ArtSlant - Openings & events en-us 40 Wang Jianwei - Solomon R. Guggenheim Museum - October 31st 10:00 AM - 7:45 PM <p style="text-align: justify;">Recognized throughout Asia and Europe for his bold experiments in new media, performance, and installation art, Beijing-based artist Wang Jianwei presents <em>Wang Jianwei: Time Temple</em>, the first of three commissions of <a href="" target="_blank">The Robert H. N. Ho Family Foundation Chinese Art Initiative</a> at the Guggenheim Museum. The initiative, which launched in 2013, was established to advance the achievements of contemporary Chinese artists and expand the discourse on contemporary Chinese art by commissioning Chinese artists to create major works that will be exhibited in the museum and enter into its permanent collection.</p> <p style="text-align: justify;">Wang Jianwei&rsquo;s work examines the contact between art and social reality. His highly innovative artworks consider space and time in elaborate ways: working from the notion that the production of artwork can be a continuous rehearsal, connecting theater, visual art, and film. <em>Wang Jianwei: Time Temple</em> is the artist&rsquo;s first solo exhibition in North America. This exhibition comprises installation, painting, film, and a live theater production.</p> <p style="text-align: justify;">Each exhibition will be accompanied by a scholarly publication, notable lectures, and education programs. This exhibition is organized by <a href="" target="_blank">Thomas J. Berghuis</a>, The Robert H. N. Ho Family Foundation Curator of Chinese Art as part of the Guggenheim Museum&rsquo;s Asian Art Initiative.</p> <p style="text-align: justify;">&nbsp;</p> <p class="caption" style="text-align: justify;">This exhibition is made possible by</p> <p class="caption"><img src="" alt="" /></p> Fri, 17 Oct 2014 16:28:16 +0000 - The Jewish Museum - October 31st 11:00 AM - 5:45 PM <p style="text-align: justify;">As a businesswoman and arts patron, Helena Rubinstein helped break down the status quo of taste by blurring the boundaries between commerce, art, fashion, beauty, and design. Her innovative business and style helped usher in a modern notion of beauty, democratized and accessible to all.<em>&nbsp;Beauty Is Power</em>, the first museum exhibition to focus on the cosmetics entrepreneur, will reunite selections from Rubinstein&rsquo;s famed collection, including works by Picasso, Matisse, Mir&oacute;, Kahlo, and Nadelman, as well as her iconic collection of African and Oceanic sculpture, miniature period rooms, jewelry, and fashion.</p> <div class="details"> <div class="copy"> <div class="description"> <p style="text-align: justify;">Helena Rubinstein rose from modest beginnings in small town Jewish Poland. Born in 1872, she came of age during a period when social reforms were beginning to challenge conventions &mdash; whether domestic, economic, or sartorial. By her death at ninety-two in 1965, Rubinstein was in her seventh decade of business. Her cosmetics empire extended to four continents, and she had become a global icon of female entrepreneurship, as well as a leader in art, fashion, and philanthropy. She was arguably the first modern self-made woman magnate.</p> <p style="text-align: justify;">At the turn of the century the use of cosmetics &ndash; associated with the painted faces of actresses and prostitutes &ndash; was widely frowned upon by the middle class. A model of independence, Rubinstein rejected this, producing and marketing the means for ordinary women to transform themselves. Her business challenged the myth of beauty and taste as inborn, or something to which only the wealthy were entitled.</p> <p style="text-align: justify;">As young women began to join the work force, they had money to spend. The fashion and interior decoration industries flourished, and art and culture began to adapt to modern feminine sensibilities.&nbsp;</p> <p style="text-align: justify;">And feminine taste included makeup; if latter-day feminist debates have focused on cosmetics as objectifying women, they were seen in the early twentieth century as a means of asserting female autonomy. By encouraging women to define themselves as self-expressive individuals, Rubinstein contributed to their empowerment.