ArtSlant - Current exhibits http://www.artslant.com/ny/Events/show en-us 40 Stephen Shore - 303 Gallery - September 11th - November 1st <p>303 Gallery is pleased to present its fifth exhibition of photographs by Stephen Shore, whose pioneering use of color photography in the 1970s and beyond has made him one of art history's most revered and exploratory practitioners of photographic possibilities.</p> <p>For this occasion, Shore will present two new bodies of work realized in zones of itinerant conflict. In a series of images made in Israel and the West Bank, uninhabited landscapes meet scenes of modern quotidian life, and tender portraits become entangled with images of aestheticized propaganda and the charge of architecture in conflicted space. Shore's interest in daily life, in the landscape itself as a way to interpret a sociological climate - a baseline theme in all his work - here takes on a different type of potency due to the critical nature of the living situation. In an a piece such as&nbsp;<em>Sderot, Israel, September 14, 2009</em>, a photograph of a hand pointing at a map is another way of considering the contentious nature of territories.</p> <p>The second body of work presented in this exhibition consists of images shot in the Ukraine, in and around the homes and villages of Holocaust survivors. Another subject with an emotional charge perhaps unequalled in terms of acute sensation, each image becomes a type of reliquary replete not only with the tragedy of the Holocaust, but with the tragic history of the Ukraine itself. Shore's compositions in these images are tighter and more controlled; colors and objects bristle with intimation of past events. In directly confronting these charged subjects, Shore subtly imposes his own order and logic on the landscape, continuing a tradition he created and has practiced for close to 50 years.</p> <p><em>Stephen Shore: From Galilee to the Negev</em>, a compendium of images shot in Israel and the West Bank, was published earlier this year by Phaidon Press. His most recent photographic series shot in Winslow, AZ in 2013 was recently published by IMA Concept Store in Tokyo in a new book titled&nbsp;<em>Stephen Shore Winslow Arizona.</em></p> <p>Stephen Shore's upcoming exhibitions will include Fundaci&oacute;n MAPFRE, Madrid (2014), Barbican Centre, London (2014), Tate Modern (2014). Past exhibitions include The Museum of Modern Art, New York (2013-14), The Metropolitan Museum of Art, New York (2013), The Art Institute of Chicago (2011), Centre Pompidou, Paris (2011), Aspen Art Museum, Aspen (2011).</p> <p>Stephen Shore has been the Director of Photography Program at Bard College since 1982.</p> <p>&nbsp;</p> Mon, 29 Sep 2014 21:18:44 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Antoine Catala - 47 Canal - September 28th - November 2nd <p>I don&rsquo;t feel the same anymore. <br />I feel new. I don&rsquo;t know how to describe the sensation. <br />Do you? <br />Can you feel how I feel? <br />Is really the sole purpose of emotions the survival of a gene pool? The ultimate bonding gel. <br />Through the screen, can you tell how I feel? My voice, do I sound nervous or happy? <br />Can one learn new feelings? A new type of anger, with a hint of pride, a new breed of painless <br />joy. <br />Can you teach me how to feel, because I lost touch? <br />It&rsquo;s like something recently severed, and emotions are drifting inside of me. <br />When I was a little boy, I put myself in other's shoes. I would mimic people around me, <br />copy the way they walked, the way they sat or spoke. It would open a window into their minds. <br />Empathic machines are coming, like children, learning. <br />Will I be able to outsource my feelings to emobots one day. I wouldn't have to deal with shitty <br />emotions anymore. Let the emobots process my crappy moods and re-infuse my body with good vibes. <br />Fleeting. <br />If emotionomics is to become a reality, would I ever be able to purchase a meal with the <br />sensation of freedom that permeates through me today? Pay with a confused transactional smile. <br />This is personal, and it&rsquo;s not. <br />It&rsquo;s all transparent. Let&rsquo;s put our feelings on the table. <br />Antoine Catala (born in 1975, Toulouse France) lives and works in New York and has exhibited <br />extensively both in the US and abroad. Recent solo exhibitions include: Heavy Words, curated by <br />Florence Derieux at Peep-Hole, Milan (2014) and Image Families, curated by Linus Elmes at <br />UKS, Oslo (2013). His work has also been included in Archeo, curated by Cecilia Alemani, High <br />Line, New York, NY; Meanwhile...Suddenly and Then, 12 Biennale de Lyon, France curated <br />by Gunnar B. Kvaran; ProBio, organized by Josh Kline, EXPO 1: New York, MoMA PS1, New <br />York, NY; Empire State, curated by Alex Gartenfeld and Norman Rosenthal, Palazzo delle <br />Esposizioni, Rome, Italy and Puddle, pothole, portal, co-curated by Ruba Katrib and Camille <br />Henrot, Sculpture Center, Long Island City, NY, opening in October.</p> Tue, 30 Sep 2014 01:25:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ian Hughes - 532 Gallery Thomas Jaeckel - October 9th - November 8th <p style="text-align: justify;">Over the arc of his career, Ian Hughes has honed a distinctive visual language in which paint reveals its lushest and most viscous qualities while simultaneously giving shape to bio-reminiscent forms that have a compelling life of their own. In <em>Twisted Figures</em>, his third solo show at 532 Gallery Thomas Jaeckel, Hughes&rsquo;s latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self-confidently assert their own presence, yet begin to move beyond an earlier, more matter-of-fact reliance on organic and visceral associations.</p> <p style="text-align: justify;"><em>Twisted Figures</em> reflects a subtle turn in Hughes&rsquo;s paintings toward motifs that are slightly more elusive in content, while retaining the beautiful but vaguely stomach-churning core of his earlier works. Many of the latest pieces feature the same intense, warm palette and pseudo-anatomical imagery set against flat monochromatic backgrounds, such as <em>Green Ovals</em>, which presents a smooth fleshlike surface against which brightly rendered rolling forms in pink, white, and orange suggest intestines, buttocks, and/or reproductive organs. Yet patches of textile-like patterning and a handful of amorphous shapes scattered throughout hint at a much wider range of associations, from soft pillows to eerie but strangely inviting otherworldly landscapes.