ArtSlant - Recently added en-us 40 Morino Hiroaki Taimei - Joan B. Mirviss LTD - November 10th - December 16th <p style="text-align: justify;">It is a special honor to announce the opening of <em>The Resonance Between Form and Color II: Ceramic Art of Morino Hiroaki Taimei</em> at The Salon Art + Design. Widely celebrated for his ability to create elegant and original forms, Morino Hiroaki Taimei (b. 1934) returns after more than ten years since his first highly successful solo exhibition with Joan B Mirviss LTD to present richly colored vessels and sculptures that explore the boundaries of ceramic art. Although based in utility, the stunning vessels featured in this show are equally strong as non-functional works. They transcend their traditional purpose into the realm of avant-garde with features such as extended conical tops, spherical ears and winged bases. Similarly, Morino&rsquo;s innovative slab-built sculptures are riddled with pipe-like appendages that arch in and around central perforations. Using these cutouts, he incorporates the concept of <em>ma </em>into his artworks, a conscious use of negative space that communicates with its viewer. In both types of work, Morino applies contrasting matte-colored glazes, often highlighted in subdued tones of silver. His signature undulating waves, playful circles and linear motifs are the final touches that seamlessly blend his polychrome hues with modern, geometric forms.</p> <p style="text-align: justify;">Morino began his eminent career in ceramics at Kyoto City University of Arts, where he had the fortuitous opportunity to study under Living National Treasures Tomimoto Kenkichi (1886-1963) and Fujimoto Yoshimichi (Nōdō) (1919-1992). Their emphasis on decorative styles played a formative role in Morino&rsquo;s distinctive use of abstract patterning. In the mid-1960s, he also spent several years as an instructor in the art department at the University of Chicago, exposing him to unique, Chicago-style artistic trends. His Kyoto sensibilities were consequently enhanced with subtle international flavors that have captured the attention of collectors and curators worldwide.</p> <p style="text-align: justify;">Morino has received countless prestigious awards and his ceramics have been featured in over 150 exhibitions worldwide over multiple decades. More than 60 prominent museums spanning four continents feature his works in their permanent collections including the Metropolitan Museum of Art, New York, NY; National Museums of Modern Art, Kyoto and Tokyo; and Victoria &amp; Albert Museum, London.</p> <p style="text-align: justify;">Joan B Mirviss is the leading western dealer in the field of modern and contemporary Japanese ceramics, and from her New York gallery on Madison Avenue, Joan B Mirviss LTD exclusively represents top Japanese clay artists. As a widely published and highly respected specialist in her field for over thirty-five years, Mirviss has advised and built collections for many museums, major private collectors, and corporations. <em>The Resonance Between Form and Color II: The Ceramic Art of Morino Hiroaki Taimei</em> will first be shown at The Salon: Art + Design (November 10-14) and thereafter at Joan B Mirviss LTD (Nov.15 - Dec.16).</p> Fri, 21 Oct 2016 17:35:16 +0000 Yuko Mohri - Jane Lombard Gallery - November 10th - December 17th Fri, 21 Oct 2016 17:25:58 +0000 Jim Hodges - Gladstone Gallery - 21st St. - November 11th - December 21st Fri, 21 Oct 2016 17:21:41 +0000 Andreas Gursky - Gagosian Gallery- 21st St. - November 10th - December 23rd <p style="text-align: justify;"><em>My photographs are &ldquo;not abstract." Ultimately they are always identifiable. Photography in general simply cannot disengage from the object.</em><br /> &mdash;Andreas Gursky</p> <p style="text-align: justify;">In the wake of Andreas Gursky&rsquo;s current survey exhibition &ldquo;nicht abstract&rdquo; at Kunstsammlung Nordrhein-Westfalen in Germany, Gagosian is pleased to present &ldquo;Not Abstract II,&rdquo; an exhibition of recent photographs by the renowned German artist, accompanied by an electronic sound installation created by Canadian DJ and producer Richie Hawtin.