</p> <p style="text-align: justify;">Today we take that subjectivity for granted, but the sense of individuality Rubinstein fostered was new and profound. She advocated exceptionality in a world that discouraged nonconformity. She offered women the ideal of self-invention &ndash; a fundamental principle of modernity. One&rsquo;s identity, she asserted, is a matter of choice.</p> <p style="text-align: justify;">Mason Klein&nbsp;<br /> Curator</p> <p style="text-align: justify;"><a href=";q=%23BeautyIsPower&amp;src=typd">#BeautyIsPower</a></p> <p style="text-align: justify;">The exhibition is organized by Mason Klein, Curator, with Rebecca Shaykin, Leon Levy Assistant Curator.</p> <h5 style="text-align: justify;"><strong><em>Helena Rubinstein: Beauty Is Power</em> is made possible by The Jerome L. Greene Foundation.</strong></h5> <h5 style="text-align: justify;">Major support is also provided by the Eugene M. and Emily Grant Family&nbsp;Foundation and The David Berg Foundation. Additional generous support is&nbsp;provided by the Leon Levy Foundation, The Horace W. Goldsmith Foundation,&nbsp;The Helena Rubinstein Fund/The Roy and Niuta Titus Foundation, the Helena&nbsp;Rubinstein Philanthropic Fund at The Miami Foundation, and Ealan and Melinda&nbsp;Wingate.<br /> <br /> The catalogue is funded through the Dorot Publication Fund and a gift from&nbsp;Helena Rubinstein, L&rsquo;Or&eacute;al Luxe.</h5> <p><img style="height: 48px; width: 577px;" src="" alt="" /></p> </div> </div> </div> <p>&nbsp;</p> Mon, 20 Oct 2014 03:14:33 +0000 - The Jewish Museum - October 31st 11:00 AM - 5:45 PM <p style="text-align: justify;">The Jewish Museum&rsquo;s exhibition series bringing site-specific works of art to the Museum&rsquo;s main lobby continues this fall with artist Willem de Rooij&rsquo;s&nbsp;<em>Bouquet XI</em>&nbsp;(2014), a monumental floral sculpture. Born in Holland and based in Berlin, de Rooij is collaborating with floral designer Bella Meyer, granddaughter of Marc Chagall, to realize <em>Bouquet XI</em>&rsquo;s composition. The species of flowers, all native to the Middle East region, as well as the composition are carefully researched and brought together, so that every stem provokes physical effect as equally as conceptual meaning.</p> <div class="details"> <div class="copy"> <div class="description"> <p style="text-align: justify;"><em>Using Walls, Floors, and Ceilings: Willem de Rooij</em>&nbsp;is organized by Jens Hoffmann, Deputy Director, Exhibitions and Public Programs, and Kelly Taxter, Assistant Curator.</p> <h5 style="text-align: justify;"><em>Using Walls, Floors and Ceilings: Willem de Rooij </em>is made possible by the generous support of Wendy Fisher and the Mondriaan Fund.</h5> <p style="text-align: justify;"><img style="height: 45px; width: 30px;" src="" alt="" /></p> </div> </div> </div> <p>&nbsp;</p> Mon, 20 Oct 2014 03:17:16 +0000 Leonor Antunes, Nina Canell, Giuseppe Gabellone, Dianna Molzan, Navid Nuur, Erika Verzutti - Andrew Kreps Gallery @ 537 W. 22nd - November 1st 6:00 PM - 8:00 PM Tue, 28 Oct 2014 14:32:19 +0000 Nam June Paik - Asia Society Museum - November 1st 2:30 PM - 4:30 PM <p style="text-align: justify;">Organized in conjunction with <em>Nam June Paik: Becoming Robot</em>, this public program brings together single-channel video works by media art pioneer <strong>Nam June Paik</strong> (1932-2006) that celebrate the extraordinary breadth of the artist's involvement with video as a mode of expression, communication, and collaboration across media forms and practices. Equally enthusiastic about and inspired by dance, performance, painting, television, film, digital technology, and social justice, Paik continually sought to extend the material and conceptual properties of video. Bringing together works from nearly every stage in his career as a video artist, from his earliest Portapak experiments through the development of his video synthesizer and onwards toward the digital remixing of his own oeuvre, "Nam June Paik: Video Across Media" charts the myriad ways Paik expanded the horizons of video art's possibilities.</p> <p style="text-align: justify;">This program is curated by Gregory Zinman, Georgia Institute of Technology, who will introduce the program. The screening will be followed by a Q&amp;A.</p> <p style="text-align: justify;"><em>Button Happening</em> (1965), 2 min.<br /> <em>Beatles Electroniques</em> (1966-72, w/Jud Yalkut), 3 min.