ArtSlant - Current exhibits en-us 40 - 3A Gallery - February 27th - February 27th Fri, 27 Feb 2015 13:18:01 +0000 Liudmila Velasco & Nelson, Jose Toirac & Meira Marrero, Maria Magdalena Campos-Pons, Duvier Del Dago, Armando Marino, Douglas Pèrez Castro, Reynerio Tamayo, Elio Rodriguez - 532 Gallery Thomas Jaeckel - February 26th - March 21st <p style="text-align: justify;">We are pleased to present&nbsp;<em style="font-size: 1em; font-weight: normal;">En Voz Alta (Aloud),</em>&nbsp;a spontaneous exhibition of works by nine Cuban-born artists:&nbsp;&nbsp;Mar&iacute;a Magdalena Campos-Pons, Duvier del Dago, Meira Marrero&nbsp; &amp; Jos&eacute;&nbsp;Toirac,&nbsp;Liudmila &amp;&nbsp;Nelson, Yunier Hernandez, Armando Mari&ntilde;o, Douglas P&eacute;rez Castro, Reynerio Tamayo and Elio Rodr&iacute;guez.&nbsp;-six living in Havana,&nbsp;two are in the United States and one in Europe.</p> <p style="text-align: justify;">The steady erosion of the United States embargo against Cuba, since 2009, has given hope to many there and abroad that normalization between the two countries is possible. On the island, opportunity, and or the perception of it, are more plentiful than ever. &nbsp;Many Cubans are celebrating the potential bounty, hoping that electronic connectivity and open trade are now or soon will be within reach.</p> <p style="text-align: justify;">The educational system in Cuba has produced prolific and undeniable talent whose artwork is now being lauded by art critics, curators and collectors as the best-kept secret in the art market today. The process of passing on a lineage under the Cuban system of student to artist to professor is as persistent and durable as Cuban culture itself.</p> <p style="text-align: justify;"><em>En Voz Alta &ldquo;</em>gives sudden voice to an easy coupling of artists,&rdquo; according to&nbsp;Rachel&nbsp;Weingeist, the curator,&nbsp;who wanted to respond to &ldquo;the&nbsp;excitement that Cuban artists are expressing &ndash; generated by the recent political shifts.&rdquo;</p> <p style="text-align: justify;">Everyone wants to know what is next in Cuba&rsquo;s future. &nbsp;Perhaps artist duo Meira Marrero and Jos&eacute;&nbsp;Toirac&rsquo;s tarot card deck, bound in leather of 24 cards, titled <em>Profile </em>will shed light. &nbsp;This work is charged with symbols inspired by the iconic interview that resulted in &ldquo;<em>One Hundred Hours with Fidel</em>,&rdquo; the infamous tell-all in the words of the Revolutionary himself, published in 2006.</p> <p style="text-align: justify;">In this exhibition, as art often manifests, humor and the realities of daily routine are intertwined.&nbsp; All of the artists in this show are referencing current and recent political inspirations: Douglas Perez&rsquo;s painting, &ldquo;<em>December 17th in the White House,&rdquo;&nbsp;</em>refers to President Obama&rsquo;s announcing the restoration of a diplomatic relationship with Cuba, and we witness Michelle and Barack Obama dancing on a banquet table, dishes flying in celebration.<em>&nbsp;</em>Duvier del Dago, well known for his light and string drawings, positions a larger-than-life nude Cubana at a podium set in a futuristic public square, orating to a raucous and fictional crowd. Mar&iacute;a Magdalena Campos-Pons, revered for her sensual imagery, offers&nbsp;&ldquo;<em>Unspeakable Sorrow,&rdquo;</em>&nbsp;a ceremonial black-on-black portrait of despair, loss and abandonment, a howl, in which the flowering Amaryllis is the only trace of life or color in the work.</p> <p style="text-align: justify;">Rachel Weingeist is a contemporary curator and cultural advisor who has curated over twenty-five Cuban exhibitions that range in theme and breadth. Over the last five years, Weingeist built the largest private Cuban art collection to date and created the first contemporary&nbsp;Cuban video archive, which has traveled widely. &nbsp;Weingeist is a member of the Harvard Cuban Studies Advisory Board and actively participates internationally in cultural and political dialogue.</p> Thu, 19 Feb 2015 04:30:17 +0000 Herb Alpert - ACA Galleries, Est 1932 - February 19th - April 4th <p>For Immediate Release &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Media Contact: Mikaela Sardo Lamarche</p> <p>January 16, 2015 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<a href="" rel="nofollow"></a>&nbsp;212 206-8080</p> <p>&nbsp;</p> <p align="center"><strong>Herb Alpert and Richard Mayhew: <span style="color: #3366cc;"><em>HARMONIC RHYTHMS</em></span></strong></p> <p align="center"><strong>February 19 through April 4, 2015</strong></p> <p align="center"><strong>Opening Reception:</strong> Thursday, February 19 from 6 to 8pm</p> <p align="center"><strong>Press Preview:</strong> 3 to 6pm</p> <p align="center">&nbsp;</p> <p>ACA Galleries is pleased to announce its forthcoming exhibition, <em>Herb Alpert and Richard Mayhew: Harmonic Rhythms,</em> on view February 19 through April 4, 2015.&nbsp; Primarily known for his music, Herb Alpert has gained a reputation as an accomplished visual artist.&nbsp; At 91, Richard Mayhew is acknowledged as one of America&rsquo;s premier landscape painters and colorists.&nbsp; Both artists, informed intensely by music, use improvisation in their work.&nbsp;</p> <p>Herb Alpert&rsquo;s sculptures reveal Alpert&rsquo;s growth and influences: the spirituality of the native American totems of the Pacific Northwest, the monumentality and modernism of Rodin, Henry Moore and Alberto Giacometti. But as these influences passed through Alpert, they picked up elements of Alpert&rsquo;s soul, a soul informed by the harmonies and rhythms of music, especially jazz. Thus, his totemic forms are as effervescent as they are magisterial, as sensual as they are spiritual.</p> <p>Alpert&rsquo;s sculptures, though generally abstract, nonetheless revel in the fleshy exuberance of human forms. Sensuality and sexuality proclaim themselves with eloquent poise. Alpert treats sensuality not just as an organic experience, but as emotions that seem to erupt from the sculptures themselves. Thus, this interplay between the emotional, physical and spiritual gives Alpert&rsquo;s sculptures and internal power, an energy that flows from their forms and surrounds the viewer.