ArtSlant - Current exhibits en-us 40 Valentin Carron - 303 Gallery - November 6th - December 20th <div id="content" class="grid_10"> <p style="text-align: justify;">303 Gallery is pleased to present our third exhibition of new work by Valentin Carron.</p> <p style="text-align: justify;">A man comes home from a day at work, removes his belt, and throws it onto a stool. The belt unfurls itself coming to rest dangling from the stool, frozen in the insipid elegance of the gestural.&nbsp; In the work of Valentin Carron, this everyday apologue becomes a series of assemblage sculptures consisting of exquisite glass casts of men's belts tossed onto pieces of found furniture. Existing in the strange interstice between the domestic and the sacred, these tableaux appear charged with a familiarly disorienting emptiness. The torsion in the pseudo-baroque elegance of the belts is now cast in glass, freezing and robbing them of their potential poetry. They billow onto their de facto prefab pedestals, abject scraps of consumerism acting as supports in Carron's allegorically imbued still lives. The belts themselves become monuments for the delicate and insidious skein of masculinity in the face of a designed world. Man becomes vulnerable to his surroundings, to failure, to repeating the same gesture again and again. He is interred into a negotiation between his Nietzschean virility and the self-effacing dead end of the functional.</p> <p style="text-align: justify;">In a series of paintings, Carron mines the vernacular of modernist banality and its psychic, emotional, and behavioral implications. Details of found motifs selected from the covers and spines of industrially produced cloth and leather-bound books of the western postwar period are projected onto PVC tarpaulin and painted with vinyl ink. These motifs were meant to inspire and evoke the abstract promise of the future, a promise as yet unrealized. Though there is a nobility in the optimism of using formal means to translate a mass-produced consciousness, in the face of reality it is impossible not to see them through the lens of pathos. Even the process itself flattens the dimensionality of what is traditionally thought of as "painterly," rendering with pungent desolation these contemporary hieroglyphs of failure.</p> <p style="text-align: justify;">Valentin Carron lives and works in Martigny, Switzerland, where he was born in 1977. In 2013 he represented Switzerland at the 55th Venice Biennale. Major presentations of his works were realized at Kunsthalle Bern (2014), Palais de Tokyo Paris (2010), Kunsthalle Z&uuml;rich (2007), Swiss Institute New York (2006), Centre d'Art Contemporain Geneva (2004), Chisenhale Gallery London (2006) and Mamco Geneva (2001). Catalogues were published on the occasion of Carron's exhibition at the Swiss Pavilion 55th International Venice Biennale (JRP/Ringier) and his recent solo exhibition at Kunsthalle Bern. A monograph of the artist's work was published by JRP/Ringier in 2011.</p> <p style="text-align: justify;">303 Gallery represents the work of Doug Aitken, Valentin Carron, Hans-Peter Feldmann, Ceal Floyer, Karel Funk, Maureen Gallace, Tim Gardner, Dominique Gonzalez-Foerster, Kim Gordon, Rodney Graham, Mary Heilmann, Jeppe Hein, Jens Hoffmann, Larry Johnson, Matt Johnson, Jacob Kassay, Karen Kilimnik, Alicja Kwade, Elad Lassry, Florian Maier-Aichen, Nick Mauss, Mike Nelson, Kristin Oppenheim, Eva Rothschild, Collier Schorr, Stephen Shore, Sue Williams, Jane and Louise Wilson,</p> <p style="text-align: justify;">303 Gallery is open Tuesday-Saturday from 10 am - 6 pm. For further information please visit us at or contact Cristian Alexa, Kathryn Erdman, Thomas Arsac or Erika Weiss.</p> </div> Fri, 31 Oct 2014 08:30:07 +0000 Nobuyoshi Araki, Barbara Ess, Darcy Lange, Wolfgang Tillmans, Jeff Wall - 3A Gallery - November 19th - February 14th, 2015 <p>Artist Dan Graham's photography collection which he traded with his artist friends.</p> Tue, 18 Nov 2014 00:18:04 +0000 Amy Lien, Enzo Camacho - 47 Canal - November 8th - December 21st <p style="text-align: justify;">Like many other people, Amy Lien and Enzo Camacho, who have been collaborating for several years, are based between two or more distant places, meaning that whether they like it or not, they are separated from where they still think they might belong. This can be seen as the root cause of a productive form of anxiety, or it might also be a total waste of time. Either way, certain emergent phenomena can easily become magnified by an alienated imagination.</p> <p style="text-align: justify;">The call centers mushrooming all over the sprawling urban fabric of Metro Manila have unleashed a dazzling chain of analogies. The artists have been perambulating around this industry and its issues since 2010, when the Philippines superseded India as the leading nation in business process outsourcing. The districts in Metro Manila where these companies have built their offices have taken on a distinct flavor of banality, swarmed by 24-hour eating and drinking establishments that cater to those working zombie shifts on Eastern Standard or some other Time. When entering the workplace, the employees are stripped of their cell phones and enter into a predictable arrangement of fluorescent-lit hallways, rooms,&nbsp; and cubicles. When they dribble out of these buildings, on a cigarette break or to buy a pack of gum or French fries, they exude a particular teeth-chattery energy, an upper high. This is what an upgrade in sovereign credit rating looks like at ground level. Being amongst thousands of youthful bodies milling around strip malls and back alleyways in the early morning hours, leaking nervous cigarette breath into the hot night air and chattering idly before returning to work, the two artists felt a vicarious buzz, a fear of missing out.</p> <p style="text-align: justify;">Did you hear about the call center sex tape? Or the notorious Telecommunications company BBQ transvestite beauty pageant talent show? Did they tell you how Filipinos have friendly voices but low critical problem solving abilities due to an over-eagerness to please and subsequently pretending to understand things that they actually don&rsquo;t? That they gossip way too much? That they prefer being paid in bags of rice? In the Filipino comedy <em>Call Center Girl</em>, a middle aged OFW (Overseas Filipino Worker) returns home from a career on a cruise ship and, in order to redeem her relationship with her neglected adult daughter, joins the same call center where she works, and seduces their mutual team leader in order to pawn him off onto her. Distortion makes the facts more titillating. Hidden cameras catch leaks at low res.