ArtSlant - Openings & events en-us 40 Thom Gilbert - Dorian Grey Gallery - October 5th, 2012 6:00 PM - 8:00 PM <p></p> <p></p> <p>Dorian Grey Gallery is please to announce it’s next exhibition with multi-award winning photographer <b>Thom Gilbert</b>. The exhibit will feature his most recent body of photographic portraits from his forth-coming book:<i><b>S A L T E D</b></i>. On display will be a vast collection of intimate portraits of current and iconic surfing legends and an alluring look at the surfing subculture we have grown to know as “beach bums”. These honest photographs capture the core essence surfers that are practically worshiped by so many who devote their lives to the world of sand, sun and water.</p> <p> </p> <p>Exhibition is generously sponsored by: Quiksilver, Tim Bessell Boards (featuring select Andy Warhol im ages), Surfer’s Environm ental Alliance and Unsound Surf Shop.</p> <p> </p> <p>About Thom Gilbert:<br />Born and raised on Long Island, NY Thom Gilbert has been taking photographs since he was in High School. After completing his education at Tufts and RIT he has enjoyed a successful professional career with works being published in NY Magazine, Interview, Gotham and LA confidential. Esteemed commercial clients include Quiksilver, Ralph Lauren, Bloomingdales and many others. Recent awards range from the Hasselblad Master Series, American Photo Magazine “Best of” Photo District’s “ Best Commercial” photographer. Thom is currently working on his 2nd publication titled: Iconic Americans , which is due to be released in 2013. Thom has created a limited edition museum quality poster to benefit the charity Surfer’s W ay that uses surfing as a means to help kids with autism.</p> <p> </p> <p>About Surfers Way:<br />Surfers W ay was founded in Long Beach, NY by surfing enthusiast Elliot Zuckerman. Surfer’s Way is a 100% volunteer based 501 C (3) charity that helps children and families with special needs. Every summer this organization brings together over 200 children and family members to experience the thrilling sport of surfing. These outings successfully create bonds and a sense of achievement that lasts a lifetime. We hope you will support their noble cause!</p> Sat, 22 Feb 2014 15:55:36 +0000 Group Show - Eleven Rivington (Chrystie Street) - October 5th, 2012 6:00 PM - 8:00 PM <p>Eleven Rivington is pleased to present a group exhibition entitled Weights &amp; Measures, on view at the gallery’s 195 Chrystie Street location, from October 5 – November 4, 2012.  The exhibition presents 12 women artists of different backgrounds and generations in a formal conversation about simple forms, activated geometry, and calculated gesture.  The show focuses primarily on materials and processes as practiced by several generations of artists from Latin America, the US, and Europe, proposing connections between the Neo-Concrete movement, minimalism and conceptual art, and material-focused object-making as practiced today. Weights &amp; Measures features sculpture, printmaking and drawing, including works on paper from the 50s (Lygia Clark), 60s (Jo Baer, Agnes Martin and Mira Schendel), and 70s (Dorothea Rockburne).</p> Fri, 21 Sep 2012 01:26:17 +0000 Thomas Dozol - Jack Hanley Gallery- New York - October 5th, 2012 6:00 PM - 8:00 PM <p>This will be my first show using only silkscreen prints, on both paper and wood.</p> <p>Although I still use film photography as the first step to my creative process, I was intrigured by this new medium, and the possibilities it offered: Removing as much information as I wanted from the original images, but also stacking layers on top. Repetition, and slight offsets of two layers, make subtle and restrained visual shifts. </p> <p>I want the body to be front and centered. Nude, where the only obvious social indicators would be haircuts and some tattoos. I then erased all context, and placed the bodies either floating in white space, or on top and in front of geometric shapes. That is why most of these nudes are faceless, and seemingly half asleep. More than portraits, these images are photographs of bodies as icons. </p> <p>Thomas Dozol lives and works in New York, NY. He has shown internationally at venus including the Palais de Tokyo, Paris, M+B Los Angeles, and has exhibited at the Frieze Art Fair, Randall's Island, and Frieze London with the Jack Hanley Gallery. <i>I Like You Better With Static Noise</i> will be his first solo exhibition. </p> Fri, 05 Oct 2012 00:51:37 +0000 Robert Brownjohn - MoMA (Museum of Modern Art) - October 5th, 2012 10:30 AM - 8:00 PM <p>This small focus installation features the first film title sequence to