ArtSlant - Current exhibits en-us 40 Dominique Gonzalez-Foerster - 303 Gallery - April 17th - May 31st <p>303 Gallery is pleased to present "euqinimod &amp; costumes", our first exhibition of the work of Dominique Gonzalez-Foerster.</p> <p>For her first exhibition at 303 and in a New York gallery, Dominique Gonzalez-Foerster will present a new typology of works by revealing an unusual part of her personal archives from the mid-sixties until now, both intimate and social, both fetishistic and symptomatic: her personal clothing and textiles.</p> <p>While walking through the exhibition "Club to Catwalk: London Fashion in the 1980s" at the Victoria &amp; Albert Museum in London, Gonzalez-Foerster had an epiphany that the inflatable Michiko Koshino coat with a movable tail she used to wear belonged to the museum collection and that the exhibited Michiko Koshino coat actually belonged to her wardrobe. Through this revelation a conversation followed, not about fashion, trends, brands, lifestyles, but on clothes and textiles in a larger sense as possible autobiographical evidences and as the symptoms of Gonzalez-Foerster's artistic personality through different periods. Corresponding to different aspects of her practice and to an exhibition itself as far as textiles and clothing could be considered as ready-mades and narratives, Dominique's wardrobe constitutes a new field of exploration into the biographical self.</p> <p>Gonzalez-Foerster's work has a history of a strong and vivid relation to textiles and clothing considered not only as materials and surfaces but also as objects of meditation and reverie. Textiles have been present in different forms, like carpets combined with books in her various "tapis de lecture", and in different forms as well, such as in "Nos ann&eacute;es 70" under the form of an Indian fabric bringing back her mother's room in the seventies, or in "RWF", staging Rainer Werner Fassbinder's room with a brown velvet spread covering the filmmaker's bed. In 2012, Gonzalez-Foerster began work on the the ongoing opera project "M.2062", connecting her research with 19th century issues and the Gesamtskunstwerk, appearing in costume as characters including King Ludwig II, Scarlett O'Hara and Edgar Allan Poe. Clothes evolve from being canvases for moods, attitudes and psychological moments similar to rooms, spaces and dioramas; they turn into apparitions as characters become costumes. By twisted extension, this logic is taken to a new conclusion: Gonzalez-Foerster's clothes appear as costumes, narratives and fictions which mirror a fragmented and multiple inner self.</p> <p>A subjective description of a selection of works from this exhibition will be featured in the upcoming booklet "euqinimod and costumes" composed by Tristan Bera.</p> <p>Dominique Gonzalez-Foerster lives and works in Paris and Rio de Janeiro. In 2015, her career will be the subject of a major survey exhibition at Museum of Modern Art, Rio de Janeiro and Centre Pompidou, Paris. In May of this year, <em>1984-1999 The Decade</em> will open at the Centre Pompidou-Metz in France, where Gonzalez-Foerster has designed all scenography and the exhibition scape. Recent solo exhibitions of her work include <em>Splendid Hotel,</em> Palacio de Cristal in collaboration with the Reina Sofia Museum in Madrid; M.2062, Stedelijik Museum, Amsterdam; <em>Belle Comme le jour,</em> Art Unlimited, Basel; T.1912, Guggenheim Museum, New York; <em>chronotopes &amp; dioramas,</em> Dia Art Foundation, New York; <em>TH.2058,</em> Turbine Hall, Tate Modern, London; <em>Nocturama,</em> Museo de Arte Contempor&aacute;neo de Castilla y L&eacute;on; <em>Expodrome,</em> Mus&eacute;e d'art moderne de la Ville de Paris/ARC; <em>Multiverse,</em> Kunsthalle Z&uuml;rich; and <em>Dominique Gonzalez-Foerster - Prix Marcel Duchamp,</em> Centre Pompidou, Paris. She also participated in <em>Making Worlds,</em> the 53rd Venice Biennale; Skulptur Projekte M&uuml;nster; and Documenta 11, Kassel (2002). Gonzalez-Foerster is the recipient of the 2002 Marcel Duchamp Award.</p> Tue, 01 Apr 2014 01:42:51 +0000 Tanja Selzer - 532 Gallery Thomas Jaeckel - February 20th - April 26th <p>Ticklish motifs await us in Selzer&rsquo;s current series <em>Meet me in the trees</em>. Following on the heels of &nbsp;<em>Sabotage</em>, <em>No Tears for the Creatures of the Night</em>, <em>Mind Candy&nbsp;</em>and <em>Cadavre Exquis</em>, we find barely dressed and nude figures in the bushes. This is actually a classical motif in art history, and an extensively exhibited <em>sujet</em> with prominent progenitors such as Botticelli and Rubens and Manet and C&eacute;zanne and Picasso&mdash;and many many more. To be fair, we ought to mention Paula Modersohn-Becker as well: the very artist who, in 1906, painted the first nude self-portrait. These days we believe we&rsquo;ve seen everything. But Tanja Selzer would not be Tanja Selzer, had she not succeeded in breathing new and vibrant life into this otherwise hackneyed theme. In view of her new works, it appears as if &nbsp;Selzer conceives of the term &ldquo;nude&rdquo; (in German <em>Akt</em>) in its original sense as something derived from the concepts of &ldquo;actus&rdquo;&mdash;thus gesticulation&mdash;and of &ldquo;agere&rdquo;&mdash;which means &ldquo;to set in motion&rdquo;.