ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 - Art in General - April 25th 2:00 PM - 6:00 PM <h1>What Now? 2015: The Politics of Listening</h1> <div class="projectPR">&nbsp;</div> <div class="contentwrap"> <p><strong>Friday, April 24, 2015, 12.30&ndash;7pm<br />Saturday, April 25, 2015, 2&ndash;6pm</strong></p> <p>The New School, Anna-Maria &amp; Stephen Kellen Auditorium<br />66 Fifth Avenue, New York City &mdash; Free admission.<br />Please&nbsp;RSVP&nbsp;to&nbsp;<a href="mailto:vlc@newschool.edu" rel="nofollow">vlc@newschool.edu</a></p> <p><a href="http://www.artingeneral.org/events/1250" rel="nofollow"><strong>Click here for the complete What Now? 2015 schedule.</strong></a></p> <p><strong>What Now? 2015</strong>&nbsp;is a two-day annual symposium, organized by&nbsp;<strong>Art in General</strong>&nbsp;in collaboration with&nbsp;<strong><a href="http://www.veralistcenter.org/" target="_blank" rel="nofollow">the Vera List Center for Art and Politics</a></strong>, which investigates critical and timely issues in contemporary art. Dedicated to the topic of &ldquo;<strong>The Politics of Listening</strong>,&rdquo; the 2015 symposium comprises four panel discussions spanning Friday and Saturday, a keynote delivered by&nbsp;<strong>Lawrence Abu Hamdan</strong>, and a program of sound installations, audio works, film screenings, and performances.</p> <p>&ldquo;What Now? 2015&Prime; examines the idea of listening as a political act, a pedagogical process, and an activity that can lead to the development of an organized protocol for engagement. Opening with an analysis of listening, the symposium considers the scientific definition of the term alongside perspectives on listening that are shaped and informed by diverse social, cultural, technological, and spatial considerations. As keynote speaker Lawrence Abu Hamdan has noted, &ldquo;Listening is not a natural process inherent to our perception of the world but rather constructed by the conditions of the spaces and times that engulf us&rdquo;.(1)<br /><br />In a world in which the production and reception of information encompasses print and digital media, spoken narratives, and the ever-expanding space of social media, the symposium considers how one can listen with agency and intent in an environment characterized by such an onslaught of data. It also explores the often complex relationship between truth and fiction in relation to interpretative listening, media communication, and acts of testimony, translation, and redaction. To what degree are we able to listen to different kinds of intelligences, and how can we incite receptivity? How do we address the fact that the right to listen is relative, and that the right not to listen, or to remain silent, is also a genuine stance? Can we press on and position listening as a political act? And how do we further develop our ability to &ldquo;listen for what is left out, and why&rdquo;? (2)</p> <p>Highlighting the work of artists and other practitioners interested in expanding dialogue beyond the confines of the art world, &ldquo;What Now? 2015&Prime; ultimately considers the notion of listening with intent, and imagines new possibilities that might arise when listening involves a more expansive state of activity. How can we take the procedures of listening&mdash;which involve disciplined attentiveness and<em>&nbsp;</em>an active questioning&mdash;as a means to assist a constituency to find its own power and solutions to diverse sets of problems? How can working across disciplines, or rethinking the processes of how we learn, expand on and deepen our understanding of an issue&mdash;ultimately enabling us to listen, and act, with a more informed mind?</p> <p>The symposium comprises four sessions: An Analysis of Listening; Taking Listening Seriously; Fact, Fiction and the In-between; and Listening Across Disciplines: A Call to Action. Confirmed presenters and panelists include&nbsp;<strong>Anne Barlow</strong>, Director, Art in General, New York;&nbsp;<strong>Rich Blint</strong>, Columbia University School of the Arts;&nbsp;<strong>Rashida Bumbray</strong>, curator;&nbsp;<strong>Gregory Cast&eacute;ra</strong>, Co-Director, Council, Paris;&nbsp;<strong>Christoph Cox</strong>, Hampshire College, Amherst;&nbsp;<strong>Joshua Craze</strong>, University of Chicago, Illinois;&nbsp;<strong>Lauren van Haaften-Schick</strong>, curator, writer and artist, New York;&nbsp;<strong>Seeta Pe&ntilde;a Gangadharan</strong>, New America Foundation&rsquo;s Open Technology Institute, New York;&nbsp;<strong>James Hudspeth</strong>, The Rockefeller University, New York;&nbsp;<strong>Carin Kuoni</strong>, Director and Curator, Vera List Center for Art and Politics, The New School, New York;&nbsp;<strong>Brian Larkin</strong>, Barnard College, New York;&nbsp;<strong>Shannon Mattern</strong>, School of Media Studies, The New School;&nbsp;<strong>Naeem Mohaiemen</strong>, artist and writer;&nbsp;<strong>Beatriz Santiago Mu&ntilde;oz</strong>, artist;&nbsp;<strong>Julie Napolin</strong>, Eugene Lang College, The New School;&nbsp;<strong>Mendi + Keith Obadike</strong>, artists;&nbsp;<strong>Laurie Jo Reynolds</strong>, University of Illinois at Chicago&rsquo;s School of Art and Art History;&nbsp;<strong>Mohammad Salemy</strong>, The New Centre for Research &amp; Practice, Michigan; and&nbsp;<strong>Kade L. Twist</strong>, artist, writer and member of Post-Commodity. Participatory sessions and art projects presented by&nbsp;<strong>Bigert &amp; Bergstr&ouml;m</strong>,&nbsp;<strong>Iman Issa</strong>,&nbsp;<strong>Mendi + Keith Obadike</strong>,&nbsp;<strong>The Order of the Third Bird</strong>, and&nbsp;<strong>Wato Tsereteli</strong>, Founder, Center of Contemporary Art, Tbilisi, Georgia.