ArtSlant - Recently added en-us 40 Yayoi Kusama - David Zwirner- 519 W. 19th - May 9th - June 13th <p style="text-align: justify;">David Zwirner is pleased to present&nbsp;<em>Give Me Love</em>, the gallery&rsquo;s second exhibition with Yayoi Kusama in New York. On view in two spaces, 519 and 525 West 19th Street, will be new paintings from the celebrated&nbsp;<em>My Eternal Soul</em>&nbsp;series, new polka-dotted pumpkin sculptures, and the artist&rsquo;s seminal installation&nbsp;<em>The Obliteration Room</em>&nbsp;from 2002.&nbsp;</p> <p style="text-align: justify;">Widely recognized around the world, with a recent survey of museum attendance ranking her as the most popular artist in 2014, Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installations, the written word, films, fashion, design, and architectural interventions.&nbsp;</p> <p style="text-align: justify;">Born in 1929 in Matsumoto, Japan, Kusama briefly studied painting in Kyoto before moving to New York City in the late 1950s. She began her large-scale&nbsp;<em>Infinity Net</em>&nbsp;paintings during this decade, and went on to apply their obsessive, hallucinatory qualities to her three-dimensional work. Her iconic polka dots, organic shapes, and optical environments display an unparalleled vitality that becomes hypnotic and self-referential, merging concepts of flatness and depth, presence and absence, and beauty and the sublime. In a unique style that is both sensory and utopian, Kusama&rsquo;s work possesses a highly personal character, yet one that has connected profoundly with large audiences around the globe, as throughout her career she has been able to break down traditional barriers between work, artist, and spectator.&nbsp;</p> <p style="text-align: justify;">Kusama continues her recent series of large-format, square&nbsp;<em>My Eternal Soul</em>&nbsp;paintings with a group of canvases conveying extraordinary vitality and passion. With titles such as&nbsp;<em>Fear of Youth Overwhelmed by the Spring Time of Life</em>,&nbsp;<em>I Who Have Taken an Antidepressant</em>, and&nbsp;<em>My Longing, the</em>&nbsp;<em>Unseen Land of Death</em>, the compositions acquire an autobiographic, even confessional dimension. The bold brushstrokes and swirly shapes seem to hover between figuration and abstraction; vibrant, animated, and intense, they transcend their medium to introduce their own pictorial logic, at once contemporary and universal. As such, while they continue Kusama&rsquo;s innovative exploration of form, subject matter, and space, they also represent a connection to her work from the past six decades.&nbsp;</p> <p style="text-align: justify;">The sculptures on view include new stainless steel pumpkins featuring either painted or perforated dots. Their exaggerated sizes&mdash;the tallest being approximately 70 inches (178 cm) high&mdash;seem measured after human proportions, and their mirrored surfaces are thus able to contain viewers&rsquo; full body reflections. While pumpkins have appeared in Kusama&rsquo;s work since her early art studies in Japan in the 1950s, they gained increasing prominence from the late 1980s onwards. The juxtaposition between the lush organic shape and its shiny, steel materiality here creates a psychedelic impression, but ultimately the bulbous forms emerge as celebratory and animated, absorbing viewers and their surroundings in their own image.&nbsp;</p> <p style="text-align: justify;">The exhibition marks the United States debut of&nbsp;<em>The Obliteration Room</em>, an all-white, domestic interior that over the course of the show is covered by dots of varying sizes and colors. In a departure from earlier iterations of the work, which have involved one or several rooms, the present installation is built like a typical, prefabricated American suburban house. As visitors are handed a set of stickers and step inside, they enter a completely white residential setting where otherwise familiar objects such as a kitchen counter, couch, and bookshelves are all painted the same shade. Gradually transforming the space as a result of the interaction, the accumulation of the bright dots ultimately changes the interior until it is eradicated into a blur of colors. A sense of depth and volume disappears as individual pieces of furniture, floors, and walls blend together.&nbsp;</p> <p style="text-align: justify;">Kusama has noted that she began to see her surroundings through a screen of dots early in her life, and she later came to refer to the process as obliteration&mdash;the gradual removal of any trace of something. Several happenings from the 1960s and onwards were called&nbsp;<em>Self-Obliteration</em>&nbsp;and involved the artist covering herself and others with dots. Their all-enveloping presence in&nbsp;<em>The Obliteration Room</em>&nbsp;also recalls the artist&rsquo;s infinity rooms, in which thousands of small lights flicker against mirrored walls&mdash;an example of these was presented during Kusama&rsquo;s first exhibition with the gallery in 2013.&nbsp;</p> <p style="text-align: justify;">Immersed in her studio six days a week, Kusama has spoken of her renewed dedication to creating art over the past years: &ldquo;[N]ew ideas come welling up every day&hellip;.Now I am more keenly aware of the time that remains and more in awe of the vast scope of art&hellip;.I believe that the creative urge in art is born of quiet, solitary contemplation and takes flight from the silence of the soul&rsquo;s repose in the form of rainbows of shimmering light&hellip;.I feel how truly wonderful life is, and I tremble with undying fascination for the world of art, the only place that gives me hope and makes life worthwhile.&rdquo;1</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Yayoi Kusama</strong>&nbsp;joined David Zwirner in early 2013, and had her inaugural exhibition with the gallery in New York that same year. Immediately following its opening,&nbsp;<em>Yayoi Kusama: I Who Have Arrived In Heaven</em>&nbsp;received widespread critical acclaim and international media coverage, quickly becoming David Zwirner&rsquo;s most well-attended show. Attracting thousands of visitors a day, the exhibition was deemed a social media sensation and hailed by The New York Times as encouraging &ldquo;the ultimate selfie.