ArtSlant - Openings & events en-us 40 Takahiro Iwasaki - Asia Society Museum - January 27th 11:00 AM - 6:00 PM <p style="text-align: justify;">Takahiro Iwasaki creates detailed miniature landscapes using towels, toothbrushes, used clothing, and other found and recycled materials. This exhibition is a part of Asia Society Museum&rsquo;s ongoing<em> In Focus</em> series, which invites contemporary artists to create new works, often in conversation with the Asia Society Museum&rsquo;s permanent collection of traditional Asian art.</p> <p style="text-align: justify;">Michelle Yun<br /> Senior Curator of Modern and Contemporary Art</p> Fri, 26 Dec 2014 09:36:16 +0000 - Gladstone Gallery - 24 St. - January 27th 6:00 PM - 8:00 PM Tue, 23 Dec 2014 16:32:08 +0000 Claudia Comte - Gladstone Gallery - 21st St. - January 28th 6:00 PM - 8:00 PM <p style="text-align: justify;"><em>It&rsquo;s a hot summer day in the southern part of Italy. Clouds blow by; the thermostat glows red at its tip. The horizon shakes unevenly, like a bleak, overexposed line. It hurts to focus your eyes on it. In the dryness and the sweltering heat you recognize the objects around you only by their outlines, which repeat themselves beyond your view. NO MELON NO LEMON is the supreme palindrome. It is dry wood in the shape of olive trees, dark burnt earth around them. No citrus fruits, no water vessel in sight&mdash;just the echo of the shapes. NO MELON NO LEMON is the repeating sound in your head as you read the same meaning backwards and forwards.</em></p> <p style="text-align: justify;">Gladstone Gallery is pleased to present Claudia Comte&rsquo;s first U.S. solo exhibition. The Swiss artist will create a site-specific environment comprising paintings and chainsaw-cut sculptures. Each work functions as part of a modular system of intricately connected elements. Arranged in a rhythmic, mathematical manner, they become an immersive space where forms repeat in delirious, self-referencing patterns.&nbsp;</p> <p style="text-align: justify;">Comte&rsquo;s wood sculptures have subtly recognizable forms, simultaneously reminiscent of classical sculptures and cartoon figures. Through their soft curves they take on anthropomorphic qualities that suggest they are actually characters&mdash;rebellious protagonists in the middle of a large, organized choir; troublemakers dancing out of line while the music pumps out a rhythmic beat.</p> <p style="text-align: justify;">Comte&rsquo;s sculptures sit on plinths that appear to have folded out from the walls. Their heights and depths are exaggerated almost to comedic effect: some extend nearly to the ceiling; others are low to the ground and cut through large expanses of the space. The lines that the plinths create are mirrored by additional lines carved into them and by vertical stripes which are painted on the walls and on circular canvases. These painted stripes toy with each other: sometimes matching each other&rsquo;s rhythms, other times bisecting each other at ninety degrees, creating syncopation, and their own sequential system. Repetitions with subtle variations are a leitmotif in Comte&rsquo;s work, which she uses to activate historical references and modern art codes.</p> <p style="text-align: justify;">The title of the exhibition is a direct response to repetitive gesture. Like the exhibition itself, <em>NO MELON NO LEMON</em> can be read backwards and forwards, so that neither the beginning nor the end nor the entry point is apparent. Each element is interconnected and dependent on each other, and each feels as if it could be repeated endlessly. The repetition and intersection of the lines become a pattern&mdash;the pattern becomes a grid and the grid becomes a matrix. It is within this matrix that all of the three-dimensional forms are built: organic, abstract sculptures standing in direct confrontation with their linear surroundings. Ultimately, there is harmony: between the wooden panels (left in a raw state, roughly cut and burnt dark), the wall painting (rigid and perfectly executed, bright and glowing), and the sculptures (impure in form and yet meticulously polished).</p> <p style="text-align: justify;"><em>It's hot and captivating; it&rsquo;s a volcano waiting to erupt. It&rsquo;s 100 degrees and the ice cream has melted.</em></p> <p style="text-align: justify;">Comte was born in Grancy, Switzerland, and now lives and works in Berlin. She has been the subject of solo exhibitions at&nbsp;Haus Konstruktiv, Zurich, Switzerland;&nbsp;Centre Culturel Suisse, Paris; and the Swiss Institute of Rome, Rome. She has also been included in group exhibitions at Kunsthaus Glarus, Glarus, Switzerland; Aargauer Kunsthaus, Aarau, Switzerland;&nbsp;Elevation 1049, Gstaad, Switzerland; and&nbsp;at SALTS, Basel, Switzerland.