ArtSlant - Current exhibits en-us 40 Valentin Carron - 303 Gallery - November 6th - December 20th <div id="content" class="grid_10"> <p style="text-align: justify;">303 Gallery is pleased to present our third exhibition of new work by Valentin Carron.</p> <p style="text-align: justify;">A man comes home from a day at work, removes his belt, and throws it onto a stool. The belt unfurls itself coming to rest dangling from the stool, frozen in the insipid elegance of the gestural.&nbsp; In the work of Valentin Carron, this everyday apologue becomes a series of assemblage sculptures consisting of exquisite glass casts of men's belts tossed onto pieces of found furniture. Existing in the strange interstice between the domestic and the sacred, these tableaux appear charged with a familiarly disorienting emptiness. The torsion in the pseudo-baroque elegance of the belts is now cast in glass, freezing and robbing them of their potential poetry. They billow onto their de facto prefab pedestals, abject scraps of consumerism acting as supports in Carron's allegorically imbued still lives. The belts themselves become monuments for the delicate and insidious skein of masculinity in the face of a designed world. Man becomes vulnerable to his surroundings, to failure, to repeating the same gesture again and again. He is interred into a negotiation between his Nietzschean virility and the self-effacing dead end of the functional.</p> <p style="text-align: justify;">In a series of paintings, Carron mines the vernacular of modernist banality and its psychic, emotional, and behavioral implications. Details of found motifs selected from the covers and spines of industrially produced cloth and leather-bound books of the western postwar period are projected onto PVC tarpaulin and painted with vinyl ink. These motifs were meant to inspire and evoke the abstract promise of the future, a promise as yet unrealized. Though there is a nobility in the optimism of using formal means to translate a mass-produced consciousness, in the face of reality it is impossible not to see them through the lens of pathos. Even the process itself flattens the dimensionality of what is traditionally thought of as "painterly," rendering with pungent desolation these contemporary hieroglyphs of failure.</p> <p style="text-align: justify;">Valentin Carron lives and works in Martigny, Switzerland, where he was born in 1977. In 2013 he represented Switzerland at the 55th Venice Biennale. Major presentations of his works were realized at Kunsthalle Bern (2014), Palais de Tokyo Paris (2010), Kunsthalle Z&uuml;rich (2007), Swiss Institute New York (2006), Centre d'Art Contemporain Geneva (2004), Chisenhale Gallery London (2006) and Mamco Geneva (2001). Catalogues were published on the occasion of Carron's exhibition at the Swiss Pavilion 55th International Venice Biennale (JRP/Ringier) and his recent solo exhibition at Kunsthalle Bern. A monograph of the artist's work was published by JRP/Ringier in 2011.</p> <p style="text-align: justify;">303 Gallery represents the work of Doug Aitken, Valentin Carron, Hans-Peter Feldmann, Ceal Floyer, Karel Funk, Maureen Gallace, Tim Gardner, Dominique Gonzalez-Foerster, Kim Gordon, Rodney Graham, Mary Heilmann, Jeppe Hein, Jens Hoffmann, Larry Johnson, Matt Johnson, Jacob Kassay, Karen Kilimnik, Alicja Kwade, Elad Lassry, Florian Maier-Aichen, Nick Mauss, Mike Nelson, Kristin Oppenheim, Eva Rothschild, Collier Schorr, Stephen Shore, Sue Williams, Jane and Louise Wilson,</p> <p style="text-align: justify;">303 Gallery is open Tuesday-Saturday from 10 am - 6 pm. For further information please visit us at or contact Cristian Alexa, Kathryn Erdman, Thomas Arsac or Erika Weiss.</p> </div> Fri, 31 Oct 2014 08:30:07 +0000 Nobuyoshi Araki, Barbara Ess, Darcy Lange, Wolfgang Tillmans, Jeff Wall - 3A Gallery - November 19th - February 14th, 2015 <p>Artist Dan Graham's photography collection which he traded with his artist friends.</p> Tue, 18 Nov 2014 00:18:04 +0000 Amy Lien, Enzo Camacho - 47 Canal - November 8th - December 21st <p style="text-align: justify;">Like many other people, Amy Lien and Enzo Camacho, who have been collaborating for several years, are based between two or more distant places, meaning that whether they like it or not, they are separated from where they still think they might belong. This can be seen as the root cause of a productive form of anxiety, or it might also be a total waste of time. Either way, certain emergent phenomena can easily become magnified by an alienated imagination.</p> <p style="text-align: justify;">The call centers mushrooming all over the sprawling urban fabric of Metro Manila have unleashed a dazzling chain of analogies. The artists have been perambulating around this industry and its issues since 2010, when the Philippines superseded India as the leading nation in business process outsourcing. The districts in Metro Manila where these companies have built their offices have taken on a distinct flavor of banality, swarmed by 24-hour eating and drinking establishments that cater to those working zombie shifts on Eastern Standard or some other Time. When entering the workplace, the employees are stripped of their cell phones and enter into a predictable arrangement of fluorescent-lit hallways, rooms,&nbsp; and cubicles. When they dribble out of these buildings, on a cigarette break or to buy a pack of gum or French fries, they exude a particular teeth-chattery energy, an upper high. This is what an upgrade in sovereign credit rating looks like at ground level. Being amongst thousands of youthful bodies milling around strip malls and back alleyways in the early morning hours, leaking nervous cigarette breath into the hot night air and chattering idly before returning to work, the two artists felt a vicarious buzz, a fear of missing out.</p> <p style="text-align: justify;">Did you hear about the call center sex tape? Or the notorious Telecommunications company BBQ transvestite beauty pageant talent show? Did they tell you how Filipinos have friendly voices but low critical problem solving abilities due to an over-eagerness to please and subsequently pretending to understand things that they actually don&rsquo;t? That they gossip way too much? That they prefer being paid in bags of rice? In the Filipino comedy <em>Call Center Girl</em>, a middle aged OFW (Overseas Filipino Worker) returns home from a career on a cruise ship and, in order to redeem her relationship with her neglected adult daughter, joins the same call center where she works, and seduces their mutual team leader in order to pawn him off onto her. Distortion makes the facts more titillating. Hidden cameras catch leaks at low res.