</p> <p style="text-align: justify;">Is &ldquo;internet savvy youth&rdquo; an international concept? While the so called eighty-nine or digital natives databasing project aggregates consensus, cheaply institutionalizing its investments, the call center phenomenon of the Philippines says this: There is an emergent population of young, English-fluent, technology-literate, newly solvent, upbeat laborers who don&rsquo;t feel the pressure to leave the country to support their families, but internalize the West to meet its service expectations. The lurkers in the shadows, Amy and Enzo are turned on by their heat.</p> <p style="text-align: justify;">Returning to NY together for the first time since 2011, scanning the city by night, their eyes were drawn, in a sliding, lenticular, double recognition, to the most beautiful person they&rsquo;d ever encountered, who reciprocated the gaze, and immediately became a fixation. Fluorescent lighting made his complexion luminous. He worked for a vanguard fashion/social media platform, but also for himself, and cultivated an attitude accordingly. He would soon begin monopolizing their nights and seeping into their early morning dreams, with conversations drenched in whiskey and hot pot, reverberating dramatic nights out in Manila but refracted through the patois of edgy NY youth marketing. This is a love that gets ditched at the Thai restaurant because he left the proverbial stove on. This is a love that demands to remain an unrequited fantasy, triangulated to maintain its momentum, to burn in perpetuity.</p> <p style="text-align: justify;">This is a show dedicated to those subjects that pour out into the night, to seek love in work in wasting time in race/class/gender/globalization.</p> <p style="text-align: justify;"><em>Amy Lien (b. 1987) &amp; Enzo Camacho (b. 1985) are collaborating artists. They have staged recent solo exhibitions at Mathew Gallery (Berlin, Germany), MoSpace (Taguig, Philippines), Pablo Fort (Taguig, Philippines) and Republikha Art Gallery, (Quezon City, Philippines). They will participate in a six month residency as artists/curators at Gluck 50 (Milan, Italy) starting in January 2015. This is their second solo exhibition at 47 Canal.</em></p> Wed, 26 Nov 2014 17:13:43 +0000 Diana Copperwhite - 532 Gallery Thomas Jaeckel - November 13th - December 20th <p style="text-align: justify;">When describing Diana Copperwhite&rsquo;s work Colm Toibin wrote:</p> <p style="text-align: justify;">Her work is about painting first and foremost; [these] references merely serve a purpose.&nbsp; Thus digital images which freeze and fragment an original image fascinate her, but such images in themselves are not enough, they provide a way into the painting.&nbsp; It is their visuality which inspires rather than any precise sense of a blurred or fragmented reality.&nbsp;&nbsp; Because she physically likes making paintings, everything is subservient to what paint will achieve.</p> <p style="text-align: justify;">Copperwhite makes paintings that move fluidly between representation and abstraction. Photographs, montage and assemblage all aid the process and become ancillary works that pin down fleeting thoughts, glimpses and reactions to a media saturated age.&nbsp; Her interests and sources are eclectic and wide ranging, from social media to philosophical debate to art historical references.&nbsp; Yet, as Toibin points out, her paintings are no more about the image than they are about the process of painting itself.&nbsp; Her work is phenomenological in that momentarily emotional responses override the need to capture reality.&nbsp; Something has piqued her interest and from that initial interest she thinks in colour, in tone, and texture, in setting herself a visual problem to which there is no single definitive solution.&nbsp; Her palette is composed of murky undertones punctuated by bright neon rifts. The fluidity and expressiveness of the painting gives little hint of the rigorous and formal abstract principles applied to the making.</p> <p style="text-align: justify;">Strangers in a Room is an almost purely abstract painting, a composition of bold stripes and gestural marks.&nbsp; The eye struggles and fails to distinguish the strangers of the title, but the space retains something room-like, an echo of representation caught just beneath the vibrant surface. This duality is apparent in all the work, the teasing through of an idea, of where it has come from and where it may lead. The recurring motif of screens appears in Tropic of Capricorn Tropic of Cancer.&nbsp; Two squares like televisions float brightly facing each other.&nbsp; It is no accident that the title references astrology, lines of latitude, and the writer Henry Miller.&nbsp; A multi-media world describing the interconnectedness of knowledge. &nbsp;In Copperwhite&rsquo;s work even the most arbitrary act demands balance, the carefully thought out response.&nbsp; The source may seem randomly chosen but the intellectual process, the making of a painting is not.</p> <p style="text-align: justify;">Diana Copperwhite studied Fine Art Painting at Limerick School of Art and Design and the National College of Art and Design, Dublin. She completed an MFA at Winchestor School of Art, Barcelona in 2000.&nbsp; Diana is a tutor at the National College of Art and Design,Dublin.&nbsp; Her work is in the collection of the Irish Museum of Modern Art and the Arts Council of Ireland, and also in collections in the United States, Europe and Australia.</p> <p style="text-align: justify;">The writer Colm Toibin is currently Irene and Sidney B Silverman Professor of Humanities at Columbia University.&nbsp; He is an IMPAC Dublin Literary Award prizewinner, and has appeared on the Booker shortlist, most recently in 2013 for his play the Testament of Mary.</p> Fri, 31 Oct 2014 08:32:57 +0000 Peter Blume - ACA Galleries, Est 1932 - November 6th - January 31st, 2015 <p align="center"><strong><span style="color: #1b8be3;">PETER BLUME (1906-1992)</span></strong></p> <p align="center">November 6, 2014 through January 31, 2015</p> <p align="center"><span style="text-align: left;">&nbsp;</span></p> <p>ACA Galleries is pleased to announce the upcoming exhibition, PETER BLUME (1906-1992),on view <strong>November 6, 2014 through January 31, 2015</strong>.