ArtSlant - Openings & events en-us 40 Group Show - Foley Gallery - July 27th 6:00 PM - 8:00 PM <p style="text-align: justify;">Foley Gallery is very pleased to present <em>High Summer</em>, a group exhibition curated by artists Joseph Desler Costa and Jeremy August Haik. The exhibition will feature works by Penelope Umbrico, Matthew Porter, Justine Kurland, Bill Jacobson, Pacifico Silano, Anastasia Samoylova, Hernease Davis, Thomas Albdorf, Jeremy August Haik, Joseph Desler Costa, Bobby Davidson, Christopher Rodriguez, Todd Mattei, Genevieve Gaignard, Charlie Rubin, Christina Labey, Daniel AnTon Johnson, Dillon DeWaters, Sam Contis, Daniel Terna,&nbsp;Tommy Kha, Jessica Yatrofsky, Craig Kalpakjian,&nbsp;Erin O&rsquo;Keefe and Sylvia Hardy.</p> <p style="text-align: justify;"><em>High Summer</em>, a survey of contemporary photo and lens-based works, is a collection of works referencing the sun. The works collected come from practices and processes as varied as the nature of sunlight itself; at times warm and life-giving, but also scorching and destructive. The sun is a bright blind spot in our sky, a void, impossible to see, but impossible to not perceive. The sun is the invisible center; not directly observable without risk of blindness. Only by witnessing the effects of its light and warmth (or the absence thereof) can the Sun be made visible. The works in this show are an index of these indirect observations.</p> <p style="text-align: justify;">The artists in <em>High Summer</em> share an engagement with both the physical effects and philosophical metaphors of the Sun. When measured in 2010 by NASA&rsquo;s Solar Dynamics Observatory, it was determined that the Sun is remarkably consistent in shape; it is the most perfect sphere observed in the natural world. Yet our experiences with our first star vary widely: it casts sharp black shadows on cloudless days and soft gray shade in the cloudy depths of winter. The work produced by these artists are points along the broad spectrum of appearances the Sun takes when its perfect radiance bumps against the variegated messiness of human existence.</p> <p style="text-align: justify;">&ldquo;<em>What kind of object is the sun?</em></p> <p style="text-align: justify;"><em>The brightest of all objects in the world&mdash;consequently&mdash;is not an object; it is a void, the metaphysical abyss: the formal and indispensable condition of everything in the world. The condition of all other objects. The condition of sight itself.</em><em>&nbsp;</em></p> <p style="text-align: justify;"><em>We should hold the sun accountable (it's excessive brightness and the delirium it provokes) for our divagations, our exultations and our depressions - in a word every one of our fantastic and ridiculous errors - the reason is that a true feast, great and magnificent expenses, are accompanied by certain excesses and peculiarities. However, what we had meant to preserve, halfway between the glorious and the peculiar, is a certain sense of proportion recalling those protuberations or visible spots on the periphery of the planet in relationship to its grandiose permanent sphericity which finally is, of all its traits, the major one.&rdquo;</em>&nbsp;</p> <p style="text-align: justify;"><strong>&mdash;Francis Ponge, <em>The Sun Placed in the Abyss</em> </strong></p> Fri, 08 Jul 2016 15:43:26 +0000 - George Billis Gallery- NY - July 28th 5:00 PM - 8:00 PM <p>&nbsp;</p> <p style="text-align: center;"><span style="font-size: large;"><strong>&nbsp;</strong></span></p> <p style="text-align: center;"><span style="font-size: large;"><strong><a class="mcnButton " title="Click here to view the NYC Summer Invitational submission form." href="" rel="nofollow" target="_blank">Click here to view the NYC Summer Invitational submission form.</a></strong></span></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><a href="" rel="nofollow" target="_blank"><span style="font-size: large;"><strong><img src="" alt="" /></strong></span></a></p> <p>&nbsp;</p> <p>&nbsp;</p> <p style="text-align: center;"><span style="font-size: large;"><strong><a class="mcnButton " title="Click here to view the NYC Summer Invitational submission form." href="" rel="nofollow" target="_blank">Click here to view the NYC Summer Invitational submission form.</a></strong></span></p> Wed, 03 Feb 2016 15:45:20 +0000 Group Show - Josee Bienvenu Gallery - July 28th 6:00 PM - 8:00 PM <p class="p3" style="text-align: justify;">Jos&eacute;e Bienvenu is pleased to present good news,&nbsp;a&nbsp;group show that investigates the&nbsp;deconstruction and reconceptualization of information,&nbsp;whether using newspapers and magazines&nbsp;as a&nbsp;point of departure, or a blank sheet of paper.&nbsp; </p> <p class="p3" style="text-align: justify;">Based in Sao Paulo,&nbsp;Ricardo Alcaide&rsquo;s photographic practice is driven by a fascination with the social aspects of architecture and design. In his Intrusion series,&nbsp;Alcaide takes pages from design magazines, blotting them out with&nbsp;geometric abstractions,&nbsp;floating in space.&nbsp;Alcaide's work is held in the Zabludowicz Collection,&nbsp;London, the&nbsp;Colecci&oacute;n Fundaci&oacute;n Cisneros,&nbsp;Caracas;&nbsp;the&nbsp;Pinacoteca do Estado de Sao Paulo; the&nbsp;Christian Dior Private Collection, Paris and the&nbsp;Latin American Art Collection,&nbsp;Fundaci&oacute;n Noa Noa, Caracas. </p> <p class="p3" style="text-align: justify;">Based in Jeddah,&nbsp;Saudi Arabia,&nbsp;Abdulaziz Ashour is an influential member&nbsp;of the Arab art scene. He is best known for painterly collages featuring newspaper, clods of pigments and technological fragments of CD&rsquo;s, circuit-boards and wires. He is most known for his&nbsp;'Newspaper Series,' which deals with censorship in&nbsp;media and reporting in Saudi culture.