ArtSlant - Openings & events en-us 40 POLIBIO DIAZ, Dominique Hurth - International Studio & Curatorial Program (ISCP) - October 21st 6:30 PM - 8:00 PM <p><br /><a href="" rel="nofollow">Polibio&nbsp;D&iacute;az</a>&nbsp;will present previous work&nbsp;as well as the documentation of his latest performance that took place at ISCP. During his residency, he has been working on an &ldquo;archaeological inventory&rdquo; of things he has encountered 
in his studio, neighborhood and elsewhere that he deconstructs into a different medium. He will also speak about his experience teaching photography to public school students in Brooklyn.</p> <p>In the formats of exhibitions, editions and readings,&nbsp;<a href="" rel="nofollow">Dominique Hurth</a>&nbsp;is interested in the framing and reading of objects and historical events. During her residency at ISCP, Hurth has been investigating early cyanotypes, focusing on the figure of Anna Atkins, who produced the first book photographically illustrated. In Hurth&rsquo;s studio, the first synthetic color became a quest, together with instruments that measure the hues of the sky, a replica of Talbot&rsquo;s printing establishment, and other words and objects that take their origin through several encounters in the archives of the Metropolitan Museum of Art, the Smithsonian Institute Archives, the International Center of Photography and the private collection of Hans Kraus Jr.</p> Tue, 07 Oct 2014 15:47:11 +0000 Leo Dillon, Diane Sorber - Society of Illustrators - October 21st 10:00 AM - 8:00 PM <p style="text-align: justify;">Leo Dillon and Diane Sorber were born eleven days apart on opposite coasts &ndash; Leo in Brooklyn, New York, and Diane near Los Angeles, California. When they met at Parsons School of Design in New York City in 1954, each already aspired to a life of art. Meeting first through their artwork, each immediately recognized the talent and mastery of the other. Over the years, their competitive friendship evolved into a lasting marriage and artistic partnership.</p> <p style="text-align: justify;">The Dillons produced an incredible variety of drawings and illustrations for prints, book jackets, textbooks, album covers &ndash; and over 50 children&rsquo;s books. The approach they took and the media and techniques they used changed with each book, yet each project has certain distinct hallmarks: clean, precise lines, painstaking attention to detail, warmth of characterization, and innovative use of color. The range of styles they explored is no less impressive than the quality of each illustration. Among the many honors they received are a Hugo Award, two back-to-back Caldecott Medals&mdash;for <em>Ashanti to Zulu</em> and <em>Why Mosquitoes Buzz in People&rsquo;s Ears</em> &ndash; five New York Times Best Illustrated Awards, four Boston Globe/Horn Book Awards, two Coretta Scott King Awards, three Coretta Scott King Honors, and the Society of Illustrators Gold Medal.</p> Thu, 09 Oct 2014 16:46:05 +0000 - The Metropolitan Museum of Art - October 21st 10:00 AM - 5:30 PM <p style="text-align: justify;">This Costume Institute exhibition will explore the aesthetic development and cultural implications of mourning fashions of the nineteenth and early twentieth centuries. Approximately thirty ensembles, many of which are being exhibited for the first time, will reveal the impact of high-fashion standards on the sartorial dictates of bereavement rituals as they evolved over a century.</p> <p style="text-align: justify;">The thematic exhibition will be organized chronologically and feature mourning dress from 1815 to 1915, primarily from The Costume Institute's collection, including mourning gowns worn by Queen Victoria and Queen Alexandra. The calendar of bereavement's evolution and cultural implications will be illuminated through women's clothing and accessories, showing the progression of appropriate fabrics from mourning crape to corded silks, and the later introduction of color with shades of gray and mauve.</p> <p style="text-align: justify;">The Anna Wintour Costume Center's Carl and Iris Barrel Apfel Gallery will orient visitors to the exhibition with fashion plates, jewelry, and accessories. The main Lizzie and Jonathan Tisch Gallery will illustrate the evolution of mourning wear through high fashion silhouettes. Examples of restrained simplicity will be shown alongside those with ostentatious ornamentation. The predominantly black clothes will be set off against a stark white background and amplified with historic photographs and daguerreotypes.