ArtSlant - Recently added en-us 40 Leo Rubinfien - Steven Kasher Gallery - September 17th - October 24th <p style="text-align: justify;">Steven Kasher Gallery is honored to present Leo Rubinfien: The City Beside You, The City Inside You. The exhibition consists of 23 large-scale black and white photographs of New York and its people, and evokes the experience of moving through the city with great intimacy and subtlety. This is Rubinfien's first show of new images since his acclaimed work curating Garry Winogrand&rsquo;s retrospective at the San Francisco Museum of Modern Art, the Metropolitan Museum of Art, the National Gallery of Art, Washington, and the Jeu de Paume. That exhibition made many lists of the best museum shows of 2014. </p> <p style="text-align: justify;">Rubinfien is known for his photographs from all over the world, especially East Asia, where he spent much of his childhood, and for his work on the landscape of globalization. In this new exhibition, the quintessential expat comes home. Seeing New York again after years of traveling, Rubinfien notes how the city &ldquo;is characterized by the sense of promise it holds out to the thousands of people who come to make their way here, by its harshness, its mixed sense of brightness and disappointment, by how it places itself within us yet always remains unknowable.&rdquo; </p> <p style="text-align: justify;">Rubinfien has published on New York once before, in his short book The Ardbeg (Taka Ishii Gallery, 2010), a brief, lyrical evocation of the city through the eyes of an outsider. In that piece, Rubinfien's longtime friend and colleague Akiyoshi Taniguchi recalled the New York of his youth: "This is my memory &mdash; when I was in New York. Always hungry. Always has a kind of sharpness. Very rough. I relate to New York darkness.... Something like the smell of the cigar, also the smell of garbage, the weekend night in Manhattan, you can smell woman's perfume. Those smells are of human body, human things." </p> <p style="text-align: justify;">Rubinfien&rsquo;s work has been admired for many years for its visual richness, its sensitivity to human character, its technical perfection, the depth of feeling it brings to mundane subjects and the complex meanings it finds there. Many writers and viewers have commented on its unashamed yet unsentimental humanism.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Leo Rubinfien first came to prominence as part of the circle of artist-photographers who investigated new color techniques and materials in the 1970s. His first one-person exhibition was held at Castelli Graphics, New York, in 1981, and his first solo museum show was held at the Metropolitan Museum of Art in 1992. Solo exhibitions of his work have been held at major institutions worldwide including the San Francisco Museum of Modern Art, the Cleveland Museum of Art, the Seattle Art Museum, and the Corcoran Gallery of Art, Washington, DC. </p> <p style="text-align: justify;">Published in 2008, his book Wounded Cities (Steidl) was named as one of the essential photography books of all time (Parr and Badger, The Photobook, Vol. 3) Wounded Cities explores the &ldquo;mental wounds&rdquo; that were left by the terror attacks in New York in 2001, and other attacks in cities around the world. Solo exhibitions from this series have been mounted at institutions including the Corcoran Gallery of Art, the San Francisco Museum of Modern Art, the National Museum of Modern Art, Tokyo, the Yale University Art Gallery, and the Museo d&rsquo;Arte Contemporanea, Rome. Additional monographs of the artist&rsquo;s work include A Map of the East (Thames &amp; Hudson, 1992); New Turns in Old Roads (Taka Ishii Gallery, 2014). </p> <p style="text-align: justify;">Rubinfien&rsquo;s work can be found in numerous public and private collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Cleveland Museum of Art, the Seattle Art Museum, the Tokyo Metropolitan Museum of Photography, the Corcoran Gallery of Art, the Bibliotheque Nationale, the Yale University Art Gallery, the Fogg Museum at Harvard University, the Museum of Fine Arts, Houston, and the Center for Creative Photography of the University of Arizona. He has held fellowships with the Guggenheim Foundation, Japan Foundation, Asian Cultural Council, and the International Center for Advanced Studies at New York University, and in 2009 was awarded the Gold Prize at the 5th Lianzhou International Photography Festival.