ArtSlant - Openings & events http://www.artslant.com/ny/Events/show en-us 40 - 3A Gallery - February 27th 6:00 PM - 8:00 PM Fri, 27 Feb 2015 13:18:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Marsha Cottrell - Eleven Rivington (Chrystie Street) - February 27th 6:00 PM - 8:00 PM Wed, 11 Feb 2015 15:42:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Marsha Cottrell - Eleven Rivington (Rivington Street) - February 27th 6:00 PM - 8:00 PM Thu, 19 Feb 2015 04:38:16 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Hayv Kahraman - Jack Shainman Gallery 20th Street - February 27th 6:00 PM - 8:00 PM <h6 style="text-align: justify;"><span style="font-size: small;">Hayv Kahraman&rsquo;s work grapples with the marginal spaces between Western and Middle Eastern culture, aesthetics and concepts of gender through her personal history as an Iraqi &eacute;migr&eacute; to Europe and ultimately the US. Her paintings elegantly recall Japanese style calligraphy, Italian Renaissance painting and illuminated Arab manuscripts, though the subjects are deeply and psychologically brutal. Her work calls back to these Western and Middle Eastern art histories, but her aesthetic, as an immigrant, belongs to neither. </span><br /><br /><span style="font-size: small;">In a recent, <em>New York Times</em> article about her exhibition <em>Extimacy</em>, she says &ldquo;Having these women violently detaching their limbs, for me, is very reminiscent of the psyche of a refugee, and that sense of detachment you have from your land that you&rsquo;ve had to leave behind. That&rsquo;s the idea of the diasporic women, who are fragmented, or cyborgs almost. They&rsquo;ve had to give up part of themselves.&rdquo; </span><br /><br /><span style="font-size: small;">Hayv Kahraman immigrated with her family to Sweden at age eleven and started painting by age twelve. She studied art in Italy at the Accademia di arte e design di Firenze in 2005 and studied web design in Sweden in 2006. &ldquo;While the underlying questions of diaspora and gender are still catalysts in my work, stylistically my work has shifted towards a more abstract translation of patterns... Recently, I've been fascinated with geometry and symmetrical systems of solids and tessellations. I'm attracted to the idea of symmetry as a representation of the sublime in a Kantian sense, and how these systems of patterns can be a reflection of the infinite.&rdquo; (From an interview with the <em>Huffington Post</em>, 2012)</span><br /><br /><span style="font-size: small;">Kahraman currently lives and works in San Francisco.&nbsp; Her work is included in exhibitions including <em>Echoes: Islamic Art and Contemporary Artists</em>, Nelson-Atkins Museum, Kansas City; <em>The Jameel Prize </em>2011 &ndash; Shortlist Exhibition, Victoria and Albert Museum, London which traveled to venues including the Museum of Fine Arts, Houston and the Cantor Center, Stanford University; <em>Fertile Crescent</em>, Paul Robeson Center for the Arts, Princeton; <em>Newtopia: The State of Human Rights</em>, Kazerne Dossin Museum, Mechelen, Belgium. Her work is included in several public collections including the American Embassy, Baghdad; The Barjeel Art Foundation, Sharjah; MATHAF Museum of Modern Art, Doha; and The Rubell Family Collection, Miami.</span><br /><br /><span style="font-size: small;">Kahraman&rsquo;s first solo exhibition with Jack Shainman Gallery was&nbsp;<em>Let the Guest be the Master</em> (2013).</span></h6> Wed, 11 Feb 2015 18:01:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Michael Snow - Jack Shainman Gallery 24th Street - February 27th 6:00 PM - 8:00 PM <p><!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Author>kathryn gile</o:Author> <o:Version>12.00</o:Version> </o:DocumentProperties> </xml><![endif]--></p> <p><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> 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mso-hansi-theme-font:minor-latin; mso-fareast-language:EN-US;} </style> <![endif]--></p> <p class="MsoNormal" style="text-align: justify;">&nbsp;</p> <h6 style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Michael Snow&rsquo;s extensive and multidisciplinary oeuvre includes painting, sculpture, video, film, sound, photography, holography, drawing, writing, and music. His work explores the nature of perception, consciousness, language, and temporality. Snow is one of the world&rsquo;s leading experimental filmmakers, having inspired the Structural Film movement with his groundbreaking film <em>Wavelength</em> (1967).