ArtSlant - Openings & events en-us 40 Judith Scott - Brooklyn Museum of Art - October 24th 10:00 AM - 5:00 PM <p style="text-align: justify;">Judith Scott&rsquo;s work is celebrated for its astonishing visual complexity. In a career spanning just seventeen years, Scott developed a unique and idiosyncratic method to produce a body of work of remarkable originality. Often working for weeks or months on individual pieces, she used yarn, thread, fabric, and other fibers to envelop found objects into fastidiously woven, wrapped, and bundled structures.</p> <p style="text-align: justify;">Born in Columbus, Ohio, with Down syndrome, Scott (1943&ndash;2005) was also largely deaf and did not speak. After thirty-five years living within an institutional setting&nbsp; for people with disabilities, she was introduced in 1987 to Creative Growth Art Center&mdash;a visionary studio art program founded more than forty years ago in Oakland, California, to foster and serve a community of artists with developmental and physical disabilities.</p> <p style="text-align: justify;">As the first comprehensive U.S. survey of Scott&rsquo;s work, this retrospective exhibition includes an overview of three-dimensional objects spanning the artist&rsquo;s career as well as a selection of works on paper.</p> <p style="text-align: justify;"><em>Judith Scott&mdash;Bound and Unbound </em>is organized by Catherine J. Morris, Sackler Family Curator for the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, and Matthew Higgs, artist and Director/Chief Curator of White Columns, New York. The accompanying catalogue is published by the Brooklyn Museum and Prestel.</p> <p style="text-align: justify;">This exhibition is made possible by the Elizabeth A. Sackler Foundation. Additional generous support has been provided by the Helene Zucker Seeman Memorial Exhibition Fund and Deedie Rose.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Elizabeth A. Sackler Center for Feminist Art, 4th Floor</strong></p> Mon, 20 Oct 2014 02:11:46 +0000 Matt Hoyt - Bureau - October 24th 6:00 PM - 8:00 PM <p style="text-align: justify;">Matt Hoyt (b. 1975, Mount Kisco, NY) lives and works in Brooklyn. Hoyt received his BFA in 2000 from the School of Visual Arts. Selected exhibitions include: The Whitney Biennial (2012); <em>Greater New York</em>, MoMA|PS1, NY (2010); <em>2006-2011</em>, Bureau, NY; <em>Mind is Outer Space</em>, Casey Kaplan, NY; <em>Matt Hoyt, Dave Miko, Tom Thayer</em>, Doyers Space, NY; <em>Addicted to Highs and Lows</em> cur. by Richard Aldrich, Bortolami, NY; <em>On Top of the Whale</em>, Cur. Olivia Shao, Mitchell Algus, NY; <em>Escalator to Common Art </em>w/ Mark Yetter, Dispatch, NY. His work is in the collection of the Whitney Museum of American Art. In 2013 Hoyt was awarded the Foundation for Contemporary Arts&rsquo; Grants to Artists Award.</p> Fri, 24 Oct 2014 14:03:06 +0000 Group Show - Clover's Fine Art Gallery - October 24th 6:00 PM - 7:30 PM <p align="center"><strong>GUERRILLAS IN THE MIDST REMIX</strong></p> <p align="center"><strong>September 26, 2014 &ndash; October 26, 2014</strong></p> <p style="text-align: center;"><strong>Artist Talk &ndash; Friday October 24 &ndash; 6:00 to 7:30pm </strong></p> <p style="text-align: center;"><strong>Discussion starts promptly at 6:30pm</strong></p> <p>&nbsp;</p> <p>All roads lead to Clover's Fine Art Gallery next Friday evening as participating artists speak about their artwork in this show as well as what's happening now in their art careers.</p> <p>The exhibition runs until Sunday Oct 26.</p> <p>In 1998, as a reaction to the marginalization of artists from Caribbean and African-American communities, ten artists living primarily in Fort Greene and Bedford-Stuyvesant, Brooklyn formed a group called &ldquo;Rogues Gallery,&rdquo; later renaming themselves &ldquo;Guerrillas in the Midst&rdquo;. They found that despite having been educated and trained in notable bastions of art and education, only a limited number of galleries were interested in showing their work.&nbsp; Finding just cause for action, they drew up a manifesto calling for a rebellion against the echelons of high art and it&rsquo;s officiators, and created &ldquo;Guerrillas in the Midst,&rdquo; a series of &ldquo;strikes&rdquo; in the form of art exhibitions in unconventional spaces that were produced to critical acclaim.&nbsp;&nbsp;</p> <p>And so it is in that spirit and to reignite that rebel yell that Clover&rsquo;s Fine Art Gallery will present new work from the group in <strong><em>Guerrillas in the Midst Remix</em></strong>with six of the original artists - Terry Boddie, Constant, Francks Deceus, Jean Patrick Icart-Pierre, Jamal Ince, Laura James, and four new members Patrick Dougher, Lady K Fever, Tiffany Miller, and Sol Sax.