ArtSlant - Current exhibits en-us 40 Stephen Shore - 303 Gallery - September 11th - November 1st <p>303 Gallery is pleased to present its fifth exhibition of photographs by Stephen Shore, whose pioneering use of color photography in the 1970s and beyond has made him one of art history's most revered and exploratory practitioners of photographic possibilities.</p> <p>For this occasion, Shore will present two new bodies of work realized in zones of itinerant conflict. In a series of images made in Israel and the West Bank, uninhabited landscapes meet scenes of modern quotidian life, and tender portraits become entangled with images of aestheticized propaganda and the charge of architecture in conflicted space. Shore's interest in daily life, in the landscape itself as a way to interpret a sociological climate - a baseline theme in all his work - here takes on a different type of potency due to the critical nature of the living situation. In an a piece such as&nbsp;<em>Sderot, Israel, September 14, 2009</em>, a photograph of a hand pointing at a map is another way of considering the contentious nature of territories.</p> <p>The second body of work presented in this exhibition consists of images shot in the Ukraine, in and around the homes and villages of Holocaust survivors. Another subject with an emotional charge perhaps unequalled in terms of acute sensation, each image becomes a type of reliquary replete not only with the tragedy of the Holocaust, but with the tragic history of the Ukraine itself. Shore's compositions in these images are tighter and more controlled; colors and objects bristle with intimation of past events. In directly confronting these charged subjects, Shore subtly imposes his own order and logic on the landscape, continuing a tradition he created and has practiced for close to 50 years.</p> <p><em>Stephen Shore: From Galilee to the Negev</em>, a compendium of images shot in Israel and the West Bank, was published earlier this year by Phaidon Press. His most recent photographic series shot in Winslow, AZ in 2013 was recently published by IMA Concept Store in Tokyo in a new book titled&nbsp;<em>Stephen Shore Winslow Arizona.</em></p> <p>Stephen Shore's upcoming exhibitions will include Fundaci&oacute;n MAPFRE, Madrid (2014), Barbican Centre, London (2014), Tate Modern (2014). Past exhibitions include The Museum of Modern Art, New York (2013-14), The Metropolitan Museum of Art, New York (2013), The Art Institute of Chicago (2011), Centre Pompidou, Paris (2011), Aspen Art Museum, Aspen (2011).</p> <p>Stephen Shore has been the Director of Photography Program at Bard College since 1982.</p> <p>&nbsp;</p> Mon, 29 Sep 2014 21:18:44 +0000 Antoine Catala - 47 Canal - September 28th - November 2nd <p>I don&rsquo;t feel the same anymore. <br />I feel new. I don&rsquo;t know how to describe the sensation. <br />Do you? <br />Can you feel how I feel? <br />Is really the sole purpose of emotions the survival of a gene pool? The ultimate bonding gel. <br />Through the screen, can you tell how I feel? My voice, do I sound nervous or happy? <br />Can one learn new feelings? A new type of anger, with a hint of pride, a new breed of painless <br />joy. <br />Can you teach me how to feel, because I lost touch? <br />It&rsquo;s like something recently severed, and emotions are drifting inside of me. <br />When I was a little boy, I put myself in other's shoes. I would mimic people around me, <br />copy the way they walked, the way they sat or spoke. It would open a window into their minds. <br />Empathic machines are coming, like children, learning. <br />Will I be able to outsource my feelings to emobots one day. I wouldn't have to deal with shitty <br />emotions anymore. Let the emobots process my crappy moods and re-infuse my body with good vibes. <br />Fleeting. <br />If emotionomics is to become a reality, would I ever be able to purchase a meal with the <br />sensation of freedom that permeates through me today? Pay with a confused transactional smile. <br />This is personal, and it&rsquo;s not. <br />It&rsquo;s all transparent. Let&rsquo;s put our feelings on the table. <br />Antoine Catala (born in 1975, Toulouse France) lives and works in New York and has exhibited <br />extensively both in the US and abroad. Recent solo exhibitions include: Heavy Words, curated by <br />Florence Derieux at Peep-Hole, Milan (2014) and Image Families, curated by Linus Elmes at <br />UKS, Oslo (2013). His work has also been included in Archeo, curated by Cecilia Alemani, High <br />Line, New York, NY; Meanwhile...Suddenly and Then, 12 Biennale de Lyon, France curated <br />by Gunnar B. Kvaran; ProBio, organized by Josh Kline, EXPO 1: New York, MoMA PS1, New <br />York, NY; Empire State, curated by Alex Gartenfeld and Norman Rosenthal, Palazzo delle <br />Esposizioni, Rome, Italy and Puddle, pothole, portal, co-curated by Ruba Katrib and Camille <br />Henrot, Sculpture Center, Long Island City, NY, opening in October.