ArtSlant - Current exhibits en-us 40 Bernard Ammerer - 532 Gallery Thomas Jaeckel - May 20th - June 18th <p style="text-align: justify;">A woman races from nowhere to nowhere through an indistinctly rendered forest. A loose scattering of young men hovers in a strange white space, suspended in time. Solitary wanderers traverse barren plains toward destinations that loom invitingly in the distance, yet fade into disheartening insubstantiality upon arrival. At every turn, there is the sense of something forever sought but never seized.</p> <p style="text-align: justify;">In his first solo show in the United States at 532 Gallery Thomas Jaeckel, Bernard Ammerer depicts a private domain of desolate landscapes and vaguely restless figures that would border on the surreal if it didn&rsquo;t feel so eerily familiar. Across the exhibition&rsquo;s dozen canvases&mdash;all from this year and last&mdash;we see small cliques of physically and psychologically isolated people at uneasy rest or in frantic motion; cloud-filled skies looming serenely over flat, featureless, stark-white plains; and lone travelers in obscure territories that are shrouded in fog, reduced to cartoonish black silhouettes, or completely replaced with generic words&mdash;<em>Wood</em>, <em>Field</em>&mdash;that diminish nature to a worthless and empty abstraction.</p> <div style="text-align: justify;">Ammerer&rsquo;s pointed and ironic titles often hint at the somber thread of disaffection that ties these works together. <em>Interface</em>&mdash;a six-foot-square canvas depicting a constellation of nondescript young men in jeans and t-shirts frozen mid-leap in a white void&mdash;is most notable for the palpable lack of physical and psychological interaction among its inhabitants. <em>Fulfillment Problem</em>&mdash;that bland euphemism from the realm of online commerce that so often signifies corporate ineptitude and consumer frustration&mdash;is paired with the image of a cloudy yellowish sky overrun with a chaotic, maze-like swarm of identical running figures lifted from a Children At Play traffic safety sign. The infantile and perpetually unsatisfying urge toward instant gratification that&rsquo;s satirized here is subtly underscored by <em>Boyhood</em>, which presents the sad and wistful disembodied head of a child floating alone in a dark, nebulous space. It&rsquo;s the only place in these works where an actual face can be seen, and its stark difference from the other canvasses hints at an irrevocable loss of naive serenity that no hoard of shiny toys, transient pleasures, or wanderlust can amend. The moral&mdash;for Ammerer&rsquo;s oblivious protagonists as well as us&mdash;is perhaps best embodied in <em>Home</em>, with its ghostly white house at the end of a blank path in a barren field: far too often, our ill-considered quests away from ourselves in pursuit of the Next Perfect Thing leave us alone and exhausted before a hollow apparition.</div> <p style="text-align: justify;">Bernard Ammerer (1978) lives and works in Vienna. He graduated University f&uuml;r angewandte Kunst, Wien in 2010 and is the recipient of the Strabag Art Award.<br /> Recent exhibitions include &ldquo;Vorher Nachher&rdquo; Galerie Frey Wien (solo), Dagong Art Museum, Qingdao (group),&nbsp;&rdquo;Subjects&rdquo; Galerie Drees, Hannover, (group) &ldquo;A Better Place&rdquo; Galerie Frey, Salzburg,(solo) &ldquo;You Choose&rdquo; Berlin Art Projects, Berlin(group)</p> Thu, 19 May 2016 04:01:27 +0000 Jean Dubuffet - Acquavella Galleries - April 15th - June 10th <p style="text-align: justify;">Acquavella Galleries is pleased to present<em> Jean Dubuffet: Anticultural Position</em>s, the first exhibition surveying Dubuffet&rsquo;s early work in painting and sculpture in over two decades. Organized by curator Mark Rosenthal, the exhibition focuses on Dubuffet&rsquo;s work from 1943 to 1959, and emphasizes the artist&rsquo;s&nbsp;&ldquo;anti-cultural&rdquo; approach in his depiction of subjects and his use of unorthodox materials.&nbsp;Several works by the French painter are on loan from private collections and museums. &nbsp;&nbsp;</p> <p style="text-align: justify;">During the 1940s and &lsquo;50s, Dubuffet advocated a transgressive anti-cultural position&mdash;a nihilistic spirit in the context of a war-ravaged Europe. His fascination with Hans Prinzhorn's Artistry of the Mentally Ill deeply influenced his artistic practice, and led to his coining of the term &ldquo;Art Brut.&rdquo; For Dubuffet, the raw and uninhibited expression of Art Brut provided a fresh and alternative direction to what he saw as the stifling decorum and conformity of French culture and the Western tradition. In 1947 he arranged an exhibition of objects produced by children and the mentally ill. He admired the intuitive spirit of children's drawings, graffiti, and the art of the ill, which he believed relied on the inner world of the creative mind and rejected traditional notions of taste, beauty, and skill. Emulating these 'outsider' artworks, Dubuffet created assemblages with detritus like glue, plaster, putty, gravel and broken bottles. He would scribble and scratch their surfaces to give the impression of tactile, chaotic, graffiti-covered walls. His formless renderings of the human figure echo his fixation with the art practices of those he considered &ldquo;unscathed by artistic culture.&rdquo;</p> <p style="text-align: justify;">&ldquo;Dubuffet was one of the great disruptors of art history,&rdquo; said Mark Rosenthal. &ldquo;He invented an unlikely cast of characters who took center stage as his subjects, and he utilized the most humble of materials, all of which projected new visions of beauty.&rdquo;</p> <p style="text-align: justify;">A fully illustrated hardcover catalogue will accompany the exhibition, and will include texts by Mark Rosenthal, Kent Minturn, an art historian and expert on the work of Dubuffet, and longstanding MoMA conservator Anny Aviram.