ArtSlant - Openings & events en-us 40 - Apexart - November 6th, 2013 8:00 PM - 1:00 AM <p>Organized by <em>Slate's</em> senior culture editor Dan Kois, <em>SCARYOKE!!!</em> is an inquiry into the joy and terror of singing in public.</p> <p><em>SCARYOKE!!!</em> will be a six-week party: a chance for New Yorkers to sing on a Saturday night, on their lunch hour, or after a morning jog. It is an experiment, encouraging visitors to explore the outer boundaries of their own performative instincts and capacity for risk-taking. It is an exploration of the different modes of public and private singing with three unique singing environments - the privacy of singing in a shower, the semi-privacy of rocking out in a car, and the fully public performance at a karaoke bar. Basically, it's a joy factory. Get in line!</p> <p>You might be wondering, what makes this scary? We don't take requests and you can't choose your song. You just get the mic, the music starts and if you know the song - you sing it. If you don't - you wing it!</p> <p>Opening reception: November 6, 2013 8 PM - 1 AM</p> <p>Exhibition dates &amp; special hours:<br />November 7, 2013 - December 21, 2013<br />&nbsp;<br /> Tuesdays: 11 AM - 6 PM&nbsp;<br /> Wednesdays: 12 - 8 PM&nbsp;<br /> Thursdays: 3 - 11 PM&nbsp;<br /> Fridays: 1 PM - 1 AM&nbsp;<br /> Saturdays: 11 AM - 10 PM</p> Sat, 19 Oct 2013 18:14:07 +0000 Amy Casey - Foley Gallery - November 6th, 2013 6:00 PM - 8:00 PM <p>Cities are made up of communities, their geography formed by the relationship between their buildings, parks, roads and bridges.&nbsp; In her first exhibition at the gallery, the Cleveland based painter explores her own relationship to the neighborhood through metaphor and absurdist invention, both practical and nutty.</p> <p>In Casey&rsquo;s acrylic paintings on paper and clay board, she designs whimsically perched cities towering in height, jumbled with familiar suburban houses, fused with urban buildings, topped by trees jutting outwards and between buildings like lettuce in a sandwich.</p> <p>&ldquo;<em>I have been in search of solid ground&hellip;trying to take what was left of the world in my paintings and create a stability of sorts, thinking about community ties and the security (or illusion of security) needed to nurture growth</em>,&rdquo; says Casey. &ldquo;<em>I am consistently fascinated by the resilience of life and our ability to keep going in the face of sometimes horrendous or ridiculous circumstances</em>.&rdquo;</p> <p>Exploring her neighborhoods by foot and local bus routes, she photographs an inventory of the buildings attracted by their intrinsic personality.&nbsp; This combination of familiar homes and edgy urban buildings join, intertwine, and intersect one another creating as Casey says, &ldquo;<em>a precarious heap hum</em>&rdquo; of a city.</p> <p>In this finely detailed world, rows of side-by-side A-frame homes perch on rings of streets. Crowns of clustered telephone poles connect land lines to their dwellings, rubbing shoulders with a jumble of commercial structures and noodle brick walls.</p> <p>Amy Casey received her BFA in painting form the Cleveland Institute of Art in 1999.&nbsp; She has exhibited her work regionally and nationally with solo shows in Cleveland, Chicago, San Francisco, and Los Angeles. Her work as been published in <em>The New York times</em>, <em>New American Paintings</em>, <em>Juxtapoz, Hi Fructose</em>, and <em>Elephant </em>and<em> Harper's Magazine</em>. Casey has been awarded two Ohio Arts Council Individual Excellence Awards, the Cleveland Arts Prize as an emerging artist and a grant though CPAC&rsquo;s Creative Workforce Fellowship program. Amy Casey currently works and resides in Cleveland, Ohio.</p> Fri, 25 Oct 2013 05:17:25 +0000 - IFPDA Print Fair - November 6th, 2013 6:30 PM - 9:00 PM <h3>Show Dates &amp; Hours</h3> <p>WEDNESDAY 11/06, 6:30 &ndash; 9:00 pm (Opening Night Preview)<br />THURSDAY 11/07, 12 &ndash; 8pm<br />FRIDAY 11/08, 12 &ndash; 8pm<br />SATURDAY 11/09, 12 &ndash; 8pm<br />SUNDAY 11/10, 12 &ndash; 6pm</p> <h3>Admission</h3> <p>Open Night Preview: $75<br />Daily: $20 <span style="font-size: xx-small;">[$10 for 65 and older and students with I.D.]</span><br /> Two-day Pass: $30<br /> Run-of-Show: $40</p> <h3>Exhibitors</h3> <div id="exhibitors"> <div id="column-" class="column"> <div class="exhibitor">Aaron Galleries</div> <div class="exhibitor">Advanced Graphics London</div> <div class="exhibitor">Brooke Alexander, Inc.</div> <div class="exhibitor">Allinson Gallery, Inc.</div> <div class="exhibitor">Arion Press</div> <div class="exhibitor">Armstrong Fine Art</div> <div class="exhibitor">Ars Libri Ltd.</div> <div class="exhibitor">The Art of Japan</div> <div class="exhibitor">Emanuel von Baeyer</div> <div class="exhibitor">James A. Bergquist</div> <div class="exhibitor">Joel R. Bergquist</div> <div class="exhibitor">C.G. Boerner</div> <div class="exhibitor">Galerie Boisser&eacute;e</div> <div class="exhibitor">Niels Borch Jensen Editions</div> <div class="exhibitor">Robert Brown Gallery</div> <div class="exhibitor">William P. Carl Fine Prints</div> <div class="exhibitor">Childs Gallery</div> <div class="exhibitor">Alan Cristea Gallery</div> <div class="exhibitor">Crown Point Press</div> <div class="exhibitor">Dolan / Maxwell</div> <div class="exhibitor">Durham Press, Inc.</div> <div class="exhibitor">Egenolf Gallery Japanese Prints</div> <div class="exhibitor">G. W. Einstein Company, Inc.