<br /> <em>Global Groove</em> (1973), 28 min.<br /> <em>Butterfly</em> (1986), 2 min.<br /> <em>Guadalcanal Requiem</em> (1977, re-edited 1979), 28 min.<br /> <em>Digital Experiment at Bell Labs</em> (1966), 4 min.<br /> <em>Analogue Assemblage</em> (2000), 2 min.<br /> <em>Merce by Merce by Paik Part Two: Merce and Marcel</em> (1978, w/Shigeko Kubota), 13 min.</p> <p style="text-align: justify;"><strong>Gregory Zinman</strong> is an Assistant Professor in the School of Literature, Media, and Communication at the Georgia Institute of Technology. His writing on film and media has appeared in <em>The New Yorker</em>, <em>Film History</em>, and <em>Millennium Film Journal</em>, among other publications. He is the co-curator of <em>Computer Age</em>, a traveling program of early computer movies. He is completing a book, <em>Handmade: The Moving Image in the Artisanal Mode</em>, and is co-editing, with John Hanhardt, <em>Nam June Paik: Selected Writings</em> (forthcoming from The MIT Press).</p> <p style="text-align: justify;">Source of videos: Electronic Arts Intermix</p> <p style="text-align: justify;">Presented in conjunction with the Asia Society Museum exhibition <a href="" target="_blank"><em>Nam June Paik: Becoming Robot</em></a>, on view September 5, 2013 through January 4, 2015.</p> <p style="text-align: justify;">This program is supported in part by the W.L.S. Spencer Foundation.</p> Sun, 19 Oct 2014 09:53:42 +0000 Rachel Siporin - Bowery Gallery - November 1st 3:00 PM - 6:00 PM <p class="pressrelease" style="text-align: justify;">Rachel Siporin&rsquo;s solo exhibition<em>, <span style="text-decoration: underline;">Color Woodcuts</span></em>, opens at the Bowery Gallery, 530 West 25th Street, 4th Floor, October 28 and runs through November 22, with an Opening Reception Sat. Nov 1 3:00-6:00PM. The artist will discuss the content and process employed in her color reduction woodcuts in a Gallery Talk on Saturday November 15 from 3:00-4:00 PM.&nbsp; The work in the exhibition investigates personal narratives that include bathers by the shore, singers under the spotlight, and figures against the backdrop of natural disasters.</p> <p class="pressrelease" style="text-align: justify;">Rachel Siporin<strong>,</strong> a painter for several decades, discovered color reduction woodcuts in 2011. Her enthusiasm for the process led to the purchase of a Charles Brand Press, now housed in her studio in Connecticut, where she prints these small edition, multi-color, multi-block editions. In 2014, her color woodcuts were featured in the 3rd Annual Connecticut Printmakers Invitational at Akus Gallery, Eastern Connecticut State University, and in a solo exhibition at the Alexey von Schlippe Gallery of Art at University of Connecticut, Avery Point.&nbsp;Solo exhibitions include <em>Blindfold</em> at the Downtown Gallery 2008, New Britain, CT, <em>The Limit of the Marvelous at</em> 55 Mercer Gallery, NYC, 2006, and <em>Gotham City Romance </em>at the Bowery Gallery, 1997.&nbsp; In 2011 Siporin participated in June Bisantz&rsquo; <em>Love in a Cold Climate&ndash;Screen Project, </em>Willimantic, CT, continued through the Streaming Museum in cyberspace and public spaces in seven continents. Group exhibitions of note include <em>Commentary/Herself</em>, Brickbottom Gallery, Somerville, MA, <em>Grand Illusion</em>, The Painting Center, NYC, and <em>Family Business </em>at the Susan Teller Gallery, NYC.&nbsp; Siporin&rsquo;s work was reviewed in Art New England, the Hartford Courant and the New Britain Herald. Rachel Siporin received her BA from Brandeis University, and MFA from Yale University, and is Professor of Art and Chairperson of the Art Department at Central Connecticut State University where she has taught since 1984.</p> Fri, 31 Oct 2014 09:00:57 +0000 Lucia Love - CUE Art Foundation - November 1st 5:00 PM - 7:00 PM <p><span style="color: #000000;">CUE is pleased to present&nbsp;Lucia&nbsp;Love&rsquo;s mixed media exhibition,&nbsp;<em>Reflecting Pool</em>. Love transforms a common object, a party straw, into an immersive installation of dark and peculiar forms, relying on a careful balance of the comical, the strange, and the violent.&nbsp;Love received her BFA from the School of Visual Arts and has exhibited internationally in venues such as Family Business, the Last Brucennial, Spring/Break Art Show, and B2OA gallery. This marks her first solo exhibition in New York City.