ArtSlant - Recently added en-us 40 Carroll Dunham - Gladstone Gallery - 24 St. - October 31st - December 4th <div id="artistContentPastBio" style="text-align: justify;"> <p>Gladstone Gallery is pleased to announce an exhibition of new paintings by Carroll Dunham. The exhibition features nine large-scale paintings drawing on the nude bathers and pastoral landscapes familiar from Dunham&rsquo;s works since the late 2000s. The new paintings show the evolution of the artist&rsquo;s bathers, while making room for new subjects to enter the frame and complicate the visual terrain, including animals and a male perspectival figure introduced here in paintings for the first time.</p> <p>Dunham&rsquo;s nude females are boldly animated figures, swinging from a tree or riding with extended arms atop a horse. The artist&rsquo;s figures are both in and of their surroundings, composed of recurring motifs that are at once subject matter and formal devices. In <em>Horse and Rider (My X) </em>(2013-2015), the artist makes faintly visible the compositional elements of the painting: the structural device of an X, generated by two corner-to-corner lines, aligns the figure with both the landscape and the surface structure, as the nude rider&rsquo;s arms extend out and upwards, legs resting over her horse&rsquo;s rear towards the painting&rsquo;s lower corners. The eye quickly finds the focal point of the X: Dunham directs our gaze purposefully and pointedly towards the horse and female&rsquo;s naked buttocks. Viewers are invited to enter the painting at this point, with an erotic and comedic twist to the pastoral image before them.</p> <p>Pushing color, form, and line to create collision-like interactions of exuberant geometries, Dunham constructs a compact tension between the interlocking forms that relate to both subject and landscape, foreground and background. Vivid frictions are particularly felt in three yellow and black paintings titled <em>Big Bang</em>, in which the artist depicts the infinite vastness of the Big Bang. In an attempt to render the impossible, the paintings become part cosmological fantasy, while still rooted in the conventions and scale of a natural landscape.</p> <p>The exhibition will be accompanied by a forthcoming catalogue, featuring an essay by Lynne Tillman.</p> <p>Carroll Dunham was born in 1949 and lives and works in New York and Connecticut. Dunham&rsquo;s work has been the subject of numerous solo exhibitions at international institutions including Museum Ludwig, Cologne; Millesg&aring;rden, Stockholm; Drammens Museum, Drammen, Norway; a mid-career retrospective was held at the New Museum of Contemporary Art, New York. Dunham has also been included in notable group exhibitions including multiple Whitney Biennials and SITE Santa Fe; and at institutions including Mus&eacute;e d&rsquo;art moderne et contemporain, Geneva; the Museum of Modern Art, New York; Museu Picasso, Barcelona; The Institute of Contemporary Art, Boston.</p> </div> Tue, 06 Oct 2015 11:43:06 +0000 Shara Hughes, Meredith James, Elizabeth Jaeger, Annie Thornton - Jack Hanley Gallery- New York - October 15th - November 15th Tue, 06 Oct 2015 11:38:56 +0000 Alexis Smith - Garth Greenan Gallery - October 22nd - December 5th Tue, 06 Oct 2015 11:30:40 +0000 Brian DeGraw, Alec Mcquilkin, Dennis Dawson, Michael St. John, Jon Boles, Paul Paddoc - Frosch & Portmann Gallery - October 22nd - November 29th Tue, 06 Oct 2015 11:26:24 +0000 Thomas Broadbent - Front Room Gallery - October 16th - November 22nd Tue, 06 Oct 2015 11:18:22 +0000 Paul Cocksedge - Friedman Benda - October 29th - December 5th <p style="text-align: justify;">Friedman Benda announces its second major exhibition of works by Paul Cocksedge in the United States. For his new show, Cocksedge presents three series&rsquo; of objects representing a continuation of a recurring theme in his work:&nbsp; to achieve simplicity in the use of materials, with minimal interference, while harnessing the forces of nature and letting innate properties play out in ways not seen before.