&nbsp; The exhibition will feature paintings, drawings and sculpture from the artist&rsquo;s estate. &nbsp;</p> <p>Concurrent with the ACA Galleries exhibition is the firstPeter Blume retrospective since 1976, <strong><em>Nature and Metamorphosis</em></strong>, organized by the <strong>Pennsylvania Academy of the Fine Arts (PAFA)</strong>, Philadelphia <strong>(November 14, 2014 &ndash; April 5, 2015).</strong>&nbsp; This exhibition will travel to the <strong>Wadsworth Athenaeum</strong>, Hartford, CT <strong>(June 27 &ndash; September 20, 2015).</strong>&nbsp; Catalogue will be available. &nbsp;&nbsp;</p> <p>Peter Blume&rsquo;s modernism embodies the clashing contradictions of the 20th Century: abstract complexities with nostalgia for a simpler past; the rush of urban living with the yearning for a lost pastoral life; the cold reality of politics with the quest for spiritual meaning in a world ravaged by two world wars and a ruinous economic depression. &nbsp;By embracing the irreconcilable, Blume transcends Modernist art&rsquo;s conventional aspirations to re-define order in a chaotic world. &nbsp;His oeuvre is metamorphosis itself, a realm where paradox rules. &nbsp;Within that clash Blume found profound meaning and sublime beauty.</p> <p>Blume&rsquo;s deep knowledge of art history holds these disparate elements together. &nbsp;We see the elegance of Renaissance rendering, the balance and figurative perfection of Classical antiquity, the rule-breaking energy of Modernism, and the spontaneity of folk art. &nbsp;The latter reflects his Russian Jewish roots and his embrace of the culture of his adopted land, America. &nbsp;Together with his understanding of the emotional properties of color, the structural backbone of architecture, and the physicality of sculpture, Blume was able to corral these elements into a surreal narrative. &nbsp;&nbsp;</p> <p>Adding richness to Blume&rsquo;s already complex mix of influences was his involvement with metaphysical experimentation. &nbsp;His interest in Automatism and &ldquo;automatic writing&rdquo; found its way into his preliminary studies for paintings and his works on paper in particular, where he allowed his hand to move spontaneously across a surface. &nbsp;The results are dynamic works of flowing lines and exciting shapes existing in metaphysical tension, where the physical facts of the world meet the whispered secrets of the mind and spirit.</p> <p>In a life that spanned nearly the entirety of the 20th Century, Blume&rsquo;s art recorded not the dry facts of that century but the soul of it, its struggles against incomprehensible violence, and its triumphs of survival over man-made madness. This achievement won Blume critical acclaim throughout his career, winning a Guggenheim Fellowship and the Carnegie International Prize in the 1930s.&nbsp; His work is represented in major public and private collections including The Metropolitan Museum of Art, Museum of Modern Art, and The Whitney Museum of American Art in New York; the Smithsonian Institution of American Art in D.C.; Carnegie Museum of Art in Pittsburgh; Museum of Fine Arts in Boston and the Art Institute of Chicago, among others.</p> <p>&nbsp;<em>&nbsp;</em></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"><em></em></p> Thu, 13 Nov 2014 16:48:02 +0000 Nitin Mukul - AICON GALLERY - New York - November 7th - December 6th <p style="text-align: justify;"><em>Those that blossom, and the blossomless</em>, an exhibition of new work by&nbsp;<strong>Nitin Mukul</strong>. In this body of work, Mukul utilizes a variety of media - painting, photography, and video - to create works that reference images from the natural world and from photographs. Flowers and tadpoles and chandeliers are flattened and layered into a complex, abstract ground; while fluid paintings move beyond abstraction, seeming to replicate processes either primordial or chemical. Mukul's videos are made by applying paint in layers of ice, and recording the melting and transformation that ensues. The process is serendipitous, out of the artist's direct control, and exists in a space between the analog and the digital. The resulting images appear at times cosmic in scope. Altogether, these pieces elegantly question the distinctions between figuration and abstraction, between the natural and the manmade, between generation and destruction.</p> Sat, 08 Nov 2014 16:23:38 +0000 - AICON GALLERY - New York - November 7th - December 6th Sat, 08 Nov 2014 16:22:42 +0000 Willie Doherty - Alexander and Bonin - October 25th - December 6th <p style="text-align: justify;">An exhibition of two recent video installations and photographic works by Willie Doherty will open at Alexander and Bonin on Saturday, October 25th .</p> <p class="Default" style="text-align: justify;"><em>The Amnesiac, </em>2014, Doherty&rsquo;s most recent video work, is a 10 minute single-channel video installation which extends his interest in themes of landscape and memory. The video follows an unidentified man as he drives along a country road. His journey is interrupted by what might be a momentary lapse in concentration from the tedium of driving, a daydream or a rupture in the fabric of the everyday. He returns to somewhere half remembered or half forgotten; a reminder that traces of past events, whether or not visible, remain embedded within the landscape.</p> <p class="Default" style="text-align: justify;">The video is accompanied by a group of 10 photographs, titled <em>Damage, </em>2014, which were made at the same location where the video was shot. The photographs are details of tree trunks that bear the physical markings of past acts of violence. Doherty explores the boundaries between the visible and invisible, past and present, the tangible and intangible.</p> <p class="Default" style="text-align: justify;"><em>Remains, </em>2013 is a 15 minute single-channel video installation, first shown at Art Unlimited Basel, and included in his retrospective <em>UNSEEN </em>(September 2013-January 2014) at City Factory Gallery in Derry, Northern Ireland and currently on view at the De Pont Museum in Tilburg. <em>Remains </em>was made in a number of locations in Derry that have been used since the early 1970s to carry out kneecappings, a form of punishment shooting used to control drug use and other forms of so called &lsquo;antisocial behavior&rsquo;. The ghosts of events past are summoned by the narrator as his recounting unearths a repository of memories, specific to the unimposing landscape, and ultimately reveals a continuing cycle of violence, enacted in the same locations.