ArtSlant - Current exhibits en-us 40 James Rosenquist, Hans Hoffman, Claes Oldenburg, Kenneth Noland - Acquavella Galleries - July 5th - September 30th Sat, 02 Jul 2016 18:19:21 +0000 Komail Aijazuddin, Irfan Hasan, Saba Khan, Saad Qureshi, Hiba Schahbaz - AICON GALLERY - New York - August 11th - September 17th <div align="justify"><strong>Aicon Gallery</strong>&nbsp;is pleased to present&nbsp;<em>Go Figure</em>, an exhibition curated by artist&nbsp;<strong>Salman Toor</strong>, featuring the work of&nbsp;<strong>Komail Aijazuddin</strong>,&nbsp;<strong>Irfan Hasan</strong>,&nbsp;<strong>Saba Khan</strong>,&nbsp;<strong>Saad Qureshi</strong>, and&nbsp;<strong>Hiba Schahbaz</strong>, as well as the curator's own work.</div> <div>&nbsp;</div> <div align="justify">This is the first gathering of these six artists in a U.S. group show. They are from different provinces, cities and social strata of Pakistan or the Pakistani diaspora in the United States and United Kingdom. Their work shows an impulse toward the illustrative, the graphic and the sensual. Their pictures range from imagined portraits, inner landscapes, female empowerment, quotations from Western Art History, queerness and kitsch. These artists are urban people but they play with pertinent particularities from their personal histories and those of their chosen cities, or homelands.</div> <p>&nbsp;</p> <div align="justify"> <div> <div align="justify"><strong>Irfan Hasan</strong>&nbsp;graduated from the National College of Arts in Lahore. Hasan focuses on an internalization, an absorption of European Old Master paintings from various periods of European history into the technical complexities used in traditional miniature painting on handmade paper. While Hasan's pictures point to the misleading nature of veneers and the profound way they shape our view of Art History and the world, these are complimented by&nbsp;<strong>Saad Qureshi's&nbsp;</strong>multimedia images of barren landscapes as inner, spiritual worlds, moving between&nbsp;abstraction and representation.&nbsp;</div> </div> <div align="justify"><strong>&nbsp;</strong></div> <div align="justify"><strong>Hiba Schahbaz</strong>, who finished at Pratt Institute and now lives and works in Brooklyn, does nude portraits, challenging perceived ideas about the prescribed role of images and women in Muslim cultures.&nbsp;<strong>Komail Aijazuddin</strong>, also a graduate of Pratt Institute, uses various traditions of religious art, playing with notions of belief, divinity, and blasphemy. His portraits/altarpieces of virile, sometimes hostile, young men combine the centrality of the idea of martyrdom in the Shia sect of Islam with a Byzantine visual vocabulary to create what he calls "Angry Icons."</div> </div> <div align="justify">&nbsp;</div> <div align="justify"><strong>Saba Khan</strong>, who graduated from the National College of Arts and Boston University, transforms the cheap local Pakistani middle class interior aesthetic into a celebration of over-sweetened bad taste with gleaming decorative materials.&nbsp;Following on his recent solo show at Aicon gallery in October 2015,&nbsp;<strong>Salman Toor</strong>&nbsp;paints imaginary&nbsp;multiethnic crowds, pointing to the anxieties of our post&nbsp;9/11&nbsp;world, and a&nbsp;psychological&nbsp;space where the&nbsp;global and personal concerns intersect.&nbsp;</div> Sun, 14 Aug 2016 15:55:49 +0000 Natvar Bhavsar, Ram Kumar, S. H. Raza - AICON GALLERY - New York - August 18th - September 17th <p style="text-align: justify;">Aicon Gallery New York is pleased to present Split Visions | Abstraction in Modern Indian Painting, an exhibition of master-works on canvas by four iconic artists from India&rsquo;s first generation of modern painters. India&rsquo;s Progressive Artist&rsquo;s group is represented with major paintings by Vasudeo Gaitonde, Ram Kumar, and S. H Raza, while master painter Natvar Bhavsar rounds out the group with his signature ethereal style of multi-layered abstraction developed contemporaneously in New York City.</p> <p style="text-align: justify;">Vasudeo Gaitonde is often regarded as one of the finest and most evocative abstract painters of India; however, Gaitonde despised the title of &lsquo;abstractionist&rsquo; bestowed upon him, preferring his work instead to be described as &lsquo;non-objective&rsquo;. Art, throughout Gaitonde&rsquo;s career, was in itself a complete process, boldly exploring both the inner and outer realms of form and shape. Gaitonde, unlike his contemporaries, preferred a slow and meticulous painting process, hence his production of very few finished major works on canvas.</p> <p style="text-align: justify;">The frenetic abstract works of Ram Kumar have served to consistently set his work apart from the more simplistic narratives that have developed around modern Indian art. By insisting on the abstract, Kumar demands something that most of his contemporaries do not: A privately contemplative viewing experience. His works are often less about transcendence, and more about the visual encounter between the viewer and the painting in front of them. Thus, Kumar&rsquo;s evolution from his earlier figurative work to later abstract landscapes can be understood as the embodiment of a break between depicting something (the individual) and articulating the possible response of that something; between looking at a picture and participating in it.