ArtSlant - Current exhibits http://www.artslant.com/ny/Events/show en-us 40 Jean Dubuffet, Miquel Barcelo - Acquavella Galleries - June 30th - September 19th <p>Acquavella Galleries is pleased to present Dubuffet | Barcel&oacute;, an exhibition of paintings by French postwar painter Jean Dubuffet and acclaimed Spanish artist Miquel Barcel&oacute;, on view from June 30 to September 19, 2014. The exhibition&nbsp;will feature distinct bodies of work from each artist &ndash; several of Barcel&oacute;&rsquo;s recent white paintings and dark bleach portraits will be shown alongside a selection of Dubuffet&rsquo;s landscapes and portraits. Since he was a teenager, Barcel&oacute; has been drawn to Dubuffet&rsquo;s poetic writings and unconventional aesthetic. In juxtaposing portraits and landscapes by both artists, this exhibition aims to highlight<br />their thematic and material affinities.<br /><br />Dubuffet employed various techniques to represent soil in his series of Texturologies from the 1950s. Acting as an inventory of various types of terrain, these paintings celebrate the nuances of material. Dubuffet initially intended to create the series as an assemblage evocative of earth&rsquo;s expanse that could be endlessly extended; however, his attachment to these initial paintings<br />prevented him from producing this assemblage, and they remain as individual works. With their encrusted, tactile surfaces, Dubuffet&rsquo;s Texturologies evoke the textures of the earth. This obsession with formlessness extends to Dubuffet&rsquo;s portraits, several of which are included in this exhibition. His methods of rendering the human figure reflect his fascination with primitive and naive art practices.<br /><br />Barcel&oacute;&rsquo;s most recent series of white paintings also pay tribute to boundless terrain. An artistic nomad, he has traveled widely, relying on cultural and geographic diversity for inspiration. Earthly textures &ndash; sand or waves of the ocean, for example &ndash; have long influenced his painting practice. Several heavily impastoed canvases, in particular, pay tribute to the coastal terrain of his native Majorca. The intensely textured Huitres II recalls Barcel&oacute;&rsquo;s travels across the arid, rugged terrain of the Sahara. This work is simultaneously devoid of and brimming with color &ndash; indicating the heat, light, and texture of the desert. Barcel&oacute;&rsquo;s recent portraits are<br />similarly personal. These paintings, made with bleach, chalk, and charcoal on dark canvas, present ethereal renderings of the artist&rsquo;s colleagues and friends.<br /><br />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 to work at his family&rsquo;s wine business for several years, Dubuffet fully committed himself to being an artist in 1942. His fascination with Hans Prinzhorn's Artistry of the Mentally Ill deeply influenced<br />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. Painting in a deliberately crude manner, Dubuffet developed a technique of thick impasto, called haute p&acirc;te, and frequently<br />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. His work has been exhibited in and collected by major public and private institutions across the world.&nbsp;<br /><br />Miquel Barcel&oacute; (b. 1957) was born in Felanitx, Majorca and divides his time between Majorca, Paris, and Mali. The youngest artist to ever show at the Mus&eacute;e du Louvre, Barcel&oacute; represented Spain at the 53rd Venice Biennale and drew wide acclaim for his<br />participation in Documenta VII in Kassel, Germany. He has had retrospectives at renowned institutions, including the Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museo Rufino Tamayo, Mexico; and the Guggenheim Museum, Bilbao, Spain. His work is included in many esteemed public and private collections worldwide.</p> <p>&nbsp;</p> Tue, 24 Jun 2014 04:34:33 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Kazi Salahuddin Ahmed, Masum Chisty, Khaled Hasan, Imran Hossain Piplu, Promotesh Das Pulak, Dhali Al Mamoon, Yasmin Jahan Nupur, Mohammad Wahiduzzaman, Wakilur Rahman - AICON GALLERY - New York - July 24th - September 6th <p style="text-align: justify;" align="justify"><span style="font-size: small;"><strong>Aicon Gallery</strong>&nbsp;is proud to present&nbsp;<em>Readymade</em>, the first ever extensive survey exhibition of contemporary Bangladeshi art held in New York. The exhibition features nine artists collectively exploring the complex and interlocking cultural, political, economic and environmental issues currently facing the often paradoxical and rapidly changing society and state of Bangladesh in the new millennium. The nation's exploding population, the daily socioeconomic struggles of the lives of millions, the consequences of climate change, shifting cultural and gender demographics and the future of industry and economic growth are just some of the vastly influential issues informing and challenging the visual and verbal language of Bangladesh's diverse and quickly growing contemporary art scene. The work in this exhibition unpacks these issues through the concept of the&nbsp;<em>readymade</em>, both in its art historical context, and as a term referring to Bangladesh's massive and unwieldy ready-to-wear garment industry, which has made headlines recently due to the tragic consequences of its lack of regulation and harsh suppression of reform, while also remaining the economic backbone of Bangladesh's growing economy.