ArtSlant - Openings & events en-us 40 Fanny Allié, Jessica Bottalico, Melissa Murray, Rose Nestler, Anna Shukeylo, Jane Swavely - Causey Contemporary - February 5th 6:00 PM - 8:00 PM <p>he Weight We Hold curated by Melissa Murray at Causey Contemporary investigates artists needs to amass, deconstruct and reassemble experiences</p> <p>&nbsp;</p> <p>New York, NY January, 2015; The Weight We Hold is a group show featuring the work of Fanny Alli&eacute;, Jessica Bottalico, Melissa Murray, Rose Nestler ,Anna Shukeylo, and Jane Swavely, curated by Melissa Murray. It opens at Causey Contemporary&rsquo;s lower east side location, 29 Orchard St. in New York, NY on February 5 and runs through March 6, 2016.&nbsp; The public is invited to attend an artists&rsquo; reception on February 5th from 6 - 8 pm.</p> <p>&nbsp;</p> <p>The exhibition is an investigation into the artists need to amass, deconstruct and reassemble a collection of experiences through a stationary means of expression. In the act of remembrance they respectively compile elements of once living presences, past dwellings, objects, textiles and&nbsp; moments in abstract thought. Alli&eacute;, Bottalico, Murray, Nestler, Shukeylo, and Swavely all currently working in New York City, bring their diverse backgrounds together to create a menagerie of varied past experiences.&nbsp;</p> <p>&nbsp;</p> <p>In Fanny Alli&eacute;&rsquo;s work, she uses fragments of images taken from the daily news, snippets of persistent personal memories or simple observations of her surroundings. Using paper, cardboard, plastic and wood she presents a narrative that solidly connects humans to each other. Jessica Bottalico&rsquo;s paintings are a collision of pattern and light inspired by her own domestic space. Extracted from memory and reimagined on canvas, these paintings aim to examine the tensions that make up these interiors. Melissa Murray&rsquo;s work focuses on the abstract remembrance of moments past. In her large paintings on paper she collages multiple environments, collected items of sentimental significance and bold colors highlighting moments of heightened importance. Through the use of draped fabric paper or clay, Rose Nestler creates sculptures that explore time, gravity, motion and narrative. The formal qualities of each of these mediums enables her to illustrate gravity and motion, although firing the clay and hardening the fabric fixes the movement and suspends gravity in each piece. Anna Shukeylo&rsquo;s paintings represent a deconstructed space dealing with pattern and the human presence in remembered interiors. The subject represents a moment in time where a familiar domestic space and it&rsquo;s inhabitants are in the process of being forgotten, enlaced with information based on patterns, contours and exaggerated colors. Jane Swavely&rsquo;s paintings are intensely personal interpretations of landscape and memory. The paintings use formal abstraction to deconstruct the landscape through light and vivid color.</p> <p>&nbsp;</p> <p>Fanny Alli&eacute; was born in 1981 in Montpellier, South of France. She graduated from the Ecole Nationale Sup&eacute;rieure de la Photographie (The National School of Photography) in Arles, France in 2005 and moved to New York City shortly after graduating.</p> <p>She was a selected artist for the program, Artist in the Marketplace (AIM) at the Bronx Museum of the Arts during 2006-07. A.I.R Gallery, New York City Department of Parks &amp; Recreation, Roger Smith Arts Space, Chashama, Eye Level BQE and St Eustache Church in Paris, France have organized solo exhibitions of her work. Freight + Volume Gallery, BRIC Rotunda Gallery, FIGMENT, Dekalb Gallery/Pratt Institute, The Bronx Museum and Snug Harbor among others have featured her work in group exhibitions.Her work has appeared in the New York Times, NY Magazine, Brooklyn Magazine, Hyperallergic, Le Monde Diplomatique, DNA Info, Marie Claire Italy and Arts in Bushwick.Her public bench &ldquo;A Bench for the night&rdquo;, both a sculpture and a functional bench, is currently on view in front of MOMA PS1 until May 1st, 2016.<br />Fanny has been awarded the 2015-16 AIR Gallery fellowship.&nbsp; Fanny lives and works in Brooklyn, NY.</p> <p>&nbsp;</p> <p>Jessica Bottalico is a painter living in Queens and working in Brooklyn, NY. Jessica Bottalico completed her BFA at Maryland Institute College of &nbsp;Art and MFA in Painting at Rutgers University. Recent exhibitions include Bronx Community College, Zurcher Gallery, Vanity Projects, Proto Gallery, Projekt722, Abrons Arts Center, and Leidy and Riggs Gallery. She has completed Residencies with the Vermont Studio Center, and the Alfred and Trafford Klots International Program for Artists in Lehon, France.&nbsp;When she&rsquo;s not painting in her studio, she teaches art to NYC kids.</p> <p>&nbsp;</p> Thu, 07 Jan 2016 17:52:26 +0000 - Edward Hopper House Art Center - February 5th 7:00 PM - 8:00 PM <p>Nyack native Joseph Cornell (1903-1972) was a pioneering figure in the art of assemblage, renowned for his unique surrealist-inspired shadow boxes. This talk will provide an intimate look at Cornell&rsquo;s life and work, from his early years in Nyack to his mature period in Queens, NY, where the most famed poets, writers, musicians and artists of the day visited him.&nbsp; In depth discussion and extensive visuals will address the pivotal events that helped shape this iconic artist&rsquo;s vision.&nbsp; <strong>Free for members, suggested donation of $5 for nonmembers.</strong></p> Sat, 12 Dec 2015 21:01:27 +0000 Casey Ruble - Foley Gallery - February 5th 6:00 PM - 8:00 PM <p style="text-align: justify;">Foley Gallery is very pleased to present Casey Ruble&rsquo;s third solo exhibition, <em>Everything That Rises</em>.