</p> <p style="text-align: justify;">Jean Dubuffet (1901 &ndash; 1985) was born in Le Havre, France. In 1918 he moved to Paris to study at the Acad&eacute;mie Julian, which he left after six months to study independently. After abandoning painting for several years, Dubuffet fully committed himself to being an artist in 1942. Painting in a deliberately crude manner, inspired by art of the mentally ill or &ldquo;Art Brut,&rdquo; Dubuffet developed a technique of thick impasto, called haute p&acirc;te, and frequently incorporated unorthodox materials ranging from cement and gravel to leaves, dust, and even butterfly wings into his works. His controversial materials and mark-making solidified his legacy as an iconoclastic figure in the canon of postwar European painting, and his work has been exhibited in and collected by the foremost public and private institutions in the world.</p> <p style="text-align: justify;">Mark Rosenthal is a curator, author and art historian currently based in Detroit where he currently serves as the adjunct curator for contemporary art for the Detroit Institute of the Arts.&nbsp; He has previously held curatorial positions at Berkeley, Philadelphia Museum, National Gallery of Art, as well as adjunct positions at the Guggenheim Museum, Menil Collection and Detroit Institute of Arts. Rosenthal has curated such exhibits as&nbsp;Joseph Beuys: Actions, Vitrines, Environments, Picasso: The Early Years, Damien Hirst: The Bilotti Paintings, The Surreal Calder&nbsp;and retrospectives of Philip Guston, Juan Gris, William Kentridge, and Jonathan Borofsky. Rosenthal also curated monograph exhibitions of Anselm Kiefer and Jasper Johns. He holds a Ph.D. in art history from the University of Iowa.</p> Thu, 31 Mar 2016 06:46:46 +0000 Group Show - AICON GALLERY - New York - May 26th - July 2nd <p style="text-align: justify;">Aicon Gallery is pleased to present Between Structure and Matter: Other Minimal Futures, a group exhibition curated by Prajit Dutta and Murtaza Vali, featuring work by Jo&euml;l Andrianomearisoa, Minam Apang, Rasheed Araeen, Hemali Bhuta, Shilpa Gupta, Somnath Hore, Nadia Kaabi-Linke, Jitish Kallat, Mohammed Kazem, Waqas Khan and Abdullah M. I. Syed.&nbsp;</p> <p style="text-align: justify;">In his authoritative historical account of the period, art historian James Meyer suggests that minimalism may be better understood not as a coherent movement or a singular style but as a &ldquo;field of difference,&rdquo; a &ldquo;dynamic field of specific practices&rdquo; that was polemical, contested, and plural from its very inception.While Donald Judd focused on form and structure to challenge Clement Greenberg&rsquo;s demands for medium specificity, matter mattered deeply to Carl Andre. And while Dan Flavin&rsquo;s fluorescent tubes flirted with Pop, Robert Morris dabbled in performance through collaborations with the Judson Dance Theater. There were, and continue to be, many &ldquo;minimalisms.&rdquo; More aptly conceived of as a varied set of strategies or sensibilities, minimalism continues to have currency among artists working today. Inspired by this idea of minimalism as a &ldquo;field of difference,&rdquo; Between Structure and Matter: Other Minimal Futures brings together minimal work by an international and multigenerational selection of artists.&nbsp;</p> <p style="text-align: justify;">The exhibition is anchored by two important but, until recently, overlooked historical bodies of work by Rasheed Araeen and Somnath Hore, which both expand the discourse around minimalism in interesting ways. Unaware of concurrent developments in New York, Araeen began making minimalist sculptures, or structures as he preferred to call them, in the mid-1960s, shortly after his move from Karachi to London. Running a bisecting diagonal across the square faces of the skeletal cubes that were his basic units, Araeen introduced dynamism and rhythm into the otherwise static and rigid orthogonal grid. This simple linear addition opened his otherwise minimalist structures up to the potential of pattern and ornament, as did his embrace of vivid color. In 1971, Somnath Hore began producing a series of paper pulp prints titled Wounds, whose pristine white surfaces were subtly marked with impressions and indentations that resembled gashes, bruises, and scars. Best known as a printmaker, Hore had represented the plight of innocent victims of famine, war and conflict across the Subcontinent throughout his career. With Wounds he universalized these horrors through abstraction, branding palpable signs of bodily pain and trauma into the very material of his otherwise minimal surfaces, opening them up to the vicissitudes of politics and history. From Araeen&rsquo;s play with structure to Hore&rsquo;s investment in matter, these two bodies of work mark the ends of a minimal continuum along which the other, more contemporary, works in the exhibition may be situated and understood.&nbsp;</p> <p style="text-align: justify;">While repetition is most commonly linked to the efficiency of the assembly line and the industrial logic of capitalism in the West, it may also be understood as a performative or ritualistic act, a tool for rehearsal, reenactment or meditation. This quality of repetition as ritual drives both Waqas Khan&rsquo;s meticulous ink on paper drawings and Mohammed Kazem&rsquo;s delicate scratch works, as forms are built up through the gradual accumulation of thousands of short precise marks. And like Kazem, Hemali Bhuta&rsquo;s monochromatic graphite on graphite drawing confuses mark with surface, figure with ground.&nbsp;</p> <p style="text-align: justify;">Like Hore, Shilpa Gupta and Nadia Kaabi-Linke address complex real world issues&mdash;geopolitical conflagrations, contested borders, labor exploitation&mdash;through the most reductive of means: the ghostly trace of a tree, a straight line, a triptych of monochromatic circles. Similarly, Jo&euml;l Andrianomearisoa&rsquo;s cloth pieces both poetically and materially respond to the profound transformations underway in his hometown of Antananarivo. Though in a different medium, Minam Apang&rsquo;s delicate tea and charcoal wash painting on cloth also abstracts landscape, reducing a mountain vista to simple composition of geometric forms.