ArtSlant - Current exhibits en-us 40 Stephen Shore - 303 Gallery - September 11th - November 1st <p>303 Gallery is pleased to present its fifth exhibition of photographs by Stephen Shore, whose pioneering use of color photography in the 1970s and beyond has made him one of art history's most revered and exploratory practitioners of photographic possibilities.</p> <p>For this occasion, Shore will present two new bodies of work realized in zones of itinerant conflict. In a series of images made in Israel and the West Bank, uninhabited landscapes meet scenes of modern quotidian life, and tender portraits become entangled with images of aestheticized propaganda and the charge of architecture in conflicted space. Shore's interest in daily life, in the landscape itself as a way to interpret a sociological climate - a baseline theme in all his work - here takes on a different type of potency due to the critical nature of the living situation. In an a piece such as&nbsp;<em>Sderot, Israel, September 14, 2009</em>, a photograph of a hand pointing at a map is another way of considering the contentious nature of territories.</p> <p>The second body of work presented in this exhibition consists of images shot in the Ukraine, in and around the homes and villages of Holocaust survivors. Another subject with an emotional charge perhaps unequalled in terms of acute sensation, each image becomes a type of reliquary replete not only with the tragedy of the Holocaust, but with the tragic history of the Ukraine itself. Shore's compositions in these images are tighter and more controlled; colors and objects bristle with intimation of past events. In directly confronting these charged subjects, Shore subtly imposes his own order and logic on the landscape, continuing a tradition he created and has practiced for close to 50 years.</p> <p><em>Stephen Shore: From Galilee to the Negev</em>, a compendium of images shot in Israel and the West Bank, was published earlier this year by Phaidon Press. His most recent photographic series shot in Winslow, AZ in 2013 was recently published by IMA Concept Store in Tokyo in a new book titled&nbsp;<em>Stephen Shore Winslow Arizona.</em></p> <p>Stephen Shore's upcoming exhibitions will include Fundaci&oacute;n MAPFRE, Madrid (2014), Barbican Centre, London (2014), Tate Modern (2014). Past exhibitions include The Museum of Modern Art, New York (2013-14), The Metropolitan Museum of Art, New York (2013), The Art Institute of Chicago (2011), Centre Pompidou, Paris (2011), Aspen Art Museum, Aspen (2011).</p> <p>Stephen Shore has been the Director of Photography Program at Bard College since 1982.</p> <p>&nbsp;</p> Mon, 29 Sep 2014 21:18:44 +0000 Antoine Catala - 47 Canal - September 28th - November 2nd <p>I don&rsquo;t feel the same anymore. <br />I feel new. I don&rsquo;t know how to describe the sensation. <br />Do you? <br />Can you feel how I feel? <br />Is really the sole purpose of emotions the survival of a gene pool? The ultimate bonding gel. <br />Through the screen, can you tell how I feel? My voice, do I sound nervous or happy? <br />Can one learn new feelings? A new type of anger, with a hint of pride, a new breed of painless <br />joy. <br />Can you teach me how to feel, because I lost touch? <br />It&rsquo;s like something recently severed, and emotions are drifting inside of me. <br />When I was a little boy, I put myself in other's shoes. I would mimic people around me, <br />copy the way they walked, the way they sat or spoke. It would open a window into their minds. <br />Empathic machines are coming, like children, learning. <br />Will I be able to outsource my feelings to emobots one day. I wouldn't have to deal with shitty <br />emotions anymore. Let the emobots process my crappy moods and re-infuse my body with good vibes. <br />Fleeting. <br />If emotionomics is to become a reality, would I ever be able to purchase a meal with the <br />sensation of freedom that permeates through me today? Pay with a confused transactional smile. <br />This is personal, and it&rsquo;s not. <br />It&rsquo;s all transparent. Let&rsquo;s put our feelings on the table. <br />Antoine Catala (born in 1975, Toulouse France) lives and works in New York and has exhibited <br />extensively both in the US and abroad. Recent solo exhibitions include: Heavy Words, curated by <br />Florence Derieux at Peep-Hole, Milan (2014) and Image Families, curated by Linus Elmes at <br />UKS, Oslo (2013). His work has also been included in Archeo, curated by Cecilia Alemani, High <br />Line, New York, NY; Meanwhile...Suddenly and Then, 12 Biennale de Lyon, France curated <br />by Gunnar B. Kvaran; ProBio, organized by Josh Kline, EXPO 1: New York, MoMA PS1, New <br />York, NY; Empire State, curated by Alex Gartenfeld and Norman Rosenthal, Palazzo delle <br />Esposizioni, Rome, Italy and Puddle, pothole, portal, co-curated by Ruba Katrib and Camille <br />Henrot, Sculpture Center, Long Island City, NY, opening in October.