ArtSlant - Current exhibits en-us 40 Jeppe Hein - 303 Gallery - April 16th - May 30th <p style="text-align: justify;">303 Gallery is pleased to present "All We Need Is Inside," our third exhibition of new work from Jeppe Hein.<br />&nbsp;<br />On this occasion, Hein presents a collection of works in disparate media, encouraging viewers to enter into their own inner dialogues. Focusing his attention on the awareness of one's own body and mind, Hein creates an experiential narrative in which the viewer becomes gracefully cognizant of his own being through the traversal of the exhibition space and its signifying works.<br />&nbsp;<br />Upon entering the space, a glowing neon mirror announces&nbsp;<em>ALL WE NEED IS INSIDE</em>, imposing a prism through which the viewer processes the surrounding space. Turning away from this work is an encounter with a series of&nbsp;<em>Breathing Watercolors</em>, in which Hein's own breath guides the application of blue stripes painted directly onto the white wall.&nbsp; The intensity of color, deep and vigorous at the beginning of each stroke, gradually fades into a pale shade toward the bottom of each stripe, physically recording the process of air gradually escaping from the body. Echoing this work is&nbsp;<em>Breath</em>, in which Hein's own breath is encased in glass spheres lying on the floor.<br />&nbsp;<br />In the center of the gallery,&nbsp;<em>Sine Curve I</em>&nbsp;implicates the viewer's perception in the creation of the work. Its multifaceted reflection produces an alien experience of the gallery space, disorienting the subject of its reflection and forcing a new type of environmental consciousness. Its sculptural shape is reminiscent of the sinus rhythm, a diagrammatic recording of the normal beating of a heart. In another mirror work,&nbsp;<em>Invisible Eye,</em>&nbsp;Hein has placed a flickering candle behind a two-way mirror. This elemental object of ritual is subverted by Hein's intervention, as candle and viewer merge into one another, resulting in the placement of a flaming third eye onto the viewer's forehead. This suggestion of enlightenment, both physical and spiritual, looks toward an enigmatic and foreign sense of being, implicating the viewer not only in an encounter with an artwork, but in a confrontation with an obscure and unknown self.<br />&nbsp;<br />In November of this year, he will open a solo show at Kunstmuseum, Wolfsburg, Germany. Recent exhibitions include &ldquo;A Smile For You&rdquo; (2013) at Bonniers Konsthall, Stockholm and Wan&aring;s Konst, Sweden; &ldquo;Robert-Jacobsen-Preistr&auml;ger&rdquo; (2012) Museum W&uuml;rth, Bad Mergentheim, Germany; &ldquo;360?&rdquo; (2011) at the 21st Century Museum of Contemporary Art, Kanazawa, Japan; &ldquo;1xMuseum, 10xRooms, 11xWorks&rdquo; (2010) at Neues Museum N&uuml;rnberg; Distance (2010) at IMA - Indianapolis Museum of Art, Indianapolis; &ldquo;Sense City&rdquo; (2009) at AroS Museum of Art, &Aring;rhus, Denmark. Permanent installations of his works were realized in 2014 at Musikkens Hus, Aalborg, Denmark and the New Media Library H&ouml;gskolan Dalarna, Falun, Sweden. His works are held in institutional collections such as the Tate Gallery, London; Centre Pompidou, Paris; Museum f&uuml;r Moderne Kunst, Frankfurt/Main; Museum of Contemporary Art, Los Angeles. Hein lives and works in Berlin.</p> <p>&nbsp;</p> Sat, 04 Apr 2015 09:58:19 +0000 Jef Geys - 3A Gallery - March 26th - July 24th <div style="text-align: justify;">3A Gallery is pleased to announce <em>Jef Geys: Some Paintings from Belgium</em>. On view are ten Martin Douven paintings from the collection of Felipe Perez.&nbsp; The exhibit includes ten prints, on loan from the Columbia University Rare Book and Manuscript Library, depicting the various international contexts of this set of paintings&rsquo; exhibition history.&nbsp; Jef Geys has produced a <em>Kempens Informatieboek</em> for the occasion.</div> <p style="text-align: justify;">&nbsp;<br /> &nbsp;</p> <div style="text-align: justify;"><em>Jef Geys: Some Paintings from Belgium</em> was made possible by the generosity of the Related Group.</div> Sat, 07 Mar 2015 15:36:37 +0000 Julie Langsam - 532 Gallery Thomas Jaeckel - April 30th - May 30th <div style="text-align: justify;">In her newest exhibition <em>Tomorrow-land, &nbsp;</em>Julie&nbsp;Langsam presents structures built specifically for mid-20<sup>th</sup> century World&rsquo;s Fair exhibitions: <em>Philips Pavilion</em> designed by Le Corbusier and Iannis Xenakis, the <em>Tent of Tomorrow &amp; Observation Towers</em> by Philip Johnson and <em>Habitat</em> by Moshe Safdie. In choosing these structures Langsam brings an additional level of engagement to her ongoing exploration into how our ideals as a society are manifest in our collective culture.