ArtSlant - Openings & events en-us 40 João Castilho - 1500 Gallery - October 3rd, 2012 6:00 PM - 8:00 PM <p>1500 Gallery is pleased to present Disruption, an exhibition of<br />color photographs by João Castilho, one of the most important art<br />photographers to emerge in Brazil over the past decade. The exhibition consists<br />of 15 images from 2 different bodies of work (Spice and Vacant Lot) that intersect<br />notions of fracture, collapse and disruption. These works are representative of<br />Castilho’s signature conceptual approach, one that has been described as<br />“imaginary documentary”. Disruption will be on view from October 3-27,<br />2012. There will be a reception for the artist at 1500 Gallery on Wednesday,<br />October 3, 6-8 pm.<br />Vacant Lot (Lote Vago) is a series of photographs depicting the silhouettes of<br />unemployed men hanging around a vacant lot on the outskirts of Bamako, Mali.<br />The subjects disrupt space and time in search of a way to defeat the boredom and<br />emptiness that make up their lives. The subjects are directed by the photographer<br />and are pictured in front of a wall. The way they were photographed nullifies any<br />possibility of recognition. They are subjects without identity, and therefore, with<br />no story.<br />The series Spice (Tempero) depicts interventions with spices (paprika and<br />saffron) in Bolivia’s Uyuni Salt Flats. There is an interplay between materials:<br />salt, pepper and saffron. But also with art history, as the work makes reference to<br />land art (interventions in landscape) and painting (the activation of empty, white<br />space by the introduction of pictorial elements, red and yellow). The interference<br />color on white ends up creating a certain discontinuity in the landscape and<br />disruption of order.<br />There will also be the launch of the book Scopic Drive (Pulsão Escópica). Scopic<br />drive is a concept that was addressed by psychoanalysist Sigmund Freud, despite<br />not having been explicitly identified by him as such. Jacques Lacan is responsible<br />for coining the term itself, in view of discussing the notion of “satisfaction”<br />inherent to the act of looking. From this psychoanalytic concept, Castilho created<br />a series of photographs. The images of this essay, generated by webcams and<br />captured directly from Castilho’s computer screen, discuss scenes of voyeurism<br />and exhibitionism.<br />About João Castilho<br />João Castilho is one of the most important art photographers to emerge in Brazil<br />over the past decade. His work is one of the major pillars of what has been called<br />“Imaginary Documentary,” but is not limited to this style. In his most recent<br />bodies of work, Castilho has borrowed concepts from Land Art (Spice, Threads)<br />and has also experimented with video and installation works (Between Rivers,<br />Earthquake, Sudden Death). Some of his works are connected to literature<br />(Whirlwind, Metamorphosis, Dead Weight). Another important feature of<br />Castilho’s work is his very particular use of colour (Marie Jeanne, Vacant Plot,<br />Hotel Tropical, Underwater Landscape).<br />Castilho and his work have been recognized by all of the main Brazilian art<br />photography prizes including the Marc Ferrez Photography Award (2010), the<br />Conrado Wessel Foundation Photography Prize (2008) and the Porto Seguro<br />Photography Prize (2005). Castilho has received grants from the National<br />Foundation of Arts (2008); the Pernambuco Fine Arts Salon (2008); and the<br />Pampulha Museum of Art (2005). His work is present in several public<br />collections including: Musée d’Art Modern et d’Art Contemporain de Liège<br />(Belgium), Noorderlicht Gallery (The Netherlands), Museum of Modern Art of<br />Sao Paulo (Brazil), Sao Paulo Museum of Art (Brazil), Pampulha Museum of Art<br />(Brazil), and the Museum of Modern Art of Bahia (Brazil), among others. He<br />graduated in 2010 with an MA in Visual Arts from the Federal University of<br />Minas Gerais, Brazil.<br /><br /></p> Mon, 17 Sep 2012 23:14:04 +0000 Shirana Shahbazi, Zoe Crosher, Anne Collier, Birdhead, Michele Abeles - MoMA (Museum of Modern Art) - October 3rd, 2012 10:30 AM - 5:30 PM <div class="description"> <p><i>New Photography 2012</i> presents five artists—Michele Abeles, Birdhead (Ji Weiyu and Song Tao), Anne Collier, Zoe Crosher, and Shirana Shahbazi—whose varied techniques and backgrounds represent the diversity and vitality of photography today.