</p> <p style="text-align: justify;">Since his work with the Progressive Artists Group, S. H. Raza&rsquo;s subject, style and technique have evolved over distinct stages, drawing influence from his migration to France, his involvement with Abstract Expressionism in the 1950s and 1960s, and ultimately his return to a core Indian aesthetic philosophy in the 1970s. Breaking away from specific locations in time and space, or the confines of a nationalistic focus, his body of work is trans-cultural in its appeal, proving Raza an especially significant Indian artist on a worldwide stage.</p> <p style="text-align: justify;">An iconoclast known for his abstract expressionist and color field painting, Natvar Bhavsar, born in Gujarat, India in 1934, was greatly influenced by Indian abstract expressionism, and has been exploring the emotional and intellectual resonance of color for more than 50 years. His vibrant colors convey energy and the vivid, passionate pulse of life. Bhavsar&rsquo;s paintings are a part of more than 800 collections, including the collections of the Boston Museum of Fine Arts, the Metropolitan Museum of Art, the Philadelphia Museum of Art, and the Solomon R. Guggenheim Museum.</p> Mon, 22 Aug 2016 10:15:33 +0000 Ronald Lockett - American Folk Art Museum - June 21st - September 18th <p style="text-align: justify;">The art of Ronald Lockett (1965&ndash;1998) speaks to the universality of the human condition through the lens of lived experience in the American South. <em>Fever Within</em>, the first retrospective on the artist, emphasizes the themes Lockett explored over the course of his decade-long artistic career.&nbsp;Working within the artistic traditions of found materials, he addressed subjects of racial, economic, and political unrest, including the unfulfilled promises of the civil rights movement and environmental degradation.</p> <p style="text-align: justify;">Born and raised in Bessemer, Alabama, Lockett turned his attention to artmaking full-time in his early twenties. His elder cousin, the artist Thornton Dial (1928&ndash;2016), mentored and encouraged him. By the time of his death at age thirty-two from HIV/AIDS-related pneumonia, Lockett&nbsp;had produced more than 350 works. Largely unrecognized in his lifetime, Lockett fits squarely into evolving histories of American art in the late twentieth century.</p> <p style="text-align: justify;">Curator<br /> <em>Bernard L. Herman, George B. Tindall Distinguished Professor of Southern Studies, Department of American Studies, The University of North Carolina at Chapel Hill </em></p> <p style="text-align: justify;">Organizing Curator, American Folk Art Museum<br /> <em>Val&eacute;rie Rousseau, Curator, Self-Taught Art and Art Brut</em></p> <p style="text-align: justify;">The exhibition is on view at the same time as a complement presentation,&nbsp;<a href="" target="_blank"><em>Once Something Has Lived It Can Never Really Die</em></a>, which borrows its title from an artwork by Lockett.</p> <p style="text-align: justify;">The exhibition is organized and circulated by the Ackland Art Museum, The University of North Carolina at Chapel Hill. It is made possible in part by awards from the William R. Kenan, Jr. Charitable Trust and the National Endowment for the Arts, and additional funding is provided by the Department of American Studies Chair&rsquo;s Discretionary Fund for Southern Studies at The University of North Carolina at Chapel Hill. The presentation at the American Folk Art Museum is supported in part by Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Ford Foundation, Agnes Gund, the Blanche and Irving Laurie Foundation, the Leir Charitable Foundations, the National Endowment for the Humanities: Exploring the human endeavor, 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. Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.</p> Fri, 20 May 2016 09:31:07 +0000 Ronald Lockett - American Folk Art Museum - June 21st - September 18th <p style="text-align: justify;"><em>Once Something Has Lived It Can Never Really Die</em> takes its title from a large-scale assemblage created by African American self-taught artist Ronald Lockett (1965&ndash;1998) in 1996, two years before he died of AIDS-related pneumonia. On the rusted-tin surface of the artwork emerges the silhouette of a stag&mdash;a depiction of Lockett&rsquo;s avatar, which he used repeatedly in his art. Like many other works in his oeuvre, the piece reflects the artist&rsquo;s reckoning with his own mortality and endurance in the face of brutal entrapment.