ArtSlant - Recently added en-us 40 - Causey Contemporary - September 7th - October 9th <p class="p1"><strong>Manhattan, NY.</strong> Causey Contemporary is pleased to announce&nbsp; Tally.</p> <p class="p1">The exhibition will take place at 29 Orchard St. at the gallery&rsquo;s lower east side location in New York City and from July 15 to August 21, 2016.</p> <p class="p2">&nbsp;</p> <p class="p1">The Lower East Side has been a significant migratory site for shaping utopian speculation and practical thinking, from the indigenous Lenape tribes, mass European immigration from 1840&rsquo;s &ndash; 1930&rsquo;s, to recent wholesale gentrification.&nbsp; Researching and responding to the broad source of archived visual and written documentation on the Lower East Side, artists Steven Dobbin, Patricia Stockman, Georgia Deal, and Workingman Collective will maneuver and employ their collective interpretations of place, migration, invention, and being human. &nbsp; The result is a collaborative exchange and visual examination of the Lower East Side as place and allegory</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p1"><strong>Workingman Collective Statement</strong></p> <p class="p2">&nbsp;</p> <p class="p1">Based in Washington, D.C.&nbsp;and Western North Carolina, Workingman Collective is a collaborative group of artists and range of professionals who move in and out of various projects.&nbsp; An interest in exploring the nature of collaboration and cooperation, invention, chance, and the public guides their practice.&nbsp; Projects move through stages from the collection of information to the construction of an object or situation to the participation of an audience.&nbsp; Typically participation alters the process, producing new information that is integrated into the art experience. Ultimately, their projects seek to generate environmental awareness, stimulate the re-identification of a population with its hometown history, and urge participants into strengthening relationships with their neighbors.Since it&rsquo;s founding in 2005, Workingman Collective has exhibited and created projects in the U.S., Europe, Africa, and the Caribbean.They are represented by Hemphill Fine Arts, Washington <a href="" rel="nofollow"></a></p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p1"><strong>Steven Dobbin</strong></p> <p class="p2">&nbsp;</p> <p class="p1">Steven Michael Dobbin was born in Washington D.C. He received his BS in Urban Affairs from the University of Maryland, his Masters in Education from George Washington University in Severely Emotionally Disturbed Adolescents and his MFA from the University of Southern California. He has been represented by the Meyers/Bloom Gallery in Santa Monica, California and is presently represented by Causey Contemporary Art in New York, New York.&nbsp; Steven teaches Special Education at Frederick High School in Frederick, Maryland.&nbsp; He was Co-Director of Artomatic@Frederick&nbsp; in 2011,2013 and 2016 which displayed&nbsp; the work of&nbsp; over 400 visual artists as well as providing a venue for performance, film and music. Steven was awarded the Maryland State Arts Council award for excellence in sculpture and has shown his work internationally and national for over 30 years.&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p1"><strong>Peter Winant</strong></p> <p class="p2">&nbsp;</p> <p class="p1">Peter works on individual projects and in collaboration with other artists. For twenty years, as a founding member of the collaborative group, Workingman Collective, and as a core member of the group, Art Attack, he has engaged in making pieces that question the domain and currency of personal authorship, the context of location and the creative process. The groups&rsquo; works have been exhibited/performed/intervened in settings as diverse as PS.1, Artist&rsquo;s Space, parking lots, abandoned houses and public spaces, and in public and alternative galleries and spaces in Berlin, Prague, Slovakia, Marseilles, Warsaw, Krakow, Chicago, Washington, New York, Liberia, Butte Montana and the North Carolina Museum of Art. Peter has been a three time recipient of CEC Artslink grants. Peter&rsquo;s personal work has ranged from forged steel, abstractly painted figurative sculpture, to &ldquo;unarchitecture&rdquo; structures of conventional building materials, to compositions of painted, fallen branches. His work is in private collections throughout the United States. Peter reviews Washington area fine art exhibitions as a panelist on public television station WETA&rsquo;s Around Town. He is a board member of Albus Cavus, an arts outreach program centered in Washington DC. He is also Vice-President for Education for Integrative Teaching International, a national group whose focus is on the development of visual art foundation programs for the 21st century.</p> <p class="p2">&nbsp;</p> <p class="p3">&nbsp;</p> <p class="p4"><strong>Tom Ashcraft</strong></p> <p class="p5">Tom is an artist, builder, educator, and founding member of Workingman Collective, a collaborative group of artists who share an interest in exploring cooperation, public space, and inventive applications.</p> <p class="p5">Tom navigates his practice in and out of the public realm with a combination of skilled object making and purposeful inquiry based wandering.&nbsp; His subject matter is rooted in the curiosities and rituals of everyday life.