</p> Tue, 30 Sep 2014 01:25:36 +0000 Ian Hughes - 532 Gallery Thomas Jaeckel - October 9th - November 8th <p style="text-align: justify;">Over the arc of his career, Ian Hughes has honed a distinctive visual language in which paint reveals its lushest and most viscous qualities while simultaneously giving shape to bio-reminiscent forms that have a compelling life of their own. In <em>Twisted Figures</em>, his third solo show at 532 Gallery Thomas Jaeckel, Hughes&rsquo;s latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self-confidently assert their own presence, yet begin to move beyond an earlier, more matter-of-fact reliance on organic and visceral associations.</p> <p style="text-align: justify;"><em>Twisted Figures</em> reflects a subtle turn in Hughes&rsquo;s paintings toward motifs that are slightly more elusive in content, while retaining the beautiful but vaguely stomach-churning core of his earlier works. Many of the latest pieces feature the same intense, warm palette and pseudo-anatomical imagery set against flat monochromatic backgrounds, such as <em>Green Ovals</em>, which presents a smooth fleshlike surface against which brightly rendered rolling forms in pink, white, and orange suggest intestines, buttocks, and/or reproductive organs. Yet patches of textile-like patterning and a handful of amorphous shapes scattered throughout hint at a much wider range of associations, from soft pillows to eerie but strangely inviting otherworldly landscapes.</p> <p style="text-align: justify;">In some of the new paintings, Hughes sets up a tension between more organic, down-to-earth colors&mdash;such as the duller hamburger/flesh pink in <em>Untitled (Taupe)</em> &mdash;and contorted masses that are much harder to pin down. Still other canvases veer in the opposite direction by merging undulations of vivid, carnivalesque blues, pinks, oranges, or greens with somber dark swathes into curves that evoke chaotic balloon sculptures or failed attempts to wring order from unruly sausages of brute matter. In <em>Untitled (Golden Yellow) </em>and <em>Red Wrap</em>, the brushstrokes begin to assert themselves in a way that seems to subtly threaten the integrity of the forms they comprise, thereby highlighting the importance of paint as the essential substrate for Hughes&rsquo;s cheerful-yet-disquieting images. The juxtaposition of painterly effects (rounded forms and illusionistic volumes) with more graphic elements (flat, opaque backgrounds and sharp edges) strongly reinforces this message. The result is a potent comment on the powerful tension between medium and image that has haunted painting for as long as abstraction has existed, or perhaps since the first images were daubed on a cave wall millennia ago.</p> Thu, 09 Oct 2014 17:38:16 +0000 Jack Levine, Hyman Bloom - ACA Galleries, Est 1932 - September 18th - October 25th <p align="center"><span style="background-color: #ffffff; color: #696969;"><strong>&nbsp;</strong></span></p> <p align="center"><span style="background-color: #ffffff; color: #696969;"><strong>JACK LEVINE and HYMAN BLOOM:&nbsp;</strong></span><strong style="color: #3366cc; text-align: left;">AGAINST THE GRAIN</strong></p> <p align="center"><strong>September 18 through October 25, 2014</strong></p> <p>ACA Galleries is pleased to announce the upcoming exhibition <strong><em>Jack Levine and Hyman Bloom: AGAINST THE GRAIN</em></strong>on view September 18 through October 25, 2014. The exhibition will feature a survey of paintings and works on paper from the 1930s to 1990s from both the artists&rsquo; estates and private collections.</p> <p>Jack Levine (1915-2010) and Hyman Bloom (1913-2009) were close friends who each became a master of a new American realism that blended abstraction and realism. &nbsp;As Jewish immigrants&nbsp;from Eastern Europe, of a similar age and background&nbsp;they arrived at their socially conscious art through shared&nbsp;experiences but through different routes of development.</p> <p>The Great Depression brought the aesthetic controversy of abstraction versus realism into an uneasy resolution.&nbsp; American Social Realists, many of whom had been modernist painters, believed that the hardships of unemployment, hunger and homelessness were too profound to be depicted through obscure abstractions.&nbsp; For such artists, a return to realism was the only honest means to portray the struggles of the citizenry.</p> <p>But &ldquo;realism&rdquo; did not mean &ldquo;traditional&rdquo;. &nbsp;The genie of modernism could not be put back into the bottle. Instead, these socially conscious artists created a new realist language; an edgy aesthetic that brought realism and modernist abstract elements into a restless but electrifying visual alliance.</p> <p>&nbsp;Jack Levine, though deeply influenced by the grandeur of Titian and Velazquez, also admired the harsh drama of the German Expressionists. &nbsp;In the 1930s, Levine united these influences into grand but scathing portrayals of America&rsquo;s corrupt political and economic power brokers.</p> <p>Though the Social Realism Levine practiced in the &rsquo;30s remained the foundation of his oeuvre throughout his career, he expanded his vision into more spiritual realms. &nbsp;In these late works, Levine returns to his Jewish roots, using biblical themes as the basis for his &nbsp;penetrating observations of the human condition.