</p> <p>Richard Mayhew expresses in color and landscape the spirituality Alpert finds in form. Mayhew&rsquo;s oeuvre is spirit itself, the spirit that inhabits Mayhew&rsquo;s landscapes of the mind and soul. &nbsp;His African-American, Cherokee and Shinnecock ancestry provide a deep well of spiritual heritage from which to draw on, and finds expression in the near-mystical visions of nature Mayhew spreads across his canvases. Colors shimmer; fields and hills undulate; trees quiver. Mayhew&rsquo;s landscapes, pouring forth from the depths of his imagination, inhabit their painted surface with equal measure of serenity and energy.&nbsp;</p> <p>A jazz singer himself, rhythm and melody seem to flow through Mayhew&rsquo;s landscapes: smoothly gliding through one area, skipping in syncopation in another, colors rising like melodies through the air. Like much of jazz, Mayhew&rsquo;s work is often improvisational. As a painter, he&rsquo;ll let the picture dictate its own creation, letting the paint flow where it needs to flow, much as a jazz musician will let the notes fly where they need to fly. Mayhew thus trusts the paint, the process of painting, and his deep knowledge of how it all works. He understands that improvisation does not mean abandoning skill or control of one&rsquo;s medium, but that skill and chance must enhance each other.</p> <p>Richard Mayhew&rsquo;s work is in the permanent collections of The Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum of Art, NY, African-American Museum, Philadelphia, PA, Museum of African Art, National Museum of American Art, and the Smithsonian Institute in Washington, DC, among others.&nbsp;</p> <p>A monograph on Richard Mayhew was published in 2009 in conjunction with three solo exhibitions in California: Museum of the African Diaspora (San Francisco); Museum of Art and History at the McPherson Center (Santa Cruz) andDe Saisset Museum at Santa Clara University (Santa Clara).&nbsp;</p> <p>Alpert&rsquo;s paintings and sculptures have been exhibited in museums across the United States including the Tennessee State Museum and the Pasadena Museum of California Art. His work is in the permanent collections of the Museum of Contemporary Art (MOCA), Los Angeles and the Tennessee State Museum, Nashville, among others. In 2013, Alpert was awarded the National Medal of Art by President Barack Obama at the White House.&nbsp; From the Tijuana Brass, to his present day solo jazz performances, with his signature sound, Herb Alpert is a nine-time Grammy Winner, his latest for "Best Pop Instrumental Album&rdquo; in 2014 for his album, <em>Steppin' Out</em>.</p> <p>Last year three monumental sculptures by Herb Alpert were on view across from Lincoln Center in New York City and 7 of Alpert&rsquo;s massive sculptures, at different locations, around Los Angeles and Malibu, Ca.&nbsp; Mr. Alpert and his wife, Lani, will be performing at the Carlyle Hotel in New York City, from March 10-21.&nbsp;</p> <p>&nbsp;&nbsp;</p> <p align="center"><em>For additional information and images contact </em></p> <p align="center"><em>Mikaela Sardo Lamarche </em></p> <p align="center"><a href="Richard%20Mayhew%20expresses%20in%20color%20and%20landscape%20the%20spirituality%20Alpert%20finds%20in%20form.%20Mayhew&rsquo;s%20oeuvre%20is%20spirit%20itself,%20the%20spirit%20that%20inhabits%20Mayhew&rsquo;s%20landscapes%20of%20the%20mind%20and%20soul.%20%20His%20African-American,%20Cherokee%20and%20Shinnecock%20ancestry%20provide%20a%20deep%20well%20of%20spiritual%20heritage%20from%20which%20to%20draw%20on,%20and%20finds%20expression%20in%20the%20near-mystical%20visions%20of%20nature%20Mayhew%20spreads%20across%20his%20canvases.%20Colors%20shimmer;%20fields%20and%20hills%20undulate;%20trees%20quiver.%20Mayhew&rsquo;s%20landscapes,%20pouring%20forth%20from%20the%20depths%20of%20his%20imagination,%20inhabit%20their%20painted%20surface%20with%20equal%20measure%20of%20serenity%20and%20energy.%20%20%20A%20jazz%20singer%20himself,%20rhythm%20and%20melody%20seem%20to%20flow%20through%20Mayhew&rsquo;s%20landscapes:%20smoothly%20gliding%20through%20one%20area,%20skipping%20in%20syncopation%20in%20another,%20colors%20rising%20like%20melodies%20through%20the%20air.%20Like%20much%20of%20jazz,%20Mayhew&rsquo;s%20work%20is%20often%20improvisational.%20As%20a%20painter,%20he&rsquo;ll%20let%20the%20picture%20dictate%20its%20own%20creation,%20letting%20the%20paint%20flow%20where%20it%20needs%20to%20flow,%20much%20as%20a%20jazz%20musician%20will%20let%20the%20notes%20fly%20where%20they%20need%20to%20fly.%20Mayhew%20thus%20trusts%20the%20paint,%20the%20process%20of%20painting,%20and%20his%20deep%20knowledge%20of%20how%20it%20all%20works.%20He%20understands%20that%20improvisation%20does%20not%20mean%20abandoning%20skill%20or%20control%20of%20one&rsquo;s%20medium,%20but%20that%20skill%20and%20chance%20must%20enhance%20each%20other.%20%20Richard%20Mayhew&rsquo;s%20work%20is%20in%20the%20permanent%20collections%20of%20The%20Metropolitan%20Museum%20of%20Art,%20Whitney%20Museum%20of%20American%20Art,%20Brooklyn%20Museum%20of%20Art,%20NY,%20African-American%20Museum,%20Philadelphia,%20PA,%20Museum%20of%20African%20Art,%20National%20Museum%20of%20American%20Art,%20and%20the%20Smithsonian%20Institute%20in%20Washington,%20DC,%20among%20others.%20%20A%20monograph%20on%20Richard%20Mayhew%20was%20published%20in%202009%20in%20conjunction%20with%20three%20solo%20exhibitions%20in%20California:%20Museum%20of%20the%20African%20Diaspora%20(San%20Francisco);%20Museum%20of%20Art%20and%20History%20at%20the%20McPherson%20Center%20(Santa%20Cruz)%20and%20De%20Saisset%20Museum%20at%20Santa%20Clara%20University%20(Santa%20Clara).%20%20%20Alpert&rsquo;s%20paintings%20and%20sculptures%20have%20been%20exhibited%20in%20museums%20across%20the%20United%20States%20including%20the%20Tennessee%20State%20Museum%20and%20the%20Pasadena%20Museum%20of%20California%20Art.%20His%20work%20is%20in%20the%20permanent%20collections%20of%20the%20Museum%20of%20Contemporary%20Art%20(MOCA),%20Los%20Angeles%20and%20the%20Tennessee%20State%20Museum,%20Nashville,%20among%20others.%20In%202013,%20Alpert%20was%20awarded%20the%20National%20Medal%20of%20Art%20by%20President%20Barack%20Obama%20at%20the%20White%20House.