</div> <div> <p style="text-align: justify;">In addition to the on-going &lsquo;landscape&rsquo; series, Langsam continues to introduce new structures to her body of architectural scenes. Small brightly-colored paintings of floor plans assert the abstract qualities of the architectural blueprint, a two-dimensional depiction of a three-dimensional space. A large collaged floor piece made out of carpet depicts the floor plan of the <em>Director&rsquo;s House</em>designed by Walter Gropius in Dessau, Germany for the Bauhaus school. Color in these works is chosen through a random system.</p> <p style="text-align: justify;">In a series of drawings presented in a grid, walls are redacted and covered, [parts of buildings and the adjacent landscape] are replaced with a field of graphite gray. This [simultaneous veiling and overlay] conveys an absence, a void to be filled, but also embodies a curious push/pull effect: the graphic blocking and blotting out of surfaces serves as an intermediary screen that disrupts a structural coherence in reading these pictures. Gray squares, rectangles, trapezoids jump from drawing to drawing. While these images appear historically distant, they are also reanimated.</p> <div> <div> <div> <p style="text-align: justify;">Langsam&rsquo;s work playfully negotiates and questions the legacy of modernism on contemporary culture. Representations of toxic landscapes reference the painterly sublime, serving as the ground for modernist architectural marvels, structures that evoke notions of failed utopias. Her work is rendered in a curious flatness, where edges of iconic formalist, modernist paintings are flanked against photographic representations of the building.&nbsp; For Langsam, the canon appears less as a &lsquo;barricade to storm than a ruin to pick through. The works presented suggest an attempt to navigate multiple legacies at once negotiating personal memory with art historical and institutional history.</p> </div> </div> </div> </div> Mon, 18 May 2015 15:18:38 +0000 Group Show - Acquavella Galleries - April 15th - June 12th Fri, 23 Jan 2015 14:42:17 +0000 Jacob El Hanani - Acquavella Galleries - April 15th - June 12th Fri, 23 Jan 2015 14:42:30 +0000 Rasheed Araeen - AICON GALLERY - New York - May 7th - June 6th <p style="text-align: justify;" align="justify"><strong>Aicon Gallery New York&nbsp;</strong>is proud to announce<em>Rasheed Araeen&nbsp;</em><em>-&nbsp;Minimalism Then and Now</em>, the first major survey exhibition of the artist's work in New York City. A pioneering artist and voice for alternative and Non-Western interpretations of&nbsp;Minimalist and Conceptual art in the 1960s and 70s outside of the typically referenced canon, Araeen's work in this exhibition&nbsp;spans his oeuvre from his beginnings in Pakistan and London to the present day. The exhibition ranges from Araeen's earliest and most iconic sculptures of the 1960s, through his pioneering kinetic, interactive and performance-based works, in addition to a group of increasingly complex relief constructions from his current practice. The exhibition at Aicon Gallery will be accompanied by a solo booth in this year's&nbsp;<strong>Frieze New York, Stand A21, from May 14th though May 17th.</strong>&nbsp;</p> <p style="text-align: justify;" align="justify">Writing on the occasion of Araeen's retrospective at Birmingham's Ikon Gallery in 1988, editor and curator Patricia Bickers argued: "The formal language Araeen began to develop during the Sixties owed much to his critical awareness of Modernist discourse about abstraction, particularly the theories of Mondrian and the Constructivists. Such ideas were then still current in England." Araeen himself pinpointed the influence of Anthony Caro on his developing practice. "I have often talked about my encounter with Anthony Caro's works after I arrived in London in 1964 and its influence on what I myself subsequently arrived at in 1965, which turned out to be a form of sculpture that later became known as Minimalism." For Araeen, it was not so much the forms of Caro's artistry that were interesting but his use of engineering material such as steel girders which, as Araeen recalls, "had the appearance of having been picked up from a discarded heap of demolished engineering works." At the time, Araeen was working as a civil engineering assistant in London, producing drawings of industrial structures. The two influences of Caro and his day-job came together with the drawing for&nbsp;<em>Sculpture No 1</em>, conceived in December 1965, which detailed four steel girders symmetrically placed next to each other. Conceived in the same year, the drawing for&nbsp;<em>Sculpture No 2</em>again showed painted steel girders, this time arranged in four stacked layers.