ArtSlant - Recently added en-us 40 Wafaa Bilal - Driscoll Babcock - May 1st - June 14th <p><strong>DRISCOLL BABCOCK GALLERIES</strong> presents<strong><em> Wafaa Bilal: The Ashes Series, </em></strong>the artist&rsquo;s first solo exhibition with the gallery, featuring a suite of ten photographs and a durational performance piece. In this body of work, Bilal offers meditative and ephemeral moments which address erasure and violence in the aftermath of war. By re-visiting recent history, and altering the images of the past, he intentionally creates tension and incongruity, exploring the duality that exists between the sacred and the profane through photographic practice.</p> <p>Bilal&rsquo;s reconstructions are testaments to his landmark artistic innovations which integrate photography, technology, and the literal human body. In <strong>The Ashes Series</strong>, Bilal presents photographs of handmade models which he based on a collection of mass-syndicated images documenting the aftermath of Operation Iraqi Freedom. The human presence is represented by 21 grams of human ashes that reference the mythical weight lost by the departure of the soul from the body at the time of death. The resultant monochromatic whiteness of the ash adds to the unavoidable quietness&mdash;of a chair persistently standing amidst the rubble, Saddam Hussein's unmade bed, or a lone hospital pillow left behind.&nbsp; Yet this poetic act also troubles the serenity of the scenes, highlighting the afterimage of conflict and the proverbial dust that will never settle. &nbsp;</p> <p>In Bilal&rsquo;s durational performance piece, <strong style="font-size: 12px;">Erasing</strong>, the artist ritually selects a square to be cut and removed from a photographic image of Saddam Hussein&rsquo;s destroyed palace. He then archives the squares as if they were dissected specimens. These fragmented pieces of information call out for further investigation and understanding. Each detail of the process&mdash;from the artist&rsquo;s time of arrival, to the formal aspects of the selected square&mdash;is fully documented.&nbsp; Bilal&rsquo;s direct and particular interaction with the image allows him to revisit his native country of Iraq, from which he can no longer physically return, and create further distortion of the image through the filter of personal contemplation, while also inviting the public to engage in the profane from the safety of the gallery setting.&nbsp;</p> <p>A full-color catalogue accompanies the exhibition.&nbsp;</p> <p>&nbsp;</p> <p><span style="font-size: 12px; text-decoration: underline;">ABOUT WAFAA BILAL</span></p> <p>Wafaa Bilal has been exclusively represented by Driscoll Babcock Galleries since 2013. Bilal&rsquo;s work is represented in major public collections, including Mathaf: Arab Museum of Modern Art, Qatar; Museum of Contemporary Photography, Chicago; Milwaukee Art Museum; and the Los Angeles County Museum of Art, California. He has exhibited extensively in galleries and institutions throughout the world, including the US, Thailand, Iraq, the UK, Dubai, Lebanon, France, and Germany, and he has served on the panels of over twenty major global universities and institutions, including the Tate Modern, UK; Harvard University; Stanford University; Museum of Art and Design; the Global Art Forum, Qatar; and the Inter-Society for the Electronic Arts, Turkey. His work has been reviewed in major publications, including <em>ARTnews</em>&cedil; <em>Art in America</em>,<em> The New York Times</em>,<em> The Wall Street Journal</em>, and <em>Newsweek, </em>and he is the author of the critically-acclaimed 2008 publication <span style="text-decoration: underline;">Shoot an Iraqi: Arts, Life and Resistance Under the Gun</span>.</p> <p>Bilal graduated from the University of New Mexico and then obtained an MFA at the School of the Art Institute of Chicago. He currently lives and works in New York as an Associate Arts Professor at New York University&rsquo;s Tisch School of the Arts.</p> Fri, 18 Apr 2014 03:28:51 +0000 Harriet Bart, Jarrod Beck, Marylyn Dintenfass, Alice Hope, Sol LeWitt, Charles Lutz, Ryan and Trevor Oakes, James Scott - Driscoll Babcock - March 13th - April 26th <p><strong>DRISCOLL BABCOCK GALLERIES</strong> presents <strong><em>Logical Guesses</em></strong>, a group exhibition curated by House of the Nobleman. <strong><em>Logical Guesses</em></strong> features a diverse group of artists who express aesthetic variations through calculations, patterns, and equations. Favoring rational hypothesis over emotional development, these artists manipulate light and materials to explore the properties and illusions of space.</p> <p>Rather than spontaneity, these artists engage with specific rule systems and guidelines to perpetuate a unique engagement with object and form. These shared philosophies of production imbue their works with a sense of the absolute, inevitably linked through evolution, variation and dynamical phenomena, and their systematic processes elicit an innate consistency throughout the exhibition.</p> <p><strong><em>Logical Guesses</em></strong> features work by Harriet Bart, Jarrod Beck, Marylyn Dintenfass, Alice Hope, Sol Lewitt, Charles Lutz, Ryan and Trevor Oakes, and James Scott.</p> <p>Included in the exhibition is Jarrod Beck&rsquo;s monumental <strong>TERMINAL MORAINE</strong>, 2012. Using plaster, cast from drawings, as a three-dimensional substrate, Beck reprocesses materials in order to create new tools. The evolution of this work corresponds to a slow architecture, drawn full scale. Lines become form, each member dependent on the other. Through his methodic approach, organic and fixed patterns emerge, reflecting the natural order of creation.</p> <p>James Scott&rsquo;s multifaceted process of painting, model-making, and the flattening and folding of form, furthers this exploration of the nuances of spatial illusions. Scott&rsquo;s calculated engineering of two-dimensional and three-dimensional space creates perforated patterns of overlapping hyper-cubes which couple abstract drawing with architectural drafting. In <strong>UNTITLED 1</strong> and <strong>UNTITLED 2</strong>, 2013, light filters through precisely mapped holes, projecting overlapping images and shadows onto the adjoining walls and ceiling. As the intensity of light subtly changes throughout the course of the day, so do the dynamic characteristics of the work.&nbsp;</p> <p>Ryan and Trevor Oakes create highly detailed drawings, paintings, and sculptures that explore, among other topics, fundamental aspects of light and vision.