</p> <p class="p5">Tom and Workingman Collective have exhibited and produced work in the U.S., Europe, Africa, and the Caribbean.&nbsp;</p> <p class="p5">Awards include a National Endowment for the Arts Design Grant, Ford Foundation Fellowship, YADDO Fellowship, NY State Arts Grant, Washington DC Commission on the Arts Award, and Mabel Pew Grant.</p> <p class="p6">&nbsp;</p> <p class="p5">Born in Long Beach California, raised in Nevada and Florida.&nbsp; Tom earned his MFA in Sculpture from Indiana University, BA from University of South Florida, and an AA from Miami Dade CC.&nbsp;</p> <p class="p5">Tom is a Distinguished Professor of Art and the MFA Director at Western Carolina University, Cullowhee NC, and divides his time between Washington DC and Western North Carolina.</p> <p class="p5">Represented by <a href="" rel="nofollow">Hemphill Fine Arts</a>, Washington, D.C.&nbsp; &ldquo;I start with a handshake and see where it goes&rdquo;</p> <p class="p6">&nbsp;</p> <p class="p5"><strong>Georgia Deal</strong></p> <p class="p7">&nbsp;</p> <p class="p8">Georgia Deal is a Washington DC based artist who is Professor and Printmaking Program head at the Corcoran College of Arts + Design.&nbsp; She has been awarded residencies at the Yaddo Foundation, Lakeside Studios, Chicago, and Pyramid Atlantic.&nbsp; Grants include Maryland State Individual Artist Grants, the Washington Project for the Arts and New York State Council of the Arts grants.&nbsp; She has taught workshops nationally and abroad, including the Cortona, Italy Studies Abroad program for the University of Georgia, Santa Reparata School in Florence, Italy, the Skopelos Foundation for the Arts in Skopelos Greece, Penland School of Crafts, NC, the Paper &amp; Book Intensive, Oxbow, MI, and the Haystack School in Maine.&nbsp; Collections include the Philadelphia Museum of Art, the Library of Congress, the Corcoran Museum of Art, the Duke Museum of Art,&nbsp; and Yale University Library, amongst others. She has exhibited her prints, book and works on paper throughout the Washington DC area, nationally and abroad.</p> <p class="p9">&nbsp;</p> <p class="p1"><strong>Patricia Stockman</strong></p> <p class="p2">&nbsp;</p> <p class="p1">Patricia Stockman is a Frederick based photographer and digital artist, as well as a digital arts teacher.&nbsp; Having been on hiatus, she has been an up and coming artist exhibiting in the MD-DC area for approximately 5 years now.&nbsp; Her photography work for, and with, Steven Dobbin has led to her involvement in this collaborative show. She has been presented various juried awards including first place at The Annual Juried Exhibit, the Delaplaine; and Juror&rsquo;s First Choice Award at the Focal Point Show, MFA Gallery. &nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p10">&nbsp;</p> <p class="p10">&nbsp;</p> <p class="p10">&nbsp;</p> <p class="p10">&nbsp;</p> <p class="p10">&nbsp;</p> <p class="p10">&nbsp;</p> <p class="p10">&nbsp;</p> <p class="p10">&nbsp;</p> <p class="p10">&nbsp;</p> <p class="p11">For more information on the exhibition Tally at Causey Contemporary running from, please contact Lara Aim, the communications associate at the gallery via email:&nbsp;</p> <p class="p11"><a href="" rel="nofollow"></a> or telephone: 212-966-2520&nbsp;</p> Thu, 30 Jun 2016 20:15:05 +0000 - Causey Contemporary - July 14th - August 21st <p class="p1"><strong>Manhattan, June 2016:</strong> Causey Contemporary is pleased to present, Bricolage, its upcoming group show. The exhibition opens with a public on July 15 and runs trough&nbsp;</p> <p class="p2">Bricolage is an underused word relating to the compositing of diverse materials, ideas or structures. It is used mainly with regards to art or literature. <br />Each of the artists in this curation created works which fall into this description. Further, each of the artists utilizes Bricolage to help them enunciate responses to the myriad identification issues&nbsp;</p> <p class="p1">present within our current society whether as a result of branding, politics, gender differences or societal norms.&nbsp;</p> <p class="p1">Each artist believes it necessary to "copy and paste" borrowing via the use of photography, newspaper transfers or direct image copying to illustrate the confusion of identity within which we now live.&nbsp;</p> <p class="p1">Ben Bertocci appropriates images of animals and appliances within his paintings to portray self-identity. &nbsp;</p> <p class="p2">Kevin Bourgeois draws almost photorealistic logos in graphite and pairs them with matches, bullet casing or found&nbsp;</p> <p class="p1">objects to show how we identify with branding even when those brands harm ourselves and our environment. &nbsp;</p> <p class="p2">&nbsp;</p> <p class="p1">Nick Cash incorporates digital photographs and magazines to discuss our perception of&nbsp; the environments we live in or with.</p> <p class="p2">&nbsp;</p> <p class="p1">Michel Demanche uses a collage of photographs, drawings and photo transfers from children's books to discuss gender&nbsp; perception and how mentally handicapped are viewed in society.&nbsp;</p> <p class="p1">Steven Dobbin, casts exact copies of found objects or toys, then photographs them and displays the duo to raise discussions on gender roles directed at children.