</p> Tue, 30 Sep 2014 01:25:36 +0000 Ian Hughes - 532 Gallery Thomas Jaeckel - October 9th - November 8th <p style="text-align: justify;">Over the arc of his career, Ian Hughes has honed a distinctive visual language in which paint reveals its lushest and most viscous qualities while simultaneously giving shape to bio-reminiscent forms that have a compelling life of their own. In <em>Twisted Figures</em>, his third solo show at 532 Gallery Thomas Jaeckel, Hughes&rsquo;s latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self-confidently assert their own presence, yet begin to move beyond an earlier, more matter-of-fact reliance on organic and visceral associations.</p> <p style="text-align: justify;"><em>Twisted Figures</em> reflects a subtle turn in Hughes&rsquo;s paintings toward motifs that are slightly more elusive in content, while retaining the beautiful but vaguely stomach-churning core of his earlier works. Many of the latest pieces feature the same intense, warm palette and pseudo-anatomical imagery set against flat monochromatic backgrounds, such as <em>Green Ovals</em>, which presents a smooth fleshlike surface against which brightly rendered rolling forms in pink, white, and orange suggest intestines, buttocks, and/or reproductive organs. Yet patches of textile-like patterning and a handful of amorphous shapes scattered throughout hint at a much wider range of associations, from soft pillows to eerie but strangely inviting otherworldly landscapes.</p> <p style="text-align: justify;">In some of the new paintings, Hughes sets up a tension between more organic, down-to-earth colors&mdash;such as the duller hamburger/flesh pink in <em>Untitled (Taupe)</em> &mdash;and contorted masses that are much harder to pin down. Still other canvases veer in the opposite direction by merging undulations of vivid, carnivalesque blues, pinks, oranges, or greens with somber dark swathes into curves that evoke chaotic balloon sculptures or failed attempts to wring order from unruly sausages of brute matter. In <em>Untitled (Golden Yellow) </em>and <em>Red Wrap</em>, the brushstrokes begin to assert themselves in a way that seems to subtly threaten the integrity of the forms they comprise, thereby highlighting the importance of paint as the essential substrate for Hughes&rsquo;s cheerful-yet-disquieting images. The juxtaposition of painterly effects (rounded forms and illusionistic volumes) with more graphic elements (flat, opaque backgrounds and sharp edges) strongly reinforces this message. The result is a potent comment on the powerful tension between medium and image that has haunted painting for as long as abstraction has existed, or perhaps since the first images were daubed on a cave wall millennia ago.</p> Thu, 09 Oct 2014 17:38:16 +0000 Jack Levine, Hyman Bloom - ACA Galleries, Est 1932 - September 18th - October 25th <p align="center"><span style="background-color: #ffffff; color: #696969;"><strong>&nbsp;</strong></span></p> <p align="center"><span style="background-color: #ffffff; color: #696969;"><strong>JACK LEVINE and HYMAN BLOOM:&nbsp;</strong></span><strong style="color: #3366cc; text-align: left;">AGAINST THE GRAIN</strong></p> <p align="center"><strong>September 18 through October 25, 2014</strong></p> <p>ACA Galleries is pleased to announce the upcoming exhibition <strong><em>Jack Levine and Hyman Bloom: AGAINST THE GRAIN</em></strong>on view September 18 through October 25, 2014. The exhibition will feature a survey of paintings and works on paper from the 1930s to 1990s from both the artists&rsquo; estates and private collections.</p> <p>Jack Levine (1915-2010) and Hyman Bloom (1913-2009) were close friends who each became a master of a new American realism that blended abstraction and realism. &nbsp;As Jewish immigrants&nbsp;from Eastern Europe, of a similar age and background&nbsp;they arrived at their socially conscious art through shared&nbsp;experiences but through different routes of development.</p> <p>The Great Depression brought the aesthetic controversy of abstraction versus realism into an uneasy resolution.&nbsp; American Social Realists, many of whom had been modernist painters, believed that the hardships of unemployment, hunger and homelessness were too profound to be depicted through obscure abstractions.&nbsp; For such artists, a return to realism was the only honest means to portray the struggles of the citizenry.</p> <p>But &ldquo;realism&rdquo; did not mean &ldquo;traditional&rdquo;. &nbsp;The genie of modernism could not be put back into the bottle. Instead, these socially conscious artists created a new realist language; an edgy aesthetic that brought realism and modernist abstract elements into a restless but electrifying visual alliance.</p> <p>&nbsp;Jack Levine, though deeply influenced by the grandeur of Titian and Velazquez, also admired the harsh drama of the German Expressionists. &nbsp;In the 1930s, Levine united these influences into grand but scathing portrayals of America&rsquo;s corrupt political and economic power brokers.</p> <p>Though the Social Realism Levine practiced in the &rsquo;30s remained the foundation of his oeuvre throughout his career, he expanded his vision into more spiritual realms. &nbsp;In these late works, Levine returns to his Jewish roots, using biblical themes as the basis for his &nbsp;penetrating observations of the human condition.</p> <p>Hyman Bloom&rsquo;s work evolved into socially aware realism. Originally influenced by America&rsquo;s early twentieth century avant-garde, Bloom became one of New York&rsquo;s mid-century abstract painters and was even credited by Jackson Pollock and Willem deKooning as the first genuine Abstract Expressionist. &nbsp;His work moved away from pure abstraction into a mystical realism.