&rdquo; Published on its occasion was a fully illustrated catalogue, which includes new scholarship on the artist&rsquo;s work by art critic and poet Akira Tatehata and an original poem written by Kusama herself.&nbsp;</p> <p style="text-align: justify;">Since her first solo show in her native Japan in 1952, Kusama has exhibited widely in international solo and group presentations. The artist&rsquo;s work was the subject of a large-scale, well-received retrospective that traveled from 2011 to 2012 to the Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid; Centre Georges Pompidou, Paris; Tate Modern, London; and the Whitney Museum of American Art, New York.&nbsp;</p> <p style="text-align: justify;">Kusama was recently named the world&rsquo;s most popular artist by various news outlets, based on annual figures reported by&nbsp;<em>The Art Newspaper</em>&nbsp;for global museum attendance in 2014. Her exhibitions were the most visited worldwide last year, with three major museum presentations simultaneously traveling through Japan, Asia, and Central and South America&mdash;all of which have drawn record-breaking attendances at every venue.&nbsp;</p> <p style="text-align: justify;"><em>Yayoi Kusama: Eternity of Eternal Eternity</em>&nbsp;recently concluded its extensive tour to prominent institutions in Japan, which began in January 2012 and continued until October 2014. Museums included The National Museum of Art, Osaka; The Museum of Modern Art, Saitama; Matsumoto City Museum of Art; Niigata City Art Museum; Shizuoka Prefectural Museum of Art; Oita Art Museum; The Museum of Art, Kochi; Contemporary Art Museum, Kumamoto; Akita Senshu Museum of Art; and the Matsuzakaya Museum, Nagoya.&nbsp;</p> <p style="text-align: justify;">Traveling through Asia,&nbsp;<em>Yayoi Kusama: A Dream I Dreamed</em>&nbsp;encompasses over one hundred recent works and was first displayed at the Daegu Art Museum in Korea, followed by the Museum of Contemporary Art Shanghai and the Seoul Arts Center. It travels to two institutions in Taiwan&mdash;currently on view at the Kaohsiung Museum of Fine Arts (through May 17, 2015) and then to the National Taiwan Museum of Fine Arts, Taichung (June 6 &ndash; August 30, 2015)&mdash;as well as to India at the National Gallery of Modern Art, New Delhi (opening November 2015).&nbsp;</p> <p style="text-align: justify;"><em>Yayoi Kusama: Infinite Obsession</em>&nbsp;has been seen by more than two million people along its tour through Central and South America. Consisting of over one hundred works created between 1950 and 2013, it opened in June 2013 at Malba &ndash; Fundaci&oacute;n Costantini, Buenos Aires and traveled to the Centro Cultural Banco do Brasil, Rio de Janeiro; Centro Cultural Banco do Brasil, Bras&iacute;lia; Instituto Tomie Ohtake, S&atilde;o Paulo; and the Museo Tamayo Arte Contempor&aacute;neo, Mexico City. The show is currently on view at the Fundaci&oacute;n CorpArtes, Santiago (through June 7, 2015).&nbsp;</p> <p style="text-align: justify;">In the fall of 2015, the Louisiana Museum of Modern Art in Humleb&aelig;k, Denmark will present a comprehensive overview of Kusama&rsquo;s practice, including works that span the full length of her career, that will travel to other major Scandinavian institutions.&nbsp;</p> <p style="text-align: justify;">Work by the artist is held in museum collections worldwide, including the Centre Georges Pompidou, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; The Museum of Modern Art, New York; National Museum of Modern Art, Tokyo; Stedelijk Museum, Amsterdam; Tate Gallery, London; Walker Art Center, Minneapolis, Minnesota; Whitney Museum of American Art, New York; amongst numerous others. Kusama lives and works in Tokyo.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">1Yayoi Kusama,&nbsp;<em>Infinity Net: The Autobiography of Yayoi Kusama</em>, trans. by Ralph McCarthy (Chicago and London: The University of Chicago Press and Tate Publishing, 2011), pp. 227, 229, 230.</p> Mon, 04 May 2015 16:05:54 +0000 Group Show - David Zwirner 537 W 20th - May 2nd - June 20th <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">David Zwirner is pleased and honored to present a selection of drawings from the Sarah-Ann and Werner H. (&ldquo;Wynn&rdquo;) Kramarsky Collection, on view at 537 West 20th Street. Since the late 1950s, Wynn Kramarsky has amassed one of the most significant privately held collections of works on paper from the second half of the twentieth century, with a particular emphasis on Minimal, Post-Minimal, Conceptual, and process-oriented works. This exhibition will include highlights from the collection, with diverse and exemplary works by&nbsp;<strong>Carl Andre, Robert Barry, Mel Bochner, Trisha Brown, John Cage, Bruce Conner, Dan Flavin, Suzan Frecon, Eva Hesse, Nancy Holt, Jasper Johns, Donald Judd, Ellsworth Kelly, Barry Le Va, Sol LeWitt, Robert Mangold, Brice Marden, Agnes Martin, Bruce Nauman, Ed Ruscha, Robert Ryman, Fred Sandback, Alan Saret, Richard Serra, Robert Smithson, Keith Sonnier, Richard Tuttle, Cy Twombly, Lawrence Weiner,</strong>&nbsp;and others.</p> </div> </div> </div> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">For Wynn, assembling this collection over several decades has been a true labor of love, and his passion for collecting is reflected in this carefully curated selection of drawings by a wide-ranging group of artists. Wynn&rsquo;s focus has been works on paper, at first since this type of work was more accessible to him as a young collector, but ultimately because he found drawings and other works on paper allowed for a more intimate engagement with an artist and his or her creative process. The smaller scale also enabled him to collect both encyclopedically and in-depth. Wynn&rsquo;s non-commercial exhibition space, The Fifth Floor Foundation, which operated from 1991 to 2006 at 560 Broadway in New York&rsquo;s SoHo neighborhood, exemplifies his dedicated and consistent arts&nbsp;patronage. In addition to presenting focused solo and group exhibitions of both canonical and lesser-known artists in the collection, the SoHo space served as a larger center for the study of these works (which were thus made readily available to interested visitors and scholars alike). Wynn&rsquo;s enthusiasm for art historical scholarship and education further extends to the many loans he and his wife make, often anonymously, to major national and international exhibitions. And even beyond that, their past and continuing gifts of works from the collection to numerous museums and universities permanently enrich the public nationwide.