</p> <p>Hyman Bloom&rsquo;s work evolved into socially aware realism. Originally influenced by America&rsquo;s early twentieth century avant-garde, Bloom became one of New York&rsquo;s mid-century abstract painters and was even credited by Jackson Pollock and Willem deKooning as the first genuine Abstract Expressionist. &nbsp;His work moved away from pure abstraction into a mystical realism.&nbsp;</p> <p>Unlike his former Abstract Expressionist compatriots who were seeking the secrets of the subconscious, Bloom, through the strength of aggressive line and color, was after &ldquo;the nature of being,&rdquo; the mystical essence of life. &nbsp;It was through his spirituality that Bloom found his kinship with humanity and its struggles.&nbsp;</p> <p align="center"><span style="color: #0066cc;"><strong>ACA Galleries is the exclusive agent for the estates of Hyman Bloom and Jack Levine.</strong></span></p> Thu, 14 Aug 2014 22:11:50 +0000 Wayne Thiebaud - Acquavella Galleries - October 1st - November 21st <p>Acquavella Galleries is pleased to announce an exhibition of works by iconic American artist Wayne Thiebaud, on view from October 1 &ndash; November 21, 2014. The exhibition includes a total of 49 works &ndash; 35 paintings and 14 works on paper. Many of the works included are being shown to the public for the first time, and several are compositions the artist has been working on for over thirty years. This is Thiebaud&rsquo;s second exhibition with the gallery.<br /><br />Celebrated for his works that highlight the commonplace, the 93-year-old Thiebaud continues to shed painterly light on the people, places and things that surround him on a daily basis. Despite his association with pop artists of the 1960s,&nbsp;Thiebaud&rsquo;s method is more aligned with the still life tradition &ndash; and this preoccupation with scrupulously representing his subjects sets him apart from his contemporaries. Ordinary objects rendered in the tactility of Thiebaud&rsquo;s brushwork&nbsp;become resplendent, and thus his canvases radiate a particularly American optimism and nostalgia for the familiar.<br /><br />The works on view in this exhibition touch upon recognizable themes in the context of Thiebaud&rsquo;s oeuvre. Cold Case (2010-2013) revisits his most famous subject &ndash; confections. Similarly, Cupcakes &amp; Donuts (2006/2012) and Ring Circle&nbsp;(2012-2014) both explore the artist&rsquo;s preexisting interest in modes of commercial display. The splendor of California&rsquo;s landscape is once again depicted in Bluffs (2013) &ndash; this time in a cake-like pink. The figures in this exhibition, among them&nbsp;Robed Woman with Letter (1976/2013), are familiarly stoic and simultaneously confessional. &ldquo;We are thrilled to be presenting Thiebaud&rsquo;s recent work,&rdquo; said Eleanor Acquavella &ldquo;this exhibition is a testament to his unique ability to&nbsp;illuminate the everyday and elevate the ordinary.&rdquo;<br /><br />Wayne Thiebaud (b. 1920) lives and works in Sacramento, CA. He has been widely recognized for his achievements as an artist and has received various prestigious awards such as the National Medal of Arts from President Clinton, 1994; the&nbsp;Lifetime Achievement Award for Art from the American Academy of Design, NY, 2001 and he was inducted into The California Hall of Fame at The California Museum, Sacramento, CA in 2010. Thiebaud was the subject of a retrospective&nbsp;at the Whitney Museum of American Art in 2001, and his work has been exhibited in major museums and institutions worldwide. Thiebaud&rsquo;s work can also be found in the permanent collections of the Los Angeles County Museum of Art,&nbsp;CA; Phillips Collection, Washington, D.C.; Crocker Art Museum, CA; Albright-Knox Art Gallery, Buffalo, NY; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and the Whitney Museum of American Art, New York.</p> Mon, 08 Sep 2014 20:59:55 +0000 Ashish Avikunthak - AICON GALLERY - New York - October 23rd - November 1st <p style="text-align: justify;">Aicon Gallery is pleased to present Rati Chakravyuh, a new feature-length film by Ashish Avikunthak. The film, comprised of a single 105-minute shot, centers around the continuous conversation of six young newlywed couples and a priestess after a mass wedding. Made entirely in Bengali, Rati Chakravuyh develops a complex and intense narrative through its meditation on an unbroken ever-evolving conversation about the whole of the human condition, questioning beliefs about life, death, love, sex, violence, religion, war, mythology, history and modernity. Rati Chakravyuh&rsquo;s screening at Aicon Gallery, New York represents the international premier of Avikunthak&rsquo;s mesmerizing new film, following acclaimed debuts in Kolkata and Mumbai.