ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Pedro Calapez - LYNCH THAM - September 10th - November 2nd <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/702363/u3w7/20140820202716-Pedro_Calapez__Round_01__2014__Oil_on_lacquered_aluminum__Diameter_37___inches__95_cm___Depth_6_inches__15_cm_.png" alt="Pedro Calapez, Round 01, 2014, Oil on lacquered aluminum, Diameter 37 &frac12; inches (95 cm), Depth 6 inches (15 cm)" /></p> <p>&nbsp;<strong>PEDRO CALAPEZ / meadow-curtain-round-broken line</strong></p> <p><strong>10 Sep to 2 Nov 2014</strong></p> <p><strong>Opening Reception: Wednesday, 10 Sep 2014, 6-8pm</strong></p> <p>&nbsp;</p> <p>LYNCH THAM is pleased to present a seminal exhibition of new works by leading Portuguese contemporary artist Pedro Calapez, marking the debut of the artist&rsquo;s work in the United States.</p> <p>Following critically acclaimed exhibitions in Europe, <em>meadow-curtain-round-broken line</em>,offers a succinct overview of Calapez&rsquo;s fascination with spatial relationships, landscapes, and the significance of ways of seeing. Details are critical in his work, as this exhibition presents an exercise in exploration and discovery, encouraging an awareness of the different possibilities of the gaze. In each work, Calapez enters into dialogue with the architectural context as he evokes everyday encounters and memories through fragmented, richly colored reflections about light, space and landscape.</p> <p><em>meadow</em> is a celebration of an encounter with landscape. More than a representation of a meadow, Calapez&rsquo;s subject is the sensation of gazing and the revelatory and fragmentary feelings of the hot wind undulating over the plains or the cool shadows of passing clouds. In <em>curtain</em>, Calapez explores the invented superimpositions of light and darkness that hinder a clear definition of a space or place. The principle of visibility ensures presence, while the abstraction of darkness confuses the senses and invokes the imagination. <em>round</em> reflects fragments of other works, functioning as a mirror that subtly observes what is behind it. The circular edge produces centrifugal, centripetal movements, which alter the image that emerges within it. The two vertical &ldquo;gashes&rdquo; stabilize the painting, barring the paint from leaving its place. The limits of drawing and painting are tested in the installation <em>broken line</em>. The gesture of tracing a line to create a structural design on the ground recalls the game of hopscotch. Like the game, Calapez&rsquo;s work presents a sequence of attitudes that have no defined aim or end in sight, stimulated by the continuous repetition of a movement. Mallarm&eacute; called attention to this in the preface to his poem <em>un coup de d&eacute;s jamais n'abolira le hazard,</em> where he said: &ldquo;Everything takes place, in sections, by supposition; narrative is avoided.&rdquo; The lines drawn on each brick are fragments of an endless hypothetical line, fragments of knowledge reorganised into different alignments and directions, relating the gaze to a memory, journey or destiny.</p> <p>Pedro Calapez was born in Lisbon, Portugal in 1953, where he currently lives and works. He has been exhibiting widely national and internationally since the 1980s. His work has been shown in many important museums and galleries: "Field of shadows," Pilar i Joan Mir&oacute; Foundation, Majorca (1997); "Madre Agua," MEIAC - Contemporary Art Museum, Badajoz and CAAC - Andalucia Contemporary Art Centre (2002); CGAC - Galicia Contemporary Art Centre, Santiago de Compostela (2005); "Painting places," CAB - Caja Burgos Art Centre, Burgos (2005). &ldquo;White and neutral clarity,&rdquo; Casa da Cerca, Centro de Arte Contempor&acirc;nea, Almada (2009); &ldquo;Kickflip,&rdquo; PLMJ Foundation, Lisbon (2011); "dark skies", Casa das Hist&oacute;rias, Paula Rego House for Contemporary Art, Cascais (2012); &ldquo;There is only drawing," Luis Seoane Foundation, La Coru&ntilde;a, Galicia (2013); Serralves Museum, OPorto (2009); &ldquo;It&rsquo;s not my fault,&rdquo; Berardo Museum, Lisbon (2010); &ldquo;The Collection,&rdquo; Barri&eacute; Foundation, A Coru&ntilde;a (2011); &ldquo;under the sign of Amadeo,&rdquo; CAM- Calouste Gulbenkian Foundation, Lisboa (2013); "93," CGAC&ndash;Galician Centre for Contemporary Art, Santiago de Compostela; Venice Bienniale (1986); Sao Paulo Biennale (1987 and 1991), among others.</p> <p>Calapez&rsquo;s work is in the collections of: Caixa Geral de Dep&oacute;sitos, Lisboa; Centro de Arte Caja Burgos, Burgos; Central European Bank, Frankfurt; Chase Bank, New York; European Investment Bank, Luxembourg; Coca-Cola Foundation Spain, Madrid; Pilar and Joan Mir&oacute; Foundation, Majorca; EDP Foundation, Lisbon; PLM Foundation, Lisbon; Portugal Telecom Foundation, Lisbon; MEIAC, Ibero; Reina Sofia Contemporary Art Museum, Madrid; Serralves Museum, Oporto, among others.&nbsp;</p> Wed, 20 Aug 2014 20:30:24 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mika Tajima - Art in General - September 13th - October 25th <p><em>Total Body Conditioning</em>&nbsp;is an exhibition by Mika Tajima comprised of three scenes&mdash;display, work, and fitness&mdash;that invoke technologies developed to control and affect the body. These are techniques that shape bodily experience of time and space, taking the human body as a target of power. The works in the exhibition include Jacuzzi hot tub painting objects, a series of abstract woven textile portraits, and transparent paintings set to changing ambient lighting and sound sequences. Each scene in the exhibition traces the management of the body in different spaces and temporal contexts from factory assembly lines to therapeutic &ldquo;after work&rdquo; locations.</p> Wed, 20 Aug 2014 16:53:08 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Asia Society Museum - September 15th, 1998 - January 3rd, 1999 <p><strong>Introduction</strong></p> <p><a href="http://sites.asiasociety.org/arts/insideout/" rel="nofollow">


Inside Out: New Chinese Art</a> 
Curated by Gao Minglu 
in association with the <a href="http://asiasociety.org" rel="nofollow">Asia Society</a> 
and the <a href="http://www.sfmoma.org/exhib_events/exhibitions/506" rel="nofollow">San Francisco Museum of Modern Art</a></p> <p>The last two decades have witnessed momentous economic, social, and political changes in mainland China and throughout the "Chinese world." Artists in urban centers and elsewhere in China, Taiwan, and Hong Kong (now a special administrative region of China) have responded to these changes with an explosion of diverse work that is simultaneously exhilarating and bewildering. Using a variety of media, from ink and oil painting to installation and performance art, many Chinese artists in the region and abroad are grappling with what it means to be Chinese in an age of economic globalization and transnationalism.</p> <p>Inside Out: New Chinese Art is the first major exhibition to present the dynamic new art being produced by artists in mainland China, Taiwan, Hong Kong, and by selected artists who emigrated to the West in the late 1980s. Including works dating from the mid-1980s to the present (some commissioned for this exhibition), Inside Out focuses on works of art that explore the complex relationship between culturally specific issues and larger developments of a modern/postmodern age. Within this context, artists are appropriating and transforming both conventional Chinese aesthetic idioms and contemporary Western vocabularies to negotiate the cultural differences between past and present, self and other.</p> <p>The decade-long perspective is intended to provide the viewer with a sense of the unprecedented pace of economic, social, and political change in the region. Organized thematically, the exhibition explores topics that are regionally specific-the reaction to consumerism and leisure culture in China in the 1990s or the quest for cultural identity in Taiwan-and issues that transcend physical borders, such as the viability of ink painting or the concern with language.</p> <p>Inside Out has been organized by the Asia Society Galleries and the San Francisco Museum of Modern Art, and curated by Gao Minglu. The exhibition is being presented simultaneously at the Asia Society and P.S.1 Contemporary Art Center from September 15, 1998 through January 3, 1999.</p> Tue, 19 Aug 2014 22:16:25 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Wendy Mark - Jill Newhouse Gallery - October 1st - November 15th <p>For interviews and high resolution images</p> <p>Please contact Susan Bishopric</p> <p>THE BISHOPRIC AGENCY</p> <p>212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a></p> <p>&nbsp;</p> <p>&nbsp;</p> <p align="center">JILL NEWHOUSE presents</p> <p align="center">new work by</p> <p align="center">&nbsp;</p> <p align="center">WENDY MARK</p> <p align="center">&ldquo;BEGINNING WITH SQUARE ONE&rdquo;</p> <p align="center">&nbsp;</p> <p align="center">--including a site specific installation</p> <p align="center">&lsquo;CloudSpace&rsquo;</p> <p align="center">by AGENCY</p> <p align="center">&nbsp;</p> <p align="center">October 1 &ndash; November 15 2014</p> <p align="center">&nbsp;</p> <p align="center">&nbsp;</p> <p align="center"><em>&ldquo;The Fragment/Recollection/Disappearance/Addition/Contrast/Weight and Shadow/The Fugue</em></p> <p align="center">are all explored within the space of a square &ndash; <em>beginning with square one</em>.&rdquo;</p> <p>- Wendy Mark</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NEW YORK June 11 - New York gallerist Jill Newhouse (<a href="http://www.jillnewhouse.com" rel="nofollow">www.jillnewhouse.com</a>) is delighted to present a multi-media exhibition of new work by Wendy Mark from October 1st to November 15th at her gallery at 4 East 81 Street.</p> <p>BEGINNING WITH SQUARE ONE is Wendy Mark&rsquo;s latest creative expression, exploring the use of squares as <em>grids, frames and space</em>, and as active participants in the construction and deconstruction of images.&nbsp; The multi-media exhibit of work, including Mark&rsquo;s monotypes, watercolors, mirror paintings, photographs, books, and small objects, alongside a site specific installation by award-winning architects AGENCY, underscores the artist&rsquo;s interest in collaboration, which infuses every one of her projects with special meaning and finds new forms for their realization. Each piece in the show explores and elaborates the theme with different material and optical techniques, engaging the viewer in a range of relationships to imagery and space.</p> <p>Language, and forms of prose and poems, have always been at the center of Wendy Mark&rsquo;s work.&nbsp; Mark explains how each piece contributes to the <em>syntax </em>of her shows and her entire body of work.&nbsp; Working to both refine each image, and collections of images arranged in a grid, Mark explains, &ldquo;each image is like a line of a poem, a segment, or verse of meaning.&nbsp; These series of <em>image/lines</em> make up the poem which is the whole piece, composed of this <em>row or row of images</em>.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE draws on rich conceptions of drawing and translation methods throughout art history, while extending known methods into surprising new modes of output. Recurring images of <em>dots and clouds</em> fill the space in gridded compositions and in collections of squares and frames.&nbsp; Mark adds, &ldquo;the idea of permutation &ndash; of how images refer to and impress meaning on each other -- is important to me. The <em>graph</em> and the Renaissance <em>cartoon</em> are both influences on these images of dots and clouds, not in terms of transference maps, but in terms of <em>translation</em> and graphed <em>points of reference</em>.&rdquo;</p> <p>Certain pieces in the show engage the viewer and the space of the gallery in contributing to the construction of the work.&nbsp; Collections of <em>dice</em> present disassembled vignettes of larger images in the show on their faces, inviting viewers to assemble three-dimensional reconstructions of the printed images.&nbsp;&nbsp;&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;The viewer,&rdquo; Newhouse points out, &ldquo;is asked to respond and, with Mark&rsquo;s <em>dice,</em> as in game theory, the viewer may rearrange these pieces of 9 or 12 or 100, as they desire: to make their own configurations.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE&nbsp;includes the result of a new collaboration, a site specific installation for the Jill Newhouse Gallery based on the spatial implications of Mark&rsquo;s monotypes.&nbsp; Designed and fabricated by AGENCY (<a href="http://www.agencyarchitecture.com" rel="nofollow">www.agencyarchitecture.com</a>), a collaborative interdisciplinary practice engaging contemporary culture through architecture, urbanism, and advocacy, the architects explore resonances between digital processes and material artifacts shared in their work and the work of Wendy Mark.</p> <p>AGENCY principals Ersela Kripa and Stephen Mueller, winners of the 2010-11 Rome Prize in Architecture, explain, &ldquo;we are transforming a confined gallery space to create the illusion of weightlessness and surprising depth, translating and decontextualizing Wendy&rsquo;s <em>clouds</em> into a richly textured, multi-dimensional, optical and spatial manifold. The installation, which we call &lsquo;CloudSpace&rsquo; intensifies the unexpected depth of space and light one is faced with upon encountering Wendy&rsquo;s clouds, immersing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized <em>lenticular lens</em>, capitalizing on generative digital design tools and fabrication technologies to create multiple new and complex readings of the <em>image</em>.&nbsp; Viewers become complicit in the construction and deconstruction of <em>spatial images</em> as they move through the space, revealed through constantly shifting perforations, opacities, and reflections generated by different viewing angles.