</p> <p style="text-align: justify;">The title of this show is taken from Flannery O&rsquo;Connor&rsquo;s &ldquo;Everything That Rises Must Converge,&rdquo; a 1965 short story about an altercation between a white woman and a black woman riding a bus in the South shortly after the desegregation of the public transportation system.</p> <p style="text-align: justify;"><del cite="mailto:Casey%20Ruble" datetime="2015-11-10T12:13"></del>A series of small-scale paper collages, <em>Everything That Rises</em>&nbsp;depicts two types of sites in the artist's adopted home state of New Jersey:&nbsp;former safe houses on the Underground Railroad and locations of Civil Rights Era<del cite="mailto:Casey%20Ruble" datetime="2015-11-10T12:14"></del><ins cite="mailto:Casey%20Ruble" datetime="2015-11-10T12:14"></ins>&nbsp;riots. Today these places are hair salons, empty fields, boutique shops&nbsp;abandoned buildings&mdash;the kinds of places one drives by without noticing. After conducting extensive research, Ruble visits and photographs the sites, translating the photographs into paper collage. About the meaning of rebellion,&nbsp;place, and change, the pieces in this series speak to the ways we remember&mdash;and forget&mdash;the charged events of our country's history of race relations.&nbsp;</p> <p style="text-align: justify;">Casey Ruble brings potency to seemingly&nbsp;innocuous subjects and empty fields of color through&nbsp;her tonal subtlety and attention to the&nbsp;intimate details of the scenes she depicts. Quotidien interiors&nbsp;and streets read&nbsp;almost cinematically, producing&nbsp;moments both&nbsp;of tension and&nbsp;of quietness. Her configuration of space through play of detail and absence is reminiscent of the sites&nbsp;she investigates&nbsp;historic places that were once marked by&nbsp;struggle and racial rift but that&nbsp;now live&nbsp;in memories and quiet details.</p> <p style="text-align: justify;">The gallery's front windows feature <em>Gravity Anomaly</em>, an acrylic and vinyl wall piece that maps a scientific penomenon in which different parts of the earth experience different gravitational force. Areas rendered in warmer hues on the map are under greater gravitaional pull; areas in cooler hues have less. Laid over these contours are the locations depicted in Rubles collages; curiously, these sites of resistance cluster in areas of greater gravitational force.</p> <p style="text-align: justify;">Casey Ruble completed her undergraduate studies at Smith College in 1995, and in 2002 received an MFA from Hunter College.&nbsp; Her work has been included in group exhibitions throughout the country as well as abroad.&nbsp; Ruble has taught&nbsp;painting and drawing at Fordham University since 2001.&nbsp; She presently lives in New Jersey.</p> Sun, 24 Jan 2016 12:01:40 +0000 Ana Mendieta - Galerie Lelong - February 5th 6:00 PM - 8:00 PM <div id="exhibitionPressRelease"> <p style="text-align: justify;">Ana Mendieta: <em>Experimental and Interactive Films</em> is the first full-scale gallery exhibition dedicated to Mendieta&rsquo;s filmworks in New York. Revealing aspects of Mendieta&rsquo;s practice that are not as widely known as her ritualistic investigations of body and landscape, the exhibition demonstrates Mendieta&rsquo;s technical innovations and her singular approach to the medium. The fifteen filmworks comprising the exhibition&mdash;nine of which have never been seen before&mdash;are newly transferred from their original media to digital formats. These transfers reveal detail and a vibrancy of color and contrast, while preserving these critical works for future generations.</p> <p style="text-align: justify;">Though Mendieta was a prolific filmmaker, creating more than 100 films in her short lifetime, this aspect of her oeuvre has not been studied independently from her broader interdisciplinary practice. A number of unknown films were recently discovered when the Estate of Ana Mendieta Collection, in conjunction with Galerie Lelong, catalogued and preserved the artist&rsquo;s films. Among the newly uncovered works is Mendieta&rsquo;s first film, <em>Untitled</em>, circa 1971, made when she was a 22-year-old student at the University of Iowa. Even in her earliest work, Mendieta explored the possibilities intrinsic to the medium of film, incorporating scratches made directly onto the emulsion of celluloid film.</p> <p style="text-align: justify;">Other innovations in filmmaking include the use of a Cinefluorography unit, typically used for diagnostic and research purposes, to create an X-ray film that depicts the interior motion of her skull. <em>X-ray</em>, circa 1975, is the only film on view that includes sound. In <em>Butterfly</em>, 1975, Mendieta incorporated a 16-channel video processor to add a high-contrast, polarized graphic-effect to images of herself with what appear to be feathered wings.</p> <p style="text-align: justify;">Mendieta&rsquo;s interactive filmworks turn the camera onto urban settings, capturing passersby and vendors in Mexico City and a commonplace street in Iowa. In <em>Moffitt Building Piece</em>, 1973, made soon after a fellow student was raped and murdered on the University of Iowa campus, the artist poured blood and viscera onto a nondescript sidewalk and filmed pedestrians&rsquo; reactions to it.</p> <p style="text-align: justify;">In the early 1970s, Mendieta turned her camera onto her art students at Henry Sabin Elementary School in Iowa City, filming their actions in response to her instructions. Mendieta contextualized her movement investigations at the school writing, &ldquo;Time passing and change are undeniable aspects of the world around us. For the artists of our day, time has an increasingly higher dignity. Often artistic creation results in the production of art objects. However, when a concern for time is primary, an experience not an object may result.