<span style="text-align: left;">&nbsp;</span></p> <div> <p style="text-align: justify;">However, Araeen was keen to move away from what he saw as an ongoing traditional approach to the relationship of work to its surroundings, seen in the work of London's New Generation sculptors and others. Instead, he was keen to explore a more non-hierarchical relationship between the work, the viewer and the work's surroundings. His solution was what he termed his 'structures'-works made in open modular form that theoretically could be re-positioned by the viewer. Moreover, Araeen introduced a lattice structure into the oeuvre of Minimalism, a visual language that had come independently to Araeen at the same time as it was taking root in New York; although, in Araeen's case, it was linked back to his background in structural engineering. Art critic Jean Fisher noted the key differences between Araeen's articulation of Minimalism and that of the New Yorkers: "There are, however, important distinctions to be&nbsp;made between the Minimalist cube and Araeen's Structures, which to my mind resides in the difference between an instrumental, abstract-logical regulation of the world and an organic one."</p> <p style="text-align: justify;">This acknowledgement of the spectator as being a constitutive element in the work resulted in a further development of Araeen's work. He opined: "My interest in participation emerged from the nature of my own work in 1968. While manipulating four small cubes to see how many different arrangements I could make out of them, I realized the potential in them of infinite movement and transformation." Works such as&nbsp;<em>Char Yar</em>&nbsp;(1968) contain&nbsp;this&nbsp;potential of the spectator unmaking and re-making the work through them. However, Araeen himself was moving away from making objects for viewing in galleries towards more participatory and collaborative work, which became increasingly informed by his growing political activism. In 1969, Araeen began working on&nbsp;<em>Chakras</em>&nbsp;and its subsequent counterpart&nbsp;<em>Triangles</em>, which were his first participatory works outside the gallery space. On the 21st of February 1970, Araeen and members of the public threw sixteen two-foot diameter discs into London's St. Katherine's Dock. This quantity of sixteen, selected to reference a four-by-four configuration of a Minimalist structure, would immediately be undone by the action of being thrown into water.&nbsp;</p> <p style="text-align: justify;">Araeen went on to have solo shows at institutional spaces such as the Ikon Gallery (1987), the South London Gallery (1994) and the Serpentine Gallery (1996). In all, mainstream critical discussion of the early part of his career up until the early 1970s was less prevalent, until 2007 when the Tate London purchased and displayed his works from the late 1960s. In 2010, Aicon Gallery, London hosted the first major retrospective of Araeen's work in over a decade, paving the way for a new string of exhibitions and critical attention. In 2014, Araeen's work&nbsp;was a prominent feature in the exhibition&nbsp;<em>Other Primary Structures</em>&nbsp;at the Jewish Museum in New York, a long-overdue exploration of Minimalism outside its art-historical canonically Western context. In that same year, a major exhibition hosted by the Sharjah Art Foundation emphasized that the hiatus in critical and institutional responses to Araeen's works had finally passed. A variety of reasons contributed to that hiatus. Araeen's own activist-publisher activities setting up the periodicals&nbsp;<em>Black Phoenix</em>&nbsp;and&nbsp;<em>Third Text</em>, his involvement in the debates around 'Black Art' and his curating of exhibitions such as&nbsp;<em>The Essential Black Art</em>&nbsp;and&nbsp;<em>The Other Story</em>&nbsp;meant that the critical and curatorial focus on his artistry was irregular at best. More crucial however, was confusion amongst curators and art historians as to how to account for the appearance of Minimalist sculpture in Britain not directly influenced by the work of contemporaneous New York Minimalists. It has now been sixty years since Araeen produced Sculpture No 1, and with the belated institutional recognition his work is now receiving, it seems critical to bring this large survey of his works to New York in order to reconsider the various and overlapping accounts and artistic journeys that can be described as Minimalism.</p> </div> Mon, 04 May 2015 16:39:17 +0000 Stefan Kurten - Alexander and Bonin - April 18th - May 30th <p style="text-align: justify;">An exhibition of new paintings and works on paper by Stefan K&uuml;rten will open at Alexander and Bonin on April 18th. The exhibition features <em>Running to stand still </em>(2014), a large scale painting depicting a grid of houses which emerge from a golden, abstracted thicket and represent K&uuml;rten&rsquo;s typography of 20th Century homes.</p> <p style="text-align: justify;">Modernist overhang slab roof houses, brick villas in idyllic surroundings and suburban bungalows with neat garden paths and flower beds are the subject of K&uuml;rten&rsquo;s recent paintings. Almost all depict isolated buildings that are surrounded by a wall, hedge or lush vegetation and draw the viewer's attention to a singular piece of invented architecture. These structures often closely resemble iconic mid-century modern dwellings, but have been rebuilt by K&uuml;rten&rsquo;s conflation of imagery. Their sense of familiarity is strong and viewers often feel they have visited these non-existent homes. The surfaces of K&uuml;rten&rsquo;s paintings are composed of innumerable brushstrokes forming patterns that evoke sky, water and foliage. The density of the patterning can elicit a sense of horror, destabilizing these beautiful illusions.