enter MoMA’s collection as a design work in its own right, along with related preparatory material. As memorable as the film itself, the title sequence of <i>Goldfinger</i> (1964) captures the sexual suggestiveness and wry humor of the James Bond mythos. Scenes from the film are projected strategically onto starlet Margaret Nolan, while minimal credit texts balance each shot. It was designer and art director Robert Brownjohn (American, 1926–1970) who conceived, designed, and directed this sequence, one of the best examples of title design used to produce a salient film component, rather than a necessary afterthought. Brownjohn's short but influential career integrated the fields of design, advertising, film, photography and music. He moved in 1960 to London, where he was at the epicenter of the burgeoning “swinging '60s" scene. Brownjohn deployed type in dynamic, abstract forms, in this case illustrating both his mastery of modern graphic design and his ability to apply sophisticated graphic treatment to popular media.</p> Sun, 30 Sep 2012 23:58:50 +0000 - New York Historical Society - October 5th, 2012 10:00 AM - 8:00 PM <p>When World War II broke out,  New York was a cosmopolitan, heavily immigrant city, whose people had real stakes in the war and strongly held opinions. <em>WWII &amp; NYC </em>will explore the impact of the war on the metropolis, which played a critical role in the national war effort, and how the city was forever changed.</p> <p>The presence of troops, the inflow of refugees, the wartime industries, the dispatch of fleets, and the dissemination of news and propaganda from media outlets, changed New York, giving its customary commercial and creative bustle a military flavor. Likewise, the landscape of the city acquired a martial air, as defenses in the harbor were bolstered, old forts were updated, and the docks became high security zones. This grand consideration of the wartime metropolis will feature the compelling stories of those who experienced the war in a New York City context.</p> <p>The exhibition will range from the mobilization of workers to the frenzy of shipbuilding, from the home front arts and entertainment industry to the dispatch of troops to the European theater, from the struggles over Civil Rights and segregation to the Times Square celebration of V-J Day. These were the times that saw raucous men in uniform celebrating their last stateside moments, tearful families embracing their sons, women with lunch pails off to work, celebrity-studded bond rallies and calls for justice at home and abroad from African-American patriots.</p> <p>Installed throughout all floors of the New-York Historical Society, the exhibition will feature more than 300 objects, including artifacts, paintings, maps, photographs, posters, film footage, music, radio broadcasts, and newly recorded eyewitness accounts that document the most widespread, destructive, and consequential conflict in history. Highlighted features include:</p> <ul> <li><strong>“Documents Pertaining to the Japanese Surrender September 2, 1945.”</strong> <strong>September 21–October 21, 2012.</strong> (Manila: Bureau of Printing, for the United States Army, September 1945). Broadsheets, five leaves with twelve mounted photographic facsimiles of documents and translations of the documents. On September 2, 1945, the war in the Pacific officially ended. In an internationally broadcast ceremony lasting twenty-three minutes aboard the U.S. battleship Missouri anchored in Tokyo Bay, representatives from the Emperor of Japan as well as the nine Allied nations signed the Instrument of Surrender. While the United States and Japan each retained one of two original copies of the document, the State Department immediately directed Douglas MacArthur to print facsimile versions for the nine signatories from the U.S., China, the United Kingdom, the U.S.S.R., Australia, Canada, France, the Netherlands, and New Zealand. The general requested eleven more copies for members of his staff, including his chief engineer, Brooklyn-born Major General Hugh J. Casey, to whom this document belonged.</li> </ul> <p>The exhibition will draw upon extensive collections at New-York Historical and on important loans from the US Navy, the Smithsonian Institution, the Mariners’ Museum and the Metropolitan Museum of Art, among other institutions.