&rdquo;</p> <p style="text-align: justify;">In addition to large-scale projections, the exhibition also includes videos, archival material, and one of Mendieta&rsquo;s rare sound-based works, <em>Untitled (Soul)</em>, circa 1973. This sound piece, also created with students at Henry Sabin Elementary School, includes recordings of their thoughtful and amusing perceptions on the soul.</p> <p style="text-align: justify;">The exhibition at Galerie Lelong is concurrent with the artist&rsquo;s largest exhibition of films in the U.S., <em>Covered in Time and History: The Films of Ana Mendieta</em>, organized by the Nash Gallery, University of Minnesota. <em>Covered in Time and History</em> is accompanied by a detailed publication and will travel to the NSU Art Museum Fort Lauderdale from February 28 - July 3, 2016.</p> <p style="text-align: justify;">Ana Mendieta: <em>Experimental and Interactive Films</em> is the artist&rsquo;s tenth solo exhibition at Galerie Lelong, which has represented the Estate of Ana Mendieta since 1991. Mendieta has had over 30 solo exhibitions worldwide, at museums including the Centro Galego de Arte Contemporanea, Santiago de Compostela; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Kunstmuseum Luzern; Whitney Museum of American Art, New York; and Museo Tamayo, Mexico City. In the last two years Mendieta had her first U.K. retrospective, <em>Ana Mendieta: Traces</em>, at the Hayward Gallery, London, and a large-scale retrospective at the Castello di Rivoli, Turin, <em>Ana Mendieta: She Got Love</em>.</p> </div> Sun, 24 Jan 2016 12:24:52 +0000 Fred Tomaselli - James Cohan Gallery - February 5th 6:00 PM - 8:00 PM <div style="text-align: justify;">James Cohan is pleased to announce an exhibition by Fred Tomaselli entitled <em>Early Work or How I Became a Painter</em>, the artist&rsquo;s fifth solo presentation at the gallery, opening at our Chelsea location on Friday, February 5 from 6 &ndash; 8 PM, and remaining on view through Saturday, March 19, 2016. The exhibition features two immersive and four interactive artworks made between 1984 and 1990 and a group of mixed-media paintings and works on paper from the 1990s. &nbsp; Many of these works have not been shown in New York since the 1990s, and in some cases, not since the 1980s.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">According to Tomaselli, something unexpected happened soon after graduating from Cal State Fullerton with a degree in painting and drawing: he had a crisis of faith. Racked with doubt about the relevance of the medium and troubled by its commodity status, he decided to quit painting altogether. After moving to downtown Los Angeles in 1982, Tomaselli began creating performative installations, a direction he continued after moving to Brooklyn in 1985. These immersive environments, made of low-cost, commercially available products, were created to deliver an escapist experience to the viewer while simultaneously commenting on the mechanics of that experience.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The earliest installation included in this exhibition is <em>Current Theory</em> (1984). Tomaselli describes building &ldquo;an ocean of Styrofoam cups, with each cup tethered to the floor by a foot-long piece of thread. &nbsp;I aimed electric fans at the cups, which blew back and forth in small, pendulous arcs...It was one of my first forays in the idea of art as immersive reality.&rdquo; &nbsp;An acknowledged influence of the California Light and Space movement is evident in this homespun work, as well as in other works on view such as <em>Geology Lesson </em>(1986), a viewer-activated contraption comprised of a grid of speakers, kitty litter, and a San Pedro cactus; and <em>Cubic Sky</em> (1988), an installation of suspended cubes depicting the night sky, which Tomaselli describes as a &ldquo;winking attempt to containerize the universe.&rdquo;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Despite having left painting behind in the previous decade, the processes of assemblage and accumulation in his installations eventually brought Tomaselli back to his two-dimensional roots. By 1990, he had built the foundation for the resin-based works for which he is most well-known, using pharmaceuticals and hemp leaves to form the underlying abstract compositions. This exhibition traces the development of Tomaselli's earliest attempts at shifting levels of consciousness first with installation works - which are experienced with the whole body - followed by the two-dimensional resin works - which are experienced visually. The embedded drugs no longer reach the brain through the bloodstream and must take a different route to altering perception. Instead, they travel to the brain through the eyes.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">An earlier version of this exhibition was organized by Mike McGee at the Nicholas and Lee Begovich Gallery at California State University, Fullerton from September 12 - December 12, 2015, and was accompanied by a book,<em> Early Work or How I Became A Painter</em>, published by the California State University, Fullerton, Grand Central Press, with a foreword and essay by Mike McGee, and essays by art critic Gregory Volk and Bill Arning, director of the Contemporary Arts Museum in Houston. &nbsp;The publication is available for sale at the gallery.