</p> <hr noshade="noshade" size="1" /> <p>This is the second annual symposium &ldquo;What Now?,&rdquo; organized by Art in General in collaboration with&nbsp;<a href="http://www.veralistcenter.org/" target="_blank" rel="nofollow">the Vera List Center for Art and Politics</a>, as part of Alignment, the Vera List Center&rsquo;s 2013&ndash;15 curatorial focus theme.</p> <p>A new book series relating to the &ldquo;What Now?&rdquo; symposia from 2015 through 2017 will be produced with Black Dog Publishing Ltd., a project that was made possible in part by the Institute of Museum and Library Services.</p> <p>Art in General would like to extend special thanks to the key funders of &ldquo;What Now? 2015&Prime;: the Institute of Museum and Library Services; the Lambent Foundation; and the Trust for Mutual Understanding for their generous support of this initiative. The Vera List Center would like to also thank the Center&rsquo;s Advisory Committee.</p> <p>&nbsp;</p> <p>(1) Lawrence Abu Hamdan (Tape Echo)<br />(2) UltraRed, in Notes on the Protocols for a Listening Session (Glasgow Variation), in On Listening, edited by Angus Carlyle and Cathy Lane, Uniformbooks 2013, p.33.&nbsp;</p> </div> Tue, 21 Apr 2015 03:15:12 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Art in General - April 24th 12:30 PM - 7:00 PM <h1>What Now? 2015: The Politics of Listening</h1> <div class="contentwrap"> <p><strong>Friday, April 24, 2015, 12.30&ndash;7pm<br />Saturday, April 25, 2015, 2&ndash;6pm</strong></p> <p>The New School, Anna-Maria &amp; Stephen Kellen Auditorium<br />66 Fifth Avenue, New York City &mdash; Free admission.<br />Please&nbsp;RSVP&nbsp;to&nbsp;<a href="mailto:vlc@newschool.edu" rel="nofollow">vlc@newschool.edu</a></p> <p><a href="http://www.artingeneral.org/events/1250" rel="nofollow"><strong>Click here for the complete What Now? 2015 schedule.</strong></a></p> <p><strong>What Now? 2015</strong>&nbsp;is a two-day annual symposium, organized by&nbsp;<strong>Art in General</strong>&nbsp;in collaboration with&nbsp;<strong><a href="http://www.veralistcenter.org/" target="_blank" rel="nofollow">the Vera List Center for Art and Politics</a></strong>, which investigates critical and timely issues in contemporary art. Dedicated to the topic of &ldquo;<strong>The Politics of Listening</strong>,&rdquo; the 2015 symposium comprises four panel discussions spanning Friday and Saturday, a keynote delivered by&nbsp;<strong>Lawrence Abu Hamdan</strong>, and a program of sound installations, audio works, film screenings, and performances.</p> <p>&ldquo;What Now? 2015&Prime; examines the idea of listening as a political act, a pedagogical process, and an activity that can lead to the development of an organized protocol for engagement. Opening with an analysis of listening, the symposium considers the scientific definition of the term alongside perspectives on listening that are shaped and informed by diverse social, cultural, technological, and spatial considerations. As keynote speaker Lawrence Abu Hamdan has noted, &ldquo;Listening is not a natural process inherent to our perception of the world but rather constructed by the conditions of the spaces and times that engulf us&rdquo;.(1)<br /><br />In a world in which the production and reception of information encompasses print and digital media, spoken narratives, and the ever-expanding space of social media, the symposium considers how one can listen with agency and intent in an environment characterized by such an onslaught of data. It also explores the often complex relationship between truth and fiction in relation to interpretative listening, media communication, and acts of testimony, translation, and redaction. To what degree are we able to listen to different kinds of intelligences, and how can we incite receptivity? How do we address the fact that the right to listen is relative, and that the right not to listen, or to remain silent, is also a genuine stance? Can we press on and position listening as a political act? And how do we further develop our ability to &ldquo;listen for what is left out, and why&rdquo;? (2)</p> <p>Highlighting the work of artists and other practitioners interested in expanding dialogue beyond the confines of the art world, &ldquo;What Now? 2015&Prime; ultimately considers the notion of listening with intent, and imagines new possibilities that might arise when listening involves a more expansive state of activity. How can we take the procedures of listening&mdash;which involve disciplined attentiveness and<em>&nbsp;</em>an active questioning&mdash;as a means to assist a constituency to find its own power and solutions to diverse sets of problems? How can working across disciplines, or rethinking the processes of how we learn, expand on and deepen our understanding of an issue&mdash;ultimately enabling us to listen, and act, with a more informed mind?