</p> Wed, 17 Dec 2014 12:28:39 +0000 Lotta Törnroth, Anna Jermolaewa - International Studio & Curatorial Program (ISCP) - January 28th 6:30 PM - 8:00 PM <p>Lotta T&ouml;rnroth&nbsp;will speak about how she employs personal stories, combined with historical events, mythical sagas and literature to create new layers of fiction. She uses photography, text and sculpture to create narratives about the sea, evoking aspects of longing, waiting, and missing.&nbsp;</p> <p>During her ISCP residency, Anna Jermolaewa worked on her new project <em>Chernobyl Safari</em> which will be exhibited in the upcoming Kiev Biennale. Since the nuclear disaster in Chernobyl, the 30-kilometer exclusion zone surrounding the Soviet power plant&rsquo;s reactor has become a veritable nature reserve. Lynxes, wolves, eagles, wild horses, and other rare species inhabit the nearly deserted area. Jermolaewa will speak about her &ldquo;safari&rdquo; in the Chernobyl exclusion zone, a paradise for animals normally associated with death and disaster.</p> Mon, 26 Jan 2015 16:31:20 +0000 Harold E. Edgerton - Sikkema Jenkins & Co - January 28th 6:00 PM - 8:00 PM <p style="text-align: justify;">Sikkema Jenkins &amp; Co. is proud to present an exhibition of work by Harold &ldquo;Doc&rdquo; Edgerton, on view from January 28 through February 28, 2015 in the back galleries.<br /> &nbsp;<br /> Harold Eugene &ldquo;Doc&rdquo; Edgerton (1903 &ndash; 1990) was a photographer, engineer, inventor, and life-long educator known for his iconic images taken with the aid of the electric strobescope. Originally developed by Edgerton during his time as a doctoral student to study the motion of motors, the strobescope was able to capture motion too fast to be observed by the naked eye through the use of use of rapid, short electronic flashes. Edgerton later applied this signature technique to observe and document everyday phenomena: the wings of a hummingbird in flight, a golf swing, the splash of a drop of milk, or a bullet piercing a balloon. While rooted in scientific observation, Edgerton&rsquo;s powerful visual aesthetic produced unique and groundbreaking photographs that lie at the intersection of science, technology, and art.<br /> <br clear="all" /> Harold Eugene Edgerton was born in Fremont, Nebraska, in 1903 and was raised in the small town of Aurora, Nebraska. He developed an interest in photography at an early age through his uncle, Ralph Edgerton, a studio photographer.<br /> &nbsp;<br /> In 1925 he received a Bachelor of Science in Electrical Engineering from the University of Nebraska at Lincoln. He continued his studies at MIT where he earned his master&rsquo;s (S.M.,1927) and doctorate (Sc.D., 1931) degrees. A dedicated and beloved educator, he remained at MIT as a faculty member until his death in 1990.<br /> &nbsp;<br /> Edgerton was the recipient of numerous awards for his contributions to both photography and engineering including a bronze medal by the Royal Photographic Society in 1934, the Howard N. Potts Medal from the Franklin Institute in 1941, the David Richardson Medal by the Optical Society of America in 1968, the Albert A. Michelson Medal from the Franklin Institute in 1969, and the National Medal of Science in 1973. In 1940 he won an Oscar for his high speed short film <em>Quicker&rsquo;n a Wink</em>. His photographs are exhibited widely and are included in the collections of prestigious institutions around the world.</p> Fri, 09 Jan 2015 17:14:55 +0000 Merlin James - Sikkema Jenkins & Co - January 28th 6:00 PM - 8:00 PM <div style="margin-top: 16px;"> <div style="text-align: justify;">Sikkema Jenkins &amp; Co. is proud to present a solo exhibition of work by Merlin James, on view from January 28 through February 28, 2015.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Following recent major solo surveys at KW Institute for Contemporary Art, Berlin and Kunstverein Freiburg, Merlin James' current solo exhibition, his eighth with the gallery, comprises primarily recent works. These include a group of distinctively shaped canvases in which two sides are bowed inwards, reviving a format the artist first experimented with in the early 1980s. The exhibition also features the semi-transparent framed supports James been using since around 2010, as well as more conventional paintings on canvas.