&nbsp;</p> <p class="p1">Erik Foss uses photo transfers from old Maxims or Playboy magazines to speak about female identities. &nbsp;</p> <p class="p1">Greg Haberny recycles pieces of old paintings, and melted crayons to convey ideas on our polictial and socio-political beliefs</p> <p class="p1">Gerry Mocarsky composes staged photographs which copy famous portraits or paintings but with transgender men in place of the central figure.</p> <p class="p1">John David O&rsquo;Brien like Nick Cash, focuses on&nbsp; our identification of space, of home, of environment using paint, and photographic transfers, straight photography and collage.</p> <p class="p3">&nbsp;</p> Thu, 30 Jun 2016 20:13:00 +0000 Paul Amenta, Nick Kline, Lora Robertson - Open Source Gallery - July 9th - July 30th <p>SiTE:LAB presents&nbsp;<em>Nothing is Destroyed</em>, a site-specific project for Open Source Gallery.</p> <p><em>Nothing is Destroyed</em>&nbsp;is part of a larger conversation that began in Grand Rapids, Michigan. This exhibit contains objects extracted from and related to previous projects surrounding the church that trace the trajectory of interventions at and with the desanctified Rumsey Street Church. <em>Nothing is Destroyed</em> includes architectural artifacts and work by Paul Amenta, Lora Robertson and Nick Kline. The title of the exhibition, taken from Lorenzo Fusi&rsquo;s essay on the work of Gordon Matta-Clark <em>nothing is created, nothing is destroyed, everything is transformed</em>, references Matta-Clark&rsquo;s idea of &ldquo;anarchitecture,&rdquo; which described his interest in voids, gaps and leftover spaces related to architecture.&nbsp;<em>Nothing is Destroyed</em>&nbsp;focuses on these concepts, creating, like Matta-Clark, an expanded vision of space and its representation over time. Each recontextualization of the Rumsey Street Church adds a new history, creating new collaborations and connections which contribute to the project through both additions and subtractions.&nbsp;</p> <p><em>Nothing is Destroyed</em>&nbsp;is a kind of love letter to a space and its reincarnations. The Rumsey Street Church originally functioned as a Catholic church, but was abandoned by its congregation when they outgrew the structure. In July 2015, pieces of the church were brought to Upstate New York by Paul Amenta, who reconstructed the pipe organ into a motorized venting system at CR10. In August 2015, Nick Kline, Lynn Cazabon and Monika Wuhrer transformed the church where it stood in Grand Rapids, Michigan. During ArtPrize, the church received stripes and hosted performances by local artists, musicians, poets, writers and residents. In June 2016, the steeple of the church traveled to New York to be presented at 92Y by the Satellite Collective and SiTE:LAB. In the last stop on the tour, the artifacts are presented during&nbsp;<em>Nothing is Destroyed</em>&nbsp;before returning to the Grand Rapids to be reconstructed for ArtPrize 2016. The facade of the building will be rehabilitated to its original appearance, landscaped with trees and welcomed back with a film by Lora Robertson of the Satellite Collective.</p> <p>SiTE:LAB is a nomadic all-volunteer arts organization that has organized dozens of temporary site-specific art projects, usually in underutilized downtown buildings in Grand Rapids, Michigan. Previous projects have used locations as diverse as an abandoned natural history museum, a nature preserve, vacant commercial buildings, and most recently, a once-grand downtown hotel. The Rumsey Street Project was created in collaboration with Habitat for Humanity of Kent County in 2015. The property consists of nearly three acres of unoccupied structures, including a body shop, vacant lots, residencies and the former Catholic church whose steeple is included in&nbsp;<em>Nothing is Destroyed</em>. The Rumsey Street Project is functioning as an art center until Habitat begins its redevelopment of the property in 2017. In this space, SiTE:LAB focuses on presenting large-scale, site-specific work by both local and international artists.</p> Thu, 30 Jun 2016 18:43:11 +0000 Xinyi Cheng - Nabuqi - Ali Van - Thomas Erben Gallery - July 7th - August 5th <div id="main_content" class="bbq-default bbq-item scrollbox"> <div id="scrollbox"> <p style="text-align: center;"><strong>soft Haze&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;&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;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br /> &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; Soft Haze &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Soft haze &nbsp; &nbsp; &nbsp; ; soft haze &nbsp; &nbsp;s of t </strong><br /> <strong>haz e softhaze</strong><br /> &nbsp;</p> <p style="text-align: center;"><strong>Xinyi Cheng &ndash; Nabuqi &ndash; Ali Van</strong></p> <p style="text-align: center;">July 7 &ndash; August 5, 2016<br /> Opening Reception: Thur., July 7, 6 &ndash; 8:30pm<br /> Summer Hours: Mon. &ndash; Fri., 11am &ndash; 6pm</p> <p>Thomas Erben Gallery is pleased to present <em>Soft Haze</em>, an exhibition of works by <strong>Xinyi Cheng, Nabuqi, </strong>and <strong>Ali Van</strong>. The show features sculptures, paintings, audio, and works on paper in which the conventions of each medium are infused with softness and intimacy. <em>Soft Haze</em>, as a title, references the serenity of warm summer nights, the dusk in which the air turns velvety. The works in the show feature a playful and personal sensibility, an approach that encourages slight details, articulated textures, and atmospheric moods.