ArtSlant - Recently added en-us 40 Khaled Jarrar - Whitebox Art Center - July 24th - August 7th Tue, 22 Jul 2014 03:26:47 +0000 - Tria Gallery - July 22nd - September 17th Tue, 22 Jul 2014 03:22:39 +0000 - Sundaram Tagore Gallery - Chelsea - July 24th - August 23rd Tue, 22 Jul 2014 03:15:24 +0000 - Sperone Westwater - July 8th - August 15th Tue, 22 Jul 2014 03:07:43 +0000 Zoe Beloff - Participant Inc. - July 20th - August 17th <p>From July 20 to August 17, 2014, PARTICIPANT INC is proud to present Zoe Beloff,<br />The Days of the Commune, an installation based on Beloff&rsquo;s restaging of Bertolt<br />Brecht&rsquo;s eponymous play. In the spring of 2012, Beloff brought together a group of<br />actors, activists, and artists to perform the play in solidarity with Occupy Wall<br />Street (OWS). Thinking about OWS as a radical theater of the people, the group<br />conceptualized the project as a &ldquo;work in progress,&rdquo; in the sense that all social<br />movements are a work in progress. Rather than stage the play in a theater, The Days<br />of the Commune was performed, scene by scene, in public spaces around New York City,<br />from Zuccotti Park to an East Village community garden.</p> <p><br />The Paris Commune of 1871 was the first great Occupation in modern history. Written<br />in 1948, Brecht&rsquo;s play both dramatizes its short-lived success, and asks questions<br />about the struggle for workers&rsquo; freedom against overwhelming odds. In the process of<br />restaging the production over a period of three months, March through May (the months<br />that the Commune actually existed), Beloff located significant parallels between that<br />socialist revolution and the Occupy Wall Street movement (which celebrates its third<br />anniversary on September 17). For example, both stood for living wages, housing and<br />free education for all. The culmination of Beloff&rsquo;s performance, video, and<br />installation project, The Days of the Commune is a scripted environment that includes<br />a video documenting the performances, props, costumes, posters, and drawings, as well<br />as weekly screenings.</p> <p>Interested in Eduard Manet&rsquo;s drawings of &ldquo;bloody week&rdquo; &ndash; the brutal massacre of<br />revolutionaries that ended the Commune &ndash; Beloff used documentary drawing as a way to<br />begin engaging the OWS movement. More than just a protest movement, OWS enacted anegalitarian, alternative economy reflecting a Marxist value system championed by<br />Brecht, whose &ldquo;epic&rdquo; theater invites us think about the events on stage in relation<br />to what is happening in our lives. In this spirit, Beloff conceptualized The Days of<br />the Commune not as historical reenactment, but a proposal for a commune yet to come.</p> <p>Soliciting amateur and professional actors for the play&rsquo;s fifty speaking parts<br />through the Occupy Performance Guild listserv, postings in downtown theaters, and<br />enlisting her CUNY peers, Beloff assembled a rotating cast of performers. Wearing<br />historical costumes paired with contemporary clothes, the actors&rsquo; intentionally<br />unrehearsed and ad hoc performances undermined the play&rsquo;s theatrical illusions in<br />ways not dissimilar to Brecht&rsquo;s &ldquo;distancing&rdquo; tactics, producing an analogous, desired<br />effect.</p> Tue, 22 Jul 2014 02:57:15 +0000 Group Show - Pace Gallery - 57th St. - July 17th - August 15th Tue, 22 Jul 2014 02:49:44 +0000 Robert Chamberlin - Margaret Thatcher Projects - July 24th - August 15th <p><strong>Margaret Thatcher Projects&nbsp;</strong>is pleased to present&nbsp;<em>Fountains</em>, a special project room installation of works by&nbsp;<strong>Robert Chamberlin</strong>. Chamberlin&rsquo;s series&nbsp;of heavily decorated porcelain vessels refreshingly explore themes of desire,&nbsp;sexuality, and domesticity. Each vase is&nbsp;decorated by hand using cake-decorating&nbsp;tools and is adorned to create an individual piece with a unique personality.