</p> <p>Her motifs are screenshots from the internet&rsquo;s worldwide photo album. Outdoor moments that could have taken place anywhere. Scarcely compromising, when you see them on your computer screen. On the other hand, these paintings are not only of considerable size; they also show the bodies in a field of color that appears frightening and irrational, yet simultaneously pleasurable thanks to the way it&rsquo;s been ecstatically painted. There is something absurd about the manner in which these skin-toned forms have strayed into this ineffable world of colorful abstractions. And it is precisely this contradiction that piques our curiosity and challenges us. At close glance the ecstasy is even more visible and palpable. Thus the forms in the back- and foreground&mdash;the shadows of the people and of the bushes, the colors of clothing and plants&mdash;all blend together in a floral-vegetable act of love. The love-play is an immediate and an intimate one, befitting the moment depicted and the detail chosen by the artist from the plenitude of materials available to her. Selzer&rsquo;s subtle painting techniques have been adapted to suit the theme portrayed here. Powerful, richly contrastive strokes alternate with gentle rhythmic glazing. With exceptional dramaturgical skill the artist guides the gaze of the spectator across the diversity of skillfully and picturesquely staged scenes towards a putative highpoint. The highpoint itself remains vague. As is often the case, it is up to us to imagine more fully in our fantasy the scene depicted, and to enjoy it for what it is&mdash;a painted canvas, but painted in an exceedingly pleasurable manner.</p> <p>With her new series, &nbsp;Selzer alludes back to the early history of the nude&mdash; age when the nude had yet to be rarefied religiously and morally, but instead paid homage, first and foremost, to the cult of fertility. Thus, in the works of her current series <em>Meet me in the trees</em>, Selzer not only probes the depths of the laws of painting in an exceptionally adept fashion, but also plays with the strange attitudes of a society that is apparently forced to withdraw back into the bushes, wearied by the sheer surfeit of virtual pornography.</p> <p>Text: Harald Kr&auml;mer<br /> Translation: Brian Poole</p> Mon, 31 Mar 2014 22:36:59 +0000 - ABC NO RIO - April 9th - May 8th <p>ABC No Rio is pleased to present RESx, organized by members of the artists&rsquo; group<br />Colab. Complementing an exhibition at James Fuentes Gallery of original work from the Real Estate<br />Show of 1980, artists involved in that seminal exhibition are also organizing events and activities at<br />Cuchifritos in the Essex Street Market as well as this exhibition at ABC No Rio. RESx will be feature<br />new work on the themes of real estate, land-use, and the right to housing.<br />The original Real Estate Show opened on New Year&rsquo;s Eve, 1979 at 123 Delancey, now part of the<br />proposed massive Essex Crossing development. The Real Estate Show led the creation of ABC No Rio.</p> Fri, 21 Mar 2014 04:38:07 +0000 Adeela Suleman - AICON GALLERY - New York - April 17th - June 6th <p style="text-align: justify;">Aicon Gallery is pleased to present recent works by Adeela Suleman in her second New York solo exhibition, Towards the End. The exhibition hinges around a new group of monumental hand-beaten steel reliefs, rendered in the filigree tradition of Islamic art, depicting beheaded figures engaged in violent, but also absurd, scenes of armed conflict.<br /> <br /> From the Paleolithic into Neolithic eras, prehistoric humans shaped stone tools amid a progression of cultural and technological developments. Neolithic domestication led to permanent settlements, refining crafts such as pottery and weaving, to ultimately give rise to Bronze Age metallurgy. The emergence of metal tools advanced the technology of early civilization, including the first modern tools of war. In history, warriors are often portrayed with favored armaments &ndash; swords, lances, bows, shields, guns &ndash; adorning suits of protective armor. Arms not only provide visual evidence of a soldier&rsquo;s capacity and stature, but also testify to his established role in the social hierarchy.