</div> <div class="exhibitor">The Fine Art Society</div> <div class="exhibitor">Flowers, London &amp; New York</div> <div class="exhibitor">Thomas French Fine Art</div> <div class="exhibitor">Galerie St. Etienne</div> <div class="exhibitor">Gemini G.E.L. at Joni Moisant Weyl</div> <div class="exhibitor">Roger Genser : The Prints and the Pauper</div> <div class="exhibitor">Israel Goldman</div> </div> <div id="column-1" class="column"> <div class="exhibitor">C &amp; J Goodfriend Drawings and Prints</div> <div class="exhibitor">Goya Contemporary &amp; Goya-Girl Press</div> <div class="exhibitor">Conrad R. Graeber Fine Art</div> <div class="exhibitor">Graphicstudio / U.S.F.</div> <div class="exhibitor">Harlan &amp; Weaver</div> <div class="exhibitor">Hill-Stone, Inc.</div> <div class="exhibitor">Jan Johnson Old Master and Modern Prints, Inc.</div> <div class="exhibitor">R. S. Johnson Fine Art (Est. 1955)</div> <div class="exhibitor">Jim Kempner Fine Art</div> <div class="exhibitor">Galerie Sabine Knust</div> <div class="exhibitor">Barbara Krakow Gallery</div> <div class="exhibitor">August Laube</div> <div class="exhibitor">Daniela Laube Fine Art</div> <div class="exhibitor">Leslie Sacks Fine Art</div> <div class="exhibitor">J&ouml;rg Maass Kunsthandel</div> <div class="exhibitor">Marlborough Graphics (London)</div> <div class="exhibitor">Marlborough Graphics (New York)</div> <div class="exhibitor">A &amp; D Martinez</div> <div class="exhibitor">Mixograf&iacute;a&reg;</div> <div class="exhibitor">Frederick Mulder</div> <div class="exhibitor">Carolina Nitsch</div> <div class="exhibitor">The Old Print Shop, Inc.</div> <div class="exhibitor">Osborne Samuel Ltd</div> <div class="exhibitor">Pace Prints</div> <div class="exhibitor">The Paragon Press</div> <div class="exhibitor">Paramour Fine Arts</div> <div class="exhibitor">PARKETT Editions</div> <div class="exhibitor">Paul Stolper</div> <div class="exhibitor">Paulson Bott Press</div> <div class="exhibitor">Pol&iacute;grafa Obra Gr&aacute;fica</div> </div> <div id="column-2" class="column"> <div class="exhibitor">PRATT CONTEMPORARY / PRATT EDITIONS</div> <div class="exhibitor">Paul Prout&eacute; S.A.</div> <div class="exhibitor">Redfern Gallery Ltd.</div> <div class="exhibitor">Helmut H. Rumbler, Kunsthandel</div> <div class="exhibitor">Mary Ryan Gallery, Inc.</div> <div class="exhibitor">Harris Schrank Fine Prints</div> <div class="exhibitor">Senior &amp; Shopmaker Gallery</div> <div class="exhibitor">Shark's Ink.</div> <div class="exhibitor">Susan Sheehan Gallery</div> <div class="exhibitor">Sims Reed Gallery</div> <div class="exhibitor">Carl Solway Gallery</div> <div class="exhibitor">Stewart &amp; Stewart</div> <div class="exhibitor">Stoney Road Press Ireland</div> <div class="exhibitor">John Szoke</div> <div class="exhibitor">Tamarind Institute</div> <div class="exhibitor">Tandem Press</div> <div class="exhibitor">Susan Teller Gallery</div> <div class="exhibitor">Simon Theobald Ltd</div> <div class="exhibitor">AllisonTolman/The Tolman Collection</div> <div class="exhibitor">David Tunick, Inc.</div> <div class="exhibitor">Two Palms</div> <div class="exhibitor">Universal Limited Art Editions</div> <div class="exhibitor">Ursus Books and Prints</div> <div class="exhibitor">Verne Collection, Inc.</div> <div class="exhibitor">Diane Villani Editions</div> <div class="exhibitor">William Weston Gallery Ltd.</div> <div class="exhibitor">Weyhe Gallery</div> <div class="exhibitor">World House Editions</div> <div class="exhibitor">Worthington Gallery</div> <div class="exhibitor">Ruth Ziegler Fine Arts Ltd.</div> </div> </div> Sun, 13 Oct 2013 03:05:34 +0000 Jefferson Hayman - Robin Rice Gallery - November 6th, 2013 5:30 PM - 8:30 PM <p>The Robin Rice Gallery is proud to present <em>The Heart Has Its Reasons,</em> Jefferson Hayman's second solo photography exhibition at the gallery. The opening reception will be held on Wednesday, November 6, from 5:30 p.m. to 8:30 p.m.</p> <p>"&hellip;A man reaches inside his body to show his heart to others. It reminds me of the life of an artist; we bare our hearts and ideas to the world."</p> <p>Hayman isn't describing one of his own photographs, rather, he's referring to a drawing by one of his favorite artists &mdash; Odilon Redon &mdash; that bears the same title, <em>The Heart Has Its Reasons.</em> However you define Hayman's work, the still life photographs are deafeningly quiet. You can just about hear yourself breathe as you address a hat, a shirt, a boat, or a torso. He brings the viewer to the rarest of experiences &mdash; a truly still moment. It's a hard experience to find today.</p> <p>Inside the gallery, the space takes on an intimate, living-room-like feel, with walls washed in grayish blue, with chair rails and picture moldings surrounding the area. Photographs are interspersed between wooden objects Hayman refers to as "factory molds," remnants used in the casting processes of the 19th century. "I enjoy the way that they speak to us from a different time&hellip;forms which were designed for industrial purposes have now taken on the look of sculpture." Hayman chose the design elements to enhance the domicile quality of the gallery. The viewer is invited to get comfortable in the space, to feel at home amongst the photographer's visual diary. "A simple moonrise as seen from my backyard fits in like a cousin to a dreamy blue cityscape or a still life of an old pair of wingtips."