</p> <p style="text-align: justify;">In some of the new paintings, Hughes sets up a tension between more organic, down-to-earth colors&mdash;such as the duller hamburger/flesh pink in <em>Untitled (Taupe)</em> &mdash;and contorted masses that are much harder to pin down. Still other canvases veer in the opposite direction by merging undulations of vivid, carnivalesque blues, pinks, oranges, or greens with somber dark swathes into curves that evoke chaotic balloon sculptures or failed attempts to wring order from unruly sausages of brute matter. In <em>Untitled (Golden Yellow) </em>and <em>Red Wrap</em>, the brushstrokes begin to assert themselves in a way that seems to subtly threaten the integrity of the forms they comprise, thereby highlighting the importance of paint as the essential substrate for Hughes&rsquo;s cheerful-yet-disquieting images. The juxtaposition of painterly effects (rounded forms and illusionistic volumes) with more graphic elements (flat, opaque backgrounds and sharp edges) strongly reinforces this message. The result is a potent comment on the powerful tension between medium and image that has haunted painting for as long as abstraction has existed, or perhaps since the first images were daubed on a cave wall millennia ago.</p> Thu, 09 Oct 2014 17:38:16 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Wayne Thiebaud - Acquavella Galleries - October 1st - November 21st <p>Acquavella Galleries is pleased to announce an exhibition of works by iconic American artist Wayne Thiebaud, on view from October 1 &ndash; November 21, 2014. The exhibition includes a total of 49 works &ndash; 35 paintings and 14 works on paper. Many of the works included are being shown to the public for the first time, and several are compositions the artist has been working on for over thirty years. This is Thiebaud&rsquo;s second exhibition with the gallery.<br /><br />Celebrated for his works that highlight the commonplace, the 93-year-old Thiebaud continues to shed painterly light on the people, places and things that surround him on a daily basis. Despite his association with pop artists of the 1960s,&nbsp;Thiebaud&rsquo;s method is more aligned with the still life tradition &ndash; and this preoccupation with scrupulously representing his subjects sets him apart from his contemporaries. Ordinary objects rendered in the tactility of Thiebaud&rsquo;s brushwork&nbsp;become resplendent, and thus his canvases radiate a particularly American optimism and nostalgia for the familiar.<br /><br />The works on view in this exhibition touch upon recognizable themes in the context of Thiebaud&rsquo;s oeuvre. Cold Case (2010-2013) revisits his most famous subject &ndash; confections. Similarly, Cupcakes &amp; Donuts (2006/2012) and Ring Circle&nbsp;(2012-2014) both explore the artist&rsquo;s preexisting interest in modes of commercial display. The splendor of California&rsquo;s landscape is once again depicted in Bluffs (2013) &ndash; this time in a cake-like pink. The figures in this exhibition, among them&nbsp;Robed Woman with Letter (1976/2013), are familiarly stoic and simultaneously confessional. &ldquo;We are thrilled to be presenting Thiebaud&rsquo;s recent work,&rdquo; said Eleanor Acquavella &ldquo;this exhibition is a testament to his unique ability to&nbsp;illuminate the everyday and elevate the ordinary.&rdquo;<br /><br />Wayne Thiebaud (b. 1920) lives and works in Sacramento, CA. He has been widely recognized for his achievements as an artist and has received various prestigious awards such as the National Medal of Arts from President Clinton, 1994; the&nbsp;Lifetime Achievement Award for Art from the American Academy of Design, NY, 2001 and he was inducted into The California Hall of Fame at The California Museum, Sacramento, CA in 2010. Thiebaud was the subject of a retrospective&nbsp;at the Whitney Museum of American Art in 2001, and his work has been exhibited in major museums and institutions worldwide. Thiebaud&rsquo;s work can also be found in the permanent collections of the Los Angeles County Museum of Art,&nbsp;CA; Phillips Collection, Washington, D.C.; Crocker Art Museum, CA; Albright-Knox Art Gallery, Buffalo, NY; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and the Whitney Museum of American Art, New York.</p> Mon, 08 Sep 2014 20:59:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ashish Avikunthak - AICON GALLERY - New York - October 23rd - November 1st <p style="text-align: justify;">Aicon Gallery is pleased to present Rati Chakravyuh, a new feature-length film by Ashish Avikunthak. The film, comprised of a single 105-minute shot, centers around the continuous conversation of six young newlywed couples and a priestess after a mass wedding. Made entirely in Bengali, Rati Chakravuyh develops a complex and intense narrative through its meditation on an unbroken ever-evolving conversation about the whole of the human condition, questioning beliefs about life, death, love, sex, violence, religion, war, mythology, history and modernity. Rati Chakravyuh&rsquo;s screening at Aicon Gallery, New York represents the international premier of Avikunthak&rsquo;s mesmerizing new film, following acclaimed debuts in Kolkata and Mumbai.