ArtSlant - Recently added en-us 40 Daniel Zeller - Pierogi - October 16th - November 15th <p>We are proud to present an exhibition of new works by Daniel Zeller. The exhibition title expresses the subtext for his new body of work and is itself a study in contradictions: &lsquo;immiscible&rsquo; refers to the impossibility of two substances mixing, the opposite of &lsquo;cohesion.&rsquo; In these new works, Zeller juxtaposes and brings together things that typically appear to be at odds.</p> <p>This exhibition will consist of a group of black and white ink drawings on paper in Gallery 1 and one large-scale sculpture consuming much of the space in Gallery 2. The new drawings &ndash; a kind of imagined topo-cellular cartography on acid &ndash; seem as though they could all be part of the same world, each referencing different potential sections of that world. In certain ways they pull from each other &ndash; as Zeller continues to develop a language of marks and shapes &ndash; to create new terrains, new organisms. These drawings exhibit Zeller&rsquo;s characteristic push/pull between macro and micro worlds, referencing topographical, biological, astronomical, and other imagery that he has absorbed and reimagined to create entirely new forms.</p> <p>In one drawing, &ldquo;SitA,&rdquo; a highly undulating line traverses the paper horizontally, dividing it more or less across the center. Below the line is an area densely populated with fine marks creating a viscous terrain; above the line it is contrasted by untouched blank paper. In another, &ldquo;Delta Mine,&rdquo; what appears to be a solid inky, river-like form traversing an area of delicate topographical marks, is revealed to be comprised of finely drawn lines just barely visible upon closer inspection, revealing an unfamiliar and inexplicable landscape.</p> <p>Zeller originally studied sculpture, later switching primarily to the medium of drawing, and his drawings have always incorporated his interest in three-dimensionality. This exhibition brings his two- and three-dimensional work together for the first time and allows the viewer to experience the full development of his work. The sculpture, &ldquo;Inference,&rdquo; occupies most of the gallery and reveals its complex, armature- and architectural-like structure on the outside, suspending its skin-like fabric on the inside. It can be viewed as a vessel, tent, shelter, bomb, missile, or any other number of objects. Each integral section functions within its self-contained purpose, but the object in full has no function; it is a rotating contradiction.</p> <p>The drawings pull you into their detail; before them you become the outsized observer in the room, peering into a microscopic world, or hovering drone-like above a macro terrain. Upon entering the room housing the sculpture, you become the small element overwhelmed by the larger-than-life object filling the room. An element like a microorganism found in the ocean &ndash; such as a diatom, which exhibits radial symmetry and appears almost architectural &ndash; exists within the drawings but the scale here is flipped: in the drawings, it&rsquo;s tiny, in the sculpture it&rsquo;s giant. This will be Zeller&rsquo;s seventh one-person exhibition at Pierogi. His work has been included in numerous exhibitions and is part of the permanent collections of the Museum of Modern Art (NY, NY), Whitney Museum of American Art (NY, NY), Museum of Contemporary Art (LA, CA), Albright-Knox Art Gallery (Buffalo, NY), among others. Zeller lives and works in Brooklyn, NY.</p> Fri, 02 Oct 2015 21:41:21 +0000 Rachel Rossin - Zieher Smith & Horton - October 15th - November 14th <p>Often the false has a greater "reality" than the true. Therefore, it seems that all information, and that includes anything that is visible, has its entropic side. Falseness, as an ultimate, is inextricably a part of entropy, and this falseness is devoid of moral implications.</p> <p>-Robert Smithson "Entropy and The New Monuments", 1966</p> <p>In her first exhibition with the gallery, Rachel Rossin introduces her virtual reality experience alongside the oil paintings they inspire and are inspired by. Upheaving traditional notions of portraiture, landscape and still life, the paintings both inform and reflect the technological installation, an inversion of the most sacred of standards&mdash; age-old techniques with the flare of advance guard contemporaneity.