ArtSlant - Recently added en-us 40 Donald Baechler - Cheim & Read - November 24th - December 30th <p style="text-align: justify;">Cheim &amp; Read is pleased to announce an exhibition of Donald Baechler&rsquo;s early paintings and collages on paper. These works represent the genesis of the artist&rsquo;s iconic vocabulary of symbols and techniques. The exhibition will be accompanied by a catalogue featuring an essay by David Rimanelli. </p> <p style="text-align: justify;">Between 1980 and 1984, when Baechler was still in his mid-20s, his work was the subject of six solo exhibitions. By the end of the &rsquo;80s, his bold, expressive paintings were regarded as some of the most influential of their time&mdash;integral to the dialogue between a new generation of New York painters that included Jean-Michel Basquiat, Keith Haring, and Julian Schnabel. The works currently on view at Cheim &amp; Read embody this pivotal moment in Baechler&rsquo;s career, when he developed a signature iconography and rose to international renown. </p> <p style="text-align: justify;">Baechler&rsquo;s work is known for striking compositions that center big, buoyant, thickly outlined forms on layered surfaces, either built up with paint or dense with collage. His subjects are recognizable the world over&mdash;flowers, faces, houses, globes, and other familiar objects take center stage. Isolated and magnified on large-scale canvases, they become emblems for universal themes like identity, sexuality, community, and mortality. But they are also uniquely Baechler&rsquo;s. There is no doubt, when standing in front of his canvases depicting a larger-than-life skull or flower, for instance, that they were built with Baechler&rsquo;s hand and his ever-growing collection of imagery drawn from everyday life&mdash;&ldquo;things I find on the street, or things drawn on toilet walls, or things drawn by someone I meet in a bar.&rdquo; </p> <p style="text-align: justify;">Baechler began accumulating a trove of found images and his own spontaneous drawings in the late-1970s, when he was a student at Cooper Union, surrounded by the work of Pop artists and the burgeoning Neo-Expressionist circle; and in 1978-79 in Germany, when he worked alongside Neue Wilde practitioners like Jiri Georg Dokoupil and Martin Kippenberger. When he returned to New York in the early-&rsquo;80s, he began making the paintings that would become synonymous with his name. Onto these canvases, Baechler siphoned selected imagery through his brush, which sloughed off unnecessary details and pared forms down to their symbolic, and often humorous, essence.</p> <p style="text-align: justify;"><br /> The works resurfaced in this presentation depict a cohort of subjects that have repeated, shapeshifted, and been reinvented across Baechler&rsquo;s body of work. Nude figures and Iberian sculptures, buildings, sex toys, and a host of self-portraits iterate across the gallery in various states of solidity&mdash;some are ghostly combinations of line and erasure, others are embedded in roiled fields of layered, splattered paint. Several drawings of small houses are isolated from their surroundings, limned in black line, and float on creamy, cloud-like fields that might represent memories. Like the 1970s and &rsquo;80s works by Richard Artschwager and Robert Gober, they tap into suburban melancholy. Similarly, renderings of anonymous men and boys float in areas of off-white paint alongside images of teapots, airplanes, and classical sculptures&mdash;objects that represent everyday moments, deeply lodged memories, and lofty dreams alike. </p> <p style="text-align: justify;">They all illustrate Baechler&rsquo;s interest in&mdash;and mastery of&mdash;the relationship between personal and universal iconography, painterly gesture and graphic line, foreground and background. In these early pieces, as in all of Baechler&rsquo;s works, intentioned lines, when filled with accessible content and executed atop rich palimpsests of imagery, become powerful symbols for the absurdity, humor, and sadness that rims everyday life. </p> <p style="text-align: justify;">Donald Baechler was born in Hartford, Connecticut in 1956 and currently lives and works in New York City. His work has been exhibited and collected internationally; recent museum shows include &ldquo;Donald Baechler: Painting &amp; Sculpture&rdquo; at Fisher Landau Center for Art, New York, in 2011, and &ldquo;XL + XS&rdquo; at the Museo Arte Contemporanea Isernia, Italy, in 2009. Other recent international exhibitions include shows in Italy (in Trento, Vermiglio and Torino), as well as in Spain, Sweden and Austria. Cheim &amp; Read has represented Baechler since 1999.</p> Tue, 01 Dec 2015 14:57:22 +0000 - Artists Space : Books & Talks - December 2nd 7:00 PM - 9:00 PM <p style="text-align: justify;">In the second of a series of programs forming part of the Union Gaucha Productions survey, screenings of the films <em>The Laughing Alligator</em> by Juan Downey and <em>Les Ma&icirc;tres Fous</em> (The Mad Masters) by Jean Rouch will be followed by a talk by anthropologist Michael Taussig.<br /> <br /> Taussig's research and writing has expanded the horizons of traditional ethnographic fieldwork, forming "an inscription on the edge of official history" that weaves together observation, fact and fiction, archival history, memoir and literary theory. He has stated: "an aim of such writing is to turn the attention of the reader to the very act of writing as an 'anthropological' or cultural act which engages with the desire to succumb to authority in general, and to colonial or postcolonial tropes in particular." His highly influential publication <em>Mimesis and Alterity</em> (1993) took the idea of writing as "mimetic exchange with the world" as its core, developing an idiosyncratic history of the mimetic faculty and the interweaving concepts of imitation and difference.