</p> <p>ELIGO ART (Laura James and Edna Suarez) and Jamal Ince are the Guest Curators for this exhibition.</p> <p align="center">&nbsp;</p> <p><strong>Clover&rsquo;s Fine Art Gallery</strong></p> <p>338 Atlantic Avenue, Boerum Hill, Brooklyn, bet Hoyt and Smith Sts. 718.625.2121</p> <p><strong>For more info:&nbsp;&nbsp; </strong></p> <p><strong>718.625.2121 or</strong></p> <p><strong>917.407.6678</strong></p> <p></p> <p>&nbsp;</p> Thu, 23 Oct 2014 23:24:08 +0000 Enrique Figueredo - Cuchifritos Gallery + Project Space - October 24th 5:00 PM - 7:00 PM <p class="p3">Cuchifritos Gallery + Project Space is pleased to present<em>American Monarchy</em>, a solo exhibition by Enrique Figueredo. The exhibition expresses Figueredo&rsquo;s surreal fantasy of becoming the first American monarch. Highlighting politics, religion and popular culture, sex, citizenship, mysticism, and iconography, Figueredo paints and carves images that are both recognizable and falsified, compelling the viewer to believe in these dream-like stills as scenes from the past, present and future. In combining material observations with questions of capitalistic responsibility, Figueredo challenges the dissonance between power and authority and the intentions of those who represent a society for either the greater good or the good of the chosen few.</p> <p class="p3">Figueredo uses his practice to confront the tension between his Venezuelan heritage and the surrounding American culture. Blending energetic marks and precise textures, Figueredo imposes the depth of figures onto planes, using an endless variation of simple lines that grow into forms. His increasingly physical process extends beyond the pure woodblock print, layering silk screen, oil sticks, paint and pencil on top of each print, destroying the preciousness of the original object in order to generate something new. Similarly, Figueredo&rsquo;s large-scale paintings draw from his printmaking technique, composing colorful planes layered on top of one another, that merge the powdered wigs of our forefathers with the obscenities of our contemporary amusements.</p> <p><em>This is the first of three&nbsp;</em>Workspace 2014<em>&nbsp;exhibitions, featuring the work of&nbsp;<a title="LES Studio Program" href="" rel="nofollow">LES Studio Program</a>&nbsp;artists-in-residence.</em></p> Tue, 14 Oct 2014 00:42:59 +0000 Zarina Hashmi - Luhring Augustine - Chelsea - October 24th 6:00 PM - 8:00 PM <p style="text-align: justify;"><br /> Luhring Augustine is pleased to present <em>Descending Darkness</em>, an exhibition of new prints, works on paper, and sculpture by the artist Zarina. For nearly half a century, Zarina has explored the notion of home, be it the space between four walls, the familiar script of a mother tongue, or the constancy of the horizon line. Her life and the places that define it are the subject of her art, and her particular story &ndash; that of an immigrant, a traveler, and a citizen of the world &ndash; is one that resonates widely.<br /> <br /> Best known as a printmaker, Zarina also creates sculptural installations, collages, and other unique works on paper. Her compositions are precise and refined, yet never austere by virtue of carefully chosen materials such as handmade paper, gold leaf, and sumi ink. Paper is fundamental to her practice and, as evidenced by the impressive 50-part portfolio <em>Folding House</em>, it can be manipulated in countless ways. In each of these collages, fragments of paper from discarded projects are torn, cut, dyed, gilded, and burnt to represent home in all its strength and fragility. As a set, it also constitutes an index of Zarina&rsquo;s previous meditations on the house and the title alludes to a kind of closure. <br /> <br /> The prevalence of black and gold throughout the exhibition reflects the artist&rsquo;s preoccupation with despair and hope, as well as the infinite and the divine. Works such as <em>Abyss</em> and <em>Aleppo</em> poignantly reference the turmoil of world politics, of borders in dispute and cities under siege. Other pieces such as the golden collages <em>Ascent</em> and <em>Pillar</em> signal an embrace of the spiritual. <em>Descending Darkness</em>, from which the exhibition takes its title, is a sculptural installation of dozens of light bulbs carved in black marble and gilded in pewter leaf. Materially seductive, yet devoid of luminosity, it speaks to the artist&rsquo;s contemplation of mortality. Impending darkness is a somber prospect, but one that may inspire introspection and a turning inwards. Through this exhibition, Zarina continues her journey into the self and in doing so, touches