ArtSlant - Current exhibits en-us 40 Nick Mauss - 303 Gallery - February 28th - April 11th <p style="text-align: justify;">303 Gallery is pleased to present our third solo exhibition with Nick Mauss. For this exhibition, Mauss creates a mirrored garden in the gallery, in which his singular relationship to the line of drawing moves across and through space and mediums.</p> <p style="text-align: justify;">Mauss' work takes the mode of drawing, found at the interstices of various media, processes, and histories, and dilates, twists, folds, intensifies, and loosens those gaps to produce a different mode of making art.</p> <p style="text-align: justify;">Here, the viewer is guided into the exhibition by a serpentine railing, and upon arriving in the gallery space, finds a room shimmering in reflections and refractions of lines and forms. Mauss has been working in his own form of verre eglomis&eacute; for the past year, as he was developing a series of "intervals" within the Florine Stettheimer retrospective at the Lenbachhaus in Munich. The mirrored glass paintings have a way of puncturing the space--of giving the viewer the sense of being there and not being there at the same time. They also act--like Mauss' drawings in the past--as filters through which a wide net of sensibilities and art-historical rewirings are brought into the room. In a different material, Mauss takes lines and outputs them as body-sized steel filigree, which itself is drawn over again and again, in acrylic and pastel powder.</p> <p style="text-align: justify;">All of these individual works layer on top of and through each other, as Mauss orchestrates the space as he would a drawing on paper. For Mauss, the initial intimacy of the drawing is a tenuous and un-spoken wondering of the viewer, of objects, glances, forms and lines in a simultaneous process of formation and falling apart.</p> <p style="text-align: justify;">In 2014, Nick Mauss presented works within the Florine Stettheimer retrospective at the Lenbachhaus, Munich and in Portraits d?Int&eacute;rieurs at Nouveau Mus&eacute;e National de Monaco. He also staged a performance, 1NVERS1ONS, working with the Northern Ballet and the National Youth Ballet, and the performance of texts and music by Kim Gordon and Juliana Huxtable, as part of Frieze Projects, London. An artist's book has been created to accompany this work. Mauss also presented a new piece as part of Art Basel Unlimited in 2014. Other recent solo presentations of his works were realized at Bergen Kunsthall, Norway (2014); Fiorucci Art Trust, London (2014); kim?, Riga (2012) and Indipendenza Studio, Rome (2012). Mauss was included in the Whitney Biennial in 2012 and Greater New York, MoMA PS1 in 2010, and has participated in group exhibitions at institutions including Kunsthaus Bregenz (2013); The Walker Art Center (2011); The Hessel Museum of Art, Bard Center for Curatorial Studies (2010); Kunsthalle Basel (2010); Kunsthalle Zurich (2009) and Le Magasin, Grenoble (2008). A launch of Nick Mauss and Ken Okiishi's Artist Web Project for the Dia Art Foundation is planned for April 16, 2015. Mauss lives and works in New York.</p> Wed, 11 Feb 2015 15:10:15 +0000 Liudmila Velasco & Nelson, Jose Toirac & Meira Marrero, Maria Magdalena Campos-Pons, Duvier Del Dago, Armando Marino, Douglas Pèrez Castro, Reynerio Tamayo, Elio Rodriguez - 532 Gallery Thomas Jaeckel - February 26th - March 21st <p style="text-align: justify;">We are pleased to present&nbsp;<em style="font-size: 1em; font-weight: normal;">En Voz Alta (Aloud),</em>&nbsp;a spontaneous exhibition of works by nine Cuban-born artists:&nbsp;&nbsp;Mar&iacute;a Magdalena Campos-Pons, Duvier del Dago, Meira Marrero&nbsp; &amp; Jos&eacute;&nbsp;Toirac,&nbsp;Liudmila &amp;&nbsp;Nelson, Yunier Hernandez, Armando Mari&ntilde;o, Douglas P&eacute;rez Castro, Reynerio Tamayo and Elio Rodr&iacute;guez.&nbsp;-six living in Havana,&nbsp;two are in the United States and one in Europe.</p> <p style="text-align: justify;">The steady erosion of the United States embargo against Cuba, since 2009, has given hope to many there and abroad that normalization between the two countries is possible. On the island, opportunity, and or the perception of it, are more plentiful than ever. &nbsp;Many Cubans are celebrating the potential bounty, hoping that electronic connectivity and open trade are now or soon will be within reach.</p> <p style="text-align: justify;">The educational system in Cuba has produced prolific and undeniable talent whose artwork is now being lauded by art critics, curators and collectors as the best-kept secret in the art market today. The process of passing on a lineage under the Cuban system of student to artist to professor is as persistent and durable as Cuban culture itself.</p> <p style="text-align: justify;"><em>En Voz Alta &ldquo;</em>gives sudden voice to an easy coupling of artists,&rdquo; according to&nbsp;Rachel&nbsp;Weingeist, the curator,&nbsp;who wanted to respond to &ldquo;the&nbsp;excitement that Cuban artists are expressing &ndash; generated by the recent political shifts.&rdquo;</p> <p style="text-align: justify;">Everyone wants to know what is next in Cuba&rsquo;s future. &nbsp;Perhaps artist duo Meira Marrero and Jos&eacute;&nbsp;Toirac&rsquo;s tarot card deck, bound in leather of 24 cards, titled <em>Profile </em>will shed light. &nbsp;This work is charged with symbols inspired by the iconic interview that resulted in &ldquo;<em>One Hundred Hours with Fidel</em>,&rdquo; the infamous tell-all in the words of the Revolutionary himself, published in 2006.</p> <p style="text-align: justify;">In this exhibition, as art often manifests, humor and the realities of daily routine are intertwined.&nbsp; All of the artists in this show are referencing current and recent political inspirations: Douglas Perez&rsquo;s painting, &ldquo;<em>December 17th in the White House,&rdquo;&nbsp;</em>refers to President Obama&rsquo;s announcing the restoration of a diplomatic relationship with Cuba, and we witness Michelle and Barack Obama dancing on a banquet table, dishes flying in celebration.<em>&nbsp;</em>Duvier del Dago, well known for his light and string drawings, positions a larger-than-life nude Cubana at a podium set in a futuristic public square, orating to a raucous and fictional crowd. Mar&iacute;a Magdalena Campos-Pons, revered for her sensual imagery, offers&nbsp;&ldquo;<em>Unspeakable Sorrow,&rdquo;</em>&nbsp;a ceremonial black-on-black portrait of despair, loss and abandonment, a howl, in which the flowering Amaryllis is the only trace of life or color in the work.