</p> <p style="text-align: justify;"><strong>Daily Screenings | Oct. 23rd though Nov. 1st at 1pm | 3pm | 5pm (Closed Sunday)</strong></p> <p style="text-align: justify;"><strong>Director&rsquo;s note:</strong><br /> The film is the experience of the inescapable maze created through the dizzying effect of the camera that moves in spirals throughout. In that dizzying spiral, words vanish, faces blur into a stream of light and eyes crave for the darkness of ignorance, of innocent illusions, of dreams where redemption is really possible. The stories are non-existent, they are the same, yet very different; but we must transcend them. How do we do that? Temporality is a painful truth to reckon with. It stretches out in a painstaking fashion, trapping every attempt to radiate out of the circle. It is our pain on that screen and we cannot look away, we cannot wish it away or magically transform it into a dreamscape. There is simply no space for any space. Space collapses into that speck, but floats endlessly unlike that moment which is out of time. The circular motion of the camera creates that spiral maze and makes us aware of the harsh truth &ndash; that we must fight a losing battle, only to inevitably lose, die and disappear. The film thwarts all our attempts to hide, to run, and all we can really do is to watch those faces blur in the spiral motions, watch those words become a hazy long stretch of intimately familiar sound, watch everything turn into myself - the emptiness that gave birth to the words. The inspiration for this film came from Leonardo da Vinci&rsquo;s &lsquo;The Last Supper&rsquo;. The idea of the final communion among loved ones before an imminent finale was a dramatic conduit for a philosophical exploration of contemporary Indian life.<br /> <br /> This is a single shot film. It is bookended with two title cards &ndash; the first appearing at the beginning of the film mentions the mass wedding, and another ends the film announcing the mass suicide. In the middle is the single shot of 98 minutes of the conversation among the thirteen individuals. They all sit in a circle in the middle of a brightly lit ancient temple.<br /> <br /> They talk about their lives and their times in postcolonial India &ndash; violence, love, death, sex, cricket, suicide, life of Gods and Goddesses, religion, political murders, non-violence, cars, and riots. The film is an allegory of being Indian, being human, being alive. It is the last meeting before an impending tragedy to open up the world of living, that will eventually court death. It is a dramatic dialogue of death before suicide.<br /> <br /> The camera is on a circular dolly and goes in circles throughout the shot. The continuous single shot is employed to heighten the temporal nature of the film. The circular motion of the camera creates a spiral universe in which the voices float and create a continuous image/soundscape thatencompasses the film. The slow spinning of the camera movement in a single shot produces a dizzy vortex - a cinematic whirlpool into which the image, the sound, the actors and the whole film is sucked.<br /> <br /> Trailers for the film may be viewed at the following links:<br /> <br /> http://vimeo.com/97888465<br /> http://vimeo.com/97719308<br /> http://vimeo.com/98841932<br /> <br /> Ashish Avikunthak is an experimental filmmaker who has been making films in India since the mid nineties. His films have been shown worldwide in film festivals, galleries and museums. Notable screenings were at the Tate Modern, London, Centre George Pompidou, Paris, Pacific Film Archive, Berkeley, along with London, Locarno, Rotterdam, and Berlin film festivals among other locations. He has had retrospective of his works at Les Inattendus, Lyon (2006), Yale University (2008) and the National Centre for Performing Arts, Mumbai (2008), Festival International Signes de Nuit, Paris (2012), Rice University (2014). He has a PhD in cultural anthropology from Stanford University and has taught at Yale University. He is now an Assistant Professor of Film Media at the Harrington School of Communication &amp; Media, University of Rhode Island. Avikunthak was included as a "Future Greats" artist in 2014 by Art Review magazine.<br /> <br /> Please contact Aicon Gallery (Andrew@Aicongallery.com) for more information.</p> Wed, 22 Oct 2014 15:08:51 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Willie Doherty - Alexander and Bonin - October 25th - December 6th <p style="text-align: justify;">An exhibition of two recent video installations and photographic works by Willie Doherty will open at Alexander and Bonin on Saturday, October 25th .</p> <p class="Default" style="text-align: justify;"><em>The Amnesiac, </em>2014, Doherty&rsquo;s most recent video work, is a 10 minute single-channel video installation which extends his interest in themes of landscape and memory. The video follows an unidentified man as he drives along a country road. His journey is interrupted by what might be a momentary lapse in concentration from the tedium of driving, a daydream or a rupture in the fabric of the everyday. He returns to somewhere half remembered or half forgotten; a reminder that traces of past events, whether or not visible, remain embedded within the landscape.</p> <p class="Default" style="text-align: justify;">The video is accompanied by a group of 10 photographs, titled <em>Damage, </em>2014, which were made at the same location where the video was shot. The photographs are details of tree trunks that bear the physical markings of past acts of violence. Doherty explores the boundaries between the visible and invisible, past and present, the tangible and intangible.</p> <p class="Default" style="text-align: justify;"><em>Remains, </em>2013 is a 15 minute single-channel video installation, first shown at Art Unlimited Basel, and included in his retrospective <em>UNSEEN </em>(September 2013-January 2014) at City Factory Gallery in Derry, Northern Ireland and currently on view at the De Pont Museum in Tilburg. <em>Remains </em>was made in a number of locations in Derry that have been used since the early 1970s to carry out kneecappings, a form of punishment shooting used to control drug use and other forms of so called &lsquo;antisocial behavior&rsquo;. The ghosts of events past are summoned by the narrator as his recounting unearths a repository of memories, specific to the unimposing landscape, and ultimately reveals a continuing cycle of violence, enacted in the same locations.</p> <p class="Default" style="text-align: justify;">Doherty&rsquo;s meditations, in video and photography, on the changing political landscape of Northern Ireland have been a central theme of his work since 1985. With a new series of black and white photographs, titled <em>Future Fear, </em>made in Derry during the summer of 2014, Doherty returns to some of the locations that he has photographed in the past. These photographs reveal an ongoing state of unease, a place suspended between the familiarity and comfort of violence and the anxiety and uncertainty of change.