&nbsp;</p> <p style="text-align: justify;">Referencing Andre&rsquo;s iconic floor pieces, Abdullah M. I. Syed tarnishes the pristine surfaces of his carefully inked squares with tears, bringing the minimal surface into dialogue with the affective body. Jitish Kallat engages nature in a comparable manner, allowing the uncertainty of flames and the direction of prevailing winds to determine the final form of his large-scale minimal drawings.&nbsp;</p> <p style="text-align: justify;">The sheer diversity of mediums, materials and strategies used to produce the works included in Between Structure and Matter: Other Minimal Futures reinforces the idea that minimalism is best understood as plural, as a &ldquo;field of difference,&rdquo; an ethos that remains impossible to pin down but that continues to inspire.plural, as a &ldquo;field of difference,&rdquo; an ethos that remains impossible to pin down but that continues to inspire.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">About the Curators&nbsp;</p> <p style="text-align: justify;">Prajit Dutta is a Partner at Aicon Gallery and a Professor of Economics at Columbia University. He is an accidental curator whose principal excuse for co-curating this show is a lifelong fascination with minimalism. This fascination was possibly borne of seeing a Robert Ryman White on White painting and a Carl Andre Grid sculpture at the Second Triennale organized back in 1971 by the Lalit Kala Akademi (the National Academy of Art) in New Delhi, India. Seeing Eva Hesse installations and white Ryman paintings and Andre steel slabs left an eleven-year old boy considerably bemused, used as he was to art that was much more conventional. Since then he has learned that minimalism has a more global face and he is happy to help close the circle by bringing this Other Minimalism to the home of Ryman and Andre.&nbsp;</p> <p style="text-align: justify;">Murtaza Vali is a critic and curator who lives and works between Brooklyn and Sharjah. A recipient of a 2011 Creative Capital | Warhol Foundation Arts Writers Grant, his work has appeared in various international art publications and he has penned essays for commercial galleries and non-profit institutions around the world. His past curatorial projects include: Formal Relations (Taymour Grahne Gallery, New York, 2015); Accented (Maraya Art Centre, Sharjah, 2015); Geometries of Difference: New Approaches to Ornament and Abstraction (Samuel Dorsky Museum of Art, New Paltz, 2015); PTSD: Shahpour Pouyan (Lawrie Shabibi Gallery, Dubai, 2014); extra|ordinary: The Abraaj Group Art Prize 2013 (Art Dubai, 2013); Brute Ornament (Green Art Gallery, Dubai, 2012); and Accented (BRIC Rotunda Gallery, Brooklyn, 2010). An occasional pedagogue, Vali is a Visiting Instructor at Pratt Institute, a Part-time Lecturer at Parson The New School of Design, and a tutor for Campus Art Dubai.</p> Sun, 22 May 2016 17:04:40 +0000 Harmony Hammond - Alexander Gray Associates - May 19th - June 25th <p style="text-align: justify;">Alexander Gray Associates presents its second exhibition of work by Harmony Hammond (b.1944), including paintings, monotypes and ink drawings dating from 2014 to the present. A pioneer of feminist and queer discourse, Hammond&rsquo;s earliest feminist work combined gender politics with post-minimal concerns of materials and process, frequently occupying a space between painting and sculpture&mdash;a focus that continues to this day. Her thick near-monochrome paintings of the last decade participate in the narrative of modernist abstraction; at the same time they insist on an oppositional discourse of feminist and queer content. Their focus on materiality and the indexical, suggesting topographies of body derive from and remain in conversation with her feminist work of the 1970s.<br /> <br /> In her recent paintings featured in the exhibition, Hammond grommets a field or grid of holes into her canvases.&nbsp;Layering patches of fabric, straps and grommets intermittently with oil paint, she builds textured&nbsp;near-monochromatic surfaces of earthy reds, deep-blacks, dusty beiges, and creamy whites, activated by light and cast shadow.&nbsp;The gridded field of grommeted holes physically opens the painting surface alluding to layers, spaces and histories buried below as well as body orifaces. A close examination of what at first glance might appear to be minimal monochrome grid paintings, reveals a disturbance or rupture as underlying layers of color are visible through cracks, crevices and holes, interrupting both surface and grid.&nbsp; For Hammond, &ldquo;It&rsquo;s about what&rsquo;s hidden, muffled, covered up or over, pushing up from underneath, asserting itself, suggesting agency and voice.&rdquo;<br /> <br /> In <em>Bandaged Grid #1</em> (2015), the most recent painting in the exhibition, she applies fraying strips of leftover canvas to evoke a bandaged body, noting, &ldquo;a bandage always implies a wound. A bandaged grid implies an interruption of the narrative of the modernist grid and therefore, an interruption of utopian egalitarian order...a precarity. But also, however fragile, the possibility of holding together, of healing.&rdquo;&nbsp;<br /> <br /> Works on paper are also a key part of Hammond&rsquo;s oeuvre. The irregular surfaces she achieved in her paintings are present in her grommeted monotypes, which art writer Lucy Lippard calls <em>grommetypes</em>. Linking the works on paper to her painting practice, she comments, &ldquo;It&rsquo;s about accumulation, not blending.&rdquo; Also on view are two suites of Hammond&rsquo;s <em>Ledger Drawings</em> (2015), text-based drawings on ledger book pages. In these works, Hammond&rsquo;s practice as a critic and art historian becomes self-reflexive. The drawings repeat words and phrases that the artist has noticed used to denigrate late-career, female artists&mdash;&ldquo;obsolete,&rdquo; &ldquo;vintage,&rdquo; &ldquo;your generation,&rdquo; &ldquo;dragon lady,&rdquo; &ldquo;get your due,&rdquo; and &ldquo;diva.