</p> <p style="text-align: justify;"><strong>Daily Screenings | Oct. 23rd though Nov. 1st at 1pm | 3pm | 5pm (Closed Sunday)</strong></p> <p style="text-align: justify;"><strong>Director&rsquo;s note:</strong><br /> The film is the experience of the inescapable maze created through the dizzying effect of the camera that moves in spirals throughout. In that dizzying spiral, words vanish, faces blur into a stream of light and eyes crave for the darkness of ignorance, of innocent illusions, of dreams where redemption is really possible. The stories are non-existent, they are the same, yet very different; but we must transcend them. How do we do that? Temporality is a painful truth to reckon with. It stretches out in a painstaking fashion, trapping every attempt to radiate out of the circle. It is our pain on that screen and we cannot look away, we cannot wish it away or magically transform it into a dreamscape. There is simply no space for any space. Space collapses into that speck, but floats endlessly unlike that moment which is out of time. The circular motion of the camera creates that spiral maze and makes us aware of the harsh truth &ndash; that we must fight a losing battle, only to inevitably lose, die and disappear. The film thwarts all our attempts to hide, to run, and all we can really do is to watch those faces blur in the spiral motions, watch those words become a hazy long stretch of intimately familiar sound, watch everything turn into myself - the emptiness that gave birth to the words. The inspiration for this film came from Leonardo da Vinci&rsquo;s &lsquo;The Last Supper&rsquo;. The idea of the final communion among loved ones before an imminent finale was a dramatic conduit for a philosophical exploration of contemporary Indian life.<br /> <br /> This is a single shot film. It is bookended with two title cards &ndash; the first appearing at the beginning of the film mentions the mass wedding, and another ends the film announcing the mass suicide. In the middle is the single shot of 98 minutes of the conversation among the thirteen individuals. They all sit in a circle in the middle of a brightly lit ancient temple.<br /> <br /> They talk about their lives and their times in postcolonial India &ndash; violence, love, death, sex, cricket, suicide, life of Gods and Goddesses, religion, political murders, non-violence, cars, and riots. The film is an allegory of being Indian, being human, being alive. It is the last meeting before an impending tragedy to open up the world of living, that will eventually court death. It is a dramatic dialogue of death before suicide.<br /> <br /> The camera is on a circular dolly and goes in circles throughout the shot. The continuous single shot is employed to heighten the temporal nature of the film. The circular motion of the camera creates a spiral universe in which the voices float and create a continuous image/soundscape thatencompasses the film. The slow spinning of the camera movement in a single shot produces a dizzy vortex - a cinematic whirlpool into which the image, the sound, the actors and the whole film is sucked.<br /> <br /> Trailers for the film may be viewed at the following links:<br /> <br /><br /><br /><br /> <br /> Ashish Avikunthak is an experimental filmmaker who has been making films in India since the mid nineties. His films have been shown worldwide in film festivals, galleries and museums. Notable screenings were at the Tate Modern, London, Centre George Pompidou, Paris, Pacific Film Archive, Berkeley, along with London, Locarno, Rotterdam, and Berlin film festivals among other locations. He has had retrospective of his works at Les Inattendus, Lyon (2006), Yale University (2008) and the National Centre for Performing Arts, Mumbai (2008), Festival International Signes de Nuit, Paris (2012), Rice University (2014). He has a PhD in cultural anthropology from Stanford University and has taught at Yale University. He is now an Assistant Professor of Film Media at the Harrington School of Communication &amp; Media, University of Rhode Island. Avikunthak was included as a "Future Greats" artist in 2014 by Art Review magazine.<br /> <br /> Please contact Aicon Gallery ( for more information.</p> Wed, 22 Oct 2014 15:08:51 +0000 John Walker - Alexandre Gallery - October 2nd - November 12th <h2><a href="" rel="nofollow">JOHN WALKER</a>: RECENT PAINTINGS</h2> <p>Thursday, October 2 through Saturday, November 12, 2014</p> <p>A selection of large and small scaled paintings in the first New York exhibition of John Walker's work since his 2011 show at Knoedler Gallery.</p> <p>Illustrated catalogue available.</p> Thu, 04 Sep 2014 18:29:52 +0000 Ralph Fasanella - American Folk Art Museum - Lincoln Square - September 2nd - December 1st <p>Ralph Fasanella (1914&ndash;1997) celebrated the common man and tackled complex issues of postwar America in colorful, socially minded paintings. This exhibition celebrates the one hundredth anniversary of the artist&rsquo;s birth and brings together key works from a career spanning fifty-two years. Fasanella was born in the Bronx and grew up in working-class neighborhoods of New York; he became a tireless advocate for laborers&rsquo; rights, first as a union organizer and later as a painter.<br /><br />This major exhibition includes a selection of artworks from the American Folk Art Museum&rsquo;s collection, which holds more than one hundred paintings and drawings by the artist. The Estate of Ralph Fasanella gifted many of these objects to the museum over the years, in addition to the artist&rsquo;s notebooks, sketches, correspondence, personal records, photographs, publications, and films, which were donated in 2009 and 2013.