</p> <p>Michele Abeles’s (American, b. 1977) elegant studio constructions combine common objects, such as potted plants, printed fabrics, and wine bottles, with nude males whose bodies are often truncated by the frame, to create images that renegotiate the creative process of still life and nude photography. Shanghai-based duo Birdhead (Ji Weiyu, Chinese, b. 1980, and Song Tao, Chinese, b. 1979) capture the lived reality of their community against the urban landscape of Shanghai. Their mass accumulation of snapshots of friends and family eating, working, sleeping, and hanging out, speaks to a world of total image saturation and the obsessive documentation of the Facebook generation. Often created using a technique of re-photography, Anne Collier’s (American, b. 1970) meticulous compositions are informed as much by West Coast Conceptual art practices as by product photography and advertising. Her dryly humorous pictures evoke formal and psychological associations that frame recurrent tensions of power and gender. Zoe Crosher (American, b. 1975) calls photography’s veracity into question by rearranging, re-photographing, and re-imagining the archive of Michelle duBois, an all-American girl who was devoted to relentless self-documentation in the 1970s and 1980s. Drawing on the language of commercial photography, Shirana Shahbazi (German, born Iran 1974) approaches recognizable photographic genres like portraiture, still life, abstraction, and landscape with a distinctly analytical eye. She investigates the circulation and production of images today by outputting her pictures in multiple forms, from photographic wall murals to discrete photographs and photorealist paintings.</p> <p>Together, these artists speak to the diverse permutations of photography in an era when the definition of the medium is continually changing.</p> </div> Sun, 02 Sep 2012 23:15:33 +0000 Gian Lorenzo Bernini - The Metropolitan Museum of Art - October 3rd, 2012 9:30 AM - 5:30 PM <p>To visualize lifesize or colossal marbles, the great Roman Baroque sculptor Gian Lorenzo Bernini (1598–1680) began by making small, spirited clay models. Fired as terracotta, these studies and related drawings preserve the first traces of the thought process that evolved into some of the most famous statuary in the city, including the fountains in the Piazza Navona and the angels on the Ponte Sant'Angelo. This exhibition assembles for the first time some fifty of these <em>bozzetti</em> and <em>modelli,</em> as well as thirty chalk or pen sketches alongside three small-scale bronzes and a marble group. Through connoisseurship and a comprehensive campaign of scientific examination, the selection of models addresses the issue of what separates the hand of the master from the production of his large workshop.</p> Mon, 03 Sep 2012 01:27:27 +0000 Jeff Miller - Atlantic Gallery - October 4th, 2012 5:00 PM - 8:00 PM <h4>Sculpture and Sculpture drawings</h4> Tue, 18 Sep 2012 00:19:02 +0000 Group Show - Benrimon Contemporary - October 4th, 2012 6:00 PM - 8:00 PM <p>“We prefer our art to look like art and our artists to behave like artists. Andy courageously ignored those expectations.” ~ Ryan McGinness</p> <p><br />Glitterati Incorporated and Benrimon Contemporary are pleased to announce an exhibition in conjunction with the publication of Thank You Andy Warhol.</p> <p><br />The project began one morning in January 2011, when author Catherine Johnson realized she and her creative community were in the middle of the national economic depression that was crippling the art world and wondered, ‘What would Andy do?’ His work and ethos had always inspired her, and she felt sure it had a similar impact on a variety of creatives who had known Andy and his work.<br />She began an inquiry. Just some of the luminaries interviewed and featured in this notable book include Frances Grill, Ivan Karp, Jeffrey Deitch, Danny Fields, Ken Heyman, Bibbe Hansen, George Lois, Gretchen Berg, Vincent Fremont, Sylvia Miles, Peter Beard, Liza Minnelli, Patrick McDonald, Simon Doonan, Eric Shiner, and Jamie Warhola.</p> <p><br />Their collective descriptions are compelling and paint an incredible picture of Andy Warhol. Each person discusses the profound influence of Andy Warhol on their lives and their work. The interviewees also cite a piece of Warhol artwork that is personally significant to him or her; whether it be an artwork, book, film, creative collaboration, meeting, or conversation with Warhol, to illustrate their stories. Amazingly, only two people referenced the same piece of Warhol art.