</p> <p style="text-align: justify;">Rachel Weingeist is a contemporary curator and cultural advisor who has curated over twenty-five Cuban exhibitions that range in theme and breadth. Over the last five years, Weingeist built the largest private Cuban art collection to date and created the first contemporary&nbsp;Cuban video archive, which has traveled widely. &nbsp;Weingeist is a member of the Harvard Cuban Studies Advisory Board and actively participates internationally in cultural and political dialogue.</p> Thu, 19 Feb 2015 04:30:17 +0000 Herb Alpert - ACA Galleries, Est 1932 - February 19th - April 4th <p>For Immediate Release &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Media Contact: Mikaela Sardo Lamarche</p> <p>January 16, 2015 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<a href="" rel="nofollow"></a>&nbsp;212 206-8080</p> <p>&nbsp;</p> <p align="center"><strong>Herb Alpert and Richard Mayhew: <span style="color: #3366cc;"><em>HARMONIC RHYTHMS</em></span></strong></p> <p align="center"><strong>February 19 through April 4, 2015</strong></p> <p align="center"><strong>Opening Reception:</strong> Thursday, February 19 from 6 to 8pm</p> <p align="center"><strong>Press Preview:</strong> 3 to 6pm</p> <p align="center">&nbsp;</p> <p>ACA Galleries is pleased to announce its forthcoming exhibition, <em>Herb Alpert and Richard Mayhew: Harmonic Rhythms,</em> on view February 19 through April 4, 2015.&nbsp; Primarily known for his music, Herb Alpert has gained a reputation as an accomplished visual artist.&nbsp; At 91, Richard Mayhew is acknowledged as one of America&rsquo;s premier landscape painters and colorists.&nbsp; Both artists, informed intensely by music, use improvisation in their work.&nbsp;</p> <p>Herb Alpert&rsquo;s sculptures reveal Alpert&rsquo;s growth and influences: the spirituality of the native American totems of the Pacific Northwest, the monumentality and modernism of Rodin, Henry Moore and Alberto Giacometti. But as these influences passed through Alpert, they picked up elements of Alpert&rsquo;s soul, a soul informed by the harmonies and rhythms of music, especially jazz. Thus, his totemic forms are as effervescent as they are magisterial, as sensual as they are spiritual.</p> <p>Alpert&rsquo;s sculptures, though generally abstract, nonetheless revel in the fleshy exuberance of human forms. Sensuality and sexuality proclaim themselves with eloquent poise. Alpert treats sensuality not just as an organic experience, but as emotions that seem to erupt from the sculptures themselves. Thus, this interplay between the emotional, physical and spiritual gives Alpert&rsquo;s sculptures and internal power, an energy that flows from their forms and surrounds the viewer.</p> <p>Richard Mayhew expresses in color and landscape the spirituality Alpert finds in form. Mayhew&rsquo;s oeuvre is spirit itself, the spirit that inhabits Mayhew&rsquo;s landscapes of the mind and soul. &nbsp;His African-American, Cherokee and Shinnecock ancestry provide a deep well of spiritual heritage from which to draw on, and finds expression in the near-mystical visions of nature Mayhew spreads across his canvases. Colors shimmer; fields and hills undulate; trees quiver. Mayhew&rsquo;s landscapes, pouring forth from the depths of his imagination, inhabit their painted surface with equal measure of serenity and energy.&nbsp;</p> <p>A jazz singer himself, rhythm and melody seem to flow through Mayhew&rsquo;s landscapes: smoothly gliding through one area, skipping in syncopation in another, colors rising like melodies through the air. Like much of jazz, Mayhew&rsquo;s work is often improvisational. As a painter, he&rsquo;ll let the picture dictate its own creation, letting the paint flow where it needs to flow, much as a jazz musician will let the notes fly where they need to fly. Mayhew thus trusts the paint, the process of painting, and his deep knowledge of how it all works. He understands that improvisation does not mean abandoning skill or control of one&rsquo;s medium, but that skill and chance must enhance each other.</p> <p>Richard Mayhew&rsquo;s work is in the permanent collections of The Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum of Art, NY, African-American Museum, Philadelphia, PA, Museum of African Art, National Museum of American Art, and the Smithsonian Institute in Washington, DC, among others.&nbsp;</p> <p>A monograph on Richard Mayhew was published in 2009 in conjunction with three solo exhibitions in California: Museum of the African Diaspora (San Francisco); Museum of Art and History at the McPherson Center (Santa Cruz) andDe Saisset Museum at Santa Clara University (Santa Clara).&nbsp;</p> <p>Alpert&rsquo;s paintings and sculptures have been exhibited in museums across the United States including the Tennessee State Museum and the Pasadena Museum of California Art. His work is in the permanent collections of the Museum of Contemporary Art (MOCA), Los Angeles and the Tennessee State Museum, Nashville, among others. In 2013, Alpert was awarded the National Medal of Art by President Barack Obama at the White House.&nbsp; From the Tijuana Brass, to his present day solo jazz performances, with his signature sound, Herb Alpert is a nine-time Grammy Winner, his latest for "Best Pop Instrumental Album&rdquo; in 2014 for his album, <em>Steppin' Out</em>.</p> <p>Last year three monumental sculptures by Herb Alpert were on view across from Lincoln Center in New York City and 7 of Alpert&rsquo;s massive sculptures, at different locations, around Los Angeles and Malibu, Ca.&nbsp; Mr. Alpert and his wife, Lani, will be performing at the Carlyle Hotel in New York City, from March 10-21.&nbsp;</p> <p>&nbsp;&nbsp;</p> <p align="center"><em>For additional information and images contact </em></p> <p align="center"><em>Mikaela Sardo Lamarche </em></p> <p align="center"><a href="Richard%20Mayhew%20expresses%20in%20color%20and%20landscape%20the%20spirituality%20Alpert%20finds%20in%20form.%20Mayhew&rsquo;s%20oeuvre%20is%20spirit%20itself,%20the%20spirit%20that%20inhabits%20Mayhew&rsquo;s%20landscapes%20of%20the%20mind%20and%20soul.%20%20His%20African-American,%20Cherokee%20and%20Shinnecock%20ancestry%20provide%20a%20deep%20well%20of%20spiritual%20heritage%20from%20which%20to%20draw%20on,%20and%20finds%20expression%20in%20the%20near-mystical%20visions%20of%20nature%20Mayhew%20spreads%20across%20his%20canvases.%20Colors%20shimmer;%20fields%20and%20hills%20undulate;%20trees%20quiver.