</p> Mon, 03 Sep 2012 00:11:26 +0000 Group Show - NOoSPHERE - October 5th, 2012 6:00 PM - 9:00 PM <p style="text-align: center;"><span style="font-size: medium;"><strong>INTERNATIONAL JURIED SHOW</strong></span><br />A collaboration between Galleri Ramfjord, Oslo and NOoSPHERE, New York: October 5-28, 2012<br /><br /><strong>OPENING RECEPTION: Fri, Oct 5, 6-9 PM<br />Musical entertainment by singer-songwriter Mari Solberg at 6:30 pm<br /></strong></p> <p style="text-align: center;">Artists: Amina Bech, Kari Anne Helleberg Bahri, Henrik Uldalen, Kristin Von Hirsch, Jannecke Lønne Christiansen, Christina<br />Disington, Erik Formoe, Espen Eiborg, Vered Gersztenkorn, Julia Valentina Ester Olaussen, Kathleen McIntyre, Jeanette<br />Lafontine, Merete Løndal, Lillian Presthus, and Anne‐Sofie Øgaard<br /><br />NOoSPHERE Arts<br />251 East Houston Street<br />New York, NY 10002<br /><br /><br />Refreshments generously sponsored by Smorgas Chef and Arvesølvet Aquavit</p> Tue, 20 Nov 2012 16:29:25 +0000 Karen Y. Chan, Stefan Petranek, Jess Levey, Daniel Cosentino, Ann Oren - Rochester Contemporary Art Center - October 5th, 2012 6:00 PM - 10:00 PM <div align="left"> <p><strong>Me Pix: Picturing ourselves in Video and Photography </strong>is an exhibition of new electronic media artworks, video and photography by:<br /> <br /> <strong>Ann Oren</strong> (New York/Israel) <br /> <strong>Daniel Cosentino</strong> (Kosovo/Rochester)<br /> <strong>Jess Levey</strong> (New York)<br /> <strong>Karen Y. Chan</strong> (New York)<br /> <strong>Stefan Petranek</strong> (Indianapolis)</p> </div> <p><strong>Ann Oren's</strong> work investigates forms of communication and the spectacle infused self, digging into one's tendency to be, watch and act under the illusion of an omnipresent camera. Oren divides her subjects into actors and non-actors (amateurs) and examines these two groups by engaging the audience to decide which role they prefer.<br /> <br /> <br /> <strong>Daniel Cosentino</strong> draws upon his interest in Philosophy in making artworks that incorporate performance, sculpture, video, design and digital imaging. Working with the tension between double meanings that are accentuated by his medium, Cosentino's work activates parallel processes between performance, recorded performance, picture making and sculpture while also including references to antiquity and historic iconography. <br /> <br /> <br /> <strong>Stefan Petranek</strong> is interested in connections between the self and underlying forces of the physical world. Patranek works with what he calls the "aftermath" of those interactions by using photography and video to pair down many complex and ubiquitous forces of nature into their basic elements. Seeing his process as experiments that explore specific ordering systems and forces such as gravity, the genome, states of change in water, etc., his reductionist approach is related to his training as a biologist. <br /> <br /> <br /> <strong>Jess Levey's</strong> work investigates the relationships we have with our surroundings. She is particularly interested in how our very presence transforms a particular space while we are simultaneously being effected by that specific environment. Work environments are fertile sites to consider these issues. Levey's piece <em>Untitled #4</em> presents an image of a woman in an office chair. As she rolls back and forth she progressively becomes more and more frustrated from her entrapment within her work environment. Related to her intentions and interests, this installation transforms the gallery environment through its action and escalating emotions.<br /> <br /> <br /> <strong>Karen Y. Chan</strong> uses simple gestures, brief moments and media fragments to create transfixing and meditative works. Me Pix includes<em> Open/Close</em> a video portrait of Chan's own lips continually mouthing. The deeply saturated, grainy video transferred from super 8mm offers a close-up look at just a pair of lips their emotion can only be guessed at.</p> Mon, 19 Nov 2012 00:11:49 +0000 Pablo Picasso - Solomon R. Guggenheim Museum - October 5th, 2012 10:00 AM - 7:45 PM <p>Surveying the Spanish master’s oeuvre from 1904 to 1971, <em>Picasso Black and White</em> examines the artist’s lifelong exploration of a black-and-white palette through some 110 paintings, sculptures, and works on paper. Picasso’s deceptively simple use of isolated black, white, and gray hues belies the extraordinary complexity and power of these expressive works, which purge color in order to highlight their formal structure. The exhibition traces the artist’s unique vision thematically throughout his whole body of work, including early monochromatic blue and rose paintings, gray-toned Cubist canvases, elegant and austere neoclassical portraits and nudes, Surrealist-inspired figures, forceful and somber scenes depicting the atrocities of war, allegorical still lives, vivid interpretations of art-historical masterpieces, and the electric, highly sexualized canvases of Picasso’s last years.