&rdquo; Re-inscribed on paper originally intended to inventory commodities or services, Hammond exhausts the words&rsquo; intended meaning, rendering them powerless, and reclaiming these phrases on her own terms.</p> Thu, 19 May 2016 04:25:39 +0000 - American Folk Art Museum - May 14th - June 5th <p style="text-align: justify;">For a limited&nbsp;time only, a colorful display of master quilts from the museum&rsquo;s renowned collection will be on view. The lively selection includes Amish, stenciled, pieced, and appliqu&eacute;d quilts. Please enjoy these rarely seen textiles while a portion of our space undergoes repairs. </p> <p style="text-align: justify;">The exhibition is supported in part by Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Ford Foundation, the Leir Charitable Foundations, 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> Fri, 20 May 2016 09:27:59 +0000 Felix Gonzalez-Torres - Andrea Rosen Gallery - May 5th - June 18th <p style="text-align: justify;">A three-part exhibition of the work of Felix Gonzalez-Torres will open at Andrea Rosen Gallery, New York; <a href="" target="_blank">Massimo De Carlo</a>, Milan; and <a href="" target="_blank">Hauser &amp; Wirth</a>, London in May 2016. Curated by artists Julie Ault and Roni Horn, each exhibition will focus on the dialogue between works within an essential form that Gonzalez-Torres created. In so doing, Ault and Horn hope to underline the specificity and magnitude within particular bodies of the artist&rsquo;s work. By engaging the range of decisions brought to bear in manifesting and installing selected Gonzalez-Torres works that require being made anew, Ault and Horn underscore vital methods reflected throughout the artist&rsquo;s entire oeuvre. The exhibitions are conceived as individual experiences that should be understood in the larger context of all three. Each presentation is intended to complement and augment the experiences they offer within the larger whole and within Felix Gonzalez-Torres&rsquo;s practice.</p> Tue, 26 Apr 2016 07:46:29 +0000 Ketuta Alexi-Meskhishvili - Andrea Rosen Gallery 2 - May 3rd - June 18th Sun, 24 Apr 2016 16:51:02 +0000 Billy Al Bengston - Andrew Kreps Gallery @ 537 W. 22nd - May 12th - June 25th <p style="text-align: justify;">In collaboration with Franklin Parrasch Gallery, New York<br /><br />Andrew Kreps Gallery is pleased to announce&nbsp;<em>Warm California</em>, an exhibition of works by Los Angeles-based artist Billy Al Bengston. Focusing on suspended, unstretched canvases and freestanding screens created by Bengston in the 1970s, the show includes works never exhibited in New York.<br /><br />Bengston emerged as part of a vibrant scene in California surrounding Los Angeles&rsquo; Ferus Gallery, which hosted his first solo exhibition in 1958. Once referring to oil paint as &ldquo;pigment mixed up in salad dressing&rdquo;, Bengston favored the synthetic &ndash; his early works were deeply ingrained in LA car culture, utilizing polyurethane lacquer on thin aluminum sheets. Building upon a repeated, central motif of a sergeant&rsquo;s stripes, these works, with their slick, machine-like finish became a vehicle for exploring composition, color, and form.<br /><br />It is these investigations that both influenced, and were countered by Bengston&rsquo;s&nbsp;<em>Draculas</em>, which populate the exhibition. Coined by friend and former studiomate Ken Price, who likened the form of the iris blossom to the transformational moment of the vampire count from bat to human, the motif would repeat serially through the 1970s. Marking a move from metal to canvas, Bengston simultaneously adopted a more fluid painting style he considered more appropriate to the soft surface. Slowly shedding the structure of past works, he eschewed the idea of central composition, utilizing an allover approach influenced by his time painting outdoors, repeating the iris within washes of acrylic, exaggerated brushstrokes, and geometric shapes.<br /><br />Blurring the boundaries between his life and work, Bengston&rsquo;s surrounding environment was consistently folded into his practice &ndash; from his time as a professional motorcycle racer to his surfing. Also an avid diver, the works included in the exhibition draw on his diving trips in the waters surrounding Catalina Island and the Sea of Cortez. Hanging large swaths of canvas in his studio, often covering entire walls or corners, Bengston was inspired by the reflection of light on the water&rsquo;s surface, and the undulating shades of the ocean floor. Marking place and time of day through color, Bengston used this as a vehicle to record his own experience and evoke emotive response. These canvases would then be cut into strips and finished as double-sided scrolls or folding screens, which continued a composition as multiple panels. Installing these in clusters, scrolls hung from the ceiling, or the screens, staggered on the ground, the works guide how one circulates around them. Titled after seaweeds and algae, Bengston mimics the movement of these species in the water, likening the experience of the works to that of moving through a kelp forest.<br /><br />In 535 W. 22nd street, the gallery will present a series of watercolors painted by Bengston in his Venice Beach studio in 1973.<br /><br />Billy Al Bengston live and works in Venice Beach and Honolulu. Bengston&rsquo;s work has recently been included in exhibitions at the Rose Art Museum, Waltham, 2015, Los Angeles County Museum of Art, Los Angeles, 2015, the Whitney Museum of American Art, 2012, as well as&nbsp;<em>Pacific Standard Time</em>, the J. Paul Getty Museum, Los Angeles, traveled to Martin Gropius-Bau, Berlin, 2011. His work is held in the permanent collection of numerous public institutions that include the Museum of Modern Art, New York, Solomon R. Guggenheim Museum, New York, Whitney Museum of American Art, New York. The National Gallery of Art, Washington, D.C, Philadelphia Museum of Art, Philadelphia, Yale University Art Museum, New Haven, The Art Institute of Chicago, Chicago, Los Angeles Country Museum of Art, Los Angeles, and Centre Georges Pompidou, Paris, among others.