%20Mayhew&rsquo;s%20landscapes,%20pouring%20forth%20from%20the%20depths%20of%20his%20imagination,%20inhabit%20their%20painted%20surface%20with%20equal%20measure%20of%20serenity%20and%20energy.%20%20%20A%20jazz%20singer%20himself,%20rhythm%20and%20melody%20seem%20to%20flow%20through%20Mayhew&rsquo;s%20landscapes:%20smoothly%20gliding%20through%20one%20area,%20skipping%20in%20syncopation%20in%20another,%20colors%20rising%20like%20melodies%20through%20the%20air.%20Like%20much%20of%20jazz,%20Mayhew&rsquo;s%20work%20is%20often%20improvisational.%20As%20a%20painter,%20he&rsquo;ll%20let%20the%20picture%20dictate%20its%20own%20creation,%20letting%20the%20paint%20flow%20where%20it%20needs%20to%20flow,%20much%20as%20a%20jazz%20musician%20will%20let%20the%20notes%20fly%20where%20they%20need%20to%20fly.%20Mayhew%20thus%20trusts%20the%20paint,%20the%20process%20of%20painting,%20and%20his%20deep%20knowledge%20of%20how%20it%20all%20works.%20He%20understands%20that%20improvisation%20does%20not%20mean%20abandoning%20skill%20or%20control%20of%20one&rsquo;s%20medium,%20but%20that%20skill%20and%20chance%20must%20enhance%20each%20other.%20%20Richard%20Mayhew&rsquo;s%20work%20is%20in%20the%20permanent%20collections%20of%20The%20Metropolitan%20Museum%20of%20Art,%20Whitney%20Museum%20of%20American%20Art,%20Brooklyn%20Museum%20of%20Art,%20NY,%20African-American%20Museum,%20Philadelphia,%20PA,%20Museum%20of%20African%20Art,%20National%20Museum%20of%20American%20Art,%20and%20the%20Smithsonian%20Institute%20in%20Washington,%20DC,%20among%20others.%20%20A%20monograph%20on%20Richard%20Mayhew%20was%20published%20in%202009%20in%20conjunction%20with%20three%20solo%20exhibitions%20in%20California:%20Museum%20of%20the%20African%20Diaspora%20(San%20Francisco);%20Museum%20of%20Art%20and%20History%20at%20the%20McPherson%20Center%20(Santa%20Cruz)%20and%20De%20Saisset%20Museum%20at%20Santa%20Clara%20University%20(Santa%20Clara).%20%20%20Alpert&rsquo;s%20paintings%20and%20sculptures%20have%20been%20exhibited%20in%20museums%20across%20the%20United%20States%20including%20the%20Tennessee%20State%20Museum%20and%20the%20Pasadena%20Museum%20of%20California%20Art.%20His%20work%20is%20in%20the%20permanent%20collections%20of%20the%20Museum%20of%20Contemporary%20Art%20(MOCA),%20Los%20Angeles%20and%20the%20Tennessee%20State%20Museum,%20Nashville,%20among%20others.%20In%202013,%20Alpert%20was%20awarded%20the%20National%20Medal%20of%20Art%20by%20President%20Barack%20Obama%20at%20the%20White%20House.%20%20From%20the%20Tijuana%20Brass,%20to%20his%20present%20day%20solo%20jazz%20performances,%20with%20his%20signature%20sound,%20Herb%20Alpert%20is%20a%20nine-time%20Grammy%20Winner,%20his%20latest%20for%20&quot;Best%20Pop%20Instrumental%20Album&rdquo;%20in%202014%20for%20his%20album,%20Steppin'%20Out.%20%20Last%20year%20three%20monumental%20sculptures%20by%20Herb%20Alpert%20were%20on%20view%20across%20from%20Lincoln%20Center%20in%20New%20York%20City%20and%207%20of%20Alpert&rsquo;s%20massive%20sculptures,%20at%20different%20locations,%20around%20Los%20Angeles%20and%20Malibu,%20Ca.%20%20Mr.%20Alpert%20and%20his%20wife,%20Lani,%20will%20be%20performing%20at%20the%20Carlyle%20Hotel%20in%20New%20York%20City," rel="nofollow"><em></em></a></p> Wed, 04 Feb 2015 21:45:32 +0000 Group Show - AICON GALLERY - New York - February 7th - March 10th <p style="text-align: justify;">Aicon Gallery is proud to present EAT PRAY THUG, a group exhibition curated by Himanshu "Heems" Suri. To commemorate Suri's upcoming debut solo album release, he has curated a group show of the same name, along with a schedule of events and performances. The exhibition represents a wide array of mediums and artistic backgrounds - straight/queer, Hindu/Muslim, male/female, established/newcomer, Asia/Diaspora. Though all these artists may trace their roots to India or Pakistan, they live and work in varied mediums around the world and not all the work revolves around issues of identity, for example, the abstract geometric studies of Nihalani and Suleman&rsquo;s black comedic commentary on current events in Pakistan. Taken as a whole, the exhibition examines the richly varied contemporary artistic voices resonating from out of South Asia and its Diaspora.<br /> <br /> In addition to the exhibition, Suri has also put together a series of events for the month. There will be a performance by Pakistani punks The Kominas with Rizwan &ldquo;Riz MC&rdquo; Ahmed, the Nightcrawler actor and Suri&rsquo;s partner in the post-partition hip-hop duo Sweat Shop Boys. Viewers will also be able to witness an exclusive performance art piece by Deepak Choppa. February 28th, Deepak Choppa will turn the gallery space into a recording studio for a full 24 hours. Heems will write and record an EP of all new material over this time period, with the gallery open to the public throughout.<br /> <br /> Born in Karachi, Pakistan Roohi S. Ahmed&rsquo;s video drawing performance, titled Sew and Sow, examines the conceptual process, physical gestures, and emotional and personal narratives of literally marking the body and the cartographies arising from it. The stitching and unstitching of her skin leaves visible tactile traces as a memory of actions and corrections made by the other hand. In 2002, after encountering his family's South Asian film collection, Chiraag Bhakta began his series of nostalgic Bollywood-inspired prints under the name *Pardon My Hindi. Using humor mixed with stark social commentary, Bhakta seeks to explore cross-cultural interpretations of identity as a first generation Indian American. His Arch Motel photographic series, a collaboration with Mark Hewko, has been shown at the Smithsonian Museum in Washington D.C. and his Washed Series collage works are being shown for the first time in New York.<br /> <br /> Chitra Ganesh was born and raised in Brooklyn, NY, where she currently lives and works. Her artistic praxis is inspired by buried narratives and marginal figures typically excluded from official canons of history, literature and art. She is widely recognized for her experimental use of comic and large-scale narrative forms to communicate submerged histories and alternate articulations of femininity to a broader public. Her works have been featured in several publications including the New York Times, Flash Art, Art Asia Pacific, and Time Out New York. Ratna Gupta studied graphic design at St. Xavier&rsquo;s College, Mumbai, and book arts and crafts at the London College of Printing, The London Institute. She has participated in numerous solo and group exhibitions. Her work re-contextualizes natural surfaces such as bark and skin by rebuilding them with molds, latex, canvas and thread, preserving them against the destructive forces of both man and nature.