ArtSlant - Recently added en-us 40 - National Academy Museum - May 14th - May 17th Wed, 23 Apr 2014 21:38:02 +0000 - Galerie Richard - May 1st - May 31st <p>Galerie Richard, New York is pleased to present a solo exhibition of paintings by Shirley Kaneda.&nbsp; This will be Kaneda&rsquo;s first exhibition with Galerie Richard in New York and her eighth solo show in New York.</p> <p>&nbsp;Kaneda has continually explored the possibilities of abstract painting in thought provoking ways, juxtaposing a wide variety of painting modes that open possibilities to diverse interpretations. She has persistently attempted to change the terms of abstract painting by questioning and challenging the exclusionary practices that lead to modernism&rsquo;s entropic collapse.</p> <p>&nbsp;The title of the show, <em>&ldquo;Space Without Space&rdquo;</em> refers to spaces that we can imagine but are virtually present. The grey checkerboard in some of Kaneda&rsquo;s paintings are immediately recognizable as the &ldquo;background&rdquo; or the empty space in Photoshop. It is used in Kaneda&rsquo;s paintings to refer to multiple associations such as the &ldquo;grid,&rdquo; the emblem of modernism or to checkerboard itself or to Ben-Day dots used by Roy Lichtenstein.&nbsp; Since the checkerboard pattern is the &ldquo;background&rdquo; in Photoshop, it also signifies the last plane or the &ldquo;void&rdquo; in modernist abstract paintings.</p> <p>&nbsp;Kaneda deftly uses these checkerboard patterns along with circles, curvilinear patterns and biomorphic forms to confuse and maintain a shifting space where the placements and relationships among these elements appear to be variable and interchangeable that result in an unstable space where the there is no &ldquo;last&rdquo; space or background.</p> <p>&nbsp;In the catalogue essay that Kaneda wrote for <em>After the Fall, Aspects of Abstract Painting since 1970, </em>curated by Lilly Wei, she maintains:</p> <p><em>&ldquo;The painter no longer has to subscribe to imaging the &ldquo;whole&rdquo; as a universal truth or law. The &ldquo;at onceness&rdquo; that Greenberg coined and defined as a way to experience this phenomenological and philosophical aspect of abstract painting can now be re-interpreted to present a different reality based on our current thoughts regarding the way we view, and think about ourselves. What we can take into account is the way the notion of time and space has altered and abstract painting is not a negation of representation.&rdquo;</em></p> <p>If abstract painting is not a negation of representation, how and what does it represent? These are questions that Kaneda asks the viewer through her paintings that show us a more complex reading of painting&rsquo;s time and space in the technological age. The playful composition in her work is constructed in a manner that allows the viewer to imagine an indeterminate space that is not fixed which can lead to notions of how our lives and the world are predicated on inconsistencies and paradoxes and that there is no single way to order our understanding.&nbsp; This approach has been at the heart of Kaneda&rsquo;s work for over two decades. As such, her interest is in revising and regaining abstract painting, not to put it in the forefront, but as a viable and thoughtful practice.&nbsp;</p> <p>Kaneda has been the recipient of many awards such as the Guggenheim Fellowship for Visual Art, Pollock Krasner Foundation and National Endowment for the Arts. Her work is in the collections of Virginia Museum of Fine Arts, Corcoran Gallery of Art, Allen Memorial Art Museum, David Winton Bell Gallery, Brown University, Philip Morris USA, and Sprint International Corporation among others.</p> Wed, 23 Apr 2014 21:01:13 +0000 Melanie Bonajo, Daniel Canogar, Kate Gilmore, Wojchiech Gilewicz, William Lamson, Rafael Rozendaal, Rico Gatson - The Boiler (Pierogi) - May 2nd - May 11th <div> <div> <p><span style="font-family: 'Trebuchet MS';">We are pleased to announce&nbsp;<strong>SEVEN / VIDEO</strong>, a collaborative exhibition at The Boiler including seven galleries, each presenting video work by one artist. The exhibition will run from 2 &mdash; 11 May. Last year&rsquo;s edition of&nbsp;<strong>seven @ SEVEN</strong>&nbsp;included feature, inc. a gallery run by our friend and fellow dealer, Hudson. Hudson passed away in February and this year&rsquo;s&nbsp;<strong>SEVEN</strong>&nbsp;will include a special tribute to him. We are privileged to be able to present videos of his performances, &ldquo;Poodle Theater (Part 1 and 2) from 1979 / 1980. Our special thanks to Jimi Dams from envoy enterprises for making this possible.</span></p> </div> <div> <p>&nbsp;</p> </div> <div> <p><span style="font-family: 'Trebuchet MS';">Launched in 2010 by seven galleries from New York and London,&nbsp;<strong>SEVEN</strong>&nbsp;is a unique initiative committed to presenting artworks on their own terms and providing an intimate, personal way to engage the viewer. An emphasis on cooperation rather than competition is a founding principle of&nbsp;<strong>SEVEN</strong>&nbsp;that puts the art viewing experience ahead of other considerations. Since its inception,&nbsp;<strong>SEVEN</strong>&nbsp;has evolved by inviting new galleries and guests in both independent and institutional locations, most commonly in Miami and recently in Dallas. Participating galleries in&nbsp;<strong>SEVEN / VIDEO</strong>&nbsp;are Momenta, David Castillo, bitforms gallery, Pierogi, Postmasters, P&bull;P&bull;O&bull;W, and Ronald Feldman Fine Arts.