&nbsp; Their works in this exhibition operate within the theory that by following consistent local rules complex global structures emerge.&nbsp; For example, <strong>MATCHSTICK DOME</strong>, 2014, emerges into a spherical shape as a result of packing individual matches side by side. Each of the 9000 matchsticks used in the piece point to a single focal point at the hollow center of the sphere. This emergent form is geometrically akin to the way light rays radiate from a single source, and the shape by which they are inversely received by the eye.&nbsp; Explorations such as this led to one of their central assertions; the human field of vision is spherical.</p> <p><span style="text-decoration: underline;">ABOUT HOUSE OF THE NOBLEMAN</span></p> <p>House of the Nobleman is a progressive curatorial and art advisory firm with offices in London and New York City. Founded in 2010, House of the Nobleman has established itself as an innovative and acclaimed organization specializing in cutting-edge curatorial projects, artist management, as well as a reputable adviser for elite clientele.</p> Fri, 18 Apr 2014 03:25:49 +0000 Group Show - MARC STRAUS - March 30th - April 27th <p>The perpetual struggle to find the right words to communicate meaning is often tantamount to shouting into a void. Trying to connect with a too-huge world frequently hinges on achieving a carefully balanced tone to allow recipients to read between the lines and grasp deeper, more subtle messages than those actually contained in the words. &nbsp;</p> <p>This exhibition assembles artworks featuring language that remains ambiguous. Statements that at first seem stern and commanding, but after further consideration begin to hover on the edge of playfulness. Works with wry, absurdist humor that come to feel darkly critical over time. The most mysterious are the shortest phrases where the least context is given and individual viewers are challenged to complete the stories based on their own experiences.&nbsp;</p> Fri, 18 Apr 2014 03:05:50 +0000 Christina Massey - DACIA GALLERY - April 24th - May 8th <p>Dacia Gallery is pleased to present Christina Massey&rsquo;s Salva Veritate solo exhibition. Christina&rsquo;s works depict the unharmed truth about the economic recession, bank bailouts and the emotional strains placed upon innocent families in the wake of its aftermath.&nbsp; Her works are physical fragments of the new and old, success and failure.&nbsp; They are also bits and pieces of her own past and present, likes and dislikes. Through donated business attire from banks and corporate employees, Christina re-purposed this fabric and hand stitched it together with sections of her own failed works on canvas. The results are organic, quilt-like surfaces made from painted canvas where the sometimes subtle, sometimes obvious influence of the khakis, collared shirts and nylons lay within the composition as reminders of the ever present influence of money on the creation and promotion of art.</p> <p>ARTIST STATEMENT</p> <p>Using methods of constructing and deconstructing, I am constantly re-using and re-purposing my own artwork. One series literally leads to another, where previous series of works are cut, torn and sewn or woven back together again into new series of works, which may again be reconstructed into yet another art form.&nbsp; The past is always present in both current and future works, and they tell a story of my progression as an artist.I often use word play, theatrics and general political topics as a way to communicate opinions that ultimately define an observation about the art world itself.&nbsp; Painting as a medium, having taken the largest &ldquo;beating&rdquo; so to speak from the critical art world has been my primary focus of material, be it acrylic, oil or watercolor on either paper or canvas.&nbsp; I &ldquo;kill&rdquo; my traditionally framed paintings by cutting and tearing them apart, then mend them together by thread, a series of knots or weaving them together again giving them new life as a different form.How I choose what works to re-work, and what works to remain is a difficult process.&nbsp; Often it is work that has sat around for too long, perhaps &ldquo;failed&rdquo; in some way, by not showing or selling or simply no longer satisfying my creative desires.&nbsp; There are &ldquo;favorites&rdquo; so to speak that will stick around for years and not be touched, however, on occasion, even these &ldquo;favorites&rdquo; sometimes get the axe if it&rsquo;s what I feel the new work requires.&nbsp; It&rsquo;s a therapeutic process of letting go in order to move forward.&nbsp; Ultimately, any work that I have created in the past is subject to be re-worked again in the future in some way shape or form as my own tastes and opinions change, my body of work continues to evolve with me.</p> Fri, 18 Apr 2014 02:49:56 +0000 John Powers - Postmasters - April 26th - June 7th <p>For the month of May, sculptor John Powers&nbsp;will use Postmasters Gallery as a studio, and combine his strategies of temporary public&nbsp;work and permanent studio work. Beginning with raw material, an entire show will develop daily. Working simultaneously in polystyrene, steel, plywood, paper and phenolic resin blocks, Powers will stack, construct and collage a series of individual works. Powers will construct wall pieces, floor pieces, reliefs, towers and carpets.<br /> &nbsp;<br /> Rather than site-specific, each will be conceived, each day, as part of the whole.&nbsp;Each day will be a new show, that will vanish under the next days' work. Returning visitors to the gallery will be able to track the show's progress, as will those on social media, who can follow changes via the artist's twitter, Instagram, and tumblr accounts -&nbsp;for the Month of May,&nbsp;each will be dedicated to updating different aspects of the show.&nbsp;Only for the last week of the show (June 1-7), after the closing reception (May 31), will the work stop, allowing the show to lay fallow.<br /> &nbsp;<br /> For the past two decades, Powers has split his work between permanent-built studio work, and temporary freestanding installations, all built from identically shaped blocks. Made of plywood, polystyrene, steel, resin composites, PVC, paper and other materials; and ranging in size from tiny slivers to furniture-scale, all of the blocks Powers uses are cut to the same proportion: 1 x 2 x 3.