ArtSlant - Closing soon http://www.artslant.com/ny/Events/show en-us 40 Group Show - BROADWAY GALLERY - September 24th, 2013 - October 10th, 2013 <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, 09 Sep 2013 22:46:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list John Miller, Aura Rosenberg - 3A Gallery - September 19th, 2013 - October 11th, 2013 <p>A Klee painting named &lsquo;Angelus Novus&rsquo; shows an angel looking as though it is about to move away from something it is fixedly contemplating. Its eyes are staring, its mouth is open, its wings are spread. This is how one pictures the angel of history.&nbsp; Its face is turned toward the past. Where we perceive a chain of events, it sees one single catastrophe, which keeps piling wreckage and hurls it in front of its feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in its wings with such violence that the angel can no longer close them. The storm irresistibly propels it into the future to which its back is turned, while the pile of debris before it grows skyward. This storm is what we call progress.</p> <p>The true picture of the past flits by. The past can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again.</p> <p>&ndash;Walter Benjamin, &ldquo;Thesis on the Philosophy of History&rdquo;</p> <p>The angel of history is the inspiration for Aura Rosenberg&rsquo;s film. Compressed into five minutes, this film animates the ruin and progress of history, starting with formation of planets from gas clouds through to the present.&nbsp; The pile, culled from an online pictorial archive, depicts Benjamin&rsquo;s single catastrophe. A flash of original paradise interrupts the cataclysmic momentum and reminds the viewer of the dialectic of history in which the past can be recalled only in relation to the demands of the present.</p> Sun, 08 Sep 2013 22:56:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sol LeWitt - Paula Cooper Gallery - 534 W. 21st Street - September 3rd, 2013 - October 11th, 2013 <p>The Paula Cooper Gallery is pleased to announce the exhibition of an important wall drawing conceived by Sol LeWitt for the Venice Biennale of 1988. Not exhibited since, <em>Wall Drawing #564: Complex forms with color ink washes superimposed</em> will be installed in the main gallery at 534 W 21st&nbsp;Street from September 3 through October 11.</p> <p><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> 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mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--></p> <p class="MsoNormal"><em><span style="font-family: 'Helvetica','sans-serif'; mso-fareast-font-family: 'Times New Roman';">Wall Drawing #564</span></em><span style="font-family: 'Helvetica','sans-serif'; mso-fareast-font-family: 'Times New Roman';"> belongs to a series of wall drawings from the late 1980s, which made use of multifaceted geometric forms and color ink washes.&nbsp; To achieve rich and luminous surfaces, LeWitt devised a specific system of superimposing pigments, layer upon wet layer, with ink-soaked rags.&nbsp; LeWitt, who had moved to Spoleto, Italy, in the late 1970s credited his transition from graphite pencil or crayon to vivid ink washes, to his encounter with the frescoes of Giotto, Masaccio, and other early Florentine painters.</span></p> <p class="MsoNormal"><span style="font-family: 'Helvetica','sans-serif'; mso-fareast-font-family: 'Times New Roman';">Sol LeWitt, whose pioneering style defies categorization, executed his first wall drawing for Paula Cooper&rsquo;s inaugural show in 1968. A critical departure from the tradition of object-based art, he believed in the &ldquo;primacy of the idea.&rdquo; LeWitt went so far as to offer precise plans with which his assistants could execute his work, much as composers create scores for musicians.</span></p> <p class="MsoNormal"><span style="font-family: 'Helvetica','sans-serif'; mso-fareast-font-family: 'Times New Roman';">Sol LeWitt (1928-2007) was born in Hartford, Connecticut. In 1953 he moved to New York where had his first one-person show at the John Daniels Gallery in 1965. &nbsp;The Gemeentemuseum in The Hague presented his first retrospective exhibition in 1970, and his work was later shown in a major mid-career retrospective curated by Alicia Legg at the Museum of Modern Art, New York in 1978.</span></p> <p class="MsoNormal"><span style="font-family: 'Helvetica','sans-serif'; mso-fareast-font-family: 'Times New Roman';">LeWitt's works are in numerous public collections. To name a few: Museum of Modern Art, The Whitney Museum of American Art, The Solomon R. Guggenheim Museum, The Art Institute of Chicago, The San Francisco Museum of Modern Art, Centre National d&rsquo;Art Moderne Georges Pompidou, Paris, Stedelijk Museum Amsterdam, Turin&rsquo;s Castello di Rivoli, Moderna Museet Stockholm and Tate, London.