ArtSlant - Current exhibits en-us 40 Mary Heilmann - 303 Gallery - November 5th - December 19th <p style="text-align: justify;">303 Gallery is proud to present an exhibition of new works by Mary Heilmann. On view will be an arrangement of paintings on canvas and handmade paper, glazed ceramics, and a group of her distinctive furniture sculptures. Heilmann has exhibited with 303 Gallery since 2004.<br /> <br /> Wryly poking around the history of abstract painting from both within and without it, Heilmann's imaginative approach to the geometries of spaces, things, and thoughts has made her one of the foremost painters of her generation. Adopting waves and roads as inspiration for many of the works in this show, Heilmann's deft perceptive logics suggest simultaneously intimate and expansive experiences.<br /> <br /> In Heilmann's paintings, waves and roads each generate their own sources of life. They move and travel and interlock. Positive and negative space inhabit alternating roles, as colors riff on memory in vibrant undulations as well as protracted expanses. Heilmann's geometrics abut forms and steer the eye backward between them and seemingly through them. In <em>San Andreas</em> (2012), a glowing red core pokes through chunks of earthy green glazed ceramic, its tactile surface bubbling with tension. In<em> The</em> <em>Geometry of a Wave</em>, a tiny painting on paper suggests an entire universe in two colors. Pigment pools in the paper's irregular crevices, as a wave's fragile surface is rendered with a penetrating directness.<br /> <br /> In his memoir <em>Barbarian Days</em>, William Finnegan writes of the hallucinatory power of surfing, "It was as if we were suspended above the reef, floating on a cushion of nothing . . . Approaching waves were like optical illusions." Heilmann's own waves begin to depict a similar imagery with their synchronic positives and negatives. What seems like a simple gestural game drifts into the essential, into an intuitive understanding of a form's resonance and a furtive ability to shape it.<br /> <br /> To that end, Heilmann's installation of her signature chairs encourages viewers to sit, linger and engage in dialogue with the paintings, with each other, and with themselves. To sit and watch the waves, to hit the road. The edges of the paintings point at each other; one can imagine the air between them as tactile. If a painting has its own language, why not try to speak with it?<br /> <br /> Mary Heilmann's work has been shown in prestigious international venues since the early 1970s. A major solo presentation of her work will be held at London's Whitechapel Gallery in 2016. In 2007-2009, a retrospective traveled from the Orange County Museum of Art to New York's New Museum of Contemporary Art, with stops at Contemporary Arts Museum, Houston and the Wexner Center for the Arts, Columbus. An exhibition at Bonnefantenmuseum, Maastricht in 2012 traveled to Neues Museum, Nuremberg, while "Mary, Blinky, Yay," with Blinky Palermo, was exhibited at Kunstmuseum Bonn in 2013. In 2015, "Two by Two, Mary Heilmann &amp; David Reed" opened at the Hamburger Bahnhof in Berlin. A solo exhibition, "Sunset," was commissioned as part of the inauguration at the new Whitney Museum of American Art. Hellmann lives and works in Bridgehampton and New York CIty.</p> <p style="text-align: justify;">303 Gallery represents the work of Doug Aitken, Valentin Carron, Hans-Peter Feldmann, Ceal Floyer, Karel Funk, Maureen Gallace, Tim Gardner, Dominique Gonzalez-Foerster, Kim Gordon, Rodney Graham, Mary Heilmann, Jeppe Hein, Jens Hoffmann, Larry Johnson, Matt Johnson, Jacob Kassay, Karen Kilimnik, Alicja Kwade, Elad Lassry, Florian Maier-Aichen, Nick Mauss, Mike Nelson, Kristin Oppenheim, Eva Rothschild, Collier Schorr, Stephen Shore, Sue Williams, Jane and Louise Wilson.</p> Wed, 21 Oct 2015 18:28:41 +0000 Paul McMahon - 3A Gallery - November 5th - December 13th <p>An exhibition featuring new self-portraits by Paul McMahon</p> Fri, 25 Sep 2015 14:38:02 +0000 Joan Miro, Jean Paul Riopelle - Acquavella Galleries - October 1st - December 11th <p style="text-align: justify;">Acquavella Galleries is pleased to present <em>Riopelle / Mir&oacute;: Color, </em>an exhibition of painted bronze&nbsp;sculptures by Joan Mir&oacute; and oil paintings by Jean Paul Riopelle, on view from October 1 to December 11, 2015. The&nbsp;exhibition highlights how the artists&rsquo; lives and works intersected through professional relationships, overlapping literary and&nbsp;artistic groups, personal experiences, and intellectual inquiry. Riopelle and Mir&oacute; worked with the same dealers on both sides&nbsp;of the Atlantic, traveled in the same circles, and even shared a studio in the South of France. Their ideas and approaches to&nbsp;art differed considerably, but as contemporaries, colleagues and friends, it is compelling to view their work side by side in&nbsp;conversation.