<br /> <br /> Born in 1953, Ranbir Kaleka is a formally trained painter who has progressively transitioned into video art by developing a distinctive painterly language for his multimedia projects. In Man with Cockerel - 2, a man is caught in a circle of endless pursuit and capture of his escaped &lsquo;cockerel&rsquo;. The viewer's reverie is jolted by a play with diegetic and non-diegetic conventions of sound: domestic, industrial, everyday and the environmental. The only relief is the long silent lapping of the waves on an empty screen at the end of the loop before the man again finds his &lsquo;cockerel&rsquo; and enters the frame. Aakash Nihalani, born in Queens, studied at the Steinhardt School of Culture in NYU, New York. Heavily inspired by local street art, Nihalani is drawn especially to isometric rectangles and squares, often creating highly illusionistic installations simply from color, line and space. His work is a reaction to forms and structures we readily encounter in both public to private, where we&rsquo;re required to establish our own placement within a larger picture.<br /> <br /> The mainstay of Karachi-based Adeela Suleman&rsquo;s artistry explores a series of dichotomies that point to the fragile and fleeting ephemerality of life as experienced by the artist amidst the chaotic and perpetually deteriorating religious and political violence of Pakistan. Her figures of headless soldiers and courtiers decapitating and disemboweling each other function as a grotesque yet somehow humorous representation of the ambiguous roots and perpetuators of the horrific violence wracking Pakistan, where nothing is ever quite as it seems. Working and living between Karachi and Sydney, Abdullah M. I. Syed&rsquo;s practice is rooted in the long history of discourse and debate surrounding Colonialism and Orientalism, now forever altered in apost-9/11 political landscape. His exuberantly colored outsized Brut medallions use traditional Pakistani arts and crafts techniques to explore the warping and stereotyping of notions of masculinity both within Islamic societies and from myopic Western preconceptions. Throughout his work, Brooklyn-based painter Salman Toor deftly presents a subtle melding of the confused consumeristic and social fantasies of the mass-medias of India, Pakistan and the U.S. with a Renaissace-era handling of light, painting and draftmanship. In the works Newscater I and II, Toor depicts a set of dueling characitures of impossibly idealized South Asian news anchors humorously surrounded by the scribbled disconnected notes, lists and rants of a fictionalized and neurotic contemporary artist.<br /> <br /> Himanshu &ldquo;Heems&rdquo; Suri, formerly of the rap group Das Racist, has exhibited his work at the Guggenheim, New York, and the Museum of Contemporary Art, Chicago and curated projects for instituitions including the Whitney Museum of American Art, New York. In addition, he has maintained a constantly evolving output of collaborative musical and recording projects. His work on diplay in this exhibition will include unique pieces as well as collaborative installations and limited edition album artworks all based on Suri&rsquo;s travels in India and experiences and upbringing in New York City. This is his first curatorial project with Aicon Gallery.</p> Wed, 11 Feb 2015 05:17:13 +0000 S.H. Raza, Ranbir Kaleka, G.R. Santosh, Manisha Parekh, Vijay Shinde - AICON GALLERY - New York - February 7th - March 10th Wed, 11 Feb 2015 05:18:55 +0000 Jonathas de Andrade - Alexander and Bonin - February 28th - April 11th <p class="Default" style="text-align: justify;">Alexander and Bonin is pleased to announce Jonathas de Andrade&rsquo;s first one-person exhibition in North America. The installations, sculpture and photographic works to be exhibited date from 2013 to 2015 and address socio-economic issues in contemporary Brazil.</p> <p class="Default" style="text-align: justify;">In two multi-part installations, (<em>Cartazes para o Museu do Homem do Nordeste </em>and <em>40 nego bom &eacute; 1 real), </em>both from 2013, Andrade questions the influential but controversial ideas of the Brazilian sociologist Gilberto Freyre, particularly as expressed in his 1933 publication <em>Casa-Grande e Senzala </em>(The Master and the Slave). In this text, Freyre suggests a lived experience of racial-democracy in Brazil, which he believed to be a result of miscegenation between Portuguese colonizers, Africans, and Native Brazilians.</p> <p class="Default" style="text-align: justify;"><em>Cartazes para o Museu do Homem do Nordeste </em>(<em>Posters for the Museum of the Northeast Man</em>) is inspired by an existing institution, the Museu do Homem do Nordeste, an anthropological museum in Recife, founded in 1979 and largely inspired by Gilberto Freyre&rsquo;s theories on &lsquo;racial democracy&rsquo;. In this project Andrade visually reimagines the identity of the museum. Beginning in 2012 the artist advertised in local newspapers calling for workers interested in posing for photographs advertising the museum. Photographing participants in everyday situations, Andrade created 70 posters with notes documenting the encounters. Through this collection of images and notes Andrade examines how an anthropological approach influences the representation and understanding of cultural and personal identities. The artist continues to use the Museu do Homem do Nordeste as inspiration for parallel projects some of which can be seen in his survey exhibition currently at Museu de Arte do Rio (MAR) in Rio de Janeiro.</p> <p class="Default" style="text-align: justify;">The title of the installation, (a collaborative project with Silvan Kaelin), <em>40 nego bom &eacute; 1 real </em>(<em>40 black candies for R$ 1,00</em>), is drawn from the name of a popular candy in northeastern Brazil. &lsquo;Nego bom&rsquo; which can be literally translated as &lsquo;good black&rsquo; is a colloquial albeit affectionate term with colonial connotations. Inspired by a street vendor promoting his sweets at the top of his voice, the work consists of two parts and tells the story of the production of the sweet and exposes the falsity of the supposed good-natured working relations between employers and employees. Through this narrative Andrade probes the complex social dynamics of post-colonial Brazil through the locus of cheap labor.