<br /> <br /> Juan Downey's <em>The Laughing Alligator</em> (1979) was shot while the artist, his wife Marilys and stepdaughter Titi, lived in the Amazon rainforest with the Yanomami people. Extending out of Downey's celebrated <em>Video Trans America</em> series (1973-1977) in which he undertook to produce a videotaped account of a trip from New York to the southern tip of Latin America, carrying with him his camera, generator and monitor and playing back his recordings in towns and villages along the way, the video takes on "objective" methods akin to anthropological research while functioning as a subjective diaristic essay. In his 2008 essay "Feedback in the Amazon" Nicol&aacute;s Guagnini posits that Downey "did not go only to 'see,' but to see himself seeing as the others were seeing him, realizing a negotiation of otherness in real-time within an actual community. This was his ultimate actualization of video feedback." Downey was trained as an architect, and was particularly interested in the funerary architecture of the Yanomami, who ritually consume the pulverized bones of their dead in a soup. In <em>The Laughing Alligator</em> the artist states he wants to be eaten by the Yanomami "not as an act of self sacrifice ... but as a demonstration of the ultimate architecture: to inhabit, to dwell physically as well as psychically, inside the human beings who would eventually eat me."<br /> <br /> Jean Rouch's <em>Les Ma&icirc;tres Fous</em> (1955) is one of the French director and ethnologist's first "ethno-fictions," a term coined to encompass his blurring of techniques of fiction and non-fiction, between the practices of anthropology and film. Rouch first travelled to West Africa in 1941, working as a civil engineer overseeing a construction project in Niger. He spent the majority of the subsequent sixty years of his working life in the region, collaborating with local filmmakers and actors on films that demonstrated the traditions, culture, and ecology of the people of the Niger River valley. <em>Les Ma&icirc;tres Fous</em> focuses on the Hauka movement active in the suburbs of Accra, then the capital of the Gold Coast. A possession cult, those participating in Hauka mimicked the military ceremony and gestures of European colonial administrators, in a state of trance. As Rouch explains, "the cult is an African expression of our culture. The title of the film is a pun. The British colonial masters are the ones who are mad." When released the film was considered offensive by both colonial authorities, and by African scholars, filmmakers and students alike.</p> <p style="text-align: justify;">Michael Taussig (born 1940 in Sydney, Australia) is a Professor of Anthropology at Columbia University in New York. Taussig's most recent book is <em>The Corn Wolf</em> (2015), a collection of his writing that marries storytelling with theory, and analysis with ethnography. His previous books include <em>Beauty and the Beast</em> (2012), <em>What Color is the Sacred?</em> (2009), <em>Walter Benjamin&rsquo;s Grave</em> (2006), <em>My Cocaine Museum</em> (2004), <em>Magic of the State</em> (1997), <em>Mimesis and Alterity</em> (1993), and <em>The Devil and Commodity Fetishism in South America</em> (1980), among many other publications.</p> Tue, 01 Dec 2015 14:50:20 +0000 Younghee Choi Martin - Bowery Gallery - December 1st - December 31st <p style="text-align: justify;">These powerful new works overwhelm with the rigor of&nbsp;their compositions, their&nbsp;color, and their&nbsp;narrative&nbsp;poetry. &nbsp;Martin's&nbsp;highly&nbsp;worked&nbsp;surfaces&nbsp;convey a spirit of&nbsp;suspended&nbsp;spontaneity&nbsp;that takes&nbsp;years to achieve yet feels simultaneously dense, fresh, intuitive, and expressive. Her&nbsp;process is&nbsp;to continually&nbsp;begin&nbsp;anew by scraping the entire surface,&nbsp;then to&nbsp;draw&nbsp;back in&nbsp;with brush and stick&nbsp;while&nbsp;leaving the visible traces of the prior versions beneath as the&nbsp;richly textured memory of a story lost and found again.<br /> &nbsp;<br /> Included in the exhibition are several large paintings with a pastoral motif: <em>Late Summer Afternoon</em> (74" x 80"), <em>Midsummer</em> (61" x 80"), <em>Departure</em> (76" x 71"), <em>Autumnal Rest</em> (76" x 71"), <em>Into the Deep Forest</em> (62" x 61"), <em>Choephori</em> (64" x 49"), <em>Thunder of Spring</em> (75" x 100").&nbsp;There is a reductive, modernist integration of the figurative and landscape elements in these works. The myths are generalized&nbsp;to the point of abstraction and then pulled firmly back&nbsp;into the grand Poussineque tradition (from Giorgione's&nbsp;<em>F&ecirc;te de Champ&ecirc;tre</em>, to Cezanne's <em>Bathers, with a serious nod to Eilshemius</em>). &nbsp;Through&nbsp;this massive play of shape and color,&nbsp;the narrative is&nbsp;never lost. It breathes through the layers, to&nbsp;slowly reveal&nbsp;a&nbsp;primal vision.<br /> &nbsp;<br /> Born in Seoul, Korea in 1954, Younghee Choi Martin immigrated to the United States and became a citizen in 1978.&nbsp; Since the mid-1970&rsquo;s, she has lived and worked in Chelsea, where she was one of the earliest artists to establish a painting studio. A graduate of&nbsp;the Rhode Island School of Design,&nbsp;she has been&nbsp;awarded painting fellowships from the National Endowment for the Arts and the NY CAPS program&nbsp;and her&nbsp;works have been exhibited&nbsp;in New York and throughout the United States, Korea, Japan, France, and Italy. Over 80 of her&nbsp;paintings and drawings are in collections and museums&nbsp;in the United States, Korea, Japan, and India.</p> Tue, 01 Dec 2015 14:45:30 +0000 Adeel uz Zafar - AICON GALLERY - New York - December 10th - January 23rd, 2016 <p style="text-align: justify;">V.I.P. Reception &amp; Press Preview: Thursday, December 10th, 6:00pm &ndash; 8:00pm<br /><br />Monomania (mŏn&prime;ə-mā&prime;nē-ə)<br />1. A partial insanity in which psychotic thinking is confined to one subject or group of subjects.