</p> <p style="text-align: justify;">Is &ldquo;internet savvy youth&rdquo; an international concept? While the so called eighty-nine or digital natives databasing project aggregates consensus, cheaply institutionalizing its investments, the call center phenomenon of the Philippines says this: There is an emergent population of young, English-fluent, technology-literate, newly solvent, upbeat laborers who don&rsquo;t feel the pressure to leave the country to support their families, but internalize the West to meet its service expectations. The lurkers in the shadows, Amy and Enzo are turned on by their heat.</p> <p style="text-align: justify;">Returning to NY together for the first time since 2011, scanning the city by night, their eyes were drawn, in a sliding, lenticular, double recognition, to the most beautiful person they&rsquo;d ever encountered, who reciprocated the gaze, and immediately became a fixation. Fluorescent lighting made his complexion luminous. He worked for a vanguard fashion/social media platform, but also for himself, and cultivated an attitude accordingly. He would soon begin monopolizing their nights and seeping into their early morning dreams, with conversations drenched in whiskey and hot pot, reverberating dramatic nights out in Manila but refracted through the patois of edgy NY youth marketing. This is a love that gets ditched at the Thai restaurant because he left the proverbial stove on. This is a love that demands to remain an unrequited fantasy, triangulated to maintain its momentum, to burn in perpetuity.</p> <p style="text-align: justify;">This is a show dedicated to those subjects that pour out into the night, to seek love in work in wasting time in race/class/gender/globalization.</p> <p style="text-align: justify;"><em>Amy Lien (b. 1987) &amp; Enzo Camacho (b. 1985) are collaborating artists. They have staged recent solo exhibitions at Mathew Gallery (Berlin, Germany), MoSpace (Taguig, Philippines), Pablo Fort (Taguig, Philippines) and Republikha Art Gallery, (Quezon City, Philippines). They will participate in a six month residency as artists/curators at Gluck 50 (Milan, Italy) starting in January 2015. This is their second solo exhibition at 47 Canal.</em></p> Wed, 26 Nov 2014 17:13:43 +0000 Diana Copperwhite - 532 Gallery Thomas Jaeckel - November 13th - January 10th, 2015 <p style="text-align: justify;">When describing Diana Copperwhite&rsquo;s work Colm Toibin wrote:</p> <p style="text-align: justify;">&ldquo;<em>Her work is about painting first and foremost; [these] references merely serve a purpose.&nbsp; Thus digital images which freeze and fragment an original image fascinate her, but such images in themselves are not enough, they provide a way into the painting.&nbsp; It is their visuality which inspires rather than any precise sense of a blurred or fragmented reality.&nbsp;&nbsp; Because she physically likes making paintings, everything is subservient to what paint will achieve.&rdquo;</em></p> <p style="text-align: justify;">Copperwhite makes paintings that move fluidly between representation and abstraction. Photographs, montage and assemblage all aid the process and become ancillary works that pin down fleeting thoughts, glimpses and reactions to a media saturated age.&nbsp; Her interests and sources are eclectic and wide ranging, from social media to philosophical debate to art historical references.&nbsp; Yet, as Toibin points out, her paintings are no more about the image than they are about the process of painting itself.&nbsp; Her work is phenomenological in that momentarily emotional responses override the need to capture reality.&nbsp; Something has piqued her interest and from that initial interest she thinks in colour, in tone, and texture, in setting herself a visual problem to which there is no single definitive solution.&nbsp; Her palette is composed of murky undertones punctuated by bright neon rifts. The fluidity and expressiveness of the painting gives little hint of the rigorous and formal abstract principles applied to the making.</p> <p style="text-align: justify;">Diana Copperwhite studied Fine Art Painting at Limerick School of Art and Design and the National College of Art and Design, Dublin. She completed an MFA at Winchestor School of Art, Barcelona in 2000.&nbsp; Diana is a tutor at the National College of Art and Design,Dublin.&nbsp; Her work is in the collection of the Irish Museum of Modern Art and the Arts Council of Ireland, and also in collections in the United States, Europe and Australia.</p> <p style="text-align: justify;">The writer Colm Toibin is currently Irene and Sidney B Silverman Professor of Humanities at Columbia University.&nbsp; He is an IMPAC Dublin Literary Award prizewinner, and has appeared on the Booker shortlist, most recently in 2013 for his play the Testament of Mary.</p> Wed, 17 Dec 2014 11:50:24 +0000 Peter Blume - ACA Galleries, Est 1932 - November 6th - January 31st, 2015 <p align="center"><strong><span style="color: #1b8be3;">PETER BLUME (1906-1992)</span></strong></p> <p align="center">November 6, 2014 through January 31, 2015</p> <p align="center"><span style="text-align: left;">&nbsp;</span></p> <p>ACA Galleries is pleased to announce the upcoming exhibition, PETER BLUME (1906-1992),on view <strong>November 6, 2014 through January 31, 2015</strong>.&nbsp; The exhibition will feature paintings, drawings and sculpture from the artist&rsquo;s estate. &nbsp;</p> <p>Concurrent with the ACA Galleries exhibition is the firstPeter Blume retrospective since 1976, <strong><em>Nature and Metamorphosis</em></strong>, organized by the <strong>Pennsylvania Academy of the Fine Arts (PAFA)</strong>, Philadelphia <strong>(November 14, 2014 &ndash; April 5, 2015).</strong>&nbsp; This exhibition will travel to the <strong>Wadsworth Athenaeum</strong>, Hartford, CT <strong>(June 27 &ndash; September 20, 2015).</strong>&nbsp; Catalogue will be available. &nbsp;&nbsp;</p> <p>Peter Blume&rsquo;s modernism embodies the clashing contradictions of the 20th Century: abstract complexities with nostalgia for a simpler past; the rush of urban living with the yearning for a lost pastoral life; the cold reality of politics with the quest for spiritual meaning in a world ravaged by two world wars and a ruinous economic depression. &nbsp;By embracing the irreconcilable, Blume transcends Modernist art&rsquo;s conventional aspirations to re-define order in a chaotic world. &nbsp;His oeuvre is metamorphosis itself, a realm where paradox rules. &nbsp;Within that clash Blume found profound meaning and sublime beauty.