&nbsp;</span><span style="font-size: small;">&nbsp;</span></p> <div style="text-align: justify;" align="justify"><span style="font-size: small;">When Marcel Duchamp challenged high art by making the mundane monumental, he called it readymade. The spaceless conjunction of 'ready' and 'made' is fraught with tension, simultaneously existing as an affirmation, yet a contradiction. This signifies convenience at the cost of quality, access at the cost of wholesomeness, and success at the cost of failure. Ultimately, it marks a divide that is hard to bridge. As Bangladesh encounters these many divides and contradictions, 'readymade' becomes an identity in itself.</span><br /><br /></div> <div style="text-align: justify;" align="justify"><span style="font-size: small;">With rising levels of greenhouse gases in the environment, the global climate is changing. Extreme storms, long the scourge of low-lying Bangladesh, are increasing in frequency and ferocity; and, there is the rising sea level. Bangladesh presents the largest assemblage of humans at such a low elevation. It is inherently readymade for a natural disaster of epic proportions. With a still trotting, if not galloping, population growth and a shrinking landmass from rising waters, Bangladesh is also a readymade demographic time bomb. About 40% of the population is below the age of 25. If these tens of millions of young men and women are not educated and put to work, Bangladesh is readymade for social unrest.</span></div> <div align="justify"> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Yet, it is in readymades that Bangladesh seeks a path to redemptive transformation. Readymade is the locally popular term for ready-to-wear clothing. It is an industry of which Bangladesh, with its large work force and low wages, has become the global epicenter, with the garment industry comprising nearly 90% of its Gross Domestic Product. This epicenter, occasionally shaken by a tragedy of epic proportions, is merely inconvenienced by smaller everyday tragedies. Labor organizers disappear into the night, while dissenting workers find their jobs-and at times, limbs-gone. The lack of economic diversity promotes an endemic occurrence of sweatshops and unsafe labor conditions, favoring capitalism over social welfare, susceptible to poverty and malnutrition of children, with a growing sex trade of prostitution and child trafficking into India. It is an industry readymade to propel Bangladesh forwards or back; and, at times, it seems to do both.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Whether a storm changes the coastline or a factory collapses upon its occupants, it takes a myriad of tragedies for the world to focus on Bangladesh. Can tragedy be the price of good-tidings to come? The disaster, in the case of a factory-collapse, is not natural but manmade. For the looming tragedy of climate change, man's authorship should at least allow for remediation. Will the proverbial 'silver lining' be a clear establishment of a civil society's predominance? The political leaders, no matter how tainted, know that they would have to seek the people's mandate, sooner rather than later. Bangladesh has had a growing democracy for three of its four decades in existence. From being the poorer, undernourished and fledging of the two wings of Pakistan - the nation it broke from in 1971 - Bangladesh today has peace, a vibrant economy, higher rates of development and greater empowerment of its people, especially its women.</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Is Bangladesh, then, readymade to chart a way forward? Are its artists ready to play a part in this charted route? Culture has always been integral to Bangladesh's identity. It was born of a struggle to protect a language and its associated culture. "Readymade", the first major curated exhibition of contemporary Bangladeshi art in New York, seeks to re-introduce a society long known as a reliable source of disaster news, as one that is at a fork. A big disaster may yet unfold of many little ones; but equally, there is hope for the emergence of a civil society, with art and artists at its vanguard.