</p> Fri, 20 May 2016 09:41:01 +0000 Nicole Eisenman - Anton Kern Gallery - May 19th - June 25th <p style="text-align: justify;">For her debut exhibition at Anton Kern Gallery, New York artist Nicole Eisenman will present a new body of paintings, a group of drawings and one plaster sculpture. The works range from the monumental to the intimate in size and address day-to-day life in New York City with all its ordinary, unexpected and sometimes marvelous moments. The show will run from May 19 through June 25, 2016 and complements Eisenman's concurrent survey exhibition at the New Museum.</p> <p style="text-align: justify;">Known for her large crowd scenes which all at once conjure up images of indulgent baroque bacchanals and the energetic circumvolution of a contemporary beer garden, her new paintings are of a more intimate nature. Focusing on informal moments shared by friends and lovers, the paintings concentrate on interior spaces and those casual situations that occur only behind closed doors, be that of the studio, a New York apartment or a train compartment. While <em>Another Green World</em> mirrors Eisenman&rsquo;s crowded outdoor beer garden scenes, with various groups of friends interacting in the public domain, Nicole now takes the party indoors, to a safe space where interactions can escalate, relationships can go deeper, and the night can unfurl without fear of a closing time. In <em>Morning Studio</em>, two lovers are pictured in an embrace. Their faces are detailed and familiar; their pose is instantly recognizable as one of comfortable affection. Conversely, <em>Long Distance</em> depicts the very modern romance of long distance companionship, maintained over video-chat. The role of technology is expanded through <em>Weeks on the Train</em> and Subway 2, where commuters distance themselves from those physically around them while connecting through the use of laptops and phones. This theme of intimacy is abruptly broken by the intrusion of the Shooter paintings, which crash through the serenity and jolt the viewer back to ever-present reality.</p> <p style="text-align: justify;">"The exact way of knowing the world that you do with a friend is the theme of much of Eisenman&rsquo;s new work. [...] Which is part of the blaring, radiant, inside-outness of the Eisenman universe. You could be &lsquo;real&rsquo; or Betty Boop. If &lsquo;allegory&rsquo; encompasses the travel between these two states, then that is exactly the mode of her work. Because intimacy, even with oneself, is unsettling. With portraits, perhaps this is magnified by the ever-shifting self-apprehension of the subject."</p> <div style="text-align: justify;" align="right"><em>&mdash; Eileen Myles</em></div> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Nicole Eisenman (b.1965, Verdun, France) is a painter and sculptor living and working in Brooklyn, New York. Eisenman is the winner of the 2015 MacArthur Foundation Grant, the 2013 Carnegie Prize and has been included in the Whitney Biennial (1995, 2012). Her work has been the subject of a recent mid-career surveys, <em>Al-ugh-ories</em>, at the New Museum, New York (2016); and <em>Dear Nemesis, Nicole Eisenman 1993-2013</em>, Contemporary Art Museum, St. Louis (2014), which traveled to the Institute of Contemporary Art, Philadelphia (2015) and the Museum of Contemporary Art San Diego (2015). Recent solo shows include Nicole Eisenman&rsquo;s <em>Seder</em>, The Jewish Museum, New York (2015); and <em>&lsquo;Tis but a scratch&rsquo; &lsquo;A scratch?! Your arm&rsquo;s off!&rsquo; &lsquo;No, it isn&rsquo;t.&rsquo;</em>, Studio Voltaire, London (2012). She has participated in group exhibitions internationally at the Museum Brandhorst, Munich (2015); The Whitney Museum of American Art (2015); Sammlung Falckenberg, Hamburg (2015); the Museum of Modern Art, New York (2014); and MANIFESTA 10, The State Hermitage Museum, St. Petersburg (2014). Her work is featured in the permanent collections of the Museum of Modern Art, New York; the Art Institute of Chicago, Illinois; the Hammer Museum, Los Angeles; The Whitney Museum of American Art, New York; and Kunsthalle Zurich, Switzerland, among others. She will be included in the 2016 Le Bienniale de Montreal.</p> Fri, 20 May 2016 09:45:08 +0000 Group Show - Art in General - April 23rd - June 25th <p style="text-align: justify;"><span style="font-size: small;"><strong>Art in General</strong> presents <em>Shifters,</em> an exhibition of commissions, projects and performances that brings together a group of emerging contemporary artists whose practices are engaged with language.</span><br /> <br /><span style="font-size: small;"> The collective works on view investigate how various systems of communication and their attendant histories and ideologies are being reconsidered through the lens of gender today. The project speaks to theories arguing that language as a social agreement is not passive or fixed, but rather, it possesses the potential to reimagine structures of power. <em>Shifters</em> will inquire how conventions that organize how we read, listen, and relate to one another, have the capacity to be rethought and destabilized.</span><br /> <br /><span style="font-size: small;"> Language as an instrument can express, or repress, the self. Operating from a position of affinity between feminist and queer perspectives, language as both subject and object is placed in proximity to the body, revealing its ability to affect and control routines and behavior patterns such as the products we use, our belief systems, how we learn and identify. The exhibited works prompt questions into the type of subject that specific language systems presuppose and even create, and how new models might operate against outmoded binary, racist, or patriarchal practices. </span><br /> <br /><span style="font-size: small;"> Performing a type of linguistic alchemy, these artists defamiliarize language in order to make new meanings. The projects on view propose a changeability and latent potentiality in linguistic traditions that exact influence over our lives, bringing to light how ingrained writing or speech patterns are subject to revision, and have been modified over the course of history. Infusing administrative, contractual, religious, or corporate terminology with poetic or nonsensical gestures, abstraction and illegibility is put forth as a productive undoing of language.