ArtSlant - Current exhibits en-us 40 Mike Nelson - 303 Gallery - January 17th - February 21st <p style="text-align: justify;">303 Gallery is pleased to present our second solo exhibition with Mike Nelson.</p> <p style="text-align: justify;">On this occasion, Nelson will present <em>Gang of Seven,</em> a collection of sculptural assemblages made of materials collected from the North West Pacific Coast. The work revisits and expands upon themes and forms Nelson introduced in <em>he Amnesiacs</em>in 1997, in which a group of imaginary outsiders gather and wantonly sift through natural and cultural detritus, rearranging it and approaching dark phenomenological truths along the way. In <em>Gang of Seven,</em> Nelson's mythical beachcomber imagines the ocean as an intelligent entity of seemingly infinite sprawl, uncovering alien clues in the flotsam and jetsam, akin to the cosmonauts' relationship to the hallucination-inducing ocean in Stanislaw Lem's epic <em>Solaris</em>. These evidences of apocryphal events exist in a disjointed space between remnant and invention, and when brought together, effect the possibility for new systems of understanding.</p> <p style="text-align: justify;">In <em>Being-No-One,</em> the German post-transcendentalist philosopher Thomas Metzinger refers to a 'virtual window of presence' through which we experience time and imagine ourselves as autonomous beings. Nelson's assemblages point to what we might see if we were able to look not through this window, but behind it; an envisioning of material and psychic forces that are determinate structures in human interpretation of our own cultivated landscapes. To this end, a bracingly human element of <em>Gang of Seven</em> is the influence of personal history; that of Nelson's relationship to longtime friend and collaborator Erlend Williamson, who fell to his death in 1996 while climbing in the Scottish Highlands, just as Nelson was developing the ideas that would become <em>The Amnesiacs.</em> This is also mirrored in the title's reference to the 'Group of Seven', the loose collective of landscape painters whose formation came after the death of Tom Thomson in a canoeing accident in Ontario, 1917. By introducing these elements into a space in which they exchange charges with other societies, real and imagined, absent and present, Nelson as author is simultaneously in front of and behind the window - negotiating the blindness of consciousness to envision its constitution.</p> <p style="text-align: justify;"><em>Lorna said to me, 'You know Riddley theres some thing in us it dont have no name.'?I said, 'What thing is that?' She said, 'Its some kind of thing aint us but yet its in us. its lookin out through our eye hoals... It aint you nor it don't even know your name. Its in us lorn and loan and sheltering how it can... Tremmering it is and feart. It puts us on like we put on our cloes. Some times we dont fit. Some times it cant find the arm hoals and it tears us a part.'</em></p> <p style="text-align: justify;">-Russell Hoban, <em>Riddley Walker,</em> Jonathan Cape, 1980</p> <p style="text-align: justify;"><em>Gang of Seven</em> was originally co-commissioned by The Contemporary Art Gallery, Vancouver and The Power Plant, Toronto, where Nelson produced solo exhibitions in 2013 and 2014. A catalogue is forthcoming from Black Dog Publishing. Other recent solo exhibitions include <em>M6,</em> Eastside Projects, Birmingham (2013); <em>408 tons of imperfect geometry, </em>Malm&ouml; Konsthall (2012);&nbsp;I<em>, IMPOSTOR,</em> British Pavilion, 54th Biennale di Venezia (2011);&nbsp;<em>A Psychic Vacuum, </em>Creative Time, New York (2007);&nbsp;<em>AMNESIAC SHRINE&nbsp;or Double coop displacement,</em> Matt's Gallery, London (2006);&nbsp;<em>Triple Bluff</em> Canyon, Modern Art Oxford (2004); <em>Nothing is True. Everything is Permitted,</em> ICA, London (2001). His work has been included in a number of group exhibitions including <em>September 11, </em>MoMA PS1, New York (2011); Singapore Biennale (2011);&nbsp;<em>Altermodern,</em> Tate Britain, London (2009);&nbsp;<em>Psycho Buildings, </em>Hayward Gallery, London (2008);&nbsp;<em>Eclipse: Art in a Dark Age,</em> Moderna Museet, Stockholm (2008);&nbsp;Reality Check, Statens Museum for Kunst, Copenhagen (2008); and Turner Prize, Tate Liverpool (2007). Mike Nelson lives and works in London.</p> Sat, 03 Jan 2015 06:05:35 +0000 Nobuyoshi Araki, Barbara Ess, Darcy Lange, Wolfgang Tillmans, Jeff Wall - 3A Gallery - November 19th, 2014 - February 14th <p>Artist Dan Graham's photography collection which he traded with his artist friends.</p> Tue, 18 Nov 2014 00:18:04 +0000 Ira Richer - 532 Gallery Thomas Jaeckel - January 17th - February 14th <p style="text-align: justify;">532 Gallery Thomas Jaeckel presents an exhibition of work by Ira Richer.<br /> Including recent paintings and earlier works in Formica that were shown at Nosei Gallery.</p> <p style="text-align: justify;">When describing the work Anthony Haden-Guest writes:</p> <p style="text-align: justify;"><em>These pieces combine deft materiality and wit. As with the hammer, the magnet, the exclamation point, the scribbled title in &ldquo;Gulf&rdquo;. So too the paintings. Richer&rsquo;s palette inclines to early summer and isn&rsquo;t scared of black. Note the shadow in &ldquo;The Yellow Cave&rdquo;.&nbsp; His line can be at once elegant and muscular as in the &ldquo;Massage&rdquo;Painting in a way reminiscent of early Hockney &ndash; and there&rsquo;s nothing whatsoever wrong with that &ndash; but where Hockneys are purposefully allusive, something anecdotal, these are simply what they are. A fully-formed figure is often a presence, as dominant as in Munch or Dubuffet, but as with these artists, they are not borrowed from elsewhere. The picture-plane is the petri dish in which they exist. Nothing decorative, every form has meaning, but it is often enigmatic.</em></p> <p style="text-align: justify;"><em>An engaging shape that is central to two canvases looks somewhat like a tuber or &ndash; it is pinkish &ndash; might it be a human organ? It doesn&rsquo;t matter. Richer&rsquo;s form happens to be based on a female figure, bending. Behind her, on one canvas is the table at which Cezanne&rsquo;s card players are seated and the other seems to sport black shoes and gloves. Hamlet, toying with Polonius, says: Do you see yonder cloud that&rsquo;s almost in shape of a camel? Decoding forms is a natural function of the brain.