ArtSlant - Openings & events en-us 40 Jef Geys - 3A Gallery - March 26th 6:00 PM - 8:00 PM <div style="text-align: justify;">3A Gallery is pleased to announce <em>Jef Geys: Some Paintings from Belgium</em>. On view are ten Martin Douven paintings from the collection of Felipe Perez.&nbsp; The exhibit includes ten prints, on loan from the Columbia University Rare Book and Manuscript Library, depicting the various international contexts of this set of paintings&rsquo; exhibition history.&nbsp; Jef Geys has produced a <em>Kempens Informatieboek</em> for the occasion.</div> <p style="text-align: justify;">&nbsp;<br /> &nbsp;</p> <div style="text-align: justify;"><em>Jef Geys: Some Paintings from Belgium</em> was made possible by the generosity of the Related Group.</div> Sat, 07 Mar 2015 15:36:37 +0000 John Alexander Parks - 532 Gallery Thomas Jaeckel - March 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">Once again it is a great pleasure to exhibit new paintings by John Alexander Parks and most especially because he has recently been making paintings about New York, his adopted home for more than three decades.&nbsp; For much of this time Parks has painted subjects that bear on English life using his vantage point as a British exile. Those pictures are often at once nostalgic and gently ironic.&nbsp; Parks brings a new energy, lively wit and considerable poignancy to his very personal vision of New York.</p> <p style="text-align: justify;">A gifted colorist, sensitive draftsman and delightful handler of paint, Parks mixes whimsical humor and enormous sympathy for his subjects.&nbsp; His works are inviting, accessible and entertaining but their full import can take time to sort out and fully savor. &nbsp;They are the paintings of an artist who is thoroughly and wonderfully engaged with the world around him.</p> <p style="text-align: justify;">Although he has kept a modest profile as an artist Parks has accrued some serious critical acclaim over the years. Writing in the New York Times as long ago as 1982, the great critic John Russell described Parks as &ldquo;&hellip;a true poet in paint and something of a find.&rdquo; In December of 2012 Roberta Smith, the current chief art critic of the Times, described Parks&rsquo; painting as &ldquo;&hellip;a treat to discover.&rdquo;</p> <p style="text-align: justify;">Parks was born in Leeds, England in 1952, and studied at the Royal College of Art in London.&nbsp; He has lived in and around New York since 1976 and was represented for many years by Allan Stone, the legendary art dealer and gallerist.&nbsp; He is a member of the faculty of the School of Visual Arts in New York where he teaches drawing and painting.&nbsp; He recently authored a general introduction to the world of art entitled &ldquo;Universal Principles of Art,&rdquo; Rockport Publishing, 2014. His work is in the collection of the Victoria and Albert Museum, London, the Museum of the Rhode Island School of Design and many others.</p> Wed, 25 Mar 2015 14:40:46 +0000 Shara Hughes - American Contemporary - March 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">Shara Hughes&rsquo; new paintings present layers of abstracted, actual and pictorial space, all in search of simplicity.</p> <p style="text-align: justify;">These clouded windows of ambiguous form, pattern, and texture are like vibrated, vibrant drawings, plied with multiple mediums. The direct intention instilled in each mark empowers these paintings with a sense of focused purpose, directness, yet they depict suggestions of open space, floating moons, flowing rivers, melting snow. The indirect and the slow burning.</p> <p style="text-align: justify;">Hughes explores these ideas as she quickly grasps new ways of applying paint. Idea becomes form, form becomes an idea, image becomes both. The result is a mix of peace and purpose; material and place; raw canvas and painted surface. Transparency and brick wall.</p> <p style="text-align: justify;">In these works past and future disappear. There is only the present. Invention, intention, playfulness and trust. All happen then/now. Stop to go.</p> <p style="text-align: justify;">Shara Hughes (b. 1981 in Atlanta, GA) lives and works in Brooklyn, NY. Previous solo exhibitions include <strong>Museum of Contemporary Art, Georgia</strong>, Atlanta, GA; <strong>Atlanta Contemporary Art Center</strong>, Atlanta, GA; <strong>American Contemporary</strong>, New York, NY<strong>; P-r-i-m-e-t-i-m-e</strong>, Brooklyn, NY; <strong>Metroquadro</strong>, Turin, IT; <strong>Galerie Mikael Anderson</strong>, Copenhagen, DE; and <strong>Rivington Arms</strong>, New York, NY. Hughes was the recipient of the MoCA GA Working Artist Project Grant for 2012/2013.</p> <p style="text-align: justify;">She studied at Rhode Island School of Design, Providence, RI and Skowhegan School of Painting and Sculpture, Skowhegan, ME.