ArtSlant - Openings & events en-us 40 Group Show - Anton Kern Gallery - March 5th 6:00 PM - 8:00 PM <p style="text-align: justify;">"The Painter of Modern Life" brings together works by 21 artists, with the 19th century designation of the poet-critic Charles Baudelaire as its mantle1, including:</p> <p style="text-align: justify;"><strong>Nathaniel Axel, Lisa Beck, Sadie Benning, Sascha Braunig, Alex Brown, Mathew Cerletty, Wayne Gonzales, Joanne Greenbaum, Daniel Hesidence, Mamie Holst, Cannon Hudson, Chip Hughes, Xylor Jane, Robert Janitz, Erik Lindman, Nikholis Planck, David Ratcliff, Nicolas Roggy, Ivan Seal, Richard Tinkler </strong>and <strong>Stanley Whitney</strong>.</p> <p style="text-align: justify;">The artists are represented by paintings, drawings, collages, prints, and hand-painted sculpture. The exhibition may be thought to ask, what is modern life? Or rather, what has it become? In what ways do we translate and make sense of the world around us, our sense of place and displacement in the everyday? Manet was a painter of modern life in Baudelaire's time. On Kawara was a painter of modern life in ours. How do we navigate this not inconsiderable distance?</p> <p style="text-align: justify;">What is commonly referred to as today's art world is a far larger canvas, and even if one were to possess a crystal ball, our supposed clairvoyance would be a continuous squint of the eye, and in what would be closer to an evershaken snow globe.</p> <p style="text-align: justify;">Modern life is in no way opaque. It can be observed and seen through. And while our notion of beauty may change and distort, we remain dedicated to its pursuit. After all, don't we want to take pleasure in the visual landscape&mdash;even that which appears beyond aesthetic concerns or worthy of a higher level of poetics? But what of the drab canvas we accept as life today? Although detours are of the utmost necessity, they comprise our path without leading directly to our destination. And what is the modern life of painting?</p> <p style="text-align: justify;">As with spirit photography in the 19th century, one could say that the medium of painting is in fact a <em>medium</em>, the very means to communicate with the past, wholly within and expanding the contours of the present, pointing perhaps to a future it never intended to predict.</p> <p style="text-align: justify;">One is guided, as always, by the works that reflect the moment in which they have been made, as they register in their own voice, and at their own volume. The artists actively participate in and amplify the larger world of the imagination. A statement, if there is one, is made by the works themselves. All you can do is bring them together. But these days, an assembly does not in any way constitute a movement, since movements belong to the past, and surely for the best. History will not be rushed along. All contemporary art, then, with no reliable guarantors for posterity, is in a sense pre-historic. Let the works, one at a time, convince you that this visual realm remains a compelling place to explore, and that picture-making can't help but define our time. After all, the artists are both observers of and re-makers of reality.</p> <p style="text-align: justify;">This exhibition has been organized by the writer and curator Bob Nickas.</p> <p style="text-align: justify;">1 Mantle, a loose sleeveless cloak; something that covers or conceals&mdash;'On a winter night &hellip; a mantle of mist hangs above the city street'; the protruding shelf over a fireplace; the outer covering of a wall; a zone of hot gases around a flame; a sheaf around a gas lamp that gives off brilliant illumination when heated by the flame; anat.&mdash;the cerebral cortex; geol.&mdash;the layer of the earth between the crust and the core; the wings, shoulders, feathers and back of a bird when differently colored from the rest of the body.</p> Wed, 25 Feb 2015 15:31:05 +0000 NORMAN MOONEY, Hyun Ju Park, Jordan Eagles, Ryad Alkadhi, James Balmforth - Causey Contemporary - March 5th 6:00 PM - 8:00 PM Wed, 25 Feb 2015 15:39:08 +0000 Alexander Massouras - David Krut Projects - March 5th 6:00 PM - 8:00 PM <p style="text-align: justify;">David Krut Projects is pleased to present <em>Machines of Loving Grace</em>, British-based artist Alexander Massouras&rsquo;s first exhibition at the gallery. The exhibition&rsquo;s title comes from Richard Brautigan&rsquo;s poem of the 1960s, in which he imagines a &ldquo;cybernetic ecology&rdquo; created through the union of nature and technology. &ldquo;Machines of loving grace&rdquo;&mdash;the poem&rsquo;s