ArtSlant - Openings & events en-us 40 - Anthology Film Archives - September 29th 6:30 PM - 8:30 PM <p>&nbsp;</p> <p><strong>&nbsp;</strong></p> <p><strong>International Video Panel</strong></p> <p><strong>Utopias or realities</strong></p> <p><strong>Transborder is presenting an international panel on September 29, 2014 at the Anthology Film Archives in Manhattan. We will discuss current positions, between reality, utopias&nbsp; and consider both individual and social concerns. </strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> Sat, 13 Sep 2014 17:18:08 +0000 - International Center of Photography (ICP) - September 29th 7:00 PM - 9:00 PM <p>ICP's founding mission is to foster, promote, and preserve the work of photographers who use their cameras to elucidate social and political issues, what Cornell Capa called "concerned photography." This is the first of two panels in the <a href="" rel="nofollow">ICP Talks: Climate Change</a>&nbsp;series exploring the question of how photographers can effectively participate in the mobilization around climate change. What does the environmental movement need from the photographic community?</p> <p>Panelists include photographers Stanley Greene (Noor) and Ron Haviv; climate change activist Kevin Buckland of; and photo historian Fred Ritchin.</p> <p><a href="" rel="nofollow">For more information</a></p> <p><a href="" rel="nofollow">Purchase tickets</a></p> Thu, 25 Sep 2014 21:04:08 +0000 Joyce J. Scott - Museum of Arts and Design - September 30th 11:00 AM - 6:00 PM <p>Bringing together Scott&rsquo;s neckpieces and blown glass sculptures for the first time,&nbsp;<em>Maryland to Murano: Neckpieces and Sculptures by Joyce J. Scott</em>&nbsp;examines Scott's prolific career, defined by her ever-evolving techniques, continued exploration of provocative narratives, and commitment to her craft. Maryland to Murano will be the first exhibition to examine the relationship between Scott&rsquo;s beaded and constructed neckpieces created in her Baltimore, Maryland studio and her more recent blown glass sculptures crafted in the Berengo Studio on Murano Island in Venice, Italy. On view from September 30, 2014 to March 15, 2015, this exhibition demonstrates the interplay between these two bodies of work and reveals the range of Scott&rsquo;s technique and skill, as well as the complex relationship she has shaped among adornment, content and methodology.<br />&nbsp;<br />Organized by MAD's Chief Curator Lowery Stokes Sims and curatorial assistant Sophia Merkin, the exhibition features 34 of Scott&rsquo;s neckpieces, including a collaboration with noted jeweler Art Smith, 3 beaded wall hangings, and 13 glass sculptures, most of which were created since 2009. Born in Baltimore in 1948, Scott has lived, studied, and worked in Maryland all her life. Challenging perceived dichotomies between art and craft, sophistication and na&iuml;vet&eacute;, and politics and adornment, Scott has succeeded in incorporating these elements within a vast and varied body of work including installation, printmaking, apparel, sculpture, and jewelry, the last of which has garnered her the widest audience and recognition. In Scott&rsquo;s hands, human adornment becomes a vehicle for social commentary and a means for confronting contentious issues affecting contemporary society. Navigating controversial themes including hunger, rape, and racial stereotypes, Scott&rsquo;s jewelry transcends the typical function of adornment and embellishment.</p> Mon, 15 Sep 2014 01:07:23 +0000 Thomas Hart Benton - The Metropolitan Museum of Art - September 30th 10:00 AM - 5:30 PM <p>This exhibition celebrates the gift of Thomas Hart Benton's epic mural&nbsp;<em>America Today</em>&nbsp;from AXA Equitable Life Insurance Company to The Metropolitan Museum of Art in December 2012. Benton (1889&ndash;1975) painted this mural for New York's New School for Social Research to adorn the school's boardroom in its International Style modernist building on West 12th Street. Showing a sweeping panorama of American life throughout the 1920s,&nbsp;<em>America Today</em>&nbsp;ranks among Benton's most renowned works and is one of the most remarkable accomplishments in American art of the period.