%20%20From%20the%20Tijuana%20Brass,%20to%20his%20present%20day%20solo%20jazz%20performances,%20with%20his%20signature%20sound,%20Herb%20Alpert%20is%20a%20nine-time%20Grammy%20Winner,%20his%20latest%20for%20&quot;Best%20Pop%20Instrumental%20Album&rdquo;%20in%202014%20for%20his%20album,%20Steppin'%20Out.%20%20Last%20year%20three%20monumental%20sculptures%20by%20Herb%20Alpert%20were%20on%20view%20across%20from%20Lincoln%20Center%20in%20New%20York%20City%20and%207%20of%20Alpert&rsquo;s%20massive%20sculptures,%20at%20different%20locations,%20around%20Los%20Angeles%20and%20Malibu,%20Ca.%20%20Mr.%20Alpert%20and%20his%20wife,%20Lani,%20will%20be%20performing%20at%20the%20Carlyle%20Hotel%20in%20New%20York%20City," rel="nofollow"><em></em></a></p> Wed, 04 Feb 2015 21:45:32 +0000 Group Show - AICON GALLERY - New York - February 7th - March 10th <p style="text-align: justify;">Aicon Gallery is proud to present EAT PRAY THUG, a group exhibition curated by Himanshu "Heems" Suri. To commemorate Suri's upcoming debut solo album release, he has curated a group show of the same name, along with a schedule of events and performances. The exhibition represents a wide array of mediums and artistic backgrounds - straight/queer, Hindu/Muslim, male/female, established/newcomer, Asia/Diaspora. Though all these artists may trace their roots to India or Pakistan, they live and work in varied mediums around the world and not all the work revolves around issues of identity, for example, the abstract geometric studies of Nihalani and Suleman&rsquo;s black comedic commentary on current events in Pakistan. Taken as a whole, the exhibition examines the richly varied contemporary artistic voices resonating from out of South Asia and its Diaspora.<br /> <br /> In addition to the exhibition, Suri has also put together a series of events for the month. There will be a performance by Pakistani punks The Kominas with Rizwan &ldquo;Riz MC&rdquo; Ahmed, the Nightcrawler actor and Suri&rsquo;s partner in the post-partition hip-hop duo Sweat Shop Boys. Viewers will also be able to witness an exclusive performance art piece by Deepak Choppa. February 28th, Deepak Choppa will turn the gallery space into a recording studio for a full 24 hours. Heems will write and record an EP of all new material over this time period, with the gallery open to the public throughout.<br /> <br /> Born in Karachi, Pakistan Roohi S. Ahmed&rsquo;s video drawing performance, titled Sew and Sow, examines the conceptual process, physical gestures, and emotional and personal narratives of literally marking the body and the cartographies arising from it. The stitching and unstitching of her skin leaves visible tactile traces as a memory of actions and corrections made by the other hand. In 2002, after encountering his family's South Asian film collection, Chiraag Bhakta began his series of nostalgic Bollywood-inspired prints under the name *Pardon My Hindi. Using humor mixed with stark social commentary, Bhakta seeks to explore cross-cultural interpretations of identity as a first generation Indian American. His Arch Motel photographic series, a collaboration with Mark Hewko, has been shown at the Smithsonian Museum in Washington D.C. and his Washed Series collage works are being shown for the first time in New York.<br /> <br /> Chitra Ganesh was born and raised in Brooklyn, NY, where she currently lives and works. Her artistic praxis is inspired by buried narratives and marginal figures typically excluded from official canons of history, literature and art. She is widely recognized for her experimental use of comic and large-scale narrative forms to communicate submerged histories and alternate articulations of femininity to a broader public. Her works have been featured in several publications including the New York Times, Flash Art, Art Asia Pacific, and Time Out New York. Ratna Gupta studied graphic design at St. Xavier&rsquo;s College, Mumbai, and book arts and crafts at the London College of Printing, The London Institute. She has participated in numerous solo and group exhibitions. Her work re-contextualizes natural surfaces such as bark and skin by rebuilding them with molds, latex, canvas and thread, preserving them against the destructive forces of both man and nature.<br /> <br /> Born in 1953, Ranbir Kaleka is a formally trained painter who has progressively transitioned into video art by developing a distinctive painterly language for his multimedia projects. In Man with Cockerel - 2, a man is caught in a circle of endless pursuit and capture of his escaped &lsquo;cockerel&rsquo;. The viewer's reverie is jolted by a play with diegetic and non-diegetic conventions of sound: domestic, industrial, everyday and the environmental. The only relief is the long silent lapping of the waves on an empty screen at the end of the loop before the man again finds his &lsquo;cockerel&rsquo; and enters the frame. Aakash Nihalani, born in Queens, studied at the Steinhardt School of Culture in NYU, New York. Heavily inspired by local street art, Nihalani is drawn especially to isometric rectangles and squares, often creating highly illusionistic installations simply from color, line and space. His work is a reaction to forms and structures we readily encounter in both public to private, where we&rsquo;re required to establish our own placement within a larger picture.<br /> <br /> The mainstay of Karachi-based Adeela Suleman&rsquo;s artistry explores a series of dichotomies that point to the fragile and fleeting ephemerality of life as experienced by the artist amidst the chaotic and perpetually deteriorating religious and political violence of Pakistan. Her figures of headless soldiers and courtiers decapitating and disemboweling each other function as a grotesque yet somehow humorous representation of the ambiguous roots and perpetuators of the horrific violence wracking Pakistan, where nothing is ever quite as it seems. Working and living between Karachi and Sydney, Abdullah M. I. Syed&rsquo;s practice is rooted in the long history of discourse and debate surrounding Colonialism and Orientalism, now forever altered in apost-9/11 political landscape. His exuberantly colored outsized Brut medallions use traditional Pakistani arts and crafts techniques to explore the warping and stereotyping of notions of masculinity both within Islamic societies and from myopic Western preconceptions. Throughout his work, Brooklyn-based painter Salman Toor deftly presents a subtle melding of the confused consumeristic and social fantasies of the mass-medias of India, Pakistan and the U.S. with a Renaissace-era handling of light, painting and draftmanship. In the works Newscater I and II, Toor depicts a set of dueling characitures of impossibly idealized South Asian news anchors humorously surrounded by the scribbled disconnected notes, lists and rants of a fictionalized and neurotic contemporary artist.