ArtSlant - Current exhibits en-us 40 Jean Dubuffet, Miquel Barcelo - Acquavella Galleries - June 30th - September 19th <p>Acquavella Galleries is pleased to present Dubuffet | Barcel&oacute;, an exhibition of paintings by French postwar painter Jean Dubuffet and acclaimed Spanish artist Miquel Barcel&oacute;, on view from June 30 to September 19, 2014. The exhibition&nbsp;will feature distinct bodies of work from each artist &ndash; several of Barcel&oacute;&rsquo;s recent white paintings and dark bleach portraits will be shown alongside a selection of Dubuffet&rsquo;s landscapes and portraits. Since he was a teenager, Barcel&oacute; has been drawn to Dubuffet&rsquo;s poetic writings and unconventional aesthetic. In juxtaposing portraits and landscapes by both artists, this exhibition aims to highlight<br />their thematic and material affinities.<br /><br />Dubuffet employed various techniques to represent soil in his series of Texturologies from the 1950s. Acting as an inventory of various types of terrain, these paintings celebrate the nuances of material. Dubuffet initially intended to create the series as an assemblage evocative of earth&rsquo;s expanse that could be endlessly extended; however, his attachment to these initial paintings<br />prevented him from producing this assemblage, and they remain as individual works. With their encrusted, tactile surfaces, Dubuffet&rsquo;s Texturologies evoke the textures of the earth. This obsession with formlessness extends to Dubuffet&rsquo;s portraits, several of which are included in this exhibition. His methods of rendering the human figure reflect his fascination with primitive and naive art practices.<br /><br />Barcel&oacute;&rsquo;s most recent series of white paintings also pay tribute to boundless terrain. An artistic nomad, he has traveled widely, relying on cultural and geographic diversity for inspiration. Earthly textures &ndash; sand or waves of the ocean, for example &ndash; have long influenced his painting practice. Several heavily impastoed canvases, in particular, pay tribute to the coastal terrain of his native Majorca. The intensely textured Huitres II recalls Barcel&oacute;&rsquo;s travels across the arid, rugged terrain of the Sahara. This work is simultaneously devoid of and brimming with color &ndash; indicating the heat, light, and texture of the desert. Barcel&oacute;&rsquo;s recent portraits are<br />similarly personal. These paintings, made with bleach, chalk, and charcoal on dark canvas, present ethereal renderings of the artist&rsquo;s colleagues and friends.<br /><br />Jean Dubuffet (1901 &ndash; 1985) was born in Le Havre, France. In 1918 he moved to Paris to study at the Acad&eacute;mie Julian, which he left after six months to study independently. After abandoning painting to work at his family&rsquo;s wine business for several years, Dubuffet fully committed himself to being an artist in 1942. His fascination with Hans Prinzhorn's Artistry of the Mentally Ill deeply influenced<br />his artistic practice, and led to his coining of the term &ldquo;Art Brut.&rdquo; For Dubuffet, the raw and uninhibited expression of Art Brut provided a fresh and alternative direction to what he saw as the stifling decorum and conformity of French culture and the Western tradition. Painting in a deliberately crude manner, Dubuffet developed a technique of thick impasto, called haute p&acirc;te, and frequently<br />incorporated unorthodox materials ranging from cement and gravel to leaves, dust, and even butterfly wings into his works. His controversial materials and mark-making solidified his legacy as an iconoclastic figure in the canon of postwar European painting. His work has been exhibited in and collected by major public and private institutions across the world.&nbsp;<br /><br />Miquel Barcel&oacute; (b. 1957) was born in Felanitx, Majorca and divides his time between Majorca, Paris, and Mali. The youngest artist to ever show at the Mus&eacute;e du Louvre, Barcel&oacute; represented Spain at the 53rd Venice Biennale and drew wide acclaim for his<br />participation in Documenta VII in Kassel, Germany. He has had retrospectives at renowned institutions, including the Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; Museo Rufino Tamayo, Mexico; and the Guggenheim Museum, Bilbao, Spain. His work is included in many esteemed public and private collections worldwide.