</p> Fri, 20 Mar 2015 07:48:52 +0000 Group Show - American Folk Art Museum - March 26th 10:30 AM - 5:30 PM <p style="text-align: justify;">Most self-taught artists can be perceived as performance artists. Their work is infused with daily rituals, public actions, gestures, and enactments, defining a lifelong artistic practice for which <em>the curtain never comes down</em>. Beyond paintings and sculpture, the exhibition includes ceremonial clothes, kinetic apparatuses, ephemeral installations, writings, fragments of ever-changing constructions, music, recordings, and other statements that have been captured by photographers and filmmakers. The inventive devices and countless strategies these artists configure are expressions of an alter ego, which they assume for its power to transform the world and, above all, to transform their own connections to reality.</p> <p style="text-align: justify;">Historically, collectors and museums have prioritized artworks that are readily collectible and more conventional in their materials and techniques&mdash;an attitude that elucidates a direct relationship between conservation and recognition. The exhibition,&nbsp;which&nbsp;gathers 27 artists from around the world, delves into an underside of self-taught art and art brut, opening a door to the study of its neglected facets.<br /> <em>&mdash;Val&eacute;rie Rousseau, PhD, curator, self-taught art and art brut</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em><br /></em>Major support for the exhibition is provided by the National Endowment for the Arts: Art Works. Additional support is provided by The Coby Foundation, Ltd., Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Gerard C. Wertkin Exhibition Fund, the Leir Charitable Foundations, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> Wed, 25 Feb 2015 15:10:50 +0000 Jacqueline Hassink - Benrubi Gallery - March 26th 6:00 PM - 8:00 PM Wed, 11 Mar 2015 07:31:58 +0000 Jacqueline Hassink - Benrubi Gallery - March 26th 6:00 PM - 8:00 PM <p><a title="Benrubi" href="" target="_blank" rel="nofollow"><strong>Benrubi Gallery </strong></a>is proud to present <a title="Jacqueline" href="" target="_blank" rel="nofollow"><strong>Jacqueline Hassink</strong></a>&rsquo;s <em>View, Kyoto</em>, a remarkable series of photographs of Kyoto&rsquo;s Zen Buddhist temples and gardens. Japan&rsquo;s capital from 794 to 1868, Kyoto is home to some 1,600 temples, each with its own garden. Over the course of a decade (2004 &ndash; 2014) Hassink photographed 34 locations throughout the seasons. This is Hassink&rsquo;s first solo exhibition with Benrubi and is supported as a part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York. &nbsp;Her ninth monograph, <em>View, Kyoto</em>, published by Hatje Cantz, comes out March 24, 2015.</p> <p>&nbsp;</p> <p>Hassink&rsquo;s images are suffused with the unique appeal of Japanese architecture and landscape even as they create their own aesthetics. Temple design is scaled to the 1:2 ratio of the tatami, itself ordered to the size of a human body. Hassink&rsquo;s lens brings out this human point of view, her camera positioned as if the viewer were now standing, now seated on a mat; poised at a threshold or located on the veranda between temple and garden. The composition of the photographs is as carefully considered as the sacred spaces they reveal, highlighting the balanced yet never static interplay between interior and exterior spaces in temple design. The rigidity of the temple&rsquo;s lines and angles is played off against the softer garden forms seen through open doors or unglazed window. The browns and golds and whites of the interiors, with here and there a spot or stripe of bold red, collage with the brown, grays, and greens of the gardens to create a single meshed field. If, initially, the perception is one of division between human and nature or terrestrial and divine, it soon becomes one of continuity between two realms. Neither is wholly constructed or found; neither could exist without the other.</p> <p>&nbsp;</p> <p>On view in the project space is a film diptych in which interviews with the head monks of four sects are paired with a journey through the temples themselves. The film gives voice to the men responsible for these remarkable spaces while simultaneously capturing the experience of transitioning between public and private, secular and sacred.</p> <p>&nbsp;</p> <p>Hassink&rsquo;s work has been widely collected and exhibited, including shows at Huis Marseille in Amsterdam; Fotomuseum Winterthur, Winterthur; Amador Gallery and ICP in New York; Tokyo Metropolitan Museum for Photography, Tokyo; The Photographers&rsquo; Gallery and the Victoria and Albert Museum in London and the Guangzhou Museum of Modern Art, Guangzhou. It has also appeared in such publications as&nbsp;<em>The Financial Times</em>,<em>&nbsp;Le Monde</em>,<em>The New York Times</em>,&nbsp;<em>El Pais</em>,&nbsp;<em>Frankfurter Allgemeine</em>,&nbsp;<em>S&uuml;ddeutsche Zeitung</em>,&nbsp;<em>Reuters</em>,&nbsp;<em>De Standaard</em>,&nbsp;<em>NZZ</em>,<em>Newsweek, Fortune</em>, and&nbsp;<em>Wired</em>.