ArtSlant - Openings & events en-us 40 - Apexart - October 19th 7:00 PM - 8:00 PM <p style="text-align: justify;">Organized by<em>&nbsp;</em><strong>Albert Mobilio</strong>,&nbsp;<a href="" target="_blank"><em>Double Take</em></a>&nbsp;is a unique reading series that asks award winning and emerging poets, novelists, editors, and artists to trade takes on shared experiences.<br /><br /><span style="text-decoration: underline;">Featuring:</span><br /><strong>Sunil Yapa</strong>&nbsp;and&nbsp;<strong>Tiphanie Yanique</strong>&nbsp;meditate on the subject of orphans.&nbsp;<br /><br /><strong>Christopher Stackhouse</strong>&nbsp;and&nbsp;<strong>Rebecca Wolff</strong>&nbsp;think about watching porn together.&nbsp;<br /><br /><strong>Robert Polito</strong>&nbsp;and&nbsp;<strong>Deborah Landau</strong>&nbsp;explore Los Angeles.</p> <p style="text-align: justify;"><strong>Deborah Landau</strong>&nbsp;is the author of three collections of poetry, most recently&nbsp;<em>The Uses of the Body</em>, which was featured on NPR&rsquo;s&nbsp;<em>All Things Considered</em>, and included on "Best of 2015" lists by&nbsp;<em>The New Yorker</em>,&nbsp;<em>Vogue</em>,&nbsp;<em>BuzzFeed</em>, and&nbsp;<em>O, The Oprah Magazine</em>. Her work has appeared recently in&nbsp;<em>The New Yorker</em>,&nbsp;<em>The New York Times</em>, and<em>The Best American Poetry</em>, and she was awarded a 2016 Guggenheim Fellowship. She teaches in and directs the Creative Writing Program at New York University.&nbsp;<br /><br /><strong>Robert Polito</strong>&nbsp;is a poet, essayist, editor, and biographer. His most recent books are the poetry collection&nbsp;<em>Hollywood &amp; God and Farber on Film: The Complete Film Writings of Manny Farber</em>. Polito received a National Book Critics Circle Award for Savage Art: A Biography of Jim Thompson. He is also the author of the poetry collection<em>Doubles</em>, as well as&nbsp;<em>A Reader&rsquo;s Guide to James Merrill&rsquo;s The Changing Light at Sandover</em>. The founding director of the Graduate Writing Program and the Riggio Honors Program: Writing &amp; Democracy at the New School, he served as President of the Poetry Foundation in Chicago (2013-2015), before returning to New York.&nbsp;<br /><br />Poet, critic, and teacher&nbsp;<strong>Christopher Stackhouse</strong>&rsquo;s books include&nbsp;<em>Seismosis</em>, which features his drawings with text by writer/translator John Keene; and a volume of poems,&nbsp;<em>Plural</em>. His writing has been published in numerous journals and periodicals including&nbsp;<em>Der Pfeil</em>,&nbsp;<em>American Poet-The Journal of The Academy of American Poets</em>,<em>Modern Painters</em>,&nbsp;<em>Art in America</em>,&nbsp;<em>BOMB</em>,&nbsp;<em>MAKE</em>, and&nbsp;<em>The Brooklyn Rail</em>. His recent contributions to artist monographs include Kara Walker&rsquo;s Dust Jackets for&nbsp;<em>The Niggerati</em>;&nbsp;<em>Basquiat &ndash; The Unknown Notebooks</em>; and, forthcoming,&nbsp;<em>Stanley Whitney: American Painter</em>. He frequently lectures on art, literature, and American culture, and is co-founder of This Red Door, a collaborative experiment in art, social practice, and interventional curation.&nbsp;<br /><br /><strong>Rebecca Wolff</strong>&nbsp;is founding editor of Fence and Fence Books. Her novel&nbsp;<em>The Beginners</em>&nbsp;was published in 2011 by Riverhead Books. Her four books of poems are<em>Manderley</em>, selected for the National Poetry Series in 2001;&nbsp;<em>Figment</em>, winner of the 2004 Barnard Women Poets Prize;&nbsp;<em>The King</em>, published by W. W. Norton in 2009;&nbsp;<em>One Morning&mdash;</em>, published by Wave Books in 2015. Her essays and poems have been anthologized by Soft Skull Books, Wave Books, The Free Press, and Iowa University Press, among others. Wolff is founding editor and publisher of&nbsp;<em>The Constant Critic</em>, a weekly poetry book-review website. Wolff lives in Hudson, New York.&nbsp;<br /><br /><strong>Tiphanie Yanique</strong>&nbsp;is the author of the novel&nbsp;<em>Land of Love and Drowning</em>, which won the 2014 Flaherty-Dunnan First Novel Award from the Center for Fiction, the Phillis Wheatley Award for Pan-African Literature, and the American Academy of Arts and Letters Rosenthal Family Foundation Award. Yanique is also the author of a collection of stories,&nbsp;<em>How to Escape from a Leper Colony</em>. Yanique is from the Virgin Islands and is a professor in the MFA program at the New School. She lives in New Rochelle, New York with her husband and their two children. Her collection of poems,&nbsp;<em>Wife</em>, was published in November 2015.&nbsp;<br /><br /><strong>Sunil Yapa</strong>&rsquo;s first novel&nbsp;<em>Your Heart is a Muscle the Size of a Fist</em>&nbsp;is a&nbsp;<em>Time Magazine</em>&nbsp;and an Amazon Best Book of the year, a Barnes &amp; Noble Discover Great New Writers Pick, and an Indies Next Pick. The winner of the 2010 Asian American short story award, and numerous fellowships, Yapa&rsquo;s work has appeared in&nbsp;<em>Guernica</em>,&nbsp;<em>American Short Fiction</em>,&nbsp;<em>The Margins</em>,&nbsp;<em>Hyphen</em>,&nbsp;<em>LitHub</em>, and others. The biracial son of a Sri Lankan father and a mother from Montana, Yapa has lived around the world, including The Netherlands, Thailand, Greece, Guatemala, Argentina, Chile, China, India, London, Montreal, and New York City. He is currently 39 years old and lives alone in upstate New York.</p> <p style="text-align: justify;"><strong><a href="" target="_blank">Albert Mobilio</a></strong>&nbsp;is the recipient of a Whiting Writers' Award and the National Book Critics Circle award for reviewing. His work has appeared in&nbsp;<em>Harper's</em>,&nbsp;<em>Black Clock</em>,<em>BOMB</em>,&nbsp;<em>Cabinet</em>,&nbsp;<em>Open City</em>, and&nbsp;<em>Tin House</em>. Books of poetry include&nbsp;<em>Bendable Siege</em>,&nbsp;<em>The Geographics</em>,&nbsp;<em>Me with Animal Towering</em>, and&nbsp;<em>Touch Wood</em>.