&nbsp;</span></p> </div> Fri, 25 Jul 2014 08:22:23 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list George Inness - Arkell Museum - June 7th - November 15th <p>The exhibition features five landscapes from the permanent collection painted by George Inness between 1860 and 1882. These stunning works of art reveal the artist&rsquo;s diverse painting methods and approaches during the middle of his career&mdash;from detailed depictions of nature to gestural brushwork and vague landscapes. His paintings, often referred to as Tonalist, were deeply influenced by the spiritual teachings of Emanuel Swedenborg.</p> Mon, 28 Apr 2014 00:18:57 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Alex Perweiler, Zachary Susskind, Louis Eisner, Jack Greer, Brendan Lynch, Dylan Lynch, Nick Darmstaedter, Isaac Brest - Art in General - September 22nd, 2013 - September 1st <p>Art in General is pleased to present <strong>+1</strong>, a New Commission by The Still House Group.</p> <p><strong>The Still House Group</strong> is an emerging artist-run organization based in Red Hook, NY. Still House is inspired by the ideals of a young creative demographic bound by expectations of subordination to preexisting models, and supports a unit of young artists, providing them with an environment to conceptualize, produce, and exhibit their work. The strong emphasis on collaboration encourages members of the group to assist, critique, and formally represent one another, ultimately creating a collective drive that balances the advancement of individual careers with the growth of Still House the entity. The group attempts to escape the traditional gallery set-up, gearing itself, regardless of the seemingly insurmountable challenges, toward the goal of creative sustainability.</p> <p>Founded in 2007 by Isaac Brest and Alex Perweiler as an online viewing platform, Still House has produced numerous exhibitions in New York, Los Angeles and Miami. During 2010, the group conducted an eight-month residency in an abandoned Department of Transportation office in TriBeCa, and has since built a permanent, multi-faceted arts institution currently based in Red Hook, Brooklyn. This location serves as a hub for new work, a satellite environment to the art center of Manhattan where young artists engage in a space of their own.</p> Mon, 09 Jun 2014 12:31:05 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Regina DeLuise, Jed Devine, Laura McPhee, Simon Norfolk, Lauren Semivan - Bonni Benrubi Gallery - July 31st - September 6th <p>Bonni Benrubi Gallery is pleased to present t&agrave; hier&aacute;, a group exhibition of photographs by gallery artists: Regina DeLuise, Jed Devine, Laura McPhee, Jeffrey Milstein, Jehad Nga, Simon Norfolk, and Lauren Semivan in a dialogue of photographic meditations on the notion of the sacred and the practice of ritual.<br />t&agrave; hier&aacute; is an ancient Greek term that has no equivalent in contemporary language. Commonly translated as the holy or the sacred it is the Greek word closest to religion and that which refers to the gods.<br />Religious rites are typically what we associate with the sacred, but in our highly secularized global society, where religion is not the mainstay of every culture, how do we now define sacred? Where do&nbsp;we find ritual in a global metropolis? What do we learn about ourselves when we look at an image of&nbsp;the Large Hadron Collider in CERN compared to the stoic solitude of an ancient offering plinth in&nbsp;Calcutta?<br />Laura McPhee&rsquo;s contemplative large format photographs of life in India are possibly the purest expression of our common associations to the sacred, documenting the Durga Puja in Calcutta a highly orchestrated ritual that has been practiced since the middle ages. Jeffrey Milstein&rsquo;s 200 Saints depicts a wall of crucifix&rsquo;s hanging above a bed in a Cuban interior.<br />Jehad Nga&rsquo;s Untitled #21 shows a faceless man tying his turban, a great swathe of white fabric in the&nbsp;morning light, shot in Mali on assignment, investigating the ongoing conflict in this troubled West&nbsp;African nation. In early 2012, a group of radical Islamists affiliated with Al Qaeda took control of Mali&rsquo;s northern half, declaring it an independent state imposing the rules of Sharia law.</p> Tue, 29 Jul 2014 22:08:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Hanny Ahern, Thessia Machado, Eric Shows, Palden Weinreb - BRIC Arts | Media House - July 10th - August 31st <p><em>The air we swim in</em>&nbsp;will be on view in the Project Room of BRIC House this summer. The exhibition is curated by&nbsp;Kelly Schroer,&nbsp;2014&nbsp;recipient of BRIC&rsquo;s Emerging Curator Fellowship. Supporting and fostering the vision of a developing curator, the exhibition will focus on artists who create physical interactions with intangible elements that inhabit our same space, but are invisible to the human eye. The exhibition will feature artists&nbsp;Hanny Ahern,&nbsp;Thessia Machado,&nbsp;Eric Shows, and&nbsp;Palden Weinreb.