final line&mdash;captures the utopian paradox of this post-industrial yet pre-lapsarian state of leisure. <br /><br /> In Machines of Loving Grace, Massouras recaptures that paradox through form and process. The series Nine Flare Paintings with Octagonal Aperture represents a fusion of the natural with the man-made: images of the sun&rsquo;s flare on a camera lens, they are distorted exercises in both photorealism and landscape. In these paintings, Massouras overstates the camera&rsquo;s agency by painting in constructed octagonal flare, introducing mechanical, straight edges to natural imagery of sun falling on treetops. Technology and abstraction become constitutive of the pastoral idyll. <br /><br /> These complicated relationships between imagery and form, technology and process, and abstraction and figuration, are recurring themes in Massouras&rsquo;s work. Since camera flare is a distinctly photographic subject, its rendering in painterly marks creates a mismatch between form and subject, a paradox also central to Polaroid Etchings. In this series, Massouras translates intaglio printmaking into the format of Polaroid 600 instant film. These works again fuse photographic images with manual process, but this time the relationship of technological reproducibility and natural singularity is inverted: it is the hand-made etching that has the capacity for duplication; the machine-made Polaroid is unique.<br /><br /> Alexander Massouras is a U.K.-based artist, with work in international private and public collections including the British Museum, the Victoria and Albert Museum and the Rhode Island School of Design Museum. He is currently an Early Career Fellow at the University of Oxford&rsquo;s Ruskin School of Art. He holds a BA from Cambridge, and a PhD which he completed as part of Tate&rsquo;s Art School Educated project. His work has been exhibited internationally at venues including the Royal Academy of Art, the Laing Art Museum, Pace, Skylight Projects, Julian Page, Rabley Contemporary and the Jerwood Space.<br /><br /> This exhibition forms part of a five month series of exhibitions by British contemporary artists, presented by David Krut Projects, NY, working in collaboration with Jessica Carlisle, a freelance curator and gallerist based in London, UK. The series opened with Piers Secunda (February) and coming up are exhibitions by Vera Boele-Keimer (April), Hester Finch and William Stein (May). Massouras&rsquo;s exhibition has been organized in co-ordination with Julian Page, a gallerist based in London, UK, who specializes in publishing and dealing in prints.</p> Wed, 25 Feb 2015 16:19:00 +0000 Kate McCrickard - David Krut Projects - March 5th 6:00 PM - 8:00 PM <p>&nbsp;</p> <p><span style="text-decoration: underline;">PRESS RELEASE</span></p> <p>&nbsp;</p> <p>Kate McCrickard</p> <p><em>This is my proper ground</em></p> <p>&nbsp;</p> <p>March 5 &ndash; April 2, 2015</p> <p>Opening reception: March 5, 6-8pm</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">David Krut Projects is pleased to present <em>This is my proper ground</em>, Paris-based artist Kate McCrickard&rsquo;s second exhibition at the gallery. The title comes from the poem <em>Places, Loved Ones</em>, written by Philip Larkin in 1954, where the poet asserts his rootlessness in stating &ldquo;No I have never found / The place where I could say / This is my proper ground.&rdquo; McCrickard takes the artistic sense of the word &ldquo;ground&rdquo; to express a conviction in observational drawing and figuration, two important elements of her practice. The resulting exhibition is an installation of selected sketches and recent paintings on cardboard and canvas.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">McCrickard uses a sketchbook rather than a camera to record snapshots of daily life, but it is formal intrigue that drives her: the challenges of drawing movement and a range of scales; the speed of mark making. This, and seeing the bizarre in the quotidian, make each passing page come to life. Her oil paintings offer an alternate approach to mark making, sometimes defined by a preference for working with tatty old brushes onto cast off pieces of cardboard. She claims she &ldquo;can spend hours working on a painting with disappointing results, only to find that a five minute sketch painted on a scrap of cardboard is more successful.&rdquo;&nbsp; While there is no firm procedural method to McCrickard's practice, the fresh unmediated gestures of initial underdrawing suggest the vividness of the lived sensations from which her pictures are sourced. This compilation of sketch book pages and quickly executed paintings creates an animated environment that weaves together a series of fugitive moments into an intimate glimpse of a studio-based artist&rsquo;s life, firmly grounded in drawing.