&nbsp;<em>Games and Stunts</em>, a book of short fictions, is forthcoming. He is an assistant professor of literary studies at the New School's Eugene Lang College and an editor at&nbsp;<em>Hyperallergic Weekend</em>and contributing editor at&nbsp;<em>Bookforum</em>.</p> <p style="text-align: justify;">Please join us for this free apexart&nbsp;<a href="" target="_blank">event</a>.&nbsp;</p> Tue, 18 Oct 2016 13:42:24 +0000 Max Beckmann - The Metropolitan Museum of Art - October 19th 10:00 AM - 5:30 PM <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="rich-text"> <p style="text-align: justify;">This exhibition will put a spotlight on artist Max Beckmann's special connection with New York City, featuring 14 paintings that he created while living in New York from 1949 to 1950, as well as 25 earlier works from New York collections. The exhibition assembles several groups of iconic works, including self-portraits; mythical, expressionist interiors; robust, colorful portraits of women and performers; landscapes; and triptychs.</p> <p style="text-align: justify;">During the late 1920s, Max Beckmann (1884&ndash;1950) was at the pinnacle of his career in Germany; his work was presented by prestigious art dealers, he taught at the St&auml;del Art School in Frankfurt, and he moved in a circle of influential writers, critics, publishers, and collectors. After the National Socialists labeled his works "degenerate" and confiscated them from German museums in 1937, Beckmann left the country and immigrated to Holland, where he remained for 10 years. In 1947, he accepted a temporary teaching position St. Louis, Missouri, and in September 1949, he moved to New York City, which he described as "a prewar Berlin multiplied a hundredfold." Life in Manhattan energized him and resulted in such powerful pictures as <em>Falling Man</em> (1950) and <em>The Town (City Night)</em> (1950).</p> <p style="text-align: justify;">In late December 1950, Beckmann set out from his apartment on the Upper West Side of New York to see his <em>Self-Portrait in Blue Jacket</em> (1950), which was on view at The Metropolitan Museum of Art in the exhibition <em>American Painting Today</em>. However, on the corner of 69th Street and Central Park West, the 66-year-old artist suffered a fatal heart attack and never made it to the Museum. The poignant circumstance of the artist's death served as the inspiration for this exhibition.</p> <p style="text-align: justify;">#MaxBeckmann</p> <p style="text-align: justify;">Accompanied by a catalogue</p> </div> <div class="rich-text"> <p style="text-align: justify;">The exhibition is made possible by The Isaacson-Draper Foundation.</p> <p style="text-align: justify;">It is supported by an Indemnity from the Federal Council on the Arts and the Humanities.</p> <p style="text-align: justify;">The catalogue is made possible by The Andrew W. Mellon Foundation.</p> </div> </div> </div> Tue, 18 Oct 2016 18:31:57 +0000 Anila Quayyum Agha - Aicon Gallery - New York - October 20th 6:00 PM - 8:00 PM <p class="Default" style="text-align: justify;"><em>Press Preview &amp; Opening Reception: Thursday, October 20</em><em>th </em><em>6:00pm &ndash; 8:00pm </em></p> <p class="Default" style="text-align: justify;"><em>35 Great Jones St., New York NY 10012 </em></p> <p class="Default" style="text-align: justify;"><em>Featuring the Artist in discussion with <strong>Sona Datta</strong>, </em></p> <p class="Default" style="text-align: justify;"><em>Curator of South Asian Art, Peabody Essex Museum </em></p> <p class="Default" style="text-align: justify;"><strong>Aicon Gallery </strong>is pleased to present <em>Walking with My Mother&rsquo;s Shadow</em>, the first major New York solo exhibition by <strong>Anila Quayyum Agha</strong>. In 2014, Anila&rsquo;s now iconic sculptural installation <em>Intersections </em>was awarded the Public Vote Grand Prize and tied the Juried Grand Prize at the 2014 <strong>ArtPrize </strong>competition in Grand Rapids, MI. The installation has since traveled internationally and nationally with critical acclaim in exhibitions at the National Sculpture Museum in Valladolid, Spain, The Contemporary Art Museum in Dallas, TX; Rice University Art Gallery in Houston, TX, and the Peabody Essex Museum in Salem, MA. Derivations of <em>Intersections </em>have been exhibited in Korea, Turkey, and the U.A.E. as well as in the United States. Currently, <em>All The Flowers Are For Me </em>is showing at the Brooklyn Academy of Music (BAM) in Brooklyn, NY. Agha&rsquo;s Opening Reception and exhibition in New York will inaugurate Aicon Gallery&rsquo;s newly expanded space, which is designed over two floors and spans three large gallery spaces. This expansion significantly broadens the art gallery&rsquo;s programming and curatorial vision.</p> <p class="Default" style="text-align: justify;">Anila has lived on the boundaries of different faiths such as Islam and Christianity, and in cultures like Pakistan and the USA. Her art is deeply influenced by the simultaneous sense of alienation and transience that informs the migrant experience. This consciousness of knowing what is markedly different about the human experience also bears the gift of knowing its core commonalities, and it is these tensions and contradictions that are embodied in her artwork. Through the use of a variety of media, from large sculptural installations to embroidered drawings, she explores the deeply entwined political relationships between gender, culture, religion, labor and social codes. In her work she has used combinations of textile processes and sculptural methodologies to reveal and question the gendering of traditional craft as inherently domestic and, thus, excluded from being considered a fine art form.