</p> <p style="text-align: justify;">&ldquo;Even though the houses and gardens that distinguish my paintings are drawn from real houses and gardens, taken from my own photos, books, and magazines, they are somehow transformed into the stuff of daydreams or nightmares. They are devoid of human presence; the apparent idyll feels isolated to the point of oppression. Nonetheless, there seems to be some sort of a presence, like a hidden secret, something untold and left to our imaginations. Heimlich describes this unsettling, disturbing uncertainty very fittingly.&rdquo;<span style="font-size: xx-small;">1</span></p> <p style="text-align: justify;"><span style="font-size: xx-small;">1</span> Interview with Larry Rinder published in <em>Here Comes the Night. Works on Paper 2009 &ndash; 2013</em>,Ostfildern: Hatje Cantz</p> <p style="text-align: justify;">The artist lives and works in D&uuml;sseldorf. His work has been the subject of several institutional exhibitions and two recent monographs: <em>Here Comes the Night. Works on Paper 2009 &ndash; 2013</em>, published by Hatje Cantz and <em>Running to stand still</em>, a monograph of recent paintings published by Galerie der Stadt Backnang. Stefan K&uuml;rten&rsquo;s paintings are in the permanent collections of several European and American institutions including Kunstmuseen Krefeld, The Montreal Museum of Fine Arts, The Museum of Modern Art, New York and the San Francisco Museum of Modern Art.</p> <p style="text-align: justify;">For press inquiries contact Olivia Gauthier at 212/367-7474 or</p> Sat, 04 Apr 2015 10:05:59 +0000 Lorraine O'Grady - Alexander Gray Associates - May 28th - June 27th Sun, 10 May 2015 14:59:53 +0000 Group Show - American Folk Art Museum - March 26th - July 5th <p style="text-align: justify;">Most self-taught artists can be perceived as performance artists. Their work is infused with daily rituals, public actions, gestures, and enactments, defining a lifelong artistic practice for which <em>the curtain never comes down</em>. Beyond paintings and sculpture, the exhibition includes ceremonial clothes, kinetic apparatuses, ephemeral installations, writings, fragments of ever-changing constructions, music, recordings, and other statements that have been captured by photographers and filmmakers. The inventive devices and countless strategies these artists configure are expressions of an alter ego, which they assume for its power to transform the world and, above all, to transform their own connections to reality.</p> <p style="text-align: justify;">Historically, collectors and museums have prioritized artworks that are readily collectible and more conventional in their materials and techniques&mdash;an attitude that elucidates a direct relationship between conservation and recognition. The exhibition,&nbsp;which&nbsp;gathers 27 artists from around the world, delves into an underside of self-taught art and art brut, opening a door to the study of its neglected facets.<br /> <em>&mdash;Val&eacute;rie Rousseau, PhD, curator, self-taught art and art brut</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em><br /></em>Major support for the exhibition is provided by the National Endowment for the Arts: Art Works. Additional support is provided by The Coby Foundation, Ltd., Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Gerard C. Wertkin Exhibition Fund, the Leir Charitable Foundations, 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> Wed, 25 Feb 2015 15:10:49 +0000 Robert Motherwell - Andrea Rosen Gallery - May 1st - June 20th <div style="text-align: justify;"><em>&ldquo;We have only to look at the force of one of the&nbsp;</em>Opens<em>&hellip;to feel the complexity of observation the painter requires of himself and the viewer.&rdquo; *</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;&hellip;a subtle but firmly asserted spatial ambiguity that gives the picture a deep resonance and an aura of mystery.&rdquo;**</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Andrea Rosen Gallery is delighted to announce a comprehensive exhibition of Robert Motherwell&rsquo;s seminal&nbsp;<em>Open</em>&nbsp;series. The gallery has an ongoing commitment to timely presentations of historical material, in this case highlighting a point in the artist&rsquo;s trajectory when a confluence of institutional, intellectual, and market attention brings renewed appreciation to a significant body of work. The gallery is particularly interested in creating historical exhibitions that expand the reading and understanding of an artist&rsquo;s work. While Motherwell&rsquo;s significance may have been perceived primarily through the gestural&nbsp;<em>Elegies,</em>presenting the&nbsp;<em>Opens</em>&nbsp;now not only allows us to compare these masterworks against the present-day focus on abstraction, but also encourages us to reconcile the breadth of Motherwell&rsquo;s rigor and clarity. They are undeniably fresh, beautiful, and bold.