<br /><br /><em>Ralph Fasanella: Lest We Forget</em>&nbsp;is organized by the Smithsonian American Art Museum with generous support from Tania and Tom Evans, Herbert Waide Hemphill, Jr. American Folk Art Fund, and Paula and Peter Lunder. The C.F. Foundation in Atlanta supports the museum&rsquo;s traveling exhibition program,<em>Treasures to Go.</em></p> Mon, 15 Sep 2014 00:37:02 +0000 Willem van Genk - American Folk Art Museum - Lincoln Square - September 10th - December 1st <p><em>Willem van Genk: Mind Traffic</em>&nbsp;is the first monographic exhibition of works by the internationally acclaimed Dutch artist Willem van Genk (1927-2005) to be presented in the United States. The exhibition includes over forty artworks: panoramic paintings, collages, drawings, personal notes, sculptures of trolleys, and an installation of raincoats (van Genk collected hundreds of raincoats over the course of his lifetime). This comprehensive selection provides an overview of the artist&rsquo;s oeuvre and insight into his creative processes, methods, and themes. Van Genk&rsquo;s artworks usually depict intricately layered and densely networked urban panoramas and reference interconnectivity. He was a restless stockpiler of information, factoids, and trivia: from this perspective, the artworks can be seen as memory palaces&mdash;visualizations implemented to organize and recall information. These imaginary landscapes serve as sophisticated devices and scaffolds to map hidden forces, since the artist believed that all things were connected via both visible and invisible networks.<br /><br />The exhibition is co-organized by Dr. Val&eacute;rie Rousseau, curator, art of the self-taught and art brut, American Folk Art Museum, and Patrick Allegaert and Yoon Hee Lamot, both curators at Museum Dr. Guislain, Ghent, Belgium. All of the works on view are drawn from the Willem van Genk Foundation, which retained the largest body of the artist&rsquo;s work, the De Stadshof Collection, and the Museum Dr. Guislain, which manages both of these collections.</p> Mon, 15 Sep 2014 00:36:22 +0000 Tamara Henderson - Andrew Kreps Gallery @ 535 West 22nd - September 11th - October 25th <p>For Tamara Henderson&rsquo;s first solo exhibition in New York entitled&nbsp;<em>Speaking in Scales,</em>&nbsp;she will present a 16mm film, sculpture and painting.</p> <p class="p1">Tamara Henderson's practice begins with the diaristic note-taking of&nbsp;her experiences and thoughts under various altered or unconscious states such as sleep or hypnosis.&nbsp;These notes are then elaborated upon and translated into different media: writing, 16mm film, sculpture and painting. Within her&nbsp;very personal and subjective&nbsp;practice,&nbsp;artworks are means, vessels of communication between different states:&nbsp;conscious and unconscious, dream and awake-ness.</p> <p class="p1">Henderson's short 16mm films are often based on&nbsp;storyboards or screenplays - texts translated into scenography, images and movements.&nbsp;In each film the succession of events is carefully planned, captured in single shots&nbsp;and edited in-camera. The main characters are often quotidian objects (bottles, glasses, plants, furniture, pineapples) that are manipulated and altered, becoming subjects of a narrative that is both uncanny and ordinary, absurd and familiar &ndash; and in which a human presence, the artist's or somebody else's, is never explicit but only implied.</p> <p class="p1">Henderson's ongoing series of sculptural/furniture works are also based on drawings and sketches realized after sessions of hypnosis.&nbsp;The resulting sculptures simultaneously retain dreamlike qualities (bright colors, unconventional shapes) but also their identity as functional objects.&nbsp;Additionally, part of her practice are "storyboard" paintings and collages, realized with different materials, that function as maquettes for the films, and in which symbols and maze-like patterns are recurrent.</p> <p class="p1">Tamara Henderson (born 1982 in&nbsp;Sackville, Canada), lives and works between&nbsp;Vancouver and Stochkolm.&nbsp;Her work has been recently presented in solo shows at&nbsp;Grazer Kunstverein, Graz (Austria); Walter Philips Gallery, Banff Alberta (in collaboration with Julia Feyer) and Kunstverein N&uuml;rnberg (2013). She was also recently included in group exhibitions at the&nbsp;Toronto Kunstverein (2014);&nbsp;Kunstverein N&uuml;rnberg,&nbsp;Magasin 3,&nbsp;Stockholm,&nbsp;(2013) and&nbsp;DOCUMENTA 13, Kassel (2012).&nbsp;Upcoming presentation include Frieze Live with Rodeo Gallery, London and Kunsthall Stavanger, Norway (with Santiago Mostyn) in 2014; ICA Philadelphia (with Julia Feyer) in 2015.&nbsp;</p> Mon, 08 Sep 2014 22:19:08 +0000 Fredrik Værslev - Andrew Kreps Gallery @ 537 W. 22nd - September 11th - October 25th <p><em>A Shore Thing</em>, Fredrik V&aelig;rslev's second solo exhibition at the gallery will feature a new body of works captured entirely in white.