ArtSlant - Openings & events http://www.artslant.com/ny/Events/show en-us 40 Maira Kalman - Julie Saul Gallery - April 23rd 6:00 PM - 8:00 PM <p><em>Girls Standing on Lawns and Other Projects</em> is our fifth solo exhibition with renowned artist and bestselling author Maira Kalman. Kalman based the paintings on a collection of vernacular <br /> photographs in the collection of the Museum of Modern Art (many of which were donated from her personal collection). These have just been published as a monograph with <em>New York Times</em> bestselling writer Daniel Handler providing the text. Our show is scheduled to coincide with the release of the book, which is the first in a scheduled series edited by MoMA photography curator Sarah Meister. <br /> Poetic and thought-provoking, <em>Girls Standing on Lawns</em> is a meditation on memories, childhood, nostalgia, home, family, and the act of seeing. The gorgeous visual material sets the stage for what Handler succinctly describes as &ldquo;a photograph, a painting, a sentence, a pose.&rdquo;</p> <p>In addition to the Girls, we will exhibit a selection of paintings which illustrate the 2012 New Directions/Christine Burgin publication <em>Robert Walser: Microscripts.</em> Walser was a little known but major European writer of the early twentieth century who worked as a bank clerk, butler, an inventor&rsquo;s assistant, and spent the last twenty-three years of his life confined to an institution. He wrote seven novels and more than a thousand stories. Much of his writing was done as &ldquo;microscripts&rdquo; virtually impossible to read with the naked eye but with enlargement yields amazing texts. The book is translated from German by Susan Bernofsky and text and images were appended by Kalman.</p> <p>A small selection of independent gouache paintings will complete the selection for the show.</p> <p>Both books will be available for sale at the gallery, and Kalman will be present at the opening to <br /> dedicate them.</p> Fri, 18 Apr 2014 03:13:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lothar Baumgarten - Marian Goodman Gallery - April 23rd 6:00 PM - 8:00 PM <p>Marian Goodman Gallery is pleased to announce a new exhibition by Lothar Baumgarten, which will open on Wednesday, April 23 and be on view through Saturday, June 14. <br /> <br /> Baumgarten has developed a diverse yet consistent body of work over the last four decades, which is centered on ethnography and anthropology. <br /> <br /> &lsquo;From works that address historical acts of naming (AMERICA <em>Invention</em>, 1985-88, Guggenheim Museum, 1993) to works that question the function of maps and their status as surrogates of actual physical terrains (<em>Night Flight</em>, 1968-69), his various projects consistently reveal and challenge the ordering principals that inform the thought, perception, and representation of cultural difference. His work concerns itself with the logic that structures Western thought and systems of representation &ndash; self/other, seer/seen, and nature/culture &ndash; in order to work on the discursive and contextual sites of their inscription.&rsquo; 1<br /> <br /> <em>Words at sea</em><br /> <br /> <em>&rsquo;Los Arist&oacute;cratas de la Selva y la Reina de Castilla&rsquo;</em> is a work in progress, of several different components, within the existing architectural conditions of the exhibition space. At the center of the presentation are four ship models at a scale of 1:20. One coca, two caravels, the <em>&lsquo;Pinta&lsquo;</em> and the <em>&rsquo;Ni&ntilde;a&rsquo;</em>, beside the vessel <em>&rsquo;Santa Mar&iacute;a&rsquo;</em>. <br /> <br /> The ship models signify through their magnificent manufacturing, the highly sophisticated nautical technology and engineering at the time of the Discovery of the Am&eacute;ricas. The &lsquo;Santa Mar&iacute;a&rsquo;, originally built from wood of the Cantabrian forests, emphasizes the great maritime culture of this rough coast in northern Spain. The boats rest on metal cantilevers, representing the waves of the &lsquo;Ocean Sea&rsquo; they would sail. <br /> <br /> The gallery&rsquo;s columns and the bases for the ships are hand-stained with Onoto seeds (<em>Bixa orellana L.</em>), a plant source used for body paint by most South and Central American native peoples - common practice that mistakenly led, early on, to the name &rsquo;Red Skin&rsquo;. This vibrant natural pigment and its aroma refer in this context to the animistic beliefs of Amerindian societies. The white ceiling beams of the architectural space stand out and mirror the frame structure of the ships. The center of the exhibition transforms itself into the inner sections of a ship. It also represents the central plaza of a native house: <em>shapono, maloka, or churuata etc.</em>, as a sheltered world, mirroring the surrounding tropical cosmos and its equatorial firmament, mutating into a zone and a space of contemplation. <br /> <br /> Through it&rsquo;s multi-layered discourse, the surrounding score of native river names represents the widely varying and rapidly vanishing languages of the non-writing societies - among them, the <em>Pem&oacute;n (Arekuna, Taurepan, Kamarakoto, Ingariko), Y&eacute; kuana, Hoti, Panare, Piaroa, Warao, Arawak, Sanema, Y&atilde;nom&atilde;mɨ, Bar&eacute;, Mak&uacute;, Wapishana, Makushi, Wai Wai&hellip;</em> Surrounding the ships, the canon of the native river names develops and stands out within the dark infinity of the black walls. The configuration of the river names follows a geographical order and linguistic parameters. They are phonetically composed and in their playful flow they are mapping time as a typographical landscape, the topographical watershed of the Guayana shield in Venezuela, Brazil, British and French Guyana, and Suriname. The archaic melody