ArtSlant - Openings & events en-us 40 - ISE Cultural Foundation - November 22nd 2:00 PM - 4:00 PM <p style="text-align: justify;">ISE Cultural Foundation is pleased to present a group exhibition &ldquo;The Right Amount of Wrong&rdquo; curated by Lovina Purple.</p> <p style="text-align: justify;">&ldquo;Right&rdquo; and &ldquo;wrong&rdquo; are subjective terms.&nbsp; Decided by cultural norms; actions, behaviors, even markings are regarded as &ldquo;good or bad&rdquo; according to these standards in their particular place and time.&nbsp; This exhibition focuses on work that balances on the edge of these descriptions.&nbsp; They combine questioning of ethical and cultural &ldquo;norms&rdquo; with a slightly disturbing edge while remaining aesthetically beautiful in their artistic renditions.&nbsp; They are the perfect blend, or &ldquo;the right amount of wrong.&rdquo;</p> <p style="text-align: justify;">Each of the artists and works in this exhibit use some form of a cultural identification with &ldquo;wrong&rdquo; and turns it into &ldquo;right&rdquo; through their aesthetic choices of material, action and form.&nbsp;&nbsp; Hints of recognizable references from bones and blood to x-rays and hands are transformed into whimsical sculptures, installations, paintings and drawings.&nbsp; The works suck you into their worlds of beauty within the realm of decay, injury and wit as each artist plays with your emotions in a world of discovery and intrigue.</p> Tue, 21 Oct 2014 15:23:32 +0000 Kai and Sunny - Jonathan LeVine Gallery - 529 W. 20th - November 22nd 6:00 PM - 8:00 PM <p style="text-align: justify;">Jonathan LeVine Gallery is pleased to present&nbsp;<strong><em>Lots of Bits of Star</em></strong>, a series of new works by the London-based artist duo&nbsp;<strong>Kai &amp; Sunny&nbsp;</strong>in what will be their first solo exhibition in New York. In conjunction with the exhibition, the artists will release a new print edition, available for purchase at the opening reception.&nbsp;<br />&nbsp;<br />Primarily inspired by nature, works by Kai &amp; Sunny depict stylized imagery of flora and fauna. By reducing natural forms to geometric patterns, the artists&rsquo; collaborative work blurs the gap between fine art and design. Their process begins with hand-drawn sketches that undergo various stages, including digital, before the final result: hand-finished and pulled monochromatic screen prints on wood, copper and paper. Before printing, the artists infuse their inks with mineral powders, to achieve a distinct texture and sheen.<br />&nbsp;<br />The works in&nbsp;<em>Lots of Bits of Star</em>&nbsp;revolve around contradicting perceptions of the natural world, balancing the serene with the fierce, the fragile with the stable and the vulnerable with the assertive. Seemingly innocent natural subjects are layered with dark undertones, hinting at the subversion that occurs in the wild and beyond. As Kai states,<em>&ldquo;Sunny and I use nature in our work to connect with people, to provoke thoughts and memories. We like the idea of showing something you can&rsquo;t actually see and asking bigger questions.&rdquo;</em>&nbsp;<br />&nbsp;<br /><em>Lots of Bits of Star</em>&nbsp;will also include carvings, letterpress prints and ink works on paper, as well as an original collaboration with Shepard Fairey. Additionally, an exclusive poem was written by Alex Maas, a member of the psychedelic rock band, The Black Angels, as a direct response to the works in the exhibition. Maas and friend, Toydrum, have also created a musical composition exclusively for the exhibition, which explores how music and the written word impact Kai &amp; Sunny&rsquo;s work. A limited number of CDs with download codes will be available to guests attending the opening reception.&nbsp;</p> Thu, 23 Oct 2014 08:16:43 +0000 Taku Obata - Jonathan LeVine Gallery - 529 W. 20th - November 22nd 6:00 PM - 8:00 PM <div style="text-align: justify;">Jonathan LeVine Gallery is pleased to present&nbsp;<strong><em>Bust a Move</em></strong>, a series of new works by Japanese artist&nbsp;<strong>Taku Obata&nbsp;</strong>in what will be his debut solo exhibition in the United States.<br /><br /><em>Bust a Move</em>&nbsp;features Obata&rsquo;s dynamic wooden sculptures, drawings and lithographs of b-boys, or break-dancers, with a distinctly interpreted fashion style. A b-boy himself, the artist has a precise understanding concerning the forms of the human body and how they move, creating works that are bursting with the kinetic energy found in this urban dance form.&nbsp;&nbsp;<br />&nbsp;<br />The life-size sculptures in&nbsp;<em>Bust a Move</em>&nbsp;are captured in freeze stances, poses that complete every breakdance battle, and are adorned in brightly-colored jumpsuits with accessories sampled from the old-school b-boy style. Surreally elongated hats, glasses and gloves create the illusion of movement, in contrast with the stagnant demeanor of Obata&rsquo;s subjects. The works have a dominating presence and by portraying modern dance through the ancient technique of Japanese wood-carving, the artist effectively merges popular culture with his cultural roots.