</p> <p>&nbsp;</p> <p>Exhibition Dates: March 26 &ndash; May 9, 2015</p> <p>Gallery Hours: Tuesday - Saturday, 10am - 6pm</p> <p>&nbsp;</p> <p>Please contact Benrubi Gallery with inquiries or for more information: <strong></strong></p> Sat, 21 Mar 2015 17:36:44 +0000 Matt Lipps - Danziger Gallery - March 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">Danziger Gallery is pleased to present the first New York solo exhibition of photographs by Matt Lipps. Lipps&rsquo; work combines elements of collage, constructed still life, and appropriated imagery, into a wholly new and original form.</p> <p style="text-align: justify;">The exhibition consists of 13 large-scale works from Lipps&rsquo; acclaimed series &ldquo;Library&rdquo;. Based on images from Time-Life&rsquo;s 1970s seventeen volume set of books called &ldquo;Library of Photography&rdquo;, Lipps cuts out and assembles selected images into groups that echo the themes of the different volumes &ndash;&nbsp;<em>Photographing Children, The Camera, Travel Photography, Special Problems</em>, etc..</p> <p style="text-align: justify;">Mounted and arranged on shelves in front of vivid color backgrounds, the figures become players in a story that is both a tribute to the heyday of analog photography and an accomplished vision of the possibilities that the digital age has opened up to artists. The colorful backgrounds of the series come from 35mm photographs taken by Lipps when he was a student and their warm emotional color and abstract feeling contrasts dramatically with the coolly objective black and white figures and forms selected by Lipps from the &ldquo;Library&rdquo; books. Combining authored and appropriated photographs Lipps sets up a tension between the subjective and objective uses of the medium offering both an intriguing and fresh perspective on the history of the medium and history itself.</p> <p style="text-align: justify;">Matt Lipps received his MFA from the University of California, Irvine. Most recently his work has been shown at the Saatchi Gallery, FOAM (Foto Museum of Amsterdam), and is currently on view at Pier 24 in San Francisco. His work is in the collection of Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, the Hammer Museum, Los Angeles, The Pilara Foundation/Pier 24. He is Assistant Professor of Art at San Francisco State University.</p> <p style="text-align: justify;">Lipp's work can currently also be seen at Art in General and in the group show "Under Construction - New Positions in American Photography" at Pioneer Works in Brooklyn.</p> Wed, 25 Mar 2015 14:44:55 +0000 Alexi Worth - DC Moore Gallery - March 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">A friend wrote to Alexi Worth, after seeing his work in a recent show, &ldquo;One thing puzzled me-- what is the greenish layer of something in back of the image itself? What is the green made of? Where is it? We both looked around in back, but could not figure it out.&rdquo; <br /> <br /> Worth&rsquo;s new paintings are quietly unusual objects. Painted on mesh fabrics, they share a distinctive sea-glass translucency, which emphasizes their shallow depth. Some of that depth is literal: in every image, viewers can partially see through the surface to the gallery wall. In the doorway painting called <em>Pull</em>, for instance, we see through the green tinted mesh to an &ldquo;interior space&rdquo; that is both image (a receding corridor, with its black welcome mat) and plain fact (the physical inside of the painting). <br /> <br /> This alignment of material and depiction isn&rsquo;t, however, the work&rsquo;s most unusual feature. For the past several years, Worth has been working to join photograph-like qualities (frontal lighting, mechanical tone, POV) with freehand unsourced drawing. The aim, in Worth&rsquo;s words, is to create a &ldquo;cartoon photography,&rdquo; a new picture idiom that will combine the freedom of impulsive drawing with the delicacy of recorded light.<br /> <br /> One of the primary inspirations for these newest paintings are cyanotype photograms, where solid objects register as white silhouettes. Similarly, in Worth&rsquo;s works, whiteness reads as proximity. Along with reciprocity and touch, proximity--a fiction of nearness or intimacy with the viewer-- has been an ongoing preoccupation of Worth&rsquo;s over the last ten years, and continues to motivate these images of doorways, leaves and hands, and lovers in bed.<br /> <br /> The show&rsquo;s title refers to a riddling game of the same name. The game&rsquo;s solution&mdash;spoiler alert&mdash;involves words that contain doubled letters (hence the name). Worth&rsquo;s six new paintings appear in pairs and feature double elements with &ldquo;stuttered&rdquo; or doubled contours. Last but not least, several of them depict green glass doors.