ArtSlant - Openings & events en-us 40 Goshka Macuga - Andrew Kreps Gallery @ 535 West 22nd - September 12th, 2013 6:00 PM - 8:00 PM <p>In the 535 West 22nd Gallery, Goshka Macuga will be presenting works based on the work of Miroslav Tich&yacute;. Macuga&rsquo;s work interweaves two strands that have helped define contemporary art in the last decade: artists&rsquo; increasing tendency toward historical and archival research and their growing interest in strategies of display and the dialogue between artistic and curatorial practice. Featuring a large-scale tapestry, as well as collages that incorporate images taken from Tich&yacute;'s original negatives layered with Communist images, the works in the show emulate Tich&yacute;'s works while presenting a new reading through the eyes of a contemporary female artist who has also lived under Communism, there by addressing the inherent problematics of Tich&yacute;'s practice.</p> <p>Born in Poland in 1967, Macuga has been based in London since 1989. Her most recent solo exhibition took place the MCA Chicago where&nbsp;she is currently in residence. She has shown extensively internationally with solo exhibitions at&nbsp;the Walker Art Center in Minneapolis, the Zacheta National Gallery of Art in Warsaw (both 2011),&nbsp;&nbsp;Whitechapel Gallery in London (2010), Kunsthalle Basel (2009), and&nbsp;Tate Britain (2007). &nbsp;Her work was included in&nbsp;Documenta (13) (2012),&nbsp;&nbsp;the 53rd Venice Biennial (2009),&nbsp;the 5th Berlin Biennial (2008) and the&nbsp;Liverpool Biennial (2006), and she&nbsp;was nominated for the Turner Prize in 2008.</p> Tue, 03 Sep 2013 23:22:49 +0000 Annette Kelm - Andrew Kreps Gallery @ 537 W. 22nd - September 12th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="color: #000000; font-family: arial,helvetica,sans-serif; font-size: small;">For her second solo exhibition at the gallery Annette Kelm is presenting new works that have been made entirely in 2013. Kelm's photos filter significations as a system of values and codes that are established and stabilized by various forms of image production. This system includes their distribution by the art market, media and consumers: among them phenomena of sports and daily life, botanics, exoticism, Hollywood film, and architecture. She produces both individual and series of works with repeating motifs and, in her exhibitions, shows a combination of photographs that refuse to submit to a single reading of a theme or concept. Different ways of viewing her works are offered, but never quite fulfilled- instead they obfuscate and undo themselves. <br /><br />Annette currently has work included in <em>New Photography&nbsp;2013</em> at the Museum of Modern Art, New York. Born (1975) in Stuttgart, Kelm presently lives and works in Berlin and has participated in numerous solo and group exhibitions internationally; most recently with Presentation House gallery, Vancouver (2012), Bonner Kunstverein (2011), KW &ndash; Institute for Contemporary Art, Berlin and Kunstalle Zurich (both 2009). In 2011, Kelm participated in the 54th Venice Biennale.</span></p> Fri, 27 Sep 2013 17:59:04 +0000 Broomberg & Chanarin, Harun Farocki, Rabih Mroué, Hrair Sarkissian, Rudolf Steiner - Apexart - September 12th, 2013 6:00 PM - 8:00 PM <p>On July 1, 2011, in the neighborhood of Karam Shami in Homs, Syria, a young man stands on the rooftop of a building. He uses his cell phone to document gunfire in the streets below as his camera suddenly catches sight of a gunman on an adjacent balcony. For a brief instant, the cameraman and the gunman directly face each other. A single shot is fired. The camera falls, and with the cameraman's death, image and reality collapse into one. <br /> <br /> In the course of recent political events, anonymous cameramen and -women have emerged as powerful new figures in the politics of representation and mediation, documenting conditions that surround them while simultaneously carrying the biggest stakes in the telling of their story. They create images that do not necessarily show violence, but are visible manifestations of it; images that do not seek to create viewers, but witnesses. <br /> <br /> <em>Death of a Cameraman</em> revolves around a powerful moment in which the making of an image becomes a matter of life and death, with the camera functioning both as an extension of the eye and as a weapon. The exhibition explores the power of images to influence reality and alter the course of events. Are cameras weapons? Can they penetrate reality? What's at stake in the making of images? What does it mean to bear witness through them?