</p> <p><br />What started as a single inquiry has resulted in a truly personal biography of the most influential artist of our time. To accompany the publication Catherine Johnson has curated a show extracting art from the book and also adding to it: gathering stories about the influence of Warhol could be a "lifelong and worldwide project." She plans to continue recording, observing and documenting the impact of Warhol on the lives and work of others.</p> <p><br />This exhibition includes an eclectic mix of work from artists who contributed to the book featuring; Billy Name, Anthony Haden-Guest, Blake Boyd, Bob Colacello, Brigid Berlin, Christophe Von Hohenberg, Michael Halsband, David Gamble, Gretchen Berg, Jerry Schatzberg, Jonas Mekas, Marcia Resnick, Richard Prince, Roberta Bayley, Roxanne Lowit, Ryan McGinness, Vik Muniz, Taylor Mead &amp; Trey Speegle.</p> Sun, 23 Sep 2012 23:44:57 +0000 Abelardo Morell - Benrubi Gallery - October 4th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Bonni Benrubi Gallery</strong> is pleased to present <strong><em>Rock Paper Scissors</em></strong>, new work by <strong>Abelardo Morell</strong>. The exhibition will further expand on Morell’s innovative “Tent-Camera Obscura” process where visual boundaries are pushed with the use of a lightproof tent and periscope that projects a view of the nearby landscape directly onto the ground. The resulting photographs play on the tropes of impressionistic painting as the refracted light is exposed on the grass and sand below. The artist began using this process in 2010 and in recent months, since receiving a grant from National Geographic, has incorporated the Grand Canyon and other rocky terrains from the American West into this body of work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Morell has historically used the still life throughout his career and his celebrated body of work “Book of Books” has been a mainstay of contemporary photography. He has recently revisited the idea of paper as subject in such images as “Paper Self” (illustrated) where we see his use not only of texture, but also of the complexity of photographic seeing. He has rendered a simple material into a complex composition stimulating our wonderment as viewers. Morell, ever the consummate inventor, then took this one step further in his series of “Cut-Outs”. The artist gathered antique books of etchings and using everyday scissors, cut into these books and created his own compositions with the imagery that was left behind. The process is best described as an excavation, and as is typical of Morell, his use of the simplest tools reveals the artist’s ever present mastery in turning the ordinary into the extraordinary.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A new group of photograms will also be on view. Morell writes of this cameraless process: “To me the excitement of this series lies in being able to work in ‘extra photographic’ ways using some of the techniques and syntax of printmaking and drawing. I love the concrete surfaces in these photograms.” This new series is yet another example of how Morell continues to push the medium of photography and why his pictures allow us to question how we see and what a photograph is.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;"><strong> Abelardo Morell</strong> received his MFA from Yale University and was the chair of the photography department of the Massachusetts College of Art until his retirement in 2010. His work has been exhibited internationally and he has received numerous prestigious awards including the 2011 ICP Infinity Award. He has had numerous books of his photographs published to date. A major retrospective, jointly organized by the Art Institute of Chicago, The Getty Museum and the High Museum is scheduled to open May 31, 2013, in Chicago and will travel to other major venues. A new monograph will be published on the occasion of the exhibition.</span></p> Sat, 13 Oct 2012 16:53:01 +0000 Group Show - BROADWAY GALLERY - October 4th, 2012 6:00 PM - 8:00 PM <p>Globalization creates unexpected relationships and contrasts in contemporary art. This series focuses on the significance of exhibiting a variety of works in a pluralistic art world. Inspired by salon-style hanging, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries; Broadway Gallery NYC continues this legacy with a contemporary and fresh outlook. Following a trend of previous exhibitions at Broadway Gallery NYC, this show pays tribute to the format of a salon hanging. It is a tradition that awakens contemporary culture to a dynamic collective consciousness.