</p> <p style="text-align: justify;">This exhibition focuses on work from the 1960s. Riopelle&rsquo;s exuberant, impastoed canvases, including two large-scale&nbsp;triptychs, are shown alongside four whimsical and vividly painted bronzes by Mir&oacute;. All of Mir&oacute;&rsquo;s sculptures in this&nbsp;exhibition were cast at the Clementi foundry outside Paris, which was partly owned by Riopelle at that time. While Riopelle&nbsp;and Mir&oacute; never formally collaborated, there is a discernible visual link between their art that resonates across media and&nbsp;decades. <em>Riopelle / Mir&oacute;: Color </em>offers a chance to reevaluate interpretations of the periods and styles in which the artist&rsquo;s lived&nbsp;and worked, and demonstrates both artists&rsquo; infinite inventiveness.</p> <p style="text-align: justify;">&ldquo;We are delighted to present the first exhibition showing work by Jean Paul Riopelle and painted bronzes by Joan Mir&oacute;,&rdquo;&nbsp;said Acquavella Galleries Director Esperanza Sobrino. &ldquo;Though they were a generation apart, the artists were friends for&nbsp;many years, and their expressive use of luminous color creates an unusual and interesting dialogue.&rdquo;&nbsp;</p> <p style="text-align: justify;">Riopelle, a Canadian &eacute;migr&eacute;, pioneered a style of painting in which vibrant swaths of colors were applied to the canvas with&nbsp;demonstrative strokes from a palette knife or directly from paint tubes. The resulting compositions were highly texturedwith a range of gloss that resulted in mosaic-like surfaces. Artist Pierre de Ligny Boudreau described the artist as one who&nbsp;&ldquo;delves into nature&rsquo;s seasons and from this feast of color draws a clear, dazzling sensation [into his work].&rdquo;</p> <p style="text-align: justify;">It was not until the mid 1960s when sculpture played a major role in Mir&oacute;&rsquo;s oeuvre. Over the decade he would create&nbsp;nineteen glossily painted bronzes sculptures. Mir&oacute; combined found objects in unexpected ways, creating assemblages of&nbsp;rustic and everyday elements collected from around his studio or during walks along the beach. The artist used factorygrade,&nbsp;full gloss paint in striking primary hues to set apart disparate objects and parts of objects. He dubbed these creations&nbsp;his phantasmagoric &lsquo;monsters&rsquo; and went as far as to leave instructions for the sculptures to be repainted their original&nbsp;brilliant hues after the his death, ensuring that they remain insusceptible to the passage of time.</p> <p style="text-align: justify;">Jean Paul Riopelle&nbsp; (1923-2002) was born in Quebec, Canada. He moved to Paris in 1947 and was the only Canadian to associate&nbsp;with the surrealists. The artist represented Canada at the Venice Biennale in 1954 and 1962. Retrospectives of Riopelle&rsquo;s work&nbsp;have been held at the Kolnischer Kunstberein (Cologne, Germany); National Gallery of Canada, Ottawa, Canada; Mus&eacute;e National&nbsp;des Beaux-Arts du Quebec, Quebec City, Canada; Fondation Maeght, Saint Paul-de-Vence, France; and the Musee d&rsquo;Art Moderne&nbsp;de la Ville de Paris.</p> <p style="text-align: justify;">Joan Mir&oacute;&nbsp; (1893-1983) was a Catalan painter, sculptor and ceramicist of international acclaim. There are two museums dedicated&nbsp;to his work: Fundaci&oacute; Joan Mir&oacute;, Barcelona and Fundaci&oacute; Pilar i Joan Mir&oacute;, Palma de Mallorca. Mir&oacute;&rsquo;s work is held in the&nbsp;permanent collections of countless museums and retrospectives have been held in the Museum of Modern Art New York; Museo&nbsp;Nacional Centro de Arte Reina Sof&iacute;a, Madrid; the Galerie Lelong, Paris; Tate Modern, London; the National Gallery of Art,&nbsp;Washington, D.C.; Albertina Museum, Vienna; Kunsthaus, Z&uuml;rich; and the National Art Center, Tokyo.