ArtSlant - Current exhibits en-us 40 Elio Rodriguez - 532 Gallery Thomas Jaeckel - April 1st - May 9th <p style="text-align: justify;">Join us next week at 532 Gallery Thomas Jaeckel for the opening reception of <em>Puzzled, </em>Elio Rodriguez&rsquo; first solo exhibition in New York City.&nbsp; The show is on view until May 9th and will coincide with his exhibition <em>On Guard</em> at Harvard University&rsquo;s Hutchins Center for Afro-Latin Studies and at our gallery&rsquo;s booth at Context Art New York at Pier 94, May 4-8, 2016.</p> <p style="text-align: justify;">On view in Chelsea will be the artist&rsquo;s large scale soft sculptures and the photography based collage works at Hutchins Center, Cambridge.</p> <p style="text-align: justify;">Elio experiments with the construction of the intimacy of interior and exterior spaces, all things carnal and decorative, functional and artistic, manufactured and native.&nbsp; His soft sculptures reimagine familiar forms using, in abundant measure, plant and carnal shapes, juxtaposed against sundry objects, metal screws, lace corsets, chains, belts, wire, filament, pins &mdash; with results that are pictorial equivalents of familiar concepts and concerns.</p> <p style="text-align: justify;">In his stuffed, massive soft sculptures, loaded messages about stereotypes, sexual or racial or otherwise, are hidden within exaggerated, provocative rendering of the mysteries of organic, invasive fauna, entangled in space by which a far-out untamed nature is introduced.&nbsp; Lush, ritualistic, magical, multiple perspectives serve as metaphors for the state of his own Afro-Cuban-ism coalesced with the state of the female, as might be interpreted through the popular discourse in our modern times.</p> <p style="text-align: justify;">Elio&rsquo;s work may veer into a kind of kitsch, but he does so magnificently in the most unlikely, playful, witty, voluptuous, sensory, sensual ways.</p> <p style="text-align: justify;">Elio Rodriguez, (Cuba 1966) lives in Spain, he graduated from Higher Institute of Art (ISA), Havana in 1989.&nbsp; He has had solo and group shows in Latin America, Europe and the US. He was awarded the Hutchins Fellowship at Harvard in 2015.&nbsp; His artworks are part of important public and private collections, including National Arts Museum of Cuba;&nbsp; Von Christierson Collection, London;&nbsp; Shelley &amp; Donald Rubin Collection, New York; Peggy Cooper Crafritz Collection, Washington DC;&nbsp; W.E.B. Du Bois Institute for African and African American Research, Harvard University.</p> Sun, 24 Apr 2016 16:28:42 +0000 Jean Dubuffet - Acquavella Galleries - April 15th - June 10th <p style="text-align: justify;">Acquavella Galleries is pleased to present<em> Jean Dubuffet: Anticultural Position</em>s, the first exhibition surveying Dubuffet&rsquo;s early work in painting and sculpture in over two decades. Organized by curator Mark Rosenthal, the exhibition focuses on Dubuffet&rsquo;s work from 1943 to 1959, and emphasizes the artist&rsquo;s&nbsp;&ldquo;anti-cultural&rdquo; approach in his depiction of subjects and his use of unorthodox materials.&nbsp;Several works by the French painter are on loan from private collections and museums. &nbsp;&nbsp;</p> <p style="text-align: justify;">During the 1940s and &lsquo;50s, Dubuffet advocated a transgressive anti-cultural position&mdash;a nihilistic spirit in the context of a war-ravaged Europe. His fascination with Hans Prinzhorn's Artistry of the Mentally Ill deeply influenced his artistic practice, and led to his coining of the term &ldquo;Art Brut.&rdquo; For Dubuffet, the raw and uninhibited expression of Art Brut provided a fresh and alternative direction to what he saw as the stifling decorum and conformity of French culture and the Western tradition. In 1947 he arranged an exhibition of objects produced by children and the mentally ill. He admired the intuitive spirit of children's drawings, graffiti, and the art of the ill, which he believed relied on the inner world of the creative mind and rejected traditional notions of taste, beauty, and skill. Emulating these 'outsider' artworks, Dubuffet created assemblages with detritus like glue, plaster, putty, gravel and broken bottles. He would scribble and scratch their surfaces to give the impression of tactile, chaotic, graffiti-covered walls. His formless renderings of the human figure echo his fixation with the art practices of those he considered &ldquo;unscathed by artistic culture.&rdquo;</p> <p style="text-align: justify;">&ldquo;Dubuffet was one of the great disruptors of art history,&rdquo; said Mark Rosenthal. &ldquo;He invented an unlikely cast of characters who took center stage as his subjects, and he utilized the most humble of materials, all of which projected new visions of beauty.&rdquo;</p> <p style="text-align: justify;">A fully illustrated hardcover catalogue will accompany the exhibition, and will include texts by Mark Rosenthal, Kent Minturn, an art historian and expert on the work of Dubuffet, and longstanding MoMA conservator Anny Aviram.</p> <p style="text-align: justify;">Jean Dubuffet (1901 &ndash; 1985) was born in Le Havre, France. In 1918 he moved to Paris to study at the Acad&eacute;mie Julian, which he left after six months to study independently. After abandoning painting for several years, Dubuffet fully committed himself to being an artist in 1942. Painting in a deliberately crude manner, inspired by art of the mentally ill or &ldquo;Art Brut,&rdquo; Dubuffet developed a technique of thick impasto, called haute p&acirc;te, and frequently incorporated unorthodox materials ranging from cement and gravel to leaves, dust, and even butterfly wings into his works. His controversial materials and mark-making solidified his legacy as an iconoclastic figure in the canon of postwar European painting, and his work has been exhibited in and collected by the foremost public and private institutions in the world.</p> <p style="text-align: justify;">Mark Rosenthal is a curator, author and art historian currently based in Detroit where he currently serves as the adjunct curator for contemporary art for the Detroit Institute of the Arts.&nbsp; He has previously held curatorial positions at Berkeley, Philadelphia Museum, National Gallery of Art, as well as adjunct positions at the Guggenheim Museum, Menil Collection and Detroit Institute of Arts. Rosenthal has curated such exhibits as&nbsp;Joseph Beuys: Actions, Vitrines, Environments, Picasso: The Early Years, Damien Hirst: The Bilotti Paintings, The Surreal Calder&nbsp;and retrospectives of Philip Guston, Juan Gris, William Kentridge, and Jonathan Borofsky. Rosenthal also curated monograph exhibitions of Anselm Kiefer and Jasper Johns. He holds a Ph.D. in art history from the University of Iowa.