ArtSlant - Current exhibits en-us 40 Stephen Shore - 303 Gallery - September 11th - November 1st <p>303 Gallery is pleased to present its fifth exhibition of photographs by Stephen Shore, whose pioneering use of color photography in the 1970s and beyond has made him one of art history's most revered and exploratory practitioners of photographic possibilities.</p> <p>For this occasion, Shore will present two new bodies of work realized in zones of itinerant conflict. In a series of images made in Israel and the West Bank, uninhabited landscapes meet scenes of modern quotidian life, and tender portraits become entangled with images of aestheticized propaganda and the charge of architecture in conflicted space. Shore's interest in daily life, in the landscape itself as a way to interpret a sociological climate - a baseline theme in all his work - here takes on a different type of potency due to the critical nature of the living situation. In an a piece such as&nbsp;<em>Sderot, Israel, September 14, 2009</em>, a photograph of a hand pointing at a map is another way of considering the contentious nature of territories.</p> <p>The second body of work presented in this exhibition consists of images shot in the Ukraine, in and around the homes and villages of Holocaust survivors. Another subject with an emotional charge perhaps unequalled in terms of acute sensation, each image becomes a type of reliquary replete not only with the tragedy of the Holocaust, but with the tragic history of the Ukraine itself. Shore's compositions in these images are tighter and more controlled; colors and objects bristle with intimation of past events. In directly confronting these charged subjects, Shore subtly imposes his own order and logic on the landscape, continuing a tradition he created and has practiced for close to 50 years.</p> <p><em>Stephen Shore: From Galilee to the Negev</em>, a compendium of images shot in Israel and the West Bank, was published earlier this year by Phaidon Press. His most recent photographic series shot in Winslow, AZ in 2013 was recently published by IMA Concept Store in Tokyo in a new book titled&nbsp;<em>Stephen Shore Winslow Arizona.</em></p> <p>Stephen Shore's upcoming exhibitions will include Fundaci&oacute;n MAPFRE, Madrid (2014), Barbican Centre, London (2014), Tate Modern (2014). Past exhibitions include The Museum of Modern Art, New York (2013-14), The Metropolitan Museum of Art, New York (2013), The Art Institute of Chicago (2011), Centre Pompidou, Paris (2011), Aspen Art Museum, Aspen (2011).</p> <p>Stephen Shore has been the Director of Photography Program at Bard College since 1982.</p> <p>&nbsp;</p> Mon, 29 Sep 2014 21:18:44 +0000 Betty Beaumont - 3A Gallery - September 8th - October 11th <p>3A Gallery is pleased to announce a solo exhibition of New York based artist Betty Beaumont. This is her first solo exhibition with the gallery.</p> <p>Beaumont has for years produced thoughtful and provocative work in a variety of media including photography, installations, public interventions and new media. Her work challenges global social awareness, as well as socioeconomic and ecological practices. Beaumont has investigated such issues as energy and species diversity and is also involved with solution-based sustainability strategies, which reflect contemporary, historic and cultural perspectives and environmental and social conditions.</p> <p>Beaumont&rsquo;s exhibition&nbsp;<em>That Obscure Object Of Desire</em>&nbsp;takes the idea of the object of desire and all of the myths that surround it and puts into three works ideas which deconstruct the fetishized icons of beauty and the branding of identity.</p> <p>With the tools of deconstruction and notions of sexuality and representation, Beaumont uses three elements. First, the language of narcissism; second, questioning the idea of beauty in a crushed shopping bag first presented in two dimensions as a photograph, then as a moving object on a pedestal; and finally, the motor, which is simultaneously functional and a symbol of the machine behind advertising, branding and the loss of autonomy and identity.</p> <p>The photograph&nbsp;<em>Crushed 001</em>&nbsp;(2012) takes the three-dimensional bag out of reality and puts it in a frame, flattening the image of the bag (the photographed object), becoming the symbol of the symbol, that which we desire to possess. The bag remains pristine, inviolate, removed from our ability to touch or grasp.