</p> <p>Blume&rsquo;s deep knowledge of art history holds these disparate elements together. &nbsp;We see the elegance of Renaissance rendering, the balance and figurative perfection of Classical antiquity, the rule-breaking energy of Modernism, and the spontaneity of folk art. &nbsp;The latter reflects his Russian Jewish roots and his embrace of the culture of his adopted land, America. &nbsp;Together with his understanding of the emotional properties of color, the structural backbone of architecture, and the physicality of sculpture, Blume was able to corral these elements into a surreal narrative. &nbsp;&nbsp;</p> <p>Adding richness to Blume&rsquo;s already complex mix of influences was his involvement with metaphysical experimentation. &nbsp;His interest in Automatism and &ldquo;automatic writing&rdquo; found its way into his preliminary studies for paintings and his works on paper in particular, where he allowed his hand to move spontaneously across a surface. &nbsp;The results are dynamic works of flowing lines and exciting shapes existing in metaphysical tension, where the physical facts of the world meet the whispered secrets of the mind and spirit.</p> <p>In a life that spanned nearly the entirety of the 20th Century, Blume&rsquo;s art recorded not the dry facts of that century but the soul of it, its struggles against incomprehensible violence, and its triumphs of survival over man-made madness. This achievement won Blume critical acclaim throughout his career, winning a Guggenheim Fellowship and the Carnegie International Prize in the 1930s.&nbsp; His work is represented in major public and private collections including The Metropolitan Museum of Art, Museum of Modern Art, and The Whitney Museum of American Art in New York; the Smithsonian Institution of American Art in D.C.; Carnegie Museum of Art in Pittsburgh; Museum of Fine Arts in Boston and the Art Institute of Chicago, among others.</p> <p>&nbsp;<em>&nbsp;</em></p> <p align="center"><em>For additional information and images, contact </em></p> <p align="center"><em>Mikaela Sardo Lamarche</em></p> <p align="center"><em></em></p> Thu, 13 Nov 2014 16:48:02 +0000 Roohi Shafiq Ahmed, Michael Kempson, Ben Rak, Abdullah M. I. Syed, Adeel-uz-Zafar - AICON GALLERY - New York - December 11th - January 24th, 2015 <p align="justify"><strong>Aicon Gallery&nbsp;</strong>is proud to present&nbsp;<em>Semblance of Order</em>, a traveling exhibition promoting Australian and Pakistani art and artists across borders and platforms with cross-cultural collaboration at its core. The exhibition&nbsp;is&nbsp;the result of an international artists' residency program delivered in partnership between Parramatta Artists Studios&nbsp;and Cicada Press, University of New South Wales Art and Design, Sydney, Australia.</p> <div> <p align="justify"><em>Semblance of Order&nbsp;</em>presents an array of etchings and silkscreen prints that demonstrate the artists' desire to extend beyond replication and explore the creative possibilities of their practices and the medium. The artworks mediate notions of cultural translation: subject/object, original/translation, center/margin, personal/communal, textual/visual, and artist/printer. Through mark making, erasure, repetition, layering, labor, doubling, and deconstruction, the artists push the conceptual and technical discourse of printmaking. The results are conceptually rich and technically challenging, underlined with humor and irony: a visual poetry of disorder and order.&nbsp;Featuring the work of five artists, the exhibition has traveled from Parramatta Artists Studios, Sydney to Koel Gallery, Karachi, with its premier in the United States hosted by Aicon Gallery, New York.<span style="text-align: left;">&nbsp;</span></p> </div> <div align="justify">Born in Karachi, Pakistan (1966)&nbsp;<strong>Roohi S. Ahmed</strong>&nbsp;is a multi-disciplinary artist who lives and works in Karachi, Pakistan. Ahmed is an Associate Professor at the Indus Valley School of Arts and Architecture, Karachi, and lectured at the University of Karachi's Visual Studies Department and COFA UNSW. She has exhibited widely internationally. Ahmed was the recipient of the UNSW's International Postgraduate Research Scholarship in 2011.<span style="text-align: left;">&nbsp;</span></div> <p align="justify"><strong>Michael Kempson&nbsp;</strong>is currently Head of Printmaking and Director of Cicada Press, a research based custom printing workshop, at COFA UNSW, Sydney, Australia. As an artist Kempson has had a total of 27 solo exhibitions and numerous international group exhibitions, with representation in the National Gallery of Australia and many state, regional, university and corporate collections. Kempson also curated an Australian component representing COFA UNSW, the first international art school invited to the 11th Annual Printmaking Exhibition and Conference for Chinese Academies and Colleges at Guangzhou Academy of Fine Art (2012).</p> <p align="justify">Born in California, USA (1978) and raised in&nbsp;Israel,&nbsp;<strong>Ben Rak&nbsp;</strong>is an artist, educator and independent curator. He presently works and lives in Sydney, Australia, where he lectures at COFA UNSW. His artworks have been featured in four solo exhibitions and several local and international group exhibitions. Rak has won several awards including the National Tertiary Art Prize people's choice (2009), Blacktown City Art Prize for works on paper (2008), and the Newtown Community Art Prize for works on paper (2007). Ben Rak's works are in the collections of several national and international institutions.&nbsp;</p> <p>&nbsp;</p> <div align="justify">An artist, freelance designer, and independent curator,&nbsp;<strong>Abdullah M. I. Syed</strong>&nbsp;was born in Karachi, Pakistan (1974). Presently he is completing a PhD in Fine Arts practice and lecturing at COFA UNSW. Syed has coordinated the Design Department at the Karachi University, Pakistan, and lectured at the University of Central Oklahoma. His artworks have been featured in six solo and several local and international group exhibitions. Syed has won awards including the Blacktown City Art Prize for works on paper (2010), the UNSW Postgraduate Research Scholarship (2009), the COFA Senior Artist from Asia Scholarship (2006), and the Individual Artist of Oklahoma Award for Installation (2003).</div> <p>&nbsp;</p> <p align="justify">&nbsp;<strong>Adeel-uz-Zafar</strong>, born in 1975, Karachi, Pakistan, is an artist, illustrator and art educator. Zafar holds a BFA (with distinction) from the National College of Arts, Lahore (1998). His works have been featured in two solos and several international group exhibitions. He has participated in both national and international artist residencies including the Studio R. M. Residency, Lahore 2011, and most recently at Parramatta Artists Studios and Cicada Press (COFA UNSW) (2013). Adeel-uz-Zafar currently works and resides with his wife Nehdia and two daughters in Karachi.