</p> Thu, 31 Mar 2016 06:46:46 +0000 Aditya Pande - AICON GALLERY - New York - April 21st - May 21st <p class="Default" style="text-align: justify;">Aicon Gallery New York is proud to present <em>All of the Above, </em>the first major U.S. solo exhibition of Aditya Pande. It is a glimpse into Pande&rsquo;s varied oeuvre spanning from his Half Life Forms series to a new set of drawings on canvas, a series of male torsos as well as abstract street scenes of Delhi's Ring Roads.</p> <p class="Default" style="text-align: justify;">Pande&rsquo;s creative process is as diverse as his works are intriguing. His technique often involves a layering of surfaces along with mixed, very diverse media ranging from vector drawing, digital photography, ink, acrylic paint to tinsel. His work combines the skills of drawing and printmaking with photography and painting. Manipulating traditional media with digital technology enables the artist to create a signature language that alludes to the pivotal role that technology plays in contemporary life without completely departing from convention. Pande&rsquo;s unique vocabulary makes use of unusual combinations of lines, whorls, blobs, spills, stains, tangled strings, the detritus of daily life &ndash; giving his works a playful, whimsical and almost comically cosmic illusion.</p> <p class="Default" style="text-align: justify;">&ndash;&ndash;&ndash;</p> <p class="Default" style="text-align: justify;"><em>All of the Above </em>derives its title from a work containing a set of photographs of a terrazzo tile. The four corners of this tile frame the floor of the artist's studio located in Shahpur Jat, a designated village set within the13th century citadel of Siri Fort whose ruins stand in testimony of the second iteration of the seven cities that have over time come to build New Delhi. Evoking what is perhaps below and above this tile's surface are a series of male torsos that invoke &ndash; sometimes obliquely but also simultaneously &ndash; the controversial Red Jasper Male Torso found by the archaeologist Vats in Harappa, Rilke's enigmatic ode to the Archaic Torso of Apollo, Illich's essay on the Rebirth of the Epimethean Man and the naming of Asteroids after Roman Gods. Somewhat subverting their own mythology, these works exist as monumental photographic representations of porcelain shards captured using a flatbed scanner.</p> <p class="Default" style="text-align: justify;">While Pande&rsquo;s technique is very contemporary, his subject matter often refers to a primordial past. There are elements harking back to prehistoric cave paintings combined seamlessly with elements evoking the 20th century abstract expressionism. At all times the rational, the mathematical and the geometrically severe are in the playful company of the exuberant, the joyfully excessive and the emotional.</p> <p class="Default" style="text-align: justify;">His mixed-media collages, titled Half Life Forms, have different plateaus fluidly connected to each other. Pande proposes the accommodation of everything into a non-hierarchical organization, all manner of archetypes being of equal importance, all substances commensurate. These mixed-media geometric commands range from employing Papa Flash's rapatronic imagery of the Trinity Tests to scans of the artist's body parts anchoring 'Half-Full'! &mdash; a video of the artist in a perpetual revolution filling a void with earth. A second video is devoted to the ritualized destruction of this earthen half circle.</p> <p class="Default" style="text-align: justify;">On view are abstract street scenes from the Inner and Outer Ring road which circumscribe the city of Delhi made by taking long exposure camera captures from a moving taxi of the dense traffic snaking through these</p> <p class="Default" style="text-align: justify;">roads. These bring out the chaotic yet cosmopolitan character of Delhi whose busy roads are randomly named after famous historical luminaries: Olaf Palme, Nelson Mandela, Rao Tula Ram, August Kranti, Josip Broz Tito, Mahatma Gandhi, Bahadur Shah Zafar and Lala Lajpat Rai.</p> <p class="Default" style="text-align: justify;">Also on view are new series of drawings on canvas, presenting segmented visions of partially autobiographical memories &ndash; a palimpsest of invented chronicles of strange and fantastic hyphenated characters set within obscure landscapes.</p> <p class="Default" style="text-align: justify;">&ndash;&ndash;&ndash;</p> <p style="text-align: justify;">Pande was born in Lucknow in 1976, and raised in Chandigarh. He trained in design at the National Institute of Design in Ahmedabad, from where he graduated in 2001. Pande&rsquo;s solo exhibitions include Chatterjee &amp; Lal, Mumbai; Nature Morte, New Delhi and Alexia Goethe Gallery, London. He has participated in group shows held at Grosvenor Vadehra Gallery, London; Kiran Nadar Museum, New Delhi; Nature Morte, Berlin; Bose Pacia, New York amongst others. Aditya has also been part of Art Basel, Miami; Art Basel, Switzerland; SH Contemporary, Shanghai and ARCO, Madrid.</p> Tue, 26 Apr 2016 09:10:04 +0000 Promotesh Das Pulak - AICON GALLERY - New York - April 22nd - May 21st <p style="text-align: justify;">Aicon Gallery New York is proud to present<em> Betrayal of Innocence and Beauty</em> the first U.S. solo exhibition of Promotesh Pulak Das. The show is comprised of two major series- his sculptural pieces composed of war equipment assembled by small flowers made of the shola plant usually used as a traditional craft material and his iconographic interpretations of the 1971 War of Liberation titled Echoed Moments in Time. With his works, the artist critically questions the current social and political state of his home country Bangladesh as well as global issues humanity is facing. Promotesh Das Pulak was born in 1980 in Bangladesh. He completed his MFA in 2004 from the Faculty of Fine Art, University of Dhaka and was trained as a painter. Nevertheless, the use of diverse material has played a pivotal role in his artistic practice. The juxtaposition between the organic natural elements and the combat equipment suggests a betrayal of innocence and beauty. The artist often incorporates other media such as painting, video, image manipulation, photography, and installation in his work. Promotesh Das Pulak represented his country at the 54th Venice Biennale in the Bangladeshi Pavilion along with a select group of other artists and was nominated as an emerging artist in sculpture at the Prudential Eye Awards in 2016.