ArtSlant - Openings & events en-us 40 - CREON - April 16th 6:00 PM - 9:00 PM Tue, 08 Apr 2014 04:17:39 +0000 Julian Schnabel - Gagosian Gallery- 24th St. - April 17th 6:00 PM - 8:00 PM <p><em>A lot of what I do is about being in the moment...The residue of what happens; that's what's in the paintings.</em></p> <p>--Julian Schnabel</p> <p>Gagosian is pleased to present "View of Dawn in the Tropics: Paintings, 1989-1990," an exhibition of paintings by Julian Schnabel that are being shown in New York for the first time, twenty-five years after they were made.</p> <p>In the late 1980s and early 1990s, Schnabel approached painting as an act as susceptible to chance and circumstance as life itself. Working in the wake of American antecedents such as Robert Rauschenberg and Cy Twombly--who brought a certain sense of freedom to bear on their evident romance with European art and aesthetics--Schnabel made audaciously scaled paintings and sculptures whose richly hybrid sources were expressed in an attitude of baroque excess combined with improvisational daring. Broken plates, Kabuki theater backdrops, tarpaulins and boxing mats; thickly applied oil paint, collage, viscous resin, and flat digital reproduction; fragments of text in different languages: these are just some of the diverse materials with which Schnabel engages life's grand themes--sexuality, obsession, suffering, redemption, death, and belief.</p> <p>For paintings such as <em>Paintings With and Without Bingo</em> and <em>Ozymandias</em>, executed <em>en plein air</em> on the site of a ruined neoclassical building during a sojourn in Florida, Schnabel used old tarpaulins, sailcloth, and rolls of velvet as grounds on which to render reflections of his immediate surroundings subject to uncontrollable forces, from tropical storms to his dog Bingo's seemingly random but deliberate paw prints. These paintings, and others made in similarly unorthodox conditions in Montauk and San Sebastian, reveal an individualistic interplay between site and and mark-making, both intentional and incidental, that eschews pictorial hierarchies of authorship, subject, and style.</p> <p>Schnabel's persistent allegiance and magnanimous, catch-all approach to painting attests to the palimpsest of emotion, memory, and chance that drives a gleaner's relationship to material and image: from collected words and phrases to allusions to specific moments, places, friends, and family, and narratives of surface, materiality, and studio process. These visceral paintings--where velvet is drenched in sea water, or tablecloths are doused in paint and used as sponges on visibly patched tarpaulins--embody an alternative, iconoclastic approach to "the sacred cloth," shared with the aforementioned American forbears, as well as kindred spirits Francis Picabia, Yves Klein, Alberto Burri, and Sigmar Polke, to name but a few. There is no substitute for the authenticity of Schnabel's gesture; twenty-five years after their making, his elegant yet exuberant and intrepid paintings have renewed vigor and urgency, anticipating the gestural, aleatory, and readymade painting so pervasive among emerging artists today.</p> <p><strong>Julian Schnabel</strong> was born in New York City in 1951 and studied at the University of Houston (1969-73) and the Whitney Museum Independent Study Program (1973-74). Public collections include Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Museum of Contemporary Art, Los Angeles; Broad Art Foundation, Los Angeles; National Gallery of Art, Washington, D.C.; Tate Gallery, London; Centre Georges Pompidou, Paris; and Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid. Recent solo exhibitions include Inverleith House, Edinburgh (2003); Schirn Kunsthalle, Frankfurt (2004); Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid (2004); Mostra d'Oltramare, Naples (2005); Schloss Derneburg, Germany (2007); Tabacalera Donostia, San Sebastian, Spain (2007); Beijing World Art Museum (2007); Saatchi Gallery, London (2008); Art Gallery of Ontario (2010); Museo Correr, Venice (2011); Centro Italiano Arte Contemporanea, Foligno, Italy (2013); and Brant Foundation Art Study Center (2013-14).</p> <p>"Julian Schnabel: An Artist Has A Past (Puffy Clouds and Strong Cocktails)," an exhibition of fifteen paintings produced over the past decade, will be on view at Dallas Contemporary from April 11-August 10, 2014.</p> <p><em>Draw a Family</em>, a fully illustrated book focusing on Schnabel's paintings of the past forty years, was published by Karma in April of 2014.&nbsp;<br /> <br /> &nbsp;Schnabel lives and works in New York City and Montauk.</p> Fri, 11 Apr 2014 01:43:56 +0000 Joel Meywrowitz - Howard Greenberg Gallery - April 17th 6:00 PM - 8:00 PM <p>Presenting forty images from 1966-67, <em>My European Trip: Photographs from the Car</em> includes photographs made by Meyerowitz in France, Greece, Spain, Germany, Turkey, Bulgaria, Morocco, England, Ireland, Wales, and Scotland. The exhibition opened on August 3, 1968. Using documentation of the MoMA exhibition&mdash;right down to the wall text&mdash;the exhibition will resemble the original as closely as possible.</p> <p>&ldquo;During this European car trip, I often saw remarkable things fly by outside my window, things that would be gone had I stopped to go back to see what they were,&rdquo; recalls Meyerowitz. &ldquo;In a way this was my first conceptual work. I thought of myself as sitting inside a moving camera on wheels, and that the window was the frame which showed me the continuous scrolling of events flying by outside. All those humble instants sped past me and left their heartbreaking beauty on film and in my memory.