ArtSlant - Recently added en-us 40 Yoon Ji Seon - Yossi Milo Gallery - October 22nd - December 5th Wed, 07 Oct 2015 05:42:39 +0000 Sergei Tcherepnin - The Kitchen - October 15th - October 17th <div class="description"> <p style="text-align: justify;">The artist premieres a drama in lighting and musical composition for paintings set to new stories by <strong>Lucy Dodd</strong> that revolve around the Maize Mantis: a creature born of plants and shadows, here inhabiting a forest of canvases by Dodd and flame creatures painted by <strong>Kerstin Br&auml;tsch</strong>. Costumes by <strong>Hanna T&ouml;rnudd</strong> and lighting by <strong>Zack Tinkelman</strong>.</p> <p style="text-align: justify;"><strong><big>October 15&ndash;17, 8pm <br /> </big> </strong></p> </div> <p style="text-align: justify;">This program is made possible with support from The Fan Fox and Leslie R. Samuels Foundation, Joseph and Joan Cullman Foundation for the Arts, The Cowles Charitable Trust, and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> Wed, 07 Oct 2015 05:37:47 +0000 Rico Gatson, Chris Larso - The Boiler (Pierogi) - October 23rd - December 13th <p style="text-align: justify;">The BOILER / PIEROGI is proud to present a collaborative video projection and installation by Rico Gatson and Chris Larson, <em>The Raft</em>.</p> <p style="text-align: justify;"><em>The Raft</em> is a multi-channel video and sound installation. Gatson and Larson have been friends and colleagues for almost 30 years since they studied art together at Bethel University in St. Paul Minnesota. Referencing the novel <em>The Adventures of Huckleberry Finn</em>, Gatson and Larson perform on top of a moveable platform measuring ten feet square. Surrounded by various detritus, they play records from their personal&nbsp;collections spanning the legacy of popular music. Selections range from Mahalia Jackson and Patsy Cline to The Clash and Fats Domino. The role of music has played an important and instrumental role in both artists&rsquo; lives, studio practices, and relationships. The setting is Larson&rsquo;s studio located near the Mississippi River, in St. Paul, MN. The studio is traditionally seen as a sacred space, the place where ideas are generated and the work is created. Gatson and Larson see this location as essential to re-envisioning aspects of this American tale.</p> <p style="text-align: justify;">The exhibition will consist of four projections. The central piece is a three-channel video with a duration of 3 hours. The fourth projection is an endlessly looped video filmed on the Mississippi River in the glistening late afternoon sunlight.</p> <p style="text-align: justify;">Rico Gatson received his B.A. from Bethel University and M.F.A. from Yale University. His work has been included in numerous solo and group exhibitions, both nationally and internationally, including Prospect 1 (New Orleans, LA), Greater New York (MoMA PS 1, LIC, NY), and at the Essl Museum (Austria, Vienna). Gatson lives and works in Brooklyn, NY and is represented by Ronald Feldman Fine Arts in New York City.</p> <p style="text-align: justify;">Chris Larson received his B.A. from Bethel University and M.F.A. from Yale University. His work has been included in numerous solo and group exhibitions, both nationally and internationally, including The Whitney Biennial 2014 (New York, NY), 2nd Biennial del Fin del Mundo (Argentina), and the Crystal Bridges Museum of American Art (Bentonville, AK). He is an Assistant Professor of Art at the University of Minnesota, and lives and works in St. Paul, MN.</p> Wed, 07 Oct 2015 05:34:42 +0000 Mark Manders - Tanya Bonakdar Gallery - October 29th - December 19th Wed, 07 Oct 2015 05:30:04 +0000 Group Show - Sundaram Tagore Gallery - Chelsea - October 15th - November 14th <p style="text-align: justify;">Sundaram Tagore Gallery and curator Loredana Pazzini-Paracciani present <em>REV | ACTION: Contemporary Art from Southeast Asia</em>, a groundbreaking exhibition of mixed-media works by ten of the region&rsquo;s most important artists.<br /> <br /> Hailing from six countries, the emerging and established artists in this group use photography, video, painting and installations to articulate their experiences navigating the complex social, historical and political legacies of their respective communities.