&nbsp;</p> Fri, 23 Aug 2013 17:11:06 +0000 Whitney Hanson - Atlantic Gallery - September 12th, 2013 5:00 PM - 9:00 PM Sun, 25 Aug 2013 23:41:29 +0000 Morgan Fisher - Bortolami Gallery - September 12th, 2013 6:00 PM - 8:00 PM <p>Bortolami Gallery is pleased to present "Interior Color Beauty," an exhibition of new paintings by Morgan Fisher and his second one-person exhibition at the gallery. The 25 paintings are enlarged facsimiles of paint chips showing color combinations for interiors in the booklet <em>Exterior and Interior Color Beauty</em>, produced in about 1935 by General Houses, Inc., a manufacturer of prefabricated houses founded by the artist's father, Howard T. Fisher. The exhibition realizes what Morgan Fisher understood when he found the booklet in his father's files many years ago, that the groups of chips were paintings ready-made</p> <p><br /> The colors were chosen by a color consultant to make pleasing combinations, each suited to one of four kinds of rooms: living room, dining room and entrance hall, bedrooms, and kitchen. Each combination for one kind of room was suited to a specific combination in each of the others, offering a range of color schemes for the entire house. The organization of the booklet determined the organization of the show. The booklet grouped the chips by room, and each of the gallery's four principal spaces contains a corresponding group of paintings. The exhibition moves the color relations among the successive groups of chips from the pages of the booklet to successive architectural spaces.</p> <p>Following the chips in the booklet, each painting consists of two or three rectangular panels. Each panel is painted a uniform color, and the panels are placed edge to edge to make a painting, itself a rectangle. And, following the chips, the panels in a painting are different sizes to suggest the relative areas of the surfaces in a room, and the panels' positions relative to each other suggest the locations of these surfaces in the room.</p> <p>To enhance the effect of their pleasing colors, the chips in a combination were placed directly next to each other. The paintings reproduce this arrangement and so stand in contrast with paintings that copy the format of conventional color charts, where each color is isolated and not intended to relate to those nearby. The colors in a painting have pleasing relations not only among themselves, but, in accordance with the relations among the chips for different rooms, one painting in any of the four spaces has pleasing relations with a painting in each of the others.</p> <p>Morgan Fisher was born in 1942 in Washington, D.C. He studied art history at Harvard College and then film in Los Angeles. His early work was in film, and more recently he has made paintings, sculptures, photographs, and works on paper. Many of the paintings and sculptures are related to architecture, as are the paintings in this exhibition. His recent one-person exhibitions at public institutions were at the Aspen Art Museum in 2013; the Generali Foundation, Vienna in 2012; Raven Row in London and the Museum Abteiberg, M&ouml;nchengladbach, in 2011; and Portikus, Frankfurt in 2009. He lives and works in Los Angeles.</p> <p>The artist and Bortolami Gallery have published a limited edition facsimile of <em>Exterior and Interior Color Beauty</em>, which will be available from the gallery.</p> Fri, 30 Aug 2013 03:31:30 +0000 Sara Conklin - Ceres Gallery - September 12th, 2013 6:00 PM - 8:00 PM <p>This series of paintings are comprised of familiar subjects, people, pets and animals in the wild. The work is inspired by the ambiguous time of day when nighttime descends. The brash juxtaposition of animals outdoors in their natural habitat and then indoors of the domestic scene are the fodder of these works.</p> Tue, 27 Aug 2013 02:08:40 +0000 Jane Stevens - Ceres Gallery - September 12th, 2013 6:00 PM - 8:00 PM <p>These new digital photographs capture a moment in time that represents a unique juxtaposition of objects. These objects share with the viewer a forgotten experience and time. They embody a sense of wonder in a time long past.</p> Tue, 27 Aug 2013 02:10:35 +0000 Barry McGee - Cheim & Read - September 12th, 2013 6:00 PM - 8:00 PM <p>Cheim &amp; Read is pleased to announce an exhibition of new work by Barry McGee. This is the artist&rsquo;s first solo show with the gallery. It will also be his first in New York in 8 years.