</span></p> </div> <div> <p><span style="font-family: 'Trebuchet MS';"><br /><strong>SEVEN / VIDEO</strong>&nbsp;will present the work of one artist from each of the participating galleries and will feature works in the medium of video. Entry to&nbsp;<strong>SEVEN / VIDEO&nbsp;</strong>is free. The opening reception is Friday, May 2nd from 6 &ndash; 9 pm.</span></p> </div> <div> <p><strong><span style="font-family: 'Trebuchet MS';">Below is a preview of featured artists:</span></strong><span style="font-family: 'Trebuchet MS';"><br /><br /></span></p> </div> <div> <p><strong><span style="font-family: Arial;">MELANIE BONAJO (P&bull;P&bull;O&bull;W) &nbsp;<br /><br /></span></strong><span style="font-family: 'Trebuchet MS';">P.P.O.W</span><span style="font-family: 'Trebuchet MS';">&nbsp;is pleased to present Melanie Bonajo&rsquo;s&nbsp;<em>Pee on Presidents</em>, a collection of over 500 photographs of urinating girls taken by Melanie Bonajo between 1998 and 2013, empowering vulnerable moments of women searching for a hiding place (or not) to pee in public. The accompanying music is "Pee on Presidents," written and performed by ZaZaZoZo, Bonajo's band with Joseph Marzolla. It is a protest song that ridicules patterns of hierarchy, sexism, bureaucracy and patriarchal structures in society. Melanie Bonajo was born in Heerlen, The Netherlands in 1978. In 1998, she moved to Amsterdam and entered the Gerrit Rietveld Academy where she majored in Photography and Fine Arts. Her photographs have been exhibited in major art institutions internationally and her work has been published widely. In 2013, Melanie Bonajo was the recipient of the MK Award, the first edition of the award for contemporary art practice.</span></p> </div> <div> <p><strong><span style="font-family: Arial;">DANIEL CANOGAR (bitforms gallery)&nbsp;&nbsp;</span></strong></p> </div> <div> <p><span style="font-family: 'Trebuchet MS';">bitforms gallery will feature new work by Daniel Canogar (b. 1964, Madrid) that is drawn from&nbsp;<em>Small Data</em>, his latest series, which explores the life and death of consumer electronics. C</span><span style="font-family: 'Trebuchet MS';">omprised of precisely mapped overhead projections and salvaged devices,&nbsp;<em>Small Data</em>&nbsp;uses light to reanimate found objects such as crushed computers, scanners, printers, old cell phones and hard discs.&nbsp;</span><span style="font-family: 'Trebuchet MS';">Propped on shelves, these decaying technologies are presented as contemporary still lives, insidious reminders of our own aging process and inevitable expiration date.</span><span style="font-family: 'Trebuchet MS';">&nbsp;</span><span style="font-family: 'Trebuchet MS';">As tools for communication with the outside world, and as repositories for so many of our memories, we acquire a very intimate relationship with technological devices. Haunted by these pasts, Canogar attempts to reveal the memories, both personal and collective, that seem trapped within, mementos of a time when they had fully functional lives and served us well.</span></p> </div> <div> <p><strong><span style="font-family: Arial;">KATE GILMORE (David Castillo)</span></strong></p> </div> <div> <p><span style="font-family: 'Trebuchet MS';">Kate Gilmore&rsquo;s,&nbsp;</span><span style="font-family: 'Trebuchet MS Italic';">Love 'em, Leave 'em&nbsp;</span><span style="font-family: 'Trebuchet MS';">(2013), presents a 10-foot tall structure which Gilmore repeatedly climbs, carrying hundreds of vases and pots filled with paint. Dropped from&nbsp;above, the vessels shatter and splatter into a cohesive composition. The clean, white, monumental structure refers to Minimalist forms, while the explosive action and dripping paint&nbsp;allude to Abstract Expressionism. Humorously and destructively engaging these modernist tropes, Gilmore challenges their heroic myths and the gendered stereotypes of art making in&nbsp;general.</span></p> </div> <div> <p><strong><span style="font-family: Arial;">WOJCIECH GILEWICZ (Momenta)&nbsp;&nbsp;</span></strong></p> </div> <div> <p><span style="font-family: 'Trebuchet MS';">Wojciech Gilewicz&rsquo; trompe l&rsquo;oeil paintings imitate and cover flat elements of the cityscape.&nbsp;<em>Shanghai</em>, included in this exhibition, features the artist working at a refuse dump in China. He adjusts his sensitivity to the lowest-level manifestation of urban imagery by veiling the surface details with their painting look-alikes, following his prior artistic method. The same project repeated in subsequent locations acquires an ethnographic dimension and reveals fractures in the urban tissue; in New York beforehand and now in Shanghai.