</p> <p>Rossin begins by making first &ldquo;drafts&rdquo; of the paintings, which are then brought into virtual reality where &ldquo;worlds are set loose on themselves: gravity finds itself inverted and once strictly 2-d paintings are repurposed in cloth dynamics simulations.... The paintings are thus subjected to repurposing with the final result being work on canvas made from these virtual tableaus &ndash; manifesting what was previously digital into the physical &ndash; where I act as the entropic moderator&rdquo; (interview with the artist).</p> <p>In the parlance of information technology, the term lossy is used to define entropy in data encoding most commonly known in JPG and MP3 formats. In this context, the word is a metaphor for entropy being a fundamental law of our universe as per the 2nd law of thermodynamics. In short, loss is everywhere. Again in Rossin&rsquo;s words:</p> <p>&ldquo;The exhibition posits that our relationship with reality isn't comprised of a separate virtual and real but looks more like a gradient between the two&mdash; with most of our modern lives being lived in the action of hopping from screen to screen. Like lossy compression, this process includes entropy as an inherent given&mdash; in optimizing what already exists by omitting the excess in worlds with their own internal logic.&rdquo;</p> <p>The exhibition will feature both Rossin&rsquo;s paintings, blurred, smeared, transmogrified environments caught in a state of permanent denouement, alongside an Oculus Rift headset, where the viewer will experience Rossin&rsquo;s microcosmic digital worlds. The New York Times described another of the artist&rsquo;s virtual reality installation&rsquo;s at Brooklyn gallery Signal earlier this year as &ldquo;immers[ing] yourself in a Dante-esque virtual reality.&rdquo;</p> <p>Rachel Rossin (b. 1987) lives and works in New York City. She has been both an artist and computer</p> <p>programmer since her childhood in West Palm Beach, Florida. She is currently a fellow at New Inc. in conjunction with the New Museum and was part the New Ideas Biennial in 2015 and 2013.</p> <p>&nbsp;</p> Fri, 02 Oct 2015 18:32:52 +0000 Libby Black - Joshua Liner Gallery - October 15th - November 14th <p>Joshua Liner Gallery presents&nbsp;<em>There&rsquo;s No Place Like Home</em>, an exhibition from Berkeley-based artist Libby Black. This will be the artist&rsquo;s first solo exhibition with the gallery and in New York City. The exhibition includes an installation of sculptures rendered in paper, hot glue and acrylic paint, as well as numerous works on paper. The artist will be in attendance for an opening reception on Thursday, October 15, 2015.</p> <p>For&nbsp;<em>There&rsquo;s No Place Like Home</em>, Black presents a handmade recreation of a room with distinct characteristics of a home&mdash;chairs, stacks of books, flowers, a newspaper, a hat and bag rack, to name a few items. Yet the installation is not a mere replica of a domestic space, but rather a collection of possessions from the artist&rsquo;s past and present, and fictitious objects born out of her desires. Each object in the installation has particular significance to the artist, and combined, the items build a complex visual autobiography of Black&rsquo;s personal experiences, revealing a keyhole glimpse into the artist&rsquo;s identity. This act of recreating each object by hand allows the artist to deconstruct and code her identities as a daughter, a lesbian, an artist, a mother, and a fan of pop culture, integrating these into her compositions. Black explains, &ldquo;I have always been interested in looking back at what has influenced me and how I came to be who I am now. I guess instead of looking out I am looking in. I think by that it made sense to make the show become an installation of a room.&rdquo;</p> <p>In&nbsp;<em>Are You There God? It&rsquo;s Me, Margaret</em>; the viewer is introduced to a handmade paper and acrylic replica of Judy Blume&rsquo;s coming of age novel as a reference to Black&rsquo;s memories of adolescence. Other books the artist has recreated include Virginia Woolf&rsquo;s&nbsp;<em>A Room of One&rsquo;s Own</em>&nbsp;and Ann Bannon&rsquo;s lesbian pulp fiction novel<em>Odd Girl Out</em>, both read and appreciated by the artist. Another work of particular importance to Black is&nbsp;<em>Marriage</em>, referencing the Supreme Court&rsquo;s ruling on marriage equality. Together, the works build a sincere impression and a sense of the artist&rsquo;s social and political values.