ArtSlant - Openings & events en-us 40 Charles Swedlund - Higher Pictures - September 2nd 6:00 PM - 8:00 PM <p style="text-align: justify;">Higher Pictures presents <em>Buy Photographs &ndash; Not Gold</em>! and Other Works, <em>1970&ndash;1975</em>, featuring a selection of unique and editioned photo-objects, toys, and games by Charles Swedlund.</p> <p style="text-align: justify;">In the 1950s, Swedlund was a student of the legendary photography faculty at Chicago&rsquo;s Institute of Design led by Harry Callahan and Aaron Siskind, a lineage clearly evident in a fifty-year oeuvre that comprises in-camera multiple exposures, ethereal nudes, abstracted object and surface studies, and delirious experiments in color processing, all characterized by virtuosic technical precision. A signature of his work from the early 1970s is the playful and humorous exploration of photography&rsquo;s documentary, conceptual, and didactic possibilities. These were years of making unexpected pieces&mdash;flip books, thaumatropes, puzzles, matchbooks, stickers, buttons, coins, and &lsquo;gumballs&rsquo;&mdash;that celebrate photography&rsquo;s mutability and its accessibility and infinite popularity. Swedlund&rsquo;s is a generous, collaborative gesture: many of the works on view require the participation of the viewer/user/recipient in the art to resolve an image or otherwise complete the experience.</p> <p style="text-align: justify;">Set the flip-book<em> My Wife is Pregnant </em>(1971) into motion and see one complete 360-degree rotation of his wife Elizabeth&rsquo;s pregnant silhouette. Open the matchbook <em>Pyro (Burn)</em> (1973): a note inside suggests that the matches aren&rsquo;t for lighting cigarettes but for burning the edges of the piece itself. <em>Photographic Gumball Machine </em>(1973) dispenses wooden &lsquo;gumballs,&rsquo; each featuring a different part of a nude figure; barter and trade for your favorites. Arrange the 49 small photo cubes and resulting 295 different image surfaces in <em>Photographic Cube Puzzle </em>(1974) into six discrete photographs. Press <em>PRESS Photograph </em>(1974) to hear a baby squeak and a picture purr.</p> <p style="text-align: justify;">Charles Swedlund was born in Chicago in 1935 and earned his undergraduate and graduate degrees in photography from the iconic&nbsp;Institute of Design (ID) at the Illinois Institute of Technology. A dedicated instructor, Swedlund taught photography at Southern Illinois University from 1971 until his retirement in 2000. His work is held in the collections of numerous institutions, including the Art Institute of Chicago; the Center for Creative Photography; and the J. Paul Getty Museum. Swedlund lives and works in southern Illinois.</p> Wed, 26 Aug 2015 19:23:47 +0000 Steven Broadway - Atlantic Gallery - September 3rd 5:00 PM - 9:00 PM <div> <p><strong>Atlantic gallery presents" VROOOM" - works by Steven Broadway, September 1- 5, 2015. &nbsp;</strong></p> <p><strong>Opening reception : Thursday September 3rd from 5 - 9pm.</strong></p> <p>Steven Broadway is a Parsons graduate and a Fashion Design faculty member at both Parsons and FIT.</p> </div> <div> <p>He works as an illustrator in the NYC Fashion, Advertising and Entertainment Industries.</p> </div> <div> <p>Whether drawing or photographing live models or creating imagery from his imagination, he credits NYC as the primary source of his inspiration as it provides him with the most intense and exotic array of humanity possible in the endlessly fascinating Urban Jungle / Living Museum.</p> </div> <div> <p>He has shown work in group shows at the Atlantic Gallery.</p> </div> <div> <p>Instagram: stevenbroadwaychic</p> </div> <div> <p>Blog:&nbsp;<a href="" rel="nofollow"></a></p> </div> <div> <p>Email:&nbsp;<a href="" rel="nofollow"></a></p> </div> <div> <p>&nbsp;</p> </div> Wed, 19 Aug 2015 20:24:34 +0000 Eduardo Paolozzi - C L E A R I N G Brookyln - September 3rd 6:00 PM - 8:00 PM Thu, 27 Aug 2015 08:37:00 +0000 Atom Moore - Sacred Gallery NYC - September 3rd 8:00 PM - 11:00 PM <p><strong>Watch Portraits - Photography by Atom Moore</strong><br /><strong> Open Reception - Thursday, September 3rd.</strong><br /><strong> 8-11pm</strong><br /><strong> Exhibition 9.3.15 - 9.30.15</strong></p> <p>Artist Statement:<br /> Time is universal. No matter what your background, culture, or country of origin, time is something that everyone is familiar with. The analog wristwatch is one of the most ubiquitous tools to measure time, and one that has always fascinated me. This collection of photographs encompasses my obsession with watches, from close-up macro photographs of watch movements to my own artistic compositions of multiple watch details to create unique forms. By photographing these iconic timepieces, I highlight their aesthetic details, creating portraits of individual and composite watches.