</p> <p>A few notable themes in this exhibit that cross cultures are romanticism, spirituality, and humanity. Part of an ongoing series, Artists at Home and Abroad reaches out to the diverse community of New York. In addition to the exhibition on display at Broadway Gallery NYC, are several concurrent Internet projects, and a print catalog. Furthermore, this exhibit offers writers and viewers an exciting opportunity to submit essays and comments on the nature and significance of biennials, fairs and public exposure for new and emerging artists.</p> <p>This exhibit uses the space as another medium altogether; incorporating the maximum floor-to-ceiling gallery space activates the wall with art works in various media by artists, each of whom offer a unique perspective to the show. These artists have transformed the gallery walls into a compendium of generational takes on figuration, portraiture, and abstraction.</p> <p>Visitors will be surprised to see the stunning results. The speed of interactions via new media allows for global artistic conversations previously unheard before. In an attempt to integrate the numerous artistic languages, this exhibit was installed in a unique format. Two long parallel walls have been carefully installed to create dialogue in the spatial order. Artists at Home and Abroad allows the viewer access to some of the past and current pivotal artistic ideas while introducing newer talent, to generate fresh creative energy through unexpected juxtapositions.</p> Mon, 24 Sep 2012 23:59:02 +0000 Sara Conklin - Ceres Gallery - October 4th, 2012 6:00 PM - 8:00 PM <p><b>Ceres Gallery</b> is pleased to announce Sara Conklin’s second solo exhibition with the gallery, <i>Minor Surgery : Works on Paper, </i>on view October 2 to 27, 2012.</p> <p>Sara Conklin is her father’s daughter. Having a father who was a country doctor whose medical office was in the house, the happenings, tools, drawings and medical paraphernalia of his practice became part of the fabric of her daily life. It is a natural progression that anatomical drawings, x-rays and notations are fodder for Conklin’s work. The irony of Conklin’s work is that in addition to her upbringing the trauma of having broken her neck in a horseback riding accident has led her to develop her current work and its distinct, personal aesthetic. Conklin’s provocative imagery seems to have a one two punch that serves to demonstrate the trappings of healing dealing simultaneously with the physical and emotional paths. The art is a catharsis of relieving not only physical pain but emotional pain, while emphasizing the fragility of our bodies and our minds.</p> <p>Incorporating exquisitely tender original pencil drawings with postoperative neck x-rays, Conklin juxtaposes the biomorphic yet mechanical nature of the human spine and the foreign hardware that ultimately held her neck, and herself, together. Sara Conklin’s work suggests an inherent vintage quality while the use of twenty-first century technology is revealed.</p> <p>Besides the two solo exhibitions that she will have had at <i>Ceres</i>, Conklin has had solos with the <i>Delaware Valley Arts</i>, Alliance, Narrowburg, NY, Ridgefield Guild of Artists, Ridgefield, CT, and the <i>Broome Street </i>Gallery, NYC. She has been included in numerous group exhibitions including an exhibition at the <i>Long</i> <i>Island Museum</i>, Stony Brook, NY, <i>Artspace</i>, in New Haven, CT to name a few. She has received notices in publications such as <i>Tolt</i> News, including the Cover, <i>NY Arts Magazine</i>, <i>Catskill Mountain Region Guide</i>. Ms. Conklin received her BS in Art from Springfield College, Springfield, MA. She also did further studies at Smith College, Northampton, MA and the Art Students League in NYC.</p> Wed, 22 Aug 2012 07:05:17 +0000 Rammellzee - Childrens Museum of the Arts - October 4th, 2012 12:00 PM - 6:00 PM <p>The Children’s Museum of the Arts presents the most comprehensive collection of works to-date by visionary artist and MC, RAMMELLZEE. Entitled <em>The RAMMELLZEE Galaxseum</em>, the exhibition will reveal the inner workings of RAMMELLZEE’s artistic vision and trace his career trajectory which began in the 1970s as a pioneering “Wild Style” graffiti writer and hip hop MC and evolved in manifesto and medium to the far reaches of the imagination.</p> <p>RAMMELLZEE’s legend grew in a Tribeca loft known as the “Battle Station,” where the artist conceived a new vision for the future – a self-made mythology, known as Gothic Futurism, with its own set of heroes and villains, which he called Recyclers and Trashers or more notably, Garbage Gods and Monster Models. For over 30 years, RAMMELLZEE inhabited the universe he created, building layer upon layer of legend and legacy.