<br /> <br /> Each of these artists has a unique perspective colored by local circumstances, but, as the title of the show implies, they are united by a sense of urgency in re-examining social and political developments in their countries and their impact on cultural identity. The resulting works provide a rare glimpse into the consciousness of a new generation of Southeast Asian artists. <br /> <br /> <strong>THE ARTISTS</strong><br /> <br /> Cambodian photographer <strong>Kim Hak</strong>&rsquo;s haunting images of mementos preserved for decades by families that survived the brutal Khmer Rouge regime are a poignant visual account of one of the darkest periods in Cambodia&rsquo;s history. A testament to the resiliency of the human spirit, his <em>Alive</em> series, begun in 2014, documents the intimate memories of a historically significant generation that is gradually dwindling.<br /> <br /> <strong>Leang Seckon</strong> is one of Cambodia&rsquo;s foremost contemporary artists. He produces work rooted in Cambodia&rsquo;s cultural heritage, while also addressing important contemporary societal issues, including globalization, environmental destruction and the lingering effects of his nation&rsquo;s volatile past. Leang&rsquo;s work often incorporates historical and religious symbols placed alongside contemporary figures as a way of bringing Cambodia&rsquo;s cultural traditions into a contemporary context.<br /> <br /> Active in both the contemporary art scene and the political communities of Chiang Mai, Thailand, <strong>Mit Jai Inn</strong> produces vibrantly colored sculptural works infused with cultural, political and religious references. The artist&rsquo;s lushly textured canvases in this exhibition re-interpret Thailand&rsquo;s flag, offering an alternative for an imaginary state.<br /> <br /> Thai artist <strong>Montri Toemsombat</strong> is widely recognized for his experimental performances and tactile installations made from rice and silk. He produces work in a variety of media exploring cultural identity, consumerism, societal inequality and the political uncertainty of his country. Toemsombat has exhibited extensively in galleries and prestigious cultural venues around the world, including at the Venice Biennale as part of the Thai Pavilion&rsquo;s presentation in 2003.<br /> <br /> One of the Philippines&rsquo; most influential artists, <strong>Norberto Roldan</strong> is known for incorporating a variety of objects, text and images into his work, which he uses to create his own social and political narratives. Describing his art as straddling the worlds of art and anthropology, his practice is informed by history, religion, politics and the realities of contemporary life. Roldan&rsquo;s work was included in the landmark 2013 Guggenheim exhibition <em>No Country: Contemporary Art For South and Southeast Asia.</em><br /> <br /> Myanmar&ndash;based artist <strong>Nge Lay</strong> probes issues ranging from her nation&rsquo;s ailing education system in the wake of military dictatorship to more intimate meditations on personal loss. Her video and sound installation <em>The Spirit of the River</em> (2015) offers a poetic vision of the Irrawaddy River, one of Myanmar&rsquo;s most important waterways. Her video piece is accompanied by a sculpture produced by her artist husband Aung Ko.<br /> <br /> <strong>Aung Ko</strong>&rsquo;s artistic practice spans painting, film, performance and mixed-media installations. Born and raised in Myanmar, the artist&rsquo;s work often reflects the country&rsquo;s changing political climate and the widening gap between rural and urban culture. The colonial-era steamboat Ko produced for this exhibition signifies the artist&rsquo;s concerns for the ecological, cultural and socioeconomic health of the Irrawaddy River and its bordering villages.<br /> <br /> <strong>Albert Yonathan Setyawan</strong> rose to prominence with his labyrinthine installation of hundreds of stupa-like forms in the Indonesian Pavilion at the Venice Biennale in 2013. His preoccupation with stupas continues in this exhibition with an installation composed of conical terra-cotta stupas placed on mounds of white marble sand in a circular formation echoing a mandala. Setyawan&rsquo;s work raises questions about the role of spirituality in today&rsquo;s societies.