</p> <p class="Default" style="text-align: justify;">In 2014 Andrade invited the workers from a refinery in Condado to participate in the creation of his most recent work, <em>ABC de Cana, (Sugar Cane ABC). </em>Inspired by a 1957 &lsquo;alphabet&rsquo; drawing by Luis Jardim which uses sugar cane motifs, the work consists of 26 images of workers forming the alphabet with sugar cane stalks.</p> <p style="text-align: justify;">Jonathas de Andrade was born in 1982 in Macei&oacute;, Brazil; he lives and works in Recife. A survey of his work is on view at Museu de Arte do Rio (MAR), Rio de Janeiro through March 22. Past solo exhibitions include Instituto Cultural Ita&uacute;, S&atilde;o Paulo (2008); Instituto Cultural Banco Real, Recife (2009); Centro Cultural S&atilde;o Paulo (2010); Galeria Vermelho, S&atilde;o Paulo (2013, 2010); Kunsthalle Lissabon, Lisbon (2013); and Mus&eacute;e d&rsquo;art Contemporain de Montr&eacute;al (2013). He participated in the Mercosul Biennial, Porto Alegre, (2009); S&atilde;o Paulo Biennial (2010); Istanbul Biennial (2011); New Museum Triennial: <em>The Ungovernables</em>, New York (2012); Lyon Biennial (2013) and the 11th Dakar Biennial (2014). Jonathas de Andrade's work was included in <em>Under the Same Sun: Art from Latin America Today </em>at the Guggenheim Museum, New York in 2014.</p> Wed, 25 Feb 2015 05:47:40 +0000 Luis Camnitzer - Alexander Gray Associates - February 19th - March 28th <p style="text-align: justify;">Alexander Gray Associates presents an exhibition of artwork by Luis Camnitzer, featuring works in a variety of media dating from 1968 to the present. An accompanying catalogue is published in both English and Spanish, featuring the artist&rsquo;s essay <em>The Mediocrity of Beauty</em> (2010).<br /> <br /> The artworks on view convey Camnitzer&rsquo;s skepticism of universal beauty, specifically symmetry as a defining visual characteristic of beauty. In the video <em>Jane Doe</em> (2012), Camnitzer fused fifty photographs of women&rsquo;s faces&mdash;taken from online police reports, legal documents, and newspaper articles&mdash;utilizing image morphing software. The portrait of Jane Doe, a seemingly &ldquo;beautiful&rdquo; symmetrical face, resulted from the averaging out of individual features. The video shows a fictional face and story that provides an identity for Jane Doe. In the realm of the political, for his most recent suite of seven etchings, <em>Symmetry Jail</em> (2014), Camnitzer stacked and mirrored each letter in the word &ldquo;symmetry&rdquo;&mdash;using the United Nations official languages Arabic, Chinese, English, French, Spanish, Russian, plus he adds German&mdash; to create seven unique characters. For the artist, &ldquo;Words are never able to fully convey what one truly thinks: thoughts and feelings are pressed into an alien format, like when poetry tries to imprison poetics in stiltedness. Symmetry worsens this by curtailing the freedom of information.&rdquo;<br /> <br /> Camnitzer believes that art&rsquo;s function is not to reinforce traditional notions of beauty, but rather, it can create alternative orders and frameworks, enabling an expanded perspective. This philosophy is represented in works such as <em>Questions and Answers</em> (1981), a series of ten photographs of ordinary objects, which the artist made under hypnosis; and <em>Seven Virtues</em> (2014), a seven-part graphic work in which Camnitzer indexed the seven cardinal and theological virtues&mdash;charity, courage, faith, fortitude, hope, temperance, prudence&mdash;into the pages of Dorland&rsquo;s Medical Dictionary. Altering the clinical tone of this volume, he defined each virtue in the context of medical descriptions of ailments, which suggests a more nuanced understanding of the human state and the present condition of religious and scientific ethics.<br /> <br /> Transgression has characterized Camnitzer&rsquo;s practice since the mid-1960s, when he co-founded The New York Graphic Workshop with fellow artists Argentine Liliana Porter and Venezuelan Jos&eacute; Guillermo Castillo (1939&ndash;1999). The etchings <em>Self-Portrait</em> (1968&ndash;72), a series of five self-portraits that only include the inscription of the artist&rsquo;s name and the date of creation, demonstrate this defining quality and question authorship, authenticity and seriality. Camnitzer&rsquo;s interest in language extends to Please Look Away (2014), a room-size installation that invites the audience to walk into the immersive cage-like environment made of imperative inscriptions, such as &ldquo;Please look away, you are invading my territory,&rdquo; printed in white lettering on black vinyl banners adhered along the walls and floor of the Gallery, demarcating the alienation of physical space.<br /> <br /> Situating elegance in the context of beauty, Camnitzer argues that simplicity is perhaps the most profound form of beauty. In 1973, Camnitzer created a series of drawings to document ephemeral installations he did between 1969 and 1972. The primary component in the installations had been succinct sentences describing objects or situations, paired with simple geometric shapes that stood as the corresponding illustration to the text. Works such as the drawing <em>Aqu&iacute; yace una obra de arte</em> (1973), created after a 1972 installation of the same name, depicts a rectangular slab that serves as a tombstone with the inscription &ldquo;Here Lies and Artwork;&rdquo; a handwritten notation legible on the drawing&rsquo;s margin provides installation instructions for how to exhibit the work as a three dimensional object. The invisibility of the artwork that lies under the tombstone speaks to Camnitzer&rsquo;s pairing of direct images and text to encourage the viewer to generate alternative meanings. Camnitzer states, &ldquo;I am interested in art as a formulation of and solution to problems, and it&rsquo;s there where elegance is really important. In art, there may be many correct solutions, but the best is the most elegant among the correct ones. Elegance is not necessarily simple, but it is the one that may achieve the greatest complexity without getting lost in stupidity.&rdquo;</p> Tue, 17 Feb 2015 16:25:28 +0000 Dwyer Kilcollin - American Contemporary - February 4th - March 15th Thu, 08 Jan 2015 04:20:20 +0000 - American Folk Art Museum - December 16th, 2014 - March 8th <p style="text-align: justify;">The Barbara L. Gordon collection offers a stunning presentation of American folk art made primarily in rural areas of New England, the Midwest, and the South between 1800 and 1920. More than sixty works of art, including still-life, landscape, allegorical, and portrait paintings, commercial and highly personal sculpture, and distinctive examples of art from the German-American community exemplify the breadth of American creative expression by individuals who did not always adhere to the academic models that established artistic taste in urban centers of the East Coast. <br /> <br /> The exhibition is drawn from the Barbara L. Gordon collection and is organized and circulated by Art Services International, Alexandria, Virginia. <br /> <br /> Major support for the presentation at the American Folk Art Museum is provided by HISTORY&reg;.