</p> <p style="text-align: justify;">Willie Doherty was born in1959 in Derry, N. Ireland and now lives and works in County Donegal, Republic of Ireland. In 2015 a selection of his video works will be shown at CAM-Funda&ccedil;&atilde;o Calouste Gulbenkian, Lisbon. Past solo exhibitions include those at the Dallas Museum of Art (2009), Lenbachhaus, Munich (2007), Laboratorio Arte Alameda, Mexico City (2006), the Renaissance Society, Chicago (1999), and Tate Liverpool (1998). He has participated in the Biennale di Venezia (2007, 2005, 1993) and the Bienal de S&atilde;o Paulo (2002) and dOCUMENTA (13), Kassel (2012).</p> Wed, 22 Oct 2014 09:28:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Melvin Edwards - Alexander Gray Associates - October 30th - December 13th <p style="text-align: justify;">&ldquo;The use of African words as titles of my sculpture is to extend the practical and philosophical values of the large quantity of esthetic possibility in creative art for now and the future.&rdquo; &ndash;&ndash;Melvin Edwards<br /> <br /> Alexander Gray Associates presents an exhibition of work by Melvin Edwards reflecting his engagement with and influence of Africa. Edwards&rsquo; first visits coincided with a key moment in the region&rsquo;s history as recently independent countries defined their postcolonial national identities. Since his first trip in 1970 to Ghana, Togo, Dahomey (now the Republic of Benin), and Nigeria, Edwards has consistently traveled to Africa, often returning to Nigeria and Ghana and making repeated trips to Senegal and Zimbabwe. He eventually established a studio in Dakar, Senegal in 2000. His experience of and engagement with this region and its traditional and contemporary art scene has nurtured Edwards&rsquo; investigations of metalwork and its formal qualities, abstraction, history, language, exchanges between cultures, and the significance of personal relationships.<br /> <br /> The central work in the exhibition is <em>Homage to the Poet Leon Gontran Damas</em> (1978&ndash;81), a monumental installation shown for the first time since Edwards&rsquo; retrospective at the Neuberger Museum of Art in Purchase, NY in 1993. This work consists of several large-scale metal geometric sculptural elements and a long piece of chain organized in relation to each other to create an environment that encourages gathering and meditation; collective consciousness and contemplation. Grounded to the horizontal plain of the Gallery&rsquo;s floor, the installation is oriented using the sun as a compass in order to face East, looking towards Africa. He conceived the work to honor Damas, a co-founder of Negritude, active in anti-colonial politics, and a poet whose style creatively eschewed the standardized French of the former colony and embraced influences from Harlem jazz to Caribbean calypso. Edwards met Damas in 1969 through the poet, activist, and performance artist Jayne Cortez, Edwards&rsquo; late wife and artistic collaborator, with whom he traveled extensively throughout Africa and across the world.<br /> <br /> Melvin Edwards&rsquo; use of materials, primarily the result of his formal and aesthetic concerns, unfold multiple meanings as they relate to African and African Diasporan cultures and histories, represented in the exhibition in a selection of Lynch Fragments and wall-sculptures. Returning from a trip to Nigeria in 1973, Edwards began incorporating machetes as a formal and symbolic element as in the Lynch Fragment <em>Nunake</em> (1993). He recognizes that machetes function as agricultural tools in West Africa, describing the artifact as &ldquo;another shape of steel that already exists.&rdquo; At the same time, the knives stand as embodiments of social uprisings, which speak to Edwards&rsquo; life-long engagement with social movements. <em>Beyond Cabo Verde</em> (2006) uses as its base a grid-like element sourced from Dakar metal workshops. Its title refers to the island nation of the same name, a site that was a prosperous center of the slave trade. Edwards views the work&rsquo;s square-shape as a window into time, as he explains, &ldquo;Since I spent a fair amount of time in the place, thinking about what&rsquo;s beyond. Both personally and what was beyond historically.&rdquo; <br /> <br /> Edwards&rsquo; works also speak to a broad network of creative minds including African artists, writers, and craftsmen, with whom he has developed personal relationships throughout many decades. Edwards titled his Lynch Fragment <em>Ibadan Oke</em> (1992) in homage to his visits to Nigeria during the 1970s. The urban landscape of the Yoruba city of Ibadan stimulated Edwards&rsquo; interests in architecture and urban design, which were also greatly encouraged through his close friendship with Nigerian artist and architect Demas Nwoko. He met and worked with many others in the city, including the Nigerian Nobel Prize-winning playwright and poet Wole Soyinka, and the Jamaican writer Lindsay Barrett. The Fragment <em>Djeri Djeff Papa Tall</em> (2008) references the phrase &ldquo;djeri djeff&rdquo; or &ldquo;thank you&rdquo; in Wolof&mdash;a widely-spoken language in Senegal&mdash;as well as Papa Ibra Tall, a seminal Senegalese modern artist, founder of the influential tapestry workshop Manufactures s&eacute;negalaises de arts d&eacute;coratifs (MSAD). Tall and Edwards met in Senegal in 1999, and later collaborated when Edwards produced two tapestries in MSAD, including the large-scale <em>Diamnaidio</em> (2010), on view in the exhibition.</p> Thu, 16 Oct 2014 09:40:13 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list John Walker - Alexandre Gallery - October 2nd - November 12th <h2><a href="http://www.alexandregallery.com/john-walker" rel="nofollow">JOHN WALKER</a>: RECENT PAINTINGS</h2> <p>Thursday, October 2 through Saturday, November 12, 2014</p> <p>A selection of large and small scaled paintings in the first New York exhibition of John Walker's work since his 2011 show at Knoedler Gallery.</p> <p>Illustrated catalogue available.