</p> <p><em>The RAMMELLZEE Galaxseum</em> showcases a visual encyclopedia of RAMMELLZEE’s artworks including full-body life-sized costumes, masks, character frescoes, figurines, large scale paintings and video and audio recordings from some of his performances. Suspended from the gallery’s ceiling are RAMMELLZEE’s legendary letter racers, or car-like vehicles representing letters of the alphabet seeking to “break free.”</p> <p>In addition to his visual artwork, RAMMELLZEE is well-known for his contributions to hip-hop lyricism and vocalization, as illustrated in the documentaries <em>Style Wars</em> and <em>Wild Style,</em> as well as the hip-hop single Beat Bop, which was produced by Jean-Michael Basquiat and consists of a 10 minute narrative rap by RAMMELLZEE and K-Rob that is considered to be one of the most essential hip-hop recordings ever made.</p> <p>This exhibition was organized with support from the Suzanne Geiss Company and the Estate of RAMMELLZEE.</p> Fri, 28 Sep 2012 02:12:15 +0000 Darren Waterston - DC Moore Gallery - October 4th, 2012 6:00 PM - 8:00 PM <p>DC Moore Gallery is pleased to present its first exhibition by Darren Waterston, Remote Futures. This recent body of work explores the allure and menace of utopian fantasy, where an imagined, idealized paradise holds within it a disconcerting future.<br /> <br /> Waterston has often engaged with mythological, theological, and natural histories while proposing visual depictions of the ineffable that transcend the picture plane. In Remote Futures, there is evidence of human life in the fragments of architecture—temples, cathedrals, ziggurats, bridges—that emerge from the organic detritus. These scenes evoke places of refuge, offering an escape from the processes of time and mortality. For Waterston, however, utopian potential is untenable as such. With abstracted elements that are both corporeal and celestial, Waterston’s scenes become simultaneously Edenic and dystopian.<br /> <br /> Waterston’s formal approach complements his thematic interest in divergence. His painterly technique is drawn from both the Italian Renaissance—he layers oils and viscous glazes over gessoed wood panels—and traditional Japanese painting methods such as calligraphic brushwork. These moments of technical precision, however, are no sooner perceived than they are obscured. The resulting ethereal visions evoke both distant pasts and fantastical futures.<br /> <br /> Darren Waterston lives and works in New York, NY. His work is featured in permanent collections including Los Angeles County Museum of Art, CA; Seattle Art Museum, WA; and Museum of Fine Arts, Houston, TX. Waterston’s upcoming projects include an editioned, large-format print portfolio commissioned by the Fine Arts Museums of San Francisco, to be published in conjunction with an exhibition in May 2013. MASS MoCA will also host a major installation by Waterston in the fall of 2013.</p> Mon, 17 Sep 2012 23:29:45 +0000 - Fred Torres Gallery - October 4th, 2012 6:30 PM - 8:30 PM <p>We are pleased to invite you to a Panel Discussion on led by Art Critic, <strong>Jonathan Goodman</strong>.</p> <p>Panelists will include:<br /> <br /> <strong>Shen Chen</strong> who began his art education in high school and continued his training at Shanghai Art College. In 1988, he came to the United States on a fellowship as artist in residence at the Skowhegan School of Painting and Sculpture. He continued his studies at Boston University on an MFA scholarship the following year. Shen's work blends multiple cultural elements as he layers concepts of time and space with Zen philosophy, meditation, and repetition. <br /> <br /> <strong>Ming Fay</strong> is a Shanghai-born and New York based sculptor and professor. His work focuses on the concept of the garden as a symbol of utopia and the relationship between culture and nature. Drawing upon an extensive knowledge of plants both Eastern and Western, real and mythical, Fay creates his own calligraphic floating forest of reeds, branches and surreal species. Ming Fay received his BFA in sculpture from Kansas City Art Institute and his MFA from University of California, Santa Barbara. He lives and maintains his studio in New York City.