</p> Thu, 16 Oct 2014 16:11:27 +0000 Nam June Paik - Asia Society Museum - October 22nd 6:30 PM - 8:30 PM <p style="text-align: justify;">Preview screening:</p> <p style="text-align: justify;"><strong><em>Nam June Paik &amp; TV Lab: License to Create</em> </strong></p> <p style="text-align: justify;"><strong>Dir. Howard Weinberg | 2014 | USA | 95min</strong></p> <p style="text-align: justify;">Before YouTube, reality TV, and the Internet, artists and filmmakers pushed the boundaries of television at the TV LAB &mdash; an experimental division of Channel 13/WNET public television from 1972-1984. Supported initially by the Rockefeller Foundation and the New York State Council on the Arts at the urging of Nam June Paik, who wanted a place for artists to create new imagery on television, the TV LAB boasted a blue-screen ChromaKey studio, video synthesizers, and a digital time base corrector. It allowed artists to put their hands on the latest equipment to create what became the new global phenomenon of video art, which influenced the beginnings of MTV. TV LAB also supported documentary makers and journalists who used new PortaPak video cameras and recorders to revolutionize storytelling by going behind the scenes to capture spontaneous action that network television had ignored, which affected the look of TV drama, and foreshadowed reality television. Writers, directors, choreographers, and animators were all encouraged to experiment and innovate on this platform.</p> <p style="text-align: justify;">This feature-length documentary shows how the TV LAB at Thirteen/WNET, New York changed the way we see television and the world and explores the key role of Nam June Paik in its founding.</p> <p style="text-align: justify;"><strong>Q&amp;A with filmmaker.</strong></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About the filmmaker:</strong></p> <p style="text-align: justify;"><strong>Howard Weinberg</strong>, commissioned by Nam June Paik, produced and directed <em>&ldquo;Topless Cellist" Charlotte Moorman</em>, a documentary profile of Paik&rsquo;s collaborator and muse, impresario and performance artist. During the TV LAB era, from 1973-80, Weinberg produced for <em>Bill Moyers&rsquo; Journal</em>, <em>Assignment America with Studs Terkel</em>; was Founding Producer of <em>The MacNeil/Lehrer Report</em>; and Executive Producer of <em>The Dick Cavett Show</em>. He later produced for <em>Sunday Morning</em> and <em>Sixty Minutes</em> at CBS; and was Executive Producer of <em>Listening to America with Bill Moyers</em> at PBS. His independent public television productions include <em>New York in Song</em>, <em>net.LEARNING</em>, and <em>Sid at 90</em>. Recent credits: <em>The Unraveling of a Candidate</em> for New York Times Television &amp; The Discovery Channel; <em>Ethics in Sports: A CBS News Religion Special</em>. He is President of the New York Film/Video Council, the oldest non-profit organization promoting independent film in the United States, and has taught documentary film and television journalism at NYU, Dartmouth, and Columbia.</p> <p style="text-align: justify;">Presented in conjunction with the Asia Society Museum exhibition <a style="font-size: 13px;" href="" target="_blank"><em>Nam June Paik: Becoming Robot</em></a>, on view September 5, 2013 through January 4, 2015.</p> <p style="text-align: justify;"><strong>Note: </strong>Museum hours extend until 6:30pm. Complimentary museum admission on the same day for ticket holders. &nbsp;</p> <p style="text-align: justify;">This program is supported in part by the W.L.S. Spencer Foundation.</p> <div class="views-field-field-buy-tickets-url-url"><a href="" target="_blank">Buy Tickets &raquo;</a></div> Sun, 19 Oct 2014 09:51:11 +0000 John Baldessari - Marian Goodman Gallery - October 22nd 6:00 PM - 8:00 PM Thu, 09 Oct 2014 13:31:11 +0000 Tom Otterness - Marlborough Gallery New York - October 22nd 6:00 PM - 8:00 PM <p style="text-align: justify;">The Directors of Marlborough Gallery are pleased to announce an exhibition of recent works by Tom Otterness entitled <em>Creation Myth </em>which will open on Wednesday, October 22nd with an opening reception from 6-8 PM and will continue through November 25th of 2014. <em>Creation Myth </em>will consist of over twenty sculptures in stainless-steel &amp; limestone, bronze, and marble. The works range in scale from small to monumental.