div> </div> </div> Wed, 16 Apr 2014 11:23:33 +0000 - The Boiler (Pierogi) - April 11th - April 25th <p>Selected Works by Pratt Second -Year M.F.A. Candidates</p> Wed, 16 Apr 2014 01:05:26 +0000 Ravi Agarwal, Bob Braine, David Brooks, Till Krause, Marie Lorenz, Hilmar Schäfer - The Goethe-Institut (Wyoming Building) - April 30th - May 31st <p>The Goethe-Institut New York and the Galerie f&uuml;r Landschaftskunst present <em>Free River Zones: An artistic inquiry</em>. The project by six participants from the US, India and Germany is inspired by the ideas, visions and academic practice of Alexander von Humboldt within an experimental artistic format: field trips on New York's waterways, collaborative art work, and a series of talks about rivers worldwide will culminate into the declaration of a "Free River Zone" in New York and an art exhibition at the Goethe-Institut Wyoming Building. <br /><br />The point of departure is Humboldt's river voyage with Aim&eacute; Bonpland on the Orinoco and the Rio Negro in South America in 1800. Based on this historical event, the exhibition will present a contemporary take on Humboldt's legacy and is related to the exhibition "The Unity of Nature: Alexander von Humboldt and the Americas" at the Americas Society. <br /><br />The idea of a "Free River Zone" is an experimental inquiry about the preconceptions and usage of rivers, aimed at overcoming antiquated definitions and developing new perceptions of landscape. It consists of acts of self-authorized "artistic declaration", which have been accomplished through interdisciplinary research and public discussions about the possible meanings and consequences of a "Free River Zone" status. For each river area, specific modi operandi are chosen&mdash;technical, political, ecological, cultural, poetical or non-logical ones&mdash;to displace them from purposes of societal functions. <br /><br /><em>Free River Zones: An artistic inquiry</em> will be a forum for discussions and collaborative art work, as well as for field trips to locations in and around New York City and its waterways. The artists will discuss and select an area as an experimental case study for a declaration of an urban "Free River Zone". <br /><br />In parallel, a series of talks will explore related existing projects with the river Elbe in the Hamburg port area in Germany as well as the river Yamuna in India and others.<br /><br /><br /><strong>Participants</strong>:<br /><br /><strong>Ravi Agarwal</strong> is a photographer artist, writer, curator, and environmental activist. He explores issues of urban space, ecology and capital in interrelated ways working with photographs, video, performance, on-site installations, and public art. He is the founder of the well-known Indian NGO <em>Toxics Link</em> and has been internationally awarded for his work. <br /><br />New York based eco-artist <strong>Bob Braine</strong> is dedicated to exploring, understanding, and interpreting the interaction of people and their environment. In his performative and experimental art work he has explored rivers, landscapes, and ecosystems in New York, the United States, Germany and South America&mdash;by feet, bicycle and by boat. Having studied Fine Art in the University of Hartford Art School, he specialized and extensively published on histories and environments of rivers such as the Hudson River or the Main in Germany. <br /><br />In his many residencies and projects across Asia, Europe, and the Unites States, New York based artist <strong>David Brooks</strong> has devoted himself to ideas and questions of sustainability, nature, and urban environmental action. Examining the relationship between the individual and the built and natural environment, he rigorously calls our concepts and ideas of nature into question. Born in Brazil, he earned a BFA from The Cooper Union and an MFA from Columbia University, after attending the St&auml;delschule, Staatliche Hochschule f&uuml;r Bildende K&uuml;nste in Frankfurt am Main in Germany. <br /><br /><strong>Till Krause</strong> focuses in his works on landscapes, nature, urbanism, and space in general. In this context he explores questions of history, usage and structure. How do people engage with their surrounding environment and how does this relationship become visible? His projects often oscillate between art and other sciences. Moreover, Till Krause is the co-founder of the <em>Museum ferner Gegenden</em> and G<em>alerie f&uuml;r Landschaftskunst</em> in Hamburg. <br /><br /><strong>Marie Lorenz</strong> studied at Rhode Island School of Design and Yale University. Her artwork combines psycho-geographic exploration with highly crafted, material forms. In her ongoing Project <em>The Tide and Current Taxi</em> she explores the waterways of New York City in self-build boats. Whether bringing passengers aboard or traveling solo in her rowboat she documents her journey through pictures, videos, and artifacts. <br /><br /><strong>Hilmar Sch&auml;fer</strong> is research assistant at the chair of comparative cultural sociology