</p> <p style="text-align: justify;">In the exhibition, ten of Lockett&rsquo;s artworks&mdash;representing different phases of his career&mdash;are paired with more than eighty small and portable works made by both known and unidentified artists from various eras and geographical regions, all of whom are situated&nbsp;outside the art mainstream. It includes eighteenth- and nineteenth-century Native American effigies, Brazilian wood ex-votos, sculptures by Sandra Sheehy (b. 1965), and drawings by Melvin Way (b. 1954). Each production relates to the most pervasive and essential themes in Lockett&rsquo;s art: mortality, eschatology, and vulnerability. Produced for their protective qualities and invested with powers, the creations played a role in daily rituals. They allude to recurring human conditions&mdash;fear, loss, illness, and survival&mdash;and mark transitions between, and connections with, the ongoing cycles of life.</p> <p style="text-align: justify;">Curator<br /> <em>Val&eacute;rie Rousseau, Curator, Self-Taught Art and Art Brut</em></p> <p style="text-align: justify;"><em>Once Something Has Lived It Can Never Really Die</em> is a complement presentation to <a href="" target="_blank"><em>Fever Within: The Art of Ronald Lockett</em></a>, a traveling exhibition organized by the Ackland Art Museum that will be on view at the same time.</p> <p style="text-align: justify;">The museum&nbsp;would like to thank Gordon W. Bailey, Edward V. Blanchard, Andrew Castrucci, Cavin-Morris Gallery, Beate Echols and Michael Shub, Harriet Finkelstein, Jacqueline Loewe Fowler, Audrey Heckler, Jeffrey Myers, Richard Rosenthal, Sandra Sheehy, Ron and June Shelp, and Melvin Way for their loans and support for the exhibition.</p> <p style="text-align: justify;">The exhibition is supported in part by Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Ford Foundation, 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> <p>&nbsp;</p> Fri, 20 May 2016 09:38:19 +0000 Edward Buyck - Arkell Museum - March 1st - September 11th <div class="textbox" style="text-align: justify;">Edward Buyck (1888-1960) was commissioned to paint two historic views of Canajoharie as part of the Sesquicentennial celebration and pageant of Clinton&rsquo;s Brigade that brought boats overland from the Mohawk River at Canajoharie to Otsego Lake. Canajoharie&rsquo;s 150th anniversary celebration of Revolutionary War events opened with a two mile long parade that included floats carrying log cabins, stage couches, a wagon and other regional historic treasures from the American Revolution. Militia hauling boats in a reenactment of Clinton&rsquo;s Brigade at Canajoharie also marched along with the parade that attracted a crowd of 15,800 people on June 15, 1929. <div class="content"> <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">The exhibition features both of the the paintings created by Buyck for the Sesquicentennial celebration along with 18th century paintings of Americans by Gilbert Stuart and Benjamin West.</p> <p style="text-align: justify;">Exhibitions are supported in part by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.</p> </div> </div> </div> </div> </div> Wed, 01 Jun 2016 18:34:34 +0000 Winslow Homer, George Inness, Thomas Eakins, Childe Hassam, Robert Henri - Arkell Museum - March 1st - September 11th <div class="content"> <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">This exhibition features late 19th and early 20th century American paintings purchased by Bartlett Arkell, the founder and first president of the Beech-Nut Packaging Company. Works by Winslow Homer, George Inness, Thomas Eakins, Childe Hassam and other leading American Impressionists, and members of The Eight including Robert Henri are displayed in the original Canajoharie Gallery that opened to the public in 1929.</p> <p style="text-align: justify;">Bartlett Arkell encouraged his marketing staff to use both his collection, and the works he purchased for Canajoharie, in their print ads. The result of this borrowing of images from oil paintings created by artists such as Edward Gay and J.G. Brown, was a series of ad campaigns that brought &ldquo;art to the masses&rdquo; and linked the virtues found in the paintings with Beech-Nut gum and food products.</p> <p style="text-align: justify;">Exhibitions are supported in part by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.</p> </div> </div> </div> </div> Wed, 01 Jun 2016 18:40:57 +0000 - Arkell Museum - June 12th - October 16th <p style="text-align: justify;">Featuring colorful paintings of the American circus by artists from the 1920s and 1930s alongside circus-themed marketing materials used by the Beech-Nut Packaging Company in the 1930s.</p> <p style="text-align: justify;">The Circus coming to town was a highly anticipated event in small towns across America during the early decades of the 20th century. Leading American artists painted the spectacle of the parade as the circus arrived and the excitement under the big top. Images of circus cars, animals and acrobats were also used to market food products during the 1930s. The Beech-Nut Packaging Company was one of the companies to use the excitement and nostalgia of the circus to sell its products. This culminated in the creation of Beech-Nut miniature circuses that traveled across the country by bus, and a circus themed pavilion at the New York World&rsquo;s Fair in 1939.