</p> <p>The ten-panel mural will be featured in a space that recreates the boardroom in which it originally hung. An adjacent gallery will include Benton's studies for&nbsp;<em>America Today</em>, including character studies in pencil for figures that appear in the mural, as well as painted compositional studies for individual mural panels. There will be an additional gallery devoted to works that relate to<em>America Today</em>, drawn from the Met's collections; of particular interest is Jackson Pollock's&nbsp;<em>Pasipha&eacute;</em>&nbsp;(1943). Pollock was Benton's student at this time and served as a model for his teacher's mural.</p> Mon, 15 Sep 2014 02:19:38 +0000 Group Show - The Metropolitan Museum of Art - September 30th 10:00 AM - 5:30 PM <p>The fall rotation in the Robert Wood Johnson Jr. Gallery highlights recent purchases and gifts to the Museum, as well as selections from rich, but not often seen, parts of the permanent collection. Beginning with&nbsp;<em>Christ in Limbo</em>, a recently acquired mid-sixteenth-century drawing by Luca Penni (Italian, 1500/1504&ndash;1557), an Italian Mannerist artist active in France, the installation presents a series of juxtaposed pairs exploring the dialogues and transformations between drawings and the prints for which they were models.</p> <p>The exhibition also includes a display of drawings by the Romantic artist Eug&egrave;ne Delacroix (French, 1798&ndash;1863), many of which were recently acquired thanks to a generous gift from Mrs. Karen B. Cohen. Some of these works, such as the artist's&nbsp;study for "The Sultan of Morocco and his Entourage", focus on the artist's North African sojourn in 1832, while others such as&nbsp;<em>Crouching Tiger</em>&nbsp;demonstrate his love for exotic and ferocious animals. Continuing the exhibition's selections from nineteenth-century France are four large lithographs by Th&eacute;odore G&eacute;ricault (French, 1791&ndash;1824), all from his series devoted to horses.</p> <p>Among the other diverse themes explored is the sometimes playful, sometimes serious use of military motifs in eighteenth-century France through a selection featuring drawings by Jacques Louis David (French, 1748&ndash;1825), Jean Charles Delafosse (French, 1734&ndash;1789), and Philippe Jacques de Loutherbourg (French, 1740&ndash;1812). Whimsy continues with nineteenth-century works devoted to fairies and fairytales, stories that held a particular fascination for the Victorians, due in part to a revival of interest in the plays of William Shakespeare and the translation and publication of the Grimm Brothers'<em>Children's and Household Tales</em>&nbsp;in nineteenth-century England. The evolution of fairy imagery is traced in examples ranging from Henry Fuseli's (Swiss, 1741&ndash;1825) Neoclassical depiction of Gloriana from Edmund Spenser's&nbsp;<em>The Faerie Queen</em>, to Walter Crane's Arts and Crafts&ndash;style illustrations for the&nbsp;Grimms' stories.</p> <p>Moving to works produced on American soil, another selection includes advertising posters produced during the poster craze of the 1890s, including William Bradley's&nbsp;<em>Victor Bicycles</em>&nbsp;and Edward Penfield's July 1896 cover for&nbsp;<em>Harper's</em>&nbsp;magazine. Also featuring advertising is a display organized around two&nbsp;<em>Life</em>magazine posters from 1967 that transform the company's iconic logo. These posters, paired with prints by Pop artists such as Robert Rauschenberg (American, 1925&ndash;2008), Andy Warhol (American, 1928&ndash;1987), James Rosenquist (American, b. 1933), and Jim Dine (American, b. 1935) demonstrate how artists explored the boundaries between art and the everyday, appropriating imagery from newspapers, fashion magazines, and advertisements into their prints.</p> Mon, 15 Sep 2014 02:28:40 +0000 Wendy Mark - Jill Newhouse Gallery - October 1st 6:00 PM - 8:00 PM <p align="center"><em>&ldquo;The Fragment/Recollection/Disappearance/Addition/Contrast/Weight and Shadow/The Fugue</em></p> <p align="center">are all explored within the space of a square &ndash; <em>beginning with square one</em>.&rdquo;</p> <p>- Wendy Mark</p> <p>&nbsp;</p> <p>New York gallerist Jill Newhouse ( is delighted to present a multi-media exhibition of new work by Wendy Mark from October 1st to November 15th at her gallery at 4 East 81 Street.