&rdquo;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;Our goal,&rdquo; the architects explain, &ldquo;is to translate the scale of the artwork into a three dimensional <em>spatial </em>experience for gallery visitors, who will be reflected in the infinitely expansive environment, captured in the seemingly weightless <em>clouds</em>.&nbsp; The installation gathers three-dimensional data through the systematic indexing and transformation of color and value and then articulates Mark&rsquo;s vision in a vertical, optical, topography.&rdquo;</p> <p>Newhouse adds that, &ldquo;when you visit the gallery you will see how well Wendy Mark and AGENCY have exploited similarities between Mark&rsquo;s material-intensive monotype process and AGENCY&rsquo;s virtual analytic and constructive techniques -- by breaking down Wendy&rsquo;s <em>clouds</em> into a series of progressive spatial matrices.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE includes several visual and intellectual reference points for the observer. &ldquo;The connection to the history of cloud painting is inherent in this installation,&rdquo; Mark writes. &ldquo;My <em>clouds </em>are not taken from the real clouds in nature; I do not paint from Life.&nbsp; These <em>image/clouds</em> are a reinterpretation of the clouds in paintings from the Renaissance painters.&nbsp; I am looking at the clouds of Pontormo, Mantegna, and the skies of the Dutch landscape painters as well.&rdquo; She writes that &ldquo;my clouds are a riff on these early skies.&nbsp; At the same time they refer forward to computer generated dots and information diagrams.&rdquo;</p> <p>In the catalog for the show, Wendy Mark says, &ldquo;one idea is to use scale to reinterpret the Renaissance Landscape: You have to <em>Zoom IN</em> through a small <em>window/frame/turn on the screen</em>.&rdquo;</p> <p>Mark&rsquo;s work has captured the attention of major collectors as well as notable museums and institutions. This is Wendy Mark&rsquo;s second solo show at the Jill Newhouse gallery, which showed Wendy Mark monotypes in an October, 2011 exhibition titled &ldquo;Drive.&rdquo;&nbsp; It is the twelfth solo show for the New York-based artist known for her collaborations with writers, composers, and choreographers.&nbsp;</p> <p>Wendy Mark began her career as a writer and received her MFA from the poetry division of Columbia University School of the Arts. She writes, &ldquo;reading poems and fiction is intrinsic to my life as well as my work as a painter.&rdquo;&nbsp; Limited edition books are part of her many solo exhibitions.&nbsp; She has repeatedly sought to infuse her work with thought-provoking words and images, forging successful creative collaborations with Pulitzer Prize-winning poets Mark Strand, Charles Simic, Paul Muldoon and David St. John, and writers such as Adam Gopnik, Louis Menand, and the Spanish writer, Javier Marias.</p> <p>In an essay by The New Yorker art critic, Adam Gopnik, on Mark&rsquo;s &lsquo;Clouds&rsquo; he asked, &ldquo;<em>is there possibly the hint of a television screen in her squared off formats?&rdquo;</em></p> <p>Wendy Mark has had numerous solo exhibitions and her monotypes were included in the historical exhibition at The Smithsonian Institution &ldquo;Singular Impressions: The monotype in America.&rdquo; Other museum shows include The Lyman Allyn Museum in CT., The Metropolitan Museum of Art, NYC and The Hiroshima Museum of Contemporary Art in Japan.&nbsp; Her prints and books are in the collections of The Metropolitan Museum of Art, the Morgan Library, The Spenser and Berg collections at the New York Public Library and numerous other museums. She is among the twenty artists cited by Thomas Hoving in his article in <em>Cigar Aficionado</em>, "Twenty Artists Who May Be the Picassos and Monets of the 21st Century."</p> <p>Hoving, the former Director of the Metropolitan Museum of Art, was among the first to applaud Mark's monotypes. In his catalogue essay for her show, "A New Shade of Blue" at the Lyman Allan Museum he writes:</p> <p><em>Her latest works demonstrate a further maturing of her subtle skills and are all about contradictory sensations &ndash; the ephermal in her pieces, some deliberately murky thoughts as well as crystal realities.&nbsp; Super evocation!&nbsp; In every work there&rsquo;s a masterful combination of delicacy and force and weightiness and light-as-air freedom.&nbsp; It doesn&rsquo;t matter what the work is, every resplendent one crackles with energy and drama and embodies a simply astounding sense of release and celebration</em>.</p> <p>Paul LeClerc, the former President of The New York Public Library, says of her work in his essay for Mark's exhibition, <em>The Steamroller Project</em>, a large scale monotype made in Central Park:</p> <p><em>One finds, I think, in nearly all of her work something akin to Baudelaire&rsquo;s &lsquo;Invitation to the Voyage,&rsquo; where Mark invites us to join her in venturing into new, seductive, and mysterious landscapes, filled with the arresting colors of Turner or the nuanced palate of Stieglitz&rsquo;s &lsquo;Equivalents.</em></p> <p>The Pulitzer Prize-winning poet, Charles Simic, writes in his introduction to their collaboration limited edition book, <span style="text-decoration: underline;">Wendy's Pinball,</span> published by Glenn Horowitz Bookseller:</p> <p><em>One only needs to divide a blank piece of paper with a line of the horizon and the imagination starts working.&nbsp; Soon there are fields and clouds; there is a solitary tree, the changing light of the day and the seasons with their colors.&nbsp; Wendy Mark&rsquo;s monotypes remind us of those moments when we make our world larger by meaning.</em></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jill Newhouse says, &ldquo;Wendy Mark&rsquo;s art transforms traditional, classical imagery and makes it current. The skies and clouds of Constable and Turner become the dots and grids of the 21st century.&rdquo;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Wendy Mark | &lsquo;BEGINNING WITH SQUARE ONE&rsquo; | Exhibition</p> <p>&nbsp;</p> <p>Wendy Mark returns to her &lsquo;cloud referenced&rsquo; images to express what can take place within a square.&nbsp; The show includes monotypes, watercolors, photographs, mirror paintings and dice. &ldquo;Beginning With Square One&rdquo; refers to the more common phrase &lsquo;back to square one&rsquo; but changes the emphasis, from starting over to the more intense and intentional focus on the &lsquo;square as a frame&rsquo; and as a series of expressions.&nbsp;</p> <p>&nbsp;</p> <p>The BEGINNING WITH SQUARE ONE exhibition at the Jill Newhouse gallery also includes Wendy Mark&rsquo;s new <em>&lsquo;Mirror&rsquo;</em>&nbsp;paintings.&nbsp; Inspired by Jeff Koons&rsquo; bright, shiny, reflective surface sculptures, these paintings of rose/cloud forms of gesso and enamel include the viewer within the image, as they are reflected in these surfaces the closer they get to the image.&nbsp; Mark has been taken by Koons&rsquo; sculpture for many years and this year walked past the Christmas red &ldquo;Venus&rdquo; sculpture at Sotheby&rsquo;s and was &ldquo;forced,&rdquo; she says, to try to work on this new, non-porous, and bright surface, in her case, on Mirror paper, which she found at NY Central Supply.</p> <p>&nbsp;</p> <p>AGENCY | &lsquo;CloudSpace&rsquo; | Site Specific Installation</p> <p>&nbsp;</p> <p>AGENCY transforms a confined gallery space to create the illusion of weightlessness and surprising depth, translating and decontextualizing Wendy&rsquo;s <em>clouds</em> into a richly textured, multi-dimensional, optical and spatial manifold. The installation intensifies an unexpected depth of space and light, immersing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized <em>lenticular lens</em>, creating multiple new and complex readings of the <em>image.</em>&nbsp; Viewers become complicit in the construction and deconstruction of <em>spatial images </em>as they move through the space, revealed through constantly shifting perforations, opacities, and reflections generated by different viewing angles.</p> <p>&nbsp;</p> <p>AGENCY is an award-winning architectural design and research practice known for transforming spaces, sites and systems by working within and against each context&rsquo;s limitations and constraints. The work of the practice ranges from speculative research and urban policy proposals to commissioned architectural projects, film, photography, and public art installations. AGENCY was awarded the 2010 ONE Prize; the 2010-11 Rome Prize in Architecture and has been invited to participate in the Venice Biennale, Sofia Architecture Week, Eme3 International Architectural Market and SUPERFRONT in Los Angeles.</p> <p>&nbsp;</p> <p>JILL NEWHOUSE GALLERY</p> <p>&nbsp;</p> <p>Jill Newhouse gallery was established in 1980 and is devoted to the exhibition and sale of Works of Art on Paper.&nbsp; Jill Newhouse is a fourth generation art dealer and a founding member and past president of the Private Art Dealers Association (PADA.net).&nbsp; She has also been a member of the Art Dealers Association of America (ADAA) and is a Member of the Visiting Committee, Dept. of Prints and Drawings, Metropolitan Museum of Art; a member of the Council of Fellows, Pierpont Morgan Library (2003-2007), and a member of the Morgan&rsquo;s Visiting Committee, Department of Prints and Drawings.</p> <p>&nbsp;</p> <p>This is Wendy Mark&rsquo;s second solo show at the Jill Newhouse gallery, which showed Wendy Mark monotypes in an October, 2011 exhibition titled &ldquo;Drive.&rdquo; Jill Newhouse Gallery is delighted to once again be hosting her latest series of works.</p> <p>&nbsp;</p> <p>WE SUPPORT STUDIO IN A SCHOOL</p> <p>&nbsp;</p> <p>Twenty percent of sale proceeds will benefit STUDIO IN A SCHOOL, a 36-year partnership with the New York City Department of Education that allows professional artists to teach visual arts to hundreds of thousands of New York City children in under-served public schools, daycare centers, and community-based organizations.&nbsp; STUDIO IN A SCHOOL offers quality art workshops where children explore their creativity and learn the joys and benefits of making art.&nbsp; Programs offered are for Pre-K through college, including internships for high school and college students.&nbsp; Studio is a nationally recognized leader in arts education.&nbsp;</p> <p>&nbsp;</p> <p><em>If You Go</em></p> <p>&nbsp;</p> <p>&ldquo;BEGINNING WITH SQUARE ONE&rdquo;</p> <p>&nbsp;</p> <p>New work by Wendy Mark at Jill Newhouse Gallery</p> <p>including a site-specific installation by AGENCY</p> <p>&nbsp;</p> <p><em>October 1st to November 15th 2014</em></p> <p>&nbsp;</p> <p>Jill Newhouse Gallery</p> <p>4 East 81 Street</p> <p>New York NY 10028</p> <p>212 249 9216</p> <p>&nbsp;</p> <p>Monday to Friday 10am to 5:30pm or by appointment</p> <p><a href="http://www.jillnewhouse.com" rel="nofollow">www.jillnewhouse.com</a> <a href="mailto:maildrop@jillnewhouse.com" rel="nofollow">maildrop@jillnewhouse.com</a></p> <p>&nbsp;</p> <p>Please contact Susan Bishopric for High resolution images and interviews&hellip;</p> <p>THE BISHOPRIC AGENCY 212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a></p> <p>&nbsp;</p> Tue, 19 Aug 2014 16:24:59 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Wendy Mark - Jill Newhouse Gallery - October 1st - November 15th <p>For interviews and high resolution images</p> <p>Please contact Susan Bishopric</p> <p>THE BISHOPRIC AGENCY</p> <p>212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a></p> <p>&nbsp;</p> <p>&nbsp;</p> <p align="center">JILL NEWHOUSE presents</p> <p align="center">new work by</p> <p align="center">&nbsp;</p> <p align="center">WENDY MARK</p> <p align="center">&ldquo;BEGINNING WITH SQUARE ONE&rdquo;</p> <p align="center">&nbsp;</p> <p align="center">--including a site specific installation</p> <p align="center">&lsquo;CloudSpace&rsquo;</p> <p align="center">by AGENCY</p> <p align="center">&nbsp;</p> <p align="center">October 1 &ndash; November 15 2014</p> <p align="center">&nbsp;</p> <p align="center">&nbsp;</p> <p align="center"><em>&ldquo;The Fragment/Recollection/Disappearance/Addition/Contrast/Weight and Shadow/The Fugue</em></p> <p align="center">are all explored within the space of a square &ndash; <em>beginning with square one</em>.&rdquo;</p> <p>- Wendy Mark</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NEW YORK June 11 - New York gallerist Jill Newhouse (<a href="http://www.jillnewhouse.com" rel="nofollow">www.jillnewhouse.com</a>) is delighted to present a multi-media exhibition of new work by Wendy Mark from October 1st to November 15th at her gallery at 4 East 81 Street.</p> <p>BEGINNING WITH SQUARE ONE is Wendy Mark&rsquo;s latest creative expression, exploring the use of squares as <em>grids, frames and space</em>, and as active participants in the construction and deconstruction of images.&nbsp; The multi-media exhibit of work, including Mark&rsquo;s monotypes, watercolors, mirror paintings, photographs, books, and small objects, alongside a site specific installation by award-winning architects AGENCY, underscores the artist&rsquo;s interest in collaboration, which infuses every one of her projects with special meaning and finds new forms for their realization. Each piece in the show explores and elaborates the theme with different material and optical techniques, engaging the viewer in a range of relationships to imagery and space.</p> <p>Language, and forms of prose and poems, have always been at the center of Wendy Mark&rsquo;s work.&nbsp; Mark explains how each piece contributes to the <em>syntax </em>of her shows and her entire body of work.&nbsp; Working to both refine each image, and collections of images arranged in a grid, Mark explains, &ldquo;each image is like a line of a poem, a segment, or verse of meaning.&nbsp; These series of <em>image/lines</em> make up the poem which is the whole piece, composed of this <em>row or row of images</em>.