&rdquo;</p> <p>In the wall text accompanying the 1968 MoMA exhibition, John Szarkowski wrote, &ldquo;Joel Meyerowitz drove a car past 20,000 miles of European life and history, each mile of it a mystery to him. With his camera he tried to reach out and touch what he did not understand, and what the exigency of his pace did not allow him to study. Making a photograph was a gesture of recognition to his experience, and later a proof that he had indeed passed such scenes. The pictures he made have to do with the character of photography itself, and with the fragmentation of modern experience, and also with the quality of response of Joel Meyerowitz, who made these irreversible observations while the car was moving.&rdquo;</p> <p>&ldquo;As a 30 year-old photographer having my first show at MoMA after shooting for only 6 years, it was very satisfying to see risky work on the walls of the museum.&rdquo; Meyerowitz noted. &ldquo;There wasn&rsquo;t as much dialogue around photography then, certainly not like there is today. When I first showed the photographs 45 years ago, the kind of discipline and limitation I employed wasn&rsquo;t being practiced very often. The work feels fresh because life along the roadside still whizzes by at 60 miles per hour, and even though we have all kinds of advanced mechanics, the camera continues to be the only instrument that makes ordinary things seem momentous when we glimpse them in passing and recognize their innocence and beauty.&rdquo;</p> Sat, 12 Apr 2014 22:46:45 +0000 François Morellet - Josee Bienvenu Gallery - April 17th 6:00 PM - 8:00 PM <p>Josee Bienvenu is pleased to announce Preliminaries, an exhibition of works by Francois Morellet organized in collaboration with Galerie Herve Bize. This will be the first one-person exhibition in New York by this major French artist since 1997.&nbsp;The exhibition will focus on a lesser known but essential aspect of the artist's work: his drawings. While Morellet and his systematic approach to art making is renown internationally through numerous exhibitions, publications and articles, his works on paper have been rarely exhibited.&nbsp;The exhibition brings together key works on paper from the 1950s to 2000, presenting an ensemble of exceptional quality for the first time in the United States.<br /> <br /> Far from being hermetic, Francois Morellet's work, where language and a form of irony surface constantly, is often characterized by the oxymoron: "un rigoureux rigolard".&nbsp;Since the early 1950s, Morellet took part in the international avant-garde by conceiving a form of geometric abstraction&nbsp;shaped by systems that reduced the artist&rsquo;s subjectivity to a minimum. A specific system determines&nbsp;each&nbsp;work and its execution; therefore drawing is essential&nbsp;to Morellet's work. It is a unique process&nbsp;that&nbsp;allows him to articulate his intentions. Through drawing, Morellet anticipates and sets up what will be experimented on another scale with other materials in the rest of his work.&nbsp;<br /> <br /> Morellet&rsquo;s work fits alongside the&nbsp;Incoherents&nbsp;art movement, the work of Alphonse Allais, Francis Picabia, and of course, Marcel Duchamp. Other influences include the work of Swiss artist Max Bill, Jean Arp&rsquo;s and Sophie Tauerber-Arp&rsquo;s duo-collages, tapa cloths from Oceania, Hispano-Moresque art from Granada, as well as a strong influence from his father accounting for his predilection for language games and acute sense of humor.<br /> <br /> Francois Morellet&rsquo;s drawings could be considered very&nbsp;discreet works &ndash; because of their modest scale and also for&nbsp;the parsimonious choice of processes and techniques. However, this absolute economy of means does not affect the impact of the work, on the contrary, it shows that a drawing contains everything and stands as its own entity. In the 1950-1960&rsquo;s most of Morellet&rsquo;s drawings were preparatory works for paintings and other projects, whether executed or not, but they cannot be considered as studies only. They function as autonomous works and lay the foundation for the drawings of the 1970s - 1990s, primarily engaged with the concept of pictorial space as a structure. Francois Morellet was very forward thinking throughout his life, even one of the first artists to use neon light, and&nbsp;continued to experiment with new materials.<br /> <br /> Francois Morellet was born in 1926 in Cholet, France. Selected recent exhibitions include: Fran&ccedil;ois Morellet, Ikon Gallery, Birmingham; Fran&ccedil;ois Morellet 5*3, Le Box, Marseille; Dynamo, Grand Palais, Paris; Dynamo, Grand Palais, Paris, Light show, Hayward Gallery, London (2013); Ghosts in the Machine, New Museum, New York, Neon - Who&rsquo;s afraid of red, yellow and blue?, La Maison Rouge, Fondation Antoine de Galbert, Paris (2012); Fran&ccedil;ois Morellet, R&eacute;installations, Centre Pompidou, Paris (2011); Fran&ccedil;ois Morellet. Mes images, Mus&eacute;e d'art ancien et contemporain, Epinal, Fran&ccedil;ois Morellet, 9 + 1, Installationen, Museum Pfalzgalerie, Kaiserslautern, L'esprit d'escalier, commande du Mus&eacute;e du Louvre, Paris (2010); Fran&ccedil;ois Morellet chez Le Corbusier, Couvent de la Tourette, Eveux, La quadrature du carr&eacute;, une introspective, Museum Ritter, Waldenbuch (2009); Fran&ccedil;ois Morellet, raison et d&eacute;rision, Museum W&uuml;rth, Erstein, Fran&ccedil;ois Morellet, 45 ann&eacute;es lumi&egrave;re, Ch&acirc;teau de Villeneuve, Vence (2008); Fran&ccedil;ois Morellet, Ma Mus&eacute;e, Mus&eacute;e des Beaux-Arts, Nantes, Blow up, 1952-2007, Quand j'&eacute;tais petit je ne faisais pas grand, Mus&eacute;e d'Art Moderne de la Ville de Paris (2007); Fran&ccedil;ois Morellet, D&eacute;mon&eacute;tisations, Mus&eacute;e d'Orsay, Paris (2006); Beyond Geometry: Experiments in Form, 1940s-70s, Los Angeles County Museum of Art, LACMA (2004).<br /> <br /> His work is featured in numerous major public and private collections, including: Tate Gallery, London; Centre Pompidou, Paris; Nationalgalerie, Berlin; Stedelijk Museum, Amsterdam; LACMA, Los Angeles; MoMA, New York; Guggenheim Museum, Abu Dhabi; Philadelphia Museum of Art, Philadelphia; Hirshhorn Museum, Washington; Kunstmuseum, Bern; Moderna Museet, Stockholm; Mus&eacute;e d'Art Moderne de la Ville de Paris, Paris; The Tel Aviv Museum of Art, Tel Aviv; Louisiana Museum of Art, Humlebaek. Several retrospectives were devoted to his work, notably in 1985 at the Brooklyn Museum, New York, and in 1986 and 2011 at the Pompidou Center, Paris.