</p> <p style="text-align: justify;">Anila&rsquo;s current work in this exhibition reflects on the complexities of love, loss and gains; experienced by her over the past year. The works on paper and the sculptural installations were borne from a mix of emotions following her son&rsquo;s wedding and her mother&rsquo;s passing within weeks of each other early this year. The personal loss of a mother, in a broader sense, is compounded by the communal loss - of loved ones, identities, homes and countries &ndash; experienced by myriad people across a world ravaged by the atrocities of war and displacement. Simultaneously, Anila also sees this body of work as reflective of joy for her son&rsquo;s future life, along with the lives of many others across the world who have been given second chances through resettlement in new lands, but who will always carry with them a sense of loss for their uprootedness.</p> <p class="Default" style="text-align: justify;">Throughout her oeuvre, Anila remains fascinated by the interplay of presumed opposites that are never quite so: male and female, the definite and the amorphous, the geometric and the organic. In this new body of work, these concerns emerge in an exploration of joy and grief, the nuptial and the funereal, the seen and the unseen. Within these works she examines the amoebic transparency of sorrow, and its ability to reflect and inflict light and darkness. Anila worked with materials that are transparent or ethereal, that inhabit the limbo of loss, a space between visibility and invisibility, reality and unreality, light and shadow, real and unreal. These materials appear fragile, but are often resilient, hardy, even stubborn just like sorrow when cut, pushed, pulled, scraped, or sewn together.</p> <p class="Default" style="text-align: justify;">Materials such as steel, cut with delicate patterns, or embroidery and beads on white, black and brown paper, reflect and refract light. They represent space that belongs to one more than the other, evaluate the color of her body and the bodies of others, and the cycles of life and death. The series in white reference the white of marble gravestones and shrouds, both of which are a central element of death and its commemoration in Pakistan. The black drawings speak of the surface and the hidden layers often not seen or mined. The brown drawings talk of our bodies, and the longing to belong and to matter. The red and black sculptural installations magnify floral and geometric motifs to inhabit a large space, covering and beautifying all that are in it.</p> <p class="Default" style="text-align: justify;">In the floral beauty of the patterns and layers, the cuts and embroidery strive to capture the identity, beauty, and femininity of her mother and other mothers that become obscured by gravestone and shroud. These patterns pay homage to the organic to which death is inevitably linked but from which new life also emerges. The many colored, metallic embroidery threads in these works are often used in women&rsquo;s wedding dresses in Pakistan but never for shrouds. In stitching these threads into paper, and cutting patterns in steel, she connects the wedding that is believed the beginning of a woman&rsquo;s life-giving journey, and the funeral that is its ultimate end. This interplay of the nuptial and the funereal suggests the larger cycle of life binding us through gossamer fragility and beauty of a bloom that will undoubtedly fade.</p> <p style="text-align: justify;">Anila Quayyum Agha was born in Lahore, Pakistan and lives and works in Indianapolis, IN. She has an MFA from the University of North Texas and currently is the Associate Professor of Drawing at the Herron School of Art and Design at Indiana University Purdue University Indianapolis (IUPUI). She has exhibited in over twenty solo shows and fifty group shows. Her work is in the collections of the <em>Peabody Essex Museum </em>in Salem, MA and the <em>Kiran Nadar Museum of Art </em>in New Delhi, India. Anila has also won numerous awards and grants like the Efroymson Artist Fellowship. The most recent accolade is the prestigious Glen W. Irwin, Jr., M.D. Research Scholar Award, awarded by IUPUI. This is her first major solo exhibition in New York City and with Aicon Gallery.</p> Fri, 07 Oct 2016 07:44:11 +0000 Elliot Erwitt - Edwynn Houk Gallery - October 20th 6:00 PM - 8:00 PM Fri, 07 Oct 2016 10:19:39 +0000 Mary Carlson - Elizabeth Harris Gallery - October 20th 6:00 PM - 8:00 PM <blockquote> <p style="text-align: justify;">&ldquo;Descend, so that you may ascend." -<em> St. Augustine, Confessions</em><br />&ldquo;Vast Chairs of upturned faces, line o&rsquo;er line, Then my blood froze, for every face was mine." - <em>G.K.Chesterton, The Mirror of Madmen</em><br />&ldquo;Pleased to meet you." - <em>Mick Jagger/Keith Richards, lyrics from Sympathy for </em><em>the Devil</em><br /><br /></p> </blockquote> <p style="text-align: justify;">Mary Carlson's third exhibition at Elizabeth Harris Gallery, <em>Demons</em>, is a continuation of her 2014 show called Paradise which consisted of sculptures of various saints. Adam and Eve, and flowers made out of glazed porcelain. This exhibition starts with Shame, a figure referencing Massacio's Expulsion and goes on to depict various demons and figures - many inspired by Giotto's Scrovegni chapel in Padua, Italy. They range from the human-like demons in the last judgment, where people are swallowed, pushed and pulled in hell, to the figures elsewhere in the chapel - Envy, Judas, and Joachim. Envy is shown with an outreaching arm, a bag of money in the other, and a snake coming out of her mouth which then circles back to her forehead. Judas has a demon at his back whose paw is gently touching his shoulder. Joachim has gone to the desert to decide whether or not he should leave his wife, Anne. He has a dream and decides to stay with his wife and they become the grandparents of Jesus.