</p> <p>Although many pieces carry a serious tone, the artist equally balances this with her sense of humor. Also included in the exhibition are a series of tongue-in-cheek works on paper of erotic lesbian book covers with titles such as&nbsp;<em>I am a Lesbian</em>,&nbsp;<em>Two Way Temptress</em>, and&nbsp;<em>Venus of Lesbos</em>. In&nbsp;<em>The Hand You&rsquo;re Dealt</em>, Black carefully arranges a house of cards, with each card revealing a different image. The artist explains, &ldquo;I want to say they are like life; dealing with what you get dealt and balancing that out.&rdquo;</p> <p>Other works in the installation are entirely fictitious and explore the artist&rsquo;s desires. For<em>Sunday</em>, Black constructs an imaginary Vivienne Westwood trunk and Herm&eacute;s tea set, while&nbsp;<em>Oh Lord Won&rsquo;t You Buy Me a Mercedes Benz</em>&nbsp;includes a stack of designer wallets and an Herm&eacute;s gift wrapped box. By recreating these objects, the artist fulfills a certain fantasy. Simultaneously, the brushstrokes and loving care poured into the creation of the pieces create a sense of ownership. Although there&rsquo;s no sight of the flesh and blood Libby Black, it&rsquo;s hard to ignore a feeling of recognition and familiarity as we share special moments from her past, present, and the things she holds dear.</p> <p><em>Born in 1976, Toledo, Ohio, Libby Black received her BFA from the Cleveland Institute of Art and her MFA from the California College of the Arts. Selected solo exhibitions include Nothing Lasts Forever (2012), Be Here Now (2010), both at Marx &amp; Zavaterro, San Francisco, CA; Timeless (2009) at Charlie James Gallery, Los Angeles, CA; The Past is Never Where You Think You Left It (2007), Caught Up In The Moment (2005), both at Heather Marx Gallery, San Francisco, CA, and Louis Vuitton (2003) at Manolo Garcia Gallery, San Francisco, CA. Selected Group Exhibitions include Summer Mixer (2015) at Joshua Liner Gallery, New York, NY; Faux Real (2013) at Laguna Art Museum, Laguna Beach, CA; Cut, Drawn, Painted: Works on Paper (2012) at Margaret Thatcher Projects, New York, NY; New Image Sculpture (2011) at McNay Art Museum, San Antonio, TX; New Art for a New Century: Contemporary Acquisitions 2000&ndash;2010 at Orange County Museum of Art, Newport Beach, CA; Artist of Invention: A Century of CCA (2007) at Oakland Museum of California, CA; Bay Area Now 4 (2005) at Yerba Buena Center for the Arts, San Francisco, CA, and The Superfly Effect (2005) at Jersey City Museum, Jersey City, NJ. Public collections include Orange County Museum of Art, CA, Oakland Museum of California, CA, The Beth Rudin DeWoody Collection, NY, The Chaney Family Collection, TX, The Annette Bollag-Rothschild Collection, Switzerland, The West Collection, PA, and Fidelity Investments Corporate Contemporary Art Collection, MA.</em></p> Thu, 01 Oct 2015 20:12:23 +0000 Kris Kuksi - Joshua Liner Gallery - October 15th - November 14th <p>Joshua Liner Gallery is pleased to present&nbsp;<em>Amalgamation</em>, an exhibition of new work from Kansas-based artist Kris Kuksi. This will be Kuksi&rsquo;s fifth solo offering with the gallery and will include eight works in the artist&rsquo;s signature medium of mixed media assemblage. The artist will be in attendance for an opening reception on Thursday, October 15, 2015.</p> <p>When observing the delicate wall assemblages Kris Kuksi constructs, intricacy seems almost an understatement. Excessively detailed, each work plays out an epic drama meticulously assembled piece by piece. Largely influenced by the ornamental details of the Late Baroque and Rococo movements, these embellished pieces possess a darkness. Chaos, downfall, and anguish are poignant struggles amongst Kuksi&rsquo;s miniature models, their plight serving as commentary on humanity&rsquo;s social, political and spiritual obstacles. The title of the exhibition&mdash;<em>Amalgamation</em>&mdash;sheds light on Kuksi&rsquo;s elaborate process of collection, and also bears reference to the multiple chaotic narratives taking place in each ornate piece.