&nbsp;</p> <p>The title of the exhibition is sourced from Thessia Machado&rsquo;s artist statement, in which she describes her visual interest in sound waves. This fascination with invisible elements in the air acts as a starting point in expressing our human need to make sense of the world around us. Through drawing, sculpture, and interactive installations, the artists exhibited in&nbsp;<em>The air we swim in</em>&nbsp;create tactile sensations out of&nbsp;sound waves, energy and light waves, breath, and microscopic particles.Thessia Machado&rsquo;s interactive sculptures/instruments express sound as &ldquo;malleable and responsive, physical matter;&rdquo;&nbsp;Palden Weinreb&nbsp;attempts to solidify the properties of light waves in two dimensions, using graphite and wax;&nbsp;Eric Shows&rsquo; installation uses light as a point source that projects through glass, revealing surface variations and creating sound as a direct result; and&nbsp;Hanny Ahern&nbsp;visualizes breath through an interactive installation/sculpture using sensors and light bulbs. Through their engagement with unseen waves and particles, we are reminded of both our shortcomings and power as human beings.</p> Tue, 17 Jun 2014 05:33:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Laura Anderson Barbata - BRIC Arts | Media House - July 10th - August 31st <p style="text-align: justify;"><em>Transcommunality: Laura Anderson Barbata, Collaboration Beyond Borders</em>&nbsp;is an exhibition that documents the work of Mexican-born, New York-based artist&nbsp;Laura Anderson Barbata; focusing on the decade-long project she pursued with stilt-walking communities in Trinidad and Tobago, Mexico, and Brooklyn. Her project highlights the vitality of the moko jumbie stilt walking tradition&nbsp;and demonstrates the possibility of using this storied art form as a platform for social contemporary performance, group participation and protest. Spanning from&nbsp;17 feet tallto just&nbsp;11 inches small, the works presented in the exhibition range fromtextile-based to sculptural objects, as well as photographs, videos, and projections that document the collaborative projects. Overall, the exhibition comprises approximately 60 pieces including over 20 towering dressed figures and 23&nbsp;<em>alebrijes&nbsp;</em>(miniature wooden figures).&nbsp;A traveling exhibition, the presentation of&nbsp;<em>Transcommunality</em>&nbsp;at BRIC House will be the&nbsp;inaugural showing in the United States.</p> <p style="text-align: justify;">Laura Anderson Barbata is known for her participatory, collaborative art, often involving partnerships with local artisans. The relationships forged with collaborators and the cultural exchanges that take place are the most important components for the artist.&nbsp;<em>Transcommunality&nbsp;</em>encompasses community art, public art, social intervention, performance and sculpture, focusing on an artist who has dedicated her practice to confronting the hierarchies of so-called &ldquo;fine art&rdquo; and popular art, craft and folk traditions. In 2011, she designed a performance with the Brooklyn Jumbies called&nbsp;<em>Intervention: Wall Street</em>, engaging in the Occupy Wall Street movement and the social and economic issues it raised.</p> <p style="text-align: justify;"><em>Transcommunality: Laura Anderson Barbata, Collaboration Beyond Borders</em>&nbsp;has previously been presented at the Centro de las Artes de Nuevo Le&oacute;n, Monterrey; Museo de la Ciudad de M&eacute;xico, M&eacute;xico, D.F.; and Museo Textil de Oaxaca, M&eacute;xico. The exhibition at BRIC House will be the first showing in the United States, after which it will travel to the University of Wisconsin, Madison, where the project will be part of the spring 2015 Interdisciplinary Arts Residency Program. It will subsequently continue in Europe.</p> Thu, 10 Jul 2014 19:50:15 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Bronx Museum of the Arts - May 1st - January 11th, 2015 <p><em>Beyond the Supersquare&nbsp;</em>explores the indelible influence of Latin American and Caribbean modernist architecture on contemporary art. The exhibition features over 30 artists and more than 60 artworks, including photography, video, sculpture, installation, and drawing, that respond to major Modernist architectural projects constructed in Latin America and the Caribbean from the 1920s through the 1960s.&nbsp;<em>Beyond the Supersquare</em>&nbsp;examines the complicated legacies of modernism through architecture and thought&mdash;as embodied by the political, economic, environmental, and social challenges faced by countries throughout Latin America&mdash;through the unique perspective of artists working today. This exhibition is co-organized by Holly Block (New York City) and Mar&iacute;a In&eacute;s Rodr&iacute;guez (Colombia), and designed by Benedeta Monteverde (Mexico).