</p> Thu, 04 Sep 2014 18:29:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Joel Holmberg - American Contemporary - October 30th - December 19th <p style="text-align: justify;">For the greater part of the 20th Century, companies that controlled the lion&rsquo;s share of markets got there by joining partnerships and forming associations as a way to reduce transaction costs below market price, but recently the developed world experienced a shift in prevailing management theories. Technology can now enable workers to create professional networks and collaborate outside of big business. Labor has found more ways to work in the open market while businesses are getting smaller and working with a growing number of freelancers.</p> <p style="text-align: justify;">A professional website plays a significant role in the costs associated with marketing one&rsquo;s skills and experience. The act of maintaining an online presence requires a constant negotiation between participation in a centralized network and internal growth by way of a personal website more representative of one's skill set and brand. Technical obsolescence and security play a big part in how much work goes into building a website. Sometimes it can contribute to your sense of comfort and well-being, but sometimes it can be unhealthy.</p> <p style="text-align: justify;">Content management systems (frequently abbreviated as CMS) are built on a database wherein the layout of a site can be manipulated independently from its content. Using software formerly available only to corporations that could afford it, sites built using CMS are now proliferated by volunteer programmers. </p> <p style="text-align: justify;">The ubiquity of CMS has given rise to the template industry, which, fueled by ad revenue, makes it viable for unsupported templates to be downloaded and integrated.</p> <p style="text-align: justify;">The dynamic nature of the technology supply chain can result in sites becoming unsupported across browser platforms and vulnerable to being infected by malicious attacks. The more shortcuts that go into making a site look professional the more chances exist for it's form to be compromised. The result is beautiful. I can only compare it to gardening. The wild can take over fast. The goal is to help it achieve the majesty of an ancient forest, with a canopy and an understory and vista from which to gaze.</p> <p style="text-align: justify;">Joel Holmberg (b. 1982 in Bethesda, MD) lives and works in New York, NY. He has previously exhibited at <strong>Cleopatra&rsquo;s</strong>, Brooklyn, NY; <strong>Foxy Production</strong>, New York, NY; <strong>Ullens Center for Contemporary Art</strong>, Beijing, CN; <strong>New Museum</strong>, New York, NY; <strong>Outpost</strong>, Norwich, UK; <strong>The Museum of the Moving Image</strong>, New York, NY; The <strong>9th Shanghai Biennale</strong>, Shanghai, CN, <strong>W139 </strong>in Amsterdam, NL<strong>, The Sundance Film Festival, </strong>Park City, UT, <strong>Espace Gantner</strong>, Belfort, FR, and <strong>Kettles Yard</strong>, Cambridge, UK. His most recent solo exhibition was the inaugural exhibition at <strong>Harmony Murphy Gallery</strong>, Los Angeles, CA. He is a member of the web based collective Nasty Nets and studied at Virginia Commonwealth University, Richmond, VA and Yale University, New Haven, CT. </p> Tue, 28 Oct 2014 14:28:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ralph Fasanella - American Folk Art Museum - Lincoln Square - September 2nd - December 1st <p>Ralph Fasanella (1914&ndash;1997) celebrated the common man and tackled complex issues of postwar America in colorful, socially minded paintings. This exhibition celebrates the one hundredth anniversary of the artist&rsquo;s birth and brings together key works from a career spanning fifty-two years. Fasanella was born in the Bronx and grew up in working-class neighborhoods of New York; he became a tireless advocate for laborers&rsquo; rights, first as a union organizer and later as a painter.<br /><br />This major exhibition includes a selection of artworks from the American Folk Art Museum&rsquo;s collection, which holds more than one hundred paintings and drawings by the artist. The Estate of Ralph Fasanella gifted many of these objects to the museum over the years, in addition to the artist&rsquo;s notebooks, sketches, correspondence, personal records, photographs, publications, and films, which were donated in 2009 and 2013.<br /><br /><em>Ralph Fasanella: Lest We Forget</em>&nbsp;is organized by the Smithsonian American Art Museum with generous support from Tania and Tom Evans, Herbert Waide Hemphill, Jr. American Folk Art Fund, and Paula and Peter Lunder. The C.F. Foundation in Atlanta supports the museum&rsquo;s traveling exhibition program,<em>Treasures to Go.</em></p> Mon, 15 Sep 2014 00:37:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Willem van Genk - American Folk Art Museum - Lincoln Square - September 10th - December 1st <p><em>Willem van Genk: Mind Traffic</em>&nbsp;is the first monographic exhibition of works by the internationally acclaimed Dutch artist Willem van Genk (1927-2005) to be presented in the United States. The exhibition includes over forty artworks: panoramic paintings, collages, drawings, personal notes, sculptures of trolleys, and an installation of raincoats (van Genk collected hundreds of raincoats over the course of his lifetime). This comprehensive selection provides an overview of the artist&rsquo;s oeuvre and insight into his creative processes, methods, and themes. Van Genk&rsquo;s artworks usually depict intricately layered and densely networked urban panoramas and reference interconnectivity. He was a restless stockpiler of information, factoids, and trivia: from this perspective, the artworks can be seen as memory palaces&mdash;visualizations implemented to organize and recall information. These imaginary landscapes serve as sophisticated devices and scaffolds to map hidden forces, since the artist believed that all things were connected via both visible and invisible networks.<br /><br />The exhibition is co-organized by Dr. Val&eacute;rie Rousseau, curator, art of the self-taught and art brut, American Folk Art Museum, and Patrick Allegaert and Yoon Hee Lamot, both curators at Museum Dr. Guislain, Ghent, Belgium. All of the works on view are drawn from the Willem van Genk Foundation, which retained the largest body of the artist&rsquo;s work, the De Stadshof Collection, and the Museum Dr. Guislain, which manages both of these collections.