</p> <p>&nbsp;</p> Tue, 24 Jun 2014 04:34:33 +0000 Kazi Salahuddin Ahmed, Masum Chisty, Khaled Hasan, Imran Hossain Piplu, Promotesh Das Pulak, Dhali Al Mamoon, Yasmin Jahan Nupur, Mohammad Wahiduzzaman, Wakilur Rahman - AICON GALLERY - New York - July 24th - September 6th <p style="text-align: justify;" align="justify"><span style="font-size: small;"><strong>Aicon Gallery</strong>&nbsp;is proud to present&nbsp;<em>Readymade</em>, the first ever extensive survey exhibition of contemporary Bangladeshi art held in New York. The exhibition features nine artists collectively exploring the complex and interlocking cultural, political, economic and environmental issues currently facing the often paradoxical and rapidly changing society and state of Bangladesh in the new millennium. The nation's exploding population, the daily socioeconomic struggles of the lives of millions, the consequences of climate change, shifting cultural and gender demographics and the future of industry and economic growth are just some of the vastly influential issues informing and challenging the visual and verbal language of Bangladesh's diverse and quickly growing contemporary art scene. The work in this exhibition unpacks these issues through the concept of the&nbsp;<em>readymade</em>, both in its art historical context, and as a term referring to Bangladesh's massive and unwieldy ready-to-wear garment industry, which has made headlines recently due to the tragic consequences of its lack of regulation and harsh suppression of reform, while also remaining the economic backbone of Bangladesh's growing economy.&nbsp;</span><span style="font-size: small;">&nbsp;</span></p> <div style="text-align: justify;" align="justify"><span style="font-size: small;">When Marcel Duchamp challenged high art by making the mundane monumental, he called it readymade. The spaceless conjunction of 'ready' and 'made' is fraught with tension, simultaneously existing as an affirmation, yet a contradiction. This signifies convenience at the cost of quality, access at the cost of wholesomeness, and success at the cost of failure. Ultimately, it marks a divide that is hard to bridge. As Bangladesh encounters these many divides and contradictions, 'readymade' becomes an identity in itself.</span><br /><br /></div> <div style="text-align: justify;" align="justify"><span style="font-size: small;">With rising levels of greenhouse gases in the environment, the global climate is changing. Extreme storms, long the scourge of low-lying Bangladesh, are increasing in frequency and ferocity; and, there is the rising sea level. Bangladesh presents the largest assemblage of humans at such a low elevation. It is inherently readymade for a natural disaster of epic proportions. With a still trotting, if not galloping, population growth and a shrinking landmass from rising waters, Bangladesh is also a readymade demographic time bomb. About 40% of the population is below the age of 25. If these tens of millions of young men and women are not educated and put to work, Bangladesh is readymade for social unrest.</span></div> <div align="justify"> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Yet, it is in readymades that Bangladesh seeks a path to redemptive transformation. Readymade is the locally popular term for ready-to-wear clothing. It is an industry of which Bangladesh, with its large work force and low wages, has become the global epicenter, with the garment industry comprising nearly 90% of its Gross Domestic Product. This epicenter, occasionally shaken by a tragedy of epic proportions, is merely inconvenienced by smaller everyday tragedies. Labor organizers disappear into the night, while dissenting workers find their jobs-and at times, limbs-gone. The lack of economic diversity promotes an endemic occurrence of sweatshops and unsafe labor conditions, favoring capitalism over social welfare, susceptible to poverty and malnutrition of children, with a growing sex trade of prostitution and child trafficking into India. It is an industry readymade to propel Bangladesh forwards or back; and, at times, it seems to do both.