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">While known for his stress on the history and continuity of painting as a discipline, James has acknowledged in both his art practice and writing the necessity for development and continual reinvention of art forms. However, in contrast to proclaimed avant-garde &lsquo;breakthroughs' such as pure abstraction, the monochrome, painting-as-object, and painting-as-idea, James offers open, ruminative explorations around comparatively modest shifts within the traditional forms and functions of easel pictures. These include unique and idiosyncratic mixes of abstraction and representation; unusual degrees of sexual explicitness; variations on one divergence from the rectangular format (concave sides); incorporation of small objects into painting; and experiments with the singular proposition of a transparent support.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In the process, painting is revealed to have always already tacitly incorporated the reflexiveness supposedly achieved with Modernism and Postmodernism. Relatedly, James apparently disregards calls for art to be 'relevant' or demonstrably of its time, either technically or thematically. Rather, taking contemporaneity as by rights a given, his low-tech works often play on oldness, or period-indeterminacy.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Under the title <em>Genre Paintings</em>, the current exhibition offers still-lifes, landscapes, abstract compositions, nocturnes, erotica, marines, and other identifiable set pieces of the painter's craft. These however diverge from, as much as they conform to, their category definitions. More broadly the title affirms the idea, albeit problematic, of typology and category within art itself &ndash; a proposition of art-form specificity.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">James has frequently parried biographical and narrowly intentionalist explanations for his own and other works of art. He often cites genre and convention as alternative sources for painterly meaning. Nevertheless, as his recent works again demonstrate, it is difficult not to speculate on how the poetry and expressivity in his paintings, mixing beauty and idiosyncrasy with apparent loneliness, longing or nostalgia, might relate to personal narrative and philosophic attitude.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Merlin James&rsquo; work has been exhibited widely, including in recent solo survey shows at the Kunstverein Freiburg in Freiburg, Germany; KW Institute for Contemporary Art in Berlin; and Parasol Unit Foundation for the Arts in London. In 2007 Merlin James represented Wales at the 52nd Venice Biennale.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Alongside his painting practice, James has written extensively on art, and a volume of his collected criticism is planned from London publisher Modern Art Press. Among curating projects he recently organized an exhibition on the work of Franco-Russian painter Serge Charchoune (1889-1975) for which he also authored the catalogue. The show premiered at the Talbot Rice Gallery, University of Edinburgh, Scotland in 2012 before traveling to the Smart Museum of Art at University of Chicago. It will travel to Kunstsaele, Berlin, in 2015.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Born in Cardiff, Wales, in 1960, Merlin James studied in London at the Central School of Art and the Royal College of Art. He currently lives and works in Glasgow, Scotland.</div> </div> Fri, 09 Jan 2015 17:16:25 +0000 Sally Brody - Atlantic Gallery - January 29th 5:00 PM - 8:00 PM <p><span style="font-size: small; font-family: arial, helvetica, sans-serif;">The Atlantic Gallery is proud to present the exhibition &ldquo;PRINTS&rdquo; by SALLY BRODY, monotypes and etchings made at the Gallatin Press, New York.&nbsp; The Gallatin Press was created and is operated by printer Steve Sorman in Ancram, New York. At the press she made monotypes by painting in watercolor on a slick surface, letting the paint dry and running it under the press on a piece of wet paper.&nbsp; After working in monotypes, she worked in photopolymer intaglio printing where a drawing is etched on a plate, ink forced into the depressing made by the photo etching process and pressed into a wet piece of paper</span></p> <p><span style="font-size: small; font-family: arial, helvetica, sans-serif;">&nbsp;&ldquo;I am particularly excited by the contrast between monotypes which build on the unexpected, and intaglio printing which is precise and exact, like the opposing qualities of nature that make it so exciting and transport the imagination- hurricanes that destroy contrasted with the intricate calm of a flower.&rdquo;</span></p> <p><span style="font-size: small; font-family: arial, helvetica, sans-serif;">&nbsp;Sally Brody is also a painter and tapestry designer, living in Brooklyn and Ancramdale, New York.&nbsp; She studied at Smith College, The Brooklyn Museum, The Art Student&rsquo;s League, and the Pratt Graphic Center.