<br />&nbsp;<br />Obata fully immerses viewers in the environment of this subculture through his 3-D works, with the goal of enhancing our awareness and physical senses. In his own words,<em>&ldquo;I am not simply creating a b-boy, but I aim to create an atmosphere, a cool space with a certain strange and interesting tension.&rdquo;&nbsp;</em></div> <div style="text-align: justify;"><br />ABOUT THE ARTIST</div> <div style="text-align: justify;"><strong>Taku Obata&nbsp;</strong>was born in 1980 in Saitama, Japan, where he is currently based. In 1999, he formed the hip-hop dance crew Unityselections and refined his style of breakdancing through live performances. In 2008, Obata received a master&rsquo;s degree in sculpture from the Tokyo University of the Arts. That same year he won the grand prize at the Tokyo Wonder Wall Grand Prix. Since then he has exhibited his works throughout Japan, including a solo show at the Nakamura Keith Haring Museum in 2012.</div> Thu, 23 Oct 2014 08:17:22 +0000 Nicholas Nixon - MoMA (Museum of Modern Art) - November 22nd 10:30 AM - 5:30 PM <div class="description"> <p style="text-align: justify;">In August 1974, Nick Nixon made a photograph of his wife, Bebe, and her three sisters. He wasn&rsquo;t pleased with the result and discarded the negative. In July 1975 he made one that seemed promising enough to keep. At the time, the Brown sisters were 15 (Mimi), 21 (Laurie), 23 (Heather), and 25 (Bebe). The following June, Laurie Brown graduated from college, and Nick made another picture of the four sisters. It was after this second successful picture that the group agreed to gather annually for a portrait, and settled on the series&rsquo; two constants: the sisters would always appear in the same order&mdash;from left to right, Heather, Mimi, Bebe, and Laurie&mdash;and they would jointly agree on a single image to represent a given year. Also significant, and unchanging, is the fact that each portrait is made with an 8 x 10" view camera on a tripod and is captured on a black-and-white film negative.</p> <p style="text-align: justify;">The Museum has exhibited and collected the Brown Sisters from the beginning; since 2006, acquiring the series both as lusciously tactile contact prints and as striking 20 x 24" enlargements (a new scale for Nixon). This installation&mdash;featuring all 40 images&mdash;marks the first time the Museum has displayed these larger prints.</p> <p style="text-align: justify;">In his first published statement about photography, written the year he made the first of the Brown Sisters portraits, Nixon remarked, &ldquo;The world is infinitely more interesting than any of my opinions about it.&rdquo; If he was modest about his opinions, though, his photographs clearly show how the camera can capture that infinitely interesting world. And to the attentive viewer, these silent records, with their countless shades of visual and emotional gray, can promote a new appreciation of an intangible part of it: the world of time and age, of commitment and love.</p> <p style="text-align: justify;">Organized by Sarah Hermanson Meister, Curator, Department of Photography</p> </div> Fri, 17 Oct 2014 10:56:25 +0000 - MoMA (Museum of Modern Art) - November 22nd 10:30 AM - 5:30 PM <p class="top" style="text-align: justify;">In 2030, the world&rsquo;s population will be a staggering eight billion people. Of these, two-thirds will live in cities. Most will be poor. With limited resources, this uneven growth will be one of the greatest challenges faced by societies across the globe. Over the next years, city authorities, urban planners and designers, economists, and many others will have to join forces to avoid major social and economic catastrophes, working together to ensure these expanding megacities will remain habitable.</p> <p style="text-align: justify;">To engage this international debate, <em>Uneven Growth</em> brings together six interdisciplinary teams of researchers and practitioners to examine new architectural possibilities for six global metropolises: Hong Kong, Istanbul, Lagos, Mumbai, New York, and Rio de Janeiro. Following the same model as the <a href="" target="_blank"><em>Rising Currents</em></a> and <a href="" target="_blank"><em>Foreclosed</em></a><em>,</em> each team will develop proposals for a specific city in a series of workshops that occur over the course of a 14-month initiative.</p> <p style="text-align: justify;"><em>Uneven Growth</em> seeks to challenge current assumptions about the relationships between formal and informal, bottom-up and top-down urban development, and to address potential changes in the roles architects and urban designers might assume vis-&agrave;-vis the increasing inequality of current urban development. The resulting proposals, which will be presented at MoMA in November 2014, will consider how emergent forms of tactical urbanism can respond to alterations in the nature of public space, housing, mobility, spatial justice, environmental conditions, and other major issues in near-future urban contexts.