</p> <p style="text-align: justify;">From images of nature to cities, crowds, and products, Gursky seems to create what already exists. In his photographs variations in distance serve to emphasize contemporary truths, whereby subject matter is presented in a detailed uniformity that privileges neither foreground nor background. In<em> Les Me&eacute;s</em> (2016), solar panels, rolling hills, and a gray-blue sky become bold areas of color, as opposed to elements in a landscape. Hawtin&rsquo;s minimalist techno soundscape, composed in response to Gursky&rsquo;s art, &lsquo;breathes&rsquo; with the photographs, inspiring longer pauses that allow each image to expand beyond its frame.</p> <p style="text-align: justify;">In several untitled works never before exhibited in the United States, Gursky takes this effect a step further; aerial views of tulip fields tip the landscape up and create homogeny from variety; the colors blend together to form horizontal bands, like sheet music filled in with impressionist hues. That these works are deliberately untitled emphasizes his longstanding interest in recasting, time and again throughout his artistic career, the formal questions activated in postwar American abstraction. However, according to him, these photographs are not abstract, because abstraction is unrecognizable. From afar they appear as ambiguous geometries and gradients, but a step closer and a refocusing of the eye reveals their content. Once the tulips are recognized as such, there is no returning to abstraction. Thus Gursky offers up the threshold of abstraction, just in time to make it disappear.</p> <p style="text-align: justify;">The tulip fields find their consumerist equivalent in <em>Media Markt</em> (2016) and <em>Amazon </em>(2016). The irons, coffee-makers, and vacuum cleaners of <em>Media Markt</em>, and the seemingly infinite rows of packages in <em>Amazon</em>, become mosaic depictions of spaces that seem too big to comprehend. Gursky is able to foster this sense of the quotidian sublime in both scale and content in meditations on the Romantic genre deftly attuned to contemporary times. His <em>Superheroes </em>series of 2014 pairs grandiose settings with popular American superheroes whose distinctive poses are dwarfed by the sweep and rise of seascapes and skyscrapers. In <em>Rueckblick </em>(2015), four German Chancellors&mdash;Gerhard Schr&ouml;der, Helmut Schmidt, Angela Merkel, and Helmut Kohl&mdash;sit in black leather chairs with their backs to the viewer, similarly reduced by the large fields of color that constitute Barnett Newman&rsquo;s <em>Vir Heroicus Sublimis</em> (1950&ndash;51), a highlight of New York&rsquo;s Museum of Modern Art.</p> <p style="text-align: justify;">Both Gursky and Hawtin use digital technology&mdash;in image and sound respectively&mdash;to recombine the materials of everyday existence. Their collaboration brings all of the senses together, positioning politics, capitalism, and geography within a hypnotic realm that oscillates between abstraction and reality.</p> <p style="text-align: justify;"><strong>Andreas Gursky</strong> was born in 1955 in Leipzig, former East Germany, and lives and works in D&uuml;sseldorf, Germany. His work is featured in institutional collections including The Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Tate Modern, London; National Galleries of Art, Edinburgh; National Gallery of Art, Washington, D.C.; Kunsthaus Z&uuml;rich; San Francisco Museum of Modern Art; Kunstmuseum Basel; Kunstmuseum Bonn; Los Angeles County Museum of Art (LACMA); Museum Ludwig, Cologne; and Kunstsammlung Nordrhein-Westfalen, D&uuml;sseldorf.</p> <p style="text-align: justify;">Recent institutional exhibitions include The Museum of Modern Art, New York (2001, traveled to Reina Sofia, Madrid; Centre Pompidou, Paris; and Museum of Contemporary Art, Chicago, through 2012); Kunstmuseum Basel, Switzerland (2007); &ldquo;Retrospective 1984&ndash;2007,&rdquo; Haus der Kunst, Munich (2007, traveled to Istanbul Museum of Modern Art, Turkey; Sharjah Art Museum, United Arab Emirates; National Gallery of Victoria, Melbourne; and Ekaterina Foundation, Moscow, through 2008); &ldquo;Works 80&ndash;08,&rdquo; Kunstmuseen Krefeld, Germany (2008; traveled to Moderna Museet, Stockholm; and Vancouver Art Gallery, Canada, through 2009); Museum f&uuml;r Moderne Kunst, Germany (2008); Museum Haus Esters Haus Lange, Germany (2008); Pinchuk Art Center, Ukraine (2008); &ldquo;Andreas Gursky at Louisiana,&rdquo; Louisiana Museum of Modern Art, Denmark (2012); Stiftung Museum Kunstpalast, D&uuml;sseldorf (2012); The National Art Center, Tokyo (2013); The National Museum of Art, Japan (2014); &ldquo;Landscapes,&rdquo; Parrish Art Museum, New York (2015); Museum Frieder Burda, Germany (2015&ndash;16). Gursky has participated in the Bienal de S&atilde;o Paulo (2002); Shanghai Biennale (2002); Biennale di Architettura, Venice (2004); Sharjah Biennial, United Arab Emirates (2007); Biennale di Venezia (2015); and Manifesta 11, The European Biennial of Contemporary Art, Z&uuml;rich (2016).