</p> Thu, 27 Aug 2015 07:53:31 +0000 Salman Toor - AICON GALLERY - New York - October 28th - December 5th <div align="justify"><strong>Aicon Gallery</strong>&nbsp;is pleased to announce the second solo exhibition of Brooklyn and Lahore based artist&nbsp;<strong>Salman Toor's</strong>&nbsp;most recent series of paintings,&nbsp;titled&nbsp;<em><strong>Resident Alien</strong></em>. Born in Lahore, Pakistan, Toor's new work consists of a series of complex figurative paintings, of varying scale and style, delineated with Sufi poetry and ranging in subject from autobiographical constructs to Art History, Post-Colonialism, and Pop Culture.</div> <div>&nbsp;</div> <div align="justify">These new paintings show surreal gatherings of people, romances and adventures in imagined homelands and scenes of conflict in places designated as both East and West. Toor's life and art traverse the boundaries between these two worlds, dismantling stereotypes and seeking to broaden perceptions on both sides of the global divide. In the artist's own words: 'For me painting is a process of self-definition, as an outsider in multiple worlds which become more and more entangled and complex.' Historical ghosts of origin collide with scenes of leisure and repose, pointing to issues of exile, integration, and the cultural rituals that divide and unite us. At sad family dinner tables and imagined multiethnic communities, the paintings map out a space where personal and global concerns intersect. These vignettes evoke the fluid boundaries of identity and the anxieties of living in our post 9/11 world and revitalize the potentiality of the medium of painting.</div> <p>&nbsp;</p> <div align="justify">Process is central to Toor's work. Compositions are unplanned. Toor paints intuitively, from memory, embracing the surprise of the transformations he encounters as an image comes to life. Toor's painting moves seamlessly between abstraction and representation. He uses text and figures to carve out a psychological space or site of fantasy, memory and deconstruction. The text consists of poetry as well as Persio-Arabic gibberish, memories of graffiti dribbled in alleyways and mosques, calligraphic protest banners and shop signs in Pakistan. These are peppered with elements of graphic design, comic strips and advertising as in the Sale! Pow! Boom! Signs, as well as thought and speech bubbles. The 17th century poems of&nbsp;<strong>Bulleh Shah</strong>, a wandering Sufi dervish from Punjab, and the contemporary poetry of exile by&nbsp;<strong>Hasan Mujtaba</strong>&nbsp;point to the shape-shifting nature of longing and belonging, a fruitful unmooring from communities of origin. Amid the diverse tableau vivant of Toor's figures, apartment buildings sprouting out of metropolitan skylines are overlapped by silhouettes and contours of mosques and shrines, distorting our sense of place and time. In this way Toor's paintings create an interface between seemingly divergent understandings of an over-connected world, developing societies seething in turmoil and the microcosms of cultures like Brooklyn's art scene where Toor now works.&nbsp;</div> <div align="justify">&nbsp;</div> <div align="justify"> <div> <div align="justify">The scroll-like triptych titled&nbsp;<em>Rooftop Party with Ghosts</em>&nbsp;is reminiscent of the naive distortions of the Indian artist Bhupen Khakhar, with echoes of James Ensor, and George Grosz. Blurred apparitions that look like memories, but could be characters from multiple chapters of history, wander among gatherings of bohemian globalistas. The ghost of a soldier in a uniform resembling that of the British Indian army has a mysterious exchange with a coterie of urban intellectual types. They are amused by the wisdom or song of a crouching beggar or minstrel or prophet, resembling a cartoon from an Orientalist painting or ubiquitous photojournalism from the Middle East and South Asia. A disapproving matronly ghost hovers behind a pair of embracing lovers as a modish man in a ponytail smiles his Tom-and-Jerry smile, toying with a smartphone and lighting a joint. For Toor, these 'ghosts' serve as reverberating echoes of origins, 'cultural baggage', as well as enablers of disruption and reinvention of static ideas of self and belonging.