</p> <p>Fredrik V&aelig;rslev&rsquo;s work is distinctly collaborative in nature. When considering different series of paintings, always evident are the elements left to another &ndash; to another artist or person, or place, to nature, to malfunctions, to temperature. The &ldquo;garden&rdquo; paintings &ndash; works that are comprised of wood slats are left outside to gather and reveal the index of environmental happenings and forces; or the &ldquo;canopy&rdquo; paintings that are painted on canvas exposed to contingencies of air, humidity, and sun that often bridge different geographies and reference the suburban window shade.</p> <p>For this most recent series and for&nbsp;<em>A Shore Thing</em>, the works are created with a mechanism used to make boundaries on football and soccer fields as well as roadway lines. A spray can that is mounted on a set of wheels &ndash; the trolley easily moves forward and backward (the mechanism itself manufactured to make only straight lines) and resists any curves or deviations. These defined and consistent back-and-forth lines &ndash; almost a gridding or mapping out of the surface of the canvas - are layered under and over more chaotic marks made by wheels rolling back and forth through paint &ndash; and uneven lines made by a malfunctioning sprayer and marks made from drips and differing amounts of paint &ndash; as the temperature rises or drops.</p> <p>About Fredrik&rsquo;s work, Peter Andam writes: &ldquo;One of the most probing features of Fredrik V&aelig;rslevʼs painterly non-project is a relentless, yet palpably and rigorously quiet, destabilization of mark-making signatures, &ldquo;signatures of the world,&rdquo; and different vectors and variations of pure contingency. It is as if the visual and tactile world that is teased out to the fore in his work is always on the verge of collapse on the weight of its own positing inexistence.&rdquo;</p> <p>The works in the show are monochromatically white, thus highlighting the dynamism inherent in this project of contingency further. The series unfolds like a collection of possibilities of a practice that is not wholly defined by the artist&rsquo;s hand.</p> <p>Fredrik V&aelig;rslev was born in 1979 in Moss, Norway. He studied at Staatliche Hochschule fur Bildende K&uuml;nste, St&auml;delschule, Frankfurt and Malm&ouml; Art Academy, Sweden.&nbsp;He currently lives and works in Dr&oslash;bak and Vestfossen. He is Director and founder of Landings Project Space, Vestfossen, Norway.&nbsp;Recent and upcoming solo show include: Museo Marino Marini, Firenze, Italy and&nbsp;CAC - Passerelle, Brest, France, (2015):&nbsp;<em>East Bound and Down</em>, The Power Station, Dallas, TX; Luminar Cit&eacute;, Lisbon, Portugal (2014). His work has been recently presented in group shows such as&nbsp;<em>L&eacute; Almanach -14</em>, L&eacute; Consortium, Dijon, France&nbsp;(2014);&nbsp;<em>Flex-Sil Reloaded</em>, Kunsthalle St.Gallen;&nbsp;<em>Backa in i framtiden</em>, Lunds Konsthall, Lund:&nbsp;<em>Lies About Painting</em>, Moderna Museet, Malm&ouml;, Sweden (2013).</p> Mon, 08 Sep 2014 22:22:31 +0000 Chris Martin - Anton Kern Gallery - October 9th - November 15th <p>It is our great pleasure to announce the representation and first exhibition of New York painter Chris Martin at Anton Kern Gallery. His first show will consist of a selection of new paintings created over the past summer in upstate New York. These works, as the writer Bob Nickas describes them in the accompanying book, present "sun-dried paintings and glitter in the rain."<br />Martin, whose career spans over three decades, continues to create bold, glittering paintings, each animated by undulating forms, radiating landscapes, and electric hues. Despite their immediate spectacle and immense scale (he connects canvases together to produce several of these larger works), the paintings exude a human grounded-ness that seems to stem directly from Martin&rsquo;s connection to nature, rock &amp; roll, street art, and a dedication to material experimentation. <br />Nothing and everything is sacred: Martin&rsquo;s abstract forms offer a sense of mystical clairvoyance condensed into the profane, or vice versa. The paintings present a mesmerizing collision of formal geometries and diagram-like grids with cut-outs of dead pop stars, flashy cars, old records buried under layers of paint, and large amounts of holographic glitter (produced specifically for showgirls in Las Vegas). Consequently, Chris Martins paintings prove to be masterfully ambidextrous; one is able to fully experience their presence from a great distance or up-close, indoors or outdoors, in a state of spiritual transcendence or casual play.</p> <p>Chris Martin has continuously exhibited in US and European galleries since the 1980s. His work has recently been presented in solo shows at the Kunsthalle D&uuml;sseldorf, D&uuml;sseldorf, Germany; The Corcoran Gallery of Art, Washington D.C. (both 2011); and the Nerman Museum, Kansas City, KS (2009). The work has also been included in group shows at the Museum Boijmans Van Beuningen, Rotterdam, The Netherlands (2013); Kunstmuseum D&uuml;sseldorf, D&uuml;sseldorf, Germany (2011); Richmond Center for Visual Arts, Western Michigan University, Kalamazoo, MI (2008); American Academy of Arts and Letters, New York, NY (2006); P.S.1, Long Island City, NY (2005); Karl <br />Ernst Osthaus Museum, Hagen, Germany (2004); Newhouse Center for Contemporary Art, Staten Island, NY (2004); Weatherspoon Art Gallery, University of North Carolina, NC (1998); The Denver Museum, Denver, CO (1991); La Jolla Museum of Contemporary Art, California, CA (1989); and The Brooklyn Museum, Brooklyn, NY (1988). Martin lives and works in Brooklyn and upstate New York.