</p> <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <div class="page" style="text-align: justify;" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>&nbsp;</p> <p>Comprising works from the 1960s through the 2000s, the selection of drawings included in this exhibition provides an overview of the evolution of abstract tendencies in American art-making over half a century and lays out a genealogy of succeeding styles, from Minimalism forward.</p> </div> </div> </div> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Numerous important Minimalist artists are represented in the collection, evidencing the extreme heterogeneity of styles, subjects, and approaches that fall under this broad designation. For example, a 1971 drawing by&nbsp;<strong>Dan Flavin</strong>&nbsp;revisiting his&nbsp;<em>alternate diagonals of March 2, 1964 (to Don Judd)</em>, a series of light installations he dedicated to his longtime friend, the artist Donald Judd, foregrounds the use of commercially available materials and reductive forms that characterized many of these artists&rsquo; practices. Meanwhile, an ink-on-board triptych by<strong>&nbsp;Carl Andre</strong>&nbsp;from 1960 offers a rare painterly expression by the artist. Made early in his career, this work reveals the genesis of Andre&rsquo;s fascination with the juxtaposition of disparate elements and formal variation within a repetitive structure that would later manifest in some of his best-known sculptural works.<strong>Fred Sandback</strong>&rsquo;s drawings, often executed as preparatory studies for his sculptures, on the other hand, utilize precisely placed lines to outline planes and volumes in space.</p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Other works, while minimal in appearance, reveal themselves upon closer inspection to be more concerned with the process of their own making than with strict formal investigations. To create&nbsp;<em>From &ldquo;Untitled&rdquo; Painting</em>(1964-65), a dark amorphous cloud of charcoal on paper,&nbsp;<strong>Jasper Johns</strong>&nbsp;imprinted his own oil-covered face against paper, rolling it from one side to the other, and then rubbing charcoal over the paper to create an indexical trace of his body in motion. Similarly,&nbsp;<strong>Eva Hesse</strong>&rsquo;s spare, delicately rendered 1966 ink wash of two stacked concentric circles, each inscribed by a square, demonstrates the tactile, brushy quality emblematic of her transition from colorful, painterly forms to the more mature process-based works that came to distinguish her from her peers. Another work by Hesse,&nbsp;<em>Right After</em>&nbsp;from 1969, made following her first operation for a brain tumor and less than a year before her untimely death, displays both her mastery of gouache and her unique understanding of form with its precisely rendered interlocking shapes.</p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">A number of artists in the collection rely on simple geometric forms to create conceptually rigorous drawings.&nbsp;<em>Bands of Lines in 4 Directions</em>&nbsp;(1991)&nbsp;by&nbsp;<strong>Sol Lewitt</strong>,&nbsp;which illustrates all the different directions that a line can extend,&nbsp;demonstrates how the artist&rsquo;s procedures systematically unfolded the endless formal possibilities that could be derived from predetermined sets of logical principles. Similarly, a 1975 diagrammatic drawing,&nbsp;<em>First Fulcrum (Study)</em>, by&nbsp;<strong>Mel Bochner</strong>, is the first in his succeeding series of &ldquo;Fulcrum&rdquo; drawings, which&mdash;in their exploration of pentagonal shapes&mdash;reveals his longstanding interest in both visual and linguistic systems of meaning. Also on view are two drawings by&nbsp;<strong>Richard Serra</strong>&nbsp;that explore circular forms&mdash;<em>Sam Cooke</em>&nbsp;(1996) and&nbsp;<em>Black Tracks</em>&nbsp;(2002). Both made using a thick impasto of black paintstick, these works create a sense of weight, gravity, and mass.</p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Still other artists employ words and symbols to drive their conceptual overtures. A 1979 drawing by&nbsp;<strong>Ed Ruscha</strong>,&nbsp;<em>Gray Sex</em>, uses gray pastel to faintly spell out the word &ldquo;sex&rdquo; in negative space, prompting the viewer to freely associate words, colors, sensations, and ideas. Meanwhile, a pencil sketch by&nbsp;<strong>Robert Smithson</strong>&nbsp;from 1970, titled&nbsp;<em>Spiraling Jetty in Red Salt Water, Ogden, Utah</em>&nbsp;represents an early diagrammatic rendering of the artist&rsquo;s seminal earthwork sculpture&nbsp;<em>Spiral Jetty</em>, constructed in the Great Salt Lake.</p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The Kramarsky Collection also includes examples by a number of artists who create works on paper as part of their ongoing painterly investigations.&nbsp;<strong>Ellsworth Kelly</strong>, for example, frequently utilizes paint on paper to create different juxtapositions of forms and colors for his spare but optically vibrant abstractions, as in an untitled work on paper from 1964&ndash;65 composed of loosely rectangular forms in brightly hued green and red. A 1977 watercolor by&nbsp;<strong>Agnes Martin</strong>, with its luminous glow and tactile surface, not only reveals Martin&rsquo;s technical mastery of her materials but, as in her paintings, plays on the illusory properties of color and form.&nbsp;<strong>Robert Ryman</strong>&rsquo;s practice represents a sustained inquiry into the inherent properties of painting, the key concerns of which are visible in his 1995 work&nbsp;<em>Core XII</em>, made using encaustic, graphite, and crayon on corrugated cardboard. Together, the work&rsquo;s materials emphasize their inherent properties, resulting in an open-ended composition that reveals the process of its making.