<br /> <br /> A native of Yogyakarta, Indonesia, <strong>Muhammad &ldquo;UCUP&rdquo; Yusuf</strong> has been involved in art-based protests for almost two decades as part of the Taring Padi collective, a community of politically active artists formed in the late 1990s. His intricately executed woodblocks and woodblock prints, which narrate stories on current disputes over land expropriation and illegal development in Indonesia, are dynamic examples of the artist&rsquo;s ongoing commitment to social change.<br /> <br /> <strong>Tran Luong</strong> is a Vietnamese performance artist and independent curator. His evocative works challenge political legacies and the repression of individual expression. He shows a video work inspired by a performance series called <em>Welts</em>, begun in 2007, and staged around the world. A red scarf&mdash;an item associated with communism&mdash;slashes repeatedly against the artist&rsquo;s body, which becomes increasingly scarred, yet in the background is a clear blue sky, a possible allusion to freedom.<br /> <br /> <strong>CATALOGUE</strong><br /> <br /> A printed catalogue accompanies this exhibition, with essays by the curator and by independent scholar Vipash Purichanont. <a href="" target="_blank">Click here for the digital catalogue.</a><br /><br /> <br /> <strong>ASIAN CONTEMPORARY ART WEEK</strong><br /> <br /> The Chelsea gallery will be open until 8 pm Thursday, October 29, in conjunction with ACAW&rsquo;s weeklong celebration of Asian art. For a complete schedule of ACAW events and information about participating organizations, visit<br /> <br /> <strong>ABOUT THE CURATOR</strong><br /> <br /> Loredana Pazzini-Paracciani is an independent art curator, writer and lecturer who focuses on contemporary Southeast Asian art. She has a Master&rsquo;s Degree in Asian art histories (LASALLE-Goldsmith College of the Arts, Singapore) and is based in London. She works extensively with commercial and public galleries and institutions in Singapore, Bangkok, London and New York, championing awareness of critical issues of contemporary Southeast Asian culture through the works of young and emerging artists from the region.</p> Wed, 07 Oct 2015 05:15:22 +0000 Josh Tonsfeldt - Simon Preston Gallery - October 29th - December 20th Wed, 07 Oct 2015 05:05:00 +0000 Sheila Hicks - Sikkema Jenkins & Co. - October 22nd - November 28th Wed, 07 Oct 2015 05:00:11 +0000 Jane Rosen - Sears-Peyton Gallery - October 15th - December 19th <p style="text-align: justify;">The Morandi Series, by Michael Klein</p> <p style="text-align: justify;">Everything Jane Rosen makes derives from nature. She is never copying nature or imitating nature but finding ways to transform her intense and daily observations of nature into forms that are emotive and reflect her perceptions of how and why birds act the way they do. Today nature is still at the core of her thinking as she further explores the way nature carves shapes and manipulates forms over time. A student of Minimal and Process art Rosen always seeks to strike a balance between the materials she uses and the way in which they come together.</p> <p style="text-align: justify;">The latest series of works are part of what she calls the Morandi Series. To quote from Jane directly, &ldquo;For me, Morandi speaks to surface and the illusion of form; the relationship of landscape time and domestic time. &nbsp;He speaks of surface and the relationships of forms. To create a still life by setting up casual sculptural elements, and then drawing from it, is what interests me.&rdquo;</p> <p style="text-align: justify;">So we see in these multi-part works Rosen setting herself to the task of integrating individual abstract forms into a unified three-dimensional structure. She is not mimicking the Italian masters&rsquo; compositions but finding her own right solutions. Her solutions and arrangements are inspired by his remarkably intimate and refined paintings. Rosen wants her sculpture to be of the same kin, a sculpture with its own unique character and sense of the timeless. What Morandi did best was to edit out all that was superfluous to the small, intimate clusters of objects, bottles and jars he gathered into intimate groups and so handsomely portrayed. As one writer has put it in Morandi&rsquo;s art, &rdquo; order is neither invented nor imagined, it results from the act of contemplation.