</p> <p style="text-align: justify;">The show also includes St. Anthony the Great inspired by Martin Schongauer&lsquo;s etching of The Temptation of St. Anthony. St. Anthony lived in the desert in partial or complete isolation. He was haunted by illusions of wild beasts, snakes, wolves and scorpions. which would disappear once he verbally confronted them. After Anthony emerged from his isolation legend has it that he appeared serene and in good health. In Carlson's version the demons are not included but Anthony appears off-balance nevertheless.</p> <p style="text-align: justify;">Carlson is especially fond of various representations of Saint Margaret of Antioch - from the Western Church's depiction of her emerging from the body of a demon, to the Eastern Church's depiction of Margaret going after a demon with a hammer. Here's the story - Margaret of Antioch lived in the 4th century, and was asked by a Roman Governor to marry, but she refused. He threw her in a dungeon with a dragon who proceeded to swallow her. She escaped by tickling its innards and emerged intact. She is always depicted standing up; therefore not a victim. St. Margaret is also the patron saint of childbirth. pregnant women, and kidney diseases.<br /><br />Throughout her career, Carlson has depicted everything from furniture and dishes to US flags, underwater creatures and birds. In this show she uses as a starting point, paintings. frescos and manuscripts of various religious themes. She is a recipient of a John Simon Guggenheim Fellowship, grants from the National Endowment for the Arts, New York Foundation for the Arts. and 0 Louis Comfort Tiffany Fellowship in 2015. The artist would like to gratefully acknowledge the Louis Comfort Tiffany Foundation for their support. She has shown her work at the Venice Biennale. Vienna Kunsthalle. KOnstlerhaus Bathanien Berlin, the New Museum. ArtOmi, and many galleries in the US.<br /><br />Mary Carlson was born in Stevens Point, Wisconsin and she lives and works in New York City and upstate New York.<br /><br />The gallery is located at 529 West 20th Street, 6th floor, and is open Tuesday through Saturday 11-6. There will be a reception for the artist on Thursday. October 20th from 6-8pm.<br /><br />For further information contact Miles Manning at 212 463-9666.</p> Tue, 18 Oct 2016 13:13:40 +0000 Martha Clippinger - Elizabeth Harris Gallery - October 20th 6:00 PM - 8:00 PM <p style="text-align: justify;">Elizabeth Harris Gallery is pleased to present<em> &iexcl;Loter&iacute;a!</em>, the gallery's third solo exhibition of works by Martha Clippinger. Located at 529 W 20th Street, 6th floor. The gallery is open Tuesday through Saturday,11:00am-6:00pm. The exhibition will run from October 20- December 3. 2016, with a reception for the artist on Thursday, October 20th.<br /><br />In <em>&iexcl;Loter&iacute;a!</em>, Clippinger presents recent painted wood constructions and mixed-media collages where color. geometry, and texture are all constants. The title of the exhibition takes its name from La Loter&iacute;a, a Mexican game of chance played on a gridded game board, is reflected in the broadside for the exhibition, which includes an essay by Stephanie Buhmann.<br /><br />Clippinger embraces a variety of materials and continues to produce works that blur the line between painting and sculpture. After spending the majority of 2014, living and working in Oaxaca, Mexico through the support of a Fulbright grant. Clippinger's recent works reflect encounters with the textiles, architecture. and light of the region.<br /><br />As Buhmann notes in her essay for <em>&iexcl;Loter&iacute;a!&nbsp;</em></p> <p style="text-align: justify;">&ldquo;Intuitive, experimental, and flexible, Clippinger is an artist who allows herself to make unexpected discoveries and to let her materials guide some of her decision-making process. Nevertheless. it is the grid that serves as stabilizing agent; it is from where Clippinger's constructed. painted and woven forms grow and against what they lean. The dichotomy of improvisation and structure marks the core of Clippinger's oeuvre."<br /><br />Born in Columbus, Georgia, Martha Clippinger received a BA from Fordham University and an MFA from Mason Gross School of Art, Rutgers University. She has been a fellow at the Sam and Adele Golden Art Foundation. MacDowell Colony. Edward F. Albee Foundation, and the Marie Walsh Sharpe Art Foundation. Clippinger has received numerous grants and awards, including a 2014 American Academy of Arts and Letters Purchase Award and a 2013 Fulbright-Garcia Robles research grant completed in Oaxaca. Mexico. Recent exhibitions include: Fleisher-Ollman Gallery. Philadelphia, PA: c2c Project Space, San Francisco, CA: Artspace, Raleigh, NC; Dorsky Gallery Curatorial Programs, Minus Space. and others in New York. Her work is included in several public collections including the Nerman Museum of Contemporary Art, Overland Park, KS. Capital One Corporate Collection, Richmond, VA, and the University of Texas Southwestern Medical Center, Dallas, TX. Her work has been featured in The Brooklyn Rail, Hyperallergic, and The Huffington Post. She is represented by Elizabeth Harris Gallery and lives and works in Durham, North Carolina.<br /><br />For further information please contact Miles Manning at 212 463 9666.