</p> <p>BEGINNING WITH SQUARE ONE is Wendy Mark&rsquo;s latest creative expression, exploring the use of squares as <em>grids, frames and space</em>, and as active participants in the construction and deconstruction of images.&nbsp; The multi-media exhibit of work, including Mark&rsquo;s monotypes, watercolors, mirror paintings, photographs, books, and small objects, alongside a site specific installation by award-winning architects AGENCY, underscores the artist&rsquo;s interest in collaboration, which infuses every one of her projects with special meaning and finds new forms for their realization. Each piece in the show explores and elaborates the theme with different material and optical techniques, engaging the viewer in a range of relationships to imagery and space.</p> <p>Language, and forms of prose and poems, have always been at the center of Wendy Mark&rsquo;s work.&nbsp; Mark explains how each piece contributes to the <em>syntax </em>of her shows and her entire body of work.&nbsp; Working to both refine each image, and collections of images arranged in a grid, Mark explains, &ldquo;each image is like a line of a poem, a segment, or verse of meaning.&nbsp; These series of <em>image/lines</em> make up the poem which is the whole piece, composed of this <em>row or row of images</em>.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE draws on rich conceptions of drawing and translation methods throughout art history, while extending known methods into surprising new modes of output. Recurring images of <em>dots and clouds</em> fill the space in gridded compositions and in collections of squares and frames.&nbsp; Mark adds, &ldquo;the idea of permutation &ndash; of how images refer to and impress meaning on each other -- is important to me. The <em>graph</em> and the Renaissance <em>cartoon</em> are both influences on these images of dots and clouds, not in terms of transference maps, but in terms of <em>translation</em> and graphed <em>points of reference</em>.&rdquo;</p> <p>Certain pieces in the show engage the viewer and the space of the gallery in contributing to the construction of the work.&nbsp; Collections of <em>dice</em> present disassembled vignettes of larger images in the show on their faces, inviting viewers to assemble three-dimensional reconstructions of the printed images.&nbsp;&nbsp;&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;The viewer,&rdquo; Newhouse points out, &ldquo;is asked to respond and, with Mark&rsquo;s <em>dice,</em> as in game theory, the viewer may rearrange these pieces of 9 or 12 or 100, as they desire: to make their own configurations.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE&nbsp;includes the result of a new collaboration, a site specific installation for the Jill Newhouse Gallery based on the spatial implications of Mark&rsquo;s monotypes.&nbsp; Designed and fabricated by AGENCY (, a collaborative interdisciplinary practice engaging contemporary culture through architecture, urbanism, and advocacy, the architects explore resonances between digital processes and material artifacts shared in their work and the work of Wendy Mark.</p> <p>AGENCY principals Ersela Kripa and Stephen Mueller, winners of the 2010-11 Rome Prize in Architecture, explain, &ldquo;we are transforming a confined gallery space to create the illusion of weightlessness and surprising depth, translating and decontextualizing Wendy&rsquo;s <em>clouds</em> into a richly textured, multi-dimensional, optical and spatial manifold. The installation, which we call &lsquo;CloudSpace&rsquo; intensifies the unexpected depth of space and light one is faced with upon encountering Wendy&rsquo;s clouds, immersing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized <em>lenticular lens</em>, capitalizing on generative digital design tools and fabrication technologies to create multiple new and complex readings of the <em>image</em>.&nbsp; Viewers become complicit in the construction and deconstruction of <em>spatial images</em> as they move through the space, revealed through constantly shifting perforations, opacities, and reflections generated by different viewing angles.