</p> <p>* A new monograph Chris Martin, published by Karma and Anton Kern Gallery will accompany the exhibition including a conversation with Bob Nickas and the artist.</p> Mon, 22 Sep 2014 23:40:35 +0000 Bik van der Pol, Effi & Amir, Peter Fend, George Lawrence, Ruben Pater, Forensic Architecture - Apexart - September 11th - October 25th <p>In recent years, more and more artists and activists are re-appropriating aerial perspectives of power and control to develop a new language of ethics and aesthetics. Deploying advanced technologies while developing DIY strategies of documentation and analysis, they look for new ways to transform the aerial point of view from a "space of state control," historically linked to the disciplinary gaze of the nation-state, into a tool for the production and distribution of civil knowledge. These artists and activists manipulate satellite images, operate un-militarized drones, and actualize new mapping systems in a search for civil-oriented visual and political imagery.&nbsp;<br /><br />The exhibition&nbsp;<em>Decolonized Skies</em>&nbsp;presents five international artists who explore the ramifications of the &ldquo;democratization of the view from above." While some artists focus on the new visuality produced by this process, others underline its empowering potential in the field of human rights and participatory knowledge production. The exhibition also marks a genealogy of artistic engagement with the demilitarization of the aerial point of view and frames the current discourse in an historical context. By doing so, it explores what it takes to decolonize the view from above, and how we can produce a new visual and ethical perspective by actively reclaiming the sky.<br /><br /></p> <hr width="450" /> <p><br /><a href=""><strong>High&amp;Low Bureau</strong></a>&nbsp;is a curatorial duo composed of Yael Messer and Gilad Reich. Based in Amsterdam and Tel-Aviv, they curate exhibitions, film programs, performative events, and publications. The Bureau&rsquo;s practice is dedicated to the exploration of artistic strategies that reflect on, and suggest alternatives to, specific social-political conditions. Recent projects:&nbsp;<em>Our Work is Never Over</em>, Matadero Art Center, Madrid (2012);&nbsp;<em>Time/Resistance</em>, The Israeli Center for Digital Art (2013); and&nbsp;<em>Am I Not a Citizen? Barbarism, Civic Awakening and the City</em>&nbsp;(The 13th Istanbul Biennial Film Program, 2013). The duo is the recipient of the Mondriaan Fonds&nbsp;<em>Cultural Mediator subsidy</em>&nbsp;(2013) and was invited to curatorial residencies in art centers such as Bar Barcelona (2013), CCA Warsaw (2013), and Para-Site Hong Kong (2014).&nbsp;<br /><br /><strong>Yael Messer</strong>&nbsp;is an independent curator. She holds a postgraduate diploma in curating from Goldsmith College, London, and participated in the de Appel Curatorial Program, Amsterdam. She has been collaborating with museums, institutions, and independent art spaces internationally. In 2013 Messer was the Research Curator for the 13th Istanbul Biennial.&nbsp;<br /><br /><strong>Gilad Reich</strong>&nbsp;is a writer, curator, and a PhD candidate in the Gender Studies department at Ben Gurion University, Israel. His main field of research is representations of gender in post-Fordist societies. He has published numerous articles as well as exhibition texts and essays.&nbsp;</p> Mon, 18 Aug 2014 23:43:20 +0000 George Inness - Arkell Museum - June 7th - January 4th, 2015 <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, 15 Sep 2014 00:39:02 +0000 Winslow Homer - Arkell Museum - September 2nd - January 4th, 2015 <p>Bartlett Arkell purchased and donated 20 Winslow Homer works to the Canajoharie Art Gallery. These watercolors and oil paintings, along with other Homer works Arkell acquired for his personal collection will be reunited for this exhibition that opens at the Fenimore Art Museum and then returns for a big celebration at the Arkell Museum in the fall 2014. These works span Homer's career from his first works in oil, to his first watercolors up to his fantastic marine painting at Prount's Neck, Maine "Watching the Breakers--A High Sea."</p> Sun, 17 Aug 2014 22:15:49 +0000 Mika Tajima - Art in General - September 13th - October 25th <p style="text-align: justify;"><strong>Art in General is pleased to present <em>Total Body Conditioning</em>, a New Commission by Mika Tajima.</strong> <br /> <br /> <em>Total Body Conditioning</em> is an exhibition by Mika Tajima comprised of three scenes&mdash;display, work, and fitness&mdash;that invoke technologies developed to control and affect the body. These are techniques that shape bodily experience of time and space, taking the human body as a target of power. The works in the exhibition include hot tub painting objects, a series of abstract woven textile portraits, and transparent paintings set to changing ambient lighting and sound sequences. Each scene in the exhibition traces the management of the body in different spaces and temporal contexts from factory assembly lines to therapeutic &ldquo;after work&rdquo; locations.<br /> <br />