<br /> <br /> Himanshu &ldquo;Heems&rdquo; Suri, formerly of the rap group Das Racist, has exhibited his work at the Guggenheim, New York, and the Museum of Contemporary Art, Chicago and curated projects for instituitions including the Whitney Museum of American Art, New York. In addition, he has maintained a constantly evolving output of collaborative musical and recording projects. His work on diplay in this exhibition will include unique pieces as well as collaborative installations and limited edition album artworks all based on Suri&rsquo;s travels in India and experiences and upbringing in New York City. This is his first curatorial project with Aicon Gallery.</p> Wed, 11 Feb 2015 05:17:13 +0000 S.H. Raza, Ranbir Kaleka, G.R. Santosh, Manisha Parekh, Vijay Shinde - AICON GALLERY - New York - February 7th - March 10th Wed, 11 Feb 2015 05:18:55 +0000 Luis Camnitzer - Alexander Gray Associates - February 19th - March 28th <p style="text-align: justify;">Alexander Gray Associates presents an exhibition of artwork by Luis Camnitzer, featuring works in a variety of media dating from 1968 to the present. An accompanying catalogue is published in both English and Spanish, featuring the artist&rsquo;s essay <em>The Mediocrity of Beauty</em> (2010).<br /> <br /> The artworks on view convey Camnitzer&rsquo;s skepticism of universal beauty, specifically symmetry as a defining visual characteristic of beauty. In the video <em>Jane Doe</em> (2012), Camnitzer fused fifty photographs of women&rsquo;s faces&mdash;taken from online police reports, legal documents, and newspaper articles&mdash;utilizing image morphing software. The portrait of Jane Doe, a seemingly &ldquo;beautiful&rdquo; symmetrical face, resulted from the averaging out of individual features. The video shows a fictional face and story that provides an identity for Jane Doe. In the realm of the political, for his most recent suite of seven etchings, <em>Symmetry Jail</em> (2014), Camnitzer stacked and mirrored each letter in the word &ldquo;symmetry&rdquo;&mdash;using the United Nations official languages Arabic, Chinese, English, French, Spanish, Russian, plus he adds German&mdash; to create seven unique characters. For the artist, &ldquo;Words are never able to fully convey what one truly thinks: thoughts and feelings are pressed into an alien format, like when poetry tries to imprison poetics in stiltedness. Symmetry worsens this by curtailing the freedom of information.&rdquo;<br /> <br /> Camnitzer believes that art&rsquo;s function is not to reinforce traditional notions of beauty, but rather, it can create alternative orders and frameworks, enabling an expanded perspective. This philosophy is represented in works such as <em>Questions and Answers</em> (1981), a series of ten photographs of ordinary objects, which the artist made under hypnosis; and <em>Seven Virtues</em> (2014), a seven-part graphic work in which Camnitzer indexed the seven cardinal and theological virtues&mdash;charity, courage, faith, fortitude, hope, temperance, prudence&mdash;into the pages of Dorland&rsquo;s Medical Dictionary. Altering the clinical tone of this volume, he defined each virtue in the context of medical descriptions of ailments, which suggests a more nuanced understanding of the human state and the present condition of religious and scientific ethics.<br /> <br /> Transgression has characterized Camnitzer&rsquo;s practice since the mid-1960s, when he co-founded The New York Graphic Workshop with fellow artists Argentine Liliana Porter and Venezuelan Jos&eacute; Guillermo Castillo (1939&ndash;1999). The etchings <em>Self-Portrait</em> (1968&ndash;72), a series of five self-portraits that only include the inscription of the artist&rsquo;s name and the date of creation, demonstrate this defining quality and question authorship, authenticity and seriality. Camnitzer&rsquo;s interest in language extends to Please Look Away (2014), a room-size installation that invites the audience to walk into the immersive cage-like environment made of imperative inscriptions, such as &ldquo;Please look away, you are invading my territory,&rdquo; printed in white lettering on black vinyl banners adhered along the walls and floor of the Gallery, demarcating the alienation of physical space.<br /> <br /> Situating elegance in the context of beauty, Camnitzer argues that simplicity is perhaps the most profound form of beauty. In 1973, Camnitzer created a series of drawings to document ephemeral installations he did between 1969 and 1972. The primary component in the installations had been succinct sentences describing objects or situations, paired with simple geometric shapes that stood as the corresponding illustration to the text. Works such as the drawing <em>Aqu&iacute; yace una obra de arte</em> (1973), created after a 1972 installation of the same name, depicts a rectangular slab that serves as a tombstone with the inscription &ldquo;Here Lies and Artwork;&rdquo; a handwritten notation legible on the drawing&rsquo;s margin provides installation instructions for how to exhibit the work as a three dimensional object. The invisibility of the artwork that lies under the tombstone speaks to Camnitzer&rsquo;s pairing of direct images and text to encourage the viewer to generate alternative meanings. Camnitzer states, &ldquo;I am interested in art as a formulation of and solution to problems, and it&rsquo;s there where elegance is really important. In art, there may be many correct solutions, but the best is the most elegant among the correct ones. Elegance is not necessarily simple, but it is the one that may achieve the greatest complexity without getting lost in stupidity.