</p> <p style="text-align: justify;">&ldquo;Andreas Gursky: nicht abstract&rdquo; remains on view at Kunstsammlung Nordrhein-Westfalen, D&uuml;sseldorf until November 6, 2016.</p> Fri, 21 Oct 2016 17:18:34 +0000 Pablo Picasso - Gagosian Gallery 976 Madison Avenue - November 10th - December 17th Fri, 21 Oct 2016 17:11:20 +0000 Stephen Hobbs, William Kentridge, Diane Victor, Mary Wafer - David Krut Projects - October 4th - December 17th <p class="firstParagraph" style="text-align: justify;">David Krut Projects is pleased to present Unnatural Landscapes, an exhibition of prints and drawings exploring the city of Johannesburg, South Africa and the politics of the built environment.</p> <p style="text-align: justify;">For more information please contact</p> Fri, 21 Oct 2016 17:02:44 +0000 Annie Kevans - Danziger Gallery - November 3rd - December 23rd <div style="text-align: justify;">Danziger Gallery is pleased to announce our representation of the acclaimed British painter Annie Kevans. &nbsp;Known for the originality of her ideas as well as the deftness and beauty of her brushstrokes, since 2004 Kevans has produced multiple series of portraits with provocative historical, social, or political concepts. &nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Among the series she has produced over the last decade are:</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&ldquo;Boys&rdquo; - dictators imagined as their young selves.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&ldquo;Girls&rdquo; &ndash; about the commodification of girls in popular culture</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&ldquo;Collaborators&rdquo; &ndash; portraits of Nazi collaborators from Louis Vuitton to Coco Chanel.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Our exhibition, opening on November 2, will be based largely on the series "The History of Art&rdquo; comprising portraits of 20 women artists, either renowned in their time but now largely forgotten, or who came to be known via their association with more powerful male artists. &nbsp;A response to the one-sidedness of art history, and in addition to the many factors that weigh against women artists, in Kevans&rsquo; view a person&rsquo;s historical significance is diminished when you cannot put a face to a name. &nbsp;Her series seeks to rectify that.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The pictured artists are Artemisia Gentileschi, Elizabeth Butler, Gabrielle Capet, Giulia Lama, Lavinia Fontana, Marguerite Gerard, Marie Bracquemond, Rachel Ruysch, Rosalba Carriera, Amrita Sher-Gil, Edmonia Lewis, Kathe Kollwitz, Marisol, and Lily Martin Spencer. (Capsule descriptions of their work and life will be available at the gallery front desk.) &nbsp;Better known names are Angelica Kauffmann, Berthe Morisot, Georgia O&rsquo;Keeffe, Frida Kahlo, Eva Hesse, and Diane Arbus.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Also in the show are selections from other series:<br /> &nbsp;</div> <div style="text-align: justify;">&ldquo;All The President&rsquo;s Girls&rdquo; - from Presidential mistresses to the offspring of Presidents and their slaves.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">"Drag" - portraits of Warhol, Duchamp, Mapplethorpe and other male artists who pictured themselves in drag.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&ldquo;All About Eve&rdquo; &ndash; British royal mistresses and their descendants.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&ldquo;The Muses of Jean Paul Gaultier&rdquo; &ndash; a series commissioned by the designer.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Kevans&rsquo; place in the British art world started at art school when her series, &ldquo;Boys&rdquo;, was bought by Charles Saatchi from her 2004 Central St. Martins School of Art degree show. &nbsp; The series was subsequently exhibited in its entirety at the Saatchi Gallery as part of the exhibition &ldquo;Paper&rdquo;. &nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Kevans has exhibited in group shows at leading museums including the Barbican Art Gallery, the Royal Academy, the Grand Palais, the National Gallery of Victoria in Melbourne, and the Marres Centre for Contemporary Art in Maastricht. &nbsp;Her work can be found in major collections, including the Pallant House Gallery, the David Roberts Collection, 21c Museum, as well as in the collections of Lord Rothermere, Marc Quinn, and Jean Pigozzi.