</p> <p style="text-align: justify;"><strong>Urban Case Study Teams:</strong><br /> <strong>New York:</strong> SITU Studio, New York, and Cohabitation Strategies (CohStra), Rotterdam and New York<br /> <strong>Rio de Janeiro:</strong> RUA Arquitetos, Rio de Janeiro, and MAS Urban Design, ETH Zurich<br /> <strong>Mumbai:</strong> URBZ: user-generated cities, Mumbai, and Ensamble Studio/MIT-POPlab, Madrid and Cambridge<br /> <strong>Lagos:</strong> NL&Eacute;, Lagos and Amsterdam, and Zoohaus/Inteligencias Colectivas, Madrid<br /> <strong>Hong Kong:</strong> MAP Office, Hong Kong, and Network Architecture Lab, Columbia University, New York<br /> <strong>Istanbul:</strong> Superpool, Istanbul, and Atelier d&rsquo;Architecture Autog&eacute;r&eacute;e, Paris</p> <p style="text-align: justify;">View reflections on the Uneven Growth curatorial process at <a href="" target="_blank"> post</a>, the online platform of MoMA&rsquo;s research initiative Contemporary and Modern Art Perspectives in a Global Age (C-MAP).</p> <div class="exhibitcredit"> <p style="text-align: justify;">Uneven Growth: Tactical Urbanisms for Expanding Megacities is organized by The Museum of Modern Art, New York, in collaboration with MAK &ndash; Austrian Museum of Applied Arts / Contemporary Art.</p> <p style="text-align: justify;">The exhibition at MoMA is organized by Pedro Gadanho, Curator, and Phoebe Springstubb, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.</p> <p style="text-align: justify;">This is the third exhibition in the series Issues in Contemporary Architecture, supported by Andre Singer.</p> <p style="text-align: justify;">The exhibition and accompanying workshop at MoMA PS1 were made possible by MoMA&rsquo;s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.</p> <p style="text-align: justify;">Major support is provided by The International Council of The Museum of Modern Art.</p> <p style="text-align: justify;">Additional funding is provided by the MoMA Annual Exhibition Fund.</p> </div> Fri, 17 Oct 2014 11:00:33 +0000 - Recess Activities, Inc. - November 22nd 3:00 PM - 6:00 PM <p style="text-align: justify;">On November 4, Chris Domenick will begin work on You are Apple/Pear as part of Recess&rsquo;s signature program, Session. Session invites artists to use Recess&rsquo;s public space as studio, exhibition venue and grounds for experimentation.</p> <p style="text-align: justify;">Over the course of his Session, Domenick will explore the historical genre of the still life and its accompanying fruit basket. The fruit basket&rsquo;s political implications of ownership and display and its significance in the history of Modernism have physically transformed into a smoothie: a singular metaphor for multiplicity. Domenick will investigate how objects are constantly negotiating their component parts.</p> <p style="text-align: justify;"><em>solid sphere liquifies- becomes particle, laminated, blended into unified texture.</em></p> <p style="text-align: justify;">Domenick will collect objects that reflect the surrounding local economy of Soho. He will explore the various possibilities of how to combine the collected objects and will utilize linguistic devices (metaphor, metonymy, and synecdoche) to playfully rewrite their histories. Through this process, he will address the shifting subjectivity of objects and the resulting impact on the construction of identity. He will ask how inanimate objects enable human subjects to transform themselves, and survey the consequences of this shift.</p> <p style="text-align: justify;"><em>The apple is: a container for meaning, a complex web of disparate points, a symbol of evil, a historical corruption, a curious tween, the viewer.</em></p> <p style="text-align: justify;">Recess&rsquo;s space will operate as an interstitial workspace between private studio, photo booth for objects, and public exhibition space. Three customized commercial photography still life tables will be used in the space as sculptural tableaus and sites for ever-changing still life set-ups. In addition to the tables there will be a constructed kitchen island in the center of the space where a blender will be stationed and utilized throughout the Session.</p> <p style="text-align: justify;"><strong>About the Artist:</strong><br /> Chris Domenick is a visual artist who currently lives and works in Queens, NY. He received a BFA from Tyler School of Art and MFA from Hunter College. He is the recipient of the C-12 Award (judges included Stefan Kalm&aacute;r, Chrissie Iles, and Johanna Burton) from Hunter College in 2013. He participated in the Skowhegan School of Painting and Sculpture in 2012 and has been included in exhibitions at Room East, Socrates Sculpture Park, Vox Populi, White Box, Louis B James, The Center for Experimental Lectures, The Queens Museum of Art, Capricious Space, and MassMOCA.</p> Tue, 04 Nov 2014 18:24:02 +0000 Roy Lichtenstein - Ronald Feldman Fine Arts - November 22nd 6:00 PM - 8:00 PM <p class="text" style="text-align: justify;"><em>Roy Lichtenstein has held a preeminent place among vanguard American artists for almost four decades, and he is widely acknowledged as one of the most important printmakers of our time</em>.