</p> <p>The sculpture&nbsp;<em>Untitled (Crushed, yellow with black) #332</em>&nbsp;(2014) presents the bag on a moving pedestal heightening the allure of the artifact under glass. The way it is presented as sculpture is enhanced by placing it in the vitrine, removed from the individual. The brand or the logo is hidden the way the seductiveness is hidden. Yet there is still a recognition. The sculpture is understood by experiencing both front and back of the work. The sound of the motor turning the bag on the pedestal suggests the sound of voracious consumption. The sound lures the viewer to view the motor, which is also encased in glass. Although the bag has been crushed it is not detritus. We want to own, touch or posses it. In its cast off state it is fetishized as a precious object. The recent implosion of the economy crushed the bag, transforming it into a sculpture that has architectural references, no longer retain its original use. The on-going&nbsp;<em>Untitled (Crushed)</em>&nbsp;works are part of a project begun in 2008 with the Great Recession&nbsp;</p> <p><em>I&rsquo;d Rather Be&hellip;</em>&nbsp;(1991) is a full-length mirror work that borrows a quote from Donna Haraway&rsquo;s&nbsp;<em>Cyborg Manifesto</em>&nbsp;&ldquo;I&rsquo;d rather be a cyborg than a goddess,&rdquo; and prints it horizontally near the top of the mirror. When one looks into the mirror while contemplating beauty of the self, one is struck by a statement across one&rsquo;s body that poses the question, What forms the lens you see yourself through? This deconstructive comment cuts the myth of beauty in two.</p> <p>The sculpture&nbsp;<em>Untitled (Crushed, yellow with black)</em>&nbsp;is indeed on a pedestal like an object of desire. That Obscure Object Of Desire.</p> <p>Betty Beaumont has received numerous grants and awards including the Distinguished Alumni Award from the University of California at Berkeley, Creative Capital Foundation grants, National Endowment for the Arts fellowships and grants, New York State Council on the Arts fellowships and Pollock-Krasner Foundation grants. She has shown at museums and galleries around the world including The Bibliotheca Alexandrina in Alexandria, Egypt, Whitney Museum of Art, MoMA P.S. 1, Queens Museum, Carriage Trade Gallery (NYC), American Fine Art (NYC), Damon Brandt Gallery (NYC), Hudson River Museum (Yonkers, NY), Katonah Museum (Katonah, NY), National Museum of Modern Art (Kyoto and Tokyo, Japan), Museum Het Domein (Sittard, Netherlands), Bibliot&eacute;ca Nacional Jos&eacute; Marti (Havana, Cuba), Galerie Engstrom (Stockholm, Sweden), Bea Voigt Galerie (Munich, Germany), Stalinova Pomniku, Letenske Plani (Prague, Czech Republic), Ota Gallery (Tokyo, Japan) and the Richard Demarco Gallery (Edinburgh, Scotland). Texts on Beaumont&rsquo;s work have been written about by a number of art historians and critics including Nancy Princenthal, Jeffrey Kastner, Brian Wallis, Gary Indiana, Martin Kemp, Patricia C. Philliips, Kay Larson, Michael Kimmelman, Amanda Boetzkes, Barbara Metilsky, Sara Selwood, Kim Levin, Amy Gamerman, Marilu Knode and Robert Stefanotti. Beaumont has held academic appointments at the University of California at Berkeley, SUNY Purchase, The School of the Art Institute of Chicago, New York University and Columbia University in New York City.</p> Mon, 22 Sep 2014 13:03:10 +0000 Antoine Catala - 47 Canal - September 28th - November 2nd <p>I don&rsquo;t feel the same anymore. <br />I feel new. I don&rsquo;t know how to describe the sensation. <br />Do you? <br />Can you feel how I feel? <br />Is really the sole purpose of emotions the survival of a gene pool? The ultimate bonding gel. <br />Through the screen, can you tell how I feel? My voice, do I sound nervous or happy? <br />Can one learn new feelings? A new type of anger, with a hint of pride, a new breed of painless <br />joy. <br />Can you teach me how to feel, because I lost touch? <br />It&rsquo;s like something recently severed, and emotions are drifting inside of me. <br />When I was a little boy, I put myself in other's shoes. I would mimic people around me, <br />copy the way they walked, the way they sat or spoke. It would open a window into their minds. <br />Empathic machines are coming, like children, learning. <br />Will I be able to outsource my feelings to emobots one day. I wouldn't have to deal with shitty <br />emotions anymore. Let the emobots process my crappy moods and re-infuse my body with good vibes. <br />Fleeting. <br />If emotionomics is to become a reality, would I ever be able to purchase a meal with the <br />sensation of freedom that permeates through me today? Pay with a confused transactional smile. <br />This is personal, and it&rsquo;s not. <br />It&rsquo;s all transparent. Let&rsquo;s put our feelings on the table. <br />Antoine Catala (born in 1975, Toulouse France) lives and works in New York and has exhibited <br />extensively both in the US and abroad. Recent solo exhibitions include: Heavy Words, curated by <br />Florence Derieux at Peep-Hole, Milan (2014) and Image Families, curated by Linus Elmes at <br />UKS, Oslo (2013). His work has also been included in Archeo, curated by Cecilia Alemani, High <br />Line, New York, NY; Meanwhile...Suddenly and Then, 12 Biennale de Lyon, France curated <br />by Gunnar B. Kvaran; ProBio, organized by Josh Kline, EXPO 1: New York, MoMA PS1, New <br />York, NY; Empire State, curated by Alex Gartenfeld and Norman Rosenthal, Palazzo delle <br />Esposizioni, Rome, Italy and Puddle, pothole, portal, co-curated by Ruba Katrib and Camille <br />Henrot, Sculpture Center, Long Island City, NY, opening in October.</p> Tue, 30 Sep 2014 01:25:36 +0000 Lennart Rieder, Marie-Dolma Chophel - 532 Gallery Thomas Jaeckel - September 4th - October 4th <p>532 Gallery is pleased to present new works by Marie-Dolma Chophel and Lennart Rieder.