of native place names and the remains of their many languages will only survive in our maps. <br /> <br /> This landscape is expanded by a further dimension: that of sound. Accompanied in intervals by the music of <em>&rsquo;Luces y Sombras en el tiempo de la primera gran Reina del Renacimiento&rsquo;</em>, by Jordi Savall, the sound of the Caribbean sea, the ambient sound of the tropical forest beside the <em>wayamou</em> and <em>hekuramou</em> rituals of the Y&atilde;nom&atilde;mɨ a sound track of 8 hours is composed which permeates the exhibition space. This mental space is embraced by the screening of six ethnographic film fragments (108 min) in various locations. The material for this projection was generated from nine hours of 16 mm film footage and sound, converted to video, made while I lived among the Y&atilde;nom&atilde;mɨ people at the Alto Orinoco in Venezuela and Brazil for an uninterrupted period of eighteen months in 1978-80. Their endangered culture is present in this documentary portrait of the last days before a disintegration into misery in recent decades.<br /> <br /> The architectural parcours of the presentation and the layout of the wood and steel bases for the ship models, as well as the supervision of their construction, was conceived in collaboration with Lorenzo Piqueras architect, Paris.<br /> <br /> Lothar Baumgarten, March 2014<br /> </p> Fri, 28 Mar 2014 03:36:31 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jeanine Oleson - New Museum - April 23rd 6:00 PM - 8:00 PM <p>In April 2014, the New Museum will host the first museum presentation of work by Jeanine Oleson, who will produce an exhibition, several public programs and workshops, a publication, and an experimental opera over the course of a four-month residency during the Museum&rsquo;s 2014 spring R&amp;D Season: VOICE.</p> <p>Jeanine Oleson is an artist whose practice incorporates interdisciplinary uses of photography, performance, film/video, and installation work. Challenging political and social norms through works that bear a distinctive mix of pathos and wit, Oleson engages contemporary societal topics. These include the collective psyche of apocalyptic anxiety, the global ecological crisis, the persistence of spiritual rituals, and alternative methods of addressing the myriad inequities produced by homophobia, racism, and classism.</p> <p>During her intensive residency at the New Museum, she will develop a group of interrelated new works, constituting an exhibition, public programs, workshops, a publication, and an experimental opera. An exploration of different kinds of voices&mdash;from the musical voice of opera to political acts of speech&mdash;Oleson&rsquo;s project both investigates language and points beyond it. Looking for alternative models, &ldquo;Hear, Here&rdquo; asks questions such as: How can we attune ourselves to each other? Where is the agency in language? What does it really mean to listen? The foundation for these queries resides within art itself&mdash;particularly in relation to issues of audience and embodied engagement, in addition to objects and conditions that alter modes of expression&mdash;in order to respond to larger political and cultural problems faced on a global level.</p> <p>In this context, during the run of the show, Oleson is developing a video installation for the Museum&rsquo;s Fifth Floor gallery that investigates conditions of spectatorship. The set and objects for an experimental opera (to be staged in the New Museum&rsquo;s Theater, June 13&ndash;14) will be present during the run of the exhibition, forming an impromptu stage set or catalyst for a series of informal programs in the gallery space leading up to the final performance. Accompanying the exhibition is an archival and research-based presentation by Oleson in the Resource Center that takes up questions around various registers of Voice.</p> <p>Centering on a paradoxical landscape&mdash;a mountain that is also a cave&mdash;the exhibition and its constantly shifting elements (including musical instruments, staging tools, and performance artifacts) produce a reactive space that focuses on the politics of vocalizing perspectives and the necessity of participation in lived experience. All the while, the affective role of voice in Oleson&rsquo;s work mobilizes a mix of humor, rancor, and joy in addressing an avalanche of pressing issues in contemporary life.</p> <p>&ldquo;Jeanine Oleson: Hear, Here&rdquo; is on view at the New Museum from April 23 to July 6, 2014, and is curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement.</p> <p>Jeanine Oleson was born in Astoria, OR, in 1974. She attended the School of the Art Institute of Chicago, Rutgers University, and Skowhegan School of Painting and Sculpture. Oleson has exhibited and performed at venues including: Exit Art, NY; Beta Local, San Juan, Puerto Rico; X-Initiative, NY; Grand Arts, Kansas City, MO; Socrates Sculpture Park, NY; Diverseworks, Houston, TX; L.A.C.E., Los Angeles; Monya Rowe Gallery, NY; Samson Projects, Boston, MA; Gallery 400, University of Illinois at Chicago, IL; John Connelly Presents, NY; Bates College Museum of Art, ME; H&amp;R Block Artspace, Kansas City Museum of Art, MO; Participant, Inc., NY; MoMA P.S.1, NY; Santa Fe Art Institute, NM; Pumphouse Gallery, London; White Columns, NY; and Art in General, NY. Oleson has received a Franklin Furnace Fellowship and a Jerome Foundation Travel and Study Grant in 2009; a Brooklyn Arts Council Community Arts Regrant (2008 and 2009); and a Professional Development Fellowship, College Art Association (1999&ndash;2000); and was in residence at Smack Mellon Studio Program, NY. She also published two books about performance projects in 2012, &ldquo;What?&rdquo; and &ldquo;The Greater New York Smudge Cleanse.