</p> Tue, 24 Jun 2014 00:05:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Bronx Museum of the Arts - May 1st - August 31st <p>Over the course of its forty-year history, the Bronx Museum has drawn together a significant collection of prints and graphic-art works, guided by its mission to give visibility to artists of African, Asian, and Latin American descent. For these artists, the print medium has been an invaluable tool for channeling their aesthetic and political concerns. Due to its mass reproducibility, economy, ease of distribution, and collaborative character, printmaking has long been considered a vehicle for social agency and has played a major role in politically mobilizing different communities and constituencies.</p> <p>Throughout the first half of the twentieth century and continuing in the present day, artists have joined together as collectives, guided by the desire to promote social change and taking advantage of the collaborative nature of the medium. Historical works in the museum&rsquo;s collection, such as those of the Mexican Taller de Gr&aacute;fica Popular, revisit such utopian aspirations and their influence on different socially-engaged graphic workshops around the world. The circulation and reproductive capabilities of graphic art have been instrumental for artists working under or exposing situations of political turmoil and repression. The pedagogical and empowering value of printmaking is highlighted by the selection of works by members of the Rorke&rsquo;s Drift school of Johannesburg, who came together and gained a voice as an important artistic community of black artists during the apartheid years. The aesthetic and political import of these historical collectives is underscored by the work of contemporary artists, like Tim Rollins &amp; K.O.S., whose practices go beyond the medium of graphic art, approaching printmaking as a way of revisiting the historical junction between art and politics.</p> <p>Beyond considerations specific to printmaking, this display reflects the underlying thematic narratives in the museum&rsquo;s collection and its cross-cultural undertakings while reaffirming its commitment to the print medium.</p> Tue, 24 Jun 2014 00:14:21 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Judy Chicago - Brooklyn Museum of Art - April 4th - September 28th <p>Before making her widely known and iconic feminist work of the 1970s, 1980s, and beyond, Judy Chicago explored painting, sculpture, and environmental performance, often using innovative industrial techniques and materials, including auto body painting and pyrotechnics.</p> <p><em>Chicago in L.A.</em> surveys this less-familiar but significant early work, produced when Chicago lived in Los Angeles and was a participant in the Finish Fetish school, which responded to the rapid industrialization of the West Coast with its own brightly colored, high-gloss form of minimalism. The exhibition places the early work within the arc of Chicago&rsquo;s broader production and continues the reappraisal of the artist&rsquo;s importance as a pioneer in the California art scene. <em>Chicago in L.A. </em>also re-examines <em>The Dinner Party </em>as a work that emerged from decades of artistic experimentation, not only with materials, but with feminist community building.</p> <p>This survey includes approximately sixty paintings, sculptures, drawings, prints, photographs, and videos, including documentation of performances, spanning 1963 to 1974. On view are important early sculptures, including <em>Rainbow Picket </em>(1964), which blend minimalist forms and bold color choices, and a range of vibrant paintings and sculptures made with sprayed acrylic lacquer, a material typically used for decorating cars.</p> Sat, 16 Aug 2014 20:21:26 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Joan Mitchell - Cheim & Read - May 15th - August 29th <p style="text-align: justify;">Cheim &amp; Read, in cooperation with the Joan Mitchell Foundation, is pleased to announce an exhibition of seven large-scale canvases by celebrated painter Joan Mitchell (1925&ndash;1992). The show is accompanied by a full color catalogue with an essay by John Yau.<br /> <br /> Dating from 1964 to 1991, the paintings in this exhibition are inspired by the form and structure of trees. Known for her expressionistic, visceral explorations of the natural landscape, Mitchell abstracted tree-forms throughout her career, from the richly-hued, interlacing branches of Hemlock, 1956 (Collection Whitney Museum of American Art) to the thick, rectangular-trunked grove in Trees, 1990-91. The paintings bristle with energy and emotion; her staccato brushwork, rich color palette and pervading sense of light and composition are at once elegant and rebellious.