</p> <p>Hayman's diminutive photographs are handcrafted silver gelatin, pigment and platinum prints that seem historically timeless, captured with a delicacy of tonality derived from the highest traditions of graphic art. His images are paired with antique or artist-made frames (some of which were hand-made by Hayman himself) that place each piece into the realm of unique statements. The frames are an eclectic mix of vintage inspirations, varying in scale and depth, often fitted to millimeters from the photo's edge, drawing the viewer's gaze directly into its subject and serving as a powerful bulwark.</p> <p>In the invitational image, <em>Sailor,</em> we are presented with a lone shipman's cap resting on a counter softened by shades of gray and white. The patinated oval frame enhances the mysterious quality of the photograph &mdash; a feeling of spying through a ship's portal. Hayman achieves this ghost-like quality in the darkroom by diffusing light through semi-translucent layers, giving each image a granular texture and making subjects appear as apparitions obscured by a light curtain of white noise. Like most of his works, what's captured on film is just one piece of a longer narrative and the true story is occurring beyond the edges of the photograph. "I'm only providing one chapter of the story, it's up to the viewer to write the rest of it."</p> <p>"Blue is the color of dreams," he says. Water is also a re-occurring theme, an enduring symbol that evokes infinity. His seascapes tie into the 19th century mode of faraway travel, before airplanes, when ships were the main mode of international transportation.</p> <p>Hayman is self-taught and has been taking photographs since 1999. He came into the medium later in life after obtaining a degree in drawing, a skill that greatly informed his photographic aesthetic. Though he's never been formally mentored, Edward Steichen continually inspires him: "I seem to go through phases where I become re-obsessed with his work. I never tire of looking at his images."</p> <p>Jefferson Hayman grew up in Mechanicsburg, PA. He received his Bachelor of Arts degree from Kutztown University, soon after taking a job in a local framing shop &mdash; a position that would significantly influence his approach to photography. His work can be found in many private and public collections, most notably The Museum of Modern Art, The New York Public Library, President Bill Clinton, Robert DeNiro, The Boston Athenaeum and Ralph Lauren.</p> Fri, 11 Oct 2013 06:10:42 +0000 Francesca DiMattio, Dennis Hollingsworth, Jonathan Lasker, Daniel Rios Rodriguez, Sandi Slone - Sargent's Daughters - November 6th, 2013 6:00 PM - 8:00 PM <p><strong>Sargent&rsquo;s Daughters</strong> is pleased to present <em>Painting 101 </em>, a group exhibition of paintings by Francesca DiMattio, Dennis Hollingsworth, Jonathan Lasker, Daniel Rios Rodriguez and Sandi Slone.</p> <p>There are few other mediums as often dismissed, lauded, killed, resurrected, sought-after and rejected as painting. A force within painting has a hold over the viewer as well as the artist and, despite increasingly sophisticated technology that allows us to reproduce works in hard copy and digital formats, we still have the greatest communication with the painting when present before it.</p> <p><strong>Painting is that pleasant, innocent amusement. But &lsquo;tis more; &lsquo;tis of great use, as being one of the means whereby we convey our ideas to each other, and which in some respects has the advantage of all the rest. And thus it must be ranked with these, and accordingly esteemed not only as an enjoyment, but as another language, which completes the whole art of communicating our thoughts; one of those particulars which raises the dignity of human nature so much above the brutes; and which is the more considerable, as being a gift bestowed but upon a few even of our own species.</strong></p> <p>-<em>An Essay on the Theory of Painting</em>, Jonathan Richardson, 1715</p> <p>Richardson equated painting with language and credits it as a means to convey thoughts-- even as &ldquo;of great use&rdquo;. Richardson had not imagined paintings as we now know them, but his words still ring true. The five artists in Painting 101 speak in paint and communicate with brushstroke, color, collage and layer. Francesca DiMattio&rsquo;s large scale panels, on view for the first time in New York City after they debuted at Boston&rsquo;s ICA, sweep and dive through territory both alien and everyday. Intricately rendered scenes of ships and flowers draw us in, while pixelated forms of birds and chairs appear both flat and familiar. The bold colors and viscous forms of Dennis Hollingsworth have a boldly sweet appearance, but are tampered by spiky barbs of paint protruding like malevolent anemones. Hollingsworth&rsquo;s obvious enjoyment of the paint itself ties to the spare idiom of Jonathan Lasker, whose tightly wound forms and geometry are complimented by his exuberant use of paint itself: the medium releases the meaning. In his delivery, two skulls tic-tac-toe their way across an abstract field, suspended in the ether. Daniel Rios Rodriguez floats between a symbol and cipher- his intimate painting of a sky, collaged, thick with impasto and hazily rendered, have bright, childish pinprick stars that hover by a crudely drawn cloud. These shapes drifting in space are akin to Sandi Slone&rsquo;s hovering forms, where muscular swaths of colors layer and build, one edge peeking out before ducking beneath another. No one element in her painting weighs heavier than another- each has a balance of its own.