&rdquo;</p> <p style="text-align: justify;">Similarly Rosen&rsquo;s contemplation of nature as explored in her statuary of birds and other animals comes into play as she begins to envision her ideas and build these elegant, freestanding sculptural compositions. Each displays its own distinctive character and collection of elements. In Morandi Composition for example there is a sense of play in the disbursement of objects across and among a cluster of stone pedestals. Moss Morandi, with its moss covered texture and varying green patinas, has the look and feel of a ruin&ndash;walls and fragments of a building weathered and worn over time.&nbsp;<em>4 Morandi</em>&nbsp;is a tribute to the Italian artist&rsquo;s ideals: simple and subtle in both color and texture.</p> <p style="text-align: justify;">If Morandi used color to differentiate elements in his painting, Rosen too chooses specific colors to define the forms and shapes of vessels in contrast to the more geometric volumes of columns, plinths and stands that serve as the sub-structure to the objects. The balance of contrasts between the two; the harmony of colored glass and the natural colored limestone create an effect that is a perfect compound of a visual cues matched to well formed materials. For example, Jane and her assistants, carved mallet shapes out of stone akin to those mallet shapes used by Morandi. She then cast those carved forms into opaque glass. At the same time Morandi&rsquo;s monochromes of shapes translated by Rosen become elegant and tapered three-dimensional bottles.</p> <p style="text-align: justify;">Unlike Morandi all is not static in Rosen&rsquo;s world: the glass reflects and absorbs light; the stone cast shadows all in real space and in real time. The art has its own life, if you will, as it is affected by its environment and in turn as it transmits this play of light and shadow.</p> <p style="text-align: justify;">In this new body of work Rosen asks us to reconsider the idea of the still life. It is not simply a subject, as depicted in painting or represented in photography, but as evidenced by this new work she has placed these objects in a setting that is uniquely their own. They live in their own space; they interact for us but they remain apart, even aloof.&nbsp; In a &rdquo; domestic time&rdquo; as Rosen suggests.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Thinking about Rosen&rsquo;s next steps brought me to think about the works of Barbara Hepworth and&nbsp;Louise Nevelson that I have seen over the years. In fact these collections of forms remind me of a photograph I bought years ago from a young dealer in New York. It is a photo taken by Hepworth herself of one of her works in her studio long before she could afford to hire a professional photographer. The piece,&nbsp;<em>Two Forms</em>, 1935, is now in the collection of the Hirshhorn Museum and Sculpture Garden in Washington, DC.</p> <p style="text-align: justify;">Both Hepworth and Nevelson created mysterious if not magical arrangements of forms. Both adapted&nbsp;abstract forms derived from natural forms, both seeing through and building with such forms to find tangible abstract solutions</p> <p style="text-align: justify;">For Rosen the elements are set into a dialogue with each other. There is a balance of forms and also a balance of materials: stone versus glass; glass versus stone; old and new combined. Something found and some made. If Morandi created an illusionistic pictorial world in which these objects can be looked at and felt than Rosen is drawing us into a real world picture in which her objects inhabit and where they gracefully exist along side us.</p> Wed, 07 Oct 2015 04:54:56 +0000 Jordan Casteel - Sargent's Daughters - October 16th - November 15th Wed, 07 Oct 2015 04:51:14 +0000 Kakyoung Lee - Ryan Lee - October 29th - December 23rd <p class="Pa2" style="text-align: justify;">RYAN LEE is pleased to present <em>Kakyoung Lee: Traces</em>, an exhibition of new video installations based on drawings and prints by the artist, featuring her latest bodies of work from 2014, the &ldquo;Palgongsan Series&rdquo; and &ldquo;Hana&rsquo;s Ride.&rdquo;</p> <p class="Pa2" style="text-align: justify;">Lee&rsquo;s video practice employs repetitive, meticulous mark-making techniques to translate a particular, mundane action through performance. Using drypoint, Lee deconstructs each performance into single moments and then assembles together these individual elements using animation to reconstruct the initial action. Through this process of deconstruction and reconstruction, new imagery emerges and Lee is able to subtly add to the history of the action.