ArtSlant - Closing soon en-us 40 Aelita Andre, Dan Flavin, Donald Judd, John McCracken, Fred Sandback - David Zwirner 537 W 20th - July 19th, 2013 - August 7th, 2013 Sun, 04 Aug 2013 18:51:25 +0000 Group Show - David Zwirner- 533 W. 19th - July 11th, 2013 - August 7th, 2013 <p>On view at David Zwirner&rsquo;s West 19th&nbsp;Street galleries in New York,&nbsp;<em>Folk Devil&nbsp;</em>brings together a diverse group of international artists<em>.&nbsp;</em>The exhibition&rsquo;s title is a reference to&nbsp;sociologist Stanley Cohen&rsquo;s description of the British media&rsquo;s hostile reaction towards deviant youth groups in the 1960s, and&nbsp;embodies a deep-rooted fear of subcultures and the morally aberrant.&nbsp;<em>Folk Devil&nbsp;</em>presents a comment on the tendency to create artificial connections between a group of individuals, while it also contains a self-referential statement on the yearly summer shows held at many art galleries under various umbrella themes.</p> Tue, 06 Aug 2013 00:08:42 +0000 Tauba Auerbach, Vija Celmins, Bruce Conner, Robert Mangold, Julie Mehretu, Edda Renouf, Robert Ryman - Senior & Shopmaker Gallery - June 13th, 2013 - August 8th, 2013 <p>Drawings and Prints</p> Mon, 22 Jul 2013 23:54:13 +0000 Simon Fujiwara - Andrea Rosen Gallery - June 29th, 2013 - August 9th, 2013 <p>Fujiwara's work <em>Studio Piet&agrave; (King Kong Komplex)</em> debuted at the Sharjah Biennial in March and will be presented in a newly expanded format at Andrea Rosen.&nbsp;</p> <p>A young artist who has achieved exceptional recognition and acclaim across Europe and Asia, Fujiwara was born in London, spent his childhood between Japan, England, Spain and Africa and is now based in Berlin. His complex installations incorporate sculpture, performance, video and photographic elements to create fully imagined scenarios that underscore the interdependence of personal history and more universal narratives. <em>Studio Piet&agrave; (King Kong Komplex)</em> addresses issues of racial profiling, exoticism, terrorism, and sexual identity, and relations between the West and the Middle East.</p> Mon, 05 Aug 2013 12:19:35 +0000 Nigel Cooke, David Altmejd, Michael Raedecker, Andrea Zittel - Andrea Rosen Gallery 2 - June 28th, 2013 - August 9th, 2013 Tue, 09 Jul 2013 01:29:09 +0000 Ricci Albenda - Andrew Kreps Gallery @ 537 W. 22nd - June 27th, 2013 - August 9th, 2013 <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span size="1">Andrew Kreps Gallery is pleased to present a single-work installation by Ricci Albenda.  <br /> <br />Untitled is a simple experiment. Though similar in many ways to some of his Trompe l'oeil installations of the past, this installation does not attempt to fool the eye but rather relies on the viewer's suspension of disbelief. Like the ocean meeting the sky, the floor extends up the wall as a flat plane of color, while the ceiling descends to meet it at an infinite distance on the horizon. This horizon line is tilted slightly, loosening itself from the architecture to which it is attached, and destabilizing the viewer's relationship with the absolute level horizon with which we are all familiar. This tilt also allows the work to accommodate the majority of adult heights and their associated eye-levels. Thus, if everyone in the gallery were to migrate to a place for which the horizon coincided with their own eye-level, a tilted plane of heads would be created</span></span></p> Mon, 01 Jul 2013 23:54:59 +0000 Lucas Samaras - Craig F. Starr Gallery - June 7th, 2013 - August 9th, 2013 <p>Craig F. Starr Gallery is pleased to announce <b><i>Lucas Samaras Pastels</i></b>, on view from June 7 to August 9, 2013. The exhibition showcases eighteen drawings from 1974 and 1981, as well as three of Samaras’s densely embellished boxes. A fully illustrated catalogue accompanies the show with an essay by Daniel S. Palmer, doctoral candidate in Art History at The Graduate Center, CUNY.</p> <p>In 1974, Samaras produced more than 100 pastels. Working in concentrated bursts, he made fantastically patterned drawings that bridge the gaps between landscape, still life, and self-portraiture. These works evoke the inner landscape of the artist’s mind.