</p> Mon, 03 Sep 2012 00:44:35 +0000 Laurent Dauptain - Axelle Fine Arts Galerie Soho - October 6th, 2012 6:00 PM - 8:00 PM <p><strong>AXELLE FINE ARTS GALERIE</strong> is pleased to present a solo exhibition of new pieces by French artist <strong>LAURENT DAUPTAIN</strong>. This is Dauptain’s fifth exhibition at Axelle Fine Arts in New York City. Dauptain is most well known for his self portraits, of which he has painted thousands. His unique body of work is distinguished by his subject matter: he repeatedly paints his own face. Of these portraits, Dauptain states:</p> <p><em>For practical reasons and for self-liberation, I was inspired to paint my own portrait most frequently.  Therein results a series of more than two thousand self-portraits drawn or painted over the course of twenty-five years. This substantial quantity of work sparks my curiosity instead of satisfying it and I have never ceased searching for what the next version will resemble.  At the same time, this subject annuls itself by force of repetition.  It is a pretext for continuously searching for new solutions, as much from the point of view of formal beauty as technical.  Finally, it is the painting itself that is at the heart of my work. </em></p> <p>Dauptain’s insatiable need to continuously explore the same subject is exactly what makes his work so interesting and complex. His approach to his subject is constantly evolving. His technique fluctuates between formal and traditional to bold and expressive. He experiments with brushstroke, color palette, texture and level of detail. Dauptain’s artistic style changes to convey a man’s many moods, emotions, ages; as his vision of himself changes, his autobiographical vision on paper develops. In some portraits, his face is recognizable and clear. Others are blurred to the point of near abstraction. This exhibition features several new powerful self portraits complimented by a selection of new cityscapes.  Dauptain describes his stunning landscapes and still lifes as “roles of ‘respiration’ between two portraits.” His landscapes, often compared with Edward Hopper’s, appear full of movement and vivacity. His flowers seem to be living, growing organisms, his streetlights seem to glow and his seas seem to move. His ability to execute such highly skilled, emotive work in several genres demonstrates his mastery over his medium.  </p> <p>Laurent Dauptain was born in 1961 in France. A graduate of the Paris School of Fine Arts (1981) and the School of Decorative Arts (1983), he gained a master's degree in Aesthetics in 1984.  Since 1981, he has exhibited constantly and received numerous awards for his work, including the Grand Prix of the Salon des Peintres de l'Armée (2003), the Taylor prize (2001), and the gold medal of the Salon des Artistes Français (1997).</p> Wed, 03 Oct 2012 20:37:53 +0000 Beth Campbell - Kate Werble Gallery - October 6th, 2012 6:00 PM - 8:00 PM <p>Kate Werble, in conjunction with Nicole Klagsbrun, presents Beth Campbell's<br />Stereotable, her first solo project with the gallery.</p> <p><br />Stereotable is a single sculpture comprised of a table, chair, vase, and scarves. Using<br />these quotidian materials, Campbell continues to question the limits of the everyday,<br />opening possibility in something that is seemingly fixed. In Stereotable, a table and<br />chairs are physically doubled into a single object, cantilevered up and over itself. The<br />table legs and tabletop items appear to penetrate through wood, rendering the material<br />world permeable. The sculpture enacts the uncanny, appearing as a fantastical double<br />vision or the physical incarnation of a digital rendering.</p> <p><br />Beth Campbell, (American, born in Illinois in 1971), received her MFA from Ohio<br />University. In 2007, Campbell exhibited Following Room, a solo project at the Whitney<br />Museum of American Art. She has also held solo exhibitions at Manifesta 7; the Public<br />Art Fund; White Columns; the Sculpture Center, Cleveland, OH; Nicole Klagsbrun<br />Gallery, NY; and Country Club, Los Angeles, CA and Chicago, IL. She received a<br />Guggenheim Fellowship in 2011, a residency at Kohler Arts Center in 2010, and a Louis<br />Comfort Tiffany Fellowship in 2009. Her work has additionally been shown at MoMA<br />PS1, the New Museum of Contemporary Art, the Brooklyn Museum of Art, and Artists<br />Space. Past works are in the collections of the Museum of Modern Art and the Whitney<br />Museum of American Art. Campbell currently lives and works in Brooklyn, New York.