</p> <p style="text-align: justify;">Self-portraits are a key feature of Pulak&rsquo;s oeuvre. In the series <em>Echoed Moments in Time</em> which was exhibited in the Bangladeshi Pavilion 54th Venice Biennale the artist imposes his own face onto archival photographs from 1971, the year of Bangladesh&rsquo;s war of Liberation in which thousands lost their lives. With these images of freedom fighters, the artist honors their battle for the liberation of Bangladesh but also criticizes the inhuman acts committed during this gruesome war. This criticism continues into current times &ndash; with his works the artist alludes to the complex and interlocking cultural, political, economic and environmental issues currently facing the often paradoxical and rapidly changing society and state of Bangladesh in the new millennium. The nation&rsquo;s exploding population, the daily socioeconomic struggles of the lives of millions, the consequences of climate change, shifting cultural and gender&nbsp;demographics and the future of industry and economic growth are just some of the vastly influential issues informing and challenging the visual and verbal language of Bangladesh&rsquo;s diverse and quickly growing contemporary art scene.</p> <p style="text-align: justify;">With both, his<em> Echoed Moments in Time</em> series as well as his sculptural representations of war masks, hand grenades and Kalashnikovs studded with white Shola paper flowers, he questions the status quo. Objection to bloodshed and the need to compel reformation are repeatedly manifested.</p> <p style="text-align: justify;">The artist currently lives and works in Dhaka.</p> Tue, 26 Apr 2016 09:13:10 +0000 Hassan Sharif - Alexander Gray Associates - April 7th - May 14th <p style="text-align: justify;">Alexander Gray Associates presents recent work by Hassan Sharif (b.1951), featuring sculptures and woven assemblages. Recognized as a pioneer of conceptual art and experimental practice in the United Arab Emirates over the past four decades, Sharif has transgressed traditional frameworks for art making by extending his practice to performance, installation, drawing, painting, and assemblage that integrates ordinary objects as the primary medium. The tapestry-like works in this exhibition are conceptually linked by their relationship with the human body and social structures. <br /> <br /> After familiarizing himself with the ideas of Dada and Fluxus art during his studies in the early 1980s at Byam Shaw School of Art in London (now Central Saint Martins College of Arts and Design), Sharif created performance-based works that engaged with repetition, landscape, and the body, themes that he has continued to explore throughout his practice. Sharif first incorporated weaving into his art making process as a part of his &ldquo;Objects&rdquo; series (1982&ndash;present) as a means of critically exploring the increasing modernization and industrialization occurring in the U.A.E. For this series he sources inexpensive and mass-produced goods that he buys at local markets in his native Dubai to create artworks. By cutting, bending, grouping, and braiding these cultural artifacts, the artist sheds their functionality to enhance their aesthetic and political significance. For him, &ldquo;the work is about consumerism. I use cheap materials, ordinary things that are readily available in the market.&rdquo; Sharif is simultaneously a consumer, and a producer, who says &ldquo;I&rsquo;m imitating consumers, but I&rsquo;m using the materials to make art.&rdquo; By weaving together, in the ancient tradition of tapestry making, ordinary objects consumed by today&rsquo;s society, Sharif points both to the hyper-industrialization impacting everyday life and the abandonment of old traditions that were key to building strong bonds among the members of communities in the past. On his interest in unifying aspects of both the ancient and modern, the artist explains &ldquo;I want to nurture new ways out of the old and present these in a contemporary visual and artistic context.&rdquo;<br /> <br /> In Sharif&rsquo;s body of work, the rhythmically repetitive act of weaving echoes the involuntary functions of the human body, such as swallowing, breathing, and blinking. At the same time, the materials deployed to create the works 
in this exhibition, including combs, nail clippers, masks, and gloves are traditionally used to modify or cover the body.<br /> <br /> Recently, Sharif has centered his production around large-scale wall sculptures that incorporate objects that as he describes, &ldquo;people depend on greatly to keep up with their daily routines and activity. So long as they are alive, they keep using, exhausting, and relying on them as if they are, in one way or another, part of their own bodies.&rdquo; In <em>Masks</em> (2016), Sharif creates a grid of many colored face masks which cascade towards the floor, tied to one another by their black ribbons to ultimately form an irregular fringe at the bottom of the sculpture. The artists notes that masks have &ldquo;an important historical role. In the Middle East, women cover their faces with veils. In Africa [masks are] used in dances to ward off evil spirits. Hiding one&rsquo;s identity has become increasingly important.&rdquo; For <em>Ladies and Gentlemen</em> (2014), he assembled mass-produced and inexpensive female and male shoes, into a drape-like object that emphasizes seriality and the dislocation of functional objects. His use of shoes speaks to an interest in sexual politics across centuries and geographies; in the work, men and women occupy a common space, and are bound together with hand-painted <em>papier mach&eacute;</em> and ropes. In this way, he refers to the intrinsic connection between individuals and society. <br /> <br /> Sharif&rsquo;s interest in visual accumulation, and in systematic production, calculations, and geometric permutations are apparent in his choice of material for <em>Combs</em> (2016). For this work, he assembled plastic combs in a variety of bright colors, which jut out from the wall at irregular angles creating a haphazard visual rhythm. For the artist, combs, widely used to tidy hair, exemplify the use of logic necessary in mass-production of consumer goods. As he explains, &ldquo;the number of teeth, the distance between them, their length and thickness, all seem to be well calculated, and they have been so for thousands of years.&rdquo; Sharif echoes the geometric precision of the combs by organizing them in a meticulous gridded pattern in space, following a calculated mathematical model of his own invention, to create a hanging tapestry.</p> Thu, 31 Mar 2016 06:49:12 +0000 - American Folk Art Museum - January 21st - May 8th <p style="text-align: justify;">Enigmatic, evocative, and often simply strange, fraternal references are a rich part of contemporary American popular culture. But the seductive mystique of secret societies, with their cryptic signs, gestures, and arcane rituals, has been inculcated in our American experience since the early eighteenth century. Before the age of mass production, the artist who painted a portrait or embellished a piece of furniture might have also decorated a parade banner, an apron, symbols on a chart, or a backdrop for a fraternal lodge. More important, he or she encoded the ideals of fellowship, labor, charity, passage, and wisdom&mdash;the core of fraternal teachings&mdash;into the many forms associated with fraternal practice. The iconic art and objects showcased in <em>Mystery and Benevolence</em>&nbsp;relate the tenets of fraternal belief through a potent combination of highly charged imagery, form, and meaning. The exhibition explores the fascinating visual landscape of fraternal culture through almost two hundred works of art comprising a major gift to the American Folk Art Museum from Kendra and Allan Daniel.