&nbsp;He has acted as&nbsp;a consultant for the Saudi Arabian Ministry of Culture&nbsp;and is the founder&nbsp;of the first&nbsp;cultural forum for the arts in Jeddah.&nbsp;Ashour's work has been showcased nationally and internationally in&nbsp;Jeddah, Riyadh and&nbsp;Cairo, as well as&nbsp;in the Biennales of Sharjah, Cairo, Dacca and Muscat. He also also participated in shows in Mexico, the US, Tunisia, Jordan and Kuwait, the latter of which awarded him the Golden Palm award in Kuwait.&nbsp;Ashour compiled and curated the art book Saudi Artists Today to capture the richness and variety of the preceding two decades of Saudi art.&nbsp; </p> <p class="p3" style="text-align: justify;">Born in Madrid,&nbsp;Ernesto Caivano lives and works in New York. He is known for his fantastical, narrative-based ink drawings. A natural storyteller, writer and artist Caivano conceives of his work as part of an ongoing illustrated epic, titled After the Woods.&nbsp;Caivano's intricate drawings take their cues from mythology, medieval folklore, romantic poetry, fantasy, science fiction, art nouveau, modernist abstraction, Japanese printmaking, and fractal geometry.&nbsp;Caivano's work has been the subject of solo shows at Richard Heller Gallery in Santa Monica, White Cube in London and at MoMA PS1 in New York, where his site-specific mural In the Woods (2004) is permanently installed in one of the building's stairwells. He has also been included in notable group exhibitions such as Storylines (2015) at the Solomon. R Guggenheim Museum, New York;&nbsp;No New Thing Under the Sun (2010) at the Royal Academy in London;&nbsp;The Compulsive Line: Etching 1900 to Now (2006)&nbsp;at the Museum of Modern Art; Greater New York (2005) at MoMA PS1;&nbsp;and the 2004 Whitney Biennial.&nbsp; </p> <p class="p3" style="text-align: justify;">Dario Escobar lives and works in Guatemala City.&nbsp;Escobar is renowned for his sculptural re-contextualization of everyday objects. His&nbsp;work explores concepts of cultural and historical hybridity ultimately attempting to&nbsp;reexamine Western art history from a Guatemalan perspective. Escobar&rsquo;s work,&nbsp;characterized by the use of materials charged with historical and symbolic meaning, is&nbsp;articulated in a minimalist language.&nbsp;Recent exhibitions include: Game On! at The Children's Museum of the Arts, New York (2016);&nbsp;Centro Cultural Sao Paulo, Brazil (2015); Museum of Art,&nbsp;Miami, Florida;&nbsp;Museu de Arte do Rio, Brazil; CFAM, Los Angeles, CA; Pizzuti&nbsp;Collection, Columbus, OH, (2014); Museum of Latin American Art, Long Beach, CA&nbsp;(2013), Museo Jumex, Mexico City, (2013); Museo de arte Contempor&aacute;neo de&nbsp;Santiago, Chile (2012); The Museum of Latin American Art, Long Beach, CA (2012);&nbsp;The Museum of Contemporary Art, Los Angeles, CA (2011); 53rd Venice Biennale,&nbsp;Mundus Novus - Arte contemporaneo de America Latina at the Artiglierie dell'Arsenale&nbsp;(2009); La Colecci&oacute;n Jumex, Mexico DF (2009). </p> <p class="p3" style="text-align: justify;">Fernanda Fragateiro lives and works in Lisbon, Portugal. Operating in the three-dimensional field and defying the tension between sculpture and architecture, Fragateiro&nbsp;potentiates the relationships with each place, summing the spectator into a performative situation. Fragateiro's projects are characterized by a keen interest in re-thinking and&nbsp;probing modernist practices. Her sculptural and architectural interventions in unexpected spaces (a monastery, an orphanage, dilapidated houses) and subtle alterations of&nbsp;existing landscapes reveal buried stories of construction and transformation. Her work is held in the Bronx Museum, New York (2014), Koldo Mitxelena Kulturunea, San Sebasti&aacute;n&nbsp;(2014), MUAC, Mexico (2014), Centre Calouste Gulbenkian, Paris (2013), Modern Art Centre, Calouste Gulbenkian Foundation, Lisbon (2012), at Dublin Contemporary (2011), at&nbsp;the Lisbon Architecture Triennale (2010) and in public institutions and museums such as the Fundaci&oacute;n Marcelino Bot&iacute;n, Santander (2009); IVAM, Valencia (2008); Centro Cultural&nbsp;de Bel&eacute;m, Lisbon (2007); Centro Galego de Arte Contempor&aacute;nea, Santiago de Compostela (2006); Serralves Foundation, Porto (2005); Fundaci&oacute;n 'La Caixa', Caixa Forum,&nbsp;Barcelona (2004); Culturgest, Lisbon (2003); and K&uuml;nstlerwerkstatt, Munich (1997). Fragateiro is represented by Elba Benitez Gallery (Madrid); Arratia Beer Gallery (Berlin); and&nbsp;Baginski Galeria/Projectos (Lisbon). </p> <p class="p3" style="text-align: justify;">Simryn Gill was born in Singapore, raised in Malaysia, and educated in India and the United Kingdom. She works in sculpture, photography, drawing, and writing. She is a systematic collector, especially of books as objects of reverence and dispute. Several of her projects involve erasing or excising the printed word in a microcosmic struggle with authority as embodied by canonical texts. She aggregates her modest interventions into encyclopedic series comprised of dozens of components, in which the smallest gestures&mdash;repeated or expanded&mdash;generate resounding statements.