ArtSlant - Recently added en-us 40 Fukami Sueharu - Erik Thomsen Gallery - September 16th - October 31st <p>We are delighted to announce our second exhibition of masterpieces by Fukami Sueharu, widely regarded as one of the greatest ceramic artists of the last forty years. &nbsp;</p> <p>The show features thirty sculptures made between 1980 and 2014, a majority from an exhibition held last year at the Japanese Garden in Portland, Oregon. Alongside important early pieces, we will display two more recent large-scale works, <em>Kitsu (Upright),</em>&nbsp;2013,&nbsp;and <em>Landscape II</em>, which was on view at the Metropolitan Museum of Art from 2003 to 2013.</p> <p>Both in his own country and across the seas Fukami Sueharu is now even more widely honored than when he was in 2008, when we held a successful exhibition of his work. While his mature abstract style embodies a contemporary global vision, it also reflects a traditional disregard for the time and effort required to produce these works of flawless beauty and elegance.</p> <p>A fully illustrated publication with an essay by Shinya Maezaki accompanies the exhibition.&nbsp;</p> Fri, 19 Sep 2014 05:15:58 +0000 David Rodríguez Caballero - Marlborough Gallery New York - September 16th - October 18th <p>The Directors of Marlborough Gallery are pleased to announce an upcoming exhibition of recent works by Spanish-born artist, David Rodr&iacute;guez Caballero. The exhibition will open on Tuesday, September 16 at our 57th Street location and will remain on view until October 18, 2014. The recent works that will be showcased in the exhibition explore a range of materials and spatial constructs; these explore the incorporation of light as matter, an element of the first order in abstraction and geometry. The exhibition will include approximately 40 works constructed in the three materials used by the artist: aluminum, bronze and copper. &nbsp;</p> Fri, 19 Sep 2014 04:50:53 +0000 Paul Lee - Maccarone (Morton Street) - September 16th - October 18th <p>Maccarone is pleased to announce a showing of new two-dimensional works by Paul Lee, now on view at 98 Morton Street.&nbsp;Eight panels feature faces rendered in pastel on painted wood, which were made in the dark, and coupled by strips of cinema carpets.&nbsp;Two short films by Paul Lee will be screened sometime during the exhibition.</p> <p>Paul Lee lives and works in New York. &nbsp;This is the artist&rsquo;s third exhibition with the gallery.&nbsp;</p> Fri, 19 Sep 2014 04:30:07 +0000 René Jean Caillette - Demisch Danant Gallery - September 18th - October 30th <p>Demisch Danant is pleased to present&nbsp;<em>Ren&eacute; Jean Caillette</em>, a solo exhibition devoted to significant works of the 1950s and 1960s by the acclaimed French designer. On view from September 18 to October 30,&nbsp;<em>Ren&eacute; Jean Caillette</em>&nbsp;presents the designer&rsquo;s work in three distinct vignettes. The highlight of the exhibition is a re-creation of a dining room from the designer&rsquo;s historic 1961 presentation at the Salon des Arts M&eacute;nagers, including the Sylvie Credenza and Dining Table and the rare and iconic Diamond Chairs in white lacquer. Two vignettes focus on works designed in the late 1950s for the manufacturers Charron, Steiner, and S.A.D.E.A.. The exhibition also features a rare prototype for a bookcase and a unique sofa, both in molded plywood, acquired directly from the designer&rsquo;s estate.<br /><br />Ren&eacute; Jean Caillette (1919-2004) was part of a group of young designers who emerged immediately following the reconstruction period, dedicated to designing elegant and accessible furniture in a resolutely modern spirit, stripped of decoration and produced in series. In 1950, George Charron, a French furniture manufacturer, discovered Caillette&rsquo;s work and their meeting led to the creation of Group 4, a collaboration between Caillette, Alain Richard, Genevieve Dangles and Joseph Andr&eacute; Motte. Caillette received the Ren&eacute; Gabriel prize in 1952 and the silver medal at the Milan Triennale in 1962, and continued to design for Charron until 1972. Throughout his illustrious career, Caillette adhered to a rigorous development and prototyping process and remained committed to simplicity of line and material innovation.