&rdquo;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;Our goal,&rdquo; the architects explain, &ldquo;is to translate the scale of the artwork into a three dimensional <em>spatial </em>experience for gallery visitors, who will be reflected in the infinitely expansive environment, captured in the seemingly weightless <em>clouds</em>.&nbsp; The installation gathers three-dimensional data through the systematic indexing and transformation of color and value and then articulates Mark&rsquo;s vision in a vertical, optical, topography.&rdquo;</p> <p>Newhouse adds that, &ldquo;when you visit the gallery you will see how well Wendy Mark and AGENCY have exploited similarities between Mark&rsquo;s material-intensive monotype process and AGENCY&rsquo;s virtual analytic and constructive techniques -- by breaking down Wendy&rsquo;s <em>clouds</em> into a series of progressive spatial matrices.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE includes several visual and intellectual reference points for the observer. &ldquo;The connection to the history of cloud painting is inherent in this installation,&rdquo; Mark writes. &ldquo;My <em>clouds </em>are not taken from the real clouds in nature; I do not paint from Life.&nbsp; These <em>image/clouds</em> are a reinterpretation of the clouds in paintings from the Renaissance painters.&nbsp; I am looking at the clouds of Pontormo, Mantegna, and the skies of the Dutch landscape painters as well.&rdquo; She writes that &ldquo;my clouds are a riff on these early skies.&nbsp; At the same time they refer forward to computer generated dots and information diagrams.&rdquo;</p> <p>In the catalog for the show, Wendy Mark says, &ldquo;one idea is to use scale to reinterpret the Renaissance Landscape: You have to <em>Zoom IN</em> through a small <em>window/frame/turn on the screen</em>.&rdquo;</p> <p>Mark&rsquo;s work has captured the attention of major collectors as well as notable museums and institutions. This is Wendy Mark&rsquo;s second solo show at the Jill Newhouse gallery, which showed Wendy Mark monotypes in an October, 2011 exhibition titled &ldquo;Drive.&rdquo;&nbsp; It is the twelfth solo show for the New York-based artist known for her collaborations with writers, composers, and choreographers.&nbsp;</p> <p>Wendy Mark began her career as a writer and received her MFA from the poetry division of Columbia University School of the Arts. She writes, &ldquo;reading poems and fiction is intrinsic to my life as well as my work as a painter.&rdquo;&nbsp; Limited edition books are part of her many solo exhibitions.&nbsp; She has repeatedly sought to infuse her work with thought-provoking words and images, forging successful creative collaborations with Pulitzer Prize-winning poets Mark Strand, Charles Simic, Paul Muldoon and David St. John, and writers such as Adam Gopnik, Louis Menand, and the Spanish writer, Javier Marias.</p> <p>In an essay by The New Yorker art critic, Adam Gopnik, on Mark&rsquo;s &lsquo;Clouds&rsquo; he asked, &ldquo;<em>is there possibly the hint of a television screen in her squared off formats?&rdquo;</em></p> <p>Wendy Mark has had numerous solo exhibitions and her monotypes were included in the historical exhibition at The Smithsonian Institution &ldquo;Singular Impressions: The monotype in America.&rdquo; Other museum shows include The Lyman Allyn Museum in CT., The Metropolitan Museum of Art, NYC and The Hiroshima Museum of Contemporary Art in Japan.&nbsp; Her prints and books are in the collections of The Metropolitan Museum of Art, the Morgan Library, The Spenser and Berg collections at the New York Public Library and numerous other museums. She is among the twenty artists cited by Thomas Hoving in his article in <em>Cigar Aficionado</em>, "Twenty Artists Who May Be the Picassos and Monets of the 21st Century."</p> <p>Hoving, the former Director of the Metropolitan Museum of Art, was among the first to applaud Mark's monotypes. In his catalogue essay for her show, "A New Shade of Blue" at the Lyman Allan Museum he writes:</p> <p><em>Her latest works demonstrate a further maturing of her subtle skills and are all about contradictory sensations &ndash; the ephermal in her pieces, some deliberately murky thoughts as well as crystal realities.&nbsp; Super evocation!&nbsp; In every work there&rsquo;s a masterful combination of delicacy and force and weightiness and light-as-air freedom.