&nbsp;Gill has held numerous solo exhibitions, including shows at Galeri Petronas, Kuala Lumpur (2001); Art Gallery of New South Wales, Sydney (2002); Berkeley Art Museum, California (2004); Tate Modern, London (2006); Sackler Gallery, Smithsonian, Washington, D.C. (2006); Tracy Williams, New York (2006, 2009, 2010, and 2012); Museum of Contemporary Art, Sydney (2008);&nbsp;Jhaveri Contemporary, Mumbai (2009); Center for Contemporary Photography, Melbourne (2009); Breenspace, Sydney (2009 and 2012); Heide Museum of Modern Art, Melbourne (2010); and AnnaElle Gallery, Stockholm (2012). She participated in the two-person exhibition&nbsp;Your place or mine? Fiona Foley and Simryn Gill&nbsp;at the Institute of Modern Art in Brisbane. Notable group exhibitions include the Singapore Biennial (2006), Documenta 12 and 13 (2007 and 2012), and 12th Istanbul Biennial (2011). She will represent Australia at the 2013 Venice Biennale. Gill lives and works in Sydney and Port Dickson, Malaysia. </p> <p class="p3" style="text-align: justify;">Born in Washington D.C. and based in New York,&nbsp;Yuri Masnyj&nbsp;draws on the aesthetic of historical avant-garde, in particularly Russian Constructivism, combining&nbsp;elements inspired by graphic design, architecture, and the art-historical past. Primarily working in drawing and sculpture, he often depicts ambiguous interior spaces filled with books, posters, and paintings, as well as commonplace objects, such as bottles and cigarettes, in a stark, linear style reminiscent of architectural renderings. Commenting on the ways that the avant-garde has filtered into the mainstream, tempering its utopian spirit, Masnyj's work alludes to the institutionalization and domestication of these once-radical forms.&nbsp;Masnyj has had solo shows at Metro Pictures in New York, Sutton Lane in London, Zink Gallery in Berlin, and Travesia Cuatro in Madrid. His work has been included in notable group exhibitions such as the 2006 Whitney Biennial, and Greater New York 2005 at MoMA PS1, and&nbsp;International Paper&nbsp;at the Hammer Museum in Los Angeles.&nbsp; </p> <p class="p3" style="text-align: justify;">Born in Phoenix, Julianne Swartz lives and works in New York. With lightness and gravity, Swartz places equal importance on negative space, ambient sound, interruptions of sculptural line, and the interface between outside and inside. Her work encourages a quizzical reconsideration of our relationship to our body, to each other and to our surroundings.&nbsp;Lean, a steel rod defies reason as it leans towards a wall but doesn&rsquo;t touch it, pushing the limits of physical gravity very literally, while exploring gravity metaphorically, in reference to the limitations, fragility and endurance of the body, and the weight of human relationships.&nbsp;Select&nbsp;solo exhibitions include How Deep is Your (2014), Indianapolis Museum of Art, Indianapolis;&nbsp;Digital Empathy, Public Project, The High Line, NYC;&nbsp;IN&nbsp;The Sound of Light (2009), The Jewish Museum, New York, NY; Terrain (2013),&nbsp;curated by Jacqueline Grandjean, Oude de Kerke, Amsterdam; Gravity (2012) Josee Bienvenu Gallery, New York, NY.&nbsp;Select&nbsp;group exhibitions include Explode Everyday: An Inquiry into the Phenomena of Wonder&nbsp;(2016), curated by Denise Markonish, MASS MoCA, North Adams, MA;&nbsp;Project Marfa (2008), Ballroom Marfa, Marfa, TX; Voice and Void (2007), Aldrich Museum, Ridgefield, CT; Liverpool Biennial 2006, Tate Museum, Liverpool, England. Swartz participated in the 2004 Whitney Biennial, Whitney Museum of American Art, New York, NY. Swartz has been the recipient of the Painters and Sculptors Award (2008), Joan Mitchell Foundation; Fellowship in Sculpture (2005), New York Foundation for the Arts; National and International Studio Program (2003), P.S.1 Contemporary Art Center/MoMA, New York, NY. </p> <p class="p3" style="text-align: justify;">Yuken Teruya&nbsp;was born in Okinawa, Japan in 1973.&nbsp;Teruya manipulates everyday objects, transforming their meanings to reflect on contemporary society and culture. Using a variety of materials &mdash; kimonos, pizza boxes, newspapers, flags, shopping bags, and toilet paper rolls &mdash; Teruya creates micro universes that relate to broader concerns.&nbsp;Teruya received his BFA from Tama Art University, Tokyo in 1996, and his MFA from the School of Visual Arts, New York in 2001.&nbsp;He has shown in several solo exhibitions at spaces including Josee Bienvenu Gallery, New York; Shoshana Wayne Gallery, Santa Monica; Dahlem Ethnological Museum/Asian Art Museum, Berlin; Pippy Houldsworth Gallery, London; and The Ueno Royal Museum, Tokyo.&nbsp;His work was also featured in&nbsp;Paper&nbsp;at Saatchi Gallery, London (2013);&nbsp;the 18th Biennale of Sydney&nbsp;(2012);Ties over Time: Japanese Artists and America&nbsp;at the US Ambassador&rsquo;s House, Tokyo (2010);&nbsp;Hundred Stories about Love&nbsp;at 21st Century Museum of Contemporary Art, Kanazawa, Japan (2009);&nbsp;The Shapes of Space&nbsp;at The Guggenheim, New York (2007);&nbsp;Greater New York 2005at P.S.1 Contemporary Art Center, Queens, NY; and in various other exhibitions in the United States, Europe&nbsp;and Asia.