on themes universal to us all. <br /> <br /> Zarina (b. 1937) is from Aligarh, India and currently lives and works in New York. After receiving a degree in mathematics, she went on to study woodblock printing in Bangkok and Tokyo, and intaglio with S. W. Hayter at Atelier-17 in Paris. She has exhibited at numerous venues internationally including representing India at the 2011 Venice Biennale, and her retrospective exhibition entitled <em>Zarina: Paper Like Skin</em> was presented at the Hammer Museum, Los Angeles in 2012, and at the Guggenheim, New York, and the Art Institute of Chicago in 2013. Her work is in the permanent collections of the Tate Modern, London; the Hammer Museum, Los Angeles; San Francisco Museum of Modern Art, San Francisco; the Whitney Museum of American Art, New York; the Solomon R. Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; and the Museum of Modern Art, New York.</p> Thu, 09 Oct 2014 11:49:17 +0000 - MoMA (Museum of Modern Art) - October 24th 10:30 AM - 8:00 PM <div class="description"> <p class="top" style="text-align: justify;">Each fall, MoMA&rsquo;s annual festival of newly preserved films, To Save and Project, brings together masterworks and rediscoveries from film archives, studios, and foundations from around the world. Many of the films in the festival will be receiving their first American screening since their original release; others will be shown in meticulously restored editions that more closely approximate the original experience of the film; a few will even be publicly screened for the first time ever in New York&mdash;including work by Orson Welles (sequences filmed but never used for the 1938 Mercury Theatre production <em>Too Much Johnson</em>). Also presented are films by Charles Chaplin, Maya Deren, Allan Dwan, Derek Jarman, Sergio Leone, Kenji Mizoguchi, Raul Ruiz, and Edgar G. Ulmer. Guest presenters include Kathryn Bigelow, John Boorman, George Chakiris, and Ken Jacobs.</p> <p style="text-align: justify;">The opening-night film is the North American premiere of a new MoMA restoration: Allan Dwan&rsquo;s 1929 masterpiece <em>The Iron Mask</em>, a rousingly entertaining swashbuckler starring Douglas Fairbanks that is often considered, as Dwan himself called it, &ldquo;the last of the big silents.&rdquo; MoMA&rsquo;s version, however, contains the entire original Vitaphone soundtrack&mdash;with music, sound effects, and three spoken sequences&mdash;which will be heard here for the first time since the film&rsquo;s original roadshow presentation.</p> <p style="text-align: justify;">These titles will join dozens of others from archives both public and private to create a four-week overview of the tremendously exciting work that is being done around the world to reclaim endangered films and rediscover forgotten treasures.</p> <p style="text-align: justify;">Organized by Joshua Siegel, Curator, and Dave Kehr, Adjunct Curator, with Sophie Cavoulacos, Curatorial Assistant, Department of Film.</p> </div> Fri, 17 Oct 2014 10:45:43 +0000 - MoMA (Museum of Modern Art) - October 24th 10:30 AM - 8:00 PM <p style="text-align: justify;">Unedited footage for an unreleased black-cast feature film, originally shot in 1913 and recently discovered in MoMA&rsquo;s Biograph collection, are the subject of this installation. New York producers Klaw &amp; Erlanger mounted the untitled project at virtually the same time that D. W. Griffith began his racist epic <em>The Birth of a Nation</em>, but they abandoned the seven reels of exposed film in postproduction, leaving buried within it unique photographic documentation of its black cast and white crew on the set. Starring the legendary Caribbean American musical theater performer and recording artist Bert Williams (1874&ndash;1922), the abandoned film also includes Harlem-based entertainment pioneers Sam Lucas, Abbie Mitchell, and J. Leubrie Hill, along with members of his Darktown Follies stage company. Blending minstrel and contemporary performance styles in its telling of recycled race narratives, the work documents the effort by a community of virtuoso performers to achieve increased visibility in a time of segregation. Using a series of digital moving-image excerpts from the 35mm camera negative and still frames recovered from the unassembled material, this premiere installation stages a close reading of suppressed moments from the struggle for minority access to visual media.</p> <p style="text-align: justify;">Organized by Ron Magliozzi, Associate Curator, Department of Film.</p> Fri, 17 Oct 2014 10:48:22 +0000 Joseph Montgomery - Peter Blum Gallery - October 24th 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong>Peter Blum</strong> is pleased to announce an exhibition of new works by&nbsp;<strong>Joseph Montgomery&nbsp;</strong>entitled<strong>&nbsp;</strong><em>Doll Index&nbsp;</em>at 20 West 57th Street, New York.