</p> Fri, 19 Sep 2014 04:08:51 +0000 Carlo Ferraris - LYNCH THAM - September 23rd 7:00 PM - 9:00 PM <p>Screening &amp; Reception: September 23, 2014, 7-9p.m.</p> <p>At Entwine, 765 Washington Street, New York, NY</p> <p>&nbsp;</p> <p>LYNCH THAM in collaboration with CoWorker Projects is pleased to present an anthological screening of video works by Carlo Ferraris.</p> <p>The screening will feature a series of 15 videos, starting with one of Ferraris&rsquo; first videos from 1997, <em>Lilliburlero,</em> 2:00 minutes. The video is a short satirical piece on the British Lilliburlero march, which dates back to the English Civil War of 1642. The screening also includes one of the artist&rsquo;s longest narrative short films, 17:52 minutes, <em>Eastern Standard Time</em> - Eyes transfixed, a young man bears a rotating radiation symbol upon his forehead. The man struggles and fails to differentiate between the words "porc" and "Porsche." In this film, Ferraris overturns the priorities of filmic convention: images trump scenes, context trumps narrative. EST is a dark and clever plot on contemporary espionage.</p> <p>Other videos in the evening&rsquo;s presentation include: <em>Michigan parallel,</em> 2001, 1:27 mins; <em>La notte</em>, 2002, 1:34 mins; <em>Frostwave,</em> 2003, 1:36 mins; <em>A bullet flying since forty years,</em> 2003, 2:04 mins; <em>Stick to the sky,</em> 2003, 1:59 mins; <em>Table roof,</em> 2008, 1:16 mins; <em>More than still,</em> 2008, 0:31 mins; <em>Cowboy with measure tape,</em> 2009, 1:28 mins; <em>Outdoor sculpture,</em> 2009, 1:56 mins; <em>Rotator Cuff,</em> 2010, 0:39 mins; <em>Counterclockwise,</em> 2010, 1:36 mins; <em>Some people think that pushing the call button repeatedly will make the elevator come faster,</em> 2010,&nbsp; 3:23 mins; <em>Behind a Rolling Ball Comes a Running Child,</em> 2013, 1:23 mins; <em>Return From Jupiter,</em> 2013, 1:55 mins.</p> <p>&nbsp;</p> <p>A long with his interest in film and video, Ferraris is also an accomplished photographer. He is a 2004 New York Foundation for the Arts Fellow in Photography, and has participated in numerous exhibitions in Europe, Asia and the U.S. Ferraris' work has been published and reviewed extensively in publications such as <span style="text-decoration: underline;">The New York Times</span>, <span style="text-decoration: underline;">Vogue</span>, <span style="text-decoration: underline;">Elle Decor</span>, <span style="text-decoration: underline;">Flash Art</span>, <span style="text-decoration: underline;">Lacanian Ink</span>, <span style="text-decoration: underline;">Casa Vogue</span>, <span style="text-decoration: underline;">Art Press</span>, <span style="text-decoration: underline;">Art in America</span>, <span style="text-decoration: underline;">ArtNews</span>, <span style="text-decoration: underline;">L&rsquo;Architettura</span>, <span style="text-decoration: underline;">Juliet</span>, <span style="text-decoration: underline;">Artforum</span>, <span style="text-decoration: underline;">Tema Celeste</span>, and <span style="text-decoration: underline;">The Art Newspaper</span>, among others.</p> Thu, 18 Sep 2014 17:24:29 +0000 - The Curator Gallery - September 12th - October 25th <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>The Curator Gallery is pleased to present Print Facets: Five Centuries of Printmakers, curated by Rebecca Michelman. From the 17th century mezzotint printers whose secret techniques revealed light from darkness, to the inventions of sugar lift and spit bite methods, Print Facets explores the rich and complex medium of print art. The exhibition opens on September 12th and will run through October 25th, 2014.</p> <p>A lover of art history, Rebecca Michelman tackled the ambitious goal of presenting five centuries of printmaking in one 1600 square foot gallery. Intrigued by artists who have dedicated their lives to perfecting their craft, Michelman tracked down rarely seen work by seasoned printmakers from California to Paris. Visits to living master printers, the passionate professionals who interpret the visions of other artists, uncovered treasures from their personal collections, as well as never seen printwork of their own making. Master printer Judith Solodkin contributes woodcut prints by Richard Bosman and digitally embroidered prints, her specialty. Kathy Caraccio contributes her own work, as well as a selection of prints from her personal collection. Bill Hall, master printer at Pace Editions, contributes his own abstract expressionist prints exhibited for the first time.