</span><br /> <br /><span style="font-size: small;"> <strong>Becca Albee</strong> was born in Portland, ME and lives and works in Brooklyn, NY. She received her MFA from the University of North Carolina at Chapel Hill and holds a BA from the Evergreen State College in Olympia, WA. Albee was a founding member of the punk rock riot grrrl band Excuse 17. She is has recently been included in solo and group exhibitions at The DUMP, Los Angeles; CAM Raleigh; 356 S. Mission Rd., Los Angeles; and C-o-o-l Art, Agoura Hills. Albee has also been featured in exhibitions at PiK, Cologne; Ortega y Gasset Projects, Queens; the Irish Museum of Modern Art, Dublin; Contemporary Calgary, Alberta; Publication Studio, Hudson; Apexart, New York; and Momenta Art, Brooklyn, amongst others. </span><br /> <br /><span style="font-size: small;"> <strong>Colleen Asper</strong> is an artist and writer based in Brooklyn, NY. She received her MFA from Yale University and holds a BFA from the Maryland Institute College of Art. Recent exhibitions include <em>Name It by Trying to Name It</em> and <em>OS4,</em> both at the Drawing Center, New York and <em>Egress</em> at P!, New York. Asper&rsquo;s work has been reviewed in publications such as Artforum, The New York Times, and The New Yorker, and she has contributed texts to publications including Art in America, Lacanian Ink, and Paper Monument. As part of Hole, an ongoing collaboration with Marika Kandelaki, Asper has performed at venues in New York including the Bowery Poetry Club, Soloway, Garden Party/Arts, and Floating Library.</span><br /> <br /><span style="font-size: small;"> <strong>Beatriz Balanta</strong> was born in Colombia, South America. She received her Ph.D. from Duke University in 2010 and holds a BA in Sociology from Boston College. Balanta&rsquo;s scholarly work analyzes the photographic and literary dimensions of racial formation in Latin America. Her research interests encompass 19th century debates regarding freedom, citizenship, and nation building in Brazil, Colombia, and the United States as well as contemporary theorizations of art practices from the Global South. She is an assistant professor at SMU&rsquo;s Meadows School of the Arts. Balanta is currently co-teaching a course, along with Mary Walling Blackburn, that mobilizes the role of the stranger in both South and North American art production. </span><br /> <br /><span style="font-size: small;"> <strong>Cara Benedetto</strong> was born in Wausau, WI and lives and works in Richmond, VA. She received her MFA from Columbia University in 2009 and her BFA at University of Wisconsin River Falls in 2001. Recent performances and collaborations include <em>Come Early and Often,</em> Chapter NY; <em>SLOTS,</em> Young Art Gallery, Los Angeles; and <em>Wing &amp; Wing,</em> Art Metropole, Toronto (all 2014). Benedetto has participated in numerous group exhibitions at venues including Institute of Contemporary Art, Philadelphia; International Print Center of New York, New York; Souterrain, Berlin; Galeri Marquise Dance Hall, Istanbul; and Akademie Schloss Solitude, Stuttgart, amongst others. She is a recipient of the Columbia University Leroy Neiman Center for Print Studies Fellowship and the Rema Hort Mann Foundation grant. Benedetto has published both creative and critical texts with various presses including Badlands Unlimited and Blonde Art Books. She is an assistant professor in print media at Virginia Commonwealth University.</span><br /> <br /><span style="font-size: small;"> <strong>Mary Walling Blackburn</strong> was born in California and lives and works in New York. She is the founder of Anhoek School, a pedagogical experiment, and WMYN, a pirate feminist radio station. Her work has been featured in solo exhibitions at Sala Diaz, San Antonio; University Arts Gallery, UCSD, San Diego; Testsite, Austin; and Southern Exposure, San Francisco, amongst others. She has participated in numerous group exhibitions both nationally and internationally, at venues including Sculpture Center, New York; Elizabeth Foundation for the Arts, New York; Center for Curatorial Studies, Bard College, New York; Tate Modern, London; The Cooper Union, New York; 1a Space, Kowloon, Hong Kong; Blanton Museum of Art, Austin; Wattis Institute, San Francisco; and the Whitney Museum of American Art, New York. She was a recipient of an Art Matters Grant. Walling Blackburn&rsquo;s work has been featured in publications including Afterall, BOMB, Cabinet, and e-flux journal.</span><br /> <br /><span style="font-size: small;"> <strong>Danielle Dean</strong> was born in Huntsville, AL. She received her MFA from the California Institute of the Arts, Los Angeles, CA in 2012, a BFA from Central Saint Martins, London, UK, and an Independent Study Fellowship at the Whitney Museum of American Art. Dean has recently been included in solo exhibitions at The Studio Museum in Harlem, New York; Commonwealth and Council, Los Angeles; and The Bindery Projects, Minnesota; and in group exhibitions at Human Resources, Los Angeles; Tate Modern, London; DiverseWorks, Houston; Western Exhibitions, Chicago; and The Hammer Museum, Los Angeles; amongst others. She is the recipient of the 2015 Creative Capital, Visual Arts award and the 2014 Rema Hort Mann Foundation award. </span><br /> <br /><span style="font-size: small;"> <strong>Sophia Le Fraga</strong> is a poet and artist living and working in New York. She received her BA in Linguistics and Poetry from New York University. She is the author of <em>literallydead</em> (Spork 2015); <em>I RL, YOU RL</em> (minuteBOOKS 2013, Troll Thread 2014) and <em>I DON&rsquo;T WANT ANYTHING TO DO WITH THE INTERNET</em> (KTBAFC 2012). Her anti-play trilogy of iOS adaptations comprises <em>W8ING, TH3 B4LD 50PR4N0</em> and <em>UND3RGR0UND L0V3R5</em> (2014, 2015). Recent exhibitions include <em>Other Titles,</em> B&uuml;ro Broken Dimanche; Berlin; <em>Greater New York,</em> MoMA PS1, New York; PERFORMA 15, New York; and <em>Public Poem Pattern,</em> The Artist&rsquo;s Institute, New York. Le Fraga is the poetry editor of Imperial Matters, a curator for the experimental reading series Segue and a member of Collective Task. She teaches poetry at BHQFU.