<br />2. An excessive interest in or enthusiasm for a single thing, idea, or the like; obsession<br /><br />Aicon Gallery is proud to announce <em>Monomania</em>, the first U.S. solo exhibition of Karachi-based artist Adeel uz Zafar. Born in Karachi, Pakistan in 1975 and receiving his BFA from Lahore&rsquo;s National College of Arts in 1998, Zafar began his career as an illustrator of children&rsquo;s books, which has marked his artistic endeavors ever since. This exhibition presents a survey of Zafar&rsquo;s recent work, and highlights two of the signature elements of his practice; the use of children&rsquo;s toys eerily wrapped in bandages as subject&nbsp;matter and his now iconic reductive technique of scraping away at a black latex surface line by line to give rise to meticulously rendered, seemingly three-dimensional forms. The resulting figures, set against a stark black expanse as background, are simultaneously haunting, imposing and imbued with an intense sense of loneliness. They mirror the isolation and confusion that are the increasingly common by-products of our ever more connected yet somehow ever more fragmented societies. As cultures clash, ideologies metastasize, and socio-political conflicts and inequalities intensify, Zafar&rsquo;s figures, while culled from the collective memories of our childhoods, embody the sense of desperation, helplessness and darkness that can result from our increasingly complex and volatile global situation.<br /><br />Zafar&rsquo;s work came to prominence in the exhibition Size Does Matter at V.M. Art Gallery, Karachi in 2009. The monumental scale of the works, their unusual subject matter drawn from global pop culture, and his innovative &ldquo;scratch and reveal&rdquo; technique all served to quickly set the work apart from the predominant methods and concerns of the emerging Neo-Miniaturist art scene in Pakistan. Additionally,&nbsp;the works posed a new challenge at the time by overwhelming the viewer with the obsessive virtuosity of their technique while denying any easy reading of their underlying meaning or implications. Some saw the works as metaphors for the universal notion of childhood innocence lost, while others viewed the isolated and battered figures as a specific cultural stand-in for the nation of Pakistan, as it teeters on the brink of a political and ideological abyss. Since these figures originate largely from a pool of universally shared childhood icons, but are now being interpreted by individuals shaped and molded by a lifetime of personal subjective experience, the artist has always been careful to leave such readings open.<br /><br />There is no doubt however that these works are the product of Zafar&rsquo;s twin obsessions of recurring subject matter and his painstakingly meticulous technique. The solitary figures that populate the world Zafar seems to be creating float through their lonely universe and seem completely oblivious to one another due either to the bandages covering their eyes or the black voids in which they find themselves. Thus, although these characters evidently exist in the same mythological pantheon of our shared memory, they appear doomed to never meet one another; to never enact the dramatic battles,&nbsp;alliances and tragedies for which they&rsquo;ve been created. Not only do the conflicts between the perceived good actors and bad actors in this world go perpetually unresolved, they are never even given a true chance at understanding each other or themselves. Here Zafar&rsquo;s world seems a heightened metaphor for our now global ideological, cultural, and sociopolitical conflicts and the bleak consequences of giving in to the pessimism it can sometimes breed.<br /><br />Zafar&rsquo;s creations often seem desperately abandoned or forlorn. However, the postures of many of these figures seem clearly ready and excited for interaction. In Antagonist 1 / Dragon, the creature stands with its bandaged fists in the air, like a boxer ready to face an opponent who will never enter the ring. Meanwhile on the side of the &lsquo;good guys&rsquo;, Protagonist 1 / Mickey floats hopefully through his empty universe, arms perpetually outstretched for a hug he&rsquo;ll never give or receive. It is a desperate and insular inner world we&rsquo;re peering into, a world in which sensory overload in the information age and exasperating ever multiplying crises have reversed the natural human desire to seek and understand the world. Indeed, even when Adeel&rsquo;s characters occasionally manage to get a peek through their bandage</p> <div id="scrollerContainer"> <div id="scrollerContent"> <p style="text-align: justify;">s at the world around them, they likely wish they hadn&rsquo;t. There is a sort of existential horror expressed in the single giant staring eye of Antagonist 3 / Monster, while Protagonist 2 / Kong seems quite positively on the verge of tears upon getting a glimpse of the emptiness that surrounds him.<br /><br />In the end, these drifting creatures seem to have been created to either perpetually ponder the purpose of their existence in a world they cannot clearly see or understand, or be cursed with the sight and knowledge of the true void in which they exist. Born out of an obsession with a revelatory yet single artistic technique, the once familiar inhabitants of Zafar&rsquo;s strange and lonely universe are ultimately left with nothing to contemplate or understand outside of themselves. They have become the trapped subjects of their own monomania.<br /><br />Adeel uz Zafar was born in Karachi, Pakistan in 1975. He completed his BFA from National College of Arts (NCA), Lahore, graduating in 1998. Zafar then involved himself in ensuing projects that marked his early identification as an illustrator, including work on children&rsquo;s books. In 2008, Zafar turned his attention fully towards fine art, gaining broad recognition for his work through several important group exhibitions in Pakistan. His works highlight and provoke a wide range of interpretations and can be read and experienced on many levels: personal, social, political and philosophical. Zafar has had solo exhibitions in Pakistan and Singapore, with the current exhibition being his first major solo show in the U.S. He has participated in more than thirty international group exhibitions and been featured in publications such as Art Review, ArtAsiaPacific, The Express Tribune (Pakistan), Dawn (Pakistan) and many more.