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE draws on rich conceptions of drawing and translation methods throughout art history, while extending known methods into surprising new modes of output. Recurring images of <em>dots and clouds</em> fill the space in gridded compositions and in collections of squares and frames.&nbsp; Mark adds, &ldquo;the idea of permutation &ndash; of how images refer to and impress meaning on each other -- is important to me. The <em>graph</em> and the Renaissance <em>cartoon</em> are both influences on these images of dots and clouds, not in terms of transference maps, but in terms of <em>translation</em> and graphed <em>points of reference</em>.&rdquo;</p> <p>Certain pieces in the show engage the viewer and the space of the gallery in contributing to the construction of the work.&nbsp; Collections of <em>dice</em> present disassembled vignettes of larger images in the show on their faces, inviting viewers to assemble three-dimensional reconstructions of the printed images.&nbsp;&nbsp;&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;The viewer,&rdquo; Newhouse points out, &ldquo;is asked to respond and, with Mark&rsquo;s <em>dice,</em> as in game theory, the viewer may rearrange these pieces of 9 or 12 or 100, as they desire: to make their own configurations.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE&nbsp;includes the result of a new collaboration, a site specific installation for the Jill Newhouse Gallery based on the spatial implications of Mark&rsquo;s monotypes.&nbsp; Designed and fabricated by AGENCY (<a href="http://www.agencyarchitecture.com" rel="nofollow">www.agencyarchitecture.com</a>), a collaborative interdisciplinary practice engaging contemporary culture through architecture, urbanism, and advocacy, the architects explore resonances between digital processes and material artifacts shared in their work and the work of Wendy Mark.</p> <p>AGENCY principals Ersela Kripa and Stephen Mueller, winners of the 2010-11 Rome Prize in Architecture, explain, &ldquo;we are transforming a confined gallery space to create the illusion of weightlessness and surprising depth, translating and decontextualizing Wendy&rsquo;s <em>clouds</em> into a richly textured, multi-dimensional, optical and spatial manifold. The installation, which we call &lsquo;CloudSpace&rsquo; intensifies the unexpected depth of space and light one is faced with upon encountering Wendy&rsquo;s clouds, immersing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized <em>lenticular lens</em>, capitalizing on generative digital design tools and fabrication technologies to create multiple new and complex readings of the <em>image</em>.&nbsp; Viewers become complicit in the construction and deconstruction of <em>spatial images</em> as they move through the space, revealed through constantly shifting perforations, opacities, and reflections generated by different viewing angles.&rdquo;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;Our goal,&rdquo; the architects explain, &ldquo;is to translate the scale of the artwork into a three dimensional <em>spatial </em>experience for gallery visitors, who will be reflected in the infinitely expansive environment, captured in the seemingly weightless <em>clouds</em>.&nbsp; The installation gathers three-dimensional data through the systematic indexing and transformation of color and value and then articulates Mark&rsquo;s vision in a vertical, optical, topography.&rdquo;</p> <p>Newhouse adds that, &ldquo;when you visit the gallery you will see how well Wendy Mark and AGENCY have exploited similarities between Mark&rsquo;s material-intensive monotype process and AGENCY&rsquo;s virtual analytic and constructive techniques -- by breaking down Wendy&rsquo;s <em>clouds</em> into a series of progressive spatial matrices.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE includes several visual and intellectual reference points for the observer. &ldquo;The connection to the history of cloud painting is inherent in this installation,&rdquo; Mark writes. &ldquo;My <em>clouds </em>are not taken from the real clouds in nature; I do not paint from Life.&nbsp; These <em>image/clouds</em> are a reinterpretation of the clouds in paintings from the Renaissance painters.&nbsp; I am looking at the clouds of Pontormo, Mantegna, and the skies of the Dutch landscape painters as well.&rdquo; She writes that &ldquo;my clouds are a riff on these early skies.&nbsp; At the same time they refer forward to computer generated dots and information diagrams.&rdquo;</p> <p>In the catalog for the show, Wendy Mark says, &ldquo;one idea is to use scale to reinterpret the Renaissance Landscape: You have to <em>Zoom IN</em> through a small <em>window/frame/turn on the screen</em>.&rdquo;</p> <p>Mark&rsquo;s work has captured the attention of major collectors as well as notable museums and institutions. This is Wendy Mark&rsquo;s second solo show at the Jill Newhouse gallery, which showed Wendy Mark monotypes in an October, 2011 exhibition titled &ldquo;Drive.&rdquo;&nbsp; It is the twelfth solo show for the New York-based artist known for her collaborations with writers, composers, and choreographers.&nbsp;</p> <p>Wendy Mark began her career as a writer and received her MFA from the poetry division of Columbia University School of the Arts. She writes, &ldquo;reading poems and fiction is intrinsic to my life as well as my work as a painter.&rdquo;&nbsp; Limited edition books are part of her many solo exhibitions.&nbsp; She has repeatedly sought to infuse her work with thought-provoking words and images, forging successful creative collaborations with Pulitzer Prize-winning poets Mark Strand, Charles Simic, Paul Muldoon and David St. John, and writers such as Adam Gopnik, Louis Menand, and the Spanish writer, Javier Marias.</p> <p>In an essay by The New Yorker art critic, Adam Gopnik, on Mark&rsquo;s &lsquo;Clouds&rsquo; he asked, &ldquo;<em>is there possibly the hint of a television screen in her squared off formats?&rdquo;</em></p> <p>Wendy Mark has had numerous solo exhibitions and her monotypes were included in the historical exhibition at The Smithsonian Institution &ldquo;Singular Impressions: The monotype in America.&rdquo; Other museum shows include The Lyman Allyn Museum in CT., The Metropolitan Museum of Art, NYC and The Hiroshima Museum of Contemporary Art in Japan.&nbsp; Her prints and books are in the collections of The Metropolitan Museum of Art, the Morgan Library, The Spenser and Berg collections at the New York Public Library and numerous other museums. She is among the twenty artists cited by Thomas Hoving in his article in <em>Cigar Aficionado</em>, "Twenty Artists Who May Be the Picassos and Monets of the 21st Century."</p> <p>Hoving, the former Director of the Metropolitan Museum of Art, was among the first to applaud Mark's monotypes. In his catalogue essay for her show, "A New Shade of Blue" at the Lyman Allan Museum he writes:</p> <p><em>Her latest works demonstrate a further maturing of her subtle skills and are all about contradictory sensations &ndash; the ephermal in her pieces, some deliberately murky thoughts as well as crystal realities.&nbsp; Super evocation!&nbsp; In every work there&rsquo;s a masterful combination of delicacy and force and weightiness and light-as-air freedom.&nbsp; It doesn&rsquo;t matter what the work is, every resplendent one crackles with energy and drama and embodies a simply astounding sense of release and celebration</em>.</p> <p>Paul LeClerc, the former President of The New York Public Library, says of her work in his essay for Mark's exhibition, <em>The Steamroller Project</em>, a large scale monotype made in Central Park:</p> <p><em>One finds, I think, in nearly all of her work something akin to Baudelaire&rsquo;s &lsquo;Invitation to the Voyage,&rsquo; where Mark invites us to join her in venturing into new, seductive, and mysterious landscapes, filled with the arresting colors of Turner or the nuanced palate of Stieglitz&rsquo;s &lsquo;Equivalents.</em></p> <p>The Pulitzer Prize-winning poet, Charles Simic, writes in his introduction to their collaboration limited edition book, <span style="text-decoration: underline;">Wendy's Pinball,</span> published by Glenn Horowitz Bookseller:</p> <p><em>One only needs to divide a blank piece of paper with a line of the horizon and the imagination starts working.&nbsp; Soon there are fields and clouds; there is a solitary tree, the changing light of the day and the seasons with their colors.&nbsp; Wendy Mark&rsquo;s monotypes remind us of those moments when we make our world larger by meaning.</em></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jill Newhouse says, &ldquo;Wendy Mark&rsquo;s art transforms traditional, classical imagery and makes it current. The skies and clouds of Constable and Turner become the dots and grids of the 21st century.&rdquo;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Wendy Mark | &lsquo;BEGINNING WITH SQUARE ONE&rsquo; | Exhibition</p> <p>&nbsp;</p> <p>Wendy Mark returns to her &lsquo;cloud referenced&rsquo; images to express what can take place within a square.&nbsp; The show includes monotypes, watercolors, photographs, mirror paintings and dice. &ldquo;Beginning With Square One&rdquo; refers to the more common phrase &lsquo;back to square one&rsquo; but changes the emphasis, from starting over to the more intense and intentional focus on the &lsquo;square as a frame&rsquo; and as a series of expressions.&nbsp;</p> <p>&nbsp;</p> <p>The BEGINNING WITH SQUARE ONE exhibition at the Jill Newhouse gallery also includes Wendy Mark&rsquo;s new <em>&lsquo;Mirror&rsquo;</em>&nbsp;paintings.&nbsp; Inspired by Jeff Koons&rsquo; bright, shiny, reflective surface sculptures, these paintings of rose/cloud forms of gesso and enamel include the viewer within the image, as they are reflected in these surfaces the closer they get to the image.&nbsp; Mark has been taken by Koons&rsquo; sculpture for many years and this year walked past the Christmas red &ldquo;Venus&rdquo; sculpture at Sotheby&rsquo;s and was &ldquo;forced,&rdquo; she says, to try to work on this new, non-porous, and bright surface, in her case, on Mirror paper, which she found at NY Central Supply.</p> <p>&nbsp;</p> <p>AGENCY | &lsquo;CloudSpace&rsquo; | Site Specific Installation</p> <p>&nbsp;</p> <p>AGENCY transforms a confined gallery space to create the illusion of weightlessness and surprising depth, translating and decontextualizing Wendy&rsquo;s <em>clouds</em> into a richly textured, multi-dimensional, optical and spatial manifold. The installation intensifies an unexpected depth of space and light, immersing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized <em>lenticular lens</em>, creating multiple new and complex readings of the <em>image.</em>&nbsp; Viewers become complicit in the construction and deconstruction of <em>spatial images </em>as they move through the space, revealed through constantly shifting perforations, opacities, and reflections generated by different viewing angles.</p> <p>&nbsp;</p> <p>AGENCY is an award-winning architectural design and research practice known for transforming spaces, sites and systems by working within and against each context&rsquo;s limitations and constraints. The work of the practice ranges from speculative research and urban policy proposals to commissioned architectural projects, film, photography, and public art installations. AGENCY was awarded the 2010 ONE Prize; the 2010-11 Rome Prize in Architecture and has been invited to participate in the Venice Biennale, Sofia Architecture Week, Eme3 International Architectural Market and SUPERFRONT in Los Angeles.</p> <p>&nbsp;</p> <p>JILL NEWHOUSE GALLERY</p> <p>&nbsp;</p> <p>Jill Newhouse gallery was established in 1980 and is devoted to the exhibition and sale of Works of Art on Paper.&nbsp; Jill Newhouse is a fourth generation art dealer and a founding member and past president of the Private Art Dealers Association (PADA.net).&nbsp; She has also been a member of the Art Dealers Association of America (ADAA) and is a Member of the Visiting Committee, Dept. of Prints and Drawings, Metropolitan Museum of Art; a member of the Council of Fellows, Pierpont Morgan Library (2003-2007), and a member of the Morgan&rsquo;s Visiting Committee, Department of Prints and Drawings.</p> <p>&nbsp;</p> <p>This is Wendy Mark&rsquo;s second solo show at the Jill Newhouse gallery, which showed Wendy Mark monotypes in an October, 2011 exhibition titled &ldquo;Drive.&rdquo; Jill Newhouse Gallery is delighted to once again be hosting her latest series of works.</p> <p>&nbsp;</p> <p>WE SUPPORT STUDIO IN A SCHOOL</p> <p>&nbsp;</p> <p>Twenty percent of sale proceeds will benefit STUDIO IN A SCHOOL, a 36-year partnership with the New York City Department of Education that allows professional artists to teach visual arts to hundreds of thousands of New York City children in under-served public schools, daycare centers, and community-based organizations.&nbsp; STUDIO IN A SCHOOL offers quality art workshops where children explore their creativity and learn the joys and benefits of making art.&nbsp; Programs offered are for Pre-K through college, including internships for high school and college students.&nbsp; Studio is a nationally recognized leader in arts education.