</p> <p>As sites of personal exploration and self-reflection, these striking pastels exploit the medium’s intrinsic qualities in dreamlike scenes, many of which contain ghostly figures embedded in their patterning. The active process of discovering this hidden imagery elicits personal inquiry in the viewer as it reveals the artist’s own unconscious desires. Deciphering these mysterious forms parallels the psychological process we enact when we retrieve an image from memory. </p> <p>With his intricate boxes, Samaras explores similar issues of identity and memory, concealing caches of photographs and mementos within threatening, patterned exteriors. As part of his continual investigation of the self, Samaras’s boxes and pastels broaden the boundaries of self-portraiture.</p> Fri, 07 Jun 2013 00:40:11 +0000 Ryan Mosley - Cristin Tierney Gallery - June 27th, 2013 - August 9th, 2013 <p>Tierney Gardarin is pleased to present Thoughts of Man, the first New York solo exhibition by British painter Ryan Mosley, opening June 27 and on view through August 9, 2013. This exhibition is the artist’s first with the gallery and he will be present at the opening. <br /> <br /> Using riotous color and a phantasmagoria of form, Mosley's large-scale paintings are fantastic spaces where the history of art, the South Seas, and even the Wild, Wild West cohabitate. An assortment of quirky characters dance across picture planes as if they were a stage sets, making liberal reference to both burlesque and the litany of artists who have embraced it. Botanical Theatre teases at a narrative, with the female performer at its center and a somewhat lecherous group of top hats looking on. Surreal, plant-like forms--whether they entice or threaten is uncertain--balance the right side of the picture but do little to clarify meaning. Botanical Theatre features compositional conceits borrowed from Toulouse-Lautrec, color inspired by Bonnard and a painting technique as inventive as that of Degas. Yet Mosley's particular combination of formal elements is decisively contemporary, drawn from the artist's own imagination. His use of art history is indirect; a dependable friend to be alluded to now and again. From this peculiar patchwork of images, Mosley composes paintings that are somewhat absurd, profoundly poetic and enigmatic and totally appropriate for the world in which we live.<br /> <br /> Born in 1980, in Chesterfield, United Kingdom, Mosley studied at the University of Huddersfield and the Royal College of Art in London. He has had solo exhibitions at Eigen + Art in Berlin, Alison Jacques Gallery in London and Grand Arts in Kansas City. His work has been featured in group museum shows including Nightfall, Modern Museum, Hungary; London Twelve: Contemporary British Art, City Gallery, Prague; Summer Exhibition, Royal Academy of Arts, London; Merging Bridges, Museum of Modern Art, Baku (all 2012); Newspeak: British Art Now, Saatchi Gallery, London (2010) and Newspeak: British Art Now, Saatchi Gallery at The Hermitage, St. Petersburg, Russia (2009). Mosley's work is part of the Saatchi Collection, London and Falckenberg Collection, Hamburg. The artist lives and works in London.</p> Fri, 07 Jun 2013 00:08:18 +0000 Richard Pettibone - David Nolan Gallery - July 9th, 2013 - August 9th, 2013 <p>For our summer show, <b>David Nolan Gallery</b> is pleased to announce an exhibition of works by <b>Richard Pettibone</b>. On view from July 9 through August 9, this presentation brings together 5 sculptures and nearly 40 paintings from the 1960s and spanning the artist’s career.</p> <p>A key proponent of the West Coast “Conceptual Pop” movement, Pettibone appropriated imagery from Warhol, Lichtenstein and Brancusi – among others. The rear gallery will be devoted to copies of the artist’s abiding inspiration, Marcel Duchamp.</p> <p>Typically framed and constructed upon miniature stretcher bars, his small-scale “replicas” subvert the traditional notion of artists as creators of original works of art while maintaining a critical distance from the artworks that they reproduce. As the catalogue for Pettibone’s last major retrospective (2005-6) suggests: “his appropriations do more than merely commemorate their sources. Although comic and good-humored, they probe and tweak those sources.” The present exhibition offers a rare to opportunity to assess the work of this important American artist.</p> Tue, 02 Jul 2013 22:42:35 +0000 Robert Arneson - David Zwirner 537 W 20th - July 8th, 2013 - August 9th, 2013 <p>David Zwirner is pleased to present an exhibition of early work by American ceramicist Robert Arneson (on view at the gallery’s 537 West 20th Street location). Closely associated with the countercultural California Funk movement of the 1960s, Arneson was integral in elevating ceramics from mere craft to a valid form of aesthetic expression. This exhibition brings together a grouping of Arneson’s seldom seen early works that simultaneously demonstrates the genesis of his unique artistic vocabulary and underscores his tremendous influence on generations of artists working in clay.