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Typically composed as single-color surfaces on which he has painted three charcoal lines, the&nbsp;<em>Opens</em>&nbsp;were a primary occupation for Motherwell from 1967 through the 1970s, and briefly into the 1980s. Although it has been common practice to locate Motherwell alternately within the histories of midcentury American painting and Minimalism, the&nbsp;<em>Opens&nbsp;</em>exemplify the cerebral, content-fueled character that sets his work apart: the fragmentary rectangles offer an intense conceptual engagement with dualities of interior and exterior, and with perceptions of nature and space.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Coinciding with the centennial of Motherwell&rsquo;s birth, the exhibition comes amid a groundswell of appre-ciation of his significance. In 2012, the Dedalus Foundation (founded by Motherwell in 1981) and Yale University Press published a major catalogue raisonn&eacute; of Motherwell&rsquo;s work. The Art Gallery of Ontario and The Solomon R. Guggenheim Foundation in New York have also produced remarkable studies on Motherwell in recent years, and the Opens themselves are the subject of a dedicated collection of essays and scholarly criticism published in 2010. In February of this year, the Metropolitan Museum of Art in New York opened an exhibition of Motherwell&rsquo;s monumental paintings, collages, prints, and illustrated books drawn from its holdings and those of the Dedalus Foundation.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">*Mary Ann Caws</div> <div style="text-align: justify;">** Jack Flam</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Robert Motherwell, a central figure in twentieth-century painting who coined the name &ldquo;The New York School,&rdquo; was born in Aberdeen, Washington, on January 24, 1915. He graduated from Stanford University in 1937 and undertook graduate coursework first at Harvard University, then at Columbia University, where Meyer Schapiro encouraged him to devote himself to painting rather than scholarship. Motherwell had his first solo exhibition at Peggy Guggenheim&rsquo;s Art of This Century gallery in 1944; by the mid-1940s he had become the leading spokesperson for avant-garde art in America. Throughout his life, Motherwell taught and lectured extensively, and exhibited widely at museums in the United States and Europe. In 1965, The Museum of Modern Art, New York held a major retrospective of his work that subsequently traveled to Amsterdam, London, Brussels, Essen, and Turin. Throughout the 1970s and 1980s, he had important retrospective exhibitions in a number of European cities, including D&uuml;sseldorf, Stockholm, Vienna, Paris, Edinburgh, and London. In 1977, Motherwell was given a major mural commission for the new wing of the National Gallery of Art, Washington, D.C. A retrospective of one hundred major works was organized by the Albright-Knox Art Gallery, Buffalo, NY, in 1983 and subsequently traveled to The Los Angeles County Museum of Art; The San Francisco Museum of Modern Art; The Seattle Art Museum; the Corcoran Gallery of Art, Washington, D.C.; and The Solomon R. Guggenheim Museum, New York. Robert Motherwell died in Provincetown, Massachusetts, on July 16, 1991.</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Works from Robert Motherwell&rsquo;s&nbsp;</em>Open<em>&nbsp;series are in the collections of major international institutions including Albright Knox Gallery, Buffalo, NY; The Art Institute of Chicago; The Guggenheim Museum, Bilbao; The Los Angeles County Museum of Art; the Menil Collection, Houston, TX; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; the Modern Art Museum of Fort Worth; the San Francisco Museum of Modern Art; The National Gallery of Art, Washington, D.C.; and The Whitney Museum of American Art, New York.</em></div> Wed, 27 May 2015 14:04:48 +0000 Stan VanDerBeek - Andrea Rosen Gallery 2 - May 1st - June 20th <p class="p1" style="text-align: justify;">Andrea Rosen Gallery is thrilled to announce an exhibition of Stan VanDerBeek (d. 1984), whose visionary approach to art making was not only radical in his time, but is also increasingly reflective of a contemporary discourse around the integration of media, technology, and everyday life.