</p> <p style="text-align: justify;">Co-curators: Stacy C. Hollander, Deputy Director for Curatorial Affairs, Chief Curator, and Director of Exhibitions, American Folk Art Museum, and Aimee E. Newell, Director of Collections,&nbsp;Scottish Rite Masonic Museum &amp; Library. An exhibition catalog will be available.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The exhibition is supported in part by Joyce Berger Cowin, Kendra and Allan Daniel, the David Davies and Jack Weeden Fund for Exhibitions, the Ford Foundation, 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> Thu, 14 Jan 2016 16:02:58 +0000 Michael E. Smith - Andrew Kreps Gallery @ 537 W. 22nd - March 31st - May 7th Thu, 03 Mar 2016 15:12:24 +0000 Anne Collier - Anton Kern Gallery - April 9th - May 14th Sun, 27 Mar 2016 16:41:56 +0000 Seth Cluett, John Craig Freeman, Ricky Graham, Christopher Manzione, Nicholas O'Brien, Rachel Rossin - Apexart - March 24th - May 14th <p style="text-align: justify;">In <em>Open Sky</em>, Paul Virilio outlines a short, yet engrossing, analysis of humanity&rsquo;s attempt at capturing the horizon through various modes of technological innovation. He argues that these processes have diminished the perspective, scope, and what he calls optical density of our immediate surroundings. Furthermore, advancements in technology have shunted the horizon into three distinct categories: the<em> apparent horizon</em>, the <em>deep horizon</em>, and the <em>transparent horizon</em>. The apparent horizon situates a figure in a landscape, for which the horizon stretches as far as the eye can see. The deep horizon exists in what Virilio calls our <em>collective imagination</em>, a space of potential, of becoming. It is that which is never completely manifest, yet always imaginable. The transparent horizon is a &ldquo;product of the optical magnification of man&rsquo;s natural domain.&rdquo; Virilio cites that this last horizon is a manifestation of our current telecommunication dependencies and its genesis has created &ldquo;the incredible possibility of a &lsquo;civilization of forgetting.&rsquo;&rdquo; <br /> <br /> In some ways, Virilio&rsquo;s cautionary treatise has sparked a generation of artists critically engaging with new technologies while simultaneously avoiding the pitfalls of the transparent horizon. The artists in <em>Space Between the Skies</em> employ the power of new simulation-based technologies to remember rather than forget. Each piece in the exhibition interprets, in its own unique way, the functionality of a technological device as a means of commemoration or archiving, as opposed to creating a lapse of memory or documentation. <br /> <br /> John Craig Freeman is perhaps the most direct example of an artist using newer technologies as a means of documenting &ndash; and even recovering &ndash; cultural knowledge from the oblivion threatened by swift change. For his work <em>Portal to an Alternative Reality VR: Minsheng Courtyard</em>, Freeman has rendered a courtyard within the Minsheng district in the Chinese city of Wuhan. Through virtual reality technology, Freeman not only captures current topologies that will soon be lost to rapid over-development, but also reflects on the 17th century Taoist Temple that once stood at this site. Suggesting that the current state of radical change is not a new phenomenon for the multi-valenced history of China, Freeman offers a chance to look through the present into the past and back again &ndash; an ideal mode of remembrance and commemoration. <br /> <br /> Similarly Nicholas O&rsquo;Brien also grapples with the past through the use of contemporary technologies in his new work <em>Cross Timbers</em>. By using generative and procedural systems for creating an endless simulated forest, O&rsquo;Brien rediscovers lost stories of travelers and exiles who populated the Cross Timbers Forest that stretches from central Texas into southern Kansas. For nearly all of documented American history, this wooded area has served as a refuge for individuals who have run away or been cast out from various Great Plains communities. As a playable video game, <em>Cross Timbers</em> guides audiences to randomly encounter narratives that O&rsquo;Brien has woven together through research he conducted over the past year. Situating the player as a vessel for these untold and ill-documented narratives, O&rsquo;Brien invites audiences to embody the memories of a landscape. <br /> <br /> Continuing to explore the metaphorical and psychological space of the woods, the collaborative project by Seth Cluett, Ricky Graham, and Christopher Manzione uses contemporary virtual reality technology to immerse viewers in an uncanny 3D environment. By using sophisticated LIDAR technology and 360&deg; audio recording equipment, this group captured a site in New Jersey to create a virtual reality experience that sonically guides the viewer into a serene, enveloping space. However, the recording from the scanner by Manzione is purposefully incomplete and fractured. Cluett and Graham then re-fill the space left over from the imprecision of the scan with ambient swells and flourishes. Recombined in virtual reality, the original recorded visual data represents a fleeting memory, while the aural interpretations act as an attempt to regain what was lost. Where Virilio would suggest that the virtual &ldquo;window&rdquo; or &ldquo;teleport&rdquo; would create a sensation of &ldquo;no more delay&rdquo; or &ldquo;no more relief,&rdquo; this piece instead offers a contemplative manifestation of how we try to hold on to lingering impressions. <br /> <br /> Departing from more straightforward efforts to preserve the memory of a historical place or time, Rachel Rossin&rsquo;s work takes a more metaphorical and poetic turn. By switching between a combination of photogrammetry processes, video game engines, VR headset out, and traditional oil painting, Rossin uses newer technologies to approach familiar, quotidian scenes. Using the familiarity of objects in her home, Rossin&rsquo;s <em>Lossy</em> series explores the blended realities of the canvas and the computer screen. Rossin&rsquo;s work stands as an argument for the ways in which both mediums attempt to address the virtual properties of things: their air, their meaning, their aura. Rossin&rsquo;s work shows viewers how a combination of both techniques is a requirement to create a more full