</span></p> <p class="MsoNormal"><span style="font-family: 'Helvetica','sans-serif'; mso-fareast-font-family: 'Times New Roman';">In November 2008 &ldquo;Sol LeWitt: A Wall Drawing Retrospective&rdquo; opened at MassMOCA (Massachusetts Museum of Contemporary Art), and will remain on view for 25 years. In 2010, the Yale University Art Gallery and Yale University Press co-published <em>Sol LeWitt Wall Drawings: A Catalogue Raisonn&eacute;</em>.</span></p> Fri, 12 Jul 2013 02:54:26 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Max Kozloff - Steven Kasher Gallery - September 12th, 2013 - October 11th, 2013 <p>Steven Kasher Gallery is thrilled to present <em>Max Kozloff: New York Over the Top</em>, a collection of 20 color prints drawn from over 35 years of Kozloff&rsquo;s New York photography. This show launches Kozloff&rsquo;s first photographic monograph, <em>New York Over the Top,</em> introduction by Marvin Heiferman (Contrasto, 2013), and <strong>coincides with the Art Institute of Chicago&rsquo;s exhibition</strong><em> Max Kozloff: Critic and Photographer</em>, running October 5<sup>th</sup> through January 5<sup>th</sup>. Max Kozloff is a street photographer, alert to the extravagance and sorrows of life in the Big Apple, which he visualizes with idiosyncratic color.</p> <p>Kozloff photographs his fellow citizens with an urban eye.&nbsp; He does not see them as legendary creatures, but he often makes them out to be fabulous presences, glimpsed at carnivals and festivals. He is especially enchanted with that he has called &ldquo;the music of faces&rdquo;, a spectrum of moods at variance with the consumerism or ethnicity of circumstance. Statues, effigies, or teddy bears seem to offer internal witness to what he calls New York Over the Top.</p> <p>As Marvin Heiferman writes in the introduction to the book, &ldquo;Repetitive forms appear and sweep across these pictures in waves: decorative patterns created by fences and barriers; the syncopated angles of the elbows and knees of those who walk by, crowd together, or stand in place; the stripes on a pair of pants. &lsquo;Color for me,&rsquo; Kozloff has explained, &lsquo;is a form of tenderness.&rsquo; And so, paradoxically, while high-key chromatics spark much of this work, it is an unexpected gentleness that clings to and distinguishes these sneaky complex photographs.&rdquo;</p> <p>Max Kozloff continues to be a prominent New York writer on photography after his tenure as Executive Editor of Artforum concluded in the 1970s. He has published three volumes of his collected essays on the medium, as well as <em>New York: Capital of Photography</em> and more recently, <em>The Theatre of the Face: Portrait Photography Since 1900</em>. Simultaneously, and with equal zeal, he has developed a career as a practitioner of color negative street photography. Opening in October, the Art Institute of Chicago is recognizing his achievement with a retrospective that acknowledges the scope of his imagery as well as the provocations of his writing.</p> Tue, 06 Aug 2013 01:43:45 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Michael Buthe - Alexander and Bonin - September 10th, 2013 - October 12th, 2013 <div id="artistBio"> <p>Buthe&rsquo;s work was widely exhibited throughout Germany from 1968 until his death in 1994. His work was included in the legendary exhibition &ldquo;When Attitudes Become Form: Live in Your Head&rdquo; at Kunsthalle Bern as well as four &ldquo;Documenta&rdquo; exhibitions. Beginning in 1970, Buthe spent an increasing amount of time in North Africa and the Middle East. These experiences, melded with his European upbringing and the zeitgeist embraced by his contemporaries Sigmar Polke and Gerhard Richter, led to the development of Buthe&rsquo;s distinct and constantly evolving vernacular. With little separation between his Shamanistic lifestyle and the work he produced, there exists a seamless shift from medium to medium.</p> <p>Buthe&rsquo;s work has come under re-examination in the past few years. In 2009 &ldquo;Michael Buthe: The Angel and His Shadow&rdquo; was presented at Ernst Barlach Haus, Hamburg and at the Arp-Museum Banhof, Rolandseck. In &ldquo;Abstraction and Empathy,&rdquo; (also 2009,) at the Deutsche Guggenheim, Berlin, curator Carmen Gimenez paired his work with that of Thomas Sch&uuml;tte to represent empathy in contrast with abstract representation as seen in the work of Blinky Palermo and Joseph Albers. Alexander and Bonin presented solo exhibitions of Buthe&rsquo;s work in New York in 2007 and 2010. Recent solo exhibitions in European galleries include Thomas Flor, D&uuml;sseldorf (2009) and RECEPTION, Berlin (2010). Approximately 20 works by Buthe were exhibited in &ldquo;Intense Proximity,&rdquo; the 2012 Paris Triennale (April 20 &ndash; August 12, 2012). In September 2013, Alexander and Bonin will present a solo exhibition of Buthe&rsquo;s work.