</p> <p>Atom Moore is a professional photographer working with the watch industry in NYC. A graduate of the photography program at Fitchburg State University, he specializes in watch and macro photography, as well as portraiture. His photos have been featured in IW Magazine, HODINKEE, and several high end watch retail sites. As the official Red Bar Crew photographer he can be found exploring what's on the wrists of New York City's watch collectors with his Leica. He is committed to exploring the tiny handmade machines we strap to our wrists every day, inside and out. He has had several solo art exhibitions of his photogra</p> Thu, 27 Aug 2015 00:17:15 +0000 Bruce Dorfman - June Kelly Gallery - September 4th 6:00 PM - 8:00 PM Fri, 07 Aug 2015 14:42:31 +0000 Jim Gaylord, Douglas Melini, Loie Hollowell, Carl D'Alvia - Jeff Bailey Gallery - September 5th 6:00 PM - 8:00 PM Thu, 27 Aug 2015 11:48:19 +0000 Group Show - MoMA (Museum of Modern Art) - September 5th 10:30 AM - 5:30 PM <p style="text-align: justify;"><em>Transmissions: Art in Eastern Europe and Latin America, 1960&ndash;1980</em> focuses on the parallels and connections among an international scene of artists working in&mdash;and in reference to&mdash;Latin America and Eastern Europe during the 1960s and 1970s. The radical experimentation, expansion, and dissemination of ideas that marked the cultural production of these decades (which flanked the widespread student protests of 1968) challenge established art-historical narratives in the West. Artists from Prague to Mexico City developed alternative and ever-expanding networks of distribution and organization, via Paris, Vienna, and Venice, to circumvent the borders established after World War II, local forms of state and military repression, and Western accounts of artistic mastery and individualism. One major transformation across Latin American and Eastern European art scenes was the embrace of institutional critique and an emphasis on the creation of art outside a market context.</p> <p style="text-align: justify;">The exhibition brings together landmark works from MoMA&rsquo;s collection by Eastern European artists including Geta Brặtescu, Tomislav Gotovac, Ion Grigorescu, Sanja Iveković, D&oacute;ra Maurer, and the anti-art collectives Gorgona, OHO, Aktual, and Fluxus East, as well as Latin American artists such as Beatriz Gonz&aacute;lez, Lea Lublin, and Ana Mendieta. Particular attention is paid to the group of Argentine artists clustered around the influential Instituto Torcuato Di Tella, including Oscar Bony, David Lamelas, and Marta Minuj&iacute;n, who confronted the aesthetic and political implications of mass media communication&mdash;including film, television, and the telex&mdash;during a vibrant, experimental period of technological innovation and political tension.</p> <p style="text-align: justify;">Featuring series of works and major installations, several of which are on view for the first time, <em>Transmissions: Art in Eastern Europe and Latin America, 1960&ndash;1980</em> highlights multiple points of contact, often initiated and sustained through collective actions and personal exchanges between artists. The exhibition suggests possible counter-geographies, realignments, alternative models of solidarity, and new ways of thinking about art produced internationally in relation to the frameworks dictated by the Cold War.</p> <div class="exhibitcredit"> <p style="text-align: justify;">Organized by Stuart Comer, Chief Curator, Department of Media and Performance Art; Roxana Marcoci, Senior Curator, Department of Photography; and Christian Rattemeyer, Associate Curator, Department of Drawings and Prints; with Giampaolo Bianconi and Martha Joseph, Curatorial Assistants, Department of Media and Performance Art.</p> <p style="text-align: justify;">Support for the exhibition is provided by the MoMA Annual Exhibition Fund with major contributions from an anonymous donor, The Contemporary Arts Council of The Museum of Modern Art, Glenn and Eva Dubin, Blavatnik Family Foundation, The Donald R. Mullen Family Foundation, Inc., The Junior Associates of The Museum of Modern Art, Mimi and Peter Haas Fund, Franz Wassmer, Gary and Karen Winnick, and from Susan and Leonard Feinstein.