</p> <p>In <strong>Xinyi Cheng</strong>'s paintings, the artist depicts nude figures reclining and relaxing within sparsely rendered spaces. In<em> Tension,</em> a lone man lies on his side, staring straight out of the picture. The domestic architecture surrounding him is created through an assemblage of flat planes, whose light pastels are in sharp contrast to the dark lines of the figure's leg hair. Similarly, in<em> Goodnight, Thomas,</em> the subject is seen from above, his body laid back in bed. Within the smooth, geometric rendering of his surroundings, his finely rendered chest hair hints at a certain eroticism, reflected in the way his bearded face looks playfully at the viewer.</p> <p><strong>Nabuqi</strong>'s works, on the other hand, are deeply invested in the history of sculpture. <em>A View Beyond Space No. 7-12</em> comprises six freestanding pieces, narrow yellow steles on which small growths spring out of their tops. These finely crafted metal sculptures adopt a hard-edge vocabulary, but are softened, seemingly organic. As such, they reference and remix iconic sculptural practices &ndash;&nbsp;from Louise Bourgeois and Constantin Brancusi, to Sol LeWitt and John McCracken. The rambunctiousness of their forms becomes apparent in the context of <em>Object No. 4</em>, a sculpture made of two stacked wooden stools, the top inverted such that the two seats are in contact. The entire sculpture is covered with fabric, with the spaces between the legs selectively bound with cloth, implying a potential series of permutations. A white thread crossing the interior space of the lower stool ending in a white stain introduces a vague impression of bodily fluids.</p> <p>As an interdisciplinary artist, <strong>Ali Van</strong>'s work can be understood through a language of poetry and time as medium.&nbsp; On paper, poetic text is distributed across the surface of sheets stained with pigments and liquid. With photography she captures whimsical details of her surroundings, presenting them as defined forms that emphasize both their ephemerality and their elliptical nature as a whole. Van describes her practice as &ldquo;living inscriptions of breath [&hellip;] in gifted time.&rdquo; As with writing and image making, her still lives are a choreography of objects in operational time. Installed with a sound component within the gallery, these works point towards her interest in atmospheric matter, in the way small units of life may collectively produce something of inexplicable beauty.</p> <p><strong>Xinyi Cheng</strong> (b. 1989, Wuhan, China) attended the Tsinghua University in Beijing (BA, 2012), Maryland Institute College of Art (MFA, 2014), and the Skowhegan School of Painting &amp; Sculpture (2014). Her work has been included in numerous group shows while studying in Baltimore and in New York after moving to the city. She has participated in the AIM program at the Bronx Museum, received a fellowship to the Vermont Studio Center and was a recent artist-in-residence at the Lower East Side Printshop in New York. She is currently a resident artist at the Rijksakademie, Amsterdam.</p> <p><strong>Nabuqi</strong> (b. 1984, Inner Mongolia, China) graduated from the Central Academy of Fine Arts, Beijing, in 2013. A recent solo exhibition was held in 2015 at C-Space in Beijing. Group exhibitions include Star Gallery, Beijing and Songzhuang Museum, Beijing (both 2014). She will participate in the forthcoming 2016 <em>Gwangju Biennale</em> in South Korea. She lives and works in Beijing.</p> <p><strong>Ali Van&nbsp;</strong>(b. 1986, New York) received her M.F.A. from Columbia University in 2013 and her B.A. from Yale University in 2008. She is the recipient of numerous grants and awards with organizations based in Austria, China, Japan, France, Thailand and the US; including residencies at Yaji Garden, Suzhou, China; Practice, New York (both 2016); SoART Millst&auml;ttersee, Austria (2013-15); and CCA Kitakyushu, Japan (2014-15) to name a few. Her work is currently included in&nbsp;<em>Beyond the Globe: 8th Triennial of Contemporary Art</em>&nbsp;in Slovenia curated by Boris Groys, and she is working toward an exhibition at the Watson Library in the Metropolitan Museum of Art, New York. She lives and works between New York and Hong Kong.</p> </div> </div> Thu, 30 Jun 2016 17:55:48 +0000 Group Show - Islip Art Museum - June 19th - September 11th <p>HEY! What's Inside The Box ?<br />IAM 2016 Annual Open Call.&nbsp;&nbsp;<br />An Islip Art Museum tradition of 40+ years.&nbsp;<br /><br />The Islip Art Museum is pleased to announce&nbsp;&nbsp;<br />Private Viewing: For Your Eyes Only, curated by Eileen Palmer.&nbsp;<br /><br />This summer IAM galleries will host Private Viewing: For Your Eyes Only, our annual open call exhibition curated by Eileen Palmer. This year the open call challenged artists to "think inside the box" by creating works in a box that engage only one viewer at a time.&nbsp;<br />This time it's what is on the inside that counts!