&nbsp;<em>Untitled</em>&nbsp;(1971) by&nbsp;<strong>Cy Twombly</strong>, which incorporates notes, measurements, and images in an all-over composition, is a compelling example of his works on paper of the late 1960s and early 1970s, engaging both with art historical notions of the line and cultural understandings of language. Similarly,&nbsp;<strong>Brice Marden</strong>&rsquo;s&nbsp;<em>Small Corpus</em>&nbsp;(1989-94), which evinces an overall calligraphic quality, reflects the artist&rsquo;s interest in the abstract language of gesture, as well as his integration of drawing within painting&mdash;aspects that would continue to define his subsequent work.</p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Overall, the works in the Kramarsky collection, in the individuality of their expression, testify to the wide range of media and styles that both reaffirm and expand our definition of drawing. This exhibition will be accompanied by a fully illustrated catalogue, forthcoming from David Zwirner Books.</p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Mon, 04 May 2015 16:02:39 +0000 Mira Schor, Bradley Rubenstein - CREON - May 20th - June 10th <p>CREON is pleased to announce <em>Imaginary Anatomies: Mira Schor + Bradley Rubenstein</em>, an exhibition of paintings and works on paper.&nbsp; Schor and Rubenstein will exhibit work that is linked thematically, focusing primarily on the figure as a subject for experimentation both visually as well as conceptually, on what Jacques Lacan described as the imaginary anatomy.&nbsp; Lacan described the imaginary anatomy as a psychological map or image of the body, an internal understanding of the lived, physical body. &nbsp;As a specular psychological construct, it represented the subject&rsquo;s experiences of bodily parts and organs.</p> <p>Rubenstein&rsquo;s drawings display his continuing interest in expanding the parameters of the body&rsquo;s endless possibilities. &nbsp;The stable identity of the subject is questioned as the essential biological body literally disintegrates in front of our eyes and metamorphoses into distorted and fragmented entities, incorporating a plethora of multiple personae and anatomical prototypes. &nbsp;Following a long tradition of literary and artistic protagonists that stretches from the Golem, Dr. Frankenstein, and Jekyll and Hyde, to more recent manifestations of cyborgs and aliens, the ambiguous moral but also indefinite biological nature of the human condition is revealed.</p> <p>Schor&rsquo;s paintings present the figure as a reductively sketched archetypal protagonist in the symbolic landscape of a philosophical cartoon. &nbsp;The figure is an agent of thought, reflection, and meditation, frozen in time as on an ancient monument or Egyptian relief. Her iconic avatar is arrested in movement, approaching the cold and distant observation of scientific illustrations faithful documentation of rare anatomical specimens. &nbsp;Schor shows the frailty of the human body: despite its graphic, mechanized presentation: it wears a leg brace, it trips, it is knocked over by paint. &nbsp;The paintings are reversible topsy-turvy diptychs: above or below, depending on how you hang the work, in one register the iconic figure is a diagrammatic representation oppressed by aesthetic and economic imperatives, and in the other register the figure dissolves, transforms, becomes lighter and more ethereal, as if depicting the human spirit triumphing over physical and social restraint.</p> <p><em>Mira Schor</em><em><span style="font-family: Cambria;">&nbsp;</span></em><em>is a painter and writer living in New York City. Schor has been the recipient of awards in painting from the Guggenheim, Marie Walsh Sharpe, and Pollock-Krasner Foundations, as well as the College Art Association's Frank Jewett Mather Award for Art Criticism and a Creative Capital / Warhol Foundation Arts Writers Grant.</em><em><span style="font-family: Cambria;">&nbsp; </span></em><em>Schor has had &nbsp;one person exhibitions at Marvelli Gallery and Momenta Art in New York, and she is represented by CB1 Gallery in Los Angeles.</em><em><span style="font-family: Cambria;">&nbsp;</span></em></p> <p><em>Bradley Rubenstein has been the recipient of the National Endowment for the Arts Fellowship in Painting, The Pollock-Krasner Award and a grant from The Emily Hall Tremaine Foundation. &nbsp;His works are in the permanent collections of the Metropolitan Museum of Art, Museum of Fine Arts, Boston, and The Detroit Institute of Arts, among others. &nbsp;Bradley Rubenstein lives and works in Brooklyn.</em></p> Mon, 04 May 2015 12:54:49 +0000 Group Show - Van Der Plas Gallery - May 8th - June 14th <p>&ldquo;In &amp; Out&rdquo; brings together the work of visionary and outsider artists. Art created intuitively with unstoppable passion.&nbsp; The expression of heightened creativity arises from unheard voices that in the past were dismissed as unimportant expressions, sadly misunderstood, cast away. This is the exploration of impulse, emotion, and suffering from the purity of the artist&rsquo;s soul created in the stillness of mind.</p> <p>&nbsp;From the true visionary art that is given to us by Brian Dowdall who senses the energy patterns of animals and interprets them to the primal need of Konstantin Bokov to create with found objects, this group of artists share a common intuitiveness exuded in the paint strokes, materials, and subject matter. Pamala Rogers and Angela Rogers use vibrant components and symbolism to transcend conventional ideas. Candyce Brokaw spills her insides out onto the page, as an endless flow of visual incantation.</p> <p>Istvan &ldquo;Monty Cantsin&rdquo; Kantor and Adjani Okpu-Egbe document the painful expressions derived from their own suffering using materials as metaphor. Johan Wahlstrom&rsquo;s graphic neoexpressionist narratives handle the universality of emotions, the shared feelings of us all. Kevin Wendall, the artist known as FA-Q, releases through his process of expressing. Addiction and inner demons narrate his art&rsquo;s rough expression of emotion. The bold and brash art of Ross Brodar speaks to the turmoil the human spirit feels during periods of uncertainty without fear or apologies.