</p> <p style="text-align: justify;">Exhibition sponsored by the Beech-Nut Nutrition Company</p> Wed, 01 Jun 2016 18:38:01 +0000 Group Show - Art in General - July 6th - September 3rd <p style="text-align: justify;">Art in General is pleased to present <em>Memory Forms</em>, a Summer Benefit group show celebrating our 35th anniversary, on view at our Dumbo Gallery (145 Plymouth Street) from July 6 to July 27. The presented works are available for purchase, donated by: alumni artists; prestigious galleries that share our mission to nurture artistic practice; selections from our highly sought-after Limited Editions; and established artists helping to support the next generation.</p> <p style="text-align: justify;"><em>Memory Forms</em> explores notions of collective, institutional and personal memory. The exhibition opens with a look back at our 2016 New Commissions artists: Lior Shvil, Donna Huanca, Ezra Wube and Gordon Hall. Shvil and Hall presented works in our New York exhibition space, while Huanca and Wube took part in our International Collaborations Program with two solo shows in Riga, Latvia. For the Summer Benefit show, Shvil has donated a print from his September 2015 New Commission exhibition, <em>PROTOCOLS</em>. And Hall, two table-top sculptures from <em>Shifters</em> which mine the materiality of spoken and written communication.</p> <p style="text-align: justify;"><em>Memory Forms</em> continues with a look at our institutional memory with a curated selection of our Limited Editions. Artists Xaviera Simmons and Andrea Galvani work in photography, Pae White and Mar&iacute;a Elena Gonz&aacute;lez with sculpture, but all four pieces on view reflect a passing of time. The exhibition closes with a special selection of works donated by established artists such as Nicole Cherubini, Katy Grannan, Alfredo Jaar, Mary Mattingly, and Jason Middlebrook, among others.</p> <p style="text-align: justify;">There will also be a special reception for Art in General&rsquo;s Summer Benefit at the gallery on July 20, 2016.</p> <p style="text-align: justify;"><a href="" target="_blank"><strong>Summer Benefit Reception</strong></a> <br /> Hosted by Elaine Goldman<br /> Wednesday, 20 July, 2016<br /> 6pm&ndash;8.30pm</p> <p style="text-align: justify;"><a href=";hosted_button_id=4ML3YE4ZZ5GVE" target="_blank"><img src="" alt="" border="0" /></a></p> <p style="text-align: justify;"><a href="" target="_blank">The reception</a> for the 2016 Summer Benefit Exhibition will include wine, cocktails, light fare, music and an opportunity to speak with previously exhibited artists. Tickets are $35, in honor of Art in General&rsquo;s 35th anniversary, and can be purchased online by <a href=";hosted_button_id=4ML3YE4ZZ5GVE" target="_blank">clicking here</a> or on the button above. Alternatively you can purchase tickets by contacting Nicholas Cohn at tel: 212.219.0473 ext.104 or by email: <a style="text-decoration: none;" href="" target="_blank"></a>.</p> <p style="text-align: justify;"><strong>PARTICIPATING GALLERIES</strong><br /> Flying Horse Studio, Orlando<br /> Leslie Tonkonow Artworks + Projects, New York<br /> Mor Charpentier, Paris<br /> Peres Projects, Berlin<br /> Robert Mann Gallery, New York<br /> Sams&oslash;&ntilde; Projects, Boston<br /> Sandra Gering Gallery, New York<br /> Southard Reid, London<br /> The Proposition Gallery, New York<br /> Garis &amp; Hahn, New York</p> <p style="text-align: justify;">Art in General&rsquo;s 2016 <a href="" target="_blank">Summer Benefit Reception</a> is made possible with the generous support of Elaine Goldman, and Hans-Kristian Hoejsgaard, cocktails provided by Bombay Sapphire Gin.</p> <p style="text-align: justify;">Thank you for your ongoing generosity, support, and dedication! Your gift is fully tax deductible with the limits prescribed by law, less the value of the goods and services provided.</p> <p style="text-align: justify;">Art in General is grateful to the many artists and galleries who have supported us over 35 years. With your support, Art in General will continue to assist artists at critical junctures in their careers through funding, curatorial guidance, and exhibition space to present, thought-provoking new work.</p> <p style="text-align: justify;">*Currently the exhibition gallery is open by appointment only. Please contact us by email: <a href="" target="_blank"></a> or by calling tel: 212-219-0473 ext.104 &amp; ext.105 to arrange to see the artworks at your convenience.