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Freeze&rdquo;<br /> In Freeze, Cocksedge exploits freezing temperatures to create a seamless bond between metals that otherwise do not adhere in nature. The breakthrough in the series - a table of copper and aluminum - was made by first burying four copper legs in snow, leaving them to contract by 100th of a millimeter; second, excavating the legs and inserting them into holes cut into an aluminum slab where they were allowed to un-freeze back to ambient temperature thereby firmly locking into place in a strong, invisible join. </p> <p style="text-align: justify;">Further calibrating temperatures and tolerances of various shapes, forms, and metals, Cocksedge went on to create an entire body of exquisitely precise, balanced, and seemingly impossible works; each incorporating a stunning range of metals that appear to float together, magically. </p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Slice&rdquo;<br /> The concept for the Slice series of furniture began with a simple idea: to have a table make itself, with only the slightest guidance, based on the properties of its raw material. For this, Cocksedge imagined a transparent cast acrylic block of material sliced from either side. When heat was then applied to the block, the force of gravity formed the legs and the Slice table was born.&nbsp; Other forms followed. </p> <p style="text-align: justify;">Slice (like Freeze) is a process that involves precision engineering, but the process of its making is as transparent as the material itself &ndash; its simplicity of idea belies its complexity.&nbsp; </p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Rhythm Shelf&rdquo;<br /> The inspiration for Rhythm Shelf came from looking at an untidy bookshelf. Ironically, by sketching a series of vertical lines on a sheet of paper mirroring the disorder, a certain rhythm started to emerge for Cocksedge. Extrapolating on the theme, he created a 3.6 meter Rhythm bookshelf that holds everything from the largest volumes to a poem on a single piece of paper. With 68 dividers, the long range and unexpected variance compels the viewer like waves rippling off a vibrating wire.</p> Tue, 06 Oct 2015 11:13:14 +0000 Mary Reid Kelley - Fredericks & Freiser - October 15th - November 14th Tue, 06 Oct 2015 11:10:25 +0000 Michael Wang - Foxy Production - October 22nd - November 21st Tue, 06 Oct 2015 10:32:30 +0000 Richard Smith - Flowers Gallery NY - October 15th - November 14th <div class="entry__body typeset"> <p style="text-align: justify;">Flowers Gallery is pleased to announce an exhibition of Richard Smith&rsquo;s <em>Kite Paintings</em>, bringing together works from the 1970s and 1980s in the most comprehensive presentation of <em>Kite Paintings</em> in the United States since&nbsp;1978.</p> <p style="text-align: justify;">From the early 1960&rsquo;s Richard Smith was at the forefront of a new development in abstract painting which responded to the modern urban landscape, newly dominated by advertising billboards and the pervasive graphic styles of commercial imagery. Although his embrace of vibrant synthetic colors and references to consumer culture had links with the emerging British Pop movement, Smith developed a personal response to the sensory experiences of modern life, grounded by his physical encounters with the everyday visual and material&nbsp;world.</p> <p style="text-align: justify;">Smith gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence. Literally protruding into the gallery, the contoured structures radically altered the spatial qualities of his painting, exploring a newfound tension between volume, color and&nbsp;surface.</p> <p style="text-align: justify;">A reversal of the relationship between the canvas and its support took place in the early 1970s, when Smith replaced the bulky stretchers with visible lightweight wooden struts. Strings were used to tie and stretch the canvas to its supports and to suspend the paintings from the wall or ceiling, achieving a tautness and levity such as that of a&nbsp;kite.