&nbsp;His work is included in the public collections of the&nbsp;Museum of Modern Art, New York; The Guggenheim, New York; Flag Art Foundation, New York; the Charles Saatchi Collection, London; 21st Century Museum of Contemporary Art, Kanazawa, Japan; and the Mori Art Museum, Japan, among others. </p> <p class="p3" style="text-align: justify;">Born 1961 in Buenos Aires and currently&nbsp;based in New York City, Berlin and&nbsp;Chiang Mai, Rirkrit Tiravanija uses human interaction as his primary material, going beyond performance to create socially-engaged conceptual works that blur the boundaries&nbsp;of art in novel ways and bridge the division between public and private. Tiravanija initiates ways to enable the&nbsp;public to be a part of the art-making process, what has been called&nbsp;relational aesthetics.&nbsp;Tiravanijahs work has been presented widely at museums and galleries throughout the world including solo exhibitions at the Drawing Center, New York (2008);&nbsp;Mus&eacute;e d'Art Moderne de la Ville de Paris&nbsp;(2005);&nbsp;Serpentine Gallery,&nbsp;London(2005); Galerie f&uuml;r Zeitgen&ouml;ssische Kunst, Leipzig (2003);&nbsp;Secession,&nbsp;Vienna&nbsp;(2002);&nbsp;Portikus, Frankfurt (2001); Center for Contemporary Art, Kitakyushu, Japan (2000);&nbsp;Los Angeles County Museum of Art&nbsp;(1999); and the&nbsp;Museum of Modern Art,&nbsp;New York&nbsp;(1997).&nbsp;He had a retrospective exhibition at the Museum Boijmans Van Beuningen&nbsp;in Rotterdam that then was presented in Paris and London. He has&nbsp;participated in such&nbsp;notable group exhibitions as the&nbsp;Sharjah Biennial&nbsp;8,&nbsp;United Arab Emirates(2007); 27th&nbsp;S&atilde;o Paulo Biennial,&nbsp;Brazil&nbsp;(2006);&nbsp;Whitney Biennial&nbsp;2006: Day for Night,&nbsp;New&nbsp;York&nbsp;(2005); the 50th&nbsp;Venice Biennale&nbsp;(2003); and&nbsp;Skulptur Projekte M&uuml;nster&nbsp;(1997). Tiravanija participated in the 9th Gwangju Biennale&nbsp;(2012).&nbsp;Tiravanijahs&nbsp;work has been recognized with numerous awards and grants including a Gordon Matta Clark Foundation Award, Louis&nbsp;Comfort Tiffany Foundation Biennial Competition Award (1993),&nbsp;National Endowment for the Arts&nbsp;Visual Artist Fellowship (1994), the Benesse by the Naoshima&nbsp;Contemporary Art Museum in Japan, the Lucelia Artist Award from the&nbsp;Smithsonian American Art Museum&nbsp;(2003),&nbsp;and the&nbsp;Hugo Boss Prize&nbsp;from the&nbsp;Solomon R.&nbsp;Guggenheim Museum&nbsp;in New York (2004).&nbsp;Stefano Pasquini&nbsp;dedicated a song to him in the CD "Canzoni che costano un po' meno del solito" in 2011. </p> <p class="p4" style="text-align: justify;">Born 1981 in&nbsp;Santander, Spain,&nbsp;Vicky Usl&eacute;&nbsp;Lives and works in New York City (USA) and Madrid (Spain) EDUCATION 1999-03 The Rhode Island School of Design, Providence RI SOLO EXHIBITIONS 2014 Weightlessness encounter. Alexander Levy Galerie. Berl&iacute;n. Alemania 2013 Open Space. Galer&iacute;a Siboney. Santander. Espa&ntilde;a.&nbsp;Her work is in the permanent collections of Colecci&oacute;n Caja Madrid. Coleccion Norte, Consejeria de Cultura Gobierno de Cantabria. Museo de Bellas Artes de Santander. Museo de Pamplona, Navarra. Simon de Pury Colection.</p> Thu, 16 Jun 2016 19:09:21 +0000 - New Museum - July 28th 12:00 PM - 5:00 PM <p style="text-align: justify;"><a href="" target="_blank">NEW&nbsp;INC</a>, the New Museum&rsquo;s incubator for art, design, and technology, is a testing ground for new ideas. It brings together forward-thinking artists, fashion designers, musicians, virtual reality filmmakers, product designers, software developers, architects, and more to develop creative projects and businesses that respond to our present moment and point the way toward the future. A collaborative, interdisciplinary program for individual practitioners and new businesses alike,&nbsp;NEW&nbsp;INC&nbsp;incubates the growth and development of projects that blur the line between culture and commerce.</p> <p style="text-align: justify;">Public Beta,&nbsp;NEW&nbsp;INC&rsquo;s second annual end-of-year showcase, takes its name from the world of rapid prototyping in software development and is inspired by the tech mantra &ldquo;release early, release often&rdquo;&mdash;a strategy for getting real-world, real-time feedback on nascent products. Often, these products are raw and unfinished, and it is only through public input and interaction that they can progress and move forward.</p> <p style="text-align: justify;">Over the course of twelve months,&nbsp;NEW&nbsp;INC&nbsp;members work to develop their projects and businesses in the private, shared workspace at 231 Bowery. Public Beta offers an opportunity for members to present their work to the broader public, stress test works in progress, gain input from audiences, and engage with new viewers and potential customers. This lab-like environment is a space for beta testing new products, virtual reality experiences, installations, and performances, and offers audiences a glimpse at what has been incubating at&nbsp;NEW&nbsp;INC&nbsp;this past year.<br /><br /></p> <h3 style="text-align: justify;">PROGRAM&nbsp;<br /><br /></h3> <p style="text-align: justify;"><strong>Part 1: July 28&ndash;31, 12&ndash;5 PM</strong></p> <p style="text-align: justify;"><strong>THE&nbsp;CRITICAL&nbsp;MARKETPLACE</strong><br />From subtly critical gestures to objects enabled by new design and manufacturing processes, the products on display in the Critical Marketplace demonstrate how artists and designers are using the market to test and spread their ideas about the world.