</p> Sat, 13 Dec 2014 11:26:02 +0000 S.H. Raza - AICON GALLERY - New York - December 18th - January 29th, 2015 Wed, 17 Dec 2014 17:18:11 +0000 Will Barnet - Alexandre Gallery - November 20th - January 10th, 2015 <h2><a href="" rel="nofollow">WILL BARNET</a>: A TRIBUTE</h2> <p>Thursday, November 20 through Saturday, January 10, 2015</p> <p>A survey of six paintings and related works on paper spanning Barnet's career (1911 &ndash; 2012).&nbsp;Illustrated catalogue available.</p> Thu, 04 Sep 2014 18:35:13 +0000 Joel Holmberg - American Contemporary - October 30th - December 19th <p style="text-align: justify;">For the greater part of the 20th Century, companies that controlled the lion&rsquo;s share of markets got there by joining partnerships and forming associations as a way to reduce transaction costs below market price, but recently the developed world experienced a shift in prevailing management theories. Technology can now enable workers to create professional networks and collaborate outside of big business. Labor has found more ways to work in the open market while businesses are getting smaller and working with a growing number of freelancers.</p> <p style="text-align: justify;">A professional website plays a significant role in the costs associated with marketing one&rsquo;s skills and experience. The act of maintaining an online presence requires a constant negotiation between participation in a centralized network and internal growth by way of a personal website more representative of one's skill set and brand. Technical obsolescence and security play a big part in how much work goes into building a website. Sometimes it can contribute to your sense of comfort and well-being, but sometimes it can be unhealthy.</p> <p style="text-align: justify;">Content management systems (frequently abbreviated as CMS) are built on a database wherein the layout of a site can be manipulated independently from its content. Using software formerly available only to corporations that could afford it, sites built using CMS are now proliferated by volunteer programmers. </p> <p style="text-align: justify;">The ubiquity of CMS has given rise to the template industry, which, fueled by ad revenue, makes it viable for unsupported templates to be downloaded and integrated.</p> <p style="text-align: justify;">The dynamic nature of the technology supply chain can result in sites becoming unsupported across browser platforms and vulnerable to being infected by malicious attacks. The more shortcuts that go into making a site look professional the more chances exist for it's form to be compromised. The result is beautiful. I can only compare it to gardening. The wild can take over fast. The goal is to help it achieve the majesty of an ancient forest, with a canopy and an understory and vista from which to gaze.</p> <p style="text-align: justify;">Joel Holmberg (b. 1982 in Bethesda, MD) lives and works in New York, NY. He has previously exhibited at <strong>Cleopatra&rsquo;s</strong>, Brooklyn, NY; <strong>Foxy Production</strong>, New York, NY; <strong>Ullens Center for Contemporary Art</strong>, Beijing, CN; <strong>New Museum</strong>, New York, NY; <strong>Outpost</strong>, Norwich, UK; <strong>The Museum of the Moving Image</strong>, New York, NY; The <strong>9th Shanghai Biennale</strong>, Shanghai, CN, <strong>W139 </strong>in Amsterdam, NL<strong>, The Sundance Film Festival, </strong>Park City, UT, <strong>Espace Gantner</strong>, Belfort, FR, and <strong>Kettles Yard</strong>, Cambridge, UK. His most recent solo exhibition was the inaugural exhibition at <strong>Harmony Murphy Gallery</strong>, Los Angeles, CA. He is a member of the web based collective Nasty Nets and studied at Virginia Commonwealth University, Richmond, VA and Yale University, New Haven, CT. </p> Tue, 28 Oct 2014 14:28:35 +0000 - American Folk Art Museum - December 16th - March 8th, 2015 <p style="text-align: justify;">The Barbara L. Gordon collection offers a stunning presentation of American folk art made primarily in rural areas of New England, the Midwest, and the South between 1800 and 1920. More than sixty works of art, including still-life, landscape, allegorical, and portrait paintings, commercial and highly personal sculpture, and distinctive examples of art from the German-American community exemplify the breadth of American creative expression by individuals who did not always adhere to the academic models that established artistic taste in urban centers of the East Coast. <br /> <br /> The exhibition is drawn from the Barbara L. Gordon collection and is organized and circulated by Art Services International, Alexandria, Virginia. <br /> <br /> Major support for the presentation at the American Folk Art Museum is provided by HISTORY&reg;.<br /> <br /> The exhibition is accompanied by a full-color catalog copublished by ASI and the international publishing firm SKIRA/Rizzoli.</p> <p style="text-align: justify;">Additional support is provided by Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> Sun, 19 Oct 2014 09:16:26 +0000 Joseph Kosuth, Marcel Duchamp, René Magritte, Piero Manzoni, Yoko Ono, Ad Reinhardt, Robert Smithson - Andrea Rosen Gallery - December 13th - January 24th, 2015 <p style="text-align: justify;">Andrea Rosen Gallery is delighted to announce <em>The Thing and the Thing-in-Itself</em>, an exhibition comprising a tightly focused group of 20th-century masterworks curated by noted art historian Robert Hobbs.&nbsp;&nbsp;Bringing together a compelling group of significant works, one by each of seven key 20th-century artists &ndash; Marcel Duchamp, Joseph Kosuth, Ren&eacute; Magritte, Piero Manzoni, Yoko Ono, Ad Reinhardt, and Robert Smithson &ndash; this exhibition offers viewers the opportunity to look at familiar artists in a new way and with much greater depth, both in relationship to each other and in regards to their individual practices. It opens December 12, 2014 at the Gallery&rsquo;s main space, 525 West 24<sup>th</sup> Street.<br /> &nbsp;</p> <p style="text-align: justify;"><strong>Curator Statement</strong></p> <p style="text-align: justify;"><em>The Thing and the Thing-in-Itself</em> focuses on the limits of human understanding that Immanuel Kant contemplated in <em>The Critique of Pure Reason</em> (1<sup>st</sup> ed. 1781). This philosopher speculated that humans only know things in the world through<em> space</em> and <em>time</em>, as well as the <em>causes</em> they attribute to these objects and events. Instead of accurately replicating the world, people&rsquo;s understanding of it is dependent on their restricted ability to grasp it. In other words, they construct the world they experience, making sensory information idiosyncratic and/or socially oriented rather than accurate, and people&rsquo;s perception of their world an ongoing film or performance. It helps to consider Kant&rsquo;s term &ldquo;thing-in-itself&rdquo; as shorthand for the strict limits to the ongoing theater of everyday life humans produce, direct, and cast, so that they themselves can then serve as its main players.