&nbsp;</p> <p>&nbsp;</p> <p><em>If You Go</em></p> <p>&nbsp;</p> <p>&ldquo;BEGINNING WITH SQUARE ONE&rdquo;</p> <p>&nbsp;</p> <p>New work by Wendy Mark at Jill Newhouse Gallery</p> <p>including a site-specific installation by AGENCY</p> <p>&nbsp;</p> <p><em>October 1st to November 15th 2014</em></p> <p>&nbsp;</p> <p>Jill Newhouse Gallery</p> <p>4 East 81 Street</p> <p>New York NY 10028</p> <p>212 249 9216</p> <p>&nbsp;</p> <p>Monday to Friday 10am to 5:30pm or by appointment</p> <p><a href="http://www.jillnewhouse.com" rel="nofollow">www.jillnewhouse.com</a> <a href="mailto:maildrop@jillnewhouse.com" rel="nofollow">maildrop@jillnewhouse.com</a></p> <p>&nbsp;</p> <p>Please contact Susan Bishopric for High resolution images and interviews&hellip;</p> <p>THE BISHOPRIC AGENCY 212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a></p> <p>&nbsp;</p> Tue, 19 Aug 2014 16:19:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Wendy Mark - Jill Newhouse Gallery - October 1st - November 15th <p>For interviews and high resolution images</p> <p>Please contact Susan Bishopric</p> <p>THE BISHOPRIC AGENCY</p> <p>212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a></p> <p>&nbsp;</p> <p>&nbsp;</p> <p align="center">JILL NEWHOUSE presents</p> <p align="center">new work by</p> <p align="center">&nbsp;</p> <p align="center">WENDY MARK</p> <p align="center">&ldquo;BEGINNING WITH SQUARE ONE&rdquo;</p> <p align="center">&nbsp;</p> <p align="center">--including a site specific installation</p> <p align="center">&lsquo;CloudSpace&rsquo;</p> <p align="center">by AGENCY</p> <p align="center">&nbsp;</p> <p align="center">October 1 &ndash; November 15 2014</p> <p align="center">&nbsp;</p> <p align="center">&nbsp;</p> <p align="center"><em>&ldquo;The Fragment/Recollection/Disappearance/Addition/Contrast/Weight and Shadow/The Fugue</em></p> <p align="center">are all explored within the space of a square &ndash; <em>beginning with square one</em>.&rdquo;</p> <p>- Wendy Mark</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NEW YORK June 11 - New York gallerist Jill Newhouse (<a href="http://www.jillnewhouse.com" rel="nofollow">www.jillnewhouse.com</a>) is delighted to present a multi-media exhibition of new work by Wendy Mark from October 1st to November 15th at her gallery at 4 East 81 Street.</p> <p>BEGINNING WITH SQUARE ONE is Wendy Mark&rsquo;s latest creative expression, exploring the use of squares as <em>grids, frames and space</em>, and as active participants in the construction and deconstruction of images.&nbsp; The multi-media exhibit of work, including Mark&rsquo;s monotypes, watercolors, mirror paintings, photographs, books, and small objects, alongside a site specific installation by award-winning architects AGENCY, underscores the artist&rsquo;s interest in collaboration, which infuses every one of her projects with special meaning and finds new forms for their realization. Each piece in the show explores and elaborates the theme with different material and optical techniques, engaging the viewer in a range of relationships to imagery and space.</p> <p>Language, and forms of prose and poems, have always been at the center of Wendy Mark&rsquo;s work.&nbsp; Mark explains how each piece contributes to the <em>syntax </em>of her shows and her entire body of work.&nbsp; Working to both refine each image, and collections of images arranged in a grid, Mark explains, &ldquo;each image is like a line of a poem, a segment, or verse of meaning.&nbsp; These series of <em>image/lines</em> make up the poem which is the whole piece, composed of this <em>row or row of images</em>.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE draws on rich conceptions of drawing and translation methods throughout art history, while extending known methods into surprising new modes of output. Recurring images of <em>dots and clouds</em> fill the space in gridded compositions and in collections of squares and frames.&nbsp; Mark adds, &ldquo;the idea of permutation &ndash; of how images refer to and impress meaning on each other -- is important to me. The <em>graph</em> and the Renaissance <em>cartoon</em> are both influences on these images of dots and clouds, not in terms of transference maps, but in terms of <em>translation</em> and graphed <em>points of reference</em>.&rdquo;</p> <p>Certain pieces in the show engage the viewer and the space of the gallery in contributing to the construction of the work.&nbsp; Collections of <em>dice</em> present disassembled vignettes of larger images in the show on their faces, inviting viewers to assemble three-dimensional reconstructions of the printed images.&nbsp;&nbsp;&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;The viewer,&rdquo; Newhouse points out, &ldquo;is asked to respond and, with Mark&rsquo;s <em>dice,</em> as in game theory, the viewer may rearrange these pieces of 9 or 12 or 100, as they desire: to make their own configurations.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE&nbsp;includes the result of a new collaboration, a site specific installation for the Jill Newhouse Gallery based on the spatial implications of Mark&rsquo;s monotypes.&nbsp; Designed and fabricated by AGENCY (<a href="http://www.agencyarchitecture.com" rel="nofollow">www.agencyarchitecture.com</a>), a collaborative interdisciplinary practice engaging contemporary culture through architecture, urbanism, and advocacy, the architects explore resonances between digital processes and material artifacts shared in their work and the work of Wendy Mark.</p> <p>AGENCY principals Ersela Kripa and Stephen Mueller, winners of the 2010-11 Rome Prize in Architecture, explain, &ldquo;we are transforming a confined gallery space to create the illusion of weightlessness and surprising depth, translating and decontextualizing Wendy&rsquo;s <em>clouds</em> into a richly textured, multi-dimensional, optical and spatial manifold. The installation, which we call &lsquo;CloudSpace&rsquo; intensifies the unexpected depth of space and light one is faced with upon encountering Wendy&rsquo;s clouds, immersing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized <em>lenticular lens</em>, capitalizing on generative digital design tools and fabrication technologies to create multiple new and complex readings of the <em>image</em>.&nbsp; Viewers become complicit in the construction and deconstruction of <em>spatial images</em> as they move through the space, revealed through constantly shifting perforations, opacities, and reflections generated by different viewing angles.&rdquo;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;Our goal,&rdquo; the architects explain, &ldquo;is to translate the scale of the artwork into a three dimensional <em>spatial </em>experience for gallery visitors, who will be reflected in the infinitely expansive environment, captured in the seemingly weightless <em>clouds</em>.&nbsp; The installation gathers three-dimensional data through the systematic indexing and transformation of color and value and then articulates Mark&rsquo;s vision in a vertical, optical, topography.&rdquo;</p> <p>Newhouse adds that, &ldquo;when you visit the gallery you will see how well Wendy Mark and AGENCY have exploited similarities between Mark&rsquo;s material-intensive monotype process and AGENCY&rsquo;s virtual analytic and constructive techniques -- by breaking down Wendy&rsquo;s <em>clouds</em> into a series of progressive spatial matrices.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE includes several visual and intellectual reference points for the observer. &ldquo;The connection to the history of cloud painting is inherent in this installation,&rdquo; Mark writes. &ldquo;My <em>clouds </em>are not taken from the real clouds in nature; I do not paint from Life.&nbsp; These <em>image/clouds</em> are a reinterpretation of the clouds in paintings from the Renaissance painters.&nbsp; I am looking at the clouds of Pontormo, Mantegna, and the skies of the Dutch landscape painters as well.&rdquo; She writes that &ldquo;my clouds are a riff on these early skies.&nbsp; At the same time they refer forward to computer generated dots and information diagrams.&rdquo;</p> <p>In the catalog for the show, Wendy Mark says, &ldquo;one idea is to use scale to reinterpret the Renaissance Landscape: You have to <em>Zoom IN</em> through a small <em>window/frame/turn on the screen</em>.&rdquo;</p> <p>Mark&rsquo;s work has captured the attention of major collectors as well as notable museums and institutions. This is Wendy Mark&rsquo;s second solo show at the Jill Newhouse gallery, which showed Wendy Mark monotypes in an October, 2011 exhibition titled &ldquo;Drive.&rdquo;&nbsp; It is the twelfth solo show for the New York-based artist known for her collaborations with writers, composers, and choreographers.&nbsp;</p> <p>Wendy Mark began her career as a writer and received her MFA from the poetry division of Columbia University School of the Arts. She writes, &ldquo;reading poems and fiction is intrinsic to my life as well as my work as a painter.&rdquo;&nbsp; Limited edition books are part of her many solo exhibitions.&nbsp; She has repeatedly sought to infuse her work with thought-provoking words and images, forging successful creative collaborations with Pulitzer Prize-winning poets Mark Strand, Charles Simic, Paul Muldoon and David St. John, and writers such as Adam Gopnik, Louis Menand, and the Spanish writer, Javier Marias.</p> <p>In an essay by The New Yorker art critic, Adam Gopnik, on Mark&rsquo;s &lsquo;Clouds&rsquo; he asked, &ldquo;<em>is there possibly the hint of a television screen in her squared off formats?&rdquo;</em></p> <p>Wendy Mark has had numerous solo exhibitions and her monotypes were included in the historical exhibition at The Smithsonian Institution &ldquo;Singular Impressions: The monotype in America.&rdquo; Other museum shows include The Lyman Allyn Museum in CT., The Metropolitan Museum of Art, NYC and The Hiroshima Museum of Contemporary Art in Japan.&nbsp; Her prints and books are in the collections of The Metropolitan Museum of Art, the Morgan Library, The Spenser and Berg collections at the New York Public Library and numerous other museums. She is among the twenty artists cited by Thomas Hoving in his article in <em>Cigar Aficionado</em>, "Twenty Artists Who May Be the Picassos and Monets of the 21st Century."</p> <p>Hoving, the former Director of the Metropolitan Museum of Art, was among the first to applaud Mark's monotypes. In his catalogue essay for her show, "A New Shade of Blue" at the Lyman Allan Museum he writes:</p> <p><em>Her latest works demonstrate a further maturing of her subtle skills and are all about contradictory sensations &ndash; the ephermal in her pieces, some deliberately murky thoughts as well as crystal realities.&nbsp; Super evocation!&nbsp; In every work there&rsquo;s a masterful combination of delicacy and force and weightiness and light-as-air freedom.&nbsp; It doesn&rsquo;t matter what the work is, every resplendent one crackles with energy and drama and embodies a simply astounding sense of release and celebration</em>.</p> <p>Paul LeClerc, the former President of The New York Public Library, says of her work in his essay for Mark's exhibition, <em>The Steamroller Project</em>, a large scale monotype made in Central Park:</p> <p><em>One finds, I think, in nearly all of her work something akin to Baudelaire&rsquo;s &lsquo;Invitation to the Voyage,&rsquo; where Mark invites us to join her in venturing into new, seductive, and mysterious landscapes, filled with the arresting colors of Turner or the nuanced palate of Stieglitz&rsquo;s &lsquo;Equivalents.</em></p> <p>The Pulitzer Prize-winning poet, Charles Simic, writes in his introduction to their collaboration limited edition book, <span style="text-decoration: underline;">Wendy's Pinball,</span> published by Glenn Horowitz Bookseller:</p> <p><em>One only needs to divide a blank piece of paper with a line of the horizon and the imagination starts working.&nbsp; Soon there are fields and clouds; there is a solitary tree, the changing light of the day and the seasons with their colors.&nbsp; Wendy Mark&rsquo;s monotypes remind us of those moments when we make our world larger by meaning.</em></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jill Newhouse says, &ldquo;Wendy Mark&rsquo;s art transforms traditional, classical imagery and makes it current. The skies and clouds of Constable and Turner become the dots and grids of the 21st century.&rdquo;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Wendy Mark | &lsquo;BEGINNING WITH SQUARE ONE&rsquo; | Exhibition</p> <p>&nbsp;</p> <p>Wendy Mark returns to her &lsquo;cloud referenced&rsquo; images to express what can take place within a square.&nbsp; The show includes monotypes, watercolors, photographs, mirror paintings and dice. &ldquo;Beginning With Square One&rdquo; refers to the more common phrase &lsquo;back to square one&rsquo; but changes the emphasis, from starting over to the more intense and intentional focus on the &lsquo;square as a frame&rsquo; and as a series of expressions.&nbsp;</p> <p>&nbsp;</p> <p>The BEGINNING WITH SQUARE ONE exhibition at the Jill Newhouse gallery also includes Wendy Mark&rsquo;s new <em>&lsquo;Mirror&rsquo;</em>&nbsp;paintings.&nbsp; Inspired by Jeff Koons&rsquo; bright, shiny, reflective surface sculptures, these paintings of rose/cloud forms of gesso and enamel include the viewer within the image, as they are reflected in these surfaces the closer they get to the image.&nbsp; Mark has been taken by Koons&rsquo; sculpture for many years and this year walked past the Christmas red &ldquo;Venus&rdquo; sculpture at Sotheby&rsquo;s and was &ldquo;forced,&rdquo; she says, to try to work on this new, non-porous, and bright surface, in her case, on Mirror paper, which she found at NY Central Supply.</p> <p>&nbsp;</p> <p>AGENCY | &lsquo;CloudSpace&rsquo; | Site Specific Installation</p> <p>&nbsp;</p> <p>AGENCY transforms a confined gallery space to create the illusion of weightlessness and surprising depth, translating and decontextualizing Wendy&rsquo;s <em>clouds</em> into a richly textured, multi-dimensional, optical and spatial manifold. The installation intensifies an unexpected depth of space and light, immersing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized <em>lenticular lens</em>, creating multiple new and complex readings of the <em>image.</em>&nbsp; Viewers become complicit in the construction and deconstruction of <em>spatial images </em>as they move through the space, revealed through constantly shifting perforations, opacities, and reflections generated by different viewing angles.