<br /></span></p> <p><strong><span style="color: #000000;">From the artist&rsquo;s statement:</span></strong></p> <blockquote><span style="color: #000000;"><em>&ldquo;Fantasy is the driving force behind all human endeavors... Every invention is born from the marriage of vision and necessity. The combination of an [aggressive] object like a knife with a generally passive object like a party straw, creates a surreal opening in logic. New possible courses of action arise through its creation... Its function is invented by its creation.<br /></em><em><br /></em><em>Successful fantasies defy the logic of the time they are born into, and reveal our physical landscape to yield infinite combinations of actions, gestures, plot points, and sensations."</em><br /></span></blockquote> <p><span style="color: #000000;">For additional information, contact Jessica Gildea, Programs Director:&nbsp;<a href="" target="_blank" rel="nofollow"></a>.</span></p> Tue, 21 Oct 2014 16:55:02 +0000 Blair Thurman - Gagosian Gallery - 980 Madison Ave. - November 1st 6:00 PM - 8:00 PM <p style="text-align: justify;"><em>Blair Thurman, a Pop Sensitive, and his work, a haphazard reclaiming of the &ldquo;Look of Kool.&rdquo; His method is gaze and memory rather than cold analysis. More like the free associations of a Beat poet on the road, happening upon Gonzo situations and structures, awash in neon, remembering a childhood of Hot-Wheels and model-glue, suspended in a haze of martinis, coffee, pain-killers, anti-histamine &amp; Thera-Flu&hellip;The road as abstraction. Thurman turns the road on edge. Thurman recognizes the art [of the road] and transforms the idea into a painting&hellip;An obsessive action driven by obsessive collecting. The aesthetics of punk underground trash&hellip;a tube of Testors in each nostril&hellip;hurtling through space. The loner as Silver Surfer confronting the post-punk existential. For me the creature is our darker nature&hellip;our subjective selves. The dark self on the road to nowhere.</em><br /> &mdash;Steven Parrino, 2003<br /> <br /> Gagosian New York is pleased to present recent work by Blair Thurman, his first solo exhibition with the gallery.<br /> <br /> As a boy in the 1960s, Thurman spent afternoons at the Institute of Contemporary Art, Boston, where his mother was director. Something of a mascot, he spent his childhood looking up to figures such as Andy Warhol, Nam June Paik, Carl Andre, and Ed Kienholz&mdash;openings, installations, a literal behind-the-scenes education. As an art student in the 1980s, he sought to escape prevailing theoretical concerns. In search of &ldquo;pre-art school&rdquo; points of departure, Thurman revisited his childhood infatuation with slot cars: &ldquo;They were in their heyday and I had an amazing collection of Hot Wheels, which were innovative and painted with an amazing paint called Spectraflame.&rdquo; He recalls wanting the subject matter or content of art to have as deep a personal connection as its formal aspects.<br /> <br /> Thurman combines this personal iconography with an acute awareness of the inherent challenges of painting, resulting in a Pop-Minimalist sensibility infused with tribal patterns and American car culture. As on the open road, associations come and go, and the destination depends on the viewer. Titles&mdash;<em>Scarsdale 500</em>; <em>Horton Hears a Hoo Hoo</em>; <em>Coppertone Glam</em> (all 2014)&mdash;reveal the extent of his eccentric reconfigurations of each subject. <em>You Only Live Twice</em> (2014), a rectangular painting based on the shape of Thurman's own business card, riffs on the speedway and the floating mat with four precisely cut decals framing open voids. The surface is painted with Silver Lilac Poly car lacquer, a special paint option for the 1962 Chrysler Imperial.<br /> <br /> Thurman&rsquo;s work owes as much to his command of a broad range of media as to subconscious influences. Parallel to, and sometimes in combination with his paintings, he has transposed his signature imagery into neon. In <em>Mr. White (pour N.J.P.)