</div> </div> &nbsp; <div> <div> <div align="justify">In<em>Resident Aliens</em>&nbsp;and&nbsp;<em>Ghosts</em>, young revelers take selfies and spill red wine in a gathering cloud of text, speech bubbles and the abstract forms of puddles and splashes of what looks like black oil which the artist sees as a physical form of guilt. At a distance a Mughal prince is shown a view by a coiffed Victorian lady resembling Jane Austen. In a group of works titled&nbsp;<em>Newscaster</em>, black oil splashes again, with television news anchors as harbingers of ominous accounts of international conflicts and crises. In smaller works, immigrants reminisce in their urban apartments, listening to traditional gazals on YouTube. They sit among stacks and collections of books on Post-Colonial scholarship, contemporary art and fiction. In&nbsp;<em>For Allen Ginsberg</em>, avatars of global hobos ramble along towards an unknown destination with sacks of allegorical belongings and Marcel Duchamp's wheel in tow. Swimming in the verses of Mujtaba's poem, overlapping worlds host scenes of violence, historical fiction and divine revelation.</div> </div> </div> <div align="justify">&nbsp;</div> <div align="justify">Born in Lahore, Pakistan in 1983 and living and working in Brooklyn, New York, Toor received his Masters of Fine Art (Painting) at Pratt Institute in Brooklyn in 2009. Toor's works have ranged in style from meticulously executed nineteenth century-style history painting to loosely painted and abstracted figuration employing design elements and visual language from both Eastern and Western pop culture. He has had several solo exhibitions in the U.S. and Pakistan and has been featured both as an artist and a writer in publications such as ArtAsiaPacific, Wall Street International, The Express Tribune, and The Friday Times. This is his second solo exhibition with Aicon Gallery, New York.</div> </div> Tue, 20 Oct 2015 07:44:30 +0000 Paresh Maity - AICON GALLERY - New York - October 29th - December 5th Mon, 26 Oct 2015 10:08:58 +0000 Fernando Bryce - Alexander and Bonin - November 14th - December 19th <p class="Default" style="text-align: justify;">An exhibition of new works by Fernando Bryce will open at Alexander and Bonin on November 14<sup>th</sup>.</p> <p class="Default" style="text-align: justify;">The exhibition will feature three major works, <em>The Book of Needs, Arte Nuevo </em>and <em>ARTnews 1945-1947 </em>which address the discourse of universal values during the 1940s and 1950s<em>. </em>These works chronicle the changing international climate following the end of World War II and the beginning of the Cold War, and survey media representation of subsequent cultural shifts.</p> <p class="Default" style="text-align: justify;">Following his established practice<em>, </em>the artist analyzes the representations in historical documents with his own ink-on-paper &ldquo;reconstructions.&rdquo; <em>The Book of Needs </em>consists of 83 such drawings taken from images published in the <em>UNESCO Courier </em>between 1948 and 1954. This magazine is the primary publication of UNESCO, a specialized United Nations agency founded in 1945 to address the educational, scientific, and cultural issues that arose following the end of WWII. Bryce sees the formation of UNESCO as a result of new cultural influences in international politics; his selection of pages re-examines the organization&rsquo;s presentation of its humanist and universalist ideals.</p> <p class="Default" style="text-align: justify;">For <em>Arte Nuevo</em>, Bryce used the Museum of Modern Art Library to photograph articles and images from issues of <em>Art d&rsquo;Aujourd&rsquo;hui, Arte Nuevo </em>and <em>Ver y estimar </em>published in the 1940s and 1950s. These three prominent international art magazines were published in Paris and Buenos Aires during the post WWII period. Marking a departure in the artist&rsquo;s practice, Bryce has created 28 color silkscreen prints from these photographs. The juxtaposition of articles and images allows for an examination of the international art world at the time, specifically the institutionalization of abstract art in both Europe and South America.</p> <p class="Default" style="text-align: justify;"><em>ARTnews 1945-1947 </em>is comprised of 31 ink drawings representing gallery advertisements in the magazine during this period. Typical of the day, the typography is simple and direct as is the content or &lsquo;copy&rsquo;. The majority are ads for solo exhibitions but the underlying content is the representation of European, Japanese, North and South American artists in post World War II New York.