</em></p> <p style="text-align: justify;"><em>So the paintings in the show look kind of radical in a period of when so much that floats its seemingly critic-proof way through the market looks strategic rather than felt. &ldquo;When I think of Munch&rsquo;s&nbsp;Scream. I think how lucky he was to have a pier to scream on above Oslo, by himself all alone.&rdquo; Ira Richer says, &ldquo;Man has become a species whose land is reduced to a table top. His existence is engineered and contorted by others. And the last indignity- is- we have to hold our smile&rdquo;. I see fugitive signs that the times may be a-changing though.</em></p> <p style="text-align: justify;"><em>These paintings are such signs of life.</em></p> <p style="text-align: justify;">Ira Richer studied at Cooper Union (BFA) and at Yale University (MFA). Ira is a Professor of Drawing and Advanced Painting at the School of Visual Arts, New York. His work is in the collection of the Vincent van Gogh Foundation Arles, France; the Bob Blackburn Collection/Smithsonian Institute; the J.Patrick Lannon Foundation; the Francisco Pellizzi collection; the collection of Lucien, Yolande and Ann Clergue among others.</p> <div style="text-align: justify;">The writer Anthony Haden-Guest has contributed to the Financial Times weekend column on art collecting, Vanity Fair, The New Yorker, Paris Review, The New York Observer, Art Forum, Esquire UK .</div> Tue, 13 Jan 2015 16:46:47 +0000 Peter Blume - ACA Galleries, Est 1932 - November 6th, 2014 - January 31st <p align="center"><strong><span style="color: #1b8be3;">PETER BLUME (1906-1992)</span></strong></p> <p align="center">November 6, 2014 through January 31, 2015</p> <p align="center"><span style="text-align: left;">&nbsp;</span></p> <p>ACA Galleries is pleased to announce the upcoming exhibition, PETER BLUME (1906-1992),on view <strong>November 6, 2014 through January 31, 2015</strong>.&nbsp; The exhibition will feature paintings, drawings and sculpture from the artist&rsquo;s estate. &nbsp;</p> <p>Concurrent with the ACA Galleries exhibition is the firstPeter Blume retrospective since 1976, <strong><em>Nature and Metamorphosis</em></strong>, organized by the <strong>Pennsylvania Academy of the Fine Arts (PAFA)</strong>, Philadelphia <strong>(November 14, 2014 &ndash; April 5, 2015).</strong>&nbsp; This exhibition will travel to the <strong>Wadsworth Athenaeum</strong>, Hartford, CT <strong>(June 27 &ndash; September 20, 2015).</strong>&nbsp; Catalogue will be available. &nbsp;&nbsp;</p> <p>Peter Blume&rsquo;s modernism embodies the clashing contradictions of the 20th Century: abstract complexities with nostalgia for a simpler past; the rush of urban living with the yearning for a lost pastoral life; the cold reality of politics with the quest for spiritual meaning in a world ravaged by two world wars and a ruinous economic depression. &nbsp;By embracing the irreconcilable, Blume transcends Modernist art&rsquo;s conventional aspirations to re-define order in a chaotic world. &nbsp;His oeuvre is metamorphosis itself, a realm where paradox rules. &nbsp;Within that clash Blume found profound meaning and sublime beauty.</p> <p>Blume&rsquo;s deep knowledge of art history holds these disparate elements together. &nbsp;We see the elegance of Renaissance rendering, the balance and figurative perfection of Classical antiquity, the rule-breaking energy of Modernism, and the spontaneity of folk art. &nbsp;The latter reflects his Russian Jewish roots and his embrace of the culture of his adopted land, America. &nbsp;Together with his understanding of the emotional properties of color, the structural backbone of architecture, and the physicality of sculpture, Blume was able to corral these elements into a surreal narrative. &nbsp;&nbsp;</p> <p>Adding richness to Blume&rsquo;s already complex mix of influences was his involvement with metaphysical experimentation. &nbsp;His interest in Automatism and &ldquo;automatic writing&rdquo; found its way into his preliminary studies for paintings and his works on paper in particular, where he allowed his hand to move spontaneously across a surface. &nbsp;The results are dynamic works of flowing lines and exciting shapes existing in metaphysical tension, where the physical facts of the world meet the whispered secrets of the mind and spirit.</p> <p>In a life that spanned nearly the entirety of the 20th Century, Blume&rsquo;s art recorded not the dry facts of that century but the soul of it, its struggles against incomprehensible violence, and its triumphs of survival over man-made madness. This achievement won Blume critical acclaim throughout his career, winning a Guggenheim Fellowship and the Carnegie International Prize in the 1930s.&nbsp; His work is represented in major public and private collections including The Metropolitan Museum of Art, Museum of Modern Art, and The Whitney Museum of American Art in New York; the Smithsonian Institution of American Art in D.C.; Carnegie Museum of Art in Pittsburgh; Museum of Fine Arts in Boston and the Art Institute of Chicago, among others.</p> <p>&nbsp;<em>&nbsp;</em></p> <p align="center"><em>For additional information and images, contact </em></p> <p align="center"><em>Mikaela Sardo Lamarche</em></p> <p align="center"><em></em></p> Thu, 13 Nov 2014 16:48:02 +0000 Roohi Shafiq Ahmed, Michael Kempson, Ben Rak, Abdullah M. I. Syed, Adeel-uz-Zafar - AICON GALLERY - New York - December 11th, 2014 - January 24th <p align="justify"><strong>Aicon Gallery&nbsp;</strong>is proud to present&nbsp;<em>Semblance of Order</em>, a traveling exhibition promoting Australian and Pakistani art and artists across borders and platforms with cross-cultural collaboration at its core. The exhibition&nbsp;is&nbsp;the result of an international artists' residency program delivered in partnership between Parramatta Artists Studios&nbsp;and Cicada Press, University of New South Wales Art and Design, Sydney, Australia.