</p> <p class="Pa2" style="text-align: justify;">The &ldquo;Palgongsan Series&rdquo; is a five-channel HD video installation that incorporates mini-projectors on tripods to project video footage that Lee recorded in 2012 and 2013 of the two-hour long climbing trail on the local mountain of her hometown Daegu in South Korea. For the &ldquo;Palgongsan Series,&rdquo; Lee transforms the images of people climbing the trail by tracing and overlapping thousands of graphite hand drawings on the same paper. The Palgongsan trail leads to the top of a 4,000-foot mountain, where there lives a Buddhist statue. The Gatbawi Buddha, carved from a single piece of stone, stands more than 13 feet tall and has long been the subject of traditions and legends in the region. During the fall, thousands of people stand in the praying line every week to climb the trail and visit the statue. The line is especially notable right before and during the college entrance exam season, when parents ascend the trail to pray for their children. Lee has a particular relationship with the Palgongsan trail, as her grandmother used to frequent the climb every weekend to pray for her children and now her mother has joined that tradition.</p> <p class="Pa2" style="text-align: justify;">Also on view is &ldquo;Hana&rsquo;s Ride,&rdquo; a short video created from more than 300 drypoint prints. The original video footage was recorded when the artist&rsquo;s daughter took her first bike ride without the assistance of training wheels.</p> <p style="text-align: justify;">Kakyoung Lee (b. 1975, Korea) received her BFA and MFA from Hong-Ik University, as well as an MFA from SUNY-Purchase College, NY. She has exhibited in numerous exhibitions internationally, including at the Drawing Center, New York; Hofstra University, Hempstead; Kunsthalle Bremen, DE; Mass MOCA, North Adams; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Banja Luka, Bosnia; Museum Folkwang, Essen, DE; Museum of Modern Art, New York; Oqbo, Berlin, DE; Queens Museum, New York; and Seoul Arts Center, Korea. She has held residencies at ISCP, Jamaica Center for Arts and Learning, MacDowell Colony, and Yaddo. She has received grants from the Pollock-Krasner Foundation and the Ahl Foundation, and was the 2010 recipient of the KAFA Award.</p> Wed, 07 Oct 2015 04:46:21 +0000 Sandy Skoglund - Ryan Lee - October 29th - December 23rd <p class="Pa2" style="text-align: justify;">RYAN LEE is pleased to present <em>Sandy Skoglund: True Fiction Two</em>, an exhibition featuring the photographic body of work of the same name. &ldquo;True Fiction Two&rdquo; is an extension of &ldquo;True Fiction One&rdquo; (1982-87) that Skoglund revisited in 2005. The highly stylized photographic work looked to preserve the strangeness of urban decay and suburban contexts as landscapes for cultural definition in America during the era. This is the first time the work has been on view in the United States, and Skoglund&rsquo;s first solo show in New York in more than a decade.</p> <p class="Pa2" style="text-align: justify;">The &ldquo;True Fiction&rdquo; series is especially notable in regards to Skoglund&rsquo;s artistic practice because she employed real exteriors and interiors as backdrops while photographing on location in New York City, Houston, and Detroit. Skoglund&rsquo;s concept-based work typically deals with repetitive, process-oriented art production that includes the handmade object as well as kitsch subject matter. Her work often incorporates sculpture and installation to explore popular culture and commercial techniques. Her well-known studio practice frequently involves sets she constructs and is generally contained to her interior studio space. In contrast to the sculptural studio photography, the images from &ldquo;True Fiction Two&rdquo; are entirely photo-based. Using film negatives processed through collage and re-photography, Skoglund focuses on specific backgrounds from her own life in the 1980s, such as her father&rsquo;s Houston home and abandoned cars in Brooklyn.