</p> <p>The connection to the surface is as bound by material as it is method: each painter approaches the paint as they would words- full of meaning and building towards something complete.</p> Tue, 29 Oct 2013 02:57:13 +0000 Jonathan Auch - The Gallery at (Le) Poisson Rouge - November 6th, 2013 6:30 PM - 8:30 PM <p>The Gallery at Le Poisson Rouge welcomes photographer <strong>Jonathan Auch</strong> for an exhibition that captures contemporary New York seen through a unique lens. As the title, <strong>APOSTASY</strong>, suggests, Auch reveals the everyday iconography of religion as found in the subway stations, rainy street corners, and delis of the city. He finds it distorted, disfigured, unrecognizable to viewer and itself through his camera. These photos see the divine and the unholy existing side by side in the bars, nail parlors, and crosswalks of "a city of apostates."</p> <p>In APOSTASY &nbsp;the mundane and familiar become obfuscated into its own religious experience. It is a gritty, weary world of blurred lines and increasingly confused residents. These black and white photos themselves twist towards the rhetorical obfuscation that APOSTASY highlights as viewers find the subjects of the images not in black and white, but many shades of vibrant grey. Faces morph, torsos recede into the night, rain twists the once clear lines where the individual ends and the city begins.&nbsp;</p> <p>The Gallery at LPR is proud to present this exhibition of images with "figures that cluster underneath elevated trains at night, on street corners, in coffee shops, or black throngs leaking out of bars onto the sidewalk." The exhibition will run through March 10 and will be viewable at all events in The Gallery at LPR.</p> <p>The opening on November 6 will take place at 6:30pm, with a press only period from 6-6:30pm at which the artist and curator of The Gallery at LPR will be present. Refreshments will be served.</p> <p><strong>ARTIST STATEMENT</strong></p> <p>In New York, we are a city of apostates. In New York nothing is sacred, nothing eternal. Defined by where you are, not who you are, the rest blurs. My photographs are the collision of the internal with the external, the private with the public, which produces the contradictions inherit in modern New York life.</p> <p>These photographs are New York Street Photographs in the sense that the figure's interior form (life) has merged with the external (street). The boundary between subject and background is blurred, the faces distorted or sometimes completely lost. While the subjects still retain some of their inherit qualities, their individual identities are lost. Gazes tethered to one another by an indirect gaze. The gaze smears. The long exposed street lights provide glowing strings, holding the rhythm of the city, yet devolving into discord and chaos.This unique capturing produces moments that render the internal struggle of man with his city in a visceral, almost primal way.</p> <p>Many times those who suffer on the broken sidewalks are invisible. They are deaf and mute not just to passers-by, but to themselves. Their principles lost, their identities and truth in flux. The city has swallowed them whole and they have been digested, reduced to their most simple selves. These photographs seek to explore that struggle, to invert the individual &mdash; his desires, sorrows, and wants despite his herded appearance.&nbsp;</p> <p>These figures that cluster underneath elevated trains at night, on street corners, in coffee shops, or black throngs leaking out of bars onto the sidewalk all tell a hidden soulful reality. Humans aching to connect, to tell their story of a lost truth.&nbsp;</p> <p><strong>BIOGRAPHY</strong></p> <p><span style="font-size: small;">Jonathan Lucas Auch was born in New York City in 1984. He studied painting at the Art Center College of Design in Pasadena California. Upon returning to New York City and training as darkroom printer,&nbsp;Jonathan Auch has worked as an assistant to street photographer Bruce Gilden. For 3 years he was the exhibition printer and assistant for photojournalist James Nachtwey, where he was responsible for all print production used in exhibits, periodicals, galleries, and museums including: the TED prize, Le Laboratoire, Max-Planck-Institut and Look3.</span></p> <p><span style="font-size: small;">As a freelance photographer, Jonathan works both on the street and producing photo/video reportage on a variety of stories which focus on political, cultural and emotional isolation, alienation, loneliness, racism and discrimination. Auch has enjoyed numerous exhibitions, most recently "Front Line," &nbsp;at Lorimoto Gallery, New York, NY. Other exhibitions include "Highlights," The Gallery at LPR, New York, NY; "WBAI Sandy Benefit Show," Steve Kasher Gallery, New York, NY; "Occupy," RagTag Gallery, Columbia, Missouri; "THE FENCE at Photoville," New York, NY; "和 [Wa] Photography Auction: Japan Tsunami Relief" 25CPW, New York, NY; "Sonje (Creole for Remember)," Sacred Gallery NYC, New York, NY; "El Tropico de C&aacute;ncer," Fuller Gallery, Puerto Vallarta, Mexico; and the upcoming "MCNY Rising Waters Exhibition," New York, NY. His photography has been featured in the New York Times and his work has been highlighted by Rangefinder Magazine, Bushwick Daily, and the Associated Press.