&rdquo; Oleson is an Assistant Professor of Photography in the Department of Art, Media, and Technology at Parsons the New School for Design. She lives in Brooklyn, NY.</p> Mon, 03 Mar 2014 00:38:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Hannah Sawtell - New Museum - April 23rd 11:00 AM - 6:00 PM <p>For her first museum solo presentation in the United States, Hannah Sawtell has developed a new installation and sound work for the New Museum&rsquo;s Lobby Gallery.</p> <p>In her work, Sawtell considers the relationship between the surfaces of images and objects, and the multiplicity of structures that underpin them. Through a variety of media&mdash;installation, video, print, radio broadcast, sound, and performance&mdash;Sawtell renders the fluidity of digital images with spatial, physical, and temporal qualities, and critically points to their function as decoy indicators for larger and dominating systems of production, access, surplus, and consumption. Additionally alluding to the repetitive nature of contemporary production, Sawtell evokes an aesthetic of industrial design through her installations and objects. Much of her influence comes from her previous work as a DJ and in running Detroit&rsquo;s Plant E Label, and she often integrates noise, rhythm, and beat as part of her video works and performances.</p> <p>In &ldquo;Vendor&rdquo; (2012), a recent work exhibited at Bloomberg SPACE (part of a two-site show also at the ICA, London), Sawtell created an installation from online images that she repeatedly encountered during her residency at Bloomberg News Agency in London. Cutting the images with live screen-based digital tools and using close-up textures, Sawtell created a space that unpacks and reveals the contemporary virtual and digital image. Frequently collaborating with local manufacturers to produce her works, another recent piece, <em>Re-Petitioner</em> (2013), included a set of bespoke speakers that transformed the large screen in front of them into an acoustic mirror. Exposed to an intense experience of noise, audiences also witnessed computer-generated images of the brutalist Norwegian Y-Block building in Oslo and a landscape of what she considers &ldquo;pre-fossilized CGI objects&rdquo; projected onto the large screen.</p> <p>For the New Museum, Sawtell will create a new sculptural installation and sound work made specifically for the Lobby Gallery, and realize a subsequent edition of her &ldquo;Broadsheets&rdquo; publication series.</p> <p>&ldquo;Hannah Sawtell: ACCUMULATOR&rdquo; is on view at the New Museum from April 23&ndash;June 22, 2014, and is curated by Helga Christoffersen, Assistant Curator.</p> <p>Hannah Sawtell was born in London in 1971, where she also lives and works. Recent solo shows include Vilma Gold, London, Clocktower Gallery, New York, and two linked exhibitions at the ICA, London, and ICA at Bloomberg SPACE, London, for which she published Broadsheets 1-3, a publication distributed with <em>Business Week</em> magazine, and realized <em>Sonic Lumps</em>, a performance in collaboration with Factory Floor. Her work has been included in group exhibitions such as &ldquo;SoundSpill,&rdquo; Zabludowicz Collection, New York (2013), &ldquo;With the Tip of a Hat,&rdquo; the Artist&rsquo;s Institute, New York (2012), &ldquo;Novel,&rdquo; a screening for <em>Time Again</em> hosted by the Sculpture Center, New York (2011), &ldquo;Outrageous Fortune: artists remake the Tarot,&rdquo; Hayward Touring/Focal Point Gallery, Southend (2011), and &ldquo;The Great White Way Goes Black,&rdquo; Vilma Gold, London (2011). She is included in &ldquo;Assembly: A Survey of Recent Artists&rsquo; Film and Video in Britain 2008&ndash;2013&rdquo; at Tate Britain and will have solo exhibitions at Bergen Kunsthall, Norway, and Focal Point Gallery, Southend-on-Sea, in 2014. In 2013, she was shortlisted for the Jarman Award.</p> Mon, 31 Mar 2014 00:13:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Arne Schreiber - Open Source Gallery - April 23rd 7:00 PM - 9:00 PM <p>For &ldquo;Your Stripes,&rdquo; Schreiber&rsquo;s floor drawing uses both the private, indoor space, as well as the public, outdoor space of the gallery as a reference upon which to develop work. Using a predetermined process devised specifically for Open Source, Schreiber paints hand-drawn lines, which extend out from the gallery walls and onto the sidewalk. The drawing operates as a transitional zone between different types of spaces, areas and their edges. His standardized practice of repeating lines allows images to emerge from the imperfections inherent in the materials.</p> <p>Following the architectural conditions of the space, Schreiber&rsquo;s drawing is divided into two fields of lines determined by the width of the doors, as well as distance between the sidewalk and the gallery. Lines are taped on the floor by hand and sprayed with white paint&ndash;the same material that is normally used to mark lines on the street. By creating lines with this paint, Schreiber allows the same random interplay of materials that creates his work to determine the lifespan of his lines; he uses a paint that defines areas, fades and disappears over time. The physical act of a repeating movement from line to line allows Schreiber to immerse himself in the drawing.</p> <p>Schreiber&rsquo;s experiments using specified activities within defined areas make use of the incalculable factors and individual imperfections in everyday materials. Through repetition, his lines create a work that is contingent upon the various factors of its environment. Clean and deliberate lines render visible, through the process of creation, the imperfect conditions and unforeseen factors in the act of painting. For the first time using the floor as a surface on which to draw his lines, Schreiber guides our view to the space on which we normally stand and occupy with our own bodies. By deliberately exposing each the variations within materials and space, &ldquo;Your Stripes&rdquo; provokes questions about factors in the creation of a work of art: What conditions affect the interplay of materials? How do imperfections manifest themselves in work? What are the conditions for uniqueness? What is the artist&rsquo;s role in production?