&nbsp; There will be an opening reception on Friday, October 24th, from&nbsp;6 to 8 p.m.&nbsp; The exhibition runs through December 6th.&nbsp;</p> <p style="text-align: justify;"><em>Doll Index</em> is a new body of work representing Joseph Montgomery&rsquo;s continuing exploration of the shim - a tapered wedge of material typically used to fill gaps or spaces between objects to influence their levelness.&nbsp; The exhibition includes monumental wall pieces in lacquered MDF, compositions of cardboard sprayed with plaster, and layered assemblages. Recently, Montgomery has rearranged the repeated shim form into the representation of a figure.</p> <p style="text-align: justify;">Accompanying the exhibition, the website uses JavaScript to generate all&nbsp;possible doll combinations when given an operator-specified number of shim units as the probability framework for head, shoulder, hip, and calve sizes. Printed wallpaper that covers the east wall of the gallery exhibits 140 of these vectored doll images. <em>Doll Index</em> includes three animations of dolls on flat screen monitors. These videos show the doll perpetually repeating three labors including walking, writing, and birthing. The infinite repetitiousness of the doll anthropomorphizes Joseph Montgomery&rsquo;s questions about authorship and originality in the labors of image proliferation.</p> <p style="text-align: justify;">Difference, repetition, and representation inform Montgomery&rsquo;s image making labors and build the architecture of this exhibition. This framework is supported by the artist&rsquo;s system of titling each work as &ldquo;<em>Image&rdquo; </em>followed by the sequential number at which he completes the object&mdash;reinforcing not only the assembly of disparate fragments into composition but also the discord between the materiality of paintings and the immateriality of their dissemination.</p> <p style="text-align: justify;">A concurrent exhibition Joseph Montgomery<em>, Heads, Calves </em>will be on view at Laurel Gitlen, NY.</p> <p style="text-align: justify;"><strong>Joseph Montgomery</strong> was born in 1979 in Northampton, Massachusetts and lives and works in New York, NY.&nbsp; Montgomery received his BA from Yale University and his MFA from Hunter College. Recent solo exhibitions include <em>Five Sets, Five Reps</em> at MASS MoCA in North Adams, MA (2013); and <em>Velveteen </em>at Laurel Gitlen, New York, NY (2013).&nbsp; Group exhibitions include: <em>OK Great Thanks This Is So Ridiculous</em>, ACME, Los Angeles, CA (2014); <em>Painter Painter,</em> The Walker Art Center, Minneapolis, MN, (2013); <em>Curating the Contemporary: Joseph Montgomery and Ned Vena</em>, Kunsthaus Baselland, Basel Switzerland, organized by Kathrin Beer and Samuel Leuenberger; <em>Into the Surface, </em>Brand New Gallery, Milan, Italy (2012); and <em>The 2011 Bridgehampton Biennale</em>, curated by Bob Nickas.</p> Thu, 09 Oct 2014 16:08:05 +0000 V.S. Gaitonde - Solomon R. Guggenheim Museum - October 24th 10:00 AM - 7:45 PM <p style="text-align: justify;">An artist of singular stature, modernist painter Vasudeo Santu Gaitonde (1924&ndash;2001) was known to fellow artists and intellectuals, as well as to later generations of students and admirers, as a man of uncompromising integrity of spirit and purpose. Born in Nagpur, India in 1924, Gaitonde was briefly affiliated with avant-garde collectives such as the Progressive Artists&rsquo; Group and the Bombay Group in the early &rsquo;50s. Nonetheless, he remained independent throughout most of his career. This exhibition draws an arc from Gaitonde&rsquo;s early, figurative, mixed-medium compositions and watercolors inspired by Paul Klee, through his major bodies of signature canvases from the 1960s and &rsquo;70s, to his late works from the 1980s and &rsquo;90s. Departing from Klee, Gaitonde&rsquo;s practice began in the late 1950s in a nonrepresentational mode&mdash;or, as he preferred to call it, a nonobjective style. This turn towards abstraction is in accordance with the artistic principles first espoused by Vasily Kandinsky, as is embodied by the Guggenheim&rsquo;s origins as the Museum of Non-Objective Painting, and also dovetails with Gaitonde&rsquo;s lifelong interest in Zen Buddhism.</p> <p style="text-align: justify;">Short, stocky, self-critical, and confident, Gaitonde scorned sentimentality in his biography and his artistic practice. As fellow painter Krishen Khanna has stated, &ldquo;There&rsquo;s a very strong correlation I see between the way Gaitonde thought, the way he lived, and the way he painted.