</span></p> Fri, 18 Oct 2013 03:10:33 +0000 Group Show - BROADWAY GALLERY - November 7th, 2013 6:00 PM - 8:00 PM <p>Globalization creates unexpected relationships and contrasts in contemporary art. This series focuses on the significance of exhibiting a variety of works in a pluralistic art world. Inspired by salon-style hanging, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries; Broadway Gallery NYC continues this legacy with a contemporary and fresh outlook. Following a trend of previous exhibitions at Broadway Gallery NYC, this show pays tribute to the format of a salon hanging. It is a tradition that awakens contemporary culture to a dynamic collective consciousness.</p> <p>A few notable themes in this exhibit that cross cultures are romanticism, spirituality, and humanity. Part of an ongoing series, Artists at Home and Abroad reaches out to the diverse community of New York. In addition to the exhibition on display at Broadway Gallery NYC, are several concurrent Internet projects, and a print catalog. Furthermore, this exhibit offers writers and viewers an exciting opportunity to submit essays and comments on the nature and significance of biennials, fairs and public exposure for new and emerging artists.</p> <p>This exhibit uses the space as another medium altogether; incorporating the maximum floor-to-ceiling gallery space activates the wall with art works in various media by artists, each of whom offer a unique perspective to the show. These artists have transformed the gallery walls into a compendium of generational takes on figuration, portraiture, and abstraction.</p> <p>Visitors will be surprised to see the stunning results. The speed of interactions via new media allows for global artistic conversations previously unheard before. In an attempt to integrate the numerous artistic languages, this exhibit was installed in a unique format. Two long parallel walls have been carefully installed to create dialogue in the spatial order. Artists at Home and Abroad allows the viewer access to some of the past and current pivotal artistic ideas while introducing newer talent, to generate fresh creative energy through unexpected juxtapositions.</p> Mon, 07 Oct 2013 23:27:42 +0000 Shinichi Maruyama - Bruce Silverstein Gallery - November 7th, 2013 6:00 PM - 8:00 PM <p>Shinichi Maruyama was born in 1968 in Nagano. Japan. He studied at Chiba University and worked as member of Hakuhodo Photo Creative as well as a freelance photographer from 1992-98. While in Japan the artist traveled frequently to Tibet to complete two photography books about the Spiti Valley region, The Spiti Valley, and Spiti.<br /><br /> In 2003 he moved to New York City and began work on what would become his Kusho series (translated as "writing in the sky"). Completed in 2006, the series is comprised of graphic, abstract images of sumi calligraphy ink and water captured as the liquids collide and combine in mid-air. Influenced by the artist&rsquo;s lifelong interest in calligraphy, this series has received critical attention worldwide and resulted in a solo exhibition held at the Bruce Silverstein Gallery in 2009. In 2010, the artist completed his second series, Water Sculptures, featuring images of water forms caught in mid air, with their accompanying shadows and reflections upon the ground. Shinichi Maruyama is represented exclusively by Bruce Silverstein Gallery, New York.</p> Fri, 01 Nov 2013 03:41:50 +0000 Michel Demanche - Causey Contemporary - November 7th, 2013 6:00 PM - 9:00 PM <p>Causey Contemporary is pleased to announce the opening of their November exhibition, featuring the mixed media and photographic works of artist Michel Demanche. The exhibition will feature the continuations of two projects by Ms. Demanche: <em>American Still </em>and <em>Tom &amp; Betty: Connect the Dots. </em>An opening reception is planned with the artist for November 7, 2013 from 6 p.m. - 9 p.m. as part of DUMBO 1st. Thursdays. The exhibition will then continue at the gallery's 111 Front St, Brooklyn location through December 31,2013.</p> <p><em>Americana Still </em></p> <p>Michel believes that how one receives a visual image can filter the person's memory. Increasingly with the use of a vast variety of digital apparatus the decisive moment often is captured but withheld or smashed into a visual stream that steals the ability of a viewer for contemplation. Most visuals are no longer captured to be presented in a private or semi-private setting of the salon, the gallery, family album, or gathering around the now obsolete transparency projector. Instead, small hand held digital delivery devices present not just the cherished icon of a loved one but a constant stream of imagery each held perhaps for 5 seconds, or at most 10 seconds building a narrative between each image.</p> <p>Americana Still pulls together, through presentation of digital device,the very ideas That michel is proposing as the new visual construct. Through the use of small devices the viewer is lured into a personal space while still occupying the public area in which the device remains fixed. Here the series of images create endless small associations and because of the element of the event presentation, a commitment to engage with the associations on the part of the viewer. This commitment is the new paradigm, the willingness to last through minutes of time waiting for the one image that will pull in that memory or feeling of connection to their past or anticipated future. Each sculpture is the vessel, the system of delivery allows that vessel to be more than mere façade it clashes the façade with the very personal moments with the imagery.