</p> <div> <p align="justify"><em>Semblance of Order&nbsp;</em>presents an array of etchings and silkscreen prints that demonstrate the artists' desire to extend beyond replication and explore the creative possibilities of their practices and the medium. The artworks mediate notions of cultural translation: subject/object, original/translation, center/margin, personal/communal, textual/visual, and artist/printer. Through mark making, erasure, repetition, layering, labor, doubling, and deconstruction, the artists push the conceptual and technical discourse of printmaking. The results are conceptually rich and technically challenging, underlined with humor and irony: a visual poetry of disorder and order.&nbsp;Featuring the work of five artists, the exhibition has traveled from Parramatta Artists Studios, Sydney to Koel Gallery, Karachi, with its premier in the United States hosted by Aicon Gallery, New York.<span style="text-align: left;">&nbsp;</span></p> </div> <div align="justify">Born in Karachi, Pakistan (1966)&nbsp;<strong>Roohi S. Ahmed</strong>&nbsp;is a multi-disciplinary artist who lives and works in Karachi, Pakistan. Ahmed is an Associate Professor at the Indus Valley School of Arts and Architecture, Karachi, and lectured at the University of Karachi's Visual Studies Department and COFA UNSW. She has exhibited widely internationally. Ahmed was the recipient of the UNSW's International Postgraduate Research Scholarship in 2011.<span style="text-align: left;">&nbsp;</span></div> <p align="justify"><strong>Michael Kempson&nbsp;</strong>is currently Head of Printmaking and Director of Cicada Press, a research based custom printing workshop, at COFA UNSW, Sydney, Australia. As an artist Kempson has had a total of 27 solo exhibitions and numerous international group exhibitions, with representation in the National Gallery of Australia and many state, regional, university and corporate collections. Kempson also curated an Australian component representing COFA UNSW, the first international art school invited to the 11th Annual Printmaking Exhibition and Conference for Chinese Academies and Colleges at Guangzhou Academy of Fine Art (2012).</p> <p align="justify">Born in California, USA (1978) and raised in&nbsp;Israel,&nbsp;<strong>Ben Rak&nbsp;</strong>is an artist, educator and independent curator. He presently works and lives in Sydney, Australia, where he lectures at COFA UNSW. His artworks have been featured in four solo exhibitions and several local and international group exhibitions. Rak has won several awards including the National Tertiary Art Prize people's choice (2009), Blacktown City Art Prize for works on paper (2008), and the Newtown Community Art Prize for works on paper (2007). Ben Rak's works are in the collections of several national and international institutions.&nbsp;</p> <p>&nbsp;</p> <div align="justify">An artist, freelance designer, and independent curator,&nbsp;<strong>Abdullah M. I. Syed</strong>&nbsp;was born in Karachi, Pakistan (1974). Presently he is completing a PhD in Fine Arts practice and lecturing at COFA UNSW. Syed has coordinated the Design Department at the Karachi University, Pakistan, and lectured at the University of Central Oklahoma. His artworks have been featured in six solo and several local and international group exhibitions. Syed has won awards including the Blacktown City Art Prize for works on paper (2010), the UNSW Postgraduate Research Scholarship (2009), the COFA Senior Artist from Asia Scholarship (2006), and the Individual Artist of Oklahoma Award for Installation (2003).</div> <p>&nbsp;</p> <p align="justify">&nbsp;<strong>Adeel-uz-Zafar</strong>, born in 1975, Karachi, Pakistan, is an artist, illustrator and art educator. Zafar holds a BFA (with distinction) from the National College of Arts, Lahore (1998). His works have been featured in two solos and several international group exhibitions. He has participated in both national and international artist residencies including the Studio R. M. Residency, Lahore 2011, and most recently at Parramatta Artists Studios and Cicada Press (COFA UNSW) (2013). Adeel-uz-Zafar currently works and resides with his wife Nehdia and two daughters in Karachi.</p> Sat, 13 Dec 2014 11:26:02 +0000 S.H. Raza - AICON GALLERY - New York - December 18th, 2014 - January 24th <p style="text-align: justify;">Aicon Gallery New York is proud to announce a retrospective exhibition of the work of S. H. Raza, one of India&rsquo;s most renowned and celebrated modernist painters. As one of the finest living members and founders of India&rsquo;s post-independence Progressive Artist Group, Raza's lifetime of work spans over six decades and traces his deeply personal exploration of abstraction throughout the course of Indian modernism. On view will be works from every period of the artist's career, including a group of rarely seen early masterworks from the 1950's and 60's. The exhibition represents the first major retrospective of Raza&rsquo;s work held in New York in over a decade.<br /> <br /> Born in 1922 in Babaria, Madhya Pradesh, India, Raza left for France in 1950 to study at the Ecole Nationale des Beaux Arts, Paris, where he absorbed and eventually sought to redefine the still evolving tenets of 20th Century Western modernism and abstraction. Beginning first with richly saturated expressionist landscapes, his work soon developed into rigid, geometric representations of French towns and villages. In the 1960&rsquo;s, the lines blurred and color once again began to dominate his abstract expressionist canvases, before pure geometric forms emerged to become the dominating theme, which has remained to this day. Yet the essence and imprints of the artist&rsquo;s early cityscapes, landscapes and horizons remain visible within his uniquely complex personal language of geometric symbolism rooted in Indian aesthetics and philosophy. These varied periods of Raza's work, though distinct, form a continuum - one that is a testament to the artist's constant negotiation to develop his painterly vision. Breaking away from frames like nation and specific locations in time and space, Raza's body of work is trans-cultural in its appeal. Although the Progressive Artists Group disbanded in 1956, its leading artists continued to cultivate their individual styles, and to this day remain an influence and inspiration for generations of contemporary South Asian artists.