&nbsp;</p> <p>Unlike his former Abstract Expressionist compatriots who were seeking the secrets of the subconscious, Bloom, through the strength of aggressive line and color, was after &ldquo;the nature of being,&rdquo; the mystical essence of life. &nbsp;It was through his spirituality that Bloom found his kinship with humanity and its struggles.&nbsp;</p> <p align="center"><span style="color: #0066cc;"><strong>ACA Galleries is the exclusive agent for the estates of Hyman Bloom and Jack Levine.</strong></span></p> Thu, 14 Aug 2014 22:11:50 +0000 Wayne Thiebaud - Acquavella Galleries - October 1st - November 21st <p>Acquavella Galleries is pleased to announce an exhibition of works by iconic American artist Wayne Thiebaud, on view from October 1 &ndash; November 21, 2014. The exhibition includes a total of 49 works &ndash; 35 paintings and 14 works on paper. Many of the works included are being shown to the public for the first time, and several are compositions the artist has been working on for over thirty years. This is Thiebaud&rsquo;s second exhibition with the gallery.<br /><br />Celebrated for his works that highlight the commonplace, the 93-year-old Thiebaud continues to shed painterly light on the people, places and things that surround him on a daily basis. Despite his association with pop artists of the 1960s,&nbsp;Thiebaud&rsquo;s method is more aligned with the still life tradition &ndash; and this preoccupation with scrupulously representing his subjects sets him apart from his contemporaries. Ordinary objects rendered in the tactility of Thiebaud&rsquo;s brushwork&nbsp;become resplendent, and thus his canvases radiate a particularly American optimism and nostalgia for the familiar.<br /><br />The works on view in this exhibition touch upon recognizable themes in the context of Thiebaud&rsquo;s oeuvre. Cold Case (2010-2013) revisits his most famous subject &ndash; confections. Similarly, Cupcakes &amp; Donuts (2006/2012) and Ring Circle&nbsp;(2012-2014) both explore the artist&rsquo;s preexisting interest in modes of commercial display. The splendor of California&rsquo;s landscape is once again depicted in Bluffs (2013) &ndash; this time in a cake-like pink. The figures in this exhibition, among them&nbsp;Robed Woman with Letter (1976/2013), are familiarly stoic and simultaneously confessional. &ldquo;We are thrilled to be presenting Thiebaud&rsquo;s recent work,&rdquo; said Eleanor Acquavella &ldquo;this exhibition is a testament to his unique ability to&nbsp;illuminate the everyday and elevate the ordinary.&rdquo;<br /><br />Wayne Thiebaud (b. 1920) lives and works in Sacramento, CA. He has been widely recognized for his achievements as an artist and has received various prestigious awards such as the National Medal of Arts from President Clinton, 1994; the&nbsp;Lifetime Achievement Award for Art from the American Academy of Design, NY, 2001 and he was inducted into The California Hall of Fame at The California Museum, Sacramento, CA in 2010. Thiebaud was the subject of a retrospective&nbsp;at the Whitney Museum of American Art in 2001, and his work has been exhibited in major museums and institutions worldwide. Thiebaud&rsquo;s work can also be found in the permanent collections of the Los Angeles County Museum of Art,&nbsp;CA; Phillips Collection, Washington, D.C.; Crocker Art Museum, CA; Albright-Knox Art Gallery, Buffalo, NY; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and the Whitney Museum of American Art, New York.</p> Mon, 08 Sep 2014 20:59:55 +0000 John Walker - Alexandre Gallery - October 2nd - November 12th <h2><a href="" rel="nofollow">JOHN WALKER</a>: RECENT PAINTINGS</h2> <p>Thursday, October 2 through Saturday, November 12, 2014</p> <p>A selection of large and small scaled paintings in the first New York exhibition of John Walker's work since his 2011 show at Knoedler Gallery.</p> <p>Illustrated catalogue available.</p> Thu, 04 Sep 2014 18:29:52 +0000 Ralph Fasanella - American Folk Art Museum - Lincoln Square - September 2nd - December 1st <p>Ralph Fasanella (1914&ndash;1997) celebrated the common man and tackled complex issues of postwar America in colorful, socially minded paintings. This exhibition celebrates the one hundredth anniversary of the artist&rsquo;s birth and brings together key works from a career spanning fifty-two years. Fasanella was born in the Bronx and grew up in working-class neighborhoods of New York; he became a tireless advocate for laborers&rsquo; rights, first as a union organizer and later as a painter.<br /><br />This major exhibition includes a selection of artworks from the American Folk Art Museum&rsquo;s collection, which holds more than one hundred paintings and drawings by the artist. The Estate of Ralph Fasanella gifted many of these objects to the museum over the years, in addition to the artist&rsquo;s notebooks, sketches, correspondence, personal records, photographs, publications, and films, which were donated in 2009 and 2013.<br /><br /><em>Ralph Fasanella: Lest We Forget</em>&nbsp;is organized by the Smithsonian American Art Museum with generous support from Tania and Tom Evans, Herbert Waide Hemphill, Jr. American Folk Art Fund, and Paula and Peter Lunder. The C.F. Foundation in Atlanta supports the museum&rsquo;s traveling exhibition program,<em>Treasures to Go.