</p> <p>Rebecca Michelman&rsquo;s fascination with the influence of old master printers on living artists produces a show full of juxtapositions. The sapphire gemstone in John Torreano&rsquo;s 1990 woodcut &ldquo;Oxygems&rdquo; is paired with a German Expressionist woodblock portrait by Karl Schmidt-Rottluff from 1910. Contemporary artist Allen Grindle&rsquo;s woodblock work is paired with a Max Pechstein woodblock from 1922. Liz Chalfin&rsquo;s etchings are influenced by the mysterious darks of Edward Hopper&rsquo;s &ldquo;Night Shadows.&rdquo; The printmaking of over forty contemporary artists stands alongside historical prints from the 16th to the 20th centuries, including works by Goya, Durer, Rembrandt, and Warhol. The exhibition will feature a &ldquo;Print Bar,&rdquo; an interactive display in the back room where unframed work can be examined more closely.</p> <p>Rebecca Michelman of Michelman Fine Art is a private art dealer in a family business specializing in Impressionism, Modern, and Post-War Art. Rebecca has been lecturing groups on how to start an art collection at The Curator Gallery&rsquo;s weekly seminars since its opening in March of this year.</p> <p>The Curator Gallery is a fine art gallery located on 23rd Street in Chelsea which collaborates with notable guest curators for each exhibition. Founded and underwritten by Ann S. Moore, the retired Chairman and CEO of Time Inc., the gallery&rsquo;s mission is to bring exposure to hardworking artists, as well as to educate and expand the pool of engaged, serious collectors</p> </div> </div> </div> Wed, 17 Sep 2014 18:32:32 +0000 Theresa Chong - Danese/Corey - October 17th - November 13th Wed, 17 Sep 2014 17:59:28 +0000 Theresa Chong - Danese/Corey - October 17th - November 13th Wed, 17 Sep 2014 16:48:35 +0000 Dozier Bell - Danese/Corey - October 17th - November 13th Wed, 17 Sep 2014 16:23:02 +0000 Danh Vo, Xiu Xiu - The Kitchen - September 27th - October 18th <p>Conceptual artist Danh Vō collaborates with Xiu Xiu (Jamie Stewart, Shayna Dunkelman, and Ches Smith) for this gallery exhibition conceived as a stage for their work&rsquo;s own production. Vō travels with two gold pounders from Thailand&mdash;where the gold leaf for many of his pieces is made&mdash;to work in the space alongside Xiu Xiu's percussion-based compositions. Together they will generate syncopated compositions with the pounders&rsquo; rhythms. Set against a backdrop of Vō&rsquo;s finished artwork, they will create a new work in real time.&nbsp;</p> Mon, 15 Sep 2014 23:51:53 +0000 Kathy Ruttenberg - Stux Gallery - September 17th - October 25th <p>Stux Gallery is proud to present their third solo exhibition of sculptures and works on paper by Kathy Ruttenberg produced in less than three years. At mid-career, Ruttenberg is possibly the foremost sculptor working in ceramic today, bringing clay to incredible forms of life, both physical and emotional, forever frozen in their most intensely heated state. In their complexity and scale her recent works are tours-de-force, not merely of manual artistry, but Baroque nature poetry in the spirit of the most fantastical sculptures by Cellini, Palissy or even Bernini. Indeed, according to Roberta Smithʼs New York Times review of Ruttenbergʼs May 2013 show, the artist is &ldquo;a force to contend with as a narrator and symbolist&rdquo;. The vibrant folk art overtones in her works aside, they resonate as much with those by Symbolist masters like Redon, Gauguin and Rousseau, as they do with such contemporary fantasy artists as Kiki Smith, Jeff Koons and Robert Gober. <br />Her most recent works take inspiration from trips this year to the North and South Poles. Ruttenberg encased the detached head of a Medusa-like woman in a block of ice, on the surface of which is a little heart, both observed hungrily by a nearby penguin. The more monumental Ice Age features a reclining mermaid like some ancient river goddess, holding a baby seal as an emblem. Crowned with a ship and tattooed on her back with a krill as the symbol of the food chain and the chain of life, the mermaid presides peacefully over a Weddell seal on its back and a Chinstrap penguin, predator and prey, while the exuberant tail of a diving whale is quite literally caught in a diorama-like allegory of shared environmental destiny.