</p> <p>Arne Schreiber (b. 1974) was born in Potsdam, Germany and currently lives and works in Berlin. He studied at the New York Studio School and the Universit&auml;t der K&uuml;nste, Berlin. Schreiber has exhibited extensively internationally. Recent exhibits include: &ldquo;nowhere &mdash; herenow&rdquo; at Galerie koal, &ldquo;FORM &mdash; SIGNAGE&rdquo; at Sophienholm, &ldquo;Seeds of Color&rdquo; at Upon Paper and &ldquo;Crossing Abstraction&rdquo; at Kunsthaus Erfurt.</p> <div id="stcpDiv" style="position: absolute; top: -1999px; left: -1988px;"> <p>For &ldquo;Your Stripes,&rdquo; Schreiber&rsquo;s floor drawing uses both the private, indoor space, as well as the public, outdoor space of the gallery as a reference upon which to develop work. Using a predetermined process devised specifically for Open Source, Schreiber paints hand-drawn lines, which extend out from the gallery walls and onto the sidewalk. The drawing operates as a transitional zone between different types of spaces, areas and their edges. His standardized practice of repeating lines allows images to emerge from the imperfections inherent in the materials.</p> <p>Following the architectural conditions of the space, Schreiber&rsquo;s drawing is divided into two fields of lines determined by the width of the doors, as well as distance between the sidewalk and the gallery. Lines are taped on the floor by hand and sprayed with white paint&ndash;the same material that is normally used to mark lines on the street. By creating lines with this paint, Schreiber allows the same random interplay of materials that creates his work to determine the lifespan of his lines; he uses a paint that defines areas, fades and disappears over time. The physical act of a repeating movement from line to line allows Schreiber to immerse himself in the drawing.</p> <p>Schreiber&rsquo;s experiments using specified activities within defined areas make use of the incalculable factors and individual imperfections in everyday materials. Through repetition, his lines create a work that is contingent upon the various factors of its environment. Clean and deliberate lines render visible, through the process of creation, the imperfect conditions and unforeseen factors in the act of painting. For the first time using the floor as a surface on which to draw his lines, Schreiber guides our view to the space on which we normally stand and occupy with our own bodies. By deliberately exposing each the variations within materials and space, &ldquo;Your Stripes&rdquo; provokes questions about factors in the creation of a work of art: What conditions affect the interplay of materials? How do imperfections manifest themselves in work? What are the conditions for uniqueness? What is the artist&rsquo;s role in production?</p> <p>Arne Schreiber (b. 1974) was born in Potsdam, Germany and currently lives and works in Berlin. He studied at the New York Studio School and the Universit&auml;t der K&uuml;nste, Berlin. Schreiber has exhibited extensively internationally. Recent exhibits include: &ldquo;nowhere &mdash; herenow&rdquo; at Galerie koal, &ldquo;FORM &mdash; SIGNAGE&rdquo; at Sophienholm, &ldquo;Seeds of Color&rdquo; at Upon Paper and &ldquo;Crossing Abstraction&rdquo; at Kunsthaus Erfurt.</p> - See more at: http://open-source-gallery.org/category/upcoming/#sthash.B59awLLg.dpuf</div> Tue, 25 Mar 2014 00:09:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Peter Kayafas - Sasha Wolf Gallery - April 23rd 6:00 PM - 8:00 PM <p>In Peter Kayafas&rsquo;s new exhibition, The Way West, we are confronted with dueling and overlapping realities. We see vibrant, adventurous youth in a context of semi-decay and obsolescence. The photographs of people, especially the&nbsp;adolescents,&nbsp;are hopeful; the teenagers strike universal poses of bravado tinged with sexual awareness. The pictures capture a true cross section of the humanity that dwells in this region&mdash;white, Native American and Hispanic boys and girls all seem deeply rooted to the land. They don&rsquo;t mingle much with each other, but they are all in one pot. &nbsp;There is certainly a languid ease in the bodies of the Native kids: they are not so much riding their horses as inhabiting them. It&rsquo;s a reminder of their rightful and ancient place on this land.</p> <p>Despite the apparent decline of the region in economic terms, the culture thrives in that these people seem deeply connected to their environment and to their traditions. In a curious twist, the kids seem less interested in rebelling than emulating the grownups&nbsp;around them, cowboy hats and all.</p> <p>The photographs of The Way West don&rsquo;t answer any questions. They are not made to lecture or theorize. They are simply records of what is and what was, and how these two states often exist simultaneously. They are framed to engage, but the sentiments are ours to shape.