&nbsp;</p> <p style="text-align: justify;">This exhibition utilizes Kant&rsquo;s approach to reconsider how certain twentieth-century artists engaged the frontiers of human understanding in works that pit people&rsquo;s sight and insight against the limits of what they are able to comprehend, i.e. the things they believe themselves to be seeing as opposed to &ldquo;things-in-themselves&rdquo; (Kant&rsquo;s code word for humans&rsquo; inability to move beyond their own constructed views). Instead of presenting an art endeavoring to reveal its contents to viewers with the least amount of interference, <em>The Thing and the Thing-in-Itself</em> features works that act out the limits of human understanding as they create mysteries, pose conundrums, and leave viewers with provocative questions.</p> <p style="text-align: justify;">Starting in the second decade of the 20<sup>th</sup>-century with Duchamp&rsquo;s Readymades, art&rsquo;s status as an object became a subject of inquiry, with questions about differences between ordinary things and art.&nbsp; <em>The Thing and the Thing-in-Itself </em>consequently begins with Duchamp&rsquo;s assisted readymade,<em> Comb (Peigne)</em>, a steel grooming tool for dogs, inscribed with the words &ldquo;3 ou 4 gouttes de hauteur n&rsquo;ont rien a faire avec la sauvagerie; M.D. Feb. 17 1916 11 a.m.&rdquo; (&ldquo;Three or Four Drops of Height [or Haughtiness] Have Noting to Do with Savagery.&rdquo;). &nbsp;The exhibition then surveys the following six notable steps in the history of the art/thing challenge. Ren&eacute; Magritte&rsquo;s <em>La Clairvoyance</em> of 1936 depicts a self-portrait of the artist in the process of metamorphosing his model, an egg, into a bird in flight on his canvas, thereby setting in place a tongue-in-cheek differential between representational painting and life.&nbsp; The early majestic black Reinhardt canvas from 1954 challenges the limits of sensory perception, with its grid poised on the divide between visibility and invisibility. Manzoni&rsquo;s <em>Merda d&rsquo;artista</em> (<em>Artist&rsquo;s Shit</em>) (1961), a tin of artist&rsquo;s feces, ironically undermines the artist&rsquo;s traditional role as creator, the value placed on art&rsquo;s materiality, and the traditional view of it as a container of enlightening contents. Kosuth&rsquo;s <em>Glass Words Material Described</em> (1965) consists of exactly these four words painted on four transparent sheets of glass to undermine art&rsquo;s putative transparency and accessibility. Ono&rsquo;s 1966 live video feed of the sky above the gallery contrasts literalism with traditional expectations of transcendence. And Smithson&rsquo;s <em>Non-site: Line of Wreckage (Bayonne, New Jersey)</em> of 1968 undermines the art object&rsquo;s sovereignty as it creates an interplay between the metal bin containing landfill with a map and photographs of the site in Bayonne, making this work a dislocated boundary marker.<br /> &nbsp;</p> <p style="text-align: justify;">- Robert Hobbs<br /> &nbsp;</p> <p style="text-align: justify;">Art historian <strong>Dr. Robert Hobbs</strong> has written widely on modern and contemporary art, including extended essays on David Altmejd, Keith Haring, Richard Jackson, Jonathan Lasker, Robert Longo, Sterling Ruby, Yinka Shonibare, Frank Stella, Tavares Strachan, Kara Walker, Kelley Walker, John Wesley, and Kehinde Wiley, among others.&nbsp; His monographs have focused on such artists as Milton Avery, Alice Aycock, Edward Hopper, Lee Krasner, Mark Lombardi, Robert Motherwell, Beverly Pepper, Richard Pousette-Dart, and Robert Smithson.&nbsp;</p> <p style="text-align: justify;">Hobbs served as curator for the Venice Biennale&rsquo;s American National Pavilion (Smithson, 1981) and the Bahamian National Pavilion (Tavares Strachan, 2013), as well as the American Representation at the S&atilde;o Paulo Biennial (Kara Walker, 2002). He has curated exhibitions at major museums nationally and internationally such as the Brooklyn Museum of Art; the Drawing Center, New York; the Los Angeles County Museum of Art; Mus&eacute;e d'Art Moderne de la Ville de Paris; and the Whitney Museum of American Art.&nbsp; Academic positions include Associate Professor, Cornell University; long-time Visiting Professor, Yale University; and Thalhimer Endowed Chair, Virginia Commonwealth University.</p> <p style="text-align: justify;"><strong>Robert Smithson</strong> was born in 1938, in Passaic, New Jersey, studied in New York City and worked throughout the United States and abroad until his death in 1973, in Amarillo, Texas. His work has been the subject of numerous solo exhibitions at major institutions, including comprehensive retrospectives at the Museum of Contemporary Art, Los Angeles, the Whitney Museum of American Art, New York, the Musee d&rsquo;Art Moderne de la Ville de Paris, and the Dallas Museum of Art, among others.</p> <p style="text-align: justify;"><strong>Ad Reinhardt</strong>, born in 1913 in Buffalo, New York, lived and worked for the majority of his life in New York City until his death in 1967. His work has been most recently featured in a comprehensive solo exhibition at the&nbsp;Josef Albers Museum Quadrat&nbsp;in Bottrop, Germany, and is part of prestigious permanent institutional collections including the Whitney Museum of American Art, the Museum of Modern Art, New York, and The Museum of Contemporary Art, Los Angeles.</p> <p style="text-align: justify;"><strong>Yoko Ono</strong>, born in 1933 in Tokyo, Japan, lives and works in New York City. Ono has had comprehensive retrospectives at prestigious institutions including the Whitney Museum of American Art, the Walker Art Center, and the Contemporary Arts Museum, Houston, including her most recent and largest retrospective in 2013 at the Schirn Kunsthalle, Frankfurt, which traveled to the Louisiana Museum of Modern Art, <a href="" target="_blank">Humleb&aelig;k</a>, Denmark, Austria&rsquo;s Kunsthalle Krems, and the Guggenheim Bilbao Museum, Spain.</p> <p style="text-align: justify;"><strong>Piero Manzoni</strong>, born in 1933 in Soncino, Italy, lived and worked primarily in Milan until his death in 1963. His work has been featured in solo exhibitions throughout Europe, including retrospectives at the Mus&eacute;e d'Art Moderne de la Ville de Paris, the Serpentine Gallery, London, and the Museo d'Arte Contemporanea Donnaregina, Naples, and appears in established institutional collections including the Tate Modern, London, the Museum of Modern Art, New York, Stedelijk Museum, Amsterdam, and Galleria Civica d'Arte Moderna e Contemporanea,&nbsp;Turin.