</p> <p style="text-align: justify;">Fernando Bryce (b. 1965 Lima) currently lives and works in Lima and New York. In 2011, a major survey of his work, <em>Drawing Modern History</em>, was organized by the Museo de Arte de Lima (MALI) and traveled to Museo Universitario de Arte Contempor&aacute;neo (MUAC), Mexico City, and Museo de Arte Latinoamericano de Buenos Aires (MALBA). His work has been exhibited internationally including &ldquo;Manifesta 4,&rdquo; Frankfurt am Main (2002); &ldquo;8<sup>th </sup>International Istanbul Biennial,&rdquo; (2003); &ldquo;26th Biennial of S&atilde;o Paulo&rdquo; (2004); &ldquo;54th Carnegie International,&rdquo; Pittsburgh (2005); &ldquo;T1 - The Pantagruel Syndrome,&rdquo; Castello di Rivoli, Turin (2006); and &ldquo;11<sup>th </sup>Biennale de Lyon,&rdquo; (2011).</p> Sun, 22 Nov 2015 17:38:35 +0000 Group Show - Alexander Gray Associates - October 29th - December 12th Tue, 06 Oct 2015 08:46:04 +0000 Heinrich Anton Müller, Francis Palanc, Jeanne Tripier - American Folk Art Museum - October 13th - January 10th, 2016 <p style="text-align: justify;"><em>Art Brut in America: The Incursion of Jean Dubuffet</em> is the first major U.S. exhibition to explore the introduction of art brut to America. The nearly two hundred works of art on view, by both canonical and lesser-known art brut figures, were amassed and identified as <em>art brut</em> by French artist Jean Dubuffet, beginning in 1945. The selection is drawn exclusively from the renowned Collection de l&rsquo;Art Brut in Lausanne, Switzerland, where Dubuffet donated his collection in 1971.</p> <p style="text-align: justify;">The exhibition reflects on two seminal but unexplored moments in mid-twentieth century America: between 1952 and 1962, 1,200 works from Dubuffet&rsquo;s art brut collection were displayed in the East Hampton estate of his friend, the artist and collector Alfonso Ossorio. Slightly prior to their installation, in December 1951, Dubuffet delivered a provocative speech titled &ldquo;Anticultural Positions&rdquo; at the Arts Club of Chicago, which challenged established ideas about art analysis and modes of creation.</p> <p style="text-align: justify;">The presentation highlights Dubuffet&rsquo;s passionate belief in a new art paradigm that was non-Western and non-hierarchical, and that championed creators who are &ldquo;uncontaminated by artistic culture.&rdquo;</p> <p style="text-align: justify;"><em>Organized in collaboration with the Collection de l&rsquo;Art Brut, Lausanne, Switzerland. Curated by&nbsp;Val&eacute;rie Rousseau, PhD, Curator, Self-Taught Art and Art Brut, American Folk Art Museum. An exhibition catalog will be available.</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The exhibition is presented in memory of Sam Farber (1924&ndash;2013), a devoted trustee of the American Folk Art Museum and a passionate collector of art brut and art by the self-taught. The exhibition is supported in part by Consulate General of Switzerland in New York, 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, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the Swiss Arts Council Pro Helvetia.</p> Sun, 27 Sep 2015 15:59:40 +0000 Alina Szapocznikow - Andrea Rosen Gallery - October 31st - December 5th <p style="text-align: justify;">Andrea Rosen Gallery is pleased to announce Alina Szapocznikow, the gallery&rsquo;s inaugural solo-exhibition of the artist since beginning to represent her Estate in 2014.</p> <p style="text-align: justify;">On the heels of a major international traveling retrospective, this exhibition presents a meticulously assembled group of major figurative sculptures from the 1960s and 1970s. Ardently concentrating on life-size freestanding figures, these works represent some of the artist&rsquo;s most significant bodies of work, lent from museums and private collections from around the world.</p> <p style="text-align: justify;">Szapocznikow, over the distilled course of fifteen years, developed a profound pioneering vision and formal language tensioned between lust and sexuality, and the threat of destruction. Embodying this dichotomy, her work contains an intense vividness of life that perhaps can be drawn to her personal history, surviving a youth in concentration camps; like a number of artists of her time, such as Paul Thek and Hannah Wilke, who came out of intensity, there is an incredible rigor and vibrance driven from the force of life.