&rdquo; Alongside art, he was an avid admirer of Indian and Western poetry, cinema, literature, theater, and classical music. Stressing the importance of the present moment, the completeness and joy of the creative process, and the intimate relationship between painter and painting, &ldquo;Gai,&rdquo; as he was popularly known among peers, was an intrepid and influential artist whose career remains unequaled in the history of South Asian modern art. Yet Gaitonde remains sorely understudied in the genealogies of twentieth-century world art.</p> <p style="text-align: justify;">As current scholarship revisits non-Western traditions of mid-twentieth-century modern art, this seminal retrospective exhibition presents an unparalleled opportunity to explore the context of Indian modern art as it played out in the metropolitan centers of Bombay (now Mumbai) and New Delhi from the late 1940s through the end of the twentieth century. It comprises forty-five major paintings and works on paper drawn from thirty leading public institutions and private collections, forming the most comprehensive overview of Gaitonde&rsquo;s work to date. Including many pieces that have never been seen by the public, the exhibition reveals Gaitonde&rsquo;s extraordinary use of color, line, form, and texture, as well as symbolic elements and calligraphy, in works that seem to glow with an inner light.</p> <p style="text-align: justify;">A transnational set of references and influences provides an art historical context for Gaitonde&rsquo;s work and defines this exhibition. Gaitonde&rsquo;s work spans the traditions of nonobjective painting and Zen Buddhism as well as Indian miniatures and East Asian hanging scrolls and ink paintings. When looking at Gaitonde&rsquo;s oeuvre within the wider related context of international postwar art, one can also draw parallels to artists working within the contemporary School of Paris, as well as movements such as Art Informel, Tachisme, and Abstract Expressionism. Yet Gaitonde&rsquo;s output continues to be defined by the particular ethos of India, where the artist lived and worked his entire life.</p> <p style="text-align: justify;">A scholarly catalogue and series of public programs accompanies the exhibition, which is organized by Sandhini Poddar, Adjunct Curator at the Solomon R. Guggenheim Museum, with Amara Antilla, Curatorial Assistant, Solomon R. Guggenheim Museum.</p> <p class="caption" style="text-align: justify;">This exhibition is supported in part by Christie&rsquo;s and the W.L.S. Spencer Foundation.</p> <p class="caption" style="text-align: justify;">The Leadership Committee for <em>V. S. Gaitonde: Painting as Process, Painting as Life</em> is gratefully acknowledged for its support with special thanks to Shiv and Kiran Nadar and Poonam Bhagat Shroff, as well as to Aicon Gallery, Marguerite Charugundla and Kent Srikanth Charugundla, Mr. and Mrs. Rajiv J. Chaudhri, Pheroza Jamshyd Godrej, Gujral Foundation, Amrita Jhaveri and Pilar Ordovas, Mukeeta and Pramit Jhaveri, Sangita and Sajjan Jindal, Shanthi Kandiah and Brahmal Vasudevan, Peter Louis and Chandru Ramchandani, Ashwath Mehra, Sanjay and Anjna Motwani, Smita and Ramesh Prabhakar, Pundole Art Gallery, Aditi and Shivinder Singh, Talwar Gallery, Vadehra Art Gallery, Cynthia Hazen Polsky and Leon Polsky, and those who wish to remain anonymous.</p> Fri, 17 Oct 2014 16:26:31 +0000 Willie Doherty - Alexander and Bonin - October 25th 6:00 PM - 8:00 PM <p style="text-align: justify;">An exhibition of two recent video installations and photographic works by Willie Doherty will open at Alexander and Bonin on Saturday, October 25th .</p> <p class="Default" style="text-align: justify;"><em>The Amnesiac, </em>2014, Doherty&rsquo;s most recent video work, is a 10 minute single-channel video installation which extends his interest in themes of landscape and memory. The video follows an unidentified man as he drives along a country road. His journey is interrupted by what might be a momentary lapse in concentration from the tedium of driving, a daydream or a rupture in the fabric of the everyday. He returns to somewhere half remembered or half forgotten; a reminder that traces of past events, whether or not visible, remain embedded within the landscape.</p> <p class="Default" style="text-align: justify;">The video is accompanied by a group of 10 photographs, titled <em>Damage, </em>2014, which were made at the same location where the video was shot. The photographs are details of tree trunks that bear the physical markings of past acts of violence. Doherty explores the boundaries between the visible and invisible, past and present, the tangible and intangible.