</p> <p style="text-align: justify;">Featuring: bhold, Michelle Cherian, Telfar Clemens, Patrick Delorey, exonemo, HE+HU, Luisa Pereira, and Pinkhouse</p> <p style="text-align: justify;"><strong>VIRTUALITIES</strong><br />The artists, filmmakers, designers, and storytellers whose work is presented in the Virtualities section exploit virtual reality&rsquo;s ability to immerse viewers in a different world&mdash;instantly transporting them to far-flung places. Some of the locales depicted here include: the electric streets of Dakar, Senegal; a terrifying war zone; the quiet depths of outer space; and strange and surreal environments of the creator&rsquo;s own devising.</p> <p style="text-align: justify;">Featuring: Carbon Pictures,&nbsp;HYPER.ZONE, Eliza McNitt, Rachel Rossin, Charles Sainty, Sensorium Works, and Stocktown Films</p> Wed, 27 Jul 2016 11:35:29 +0000 Group Show - Phoenix Gallery - July 28th 6:00 PM - 8:00 PM Fri, 08 Jul 2016 17:45:29 +0000 Taylor Renee Aldridge, Jessica Bell Brown, Kimberly Drew, Jessica Lynne - Recess Activities, Inc. - July 28th 6:00 PM - 8:00 PM <p><strong>Recess Presents</strong></p> <p><strong>Taylor Renee Aldridge, Jessica Bell Brown,</strong></p> <p><strong>Kimberly Drew, and Jessica Lynne:</strong></p> <p><strong>The Black Art Incubator &nbsp; &nbsp;</strong></p> <p><strong> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</strong></p> <p><strong>Events:</strong></p> <p>Lauren Halsey &amp; Antwaun Sargent In Conversation:&nbsp;July 16, 12pm<br /> Art + Money:&nbsp;July 19, 20, 21,&nbsp;August 11<br /> Office Hours&nbsp;(registration required):&nbsp;July 23,&nbsp;August 3, 11<br /> Archive:&nbsp;July 26, 28<br /> Open Crits&nbsp;(registration required):&nbsp;July 27,&nbsp;August 10, 17<br /> Book Swap and Reception:&nbsp;July 28,&nbsp;6-8pm&nbsp;</p> <p>On July 14, Taylor Renee Aldridge, Jessica Bell Brown, Kimberly Drew, and Jessica Lynne will launch <em>The Black Art Incubator</em>&mdash;a project that will use Recess&rsquo;s storefront space as a hub for public programming and the dissemination of resources for artists and arts professionals.</p> <p><em>The Black Art Incubator</em> is a social sculpture designed to create an intervention in the &ldquo;art world&rdquo; through a series of public events that bring together artists, curators, community members, critics, and scholars. Using collaboration and public engagement as guiding methodologies, <em>The Black Art Incubator</em> will seek to provoke new understandings of the myriad sectors that comprise the contemporary art world.</p> <p>Modeling itself after an incubator, the project will offer a range of artist-led conversations, critical dialogues, panels, and teach-ins devoted to fostering discourse about community, history, and collaborative cultural production. Visitors will be invited to participate in and contribute to weekly programs including workshops on archives, conversations about art &amp; money, office hours with leaders in the field, and open critique sessions for selected artists; more details about individual events will be available online. Notes, images, and other traces of these programs will accrue in the space, transforming Recess into a spatialized working document.</p> <p>By developing a vibrant and accessible site and an accompanying set of programs, <em>The Black Art Incubator </em>will give specific form to an art world community&mdash;one that is united by a collective, process-based practice of self-care, knowledge-sharing, and discursive exchange.</p> Thu, 14 Jul 2016 23:39:05 +0000 Sadie Benning - Callicoon Fine Arts Delancey Street - July 29th 6:00 PM - 8:00 PM <p style="text-align: justify;">Callicoon Fine Arts is very pleased to present&nbsp;<em>Green God</em>&nbsp;an exhibition by&nbsp;<strong>Sadie Benning</strong>, in collaboration with Mary Boone Gallery where the show continues at 745 5th Ave curated by Piper Marshall.&nbsp;&nbsp;</p> <p style="text-align: justify;">In&nbsp;<em>Green God</em>, as in previous exhibitions by Benning, themes are built upon associations between form and content. The works incorporate aspects of painting, sculpture and photography.&nbsp; The artist shifts between mediums as a way of confronting the artificiality of the distinctions between them while also exploring the relationships inherent in the seemingly disparate parts.&nbsp;&nbsp;</p> <p style="text-align: justify;">The multiple significations of color, specifically green (as nature, as a color of money, as symbol of greed and envy), are grounded both within the materiality of the works and in their attendant conceptual concerns. Since green can hold contradictory significations, it parallels the contradictions that are inherent in belief systems, opposite forces that ultimately uphold power. But the exhibition attempts a way out of this trap by simply pointing at the problem, and inserting it into the open and divided experiential field of the exhibition.&nbsp;&nbsp;</p> <p style="text-align: justify;">Painting itself occupies the place of the fetish in&nbsp;<em>Airplane Painting</em>. A series of five hand-painted abstractions, intimately scaled &ldquo;real&rdquo; paintings on panels, are inserted into the larger jigsawed work representing an equal number of somewhat uniform airplane shapes in black, moving across the large white negative ground. Each "real" painting is carried on the wing of a plane, animating the mechanical modes of distribution. The method of insertion is taken a step further at Mary Boone Gallery where devotional objects and photographs are incorporated into the compositions, blurring the distinction between what is molded and what is handmade.