</p> <p class="Default" style="text-align: justify;">Doherty&rsquo;s meditations, in video and photography, on the changing political landscape of Northern Ireland have been a central theme of his work since 1985. With a new series of black and white photographs, titled <em>Future Fear, </em>made in Derry during the summer of 2014, Doherty returns to some of the locations that he has photographed in the past. These photographs reveal an ongoing state of unease, a place suspended between the familiarity and comfort of violence and the anxiety and uncertainty of change.</p> <p style="text-align: justify;">Willie Doherty was born in1959 in Derry, N. Ireland and now lives and works in County Donegal, Republic of Ireland. In 2015 a selection of his video works will be shown at CAM-Funda&ccedil;&atilde;o Calouste Gulbenkian, Lisbon. Past solo exhibitions include those at the Dallas Museum of Art (2009), Lenbachhaus, Munich (2007), Laboratorio Arte Alameda, Mexico City (2006), the Renaissance Society, Chicago (1999), and Tate Liverpool (1998). He has participated in the Biennale di Venezia (2007, 2005, 1993) and the Bienal de S&atilde;o Paulo (2002) and dOCUMENTA (13), Kassel (2012).</p> Wed, 22 Oct 2014 09:28:56 +0000 Melvin Edwards - Alexander Gray Associates - October 30th - December 13th <p style="text-align: justify;">&ldquo;The use of African words as titles of my sculpture is to extend the practical and philosophical values of the large quantity of esthetic possibility in creative art for now and the future.&rdquo; &ndash;&ndash;Melvin Edwards<br /> <br /> Alexander Gray Associates presents an exhibition of work by Melvin Edwards reflecting his engagement with and influence of Africa. Edwards&rsquo; first visits coincided with a key moment in the region&rsquo;s history as recently independent countries defined their postcolonial national identities. Since his first trip in 1970 to Ghana, Togo, Dahomey (now the Republic of Benin), and Nigeria, Edwards has consistently traveled to Africa, often returning to Nigeria and Ghana and making repeated trips to Senegal and Zimbabwe. He eventually established a studio in Dakar, Senegal in 2000. His experience of and engagement with this region and its traditional and contemporary art scene has nurtured Edwards&rsquo; investigations of metalwork and its formal qualities, abstraction, history, language, exchanges between cultures, and the significance of personal relationships.<br /> <br /> The central work in the exhibition is <em>Homage to the Poet Leon Gontran Damas</em> (1978&ndash;81), a monumental installation shown for the first time since Edwards&rsquo; retrospective at the Neuberger Museum of Art in Purchase, NY in 1993. This work consists of several large-scale metal geometric sculptural elements and a long piece of chain organized in relation to each other to create an environment that encourages gathering and meditation; collective consciousness and contemplation. Grounded to the horizontal plain of the Gallery&rsquo;s floor, the installation is oriented using the sun as a compass in order to face East, looking towards Africa. He conceived the work to honor Damas, a co-founder of Negritude, active in anti-colonial politics, and a poet whose style creatively eschewed the standardized French of the former colony and embraced influences from Harlem jazz to Caribbean calypso. Edwards met Damas in 1969 through the poet, activist, and performance artist Jayne Cortez, Edwards&rsquo; late wife and artistic collaborator, with whom he traveled extensively throughout Africa and across the world.<br /> <br /> Melvin Edwards&rsquo; use of materials, primarily the result of his formal and aesthetic concerns, unfold multiple meanings as they relate to African and African Diasporan cultures and histories, represented in the exhibition in a selection of Lynch Fragments and wall-sculptures. Returning from a trip to Nigeria in 1973, Edwards began incorporating machetes as a formal and symbolic element as in the Lynch Fragment <em>Nunake</em> (1993). He recognizes that machetes function as agricultural tools in West Africa, describing the artifact as &ldquo;another shape of steel that already exists.&rdquo; At the same time, the knives stand as embodiments of social uprisings, which speak to Edwards&rsquo; life-long engagement with social movements. <em>Beyond Cabo Verde</em> (2006) uses as its base a grid-like element sourced from Dakar metal workshops. Its title refers to the island nation of the same name, a site that was a prosperous center of the slave trade. Edwards views the work&rsquo;s square-shape as a window into time, as he explains, &ldquo;Since I spent a fair amount of time in the place, thinking about what&rsquo;s beyond. Both personally and what was beyond historically.&rdquo; <br /> <br /> Edwards&rsquo; works also speak to a broad network of creative minds including African artists, writers, and craftsmen, with whom he has developed personal relationships throughout many decades. Edwards titled his Lynch Fragment <em>Ibadan Oke</em> (1992) in homage to his visits to Nigeria during the 1970s. The urban landscape of the Yoruba city of Ibadan stimulated Edwards&rsquo; interests in architecture and urban design, which were also greatly encouraged through his close friendship with Nigerian artist and architect Demas Nwoko. He met and worked with many others in the city, including the Nigerian Nobel Prize-winning playwright and poet Wole Soyinka, and the Jamaican writer Lindsay Barrett. The Fragment <em>Djeri Djeff Papa Tall</em> (2008) references the phrase &ldquo;djeri djeff&rdquo; or &ldquo;thank you&rdquo; in Wolof&mdash;a widely-spoken language in Senegal&mdash;as well as Papa Ibra Tall, a seminal Senegalese modern artist, founder of the influential tapestry workshop Manufactures s&eacute;negalaises de arts d&eacute;coratifs (MSAD). Tall and Edwards met in Senegal in 1999, and later collaborated when Edwards produced two tapestries in MSAD, including the large-scale <em>Diamnaidio</em> (2010), on view in the exhibition.</p> Thu, 16 Oct 2014 09:40:13 +0000 Will Barnet - Alexandre Gallery - November 20th - January 10th, 2015 <h2><a href="" rel="nofollow">WILL BARNET</a>: A TRIBUTE</h2> <p>Thursday, November 20 through Saturday, January 10, 2015</p> <p>A survey of six paintings and related works on paper spanning Barnet's career (1911 &ndash; 2012).&nbsp;Illustrated catalogue available.