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Fred Tomaselli (born 1956, Santa Monica, CA) has been included in international biennial exhibitions including the Biennale of Sydney (2010); Prospect 1 New Orleans (2008); Site Santa Fe (2004); Whitney Biennial (2004) and others. Solo exhibitions include the Modern Art Museum of Fort Worth (2014); a survey exhibition at Aspen Art Museum (2009) that toured to the Tang and Brooklyn Museums (2010); The Fruitmarket Gallery, Edinburgh (2004) toured to four venues in Europe and the US; Albright-Knox Gallery of Art (2003); Site Santa Fe (2001); Palm Beach ICA (2001), and Whitney Museum of American Art (1999). &nbsp;Tomaselli&rsquo;s work can be found in the public collections of institutions such as the Museum of Modern Art; the Whitney Museum of American Art; the Brooklyn Museum; the Metropolitan Museum of Art, (all New York); the Albright-Knox Gallery, Buffalo; and the Museum of Contemporary Art, Los Angeles.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">For press inquiries please contact Jeffrey Waldron at <a href=""></a> or 212-714-9500.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">For other information about the artist, please contact Jessica Lin Cox at <a href=""></a> or 212-714-9500.</div> Sun, 24 Jan 2016 12:51:15 +0000 Hiroshi Sugimoto - Pace Gallery - 510 W 25th - February 5th 6:00 PM - 8:00 PM <p style="text-align: justify;">Pace Gallery is pleased to announce <em>Sea of Buddha</em>, an exhibition featuring photographs from Hiroshi Sugimoto&rsquo;s series of the same title and a related film work.</p> <p style="text-align: justify;">The <em>Sea of Buddha</em> series, conceived in 1988 and realized in 1995, explores Sugimoto&rsquo;s overarching interest in light, history and time&mdash;which the artist refers to as &ldquo;one of the most abstract concepts human beings have created.&rdquo; Conceptually related to the ongoing photographic series that occupy his practice, the forty-eight black-and-white images that make up Sea of Buddha use the same formal language of precise compositional balance and size to achieve an apparent uniformity between each photograph. For the exhibition, thirty-six photographs from the series will be installed. Five works from Sugimoto&rsquo;s iconic Seascapes series (1980&ndash;), in which the horizon divides sea and sky in varying locations and atmospheric conditions, will also be included.</p> <p style="text-align: justify;">For Sea of Buddha, Sugimoto deviated from his usual process of continuously working on and expanding a series over years or decades, instead finalizing a closed set of images over the course of ten days. The collection of photographs features images of the one thousand statues installed in Kyoto&rsquo;s Sanjῡsangen-dō, or Hall of Thirty-Three Bays, a temple dating to 1266 AD. Through visual repetition, Sugimoto refers to the religious and historical concepts that guided the original creation of the statues that are his subject for the series. Simulating the reproductions of the one-thousand-armed bodhisattva of compassion known as Senju Kannon, Sugimoto&rsquo;s images signify the Buddhist practice of replicating manifestations of a deity in order to achieve spiritual merit. The compositional structure of the photographs and the effects of light enhance the repetitive nature of the unframed images, creating the impression of a limitless expa nse&mdash;or sea&mdash;of figures in space.&nbsp;</p> <p style="text-align: justify;">The installation of photographs will be accompanied by <em>Accelerated Buddha</em> (1997)&mdash;the artist&rsquo;s first video work&mdash;which expands his investigations of time. In this three-channel video, Sugimoto returns to his Sea of Buddha series with a progression of images that transition into one another with increasing speed, confronting the perceptual experiences of time.&nbsp;</p> <p style="text-align: justify;"><strong>Hiroshi Sugimoto</strong> (b. 1948, Tokyo) received a BA from St. Paul&rsquo;s University in Tokyo (1970) and a BFA in photography from the Art Center College of Design in Los Angeles (1972). Informed by aspects of Minimalism and Conceptual Art, Sugimoto&rsquo;s work extends across a diverse array of subject matter, including museum dioramas, wax portraits, architecture and light. Over the course of his career, he has maintained a conceptual and philosophical approach to photography, engaging with the medium as a means to preserve memory and record the passage of time.&nbsp;</p> <p style="text-align: justify;">His work has been the subject of solo exhibitions at international venues, including The Phillips Collection, Washington D.C., (2015); The Getty Center, Los Angeles (2014); Leeum Samsung Museum of Art, Seoul (2013); Hara Museum of Contemporary Art, Tokyo (2012); The National Museum of Art, Osaka (1989, 2007, 2009); Museum of Fine Arts, Boston (2005); San Francisco Museum of Modern Art (2000); and The Metropolitan Museum of Art, New York (1996). In February, Fundaci&oacute;n MAPFRE, Barcelona, will host Hiroshi Sugimoto: Black Box, a retrospective exhibition that will travel to the Foundation&rsquo;s Madrid location in June 2016.&nbsp;</p> <p style="text-align: justify;">Sugimoto&rsquo;s <em>Glass Tea House Mondrian</em>, a site for traditional Japanese tea ceremony, was installed at Le Stanze del Vetro in Venice as part of the 2014 Venice Architecture Biennale. It was the first project outside of Japan to be completed by New Material Research Laboratory, the architecture firm founded by the artist in 2008. Sugimoto&rsquo;s commitment to performance traditions can also be found in his involvement with Japanese noh theatre and banraku, a traditional form of puppet theatre. He has recently led the direction of Ningyo Joruri Bunraku&rsquo;s production of <em>Sugimoto Bunraku Sonezaki Shinju: The Love Suicides</em> at Sonezaki, which was performed in Madrid, Rome and Paris in fall 2013 and in Tokyo and Osaka in March 2014.