<br />The most complex work in Fired Ice is The Nature of the Beast, which Ruttenberg had intended as the centerpiece for her previous Stux show but was unable to complete until now. Enshrined like some archetypal cult idol in a circular temple with flowering trees for columns, a young woman exposes her vulva even as she wears richly illustrated garments showing woodland animals cavorting with a tiny blonde girl. Referencing the magical interconnections between inner and outer worlds, Ruttenbergʼs latest works again include elaborate miniature paintings and sculptures wrapped around or even inside the primary figures, illuminated like psychic revelations. To experience this skirt painting entirely a viewer must go all around the fantastical grove as if on a carrousel, encountering in turn the little ceramic figures attached to each tree. The central idol also wears a crown of phallic mushrooms that imprison a rat, and as if under the ratʼs spell, she holds an arterial tube from one end of which dangles an uprooted penis and from the other end a heart, the essential remains of a love she cannot let go. <br />Backgrounding all the sculptures is a print based on a gigantic drawing of a forest interior with ranches reaching every which way and scores of animals converging in some shared refuge &ndash; elephants, bats, squirrels, leopards and many more. Some of these creatures are only faintly outlined while others are more densely shaded to stand out, with the result that overall the drawing pulses with haunting nature energies. <br />Developing from work to work, Ruttenberg strives for nothing less than the richest imaginable graphic, plastic and metaphorical language.</p> <p><br />Charles Stuckey</p> <p><br />Kathy Ruttenberg is a New York based, Chicago born sculptor. She received her BFA from the School of Visual Arts in New York, and pursued advanced studies in Morocco and at New York University. She has been exhibited widely in the U.S., Korea, Spain and France. Ruttenbergʼs work has received wide critical acclaim in publications such as The New York Times, Art in America, The Boston Globe, Artpress and New York Magazine. A monograph of her work has been published in 2013 by CHARTA.</p> Mon, 15 Sep 2014 23:45:12 +0000 Group Show - Steven Harvey Fine Art Projects - September 7th - October 12th <p>Steven Harvey Fine Art Projects presents Leaves, a survey of contemporary drawings and works on paper by Peter Acheson, Mequitta Ahuja, Chuck Bowdish, Katherine Bradford, Dawn Clements, Jacob El Hanani, Gregory Gillespie, June Leaf, Sangram Majumdar and Fulvio Testa. The ten artists range from seasoned draftsmen to artists at the beginning of their careers and come from across the globe. Each of them, however, has a remarkably individualized sensibility and may be considered a master in his/her own right.</p> <p>Katherine Bradford&rsquo;s works on paper are, as Ken Johnson puts it, &ldquo;comical yet earnest.&rdquo; Her glowing colors and vulnerable shapes often describe ocean liners and people at sea. The deliberate naivet&eacute; of her subjects evoke innocence without sentimentality &ndash; they have the quality of adult reveries and regressions. Bradford&rsquo;s work is included in various public collections, including the Brooklyn Museum of Art, the Metropolitan Museum of Art and the Portland Museum, among others. She was awarded a Guggenheim Fellowship in 2011, and was a recipient of a Joan Mitchell Foundation Grant in 2012. A close peer of Bradford&rsquo;s, Peter Acheson is a pioneer of a similarly raw vocabulary. His scribbled drawings map a disconnected world. Acheson is in the tradition of artists such as Forest Bess and Gandy Brodie. His drawings encompass language&ndash;as-mark making with phrases entangled in thickets of line. Acheson was born in Washington, D.C and lives in Ghent, NY. His work is included in the Brooklyn Museum&rsquo;s permanent collection.