<br /> <br /> Though rooted in Abstract Expressionism (she was one of the few successful female painters of the New York School), Mitchell&rsquo;s work redefines the parameters of gestural abstraction. As Yau notes in his catalogue essay, her works are characterized not by a stream-of-conscious, chance assembly of paint-loaded brushstrokes, but by a precise and thoughtful construction which in turn fosters &ldquo;animated eloquence&rdquo;: &ldquo;For Mitchell&hellip;rigor and expressiveness are not mutually exclusive activities.&rdquo; In many ways, a tree&rsquo;s inherent structure is analogous to the way in which Mitchell composes her paintings: beginning from an anchored core, her physical gestures create an armature of rhythmic potential, allowing for an expressive lyricism that attempts to, as she says, &ldquo;define a feeling.&rdquo; Mitchell succeeds in capturing not only nature&rsquo;s various visual effects, but also its essence of &ldquo;being alive.&rdquo; In 1959, Mitchell moved to France and lived there for the last three decades of her life. The region&rsquo;s distinctive light, color and atmosphere not only rewarded her sensitivity to the natural world, but also connected her work to a long history of plein air painting. Van Gogh&rsquo;s charged, vibrating brushstroke and Cezanne&rsquo;s fusion of mark-making and color greatly informed her practice, as did the structured surfaces and divided forms of Mondrian&rsquo;s tree paintings.<br /> <br /> Mitchell&rsquo;s artistic practice can be defined as much by her body&rsquo;s intuitive reaction to her surroundings as by her visual and intellectual rationalization. For her, experience was manifested physically, and her deft use of paint is an extension of this understanding. The range of effects she achieves in the medium &ndash; from the saturated passages of Green Tree, 1976, to the dry boughs of Tilleul (Linden Tree), 1978 &ndash; enhances her work&rsquo;s tactility and physicality. Lavender drips and sprayed drops of paint in Red Tree, 1976, seem to bounce off the painting&rsquo;s surface, resulting in complex spatial interplay. Late works, like the two diptychs titled Trees, 1990-91, are composed of broad, downward strokes and loose, calligraphic knots of jarring color against a white, light-filled ground, conveying a sense of Mitchell&rsquo;s personal struggle as she approached the last year of her life. Recurring over four decades, these paintings provide a history of Mitchell&rsquo;s painting process, and exemplify the unique, intimate ways in which she simultaneously channels the sensibility of nature while exposing her own internal landscape. As she has said, &ldquo;Painting is a means of feeling &lsquo;living.&rsquo;&rdquo;</p> Sat, 16 Aug 2014 20:19:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Will Ellis, Richard Renaldi, Jessica Wolff - Childrens Museum of the Arts - June 10th - September 7th <p>CMA is pleased to announce our summer&nbsp;show <em>Focus: Artist as Observer</em>, an exhibition on view in the Cynthia C. Wainwright Gallery that explores the ways artists examine and celebrate various aspects of heritage, culture, neighborhood and personal identity.</p> <div style="color: #000000;"> <p>A generous grant from the Institute of Museum and Library Services funded CMA to curate and present three themed traveling exhibitions, or Pop-Up Museums, based on selected works from CMA&rsquo;s permanent collection. Throughout the year, the Pop-Up Museums traveled to three distinct underserved communities in NYC. With the primary focus being identity, these three exhibitions were entitled,&nbsp;<em>Places and Spaces</em>&nbsp;(P.S. 124),&nbsp;<em>Faces and Characters</em>&nbsp;(Henry Street Settlement&rsquo;s Urban Family Center) and&nbsp;<em>Subjects and Objects</em>&nbsp;(Broadway Housing Communities).</p> <p><em>Focus: Artist as Observer</em>&nbsp;merges these three exhibitions with the work of contemporary artists, including Will Ellis, Richard Renaldi, and Jessica Wolff, to communicate the importance of our individual and collective identities, and how we connect with the world at large.</p> <p>As we look at the work in this exhibition, certain questions can be asked.&nbsp; How do artists represent the world around them? How do they choose to show people, places or things?&nbsp;<em>Focus: Artist as Observer</em>examines how art conveys identity through the lenses of symbolism, context, and each artist&rsquo;s own perception of contemporary culture.</p> </div> Fri, 06 Jun 2014 02:25:19 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Scott Daniel Ellison - ClampArt - July 24th - September 6th <p>ClampArt is pleased to announce &ldquo;Iowa, Ohio,&rdquo; Scott Daniel Ellison&rsquo;s fourth solo show at the gallery. The exhibition coincides with the release of the artist&rsquo;s first monograph of the same name from Magical Thinking/Schilt Publishing (Hardcover, 80 pages, 9.4 x 7.7 inches, $40).