</p> </div> Sun, 05 Jul 2015 14:46:46 +0000 Matthew Barney - Solomon R. Guggenheim Museum - September 5th 10:30 AM - 7:30 PM <p><strong>Matthew Barney: The <em>CREMASTER </em>Cycle</strong></p> <p><strong>Saturdays, June 6, July 11, August 8, September 5, 10:30 am&ndash;7:30 pm</strong></p> <p><strong>Peter B. Lewis Theater</strong></p> <p><strong>On select Saturdays throughout the summer, the Guggenheim presents day-long screenings of&nbsp;</strong><strong>Matthew Barney&rsquo;s epic <em>CREMASTER </em>cycle (1994&ndash;2002), a series of feature-length films offering a&nbsp;</strong><strong>contemporary, fantastical creation myth. The five films, which are in the Guggenheim&rsquo;s collection, will&nbsp;</strong><strong>be shown in order of their production.</strong></p> <p><strong>10:30 am, <em>CREMASTER 4 </em>(1994), 41 min.</strong></p> <p><strong>11:15 am, <em>CREMASTER 1 </em>(1995), 42 min.</strong></p> <p><strong>12:15 pm, <em>CREMASTER 5 </em>(1997), 55 min.</strong></p> <p><strong>2:45 pm, <em>CREMASTER 2 </em>(1999), 80 min.</strong></p> <p><strong>4:30 pm, <em>CREMASTER 3 </em>(2002), 178 min.</strong></p> <p><strong>Free with museum admission. For more information, visit </strong><strong></strong><strong>.</strong></p> Wed, 01 Jul 2015 14:46:57 +0000 Gerard & Kelly - Solomon R. Guggenheim Museum - September 7th 5:45 PM - 10:00 PM <p><strong>Gerard &amp; Kelly: <em>Timelining</em></strong></p> <p><strong>Mondays, June 8&ndash;September 7, 5:45&ndash;10 pm</strong></p> <p><strong>Rotunda Floor</strong></p> <p><strong>Artist duo Gerard &amp; Kelly stage their performance <em>Timelining </em>(2014), which investigates how personal&nbsp;</strong><strong>history, intimacy, and memory bind people in time. Recently acquired by the Guggenheim, the piece&nbsp;</strong><strong>features a series of paired performers involved in close relationships&mdash;romantic, familial, or otherwise&mdash;</strong><strong>moving through space in a circular pattern and taking turns reciting fragments of their shared histories&nbsp;</strong><strong>from the present moment backward.</strong></p> <p><strong>Free with admission. On the evenings of these performances, the museum hosts Pay What You Wish&nbsp;</strong><strong>after 5:45 pm (limited areas of the museum will be open). For more information, visit&nbsp;</strong><strong></strong><strong>.</strong></p> Wed, 01 Jul 2015 15:00:43 +0000 Jack Tworkov - Alexander Gray Associates - September 8th 6:00 PM - 8:00 PM <p style="text-align: justify;">Alexander Gray Associates presents <em>Jack Tworkov: Mark and Grid, 1931&ndash;1982</em>, its first exhibition of work by Jack Tworkov (b.1900, Biala, Poland&mdash;d.1982, Provincetown, MA), since recently becoming the representative of the artist&rsquo;s Estate. <em>Jack Tworkov: Mark and Grid</em> examines the artist&rsquo;s stylistic progression featuring work from different decades, and highlighting his conceptual approach to painting during the 1960s and 1970s. The accompanying exhibition catalog includes a segment of an unpublished original transcript of an interview between Tom E. Hinson, art historian and Emeritus Curator of Photography, Cleveland Museum of Art (OH), and Jack Tworkov recorded at his Provincetown studio in 1975.<br /> <br /> Tworkov arrived to the United States from Poland at age thirteen. He attended Columbia College as an English major, and spurred by his sister, the artist Janice Biala, he left Columbia in 1923 to begin art classes at the Art Students League and the National Academy of Design in New York. By the late 1940s, Tworkov was balancing his time between painting, his family, and teaching, working and exhibiting in New York City and the artist colony in Provincetown, MA. Although he embraced American culture, Tworkov often expressed a sense of alienation both in his public life as well as in his private existence as a deeply intellectual painter who defied the whims of the avant-garde in order to forge his own progressive and humanist approach to art. This sentiment is embodied in a 1947 journal entry where Tworkov asserted, &ldquo;Style is the effect of pressure.