<br />Having made his living as a high school (and sometimes college) ceramics teacher, in the spring of 1962, the still relatively unknown Arneson accepted a teaching position at the University of California’s Davis campus. Thanks in particular to the antiformalist leanings of its faculty, the newly established art program quickly gained a reputation for being a hotbed of experimental and conceptual work. Arneson’s ceramics studio in particular became a focal point of artistic exchange and his students, including Bruce Nauman, would often stay there late into the night.<br />It was during this developmentally fertile period that Arneson began to experiment with subject matter and to develop his own distinctive iconography with overtly grotesque and often humorous works. His ceramic sculptures possessed a distinctly Funk aesthetic, expressed through an insistence on figurative imagery, non-traditional techniques and materials, and low cultural subject matter, grafted on to the forms of quotidian objects— a West coast modulation of the Pop aesthetic. Arneson’s deliberately taboo and vulgar visual puns challenged accepted notions of what constituted appropriate subject matter both for art and for the medium of ceramics, which at the time was primarily relegated to the realm of crafts.<br />Throughout the 1960s, Arneson produced highly charged and highly sexualized work that stood in stark contrast to the Minimalist constructions made by his contemporaries in New York. Drawn from public and private collections, the exhibition includes roughly 20 works that clearly show Arneson’s artistic development and also prefigure his later work, which delves even further into the topics of identity and the self, as well as political upheaval and war.<br />Highlights from the exhibition include several “Trophies,” Arneson’s first cohesive body of work made between 1963 and 1965. These debauched accolades, such as Jack and John (Trophy) (1964) and Sex-Life Trophy (1965), explicitly embody his turning against convention by introducing incongruous and shocking elements such as phallic forms, breasts, and human excrement onto trophies. Arneson’s subsequent series of toilets both expands and literalizes even further this strand of inquiry. In works like Throne (1964), he playfully suggests a double entendre between a toilet (colloquially referred to as a “throne”) and a ceramic object (which is “thrown” on a wheel). Toaster (1965), which depicts a human hand reaching out of a conventional toaster, represents one of Arneson’s earliest engagements with politics. A swastika emblazoned on the side of the object alludes grimly to Nazi ovens and the inescapability of the legacy of that horror in our day-to-day lives. Also on view here is Arneson’s seminal work Self Portrait of the Artist Losing His Marbles (1965; Collection of the Museum of Art and Design, New York), his first full-scale ceramic self-portrait and a breakthrough in his career. The genre of selfportraiture, which is rife with art historical implications, would preoccupy Arneson for the majority of the 1970s and come to constitute some of his most-known work.<br />Born in 1930 in Benicia, California, Robert Arneson received his B.A. from the California College of Arts &amp; Crafts (1954) and his M.F.A. from Mills College in Oakland, California (1958). Arneson remained on faculty at U.C. Davis until 1991— just one year before his death. He has been the subject of numerous solo exhibitions at venues such as the Museum of Contemporary Art, Chicago (1974), the San Francisco Museum of Modern Art (1974), the MIT List Visual Arts Center (1991), and the Institute of Contemporary Art, Philadelphia (1992). His work has also been shown in seminal group exhibitions including Dada, Surrealism and Their Heritage at The Museum of Modern Art, New York (1968) and the Whitney Biennial (1979). Arneson’s work can be found in important public and private collections throughout the United States and Europe, including the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; the Whitney Museum of American Art, New York; the Stedelijk Museum, Amsterdam; and the Philadelphia Museum of Art.