ArtSlant - Current exhibits en-us 40 Nick Mauss - 303 Gallery - February 28th - April 11th <p style="text-align: justify;">303 Gallery is pleased to present our third solo exhibition with Nick Mauss. For this exhibition, Mauss creates a mirrored garden in the gallery, in which his singular relationship to the line of drawing moves across and through space and mediums.</p> <p style="text-align: justify;">Mauss' work takes the mode of drawing, found at the interstices of various media, processes, and histories, and dilates, twists, folds, intensifies, and loosens those gaps to produce a different mode of making art.</p> <p style="text-align: justify;">Here, the viewer is guided into the exhibition by a serpentine railing, and upon arriving in the gallery space, finds a room shimmering in reflections and refractions of lines and forms. Mauss has been working in his own form of verre eglomis&eacute; for the past year, as he was developing a series of "intervals" within the Florine Stettheimer retrospective at the Lenbachhaus in Munich. The mirrored glass paintings have a way of puncturing the space--of giving the viewer the sense of being there and not being there at the same time. They also act--like Mauss' drawings in the past--as filters through which a wide net of sensibilities and art-historical rewirings are brought into the room. In a different material, Mauss takes lines and outputs them as body-sized steel filigree, which itself is drawn over again and again, in acrylic and pastel powder.</p> <p style="text-align: justify;">All of these individual works layer on top of and through each other, as Mauss orchestrates the space as he would a drawing on paper. For Mauss, the initial intimacy of the drawing is a tenuous and un-spoken wondering of the viewer, of objects, glances, forms and lines in a simultaneous process of formation and falling apart.</p> <p style="text-align: justify;">In 2014, Nick Mauss presented works within the Florine Stettheimer retrospective at the Lenbachhaus, Munich and in Portraits d?Int&eacute;rieurs at Nouveau Mus&eacute;e National de Monaco. He also staged a performance, 1NVERS1ONS, working with the Northern Ballet and the National Youth Ballet, and the performance of texts and music by Kim Gordon and Juliana Huxtable, as part of Frieze Projects, London. An artist's book has been created to accompany this work. Mauss also presented a new piece as part of Art Basel Unlimited in 2014. Other recent solo presentations of his works were realized at Bergen Kunsthall, Norway (2014); Fiorucci Art Trust, London (2014); kim?, Riga (2012) and Indipendenza Studio, Rome (2012). Mauss was included in the Whitney Biennial in 2012 and Greater New York, MoMA PS1 in 2010, and has participated in group exhibitions at institutions including Kunsthaus Bregenz (2013); The Walker Art Center (2011); The Hessel Museum of Art, Bard Center for Curatorial Studies (2010); Kunsthalle Basel (2010); Kunsthalle Zurich (2009) and Le Magasin, Grenoble (2008). A launch of Nick Mauss and Ken Okiishi's Artist Web Project for the Dia Art Foundation is planned for April 16, 2015. Mauss lives and works in New York.</p> Wed, 11 Feb 2015 15:10:15 +0000 Jef Geys - 3A Gallery - March 26th - July 24th <div style="text-align: justify;">3A Gallery is pleased to announce <em>Jef Geys: Some Paintings from Belgium</em>. On view are ten Martin Douven paintings from the collection of Felipe Perez.&nbsp; The exhibit includes ten prints, on loan from the Columbia University Rare Book and Manuscript Library, depicting the various international contexts of this set of paintings&rsquo; exhibition history.&nbsp; Jef Geys has produced a <em>Kempens Informatieboek</em> for the occasion.</div> <p style="text-align: justify;">&nbsp;<br /> &nbsp;</p> <div style="text-align: justify;"><em>Jef Geys: Some Paintings from Belgium</em> was made possible by the generosity of the Related Group.</div> Sat, 07 Mar 2015 15:36:37 +0000 John Alexander Parks - 532 Gallery Thomas Jaeckel - March 26th - April 25th <p style="text-align: justify;">Once again it is a great pleasure to exhibit new paintings by John Alexander Parks and most especially because he has recently been making paintings about New York, his adopted home for more than three decades.&nbsp; For much of this time Parks has painted subjects that bear on English life using his vantage point as a British exile. Those pictures are often at once nostalgic and gently ironic.&nbsp; Parks brings a new energy, lively wit and considerable poignancy to his very personal vision of New York.</p> <p style="text-align: justify;">A gifted colorist, sensitive draftsman and delightful handler of paint, Parks mixes whimsical humor and enormous sympathy for his subjects.&nbsp; His works are inviting, accessible and entertaining but their full import can take time to sort out and fully savor. &nbsp;They are the paintings of an artist who is thoroughly and wonderfully engaged with the world around him.</p> <p style="text-align: justify;">Although he has kept a modest profile as an artist Parks has accrued some serious critical acclaim over the years. Writing in the New York Times as long ago as 1982, the great critic John Russell described Parks as &ldquo;&hellip;a true poet in paint and something of a find.&rdquo; In December of 2012 Roberta Smith, the current chief art critic of the Times, described Parks&rsquo; painting as &ldquo;&hellip;a treat to discover.&rdquo;</p> <p style="text-align: justify;">Parks was born in Leeds, England in 1952, and studied at the Royal College of Art in London.&nbsp; He has lived in and around New York since 1976 and was represented for many years by Allan Stone, the legendary art dealer and gallerist.&nbsp; He is a member of the faculty of the School of Visual Arts in New York where he teaches drawing and painting.&nbsp; He recently authored a general introduction to the world of art entitled &ldquo;Universal Principles of Art,&rdquo; Rockport Publishing, 2014. His work is in the collection of the Victoria and Albert Museum, London, the Museum of the Rhode Island School of Design and many others.</p> Wed, 25 Mar 2015 14:40:45 +0000 Herb Alpert - ACA Galleries, Est 1932 - February 19th - April 4th <p>For Immediate Release &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Media Contact: Mikaela Sardo Lamarche</p> <p>January 16, 2015 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<a href="" rel="nofollow"></a>&nbsp;212 206-8080</p> <p>&nbsp;</p> <p align="center"><strong>Herb Alpert and Richard Mayhew: <span style="color: #3366cc;"><em>HARMONIC RHYTHMS</em></span></strong></p> <p align="center"><strong>February 19 through April 4, 2015</strong></p> <p align="center"><strong>Opening Reception:</strong> Thursday, February 19 from 6 to 8pm</p> <p align="center"><strong>Press Preview:</strong> 3 to 6pm</p> <p align="center">&nbsp;</p> <p>ACA Galleries is pleased to announce its forthcoming exhibition, <em>Herb Alpert and Richard Mayhew: Harmonic Rhythms,</em> on view February 19 through April 4, 2015.