</em> (2008), decals from a model kit&mdash;thin, curving shapes from the Hot Rod counter-culture of the 1940s and 50s&mdash;are transcribed into glass on wood. <em>Honey Badgers</em> (2009) incorporates neon and acrylic paint in an exuberant reimagination of a Haida image from a favorite T-shirt; the totemic symmetries of the painted surface are shadowed in yellow, blue, and pink, electrifying an ancient style. Thurman deftly employs the intrinsic associations of neon, from bar signage to Minimalist and Conceptual art, to free his diverse appropriations from their original contexts, shaking up the disparate visual fragments and recreating them in bright light.<br /> <br /> <strong>Blair Thurman</strong> was born in New Orleans in 1961, and lives and works in New York. Selected exhibitions include &ldquo;Bastard Kids of Drella,&rdquo; Le Consortium, Dijon (1999, curated by Steven Parrino); &ldquo;None of the Above,&rdquo; Swiss Institute, New York (2004&ndash;05); &ldquo;Bastard Creatures,&rdquo; Palais de Tokyo, Paris (2007); &ldquo;Born to Be Wild,&rdquo; Kunstmuseum St. Gallen, Switzerland (2009, curated by Konrad Bitterli); &ldquo;American Exuberance,&rdquo; Rubell Family Collection, Miami (2011); &ldquo;The Old, The New, The Different,&rdquo; Kunsthalle Bern (2012); and &ldquo;Blair Thurman,&rdquo; MAGASIN Centre National d'Art Contemporain de Grenoble (2014).</p> Wed, 22 Oct 2014 09:35:44 +0000 Mary Ellen Bartley - Guild Hall - November 1st 2:00 PM - 3:00 PM <p style="text-align: justify;">Mary Ellen Bartley will take visitors through her exhibition&nbsp;<em>Leaning Above the Page</em>, which features 19 photographic meditations selected from five different ongoing series: <em>Standing Open, Paperbacks, Sea Change, Blue Books, and Push 2 Stops</em>. Her solo exhibition is the result of receiving Top Honors in the 2012 Artists Members Exhibition from Lilly Wei, independent Curator, Essayist and Critic for <em>Art in America</em> who was the juror for Guild Hall&rsquo;s 74<sup>th</sup>Artist Members Exhibition that included entries from more than 450 artists. Ms. Bartley had the unprecedented distinction of receiving Best Photograph in the four previous Artist Members Shows.</p> <p style="text-align: justify;"><br /> </p> <div style="text-align: justify;"><a style="color: #d27920;" href="" target="_blank">Read a profile of Mary Ellen Bartley: &ldquo;A Thousand Words Are Worth a Picture&rdquo; by Jennifer Landes, The East Hampton Star</a></div> Mon, 20 Oct 2014 02:39:29 +0000 Michelle Grabner - James Cohan Gallery - November 1st 11:00 AM - 12:00 PM <p style="text-align: justify;">Please join Michelle Grabner and Museum of Arts and Design director Glenn Adamson for a gallery talk on the occasion of her current exhibition at James Cohan Gallery, NY. Grabner's exhibition will be extended through&nbsp;November 15, 2014.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">For more on Michelle Grabner, visit her&nbsp;<strong><a href="" target="_blank">artist page</a></strong>&nbsp;or contact Laura Pinello at&nbsp;<a href="" target="_blank"><strong></strong></a></p> Fri, 31 Oct 2014 07:53:04 +0000 Dylan Stone - Josee Bienvenu Gallery - November 1st 10:00 AM - 3:00 PM Tue, 28 Oct 2014 15:35:05 +0000 Group Show - Marianne Boesky Gallery 64th Street - November 1st 6:00 PM - 8:00 PM <div> <div style="text-align: justify;">Marianne Boesky Gallery is pleased to present&nbsp;<em>Something Beautifu</em>l, a group show curated by Nicolas Wagner and Khary Simon of CRUSHfanzine. This exhibition uses the lens of contemporary photographic portraiture to examine the ideals of youth as a product of memory and the wisdom of hindsight. Like a daydream, the works on view propose the fleeting sensuality of a fantasy, coupled with the sense of loss that comes from a jolt back to reality&mdash;a juxtaposition analogous to the journey from childhood to adulthood. Artists Jeff Burton, Sue de Beer, Keith Edmier, Roe Ethridge, Annika Larsson, Deana Lawson, Viviane Sassen,&nbsp;Paul Mpagi Sepuya,&nbsp;Xaviera Simmons, Doroth&eacute;e Smith, Eva Stenram, Eric Stephany, and Wu Tsang come together here, offering varied photographic visions that portray different manifestations of this shifting space&mdash;between youth and maturity, between the ideal and the true.