<br /> <br /> The exhibition is accompanied by a full-color catalog copublished by ASI and the international publishing firm SKIRA/Rizzoli.</p> <p style="text-align: justify;">Additional support is provided by Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, 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> Sun, 19 Oct 2014 09:16:26 +0000 Candice Breitz - Andrew Kreps Gallery @ 535 West 22nd - February 28th - March 28th Wed, 25 Feb 2015 05:41:51 +0000 Barbara T. Smith - Andrew Kreps Gallery @ 537 W. 22nd - February 28th - March 28th Wed, 25 Feb 2015 05:43:35 +0000 Una Lee, Annea Lockwood, Chris H. Lynn, Robert Macfarlane, Ed Osborne, David Rothenberg, Chris Watson, GEORGE QUASHA, Charles Stein - Apexart - January 15th - March 7th <p style="text-align: justify;">An Unsolicited Proposal Program winning exhibition.<br />Learn more about the <a href="" target="_blank">Unsolicited Proposal Program</a>.</p> <p style="text-align: justify;">Contemporary musicians and sound artists are indebted to the 19th century German physicist Herman Helmholtz (1821-1894) who authored <em>On the Sensations of Tone as a Physiological Basis for the Theory of Music</em> (1862). In the book, Helmholtz explored the mathematical, physiological, and perception effects of sound: &ldquo;We perceive that generally, a noise is accompanied by a rapid alternation of different kinds of sensations of sound. Think, for example, of the rattling of a carriage over granite paving stones, the splashing or seething of a waterfall or of the waves of the sea, the rustling of leaves in a wood.&rdquo; <br /><br /> Artistic disciplines examining sound have emerged since Helmholtz&rsquo;s research, &ldquo;the waves of the sea&rdquo; has turned into acoustic ecology that examines how sound is an integrative principle in human and natural environments. Field recordings have proliferated in recent years due to the availability and portability of high quality recording equipment, enticing composers and sound artists to take their studios to the edge of the wilds or down the street. The exhibition and two public performance events draw together nine artists/composers whose works poetically map sound that reflect and emerge from their interaction with the natural environment.</p> <p style="text-align: justify;">Unsolicited Proposal Program Winner 2014-15</p> <p style="text-align: justify;"><strong>Alastair Noble</strong> is an environmental/installation artist and printmaker from the UK, now based in New York City. His artistic practice is a response to architecture and the natural environment and reflects on particular sites in the context of poetry and literature. In May 2014 he was an artist-in-residence at the Marsh-Billings-Rockefeller National Historical Park in Woodstock, Vermont. Alastair's artistic career spans 30 years with exhibitions and residencies in the UK, Peru, Chile, Bulgaria, and Italy. He has taught and lectured at numerous colleges, universities, and public institutions, and has curated exhibitions and organized symposiums on art, poetry, and the environment. His essays, articles, and reviews on art and architecture have also appeared in national and international publications.</p> Thu, 11 Dec 2014 11:15:31 +0000 Milton Avery, Chuck Close, Leonard Baskin, Edward Steichen, Norman Rockwell, Anders Zorn - Arkell Museum - March 1st - June 14th <p style="text-align: justify;">An artist&rsquo;s portrait, like all good portraits, offers the viewer more than physical features. One sees the characteristics of the sitter that make that person a unique individual. All artists are involved with, or have a heightened interest in, creative pursuits which makes them interesting candidates for portrait subjects.</p> <p style="text-align: justify;">On the other hand, a self-portrait is an artist&rsquo;s opportunity to make a statement. Traditional portraiture, especially commissioned ones, often came with expectations that the image be a favorable likeness of the sitter. Self-portraiture removed those restrictions enabling artists to be more experimental. This exhibition brings together fifty works in a variety of media that examine self-portraits and portraits of other artists. Included in the show are works by Milton Avery, Chuck Close, Leonard Baskin, Edward Steichen, Norman Rockwell, and Anders Zorn. Sitters include James McNeill Whistler, Thomas Eakins, Charlie Chaplin, C.S. Lewis, and Pablo Casals.</p> Fri, 23 Jan 2015 14:50:12 +0000 Marwa Arsanios - Art in General - March 3rd - April 11th <p style="text-align: justify;">Notes for a choreography premieres Marwa Arsanios&rsquo;s new film, <em>OLGA&rsquo;s NOTES, all those restless bodies</em>, 2014, a co-commission by Kunsthalle Lissabon, Portugal, and Art in General, New York. This project is the artist&rsquo;s first solo exhibition in Lisbon and New York.</p> <p style="text-align: justify;"><em>OLGA&rsquo;s NOTES, all those restless bodies</em> takes as its starting point an article that appeared in <em>Al-Hilal</em> magazine in January 1963 on the establishment of the ballet school in Cairo. The article describes the school, which was founded as part of Egyptian President Gamal Abdel Nasser&rsquo;s larger plans for modernization and reform at that time, as a &ldquo;factory of the bodies.&rdquo; Supported by major figures including the Russian choreographer and director Leonid Lavrovsky, the school was to become an important institution in Nasser&rsquo;s nation-state building project.</p> <p style="text-align: justify;">The film script juggles between different dances and small stories linked to this history. It looks at dance from historical and political perspectives, and also at the body from the perspectives of dance, labor and exploitation, thus dance becomes an excuse to think about labor, and labor an excuse to think about dance and movement. The effect of political ideologies on the identity of the individual is here reflected in the body of the dancer. After years of training, rehearsing, and performing, the dancer&rsquo;s body has become damaged&mdash;a metaphor of the violence of state projects, and nation-state building that accompanies a capitalist ideology and a consumerist approach to the human form.