</p> Thu, 30 Jul 2015 15:30:07 +0000 Jill Freedman - Steven Kasher Gallery - September 17th - October 24th <p style="text-align: justify;">Steven Kasher Gallery is proud to announce a major exhibition, Jill Freedman: Long Stories Short, the first exhibition of the artist&rsquo;s work at the gallery. The exhibition features over 50 black and white vintage prints from the late 1960s to the early 1990s. This overview includes work from her famous projects on New York cops, New York firemen, Resurrection City protestors, circus workers, and dogs, as well as unpublished photographs. When Freedman holds a camera it is always to stand up for intimate causes. Photography is not her business, but her life partner. She photographs what she cares about, whether that be major events of the 20th century such as Civil Rights protests and the after-effects of the Holocaust, or the everyday life of her beloved New York City. </p> <p style="text-align: justify;">Described by art critic A.D. Coleman as &ldquo;one of the great unsung documentary photographers of her generation&rdquo;, Jill Freedman has captured over the past 40 years the joys and tragedies of ordinary life. In 1975-81, executing what would become some of her most iconic work, Freedman followed the firemen of Harlem and the South Bronx with her camera in hand, after which she transitioned to photographing New York City policemen in the Lower East Side and Times Square. Without a doubt Freedman&rsquo;s heart belongs to New York City, her chosen home since arriving here at age 25. &ldquo;Coming to New York is always a way of getting away from your own life,&rdquo; she confesses. In New York she exposes her lens to the heroism, athleticism and drudgery of our civil servants. She also scrutinizes the sex, violence, squalor and cheeky humor scattered through our city. She portrays the citizens of New York with great affection, but also with feelings of amusement, disgruntlement, anger, sorrow, even despair. She is a photographer of tremendous emotional range. </p> <p style="text-align: justify;">Jill Freedman is a self-made photographer. Born in 1939 in Pittsburgh, Freedman studied sociology and anthropology before arriving in Greenwich Village in 1964. Starting her career as a singer in nightclubs, she picked up a camera on a whim which led to a career as a full-time photographer. She never studied photography formally, but took as mentors W. Eugene Smith, Andre Kertesz, Dorothea Lange and Henri Cartier-Bresson. She has rarely photographed on commission, preferring to set her own assignments, usually book-length projects. Freedman can be compared to one of the most iconic photographers of New York, Weegee, with whom she shares the same tastes for the margins and for night life, and the same love for all classes of New Yorkers. </p> <p style="text-align: justify;">In May 1968, she participated in the Poor People&rsquo;s Campaign in Washington D.C., during which she started photographing Resurrection City, built by the protestors on the Washington Mall. She published her first book, documenting those events, in 1971. Seven books of the artist&rsquo;s work have been published to date, each linked to a specific series: Old News: Resurrection City (Grossman, 1971); Circus Days (Harmony, 1975); Firehouse (Doubleday, 1977); Street Cops (Harper &amp; Row, 1982); A Time That Was: Irish Moments (Friendly Press, 1987); Jill&rsquo;s Dogs (Pomegranate Art Books, 1993); Ireland Ever (Harry Abrams, 2004). Freedman is currently working on an eighth book, a 30-year project featuring photographs of New York, tentatively titled Madhattan. This exhibition will present works from all eight of her book projects. </p> <p style="text-align: justify;">Jill Freedman&rsquo;s photographs are held in the permanent collections of major art institutions including the Museum of Modern Art, New York; the International Center of Photography, New York; the New York Public Library; the Jewish Museum, New York; the George Eastman House, Rochester; the Smithsonian American Art Museum, Washington D.C.; the Museum of Fine Arts, Houston and the Bibliotheque Nationale de France. She has had solo exhibitions at numerous American museums, including the International Center of Photography, New York; the Museum of Contemporary Photography, Chicago; the George Eastman House and twice at the Photographers&rsquo; Gallery, London. She has been the recipient of numerous awards, including two grants from the National Endowment for the Arts, an Alicia Patterson Foundation Fellowship and was granted an Honorary Fellowship of the Royal Photographic Society, London in 2001.