&nbsp; Primarily known for his music, Herb Alpert has gained a reputation as an accomplished visual artist.&nbsp; At 91, Richard Mayhew is acknowledged as one of America&rsquo;s premier landscape painters and colorists.&nbsp; Both artists, informed intensely by music, use improvisation in their work.&nbsp;</p> <p>Herb Alpert&rsquo;s sculptures reveal Alpert&rsquo;s growth and influences: the spirituality of the native American totems of the Pacific Northwest, the monumentality and modernism of Rodin, Henry Moore and Alberto Giacometti. But as these influences passed through Alpert, they picked up elements of Alpert&rsquo;s soul, a soul informed by the harmonies and rhythms of music, especially jazz. Thus, his totemic forms are as effervescent as they are magisterial, as sensual as they are spiritual.</p> <p>Alpert&rsquo;s sculptures, though generally abstract, nonetheless revel in the fleshy exuberance of human forms. Sensuality and sexuality proclaim themselves with eloquent poise. Alpert treats sensuality not just as an organic experience, but as emotions that seem to erupt from the sculptures themselves. Thus, this interplay between the emotional, physical and spiritual gives Alpert&rsquo;s sculptures and internal power, an energy that flows from their forms and surrounds the viewer.</p> <p>Richard Mayhew expresses in color and landscape the spirituality Alpert finds in form. Mayhew&rsquo;s oeuvre is spirit itself, the spirit that inhabits Mayhew&rsquo;s landscapes of the mind and soul. &nbsp;His African-American, Cherokee and Shinnecock ancestry provide a deep well of spiritual heritage from which to draw on, and finds expression in the near-mystical visions of nature Mayhew spreads across his canvases. Colors shimmer; fields and hills undulate; trees quiver. Mayhew&rsquo;s landscapes, pouring forth from the depths of his imagination, inhabit their painted surface with equal measure of serenity and energy.&nbsp;</p> <p>A jazz singer himself, rhythm and melody seem to flow through Mayhew&rsquo;s landscapes: smoothly gliding through one area, skipping in syncopation in another, colors rising like melodies through the air. Like much of jazz, Mayhew&rsquo;s work is often improvisational. As a painter, he&rsquo;ll let the picture dictate its own creation, letting the paint flow where it needs to flow, much as a jazz musician will let the notes fly where they need to fly. Mayhew thus trusts the paint, the process of painting, and his deep knowledge of how it all works. He understands that improvisation does not mean abandoning skill or control of one&rsquo;s medium, but that skill and chance must enhance each other.</p> <p>Richard Mayhew&rsquo;s work is in the permanent collections of The Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum of Art, NY, African-American Museum, Philadelphia, PA, Museum of African Art, National Museum of American Art, and the Smithsonian Institute in Washington, DC, among others.&nbsp;</p> <p>A monograph on Richard Mayhew was published in 2009 in conjunction with three solo exhibitions in California: Museum of the African Diaspora (San Francisco); Museum of Art and History at the McPherson Center (Santa Cruz) andDe Saisset Museum at Santa Clara University (Santa Clara).&nbsp;</p> <p>Alpert&rsquo;s paintings and sculptures have been exhibited in museums across the United States including the Tennessee State Museum and the Pasadena Museum of California Art. His work is in the permanent collections of the Museum of Contemporary Art (MOCA), Los Angeles and the Tennessee State Museum, Nashville, among others. In 2013, Alpert was awarded the National Medal of Art by President Barack Obama at the White House.&nbsp; From the Tijuana Brass, to his present day solo jazz performances, with his signature sound, Herb Alpert is a nine-time Grammy Winner, his latest for "Best Pop Instrumental Album&rdquo; in 2014 for his album, <em>Steppin' Out</em>.</p> <p>Last year three monumental sculptures by Herb Alpert were on view across from Lincoln Center in New York City and 7 of Alpert&rsquo;s massive sculptures, at different locations, around Los Angeles and Malibu, Ca.&nbsp; Mr. Alpert and his wife, Lani, will be performing at the Carlyle Hotel in New York City, from March 10-21.&nbsp;</p> <p>&nbsp;&nbsp;</p> <p align="center"><em>For additional information and images contact </em></p> <p align="center"><em>Mikaela Sardo Lamarche </em></p> <p align="center"><a href="Richard%20Mayhew%20expresses%20in%20color%20and%20landscape%20the%20spirituality%20Alpert%20finds%20in%20form.%20Mayhew&rsquo;s%20oeuvre%20is%20spirit%20itself,%20the%20spirit%20that%20inhabits%20Mayhew&rsquo;s%20landscapes%20of%20the%20mind%20and%20soul.%20%20His%20African-American,%20Cherokee%20and%20Shinnecock%20ancestry%20provide%20a%20deep%20well%20of%20spiritual%20heritage%20from%20which%20to%20draw%20on,%20and%20finds%20expression%20in%20the%20near-mystical%20visions%20of%20nature%20Mayhew%20spreads%20across%20his%20canvases.%20Colors%20shimmer;%20fields%20and%20hills%20undulate;%20trees%20quiver.%20Mayhew&rsquo;s%20landscapes,%20pouring%20forth%20from%20the%20depths%20of%20his%20imagination,%20inhabit%20their%20painted%20surface%20with%20equal%20measure%20of%20serenity%20and%20energy.%20%20%20A%20jazz%20singer%20himself,%20rhythm%20and%20melody%20seem%20to%20flow%20through%20Mayhew&rsquo;s%20landscapes:%20smoothly%20gliding%20through%20one%20area,%20skipping%20in%20syncopation%20in%20another,%20colors%20rising%20like%20melodies%20through%20the%20air.%20Like%20much%20of%20jazz,%20Mayhew&rsquo;s%20work%20is%20often%20improvisational.%20As%20a%20painter,%20he&rsquo;ll%20let%20the%20picture%20dictate%20its%20own%20creation,%20letting%20the%20paint%20flow%20where%20it%20needs%20to%20flow,%20much%20as%20a%20jazz%20musician%20will%20let%20the%20notes%20fly%20where%20they%20need%20to%20fly.%20Mayhew%20thus%20trusts%20the%20paint,%20the%20process%20of%20painting,%20and%20his%20deep%20knowledge%20of%20how%20it%20all%20works.%20He%20understands%20that%20improvisation%20does%20not%20mean%20abandoning%20skill%20or%20control%20of%20one&rsquo;s%20medium,%20but%20that%20skill%20and%20chance%20must%20enhance%20each%20other.