&rdquo;</p> Tue, 17 Feb 2015 16:25:28 +0000 Dwyer Kilcollin - American Contemporary - February 4th - March 15th Thu, 08 Jan 2015 04:20:20 +0000 - American Folk Art Museum - December 16th, 2014 - March 8th <p style="text-align: justify;">The Barbara L. Gordon collection offers a stunning presentation of American folk art made primarily in rural areas of New England, the Midwest, and the South between 1800 and 1920. More than sixty works of art, including still-life, landscape, allegorical, and portrait paintings, commercial and highly personal sculpture, and distinctive examples of art from the German-American community exemplify the breadth of American creative expression by individuals who did not always adhere to the academic models that established artistic taste in urban centers of the East Coast. <br /> <br /> The exhibition is drawn from the Barbara L. Gordon collection and is organized and circulated by Art Services International, Alexandria, Virginia. <br /> <br /> Major support for the presentation at the American Folk Art Museum is provided by HISTORY&reg;.<br /> <br /> The exhibition is accompanied by a full-color catalog copublished by ASI and the international publishing firm SKIRA/Rizzoli.</p> <p style="text-align: justify;">Additional support is provided by Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, 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> Sun, 19 Oct 2014 09:16:26 +0000 Katy Moran - Andrea Rosen Gallery - January 30th - February 28th <p style="text-align: justify;">Andrea Rosen Gallery is delighted to announce our third solo exhibition of Katy Moran. Re-affirming her eloquent, unique territory, Moran&rsquo;s newest body of paintings reflects the artist&rsquo;s ongoing concentration, iconoclastic visual sensibility, and rigorous formal complexity through a dynamic interweaving of representation and abstraction, composition and narrative, texture and space.</p> <p style="text-align: justify;">Our exhibition coincides with a major survey of 51 paintings covering the last seven years currently underway at Parasol unit Foundation for Contemporary Art in London, creating an opportunity for greater insight into Moran&rsquo;s work. The experience of that exhibition is clarifying: Moran&rsquo;s paintings span all four large rooms of Parasol unit, and one experiences just how radically different each work is from every other.</p> <p style="text-align: justify;">We are pleased to present 16 new works, which mark their own new visual territory within Moran&rsquo;s expressive vocabulary. <em>Peeking Cheetah</em>, with its white gradient and spotted, jaggedly angular sections, hints at something wild peering at the viewer from beneath the painting&rsquo;s restrained fa&ccedil;ade. The intersecting planes and repeating figural motifs of <em>New Landscape </em>suggest a riotous natural world ready to show itself with each subsequent viewing.</p> <p style="text-align: justify;">Moran&rsquo;s paintings reflect an intentionally responsive working process: as she paints, the artist reacts to the material itself, shifting or rotating the canvas, reworking textures, and reconsidering the shapes and figures that emerge. In recent years, Moran has added a new practical and physical dimension to her work with the inclusion of collage; often partially obscured by paint, the collage elements engage the materials and framework that underlie each work. The works in this exhibition range from the most pared-down figuration we have seen from Moran to more sculptural surfaces.</p> <p style="text-align: justify;"><em>Katy Moran was born in 1975 in Great Britain. She studied at the Royal College of Art, London, where she was part of the highly regarded painting MA program. Moran has had solo exhibitions at Stuart Shave/Modern Art, London, Wexner Center for the Arts, Columbus, OH, and Anthony Meier, San Francisco. Moran has been included in group exhibitions at numerous international institutions including Kunstverein Freiberg, Germany, as well as Tate Britain, London, San Francisco MOMA, and Walker Art Center, Minneapolis where her works are in the public collections. Currently, she has a solo show at Parasol unit in London, which runs through March 8, 2015. Moran lives and works in London.</em></p> Wed, 25 Feb 2015 15:12:31 +0000 László Moholy-Nagy - Andrea Rosen Gallery 2 - January 30th - February 28th <p class="p1" style="text-align: justify;"><em>Man as a construct is the synthesis of all his functional apparatuses, i.e. man will be most perfect in his own time if the functional apparatuses of which he is composed &ndash; his cells as well as the most sophisticated organs &ndash;&nbsp;are conscious and trained to the limit of their capacity.</em></p> <p class="p1" style="text-align: justify;"><em>-</em> L&aacute;szl&oacute; Moholy-Nagy, <em>Produktion-Reproduktion, 1922</em></p> <p class="p1" style="text-align: justify;">Taking its title from L&aacute;szl&oacute; Moholy-Nagy&rsquo;s 1922 essay <em>Produktion-Reproduktion</em>, this exhibition revisits his engagement with the Berlin avant-garde and the circle of &eacute;migr&eacute;s who left Hungary following the collapse of the socialist revolution. In these years Moholy formulated a politicized theory of aesthetics invested with materialism. He sought to incorporate the capacities of the body by posing a model of a wholly receptive biology: the collected cells and organs sensitized to and shaped by aesthetics. As such Moholy expressed deep concern for the sensory habituation technologies may inflict within the body itself. In <em>Produktion-Reproduktion, </em>Moholylays out the framework for his life-long project to parse the innate qualities of emergent technologies &ndash; to leverage the positive capacity for <em>productive creation</em> as he called it, in opposition to the stultifying effects of market-driven reproduction. In a 1932 essay he states &ldquo;This phase is best expressed by capitalism&rsquo;s anti-biological use of technology&hellip;[It] has already caused irreparable damage; generations have become enfeebled in their biological functions.