&nbsp;</p> <p style="text-align: justify;">The small &ldquo;real&rdquo; paintings and found objects play on the meaning of the fetish as both a place-holder for the true object of desire and the commodity as product of human labor. To point to the psychological and manual activities that ascribe power to the fetish as such is to undo its power of symbolization and mystification. One peg that holds together the system of belief is removed.&nbsp;&nbsp;</p> <p style="text-align: justify;">Hanging next to&nbsp;<em>Airplane Painting</em>&nbsp;is&nbsp;<em>The Crucifixion</em>, an image of a female figure where a male figure would be expected to be seen. The works cutout technique results in a highly graphic format that lends itself easily to the making of graphical symbols. In this case, Benning adopts the gendered bathroom graphic indicating &ldquo;women&rdquo; to the iconography of the crucifixion. The crucified woman appears pregnant, or the pronounced baby bump may be her butt protruding as she twists on the cross.&nbsp;&nbsp;</p> <p style="text-align: justify;">Male or female, baby bump or butt: these are bodily orientations taken for facts held firm within culture, but that are repositioned in Benning&rsquo;s works as matters of perception. A privileged order is upended. A painting titled&nbsp;<em>Nature</em>&nbsp;in this room highlights the perceptual dependency by appearing to be an abstraction, a kind of swirl of natural forms that may resolve, for some viewers, into an image of a wolf or a dog attacking. The red areas may be fallen leaves or pools of blood; the white dabs of light on the forest floor could be fragments of a face.&nbsp;&nbsp;</p> <p style="text-align: justify;">Perception takes on the authority of belief in a large artwork titled&nbsp;<em>Crowd</em>. The entirety of this ambitious work is comprised of hundreds of cut-out components painted white with an aura of reptilian neon greens and pinks that cast their iridescent hues from the in-between spaces or shadows of the artwork, destabilizing ideas of whiteness as pure or natural. Drawn from an image of an audience at a rock concert, people gathered shoulder to shoulder but absent any details, the many shapes could also represent tombstones, ghosts or phantom followers.&nbsp;&nbsp;</p> <p style="text-align: justify;">Through color and line, Benning links&nbsp;<em>Crowd</em>&nbsp;to a work in the rear gallery titled&nbsp;<em>Mic</em>&nbsp;which depicts a person whose face is obscured by long shaggy hair as they approach a microphone, taking agency in the moment, offering testimony, about to give voice. The work is grouped in the room with two other works,&nbsp;<em>Guts</em>&nbsp;and&nbsp;<em>Sunset</em>. The bodily site is therefore associated with cycles of time and becoming, offering instinct and feeling as an antidote to the notion of a fixed god.<br /><br /><strong>Sadie Benning</strong>&nbsp;was born in&nbsp;Madison, Wisconsin&nbsp;in 1973 and currently lives in Brooklyn, NY.&nbsp; Benning&rsquo;s work has been exhibited internationally since 1990 and is in many permanent collections, including those of the Museum of Modern Art, The Centre Pompidou, The Whitney Museum of American Art, The Museum of Contemporary Art Los Angeles, The Hammer&nbsp;Museum, The Fogg Art Museum, and The Walker Art Center. Recently Benning&rsquo;s work was including in&nbsp;<em>Greater New York</em>, MoMA PS1,&nbsp;<em>Painting 2.0: Expression in the Information Age</em>, Museum Brandhorst, Munich and MuMOK, Vienna,&nbsp;<em>The Carnegie International</em>, Carnegie Museum of Art,&nbsp;and&nbsp;<em>Tell It To My Heart: Collected by Julie Ault</em>, Kunstmuseum Basel and Artists Space. Benning's work has also been included in&nbsp;<em>Annual Report: 7th Gwangju Biennale</em>;&nbsp;<em>Whitney Biennial</em>&nbsp;(2000 and 1993);&nbsp;<em>American Century</em>, Whitney Museum; and the&nbsp;<em>Venice Biennale</em>&nbsp;(1993). Solo exhibitions include Callicoon Fine Arts, Susanne Vielmetter Projects Los Angeles, Participant, INC., Wexner Center for the Arts, Orchard Gallery, Dia: Chelsea and The Power Plant.</p> Fri, 20 May 2016 11:19:05 +0000 László Moholy-Nagy - Solomon R. Guggenheim Museum - July 29th 12:00 PM - 1:00 PM <p class="p1">Gallery tour of Moholy-Nagy: Future Present led by Julie Barten, Senior Conservator, Collections and Exhibitions, Solomon R. Guggenheim Museum.</p> <p class="p1">For more information, visit <a href="" rel="nofollow"></a></p> Wed, 15 Jun 2016 19:22:10 +0000 Jens Schmohl, Judith Pearlman, Viking Eggeling, Hans Richter, Schroeter and Berger, Graham Ellard and Stephen Johnstone, Jan Tichy, William Cameron Menzies, László Moholy-Nagy - Solomon R. Guggenheim Museum - July 29th 11:00 AM - 5:45 PM <p>Fridays&ndash;Saturdays, June 3&ndash;August 26, 11 am&ndash;5:45 pm</p> <p>This film program includes documentaries about L&aacute;szl&oacute; Moholy-Nagy and the Bauhaus, selections of abstract cinema, works by contemporary filmmakers inspired by the artist, and William Cameron Menzies&rsquo;s 1936 classic <em>Things to Come</em>, for which Moholy-Nagy was commissioned to make special effects.