</span><br /> <br /><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Snow was born in 1928 in Toronto, where he lives and works today. He has received honorary degrees from the University of Toronto (1999), the University of Victoria (1997), the Nova Scotia College of Art and Design (1990), and Brock University (1975). </span><br /><br /><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Snow has received several prestigious awards including: the Gershon Iskowitz Prize (2011), the Guggenheim Fellowship (1972), the Order of Canada in (1982), and the Chevalier de l'ordre des arts et des lettres, France (1995, 2011). There has been a great deal of scholarship focusing on Snow, including the multi-volume <em>Michael Snow Project</em> published in 1994 by the Power Plant and the Art Gallery of Ontario, both in Toronto, to accompany four simultaneous exhibitions at the two venues that same year. </span><br /><br /><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Recent solo exhibitions include <em>Michael Snow: Objects of Vision</em>, Art Gallery of Ontario, Canada (2012), <em>Solo Snow: Works of Michael Snow</em>, Akbank Sanat, Turkey (2012), <em>Michael Snow</em>, Vienna Secession, Austria (2012), and S<em>olo Snow</em>, Le Fresnoy, France (2011). Snow also had a solo exhibition entitled <em>Michael Snow: Photo-Centric</em> at the Philadelphia Museum of Art, PA in February 2014.</span><br /><br /><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Snow&rsquo;s work has been included in countless group exhibitions, most recently including the Canadian Biennial (2012), <em>Videosphere: A New Generation</em> at the Albright-Knox Art Gallery, NY (2012), <em>1969</em> at MoMA PS1, NY (2009), and the Whitney Biennial, NY (2006), as well as exhibitions held for the reopening of both the Centre Pompidou, Paris (2000) and the Museum of Modern Art, New York (2005), the latter at which three works are currently installed. Snow&rsquo;s work is in various private and public collections throughout the world, such as the Museum of Modern Art, New York; the Ludwig Museum, Austria and Germany; the Mus&eacute;e National d&rsquo;Art Modern, Centre Pomidou, France; the Mus&eacute;e des Beaux Arts, Canada; the Art Gallery of Ontario, Canada; and the National Gallery of Canada.</span><br /><br /><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Jack Shainman Gallery has represented Snow since 2004. Solo exhibitions held at the gallery include <em>Michael Snow: In the Way</em> (2012) and <em>Michael Snow: Powers of Two</em> (2004). Snow was also included in several group exhibitions at the gallery including <em>Works on View</em> (2009), <em>Imposition</em> (2005), and <em>A Charge to Keep</em> (2004). &nbsp;He will have a solo exhibition <em>Michael Snow: A Group Show</em> opening February 27, 2015 at 524 West 24th Street.</span></h6> <p class="MsoNormal"><span style="font-size: small;">&nbsp;</span></p> <p class="MsoNormal"><span style="font-size: small;">&nbsp;</span></p> <!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-PH</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> 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QFormat="true" Name="TOC Heading"/> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-fareast-language:EN-US;} </style> <![endif]--> Wed, 11 Feb 2015 16:41:29 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Dawn Clements - Pierogi - February 27th 7:00 PM - 9:00 PM Thu, 05 Feb 2015 17:08:27 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - February 27th 4:00 PM - 5:00 PM <div class="header"> <p style="text-align: justify;">Herbert M. Cole, Professor Emeritus, Department of the History of Art and Architecture, University of California, Santa Barbara<br /> Gitti Salami, Associate Professor in Liberal Arts, Pacific Northwest College of Art</p> <p class="small" style="text-align: justify;">Bonnie J. Sacerdote Lecture Hall, Uris Center for Education <a id="phcontent_0_phthreecolumncontent_0_MapLink" href="http://www.metmuseum.org/visit/museum-map?mli=uris-center" target="_blank">Show location on map</a></p> </div> <p style="text-align: justify;">Join leading curators, art historians, and other specialists for lectures related to the Museum's exhibitions and collections.</p> <p style="text-align: justify;">Presented in conjunction with the exhibition <em><a href="http://www.artslant.com/ny/events/show/365542-warriors-and-mothers-epic-mbembe-art" target="_blank">Warriors and Mothers: Epic Mbembe Art</a>.