<br /> <br /> Born in 1966, Barry McGee is arguably the most well-known and influential of the recent surge of artists from the Bay Area to have international success. He was raised in San Francisco, studied painting and printmaking at the San Francisco Art Institute (graduating in 1991), and continues to live and work in the city. McGee&rsquo;s boldly graphic, colorful work incorporates a multitude of influences (including, for example, graffiti, American folk art, and Op Art), but is most immediately evocative of the urban street culture from which he hails. Engaging the ways in which the city&rsquo;s unique vernacular translates into artistic imagery, McGee celebrates the diversity, distinctive characters (one of his well-known motifs is a crawling, sad-sack bum), and neighborhood communities of the inner-city. His work critiques consumerist culture and the constant backdrop of commercialism in everyday interactions; rejecting the billboard and chain store, McGee instead finds inspiration in the seeming randomness of graffiti, the endless uploading of images on the internet, and the creative styling of misfits. McGee&rsquo;s work succeeds in its sensitive balance between anarchy and collaboration, resulting in environments which immerse the viewer in his singular, yet inclusive, vision.<br /> <br /> Directly involved with the installations of his shows, McGee organizes his multi-layered compositions on-site. For the Cheim &amp; Read exhibition, assembled clusters of framed drawings and hand-painted wood panels accompany loose stacks of embellished surfboards, fetish-like wooden objects, and specially-made furniture. Drawings, paintings and sculptures are treated equally; echoing his anti-establishment sensibility, McGee refuses hierarchies of material or subject matter. His recent work is comprised of flat-surfaced, brightly-colored geometric motifs, serial images and caricatures of cartoon-like characters, and recurring monikers, like the pseudonym &ldquo;L. Fong,&rdquo; and the acronyms &ldquo;THR&rdquo; (The Human Race) and &ldquo;DFW&rdquo; (Down for Whatever). Interspersed among the abstract panels (which sometimes expand along bulbous walls and around corners en masse), the images and words provide an enigmatic but individualized narrative in an otherwise vibrating, tile-like field of intense pattern. Visually stimulating, perceptive, and seeming to channel the various rhythmic beats of urban culture, McGee&rsquo;s work addresses issues of identity, mark-making, authorship and autonomy within the bustling, constantly changing tableau of city life.<br /> <br /> McGee has shown extensively, both nationally and internationally. &ldquo;Mid-career Survey,&rdquo; opened last year at the Berkeley Art Museum, Berkeley, California, and traveled to the Institute of Contemporary Art Boston, Boston, Massachusetts (where it closes September 2nd). An exhibition of new work, &ldquo;2013 Focus: Barry McGee,&rdquo; recently closed at the Modern Art Museum Fort Worth, Fort Worth, Texas. He has also been the subject of shows at UCLA Hammer, Los Angeles; the Prada Foundation, Milan; the Walker Art Center, Minneapolis; the Butler Gallery, Kilkenney Castle, Ireland; and The Watari Museum of Contemporary Art, Tokyo, among others. He is represented in New York by Cheim &amp; Read.</p> Thu, 05 Sep 2013 23:24:30 +0000 Manjari Sharma - ClampArt - September 12th, 2013 6:00 PM - 8:00 PM <div style="text-align: justify;"><span style="font-size: small; font-family: arial, helvetica, sans-serif;">ClampArt is pleased to present&nbsp;<em>Darshan,&nbsp;</em>an exhibition of new work by contemporary photographer Manjari Sharma. "Darshan" is a Sanskrit word meaning "vision" or "view." It is most commonly used in the context of Hindu worship and can also be translated as an "apparition" or a "glimpse." &nbsp;One may seek and receive the Darshan of a deity, and upon sight, that Darshan may invoke an immediate connection between that deity and the devotee. A Darshan can ultimately be described as an experience purposed on helping one focus and call out to his or her sense of spirituality.</span></div> <div style="text-align: justify;"><span style="font-size: small; font-family: arial, helvetica, sans-serif;">&nbsp;</span></div> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">For Sharma, the series&nbsp;<em>Darshan&nbsp;</em>aims to photographically recreate various classical images of Gods and Goddesses pivotal to mythological stories in Hinduism. &nbsp;Printed on a massive scale, photographs will be presented in an elaborate installation closely resembling the experience of a Hindu temple, complete with incense, lamps, and invocations.&nbsp;&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">Entirely self-funded in 2011, via the crowd-sourcing site Kickstarter,&nbsp;<em>Darshan</em>&nbsp;has already garnered a significant amount of attention from&nbsp;<em>NPR&nbsp;</em>to the&nbsp;<em>New York Times</em>,&nbsp;<em>Huffington Post&nbsp;</em>and&nbsp;<em>LIFE.