</p> <p style="text-align: justify;">After representing Poland in the 1962 Venice Biennale, she moved to Paris, fully formed, at a historically vital time, when artists from Marcel Duchamp to Yves Klein were simultaneously developing pivotal territories propelled out of Formalism. Evoking characteristics of Surrealism, Nouveau R&eacute;alisme and Pop Art, her works embraced both material rigor as well as her own deeply personal psychology, leading her to create &ldquo;awkward objects&rdquo;&mdash;visceral sculptures that unravel gravity and composition&mdash;to explore what she saw as the most vulnerable of all ephemeral manifestations, the human body.</p> <p style="text-align: justify;">At once seductive and unsettling, Szapocznikow&rsquo;s work is often made from direct impressions and casts of body parts, each an attempt to fix the traces of the body and record the fleeting moments and absurd paradoxes of life. She infused a completely new set of materials: those she concocted and heavily documented in the laboratory of her studio&mdash;such as tinted polyester resin and polyurethane expanding foam&mdash;creating a post-human form of lamps that used casts made directly from her lips, to every day resources&mdash;pantyhose, newspaper clippings, photographs, with straw and resin, grass and foam&mdash;resulting in distinctly radical hybrids of the organic and inorganic.</p> <p style="text-align: justify;">While so significant in her time, Szapocznikow is now widely regarded as one of the most prominent figures in post-war Poland and Paris. Linking the intensely personal to our greater humanity, her work, a vessel for memory and formal innovation, singly holds the capacity to teach and unravel a multitude of historical threads that tell the story of the past sixty years.</p> <p style="text-align: justify;"><em>Alina Szapocznikow was born in 1926 in Kalisz, Poland. After surviving three concentration camps during WWII, she trained at studios in Prague and the &Eacute;cole des Beaux-arts in Paris. She first began showing her work in 1950 and held her first two-person show at the Zacheta National Gallery of Art, Warsaw, in 1957. Szapocznikow, along with two other artists, was selected to represent Poland at the Venice Biennale in 1962. A year later, she moved to Paris, where she continued to live until her untimely death in 1973 at the age of 47.</em></p> <p style="text-align: justify;"><em>Her work has been the subject of major survey exhibitions and retrospectives worldwide, including the first comprehensive retrospective outside of Poland, traveling to the Museum of Modern Art, New York; the Hammer Museum, Los Angeles; WIELS Contemporary Art Centre, Brussels; and the Wexner Center for the Arts, Columbus (2011-2013); and a major survey exhibition at the Centre Georges Pompidou, Paris (2012) and Tel Aviv Museum (2014). Additional solo exhibitions include: Bonniers Konsthall, Mus&eacute;e d'Art Moderne de la Ville de Paris, the Stedelijk Museum, Amsterdam, Kunsthalle Basel, Camden Arts Centre, London, and the National Museum of Warsaw. Recent group shows this summer include &ldquo;THEM&rdquo; at the Schinkel Pavillion; Danh Vo and Caroline Bourgeois&rsquo;s &ldquo;The Slip of the Tongue,&rdquo; at Punta Della Dogana, and Massimiliono Gioni&rsquo;s &ldquo;La Grand Madre,&rdquo; at Fondazione Nicola Trussardi. Her work is in the public collections of the Centre Pompidou, Paris; Hammer Museum, Los Angeles; Israel Museum, Jerusalem; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, New York; Philadelphia Museum Art; and Tate, London, as well as numerous institutions across Poland and Western Europe.</em></p> Thu, 12 Nov 2015 14:38:04 +0000 Robert Motherwell - Andrea Rosen Gallery 2 - October 30th - December 5th Wed, 21 Oct 2015 18:43:16 +0000 Group Show - Andrew Kreps Gallery @ 537 W. 22nd - November 7th - December 20th <p style="text-align: justify;">Andrew Kreps Gallery is pleased to announce&nbsp;<em>Walks and displacements</em>,&nbsp;an exhibition that brings together eleven artists whose work reflects an engagement with pre-existing source materials. Working in disparate media, they share a lyrical approach that works to abstract the original while maintaining its integrity, creating new aesthetic and emotive experiences with objects, images, bodies, videos and sounds. What emerges across these investigations are shared sensibilities, as well as overlapping strategies of erosion, stratification, embedding, and association. This allows the exhibition to unfold similarly to the works themselves &ndash; a walk from one place to another, that bears with it the accumulative traces of both decisions made, and what one carries with them.