</p> <p style="text-align: justify;">His work is held in over forty public collections, among them the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Metropolitan Museum of Art, New York; Mus&eacute;e national d&rsquo;Art Moderne, Centre Georges Pompidou, Paris; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; The National Gallery, London; National Gallery of Art, Washington, D.C.; Tate, London; and Whitney Museum of American Art, New York.&nbsp;</p> <p style="text-align: justify;">In 2014, Sugimoto was the recipient of the Isamu Noguchi Award, New York. Other honors and distinctions include the Officier dans l&rsquo;Ordre des Arts et des Lettres from the Ministry of Culture, Paris (2013); Medal of Honor with Purple Ribbon from the Government of Japan (2010), and a Praemium Imperiale award from the Japan Art Association (2009). &nbsp;</p> <p style="text-align: justify;">This is the artist&rsquo;s seventh major exhibition at the gallery since joining Pace in 2010.&nbsp;</p> Sun, 24 Jan 2016 13:42:29 +0000 Group Show - Society of Illustrators - February 5th 6:00 PM - 8:00 PM <p style="text-align: justify;">The second of the two-part annual exhibition Illustrators 58 will be held at the Museum of American Illustration at the Society of Illustrators from February 3 through February 27, 2016. The exhibit features works by leading contemporary illustrators worldwide, selected by a prestigious jury of professionals.&nbsp;</p> <div style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">&nbsp;</span><br /><span style="font-family: arial,helvetica,sans-serif;">The exhibit includes works in the Editorial and Book Categories. <br /></span></div> <div style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;">&nbsp;</span></div> <div style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif;"><span style="font-family: arial,helvetica,sans-serif;"><span style="font-family: arial,helvetica,sans-serif;">Illustrations featured in the Editorial category include work commissioned by newspapers or magazines, medical and scientific journals or online magazines.</span>&nbsp;Gold medals are awarded to <strong>Jon Han</strong> for "The Subject of Death" (<em>The New York Times</em>, AD: Alexandra Zsigmond), <strong>Dadu Shin</strong> for "A Conversation on the Edge of the Human Perception" (<em>The New York Times</em>, AD: Alexandra Zsigmond), and <strong>Sam Weber</strong> for "The Language of Knives" (, AD: Irene Gallo). Silver medals go to <strong>Kadir Nelson</strong> for "Eustace Negro" (The New Yorker, AD: Francoise Mouly), <strong>Matt Rota</strong> for "Firestone + The Warlord" (Pro Publica, AD: David Sleight), and <strong>Pete Ryan</strong> for "Christians in the City" (Buzzfeed, AD: Ben King). A Silver medal also goes to the artist <strong>Magoz</strong> for his animation "Internship" (Muster).&nbsp;<br /><br /><span style="font-family: arial,helvetica,sans-serif;">Illustration in the Book category include all single image illustrations originally commissioned for use inside or on the covers of hardbound and paperback books, including fiction and non-fiction; children's and young adult literature and comic books. Gold medals are awarded to <strong>Allen Crawford</strong> for "Whitman Illustrated: Song of Myself" (</span>Jonathan Cape (UK: November 2014), AD:&nbsp;</span></span> <p class="p1">Diane Chonette), <strong>Francesca Sanna</strong> for "The Journey" (Flying Eye Books/ Nobrow Press), and <strong>Alenka Sottler</strong> for "Eurydice" (Publishing House Pivec). &nbsp;Silver medals go to <strong>Matteo Berton</strong> for "La Divinia Commedia"&nbsp;&nbsp;(La Nuova Frontiera Junior, AD: Marta Corsi), <strong>John Hendrix</strong> for "Drawing is Magic" (Abrams Books for Young Readers, AD: Chad Beckerman), and <strong>Yuko Shimizu</strong> for "Spy Vs. Spy Reimagined" (Mad Magazine, AD: Ryan Flanders).&nbsp;</p> <span style="font-family: arial,helvetica,sans-serif;"><br /><span style="font-family: arial,helvetica,sans-serif;">The Illustrators 58 will be exhibited throughout the entire building, including the 3rd floor Hall of Fame Gallery. </span><a title="An Opening Reception for the Book and Editorial Categories" href=";ItemID=13373" target="_blank">An Opening Reception for the Book and Editorial Categories</a><span style="font-family: arial,helvetica,sans-serif;"> will be held on February 5, 2016.</span>&nbsp;To see a full list of featured artists click <a title="here" href="" target="_blank">here</a>.<br /></span></div> Sun, 24 Jan 2016 14:25:03 +0000 Peter Fischli & David Weiss - Solomon R. Guggenheim Museum - February 5th 11:00 AM - 3:00 PM <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Film Screenings: The Least Resistance and The Right Way<br /> Fridays&ndash;Wednesdays, February 5&ndash;April 20, 11 am, 12:30 pm, 2 pm, 3:30 pm<br /> Two films follow Rat and Bear, the iconic alter egos of Peter Fischli and David Weiss, as they set out to strike it rich in the Los Angeles art world (The Least Resistance, 1980&ndash;81, 29 min.) and wander aimlessly through a bucolic mountainside landscape (The Right Way, 1983, 55 min.).&nbsp;</p> <p>Please keep in mind that the museum is closed on Thursdays!