</p> <p>Many of the central figures in Kuksi&rsquo;s assemblages resemble deities, transcending the disorder and turmoil that surround them. Rage and conflict between the smaller, less dominant figures is literally below them. In&nbsp;<em>Farewell to Arms</em>, a mythical warrior rises above a mass of smaller figures clambering beneath, struggling to keep hold of their heavy artillery. Perhaps this profound difference in size between the godlike central figure and smaller mortal figures metaphorically reveals the sheer distance humanity is from total serenity. Kuksi elaborates, &ldquo;Human beings are limited by their greed and carelessness yet they know it. Humans know how to be better and solve problems that are pressing the advancement of our species but we don&rsquo;t always do the right thing. We are consumed by our darkness and yet we don&rsquo;t realize we don&rsquo;t have to be. I think if we can embrace our dark impulses, we can overcome them.&rdquo;</p> <p>The process of assembling these intricate works is complex and time consuming, and sourcing the right piece to fit can take months. Balance and placement are of equal importance in the construction of the assemblages, thus resulting in the majority of the works having a symmetrical appearance. Kuksi explains, &ldquo;It is balance of chaos vs. symmetry which can take lots of time just thinking out the arrangement for balance and control, rushing the process will leave too much chaos.&rdquo; Aside from the painstaking arrangement of each assemblage, the artist pays special attention to every individual piece, hand painting them with careful patience. In many cases, the final result is unknown and it is the process of assemblage that builds the narrative and speaks to the artist.</p> <p>Over the many hours spent constructing a piece, Kuksi develops a fondness for each work as he explains, &ldquo;I will love a new piece I&rsquo;m building and I will sink in sadness to have to come to an end just to finish it.&rdquo; However, the necessity to move on and begin another work is vital to the artist&rsquo;s ambition as he explains, &ldquo;My hope is that my art is a tool for recognition, at least in the short term. Tomorrow is always a new struggle and a new fight to survival.&rdquo;</p> <p><em>Born in 1973 in Springfield, Missouri, Kris Kuksi earned his BFA and MFA in painting at Fort Hays State University and works in Hays, Kansas. Solo exhibitions of his work include Revival (2013), Triumph (2012), Beast Anthology (2009), and Imminent Utopia (2008) at Joshua Liner Gallery, New York; Antiquity in the Faux at Mark Moore Gallery, Culver City (2014); The Strange and The Fantastic, Leedy-Voulkos Art Center, Kansas City, MO (2004); and The Within, Fraser Gallery, Washington, DC (2003). Selected group exhibitions include SHOWcabinet curated by Iris van Herpen at SHOWstudio, London, UK (2013); Hey! Modern Art &amp; Pop Culture, Halle Saint Pierre, Paris, France (2011); Paradise Lost, Williamsburg Art and Historical Center, Brooklyn (2008); and Flights of Imagination, Museum HR Giger, Gruy&egrave;res, Switzerland (2006).</em></p> Thu, 01 Oct 2015 19:20:39 +0000 Tina West - Robin Rice Gallery - November 11th - December 20th <p>The Robin Rice Gallery is pleased to present &ldquo;You are Still a Work in Progress,&rdquo; a photographic exhibition by Tina West. The opening reception will be held on Wednesday November 11<sup>th</sup> from 5:30 to 8:30 pm. The show will run through December 20, 2015.</p> <p>The beauty of Tina West&rsquo;s latest show lies in the maturity and wonder of her still lives. For every photo, West stages her scene with unique treasures from her vast collection. Allowing them to speak to her, rather than the opposite, each object is chosen not because of an image West is trying to recreate from her mind, but because of each object&rsquo;s sheer attraction.</p> <p>The sharp subconscious connection West feels to her still life objects comes across strongly. This produces a magical end product that has both transformed and repurposed the photographed objects entirely. Though still lives are considered a classic image, West exemplifies a charming, experimental take that pushes the boundaries of the historical still life.</p> <p>The invitational image, entitled &ldquo;Constraint Inspires Creativity,&rdquo; embodies the breadth of her work in capturing a warm rich okra-gold &ldquo;Do Not Disturb&rdquo; sign against a similar background. The photo feels cryptic and almost treasure-like, giving the viewer a hint of her alluded creativity. The title is just as interactive, playing not only off the sign&rsquo;s words but also off the image&rsquo;s overall emotion.