</p> <p>Marie-Dolma Chophel&rsquo;s works are inspired by topography and integrate 3D structures with organic forms and colors to form an abstract landscape of imaginary places. &nbsp;She graduated from the Ecole Nationale Sup&eacute;rieure des Beaux Arts de Paris, France. &nbsp;Her work has been shown in the U.S., including recent exhibitions at the Fleming Museum and at the Dorsky Museum, in London and Hong Kong at the Rossi &amp; Rossi Gallery. She lives and works in New York and Paris.</p> <p>Lennart Rieder&rsquo;s work is process oriented. &nbsp;He touches on classic motifs and references in painting, placing them&nbsp;in a contemporary context. &nbsp;He is a graduate of Kunst Hochschule Kassel, Germany, where he studied with Professor Johannes Spehr. &nbsp;His work has been shown at Parcours d&rsquo;Artistes, Brussels; MFA ,Documenta Halle, Kassel; Coup de Ville, Sint Niklaas, Belgium; Strzelski Gallery, Stuttgart; Stellwerk Kassel, Kunstverein Familie&nbsp;Montez, Frankfurt; Habsburger Kunstverein, Hamburg among others. He lives in Kassel, Germany.</p> Mon, 22 Sep 2014 23:34:38 +0000 Jack Levine, Hyman Bloom - ACA Galleries, Est 1932 - September 18th - October 25th <p align="center"><span style="background-color: #ffffff; color: #696969;"><strong>&nbsp;</strong></span></p> <p align="center"><span style="background-color: #ffffff; color: #696969;"><strong>JACK LEVINE and HYMAN BLOOM:&nbsp;</strong></span><strong style="color: #3366cc; text-align: left;">AGAINST THE GRAIN</strong></p> <p align="center"><strong>September 18 through October 25, 2014</strong></p> <p>ACA Galleries is pleased to announce the upcoming exhibition <strong><em>Jack Levine and Hyman Bloom: AGAINST THE GRAIN</em></strong>on view September 18 through October 25, 2014. The exhibition will feature a survey of paintings and works on paper from the 1930s to 1990s from both the artists&rsquo; estates and private collections.</p> <p>Jack Levine (1915-2010) and Hyman Bloom (1913-2009) were close friends who each became a master of a new American realism that blended abstraction and realism. &nbsp;As Jewish immigrants&nbsp;from Eastern Europe, of a similar age and background&nbsp;they arrived at their socially conscious art through shared&nbsp;experiences but through different routes of development.</p> <p>The Great Depression brought the aesthetic controversy of abstraction versus realism into an uneasy resolution.&nbsp; American Social Realists, many of whom had been modernist painters, believed that the hardships of unemployment, hunger and homelessness were too profound to be depicted through obscure abstractions.&nbsp; For such artists, a return to realism was the only honest means to portray the struggles of the citizenry.</p> <p>But &ldquo;realism&rdquo; did not mean &ldquo;traditional&rdquo;. &nbsp;The genie of modernism could not be put back into the bottle. Instead, these socially conscious artists created a new realist language; an edgy aesthetic that brought realism and modernist abstract elements into a restless but electrifying visual alliance.</p> <p>&nbsp;Jack Levine, though deeply influenced by the grandeur of Titian and Velazquez, also admired the harsh drama of the German Expressionists. &nbsp;In the 1930s, Levine united these influences into grand but scathing portrayals of America&rsquo;s corrupt political and economic power brokers.</p> <p>Though the Social Realism Levine practiced in the &rsquo;30s remained the foundation of his oeuvre throughout his career, he expanded his vision into more spiritual realms. &nbsp;In these late works, Levine returns to his Jewish roots, using biblical themes as the basis for his &nbsp;penetrating observations of the human condition.</p> <p>Hyman Bloom&rsquo;s work evolved into socially aware realism. Originally influenced by America&rsquo;s early twentieth century avant-garde, Bloom became one of New York&rsquo;s mid-century abstract painters and was even credited by Jackson Pollock and Willem deKooning as the first genuine Abstract Expressionist. &nbsp;His work moved away from pure abstraction into a mystical realism.&nbsp;</p> <p>Unlike his former Abstract Expressionist compatriots who were seeking the secrets of the subconscious, Bloom, through the strength of aggressive line and color, was after &ldquo;the nature of being,&rdquo; the mystical essence of life. &nbsp;It was through his spirituality that Bloom found his kinship with humanity and its struggles.&nbsp;</p> <p align="center"><span style="color: #0066cc;"><strong>ACA Galleries is the exclusive agent for the estates of Hyman Bloom and Jack Levine.</strong></span></p> Thu, 14 Aug 2014 22:11:50 +0000 F.N. Souza - AICON GALLERY - New York - September 12th - October 18th <p>Works from the Estate of Francis Newton Souza</p> Mon, 01 Sep 2014 22:23:53 +0000 F.N. Souza, Nandalal Bose, Vasudeo Gaitonde, M. F. Husain, Ram Kumar, Jamini Roy, Jehangir Sabavala - AICON GALLERY - New York - September 12th - October 18th <p>Masterworks of Indian Painting - Before and After Independence.</p> Mon, 01 Sep 2014 22:28:51 +0000 Mona Hatoum - Alexander and Bonin - September 13th - October 18th <p>Alexander and Bonin will begin the fall season with a one-person exhibition of recent work by Mona Hatoum.