</p> Sat, 31 Oct 2015 16:35:38 +0000 Jim Lambie - Anton Kern Gallery - November 7th - December 19th Wed, 21 Oct 2015 18:56:44 +0000 Nanu Al-Hamad, Fabien Caperan, Sam Hart, Matt Jones, Clay Kippen, Tim Maughan, Miriam Simun - Apexart - November 5th - December 19th <p style="text-align: justify;">For <em>Alternative Unknowns</em>, six New York City based artists and designers have been commissioned to create objects that provoke new ways of thinking about emergency preparedness. Each artist will be invited to a conversation with the NYC Emergency Management Department about emergency issues facing the city, and then will be tasked with designing object-based artifacts. The objects created will be presented at apexart as a theatrical simulation space, which will serve as a stage for a performance by two pairs of trained improv actors who will interpret these emergency preparedness objects and the multiple potentials for how they could be used.</p> <div style="text-align: justify;" align="center"><hr align="center" size="2" width="450" /></div> <p style="text-align: justify;"><br /> <strong>Elliott P. Montgomery</strong> uses speculative design methods to investigate social and environmental implications of emerging technologies. He teaches design methods at Parsons, The New School for Design, and has practiced as a design consultant for clients such as Autodesk, GE, LG, Honeywell, and J&amp;J, as well as for startups and non-profits. He is a former design research resident at the US Department of Energy, a US Federal Reinvestment Act resident, and 2013 Core77 Design Awards Winner. He holds an MA in Design Interactions from the Royal College of Art in London and a BA in Industrial Design from Carnegie Mellon University in Pittsburgh PA. <br /> <br /> <strong>Chris Woebken</strong> is a German-born artist collaborating with scientists, organizations, and artists to propose new methods and tools for collaboratively prototyping, experiencing, and impacting future scenarios. Chris holds an MA in Design Interactions from the Royal College of Art London and has been a visiting scholar at NYU's Environmental Health Clinic. Recent exhibitions include the <em>Landscape Futures</em> at Nevada Museum of Art Reno, LEAP Berlin Germany, Future Fictions Z33, and the Artefact Festival at STUK Kunstencentrum Leuven Belgium. Chris works and lives in New York.</p> <p><span style="text-decoration: underline;">Featuring work by:</span><br /> Nanu Al-Hamad <br /> Fabien Caperan<br /> Environmental Health Clinic (xCLINIC):<br /> &nbsp;&nbsp;&nbsp;Dr. Natalie Jeremijenko and Fernando Cremades<br /> Sam Hart<br /> Matt Jones<br /> Clay Kippen<br /> Lost Cause Inc.<br /> Tim Maughan<br /> Miriam Simun &nbsp;</p> Sun, 20 Sep 2015 11:11:55 +0000 William Joyce - Arkell Museum - September 26th - January 3rd, 2016 <p style="text-align: justify;">William Joyce has world-wide recognition as an author, illustrator filmmaker and pioneer in the animation industry. Books published by Simon &amp; Schuster include The Fantastic Flying Books of Mr. Morris Lessmore, The Guardians of Childhood book series: The Man in the Moon, The Sandman: Story of Sanderson Mansnoozie, Nicholas St. North and the Battle of the Nightmare King, E. Aster Bunnymund and the Warrior Eggs at the Earth&rsquo;s Core! and Toothania: Queen of the Tooth Fairy Armies. His latest books are <cite>Billy's Booger,The Mischievians and Sandman and the War of Dreams.</cite></p> <p style="text-align: justify;">Joyce co-founded Moonbot Studios a transmedia storytelling company specializing in books, apps, film and video games. Named by Newsweek magazine as &ldquo;One of the 100 people to watch in the new millennium&rdquo;, William has been involved in the world of digital animation from its full-scale inception at Pixar Animation. His projects have been produced by nearly every major film studio including Disney, Twentieth Century Fox and DreamWorks Animation. His feature films include Epic, Rise of the Guardians, Robots and Meet the Robinsons. His television series include George Shrinks and Rolie Polie Olie for which he won three Emmy Awards. In 2012, he won an Academy Award for The Fantastic Flying Books of Mr. Morris Lessmore, an animated short film about the curative powers of story.