&nbsp; It doesn&rsquo;t matter what the work is, every resplendent one crackles with energy and drama and embodies a simply astounding sense of release and celebration</em>.</p> <p>Paul LeClerc, the former President of The New York Public Library, says of her work in his essay for Mark's exhibition, <em>The Steamroller Project</em>, a large scale monotype made in Central Park:</p> <p><em>One finds, I think, in nearly all of her work something akin to Baudelaire&rsquo;s &lsquo;Invitation to the Voyage,&rsquo; where Mark invites us to join her in venturing into new, seductive, and mysterious landscapes, filled with the arresting colors of Turner or the nuanced palate of Stieglitz&rsquo;s &lsquo;Equivalents.</em></p> <p>The Pulitzer Prize-winning poet, Charles Simic, writes in his introduction to their collaboration limited edition book, <span style="text-decoration: underline;">Wendy's Pinball,</span> published by Glenn Horowitz Bookseller:</p> <p><em>One only needs to divide a blank piece of paper with a line of the horizon and the imagination starts working.&nbsp; Soon there are fields and clouds; there is a solitary tree, the changing light of the day and the seasons with their colors.&nbsp; Wendy Mark&rsquo;s monotypes remind us of those moments when we make our world larger by meaning.</em></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jill Newhouse says, &ldquo;Wendy Mark&rsquo;s art transforms traditional, classical imagery and makes it current. The skies and clouds of Constable and Turner become the dots and grids of the 21st century.&rdquo;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Wendy Mark | &lsquo;BEGINNING WITH SQUARE ONE&rsquo; | Exhibition</p> <p>&nbsp;</p> <p>Wendy Mark returns to her &lsquo;cloud referenced&rsquo; images to express what can take place within a square.&nbsp; The show includes monotypes, watercolors, photographs, mirror paintings and dice. &ldquo;Beginning With Square One&rdquo; refers to the more common phrase &lsquo;back to square one&rsquo; but changes the emphasis, from starting over to the more intense and intentional focus on the &lsquo;square as a frame&rsquo; and as a series of expressions.&nbsp;</p> <p>&nbsp;</p> <p>The BEGINNING WITH SQUARE ONE exhibition at the Jill Newhouse gallery also includes Wendy Mark&rsquo;s new <em>&lsquo;Mirror&rsquo;</em>&nbsp;paintings.&nbsp; Inspired by Jeff Koons&rsquo; bright, shiny, reflective surface sculptures, these paintings of rose/cloud forms of gesso and enamel include the viewer within the image, as they are reflected in these surfaces the closer they get to the image.&nbsp; Mark has been taken by Koons&rsquo; sculpture for many years and this year walked past the Christmas red &ldquo;Venus&rdquo; sculpture at Sotheby&rsquo;s and was &ldquo;forced,&rdquo; she says, to try to work on this new, non-porous, and bright surface, in her case, on Mirror paper, which she found at NY Central Supply.</p> <p>&nbsp;</p> <p>AGENCY | &lsquo;CloudSpace&rsquo; | Site Specific Installation</p> <p>&nbsp;</p> <p>AGENCY transforms a confined gallery space to create the illusion of weightlessness and surprising depth, translating and decontextualizing Wendy&rsquo;s <em>clouds</em> into a richly textured, multi-dimensional, optical and spatial manifold. The installation intensifies an unexpected depth of space and light, immersing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized <em>lenticular lens</em>, creating multiple new and complex readings of the <em>image.</em>&nbsp; Viewers become complicit in the construction and deconstruction of <em>spatial images </em>as they move through the space, revealed through constantly shifting perforations, opacities, and reflections generated by different viewing angles.</p> <p>&nbsp;</p> <p>AGENCY is an award-winning architectural design and research practice known for transforming spaces, sites and systems by working within and against each context&rsquo;s limitations and constraints. The work of the practice ranges from speculative research and urban policy proposals to commissioned architectural projects, film, photography, and public art installations. AGENCY was awarded the 2010 ONE Prize; the 2010-11 Rome Prize in Architecture and has been invited to participate in the Venice Biennale, Sofia Architecture Week, Eme3 International Architectural Market and SUPERFRONT in Los Angeles.