ArtSlant - Current exhibits en-us 40 Jeppe Hein - 303 Gallery - April 16th - May 30th <p style="text-align: justify;">303 Gallery is pleased to present "All We Need Is Inside," our third exhibition of new work from Jeppe Hein.<br />&nbsp;<br />On this occasion, Hein presents a collection of works in disparate media, encouraging viewers to enter into their own inner dialogues. Focusing his attention on the awareness of one's own body and mind, Hein creates an experiential narrative in which the viewer becomes gracefully cognizant of his own being through the traversal of the exhibition space and its signifying works.<br />&nbsp;<br />Upon entering the space, a glowing neon mirror announces&nbsp;<em>ALL WE NEED IS INSIDE</em>, imposing a prism through which the viewer processes the surrounding space. Turning away from this work is an encounter with a series of&nbsp;<em>Breathing Watercolors</em>, in which Hein's own breath guides the application of blue stripes painted directly onto the white wall.&nbsp; The intensity of color, deep and vigorous at the beginning of each stroke, gradually fades into a pale shade toward the bottom of each stripe, physically recording the process of air gradually escaping from the body. Echoing this work is&nbsp;<em>Breath</em>, in which Hein's own breath is encased in glass spheres lying on the floor.<br />&nbsp;<br />In the center of the gallery,&nbsp;<em>Sine Curve I</em>&nbsp;implicates the viewer's perception in the creation of the work. Its multifaceted reflection produces an alien experience of the gallery space, disorienting the subject of its reflection and forcing a new type of environmental consciousness. Its sculptural shape is reminiscent of the sinus rhythm, a diagrammatic recording of the normal beating of a heart. In another mirror work,&nbsp;<em>Invisible Eye,</em>&nbsp;Hein has placed a flickering candle behind a two-way mirror. This elemental object of ritual is subverted by Hein's intervention, as candle and viewer merge into one another, resulting in the placement of a flaming third eye onto the viewer's forehead. This suggestion of enlightenment, both physical and spiritual, looks toward an enigmatic and foreign sense of being, implicating the viewer not only in an encounter with an artwork, but in a confrontation with an obscure and unknown self.<br />&nbsp;<br />In November of this year, he will open a solo show at Kunstmuseum, Wolfsburg, Germany. Recent exhibitions include &ldquo;A Smile For You&rdquo; (2013) at Bonniers Konsthall, Stockholm and Wan&aring;s Konst, Sweden; &ldquo;Robert-Jacobsen-Preistr&auml;ger&rdquo; (2012) Museum W&uuml;rth, Bad Mergentheim, Germany; &ldquo;360?&rdquo; (2011) at the 21st Century Museum of Contemporary Art, Kanazawa, Japan; &ldquo;1xMuseum, 10xRooms, 11xWorks&rdquo; (2010) at Neues Museum N&uuml;rnberg; Distance (2010) at IMA - Indianapolis Museum of Art, Indianapolis; &ldquo;Sense City&rdquo; (2009) at AroS Museum of Art, &Aring;rhus, Denmark. Permanent installations of his works were realized in 2014 at Musikkens Hus, Aalborg, Denmark and the New Media Library H&ouml;gskolan Dalarna, Falun, Sweden. His works are held in institutional collections such as the Tate Gallery, London; Centre Pompidou, Paris; Museum f&uuml;r Moderne Kunst, Frankfurt/Main; Museum of Contemporary Art, Los Angeles. Hein lives and works in Berlin.</p> <p>&nbsp;</p> Sat, 04 Apr 2015 09:58:19 +0000 Jef Geys - 3A Gallery - March 26th - July 24th <div style="text-align: justify;">3A Gallery is pleased to announce <em>Jef Geys: Some Paintings from Belgium</em>. On view are ten Martin Douven paintings from the collection of Felipe Perez.&nbsp; The exhibit includes ten prints, on loan from the Columbia University Rare Book and Manuscript Library, depicting the various international contexts of this set of paintings&rsquo; exhibition history.&nbsp; Jef Geys has produced a <em>Kempens Informatieboek</em> for the occasion.</div> <p style="text-align: justify;">&nbsp;<br /> &nbsp;</p> <div style="text-align: justify;"><em>Jef Geys: Some Paintings from Belgium</em> was made possible by the generosity of the Related Group.