</p> <p>From large scale painted collages to tiny jewel-like watercolors, Chuck Bowdish&rsquo;s work is figurative visual poetry, calling on both classical imagery (Grecian urns and nude torsos) and images of menace right out of the headlines. His draftsmanship seems effortless and precise and his impulse to castigate the world comes from a pure place. He is the kind of artist who makes you reconsider your assumptions. Bowdish is the subject of a documentary film by Peter Wareing entitled Chuck Bowdish: Painter and has been included in recent exhibitions in Atlanta, Williamsburg and Long Island City. Concurrently with Leaves, Bowdish&rsquo;s work may be seen at the John Davis Gallery in Hudson, N.Y.</p> <p>The estimable painter and sculptor June Leaf, was born in Chicago in 1929 and has lived in New York since the early 60's. Her drawings are directly related to her sculpture; they are diagrammatic and notational, having almost the quality of maps, and share an acknowledgement of humanity&rsquo;s grace and foibles. Leaf&rsquo;s works on paper call to mind the inventive sketches of da Vinci and Alexander Calder. Leaf had her first solo exhibition at Sam Bordelon Gallery in Chicago in 1948 and has since exhibited internationally. She is included in numerous museum collections, including the Museum of Modern Art, New York The Whitney Museum of American Art, and the Art Institute of Chicago.</p> <p>Jacob El Hanani was born in Morocco in 1947 and grew up in Israel. His work draws on the tradition of micrography in Judaism, a technique used in the decoration and transcription of holy texts. El Hanani&rsquo;s incredibly intricate ink drawings are created through the careful repetition of tiny marks. These extraordinary works appear to be a pattern from a distance; they are mediations on time and infinity. El Hanani&rsquo;s work is included in many notable public collections, including The Solomon R. Guggenheim Museum, the Museum of Modern Art, New York, The Metropolitan Museum of Art, The Whitney Museum of American Art, The Jewish Museum, Musee national d&rsquo;Arte Moderne, Centre George Pompidou, Paris, The National Gallery of Art, DC.</p> <p>Fulvio Testa is one of Italy&rsquo;s most distinguished artists and illustrators. Working in watercolor and ink with muted tones, Testa&rsquo;s small scale, elegant landscapes have little demarcation between land and sky and seem influenced by Chinese scroll paintings. His work is represented in a number of public collections, including the Art Institute of Chicago, the Philadelphia Museum of Art and the New York Public Library. In addition to his own prizewinning titles, he has illustrated books by authors such as Anthony Burgess and Gianni Rodari. He divides his time between Verona, Italy, and New York.</p> <p>Sangram Majumdar was born in Calcutta, India and received his MFA from Indiana University. Majumdar works from elaborate backdrops and dioramas constructed in his studio, layering decorative and painterly elements that disappear and reappear in the working process. Majumdar&rsquo;s final compositions house a multitude of hidden possibilities. This group of drawings represents all the monochrome work related to a single painting, enabling us to visualize this world of potentiality. Majumdar has taught at the Maryland Institute College of Art since 2003. Concurrently with Leaves, Majumdar&rsquo;s oil paintingsa will be exhibited at Georgetown University in Washington, D.C.</p> <p>Dawn Clements was born in Massachusetts in 1958. She works with Sumi ink and ballpoint pen on paper, ranging in size from small to monumental. Through an active, almost performative working process, the paper becomes distressed with folds, wrinkles, and seams. Clements subjects are the observed everyday spaces of her apartment and studio, and film stills, which she scales up to life-size proportion. Clements&rsquo; work was included in the Whitney Biennial in 2010, and she is represented in the permanent collections of the Museum of Modern Art, New York, the Whitney Museum of American Art, and The Saatchi Collection, London.</p> <p>Mequitta Ahuja defines her artistic practice as Automythography (a variant on Audrey Lorde&rsquo;s phrase.) In her large-scale paintings on paper she places images of herself in the midst of tumbling worlds of tightly woven pattern and color, with an overall pictorial density that speaks to the layered patterns of Persian miniatures. Last spring she had an artist residency in Siena, Italy. Included in Leaves are examples of pastels inspired by her residency, in which Ahuja incorporates herself into the Romulus and Remus mythology of Siena (according to tradition Remus&rsquo; son Senio was the founder of Siena.) Her work is included in recent and upcoming exhibitions at Crystal Bridges Museum of American Art, The Minneapolis Institute of Art and The Saatchi Gallery.