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br /> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Earl A. Powell III, Director, National Gallery of Art, Washington, DC</p> <p class="text" style="text-align: justify;">Ronald Feldman Fine Arts will exhibit twenty-five prints by Roy Lichtenstein from 1965 to1997 spanning more than thirty years. &nbsp;Print-making was an important part of Lichtenstein&rsquo;s oeuvre, and his prints, in which he experimented with complex and subtle processes, often preceded rather than followed paintings of similar subjects. &nbsp;As an overview of many of his themed motifs, the exhibition illustrates Lichtenstein&rsquo;s variations of form and composition, suffused with wit and gentle irony, and rendered in his characteristic Ben-Day dots, geometric shapes, and lines.</p> <p class="text" style="text-align: justify;">The exhibition features several prints from the Interiors series, including <em>The</em> <em>Living Room</em>, <em>Modern Room</em>, <em>Bedroom</em>, <em>La Sortie</em>, <em>Blue Floor</em>, and <em>Red Lamps</em>.&nbsp; The prints are near walk-in-size depictions of domestic rooms based on advertisements from the Yellow Pages of telephone directories. &nbsp;Bold color, hard-edged forms, and reflections from glass that are rendered as black streaks seem to parody the sterility of modern design, while incongruous details hint at other realities &ndash; jigsaw-like shapes of a woman&rsquo;s leg, odd plants, and artwork that decorates the walls with images by himself, Warhol, and others.&nbsp; Two prints related to the Reflections series are <em>Reflections on Hair</em> (1990) and <em>Reflections on Soda Fountain</em> (1991) in which reflections partly obscure the central image.&nbsp;</p> <p class="text" style="text-align: justify;"><em>Drawing for Interior with Restful Painting</em> (1991), the only drawing included in the exhibition, relates to the Interiors series as a template.&nbsp; Lichtenstein has said that he thought of his drawings as the basis for where his thinking takes place.</p> <p class="text" style="text-align: justify;">Lichtenstein&rsquo;s Nude series (1994), based on &ldquo;girl&rdquo; comic books,&nbsp; is represented by <em>Two Nudes, State I,</em> with a suggestion of melodrama, and <em>Nude Reading</em> and <em>Thinking Nude</em> in which the curves of the body contrast sweetly with the serious pastime.&nbsp; In this series, Lichtenstein&rsquo;s Ben-Day dots, sometimes brilliantly rendered in red, flow over several objects at a time to create an undulation of light and space.</p> <p class="text" style="text-align: justify;">Other prints include <em>Sunrise</em> (1965) and <em>Hat</em> (1968), with its image that is both a hat and a boat, are examples of early offset lithographs related to Lichtenstein&rsquo;s first gallery exhibitions.&nbsp; <em>The River </em>(1985) from the Landscape series combines &ldquo;cartoon&rdquo; and &ldquo;real&rdquo; brushstrokes. &nbsp;Lichtenstein&rsquo;s iconic image depicted in <em>The</em> <em>Oval Office</em> (1992) to raise funds for the Democratic National Committee for the Artists for Freedom of Expression project was reproduced on a pin and distributed at the Democratic Convention and then realized as a painting.&nbsp; Several works from 1995-1997 were made for charitable causes: <em>Composition I, II, </em>and<em> IV, </em>a play on musical notes; <em>Virtual Interior with Book</em>, the lyrical Chinese-themed <em>Untitled (Sea)</em>, and <em>Interior with Chair</em>.&nbsp; Two prints that were created close to Lichtenstein&rsquo;s sudden death in 1997, <em>Still Life</em> and <em>Cubist Cello</em>,reference art history, examples of his continual exploration of art based on other art.</p> Tue, 11 Nov 2014 14:52:11 +0000 Selin Balci, Tracey Goodman, Alison Owen - Smack Mellon - November 22nd 5:00 PM - 8:00 PM <p>Smack Mellon is pleased to present three solo exhibitions of Tracey Goodman, Alison Owen, and Selin Balci. Using Smack Mellon as a type of archive for her installation, <em>Species of Spaces</em>, Alison Owen presents a taxonomy of objects which she has gathered from artists that have previously participated at Smack Mellon. Basing her installation on the opposite facing windows, Owens recreates the pattern of the window frames as shelves holding up the various collected items. A hand-drawn inventory book and installation notes outline the overlaps in materials and methods.</p> <p>Disrupting the familiarity of the industrial architecture, Tracey Goodman poetically reimagines the gallery space filled with reconstructed dresses, window coverings, taxidermy birds, and Venetian plaster as sunlight on the floor; each element hand made.&nbsp; In <em>The small thread of days and sunlight,</em>&nbsp;a title borrowed from Shirley Jackson's tale&nbsp;<em>A Visit,&nbsp;</em>Goodman blurs the border between public and domestic, seen and unseen.