<br /> <br /> S. H. Raza was awarded the Prix de la Critique in Paris in 1956. In 1962 he served as a visiting lecturer at the University of California in Berkeley, USA. He has participated in numerous exhibitions, including the Sao Paulo Biennale in 1958, the Biennale de Menton, in France in 1966, 1968 and in 1978, and Contemporary Indian Painting, at the Royal Academy in London, in 1982. He was&nbsp;conferred the Padma Shree Award by the President of India in 1981, and the Padma Bhushan in 2007. Raza lives and works in Delhi.</p> Sat, 03 Jan 2015 06:08:56 +0000 Paul Thek - Alexander and Bonin - January 10th - February 21st Wed, 03 Dec 2014 07:01:59 +0000 Hugh Steers - Alexander Gray Associates - January 8th - February 14th <p style="text-align: justify;">Alexander Gray Associates presents an exhibition of work by Hugh Steers (b.1962, Washington, DC &ndash; 1995, New York), including paintings and works on paper produced between 1990 and 1992 that exemplify Steers&rsquo; virtuous use of light and color to render allegorical and humanist images. The featured works illustrate his creative process of working through ideas and formal concerns by generating expressionistic oil on paper sketches before painting larger compositions on canvas. The exhibition positions Steers&rsquo; residency at Skowhegan School of Painting and Sculpture in the summer of 1991, as a turning point in the artist&rsquo;s practice. Through the 1980s, Steers painted interiors scenes as he gradually developed an aesthetic characterized by vivid colors.&nbsp;While at Skowhegan, he turned toward outdoor landscapes,&nbsp;brightening his color palette&nbsp;and emphasizing the presence of natural light. The works on exhibit reveal Steers&rsquo; ability to render light through color, often suffusing his scenes with the confluence of both natural and artificial light references and resulting in visually powerful scenes imbedded with a heightened intimacy.<br /> <br /> Hugh Steers&rsquo; understanding of color and light, and his ability to express a wide range of emotions through figuration, reveal 
his deep knowledge of and direct influences from Art History. The contrasting lighting and glow of his work often reference Michelangelo Merisi da Caravaggio, his elongated and sharp figures are informed by El Greco, his intimate imagery and unorthodox poses point to Pierre Bonnard and Edgar Degas, and his figurative compositions speak to Edward Hopper. Grounded in technique and the history of Western painting, he described his work as &ldquo;allegorical realism&rdquo; designed &ldquo;to draw 
the viewer in through the lure of a comfortingly recognizable style and then confront him with a subject matter of a 
challenging nature.&rdquo;&nbsp;<br /> <br /> Primarily depicting isolated solitary figures or couples, Steers presents the viewer with ambiguous and disconcerting scenes, suggesting, but not fully defining narrative content. In <em>Telephone Poles</em>&nbsp;(1991), created at Skowhegan, the plunging perspective of a simultaneously bright and shadowed bucolic landscape centers on a lone male figure with a bag over his head, dwarfed by skewed and looming telephone poles. Diagnosed in 1987 with HIV, Steers&rsquo; subject matter often speaks to the experience of living through&nbsp;an evolving Queer identity and the devastating AIDS crisis. Much of his work addressed illness, isolation, alienation, companionship, and sexuality, as embodied in&nbsp;<em>Maroon Shed</em>&nbsp;(1991), also done during the summer Residency.&nbsp;While he described his images as &ldquo;metaphors that come from very specific needs and things on my part,&rdquo; he repeatedly insisted that the meanings of his paintings depended on what the viewer brings to them. For Steers, his work powerfully embodies the clash between mass culture and personal instinct.&nbsp;</p> Sat, 03 Jan 2015 06:12:42 +0000 - American Folk Art Museum - December 16th, 2014 - March 8th <p style="text-align: justify;">The Barbara L. Gordon collection offers a stunning presentation of American folk art made primarily in rural areas of New England, the Midwest, and the South between 1800 and 1920. More than sixty works of art, including still-life, landscape, allegorical, and portrait paintings, commercial and highly personal sculpture, and distinctive examples of art from the German-American community exemplify the breadth of American creative expression by individuals who did not always adhere to the academic models that established artistic taste in urban centers of the East Coast. <br /> <br /> The exhibition is drawn from the Barbara L. Gordon collection and is organized and circulated by Art Services International, Alexandria, Virginia. <br /> <br /> Major support for the presentation at the American Folk Art Museum is provided by HISTORY&reg;.<br /> <br /> The exhibition is accompanied by a full-color catalog copublished by ASI and the international publishing firm SKIRA/Rizzoli.</p> <p style="text-align: justify;">Additional support is provided by Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> Sun, 19 Oct 2014 09:16:26 +0000 Joseph Kosuth, Marcel Duchamp, René Magritte, Piero Manzoni, Yoko Ono, Ad Reinhardt, Robert Smithson - Andrea Rosen Gallery - December 13th, 2014 - January 24th <p style="text-align: justify;">Andrea Rosen Gallery is delighted to announce <em>The Thing and the Thing-in-Itself</em>, an exhibition comprising a tightly focused group of 20th-century masterworks curated by noted art historian Robert Hobbs.&nbsp;&nbsp;Bringing together a compelling group of significant works, one by each of seven key 20th-century artists &ndash; Marcel Duchamp, Joseph Kosuth, Ren&eacute; Magritte, Piero Manzoni, Yoko Ono, Ad Reinhardt, and Robert Smithson &ndash; this exhibition offers viewers the opportunity to look at familiar artists in a new way and with much greater depth, both in relationship to each other and in regards to their individual practices. It opens December 12, 2014 at the Gallery&rsquo;s main space, 525 West 24<sup>th</sup> Street.