</p> <p>&nbsp;</p> <p>11 am: Moholy-Nagy</p> <p><em>L&aacute;szl&oacute; Moholy-Nagy: Permanent Experiment</em>, Jens Schmohl, 1998; 60 min</p> <p>&nbsp;</p> <p>12 pm: The Bauhaus</p> <p><em>Bauhaus in America</em>, Judith Pearlman, 1995; 85 min</p> <p><em>The Triadic Ballet: A Film in Three Parts Base on the Dances by Oskar Schlemmer</em>, Bavaria Film GmbH, 1970; 31 min</p> <p>&nbsp;</p> <p>2 pm: Abstract Film and The Dynamic of the Metropolis</p> <p><em>Diagonal Symphony</em>, Viking Eggeling, 1924; 7 min</p> <p><em>Film Study</em>, Hans Richter, 1926; 4 min</p> <p><em>Dynamic of the Big City</em>, Berlin University of the Arts, 2005-06; 7 min</p> <p><em>Dynamic of the Metropolis</em>, Schroeter and Berger, 2006; 20 min</p> <p>&nbsp;</p> <p>2:40 pm: Things to Come</p> <p><em>Things to Come</em>, Graham Ellard and Stephen Johnstone, 2011; 6 min</p> <p><em>Things to Come 1936&ndash;2012</em>, Jan Tichy, 2012; 5 1/2 min</p> <p>H. G. Wells&rsquo; <em>Things to Come</em>, William Cameron Menzies, 1936; 97 min</p> <p>&nbsp;</p> <p>For more information, visit <a href=";%20Video%20Screenings%22%5d%7d" rel="nofollow"></a> (lineup and schedule subject to change).</p> Wed, 15 Jun 2016 19:41:53 +0000 Teiji Furuhashi - MoMA (Museum of Modern Art) - July 30th 10:30 AM - 5:30 PM <p style="text-align: justify;"><em>Lovers</em>&nbsp;is an immersive, room-sized multimedia installation by Japanese artist Teiji Furuhashi (1960&ndash;1995). Life-sized images of the artist and other fellow members of the Kyoto-based artist collective Dumb Type are projected onto the walls of a darkened room from a tower of computer-controlled video and slide projectors at its center. The figures move like specters around the perimeter of the space, in a looped choreographic sequence made variable by a visitor-activated motion sensor, which intervenes to restart one of the projections when triggered. Confined to their autonomous projections, these eponymous &ldquo;lovers&rdquo; overlap at moments within the sequence, whether running past each other or pausing in a gesture of embrace, yet their bodies never make contact. Made just one year before Furuhashi&rsquo;s death from AIDS-related illness,<em>Lovers</em>&nbsp;speaks to what the artist has described as &ldquo;the theme of contemporary love in an ultra-romantic way.&rdquo; Presented for the first time since its inaugural exhibition at MoMA in 1995, the installation showcases the results of an extensive conservation effort recently completed by the Museum&rsquo;s media conservators.</p> <div class="calendar-credits"> <p style="text-align: justify;">The installation is organized by Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1; Rajendra Roy, The Celeste Bartos Chief Curator of Film, MoMA; and Cara Manes, Assistant Curator, Department of Painting and Sculpture, MoMA.</p> <img src="" alt="" /> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> </div> Sun, 26 Jun 2016 17:38:25 +0000 Steven Bernstein and the Millennial Territory Orchestra - Edward Hopper House Art Center - August 1st 8:00 PM - 10:00 PM <p>A fusion of classic jazz and comic film for the family!&nbsp; The spirit of the 1920s shines through in the witty arrangements of Steve Bernstein&rsquo;s versatile nine-piece New York based MTO as they play scores to 3 side-splitting Laurel and Hardy films.&nbsp;&nbsp;</p> <p>Please bring lawn chair. $35 general ticket price; $20 Hopper House members and students; free for 10 years and under.&nbsp;&nbsp;</p> Sun, 26 Jun 2016 16:50:27 +0000 Frank Gimpaya - Bronx Museum of the Arts - August 3rd 5:30 PM - 7:30 PM <p style="text-align: justify;">Hop off <strong>The Bronx Trolley: First Wednesdays Arts &amp; Culture Tour at the Bronx Museum </strong>for a free guided tour with photographer Frank Gimpaya of the exhibition<em>&nbsp;<a href="" target="_blank">En Foco Presents, Mask: Photography by Frank Gimpaya</a></em>, which is currently on view.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Location: North Wing Lobby &amp; Galleries</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">WHAT IS THE BRONX TROLLEY?</p> <p style="text-align: justify;"><strong>The Bronx Trolley</strong> is a project of the South Bronx Cultural Corridor.&nbsp; Making a cultural loop through the lower Grand Concourse and in other sections of the Bronx, it provides an innovative way to travel free while giving Bronxites and tourists alike the opportunity to sample several of the area&rsquo;s hottest cultural attractions, dining establishments and entertainment venues.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">WHERE DO YOU PICK UP THE TROLLEY?</p> <p style="text-align: justify;"><strong>First Wednesdays Trolley</strong> begins at 5:00pm at the Longwood Art Gallery @ Hostos which is located at Hostos Community College, 450 Grand Concourse &amp; 149th Street (easily accessible by the 2, 4 &amp; 5 trains and the BX1 &amp; BX19 buses). The trolley departs from Hostos at 5:30pm, 6:30pm and 7:30pm, making a cultural loop through the lower Grand Concourse, dropping off riders at their selected stops and picking them up at the next go-around.</p> Sun, 03 Jul 2016 08:17:04 +0000 Jordan Broadworth - Galerie Richard - August 3rd 6:00 PM - 8:00 PM Sun, 03 Jul 2016 09:21:50 +0000 Sirikul Pattachote, Tawan Wattuya - The Lodge Gallery - August 3rd 7:00 PM - 9:00 PM <h2 class="title entry-title"><a title="A Peculiar Nature" href="" rel="nofollow">A Peculiar Nature</a></h2> <p class="p1"><strong>Sirikul Pattachote &amp; Tawan Wattuya</strong></p> <p class="p1">August 3rd, 2016 &ndash; September 4th, 2016<br /><strong>Opening Reception, Wednesday, August 3rd, 7pm-9pm</strong></p> <p class="p1"><strong>&nbsp;</strong></p> <p class="p1">The Lodge Gallery is pleased to present&nbsp;<em>A Peculiar Nature</em>, a two-person exhibition of works on paper by Sirikul Pattachote and Tawan Wattuya. The show,&nbsp;Tawan Wattuya&rsquo;s first major exhibition in New York and Sirikul Pattachote&rsquo;s second featured show with The Lodge Gallery,&nbsp;is on view from August 3 through September 4, 2016</p> <p class="p1">Wattuya explores humankind&rsquo;s basest behaviors and instincts through his bold depictions of dogs, pigs, and wild animals. Pattachote examines our more&nbsp;intimate moments, feelings, and relationships within her&nbsp;personified portraits of flowers. Shown together, the works offer starkly contrasting reflections of ourselves, the dichotomies of humanness. Raw versus refined, ferocity versus civility, instinct-driven versus meditative, the works traverse our inner divide.