</p> <p>The symposium comprises four sessions: An Analysis of Listening; Taking Listening Seriously; Fact, Fiction and the In-between; and Listening Across Disciplines: A Call to Action. Confirmed presenters and panelists include&nbsp;<strong>Anne Barlow</strong>, Director, Art in General, New York;&nbsp;<strong>Rich Blint</strong>, Columbia University School of the Arts;&nbsp;<strong>Rashida Bumbray</strong>, curator;&nbsp;<strong>Gregory Cast&eacute;ra</strong>, Co-Director, Council, Paris;&nbsp;<strong>Christoph Cox</strong>, Hampshire College, Amherst;&nbsp;<strong>Joshua Craze</strong>, University of Chicago, Illinois;&nbsp;<strong>Lauren van Haaften-Schick</strong>, curator, writer and artist, New York;&nbsp;<strong>Seeta Pe&ntilde;a Gangadharan</strong>, New America Foundation&rsquo;s Open Technology Institute, New York;&nbsp;<strong>James Hudspeth</strong>, The Rockefeller University, New York;&nbsp;<strong>Carin Kuoni</strong>, Director and Curator, Vera List Center for Art and Politics, The New School, New York;&nbsp;<strong>Brian Larkin</strong>, Barnard College, New York;&nbsp;<strong>Shannon Mattern</strong>, School of Media Studies, The New School;&nbsp;<strong>Naeem Mohaiemen</strong>, artist and writer;&nbsp;<strong>Beatriz Santiago Mu&ntilde;oz</strong>, artist;&nbsp;<strong>Julie Napolin</strong>, Eugene Lang College, The New School;&nbsp;<strong>Mendi + Keith Obadike</strong>, artists;&nbsp;<strong>Laurie Jo Reynolds</strong>, University of Illinois at Chicago&rsquo;s School of Art and Art History;&nbsp;<strong>Mohammad Salemy</strong>, The New Centre for Research &amp; Practice, Michigan; and&nbsp;<strong>Kade L. Twist</strong>, artist, writer and member of Post-Commodity. Participatory sessions and art projects presented by&nbsp;<strong>Bigert &amp; Bergstr&ouml;m</strong>,&nbsp;<strong>Iman Issa</strong>,&nbsp;<strong>Mendi + Keith Obadike</strong>,&nbsp;<strong>The Order of the Third Bird</strong>, and&nbsp;<strong>Wato Tsereteli</strong>, Founder, Center of Contemporary Art, Tbilisi, Georgia.</p> <hr noshade="noshade" size="1" /> <p>This is the second annual symposium &ldquo;What Now?,&rdquo; organized by Art in General in collaboration with&nbsp;<a href="http://www.veralistcenter.org/" target="_blank" rel="nofollow">the Vera List Center for Art and Politics</a>, as part of Alignment, the Vera List Center&rsquo;s 2013&ndash;15 curatorial focus theme.</p> <p>A new book series relating to the &ldquo;What Now?&rdquo; symposia from 2015 through 2017 will be produced with Black Dog Publishing Ltd., a project that was made possible in part by the Institute of Museum and Library Services.</p> <p>Art in General would like to extend special thanks to the key funders of &ldquo;What Now? 2015&Prime;: the Institute of Museum and Library Services; the Lambent Foundation; and the Trust for Mutual Understanding for their generous support of this initiative. The Vera List Center would like to also thank the Center&rsquo;s Advisory Committee.</p> <p>&nbsp;</p> <p>(1) Lawrence Abu Hamdan (Tape Echo)<br />(2) UltraRed, in Notes on the Protocols for a Listening Session (Glasgow Variation), in On Listening, edited by Angus Carlyle and Cathy Lane, Uniformbooks 2013, p.33.&nbsp;</p> </div> Tue, 21 Apr 2015 03:12:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Graciela Iturbide - International Center of Photography (ICP) - May 1st 7:00 PM - 8:00 PM <p>This evening lecture in the School's Studio will present Iturbide's expansive and prolific career as an artist and photographer. Iturbide is this year&rsquo;s recipient of the&nbsp;<a href="http://www.icp.org/infinity-awards" rel="nofollow">Cornell Capa Lifetime Achievement Infinity Award</a>.</p> <p><a href="http://www.icp.org/events/an-evening-with-graciela-iturbide" rel="nofollow">Click here for more information.</a></p> <p><a href="https://icp.ticketleap.com/graciela-iturbide/dates/May-01-2015_at_0700PM" rel="nofollow">Purchase tickets</a></p> Mon, 20 Apr 2015 21:55:21 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Bernice Faegenburg - Viridian Artists - April 28th - May 16th <p>VIRIDIANARTISTS &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A CONTEMPORARY ART GALLERY</p> <p><span style="text-decoration: underline;">548 WEST 28<sup>TH</sup> STREET between 10th &amp; 11th Ave., NEW YORK, NY, 10001&nbsp;&nbsp; &nbsp;</span><span style="text-decoration: underline;">&nbsp;&nbsp;</span><span style="text-decoration: underline;">&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;TEL 212-414-4040</span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;viridianartistsinc@gmail.com &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;www.viridianartists.com &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p><strong><span style="text-decoration: underline;">FOR IMMEDIATE RELEASE</span></strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <strong><span style="text-decoration: underline;">Please List</span></strong></p> <p>BERNICE FAEGENBURG</p> <p>"NATURE'S ESSENCE"</p> <p>April 28-May 16<sup>th</sup>, 2015</p> <p>Reception: Thursday, May 7, 6-8 pm</p> <p>Chelsea: Viridian Artists is pleased to present "NATURE'S ESSENCE " a series of new paintings on paper by Bernice Faegenburg.