</p> <p>Ellison&rsquo;s newest body of work imagines macabre vignettes inspired in equal parts by Scandinavian folklore, obscure horror films, and childhood fears and preoccupations. About his rearing in rural upstate, Ellison writes: &ldquo;As Halloween approached I would get on my bike and ride around the developments and back roads of Warwick, New York looking for the witches, werewolves, vampires, and zombies that were put out on front lawns, placed in windows, or propped up on lawn chairs as decoration.&rdquo; These explorations emerge in this body of work as arcane subjects, re-invented as children&rsquo;s drawings&mdash;dark fantasies of an imagination gone wild.</p> <p>These new works reflect a shift in visual and narrative complexity for Ellison. The recent scenes are no longer immediately readable, but instead give the viewer just a glimpse of vague (and often unsettling) occurrences. Though commonly whimsical and sometimes even endearing at first glance, the subject matter veers riotously between near sweet depictions of household pets and the more sinister implications of hands reaching from the mouths of tunnels, or skulls and spiders and bodies burrowed deep underground.</p> <p>Trained as a photographer who counts images by Diane Arbus and Ralph Eugene Meatyard as early inspiration, Ellison&rsquo;s work as a painter engages a history of &ldquo;outsider&rdquo; art, particularly the work of Bill Traylor and Henry Darger. This genealogy is apparent in Ellison&rsquo;s visual language of deadpan compositions, smeared lines, flat shapes, and a general economy of means.</p> Tue, 22 Jul 2014 00:27:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Alina and Jeff Bliumis - Denny Gallery - July 24th - September 7th <p><em>Thank You Paintings Exchange </em>initiates a series of material, social, gestural, intellectual and monetary exchanges between artist and collector, with the commercial art gallery as site and passive participant.&nbsp; The fifteen paintings on view depict scenes of everyday life: a woman sitting on a deserted beach, children playing, cars parked in front of a suburban home, etc. Each painting has the text, &ldquo;Thank You For Your...&rdquo; painted on it, completed with words such as &ldquo;Email,&rdquo; &ldquo;Poem,&rdquo; &ldquo;Kiss,&rdquo; &ldquo;Prayers,&rdquo; &ldquo;Dance,&rdquo; &ldquo;Pants,&rdquo; &ldquo;Thoughts.&rdquo; Sometimes a viewer might detect a relationship between the text and the subject of the painting, but there is no deliberate, direct relationship. The painting points toward the value of the painting as an artwork, while the text points toward the exchange the artists propose to initiate with the collector.</p> <p>&nbsp;</p> <p>In order to acquire a painting, the collector must participate in the exchange the artists have proposed, giving the artists the object, gesture, concept, etc. for which the painting &ldquo;thanks&rdquo; them, in addition to making a flat $1,000 financial transaction. The interaction between artist and buyer must be in some way documented, whether that document is the object that is exchanged (&ldquo;Thank You For Your Pants&rdquo;) or a photograph of the exchange (&ldquo;Thank You For Your Hug&rdquo;), or a written text (&ldquo;Thank You For Your Thoughts&rdquo;). The original documentation of the exchange will immediately replace the purchased painting on the wall and a copy of it will be stapled to the back of the painting. The actions and objects requested by the artists may be creatively interpreted by the collector. For example: to exchange for the &ldquo;Thank You For Your Poem&rdquo; painting, the collector might give a poem they have written or their favorite poem, it might be hand-written, emailed, or on the page of a book.&nbsp;</p> <p>&nbsp;</p> <p>Alina &amp; Jeff Bliumis use artistic initiatives to start public dialogues about the politics of community, cultural displacement, migration and national identity. Their projects often progress in a range of forms - a community survey turns into an artist book, then into a performance, then public art, then a participatory event, then an installation. By using socially engaged projects embedded in the real world - performance, photography, sculpture, installation, participatory events and social experiments - they are building an inclusive spirit and a collective imagination. Their core concern is to set spaces of &ldquo;co-active being&rdquo; and &ldquo;co-active thinking.&rdquo; All participants in the works are equal co-creators, and they consider a project complete when it comes full circle by reporting back to the community where the project was initiated.