&rdquo; <br /> <br /> Jack Tworkov was a prominent presence in the post-war New York City arts scene. He was a founding member of the New York School&rsquo;s seminal Eighth Street Club that included Willem de Kooning, Franz Kline, and Ad Reinhardt, among others. Fairfield Porter called him &ldquo;one of the more deliberate and intellectual&rdquo; artists among the abstract expressionists. In addition to participating in many of the Club&rsquo;s debates, Tworkov was an instrumental figure behind the 1951 exhibition <em>9th Street: Exhibition of Paintings and Sculpture</em> at the 9th Street Gallery, New York&mdash;which included Jackson Pollock, Robert Motherwell, and Lee Krasner. In addition to the recognition his worked received, Tworkov was a highly regarded teacher and mentor to younger generations of painters. In the summer of 1952 he taught alongside Stefan Wolpe, Charles Olsen, John Cage, and Merce Cunningham at Black Mountain College where students included Robert Rauschenberg, Dorothea Rockburne, and Jonathan Williams. During this time, Tworkov developed his characteristic loose brushwork as seen in <em>Departure</em> (1952&ndash;53), a work inspired by the theme of Homer's <em>Odyssey</em>. The painting, an emblematic example of his work from the decade, on loan for the exhibition, offers an underlining gridded pattern delineated by sporadic swaths of color that organize the composition.<br /> <br /> While at the forefront of the development of Abstract Expressionism, Tworkov was one of the first artists to question the movement&rsquo;s commodification, cult of personality, and absorption into academia. He distinguished his views against the defined movement expressing, &ldquo;&hellip;I wanted to get away from the extremely subjective focus of Abstract-Expressionist painting. I am tired of the artist&rsquo;s agonies.&hellip;Personal feelings of that sort have become less important to me, maybe just a bit boring. I wanted something outside myself, something less subjective.&rdquo; Richard Armstrong observed in his 1987 essay, the continual presence of a diagonal axis structuring Tworkov&rsquo;s paintings that can be traced back to the early 1950s. In contrast to the action painters&rsquo; portrayal of personal struggles on canvas, Tworkov remained committed to a deliberate mark enveloped in spontaneity.<br /> <br /> As Chair of the Art Department of the School of Art and Architecture at Yale University (1963&ndash;1969), Tworkov taught artists such as Jennifer Bartlett, Chuck Close, Nancy Graves, Brice Marden, Michael Craig-Martin, and Robert Mangold, among others. His tenure at Yale coincided with a radical stylistic shift in his painting towards diagrammatic configurations spurred by a renewed interest in geometry and mathematics. Using the rectangle as a measurement tool and foundation of his compositions, Tworkov moved away from any reliance on automatism and turned to a methodical creative process. In his words: &ldquo;I soon arrived at an elementary system of measurements implicit in the geometry of the rectangle which became the basis for simple images that I had deliberately given a somewhat illusionistic cast.&rdquo; By the late 1960s, Tworkov had transformed his drawings from spontaneous sketches into calculated studies and the impulsiveness of his earlier brushstrokes into measured delineations. For the artist, it was vital that the intersection of vertical, horizontal, and diagonal lines reinforced the painting&rsquo;s fundamental structure, while the mark of his brush would be analogous to the undulating beat in music. <em>Note</em> (1968), is a signature example. <br /> <br /> A forerunner of post-Minimalism, Tworkov entered the 1970s with a conceptual perspective towards painting that evolved into self-imposed rules and limits, yet retained the presence of the artist&rsquo;s hand. Compositions from the early 1970s, larger in scale than previous work, offer playful variations on numbering systems where the divisions within the canvas followed the Fibonacci sequence of 3,5,8. Strategic linear moves underscore paintings from the &ldquo;Knight Series,&rdquo; one of Tworkov&rsquo;s pivotal bodies of work from this decade. <em>Knight Series #8 (Q3-77 #2)</em> (1977), on view for the first time in New York, highlights patterns based on the various possibilities of the Knight&rsquo;s move across a chessboard. Tworkov created the first painting in the series in 1975, the same year Saigon fell and the Vietnam War came to an end. He had taken an ardent position against the War, an attitude that was reflected in his paintings through metaphors of sequence that favored compositional logic and order over chaos and ambiguity.