</div> Sat, 07 Mar 2015 15:36:37 +0000 Group Show - Acquavella Galleries - April 15th - June 12th Fri, 23 Jan 2015 14:42:17 +0000 Jacob El Hanani - Acquavella Galleries - April 15th - June 12th Fri, 23 Jan 2015 14:42:30 +0000 Stefan Kurten - Alexander and Bonin - April 18th - May 30th <p style="text-align: justify;">An exhibition of new paintings and works on paper by Stefan K&uuml;rten will open at Alexander and Bonin on April 18th. The exhibition features <em>Running to stand still </em>(2014), a large scale painting depicting a grid of houses which emerge from a golden, abstracted thicket and represent K&uuml;rten&rsquo;s typography of 20th Century homes.</p> <p style="text-align: justify;">Modernist overhang slab roof houses, brick villas in idyllic surroundings and suburban bungalows with neat garden paths and flower beds are the subject of K&uuml;rten&rsquo;s recent paintings. Almost all depict isolated buildings that are surrounded by a wall, hedge or lush vegetation and draw the viewer's attention to a singular piece of invented architecture. These structures often closely resemble iconic mid-century modern dwellings, but have been rebuilt by K&uuml;rten&rsquo;s conflation of imagery. Their sense of familiarity is strong and viewers often feel they have visited these non-existent homes. The surfaces of K&uuml;rten&rsquo;s paintings are composed of innumerable brushstrokes forming patterns that evoke sky, water and foliage. The density of the patterning can elicit a sense of horror, destabilizing these beautiful illusions.</p> <p style="text-align: justify;">&ldquo;Even though the houses and gardens that distinguish my paintings are drawn from real houses and gardens, taken from my own photos, books, and magazines, they are somehow transformed into the stuff of daydreams or nightmares. They are devoid of human presence; the apparent idyll feels isolated to the point of oppression. Nonetheless, there seems to be some sort of a presence, like a hidden secret, something untold and left to our imaginations. Heimlich describes this unsettling, disturbing uncertainty very fittingly.&rdquo;<span style="font-size: xx-small;">1</span></p> <p style="text-align: justify;"><span style="font-size: xx-small;">1</span> Interview with Larry Rinder published in <em>Here Comes the Night. Works on Paper 2009 &ndash; 2013</em>,Ostfildern: Hatje Cantz</p> <p style="text-align: justify;">The artist lives and works in D&uuml;sseldorf. His work has been the subject of several institutional exhibitions and two recent monographs: <em>Here Comes the Night. Works on Paper 2009 &ndash; 2013</em>, published by Hatje Cantz and <em>Running to stand still</em>, a monograph of recent paintings published by Galerie der Stadt Backnang. Stefan K&uuml;rten&rsquo;s paintings are in the permanent collections of several European and American institutions including Kunstmuseen Krefeld, The Montreal Museum of Fine Arts, The Museum of Modern Art, New York and the San Francisco Museum of Modern Art.</p> <p style="text-align: justify;">For press inquiries contact Olivia Gauthier at 212/367-7474 or</p> Sat, 04 Apr 2015 10:05:59 +0000 Joan Semme - Alexander Gray Associates - April 2nd - May 16th Thu, 05 Feb 2015 12:04:05 +0000 Shara Hughes - American Contemporary - March 26th - April 26th <p style="text-align: justify;">Shara Hughes&rsquo; new paintings present layers of abstracted, actual and pictorial space, all in search of simplicity.</p> <p style="text-align: justify;">These clouded windows of ambiguous form, pattern, and texture are like vibrated, vibrant drawings, plied with multiple mediums. The direct intention instilled in each mark empowers these paintings with a sense of focused purpose, directness, yet they depict suggestions of open space, floating moons, flowing rivers, melting snow. The indirect and the slow burning.