<br /> <br /> In the Mubarizun &ndash; No More series, Suleman portrays soldiers in binary identities, simultaneously as decorated heros and headless entities of war. Depictions of senseless killing lead to scenes of violent chaos and anarchy, rather than exploring the alternatives of altruistic reason and harmony. Decapitated soldiers march purposefully to battle, yet are unable to comprehend why. Historically, the term &ldquo;mubarizun&rdquo; (translated: duelers, or champions) referred to an elite unit of the Rashidun army comprised of top warriors &ndash; the master swordsmen, lancers and archers of their time. The Mubarizun were a recognized branch of the Muslim army, its sole purpose to slay as many opposing commanders, often in a duel preceeding the battle, for the purpose of demoralizing the enemy. In Mubarizun &ndash; No More Series 1, Suleman portrays two soldiers on a bed of flowers after beheading each other, with petal-like blood drops spraying from their severed necks as a crow sits unaffected upon one of the figures. The sculptures address, among other things, the archetypal history of human violence, paired with the inherent ambivalence of modern warfare, where killing on both small and large scales has become increasingly depersonalized and ambiguous in terms of accountability.<br /> <br /> Suleman&rsquo;s metal sword series, Karr Wa Farr, also incorporates the iconography of early Islamic warfare. Literally translated, &ldquo;karr wa farr&rdquo; means attack and flee, which was an early Arabian cavalry tactic. To weaken the enemies, infantry would use systematic advances and abandonments with spears and swords interspersed with arrow volleys. The strategic moment was reserved for a counterattack, supported by a flanked cavalry charge. In this sculptural series, Suleman depicts a small snake impaled upon a sword, whose blade is a wilted leaf, mounted upon a pedestal rendered in an arabesque pattern. Art, in this case, bears witness to the futility and ultimate impotence of violence as a means of social or cultural transformation, from past to present and into the future.<br /> <br /> Signature to her style, many of Suleman&rsquo;s sculptures are rendered in relief. Fashioned from hammered stainless steel, the finished works rise subtly from walls and platforms with intricate and shimmering detail. Despite their polish and refinement, the reliefs retain the humanistic aura of their hand-crafted creation and are rife with questions and suggestions beyond their figurative content. Suleman transforms basic subjects &ndash; often birds, plants, vases, weaponry, drapes and crowns &ndash; into a more complex iconography, revealing a deeper engagement with political, gender and societal concerns. Initially drawn to functional metallic objects such as colanders, drains, nuts and bolts, Suleman continues to create sculptures that both seek to beautify and dissect these prevalent themes. <br /> <br /> The recurring motifs in Suleman&rsquo;s work &ndash; organic subjects such as birds and flowers &ndash; form detailed, repetitive patterns, which are replete with symbolic meaning. Abstracted notions of loss and disappearance quietly resonate through her sculptures. In lieu of tombs, memorials and funerals, the works confront our earthly fears, but remain suggestive of transcendental relief. They may be seen simultaneously as symbolic representations of the coexistence between love of nature and the chaos of man, in addition to the fragmented documentaries referencing recent violent and catastrophic occurrences within the artist&rsquo;s sociopolitical landscape.</p> <p style="text-align: justify;">Adeela Suleman studied Sculpture at the Indus Valley School of Art and completed a Master&rsquo;s degree in International Relations from the University of Karachi. She is currently the Coordinator of Vasl Artists&rsquo; Collective in Karachi, in addition to being the Coordinator of the Fine Art Department at Indus Valley School of Art and Architecture. Suleman has participated extensively with group and solo exhibitions worldwide, including Phantoms of Asia at the Asian Art Museum, San Francisco, the 2013 Asian Art Biennial at the National Taiwan Museum of Fine Art, Hanging Fire &ndash; Contemporary Art from Pakistan at The Asia Society, New York; Gallery Rohtas 2, Lahore; Canvas Gallery, Karachi; Aicon Gallery, New York; and, the International Exhibition of Contemporary Art, Bologna, Italy (2008). Reviews and features of work appear in Artforum and the New York Times, among other publications. The artist lives and works in Karachi, Pakistan.