</span><br /> <br /><span style="font-size: small;"> <strong>Jonah Groeneboer</strong> was born in Vancouver, BC and lives and works in New York. He received a MFA from New York University and a BFA from the Pacific Northwest College of Art in Portland, OR. Recent solo and group exhibitions include the <em>Language of Birds,</em> 80WSE, New York; <em>Greater New York,</em> MoMA PS1, New York; <em>Island Time,</em> Contemporary Art Museum Houston, Houston; <em>Blue Shift,</em> Platform Center for Photographic and Digital Arts, Winnipeg; and <em>Double Mouth Feedback,</em> Recess, New York. His work has been featured in The New Yorker, New York Arts, Art 21, The New York Times, and Temporary Art Review. Groeneboer has lectured at the Drawing Center, Ox-Bow School of Art, and New York University.</span><br /> <br /><span style="font-size: small;"> <strong>Gordon Hall</strong> was born in Boston, MA and lives and works in New York. Hall holds an MFA and MA in Visual and Critical Studies from the School of the Art Institute of Chicago and a BA from Hampshire College. Hall has exhibited and performed at SculptureCenter, The Brooklyn Museum, The Museum of Contemporary Art Chicago, the Whitney Museum of American Art, Movement Research, EMPAC, Temple Contemporary, Night Club Chicago, Foxy Production, The Hessel Museum at Bard College, White Columns, and Chapter NY, amongst others. Hall has also organized lecture and performance programs at MoMA PS1, Recess, The Shandaken Project, and at the Whitney Museum of American Art, producing a series of lectures and seminars in conjunction with the 2014 Whitney Biennial. Hall&rsquo;s writing and interviews have been featured in a variety of publications including V Magazine, Randy, BOMB, and Title Magazine. </span><br /> <br /><span style="font-size: small;"> <strong>Marika Kandelaki</strong> was born in Tbilisi, Georgia and lives and works in Brooklyn, NY. She received her BFA from Parsons School of Design in 2003 and previously studied at Moor College of Art and Design, Philadelphia, and the Nikoladze College of Art and Design, Tbilisi. Kandelaki&rsquo;s work has been included in exhibitions and performances including <em>PANGRAMMAR</em> at P!, New York (2015); <em>Name It by Trying to Name It,</em> The Drawing Center, New York (2015); <em>Medea,</em> Floating Library, New York (2014); <em>Hole 2,</em> Soloway, Brooklyn (2012); and <em>Spectrum,</em> Bridge Gallery, New York (2012). Her work has been featured in publications including Adjunct Commuter Weekly, Art Practical, The Brooklyn Rail, and Fuse Magazine. Kandelaki was a 2014-16 Open Sessions Artist at The Drawing Center.</span><br /> <br /><span style="font-size: small;"> Lead support for Shifters has generously been provided by David Solo. </span><br /> <br /><span style="font-size: small;"> Additional project support kindly provided by <a href="" target="_blank">Creative Capital</a> (Danielle Dean), and <a href="" target="_blank">Supreme Digital</a>, Brooklyn (Colleen Asper and Marika Kandelaki).</span></p> Sun, 24 Apr 2016 17:17:21 +0000 Lukas Duwenhögger - Artists Space : Books & Talks - May 1st - June 5th <p style="text-align: justify;">Leading Exhibition Supporters:<br />The Friends of Artists Space; The 40 Years Artists Space Program Fund; Charles Asprey<br /><br />Exhibition Supporters Circle:<br />Simone Battisti; Daniel Buchholz &amp; Christopher M&uuml;ller; Eleanor Cayre; Igor DaCosta; Lonti Ebers; Martin &amp; Rebecca Eisenberg; Nicoletta Fiorucci (Fiorucci Art Trust, London); G&uuml;nter Lorenz; Konstantinos Papageorgiou; Eleanor H. Propp; C&eacute;sar &amp; Mima Reyes; Rodeo; Alexander Schr&ouml;der<br /><br />With special thanks to Helene Winer, Sylvia Kouvali, Luisa Ausenda, Cemal Almurat and to all the lenders to the exhibition. <br /><br />A companion exhibition of Lukas Duwenh&ouml;gger's work will take place at Raven Row in London from June 30 through September 18, 2016.</p> Fri, 20 May 2016 09:56:25 +0000 Lukas Duwenhögger - Artists Space: Exhibitions - May 1st - June 5th <p style="text-align: justify;">Leading Exhibition Supporters:<br />The Friends of Artists Space; The 40 Years Artists Space Program Fund; Charles Asprey<br /><br />Exhibition Supporters Circle:<br />Simone Battisti; Daniel Buchholz &amp; Christopher M&uuml;ller; Eleanor Cayre; Igor DaCosta; Lonti Ebers; Martin &amp; Rebecca Eisenberg; Nicoletta Fiorucci (Fiorucci Art Trust, London); G&uuml;nter Lorenz; Konstantinos Papageorgiou; Eleanor H. Propp; C&eacute;sar &amp; Mima Reyes; Rodeo; Alexander Schr&ouml;der<br /><br />With special thanks to Helene Winer, Sylvia Kouvali, Luisa Ausenda, Cemal Almurat and to all the lenders to the exhibition. <br /><br />A companion exhibition of Lukas Duwenh&ouml;gger's work will take place at Raven Row in London from June 30 through September 18, 2016.</p> Fri, 20 May 2016 09:56:18 +0000 - Asia Society Museum - March 8th - January 8th, 2017 <p style="text-align: justify;">On the occasion of the 60th anniversary of the founding of Asia Society, this exhibition celebrates the legacy of collecting and exhibiting Asian art that John D. Rockefeller 3rd and Blanchette Hooker Rockefeller set in motion for Asia Society. This exhibition plays with the notion of context by juxtaposing historical and contemporary works to trigger distinctive ways of thinking about artworks and the people that produce them, both past and present. The exhibition is a testament to the visionary commitment to Asia and its art begun by Mr. and Mrs. John D. Rockefeller 3rd, and that continues to the present at Asia Society.