</div> Fri, 21 Oct 2016 16:57:14 +0000 Pamela Shields - Ceres Gallery - November 1st - November 26th <p style="text-align: justify;">The artist invited friends to take anonymous "selfies" of their own vulvas, from which she created large charcoal drawings exploring this most private part of a woman's body.</p> Fri, 21 Oct 2016 16:54:15 +0000 Anne Mondro - Ceres Gallery - November 1st - November 26th <p style="text-align: justify;">Inspired by the strength and challenges associated with illness, the artist creates intricately woven anatomical forms to metaphorically reflect the emotional complexities of caring for others.</p> Fri, 21 Oct 2016 16:54:13 +0000 Anke Weyer - Canada - October 27th - December 4th <p style="text-align: justify;"><br />CANADA is pleased to announce <em>Frightful Falls</em>, an exhibition of new paintings by gallery artist Anke Weyer. <br /> <br />The paintings presented in <em>Frightful Falls</em> were created over the course of a long summer in a converted barn several hours outside of New York City. Unobserved except by nature and her newly adopted dog Flaco, Weyer painted freely and boldly, with spontaneity and objective. The canvases are tossed with aggressive and playful marks, oil paint emulsions, a drop of symbolism to describe chaos. &nbsp;Brushstrokes wrap and tremble creating nests around one another, paint thins, conjoins and splatters. In any given work there&rsquo;s a variety of apertures and techniques, a convergence of energy with the raw matter of paint, about a million things going on. <br /> <br />Take <em>Leave Early</em>, 2016, a painting whose composition reaches all four corners with pockets of color, texture and gradation switching confrontationally across areas touching and bisected. Green, yellow and brown lines appear on the surface; then the possibility of a red boot, and another red shape with something coming out of it. If this painting were a scarecrow, its hay stuffing would be plummeting out of its head. A Godzilla effect, a Frankenstein or Incredible Hulk. Clothes torn by bulging muscles on steroids, sewn back together and torn again. <br /> <br />Weyer possesses an intense confidence with her medium. She is willing to destroy it to find new ways of working with it. The paintings convey a tenacity and psychological propulsion, evidenced by the way paint is moved, removed, and displaced by coils of activity. Weyer is fighting oppression with these things. At other times, she is planting a garden. The effect is highly dynamic, an attuned revelation of painting&rsquo;s candor. <br /> <br />Anke Weyer was born in Karlsruhe, Germany (1974). Weyer attended the Staatliche Hochschule f&uuml;r bildende K&uuml;nste St&auml;delschule, Frankfurt am Main (1995 &ndash; 2000) and undertook an exchange semester at the Cooper Union, New York. In addition to numerous international group exhibitions, Weyer&rsquo;s work has been featured in solo shows and two-person presentations at CANADA in New York since 2000. Anke Weyer has had recent solo shows at Office Baroque, Brussels (2015), and Nino Mier, Los Angeles (2016). Group shows include &ldquo;Women of Abstraction,&rdquo; MOCA Jacksonville, FL (2016), and &ldquo;The Ties That Bind,&rdquo; David Achenbach Projects, Wuppertal, Germany (2016). She lives and works in Brooklyn, NY.</p> Fri, 21 Oct 2016 16:51:29 +0000 Aidas Bareikis - Canada - October 27th - December 4th <p style="text-align: justify;">I met Aidas Bareikis in the mid 1990&rsquo;s at an art camp in Maine, he was on a Fulbright scholarship and had just graduated from Hunter College. He was from the Soviet side of Europe which at that time was still pretty exotic, especially for someone lost in the woods of rural Maine. Somehow with his limited English he got it across to me that he needed help locating cooked lobster shells to help fulfill an orange-colored sculpture he was making. I had a car so maybe I could help. <br /> <br />Over in his studio Aidas was producing expansive fields of stuff carefully orchestrated by color. Wide varieties of things--man made and store bought, utterly organic perishables, strings, wires, empty paper cups-- laid