</p> <p>West&rsquo;s still lives have a true sense of being, with powerful cast shadows and light-play. This creates a connection not only between the objects photographed, but between the viewer and the photograph as well. West uses instant Fuji Film in her 4x5 camera, evoking a sense of nostalgia in the show.&nbsp;</p> <p>In another image, entitled &ldquo;History is about Change,&rdquo; West captures two antique photos of young boys against a thick textured background. Like before, the poignant portraits reflect the same message as the title of the photo, causing a cyclical relationship; two aged photos captured on a modern camera. The viewer is sent back and forth between eras, comparing and contrasting the noted changes. Though West draws a lot of her inspiration from the objects themselves, artists like Gerhardt Richter and studies of surrealism serve as inspiration too. She sees her photos more as paintings, which genuinely speaks to their unreserved timelessness.</p> <p>From Kansas City, Tina West discovered photography while studying sculpture. Living in New York since 1989, she is a commercial photographer having worked for clients such as Knopf Books, Vintage Books, Simon &amp; Schuster, Citibank, Atlantic Records, Elle Magazine and Scientific American Magazine. This is her sixth solo exhibition at The Robin Rice Gallery.</p> <p>For more information or printable images please contact Robin Rice at (212) 366-6660. Additional images of this new work can be found on our website <a href="" rel="nofollow"></a>.&nbsp;</p> Thu, 01 Oct 2015 21:59:00 +0000 Jeffrey Gibson - MARC STRAUS - October 25th - December 13th <p><strong>MARC STRAUS</strong> presents a solo exhibition of 15 new works by <strong>Jeffrey Gibson</strong>, including paintings, sculpture, wall hangings, and the artist&rsquo;s famously embroidered punching bags. These works bring together elements of indigenous art and craft, politics, music, fashion, urban subculture, and art history. Often rendered in bold, colorful, intricate, and geometric arrangements, nearly all of the works in the show contain text that is charged with personal meaning and political significance.&nbsp;</p> <p>Jeffrey Gibson is a Native American artist who is half Choctaw and half Cherokee. His works are in the permanent collections of many major art museums, including the Museum of Fine Arts, Boston, the National Gallery of Canada, the Smithsonian Institute, and the Denver Art Museum.&nbsp;</p> <p>&nbsp;</p> Thu, 01 Oct 2015 16:46:17 +0000 Jeff Miller - Atlantic Gallery - October 6th - October 31st <p class="p1">Jeff Miller&rsquo;s fourth exhibit at Atlantic Gallery features a series of figurative sculptures, each involving a male nude, with representations of a fan and a very large overcoat. The show also includes portrait busts, and an array of epigrammatic figure and portrait drawings.</p> <p class="p1">Wit is the keynote of Jeff Miller&rsquo;s work, both two and three-dimensional. The sculptures, all modeled from life and cast principally in plaster and some in bronze, combine a refinement of finish with an elegance of gesture and liveliness of expression. For the four male nudes with overcoat and fan, the artist employed the same model, whose formal portrait bust is also exhibited. The figures stand 26&rdquo; in height and the busts are life-size. The drawings, also from life, employ a calligraphic line of great spontaneity and a highly personal graphic vocabulary. The drawings take the viewer&rsquo;s eye on a roller coaster ride around, across and through the figures &ndash;&ndash; mostly male nudes &ndash;&ndash; and by means of elision, prompt the eye to supply what the artist&rsquo;s hand has chosen to omit.</p> <p class="p1">Jeff Miller has been exhibiting at the Atlantic Gallery since 2008, and has recently shown drawings at the Leslie-Lohman Museum&rsquo;s Prince Street Gallery in New York City. For more of the artist&rsquo;s work, please visit</p> Wed, 30 Sep 2015 17:34:26 +0000 Jean-Yves Klein - Gallery Molly Krom - October 8th - November 8th <p>Gallery Molly Krom is pleased to announce &ldquo;Chimeras&rdquo;, a solo exhibition of recent paintings and sculptures by Jean-Yves Klein. The work on view includes paintings, works on paper and ceramic sculptures.