&nbsp; The exhibit extends from April 28 - May 16<sup>th</sup>, 2015 with a reception: Thursday, May 7, 6-8 pm.</p> <p>Bernice Faegenburg is an artist who enjoys experimentation and exploring a variety of media, especially all things Asian. She recently began a serious study of Asian Brush Painting, but traces of brush work have always been a part of the sensuous line in her drawings and compositions.</p> <p>The focus in these images is on nature and its essence that spring's annual rebirth brings. Living near the sea and removed from the urban environment, Faegenburg's art always is filled with the resplendence of nature, even when she focuses on only the clouds drifting by. Though she has often worked on canvas in the past, combining sketches, notes, images, photographs, the new work she has made for this exhibition is primarily Asian brush work on rice paper. &nbsp;In some works&nbsp; like "The Mist", the composition &amp; imagery is quite traditional but in others, like "Magnolia"&nbsp; &amp; "Harbinger of Spring" the lines are more uniquely drawn, mixing the Western and Eastern line and depiction.</p> <p>Faegenburg approaches her art instinctively, allowing her imagery to emerge and grow out of her experience and intuition. For her, the most important part of art making is the doing, for she is an artist to whom process is as important as the end result. Fortunately however, the end result is always both glowingly personal as well as instinctually beautiful. Picking a path and following wherever it leads her has always been Faegenburg's artistic choice, for she is a "traveler" in both her art and her life. Organic fragments of memories and images are her palette as much as color is and her sketchbook jottings are juxtapositions that become creative &ldquo;conversations&rdquo; of color and shapes on canvas and rice papers. "Swimming" with the black blossoms above the fish swimming below both feel to be rare and imaginary moments that traveled from the artist's hand through the brush and finally to the paper.</p> <p align="left">The artist did undergraduate work at the Tyler School of Fine Arts and Temple University in Philadelphia,&nbsp; where she studied printmaking &amp; egg tempera pinting in the Renaissance method. After graduation, she moved to New York and studied at the National Academy of Design and received a Masters Degree at C.W. Post College, where she studied painting and graphics with New York abstract painter Robert Yasuda and later, Oriental philosophy and its relationship to painting with Jerry Okimoto. Her art will again be included in the prestigious Florence Biennial. The influence of Asian art and thought has always been an influence in her work.</p> <p align="center">Gallery hours Tuesday - Saturday 12-6 PM</p> Mon, 20 Apr 2015 17:37:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Rikke Benborg (Denmark) Sung-Chih Chen (Taiwan) Sun Choi (South Korea) Silvia Giambrone (Italy) Ishu Han (China/Japan) Hannah Heilmann (Denmark) Mark Hilton (Australia) Isa Ho (Taiwan) Siggi Hofer (Austria) Martin Höfer (Germany) Saskia Janssen (The Nethe - International Studio & Curatorial Program (ISCP) - April 23rd - April 25th <p>Saturday, April 25th, 4pm:&nbsp;A public introduction to Beta-Local with guest collaborators Maria del Carmen Carri&oacute;n, Elizabeth Hamby, Felipe Mujica, Hatuey Ramos Ferm&iacute;n,&nbsp;Jeanine Oleson,&nbsp;Andy Robert, and Johanna Unzueta.&nbsp;<br /><a href="http://www.iscp-nyc.org/journal/1491.html" rel="nofollow"><em>Please note directions to ISCP during April 25th L train shutdown</em></a></p> <p>Spring Open Studios is a free three-day event when the public is invited to view international contemporary art at the International Studio &amp; Curatorial Program (ISCP) in Brooklyn. Twenty-eight innovative artists are currently in residence, including individuals from 17 countries in Asia, Europe, and North and South America, who will present work in their studios. The studio is a generative space&mdash;equal parts production site, office, laboratory and situation&mdash;and it can be argued that the studio is more significant today for artistic process than ever before. Open Studios provides access for the public to experience 28 &ldquo;studio visits,&rdquo; to see and talk about art in its place of origin and to share conversations with ISCP residents from all over the world.&nbsp;</p> <p>In addition, Beta-Local, a non-profit arts organization based in San Juan, Puerto Rico, will be in residence at ISCP from April through June, and will take part in Open Studios. Dedicated to supporting and promoting aesthetic thought and practice, Beta-Local has developed a project for ISCP titled <em>TODO TIPO DE FUEGO</em> (All Kinds of Fire)<em>,</em> which the organization describes as a &ldquo;playlist of documents, images, music, publications and public presentations.&rdquo; ISCP's gallery will be organized with several stations, each taking a different format according to a particular theme, and involving ISCP residents as well as New York City cultural practitioners.