&nbsp;Francois Morellet realized many public commissions throughout his career and was one of the very rare contemporary artists invited to create a permanent installation for the Musee du Louvre, Paris.<br /> <br /> *ART&sup2; is An International Platform on Contemporary Art, presented by the Cultural Services of the French Embassy in the U.S. in collaboration with the New York presenters Institut fran&ccedil;ais, the French Ministry of Culture and Communication and FACE (French American Cultural Exchange).<br /> <br /> *Herve Bize has been working closely with Francois Morellet for more than 25 years. This project is a first collaboration between the two galleries.</p> Tue, 01 Apr 2014 02:50:07 +0000 Peter Dreher - Koenig & Clinton - April 17th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Koenig &amp; Clinton is pleased to announce Peter Dreher:&nbsp;<em>Day by Day, Good Day</em>, a historical exhibition presenting paintings from 1974&ndash;2012. Dreher began his series&nbsp;<em>Tag um Tag Guter Tag</em>&nbsp;(Day by Day, Good Day) after painting his first glass in 1972. Dreher continued rendering a single empty water glass repeatedly, by day and by night, and has continued doing so over the course of several decades. The title of the series is linked to a Zen Buddhist maxim that espouses the equanimity of all things and objective perception of the world. Schooled as a figurative painter, the artist has remained steadfast to this commitment over the years, painting the same glass, within the same surroundings, from the same angle every day. To date, the series includes nearly 5,000 individual paintings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Often compared to artists such as On Kawara and Roman Opalka, who work with repetitive signs, numbers and motifs, Dreher reflects on the transience of time through everyday objects. Dreher&rsquo;s use of repetition and seriality, emblematic of today&rsquo;s conceptual art landscape, run parallel to the artist&rsquo;s fascination with the act of painting itself. Dreher approaches each work in the series as if for the first time, allowing the banality of his subject to give way to the revelation of its most subtle nuances exposed by repetition. Upon encountering the hundreds of glasses presented in&nbsp;<em>Day by Day, Good Day,</em>&nbsp;the viewer begins to notice slight changes in light, a glimmer of the studio&rsquo;s rear window caught in reflection, at times a faint image of the artist looking back.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Dreher challenges contemporary art&rsquo;s quest for innovation and interpretation, delving into the meditative singular as a nomad that curiously returns home each day, experiencing it anew. Indeed, Dreher&rsquo;s impetus for the series is grounded in a common feeling of rootlessness that persists in the human condition. Remarking that the only hours of his life when he is truly &lsquo;quiet&rsquo; are those spent painting, Dreher&rsquo;s continual return to this specific familiarity is, for him, coming home.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The selection of historical and recent paintings on view at Koenig &amp; Clinton coincides with a parallel exhibition of Dreher&rsquo;s paintings at OSMOS Address, where Peter Dreher will discuss his work in a public conversation on April 16th at 7PM.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Peter Dreher (b. 1932, Mannheim, Germany) studied at the State Academy of Fine Arts at&nbsp;Karlsruhe from 1950 to 1956, and was Professor of Painting at the State Academy, Karlsruhe,&nbsp;from 1968 to 1997. During his professorship, he taught and influenced a number of acclaimed&nbsp;artists, including Anselm Kiefer. Selected solo exhibitions&nbsp;</em>include Peter Dreher&mdash;Homage to Painting<em>, Museum f&uuml;r Neue Kunst, St&auml;dtische Museen Freiburg, (2012-2013); Mus&eacute;e d&rsquo;art moderne et contemporain, Geneva, (2011), Museum Erfurt, Germany (2008), and Athens Biennial (2007). The artist lives and works in Wittnau, Germany.</em></span></p> Sun, 13 Apr 2014 07:18:00 +0000 Yojiro Imasaka - MIYAKO YOSHINAGA Art Prospects - April 17th 6:00 PM - 8:00 PM <p><strong>From&nbsp;April 17 to&nbsp;May 24, 2014</strong>,&nbsp;MIYAKO YOSHINAGA is proud to present&nbsp;<strong><em>Sleeping Beauty</em></strong>, the&nbsp;solo exhibition of <strong>Yojiro Imasaka&rsquo;s</strong> photography. An opening reception for the artist will be held on&nbsp;<strong>Thursday, April 17, 2014, from 6pm to 8pm</strong>.&nbsp;</p> <p>&nbsp;Consisting of over twenty color and black-and-white photographs,&nbsp;<strong><em>Sleeping Beauty </em></strong>is a selection from a larger body of work by Imasaka, who documented his two-month road trip across the United States. This exhibition presents a mix of his smaller 35mm film prints and his larger prints using a classic Deardorff 8 x10" large format camera. Imasaka alters &ldquo;fast&rdquo; and &ldquo;slow&rdquo; image-making techniques in response to the multi-faceted American scenery he observed.</p> <p>In the summer of 2013 - traveling alone by car with camping equipment - Imasaka began his northern route in Maine, passed through the Midwest, then made his way across the Rocky Mountains to the west coast. He returned east by way of the southwest and Appalachia, ending in upstate New York, where his American wanderings first began. Although unreservedly quiet in its conventionality, Imasaka&rsquo;s diverse American landscape gradually reveals hidden wonders just below the surface. &nbsp;&nbsp;</p> <p>With the 35mm film, Imasaka shot numerous roadside sceneries that resulted in the dozen postcard-sized color images in this exhibition. Deceivingly underwhelming and often vague and patchy, the group of small landscapes invites our scrutiny of what constitutes a vast part of the American landscape to be played against common perception. Imasaka makes a striking contrast with the series of larger, spatially complex images in his exhibition. An abandoned trailer in an expansive grass field or a dilapidated barn in a rampant forest - spotted often on off-road trails - are unremarkable at a first glance. And yet, their decays and remains suggest the furtive footprint of humanity reclaimed by the surrounding nature.