</p> <p>Van der Plas Gallery shares this vision, a pure vision by these 10 artists to bring together the whole spectrum of life, a wheel that is always turning through suffering and celebration: In &amp; Out.&nbsp;</p> Sun, 03 May 2015 21:20:23 +0000 Shirana Shahbazi - On Stellar Rays - May 10th - June 14th <p>On Stellar Rays and Sun\Ra are pleased to announce a solo exhibition of Shirana Shahbazi, featuring a new body of lithographs.<br />&nbsp;<br />Shahbazi&rsquo;s work frequently explores the relationship of an image to its material form, using classical art historical themes such as portraiture, still life, and abstraction. Her newest body of work is comprised of images taken on a family road trip from Zurich to Tehran in April 2014, in a style evoking travel and landscape photography.<br /><br />Shirana Shahbazi (b. Teheran, 1974) lives and works in Zurich. She studied photography in Dortmund and Zurich. Major presentations of her work include Kunsthalle Bern (2014); Museum of Modern Art, New York (2012/2013); Fotomuseum Winterthur (2011); The New Museum, New York (2011); The Hammer Museum, Los Angeles (2008); Museum Boijmans van Beuningen, Rotterdam (2008); Swiss Institute, New York (2007); Barbican Art Gallery, London (2007); Centre d'Art Contemporain, Genf (2005), Museum of Contemporary Photography, Chicago (2003); The 50th Venice Biennale (2003).<br />&nbsp;<br />The exhibition is the third in a series of collaborations between Candice Madey of On Stellar Rays and Sunny Rahbar, co-founder of the The Third Line Gallery (Dubai) and Sun\Ra.</p> Sun, 03 May 2015 17:31:07 +0000 Lois Cremmins - Atlantic Gallery - June 2nd - June 20th <p>Atlantic Gallery is pleased to present "Contemplating the Asphalt," a solo exhibition of&nbsp;recent work by Lois Cremmins.&nbsp;The artist continues her exploration of her sensory perceptions of&nbsp;city life&nbsp;with canvases that offer a textural response to the urban landscape.&nbsp;In this new body of work&nbsp;she&nbsp;focuses on&nbsp;the contradictions she feels&nbsp;between the vestiges of&nbsp;the dark world of her father's rough city and the robust&nbsp;transformations wrought by a&nbsp;fresh light-seeking generation. By layering complex imagery that is at once gritty&nbsp;yet vibrant, Cremmins has become a de facto chronicler of a changing city.</p> <p>The installation of "Contemplating the Asphalt" transforms Atlantic Gallery into&nbsp;a microcosm&nbsp;of New York's&nbsp;teeming streets. To visit this show is to navigate those streets with Lois Cremmins as your keenly observant guide.&nbsp;Her art deftly steers the visitor around the pitfalls of decaying streets and&nbsp;happily keeps pace with whizzing Citibikes and buzzing smartphones. Recognizable images break down upon close inspection to reveal abstract elements that can be savored and lead to a discovery of the artist's process.</p> <p>&nbsp;Each canvas is the result of an intricate and sophisticated technique&nbsp;whereby the artist tames collaged materials---outcast fabrics, ribbons and notions by vigorously applying&nbsp;acrylic paint in thick impastos and delicately brushed glazes. The viewer&rsquo;s experience&nbsp;of the multiplicity of the stimulating surfaces runs&nbsp;in tandem&nbsp;with the artist's celebration&nbsp;of&nbsp;New York's enthralling variety.</p> Sun, 03 May 2015 12:49:59 +0000 Lee Ufan - Pace Gallery - 25th St. - May 15th - June 27th <p style="text-align: justify;">Pace is pleased to announce its second solo exhibition of Lee Ufan. It is the artist&rsquo;s first exhibition in New York since his landmark 2011 survey at the Solomon R. Guggenheim Museum, and follows his 2014 solo presentation of twelve site-specific works created for the Ch&acirc;teau de Versailles. The exhibition will be on view from May 15 to June 27 at 534 West 25th Street. An opening reception for the artist will be held Thursday, May 14 from 6 to 8 p.m.</p> <p style="text-align: justify;">To accompany the exhibition, Pace will publish a catalogue featuring a new essay by Barbara Rose.</p> <p style="text-align: justify;">Since his foundational role in Japan&rsquo;s Mono-ha (&ldquo;School of Things&rdquo;) movement in the 1960s, Lee has developed an oeuvre attuned to the interconnectedness of matter and consciousness. Referring to his artworks as &ldquo;living structures,&rdquo; he takes a philosophical approach to creating them, viewing his gestures and raw materials as entities that reveal conditions and states of the world as well as our relationship to it. The exhibition highlights the artist&rsquo;s continued attention to how objects and gestures shape space and will feature new paintings, watercolors and sculpture.</p> <p style="text-align: justify;">Lee&rsquo;s Relatum works&mdash;the first of which he produced in 1968&mdash;highlight interspatial relations through the pairing of steel plates with large boulders. Between the two objects, Lee views the steel plates as the distant, factory-produced cousin of the stones. He sees the works as cultivating a space not only between objects but between viewers and the larger spatial environment. In choosing the title Relatum&mdash;referring to a singular aspect of relationship&mdash;Lee both rebukes the term sculpture and forgoes the more hermetic associations of the term relationship, conjuring a more philosophical and infinite type of connection engendered through the correspondence between rock and steel. The contrast between the manufactured steel plate and the natural rock bring together a new harmony between&nbsp;</p> <p style="text-align: justify;">technology and nature.</p> <p style="text-align: justify;">In his Dialogue paintings, Lee begins by loading a broad brush with a gradient of pigment&mdash;here blues, greys, and oranges&mdash;and applies the pigments to the canvas in one or two strokes. The simple compositions enact a dialogue between the paint and the unmarked space of the ground layer.