down with an extreme precision all across the studio floor. It felt as if this odd ball array of parts were being engineered, like Bareikis was building a working mechanism, setting up and tuning a vast antenna to communicate coded intelligence back to some mother ship. <br /> <br />Since these early experiments, Aidas has gone on to exhibit across the globe: digesting and regurgitating its consumer waste into surreal and seemingly animate installations. Sometimes they pull themselves up into vertical spaces, standing upright or dangling like chandeliers of human webbing. They are sculptures unbuilt from art history--progeny of movements like antiform and actionism--with titles to reference a flowery Watteau painting or Lithuanian symbolist picture. <br /> <br />In <em>Barrel of Fortune</em>, his first solo exhibition at CANADA, Bareikis distills his enduring vision into bundled masses. He stacks and wraps cultural objects in fabric and string, building altar-like assemblages shrouded by paint and recognizable trash. The sculptures are propped up by found furniture, wood or aluminum, and exposed to forces like time, gravity, or the elements. Rendered in deep reds, acidic oranges and vintage blues, each work operates like a junkyard relic: a curious portal into another era slowly merging with the local flora. It&rsquo;s here where Bareikis navigates, somewhere between scientific method and pure psychic automatism, covering his tracks in a role equal parts wandering&nbsp;scientist and mad poet. <br />&nbsp;</p> <p style="text-align: justify;">Aidas Bareikis (b. 1967 in Vilnius, Lithuania) holds an MFA from Hunter College. He is the recipient of a Fulbright Scholarship and a Soros Foundation Grant. Bareikis has exhibited at Leo Koenig Gallery, NY, P.S.1 MoMA, NY; The Kunsthalle Wien, Austria; Center for Contemporary Art, Berlin; Zacheta Center for Contemporary Art, Warsaw;&nbsp;CAC Vilnius, Lithuania;&nbsp;MIER Gallery, Los Angeles, and Grand Arts in Kansas City, MO. In 2007, his work was selected in the first Athens Biennial. He lives and works in Brooklyn, NY.</p> Fri, 21 Oct 2016 16:51:09 +0000 James Hoff - Callicoon Fine Arts Delancey Street - November 5th - December 23rd Fri, 21 Oct 2016 16:48:11 +0000 Kamini Avril - Bowery Gallery - November 1st - November 26th Fri, 21 Oct 2016 16:43:11 +0000 Richard Renaldi - Benrubi Gallery - November 3rd - December 23rd <p style="text-align: justify;">Benrubi Gallery is pleased to present <em>Manhattan Sunday</em>, the gallery&rsquo;s second solo exhibition by Richard Renaldi.<br /> &nbsp;<br /><em>Manhattan Sunday </em>is a photographic diary from 2010 to the present. As the name suggests, the pictures were all taken in Manhattan, in the wee hours of Sunday morning, usually after a night out on the town. If hedonism informs these images, from the bare skin and muscled bodies in many of its portraits, to the disco balls and bottles of poppers in its still lifes, it&rsquo;s a sensuality tempered by reflection. The faces are blissed out, maybe even a bit wan after eight or ten hours of clubbing. Black and white lends a coolness to the scenes, merging day with night, while several long exposures capture the euphoria of the club experience, but also its transience.<br /> &nbsp;<br /> &ldquo;It was in these serene moments,&rdquo; Renaldi writes, &ldquo;leaving the clubs, totally spent, that a new city revealed itself to me.&rdquo; Renaldi is renowned for his portraits, most prominently in the acclaimed series <em>Touching Strangers</em>, which communicates a rich sense of its subjects&rsquo; inner lives in just a few almost unnoticeable details. That same nuance is on display here, whether it&rsquo;s the Offer Nissim ball cap that shades the eyes of a wasp-waisted young man whose T-shirt dangles from his pants, or the feminine curl of a single dark lock snaking across the clipped chest hair of a set of sculpted pecs. Yet it&rsquo;s New York that lends these portraits their unique resonance&mdash;Manhattan, represented here in a large quadtych of the borough&rsquo;s ever more crowded skyline, in which thousands of lights blaze from hundreds of buildings, simultaneously evocative and anonymous.