</p> <p style="text-align: justify;">(Exhibition developed by the National Center for Children&rsquo;s Illustrated Literature, Abilene, Texas)</p> Mon, 29 Jun 2015 17:08:15 +0000 Andrew Wyeth, Walter Launt Palmer, Edward W. Redfield, Grandma Moses - Arkell Museum - September 26th - January 3rd, 2016 <p style="text-align: justify;">This exhibition, drawn from the permanent collection, features the work of 19th and early 20th century American painters admired for their winter landscapes. Artists in this exhibition include Andrew Wyeth, Walter Launt Palmer, Edward W. Redfield, Anna Mary Robertson Moses (Grandma Moses) and other artists famous for their distinctive views of winter.</p> Wed, 26 Aug 2015 17:52:28 +0000 - Artists Space : Books & Talks - November 7th - January 10th, 2016 <p style="text-align: justify;"><span style="font-size: small;"><br /> "Union" signals both a convergence between different elements and, in historical terms, an association of labor against the State. "Union" is a reminder of possible associations that are created by situations not structures. Gaucho culture is prevalent in certain areas of Argentina, Uruguay, and South of Brazil with no territorial demarcation, hence a "Union Gaucha" always privileges the regional over the national, constructing various and diverse molecular alliances. The addition of the word "Productions" clarifies that the artists are in command of their means of production, exposing an inescapable condition: a form of creation that fully integrates its subjectivity with its economy.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ndash; Karin Schneider and Nicol&aacute;s Guagnini</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Artists Space is pleased to present the first comprehensive survey of Union Gaucha Productions, structured in three parts at Artists Space Books &amp; Talks: a street level installation of film and video based works; a basement cinema, where these works can be viewed on-demand; and a series of events involving film screenings, performance, music, and conversations.</span><br /> <br /><span style="font-size: small;"> Union Gaucha Productions (UGP) was founded in New York in 1997 by artists Karin Schneider (born 1970, Rio de Janeiro, Brazil) and Nicol&aacute;s Guagnini (born 1966, Buenos Aires, Argentina), and was active until 2010. Distinct from Schneider and Guagnini's individual practices, under the guise of a "film production company" they produced a diverse body of works, often collaborating with other artists, architects, musicians, performers, filmmakers and thinkers.</span><br /> <br /><span style="font-size: small;"> Both Schneider and Guagnini moved to New York in the late 1990s, and the works produced under the moniker UGP map the artists' experiences of migration from South America to the US at the cusp of the millennium. Their films and videos bear heterogeneous influences, including those of political and artistic avant-gardes from Brazil and Argentina (from Cinema Novo to Oswald de Andrade's concept of anthropophagy and the writing of the Polish &eacute;migr&eacute; Witold Gombrowicz), as well as American experimental cinema (Schneider worked at Anthology Film Archives and studied with Annette Michelson, and Jonas Mekas advised the artists on the purchase of their first 16mm camera).</span><br /> <br /><span style="font-size: small;"> Approaching the documentary tradition, the works of UGP sometimes depict particular individuals (such as Mekas or the Brazilian artist Tunga), as well as objects (the artworks of Katryzyna Kobro and Lygia Clark, for example, or the architecture of Emilio Ambasz). But against the backdrop of the homogenizing processes of multiculturalism, which sought to re-inscribe differences as stable identities, they unfix subject and object as they manipulate, perform, and model them. Deploying the "machine" of film alongside and against the "machine" of art history, they privilege a mutual activation (in Ambasz's words, "an ensemble of inter-related processes"), demarcating an "infra-life" between gestures, images and forms of exchange: a fluid territory where identities, friendships, and ideological affinities are always in flux.</span><br /> <br /><span style="font-size: small;"> <em>Union Gaucha Productions</em> has been organized by Artists Space together with Jacob King</span></h2> <p class="font-small" style="text-align: justify;"><br /> <br /><span style="font-size: small;"> This exhibition is supported by the Friends of Artists Space and the <em>Union Gaucha Productions</em> Exhibition Supporters Circle: Miguel Abreu; Bortolami Gallery; and Begum Yasar, Dominique L&eacute;vy Gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p>&nbsp;</p> Sat, 31 Oct 2015 17:52:22 +0000