</p> Tue, 30 Aug 2016 17:42:10 +0000 - Asia Society Museum - March 8th - January 8th, 2017 <p style="text-align: justify;">On the occasion of the 60th anniversary of the founding of Asia Society, this exhibition celebrates the legacy of collecting and exhibiting Asian art that John D. Rockefeller 3rd and Blanchette Hooker Rockefeller set in motion for Asia Society. This exhibition plays with the notion of context by juxtaposing historical and contemporary works to trigger distinctive ways of thinking about artworks and the people that produce them, both past and present. The exhibition is a testament to the visionary commitment to Asia and its art begun by Mr. and Mrs. John D. Rockefeller 3rd, and that continues to the present at Asia Society.</p> Fri, 08 Jan 2016 08:04:53 +0000 Hank Willis Thomas - Bronx Museum of the Arts - June 3rd - September 5th <div id="press_release"> <p style="font-size: 12px; text-align: justify;">New York-based artist Hank Willis Thomas explores issues of identity,&nbsp;media, race, and popular culture through sculptures, photographs, and text-based works. He often appropriates recognizable imagery from&nbsp;advertisements and branding campaigns in order to question the ways in&nbsp;which commercial media distorts the ways in which audiences see&nbsp;themselves and each other.&nbsp; </p> <p style="font-size: 12px; text-align: justify;">As the Public Art Fund, NY states, &ldquo;Liberty&nbsp;(2015) is a life-size, candy-coated bronze sculpture derived from a 1986 found photograph of a Harlem&nbsp;Globetrotter. He spins a basketball on his finger, in the likeness of the&nbsp;Statue of Liberty, which is featured in the background of the image. In a&nbsp;digital era where electronic devices mediate our viewing experiences, the&nbsp;three-dimensional arm, appropriated from the photograph, invites the&nbsp;viewer to consider the framing and context of the images that surround us.&rdquo;&nbsp; </p> <p style="font-size: 12px; text-align: justify;">Thomas received a BFA in Photography and Africana Studies from NYU in&nbsp;1998, his MFA in Photography, and an MA in Visual and Critical Studies&nbsp;from California College of the Arts in San Francisco in 2004. His work has&nbsp;been featured in several publications including&nbsp;25 under 25: Up-and-Coming American Photographers&nbsp;(CDS, 2003),&nbsp;30 Americans&nbsp;(RFC, 2008)&nbsp;as well as his monograph&nbsp;Pitch Blackness&nbsp;(Aperture, 2008). He has&nbsp;exhibited in galleries and museums throughout the world. Thomas' work is&nbsp;in numerous public collections including the Whitney Museum of American&nbsp;Art, The Brooklyn Museum, Museum of Modern Art, and the Solomon R.&nbsp;Guggenheim Museum, New York. His collaborative projects have been&nbsp;supported by the Tribeca Film Institute, Open Society Foundation, The&nbsp;Ford Foundation, and have been featured at the Sundance Film Festival.</p> </div> Sun, 03 Jul 2016 06:59:03 +0000 Group Show - Bronx Museum of the Arts - July 13th - September 25th <div id="press_release"> <p style="text-align: justify;">This summer The Bronx Museum of the Arts will present <strong><em>Art AIDS America</em></strong>, the first exhibition to examine the deep and ongoing influence of the AIDS crisis on American art and culture. The exhibition will feature more than 125 works in a wide range of media dating from 1981 to the present day, by artists including F&eacute;lix Gonz&aacute;lez-Torres, Derek Jackson, Kia Labeija, Annie Leibovitz, Robert Mapplethorpe, and Martin Wong. The exhibition, on view from July 13 through September 25, is organized by the Tacoma Art Museum in partnership with The Bronx Museum of the Arts. </p> <p style="text-align: justify;">For this presentation, additional works from The Bronx Museum permanent collection will broaden the offering of artistic responses to the AIDS crisis by artists particularly connected to the Bronx, such as Willie Cole, Glenn Ligon, Whitfield Lovell, and others. The Museum is also working with Visual AIDS&mdash;a New York-based organization that supports HIV+ artists and uses art to fight the disease&mdash;to create a vitrine in the Museum&rsquo;s lobby that features work from the organization, including works on paper by artist Glenn Ligon.</p> <p style="text-align: justify;">&ldquo;This exhibition traces for the first time how cultural expression has been influenced by HIV/AIDS, exploring how artists have grappled with the devastation of AIDS from the beginning of the outbreak in the 1980s, to its insidious presence today,&rdquo; said Holly Block, Executive Director of The Bronx Museum of the Arts. &ldquo;These artists give voice to perspectives that are too often suppressed, and the exhibition reveals how they have changed both the history of art in America and the response to this disease.&rdquo;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Bronx Museum Director of Curatorial and Education Programs, Sergio Bessa, added, &ldquo;The AIDS crisis has particular resonance in our region and in the Bronx, and we continue to feel the impact of HIV/AIDS. Through our presentation of this exhibition and a series of community engagement programs, we will promote dialog with our community on a topic that has been stigmatized for decades.