&nbsp;</p> </div> </div> Mon, 30 Nov 2015 17:52:28 +0000 MIGUEL AGUIRRE - Y Gallery - November 18th - December 13th <div class="OutlineElement Ltr SCX239257322"> <p class="Paragraph SCX239257322">Y Gallery is pleased to present&nbsp;New York School. Thirty-two portraits and three abstract exercises,&nbsp;the second solo show of Miguel Aguirre in our space. The project is composed of a series of thirty-two oil on zinc portraits and three abstract works, each made in a different medium: a tapestry, a chessboard intervention, and a mural painting. All these works are part of his recent explorations on American Art History, especially the American abstraction that became one of the first movements that gained international recognition and gave visibility to New York as the world capital of art since the 1940&acute;s. The portraits feature first and second generation artists that are known to be associated with American Abstract Expressionism.&nbsp;</p> </div> <div class="OutlineElement Ltr SCX239257322"> <p class="Paragraph SCX239257322">For the thirty-two portraits, Aguirre appropriates black and white photos of the painters found on the&nbsp;Internet&nbsp;and reproduces them on same-sized zinc sheets. The portraits depict a handful of well-known figures of the movement, while a majority of the artists may relatively be unknown to the general public. More than just&nbsp;an homage, this series tends to be a sort of critical analysis on the history of this movement and its formal achievements. By experiencing all of these portraits together, one has the sensation of being in front of a yearbook of sorts,&nbsp;which allows us to make some deductions of this class of artists, such as the fact that half of them were smokers, most of them are men, most of them are white, etc. However,&nbsp;with&nbsp;a deeper analysis of all these figures you begin to understand that just a few of the artists in&nbsp;New York School&nbsp;were born in this state, and that most of them come from other states of the Union, or from Canada and Europe, following the tradition of diffusion that has characterized the development of culture in this city. &nbsp;</p> </div> <div class="OutlineElement Ltr SCX239257322"> <p class="Paragraph SCX239257322">In conjunction with this figurative series, Aguirre has also developed three works, &ldquo;exercises,&rdquo; taking into account some principles of Abstraction and combined them with one of the richest cultural heritages of his country of origin: the textile art of Peru. The first exercise uses a famous photo taken by Nina&nbsp;Leen&nbsp;of several abstract expressionists (published in Life Magazine in 1951), to which the artist has applied the &ldquo;Palette Knife&rdquo; filter of Photoshop to obtain his abstracted forms. The resulting image was then used as a blueprint by a Peruvian textile artisan to create a quilt with sheep wool using the millennial technique of the San Pedro de&nbsp;Cajas&nbsp;town in the province of Jun&iacute;n. &nbsp;</p> </div> <div class="OutlineElement Ltr SCX239257322"> <p class="Paragraph SCX239257322">The second exercise is a chessboard made out of wood and painted with watercolor. This work takes its departure from the book&nbsp;Who&nbsp;Paid the Piper? The CIA and the Cultural Cold&nbsp;War, written by Frances&nbsp;Stonor&nbsp;Saunders and published in 1999. In it, one reads that the CIA, more apparent in the 50&rsquo;s, used different institutions such as&nbsp;MoMA&nbsp;to promote the American Abstraction by developing shows of these artists in different European museums with the purpose to fight the totalitarian ideals of the Soviets and their satellites pre-dating the era of the Iron Curtain. The chessboard is painted in the colors of the American and USSR flags whose resulting abstraction closely resembles the abstract patterns of the Nazca (a pre-Colombian culture from the central coast of Peru) in some of their textiles. &nbsp;</p> </div> <div class="OutlineElement Ltr SCX239257322"> <p class="Paragraph SCX239257322">Aguirre&rsquo;s last exercise is an intervention in one of the walls at the gallery, which refers to some of the painters in his&nbsp;New York School&nbsp;who have participated in the&nbsp;Federal Art Project, organized by the Roosevelt office for the creation of hundreds of murals in public buildings. Produced from Roosevelt&rsquo;s intention, the intervention echoes Peruvian quilts of the 19th Century while&nbsp;also citing Barnett Newman&acute;s zips.&nbsp;</p> <p class="Paragraph SCX239257322">Miguel Aguirre (Lima, 1973) lives and works between Tarragona, Spain and Lima, Peru. He has received a B.F.A. at the Faculty of Arts at the&nbsp;Pontificia&nbsp;Universidad&nbsp;Cat&oacute;lica&nbsp;del&nbsp;Per&uacute;, Lima, and the Advanced Diploma Studies (DEA) for the Faculty of Fine Arts at the University de Barcelona. His work has been shown in Europe and Latin America museums and institutions including&nbsp;Domus&nbsp;Artium&nbsp;2002 - DA2, Salamanca, Spain;&nbsp;Fundaci&oacute;n&nbsp;L&aacute;zaro&nbsp;Galdiano, Madrid; MEIAC, Badajoz, Spain; Museum&nbsp;voor&nbsp;Moderne&nbsp;Kunst&nbsp;- MMKA, Arnhem, Holland;&nbsp;Kunsthalle, Winterthur, Switzerland; Centro Cultural de&nbsp;Espa&ntilde;a, Lima; Mexican Cultural Institute, Washington D.C.;&nbsp;Museo&nbsp;de Arte de Lima - MALI;&nbsp;Museo&nbsp;de Arte&nbsp;Contempor&aacute;neo&nbsp;de la Universidad&nbsp;Nacional&nbsp;Mayor de San Marcos, Lima; MALBA, Buenos Aires;&nbsp;Museo&nbsp;de Arte de Puerto Rico, San Juan; MACSI, Caracas; 3&nbsp;Bienal&nbsp;do&nbsp;Mercosul, Porto&nbsp;Alegre; I&nbsp;Bienal&nbsp;Iberoamericana&nbsp;de Lima; II&nbsp;Bienal&nbsp;de&nbsp;Fotograf&iacute;a,&nbsp; Lima;&nbsp; among others.</p> </div> Fri, 27 Nov 2015 18:48:08 +0000 Gary Taxali - Jonathan LeVine Gallery - 529 W. 20th - November 21st - December 19th <div style="text-align: justify;">Jonathan LeVine Gallery is pleased to present&nbsp;<em><strong>Hotel There</strong></em>, a series of new works by Toronto-based artist&nbsp;<strong>Gary Taxali</strong>&nbsp;in what will be his third solo exhibition at the gallery.