representation of an object&rsquo;s significance. In doing so, <em>Lossy</em> is a kind of diary &ndash; a series of combinatory and technologically mediated anecdotes that give us a glimpse into the subtle memories of a quiet moment at home. <br /> <br /> Veering even further from the literal interpretations of remembering places of a specific origin, Seth Cluett&rsquo;s individual contribution to the exhibition,<em> Breaking Ecomimesis</em>, replaces the romantic notion of &ldquo;individual in the landscape&rdquo; with an artificial and &ndash; as Cluett put it &ndash; highly resolved sonic simulation of a rural landscape. Cluett argues that the traditional sublime landscape is achieved not merely by the view of an endless vista but also with spatial auditory cues of sights unseen. When we look out towards the prairie, we expect to hear the wind howl over the rolling, faraway hills. Cluett punctures our presumptions with aural disturbances that interrupt the audience&rsquo;s expectations of a typical field recording. As a result, <em>Breaking Ecomimesis</em> highlights the ways in which sound, alone and divorced from image, can destabilize immersive vision. Cluett&rsquo;s work introduces the notion that the predictability of remembering must be challenged or interrupted. <br /> <br /> The immersive quality of all the pieces in this exhibition works against the consequences of the constant telepresence that Virilio critiques. The telecommunication technologies that fall under Virilio&rsquo;s analysis are thought to leave little room for reflection and introspection. In some way, Virilio&rsquo;s critique of technology is a product of its time &ndash; delivered at the dawn of 24-hour news networks and cable television, as well as emerging techniques for delivering real-time social, political, and environmental data that are &ldquo;teleported&rdquo; and transmitted across the globe. In truth, Virilio&rsquo;s critique is apt for reflecting on the ways in which those technologies, on full blast and always live, channel a forgetfulness via so-called transparency. However, the transparent horizon has given rise to other forms of media exchange, namely to the emergence of interactive experiences. <br /> <br /> In other words, where CNN has to fill time, the technologies in this show open up time. The transparent horizon of constant information overload funneled by live-media and real-time data is mitigated by the voluntary experience of exploring a simulated world. An important element of Virilio&rsquo;s transparent horizon is that information, media, images, and data are all being transmitted to you in such a way as to render your body as well as your senses into passive receptors. With (re)emerging technologies that allow for interactive storytelling and simulated spatial navigation, one&rsquo;s senses are invited to come to the forefront. This leveraging of our sensory capabilities found in the works on view within <em>Space Between the Skies</em> acts against Virilio&rsquo;s critique of contemporary technology by transforming our media experiencing into an interactive exchange. <br /> <br /> Perhaps the play that occurs between our senses and our (new) media could reformulate the auspicious warning of Virilio&rsquo;s transparent horizon. The transparent horizon, instead of being a space of erasure and noise, could be a place where media can enhance and augment our senses in order to stimulate new possibilities. Being active participants in the technologies that we consume, or else having agency in the sensory reception of media, could side-step &ndash; or potentially reverse &ndash; Virilio&rsquo;s civilization of forgetting. It is important, however, to pepper the excitement that surrounds this technology with some cautionary awareness that we are not merely replacing one transparent horizon with another. In thinking about the critical application of the technologies employed within <em>Space Between the Skies</em>, we must remember to create immersive spaces that engage our senses and our bodies. <br /> <br /> Nicholas O&rsquo;Brien<br /> &copy; 2016 <br /> <br /> &ldquo;The spiritual world is not a world of unrealised ideals, over against a real world of unspiritual fact. It is, on the contrary, the real world, of which we have a true though very incomplete knowledge, over against a world of common experience which, as a complete whole, is not real, since it is compacted out of miscellaneous data, not all on the same level, by the help of the imagination. There is no world corresponding to the world of our common experience. Nature makes abstractions for us, deciding what range of vibrations we are to see and hear what things we are to notice and remember.&rdquo; <br /> From <em>The Concept of Nature</em> by Alfred North Whitehead (1920)</p> <div align="center"><hr align="center" size="2" width="450" /></div> <p style="text-align: justify;"><br /> <strong>Christopher Manzione</strong> is currently Assistant Professor in Visual Arts and Technology at Stevens Institute of Technology. He earned his M.F.A. from Rutgers University in 2009. He is founder and director of the <a href="" target="_blank">Virtual Public Art Project</a>, an organization that uses Augmented Reality to produce original artist works in public space. Manzione most recently received a 2014 Fellowship through Franconia Sculpture. In addition he was a 2013 Fellow for New Jersey State Council on the Arts, artist-in-residence at William Paterson University&rsquo;s Center for Computer Art and Animation (2011), Socrates Sculpture Park (Emerging Artist Fellowship, 2010), Vermont Studio Center (Full Fellowship, 2009), and Anderson Ranch Arts Center (2009). He has shown nationally and internationally at venues such as the Boston ICA, Abington Arts Center, Philadelphia International Festival of the Arts, the Surry Hills Festival in Melbourne, and Gurzenich Koln Museum in Cologne. &nbsp;</p> <p>&nbsp;</p> Thu, 31 Mar 2016 07:05:07 +0000 Rembrandt van Rijn - Arkell Museum - March 1st - May 29th <p style="text-align: justify;">This exhibition, organized by the Syracuse University Art Galleries, explores Rembrandt's influence on the printmakers of his day.</p> <p style="text-align: justify;">Rembrandt is generally considered one of the most important figures in western art history. This ranking has been remarkably stable in the three hundred years since his death and is due, in part, to his virtuoso style, the wide range of subject matter that he included in his work, and his prolific output. Typically it is his painting that garners the most attention with the public, but his etchings demonstrate the same genius, diversity of subjects, and vitality that he generated with his brush. This exhibition brings together the printed work of Rembrandt and sixteen of his contemporaries. It has been arranged in thematic groups, landscapes, genre, portraits, and religious subjects, so that visitors may discover the similarities and differences as well as the technical achievements of these talented individuals.