</p> <p style="text-align: justify;">Lee Ufan (b. 1936, Haman-gun, Kyongsangnamdo, Korea) is a pioneering figure of Mono-ha (&ldquo;School of Things&rdquo;) in Japan and the Tansaekhwa school of Korean monochrome painting. He is the 2014 recipient of the Kanagawa Prefecture Cultural Prize and the 2001 Praemium Imperiale, awarded by the Japan Art Association. Lee&rsquo;s work has been celebrated in numerous international solo and group exhibitions including the Gwangju Biennale (2000, 2006), S&atilde;o Paulo Biennial (1969, 1973) and Documenta (1977). His exhibition Resonance was part of the 2007 Venice Biennale.</p> <p style="text-align: justify;">In April, the Busan Metropolitan Art Museum opened a permanent installation of Lee&rsquo;s work in its new building and on its grounds. Spanning approximately 15,000 square feet of gallery space on two levels, the Lee Ufan Gallery includes painting and sculpture from different decades of his career. It is the museum&rsquo;s only gallery dedicated to a single artist.</p> <p style="text-align: justify;">Lee has been the subject of numerous solo exhibitions worldwide at institutions including the Asia Society, Houston (2012); Solomon R. Guggenheim Museum, New York (2011); Royal Museums of Fine Arts of Belgium, Brussels (2008); Kunstmuseum Bonn (2001); St&auml;dtisches Museum im St&auml;del, Frankfurt (1998); Galerie Nationale du Jeu de Paume, Paris (1997&ndash;98); The National Museum of Contemporary Art, Seoul (1994); Hara Museum of Contemporary Art, Tokyo (1991); Louisiana Museum of Modern Art, Humlebaek (1978); and D&uuml;sseldorf Kunsthalle (1978).</p> <p style="text-align: justify;">In 2010, the Tadao Ando-designed Lee Ufan Museum opened in Naoshima, Japan. Lee&rsquo;s work is included in the public collections of more than sixty institutions worldwide including the Art Gallery of New South Wales, Sydney; Centre Georges Pompidou, Mus&eacute;e National d&rsquo;Art Moderne, Paris; Hara Museum of Contemporary Art, Tokyo; Solomon R. Guggenheim Museum, New York; Kunsthaus Zurich; Kunstmuseum Bonn; Leeum Samsung Museum of Art, Seoul; The Museum of Modern Art, New York; The National Museum of Art, Osaka; National Museum of Modern Art, Seoul; St&auml;dtisches Museum im St&auml;del, Frankfurt; and the Tate Gallery, London.</p> <p style="text-align: justify;">Lee lives and works in Kamakura, Japan, and Paris. This is his second exhibition at Pace since joining the gallery in 2007.</p> Sat, 02 May 2015 17:20:17 +0000 Shirana Shahbazi - On Stellar Rays - May 10th - June 14th Sat, 02 May 2015 17:13:11 +0000 Melodie Provenzano - Nancy Margolis Gallery - May 14th - June 27th Sat, 02 May 2015 17:09:01 +0000 Rey Akdogan - Miguel Abreu Gallery Orchard St - May 13th - June 28th Sat, 02 May 2015 17:07:26 +0000 Rey Akdogan - Miguel Abreu Gallery Eldridge Street - May 13th - June 28th Sat, 02 May 2015 17:06:03 +0000 Tony Cox, Matthew Ronay - Marlborough Chelsea - April 4th - May 9th <p class="Default" style="text-align: justify;">Marlborough Chelsea is pleased to present <em>Outer Loop </em>a two-person exhibition by Tony Cox and Matthew Ronay in our 2nd floor gallery.</p> <p class="Pa1" style="text-align: justify;">The show takes its title from the beltway around Louisville, KY, where the two artists grew up together, but is evocative also of their shared penchant for the further flung reaches of culture. This includes colorful abstraction, Appalachian folk art, science fiction and a self-determined spirituality that hints at the cosmic but positions them outside of any New Age mainstream.</p> <p class="Pa1" style="text-align: justify;">Cox&rsquo;s paintings are hand-embroidered in bold geometric designs and stylized landscape using brightly hued and metallic threads pulled through acrylic-coated stretched canvas. The mantra-like repetition of stitches together with vivid patterning, are reminiscent of mandalas and other sacred art, but Cox imbues the works with an off-kilter humor and pathos that places them squarely in his head and from his inimitable hand.</p> <p class="Pa1" style="text-align: justify;">Ronay&rsquo;s hand-carved basswood sculptures, while often heavily patterned with dimples, curves and cairn-like stacks, eschew hard edge abstraction for a molecular, spore-like affect coupled with a kind of suggestive figuration in the form of disembodied hands and tongues. Ingeniously and idiosyncratically composed from multiple pieces of wood and sections of canvas that have been lushly dyed in a spectrum of rich colors, the works have the natural feel of an organism, growing and replicating itself like a coral reef or Martian bacterium.</p> <p class="Pa1" style="text-align: justify;">Together, the works play off their commonalities of color and line, but also a commitment to the labor-intensive qualities of the handcrafted and the prayer-like meditative focus required of their making&mdash;a focus that has allowed the artists to block out many of the more conventional concerns of their contemporaries.</p> <p class="Pa1" style="text-align: justify;"><strong>Tony Cox </strong>(b. 1975 in Louisville, KY). Recent exhibitions include <em>Outer Loop </em>(with Matthew Ronay) at Marlborough Chelsea, New York, NY (2015); <em>B-Side </em>at Home Alone 2, New York, NY (2013); <em>Tony Cox </em>at Marlborough Broome Street, New York, NY (2013); <em>Incense </em>at Fuse Gallery, New York, NY (2011); <em>White Trash Mystic </em>at 211 Elizabeth St, New York, NY (2010); and <em>Too Blonde To Be Catalan </em>at FD Gallery, Barcelona, Spain (2007). The artist currently lives and works in Mount Tremper, New York.</p> <p style="text-align: justify;"><strong>Matthew Ronay </strong>(b. in 1976 in Louisville, KY) received his BFA from the Maryland Institute College of Art, and his MFA from Yale University. Recent solo exhibitions include <em>Organ/Organelle </em>at Marc Foxx, Los Angeles, CA (2014); <em>Wavelength </em>at Andrea Rosen Gallery, New York, NY (2014); <em>The Door Is Open </em>at Kunsthalle Lingen, Lingen, Germany (2014); <em>Mounting Toward Zenith / Descending and Disappearing </em>at Kentucky Museum of Art and Craft, Louisville, KY (2013). Recent group exhibitions include <em>12th Lyon Biennale</em>, Lyon, France (2013); <em>A Disagreeable Object </em>at Sculpture Center, Long Island City, NY (2012); <em>Secret Societies </em>at Schirn Kunsthalle, Frankfort, Germany (2011). The artist lives and works in New York, New York.