</p> </div> Tue, 27 Aug 2013 01:32:57 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jack Whitten - Alexander Gray Associates - September 11th, 2013 - October 12th, 2013 <p>Alexander Gray Associates is pleased to present an exhibition featuring new paintings by Jack Whitten, accompanied by a fully-illustrated catalog. The presentation highlights the most recent evolution of process in Whitten&rsquo;s nearly 50-year career dedicated to abstraction, manipulation, and subversion of traditional painting practices.<br /> <br /> Scale, context, and history play equally integral roles in the group of paintings on view. With its alluring, slick black surface, the sprawling <em>Remote Control</em> (2013) is both seductive and intimidating, alluding to the appeal and threat of technology. In the massive <em>Crushed Grid</em> (2013), Whitten reinvents the modernist grid by immersing a distorted net of acrylic ribbons in thick layers of undulating paint. The varied effects of his material experimentation add a sense of tension, depth, and motion; the result is an array of illusory surface textures that seem solid and aerated, dense and viscous yet fluid.<br /> <br /> The memorial and homage paintings in the exhibition further exemplify Whitten&rsquo;s innovative consideration of painting as object. Elements of three-dimensionality are applied to the canvas, such as the acrylic molds in <em>Nine Cosmic CDs: For The Firespitter (Jayne Cortez)</em> (2013). The radiant energy captured by Whitten&rsquo;s vivid palette provides insight into the fierce personality and artistic achievements of the late poet who inspired the painting.<br /> <br /> About his recent work Whitten states, &ldquo;I like the idea that people are suspended while asking questions about process. I like the idea that the viewer might be frozen by wonder. I have developed many conceptual and technical approaches over the past 50 years, and now, all I&rsquo;m doing is going back into my toolbox and using them. I am dealing with the evolution of painting, Western abstract painting in particular. In this way, evolution is the symbol I am trying to capture. That&rsquo;s why each work is so different, it is still in the act of evolving.&rdquo; <br /> <br /> Concurrent with the exhibition at Alexander Gray Associates, <em>Jack Whitten: Light Years 1971&ndash;1973</em> is on view at the Rose Art Museum at Brandeis University September 17&ndash;December 22, 2013. Whitten&rsquo;s painting, <em>9-11-01</em>, is featured in 
<em>The Encyclopedic Palace</em> at the <em>55th Venice Biennale</em> through November 24, 2013. Whitten will also be featured in the renowned traveling exhibition <em>Blues for Smoke</em> at the Wexner Center for the Arts September 21, 2013&ndash;January 5, 2014, as well as the Gallery&rsquo;s Art Basel Miami Beach 2013 presentation. Whitten&rsquo;s work will be the subject of an upcoming retrospective at the Museum of Contemporary Art, San Diego in 2014.</p> Tue, 06 Aug 2013 02:08:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Casey Reas - bitforms gallery - September 5th, 2013 - October 12th, 2013 <div>bitforms gallery is pleased to announce the US debut of new work by the Los Angeles based artist<a href="http://r20.rs6.net/tn.jsp?e=001AreK5uwmbHq-uyI4_2BY2zKlF3u0v8hh4SN8ABHuA6M9pRCv-2znmveVDS88_lg41n9qSKPg2H-FQEEPScOcB1Xq-PQc7rIm5MrzljmMm46pF493ksj34zP2yizu_6ZELRjYHIGVgu44KaTqNQ2YGA==" shape="rect" target="_blank" rel="nofollow">Casey Reas</a>.</div> <div>&nbsp; <p><em><a href="http://r20.rs6.net/tn.jsp?e=001AreK5uwmbHoAg8uu6J11YKfrnM6OHw01SJiYVkWK1D3H6bsygPw425aA9rZDOOYL3Md2YJalNPghCk0kDqcE460JCXU6YowZnJIQgb3zUL10A7krcqn2y5Dj72n2Zgl2" shape="rect" target="_blank" rel="nofollow">ULTRACONCENTRATED</a></em>&nbsp;is his first New York solo exhibition in over five years, marking a departure from past works based on emergent systems. Since 2008, Reas has collaborated on a number of architecturally-scaled commissions. These projects have ranged widely, including:&nbsp;<a href="http://r20.rs6.net/tn.jsp?e=001AreK5uwmbHqZ8eNPIMCXEm9ptnSppB9La_9jo63s_di4QqkefE5PFDOXTiyNOW0yN8FFrQZMRiA81SimPU0SaaGyZaPtJ97Rpw7O7XpXl7U4nx-X3Pn6zwwiVLJQNFKxMx7OmC4rkqSUKPRhdYiXQ-OsAt-9hGMghg-W2NEtCk1lQXhlsMyNsdQWLTRCVpeyhwljLpQWu5VLjgdKLGA8pJ2GL76yABB2LywqJYfdUc0=" shape="rect" target="_blank" rel="nofollow">stage