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Described as &ldquo;reinvented pop art,&rdquo; Taxali&rsquo;s vintage-inspired characters and hand-drawn typography are internationally recognized. With an aesthetic influenced by Depression-era graphics and printed ephemera, such as comics and advertising, his multidisciplinary technique results in colorful compositions with an outpouring of social commentary. Following the success of his first career retrospective in Ontario, Taxali returns to the gallery with thirty new works inspired by his travels. &nbsp; &nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Taxali has always had a fascination with time and self-awareness, specifically the ability to consciously live in the present. In&nbsp;<em>Hotel There</em>, he aims to capture those concepts by delving into themes of love, isolation, hope, relationship follies, pain and happiness. Taxali describes his inspiration for this new series by stating the following:&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;In the last 18 months I have visited Asia three times (China twice, India once), and the long journeys to these faraway places have impacted me artistically. &nbsp;The works in this exhibition harken (either literally or conceptually) to moments of fear, isolation, excitement, and cultural divides that I experienced. &nbsp;Airport gates and hotels are somber reminders of this. &nbsp;We are simultaneously connected and divided. &nbsp;That is, the sameness of the human condition is underscored by its overt differences. From a human standpoint we are all one, but from a place of self-reflection, travelling is not only a futile reprieve from the present moment, it&rsquo;s a vehicle of awareness to our own, unique selves. In this way, there is no &ldquo;there&rdquo; because everywhere is &ldquo;here&rdquo;. Yet we persevere because we all know on some level the journey is not to a location, it&rsquo;s to us. Life&rsquo;s purpose is self-knowledge, and the voyage its vessel. &lsquo;Hotel There&rsquo; awaits your check-in."</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><strong>ABOUT THE ARTIST</strong></div> <div> <div style="text-align: justify;"><strong>Gary Taxali</strong>&nbsp;was born in Chandigarh, India and raised in Toronto, Canada. In 1991, he graduated from Ontario College of Art and Design University (OCAD). Taxali is an award winning illustrator and his fine artwork has been exhibited in galleries in the United States and Europe as well as museums, such as the Whitney Museum of American Art and the Contemporary Art Museum in Rome. In 2011, two books of his work were released:&nbsp;<em>Mono Taxali</em>, published by 279 Editions, and<em>&nbsp;I Love You, OK?</em>, published by teNeues. In 2012, The Royal Canadian Mint released a special edition of six 25&cent; coins which feature Taxali&rsquo;s artwork and typography. In 2015,&nbsp;<em><a href="" target="_blank">Gary Taxali: The Art of Whimsy</a></em>, a short film documenting the artist in his studio, premiered at the Canadian Art Film Festival. &nbsp;That same year he had his first major retrospective exhibition,&nbsp;<em><a href="" target="_blank">Here and Now: The Art of Gary Taxali</a></em>, at Idea Exchange in Ontario, Canada.&nbsp;</div> </div> Wed, 25 Nov 2015 18:09:17 +0000 Augustine Kofie - Jonathan LeVine Gallery - 529 W. 20th - November 21st - December 19th <div style="text-align: justify;">Jonathan LeVine Gallery is pleased to present&nbsp;<em><strong>INVENTORY</strong></em>, a series of new works by Los Angeles-based artist&nbsp;<strong>Augustine Kofie</strong>&nbsp;in what will be his debut solo exhibition at the gallery.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In this exhibition, Kofie explores the role of inventory in his work. The word inventory, &ldquo;a complete list of items such as property, goods in stock, or contents of a building,&rdquo; comes into English from the Late Latin inventarium, a &ldquo;list of what is found,&rdquo; from the Latin invenire, &ldquo;to devise, discover, find.&rdquo; Invention and inventory are thus linked: the making of something new comes from the discovery of something existent, its subsequent cataloguing, storing, and use as stock.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The inventory in question consists of found, reclaimed press- or chip-board, a heavier paper stock used in packaging and office supplies from the 1950s to the 1980s: steno notepads, file folders, envelopes, index cards, or industrial packaging designed, printed and manufactured in the USA. These are old technologies, now rendered obsolete, used for organizing in a predigital, bygone era. Kofie finds and collects these at estate sales in the greater Los Angeles area in a highly specific form of &ldquo;controlled hoarding,&rdquo; in the artist&rsquo;s own words. He gleans this refuse of the past&mdash;forgotten, unwanted, unseen&mdash;from the homes, workshops, and garages of the elderly, who saved everything, back when things were made well, made to last.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Kofie explains his attraction to office supplies through his obsessiveness with organization, not order so much as cataloging. A self-defined &ldquo;compartamentalizer,&rdquo; he breaks his work process into phases, especially for a cohesive, coherent collection such as the one in this exhibition. He begins by drawing small case studies on notepaper or note pads&mdash;loose leafed, easily discardable. These become reference for collage work, in which the discovery and collection of forsaken materials is the first step. Next, the materials enter his studio, where they are meticulously inventoried&mdash;archived by color palette, thickness, and category in vintage industrial file cabinets, &ldquo;sometimes for years, sometimes for that day,&rdquo; until they make their way into an assemblage. Finally, layers of pencil, ballpoint pen, silkscreen, and acrylic ink cover the assemblage, making it cohere.</div> <div style="text-align: justify;">Kofie describes his process, both in collage and in painting, as one of building, like an architect making a model in two dimensions for a structure that will never be built. The found materials are the first building blocks of this process, essential to it. The painting and drawing that follows brings them into new purpose, new life. &ldquo;I&rsquo;m not building brand new systems, I&rsquo;m building systems that have existed and have been forgotten.&rdquo;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">This method of citing systems that have existed in the past&mdash;the process of discovering, isolating, and repurposing in something existent a component of new creative possibility&mdash;defines sampling. A parallel version of the process forms the basis of Kofie&rsquo;s soundtracks for his exhibitions (under the moniker 4X4Tracktor), many of which sample records found at the same estate sales as well as marginal cinema from the same era. But whereas sampling poaches bits of work made by other artists, amassing and repurposing an inventory of predigital office supplies does not infringe on anyone&rsquo;s creative copyright. Flipping the materials becomes an act of elevation, of salvage from oblivion.