</p> Thu, 04 Sep 2014 18:35:13 +0000 Joel Holmberg - American Contemporary - October 30th - December 19th <p style="text-align: justify;">For the greater part of the 20th Century, companies that controlled the lion&rsquo;s share of markets got there by joining partnerships and forming associations as a way to reduce transaction costs below market price, but recently the developed world experienced a shift in prevailing management theories. Technology can now enable workers to create professional networks and collaborate outside of big business. Labor has found more ways to work in the open market while businesses are getting smaller and working with a growing number of freelancers.</p> <p style="text-align: justify;">A professional website plays a significant role in the costs associated with marketing one&rsquo;s skills and experience. The act of maintaining an online presence requires a constant negotiation between participation in a centralized network and internal growth by way of a personal website more representative of one's skill set and brand. Technical obsolescence and security play a big part in how much work goes into building a website. Sometimes it can contribute to your sense of comfort and well-being, but sometimes it can be unhealthy.</p> <p style="text-align: justify;">Content management systems (frequently abbreviated as CMS) are built on a database wherein the layout of a site can be manipulated independently from its content. Using software formerly available only to corporations that could afford it, sites built using CMS are now proliferated by volunteer programmers. </p> <p style="text-align: justify;">The ubiquity of CMS has given rise to the template industry, which, fueled by ad revenue, makes it viable for unsupported templates to be downloaded and integrated.</p> <p style="text-align: justify;">The dynamic nature of the technology supply chain can result in sites becoming unsupported across browser platforms and vulnerable to being infected by malicious attacks. The more shortcuts that go into making a site look professional the more chances exist for it's form to be compromised. The result is beautiful. I can only compare it to gardening. The wild can take over fast. The goal is to help it achieve the majesty of an ancient forest, with a canopy and an understory and vista from which to gaze.</p> <p style="text-align: justify;">Joel Holmberg (b. 1982 in Bethesda, MD) lives and works in New York, NY. He has previously exhibited at <strong>Cleopatra&rsquo;s</strong>, Brooklyn, NY; <strong>Foxy Production</strong>, New York, NY; <strong>Ullens Center for Contemporary Art</strong>, Beijing, CN; <strong>New Museum</strong>, New York, NY; <strong>Outpost</strong>, Norwich, UK; <strong>The Museum of the Moving Image</strong>, New York, NY; The <strong>9th Shanghai Biennale</strong>, Shanghai, CN, <strong>W139 </strong>in Amsterdam, NL<strong>, The Sundance Film Festival, </strong>Park City, UT, <strong>Espace Gantner</strong>, Belfort, FR, and <strong>Kettles Yard</strong>, Cambridge, UK. His most recent solo exhibition was the inaugural exhibition at <strong>Harmony Murphy Gallery</strong>, Los Angeles, CA. He is a member of the web based collective Nasty Nets and studied at Virginia Commonwealth University, Richmond, VA and Yale University, New Haven, CT. </p> Tue, 28 Oct 2014 14:28:35 +0000 Ralph Fasanella - American Folk Art Museum - September 2nd - December 1st <p>Ralph Fasanella (1914&ndash;1997) celebrated the common man and tackled complex issues of postwar America in colorful, socially minded paintings. This exhibition celebrates the one hundredth anniversary of the artist&rsquo;s birth and brings together key works from a career spanning fifty-two years. Fasanella was born in the Bronx and grew up in working-class neighborhoods of New York; he became a tireless advocate for laborers&rsquo; rights, first as a union organizer and later as a painter.<br /><br />This major exhibition includes a selection of artworks from the American Folk Art Museum&rsquo;s collection, which holds more than one hundred paintings and drawings by the artist. The Estate of Ralph Fasanella gifted many of these objects to the museum over the years, in addition to the artist&rsquo;s notebooks, sketches, correspondence, personal records, photographs, publications, and films, which were donated in 2009 and 2013.<br /><br /><em>Ralph Fasanella: Lest We Forget</em>&nbsp;is organized by the Smithsonian American Art Museum with generous support from Tania and Tom Evans, Herbert Waide Hemphill, Jr. American Folk Art Fund, and Paula and Peter Lunder. The C.F. Foundation in Atlanta supports the museum&rsquo;s traveling exhibition program,<em>Treasures to Go.</em></p> Mon, 15 Sep 2014 00:37:02 +0000 Willem van Genk - American Folk Art Museum - September 10th - December 1st <p><em>Willem van Genk: Mind Traffic</em>&nbsp;is the first monographic exhibition of works by the internationally acclaimed Dutch artist Willem van Genk (1927-2005) to be presented in the United States. The exhibition includes over forty artworks: panoramic paintings, collages, drawings, personal notes, sculptures of trolleys, and an installation of raincoats (van Genk collected hundreds of raincoats over the course of his lifetime). This comprehensive selection provides an overview of the artist&rsquo;s oeuvre and insight into his creative processes, methods, and themes. Van Genk&rsquo;s artworks usually depict intricately layered and densely networked urban panoramas and reference interconnectivity. He was a restless stockpiler of information, factoids, and trivia: from this perspective, the artworks can be seen as memory palaces&mdash;visualizations implemented to organize and recall information. These imaginary landscapes serve as sophisticated devices and scaffolds to map hidden forces, since the artist believed that all things were connected via both visible and invisible networks.<br /><br />The exhibition is co-organized by Dr. Val&eacute;rie Rousseau, curator, art of the self-taught and art brut, American Folk Art Museum, and Patrick Allegaert and Yoon Hee Lamot, both curators at Museum Dr. Guislain, Ghent, Belgium. All of the works on view are drawn from the Willem van Genk Foundation, which retained the largest body of the artist&rsquo;s work, the De Stadshof Collection, and the Museum Dr. Guislain, which manages both of these collections.