</span></p> </div> <div> <p><strong><span style="font-family: Arial;">WILLIAM LAMSON (Pierogi)&nbsp;&nbsp;</span></strong></p> </div> <div> <p><span style="font-family: 'Trebuchet MS';">Pierogi will feature a new video by William Lamson,&nbsp;<em>Untitled (White Sands, New Mexico)</em>. In this work the artist walks in a giant circle through a sand storm as the camera slowly pans with him, creating an endless loop within an undefined field. The artist appears as a small figure moving with effort through an unforgiving and uniform landscape. All that can be heard is the harsh wind. In this, Lamson demonstrates the real time relationship between himself and the environment.&nbsp;</span><span style="font-family: 'Trebuchet MS';">His video works often find him exploring the possibilities of natural forces just outside his control (both in the natural world and in his studio). Lamson was born in Arlington, Virginia and currently lives and works in Brooklyn, NY. His work has appeared in&nbsp;<em>ArtForum</em>,&nbsp;<em>Frieze</em>,&nbsp;<em>New York Times</em>,&nbsp;<em>New Yorker</em>,&nbsp;<em>Harpers</em>&nbsp;and the&nbsp;<em>Village Voice</em>. Lamson is a 2014 recipient of a Guggenheim Fellowship Award.</span></p> </div> <div> <p><strong><span style="font-family: Arial;">RAFA</span></strong><strong>&Euml;</strong><strong><span style="font-family: Arial;">L ROZENDAAL&nbsp;(Postmasters)</span></strong></p> </div> <div> <p><span style="font-family: 'Trebuchet MS';">Postmasters Gallery will present a brand new website by a Dutch-Brasilian artist Rafa&euml;l Rozendaal. Born in 1980, Rozendaal uses the Internet as his canvas. Spread out over a vast network of domain names, his work attracts a large online audience of over 40 million visits per year. He explores the electronic screen as a pictorial space, reverse engineering reality into condensed bits, to create works that reside somewhere between painting and animation. Rozendaal's websites (of which there is almost one hundred online now) are individual works of art where the domain name serves as the title (e.g.,&nbsp;</span><a href="" rel="nofollow"><span style="color: #386eff; font-family: 'Trebuchet MS';"></span></a><span style="font-family: 'Trebuchet MS';">,&nbsp;</span><a href="" rel="nofollow"><span style="color: #386eff; font-family: 'Trebuchet MS';"></span></a><span style="font-family: 'Trebuchet MS';">). Though collectors may buy his websites, Rozendaal stipulates in his Art Website Sales Contract that the sites must remain on public view and the owner must renew the domain registration annually.&nbsp;&nbsp;<em>It's the virtual equivalent of owning a sculpture in a public park,&nbsp;</em>he says.<em>&nbsp;There's a point of pride of being the one who commissioned or paid for it. And the site still identifies the owner.</em></span></p> </div> <div> <p><strong><span style="font-family: Arial;">RICO GATSON (Ronald Feldman Fine Arts)</span></strong></p> </div> <div> <p><span style="font-family: 'Trebuchet MS';">Rico Gatson&rsquo;s&nbsp;<em>The Promise of Light</em></span><span style="font-family: 'Trebuchet MS';">&nbsp;</span><span style="font-family: 'Trebuchet MS';">is partly inspired by the book,&nbsp;</span><em><span style="font-family: 'Trebuchet MS';">The Warmth of Other Suns</span></em><span style="font-family: 'Trebuchet MS';">&nbsp;</span><span style="font-family: 'Trebuchet MS';">by Isabel Wilkerson, which chronicles the black migration out of the American South spanning World War I through the early 1970&rsquo;s. Gatson&rsquo;s family undertook this journey, moving from Georgia to California in the late 60&rsquo;s for the promise of a new beginning. The &ldquo;promise&rdquo; is a reference to the intrinsic optimism of the distinctive California light, while alternately referencing the universal struggle inherent in striving toward idealized promise. Gatson&rsquo;s video projection combines footage of atmospheric light and sound layered upon graphic historic imagery. The light in the video is transitional, alluding to journey, transformation, and the passage of time.</span></p> </div> <div> <p><span style="font-family: 'Trebuchet MS';">For more information, please email us at&nbsp;</span><span style="color: windowtext; font-family: 'Trebuchet MS';"></span><span style="font-family: 'Trebuchet MS';">&nbsp;or contact Joe Amrhein at Pierogi Gallery, 718-599-2144.</span></p> </div> <div> <p>&nbsp;</p> </div> <div> <p><strong><span style="font-family: 'Trebuchet MS';">HOURS</span></strong><span style="font-family: 'Trebuchet MS';">:</span></p> </div> <div> <p><span style="font-family: 'Trebuchet MS';">Friday, May 2 (opening): &nbsp;6-9 pm</span></p> </div> <div> <p><span style="font-family: 'Trebuchet MS';">Saturday - Sunday May 3 - 4: 12 &ndash; 6pm</span></p> </div> <p><span style="font-family: 'Trebuchet MS';">Tuesday &ndash; Sunday May 6 &ndash; 11: 12 &ndash; 6pm</span></p> </div> <div> <p>&nbsp;</p> </div> <div> <p><span style="color: #000000; font-family: 'Trebuchet MS';">Twitter:&nbsp;</span><a href="" rel="nofollow"><span style="color: #000000; font-family: 'Trebuchet MS';"></span></a></p> </div> Wed, 23 Apr 2014 20:51:01 +0000 Lucy Williams - McKee Gallery - May 1st - June 20th <p class="p1">The McKee Gallery is pleased to announce the opening of an exhibition of new work by the British artist, LUCY WILLIAMS, her fourth exhibition in New York.