&rdquo;</p> <p class="p1" style="text-align: justify;">Already in the 1922 essay, Moholy sought to deploy the logic of <em>productive creation </em>withinthe still-young field of photographic imaging &ldquo;to receive and record various light phenomena (parts of light displays) which <em>we ourselves</em> will have <em>formed</em>&rdquo; &ndash; in other words, to produce non-figurative images through direct manipulation of light.&nbsp; His thinking on the subject developed in conjunction with photographic technology emerging at the time. In particular, the Leica I &ndash; the camera that first made photography accessible to non-professionals &ndash; shared a complex political history, closely paralleling Moholy&rsquo;s own. This exhibition addresses the lineage of direct technological manipulation in Moholy&rsquo;s work and pivots on a selection of his in-camera &lsquo;light painting&rsquo; investigations as expressed in a series of abstract color photographs.&nbsp;</p> <p class="p1" style="text-align: justify;">Over his lifetime Moholy made strides with black and white photographic abstraction using the photogram technique, however, his long-standing ambition to do the same with color images was never realized. Made impossible by the state of photographic printing technology of the day, the project exited the darkroom to investigate the possibility of in-camera manipulation. The five abstract images in this exhibition made between 1937 and 1946, exemplify his work to directly manipulate light and color in photosensitive mediums. Moholy died in 1946 making this late series the last of his investigation on the subject and perhaps his closing remarks with regard to <em>Produktion-Reproduktion</em>. The images were both prescribed and limited by the state of technology at the time they were made: the Kodachrome film employed for much of his color work was limited to producing slide transparencies. Despite significant research with color printing techniques, he was never able to achieve the color fidelity he desired in reproducing the images in print format &ndash;&nbsp;a project that would only be completed over half a century later by master-printer Liz Deschenes.&nbsp; Thus the particular technical history in this work manifests Moholy&rsquo;s nuanced understanding of technological progress.</p> <p class="p1" style="text-align: justify;">For this exhibition a selection of biographical photos is presented in their original slide format &ndash; the intimacy of the works in their inceptive medium underscores the biological imperative and the agency of desire within Moholy&rsquo;s aesthetic framework. Moholy was driven by a Modernist ideal of human progress that he strove to achieve within his own life through self-embodiment and reproductive teleology. Accordingly, the role of the familial body should not be overlooked when considering Moholy&rsquo;s work.&nbsp; Included are his two daughters in <em>Portrait of Hattula and Claudia Moholy-Nagy</em>, 1945; his wife in <em>Sibyl Moholy-Nagy in red blouse</em>, 1945; and himself with <em>&ldquo;M=N&rdquo; Self portrait of L&aacute;szl&oacute; Moholy-Nagy</em>, 1944.&nbsp;</p> <p class="p1" style="text-align: justify;">After 1937 Moholy worked primarily with the Leica series of cameras and, as with his own biography, the history of the camera&rsquo;s development cannot be untangled from the political upheavals of its time. The Leica I was released in the 1920s followed by the Leica II in 1932. During this same period the Soviet Union &ndash; unable to trade with Europe &ndash; began reproducing foreign technologies within the commune factories. In this way the Leica came into existence with a double life: the German original and a Soviet reproduction known as the FED. German forces destroyed the FED commune near the end of the war and manufacturing ceased until the fall of the Nazi regime when German technologies were expropriated back to the Soviet Union to rebuild production lines (in one notable instance, relocating an entire Zeiss factory). In the postwar years Leica copies continued to develop, some embellished with Leica logos and exaggerated connotations of wealth such as snakeskin leather and gold accents. Early models were intended for the Soviet audience, but following the collapse of the USSR, FED-made Leica copies found their way into western markets. With growing awareness of the Soviet provenance amongst collectors, a final revision came to light: re-inscribed with Nazi insignias intended to indicate German authenticity &ndash; a replica of a reproduction of a copy with no referent. For <em>Production / Reproduction</em> an original Leica II as well as three successive FED reproductions are presented.&nbsp;</p> <p class="p1" style="text-align: justify;">A reconstruction of a Moholy bench from the late 1920s occupies the central space of the gallery. The obscure work is the only known piece of furniture by Moholy and was designed expressly for use in gallery exhibitions during the modern reconfiguration of the Landesmuseum, Hannover. However, with the bench&rsquo;s incidental yet unsettling formal relation to the Nazi Swastika, a sense a foreboding shadows Moholy&rsquo;s biography and the brutal impact WWII would make upon his person. Here the body rests, given into its material condition.&nbsp; It is this limit that Moholy sought to exceed. That is, it is the body&rsquo;s unbounded desire for sensation that holds within itself Moholy&rsquo;s conception of &lsquo;productive creation&rsquo;; a force to resist what he considered to be the oppression inflicted by the dominant powers when left to their own devices. &ldquo;It is a specifically human characteristic that man&rsquo;s functional apparatuses can never be saturated.&rdquo;&nbsp;</p> <p class="p1" style="text-align: justify;">-Erik Wysocan</p> <p class="p1" style="text-align: justify;"><em>Erik Wysocan is an artist living and working in New York. His practice engages with a broad range of media to investigate historical representation and the logical structures imposed by systems of display. He has exhibited widely including Andrea Rosen Gallery, NY; Sculpture Center, NY; Galleria Raucci/Santamaria, Naples;&nbsp; Bureau, NY, Laurel Gitlen, NY; Fondazione Sandretto Re Rebaudengo, Turin and others. In 2010 he founded the collaborative publishing imprint Halmos. Since that time it has facilitated new writing and works by numerous artists including Pamela Rosenkranz, Sam Lewitt, Tobias Madison, Dexter Sinister, Mark von Schlegell, Tauba Auerbach, Ed Atkins and many others. Halmos projects have been exhibited at the ICA Philadelphia; Objectif Exhibitions, Antwerp; Contemporary Art Center, Vilnius; Miguel Abreu, NY and Artists Space, NY.