&nbsp;&nbsp;</em>Sharma has said of the work that&nbsp;"Growing up in India, I saw spiritual paintings and sculptures of deities everywhere...but never a photograph...My mission is to prove that a carefully created photograph can evoke a similar spiritual response."</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">To make the imagery for the series Sharma did extensive research on each character which led to the assemblage of a team of approximately thirty-five Indian craftsmen who created, as the<em>New York Times'</em>, Niko Koppel explained, "elaborate sets, detailed costumes,&nbsp;Bollywood-level prosthetics and custom props," all tailored to the artist's exacting specifications. The collaborative process and execution of the primarily straight images that have been planned in-camera is the beauty of the images that do not rely on extensive post-production manipulation.</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;"><em>Darshan&nbsp;</em>will be on view September 12<sup>th</sup>&nbsp;through&nbsp;October 12<sup>th</sup>&nbsp;2013 at ClampArt Gallery in New York City.&nbsp;To request a contact sheet or for additional information please contact Jessie&nbsp;Cohen:&nbsp;<a href="" target="_blank"></a>&nbsp;or go to:&nbsp;<a href="" target="_blank"></a>.</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">Manjari Sharma (b. 1979) is a photographer born and raised in Mumbai, India, now based in Brooklyn, New York. She has a BSC in Visual Communication from S.N.D.T. University, Mumbai and a BFA in Still Photography from Columbus College of Art and Design in Columbus, Ohio. Her images have appeared in such publications as<em>&nbsp;Forbes India Magazine</em>,&nbsp;<em>Vogue India</em>,<em>&nbsp;Geo Magazine</em>, online at&nbsp;<em>NPR</em>,&nbsp;<em>New York Times</em>,&nbsp;<em>Huffington Post</em>,&nbsp;<em>PDN</em>&nbsp;and&nbsp;<em>Life Magazine</em>. Sharma received an honorable mention for the prestigious Santa Fe Prize in 2012, and she was invited as a "Shots and Works" artist for LOOK 3: Festival of the Photograph in 2013.&nbsp;</span></p> Thu, 12 Sep 2013 10:15:11 +0000 Manjari Sharma - ClampArt - September 12th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">ClampArt is pleased to present Manjari Sharma&rsquo;s &ldquo;Shower Series.&rdquo; Four years back, Sharma discovered the best way to get a subject to relax in front of her camera lens was to get them in the shower.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Shooting in her own apartment in Brooklyn, the artist invited friends and acquaintances over to sit for a portrait. What she eventually realized was that much of the awkwardness and anxiety of posing for a picture strangely melted away in the intimacy of a shower.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Once they would agree, Sharma&rsquo;s subjects almost invariably relaxed in demeanor and conversation as the warm water began to flow. Standing in that private space typically only shared by a parent or a lover, the artist now has heard about the emotional journeys of a number of people. For a feature on the series written by Lauren Russell for CNN, Sharma stated, &ldquo;The shower creates this confessional-like space.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Customarily, Sharma would begin the dialogue with simple questions, allowing people to open up over time. &ldquo;It was like Russian dolls, and it became more and more personal,&rdquo; she says. Sharma feels the best photographs are those in which the subject shared the most&mdash;both conversationally and physically. Those who could not make eye contact with the camera seemed to be the ones who had the most difficulty surmounting their reticence.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Sharma concludes, &ldquo;I have been told by my sub-jects that it is thrilling and adventuresome to be in my shower. Secretly cheating my traditional and&nbsp;</span><span style="font-size: small;">tame Indian upbringing, I live through all of my subjects&mdash;fighting their wars and braving their fears for those few hours where we are connected through this pious space. I continue to investigate this photo project, which has thus far given rise to some of the fastest, most disarming relationships I have ever formed.