set design</a>for the band Yeasayer in 2012 with Aranda\Lasch; a&nbsp;<a href="http://r20.rs6.net/tn.jsp?e=001AreK5uwmbHqXje7Q7pHBFF1xW-lXi0PJUh71IFacVYieLlA2Zj_9bA4vRPKy2Y-YFBP65eH4d2V7ylw0yyYoWpT8E1-zxqI1j24YrEBl1smo-6JVmgMlVDQL8pvHu5JdeMb6ue-VlC0JNEksO9FVOeBrcwoJWh6V" shape="rect" target="_blank" rel="nofollow">permanent video projection</a>&nbsp;for the nighttime fa&ccedil;ade of Frank Gehry's New World Symphony building in Miami Beach, created with Tal Rosner; a<a href="http://r20.rs6.net/tn.jsp?e=001AreK5uwmbHp5LBeOoLMrxyN_zJ9B8JIxpFQeN9YGLUBr6UmHV3JAvOPLVYG7By5Kgm4q74fsBs5tCUxkRvMKBRVAKMt7n4-Jzy-4VQucXht4VL-rgpu5yu_D7PV6_8bqdM1-ZwAMV36wNUUHjzPAJlUtqK3NYLaXzimTzTieWg5gj6Tmau7IsQ==" shape="rect" target="_blank" rel="nofollow">mural with Ben Fry</a>&nbsp;on the campus of MIT; and&nbsp;<a href="http://r20.rs6.net/tn.jsp?e=001AreK5uwmbHqVNrO00B6HeA9FiOOljiCntc7X04Ahsu6qZyScmH5X1UKqoyNjseaDY5V-OSx1m3nSWMlWHBxsI-invFQE5zGuzYOo-lLiCUFnYofERJHXbUX0PQX8wJyqRHFWu6Es9vs=" shape="rect" target="_blank" rel="nofollow">"Clad"</a>, a set of sculptures exhibited at the 12th Venice Architecture biennial with the davidclovers studio. Presently on view at the LA MoCA,&nbsp;<a href="http://r20.rs6.net/tn.jsp?e=001AreK5uwmbHpEdnNLqYDeEhimCCZGHGYbaGAJjfKAolQi_K62fi24QzCcMcGgRNvxYSX_B-HINKgHNAuyttaOzCsKO8H71Ym1NR92JMt9ej4sk1jcAmPdSrOXUdJ_l4dEXkHqvitD-HJYEX3LXEmpraHbVcvm1PzNecjcfULHID42UaDtiGi02e6jlUBQdsPmNN3Jcu7dwLoA8M6a2TWWqg==" shape="rect" target="_blank" rel="nofollow">"Textile Room"</a>&nbsp;is video sculpture featuring projections by Reas, in collaboration with the studio&nbsp;P-A-T-T-E-R-N-S.</p> <p>&nbsp;</p> <p>Reas' latest work inhabits the increasingly voluminous, yet invisible, spaces of information systems and mass communication. Using a variety of materials, his new projects explore the behavior of television signals and entropy. Live video-driven software systems are featured in<em>ULTRACONCENTRATED</em>, as well as c prints, laser-etched anodized aluminum pieces, and an illuminated sculpture created with Aranda\Lasch.</p> <p>&nbsp;</p> <p>The series&nbsp;<em><a href="http://r20.rs6.net/tn.jsp?e=001AreK5uwmbHopIFY8xWH0FaRpEqs4I26IV9qkwb4jBtCLllwAat8Wk_XdDTGWyMLvqRSTmtkMuDMaiO9vY-5DtHem7n1o0PNoDTS2gEMzViRRrBiVKFuru-AfdXOUeaGRIBxssvwIjNAfqbR7y36UffE6S4U6q4VR" shape="rect" target="_blank" rel="nofollow">Signal to Noise</a></em>&nbsp;intentionally disrupts the information of local broadcast signals. It investigates the field of technical images, as theorized by philosopher Villem Flusser, such as visual information transmitted as data, which relies on text-based instructions to "write" a picture. In the creation of this work, television content was captured from the air with an antenna. Reas edited, and then processed the appropriated material with his own custom software, which runs live in the gallery. The programmed logic is visible as a geometric lattice, building the illusion of a surface.&nbsp;</p> <p>&nbsp;</p> <p>In these works, software's capacity for precision and order is subverted. Each generative animation in the series scrambles a 20-minute segment of television captured from a major US network, such as ABC, NBC, Fox or CBS. They fracture and distort the intended images and narrative, to craft alternate, imagined spaces. Their construction is comparable to early twentieth-century collages built from the media of that time, and mid-century video collage. Taking a Dada approach to the raw materials, each piece is silent and named after a specific moment from the broadcast script.&nbsp;</p> </div> Thu, 29 Aug 2013 18:30:13 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Manjari Sharma - ClampArt - September 12th, 2013 - October 12th, 2013 <div style="text-align: justify;"><span style="font-size: small; font-family: arial, helvetica, sans-serif;">ClampArt is pleased to present&nbsp;<em>Darshan,&nbsp;</em>an exhibition of new work by contemporary photographer Manjari Sharma. "Darshan" is a Sanskrit word meaning "vision" or "view." It is most commonly used in the context of Hindu worship and can also be translated as an "apparition" or a "glimpse." &nbsp;One may seek and receive the Darshan of a deity, and upon sight, that Darshan may invoke an immediate connection between that deity and the devotee. A Darshan can ultimately be described as an experience purposed on helping one focus and call out to his or her sense of spirituality.