</p> <p style="text-align: justify;"><br /> <em>Jill Freedman: Long Stories Short</em> is the debut exhibition curated by new gallery director Anais Feyeux. Feyeux was previously Assistant Curator at the Mus&eacute;e National d'Art Moderne Centre Georges Pompidou. She is the Co-Founder and former President of the Association for Photographic Research (ARIP) based in Paris and has published more than 40 articles on the history of modern and contemporary photography. This exhibition was curated with the assistance of Ayse Erduran.</p> Thu, 30 Jul 2015 15:29:23 +0000 Antonio Scaccabarozzi - Scaramouche - September 9th - November 1st Thu, 30 Jul 2015 15:18:51 +0000 Dana Schutz - Petzel Gallery - September 10th - October 24th Thu, 30 Jul 2015 15:12:11 +0000 Hunter Reynolds - P.P.O.W Gallery - September 10th - October 10th <p style="text-align: justify;"><strong>P&middot;P&middot;O&middot;W</strong> is pleased to present an exhibition of new work by Hunter Reynolds. &nbsp;For over twenty five years Reynolds has been using photography, performance and installation to express his experience as an HIV positive gay man living in the age of AIDS. He was an early member of ACT UP, and in 1989 co-founded Art Positive, an affinity group of ACT-UP to fight homophobia and censorship in the arts. His work addresses issues of gender, identity, socio-politics, sexual histories, mourning, loss, survival, hope and healing. The exhibition at P.P.O.W will feature large-scale photo weavings, a new video work and a <em>Mummification</em> skin that together reflect Reynolds&rsquo; vision of himself, his community, and his role as a long-term AIDS survivor.</p> <p style="text-align: justify;">The central focus of the exhibition will be<em> Survival AIDS 2, </em>a series of photo weavings comprised from c-print grid-collages of scanned newspaper clippings that Reynolds began collecting between 1989 and 1993. The clippings are grouped by formal and thematic connections with additional layered images that reference Reynolds&rsquo; modes of artistic practice; spots of his HIV-positive blood; portraits of Patina Du Prey, his gender-fluid alter ego that spun through the streets of Germany, New York and California; and images of his <em>Mummification</em> performances in which he is wrapped in cellophane and tape that forms a skin which is displayed after he emerges.&nbsp; Through his layering of media, Reynolds has abstracted messages and infused his own images to create a space within the work where artist and audience, present and past, exist simultaneously. While his earlier works in the <em>Survival AIDS</em> series sought to preserve a particular moment in history, this collection turns inwards, using historical, politically charged documents to recreate a visual retelling of his own personal narrative.</p> <p style="text-align: justify;">Also on view will be <em>Medication Reminder</em>, a new video work that Reynolds created from the recordings of a dear friend, who for a year and a half called Reynolds every day to remind him to take his HIV medication. Following his HIV strokes, Reynolds was forced to take a strict regimen of pills twice daily, which he was loath to do. As her messages accumulated, Reynolds documented himself listening to the reminders, sorting his pills, and taking his medicine, overlaid with audio clips of Reynolds talking to his friend as if she were there with him, completing the voice mail conversations.&nbsp; Throughout the video we hear the sound of her voice of friendship interspersed with a rhythmic phrase: &ldquo;Take your meds, I love you, take your meds, I love you, bye.&rdquo;</p> <p style="text-align: justify;">The body &ndash; expressed through his <em>Mummification</em> performances, and the skins that he sheds as a result, are a symbol of transformation. They are on view and depicted in the photo weavings, as symbols of the artist reclaiming his diseased body&ndash; taken together with <em>Medication Reminder</em>, the works in this exhibition tell Reynolds&rsquo; own personal mythology, as well as that of his community and those he loved.