</p> <p style="text-align: justify;"><strong>Ren&eacute; Magritte</strong>, born in 1898 in Lessines, Belgium, and lived and worked in Brussels until his death in 1967. His work is appears in prestigious institutional collections throughout Europe and the United States, including the Museum of Modern Art, New York, Moderna Museet, Stockholm, Centre Georges Pompidou, Paris, the Royal Museums of Fine Arts of Belgium, Brussels, and the Tate, London, and was recently recognized by comprehensive solo exhibitions at the Museum of Modern Art, New York, the Menil Collection, Houston, and the Art Institute of Chicago, beginning in 2013.</p> <p style="text-align: justify;"><strong>Marcel Duchamp</strong>, born in 1887 in Blainville-Crevon, France, lived and worked in Paris and New York until his death in 1968. His work is included in numerous prestigious institutional collections including the Museum of Modern Art, New York, the Philadelphia Museum of Art, the Art Institute of Chicago, the Menil Collection, Houston, the Tate, London, the Mus&eacute;e d&acute;Art Moderne de la Ville de Paris, and Israel Museum, Jerusalem, and has been recognized by recent solo exhibitions at Centre Georges Pompidou, Paris, and the Fundaci&oacute;n Proa, Buenos Aires.</p> <p style="text-align: justify;"><strong>Joseph Kosuth</strong>, born in 1945 in Toledo, Ohio, lives and works in New York and Rome. His work appears in numerous institutional collections including the Whitney Museum of American Art, the Guggenheim Museum, and&nbsp; the Museum of Modern Art in New York, and the Tate, London, has been exhibited at the Venice Biennale (1993). His work has been featured in recent exhibitions at prestigious institutions including the Museum fur Moderne Kunst, Frankfurt, and the Fondazione Prada, Ca&rsquo; Corner Della Regina, Venice.</p> Fri, 05 Dec 2014 05:14:43 +0000 Michael Wang - Andrea Rosen Gallery 2 - December 13th - January 24th, 2015 <p style="text-align: justify;">Andrea Rosen Gallery is pleased to present Michael Wang&rsquo;s exhibition <em>Rivals</em> at Gallery 2 in cooperation with Foxy Production. Upon entering the gallery, viewers will find five certificates, acting as a kind of performance documentation for the works in the exhibition all from the artist&rsquo;s series <em>Rivals</em>. Taking the form of white, metal shelves containing well-known consumer goods from multinational corporations, the works bisect the space, creating a material horizon.</p> <p style="text-align: justify;">Each shelf, made from powder-coated aluminum, houses objects appropriated from the product portfolios of rival firms. The sale of the artwork funds an equal investment in each rival firm as the artist is paid for the work in common stock to become a one millionth of one percent owner of both companies, thereby rendering him a fractional owner of what the artist considers a conceptual merger. The number of products included from each corporation corresponds to the number of shares that will be purchased with the sale of the artwork.</p> <p style="text-align: justify;">While Duchamp&rsquo;s readymades of the early 20<sup>th</sup> century took the industrially-produced object out of circulation, by the end of the cen&shy;&shy;&shy;tury the readymade as &ldquo;commodity sculpture&rdquo; had fully entered another system of circulation: the art market. <em>Rivals </em>joins these two systems of exchange, linking the value of the readymade to the valuation of the multinational corporations that produce and profit from such objects. For Wang, the readymade includes not only the object of mass consumption, but those systems of which it is a part: brand ownership, exchange value, and corporate finance.&nbsp;</p> <p style="text-align: justify;"><em>Rivals</em> acts within these expanded parameters of the readymade.&nbsp; The works appropriate corporate value (of a piece with the global financial system) as an artistic medium.&nbsp; The works manipulate the underlying structures of capitalist growth. Competition is the engine of capitalism and asymmetry drives competition between rival firms. Through a neutered gesture, <em>Rivals</em> introduces a formal symmetry into the structure of competition. An investment in rival corporations sets in motion the apparatus of corporate finance, but the balance of the act&mdash;an equal investment in both corporations&mdash;cancels out its competitive effects.</p> <p style="text-align: justify;">The works in <em>Rivals</em> take the movement of capital itself as a site of artistic intervention. The collector, artist, and gallery collaborate to enact a performance of exchange, orchestrated around and by the work. The repercussions of the action extend into the networks of capital within which the work is enmeshed. If one of the uses or responsibilities of an artwork is its ability to apprehend the present while simultaneously existing within it, Wang&rsquo;s work can be seen to motivate an evaluation of the most powerful systems structuring cultural production.</p> <p style="text-align: justify;"><em>Michael Wang (Olney, MD, 1981) holds a Master of Architecture from Princeton University, an MA from NYU, and a BA from Harvard University. Recent exhibitions include: As We Were Saying: Art and Identity in the Age of &ldquo;Post,&rdquo; curated by Claire Barliant, The Elizabeth Foundation, New York (2014); Michael Wang: Global Tone, Foxy Production (2013); Liquid Autist</em>,<em> curated by Daniel Keller, Kraupa-Tuskany Zeidler, Berlin (2013); Spaces for Drawing, The Hite Collection, Gangman-gu, Seoul (2013); Differentiation Series, Primetime Gallery, Brooklyn, NY (solo); Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (two-person); and Carbon Copies, Foxy Production (solo project)(all 2012). He lives and works in New York City.</em></p> Fri, 12 Dec 2014 20:02:19 +0000 Matt Sheridan Smith - Andrew Kreps Gallery @ 535 West 22nd - November 1st - December 20th <p style="text-align: justify;"><em>&ldquo;What is a hole?&rdquo; a clown asked his partner in a ring at the Circus Medrano. Having thus quite confused the fellow, he&nbsp;</em><em>wast-ed no time in lording it over him: &ldquo;a hole,&rdquo; he said, &ldquo;is an absence surrounded by presence.