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Something Beautiful&nbsp;takes the recent still and portrait photography work of Sue de Beer as its point of departure. De Beer's earlier work is recognized for its empathetic portrayals of youth, in which her raw process of casting and on-camera improvisation create a sense of the unfolding of real experience located in an artificial world of sets and props. In her latest work, de Beer cuts notions of reality adrift, giving her subjects idealized versions of themselves: an entire film encapsulated in one image. The selected artists follow varied routes in their embodiment of this theme, presenting photographic visions of memory, experience, beauty, and voyeurism.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The rawness of exchange between model and camera provides fertile ground for exploration of the in-between. Artists Vivianne Sassen and Doroth&eacute;e Smith make portraits whose documentary value is superseded by narrative suggestion and sheer loveliness, evoking the uncanny ability of memory to heighten and shape our histories. The fleeting middle ground between youth and maturity or the illusory and the real is further explored in Paul Mpagi Sepuya&rsquo;s ability to capture his subjects, human or inanimate, in informal, semi-candid moments that consider a transient stage. Roe Ethridge leads us seamlessly through distant landscapes and familiar faces, providing a sense of nostalgia in his intimate portraits. Together, they promote a quality akin to languishing moments before falling into an afternoon dream, only to awake with splintered memories.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Born from a visceral, multi-sensory reaction to dream and memory, we find Eva Stenram&rsquo;s portraits with isolated body parts and furniture as central within domestic settings. Selected pieces of information are conveyed, leaving the viewer to piece together what has unfolded through a glimpse of a personal environment. Similarly, Deana Lawson imparts her subject&rsquo;s individual and social backgrounds through personalized settings. Keith Edmier takes it a step further in his sculptural representations referring to personal narrative in his studies of nature, sexuality, and regeneration.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Eric Stephany and Xaviera Simmons follow similar modes in their exploration of the familiar thwarted by the enigmatic. Stephany's shadows reveal, or rather conceal, the object of his affection and the ubiquity of sexual desire. This disorienting fragmentation is expanded upon in the work of Annika Larsson and Wu Tsang. Larsson and Tsang disorient the viewer with conflicting visual or narrative fields present in their work, analogous to the tension that exists between recalled and actual experience.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Taken together, the works in this exhibition convey the atmosphere of the past as it is evoked in the present&mdash;a bittersweet sentiment at once physical and cerebral. Here, the qualities of youth are portrayed, but can only exist in an incomplete state. The quiet tension of desire, with its accompanying sense of loss or insatiability enables an exploration of the uncanny, wish-fulfilling nature of images, and the performance between photographer and subject allows us, the ordinary viewer, to participate in the production of something beautiful.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Curators Nicolas Wagner and Khary Simon are the chief editors of CRUSHfanzine, a quarterly art and culture publication based on obsession. Produced in New York and Paris, it is sold in MOCA LA, Tate Modern, McNally Jackson, Palais de Tokyo, Printed Matter, among others. In recent issues, CRUSHfanzine has collaborated and featured works by Marilyn Minter, Marina Abramović, Jenny Holzer, Woody Allen, James Franco, Peter Marino, Juergen Teller, Tom Burr, Wade Guyton, Jack Pierson, The Art Production Fund, Lisa Phillips, Elmgreen and Dragset, and Sue de Beer.</div> </div> Tue, 21 Oct 2014 15:53:01 +0000 - Queens Museum of Art - November 1st 12:00 PM - 5:00 PM <p style="text-align: justify;">Polit-Sheer-Form-Office (PSFO) is a China-based art collective founded in 2005 by artists Hong Hao (b. 1965, Beijing), Xiao Yu (b. 1965, Inner Mongolia), Song Dong (b. 1966, Beijing), Liu Jianhua (b. 1962, Ji&rsquo;an), and Leng Lin (b. 1965, Beijing). These artists come from a generation marked by China&rsquo;s shift from Communism as both an economic and political order to a nation with capitalist ideals and a Communist government operating simultaneously.