<br /> <br /> Throughout his career, Tworkov fundamentally reinvented painting for himself by adhering to limits that defined his grids and marks and became fertile ground for his creative process, as shown in <em>Compression and Expansion of the Square (Q3-82 #2)</em> (1982), his final painting completed just months before his death. In his words, &ldquo;The limits impose a kind of order, yet the range of unexpected possibilities is infinite.&rdquo; Without forgoing the bravura that distinguished his work from the 1950s, Tworkov developed a new visual vocabulary in order to continuously investigate spatial possibilities. As the art historian Lois Fichner-Rathus wrote, &ldquo;To [Tworkov] the process of personal growth as an artist is paramount in importance. Rather than producing endless variations on the solution to a single artistic problem, [he] has always felt compelled to generate new problems.&rdquo;</p> Wed, 29 Jul 2015 16:00:18 +0000 Saskia Janssen - International Studio & Curatorial Program (ISCP) - September 8th 6:30 PM - 8:00 PM <p style="text-align: justify;">Saskia Janssen&rsquo;s exhibition centers on a newly commissioned LP record of field recordings of human chants. During a visit to Tibet in 2014, she was struck by mantras chanted everywhere: in the streets, temples, caves, and markets. Most of these chants endeavored for peace, happiness, to generate compassion or to overcome obstacles, not just for those who chanted but also for all living beings. &nbsp;Since chanting is not allowed everywhere in Tibet, its pervasiveness is a kind of activism. As Janssen began her ISCP residency in New York, she was touched by the similarity between the intent of activist chants in the streets of New York and the chanted mantras in Tibet, and their shared goals of justice and peace. Displaying a sound piece that combines the Tibetan and American chants, Janssen will also present a photograph of a line drawing made with objects, and a line drawing that weaves across album covers installed on the wall.</p> <p style="text-align: justify;">Saskia Janssen (born 1968, Hertogenbosch, The Netherlands) lives and works in Amsterdam. She graduated from the Royal Academy of Fine Art in The Hague and was a resident at the Rijksakademie in 1996 and 1997. Her exhibitions include <em>Diamonds in the Sky</em>, Museum Het Dolhuys, Haarlem; <em>A Glass of Water (Some Objects on the Path to Enlightenment)</em>, Ellen de Bruijne PROJECTS, Amsterdam; <em>The Dutch Identity?</em>, Museum De Paviljoens, Almere; and <em>Monument for Invisible Particles</em>, a commission for the Bonairian tax building for the Central Government Real Estate Agency. Saskia Janssen&rsquo;s residency is sponsored by the Mondriaan Fund.</p> <p style="text-align: justify;"><em>Saskia Janssen: Everything Is One</em> is presented in conjunction with&nbsp;<a href="" target="_blank"><em>Ishu Han: Memory of Each Other</em></a>. Although these exhibitions were independently conceived, many of the works in both exhibitions contemplate&nbsp;Buddhist ideas and forms in a contemporary world.</p> <p style="text-align: justify;">Exhibition support is provided by The Andy Warhol Foundation for the Visual Arts, The Greenwich Collection and the New York City Department of Cultural Affairs.</p> <p style="text-align: justify;">The exhibition is organized by Kari Conte with Shinnie Kim, and&nbsp;will be accompanied by a&nbsp;fully-illustrated&nbsp;catalog available and free to the public.</p> Wed, 24 Jun 2015 13:44:27 +0000 Mark Dorf - Postmasters - September 8th 6:00 PM - 8:00 PM <p style="text-align: justify;">Postmasters is pleased to present the first solo exhibition of Mark Dorf's series <em>Emergence</em>. Shot in the Rocky Mountains of Colorado while working with ecologists at the Rocky Mountain Biological Laboratory, Dorf employs a combination of photography and digital media. The series updates the field of landscape photography into post-analog experience. <br /><br /> Through his altered images of forests and mountains, Dorf scrutinizes the influence of information on the sublime, examining how we represent the natural world through the filter of science, math and technology. <br /><br /> Humanity has an undying need to dissect and understand our surroundings: to define the unknown. We use the scientific method to mine for rules that act as umbrellas to explain the whole. Emergence explores the translation of our surroundings through this scientific method of data collection and its subsequent analysis and transformation. Science is an abstraction of our reality: collected data and theories are but translations and predictions of what we experience with our senses. Emergence