&nbsp;<em>INVENTORY</em>focuses on reappropriation as the very beginning of Kofie&rsquo;s work.&nbsp;<em>&nbsp; -Ruti Talmor</em></div> <div style="text-align: justify;"><span style="text-decoration: underline;"><a href="" target="_blank">Exhibition soundtrack:</a></span></div> <div><br /> <div style="text-align: justify;"><strong>ABOUT THE ARTIST</strong></div> <div> <p style="text-align: justify;"><strong>Augustine Kofie&nbsp;</strong>was born in 1973 in Los Angeles, California, where he is currently based. Inspired by the basic building blocks of the geometric world, Kofie has formed a retro-futuristic aesthetic, which transplants shapes and angles into a soulful, organic, yet highly mathematical form of abstraction. Merging his traditional graffiti education with his deep love of illustration and architectural renderings, Kofie plays with form, line, balance and depth, twisting and manipulating his compositions into new and dramatic arrangements. His street art is internationally recognized and he has exhibited his works in galleries across the United States, as well as in France, Mexico, Morocco and Tokyo.</p> </div> </div> Wed, 25 Nov 2015 18:08:04 +0000 Robert Smithson - James Cohan Gallery - Lower East Side - November 21st - January 10th, 2016 <p style="text-align: justify;">James Cohan is pleased to present&nbsp;<a href="" target="_blank"><em>Pop</em></a>, an exhibition of the late Robert Smithson&rsquo;s works on paper and select sculpture from 1963-65, on view from November 21 through January 10, 2016.&nbsp; This exhibition marks the debut of James Cohan&rsquo;s second NYC gallery space located on the Lower East Side.<br /><br />In 1963, at the age of twenty-five, Robert Smithson was immersed in the vitality and experimentation of the burgeoning downtown New York art scene. Smithson fed on the clashes of style, form and meaning found along his rambles through the city; from the downtown kiosks hawking porno magazines and comic books, to the movie houses of Forty-Second Street with their &ldquo;low budget mysticism of horror films,&rdquo; to the mineral displays at the Museum of Natural History, and across town to the Met&rsquo;s Byzantine paintings and the &ldquo;cold glass boxes&rdquo; along Park Avenue.&nbsp;</p> <p style="text-align: justify;">Smithson&rsquo;s prolific drawings from this period, including those about language and Christian iconography, sought out disorder from the hierarchies of social conventions and popular culture. The series of drawings on view at the gallery are composed like biblical panel paintings with collaged or drawn elements in the center of the page surrounded by free-floating figures in nested zigzag motifs.&nbsp;</p> <p style="text-align: justify;">Today, fifty years later, the works continue to resonate for their timeless dualities&mdash;the popular and the rarefied, the modern and the classic, the sacred and the profane, while they give us insight into the imagination of an artist who was to become one the defining figures of the 20th century.</p> Wed, 25 Nov 2015 17:45:54 +0000 Faith47 - Jonathan LeVine Gallery - 557C West 23rd - November 19th - December 19th <div style="text-align: justify;">Jonathan LeVine Gallery is pleased to present&nbsp;<em><strong>Aqua Regalia &ndash; Chapter Two</strong></em>, a series of new works by South African artist&nbsp;<strong>Faith47</strong>&nbsp;in what will be her debut solo exhibition at the gallery. In conjunction with the exhibition, the gallery will release a 35 edition lithograph inspired by the mural&nbsp;<em>Capax Infiniti,</em>which&nbsp;the artist painted in Portland, Oregon (2014). It will be released in person at the opening reception on November 19th at 6pm, as well on our&nbsp;<a href="" target="_blank">online store</a>.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Faith47&rsquo;s artistic approach is explorative&ndash; from creating work in her studio using rescued objects, to painting murals on city walls around the world. For her first solo show in New York City she explores the dichotomy between the sacred and the mundane by enveloping viewers in a space with figurative paintings, as well as intricacies from everyday life in shrine-like artworks. Through this pairing Faith47 celebrates the commonplace as holy in an attempt to disarm strategies of global realpolitik and advance the expression of personal truth. In this way her work is both an internal and spiritual release that speaks to the complexities of the human condition, its deviant histories and existential search.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">This show is a continuation of the artist&rsquo;s successful 2014 London exhibition. &lsquo;Aqua regalia&rsquo;&nbsp;or &lsquo;royal water&rsquo; is the alchemical name for a highly corrosive mixture of nitric and hydrochloric acid that has the ability to dissolve one of the most enshrined substances &ndash; gold.&nbsp; This transformative chemistry forms a symbolic reference to her artistic process of restoring value to that which has been lost and overlooked.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In&nbsp;<em>Aqua Regalia &ndash; Chapter Two</em>, multidisciplinary works created with ink, graphite and oil paint are complimented with mixed media collages that utilize articles the artist has collected in various countries. Findings include international currency, torn pages from books and magazines, signage, vintage film and photographs, playing cards and government records. Atop this expendable paraphernalia are her representational depictions of incarnated divinity, animals, sacred geometry and text. By associating such imagery with rejected materials a narrative is drawn. A question posed, can projected meaning compel us to reconsider an object as indivisibly connected to our experience and understanding?