</p> Wed, 16 Apr 2014 07:22:34 +0000 Robert Kinmont - Alexander and Bonin - April 12th - May 24th <p>Robert Kinmont was born in Los Angeles in 1937 and currently lives in Northern California. Between 1968 and 1981, he exhibited in galleries and institutions such as the San Francisco Museum of Art; the de Young Museum, San Francisco; the Smithsonian Institution, Washington D.C. and the 1968 &ldquo;Sculpture Annual&rdquo; at the Whitney Museum, New York. Between 1981 and 2004, Kinmont studied Buddhism and worked as a carpenter and returned to his artistic practice in 2005. One-person exhibitions of his sculpture and photography took place at Alexander and Bonin in 2009 and 2011, and in 2010 his work was included in several group exhibitions such as &ldquo;The Traveling Show&rdquo; at Fundaci&oacute;n/Colecci&oacute;n Jumex, Mexico City, and &ldquo;The Moon is An Arrant Thief&rdquo; at the David Roberts Foundation, London. In 2011, Kinmont&rsquo;s work was included in &ldquo;State of Mind,&rdquo; a survey of new California art circa 1970 co-organized by the University of California, Berkeley Art Museum and the Orange County Museum of Art. His work is on view in &ldquo;Ends of the Earth: Art of the Land to 1974,&rdquo; at the Geffen Contemporary at the Museum of Contemporary Art, Los Angeles until September 3rd. The exhibition will subsequently travel to Haus der Kunst, Munich.</p> Tue, 08 Apr 2014 04:07:08 +0000 Heidi Bucher - Alexander Gray Associates - April 9th - May 18th <p>Alexander Gray Associates presents its inaugural exhibition of Heidi Bucher, featuring emblematic works from the 1980s and 1990s. Bucher (b.1926, Winterthur, Switzerland &ndash; d.1993, Brunnen, Switzerland) maintained an important, but overlooked practice dedicated to the exploration of materiality, space, and the body. The exhibition focuses on Bucher&rsquo;s &ldquo;skinnings,&rdquo; the works for which the artist is most well-known. Studies of personal, cultural, and collective memory and experience, the &ldquo;skinnings&rdquo; examine architectural elements of historically and personally significant buildings. Having studied fashion, Bucher began her career creating body wrappings, body shells, and latex casts of clothing, exploring clothes as second skins that hid women both physically and psychologically. Bucher&rsquo;s move towards architectural imprints, which began after returning to Switzerland from Los Angeles in the early 1970s, was an extension of her earlier clothes-based works and her investigation of the body in space. <br /> <br /> Heidi Bucher created pieces like <em>Obermühle</em> (c.1980s) by applying fabric or caoutchouc to the interior surfaces of rooms, including doors, floor segments, windows, and entire walls. Layering latex on top, she removed the fabric and latex as one, often peeling off paneling, plaster, and pigments in the process. Her &ldquo;skinnings" embody both the materials used and the architectural features of the space. In some cases, Bucher applied a top coat of iridescent mother-of-pearl paint, giving the works a patina-like finish as in <em>Untitled (floor fragment)</em> (n.d.). Through a highly physical process of artistic creation, Bucher engaged with notions of personal and collective memory. As she stated, &ldquo;We paste the rooms and then listen. We observe the surface and coat it. We wrap and unwrap. Life, the past, becomes entangled in the cloth and remains fixed. Slowly we loosen the layers of rubber, the skin, and drag yesterday into today.&rdquo; Bucher&rsquo;s works enabled her to appropriate historically and personally charged spaces and make them her own. <em>Villa Bleuler</em> (c.1991), a tile imprint of the nineteenth century estate, is indicative of the domestic environments and spaces on the verge of decay or destruction that primarily concerned Bucher; she worked on the historic villa right before it was renovated to house the Swiss Institute for Art Research. The resulting objects carry great emotional significance, containing a personal story of the artist&rsquo;s past.<br /> <br /> Heidi Bucher&rsquo;s work has been exhibited extensively throughout Europe and North America. She is currently the subject of a solo exhibition at the Swiss Institute in New York. In 2004, Bucher was the subject of a retrospective exhibition at the Migros Museum f&uuml;r Gegenwartskunst, Zurich, Switzerland. Her work was exhibited in the 1972 exhibition <em>Bodyshells</em> at the Los Angeles County Museum of Art, CA; as well as the 1971 exhibition <em>Soft Sculptures to Wear</em> at the Museum of Arts and Design, New York. Recent exhibitions featuring her work include the Centre Culturel Suisse, Paris, France (2013); Mus&eacute;e Rath, Gen&egrave;ve, Switzerland (2013); Kunstmuseum Luzern, Lucerne, Switzerland (2012); and the Museum Bellerive, Zurich (2008). Her work is in the permanent collection of the Migros Museum f&uuml;r Gegenwartskunst, Zurich.