</p> <p>In Selin Balci&rsquo;s bio-art installation <em>Bordered World,</em> 2,000 Petri dishes compose a three-dimensional kaleidoscopic world map representing the universal struggle for survival and dominance. Within each hand &ldquo;painted&rdquo; Petri dish, live molds and fungi are in an observable battle for limited resources.&nbsp; Distinctive borders slowly form and new colonies develop during this microscopic feud.</p> <p>&nbsp;</p> Mon, 10 Nov 2014 15:57:17 +0000 Sam Samore - Team Gallery - Grand St - November 23rd 6:00 PM - 8:00 PM <div style="text-align: justify;">Team (gallery, inc.) is pleased to announce a solo exhibition of new works by American photographer Sam Samore. Entitled&nbsp;<em>Accumulation of Shapes (Part One)</em>, the exhibition will run from&nbsp;23 November through 21 December 2014. Team is located at 83 Grand Street, between Wooster and Greene. Concurrently, our 47 Wooster Street space will host&nbsp;<a href="" target="_blank"><em>Traffic Jam</em></a>, an exhibition by German artist Andreas Schulze.</div> <p style="text-align: justify;">For his third solo exhibition with the gallery, Sam Samore presents a new series of portraits of the French actress Juliette Dol. Each work consists of two images, apparently sequenced a few frames apart, which are cropped and then joined together with a narrow black line of separation. Directly referencing the cinematic device of the split screen, the resulting works not only engage both the formal and conceptual relationships between film and photography, but also serve as in-depth investigations into obsession, inconclusive narrative and the complex psychological corridors of desire. &nbsp;</p> <p style="text-align: justify;">Printed on rag paper and exhibiting Samore's signature treatment of photographic grain, these black and white images both adhere to and depart from the artist's past works.&nbsp; While the texture and content are evocative of previous series - particularly his&nbsp;<em>Situations</em>&nbsp;- the artist in this instance offers a more complete visual scope of a singular subject. Fragmentation, both spatial and psychological, have been central themes in Samore's practice since the nineties; however, in these portraits, the rupturing of the self is the primary focus. The split of the subject into parts echoes the separation of model from camera and spectator from constructed image. The physical gaps between the two "halves" of these photographs instigate our natural urge to locate a legible sequence, their very unknowability activates a compulsion to unify the images into a cohesive whole. &nbsp;</p> <p style="text-align: justify;">Each photograph depicts Dol in the process of an immediately identifiable but mysterious action: we see her recumbent on a bed, fully clothed in a bathtub full of water, approaching a doorway, navigating through a dark space by flashlight with eyes fixed on an indeterminate point in the distance. By cleaving together two slightly different images, Samore makes a clear reference to the physicality of film cells. Slight variations in the subject's position or the camera's depth of field imbue the images with a kinetic quality that reinforces the unsettling sense that we are accessing only fragments of a whole. The coupling of known and unknown quantities pays direct service to the&nbsp;Film Noir trope of doubling, though Samore is careful to disrupt the narrative experience by ultimately withholding even the suggestion of conclusivity. &nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Sam Samore has been exhibiting his work for the past forty years. Prominent monographic exhibitions have been held at De Appel in Amsterdam, P.S.1 MoMA in New York, Casino Luxembourg, and the Kunsthalle Z&uuml;rich. Samore participated in the 46th Venice Biennale, the Istanbul Bienniale 2007, and the Tirana Biennale 2005. The artist has had recent solo gallery exhibitions in Brussels, Berlin, and Paris.&nbsp;</p> Wed, 22 Oct 2014 16:04:16 +0000 Andreas Schulze - Team Gallery - Wooster St - November 23rd 6:00 PM - 8:00 PM <div> <div style="text-align: justify;">Team (gallery, inc.) is pleased to announce&nbsp;<em>Traffic Jam</em>, a show of new work by Cologne-based artist Andreas Schulze. The exhibition will run from&nbsp;23 November through 21 December 2014. Team is located at 47 Wooster Street, between Broome and Grand. Concurrently, our 83 Grand Street space will host an <a href="" target="_blank">exhibition</a> of new photographs by New York-based artist Sam Samore. &nbsp;</div> <div style="text-align: justify;">&nbsp;</div> </div> <div style="text-align: justify;">For his third exhibition with the gallery, Andreas Schulze has turned his focus to a single modern design typology: the automobile. On each of the gallery's three walls hangs a series of starkly colored, larger-than-life paintings of cars. Schulze, who is perhaps best known for immersive, spatially transformative installations, both acknowledges and destabilizes our existing pictorial understandings of quotidian objects. These swollen, cartoonish renderings of vehicles -- immediately discernable as such -- pose as light and familiar members of our visual culture. The works' apparent playfulness, however, is compromised by a palpable melancholy and, subsequently, undermined altogether by their<em>Verfremdungseffekt</em>.