&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div> <div style="text-align: justify;"><strong>ABOUT THE ARTIST</strong></div> <div> <div style="text-align: justify;"><strong><a href="" target="_blank">Faith47</a></strong>&nbsp;is an internationally acclaimed street and studio-based artist currently based in Cape Town, South Africa. Following an active street art career spanning more than fifteen years, her work can now be found in major cities around the world. Using a wide range of media, including graphite, spray paint, oil paint, ink, photography and collage, her approach is explorative and substrate appropriate &ndash; from found and rescued objects, to time-layered and history-textured city walls, to studio prepared canvas and wood.</div> </div> </div> Wed, 25 Nov 2015 15:13:52 +0000 Albert Herter, Caitlin Keogh, Candice Lin - Koenig & Clinton - December 10th - January 16th, 2016 <p style="text-align: justify;">FOR IMMEDIATE RELEASE</p> <p style="text-align: justify;"><em>Bodily Imaginaries: Albert Herter, Caitlin Keogh, and Candice Lin</em></p> <p style="text-align: justify;">December 10, 2015&ndash;January 16, 2016</p> <p style="text-align: justify;">Opening Reception: Thursday, December 10, 6&ndash;8PM</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Koenig &amp; Clinton is pleased to announce <em>Bodily Imaginaries</em>, a group exhibition of works on paper by artists Albert Herter, Caitlin Keogh, and Candice Lin that presents divergent aesthetic approaches that reference discrete histories.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The provocative antiheroes of Candice Lin&rsquo;s drawings confront colonial fears and fantasies head-on. Her pseudo historical etchings and watercolors, rendered in the style of a 19<sup>th</sup>-century imperialist travelogue, offer hyperbolically racialized caricatures who defy the safe bounds of control. Lin&rsquo;s narrative revisits a complex portrait of the eroticism, the conquest, and the ritual that were often loathed in an Occidental self and projected onto &lsquo;the other&rsquo;.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Entirely constructed, mechanically hinged, and ghoulishly costumed, Albert Herter&rsquo;s bodies resemble composite marionettes incapable of grasping their own strings. His intricately drafted, restless subjects are social creatures, whose forms are simultaneously familiar and foreign, artificial and expressive. In Herter&rsquo;s <em>Instauration </em>and <em>Aggressive Constellation</em> series, individual and social trials, interconnected by chaos, are on full display.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">In her drawings of anonymous female torsos, Caitlin Keogh employs visual dislocation, interruption, and isolation of bodies in visual space. Keogh&rsquo;s subjects, decapitated and limbless, are imbued with ideal proportions, but clinically so. Dissociated bodies are often eviscerated, bound, punctured or penetrated by foreign objects, vegetal outgrowths, or decorative patterns. Keogh contaminates a Pop vocabulary of flatness, outline, and graphic precision with sensuality, undulation, exuberance, and the animate.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Bodily Imaginaries</em> prioritizes repellant, disjointed, or incomplete figures that subvert established representations of official narratives, Vitruvian bodies, and sanctioned desires.</p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em>Albert Herter (b. 1980, San Francisco) holds a BFA in New Genres from the San Francisco Art Institute, where he focused primarily on video, installation, and performance. His work has been the subject of solo&nbsp;exhibitions at Partisan Gallery, San Francisco and San Francisco City Hall. He has also participated in group exhibitions&nbsp;at: Art in General, New York; Derek Eller, New York;&nbsp;Spiral Gallery, Los Angeles; and&nbsp;Arthouse, McAllen, TX. He will have his first solo exhibition in New York at Koenig &amp; Clinton in 2017. </em>In the Curtyard: Orchestrated Reduction of the Fantasm, <em>recently published by</em> <em>Comfortable On a Tightrope and Museums Press, features the artist&rsquo;s drawings and writings. His drawings have also been featured in </em>The Third Rail<em>, and&nbsp;</em>Lacanian Ink.<em> Herter lives and works in Brooklyn, New York.</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em>Caitlin Keogh (b. 1982, Spenard, AK) holds an MFA from Bard College, NY, and a BFA from The Cooper Union School of Art, NY. Recent solo exhibitions include </em>The Corps<em>, Mary Boone Gallery, New York (2015) and </em>Good Value, Fine Quality<em>, </em><em>MoMA PS1, New York (2012). She has participated in select group exhibitions at Algus Greenspon, NY; Melas Papadopoulos, Greece; Renwick Gallery, NY; Kunsthalle Z&uuml;rich, Switzerland; and White Columns, New York. The artist lives and works in Brooklyn, New York.</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em>Candice Lin (b. 1979, Concord, MA) received her MFA in New Genres at the San Francisco Art Institute and her double BA in Visual Arts and Art Semiotics at Brown University. Lin&rsquo;s work has been exhibited at the Kadist Art Foundation, Paris; the Delfina Foundation, London; La Maison Populaire, Paris; and Alh&oacute;ndiga Bilbao, Spain. Recent solo exhibitions include Francois Ghebaly Gallery, Los Angeles and CAAA, Guimaraes, Portugal. She has been awarded several residencies and grants, including: the Artist Lab Residency at 18th Street (2015); the Fine Arts Work Center Residency (2012); the Frankfurter Kunstverein Deutsche Borse Residency (2011); and the Smithsonian Artist Research Fellowship (2009); among others. The artist lives and works in Los Angeles.</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;">For further information please contact <a href="" rel="nofollow"></a> or call (212) 334-9255.</p> <p style="text-align: justify;">Hours of operation are Tuesday&ndash;Saturday, 11AM&ndash;6PM and by appointment.</p> <p align="center">###</p> Sun, 29 Nov 2015 19:27:21 +0000 Mhysa - Recess Activities, Inc. - December 17th 7:00 PM - 9:00 PM <p>Organized in conjunction with Sondra Perry: My Twilight Zone Thing</p> <div><br />Black femme DJ/producer Mhysa will perform original trax accompanied by improvisational live edits as a part of her continuing efforts to assist the underground cyber resistance.