</p> <p style="text-align: justify;">Reynolds will be having a concurrent exhibition and performance at EXPO Chicago (Sept 14- 20) featuring a monumental photo-mural, composed of clippings scanned from the archives of Act Up Chicago and Dr. Daniel Berger, a Chicago doctor known for his cutting-edge work with HIV and AIDS patients.</p> <p style="text-align: justify;"><strong>Hunter Reynolds</strong>&nbsp;was born 1959, in Rochester, MN and lives and works in NYC.&nbsp; Reynolds has been the subject of numerous solo exhibitions including; Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Creative Time, New York, NY; Participant Inc., New York, NY; Momenta, Brooklyn, NY; ICA Boston, Boston, MA; Iceberg Projects, Chicago, IL; Yerba Buena Center for the Arts, San Francisco, CA; NGBK Berlin, Germany; and DOCUMENTA, Kassel, Germany. He has been included in group exhibitions at the New Museum of Contemporary Art, New York, NY; Santa Monica Museum of Art, Santa Monica, CA; Aldrich Museum of Art, Ridgefield, CT; Akademie der Kunste and Kunst-Werke in Berlin, Germany and more.&nbsp; His work recently has been placed at The Art Institute of Chicago, Il; the Addison Gallery, Andover, MA and Yale University Gallery, New Haven, CT.</p> Thu, 30 Jul 2015 15:08:13 +0000 Andisheh Avini - Marianne Boesky Gallery 64th Street - September 19th - October 17th Thu, 30 Jul 2015 15:02:00 +0000 Barnaby Furnas - Marianne Boesky Gallery 24th St - September 10th - October 10th Thu, 30 Jul 2015 15:00:32 +0000 Joshua Marsh - Jeff Bailey Gallery - August 8th - August 30th Thu, 30 Jul 2015 14:49:22 +0000 Michael Berryhill - Jeff Bailey Gallery - August 8th - August 30th Thu, 30 Jul 2015 14:49:04 +0000 Elias Simé - James Cohan Gallery - September 10th - October 17th Thu, 30 Jul 2015 14:46:11 +0000 Alicia McCarthy - Jack Hanley Gallery- New York - September 10th - October 11th Thu, 30 Jul 2015 14:44:49 +0000 Adam Handler - Fred Torres Gallery - July 16th - September 12th <p style="text-align: justify;">Fred Torres Gallery is pleased to present Adam Handler&rsquo;s &ldquo;All Saints Here&rdquo;. Handler&rsquo;s sophomore solo show at Fred Torres Gallery Chelsea opens July 16th with a cocktail reception 6-9 pm. <br /> <br /> Adam Handler&rsquo;s youth and rebellious spirit find home within the the figurative representation of the contemporary society. His generation&rsquo;s uncertainty, politics, prejudices, ideals of beauty and social expectations all manifest in the expressive and rugged geometry juxtaposed with clear linear accents. <br /> <br /> His characters are reduced to puristic shapes and textures reminiscent of uninhibited adolescence. However, echoing a similar sophistication to Willem de Kooning&rsquo;s figures, Handler competently and intriguingly allows figure and background to integrate at moments. This compositional choice in particularly inspiring for introspection. <br /> <br /> His technical expression in stroke resonates in his color palette. His skillfully builds a pointedly dynamic atmosphere within the canvas utilizing an impressive range of hues. Some pieces focus in rich, deep colors and others whose find resonance in pastels to further internal conversation. <br /> <br /> An art history graduate of SUNY Purchase, Adam Handler&rsquo;s work is currently hanging at Hotel Hugo and has been sought out by collectors of the Erwin Pearl Collection, Levis Fine Art, and The Deutsche Bank. He is currently based out of NYC.</p> Wed, 29 Jul 2015 16:19:16 +0000 - Elisa Contemporary Art Gallery - September 14th - October 31st Wed, 29 Jul 2015 16:15:09 +0000 Morgan Fisher - Bortolami Gallery - September 10th - October 24th <p style="text-align: justify;">Bortolami Gallery is pleased to present &ldquo;Negative Film Boxes,&rdquo; an exhibition of new photographs by Morgan Fisher and his third one-person exhibition at the gallery.