</p> Mon, 15 Sep 2014 00:36:22 +0000 Michael St. John, Borna Sammak, Martha Rosler - Andrea Rosen Gallery - October 31st - December 6th <p style="text-align: justify;">Andrea Rosen Gallery is pleased to present a three-person exhibition of Martha Rosler, Borna Sammak and Michael St. John. Looking to and pulling from the urban, social and cultural landscape, these three distinct trajectories uniquely address matters intrinsic to the urban environment and the public sphere. While retaining his or her own unique territory, each individual artist&rsquo;s work reveals a critical awareness, empathy, and responsibility to the world in which we live. Juxtaposing the different strategies and methods employed by each artist to confront the landscape of the present will hopefully provide new perspectives that can enrich and deepen our understanding of these artists&rsquo; works.&nbsp;</p> <p style="text-align: justify;">Martha Rosler&rsquo;s distinct bodies of work within the gallery offer different approaches to the representation of familiar urban spaces. In her seminal work <em>The Bowery in two inadequate descriptive systems</em> (1974/75), a grid of 24 texts and images conjoins a photographic and a linguistic system to represent an iconic Skid Row district inhabited by alcoholics and transients (and, invisibly, a few loft-dwelling artists). Rather than showing us the usual subjects of documentary, Rosler depicts the Bowery through a series of unpopulated storefronts and sidewalks with empty bottles and other detritus, alongside a variety of metaphoric words and phrases used to describe drunkenness and drunks. But even together, the deadpan images and the far more poetic words, rather than &ldquo;capturing&rdquo; the realities of dispossession and degradation, point to the neglected questions of social relations and ethics involved in the photographic exchange.</p> <p style="text-align: justify;">Selections from Rosler&rsquo;s photo series <em>Transitions and Digressions</em> evoke aspects of ordinary life in commercial districts where shop windows provide visions of society we observe but rarely bother to process. Her video diptych, Bowery Highlights (2008), returns to the site of her earlier work but generates a second report through the juxtaposition of photographs and real estate documents, rooflines and certificates of occupancy, displaying the radical ascent up the social scale of the residents of the area and the conversion of the living spaces of earlier eras.</p> <p style="text-align: justify;">Engaging a constant interplay with the contemporary cultural climate, Michael St. John&rsquo;s work continues to recalibrate and address a growing circuit of visual information. In creating this particular body of work, St. John reflects on notions of disaster, nihilism, murder, guns, joblessness/economy, indifference/tragedy, narcissism, institutional racism, and mayhem - each either overtly, or discretely embed within the layers of his compositions. Here newspaper clippings, found images, fragmented language and everyday objects aggregate into captivating collaged portraits of the world at present &ndash; the US incarceration system, Hell Yeah Tumblr sites, domestic violence month &ndash; emphasizing an immediacy of content and material, and speaking to numerous trajectories within art history. Underlying its visceral humor and clever nods to mass culture, however, St. John&rsquo;s work embodies a proactivity that speaks of a devotion and responsibility to a generation of overwhelming content and information. &ldquo;At some point the world became too urgent to ignore,&rdquo; states St. John. And this urgency is continually reflected in his multivalent works, complex juxtapositions and influential gestures that allows a viewer to see the world with both greater complexity and clarity.</p> <p style="text-align: justify;">Drawing from a social garbage can, Borna Sammak reins a safari of contemporary visual content within his multi-media compositions. Using cultural products as raw material, his works present uncannily affective juxtapositions of objects and information, excerpted and extracted from their functional contemporary contexts, and rearranged in new and arresting formations. Abstracted signage is penetrated by a commercial flag - &ldquo;BUY HERE PAY HERE.&rdquo; Paintings tangled with heat press t-shirt decals and dense embroidery present raucous and refined collages of stock imagery and digital designs. Endlessly amassed video content from the internet cut and pared down for their color, movement and form, create what is ultimately a celebratory canvas, with each clip refined to a pixel-bound brush stroke. By wrenching information free from its contextual foundation, Sammak engages in a continuous play with form, subject and content, that encourages viewing the everyday anew.</p> <p style="text-align: justify;"><em><strong>Martha Rosler</strong> was born in Brooklyn, New York, where she lives and works. She is widely regarded as one of the most influential artists of her generation, one whose artistic practice, teaching, and writing continue to influence succeeding generations. Her work has been exhibited in "Documenta 7," Kassel; several Whitney biennials; at the New Museum, NY; the Institute of Contemporary Art, London; the Museum of Modern Art, New York; the Dia Center for the Arts, New York; and many other international venues. Her work is in the collections of major international museums, including the Metropolitan Museum, the Whitney Museum, the Museum of Modern Art, and the Guggenheim in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Art Gallery of Ontario, Victoria and Albert Museum in London, among many others. A solo exhibition of her Meta-Monumental Garage Sale was held at the MoMA, NY in 2012. Her writing has been published widely in catalogues and magazines, and she has published 14 books, in several languages, of photographs, texts, and commentary, as well as lectured widely, both nationally and internationally.</em></p> <p style="text-align: justify;"><em><strong>Michael St. John</strong> lives and works in Sheffield, Massachusetts. This will be St. John's 13th solo exhibition in New York since 1990, including a recent exhibition at Karma in 2013, for which a major monograph was concurrently published. He has been included in numerous group exhibitions across the U.S.. Along with an extensive resume of curatorships, St. John has held numerous teaching positions, including the position as an adjunct professor at New York University since 1994.