</p> Fri, 05 Oct 2012 00:03:15 +0000 Alina Szapocznikow - MoMA (Museum of Modern Art) - October 7th, 2012 10:30 AM - 5:30 PM <div class="description"> <p>A sculptor who began working during the postwar period in a classical figurative style, Alina Szapocznikow radically reconceptualized sculpture as an imprint not only of memory but also of her own body. Though her career effectively spanned less than two decades (cut short by the artist’s premature death in 1973 at age 47), Szapocznikow left behind a legacy of provocative objects that evoke Surrealism, Nouveau Réalisme, and Pop art. Her tinted polyester casts of body parts, often transformed into everyday objects like lamps or ashtrays; her poured polyurethane forms; and her elaborately constructed sculptures, which at times incorporated photographs, clothing, or car parts, all remain as wonderfully idiosyncratic and culturally resonant today as when they were first made. Well known in Poland, where her work has been highly influential since early in her career, Szapocznikow’s compelling book of work is ripe for art historical reexamination. <i>Alina Szapocznikow: Sculpture Undone, 1955–1972</i> offers a comprehensive overview of this important artist’s work at a moment when international interest is blossoming. Spanning one of the most rich and complex periods of the 20th century, Szapocznikow’s oeuvre responds to many of the ideological and artistic developments of her time through artwork that is at once fragmented and transformative, sensual and reflective, playfully realized and politically charged.</p> <p>Featuring over 100 works, including sculpture, drawings, and photography, the exhibition draws on loans from private and public collections, including major institutions in Poland. It is accompanied by a major publication, copublished by The Museum of Modern Art and Mercatorfonds, that reflects new scholarship on Szapocznikow, contextualizing this little known artist’s work for a wider audience.</p> </div> Sun, 02 Sep 2012 23:20:31 +0000 Tomaz Furlan, Olson Lamaj - International Studio & Curatorial Program (ISCP) - October 9th, 2012 6:30 PM - 8:30 PM <p>Tomaz Furlan<br />Tomaz Furlan will discuss his WEAR video project, including a video performance that depicts one day in the life of a typical worker. The video shows the worker’s reality in both a funny and cynical way. </p> <p>Olson Lamaj</p> <p>Olson Lamaj uses photography, video, painting, and installation to capture and address the absurdities, ironies, and contradictions that characterize the fast-paced change of contemporary urban Albania. He will discuss his video project <em>photo eater</em> and two of his photo collections, <em>Details View </em>and <em>On the Street. <br /></em></p> Mon, 08 Oct 2012 23:23:59 +0000 Terry Allen - Nyehaus - October 9th, 2012 6:00 PM - 9:00 PM <p><em>The inner life of any true artist has the traits of three essential characters: </em><strong><i>children</i></strong><em> (they are innocent), </em><strong><i>criminals</i></strong><em> (they break rules), and </em><strong><i>the insane</i></strong><em> (they inhabit another world). Artaud lived this construct precisely, consistently reaching beyond everything…body, language, sex, society, disease, God, and art itself…whether in word, image, object or performance. </em> <em>—</em>Terry Allen<br />  <br /> <strong>THE INNOCENT: </strong>The river propels the artistic vessel along, through drawing to poetry to melody to moving image with an uninterrupted vigor and innocence that can only be accomplished with gravity in song, sculpture, image-making and poetry; weakness in one, and the river dries up; a knee is skinned.<br />  <br /> <strong>THE DECEIVER</strong>: Nature has been kind to Allen even if he at times does not reciprocate, deceiving her with the prospect of clear waters. In the end, his twisted and winding narratives shed the ghosts of the linear in favor of a ship constructed solely from artifacts and essentialities.<br />  <br /> <strong>THE MADMAN</strong>: The artist feeds the wood chipper pages of writing, deeply haunting images, audio-visual equipment, Hell’s bells and assorted secret ingredients. When the chips settle, a landscape forms out of the rubble; a forest of curiosities that have through some divine intervention plotted the path of a madman; the artwork of Terry Allen. —Tim Nye<br />  <br /> In <em>Ghost Ship Rodez: The Momo Chronicles</em>, Allen pursues a fictional investigation of what may have happened in the mind of French artist, playwright, and actor Antonin Artaud during a 17 day journey restrained in the dark hold of the freighter <em>Washington</em> in 1937, and later, in various mental institutions. While living in France, Artaud had obtained a walking stick that he considered was the staff of Jesus Christ handed down to St. George. In 1937, Artaud journeyed to Ireland to return the staff to its country of origin. However, while there, he experienced a series of extreme mental and emotional crises that culminated in a violent altercation with Dublin police. Artaud’s subsequent deportation to France was a grueling journey, which he spent straitjacketed and chained to a metal cot in the bowels of the ship.