<br /> &nbsp;<br /> The suggestion is that clubbing isn&rsquo;t just transient but transcendental. Whether it&rsquo;s the costume or the beat or maybe just the drugs, the experience is bigger than the individual. The party started years before he made his way to the otherwise abandoned streets of Midtown West and will continue long after she&rsquo;s given herself over to middle-aged bedtimes. The tension&rsquo;s there in a photograph of a small, curtained stage, fairy lights arcing delicately behind translucent striped gauze. Is the show&mdash;the evening&mdash;about to begin, or has it already ended? The answer is both, but also neither, because it&rsquo;s not the show that&rsquo;s important but the interlude&mdash;the knowledge that the music is always playing somewhere, even if you&rsquo;re not there to hear it.<br /> &nbsp;<br /> Also on display, in the Project Space, is Renaldi&rsquo;s <em>I Want Your Love</em>, a collection of imagery and ephemera from the 1980s to the present. <em>I Want Your Love </em>echoes the documentary ethos of <em>Manhattan Sunday</em> but on a more intimate level and over a longer period of time, and as such provides both personal historical context to the show in the main gallery.<br /> &nbsp;<br /> Richard Renaldi (b. 1968) was born in Chicago, Illinois, and lives in New York City. He received his BFA in photography from New York University in 1990. Exhibitions of his photographs have been mounted in galleries and museums throughout the United States, Asia, and Europe. <em>Manhattan Sunday</em> has already garnered praise from a variety of sources, including the Guggenheim Foundation, which awarded Renaldi a fellowship in 2015 based on the project, and the Aperture Foundation, which has published the series in book form. Aperture also published Renaldi&rsquo;s <em>Touching Strangers</em> in 2014, and <em>Figure and Ground</em> in 2006.</p> Fri, 21 Oct 2016 16:41:37 +0000 - Andrew Kreps Gallery @ 537 W. 22nd - November 5th - December 21st Fri, 21 Oct 2016 16:38:02 +0000 Jacob Kassay - 303 Gallery - November 3rd - December 22nd <p style="text-align: justify;">303 Gallery is pleased to announce our second exhibition of new work by&nbsp;Jacob Kassay.<br /> <br /> Whether walking up the stairs or reaching in the cabinet, through the daily repetition of the same surroundings, domestic space is where haptic sense develops then sediments, conditioning the body&rsquo;s motor skills to automatically navigate and interface without assessing its environment. Kassay's new sculptures explore these systems in which architecture both latently shapes and eludes conscious sense. This rote coding of gestures causes the awareness of one&rsquo;s surroundings to slowly erode, with familiarity superseding reflection. Thickening the peripheral features and interstices of interior space that are routinely used but disregarded, Kassay reframes how attention is built into its surroundings.<br /> <br /> Three architectonic sculptures within the exhibition terminate in dead ends and reroute one&rsquo;s circulation through the gallery. Modeled on separate stairwells at 1:1 scale, these works present corridors whose connective function is severed, neither ascending nor descending.&nbsp; These disconnected passages form a series of transitions that hover in an architectural uncanny, somewhere between model and fragment, calculated rendering and lived space.<br /> &nbsp;<br /> Railings are affixed along the gallery wall, framing it as a transited space.&nbsp; These supports are lined with Braille characters without syntax, extruding the eponymous letters of the exhibition - H for one, L for the other. This fixed-scale language communicates nothing other than prehensible vocalizations: embedded sighs and inaudible drones which trail off into space.<br /> <br /> Jacob Kassay was born in 1984 in Lewiston, New York. In 2017, his work will be the subject of a solo project at Albright Knox, Buffalo NY, curated by Cathleen Chaffee.&nbsp; Past solo presentations have been held at The Kitchen, New York; The Power Station, Dallas; and Collezione Maramotti, Reggio Emilia. He has been included in group exhibitions at venues including MoMA PS1, New York; Fondation Richard, Paris; Centre National d&rsquo;Art Contemporain, Grenoble; FRAC Poitou-Charenetes, Angoul&ecirc;me; and Kunsthalle Andratx, Mallorca. Kassay's work was part of the 8th Gwangju Biennale, curated by Massimiliano Gioni; and the 2010 White Columns Annual, curated by Bob Nickas.&nbsp;His work can be found in public and museum collections, including&nbsp;Boston Museum of Fine Arts; FRAC Poitou-Charenetes,&nbsp;Angoul&ecirc;me; and Arab Museum of Modern Art, Qatar. Kassay lives and works in Los Angeles.</p> Fri, 21 Oct 2016 16:35:39 +0000