<br /> &nbsp;</p> <p style="text-align: justify;"><strong>Curator Statement</strong></p> <p style="text-align: justify;"><em>The Thing and the Thing-in-Itself</em> focuses on the limits of human understanding that Immanuel Kant contemplated in <em>The Critique of Pure Reason</em> (1<sup>st</sup> ed. 1781). This philosopher speculated that humans only know things in the world through<em> space</em> and <em>time</em>, as well as the <em>causes</em> they attribute to these objects and events. Instead of accurately replicating the world, people&rsquo;s understanding of it is dependent on their restricted ability to grasp it. In other words, they construct the world they experience, making sensory information idiosyncratic and/or socially oriented rather than accurate, and people&rsquo;s perception of their world an ongoing film or performance. It helps to consider Kant&rsquo;s term &ldquo;thing-in-itself&rdquo; as shorthand for the strict limits to the ongoing theater of everyday life humans produce, direct, and cast, so that they themselves can then serve as its main players.&nbsp;</p> <p style="text-align: justify;">This exhibition utilizes Kant&rsquo;s approach to reconsider how certain twentieth-century artists engaged the frontiers of human understanding in works that pit people&rsquo;s sight and insight against the limits of what they are able to comprehend, i.e. the things they believe themselves to be seeing as opposed to &ldquo;things-in-themselves&rdquo; (Kant&rsquo;s code word for humans&rsquo; inability to move beyond their own constructed views). Instead of presenting an art endeavoring to reveal its contents to viewers with the least amount of interference, <em>The Thing and the Thing-in-Itself</em> features works that act out the limits of human understanding as they create mysteries, pose conundrums, and leave viewers with provocative questions.</p> <p style="text-align: justify;">Starting in the second decade of the 20<sup>th</sup>-century with Duchamp&rsquo;s Readymades, art&rsquo;s status as an object became a subject of inquiry, with questions about differences between ordinary things and art.&nbsp; <em>The Thing and the Thing-in-Itself </em>consequently begins with Duchamp&rsquo;s assisted readymade,<em> Comb (Peigne)</em>, a steel grooming tool for dogs, inscribed with the words &ldquo;3 ou 4 gouttes de hauteur n&rsquo;ont rien a faire avec la sauvagerie; M.D. Feb. 17 1916 11 a.m.&rdquo; (&ldquo;Three or Four Drops of Height [or Haughtiness] Have Noting to Do with Savagery.&rdquo;). &nbsp;The exhibition then surveys the following six notable steps in the history of the art/thing challenge. Ren&eacute; Magritte&rsquo;s <em>La Clairvoyance</em> of 1936 depicts a self-portrait of the artist in the process of metamorphosing his model, an egg, into a bird in flight on his canvas, thereby setting in place a tongue-in-cheek differential between representational painting and life.&nbsp; The early majestic black Reinhardt canvas from 1954 challenges the limits of sensory perception, with its grid poised on the divide between visibility and invisibility. Manzoni&rsquo;s <em>Merda d&rsquo;artista</em> (<em>Artist&rsquo;s Shit</em>) (1961), a tin of artist&rsquo;s feces, ironically undermines the artist&rsquo;s traditional role as creator, the value placed on art&rsquo;s materiality, and the traditional view of it as a container of enlightening contents. Kosuth&rsquo;s <em>Glass Words Material Described</em> (1965) consists of exactly these four words painted on four transparent sheets of glass to undermine art&rsquo;s putative transparency and accessibility. Ono&rsquo;s 1966 live video feed of the sky above the gallery contrasts literalism with traditional expectations of transcendence. And Smithson&rsquo;s <em>Non-site: Line of Wreckage (Bayonne, New Jersey)</em> of 1968 undermines the art object&rsquo;s sovereignty as it creates an interplay between the metal bin containing landfill with a map and photographs of the site in Bayonne, making this work a dislocated boundary marker.<br /> &nbsp;</p> <p style="text-align: justify;">- Robert Hobbs<br /> &nbsp;</p> <p style="text-align: justify;">Art historian <strong>Dr. Robert Hobbs</strong> has written widely on modern and contemporary art, including extended essays on David Altmejd, Keith Haring, Richard Jackson, Jonathan Lasker, Robert Longo, Sterling Ruby, Yinka Shonibare, Frank Stella, Tavares Strachan, Kara Walker, Kelley Walker, John Wesley, and Kehinde Wiley, among others.&nbsp; His monographs have focused on such artists as Milton Avery, Alice Aycock, Edward Hopper, Lee Krasner, Mark Lombardi, Robert Motherwell, Beverly Pepper, Richard Pousette-Dart, and Robert Smithson.&nbsp;</p> <p style="text-align: justify;">Hobbs served as curator for the Venice Biennale&rsquo;s American National Pavilion (Smithson, 1981) and the Bahamian National Pavilion (Tavares Strachan, 2013), as well as the American Representation at the S&atilde;o Paulo Biennial (Kara Walker, 2002). He has curated exhibitions at major museums nationally and internationally such as the Brooklyn Museum of Art; the Drawing Center, New York; the Los Angeles County Museum of Art; Mus&eacute;e d'Art Moderne de la Ville de Paris; and the Whitney Museum of American Art.&nbsp; Academic positions include Associate Professor, Cornell University; long-time Visiting Professor, Yale University; and Thalhimer Endowed Chair, Virginia Commonwealth University.</p> <p style="text-align: justify;"><strong>Robert Smithson</strong> was born in 1938, in Passaic, New Jersey, studied in New York City and worked throughout the United States and abroad until his death in 1973, in Amarillo, Texas. His work has been the subject of numerous solo exhibitions at major institutions, including comprehensive retrospectives at the Museum of Contemporary Art, Los Angeles, the Whitney Museum of American Art, New York, the Musee d&rsquo;Art Moderne de la Ville de Paris, and the Dallas Museum of Art, among others.</p> <p style="text-align: justify;"><strong>Ad Reinhardt</strong>, born in 1913 in Buffalo, New York, lived and worked for the majority of his life in New York City until his death in 1967. His work has been most recently featured in a comprehensive solo exhibition at the&nbsp;Josef Albers Museum Quadrat&nbsp;in Bottrop, Germany, and is part of prestigious permanent institutional collections including the Whitney Museum of American Art, the Museum of Modern Art, New York, and The Museum of Contemporary Art, Los Angeles.