</p> <p>The superficially ordinary scenes in Imasaka&rsquo;s <strong><em>Sleeping Beauty</em></strong> decelerate our hectic plugged-in life, and let us become immersed in a mysteriously physical and emotional space.</p> <p>A monograph of the artist&rsquo;s larger body of work, <strong><em>Untitled Scapes of America (USA)</em></strong><em>, </em>is being published and presented in conjunction with this exhibition. <strong>Russet Lederman</strong>, a writer and photobook collector, contributes her essay to this publication, and writes: <em>&ldquo;Imasaka instinctively understands the power of suggestion and masterfully uses it to reveal the shadows of people who have just passed through his frame or are still present at its periphery.&rdquo;</em></p> <p>Born in Hiroshima, Japan, <strong>Yojiro Imasaka </strong>lives and works in New York City. He received a BFA in photography at Nihon University College of Art in Tokyo, and went on to study at New York&rsquo;s Pratt Institute from which he earned an MFA in 2010.&nbsp; Imasaka&rsquo;s work has been exhibited in North America, Asia and Europe, including the Tokyo Metropolitan Museum of Photography (Tokyo), ISE Cultural Foundation Gallery (New York), Gymnasia Herzliya (Tel Aviv), Recycleart (Brussels), ITS#Four / International Talent Support (Trieste), and VT Artsalon (Taipei). &nbsp;Solo exhibitions were held at Miyako Yoshinaga Gallery (New York)&rsquo;s project space in 2011, FOUR 11 Gallery (Brooklyn) and Chelsea West Gallery (New York) both in 2010, and NUCA Gallery (Tokyo) in 2007.</p> Tue, 01 Apr 2014 03:15:23 +0000 Charlotte Posenenske - Peter Freeman, Inc. - April 17th 6:00 PM - 8:00 PM <p>Peter Freeman, Inc, New York, is pleased to present an exhibition of works on paper by Charlotte Posenenske (1930-1985). This is the gallery&rsquo;s third exhibition of her work, and the first devoted entirely to a selection of her drawings and paintings, made between 1956 and 1965, many of which have never been shown before in New York.<br /> <br /> One of the most influential artists of her generation, Posenenske is best known for her minimalist and conceptual sculptural works, based on industrial manufacturing and mass-production. However, before turning to sculpture in the mid 1960s, she was working primarily on paper, using it as a space for experimentation as she worked towards simplification, repetition, and mechanization. Her later sculpture ultimately questioned the importance of authorship, and in her early works on paper it is clear that it is an idea with which she was occupied from the beginning, playing with ways to eliminate the subjectivity of her hand.<br /> <br /> One group of works on view are her &ldquo;Landschaft&rdquo; [Landscapes] for which she often worked out-of-doors, distilling natural elements into gesture and essential marks, paring them down to near abstraction while retaining a pictorial organization. She also was making lively, highly gestural works on paper and cardboard, the apparent speed in which they were made belied by the elegant, precise lines of which they are composed. However, she was elsewhere eliminating gesture, moving towards mechanization. That is evident in her &ldquo;Spachtelarbeit&rdquo; [Palette-knife Works] in which she used that tool to avoid the hand-drawn, subjective traces of a brush stroke, and in her &ldquo;Rasterbild&rdquo; [Grids], in which various types of marks were rapidly repeated, laid out in skewed lines. In these works she was exploring how automated her hand could be made to act.<br /> <br /> Posenenske&rsquo;s work culminated in sculptural prototypes (1967-68) consisting of intentionally reductive elements based on industrial principles of geometry, modularity, and standardization. They were unsigned and manufactured in unlimited numbers, their production and distribution left up to the will of the recipient or consumer. The conflicts of authorship became a constant occupation in Posenenske&rsquo;s oeuvre and can be traced from the early works to the publication of her Manifesto in 1968, by which she ended career as an artist, claiming that art could not have a sufficient political impact.<br /> <br /> Posenenske began studying painting in 1951, after a childhood spent in hiding during Nazi rule. Later, she studied painting with Willi Baumeister in Stuttgart before working as a set and costume designer until 1955. Her first exhibition was in 1959 at Galerie Weiss, Kassel. Her first solo show, in 1961, was at Galerie Dorothea Loehr. Throughout the sixties her work gained wide recognition in Germany and abroad until, in 1968, she turned instead to sociology, the study of which she pursued until the end of her life in 1985. In 2007, when she was featured in documenta 12, her work was rediscovered on a broader scale. Since then, her work has been the subject of many solo exhibitions including ones at Artists Space, New York (2010), K21, D&uuml;sseldorf (2012), and Kunsthalle Wiesbaden (2012). Recent group exhibitions include the 2011 Istanbul Biennial, 2012 Bienal de S&atilde;o Paulo, &ldquo;Minimalism in Germany&rdquo; at Daimler Contemporary, Berlin (2012), and most recently: &ldquo;Spielobjekte&rdquo;, Museum Tinguely, Basel, Switzerland (closing May 11, 2014). Her work is in the permanent collections of many prestigious institutions, including the Museum of Modern Art (New York), Museum of Contemporary Art (Chicago), Centre Pompidou (Paris), Tate Modern (London), Museum Ludwig (Cologne), and MMK Museum f&uuml;r Moderne Kunst (Frankfurt am Main).