</p> Fri, 08 Jan 2016 08:04:53 +0000 Meera Thompson - Atlantic Gallery - May 17th - June 11th <p>&nbsp;</p> <p>Atlantic Gallery is pleased to announce the opening of <em>Weathering Whether</em>, an exhibition of mixed-media works on paper by Meera Thompson.&nbsp; The paintings will be on view from May 17 through June 11, 2016, and a reception for the artist will be held on Thursday May 19 from 5:00 to 8:00 PM.<em>&nbsp; Weathering Whether</em> is Meera Thompson&rsquo;s fifth solo show at Atlantic Gallery.</p> <p>Meera Thompson&rsquo;s new paintings offer a meditation on the mutability of the passing moment.&nbsp; Each image sweeps visitors into unfolding dramas. Dynamic brush strokes evocative of crashing waves, swirling clouds, fleeting shadows, and rustling breezes testify to the presence of unseen powers.&nbsp; While the action in the pictures may appear to play out in the air and in the water, more contemplative intimations of force and change await the responsive viewer. &nbsp;Close inspection suggests that Thompson is laying bare the deliberative nature of painting.&nbsp; All lines, shapes and colors embody decisions and to recognize them is to participate in their attendant doubt and desire.&nbsp; In essence, Thompson&rsquo;s sensuous abstractions are an invitation to look inward and &ldquo;weather whether.&rdquo;</p> <p>&nbsp;Meera Thompson&rsquo;s work is represented in numerous collections across the United States and Canada.&nbsp; She is a member of the faculty of the School of Professional Studies at New York University where she teaches a variety of Studio Art courses including Drawing at the Metropolitan Museum of Art.&nbsp; A graduate of Vassar College, she earned her M.F.A. at Boston University and continued her studies at the Art Students League.&nbsp;</p> <p><strong>&nbsp;</strong></p> <p>&nbsp;</p> Wed, 20 Apr 2016 21:04:50 +0000 Phyllis Chillingworth - Atlantic Gallery - May 17th - June 11th <p>Atlantic Gallery is pleased to present an exhibition of new paintings by Phyllis Chillingworth, titled "CURRENTS". These paintings capture the impressions and rhythms of her recent travels to Nova Scotia, Cape Cod and Montana. The waterfalls, rocks, tide and endless space become symbols of the currents of life, our moods and our internal navigations. the elusive water rhythms of the east contrast with the ancient earth-rhythms of the west. Movements permeates all of her work. Describing her painting, Phyllis Chillingworth states:</p> <p>"I feel a sublime connection to the places I paint. My goal is to transfer nature's energy, light and warmth to the viewer. Experiencing these intimate moments brings up wonderful childhood memories and many surprising undercurrents. i hope the observer discovers a personal connection to my paintings."</p> <p>Phyllis Chillingworth lives in new York City and Montauk. She earned a B.S. from The Institute of Design, Illinois Institute of Technology, Chicago, and a B.F.A./M.F.A. from the Yale School of Art and Architecture.</p> <p>&nbsp;</p> Thu, 21 Apr 2016 16:41:09 +0000 Karine Laval - Benrubi Gallery - May 19th - July 1st <p style="text-align: justify;"><strong>Benrubi Gallery</strong> is pleased to present <em>Artificial by Nature</em>, the new exhibition by <strong>Karine Laval</strong>. <em>Artificial by Nature</em> continues the artist&rsquo;s long exploration of distorted realities and altered perceptions, resulting in manipulations of light and color as sophisticated as they are seductive. Laval's fifth solo exhibition with the gallery&nbsp;will also debut her foray into scuplture. &nbsp;<br /> &nbsp;<br /> The gallery&rsquo;s main space features selections from Laval&rsquo;s <em>Heterotopia</em>, a series of densely layered photographs of gardens and other manicured &ldquo;natural&rdquo; environments. Placing sheets of glass and&nbsp;mirrors in the composition, and employing skewed perspectives and extreme crops, the images in <em>Heterotopia</em>&nbsp;are suffused with the luminescence of stained-glass windows while possessing the uncanny charm of movie stills or extraterrestrial landscapes. Tiny stems appear tall as trees, while empty space fills up with clouds of color that swirl with the celestial movement of nebulas. Yet there are often traces of the unmanipulated scene left in the frame, reminding viewers that this is in fact a familiar world, and the only thing that&rsquo;s changed is the way it&rsquo;s perceived. Light, which we&rsquo;re accustomed to think of as the medium we see through, is revealed for what it is: the medium that brings the images to our eyes, and that possesses layers far richer than what we normally see.<br /> &nbsp;<br /> On view in the project room are selections from <em>Black Palms</em>, a series of images of Los Angeles palm trees, shot from below and solarized, leaving behind vast black fields jaggedly slashed with silver etchings. The zigzag tracings of the palm leaves recall photograms or the stylized manipulations of light in film noir (in which many of these trees once featured), while the inky gloss of the images simultaneously reflects viewers&rsquo; gaze and sucks them into an interstellar vastness. But as with the images in <em>Heterotopia</em>, the quotidian reality is discernible, leaving viewers with the uneasy yet uplifting suggestion that the world is what we think it is only because of long-held and often unconscious patterns of association. There is always more to see.<br /> &nbsp;<br /><strong>Karine Laval&nbsp;</strong>(b. 1971) was born in Meudon-La-Foret, France and lives in Brooklyn, NY. Her&nbsp;work has been widely exhibited in solo and group exhibitions in the United States and internationally at such venues as the Palm Springs Art Museum, the Los Angeles Center for Digital Art, the Sorlandet Art Museum in Kristiansand, Norway, the Palais de Tokyo in Paris, and at several photo festivals throughout Europe and the US. Laval was a finalist in France&rsquo;s Villa Medicis Hors Les Murs as well as the recipient of the Peter S. Reed Foundation Grant.</p> Fri, 20 May 2016 09:59:45 +0000