</p> <p style="text-align: justify;">In this exhibition, Otterness alludes to Ovid&rsquo;s canonical story in the <em>Metamorphoses </em>in which Pygmalion carves a sculpture of a woman in ivory so beautiful and idyllic that he becomes enchanted by her. Upon praying to goddess Aphrodite for a bride, Pygmalion&rsquo;s sculpture, Galatea, comes to life. The works in <em>Creation Myth</em>, however, feature a woman carving a male figure. Otterness overturns this classical parable in his inimitable style, which allows him to offer what art historian Alan W. Moore describes as, &ldquo;hard lessons in reassuring tones.&rdquo;</p> <p style="text-align: justify;">The iconic figures of Tom Otterness express the effect of universalizing form; their reductionist and cartoon-like aesthetic is so familiar, we believe we already know them. &ldquo;This is the camouflage in Otterness&rsquo;s art,&rdquo; Moore continues, &ldquo;its crucial cover for sneaking up universal themes. Tom approaches the classic modernist objective through the forbidden door of kitsch.&rdquo;</p> <p style="text-align: justify;">The exhibition is comprised of a collection of narrative works that innocuously allude to larger concepts. The sculptures grew from a body of monumental public artwork that Otterness realized for the Memorial Art Gallery&rsquo;s Centennial Sculpture Park at the University of Rochester. An homage Susan B. Anthony, the anti-slavery advocate and pioneering suffragette who made her home in the city of Rochester from 1845 until her death in 1906, <em>Creation Myth </em>is a reinterpretation of the classical trope of male creativity.</p> <p style="text-align: justify;">Walter Robinson, the American aritst and critic, writes in his catalogue essay accompanying the exhibition:</p> <p style="text-align: justify;"><em>In painting and sculpture, the default position for Pygmalion is practically the definition of erotica: a naked female figure... For his &ldquo;Creation Myth,&rdquo; Otterness came up with a completely different solution, and a rather more complicated one. For one thing, the eroctic has been eliminated; it is a distraction, after all, and not very useful in public sculpture. The work instead articulates a sociological proposition, and manages to represent a complete narrative in a way that is not usually seen in figurative sculpture today. In an art world that is generally too A.D.D. for anything that takes more than a glance, Otterness manages to tell an entire fable.</em></p> <p style="text-align: justify;">Otterness&rsquo; iconic style proposes a return to fundamentals both in subject and style. These are works that are accesible to any audience: fables and folk-tales playfully articulated in scales that take the proportions of young children, seeming both small and monumental at once. &ldquo;The archaic expressions,&rdquo; Robinson continues, &ldquo;largely formed with simple spots and lines, are universally communicative as well as being open receptacles for the subject projections of their audience.&rdquo;</p> <p style="text-align: justify;">Marlborough Gallery has represented the work of Tom Otterness for nearly 20 years. His sculptures are in collections of numerous museums including The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; Israel Musuem, Jerusalem; The Miyagi Museum of Art, Sendai; Beelden aan Zee Museum, The Hague; the IVAM Centro Julio Gonzalez, Valencia; The Solomon R. Guggenheim Museum, New York. Comissioned public art projects include: the United States courthouse in Minneapolis and Sacramento, an extensive installation at the Governor Nelson A. Rockefeller Park in Battery Park City; <em>Life Underground </em>in multiple areas of the MTA 14th street A-C-E-L subway station in New York City; <em>The Marriage of Real Estate and Money </em>at New York City&rsquo;s Roosevelt Island; <em>Time and Money </em>in Times Square; <em>Creation Myth </em>at the Memorial Art Gallery&rsquo;s Centennial Sculpture Park in the University of Rochester in Rochester, New York; and <em>Playground</em>, a public commission for the Hamad International Airport in Doha, Qatar.