<br />  <br /> Allen developed this visual and sound-based exhibition from his ideas and sets for a theatre piece, also titled <em>Ghost Ship Rodez</em>. The theatre work was first commissioned in 2005 by Les Subsistances Laboratoire International, Lyon, France and the Texas-French Alliance in Houston. It was further developed at the Massachusetts Museum of Contemporary Art (MASS MoCA) in 2008, and The Lensic Performing Art Center in association with SITE Santa Fe. In this sound-based piece, acclaimed actress, writer and artist Jo Harvey Allen performs as the voice of “Daughter of the Heart,” a clairvoyant chameleon and multi-voiced narrator. (Artaud regarded all the important women in his life as his “Daughters of the Heart to be Born”.) <em>Ghost Ship Rodez (A Radio Play)</em> is also available on CD. The exhibition will also feature two large-scale video/sculpture works: <em>Ghost Ship, </em>2010, evokes the environment of the ship hold and the cot to which Artaud was laid captive, and includes screens with projected excerpts of films in which Artaud performed. The second, <em>Momo Lo Mismo, </em>2010, is a video-based multi-screened installation presented in marionette form, with projections of Jo Harvey Allen’s “Daughter of the Heart” performance.<br /> <br /> <em>Dugout</em> is a multi-venue, multimedia art exhibition and theater program by Terry Allen first exhibited in Los Angeles spring 2004. Initially written, directed, and produced by Terry Allen as an audio drama for New American Radio and presented on NPR in 1994, <em>Dugout</em> has evolved into a three-part series that includes writing, multi-media art works, installations, a music theatre piece, CD and/or DVD, and book.<br /> <br /> <em>“Dugout is a made-up world, constructed and based on the true stories and lies I heard and experienced as a boy growing up in the flat sprawl of Texas. It is about baseball and music and a man and woman who play them across the endless idea of America during the late 19th-century and the first half of the 20th-century. It is about the unexpected arrival and continuing shock of their teenage ‘kid’ (Warboy)…not to mention his own shock. Dugout is a love story; an investigation into how memory is invented… a kind of Supernatural-Jazz-Sport-History-Ghost-Blood-Fiction.” </em>—Terry Allen<br />  <br /> Terry Allen is a visual artist, songwriter and musician, who has received numerous awards and honors, including Guggenheim and National Endowment for the Arts Fellowships, and induction into the Buddy Holly Walk of Fame. In 2009, Allen became a United States Artists Oliver Fellow. His art has been shown throughout the United States and Europe, and is represented in major private and public collections, including the Metropolitan Museum of Art and the Museum of Modern Art, New York, and the Los Angeles County Museum of Art and the Museum of Contemporary Art, Los Angeles.</p> Sun, 30 Sep 2012 01:11:58 +0000 - The Metropolitan Museum of Art - October 9th, 2012 9:30 AM - 5:30 PM <p>This exhibition of nineteenth- and twentieth-century Turkmen jewelry and decorative objects features some fifty works from the collection of Marshall and Marilyn R. Wolf, and celebrates their recent gift and promised gift of more than 250 of these works. On view will be fire-gilded silver crowns, earrings, and pectoral ornaments that are part of the traditional attire of Turkmen women. Decoration often includes inset carnelians and turquoise, granulation, and small bells suspended from chains. The repertoire of motifs varies according to the tribe of the maker and owner, and the exhibition will highlight distinctive designs from Teke, Yomut, and Kazakh jewelry-makers. To complement the jewelry, Turkmen costume and carpets will also be shown.