&rdquo;</p> <p style="text-align: justify;"><br /> The exhibition is co-curated by: Jonathan David Katz, Director, Visual Studies Doctoral Program at the University at Buffalo, The State University of New York; and Rock Hushka, Chief Curator at the Tacoma Art Museum.</p> <p style="text-align: justify;"><br /><em>Art AIDS America</em> is accompanied by a nearly 300-page catalog featuring essays by 15 contributors and with more than 200 illustrations. It is published in association with the University of Washington Press of Seattle and London and designed by Marquand Books, Seattle.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em><strong>The Bronx Museum of the Arts</strong> receives ongoing general operating support from the Bronx Borough President Ruben Diaz Jr. and the Bronx Delegation of&nbsp;the New York City Council, New York City Department of Cultural Affairs, New York State Council on the Arts with the support of Governor Andrew Cuomo&nbsp;and the New York State Legislature, Cowles Charitable Trust, Lambent Foundation, May and Samuel Rudin Family Foundation, Rockefeller Brothers Fund,&nbsp;Scherman Foundation, and individuals.</em></p> <p style="text-align: justify;"><br /><em>Art AIDS America was organized by Tacoma Art Museum in partnership with The Bronx Museum of the Arts, and co-curated by Jonathan David Katz, Director, Visual Studies Doctoral Program at the University at Buffalo (The State University of New York), and Rock Hushka, Chief Curator and Curator of Contemporary and Northwest Art at Tacoma Art Museum. The national tour is supported by Leslie-Lohman Museum of Gay and Lesbian Art and Gilead Sciences, Inc. The exhibition and catalogue have been made possible by support from The Andy Warhol Foundation for the Visual Arts and The Paul G. Allen Family Foundation.</em></p> <p style="text-align: justify;"><br /><em>Art AIDS America at The Bronx Museum of the Arts is supported by Gary Hattem and Frazier Holloway, anonymous, and individual donors. Education and Community Engagement Programs are generously supported by the Elton John AIDS Foundation, Keith Haring Foundation, Laurie M. Tisch Illumination Fund, Arcus Foundation, and May and Samuel Rudin Family Foundation.</em><br /><em><strong>&nbsp;</strong></em></p> <div class="media_embed"><img style="width: 96px; height: 45px;" src="" alt="" />&nbsp; &nbsp; &nbsp;<img style="width: 48px; height: 60px;" src="" alt="" /><img src="" alt="" /><img style="height: 30px; width: 137px;" src="" alt="" />&nbsp; &nbsp;<img style="width: 115px; height: 30px;" src="" alt="" /></div> <div class="media_embed"> <div class="media_embed">&nbsp;</div> <div class="media_embed"><img style="width: 272px; height: 15px;" src="" alt="" /></div> </div> <p>&nbsp;</p> </div> <p>&nbsp;</p> Fri, 08 Jul 2016 11:21:37 +0000 Frank Gimpaya - Bronx Museum of the Arts - July 13th - September 25th <div id="press_release"> <p style="text-align: justify;">In 2007, the Museum of Modern Art exhibited a series of drawings by French post-Impressionist&nbsp;painter and draftsman Georges Seurat.&nbsp;Frank Gimpaya was taken by the painter&rsquo;s 1882&nbsp;rendering of<em>&nbsp;The Veil</em>.&nbsp; He was inspired to create a photographic tableau of this drawing as a&nbsp;means of instruction for the photography classes he taught at Saint Peter's University in Jersey&nbsp;City, New Jersey.</p> <p style="text-align: justify;">Production took place in spring 2008. The setup design was simple: natural window light, grey&nbsp;seamless paper background, a fan, and a mask purchased years before in a Halloween shop in&nbsp;the Greenwich Village, NY. Originally conceived as a demonstration photograph, Gimpaya&nbsp;observed varied changes, both subtle and dramatic, as he worked. The one photograph turned&nbsp;into a series that questions the notion of identity, changing personas, assumptions of beauty,&nbsp;the nature of creativity, the ambiguity of photography, and the emotional projection from a half&nbsp;hidden face.</p> <p style="text-align: justify;">A. Eric Arctander, the late painter and professor at the School of Visual Arts, observed in a short&nbsp;essay of the series, "A mask does not hide an identity. It is an identity."&nbsp; He also added,&nbsp;"&hellip;Gimpaya's art speaks to a sublime, enigmatic, present time. Here we witness the&nbsp;strangeness of a not particularly reassuring world."</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About the Artist</strong></p> <p style="text-align: justify;">Frank Gimpaya holds a BFA from Hunter College (1965). Currently, he teaches painting and&nbsp;drawing at John Jay College of Criminal Justice in New York and photography at Saint Peter&rsquo;s&nbsp;University in Jersey City. In addition, he is responsible for the original design of Nueva Luz, a&nbsp;photographic journal published by En Foco, where he serves on the Board of Directors.&nbsp;However, it is as a fine arts photographer that Gimpaya has gained recognition as an artist who&nbsp;&ldquo;paints with light.&rdquo; Throughout his career, he has had&nbsp;exhibitions&nbsp;in the United States, Mexico,&nbsp;Cuba, and Europe, and his work has been reviewed in numerous prestigious&nbsp;publications,&nbsp;including The New York Times and The Village Voice.