</p> <p style="text-align: justify;">In 2004 Otterness staged a series of monumental outdoor shows, beginning with the highly acclaimed <em>Tom Otterness on Broadway</em>, an exhibition of twenty-five bronze sculptures that spanned five miles of the famous throughfare in New York. This inspired similar exhibitions in Indianapolis, Beverly Hills, and Grand Rapids. Otterness was also the first contemporary artist invited to create a helium balloon, <em>Humpty Dumpty</em>, for the Macy&rsquo;s Thanksgiving Day Parade, seen by millions of television viewers worldwide.</p> <p style="text-align: justify;">Originally from Wichita, Kansas, Otterness has been a resident of New York City since the 1970s and works in Brooklyn. A fully illustrated catalogue with an essay by Walter Robinson will be available at the time of the exhibition.</p> Thu, 09 Oct 2014 14:01:40 +0000 Richard Estes - Marlborough Gallery New York - October 22nd 6:00 PM - 8:00 PM <p style="text-align: justify;">The Directors of Marlborough Gallery are pleased to announce an exhibition of recent paintings by the American master, Richard Estes. The exhibiton, entitled <em>Recent Paintings</em>, will open on Wednesday, October 22nd, 2014. It will be comprised of twenty oils painted over the past two years. The exhibition represents an important moment in the career of the artist, as the most comprehensive retrospective exhibition on his work, <em>Estes&rsquo; Realism</em>, organized by The Portland Museum of Art in Maine and the Smithsonian American Art Museum in Washington D.C., is currently underway and will continue through February of 2015.</p> <p style="text-align: justify;">Richard Estes is widely considered to be the pioneer and master of American Photorealism. Beyond the discipline of attaining an uncanny sense of verisimilitude, Estes accomplishes a profound reinvention of the image. The renowned cityscapes of the artist, works such as <em>79th Street Bus Stop</em>, 2013, are often constituted by a complex system of intertwined perspectives that are achieved through the use of reflection and refraction, a characteristic aspect of his work. This system of perspectives, along with a distinct usage of cropping, distills the artist&rsquo;s gesture and sense of invention. Much of the faint reflection seen through translucent glass cannot be attributed to the photographic image per se, but to the aesthetic discretion of the artist. These are surfaces characterized by striking values, an altogether tonal richness that engenders a magnetic presence.</p> <p style="text-align: justify;">Apart from the New York cityscapes, the show will also display Estes&rsquo; image of Antarctica, which further elucidate his pervasive interest in multifaceted surfaces. In <em>Antarctica II</em>, 2013, the rendering of water yet again captures a gestural sense of invention that transcends the photographic image; this is a visual translation of a reality that morphs into an image. While the ostensible subject is reality, the work of Richard Estes is, as art historian Linda Nochlin has stated, &ldquo;Concerned with conveying the non-coincidence of tactile and visual reality&rdquo; or, to put it a different way, as the curator Patterson Sims writes:</p> <p style="text-align: justify;"><em>Estes reveals and revels in a world hidden in plain sight. His highly detailed works inspire and reward being regarded at the long tradtion and history of representational painting he deploys his exceptional skills to turn his observations into revelations.</em></p> <p class="Pa0" style="text-align: justify;">Marlborough Gallery has represented Richard Ested for over 20 years. His work can be found in many public collections, including: Acad&eacute;mie Fran&ccedil;aise, Paris, France; The Art Institute of Chicago, Illinois; Des Moines Art Center, Iowa; Detroit Institute of Arts, Michigan; Solomon R. Guggenheim Museum, New York; High Museum of Art, Atlanta, Georgia; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Contemporary Art, Chicago; Museum Ludwig, Cologne, Germany; Museum of Modern Art, New York; Nelson-Atkins Museum of Modern Art, Kansas City, Missouri; Neue Galerie der Stadt Aachen, Ludwig Collection, Aachen, Germany; Teheran Museum of Contemporary Art, Iran; Toledo Museum of Art, Ohio; Whitney Museum of American Art, New York.</p> <p style="text-align: justify;">Estes was born in Kewanee, Illionois in 1932. From 1952 to 1956 he studied at the Art Institute of Chicago. He moved to New York in 1959 and had his first New York show in 1967 at the Allan Stone Gallery. In 1996 he was awarded the MECA Award for Achievement as a Visual Artist at the Maine College of Art in Portland. A retrospective of the artist&rsquo;s work, <em>Richard Estes: The Sensuousness of the Real</em>, was held in 2007 at Museo Thyssen-Bornemisza, Madrid and Palazzo Magnani, Reggio Emilia, Italy. The artist currently lives and works in New York and Maine.