</p> <p class="p1">Lucy Williams is interested in early 20th century modernist design. She collects photographs (mostly black and white) of modernist buildings and interiors, which she then transforms and abstracts into three-dimensional relief through her own sense of space, color and inventive use of diverse materials. These may include balsa wood, card, Plexiglas, wool embroidery, acrylic paint, cork and paper. The title 'Festival' recalls the exciting 'Festival of Britain' held in London in 1951, where a new feeling of optimism, purpose and social responsibility was conveyed in modernist architecture, sculpture and design. This surprising and daring event was organized to inspire a public recovering from the trauma of war and trapped in the gray austerity of post-war Britain. International modernism was embraced by a new generation looking forward to modern homes and a comfortable, colorful lifestyle.</p> <p class="p1">Lucy Williams embraces their utopian vision of color and positive purpose, restoring the memory of architects and designers such as Leslie Martin, architect of the Royal Festival Hall, and Sir Basil Spence, who designed the thrilling Sea and Ships Pavilion for the Festival. Their designs, among many others, broke new ground, and allow Williams to enjoy their idiosyncratic edge and economy and to explore profound ideas in her own work.</p> <p class="p1">32-page catalogue available with essay by Sally OʼReilly.</p> <p class="p1">For further information and images, please contact Karyn Behnke at</p> Wed, 23 Apr 2014 20:08:28 +0000 Ai Yamaguchi - Joshua Liner Gallery - May 8th - June 7th <div class="span-12 blockbody"> <div class="span-6 maincolumn"> <p>Joshua Liner Gallery is pleased to present an exhibition of new and recent work from Japanese artist Ai Yamaguchi.&nbsp;<em>shinchishirin</em>&nbsp;will be Yamaguchi&rsquo;s first exhibition with the gallery and her first New York solo show since 2002. The artist will be in attendance during the opening reception.</p> <p>Feminine beauty is the main theme in all of Yamaguchi&rsquo;s work. As with many other cultures, hair is an important symbol of beauty in Japan. The artist often depicts girls&rsquo; hair as part of the scenery&mdash;these rivers and mountains of long black hair mimic brush strokes and traditional Japanese calligraphy.</p> <p>One aspect of traditional Japanese art that Yamaguchi incorporates into her work is Japanese poetry, or&nbsp;<em>Waka</em>. The artist often takes apart poems and plays with the words to create new verses&mdash;evidenced in exhibition title,&nbsp;<em>shinchishirin</em>. Taken from several different poems from the early Heian Period anthology, the&nbsp;<em>Kokin Wakashū</em>(in English, &lsquo;Collection of Japanese Poems of Ancient and Modern Times&rsquo;):&nbsp;<em>shin</em>means &ldquo;heart,&rdquo;&nbsp;<em>chi</em>&nbsp;means &ldquo;earth,&rdquo;&nbsp;<em>shi</em>&nbsp;means &ldquo;words,&rdquo; and&nbsp;<em>rin</em>&nbsp;means &ldquo;forest.&rdquo; As a poem,&nbsp;<em>shinchishirin</em>&nbsp;expresses how the seeds of your heart get planted into the ground and grow into a forest of poetry.</p> <p>The shapes of the canvases from Yamaguchi&rsquo;s white gesso paintings are all different characters from Japanese words she doesn&rsquo;t care for, neither their sound or significance. These words are broken down hiragana characters&mdash;the simplest alphabet in Japanese. Considered a feminine way of writing, during the Heian period hiragana was used exclusively by the ladies of the royal court. In hiragana&mdash;unlike with typed fonts&mdash;when written vertically with a brush, the shape of each letter becomes more organic, similar to western cursive. By physically beautifying the words through her canvases, the artist hopes to gain a different perspective and sensitivity towards these words&mdash;words sown like the seeds of Yamaguchi&rsquo;s forest. She uses&nbsp;<em>shinchishirin</em>&nbsp;painting as a cleansing process.</p> <p>Having come from a background of industrial arts where she concentrated in textiles and fabrics, Yamaguchi experiments with new techniques and media. For example, she developed a unique blanket-canvas style where she covers wood panels in a blanket, or&nbsp;<em>futon</em>, and covers them with cotton fabric. This technique is often said to have a ceramic quality due to her application of gesso to fabric. It adds a two dimensional anime-like quality to her characters, making the colors all the more vibrant, while adding three-dimensionality to the canvas itself.</p> <p>For this exhibition Yamaguchi also experiments with non-gesso blanket-canvases, layered in multiple planes&mdash;similar to the Japanese wooden doll art of&nbsp;<em>kimekomi ningyo</em>. Creating a subdued and understated drama&mdash;compared with some of her bolder pieces&mdash;closer inspection is necessary to see the details that would otherwise be missed, luring the viewer into the narrative of the canvas.