</p> <p>During the April 23rd reception, at 7pm, ISCP is pleased to announce that Brooklyn City Council Member Antonio Reynoso will make remarks. Council Member Reynoso has been a steady advocate for and supporter of ISCP&rsquo;s public programming since its move to East Williamsburg.<br /><br /><strong>Participating artists in Open Studios:&nbsp;</strong></p> <p>Rikke Benborg (Denmark) Sung-Chih Chen (Taiwan) Sun Choi (South Korea) Silvia Giambrone (Italy) Ishu Han (China/Japan) Hannah Heilmann (Denmark) Mark Hilton (Australia) Isa Ho (Taiwan) Siggi Hofer (Austria) Martin H&ouml;fer (Germany) Saskia Janssen (The Netherlands) Wanda Koop (Canada) Anjana Kothamachu (India) Aleksi Linnamaa (Finland) Zachari Logan (Canada) Zeinab Shahidi Marnani (Iran) Kristina Matousch (Sweden) Elizabeth McIntosh (Canada) Alasdair Mcluckie (Australia) Ingo Mittelstaedt (Germany) Annesofie Sandal (Denmark) Jacolby Satterwhite (USA) Selma Selman (Bosnia and Herzegovina) Theodore Sims (Canada) Anne Sommer (Germany) Pilvi Takala (Finland) Tori Wr&aring;nes (Norway) Pleurad Xhafa (Albania)</p> <p><strong><em>TODO TIPO DE FUEGO</em>&nbsp;playlists are selected by:</strong></p> <p>Melissa &Aacute;lvarez Xiloj,&nbsp;Javier Arbona, Karenin Biaggi, Leticia Beatriz&nbsp;(Emilia Beatriz Muller-Ginorio &amp; Julia Letitia Scott), Stephan Benchoam, Raimond Chaves &amp; Gilda Mantilla, Ramiro Ch&aacute;vez, Celine Condorelli, Mike Cooter, Jorge Gonz&aacute;lez,&nbsp;Anahita Hekmat,&nbsp;Juan Luna Avin,&nbsp;Francis McKee, Laura Mergoni,&nbsp;Ana Maria Mill&aacute;n, Sofia Olascoaga,&nbsp;Omar Obdulio Pe&ntilde;a Forty,&nbsp;Marina Reyes Franco / Museo La Ene,&nbsp;Beatriz Santiago Mu&ntilde;oz,&nbsp;Maria Scharr&oacute;n, and Carla Zaccagnini, among many others.</p> <p dir="ltr"><strong>ISCP Open Studios Sponsors:<br /></strong><br />Alfred Kordelin Foundation, Finland<br />Art Jameel, United Arab Emirates<br />Arts Council Korea, Korea<br />Asian Cultural Council, United States<br />Australia Council for the Arts, Australia<br />Bundeskanzleramt &Ouml;sterreich, Austria<br />Canadian Council for the Arts/<br />Le Conseil des Arts du Canada, Canada<br />Creative Saskatchewan, Canada<br />Danish Agency for Culture, Denmark<br />Dr. David &amp; Margery Edwards Trust, Australia<br />Edge of Arabia, United Kingdom<br />Finnish Academy of Fine Arts, Finland<br />Fondazione Spazio13, Italy<br />Foundation for a Civil Society, United States<br />Ian Potter Foundation, Australia<br />IASPIS-International Artists Studio Program in Sweden, Sweden<br />Inlaks Shivdasani Foundation, India<br />Kulturstiftung des Freistaates Sachsen, Germany<br />Kunststiftung des Landes Sachsen-Anhalt, Germany<br />Luigi Troja, Italy<br />MacKenzie Art Gallery, Canada<br />Manitoba Arts Council, Canada<br />McKay Finnigan and Associates, Canada<br />Ministry of Culture, Taiwan<br />Mondriaan Fonds, The Netherlands<br />Nieders&auml;chsisches Ministerium f&uuml;r Wissenschaft und Kultur, Germany<br />Norbert Salenbauch, Germany<br />Office for Contemporary Art, Norway<br />Royal Bank of Canada, Canada<br />Saastamoinen Foundation, Finland<br />Toby Devan Lewis Foundation, United&nbsp;States</p> <p><strong>ISCP thanks the following contributors for their support of&nbsp;this Open Studios event:<br /></strong><br />Austrian Cultural Forum, New York<br />Consulate General of Denmark,&nbsp;New York<br />Consulate General of Finland,&nbsp;New York<br />Consulate General of Sweden,&nbsp;New York<br />The Greenwich Collection,&nbsp;New York<br />MillerCoors, Chicago<br />New York City Council District 34,&nbsp;New York<br />New York State Council on the Arts,&nbsp;New York<br />New York City Department of Cultural Affairs,&nbsp;New York<br />Royal Norwegian Consulate General,&nbsp;New York</p> Mon, 20 Apr 2015 15:25:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Manuella Muerner Marioni, Haruo Obana, Kho Sante, Eleanor Sackett - Artexpo New York - April 23rd - April 26th <p style="text-align: center;"><strong>ARTEXPO</strong></p> <p style="text-align: center;"><strong>Pier 94, New York City</strong></p> <p style="text-align: center;"><strong>April 23 - 26, 2015&nbsp;</strong></p> <p style="text-align: center;"><strong><img style="vertical-align: middle; margin: 10px;" src="http://dbprng00ikc2j.cloudfront.net/userimages/669382/sozx/20150418223714-Artexpo_evite_2015.jpg" alt="" /></strong></p> Sat, 18 Apr 2015 22:45:27 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Paul Anthony Smith - Zieher Smith & Horton - April 28th - May 23rd <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/99444/49gp/20150418212334-Smith_2015_YellowTail_PR.pdf" alt="" /></p> Sat, 18 Apr 2015 21:24:47 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lee Maida - Joe Sheftel Gallery - April 19th - May 24th <p style="text-align: justify;">Joe Shef&shy;tel Gallery is pleased to present <em>Lit End</em>, Lee Maida&rsquo;s first solo exhi&shy;bi&shy;tion with the gallery. An open&shy;ing recep&shy;tion will be held on Sun&shy;day, April 19, from 6-8pm. The exhi&shy;bi&shy;tion will be on view through May 24, 2015.