&nbsp;The decoration, inspired by the great jewels and palaces of history, allude to&nbsp;the opulence and power of the past with shared acknowledgment&nbsp;of their demise.</p> Tue, 22 Jul 2014 01:19:05 +0000 Group Show - Margaret Thatcher Projects - July 24th - August 15th <p class="p2">In escaping the heat of summer, artists often find that&nbsp;the time and leisure that accompanies the season in fact presents a prime and&nbsp;refreshing opportunity to create in the studio.&nbsp;<em>Turn Up the Heat</em>&nbsp;at&nbsp;<strong>Margaret&nbsp;Thatcher Projects</strong>&nbsp;offers a condensed viewing of&nbsp;artists' works from the gallery&nbsp;program alongside modernist furniture by Stoller Works. &nbsp;</p> <p class="p1">Highlights of the exhibition include new paintings by&nbsp;Carlos-Estrada-Vega&nbsp;demonstrating the&nbsp;artist&rsquo;s worn and weathered puzzle-like compositions while&nbsp;<em>Impression 07</em>&nbsp;and&nbsp;<em>09</em>&nbsp;by&nbsp;Rainer Gross&nbsp;elaborate on the artist&rsquo;s&nbsp;exploration of richly textured, tactile,&nbsp;abstract surfaces. In&nbsp;<em>Dominion 5</em>,&nbsp;Kevin&nbsp;Finklea&nbsp;expands his scale whereas&nbsp;Omar&nbsp;Chacon&nbsp;looks to early-Renaissance works in establishing his palette for&nbsp;<em>Precursor de Las dos Messalinas</em>.</p> Tue, 22 Jul 2014 01:14:55 +0000 Group Show - Lesley Heller Workspace - July 23rd - August 16th <p>&ldquo;More is unknown than is known. We know how much dark energy there is because we know how it affects the Universe's expansion. Other than that, it is a complete mystery. But it is an important mystery. It turns out that roughly 68% of the Universe is dark energy. Dark matter makes up about 27%. The rest - everything on Earth, everything ever observed with all of our instruments, all normal matter - adds up to less than 5% of the Universe. Come to think of it, maybe it shouldn't be called "normal" matter at all, since it is such a small fraction of the Universe.&rdquo;</p> <p><br />- A passage from NASA's website describing Dark Energy/Matter.</p> <p><br />Dark Map is a show of abstract drawing. Not the orthodox type of late modernist abstraction concerned with formalist purity, but a different kind of emergent abstraction primarily interested in discovery rather than stylistic hegemony. Poetically speaking, it involves going outside of what is known into darkness to uncover something new in art and reality. In all of the work there is a sense of exploring the unknown, a mystery; abstraction as giving form to something unnameable, or not yet named. Dark Map focuses on drawing because of the medium's long connection to charting territories both tangible and intangible; conversely for its immediacy; as jots of visual thought.</p> <p><br />The curator states: &ldquo;I like the less common notion of drawing. Not drawing necessarily as depicting or copying something that exists, but as drawing out something unseen, conjuring&rdquo;.</p> <p><br />Most of the artists in Dark Map have a process of finding the shape of their artwork while making it; they do not know what the piece will look like until it is done. Many of them use chance and randomness as part of their process. Some use a set of self-imposed rules whose consequences are unpredictable. Mystery and not knowing<br />are a part of the artwork.</p> Tue, 22 Jul 2014 01:08:59 +0000 - George Billis Gallery- NY - July 22nd - August 16th Tue, 22 Jul 2014 00:58:17 +0000 Paul Feeley - Garth Greenan Gallery - July 21st - August 22nd Tue, 22 Jul 2014 00:56:34 +0000 Carl Ostendarp - Elizabeth Dee Gallery - July 24th - September 6th Tue, 22 Jul 2014 00:32:59 +0000 Scott Daniel Ellison - ClampArt - July 24th - September 6th <p>ClampArt is pleased to announce &ldquo;Iowa, Ohio,&rdquo; Scott Daniel Ellison&rsquo;s fourth solo show at the gallery. The exhibition coincides with the release of the artist&rsquo;s first monograph of the same name from Magical Thinking/Schilt Publishing (Hardcover, 80 pages, 9.4 x 7.7 inches, $40).