&nbsp;</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;">In the way that a child's drawing posits a car as the mere sum of its visible parts - a misshapen assemblage of windshields, wheels and windows - so do these works evince little concern for actual automotive design. The paintings' essential&nbsp;wrongness, paired with their grandiose scale and impassive presentation, effects a Brechtian alienation. These are not depictions of automobiles; rather, they are pictures of pictures, explorations of the rough, indelible images that fundamentally inform our perception of these highly aestheticized machines. The artist's painterly act, like functional design, relies on cultural pre-conceptions and expectations. Imagination, invention and beauty occur within a semi-rigid template - a car painting must contain certain elements in order to be recognizable as such. Within this framework, these works accomplish the extraordinary: the self-imposed limitations serve not as a means to snide self-commentary, but as a gateway to an uncompromised artistic purity.</div> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Emerging in the fertile Cologne scene of the 1980s, Schulze became associated with a group of young painters of the M&uuml;lheimer Freiheit, the name of a shared studio in which they exhibited their work. This group included the painters Hans Peter Adamski, Peter B&ouml;mmels, George Condo, Walter Dahn, Jiri Georg Dokoupil, Gerard Kever and Gerhard Naschberger. Though working closely and frequently collaborating with these peers, Schulze has developed an anomalous and haunting painting practice whose influence is becoming more and more widely regarded.<br />&nbsp;</p> <p style="text-align: justify;">Schulze was born in Hannover in 1955 and has been exhibiting his work since 1981 - his longstanding relationship with gallerist Monika Spr&uuml;th beginning in 1983. Schulze's work has been exhibited at museums internationally including the Museum of Modern Art in New York, the Tate Museum in London, the K&ouml;lnischer Kunstverein, the Solomon R. Guggenheim Museum, Kunstaele in Berlin and at the Kunstverein and the Sammlung Falckenberg, both in Hamburg. A retrospective is currently touring three venues: Villa Merkel in Neckel, The Shirn Kunsthalle in Frankfurt, both in Germany, and the Kunstmuseum Sankt Gallen in Switzerland.</p> Wed, 22 Oct 2014 16:00:42 +0000 - Asia Society Museum - November 24th 6:30 PM - 8:00 PM <p style="text-align: justify;">Join eminent figures from the art world, including <strong>Tim Griffin</strong>, Executive Director and Chief Curator, The Kitchen, and <strong>Barbara London</strong>, curator and writer, for a conversation on the evolution of new media art from its inception to the present and an examination of strategies for how best to introduce, present, and engage audiences with this medium. Moderated by <strong>Michelle Yun</strong>, Asia Society curator of <a href="" target="_blank"><em>Nam June Paik: Becoming Robot</em>.</a></p> <p style="text-align: justify;"><strong>Tim Griffin</strong>, Executive Director and Chief Curator, The Kitchen, was editor-in-chief of <em>Artforum</em> magazine from 2003 to 2010 and is still a regular contributor to the magazine. The Kitchen is an experimental performance space which has presented video, music, dance, and performance since the early 1970s.</p> <p style="text-align: justify;"><strong>Barbara London</strong> is a curator and writer who founded the video exhibition and collection programs at the Museum of Modern Art, where she worked between 1973 and 2013. The exhibitions she organized include one-person shows featuring early mavericks Nam June Paik, Bill Viola, Steina Vasulka, Joan Jonas, Shigeko Kubota, Peter Campus, Gary Hill, VALIE EXPORT, Steve McQueen, and Laurie Anderson.</p> <p style="text-align: justify;"><strong>Michelle Yun</strong> (moderator) is Senior Curator of Modern and Contemporary Art at Asia Society Museum.</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 through January 4, 2015.</p> <p style="text-align: justify;"><em>This program is supported in part by the W.L.S. Spencer Foundation.</em></p> Sun, 19 Oct 2014 09:56:38 +0000 - Ludlow 38 - November 24th 7:00 PM - 9:00 PM Tue, 11 Nov 2014 15:29:44 +0000 Nitin Mukul - AICON GALLERY - New York - November 25th 6:00 PM - 8:00 PM <p style="text-align: justify;" align="justify">In conjunction with<strong>&nbsp;Nitin Mukul's</strong>&nbsp;exhibition&nbsp;<em>those that blossom, and the blossomless</em>,<strong>Aicon Gallery</strong>&nbsp;is pleased to present a screening of two of Mukul's videos:&nbsp;<em>Crater</em>(2013) and&nbsp;<em>Falls of Byzantium</em>&nbsp;(2014). The screening will be accompanied by a live score from composer and musician&nbsp;<strong>Gregory Reynolds</strong>. Crater has been presented previously at The Queens Museum of Art and at UMASS at Amherst, while Falls of Byzantium will have its premiere at Aicon Gallery.