</p> <p style="text-align: justify;"><strong>Yoko Ono</strong>, born in 1933 in Tokyo, Japan, lives and works in New York City. Ono has had comprehensive retrospectives at prestigious institutions including the Whitney Museum of American Art, the Walker Art Center, and the Contemporary Arts Museum, Houston, including her most recent and largest retrospective in 2013 at the Schirn Kunsthalle, Frankfurt, which traveled to the Louisiana Museum of Modern Art, <a href="" target="_blank">Humleb&aelig;k</a>, Denmark, Austria&rsquo;s Kunsthalle Krems, and the Guggenheim Bilbao Museum, Spain.</p> <p style="text-align: justify;"><strong>Piero Manzoni</strong>, born in 1933 in Soncino, Italy, lived and worked primarily in Milan until his death in 1963. His work has been featured in solo exhibitions throughout Europe, including retrospectives at the Mus&eacute;e d'Art Moderne de la Ville de Paris, the Serpentine Gallery, London, and the Museo d'Arte Contemporanea Donnaregina, Naples, and appears in established institutional collections including the Tate Modern, London, the Museum of Modern Art, New York, Stedelijk Museum, Amsterdam, and Galleria Civica d'Arte Moderna e Contemporanea,&nbsp;Turin.</p> <p style="text-align: justify;"><strong>Ren&eacute; Magritte</strong>, born in 1898 in Lessines, Belgium, and lived and worked in Brussels until his death in 1967. His work is appears in prestigious institutional collections throughout Europe and the United States, including the Museum of Modern Art, New York, Moderna Museet, Stockholm, Centre Georges Pompidou, Paris, the Royal Museums of Fine Arts of Belgium, Brussels, and the Tate, London, and was recently recognized by comprehensive solo exhibitions at the Museum of Modern Art, New York, the Menil Collection, Houston, and the Art Institute of Chicago, beginning in 2013.</p> <p style="text-align: justify;"><strong>Marcel Duchamp</strong>, born in 1887 in Blainville-Crevon, France, lived and worked in Paris and New York until his death in 1968. His work is included in numerous prestigious institutional collections including the Museum of Modern Art, New York, the Philadelphia Museum of Art, the Art Institute of Chicago, the Menil Collection, Houston, the Tate, London, the Mus&eacute;e d&acute;Art Moderne de la Ville de Paris, and Israel Museum, Jerusalem, and has been recognized by recent solo exhibitions at Centre Georges Pompidou, Paris, and the Fundaci&oacute;n Proa, Buenos Aires.</p> <p style="text-align: justify;"><strong>Joseph Kosuth</strong>, born in 1945 in Toledo, Ohio, lives and works in New York and Rome. His work appears in numerous institutional collections including the Whitney Museum of American Art, the Guggenheim Museum, and&nbsp; the Museum of Modern Art in New York, and the Tate, London, has been exhibited at the Venice Biennale (1993). His work has been featured in recent exhibitions at prestigious institutions including the Museum fur Moderne Kunst, Frankfurt, and the Fondazione Prada, Ca&rsquo; Corner Della Regina, Venice.</p> Fri, 05 Dec 2014 05:14:43 +0000 Michael Wang - Andrea Rosen Gallery 2 - December 13th, 2014 - January 24th <p style="text-align: justify;">Andrea Rosen Gallery is pleased to present Michael Wang&rsquo;s exhibition <em>Rivals</em> at Gallery 2 in cooperation with Foxy Production. Upon entering the gallery, viewers will find five certificates, acting as a kind of performance documentation for the works in the exhibition all from the artist&rsquo;s series <em>Rivals</em>. Taking the form of white, metal shelves containing well-known consumer goods from multinational corporations, the works bisect the space, creating a material horizon.</p> <p style="text-align: justify;">Each shelf, made from powder-coated aluminum, houses objects appropriated from the product portfolios of rival firms. The sale of the artwork funds an equal investment in each rival firm as the artist is paid for the work in common stock to become a one millionth of one percent owner of both companies, thereby rendering him a fractional owner of what the artist considers a conceptual merger. The number of products included from each corporation corresponds to the number of shares that will be purchased with the sale of the artwork.</p> <p style="text-align: justify;">While Duchamp&rsquo;s readymades of the early 20<sup>th</sup> century took the industrially-produced object out of circulation, by the end of the cen&shy;&shy;&shy;tury the readymade as &ldquo;commodity sculpture&rdquo; had fully entered another system of circulation: the art market. <em>Rivals </em>joins these two systems of exchange, linking the value of the readymade to the valuation of the multinational corporations that produce and profit from such objects. For Wang, the readymade includes not only the object of mass consumption, but those systems of which it is a part: brand ownership, exchange value, and corporate finance.&nbsp;</p> <p style="text-align: justify;"><em>Rivals</em> acts within these expanded parameters of the readymade.&nbsp; The works appropriate corporate value (of a piece with the global financial system) as an artistic medium.&nbsp; The works manipulate the underlying structures of capitalist growth. Competition is the engine of capitalism and asymmetry drives competition between rival firms. Through a neutered gesture, <em>Rivals</em> introduces a formal symmetry into the structure of competition. An investment in rival corporations sets in motion the apparatus of corporate finance, but the balance of the act&mdash;an equal investment in both corporations&mdash;cancels out its competitive effects.</p> <p style="text-align: justify;">The works in <em>Rivals</em> take the movement of capital itself as a site of artistic intervention. The collector, artist, and gallery collaborate to enact a performance of exchange, orchestrated around and by the work. The repercussions of the action extend into the networks of capital within which the work is enmeshed. If one of the uses or responsibilities of an artwork is its ability to apprehend the present while simultaneously existing within it, Wang&rsquo;s work can be seen to motivate an evaluation of the most powerful systems structuring cultural production.