</span><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Whether a storm changes the coastline or a factory collapses upon its occupants, it takes a myriad of tragedies for the world to focus on Bangladesh. Can tragedy be the price of good-tidings to come? The disaster, in the case of a factory-collapse, is not natural but manmade. For the looming tragedy of climate change, man's authorship should at least allow for remediation. Will the proverbial 'silver lining' be a clear establishment of a civil society's predominance? The political leaders, no matter how tainted, know that they would have to seek the people's mandate, sooner rather than later. Bangladesh has had a growing democracy for three of its four decades in existence. From being the poorer, undernourished and fledging of the two wings of Pakistan - the nation it broke from in 1971 - Bangladesh today has peace, a vibrant economy, higher rates of development and greater empowerment of its people, especially its women.</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Is Bangladesh, then, readymade to chart a way forward? Are its artists ready to play a part in this charted route? Culture has always been integral to Bangladesh's identity. It was born of a struggle to protect a language and its associated culture. "Readymade", the first major curated exhibition of contemporary Bangladeshi art in New York, seeks to re-introduce a society long known as a reliable source of disaster news, as one that is at a fork. A big disaster may yet unfold of many little ones; but equally, there is hope for the emergence of a civil society, with art and artists at its vanguard.&nbsp;</span></p> </div> Fri, 25 Jul 2014 08:22:23 +0000 Matthew Ronay - Andrea Rosen Gallery 2 - June 28th - August 22nd <p>Andrea Rosen Gallery is pleased to present &ldquo;Wavelength,&rdquo; a project-based exhibition of Matthew Ronay&rsquo;s meditative daily drawings. Realizing an integral pillar of the Gallery 2 mission, the exhibition sheds light on an unexplored aspect of the artist&rsquo;s practice, presenting a uniquely content driven and experimental exhibition.<br /> <br /> Finding ritual in repetition, Ronay&rsquo;s abstract and richly saturated gouaches navigate the human respiratory system. The selected works exhibited represent a greater project structured by daily engagements over the course of 100 sittings, putting color to paper, and drawing from what Ronay refers to as &ldquo;muscle memory,&rdquo; an unconscious tracing of forms, curves and weights that come from one&rsquo;s inner being. Based on shapes called wavelengths, the amorphous drawings, vibrating, linear and obtuse on purple scapes, mimic the chambers of the body and embody breathing exercises that rise and fall, flux and sustain.<br /> <br /> Often presenting immersive and enigmatic sculptural installations, which embody and explore bodily processes and portals, bringing a heightened awareness to the human experience, Ronay here isolates a single engagement, a self-circling process that extends beyond the realm of form and relates not only to his art, but to the artist himself. Discovering the personal within this rhythm, Ronay precipitates the device of repetition, a device that, as Josef Helfenstein describes, &ldquo;has to do with the importance of emotion.&rdquo; Tracing an obsessive continuity of imagery, Ronay&rsquo;s engagements illuminate a strong historic lineage of ritual and repetition that transcends art history, while retaining a resonant emotive quality grown from inner necessity.<br /> <br /> <em>Matthew Ronay was born in 1976 in Louisville, Kentucky. His work was recently subject of a solo exhibition at Kunstverein Lingen, Germany. Earlier solo institutional presentations include concurrent presentations at the University of Louisville, Kentucky and the Kentucky Museum of Art and Craft, Louisville, KT in 2013; Luettgenmeijer, Berlin; La Conservera, Murcia, Spain; Artpace, San Antonio, TX; and Parasol Unit Foundation for Contemporary Art, London. His work was included in the 2004 Whitney Biennale and in the 12th Lyon Biennial in 2013; as well as notable international exhibitions at the Schirn Kuntshalle, Frankfurt; LWL-Landesmuseum f&uuml;r Kunst und Kulturgeschichte, Germany; the Astrup Fearnley Museum for Modern Art, Oslo; and Serpentine Gallery, London. Ronay currently lives and works in New York. </em></p> Sat, 21 Jun 2014 23:38:15 +0000 Matthew Monahan - Anton Kern Gallery - July 2nd - August 22nd Mon, 18 Aug 2014 22:46:08 +0000 Shio Kusaka, Jonas Wood - Anton Kern Gallery - July 2nd - August 22nd <p style="text-align: justify;">Anton Kern Gallery is pleased to announce <em>Displayed </em>an exhibition curated by artist and White Columns&rsquo; director Matthew Higgs.