</p> Mon, 17 Jun 2013 23:23:29 +0000 Group Show - David Zwirner- 525 W. 19th - July 11th, 2013 - August 9th, 2013 <p>On view at David Zwirner’s West 19th Street galleries in New York, <em>Folk Devil </em>brings together a diverse group of international artists<em>. </em>The exhibition’s title is a reference to sociologist Stanley Cohen’s description of the British media’s hostile reaction towards deviant youth groups in the 1960s, and embodies a deep-rooted fear of subcultures and the morally aberrant. <em>Folk Devil </em>presents a comment on the tendency to create artificial connections between a group of individuals, while it also contains a self-referential statement on the yearly summer shows held at many art galleries under various umbrella themes.</p> Mon, 17 Jun 2013 23:34:11 +0000 Anne-Lise Coste - Eleven Rivington (Chrystie Street) - June 20th, 2013 - August 9th, 2013 <p>Eleven Rivington is pleased to present a solo exhibition of recentwork by French artist Anne-Lise Coste, on view from June 20 – throughAugust 9, 2013 at our 195 Chrystie Street location.  The artist hasshown extensively in Europe for almost 15 years and this is her firstwith Eleven Rivington.</p> <p>The exhibition will feature new paintings executed primarily inspray-painted acrylic. In the main gallery, an immersive series of 12black and white canvases based on details of Picasso’s <i>Guernica</i> breaksdown the highly complex and visually dense painting into singular appropriated and abstracted scenes. In the smaller second space of the gallery is a display of a new series of text-based works and abstract paintings. All share a unique balance of severity and airiness, inaddition to sharp wit. Impulsiveness is characteristic for herwork—often painting over previous attempts with gesso until satisfied.Treating letters as units of words allow her to bypass the strictrules of language and convention. With her decisive use of a spray gunto articulate with pigment, she fuses the vitality of expressionism(direct and intuitive mark-making) with the aloofness of Pop(mechanized paint application). Coste frequently raises existentialquestions - the social and political content of Picasso's regardedmasterpiece is undeniable - articulating them by cropping details,re-articulating or subverting specifics, or executing gestures ortexts in the form of direct statements / re-statements that exposeevery single pore. The tangled whole of her practice is a many-voicedinner monologue, a maze whose paths seem to know only two ways out:either an implosion of meaning via repetition, or an explosion throughpure overload.</p> <p> </p> <p>Anne-Lise Coste was born 1973 in Marseille, France and currently livesand works in New York. She studied in Marseille at the Ecole desBeaux-Arts, and in Zurich at the HochschulefuerGestaltung und Kunst.Recent and upcoming shows include Kunst-und Ausstellungshalle, Bonn,Germany; FundacioCaixa Madrid, Spain; EsslingerKunstverein,Esslingen, Germany; Museo de BellasArtes de Santander, Santander,Spain.  This exhibition is presented in association with NoguerasBlanchard, Barcelona.</p> Sun, 09 Jun 2013 02:15:34 +0000 Mac Adams - Elizabeth Dee Gallery - June 1st, 2013 - August 9th, 2013 <h5><em>Nine things I learned from the art of Mac Adams. </em><br /> by David Campany</h5> <p> </p> <h2><em>One</em></h2> <p><strong>Let’s embrace the hybrid character of photography</strong>. In Mac Adams’ pictures you will find allusions to detective stories and news reportage, crime scenes and film noir, the Nouveau Roman and the photo-roman, movie publicity and film frames, snapshots and high art, advertising and the still life, voyeurism and exhibitionism, glamour and horror, sculpture and painting, literature and architecture. When he began to make these works the reigning dogma in photographic art was still very much about purity, about finding the ground and the qualities that belonged to the medium alone. That was becoming something of a dead end. Why shouldn’t photography accept and enjoy the overlaps with the other arts? Moreover, might this hybrid approach actually cast new light on what really is particular about the medium?</p> <p></p> <h2><strong></strong><em>Two</em></h2> <p><strong>The gallery is an operating table and a stage set</strong>, to which the different potentials of photography are brought.  These two metaphors – operating table and set – map very well onto what seem to be the two key impulses of the medium: the forensic interest in detail and the cinematic interest in mise-en-scène or staging. These impulses are so forcefully present today because all photography in art is somehow obliged to enter a dialogue either with the notion of visuals evidence or with the culture of the moving image in which the still image finds itself. Or both. Mac Adams does both.