&nbsp;On view in the front gallery will be&nbsp;<em>Twelve Windows&nbsp;</em>&nbsp;(2012-13), an installation comprised of one-meter-square embroidered pieces of fabric. In the second gallery, Hatoum will exhibit&nbsp;<em>Cells&nbsp;</em>(2014), a steel and glass work whose form relates to earlier iconic installations such as&nbsp;<em>Light Sentence&nbsp;</em>&nbsp;(1992).</p> Tue, 26 Aug 2014 04:39:59 +0000 Siah Armajani - Alexander Gray Associates - September 4th - October 18th <p>Alexander Gray Associates presents its first exhibition of work by Siah Armajani, featuring large sculptures, models, and drawings from the &ldquo;Tomb Series&rdquo; (1972&ndash;2014). The Series pays tribute to twenty-five philosophers, activists, poets, and critical writers who have been foundational voices to Armajani&rsquo;s art and ideology, among them Theodor Adorno, Walter Benjamin, Dietrich Bonhoeffer, John Dewey, Ralph Waldo Emerson, and Walt Whitman.&nbsp;The Series embodies the humanist, democratic, and populist ideals that have defined Armajani&rsquo;s multi-faceted vision for over forty years, culminating with the creation of his own tomb.<br /><br />As a student in Tehran, and later a graduate of philosophy from Macalester College, Armajani was drawn to Western philosophers, writers and Persian poetry. Throughout his career, Armajani has built public sculptures dedicated to cultural figures, at times embedding quotes of writers and poets into his work.&nbsp;With the &ldquo;Tomb Series,&rdquo; as the artist explains, &ldquo;there is no semiology, no quotations, no study of history nor biography.&rdquo; The series of sculptures, drawings, and models represents a self-reflexive moment in Armajani&rsquo;s practice. Paradoxically, the tombs invite, yet inhibit the viewer from entering each sculpture. Contrary to previous series that emphasized public and communal activities, the &ldquo;Tomb Series&rdquo; holds a more introspective nature while maintaining Armajani&rsquo;s desire to distance his biography from the meaning behind his work.<br /><br />Large-scale sculptures, such as Tomb for Neema (2012), references Nima Yushij the Iranian poet, considered to be the predecessor of modern Persian poetry;&nbsp;<em>Tomb for John Berryman</em>&nbsp;(1972&ndash;2012), American poet; and&nbsp;<em>Tomb for Walt Whitman</em>&nbsp;(2014), American poet and writer, incorporate elements of vernacular American architecture. The design of each tomb is symbolic recognition of the influence each figure had on the artist. In&nbsp;<em>Tomb for Walt Whitman</em>, Armajani pays homage to Whitman, while in&nbsp;<em>Tomb for Neema</em>, he honors Yushij&rsquo;s radical poetic form that combines free verse and Farsi vernacular with standardized Farsi, creating poetry in a new way.&nbsp;In&nbsp;<em>Tomb for Sacco Vanzetti</em>&nbsp;(2009), Armajani pays tribute to Sacco and Vanzetti&rsquo;s writings and activities as two innocent anarchists who were executed.<br /><br />Along with large sculptures, the exhibition showcases Armajani&rsquo;s drawings and models of the tombs, integral to the artist&rsquo;s process, and in some cases serving as the tombs&rsquo; final conceptualized forms. One such drawing is&nbsp;<em>Tomb for Hafez</em>&nbsp;(2014), a Persian poet whose verses Armajani memorized as part of his early education in Iran. Armajani&rsquo;s most recent tomb, his own Written Minneapolis (The Last Tomb) (2014), an 18-foot drawing depicts the surrounding neighborhood where his studio is located in Minneapolis.</p> Mon, 22 Sep 2014 13:03:18 +0000 Stephen Vitiello - American Contemporary - September 17th - October 19th <p>American Contemporary is thrilled to announce a two-part installation by renowned sound artist Stephen Vitiello.The exhibition will pair together a major early work, Frogs in Feedback (2002), and a new sculptural sound installation Gain and Lift (2014).<br />Frogs in Feedback is a kinetic sound sculpture involving a suspended,working microphone circling a speaker mounted on the floor. The resulting interaction produces a melancholic and morphing poem of feedback tempered by an analog ring modulator. Visually, the piece references Steve Reich&rsquo;s iconic composition PendulumMusic. Where Reich's piece involves multiple speakers and microphones, and is intended for performance, Vitiello's work is more localized and organic. Despite the fact no frogs were used in this piece and it often disappears into complete abstraction, the sculpture has a mortal presence in the space.<br />The second work revisits Vitiello's suspended speaker works, which process low frequencies of sound to create three-dimensional scores. The freed speakers are suspended by wires, which hold them gently in the air allowing them to move. The installation utilizes four channels, sixteen 6.25" speakers and the flutter of hummingbirds recorded at Mountain Lake Biological Station, Pembroke in the Appalachian mountains. The playback features only the lowest frequencies, causing movement to the surfaces of the speakers while remaining below the threshold of human hearing. The score is created through a process of transformation, rather than layering the material onto chromatic scale.