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Manjari Sharma (b. 1979) is a photographer born and raised in Mumbai, India, now based in Brooklyn, New York. She has a BA in Visual Communication from S.N.D.T. University, Mumbai, and a BFA in Still Photography from Columbia College of Art and Design in Columbus, Ohio. Her images have appeared in such publications as Forbes India Magazine, Vogue India, and Geo Magazine, and online at NPR, The New York Times, PDN, The Huffington Post, and Life Magazine. Sharma received an honorable mention for the prestigious Santa Fe Prize in 2012, and she was invited as a &ldquo;Shots and Works&rdquo; artist for LOOK 3: Festival of the Photograph in 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is generously supported by Rayographix Fine Art Digital Printing in Bushwick Brooklyn, New York.</span></p> Thu, 12 Sep 2013 10:18:37 +0000 Catriona Herd, Jerry MC Georges, Carlton Murrell, Donovan Nelson, Nigel Pierre - Clover's Fine Art Gallery - September 12th, 2013 6:00 PM - 8:00 PM <div class="Section1"> <p align="center"><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Clover's</strong><strong> Fine Art Gallery Cordially Invites You To</strong></p> <p align="center">&nbsp;<strong><em>Perspectives</em></strong></p> <p align="center"><strong>Opening Reception Thursday, Sept 12<sup>th </sup>6-8 pm</strong></p> <p align="center"><strong>Sept 7<sup>th </sup>2013 &ndash; Nov 3<sup>rd </sup>2013</strong></p> </div> <p>&nbsp;</p> <p>CLOVER'S FINE ART GALLERY is proud to present <strong><em>Perspectives</em></strong>, a group show of five diverse artists &ndash; <strong>Catriona Herd, Jerry MC Georges, Carlton Murrell, Donovan Nelson and Nigel Pierre</strong> &ndash; whose works showcase their perspectives on life from a myriad of ways in which the artists perceive, construe and relate to life.</p> <p>&nbsp;</p> <p>New York-based Scottish painter <strong>Catriona Herd</strong> paints landscapes from plein air sketches done all over the United States, Scotland and mainland Europe.&nbsp; Herd, who also paints the figure, spent the summer of 2013 on a painting scholarship at the Marchutz School of Fine Art in Aix-en-Provence, France.</p> <p>&nbsp;</p> <p>Haitian-borned <strong>Jerry MC Georges</strong> encapsulate Haiti&rsquo;s beauty, glory and pain in his dramatic oil on canvas portraits and landscapes from his homeland. &nbsp;If you look carefully at his pictures, you will see that he is creating stories for us, leaving us clues to the mystery of lives, and clues to the mystery of who lives there. MC Georges was part of a group of Haitian artists that presented a rebirth of Haiti through art after the earthquake in 2010.</p> <p>&nbsp;</p> <p><strong>Carlton Murrell</strong>&rsquo;s portraits of landscapes and island lifestyle are rich in color and reflect the artist&rsquo;s Caribbean heritage.&nbsp; Murrell grew up in Barbados and pursued formal education in the US.&nbsp; Great master impressionist painter Claude Monet had a tremendous influence in his painterly style.&nbsp; Murell&rsquo;s layering of paints, short strokes and usage of color create powerful, thought-provoking visual images.&nbsp;</p> <p>&nbsp;</p> <p><strong>Donovan Nelson</strong> was born in Jamaica and currently lives in the blossoming art scene in Brooklyn.&nbsp; His oil on canvas paintings exposes the artist&rsquo;s emotional response towards his subject.&nbsp; Nelson&rsquo;s paintings are rich in color, texture and cultural heritage.</p> <p>&nbsp;</p> <p>Working with water and acrylic colors, <strong>Nigel Pierre</strong> is a master of depicting the expressive quality of light.&nbsp; The resulting images are at once realistic, yet visionary and capture the freshness and excitement of the artist&rsquo;s interpretation. Nigel is a native of Barbados.</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><strong>Clover&rsquo;s Fine Art Gallery is particularly committed to promoting a greater awareness and appreciation of the art and artists of the Caribbean.</strong></p> <p>&nbsp;</p> <p align="center"><a href="" rel="nofollow" target="_blank"></a></p> <p align="center"><a href="" rel="nofollow" target="_blank"></a></p> <p align="center"><a href="" rel="nofollow" target="_blank"></a></p> <p align="center"><a href="tel:718%20625%202121" rel="nofollow" target="_blank">718 625 2121</a></p> <p align="center">338 Atlantic Avenue, Brooklyn, NY 11201</p> Mon, 09 Sep 2013 04:09:32 +0000 Jennifer Marman, Daniel Borins - Cristin Tierney Gallery - September 12th, 2013 6:00 PM - 8:00 PM <p>Tierney Gardarin Gallery is pleased to announce the first New York solo exhibition of Jennifer Marman and Daniel Borins, opening Thursday, September 12 and on view through Saturday, October 26, 2013. The artists will be present at the opening reception from 6-8pm on Thursday, September 12.