</p> <p>&nbsp;</p> <p>AGENCY is an award-winning architectural design and research practice known for transforming spaces, sites and systems by working within and against each context&rsquo;s limitations and constraints. The work of the practice ranges from speculative research and urban policy proposals to commissioned architectural projects, film, photography, and public art installations. AGENCY was awarded the 2010 ONE Prize; the 2010-11 Rome Prize in Architecture and has been invited to participate in the Venice Biennale, Sofia Architecture Week, Eme3 International Architectural Market and SUPERFRONT in Los Angeles.</p> <p>&nbsp;</p> <p>JILL NEWHOUSE GALLERY</p> <p>&nbsp;</p> <p>Jill Newhouse gallery was established in 1980 and is devoted to the exhibition and sale of Works of Art on Paper.&nbsp; Jill Newhouse is a fourth generation art dealer and a founding member and past president of the Private Art Dealers Association (PADA.net).&nbsp; She has also been a member of the Art Dealers Association of America (ADAA) and is a Member of the Visiting Committee, Dept. of Prints and Drawings, Metropolitan Museum of Art; a member of the Council of Fellows, Pierpont Morgan Library (2003-2007), and a member of the Morgan&rsquo;s Visiting Committee, Department of Prints and Drawings.</p> <p>&nbsp;</p> <p>This is Wendy Mark&rsquo;s second solo show at the Jill Newhouse gallery, which showed Wendy Mark monotypes in an October, 2011 exhibition titled &ldquo;Drive.&rdquo; Jill Newhouse Gallery is delighted to once again be hosting her latest series of works.</p> <p>&nbsp;</p> <p>WE SUPPORT STUDIO IN A SCHOOL</p> <p>&nbsp;</p> <p>Twenty percent of sale proceeds will benefit STUDIO IN A SCHOOL, a 36-year partnership with the New York City Department of Education that allows professional artists to teach visual arts to hundreds of thousands of New York City children in under-served public schools, daycare centers, and community-based organizations.&nbsp; STUDIO IN A SCHOOL offers quality art workshops where children explore their creativity and learn the joys and benefits of making art.&nbsp; Programs offered are for Pre-K through college, including internships for high school and college students.&nbsp; Studio is a nationally recognized leader in arts education.&nbsp;</p> <p>&nbsp;</p> <p><em>If You Go</em></p> <p>&nbsp;</p> <p>&ldquo;BEGINNING WITH SQUARE ONE&rdquo;</p> <p>&nbsp;</p> <p>New work by Wendy Mark at Jill Newhouse Gallery</p> <p>including a site-specific installation by AGENCY</p> <p>&nbsp;</p> <p><em>October 1st to November 15th 2014</em></p> <p>&nbsp;</p> <p>Jill Newhouse Gallery</p> <p>4 East 81 Street</p> <p>New York NY 10028</p> <p>212 249 9216</p> <p>&nbsp;</p> <p>Monday to Friday 10am to 5:30pm or by appointment</p> <p><a href="http://www.jillnewhouse.com" rel="nofollow">www.jillnewhouse.com</a> <a href="mailto:maildrop@jillnewhouse.com" rel="nofollow">maildrop@jillnewhouse.com</a></p> <p>&nbsp;</p> <p>Please contact Susan Bishopric for High resolution images and interviews&hellip;</p> <p>THE BISHOPRIC AGENCY 212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a></p> <p>&nbsp;</p> Tue, 19 Aug 2014 16:17:48 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Wendy Mark - Jill Newhouse Gallery - October 1st - November 15th <p>For interviews and high resolution images</p> <p>Please contact Susan Bishopric</p> <p>THE BISHOPRIC AGENCY</p> <p>212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a></p> <p>&nbsp;</p> <p>&nbsp;</p> <p align="center">JILL NEWHOUSE presents</p> <p align="center">new work by</p> <p align="center">&nbsp;</p> <p align="center">WENDY MARK</p> <p align="center">&ldquo;BEGINNING WITH SQUARE ONE&rdquo;</p> <p align="center">&nbsp;</p> <p align="center">--including a site specific installation</p> <p align="center">&lsquo;CloudSpace&rsquo;</p> <p align="center">by AGENCY</p> <p align="center">&nbsp;</p> <p align="center">October 1 &ndash; November 15 2014</p> <p align="center">&nbsp;</p> <p align="center">&nbsp;</p> <p align="center"><em>&ldquo;The Fragment/Recollection/Disappearance/Addition/Contrast/Weight and Shadow/The Fugue</em></p> <p align="center">are all explored within the space of a square &ndash; <em>beginning with square one</em>.&rdquo;</p> <p>- Wendy Mark</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NEW YORK June 11 - New York gallerist Jill Newhouse (<a href="http://www.jillnewhouse.com" rel="nofollow">www.jillnewhouse.com</a>) is delighted to present a multi-media exhibition of new work by Wendy Mark from October 1st to November 15th at her gallery at 4 East 81 Street.</p> <p>BEGINNING WITH SQUARE ONE is Wendy Mark&rsquo;s latest creative expression, exploring the use of squares as <em>grids, frames and space</em>, and as active participants in the construction and deconstruction of images.&nbsp; The multi-media exhibit of work, including Mark&rsquo;s monotypes, watercolors, mirror paintings, photographs, books, and small objects, alongside a site specific installation by award-winning architects AGENCY, underscores the artist&rsquo;s interest in collaboration, which infuses every one of her projects with special meaning and finds new forms for their realization. Each piece in the show explores and elaborates the theme with different material and optical techniques, engaging the viewer in a range of relationships to imagery and space.</p> <p>Language, and forms of prose and poems, have always been at the center of Wendy Mark&rsquo;s work.&nbsp; Mark explains how each piece contributes to the <em>syntax </em>of her shows and her entire body of work.&nbsp; Working to both refine each image, and collections of images arranged in a grid, Mark explains, &ldquo;each image is like a line of a poem, a segment, or verse of meaning.&nbsp; These series of <em>image/lines</em> make up the poem which is the whole piece, composed of this <em>row or row of images</em>.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE draws on rich conceptions of drawing and translation methods throughout art history, while extending known methods into surprising new modes of output. Recurring images of <em>dots and clouds</em> fill the space in gridded compositions and in collections of squares and frames.&nbsp; Mark adds, &ldquo;the idea of permutation &ndash; of how images refer to and impress meaning on each other -- is important to me. The <em>graph</em> and the Renaissance <em>cartoon</em> are both influences on these images of dots and clouds, not in terms of transference maps, but in terms of <em>translation</em> and graphed <em>points of reference</em>.&rdquo;</p> <p>Certain pieces in the show engage the viewer and the space of the gallery in contributing to the construction of the work.&nbsp; Collections of <em>dice</em> present disassembled vignettes of larger images in the show on their faces, inviting viewers to assemble three-dimensional reconstructions of the printed images.&nbsp;&nbsp;&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;The viewer,&rdquo; Newhouse points out, &ldquo;is asked to respond and, with Mark&rsquo;s <em>dice,</em> as in game theory, the viewer may rearrange these pieces of 9 or 12 or 100, as they desire: to make their own configurations.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE&nbsp;includes the result of a new collaboration, a site specific installation for the Jill Newhouse Gallery based on the spatial implications of Mark&rsquo;s monotypes.&nbsp; Designed and fabricated by AGENCY (<a href="http://www.agencyarchitecture.com" rel="nofollow">www.agencyarchitecture.com</a>), a collaborative interdisciplinary practice engaging contemporary culture through architecture, urbanism, and advocacy, the architects explore resonances between digital processes and material artifacts shared in their work and the work of Wendy Mark.</p> <p>AGENCY principals Ersela Kripa and Stephen Mueller, winners of the 2010-11 Rome Prize in Architecture, explain, &ldquo;we are transforming a confined gallery space to create the illusion of weightlessness and surprising depth, translating and decontextualizing Wendy&rsquo;s <em>clouds</em> into a richly textured, multi-dimensional, optical and spatial manifold. The installation, which we call &lsquo;CloudSpace&rsquo; intensifies the unexpected depth of space and light one is faced with upon encountering Wendy&rsquo;s clouds, immersing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized <em>lenticular lens</em>, capitalizing on generative digital design tools and fabrication technologies to create multiple new and complex readings of the <em>image</em>.&nbsp; Viewers become complicit in the construction and deconstruction of <em>spatial images</em> as they move through the space, revealed through constantly shifting perforations, opacities, and reflections generated by different viewing angles.&rdquo;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &ldquo;Our goal,&rdquo; the architects explain, &ldquo;is to translate the scale of the artwork into a three dimensional <em>spatial </em>experience for gallery visitors, who will be reflected in the infinitely expansive environment, captured in the seemingly weightless <em>clouds</em>.&nbsp; The installation gathers three-dimensional data through the systematic indexing and transformation of color and value and then articulates Mark&rsquo;s vision in a vertical, optical, topography.&rdquo;</p> <p>Newhouse adds that, &ldquo;when you visit the gallery you will see how well Wendy Mark and AGENCY have exploited similarities between Mark&rsquo;s material-intensive monotype process and AGENCY&rsquo;s virtual analytic and constructive techniques -- by breaking down Wendy&rsquo;s <em>clouds</em> into a series of progressive spatial matrices.&rdquo;</p> <p>BEGINNING WITH SQUARE ONE includes several visual and intellectual reference points for the observer. &ldquo;The connection to the history of cloud painting is inherent in this installation,&rdquo; Mark writes. &ldquo;My <em>clouds </em>are not taken from the real clouds in nature; I do not paint from Life.&nbsp; These <em>image/clouds</em> are a reinterpretation of the clouds in paintings from the Renaissance painters.&nbsp; I am looking at the clouds of Pontormo, Mantegna, and the skies of the Dutch landscape painters as well.&rdquo; She writes that &ldquo;my clouds are a riff on these early skies.&nbsp; At the same time they refer forward to computer generated dots and information diagrams.&rdquo;</p> <p>In the catalog for the show, Wendy Mark says, &ldquo;one idea is to use scale to reinterpret the Renaissance Landscape: You have to <em>Zoom IN</em> through a small <em>window/frame/turn on the screen</em>.&rdquo;</p> <p>Mark&rsquo;s work has captured the attention of major collectors as well as notable museums and institutions. This is Wendy Mark&rsquo;s second solo show at the Jill Newhouse gallery, which showed Wendy Mark monotypes in an October, 2011 exhibition titled &ldquo;Drive.&rdquo;&nbsp; It is the twelfth solo show for the New York-based artist known for her collaborations with writers, composers, and choreographers.&nbsp;</p> <p>Wendy Mark began her career as a writer and received her MFA from the poetry division of Columbia University School of the Arts. She writes, &ldquo;reading poems and fiction is intrinsic to my life as well as my work as a painter.&rdquo;&nbsp; Limited edition books are part of her many solo exhibitions.&nbsp; She has repeatedly sought to infuse her work with thought-provoking words and images, forging successful creative collaborations with Pulitzer Prize-winning poets Mark Strand, Charles Simic, Paul Muldoon and David St. John, and writers such as Adam Gopnik, Louis Menand, and the Spanish writer, Javier Marias.</p> <p>In an essay by The New Yorker art critic, Adam Gopnik, on Mark&rsquo;s &lsquo;Clouds&rsquo; he asked, &ldquo;<em>is there possibly the hint of a television screen in her squared off formats?&rdquo;</em></p> <p>Wendy Mark has had numerous solo exhibitions and her monotypes were included in the historical exhibition at The Smithsonian Institution &ldquo;Singular Impressions: The monotype in America.&rdquo; Other museum shows include The Lyman Allyn Museum in CT., The Metropolitan Museum of Art, NYC and The Hiroshima Museum of Contemporary Art in Japan.&nbsp; Her prints and books are in the collections of The Metropolitan Museum of Art, the Morgan Library, The Spenser and Berg collections at the New York Public Library and numerous other museums. She is among the twenty artists cited by Thomas Hoving in his article in <em>Cigar Aficionado</em>, "Twenty Artists Who May Be the Picassos and Monets of the 21st Century."</p> <p>Hoving, the former Director of the Metropolitan Museum of Art, was among the first to applaud Mark's monotypes. In his catalogue essay for her show, "A New Shade of Blue" at the Lyman Allan Museum he writes:</p> <p><em>Her latest works demonstrate a further maturing of her subtle skills and are all about contradictory sensations &ndash; the ephermal in her pieces, some deliberately murky thoughts as well as crystal realities.&nbsp; Super evocation!&nbsp; In every work there&rsquo;s a masterful combination of delicacy and force and weightiness and light-as-air freedom.&nbsp; It doesn&rsquo;t matter what the work is, every resplendent one crackles with energy and drama and embodies a simply astounding sense of release and celebration</em>.</p> <p>Paul LeClerc, the former President of The New York Public Library, says of her work in his essay for Mark's exhibition, <em>The Steamroller Project</em>, a large scale monotype made in Central Park:</p> <p><em>One finds, I think, in nearly all of her work something akin to Baudelaire&rsquo;s &lsquo;Invitation to the Voyage,&rsquo; where Mark invites us to join her in venturing into new, seductive, and mysterious landscapes, filled with the arresting colors of Turner or the nuanced palate of Stieglitz&rsquo;s &lsquo;Equivalents.