</p> <p style="text-align: justify;">Hughes explores these ideas as she quickly grasps new ways of applying paint. Idea becomes form, form becomes an idea, image becomes both. The result is a mix of peace and purpose; material and place; raw canvas and painted surface. Transparency and brick wall.</p> <p style="text-align: justify;">In these works past and future disappear. There is only the present. Invention, intention, playfulness and trust. All happen then/now. Stop to go.</p> <p style="text-align: justify;">Shara Hughes (b. 1981 in Atlanta, GA) lives and works in Brooklyn, NY. Previous solo exhibitions include <strong>Museum of Contemporary Art, Georgia</strong>, Atlanta, GA; <strong>Atlanta Contemporary Art Center</strong>, Atlanta, GA; <strong>American Contemporary</strong>, New York, NY<strong>; P-r-i-m-e-t-i-m-e</strong>, Brooklyn, NY; <strong>Metroquadro</strong>, Turin, IT; <strong>Galerie Mikael Anderson</strong>, Copenhagen, DE; and <strong>Rivington Arms</strong>, New York, NY. Hughes was the recipient of the MoCA GA Working Artist Project Grant for 2012/2013.</p> <p style="text-align: justify;">She studied at Rhode Island School of Design, Providence, RI and Skowhegan School of Painting and Sculpture, Skowhegan, ME.</p> Fri, 20 Mar 2015 07:48:50 +0000 Group Show - American Folk Art Museum - March 26th - July 5th <p style="text-align: justify;">Most self-taught artists can be perceived as performance artists. Their work is infused with daily rituals, public actions, gestures, and enactments, defining a lifelong artistic practice for which <em>the curtain never comes down</em>. Beyond paintings and sculpture, the exhibition includes ceremonial clothes, kinetic apparatuses, ephemeral installations, writings, fragments of ever-changing constructions, music, recordings, and other statements that have been captured by photographers and filmmakers. The inventive devices and countless strategies these artists configure are expressions of an alter ego, which they assume for its power to transform the world and, above all, to transform their own connections to reality.</p> <p style="text-align: justify;">Historically, collectors and museums have prioritized artworks that are readily collectible and more conventional in their materials and techniques&mdash;an attitude that elucidates a direct relationship between conservation and recognition. The exhibition,&nbsp;which&nbsp;gathers 27 artists from around the world, delves into an underside of self-taught art and art brut, opening a door to the study of its neglected facets.<br /> <em>&mdash;Val&eacute;rie Rousseau, PhD, curator, self-taught art and art brut</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em><br /></em>Major support for the exhibition is provided by the National Endowment for the Arts: Art Works. Additional support is provided by The Coby Foundation, Ltd., Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Gerard C. Wertkin Exhibition Fund, the Leir Charitable Foundations, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> Wed, 25 Feb 2015 15:10:49 +0000 Jamie Isenstein - Andrew Kreps Gallery @ 537 W. 22nd - April 2nd - May 2nd <p style="text-align: justify;">The Andrew Kreps Gallery is pleased to present its third solo exhibition with Jamie Isenstein, entitled&nbsp;<em>Para Drama</em>. The works in the show explore Isenstein&rsquo;s continued interest in the mercurial nature of truth, illusion, the self, the body and performance as seen through the window of a haunted house.&nbsp;</p> <p style="text-align: justify;">In the lingo of the ghost hunters, the term&nbsp;<em>para-drama</em>&nbsp;is sometimes used to describe the annoyance created when some paranormal investigators enact fake spirit activity often for spectacle on television. But in this world where no one has scientific proof to backup their research, who can say what has been faked and what has not? The exasperation created by this problem has led to terrible infighting in the community, as different groups accuse each other of faking evidence and using claptrap gear. It is a slippery slope between believer and non-believer when those who swear they saw a ghost have to use enhancing gear and theatrical conventions such as darkened lighting to convince others of their claims.