</p> Tue, 18 Oct 2016 13:04:51 +0000 David Hepher - Flowers Gallery NY - October 20th 6:00 PM - 8:00 PM <p style="text-align: justify;">An exhibition of major paintings by David Hepher, exploring&nbsp;suburban house-fronts and&nbsp;monumental tower-blocks and incorporating&nbsp;real architectural materials such as concrete&nbsp;and&nbsp;wallpaper.</p> Tue, 30 Aug 2016 18:14:18 +0000 David Hepher - Flowers Gallery NY - October 20th 6:00 PM - 8:00 PM <p>&ldquo;I was drawn to painting tower blocks not because I had any personal message to say, but because I felt that it was a striking element of the landscape. It&rsquo;s like Constable had the Stour Valley and Turner had the Medway, and I have Camberwell. This is what landscape painters do &ndash; they keep going back to familiar subjects and views and finding new inspiration in them. C&eacute;zanne used to say that he could always paint the Mont Saint Victoire. By moving his feet a few inches, he would find a new view. By changing his position, only slightly, he would find another painting.&rdquo; - David Hepher</p> <p>Flowers Gallery is pleased to announce an exhibition of paintings by British artist David Hepher, the artist&rsquo;s first solo presentation in the United States. For forty years British artist David Hepher has focused his singular vision on the domestic high-rises of South London, through which he has channelled the diverse currents that have swept the international world of contemporary art. Finding his subject in the expansive social housing estates built throughout the 1960s and 70s, Hepher has captured the formal beauty of their grid-like structures as well as the physical and emotional traces of their inhabitants.</p> <p>The paintings in the present exhibition span the past two decades. In paintings of the 2000&rsquo;s such as Winterreise, the austere realist style of Hepher&rsquo;s early work was replaced by an increased engagement with the physical nature of the subject matter, and appropriation of architectural elements such as concrete and spray paint within his mixed media paintings. Works such as Durrington Towers II have been prepared with a brutal shuttered concrete ground, which replicates the builder&rsquo;s application of textured facades, and pushes the paintings to the brink of abstraction. The surface is overlaid with the spraycan scrawls and slogans of found graffiti, alongside Hepher&rsquo;s own marks and art historical motifs, softening the hard-edged geometric structures with the feathered curves of gestural expression.</p> <p>A recent series of smaller works, known collectively as &lsquo;pavement horizons&rsquo;, marks a distinct shift in viewpoint and scale. Honing in on the juncture at which the buildings rise from the ground, each painting portrays a life-size frontal view of a section of concrete wall and the right angle it forms with the pavement, presenting an intimate record of an ordinarily overlooked aspect of the landscape. While the concrete draws the eye to the surface, they can also conjure the impression of a sublime landscape, an illusion upheld by evocative titles such as Cloudburst and The Monk by the Sea, the latter named after a work by German Romantic landscape painter Caspar David Friedrich. In contrast to the monumentality of the towers, their human scale places the viewer in close physical proximity to the subject, inviting intimate reflection on the quiet aesthetic qualities of these frequently bypassed details of modern life.</p> Tue, 04 Oct 2016 15:10:59 +0000 Dennis Dawson - Frosch & Portmann Gallery - October 20th 6:00 PM - 8:00 PM Thu, 13 Oct 2016 16:22:24 +0000 Sydney Blum - Kim Foster Gallery - October 20th 6:00 PM - 8:00 PM <p class="p8" style="text-align: justify;">Icarus-Colour-Space, a new series of work by Canadian based artist Sydney Blum, is shaped like a wing, suggesting a continuum of time and space. The ways in which the grids, colors and shapes are composed make you feel as if you are about to take off. This is where the title of the exhibition, Icarus-Colour-Space, comes in. Icarus is, of course, the figure in Greek myth whose father fashioned wings of feathers and wax so that they could escape imprisonment on an island. Icarus, young and full of life, skateboarded through the sky, as it were. Yet in spite of his father&rsquo;s warnings, he flew too near the sun, the wax on his wings melted, and he fell to his death.</p> <p class="p8" style="text-align: justify;">Sydney Blum has used the idea of Icarus flying towards the sun as the impetus of her new work. Here, she attempts to describe and create the motion and sensation of flying but in solid form: an incongruity that is not lost on her. She juxtaposes and distorts colors and lines and shapes in such ways as to produce seemingly contradictory vibrating waves of energy in our consciousness. We see the form, the suggestion of a wing, a shield, an expanding and contracting grid underlaid with gradations of color. The flight that draws us through this complex undulating interplay of color, shapes, shadows and light takes us somewhere else. Towards the sun, perhaps. Into the unknown, certainly.</p> <p class="p8" style="text-align: justify;">In the previous series &ldquo;Fuzzy Geometry&rdquo; we were guided to an inner world of uncertain boundaries of color and space, while this new work describes a movement outward, upward. The mechanics are quite visible and intentionally evident as one moves around the pieces cantilevered from the wall. Perhaps a collaboration between Icarus&rsquo; father and the Wright Brothers. It is strangely optimistic.