<br /> &nbsp;<br /> In the studio he has glued, drilled, welded and cast blocks to make intricate objects intended to last; to be passed from hand to hand; to move place to place. Working in public, he has stacked them to make ephemeral accumulations, intended for the audience that happens to be at that one spot at that particular time. Rather than describing these works as site-specific, Powers thinks of them as specific to a moment in time.<br /> &nbsp;<br /> At the end of April, Powers will have entirely moved out of the studio he has maintained in Industry City for the past ten years. Forced out of the facility by a tripling in rent, the change has meant he has had to sort through a great deal of old work. Handiwork of a younger artist, as different from him now as a foreigner from another country.&nbsp;<br /> &nbsp;<br /> For Powers the choice to work with a single shape for the past 19 years, was to unite the country of the past, with that of the future; to make explicit that each thing he makes, are slivers in time.&nbsp;<br /> &nbsp;<br /> Almost 50 years ago, the artist Robert Smithson observed that &ldquo;the process behind the making of a storage facility may be viewed in stages, thus constituting a whole &lsquo;series&rsquo; of works of art from the ground up."&nbsp;<br /> &nbsp;<br /> Smithson's concept of "discrete stage abstractions" resonates with Powers because so much of the work he does is buried beneath the additive process of making his art. Powers thinks of his own work in a similar vein, except where the 60s earth artist pointed to the possibility of aestheticizing large scale industrial processes&mdash;like dam&nbsp;construction&mdash;where the final outcome&nbsp;predetermines&nbsp;everything that comes before&nbsp;it, Powers is more interested in the discrete stages of more idiosyncratic development.&nbsp;<br /> &nbsp;<br /> "Land surveying and preliminary building if isolated into discrete stages may be viewed as an array of art works that vanish as they develop.&rdquo; Smithson cooly observed. Likewise, for Powers, sculpture develops as an array, but not as an array of predetermined tasks&mdash;like the processes Smithson was enamored with. For Powers, sculpture begins&mdash;not with the image of a final object&mdash;but with an initial condition. Moving outwards, in a series of small improvisation, each one, a possible end point; each an opening on to another improvisation.&nbsp;<br /> &nbsp;<br /> For&nbsp;<em>+time</em>, Powers will bring that ethic to the gallery. Each day will be a complete show, a discrete stage, but each day will also be an opening onto the next day's work; an initial condition.<br /> <em>+time</em>&nbsp;will be the first exhibition of John Powers at Postmasters.</p> Fri, 18 Apr 2014 02:36:00 +0000 Eva Mattes, Franco Mattes - Postmasters - April 26th - June 7th <p><a href="" target="_blank"><img src="" alt="" /></a></p> <p>Born in 1976, now based in New York, Eva and Franco Mattes, (a.k.a. 0100101110101101.ORG) have been pioneers in the movement remixing famous digital art pieces and performing Life Sharing: a real-time digital self portrait, during which they submitted to satellite surveillance for an entire year. In the last decade they have created unpredictable mass-scale performances staged outside the traditional art venues and involving an unaware audience, where truth and falsehood mix to the point of being indistinguishable. They created and released the code for a computer virus, erected fake architectural heritage signs, run media campaigns for non-existent action movies (United We Stand), and even convinced the entire populace of Vienna that Nike had purchased the city's historic Karlsplatz and was about to rename it "Nikeplatz". They stole art, and stole other artists&rsquo; names, went to Chernobyl and faked suicide in Chatroulette. Their controversial performances, often bordering on illegality, have been widely discussed in the media earning them the name &ldquo;Bonnie and Clyde of Contemporary Art&rdquo;.</p> Fri, 18 Apr 2014 02:31:34 +0000 David Horvitz - New Museum - May 7th - June 29th <p>In his practice, Horvitz grapples with time and standardized measurements, and the shifts that occur when natural phenomena are subjected to manmade systems and vice versa. Unfolding as concrete actions, Horvitz&rsquo;s works are often ongoing or self-generating projects. Taking advantage of diverse systems of circulation, he gathers and disperses images and objects through media such as the internet, the postal system, libraries, and airport lost and found services. Optimistically alluding to the possibility of an alternative logic, Horvitz exploits the structures in place around him as much as he deliberately counters patterns derived from professionalization and efficiency.</p> <p>Titled &ldquo;Gnomons&rdquo; after the device on a sundial, which effectively produced the first image of time in the form of a shadow, Horvitz&rsquo;s presentation includes the work <em>Let us keep our own noon</em> (2013), consisting of forty-seven handbells created through the remelting of a French church bell dating back to 1742. The work is activated by forty-seven performers who, at local noon (when the sun is positioned exactly above the New Museum), collectively ring the bells and then disperse throughout the building and out onto the surrounding streets of the Museum. Referencing the bygone practice of navigating time according to the position of the sun, the work reminds us that our daily rhythms are not solely determined by tradition and locality, but also rooted in global forces. In another work, <em>The Distance of a Day</em> (2013), Horvitz journeyed halfway around the world to the exact location where he could see the sunrise in the same moment that his mother was watching the sunset in California. Rather than emphasizing the result of a journey or the duality of here and there, Horvitz creates an image of the measurement that separates two people in time&mdash;exactly one day.</p> <p>David Horvitz was born in California in 1982 and lives in Brooklyn. Recent solo exhibitions include: concurrent shows at Jan Mot, Brussels, and Dawid Radziszewski Gallery, Warsaw; Peter Amby, Copenhagen; Statements, Art Basel; Kunsthal Charlottenborg, Copenhagen; and Chert, Berlin. His work has been shown at EVA International 2014, Glasgow International 2014, LIAF 2013, MoMA, The Kitchen, and the New Museum. In New York, he has realized projects with Recess, Clocktower Gallery, post at MoMA, Printed Matter, Rhizome, and Triple Canopy. Recent artist books include <em>The Distance of a Day</em> (2013; Motto Books &amp; Chert) and <em>Sad, Depressed, People</em>, (2012; New Documents). He has received the Rema Hort Mann Grant in 2011 and was nominated for the Discovery Award at Les Rencontres d&rsquo;Arles in 2011. In 2013, he founded Porcino gallery in Berlin. This summer, he will have his first solo exhibition at Blum &amp; Poe, Los Angeles.