</p> <p style="text-align: justify;">His photographs are in the collection of Museet For Fotokunst in Odense, Denmark; and awards&nbsp;have included a New York Foundation of the Arts Fellowship (2002), the Pace/Promise Awards&nbsp;for Contributions in Arts Education (1992), and the CAPS Award from the New York State&nbsp;Council on the Arts (1977). Gimpaya's series,&nbsp;Mask, was&nbsp;exhibited&nbsp;at SMP Graphics (2009) and&nbsp;Look Art Gallery in October (2012).&nbsp; He was part of a group exhibition entitled, &ldquo;The Rule of Law&nbsp;and the Right to be Human,&rdquo; in Athens, Greece (2014) as well as a solo exhibition at The&nbsp;National Arts Club in New York (2015).&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About En Foco&nbsp;</strong></p> <p style="text-align: justify;">En Foco supports contemporary fine art and documentary photographers of color and diverse&nbsp;cultures, using photography as a platform to speak on behalf of issues related to cultural equity&nbsp;and access. En Foco provides its photographers, curators, critics, and cultural activists with a&nbsp;forum to advocate on behalf of an inclusive cultural policy that historically has been lacking in&nbsp;substance. En Foco supports its constituent artists with direct and indirect funding opportunities,&nbsp;professional development services, curated exhibitions, publications and networking events with&nbsp;industry and cultural leaders.</p> </div> Sun, 03 Jul 2016 08:17:40 +0000 Rochele Gomez, Margaret Lee, Alejandra Seeber - Bronx Museum of the Arts - July 13th - September 25th <p style="text-align: justify;"><em>Caza: Rochele Gomez, Margaret Lee, Alejandra Seeber</em><em>&nbsp;</em>is part of The Neighbors, a series of three small-scale, successive exhibitions of contemporary art organized by guest curator Sof&iacute;a Hern&aacute;ndez Chong Cuy for The Bronx Museum of the Arts. </p> <p style="text-align: justify;">What would it mean to tame art? And, to what or for who would this taming of art serve? The group exhibition <em>Caza</em>&mdash;a word that in Spanish means searching or hunting, and is a homonym to the word home&mdash;is an attempt to respond to such questions. </p> <p style="text-align: justify;"><strong>ABOUT THE ARTISTS</strong></p> <p style="text-align: justify;"><strong>Rochele Gomez</strong> (b. 1980, Los Angeles) lives and works in Los Angeles, CA. In 2014, she received her MFA from the University of California, Irvine, and in 2006 a BFA from California State University, Long Beach. Last year, she had a solo exhibition at<span style="font-family: arial,sans-serif;">&nbsp;LAXART</span><em>&nbsp;Fireplace and Its Mirror</em> curated by Daniel Joseph Martinez. Other recent exhibitions include: <em>Out at the Elbows</em> at Metro PCS in Los Angeles, CA (2014);<em> Ideal Territory</em> at Cirrus Gallery in Los Angeles, CA (2014); and <em>Saucy Leechcraft </em>at JB Jurve in Los Angeles, CA (2012).&nbsp; She is a recipient of the American Austrian Foundation/ Seebacher Prize (2014), which allowed her to travel to Europe and study at the Salzburg International Summer Academy of Fine Arts in Austria.&nbsp; Artist's website: <a href="" target="_blank"></a></p> <p style="text-align: justify;"><br /><strong>Margaret Lee</strong> (b. 1980, Bronx) lives and works in New York City. This year, she participates with a solo exhibition as part of the <em>Concentration</em> series organized by the Dallas Museum of Art at Duddell&rsquo;s in Hong Kong. In 2014, the artist&rsquo;s solo exhibition<em> closer to wrong than right/ closer to right than wrong</em> was presented at Jack Hanley Gallery in New York. Recently, Lee participated in <em>NO MAN&rsquo;S LAND: Women Artists from the Rubell Family Collection</em> (2105) at The Rubell Family Collection, Miami, <em>All Watched Over</em> (2015) curated by Tina Kukielski at James Cohan Gallery, New York, and <em>New Pictures of Common Objects </em>(2012) curated by Christopher Lew at MoMA PS1, New York. The artist participated in the 2014 Hammer Museum biennial, <em>Made in L.A. </em>and in the 2013 <em>Biennale de Lyon</em>. In 2009, Lee founded the artist-run space 179 Canal and is currently a partner in the gallery 47 Canal. Artist's website: <a href="" target="_blank"></a></p> <p style="text-align: justify;"><br /><strong>Alejandra Seeber </strong>(b. 1969, Buenos Aires) lives in New York City since 1999. She studied at Prilidiano Pueyrre&oacute;n School of Fine Arts in Argentina, and participated in the Beca Kuitca Studio Program in Buenos Aires and Skowhegan School of Painting and Sculpture in Maine. In 2010, she had solo exhibition at Fundaci&oacute;n Proa in Buenos Aires, and has had solo exhibitions at, among other galleries, Sperone Westwater in New York, Hausler Contemporary in Munich and Zurich, and, most recently, at Barro in Buenos Aires. Her work was featured in the 7th Bienal do Merocsul (2009) in Porto Alegre and in<em> S-files </em>(2003) at El Museo