&nbsp;</p> <p class="p1" style="text-align: justify;">Featuring five of eight computer-animated films that comprise the artist&rsquo;s seminal&nbsp;<em>Poemfield&nbsp;</em>series (1966-1971), as well as a small selection of related computer graphic prints on paper, this presentation illuminates a significant pillar of the gallery&rsquo;s ongoing mission to re-engage historical work within contemporary contexts. &nbsp;&nbsp;</p> <p class="p1" style="text-align: justify;">VanDerBeek first worked on&nbsp;<em>Poemfield</em>&nbsp;at Bell Laboratories in Murray Hill, New Jersey and then as an artist-in-residence at MIT&rsquo;s Center for Advanced Visual Studies in Cambridge, Massachusetts. Originally conceived as a multi-screen installation,<em>Poemfield</em>&nbsp;was eventually included in VanDerBeek&rsquo;s ambitious, moving image and sound environments such as&nbsp;<em>Movie-Drome</em>and&nbsp;<em>Cine Dreams.&nbsp;</em>In each individual film, powerful sequences of words gradually emerge from, and back into, kinetic mosaics of glittering geometric graphics.&nbsp; The images seen within each projection are the visual manifestations of unique poems written in a specific computer language, then processed by an IBM 7094, and ultimately output onto the surface of a cathode ray tube and filmed.&nbsp;</p> <p class="p1" style="text-align: justify;">As a pioneer collaboration between artists and scientists,&nbsp;<em>Poemfield</em>&nbsp;was realized by VanDerBeek with the Bell Labs computer programmer and physicist Ken Knowlton. One of several programs developed by Knowlton, BEFLIX (short for Bell Labs Flicks), was used to make&nbsp;<em>Poemfield</em>&nbsp;and is considered by AT&amp;T as one of the first computer animation languages.&nbsp;</p> <p class="p1" style="text-align: justify;">VanDerBeek also collaborated with musicians John Cage and Paul Motian on some of the varied soundtracks that accompany the films, as well as with filmmakers Robert Brown and Frank Olvey to create profound interplays of intense color. As equal combination of text, image, motion, sound, and color, each&nbsp;<em>Poemfield</em>&nbsp;is, in itself, a multilayered, image experience of the kind for which VanDerBeek is best known.&nbsp;</p> <p class="p1" style="text-align: justify;">VanDerBeek&rsquo;s belief in the computer as an extension of the mind kept him pursuing technology as a revolutionary means of expressing and engaging human consciousness and, for that reason, a necessary tool for an artist to master. Representative of his continued experimentation with computer language, one black and one uncolored, embossed print of a computer graphic used in&nbsp;<em>Poemfield</em>&nbsp;minimally preface one&rsquo;s entrance into the main gallery where&nbsp;<em>Poemfield No.1, No. 2, No.3</em>,&nbsp;<em>No.5</em>, and&nbsp;<em>No.7</em>&nbsp;vibrantly and loudly pulsate across surrounding walls. Two differently colored versions of&nbsp;<em>Poemfield No. 1</em>, as well as&nbsp;<em>Poemfield No. 2</em>, have been restored in high definition, the latter of which will be shown here in the gallery for the first time.&nbsp;</p> <p class="p1" style="text-align: justify;">This exhibition was organized with the Estate of Stan VanDerBeek</p> <p class="p5" style="text-align: justify;"><em>Stan VanDerBeek (1927-1984) studied art at The Cooper Union for the Advancement of Science and Art, New York, and at Black Mountain College, Asheville, NC (1949-1951). During his lifetime, his work was featured in numerous exhibitions and film festivals internationally. Past exhibitions include New Media-New Forms, Martha Jackson Gallery, New York (1960); Found Forms, Cross Talk Intermedia, Japan (1969); Multiple Interaction Team, MIT, Cambridge, MA (1972); Machine Art: An Exhibit of &ldquo;InterGraphic&rdquo; by Professor Stanley VanDerBeek, University of Maryland, Baltimore (1976); Steam Screens, Walker Art Center, Minneapolis (1981); Whitney Biennial, Whitney Museum of American Art, New York (1983); and New American Video Art: A Historical Survey, 1967-1980, Whitney Museum of American Art, New York (1984).&nbsp;</em></p> <p class="p1" style="text-align: justify;"><em>Recent exhibitions that have featured VanDerBeek&rsquo;s work include Stan VanDerBeek: The Culture Intercom, MIT List Visual Arts Center, Cambridge, MA and Contemporary Arts Museum Houston (2011); The Historical Box, Hauser &amp; Wirth, Zurich (2011-12)/London (2012); Ghosts in The Machine, The New Museum of Contemporary Art, New York (2012); Xerography, Firstsite, Essex, UK (2013); The Venice Biennale (2013); Go! You Sure? Yeah, LUMA Foundation, Zurich (2013-14); Cine Dreams: Stan VanDerBeek, Jeronimo Voss, Katie Paterson, Nicola Trussardi Foundation, Milan (2014); New Forms Festival, Vancouver (2014) and Poemfield, The Box, Los Angeles (2014). Upcoming exhibitions include Leap Before You Look: Black Mountain College 1933-1957, The Institute of Contemporary Art, Boston; Hammer Museum of Art, Los Angeles; and Museum of Fine Arts, Houston (2015-16).