</p> Wed, 11 Mar 2015 07:55:27 +0000 Joyce Kozloff - DC Moore Gallery - March 26th 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong>DC Moore Gallery</strong> is pleased to present <em><strong>Joyce Kozloff: Maps + Patterns</strong></em>. This exhibition of new mixed media work synthesizes Kozloff&rsquo;s interest in the meaning of maps with the forms of the Pattern and Decoration painting she pioneered in the 1970s. A catalogue featuring an interview with Kozloff accompanies the exhibition. <br /> <br /> Spurred by recent travel along the silk route, Kozloff has returned for the first time to the Islamic star patterns that structured her early art. A group of works titled <em>If I Were a Botanist</em> and <em>If I Were an Astronomer</em> revisit two artist books Kozloff made in 1977, in which she manipulated the black-and-white diagrams in Islamic geometry books to create kaleidoscopic compositions saturated with color. In characteristic defiance of the hierarchies of high and low, Kozloff considered this work to be &ldquo;a cross between coloring books and illuminated manuscripts.&rdquo; <br /> <br /> Using these earlier pages as templates, Kozloff employed digital processes to reimagine the arrangement and scale of the patterns for her new work. She then infused these stunningly intricate paintings with collage elements comprised entirely of trial proofs from previous projects. Merging the biographical and the political, each panel becomes a microcosm of the artist&rsquo;s career. In <em>If I Were a Botanist: the Journey</em>, patterns radiate and converge in constellations of brilliant color and interlocking shapes unfurling across some thirty feet of canvas. The maps in <em>If I Were a Botanist: the Pale</em> and <em>If I Were a Botanist: Gaza</em> invite comparison between today&rsquo;s occupation of Palestine and the Pale of Settlement, the territory within Imperial Russia restricted for Jews from 1835-1917, to which Kozloff traces her ancestry. <br /> <br /> Throughout the 10 x 10 foot surface of <em>The Tempest</em>, Kozloff repopulates an 18th century Chinese world map with hundreds of excerpts from her previous work. Because she has long interrogated the implications of mapmaking in her art, Kozloff has collected and been given dozens of globe-themed tchotchkes. These tokens of friendship⎯as varied as earrings, ashtrays, erasers, napkin holders, piggy banks, key chains, paper weights and yoyos⎯are halved and affixed to the panels. Art historical imagery featuring the famous cartographers of the Renaissance, who &ldquo;explain things&rdquo; while pointing to globes, share space with the superhero Captain Planet and military figures including Joan of Arc and Napoleon. <em>The Tempest</em> conflates eastern and western systems for representing the world with ancient, early modern, and contemporary attempts to understand, navigate, and use it.</p> Wed, 11 Mar 2015 07:59:04 +0000 Group Show - Joshua Liner Gallery - March 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">Joshua Liner Gallery presents That&rsquo;s My Trip, a group show curated by gallery artist <em>Andrew Schoultz</em>. The exhibition features sculpture, installation, painting, and works on paper from Claire Colette, Cody Hudson, Francesco Igory Deiana, Hilary Pecis, Libby Black, Louis Schmidt, Matt Gonzalez, Michel Tabori, Patrick Martinez, Ryan Travis Christian, Terry Powers, Timothy Bergstrom, as well as curating artist Andrew Schoultz. The exhibition will open Thursday, March 26, 2015.</p> <p style="text-align: justify;">A series of studio visits in various cities including Berkeley, Chicago, Los Angeles, New York, and San Francisco led to Schoultz&rsquo;s inspiration for <em>That&rsquo;s My Trip</em>. Schoultz explains, &ldquo;After an artist tells you about themselves and their work, it would end almost every time with the artist saying &lsquo;so that&rsquo;s my trip.&rsquo; I found this an interesting phrase to explain yourself to someone.&rdquo; For Schoultz, the selected artists in <em>That&rsquo;s My Trip</em> display a plethora of mediums and approaches, but remain connected by the common interest of their surroundings, and lack of separation between their lives and their work. Schoultz adds, &ldquo;Their art is a portrait of themselves in some way or another.&rdquo;</p> <p style="text-align: justify;">Berkeley-based artist Libby Black&rsquo;s paper renditions of favorite personal belongings explore the artist&rsquo;s memory, identity, and the subtle choices people make that ultimately shape who they are. The items in Black&rsquo;s installation <em>Taking a Trip, Not Taking a Trip</em> (2015), are of personal significance to the artist, connecting her past with the present. The beach scene depicted in the installation alludes to Black&rsquo;s annual trips to Florida from an early age. The Publix sun tan lotion, yellow Walkman and the Whitney Houston cassette tape are tangible representations of past memories and treasured possessions. Black&rsquo;s present is represented by a pair of flip-flops, and a stack of books read and cherished by the artist. Echoing Schoultz&rsquo;s perception of the exhibited work as &ldquo;portraiture,&rdquo; Black explains, &ldquo;It&rsquo;s like a landscape of the real and made up, and also a portrait without the figure.