</em></p> Mon, 15 Sep 2014 00:37:02 +0000 Willem van Genk - American Folk Art Museum - Lincoln Square - September 10th - December 1st <p><em>Willem van Genk: Mind Traffic</em>&nbsp;is the first monographic exhibition of works by the internationally acclaimed Dutch artist Willem van Genk (1927-2005) to be presented in the United States. The exhibition includes over forty artworks: panoramic paintings, collages, drawings, personal notes, sculptures of trolleys, and an installation of raincoats (van Genk collected hundreds of raincoats over the course of his lifetime). This comprehensive selection provides an overview of the artist&rsquo;s oeuvre and insight into his creative processes, methods, and themes. Van Genk&rsquo;s artworks usually depict intricately layered and densely networked urban panoramas and reference interconnectivity. He was a restless stockpiler of information, factoids, and trivia: from this perspective, the artworks can be seen as memory palaces&mdash;visualizations implemented to organize and recall information. These imaginary landscapes serve as sophisticated devices and scaffolds to map hidden forces, since the artist believed that all things were connected via both visible and invisible networks.<br /><br />The exhibition is co-organized by Dr. Val&eacute;rie Rousseau, curator, art of the self-taught and art brut, American Folk Art Museum, and Patrick Allegaert and Yoon Hee Lamot, both curators at Museum Dr. Guislain, Ghent, Belgium. All of the works on view are drawn from the Willem van Genk Foundation, which retained the largest body of the artist&rsquo;s work, the De Stadshof Collection, and the Museum Dr. Guislain, which manages both of these collections.</p> Mon, 15 Sep 2014 00:36:22 +0000 Matthew Ritchie - Andrea Rosen Gallery - September 12th - October 22nd <p style="text-align: left;" align="center">Andrea Rosen Gallery is delighted to present <em>Ten Possible Links</em>, Matthew Ritchie&rsquo;s fifth solo-exhibition with the gallery. Weaving together four distinct projects, the exhibition embodies a comprehensive visual examination of diagrammatic thinking. Encompassing a wide range of mediums, Ritchie&rsquo;s immersive installation - including painting, wall drawing, sculpture, sound and moving image - demonstrates the complexity and transient nature of information.<br /> <br /> The &lsquo;Ten Possible Links&rsquo; are a series of subtly vibrant and densely layered paintings that investigate the abstract imagery of Ritchie&rsquo;s sculpture and cinematic landscapes through multiple diagrammatic and painterly gestures. Within an organic amassing of form, Ritchie creates densely layered eco-systems of information, retaining multiple styles of presentation. These canvases contain activity of complex natures, experiences, states, but their rich and saturated beauty also captures moments of stillness where something impossible to grasp is left un-grasped. The images are saturated with light and meaning, but bruised, as if the very process of examination is changing the physics of the forms described. Posed against a white ground, they could be emerging from what Paul Klee called &lsquo;the interworld&rsquo;, the dimensionless space of possibility.<br /> <br /> The fragmentary diagrams within the paintings are all contained within the immersive wall installation <em>The Temptation of the Diagram</em>, an immense network of diagrams, collected, mapped, digitized, stripped of legible signs and reprocessed into essential gestures. Two accompanying source-books offer a guide for viewers through this vast investigation of the complex systems underlying the human creative and representational process and represent the origin and foundation of the works shown within its circuit. Confronted with the impossibility of comprehending the whole &ndash; what the artist describes as an oceanic feeling &ndash; Ritchie locates our sense of a vast universe without the abandonment of meaning. Together, the installation and the books describe generations of systems, ideas, interpretations, and reinforce the idea that it is the diagrammatic impulse that insistently connects, links and draws ideas together regardless of the possibility of ultimate comprehension. In doing so, Ritchie emphasizes the double constitution of painting and drawing as forms of &rsquo;hypostatic abstraction&rsquo; &ndash; a kind of abstraction that carries various levels of meaning. <br /> <br /> Nested within this sprawling cerebral web of information is <em>Night Drawing</em>, a sculpture comprised of a matrix of interlocking segments designed to passively nest within one-another, creating a puzzle-like structure. Each segment employs the artist&rsquo;s specific vernacular of form, and is drawn from the universe of diagrams that surround it. Mathematically based on modeling strange attractors explored in collaboration with architects Aranda\Lasch, the laser-cut aluminum construction takes two-dimensional form into a realm of three-dimensional drawing, forming a double moebius strip. <br /> <br /> Expanding the space of drawing and painting into the realm of the moving image, Ritchie&rsquo;s