</p> <p>&nbsp;</p> <p>&nbsp;</p> Fri, 26 Sep 2014 05:02:46 +0000 - The Goethe-Institut (Wyoming Building) - October 1st 6:00 PM - 8:00 PM <p>Who creates the city? Who shapes its future? City planning as a highly specialized, centrally organized field is being enhanced, infiltrated, and superseded by new and often informal constellations of participants. Weltstadt aims to provide these activists and initiatives with an international platform to support their mutual exchange. A joint initiative of the Goethe-Institut and the German Federal Ministry of Transport, Building, and Urban Development, the Weltstadt exhibition explores urban participation and the future of cities in light of challenges such as climate change, migration, and social polarization and presents recent initiatives from Bangalore, Belgrade, Curitiba, Dakar, Johannesburg, Lisbon, Madrid, New York, Porto Alegre, Riga, Salvador, S&atilde;o Paulo, Seoul, Toulouse, Turin, and Ulan Bator.&nbsp;<br /><br /><br /><em>The Weltstadt exhibition is a part of Archtober (&auml;rk&rsquo;tōbər), a month celebrating architecture and design in New York. The Archtober festival presents special tours, lectures, films, and exhibitions that focus on the importance of architecture and design in everyday life. The many participating organizations aim to raise awareness of the important role of design in our city and to build a lasting civic and international recognition of the richness of New York&rsquo;s built environment.</em></p> Tue, 23 Sep 2014 02:48:39 +0000 John Walker - Alexandre Gallery - October 2nd 5:30 PM - 7:30 PM <h2><a href="" rel="nofollow">JOHN WALKER</a>: RECENT PAINTINGS</h2> <p>Thursday, October 2 through Saturday, November 12, 2014</p> <p>A selection of large and small scaled paintings in the first New York exhibition of John Walker's work since his 2011 show at Knoedler Gallery.</p> <p>Illustrated catalogue available.</p> Thu, 04 Sep 2014 18:29:59 +0000 Xavier Le Roy - MoMA PS1 - October 2nd 12:00 PM - 6:00 PM <p>MoMA PS1 presents&nbsp;<em>Retrospective</em>, the inaugural US museum survey of French artist and choreographer&nbsp;<strong>Xavier Le Roy</strong>&nbsp;(b. 1963). Realized in the galleries by a team of performers who continuously recycle and transform Le Roy's past solo work the exhibition opens up expanded opportunities for interaction within the museum. In his reconfiguration of the conventionally linear form of the retrospective as an accumulative mid-career survey, Le Roy brings his past works to life by consolidating and reimagining them into a new whole. In the process the exhibition unfolds across several different time axes that introduce temporal complexity to the galleries: the period during which Le Roy conceived the referenced solo works (1994&ndash;2010), the duration of the individual gallery visits, the performers&rsquo; daily labor time, and lastly the transformation and development the exhibition undergoes over the course of its two month run. The result is a groundbreaking hybrid of choreography and visual art that transforms the traditional exhibition format into a creative medium.</p> <p>With&nbsp;Eleanor Bauer, Andrew Champlin, Sherwood Chen, Lindsay Clark, Alex Escalante, Ben Evans, Moriah Evans, Bryana Fritz, Michael Helland, K.J. Holmes, Ir&eacute;ne Hultman, Columbine Macher, Oisin Monaghan, Katy Pyle, Will Rawls and Takahiro Yamamoto.</p> Mon, 15 Sep 2014 01:57:30 +0000 - National Academy Museum - October 2nd 11:00 AM - 6:00 PM <p>Artists have explored the meaning of classicism and pushed against its boundaries for centuries. Whether an artist embraces or resists a &ldquo;classical ideal&rdquo;&mdash;of order and balance, beauty or spirituality&mdash;it has always been a touchstone for conversation.</p> <p>Companion exhibitions include works by designer Wendell Castle and architect and National Academician William Pedersen in a dedicated project space, and&nbsp;<em>Reflections on the Classical</em>&nbsp;in the school featuring work by Academy School students and faculty.