</span></div> <div style="text-align: justify;"><span style="font-size: small; font-family: arial, helvetica, sans-serif;">&nbsp;</span></div> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">For Sharma, the series&nbsp;<em>Darshan&nbsp;</em>aims to photographically recreate various classical images of Gods and Goddesses pivotal to mythological stories in Hinduism. &nbsp;Printed on a massive scale, photographs will be presented in an elaborate installation closely resembling the experience of a Hindu temple, complete with incense, lamps, and invocations.&nbsp;&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">Entirely self-funded in 2011, via the crowd-sourcing site Kickstarter,&nbsp;<em>Darshan</em>&nbsp;has already garnered a significant amount of attention from&nbsp;<em>NPR&nbsp;</em>to the&nbsp;<em>New York Times</em>,&nbsp;<em>Huffington Post&nbsp;</em>and&nbsp;<em>LIFE.&nbsp;&nbsp;</em>Sharma has said of the work that&nbsp;"Growing up in India, I saw spiritual paintings and sculptures of deities everywhere...but never a photograph...My mission is to prove that a carefully created photograph can evoke a similar spiritual response."</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">To make the imagery for the series Sharma did extensive research on each character which led to the assemblage of a team of approximately thirty-five Indian craftsmen who created, as the<em>New York Times'</em>, Niko Koppel explained, "elaborate sets, detailed costumes,&nbsp;Bollywood-level prosthetics and custom props," all tailored to the artist's exacting specifications. The collaborative process and execution of the primarily straight images that have been planned in-camera is the beauty of the images that do not rely on extensive post-production manipulation.</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;"><em>Darshan&nbsp;</em>will be on view September 12<sup>th</sup>&nbsp;through&nbsp;October 12<sup>th</sup>&nbsp;2013 at ClampArt Gallery in New York City.&nbsp;To request a contact sheet or for additional information please contact Jessie&nbsp;Cohen:&nbsp;<a href="mailto:Jessie@jessieiscohen.com" target="_blank">Jessie@jessieiscohen.com</a>&nbsp;or go to:&nbsp;<a href="http://r20.rs6.net/tn.jsp?e=001SLf35FLEGeCqjXwXqDYI76a6xEQ_-TG_6fqpV6_n7jZ-ENngIsHSJ_D5yLZIC6Wk1Bhw9kuW6q41p3iq17q_4UpjREyqVIcPdP6NlssBqhrzJgebb-K67YLrls6wdahh" target="_blank">www.projectdarshan.com</a>.</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">Manjari Sharma (b. 1979) is a photographer born and raised in Mumbai, India, now based in Brooklyn, New York. She has a BSC in Visual Communication from S.N.D.T. University, Mumbai and a BFA in Still Photography from Columbus College of Art and Design in Columbus, Ohio. Her images have appeared in such publications as<em>&nbsp;Forbes India Magazine</em>,&nbsp;<em>Vogue India</em>,<em>&nbsp;Geo Magazine</em>, online at&nbsp;<em>NPR</em>,&nbsp;<em>New York Times</em>,&nbsp;<em>Huffington Post</em>,&nbsp;<em>PDN</em>&nbsp;and&nbsp;<em>Life Magazine</em>. Sharma received an honorable mention for the prestigious Santa Fe Prize in 2012, and she was invited as a "Shots and Works" artist for LOOK 3: Festival of the Photograph in 2013.&nbsp;</span></p> Thu, 12 Sep 2013 10:20:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Manjari Sharma - ClampArt - September 12th, 2013 - October 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">ClampArt is pleased to present Manjari Sharma&rsquo;s &ldquo;Shower Series.&rdquo; Four years back, Sharma discovered the best way to get a subject to relax in front of her camera lens was to get them in the shower.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Shooting in her own apartment in Brooklyn, the artist invited friends and acquaintances over to sit for a portrait. What she eventually realized was that much of the awkwardness and anxiety of posing for a picture strangely melted away in the intimacy of a shower.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Once they would agree, Sharma&rsquo;s subjects almost invariably relaxed in demeanor and conversation as the warm water began to flow. Standing in that private space typically only shared by a parent or a lover, the artist now has heard about the emotional journeys of a number of people. For a feature on the series written by Lauren Russell for CNN, Sharma stated, &ldquo;The shower creates this confessional-like space.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Customarily, Sharma would begin the dialogue with simple questions, allowing people to open up over time. &ldquo;It was like Russian dolls, and it became more and more personal,&rdquo; she says. Sharma feels the best photographs are those in which the subject shared the most&mdash;both conversationally and physically. Those who could not make eye contact with the camera seemed to be the ones who had the most difficulty surmounting their reticence.