</em></p> <p>The Pulitzer Prize-winning poet, Charles Simic, writes in his introduction to their collaboration limited edition book, <span style="text-decoration: underline;">Wendy's Pinball,</span> published by Glenn Horowitz Bookseller:</p> <p><em>One only needs to divide a blank piece of paper with a line of the horizon and the imagination starts working.&nbsp; Soon there are fields and clouds; there is a solitary tree, the changing light of the day and the seasons with their colors.&nbsp; Wendy Mark&rsquo;s monotypes remind us of those moments when we make our world larger by meaning.</em></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jill Newhouse says, &ldquo;Wendy Mark&rsquo;s art transforms traditional, classical imagery and makes it current. The skies and clouds of Constable and Turner become the dots and grids of the 21st century.&rdquo;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Wendy Mark | &lsquo;BEGINNING WITH SQUARE ONE&rsquo; | Exhibition</p> <p>&nbsp;</p> <p>Wendy Mark returns to her &lsquo;cloud referenced&rsquo; images to express what can take place within a square.&nbsp; The show includes monotypes, watercolors, photographs, mirror paintings and dice. &ldquo;Beginning With Square One&rdquo; refers to the more common phrase &lsquo;back to square one&rsquo; but changes the emphasis, from starting over to the more intense and intentional focus on the &lsquo;square as a frame&rsquo; and as a series of expressions.&nbsp;</p> <p>&nbsp;</p> <p>The BEGINNING WITH SQUARE ONE exhibition at the Jill Newhouse gallery also includes Wendy Mark&rsquo;s new <em>&lsquo;Mirror&rsquo;</em>&nbsp;paintings.&nbsp; Inspired by Jeff Koons&rsquo; bright, shiny, reflective surface sculptures, these paintings of rose/cloud forms of gesso and enamel include the viewer within the image, as they are reflected in these surfaces the closer they get to the image.&nbsp; Mark has been taken by Koons&rsquo; sculpture for many years and this year walked past the Christmas red &ldquo;Venus&rdquo; sculpture at Sotheby&rsquo;s and was &ldquo;forced,&rdquo; she says, to try to work on this new, non-porous, and bright surface, in her case, on Mirror paper, which she found at NY Central Supply.</p> <p>&nbsp;</p> <p>AGENCY | &lsquo;CloudSpace&rsquo; | Site Specific Installation</p> <p>&nbsp;</p> <p>AGENCY transforms a confined gallery space to create the illusion of weightlessness and surprising depth, translating and decontextualizing Wendy&rsquo;s <em>clouds</em> into a richly textured, multi-dimensional, optical and spatial manifold. The installation intensifies an unexpected depth of space and light, immersing the viewer in a specially constructed and choreographed environment. A multi-directional mass-customized screen acts like a room-sized <em>lenticular lens</em>, creating multiple new and complex readings of the <em>image.</em>&nbsp; Viewers become complicit in the construction and deconstruction of <em>spatial images </em>as they move through the space, revealed through constantly shifting perforations, opacities, and reflections generated by different viewing angles.</p> <p>&nbsp;</p> <p>AGENCY is an award-winning architectural design and research practice known for transforming spaces, sites and systems by working within and against each context&rsquo;s limitations and constraints. The work of the practice ranges from speculative research and urban policy proposals to commissioned architectural projects, film, photography, and public art installations. AGENCY was awarded the 2010 ONE Prize; the 2010-11 Rome Prize in Architecture and has been invited to participate in the Venice Biennale, Sofia Architecture Week, Eme3 International Architectural Market and SUPERFRONT in Los Angeles.</p> <p>&nbsp;</p> <p>JILL NEWHOUSE GALLERY</p> <p>&nbsp;</p> <p>Jill Newhouse gallery was established in 1980 and is devoted to the exhibition and sale of Works of Art on Paper.&nbsp; Jill Newhouse is a fourth generation art dealer and a founding member and past president of the Private Art Dealers Association (PADA.net).&nbsp; She has also been a member of the Art Dealers Association of America (ADAA) and is a Member of the Visiting Committee, Dept. of Prints and Drawings, Metropolitan Museum of Art; a member of the Council of Fellows, Pierpont Morgan Library (2003-2007), and a member of the Morgan&rsquo;s Visiting Committee, Department of Prints and Drawings.</p> <p>&nbsp;</p> <p>This is Wendy Mark&rsquo;s second solo show at the Jill Newhouse gallery, which showed Wendy Mark monotypes in an October, 2011 exhibition titled &ldquo;Drive.&rdquo; Jill Newhouse Gallery is delighted to once again be hosting her latest series of works.</p> <p>&nbsp;</p> <p>WE SUPPORT STUDIO IN A SCHOOL</p> <p>&nbsp;</p> <p>Twenty percent of sale proceeds will benefit STUDIO IN A SCHOOL, a 36-year partnership with the New York City Department of Education that allows professional artists to teach visual arts to hundreds of thousands of New York City children in under-served public schools, daycare centers, and community-based organizations.&nbsp; STUDIO IN A SCHOOL offers quality art workshops where children explore their creativity and learn the joys and benefits of making art.&nbsp; Programs offered are for Pre-K through college, including internships for high school and college students.&nbsp; Studio is a nationally recognized leader in arts education.&nbsp;</p> <p>&nbsp;</p> <p><em>If You Go</em></p> <p>&nbsp;</p> <p>&ldquo;BEGINNING WITH SQUARE ONE&rdquo;</p> <p>&nbsp;</p> <p>New work by Wendy Mark at Jill Newhouse Gallery</p> <p>including a site-specific installation by AGENCY</p> <p>&nbsp;</p> <p><em>October 1st to November 15th 2014</em></p> <p>&nbsp;</p> <p>Jill Newhouse Gallery</p> <p>4 East 81 Street</p> <p>New York NY 10028</p> <p>212 249 9216</p> <p>&nbsp;</p> <p>Monday to Friday 10am to 5:30pm or by appointment</p> <p><a href="http://www.jillnewhouse.com" rel="nofollow">www.jillnewhouse.com</a> <a href="mailto:maildrop@jillnewhouse.com" rel="nofollow">maildrop@jillnewhouse.com</a></p> <p>&nbsp;</p> <p>Please contact Susan Bishopric for High resolution images and interviews&hellip;</p> <p>THE BISHOPRIC AGENCY 212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a></p> <p>&nbsp;</p> Tue, 19 Aug 2014 16:11:30 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Valdir Cruz - Throckmorton Fine Art - September 18th - November 1st <p><strong>For interviews and high resolution images</strong></p> <p><strong>Please contact Susan Bishopric</strong></p> <p><strong>THE BISHOPRIC AGENCY</strong></p> <p><strong>212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a></strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p align="center"><strong><em>Guarapuava</em></strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>VALDIR CRUZ</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>at</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>Throckmorton Fine Art</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>September 18 &ndash; November 1</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p><strong>&ldquo;Over many years Valdir Cruz and his master printer, Leonard Bergson, have developed a proprietary printing process by which to create exquisite large-format pigment on paper artworks. The emotional nuances and exceptional quality of these original prints catapults them into a niche all their own.&rdquo; </strong></p> <p><strong>&ndash; <em>Spencer Throckmorton</em> </strong></p> <p align="center">&nbsp;</p> <p><strong>NEW YORK June 9 2014 - </strong><strong>Throckmorton Fine Art (www.throckmorton-nyc.com) </strong></p> <p><strong>announces an exhibition of photographs by Guggenheim Award winning Brazilian</strong></p> <p><strong>photographer Valdir Cruz (born 1954 -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ) at its New York gallery from September 18 to November 1, 2014.</strong></p> <p><strong>&ldquo;Guarapuava&rdquo; is Throckmorton Fine Art&rsquo;s sixth solo exhibition of works by the documentary-photographer, Valdir Cruz, and one that is the culmination of a thirty-year project. </strong></p> <p><strong>Spencer Throckmorton says, &ldquo;Cruz&rsquo;s exquisite photographic essay on &lsquo;Guarapuava,&rsquo; the photographer&rsquo;s hometown, bears out Tolstoy&rsquo;s observation that to be universal one only needs to talk about his own village. With unremitting devotion, Cruz has chronicled the lives and lifestyles of this ephemeral and evocative place. The images are the result of his close investigation of its people and landscapes.&rdquo; </strong></p> <p><strong>Among highlights &ndash; &ldquo;Guarapuava&rdquo; showcases a photograph entitled, &ldquo;Gypsy Woman I.&rdquo; It is not merely a portrait; it is a confrontation. As though her unkempt hair, her</strong></p> <p><strong>shirt of asymmetric wildflowers and her pose of apparent control were not enough, what grabs the viewer&rsquo;s attention is her perturbing gaze. </strong></p> <p><strong>In &ldquo;Tropeada I&rdquo; the photographer immortalizes an extinct way of life as</strong></p> <p><strong>gauchos and cattle recede into the horizon. The distinctive landscapes and magnificent waterfalls of the region complement this body of work.</strong></p> <p><strong>Although Throckmorton Fine Art is known for its silver, platinum, and vintage prints, this exhibition is a collection of large-format pigment on paper. Over the course of twelve years, Cruz and his master printer, Leonard Bergson, have developed a proprietary printing process by which to create exquisite original artworks. The exceptional quality of these prints catapults them into a niche of their own. </strong></p> <p><strong>&ldquo;Hands&rdquo; beautifully represents the absolute wide range of black and gray tones&mdash;from delicate charcoal shades to pitch darkness&mdash;resulting in a striking composition. It is also a visual and cultural commentary of a solitary gesture that models human complexity.</strong></p> <p><strong>Spencer Throckmorton adds that, &ldquo;The photographs that comprise this body of work are his most collected; they have been acquired by The Museum of Modern Art in New York City, the New York Public Library, the Brooklyn Museum, the Museum of Fine Arts in Houston, the Museu de Arte de S&atilde;o Paulo, and other institutions and private collections.&rdquo;</strong></p> <p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Valdir Cruz says, &ldquo;I have a great appreciation for Spencer Throckmorton and Kraige Block.&nbsp; They have given me opportunities in my life because they believe in my work and welcome the chance to show it. Spencer is a gentleman and a good listener.&nbsp; He is also a very strong man and very generous.&nbsp; He knows his trade so well; I have never met anybody like him.&rdquo;</strong></p> <p><strong>Cruz was born in Guarapuava, in the Southern State of Paran&aacute;, in 1954. Although Cruz has lived in the United States for more than thirty years, much of his work in photography has focused on the people and landscape of Brazil. He was awarded a Guggenheim Fellowship in 1996 for </strong><strong><em>Faces of the Rainforest</em></strong><strong>, a project documenting the life</strong></p> <p><strong>of indigenous people in the Brazilian rainforest from 1995 to 2000. Cruz shares his time between his studios in New York City and S&atilde;o Paulo.</strong></p> <p><strong>VALDIR CRUZ</strong></p> <p><strong>It has been said that Cruz&rsquo;s interest in photography began when he first viewed some of George Stone&rsquo;s photographs in National Geographic magazines in the 1970s. &ldquo;Stone was a master teacher and it is thanks to him that I became a photographer.&rdquo; &nbsp;Cruz adds that it was George Tice who helped him become a good printer. At the Germain School he studied photography, but he gained technical skills from George Tice at the New School for Social Research, in New York. He later collaborated with Tice in the authorized production of two important Edward Steichen portfolios, <em>Juxtapositions</em> (1986) and <em>Blue Skies </em>(1987) before focusing largely on his own works.&nbsp; Valdir Cruz developed a deep understanding of how 20<sup>th</sup> century photographers such as Edward Steichen and Horst P. Horst expressed their creativity in photography. He says, &ldquo;Mr Horst was not only a great photographer, but a gentleman.&nbsp; I remember the 80&rsquo;s with affection.&nbsp; Those were years of learning and growing tremendously in my vision -&nbsp; and photography &ndash; and in my life!&nbsp; Those were the years dedicated to New York City&hellip;and learning photography.&rdquo;&nbsp; Valdir Cruz&rsquo;s work has been the subject of more than fifty solo exhibitions.</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>THROCKMORTON FINE ART</strong></p> <p><strong>For 25 years Throckmorton Fine Art has specialized in vintage and contemporary photography of the Americas with a primary focus on Latin American talents.&nbsp; The gallery&rsquo;s founder, Spencer Throckmorton, has also pursued a long held interest in Chinese Jades and Pre-Columbian Art and Throckmorton has staged important exhibitions and published numerous publications on these subjects.&nbsp; Throckmorton Fine Art is a featured exhibitor at the world&rsquo;s leading art fairs.&nbsp; Spencer Throckmorton and Kraige Block are also recognized for their extraordinary photography collection including strong works of museum quality by luminaries such as Tina Modotti, Manual Alvarez Bravo, Edward Weston and Martin Chambi, among many talents they have supported in the past quarter century.&nbsp; </strong></p> <p><strong>&nbsp;</strong></p> <p><strong>VALDIR CRUZ publications include:</strong></p> <p><strong>&nbsp;</strong></p> <p><strong></strong><strong><em>Bonito: Confins do Novo Mundo </em></strong><strong>(Rio de Janeiro: Capivara Editora, 2010), sponsored by BNP Paribas.</strong></p> <p><strong></strong><strong><em>Ra&iacute;zes: &Aacute;rvores na paisagem do Estado de S&atilde;o Paulo </em></strong><strong>(S&atilde;o Paulo: Imprensa Oficial, 2010).