&nbsp; Individually, each of PSFO&rsquo;s members have enjoyed significant international solo careers. They formed this group with the stated intention of &ldquo;seeking collective form,&rdquo; exploring the idea of &lsquo;we&rsquo; in a &lsquo;me&rsquo; world to present a new, tongue-in-cheek Socialist order for the 21st century.</p> <p style="text-align: justify;">The forthcoming exhibition, <em>Polit Sheer Form!</em>, at the Queens Museum will feature signature artworks such as the PSFO insignia <em>Badge </em>(2005); propaganda oil paintings <em>Polit-Sheer-Form </em>(2007); <em>Mr. Zheng </em>(2007), a huge composite photographic portrait of all five PSFO members; the group&rsquo;s own fake library with 10,000 carefully numbered books painted in blue but without content, <em>Library </em>(2008); and their most recent work, <em>Fitness for All </em>(2013), five exercise machines evoking the recent campaigns throughout the People&rsquo;s Republic of China aimed at motivating society to pay more attention to its health.</p> <p style="text-align: justify;">A survey of the first decade of PSFO&rsquo;s multidisciplinary projects, the Queens Museum exhibition will also include new works. As part of the exhibition, a performance titled <em>Do the Same Good Deed</em> will be held in New York City&rsquo;s Times Square in partnership with Times Square Arts, after its presentation in Guangzhou, China and the Guangdong Times Museum.&nbsp;Both performances will be represented in the exhibition through video documentation, and both performances involve the participation of large numbers of participants&nbsp;in repetitious cleaning efforts in public space. The goal of this particular project is to test in different social contexts&mdash;China and the U.S.&mdash;whether collectivism is a real social need or just a management tool. In American culture, individualism is a core value yet a new understanding of the need for the collective has emerged. Conversely, while collectivism has been a core Chinese value, there has been increasing interest in individual pursuits. Does &ldquo;doing a good deed&rdquo; arise naturally from human nature or is it an expression of ideology? What is the real content and meaning of collectivism (or collective organization)?</p> <p style="text-align: justify;">This event will take place on November 3rd, 2014 in Times Square, NYC in partnership with the Times Square Arts.</p> <h2 style="text-align: justify;">Hundreds needed to mop Times Square with Polit-Sheer-Form-Office!</h2> <p style="text-align: justify;"><strong>Buckets, mops, and good feeling provided!</strong></p> <p style="text-align: justify;">Play your part in <em>Do the Same Good Deed</em>, a 500-person performance conceived by Chinese art collective Polit-Sheer-Form-Office (Song Dong, Hong Hao, Liu Jianhua, Leng Lin, and Xiao Yu.)</p> <p style="text-align: justify;">Participate in a new socialism for the 21st century&hellip;right in the heart of the Capital of Capital. Video of the performance will be included in Polit-Sheer&rsquo;s exhibition at the Queens Museum, which runs through January 2015.</p> <p style="text-align: justify;"><strong>When:</strong>&nbsp;Monday, November 3, 12 -1 pm.<br /> <strong>Where:</strong> Times Square, New York City<br /> <strong>How:</strong> Sign up at <a href=""></a></p> <p style="text-align: justify;">Organized in partnership with <a href="">Times Square Arts</a>.</p> <p style="text-align: justify;">The exhibition is jointly organized by the Guangdong Times Museum, Guangzhou (China) and the Queens Museum and is curated by Ruijun Shen, curator, Guangdong Times Museum. The public performance in New York City is being organized with Times Square Arts.</p> <p style="text-align: justify;">The exhibition is supported by the Guangdong Times Museum, Guanghzhou; the Asian Cultural Council; <strong>Times Square Arts</strong>, the public arts program of the&nbsp;<strong>Times Square Alliance</strong>; and MABSOCIETY.</p> <p style="text-align: justify;">Additional support from the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> <p style="text-align: justify;">In conjunction with Asian Contemporary Art Week (ACAW).