</em></p> <p style="text-align: justify;"><em><strong>Borna Sammak</strong> lives and works in Brooklyn, NY. Recent exhibitions include a solo presentation at JTT, New York, and a two-person exhibition with Alex De Corte at Oko, New York organized by Alison Gingeras. Sammak has been included in numerous group exhibitions, such as DSM-V, curated by David Rimanelli and presented by Vito Schnabel in The Future Moynihan Station, New York. In 2009, a public exhibition of select video paintings by Sammak, organized together with curator Thomas McDonell, was conceived at the Best Buy on Broadway in New York.</em></p> Fri, 31 Oct 2014 08:26:20 +0000 Bill Bollinger, John Divola, Magali Reus - Andrea Rosen Gallery 2 - October 31st - December 6th <p style="text-align: justify;">Andrea Rosen Gallery is pleased to present a three-person exhibition of Magali Reus, Bill Bollinger and John Divola. Shifting away from the supremacy of a single object, each artist here acknowledges a more phenomenological experience of material and form. Through strengthening material vernaculars, there is a distinct presence of the body indicated within each of the artists&rsquo; works that describes both a presence of artist and viewer, as well as the encounter of material as vessel for meaning. This juxtaposition of unique trajectories is a way to not only contextualize work being made now within the established field of contemporary art, but also a way of showing how artists like Divola and Bollinger remain a vital part of the discourse.</p> <p style="text-align: justify;">Approximating the scale and basic materiality of fridge and freezer units, Magali Reus&rsquo; sculptures, <em>Lukes</em>, as titled &ldquo;bodies,&rdquo; combine in anthropomorphic fashion. Stripped of their supposed functionality, these hand-activated vessels of skewed rectangular form deflect our familiarity with an object coded by domesticity, instead offering themselves as hosts in which smaller, more materially luxurious compositions play out. Their skins are phosphate clad, cast concrete, milky raspberry coated &ndash; and interior, a printed fleece blanket, strewn packets of mustard condiment, a single flattened white knife&nbsp; &ndash; deftly confusing binaries of the human and the mechanical. Made with industrial finishes and contemporary processes, the resulting works puzzle human relationships to inanimate matter and their intended functions. The collision of material preservation and more internalized alchemical detail exposes Reus&rsquo; relationship to object making as one which communicates the universal meanings embedded within all materials, but also the transformative strategies we use to mobilize the everyday.&nbsp;</p> <p style="text-align: justify;">Focused on the gesture of construction, and the physical limits and nature of material, Bill Bollinger too sought to expand experience and perception of materiality and commodity. <em>Graphite Piece</em>, first shown in January of 1969, divides the gallery into two defined spaces of dark and light planes. Traces of the graphite powder dusted between the floor and wall illicit the sweeping gestural distribution of material, the physical performance of construction, while simultaneously communicating an opaque sense of openness and expandability so crucial to the artist in each carnation.</p> <p style="text-align: justify;">Two photographs from John Divola&rsquo;s &ldquo;Dark Star&rdquo; series accentuate a delicate balance of creation and destruction. Resembling a full stop or black hole, Divola&rsquo;s spray painted circles, almost as lesions upon the interior walls of a derelict abandoned space, add both a lethal mark to a sinister image of utter abandonment, as well as accentuate the significance and weight of a single material gesture enacted by the artist upon a chosen ground. Engaging two performative mediums, of painting and photography, Divola&rsquo;s evident participation within such spaces transcends a process of observation or means of documentation, and reflects a more visceral material involvement.<br /> <br /> <strong>Bill Bollinger</strong> (1940-1988) originally studied aeronautical engineering at Brown University and turned to art when he moved to New York City in 1961. His work was included in some of the most historically important exhibitions of the 1960s, including <em>Live in Your Head: When Attitudes Become Form</em> (Kunsthalle Bern, 1969); <em>Anti-Illusion: Procedures/Materials </em>(Whitney Museum of American Art, 1969); <em>Nine at Leo Castelli</em>(Castelli Warehouse, 1969); <em>Information</em> (Museum of Modern Art, 1970) and the Whitney Museum Annual of 1971 and Biennial of 1973. His oeuvre was recently recognized by a international traveling retrospective at the Kunstmuseum Liechtenstein; the ZKM Zentrum fur Kunst und Medientechnologie, Karlsruhe; The Fruitmarket Gallery, Edinburgh; and The ScultureCenter, New York.</p> <p style="text-align: justify;"><strong>John Divola</strong> was born in Venice, California in 1949. His work has been exhibited in key historical exhibitions such as John Szarkowski&rsquo;s Mirrors and Windows: American Photography since 1960 at The Museum of Modern Art (1978), The Whitney Biennial at the Whitney Museum of American Art (1981) and most recently, Under the Big Black Sun: California Art 1974-1981 at the Museum of Contemporary Art, Los Angeles (2010). His work is in the public collections of The Museum of Modern Art, The Whitney Museum of American Art and the Metropolitan Museum of Art in New York; The Museum of Contemporary Art, The Getty Museum and the Los Angeles County Museum of Art in Los Angeles; San Francisco Museum of Modern Art, San Francisco; The Smithsonian American Art Museum in Washington, D.C.; The Centre Pompidou, Paris and The Victoria and Albert Museum, London among many others. He is a recipient of multiple National Endowment for the Arts Photography Fellowships as well as a John Simon Guggenheim Memorial Fellowship.</p> <p style="text-align: justify;"><strong>Magali Reus</strong> was born in 1981 in Den Haag, The Netherlands, and currently lives and works in London. Reus&rsquo; recent solo shows include <em>DINOSAURS</em> at Circuit, Lausanne; In <em>Lukes and Dregs</em>; The Approach, London (both 2014); <em>Highly Liquid</em>, Galerie Fons Welters, Amsterdam (2013), <em>Background</em>, La Salle de bains, Lyon and IBID Projects, London (2009). She has been included in recent group exhibitions at Fridericianum, Kassel; Kestnergesellschaft, Hannover; Kunstmuseum St Gallen; David Roberts Art Foundation, London; ZERO, Milan and De Hallen, Haarlem (all 2014).