</p> <p class="Pa2" style="text-align: justify;">For this series, Skoglund photographed separately friends, family, places, and things in black and white with a 4x5 view camera. Later, using darkroom techniques, she introduced color and created photocollages, which were then re-photographed to produce a unified color transparency. The resulting series, &ldquo;True Fiction One,&rdquo; consisted of 20 dye-transfer prints. Exhibited in its entirety at Leo Castelli in 1986, it was discontinued in 1989 when Kodak cancelled their production of dye-transfer materials used. The second edition of photographs on view employs subtle changes to give the digitally printed images a similar, yet significantly different feeling of uniformity, hyper-color, and depth of field. The digital medium allowed Skoglund to realize the saturated, seamless vignettes which she originally intended. In each print, colors have been refined, their contrast altered and their detail enriched. The use of bold color separates individual elements from each other, while controlling and subverting the viewer&rsquo;s attempt to read perspective.</p> <p style="text-align: justify;">Sandy Skoglund (b. 1946, Weymouth, Massachusetts) received her BA from Smith College in 1968 and her MFA from University of Iowa in 1972, before moving to New York. She has exhibited widely at institutions including Art Gallery of Ontario; Aspen Art Museum; Minneapolis Institute of Art; The Morgan Library; Museum of Contemporary Art, Bordeaux; Smith College; and Whitney Museum. Her work is included in the permanent collections of Brooklyn Museum of Art; Centre Georges Pompidou; High Museum; Getty Museum of Art; LACMA; Metropolitan Museum of Art, New York; Mjellby Museum, Halmstad; Wadsworth Atheneum; and Yale University Gallery, among others. Her work was recently featured in Photography: The Definitive Visual History by Tom Ang (DK Publishing, 2014) and The Photography Book (Phaidon, 2014).</p> Wed, 07 Oct 2015 04:46:19 +0000 Rashaad Newsome - Ryan Lee - September 27th - October 24th <p class="Pa0" style="text-align: center;" align="center">&nbsp; On view daily 4-11PM</p> <p class="Pa1" style="text-align: justify;">RYAN LEE is pleased to present <em>Untitled (New Way) </em>(2009), a silent video by Rashaad Newsome that will be on view in RLWindow. The 06:38 minute video features a single dancer whose initially improvised voguing gestures were shot, edited, re-performed, and re-recorded while in a white cube. Newsome considers his videos to be drawings, using the performer as a device to create hypnotic lines, shapes, and forms, while incorporating space, technology, and movement. <em>Untitled (New Way) </em>has been screened previously at the Whitney Biennial, New York; ar/ge kunst Galerie Museum, Bolzano, Italy; and The Institute of Contemporary Art, Boston.</p> <p class="Pa1" style="text-align: justify;">Newsome&rsquo;s commitment to integrating largely overlooked art forms into the canon is clear: his signature techniques of collage, repetition, and removal of context are used to dismantle ideas or assumptions of conventional value and power, particularly as it relates to vogue and its culture. Highlighting the marginal dance form that first gained prominence in the 1980s within the Harlem ballroom scene, Newsome establishes its standing within contemporary art history, making strong connections between abstraction, symbolism, and status.</p> <p class="Pa1" style="text-align: justify;">Rashaad Newsome (b. 1979, New Orleans, US) received his BA from Tulane University. Recent solo exhibitions were held at SCAD Museum of Art, Savannah; Art Gallery of York University, Toronto; and The Drawing Center, New York<em>. </em>He has exhibited widely at the 2011 Venice Biennale; 2010 Whitney Biennial, New York; Performa 11, New York; MoMA PS1, Long Island City; Wadsworth Atheneum, Hartford, CT; Garage Center for Contemporary Art, Moscow; New Orleans Museum of Art; and The Institute of Contemporary Art, Boston, among others.</p> <p style="text-align: justify;">RLWindow is a dedicated exhibition space featuring video, installation, and performance art designed to engage High Line visitors, viewable from the elevated park at 26th Street. Capitalizing on the gallery&rsquo;s position overlooking the High Line and its visibility to almost 5 million yearly visitors, RLWindow shows innovative, experimental, and collaborative projects by international, contemporary artists, including invited and gallery-represented artists. Forthcoming projects include work by <strong>Maria Antelman, Luisa Rabbia, Peter Sis, Sandy Skoglund, Stephanie Syjuco, </strong>and more.