</p> <p style="text-align: justify;">A fully illustrated catalogue will be available at the time of the exhibition.</p> Thu, 09 Oct 2014 14:03:46 +0000 Péter Forgács - Museum of the City of New York - October 22nd 10:00 AM - 6:00 PM <h2 class="page-blurb" style="text-align: justify;"><span style="font-size: small;">Co-presented by the YIVO Institute for Jewish Research</span></h2> <p style="text-align: justify;"><em>Letters to Afar: Installation by P&eacute;ter Forg&aacute;cs and The Klezmatics</em> is an immersive video art installation based on home movies made by New York City&rsquo;s Jewish immigrants who traveled back to visit Poland during the 1920s and 30s. The films document poignant family reunions and everyday life in small towns in the years before the Second World War, capturing a culture on the brink.</p> <p style="text-align: justify;">The installation was created by Hungarian artist P&eacute;ter Forg&aacute;cs, under a commission by the Museum of the History of Polish Jews in Warsaw and the YIVO Institute for Jewish Research. With a haunting soundtrack by the New York-based band The Klezmatics, these &ldquo;letters&rdquo; bring to life a lost world in startling and moving detail.</p> <p style="text-align: justify;"><strong>The exhibition is made possible with generous support from:</strong></p> <p style="text-align: justify;"><strong>The Kronhill Pletka Foundation<br />Righteous Persons Foundation<br />Seedlings Foundation<br />Sigmund Rolat</strong></p> <p style="text-align: justify;">Additional support is provided by New York City Department of Cultural Affairs.</p> <p style="text-align: justify;"><a href="" target="_blank"><img src="" alt="" width="160" height="74" /></a></p> <p>&nbsp;</p> Mon, 20 Oct 2014 03:26:32 +0000 Chris Ofili - New Museum - October 22nd 11:00 AM - 6:00 PM <h4 style="text-align: justify;"><span style="font-size: small;">In conversation with the Fall 2014 R&amp;D Season thematic, CHOREOGRAPHY, &ldquo;When Shadows Were Shortest&rdquo; looks at Chris Ofili&rsquo;s engagement with dance.</span></h4> <div class="body" style="text-align: justify;"> <p><span style="font-size: small;">Chris Ofili joins a long list of visual artists who have famously crossed into the theater and dance worlds, including Sonia Delaunay, who created costumes for Sergei Diaghilev&rsquo;s <em>Cleopatra</em> (1918); Donald Judd, who oversaw the visual design of Trisha Brown&rsquo;s <em>Son of Gone Fishin&rsquo;</em> (1981); and, more recently, William Kentridge, who directed and designed a production of Dmitri Shostakovich&rsquo;s opera <em>The Nose</em> (2010). This Resource Center presentation, &ldquo;When Shadows Were Shortest,&rdquo; looks at Ofili&rsquo;s own engagements under the proscenium arch, featuring materials from <em>Diana and Actaeon</em>, an original ballet performed in 2012 at the Royal Opera House, London, for which Ofili created the set and costumes. The production was commissioned by London&rsquo;s National Gallery and the Royal Ballet, which invited Ofili and fellow artists Conrad Shawcross and Mark Wallinger to each develop a ballet&mdash;and an associated body of work for exhibition&mdash;that responded to one of three paintings by the Renaissance master Titian: <em>Diana and Actaeon</em> (1556&ndash;59), <em>Diana and Callisto</em> (1556&ndash;59), and <em>The Death of Actaeon</em> (1559&ndash;75). Titian considered these paintings, of which there are seven in total, to be his own &ldquo;painted poems&rdquo; of select myths from the Roman poet Ovid&rsquo;s magnum opus: <em>Metamorphoses</em>.</span></p> <p><span style="font-size: small;">Ofili and his collaborators on <em>Diana and Actaeon</em>&mdash;choreographers Liam Scarlett, Will Tuckett, and Jonathan Watkins; composer Jonathan Dove; and librettist Alasdair Middleton&mdash;drew inspiration directly from Ted Hughes&rsquo;s retelling of the poem &ldquo;Actaeon&rdquo; in his <em>Tales from Ovid</em> (1997) rather than from Titian&rsquo;s visual interpretation of the myth, which is itself an adaptation of centuries-old mythological accounts of the world. In this balletic rendition, Ofili&rsquo;s scenography and creative direction yield a watery sublime informed by a fecund and mystic vision of