</p> <p style="text-align: justify;"><em>Michael Wang (Olney, MD, 1981) holds a Master of Architecture from Princeton University, an MA from NYU, and a BA from Harvard University. Recent exhibitions include: As We Were Saying: Art and Identity in the Age of &ldquo;Post,&rdquo; curated by Claire Barliant, The Elizabeth Foundation, New York (2014); Michael Wang: Global Tone, Foxy Production (2013); Liquid Autist</em>,<em> curated by Daniel Keller, Kraupa-Tuskany Zeidler, Berlin (2013); Spaces for Drawing, The Hite Collection, Gangman-gu, Seoul (2013); Differentiation Series, Primetime Gallery, Brooklyn, NY (solo); Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (two-person); and Carbon Copies, Foxy Production (solo project)(all 2012). He lives and works in New York City.</em></p> Fri, 12 Dec 2014 20:02:19 +0000 Annette Kelm - Andrew Kreps Gallery @ 535 West 22nd - January 22nd - February 21st <p style="text-align: justify;">The Andrew Kreps Gallery is pleased to present <em>Archive</em>, its third solo show with Annette Kelm. Interested in typologies, models of mass production, the function of objects and the nature of their representation, stylistic developments in patterned textiles, design, and technology, Annette Kelm&rsquo;s work conflates several genres in single images, or develop single motifs in series of images that combine a variety of artistic, historical, and cross-cultural references.</p> <p style="text-align: justify;">Kelm&rsquo;s newest photographs belie an interest in cultural history based on her investigations of archives and institutional modes of representation. Three series of works form the exhibition: images of vitrines, taken in German museums, that capture the style of the 70s and 80s, images of pink overalls arranged in the artist&rsquo;s studio, and photographs of white cloaks painted with protest slogans. All the works are tied to German feminist movements of the last 50 years.</p> <p style="text-align: justify;"><em>Latzhose (Dungarees)</em>, 2014 are four works in which the photographed object is a pair of purple overalls arranged and displayed on the neutral, flat background of Kelm&rsquo;s studio floor. In Germany during the 70&rsquo;s overalls (dungarees) were perceived as typical men&rsquo;s work wear, but female activists and their supporters dyed them purple - red conventionally stood for the female and blue for male, therefore purple was the color in between, ultimately becoming a symbol of women&rsquo;s liberation. The myriad serial formal configurations of the item in Kelm&rsquo;s photographs reinforce the overalls as a symbol &ndash; while also foregrounding the quotidian aspect of these socio-political signifiers that crowd our visual world.</p> <p style="text-align: justify;">The artist explores forms of protest developed by the actress, sociologist and activist Hannelore Mabry (1930-2013), who resided in Munich from 1966 until her death last year, as well as other members of the <em>Neue Frauenbewegung</em> (New Women&rsquo;s Movement) in Germany. Intentionally deploying a direct and documentary-like style, the photographs depict K&ouml;rperüberh&auml;nge (body cloaks), in the archive of Munich&rsquo;s Institut für Zeitgeschichte (Institute for Contemporary History), which were worn during demonstrations. These robes and capes were made out of bed sheets and painted with large letters and bold political slogans. For Kelm they function as tropes for Mabry&rsquo;s political agenda and legacy, as well as for the student rebellions of the 1960s, which mounted the struggle for women&rsquo;s rights on an unprecedented scale.</p> <p style="text-align: justify;">Finally, a small group of photographs taken in history museums in Munich and Karlsruhe will be exhibited, which feature tableaus of the &ldquo;style&rdquo; of the 70s and 80s (including the overalls). These images question how these activist gestures and tropes are portrayed as curt and clich&eacute;d rather than complex political movements of their time.</p> <p style="text-align: justify;">Annette Kelm (*1975, Stuttgart, Germany) lives and works in Berlin. Her work has been presented in solo exhibitions at international institutions, including Espace LouisVuitton, Munich and K&ouml;lnischer Kunstverein (2014), Presentation House Gallery, Vancouver (2012), Bonner Kunstverein (2011), Art Institute for Contemporary Art, Berlin (2009), Kunsthalle Zurich (2009) and CCA Wattis Institute, San Francisco (2008). In addition, Annette Kelm's works were featured in numerous group exhibitions, most recently at MoMA, New York (2013) and Frankfurter Kunstverein (2013). In 2012 she participated in the 12th Istanbul Biennial and 2011 in the 54th Venice Biennial.</p> <p style="text-align: justify;">She will have a solo show at the Museum of Contemporary Art in or Detroit, curated by Jens Hoffman, in 2016.</p> Fri, 23 Jan 2015 14:46:23 +0000 Cheyney Thompson - Andrew Kreps Gallery @ 537 W. 22nd - January 22nd - February 21st <p style="text-align: justify;">The Andrew Kreps Gallery is pleased to present Cheyney Thompson&rsquo;s sixth solo exhibition at the gallery entitled&nbsp;<em>Birdwings and Chambered Shells.</em>&nbsp;The show will include paintings and a set of drawings, all with&nbsp;new optimized titles.&nbsp;Thompson&rsquo;s latest series of works continue his investigation of the technology, production and distribution of painting. The works on view are based on the random walk algorithm, a formalization of Brownian motion that is used in financial instruments to model market behavior.</p> <p style="text-align: justify;">Combining models of standardization, in the use of Munsell&rsquo;s color system, with models of dynamic processes, in the use of random walks, the resulting works attempt to trace a line between painting&rsquo;s twin imperatives of capture and exposure.</p> <p style="text-align: justify;">The show takes its title from Don DeLillo&rsquo;s novel&nbsp;<em>Cosmopolis</em>, from hedge fund manager&rsquo;s Eric Packer&rsquo;s hyperbolic ode to the Efficient Market Hypothesis, in which he claims to recognize the &ldquo;heave of the biosphere&rdquo; in the streams of numbers and charts of currency indexes.</p> <p style="text-align: justify;">Cheyney Thompson has had solo exhibitions at the MIT List Visual Arts Center, Cambridge, Massachusetts (with an accompanying monograph), and the Kunstverein Braunschweig, Germany; and his work was included in the 2008 Whitney Biennial.&nbsp; Group shows include: <em>Une Histoire,</em> Centre Pompidou, Paris, France, <em>Chat Jet - Painting &lsquo;Beyond&rsquo; The Medium</em> at K&uuml;nstlerhaus Graz; <em>The Indiscipline of Painting</em>, Tate St. Ives, England; <em>Systems Analysis</em> at West London Projects and Langen Foundation, Germany; <em>Greater New York</em> at P.S.1 Contemporary Art Center and The Venice Biennale, Venice, Italy in 2003.