</p> Wed, 07 Oct 2015 04:43:22 +0000 Paul Henry Ramirez - Ryan Lee - September 10th - October 24th <p style="text-align: justify;">RYAN LEE is pleased to present Paul Henry Ramirez&rsquo;s <em>Eccentric Stimuli</em>, an exhibition of paintings and drawings from his most recent body of work.<em> Eccentric Stimuli</em> builds on his signature style of bold forms and introduces a selection of new engaging figures that are bold in form and soft in palette. Works from this series were recently featured in &ldquo;Beauty Reigns: A Baroque Sensibility in Recent Painting,&rdquo; a traveling museum show organized by the McNay Museum of Art. A new group of smaller works that are a continuation of this series is on view for the first time.</p> <p style="text-align: justify;">The figures initially appear to be in quiet repose, but under deeper inspection a subtle tension squeezes, presses, and caresses to initiate a transformation. In contrast to previous paintings where bright and bold colors took center stage, these newest creations have a delicate palette with subtle punctuations of bright and fluorescent colors taking on supplementary qualities. Exclusive to this body of work are Ramirez&rsquo;s bold and fresh biogeomorphic abstractions, a term coined by the artist to describe his combinations of biomorphic and geometric forms that are based in figuration. Elements are pared down in order to highlight the bones of the figure. His use of color reinforces the playful manner of his work and presents a reduction of the body to its most basic shapes. He merges billowing corsets and raveling tendrils with geometric forms evolved from earlier bodies of work. Replete with swollen silhouettes, chromatic paint pours, and delicate lines, his compositions are simultaneously unpredictable and composed, organic and meticulous.<br /><br /></p> <p style="text-align: justify;"><em>Eccentric Stimuli</em> made its first appearance as a site-specific installation at the McNay Museum of Art and was reconfigured for the Akron Art Museum in Ohio.</p> <p style="text-align: justify;">Paul Henry Ramirez (b. 1963, El Paso, Texas) is currently included in the museum traveling show &ldquo;Our America: The Latino Presence in American Art&rdquo; organized by the Smithsonian Institute of Art. His work has been included in important shows at the Aldrich Museum, Ridgefield; Contemporary Arts Center Cincinnati; Corcoran Gallery, Washington, DC; McNay Art Museum, San Antonio; Smithsonian American Art Museum, Washington, DC; and Whitney Museum, New York, among others. His works are included in the permanent collections of the Corcoran Gallery of Art, Washington, DC; Crocker Art Museum, Sacramento; Hammer Museum, Los Angeles; Smithsonian American Art Museum, Washington, DC; and Whitney Museum of American Art, New York, among others. Ramirez will present a major solo sitespecific exhibition, RATTLE, commissioned by the Grounds For Sculpture, Hamilton, NJ 2016- 2017.</p> Wed, 07 Oct 2015 04:40:58 +0000 Hollis Frampton - Room East - October 25th - December 20th <div class="content"> <div class="page" title="Page 2"> <div class="section"> <div class="layoutArea"> <div class="column"> <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">In cooperation with The Estate of Hollis Frampton, ROOM EAST will present&nbsp;the artist&rsquo;s last major portfolio of photographs, ADSVMVS ABSVMVS, 1982. This will be Frampton&rsquo;s first solo exhibition in New York City, a remarkable fact considering his renown and association with the city. The following is an excerpt from the artist&rsquo;s original proposal for ADSVMVS ABSVMVS:</p> <blockquote> <p style="text-align: justify;">&ldquo;One general, public assumption about photographs is that the process of photographic representation amounts to a preservation or embalming process. The lost presence of the photographed thing, person, situation is invoked through a mummified echo, reduced to a husk of the light that once revealed it. The photographic likeness bears a distant, partial, decolorized or muted resemblance to its subject; at the same time, it has unique qualities of its own, which are entirely independent of what it depicts. Every photograph is potentially a keepsake, like a lock of hair, and a MEMENTO MORI.