<br />In his first solo exhibition at the gallery this Berlin based artist continues to explore various dimensions of contemporary mythology. The title itself is a reference to a mythical creature that has parts from various animals, and that is perceived as wildly imaginative, implausible and dazzling. However this title also opens a door to the long standing fascination of the artist with female form as Chimeras are generally considered to have been females. In the work created for this exhibit Klein depicts<br />female body in a phantasmagorical way: fused with animals and objects, distorted in posture and, as in his largest painting in the exhibit, represented only by stylized body parts. These creatures however do not come across as maimed or tragic figures, in fact they exude power. This interpretation of a female body has a direct reference to a contemporary role of a woman in the western society with it&rsquo;s demands for a woman to function in many capacities that traditionally belong to a &ldquo;different animal&rdquo;. A necessary monster indeed...<br />Jean-Yves Klein was born in 1960 in Montreal. He lives and works in Berlin and the Peloponnesos.<br />He has been exhibiting widely in Germany and outside. His most recent solo exhibitions are<br />&ldquo;Pandorish&rdquo; at Galerie Cornelissen, Wiesbaden and Galerie Gegenwalt, Karlruhe; &ldquo;Pandorica&rdquo; at Gallery 39 for Contemporary Art, Tel Aviv, Israel (all 2011); &ldquo;Mythen&rdquo; Galerie Michael Schultz, Berlin (2014). His work is currently on view at the 1st Venice Triennale at Palazzo Albrizzi in the exhibition &ldquo;Natural Nutrix-Homo Vorax&rdquo;.</p> Wed, 30 Sep 2015 16:59:19 +0000 John Morrell - Atlantic Gallery - October 6th - October 31st <p><strong>Atlantic Gallery is pleased to present: Intersection, Grisaille Studies by John Morrell </strong></p> <p><strong>October 6-31, 2015. &nbsp;Opening reception; October 8, 2015 &nbsp;5-9pm</strong></p> <p><strong>John Morrell&rsquo;s fifth exhibition in New York City brings together historic methods, materials and techniques with the contemporary concerns of nature in our urban/suburban environment. He focuses on perceptions of his</strong> <strong>surroundings.</strong></p> <p>&nbsp;<strong>Morrell's chiaroscuro approach, grounded in master drawing tradition and under-painting technique, is at the intersection of Drawing and Painting. Intersection, a series of acrylic paintings on linen and panel investigate the juxtaposition of&nbsp; the natural and man-made in the artist&rsquo;s urban and suburban environment. Evoking a sense of light, these chiaroscuro works use shades of grey to convey the illusion of space, form, and atmosphere.&nbsp;</strong></p> <p><strong>Morrell&rsquo;s landscapes explore parks and neighborhoods where nature takes hold against</strong> <strong>buildings and behind walls and fences in urban and suburban environments. These</strong> <strong>works highlight the intersection of nature and man-made environments and structures as well as the methods, materials and techniques that cross the boundary between drawing and painting. These grisaille studies read as drawings, using line and tone and, as paintings, use brush and canvas.</strong></p> <p>&nbsp;<strong>A native of Albany, New York, Morrell has painted and taught in the Washington, DC area</strong> <strong>for over thirty years. He teaches Painting at</strong> <strong>Georgetown University.</strong></p> <p>&nbsp;<strong><strong>Morrell's first solo exhibition showed landscape paintings done in Brittany, France in 1978.</strong> <strong>Eighteen other solo exhibitions followed, along with many group exhibitions,&nbsp;<strong>, and</strong> <strong>numerous commissions for private and corporate collections.</strong></strong></strong></p> <p>Atlantic Gallery is located at 548 W 28th St. or 547 W 27th St., Suite 540 in New York City. Gallery hours are Tuesdays through Saturdays from 12:00 pm &ndash; 6:00 pm and Thursdays from 12:00 pm to 8:00 pm.<strong>.</strong></p> Tue, 29 Sep 2015 21:04:35 +0000 R. H. Quaytman - Miguel Abreu Gallery Orchard St - October 7th - November 15th <p>Miguel Abreu Gallery is pleased to announce the opening, on Wednesday, October 7th, of <em>חקק, Chapter 29</em>, R. H. Quaytman&rsquo;s second solo exhibition at the gallery. The show will be on view at our 36 Orchard Street location.