</em></p> Mon, 24 Nov 2014 17:26:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Tracy Williams, Ltd. - February 27th 6:00 PM - 8:00 PM Thu, 19 Feb 2015 05:22:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jonathas de Andrade - Alexander and Bonin - February 28th 6:00 PM - 8:00 PM <p class="Default" style="text-align: justify;">Alexander and Bonin is pleased to announce Jonathas de Andrade&rsquo;s first one-person exhibition in North America. The installations, sculpture and photographic works to be exhibited date from 2013 to 2015 and address socio-economic issues in contemporary Brazil.</p> <p class="Default" style="text-align: justify;">In two multi-part installations, (<em>Cartazes para o Museu do Homem do Nordeste </em>and <em>40 nego bom &eacute; 1 real), </em>both from 2013, Andrade questions the influential but controversial ideas of the Brazilian sociologist Gilberto Freyre, particularly as expressed in his 1933 publication <em>Casa-Grande e Senzala </em>(The Master and the Slave). In this text, Freyre suggests a lived experience of racial-democracy in Brazil, which he believed to be a result of miscegenation between Portuguese colonizers, Africans, and Native Brazilians.</p> <p class="Default" style="text-align: justify;"><em>Cartazes para o Museu do Homem do Nordeste </em>(<em>Posters for the Museum of the Northeast Man</em>) is inspired by an existing institution, the Museu do Homem do Nordeste, an anthropological museum in Recife, founded in 1979 and largely inspired by Gilberto Freyre&rsquo;s theories on &lsquo;racial democracy&rsquo;. In this project Andrade visually reimagines the identity of the museum. Beginning in 2012 the artist advertised in local newspapers calling for workers interested in posing for photographs advertising the museum. Photographing participants in everyday situations, Andrade created 70 posters with notes documenting the encounters. Through this collection of images and notes Andrade examines how an anthropological approach influences the representation and understanding of cultural and personal identities. The artist continues to use the Museu do Homem do Nordeste as inspiration for parallel projects some of which can be seen in his survey exhibition currently at Museu de Arte do Rio (MAR) in Rio de Janeiro.</p> <p class="Default" style="text-align: justify;">The title of the installation, (a collaborative project with Silvan Kaelin), <em>40 nego bom &eacute; 1 real </em>(<em>40 black candies for R$ 1,00</em>), is drawn from the name of a popular candy in northeastern Brazil. &lsquo;Nego bom&rsquo; which can be literally translated as &lsquo;good black&rsquo; is a colloquial albeit affectionate term with colonial connotations. Inspired by a street vendor promoting his sweets at the top of his voice, the work consists of two parts and tells the story of the production of the sweet and exposes the falsity of the supposed good-natured working relations between employers and employees. Through this narrative Andrade probes the complex social dynamics of post-colonial Brazil through the locus of cheap labor.</p> <p class="Default" style="text-align: justify;">In 2014 Andrade invited the workers from a refinery in Condado to participate in the creation of his most recent work, <em>ABC de Cana, (Sugar Cane ABC). </em>Inspired by a 1957 &lsquo;alphabet&rsquo; drawing by Luis Jardim which uses sugar cane motifs, the work consists of 26 images of workers forming the alphabet with sugar cane stalks.</p> <p style="text-align: justify;">Jonathas de Andrade was born in 1982 in Macei&oacute;, Brazil; he lives and works in Recife. A survey of his work is on view at Museu de Arte do Rio (MAR), Rio de Janeiro through March 22. Past solo exhibitions include Instituto Cultural Ita&uacute;, S&atilde;o Paulo (2008); Instituto Cultural Banco Real, Recife (2009); Centro Cultural S&atilde;o Paulo (2010); Galeria Vermelho, S&atilde;o Paulo (2013, 2010); Kunsthalle Lissabon, Lisbon (2013); and Mus&eacute;e d&rsquo;art Contemporain de Montr&eacute;al (2013). He participated in the Mercosul Biennial, Porto Alegre, (2009); S&atilde;o Paulo Biennial (2010); Istanbul Biennial (2011); New Museum Triennial: <em>The Ungovernables</em>, New York (2012); Lyon Biennial (2013) and the 11th Dakar Biennial (2014). Jonathas de Andrade's work was included in <em>Under the Same Sun: Art from Latin America Today </em>at the Guggenheim Museum, New York in 2014.