</p> <p><strong> </strong></p> <h2><em>Three</em><a href=""></a></h2> <p><strong>Watch carefully</strong>.  Economy of means and economy of expression have been vital to Mac Adams throughout his career, be it in photography, or sculpture or installation. But his deftness and precision only serve to highlight the ambiguity of communication and the essential openness of all images.  Looking at Adams’s diptyches is like watching a close-up magician. Everything seems clear and lucid, everything seems graspable but suddenly something has slipped your attention. The magician does it once more. You watch intently. It’s gone. The key has vanished between one certainty and another. </p> <p> </p> <h2><em>Four</em><a href=""></a></h2> <p><strong>Everything starts in the middle</strong>.  Agatha Christie would often start writing her detective fictions with the outlandish murder of the finale and the unexpected motive. From these she would work backwards, reverse engineering her plots so that they would always go where they were predestined to go.  Mac Adams has spoken of a certain debt to, or influence from Christie. However his photographs are not ‘whodunnits’. They’re not even ‘whydunnits’, or ‘howdunnits’.  All those forms are essentially linear, and explanatory. Adams’s scenarios are <em>suspended</em>. They are middles with beginnings or endings. They are more like the tableau vivant or loop. We come in somewhere in the middle and we leave somewhere in the middle, and we must make of it what we can. There is no explanation, no final settling of accounts. No pointing the finger.</p> <p><strong> </strong></p> <h2><em>Five</em><a href=""></a></h2> <p><strong>Photography has many time zones</strong>. I sense Mac Adams has much in common with Nicolas Roeg, the director who once described cinema as a time machine. The syntax of Adams’ diptychs is reminiscent of Roeg’s editing. A mix of formal analogy, temporal leaps and associative linkages. More often than not filmmakers and critics tend to see photography as a raw and elemental unit, awaiting cinematic articulation as one of twenty-four per second. Yet, away from cinema we can see that photography has always had its own complex engagement with time, with duration, and with movement.  Think of the ‘decisive moment’, the pregnant moment, the constructed tableau, flash photography and the long exposure, to name of few of its different temporalities. To these we must add all the procedures of assembly that have been so crucial to the development of photography: the album, the archive, the diary, the photo essay, montage, collage, sequences, pairing and juxtapositions (not to mention all the new modes opened up by electronic technologies). The time of photography deserves a philosophy every bit as sophisticated as that extended to cinema. The work of Mac Adams would be an ideal starting point.</p> <p> </p> <h2><em>Six</em><a href=""></a></h2> <p><strong>‘Narrative’ is a noun and an adjective</strong>. An image can simply be narrative without belonging to ‘a’ narrative. Actually photography is pretty lousy at narrating in the conventional sense but it’s quite perfect for suggesting narrative possibilities. Often we sense these possibilities when they are set in motion by the most succinct and minimal means. An ambiguous gesture. A stray object. An allusive composition.  An enigmatic detail. An action pointing beyond the frame. Whatever else it is, Mac Adams’s photography is a rich inventory of such things.</p> <p> </p> <h2><em>Seven</em><a href=""></a></h2> <p><strong>Diptyches are difficult but Mac Adams makes it look easy. </strong>The diptych is one of the most challenging of modes for art and particularly for photography. Challenging both for makers and audiences.  This is because it undoes the formal unity of the single image but shuns the comfort of the extended sequence. In a diptych there is no flow, but a shuttling to and fro.  A seductive and confounding short-circuit.  Two images. One gap. Look before you leap. Mac Adams calls this ‘The Narrative Void’.</p> <p> </p> <h2><em>Eight</em><a href=""></a></h2> <p><strong>The best things often fall into the void.