</p> Tue, 08 Apr 2014 02:56:40 +0000 Richard Wentworth - Peter Freeman, Inc. - April 17th 6:00 PM - 8:00 PM <p>Peter Freeman, Inc, New York, is pleased to present &lsquo;motes to self&rsquo; by Richard Wentworth. This is the gallery's third exhibition with the artist, and the first devoted to his photographic series &ldquo;Making Do and Getting By&rdquo; (begun in 1974). <br /> <br /> Wentworth, widely recognized for his sculptural repositioning of ordinary objects, is a keen observer and chronicler of daily life. His extensive series of photographs, taken while walking through city streets - primarily his own hometown of London but also urban settings far from home &ndash; captures the provisional ways in which people modify the world they inhabit. Wentworth's project is simultaneously that of a wanderer and archivist, walking among, encountering, and recording happenstance, creating unpeopled landscapes full of the evidence of human life in all its oddities, adjustments, shortcuts and elliptical solutions. Each image captures particular local eccentricities of the city in which it was taken, but more so reflects a human capacity to deploy inventive and creative means to assemble the world.<br /> <br /> In the artist&rsquo;s words: &ldquo;I am not a photographer and have never much been drawn to its possible &lsquo;preciousnesses&rsquo;. There are photographers I admire, but it's content driven. There are artist's archives which I recognize, but probably only know at a distance. Smithson/Rauschenberg. Walker Evans/Bechers. Charles Sheeler/Paul Nash. Assorted Germans - Sander/Richter.&rdquo;<br /> <br /> This exhibition comprises hundreds of images from the past eight years both on the wall and displayed on tables. The full-gallery, wall-to-wall accumulation of images here offers the viewer an immersive, direct engagement with a small example of the artist's way of looking and experiencing. Importantly, amassing the pictures in this way allows for connections to be made by the viewer. For the artist it is not so much the images as the "gaps between that seem to be where energies flow. The 'mortar' proposes some friction, the 'bricks' just 'are'."<br /> <br /> Richard Wentworth was born in 1947 and lives and works in London. He attended the Royal College of Art in London from 1966-70 and taught at Goldsmith&rsquo;s College, University of London from 1971-87. In 2002 he became Master of Drawing at the Ruskin School of Drawing and Fine Art, Oxford University, and in 2009 was appointed Professor and Head of the Royal College of Art&rsquo;s Sculpture Department. In 2011, Richard Wentworth was appointed Commander of the Order of the British Empire (CBE). Past exhibitions include solo shows at Serpentine Gallery, London (1993), Stedelijk Museum, Amsterdam (1994), Bonner Kunstverein (1998), Tate Liverpool (2005), Whitechapel Gallery, London (2010), and most recently &ldquo;Black Maria,&rdquo; a major public commission, installed for a month in King&rsquo;s Cross, London (2013). Group exhibitions include the 25th Bienal de S&atilde;o Paulo (2002), the 50th and 53rd Venice Biennales (2003, 2009). He was awarded the Mark Rothko Memorial (1974) and the Berlin DAAD Fellowship (1993-94). Wentworth&rsquo;s work is also in the permanent collections of many international museums such as Tate Modern (London), Wadsworth Athenaeum (Connecticut), Centro Cultural Arte Contemporaneo (Mexico), and Israel Museum (Jerusalem). His work is on view in &ldquo;Curiosity: Art &amp; The Pleasures of Knowing,&rdquo; originated by London&rsquo;s Southbank Center and next travelling to de Appel Arts Center in Amsterdam (27 June &ndash; 14 September 2014).</p> Tue, 08 Apr 2014 03:00:10 +0000 Jakkai Siributr - Tyler Rollins Fine Art - April 17th 6:00 PM - 8:00 PM <p>Tyler Rollins Fine Art is pleased to present <em>Transient Shelter</em>, an exhibition of new works by Jakkai Siributr, taking place at our gallery in New York City from April 17 &ndash; May 31, 2014. Jakkai has long been known as one of Thailand&rsquo;s leading artists working with textiles, producing meticulously handmade tapestry and installation works that make powerful statements about religious, social, and political issues in contemporary Thailand. A main preoccupation of his art is the interaction between Buddhism and materialism in modern life, and the everyday popular culture of Thailand. In recent years, he has incorporated other materials and media in his work, including industrial and found materials, sound, and video. For <em>Transient Shelter</em>, Jakkai has produced a series of self-portrait photographs that have him &ldquo;embodying&rdquo; the elaborately embroidered and ornamented uniforms that are also part of the exhibition, along with a video work. The exhibition is curated by Singapore-based researcher, curator and critic Iola Lenzi, who writes in the catalogue essay: &ldquo;mining local icons of religion and entrenched cultural tradition, Jakkai produces an art of thoughtful resistance that allusively takes aim at meaningless hierarchies, ineffective systems, and empty gestures masquerading as consequential. In its questioning of overlapping fiction and truth, dance with image and reality, and to-and-fro between life and death, <em>Transient Shelter</em>, though starting with ideas rooted in Thai culture, speaks to a universal audience.