</p> Mon, 31 Mar 2014 22:43:53 +0000 Group Show - American Folk Art Museum - Lincoln Square - January 21st - April 23rd <p>This exhibition will explore the polemical yet fascinating ways in which fashion engages with art. Conceived as an encounter between two worlds of creative endeavor, &ldquo;Folk Couture&rdquo; will feature the work of thirteen established and emerging designers who will create an original ensemble based on a selection of paintings, sculptures, photographs, quilts, and furniture chosen from the museum&rsquo;s outstanding collection. The designers have selected approximately thirty artworks, drawn from every time period and in every medium considered by the museum, not only for their potential fashionability and capacity to inspire new styles of clothing but also for their background stories that inject powerful notes of intimacy and authenticity. The original couture and the works of art from the museum's collection will be exhibited together in juxtapositions that promise to be both stunning and provocative.</p> Sun, 08 Dec 2013 20:40:25 +0000 Friedrich Kunath - Andrea Rosen Gallery - March 15th - April 26th <p><em>he Temptation To Exist (May Contain Nuts) </em>marks a notable evolution in Friedrich Kunath&rsquo;s practice into a matured exploration of abstraction, interior sensation, and oppositional relationships that propel emotional experience. On the heels of a comprehensive monograph entitled <em>In My Room</em>, and a series of institutional exhibitions, Andrea Rosen Gallery is delighted to announce Kunath&rsquo;s fourth solo exhibition with the gallery.</p> <p>Inextricably entwining the experience of the ordinary with the sublime, Kunath&rsquo;s works jump between daydreams and &ldquo;reality,&rdquo; painterly surface and psychological interior. Through heightening the artifice and the sincerity of the narrative, both are shown to be essential. Playfully pushing every element to the limit of its emotionality and capacity for meaning, Kunath reveals the deflative qualities of a climax, and simultaneously suggests that certain new truths can be revealed through, as the writer David Berman describes, &ldquo;knowing which dimension of an uninteresting thing is actually interesting.&rdquo; The act is an embrace of existence &ndash; both vibrant and mundane. An invitation into a perpetual joke.</p> <p>Within the landscape of the exhibition, one is met first with nostalgia, and then, as though slipping into a fever dream, invited to wander the juxtaposed realms of past and future, elegance and decay, the bucolic and the strange. The images build upon themselves in a layered stream of consciousness driven by the autobiographical, the conceptual and the emotional. Here, elements individually familiar, in unison, now propose a kaleidoscopic view of reality.</p> <p><em>&ldquo;Somewhere in these oppositions lies the aesthetic possibility of slipping on a banana peel&rdquo;</em> &ndash; Friedrich Kunath</p> <p><em>&ldquo;Too late for fruit, too soon for flowers&rdquo;</em> &ndash; Walter de la Mare</p> <p>Friedrich Kunath was born in Chemnitz, Germany, in 1974, and currently lives and works in Los Angeles, California. His exhibition <em>Friedrich Kunath: A Plan to Follow Summer Around the World</em>, is currently on view at the Centre d'art contemporain d'Ivry - le Cr&eacute;dac through March 23rd, 2014, and a forthcoming exhibition at the Kunsthalle Bremerhaven, Bremerhaven, Germany, will be on view from September 16 &ndash; November 2, 2014. Recent solo shows include Modern Art Oxford, Oxford (2012), Schinkel Pavillon, Berlin (2011), Hammer Art Museum, Los Angeles (2010), the Kunstverein Hannover (2009), and the Aspen Art Museum (2008). Kunath was included in the 55th Carnegie International, Pittsburg. He is a recipient of the Peter Mertes Stipendium, Bonner Kunstverein, Germany (2001) and the J&uuml;rgen Ponto-Foundation Stipend, Frankfurt (2005).</p> Tue, 11 Mar 2014 01:13:36 +0000 Sharon Hayes - Andrea Rosen Gallery 2 - March 15th - April 26th <p><em>&ldquo;It is hard work to listen, though we probably spend more time doing it than almost anything else we do. But it is even harder work to be attentive to how we listen and this, I suppose, is what I&rsquo;ve been doing for the past 15 years.&rdquo;</em><br /> -Sharon Hayes, &ldquo;There&rsquo;s so much I want to say to you&rdquo;<br /> <br /> Andrea Rosen Gallery is pleased to announce <em>Fingernails on a blackboard</em>, Sharon Hayes&rsquo; first project with the gallery and an eagerly anticipated exhibition at Gallery 2. She has had numerous institutional exhibitions in New York, including her 2012 survey <em>There&rsquo;s so much I want to say to you </em>at the Whitney Museum of American Art.