</em></p> Sat, 02 May 2015 09:26:07 +0000 Alberto de Michele, Gregory Gentert, Adam Gordon - Andrew Kreps Gallery @ 535 West 22nd - May 14th - June 20th <div class="col-sm-9"> <div class="textPadding pressRelease"> <div style="text-align: justify;">&ldquo;In the practice of warfare, however, the star-shaped fortresses which were being built and improved &nbsp;everywhere during the eighteenth century did not answer their purpose, for intent as everyone was on that pattern, it had been forgotten that the largest fortifications will naturally attract the largest enemy forces&rdquo;</div> <div style="text-align: justify;">(W. G. Sebald, Austerlitz, 2001)</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Andrew Kreps Gallery is pleased to present a group show featuring works by Alberto De Michele, Gregory Gentert and Adam Gordon. The works in the exhibition are informed by an interest in storytelling, and originate from narratives that revolve around ideas of identity, perception, and issues of physical and psychological control.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Alberto De Michele&rsquo;s work blurs boundaries between reality and fiction, often through the theme of criminality. His videos and video-installations are born form encounters with people that live on society&rsquo;s fringes, legally and physically. His works confound and complicate their own points of view, forcing the viewer to suspend moral judgment. The protagonists of &ldquo;<em>I Lupi (The Wolves)</em>&rdquo; are a group of thieves from the north of Italy, who operate only in heavy fog &ndash; fog that makes everything, including them, invisible. De Michele realized the work in collaboration with the Wolves and the assistance of his father, who is directly involved with the group. In the video, actual criminal acts are never documented, and the artist&rsquo;s role remains unclear.</div> <div style="text-align: justify;"><br />Gregory Gentert&rsquo;s photographs are a profound investigation of the distance between reality and the artist&rsquo;s own perception of it. The subjects of the works are places or people familiar to him and the scenarios have a seemingly banal and mundane tone. His own psychological stake in these situations is privileged and exaggerated, dominating the works as they move towards the unsettling.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Adam Gordon&rsquo;s work spans installation, video and painting, challenging the viewer&rsquo;s perceptual framework and eliciting a re-examination of the sensory experience. The paintings in the exhibition, virtuoso in their approach, depict their subjects in moments of isolation with a focus that enacts an intense interrogation of their identities.&nbsp;A feeling of stillness pervades the works,&nbsp;but&nbsp;despite their tangibility, they evoke vicissitudes and duration, like&nbsp;months&nbsp;lengthening&nbsp;into years</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Alberto De Michele (Venice, Italy, 1980), lives and works between Amsterdam and Cali, Colombia. He studied at the Sandberg Institute and Rijksakademie van beeldende kunsten in Amsterdam and at Cooper Union, New York. &ldquo;I Lupi&rdquo; (The Wolves)&rdquo;, was awarded the Rotterdam Film Festival Short Film Prize in 2011 and was nominated for the European Film Awards the same year. It has been screened in numerous film festivals across Europe and at the Centre Pompidou, Paris, among other venues.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Gregory Gentert (Doylestown, PA, 1983), lives and works in Brooklyn. He has exhibited at the Fisher Landau Center and Andrew Kreps Gallery. He obtained his BFA in Photography from RIT and his MFA from Columbia University in 2014, where he was the recipient of the Andrew Fisher Fellowship.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Adam Gordon (St. Paul, MN, 1986), lives and works in Brooklyn. He received his MFA at Yale University in 2011. His work has been shown at Derek Eller Gallery, New York, Know More Games, Brooklyn, and Night Gallery, Los Angeles, among others.</div> </div> </div> Fri, 15 May 2015 17:26:12 +0000 Ricci Albenda - Andrew Kreps Gallery @ 537 W. 22nd - May 14th - June 20th <p class="p1" style="text-align: justify;">Andrew Kreps Gallery is pleased to present <em>Supercallefragelistic-expialledocious (Universal Color Part 1)&nbsp;</em>Ricci Albenda&rsquo;s sixth solo exhibition with the gallery. The exhibition marks the completion of&nbsp;<em>Universal Color</em>, a color system developed by Albenda over the past two decades.</p> <p class="p3" style="text-align: justify;">In its original form, <em>called COLOR-I-ME-TRY,</em>&nbsp;Albenda paired the alphabetical and numerical systems with the color wheel.&nbsp; Vowels fall onto to the archetypal hues of the prismatic ROYGBIV spectrum:&nbsp;<strong><em>a</em></strong>&nbsp;= Red,&nbsp;<strong><em>e</em></strong>&nbsp;= Orange,&nbsp;<strong><em>i</em>&nbsp;</strong>= Yellow,&nbsp;<strong><em>o</em></strong>&nbsp;= Green,&nbsp;<strong><em>u</em></strong>&nbsp;= Blue, and <strong><em>y</em></strong> finds itself between Indigo and Violet. Numerals occupy the magenta tones, connecting the end of the alphabet with its beginning to form a complete color wheel. &nbsp;</p> <p class="p4" style="text-align: justify;"><em>Universal Color</em>&nbsp;takes the&nbsp;<em>COLOR-I-ME-TRY&nbsp;</em>system as its base<em>,</em>&nbsp;implementing this as a malleable, geometric shape that exists within a comprehensive three-dimensional color space. Scaling and shifting that shape throughout this space, this new system is able to generate innumerable variants on the original. Extending it limitlessly, the system can now be condensed to single colors, expanded across wider spectrums, and everything in between.