</p> <p style="text-align: justify;">Isenstein has used the disorientation of the<em>&nbsp;para-drama</em>&nbsp;as a starting point for work in the exhibition. Much of the work in the show straddles this line between suspension of disbelief and attempts at a transparency and truth. In the&nbsp;sculpture/performance&nbsp;<em>Mechanical Bed,</em>&nbsp;2015, the acts of leaving and coming are made apparent in the shifting of sheets and covers by an unseen actor.&nbsp;&nbsp;The bed appears to make and unmake itself as if a ghost sleeps here. The title refers to a famous 18th&nbsp;century automaton, the "Mechanical Turk" that apparently played chess with a human opponent. Eventually, it was revealed that a small chess master inside the case operated the figure.&nbsp;As with&nbsp;<em>Mechanical Bed</em>, 2015, the works in the exhibition also ruminate on the paradoxes of creating presence from absence, and vice versa.&nbsp;<em>Ghost Clothes,</em>&nbsp;2014,&nbsp;represents&nbsp;the traditional Halloween costume - a hokey bed sheet with eyes cut in the center - suggesting a present figure is actually absent &ndash; or an absent figure present.&nbsp;&nbsp;But here the white ghost costume is hung flat on a white gallery wall so that it camouflages and disappears. Only the eyeholes remain like a mask.&nbsp;</p> <p style="text-align: justify;">Like the protean body of a ghost, the work in this exhibition often suggests disembodied body parts that morph and change and take on lives of their own. In a corner of the gallery, gloved hands seem to cast a spell on an invisible subject sitting in a chair. Lying on pillows on the floor are harlequin masks that spew fire from their eyes or mouth like fire-eaters or deranged circus performers.&nbsp; And on the wall are a series of photographs of masks wearing masks. By putting on masks the support masks become anthropomorphized into faces so that these inanimate objects come alive. At the same time, the layering of these masks emphasizes their emptiness. Behind the illusions there is nothing.&nbsp;Absurdly, the more masks the masks wear, the deeper the layering of nothingness becomes.&nbsp;&nbsp;<em>Onions</em>, 2015, is a sculpture of many masks layered over the hollow head of a mascot costume. The title of the work refers to a monologue in the Henrik Ibsen play&nbsp;<em>Peer Gynt</em>&nbsp;in which Peer peels away the layers of an onion as he examines the various roles he has played in his life. Eventually he comes to realize there is nothing substantial at the core.</p> <p style="text-align: justify;">Jamie Isenstein has had solo exhibitions at the Hammer Museum in Los Angeles and more recently at the Douglas F. Cooley Memorial Art Gallery at Reed College in Portland. Her work was recently featured in&nbsp;<em>Pratfall Tramps</em>&nbsp;at the Atlanta Contemporary Art Center. She has also exhibited her work at CCA Wattis Institute for Contemporary Arts, San Francisco, P.S.1 Contemporary Art Center, Long Island City, the Manchester International Festival,UK and Tate Liverpool, UK.</p> Thu, 09 Apr 2015 09:00:55 +0000 David Shrigley - Anton Kern Gallery - April 16th - May 23rd Sat, 04 Apr 2015 10:07:14 +0000 Group Show - Apexart - March 19th - May 16th <p style="text-align: justify;">Dioramas and miniatures are used in the field of architecture to preview a vision, in cinema to create a fabricated world, and in workshops as a means for children to process traumatic events. There are many uses for small scale representations of our reality, and artists have long adopted model-making in their own explorations. The artworks in this exhibition move beyond a simple recreation of what surrounds us, creating optical illusions and pieces of wonderment that make viewers look twice.