</p> Mon, 15 Sep 2014 01:37:03 +0000 David Fratkin - The Painting Center - October 2nd 6:00 PM - 8:00 PM <p>For many years, David Fratkin has been interested in pattern as both orderly, rational system and, paradoxically, a means to ecstatic contemplation, visual equivalent to chant or prayer. His sources include distorted images of tattoos, architectural ornament, and in this latest series, the upholstery on a Grehound bus. This last took on a life of its own during a long, drowsy ride. A combination of painting and printmaking in reverse results in skins of paint that reveal images both delicately intimate and vertiginously distant. David Fratkin attended the New York Studio School, and has shown in a number of galleries both in and outside New York City.</p> Mon, 15 Sep 2014 22:20:36 +0000 Jo Ann Rothschild - The Painting Center - October 2nd 6:00 PM - 8:00 PM <p>&ldquo;My paintings can be slow to see and slow to make. They depend on the interaction between the formality of the rectangle and the richness of oil paint. I look for consonance between what I feel and what I see. All current work is named for the date completed. The Painting An Important Day was finished on 6/26/2013, the day that the Supreme Court declared the Defense of Marriage Act unconstitutional.&rdquo;</p> <p>Jo Ann Rothschild is an abstract painter. She lives and works in Boston. She is the first recipient of the Maud Morgan Purchase Prize of the Boston Museum of Fine Arts and a recipient of a Grant in Painting from the Massachusetts Cultural Council. Pubic Collections besides the BMFA include: The Fogg, DeCordova and Rose Museums and the Taller Graphico in Havana.</p> <p>Rothschild has been included in exhibitions at The Boston Museum of Fine Arts, The Institute of Contemporary Art in Boston, The Rose Museum, The Drawing Center and the Painting Center both in New York, and the Taller Graphico. She has also shown in Chicago, as well as multiple cities in Cuba and Germany. Her first retrospective was at Gallery Imago in the National Theatre Building in Havana.</p> <p>Her first teacher was Leo Garel. She studied painting with Pat Adams at Bennington College. Her MFA is from the joint program of the Boston Museum School and Tufts University. Her masters thesis concentrated on the Fra Angelico fresco cycle in San Marco in Florence. Rothschild founded the Art Program at The Pine Street Inn, the largest homeless shelter in New England.</p> Mon, 15 Sep 2014 22:23:09 +0000 Regina José Galindo, Patrick Hamilton, Aníbal Lopez, Teresa Margolles, Ana Mendieta, Alejandro Almanza Pereda, Jose Guadalupe Posada, Jorge Tacla - Tierney Gardarin Gallery - October 2nd 6:00 PM - 8:00 PM <p>Cristin Tierney Gallery is pleased to present<em><strong> Dear Mr. Thanatos: Modern and Contemporary Art from Latin America</strong></em> curated by<strong> Christian Viveros-Faun&eacute;</strong>. Opening on Thursday, October 2nd, the exhibition features works by<strong> Regina Jos&eacute; Galindo, Patrick Hamilton, Anibal L&oacute;pez, Ana Mendieta, Teresa Margolles, Alejandro Almanza Pereda, Jos&eacute; Guadalupe Posada,</strong> and<strong> Jorge Tacla</strong>.</p> <p><em>Dear Mr. Thanatos</em>, curated by Christian Viveros-Faun&eacute;, is a missive or&nbsp;love letter to the dark forces-death, destruction, war, political violence, etc. - as seen through the lens of modern and contemporary Latin&nbsp;American art.</p> <p>Proposed by psychoanalytic theory as the "death drive" in opposition to Eros - the tendency toward survival, propagation, and the life-giving pleasure principle - Thanatos describes, in Sigmund Freud's terms, "the inclination to aggression," which the Austrian thinker defined "[as] the greatest impediment to civilization."&nbsp;</p> <p>The themes of death,&nbsp;aggression, and psychic and physical violence have long been central to contemporary&nbsp;Latin American artists. Because of Latin America's violent history, most artists from the region find themselves at most a single generation away from large-scale collective manifestations of the "instinct toward&nbsp;aggression" - with its devastating effects on local societies. From the repeated figure of Santa Muerte evoked by turn of the century Mexican engraver and cartoonist Jos&eacute; Guadalupe Posada to Jorge Tacla's paintings of bombed out buildings to the mortuary and burial-related video and sculpture of Guatemalan Regina Jos&eacute; Galindo, artists throughout Latin America have repeatedly turned to the subject of death to express not just existential dread, but the reality of living the examined life in situations of heightened insecurity.