The exhibition takes its name from a physical conditioning program developed to adapt the body to an exercise regimen emphasizing endurance, flexibility, and performance through the seriation of time and the partitioning of bodily space. <em>Total Body Conditioning</em> refers to the complete investment of the body, taking the Greek practice &ldquo;to care for oneself&rdquo; into the Foucauldian register of discipline and control exacted on the self&mdash;where individual practices of freedom are intertwined with modes of domination.<br /> <br />Created specifically for the exhibition, Lucite cast acrylic sheet hot tub painting objects that are reverse-spray enameled in saturated gradient colors ground the gallery space. These new hot tub objects are ergonomically molded to the human form, underlining how the body is articulated in relation to an object. The invention of the hot tub began out of an aviation company, which later developed hydraulic pumps for medical therapy before evolving into a social recreation with its multi-seat tubs. Here the tub form acts as a container for the body and paint, fusing figuration with abstraction.<br /> <br />Tajima will also present a new group of works from her &ldquo;Furniture Art&rdquo; series consisting of spray enameled transparent paintings each subtitled by a geographic location&mdash;Shikoku, Ojo Caliente, Kerala&mdash;drawing on the psychogeographic associations produced by the affective names of industrial colors and paints. These works among others in the exhibition will be set to shifting lighting and sound sequences. In one scene, the lighting color temperature is choreographed to a soundtrack of musical cues that signal problems on the assembly line to workers in a Toyota factory. <br /> <br />The exhibition will feature a new series of &ldquo;Negative Entropy&rdquo; acoustic woven textile portraits derived from recordings of Toyota-powered Jacquard looms, an assembly line at a Toyota car factory in Japan, and a server colocation center. These recordings were transmuted into image files and physically interpreted by a weaving designer into a Jacquard fabric. The woven textiles were then stretched over custom acoustic panels, whereby they assume the function of sound- deadening tiles, similar to those used in recording studios to isolate sounds made by individual performers.<br /> <br />Before Toyota began manufacturing cars, the company was built on the mechanization of the weaving process through the power loom and the streamlining of factory production in the early 20th century. To this day, Toyota continues to manufacture power looms alongside the production of cars, applying the principle of &ldquo;jidoka&rdquo;&mdash;the core of Toyota&rsquo;s production method of lean manufacturing that defines the relationship between machines and workers (referred to as &ldquo;automation with a human touch.&rdquo;) Through extreme control of time and space demonstrated by this global production system, the natural body comes in tension with the machinic body.<br /> <br /><em>Total Body Conditioning</em> will feature a sound collaboration between New Humans and Alvin Aronson, a NYC-based DJ and musician. Aronson&rsquo;s forthcoming debut for White Material records is scheduled for release in 2014.<br /> <br /> Special thanks to Eleven Rivington, Greehouse Media, Alvin Aronson, Madeline Best, Lucite Lux, and Dynasty Spas<br /> <br /> <strong>Bio</strong><br /> Born 1975, Los Angeles, CA. Lives and works in New York.<br /> <br /> <strong>Mika Tajima</strong> employs sculpture, painting, video, music, and performance, often drawing on contradictions in modernist design and architecture to consider how the performing subject (e. g., speaker, dancer, designer, factory worker, musician, filmmaker) is constructed in spaces in which material objects outline action and engagement. Tajima&rsquo;s most recent work extends her interrogation of &ldquo;the built environment and the maximized performer to the global flow of life energies sought by unraveling systems.&rdquo; Tajima also works collaboratively under the moniker New Humans, including projects with Vito Acconci, Charles Atlas, Judith Butler, and C. Spencer Yeh, among others. <br /> <br /> Tajima&rsquo;s work has been shown internationally, at venues including the South London Gallery, London; Tensta Konsthall, Stockholm; San Francisco Museum of Modern Art; Seattle Art Museum; SculptureCenter and PS1 Contemporary Art Center, New York City; Bass Museum, Miami; Museum of Contemporary Art, Chicago; and the Walker Art Center, Minneapolis. She was included in the 2008 Whitney Biennial. Tajima lives and works in Brooklyn, New York. She earned a BA from Bryn Mawr College and an MFA from Columbia University.</p> Tue, 14 Oct 2014 06:34:20 +0000