&nbsp; Her work has been shown in screenings at Tate Britain, London; ICA, London; Turner Contemporary, Margate; MK Gallery, Milton Keynes; Cornerhouse, Manchester; Tramway, Glasgow (all 2014) and Oberhausen Film Festival (2013). She has forthcoming solo exhibitions at SculptureCenter, New York, The Hepworth Wakefield and Fondazione Sandretto RE Rebaudengo, Turin (all 2015), as well as an upcoming group show at LUMA Foundation, Z&uuml;rich.</p> Fri, 31 Oct 2014 08:27:18 +0000 Matt Sheridan Smith - Andrew Kreps Gallery @ 535 West 22nd - November 1st - December 20th <p style="text-align: justify;"><em>&ldquo;What is a hole?&rdquo; a clown asked his partner in a ring at the Circus Medrano. Having thus quite confused the fellow, he&nbsp;</em><em>wast-ed no time in lording it over him: &ldquo;a hole,&rdquo; he said, &ldquo;is an absence surrounded by presence.&rdquo; For me, this is an&nbsp;</em><em>example of a perfect definition, and I will use it to define the object of my interest. A ghost is indeed a hole; but a hole to&nbsp;</em><em>which are attribut-ed intentions, a sensibility, morals; a hole, that is, an absence &ndash; but the absence of someone and not&nbsp;</em><em>of something &ndash; surrounded by presence &ndash; by the presence of one or several. A ghost is an absent being amidst present&nbsp;</em><em>beings. And it is the pierced sub-stance that determines the shape of the hole and not the absence which that presence&nbsp;</em><em>surrounds &ndash; for it is only in jest that some tell of cannons of bygone days that foundry workers made by taking holes&nbsp;</em><em>and pouring bronze around them &ndash; when we endow ghosts with intentions, a sensibility, and morals, these attributes&nbsp;</em><em>reside not in the absent beings, but in the present ones that surround the ghosts. This observation will allow us by the&nbsp;</em><em>same token to establish the only reasonable approach to phantasmology.<br /><br /></em>&ndash; Rene Daumal, &ldquo;The Pataphysics of Ghosts&rdquo;</p> <p style="text-align: justify;"><br /><em>&ldquo;As the cyclist awoke one morning from uneasy dreams he found himself transformed in his bed into a Figure.&rdquo;<br /><br /></em></p> <p style="text-align: justify;">Together, these works attempt a sort of speculative portraiture. These portraits present themselves as so many still lives, backdrops, kits, all on hold, waiting for a performance that does not come. In playing on the conceptual and rhetorical limits of portraiture, the works, instead of combining signs, accumulate phantasmagorical residues: textures, patterns frozen in repetition, solid and liquid elements, objects and substances that depict presence and absence, fiction and fact,positing imagination and memory as nothing more than various states of viscosity.</p> <p style="text-align: justify;">Ottavio Bottecchia came to France and with his limited French insisted only: &ldquo;No bananas, lots of coffee, thank you.&rdquo; He rode a bicycle around the entire country, leading the entire way, clutching a timepiece whose value was only visible to him, and singing a song&rsquo;s refrain: &ldquo;I have seen the most beautiful eyes in the world but never as beautiful eyes as yours.&rdquo; Hidden fixations traced a secret course. When he awoke in Toulon, set to race another day towards Nice, he decided against putting on the yellow leader&rsquo;s jersey that was a right envied by every other rider, past and present. From the crudest of maps, a red circle showing the path of the 1924 Tour, minimally contoured, this stage of the tour has been drawn into a pattern.</p> <p style="text-align: justify;">A pattern, generally a form reserved for standing in for content, stands in instead for a figure, capable of prompting an emergence, yet always ready (perhaps likely) to retreat into the decorative. This movement is both encouraged and disrupted by the persistent presence of a rubbing, scratching, busy hand, entered from somewhere else, sensorially sketching out <em>sometime else</em>. Drawing empty, casting a hole: an absence, marked by recent presence, distant use, a hand, a scent, a touch.<br /><br />The ending of the story should go like this: just three years after winning the Tour, Bottecchia&rsquo;s body is found by the roadside near his home, skull cracked, collarbone broken. He had rose at dawn and asked for a bath and some soup to be ready upon his return. Speculation, false confessions, conspiracy theories spilled out like blood but the mystery is still just that. But these are just stories in the residues, a film over the eyes and a sticky moss in the mouths of those still present.</p> <p style="text-align: justify;">A map, a question mark, a line of runny blood: in this exhibition the contents of the paintings jump to the walls themselves, allowing frames to emerge wherein the pattern, huddled amongst other objects (an image of a stage as shown off-stage, coffee, sad bananas, cups to hold the presence of a hand), can also swap themselves, stand-in against themselves, cast holes of themselves. Things are hidden one-where, exposed else-where. These lesser bodies in space, they trace together the outlines of a setting, stand in for a scene, that refuses to declare whether it&rsquo;s the station of arrival, awaiting its figure &ndash; a real body, whether warm or cold &ndash; or simply another staging/restaging of its own site of disappearance, another ghost.</p> <p style="text-align: justify;">Matt Sheridan Smith (born in Red Bank, New Jersey, 1980) lives and works in Los Angeles. His recent exhibitions includes Ausstellungsraum Volker Bradtke, Dusseldorf, curated by Matt Moravec and Kyle Thurman (2012); Forde, Geneva, curated by Vincent Normand (2011); Contemporary Art Museum St. Louis, Saint Louis (2011); Artspeak, Vancouver, curated by Eric Fredricksen (2011); List Visual Arts Center, Cambridge, Massachusetts (2010); Western Bridge, Seattle (2010); NJ MoCA, New Jersey (2010); Sculpture Center, New York, curated by Fionn Meade (2010); Dowd Gallery, State University of New York, College at Cortland, Cortland, New York (2010), Para/Site Art Space, Hong Kong; Torrance Art Museum, Torrance, California, Plug in ICA, Winnipeg, Manitoba, Canada (2010), curated by Jo&atilde;o Ribas and co-organized by iCI (Independent Curators International); Swiss Institute, New York (2008); Video Program by Rirkrit Tiravanija, Guggenheim Museum, New York (2007).</p> Tue, 04 Nov 2014 17:15:45 +0000