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Sharma concludes, &ldquo;I have been told by my sub-jects that it is thrilling and adventuresome to be in my shower. Secretly cheating my traditional and&nbsp;</span><span style="font-size: small;">tame Indian upbringing, I live through all of my subjects&mdash;fighting their wars and braving their fears for those few hours where we are connected through this pious space. I continue to investigate this photo project, which has thus far given rise to some of the fastest, most disarming relationships I have ever formed.&rdquo;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Manjari Sharma (b. 1979) is a photographer born and raised in Mumbai, India, now based in Brooklyn, New York. She has a BA in Visual Communication from S.N.D.T. University, Mumbai, and a BFA in Still Photography from Columbia College of Art and Design in Columbus, Ohio. Her images have appeared in such publications as Forbes India Magazine, Vogue India, and Geo Magazine, and online at NPR, The New York Times, PDN, The Huffington Post, and Life Magazine. Sharma received an honorable mention for the prestigious Santa Fe Prize in 2012, and she was invited as a &ldquo;Shots and Works&rdquo; artist for LOOK 3: Festival of the Photograph in 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is generously supported by Rayographix Fine Art Digital Printing in Bushwick Brooklyn, New York.</span></p> Thu, 12 Sep 2013 10:18:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Carmen Papalia - CUE Art Foundation - September 7th, 2013 - October 12th, 2013 <p>Papalia's work, which takes the form of participatory public projects,&nbsp;explores the topic of access as it relates to public space, the Art&nbsp;institution, and visual culture&mdash;as the artist's own access is defined&nbsp;by a visual impairment. Papalia invites the participant to explore the&nbsp;possibilities for learning and knowing that become available through&nbsp;the non-visual senses, and to trust in the revelatory practice that is&nbsp;non-visual interpretation. Through exercises in trust and blind&nbsp;orienteering, participants discover new geographic contours from which&nbsp;to develop a sense of place. They begin to consider looking as one of&nbsp;the many ways to engage with and interpret their surroundings.</p> <p>The core component of Papalia&rsquo;s exhibition will be a multichannel&nbsp;sound installation documenting a non-visual site mapping workshop that&nbsp;Papalia conducted in Vancouver, British Columbia, and a number of&nbsp;images and videos documenting various instances of Papalia&rsquo;s Blind&nbsp;Field Shuttle walking tour and his See for Yourself non-visual museum&nbsp;tour project&mdash;in which visitors close their eyes and embark on a&nbsp;one-on-one tour while art objects, architectural details and other&nbsp;museum visitors are described to them by a tour guide.</p> <p>The exhibition will also include a performance of the Blind&nbsp;Field Shuttle walking tour for a group of 50 people&mdash;which will take&nbsp;place on the High Line in conjunction with the opening.&nbsp;Participants will line up behind Papalia, link arms and will close&nbsp;their eyes for the entire hour-long experience . The tour will&nbsp;culminate in a group discussion.</p> <p>Projects will be recorded and documented in the gallery and online.</p> Mon, 30 Sep 2013 22:09:25 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Susie MacMurray - Danese Corey - September 13th, 2013 - October 12th, 2013 <p>Danese is pleased to present its inaugural exhibition of sculpture and drawings by Susie MacMurray. <br /> <br /> Formerly a classical musician, the Manchester-based artist retrained as an artist, graduating with an MA in Fine Art in 2001, and has built up an international exhibition profile.<br /> <br /> As Kathleen Soriano observes in her 2011 essay for MacMurray's catalogue: "A first encounter with the work of artist Susie MacMurray inevitably places the viewer right at the centre of the key issue in her work &ndash; the tension between extremes of sensual and aesthetic response: Ying/yang; anima/animus; soft/hard; a dress/not a dress; love/death; freedom/constraint; power/submission. The seduction of her pieces draws you to them with a lightness of touch that belies their complexity and, more often than not, their aggressive, confrontational qualities that deny their commentary on difficult issues such as anorexia, mortality and bereavement.