&rdquo;&nbsp;&nbsp;</p> <p>The exhibition is a meditation on the transience of worldly success and the way the trappings of social status are often imbued with quasi-mystical associations that maintain a link with animistic beliefs. With the photographs, Jakkai adopts poses taken from portraits of his ancestors, many of whom served as royal courtiers and in some cases had their lives cut short by the sometimes tragic vicissitudes of Thai political history. Wearing Thai civil service uniforms decked out with awards, he evokes the type of formal portrait photographs that are included in the funeral books that Thai families compile to commemorate the lives of relatives, and that typically emphasize the deceased person&rsquo;s social status. Jakkai has encrusted the actual uniforms with elaborate ornaments that are inspired by Buddhist amulets and animist talismans, hinting at the deep-seated beliefs that underlie current social conventions. With some of the portraits, Jakkai poses in front of dilapidated backgrounds, pointing to the process of decay and rebirth that alludes to the cycle of life and death, as well as perhaps the state of social breakdown in today&rsquo;s fractious Thailand. The exhibition title itself suggests that social status, like everything else in life, is but a transitory phase. This sense is heighted by the short video work, in which a uniform jacket slowly moves under flowing water, accompanied by a soundtrack of a burning funeral pyre.&nbsp;</p> <p>Jakkai&rsquo;s work has been shown in a number of museums around the world in recent years. In the United Sates, his work was included in <em>Phantoms of Asia: Contemporary Awakens the Past </em>at the Asian Art Museum of San Francisco (2012), as well as the museum&rsquo;s <em>Here / Not Here: Buddha Presence in Eight Recent Works</em> (2011). As part of the latter exhibition, Jakkai presented his interactive <em>Reciprocity</em> project in the Asian Art Museum&rsquo;s Tateuchi Gallery; his work <em>Recession</em> (2010) subsequently entered the museum&rsquo;s collection. In 2009, Jakkai&rsquo;s <em>Lucky Ware</em> installation (2008) was featured at the Rubin Museum in New York City, and he was included in <em>Truly Truthful</em> in Miami. He has presented two solo exhibitions at Tyler Rollins Fine Art: <em>Temple Fair</em> (2008) and <em>Karma Cash &amp; Carry</em> (2010). In Asia, Jakkai&rsquo;s <em>Shroud </em>installation was recently featured in the exhibition, <em>Exploring the Cosmos: The Stupa as a Buddhist Symbol </em>(2012 &ndash; 2013) at Singapore&rsquo;s Asian Civilisations Museum, which acquired the work for its permanent collection. In 2011, he presented a major exhibition of installations, sculptural works, and embroidered tapestries at the Art Center, Chulalongkorn University, Bangkok, Thailand (2011). He was a featured artist in the 2011 Chongqing Biennial and in the 2009 Asian Art Biennial at the National Taiwan Museum of Fine Arts, which acquired his work, <em>Suffrage</em> (2008).</p> Thu, 03 Apr 2014 17:41:17 +0000 Ai Weiwei - Brooklyn Museum of Art - April 18th 10:00 AM - 5:00 PM <p>Ai Weiwei is one of China&rsquo;s most prolific and provocative contemporary artists. Featuring over thirty works spanning more than twenty years, <em>Ai Weiwei: According to What?</em> explores universal topics of culture, history, politics, and tradition, showcasing the artist&rsquo;s remarkably interdisciplinary career as a photographer, sculptor, architect, and activist.</p> <p>These works spotlight issues of freedom of expression, as well as individual and human rights both in China and globally. Many use minimal forms and methods, while others manipulate traditional furniture, ancient pottery, and daily&nbsp;objects in ways that question cultural values and challenge political authority.</p> <p>Ai is best known for projects such as his collaboration with Herzog &amp; de Meuron on the 2008 Beijing Olympic National&nbsp;Stadium, as well as his embrace of the Internet and social media as a platform for his activism. Despite his arrest and eighty-one-day detention in 2011, Ai has continued to create art that&nbsp;transcends dualities between East and West.</p> Sun, 02 Mar 2014 23:23:53 +0000 Anne Doran - Invisible-Exports - April 18th 6:00 PM - 8:00 PM <p>INVISIBLE-EXPORTS is proud to present the first solo exhibition at the gallery of work by Anne Doran.</p> <p>* * *</p> <p>From 1985 through 1991 Anne&nbsp;Doran&nbsp;made slyly narrative wall-based sculpture from appropriated public images in wide circulation, using them to speak of the commodification of desire, the loss of self, and the dynamics of power relations in modern culture.&nbsp;</p> <p>One thing we know about the flood of culture is that it only accelerates and accumulates, expands and appropriates. We know it about the late 1980s and early 1990s especially, an era in which the total conquest of dream-life by the media seemed finally and totally achieved, but which seems now, from the vantage of the image-obsessed-and-overwhelmed perch of today, just the beginning. Un-exhibited for more than two decades, Anne Doran&rsquo;s contemporary mixed-media works navigate the space and time between the two, marvels of inflected prescience that seem to live in both this era and that: visionary maps of internet logic produced before the internet came of age; pre-histories of our post-culture future; and poignant heirlooms of those subcultures promising oblique threats to mass media, threats we now see as private but profound protest.</p> <p>Doran's work largely consisted of large-scale photograph-and-aluminum wall-reliefs based on collages of appropriated pictures sourced from porn magazines, corporate reports, advertising circulars, and military periodicals. Fragmenting and recombining these images in free-associative fashion,&nbsp;Doran&nbsp;re-deployed their fetishizing treatment of objects and bodies and their conflation of different sorts&nbsp;of desire&mdash;for sex, for commodities, for lifestyles, for power&mdash;in new, open-ended narratives, both personal and political. While indebted to the appropriation strategies of an earlier generation of artists, these works also anticipated the contemporary experience of images in which context is the only content. And yet, they remain artifacts, too, of the era on the other side of that threshold, when the project to master the coded narratives of consumer culture had not yet been made to seem, by a new flood of media, impossibly quixotic; and when it still seemed possible, in a sea of images, to make a personal and idiosyncratic claim.