&nbsp;</p> <div style="text-align: justify;">The two video works derive from paintings in a frozen state, which are then allowed to melt and disintegrate while being filmed. Ice is used here as the primary support, along with mixed media elements including ink, acrylic paint, tea, charcoal, metallic powder, and more. As they melt, the works echo tectonic shifts, weather patterns and satellite views. The works are presented in real time without any effects or time lapse. The glacial pace may induce trance like states and lucidity by fixating on a process that is at once cataclysmic and sublime.The process of the disintegration is recorded in video. While there is a degree of pre-meditation in making the piece, the disintegration and its visual register over an unfixed passage of time is subject to forces beyond the artist's control. The work is informed by an awareness of the Hindu Shaivite concept of creation and destruction being intertwined. The glacial pace and meditative qualities of these pieces is mirrored by drone like scores madespecifically for each piece by composers Gregory Reynolds and Leyna Marika Papach, whose own aesthetics are attuned to this format.</div> <p style="text-align: justify;"><strong>Nitin Mukul</strong>&nbsp;is a visual artist living and working in NYC. He has shown with Nature Morte Gallery in Delhi, The Guild (Mumbai/New York), and Aicon Gallery (New York/London). His work was included in The India Art Fair in 2011, 2014, Art Asia Miami 2009, Hong Kong Art Fair 2009, Scope Art Basel 2009 and is held in private collections. He has curated exhibitions at P.S. 122 and Aicon Gallery in NYC and Arts*I Gallery in Delhi.</p> <p style="text-align: justify;"><strong>Gregory Reynolds</strong>&nbsp;will perform his score for&nbsp;<em>Falls of Byzantium</em>&nbsp;live at this special event. Reynolds is a musician and sound artist who lives in Queens, NY.&nbsp; He is a multi-instrumentalist, improvisor and composer who finds himself drawn to non-idiomatic and liminal soundworlds as much as the amazing and diverse musical traditions and cultures found in the United States and around the globe.</p> <p style="text-align: justify;" align="justify"><strong style="text-align: left;">Leyna Marika Papach&nbsp;</strong><span style="text-align: left;">(</span><em style="text-align: left;">Crater</em><span style="text-align: left;">) is a composer, artist/director, and violinist from Japan and the United States. Her work ranges from chamber music to musical theater pieces where text, dance, music and video work together to tell a story. Her work has been performed in western and eastern Europe as well as in Japan and the US. As a violinist and improviser, she performs her own work as well as interpretive work with bands and composers (Geraldine Fibbers, JG Thirwell/Monerexia+many others) and occasionally performing as an accompanist of Ragas (North Indian traditional music) as well. Leyna studied violin at the Prague Academy of Music, sound at the Bard College MFA program, and has a Masters in Theater from Dasarts, Amsterdam.</span></p> Sat, 22 Nov 2014 08:56:43 +0000 John Beardman - Noho Gallery - M55 Art (Noho - M55) - November 25th 6:00 PM - 8:00 PM <p><strong>The Flower as Metaphor</strong></p> <p>I like to think of myself as knowing flowers. I&rsquo;ve spent my life experiencing flowers, from the time I was a small boy crushing a huge pink-white peony to my nose and running past the old dog on the porch to tell my grandmother, to now, as a man planting and caring for them and trying to shrink a 3-acre garden. Always sensing them, feeling them. And yet, I realize just how little I know of them, not just the namesI (for I rarely paid attention to those) but how little of the intricacies of those shoots and petals that focus energy and light.</p> <p>I wished to make those discoveries new again and had hoped that I could make them free of all convention. Impossible! I had hoped to eschew techniques and gimmicks and paint fresh. Paradoxically I found that it was in the precise and skillful use of learned comparisons that I felt the most free. I used what I had learned so completely that it had become part of my body in order to find different ways of &ldquo;seeing&rdquo; flowers . Oddly enough, this gave the sensation of newness . Perhaps it&rsquo;s not at all odd, but common, in <br /> realigning what we thought we had learned, we constantly recover <br /> freshness. We all remake the world as we are looking at it.</p> <p>The flowers become a metaphor. They fight with each other for space. Yet ironically, it&rsquo;s spatial ambiguity that merges them. Similarly, their beauty, with its particular energy, connects us with everything.</p> Thu, 09 Oct 2014 16:06:15 +0000 - The Metropolitan Museum of Art - November 25th 10:00 AM - 5:30 PM <p style="text-align: justify;">The Museum continues a longstanding holiday tradition with the presentation of its Christmas tree, a favorite of New Yorkers and visitors from around the world. A vivid eighteenth-century Neapolitan Nativity scene&mdash;embellished with a profuse array of diminutive, lifelike attendant figures and silk-robed angels hovering above&mdash;adorns the candlelit spruce. Recorded music and lighting ceremonies add to the enjoyment of the holiday display.