</p> Sat, 02 May 2015 17:04:53 +0000 Cildo Meireles - Galerie Lelong - May 15th - June 28th <p style="text-align: justify;">Galerie Lelong is pleased to announce the first solo exhibition in the United States in ten years by internationally renowned Brazilian artist Cildo Meireles, on view from May 15 through June 27. In addition to the monumental work&nbsp;<em>Amerikkka</em>, new works will be on view for the first time. Meireles&rsquo;s investigation of ideological, economic, and political systems through sculpture, installation, and sensorial experience forms the cornerstone of his practice, which spans the artist&rsquo;s extensive forty-year career. The artist will be present for the opening reception on Friday, May 15 from 6-8pm.</p> <p style="text-align: justify;">The centerpiece of Meireles&rsquo;s presentation at Galerie Lelong will be&nbsp;<em>Amerikkka</em>(1991/2013), the work&rsquo;s first presentation in the United States. Transforming the gallery into a powerful, interactive experience, the work places viewers under a free-standing ceiling angled at forty-five degrees that is composed of 40,000 hollow golden bullets set against an intense blue background. Viewers stand upon a base of over 20,000 white wooden eggs set into a red floor. Juxtaposing sharp bullets and fragile eggs,<em>&nbsp;Amerikkka</em>simultaneously creates an uncertain and unsettled environment and calls into question whether the work is opening or closing, and if the threat of the bullets is real or perceived. The triple &ldquo;K&rdquo; in the title alludes to the Ku Klux Klan, the far right organization that espouses white supremacy and the use of extreme violence.</p> <p style="text-align: justify;">Like&nbsp;<em>Amerikkka</em>,&nbsp;<em>Virtual Spaces</em>&nbsp;(1967/2015), one of Meireles&rsquo;s seminal works, is dependent upon participation and movement by the viewer. This work, in which Meireles looks to Euclidean geometry, is a corner within a corner, an installation trompe l&rsquo;&oelig;il, that highlights the question of that which is virtual versus what is real.</p> <p style="text-align: justify;"><em>Invisible Sphere</em>&nbsp;(2014) demonstrates Meireles&rsquo;s interest in and exploration of the visible/invisible. This work, in which Meireles has constructed, carved, and joined two pieces of aluminum, creates a hollow sphere when closed. As Meireles has said &ldquo;I think there is something very interesting about things that we can imagine, but which are hidden.&rdquo;</p> <p style="text-align: justify;">Like many of Meireles&rsquo;s works,<em>&nbsp;Aquaurum</em>&nbsp;(2015) is in response to specific political situations. Meireles&rsquo;s native Brazil produces approximately 12 percent of the world&rsquo;s fresh water, however, there is a chronic shortage in the country&rsquo;s most populous city, S&atilde;o Paulo. The cleverly titled&nbsp;<em>Aquaurum</em>, which combines the Latin for &ldquo;water&rdquo; and &ldquo;gold,&rdquo; is comprised of two crystal glasses. The first is filled with gold, appearing as though it is the lining of the glass itself. The other, left empty, appears to be void of any matter.</p> <p style="text-align: justify;">Beginning in Brazil in the late 1960s, Meireles&rsquo;s practice was shaped by the social and political conditions during the dictatorship of the time, as well as by the Neo-Concretist movement. Meireles was among the first artists from Latin America to become internationally recognized, beginning with his participation in the 1970 landmark exhibition,&nbsp;<em>Information</em>, at the Museum of Modern Art in New York. Since then, Meireles has been recognized as a pioneer and leader among artists working in politically and socially engaged conceptual art. Most recently, his work was the subject of a retrospective at the Reina Sofia in Madrid, which traveled to the Serralves Museum in Portugal, and part of the exhibition was also presented at the HangarBicocca in Milan.</p> <p style="text-align: justify;">Additional monographic shows have been presented at Tate Modern, London; Museu d&rsquo;Art Contemporani de Barcelona; Museu de Arte Moderna, Rio de Janeiro; Mus&eacute;e d&rsquo;Art Moderne et Contemporain de Strasbourg; New Museum, New York; Kiasma Museum of Contemporary Art, Helsinki; Institut Valencia d&rsquo;Art Modern; and Institute of Contemporary Art, London; among others. The artist has received several prestigious awards, including the Velazquez Prize from the Ministerio de Cultura of Spain, and the Ordway Prize, presented by Creative Link for the Arts and the New Museum. Meireles was born in 1948 in Rio de Janeiro, where he currently lives and works.</p> Sat, 02 May 2015 16:55:28 +0000 Phillip Birch, Auguste Rodin - Essex Flowers - May 10th - June 14th <p style="text-align: justify;">A friend was visiting my studio. At the time I was making a lot of sculptures that included the human hand. He asked if I had seen Rodin's hand sculptures. I had not. Somewhat embarrassingly I began to fall in love with Rodin's hands. Obsession may be more appropriate. I have long been searching for the pathos they posses. I began to make frequent trips to the Rodin Museum in Philadelphia. With each viewing my passion for these tortured artworks grew. I began to invest more and more of my own psychic energy within these objects. They became reliquaries for my spirit, my geist if you will. It was as if with each viewing I was contorting the sculptures with my will into further torment.</p> <p style="text-align: justify;">"Self-consciousness is desire." I wonder if that maxim extends to quantum reality, to the space beyond the subatomic. Perhaps desire truly is the mechanism that drives not only the metaphysical underpinnings of the world but the physical as well. Perhaps a solipsistic will-machine is all it takes to bend space/time.</p> <p style="text-align: justify;">Googling Rodin's Hand of the Pianist, I heard a loud crack. Startled, I spun around fearing that my kerosene heater had burst. Instead, beyond the flash of light &hellip; a portal. A hole. A space that wasn't quite there appeared in front of my eyes.</p> <p style="text-align: justify;">In the blur there was a voice booming, &ldquo;Who are you?&rdquo;, &ldquo;Me?