&nbsp;</p> <p class="p5" style="text-align: justify;">Previous exhibitions of Albenda&rsquo;s paintings have taken the form of rigorously structured investigations into this system and its permutations. &nbsp;He has employed constraints ranging from the color of the sky, to sunrises, to distinct relationships to the exhibition&rsquo;s architecture, and the color wheel. Graphic design was not a consideration; Albenda developed his own font to be used consistently throughout his work, and sought to keep focus on the words themselves. For <em>Supercallefragelistic-expialledocious (Universal Color Part 1) </em>Albenda departs from this model, experimenting widely and freely using the knowledge gleaned&nbsp; over the two decades of the system&rsquo;s making. Each work becomes its own framework and site of inquiry, demonstrating a versatility, and more importantly, the sense of play inherent to studio practice. This celebration of the studio points not only to Albenda&rsquo;s place in a lineage of painters who use words effectually as images, but also through the works&rsquo; subtleties and undulations, it harkens back to the rich explorations of color performed by painters that have defined the last century.&nbsp;</p> <p class="p5" style="text-align: justify;">Comprising new paintings, and works on paper (in its widest sense), the exhibition encompasses not only a variety of formats, but also an abundance of the systems and subsystems <em>Universal Color</em> contains. Making works outside of his own font for the first time, Albenda begins to demonstrate the possibilities of the system&rsquo;s implementation outside of his own practice, and its utopian bent. Simultaneously, his vernacular of phrases has been opened to include logos, both familiar and obscure, alongside the song titles and lyrics, quips, scientific classifications, and invented words that have defined his practice over the years. The imagined, real, and appropriated exist side by side; pointing towards the system&rsquo;s future as one that is accessible by all.&nbsp;</p> <p class="p8" style="text-align: justify;"><em>Supercallefragelistic-expialledocious (Universal Color Part 1) </em>will be followed by and exhibition of the systems wider implementation, <em>Universal Color Part 2 </em>in 2016. Ricci Albenda&rsquo;s work has been exhibited extensively, both in the United States and abroad at venues including: The Guggenheim Museum, New York, The Rachofsky House, Dallas, Tel Aviv Museum of Art, Tel Aviv, Institute of Contemporary Art, Boston, Brooklyn Museum of Art, Brooklyn, Castello Di Rivoli, Turin, Museum of Modern Art, New York, MoMA PS1, Queens, Centre Georges Pompidou, Paris, and the New Museum, New York.</p> Fri, 15 May 2015 17:28:37 +0000 Marcel Odenbach - Anton Kern Gallery - May 28th - July 3rd Mon, 18 May 2015 15:22:36 +0000 Milton Avery, Chuck Close, Leonard Baskin, Edward Steichen, Norman Rockwell, Anders Zorn - Arkell Museum - March 1st - June 14th <p style="text-align: justify;">An artist&rsquo;s portrait, like all good portraits, offers the viewer more than physical features. One sees the characteristics of the sitter that make that person a unique individual. All artists are involved with, or have a heightened interest in, creative pursuits which makes them interesting candidates for portrait subjects.</p> <p style="text-align: justify;">On the other hand, a self-portrait is an artist&rsquo;s opportunity to make a statement. Traditional portraiture, especially commissioned ones, often came with expectations that the image be a favorable likeness of the sitter. Self-portraiture removed those restrictions enabling artists to be more experimental. This exhibition brings together fifty works in a variety of media that examine self-portraits and portraits of other artists. Included in the show are works by Milton Avery, Chuck Close, Leonard Baskin, Edward Steichen, Norman Rockwell, and Anders Zorn. Sitters include James McNeill Whistler, Thomas Eakins, Charlie Chaplin, C.S. Lewis, and Pablo Casals.</p> Fri, 23 Jan 2015 14:50:12 +0000 Beth Van Hoesen - Arkell Museum - March 1st - June 18th <p style="text-align: justify;">This exhibition features Beth Van Hoesen&rsquo;s creatures which include household pets, zoo animals, worms and salamanders. Beth stated &ldquo;I started with pet rodents, farm animals, dogs and cats. Then came a few birds, then wild animals. I keep meeting new ones I like&hellip;.&rdquo; The works were selected from drawings, lithographs and etchings donated to the Arkell Museum from the E. Mark Adams and Beth Van Hoesen Trust.</p> Sun, 15 Mar 2015 14:16:56 +0000