</p> <p style="text-align: justify;">Smith&rsquo;s Kite Paintings, first exhibited in New York in 1971, can be seen as a development of his freestanding installation &lsquo;Gazebo&rsquo; exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design Conference of the same year. Both were painted environments constructed from suspended canvas panels, which allowed the viewer to examine their forms from multiple aspects. The Kites continued Smith&rsquo;s investigations into the detachment of the canvas from the stretcher, while asserting his primary concerns with painting rather than sculpture. The spatial relationships are defined through a rhythmic overlapping of planes and serial arrangements of squares, rectangles, and curved shapes, forming crosses, zigzags and&nbsp;arcs.</p> <p style="text-align: justify;">Balanced at angles, the paintings were determined by their own centre of gravity. The strings hanging from the canvases present a painterly language of brush strokes and drips, accentuating also the pull of gravity and the relationship between the canvas and its place among the forces of nature in the world around us. As Barbara Rose has said: &ldquo;Inevitably they echo the verticality of man&rsquo;s own gravity-determined stance&hellip; These consistent allusions to the human condition prove that abstract art is not necessarily divorced from man&rsquo;s&nbsp;experience.&rdquo;</p> <p style="text-align: justify;">Smith&rsquo;s Kite Paintings worked to redefine notions of the &lsquo;edge&rsquo; of painting, as the artist rejected the limitations of the traditional rectangular canvas support. Drawn edge and physical edge are combined and allocated equal weight in Smith&rsquo;s examination of the surface, revealing a new visual language of&nbsp;representation.</p> <p style="text-align: justify;">In contrast to other painters working with flattened color fields in this period, Smith favoured to retain painterly, vigorous brushwork, constructing the illusion of depth within his layering of forms. This textured surface provides the works with a tangible physical presence and emotional lyricism, a powerful opposing force to his illusory surface space. These oppositions are echoed in Smith&rsquo;s contrasting color combinations of bold and radiant alongside dull and neutral&nbsp;tones.</p> <p style="text-align: justify;">The exhibition will also include a series of works on paper and preparatory models for the Kite Paintings, illuminating Smith&rsquo;s inventive working process. The show is accompanied by a new full-color catalogue with an essay by American Art Historian and Critic Barbara Rose, who has previously written the catalogue for Smith&rsquo;s seminal Seven Exhibitions 1961 - 75 at Tate&nbsp;Gallery.</p> </div> Tue, 06 Oct 2015 10:28:20 +0000 Joseph Desler Costa - Foley Gallery - October 21st - November 28th <p class="p1" style="text-align: justify;">Extreme Learning Machines (ELMs) aim to break the barriers between conventional artificial learning techniques and biological learning mechanisms. ELM systems and theories call for designs based upon the human nervous system that capture the intuitive efficiency and essence of brain learning. ELM learning capacity is based on algorithms that mimic, reproduce and replicate experience. This technology creates a machine system that is not programmed but rather learns to learn, and requires minimal human intervention.</p> <p class="p2" style="text-align: justify;">&nbsp;Costa&rsquo;s practice is very much a processed-based labor. Works absorb, mimic and inevitably humanize the visual language made possible by machine and imaging software. Compositions attempt to recreate the texture of a reality that has widened and opened via our ever-present screens and devices &ndash; a reality where the digitally constructed and altered image imposes itself on our notions and understandings of space, place, intimacy and self. Temporal experience now unfolds in a state of constant flux, shifting between a physical reality, and the seduction and distraction of the more desirable illusions and versions constantly presented, fabricated and delivered through our screens.</p> <p class="p1" style="text-align: justify;">Recent works physically mimic this digital and retouched reality by using in-camera techniques, cut paper and studio constructions to reflect a condition in which identity, space and desire are fluid from one moment to the next, and where everything one wants is available, at any moment, forever. Objects, symbols and logos of mass production and consumption become vehicles for transcendence as they are re-contextualized, reshaped and abstracted just enough to be simultaneously melancholic and sublime.