<br /> <br /> <em>Lit End</em> is com&shy;prised of a series of paint&shy;ings, both two and three dimen&shy;sional, pro&shy;duced by a vari&shy;ety of processes and only spo&shy;rad&shy;i&shy;cally employ&shy;ing brush or paint. Each object is con&shy;structed in an ambiva&shy;lent rela&shy;tion&shy;ship with both grid and lump, as Maida repeat&shy;edly con&shy;structs the face.<br /> <br /> The face is a crit&shy;i&shy;cal zone for Maida as the loca&shy;tion con&shy;not&shy;ing sen&shy;sual, spir&shy;i&shy;tual and cere&shy;bral engage&shy;ment and emo&shy;tive expres&shy;sion. In <em>Notes on Thought and Vision</em>, the imag&shy;ist writer H.D. pro&shy;poses her con&shy;cept of an extra-cranial brain that is the cre&shy;ative cen&shy;ter syn&shy;the&shy;siz&shy;ing mind and body. She imag&shy;ined this as &ldquo;a jel&shy;ly&shy;fish placed over and about the brain,&rdquo; whose ten&shy;ta&shy;cles extend down&shy;ward to con&shy;nect to the body in a sim&shy;i&shy;lar fash&shy;ion to the spinal chord and ner&shy;vous sys&shy;tem. This syn&shy;thetic expres&shy;sion is the sub&shy;ject of Maida&rsquo;s work in the sense that it is what is stud&shy;ied and ren&shy;dered rather than sim&shy;ply per&shy;formed.<br /> <br /> Maida&rsquo;s art his&shy;tor&shy;i&shy;cal inves&shy;ti&shy;ga&shy;tions cen&shy;ter around this time&shy;less mind/body ideal. In a free-associative man&shy;ner, she can&shy;ni&shy;bal&shy;izes a ran&shy;dom selec&shy;tion of forms, sym&shy;bols and strate&shy;gies as a way of work&shy;ing through power, libido and identity-formation. Obser&shy;va&shy;tion is key as the tis&shy;sue between the ambigu&shy;ous soup of sub&shy;jec&shy;tive cre&shy;ation and the receipt of the com&shy;mu&shy;ni&shy;ca&shy;tion ren&shy;der&shy;ing lan&shy;guage both an obsta&shy;cle and a tool.<br /> <br /> &ldquo;They were con&shy;stantly argu&shy;ing about art and each of them, at first, had his own ideas and his own style. Jawlen&shy;sky was far less intel&shy;lec&shy;tual than Kandin&shy;sky or Klee and was often frankly puz&shy;zled by their the&shy;o&shy;ries. My 1908 por&shy;trait enti&shy;tled &lsquo;Zuh&ouml;ren&rsquo; (Lis&shy;ten&shy;ing, fh) actu&shy;ally rep&shy;re&shy;sents Jawlen&shy;sky, with an expres&shy;sion of puz&shy;zled aston&shy;ish&shy;ment on his chubby face, lis&shy;ten&shy;ing to Kandinsky&rsquo;s new the&shy;o&shy;ries of art.&rdquo; &mdash; Gabriele M&uuml;n&shy;ter <sup><a id="ref1" href="http://www.joesheftelgallery.com/lee-maida-lit-end/#fn1">1</a></sup><br /> <br /> Lee Maida (b. 1983) received her BFA from Cal&shy;i&shy;for&shy;nia Col&shy;lege of the Arts and her MFA from Bard Col&shy;lege Mil&shy;ton Avery Grad&shy;u&shy;ate School of Arts (2013) where she was the recip&shy;i&shy;ent of the Judith L. Cohen and Lawrence R. Klein Fel&shy;low&shy;ship for Sculp&shy;ture. She has exhib&shy;ited her work at Kate Werble, Derek Eller, Andrew Kreps, Andrew Edlin, Tax&shy;ter &amp; Spenge&shy;man and Ed. Varie in New York and ACP, Parker Jones and Com&shy;mon&shy;wealth &amp; Coun&shy;cil Los Ange&shy;les. Maida recently com&shy;pleted res&shy;i&shy;den&shy;cies at the Abrons Art in New York and the Mac&shy;Dow&shy;ell Colony in New Hamp&shy;shire.<br /> <br /> For press inquiries and images, please con&shy;tact the gallery at mail@joesheftelgallery.com.<br /> <br /> 1. [&ldquo;Roditi, Edouard. <em>Dia&shy;logues: Con&shy;ver&shy;sa&shy;tions with Euro&shy;pean Artists at Mid-Century</em> (Lon&shy;don, United King&shy;dom: Lund Humphries, 1990), 117.]</p> Mon, 20 Apr 2015 19:40:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Richard Dupont - Tracy Williams, Ltd. - May 15th - June 28th Fri, 17 Apr 2015 20:06:34 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mira Burack - CUE Art Foundation - May 2nd - June 5th <p><strong>Mira Burack</strong>&nbsp;is an artist living in the mountains of New Mexico.&nbsp;She received her&nbsp;Master of Fine Arts from Cranbrook Academy of Art and Bachelor of Arts in Studio Art and Psychology from Pepperdine University. Burack was born in Boston, Massachusetts and grew up on the coast of Maine. Her work has been exhibited nationally and internationally at the School of the Art Institute of Chicago, Muskegon Museum of Art, Cranbrook Art Museum, Media Knox Gallery in Slovenia, Art Gallery of Windsor in Canada, and Kunstverein Wolfsburg in Germany. She has lectured, taught workshops, and served as faculty at the College for Creative Studies. She received a Community + Public Arts: DETROIT grant for The Edible Hut, a community space with a living edible roof. Recently relocated to rural New Mexico after living in Detroit for 10 years, Burack spends her time learning from this new landscape, making, and enjoying her family. &nbsp;</p> <p id="yui_3_17_2_1_1429295395030_1892"><strong>Artist Statement</strong><br />My work investigates everyday matter, seeking out an embedded material language that exists between our bodies, our possessions, and our environment. In creating spaces, making intricate photo collages, soft sculptures, and installations, I draw connections between the material and the immaterial, the visceral and the technological, two dimensions and three dimensions, and ultimately, the conscious and unconscious.