</em></p> Wed, 25 Feb 2015 15:18:42 +0000 Erik van Lieshout - Anton Kern Gallery - January 15th - February 28th <p style="text-align: justify;">Anton Kern Gallery is proud to announce Erik van Lieshout&rsquo;s first solo exhibition at the gallery, &ldquo;I am in heaven.&rdquo; The Rotterdam-based artist presents new drawings and a large-scale sculptural installation that doubles as a cinema for viewing his new feature film, <em>WORK. </em>Erik van Lieshout, whose background is in painting, is best known today for his confrontational video installations and drawings. His work navigates the limits of vulgarity, censorship, and consumer culture, and focuses a humorous, yet critical spotlight onto present day social and political realities, as well as our own notions of idealism and political engagement.</p> <p style="text-align: justify;">Upon entering the gallery the viewer is ushered into a life-size tunnel haphazardly built out of scrap construction materials and lined with a patchwork of carpet. This structure stems from Van Lieshout&rsquo;s film installation presented at the Hermitage Museum in St. Petersburg, Russia for 2014&rsquo;s Manifesta 10, which mimicked the architecture of the museum's cat-populated basement and served as a primary site for his research and video documentation. Continuing through the tunnel visitors are invited to sit and view the feature film in an intimate cinema setting.</p> <p style="text-align: justify;">The film, <em>WORK</em>*<em>, </em>fuses together and builds upon footage from two previous projects, <em>The Workers </em>(2013) and <em>The Basement </em>(2014), to create a vigorously candid &ldquo;making of&rdquo; documentary that investigates the role of the film producer, the commissioning institution, and the artist&rsquo;s relationship to individual ambition and the ego. Van Lieshout struggles to understand why people help each other and their communities, and how to manage tensions between his personal life and his artistic career. Is it possible for an artist to be modest, to have no ego? Is life following art or is art following life? The exhibition also features large-scale charcoal and vinyl collages that portray a series of enraged protesters &ndash; mouths agape in mid roar &ndash; participating in recent political demonstrations. These synthetically colored and densely layered scenes, based on images collected from newspaper clippings, evoke a sense of immediacy and raw fury that simultaneously reinforce and undo their own histories. It is clear that Van Lieshout, as the Dutch art historian Dominic van den Boogerd states, &ldquo;is not concerned with art for the sake of provocation &ndash; but with provocation for the sake of art.&rdquo;</p> <p style="text-align: justify;">Born in Deurne, The Netherlands in 1968, Erik van Lieshout lives and works in Rotterdam. Previous solo exhibitions include <em>Private View, </em>Maureen Paley, 2014; <em>Commission</em>, MMK Museum f&uuml;r Moderne Kunst, Frankfurt, 2012; <em>Erik makes Happy</em>, BAWAG Contemporary, Vienna, 2011; <em>How Can I Help You</em>, Hayward Gallery Project Space, London, 2011; <em>Im Netz</em>, Ludwig Museum, Cologne, 2009; <em>Homeland Security</em>, Projekt am Museumsplatz, St&auml;dtische Galerie im Lenbachhaus, Munich, 2007; and <em>Guant&aacute;namo Baywatch</em>, Hammer Projects, Hammer Museum, UCLA, Los Angeles, 2007. Recent group exhibitions include <em>Basement, Manifesta 10</em>, The European Biennial of Contemporary Art, curated by Kasper K&ouml;nig, St. Petersburg, 2014, <em>The Crime Was Almost Perfect</em>, Witte de With, Centre for Contemporary Art, Rotterdam, 2014; <em>Object and Environment, </em>Galerie W. Baudach, Berlin; <em>Superficial Hygiene, </em>Musem de Hallen Haarlem, Haarlem; <em>Sammlung De Leeuwenhoeve, </em>OsthausMuseum, Hagen; <em>PLAY TIME, Biennale d&rsquo;art contemporain, </em>Les Ateliers de Rennes, Rennes; <em>The Encyclopedic Palace</em>, 55th International Art Exhibition, La Biennale di Venezia, Venice, 2013; <em>Manifesta 9</em>, The European Biennial of Contemporary Art, Genk, Limburg, 2012; and <em>Melanchtopia</em>, Witte de With, Center for Contemporary Art, Rotterdam, 2011.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">*A re-mastered version of this film will become a feature length project supported by The Mondriaan Foundation and the Dutch Film Fund and is due for release in early 2015. The exhibition opens on Thursday, January 15 and will run through Saturday, February 28, 2015. The gallery is open Tuesday through Saturday, 10 am-6 pm. For further information and images, please contact the gallery at (t) 212.367.9663, or email:</p> Wed, 25 Feb 2015 15:27:09 +0000 Una Lee, Annea Lockwood, Chris H. Lynn, Robert Macfarlane, Ed Osborne, David Rothenberg, Chris Watson, GEORGE QUASHA, Charles Stein - Apexart - January 15th - March 7th <p style="text-align: justify;">An Unsolicited Proposal Program winning exhibition.<br />Learn more about the <a href="" target="_blank">Unsolicited Proposal Program</a>.</p> <p style="text-align: justify;">Contemporary musicians and sound artists are indebted to the 19th century German physicist Herman Helmholtz (1821-1894) who authored <em>On the Sensations of Tone as a Physiological Basis for the Theory of Music</em> (1862). In the book, Helmholtz explored the mathematical, physiological, and perception effects of sound: &ldquo;We perceive that generally, a noise is accompanied by a rapid alternation of different kinds of sensations of sound. Think, for example, of the rattling of a carriage over granite paving stones, the splashing or seething of a waterfall or of the waves of the sea, the rustling of leaves in a wood.