<br />The two works function as almost perfect opposites. One creates something wild and organic from seemingly nothing, and the other condenses the organic to a beautiful, minimal four-dimensional installation. In Vitiello&rsquo;s work sound lives a complete existence. It is not about isolated moments, the honking of a horn, a piece of music, but instead a visceralreality in actual space and time. In these works form and sound endure harmoniously and in conflict like two magnets; four alternate poles attracting and repelling to allow a sonic and physical flow of change, resistance and connection.</p> Mon, 08 Sep 2014 22:14:52 +0000 Ralph Fasanella - American Folk Art Museum - Lincoln Square - September 2nd - December 1st <p>Ralph Fasanella (1914&ndash;1997) celebrated the common man and tackled complex issues of postwar America in colorful, socially minded paintings. This exhibition celebrates the one hundredth anniversary of the artist&rsquo;s birth and brings together key works from a career spanning fifty-two years. Fasanella was born in the Bronx and grew up in working-class neighborhoods of New York; he became a tireless advocate for laborers&rsquo; rights, first as a union organizer and later as a painter.<br /><br />This major exhibition includes a selection of artworks from the American Folk Art Museum&rsquo;s collection, which holds more than one hundred paintings and drawings by the artist. The Estate of Ralph Fasanella gifted many of these objects to the museum over the years, in addition to the artist&rsquo;s notebooks, sketches, correspondence, personal records, photographs, publications, and films, which were donated in 2009 and 2013.<br /><br /><em>Ralph Fasanella: Lest We Forget</em>&nbsp;is organized by the Smithsonian American Art Museum with generous support from Tania and Tom Evans, Herbert Waide Hemphill, Jr. American Folk Art Fund, and Paula and Peter Lunder. The C.F. Foundation in Atlanta supports the museum&rsquo;s traveling exhibition program,<em>Treasures to Go.</em></p> Mon, 15 Sep 2014 00:37:02 +0000 Willem van Genk - American Folk Art Museum - Lincoln Square - September 10th - December 1st <p><em>Willem van Genk: Mind Traffic</em>&nbsp;is the first monographic exhibition of works by the internationally acclaimed Dutch artist Willem van Genk (1927-2005) to be presented in the United States. The exhibition includes over forty artworks: panoramic paintings, collages, drawings, personal notes, sculptures of trolleys, and an installation of raincoats (van Genk collected hundreds of raincoats over the course of his lifetime). This comprehensive selection provides an overview of the artist&rsquo;s oeuvre and insight into his creative processes, methods, and themes. Van Genk&rsquo;s artworks usually depict intricately layered and densely networked urban panoramas and reference interconnectivity. He was a restless stockpiler of information, factoids, and trivia: from this perspective, the artworks can be seen as memory palaces&mdash;visualizations implemented to organize and recall information. These imaginary landscapes serve as sophisticated devices and scaffolds to map hidden forces, since the artist believed that all things were connected via both visible and invisible networks.<br /><br />The exhibition is co-organized by Dr. Val&eacute;rie Rousseau, curator, art of the self-taught and art brut, American Folk Art Museum, and Patrick Allegaert and Yoon Hee Lamot, both curators at Museum Dr. Guislain, Ghent, Belgium. All of the works on view are drawn from the Willem van Genk Foundation, which retained the largest body of the artist&rsquo;s work, the De Stadshof Collection, and the Museum Dr. Guislain, which manages both of these collections.</p> Mon, 15 Sep 2014 00:36:22 +0000 Markus Linnenbrink - Ameringer | McEnery | Yohe - September 4th - October 4th <p style="text-align: justify;">AMERINGER | McENERY | YOHE is pleased to announce an exhibition of recent works from German born, Brooklyn based artist, Markus Linnenbrink.</p> <p style="text-align: justify;">EVERYBODYWILLBEDANCINGIFWE&rsquo;REDOINGITRIGHT will open on 4 September and remain on view through 4 October 2014.&nbsp; A public reception for the artist will be held on 4 September from 6:00 to 8:00 PM.&nbsp; A fully illustrated catalogue with an essay by Daniel Schreiber accompanies the exhibition.</p> <p style="text-align: justify;">Markus Linnenbrink blends a myriad of pigments with epoxy resin to create his magnificent array of colors. The artist builds his paintings in layers on wooden panels. While the artist decides where colors begin at the top of the composition, the linear stripes are created by gravity, which pulls the paint down over photographs or watercolor backgrounds. His sculptural paintings involve stratas of colored resin, creating surfaces that are then drilled into, revealing clusters of archaeological-like craters.</p> <p style="text-align: justify;">Linnenbrink&rsquo;s approach to painting extends beyond a two-dimensional picture plane. His layered sculptures arrive in many forms: as the rectangular INTHEWORLDTODAY(PIMPMYRIDE), which was deliberately built and manipulated, and then as the more organically assembled AMGONE, a collection of paint material that simply drips off the works during the painting process into a form created by the weight of the material. AMGONE is the product of three years of studio work and shows a memory of all the different colors used and layered on top of each other during this period of time.