%20%20Richard%20Mayhew&rsquo;s%20work%20is%20in%20the%20permanent%20collections%20of%20The%20Metropolitan%20Museum%20of%20Art,%20Whitney%20Museum%20of%20American%20Art,%20Brooklyn%20Museum%20of%20Art,%20NY,%20African-American%20Museum,%20Philadelphia,%20PA,%20Museum%20of%20African%20Art,%20National%20Museum%20of%20American%20Art,%20and%20the%20Smithsonian%20Institute%20in%20Washington,%20DC,%20among%20others.%20%20A%20monograph%20on%20Richard%20Mayhew%20was%20published%20in%202009%20in%20conjunction%20with%20three%20solo%20exhibitions%20in%20California:%20Museum%20of%20the%20African%20Diaspora%20(San%20Francisco);%20Museum%20of%20Art%20and%20History%20at%20the%20McPherson%20Center%20(Santa%20Cruz)%20and%20De%20Saisset%20Museum%20at%20Santa%20Clara%20University%20(Santa%20Clara).%20%20%20Alpert&rsquo;s%20paintings%20and%20sculptures%20have%20been%20exhibited%20in%20museums%20across%20the%20United%20States%20including%20the%20Tennessee%20State%20Museum%20and%20the%20Pasadena%20Museum%20of%20California%20Art.%20His%20work%20is%20in%20the%20permanent%20collections%20of%20the%20Museum%20of%20Contemporary%20Art%20(MOCA),%20Los%20Angeles%20and%20the%20Tennessee%20State%20Museum,%20Nashville,%20among%20others.%20In%202013,%20Alpert%20was%20awarded%20the%20National%20Medal%20of%20Art%20by%20President%20Barack%20Obama%20at%20the%20White%20House.%20%20From%20the%20Tijuana%20Brass,%20to%20his%20present%20day%20solo%20jazz%20performances,%20with%20his%20signature%20sound,%20Herb%20Alpert%20is%20a%20nine-time%20Grammy%20Winner,%20his%20latest%20for%20&quot;Best%20Pop%20Instrumental%20Album&rdquo;%20in%202014%20for%20his%20album,%20Steppin'%20Out.%20%20Last%20year%20three%20monumental%20sculptures%20by%20Herb%20Alpert%20were%20on%20view%20across%20from%20Lincoln%20Center%20in%20New%20York%20City%20and%207%20of%20Alpert&rsquo;s%20massive%20sculptures,%20at%20different%20locations,%20around%20Los%20Angeles%20and%20Malibu,%20Ca.%20%20Mr.%20Alpert%20and%20his%20wife,%20Lani,%20will%20be%20performing%20at%20the%20Carlyle%20Hotel%20in%20New%20York%20City," rel="nofollow"><em></em></a></p> Wed, 04 Feb 2015 21:45:32 +0000 - AICON GALLERY - New York - March 17th - April 25th Fri, 20 Mar 2015 07:52:27 +0000 - AICON GALLERY - New York - March 17th - April 25th Fri, 20 Mar 2015 07:54:39 +0000 Jonathas de Andrade - Alexander and Bonin - February 28th - April 11th <p class="Default" style="text-align: justify;">Alexander and Bonin is pleased to announce Jonathas de Andrade&rsquo;s first one-person exhibition in North America. The installations, sculpture and photographic works to be exhibited date from 2013 to 2015 and address socio-economic issues in contemporary Brazil.</p> <p class="Default" style="text-align: justify;">In two multi-part installations, (<em>Cartazes para o Museu do Homem do Nordeste </em>and <em>40 nego bom &eacute; 1 real), </em>both from 2013, Andrade questions the influential but controversial ideas of the Brazilian sociologist Gilberto Freyre, particularly as expressed in his 1933 publication <em>Casa-Grande e Senzala </em>(The Master and the Slave). In this text, Freyre suggests a lived experience of racial-democracy in Brazil, which he believed to be a result of miscegenation between Portuguese colonizers, Africans, and Native Brazilians.</p> <p class="Default" style="text-align: justify;"><em>Cartazes para o Museu do Homem do Nordeste </em>(<em>Posters for the Museum of the Northeast Man</em>) is inspired by an existing institution, the Museu do Homem do Nordeste, an anthropological museum in Recife, founded in 1979 and largely inspired by Gilberto Freyre&rsquo;s theories on &lsquo;racial democracy&rsquo;. In this project Andrade visually reimagines the identity of the museum. Beginning in 2012 the artist advertised in local newspapers calling for workers interested in posing for photographs advertising the museum. Photographing participants in everyday situations, Andrade created 70 posters with notes documenting the encounters. Through this collection of images and notes Andrade examines how an anthropological approach influences the representation and understanding of cultural and personal identities. The artist continues to use the Museu do Homem do Nordeste as inspiration for parallel projects some of which can be seen in his survey exhibition currently at Museu de Arte do Rio (MAR) in Rio de Janeiro.</p> <p class="Default" style="text-align: justify;">The title of the installation, (a collaborative project with Silvan Kaelin), <em>40 nego bom &eacute; 1 real </em>(<em>40 black candies for R$ 1,00</em>), is drawn from the name of a popular candy in northeastern Brazil. &lsquo;Nego bom&rsquo; which can be literally translated as &lsquo;good black&rsquo; is a colloquial albeit affectionate term with colonial connotations. Inspired by a street vendor promoting his sweets at the top of his voice, the work consists of two parts and tells the story of the production of the sweet and exposes the falsity of the supposed good-natured working relations between employers and employees. Through this narrative Andrade probes the complex social dynamics of post-colonial Brazil through the locus of cheap labor.</p> <p class="Default" style="text-align: justify;">In 2014 Andrade invited the workers from a refinery in Condado to participate in the creation of his most recent work, <em>ABC de Cana, (Sugar Cane ABC). </em>Inspired by a 1957 &lsquo;alphabet&rsquo; drawing by Luis Jardim which uses sugar cane motifs, the work consists of 26 images of workers forming the alphabet with sugar cane stalks.</p> <p style="text-align: justify;">Jonathas de Andrade was born in 1982 in Macei&oacute;, Brazil; he lives and works in Recife. A survey of his work is on view at Museu de Arte do Rio (MAR), Rio de Janeiro through March 22. Past solo exhibitions include Instituto Cultural Ita&uacute;, S&atilde;o Paulo (2008); Instituto Cultural Banco Real, Recife (2009); Centro Cultural S&atilde;o Paulo (2010); Galeria Vermelho, S&atilde;o Paulo (2013, 2010); Kunsthalle Lissabon, Lisbon (2013); and Mus&eacute;e d&rsquo;art Contemporain de Montr&eacute;al (2013). He participated in the Mercosul Biennial, Porto Alegre, (2009); S&atilde;o Paulo Biennial (2010); Istanbul Biennial (2011); New Museum Triennial: <em>The Ungovernables</em>, New York (2012); Lyon Biennial (2013) and the 11th Dakar Biennial (2014). Jonathas de Andrade's work was included in <em>Under the Same Sun: Art from Latin America Today </em>at the Guggenheim Museum, New York in 2014.