</p> <p style="text-align: justify;">For some years I have been interested in this abstract process of preservation, and its symmetry with natural processes of mummification where the contour of the once living thing is recognizably retained. I have made a collection of such &ldquo;autographic likenesses&rdquo; of animals. They range from Upstate New York road kills, flattened and sun-baked, to dried fish and squid in oriental food markets: a single general process and appearance, metaphorically reminiscent of the photographic image, covers a range from the blatantly morbid through the grotesque and sentimental to the edible. Like photographs, as well, they are remarkable objects in themselves.&rdquo;</p> </blockquote> <p style="text-align: justify;">In addition to the suite of fourteen images that comprise&nbsp;ADSVMVS ABSVMVS, archival materials on loan from the Estate of the artist will be on view. A&nbsp;publication designed by Frampton, which provides the accompanying text that he wrote for each of the images, will also be reprinted on the occasion. ROOM EAST is organizing a screening at Anthology Film Archives on Sunday 15 November at noon.</p> <p style="text-align: justify;">HOLLIS FRAMPTON (1936-1984) was an avant-garde photographer, filmmaker, theorist, and pioneer of the early digital era. Active from the 1950s until his death in 1984, Frampton was also a prolific poet, professor and contributor to both Artforum and October. His film archive is maintained by the Museum of Modern Art, New York, and by Harvard University, Cambridge. His photographs are preserved in a range of institutional collections including the Albright-Knox Art Gallery, Buffalo; the High Museum of Art, Atlanta; and the Walker Art Center, Minneapolis.</p> </div> </div> </div> </div> </div> </div> </div> </div> </div> Wed, 07 Oct 2015 04:34:49 +0000 Austin Lee - Postmasters - October 24th - November 28th Wed, 07 Oct 2015 03:46:35 +0000 Mark Dorf - Postmasters - October 7th 6:30 PM - 8:00 PM <p style="text-align: justify;">Join us for an artist talk and a book signing to celebrate the exceptional work by MARK DORF. <br /> <br /> Wednesday October 7th, 2015 <br /> Doors open 6:30pm<br /> Artist Talk 7:00pm <br /> Book signing to follow<br /> <br /> Books will be available for sale at the event as well as online: <a href="" rel="nofollow nofollow" target="_blank"></a><br /> <br /> *books are limited to 150 editions - each numbered and signed by the Artist*<br /> <br /> <br /> more info:<br /> <br /> Emergence is the debut book-work by Brooklyn artist Mark Dorf, as well as the introductory volume of In the In-Between Editions, a limited edition book series that features artist portfolios and accompanying essays.<br /> <br /> Mark Dorf&rsquo;s series Emergence utilizes photography and digital media to scrutinize ideas of landscape, sublimity, and scientific inquiry within the context of our data-driven information age. In this work, Dorf adopts the classical genre of landscape as a point of departure to analyze how new media technologies have significantly altered the ways in which we understand and think about the natural world.<br /> <br /> Mike Pepi, writer and critic, accompanies Emergence with an essay entitled, &ldquo;The Data Fields of Mark Dorf,&rdquo; which examines Dorf&rsquo;s work through a prismatic perspective of classical scientific inquiry, contemporary information theory, and critical analysis. Pepi has written widely on aesthetics, digital technologies, big data, and new media theory in such publications as frieze, e-flux, Flash Art, Art in America, DIS Magazine, The New Inquiry, The Art Newspaper, Big Red &amp; Shiny, The Brooklyn Rail, Rhizome, and The New Criterion.<br /> <br /> _______________________________________<br /> <br /> &ldquo;Our explanations tend towards the smooth and the orderly, a reflection of Plato&rsquo;s conception of the world as the product of divine craftsman. In Emergence, Dorf implicates the &ldquo;larger puzzle,&rdquo; the development from the fragile, social foundations of natural science, where objectivity is but a fragile myth of authority, into its application within the throes of ubiquitous technology.&rdquo;<br /> <br /> -Excerpt from The Data Fields of Mark Dorf, by Mike Pepi<br /> ______________________________________<br /> <br /> Volume I is limited to 150 copies in its first edition, and each copy is individually signed and numbered by the artist. In the In-Between Editions represents the next evolution of our platform, and continues our mission to represent and disseminate photographic artists working at the intersections of photography and digital media.</p> Wed, 07 Oct 2015 03:45:44 +0000