hyper-saturated film, <em>Monstrance</em>, traces an abstract and romantic narrative of past, present and future, as he mixes live performance footage and animation for the first time in his practice. Cut to a polyphonic choral score composed and performed by Ritchie&rsquo;s long-standing collaborator Bryce Dessner, the film features singer Shara Worden as a masked oracle, presiding over a mythic, or post-post apocalyptic seascape. Created to be exhibited within a longshoreman&rsquo;s chapel in Boston as part of his current residency at the ICA Boston, the film contains within its landscapes and choreographed gestures subtle diagrams and information that make visible the greater network of links underlying his practice. <br /> <br /> Over the last seven years, through substantial cross disciplinary collaborations, Ritchie has consciously extended his own projects to explore the possibility of shared systems, aggregations and collaborations in contexts as diverse as opera, contemporary music, architecture, horticulture, urban design, theology and science through endeavors, both collaborative and intimate, to concretize and realize ephemeral and intangible theories of information and time. This exhibition proposes a further step, the re-integration of these diverse practices into a network of connections, a shared sea of information that retains its distinct properties in a state of superposition. In &lsquo;Superposition and Field&rsquo;, recently published by MIT press, Ritchie writes, &ldquo;not only are &lsquo;form&rsquo; and &lsquo;contentʼ the same thing, namely information, but they are super-positionable and therefore do not enjoy any inherent oppositions at any scale.&rdquo; &lsquo;Ten Possible Links&rsquo; specifically refers to a navigational diagram by the philosopher Graham Harman that describes this aspect of what he calls &lsquo;the quadruple object&rsquo; and is the subject of an essay by Ritchie in the forthcoming &lsquo;Realism, Materialism, Art&rsquo; published by Sternberg Press and Bard CCS. In the essay Ritchie writes: &ldquo;Over the last two centuries, the diagram has become the essential mechanism for our collective efforts to articulate and negotiate an almost impossible circumstance: reality itself. It embodies our interest in humanity as a directed and limited quantity, one we all have a vested interest in understanding and extending to the very limits of our abilities.&rdquo; For Ritchie, acknowledging our incapability of grasping the totality of the universe is not simply a reason to let go, but also the vital force that compels investigation. <br /> <br /> <em>Matthew Ritchie was born in 1964. Ritchie is currently subject of an 18-month interdisciplinary residency at the Institute of Contemporary Art, Boston which encompasses several major works and will activate the entire museum through installation, sound performance and video. A new molecular sculpture garden for the Food and Drug Administration, Silver Spring, Maryland will open on October 1, 2014 and a 15,000 square foot site-specific rooftop drawing for a building in Miami designed by Aranda\Lasch, will open for Design Miami on December 3, 2014. His work has been shown in numerous exhibitions worldwide, including the Whitney Biennial, the Sydney Biennial, the S&atilde;o Paulo Biennial, the Venice Architecture Biennale, the Seville Biennale, and the Havana Bienal, and is in the permanent collections of the Museum of Modern Art, Institute of Contemporary Art, Boston, Guggenheim Museum, Whitney Museum of American Art, San Francisco Museum of Modern Art, and other institutions worldwide, including a permanent large-scale installation at the Massachusetts Institute of Technology.</em></p> Mon, 22 Sep 2014 13:03:26 +0000 Matt Keegan, Anne Truitt - Andrea Rosen Gallery 2 - September 12th - October 22nd <p>Andrea Rosen Gallery is delighted to present new sculpture and photographic works by Matt Keegan with&nbsp;<em>Landfall</em>, 1970, a totemic column by Anne Truitt (1921-2004). Keegan&rsquo;s body of new works builds upon his ongoing inquiry into the sociability and singularity of industrially produced forms, and together with Truitt hatches a sensuous investigation of material, surface and form.<br /><br />In Keegan&rsquo;s unique approach to fabrication, the template is both a scalable model and a uniquely factual form. The artist's untitled steel sculptures begin from rudimentary, randomly generated paper cutouts, which are enlarged, laser-cut in steel and machine bent to approximate the original prototype. These abstractly legible sculptures together with his framed works make visible the act of translation from template to form.<br /><br />Previous sculpture by Keegan has explored the potential of color as sign, reference and code, particularly as manifest in the urban environment. Within this exhibition, the artist&rsquo;s steel sculptures are so saturated with spray finish and powder coating as to achieve a unity of color and form. Truitt&rsquo;s vertical wooden sculpture, meticulously covered with many coats of paint, stands as a profound integration of painting and sculpture. Together these works generate a dialogue centered on tactility through focused material decisions.