</p> <p>This exhibition comprises a small selection of works from <em>חקק, Chapter 29</em>, originally presented this past spring at the Tel Aviv Museum of Art. In addition, a group of paintings will be shown that are based on a discovery Quaytman made a few weeks following the Tel Aviv opening. This discovery concerns Paul Klee&rsquo;s <em>Angelus Novus</em> (1920), which the artist had the rare opportunity to view in person two years ago in the offices of the Israel Museum, Jerusalem. Quaytman saw something that previously had gone unnoticed&mdash;that Klee had purposefully glued the <em>Angelus Novus</em> monoprint directly onto an old engraving. The engraving, clearly visible around all four sides, hinted at a portrait of a single figure in a black robe made by someone with the initials LC in the 1520&rsquo;s. This struck Quaytman as highly relevant, not only to what Klee intended with this gesture of defacement, but also to Walter Benjamin&rsquo;s well known essay, &ldquo;On the Concept of History,&rdquo; which situates the temporal past in front, not behind the Angel.</p> <p>In cooperation with the paper conservation department at the Israel Museum, Quaytman embarked on a two year pursuit to uncover the identity of this occluded subject. Scientific imaging techniques, such as x-ray and thermography, produced some of the images incorporated in the first iteration of Chapter 29. However, as it turned out, these advanced techniques were unable to answer the primary question: Who is hidden behind the angel? Upon returning to the studio, Quaytman continued to search websites and databases from libraries and museum collections that made images of their print collections available for consultation. After untold hours, and a little luck, one night she found the solution, like a needle in a hay stack... Quaytman felt the chapter would not be complete without making a few new paintings that reveal the irrevocable answer, an answer that does not satisfy so much as add complexity and mystery to this icon of ideology.</p> <p>A catalogue on <em>חקק, Chapter 29</em>, with contributions by Mark Godfrey, Annie Bourneuf, Suzanne Landau and R. H. Quaytman, will be available in November 2015.</p> Fri, 02 Oct 2015 19:50:23 +0000 Group Show - BRIC Arts | Media House - September 10th - October 25th Mon, 28 Sep 2015 17:50:01 +0000 Jackson Pollock - MoMA (Museum of Modern Art) - November 22nd - March 13th, 2016 <p style="text-align: justify;">This exhibition offers a concise but detailed survey of the work of Jackson Pollock (American, 1912&ndash;1956). It tracks his artistic evolution from the 1930s and early 1940s, when he made loosely figurative images based on mythical or primeval themes, to the late 1940s and early 1950s, when he pioneered the radical abstractions for which he is best known by pouring and dripping paint onto canvas or paper. The exhibition features approximately 50 works&mdash;paintings, drawings, and prints&mdash;from the Museum&rsquo;s collection, which is unparalleled in the breadth, depth, and quality of its Pollock holdings. Among the paintings on view is&nbsp;<em>One: Number 31, 1950</em>&nbsp;(1950), arguably Pollock&rsquo;s greatest masterpiece, and one of his largest canvases. Exceedingly rare and little-known engravings, lithographs, screenprints, and drawings are also included, highlighting an underappreciated side of one of the most important and influential American artists of the 20th century. By bringing together works made using a range of materials and techniques&mdash;both traditional and unorthodox&mdash;the exhibition underscores the relentless experimentation and emphasis on process that was at the heart of Pollock&rsquo;s creativity.</p> <p style="text-align: justify;">Organized by Starr Figura, Curator, with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints.</p> Sun, 27 Sep 2015 19:14:11 +0000 Ernie Gehr - MoMA (Museum of Modern Art) - November 21st - April 30th, 2016 <p style="text-align: justify;">Ernie Gehr&rsquo;s large-scale, multiscreen video installation <em>CARNIVAL OF SHADOWS</em> is simultaneously a reflection on early animation and genre cinema, a playful exercise in moving-image graphics, and an extension of the artists' interest in the abstraction, texture, and rhythms of visual material. Its source is an early-20th-century shadowgraph toy, which used &ldquo;paper print films" in the form of sequential silhouette drawings that were brought to life as they passed before a stroboscopic screen. Gehr&rsquo;s silent, digital video adaptation transforms five original paper subjects, all issued in France c. 1900&ndash;05: <em>At the Circus, Carnival in Nice, John Sellery&rsquo;s Tour of the World, Street Scenes</em>, and <em>Gulliver&rsquo;s Travels</em>. Commissioned by the Department of Film as a complement to the artist&rsquo;s 2007 "pre-cinema" work Panoramas of the Moving Image, this installation is the world premiere of <em>CARNIVAL OF SHADOWS</em>. Also on view are 30 of the original paper prints, along with new photographs by Gehr. The exhibition is accompanied by a Modern Mondays evening with Gehr, and other special film and slide programs.