&rdquo;</p> <p style="text-align: justify;">Los Angeles-based artist Patrick Martinez draws inspiration from the subtle characteristics of his home environment&mdash;&ldquo;I love finding untapped rhythms in my landscape and exposing this to viewers.&rdquo; In a comparable aesthetic to Libby Black, Martinez has produced a ceramic assemblage of flowers, fruit and a centerpiece reminiscent of those his mother would purchase from a local swap meet. Martinez elaborates, &ldquo;I&rsquo;m pairing this with traditional still life compounded with dark undertones brought forth from living in contemporary America. That&rsquo;s my trip in a nutshell.&rdquo; The artist&rsquo;s affinity for his environment, and the often-overlooked features of his urban community, are reflected in his work, revealing aspects of Martinez&rsquo;s identity, and in a broader sense, fundamental features of contemporary life in LA.</p> <p style="text-align: justify;">Contrasting these representational forms explored by Black and Martinez, Los Angeles-based artist Michel Tabori prefers an abstract approach. As demonstrated in the artist&rsquo;s mixed media on canvas work, <em>The Thrill That Coursed Through Her</em> (2013), Tabori attempts to express pleasurable feelings inextricable to human emotion. These euphoric emotions are of constant intrigue and an endless source of inspiration to the artist. Tabori&rsquo;s choice of abstraction is fitting, as the artist explains, &ldquo;These paintings are a very intimate reflection of my surroundings&hellip; abstract painting allows me to create evocative and more accurate portrayals of what I am trying to describe&mdash;I don&rsquo;t think I would do it in any other way.&rdquo;</p> <p style="text-align: justify;">Aside from the connections drawn between the artists&mdash;aesthetic and conceptual&mdash;Schoultz has chosen to exhibit artists he finds inspiring, and appreciates for the sincerity of their work. To put it simply, Schoultz explains, &ldquo;I am trying to curate a show with artists I believe in.&rdquo;</p> Wed, 11 Mar 2015 08:34:14 +0000 Joseph Smolinski - Mixed Greens Gallery - March 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">Mixed Greens is delighted to announce their fourth solo exhibition with Joseph Smolinski. <em>Second Nature</em> ponders the dynamic relationship between humans and nature and its impact on our current landscape. His choice of media reflects these ruminations, using technology to envision the future and ever-changing silver point to resist a fixed vision of our present. <br /> <br /> Over the last year, Smolinski has been a fellow at Wesleyan University as the Menakka and Essel Bailey &rsquo;66 Distinguished Visiting Scholar in the College of the Environment. He was a member of a think tank charged with the theme, &ldquo;Struggling through the Anthropocene: Science, History, Art, and Politics.&rdquo; In essence, the participants were considering how to define nature in an age when the interventions of humans, both benign and harmful, are evident across the globe. Does nature need to be redefined? What will this Second Nature look like and how will humans curate life on our planet? Smolinski&rsquo;s research is manifested in the form of drawings, video, and sculpture.<br /> <br /> In the drawing series, <em>A Question of Dominion</em>, Smolinski uses the labor-intensive medium of silver point to render species tagged with radio and GPS tracking devices. These monitored animals include endangered species, animals considered game, and invasive species. To make the creatures visible, Smolinski must apply thousands of marks to the page. Even then, the animals&mdash;from spotted owls to kangaroo rats&mdash;are apparitional. Only with time will the patina darken and the images become more concrete. This space between visibility and invisibility is one in which Smolinski finds great resonance. Inevitably, the telemetry tags will monitor and digitize the lives of these creatures, informing decisions regarding survival, extinction, and the zoological future on Earth. <br /> <br /> Similarly, Smolinski contemplates our dependence on bees for food production and our role in their alarmingly rapid disappearance. 