</strong></p> <p><strong></strong><strong><em>O caminho das &aacute;guas </em></strong><strong>(S&atilde;o Paulo: Cosac &amp; Naify, 2007); with a sponsorship by the Stickel Foundation.</strong></p> <p><strong></strong><strong><em>Carnaval, Salvador, Bahia 1995&ndash;2005 </em></strong><strong>(New York: Throckmorton Fine Art, 2005).</strong></p> <p><strong></strong><strong><em>Faces da Floresta: Os Yanomami </em></strong><strong>(S&atilde;o Paulo: Cosac &amp; Naify, 2004).</strong></p> <p><strong></strong><strong><em>Faces of the Rainforest</em></strong><strong>: </strong><strong><em>The Yanomami </em></strong><strong>(New York: powerHouse, 2002); with the support of a publication</strong></p> <p><strong>subvention awarded by the Guggenheim Foundation in 2000,</strong></p> <p><strong></strong><strong><em>Faces of the Rainforest </em></strong><strong>(New York: Throckmorton Fine Art, 1997);</strong></p> <p><strong></strong><strong><em>Catedral Basilica de Nossa Senhora da Luz dos Pinhais </em></strong><strong>(New York: Brave Wolf Publishing, 1996); with the support</strong></p> <p><strong>of Associa&ccedil;&atilde;o Cultural Avelino A. Vieira &ndash; Banco Bamerindus</strong></p> <p><strong>Book available: </strong><strong><em>Guarapuava</em></strong><strong>: Interview by Anne Wilkes Tucker, Essay by Rubens Fernandes Junior: $75</strong></p> <p><strong>&nbsp;</strong></p> <p><strong><em>IF YOU GO</em></strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&ldquo;Guarapuava&rdquo;</strong></p> <p><strong>&nbsp;</strong></p> <p><strong><em>VALDIR CRUZ</em></strong></p> <p><strong>at </strong><strong>Throckmorton Fine Art</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>September 18th &ndash; November 1st, 2014</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>Throckmorton Fine Art</strong></p> <p><strong>145 E. 57th Street, 3rd fl. New York, NY 10022</strong></p> <p><strong>T. 212. 223. 1059 F. 212. 223. 1937</strong></p> <p><strong>Info@throckmorton-nyc.com <a href="http://www.throckmorton-nyc.com" rel="nofollow">www.throckmorton-nyc.com</a></strong></p> <p><strong>Tuesday &ndash; Saturday 11 am to 5 pm</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>Please contact Susan Bishopric for High resolution images of the attached </strong></p> <p><strong>VALDIR CRUZ images, and interviews&hellip;</strong></p> <p><strong>THE BISHOPRIC AGENCY 212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a> </strong></p> Tue, 19 Aug 2014 15:57:44 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Valdir Cruz - Throckmorton Fine Art - September 18th - November 1st <p><strong>For interviews and high resolution images</strong></p> <p><strong>Please contact Susan Bishopric</strong></p> <p><strong>THE BISHOPRIC AGENCY</strong></p> <p><strong>212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a></strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p align="center"><strong><em>Guarapuava</em></strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>VALDIR CRUZ</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>at</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>Throckmorton Fine Art</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p align="center"><strong>September 18 &ndash; November 1</strong></p> <p align="center"><strong>&nbsp;</strong></p> <p><strong>&ldquo;Over many years Valdir Cruz and his master printer, Leonard Bergson, have developed a proprietary printing process by which to create exquisite large-format pigment on paper artworks. The emotional nuances and exceptional quality of these original prints catapults them into a niche all their own.&rdquo; </strong></p> <p><strong>&ndash; <em>Spencer Throckmorton</em> </strong></p> <p align="center">&nbsp;</p> <p><strong>NEW YORK June 9 2014 - </strong><strong>Throckmorton Fine Art (www.throckmorton-nyc.com) </strong></p> <p><strong>announces an exhibition of photographs by Guggenheim Award winning Brazilian</strong></p> <p><strong>photographer Valdir Cruz (born 1954 -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ) at its New York gallery from September 18 to November 1, 2014.</strong></p> <p><strong>&ldquo;Guarapuava&rdquo; is Throckmorton Fine Art&rsquo;s sixth solo exhibition of works by the documentary-photographer, Valdir Cruz, and one that is the culmination of a thirty-year project. </strong></p> <p><strong>Spencer Throckmorton says, &ldquo;Cruz&rsquo;s exquisite photographic essay on &lsquo;Guarapuava,&rsquo; the photographer&rsquo;s hometown, bears out Tolstoy&rsquo;s observation that to be universal one only needs to talk about his own village. With unremitting devotion, Cruz has chronicled the lives and lifestyles of this ephemeral and evocative place. The images are the result of his close investigation of its people and landscapes.&rdquo; </strong></p> <p><strong>Among highlights &ndash; &ldquo;Guarapuava&rdquo; showcases a photograph entitled, &ldquo;Gypsy Woman I.&rdquo; It is not merely a portrait; it is a confrontation. As though her unkempt hair, her</strong></p> <p><strong>shirt of asymmetric wildflowers and her pose of apparent control were not enough, what grabs the viewer&rsquo;s attention is her perturbing gaze. </strong></p> <p><strong>In &ldquo;Tropeada I&rdquo; the photographer immortalizes an extinct way of life as</strong></p> <p><strong>gauchos and cattle recede into the horizon. The distinctive landscapes and magnificent waterfalls of the region complement this body of work.</strong></p> <p><strong>Although Throckmorton Fine Art is known for its silver, platinum, and vintage prints, this exhibition is a collection of large-format pigment on paper. Over the course of twelve years, Cruz and his master printer, Leonard Bergson, have developed a proprietary printing process by which to create exquisite original artworks. The exceptional quality of these prints catapults them into a niche of their own. </strong></p> <p><strong>&ldquo;Hands&rdquo; beautifully represents the absolute wide range of black and gray tones&mdash;from delicate charcoal shades to pitch darkness&mdash;resulting in a striking composition. It is also a visual and cultural commentary of a solitary gesture that models human complexity.</strong></p> <p><strong>Spencer Throckmorton adds that, &ldquo;The photographs that comprise this body of work are his most collected; they have been acquired by The Museum of Modern Art in New York City, the New York Public Library, the Brooklyn Museum, the Museum of Fine Arts in Houston, the Museu de Arte de S&atilde;o Paulo, and other institutions and private collections.&rdquo;</strong></p> <p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Valdir Cruz says, &ldquo;I have a great appreciation for Spencer Throckmorton and Kraige Block.&nbsp; They have given me opportunities in my life because they believe in my work and welcome the chance to show it. Spencer is a gentleman and a good listener.&nbsp; He is also a very strong man and very generous.&nbsp; He knows his trade so well; I have never met anybody like him.&rdquo;</strong></p> <p><strong>Cruz was born in Guarapuava, in the Southern State of Paran&aacute;, in 1954. Although Cruz has lived in the United States for more than thirty years, much of his work in photography has focused on the people and landscape of Brazil. He was awarded a Guggenheim Fellowship in 1996 for </strong><strong><em>Faces of the Rainforest</em></strong><strong>, a project documenting the life</strong></p> <p><strong>of indigenous people in the Brazilian rainforest from 1995 to 2000. Cruz shares his time between his studios in New York City and S&atilde;o Paulo.</strong></p> <p><strong>VALDIR CRUZ</strong></p> <p><strong>It has been said that Cruz&rsquo;s interest in photography began when he first viewed some of George Stone&rsquo;s photographs in National Geographic magazines in the 1970s. &ldquo;Stone was a master teacher and it is thanks to him that I became a photographer.&rdquo; &nbsp;Cruz adds that it was George Tice who helped him become a good printer. At the Germain School he studied photography, but he gained technical skills from George Tice at the New School for Social Research, in New York. He later collaborated with Tice in the authorized production of two important Edward Steichen portfolios, <em>Juxtapositions</em> (1986) and <em>Blue Skies </em>(1987) before focusing largely on his own works.&nbsp; Valdir Cruz developed a deep understanding of how 20<sup>th</sup> century photographers such as Edward Steichen and Horst P. Horst expressed their creativity in photography. He says, &ldquo;Mr Horst was not only a great photographer, but a gentleman.&nbsp; I remember the 80&rsquo;s with affection.&nbsp; Those were years of learning and growing tremendously in my vision -&nbsp; and photography &ndash; and in my life!&nbsp; Those were the years dedicated to New York City&hellip;and learning photography.&rdquo;&nbsp; Valdir Cruz&rsquo;s work has been the subject of more than fifty solo exhibitions.</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>THROCKMORTON FINE ART</strong></p> <p><strong>For 25 years Throckmorton Fine Art has specialized in vintage and contemporary photography of the Americas with a primary focus on Latin American talents.&nbsp; The gallery&rsquo;s founder, Spencer Throckmorton, has also pursued a long held interest in Chinese Jades and Pre-Columbian Art and Throckmorton has staged important exhibitions and published numerous publications on these subjects.&nbsp; Throckmorton Fine Art is a featured exhibitor at the world&rsquo;s leading art fairs.&nbsp; Spencer Throckmorton and Kraige Block are also recognized for their extraordinary photography collection including strong works of museum quality by luminaries such as Tina Modotti, Manual Alvarez Bravo, Edward Weston and Martin Chambi, among many talents they have supported in the past quarter century.&nbsp; </strong></p> <p><strong>&nbsp;</strong></p> <p><strong>VALDIR CRUZ publications include:</strong></p> <p><strong>&nbsp;</strong></p> <p><strong></strong><strong><em>Bonito: Confins do Novo Mundo </em></strong><strong>(Rio de Janeiro: Capivara Editora, 2010), sponsored by BNP Paribas.</strong></p> <p><strong></strong><strong><em>Ra&iacute;zes: &Aacute;rvores na paisagem do Estado de S&atilde;o Paulo </em></strong><strong>(S&atilde;o Paulo: Imprensa Oficial, 2010).</strong></p> <p><strong></strong><strong><em>O caminho das &aacute;guas </em></strong><strong>(S&atilde;o Paulo: Cosac &amp; Naify, 2007); with a sponsorship by the Stickel Foundation.</strong></p> <p><strong></strong><strong><em>Carnaval, Salvador, Bahia 1995&ndash;2005 </em></strong><strong>(New York: Throckmorton Fine Art, 2005).</strong></p> <p><strong></strong><strong><em>Faces da Floresta: Os Yanomami </em></strong><strong>(S&atilde;o Paulo: Cosac &amp; Naify, 2004).</strong></p> <p><strong></strong><strong><em>Faces of the Rainforest</em></strong><strong>: </strong><strong><em>The Yanomami </em></strong><strong>(New York: powerHouse, 2002); with the support of a publication</strong></p> <p><strong>subvention awarded by the Guggenheim Foundation in 2000,</strong></p> <p><strong></strong><strong><em>Faces of the Rainforest </em></strong><strong>(New York: Throckmorton Fine Art, 1997);</strong></p> <p><strong></strong><strong><em>Catedral Basilica de Nossa Senhora da Luz dos Pinhais </em></strong><strong>(New York: Brave Wolf Publishing, 1996); with the support</strong></p> <p><strong>of Associa&ccedil;&atilde;o Cultural Avelino A. Vieira &ndash; Banco Bamerindus</strong></p> <p><strong>Book available: </strong><strong><em>Guarapuava</em></strong><strong>: Interview by Anne Wilkes Tucker, Essay by Rubens Fernandes Junior: $75</strong></p> <p><strong>&nbsp;</strong></p> <p><strong><em>IF YOU GO</em></strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&ldquo;Guarapuava&rdquo;</strong></p> <p><strong>&nbsp;</strong></p> <p><strong><em>VALDIR CRUZ</em></strong></p> <p><strong>at </strong><strong>Throckmorton Fine Art</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>September 18th &ndash; November 1st, 2014</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>Throckmorton Fine Art</strong></p> <p><strong>145 E. 57th Street, 3rd fl. New York, NY 10022</strong></p> <p><strong>T. 212. 223. 1059 F. 212. 223. 1937</strong></p> <p><strong>Info@throckmorton-nyc.com <a href="http://www.throckmorton-nyc.com" rel="nofollow">www.throckmorton-nyc.com</a></strong></p> <p><strong>Tuesday &ndash; Saturday 11 am to 5 pm</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>Please contact Susan Bishopric for High resolution images of the attached </strong></p> <p><strong>VALDIR CRUZ images, and interviews&hellip;</strong></p> <p><strong>THE BISHOPRIC AGENCY 212 289 2227 <a href="mailto:susan@susanpr.com" rel="nofollow">susan@susanpr.com</a> </strong></p> Tue, 19 Aug 2014 15:55:49 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Not Vital - Sperone Westwater - September 5th - October 4th <p>Sperone Westwater is pleased to announce a Not Vital exhibition featuring new stainless steel sculptures,<em>HEADS</em>, and a series of related drawings. Vital developed this striking sculptural series in his studio in the art district of Caochangdi, Beijing. These seven&nbsp;<em>HEADS</em>, all of a monochromatic palette, ranging from 4.5 to 6.2 feet in height, are pared down to simple contours. Only two of the works,&nbsp;<em>HEAD Self-Portrait&nbsp;</em>(2013) and&nbsp;<em>HEAD Everton</em>&nbsp;(2014), depict specific sitters. The flawlessly smooth, metallic finish, created using cutting-edge technology, establishes an austere and commanding presence. Seemingly both human and machine-like, the sculptures occupy an uneasy middle ground, on occasion ambiguous and disconcerting.</p> <p>These sculptures suggest Vital&rsquo;s fascination with the fast-paced, highly productive, and raw nature of industrial China today. The abstracted and simplified shapes, however, also recall the earliest forms of sculptural representation, such as the iconic carved<em>&nbsp;Moai</em>&nbsp;statues of Easter Island and the ancient sculptural forms of Asian religious art.