&nbsp; Her work is in many Corporate and private collections and she has had numerous one-person shows many at the Atlantic Gallery.</span></p> <p>&nbsp;</p> Sat, 10 Jan 2015 23:21:57 +0000 Piers Secunda - David Krut Projects - January 29th 6:00 PM - 8:00 PM <p class="firstParagraph" style="text-align: justify;">Jessica Carlisle is a freelance curator and gallerist based in London, UK. She presents regular exhibitions in both public and private spaces and works with an extended network of artists. For five months in 2015, Jessica will be working in collaboration with David Krut Projects in overseeing a series of exhibitions of British contemporary artists. The series opens with Piers Secunda and will follow with solo presentations by Alexander Massouras and Kate McCrickard (March), Vera Boele-Keimer (April), Hester Finch and William Stein (May).</p> <p style="text-align: justify;">For more information please contact or</p> Fri, 09 Jan 2015 16:18:11 +0000 Robert Kushner - DC Moore Gallery - January 29th 6:30 PM - 8:00 PM <p style="text-align: justify;"><strong>DC Moore Gallery</strong> is pleased to present <em>Robert Kushner: baroque</em>. In this exhibition of new paintings, Kushner fuses plant forms with references to the global history of ornament to extend his exploration of the conceptual and political implications of the decorative. A catalogue with an essay by Faye Hirsch accompanies the exhibition. <br /> <br /> The scale of the paintings on canvas situates us in an immersive landscape where flora takes on the presence of sculpture. Kushner achieved the animate quality of individual plants, including quince, phlox, and Queen Ann&rsquo;s lace, by working from life in Waldoboro, Maine. Memories of the Huntington Library Botanical Gardens, near his childhood home in California, inspired the renditions of cacti and aloe. Kushner&rsquo;s inimitable use of color freely ranges across metallics, pastels, and near-neons. The painted plant forms materialize out of what Hirsch describes as &ldquo;optically complex passages&rdquo; created by the comingling of marbleized, aqueous grounds, dense bands of color, and luminous patches of gold and palladium leaf. Textiles, Japanese screens, and modern painting inform these compositions and the play with space. <br /> <br /> In the paintings on paper, Kushner pieces together antique papers and other found fragments to create an all-over field of diverse information on which to paint. <em>Huntington Library Cactus Garden II </em>(2014), for example, aggregates text and images from at least seventeen sources in nearly as many languages. Untold scripts, patterns, and messages converge and compete with the mark making of the artist. Kushner distances his practice of collage from the topicality that interested the Cubists: &ldquo;instead of tying my pieces to one point in time, I want to make them as diffused and confusing as possible. I want the viewer to time travel.&rdquo; <br /> <br /> Robert Kushner has exhibited extensively in the United States, Europe, and Japan. Solo exhibitions have taken place at the Whitney Museum of American Art, Brooklyn Museum, and Philadelphia Institute of Contemporary Art. His work is featured in public collections such as The Museum of Modern Art, NY; The Metropolitan Museum of Art, NY; Whitney Museum of American Art, NY; National Gallery of Art, Washington, DC; Philadelphia Museum of Art, PA; San Francisco Museum of Modern Art, CA; Tate Modern, London, UK; and Galleria degli Uffizi, Florence, Italy. Publications on Kushner&rsquo;s work include the monograph <em>Gardens of Earthly Delight</em> (Hudson Hills Press, 1997) and <em>Wild Gardens</em> (Pomegranate, 2006). In 2012, Kushner edited an important volume of art criticism by Amy Goldin (1926-1978) titled <em>Amy Goldin: Art in a Hairshirt</em> (Hudson Hills).</p> Thu, 11 Dec 2014 15:34:31 +0000 Liz Nielsen - Denny Gallery - January 29th 6:00 PM - 8:00 PM Sun, 11 Jan 2015 17:51:12 +0000 Vera Lutter - Gagosian Gallery 976 Madison Avenue - January 29th 6:00 PM - 8:00 PM Thu, 11 Dec 2014 16:02:46 +0000 Bonnie Harper, Paula Street, Brandon Wisecarver - Gallery 69 - January 29th 6:00 PM - 10:00 PM <p>Infinite Horizons - Opening Reception at Gallery 69.</p> <p>Free beer, wine, and hors d'oeuvres!</p> <p>Thursday, January 29&nbsp; 6:00 - 10:00&nbsp;</p> <p>Group show featuring paintings by: Bonnie Harper Paula Street Brandon Wisecarver</p> <p>&nbsp;</p> Mon, 26 Jan 2015 18:29:24 +0000 Nancy Graves - Mitchell-Innes & Nash - 26th St. - January 29th 6:00 PM - 8:00 PM Wed, 14 Jan 2015 16:04:56 +0000 Asher B. Durand, Cecilia Beaux, Thomas Eakins, George Grosz, Andrew Wyeth, Jacob Lawrence, Howardena Pindell - National Academy Museum - January 29th 11:00 AM - 6:00 PM <p style="text-align: justify;"><em>Self</em> explores the relationship artists have with their own image and how self-representation has evolved over the past 200 years.