</p> <p class="p8" style="text-align: justify;">For Sydney, the creation of a piece of sculpture is an exploration. The development of the process, sourcing the materials and designing the structures are only a part of the whole undertaking. She examines a large selection of computer programs and websites in her research into earth energies, the vibrations of color, grid formations, oscillation, geometric theory, seismology, interference patterns, dowsing, Tai Chi, Chi Gong, shape theory and metallurgy. It is quite evident that she is deeply interested in subtle energies. For the new series, she has also had lengthy discussions with printers who produce the raw materials for the pieces, and she has worked closely with a metal machinist to design the movable mechanism holding the sculptures out from the wall. All this is in addition to thinking deeply about the meaning and implications of her work, manipulating the materials, and engaging her creativity and imagination throughout every aspect of the project.</p> <p class="p8" style="text-align: justify;"><em>Sydney Blum has had exhibitions at P.S. 1, the New Museum, the Sculpture Center, the Fine Arts Museum of Long Island, Massachusetts College of Art in Boston as well as locations in Europe. Her work has been reviewed and discussed in international art journals, including Art Forum, Art in America and The New York Times. She taught at the Parsons College of Fine Art in New York for 17 years. She has received grants from Artist Space, the New York Foundation for the Arts and Creation Grants for Arts Nova Scotia.</em></p> <p class="p2" style="text-align: justify;">&nbsp;excerpt from essay by Elizabeth Spence</p> Thu, 13 Oct 2016 17:19:22 +0000 Margaret Evangeline - Kim Foster Gallery - October 20th 6:00 PM - 8:00 PM <p class="p2" style="text-align: justify;">&ldquo;Gravitational Waves&rdquo; was in part inspired by the announcement of the proof of Einstein&rsquo;s 70-year-old prediction of the existence of gravitational waves. The artist recently had a dinner conversation at KentPresents with the renowned physicist Kip Thorne whose research led to the proof of Einstein&rsquo;s theory, capturing the sound of two black holes colliding at the birth of our universe some 1.3 billion light years away.</p> <p class="p2" style="text-align: justify;">Evangeline wrote &ldquo; &hellip;I was compelled by the sound of the fleeting chirp of the collision of two black holes in part because my work processes personal and familial mythologies. This event was heard and recorded in Livingston Parish, Louisiana near my birth place. I never suspected that research of this import was happening there. &rdquo; The Louisiana event propelled her to act. Years before she learned from a fellow resident at Santa Fe Art Institute to follow the faintest traces of what you cannot understand because somewhere on Earth there will be someone doing work that provides the support for yours. &ldquo;I just didn&rsquo;t expect it to come from the field of science&hellip;&rdquo;</p> <p class="p2" style="text-align: justify;">Seeing a conceptualized illustration of energy inside a black hole struck her as the drawings she made of camellias from her mother&rsquo;s garden. Evangeline claims that her mother&rsquo;s camellias felt important and that she knew that they would inspire something some day when she was ready. The artist believes that we are built to understand the world through patterns of accidents and coincidences.</p> Thu, 13 Oct 2016 17:19:25 +0000 A.L. Steiner - Koenig & Clinton - October 20th 6:00 PM - 8:00 PM <p>FOR IMMEDIATE RELEASE<br />A.L. Steiner: <em>30 Days of Mo:)rning</em><br />September 15&ndash;October 29, 2016<br />Closing reception: Thursday, October 20, 6&ndash;8PM<br /><br />Hi I am going<br />to do my best to<br />satisfy&nbsp;<br />the gallery's&nbsp;needs<br />in the midst<br />of our<br />anthropocenic<br />crapitalist<br />global&nbsp;implosion.<br />A.L. Steiner<br /><br />In order to reduce what is known as &lsquo;productive&rsquo; labor, the artist has arranged for the gallery&rsquo;s work schedule to be limited to 20-hours per week for the duration of the exhibition. The reduced gallery hours are Tuesday&ndash;Saturday, 12&ndash;4PM.<br /><br />For further information please contact <span style="color: #000000;"><a href="" rel="nofollow" target="_blank"><span style="color: #000000;"></span></a> </span>or call (212) 334-9255.</p> Mon, 22 Aug 2016 20:00:27 +0000 - Museum of Arts and Design - October 20th 7:00 PM - 8:00 PM <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <div class="field-item even"> <p style="text-align: justify;">Between the early 1950s and 1968, Peter Voulkos reshaped expectations around the ceramic medium, and created a varied body of work both in abstract and pottery forms. Today, this work seems more relevant than ever, as artists increasingly turn to ceramics for its expressive possibilities. This panel, composed of the leading specialists on Voulkos and contemporary artists, will consider the nature of his achievement and its ongoing resonance. Also under discussion will be the cultural associations that Voulkos has inspired. The panel will consider his work not only in aesthetic terms, but also in relation to issues of gender and American identity.</p> <p style="text-align: justify;"><strong>Panelists:</strong></p> <p style="text-align: justify;"><strong>Glenn Adamson</strong>, moderator and co-curator of Voulkos: The Breakthrough Years.</p> <p style="text-align: justify;"><strong>Andrew Perchuk</strong>, Deputy Director of the Getty Museum and co-curator of Voulkos: The Breakthrough Years.</p> <p style="text-align: justify;"><strong>James Melchert</strong>, former student of Voulkos in the 1950s; Artist; Professor of Art, Emeritus, U.C. Berkeley, 1964 &ndash;1994, and former Director of the Visual Arts Program at the National Endowment for the Arts.</p> <p style="text-align: justify;"><strong>Nicole Cherubini</strong>, artist working primarily in ceramic sculpture and mixed media. Cherubini's solo exhibitions include the Perez Art Museum Miami (Miami, FL), the Santa Monica Museum of Art (Los Angeles, CA) and the Institute of Contemporary Art (Philadelphia, PA), among many others.