</p> <p style="text-align: justify;">In the film, Pierre follows the main ballerina from <em>The Fountain of Bakhshisarai</em> (the first major production, performed in the presence of Nasser, by the ballet dance group in Cairo where dancers were awarded Orders of Merit). Sandra re-enacts Yvonne Rainer&rsquo;s classic, <em>Trio A</em>, (which she had learned by heart in dance school), Jasmine does her usual pole dancing, while Natacha fails to remember her part in the harim dance and improvises. Cynthia appears from behind, dancing alone and Alia stands still, re-enacting certain positions of dancers while they are not dancing. In their own way, each of these bodies attempts to find a history: a fragmented story of a damaged, colonized and incoherent body that has failed to remember, failed to perform, and is just sliding on stage. Here, different histories clash together side by side.</p> <p style="text-align: justify;">This co-commission, first presented at Kunsthalle Lissabon and curated by Jo&atilde;o Mour&atilde;o and Luis Silva, takes on a different form at Art in General, becoming part of an architectural &ldquo;set&rdquo; that houses Arsanios&rsquo;s new film alongside existing works, several of which are part of her long-term research project <em>Al-Hilal</em>. Taking a collection of magazines from the 1950s and 1960s as a point of departure, this research examines questions of decolonization, nation state, violence and the marginalization of feminism.</p> <p style="text-align: justify;"><strong>Marwa Arsanios</strong> (Washington, D.C., 1978) lives and works in Beirut, Lebanon. She obtained her MFA from Wimbledon College of Art, University of the Arts, London, UK (2007) and was a researcher in the fine art department at the Jan Van Eyck Academie, Maastricht, the Netherlands (2011&ndash;12). Her work was shown at Art Dubai in the Bidoun Lounge (Art Park 2009), at the Forum expanded of the Berlinale (2010), at the Homeworks V and VI forum (Beirut, 2010 and 2013), Tokyo Wonder Site (2011), the 12th Istanbul Biennale (2011), Cornerhouse (Manchester, 2012), the Venice Biennale (Future Generation Art Prize, 2013), and most recently at the New Museum (New York, 2014). Her videos were screened in several festivals and events such as the Rio de Janeiro film festival in 2010, e-flux in New York, and at the Centre Pompidou in Paris. She has been nominated for the Pinchuk Future Generation Art Prize 2012 and won the special prize. She was also nominated for the Sovereign Art Prize 2012. Arsanios is a founding member of the artist organization and project space 98weeks research project. She is also a part-time teacher.</p> <p style="text-align: justify;"><strong>General Support</strong>of Art in General is provided by General Hardware Manufacturing Inc.; the Institute of Museum and Library Services; the Lambent Foundation; the New York State Council on the Arts with support of Governor Andrew Cuomo and the New York State Legislature; Ruth Ivor Foundation; The Greenwich Collection; Milton and Sally Avery Arts Foundation; Toby D. Lewis Donor Advised Fund of the Jewish Federation of Cleveland; the William Talbott Hillman Foundation; and by individuals. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.</p> <p style="text-align: justify;"><strong>The New Commissions Program</strong> is made possible by the Andy Warhol Foundation for the Visual Arts; Trust for Mutual Understanding; National Endowment for the Arts; and Jerome Foundation. Support has also been provided by Commissioners&rsquo; Circle leaders Jeffery Larsen and Joseph Bolduc; Commissioners&rsquo; Circle supporters Sandra Ho and Jang Kim, and Cher Lewis, and Commissioners&rsquo; Circle members Roya Khadjavi-Heidari, Mary Lapides, Richard Massey, Ron and Lucille Neeley, and Leslie Ruff.</p> <p style="text-align: justify;">Additional support provided by Mor Charpentier, Paris.</p> Wed, 25 Feb 2015 06:07:36 +0000 Matt Hoyt - Art in General - March 3rd - April 11th <p style="text-align: justify;">Art in General is pleased to present <em>One Another</em>, a New Commission with Matt Hoyt in the Mus&eacute;e Minuscule.</p> <p style="text-align: justify;">Matt Hoyt&rsquo;s signature groupings of sculptures speak to the intimacy of objects&mdash;how material can become charged when it is held, rubbed, or placed in proximity to the body over a period of time. Hoyt fashions his small sculptures over long durations, shaping and reshaping them to achieve subtle variations in contour, texture, and patina. The newly created pieces on view are scaled in relationship to the human hand, foregrounding the relationship to both the body of the artist and viewer. Meant for close encounter, the commissioned installation is intended for one audience member at a time.</p> <p style="text-align: justify;">Hoyt&rsquo;s sculptures recall forms such as rocks, shells, bone, and driftwood, and his subtle use of color calls up associations like rust, skin, and the enamel of teeth. The boundary between what is pulled from the landscape and what is industrially produced collapses. Epoxy, polyurethane, wood fill, and other utilitarian materials meant for plumbing or underwater boat repair are denatured into poetic, otherworldly gestures. Seashore detritus, ceramic shards from an excavation, a tool with an unknown function: each object hints at the familiar yet they remain uncannily elusive. Hoyt&rsquo;s pieces resist categorization, oscillating between what is recognizable and unrecognizable, imagined and literal, intuitive and calculated.</p> <p style="text-align: justify;">There is a diaristic seriality to Hoyt&rsquo;s presentations&mdash;forms emerge and re-emerge, like a meandering thought process made tangible. Items are repeated, elaborated, halved, completed, turned-over. Space is folded, wrapped, and bisected; revealing internal layers of stratification. He combines and recombines carefully selected compositions on handmade shelf supports&mdash;the arranged groupings carry as much significance as the discrete pieces that comprise them. Hoyt&rsquo;s practice attempts to speak to the space between thinking and doing&mdash;how practice and repetition can harden into form; how abstractions such as illusion and memory can galvanize into physical presence.