&nbsp;</p> <p>* * *</p> <p>Anne Doran (b. 1957) was born in Canada and lives and works in New York. Her work has been included in exhibitions at MoMA P.S.1, Long Island City, NY; The Kitchen, New York; Artists Space, New York; the Centre Georges Pompidou, Paris; Tony Shafrazi Gallery, New York; the Stedelijk Museum, Amsterdam; the New Museum of Contemporary Art, New York; and 303 Gallery, New York and has been reviewed in the <em>New Yorker</em>, the <em>Village Voice</em>, and <em>Flash Art</em>, among other publications.</p> Fri, 11 Apr 2014 00:10:42 +0000 Marie Lorenz - Jack Hanley Gallery- New York - April 18th 6:00 PM - 8:00 PM <p>Jack Hanley is very pleased to present <em>The Valley of Dry Bones</em>, a video installation by Marie Lorenz which includes the premier of <em>Ezekia</em>, a 5-channel video set in an imaginary future.</p> <p><em>Ezekia</em> tells the story of a group of women exploring the shore of a lost city. The camera follows them as they sort through the wrecked debris that civilization left. By using cameras at extreme angles, Lorenz intensifies the feeling of floating that has been central to her practice of floating videography. &nbsp;</p> <p>The accompanying installation transforms the gallery into a gridded structure, like a collapsed pier, or the pilings of a giant dock. Nested into the ruins are fragments of a new order of things: a macram&eacute; net of washed-up debris, a written language of flotsam. The objects invite the audience to explore an imaginary coast - a unique place that confuses the past and future in a parallel but hidden world.</p> <p>Lorenz&rsquo; previous works archive real experiences; such as a long trip around the city&rsquo;s coast, or a sailing accident. In contrast, <em>The Valley of Dry Bones</em> delves into a fictional or utopist future. The artist considers the show against Paul Valery&rsquo;s call for science fiction to produce a &lsquo;yet unknown kind of aesthetics&rsquo;. In the collection of essays, <em>The Outlook for Intelligence</em>, Valery wrote about our civilization coming to terms with its downward trajectory, &ldquo;We were aware that the visible earth is made of ashes, and that ashes signify something.&rdquo;* Each of Lorenz&rsquo; sculptures is an attempt to engage that significance by proposing a new interaction with garbage. The artist combines natural and man made objects, valuable material, and things that float up out of the sewer. Somehow Lorenz&rsquo; proposal for the &lsquo;yet unknown&rsquo; seems familiar &ndash; it is our own trash, but this ubiquitous debris is worked into a net of new meaning.</p> <p>On the coast of the city, we are already living in the future. Time moves more quickly here, as the water erodes our foundations. Things come and go with greater urgency. Sea level rise is already apparent. Watching carefully as the tide rearranges our debris, we witness a daily transmogrification.</p> <p>&ldquo;We see now that the abyss of history is deep enough to hold us all.&rdquo;**</p> <p>Marie Lorenz (b. 1973) lives and works in New York City. She received a B.F.A. from Rhode Island School of Design and an M.F.A. from Yale, where she now teaches in the Painting Department. Lorenz has received grants from Artists Space, the Harpo Foundation, and in 2008 she was awarded the Joseph H. Hazen Rome Prize for the American Academy in Rome. Her work has been included in shows from High Desert Test Sites in Joshua Tree, California, to MoMA PS1, in New York City. She has completed solo projects at Ikon Gallery in Birmingham, England, Artpace in San Antonio, Texas, and here at Jack Hanley Gallery in New York. In May, Lorenz will perform a version of her ongoing performance, &lsquo;Tide and Current Taxi&rsquo; for Frieze Projects, providing an alternative ferry service around Randall's Island during Frieze New York.</p> <p><em>The Valley of Dry Bones</em> is the artist's third solo exhibition at Jack Hanley Gallery.</p> Fri, 04 Apr 2014 03:44:52 +0000 Tunga - Luhring Augustine - Chelsea - April 18th 5:00 PM - 7:00 PM <p><br /> Luhring Augustine is pleased to announce an exhibition of new work by Tunga. This marks the artist&rsquo;s fifth solo exhibition with the gallery and includes sculptures and drawings conceived over the past few years. For four decades Tunga has created a complex personal mythology through his integrated and evocative body of work, which includes sculpture, installation, performance, film, drawing, and writing. His practice is a synthesis of multifarious interests in poetry, psychology, physics, alchemy, and metaphysics, and is expressed with a distinctive sensual and poetic sensibility. <br /> <br /> Following in the tradition of Joseph Beuys&rsquo;s ceremonial environments, Tunga relies on a repeated use of symbolic materials such as crystals, sponges, rubber, wood, bronze, glass vessels, and ceramics. The tripod is a recurring structural component in his new sculptures, which incorporate such variety of media and resemble monumental totemic objects resulting from an enigmatic ritual. Tunga&rsquo;s new ink drawings made on diaphanous handmade paper address similar concerns as those developed in his sculptures; each features a continuous line, linking disparate bodily forms that overlap to create larger anthropomorphic images, which emerge and recede. For Tunga, the drawings bring to mind &ldquo;formulas, recipes, concoctions,&rdquo; and &ldquo;evoke scenes from pre-scientific iconography where an image can be translated into an element of transmutation.&rdquo; As art historian Michael Asbury has noted, at the heart of Tunga&rsquo;s practice lies a &ldquo;desire to uncover the mystical undercurrents of modernity.