</p> <p style="text-align: justify;"><strong>Arlene Shechet</strong>, artist. Solo exhibitions include the&nbsp;RISD Museum (Providence, RI); the&nbsp;Weatherspoon Art Museum (Greensboro, NC); the&nbsp;Nerman Museum of Contemporary Art (Overland Park, KS) The Tang Teaching Museum and Art Gallery (Sarasota Springs NY); the&nbsp;Museum of Contemporary Art Denver (Denver CO); and a twenty-year survey of her work at the&nbsp;Institute of Contemporary Art, Boston&nbsp;(Boston, MA) in June 2015, among many others.</p> <p style="text-align: justify;">This program is organized in conjunction with the exhibition <a href="" target="_blank">Voulkos: The Breakthrough Years</a>.</p> </div> </div> </div> Sat, 24 Sep 2016 18:05:39 +0000 Vanessa German - Pavel Zoubok Gallery - October 20th 6:00 PM - 8:00 PM <p style="text-align: justify;">Pavel Zoubok Gallery is proud to present <em>i am armed. i am an army<strong>.</strong></em>, an exhibition of new work by artist, poet and performer Vanessa German. The exhibition features twenty-nine of German&rsquo;s signature mixed-media&nbsp;power figures&nbsp;originally conceived for her recent MATRIX exhibition<em>&nbsp;i come to do a violence to the lie&nbsp;</em>at the Wadsworth Atheneum Museum of Art.</p> <p style="text-align: justify;">Inspired by Emperor Qin Shi Huang&rsquo;s legion of terra-cotta warriors, chariots and horses from the third century BCE, German&rsquo;s sculptures stand in formation as &ldquo;an army of healers, an army of weepers, an army of protectors,&rdquo; as she describes them. Referencing this new body of work, Frank Mitchell, Executive Director of The Amistad Center for Art &amp; Culture writes:</p> <p style="text-align: justify;"><em>In a season of lies&mdash;political, cultural, historical, migration and trade related&mdash;Vanessa German&rsquo;s Power Figures, these diasporically, charmed culture warriors imbued with the wit and wisdom of generations, rise up in struggle. Seeing them installed we are drawn into the struggle; no matter why we&rsquo;ve come, we are all now in a battle against the lies</em>.</p> <p style="text-align: justify;">Vanessa German&rsquo;s work is rooted in spirituality and ritual, most notably the central African tradition of&nbsp;<em>nkisi nkondi&nbsp;</em>or&nbsp;<em>minkisi</em>&nbsp;figures, characterized by protrusions of nails signifying awakening and healing. With the steady rise of the Black Lives Matter movement and a national epidemic and conversation about police violence against people of color, German&rsquo;s work as a citizen artist (a term she often employs to describe her practice) and activist reflects an increased sense of urgency and agency. Her figures confront gun violence, police brutality and systematic racism head-on through the accretion of signs and surfaces. Above all, German believes in the transformative power of love and art to heal a community. In her own words she writes:</p> <p style="text-align: justify;"><em>I grieve and I create. I reach out to my human family and I make it my business to FEEL, to HEAR, to WITNESS, and to continue on in my life and in my creativity, as I find the truest love and the truest healing in the active act of Making Art and being with Art, and Seeing and being inspired. I believe in the power of art, and I believe in the power of Love, and I do not necessarily have to distinguish between the two</em>.</p> <p style="text-align: justify;">In&nbsp;<em>Endurance Is A Love Story</em>, the central mother figure is adorned with a richly encrusted bonnet of porcelain flowers and birds, a stark contrast to the heavy weight of her voluminous skirt of worn leather purses. She stands proudly atop three weathered wooden crates, advertising the &ldquo;Finest Cakes, Crackers and Biscuits.&rdquo; In one arm she holds a doll (her female child), limp yet reaching for her mother&rsquo;s blouse, with the other she holds a large red STOP sign. Along with her legion of sisters, daughters, mothers and aunties, she calls us to action, drawing on a rich tradition of story telling and preservation as an act of resistance.</p> <p style="text-align: justify;">Vanessa German is a multi-disciplinary artist based in Pittsburgh, Pennsylvania. She is the founder of Love Front Porch and the ARThouse, a community arts initiative for the children of her historic Homewood neighborhood. Her work is in private and public collections including Crystal Bridges Museum of American Art, The Progressive Art Collection, David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora, Snite Museum of Art, among others. German&rsquo;s fine art work has been exhibited widely, most recently at Spelman College Museum of Fine Art, Atlanta, GA; the Wadsworth Atheneum Museum of Art, Hartford, CT; the Studio Museum, Harlem, NY; the Ringling Museum of Art, Sarasota, FL; and in the traveling exhibition&nbsp;<em>State of The Art: Discovering American Art Now</em>, which originated at the Crystal Bridges Museum of American Art, Bentonville, AR. Her work has been featured on <em>CBS&nbsp;Sunday&nbsp;Morning</em>, NPR&rsquo;s<em> All Things Considered</em> and in <em>The Huffington Post, O Magazine</em> and <em>Essence Magazine</em>. She is the recipient of the 2015 Louis Comfort Tiffany Foundation Grant. This is her third exhibition at Pavel Zoubok Gallery.</p> Tue, 18 Oct 2016 18:43:09 +0000 Jane Lee - Sundaram Tagore Gallery - Madison Ave - October 20th 6:00 PM - 8:00 PM <p style="text-align: justify;">Sundaram Tagore is pleased to present new work by Jane Lee, one of Singapore&rsquo;s most noted contemporary artists. She is best known for her highly tactile and sensuous paintings, which are often dimensional enough to be considered wall-based sculptures.