&rdquo; For me, this is an&nbsp;</em><em>example of a perfect definition, and I will use it to define the object of my interest. A ghost is indeed a hole; but a hole to&nbsp;</em><em>which are attribut-ed intentions, a sensibility, morals; a hole, that is, an absence &ndash; but the absence of someone and not&nbsp;</em><em>of something &ndash; surrounded by presence &ndash; by the presence of one or several. A ghost is an absent being amidst present&nbsp;</em><em>beings. And it is the pierced sub-stance that determines the shape of the hole and not the absence which that presence&nbsp;</em><em>surrounds &ndash; for it is only in jest that some tell of cannons of bygone days that foundry workers made by taking holes&nbsp;</em><em>and pouring bronze around them &ndash; when we endow ghosts with intentions, a sensibility, and morals, these attributes&nbsp;</em><em>reside not in the absent beings, but in the present ones that surround the ghosts. This observation will allow us by the&nbsp;</em><em>same token to establish the only reasonable approach to phantasmology.<br /><br /></em>&ndash; Rene Daumal, &ldquo;The Pataphysics of Ghosts&rdquo;</p> <p style="text-align: justify;"><br /><em>&ldquo;As the cyclist awoke one morning from uneasy dreams he found himself transformed in his bed into a Figure.&rdquo;<br /><br /></em></p> <p style="text-align: justify;">Together, these works attempt a sort of speculative portraiture. These portraits present themselves as so many still lives, backdrops, kits, all on hold, waiting for a performance that does not come. In playing on the conceptual and rhetorical limits of portraiture, the works, instead of combining signs, accumulate phantasmagorical residues: textures, patterns frozen in repetition, solid and liquid elements, objects and substances that depict presence and absence, fiction and fact,positing imagination and memory as nothing more than various states of viscosity.</p> <p style="text-align: justify;">Ottavio Bottecchia came to France and with his limited French insisted only: &ldquo;No bananas, lots of coffee, thank you.&rdquo; He rode a bicycle around the entire country, leading the entire way, clutching a timepiece whose value was only visible to him, and singing a song&rsquo;s refrain: &ldquo;I have seen the most beautiful eyes in the world but never as beautiful eyes as yours.&rdquo; Hidden fixations traced a secret course. When he awoke in Toulon, set to race another day towards Nice, he decided against putting on the yellow leader&rsquo;s jersey that was a right envied by every other rider, past and present. From the crudest of maps, a red circle showing the path of the 1924 Tour, minimally contoured, this stage of the tour has been drawn into a pattern.</p> <p style="text-align: justify;">A pattern, generally a form reserved for standing in for content, stands in instead for a figure, capable of prompting an emergence, yet always ready (perhaps likely) to retreat into the decorative. This movement is both encouraged and disrupted by the persistent presence of a rubbing, scratching, busy hand, entered from somewhere else, sensorially sketching out <em>sometime else</em>. Drawing empty, casting a hole: an absence, marked by recent presence, distant use, a hand, a scent, a touch.<br /><br />The ending of the story should go like this: just three years after winning the Tour, Bottecchia&rsquo;s body is found by the roadside near his home, skull cracked, collarbone broken. He had rose at dawn and asked for a bath and some soup to be ready upon his return. Speculation, false confessions, conspiracy theories spilled out like blood but the mystery is still just that. But these are just stories in the residues, a film over the eyes and a sticky moss in the mouths of those still present.</p> <p style="text-align: justify;">A map, a question mark, a line of runny blood: in this exhibition the contents of the paintings jump to the walls themselves, allowing frames to emerge wherein the pattern, huddled amongst other objects (an image of a stage as shown off-stage, coffee, sad bananas, cups to hold the presence of a hand), can also swap themselves, stand-in against themselves, cast holes of themselves. Things are hidden one-where, exposed else-where. These lesser bodies in space, they trace together the outlines of a setting, stand in for a scene, that refuses to declare whether it&rsquo;s the station of arrival, awaiting its figure &ndash; a real body, whether warm or cold &ndash; or simply another staging/restaging of its own site of disappearance, another ghost.</p> <p style="text-align: justify;">Matt Sheridan Smith (born in Red Bank, New Jersey, 1980) lives and works in Los Angeles. His recent exhibitions includes Ausstellungsraum Volker Bradtke, Dusseldorf, curated by Matt Moravec and Kyle Thurman (2012); Forde, Geneva, curated by Vincent Normand (2011); Contemporary Art Museum St. Louis, Saint Louis (2011); Artspeak, Vancouver, curated by Eric Fredricksen (2011); List Visual Arts Center, Cambridge, Massachusetts (2010); Western Bridge, Seattle (2010); NJ MoCA, New Jersey (2010); Sculpture Center, New York, curated by Fionn Meade (2010); Dowd Gallery, State University of New York, College at Cortland, Cortland, New York (2010), Para/Site Art Space, Hong Kong; Torrance Art Museum, Torrance, California, Plug in ICA, Winnipeg, Manitoba, Canada (2010), curated by Jo&atilde;o Ribas and co-organized by iCI (Independent Curators International); Swiss Institute, New York (2008); Video Program by Rirkrit Tiravanija, Guggenheim Museum, New York (2007).</p> Tue, 04 Nov 2014 17:15:45 +0000 Leonor Antunes, Nina Canell, Giuseppe Gabellone, Dianna Molzan, Navid Nuur, Erika Verzutti - Andrew Kreps Gallery @ 537 W. 22nd - November 1st - December 20th <p style="text-align: justify;">The Andrew Kreps Gallery is pleased to present&nbsp;<em>Animal Mineral Vegetable</em>, an exhibition featuring the work of six artists, all of whom push their respective mediums beyond conventional constraints. Eschewing well-worn methods, mediums and rules, the works included in the show foreground the de/reconstruction of material, physics, chemistry and gravity. &nbsp;</p> <p style="text-align: justify;">Navid&nbsp;Nuur&rsquo;s work&nbsp;cannot be adequately described in terms of sculpture or installation alone. Phenomenological in nature,&nbsp;the relatively simple structure of his works combined with the choice of effectively banal everyday materials&nbsp;makes up the foundation for the bulk of the Nuur&rsquo;s works.&nbsp;<em>Tentacle Thought</em>&nbsp;is created from&nbsp;the fluorescent light system from the gallery ceiling, that is partly functional but&nbsp;removed from its fixtures and draped/hung together. Resting in a geometric configuration on the floor, the sculpture creates a &ldquo;light-emitting body rather than an object that simply channels light.&rdquo; &nbsp;</p> <p style="text-align: justify;">The sculptures of Swedish artist Nina Canell are made of everyday materials such as chewing gum, wood, and electrical wiring highlighting the inherent or imminent movement within &ndash; as well as the danger of their own collapse.