<br /> &nbsp;<br /> <em>Displayed </em>is an exhibition of artworks that, in very different ways, explore the methodologies &ndash; both formal and psychological &ndash; of display and presentation. Borrowing from the languages of architecture, the museum, interior design, retail, and advertising among other disciplines, the works in <em>Displayed</em> variously consider our shifting relationships with &ndash; and attachments to &ndash; objects and the circumstances in which we encounter them: whether it be the gallery, the store, the street, the home, etc.<br /> &nbsp;<br /> Central to <em>Displayed</em> is the mercurial practice of artist Nancy Shaver, whose antique store &lsquo;Henry&rsquo; in Hudson, NY is an eccentric laboratory dedicated to nurturing a confusion between art and commerce, between the applied and fine arts, between good and bad taste. In <em>Displayed</em> Shaver juxtaposes her own sculptures &ndash; which often take the form of assisted ready-mades &ndash; with finds from estate sales and thrift stores establishing a fluid, albeit unstable taxonomy of objects. Elsewhere B. Wurtz creates low-fi armatures that privilege &ndash; even celebrate &ndash; the marginal and the maligned (a plastic shopping bag, a tube sock etc.). Josh Smith&rsquo;s &lsquo;Stage Painting&rsquo; is essentially a jerry-rigged monument to himself. On the gallery&rsquo;s exterior walls, exposed to the elements, Chris Martin displays his paintings, where the gallery itself becomes a kind of pedestal, and Martin&rsquo;s paintings a form of &lsquo;advertising&rsquo;: alerting the passerby to the nature of the business conducted within. (A scenario echoed in Moyra Davey&rsquo;s early 1990s photographs of New York newsstands, with their informal grids and stacks of magazines and newspapers.) Rachel Harrison&rsquo;s ad-hoc telephone booth-like structure functions as if a vitrine, or container for its enclosed sculptural event. The museum vitrine, a device that both frames and protects, is self-consciously present in Annette Kelm&rsquo;s documentary accounts of feminist ephemera. Carissa Rodriguez&rsquo;s Ikebana display and Marc Camille Chaimowicz&rsquo;s faux floral bouquet each, in quite distinct ways, seek to apply order to nature.<br /> &nbsp;<br /> In these and other works in <em>Displayed</em> the artist explicitly engages with, amplifies and disrupts the aesthetic &ndash; and psychological &ndash; possibilities inherent to the processes of selection, arrangement and presentation. (A process analogous to the role of the curator, the window dresser, or the art director, each of whom identifies, organizes and choreographs things in space). The artworks in <em>Displayed</em> self-reflexively explore these dynamics and tensions: where the distinction between <em>what</em> is presented and <em>how</em> it is presented is often moot.<br /> &nbsp;<br /> Created by a intergenerational group of artists the works in <em>Displayed</em>, like the artists themselves, are willfully idiosyncratic, each made with specific intent, yet seen together these artworks are, I would suggest, representatives of a broad yet pervasive aesthetic tendency, an under-acknowledged &lsquo;movement&rsquo; of sorts &ndash; &ldquo;displayism&rdquo; perhaps &ndash; that has shadowed the history of modernism (and what followed): its legacy evident in the practices of Marcel Broodthaers, Haim Steinbach, Gulillaume Bijl, John Armleder, Isa Genzken, Barbara Bloom, Louise Lawler, and Carol Bove among many others.</p> <div style="text-align: right;"><em>&ndash;Matthew Higgs, June 2014</em></div> <p style="text-align: justify;">*Matthew Monahan&rsquo;s work <em>Hephaestus </em>will continue to be on view in the back gallery through August 22.