</p> Tue, 08 Apr 2014 03:15:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sandro Chia - Steven Harvey Fine Art Projects - April 23rd 6:00 PM - 8:00 PM <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Press Release:<br /> Sandro Chia: Sator Arepo<br /> April 23&ndash; May 25, 2014<br /> Opening: April 23, 6-8 pm<br /> shfap | steven harvey fine art projects<br /> 208 Forsyth Street New York, NY 10002 Weds &ndash; Sun 12 &ndash; 6pm and by appointment</p> <p>Steven Harvey Fine Art Projects presents a solo exhibition of recent mixed media works on paper by Sandro Chia (b. 1946) focussed on his classic motif of a solitary male figure in the landscape. Chia is a significant figure in the Transavanguardia movement, an Italian outgrowth of Neo-expressionism, which garnered international attention in the 1980s. This will be the first exhibition of Chia&rsquo;s work at Steven Harvey Fine Art Projects. The title of the exhibition, &ldquo;Sator Arepo,&rdquo; is adopted from a Latin palindrome word square with magical associations, found inscribed on ancient Roman stone tablets.</p> <p>After graduating from the Accademia di Belle Arti in Florence in 1969, Chia travelled throughout Europe and India. Upon his return to Rome, he began exhibiting what he now refers to as &lsquo;mythical conceptual&rsquo; painting and sculpture. During the late 1970s, he transitioned to a more figurative style, quickly establishing himself as a key Transavanguardia artist, along with contemporaries Francesco Clemente, Enzo Cucchi and Mimmo Paladino.</p> <p>Realized on small sheets with watercolor, pastel and other media, Chia&rsquo;s vibrant colors, cubist spaces and expressive draftsmanship appropriate, echo and send up romantic figures of art history including Carlo Carra, Matisse, Chagall, Picasso and Courbet. His imagery often draws upon classic mythology and makes references to antiquity. Yet, as Dr. Maurizio Vanni observes in his essay &lsquo;The Loneliness of the Hero&rsquo;, &ldquo;Chia tends to humanize his heroes, making them almost everyday subjects.&rdquo;</p> <p>Chia presents painting as a magic alchemical language, able to give voice to man&rsquo;s inexplicable search for meaning. In an interview conducted by Richard Milazzo, Chia defines his relationship to his work:</p> <p>&ldquo;Many people see art as something that comes from something positive or elevated inside us, as a humanistic enterprise. I disagree with that. I&rsquo;m not even sure that it comes for us. It probably comes from &lsquo;outside,&rsquo; from nature, from everything that surrounds us, and we are not the center but rather the &lsquo;empty space&rsquo; in between. Maybe we are not even the source, but this source is given to us, it goes through ourselves.&rdquo;</p> <p>Chia&rsquo;s work has been included in the Biennale of Paris and San Paolo and the Venice Biennale. He has had solo exhibition at many of the most important museums worldwide, among them: Stedelijk Museum of Amsterdam (1983), The Metropolitan Museum of New York (1984), The National Gallery of Berlin (1984, 1992), The Museum of Modern Art of Paris (1984).</p> <p>In 2003, the Italian State acquired three of Chia&rsquo;s works for their permanent collection at Palazzo Madama, and in 2005, the Province of Rome installed two monumental sculptures by Chia in front of its headquarters in Via IV Novembre. Chia&rsquo;s work was the subject of an exhibition entitled Gods and Heroes at the Boca Raton Museum of Art, Florida in 2007.</p> <p>Today Sandro Chia divides his time between Miami, Rome and his Castello Romitorio vineyard in Tuscany.</p> <p>For more information or images please contact the gallery at 917.861.7312 or info@shfap.com.</p> <p>SHFAP @ PROJECTOR, our second space located around the corner at 237 Eldridge Street, presents a group show featuring paintings by Chuck Bowdish, Katherine Bradford, Paul Resika and Bob Thompson in conversation with the work of Sandro Chia.&nbsp;</p> </div> </div> </div> Wed, 16 Apr 2014 11:23:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Josef Fischnaller - Stux Gallery - April 23rd 5:00 PM - 8:00 PM <p><strong>Stux Gallery</strong> is pleased to present <em>Past Present Present</em> <em>Past</em>, an exhibition of photographs by <strong>Josef Fischnaller</strong>. This marks the artist&rsquo;s first solo exhibition at Stux since joining the gallery in 2014, and is his first solo exhibition in New York. Past Present Present Past will serve as the inaugural exhibit for Stux&rsquo;s new location in midtown Manhattan at 24 West 57th Street near 5th Avenue.</p> <p>&nbsp;</p> <p>Fischnaller&rsquo;s larger-than-life photographs reference classical paintings of Vermeer and Caravaggio without losing sight of the vibrant present. The tradition of portraiture and its essential requirement of posing and staging are the central subjects of Fischnaller&rsquo;s works: his models appear as classical nobleman and commissioners, and pose as stand-ins for their own art-historical influences.&nbsp; His background in high-end fashion photography comes through in the compositions, evoking the same sense of intense construction, visionary planning and seductive theatricality. The scenes are dignified but embellished with surprising pops of edibles and gaudy ornaments. They rely on the fascinating mutuality of modern absurdity and the ubiquity of art historical cues. Riddle-like in their construction, the saturation of color, pattern and arrangements provides humor in its surprise as much as it does discomfort. The elements of the picture fit together as seamlessly and vibrantly as an eclectic rococo interior, but their true success lies in their irresistible demand for further inspection within their blinding excessiveness. Lace, gold and diamonds are convincingly substituted for candy wrappers, Rubix Cubes and ashtrays.</p> <p>&nbsp;</p> <p>The past&rsquo;s norms and celebrations of people in portraiture are reincarnated with the present&rsquo;s analog, fusing the delightful luxury of charms and bobbles with the absurdity of motorcycles and cooked spaghetti. Fischnaller fully collapses chronological distance through these acknowledgements and substitutions. Much like photographers Vik Muniz, Cindy Sherman or painter Kehinde Wiley, Fischnaller&rsquo;s characters and constructions bring a self-reflective presence to the work and it&rsquo;s subject. The distance from the original subject is elongated while the temporal distance is shortened and, unlike that of Muniz, Sherman or Wiley, the subject becomes as disposable as the fruits, jewels, and marshmallows of his references and edits.