</p> Fri, 18 Apr 2014 02:11:37 +0000 Camille Henrot - New Museum - May 7th - June 29th <div class="body"> <p>In her work, Henrot (b. 1978 Paris, France; lives and works in New York) analyzes systems of visual information and typologies of objects from a wide array of historical moments. She has produced a number of visual essays in which she follows intuitive research pursuits across disciplines and finds a variety of aesthetic and morphological links between disparate systems of knowledge. Henrot&rsquo;s practice combines anthropological research with a staggering range of cultural fragments reflective of the current digital age. Her exhibition at the New Museum will provide a survey of her recent work.</p> <p>The title, &ldquo;The Restless Earth,&rdquo; is borrowed from a poem by the Martinican writer &Eacute;douard Glissant, known for his novels, poems, and writings on colonialism and diversity. The exhibition will feature four of Henrot&rsquo;s recent videos including <em>Grosse Fatigue</em>, a standout of the recent Venice Biennale, garnering her the Silver Lion as most promising young artist. The work extends on earlier videos like <em>Coup&eacute;/D&eacute;cal&eacute;</em> (2010) and <em>Million Dollar Point</em> (2011), which capture rituals and landscapes that move across history and bridge disparate cultures and geographies. &ldquo;The Restless Earth&rdquo; also includes several series of works on paper and a new installation of &ldquo;Is it possible to be a revolutionary and like flowers?&rdquo; (2012&ndash;14). In this series, Henrot translates books from her library into ikebana arrangements, connecting the languages of literature, anthropology, and philosophy with the equally complex language of flowers. Through translation as well as archival research and the creation of hybrid objects&mdash;apparent throughout the artist&rsquo;s videos, sculptures, and works on paper&mdash;Henrot demonstrates how the classification of artifacts and the production of images structure the way we understand the world.</p> <p>&ldquo;Camille Henrot: The Restless Earth&rdquo; will be on view on the Second Floor from May 7&ndash;June 29, 2014.</p> <p>Camille Henrot&rsquo;s work has been exhibited at the Institute of Contemporary Art in London, the Centre Pompidou, the Mus&eacute;e d&rsquo;Art Moderne, the Palais de Tokyo in Paris, the New Orleans Museum of Art, and the 55th Venice Biennale. In 2010, she was nominated for the Prix Marcel Duchamp, and in 2013, she was the recipient of the Smithsonian Artist Research Fellowship in Washington, DC, where she produced the video <em>Grosse Fatigue</em>. Henrot currently has a solo exhibition at Chisenhale Gallery, London, which will travel to B&eacute;tonsalon &ndash; Centre for art and research, Paris, Kunsthal Charlottenborg, Copenhagen, and the Westf&auml;lischer Kunstverein, M&uuml;nster.</p> </div> Fri, 18 Apr 2014 02:04:44 +0000 Ragnar Kjartansson - New Museum - May 7th - June 29th <div class="body"> <p>&ldquo;Me, My Mother, My Father, and I&rdquo; will be the first New York museum exhibition of Icelandic artist Ragnar Kjartansson (b. 1976 Reykjav&iacute;k, Iceland; lives and works in Reykjav&iacute;k). Born into a family of actors and theater professionals, Kjartansson draws from a varied history of stage traditions, film, music, and literature. His performances, drawings, paintings, and video installations explore the boundary between reality and fiction as well as constructs of myth and identity. He often attempts to convey genuine emotion through melodramatic gestures and conversely reveals sincerity within pretending. Playing with stereotypes usually projected onto the persona of the actor, Kjartansson both celebrates and derides the romanticized figure of the artist as cultural hero. His performances are often feats of endurance, which last for hours or days at a time, taking a motif as simple as a pop song and transforming it through protracted repetition into a transcendent mantra.</p> <p>At the New Museum, Kjartansson will present works with and about his family, including a newly orchestrated performance and video piece entitled <em>Take Me Here by the Dishwasher: Memorial for a Marriage</em> (2011/2014), in which ten musicians play a live composition for the duration of the exhibition. This work takes inspiration from a scene in Iceland&rsquo;s first feature film, <em>Mor&eth;saga</em> (1977), directed by Reynir Oddsson, in which the main character of the film, played by Kjartansson&rsquo;s mother, Gu&eth;r&uacute;n &Aacute;smundsd&oacute;ttir, fantasizes about a plumber, played by Kjartansson&rsquo;s father, Kjartan Ragnarsson, in a sex scene on the kitchen floor. As family legend has it, Kjartansson was conceived the night after the film shoot. Kjartan Sveinsson, composer and a former member of the Icelandic band Sigur R&oacute;s, transformed the scene&rsquo;s dialogue into a ten-part polyphony played by ten musicians, who sing and play guitar in the tradition of the troubadour to accompany a projection of the original film scene. Other works in the exhibition are made in collaboration with Kjartansson&rsquo;s parents, including a new series of drawings of the sea made with his father, entitled <em>The Raging Pornographic Sea</em> (2014), and an ongoing video collaboration with his mother where she repeatedly spits in his face, <em>Me and My Mother</em>, which began in 2000. This exhibition provides an opportunity to look at the way Kjartansson&rsquo;s work explores family ties and delusions of grandeur, as well as to engage with his ongoing interest in the conflation of reality and fantasy.</p> <p>&ldquo;Ragnar Kjartansson: Me, My Mother, My Father, and I&rdquo; will be on view on the Fourth Floor from May 7&ndash;June 29, 2014. The exhibition is curated by Massimiliano Gioni, Associate Director and Director of Exhibitions, and Margot Norton, Assistant Curator.<br /> The exhibition will be accompanied by a fully illustrated catalogue featuring an interview with the artist and new reflections on Kjartansson&rsquo;s practice by Francesco Bonami and Roni Horn.