</p> <p class="Default" style="text-align: justify;"><em>Remains, </em>2013 is a 15 minute single-channel video installation, first shown at Art Unlimited Basel, and included in his retrospective <em>UNSEEN </em>(September 2013-January 2014) at City Factory Gallery in Derry, Northern Ireland and currently on view at the De Pont Museum in Tilburg. <em>Remains </em>was made in a number of locations in Derry that have been used since the early 1970s to carry out kneecappings, a form of punishment shooting used to control drug use and other forms of so called &lsquo;antisocial behavior&rsquo;. The ghosts of events past are summoned by the narrator as his recounting unearths a repository of memories, specific to the unimposing landscape, and ultimately reveals a continuing cycle of violence, enacted in the same locations.</p> <p class="Default" style="text-align: justify;">Doherty&rsquo;s meditations, in video and photography, on the changing political landscape of Northern Ireland have been a central theme of his work since 1985. With a new series of black and white photographs, titled <em>Future Fear, </em>made in Derry during the summer of 2014, Doherty returns to some of the locations that he has photographed in the past. These photographs reveal an ongoing state of unease, a place suspended between the familiarity and comfort of violence and the anxiety and uncertainty of change.</p> <p style="text-align: justify;">Willie Doherty was born in1959 in Derry, N. Ireland and now lives and works in County Donegal, Republic of Ireland. In 2015 a selection of his video works will be shown at CAM-Funda&ccedil;&atilde;o Calouste Gulbenkian, Lisbon. Past solo exhibitions include those at the Dallas Museum of Art (2009), Lenbachhaus, Munich (2007), Laboratorio Arte Alameda, Mexico City (2006), the Renaissance Society, Chicago (1999), and Tate Liverpool (1998). He has participated in the Biennale di Venezia (2007, 2005, 1993) and the Bienal de S&atilde;o Paulo (2002) and dOCUMENTA (13), Kassel (2012).</p> Wed, 22 Oct 2014 09:28:57 +0000 Paul D. Miller aka DJ Spooky - Asia Society Museum - October 25th 8:00 PM - 9:30 PM <p style="text-align: justify;">Composer, multimedia artist, and writer <strong>Paul D. Miller aka DJ Spooky</strong>, and guest artists perform <em>Electric Imaginary</em>, a virtual cello quartet/installation based on Charlotte Moorman's collaborations with Nam June Paik in his early multimedia experiments. This new interpretation of Nam June Paik's work includes live and pre-recorded video footage. The evening will also feature selections from <em>Seoul Counterpoint</em>. Commissioned by Seoul Institute of the Arts in 2014, <em>Seoul Counterpoint</em> is a composition that explores the resonance of the new urban landscape of Seoul in juxtaposition with New York. Equally inspired by Nam Jun Paik in this work, Miller collaborates with New York-based technology and art collective CultureHub to juxtapose a new urban landscape in sound and image.</p> <p style="text-align: justify;">Nam June Paik once said "the future is now." His work has been highly influential on many artists over the last decade and for the Asia Society Museum exhibition <a href="" target="_blank"><em>Nam Jun Paik: Becoming Robot</em></a> (on view September 5, 2014 through January 4, 2015), Miller pays homage to the work of this important artist with a group of digital media compositions that reflect the complex connections of modern, 21st-century art and music.</p> <p style="text-align: justify;">Featuring:</p> <p style="text-align: justify;"><strong>Paul D. Miller aka DJ Spooky</strong>, Composer/iPad<br /> <strong>Ashley Bathgate</strong>, cello<br /> <strong>Rami Seo, </strong>kayagÅ­m<br /> <strong>Miriam Parker</strong>, dance<br /> <strong>Mr. Reed</strong>, poetry<br /> <strong>CultureHub</strong>, video</p> <p><a href="" target="_blank"><em>Nam June Paik: Becoming Robot</em></a> will be open until 8:00 pm.</p> <p>Seoul Counterpoint <em>was originally produced by La MaMa in association with CultureHub, and created with the support of the Seoul Institute of the Arts</em>.</p> Sun, 19 Oct 2014 09:50:56 +0000 - Edward Hopper House Art Center - October 25th 2:00 PM - 4:00 PM <p style="text-align: justify;"><strong>Opening Reception October 25th 2-4 pm</strong></p> <p style="text-align: justify;"><strong>Through January 4, 2015</strong></p> <p style="text-align: justify;"><strong>Juror</strong>: &nbsp;<strong>Kenise Barnes, Director of Kenise Barnes Fine Art, Larchmont, NY</strong></p> <p style="text-align: justify;"><strong>Edward Hopper House </strong>presents the its 21st annual small works exhibition.