ArtSlant - Recently added en-us 40 Miyoko Ito, Phillip King, Robert Morris, Lisa Williamson - Marianne Boesky Gallery 24th St - June 26th - August 1st Thu, 28 May 2015 08:27:26 +0000 Niele Toroni - Marian Goodman Gallery - June 24th - July 24th Thu, 28 May 2015 08:25:58 +0000 Sol LeWitt, John McCracken, Maria Nordman, Gerhard Richter, Fred Sandback, Anne Truitt, Lawrence Weiner - Marian Goodman Gallery - June 6th - July 30th Thu, 28 May 2015 08:25:53 +0000 Tegene Kunbi - Margaret Thatcher Projects - June 11th - July 11th Thu, 28 May 2015 08:15:58 +0000 William Steiger - Margaret Thatcher Projects - May 7th - June 6th <p class="p1" style="text-align: justify;"><strong>Thatcher Projects</strong>&nbsp;is pleased to present&nbsp;FLIGHT, an exhibition of aviation themed paintings and collages by&nbsp;<strong><a href="" target="_blank">William Steiger</a></strong>&nbsp;in the gallery Project&nbsp;Room.</p> <p class="p1" style="text-align: justify;">The&nbsp;planes and dirigibles are depicted in motion against white backgrounds that&nbsp;imply boundless areas of space. On closer inspection, the hard edged and&nbsp;deceptively objective style of Steiger emits a warmth &ndash; in the texture of linen&nbsp;emerging in areas where paint has been rubbed away; or the subtle upwards shift&nbsp;in many of the planes, inspiring a sense of awe and wonderment at Man&rsquo;s&nbsp;creation.&nbsp;Reaching into a collective library of&nbsp;visual recognition, they evoke&nbsp;pause in an era of rapid modernization. &nbsp;</p> <p class="p1" style="text-align: justify;">From Bettina Prentice&rsquo;s essay in&nbsp;Steiger&rsquo;s 2011 monograph,&nbsp;<em><a href="" target="_blank">Transport</a></em>:</p> <p class="p1" style="padding-left: 30px; text-align: justify;"><em>&ldquo;William&nbsp;Steiger&rsquo;s renderings of vintage propeller planes and dirigibles are&nbsp;immaculately spare; elegant visual testaments to the artist&rsquo;s fascination with&nbsp;the past. We are immediately drawn to the delicate graphic element and marvel&nbsp;at the discipline of an&nbsp;artist who allows himself so few lines. There is&nbsp;nothing self-indulgent about these paintings, no dramatic flourishes or&nbsp;decadent details to distract the viewer from the simple beauty of these flying&nbsp;machines.&rdquo;<br />&nbsp;</em></p> <p class="p1" style="text-align: justify;"><strong><a href="" target="_blank">William Steiger</a></strong>&nbsp;received&nbsp;an M.F.A in painting from Yale University in 1989. &nbsp;His works have&nbsp;been shown extensively in the United States, Europe and&nbsp;Asia, including a recent solo exhibition at PACE Prints. Works by William Steiger are included in&nbsp;numerous private and public collections such as American&nbsp;University, Bank of America and the International Collage Center.&nbsp;In 2011,&nbsp;Transport,&nbsp;a monograph of the artist with over 200 color plates and including essays&nbsp;by Richard Vine&nbsp;and Christopher Gaillard was published by Hudson&nbsp;Hills Press.</p> Thu, 28 May 2015 08:14:28 +0000 Axelle Kieffer - Limner Gallery - June 18th - July 11th Thu, 28 May 2015 08:04:49 +0000 Terry Tapp - Limner Gallery - June 18th - July 11th Thu, 28 May 2015 08:04:38 +0000 Jim Garmhausen - Limner Gallery - June 18th - July 11th Thu, 28 May 2015 08:04:28 +0000 - Joshua Liner Gallery - June 18th - July 11th Thu, 28 May 2015 07:57:58 +0000 Will Benedict - Bortolami Gallery - June 11th - August 1st <p style="text-align: justify;">Bortolami is pleased to announce <em>A Bone in the Cheese</em>, our first solo exhibition with Will Benedict.</p> <p style="text-align: justify;">The exhibition centers around a new video by Benedict entitled <em>The Bed That Eats</em>; a portrait of an unmade bed singing a song of the same title by the reductive blues duo Stare Case. While the video is in the strictest sense a portrait of a bed, the video also takes the viewer inside the bed and down into the bowels of a yellowing underworld.