&rdquo; I somewhat confusedly and meekly responded. I got over my initial bewilderment and introduced myself. It seems, still to my surprise, that the individual with whom I was speaking was Auguste Rodin; me in my studio in 2015, he in his in 1890. We both talked tentatively, still reeling from the realization of what was occurring.</p> <p style="text-align: justify;">Desire had ruptured the space/time continuum. A dialogue was born. We talked all night.</p> <p style="text-align: justify;">I plotted out for him a fundamental change which has redirected the act of creation - touchscreen devices, photos that move and machines that print in multiple dimensions. I explained that the fundamental nature of our representations had changed. That the hand has replaced the eye as the window to the soul; the simulacra into which our perceptions are tied relies on an immediate relationship between the hand and the object it touches. I talked at length about the metamorphosis of the artist/creator into the director/manager. How we had lost the humanism in our art. That we privilege the work of many over the work of one while assigning the value of the work of many to one individual. That we want our genius sparkling and perfect, but that we want this genius unsullied by labor.</p> <p style="text-align: justify;">He thought I was mad, of course. He said that you could have a perfect replica of any object fabricated in marble, with no talent required. He explained that art lies in the hand; the touch of the artist. That the hand that creates is the hand of God. Even if the tools have changed, there is no fundamental change in the nature of creation. Whether something is printed by machine or made with a chisel, what&rsquo;s important is the act of will. He said that a figurative hand was just as important as a literal hand. The spirit of the work is what matters. If an artist reproduces superficial features, as a photograph does, and copies the lineaments of a face exactly, without reference to character, he deserves no admiration. The resemblance which he ought to obtain is that of the soul. To Rodin, the genius need not only use his eyes and hands, but his intelligence as well.</p> <p style="text-align: justify;">This exhibition comes from our conversation. The portal allowed us to pass our work back and forth. I am still considering what he has said and what the hand of creation means. My thoughts have turned to Camille Claudel and Rodin's other assistants and how he would sign his name to their work. How does his hand of God rely on others? Is touch a mere linguistic and metaphoric turn? Would there still be a Rodin if not for them? Have I had an impact on him? Did these hand sculptures with their marks and pathos exist before my desire was expressed to Rodin? Was his work altered in some fundamental way that I am no longer able to remember because the timeline has been fundamentally altered by my own intervention? Did I create the objects that became the object of my obsession. A Grandfather Paradox of my own creation?</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Phillip Birch</p> Sat, 02 May 2015 16:53:10 +0000 Porfirio DiDonna - Elizabeth Harris Gallery - May 14th - July 31st Sat, 02 May 2015 16:51:37 +0000 Katie Torn - Art in General - May 16th - June 27th <p>Katie Torn:&nbsp;<em>Myopia's Toil</em></p> <div class="projectcurator">Curated by Kristen Chappa</div> <div class="projectPR">&nbsp;</div> <div class="contentwrap"> <div> <div><strong>Opening Reception:</strong>&nbsp;<br />Saturday, May 16, 6&ndash;8pm<br /><br /><strong>Exhibition:</strong>&nbsp;<br />May 16, 2015 &ndash; June 27, 2015</div> <div>&nbsp;</div> <div>Art in General is pleased to present&nbsp;<em>Myopia&rsquo;s Toil</em>&nbsp;with Katie Torn in the Mus&eacute;e Minuscule.<br /><br />New York-based artist Katie Torn integrates animation, 3D computer graphics, and video to model virtually simulated scenes out of the detritus of internet and consumer culture. Collecting elements available online, Torn&rsquo;s digital assemblages carry traces of web browsing histories. Referencing the Modernist traditions of Cubism and Futurism in her avatars and abstractions, fantasy worlds and sci-fi simulations are conflated with 20th century investigations into pictorial space.<br /><br />Torn&rsquo;s hybrids offer a vision of new forms and substances that fuse organic and synthetic materials. Female cyborgs are presented as Frankenstein-like monoliths; the surface of their bodies smooth like plastic dolls or skin treated by reconstructive surgery. Elements comingle in an uncomfortable conflation of innocence and adulteration&mdash;playful, childhood toys rendered in soft pastels reside in toxic, apocalyptic environments. Operating in close relation to the &ldquo;natural&rdquo; world, biomorphic forms excrete and ingest brightly colored liquid into and from their surrounds, suggesting a life-force akin to oil or blood.<br /><br /><em>Myopia&rsquo;s Toil</em>&nbsp;features a newly created digital sculpture for Art in General&rsquo;s Mus&eacute;e Minuscule to be viewed through 3D glasses. Combining built and found 3D models, Torn collages disparate items: plant foliage, derricks, and anime characters with exaggerated features. In an alien landscape reminiscent of video game environments, a looping narrative unfolds of evolution, self-destruction, and regeneration.<br /><br /><strong>Katie Torn</strong>&nbsp;has exhibited her work at national and international locations including&nbsp;XPO&nbsp;Gallery, Paris (2015); NUTUREart, Brooklyn (2014); Postmasters, New York (2014); Upfor Gallery, Portland (2014);&nbsp;MoMA&nbsp;PS1, New York (2014); Roots &amp; Cultures Contemporary Art Center, Chicago (2013);&nbsp;MOCA, Los Angeles (2013); and Bitforms Gallery, New York (2013). She received her&nbsp;MFA&nbsp;from the School of the Art Institute of Chicago (2012) and BA from Hunter College (2007). Torn was a 2013 Fellow at the Eyebeam Art &amp; Technology Center and a 2014 Artist in Residence at&nbsp;IEA&nbsp;Alfred University. Upcoming exhibitions include the Window Display at K&uuml;nstlerhaus Bethanien in Berlin,&nbsp;FILE&nbsp;Electronic Language International Festival in Sao Paulo, Brazil, and Black Box New Media Festival in Seattle.</div> </div> </div> Sat, 02 May 2015 16:51:16 +0000