</p> Mon, 15 Sep 2014 00:36:22 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Chris Martin - Anton Kern Gallery - October 9th - November 15th <p>It is our great pleasure to announce the representation and first exhibition of New York painter Chris Martin at Anton Kern Gallery. His first show will consist of a selection of new paintings created over the past summer in upstate New York. These works, as the writer Bob Nickas describes them in the accompanying book, present "sun-dried paintings and glitter in the rain."<br />Martin, whose career spans over three decades, continues to create bold, glittering paintings, each animated by undulating forms, radiating landscapes, and electric hues. Despite their immediate spectacle and immense scale (he connects canvases together to produce several of these larger works), the paintings exude a human grounded-ness that seems to stem directly from Martin&rsquo;s connection to nature, rock &amp; roll, street art, and a dedication to material experimentation. <br />Nothing and everything is sacred: Martin&rsquo;s abstract forms offer a sense of mystical clairvoyance condensed into the profane, or vice versa. The paintings present a mesmerizing collision of formal geometries and diagram-like grids with cut-outs of dead pop stars, flashy cars, old records buried under layers of paint, and large amounts of holographic glitter (produced specifically for showgirls in Las Vegas). Consequently, Chris Martins paintings prove to be masterfully ambidextrous; one is able to fully experience their presence from a great distance or up-close, indoors or outdoors, in a state of spiritual transcendence or casual play.</p> <p>Chris Martin has continuously exhibited in US and European galleries since the 1980s. His work has recently been presented in solo shows at the Kunsthalle D&uuml;sseldorf, D&uuml;sseldorf, Germany; The Corcoran Gallery of Art, Washington D.C. (both 2011); and the Nerman Museum, Kansas City, KS (2009). The work has also been included in group shows at the Museum Boijmans Van Beuningen, Rotterdam, The Netherlands (2013); Kunstmuseum D&uuml;sseldorf, D&uuml;sseldorf, Germany (2011); Richmond Center for Visual Arts, Western Michigan University, Kalamazoo, MI (2008); American Academy of Arts and Letters, New York, NY (2006); P.S.1, Long Island City, NY (2005); Karl <br />Ernst Osthaus Museum, Hagen, Germany (2004); Newhouse Center for Contemporary Art, Staten Island, NY (2004); Weatherspoon Art Gallery, University of North Carolina, NC (1998); The Denver Museum, Denver, CO (1991); La Jolla Museum of Contemporary Art, California, CA (1989); and The Brooklyn Museum, Brooklyn, NY (1988). Martin lives and works in Brooklyn and upstate New York.</p> <p>* A new monograph Chris Martin, published by Karma and Anton Kern Gallery will accompany the exhibition including a conversation with Bob Nickas and the artist.</p> Mon, 22 Sep 2014 23:40:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list George Inness - Arkell Museum - June 7th - January 4th, 2015 <p>The exhibition features five landscapes from the permanent collection painted by George Inness between 1860 and 1882. These stunning works of art reveal the artist&rsquo;s diverse painting methods and approaches during the middle of his career&mdash;from detailed depictions of nature to gestural brushwork and vague landscapes. His paintings, often referred to as Tonalist, were deeply influenced by the spiritual teachings of Emanuel Swedenborg.</p> Mon, 15 Sep 2014 00:39:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Winslow Homer - Arkell Museum - September 2nd - January 4th, 2015 <p>Bartlett Arkell purchased and donated 20 Winslow Homer works to the Canajoharie Art Gallery. These watercolors and oil paintings, along with other Homer works Arkell acquired for his personal collection will be reunited for this exhibition that opens at the Fenimore Art Museum and then returns for a big celebration at the Arkell Museum in the fall 2014. These works span Homer's career from his first works in oil, to his first watercolors up to his fantastic marine painting at Prount's Neck, Maine "Watching the Breakers--A High Sea."</p> Sun, 17 Aug 2014 22:15:49 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Artists Space : Books & Talks - September 25th - November 9th <p style="text-align: justify;">The Library Vaccine&nbsp;presents a number of discrete collections of books in order to sample art's distinctive relationship to the book form in its singularity, and in its states of reproduction, distribution and accumulation. The exhibition addresses the book as a particular technology, and in its collective state of the private collection, reading room or library, as a social machine &ndash; registering social and personal histories, and articulating structures of knowledge and value through the relations between its parts.&nbsp;<br /><br />The exhibition title is taken from a text by the curator and writer Edit deAk that introduced the 1981 Printed Matter catalogue. In this short piece she referred to artists' books as "the library vaccine, a healing agent formed from the very disease they cure." Each section of the exhibition presents a collection that loosely corresponds to a decade between the 1960s and the present day, yet&nbsp;The Library Vaccine&nbsp;doesn't seek to survey a recent history of books in or as art; rather it takes the tension between book-as-text and book-as-object as a starting point. The exhibition marks a movement from the egalitarian, curative aspirations of the book as distributed artwork, to these aspirations' subsumption within broader tendencies towards collecting, archiving and the re-circulation of knowledge.&nbsp;<br /><br />Some sections of the exhibition revolve around curatorial or editorial frameworks that highlight artists' use of the book form, while others focus on the collection or library as a holistic entity. In these contexts the act of collation emphasizes shifts between the private and the common, the artwork and the artifact. The roles of artist, publisher and collector are seen to overlap, and the sequenced content of both the individual book and the massed collection provides sites for the production and articulation of meaning.