</p> Wed, 25 Feb 2015 05:47:40 +0000 Luis Camnitzer - Alexander Gray Associates - February 19th - March 28th <p style="text-align: justify;">Alexander Gray Associates presents an exhibition of artwork by Luis Camnitzer, featuring works in a variety of media dating from 1968 to the present. An accompanying catalogue is published in both English and Spanish, featuring the artist&rsquo;s essay <em>The Mediocrity of Beauty</em> (2010).<br /> <br /> The artworks on view convey Camnitzer&rsquo;s skepticism of universal beauty, specifically symmetry as a defining visual characteristic of beauty. In the video <em>Jane Doe</em> (2012), Camnitzer fused fifty photographs of women&rsquo;s faces&mdash;taken from online police reports, legal documents, and newspaper articles&mdash;utilizing image morphing software. The portrait of Jane Doe, a seemingly &ldquo;beautiful&rdquo; symmetrical face, resulted from the averaging out of individual features. The video shows a fictional face and story that provides an identity for Jane Doe. In the realm of the political, for his most recent suite of seven etchings, <em>Symmetry Jail</em> (2014), Camnitzer stacked and mirrored each letter in the word &ldquo;symmetry&rdquo;&mdash;using the United Nations official languages Arabic, Chinese, English, French, Spanish, Russian, plus he adds German&mdash; to create seven unique characters. For the artist, &ldquo;Words are never able to fully convey what one truly thinks: thoughts and feelings are pressed into an alien format, like when poetry tries to imprison poetics in stiltedness. Symmetry worsens this by curtailing the freedom of information.&rdquo;<br /> <br /> Camnitzer believes that art&rsquo;s function is not to reinforce traditional notions of beauty, but rather, it can create alternative orders and frameworks, enabling an expanded perspective. This philosophy is represented in works such as <em>Questions and Answers</em> (1981), a series of ten photographs of ordinary objects, which the artist made under hypnosis; and <em>Seven Virtues</em> (2014), a seven-part graphic work in which Camnitzer indexed the seven cardinal and theological virtues&mdash;charity, courage, faith, fortitude, hope, temperance, prudence&mdash;into the pages of Dorland&rsquo;s Medical Dictionary. Altering the clinical tone of this volume, he defined each virtue in the context of medical descriptions of ailments, which suggests a more nuanced understanding of the human state and the present condition of religious and scientific ethics.<br /> <br /> Transgression has characterized Camnitzer&rsquo;s practice since the mid-1960s, when he co-founded The New York Graphic Workshop with fellow artists Argentine Liliana Porter and Venezuelan Jos&eacute; Guillermo Castillo (1939&ndash;1999). The etchings <em>Self-Portrait</em> (1968&ndash;72), a series of five self-portraits that only include the inscription of the artist&rsquo;s name and the date of creation, demonstrate this defining quality and question authorship, authenticity and seriality. Camnitzer&rsquo;s interest in language extends to Please Look Away (2014), a room-size installation that invites the audience to walk into the immersive cage-like environment made of imperative inscriptions, such as &ldquo;Please look away, you are invading my territory,&rdquo; printed in white lettering on black vinyl banners adhered along the walls and floor of the Gallery, demarcating the alienation of physical space.<br /> <br /> Situating elegance in the context of beauty, Camnitzer argues that simplicity is perhaps the most profound form of beauty. In 1973, Camnitzer created a series of drawings to document ephemeral installations he did between 1969 and 1972. The primary component in the installations had been succinct sentences describing objects or situations, paired with simple geometric shapes that stood as the corresponding illustration to the text. Works such as the drawing <em>Aqu&iacute; yace una obra de arte</em> (1973), created after a 1972 installation of the same name, depicts a rectangular slab that serves as a tombstone with the inscription &ldquo;Here Lies and Artwork;&rdquo; a handwritten notation legible on the drawing&rsquo;s margin provides installation instructions for how to exhibit the work as a three dimensional object. The invisibility of the artwork that lies under the tombstone speaks to Camnitzer&rsquo;s pairing of direct images and text to encourage the viewer to generate alternative meanings. Camnitzer states, &ldquo;I am interested in art as a formulation of and solution to problems, and it&rsquo;s there where elegance is really important. In art, there may be many correct solutions, but the best is the most elegant among the correct ones. Elegance is not necessarily simple, but it is the one that may achieve the greatest complexity without getting lost in stupidity.&rdquo;</p> Tue, 17 Feb 2015 16:25:28 +0000 Shara Hughes - American Contemporary - March 26th - April 26th <p style="text-align: justify;">Shara Hughes&rsquo; new paintings present layers of abstracted, actual and pictorial space, all in search of simplicity.</p> <p style="text-align: justify;">These clouded windows of ambiguous form, pattern, and texture are like vibrated, vibrant drawings, plied with multiple mediums. The direct intention instilled in each mark empowers these paintings with a sense of focused purpose, directness, yet they depict suggestions of open space, floating moons, flowing rivers, melting snow. The indirect and the slow burning.</p> <p style="text-align: justify;">Hughes explores these ideas as she quickly grasps new ways of applying paint. Idea becomes form, form becomes an idea, image becomes both. The result is a mix of peace and purpose; material and place; raw canvas and painted surface. Transparency and brick wall.</p> <p style="text-align: justify;">In these works past and future disappear. There is only the present. Invention, intention, playfulness and trust. All happen then/now. Stop to go.</p> <p style="text-align: justify;">Shara Hughes (b. 1981 in Atlanta, GA) lives and works in Brooklyn, NY. Previous solo exhibitions include <strong>Museum of Contemporary Art, Georgia</strong>, Atlanta, GA; <strong>Atlanta Contemporary Art Center</strong>, Atlanta, GA; <strong>American Contemporary</strong>, New York, NY<strong>; P-r-i-m-e-t-i-m-e</strong>, Brooklyn, NY; <strong>Metroquadro</strong>, Turin, IT; <strong>Galerie Mikael Anderson</strong>, Copenhagen, DE; and <strong>Rivington Arms</strong>, New York, NY. Hughes was the recipient of the MoCA GA Working Artist Project Grant for 2012/2013.