</p> <p style="text-align: justify;">The annual Christmas installation&nbsp;is the result of the generosity, enthusiasm, and dedication of the late Loretta Hines Howard, who began collecting cr&egrave;che figures in 1925 and soon after conceived the idea of combining the Roman Catholic custom of elaborate Nativity scenes with the tradition of decorated Christmas trees that had developed among the largely Protestant people of northern Europe. This unusual combination was presented to the public for the first time in 1957, when the Metropolitan Museum initially exhibited Mrs. Howard's collection. More than two hundred eighteenth-century Neapolitan cr&egrave;che figures were given to the Museum by Loretta Hines Howard starting in 1964, and they have been displayed each holiday season for nearly forty years. Linn Howard, Mrs. Howard's daughter, worked with her mother for many years on the annual installation. Since her mother's death in 1982, she has continued to create new settings for the Museum's ensemble. In keeping with family tradition, Linn Howard's daughter, artist Andrea Selby Rossi, joins her mother again this year in an important guiding role to create the display.</p> <p style="text-align: justify;">The Museum's towering tree, glowing with light, is adorned with cherubs and some fifty gracefully suspended angels. The landscape at the base presents the figures and scenery of the Neapolitan Christmas crib. This display mingles three basic elements that are traditional to eighteenth-century Naples: the Nativity, with adoring shepherds and their flocks; the procession of the three Magi, whose exotically dressed retinue echoes the merchants and travelers one may have encountered in bustling Naples at the time of the cr&egrave;che's creation; and, most distinctive, colorful peasants and townspeople engaged in their quotidian tasks. The theatrical scene is enhanced by a charming assortment of animals&mdash;sheep, goats, horses, a camel, and an elephant&mdash;and by background pieces serving as the dramatic setting for the Nativity, including the ruins of a Roman temple, several quaint houses, and a typical Italian fountain with a lion's-mask waterspout.</p> <p style="text-align: justify;">The origin of the popular Christmas custom of restaging the Nativity traditionally is credited to Saint Francis of Assisi. The employment of manmade figures to reenact the hallowed events soon developed and reached its height of complexity and artistic excellence in eighteenth-century Naples. There, local families vied to outdo each other in presenting elaborate and theatrical cr&egrave;che displays, often assisted by professional stage directors. The finest sculptors of the period&mdash;including Giuseppe Sammartino and his pupils Salvatore di Franco, Giuseppe Gori, and Angelo Viva&mdash;were called on to model the terracotta heads and shoulders of the extraordinary cr&egrave;che figures. The Howard collection includes numerous examples of works attributed to them as well as to other prominent artists.</p> <p style="text-align: justify;">The Museum's cr&egrave;che figures, each a work of art, range from six to twenty inches in height. They have articulated bodies of tow and wire, heads and shoulders modeled in terracotta and polychromed to perfection. The luxurious and colorful costumes, many of which are original, were often sewn by ladies of the collecting families and enriched by jewels, embroideries, and elaborate accessories, including gilded censers, scimitars and daggers, and silver filigree baskets. The placement of the approximately fifty large angels on the Christmas tree and the composition of the cr&egrave;che figures and landscape vary slightly from year to year as new figures are added.</p> <p style="text-align: justify;">The exhibit of the cr&egrave;che is made possible by gifts to The Christmas Tree Fund and the Loretta Hines Howard Fund.</p> Thu, 16 Oct 2014 16:39:50 +0000 David Mollett - Bowery Gallery - November 29th 3:00 PM - 6:00 PM <p style="text-align: justify;">Bowery Gallery is pleased to present an exhibition of recent work by David Mollett, who has been producing field paintings throughout the state of Alaska for over forty years. In the artist's own words: <br /> <br /> "Painted outdoors, these wilderness landscapes were created in the Alaska Range near Denali National Park and around the Fairbanks area. Volatile wet weather this past summer made for constantly changing light which created an opportunity for repeated reworking of each painting. The works in this exhibition are part of my ongoing quest for unified expression, space and light." <br /> <br /> Mr. Mollett's exhibition coincides with a show at Bowery of work by Jessie Hedden. There will be a reception for both artists 3-6pm on Saturday, November 29.</p> Sat, 22 Nov 2014 16:10:43 +0000