</p> <p>Some Latin American artists - like those in this exhibition - draw creative sustenance from these experiences and often interpret their reflections in the context of social, political and cultural developments. That is the role the destabilizing spirit of Thanatos assumes in the minimalist-inspired sculptures of Chilean artist Patrick Hamilton and the radically unstable structures of Mexican sculptor Alejandro Almanza Pereda. Others, like the Guatemalan Anibal L&oacute;pez and the Mexican Teresa Margolles, connect dramatically to specific narratives of violence as urgent subjects for their video and installations. American artist Ana Mendieta, for her part, is represented by <em>The Rape Scene</em>, photographs of a powerful tableau the artist enacted in 1973 as a response to the rape and murder of a nursing student at the University of Iowa. Today, these images stand as an increasingly relevant creative response to violence against women.</p> <p>The death instinct is familiar to all of these artists, as it is to millions of other people around the world. Like language, geography and identity, Thanatos remains an important part of Latin American art's peculiar symbolic inheritance to this day.</p> Fri, 26 Sep 2014 04:40:21 +0000 - Brooklyn Museum of Art - October 3rd 10:00 AM - 5:00 PM <p>Reflecting the rich creative diversity of Brooklyn,&nbsp;<em>Crossing Brooklyn</em>&nbsp;presents work by thirty-five Brooklyn-based artists or collectives. The exhibition and related programming take place in the galleries and on the grounds of the Museum, as well as off-site in the streets, waterways, and other public spaces of the borough.</p> <p>Emphasizing artistic practices that engage with the world, the exhibition includes artists who aim to expand their focus and have an impact beyond the studio and the museum. The resulting work defies easy categorization, taking on diverse forms that include public and private action, the use of found or collected objects, and interactive and educational events, among others. Alongside the drawings, paintings, photographs, sculptures, installations, videos, and performances on view are several site-specific works.</p> <p>While acknowledging Brooklyn&rsquo;s heightened profile,<em>Crossing Brooklyn</em>&nbsp;presents a multigenerational picture that recognizes the borough&rsquo;s long-established role as a creative center. Other themes explored in the exhibition include history and memory, place and geography, community, nostalgia, exchange, ephemerality, and politics, both local and remote.</p> Mon, 15 Sep 2014 00:51:51 +0000 Chris Johnson, Hank Willis Thomas, Kamal Sinclair, Bayeté Ross Smith - Rochester Contemporary Art Center - October 3rd 6:00 PM - 10:00 PM <p>Question Bridge: Black Males is a project that facilitates a dialogue between black men from diverse and contending backgrounds. Artists Chris Johnson, Hank Willis Thomas, Kamal Sinclair, and Bayet&eacute; Ross Smith traveled the country to collect over 1,500 question and answer videos from over 150 men. The resulting video installation attempts to present the full spectrum of what it means to be &ldquo;black&rdquo; and &ldquo;male&rdquo; in America. Through Question Bridge, &ldquo;Blackness&rdquo; ceases to be a simple, monochromatic concept. Question Bridge has been featured at art centers and museums throughout the United States.</p> Fri, 15 Aug 2014 21:37:05 +0000 Jana Winderen, Marc Fornes - Storefront for Art and Architecture - October 3rd 7:00 PM - 9:00 PM <p><em>Situation NY</em>, the collaboration of Winderen and Fornes, collapses sound, light and form in an object with intrinsic sensorial behaviors, inviting the visitors to question the properties of matter and the built environment surrounding us. The installation is a vibrating sound experiment that aims to transform the architecture into animated sensible form.&nbsp;&nbsp;Conceived as a sound object that absorbs and contrasts the site specificity of the Storefront Gallery with abstract spatial, formal and acoustic variations and compositions, Situation NY raises questions about context, sensorial readings, estrangement and the uncanny.&nbsp;&nbsp;&nbsp;</p> Tue, 23 Sep 2014 02:43:52 +0000