</p> <p style="text-align: justify;">Exhibitions are funded, in part, by the New York State Council on the Arts, a State Agency and Fenimore Asset Management.</p> Wed, 10 Feb 2016 01:59:10 +0000 Group Show - Art in General - April 23rd - June 25th <p style="text-align: justify;"><span style="font-size: small;"><strong>Art in General</strong> presents <em>Shifters,</em> an exhibition of commissions, projects and performances that brings together a group of emerging contemporary artists whose practices are engaged with language.</span><br /> <br /><span style="font-size: small;"> The collective works on view investigate how various systems of communication and their attendant histories and ideologies are being reconsidered through the lens of gender today. The project speaks to theories arguing that language as a social agreement is not passive or fixed, but rather, it possesses the potential to reimagine structures of power. <em>Shifters</em> will inquire how conventions that organize how we read, listen, and relate to one another, have the capacity to be rethought and destabilized.</span><br /> <br /><span style="font-size: small;"> Language as an instrument can express, or repress, the self. Operating from a position of affinity between feminist and queer perspectives, language as both subject and object is placed in proximity to the body, revealing its ability to affect and control routines and behavior patterns such as the products we use, our belief systems, how we learn and identify. The exhibited works prompt questions into the type of subject that specific language systems presuppose and even create, and how new models might operate against outmoded binary, racist, or patriarchal practices. </span><br /> <br /><span style="font-size: small;"> Performing a type of linguistic alchemy, these artists defamiliarize language in order to make new meanings. The projects on view propose a changeability and latent potentiality in linguistic traditions that exact influence over our lives, bringing to light how ingrained writing or speech patterns are subject to revision, and have been modified over the course of history. Infusing administrative, contractual, religious, or corporate terminology with poetic or nonsensical gestures, abstraction and illegibility is put forth as a productive undoing of language.</span><br /> <br /><span style="font-size: small;"> <strong>Becca Albee</strong> was born in Portland, ME and lives and works in Brooklyn, NY. She received her MFA from the University of North Carolina at Chapel Hill and holds a BA from the Evergreen State College in Olympia, WA. Albee was a founding member of the punk rock riot grrrl band Excuse 17. She is has recently been included in solo and group exhibitions at The DUMP, Los Angeles; CAM Raleigh; 356 S. Mission Rd., Los Angeles; and C-o-o-l Art, Agoura Hills. Albee has also been featured in exhibitions at PiK, Cologne; Ortega y Gasset Projects, Queens; the Irish Museum of Modern Art, Dublin; Contemporary Calgary, Alberta; Publication Studio, Hudson; Apexart, New York; and Momenta Art, Brooklyn, amongst others. </span><br /> <br /><span style="font-size: small;"> <strong>Colleen Asper</strong> is an artist and writer based in Brooklyn, NY. She received her MFA from Yale University and holds a BFA from the Maryland Institute College of Art. Recent exhibitions include <em>Name It by Trying to Name It</em> and <em>OS4,</em> both at the Drawing Center, New York and <em>Egress</em> at P!, New York. Asper&rsquo;s work has been reviewed in publications such as Artforum, The New York Times, and The New Yorker, and she has contributed texts to publications including Art in America, Lacanian Ink, and Paper Monument. As part of Hole, an ongoing collaboration with Marika Kandelaki, Asper has performed at venues in New York including the Bowery Poetry Club, Soloway, Garden Party/Arts, and Floating Library.</span><br /> <br /><span style="font-size: small;"> <strong>Beatriz Balanta</strong> was born in Colombia, South America. She received her Ph.D. from Duke University in 2010 and holds a BA in Sociology from Boston College. Balanta&rsquo;s scholarly work analyzes the photographic and literary dimensions of racial formation in Latin America. Her research interests encompass 19th century debates regarding freedom, citizenship, and nation building in Brazil, Colombia, and the United States as well as contemporary theorizations of art practices from the Global South. She is an assistant professor at SMU&rsquo;s Meadows School of the Arts. Balanta is currently co-teaching a course, along with Mary Walling Blackburn, that mobilizes the role of the stranger in both South and North American art production. </span><br /> <br /><span style="font-size: small;"> <strong>Cara Benedetto</strong> was born in Wausau, WI and lives and works in Richmond, VA. She received her MFA from Columbia University in 2009 and her BFA at University of Wisconsin River Falls in 2001. Recent performances and collaborations include <em>Come Early and Often,</em> Chapter NY; <em>SLOTS,</em> Young Art Gallery, Los Angeles; and <em>Wing &amp; Wing,</em> Art Metropole, Toronto (all 2014). Benedetto has participated in numerous group exhibitions at venues including Institute of Contemporary Art, Philadelphia; International Print Center of New York, New York; Souterrain, Berlin; Galeri Marquise Dance Hall, Istanbul; and Akademie Schloss Solitude, Stuttgart, amongst others. She is a recipient of the Columbia University Leroy Neiman Center for Print Studies Fellowship and the Rema Hort Mann Foundation grant. Benedetto has published both creative and critical texts with various presses including Badlands Unlimited and Blonde Art Books. She is an assistant professor in print media at Virginia Commonwealth University.</span><br /> <br /><span style="font-size: small;"> <strong>Mary Walling Blackburn</strong> was born in California and lives and works in New York. She is the founder of Anhoek School, a pedagogical experiment, and WMYN, a pirate feminist radio station. Her work has been featured in solo exhibitions at Sala Diaz, San Antonio; University Arts Gallery, UCSD, San Diego; Testsite, Austin; and Southern Exposure, San Francisco, amongst others. She has participated in numerous group exhibitions both nationally and internationally, at venues including Sculpture Center, New York; Elizabeth Foundation for the Arts, New York; Center for Curatorial Studies, Bard College, New York; Tate Modern, London; The Cooper Union, New York; 1a Space, Kowloon, Hong Kong; Blanton Museum of Art, Austin; Wattis Institute, San Francisco; and the Whitney Museum of American Art, New York. She was a recipient of an Art Matters Grant. Walling Blackburn&rsquo;s work has been featured in publications including Afterall, BOMB, Cabinet, and e-flux journal.