</p> Mon, 03 Sep 2012 01:31:51 +0000 Timothy Hutchings, Mark Wiener, Jean Wilkinson, Beth Warshafsky, Linda DiGusta - CREON - October 10th, 2012 6:00 PM - 9:00 PM <p><b>Mark Wiener and Linda DiGusta</b></p> <p>"Duet" was originally conceived as a mini-documentary under the working title "Duet in Black and White for Abstract and Figure." When beginning to edit, they decided that the simple, compelling imagery of work in progress best depicted the rhythm that exists between them as a couple and the art that each of them creates. With the score by Yukari, the message is that romance and art are inextricably linked.  In Wiener’s “Silence Please,” one action informs the next. As a vocabulary is built, each layer of thought re-examines the previous thought and instructs the next.  Simple marks repeat, skipping across the surface of the screen, alluding to figuration. The animation is conceived in moments of complete silence, with imagination skipping across consciousness.</p> <p><b>Timothy Hutchings</b></p> <p>The “Mandala” series comes from Hutchings interest in aestheticizing his non-art activities.  He records his slack time in various ways and then feeds that back into processes which convert the waste into something resembling art.  The Mandala works are records of video viewing which are then ran through video manipulation software, creating  quasi-psychedelia from pop culture. The music is just the sound from the video source reprocessed. </p> <p><b>Jeanne Wilkinson</b></p> <p> “Wakefield Dream” is an amalgam of the artist’s paintings, photography, animations, and her projections on rocks, trees, and also on moving figures shrouded with translucent fabric.  She merges this imagery with footage of her son Andrew Keeley Yonda and his wife Jennifer playing music and dancing. The sound track utilizes her son’s music with other effects from the filming process.  All of this forms a sequence of layered imagery that unfolds like an uncanny dream.  “Something-Something with Fish” is an animated abstraction derived from the artwork of Kaitlin Martin and footage of wildlife filmed by Wilkinson in Duluth, Minnesota’s fresh-water aquarium.</p> <p><b>Beth Warshafsky</b></p> <p>"Haiku: Springs Again” is a single channel video weaving multiple layers of content. </p> <p>It’s a dream written on a napkin, a silhouette of the artist dancing, with video textures and sound merged into a short, concise whole.  "I am Calling You” is a work in progress, a combination of textured layers of real time performance with the live camera input of musician Gerry Hemingway. Warshafsky’s work emerges over time as she finds form between image and sound. This intuitive process connects to her past as a painter - she often feels like she is painting in time. </p> Thu, 27 Sep 2012 21:57:43 +0000 Ulf Puder - MARC STRAUS - October 10th, 2012 6:00 PM - 8:00 PM <p>Marc Straus is pleased to present a solo show by Ulf Puder, on view from October 10 until November 11, 2012. <br /><br /> Ulf Puder (b. 1958) and Neo Rauch graduated in 1990 from the Hochschule für Grafik und Buchkunst (HGB) Leipzig as a Meisterschüler of Prof. Bernhard Heisig. They have influenced an important generation of artists and for Puder his work is central to many of the leading Leipzig painters such as Matthias Weischer and today he is especially important to younger artists in Eastern and Central Europe. <br /><br /> His masterly paintings of architectural structures are devoid of human life and hover between abstraction and representation. Puder places chaos and quietude side by side. Symbols of human creation, industrialization and desolation are rendered in extreme perspectives, in front of dimly hued skies. Puder's scenes induce a sense of calm disorder, or animated stillness, perplexing and haunting as they appear to the beholder.<br /><br /> Floss der Medusa (2012) is a raft built from roofs, angled walls, cantilevers and sloping handrails that are piled up triangularly in front of a somber horizon. A member of the Neue Leipziger Schule, Puder gained international acclaim for adding an experimental surrealism to East-German Neo-Realism. In this large-scale work, architectural modules are about to collapse, alluding to turmoil and despair in society. Motif and title both set the link to the iconic The Raft of the Medusa by French painter Théodore Géricault, which depicts the conversion from men into cannibals due to the basic human instinct to survive. Puder's works pose questions to our society and its relationship with the past.<br /><br /> Ulf Puder is represented by Galerie Jochen Hempel in Germany. He has had numerous international solo shows and is part of major public and private collections. Most significantly, Puder was included in After the Wall, an exhibit shown at the Moderna Museet in Stockholm (1999), the Hamburger Bahnhof in Berlin and the Museum Ludwig in Budapest (2000).</p> Fri, 05 Oct 2012 01:29:28 +0000