</strong> Art history has its voids, and for a while it looked as if Mac Adams’ early photography was to be lost, somehow misplaced between overly tidy accounts of Conceptualism at the start of the 1970s and the Postmodern Art of the decade’s end. But that period in between was so rich for photography, perhaps the richest there has ever been. And this was precisely because it was so messy, so uninterested in categories and boundaries. Everything was up for grabs, nothing was off-limits, and artists went at the high speed of creativity, not the sluggish speed of the market. Adams’s work exemplifies the particular balance of promiscuous exploration and rigor we also find in the work of James Collins, John Hilliard, Victor Burgin, Robert Cumming, Barbara Kasten, Eileen Cowin, John Divola and Ger van Elk. Critics in the mid-1970s even referred to a discernible ‘narrative turn’ in photography. In 1977 it was notable enough to have a presence of its own at the now legendary Documenta 6 in Kassel, Germany. This was before Cindy Sherman and Richard Prince, before Robert Longo and Jeff Wall. Maybe it was less glamorous, less concerned with spectacle and consumerism and it came to be overlooked for a while. But it’s no surprise today’s audiences and critics are looking again, not to correct the past but to recognise the continued relevance of the work.  Finally we might be getting the past we deserve, the past we need right now.</p> <p><strong> </strong></p> <h2><em>Nine</em><a href=""></a></h2> <p><strong>All great art strikes us as contemporary.  </strong>This is so even when we know full well it could only have been made when it was made. In fact the hold that the present may have on the art of the past is often intensified by its historical qualities. Think of the paintings of Johannes Vermeer or Edward Hopper, the films of Robert Bresson or Jean-Luc Godard. We’d be foolish not to see them as contemporary, not to see them as rightfully ours.  There is no denying the period detail of Mac Adams’s photographs – the clothes, the objects, the décor, the chairs and tables. But the <em>concerns</em> – with perception, seduction, privacy, looking, pleasure, evidence, artifice and knowledge  - they are timeless, they abide. They belong to every era and we are free to claim them as our own.</p> <p> </p> <p>David Campany is a writer and curator. His books include <em>Art and Photography</em> (Phaidon 2003), <em>Photography and Cinema </em>(Reaktion, 2008), Jeff <em>Wall: Picture for Women</em> (Afterall/MIT, 2011), <em>Rich and Strange</em> (Chopped Liver Press, 2012), <em>Gasoline</em> (MACK, 2013) and <em>Walker Evans: the Magazine Work</em> (Steidl, 2013). His essays appear in many magazines including <em>Aperture</em>, <em>Frieze</em> and <em>Tate</em>. This year he curates shows of the work of Mark Neville (The Photographer’s Gallery, London) and Victor Burgin (Ambika P3, London). In 2012 he received the ICP Infinity Award for Writing.</p> Mon, 03 Jun 2013 23:55:22 +0000 Group Show - IPCNY International Print Center New York - June 13th, 2013 - August 9th, 2013 <p class="BasicParagraph"><b>International Print Center New York</b> presents <i>New Prints/New Narratives: Summer 2013,</i> consisting of some fifty projects by artists at all stages of their careers. The exhibition will be on view at 508 West 26th St, 5th Floor, from June 13, 2013 - August 9, 2013. <i>New Prints/New Narratives: Summer 2013</i> is the forty-fifth presentation of IPCNY’s New Prints Program, a series of juried exhibitions organized by IPCNY several times each season featuring prints made within the past year. The exhibition will run concurrently with a small selection of prints and artists’ books from the collaboration, <i>Al-Mutanabbi Street Starts Here,</i> which will be shown in the IPCNY <i>Viewing Room.</i><i> Garamond;mso-bidi-font-family:Garamond-Italic"&gt;</i></p> <p class="BasicParagraph"><b>Prints were selected by</b> Andrew Raftery, an artist, engraver and print scholar, specializing in narrative scenes of American life. Born in 1962, he earned his BFA in painting from Boston University and his MFA in printmaking from Yale University. Raftery is a professor at Rhode Island School of Design and a faculty fellow at the RISD Museum. IPCNY received over 2,400 submissions from artists and presses worldwide, and out of this varied collection of work, he chose 55 works. An illustrated brochure with a curatorial essay by Andrew Raftery will accompany the exhibition. line-height:120%;font-family:Garamond;mso-bidi-font-family:Garamond"&gt;</p> <p class="BasicParagraph"><b>The Artists’ List </b>is as follows<b>: </b>Lynne Allen, Kathy Aoki, Miguel Aragon, Katie Baldwin, Kristin Becker, Mildred Beltre, Allison Bianco, Douglas Bick, Doug Bosely, Alice Leora Briggs, Veronica Ceci, Liz Chalfin, Ann