</p> <p>The late Massachusetts born visionary painter Gregory Gillespie (1936-2000) defies categorization. He championed a fiercely obsessive realism in the Sixties when Pop and abstraction held sway, yet his vocabulary is so psychologically potent and mystically laced that it pushes past the realms of the real. His oeuvre comprises haunting self-portraits, surreal landscapes, symbolic geometric abstractions, and singular monumental object/paintings. His process is equally expansive, combining meticulous oil painting with photomontage, collage and assemblage. In his late work, which is included in this exhibition, he also inlays photocopied images into the painting surface. Gillespie drew inspiration across the history of European painting (Balthus, Bruegel, Bosch, Crivelli to name a few), as well as from classical mythology, Buddhism, Indian sculpture, and Tibetan and Mayan art. The Hirshhorn Museum and Sculpture Garden presented a retrospective of Gillespie&rsquo;s work when he was forty years old, garnering him national prominence. Gillespie&rsquo;s work is included in the permanent collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Museum of Fine Arts, Boston, among others.</p> Mon, 15 Sep 2014 23:34:58 +0000 Saul Steinberg - Pace Gallery - 57th St. - September 11th - October 18th <p>Pace Gallery and Pace/MacGill Gallery are pleased to present an exhibition in honor of the Saul Steinberg&rsquo;s centennial. The exhibition will be on view on the second and ninth floors at 32 East 57th Street from September 11 through October 18 and was realized with the cooperation of the Saul Steinberg Foundation.</p> Mon, 15 Sep 2014 23:22:37 +0000 Rosalind Nashashibi - Murray Guy - September 20th - November 1st <p>Solo presentation in the South Gallery</p> Mon, 15 Sep 2014 23:10:56 +0000 Yve Laris Cohen, David Horvitz, Matthew Buckingham, Lucy Raven, Boru O'Brien O'Connell, Jill Magid - Murray Guy - September 20th - November 1st Mon, 15 Sep 2014 23:07:25 +0000 - Artists Space: Exhibitions - September 25th - November 9th <p>The Library Vaccine&nbsp;presents a number of discrete collections of books in order to sample art's distinctive relationship to the book form in its singularity, and in its states of reproduction, distribution and accumulation. The exhibition addresses the book as a particular technology, and in its collective state of the private collection, reading room or library, as a social machine &ndash; registering social and personal histories, and articulating structures of knowledge and value through the relations between its parts.&nbsp;<br /><br />The exhibition title is taken from a text by the curator and writer Edit deAk that introduced the 1981 Printed Matter catalogue. In this short piece she referred to artists' books as "the library vaccine, a healing agent formed from the very disease they cure." Each section of the exhibition presents a collection that loosely corresponds to a decade between the 1960s and the present day, yet&nbsp;The Library Vaccine&nbsp;doesn't seek to survey a recent history of books in or as art; rather it takes the tension between book-as-text and book-as-object as a starting point. The exhibition marks a movement from the egalitarian, curative aspirations of the book as distributed artwork, to these aspirations' subsumption within broader tendencies towards collecting, archiving and the re-circulation of knowledge.&nbsp;<br /><br />Some sections of the exhibition revolve around curatorial or editorial frameworks that highlight artists' use of the book form, while others focus on the collection or library as a holistic entity. In these contexts the act of collation emphasizes shifts between the private and the common, the artwork and the artifact. The roles of artist, publisher and collector are seen to overlap, and the sequenced content of both the individual book and the massed collection provides sites for the production and articulation of meaning.&nbsp;</p> Mon, 15 Sep 2014 22:37:25 +0000