</span><br /> <br /><span style="font-size: small;"> <strong>Danielle Dean</strong> was born in Huntsville, AL. She received her MFA from the California Institute of the Arts, Los Angeles, CA in 2012, a BFA from Central Saint Martins, London, UK, and an Independent Study Fellowship at the Whitney Museum of American Art. Dean has recently been included in solo exhibitions at The Studio Museum in Harlem, New York; Commonwealth and Council, Los Angeles; and The Bindery Projects, Minnesota; and in group exhibitions at Human Resources, Los Angeles; Tate Modern, London; DiverseWorks, Houston; Western Exhibitions, Chicago; and The Hammer Museum, Los Angeles; amongst others. She is the recipient of the 2015 Creative Capital, Visual Arts award and the 2014 Rema Hort Mann Foundation award. </span><br /> <br /><span style="font-size: small;"> <strong>Sophia Le Fraga</strong> is a poet and artist living and working in New York. She received her BA in Linguistics and Poetry from New York University. She is the author of <em>literallydead</em> (Spork 2015); <em>I RL, YOU RL</em> (minuteBOOKS 2013, Troll Thread 2014) and <em>I DON&rsquo;T WANT ANYTHING TO DO WITH THE INTERNET</em> (KTBAFC 2012). Her anti-play trilogy of iOS adaptations comprises <em>W8ING, TH3 B4LD 50PR4N0</em> and <em>UND3RGR0UND L0V3R5</em> (2014, 2015). Recent exhibitions include <em>Other Titles,</em> B&uuml;ro Broken Dimanche; Berlin; <em>Greater New York,</em> MoMA PS1, New York; PERFORMA 15, New York; and <em>Public Poem Pattern,</em> The Artist&rsquo;s Institute, New York. Le Fraga is the poetry editor of Imperial Matters, a curator for the experimental reading series Segue and a member of Collective Task. She teaches poetry at BHQFU.</span><br /> <br /><span style="font-size: small;"> <strong>Jonah Groeneboer</strong> was born in Vancouver, BC and lives and works in New York. He received a MFA from New York University and a BFA from the Pacific Northwest College of Art in Portland, OR. Recent solo and group exhibitions include the <em>Language of Birds,</em> 80WSE, New York; <em>Greater New York,</em> MoMA PS1, New York; <em>Island Time,</em> Contemporary Art Museum Houston, Houston; <em>Blue Shift,</em> Platform Center for Photographic and Digital Arts, Winnipeg; and <em>Double Mouth Feedback,</em> Recess, New York. His work has been featured in The New Yorker, New York Arts, Art 21, The New York Times, and Temporary Art Review. Groeneboer has lectured at the Drawing Center, Ox-Bow School of Art, and New York University.</span><br /> <br /><span style="font-size: small;"> <strong>Gordon Hall</strong> was born in Boston, MA and lives and works in New York. Hall holds an MFA and MA in Visual and Critical Studies from the School of the Art Institute of Chicago and a BA from Hampshire College. Hall has exhibited and performed at SculptureCenter, The Brooklyn Museum, The Museum of Contemporary Art Chicago, the Whitney Museum of American Art, Movement Research, EMPAC, Temple Contemporary, Night Club Chicago, Foxy Production, The Hessel Museum at Bard College, White Columns, and Chapter NY, amongst others. Hall has also organized lecture and performance programs at MoMA PS1, Recess, The Shandaken Project, and at the Whitney Museum of American Art, producing a series of lectures and seminars in conjunction with the 2014 Whitney Biennial. Hall&rsquo;s writing and interviews have been featured in a variety of publications including V Magazine, Randy, BOMB, and Title Magazine. </span><br /> <br /><span style="font-size: small;"> <strong>Marika Kandelaki</strong> was born in Tbilisi, Georgia and lives and works in Brooklyn, NY. She received her BFA from Parsons School of Design in 2003 and previously studied at Moor College of Art and Design, Philadelphia, and the Nikoladze College of Art and Design, Tbilisi. Kandelaki&rsquo;s work has been included in exhibitions and performances including <em>PANGRAMMAR</em> at P!, New York (2015); <em>Name It by Trying to Name It,</em> The Drawing Center, New York (2015); <em>Medea,</em> Floating Library, New York (2014); <em>Hole 2,</em> Soloway, Brooklyn (2012); and <em>Spectrum,</em> Bridge Gallery, New York (2012). Her work has been featured in publications including Adjunct Commuter Weekly, Art Practical, The Brooklyn Rail, and Fuse Magazine. Kandelaki was a 2014-16 Open Sessions Artist at The Drawing Center.</span><br /> <br /><span style="font-size: small;"> Lead support for Shifters has generously been provided by David Solo. </span><br /> <br /><span style="font-size: small;"> Additional project support kindly provided by <a href="" target="_blank">Creative Capital</a> (Danielle Dean), and <a href="" target="_blank">Supreme Digital</a>, Brooklyn (Colleen Asper and Marika Kandelaki).</span></p> Sun, 24 Apr 2016 17:17:21 +0000 Günther Börst, Irene Neal, Tril Benton, Anne Grandin, Elling Reitan - Ashok Jain Gallery - April 27th - May 29th <p class="Default" style="text-align: justify;">Ashok Jain Gallery presents <em>Harmony, Unity, and Expression</em>, an exhibition that focuses on many beloved artistic styles of Abstract Expressionism and landscapes both spirituality and psychologically. The show will highlight the two major design elements that each artist expresses: harmony and unity. The exhibition features artworks from five renowned artists: G&uuml;nther B&ouml;rst, Irene Neal, Tiril Benton, Anne Grandin, and Elling Reitan. <em>Harmony, Unity, and Expression </em>will be held at 58 Hester Street and opens on Wednesday, April 27.</p> <p class="Default" style="text-align: justify;">G&uuml;nther B&ouml;rst is a German artist whose works continuously searches out the &ldquo;impossibilities&rdquo; in shape, material, and technique such as color and contrast. In his search, B&ouml;rst refers to themes of landscape, urbanism and mankind as the main subject matter of his abstract works. With over 100 expositions exhibited in Germany, Switzerland, France, Spain, Italy, Belgium, New York and many more locations he has become one of the gallery&rsquo;s more established artist.</p> <p class="Default" style="text-align: justify;">Irene Neal emphasizes color in her compositions as form of freedom of expression. Neal&rsquo;s process does not express her freedom in creating abstract works, but expresses the freedom of her medium in pursuing the path across the chosen surface. She has exhibited many of her works at Ashok Jain Gallery as well as having collections in North and South America.</p> <p class="Default" style="text-align: justify;">Tiril Benton approaches each canvas with a feeling of excitement, wonder, and a sense of adventure, free of any preconceived ideas or sketches. She expresses an internalized sense of truth which creates an external experience at an intense level. The archetypal symbolism emerging from Tiril&rsquo;s paintings has attracted international attention, and Tiril has exhibited widely and won awards in both the United States and Europe.