Chernow, Nick Conbere, Madeline D’Aversa, Amze Emmons, Richard Falle, Leslie Golomb, Art Hazelwood, Ellen Heck, Marco Hernandez, Yuji Hiratsuka, Jill Ho-You, Erik Hougen, Cary Hulbert, Jon Irving, Hans Johansson, Gabriela Jolowicz, Mehrdad Khataei, Joyce Kozloff, Brian Kreydatus, Dinh Q. Lê, Jim Lee, Kate Logue, Joseph Lupo, Nicole Maloof, Michael Menchaca, Nathaniel Stern and Jessica Meuninck-Ganger, Florent Morellet, Kurt Pammer, Ryan Parker, Ester Partegàs, Lynn Peterfreund,  Kahlil Rintye, Jenny Robinson, Bill Salzillo, Hannah March Sanders, Jesse Shaw, Dan Steeves, Ivanco Talevski, Matthew Van Asselt, Art Werger, George Whitman, Michelle Wilson and Erin Woodbrey. Garamond"&gt;</p> <p><b>Presses and publishers represented are</b>: Cascade Press (OH); Centre for Fine Print Research (UK); Center Street Studio (MA); Connecticut Fine Arts, Inc (CT); Flatbed Press (Texas); the LeRoy Neiman Center for Print Studies; Columbia University (NYC); Marginal Editions (NYC); Morakeb-e Siah Institute of Fine Art (Iran), Mullowney Printing (CA), Philagraphika (PA); Rocinante Press (CA). font-family:Garamond;mso-bidi-font-family:Garamond"&gt;</p> <p><b><i>New Prints/New Narratives: Summer 2013 </i></b>consists of etchings, lithographs, monotypes, screenprints, books and video, and other manifestations of the printmaking process.  Highlights include <b>Richard Falle’s</b> <i>Ice Cream Inferno</i>, an inkjet print from original vector artwork created entirely in Adobe Illustrator and printed at the Center for Fine Print Research in the UK; <b>Allison Bianco’s</b> glow-in-the-dark intaglio and silkcreen piece,<i> the Old Man of the Mountain;</i> a 35-second animation, <i>Storm in a Teacup 124</i>, created from 124 unique monotypes by <b>Lynn Peterfreund</b>; and <b>Nicholas Conbere</b>’s detailed and dreamlike invented world, <i>Finding Niches</i>.<i> </i>This exhibition<b> </b>explores visual narrative and the powerful presence it has had in printmaking since its origins. The prints shown here reinvent this tradition for contemporary viewers, and were selected through careful observation of specific details and then arranged into narrative categories such as <i>direct address, layered narrative, aftermath, layered time, and implied communication. </i></p> Tue, 28 May 2013 00:40:11 +0000 Nichole van Beek, Erik Schoonebeek, Scott Campbell, Louise Belcourt Brian - Jeff Bailey Gallery - June 27th, 2013 - August 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Jeff Bailey Gallery is pleased to present Hard Lines / Soft Vibes, an exhibition of paintings, works on paper and sculpture by Nichole van Beek, Brian Scott Campbell, Erik Schoonebeek and Louise Belcourt. </span><br /><br /><span style="font-size: small;"> Nichole van Beek's paintings puzzle with their mix of varied forms and marks. Soft dyed canvas and thick trails of paint play with figure and ground. Letter-like shapes function as armatures for playful painterly high jinks. </span><br /><br /><span style="font-size: small;"> Brian Scott Campbell's spirited drawings wittily quote stylized forms found not only in well-known artworks but also contemporary advertising and cartoons. </span><br /><br /><span style="font-size: small;"> Erik Schoonebeek's fluid line and saturated color jump from his small sharp paintings on book covers to larger paintings and a floor sculpture. </span><br /><br /><span style="font-size: small;"> Louise Belcourt's gouaches take a turn with collaged color cutouts. Landscapes are intervened with flat but sculptural forms. </span><br /><br /><span style="font-size: small;"> Nichole van Beek received a 2012 NYFA fellowship in painting and a 2011 EAF Fellowship at Socrates Sculpture Park. She will have her first solo exhibition with the gallery in 2014. Brian Scott Campbell received his MFA from Rutgers University in 2010 and his work was included in the 2011 AIM Biennial at the Bronx Museum. Erik Schoonebeek received his MFA from Rutgers University in 2011 and had his first solo exhibition with the gallery in 2012. Louise Belcourt has had four solo exhibitions with the gallery and is a recipient of a 2012 John Simon Guggenheim Memorial Foundation Fellowship. </span><br /><br /><span style="font-size: small;"> Summer gallery hours: through June: Tuesday - Saturday, 11-6. July - August 9: Monday - Friday, 11-6 (closed July 4, 5)</span></p> Sun, 23 Jun 2013 19:31:25 +0000 Louise Belcourt, Nichole van Beek (USA), Erik Schoonebeek - Jeff Bailey Gallery - June 27th, 2013 - August 9th, 2013 Thu, 08 Aug 2013 17:56:28 +0000