</p> <p style="text-align: justify;">For this exhibition, Markus Linnenbrink has also created a site-specific painting installation, covering the walls, the floor, and the ceiling of one of the gallery rooms. The colors drip and splatter over one another, fully surrounding and immersing the viewer into a painting made out of iridescent stripes.</p> <p style="text-align: justify;">Markus Linnenbrink was born in Germany in 1961.&nbsp; He attended Gesamthochschule in Kassel as well as the Academy of Fine Arts in Berlin.</p> <p style="text-align: justify;">Recent exhibitions include &ldquo;Off The Walls!&rdquo; Kunsthalle N&uuml;ernberg, Germany; &ldquo;PIMPMYRIDE&rdquo;, a permanent wall painting for the Pennsylvania Academy of the Fine Arts, Philadelphia, PA; &ldquo;day after day it appears&rdquo; Patricia Sweetow Gallery, San Francisco, CA; &ldquo;so here&rsquo;s what you gonna do,&rdquo; Taubert Contemporary, Berlin, Germany.</p> <p style="text-align: justify;">His work is included in the permanent collections of The Hague Ministry of Culture, the Hague, Netherlands; Harvard Business School, Cambridge, MA; Harvard College, Cambridge, MA; the Hood Museum of Art, Dartmouth College, Hanover, NH; Museum Neue Galerie, Kassel, Germany; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; the San Francisco Museum of Modern Art, San Francisco, CA; the San Jose Museum of Art, San Jose, CA; Hammer Museum, Los Angeles, CA; Wellesley College, Wellesley, MA; the Herzliya Museum of Art in Israel and the West Collection, Oaks, PA, among others.</p> Sat, 27 Sep 2014 18:49:23 +0000 Matthew Ritchie - Andrea Rosen Gallery - September 12th - October 22nd <p style="text-align: left;" align="center">Andrea Rosen Gallery is delighted to present <em>Ten Possible Links</em>, Matthew Ritchie&rsquo;s fifth solo-exhibition with the gallery. Weaving together four distinct projects, the exhibition embodies a comprehensive visual examination of diagrammatic thinking. Encompassing a wide range of mediums, Ritchie&rsquo;s immersive installation - including painting, wall drawing, sculpture, sound and moving image - demonstrates the complexity and transient nature of information.<br /> <br /> The &lsquo;Ten Possible Links&rsquo; are a series of subtly vibrant and densely layered paintings that investigate the abstract imagery of Ritchie&rsquo;s sculpture and cinematic landscapes through multiple diagrammatic and painterly gestures. Within an organic amassing of form, Ritchie creates densely layered eco-systems of information, retaining multiple styles of presentation. These canvases contain activity of complex natures, experiences, states, but their rich and saturated beauty also captures moments of stillness where something impossible to grasp is left un-grasped. The images are saturated with light and meaning, but bruised, as if the very process of examination is changing the physics of the forms described. Posed against a white ground, they could be emerging from what Paul Klee called &lsquo;the interworld&rsquo;, the dimensionless space of possibility.<br /> <br /> The fragmentary diagrams within the paintings are all contained within the immersive wall installation <em>The Temptation of the Diagram</em>, an immense network of diagrams, collected, mapped, digitized, stripped of legible signs and reprocessed into essential gestures. Two accompanying source-books offer a guide for viewers through this vast investigation of the complex systems underlying the human creative and representational process and represent the origin and foundation of the works shown within its circuit. Confronted with the impossibility of comprehending the whole &ndash; what the artist describes as an oceanic feeling &ndash; Ritchie locates our sense of a vast universe without the abandonment of meaning. Together, the installation and the books describe generations of systems, ideas, interpretations, and reinforce the idea that it is the diagrammatic impulse that insistently connects, links and draws ideas together regardless of the possibility of ultimate comprehension. In doing so, Ritchie emphasizes the double constitution of painting and drawing as forms of &rsquo;hypostatic abstraction&rsquo; &ndash; a kind of abstraction that carries various levels of meaning. <br /> <br /> Nested within this sprawling cerebral web of information is <em>Night Drawing</em>, a sculpture comprised of a matrix of interlocking segments designed to passively nest within one-another, creating a puzzle-like structure. Each segment employs the artist&rsquo;s specific vernacular of form, and is drawn from the universe of diagrams that surround it. Mathematically based on modeling strange attractors explored in collaboration with architects Aranda\Lasch, the laser-cut aluminum construction takes two-dimensional form into a realm of three-dimensional drawing, forming a double moebius strip. <br /> <br /> Expanding the space of drawing and painting into the realm of the moving image, Ritchie&rsquo;s hyper-saturated film, <em>Monstrance</em>, traces an abstract and romantic narrative of past, present and future, as he mixes live