&nbsp;This is Lee&rsquo;s first solo presentation in New York since&nbsp;<em>Beyond</em>, her critically acclaimed New York debut at Sundaram Tagore Chelsea in 2012.<br /> <br /> At the core of her practice, Jane Lee challenges conventional notions of what constitutes a painting, delving deeply into the materiality of paint and structural form. In her latest works, she explores concepts of negative space and the&nbsp;interplay between the paintings and wall surfaces. Walls are important to Lee&mdash;not just as a backdrop or barrier but as an activating space. With&nbsp;<em>Wall Matters</em>, she considers the total environment of an artwork rather than restricting herself to the physical limitations of a single canvas plane.<br /> <br /> Some of the paintings appear to melt or implode, sliding off their whitewashed supports. In the group of paintings titled&nbsp;Boundless, Lee punches through the heart of artworks mounted back-to-back on a freestanding wall, leaving a crater-like void through the center. Viewers peer through this portal to view a miniature gem of a painting across the room. Lee has integrated a mirror into an aperture of that painting, creating the possibility of incorporating the viewers themselves into the finished work.<br /> <br /> Sundaram Tagore Gallery will be showing additional new work by Jane Lee in a solo presentation at Art Basel Hong Kong in March 2017.<br /> <br /> Lee has won numerous awards, including a Celeste Prize for painting in 2011. In 2015,&nbsp;Lee&rsquo;s work was selected for&nbsp;<em>Prudential Singapore Eye</em>, one of the largest surveys of Singapore&rsquo;s contemporary art to date, and&nbsp;<em>Medium at Large</em>, a year-long exhibition at the Singapore Art Museum, where her large-scale installation&nbsp;<em>Status</em>,&nbsp;2009,&nbsp;was acquired for the museum&rsquo;s permanent collection. In 2015, Lee also participated in&nbsp;<em>Frontiers Reimagined</em>, a Collateral Event of the 56th Venice Biennale. She lives and works in Singapore.<br /> <br /> Jane Lee has a Bachelor of Fine Arts degree from LASALLE College of the Arts in Singapore. She has participated in numerous exhibitions in museums and galleries in Asia and Europe, among them the Hong Kong Arts Centre and the Contemporary Art Centre in Vilnius, Lithuania. Her most recent solo exhibition was at the Singapore Tyler Print Institute (<em>Freely, Freely</em>, 2016), following a residency in 2015. </p> <p style="text-align: justify;">A catalogue with an essay by Tony Godfrey accompanies the exhibition. Godfrey is the author of <em>Painting Today</em> (Phaidon Press, 2009), a comprehensive overview of contemporary painting that features more than&nbsp;forty contemporary artists, including Jane Lee. </p> <p style="text-align: justify;">Jane Lee is also featured in the newly released publication <em>Vitamin P3: New Perspectives in Painting</em>, Phaidon Press&rsquo;s authoritative global survey of contemporary painting. The book highlights 108 international painters who are broadly considered to be the brightest lights in the medium today.</p> Fri, 07 Oct 2016 07:19:55 +0000 - The Metropolitan Museum of Art - October 20th 10:00 AM - 5:30 PM <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="rich-text"> <p style="text-align: justify;">This exhibition of Renaissance maiolica, drawn exclusively from The Met's world-renowned collection, will celebrate the publication of <em>Maiolica, Italian Renaissance Ceramics in The Metropolitan Museum of Art</em> by Timothy Wilson. As Wilson writes, "Painted pottery, at its most ambitious, is a serious form of Italian Renaissance art, with much to offer those interested in the wider culture of this astoundingly creative period." This creativity was applied to a vast range of practical objects. The exhibition will include tableware and serving vessels, desk ornaments, storage containers, devotional objects, as well as sculpture, all made in painted and tin-glazed earthenware.</p> <p style="text-align: justify;">The maiolica tradition flourished from the 15th to the 17th century. Italian potters transformed techniques they owed to the Islamic world into something entirely unprecedented, and in turn laid the foundations for similar pottery traditions across Europe. Potters and pottery painters exploited innovations of the Renaissance goldsmith, sculptor, and painter in what was a relatively humble medium. That it was owned by the social elite of Italy, however, testifies to its artistic value.</p> <p style="text-align: justify;">This exhibition will explore how the different functions of Renaissance maiolica dictated the ways painted pottery was seen and decorated. Groups of objects will be installed in displays suggestive of their use. An assembly of storage jars will give a sense of a pharmacy's shelves. Among the tableware on display will be <em>istoriato</em> plates and dishes&mdash;their surfaces covered with scenes from mythology and ancient history&mdash;from some of the most important services commissioned by leading Italian families. The exhibition will also show maiolica-makers using ceramic, paint, and glaze to compete with other art forms, including a <em>Madonna and Child</em> that imitates a framed panel painting and a <em>Lamentation</em> group that likely once functioned as a sculpted altarpiece, the largest known example of sculptural maiolica to survive.</p> </div> <p style="text-align: justify;">The publication is made possible by The Metropolitan Museum of Art's Friends of European Sculpture and Decorative Arts, The Peter Jay Sharp Foundation, Marica and Jan Vilcek, and Ceramica-Stiftung Basel.</p> </div> </div> Tue, 18 Oct 2016 18:35:56 +0000