</p> <p style="text-align: justify;">She studied at Rhode Island School of Design, Providence, RI and Skowhegan School of Painting and Sculpture, Skowhegan, ME.</p> Fri, 20 Mar 2015 07:48:50 +0000 Group Show - American Folk Art Museum - March 26th - July 5th <p style="text-align: justify;">Most self-taught artists can be perceived as performance artists. Their work is infused with daily rituals, public actions, gestures, and enactments, defining a lifelong artistic practice for which <em>the curtain never comes down</em>. Beyond paintings and sculpture, the exhibition includes ceremonial clothes, kinetic apparatuses, ephemeral installations, writings, fragments of ever-changing constructions, music, recordings, and other statements that have been captured by photographers and filmmakers. The inventive devices and countless strategies these artists configure are expressions of an alter ego, which they assume for its power to transform the world and, above all, to transform their own connections to reality.</p> <p style="text-align: justify;">Historically, collectors and museums have prioritized artworks that are readily collectible and more conventional in their materials and techniques&mdash;an attitude that elucidates a direct relationship between conservation and recognition. The exhibition,&nbsp;which&nbsp;gathers 27 artists from around the world, delves into an underside of self-taught art and art brut, opening a door to the study of its neglected facets.<br /> <em>&mdash;Val&eacute;rie Rousseau, PhD, curator, self-taught art and art brut</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em><br /></em>Major support for the exhibition is provided by the National Endowment for the Arts: Art Works. Additional support is provided by The Coby Foundation, Ltd., Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Gerard C. Wertkin Exhibition Fund, the Leir Charitable Foundations, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> Wed, 25 Feb 2015 15:10:49 +0000 Martin Barre, David Ostrowski, Julian Schnabel, Reena Spaulings - Andrea Rosen Gallery - March 5th - April 25th <p class="p1" style="text-align: justify;">Andrea Rosen Gallery is pleased to announce <em>Enigmas</em>, an exhibition of works by Martin Barr&eacute;, David Ostrowski, Julian Schnabel, and Reena Spaulings. Curated in collaboration with writer and art historian Alison Gingeras, the exhibition engages the notion of imprimatur. &nbsp;</p> <p class="p2" style="text-align: justify;">Despite the word&rsquo;s initial loftiness, it offers a precise entr&eacute;e into a specific set of problems that many artists face when creating pictorial work. This exhibition hopes to explore the ways artists both physically and metaphorically create credible &ldquo;imprints&rdquo; or gestures at the same time that they generate a sanctioning belief in their various approaches to mark-making. The term &ldquo;imprimatur&rdquo; also brings to mind the burden of approval: in an ecclesiastical setting, the term refers to the Church granting permission to publish or print.&nbsp; In an artistic context, imprimatur addresses the artist&rsquo;s need to create a distinguishing mark, to give credence to their enterprise (no matter how de-materialized, unorthodox or conceptual), to generate approval or faith in their oeuvre. In different ways, then, each of the artists in this show is concerned with signature residue: their works challenge the viewer into believing in the artistic aura of their gestures, however minimal.</p> <p class="p2" style="text-align: justify;">An artist whose work is almost synonymous with the notion of imprimatur, Julian Schnabel has created a group of paintings that highlight his significance as a paradigmatic practitioner of contemporary abstraction. Many of Schnabel&rsquo;s signature tropes&mdash;the use of dropcloths and soiled canvases, the incorporation of studio debris and other &ldquo;imperfections&rdquo; into the body of the work, and his re-imagining of found materials&mdash;have become celebrated gestures in contemporary painting. Although not always acknowledged, his influence is visible in the works of a current generation of painters that includes, Joe Bradley, Dan Colen, Sergej Jensen and Oscar Murillo to name but a few.&nbsp;</p> <p class="p3" style="text-align: justify;">While Schnabel has been making paintings with spray-paint for more than thirty years, the body of work on view in <em>Enigmas</em> remains relatively unknown; these more recent paintings are built on a single found photograph whose weathered emulsions gave birth to an image beyond the original. The exhibition sets up a specific dialogue between Schnabel&rsquo;s works and three significant oeuvres that provoke viewers to consider how meaning is created and communicated via even the most minimal of visual and conceptual gestures.&nbsp;</p> <p class="p3" style="text-align: justify;">Martin Barr&eacute;&rsquo;s spray-paint works from the 1960&rsquo;s establish an early chronological and conceptual anchor. Barr&eacute; created spare, minimal figures which left much of the canvas open; when he began using spray paint in 1963 as a reflection of his appreciation of graffiti in the Paris metro, he employed a particular matte black to create white surfaces marked by traces or stripes.</p> <p class="p3" style="text-align: justify;">David Ostrowski&rsquo;s painting practice provides a contemporary counterpoint. Ranging from restrained blue marks on a raw canvas ground to barely visible foot print traces on a naked canvas, his work draws on the performative &ldquo;aura&rdquo; of these marks and is fueled by a self-generated mythology centered on his studio practice and his infamous foot fetish.</p> <p class="p3" style="text-align: justify;">Reena Spaulings&rsquo; <em>Enigmas</em> series extends the theme of the mark-as-gesture into sociological terrain; formally, the soiled tablecloths from art-world dinners, stretched into minimal paintings, close the circle opened by Schnabel more than thirty years ago.&nbsp; The exhibition borrows its title from this body of work: its principal concern is the enigmatic process by which artists generate an &ldquo;imprimatur&rdquo; and invest their work with an aura of credibility.&nbsp;</p> <p class="p3" style="text-align: justify;">In keeping with the Gallery&rsquo;s program, this exhibition is grounded in a deep critical examination of the work. Presenting Julian Schnabel&rsquo;s new paintings considers both his influence and his critical reception. Contextualized in relation to historical and contemporary practices engaging the physical, metaphorical, and sociological types of mark-making, the works provoke a simultaneously distinctive and historically positioned experience for deepened interpretation and reflection.