performance footage and animation for the first time in his practice. Cut to a polyphonic choral score composed and performed by Ritchie&rsquo;s long-standing collaborator Bryce Dessner, the film features singer Shara Worden as a masked oracle, presiding over a mythic, or post-post apocalyptic seascape. Created to be exhibited within a longshoreman&rsquo;s chapel in Boston as part of his current residency at the ICA Boston, the film contains within its landscapes and choreographed gestures subtle diagrams and information that make visible the greater network of links underlying his practice. <br /> <br /> Over the last seven years, through substantial cross disciplinary collaborations, Ritchie has consciously extended his own projects to explore the possibility of shared systems, aggregations and collaborations in contexts as diverse as opera, contemporary music, architecture, horticulture, urban design, theology and science through endeavors, both collaborative and intimate, to concretize and realize ephemeral and intangible theories of information and time. This exhibition proposes a further step, the re-integration of these diverse practices into a network of connections, a shared sea of information that retains its distinct properties in a state of superposition. In &lsquo;Superposition and Field&rsquo;, recently published by MIT press, Ritchie writes, &ldquo;not only are &lsquo;form&rsquo; and &lsquo;contentʼ the same thing, namely information, but they are super-positionable and therefore do not enjoy any inherent oppositions at any scale.&rdquo; &lsquo;Ten Possible Links&rsquo; specifically refers to a navigational diagram by the philosopher Graham Harman that describes this aspect of what he calls &lsquo;the quadruple object&rsquo; and is the subject of an essay by Ritchie in the forthcoming &lsquo;Realism, Materialism, Art&rsquo; published by Sternberg Press and Bard CCS. In the essay Ritchie writes: &ldquo;Over the last two centuries, the diagram has become the essential mechanism for our collective efforts to articulate and negotiate an almost impossible circumstance: reality itself. It embodies our interest in humanity as a directed and limited quantity, one we all have a vested interest in understanding and extending to the very limits of our abilities.&rdquo; For Ritchie, acknowledging our incapability of grasping the totality of the universe is not simply a reason to let go, but also the vital force that compels investigation. <br /> <br /> <em>Matthew Ritchie was born in 1964. Ritchie is currently subject of an 18-month interdisciplinary residency at the Institute of Contemporary Art, Boston which encompasses several major works and will activate the entire museum through installation, sound performance and video. A new molecular sculpture garden for the Food and Drug Administration, Silver Spring, Maryland will open on October 1, 2014 and a 15,000 square foot site-specific rooftop drawing for a building in Miami designed by Aranda\Lasch, will open for Design Miami on December 3, 2014. His work has been shown in numerous exhibitions worldwide, including the Whitney Biennial, the Sydney Biennial, the S&atilde;o Paulo Biennial, the Venice Architecture Biennale, the Seville Biennale, and the Havana Bienal, and is in the permanent collections of the Museum of Modern Art, Institute of Contemporary Art, Boston, Guggenheim Museum, Whitney Museum of American Art, San Francisco Museum of Modern Art, and other institutions worldwide, including a permanent large-scale installation at the Massachusetts Institute of Technology.</em></p> Mon, 22 Sep 2014 13:03:26 +0000 Matt Keegan, Anne Truitt - Andrea Rosen Gallery 2 - September 12th - October 22nd <p>Andrea Rosen Gallery is delighted to present new sculpture and photographic works by Matt Keegan with&nbsp;<em>Landfall</em>, 1970, a totemic column by Anne Truitt (1921-2004). Keegan&rsquo;s body of new works builds upon his ongoing inquiry into the sociability and singularity of industrially produced forms, and together with Truitt hatches a sensuous investigation of material, surface and form.<br /><br />In Keegan&rsquo;s unique approach to fabrication, the template is both a scalable model and a uniquely factual form. The artist's untitled steel sculptures begin from rudimentary, randomly generated paper cutouts, which are enlarged, laser-cut in steel and machine bent to approximate the original prototype. These abstractly legible sculptures together with his framed works make visible the act of translation from template to form.<br /><br />Previous sculpture by Keegan has explored the potential of color as sign, reference and code, particularly as manifest in the urban environment. Within this exhibition, the artist&rsquo;s steel sculptures are so saturated with spray finish and powder coating as to achieve a unity of color and form. Truitt&rsquo;s vertical wooden sculpture, meticulously covered with many coats of paint, stands as a profound integration of painting and sculpture. Together these works generate a dialogue centered on tactility through focused material decisions.<br /><br />Truitt describes in Daybook (1982) her realization of color &rdquo;having meaning not only in counterpoint [&hellip;], but also in itself, as holding meaning all on its own.