</p> <p style="text-align: justify;"><strong>Matt Hoyt</strong> has exhibited work in the United States and abroad at institutions including White Columns, New York (2009); MOMA PS1 Contemporary Art Center, Long Island City (2010); and Coco Kunstverein, Vienna (2011). Hoyt was included in the 2012 Biennial at the Whitney Museum of American Art, New York and was recently awarded a grant from Foundation for Contemporary Arts (2013). He received his BFA from School of Visual Arts (2000). The artist currently lives and works in New York City.</p> <p style="text-align: justify;"><strong>General Support</strong> of Art in General is provided by General Hardware Manufacturing Inc.; the Institute of Museum and Library Services; the Lambent Foundation; the New York State Council on the Arts with support of Governor Andrew Cuomo and the New York State Legislature; Ruth Ivor Foundation; The Greenwich Collection; Milton and Sally Avery Arts Foundation; Toby D. Lewis Donor Advised Fund of the Jewish Federation of Cleveland; the William Talbott Hillman Foundation; and by individuals. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.</p> <p style="text-align: justify;"><strong>The New Commissions Program</strong> is made possible by the Andy Warhol Foundation for the Visual Arts; Trust for Mutual Understanding; National Endowment for the Arts; and Jerome Foundation. Support has also been provided by Commissioners&rsquo; Circle leaders Jeffery Larsen and Joseph Bolduc; Commissioners&rsquo; Circle supporters Sandra Ho and Jang Kim, and Cher Lewis, and Commissioners&rsquo; Circle members Roya Khadjavi-Heidari, Mary Lapides, Richard Massey, Ron and Lucille Neeley, and Leslie Ruff.</p> <p style="text-align: justify;">Additional special support provided by ROOT Studios.</p> Wed, 25 Feb 2015 06:07:14 +0000 Matt Lipps - Art in General - March 3rd - May 2nd <p style="text-align: justify;">Art in General is pleased to present <em>Figures</em>, a New Commission with Matt Lipps in the Storefront Project Space.</p> <p style="text-align: justify;">Matt Lipps&rsquo; artistic practice speaks to a sense of longing when confronted by most photographs&mdash;a longing for the lost object or moment abstracted by the camera, when corporeal and temporal experiences are flattened into static, silent images. His process involves re-shooting cut-out and staged images sourced from iconic publications such as <em>Horizon</em> magazine, the <em>Time-Life</em> series, and Ansel Adams coffee table books. Lipps creates anachronistic associations, recontextualizing analog black and white photography using collage tactics that reference contemporary digital imaging. His strategies of appropriation call attention to the practice of photography itself, embedding layers of reproduction within each print.</p> <p style="text-align: justify;">The relationship between photography and sculpture, and the limitations of each, is central to Lipps&rsquo; practice: how each promises what the other fails to provide. Photography can deliver an instantaneous, multi-view perspective, but it omits broader context and lacks true physicality in space. Sculpture offers this visceral experience, but resists a holistic view&mdash;requiring a body in motion, objects are continuously hidden and revealed as the surrounding landscape shifts with each step. Lipps&rsquo; photographic reproductions of sculpture heighten an awareness of this absence of location and the loss of one&rsquo;s own body in relation to the figure-in-the-round.</p> <p style="text-align: justify;">Lipps&rsquo; photographs create complex spatial relationships not only between the collaged elements within each piece, but also in response to the conditions of exhibition. For Art in General&rsquo;s storefront gallery, the artist has created an installation of three large-scale works, each collapsing and enlarging documentation of figurative sculptures from the canon of Art History. The glassed-in project space further flattens perspective while simultaneously revealing a sculptural presentation, reinforcing the tension between two and three dimensions. The works act as surrogates for performers in their content, size, and uprightness, and a theatrical curtain acts as a color field backdrop in each one, underscoring the display as a window proscenium. Critically examining photography from both fine art and mass media sources, Lipps reveals how these images have reflected and shaped our culture, and the ways in which the mass-distributed photograph can be invested with the deeply personal: a desire to locate these images within intimate settings.</p> <p style="text-align: justify;"><strong>Matt Lipps</strong> received his MFA from the University of California, Irvine in 2004, and he is currently an assistant professor of art at San Francisco State University. Lipps&rsquo; work has been part of LAXART&rsquo;s billboard project in Los Angeles (2011) and the Museum of Photographic Arts (MOPA), San Diego&rsquo;s annual peer-nominated <em>Staking Claim: A California Invitational</em> (2013). His works have also been exhibited at institutions such as the Utah Museum of Contemporary Art (2012), the Los Angeles County Museum of Art (2012), and the FOAM Museum, Amsterdam (2014). Upcoming exhibitions in New York include <em>Under Construction: New Positions in American Photography</em> at Pioneer Works and <em>Matt Lipps: Library</em> at James Danziger Gallery. The artist lives and works in San Francisco.</p> <p style="text-align: justify;"><strong>General Support</strong> of Art in General is provided by General Hardware Manufacturing Inc.; the Institute of Museum and Library Services; the Lambent Foundation; the New York State Council on the Arts with support of Governor Andrew Cuomo and the New York State Legislature; Ruth Ivor Foundation; The Greenwich Collection; Milton and Sally Avery Arts Foundation; Toby D. Lewis Donor Advised Fund of the Jewish Federation of Cleveland; the William Talbott Hillman Foundation; and by individuals. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.</p> <p style="text-align: justify;"><strong>The New Commissions Program</strong> is made possible by the Andy Warhol Foundation for the Visual Arts; Trust for Mutual Understanding; National Endowment for the Arts; and Jerome Foundation. Support has also been provided by Commissioners&rsquo; Circle leaders Jeffery Larsen and Joseph Bolduc; Commissioners&rsquo; Circle supporters Sandra Ho and Jang Kim, and Cher Lewis, and Commissioners&rsquo; Circle members Roya Khadjavi-Heidari, Mary Lapides, Richard Massey, Ron and Lucille Neeley, and Leslie Ruff.</p> <p style="text-align: justify;">Additional special support provided by ROOT Studios.</p> Wed, 25 Feb 2015 06:09:07 +0000