</p> </div> </div> </div> Tue, 26 Jan 2016 22:16:56 +0000 Frank Porcu - The Lodge Gallery - February 5th 7:00 PM - 9:00 PM <h1 class="title entry-title" style="text-align: center;">Frank Porcu</h1> <div class="post-meta" style="text-align: center;">&nbsp;</div> <p class="p1" style="text-align: center;"><strong>Relics; In Pursuit of Mastery</strong></p> <p class="p3" style="text-align: center;">February 5th &ndash; February 19th, 2016</p> <p class="p3" style="text-align: center;"><strong>Opening Reception Friday, February 5th, 7pm -9pm<br /><br /></strong><strong>Performance begins at 7pm</strong></p> <p class="p3">&nbsp;</p> <p class="p6" style="text-align: justify;">As a sculptor, painter, educator, writer and lecturer, Frank Porcu has spent over two decades studying and mastering the logistical function and structure of human body, coupled with Florentine Neo-Platonism. Renown for his ability to illuminate the anatomy of the human form and effortlessly render the fundamental principles of anatomical form making, Porcu has built a unique and alternative career in the arts while pursuing an uncompromised vision. In addition to his studio work which includes private sculpture and drawing commissions including celebrity patrons such as Tony Bennett, he is universally lauded for the passion and imagination that goes into his distinct lecturing style and the drawings he creates in the process.</p> <p style="text-align: justify;">Trained in fine art and stereoscopic medical dissection and as an instructor of lab anatomy at Columbia University, he has taught courses and lectures at: Pratt Institute, The New York Academy of Art, &amp; The Art Student&rsquo;s League. Porcu has honed his skills and natural charisma into educational performances that often transcend the classroom and embrace larger audiences ranging from business executives to patrons of the New York Gallery scene.</p> <p style="text-align: justify;">In&nbsp;<em>Relics; In Pursuit of Mastery</em>, Porcu presents us with an array of drawings from past projects and lectures. There is a trapped energy in the quick precision of the drawings that makes them engaging and complete works of art on their own as much as they function as illustrations of form and scientific and philosophical method. These works were created within what Porcu calls "the social collaboration between the audience and himself." In addition to the &ldquo;Relics&rdquo; of past projects, guests at the opening reception will be treated to an hour long performance by the artist who will be demonstrating in chalk and effectively creating the final work in the exhibition before and with his audience.</p> <p style="text-align: justify;"><strong>Frank Porcu</strong>&nbsp;is an artist and anatomy instructor based in New York. A past student of Salvatore Montano and Alfred Cardenas, Porcu earned his BFA from Pratt Institute and MFA from The New York Academy of Art. He is the recipient of the James Amster Memorial Award from The National Arts Club and has exhibited extensively throughout North America and Europe. This is his first solo exhibition in Manhattan.</p> <p style="text-align: justify;"><strong>The Lodge Gallery</strong>, founded by Keith Schweitzer and Jason Patrick Voegele, is located at 131 Chrystie Street on Manhattan'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.</p> Sat, 23 Jan 2016 03:55:07 +0000 Laura Poitras - Whitney Museum of American Art - February 5th 11:00 AM - 9:00 PM <div id="mmi_93969" class="magic-module page-magic-module text-module two-thirds-width" data-id="305974" data-instance-id="93969"> <div class="text-module-text text-larger"> <p style="text-align: justify;">This winter, the Whitney Museum of American Art will debut&nbsp;<em>Laura Poitras: Astro Noise</em>, the first solo museum exhibition by artist, filmmaker, and journalist Laura Poitras. This immersive installation of new work builds on topics important to Poitras, including mass surveillance, the war on terror, the U.S. drone program, Guant&aacute;namo Bay Prison, occupation, and torture. Some of these issues have been investigated in her films, including&nbsp;<em>CITIZENFOUR</em>, which won the 2015 Academy Award for Best Documentary, and in her reporting, which was awarded a 2014 Pulitzer Prize.</p> <p style="text-align: justify;">For the exhibition, Poitras is creating an interrelated series of installations in the Whitney&rsquo;s eighth-floor Hurst Family Galleries. The exhibition expands on her project to document post&ndash;9/11 America, engaging visitors in formats outside her non-fiction filmmaking. Instead she will create immersive environments that incorporate documentary footage, architectural interventions, primary documents, and narrative structures to invite visitors to interact with the material in strikingly intimate and direct ways.</p> <p style="text-align: justify;">The title,<em>&nbsp;Astro Noise</em>, refers to the faint background disturbance of thermal radiation left over from the Big Bang and is the name Edward Snowden gave to an encrypted file containing evidence of mass surveillance by the National Security Agency that he shared with Poitras in 2013. The Snowden archive partially inspired Poitras&rsquo;s presentation at the Whitney.</p> <p class="last-child" style="text-align: justify;"><em>Laura Poitras: Astro Noise</em>&nbsp;is organized by Jay Sanders, Curator and Curator of Performance.</p> </div> </div> <p style="text-align: justify;"><a name="mmi_108935"></a></p> <div id="mmi_108935" class="magic-module page-magic-module verbatim-module two-thirds-width" data-id="11399" data-instance-id="108935"> <div class="text-module-text"> <p class="last-child" style="text-align: justify;">Major support is provided by The Andy Warhol Foundation.&nbsp;<br /><br />Significant support is provided by the Teiger Foundation, the Keith Haring Foundation Exhibition Fund, and The Reva and David Logan Foundation.