<br /> <br /> <strong>Cui Fei</strong> was born in Jinan, China. Cui attended the Affiliate High School of Zhejiang Academy of Fine Arts (now China Academy of Fine Arts) where later she received her BFA degree in painting. Cui taught for three years as an assistant professor at the Shandong Academy of Fine Arts. She moved to the United States in 1996 earning her MFA degree in painting at Indiana University of Pennsylvania. Cui has been cited in various publications, including Art in America, The New York Times, and The New Yorker Magazine. She has received The Pollock-Krasner Foundation Grant, the NYFA Fellowship from New York Foundation for the Arts, the BRIO Award from the Bronx Council on the Arts and was selected into the Artists-in-the-Marketplace program at the Bronx Museum of the Arts.<br /> <br /> <strong>Mary Ting</strong> is a visual artist working in installation, drawing, sculpture, video, and photography. Recent solo exhibitions in the NYC area include Lambent Foundation, Dean Project, metaphor contemporary art, and Kentler International Drawing Space. Ting is a two-time recipient of the New York Foundation for the Arts fellowship, Lower Manhattan Cultural Council MCAF grantee, Gottlieb Foundation individual grant, Lambent Fellowship, and residencies at MacDowell Colony, Lower Eastside Printshop Special Editions, Dieu Donne Papermill Workspace, among others. Ting currently teaches studio art at John Jay College and Transart Institute, New York/Berlin. <br /> <br /> <strong>Aileen June Wang</strong> received her Ph.D. in art history from Rutgers University in New Jersey, with a specialization in Renaissance art. Her research interests have evolved towards contemporary Chinese art, which originated during her stint as client advisor at Christie’s, New York. Current research projects revolve around Chinese and Chinese American contemporary artists whose works grapple with nostalgia and the use of the past in defining what being Chinese means. She completed a National Endowment for the Humanities summer fellowship on Asian American art this July, at New York University, and holds an appointment as assistant professor in art history and museum studies at Long Island University Post. <br /> </p> Fri, 28 Sep 2012 01:36:18 +0000 Natalie Frank - Fredericks & Freiser - October 4th, 2012 6:00 PM - 8:00 PM <p><img src="" /></p> Tue, 25 Sep 2012 00:09:43 +0000 Group Show - Hunter College/Times Square Gallery - October 4th, 2012 6:00 PM - 8:00 PM <p>The Hunter College Art Galleries are pleased to present <i>CONCEPTUAL ABSTRACTION</i>,<i> </i>on view from October 5 - November 10, 2012<i>.</i> The exhibition offers a revealing cross-section through abstract painting of the last two decades.  Its starting point is the 1991 exhibition <i>Conceptual Abstraction</i> held at the Sidney Janis Gallery, renowned for its representation of historic abstract artists. The 1991 show brought together a new generation of abstract painters, demonstrating that abstraction remained a vital mode of creation in an art world then dominated by figurative art.  This new iteration of <i>CONCEPTUAL ABSTRACTION</i> reunites the twenty painters from the 1991 show, presenting one older and one more recent painting by each artist. What seemed quixotic in 1991 today looks prescient. Rather than trying to revive historic abstraction, the remarkably varied work of the twenty artists in the exhibition expresses the experience of American life at the beginning of the twenty-first century: sometimes brutal, sometimes lyrical, sometimes gleamingly industrial, sometimes delicately handmade.  Cumulatively, the exhibition shows how and why abstraction has, once again, become the most exciting current in contemporary art. </p> Mon, 24 Sep 2012 21:18:51 +0000 Greg Lamarche - Joshua Liner Gallery - October 4th, 2012 6:00 PM - 9:00 PM <p>Joshua Liner Gallery is pleased to present <em>Timeless</em>, an exhibition of new collage works by the New York artist Greg Lamarche. This is Lamarche’s debut solo show with the gallery.</p> <p>Working in hand-cut paper, Lamarche’s collages draw from a vast archive of found materials, commercially printedpapers, and vintage printed matter. Through an interplay of abstracted graffiti language and commercial design, Lamarche enlists a profusion of graphic styles and bold colors to explore rhythmic repetition, multiple perspectives, and the suggestion of sound and movement. The artist applies a similar visual approach in mural-size wall paintings and large-scale environments installed in recent years.