<br /><br />Featuring works by;<br />Olga Alexander, Berges Alvarez, Renee Andolina, Holly Black, Jackie Branson, James Battistelli, Kate Collyer, Monica Chulewicz, Ana Paula Cordeiro, Margaret DeLima, Krystle L. DiNiola, JoAnne Dumas, Anna Fredericks, Lauren Goldstein, Adel Gorgy, Crista Grauer, Carol J. Hansen, Bernard Hallstein, Ellen Hanauer, Lori Horowitz, Lorena Kalaja, Julianna Kirk, Janet Lust Ganes, David Lee Moneypenny, Eric Murphy, Lesley Obrock, Linda Rettich, Meredith Rose, Neva Setlow, Sally Shore, Rosemary Sloggatt, Dinah Maxwell Smith, Marsha Solomon, Mark Strodl, Hisayasu Takashio, Shira Toren, Gerald Walsh, Ching Wen Tsai, Ellen Wetmore, Leigh Yardley, and Tmima Z</p> Wed, 29 Jun 2016 19:09:51 +0000 Paul Glabicki - Kim Foster Gallery - September 8th - October 15th <p>THE LIGHT drawing series explores notions of light in a variety of form, context, symbol, signification, and association. Sources, data and references &ndash; often presented and composed simultaneously &ndash; encompass the colliding worlds of science, religion, and art. From light as an elemental particle/photon, a measurable wave set in motion or shaped by forces of gravity, to spectral and spiritual phenomena, visual experience and component of color and color perception, or subjective/objective experience, each piece in the series evolves in complexity, juxtaposition, scale, optical play, and manipulation of data and medium.</p> <p><br />Botticelli&rsquo;s spectral spirits (from his Dante&rsquo;s Inferno drawings) share a multilayered compositional space with data on optics and quantum physics. Light (Yellow) is placed in stark contrast with dark (Black). Theories of Josef Albers collide with the theories of Albert Einstein, properties of crystals, alchemy and mysticism. Representations of light and shape contrast spatially and in mass with gestural marks both real (actual paint/brush strokes) and simulated (drawn and replicated echoes).</p> <p><br />Like previous drawing series (CODEX, SYNCHRONICITY, ACCOUNTING FOR, ORDER, and RELATIVITY) strategies of semiotics and language are at play, filtering and arranging the selection and composition of thematic material, while orchestrated through the interaction of surface, media, and the imagination of the artist.</p> <p><br />Paul Glabicki is reknowned for his experimental film animations that have appeared at major film festivals, as well as national and international museum exhibitions. His animation work in film has been carefully crafted by means of thousands of hand-drawn images on paper - each drawing representing both a frame of film and a unique complete work on paper. His film works have been widely screened at such prestigious sites as the National Gallery of Art, New York Film Festival at Lincoln Center, the Cannes Film Festival, the Museum of Modern Art, Whitney Museum of Art in New York (Whitney Biennial), and the Venice Biennale. He has received numerous awards, grants, and fellowships, including a Guggenheim Fellowship, grants from the National Endowment for the Arts, the American Film Institute, and several grants from the Pennsylvania Council on the Arts.</p> Wed, 29 Jun 2016 18:23:54 +0000 - Sperone Westwater - July 7th - August 5th Tue, 28 Jun 2016 15:07:03 +0000 - Storefront for Art and Architecture - July 19th 7:00 PM - 9:00 PM <div align="left"><strong>Part II:</strong></div> <div align="left">Tuesday, July 19th</div> <div align="left">Storefront for Art and Architecture</div> <div align="left">97 Kenmare Street, New York</div> <div align="left">&nbsp;</div> <div align="left">Moderated by&nbsp;<strong>Eva Franch i Gilabert&nbsp;</strong>and&nbsp;<strong>Beatrice Galilee</strong></div> <div align="left"> <div align="left">&nbsp;</div> </div> <div align="left"> <p><em>Manifesto Series: In Our Time &ndash; The Sharing Movement</em>, is a two-part series presented by Storefront for Art and Architecture and The Metropolitan Museum of Art.&nbsp;How will today&rsquo;s sharing movement affect the way we work, move, build, and produce new ideas and knowledge?</p> <p>&nbsp;</p> <p>Participants will discuss this contemporary and ubiquitous movement, one that is increasingly influencing the exchange of goods, data, images, services, and spaces of residence and work. The series brings together leading practitioners and scholars embedded within the movement to explore its spatial, social, public, and private consequences, many of which are changing the future of urban life.</p> <p>&nbsp;</p> <p>Events will take place on June 8th at the Met Breuer, and on July 19th at Storefront for Art and Architecture. Storefront will also publish a related book as part of its Manifesto Series that draws upon the issues presented during the event.</p> </div> <div align="left">&nbsp;</div> <div align="left">#sharingmovement</div> <div align="left">@storefrontnyc</div> <div align="left">@metbreuer</div> <div align="left">&nbsp;</div> <div align="left"><em>This lecture is made possible by Dr. William Pordy.</em></div> <div align="left">&nbsp;</div> <div align="left">These events are&nbsp;free&nbsp;and&nbsp;open&nbsp;to the&nbsp;public, with seating on a first come, first served basis.&nbsp;Storefront members receive reserved seating. If you are a member and would like to reserve a seat, you can RSVP to and specify which events you&rsquo;ll be attending.&nbsp;If&nbsp;you would like to become a&nbsp;Storefront&nbsp;member, please&nbsp;<a href="" target="_blank" rel="nofollow">see here</a>.</div> Mon, 27 Jun 2016 21:53:02 +0000 Group Show - Salon 94 Bowery - June 29th - June 29th <p class="p1">Salon 94 Bowery presents a Summer group exhibition,&nbsp;<em>A Being In The World</em>.&nbsp; Curated by artist Jayson Musson and gallery Partner and Curator Fabienne Stephan, the exhibition gathers the work of over a dozen artists. Stephan describes the artworks as all &ldquo; sharing personal iconography, characters, and an intimate hermetic that reaches out to the world that inspires it.