<br /> <br /> The exhibition expands and builds upon an established line of inquiry in Hayes&rsquo; work through her active mining of the intersection between history, politics and speech. Both the title of the exhibition and a new body of work, <em>Fingernails on a blackboard </em>investigate how voice acts as the embodied medium of speech. Hayes takes an action at the Statue of Liberty on August 10, 1970 and the 1977 National Women&rsquo;s Conference in Houston, Texas as points of departure. The 1977 conference was a result of an executive order to assess the status of women in light of the United Nations proclaiming 1975 as International Women&rsquo;s Year; New York Congresswoman Bella Abzug was appointed to head the conference. Following the conference, an extension was granted for the ratification of the Equal Rights Amendment. Having only been ratified by 35 states by the 1982 deadline, the amendment has never been passed.</p> <p>In the exhibition, Hayes reproduces a fragment of a banner hung off the Statue of Liberty that read &ldquo;WOMEN OF THE WORLD UNITE!&rdquo; The banner was hung to promote the Women's Strike for Equality held two weeks later, August 26, 1970 on the 50th anniversary of women&rsquo;s suffrage. Hayes&rsquo; interpretation features black painted text on a white ground that only reads &ldquo;WOMEN.&rdquo; Hayes also reproduces a banner hung on the stage of the National Women&rsquo;s Conference. Approximating the scale of the text of the actual banner, six-foot high panels become a painted translation of voice literally shouting the word &ldquo;WOMAN&rdquo; and nearly exceeding the size of the gallery space. The scale and media of these particular works reflect Hayes&rsquo; engagement with both the context of the gallery and the specificity of the physical space. A new video and sound work uses the transcript of a meeting between politician Bella Abzug and a vocal coach in which both work at neutralizing Abzug's regional accent and softening her tone. The work addresses the political consequences of gender and specific limits of power in the specter of public speech.<br /> <br /> <em>&ldquo;It raises the question: Could you actually live in this country for eight years having to listen to her voice?&rdquo;</em><br /> -Megan Garber quoting Tucker Carlson on Hillary Clinton, Columbia Journalism Review, 2008<br /> <br /> Hayes engages the present moment by calling upon the past. Through its material animation, Hayes shows how history embeds itself in collective memory and gets played out in current political situations. Viewers are asked to traverse the boundary between public and private, recognizing themselves as beholden to and actors in historical realities. Events like the 1970 action at the Statue of Liberty or the 1977 National Women&rsquo;s Conference are recalled in gestures that document but also transform the original objects. By isolating and re-contextualizing the words WOMAN and WOMEN, Hayes&rsquo; exhibition points to the precariousness of the terms in this time and place and raises questions about the complexity of collective affiliations around gender now.<br /> <br /> <em>Sharon Hayes (b. 1970, Baltimore, MD) has had major solo exhibitions at the Reina Sofia, Madrid; the Art Institute of Chicago, and most recently at the Whitney Museum of American Art, New York. Her work has been widely exhibited in significant exhibitions including The Encyclopedic Palace at the 55th Venice Biennale; the 2010 Whitney Biennial, documenta 12 (collaborative project), Kassel; MoMA PS1, Long Island Cith, NY; Generali Foundation, Vienna; Museum Moderner Kunst (MUMOK), Vienna; Artists Space, New York; New Museum, New York; Tate Modern, London;and the Istanbul Biennale. Hayes has been recently granted the Alpert Award in the Arts. The artist lives and works in New York.</em></p> Tue, 08 Apr 2014 18:44:46 +0000 Nancy Brooks Brody - Andrew Kreps Gallery @ 535 West 22nd - April 5th - May 10th <div style="text-align: justify;"><span style="font-size: small;">Andrew Kreps Gallery is pleased to present a solo exhibition by New York artist, Nancy Brooks Brody in the 535 West 22nd Street gallery. The exhibition,&nbsp;<em>SUITES IN SPACE: Merce Drawings and Color Forms</em>, features two new series of works. Merce Drawings are linear compositions executed on top of still&nbsp;photographic images of Cunningham performances, which foreground shapes made by the body as it traveled through space and time. To create&nbsp;<em>Merce Drawings</em>, Brody prints low-res images culled from the Internet onto newsprint. These photographs of dancers&rsquo; bodies capture a tilted head or a shift in weight to create fixed points that guide the visual plane. While Brody makes several prints of the same image, each unique work underscores the live act of drawing - the unpredictability and the inscription of movement onto time. The painting-objects,&nbsp;<em>Color Forms</em>, are further meditations on the&nbsp;impression a body leaves behind. For these works, Brody embeds enamel-painted shapes made of lead into shallow clefts carved directly into the wall. An extension of her life drawing practice, they are characteristic of Brody&rsquo;s investment in transmissions, transitions and form.