Trinidad, where the artist is currently based. <em>Diana and Actaeon</em> performs the narrative of Actaeon&rsquo;s encounter with the huntress Diana, from the moment Actaeon ceases his hunt for the day&mdash;the moment &ldquo;when shadows were shortest and the sun&rsquo;s heat hardest&rdquo;&mdash;and crosses through the darkened forest where he accidentally discovers Diana, naked and bathing with her nymphs. It is there that the tale unfolds as Diana, filled with rage at being seen naked, flings water at Actaeon, transmogrifying him into a stag. The ballet, like Ovid&rsquo;s poem, comes to a close with Actaeon being savagely mauled by his own hounds at the urging of his friends and fellow hunters, who no longer recognize him.</span></p> <p><span style="font-size: small;">&ldquo;When Shadows Were Shortest&rdquo; attests to this mythic narrative&rsquo;s continual transformation, in this case through music, choreography, and contemporary art practices. The set model, costumes, artist book, and other resources in this presentation document how Ofili has thought through movement, scale, and narrative in ways that further bind his richly sensuous practice to an ever-persistent mythosphere.</span></p> <p><span style="font-size: small;">&ldquo;When Shadows Were Shortest&rdquo; is organized by Alicia Ritson, Research Fellow, and Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement.</span></p> </div> <h2 style="text-align: justify;"><span style="font-size: small;">Sponsors</span></h2> <p style="text-align: justify;"><span style="font-size: small;">This presentation is made possible, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and from the New York City Department of Cultural Affairs in partnership with the City Council.</span></p> Fri, 17 Oct 2014 15:45:51 +0000 Group Show - Pace Gallery - 57th St. - October 22nd 6:00 PM - 8:00 PM <p><strong>FIERCE CREATIVITY</strong>, a four-day selling exhibition at PACE Gallery featuring work from 45+ leading contemporary artists who are committed to extraordinary impact.</p> <p>Curated by <strong>Chuck Close</strong> and <strong>Jessica Craig-Martin</strong>, every piece of artwork in the collection is poised to change lives: <strong>100% of proceeds from the exhibition will benefit non-profit Artists for Peace and Justice.</strong></p> Fri, 10 Oct 2014 19:25:25 +0000 - Pace Gallery - 57th St. - October 22nd 6:00 PM - 8:00 PM <p><strong>FIERCE CREATIVITY</strong>, a four-day selling exhibition at PACE Gallery featuring work from 45+ leading contemporary artists who are committed to extraordinary impact.</p> <p>Curated by <strong>Chuck Close</strong> and <strong>Jessica Craig-Martin</strong>, every piece of artwork in the collection is poised to change lives: <strong>100% of proceeds from the exhibition will benefit non-profit Artists for Peace and Justice.</strong></p> Fri, 10 Oct 2014 19:26:04 +0000 Dick Esterle - The New York Hall of Science - October 22nd 5:00 PM - 8:00 PM <p style="text-align: justify;"><em>Scattered Light&nbsp;</em>consists of 528 25-foot lengths of fluorescent orange and pink flagging tape hanging inside the entrance to NYSCI. Created by artist, architect and inventor Dick Esterle, the piece takes advantage of the circular shape of NYSCI&rsquo;s entrance, allowing for multiple views of the patterns and color shifting of the flagging tape. The piece plays with space, light, color and perception, and changes as sunlight moves around the building. Along with flagging tape, <em>Scattered Light</em> uses paperclips and metal rods, all simple and inexpensive materials that exemplify the maker and DIY spirit. <em>Scattered Light</em> will be on view from September 12, 2014 &ndash; September 13, 2015.</p> <p style="text-align: justify;">Dick Esterle, originally from Kentucky, is an artist, architect and the inventor of the Nobbly Wobbly ball, the Klackeroo, Space Chips, and the Amazing Geometry Machine. After graduating university in architecture and art, he moved to New York City in the 1980s and worked with the architect Paul Rudolph and later the artist Isamu Noguchi. While there, his interest in a particular tensegrity model hanging on Noguchi&rsquo;s wall would later give rise to the Amazing Geometry Machine and eventually lead him into the world of math and art and toy design.</p> <p style="text-align: justify;"><em>Scattered Light</em> is free with NYSCI admission.