</p> <p>On May 9, 2014, at 7 p.m., join artist Ragnar Kjartansson and his parents, Gu&eth;r&uacute;n &Aacute;smundsd&oacute;ttir and Kjartan Ragnarsson, for a special screening of the film <em>Mor&eth;saga</em> (1977), the first feature film produced in Iceland in which both Kjartansson&rsquo;s parents performed.</p> <p>Ragnar Kjartansson was born in Reykjav&iacute;k, Iceland, in 1976, where he continues to live and work. His recent solo exhibitions and performances include &ldquo;The Palace of the Summerland&rdquo; at Thyssen-Bornemisza Art Contemporary, Vienna (2014), &ldquo;The Explosive Sonics of Divinity&rdquo; at the Volksbühne, Berlin (2014), &ldquo;The Visitors&rdquo; at Luhring Augustine Gallery, New York, Migros Museum für Gegenwartskunst, Zurich (2012&ndash;13), Thyssen-Bornemisza Art Contemporary Vienna (2013), Hangar Biocca (2013&ndash;14), &ldquo;It&rsquo;s Not the End of the World&rdquo; at the Fondazione Sandretto Re Rebaudengo, Turin (2012&ndash;13), &ldquo;Endless Longing, Eternal Return&rdquo; at the Frankfurter Kunstverein (2011), and &ldquo;Take Me Here By the Dishwasher: Memorial for a Marriage&rdquo; at the BAWAG Foundation, Vienna (2011). His first American solo museum exhibition, &ldquo;Song,&rdquo; was organized by the Carnegie Museum of Art in 2011 and traveled to the Museum of Contemporary Art in North Miami and the Institute of Contemporary Art in Boston. Additionally, Kjartansson recently participated in &ldquo;The Encyclopedic Palace&rdquo; at the 55th Venice Biennale (2013) and performed &ldquo;A Lot of Sorrow&rdquo; featuring The National at MoMA P.S.1 (2013). Kjartansson was the recipient of Performa&rsquo;s 2011 Malcolm McLaren Award for his performance of <em>Bliss</em>, a twelve-hour live loop of the final aria of Mozart&rsquo;s <em>The Marriage of Figaro</em>, and in 2009, he was the youngest artist to represent Iceland at the Venice Biennale.</p> </div> Fri, 18 Apr 2014 01:59:49 +0000 Mark Flood - Zach Feuer Gallery (LFL) - May 13th - May 17th <p align="center">Hi</p> <p align="center">&nbsp;</p> <p align="center">This is Mark Flood</p> <p align="center">&nbsp;</p> <p align="center">As most of my fans know, my body, my life, my career and my art are managed by my</p> <p align="center">cat Sparky</p> <p align="center">&nbsp;</p> <p align="center">And hes doing a gater job</p> <p align="center">&nbsp;</p> <p align="center">Now Sparle and I want to invite you to a special event that takes place in</p> <p align="center">&nbsp;</p> <p align="center">These been a loytta confusion that this has something to do with Cheksea Handlers</p> <p align="center">vagina not true, shes not an art handler or a career handler shes a talk show ghost.</p> <p align="center">&nbsp;</p> <p align="center">that takes place in Chelsea New york City Manhattan, on the second floor above Zacg</p> <p align="center">Feuer gallery. Its during the second week of my show Available NASDAQ SYmbol but its</p> <p align="center">a different show</p> <p align="center">&nbsp;</p> <p align="center">Actually its an art fair of my own, a private art fair but hopen to the pubic.</p> <p align="center">&nbsp;</p> <p align="center">The INSIDER ART FAIR------insider your rod, inside your vagina, inside your body where</p> <p align="center">the internal organs jostle around in the pools of blood trying to spell out certain words,</p> <p align="center">insider the black rooms of the secret art whorld</p> <p align="center">&nbsp;</p> <p align="center">Sparkle wants to take us all ther so dont miss out dont wuss out.</p> <p align="center">OTO YOLO WTF</p> <p align="center">dates go here like the tunnel of lobe</p> <p align="center">&nbsp;</p> <p align="center">paw print</p> Fri, 18 Apr 2014 01:35:35 +0000 Mark Flood - Zach Feuer Gallery (LFL) - May 9th - June 14th <p>Spare change can drive hard-wired evolutionary changes in corporate logos in a matter of generations. A University of Passion Cove-led study, published in the journal Fuzzy Letters, overturns the common assumption that evolution only occurs gradually over hundreds of thousands of dollars.</p> <p>Instead, researchers found significant financially transmitted changes in laboratory populations of corporate logos in just 15 generations, leading to a doubling of the age at which the logos dissolve into puddles of meaningless goo, and large changes&nbsp;in failure-to-impress-target-audience rates. The results have important implications in areas such as the survival of the human race, and corporate image mismanagement because they demonstrate that image de-evolution can be a mindfuck even in the short-term.</p> <p>Professor Darth Haddock, of the University of Passion Cove's Faculty of Biological Sciences, said: "This demonstrates that spare change and logo evolution are completely up each other's ass and cannot reasonably be considered separate.&nbsp; We found that seemingly sacred designs devolve rapidly in response to lack of respect and stupified idle tinkering, as when bored grad students pull the wings off flies. This can have major consequences such as rioting crowds swarming thru urban areas, police forces laying down their super-weapons in exchange for a chance to pet kittens, the repurposing of corporate headquarters as detention, reeducation, torture and extermination centers, or helping along a population of obsolete managers heading for rapid and merciless extinction at the hands of informed and ambitious young people who, so far, believe in nothing, absolutely nothing at all."</p> <p>Although previous research has implied a link between radiation-enhanced, mutation-based changes in corporate logos' physical characteristics and the nature of human social evolution, the Cove-led study is the first to prove a causal relationship between rapid logo evolution and better, higher highs in a controlled experimental drug-use setting.</p> <p>The researchers worked with corporate logos that were collected from the wild and then raised in 18 glass tubes. Forty percent of adult logos were left in the Macs of bored junior high students. A similar proportion of logos were left on Facebook in a further six tubes, while no "adolescent hijinks" were conducted in the remaining third of the tubes.