</p> <p class="p1"><strong><br />Tawan Wattuya&nbsp;</strong>is a Thailand-born, Bangkok-based artist known for his unique approach to watercolor and thought-provoking subject matter. Wattuya&rsquo;s choice of watercolor as a medium is a deliberate attempt to convey the speed, dynamism, and&nbsp;complex contrasts&nbsp;of contemporary society. His works have been exhibited extensively in Bangkok, Singapore, Beijing, Paris, Tokyo, Brisbane, and Brussels.&nbsp;Wattuya&nbsp;earned his BFA from Silipakorn University of Art and Design (Bangkok).</p> <p class="p1"><strong>Sirikul Pattachote&nbsp;</strong>is a Thailand-born New York artist and earned her BFA from Silipakorn University of Art and Design (Bangkok). Her artwork is inspired by nature, where she draws upon memories and the experiences of her surroundings in everyday life. The ephemeral quality of life and matter is a central theme in her work. Through her paintings, she attempts to record and preserve certain memories and impressions that highlight the potential good that lies in everyone and everything.</p> <p class="p1"><strong>The Lodge Gallery</strong>, founded by Keith Schweitzer and Jason Patrick Voegele, is located at 131 Chrystie Street on Manhattan&rsquo;s Lower East Side. It is the exhibition venue of Republic Worldwide and serves as both an art space and a gathering place for hearty discourse and experimentation.&nbsp;</p> <p class="p1"><strong>&nbsp;</strong></p> Thu, 14 Jul 2016 19:08:29 +0000 - Bowery Gallery - August 4th 5:00 PM - 8:00 PM <p style="text-align: justify;">Every year The Bowery Gallery Annual Juried Competition is open to all applicants working in two-dimensional media. Past jurors have included prominent artists such as William Bailey, Rackstraw Downes, Paul Resika and Joan Snyder, and eminent critics like Jed Perl, David Cohen, and Stephan Westfall.</p> <p style="text-align: justify;">Our juror this year was Martica Sawin, Art historian and critic Martica Sawin has spent a half century covering contemporary art in print and in the classroom. She has written more than 100 essays on contemporary artists for exhibition catalogues and art magazines and has authored a number of monographs on artists including Wolf Kahn, Nell Blaine, and Yves Tanguy.</p> Sun, 24 Jul 2016 06:38:18 +0000 Naomi Campbell - International Studio & Curatorial Program (ISCP) - August 4th 6:00 PM - 8:00 PM <p>The International Studio &amp; Curatorial Program is pleased to announce the opening of&nbsp;The Consonant of Noise, by Naomi Campbell,&nbsp;an exhibition in ISCP&rsquo;s first floor Project Space.</p> <p>Naomi Campbell investigates issues pertaining to science and nature through her interdisciplinary practice, employing a wide variety of techniques and mediums including glass, x-rays, metal, ink, and even corn to compose sculptures, drawings, paintings, and mixed media installations. For&nbsp;The Consonant of Noise, she creates a braille pattern of corn kernels running across the gallery walls, and a sculptural installation on the floor, alluding to the global food crisis in which corn is paramount. As in the allegory of Plato&rsquo;s Cave, she suggests how blind we are to reality, in this case, to the effects of the global food economy and genetic engineering on the world&rsquo;s food supplies. Campbell&rsquo;s visually compelling narrative combines art and science, highlighting her concerns about agricultural and humanitarian subjects.</p> <div class="description"> <p>Naomi Campbell (born Montreal) is a graduate of Champlain College, Quebec, Canada; Art Student&rsquo;s League of New York; and studied at School of Visual Arts, New York, New York. Campbell has exhibited work at institutions throughout the world including: The Center for Contemporary Art, Bedminster Township, New Jersey; MUSE Center for Photography and the Moving Image, New York, New York; Tokyo Metropolitan Museum of Art, Japan; Museum of Fine Arts, Split, Croatia; Asian Contemporary Art Fair, New York, New York; and Denise Bibro Fine Arts, New York, New York. Her work is in permanent collections including: MTA Arts for Transit, New York; The New York Public Library; Geochang County, South Korea; City of Irving, Texas. Naomi Campbell has contributed to&nbsp;American Artist, Artscape, and&nbsp;Linea Art Journal. She has been an instructor at the Art Students League of New York since 2007, where she teaches contemporary watercolor. Naomi Campbell lives and works in Brooklyn, New York.</p> <p>The opening reception and ongoing exhibition is FREE and open to the public.&nbsp;</p> <p>This exhibition is coordinated by Alexandra Friedman, Program Coordinator, ISCP.</p> </div> <div class="contributors">This program is supported, in part, by New York City Department of Cultural Affairs in partnership with the City Council.</div> <div class="contributors">&nbsp;</div> <div class="contributors">For more information visit our website&nbsp;</div> <p>&nbsp;</p> Tue, 26 Jul 2016 17:01:27 +0000