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>McCrickard is a British artist and writer based in Paris, France. She graduated from the University of Edinburgh, Scotland in 1998 where she received her MA Honors Degree in Fine Art. Her work is included in the collections of The Royal Scottish Academy in Edinburgh and The British Museum in London. In March, 2013, David Krut Projects, New York presented,&nbsp;Kid, McCrickard's first solo show in the USA. </em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>This exhibition forms part of a five month series of exhibitions by British contemporary artists, presented by David Krut Projects, NY, working in collaboration with Jessica Carlisle, a freelance curator and gallerist based in London, UK. The series opened with Piers Secunda (February) and coming up are exhibitions by Vera Boele-Keimer (April), Hester Finch and William Stein (May).</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em>The gallery would like to extend a special thanks to Dasha Shishkin for her help in curating McCrickard&rsquo;s show.</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">For more information please contact <span style="text-decoration: underline;"></span> or <span style="text-decoration: underline;"></span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Image: <em>Valentin</em>, 2014, oil on primed cardboard, 12.5 x 11.5 inches</p> Wed, 04 Mar 2015 18:53:58 +0000 Robert Leslie, Builder Levy, Barry Rosenthal, Michael Weschler - Flomenhaft Gallery - March 5th 6:00 PM - 8:00 PM <p style="text-align: justify;">It is a great privilege to exhibit the photography of four outstanding artists/photographers.&nbsp; We call the show <strong><em>The I of the Camera</em></strong> because each photographer is so unique and so talented. They are Robert Leslie, Builder Levy, Barry Rosenthal, and Michael Weschler. Each sees the world through a lens that captures something or someone in a manner that is so caring, so personal, and so fascinating.<br /><br />UK born <strong>Robert Leslie</strong> first visited the US as a child in the 1960s and the endless horizons, energy, and enthusiasm left an indelible mark.&nbsp; Inspired by Barack Obama&rsquo;s inaugural message of hope, Leslie turned his camera to America for the first time; to photograph its&rsquo; &ldquo;Sun Belt.&rdquo; Three years later he retraced the same route from Miami to Los Angeles to see how hope had been rewarded. What he found was grim.&nbsp; Communities once vibrant were filled with quiet despair. Stories of financial corruption, recession, and foreclosures poured forth from his car radio and the impact of climate disruption was present at every turn; droughts, forest fires, and hurricanes had left their mark. In still but beautiful images, Leslie, an outsider, captured a view of America that needed documenting. Masterfully, he photographed the often overlooked sadness of people who lost their homes, their benefits, their jobs and especially their promise of hope.&nbsp; These images, several shown in our exhibit, are portrayed in a fascinating book titled <em>Stormbelt</em>, 2013. <br /><strong><br /></strong><br /><strong>Barry Rosenthal</strong>, of Manhattan, is an urban archeologist, photographer, sculptor and collector. Out of all of this emerges breathtaking photography.&nbsp; He studied photography at the Dayton Art institute in Ohio, and at the Apeiron Workshops in Millerton, New York.&nbsp; His photo art images are in the permanent collection of the Museum of Modern Art, New York, and the Springfield Museum of Art in Massachusetts. His photographs have also been published in art and culture magazines and news publications around the world. &nbsp;&nbsp;His project <em>Found in Nature</em> started in 2007 as an offshoot of his botanical work.&nbsp; It evolved from miniature collections of found objects into large scale images such as those that represent ocean borne trash.&nbsp; By using a combination of sculpture and photography and breaking down found object trash into themes of type, color, or whimsy, Rosenthal is able to bring awareness to global issues such as ocean pollution or drug abuse. <br /><br /><br /><strong>Michael Weschler</strong> titles his series <em>Ten Mavericks</em>. Each photograph depicts a man who pursued his dreams with unwavering integrity and tenacity. They include Alexander Wang, star of Balenciaga; Don Jones, former Buffalo Bills football player; John McEnroe, tennis player; Harry Shearer, musician and radio host; Julian Schnabel, artist and filmmaker; Todd English, celebrity chef; actors Liam Neeson and Richard Gere; Denis Leary, stand-up comedian and actor; and Liev Schreiber, actor and stage and screen director.