<br /> <br /> The exhibition will feature a large-scale installation entitled Pavilion of the Blind and a series of related paintings. Pavilion of the Blind is a freestanding structure that contains a colorful array of window blinds, panels and shades. Movement is triggered by a motion detector and controlled by a PLC (programmable logic controller) housed within the structure. The mechanical installation arranges and rearranges itself into a series of constantly changing abstract compositions.<br /> <br /> The title of this work is both a visual pun and a reference to H.G. Wells' 1939 text The Country of the Blind, a parable that reflects upon the nature of vision and how we communicate our visual experience with others. The Pavilion functions as a window into the mind of the artist, running through an endless series of pictorial themes and variations. The execution of the paintings allude to the tradition of Constructivism and echo the compositions of the larger sculptural form, allowing for a humorous, somewhat paradoxical commentary on artistic practice, and the history and nature of abstraction.<br /> <br /> Jennifer Marman and Daniel Borins have been making large-format sculpture, mixed media, installation and electronic art since 2000. Intervening upon institutional and public spaces, their work often contextualizes visual art squarely within everyday life while simultaneously referring to and reassessing twentieth century art history: its utopias, polemics, and formal one-upmanship. Their work is currently featured in a solo exhibition at the Art Gallery of Hamilton, entitled The Collaborationists, which will travel to several additional museum venues in 2014.</p> Fri, 16 Aug 2013 06:14:51 +0000 Susie MacMurray - Danese/Corey - September 12th, 2013 6:00 PM - 8:00 PM <p>Danese is pleased to present its inaugural exhibition of sculpture and drawings by Susie MacMurray. <br /> <br /> Formerly a classical musician, the Manchester-based artist retrained as an artist, graduating with an MA in Fine Art in 2001, and has built up an international exhibition profile.<br /> <br /> As Kathleen Soriano observes in her 2011 essay for MacMurray's catalogue: "A first encounter with the work of artist Susie MacMurray inevitably places the viewer right at the centre of the key issue in her work &ndash; the tension between extremes of sensual and aesthetic response: Ying/yang; anima/animus; soft/hard; a dress/not a dress; love/death; freedom/constraint; power/submission. The seduction of her pieces draws you to them with a lightness of touch that belies their complexity and, more often than not, their aggressive, confrontational qualities that deny their commentary on difficult issues such as anorexia, mortality and bereavement.<br /> <br /> The beauty of MacMurray&rsquo;s work occasionally belies the power and strength held within it. Whilst the sense of loss has nearly always been present in her work, it is also as much about the nature of memories and remnants of our existence. She gathers and gives new life and meaning to lost hair, fallen violin bow hair, harp strings, to a loss of time and tradition &mdash; as we see her installations strive to capture the stories of the past, be it the lives of National Trust properties or the flint walls of the Sussex towns and villages as in Shell. These strings of our experience carry the memories of our lives, our talismans that MacMurray would argue need to be considered in Buddhist terms as part of the bigger flow, where we recognise that all things pass, whether in a minute or in a million years, so that we resist being paralysed by the possibilities of loss. That does not stop her from exploring that loss within her work but we should not be seduced by the vulnerability that it suggests given her position as artist with the control and authority that she has over the interpretation of that loss, and ultimately in the powerful and confident position that those pieces now assume."</p> Mon, 30 Sep 2013 22:15:50 +0000 Group Show - David Nolan Gallery - September 12th, 2013 6:00 PM - 8:00 PM <p>David Nolan Gallery is pleased to present <em>Sculpture after Artschwager</em> &ndash; an exhibition which examines the diverse legacy of American artist, Richard Artschwager (1923-2013). On view from September 12 through October 26, the show brings together 10 artists whose work testifies a relationship to his highly original output.<br /> <br /> Artschwager came of age as an artist during the early 1960s when a new generation of sculptors were having their first exhibitions in New York City. Notable among these were Robert Morris and Donald Judd, whose measured geometric forms would eventually become labeled under &ldquo;minimalism&rdquo;. Artschwager exhibited alongside these artists in a 1966 sculpture survey at the Jewish Museum, though his work &ndash; a sculpture of a table, rendered in formica &ndash; was set apart for its kitsch materials and light-hearted humor. This playfulness and humanity, which runs throughout Artschwager&rsquo;s practice, is what distinguishes him from many of the artists who were making work in wake of modernism.