</p> <p style="text-align: justify;">Cheyney Thompson&rsquo;s work is part of the permanent collections of MoMA, New York and Centre Pompidou, Paris.</p> <p style="text-align: justify;">For more information and images please contact Hannah Mandel at:&nbsp;</p> Fri, 23 Jan 2015 14:47:31 +0000 Erik van Lieshout - Anton Kern Gallery - January 15th - February 28th <p style="text-align: justify;">We are pleased to announce our representation of Erik Van Lieshout and his first solo show at the gallery.</p> Thu, 18 Dec 2014 09:04:04 +0000 Una Lee, Annea Lockwood, Chris H. Lynn, Robert Macfarlane, Ed Osborne, David Rothenberg, Chris Watson, GEORGE QUASHA, Charles Stein - Apexart - January 15th - March 7th <p style="text-align: justify;">An Unsolicited Proposal Program winning exhibition.<br />Learn more about the <a href="" target="_blank">Unsolicited Proposal Program</a>.</p> <p style="text-align: justify;">Contemporary musicians and sound artists are indebted to the 19th century German physicist Herman Helmholtz (1821-1894) who authored <em>On the Sensations of Tone as a Physiological Basis for the Theory of Music</em> (1862). In the book, Helmholtz explored the mathematical, physiological, and perception effects of sound: &ldquo;We perceive that generally, a noise is accompanied by a rapid alternation of different kinds of sensations of sound. Think, for example, of the rattling of a carriage over granite paving stones, the splashing or seething of a waterfall or of the waves of the sea, the rustling of leaves in a wood.&rdquo; <br /><br /> Artistic disciplines examining sound have emerged since Helmholtz&rsquo;s research, &ldquo;the waves of the sea&rdquo; has turned into acoustic ecology that examines how sound is an integrative principle in human and natural environments. Field recordings have proliferated in recent years due to the availability and portability of high quality recording equipment, enticing composers and sound artists to take their studios to the edge of the wilds or down the street. The exhibition and two public performance events draw together nine artists/composers whose works poetically map sound that reflect and emerge from their interaction with the natural environment.</p> <p style="text-align: justify;">Unsolicited Proposal Program Winner 2014-15</p> <p style="text-align: justify;"><strong>Alastair Noble</strong> is an environmental/installation artist and printmaker from the UK, now based in New York City. His artistic practice is a response to architecture and the natural environment and reflects on particular sites in the context of poetry and literature. In May 2014 he was an artist-in-residence at the Marsh-Billings-Rockefeller National Historical Park in Woodstock, Vermont. Alastair's artistic career spans 30 years with exhibitions and residencies in the UK, Peru, Chile, Bulgaria, and Italy. He has taught and lectured at numerous colleges, universities, and public institutions, and has curated exhibitions and organized symposiums on art, poetry, and the environment. His essays, articles, and reviews on art and architecture have also appeared in national and international publications.</p> Thu, 11 Dec 2014 11:15:31 +0000 Lea Cetera - Art in General - January 22nd - February 21st <p class="p1">Art in General is pleased to present <em>Sprawl</em>, a New Commission with Lea Cetera in the Storefront Project Space.</p> <p class="p1"><strong>Performances: </strong>Thursday, January 22, 6&ndash;8pm; Saturday, February 21, 5&ndash;6pm</p> <p class="p1">In this newly created installation, Cetera draws inspiration from the consumer language of the storefront window, employing its specific layers of flattened perspective produced by glass-walled architecture, and tight proximity of space that is both public and private. As with her broader artistic practice that often updates the concerns of 1960s Minimalism, Cetera here engages with the phenomenological aspects of navigating the built environment that influence our psychological and emotional states. This project includes performance, live-feed and prerecorded video, and a series of new sculptures that recall the window grates and security fences that are prominent features of the urban landscape. Her objects reference these peripheral, precautionary elements found in New York City in their formal relationship to the human body&rsquo;s scale and shape, as well as their functionality in guiding or blocking the body&rsquo;s capacity to grasp, reach, or climb. Addressing the condition of simultaneous visibility and invisibility that comes with city dwelling, <em>Sprawl </em>draws the street viewer and passerby into a fourth, projected space that implicates them in the acts of viewing and being viewed as participants in the constructed and surveilled environment. For the artist, these gestures serve as metaphors for aggression, control, and self-preservation, as well as comfort, safety, and order&mdash;all omnipresent concerns of contemporary urban life.</p> <p class="p1">Emerging from a collaborative background in theater and filmmaking, Cetera works in video, sculpture, and performance to produce temporal installations that examine the space between object and body, public and private, virtual and real. Utilizing techniques culled from the moving image, stage design, and puppetry, her work investigates constructed identities, the mediation of contemporary technology, the alienation of the human body, and the aura of fetishized objects.</p> <p class="p1"><strong>Lea Cetera </strong>has performed and exhibited work in the United States and abroad at venues including The Jewish Museum, New York (2014); Disjecta Contemporary Art Center, Portland (2014); SculptureCenter, Long Island City (2013); High Desert Test Sites, Joshua Tree (2012); New Wight Biennial, Los Angeles (2012); Anthology Film Archives, New York (2010); and PortugalArte Biennial, Lisbon (2010). Cetera holds an MFA from Columbia University (2012) and a BFA from the Cooper Union School of Art (2005). She lives and works in New York City.</p> <p class="p1"><strong>Press contact: </strong>Aimee Chan-Lindquist,</p> Wed, 14 Jan 2015 21:54:29 +0000