<br /><br />Truitt describes in Daybook (1982) her realization of color &rdquo;having meaning not only in counterpoint [&hellip;], but also in itself, as holding meaning all on its own.&rdquo; In Truitt&rsquo;s work, color is not merely a decorative surface, but rather a bodily locus of meaning: &rdquo;In some mysterious way, I felt myself to be color.&rdquo; Through a common treatment of surface, color and its ability to embody, the intergenerational pairing emphasizes Truitt&rsquo;s unique position among the minimalists.<br /><br />Framing the entire exhibition, and expanding the recurring lattice template, Keegan has outfitted Gallery 2 with 21 sheetrock panels, standardized architectural units that the artist has hand-etched in vernacular patterning. Previously, Keegan has used this material and process to make freestanding sculpture. For this exhibition, they are shown for the first time as a ground for other works to be installed upon, departing further from their original incarnation as object to function as container for the works within. Sharing a formal affinity with these patterns, Keegan&rsquo;s photographs possess a stable figure-ground relationship akin to that of the panels, and like the lattice, contain and collect, like a city&rsquo;s sieve.<br /><br /><em>Matt Keegan is an artist based in Brooklyn, New York. Next year, he will have a solo show at Rogaland Kunstsenter in Stavanger, Norway. His work has been included in recent notable group exhibitions at The Art Institute of Chicago; Foam Fotografiemuseum, Amsterdam; and the Deutsche Guggenheim. Keegan&rsquo;s work is included in numerous private and public collections, including The Whitney Museum of American Art; the Guggenheim Museum; and The Metropolitan Museum of Art. Keegan is the co-founder of North Drive Press, an art publication published from 2004-2010. In 2012, Keegan edited ==, an art edition published by mfc mich&eacute;le didier. ==#2 will be launched in Spring, 2015.</em><br /><br /><em>Anne Truitt (1921-2004) grew up in Easton, Maryland. Her work has been recognized by one-person exhibitions at the Corcoran Gallery of Art, Washington, D.C.; the Whitney Museum of American Art; Delaware Art Museum, as well as a retrospective mounted at the Hirshhorn Museum, Washington, D.C., in 2009. Truitt received many awards, including a Guggenheim Fellowship and five honorary doctorates, and was acting director of Yaddo, the artists' retreat in New York, in 1984. Her work is in the permanent collections of many leading museums, including the National Gallery of Art, Washington, D.C.; The Metropolitan Museum of Art; the Whitney Museum of Art; and The Museum of Modern Art, New York.</em></p> Fri, 05 Sep 2014 04:33:23 +0000 Tamara Henderson - Andrew Kreps Gallery @ 535 West 22nd - September 11th - October 25th <p>For Tamara Henderson&rsquo;s first solo exhibition in New York entitled&nbsp;<em>Speaking in Scales,</em>&nbsp;she will present a 16mm film, sculpture and painting.</p> <p class="p1">Tamara Henderson's practice begins with the diaristic note-taking of&nbsp;her experiences and thoughts under various altered or unconscious states such as sleep or hypnosis.&nbsp;These notes are then elaborated upon and translated into different media: writing, 16mm film, sculpture and painting. Within her&nbsp;very personal and subjective&nbsp;practice,&nbsp;artworks are means, vessels of communication between different states:&nbsp;conscious and unconscious, dream and awake-ness.</p> <p class="p1">Henderson's short 16mm films are often based on&nbsp;storyboards or screenplays - texts translated into scenography, images and movements.&nbsp;In each film the succession of events is carefully planned, captured in single shots&nbsp;and edited in-camera. The main characters are often quotidian objects (bottles, glasses, plants, furniture, pineapples) that are manipulated and altered, becoming subjects of a narrative that is both uncanny and ordinary, absurd and familiar &ndash; and in which a human presence, the artist's or somebody else's, is never explicit but only implied.</p> <p class="p1">Henderson's ongoing series of sculptural/furniture works are also based on drawings and sketches realized after sessions of hypnosis.&nbsp;The resulting sculptures simultaneously retain dreamlike qualities (bright colors, unconventional shapes) but also their identity as functional objects.&nbsp;Additionally, part of her practice are "storyboard" paintings and collages, realized with different materials, that function as maquettes for the films, and in which symbols and maze-like patterns are recurrent.</p> <p class="p1">Tamara Henderson (born 1982 in&nbsp;Sackville, Canada), lives and works between&nbsp;Vancouver and Stochkolm.&nbsp;Her work has been recently presented in solo shows at&nbsp;Grazer Kunstverein, Graz (Austria); Walter Philips Gallery, Banff Alberta (in collaboration with Julia Feyer) and Kunstverein N&uuml;rnberg (2013). She was also recently included in group exhibitions at the&nbsp;Toronto Kunstverein (2014);&nbsp;Kunstverein N&uuml;rnberg,&nbsp;Magasin 3,&nbsp;Stockholm,&nbsp;(2013) and&nbsp;DOCUMENTA 13, Kassel (2012).&nbsp;Upcoming presentation include Frieze Live with Rodeo Gallery, London and Kunsthall Stavanger, Norway (with Santiago Mostyn) in 2014; ICA Philadelphia (with Julia Feyer) in 2015.