</p> <p style="text-align: justify;">The photographs in the exhibition are exact negatives of the photographs Fisher exhibited at Bortolami in 2011. This simple technical transformation produces images whose identity appears to be unsettled. The film boxes are plainly negatives, yet unlike many negatives they are instantly intelligible. But the backgrounds, of course negatives too, appear to be positives. This is because the backgrounds in the earlier photographs are 18% gray. This gray, a standard in photography, is exactly middle gray, so its negative is identical to its positive. Nothing about the gray in these photographs suggests that it&rsquo;s a neg&shy;ative, so it reads as the more familiar positive. But if the backgrounds are positive, then so are the boxes, an understanding made likely by their already having the legibility of positives. And as positives the boxes are otherworldly. Adding to the ambiguity, the images are almost without shadows. Shadows in a negative are light rather than dark and so are a giveaway, but only when conspicuous. These several factors result in images whose identity is elusive, suspended.</p> <p style="text-align: justify;">Morgan Fisher was born in 1942 in Washington, D.C. He studied art history at Harvard College and film in Los Angeles. His early work was in film, and more recently he has made paintings, sculptures, and photographs. Recent one-person exhibi&shy;tions at public institutions were at the Aspen Art Museum (2013); Generali Foundation, Vienna (2012); Raven Row, London, and Museum Abteiberg, M&ouml;nchengladbach (2011); and Portikus, Frankfurt (2009). He lives and works in Los Angeles.</p> <p style="text-align: justify;">For more information and images, please contact Claire Bergeal at +1-212-727-2050 or</p> Wed, 29 Jul 2015 16:10:25 +0000 Ivan Morley - Bortolami Gallery - September 10th - October 24th <p class="Pa2" style="text-align: justify;">Bortolami is pleased to announce the gallery&rsquo;s first solo exhibition with Ivan Morley.</p> <p class="Pa2" style="text-align: justify;">Morley admits that he has created and recreated the same paintings for over a decade. By repeating the themes and images, he builds works of art&mdash;which he refers to as &ldquo;groups&rdquo;&mdash;consisting of large numbers of individual paintings. Yet, his first show at Bortolami marks a significant shift in his art-making. Morley has applied a unifying strategy to his disparate practices for the first time, by using the pattern produced by breaking a large pane of glass to &ldquo;draw&rdquo; all the works in the show, whether they are made of leather, thread, batik, or oil paint.</p> <p class="Pa2" style="text-align: justify;">Whereas his work over the last decade used repetition to play with temporal experience and sequence, the pieces in this exhibition use similar means to a different end. By making the same painting seven times from a variety of materials, Morley manufactures a present tense. One might argue that his practice and notion of time is vertical rather than linear.</p> <p class="Pa2" style="text-align: justify;">The titles, <em>A True Tale </em>and <em>Tehachepi, (sic)</em>, refer to two of a handful of anecdotes that Morley has painted many times over. The former involving an enterprising ex-slave who made a fortune taking advantage of the overabundance of cats in one city and of rats in another. The latter; a native family living in a small town where the wind was so strong it could alter a bullet&rsquo;s trajectory. But the precise subject, origin, or narrative of each tale is hardly the point. Rather, he renders elements along each story&rsquo;s periphery, allowing a single detail to shift and mutate via paint and thread.</p> <p class="Pa2" style="text-align: justify;">Likewise, the scale of these works is determined by not just exhaustion but practical necessity&mdash;sometime he simply runs out of time and material. The two embroidered canvases consist of solid, vaguely geometric forms that transition abruptly between one another. The repetitive action of each stitch, akin to cross-hatching in a drawing, serves as both catharsis and productive, impul&shy;sive activity.</p> <p style="text-align: justify;">Ivan Morley (b. 1966 in Burbank, California) is an artist living and working in Los Angeles. He most recently had solo exhibitions at Kimmerich in Berlin, Germany and Richard Telles Fine Art in Los Angeles, California. Morley attended the School of the Art Institute of Chicago and the Art Center College of Design in Pasadena.</p> Wed, 29 Jul 2015 16:08:46 +0000 Mark Grotjahn - Anton Kern Gallery - September 10th - October 30th Wed, 29 Jul 2015 16:04:22 +0000