&nbsp;</p> <p style="text-align: justify;"><img src="http://s3.amazonaws.com/asmedia/c7745b0e21bdda11e19c1a33410014a6/7Ykf0bIHo0.png" alt="" /></p> <p class="font-small" style="text-align: justify;">Artists Space Books &amp; Talks<br />55 Walker Street</p> <p class="font-small" style="text-align: justify;">&ldquo;The Colin de Land Library&rdquo; is the title given posthumously to the collection of books and shelving that were in the possession of the art dealer Colin de Land, and his New York gallery American Fine Arts, Co, at the time of his death in 2003. From its founding in 1986, A.F.A. became synonymous with an unconventional approach to the model of the commercial gallery. Its program of exhibitions often conspicuously evaded the development of artists&rsquo; positions towards the market, instead privileging an open &ldquo;situation&rdquo; &ndash; in the words of curator and A.F.A. employee Jackie McAllister, &ldquo;when entering American Fine Arts, Co., the viewer was invited to engage any number of strategies and effects pertaining to questions of meaning/production/display.&rdquo; Accordingly, the artist positions de Land worked with were diverse, but often grounded in the critique of artistic and social institutions. <br /><br />The formalization of this eclectic book collection is itself evidence of the influence the amorphous nexus de Land instigated through A.F.A. continues to have. After his death the books were sold to Berlin-based collector and dealer Alexander Schr&ouml;der, who organized a comprehensive inventory of the contents and made the library available for viewing and browsing. It has since been exhibited on a number of occasions in Europe, gaining the title &ldquo;The Colin de Land Library.&rdquo;</p> <p>&nbsp;</p> Tue, 28 Oct 2014 09:56:27 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Artists Space: Exhibitions - September 25th - November 9th <p style="text-align: justify;">The Library Vaccine&nbsp;presents a number of discrete collections of books in order to sample art's distinctive relationship to the book form in its singularity, and in its states of reproduction, distribution and accumulation. The exhibition addresses the book as a particular technology, and in its collective state of the private collection, reading room or library, as a social machine &ndash; registering social and personal histories, and articulating structures of knowledge and value through the relations between its parts.&nbsp;<br /><br />The exhibition title is taken from a text by the curator and writer Edit deAk that introduced the 1981 Printed Matter catalogue. In this short piece she referred to artists' books as "the library vaccine, a healing agent formed from the very disease they cure." Each section of the exhibition presents a collection that loosely corresponds to a decade between the 1960s and the present day, yet&nbsp;The Library Vaccine&nbsp;doesn't seek to survey a recent history of books in or as art; rather it takes the tension between book-as-text and book-as-object as a starting point. The exhibition marks a movement from the egalitarian, curative aspirations of the book as distributed artwork, to these aspirations' subsumption within broader tendencies towards collecting, archiving and the re-circulation of knowledge.&nbsp;<br /><br />Some sections of the exhibition revolve around curatorial or editorial frameworks that highlight artists' use of the book form, while others focus on the collection or library as a holistic entity. In these contexts the act of collation emphasizes shifts between the private and the common, the artwork and the artifact. The roles of artist, publisher and collector are seen to overlap, and the sequenced content of both the individual book and the massed collection provides sites for the production and articulation of meaning.&nbsp;</p> <div class="element" style="top: 2216px; left: 732px; width: 390px;" data-logotype="standard"><img src="http://s3.amazonaws.com/asmedia/c7745b0e21bdda11e19c1a33410014a6/zPOmLg4KpN.png" alt="" /> <p class="font-small" style="text-align: justify;">Artists Space Exhibitions<br />38 Greene Street, 3rd Floor</p> <p class="font-small" style="text-align: justify;">Beginning in 1959, the playwright Joe Orton and his partner writer Kenneth Halliwell undertook an illicit project, removing books from the shelves of their local library in Islington, North London, collaging their covers and adding sections of text before returning them to the shelves. Their London apartment on Noel Road, Islington, became the center of this work, its walls serving as surface for an immersive and carefully wrought collage made of plates removed from art history books. While the discovery of their interventions into the circulating library books was initially treated with humor by library staff, increasing complaints from the public resulted in a period of police surveillance of the library in an attempt to catch the culprits in the act. Eventually, in 1962, an elaborate ruse resulted in the matching of a sample from Halliwell and Orton&rsquo;s typewriter with the overwritten texts in some of the books, and they were promptly arrested and charged with &ldquo;malicious damage.&rdquo; The subsequent discovery of the scale of their ongoing project in the form of their collaged bedsit drew particular opprobrium, and their room was photographed in detail as evidence in their trial &ndash; the fact that Halliwell and Orton kept two single beds became the only obstruction to them being additionally charged under British law at that time, that deemed any sexual act between men in &ldquo;public or private&rdquo; a crime.<br /><br />Serving six months in prison for their actions, Orton&rsquo;s writing obtained the acerbic edge that brought his plays great notoriety and success in the mid 1960s, work characterized by anger and dissatisfaction with the Establishment. For Halliwell however, the experience accelerated a fragile mental state, and he attempted to take his own life. After prison, he focused on working as a collagist, yet his artistic production went relatively unrecognized and his relationship with Orton became strained. In 1967, in the apartment at Noel Road, he tragically murdered Orton before taking his own life.