<br /><br />Brody creates painting, drawing and sculptural works in which the tension between precision and chance give way to a sense wonder. In this exhibition, she continues her consideration of abstract forms inspired by traces of corporeality.&nbsp;<br /><br />Nancy Brooks Brody was born in New York, where she lives and works. She has exhibited two solo shows at Virgil de Voldere Gallery, New York. Selected groups exhibitions include Brooklyn Museum, New York; La Mama La Galleria, New York; FRAC Haute-Normandie, France; White Columns, New York; Slingshot Project, Brussels; Artists Space, New York; Vera List Center for Arts and Politics, New York and The Drawing Center, New York. Nancy Brooks Brody has been a member of the queer women&rsquo;s collective, fierce pussy, since 1991.</span></div> <p><span style="font-size: xx-small;">&nbsp;</span></p> Mon, 14 Apr 2014 08:39:57 +0000 Marc Camille Chaimowicz - Andrew Kreps Gallery @ 537 W. 22nd - April 5th - May 10th <p>The Andrew Kreps Gallery is pleased to present <em>Gustave 2014&hellip;</em> the gallery&rsquo;s first exhibition with London and Dijon-based artist Marc Camille Chaimowicz. Known for his pioneering work of the 1970&rsquo;s, his work has continued to blur the distinctions between performance and installation, as well as art and life. <br /><br />Over the past four decades, from the performances and installations in the 70&rsquo;s through his designs for furniture, ceramics and patterns for mass-produced consumer items, Marc Camille Chaimowicz has developed an unmistakable formal idiom and signature style. His belief in beauty, lightness and elegance is expressed in his preference for graceful curves, delicate forms, and a characteristic palette of pastel shades. This nuanced approach reflects the ambiguity of the artwork, which is always situated somehow &ldquo;in-between&rdquo;. Chaimowicz takes pleasure in breaking down the hierarchy of applied and fine art. His pattern designs appear rooted in the painterly vocabulary of modernism, especially that of French painting and literature, to whose legacy he feels attached. <br /><br />For his show entitled Gustave <em>2014&hellip;</em> Chaimowicz has built a cruciform wall in the middle of the gallery creating intimate interior spaces in which carpet, wallpaper, furniture, painting and prints are installed to create layered and wholly unique tableaus reflecting the artist&rsquo;s idiosyncratic dandyism.&nbsp; Depicting a place neither here nor there, and in a time not delineated, these environments are imbued with a sense of nostalgia that both resists and invites the viewer. A second &ldquo;chapter&rdquo; of prints created from images from his seminal catalog which hi-jacked the traditional form of an interiors magazine are featured along with a slide-projector work, originally exhibited at the Tate which layers images of the artist upon themselves.<br /><br />In his own words, &ldquo;We should resist the tyranny of linear time for one which is much more elusive, labyrinthian, gracious and once understood, perhaps even kindly. Once we recognize that it can fold in on itself &ndash; wherein, for example, recent events can seem distant and more distant ones seem closer &ndash; we then have a greater fluidity of means.&rdquo;<br /><br />Marc Camille Chaimowicz was born in postwar Paris and has had major solo exhibitions internationally at the Serpentine Gallery, London, Le Consortium, Dijon, Nottingham Contemporary, Nottingham, Secession, Vienna, Inverleith House, Edinburgh and inaugurated the new Artist Space with a solo installation in 2009. His works have been included in several group shows at Weltkulturen Museum, Frankfurt; the Tate Britain, Raven Row, and the Royal Academy of Arts all in London and in 2008 his work was included in the Berlin Biennial for Contemporary Art.</p> Tue, 08 Apr 2014 04:14:19 +0000 Sarah Jones - Anton Kern Gallery - March 27th - April 26th <p>For her fourth solo show at Anton Kern Gallery, British photographer Sarah Jones presents twenty-one new images from her Cabinet, Vitrine, Rose Gardens, and Horse series. They are immersed in the deep black tone of highly saturated C-prints, many made from black-and-white negatives, and strike a distinct note between straight un-manipulated documents and profoundly emotive image inventions. Following on from the recent publication of her monograph by Violette Editions as well as her one-person exhibition at the Minneapolis Institute of Arts, Jones&rsquo; new photographs continue to explore how subjects are measured and&lt; transcribed through the large format view camera and flattened in pictorial space.