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong><em>Josef Fischnaller</em></strong><em> was born in Grieskirchen, Austria in 1964. From his early apprenticeship to Photography in Vienna, he moved directly into photography for high-end fashion print and for opera and movie stars. Since his first solo exhibition at Steins, Wien, Austria in 1988, Fischnaller&rsquo;s work has been exhibited throughout Austria and Germany, including venues such as the U-Hof Linz, Germany (1996); the Galerie Ernst Hilger, Wien, Austria (2011) and most recently Galerie Friedmann-Hahn, Berlin, Germany (2013). Fischnaller received the CCA Venus Gold and Silver awards, the International Andy Award of Montreux Public Interest and the Cresta Awards for Unicef in 2006. Fischnaller currently lives and works in Berlin.</em></p> <p>&nbsp;</p> <p>&nbsp;</p> <p>For further information please contact the gallery at andrea@stuxgallery.com.</p> Tue, 08 Apr 2014 23:18:15 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Dana Melamed - Stux Gallery - April 23rd 5:00 PM - 8:00 PM <p><strong>Stux Gallery</strong> is pleased to present <em>Behind the Grid</em>, an exhibition of sculptures by New York based artist <strong>Dana Melamed</strong>. This marks the artist&rsquo;s first solo exhibition at Stux since joining in 2014, and is her eighth solo exhibition in New York. <em>Behind the Grid</em> will serve as the inaugural exhibit for Stux&rsquo;s new location in midtown Manhattan at 24 West 57th Street.</p> <p>Melamed's work is born equally through construction and destruction. Wearing a gas mask at work, she fuses together layers of transparency film, drawings, photographs and mesh with a burning torch; then, using a razor, she delicately feathers the welded object and grants it life and lightness. Her compilation of visual information distances the work from reality without losing reference to the present and past urban world. Though no color is deliberately applied, her methods of adherence bring brilliantly nuanced warm and cool hues to light, blossoming past the barbed surface like flower buds through concrete. Hope and devastation simultaneously arise from her works, as well as thoughts about the environment in which conflict amongst civilizations and industrial progress thrive together.</p> <p>&nbsp;</p> <p>Industrial structures are scaled down and confined within the quasi-rectangular space, or faded away through a whirlwind of sharp mesh. Small, dilapidated water wheels and staircases escape the abyssal plain of the surrounding black and white tangles. The active landscapes are suspended in their unblinking moment, full of energy to grow into the new. Melamed evokes a future based on our destructive-constructive tendencies, and reflects upon the same aspect in history. It is a deceivingly child-like attitude towards modernity, created by presenting tame, storybook-like miniatures of the land to frolic through, while simultaneously enlarging her concepts to the terrifying scale of a new potential reality.</p> <p>&nbsp;</p> <p>Landscape holds critical weight in art and art history, and Melamed&rsquo;s play on the architectural and social "grid" reinforces this notion. Melamed's rigid grids recede and erupt, and the romantic vision of a fictitious world is dissected and grotesquely reconfigured through the wreckage. Yet, beauty manages to grow around and through the ashes to continue anew. There is resonance of Anselm Kiefer&rsquo;s postwar landscapes in their materialism and their emotion. The works signal an end as much as a beginning, the cycle of the departure of the familiar and the arrival of what is to become familiar. The eye is required to be held in balance and oscillation, continuously transforming the scene into something foreign, then familiar, then again foreign.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong><em>Dana Melamed</em></strong><em> was born in Israel in 1972. She studied architecture and art history at Ort Technicum Givatayim, Isreal in 1990 and graduated from the Tel Aviv School of Visual art in 1995. Since her first solo exhibition When Dawn Breaks at Priska C. Juschka Fine Art, New York, NY in 2006, Melamed has had numerous solo exhibitions throughout the city. She has been on display in venues such as The Durst Organization (2008), Lesley Heller Workspace (20011) and most recently Von Lintel Gallery (2013). She also maintains works in the Frenkels Foundation for the arts permanent collection and the University of Michigan Museum permanent collection as well as numerous international private collections.</em></p> <p>&nbsp;</p> <p>&nbsp;</p> <p>For further information please contact the gallery at andrea@stuxgallery.com.</p> Tue, 08 Apr 2014 23:28:08 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sanaz Mazinani - Taymour Grahne Gallery - April 23rd 6:00 PM - 8:00 PM <div class="column"> <p>Taymour Grahne Gallery unravels normalized representations of conflict with <em>Frames of the Visible,</em> a solo exhibition of photographic work by the Iranian-born, Canada- and California-based artist Sanaz Mazinani.</p> <p>Mazinani has long been concerned with the dissociation that occurs between the experience of an event and its photographic record. Utilizing news media images, the artist challenges the relationship between perception and representation, and explores concepts such as censorship, scale, and the body as a site of action or violence.