</p> <p>For <em>Timeless</em>, Lamarche brings together a collection of medium-sized collages, assemblage, and paintings. Each is an exploration of letterforms inspired by graphic design, graffiti, commercial lettering, and art-deco fonts. The works range from the carefully planned and ultra graphic to the completely free-form “design by chance.” Although each artwork has a unique look, the group relates through the consistent use of found and vintage papers. By using materials from the past in a contemporary moment, ordinary notions of linear time are subverted. Lamarche’s works exist in a cultural context all their own.</p> <p>In the collage <em>Unfettered</em>, for example, a colorful barrage of wildly varying letters rolls across the middle third of a white expanse, gathering momentum just as an avalanche collects mass. <em>Timeless</em>, on the other hand, is a very precise collage on white in which cut-paper forms compose what appear like drafting or carpentry tools, which in turn are arranged to spell out the work’s title. <em>Untitled (remnant series)</em> is more free-form, as abstracted cutout fragments in black form filigreed silhouettes in an all-over composition of black and tan.</p> <p>In all of his work, Lamarche engages a general familiarity with commercial typography and design as well as elements of graffiti, which by now are ubiquitous within the social and built landscapes of most cities. (As a young teen, the artist cut his creative teeth writing graffiti in the streets and subways of New York.) Variously recombined and deployed, these familiar references speak to viewers across generations, social strata, and global origin. Furthermore, Lamarche’s canny mixtures of form, color, and arrangement break down the now-staid divisions between fine art, graphic art, and architecture.</p> Mon, 17 Sep 2012 23:47:24 +0000 - Museum of the City of New York - October 4th, 2012 6:30 PM - 8:30 PM <p>Join us for a pre-Election Day conversation to explore how activists have influenced electoral debate and outcomes—historically and today. With so many citizens saying the political system is broken, this panel will explore what role grassroots activists and organizations might play in reconfiguring the political conversation and the electoral dynamics of the two-party system. Our distinguished panel will include <b>Eric Foner</b>, DeWitt Clinton Professor of History at Columbia University; <b>Fred Siegel</b>, a scholar in residence at St. Francis College and senior fellow at the Manhattan Institute; and <b>Dorian Warren</b>, assistant professor at the School of International and Public Affairs at Columbia University; as well as activists and other observers. The program will be moderated by <b>Joshua Freeman</b>, professor of history at Queens College and the CUNY Graduate Center.</p> Fri, 28 Sep 2012 00:56:11 +0000 Mark Dorf - Phoenix Gallery - October 4th, 2012 6:00 PM - 8:00 PM <p>Mark Dorf is a photographer and sculptor who seeks to examine humanity's relationship between its internal and external environments. By re- contextualizing moment and symbol through photography and image capture, he creates new meaning within the immediate environment. Mark looks to understand humanity as an observer in his surroundings, using images as a tool to explore our curious habitation of the world around us. <br /><br /> Environmental Occupations is Mark's second solo exhibition. The exhibit consists of thirteen photographs that explore humanity's roll of creation and its relationship with the landscape. The concrete forms seen in the images, influenced by minimalist sculptors such as Donald Judd and Richard Serra, downplay any sort of expression and instead reference nothing but geometry and the dense substance that they are composed of. The aggressive shape, material, and imposing presence of the objects contrast greatly against the natural and harmonious landscapes in which they are found, thus rendering them out of context and providing a skewed image from what is inherently interpreted as real. The question arises, where did these forms originate? Was there a creator? What is the function? <br /><br /> Though these forms seem to mimic functional urban horizons, they are in fact useless and loom in the landscape with a quiet devastation. The forms look to have been man made, but their sheer size and lack of evidence of construction leave the viewer with disconnect between a specific creator and the objects at hand - just as we see in our mass produced urban world today. The figures in the images interact with the forms in an attempt to understand the occupancy of the odd structures and explore their power from a neutral and seemingly omnipotent standpoint. MARK DORF is the 2012 Phoenix Gallery's Young Emerging Artist Winner: Jurors: Sue Stoffel, Collector, Arts Administrator and Rene Vara, Curator.</p> Tue, 25 Sep 2012 01:29:19 +0000