&nbsp; Weschler focuses on making signature images that cut through visual noise, capturing instead the quiet moment. He is intrigued by the dialogue that happens when his camera confronts someone with both strength of character and vulnerability; and he pushes through to get something meaningful. <br /><br /><br />Beginning in 1968, <strong>Builder Levy&rsquo;s</strong> encounter with Appalachia has been an obsession for the photographer that spans more than four decades.&nbsp; Once the hunting grounds of the Cherokee, it became the home of colonists who escaped British rule. Since the building of railroads and opening of large coal mines in the late 19th century, Appalachian coal miners have toiled underground.&nbsp; Facing daily threats of lung disease and injury, they have struggled to feed their families while helping to build our nation. Levy has revisited West Virginia and Eastern Kentucky 30 times.&nbsp; He photographs new and old places in the coalfields, connects with old friends, and bonds with people who become new friends.&nbsp; Each time, with a new perspective, Levy documents the massive mining operations, as&nbsp;well as the result to the way of life for coal miners and their families.&nbsp; Levy&rsquo;s very excellent book, <em>Appalachia USA</em>, was published in 2014. The John and Mable Ringling Museum of Art in Sarasota will host a major <em>Builder Levy Appalachia USA</em> exhibition in the summer 2015.</p> Wed, 25 Feb 2015 06:26:05 +0000 Boomoon - Flowers Gallery NY - March 5th 6:00 PM - 8:00 PM <p>Boomoon (b.1955) is a South Korean photographer currently working in Seoul and Sokcho. Since the 1980&rsquo;s, he has been engaging with natural landscapes in his work as a means of self-reflection, producing large format photographs of vast expanses of sky, sea and land. Devoid of human existence, the central emphasis of his work is the experience of the infinity of nature and the representation of its presence.</p> <p>&ldquo;<em>It is of profound importance to understand Boomoon&rsquo;s capacity to create an experiential space for the viewer and allow us to embody essential vantage points upon the optical splendor and ordering of the physical world. Significantly, Boomoon&rsquo;s camera perspective does not simulate an overtly human scale or optical perspective. He goes beyond being a photographer who offers us the sense of an omniscient but still human visual exploration of the world. Instead, his acute avoidance of a hyperbolic signature photographic style means that we are liberated viewers that can move into, above and beyond the natural phenomena that his camera explores, unhindered by an overbearing sense of his authorship.</em>&rdquo;<br />- Charlotte Cotton, taken from <em>Constellation</em>, published by Daegu Art Museum.</p> <p>Boomoon&rsquo;s debut US solo exhibition at Flowers will comprise of selected works from his series <em>Naksan</em>. Naksan is located on the east coast of the Korean peninsula, taking its name from a beach overlooking the Sea of Japan (East Sea). The series, conceived during the heavy snow storms of 2005, 2010 and 2014, is characterized by details of crashing waves on the snow covered seashore. The photographs are dominated by a blank plane in the lower half of the image where the snow has accumulated on the beach. The snow is rendered as a singular flat surface devoid of scale or perspective, accentuating the horizon line that cuts midway through the pictorial plane.</p> <p>Confronted by the vastness of Boomoon&rsquo;s immense and isolated landscapes, the viewer is presented with a meditative space in which to consider our metaphysical and spiritual connection with nature.</p> <p>The poet and critic Shino Kuraishi wrote that Boomoon&rsquo;s photographs are <em>&ldquo;so large that they extend beyond the perimeter of the human body and systematically arranging them to provide separate encounters with individual viewers, he creates sites conducive to a highly contemplative experience. Wherever I stand in front of Boomoon&rsquo;s landscapes, I am inevitably drawn into dialogue with myself.