</p> <p class="p1" style="text-align: justify;"><strong><em>BIO &nbsp;</em></strong></p> <p class="p1" style="text-align: justify;">Joseph Desler Costa is a photographer living in Brooklyn, NY and Florence, Italy. He holds degrees from the University of Colorado at Boulder (BA) as well as ICP Bard College (MFA), and attended the Escuela Internacional de Cine y Televisi&oacute;n (EICTV) in Cuba. Costa has exhibited his pictures and films at venues including Baxter St. Camera Club of New York, Arsenale di Venezia, Newspace Center for Photography and Mana Contemporary. He has recently had solo exhibitions at the International Center of Photography and BDP Project Space (Jersey City). Costa&rsquo;s work will also be featured in the upcoming 2015 Lianzhou Foto Festival this autumn in China.</p> <p class="p1" style="text-align: justify;">Costa has published several artists books, including&nbsp;<em>Dedications_Calibrations</em>&nbsp;(Silent Face Projects, 2014) and&nbsp;<em>Fruit and Buns</em>&nbsp;(Self-Published, 2014). His work has featured on a number of blogs as well as in digital and print publications including The New York Times, Self Publish Be Happy, VICE, Der Grief, and Mus&eacute;e Magazine.</p> Tue, 06 Oct 2015 10:28:01 +0000 Maja Lisa Engelhardt - Elizabeth Harris Gallery - October 22nd - November 28th Tue, 06 Oct 2015 10:19:30 +0000 Valérie Belin - Edwynn Houk Gallery - October 22nd - December 19th Tue, 06 Oct 2015 10:14:20 +0000 Michelle Segre - Derek Eller Gallery - October 22nd - November 21st <p class="p2" style="text-align: justify;">Derek Eller Gallery is pleased to present an exhibition of recent sculptures by Michelle Segre. </p> <p class="p3" style="text-align: justify;">In <em>Driftloaf</em>, Michelle Segre creates simple but abject forms constructed from bread, stone, wire and papier mậch&eacute;. Reminiscent of Yves Klein&rsquo;s sea sponge sculptures or amateur driftwood assemblages, the sculptures continue Segre's exploration of the mutation of living matter. </p> <p class="p3" style="text-align: justify;">Earlier works meditated on fungal forms. Actual mushrooms and mushroom-like shapes were combined through an organic, additive process that operated much like a slowly sprawling mold. In the sculptures, fungus has been replaced with yeast as a point of interest; yeast has a genetic code which contains information handed down&nbsp; through millennia. In these sculptures, bread fragments are dried and drilled and become letters in an alphabet for a language of ancient origins. </p> <p class="p2" style="text-align: justify;">Michelle Segre works and lives in New York City. Segre has an upcoming solo exhibition at the Rosenwald-Wolf Gallery, University of the Arts in Philadelphia, and has had recent solo shows at University of Tennessee and University of Albany. She is included in the permanent collections of the Museum of Modern Art, New York and The Tang Teaching Museum, Saratoga Springs, New York. Segre is a past recipient of the American Academy of Arts and Letters Award. <em>Driftloaf</em> will be Segre&rsquo;s sixth exhibition at Derek Eller Gallery.</p> Tue, 06 Oct 2015 09:41:56 +0000 Clint Jukkala, Sarah Faux, Ariel Dill, Farrell Brickhouse, Jess Willa Wheaton - Edward Thorp Gallery - October 22nd - November 28th Tue, 06 Oct 2015 09:40:52 +0000 André Ethier - Derek Eller Gallery - October 22nd - November 21st <p class="p2" style="text-align: justify;">Derek Eller Gallery is pleased to present an exhibition of new paintings by Andr&eacute; Ethier. </p> <p class="p3" style="text-align: justify;">In <em>Under Grape Leaves</em>, Andr&eacute; Ethier paints mythical imagery of tropical scenes, personal interludes, and imaginary creatures, constructing narratives with a Fauvist pallet and confident brushwork. Oils heavily thinned with varnish create a quick-drying solution that lends itself to expedient water-color like painting. This technique creates a fluid luminosity on the surfaces and highlights Ethier&rsquo;s dexterity of hand and gestural economy. </p> <p class="p3" style="text-align: justify;">Ethier allows subject matter to reveal itself to him as