&nbsp;<br /><br />While making, I explore the physical qualities and historical properties of the materials. The human history of textiles and the illusionary nature of painting influence my way of working. Methods of documenting, multiplying, extracting, cutting, connecting, layering, and arranging are used to resuscitate the material, bringing us closer to it again with new perspective.<br /><br />I am engaged by the living sculptures in our daily lives&mdash;plants, animals, people, and the interior and exterior spaces around us. I am interested in how they teach us, activate our senses, and provide us with intimacy, comfort, rest, and pleasure.&nbsp;</p> Fri, 17 Apr 2015 18:35:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list John Scott - Flowers Gallery NY - May 16th - June 13th <p>Flowers Gallery is pleased to announce <em>Mortality Games</em>, the first solo exhibition to be held in New York by renowned Canadian artist John Scott. The exhibition draws together works from 2008 to the present day, featuring energetic, raw-edged drawings and works on paper.</p> <p>Throughout his career, Scott has used recurring figurative motifs to explore the broad themes of power, politics, conflict and mortality, which are continually enlivened by his contemporary subject matter.</p> <p>One of Scott&rsquo;s persistent emblems, the human figure with bunny ears, embodies a personal symbolism of vulnerability and anxiety. Identifying with their powerlessness, Scott burdens the characters with the plight of the &lsquo;everyman&rsquo;, the worker he sees as eternally suffering at the hands of politicians and captains of industry. His centralized, iconic &lsquo;commanders&rsquo; are warlike Napoleonic figures, rendered as featureless silhouettes except for glowing red eyes. <em>Alpha Male </em>incorporates text scrawled on the surface; phrases such as &lsquo;Event Horizon&rsquo; and &lsquo;Black Sol&rsquo; suggest that his presence transcends the confines of history, existing ominously across the past, present and future.</p> <p>His allegorical subjects have become increasingly self-referential in recent times. In his latest series of works from 2015, the artist considers his own inevitable aging process, introducing new symbols of flowers and a mummified form to reference corporeality, decay, restriction and attempts at eternity.</p> <p>Scott&rsquo;s drawings can be seen as acts of resistance and survival against the dystopian backdrop of a post-industrial world. Growing up across the water from Detroit during the 1960&rsquo;s in Windsor, Ontario, Scott witnessed the unemployment, poverty and violence of an industrial city in decline, alongside the pollution and other dangers facing its blue-collar workers. Placing visual and material symbols of the automotive industry alongside images of war and apocalypse, (such as a painted car hood, which resembles an iconic fighter jet in Stealth Mountain), Scott references the terrifying effects of the advancements of industrial technology on contemporary warfare.</p> <p>&ldquo;His pieces are at once apocalyptic and hopeful; they evoke both fear of annihilation and the shrewd instinct to survive; they embody the conflicted state of anxiety that characterizes our being.&rdquo; &ndash; David Liss, Event Horizon exhibition catalogue, 2008.</p> Fri, 17 Apr 2015 18:15:59 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Milton Avery - DC Moore Gallery - May 1st - June 13th Fri, 17 Apr 2015 17:17:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Charles Burchfield - DC Moore Gallery - May 1st - June 13th <p style="text-align: justify;"><strong>Charles Burchfield</strong>&nbsp;(1893-1967) had an intensely personal, spiritualized view of the world. As highlighted by the exceptional group of watercolors and drawings in this exhibition, he was a keen observer of his surroundings, depicting scenes with which he was familiar, often imbuing them with a visionary sensibility that was deeply felt.&nbsp;<br /><br />Among his earliest works are modernist views of his hometown of Salem, Ohio, and the surrounding countryside. After graduating from the Cleveland School of Art in 1916, he created many imaginative landscapes and developed a personal visual language of fantasy.<br /><br />In&nbsp;<em>Chestnut Trees</em>&nbsp;of 1916, he transformed the natural world into an expressive pattern of abstracted, stylized forms in heightened color. Curling shapes cover the ground at the base of two large tree trunks, while intertwining lines enliven their bark. Buried deep in the center of the composition is a circular form that appears to be vibrating or emitting energy, linking the painting to what Burchfield once called his &ldquo;rhapsodic fantasies&rdquo; of the period.&nbsp;<br /><br />Burchfield was also drawn to the urban landscape. In the 1920s and 30s, he often painted the austere imagery of industrial development and railroad yards, as well as the local architecture of towns and villages, including many views of his home in Gardenville, near Buffalo, New York. While he was striving for increased realism, he was not after literal depictions of the world around him. He was instead working towards a clarity of structure and design that was almost classical in form, while also poetic in feeling. In 1940, he wrote that he preferred to be known as a &ldquo;romantic-realist,&rdquo; adding that, &ldquo;It is the romantic side of the real world that I portray. My things are poems&mdash;(I hope).