</p> <p style="text-align: justify;">Alongside the video, Benedict will show a series of new paintings featuring an indignant chicken, an obese marmot, and a tender gorilla while dry yellowing landscapes echo the underworld of the disemboweled, a kitchen attempts and fails to remain neutral, and several people are pictured going about their day.</p> <p style="text-align: justify;">While acknowledging a skewed moral compass Benedict offers approaches to relevant everyday subjects such as the psychology of production and the consumer state.</p> <p style="text-align: justify;">Will Benedict (b. 1978 Los Angeles) is an artist living and working in Paris, France. He most recently had solo exhibitions at Bergen Kunsthall in Norway, Balice Hertling in Paris, and d&eacute;pendance in Brussels. He has curated exhibitions at Andrew Kreps Gallery in New York, Galerie Meyer Kainer in Vienna, and at Vilma Gold in London. Benedict attended Art Center College of Design in Pasadena and the Staedelschule in Frankfurt.</p> Thu, 28 May 2015 07:23:27 +0000 Jonathas de Andrade, Matthew Benedict, Fernando Bryce, Willie Cole, Mona Hatoum, Robert Kinmont, Stefan Kurten, Jorge Macchi - Alexander and Bonin - June 6th - July 24th Thu, 28 May 2015 07:12:51 +0000 Darrell Nettles - 532 Gallery Thomas Jaeckel - June 4th - July 3rd <p style="text-align: justify;">The paintings by Darrell Nettles in <em>Broken Verse</em> are <em>ergodic</em> in the deepest and most satisfying sense of the word: although they require a great deal of effort to unlock their secrets, the engagement they demand makes an encounter with them a rich and rewarding experience. Nettles&rsquo; linguistic impressionism employs the gravid ambiguity of language to reveal its deeper treasures; his visual meditations on the images and sounds of human communication owe as much to Klee and Kandinsky&rsquo;s conflations of visual and musical composition as they do to the playful semantic games championed by the wordsmiths of Dada, Fluxus, and Pop.</p> <p style="text-align: justify;"><em>Broken Verse </em>is anchored by a series seven-foot-tall canvases arrayed edge to edge with dense pseudo-cryptographic patterns of thin block letters that are tightly juxtaposed and overlapped on soft-edged crossword puzzle grids. Elements have been added, effaced, and replaced into dense palimpsests; words emerge and sounds arise as the eye follows its own course. An underlying architectonic uniformity hints at a clandestine dialogue between the canvases. They speak from their own side with the compelling but exasperating self-assertion found in ancient cyphers and obscure old alchemical engravings.</p> <p style="text-align: justify;">In his most recent paintings, Nettles has gravitated toward texts that are more immediately legible on first glance, yet ultimately no less mysterious. Snippets of conversation torn from everyday life run from top to bottom in a font that recalls hand-stenciled shop signs; disjunctions and deliberate sidetracks are the mortar that holds them together. Phrases are stacked, clashed, amputated, and sometimes ripped apart and scattered chaotically. The resulting bits of quasi-proclamation and pseudo-communication are both sinister and amusing by turns, calling to mind the gentle snark of Ed Ruscha&rsquo;s late-19070s word pastels: &ldquo;drug allergy fake<em>&rdquo;</em> loiters just far enough from &ldquo;radical wonton&rdquo; to establish plausible deniability. Ghostly snippets of text murmur faintly in the background like a mildly sarcastic chorus, echoing, multiplying, and subverting surface meanings (is that &ldquo;permit tonight&rdquo; or &ldquo;hermit night&rdquo;?). Behind the chatter&rsquo;s misdirection is the nagging sense of a deeper significance that awaits excavation and exegesis. Nettles&rsquo; works dare us to acknowledge the primal and sometimes neurotic need we have to make sense of it all, and the magical ability that language has to both fulfill and thwart that need.