</p> <p>Lead author Dr Sassy Links, a postdoctoral Fellow in the Faculty of Pseudo-human Sciences at Passion Cove at the time of the research and now based in Uvula University, Sweden, said: "We saw significant evolutionary changes relatively quickly. The rates of laughable weirdness and stupidity of the logos in the tubes doubled over about 15 generations,&nbsp;because they were being authoritative in a different way than they would in the wild. Removing the coolness caused them to remain as targets for contempt even longer, because the genetics were responding to the high chance that they were going to die from graffiti as soon as they were used in public.</p> <p>When they did eventually mature, into sickly future insects with a rabid craving for blood, and a fierce desire to exploit, maim and murder human beings, they were so enormous they could lay all of their poison eggs very quickly."</p> <p>The initial change in the logos' environment - from the wild into the design laboratory reeking of marijuana smoke - had a disastrous effect on the population, putting the authority of the logos on an extinction trajectory. However, in every population, including those subjected to torture by bored, hormone-crazed and lonely juveniles, the trajectory switched after only five degenerations of evolution, and the new designs were allowed to live simply to amuse their captors, though they no longer had any power or control.</p> <p>The researchers found that the laboratory environment was selecting for those logos that turned into shiny, needlessly complicated, insectile-metallic components. Under the competitive conditions in the tubes, the fast evolving logos were more "wow" when they matured, meaning they could have more retweets.</p> <p>Dr Links said: "The logo evolution that resulted in an investment in shiny metallic exoskeleton production at the expense of legibility led to a slight growth in viewing time and a subsequent re-imagining of human reality, rescuing the stoners from boredom, and the art world from wave after grey wave of boring conceptual crap.&nbsp;This is evolutionary rescue in action, and suggests that logo evolution can help human populations respond to the complete enslavement of the human race by the Fortune 500 and the human traitors who serve them."</p> <p>Professor Benton said: "The traditional idea would be that if you put new logos in a new market, the way that most people do as they're told would stay basically the same, but the way they experience gnawing existential despair changes, because of variables like the amount of food, sex, and fun their corporate masters allow them to have.</p> <p>However, our study proves that the logo evolutionary effect - the instantaneous bizarre change in the logos' appearance in&nbsp;response to the human need to run one's own life - can happen&nbsp;at the same time as the Fuck-this-shit response. Social reality - whatever the hell that might be - and creative activity are&nbsp;intertwined," he said.</p> Fri, 18 Apr 2014 01:29:45 +0000 Mark Grotjahn - Blum & Poe - May 1st - June 21st <p>Blum &amp; Poe is pleased to announce the inaugural exhibition of its New York gallery at 19 East 66th Street. <em>Mark Grotjahn: Butterfly Paintings</em>, curated by Douglas Fogle, will be a select survey of this important series of paintings by the Los Angeles-based artist. Consisting of loans from private collections as well as public institutions, the exhibition will illustrate the evolution of Grotjahn's butterfly paintings with seminal examples dated between 2001 and 2008. &nbsp; <br /> <br /> The butterfly paintings, whose name derives from their wing-like, formal qualities, hold a key place within the development of Grotjahn's body of work. The artist employed a strategy of nearly compulsive repetition and reiteration of rules and stylistic elements -- variations on a theme in the lines radiating&shy; from their central spines -- which allowed the artist to experiment within a circumscribed set of conceptual limits. With contextual influences ranging widely from the history of geometric modernism in the works of artists such as Mondrian and Malevich, to experiments in musical and filmic composition and typographic design, Grotjahn's butterflies playfully blur the once rigorous boundaries between representation and abstraction, between surface and depth, and between the conceptual and the concrete in artistic production. &nbsp; <br /> <br /> In the works on view, we see an artist setting up an experimental station for the study of the evolution of the painterly line, in which the butterfly is the end result. The exhibition offers a unique opportunity to see the implications of these experiments in the concrete formation of an artist's vision over a condensed period of time. A catalog will be produced in conjunction with the exhibition and will include an essay by Douglas Fogle, images of the individual paintings, and installation photographs of the works in the new gallery. &nbsp; <br /> <br /> Mark Grotjahn (b. 1968) holds a B.F.A. from the University of Colorado, Boulder and an M.F.A from the University of California Berkeley. He has upcoming solo exhibitions at the Kunstverein Freiburg, Freiburg, Germany and the Nasher Sculpture Center, Dallas, TX. Past solo exhibitions include venues such as the Aspen Art Museum, Aspen, CO; Portland Art Museum, Portland, OR; Kunstmuseum Thun, Thun, Switzerland; Whitney Museum of American Art, New York, NY; and Hammer Museum, Los Angeles, CA. He has been included in group exhibitions at the San Francisco Museum of Modern Art, San Francisco, CA; Museum of Contemporary Art, Los Angeles, CA; New Museum, New York, NY; Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY; Museum of Modern Art, New York; Stedelijk Museum, Amsterdam, Netherlands; Royal Academy of Arts, London, UK; Museum of Contemporary Art, Chicago, IL; Carnegie Museum of Art, Pittsburgh, PA; and many other institutions.</p> Fri, 18 Apr 2014 01:21:52 +0000 Joseph Hart, Eddie Martinez - David Krut Projects - May 1st - June 28th <p>David Krut Projects is pleased to present <em>Dread Blush</em>, Joseph Hart&rsquo;s second solo exhibition with the gallery.</p> <p>&nbsp;</p> <p>Hart&rsquo;s work is a collision of choreographed and happenstance mark-making, brutal editing and reinvention. Utilizing drawing, painting and cut-paper collage, Hart&rsquo;s process is structured around cursory gestures: errant dashes, ticks, quick lines, scrawls, swoops and zigzags. This set of preliminary and exploratory maneuvers&nbsp;are then built upon, reconfigured or impulsively edited out until a composition begins to emerge. In his paper pieces, smaller scale drawings are often grafted directly into larger works, interrupting the initial picture plane while also reactivating it. The results are abrupt but retain a compelling and provocative elegance.