&rdquo;</em></p> Sat, 24 Jan 2015 16:32:42 +0000 Paul Schulenburg - George Billis Gallery- NY - March 5th 6:00 PM - 8:00 PM Wed, 11 Feb 2015 16:28:01 +0000 Basil Alkazzi - George Billis Gallery- NY - March 5th 6:00 PM - 8:00 PM Wed, 11 Feb 2015 16:28:01 +0000 Victor Man - Gladstone Gallery - 24 St. - March 5th 6:00 PM - 8:00 PM <div id="artistContentPastBio" style="text-align: justify;"> <p><em>Everything is a cryptogram if we desire it to be, and so often we do. We look at the world, of which art is a subset, and recode it as a maze, dream a Minotaur at its heart; and when we get there, it&rsquo;s over. This is how the viewer learns to view, now, the legacy of decades of conceptual art&mdash;a spectatorship style that is not, precisely, seeing. So it&rsquo;s day, or night, or both, and amid a suite of painted figures in submarine light, a repeated, changeable gesture argues for its own nameless significance, while elsewhere portraits cluster obliquely around a handheld Babylonian idol. Forget hallucinating themes to be disinterred, a </em>conversation<em> with art history. Things can also be hard to see because they&rsquo;re uncommon, now, like the active valuing and preserving of certain painterly traditions, techniques (tones, grounding, paint application, the use of lead white), a respect for unbounded emotional reverie. The head, a binary thing, says we are this or that, male or female, real or unreal. It denies that a painting, like a poem, might be a thing in itself, not a substitute for something else. Once activated, another and perhaps more acute complex of receptors&mdash;heart, instinct, bodily intelligence&mdash;refutes all that in turn, and the maze only expands. Make a leap from a centuries-old statue to Georges Bataille&rsquo;s </em>Ac&eacute;phale,<em> to that word&rsquo;s Greek roots&mdash;</em>akephalos,<em> meaning </em>headless<em>&mdash;and to the figure of the chandler, beheading the candle in order to light it. The head is clipped; what&rsquo;s below bursts into flame.</em> &ndash;Martin Herbert</p> <p>Gladstone Gallery is pleased to present an exhibition of paintings by Victor Man. The exhibition will include several works from Man&rsquo;s series, &ldquo;The Chandler,&rdquo; presented for the first time in the United States. Paintings in this series portray a seated, decapitated figure holding its head in its lap. The series&rsquo; title refers to the medieval term for candle-maker, one who cuts off the top of a candle in order to light it.&nbsp;As in much of Man&rsquo;s work, &ldquo;The Chandler&rdquo; series alludes to historic motifs, in particular the Greek <em>ac&eacute;phale</em><em>.</em></p> <p>In the other works in the exhibition, multiple references co-exist, from Italian Pre-Renaissance&nbsp;painting to forms of primitivism. The references within these paintings bear a constant sense of repression of reality, which proliferated in Europe during the early avant-garde period at the beginning of the twentieth century. Within the stylistic codes of Man&rsquo;s works, one discovers a figurative idiom aspiring to a transhistorical station of painting that is beyond contemporaneity.&nbsp;</p> <p>A catalogue with a narrative by Torsten Slama will be published in conjunction with the exhibition.</p> <p>Victor Man was born in 1974 and lives in Berlin, Germany and Cluj, Romania.&nbsp;</p> </div> Wed, 25 Feb 2015 16:45:09 +0000 Pierre Gonnord - Hasted Kraeutler - March 5th 6:00 PM - 8:00 PM <p style="text-align: justify;">Hasted Kraeutler is pleased to announce <em>The Dream Goes Over the Time</em>, an exhibition of new photographs by French-born, Madrid-based artist Pierre Gonnord (b. 1963), beginning March 5 and running through April 25, 2015.</p> <p style="text-align: justify;">Working for over a decade as contemporary art&rsquo;s preeminent documentarian of globalization&rsquo;s dark underbelly&mdash;insular communities, tribes, and clans that exist almost entirely off the grid, from coal miners and punks to immigrants and gypsies&mdash;master&nbsp;portraitist Gonnord&rsquo;s distinctive practice has developed into a lifestyle, taking him on epic journeys through back roads and uncharted terrain in search of characters that live within distinctive social groups, cut off from the rest of civilization.</p> <p style="text-align: justify;"><em>&ldquo;People from the ghettos, the outskirts of the city, that flee from a globalized world from which they feel rejected...set out with nothing more than what they have on their back and a dog as their own only travel companion, embarking on a Grand Tour as nomads, with no return ticket, turning their backs on a (certain) world that no longer interests them.