<br /> <br /> The beauty of MacMurray&rsquo;s work occasionally belies the power and strength held within it. Whilst the sense of loss has nearly always been present in her work, it is also as much about the nature of memories and remnants of our existence. She gathers and gives new life and meaning to lost hair, fallen violin bow hair, harp strings, to a loss of time and tradition &mdash; as we see her installations strive to capture the stories of the past, be it the lives of National Trust properties or the flint walls of the Sussex towns and villages as in Shell. These strings of our experience carry the memories of our lives, our talismans that MacMurray would argue need to be considered in Buddhist terms as part of the bigger flow, where we recognise that all things pass, whether in a minute or in a million years, so that we resist being paralysed by the possibilities of loss. That does not stop her from exploring that loss within her work but we should not be seduced by the vulnerability that it suggests given her position as artist with the control and authority that she has over the interpretation of that loss, and ultimately in the powerful and confident position that those pieces now assume."</p> Mon, 30 Sep 2013 22:15:49 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list David Herman - Denise Bibro Fine Art - September 19th, 2013 - October 12th, 2013 <p>Denise Bibro Fine Art, 529 West 20th Street, Chelsea, NYC, is pleased to present David Herman: People/Places II, on view September 19 through October 12, 2013. Herman's intensely hued pulsating canvases as in his previous solo exhibition are inspired by his worldly travels. Turning perspective on its head, he flattens space into abstracted architectonic forms, depicting human figures and nature in deftly rendered silhouettes.</p> <p><br /> Human figures and circumstance as well as natural environments and their elements become iconic and reverential.</p> <p>Herman has had solo shows at Caelum Gallery, Gallery Swan, and Nexus Gallery, all in New York City; Fairleigh Dickinson University, Hackensack, NJ; Gallery Emanuel, Kings Point, NY; and Mills Pond House Gallery, St. James, NY. His work has also been featured in group exhibitions including the Albright-Knox Collector's Gallery, Buffalo, NY; Williamsburg Art and Historical Center, Brooklyn, NY; and the Great Neck Art Center, Great Neck, NY. Herman's work has been reviewed in The New York Times, Gallery and Studio Magazine, and The New York Art World.</p> Fri, 20 Sep 2013 03:36:03 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Harriet Bart - Driscoll Babcock - September 3rd, 2013 - October 12th, 2013 <p id="docs-internal-guid-12f17c45-c58e-6c80-4d77-8146f0874351" style="line-height: 1.15; margin-top: 0pt; margin-bottom: 0pt;" dir="ltr">Driscoll Babcock Galleries is pleased to present Locus, a solo exhibition by Harriet Bart, which transforms the gallery space into a place where the artist seeks to &ldquo;signify a site, mark and event, and otherwise draw attention to imprints of the past as they live in the present&rdquo;. In Locus, bronze, coal, lead and found objects become instruments of measurement and divination. &nbsp;What does it mean to be here? &nbsp;Plumb bobs, vessels, maps and magnifying glasses serve as markers and guides in exploring the mysterious experience of place.</p> <p>&nbsp;</p> Sat, 20 Jul 2013 17:44:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Edward Thorp Gallery - June 13th, 2013 - October 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Edward Thorp Gallery is pleased to announce Season Review , a group exhibit comprising of works from gallery artists and a selection of works from a rtists who participated in the 2012 - 2013 season. This overview will reflect a diversity of approaches in a wide variety of mediums from ink on paper to mixed media multi-panel works, large scale painting on canvas to steel and tin sculpture.</span></p> Fri, 27 Sep 2013 18:40:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ron Milewicz - Elizabeth Harris Gallery - September 5th, 2013 - October 12th, 2013 <p>Elizabeth Harris Gallery is pleased to present its third solo exhibition of new paintings by Ron Milewicz. <br /> <br /> Acclaimed as a painter of the urban landscape, in his new works Milewicz turns to painting objects in order&nbsp;to regard the life of his father, Eli Milewicz. The elder Milewicz, who died in 2012 at age 98, was a tailor who survived Auschwitz, three other Nazi concentration and forced-labor camps, and two death marches. The artist has chosen, from the facts of extraordinary experience, to depict ordinary objects &ndash; a shovel, bricks, spools of thread, an overcoat, a leaf. The paintings