at the European University Viadrina, Frankfurt (Oder). Next to his research focuses in the fields of sociological theory and cultural sociology, Hilmar Sch&auml;fer also participates in interdisciplinary exhibitions on Pierre Bourdieu, ethnographic field research, and society. Referring to the interface between culture and nature he conceptualized and organized the interdisciplinary art project <em>Biological Research Station Alster </em>at <em>Galerie f&uuml;r Landschaftskunst</em>, in cooperation with Mark Dion. <br /><br /><em>Free River Zones: An artistic inquiry is presented by the Goethe-Institut New York and features work developed by the Galerie f&uuml;r Landschaftskunst, Ravi Agarwal, Bob Braine, David Brooks, Till Krause, Marie Lorenz, and Hilmar Sch&auml;fer. This collaboration was made possible through the generous support of Friends of Goethe New York, Inc. </em></p> Tue, 15 Apr 2014 07:10:57 +0000 Prabir Purkayastha - Sundaram Tagore Gallery - Chelsea - May 1st - May 31st <p>Indian-born photographer Prabir Purkayastha debuts a new collection of large-scale black-and-white photographs documenting the fading colonial architecture of Calcutta, once Asia&rsquo;s most cosmopolitan city.<br /> <br /> The project began in 2006, when Purkayastha, who was traveling through the city, was struck by the dwindling Jewish, Chinese, Armenian, Parsi and Anglo-Indian communities that once populated&mdash;and helped build&mdash;Calcutta. Awed by the crumbling facades of the buildings associated with these ethnic groups, Purkayastha returned in 2007 to photograph them.<br /> <br /> &ldquo;For some inexplicable reason I couldn&rsquo;t see myself as just another mute spectator pretending that they never existed,&ldquo; says Purkayastha. &ldquo;Watching helplessly as communities slowly vanish into the dusty corners of our nation&rsquo;s history, I felt something needed to be done to record and preserve for future generations.&rdquo;<br /> <br /> The project grew in scope, eventually encompassing not only the architecture of these fading minority communities, but also much of the city&rsquo;s British colonial architecture, both grand and humble. Many of the buildings documented are in various states of disrepair&mdash;some are crumbling, abandoned or illegally occupied&mdash;while others still function, albeit in reduced roles, such as the magnificent 150-year-old mansion once occupied by the 19th century philanthropist Rani Rashmoni, now a municipal office. The photographs lay bare the formidable preservation challenges facing the city. The Magen David Synagogue built in 1884, for example, which no longer has a congregation, is maintained only by a handful of elderly devotees.<br /> <br /> The story of Calcutta began in 1690, when Job Charnock of London&rsquo;s famed East India Company landed on the banks of the Hooghly River. It was an ideal location for a British trading post and Calcutta soon became a thriving center of commerce and culture, attracting merchants and laborers from India and abroad.<br /> <br /> By the mid 19th century, Calcutta was the capital of British India and its prominence was reflected in the opulent buildings that began to punctuate the city. At the same time, native feudal lords, wealthy merchants and the Bengali elite were also erecting their own grand villas along with government, commercial and religious buildings, all of which earned Calcutta the nickname "City of Palaces." The new architecture reflected the city&rsquo;s diversity, incorporating both Western and Eastern influences and merging European styles&mdash;Gothic, Baroque, neoclassical and Art Nouveau&mdash;with traditional Hindu, Moorish and Islamic architectural details.<br /> <br /> The end of the British Raj brought an end to the city&rsquo;s meteoric urban development and what remains today, and what Prabir Purkayastha has captured in his photographs, are the hauntingly beautiful remnants of Calcutta&rsquo;s storied past&mdash;a history set in stone and mortar.<br /> <br /> Award-winning photographer Prabir Purkayastha was born in Central India in 1952. After graduating from the University of Delhi he worked in Thailand as a journalist. Purkayastha returned to India in 1980, becoming one of the country&rsquo;s leading advertising practitioners in agency management and creative campaigns. He began taking photographs in earnest in the late 1980s, primarily in Indochina and India, including in Ladakh, Rajasthan, Assam, and now, Calcutta. During the past decade, Purkayastha has exhibited his work in New York, Chicago, Katonah, Los Angeles, London, Cologne, New Delhi, Calcutta and Mumbai. He works both digitally and in film and describes himself as a cross between a storyteller and sociocultural anthropologist. He's based in Delhi.<br /> <br /> Prabir Purkayastha&rsquo;s exhibition <em>Aksaha</em> (2002) received the Habitat Award for Best Photography Exhibition and in 2003 his InterGlobe calendar took top prize at the SAPPI Asian Awards for Printing. In 2005 and 2007, he was invited to speak at the Rubin Museum of Art, New York, about his wall-mural photographs of the ancient Ladakhi monasteries. In 2009, he was nominated for the international Prix Pictet Award and was selected as one of the Super Six Photographers by Fuji Film, India.