</p> Thu, 10 Jul 2014 19:41:20 +0000 Winslow Homer - Arkell Museum - June 6th - August 24th <p>This exhibition organized by the Syracuse University Art Gallereis highlights Homer&rsquo;s fascination with coastal and nautical scenes as an illustrator and special correspondent for the American pictorial press. The images include early illustrations for periodicals including<em> Frank Leslie&rsquo;s Illustrated Newspaper</em> and <em>Harper&rsquo;s Weekly </em>,as well as rare lithographs and large etchings made after Homer&rsquo;s paintings. The exhibition defines Homer&rsquo;s transition from an illustrator of the pre- and post war years through his travels abroad that mark his evolution to the pre-eminent American painter of the late 19th century.</p> <p>This exhibition, curated by Andrew Saluti, Assistant Director of the SUArt Galleries, features thirty-five original prints including wood engravings, lithographs, and etchings. The exhibition is drawn from the permanent collection of the Syracuse University Art Collection, and focuses on the illustrious career of Winslow Homer as a draftsman and printmaker.</p> Sun, 25 May 2014 21:09:47 +0000 George Inness - Arkell Museum - June 7th - November 15th <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, 28 Apr 2014 00:18:57 +0000 Alex Perweiler, Zachary Susskind, Louis Eisner, Jack Greer, Brendan Lynch, Dylan Lynch, Nick Darmstaedter, Isaac Brest - Art in General - September 22nd, 2013 - September 1st <p>Art in General is pleased to present <strong>+1</strong>, a New Commission by The Still House Group.</p> <p><strong>The Still House Group</strong> is an emerging artist-run organization based in Red Hook, NY. Still House is inspired by the ideals of a young creative demographic bound by expectations of subordination to preexisting models, and supports a unit of young artists, providing them with an environment to conceptualize, produce, and exhibit their work. The strong emphasis on collaboration encourages members of the group to assist, critique, and formally represent one another, ultimately creating a collective drive that balances the advancement of individual careers with the growth of Still House the entity. The group attempts to escape the traditional gallery set-up, gearing itself, regardless of the seemingly insurmountable challenges, toward the goal of creative sustainability.</p> <p>Founded in 2007 by Isaac Brest and Alex Perweiler as an online viewing platform, Still House has produced numerous exhibitions in New York, Los Angeles and Miami. During 2010, the group conducted an eight-month residency in an abandoned Department of Transportation office in TriBeCa, and has since built a permanent, multi-faceted arts institution currently based in Red Hook, Brooklyn. This location serves as a hub for new work, a satellite environment to the art center of Manhattan where young artists engage in a space of their own.</p> Mon, 09 Jun 2014 12:31:05 +0000 Regina DeLuise, Jed Devine, Laura McPhee, Simon Norfolk, Lauren Semivan - Bonni Benrubi Gallery - July 31st - September 6th <p>Bonni Benrubi Gallery is pleased to present t&agrave; hier&aacute;, a group exhibition of photographs by gallery artists: Regina DeLuise, Jed Devine, Laura McPhee, Jeffrey Milstein, Jehad Nga, Simon Norfolk, and Lauren Semivan in a dialogue of photographic meditations on the notion of the sacred and the practice of ritual.<br />t&agrave; hier&aacute; is an ancient Greek term that has no equivalent in contemporary language. Commonly translated as the holy or the sacred it is the Greek word closest to religion and that which refers to the gods.<br />Religious rites are typically what we associate with the sacred, but in our highly secularized global society, where religion is not the mainstay of every culture, how do we now define sacred? Where do&nbsp;we find ritual in a global metropolis? What do we learn about ourselves when we look at an image of&nbsp;the Large Hadron Collider in CERN compared to the stoic solitude of an ancient offering plinth in&nbsp;Calcutta?<br />Laura McPhee&rsquo;s contemplative large format photographs of life in India are possibly the purest expression of our common associations to the sacred, documenting the Durga Puja in Calcutta a highly orchestrated ritual that has been practiced since the middle ages. Jeffrey Milstein&rsquo;s 200 Saints depicts a wall of crucifix&rsquo;s hanging above a bed in a Cuban interior.