</p> </div> </div> Sat, 09 Jan 2016 18:11:09 +0000 Tabita Rezaire - Museum of Contemporary African Diasporan Arts (MoCADA) - February 6th 7:00 PM - 10:00 PM <p style="text-align: justify;"><em><strong>Sorry For Real</strong></em> is a series of stills inspired by a holographic projection by new media artist <strong>Tabita Rezaire</strong>. Through a fantasized SMS apology on behalf of the Western world, <em>Sorry For Real</em> explores the power imbalances within the apology-forgiveness narrative. The work virtually captures the violent histories of slavery, colonialism, the continuous exploitation of African and Indigenous&rsquo; bodies and lands, and the way these legacies shape current global systems of oppression. Unapologetically, this cyber exchange addresses the politics of &ldquo;reparations,&rdquo; and the need to decolonize our technologies and healing strategies.</p> <p style="text-align: justify;"><em><strong>Sorry For Real&nbsp;</strong>is supported in part by public funds from The New York City Department of Cultural Affairs (DCA) in partnership with The City Council, and private funds from Lambent Foundation. <br /></em></p> <p style="text-align: justify;">On View in MoCADA&rsquo;s Window Gallery on South Portland Avenue</p> Sun, 24 Jan 2016 05:21:11 +0000 Adrienne Gaither - Museum of Contemporary African Diasporan Arts (MoCADA) - February 6th 7:00 PM - 10:00 PM <p style="text-align: justify;"><strong><em>Formed in Fate</em></strong> features two series by Adrienne Gaither.</p> <p style="text-align: justify;">In <em>Memoirs of Permanence: A Winning Hand, </em>Gaither combines digitally manipulated archival photographs, painting, and hand-collage techniques to produce a personalized card deck of her family members. In the creation of her &ldquo;winning hand,&rdquo; she examines the course of fate by reshuffling familial hierarchies.</p> <p style="text-align: justify;">Gaither extends her examination of fate in <em>Eye Don&rsquo;t See Color, </em>a series of boldly colored grid compositions that draw upon the visual palettes of clinical color blindness and skin complexion. These spectrometers speak to genetic destiny and visual impairment as it relates to post-race politics in the United States.</p> <p style="text-align: justify;">Through formal inquiries into geometric abstraction and color theory, <strong><em>Formed in Fate</em></strong> envisions how seemingly fixed concepts like family and race are subjectively contingent, and can shift due to the mutable nature of perception.</p> <p style="text-align: justify;"><strong><em>Adrienne Gaither: Formed in Fate</em></strong>&nbsp;is supported in part by public funds from The New York City Department of Cultural Affairs (DCA) in partnership with The City Council, and private funds from Lambent Foundation.</p> <p style="text-align: justify;">On View in MoCADA&rsquo;s Extended Gallery</p> Sun, 24 Jan 2016 05:22:15 +0000 Tiona McClodden - Museum of Contemporary African Diasporan Arts (MoCADA) - February 6th 7:00 PM - 10:00 PM <p><strong><em>Dreaming of Kin</em></strong> features <strong>Be Alarmed: The Black Americana Epic, Movement I &ndash; The Visions. </strong>The first of a four-part body of work by visual artist and filmmaker <strong>Tiona McClodden</strong>, this project charts the artist&rsquo;s personal, familial, and spiritual biography. McClodden deconstructs the epic film genre through nonlinear film trailers, scenes, photographic ephemera, and sculptural objects that envelop the viewer in a constellation of coded heirlooms that reimagine the Black american family tale.</p> <p><strong><em>Dreaming of Kin</em></strong> is supported in part by public funds from The New York City Department of Cultural Affairs (DCA) in partnership with The City Council, and private funds from Lambent Foundation.</p> Sun, 24 Jan 2016 05:23:14 +0000 Nona Faustine, Jorge Alberto Perez - Smack Mellon - February 6th 1:00 PM - 2:00 PM <p>Please join us on Saturday, February 6, at 1pm for an artist talk with Nona Faustine and Jorge Alberto Perez in conjunction with Nona Faustine's solo show at Smack Mellon.&nbsp;</p> <p><strong>Smack Mellon'</strong>s current exhibition by artist <strong>Nona Faustine</strong>,&nbsp;<em><a href="" rel="nofollow">White Shoes</a></em>&nbsp;is a poignant series of self-portraits that are at once autobiographical and a historical tribute to black women who were slaves. The locations in the&nbsp;<em>White Shoes</em>&nbsp;series are historical and geographical legacy of slavery in New York City. Faustine photographed herself standing naked in sites around New York City that were formerly associated with slavery. By exposing her own vulnerability, Faustine also calls attention to the past and present exploitation of black women's bodies.&nbsp;</p> <p>Nona Faustine was born and raised in Brooklyn, NY and is a graduate of The School of Visual Arts and the ICP-Bard MFA program (2013). Faustine was selected by writer/curator Charlotte Cotton as a 2014 Honorable Mention in the Camera Club of New York Competition. Her work has received press in the Huffington Post, Hyperallergic, Greybook Magazine, the Village Voice, The Guardian, and Dodge and Burn Blog. Faustine's work has been exhibited at the Schomburg Center for Black Research in Harlem, New York, NY; The Studio Museum of Harlem, New York, NY; International Center of Photography, New York, NY; and Mana Contemporary, Jersey City, NJ.&nbsp;</p> <p>Jorge Alberto Perez is a Cuban-born artist, curator and writer and graduate of the Bard College/International Center of Photography MFA program in New York City where he was honored as a Director's Scholarship Fellow in 2011. Perez works in a variety of media including, but not limited to, photography, collage, installation and writing. In 2013 Perez curated three contemporary art exhibits for Brutedge Gallery at Mana Contemporary in Jersey CIty. He is a contributing writer for ARC Magazine, an international publication that focuses on Caribbean artists. In 2015, Perez was curator-in-residence at Baxter St./CCNY with the exhibit&nbsp;The Three Traumas&nbsp;and adjunct curator for the International Center of Photography's new gallery space at Mana Contemporary with the exhibit&nbsp;The Future is Forever.