</p> <p class="p3" style="text-align: justify;">&nbsp;</p> <p class="p3" style="text-align: justify;"><em>Martin Barr&eacute; was born in 1924 in Nantes, France. He lived and worked in Paris.</em></p> <p class="p3" style="text-align: justify;"><em>David Ostrowski was born in 1981 in Cologne, Germany. He lives and works in Cologne.</em></p> <p class="p3" style="text-align: justify;"><em>Julian Schnabel was born in Brooklyn in 1951. He lives and works in New York City and Montauk, Long Island.</em></p> <p class="p3" style="text-align: justify;"><em>Reena Spaulings emerged from the daily operation of an art gallery (Reena Spaulings Fine Art, founded by John Kelsey &amp; Emily Sundblad), in 2004, and works in New York City. <br /></em></p> Wed, 25 Feb 2015 15:22:33 +0000 Sharon Hayes, Tony Lewis, Adam Pendleton - Andrea Rosen Gallery 2 - March 6th - April 25th <p class="p1" style="text-align: justify;">Andrea Rosen Gallery is delighted to present an exhibition of work by Sharon Hayes, Tony Lewis, and Adam Pendleton at Gallery 2. The exhibition explores the relationship between the use of language and the formal and social implications of abstraction.&nbsp;</p> <p class="p2" style="text-align: justify;">In this exhibition Sharon Hayes presents two works, each a fragment from a banner carried in the Women's Strike for Equality on August 26th,&nbsp;1970. The works approximate the scale of the original banner, but the material transformation and presentation of selected letters from the word women alter the original&rsquo;s legibility and seemingly straightforward declaration of meaning.</p> <p class="p2" style="text-align: justify;">Tony Lewis presents a large graphite work on paper diptych featuring a symbol based on Gregg shorthand. These works continue Lewis&rsquo;s interrogation of language systems. Using the shorthand symbols, these works are at once technically more specific while becoming increasingly gestural and abstract.</p> <p class="p2" style="text-align: justify;">Presenting a painting from his well known body of work &ldquo;Black Dada&rdquo; as well as a newer work from a series layering text and images on mirrored stainless steel, Adam Pendleton&rsquo;s works in this exhibition give material form to the artist&rsquo;s engagement with a dynamic idea of history; one that is ever mutable and reflective of subjective and infinite narrative potentials.</p> <p class="p2" style="text-align: justify;">Instrumental in the thinking about this exhibition is a 2006 essay about Felix Gonzalez-Torres&rsquo;s work by Miwon Kwon. In it she argues: &ldquo;the radicality of FGT&rsquo;s work lies in the insinuation of the particular in the place of abstraction, while simultaneously destabilizing the particular as a fixed positivity. And with this complex move, the artist accomplishes a remarkable reversal: <em>everyone </em>becomes a particularly marked subject, making it impossible for there to be an unmarked, invisible, hierarchy-determining point of reference. Which means that no one is less than public either.&rdquo; Kwon&rsquo;s text provides a useful lens for reading these works as well, offering a possible way for abstraction to engage with specific histories, politics, and identities.</p> <p class="p2" style="text-align: justify;">&nbsp;</p> <p class="p2" style="text-align: justify;"><em>Sharon Hayes was born in 1970 in Baltimore, MD. She has had major solo exhibitions at the Reina Sofia, Madrid; the Art Institute of Chicago, and most recently at the Whitney Museum of American Art, New York. Her work has been widely exhibited in significant exhibitions including The Encyclopedic Palace at the 55th Venice Biennale; the 2010 Whitney Biennial, documenta 12 (collaborative project), Kassel; MoMA PS1, Long Island City, NY; Generali Foundation, Vienna; Museum Moderner Kunst (MUMOK), Vienna; Artists Space, New York; New Museum, New York; Tate Modern, London; and the Istanbul Biennale. Hayes has been recently granted the Alpert Award in the Arts. The artist lives and works in New York.</em></p> <p class="p2" style="text-align: justify;"><em>Tony Lewis was born in 1986 in Los Angeles, California. Recent exhibitions have taken place at Massimo de Carlo, London; Shane Campbell Gallery, Chicago; Room East, New York; Richard Gray Gallery, Chicago; and Autumn Space, Chicago. His work was presented in the 2014 Whitney Biennial, and will be the focus of an upcoming solo show at Shane Campbell Gallery, Chicago. Lewis lives and works in Chicago, IL.</em></p> <p class="p2" style="text-align: justify;"><em>Adam Pendleton was born in 1984 in Richmond, Virginia. Recent solo exhibitions have taken place at Galleria Pedro Cera, Lisbon; Pace Gallery, New York; Shane Campbell Gallery, Lincoln Park; Travesia Cuatro, Guadalajara; and Pace Gallery, London. Pendleton&rsquo;s work recently included in group exhibitions at Whitechapel Gallery, London; 21er Haus and Winter Palace, Vienna; Studio Museum in Harlem, New York; Pace Gallery, Beijing; Museum of Modern Art, New York; Swiss Institute, New York; and Palais de Tokyo, Paris. Pendleton lives and works in Germantown, New York, and Brooklyn, New York.</em></p> <p class="p3" style="text-align: justify;">This exhibition is organized by Cory Nomura.</p> Wed, 25 Feb 2015 15:27:57 +0000 Candice Breitz - Andrew Kreps Gallery @ 535 West 22nd - February 28th - March 28th <p style="text-align: justify;"><em>I do think an artist and a psychoanalyst do the same thing, in a way. They&rsquo;re presented with an official version of reality, and then they say, &lsquo;Okay, but what&rsquo;s underneath that? What are the hidden factors driving it?&rsquo; We&rsquo;re both fascinated by the human condition in general &ndash; we want to know what&rsquo;s really going on.</em>&nbsp;(David Cronenberg)</p> <p style="text-align: justify;"><em>Treatment</em>&nbsp;(2013), a new dual-channel installation by Candice Breitz, brings an original soundtrack to three key scenes from David Cronenberg&rsquo;s&nbsp;<em>The Brood</em>&nbsp;(1979), a film that the director has described as deeply personal.<em>&nbsp;The Brood</em>&rsquo;s autobiographical script explores the emotional strain experienced by a couple as their marriage dissolves and a custody battle for their young daughter Candice ensues. Himself going through divorce and fighting for custody at the time of writing&nbsp;<em>The Brood,</em>&nbsp;Cronenberg creates&mdash;in the plot of his film&mdash;a movie facsimile of the psychological drama that he was facing in his own family life at the time. Brutally exploring the fabric of family nightmares&mdash;painful conflicts between father and son, mother and daughter, daughter and father&mdash;<em>The Brood</em>&nbsp;is above all a powerful study of dysfunctional parent-child relationships.