<br />Jehad Nga&rsquo;s Untitled #21 shows a faceless man tying his turban, a great swathe of white fabric in the&nbsp;morning light, shot in Mali on assignment, investigating the ongoing conflict in this troubled West&nbsp;African nation. In early 2012, a group of radical Islamists affiliated with Al Qaeda took control of Mali&rsquo;s northern half, declaring it an independent state imposing the rules of Sharia law.</p> Tue, 29 Jul 2014 22:08:56 +0000 Ian Cheng, Melanie Gilligan, Carissa Rodriguez, Anicka Yi - Bortolami Gallery - June 12th - August 22nd <p>Vision has always been unreliable.&nbsp;&nbsp; Whether true or false, could a photograph or a painting ever show us more than the outward appearance of things?&nbsp; &nbsp;&nbsp;But today visual form seems more vexed than ever.&nbsp;<br /> &nbsp;<br /> Under the aegis of digitization, we are bombarded with images, and yet so much of labor, leisure and communication happens invisibly, across fiber optic channels, server farms, and encrypted Wi-Fi signals, unseen except for some computer algorithm silently collecting data, and then whatever glowing array might appear within the confines of a rectangular screen.&nbsp; And any distance between visual art and the various myths and spectacles of our time is so uncertain:&nbsp; does art &ldquo;reflect on&rdquo; the current ideology of information and dematerialization, or is it an instrument of this ideology itself, furnishing images for a new order of things?<br /> &nbsp;<br /> Each of the works in this exhibition has something to say about life today.&nbsp; &nbsp;In particular, it seems to me that in all of them a certain deliquescence of things &mdash; a utopia of dematerialization and digitization &mdash; appears inseparable from a disordering, a systemic breakdown.&nbsp; But if the question is still how art might reflect on the changing conditions of living by finding out what it takes to make a representation of them, the answers are more difficult.&nbsp; Who or what is represented on the surface of Carissa Rodriguez&rsquo;s pathologically flattened tongues, by the babbling chatbots in Ian Cheng&rsquo;s digital simulation, in the pixels of Melanie Gilligan&rsquo;s digital filters, or within the congealed interior of Anicka Yi&rsquo;s objects?&nbsp;<br /> &nbsp;<br /> Things and pictures never add up, and maybe these works frame, and savor, certain discrepancies. An insensible traffic between surface and depth: between internal organs and skin, computer program and human cognition, fossilized memories and spectral projection, the flatness of things and a sense of distance and history.&nbsp;<br /> &nbsp;<br /> &mdash; Jacob King</p> Fri, 13 Jun 2014 08:02:26 +0000 Hanny Ahern, Thessia Machado, Eric Shows, Palden Weinreb - BRIC Arts | Media House - July 10th - August 31st <p><em>The air we swim in</em>&nbsp;will be on view in the Project Room of BRIC House this summer. The exhibition is curated by&nbsp;Kelly Schroer,&nbsp;2014&nbsp;recipient of BRIC&rsquo;s Emerging Curator Fellowship. Supporting and fostering the vision of a developing curator, the exhibition will focus on artists who create physical interactions with intangible elements that inhabit our same space, but are invisible to the human eye. The exhibition will feature artists&nbsp;Hanny Ahern,&nbsp;Thessia Machado,&nbsp;Eric Shows, and&nbsp;Palden Weinreb.&nbsp;</p> <p>The title of the exhibition is sourced from Thessia Machado&rsquo;s artist statement, in which she describes her visual interest in sound waves. This fascination with invisible elements in the air acts as a starting point in expressing our human need to make sense of the world around us. Through drawing, sculpture, and interactive installations, the artists exhibited in&nbsp;<em>The air we swim in</em>&nbsp;create tactile sensations out of&nbsp;sound waves, energy and light waves, breath, and microscopic particles.Thessia Machado&rsquo;s interactive sculptures/instruments express sound as &ldquo;malleable and responsive, physical matter;&rdquo;&nbsp;Palden Weinreb&nbsp;attempts to solidify the properties of light waves in two dimensions, using graphite and wax;&nbsp;Eric Shows&rsquo; installation uses light as a point source that projects through glass, revealing surface variations and creating sound as a direct result; and&nbsp;Hanny Ahern&nbsp;visualizes breath through an interactive installation/sculpture using sensors and light bulbs. Through their engagement with unseen waves and particles, we are reminded of both our shortcomings and power as human beings.