&rdquo; <br /><br /> Artistic disciplines examining sound have emerged since Helmholtz&rsquo;s research, &ldquo;the waves of the sea&rdquo; has turned into acoustic ecology that examines how sound is an integrative principle in human and natural environments. Field recordings have proliferated in recent years due to the availability and portability of high quality recording equipment, enticing composers and sound artists to take their studios to the edge of the wilds or down the street. The exhibition and two public performance events draw together nine artists/composers whose works poetically map sound that reflect and emerge from their interaction with the natural environment.</p> <p style="text-align: justify;">Unsolicited Proposal Program Winner 2014-15</p> <p style="text-align: justify;"><strong>Alastair Noble</strong> is an environmental/installation artist and printmaker from the UK, now based in New York City. His artistic practice is a response to architecture and the natural environment and reflects on particular sites in the context of poetry and literature. In May 2014 he was an artist-in-residence at the Marsh-Billings-Rockefeller National Historical Park in Woodstock, Vermont. Alastair's artistic career spans 30 years with exhibitions and residencies in the UK, Peru, Chile, Bulgaria, and Italy. He has taught and lectured at numerous colleges, universities, and public institutions, and has curated exhibitions and organized symposiums on art, poetry, and the environment. His essays, articles, and reviews on art and architecture have also appeared in national and international publications.</p> Thu, 11 Dec 2014 11:15:31 +0000 Takahiro Iwasaki - Asia Society Museum - January 27th - April 26th <p style="text-align: justify;">Takahiro Iwasaki creates detailed miniature landscapes using towels, toothbrushes, used clothing, and other found and recycled materials. This exhibition is a part of Asia Society Museum&rsquo;s ongoing<em> In Focus</em> series, which invites contemporary artists to create new works, often in conversation with the Asia Society Museum&rsquo;s permanent collection of traditional Asian art.</p> <p style="text-align: justify;">Michelle Yun<br /> Senior Curator of Modern and Contemporary Art</p> Fri, 26 Dec 2014 09:36:16 +0000 - Asia Society Museum - February 10th - May 10th <p style="text-align: justify;"><em>Buddhist Art of Myanmar</em> will be the first exhibition in the West focusing on works of art from collections in Myanmar. The exhibition comprises approximately 70 spectacular works&mdash;including stone, bronze and wood sculptures, textiles, paintings, and lacquer ritual implements&mdash;from the fifth through the nineteenth centuries. Artworks include objects created for temples, monasteries, and personal devotion, which will be presented in their historical and ritual contexts. The exhibition will explore how Buddhist narratives were communicated visually and the multiplicity of regional styles. Many of the works in the exhibition have never been shown outside of the country. Works will be on loan from the National Museum of Myanmar in Yangon and Naypyidaw, the Pagan (Bagan) Museum, the Kyauktaw Mahamuni Museum, Sri Ksetra Museum, and the Kaba Aye Buddhist Museum, as well as works from public and private collections in the United States. The exhibition is organized by guest curators Donald M. Stadtner and Sylvia Fraser-Lu in conjunction with Adriana Proser, Asia Society&rsquo;s John H. Foster Senior Curator for&nbsp;Traditional Asian Art.</p> <p style="text-align: justify;">A fully illustrated catalogue, copublished by Asia Society and Yale University Press, will accompany the exhibition.</p> Fri, 26 Dec 2014 09:36:45 +0000 - Asia Society Museum - February 10th - May 19th <p style="text-align: justify;">The five sculptures on view in the Asia Society Visitor Center come from the Asia Society Museum Collection of Asian and Asian American art.</p> <p style="text-align: justify;">The historical Buddha, often called Sakyamuni (&ldquo;Sage of the Sakyas&rdquo;) in later times, was born into an elite family of the Sakya clan, whose territory lay on what is now the border between northeastern India and Nepal. Traditionally, the date of his birth was believed to be 563 BCE, but some sources suggest that he was born as much as a century later.</p> <p style="text-align: justify;">Buddhism began to spread dramatically more than a century after the historical Buddha&rsquo;s death. A Sri Lankan chronicle compiled in the sixth century CE records that the Indian emperor Ashoka (reign ca. 268&ndash;232 BCE) sent missionaries to the &ldquo;land of gold,&rdquo; which scholars believe was in Southeast Asia. The missionaries, as well as Indian and Sri Lankan traders and scholars, brought Buddhism and its teachings and imagery with them to kingdoms of Southeast Asia. By the seventh century, Buddhism was a major religious force across both South and Southeast Asia, and travel and exchange among these countries flourished for centuries after.</p> <p style="text-align: justify;">The sculptures on view include Indian Buddha images from the Gupta and Pala periods, which had major stylistic influence on the Buddhist artistic production of Southeast Asia, as well as an example from the primarily Buddhist countries that are present-day Myanmar and Thailand.</p> <p style="text-align: justify;">This installation coincides with the exhibition <em>Buddhist Art of Myanmar</em>, on view in the second and third floor galleries from February 10 through May 10, 2015.</p> Sat, 07 Feb 2015 03:41:02 +0000 Group Show - Atlantic Gallery - February 23rd - March 7th <p style="text-align: justify;">Contemporary art group show from France &amp; Europe curated by Bruno Massa &amp; Anais de Malherbe from galerie bruno massa &ndash; Paris.</p> <p style="text-align: justify;"><strong>Opening reception</strong>&nbsp;will be held on&nbsp;<strong>Thursday</strong>,&nbsp;<strong>February 26th from 6pm to 9pm</strong>&nbsp;at&nbsp;<strong>Atlantic Gallery</strong>&nbsp;suite 540, 547 West 27th Street / 548 West 28th Street, New York City, NY 10001, Tel: 212-219- 3183<br /><br /><br />with M. Alias, M-A. Baron, O. Bernot, J-M. Brunet, I. Colard, Cyb, S. Dauchet-Macildo, L. EDZ, E. Huet, M. Miramont, C. Nevin, B. Normand, D. Paugam, A-P. Pizzocaro, D. Poulain, S. B. Quiti, A-C. Rouleau, L. Sarkis, S. Schambill, G. Schwartz, N. Straseele, S. Texereau, F. Trey, R. Scarbonchi,&nbsp;<a href="" rel="nofollow">K. Seak</a>&nbsp;&amp; C. Wilson</p> Wed, 25 Feb 2015 17:06:00 +0000