<br /> <br /> In this exhibition, we assess a number of Artschwager&rsquo;s themes and formal innovations, which we trace through a variety of younger artists who are working currently. One exception is a sculpture by Martin Kippenberger (1953-1997), which was first shown in an exhibition entitled <em>A Man and His Golden Arm</em> (in our SoHo gallery) in 1994. This work is comprised of a wall-mounted wood and bronze relief affixed with 34 colored objects. On the floor below is a shipping crate, whose unusual proportions are designed to accommodate the piece above. This self-conscious announcement of the work of art as a commodity relates to a concurrent body of work in Artschwager&rsquo;s practice (which, by coincidence, was presented the same year at another gallery in New York) wherein finely crafted wooden crates confounded the typical expectation of &ldquo;art&rdquo;, offering a witty take on the art market and the impulse to collect.<br /> <br /> Artschwager&rsquo;s groundbreaking discovery in the 1960s was the use of commercial-grade products as possible materials in art. Many of his paintings made use of Celotex (designed for ceiling insulation), which lent a peculiar patterning to his pictorial surfaces. The use of formica was another interesting innovation, as it involved the transfer of a two-dimensional surface &ndash; often a photographic representation of wood &ndash; onto a three-dimensional object. This relationship is developed by British artist, Gavin Turk (b. 1967) whose bronze sculptures of ordinary objects (a cardboard box, a car tire) are meticulously oil-painted, in effect re-animating the traditional idea of the <em>&ldquo;trompe-l&rsquo;oeil&rdquo;</em> within in a three-dimensional realm.<br /> <br /> Gavin Turk has described &ldquo;the overt recognition of what we are looking at&rdquo; in relation to Artschwager&rsquo;s sculpture: recurring objects &ndash; tables, doors, mirrors or a basket &ndash; are articulated thorough stylization and an economy of means, often to a point of caricature. Jennifer Gross characterizes these objects as &ldquo;protagonists in Artschwager&rsquo;s pictorial/spatial drama&rdquo; which exist in &ldquo;a world of surreal banality through which he thoroughly investigated the boundaries of a room inhabited by familiar things&rdquo;. This exhibition extends on this spatial drama, casting various uncanny objects from everyday life into an unusual stage show. Adam McEwen&rsquo;s (b. 1965) <em>Rolldown Gate</em> could be a conceptual stand-in for an Artschwager door &ndash; instantly recognizable, but also surprising &ndash; while Isabel Nolan&rsquo;s (b. 1974) <em>Invisible Mirror</em> re-invokes Artschwager&rsquo;s versions of the mirror motif.<br /> <br /> Towards the end of his career, Artschwager turned his focus to images of an open road leading out to a horizon. Blair Thurman (b. 1961) touches on this theme, as do Nate Lowman (b. 1979) and Dan Colen (b. 1979) in a collaborative piece. In each of these works, road imagery is enlisted in the making of highly original sculptures.<br /> <br /> Finally, the exhibition introduces the work of Justin Adian (b. 1976), whose unusual wall-mounted sculptures recall Artschwager&rsquo;s radical &ldquo;blps&rdquo;, which, seemingly useless, appear in unexpected places. Adian&rsquo;s sculpture &ndash; essentially a painted canvas, stretched over a strangely shaped support &ndash; resides in the corner of the room (a favored placement for Artschwager). Its brightly keyed yellow was also an important color in Artschwager&rsquo;s work, featuring in the formica pieces of the early 1960s and in the wild and imaginative landscapes drawn at the end of his life.</p> Fri, 23 Aug 2013 03:21:14 +0000 Raymond Pettibon - David Zwirner- 519 W. 19th - September 12th, 2013 6:00 PM - 8:00 PM <p><strong>Raymond Pettibon</strong>’s work embraces a wide spectrum of American “high” and “low” culture, from the deviations of marginal youth to art history, literature, sports, religion, politics, and sexuality. Taking their points of departure in the Southern California punk-rock culture of the late 1970s and 1980s and the “do-it-yourself” aesthetic of album covers, comics, concert flyers, and fanzines that characterized the movement, his drawings have come to occupy their own genre of potent and dynamic artistic commentary.