</p> <p>&nbsp;</p> <p>Jeff Bliumis (born Kishinev, Moldova) and Alina Bliumis (born Minsk, Belarus) live in New York City and have been collaborating since 2000. Jeff received his BA from Columbia University, New York in 1981. Alina received her BFA from the School of Visual Art, New York in 1999 and a diploma from the Advanced Course in Visual Arts in Fondazione Antonio Ratti, Como, Italy in 2005, with visiting professor Alfredo Jaar. They have exhibited at the first, second and third Moscow Biennales of Contemporary Art (Moscow, Russia), Busan Biennale 2006 (Busan, South Korea), Centre d&rsquo;art Contemporain (Meymac, France), Museum of Contemporary Art, Cleveland (Cleveland, USA), Bat-Yam Museum (Bat-Yam, Israel), the Jewish Museum (New York, USA) the Victoria and Albert Museum (London, UK). They have been the recipents of a number of grants, fellowships and residencies, including the Franklin Furnace Fund, New York (2010-2011); Six Points Fellowship, New York (Alina Bliumis 2007-2009); Trust for Mutual Understanding, New York (2005/2006/2009); Black and White Project Space Residency, Brooklyn, NY (2009); Art in Public Spaces Grant, Lower Manhattan Cultural Council, New York (2008); Strategic Opportunity Stipend, New York Foundation for the Arts, New York (2008); Puffin Foundations Grant, New York (2008) and Quartier 21 Residency, Museums Quartier, Vienna, Austria (2005). Their work resides in various private and public collections, including the Moscow Museum of Modern Art (Russia), Bat-Yam Museum (Israel), the Saatchi Collection (UK), the Harvard Business School (USA), the Museum of Immigration History, Paris (France) and the Victoria and Albert Museum, London (UK).</p> <p>&nbsp;</p> <p>The artists will be present for in-person exchanges on Thursdays from 4 to 8 p.m. during the run of the exhibition, and September 6 - 7 from 12 to 6 p.m.</p> <p>&nbsp;</p> <p>Please join us for an opening reception on Thursday, July 24, from 6 to 8 p.m. SUMMER HOURS are Tuesday, Wednesday and Friday, 12. to 6 p.m., Thursday 12 to 8 p.m. (when the artists will be present), and other days by appointment. The gallery will be closed for a summer recess from August 9 to 18. Denny Gallery is located at 261 Broome Street in New York City. For further information, contact Elizabeth Denny at 212-226-6537 or by email at elizabeth@dennygallery.com.</p> Sat, 16 Aug 2014 20:19:29 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Carl Andre - Dia:Beacon, Riggio Galleries - May 5th - March 2nd, 2015 <p>Dia Art Foundation will organize the first North American retrospective of the work of Carl Andre (American, b. 1935) who is credited with redefining the parameters of abstract sculpture. The exhibition will mark the most comprehensive presentation of Andre&rsquo;s work in the United States since 1970 and will be accompanied by a new exhibition at the Dan Flavin Art Institute, in Bridgehampton, New York, as well as a major publication.</p> Sat, 16 Aug 2014 20:21:28 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jo Nivison Hopper - Edward Hopper House Art Center - April 19th - September 19th <p>Josephine Nivison Hopper (1883-1968) was an established and respected artist in New York City prior to her marriage in 1924 to Edward Hopper (1882-1967), a childless union that would endure for forty-three years. Her paintings were shown in prestigious exhibitions with the most admired European and American Modernists of the day, among them Marsden Hartley, John Marin, Stuart Davis, and Pablo Picasso.</p> <p>Late in her life she gave the watercolors included in this exhibition to her friend and confidant, Rev. Arthayer Sanborn, for safekeeping and in gratitude for his kindness in caring for her and for Edward toward the end of their lives.&nbsp; At the time, despite her travails and setbacks as a devoted wife, and by then an overlooked artist, she retained her cheerful persona. Indeed, in looking back on her work, Jo, who, like her husband was a lifelong Francophile, described her works as &ldquo;sacred relics of a <em>grace de coeur</em> (grace of heart)&hellip;they have a certain innocence <em>et noble orgueil</em> (and noble pride).&rdquo;</p> <p>The discovery in 2000 of the trove of watercolors, journals, and personal papers that Rev. Sanborn had kept for more than thirty years lead to the discovery of more works by Jo at the Whitney Museum of American Art and for the first time it was possible to reconstruct her creative life as a dynamic artist in her own right. In the ensuing years, more works by Jo have surfaced and have been exhibited, and the importance of her role as a painting companion and muse in her two-artist marriage is finally coming to the fore.</p> <p>As an accomplished artist who eagerly embraced the most current Modernist styles of the day, much more so than her husband did, Jo captured in her vibrant and lyrical watercolors favored objects and sunny views of the scenic locales that she and Edward often painted side by side. They truly express her &ldquo;grace of heart&rdquo; and happily, due to the efforts of her friend, Rev. Sanborn, they have come down to us so that Jo&rsquo;s artistic legacy can now be appreciated, studied, and fully recognized.</p> <p>&nbsp;</p> Mon, 07 Apr 2014 02:03:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list