</p> <p><em>Tom &amp; Betty: Connect the Dots </em></p> <p>Two very important events took place in Michel's life in 1978. First the birth of her only son, and second a gift of a children&rsquo;s reader from the early 1950&lsquo;s. Both incidents help build the basis for a developing philosophy toward life, and since her work is a reflection of her life, thus her art. It would take two years for her imagination to ruminate over both her son&rsquo;s developmental growth and the associated memories from childhood that the book often evoked, The resulting series were based on appropriation of children&rsquo;s images and suggested symbolism , Tom and Betty Learn to Read. Subsequently the ideas and visual stories have continued to grow.</p> <p>Michel's newest visit with Tom and Betty is now called Tom and Betty Connect the Dots. Now Tom and Betty must traverse the difficulty of constant visual association through imbedded metadata that can be just one dot that leads to another, to another, to another, all pulling together what appears as random pattern into a constructed understanding of any one image they wish to understand. No longer within our globally connected touch device world, do we have just a simple sentence to understand, and a simple image as an instructive illustration. We the viewer are often only given dots, bits, or perhaps bites. Connection does not necessarily lead to one simple understanding, Tom and Betty can only follow the path and see where it will .........&nbsp;</p> <p>Michel Demanche</p> <p>Native-born Texan Michel Demanche, currently a professor of art at the University of Maryland Eastern Shore, is known for a multi media manner of art visualization. Often her work is the result of stories that manifest into painting, mixed works on paper, or photography.</p> <p>For 15 years Michel was interested in the subject of eminent disaster, be it in the form of nightmares, storms, or man made destruction. However, Ms. Demanche&rsquo;s work from 2001-11 were predominately straight photographic works focusing on what man is doing to his environment. Works from her <em>Memento Mori </em>and <em>Tagged: Triage Mother Nature </em>have appeared in Unseen, at the Arc Gallery of the MOSI Museum in Tampa, Florida, as a billboard in Grand Rapids Michigan during ArtPrize 2010 and in Tagged an exhibition on art and biodiversity at the Ward Museum in Salisbury, Md.</p> <p>In addition to her photography exhibitions, Ms. Demanche has continued with her multi media works showcasing them most recently in Art Wars at the Salisbury University Art gallery and at the Mosley gallery at U.M.E.S.</p> <p>Ms. Demanche's art has found its way into many venues such as the Whitney Museum of American Art, The Houston Museum of Art, The Levinson Collection of Sheppard Pratt Institute, the Women&rsquo;s Museum and Franklin Furnace. Additionally, her photography won her the grand prize at the Florence Biennale in 2003 and a first place award in the national Holgapalooza competition.</p> Wed, 30 Oct 2013 20:53:49 +0000 Carlyle Chaudruc Upson - Ceres Gallery - November 7th, 2013 6:30 PM - 8:30 PM <p>This <span id="yui_3_13_0_rc_1_1_1382022076936_22124" style="font-family: Garamond;">show&nbsp;explores the relationship between maps and the landscape - how geometry of the compass is applied to undulating geography.&nbsp;&nbsp;Map features like compass roses, cartouches, and sight lines&nbsp;are explored through paintings and mixed media collages. This series is inspired not only by the design of old maps, but also their use in making decisions about directions and path. &nbsp;By analogy - this show ruminates about where we have been and where we are going. &nbsp;The experience of seeing a place on a map alters our perceptions of that place when we finally are physically at the site. &nbsp;The map and its cardinal points influence our feelings of a place even before we get there.&nbsp;The Compass Rose is a key to help find our bearings and by using this imagery superimposed on landscapes, the notion of choice or decision is introduced to the painting.</span></p> Thu, 17 Oct 2013 16:09:25 +0000 Group Show - David Krut Projects - November 7th, 2013 6:00 PM - 8:00 PM <p>Curator's Note, Phil Sanders</p> <p><em>Straight from the Hellbox</em> is an exhibition gathering publishers and printers to show off the fruits of this year&rsquo;s labors of love. Printmaking is a full contact, team sport, with dedicated fans. The artists brought their best and it would have been a shame for these prints to have fallen into the cracks in the wake of Hurricane Sandy and the demise of the Editions | Artist&rsquo;s Book Fair.</p> <p>David Krut, a long time supporter of printers and artists, has opened up his gallery for this exhibition because he believes in the power of the print to multiply the artist&rsquo;s voice. The prints cover a wide range of traditional and experimental techniques and include artists that are well known and soon to be known. David and I both believe that the unique part of printmaking is the collaborative spirit. That encapsulates David&rsquo;s approach to publishing and my approach in curating this exhibition.</p> <p>A hellbox is a printer&rsquo;s bin for discarded type and press parts. It is where a printer goes to find a missing letter or spare part to fix a broken press. The printer&rsquo;s motto: Make it Work, means the hellbox is turned to and gone through often.