&rdquo; <br /> <br /> Born in 1952, Tunga lives and works in Rio de Janeiro and is widely considered one of the leading Brazilian artists of his generation. He has had numerous solo exhibitions at museums internationally, and has presented major installations at the Venice Biennale, Documenta X, and four iterations of the S&atilde;o Paulo Biennial, in which he will be featured for a fifth time later this year. His work is included in the permanent collections of several institutions, including the Museum of Modern Art, New York; the Museum of Fine Arts, Houston; the Museum of Contemporary Art, Los Angeles; the Museo Nacional Centro de Arte Reina Sofia, Madrid; and the Moderna Museet, Stockholm. In September 2012 a second major permanent pavilion dedicated to Tunga opened at the Instituto de Arte Contempor&acirc;nea Inhotim in Brumadinho, Brazil. Most recently, Tunga was included in <em>Brasiliana: Installations from 1960 to the Present</em> at the Schirn Kunsthalle in Frankfurt am Main, and in <em>Imagine Brazil</em>, which originated at the Astrup Fearnley Museet in Oslo and will be traveling to several institutions throughout Europe, Russia, and Brazil.</p> Sat, 12 Apr 2014 23:16:46 +0000 Jory Rabinovitz - Martos Gallery - April 18th 6:00 PM - 8:00 PM Tue, 15 Apr 2014 06:29:52 +0000 - Cuchifritos Gallery + Project Space - April 19th 5:00 PM - 7:00 PM <p><span>Exhibition Dates: April 19 &ndash; May 18, 2014</span></p> <p><span>Opening Reception: Saturday, April 19th from 5-7pm
</span></p> <p><span>Gallery Hours: Tuesday &ndash; Sunday, 12-6pm
</span></p> <p><span>*Free Speech hour from 5-6pm*</span></p> <p><span>
Location: 120 Essex Street (inside Essex Street Market)</span></p> <p><span>Participating artists include but are not limited to: Peter Fend, Coleen Fitzgibbon, Robert Goldman (Bobby G), Tom Otterness, Ann Messner and Laurie Arbiter, and Alan Moore</span></p> <p><br /><span>Cuchifritos Gallery + Project Space is honored to present the exhibition The Real Estate Show, What Next: 2014. An extension of The Real Estate Show of 1979/1980, this exhibition will serve as a living project space, presenting new work that continues to question the impending re-development of the Seward Park Urban Redevelopment Area (SPURA) sites. By addressing certain issues that have both united and polarized the neighborhood over the last 30+ years, the exhibition will encourage artists and community members to become an active part of the conversation by focusing on the particular insights and experimental processes that artists bring to imagining new urban spaces. All of the projects, contributed by former Colab members and participants in the original Real Estate Show, take form through audience engagement, as Cuchifritos becomes a flexible site for the active processes unfolding throughout the duration of the exhibition.</span></p> <p><br /><span>The Real Estate Show, which opened on December 31, 1979, was an extra-legal occupation of and art show in the city-owned building at 123 Delancey Street on the Lower East Side. Organized by Collaborative Projects (Colab), a collective of artists and activists that formed in 1977 to create exhibition and funding opportunities for artists, the exhibition sought to address the growing real estate crisis in New York City, with the dissolution of lower-income neighborhoods, amassing evictions and displacement of non-wealthy residents. The exhibition, as much art show as it was collective action, was shut down on the morning of January 2, 1980 by The New York City Department of Housing, Preservation and Development, who replaced the once-broken lock and removed all of the artwork, prompting an influential press conference called by the show&rsquo;s organizers. This public demonstration, attended by the New York Times, Soho Weekly News and, notably, artist Joseph Bueys, led to negotiations between the representative artists and the city resulting in the eventual founding of ABC NoRio at 156 Rivington Street.</span></p> <p><br /><span>For more information, please visit our website at:</span></p> <p><br /><span>Corresponding Exhibitions:
 The Real Estate Show, Was Then: 1980 at James Fuentes, 55 Delancey Street, April 4 &ndash; 27</span></p> <p><span>
RESx: The Real Estate Show Extended at ABC NoRio, 156 Rivington Street, April 9 &ndash; May 8</span></p> <p><br /><span>Image courtesy of Ann Messner</span></p> <p><br /><span>Cuchifritos is FREE to the public and handicap accessible. Located inside Essex Street Market at the south end nearest Delancey.</span></p> Thu, 03 Apr 2014 18:27:29 +0000 Sigmar Polke - MoMA (Museum of Modern Art) - April 19th 10:30 AM - 5:30 PM <div class="description"> <p class="top">The Museum of Modern Art presents the first comprehensive retrospective of Sigmar Polke (German, 1941&ndash;2010), encompassing Polke&rsquo;s work across all mediums, including painting, photography, film, drawing, prints, and sculpture. Widely regarded as one of the most influential artists of the postwar generation, Polke possessed an irreverent wit that, coupled with his exceptional grasp of the properties of his materials, pushed him to experiment freely with the conventions of art and art history. Constantly searching, Polke studiously avoided any one signature style or medium; his method exemplified the definition of alibi, &ldquo;in or at another place,&rdquo; which also suggests a deflection of blame. This exhibition places Polke&rsquo;s enormous skepticism of all social, political, and artistic traditions against German history and the country&rsquo;s transformation in the postwar period. Four gallery spaces on MoMA&rsquo;s second floor are dedicated to the exhibition, which comprises more than 250 works and constitutes one of the largest exhibitions ever organized at the Museum.</p> <p>The exhibition is organized chronologically and across mediums, ranging from the intimacy of a notebook to pieces that test the architectural scale of most museum galleries. Among the many noted works on view are 13 films by Polke, including eight which have never before been available; a performance made for West German television that was last seen when it aired in 1972; and a group of monumental paintings made entirely of soot on glass that have never been exhibited in the United States.</p> </div> Mon, 03 Mar 2014 00:18:07 +0000