</p> <p>Born in Tucson, Arizona, in 1957, Pettibon graduated with a degree in economics from the University of California, Los Angeles, in 1977. He joined David Zwirner in 1995. Since then he has had eight solo exhibitions at the gallery, including his most recent show, <em>Raymond Pettibon: Hard in the Paint</em>, in 2010. An upcoming solo exhibition is planned for September 2013 at David Zwirner, New York.</p> <p>On view June 3 to July 1, 2013 is a recent drawing reworked by the artist for the tenth installation of the High Line Billboard, located at 18th Street and 10th Avenue in New York.</p> <p>Pettibon’s work has been exhibited widely throughout the United States and abroad, including recent solo shows at the Kunstmuseum Luzern, Lucerne, Switzerland (2012); Kestnergesellschaft, Hanover (2007); Kunsthalle Wien, Vienna; Centro de Arte Contemporáneo de Málaga, Spain (both 2006); Museum of Contemporary Art San Diego, La Jolla, California; and the Whitney Museum of American Art, New York (both 2005). In 1998, he had his first major American museum presentation, organized by The Renaissance Society at the University of Chicago in collaboration with the Philadelphia Museum of Art, which traveled to The Drawing Center, New York, and the Museum of Contemporary Art, Los Angeles.</p> <p>He has participated in numerous international group exhibitions, including the Liverpool Biennial (2010); SITE Santa Fe, Santa Fe, New Mexico (2010 and 2004); the Venice Biennale (2007 and 1999); the Whitney Biennial, Whitney Museum of American Art, New York (2004, 1997, 1993, and 1991); and documenta XI, Kassel, Germany (2002).</p> <p>Major permanent collections which hold works by the artist include the Centre Georges Pompidou, Paris; Hamburger Bahnhof – Museum für Gegenwart, Berlin; The Israel Museum, Jerusalem; San Francisco Museum of Modern Art; Tate Gallery, London; Whitney Museum of American Art, New York; among others. Pettibon lives and works in New York and Venice Beach, California.</p> Tue, 02 Jul 2013 00:11:20 +0000 Philip-Lorca diCorcia - David Zwirner- 525 W. 19th - September 12th, 2013 6:00 PM - 8:00 PM <p>Between 1990 and 1992, Philip-Lorca diCorcia, funded by a National Endowment for the Arts fellowship, made multiple trips to Los Angeles to scout locations, invent scenarios, and ultimately find male prostitutes that would agree to pose for photographs. DiCorcia used his fellowship money to pay the men whatever price they charged for their most typical service, and ultimately prompted a complaint of misuse of government funds. The titles of these encounters amplify the facts: Ralph Smith, 21 years old, Ft. Lauderdale, Florida, and $25.</p> <p><em>Hustlers</em>&nbsp;represents an early example of&nbsp;diCorcia&rsquo;s choreographed street photography. Reinvigorating the genre instigated by Eug&egrave;ne Atget and Henri Cartier-Bresson in the early twentieth century, and particularly popularized thanks to the latter&rsquo;s notion of the &ldquo;decisive moment,&rdquo;&nbsp;diCorcia&rsquo;s photographs at first glance appear to depict random moments in public settings. They rarely, however, involve chance.&nbsp;Knowing precisely what he wanted from each photograph and fearful of police involvement, diCorcia would&nbsp;first try out his idea for a composition with his assistants, and then return to the location with the hustlers he had approached, such as a motel room, a vacant lot, a fast-food restaurant, in between and inside cars. The narrative was always deliberate. From the moment diCorcia approached a potential subject (usually around Santa Monica Boulevard in Hollywood), to the completion of the shoot, seldom more than one hour had passed.&nbsp;The result is a series of carefully composed, yet loaded works which revolve around a tension between the subject&rsquo;s unique presence in front of the camera and the artist&rsquo;s predetermined idea for the shot.</p> <p>In 1993, twenty-one images were exhibited at The Museum of Modern Art, New York, marking diCorcia&rsquo;s first solo museum exhibition.&nbsp;The show, entitled&nbsp;<em>Strangers</em>, was later accompanied by a museum&nbsp;publication. Twenty years later, the exhibition at David Zwirner coincides with the publication of <em>Hustlers</em> (steidldangin).&nbsp;Created by Pascal Dangin in collaboration with the artist, this large-scale publication presents the series in its entirety.</p> <p>Also on view, and shown for the first time in the United States, will be a room-sized installation composed of three synchronized single-channel projections entitled&nbsp;<em>Best Seen, Not Heard</em>&nbsp;(2012).</p> Tue, 30 Jul 2013 00:26:34 +0000