</p> Thu, 28 May 2015 07:10:55 +0000 - White Columns - June 11th - July 25th Wed, 27 May 2015 18:37:55 +0000 Sam Gordon - White Columns - June 11th - July 25th Wed, 27 May 2015 18:37:17 +0000 - White Columns - June 11th - July 25th Wed, 27 May 2015 18:36:26 +0000 Harry Dodge - Wallspace Gallery - May 16th - June 20th <p style="text-align: justify;">Wallspace is pleased to present<em> The Cybernetic Fold</em>, Harry Dodge&rsquo;s second solo show at the gallery. The works in this show, which include sculpture, drawings, and video, are ecstatic, dogged reckonings with intellectual preoccupations channeled through the artist&rsquo;s body&mdash; which might here be conceived as a kind of organic filter for insuperable questions wrought by study. Is the pith of our relation material? How does a die-hard materialist conceptualize, or instantiate, the nature of our relations in a digital age?</p> <p style="text-align: justify;">How might a technophobe&mdash;or at least someone who feels acutely the diminishments, wrought by computers, of the analog nuances of human communication&mdash;contend with cyborgian reality, or what Paul Preciado has called the ever-accelerating &ldquo;pharmacopornographic era&rdquo;? How might flatness&mdash;which we confront daily in the form of monitors and smart phones, etc.&mdash;be reconsidered?</p> <p style="text-align: justify;">What if flatness didn&rsquo;t lack? What makes thickness; what makes dimension? What is the thickness of our relation to each other? How does a single bend make volume? If Rosi Braidotti is right, that &ldquo;The inhuman is not what it used to be,&rdquo; what is it now, and what are we? What might Georges Bataille&rsquo;s idea of man as &ldquo;a particle inserted into unstable and tangled ensembles&rdquo; look or feel like, if materialized into shape; what if these ensembles are not only digital, but also endlessly shaped by interest, love and shame?</p> <p style="text-align: justify;">Dodge&rsquo;s interrogation has him turning everyday objects inside-out (&ldquo;Love Fuzz/ Many Mr. Strange&rdquo;), scraping idiotic koans from comment boxes in a series of three Plexiglas stencils (&ldquo;The Gross Part,&rdquo; &ldquo;Franks and Beans,&rdquo; &ldquo;Rap With Meaning&rdquo;), repurposing scraps (&ldquo;Without the Random, There Can Be No New Thing (hey hey mama, said the way you move, gonna make you sweat, gonna make you&nbsp; groove), playing the (comedic) line between the abstract and the anthropomorphic (&ldquo;In This Hole /Honey Bucket&rdquo;), putting his own technoskin on display (&ldquo;My Glassy Essence (Shame in the Cybernetic Fold)&rdquo;). The fantasia here created may glitter (as in &ldquo;Fuck Me/Who&rsquo;s Sorry Now&rdquo;), but this is no Plato&rsquo;s cave. Dodge&rsquo;s work&mdash;frenetic, lewd, hallucinatory, and visceral&mdash;conjures the pulsing, multivalent bodies whose desires drive, and often collide with, machine (not to mention with each other).</p> <p>Harry Dodge (b. 1966, lives and works in Los Angeles, CA) has exhibited his work widely. Recent exhibitions and screenings include the world premiere of The Time-Eaters, Hammer Museum, Los Angeles (2014); Made in L.A. 2014, Hammer Museum, Los Angeles (2014); Meaty Beaty Big and Bouncy&mdash;curated by Kelly Taxter, Aldrich Contemporary Art Museum, Ridgefield, CT (2013); Whitney Biennial, Whitney Museum of American Art, New York, NY (2008). </p> Wed, 27 May 2015 18:17:17 +0000