surprisingly and uncannily address, without bombast, fundamental issues raised by atrocity of inconceivable cruelty and scale.As poet Tom Sleigh writes in the catalog essay:&nbsp;"Milewicz's images are suffused with a kind of metaphorical double vision&hellip;whatever the literal object in the painting, that object is both itself and something more. And that something more is always disturbing, not in some vague way, but in a way that feels deeply personal to the painter, meditated over, wrestled with, approached head on, then edged away from -&shy;-&shy; as if the images were as much a psychic invitation as a psychic threat to both painter and viewer...These paintings make serious demands on the viewer. They are at once symbolic, historical, and personal. They refuse to stand aloof from biographical circumstance, but demand that viewers come to them prepared to intuit some deeper private resonance."<br /> <br /> Consistent with the gravity of his subject matter, Milewicz's imposing compositions are elemental &ndash; a single object or a group of objects, always presented actual size, is centrally located on the canvas, sometimes raised or lowered. Color, likewise held in check, relies on precise calibration and subtle shifts in hue and tone to achieve its haunting impact. Milewicz's restraint yields images of tremendous force that belie the seemingly simple subjects they depict. Deftly painted but without emphasis on Milewicz's formidable artistic skill, the paintings are quietly iconic, illicit multiple associations and acquire monumental significance.</p> <p>As Sleigh writes of the painting Shovel: " a shovel laid out on a plank of wood, the blade's rust and abrasions, nicks and scars, even the blade's helmet-like shape atop the vertical shaft, suggests a starved corpse laid out in a coffin; or a mock memorial to the slave labor of concentration camp victims; or a deteriorating, sick, and aged body hovering above the plank's map-like grain, as if an individual life had risen momentarily above the vast ebb and flow of historical circumstance."<br /> It is difficult to refer to these painting as still lifes, because the term is so often condescendingly misunderstood. Improbably, essential questions about man's resilience and the possibilities of redemption underlie this powerful and moving exhibition of luminous paintings of simple things.</p> <p>Ron Milewicz was born in 1963 in Brooklyn, New York. He studied art history at Cornell University (1979-83), received a masters degree from Columbia University Graduate School of Architecture (1983-86), and attended the New York Studio School (1990-1994), where he currently teaches. He lives and works in Queens, New York.</p> Tue, 30 Jul 2013 02:16:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list John Kirby - Flowers Gallery NY - September 12th, 2013 - October 12th, 2013 <p class="p1">Flowers Gallery is pleased to announce an exhibition of recent works by British artist, John Kirby. His paintings explore the darker side of youth and the anxieties of adulthood touching on issues of gender, sexuality, religion and race. The exhibition will run from September 12 through October 12th, 2013, with an opening reception on Thursday, September 12th from 6-8pm.</p> <p class="p3">Born in Liverpool in 1949, Kirby was raised Catholic and served as an alter boy before spending a stint as a shipping clerk and then traveling to Calcutta to work in a children's home run my Mother Theresa. Upon returning to England, Kirby settled in London where he found employment first as a social worker and then as a probation officer. It was not until the 1980s, when he was already in his thirties, that Kirby decided to attend art school--enrolling first at Central Saint Martins School of Art and then at the Royal Academy of Arts.&nbsp;</p> <p class="p2">Kirby's paintings often feature solitary figures against sparse backgrounds, evoking a sense of loneliness and melancholy. Many of his works are sublimated self-portraits, while others nod to religious and cultural iconography and still others are coded memories of his own family. His surrealist style has drawn comparisons to Magritte, Hopper and Balthus and in 2012 Kirby was honored with his first major retrospective held, fittingly, at the Walker Art Gallery in his hometown of Liverpool.</p> <p class="p2">John Kirby has been exhibited internationally and is works are held in several public collections including the Tate Gallery in London, the Victoria and Albert Museum in London, and the private collection of David Hockney.&nbsp;</p> Thu, 22 Aug 2013 20:11:23 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list