</p> <p>Artists:<br /> Glen Baldridge, Sarah Crowner, Alex Dodge, Chakaia Booker, Ann Hamilton, Trenton Doyle Hancock, Joseph Hart, Daniel Heyman, William Kentridge, Florian Meisenberg, Kreh Mellick, Sara Sanders, Louise Sheldon, James Siena, Carlos Vega, Diane Victor, Chuck Webster, B. Wurtz</p> <p>Publishers:<br /> Cade Tompkins Gallery, David Krut Workshop, Dieu Donn&eacute;, Forth Estate, Flying Horse Editions, Highpoint Editions, Island Press, Marginal Press, Robert Blackburn Printmaking Workshop, Wingate Studio</p> Mon, 25 Nov 2013 22:15:44 +0000 Barry Le Va - David Nolan Gallery - November 7th, 2013 6:00 PM - 8:00 PM <p>In our main gallery space, we are excited to present a major new sculpture by American artist, Barry Le Va (b. 1941), entitled Silent Readings. Comprised of cast resin, cement, aluminum bars and stainless steel ball bearings, the approximately 22&rsquo; x 12&rsquo; sculpture has a proportional relationship to the architectural framework of the gallery.<br /> <br /> Silent Readings is conceptually rooted in Le Va&rsquo;s pioneering work of the late 1960s, in which the artist claimed the architecture of the gallery space as his field of operation. In these early works, the resulting arrangements played out across the floor like crime scenes in which the viewer was encouraged to disentangle clues and evidence. The summation of Le Va&rsquo;s ideas throughout the years, along with his considered use of materials, have made way for greater possibilities of freedom in this new sculpture.<br /> <br /> The installation is accompanied by 12 new ink drawings that provide an essential glimpse into the artist&rsquo;s creative process, uncovering the many permutations that are essential to realizing the arrangement finally chosen for this new work.</p> Fri, 25 Oct 2013 02:08:17 +0000 Peter Coffin, Steve DiBenedetto, Adam McEwen, Richard Prince, Terry Winters - David Nolan Gallery - November 7th, 2013 6:00 PM - 8:00 PM <p>Occupying the rear and mezzanine galleries, an exhibition entitled About UFOs brings together the work of five artists who form an engagement with the phenomenon of the &ldquo;unidentified flying object.&rdquo; In 1946 the American inventor, Arthur M. Young, developed his first ideas for the pioneering &ldquo;psychopter,&rdquo; which was conceived as a metaphor for the human spirit. Young&rsquo;s radical questioning of our position within the universe serves as a starting point for the enigmatic works in this exhibition.<br /> <br /> A recent piece by Richard Prince (b. 1940) &ndash; a large inkjet on canvas &ndash; combines an array of American cartoon imagery with a group of sepia-hued images of flying saucers, while a painting by Steve DiBenedetto (b. 1958) imagines the extraterrestrial within a giddying and hyperactive composition. Peter Coffin&rsquo;s (b. 1972) addition to this exhibition is a CRT projector that beams three circles of colored light that glide along the wall. As the Red, Green and Blue discs overlap, they produce new colors that are only possible through combining light, referring back to Isaac Newton&rsquo;s theories on color. Three works by Terry Winters (b. 1949), which are in part a product of the artist&rsquo;s research studies, present scientific and otherworldly imagery, beguiling and perplexing in equal measure. Adam McEwen&rsquo;s (b. 1965) circular monochrome object poses questions about our perception of reality, using the material properties of graphite to displace that which is commonplace and familiar. Also presented is one of McEwen&rsquo;s Atomkraft paintings.<br /> <br /> Arthur M. Young sought to integrate human thought and experience with the realm of science. Similarly, this exhibition presents challenging questions about our universe, as we bravely tackle the unknown.</p> Fri, 25 Oct 2013 02:11:00 +0000 Elliot Erwitt - Edwynn Houk Gallery - November 7th, 2013 6:00 PM - 8:00 PM <p>Edwynn Houk Gallery is pleased to announce an exhibition of nineteen limited edition platinum photographs by Elliott Erwitt. The show begins Thursday, 7 November and runs through Saturday, 4 January 2014. The artist will be present at the opening reception on Thursday, 7 November 2013, from 6-8 pm.<br /> <br /> Over the past sixty years legendary photographer Elliott Erwitt&rsquo;s snaps, as he likes to call them, have become some of the most recognizable photographs of the past century. Working in the traditional Magnum style, Erwitt&rsquo;s most iconic images were taken in black and white with a 35 mm Leica and produced in his darkroom on gelatin silver paper. These straightforward photographs range in subject matter from historic political events and famous Hollywood movie stars to everyday family outings and his most-loved subject, dogs.<br /> <br /> For this latest project Erwitt worked with HP in New York (2010) and AmanaSalto in Japan (2013) to create enlarged platinum photographs from his original 35 mm negatives. Using digital technologies, large-format negatives were created that could be used in the higher quality platinum printing process. Erwitt personally chose nineteen images that would lend themselves to this historic process, accentuating the rich tonal range and delicate details. This carefully curated collection invites the viewer to look closer and revel in the photographer's ability to evoke strong emotion while maintaining a playful and humorous spirit.