3D printed sculptures titled <em>Ghost Bees</em> serve as small monuments to the honeybees that have succumbed to colony collapse disorder. The white, larger-than-life renderings of the creatures writhe atop concrete hive fragments. <br /> <br /> The final, large-scale works in the show are a 3D animated video, <em>Colony Collapse</em>, with a score by Minneapolis musician Andy Flynn, and a graphite drawing, <em>This Compost</em>. The video transports the viewer through a snowy landscape littered with structures representing the oil industry, corporate agriculture, and the military-industrial complex. Through subtle shifts of time, space, and climate, questions are posed about the natural order of the environment and our future within it. In <em>This Compost</em>, the skeletal remains of a human are found inside of a storm-damaged tree. This one static image conflates Smolinski&rsquo;s memory of a St. Paul winter carnival myth, skeletal remains found in New Haven, CT after Hurricane Sandy, the lost colony of Roanoke, and a poem of the same title by Walt Whitman. Whitman&rsquo;s poem contemplates nature&rsquo;s ability to turn diseased human corpses into clean and fertile soil that sustains life. <br /> <br /> <em>Joseph Smolinski was born in St. Paul, MN, and lives and works in New Haven, CT. He received his BFA from the University of Wisconsin and his MFA from the University of Connecticut, Storrs. Group exhibition venues include Diverse Works, Houston, TX; MASS MoCA, North Adams, MA; the Aldrich Museum of Contemporary Art, Ridgefield, CT; the McDonough Museum of Art, Youngstown, OH; the Wadsworth Atheneum Museum of Art, Hartford, CT; The Cleveland Institute of Art; and the Yale University School of Art, New Haven, CT. Solo exhibition venues include Green Street Arts Center, Wesleyan University, Middletown, CT; Swarm Gallery, Oakland, CA; Seton Gallery at the University of New Haven, CT; Real Art Ways, Hartford, CT; and ArtSpace, New Haven, CT. His work has been discussed in Art in America, The Boston Globe, The New York Times, and Art Papers, among other publications. In 2012, he was awarded an artist fellowship from the Connecticut Commission of the Arts and an artist resource trust grant from the Berkshire Taconic Community Foundation.</em></p> Wed, 11 Mar 2015 09:46:13 +0000 Tyrus Wong - MOCA - Museum of Chinese in America - March 26th 11:00 AM - 9:00 PM <p style="text-align: justify;">In celebration of the Museum&rsquo;s 35th anniversary this spring, MOCA is proud to present <em><strong>Water to Paper, Paint to Sky: The Art of Tyrus Wong</strong></em>. Celebrated painter, muralist, kite-maker, lithographer and calligrapher, Tyrus Wong is one of the greatest Chinese-American artists of the 20th century. This highly anticipated exhibition showcases his extraordinary body of work including Disney&rsquo;s iconic American children&rsquo;s classic, <em>Bambi. Water to Paper, Paint to Sky: The Art of Tyrus Wong </em>is organized by The Walt Disney Family Museum, San Francisco, CA.</p> Sat, 07 Feb 2015 06:31:02 +0000 Claude Lalanne, François-Xavier Lalanne - Paul Kasmin Gallery 515 West 27th Street - March 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">Paul Kasmin Gallery is proud to announce&nbsp;<em>Les Lalanne</em>, an exhibition of works by Claude and Fran&ccedil;ois-Xavier Lalanne on view at 515 West 27<sup>th</sup>&nbsp;Street from March 26 &ndash; May 2, 2015. In a unique collaboration with renowned landscape architect Madison Cox, a longtime friend of the artists, the gallery will be transformed into a winding labyrinth featuring a range of both recent and historic sculptures.<br /> &nbsp;<br /> Through&nbsp;a&nbsp;dramatic gated entry designed by Claude Lalanne, a series of navigable walls serve as the backdrop to a wide spectrum of Lalanne sculptures, including Fran&ccedil;ois-Xavier Lalanne&rsquo;s towering bronze&nbsp;<em>G&eacute;nie de Bellerive</em>, the artist&rsquo;s homage to his close friends and colleagues Constantin Bran&ccedil;usi and Max Ernst. On making one's way through the exhibition one will encounter a version of the fabled "hall-of-mirrors"&nbsp;created for Yves Saint Laurent and Pierre Berg&eacute;&rsquo;s Paris home in 1974. Here, Claude Lalanne&rsquo;s&nbsp;<em>Lustres</em>&nbsp;hovers over thirteen mirrors, each elaborately entwined with bronze-cast flora and fauna. The exhibition will also include&nbsp;the iconic&nbsp;<em>Pomme d&rsquo;Hiver</em>, a six-foot bronze sculpture of a perfect golden apple and&nbsp;Claude Lalanne&rsquo;s most recent work,&nbsp;<em>Choupatte (Moyen)</em>, a signature motif in her distinctly Surrealist&nbsp;<em>oeuvre</em>.<br /> &nbsp;<br /> This exhibition will be accompanied by an equally special new book<em>&nbsp;Les Lalanne: Fifty Years of Work, 1964-2015</em>&nbsp;&ndash; edited by critic Adrian Dannatt in Paris &ndash; featuring rare, never before seen images from the personal Lalanne archive as well as vintage photographs by Lom&eacute;, Guy Bourdin, Fran&ccedil;ois Halard and Jean-Philippe Lalanne. This publication will also boast interviews and testimonials from the extraordinary range of the Lalanne's friends, collaborators and collectors over the&nbsp;decades including; Laurence Graff, Peter Marino and Carla Fendi, architect Paul Chemetov, and cultural luminaries such as Fran&ccedil;ois de Ricql&egrave;s and Agnes Gund.