&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; </p> <p>Adapting images relating to the destabilizing effects of war mined from the Internet, Mazinani creates large photographic collages that re-frame emotionally charged visuals, dissecting and puncturing our normative experience of the original source. Through a process-intensive method of creating original patterns by sequentially pairing, repeating, mirroring, and multiplying source material, she strives to make sense of the ways in which such media images define our relationship to war.&nbsp;</p> </div> <p>Mazinani&rsquo;s use of geometric patterns goes beyond symbolizing Islamic ornamentation; it speaks to the culturally specific ideology of transfiguration, or more generally, the transitory nature of being. Understanding the radical ways in which two people can perceive the same object with differing complexity is at the core of her investigation, as is the power of repetition and reproducibility of photographic images to construct and define history. The repetitive patterning creates a certain distance from which the works can reflect on popular media&rsquo;s representation of warfare and communicate the complex and interwoven relationships that demonstrate the nature of modern existence in a globalized world.&nbsp;</p> Sun, 06 Apr 2014 01:17:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list KATIA KAMELI - Taymour Grahne Gallery - April 23rd 6:00 PM - 8:00 PM <p>Taymour Grahne Gallery is proud to present <em>The Situationist Effect</em>, a solo exhibition of work by the&nbsp;Paris-based Franco-Algerian artist Katia Kameli. Marking the artist&rsquo;s first solo exhibition in New York, <em>The Situationist Effect</em> is a project presenting Kameli&rsquo;s personal approach to the city of Marseille and its surroundings, in a film entitled <em>Futur</em>and in a series of photographs, transforming the downstairs gallery into an intimate cinematic space.</p> <p><em>The Situationist Effect</em> is a project that takes us to the outskirts of Marseille in its widest sense, driven by the artist&rsquo;s keen and poetic eye. Her film <em>Futur</em>, based on interviews with fifteen employees from Futur Telecom Company, appropriates information given by locals about their visual perceptions of the surrounding city and transforms it into visual elements. &nbsp;<em>Futur</em> unfolds by the riverbanks in Martigue, capturing a local cemetery, a soccer stadium, and follows a group of teenagers to the popular <em>Bar Olive</em>and as they play basketball and loiter with skateboards. In a display imagined specifically for the gallery space, the film provides the viewer with a &ldquo;keyhole&rdquo; perspective on the regional political situation. Through cinematography, she reveals the in-between, the grey zones, where surface and content interact, where tradition meets modernity, where the social, economical and political dimensions of a certain context can be analyzed. &nbsp;The independent curator and art historian Fabienne Bideaud describes Kameli&rsquo;s exploration of the city&rsquo;s landscape as &lsquo;constructive wandering.&rsquo; She writes, &ldquo;This specific approach to understanding a city recalls the Situationist International, the avant-garde movement largely instigated by the French theorist and filmmaker Guy Debord, who co-founded the group in 1957, and for whom the &ldquo;situation&rdquo; was the existential framework in which individuals have an active role to play in the understanding of a territory.&rdquo;&nbsp;</p> <p>In <em>The SItuationist Effect, </em>Kameli explores issues of territory as related to social and cultural development, with an overarching sense for tradition. She is especially interested in the relationship of tradition to modernity in Africa and the Middle East, traced through her works <em>The Growing Block </em>(2012), <em>Concrete </em>(2012), <em>Dissolution </em>(2010), and <em>Storyteller </em>(2012). Closely linked to personal experiences and ephemeral identities, she uses sound, video and photographic installation to moderate the boundaries between art and cinema, and the tactics of <em>d&eacute;rive </em>(drifting) and <em>d&eacute;tournement</em>(diversion), to transform a city into an arena for creation, recasting constraints that prevent the development of meaningful ventures in both life and culture.</p> <p>Katia Kameli has exhibited around the world, with her most recent solo-exhibitions including: <em>Third Space</em>, Galerie Mamia Bretesche, Paris (2013); <em>7 Acts of Love in 7 days of Boredom</em>,&nbsp; Transpalette, Bourges (2012); <em>Duty Free</em>, Videochroniques, Marseille (2012).&nbsp; Kameli has also participated in numerous groups shows that include:&nbsp; <em>Lubumbashi Biennale</em>, Congo (2013); <em>Visual Arts Festival Damascus</em>, DEPO; <em>Istanbul (2013); Pour un Monde Durable</em> Gulbekian Foundation, Portugal (2013); <em>Pierre qui roule</em>, Etemad Gallery, Dubai (2013); <em>Le Pont</em>, Mus&eacute;e d&rsquo;Art Contemporain de Marseille (2013); <em>Shifting Cards</em>, <em>Les bains douches</em>, Marseille (2012)&nbsp;; <em>De Paso en la Tierra</em>, Institut Francais Seville and Madrid, Dak'art, Dakar Biennale (2012); Higher Atlas, Marrakech Biennale (2012);<em> Bamako Biennale</em>, Mali (2011); <em>New Carthographies,</em> CornerHouse, Manchester (2011).</p> Sun, 06 Apr 2014 01:22:54 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Michael Manning - American Contemporary - April 24th 6:00 PM - 8:00 PM Tue, 15 Apr 2014 05:59:53 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Wolf Kahn - Ameringer | McEnery | Yohe - April 24th 6:00 PM - 8:00 PM <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p><span style="font-family: georgia, palatino;">With paintings dating from 1960 to 2014, this exhibition of works illustrates the complex evolution of Wolf Kahn&rsquo;s prolific career.