</p> <p style="text-align: justify;">For&nbsp;<em>Treatment</em>, Breitz enlists herself, her own mother and father, and her real-life psychotherapist to inhabit and re-create a series of scenes from&nbsp;<em>The Brood</em>. As with the Cronenberg film,&nbsp;<em>Treatment</em>&nbsp;resists indulging concrete autobiographical information, denying onlookers voyeuristic access to Breitz&rsquo;s actual relationships with her parents and therapist, and focusing instead on the psychological horror that lies potential within family life.</p> <p style="text-align: justify;">At key moments in&nbsp;<em>The Brood</em>, we observe the renegade psychotherapist Dr Hal Raglan (played by Oliver Reed) administering therapy to traumatized patients. Dr Raglan&rsquo;s experimental techniques require patients to reenact family relationships as a means of working through their trauma. His treatment involves intensive bouts of therapeutic roleplay during which the doctor typically plays his patients&rsquo; abusive parents or maltreated children. Breitz isolates three such scenes for&nbsp;<em>Treatment</em>, projecting them one after the next on a gallery wall, in a constant rotation that evokes the looping repetition of trauma. In removing these vignettes portraying therapeutic sessions from their service to the plot of&nbsp;<em>The Brood</em>, Breitz allows them to exist independently of the film&rsquo;s fictional narrative.<br />Stripped silent of Cronenberg&rsquo;s original soundtrack, the isolated scenes now receive their vocal content from the soundtrack of a second projection of the same size, which mirrors the original footage on the opposite wall of the exhibition space. The second projection consists of a sparse visual documentation of the making of this new soundtrack: set in a professional sound studio, the footage cuts between four individuals, each seated at a microphone, each laboring to project his/her voice convincingly into the body of one of the actors appearing in the original scenes projected on the opposite wall.</p> <p style="text-align: justify;">The credits of the work confirm the identities of the dubbing team: the artist&rsquo;s de facto psychotherapist Dr Renate Becker synchronizes the voice of Dr Raglan across all three re-voiced scenes, while the voices of the three patients undergoing therapy are painstakingly recreated by the artist&rsquo;s mother, father and the artist herself. This move is consistent with Cronenberg&rsquo;s view of cinema as a space in which to &ldquo;rehearse the difficult things of life,&rdquo; and points strongly to Breitz and Cronenberg&rsquo;s shared interest in the overlap between cinematic analysis and psychological analysis.</p> <p style="text-align: justify;">In inviting her parents and therapist to vocally re-articulate the domineering Dr Raglan and his longsuffering patients, Breitz literally loops Cronenberg&rsquo;s cinematic analysis of the psychological wounds that parents inflict on their children through her own mother and father, bringing full circle a fictionalized study of trauma that originally grew out of Cronenberg&rsquo;s processing of his own family horror story.</p> <p style="text-align: justify;"><em>Treatment</em>&nbsp;directs our thoughts to the circular nature of the relationship between real life and reel life; to the ability of film to give voice to the stuff of life in the guise of fiction, but also to the alchemy via which cinematic fiction in turn becomes &lsquo;real&rsquo; for its viewers, as it vocalizes their actual or imagined experience. In the words of Paul Auster, &ldquo;Novels are fictions, of course, and therefore they tell lies (in the strictest sense of the term), but through those lies every novelist attempts to tell the truth about the world.&rdquo;</p> <p style="text-align: justify;"><em>Treatment</em>&nbsp;was commissioned by the Toronto International Film Festival 2013. It was awarded first prize in its category (non-linear video installation) at the B3 Moving Image Biennial in Frankfurt in October 2013.</p> Mon, 23 Mar 2015 08:01:50 +0000 Barbara T. Smith - Andrew Kreps Gallery @ 537 W. 22nd - February 28th - March 28th <p style="text-align: justify;">The Andrew Kreps Gallery is very pleased to announce its first solo exhibition with Los Angeles-based artist Barbara T. Smith.&nbsp; Critically known for being an innovator of West Coast performance art of the late 1960's and early 1970's, she was also a sustained contributor to the feminist movement.&nbsp; For over 35 years she has found personal transformation through unique rituals and performances characterized by prolonged engagement with spirituality and issues of gender and power. The works included in this exhibition share the medium of resin and span the years 1968 &ndash; 1993.&nbsp; &nbsp;Smith began to work with resin in her first large-scale sculpture,&nbsp;<em>Field Piece</em>&nbsp;in 1968 and consistently utilized it in her practice in myriad forms.&nbsp;<br /><br />In the 1960s, Smith's conventional nuclear family life transitioned into a lifestyle consumed by art making. The exploration of autobiography and community via relations with her audience and peers became vital to Smith's art, exploring themes of the body, ritual, nurturing, sexuality, female desire, spiritual transformation, love and death. And this was taking place against the backdrop of the dominant patriarchal narrative evolving specifically in the Los Angeles art world &ndash; and in the world at large.<br /><br /><em>The Holy Squash,</em>&nbsp;the first work one encounters in the exhibition is an installation comprised of a relic (the squash) and its reliquary (the mold) as well as other objects used in an eight-day durational performance that resulted in a Holy Squash ceremony &ndash; including baptism and mass. The performance brought together the themes so important to Smith: universal communion, spirituality, ritual, and meaningful interaction.&nbsp; And perhaps more importantly is the performance&rsquo;s examination of the gender hegemony latent in the Judeo-Christian religious traditions by offering up a more female-centered alternative.