&rdquo; </em>- Pierre Gonnord</p> <p style="text-align: justify;">After investing much careful time and energy with these communities, Gonnord takes their pictures, capturing his protagonists against dark backgrounds from the waist up, in the manner of Old Master painting and portraiture. He frames them as royal subjects: often, they face the camera directly and meet its gaze with searing power. For many, the artist&rsquo;s image is the first and only photograph of them in existence&mdash;his archive, therefore, operates as a hallowed sort of a documentary ritual, canonizing peoples and ways of life that are quickly fading from the face of our planet. In a technology-saturated contemporary world that favors self-promotion above all&mdash;through selfies, Twitter, Instagram, and innumerable other platforms for networking through social media&mdash;Gonnord gives a voice, and a face, to populations that might otherwise risk invisibility and absence from the cyber-pages of history, or even seem not to have existed at all.</p> <p style="text-align: justify;"><em>The Dream Goes Over The Time</em>, which continues Gonnord&rsquo;s celebration of populations and lifestyles that are in peril, takes its name from a similarly endangered art form: poetry, in this case a poem by renowned Spanish poet Federico Garc&iacute;a Lorca. <em>The dream goes over time</em>, the poem reads, <em>floating like a sail boat </em>&ndash; suggesting at once fragility and resilience. Gonnord&rsquo;s series, fittingly, presenting stark, soaring images of immense strength and beauty. Pictured in poses and positions that are natural to them&mdash;mothers cradling their children, elderly women wrapped&nbsp;traditionally in thick black swaths of fabric&mdash;the artist&rsquo;s subjects speak both to the personal realm and the collective realm, striking a delicate balance between cultural documentation and individual portraiture. They are never exoticized, but are instead presented as extraordinary, real, and overwhelmingly raw. Similarly, the suite of animal images capture sleek, silvery equines that shimmer in the light. They, too, are part of our world&rsquo;s dwindling biodiversity; they, too, are immortalized by the flash of Gonnord&rsquo;s camera.</p> <p style="text-align: justify;">Pierre Gonnord has had recent solo exhibitions at such celebrated institutions as the Museo de la Suderurgia y la Miner&iacute;a (Spain, 2014), 21c Museum (Kentucky, USA, 2013), CEART de Fuenlabrada (Spain, 2013), and the SCAD Museum of Art (Georgia, USA, 2013.) His work is in many major public and private collections, including the collections of the Museo Nacional Centro de Arte Reina Sof&iacute;a in Madrid, the Maison Europ&eacute;enne de la Photographie in Paris, the Centre National des Arts Plastiques in Paris, the Museum of Contemporary Art in Chicago, The Cohen Art Collection in Connecticut, and 21c Museum in Kentucky. Gonnord has had several monographs and catalogs published about his work including <em>Pierre Gonnord: Regards </em>(TF Editores, 2005), <em>Pierre Gonnord</em> (Ediciones Universidad Salamanca, 2008), <em>Pierre Gonnord, Terre De Personne</em> (Lunwerg, 2009), <em>Pierre Gonnord: PHotoBolsillo</em> (La F&aacute;brica, 2012), <em>Pierre Gonnord: Portraits</em> (La F&aacute;brica, 2013), and <em>Pierre Gonnord: The Dream Goes Over Time</em> (La F&aacute;brica, 2014.)</p> Wed, 25 Feb 2015 16:50:32 +0000 Fabio Mauri - Hauser & Wirth 69th Street New York - March 5th 6:00 PM - 8:00 PM Wed, 11 Feb 2015 16:32:33 +0000 George Dureau - Higher Pictures - March 5th 6:00 PM - 8:00 PM Wed, 25 Feb 2015 06:31:32 +0000 Kat Shannon - International Center of Photography (ICP) - March 5th 6:00 PM - 10:00 PM <p>Join 2015 ICP-Bard student&nbsp;<a href="" rel="nofollow" target="_blank">Kat Shannon&nbsp;</a>at the MFA Studios for her solo thesis exhibition,&nbsp;<em><em>YOU BELONG WHERE YOU ARE</em>.</em></p> <p><strong>Opening Reception</strong><br />March 5 | Thursday | 6&ndash;10 pm</p> <p><strong>On View</strong><br />March 6&ndash;8 | Friday&ndash;Sunday | By appointment only<br /><br />Please contact Kat by phone at 407.579.6348 or email at 