&nbsp; This year&rsquo;s theme, <em>En Route,</em>celebrates the new bridge being built across Edward Hopper&rsquo;s beloved Hudson River and recognizes Hopper&rsquo;s frequent use of travel themes in his paintings.&nbsp;&nbsp; Selected artists: John Aquilino, Chris Ekstrom, Robert Hunter, Michael Iskowitz, William Jobson, FlavioMorante, Crista Pisano, Elisa Pritzker, Caroline Blum, Kathy Cantwell, Emily Cucalon, Lisa Delmonico, Jacquelyn Etling, Lisa Fiore, Daly Flanagan, Marilyn Friedman, Shabnam K. Ghazi, Daric Gill, Devorah Rosen Goldman, Heather Goodman, Jeri Greenberg, Erica Hauser, Laura Johansen, Carole P. Kunstadt, Elizabeth Meggs, Katherine Rohrbacher, Lynn Stein, Laurie Steinhorst, Toru Sugita, Erin White, Eunice Yu, Win Zibeon.</p> Fri, 24 Oct 2014 14:14:42 +0000 Mary Ellen Bartley - Guild Hall - October 25th 5:30 PM - 7:30 PM <p style="color: #000000; text-align: justify;">Features 19 photographic meditations selected from five different ongoing series: <em>Standing Open, Paperbacks, Sea Change, Blue Books, and Push 2 Stops</em>. This solo exhibition is the result of Ms. Bartley receiving Top Honors in the 2012 Artists Members Exhibition from Lilly Wei, independent Curator, Essayist and Critic for <em>Art in America,</em> who was the juror for Guild Hall&rsquo;s 74<sup>th</sup>Artist Members Exhibition that included entries from more than 450 artists. Previously, Ms. Bartley had the unprecedented distinction of receiving the Artist Member Show&rsquo;s Best Photograph award for four years in a row. Three of those pieces will be in this solo show.</p> <p style="text-align: justify;">&nbsp;</p> <p style="color: #000000; text-align: justify;"><a style="color: #d27920;" href="" target="_blank">Read a profile of Mary Ellen Bartley: &ldquo;A Thousand Words Are Worth a Picture&rdquo; by Jennifer Landes, The East Hampton Star</a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>This exhibition is sponsored in part by The Drawing Room, East Hampton.</em></p> Mon, 20 Oct 2014 02:35:11 +0000 Group Show - Guild Hall - October 25th 5:30 PM - 7:30 PM <p style="text-align: justify;">In 1931, when Mrs. Lorenzo E. Woodhouse dedicated Guild Hall as a cultural center for the community,&nbsp;<em>The New York Times&nbsp;</em>noted that Howard Russell Butler&rsquo;s portrait of Thomas Moran on exhibit was not a loan but an acquisition. &ldquo;It marks the beginning of a permanent collection which is proposed to build up in Guild Hall,&rdquo; the newspaper explained. </p> <p style="text-align: justify;">From the beginning more than 83&nbsp;years ago, the holdings have grown significantly in size and scope. In the early 1960&rsquo;s, the collection began to focus on the artists who have lived and worked in the region, including some of the country&rsquo;s most celebrated painters, sculptors, photographers and graphic artists. In 1973, the museum received the distinction of being accredited by the American Alliance of Museums, and it was reaccredited in 2010.&nbsp;Today, the holdings of 19th, 20th and 21<sup>st</sup> century art number some 2,200 objects, and the museum continues to acquire works by donation and acquisition.&nbsp;This exhibition will focus on the works that have entered the collection from 2010-2014. </p> <p style="text-align: justify;">With its close proximity to New York City, the East End&nbsp;became a popular tourist destination with the onset of the Long Island Railroad in the late 19th century. The L.I.R.R. was very active in marketing the charms of the region by distributing thousands of brochures and leaflets. In the 1870s, Hudson River School painters portrayed the white sand beaches of eastern Long Island. Winslow Homer came to visit in 1872, and,&nbsp; in 1878, a group of New York artists known as the Tile Club traveled to the East End and visited several of its small villages, including East Hampton. Thomas Moran and his family settled permanently in 1884. His home and studio became the center of life for artists who visited the village. In the teens, twenties and thirties, many artists, including Guy Pene du Bois and George Bellows, visited the area. Later after WWII, the Surrealists, aided by artist and philanthropist Gerald Murphy, were welcomed guests. They were followed by the Abstract Expressionist artists Jackson Pollock, Lee Krasner and Willem de Kooning; Pop artists Roy Lichtenstein, James Rosenquist and Andy Warhol; Photorealists Audrey Flack and Chuck Close; 80&rsquo;s and 90&rsquo;s Neo-expressionist artists Eric Fischl, David Salle; as well as many contemporary artists, such as Ross Bleckner, Cindy Sherman and Richard Prince. These artist-residents continue to make the East End the country&rsquo;s foremost art colony.