&rdquo; The multi-generational list of artists include: Emilia Brintnall, James Castle, Steven and Billy Dufala, William Edmondson, Gerasimos Floratos, Mark Thomas Gibson, Maia Ruth Lee, Caro Niederer, Lee Scratch Perry, Tschabalala Self, Katie Stout, Bill Traylor, and James Ulmer.</p> <p class="p1">The show was greatly aided by conversations with Philadelphia gallerist John Ollman, who has long championed the work of outsider artists such as William Edmondson, a hospital janitor in Nashville, Tennessee who developed a sculptural practice of carving symbolic religious figures from tombstones and was the first African American artist to be given a solo exhibition at the Museum of Modern Art in1937. <em>A Being In The World</em> juxtaposes work by Edmondson and other self-taught artists like Bill Traylor and James Castle with a new generation of artists who have built their practice on readily identifiable images, self created linguistics, and exploration of cultural myth.</p> <p class="p1">According to Musson, the show spotlights <em>&ldquo;</em> an art deeply tethered to the innate human desire to make a thing; to give language and form to one's own experiences, regardless of their position within history&rsquo;s narrative.&rdquo;&nbsp; Seen alongside Traylor&rsquo;s iconic figures and Castle&rsquo;s charcoal drawings, Tschabalala Self&rsquo;s explorations of the Black female body and Katie Stout&rsquo;s bubblegum colored re-imagining of humble furnishings all convey a sense of celebration of artistic creativity.</p> <p class="p1"><em>A Being In The World</em> harkens back to one of the most essential impulse to create art; to hold a dialogue between the Self, World, and the Unknown in the hopes of finding light amid the darkness of the universe in the hopes of understanding oneself as a being in the world. The exhibition remains on view through July 29<sup>th</sup>.</p> Mon, 27 Jun 2016 19:48:35 +0000 and Ryan Mrozowski, Zipora Fried, Julia Bland, Athanasios Argianas - On Stellar Rays - July 7th - August 12th <p>On Stellar Rays is pleased to announce the opening of Persuasive Percussion, featuring new works by Athanasios Argianas, Julia Bland, Zipora Fried, and Ryan Mrozowski. This exhibition is the second in a series of exhibitions to inaugurate 213 Bowery with new works by gallery artists.</p> <p>Persuasive Percussion explores the interplay of rhythm and repetition commonly attributed to sound, but in this case, transmutable to image. The exhibition title takes its name from the series of LP albums released in the late 1950&rsquo;s and early 1960&rsquo;s by Enoch Light (1905-1978), a classical violinist, bandleader, and recording engineer who pioneered use of a specific stereo effect that bounced sound between right and left channels to create a more immersive aural experience&mdash;a radical departure from the then-commonplace mono sound of AM radio. Light notably invited Josef Albers to design seven Persuasive Percussion covers, featuring rhythmic color-block patterns of circles and grids of circles.</p> <p>Athanasios Argianas&rsquo;s sculptures are often generated through composition and transcription of sound and language. The rhythms and frequencies of speech, and the pronunciation of consonants and vowels, determine pattern and form. Presented here in sequences of ropes and mussels cast in relief, the works can be read as script, poetry, or score. Argianas&rsquo;s Silence Breakers series is based on percussion as an idea of objecthood; considering an object&rsquo;s tactile and material properties, and ensuing potential for sound when struck&mdash;shifting between the aural, tactile, and visual.</p> <p>In Ryan Mrozowski&rsquo;s work, flowers, fruits, and dots sourced from stock imagery and graphic design are further altered with an acute sense of optical play. Binocular vision is split into diptych painting &ndash; possibly the visual analogue to Light&rsquo;s experiments in bi-channel stereo recording &ndash; whereas in a new video, multiple vantage points are layered in one work, resulting in unexpected and deft renditions of imagery.</p> <p>Zipora Fried presents new drawings from her Night series, consisting of colored pencil drawings in densely repeated gestures akin to script, however purposefully devoid of language. Fried is not interested in the specificity of language, but in capturing the essence of sensory experience or an obscure inner mood. A large-scale, site-specific mural with reappearing heads comparably combines a psychological space with a material one.</p> <p>Meanwhile, Julia Bland&rsquo;s paintings, made from dyed, stitched and painted fabrics, canvas and hand-woven supports, fuse structural elements and the rhythm of warp and weft with archetypal and familiar geometric forms. Bland&rsquo;s interest in phenomenological and sensory experiences that transcend the optical permeates Persuasive Percussion, in favor of a more inspired sense of perception and shape-shifting sense of play.