</p> Sun, 28 Dec 2014 16:14:42 +0000 Richard Haas - National Academy Museum - January 29th 11:00 AM - 6:00 PM <p style="text-align: justify;"><em>Revealing Architecture</em> features work and projects by FXFOWLE Architects and artist Richard Haas in the Curatorial Lab.</p> Sun, 28 Dec 2014 16:12:12 +0000 Esko Männikkö - Yancey Richardson Gallery - January 29th 6:00 PM - 8:00 PM <p style="text-align: justify;">Yancey Richardson is pleased to present <em>Time Flies, </em>a selection of works by Finnish photographer Esko M&auml;nnikk&ouml;, the artistʼs fifth exhibition with the gallery. The selection is drawn from the artistʼs current traveling museum retrospective, which originated in Finland at the Kunsthalle Helsinki, and will be on view at the Kentucky Museum of Art and Craft (2015) and the Gothenburg Museum of Art (2016). M&auml;nnikk&ouml; was previously the winner of the 2008 Deutsche B&ouml;rse Photography Prize, the first time a Finnish artist has been recipient of this prestigious award.</p> <p style="text-align: justify;">As a self-taught artist, M&auml;nnikk&ouml; counts few stylistic precedents or influences, and though his interest in the residue of everyday life is the foundation of his image making, his formalism lends&nbsp; itself to metaphoric or existential modes of interpretation. <em>Time Flies </em>includes a range of images &ndash; abandoned cars, cemetery portrait sculpture, discarded family photographs - whose subjects bear witness to the passage of time and serve as a poignant meditation on the inevitable collapse of all material things, human or inanimate. Esko M&auml;nnikk&ouml;&rsquo;s gallery and museum installations place his photographs abutted together to form a single line through the exhibition space, in a variety of ornate, patinaed frames carefully selected to complement the details or subjects of his images. In the <em>Time Flies </em>retrospective catalog essay, art historian Liz Wells suggests that M&auml;nnikk&ouml;&rsquo;s imagery moves &ldquo;from social documentary towards a more expressionist formal aesthetic, and from the more specifically located to a more generalized engagement with the nature of existence.&rdquo; Wells continues:</p> <p style="text-align: justify;"><em>&ldquo;In M&auml;nnikk&ouml;&rsquo;s vision of the north a polyphony of elements of place and community, brought into relation with each other, testify to the complexities of everyday living circumstances and the extraordinary cacophony of people, animals, material objects, botanical or industrial constituencies, textures and colors with which we are surrounded, even in the most makeshift of circumstances. <br /></em></p> <p style="text-align: justify;"><em>The touch of one frame to another operates within the blend yet, through the individuality of the frame, contributes to retaining distinctive thematic and visual textures. As such, M&auml;nnikk&ouml;&rsquo;s work stands as a clear example of intertextuality, and of the unpredictability of visual references and connections that we might make. It is this that renders his work immediate, memorable and existentially challenging.&rdquo;</em></p> <p style="text-align: justify;">Recognized as <em>Young Artist of the Year </em>in Finland in 1995, M&auml;nnikk&ouml; first gained international prominence with <em>Far North, </em>his portraits of isolated Finnish bachelors who epitomized a kind of loneliness and self-reliance. In 1996, he was awarded an ArtPace residency in San Antonio Texas, where he photographed the residents of two small Mexican-American communities on the US/Mexico border, resulting in the acclaimed series, <em>Mexas</em>. An ongoing series, <em>Organized Freedom, </em>focuses on abandoned houses resulting from rural depopulation throughout northern Finland.</p> <p style="text-align: justify;">Esko M&auml;nnikk&ouml; has exhibited internationally at the Venice Biennale, the Sao Paolo Biennial, the Yokohama Museum of Art, the Shanghai Museum of Art and the Tate Liverpool. His work is in the permanent collection of the Museum of Contemporary Art, Los Angeles, Foundation Cartier, the Moderna Museet and the Malmo Art Museum, among others. In addition to his current retrospective, he has been the subject of mid-career retrospectives at the Kursaal Art Museum, San Sebastian, Spain and Millesg&aring;rden Konsthall, Stockholm, Sweden. He has published three books including <em>The Female Pike</em>, which was selected for two compendiums of the most important books in the history of photography.&nbsp;</p> Wed, 14 Jan 2015 16:14:56 +0000