</p> <p>Ellison&rsquo;s newest body of work imagines macabre vignettes inspired in equal parts by Scandinavian folklore, obscure horror films, and childhood fears and preoccupations. About his rearing in rural upstate, Ellison writes: &ldquo;As Halloween approached I would get on my bike and ride around the developments and back roads of Warwick, New York looking for the witches, werewolves, vampires, and zombies that were put out on front lawns, placed in windows, or propped up on lawn chairs as decoration.&rdquo; These explorations emerge in this body of work as arcane subjects, re-invented as children&rsquo;s drawings&mdash;dark fantasies of an imagination gone wild.</p> <p>These new works reflect a shift in visual and narrative complexity for Ellison. The recent scenes are no longer immediately readable, but instead give the viewer just a glimpse of vague (and often unsettling) occurrences. Though commonly whimsical and sometimes even endearing at first glance, the subject matter veers riotously between near sweet depictions of household pets and the more sinister implications of hands reaching from the mouths of tunnels, or skulls and spiders and bodies burrowed deep underground.</p> <p>Trained as a photographer who counts images by Diane Arbus and Ralph Eugene Meatyard as early inspiration, Ellison&rsquo;s work as a painter engages a history of &ldquo;outsider&rdquo; art, particularly the work of Bill Traylor and Henry Darger. This genealogy is apparent in Ellison&rsquo;s visual language of deadpan compositions, smeared lines, flat shapes, and a general economy of means.</p> Tue, 22 Jul 2014 00:27:06 +0000 - Canada - July 25th - August 22nd Tue, 22 Jul 2014 00:21:17 +0000 Al Freeman, Joanne Greenbaum, Branden Koch, Dan McCarthy, Monique Mouton, Jennifer Rochlin, Bruce M. Sherman, James Yakimicki - Brennan & Griffin - July 22nd - August 15th <p class="p1">Brennan &amp; Griffin is thrilled to announce our summer exhibition, ʻIf you throw a spider out the window, does it break?ʼ curated by Adrianne Rubenstein.&nbsp;</p> <p class="p1">In her book ʻHow Should a Person Be?ʼ, Sheila Heti contemplates her relationship with a spider. Sweet and protective towards the arachnid while it is contained in the bathroom, the writer becomes violent and vengeful when the spider trespasses into her bedroom. Sheilaʼs best friend Margaux, fearing that she is being perceived as the spider, urges Sheila not to smear her against the wall. The best intentions can end in disaster, but spiders, like ideas, are not (fortunately) breakable.</p> <p class="p1">If you throw a spider out the window, presumably to get away from it, does it break? Yes? No? Maybe. A spider, being very light, would flutter to the ground, coasting if not swinging from its silk. Do spiders think or are their instincts thoughtful? The protection offered by an exoskeleton is like the form and material of an artwork. The insides&mdash;how many cells from end to end?&mdash;are ineffable. The artists in this exhibition have a personal narrative driving their creative process. Their forms are succinct, timeless, playful, humorous and delightful. If the spider falls out the window (bear in mind weʼre talking 5th floor walk-up) and makes it to the ground, we're confident that it would walk away.</p> Tue, 22 Jul 2014 00:18:23 +0000 Kazi Salahuddin Ahmed, Masum Chisty, Khaled Hasan, Imran Hossain Piplu, Promotesh Das Pulak, Dhali Al Mamoon, Yasmin Jahan Nupur, Mohammad Wahiduzzaman, Wakilur Rahman - AICON GALLERY - New York - July 24th - September 6th Tue, 22 Jul 2014 00:09:18 +0000