</p> <p>Yamaguchi&rsquo;s art is deeply rooted in traditional Japanese themes and values, yet it is undeniably modern and pop. Though the artist does not draw men, this does not mean they do not exist in the world of the girls she portrays. At a time in Japan that was completely dominated by men, Yamaguchi depicts the untold lives of women as beautiful and alluring, yet innocent and unbroken.</p> <p>Born 1977, Ai Yamaguchi currently lives and works in Tokyo, Japan. Yamaguchi trained under Takashi Murakami and worked as an assistant at Kaikai Kiki for many years while forging her own studio practice.&nbsp;</p> <p><em>Reception Thursday May 8 from 6-8pm</em></p> <p><strong>&nbsp;</strong></p> </div> <div class="span-2 last rightcolumn">&nbsp;</div> </div> <div class="span-12 blockfooter">&nbsp;</div> Wed, 23 Apr 2014 19:09:43 +0000 Sandra Mendelsohn Rubin - Ameringer | McEnery | Yohe - April 24th - May 31st <p><span style="font-family: georgia, palatino;">In this body of work, Sandra Mendelsohn Rubin creates small, but meticulously detailed paintings of the rural northern California landscape, often from an aerial perspective.</span></p> <p><span style="font-family: georgia, palatino;">While in the past she worked solely from life, Rubin utilizes digital photography in her most recent paintings as a supplement to her usual method. Instead of compromising her work, photography as a tool enables Rubin to portray the human presence, made evident through the use of aerial perspectives, in the framework of the natural environment. The use of photography furthers the artist&rsquo;s desire to further bond her works to the physical world.</span></p> <p><span style="font-family: georgia, palatino;">On each canvas, there are several layers of undiluted oil paint applied straight form the tube.&nbsp; The detailed application of paint is enhanced by the somewhat diminutive scale of these works, which transforms the impression of far-off space into an intimate experience. These works are inherently small in order to convey intensity of detail in a way that allows the viewer to physically feel a connection with the surface being depicted.&nbsp;</span></p> <p><span style="font-family: georgia, palatino;">Although the rural northern California landscape remains her inspiration, water has now become the primary focus. It is the element that ties together this particular body of works and is present in some form, whether manmade or natural, on each canvas with the exception of one. The subject of water as a focal point is a reflection on its implicit presence in everyday life.</span></p> Wed, 23 Apr 2014 14:56:07 +0000 Wolf Kahn - Ameringer | McEnery | Yohe - April 24th - May 31st <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p><span style="font-family: georgia, palatino;">With paintings dating from 1960 to 2014, this exhibition of works illustrates the complex evolution of Wolf Kahn&rsquo;s prolific career.</span></p> <p><span style="font-family: georgia, palatino;">Kahn&rsquo;s early works are nearly monochromatic, concentrating on subtle varying tonalities. Though nature was his inspiration, the subject matter remains allusive. However, by the late 1960s, Kahn began his transition to a bolder palette. Amidst this shift, the subject becomes increasingly explicit while abstractly depicted.</span></p> <p><span style="font-family: georgia, palatino;">The landscape, both real and fantastic, becomes a conduit for imagination and invention and acts as a vehicle for Kahn&rsquo;s painterly gesture and bold exploration of color.</span></p> <p><span style="font-family: georgia, palatino;">Like the late works of Matisse, Avery, and Hofmann, Kahn&rsquo;s paintings from the last decade are a great flowering that celebrate joy, beauty, color, and life.&nbsp;</span></p> </div> </div> </div> Wed, 23 Apr 2014 14:54:11 +0000 Craig LaRotonda - Sacred Gallery NYC - July 12th - August 31st <p><span style="font-size: large;"><strong>Craig Larotonda - "Out of The Light of Darkness"</strong></span><br /> <span style="font-size: small;"><strong>Open Reception - Saturday, July 12th. 8-11pm</strong></span><br /> Exhibition on display July 12th - August 31st.</p> <p>In my show "Out of The Light of Darkness," I continue to explore the theme of humanity's search for enlightenment. I see these works as transportation for the mind rooted neither in time nor place.<br /> This series of work explores the duality and complexity of existence, searching for answers to the universal questions of its meaning. My usual cast of characters appear again: bionic, organic, flawed, idealized, monstrous and beautiful - they all tell their unusual stories about the mysteries of life.<br /> These pieces examine the nature of consciousness, and the struggles of humanity. Reality is much more than what we perceive with our five senses, and they don't necessarily give us the "whole" story. I'm engaged by the spaces in-between; like the passage between life and death which plays as a continuous theme in my artwork.