&nbsp;</p> <p>Also on view through Sunday, February 21, 2016, Christine Sciulli,&nbsp;<em><a href="" rel="nofollow">ROIL</a></em>.</p> Fri, 29 Jan 2016 18:27:36 +0000 Amanda Turner Pohan, Carl E. Hazlewood, Joan Snitzer, Hanne Tierney - FiveMyles - February 7th 4:00 PM - 5:00 PM <h2><strong>Desiring to be Data for Others: Panel Discussion</strong></h2> <p><strong>Sunday, Feb. 7th, 4-5pm</strong></p> <p>Panelists discuss how science and the arts can overlap, in the setting of Pohan&rsquo;s current exhibit at FiveMyles. Moderated by FiveMyles director&nbsp;Hanne Tierney.</p> <p><strong>About the Exhibition</strong></p> <p>Vials contain various arcane liquids; vapors and perfumed formulas derive from &lsquo;recorded data measured by sensors of the heartbeat of the artist.&rsquo; Yet, the clinical easily transmutes into the poetic and the personal.</p> <p><strong>Location:</strong> FiveMyles Gallery | 558 St Johns Pl | Brooklyn, NY 11238 <strong><a href=",-73.959636,15z/data=!4m6!1m3!3m2!1s0x0:0xf0cf6a7257c22f9b!2sFive+Myles!3m1!1s0x0:0xf0cf6a7257c22f9b" rel="nofollow">MAP</a></strong></p> <p><strong>Exhibition on view</strong> until February 21, 2016</p> <p><strong>Gallery hours: </strong>Thursday through Sunday, 1pm to 6pm; or by appointment.</p> <p><a href="" rel="nofollow"><strong>Click here for more information about this exhibition.</strong></a></p> Wed, 03 Feb 2016 19:18:01 +0000 Paul Mommer - Islip Art Museum - February 7th 1:00 PM - 4:00 PM <p class="bodytext11" style="text-align: justify;">Rediscover the artist Paul Mommer (American, born Luxembourg, 1899-1963), a well-known and frequently exhibited artist of the mid-twentieth century who was featured in three impressive retrospectives; two at the Museum of Modern Art: Twentieth Century Portrait (1942) and Romantic Painting in America (1943) as well as one at the Metropolitan Museum of Art: American Painting (1950). Transformations of a Visionary: Paul Mommer is a retrospective of the artist which highlights the diversity of his style and technique throughout the first half of the twentieth century. This exhibition offers an opportunity to experience the work and historical documentation of the artist.&nbsp;</p> <p class="bodytext11" style="text-align: justify;">Mommer exhibited extensively from 1932 until his death in 1963. His style and technique ranged from Romantic and Aesthetic Realism, to Abstraction. His exhibition history includes: New School for Social Research, Art Institute of Chicago, Whitney Museum of American Art, Midtown Gallery, Corcoran Gallery, Museum of Modern Art, Carnegie Institute, Metropolitan Museum of Art, National Institute of Arts &amp; Letters, National Academy, Brooklyn Museum of Art, and the National Cathedral of Washington D.C.</p> <p class="bodytext11" style="text-align: justify;">His artwork is included in the permanent collections of: Brooklyn Museum of Art, Hunter College, Hirshhorn Museum, Metropolitan Museum of Art, Munich State Museum, National Arts Club, University of Alabama, University of Minnesota, and the Walker Art Institute.</p> <p class="bodytext11" style="text-align: justify;">The artist is well documented and well received by curators and critics. The MoMA believes that &ldquo;an artist of long established reputation is hardly necessary to mention&rdquo; and &ldquo;[Mommer&rsquo;s] development has been followed by leading artists who are aware of his independent contribution in that direction &ndash; Milton Avery and Edwin Dickinson, to mention only two.&rdquo; Noted critic Jerome Klein wrote in the 1950&rsquo;s &ldquo;Some day Mommer will be recognized as one of the few significant artists of this period.&rdquo; The artist died suddenly in 1963 and only one piece of his work has been exhibited since, in the 50th Anniversary Exhibition 2005/06 at the Terrain Gallery.&nbsp;</p> <p class="bodytext11" style="text-align: justify;">This exhibit is curated by Loretta Corbisiero through Heart for Art, Inc. a 501(c)3 nonprofit organization that encourages, supports, and creates opportunities for the arts, artists, and arts professionals with an emphasis on, creating, exhibiting and engaging communities. Heart for Art, Inc. provides Grassroots to Global Arts Programming, a full art immersion experience through development, awareness and collaboration of the arts.</p> <p class="bodytext11" style="text-align: justify;">This exhibition was made possible thanks to the inquisitive nature of a seventeen-year old girl, her passion for art, and her instinct to seek advice from her mentor.&nbsp; The first time in nearly 50 years, the work of her great grandfather, Paul Mommer, is again on view for the public to see.&nbsp;</p> <p class="bodytext11" style="text-align: justify;">The high school student approached her art teacher regarding her great-grandfathers artwork, as the family was unsure of what to do with the works. She felt confident that she would find the answers to her questions by reaching out to her teacher. This was the beginning of a student and teacher uncovering the artist&rsquo;s life and his work, while embarking on the endeavor of researching, documenting, and now exhibiting this collection. Given the appropriate title of &ldquo;Curatorial Assistant&rdquo; the student is now pursuing a higher education in the arts with the intention of preservation, conservation and education with the focus of establishing a foundation for the artist Paul Mommer.</p> Fri, 08 Jan 2016 09:58:10 +0000