</p> <p>&nbsp;</p> <p><em>Dread Blush </em>emphasizes Hart&rsquo;s interest in the boundaries presented by scale and context, compositional management, and the paradoxical relationship between strategy and chance. Through the physical limits of his reach, the edges of over-sized works are hastily (and sometimes literally) pointed out with slashes in graphite or oil stick. These gestures, or reaches, function as an armature for his next set of marks and are balanced by carefully placed items such as insect decals, rubber elastics and miscellaneous studio detritus. These collaged components introduce bursts of shape and hue, ultimately assisting in subsequent formal decisions. When in process, Hart frantically moves the work multiple times from table, to floor, to wall and back, providing evidence of action, adjustment and touch.</p> <p>&nbsp;</p> <p>Hart sites &ldquo;over-thinking things&rdquo; as both destructive and critical to his practice. Works often deemed too tight, contrived, disastrous, or other, are disassembled and recycled into newer pieces, transforming the ghosts of failure into important moments of discovery and intrigue. Hart relies heavily on this act of revitalization. This system of working capitalizes on the unscripted, can simplify the complex, and champions micro exchanges between intentions and actualities, blemish and beauty, vice and virtue.&nbsp;</p> <p>&nbsp;</p> <p><em>Originally from New Hampshire, Joseph Hart is a Brooklyn, New York-based artist. His work has been exhibited at Galerie Vidal Saint Phalle in Paris, Galleri Tom Christofferson in Copenhagen, </em><em>Alexander &amp; Bonin, CRG Gallery, Klaus Von Nichtssangend Gallery, and Halsey Mckay Gallery in New York, among others. Hart&rsquo;s work has also been included in notable shows at the Bronx Museum of the Arts, Santa Monica Museum of Art and The Elizabeth Foundation for The Arts. He has been featured in periodicals such as FlashArt, Modern Painters, and The New York Times.&nbsp;He is currently a resident artist at the </em><em>Dieu Donn&eacute; </em><em>Workspace Program, in New York. Hart holds a BFA from the Rhode Island School of Design.&nbsp;</em></p> <p>&nbsp;</p> Thu, 17 Apr 2014 20:16:03 +0000 Geraldo de Barros - Tierney Gardarin Gallery - May 6th - June 21st <p>Tierney Gardarin Gallery is pleased to present a solo exhibition of works by Geraldo de Barros (1923-1998). This historic exhibition, the first solo presentation of the artist&rsquo;s work in New York, features a diverse group of works that span de Barros&rsquo; extraordinary career. Geraldo de Barros: Purity of Form, explores a practice that, across decades, movements, and media, demonstrated a dogged commitment to artistic experimentation and abstraction. Geraldo de Barros: Purity of Form opens on Tuesday, May 6th and will be on view through Saturday, June 21st, 2014. The opening reception will be on Friday, May 9th from 6pm until 8pm.<br /><br />Geraldo de Barros is a seminal figure in Brazilian art whose multi-faceted oeuvre, much like that of his contemporary Lygia Clark, is remarkable in its depth and scope. An early leader of Brazil&rsquo;s Concrete movement, his practice engaged with painting, photography, sculpture and industrial design. De Barros first rose to prominence as a painter and founding member of Grupo XV in the 1940s, and soon after gained notoriety as an innovative and experimental photographer. He explored minimal form in photography through manipulating negatives, superimposing, scratching and painting on them, to create arresting abstractions he called Fotoformas. This technique of distillation and precision was later carried into sculpture, painting, and eventually industrial design. Geraldo de Barros: Purity of Form includes key pieces from de Barros&rsquo; practice, presenting the life work of a figure who is widely considered to be one of the most influential Brazilian artists of his generation.<br /><br />Geraldo de Barros: Purity of Form will feature exceptional examples of the various aspects of de Barros&rsquo; practice. For example, brightly contrasted Formica paintings will be included, installed alongside the fantastic early Fotoformas. Also included are the later Sobras&mdash;a series of intricate photo collages created in the last two years of his life when, debilitated by illness, he returned to earlier photographs and original negatives. The unity and consistency of the works across decades and disparate media underscore the consistent theme of de Barros&rsquo; practice: purity of form.<br /><br />Geraldo de Barros has been the subject of major solo exhibitions worldwide, most recently at The Photographer&rsquo;s Gallery in London and the SESC Vila Mariana in Sao Paulo. His work is included in the permanent collections of internationally renowned institutions a such as the Museum of Modern Art, New York, NY; Mus&eacute;e de l&rsquo;Elys&eacute;e, Lausanne, Switzerland; Cisneros Fontanals Art Foundation, Miami, FL; Ludwig Museum, Cologne, Germany; Museum of Fine Arts, Houston, TX; Tate Modern in London, UK; among many others. A major monograph about his life and work, entitled geraldo de barros: isso, was published in 2013 by SESC Editions.</p> Thu, 17 Apr 2014 16:12:34 +0000 Julian Schnabel - Gagosian Gallery- 24th St. - April 17th - May 31st <p>A lot of what I do is about being in the moment&hellip;The residue of what happens; that's what's in the paintings.</p> <p>&mdash;Julian Schnabel</p> <p>&nbsp;</p> <p>Gagosian is pleased to present &ldquo;View of Dawn in the Tropics: Paintings, 1989&ndash;1990,&rdquo; an exhibition of paintings</p> <p>by Julian Schnabel that are being shown in New York for the first time, twenty-five years after they were made.</p> <p>&nbsp;</p> <p>In the late 1980s and early 1990s, Schnabel approached painting as an act as susceptible to chance and</p> <p>circumstance as life itself. Working in the wake of American antecedents such as Robert Rauschenberg and Cy</p> <p>Twombly&mdash;who brought a certain sense of freedom to bear on their evident romance with European art and</p> <p>aesthetics&mdash;Schnabel made audaciously scaled paintings and sculptures whose richly hybrid sources were</p> <p>expressed in an attitude of baroque excess combined with improvisational daring. Broken plates, Kabuki theater</p> <p>backdrops, tarpaulins and boxing mats; thickly applied oil paint, collage, viscous resin, and flat digital</p> <p>reproduction; fragments of text in different languages: these are just some of the diverse materials with which</p> <p>Schnabel engages life's grand themes&mdash;sexuality, obsession, suffering, redemption, death, and belief.