</p> <p class="font-small" style="text-align: justify;">&nbsp;</p> <p class="font-small" style="text-align: justify;"><img src="http://s3.amazonaws.com/asmedia/c7745b0e21bdda11e19c1a33410014a6/t_t8q1z2Ph.png" alt="" /></p> <p class="font-small" style="text-align: justify;">Artists Space Exhibitions<br />38 Greene Street, 3rd Floor</p> <p class="font-small" style="text-align: justify;">Since the early 1960s, Hansj&ouml;rg Mayer (born 1943, Stuttgart) has been actively engaged with the production of printed matter. While the manner in which this engagement has manifested itself has shifted from the production of artwork, to the design and then publishing of the work of other artists, Mayer is a singular figure in his life-long address of the book form. His work over five decades has been marked by ongoing collaborations with artists, and his commitment to removing the barriers between the conception and production of artists&rsquo; books.<br /><br />Mayer has acknowledged that his interests have always been in processes of mechanical reproduction, not in any &ldquo;primary&rdquo; artistic production. His typographic practice led him to work directly with concrete poets from Europe, the US, and South America, mediating their text and form based works through the recurring use of the Futura font &ndash; which Mayer considers the most functional, least intrusive typeface &ndash; and a concern for the particularities of letterpress printing. <br /><br />Mayer founded Edition Hansj&ouml;rg Mayer in 1963 as a vehicle for the production of artists&rsquo; books, and between 1966 and 1969 ran a gallery in Stuttgart that focused on exhibiting the work of artists with whom he&rsquo;d begun to collaborate, such as Dieter Roth, Robert Filliou and George Brecht. <br /><br />In the mid-1980s, Edition Hansj&ouml;rg Mayer began publishing ethnographic books, a strand initially driven by Mayer&rsquo;s own research and collecting of artifacts, but later extending to other areas of knowledge. Driven by a desire for ethnographic research to be more widely accessible, especially that which focuses on disappearing cultures, these books have been distributed and translated around the globe.</p> </div> <p>&nbsp;</p> <p><img src="http://s3.amazonaws.com/asmedia/c7745b0e21bdda11e19c1a33410014a6/MR229dLTIQ.png" alt="" /></p> <p class="font-small">Artists Space Exhibitions<br />38 Greene Street, 3rd Floor</p> <p class="font-small" style="text-align: justify;">"Something's different. Art is changing. Maybe it's the threat of ecological ruin, or maybe it's the current energy crisis, or maybe it's the ability to willfully obliterate the planet in an instant. The politicizing of art stems largely from these international anxieties, but it is also a result of dissatisfactions within the art world itself. The art distribution system has promoted the concept of the star &ndash; the isolated genius. This extreme individualism has led to an unhealthy competition resulting in jealousy, isolation and alienation. Also, considering world needs, the prevailing art about art aesthetic seems absurdly estranged &ndash; almost nihilistic in its separation from life. Fiddling in the art world seems too much like fiddling in Nero's Rome. A new evaluation of art and society has begun. Artists ask "For whom am I making this? And for what purpose?" The next step is to give form to these realizations, to become effective, and to communicate to a diverse audience. Enter the artist's book.<br /><br />Although it is far from living up to its populist potential, the artist's book can be produced in great numbers and distributed internationally. Even though it has volume, it is intimate much like a letter, and, like a letter, it invites dialogue between the sender and receiver. The artist's book is a successful democratic form looking for compatible subject matter."<br /><br />&ndash; From the poster for <em>Vigiliance: An Exhibition of Artists' Books Exploring Strategies for Social Concern</em>, curated by Mike Glier and Lucy R. Lippard. Franklin Furnace, 1979</p> <p class="font-small" style="text-align: justify;">&nbsp;</p> <p class="font-small" style="text-align: justify;"><img src="http://s3.amazonaws.com/asmedia/c7745b0e21bdda11e19c1a33410014a6/6uK7cUn0_w.png" alt="" /></p> <p class="font-small" style="text-align: justify;">Artists Space Exhibitions<br />38 Greene Street, 3rd Floor</p> <p class="font-small" style="text-align: justify;">Including books by Kasper Andreasen, Linus Bill and Adrien Horni, blisterZine, Daniel Gustav Cramer, Arnaud Desjardin, Michael Dean, Karl Holmqvist, Louis Luthi, Sara MacKillop, Dan Mitchell, Kristen Mueller, Sophie Nys, Simon Popper, Preston is my Paris, Alessandro Roma, Karin Ruggaber, John Russell, Erik Steinbrecher, Peter Tillessen, Erik van der Weijde</p> <p class="font-small" style="text-align: justify;">&nbsp;</p> <div class="element" style="top: 5818px; left: 433px; width: 215px;" data-logotype="standard"><img src="http://s3.amazonaws.com/asmedia/c7745b0e21bdda11e19c1a33410014a6/yjdizSjVg5.png" alt="" /> <p class="font-small" style="text-align: justify;">Artists Space Exhibitions<br />38 Greene Street, 3rd Floor</p> <p class="font-small" style="text-align: justify;">Writer Helen DeWitt, author of the novels <em>The Last Samurai</em> (2000), <em>Your Name Here</em> (with Ilya Gridneff, 2008) and <em>Lightning Rods</em> (2011), has since the late 1990s waged a quiet war on the intransigence of the social machines that govern language. While she has described the intellectual and artistic urge towards the purification of language as &ldquo;something like display of impotence in the face of chaos,&rdquo; in her novels and blog-writing she has addressed &ldquo;debugging the system of signs&rdquo; from the perspective of linguistics, coding, the visualization of data, and the vagaries of the publishing world. She sees her own writing, and the revision and editing it&rsquo;s subject to, as an epistemological open field in dialogue with that represented by her library.</p> </div> Tue, 28 Oct 2014 09:56:10 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list