repeatedly highlights the hyper-focal quality of science and the simultaneous representation of a single subject in multiple ways: photographs with pixels re-ordered by hue and saturation placed on top of the source image, landscapes split into planes representing measured division of space, and images taken from a single valley that were then rearranged to create the form of a fictional and abstracted mountain. <br /><br /> <em>Mark Dorf graduated from The Savannah College of Art and Design with a B.F.A. in Photography and Sculpture. He lives and works in Brooklyn, New York. Dorf has exhibited internationally including at Division Gallery, Toronto, 2015; Gallery Kayafas, Boston, 2015; Outlet Gallery, Brooklyn, 2015; The Lima Museum of Contemporary Art, Lima, Peru, 2014; Mobile World Centre, Barcelona, Spain, 2014; Harbor Gallery, New York, 2014; SCAD Museum of Art, Savannah, GA, 2013; and Phoenix Gallery, New York, 2012. Dorf's work is included in the Savannah College of Art and Design permanent collection.</em></p> Thu, 27 Aug 2015 10:29:13 +0000 Federico Solmi - Postmasters - September 8th 6:00 PM - 8:00 PM <p style="text-align: justify;">Postmasters is pleased to present The Brotherhood - an exhibition of animated video-paintings by Federico Solmi. This will be his second exhibition with the gallery. <br /><br /> Known for his hand-drawn, color-saturated, satirical videos, Solmi seeks to portray a dystopian vision of a present-day society that inexorably continues to regenerate and to renew itself, even as it falls apart in front of our eyes. <br /><br /> Imagine the decadence of Fellini Roma (1972). <br /><br /> Imagine a scarlet room filled with ornate, grotesque, animated portraits of Pope Ratzinger, Marie Antoinette, George Washington, Montezuma, Idi Amin, Empress Theodora, Napoleon, Columbus, Genghis Khan, Pachacuti and other powerful leaders throughout history. The Brotherhood is a collection of feared and beloved mythical figures that shaped the world. <br /><br /> "There's something missing in all writings about power: Very few are able to capture how funny it is. When they examine the horrors that power commits, the sufferings it imposes, the blood with which it stains itself, historians and political scientists always forget to highlight the ridiculous aspects of the inevitable monster and how funny they are, with their ironed uniformed, unearned medals and invented awards."- Orianna Fallaci, Interviews with History and Conversations with Power. <br /><br /> In this new video portrait series Solmi parodies the iconography of Historical Portraiture with his own absurd portraits of the leaders, members of The Brotherhood, an organization whose goal is to keep global chaos alive and well and to promote the degeneration of human race. Through his portraits and short narrative videos Solmi exposes history as propaganda - fabricated, manipulated, and carefully crafted by leaders and governments in order to suit their ideals. He underscores how skewed, incomplete, and irresolute is our knowledge of the past, and he challenges us to question our beliefs on history. Ultimately he claims that through our own patriotic or religious partisanship, we may be perpetuating the myth. <br /><br /> <em>Federico Solmi (born in Italy, 1973) currently lives and works in New York. Upcoming museum exhibitions include the Haifa Museum of Art, Israel (solo), Centro Cultural Matucana 100, Santiago, Chile (solo), MIT Boston, Artium Museum-Centre of Contemporary Art in Vitoria-Gasteiz, Basque Country, Spain, CA2M Centro De Arte Dos De Mayo, Madrid, Spain. Solmi's works have been exhibited in several international biennials, such as Frankfurt B3 Biennial of Moving image (forthcoming), First Shenzhen Animation Biennial, China (2013), the 54th Venice Biennial (2011), and Site Santa Fe Biennial, New Mexico (2010). In 2009 Solmi was awarded the John Simon Guggenheim Memorial Fellowship in the category of Video &amp; Audio by the Guggenheim Foundation. Federico Solmi will teach an experimental filmmaking class at Yale University, New Haven in 2016.