<br /> <br /> Claude Lalanne (b. 1924 in Paris, lives and works in Ury, France) &nbsp;and Fran&ccedil;ois-Xavier Lalanne (b. 1927 in Agen, died 2008 in Ury, France),&nbsp;known individually and collectively since the 1960s as &ldquo;Les Lalanne,&rdquo; developed a unique&nbsp;m&eacute;lange&nbsp;of inventive, practical, poetic and Surrealist sculptures. Most recently, Les Lalanne were the subject of a full-scale retrospective at the Mus&eacute;e des Arts D&eacute;coratifs in Paris and an important public exhibition at the Fairchild Tropical Botanic Garden in Coral Gables, Florida.&nbsp; Their work has also been featured on New York&rsquo;s Park Avenue and in the sale of the collection of Yves Saint Laurent.&nbsp; In addition to countless private collections, their works can be found in international institutions including the Cooper Hewitt Museum, New York; the Centre Georges Pompidou,&nbsp;Paris;&nbsp;the Kr&ouml;ller-M&uuml;ller Museum, Netherlands;&nbsp;and the Mus&eacute;e d&rsquo;Histoire Naturelle, Paris.<br /> &nbsp;<br /> Madison Cox (b. 1958 in Bellingham, Washington) is renowned for creating some of the most coveted gardens for clients worldwide. Cox graduated in 1984 from Parson&rsquo;s School of Design with a BFA in Environmental Design and has since worked on both private and public commissions including the Spring Garden at the French National Museum at the Ch&acirc;teau de Bl&eacute;rancourt. In addition to maintaining offices in New York and Morocco, Cox is Vice President of both the Foundation Pierre Berg&eacute;-Yves Saint Laurent, Paris and the Foundation Jardin Majorelle, Marrakech.</p> Fri, 20 Mar 2015 09:33:25 +0000 Sara Magenheimer - Recess Activities, Inc. - March 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">On March 19, Sara Magenheimer will begin work on <em>False Alphabets</em>, as part of Recess&rsquo;s signature program, Session. Session invites artists to use Recess&rsquo;s public space as studio, exhibition venue and grounds for experimentation.</p> <p style="text-align: justify;">Over the course of her Session, Magenheimer will construct sculptural sets composed of photographs, objects, and film equipment that will become the backdrop for a new video. The script for the video, written by Magenheimer, continues the artist&rsquo;s interest in voice, and employs cinematic tropes that conflate embodied language and location.</p> <p style="text-align: justify;"><br /> The script will evoke the role of &ldquo;The Radio DJ&rdquo; epitomized by characters like Mister Se&ntilde;or Love Daddy in<em> Do The Right Thing</em> and DJ Stevie Wayne in <em>The Fog</em>. These figures act as the omnipotent narrators of their films as well as create diegetic soundtracks to their cinematic worlds. Simultaneously addressing the movie going audience, the other characters, and their communities, their music is embodied rather than a superficial add-on for the viewer&rsquo;s emotional manipulation.</p> <p style="text-align: justify;">Collaborating artists Eleanor Friedberger (Fiery Furnaces), Greg Saunier (Deerhoof), Free Paint (Magenheimer and Saunier) and more will perform the music for and act as narrators in this video. Performers will make mixes that involve narration and music. These mixes will function as a soundtrack for the video. Recess audience may stream these mixes online and will be invited to participate as &ldquo;the listening public&rdquo; on open-set days of filming.</p> <p style="text-align: justify;">The video and performances explore the limit of the necessary, functional dislocation between speech and physical body, attempting to bring language back to the body through techniques drawn from punk/Dada humor, absurdity, music and participation.<br /> Films featuring radio DJs will be screened throughout False Alphabets.</p> <p style="text-align: justify;"><strong>About the Artist: </strong><br /> Sara Magenheimer is an artist based in New York City. Recent exhibitions include Interstate Projects, 247365 Gallery, Cleopatra&rsquo;s, Brooklyn, Chapter NY, and Document, Chicago. Recent screenings include The Ann Arbor Film Festival, MI; Images Festival, Toronto; The New York Film Festival, The Kitchen, New York, Brooklyn Academy of Music; MOMA, Portland, OR; The Living Art Museum, Reykjavik, Iceland; and Meet Factory, Prague, Czech Republic. Since 2012 she has performed at Recess, MOMA P.S.1, Issue Project Room, Canada Gallery, and the Performa 13 Biennial. Her collaborative project, Bloopers, received commissions from Triple Canopy and EMPAC, at Rensselaer Polytechnic Institute. She was the recipient of the Rema Hort Mann Foundation Emerging Artist Grant.