&nbsp;</p> Mon, 08 Sep 2014 22:19:08 +0000 Fredrik Værslev - Andrew Kreps Gallery @ 537 W. 22nd - September 11th - October 25th <p><em>A Shore Thing</em>, Fredrik V&aelig;rslev's second solo exhibition at the gallery will feature a new body of works captured entirely in white.</p> <p>Fredrik V&aelig;rslev&rsquo;s work is distinctly collaborative in nature. When considering different series of paintings, always evident are the elements left to another &ndash; to another artist or person, or place, to nature, to malfunctions, to temperature. The &ldquo;garden&rdquo; paintings &ndash; works that are comprised of wood slats are left outside to gather and reveal the index of environmental happenings and forces; or the &ldquo;canopy&rdquo; paintings that are painted on canvas exposed to contingencies of air, humidity, and sun that often bridge different geographies and reference the suburban window shade.</p> <p>For this most recent series and for&nbsp;<em>A Shore Thing</em>, the works are created with a mechanism used to make boundaries on football and soccer fields as well as roadway lines. A spray can that is mounted on a set of wheels &ndash; the trolley easily moves forward and backward (the mechanism itself manufactured to make only straight lines) and resists any curves or deviations. These defined and consistent back-and-forth lines &ndash; almost a gridding or mapping out of the surface of the canvas - are layered under and over more chaotic marks made by wheels rolling back and forth through paint &ndash; and uneven lines made by a malfunctioning sprayer and marks made from drips and differing amounts of paint &ndash; as the temperature rises or drops.</p> <p>About Fredrik&rsquo;s work, Peter Andam writes: &ldquo;One of the most probing features of Fredrik V&aelig;rslevʼs painterly non-project is a relentless, yet palpably and rigorously quiet, destabilization of mark-making signatures, &ldquo;signatures of the world,&rdquo; and different vectors and variations of pure contingency. It is as if the visual and tactile world that is teased out to the fore in his work is always on the verge of collapse on the weight of its own positing inexistence.&rdquo;</p> <p>The works in the show are monochromatically white, thus highlighting the dynamism inherent in this project of contingency further. The series unfolds like a collection of possibilities of a practice that is not wholly defined by the artist&rsquo;s hand.</p> <p>Fredrik V&aelig;rslev was born in 1979 in Moss, Norway. He studied at Staatliche Hochschule fur Bildende K&uuml;nste, St&auml;delschule, Frankfurt and Malm&ouml; Art Academy, Sweden.&nbsp;He currently lives and works in Dr&oslash;bak and Vestfossen. He is Director and founder of Landings Project Space, Vestfossen, Norway.&nbsp;Recent and upcoming solo show include: Museo Marino Marini, Firenze, Italy and&nbsp;CAC - Passerelle, Brest, France, (2015):&nbsp;<em>East Bound and Down</em>, The Power Station, Dallas, TX; Luminar Cit&eacute;, Lisbon, Portugal (2014). His work has been recently presented in group shows such as&nbsp;<em>L&eacute; Almanach -14</em>, L&eacute; Consortium, Dijon, France&nbsp;(2014);&nbsp;<em>Flex-Sil Reloaded</em>, Kunsthalle St.Gallen;&nbsp;<em>Backa in i framtiden</em>, Lunds Konsthall, Lund:&nbsp;<em>Lies About Painting</em>, Moderna Museet, Malm&ouml;, Sweden (2013).</p> Mon, 08 Sep 2014 22:22:31 +0000 Chris Martin - Anton Kern Gallery - October 9th - November 15th <p>It is our great pleasure to announce the representation and first exhibition of New York painter Chris Martin at Anton Kern Gallery. His first show will consist of a selection of new paintings created over the past summer in upstate New York. These works, as the writer Bob Nickas describes them in the accompanying book, present "sun-dried paintings and glitter in the rain."<br />Martin, whose career spans over three decades, continues to create bold, glittering paintings, each animated by undulating forms, radiating landscapes, and electric hues. Despite their immediate spectacle and immense scale (he connects canvases together to produce several of these larger works), the paintings exude a human grounded-ness that seems to stem directly from Martin&rsquo;s connection to nature, rock &amp; roll, street art, and a dedication to material experimentation. <br />Nothing and everything is sacred: Martin&rsquo;s abstract forms offer a sense of mystical clairvoyance condensed into the profane, or vice versa. The paintings present a mesmerizing collision of formal geometries and diagram-like grids with cut-outs of dead pop stars, flashy cars, old records buried under layers of paint, and large amounts of holographic glitter (produced specifically for showgirls in Las Vegas). Consequently, Chris Martins paintings prove to be masterfully ambidextrous; one is able to fully experience their presence from a great distance or up-close, indoors or outdoors, in a state of spiritual transcendence or casual play.