<br /> <br /> Purkayastha&rsquo;s work is in numerous private and corporate collections and has been featured in international magazines and newspapers including <em>Black &amp; White</em> magazine, <em>Silvershotz</em> and <em>ARTnews</em>. His critically acclaimed book <em>Ladakh</em> (Prestel Publishing, 2005) won several awards, including Book of the Month, from Better Photography, UK; the <em>Black &amp; White</em> Photography Magazine Spotlight Award; the Gold Medal from the All India Federation of Master Printers; and the Silver Medal from SAAPI, Jakarta, in 2006. His second book, which focuses on Assam, is slated for publication later this year.</p> Tue, 15 Apr 2014 07:03:36 +0000 Donald Sultan - Ryan Lee - April 24th - June 27th <p>RYAN LEE is pleased to announce Donald Sultan: Artifice, an exhibition of new paintings by Donald Sultan, and the inaugural exhibition in the gallery&rsquo;s new 8,000-square-foot space located at 515 West 26th Street. Donald Sultan: Artifice will highlight the artist&rsquo;s continued interest in and reinvention of the still-life genre through the exploration of color, scale, form, and repetition that is characteristic of his practice.<br />The exhibition will feature eight paintings and an aluminum sculpture that introduce new imagery, including the button poppy, as well as expand upon imagery he has used in his artistic practice. There are variations on both his signature poppy image inspired by the red poppies worn to commemorate Veteran&rsquo;s Day, overlaid with the herringbone pattern, and the more recent lantern flower patterns, derived from a detail of a Chinese paper lantern. Among the works on view will be two monumental paintings of an iconic single flower combined with a plastic button for the first time. Emphasizing the tough, sumptuous texture and rich, bold colors of the paintings through multiple layers of pigment, plaster, and linoleum, he reveals a single form, one that is strangely recognizable, yet unreal. Sultan says, &ldquo;It&rsquo;s a painting that looks at you.&rdquo; Blue Poppy Yellow Poppy, Nov 4 2013 is a double-sided aluminum sculpture related to the physicality of the paintings. It is predominantly blue on one side and predominantly yellow on the other, with an exposed metal center and edge that reveals it&rsquo;s materiality.<br />Sultan, an internationally recognized artist who rose to prominence in the late 1970s as part of the &ldquo;New Image&rdquo; movement, is known for elevating the still-life tradition through the deconstruction of his subjects into basic forms and the use of industrial materials. His paintings characteristically employ enamel, roofing tar, aluminum, linoleum, and spackle, pushing the boundaries of the medium through techniques of gouging, sanding, and buffing to create flatness, depth, and texture. The works are made of the same materials as the building in which the viewer stands; the architecture participates in the paintings. Weighty and structured, Sultan&rsquo;s paintings are simultaneously abstract and representational: while his imagery is immediately recognizable &ndash; flowers, daily objects, insignia, idle factories &ndash; the dominating, abstract forms contradict its common association with fragility.<br />Born in Asheville, North Carolina, Sultan studied at the University of North Carolina, Chapel Hill and later received his MFA from the School of the Art Institute, Chicago. His first solo exhibition was mounted in 1977 at Artists Space in New York, and his work has since been exhibited worldwide in solo and group exhibitions, including at: the Contemporary Arts Center, Cincinnati; Corcoran Gallery of Art, Washington, DC; Gotlands Konst Museum, Sweden; Institute of Contemporary Art, Tokyo; Los Angeles County Museum of Art; Memphis Brooks Museum, Memphis; Museum of Modern Art, New York; Mus&eacute;e d&rsquo;art Contemporain, Montreal; National Galerie, Berlin; Solomon R. Guggenheim Museum, New York; and Whitney Museum of American Art, New York. His work is included in internationally renowned public and private collections, among them The Art Institute of Chicago; British Museum; Cincinnati Art Museum; Cleveland Art Museum; Dallas Museum of Fine Arts; Detroit Institute of Arts; Fogg Art Museum at Harvard University, Cambridge; Hirshhorn Museum and Sculpture Garden, Washington, DC; Ludwig Museum, Budapest; The Metropolitan Museum of Art, New York; Museum of Contemporary Art, Tokyo; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Museum of Modern Art, New York; National Gallery of Australia, Canberra; Neuberger Museum at SUNY-Purchase, New York; San Francisco Museum of Modern Art; Singapore<br />Museum of Art; The Solomon R. Guggenheim Museum, New York; Tate Gallery, London; and Walker Art Center, Minneapolis.