<br /> <br /> At first glance, miniature views of current social realities may appear like child&rsquo;s play. But what do dioramas and miniatures reveal about the psychological impact on artists today? Does the process of making something small allow the artist to feel a certain amount of control? Or does the nearly manic time commitment necessary to recreate day-to-day situations in a small scale tell us something else about the psyche of the creator? <em>Feel Big Live Small</em> explores dioramas and miniatures as well as our fascination with all things small, both as a technical feat and a psychological relationship. &nbsp;</p> Wed, 25 Feb 2015 15:34:38 +0000 Group Show - Apexart - March 19th - May 16th <p><a href="" rel="nofollow"><em>Feel Big Live Small</em> </a>is an exploration of our fascination with all things small, both as a technical feat and a psychological relationship through the lens of dioramas and miniatures.</p> <p>&nbsp;</p> <p>The featured works of 10 artists and collectives tour viewers through the intricate and sometimes odd worlds of their creators.&nbsp;</p> Wed, 25 Feb 2015 20:36:24 +0000 Milton Avery, Chuck Close, Leonard Baskin, Edward Steichen, Norman Rockwell, Anders Zorn - Arkell Museum - March 1st - June 14th <p style="text-align: justify;">An artist&rsquo;s portrait, like all good portraits, offers the viewer more than physical features. One sees the characteristics of the sitter that make that person a unique individual. All artists are involved with, or have a heightened interest in, creative pursuits which makes them interesting candidates for portrait subjects.</p> <p style="text-align: justify;">On the other hand, a self-portrait is an artist&rsquo;s opportunity to make a statement. Traditional portraiture, especially commissioned ones, often came with expectations that the image be a favorable likeness of the sitter. Self-portraiture removed those restrictions enabling artists to be more experimental. This exhibition brings together fifty works in a variety of media that examine self-portraits and portraits of other artists. Included in the show are works by Milton Avery, Chuck Close, Leonard Baskin, Edward Steichen, Norman Rockwell, and Anders Zorn. Sitters include James McNeill Whistler, Thomas Eakins, Charlie Chaplin, C.S. Lewis, and Pablo Casals.</p> Fri, 23 Jan 2015 14:50:12 +0000 Beth Van Hoesen - Arkell Museum - March 1st - June 18th <p style="text-align: justify;">This exhibition features Beth Van Hoesen&rsquo;s creatures which include household pets, zoo animals, worms and salamanders. Beth stated &ldquo;I started with pet rodents, farm animals, dogs and cats. Then came a few birds, then wild animals. I keep meeting new ones I like&hellip;.&rdquo; The works were selected from drawings, lithographs and etchings donated to the Arkell Museum from the E. Mark Adams and Beth Van Hoesen Trust.</p> Sun, 15 Mar 2015 14:16:56 +0000 Matt Lipps - Art in General - March 3rd - May 2nd <p style="text-align: justify;">Art in General is pleased to present <em>Figures</em>, a New Commission with Matt Lipps in the Storefront Project Space.</p> <p style="text-align: justify;">Matt Lipps&rsquo; artistic practice speaks to a sense of longing when confronted by most photographs&mdash;a longing for the lost object or moment abstracted by the camera, when corporeal and temporal experiences are flattened into static, silent images. His process involves re-shooting cut-out and staged images sourced from iconic publications such as <em>Horizon</em> magazine, the <em>Time-Life</em> series, and Ansel Adams coffee table books. Lipps creates anachronistic associations, recontextualizing analog black and white photography using collage tactics that reference contemporary digital imaging. His strategies of appropriation call attention to the practice of photography itself, embedding layers of reproduction within each print.</p> <p style="text-align: justify;">The relationship between photography and sculpture, and the limitations of each, is central to Lipps&rsquo; practice: how each promises what the other fails to provide. Photography can deliver an instantaneous, multi-view perspective, but it omits broader context and lacks true physicality in space. Sculpture offers this visceral experience, but resists a holistic view&mdash;requiring a body in motion, objects are continuously hidden and revealed as the surrounding landscape shifts with each step. Lipps&rsquo; photographic reproductions of sculpture heighten an awareness of this absence of location and the loss of one&rsquo;s own body in relation to the figure-in-the-round.