</p> <p class="Default" style="text-align: justify;">Anne Grandin&rsquo;s landscape paintings are influenced by the Native American culture and their concept of the circle of life. She uses organic shapes to express her connection to nature; the circle of life. Grandin has received a bachelor&rsquo;s of science in art education at The Moore College of Art and continued her art education at Boston University and The Art Institute of Boston. She has participated in many of the gallery&rsquo;s show over the past couple of years and continually exhibits her work at The Pen and Brush Guild.</p> <p class="Default" style="text-align: justify;">Elling Reitan compositions are often inspired by famed artist Edvard Munch whom is known by his iconic pre- Expressionist painting &ldquo;The Scream&rdquo; with references to biblical imagery and creates psychological mindscapes for the viewer. Reitan has exhibited his works around the world and additionally he has over 200 private collections in the US, Asia, and Europe. He has been represented by Ashok Jain Gallery for over 20 years and currently resides in Norway. Ashok Jain Gallery will be exhibiting 10 of his works at Art New York in May at Pier 94.</p> <p style="text-align: justify;">The opening reception will be held on April 29th from 6 pm- 8 pm.</p> Mon, 25 Apr 2016 14:17:56 +0000 Janusz Obst - Ashok Jain Gallery - April 27th - May 29th <p style="text-align: justify;">Ashok Jain Gallery is pleased to announce,&nbsp;<em>Wordless Dimension</em>, a solo exhibition of artworks by Janusz Obst at 58 Hester Street. Opening on Wednesday, April 27, the exhibition is the presentation of bas-reliefs.</p> <p>&nbsp;</p> <blockquote><em>&ldquo;I believe in staying true to myself throughout the creative process of wordless expression, regardless of past influences and current trends.&rdquo;</em></blockquote> <p class="text-align-right" style="text-align: justify;">- Janusz Obst</p> <p style="text-align: justify;">Janusz Obst is a classically trained artist from Zamosc, Poland, where he was born in 1946. As a young marine, he travelled the world, having spent much of his young adult life in Europe, China, Africa, and India. It was in India where he was captivated by sculpture, and for the last three decades he has focused his work on bas-relief.&nbsp;</p> <p style="text-align: justify;">Bas-reliefs, traditionally having been painted, give Janusz the opportunity to resurrect his love for this classic art form and marry his passion for sculpture and painting. This methodology allows him to freely build three-dimensional space and to broaden the narrative possibilities within each piece. His art permeates the interaction between the history of civilization, individual fate, current social and community-based issues, and his unfaltering interest in the interpersonal relationships within the context of the modern world. Janusz moved to the United States in 1991, and he currently lives in New York City.</p> <p style="text-align: justify;">The opening reception for <em>Wordless Dimension</em> will be on Friday, April 29, 2016.</p> Mon, 25 Apr 2016 14:12:23 +0000 - Asia Society Museum - February 9th - May 8th <p style="text-align: justify;">With over thirty Kamakura masterpieces from private and museum collections in North America and Europe, &ldquo;Kamakura: Realism and Spirituality in the Sculpture of Japan&rdquo; is the first exhibition to look beyond the aesthetics and technical achievements of these remarkable sculptures, and specifically examine the relationship between realism and the sacred empowerment of these objects. The exhibition explores how sculptures are &ldquo;brought to life&rdquo; or &ldquo;enlivened&rdquo; by the spiritual connection between exterior form, interior contents, and devotional practice, reflecting the complexity and pluralism of the period. "Kamakura: Realism and Spirituality in the Sculpture of Japan" marks the first major loan show of Kamakura sculpture in the United States in more than thirty years.</p> <p style="text-align: justify;"><a href="" target="_blank">Pre-order the richly illustrated exhibition catalogue at AsiaStore.</a></p> Fri, 08 Jan 2016 08:03:55 +0000 - Asia Society Museum - March 8th - January 8th, 2017 <p style="text-align: justify;">On the occasion of the 60th anniversary of the founding of Asia Society, this exhibition celebrates the legacy of collecting and exhibiting Asian art that John D. Rockefeller 3rd and Blanchette Hooker Rockefeller set in motion for Asia Society. This exhibition plays with the notion of context by juxtaposing historical and contemporary works to trigger distinctive ways of thinking about artworks and the people that produce them, both past and present. The exhibition is a testament to the visionary commitment to Asia and its art begun by Mr. and Mrs. John D. Rockefeller 3rd, and that continues to the present at Asia Society.</p> Fri, 08 Jan 2016 08:04:53 +0000 Carol Crawford - Atlantic Gallery - April 19th - May 14th <p><strong>Atlantic Gallery is pleased to present &ldquo;TRANSFIGURATIONS&rdquo;, an exhibition of life-sized figurative drawings by CAROL CRAWFORD, April 19-May 14, 2016. Opening reception is Thursday, April 21, 6-8 pm. Ms. Crawford will be present Thursdays 6-8 pm and Saturdays by appointment to speak to visitors about her work.</strong></p> <p>Proud women, dancers, angels and monsters...eacn drawn figure is a statement of Ms. Crawford&rsquo;s passionate involvement with the human body as a conveyor of mood, allegory, and ideas.</p> <p>Most of the figures are solitary, occupying a space without boundaries or background, crouching or standing over six feet tall. They are created using charcoal, pastel, and monoprint collage. Many are encased in layered acrylic shapes that float on the walls, frameless, casting their own shadows, commanding the space in which they are presented. The dancers are partially free-standing, their torsos stationary on the wall, their legs free-standing. As the viewer moves past, the dancers appear to subtly shift position.</p> <p><strong>&ldquo;Fallen Angels&rdquo;is a composite work </strong>composed of four male figures, performing beneath a broken sky: One angel with a grinning death&rsquo;s head directs two winged figures, who leap blindly toward &ldquo;heaven&rdquo; at his command, while a fourth figure, created out of monoprint collage and mirror, remains earthbound, weeping and gazing upward at the goal he cannot reach, heaven, a puzzle that does not quite come together. <strong>Ms Crawford defines its meaning as &ldquo;an allegory of corporate man, and a reference to the biblical myth of Lucifer, once the most beautful angel, cast out of heaven for his arrogance. It is a metaphor of our own follies and earthly strivings&rdquo;.</strong></p> Fri, 25 Mar 2016 19:30:09 +0000