</span></p> <p><span style="font-family: georgia, palatino;">Kahn&rsquo;s early works are nearly monochromatic, concentrating on subtle varying tonalities. Though nature was his inspiration, the subject matter remains allusive. However, by the late 1960s, Kahn began his transition to a bolder palette. Amidst this shift, the subject becomes increasingly explicit while abstractly depicted.</span></p> <p><span style="font-family: georgia, palatino;">The landscape, both real and fantastic, becomes a conduit for imagination and invention and acts as a vehicle for Kahn&rsquo;s painterly gesture and bold exploration of color.</span></p> <p><span style="font-family: georgia, palatino;">Like the late works of Matisse, Avery, and Hofmann, Kahn&rsquo;s paintings from the last decade are a great flowering that celebrate joy, beauty, color, and life.&nbsp;</span></p> </div> </div> </div> Wed, 23 Apr 2014 14:54:12 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sandra Mendelsohn Rubin - Ameringer | McEnery | Yohe - April 24th 6:00 PM - 8:00 PM <p><span style="font-family: georgia, palatino;">In this body of work, Sandra Mendelsohn Rubin creates small, but meticulously detailed paintings of the rural northern California landscape, often from an aerial perspective.</span></p> <p><span style="font-family: georgia, palatino;">While in the past she worked solely from life, Rubin utilizes digital photography in her most recent paintings as a supplement to her usual method. Instead of compromising her work, photography as a tool enables Rubin to portray the human presence, made evident through the use of aerial perspectives, in the framework of the natural environment. The use of photography furthers the artist&rsquo;s desire to further bond her works to the physical world.</span></p> <p><span style="font-family: georgia, palatino;">On each canvas, there are several layers of undiluted oil paint applied straight form the tube.&nbsp; The detailed application of paint is enhanced by the somewhat diminutive scale of these works, which transforms the impression of far-off space into an intimate experience. These works are inherently small in order to convey intensity of detail in a way that allows the viewer to physically feel a connection with the surface being depicted.&nbsp;</span></p> <p><span style="font-family: georgia, palatino;">Although the rural northern California landscape remains her inspiration, water has now become the primary focus. It is the element that ties together this particular body of works and is present in some form, whether manmade or natural, on each canvas with the exception of one. The subject of water as a focal point is a reflection on its implicit presence in everyday life.</span></p> Wed, 23 Apr 2014 14:56:10 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Christina Massey - DACIA GALLERY - April 24th 6:00 PM - 9:00 PM <p>Dacia Gallery is pleased to present Christina Massey&rsquo;s Salva Veritate solo exhibition. Christina&rsquo;s works depict the unharmed truth about the economic recession, bank bailouts and the emotional strains placed upon innocent families in the wake of its aftermath.&nbsp; Her works are physical fragments of the new and old, success and failure.&nbsp; They are also bits and pieces of her own past and present, likes and dislikes. Through donated business attire from banks and corporate employees, Christina re-purposed this fabric and hand stitched it together with sections of her own failed works on canvas. The results are organic, quilt-like surfaces made from painted canvas where the sometimes subtle, sometimes obvious influence of the khakis, collared shirts and nylons lay within the composition as reminders of the ever present influence of money on the creation and promotion of art.</p> <p>ARTIST STATEMENT</p> <p>Using methods of constructing and deconstructing, I am constantly re-using and re-purposing my own artwork. One series literally leads to another, where previous series of works are cut, torn and sewn or woven back together again into new series of works, which may again be reconstructed into yet another art form.&nbsp; The past is always present in both current and future works, and they tell a story of my progression as an artist.I often use word play, theatrics and general political topics as a way to communicate opinions that ultimately define an observation about the art world itself.&nbsp; Painting as a medium, having taken the largest &ldquo;beating&rdquo; so to speak from the critical art world has been my primary focus of material, be it acrylic, oil or watercolor on either paper or canvas.&nbsp; I &ldquo;kill&rdquo; my traditionally framed paintings by cutting and tearing them apart, then mend them together by thread, a series of knots or weaving them together again giving them new life as a different form.How I choose what works to re-work, and what works to remain is a difficult process.&nbsp; Often it is work that has sat around for too long, perhaps &ldquo;failed&rdquo; in some way, by not showing or selling or simply no longer satisfying my creative desires.&nbsp; There are &ldquo;favorites&rdquo; so to speak that will stick around for years and not be touched, however, on occasion, even these &ldquo;favorites&rdquo; sometimes get the axe if it&rsquo;s what I feel the new work requires.&nbsp; It&rsquo;s a therapeutic process of letting go in order to move forward.&nbsp; Ultimately, any work that I have created in the past is subject to be re-worked again in the future in some way shape or form as my own tastes and opinions change, my body of work continues to evolve with me.</p> Fri, 18 Apr 2014 02:49:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list April Gornik - Danese Corey - April 24th 6:00 PM - 8:00 PM Mon, 21 Apr 2014 01:07:57 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list