</p> <p style="text-align: justify;"><a href=""><img class="alignleft wp-image-9412" src="" alt="Supporters" width="274" height="154" /></a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">This program is supported, in part, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and public funds from the New York City Department of Cultural Affairs in partnership with the City Council. This project is also supported in part by an award from the National Endowment for the Arts, Art Works. </p> Fri, 20 Mar 2015 10:02:47 +0000 Group Show - Robert Mann Gallery- New York - March 26th 6:00 PM - 8:00 PM <div id="block-yui_3_17_2_5_1420738495074_4608" class="sqs-block html-block sqs-block-html" data-block-type="2"> <div class="sqs-block-content"> <p style="text-align: justify;">On the heels of the Obama administration&rsquo;s momentous policy changes regarding US-Cuba relations, Robert Mann Gallery is pleased to announce <em>The Light in Cuban Eyes</em>, a group exhibition of contemporary Cuban photography. This will be the first New York exhibition focused on work made during and after Cuba&rsquo;s &ldquo;Special Period,&rdquo; the time of extreme hardship and poverty which followed the withdrawal of Soviet resources in the early 1990s. The exhibition will feature works by artists including Pedro Abascal, Pavel Acosta, Juan Carlos Alom, Jorge Luis &Aacute;lvarez Pupo, Rams&eacute;s Batista, Ra&uacute;l Ca&ntilde;ibano, Arien Chang, Donis Day&aacute;n, Reinaldo Echemend&iacute;a Cid, Adri&aacute;n Fern&aacute;ndez, Eduardo Garc&iacute;a, Alejandro Gonz&aacute;lez, Glenda Le&oacute;n,&nbsp;Kadir L&oacute;pez Nieves, Jos&eacute; Juli&aacute;n Mart&iacute;, N&eacute;stor Mart&iacute;, Liudmila + Nelson, Ren&eacute; Pe&ntilde;a, Alejandro P&eacute;rez, Michel Pou, Leysis Quesada, Alfredo Ramos, and Lissette Sol&oacute;rzano.</p> <p style="text-align: justify;">In Cuba, cultural richness clashes with economic destitution, pride chafes against frustration, and beauty mingles with decay. From classic street scenes to metaphorical abstractions, traditional silver prints to the newest inkjet technologies, each artist grapples in his own way with the country&rsquo;s coinciding and contradicting inherencies. Some, like &Aacute;lvarez Pupo and Jos&eacute; Juli&aacute;n Mart&iacute;, capture unfamiliar moments of daily life in moody black-and-white: a farmer provokes a rooster for a cockfight, and suited men conceal binoculars like guns behind their backs. Quesada and Garc&iacute;a invoke more poetry in presenting Cuba&rsquo;s scenery, with monumental waves crashing against a stony shore and white linens fluttering like peace flags above the city.</p> <p style="text-align: justify;">Others find indirect methods of artistic commentary. Acosta&rsquo;s bright, colorful portraits of old automobiles subtly and wryly reference the Cuban government&rsquo;s prohibition of new cars and the people&rsquo;s ingenuity in personalizing their ancient vehicles. With Manet-like black backdrops and sharp front-lighting, Fern&aacute;ndez comments on Cuban stereotypes by presenting exotic dancers as plasticine figurines. And some, like Liudmila &amp; Nelson and Batista, direct their statements towards Cuba&rsquo;s most enduring symbol&mdash;the body, joining and struggling against the narrow sea. From this small island nation, these artists present divergent bodies of work that pay tribute to the rich cultural history of their homeland while looking toward the future.</p> <p style="text-align: justify;">The exhibition is inspired by long-time patron of Cuban photography Madeleine P. Plonsker, who has been traveling to Havana since 2002 to discover and support the work of emerging Cuban photographers. Coinciding with the exhibition will be the release of the book <em>The Light in Cuban Eyes</em>, published by Lake Forest College Press and organized by Plonsker. <em>The Light in Cuban Eyes</em> is the first North American publication with support from the Cuban Ministry of Culture and Fototeca de Cuba, Cuba&rsquo;s repository of photography comparable in function to the Smithsonian Photography Department in Washington, D.C.</p> </div> </div> Wed, 11 Mar 2015 11:00:46 +0000 - Studio Museum in Harlem - March 26th 12:00 PM - 9:00 PM <p style="text-align: justify;">Hair and nails are universal sites of expression, sites where one&rsquo;s identity and personhood can be asserted, however temporarily. Through an interdisciplinary examination, <em>Salon Style</em> looks at artists that use hair and fingernails as subjects or media in order to explore the complexities of identity, and issues such as gender, politics and consumerism. As a way to actively merge the seemingly superficial with the world of high art, the exhibition title takes on two meanings; it references both the fashions that emerge from beauty parlors and an art historical term for the exhibition of a large number of works stacked upon each other in a limited space.</p> <p style="text-align: justify;"><em>Salon Style</em> explores the use of hair and nails as fluid sites of identity and self-expression through work primarily drawn from the Studio Museum&rsquo;s permanent collection. The collection contains almost two thousand works of art, including painting, drawing, sculpture, photography, video, installation and performance.</p> <p style="text-align: justify;"><em>Salon Style</em> is organized by Hallie Ringle, Senior Curatorial Assistant.</p> Sat, 14 Mar 2015 16:48:59 +0000