&nbsp;</div> Tue, 24 Nov 2015 19:25:38 +0000 Caitlin Cherry - Recess Activities, Inc. - December 10th 6:00 PM - 8:00 PM <p>Organized in conjunction with Sondra Perry: My Twilight Zone Thing<br /><br />Artist Caitlin Cherry will present a performative lecture and archive showcasing her established Facebook practice of curating images via Google Image Search. Cherry will explore free association on the internet and the algorithms required to develop Facebook&rsquo;s News Feed and web search tools and will consider how these processes correlate with artistic innovation. The artist's chosen images are often from the &ldquo;backside&rdquo; of Google Image Search-- a space accessed by entering a matrix of two unrelated word combinations or scrolling deep into the later pages of Image Search to niche web pages. The lecture will engage with a cross-section of art, technology, social and digital culture through Cherry&rsquo;s personal interests and social media feeds.</p> Tue, 24 Nov 2015 19:24:00 +0000 Alex Katz - The Metropolitan Museum of Art - October 9th - June 26th, 2016 <p style="text-align: justify;">This exhibition, mounted in celebration of gifts both donated and promised to the Met, gathers works by Alex Katz (American, born 1927), one of our era's most acclaimed artists.&nbsp;Acquired through the generosity of Glenn Fuhrman, Leonard A. Lauder, and Katz himself, these works&mdash;eight in total, including two loans&mdash;span nearly the entire arc of Katz's career and include drawings, prints, and paintings. Among the works are two cutouts, the innovative artistic device that Katz pioneered in the late 1950s; a haunting cityscape;&nbsp;several portraits of Ada, Katz's wife and long-time muse; and portraits of luminaries from Katz's own social and artistic circles.</p> <p style="text-align: justify;">Katz was born in Brooklyn in 1927 and came of age as an artist during the heyday of the New York School. In the late 1950s, he began to develop his mature style, one characterized by elegance, simplicity, and stylized abstraction. Committed to depicting recognizable motifs, Katz minimizes details and shading, choosing instead to summarize his subjects with the help of bold contours, blocks of color, and strategic swipes of the brush. As much as they represent a specific person or place, Katz's works also depict the act of seeing itself&mdash;that is, the peculiar mechanics of viewing, whether from afar or close up, whether on an empty street or across a crowded room. He captures the surprise and suspense, the desire and pleasure, that accompany the experience of spectatorship.</p> Tue, 24 Nov 2015 17:03:47 +0000 Guido van der Werve - Luhring Augustine - Chelsea - January 9th, 2016 - February 20th, 2016 <p style="text-align: justify;">Luhring Augustine is pleased to present Nummer zestien,&nbsp;<em>the present moment</em>, a new work by the Dutch artist Guido van der Werve. This will mark the artist&rsquo;s third solo exhibition with the gallery and the work&rsquo;s debut.&nbsp;</p> <p style="text-align: justify;">Nummer zestien,&nbsp;<em>the present moment</em>&nbsp;investigates hyper-individuality as it shapes the ethos of the present. The hour-long three-channel video work focuses on moments of action involving intuitive reaction and impulse, rather than concerns with history or the future. The accompanying soundtrack is a Paean composed by van der Werve in major key that emanates from a player piano, a stand-in for the artist himself. Nummer zestien,&nbsp;<em>the present moment&nbsp;</em>is a continuation of a series of numbered films begun by the artist in 2003, and is the first major film-based work since his Nummer veertien,&nbsp;<em>home</em>&nbsp;completed in 2012.&nbsp;</p> <p style="text-align: justify;">Van der Werve was born in Papendrecht, the Netherlands in 1977. Previous solo exhibitions of his work have been presented at The Model, Sligo, Ireland; Hayward Gallery, London; Hirshhorn Museum and Sculpture Garden, Washington D.C.; De Hallen, Haarlem, the Netherlands; and Kunsthalle Basel, Switzerland. He was the recipient of the 2012 Charlotte Kohler Prize for Visual Art as well as Le Prix International d&rsquo;Art Contemporain, Fondation Prince Pierre de Monaco in 2011. Van der Werve is also a classically trained concert pianist and composer, as well as an avid triathlete.</p> Tue, 24 Nov 2015 15:54:12 +0000 Roger Hiorns - Luhring Augustine - Chelsea - January 9th, 2016 - February 20th, 2016 <p style="text-align: justify;">Luhring Augustine is pleased to present two recent standing floor sculptures by the London-based artist Roger Hiorns. The sculptures feature engines coated with the organic compound copper sulphate, a chemical with an unpredictable reactive potential, which Hiorns has employed to transform mass-produced objects into aesthetic entities; a seemingly redemptive gesture exploring the opposition between the natural and man-made. By anthropomorphizing the objects through anatomical references, Hiorns continues to explore the transposable relationship between man and manufactured product in his sculptures, reducing the human figure into representative signs and totems.&nbsp;</p> <p style="text-align: justify;">Roger Hiorns was born in Birmingham, England in 1975. He has been featured in exhibitions at institutions throughout Europe and the Americas, including the Venice Biennale; MoMA PS1, Long Island City, NY; Tate Modern, London; Hammer Museum of Art at UCLA, Los Angeles; Walker Art Center, Minneapolis; and De Hallen, Haarlem, the Netherlands. Hiorns&rsquo; work is included in institutional collections such as the Museum of Modern Art, New York; Art Institute of Chicago; and Tate Modern, London. In 2009, Hiorns was nominated for the Turner Prize for his critically acclaimed work,&nbsp;<em>Seizure</em>, a massive crystallization within the interior of a bedsit in a condemned South London council estate. In 2011,&nbsp;<em>Seizure</em>&nbsp;was acquired by the Arts Council Collection and is currently on a ten-year loan for exhibition at the Yorkshire Sculpture Park in Yorkshire, England.</p> Tue, 24 Nov 2015 15:53:17 +0000 Hellen van Meene - Yancey Richardson Gallery - December 10th - January 23rd, 2016 Tue, 24 Nov 2015 14:52:00 +0000