</p> Sun, 26 Jun 2016 19:16:19 +0000 Nan Goldin - MoMA (Museum of Modern Art) - June 11th - February 12th, 2017 <p style="text-align: justify;">Comprising almost 700 snapshot-like portraits sequenced against an evocative music soundtrack, Nan Goldin&rsquo;s&nbsp;<em>The Ballad of Sexual Dependency</em>&nbsp;is a deeply personal narrative, formed out of the artist&rsquo;s own experiences around Boston, New York, Berlin, and elsewhere in the late 1970s, 1980s, and beyond. Titled after a song in Bertolt Brecht and Kurt Weill&rsquo;s<em>The Threepenny Opera</em>, Goldin&rsquo;s&nbsp;<em>Ballad</em>&nbsp;is itself a kind of downtown opera; its protagonists&mdash;including the artist herself&mdash;are captured in intimate moments of love and loss. They experience ecstasy and pain through sex and drug use; they revel at dance clubs and bond with their children at home; and they suffer from domestic violence and the ravages of AIDS. &ldquo;<em>The Ballad of Sexual Dependency</em>&nbsp;is the diary I let people read,&rdquo; Goldin wrote. &ldquo;The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.&rdquo;&nbsp;<em>The Ballad</em>&nbsp;developed through multiple improvised live performances, for which Goldin ran through the slides by hand and friends helped prepare the soundtrack&mdash;from Maria Callas to The Velvet Underground&mdash;for an audience not unlike the subjects of the pictures.&nbsp;<em>The Ballad</em>&nbsp;is presented in its original 35mm format, along with photographs from the Museum&rsquo;s collection that also appear as images in the slide show. Introducing the installation is a selection of materials from the artist&rsquo;s archive, including posters and flyers announcing early iterations of&nbsp;<em>The Ballad</em>. Live performances will periodically accompany&nbsp;<em>The Ballad</em>&nbsp;during the course of the Museum&rsquo;s presentation; performance details will be announced during the course of the exhibition presentation.</p> <div class="calendar-credits"> <p style="text-align: justify;">The installation is organized by Klaus Biesenbach, Chief Curator at Large, MoMA, and Director, MoMA PS1; Rajendra Roy, The Celeste Bartos Chief Curator of Film, MoMA; and Lucy Gallun, Assistant Curator, Department of Photography, MoMA.</p> <img src="" alt="" /> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> </div> Sun, 26 Jun 2016 18:06:59 +0000 Tony Oursler - MoMA (Museum of Modern Art) - June 18th - January 8th, 2017 <p style="text-align: justify;">Tony Oursler&rsquo;s&nbsp;<em>Imponderable</em>&nbsp;(2015&ndash;16) offers an alternative depiction of modernism that reveals the intersection of technological advancements and occult phenomena over the last two centuries. Presented in a &ldquo;5-D&rdquo; cinematic environment utilizing a contemporary form of Pepper&rsquo;s ghost&mdash;a 19th-century phantasmagoric device&mdash;and a range of sensory effects (scents, vibrations, etc.),&nbsp;<em>Imponderable</em>&nbsp;is an immersive feature-length film inspired by Oursler&rsquo;s own archive of ephemera relating to stage magic, spirit photography, pseudoscience, telekinesis, and other manifestations of the paranormal. Drawing on these objects,&nbsp;<em>Imponderable</em>&nbsp;weaves together a social, spiritual, and empirical history of the virtual image that overlaps with the artist&rsquo;s own family history. A cast of characters including Sir Arthur Conan Doyle, Harry Houdini, Mina &ldquo;Margery&rdquo; Crandon, and members of Oursler&rsquo;s family are portrayed by an eclectic ensemble of artists, musicians, and performers including Kim Gordon, Jim Fletcher, Keith Sanborn, and Constance DeJong. Bringing together Oursler&rsquo;s ongoing interest in mysticism, psychedelia, popular culture, and media history, the work employs macabre humor and theatrical surrealism to reflect on the irrational relationship between belief systems and the authenticity of images.&nbsp;<em>Imponderable</em>&nbsp;is presented in conjunction with selections from Oursler&rsquo;s archive relating to the film.</p> <p style="text-align: justify;">This exhibition coincides with&nbsp;<em>Tony Oursler: The Imponderable Archive</em>, on view at the Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, June 25&ndash;October 30, 2016.&nbsp;<em>Imponderable</em>&nbsp;was originally commissioned and produced by the LUMA Foundation for the Parc des Ateliers, Arles, France, and LUMA Westbau, Zurich, Switzerland, 2015.</p> <p style="text-align: justify;">Original soundtrack by JG Thirlwell. Scents created by International Flavors &amp; Fragrances Inc.</p> <div class="calendar-credits"> <p style="text-align: justify;">The exhibition is organized by Stuart Comer, Chief Curator, and Erica Papernik-Shimizu, Assistant Curator, Department of Media and Performance Art.</p> <img src="" alt="" /> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> <p style="text-align: justify;">Generous funding for&nbsp;<em>Tony Oursler: Imponderable</em>&nbsp;is provided by The Jill and Peter Kraus Endowed Fund for Contemporary Exhibitions.</p> </div> Sun, 26 Jun 2016 17:59:29 +0000 Bouchra Khalili - MoMA (Museum of Modern Art) - April 9th - October 10th <p style="text-align: justify;">This exhibition presents, in its entirety, Bouchra Khalili&rsquo;s&nbsp;<em>The Mapping Journey Project</em>&nbsp;(2008&ndash;11), a series of videos that details the stories of eight individuals who have been forced by political and economic circumstances to travel illegally and whose covert journeys have taken them throughout the Mediterranean basin. Khalili (Moroccan-French, born 1975) encountered her subjects by chance in transit hubs across Europe, North Africa, and the Middle East. Following an initial meeting, the artist invited each person to narrate his or her journey and trace it in thick permanent marker on a geopolitical map of the region. The videos feature the subjects&rsquo; voices and their hands sketching their trajectories across the map, while their faces remain unseen.