he paints and, to that end, there is a pervasive sense of discovery in his compositions. Reminiscent of symbolist&nbsp; paintings by Gustave Moreau, he creates mythological citations within an eccentric pastiche of nature and lush interiors. In one painting Pan, the god of pastures and nature, eats canned olives out of the trash; in another, a blue lion contentedly lounges in an armchair. Moments of individual reflection occur as well, as the artist&rsquo;s infant daughter is portrayed peacefully sleeping in a crib. Whether comedically absurd or a tenderly idyllic portrayal of family life, the narratives depicted are seen as equally fantastical in nature.&nbsp; </p> <p class="p2" style="text-align: justify;">Andr&eacute; Ethier lives and works in Toronto, Canada.&nbsp; His work has been featured in exhibitions at Honor Fraser, Los Angeles, CA; Galeria Marta Cervera, Madrid, Spain; Musee Des Beaux-Arts De Montreal, Montreal, Canada; Weatherspoon Art Museum, Greensboro, NC and Gallerie Anne de Villepoix, Paris, France, among others. This will be his sixth solo exhibition with the gallery.</p> Tue, 06 Oct 2015 09:34:53 +0000 Eric Aho - DC Moore Gallery - October 15th - November 14th <p style="text-align: justify;"><strong>DC Moore Gallery</strong> is pleased to present <em>Wilderness Studio</em>, an exhibition of new work by <strong>Eric Aho</strong> that uses the painterly languages of representation and abstraction to explore the lived, remembered, and imagined experience of landscape. A catalogue with an essay by Nathan Kernan accompanies the exhibition.<br /> <br /> For Aho, the most compelling &ldquo;wilderness&rdquo; is that encountered in paint on canvas. Premised on the visual pleasures and powers of painting, his work reconstitutes the observed outer world from the perspective of a personal interior. Memory, stories, and observations vie for primacy on Aho&rsquo;s new surfaces, suggesting glimpsed fragments of mountains, fields, water, and woods amidst the extremes of changing seasons. The paintings, which are often large, evoke an uncanny familiarity of place and shared experience through strong color, ambiguities of space, and dynamic mark making. Kernan writes: &ldquo;the paintings evoke a sense of mystery, pregnancy, of things about to happen, or having just happened; of what is missing, or is hiding in plain sight.&rdquo;<br /> <br /> Aho&rsquo;s engagement with landscape is informed by an interest in the people and histories with which it is intertwined. A visit to the remote atelier of Finnish painter Akseli Gallen-Kallela (1865-1931) sparked his interest in the metaphor of the wilderness studio. Aho relates, &ldquo;the forest was his subject, and also the material for his studio. He lived in the middle of his work. The studio became symbolic of an imaginative container.&rdquo; Paintings such as <em>Logging Road</em> (2015) and <em>Unorganized Territory (Lake)</em> (2015) allude to past and present realities of rural industry and politics in New England. Other works, like <em>General Desrousseaux </em>(2014), <em>Sundial</em> (2014), and <em>Figures in a Landscape</em> (2015), evolved from Aho&rsquo;s ongoing project and his 2014 journey through the French countryside, retracing the route his father followed as an American soldier in World War II. <br /> <br /> In 2016, exhibitions of Eric Aho&rsquo;s work will be on view at the Hood Museum of Art in Hanover, NH and the New Britain Museum of American Art, CT. Recent shows of his painting include <em>Eric Aho: In the Landscape</em> at the Federal Reserve Board, Washington, DC (2013) and <em>Transcending Nature: Paintings by Eric Aho</em> at the Currier Museum of Art, Manchester, NH (2012). His work is included in the permanent collections of The Metropolitan Museum of Art, New York; Fine Arts Museums of San Francisco, CA; Museum of Fine Arts, Boston, MA; National Academy Museum, New York; Hood Museum of Art, Hanover, NH, and the Currier Museum of Art, Manchester, NH, among many others. Aho&rsquo;s work has been shown internationally in Ireland, South Africa, Cuba, Norway, and Finland. He was elected Academician of the National Academy in 2009. Aho lives and works in Saxtons River, Vermont.</p> Tue, 06 Oct 2015 09:19:11 +0000