</em></p> Thu, 27 Aug 2015 10:30:11 +0000 Group Show - Apexart - September 9th 6:00 PM - 8:00 PM <p style="text-align: justify;"><em>Life After Death and Elsewhere</em> is an exhibition conceived and organized in collaboration with prisoners on Death Row in Nashville, Tennessee. <br /> <br /> The show will focus on designs by the prisoners for their own memorials, which take various forms such as drawings, photographs, paintings, models, and text-based pieces, or, alternately, they will submit works that address their refusal to memorialize themselves. <br /> <br /> These projects represent a response to Tennessee&rsquo;s recent efforts to move forward on executions after a hiatus of over five years. A state that has executed only six people since 1960 has recently scheduled over ten executions. As prisoners on death row, and imminent victims of that state-sponsored violence, these prisoners are reduced to the &ldquo;bare life&rdquo; described so powerfully by philosophers, and their projects are an effort to make this experience and these conditions visible. <br /> <br /> The prisoners contributing to this exhibition have, during the past few years, participated in a number of unusual partnerships with artists, writers, and educators in Nashville. Through courses, publications, and exhibitions, they have endeavored to address the realities of the death penalty and incarceration, and they have aspired to bring their voices to a public beyond the walls of prison. This exhibition will be the latest contribution to this ongoing effort. <br /> <br /> <br /> Unsolicited Proposal Program Winner 2015-16</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Robin Paris</strong> is associate professor and chair of the Department of Photography at Watkins College of Art, Design &amp; Film in Nashville, Tennessee. She is a graduate of The Evergreen State College in Olympia, Washington, and the Savannah College of Art and Design, and she has taught at Belmont University and The University of the South, Sewanee. Her work has appeared in exhibitions throughout the country. She has been co-facilitating the art workshop in Unit 2 (the Death Row unit) of the Riverbend Maximum Security Institution since 2013. Her recent work has involved collaborations with its residents. <br /> <br /> <strong>Tom Williams</strong> is assistant professor of art history at Watkins College of Art, Design &amp; Film in Nashville, Tennessee. He is a graduate of Stony Brook University and the Whitney Museum Independent Study Program, and he has taught at the School of Visual Arts, the Museum of Modern Art, New York University, and Vanderbilt University. His writings have appeared in <em>Art in America</em>, <em>Grey Room</em>, and other publications. He has been co-facilitating the art workshop in Unit 2 (the Death Row unit) of the Riverbend Maximum Security Institution since 2013.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">An Unsolicited Proposal Program winning exhibition.<br /> Learn more about the <a href="" target="_blank">Unsolicited Proposal Program</a>. &nbsp;</p> Thu, 16 Jul 2015 16:46:13 +0000 Group Show - BRIC Arts | Media House - September 9th 7:00 PM - 9:00 PM <p style="text-align: justify;"><em>Handmade Abstract </em>will bring together 13 emerging and mid-career artists who are dedicated to the visual language of abstraction and whose work emphasizes the handcrafted nature of the art and processes of fabrication. The exhibition will focus on work that is inspired by the quality and physical nature of its materials and at times shows the influence of crafting techniques; merging the abstract form with a sense of the handmade, tactile, quirky, and personal. The exhibition will also include a number of younger artists who bring new meaning and relevance to abstraction through their work. A variety of media will be represented &ndash; paintings and mixed-media wall works, sculpture, photography, video, sound, and installation.&nbsp;A catalogue and pubic programs will accompany the exhibition.</p> Thu, 27 Aug 2015 08:31:50 +0000 Elise Freda - Causey Contemporary - September 9th 6:00 PM - 8:00 PM <div class="page" title="Page 2"> <div class="section" style="background-color: rgb(100.000000%, 100.000000%, 100.000000%);"> <div class="layoutArea"> <div class="column"> <p>Manhattan, NY, June 2015: Causey Contemporary is pleased to announce, The Continuing Line, an exhibition by Elise Freda, from September 9th till October 11th. A reception will be held on September 9th from 6 - 8 pm.</p> <p>&ldquo;My paintings and drawings have long been both abstract and based in nature," explains Freda. They begin with observation. I find my shapes, colors, spaces, textures and line in the trees, plants, fields, mountains and skies that surround my studio in Callicoon's rolling Beechwoods.&rdquo; 
</p> <p>The title of this exhibit, The Continuing Line, evolved from Freda&rsquo;s recognition that line has been a constant in her work since 1980.