&nbsp;&nbsp;Brazilian sculptor&nbsp;Erika Verzutti&rsquo;s works also reference common, quotidian items like fruits, vegetables, and eggs conflated with ceremonial forms, such as totems, tablets, and gravestones. Imbued with a sense of mysterious ritual, Verzutti&rsquo;s sculptural works in the show resemble&nbsp;denizens of alternative worlds located somewhere between the real and the fantastic.</p> <p style="text-align: justify;">An expansive floor sculpture that takes the form of a huge quilt by Giuseppe Gabellone cuts an undulating path through the gallery like a large expanding stream &ndash; in contrast to the rigid, white geometry of the gallery, slowing down the pace of the viewer.&nbsp;&nbsp;Two bronze wall works by the artist further amplify the relationship between form and space, as a counterpoint to the soft sculptural expanse.</p> <p style="text-align: justify;">American artist Dianna Molzan&rsquo;s canvases engage in an open and unpredictable dialogue with the history of abstract painting. While Molzan uses a variety of material each painting exhibits a subtle precision in its intention and execution. The works in the show seem disparate and all immigrate beyond the confines of their supports.&nbsp;&nbsp;In contrast,&nbsp;the underlying presence of the grid is the most striking feature of Leonor Antunes&rsquo; sculptural pieces based on woven wall hangings by Anni Albers (1899&ndash;1994).&nbsp;&nbsp;Although this work appears highly formal, and measured, utilizing techniques borrowed from vernacular traditions of craftsmanship, Antunes&rsquo; sculptures reveal a floating, inexplicable language that defies the design of their own making.</p> Sat, 22 Nov 2014 15:25:44 +0000 Andy Warhol - Anton Kern Gallery - November 20th - December 20th <p style="text-align: justify;"><em>Andy Warhol: 1950s Drawings </em>brings together 150 never before seen works on paper from the late 1940s through 1960. They show Warhol as a skilled draftsman and great experimenter. Using ink and graphite, Warhol investigated the possibilities of the hand-drawn line, and in the course of this developed his characteristic blotted-line technique, which involved tracing projected photographic images onto paper and blotting the inked figures to create variations on a theme. This exhibition reveals a lesser-known side of Warhol and provides unique insight into the foundation of Pop Art.</p> <p style="text-align: justify;">The impact of these drawings is best described by the authors of <em>From Silverpoint to Silver Screen: Andy Warhol 1950s Drawings</em>, a seminal book edited by Daniel Blau and published by Hirmer Verlag, Munich, in 2012 after bringing to light a related body of works on paper:</p> <p style="text-align: justify;">&ldquo;First and foremost, the large array of drawings &ndash; traced, cut out or in other ways so clearly bearing the insignia of the artist incessantly at work &ndash; is a <em>demonstratio ad oculos </em>in every sense of the word, meaning that it shows us a human being taking in the world, not only through his eyes but already in image form. Warhol often finds his imagery in street photography but transforms the realism of photography into an emblematic representation. It can be said that, even at this perhaps very pre-formative moment in his artistic career, he shows us his amazing ability to iconify what is out there &ndash; reality. From this perspective, the drawings presented in this [&hellip;] exhibition become a seminal experience of the aesthetic practice and philosophy of the image-maker, the image expropriator, the image-disseminator, Andy Warhol.&rdquo;</p> <p style="text-align: justify;">- Poul Erik T&oslash;jner, Marjan Scharloo, Michael Semff , <em>From Silverpoint to Silver Screen: Andy Warhol 1950s Drawings </em>After exhibiting a group of small and unusual abstract paintings by Andy Warhol in 1998, Anton Kern Gallery curated <em>Warhol antePop</em>, an exhibition of early 1960s drawings in 2004. The group of drawings currently on view was discovered in the flat files at the Andy Warhol Foundation&rsquo;s warehouse space in 2011-2012, and marks the third exhibition by the American artist at the gallery.</p> <p style="text-align: justify;">The publication, <em>From Silverpoint to Silver Screen: Andy Warhol 1950s Drawings, </em>will be available during the exhibition. This book accompanied exhibitions at the Louisiana Museum of Modern Art, Denmark; the Tylers Museum, Netherlands; and Staatliche Graphische Sammlung M&uuml;nchen, Pinakothek der Moderne, Germany (all 2013). The book includes essays on the young Andy Warhol and the art scene of the 1950s by Poul Erik T&oslash;jner, Marjan Scharloo, Michael Semff, Vincent Fremont, Daniel Blau, Sidney Picasso, and James Hofmaier.</p> Sat, 22 Nov 2014 15:35:35 +0000 - Apexart - November 6th - December 20th <p style="text-align: justify;">David Bianculli, TV critic for NPR&rsquo;s <em>Fresh Air with Terry Gross</em>, has been a TV critic for almost 40 years&mdash;and a TV viewer for 60. In <em>Bianculli&rsquo;s Personal Theory of TV Evolution</em>, he exhibits the television programs and transitions that shaped him, impressed him, and maybe even warped him a little. He traces certain TV evolutionary themes through the ages, such as &ldquo;single working women on TV,&rdquo; and also exhibits some of his personal collections: of related artwork and toys, old television equipment, and decades of promotional press kits and freebies from various TV networks and production houses. He even displays his first surviving piece of television criticism&mdash;written in his diary at age 7. <br /><br /> All that, and a chance to enter your own TV &ldquo;confessional,&rdquo; see the glow-in-the-dark patron saint of television, and witness, up close and personal, Bianculli&rsquo;s favorite moment from all of television: Rancid the Devil Horse.<br /><br /></p> <hr width="450" /> <p style="text-align: justify;"><br /> <strong>David Bianculli</strong> has been the TV critic for National Public Radio&rsquo;s <em>Fresh Air with Terry Gross</em>, where he also appears as occasional guest host, since 1987. Beginning in 1975, he&rsquo;s worked as a TV critic for newspapers in Florida, Ohio, Pennsylvania, and New York (in that order), most recently for the <em>New York Daily News</em> from 1993-2007. Currently, he is editor of the website <a href="" target="_blank">TV Worth Watching</a> which he launched in 2007. Bianculli has a B. S. in Journalism and an M. A. in Journalism and Communications, both from the University of Florida. He has written three books &ndash; <em>Dangerously Funny: The Uncensored Story of &lsquo;The Smothers Brothers Comedy Hour,&rsquo;</em> <em>Teleliteracy: Taking Television Seriousl</em>y and <em>Dictionary of Teleliterac</em>y &ndash; and is at work on a fourth. He now teaches TV and film as a tenured associate professor at Rowan University in Glassboro, NJ.</p> Tue, 14 Oct 2014 06:30:07 +0000