</p> <p>Sacred Gallery NYC was established in December of 2009 by gallery director Kevin Wilson. The gallery&rsquo;s mission is to exhibit a diversity works and artists. Over the last three and a half years, Sacred has featured graffiti artists, painters, photographers, print makers, comic book artists, documenters, and many other types of artists using a variety of mediums, including blood and live performance graffiti. The gallery prides itself on the accommodations that are provided to the diverse communities of artists that New York City and the world have to offer.</p> <p>Sacred Gallery and its sister business, Sacred Tattoo, have been featured with the BBC, National Geographic Channel, Discovery Channel, MTV, TLC, New York Times, The Huffington Post, The Daily News, various tattoo magazines, and many other forms of news and media.</p> <p>Sacred Gallery NYC is conveniently located in Manhattan's SoHo District at <span style="font-size: medium;"><strong>424 Broadway</strong></span> on the northeast corner of Broadway and Canal. Take the N,Q,R, or J.<br /> Sacred Gallery is open daily from noon to 8pm.</p> <p>For purchase inquiries, please email the gallery director at <a href="" rel="nofollow"></a></p> Tue, 22 Apr 2014 22:55:39 +0000 François Anton, Marion Tivital - Axelle Fine Arts Galerie Soho - April 19th - May 11th <p>Axelle&rsquo;s current show features Marion Tivital and Fran&ccedil;ois Anton, two French artists new to Axelle. Anton&rsquo;s oils (often featuring mixed media components) capture the mischief of comic strips while remaining decidedly intelligent, witty and skillfully executed works of art. His pieces juxtapose the loneliness, energy and mystery of his characters with a sense of light-hearted playfulness and humor.</p> <p>On the other hand, Tivital&rsquo;s urban landscapes and minimalistic still-lifes create a much quieter atmosphere. Using a limited palette of subdued tones, she sets old factories, houses and unique pieces of architecture against expansive skies and landscapes. These atmospheric scenes highlight beauty in unexpected places &ndash; desolate factories, plastic bottles and industrial spaces.</p> <p>Also on view are Garel&rsquo;s bronze and wood sculptures, which continue to fascinate viewers. Garel carves his unique animal busts and skulls in wood first and then casts them into limited edition bronze sculptures. We currently have two original wood pieces on view and a variety of bronzes.</p> <p>The spring group show also includes works by Xavier Rodes, Patrick Pietropoli, Eric Roux-Fontaine and Yves Crenn.</p> Tue, 22 Apr 2014 16:23:41 +0000 Laurent Dauptain - Axelle Fine Arts Galerie Soho - May 17th - June 15th <p>French artist Laurent Dauptain returns to Axelle New York this spring for a solo exhibition of all new paintings and drawings. Dauptain, born in Paris in 1961, is best known for his large-scale self-portraits, of which he has painted thousands &ndash; each one highly unique. His prolific autoportraits experiment with different brushstrokes, textures, palettes and varying levels of detail. While Dauptain is most well known for these portraits, his body of work ranges from masterful industrial landscapes to painterly countryside&rsquo;s, seascapes and still life works. With generous paint application, he blends realism and abstraction to create bold representations of both France and the United States.</p> <p>His fascination with self-portraits began at the age of 20 when he received a college assignment to imagine and draw himself at several different ages ranging from 15 to 95. After the project was completed, he decided to undertake the endeavor in real time and paint his actual appearance at various ages. Using mirrors and recent photographs, Dauptain tirelessly creates series of close ups of his own face, each a different expression, each a different approach to painting. He continuously finds new ways to broach his every-changing subject. His portraits are technical explorations into the realm of painting as well as explorations into his evolution as a painter and as an aging man &ndash;physically and psychologically. After over thirty years of painting these images, Dauptain&rsquo;s curiosity, as well as that of his viewers, has proved to be insatiable. The bolder colors and new perspectives on Dauptain&rsquo;s face and body distinguish the self-portraits in this all-new collection from his past work.</p> <p>Dauptain, a graduate of the &Eacute;cole des Beaux-Arts in Paris and the &Eacute;cole des Arts D&eacute;coratifs, gained a master&rsquo;s degree in Aesthetics in 1984. Since graduating from the &Eacute;cole des Beaux-Arts in Paris in 1981, he has exhibited constantly and received numerous awards for his work, including the Grand Prix of the Salon des Peintres de l&rsquo;Arm&eacute;e (2003), the Taylor Prize (2001), and the gold medal of the Salon des Artistes Fran&ccedil;ais (1997). He has had several exceptionally successful solo exhibitions at Axelle since 2007. He now lives and works France. The artist will attend the opening reception on May 17.