<br /> 
<br /> &ldquo;The line starts as part of the underpainting, weaves through the building of layers, and ends up on the surface of my paintings and works on paper,&rdquo; said Freda.
</p> <p>Her paintings explore a world of contrast: light/dark, warm/cool, surface/depth, and organic/ geometric. Her work is process oriented, and she finds her image during the process of making it.
</p> <p>&ldquo;All of the changes, additions and subtractions become part of the finished work,&rdquo; she explains. &ldquo;I enjoy the mystery of abstraction, the unknown eventually evolving in to the known.&rdquo;
</p> <p>Freda came to the Upper Delaware River Valley from New Jersey in 1965 when her parents, Fred and Helga Andkjar, both artists, bought a farmhouse with land and a barn for a studio in Callicoon.
</p> <p>&ldquo;It was a good place to grow up as the outdoors played a major role and the Delaware River was a perfect playground,&rdquo; she recalls.
<br /> 
<br /> She and her husband Joe returned to the river valley in 1993 when Elise became Gallery Director for the Delaware Valley Arts Alliance. Her work has been exhibited extensively in group and solo shows throughout New York State, Pennsylvania, and across the U.S.; her work has been reviewed in The New York Times, The Wall St. Journal, The Boston Globe and The Brooklyn Rail.
</p> <p>
</p> </div> </div> </div> </div> <div class="page" title="Page 3"> <div class="section" style="background-color: rgb(100.000000%, 100.000000%, 100.000000%);"> <div class="layoutArea"> <div class="column"> <p>Artist&rsquo;s Statement</p> <p>My paintings begin with looking out my windows at a dramatic, southern view of the Catskills. Morning's mist envelopes the creek valley, mysteriously revealing and concealing. Afternoon brings warm light and shadows falling on the grid of fields and stonewalls. Tall, inky trees contrast against glowing skies of dusk and twilight. Night brings rich darkness punctuated by stars and moons. At all times there is a constant touchstone of a long, languid, line of light where the mountains meet the sky.</p> <p>My visual response to these elements of nature is translated in to the lines, gestures, atmospheric spaces and geometric shapes found in my paintings. I use this vocabulary to find my images during the process of making them.</p> <p>Biography</p> <p>Ms. Freda has been developing and exhibiting her paintings since 1990. Her works have appeared in both group and solo shows throughout the Eastern United States at such places as the Randall Beck Gallery in Boston, Stephen Haller Gallery in New York, the Lorraine Kessler Gallery in Poughkeepsie, the Banana Factory in Pennsylvania, The Delaware Arts Center, the Amarillo Museum of Art, Binghamton University and Skidmore College among others. Her works are in the permanent collections of Coventry Paper, Canter Fitzgerald and Champion Paper. Additionally, they have been published in The New York Times, The Philadelphia Inquirer, The Brooklyn Rail, The Boston Globe and the Times Herald Record.</p> </div> </div> </div> </div> Wed, 01 Jul 2015 19:13:06 +0000