&nbsp;</p> Mon, 20 Oct 2014 02:37:43 +0000 John Dilg - Jeff Bailey Gallery - October 25th 6:00 PM - 8:00 PM <p style="text-align: justify;">Jeff Bailey Gallery is pleased to present an exhibition of paintings by John Dilg and drawings by Pete Schulte. <strong>Also On View</strong> will be new work by <strong>Jered Sprecher</strong>.</p> <p style="text-align: justify;">The intimate scale of Dilg&rsquo;s and Schulte&rsquo;s works is in contrast to the vast pictorial space they suggest. Each artist uses subtle gradations of color and tone with sharp lines to create both tension and calm.</p> <p style="text-align: justify;">The view in Dilg&rsquo;s landscapes is usually from above, like that of a bird. Lakes, waterfalls and gorges recede into space, surrounded by mountains, hills and evergreens. A full moon almost always hovers overhead, and paddlers in a canoe may be passing through. Other paintings depict a bird or cat, seen up close. These views bring us closer to the vastness of the natural world, and to those that inhabit it.</p> <p style="text-align: justify;">Schulte&rsquo;s abstract drawings utilize variants of circular, square and triangular forms. Hovering on misty and smoky grounds, they evoke presence and void, image and object. Some are reminiscent of architectural details or molecular systems, while others look like abstract film stills.</p> <p style="text-align: justify;">There is a mediated quality to Dilg&rsquo;s and Schulte&rsquo;s works, possessing both a sense of place and stillness of time. It is within this mysterious realm that the eye and intellect are free to roam.</p> <p style="text-align: justify;"><strong>John Dilg</strong> received a BFA in Painting and Filmmaking from the Rhode Island School of Design in 1969. He is the recipient of a Fulbright Grant to India, a National Endowment for the Arts Individual Artist Fellowship, and three Residency Fellowships at the Yaddo Foundation. Solo exhibitions include Steven Zevitas Gallery, Boston; Luise Ross Gallery, New York; Schmidt Contemporary Art, St. Louis; and Rhodes College, Memphis. Group exhibitions in New York include Regina Rex, Queens, NY (two person); Sikkema Jenkins &amp; Co.; Lesley Heller Workspace; Edward Thorp Gallery; and Andrea Rosen Gallery. His work is in the collections of the Arkansas Art Center, the Figge Museum of Art, Illinois State University, the Museum of Contemporary Art, Chicago, and several other public institutions. He lives and works in Iowa City, Iowa.</p> Thu, 09 Oct 2014 11:09:55 +0000 Pete Schulte - Jeff Bailey Gallery - October 25th 6:00 PM - 8:00 PM <p style="text-align: justify;">Jeff Bailey Gallery is pleased to present an exhibition of paintings by John Dilg and drawings by Pete Schulte. <strong>Also On View</strong> will be new work by <strong>Jered Sprecher</strong>.</p> <p style="text-align: justify;">The intimate scale of Dilg&rsquo;s and Schulte&rsquo;s works is in contrast to the vast pictorial space they suggest. Each artist uses subtle gradations of color and tone with sharp lines to create both tension and calm.</p> <p style="text-align: justify;">The view in Dilg&rsquo;s landscapes is usually from above, like that of a bird. Lakes, waterfalls and gorges recede into space, surrounded by mountains, hills and evergreens. A full moon almost always hovers overhead, and paddlers in a canoe may be passing through. Other paintings depict a bird or cat, seen up close. These views bring us closer to the vastness of the natural world, and to those that inhabit it.</p> <p style="text-align: justify;">Schulte&rsquo;s abstract drawings utilize variants of circular, square and triangular forms. Hovering on misty and smoky grounds, they evoke presence and void, image and object. Some are reminiscent of architectural details or molecular systems, while others look like abstract film stills.</p> <p style="text-align: justify;">There is a mediated quality to Dilg&rsquo;s and Schulte&rsquo;s works, possessing both a sense of place and stillness of time. It is within this mysterious realm that the eye and intellect are free to roam.</p> <p style="text-align: justify;"><strong>Pete Schulte</strong> received his BFA and MFA from The University of Iowa in 1997 and 2008, respectively. He has had solo exhibitions Whitespace Gallery, Atlanta; The Visual Arts Gallery at the University of Alabama at Birmingham; Luise Ross Gallery, New York and Beta Pictoris Gallery, Birmingham. His work was recently included in the group exhibition, Simplest Means, at the gallery&rsquo;s former New York City location. He has been an artist-in-residence at The Atlantic Center For The Arts, Bemis Center For Contemporary Art, and Threewalls. He lives and works in Tuscaloosa, Alabama.</p> Thu, 09 Oct 2014 11:10:01 +0000