&rdquo; In Truitt&rsquo;s work, color is not merely a decorative surface, but rather a bodily locus of meaning: &rdquo;In some mysterious way, I felt myself to be color.&rdquo; Through a common treatment of surface, color and its ability to embody, the intergenerational pairing emphasizes Truitt&rsquo;s unique position among the minimalists.<br /><br />Framing the entire exhibition, and expanding the recurring lattice template, Keegan has outfitted Gallery 2 with 21 sheetrock panels, standardized architectural units that the artist has hand-etched in vernacular patterning. Previously, Keegan has used this material and process to make freestanding sculpture. For this exhibition, they are shown for the first time as a ground for other works to be installed upon, departing further from their original incarnation as object to function as container for the works within. Sharing a formal affinity with these patterns, Keegan&rsquo;s photographs possess a stable figure-ground relationship akin to that of the panels, and like the lattice, contain and collect, like a city&rsquo;s sieve.<br /><br /><em>Matt Keegan is an artist based in Brooklyn, New York. Next year, he will have a solo show at Rogaland Kunstsenter in Stavanger, Norway. His work has been included in recent notable group exhibitions at The Art Institute of Chicago; Foam Fotografiemuseum, Amsterdam; and the Deutsche Guggenheim. Keegan&rsquo;s work is included in numerous private and public collections, including The Whitney Museum of American Art; the Guggenheim Museum; and The Metropolitan Museum of Art. Keegan is the co-founder of North Drive Press, an art publication published from 2004-2010. In 2012, Keegan edited ==, an art edition published by mfc mich&eacute;le didier. ==#2 will be launched in Spring, 2015.</em><br /><br /><em>Anne Truitt (1921-2004) grew up in Easton, Maryland. Her work has been recognized by one-person exhibitions at the Corcoran Gallery of Art, Washington, D.C.; the Whitney Museum of American Art; Delaware Art Museum, as well as a retrospective mounted at the Hirshhorn Museum, Washington, D.C., in 2009. Truitt received many awards, including a Guggenheim Fellowship and five honorary doctorates, and was acting director of Yaddo, the artists' retreat in New York, in 1984. Her work is in the permanent collections of many leading museums, including the National Gallery of Art, Washington, D.C.; The Metropolitan Museum of Art; the Whitney Museum of Art; and The Museum of Modern Art, New York.</em></p> Fri, 05 Sep 2014 04:33:23 +0000 Tamara Henderson - Andrew Kreps Gallery @ 535 West 22nd - September 11th - October 25th <p>For Tamara Henderson&rsquo;s first solo exhibition in New York entitled&nbsp;<em>Speaking in Scales,</em>&nbsp;she will present a 16mm film, sculpture and painting.</p> <p class="p1">Tamara Henderson's practice begins with the diaristic note-taking of&nbsp;her experiences and thoughts under various altered or unconscious states such as sleep or hypnosis.&nbsp;These notes are then elaborated upon and translated into different media: writing, 16mm film, sculpture and painting. Within her&nbsp;very personal and subjective&nbsp;practice,&nbsp;artworks are means, vessels of communication between different states:&nbsp;conscious and unconscious, dream and awake-ness.</p> <p class="p1">Henderson's short 16mm films are often based on&nbsp;storyboards or screenplays - texts translated into scenography, images and movements.&nbsp;In each film the succession of events is carefully planned, captured in single shots&nbsp;and edited in-camera. The main characters are often quotidian objects (bottles, glasses, plants, furniture, pineapples) that are manipulated and altered, becoming subjects of a narrative that is both uncanny and ordinary, absurd and familiar &ndash; and in which a human presence, the artist's or somebody else's, is never explicit but only implied.</p> <p class="p1">Henderson's ongoing series of sculptural/furniture works are also based on drawings and sketches realized after sessions of hypnosis.&nbsp;The resulting sculptures simultaneously retain dreamlike qualities (bright colors, unconventional shapes) but also their identity as functional objects.&nbsp;Additionally, part of her practice are "storyboard" paintings and collages, realized with different materials, that function as maquettes for the films, and in which symbols and maze-like patterns are recurrent.</p> <p class="p1">Tamara Henderson (born 1982 in&nbsp;Sackville, Canada), lives and works between&nbsp;Vancouver and Stochkolm.&nbsp;Her work has been recently presented in solo shows at&nbsp;Grazer Kunstverein, Graz (Austria); Walter Philips Gallery, Banff Alberta (in collaboration with Julia Feyer) and Kunstverein N&uuml;rnberg (2013). She was also recently included in group exhibitions at the&nbsp;Toronto Kunstverein (2014);&nbsp;Kunstverein N&uuml;rnberg,&nbsp;Magasin 3,&nbsp;Stockholm,&nbsp;(2013) and&nbsp;DOCUMENTA 13, Kassel (2012).&nbsp;Upcoming presentation include Frieze Live with Rodeo Gallery, London and Kunsthall Stavanger, Norway (with Santiago Mostyn) in 2014; ICA Philadelphia (with Julia Feyer) in 2015.&nbsp;</p> Mon, 08 Sep 2014 22:19:08 +0000