</p> <p style="text-align: justify;"><strong>Scattered Light Opening Celebration<br /> </strong>An opening celebration of <em>Scattered Light</em> will be held on October 22 from 5 &ndash; 8 pm. The evening will be inspired by the <a href="" target="_blank">Celebration of Mind</a> festival, which honors Martin Gardener, featuring magicians, music, and activities that puzzle, raise mathematical concepts and tease ideas of perception. Free with NYSCI admission.</p> Thu, 16 Oct 2014 16:55:37 +0000 Abelardo Morell - Edwynn Houk Gallery - October 23rd 6:00 PM - 8:00 PM <p style="text-align: justify;">Edwynn Houk Gallery is pleased to present a solo exhibition of new work by Abelardo Morell (American, b. Havana, 1948). Following his inaugural exhibition in 2013 with Galerie Edwynn Houk in Zurich, this show marks the artist&rsquo;s first exhibition at Edwynn Houk Gallery in New York. The sixteen large-scale photographs on view will highlight the scope of Morell&rsquo;s most recent subjects and his continued experiments with perception. The artist will be present at the opening reception on Thursday, 23 October from 6-8pm. <br /> <br /> Reveling in the expectations of the photographic process, Morell&rsquo;s work is charged with discoveries concerning optics, aperture, exposure, and most notably, camera obscura. Since 1991, Morell has been using the camera obscura to effectively turn entire rooms into cameras: the outside world is transposed onto the interior, creating unexpected and often surreal imagery. In Camera Obscura: Late Afternoon View of The East Side of Midtown Manhattan, 2014 (pictured), the New York City skyline floats over two mysteriously lit doors and the two worlds are flattened into one imaginary place. <br /> <br /> To further explore the camera&rsquo;s ability to capture time and place, Morell invented the &ldquo;Tent-Camera,&rdquo; a portable light-proof tent that uses a periscope to project the outside landscape onto the ground inside the tent. This enables him to utilize the process of camera obscura in unusual and remote locations. In these works, the resulting image compresses the view and the exact spot he stood to see it. Whether it is the cobblestone streets in Toledo, cracked pavement at Yellowstone National Park, or home plate of Wrigley Field, the technique results in an abstract, tactile and more painterly image that captures more faithfully the experience of that time and place, rather than serving as a document or mechanical record. <br /> <br /> Morell moves seamlessly between those works, while also creating still lifes of found and everyday objects that he transforms in unexpected ways. By playing with scale and eliminating hints of context, paper bags are transformed into monumental, abstract sculptures, while the famous steps of the Philadelphia Museum of Art become a study of minimalist lines. Sheets of paper form portraits and endless columns, and oil paintings from the Barnes Collection are re-arranged to create the semblance of an entirely new and disjointed depiction of a building. <br /> <br /> The breadth of Morell&rsquo;s subject matter in the last year alone demonstrates his continued interest and success in exploring various methods of picture-making. Alternating between technologically complex techniques and deceptively simple studies, Morell&rsquo;s work always begs for a closer look and multiple viewings, and inspires a sense of wonder and curiosity about the world around us.<br /> <br /> Abelardo Morell holds an MFA from Yale University, and an honorary doctorate from Bowdoin College. In 1993, he was awarded a Guggenheim Fellowship. Until 2010, he was a full-time professor of photography at Massachusetts College of Art, where he continues to work with graduate students. Morell was the recipient of the International Center of Photography&rsquo;s Infinity Award in 2011. In 2013, Morell was the subject of a retrospective entitled, The Universe Next Door, organized by the Art Institute of Chicago, which traveled to the Getty Museum in Los Angeles, and the High Museum in Atlanta. His work is in numerous private and public collections, including the Art Institute of Chicago, the Fondation Cartier, Paris, the Metropolitan Museum of Art, New York, San Francisco Museum of Modern Art, Victoria &amp; Albert Museum, London, and the Museum of Modern Art, New York, amongst others. Abelardo Morell lives and works in Boston, Massachusetts.