<br /><br /></p> Tue, 15 Apr 2014 06:57:25 +0000 Jonathan Borofsky, Sam Durant, Charles Gaines, Liz Glynn, Hans Haacke, Douglas Huebler - Paula Cooper Gallery - 521 W. 21st Street - April 5th - April 19th <p>The CalArts Art Benefit and Auction is a fundraising effort in which more than 80 important works of art donated by CalArts alumni, faculty and friends will be exhibited and sold this spring. This unprecedented initiative will fund the new John Baldessari Building and endow scholarships for students at the CalArts School of Art.</p> <p>Through his generous and innovative teaching and his exceptional art practice, John Baldessari, a Chouinard alumnus and former CalArts faculty member, has influenced thousands of young artists and has earned a prominent place in the history of contemporary art. The Baldessari Building is the Institute&rsquo;s newest educational facility featuring exhibition and instructional space as well as 16 artists&rsquo; studios. Reducing student debt is one of the Institute&rsquo;s highest priorities, and the endowment created from proceeds from the auction and sales will allow more CalArts students to launch their creative careers without the burden of enormous debt.</p> <p>The initiative launched with an opening reception for the exhibition at Regen Projects in West Hollywood, CA on February 25, 2014 and now travels to Paula Cooper Gallery and Metro Pictures in New York from April 5&ndash;19, 2014. The opening reception on April 5 features a performance by Los Angeles-based collective My Barbarian that will move between the two galleries.</p> Tue, 15 Apr 2014 06:40:58 +0000 Jory Rabinovitz - Martos Gallery - April 18th - May 31st Tue, 15 Apr 2014 06:29:52 +0000 Sarah Charlesworth - Maccarone (Greenwich Street) - April 25th - June 21st <p>Maccarone is honored to present <strong>Sarah Charlesworth,</strong> <strong><em>Objects of Desire 1983 &ndash; 1988</em>,</strong> a show of the seminal series that not only shaped the foundation of Charlesworth&rsquo;s own practice, but that of subsequent generations of artists engaging with the medium of photography. This is the gallery&rsquo;s first exhibition of the artist, on view from April 25 &ndash; June 21, 2014 at 630 Greenwich St, New York.</p> <p><em>Objects of Desire</em> is a five-part extended series that explores the iconography of popular culture and the desires and values it supports. Sub-series focus on the color and formal attributes of specific cultural arenas. These works address the language of gender and sexuality, popular conceptions of nature, religion and spirituality, as well as the framing of material desire. All works in the series are Cibachrome prints with matching lacquer frames.&nbsp; This exhibition is the first occasion various works from each of the five-part series have been brought together.</p> <p>In making <em>Objects of Desire</em>, Charlesworth extracted a wide range of images from books and magazines, including contemporary fashion, symbolic animals, ancient statuary, and emblems of power. She then re-photographed the images against solid color backgrounds, presenting the results in matching frames. With the introduction of new colors in each sub-series, Charlesworth&rsquo;s subject matter was framed by another layer of symbolic context, i.e. red as sexuality, yellow as material desire, blue as metaphysical longing, green as nature, or black as the unknown.</p> <p>In all of Charlesworth&rsquo;s work, the proportions of positive to negative space, the color and the scale and position of elements introduce layers of significance. The meaning of each work is formed through the placement of the specific elements. In Charlesworth's own words:</p> <p><em>&ldquo;There&rsquo;s something about the surface of a photograph, how it acts, and about the coherence of photographic illusion that both fascinates and disturbs me. To me, there&rsquo;s something mysterious about what&rsquo;s physically there and how it acts on our it connects us to some other thing&mdash;to a chair, a human being, to a different reference point, a moment in time, and finally, to desire itself.&rdquo;&nbsp;</em>&nbsp;- Interview with David Deitcher,&nbsp;<em>Afterimage,</em> Summer 1984</p> <p>Sarah Charlesworth (1947&ndash;2013) exhibited widely in the US and abroad with over 50 solo exhibitions, and a traveling museum retrospective in 1998 (organized by SITE, Santa Fe). &shy;Charlesworth taught photography in the graduate program at School of Visual Arts in NY, Rhode Island School of Design and Princeton University. Her work appears in the collections of the Metropolitan Museum of Art, NY, the Museum of Modern Art, NY, the Museum of the Art Institute of Chicago, the Whitney Museum of American Art, NY, the Solomon R. Guggenheim Museum, NY, the Museum of Fine Arts Boston, the Museum of Contemporary Art, Los Angeles, the Walker Art Center, Minneapolis and others. Her work is currently featured in the Whitney Biennial 2014.&nbsp; A solo exhibition at The Museum of the Art Institute of Chicago will open in September 2014.</p> <p>&nbsp;</p> Fri, 18 Apr 2014 01:39:50 +0000