</p> <p>The 18 drawings of&nbsp;<em>Everton&nbsp;</em>are Vital&rsquo;s most recent work. Executed in early 2014 in Rio de Janeiro, these drawings, measuring 17 x 14 inches, are repeated depictions of the same sitter,&nbsp;<em>Everton</em>. All of the drawings are rendered in either oilstick on paper or oilstick and tape on paper. This series becomes a meditation on the same subject, the human face. Although dark and often rendered with rapid strokes, Vital&rsquo;s depictions possess a quiet and potent strength despite the absence of facial details.</p> <p>Not Vital (b. 1948, Sent, Engadin, Switzerland) studied in Paris and Rome before moving to New York in 1974. Vital currently divides his time between Brazil, Chile, China, Niger and Switzerland. The artist&rsquo;s work was featured in &ldquo;Plateau of Humanity&rdquo; at the 49th Venice Biennale, Italy (2001). Vital's major exhibitions have taken place at the Kunsthalle Bielefeld, Germany (2005); The Arts Club of Chicago, Illinois, (2006); K&Ouml;R Kunsthalle Wien public space Karlsplatz, Vienna, Austria (2009-2010); Ullens Center for Contemporary Art, Beijing, China (2011); the Cabinet d&rsquo;Arts Graphiques, Mus&eacute;es d&rsquo;Art et d&rsquo;Histoire, Geneva, Switzerland (2014); and the Museo d&rsquo;arte di Mendrisio, Mendrisio, Switzerland (2014-2015). In 2013,&nbsp;<em>700 Snowballs</em>, an installation of 700 individual glass balls, was on view on the Isola di San Giorgio Maggiore in Venice, Italy. In autumn 2014, Vital&rsquo;s&nbsp;<em>Tongue</em>&nbsp;will be featured in the Busan Biennale 2014, South Korea. Vital had his first solo show at Sperone Westwater in 1995, and &ldquo;EVERTON&rdquo; will be his seventh solo show at the gallery.</p> Tue, 19 Aug 2014 03:08:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mac Premo - Pavel Zoubok Gallery - September 12th - October 11th <p>MAC PREMO's installation, It's Still Later Than You Think, reconfigures two bodies of work exhibited in the studio-like set for his autobiographical one-man play The Luckiest Arab in Belfast, which debuted earlier this year at The Invisible Dog Art Center. Both series focus on the intimate relationships between individuals and the objects with which they identify and surround themselves. In one, fifty collectible baseball cards, their value lost to the floodwaters of Hurricane Sandy, are paired with a graphic lexicon symbolizing the mythology that preserves each player in our cultural memory. In the other, sundry humble objects ranging from cardboard shoeboxes, backgammon boards and leather suitcases are encased in resin and silk-screened with the compulsive maxim &ldquo;I Want This One&rdquo;.</p> <p>Mac Premo has been exhibiting widely since 1999, including exhibitions at MoMA P.S.1, the Brooklyn Academy of Music and the Philoctetes Center, New York as well as several public art projects in Belfast, Northern Ireland. He is a 2008 NYFA Video Fellow and his promotional films and animations have won numerous awards, including 7 New York Emmy Awards, including Best Commercial and Best Graphics in 2009 and 2010. This is the artist's fourth solo exhibition at Pavel Zoubok Gallery.</p> Tue, 19 Aug 2014 02:41:13 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lance Letscher - Pavel Zoubok Gallery - September 12th - October 11th <p>The mechanistic collages in LANCE LETSCHER's Real Life Drama revel in the dynamism of invention, deploying a highly individual language that combines meticulous cutting with spontaneous gesture. In 2010, Letscher wrote and illustrated the children's book, The Perfect Machine, which follows &ldquo;a boy whose head was filled with ideas&rdquo; on his quest to answer a simple question: &ldquo;If there is a perfect machine what would it be?&rdquo; This boy, it's plain to see, is Letscher himself, whose work consistently responds by visualizing imagination itself. The play between whimsy and precision is monumentally realized in Hot Rod, a WWII era training glider, the rigid geometry of which has been truncated to take on the contours of a passerine bird, its topsy-turvy flight plan applied to its surface in a motley coil of spirals. In envisioning new landscapes filled with impossible machines, Letscher's work renders childhood wonderment with a skill honed by a lifelong commitment to collage.</p> <p>Lance Letscher has exhibited extensively in across the United States and abroad including Austin, Houston, Los Angeles, New York, San Francisco, as well as in London, Brussels, Munich and Barcelona. His work is represented in the collections of the Austin Museum of Art, Austin; Museum of Fine Arts, Houston; California State University Print Collection, Long Beach; Texas Children's Hospital, Houston; and numerous other public and private collections. A lavish monograph of his work, Lance Letscher: Collage, was published in 2009. This is the artist's first solo exhibition at Pavel Zoubok Gallery.</p> Tue, 19 Aug 2014 02:37:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Javier Piñón - Pavel Zoubok Gallery - September 12th - October 11th <p>In JAVIER PI&Ntilde;&Oacute;N's Octopussy, tranquil Caribbean seascapes are charged with latent danger as beckoning sirens preen and pose amongst starfish and anemones, infusing the waters with portentous sexuality. Deftly combining vintage magazine cuttings and nautical landscapes, these cinematic encounters contrast the alluring pin-up girls' faded flesh tones with the reef's vibrant neon palate. These alluring creatures, part mythological goddess and part Bond girl, seductively articulate narratives of sex, love, adventure and death. Transfixing divers, explorers and viewers alike, these intimate works create uncanny scenes that solicit the viewer's narrative completion.</p> <p>Javier Pi&ntilde;&oacute;n's work has been shown throughout the United States and Europe, with exhibitions in Spain, Belgium, Denmark, England, New York, Miami, and Boston among others. He is the recipient of the 2009 Fountainhead Residency in Miami, the 2008 Bauernmarkt Residency from the Lenikus Collection in Vienna and the New York Foundation for the Arts (NYFA) fellowship in 2007. His work can be found in the collections of the High Museum of Art, Atlanta; the International Collage Center; and the 21c Museum, Louisville as well as in numerous private collections. This is Pi&ntilde;&oacute;n's first solo exhibition at Pavel Zoubok Gallery.</p> Tue, 19 Aug 2014 02:35:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sam Durant - Paula Cooper Gallery - 521 W. 21st Street - September 12th - October 18th <p>The Paula Cooper Gallery is pleased to present&nbsp;<em>Invisible Surrealists</em>, an exhibition of new work by Sam Durant. The show, on view from September 12 to October 18 at 521 West 21st Street, will include intricate graphite drawings alongside mixed-media sculpture.</p> <p>Inspired by Robin D.G. Kelly&rsquo;s essay, &ldquo;Keepin&rsquo; it (Sur)real: Dreams of the Marvelous,&rdquo; Durant&rsquo;s new body of work revisits the history of Surrealism, casting light on lesser-known members of the movement from the Francophone colonies. Using iconic group photographs of the celebrated Paris-based founders of the movement like Andr&eacute; Breton, Man Ray and Leon Trotsky, Durant alters the images, inserting a number of overlooked artists such as Wifredo Lam, Ren&eacute; M&eacute;nil, Aim&eacute; and Suzanne C&eacute;saire, Jules Monnerot and Joyce Mansour.</p> <p>By revising the Eurocentric narrative and creating new archival imagery, Durant&rsquo;s drawings question the photograph&rsquo;s ability to represent history, exposing it instead as an instrument with which collective amnesia and repression are perpetuated.</p> <p>Durant also seeks to renew the original spirit of Surrealism&mdash;oppositional, radical and revolutionary&mdash;which came about as a reaction to the cataclysm of World War I. Coinciding with the 100th anniversary of the beginning of the war,<em>Invisible Surrealists</em>&nbsp;explores the relationship between combat and art, especially through the phenomena of &ldquo;Trench Art.&rdquo; In one sculpture, Durant transforms heavy caliber shells into bells for a large wind chime, and in another, he assembles a collection of trench warfare objects on a stage-like platform, highlighting their sculptural qualities.</p> <p>Durant&rsquo;s method of intertwining historical and cultural events of the past and the present is a recurring theme within his work. He has focused on such pivotal periods as the civil-rights era, the 1968 student riots, and last century&rsquo;s struggle between Native Americans and European settlers. Durant has been the subject of one-person exhibitions at the Museo d'arte contemporanea, Rome; the Getty Center, Los Angeles; the Wadsworth Atheneum Museum of Art, Hartford, CT; the Museum of Contemporary Art, Los Angeles; the Kunstverein D&uuml;sseldorf; the Walker Art Center, Minneapolis; and the Massachusetts College of Art, Boston. His most recent group exhibitions include&nbsp;<em>dOCUMENTA</em>&nbsp;(13), Kassel and &ldquo;See You In The Hague,&rdquo; Stroom den Haag, The Hague. He has participated in the 2004 Whitney Museum Biennial, New York; the 2002 Venice Biennale, Italy; and Out of Place:&nbsp;<em>Contemporary Art and the Architectural Uncanny</em>&nbsp;at the Museum of Contemporary Art, Chicago. Durant's large-scale installation&nbsp;<em>Proposal for White and Indian Dead Monument Transpositions, Washington, D.C.</em>&nbsp;will be on view at the Los Angeles County Museum of Art (August 3 - November 30, 2014) for the first time since entering the museum's collection in 2013. Durant lives and works in Los Angeles.</p> Tue, 19 Aug 2014 02:29:27 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list David Hockney - Pace Gallery 508 W. 25th - September 5th - November 1st <p>Pace is honored to present an exhibition of recent iPad prints, charcoal drawings and video by David Hockney, one of the most important and celebrated living artists in the world.</p> Tue, 19 Aug 2014 02:22:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Issei Suda - MIYAKO YOSHINAGA Art Prospects - September 11th - October 18th <p>From September 11 to October 18, 2014, MIYAKO YOSHINAGA is pleased to present&nbsp;&ldquo;Issei Suda: Life In Flower 1971-1977,&rdquo;featuring over 30 vintage and modern gelatin silver prints by&nbsp;Issei Suda&nbsp;(b.1940). Suda, a prolific 74-year-old Japanese photographer, is best known for his captivating street portraits exploring the mysterious and witty aspects of human life.&nbsp;An opening reception for the exhibition&nbsp;will be held&nbsp;Thursday, September 11, 6-8pm. &nbsp;The exhibition features Suda&rsquo;s signature square medium-format black-and-white photographs of ordinary people in public places in and around Tokyo in the 1970s.&nbsp; Nearly four decades later, the images with fine detail and rich tonality in this exhibition immortalize the compelling nature of these unlikely subjects.&nbsp;</p> <p>&nbsp;From 1971 to 1977, Suda traveled to traditional festivals where he found old-fashioned customs, rituals, and most importantly, exuberant participants and spectators. During this same period, Suda chronicled people engaged in their daily lives on the streets of Tokyo.&nbsp; Crosscurrents of rural and urban, extraordinary and ordinary, and traditional and modern during the rapid urbanization of Japan in the 70&rsquo;s run through Suda&rsquo;s seminal twin works;&nbsp;<em>Fushi Kaden</em>&nbsp;(&ldquo;The Flowering Spirit,&rdquo; 1978) and&nbsp;<em>Waga Tokyo 100</em>&nbsp;(&ldquo;My Tokyo 100,&rdquo; 1979). This exhibition represents selections from both series.</p> <p>&nbsp;During this era, many young Japanese photographers followed the street photography style made popular by artists such as William Klein and Robert Frank who took spontaneous pictures of public places and people. &nbsp;Suda&rsquo;s portraits, though&nbsp;</p> <p>serendipitous and unposed, often conjure a subtle artificiality.&nbsp; Whether in full-length, three-quarter, or close-up views, his subjects are mostly single individuals shot against tightly cropped backgrounds.&nbsp; They look lively yet a little off-kilter, trapped in a moment between conscious and unconscious states.&nbsp; His landscapes and still-lifes set an otherworldly mood, a sort of Eastern film-noir. &nbsp;Suda&rsquo;s unusual viewpoint looks beyond the immediate subject, resulting in a final image that projects uncanny dissonance and curiosity.</p> <p>&nbsp;Issei Suda&nbsp;was born in Tokyo in 1940 and graduated from the Tokyo College of Photography in 1962. By mid 1970s, Suda emerged as a promising new photographer through his work in the photo magazines, particularly the trend-setting&nbsp;<em>Camera Mainichi</em>.&nbsp; In 1976 his first major series&nbsp;<em>Fushi Kaden</em>&nbsp;earned him the Newcomer's Award from the Photographic Society of Japan.&nbsp; Suda was one of 19 artists included in&nbsp;<em>Japan: A Self-Portrait</em>, the 1979 exhibition at the International Center of Photography, New York. &nbsp;In the next four decades, Suda continued to produce many acclaimed series, including&nbsp;<em>Waga Tokyo 100</em>&nbsp;(1979),<em>Monogusa Syui</em>&nbsp;(1982),&nbsp;<em>Ningen no Kioku&nbsp;</em>(1996) and&nbsp;<em>Minyou Sanga</em>&nbsp;(2007). He has held numerous solo exhibitions in and out of Japan, and most recently last year, the artist&rsquo;s first major retrospective at the Tokyo Metropolitan Museum of Photography. Suda&rsquo;s work has been represented by San Francisco Museum of Modern Art, Museum of Fine Arts, Houston, and The J. Paul Getty Museum among others.&nbsp;</p> <p>&nbsp;This exhibition is organized in collaboration with Mark Pearson and Zen Foto Gallery, Tokyo and in consultation with Mihyun Kang.&nbsp; An accompanying exhibition booklet as well as 2013 monograph&nbsp;<em>&ldquo;Waga Tokyo 100&rdquo;</em>(published by Zen Foto Gallery) are available upon request.</p> Tue, 19 Aug 2014 02:07:47 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list