</p> <p style="text-align: justify;">The stories are presented on individual screens positioned throughout MoMA's Donald B. and Catherine C. Marron Atrium. In this way, a complex network of migration is narrated by those who have experienced it, refusing the forms of representation and visibility demanded by systems of surveillance, international border control, and the news media. Shown together, the videos function as an alternative geopolitical map defined by the precarious lives of stateless people. Khalili&rsquo;s work takes on the challenge of developing critical and ethical approaches to questions of citizenship, community, and political agency.</p> <div class="calendar-credits"> <p style="text-align: justify;">Organized by Stuart Comer, Chief Curator, with Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art.</p> <p style="text-align: justify;">This exhibition is part of Citizens and Borders, a series of discrete projects at The Museum of Modern Art related to works in the collection offering a critical perspective on histories of migration, territory, and displacement.</p> <p style="text-align: justify;">Allianz is a partner of contemporary art at MoMA.</p> <p style="text-align: justify;">Generous funding for this exhibition is provided by The Modern Women&rsquo;s Fund.</p> </div> Sun, 26 Jun 2016 17:57:39 +0000 - MoMA (Museum of Modern Art) - June 12th - September 18th <p style="text-align: justify;"><em>Dadaglobe Reconstructed</em>&nbsp;reunites over 100 works created for&nbsp;<em>Dadaglobe</em>, Tristan Tzara&rsquo;s planned but unrealized magnum opus, originally slated for publication in 1921. An ambitious anthology that aimed to document Dada&rsquo;s international activities,&nbsp;<em>Dadaglobe</em>&nbsp;was not merely a vehicle for existing works, but served as a catalyst for the production of new ones. Tzara invited some 50 artists from 10 countries to submit artworks in four categories: photographic self-portraits, photographs of artworks, original drawings, and layouts for book pages. The exhibition brings together these photographs, drawings, photomontages, and collages, along with a selection of related archival material, to reconstruct this volume. Though never published, due to financial and organizational difficulties, Tzara&rsquo;s project addresses concerns about art&rsquo;s reproducibility that continue to be relevant today.</p> <p style="text-align: justify;">The exhibition is organized by Kunsthaus Z&uuml;rich in collaboration with The Museum of Modern Art, New York, with the special participation of the Biblioth&egrave;que litt&eacute;raire Jacques Doucet.</p> <p style="text-align: justify;">Organized at MoMA by Adrian Sudhalter, Guest Curator, and Samantha Friedman, Assistant Curator, Department of Drawings and Prints.</p> <p style="text-align: justify;">The presentation at MoMA is supported by the Swiss Arts Council Pro Helvetia.</p> Sun, 26 Jun 2016 17:52:53 +0000 - MoMA (Museum of Modern Art) - January 1st - August 28th <p style="text-align: justify;">This exhibition features the five finalists&rsquo; proposals from the MoMA/MoMA PS1 Young Architects Program (YAP), in addition to five finalists from each of our affiliated programs&mdash;the National Museum of XXI Century Arts in Rome, Italy (MAXXI); the Museum of Modern and Contemporary Art in Seoul, Korea (MMCA); and CONSTRUCTO in Santiago, Chile. Now in its 17th edition, the Young Architects Program at MoMA PS1 offers emerging architectural practitioners the opportunity to propose a built project, challenging each year&rsquo;s entrants to develop highly innovative designs for a temporary outdoor installation that provides shade, seating, and water. The architects must also work within guidelines that address environmental and contextual issues. Winning designs by Escobedo Soliz Studio (Mexico City, Mexico), Parasite 2.0 (Milan, Italy), and Shinslab Architecture&mdash;Shin Hyung Chul (Korea and France) will be on view throughout the summer in the courtyards of MoMA PS1, MAXXI, and MMCA, respectively, and in Santiago, Chile, from March through May 2017.</p> <p style="text-align: justify;"><a href="" target="_blank">View the exhibition&nbsp;website</a></p> <div class="icon--following-text icon-boxes-16--light" style="text-align: justify;">&nbsp;</div> Sun, 26 Jun 2016 18:01:14 +0000 Rachel Harrison - MoMA (Museum of Modern Art) - March 19th - September 5th <p style="text-align: justify;">Named after a town in New Jersey where an apparition of the Virgin Mary was said to have appeared on the window of a two-story house, Rachel Harrison&rsquo;s room-sized work&nbsp;<em>Perth Amboy</em>&nbsp;exemplifies a cross-disciplinary approach to making art. The work comprises 21 photographs, individual sculptural assemblages, and an open-ended labyrinth made from cardboard. It takes as its subject the basic acts of looking and seeing, which are central to any experience of visual art. This is the first presentation of&nbsp;<em>Perth Amboy</em>&nbsp;at MoMA since the work entered the collection in 2011.</p> <div class="calendar-credits"> <p style="text-align: justify;">Organized by Paulina Pobocha, Assistant Curator, Department of Painting and Sculpture.</p> <p style="text-align: justify;">The exhibition is made possible by The Modern Women&rsquo;s Fund.</p> <p style="text-align: justify;">Generous funding is provided by The Walton Family Foundation.</p> </div> Sun, 26 Jun 2016 17:48:00 +0000