&nbsp;<br /><br />Adjacent to this work are the last existing elements of&nbsp;<em>Field Piece</em>, 1968/72 &ndash; a large-scale segment of an (infinite) field of grass. The work is made up of translucent resin &ldquo;blades&rdquo; that light up as viewers walk through them creating an almost synesthetic experience. Upending the conventional dichotomy of performer and viewer (as she did with so many of her performances), Smith asked the audience to actively take part in their own experience of the work.<br /><br />While working on&nbsp;<em>Field Piece</em>&nbsp;Smith utilized the extra resin from the process to create clear-cast resin spheres and other ceremonial objects to form a magical collection in an old trunk displayed open on an oriental rug.&nbsp; She began by creating artifacts from the process of making another work she ended with a magic carpet trunk, or dowry, treasures and their stories.<br /><br />&ldquo;[So] resin and fiberglass has been a material of transparency, and light also a material of strength and versatility.&nbsp; It protects and preserves sacred objects.&nbsp; It is difficult and dangerous to work with both because of fumes and the danger of fire. &nbsp;The catalyst and acetone are highly inflammable. &nbsp;The edges of fiber glassed pieces are sharp and can cut you, and if thin will break. &nbsp;Because of the dangers of working with resin it is not so readily availably now. &nbsp;It is messy and stinks of a strange almond smell, sometimes if not quite properly catalyzed, never completely cures.&rdquo;<br /><br />Smith&rsquo;s work was included in the following exhibitions:&nbsp;<em>Out of Action: Between the Performance and Object,</em>&nbsp;<em>1949-1979,</em>&nbsp;Los Angeles,&nbsp;<em>1955-1985: The Birth of an Art Capitol</em>,&nbsp;<em>WACK!: Art and the Feminist Revolution</em>, which traveled extensively including shows at PS1, New York and Pompidou, Paris,<em>&nbsp;Installations Inside/Out: 20th&nbsp;Anniversary Exhibition,</em>&nbsp;The Armory Center for the Arts Pasadena, CA, and the&nbsp;<em>Pacific Standard Time&nbsp;</em>exhibitions in Southern California in 2011 including<em>The State of Mind</em>, Orange County Museum of Art, and&nbsp;<em>Under the Big Black Sun&nbsp;</em>at MOCA/LA, as well as a one-person show&nbsp;<em>The Radicalization of a 1950&rsquo;s Housewife&nbsp;</em>at UC Irvine.&nbsp;</p> Mon, 23 Mar 2015 08:02:10 +0000 Group Show - Anton Kern Gallery - March 5th - April 11th <p style="text-align: justify;">"The Painter of Modern Life" brings together works by 21 artists, with the 19th century designation of the poet-critic Charles Baudelaire as its mantle1, including:</p> <p style="text-align: justify;"><strong>Nathaniel Axel, Lisa Beck, Sadie Benning, Sascha Braunig, Alex Brown, Mathew Cerletty, Wayne Gonzales, Joanne Greenbaum, Daniel Hesidence, Mamie Holst, Cannon Hudson, Chip Hughes, Xylor Jane, Robert Janitz, Erik Lindman, Nikholis Planck, David Ratcliff, Nicolas Roggy, Ivan Seal, Richard Tinkler </strong>and <strong>Stanley Whitney</strong>.</p> <p style="text-align: justify;">The artists are represented by paintings, drawings, collages, prints, and hand-painted sculpture. The exhibition may be thought to ask, what is modern life? Or rather, what has it become? In what ways do we translate and make sense of the world around us, our sense of place and displacement in the everyday? Manet was a painter of modern life in Baudelaire's time. On Kawara was a painter of modern life in ours. How do we navigate this not inconsiderable distance?</p> <p style="text-align: justify;">What is commonly referred to as today's art world is a far larger canvas, and even if one were to possess a crystal ball, our supposed clairvoyance would be a continuous squint of the eye, and in what would be closer to an evershaken snow globe.</p> <p style="text-align: justify;">Modern life is in no way opaque. It can be observed and seen through. And while our notion of beauty may change and distort, we remain dedicated to its pursuit. After all, don't we want to take pleasure in the visual landscape&mdash;even that which appears beyond aesthetic concerns or worthy of a higher level of poetics? But what of the drab canvas we accept as life today? Although detours are of the utmost necessity, they comprise our path without leading directly to our destination. And what is the modern life of painting?</p> <p style="text-align: justify;">As with spirit photography in the 19th century, one could say that the medium of painting is in fact a <em>medium</em>, the very means to communicate with the past, wholly within and expanding the contours of the present, pointing perhaps to a future it never intended to predict.</p> <p style="text-align: justify;">One is guided, as always, by the works that reflect the moment in which they have been made, as they register in their own voice, and at their own volume. The artists actively participate in and amplify the larger world of the imagination. A statement, if there is one, is made by the works themselves. All you can do is bring them together. But these days, an assembly does not in any way constitute a movement, since movements belong to the past, and surely for the best. History will not be rushed along. All contemporary art, then, with no reliable guarantors for posterity, is in a sense pre-historic. Let the works, one at a time, convince you that this visual realm remains a compelling place to explore, and that picture-making can't help but define our time. After all, the artists are both observers of and re-makers of reality.</p> <p style="text-align: justify;">This exhibition has been organized by the writer and curator Bob Nickas.</p> <p style="text-align: justify;">1 Mantle, a loose sleeveless cloak; something that covers or conceals&mdash;'On a winter night &hellip; a mantle of mist hangs above the city street'; the protruding shelf over a fireplace; the outer covering of a wall; a zone of hot gases around a flame; a sheaf around a gas lamp that gives off brilliant illumination when heated by the flame; anat.&mdash;the cerebral cortex; geol.&mdash;the layer of the earth between the crust and the core; the wings, shoulders, feathers and back of a bird when differently colored from the rest of the body.</p> Wed, 25 Feb 2015 15:31:03 +0000 Group Show - Apexart - March 19th - May 16th <p><a href="" rel="nofollow"><em>Feel Big Live Small</em> </a>is an exploration of our fascination with all things small, both as a technical feat and a psychological relationship through the lens of dioramas and miniatures.</p> <p>&nbsp;</p> <p>The featured works of 10 artists and collectives tour viewers through the intricate and sometimes odd worlds of their creators.&nbsp;</p> Wed, 25 Feb 2015 20:36:24 +0000