</p> <p>&nbsp;</p> Tue, 22 Apr 2014 16:16:41 +0000 RAIMUNDO EDWARDS - Y Gallery - April 22nd - May 7th Tue, 22 Apr 2014 04:26:07 +0000 Simryn Gill - Tracy Williams, Ltd. - May 1st - June 21st Tue, 22 Apr 2014 04:19:46 +0000 Michael Rey - Room East - April 27th - May 25th <div class="content"> <p>ROOM EAST will open its first exhibition of work by the Los Angeles-based artist Michael Rey on Sunday 27 April. The works on view combine humor and curiosity; the results of which range from subtle similarity to radical difference. &ldquo;IBJECT,&rdquo; the title of the exhibition, is a neologism that refers to the artist&rsquo;s interest in a hybrid medium:</p> <p>&ldquo;Like sculptures, my works have three dimensions with a bodily presence. Like paintings, they have surfaces that function as compositional planes. They are hybrids. They can be thought of as existing in the interstices of painting and sculpture.</p> <p>The wall works begin in my dreams and drawings.&nbsp;I lie in bed and doodle forms. I restrict myself from familiar shapes that are tethered to conventional meanings. My shapes are foreign, maybe alien. They emerge as something unrecognizable, and only later do I give them titles.</p> <p>To make these forms, I work oil plasticine into the surfaces to create a ground. The choice of this material began as an experiment, but continues to reflect my personal anxieties about finitude. The fragile quality of the result is like skin, a delicate, vulnerable organ. The holes stand in as orifices, points, or measures of space.</p> <p>I have a romantic notion that these works are autonomous, that they resist the pull of being defined by painting as it exists. Each shape and color combination is part of a visual lexicon, a succession of forms that push for a new language.&rdquo;<br /> Michael Rey (b.1979) is a graduate of Art Center College of Design, Pasadena. Recent work was exhibited at Office Baroque, Brussels, and will be included in a forthcoming show at Ratio 3, San Francisco. This summer Rey will have a solo exhibition at Cherry and Martin, Los Angeles.</p> </div> Tue, 22 Apr 2014 04:03:54 +0000 Coosje van Bruggen, Claes Oldenburg, Christian Marclay, Charles Gaines, Latifa Echakhch, Bruce Conner, Céleste Boursier-Mougenot - Paula Cooper Gallery - 521 W. 21st Street - April 26th - May 31st <p>The Paula Cooper Gallery is pleased to present a group exhibition of works addressing the intersection and cross-pollination of music and the visual arts. The exhibition will include works by C&eacute;leste Boursier-Mougenot, Bruce Conner, Latifa Echakhch, Charles Gaines, Christian Marclay and Claes Oldenburg/Coosje van Bruggen. The exhibition will be on view from April 26 through May 31, 2014.</p> <p>The exhibition will present works on paper, sculpture, video and installation works ranging from 1978 (Bruce Conner&rsquo;s short film <em>MONGOLOID</em>, made as an early music video for Devo) to 2014 (Latifa Echakhch&rsquo;s metal wall sculpture <em>Morgenlied</em>). It will include a piano installation by C&eacute;leste Boursier-Mougenot, drawings by Charles Gaines based on musical scores, a soft guitar sculpture by Christian Marclay, and sculpture and works on paper by Claes Oldenburg and Coosje van Bruggen riffing on harps.</p> Tue, 22 Apr 2014 03:56:36 +0000 David Opdyke - Magnan Metz Gallery - April 25th - May 31st <p>Magnan Metz Gallery is pleased to present its premiering exhibition for David Opdyke.&nbsp; The Future Ain&rsquo;t What It Used to Be continues Opdyke&rsquo;s exploration of globalization, consumerism, and civilization's waste.&nbsp; The exhibition will be on view from April 25 &ndash; May 31, 2014 with an artist reception on April 24th, 6-8pm.&nbsp;</p> <p>In 1977, Opdyke&nbsp;was a third grader growing up in post-industrial&nbsp;Schenectady, New York when Voyager 1 was launched. Its contents included a gold record with a message from President Carter, an&nbsp;8-Track&nbsp;Player, and an unprecedented amount of computer processing power. For Americans everywhere the prospect of communicating with distant worlds, owning&nbsp;flying cars&nbsp;and&nbsp;robot maids, and the&nbsp;inexorable&nbsp;promise of a better future seemed less like fiction and more like reality.&nbsp;</p> <p>In August 2012,&nbsp;NASA's&nbsp;Voyager 1 became the first human-made object to reach interstellar space, accomplishing the farthest reaches of the original mission.&nbsp;</p> <p>The Future Ain't What It Used to Be&nbsp;is&nbsp;Opdyke's&nbsp;visual recitation&nbsp;of the 37 years that have passed since the Voyager launch.&nbsp; Imploring us to ask: Weren't we supposed to be living like the&nbsp;Jetsons&nbsp;by now? Has the anticlimactic down pour of i-Phones and 140 characters made mankind more advanced? According to Opdyke, it depends on who you ask, and through his work he begins to unravel a once promised future.