katshannon11[at]gmail[dot]com</p> <p><strong>Location</strong><br />ICP-Bard MFA Studios<br />24&ndash;20 Jackson Avenue, 3rd Floor<br />Long Island City, Queens</p> <p><a href="" rel="nofollow">Click here for more information.</a></p> Tue, 24 Feb 2015 17:31:38 +0000 Group Show - Limner Gallery - March 5th 6:00 PM - 8:00 PM Wed, 11 Feb 2015 17:06:14 +0000 Mao Yan - Pace Gallery - 25th St. - March 5th 6:00 PM - 8:00 PM <p style="text-align: justify;">Pace is pleased to announce its presentation of Mao Yan&rsquo;s first solo exhibition in the United States on view at 534 West 25th Street from March 4 through April 4, 2015. The exhibition features fourteen new paintings by one of China&rsquo;s most revered portrait artists and will be the first time his work has been exhibited publicly in New York. An opening reception for the artist will be held on Thursday, March 5, 6 to 8 PM.</p> <p style="text-align: justify;">To accompany the exhibition, Pace will publish a catalogue featuring a new essay on the artist&rsquo;s work by art historian and critic Donald Kuspit.</p> <p style="text-align: justify;">Mao Yan contends with the history of portraiture in his work, interpreting figures and faces through a subjective language steeped in the technical formalism he developed while studying in Beijing in the late 1980s and early 1990s. Mao Yan&rsquo;s paintings exhibit tropes of portraiture such as the seated nude and oval frames, but cede deliberate representation to style and mood. Aqueous blue, green, and grey tones swirl around, coalescing into smoky figures defined by gestural brushwork. He empties his portrait subjects of interiority and identity, divorcing them from any background or context and allowing paint to take precedence. Mao Yan paints not to represent but to explore and capture the relationship between painting&rsquo;s spiritual and technical dimensions.&nbsp; &nbsp;&nbsp;</p> <p style="text-align: justify;">Painting at different sizes, Mao Yan creates distinct effects. Three nude portraits feature full figures looming over the viewer on their more than ten-feet-tall canvases. More small scaled works show only a head or a bust and allow for a more intimate exchange between the painting and viewer.</p> <p style="text-align: justify;">The exhibition includes six recent portraits of Thomas Rohdewald, an &eacute;migr&eacute; to China who has frequently appeared in Mao Yan&rsquo;s work since 1999. Mao Yan began painting Thomas to move away from depicting his immediate circle of friends and family. The six versions of Thomas on view exhibit subtle differences that emphasize the artist&rsquo;s concern with translating mood and spirit through paint and technique over any interest in mimesis.</p> <p style="text-align: justify;"><strong>Mao Yan</strong>(b. 1968 Hunan Province, China) began studying painting as a child, and graduated from the Central Academy of Fine Arts in 1991. He left Beijing to teach at the Nanjing University of the Arts where he began to develop his first body of portraits. He was a 2013 recipient of the Martell Artists of the Year award by the Today Art Museum, Beijing, where his work was shown in the attendantexhibition.&nbsp;</p> <p style="text-align: justify;">In 2009 Mao Yan was the subject of the solo exhibition <em>Longing for More</em> at the Shanghai Art Museum. His work has also been featured in numerous group exhibitions including <em>The Second Triennial of Chinese Contemporary Art</em>, Nanjing Museum (2005); <em>China: Construct and Deconstruction</em>, National Gallery of S&atilde;o Paulo (2009); <em>China Mania: Colorful, Diverse and Distinctly Narrative</em>, Arken Museum of Modern Art, Ish&oslash;j (2010); <em>Phenomena and Situation since 1985: Trends in Hubei and Hunan Chinese Contemporary Art 1985&ndash;2009 </em>(2009); <em>Collecting History: China New Art</em>, Chengdu Museum of Contemporary Art (2011); and <em>Portrait of the Times: 30 Years of Chinese Contemporary Art</em>, Power Station of Art, Shanghai (2013). The National Art Museum of China, Beijing, included the artist&rsquo;s work in <em>Chinese Oil Painting in the 20th Century </em>(2000) and <em>Towards a New Image: 20 Years of Contemporary Chinese Painting</em> (2001), both of which traveled to the Shanghai Art Museum. His work was also included in <em>Mahjong: Contemporary Chinese Art from the Sigg Collection</em>, Kunstmuseum Bern (2005), which traveled to the Hamburger Kunsthalle, Hamburg; Museum der Moderne, Salzburg; University of California Berkeley Art Museum and Pacific Film Archive; and the Peabody Essex Museum, Salem, MA.</p> <p style="text-align: justify;">His work is included in the collections of the University Museum and Art Gallery, Hong Kong University; Shanghai Art Museum; and the Shenzhen Art Museum, among others.</p> <p style="text-align: justify;">Mao Yan lives and works in Nanjing. This is his second exhibition at Pace.</p> Thu, 26 Feb 2015 06:14:44 +0000 Group Show - Sacred Gallery NYC - March 5th 8:00 PM - 11:00 PM <p>If You Ask Me.... It's About The Soul - Curated by The Lazy Hustler aka Ricky Powell</p> <p>RSVP Only. Email <a href=""></a> to be put on the list.</p> Thu, 26 Feb 2015 06:50:02 +0000