</p> Tue, 17 Jun 2014 05:33:07 +0000 Laura Anderson Barbata - BRIC Arts | Media House - July 10th - August 31st <p style="text-align: justify;"><em>Transcommunality: Laura Anderson Barbata, Collaboration Beyond Borders</em>&nbsp;is an exhibition that documents the work of Mexican-born, New York-based artist&nbsp;Laura Anderson Barbata; focusing on the decade-long project she pursued with stilt-walking communities in Trinidad and Tobago, Mexico, and Brooklyn. Her project highlights the vitality of the moko jumbie stilt walking tradition&nbsp;and demonstrates the possibility of using this storied art form as a platform for social contemporary performance, group participation and protest. Spanning from&nbsp;17 feet tallto just&nbsp;11 inches small, the works presented in the exhibition range fromtextile-based to sculptural objects, as well as photographs, videos, and projections that document the collaborative projects. Overall, the exhibition comprises approximately 60 pieces including over 20 towering dressed figures and 23&nbsp;<em>alebrijes&nbsp;</em>(miniature wooden figures).&nbsp;A traveling exhibition, the presentation of&nbsp;<em>Transcommunality</em>&nbsp;at BRIC House will be the&nbsp;inaugural showing in the United States.</p> <p style="text-align: justify;">Laura Anderson Barbata is known for her participatory, collaborative art, often involving partnerships with local artisans. The relationships forged with collaborators and the cultural exchanges that take place are the most important components for the artist.&nbsp;<em>Transcommunality&nbsp;</em>encompasses community art, public art, social intervention, performance and sculpture, focusing on an artist who has dedicated her practice to confronting the hierarchies of so-called &ldquo;fine art&rdquo; and popular art, craft and folk traditions. In 2011, she designed a performance with the Brooklyn Jumbies called&nbsp;<em>Intervention: Wall Street</em>, engaging in the Occupy Wall Street movement and the social and economic issues it raised.</p> <p style="text-align: justify;"><em>Transcommunality: Laura Anderson Barbata, Collaboration Beyond Borders</em>&nbsp;has previously been presented at the Centro de las Artes de Nuevo Le&oacute;n, Monterrey; Museo de la Ciudad de M&eacute;xico, M&eacute;xico, D.F.; and Museo Textil de Oaxaca, M&eacute;xico. The exhibition at BRIC House will be the first showing in the United States, after which it will travel to the University of Wisconsin, Madison, where the project will be part of the spring 2015 Interdisciplinary Arts Residency Program. It will subsequently continue in Europe.</p> Thu, 10 Jul 2014 19:50:15 +0000 Group Show - Bronx Museum of the Arts - May 1st - January 11th, 2015 <p><em>Beyond the Supersquare&nbsp;</em>explores the indelible influence of Latin American and Caribbean modernist architecture on contemporary art. The exhibition features over 30 artists and more than 60 artworks, including photography, video, sculpture, installation, and drawing, that respond to major Modernist architectural projects constructed in Latin America and the Caribbean from the 1920s through the 1960s.&nbsp;<em>Beyond the Supersquare</em>&nbsp;examines the complicated legacies of modernism through architecture and thought&mdash;as embodied by the political, economic, environmental, and social challenges faced by countries throughout Latin America&mdash;through the unique perspective of artists working today. This exhibition is co-organized by Holly Block (New York City) and Mar&iacute;a In&eacute;s Rodr&iacute;guez (Colombia), and designed by Benedeta Monteverde (Mexico).</p> Tue, 24 Jun 2014 00:05:55 +0000 - Bronx Museum of the Arts - May 1st - August 31st <p>Over the course of its forty-year history, the Bronx Museum has drawn together a significant collection of prints and graphic-art works, guided by its mission to give visibility to artists of African, Asian, and Latin American descent. For these artists, the print medium has been an invaluable tool for channeling their aesthetic and political concerns. Due to its mass reproducibility, economy, ease of distribution, and collaborative character, printmaking has long been considered a vehicle for social agency and has played a major role in politically mobilizing different communities and constituencies.