</p> <p>&nbsp;</p> <p>For paintings such as Paintings With and Without Bingo and Ozymandias, executed en plein air on the site of a</p> <p>ruined neoclassical building during a sojourn in Florida, Schnabel used old tarpaulins, sailcloth, and rolls of velvet</p> <p>as grounds on which to render reflections of his immediate surroundings subject to uncontrollable forces, from</p> <p>tropical storms to his dog Bingo's seemingly random but deliberate paw prints. These paintings, and others</p> <p>made in similarly unorthodox conditions in Montauk and San Sebastian, reveal an individualistic interplay</p> <p>between site and and mark-making, both intentional and incidental, that eschews pictorial hierarchies of</p> <p>authorship, subject, and style.</p> <p>Schnabel&rsquo;s persistent allegiance and magnanimous, catch-all approach to painting attests to the palimpsest of</p> <p>emotion, memory, and chance that drives a gleaner's relationship to material and image: from collected words</p> <p>and phrases to allusions to specific moments, places, friends, and family, and narratives of surface, materiality,</p> <p>and studio process. These visceral paintings&mdash;where velvet is drenched in sea water, or tablecloths are doused</p> <p>in paint and used as sponges on visibly patched tarpaulins&mdash;embody an alternative, iconoclastic approach to</p> <p>&ldquo;the sacred cloth,&rdquo; shared with the aforementioned American forbears, as well as kindred spirits Francis Picabia,</p> <p>Yves Klein, Alberto Burri, and Sigmar Polke, to name but a few. There is no substitute for the authenticity of</p> <p>Schnabel's gesture; twenty-five years after their making, his elegant yet exuberant and intrepid paintings have</p> <p>renewed vigor and urgency, anticipating the gestural, aleatory, and readymade painting so pervasive among</p> <p>emerging artists today.</p> <p>&nbsp;</p> <p>Julian Schnabel was born in New York City in 1951 and studied at the University of Houston (1969&ndash;73) and the</p> <p>Whitney Museum Independent Study Program (1973&ndash;74). Public collections include Metropolitan Museum of Art,</p> <p>New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R.</p> <p>Guggenheim Museum, New York; Museum of Contemporary Art, Los Angeles; Broad Art Foundation, Los</p> <p>Angeles; National Gallery of Art, Washington, D.C.; Tate Gallery, London; Centre Georges Pompidou, Paris; and</p> <p>Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid. Recent solo exhibitions include Inverleith House, Edinburgh</p> <p>(2003); Schirn Kunsthalle, Frankfurt (2004); Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid (2004); Mostra</p> <p>d'Oltramare, Naples (2005); Schloss Derneburg, Germany (2007); Tabacalera Donostia, San Sebastian, Spain</p> <p>(2007); Beijing World Art Museum (2007); Saatchi Gallery, London (2008); Art Gallery of Ontario (2010); Museo</p> <p>Correr, Venice (2011); Centro Italiano Arte Contemporanea, Foligno, Italy (2013); and Brant Foundation Art Study</p> <p>Center (2013&ndash;14).</p> <p>&nbsp;</p> <p>&ldquo;Julian Schnabel: An Artist Has A Past (Puffy Clouds and Strong Cocktails),&rdquo; an exhibition of fifteen paintings</p> <p>produced over the past decade, will be on view at Dallas Contemporary from April 11&ndash;August 10, 2014.</p> <p>&nbsp;</p> <p>Draw a Family, a fully illustrated book focusing on Schnabel's paintings of the past forty years, was published by</p> <p>Karma in April of 2014.</p> <p>&nbsp;</p> <p>Schnabel lives and works in New York City and Montauk.</p> Thu, 17 Apr 2014 15:52:32 +0000 Alan Gaynor - Viridian Artists - April 29th - May 17th <p align="center"><strong>ALAN GAYNOR</strong></p> <p align="center"><strong>"REMEMBRANCES"</strong></p> <p align="center"><strong>APRIL 29- MAY 17, 2014</strong></p> <p align="center"><strong>Reception Thursday May 1 6-8PM</strong></p> <p>Chelsea, NYC: Viridian Artists is pleased to present new work by Alan Gaynor. His exhibition of photographs entitled "Remembrances" continues from April 29 through May 17, 2014 with an opening reception, Thursday May 1, 6-8PM.</p> <p>The images in this exhibit are a departure from Gaynor's usual subject matter of urban architecture and instead are a tribute to his late wife Sharon Silbiger, a Professor of Medicine at Montefiore Medical Center and Albert Einstein School of Medicine. In these works, Gaynor uses the beauty of dying flowers, as a metaphor for her death after a long illness.&nbsp;</p> <p>Though he hopes to return to focusing on architectural patterns in his photographic work, changing his imagery during his grieving has provided solace. The images in this exhibit are another poignant example of the power and importance of art in our lives.&nbsp; In these powerful floral portraits, Gaynor has gone beyond the usual imagery of flowers in art, instead creating a potent metaphor of the beauty and naturalness of the evolution of life and death.</p> <p>Until this body of work, perhaps because he is also a licensed architect, Gaynor's focus has been an all-encompassing examination of the architecture of the urban landscape. As architecture is often said to be "frozen music", Gaynor's photographs demonstrate that in a city, it is the layering of the buildings played against one another, creating an overall ensemble that one could say resembles music.&nbsp; There is an equally powerful sense of rhythm in these unique flower images.</p> <p>The artist has studied with the master photographers George Tice (urban landscapes), John Sexton (black &amp; white imagery of nature and Ansel Adams' assistant) &amp; Jock Sturges noted for his B&amp;W photographs of Naturists &amp; beautiful people.</p> <p>This will be the artist's 2nd solo exhibit at Viridian. He has received many awards for his photography including a Bronze Award in the 2012 International Loupe Awards, Terabella Media&nbsp; Urban Landscape, Epson International, Tank Photo Award and many others. His work has been featured in publications including Best of Photography 2012, The Photographer, CoverArt and Photo Review to name just a few. He has been exhibiting his photography since 2000 at many galleries, including FotoFusion, Spectra '07, Saf-T-Gallery, Black Box Gallery, Camera Obscura, Soho Photo and others.&nbsp;</p> <p align="center">Gallery hours are Tuesday through Saturday 12-6PM</p> Wed, 16 Apr 2014 15:30:44 +0000