del Barrio in New York. It has been part of numerous group exhibitions locally internationally, at venues like the Kunst Museum of Saint Gallen in Switzerland, the Museum of Modern Art of Buenos Aires, as well as the Museum of Latin American Art of Buenos Aires (MALBA). Artist&rsquo;s website: <a href="" target="_blank"></a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>ABOUT THE CURATOR</strong></p> <p style="text-align: justify;"><strong>Sof&iacute;a Hern&aacute;ndez Chong Cuy</strong> is an art curator. Since 2011, she has worked as the curator of contemporary art for Colecci&oacute;n Patricia Phelps de Cisneros. She also teaches at the School of Visual Arts, and is as a member of the board of directors of Triple Canopy. In the past, she&rsquo;s been director of Museo Tamayo in Mexico City, held curatorial positions in New York at Art in General and Americas Society, and guest-curated exhibitions for Kadist Art Foundation in Paris, MALBA in Buenos Aires, and the Center for Contemporary Art in Vilnius, among other places. In 2013, Sof&iacute;a was artistic director and chief curator of the <em>9a Bienal do Mercosul</em>, Porto Alegre in Brazil; before that, she was an agent of dOCUMENTA 13 in Kassel. In 2009, she initiated the slow-but-ongoing editorial project <em>Murmur</em>. Sof&iacute;a was born in Mexicali, and lives in Brooklyn. Curator's website: <a href="" target="_blank"></a></p> Sun, 03 Jul 2016 08:41:46 +0000 Paul Outerbridge - Bruce Silverstein Gallery - June 30th - September 17th <p><strong>Paul Outerbridge</strong></p> <p>&nbsp;</p> <p><strong>June 30 &ndash; September 17, 2016</strong></p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Bruce Silverstein Gallery is pleased to present a retrospective of the work of Paul Outerbridge (1896-1958).&nbsp; This is the first exhibition of its scope to be held in New York since 1979 and will be the largest exhibition of Outerbridge&rsquo;s work since 2009 at the Getty Museum, Los Angeles. This exhibition is comprised of historically important and rare extant material.</p> <p>&nbsp;</p> <p>A survey of Outerbridge&rsquo;s influential career is especially timely as his work is consistently cited by a current generation of artists working in the photographic medium. Numerous contemporary artists riff on commercial strategies of image-making that derive from the aesthetics of advertising photography and our visual lexicon shaped by Outerbridge.</p> <p>&nbsp;</p> <p>Outerbridge&rsquo;s melding of the high and low in his artworks channeled the artistic current of his age, from Surrealism, to Cubism, to Duchamp (who kept Outerbridge&rsquo;s&nbsp;<em>Ide Collar</em>, 1922, tacked to a wall in his studio).&nbsp; By venerating quotidian commercial products through his elegant and striking formal arrangements, and taking a functional object out of its useful context, Outerbridge tapped the consciousness of modern art which grappled with the experience of living a commercial existence, the impact of mass consumerism, and an ever expanding visual culture.</p> <p>&nbsp;</p> <p>In 1940 Outerbridge published&nbsp;<em>Photographing in Color</em>, which explicated his creative and technological achievements developing the challenging and time consuming medium of tri-color Carbro printing. Outerbridge&rsquo;s color prints are extraordinarily rare due to the laborious technical process and the artist&rsquo;s ruthless standards.&nbsp; Through various loans the gallery has been able to secure a significant number of Outerbridge&rsquo;s prints for exhibition.</p> Wed, 25 May 2016 20:24:40 +0000 Group Show - Cheim & Read - June 23rd - August 31st <div class="press-release cf padding-bottom-50"> <div class="text color-light fs-16 lh-30 left"> <p style="text-align: justify;">Cheim &amp; Read is pleased to present, <em>The Female Gaze, Part Two: Women Look at Men</em>, a group exhibition of thirty-two women artists, and their variegated portrayals of men, curated by John Cheim.</p> <p style="text-align: justify;"><em>The Female Gaze</em>, a two-part exhibition at Cheim &amp; Read, presents works by women that directly address gender and sexuality. The first iteration was <em>Women Look at Women</em>, in 2009. The shows span a variety of media, including painting, photography, and sculpture. Both explore the problem of a relatively simple question: how would we feel if a man made these works?</p> <p style="text-align: justify;">Paul Rosano, the subject of Sylvia Sleigh&rsquo;s painting, <em>Paul Rosano in Jacobsen Chair</em>, 1971, which will be on view, wrote: &ldquo;She was placing me in what many would interpret as a feminine pose, or what you would expect to see in traditional or historical paintings of women, certainly not of men. This became an underlying theme in many of her works. The reversal.&rdquo;</p> <p style="text-align: justify;">The works included in The Female Gaze reverse stereotypical gender roles; instead of seeing the men as oppressors, men become the subject of their gaze.</p> </div> </div> Tue, 30 Aug 2016 18:04:12 +0000