</p> <p>Upon entering the gallery, viewers encounter a fallen 25-foot wooden utility pole with preternatural&nbsp;growths and spindles so defiantly resistant they have begun to reclaim it. &nbsp;The Great Wave, an ominous 18 foot Tsunami ink drawing on rice paper, floats on the nearby wall. &nbsp;Closer inspection reveals waves composed of hundreds of firearms, the overwhelming number of weapons perhaps alluding to society&rsquo;s great issue with gun control.</p> <p>On the other side of the wall is Homestead, an eye level sculpture of an abandoned and unfinished luxury high-rise that portends&nbsp;mankind's continued quest to build, but also an ad-hoc&nbsp;shelter presumably for the marginalized. Monument to&nbsp;3:19 am&nbsp;is an arrangement of street lamps and yield signs now immersed within nature, growing like wildflowers. The exhibition also includes works on paper with&nbsp;Opdyke's archetypal arrangements of our ever adapting world such as&nbsp;Cross Connectivity Study&nbsp;in which accumulated piles of discarded cables and devices have become nesting materials for scavenging birds.</p> <p>The Future Ain't What It Used To Be&nbsp;places viewers into&nbsp;Opdyke's&nbsp;iconic scenarios that channel complex forces and ideas, leaving us precariously perched on the tipping point between coherence and chaos. The result is a realization that&nbsp;the total control the future promised may never come to fruition, but perhaps, that's not so bad after all.</p> <p><br /> Born (1969), in Schenectady, NY David&nbsp;Opdyke&nbsp;graduated from the University of Cincinnati with a degree in painting and sculpture. &nbsp;He has created large scale installations at the Museum of Arts and Design in New York, the North Dakota Museum of Art, the Addison Gallery of American Art,&nbsp;Andover&nbsp;MA, the&nbsp;Corcoran&nbsp;Gallery of Art, Washington D.C. and a Brooklyn Public School commissioned by Percent For Art.&nbsp;He was awarded the Aldrich Emerging Artist Award Exhibition, The Aldrich Contemporary Art Museum, Connecticut (2004), and American Paradigms,&nbsp;Corcoran&nbsp;Gallery of Art, Washington D.C. (2004). He has also participated in exhibitions at the Brooklyn Museum, P.S.1, Palm Beach Institute of Contemporary Art, and in venues in Chicago, Zagreb, Lille, and Milan. Opdyke's&nbsp;work is in many permanent collections including the Museum of Modern Art,&nbsp;Deutsche&nbsp;Bank, the Brooklyn Museum of Art, Cleveland Clinic, Progressive Insurance, and the Washington, D.C. Convention Center Authority.&nbsp;The artists lives and works in New York City.</p> Tue, 22 Apr 2014 01:51:04 +0000 Hilda Shen, Ward Shelly, John Roach, Simonetta Moro, Suzanne Kelser, Lawrence Fane - Lesley Heller Workspace - April 27th - June 1st <p>The world is full of things, people, places and words that at first glance seem unconnected and stand alone. Artists have that uncanny ability to find new languages to make the intangible viewable and hopefully understandable. &nbsp;Each artist in this exhibition will show a drawing and an associated object/sculpture. &ldquo;I think the combination of the two will make the seemingly capricious nature of our world clear, if only for a moment.&rdquo; <strong>Jim Osman</strong></p> <p>Inspired by renaissance artist/engineer Mariano Tacola&rsquo;s&nbsp; studies of physics and hydraulics, <strong>Lawrence Fane&rsquo;s</strong> <em>Purifier </em>series of sculptures and drawings imply function from another time; the beauty of utilitarian logic and traces of human scale.</p> <p><strong>Suzanne Kelser&rsquo;s </strong>drawings are in a sense landscapes. Her job for many years was as a computer programmer and she became intrigued by the &ldquo;space &ldquo;of Internet Service providers (ISP). In Kelser&rsquo;s drawings, the woven lines of ISP connections are perfect examples of depictions of the unseen.</p> <p>Working from a mechanical drawing tablet of her own design, <strong>Simonetta Moro </strong>makes panoramic drawings of cities she has lived in like Venice and New York. This tablet can also be set to slowly display the drawing giving the viewer a temporal and aesthetic experience of the transitional spaces along the Grand Canal and the High Line.</p> <p><strong>John Roach </strong>is a sound artist who uses drawing to illustrate and demonstrate the nature of sound. His work creates moments where his combinations make things happen that are unpredictable even chancy &ndash; all the while recording it for posterity.</p> <p><strong>Ward Shelly&rsquo;s</strong>work seeks to memorialize the human condition in an honest and objective way. He makes drawings and installations that have a perfect balance of the analog in his technique &ndash; paint in his drawings, and construction methods worthy of Tatlin&rsquo;s Tower, in his installations.</p> <p><strong>Hilda Shen&rsquo;s </strong>drawing and ceramic pieces seek to capture and combine the elusive space of geology and personal history. Her monotypes seem to be landscapes, but of places felt rather than seen. This depiction of the ethereal is positioned in her ceramic sculptures to make fingerprinted surfaces that twist and collide, suggesting a glimpse of things somewhat intangible, yet there.</p> <p>&nbsp;</p> Tue, 22 Apr 2014 01:45:57 +0000