</p> Thu, 09 Oct 2014 10:04:08 +0000 Emma Amos, Romare Bearden, Siona Benjamin, Beverly Buchanan, Rimma Gerlovina, Roger Shimomura, Jaune Quick-To-See Smith, Flo Oy Wong, Valeriy Gerlovin - Flomenhaft Gallery - October 23rd 6:00 PM - 8:00 PM Tue, 30 Sep 2014 01:43:06 +0000 Ursula von Rydingsvard - Galerie Lelong - October 23rd 6:00 PM - 8:00 PM <p style="text-align: justify;">Continuing a year of remarkable achievement for Ursula von Rydingsvard, which has included the artist&rsquo;s first major survey exhibition outside the United States, the unveiling at Barclays Center of her first permanent outdoor sculpture in Brooklyn, and receipt of the Lifetime Achievement Award from the International Sculpture Center, Galerie Lelong will present a solo exhibition of the artist&rsquo;s work opening October 23. Von Rydingsvard will be present for the opening reception which will take place that evening from 6-8pm.</p> <p style="text-align: justify;">Featuring new sculptures in her trademark cedar and presenting work in bronze for the first time at Galerie Lelong, this body of work demonstrates von Rydingsvard as an artist at the height of her career and in full command of the artistic and physical demands of her technique. Von Rydingsvard&rsquo;s unique visual vocabulary and well-established oeuvre demonstrate her mastery as she harnesses, shapes, and assembles cedar beams, which are then sculpted through her focused and detailed cuts into familiar forms. Further texturing the work, von Rydingsvard rubs powdered graphite into each faceted surface, which emphasizes each movement made to create her sculptures while also giving the illusion of movement to the works.</p> <p style="text-align: justify;">Continuing her success in bronze works such as <em>Ona</em> on view at Brooklyn&rsquo;s Barclays Center, von Rydingsvard will present <em>Bent Lace </em>as a centerpiece of the exhibition. This new, 9-and-a-half-foot tall bronze sculpture is created in part through a unique process involving the application of a vinyl lace pattern on a full-scale wood &ldquo;model.&rdquo; This twisted form displays the continued evolution of von Rydingsvard&rsquo;s choice of the vessel as a primary image and her inventive ability to render bronze into an almost lace-like form.</p> <p style="text-align: justify;">Other sculptures in the exhibition will include <em>Five Plates</em>, a work in cedar and graphite that joins five circular forms to create a large-scale wall-mounted work that presents a new configuration for the artist. Von Rydingsvard continues her exploration of wall-mounted works with <em>Crossed Mirage </em>and a series of monumental sized tool and spoon forms.</p> <p style="text-align: justify;">Another new addition is a concentration of von Rydingsvard&rsquo;s works on paper, produced in connection with Dieu Donn&eacute;, which display an exacting irregularity of knotted silk thread through handmade paper. In their delicacy, von Rydingsvard presents a transparency that thoughtfully juxtaposes the permanence and scale of her sculpted works with an equally impactful and more delicate medium.</p> <p style="text-align: justify;">Galerie Lelong will also present <em>Heart In Hand</em>, another new bronze work by von Rydingsvard in Frieze London&rsquo;s Sculpture Park in Regent&rsquo;s Park from October 15-19, 2014.</p> <p style="text-align: justify;">Ursula von Rydingsvard&rsquo;s work is represented in the permanent collections of over 30 museums, including: the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Walker Art Center, Nelson-Atkins Museum of Art, Storm King Art Center, and Detroit Institute of Arts. Recently von Rydingsvard installed a piece at the National Gallery of Art in Washington D.C. She has presented major solo exhibitions at numerous museums and her current survey at Yorkshire Sculpture Park, which includes works both indoors and outdoors, is on view through January 4, 2015. Permanent sculptures by von Rydingsvard are in the collection of the Microsoft Corporation, Bloomberg Corporation, and Barclays Center, among many others. Works will also soon be installed at the San Francisco International Airport, Princeton University, and in Miramar, Florida. In 2015 von Rydingsvard&rsquo;s work will be included in a collateral Event of the 56th International Art Exhibition of the Venice Biennale. Von Rydingsvard lives and works in New York.</p> Thu, 09 Oct 2014 10:39:53 +0000 Gladys Nilsson - Garth Greenan Gallery - October 23rd 6:00 PM - 8:00 PM Thu, 09 Oct 2014 10:45:24 +0000