</p> <p>Chris Martin has continuously exhibited in US and European galleries since the 1980s. His work has recently been presented in solo shows at the Kunsthalle D&uuml;sseldorf, D&uuml;sseldorf, Germany; The Corcoran Gallery of Art, Washington D.C. (both 2011); and the Nerman Museum, Kansas City, KS (2009). The work has also been included in group shows at the Museum Boijmans Van Beuningen, Rotterdam, The Netherlands (2013); Kunstmuseum D&uuml;sseldorf, D&uuml;sseldorf, Germany (2011); Richmond Center for Visual Arts, Western Michigan University, Kalamazoo, MI (2008); American Academy of Arts and Letters, New York, NY (2006); P.S.1, Long Island City, NY (2005); Karl <br />Ernst Osthaus Museum, Hagen, Germany (2004); Newhouse Center for Contemporary Art, Staten Island, NY (2004); Weatherspoon Art Gallery, University of North Carolina, NC (1998); The Denver Museum, Denver, CO (1991); La Jolla Museum of Contemporary Art, California, CA (1989); and The Brooklyn Museum, Brooklyn, NY (1988). Martin lives and works in Brooklyn and upstate New York.</p> <p>* A new monograph Chris Martin, published by Karma and Anton Kern Gallery will accompany the exhibition including a conversation with Bob Nickas and the artist.</p> Mon, 22 Sep 2014 23:40:35 +0000 Bik van der Pol, Effi & Amir, Peter Fend, George Lawrence, Ruben Pater, Forensic Architecture - Apexart - September 11th - October 25th <p>In recent years, more and more artists and activists are re-appropriating aerial perspectives of power and control to develop a new language of ethics and aesthetics. Deploying advanced technologies while developing DIY strategies of documentation and analysis, they look for new ways to transform the aerial point of view from a "space of state control," historically linked to the disciplinary gaze of the nation-state, into a tool for the production and distribution of civil knowledge. These artists and activists manipulate satellite images, operate un-militarized drones, and actualize new mapping systems in a search for civil-oriented visual and political imagery.&nbsp;<br /><br />The exhibition&nbsp;<em>Decolonized Skies</em>&nbsp;presents five international artists who explore the ramifications of the &ldquo;democratization of the view from above." While some artists focus on the new visuality produced by this process, others underline its empowering potential in the field of human rights and participatory knowledge production. The exhibition also marks a genealogy of artistic engagement with the demilitarization of the aerial point of view and frames the current discourse in an historical context. By doing so, it explores what it takes to decolonize the view from above, and how we can produce a new visual and ethical perspective by actively reclaiming the sky.<br /><br /></p> <hr width="450" /> <p><br /><a href=""><strong>High&amp;Low Bureau</strong></a>&nbsp;is a curatorial duo composed of Yael Messer and Gilad Reich. Based in Amsterdam and Tel-Aviv, they curate exhibitions, film programs, performative events, and publications. The Bureau&rsquo;s practice is dedicated to the exploration of artistic strategies that reflect on, and suggest alternatives to, specific social-political conditions. Recent projects:&nbsp;<em>Our Work is Never Over</em>, Matadero Art Center, Madrid (2012);&nbsp;<em>Time/Resistance</em>, The Israeli Center for Digital Art (2013); and&nbsp;<em>Am I Not a Citizen? Barbarism, Civic Awakening and the City</em>&nbsp;(The 13th Istanbul Biennial Film Program, 2013). The duo is the recipient of the Mondriaan Fonds&nbsp;<em>Cultural Mediator subsidy</em>&nbsp;(2013) and was invited to curatorial residencies in art centers such as Bar Barcelona (2013), CCA Warsaw (2013), and Para-Site Hong Kong (2014).&nbsp;<br /><br /><strong>Yael Messer</strong>&nbsp;is an independent curator. She holds a postgraduate diploma in curating from Goldsmith College, London, and participated in the de Appel Curatorial Program, Amsterdam. She has been collaborating with museums, institutions, and independent art spaces internationally. In 2013 Messer was the Research Curator for the 13th Istanbul Biennial.&nbsp;<br /><br /><strong>Gilad Reich</strong>&nbsp;is a writer, curator, and a PhD candidate in the Gender Studies department at Ben Gurion University, Israel. His main field of research is representations of gender in post-Fordist societies. He has published numerous articles as well as exhibition texts and essays.&nbsp;</p> Mon, 18 Aug 2014 23:43:20 +0000 George Inness - Arkell Museum - June 7th - January 4th, 2015 <p>The exhibition features five landscapes from the permanent collection painted by George Inness between 1860 and 1882. These stunning works of art reveal the artist&rsquo;s diverse painting methods and approaches during the middle of his career&mdash;from detailed depictions of nature to gestural brushwork and vague landscapes. His paintings, often referred to as Tonalist, were deeply influenced by the spiritual teachings of Emanuel Swedenborg.</p> Mon, 15 Sep 2014 00:39:02 +0000 Winslow Homer - Arkell Museum - September 2nd - January 4th, 2015 <p>Bartlett Arkell purchased and donated 20 Winslow Homer works to the Canajoharie Art Gallery. These watercolors and oil paintings, along with other Homer works Arkell acquired for his personal collection will be reunited for this exhibition that opens at the Fenimore Art Museum and then returns for a big celebration at the Arkell Museum in the fall 2014. These works span Homer's career from his first works in oil, to his first watercolors up to his fantastic marine painting at Prount's Neck, Maine "Watching the Breakers--A High Sea."</p> Sun, 17 Aug 2014 22:15:49 +0000