</p> <p style="text-align: justify;"><strong>Guangdong Times Museum</strong> is funded by Times Property in 2003. During the D-Lab project of 2nd Guangzhou Triennial in 2005, Rem Koolhaas and Alain Fouraux were invited to design a conceptualized permanent building for the Museum, which was completed in September 2010. Guangdong Times Museum is dedicated to the research and presentation of contemporary art and related cultural ideas as well as the promotion of local, public and interdisciplinary artistic practices and cultural production. Through a series of exhibitions, projects and public cultural events, Guangdong Times Museum proactively explores the diverse and multi-dimensional relations between artistic practices, cultural production, the public, and urban public sphere.</p> <p style="text-align: justify;"><strong>Times Square Arts</strong>, the public arts program of the&nbsp;<strong>Times Square Alliance</strong>, collaborates with contemporary artists and cultural institutions to experiment and engage with one of the world&rsquo;s most iconic urban places. Through the Square&rsquo;s electronic billboards, public plazas, vacant areas and popular venues, and the Alliance&rsquo;s own online landscape, Times Square Arts invites leading contemporary creators to help the public see Times Square in new ways.&nbsp; Times Square has always been a place of risk, innovation and creativity, and the Arts Program ensures these qualities remain central to the district&rsquo;s unique identity. Generous support of Times Square Arts is provided by ArtPlace America and ArtWorks. Visit&nbsp;<a href=""></a>. Follow us on Twitter&nbsp;<a href="">@TSqArts</a>&nbsp;and Instagram<a href="">@TSqArts</a>.</p> Fri, 17 Oct 2014 16:11:45 +0000 - Recess Activities, Inc. - November 1st 3:00 PM - 5:00 PM <p style="text-align: justify;"><em>A European friend once wrote to me, &ldquo;I wish your country will open up one day.&rdquo; What a strange word, I thought: &ldquo;Open up!&rdquo; Is it not what the policeman shouts at the door? Open up to what or whom? To modernization? To the global market? To capitalism? To penetration? Or, less aggressively, to adaptation? Or, ultimately, to translation? Or is it just opening up a space, some sort of a void?</em> &mdash;Bavand Behpoor, &ldquo;Politics of Opening: Translation as Authorship&rdquo;</p> <p style="text-align: justify;">Architect and scholar Craig L. Wilkins, writer Bavand Behpoor, and curators of The Back Room, Ava Ansari and Molly Kleiman, will discuss the strategies, challenges, and urgencies for devising proactive and celebratory engagements with marginalized spaces in Iran and the US. The event will act as a coda to the eight-week, three-channel telepresence workshop conducted this spring by The Back Room in collaboration with CultureHub, with participating artists, architects, and writers at Sazmanab Center for Contemporary Art, Tehran; and Mani Studio, Isfahan. The program is supported by La MaMa and The Doris Duke Foundation for Islamic Art.</p> <p style="text-align: justify;">November 1, 3pm<br /> <a href="" target="_blank">RSVP</a></p> Tue, 28 Oct 2014 16:25:50 +0000 Klara Liden - Reena Spaulings Fine Art - November 1st 12:00 PM - 6:00 PM Fri, 31 Oct 2014 08:57:01 +0000 Anne Wilson - The Drawing Center - November 1st 12:30 PM - 5:30 PM <p style="text-align: justify;">After discovering that The Drawing Center&rsquo;s SoHo building was originally built in 1866 for the Positive Motion Loom Company, Chicago-based artist Anne Wilson conceived of her latest site-specific performance that will use the main gallery&rsquo;s four central columns as a weaving loom. Recalling the physical structure and operations of the loom itself, the piece&rsquo;s four participants will &ldquo;walk&rdquo; around the twelve foot columns, carrying a spool of thread to form a standard weaving cross (a method used to keep warp threads in order). The durational performance, which will take place over the course of two months, will result in the fabrication of a five by thirty-four foot sculpture: a colorful cross composed of innumerable strands of thread.</p> <p style="text-align: justify;">The performance will occur in conjunction with the exhibition <a href="" rel="external" target="_blank"><em>Thread Lines</em></a>, on view in the Main Gallery from September 19th-December 14th. The exhibition admission ticket also includes this performance.</p> Thu, 16 Oct 2014 15:24:40 +0000