<br /> <br /> Elliott Erwitt was born in Paris in 1928. He spent his childhood in Italy and France before immigrating to New York at the age of eleven. He moved to Los Angeles when he was fifteen and started working in a commercial darkroom while simultaneously enrolled in Hollywood High School. At the age of twenty he moved back to New York where he met Edward Steichen, Robert Capa and Roy Stryker. Robert Capa invited him to join the Magnum Photography Cooperative in 1953 and he has served as the President for three terms over the decades since. He has been the subject of many major solo exhibitions around the world including the Museum of Modern Art, New York; the Smithsonian Institution, Washington DC; the Art Institute of Chicago; and The International Center of Photography, New York. Additionally, he has published over twenty monographs and was the recipient of the ICP Infinity Award for Lifetime Achievements in May 2011. Elliott Erwitt lives in New York City and continues to travel the world.</p> Tue, 22 Oct 2013 02:39:25 +0000 Miriam Schapiro - Flomenhaft Gallery - November 7th, 2013 6:00 PM - 8:00 PM <p><span style="font-size: small;">In the 1950s <strong>Miriam Schapiro</strong> had already been recognized as a successful abstractionist and represented by the Emmerich Gallery in New York. &nbsp;Even so, she felt a sense of inertia by her role as wife and mother.&nbsp; She paused from her painting and embarked on a heroic struggle to find her own identity.</span><br /><span style="font-size: small;"><br />Our exhibition begins with her endeavors in the 1960s. &nbsp;She was experimenting with the egg, alluding to women&rsquo;s fertility and creativity, set in a phallic shaped rectangular container. These works she called &lsquo;Shrines&rsquo; as <em>Untitled, Sketch for an Altar Painting</em> (c. 1961).&nbsp; Schapiro was creating a new persona connecting both her feminine and masculine sides.</span><br /><span style="font-size: small;"><br />1970 was a fateful year.&nbsp; She met Judy Chicago in California and together they created the first Feminist Art Program at Cal-Arts entitled <em>Womanhouse</em>.&nbsp; Their goal was to encourage women&rsquo;s pride in themselves and their creativity as females, also to inspire them to connect with women&rsquo;s art of the past. &nbsp;Miriam began to layer &lsquo;femmages,&rsquo; a term she coined in 1972. With these boldly distinctive works she altered the shape of art.</span><br /><span style="font-size: small;"><br />We are exhibiting a mini-biographical route through Schapiro&rsquo;s art as summed up in <em>Autobiography</em> (1982).&nbsp; Utilizing quotidian articles from her feminine world she created femmages on which she affixed handkerchiefs, doilies, lace, aprons and more as in <em>Gertrude and the Philllippines</em> (1978).&nbsp; She became known for paintings of objects close to a woman&rsquo;s daily life, emotions and aspirations such as hearts as in <em>Heart of Hope</em> (1981) and fans like <em>Grandma Bolero</em> (1980).&nbsp; The vivacity she felt in dance was a romantic theme.&nbsp; In <em>Flash and Annie</em> (1992) she was saying, like her movie idols, &ldquo;here I am.&rdquo;&nbsp; She played with the Garden of <em>Eden theme as Adam and Eve</em> (1990) and had fun portraying &ldquo;Punch and Judy&rdquo; shows as in <em>Punch, Judy and the Demons #2&nbsp;</em>(1990) and <em>What Baby</em> (1991).</span><br /><span style="font-size: small;"><br />&nbsp;&lsquo;Collaborations&rsquo; with women artists of the past was an important part of her art.&nbsp; Her greatest kinship was with Frida Kahlo, displayed in <em>Time</em> (1988 - 91), the earliest painting of the Kahlo Series which she called <em>Frida and Me</em> (1990).&nbsp; <em>Time</em> was based on Kahlo&rsquo;s <em>Self-Portrait with Cropped Hair</em> (1940) painted shortly after her breakup with Diego Rivera. The melancholy older woman in masculine costume seems to have lost status due to the aging process.&nbsp; The younger woman exudes freedom and hope.&nbsp; Schapiro also admired the achievement of Russian avant-garde women artists who the Russian poet Benedikti Livshits referred to as &ldquo;Amazons.&rdquo; <em>Exter&rsquo;s Dancer</em> (1995) in connection with Alexandra Exter relates to this theme.</span><br /><span style="font-size: small;"><br /><em>My History </em>(1997) is shaped like the house that is symbolic of many of Miriam&rsquo;s works. It consists of sixteen compartments each with a fragmented memory of her Jewish heritage.</span><br /><span style="font-size: small;"><br />The circle is complete with our last and untitled painting, executed in 2008, that hearkens back to her early abstractions.&nbsp;&nbsp;</span><br /><span style="font-size: small;"><br />Our exhibit concludes with personal photos of Miriam, also with her husband Paul Brach, as well as a remarkable selection of her memorabilia loaned by Rutgers University Institute for Women and Art.</span></p> Tue, 22 Oct 2013 02:52:32 +0000 Group Show - International Studio & Curatorial Program (ISCP) - November 7th, 2013 6:00 PM - 9:00 PM <p>Join us for an elegant evening of art and illusion featuring 29 artists as well as magicians from <span style="font-family: 'Lucida Grande', Lucida, Verdana, sans-serif; font-size: 12px; line-height: 1.5;">A Taste of Magic NYC</span>. <strong>Tickets for the event are $75 for benefactors $40 for arts professionals or anyone under 35 and can be purchased here:&nbsp;</strong></p> Tue, 05 Nov 2013 21:58:17 +0000