&rdquo;&nbsp;<br /><br />In the early 1940s, Burchfield returned to a bolder, more expressive approach. Much of his later work reveals two complementary sides of his artistic personality&mdash;from exuberant views of sunlit fields and atmospheric skies to more introspective meditations on the profound depths of nature. By the last five years of his life, his paintings were increasingly dreamlike.<br /><br />In&nbsp;<em>Moonlight in a Flower Garden</em>&nbsp;of 1961, he envisioned a nocturnal world animated by the effects of a full moon. A multicolored, haloed moon illuminates a pale sky, below two large, colorful moths that hang on a band of green and yellow plant forms. The energized flower garden in the bottom half of the painting is mysteriously attuned to the moonlight, with vibrating bushes and trees, and flowers with markings that resemble human faces, giving them an almost anthropomorphic quality.&nbsp;<br /><br />In both his life and art, Burchfield saw the universal in the particular, and nothing was too small or insignificant to capture his attention. He felt strongly that his identity as an artist was bound up with his relation to nature. &ldquo;I feel impelled to embrace the earth,&rdquo; he wrote in his journals. On another day spent in the fields and woods, he found that, &ldquo;My spirit was in complete harmony with the world of nature and absorbed every sight and sound with a completeness that has not been my lot for many a month.&rdquo;<br /><br />DC Moore Gallery is the exclusive representative of The Charles E. Burchfield Foundation.</p> Fri, 17 Apr 2015 17:19:08 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Rosenberg & Co. - May 4th - July 2nd <p>Rosenberg &amp; Co. is pleased to present its second exhibition, Collages (May 4 &ndash; July 2, 2015). The group exhibition will open the first week of May to coincide with New York&rsquo;s major Impressionist and Modern art auctions.</p> <p>Opened in March 2015, the gallery continues the Rosenberg family&rsquo;s distinguished tradition of exhibiting balanced combinations of Modern and contemporary artworks by an international roster of prominent artists. The medium of collage as a common theme enables a rich, cross-temporal dialogue spanning the twentieth and twenty-first centuries. Artworks included in this exhibition range from whimsical and jewel-toned to stark and analytical.</p> <p>Collages features works on paper by Morris Barazani, Marcin Dudek, Balcomb Greene, Donald Hamilton Fraser, Oleg Kudryashov, Henri Laurens, and Esteban Vicente, amongst other artists. This exhibition provides a lens through which visitors may focus on special examples selected from an expansive topic. The breadth of the exhibition &ndash; chronologically and stylistically &ndash; is illustrated when comparing a work such as Greene&rsquo;s #10 (1935), composed of densely layered papers on a small scale in a variety of textures, shapes, and palette of muted hues, to Vicente&rsquo;s Untitled (1980), the expansive picture plane dominated by emphatic vertical and horizontal linear forms in deep greens, purples, and reds.</p> <p>Rosenberg &amp; Co. renews a salon-style space with a focus on the highest standards of connoisseurship and expertise. With an emphasis on the secondary Modern art market, Rosenberg &amp; Co. also continues the legacy of working with contemporary artists.</p> <p>&nbsp;</p> Fri, 17 Apr 2015 15:36:13 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Aida Mahmudova - Leila Heller Gallery - 57th Street - May 28th - July 3rd <p>Aida Mahmudova will hold her first solo USA exhibition at Leila Heller Gallery. The exhibition will feature eight new paintings that build on the themes of nostalgia and memory found in her past work and draw inspiration from the landscape and architecture of Azerbaijan where she lives and works.&nbsp; In this series of paintings Mahmudova explores the idea of impermanence. The works provide glimpses of Azerbaijan&rsquo;s natural surroundings, urban environment and architecture, a backdrop that is undergoing constant and rapid change. A central component of Mahmudova&rsquo;s work is her exploration of memory, its links to identity, and how they both can be continually altered and re-remembered over time.</p> <p>Aida has exhibited widely internationally, including <em>Here Today</em> at the Old Sorting Office in London; <em>Love Me, Love Me Not</em> at the 55th Venice Biennale; <em>Fly To Baku</em>, London, Paris, Berlin, Moscow, Rome; and <em>Merging Bridges</em> at the Museum of Modern Art, Baku, Azerbaijan. She is also showing at the 56th Venice Biennale as part of the VITA VITALE group exhibition curated by Artwise. She is also the founder and Creative Director of YARAT, a non-for-profit arts organisation in Baku, Azerbaijan dedicated to raising the platform of Azerbaijani art, who have just opened their first permanent space in Baku.&nbsp;</p> Fri, 17 Apr 2015 12:02:18 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Neil Gall - David Nolan Gallery - April 30th - June 6th Fri, 17 Apr 2015 11:09:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list