<br />Over the years themes such as the analyst&rsquo;s couch, the municipal rose garden as still life in-situ, the drawing studio and the singular female subject have been central to her concerns. Her photographs are often made on location and illuminated with carefully controlled lighting that allows the subject to both emerge from and recede into a darkened space. Through the use of analogue techniques Jones studies the correspondence between the skein of the film, the surface of the photographic print and the surface of her subjects. For Jones this attention to materiality brings to mind the act of mark making in drawing.<br />Jones has previously used the diptych as a formal device and direct reference to early stereographic photographs in order to present two perspectives of a single form. The recent diptychs consider the act of doubling and the alchemic nature of the photographic process by literally flipping an image. One becomes an imprint or reflection of the other recalling the Rorschach inkblot. In such an act of mirroring, Cabinet (II) (After Man Ray) (I) and (II) picture a curved glass object that recalls Man Ray's Le Violon d&rsquo;Ingres, (1924). Other works in the exhibition reflect on the photographic language of Florence Henri, Karl Blossfeldt and Eugene Atget.<br />Born in London, in 1959, Sarah Jones lives and works in London. Previous solo exhibitions include New Pictures 8, Minneapolis Institute of Arts, USA, 2013; Sarah Jones: Photographs, National Media Museum, Bradford, 2007; Huis Marseille Foundation for Photography, Amsterdam, 2000; Museum Folkwang Essen, Essen, 1999; Centre for Photography, Universidad de Salamanca, Spain, 1999; Museum Reina Sofia, Madrid, 1999; Le Consortium, Dijon, France, 1997. Recent group exhibitions include Seduced by Art: Photography Past and Present, National Gallery, London, UK and CaixaForum Barcelona, and CaixaForum Madrid, 2013; Der Mensch und seine Objekte, Museum Folkwang, Essen, 2012; Observers: Photographers of the British scene from 1930s to now, Galeria de Arte do Sesi, Avenida Paulista, Sao Paulo, 2012; Nothing In the World But Youth, Turner Contemporary, Margate, UK, 2011; Signs of a struggle: Photography in the Wake of Postmodernism, Victoria and Albert Museum, London, UK, 2011; A Sense of Perspective, Tate Liverpool, Liverpool, UK, 2011; Portraits, Bloomberg Space, London, UK, 2008; Street &amp; Studio: An Urban History of Photography, Tate Modern, London and Museum Folkwang, Essen, Germany, 2008.<br /><br /></p> Mon, 07 Apr 2014 01:51:36 +0000 Wilhelm Sasnal - Anton Kern Gallery - March 27th - April 26th Tue, 25 Mar 2014 01:18:04 +0000 Group Show - Apexart - March 20th - May 10th <p>Saturdays at 4pm:<br />An accompanying performance series organized by Regina Miranda will feature:<br />Claire Porter, Frederick Curry, Mariangela Lopez, Patricia Niedermeier, and others.</p> <p><br />Our bodies and our lives are defined by codes. Smart phone apps tell us where we are, genetic codes map our past and future, and religious codes mandate what we can put in and on our bodies. Exoskeletons running military software promise to turn us into real-life iron men, fashion designer-coders write programs that automatically generate 3D printed clothing, and roboticists work tirelessly to build human replicas.<br />Codes and machines are voraciously claiming more and more of our time, our attention, and our physical selves. With each new year we spend more time interacting with computers and less time interacting with people and our natural environment. Abstract mathematical frameworks are increasingly portrayed as the only valid way to make sense of the world. Humanist approaches wield less and less influence. Many of us occupy this landscape with fascination, enchantment, and unease.<br />Coding the Body interrogates the relationships between humans and code. It explores how code is being used to understand, control, decorate, and replicate us. The exhibition celebrates the beauty of code and its manifestations while casting a wary eye on its ever expanding power.</p> Tue, 04 Mar 2014 02:51:23 +0000 Ogden Pleissner - Arkell Museum - February 15th - June 1st <p>Ogden Minton Pleissner said that he could be called &ldquo;a landscape painter, a painter of landscapes who also liked to hunt and fish.&rdquo; He traveled out West, to Quebec, through New England and the South prepared with both fishing and sketching equipment. The Arkell collection includes both watercolors and oil paintings by this American artist who found success as an artist with his first solo show at Macbeth Gallery in 1933. Works in the Arkell collection date from 1936-1942 and depict diverse locations that include southern United States, Wyoming, Nebraska, and war time in the Aleutian Islands.</p> Sun, 23 Feb 2014 23:36:26 +0000 - Arkell Museum - February 15th - June 1st <p>The exhibition features painted, sketched and printed views of the Mohawk River and Erie Canal from the mid 18th through the 21st century.</p> Sun, 23 Feb 2014 23:37:27 +0000