</p> <p>Throughout the first half of the twentieth century and continuing in the present day, artists have joined together as collectives, guided by the desire to promote social change and taking advantage of the collaborative nature of the medium. Historical works in the museum&rsquo;s collection, such as those of the Mexican Taller de Gr&aacute;fica Popular, revisit such utopian aspirations and their influence on different socially-engaged graphic workshops around the world. The circulation and reproductive capabilities of graphic art have been instrumental for artists working under or exposing situations of political turmoil and repression. The pedagogical and empowering value of printmaking is highlighted by the selection of works by members of the Rorke&rsquo;s Drift school of Johannesburg, who came together and gained a voice as an important artistic community of black artists during the apartheid years. The aesthetic and political import of these historical collectives is underscored by the work of contemporary artists, like Tim Rollins &amp; K.O.S., whose practices go beyond the medium of graphic art, approaching printmaking as a way of revisiting the historical junction between art and politics.</p> <p>Beyond considerations specific to printmaking, this display reflects the underlying thematic narratives in the museum&rsquo;s collection and its cross-cultural undertakings while reaffirming its commitment to the print medium.</p> Tue, 24 Jun 2014 00:14:21 +0000 Judy Chicago - Brooklyn Museum of Art - April 4th - September 28th <p>Before making her widely known and iconic feminist work of the 1970s, 1980s, and beyond, Judy Chicago explored painting, sculpture, and environmental performance, often using innovative industrial techniques and materials, including auto body painting and pyrotechnics.</p> <p><em>Chicago in L.A.</em> surveys this less-familiar but significant early work, produced when Chicago lived in Los Angeles and was a participant in the Finish Fetish school, which responded to the rapid industrialization of the West Coast with its own brightly colored, high-gloss form of minimalism. The exhibition places the early work within the arc of Chicago&rsquo;s broader production and continues the reappraisal of the artist&rsquo;s importance as a pioneer in the California art scene. <em>Chicago in L.A. </em>also re-examines <em>The Dinner Party </em>as a work that emerged from decades of artistic experimentation, not only with materials, but with feminist community building.</p> <p>This survey includes approximately sixty paintings, sculptures, drawings, prints, photographs, and videos, including documentation of performances, spanning 1963 to 1974. On view are important early sculptures, including <em>Rainbow Picket </em>(1964), which blend minimalist forms and bold color choices, and a range of vibrant paintings and sculptures made with sprayed acrylic lacquer, a material typically used for decorating cars.</p> Sat, 16 Aug 2014 20:21:26 +0000 Swoon - Brooklyn Museum of Art - April 11th - August 24th <p>Brooklyn-based artist Swoon celebrates everyday people and explores social and environmental issues with her signature paper portraits and figurative installations. She is best known for her large, intricately-cut prints wheat pasted to industrial buildings in Brooklyn and Manhattan.</p> <p>For this exhibition, Swoon creates a site-specific installation in our rotunda gallery, transforming it into a fantastic landscape centering on a monumental sculptural tree with a constructed environment at its base, including sculpted boats and rafts, figurative prints and drawings, and cut paper foliage.</p> <p>Often inspired by contemporary and historical events, Swoon engages with climate change in the installation as a response to the catastrophic Hurricane Sandy that struck the Atlantic Coast in 2012, and Doggerland, a landmass that once connected Great Britain and Europe and that was destroyed by a tsunami 8,000 years ago.</p> Sun, 02 Mar 2014 23:19:29 +0000