</p> <p style="text-align: justify;">Organized by Ron Magliozzi, Associate Curator, with Sophie Cavoulacos, Curatorial Assistant, Department of Film.</p> Sun, 27 Sep 2015 19:11:59 +0000 Shomei Tomatsu, Henri Michaux, Henry Darger, Jeanne Reynal, Alberto Giacometti, Louise Bourgeois, David Smith, Chimei Hamada - MoMA (Museum of Modern Art) - October 24th - March 20th, 2016 <p style="text-align: justify;">The years surrounding World War II posed a creative and existential crisis, as artists struggled to respond to human, social, and cultural conditions in the wake of the horrors of combat, images of concentration camps, and the aftermath of the atomic bomb. Drawn entirely from MoMA&rsquo;s collection, <em>Soldier, Spectre, Shaman</em> presents a range of artistic responses focused on the human figure, with the body serving as subject and object, mirror and metaphor. The exhibition features work in a variety of mediums by more than 30 international artists, including prints by David Smith and Chimei Hamada that confront the visceral realities of the battlefield landscape; Alberto Giacometti&rsquo;s and Louise Bourgeois&rsquo;s sculptures of spectral, shadowed, or dissolving bodies; Shomei Tomatsu&rsquo;s post-atomic bomb photographs; and visions of mystical, divine, or otherworldly forms by Henri Michaux, Henry Darger, and Jeanne Reynal.</p> <p style="text-align: justify;">Organized by Lucy Gallun, Assistant Curator, Department of Photography, and Sarah Suzuki, Associate Curator, Department of Drawings and Prints.</p> Sun, 27 Sep 2015 19:10:11 +0000 - MoMA (Museum of Modern Art) - October 21st - November 14th <p style="text-align: justify;">Workshops, conversations, and Friday-night &ldquo;social hours&rdquo; led by artists and designers bring objects featured in the exhibition <a href="" target="_blank"><em>This Is for Everyone: Design Experiments for the Common Good</em></a> (February 14, 2015&ndash;January 31, 2016) to life. Participants explore the current and potential uses of these objects as tools to enable creativity and innovation, with an eye toward the notion of "the common good" as it relates to design and technology. MoMA Studio: Design Interactions invites participants to experiment and work together, build their own objects, invent universal symbols, and reflect on design in the digital age. Featured designers, artists, and musical collaborators include Yuri Suzuki, Juan Cort&eacute;s, Yuka Honda of Cibo Matto, Michna, and Ghostly International, among others. Objects featured include the Arduino, littleBits, Colour Chaser, Ototo, and more.</p> <p style="text-align: justify;">Wed-Sat 1:00&ndash;5:00 p.m.</p> <p>&nbsp;</p> Sun, 27 Sep 2015 19:07:34 +0000 Robert Rauschenberg to Niki de Saint Phalle, Betye Saar, Katsuhiro Yamaguchi, Jasper Johns - MoMA (Museum of Modern Art) - August 22nd - February 28th, 2016 <p style="text-align: justify;">In 1964, Jasper Johns wrote himself a note in his sketchbook: "Take an object / Do something to it / Do something else to it. [Repeat.]" Since then, art historians, artists, and critics have invoked this set of instructions on countless occasions to describe the revolutionary approaches to art making that developed in the late 1950s and early 1960s. This exhibition presents a selection of works from the Museum&rsquo;s collection that all "take an object." Ranging in date from the mid-1950s to the 1970s, they reflect an interest shared by a generation of artists working around the world in deploying everyday objects and other non-fine art materials to make their work, from Johns and Robert Rauschenberg to Niki de Saint Phalle, Betye Saar, and Katsuhiro Yamaguchi. Lightbulbs, newspapers, chairs, and even taxidermied animals became new source materials to be painted on, covered over, affixed to, or surprisingly juxtaposed. Looking beyond traditional mediums such as oil paint and bronze, and beyond traditional formats such as easel paintings and cast sculptures, these artists posed a new set of conditions for art, whereby any and all parts of everyday life were fair game.</p> <p style="text-align: justify;">Organized by Cara Manes, Department of Painting and Sculpture.</p> Sun, 27 Sep 2015 18:58:49 +0000