</p> <p style="text-align: justify;">Lipps&rsquo; photographs create complex spatial relationships not only between the collaged elements within each piece, but also in response to the conditions of exhibition. For Art in General&rsquo;s storefront gallery, the artist has created an installation of three large-scale works, each collapsing and enlarging documentation of figurative sculptures from the canon of Art History. The glassed-in project space further flattens perspective while simultaneously revealing a sculptural presentation, reinforcing the tension between two and three dimensions. The works act as surrogates for performers in their content, size, and uprightness, and a theatrical curtain acts as a color field backdrop in each one, underscoring the display as a window proscenium. Critically examining photography from both fine art and mass media sources, Lipps reveals how these images have reflected and shaped our culture, and the ways in which the mass-distributed photograph can be invested with the deeply personal: a desire to locate these images within intimate settings.</p> <p style="text-align: justify;"><strong>Matt Lipps</strong> received his MFA from the University of California, Irvine in 2004, and he is currently an assistant professor of art at San Francisco State University. Lipps&rsquo; work has been part of LAXART&rsquo;s billboard project in Los Angeles (2011) and the Museum of Photographic Arts (MOPA), San Diego&rsquo;s annual peer-nominated <em>Staking Claim: A California Invitational</em> (2013). His works have also been exhibited at institutions such as the Utah Museum of Contemporary Art (2012), the Los Angeles County Museum of Art (2012), and the FOAM Museum, Amsterdam (2014). Upcoming exhibitions in New York include <em>Under Construction: New Positions in American Photography</em> at Pioneer Works and <em>Matt Lipps: Library</em> at James Danziger Gallery. The artist lives and works in San Francisco.</p> <p style="text-align: justify;"><strong>General Support</strong> of Art in General is provided by General Hardware Manufacturing Inc.; the Institute of Museum and Library Services; the Lambent Foundation; the New York State Council on the Arts with support of Governor Andrew Cuomo and the New York State Legislature; Ruth Ivor Foundation; The Greenwich Collection; Milton and Sally Avery Arts Foundation; Toby D. Lewis Donor Advised Fund of the Jewish Federation of Cleveland; the William Talbott Hillman Foundation; and by individuals. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.</p> <p style="text-align: justify;"><strong>The New Commissions Program</strong> is made possible by the Andy Warhol Foundation for the Visual Arts; Trust for Mutual Understanding; National Endowment for the Arts; and Jerome Foundation. Support has also been provided by Commissioners&rsquo; Circle leaders Jeffery Larsen and Joseph Bolduc; Commissioners&rsquo; Circle supporters Sandra Ho and Jang Kim, and Cher Lewis, and Commissioners&rsquo; Circle members Roya Khadjavi-Heidari, Mary Lapides, Richard Massey, Ron and Lucille Neeley, and Leslie Ruff.</p> <p style="text-align: justify;">Additional special support provided by ROOT Studios.</p> Sun, 22 Mar 2015 17:53:11 +0000 Manuella Muerner Marioni, Haruo Obana, Kho Sante, Eleanor Sackett - Artexpo New York - April 23rd - April 26th <p style="text-align: center;"><strong>ARTEXPO</strong></p> <p style="text-align: center;"><strong>Pier 94, New York City</strong></p> <p style="text-align: center;"><strong>April 23 - 26, 2015&nbsp;</strong></p> <p style="text-align: center;"><strong><img style="vertical-align: middle; margin: 10px;" src="" alt="" /></strong></p> Sat, 18 Apr 2015 22:45:27 +0000