</p> Wed, 25 Feb 2015 05:47:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Candice Breitz - Andrew Kreps Gallery @ 535 West 22nd - February 28th 6:00 PM - 8:00 PM Wed, 25 Feb 2015 05:41:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Barbara T. Smith - Andrew Kreps Gallery @ 537 W. 22nd - February 28th 6:00 PM - 8:00 PM Wed, 25 Feb 2015 05:43:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Bortolami Gallery - February 28th 6:00 PM - 8:00 PM Fri, 02 Jan 2015 15:13:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Amparo Sard - BravinLee Programs - February 28th 6:00 PM - 8:00 PM Wed, 11 Feb 2015 15:31:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - David Zwirner- 533 W. 19th - February 28th 6:00 PM - 8:00 PM <p style="text-align: justify;">David Zwirner is pleased to present the group exhibition&nbsp;<em>System and Vision</em>, organized in collaboration with Delmes &amp; Zander in Berlin and Cologne. It includes artists whose unique ideas developed outside the circuit of art world institutions, often with limited interaction with other peers. Each offers a highly individualistic, authentic, and imaginative practice that roughly falls into one of four identifiable areas commonly absent from mainstream art-historical narratives: pseudo-science, science fiction, eroticism, and the occult.&nbsp;</p> <p style="text-align: justify;">Little, if anything, is known about some of the artists, whose work was uncovered posthumously or otherwise discovered, stowed away in inconspicuous locations.&nbsp;<strong>William Crawford</strong>&rsquo;s name is only encountered as a signature accompanying a handful of erotic drawings found along with hundreds more unsigned in an abandoned house in Oakland, California. Some of these were drawn on the back of prison rosters dating from the 1990s, suggesting that the artist may have been an inmate at some point. A recurring male figure may constitute self-portraiture, but the passionate subject matter with varying degrees of roughness and intimacy is likely the realm of private fantasy at a time when online pornography was not widely available. The action is often depicted from unusual angles and offset by streamlined, linear backdrops that offer a hint of realism to the wistful yearnings.&nbsp;</p> <p style="text-align: justify;">The artist behind a group of almost one thousand Polaroids taken of famous female actresses on television screens remains anonymous, as does the motive for the methodical undertaking&mdash;<strong>Type 42</strong>, the particular film stock used, fills the gap of a name. Inscribed with the names of the actresses, and occasionally with their &ldquo;measurements,&rdquo; the photographs capture specific moments that are echoed throughout the archive, thus indicating a level of obsession not simply restricted to the female body, but also to the self-imposed rules of the project.&nbsp;</p> <p style="text-align: justify;">The two other artists whose works fall within the broader category of the erotic&mdash;Czech-born&nbsp;<strong>Miroslav Tich&yacute;</strong>and American&nbsp;<strong>Morton Bartlett</strong>&mdash;echo some of the artistic strategies deployed by the above. Tich&yacute; is widely recognized for his &ldquo;outsider&rdquo; status within the totalitarian regime of Cold War Prague, and his lingering antagonism to any sense of the establishment throughout his life prompted him to build his own cameras, developing the scratched, over-or-under-exposed photographs for which he has become known. Always depicting women, and often focusing on certain body parts or perspectives that evoke the position of the voyeur, Tich&yacute; was also an avid drawer&mdash;included in this exhibition are a series of almost nude depictions of women that extend the placid eroticism encountered in his photographic work.&nbsp;</p> <p style="text-align: justify;">Having dropped out of a fine arts program at Harvard University, Bartlett began to make realistic dolls of children in the 1930s, which he would dress with hand-sewn clothes and photograph against carefully staged backgrounds with varying degrees of light and shade. Neither the dolls nor the photographs were ever exhibited during his lifetime, and similar to his more famous contemporary, German artist Hans Bellmer, whom he is unlikely to have been familiar with, Bartlett eventually gave up doll making entirely. His fifteen dolls and accompanying photographs were found by relatives after his death, each neatly wrapped in newspapers and stored in a custom-built wooden box.&nbsp;</p> <p style="text-align: justify;">Works by another group of artists in the show communicate profound and prophetical ideas about the future. Based in North Carolina,&nbsp;<strong>George Widener</strong>&nbsp;creates complex works on paper referencing a variety of calendars and other numerical data including computational commands. Often set within architectural structures, they suggest the idea of a code; through an exceptional aptitude for large numbers due to Asperger&rsquo;s Syndrome, Widener sets out to explore numerological consistencies to a variety of catastrophes with prognostic&nbsp;fervor.<strong>Chris Hipkiss</strong>, a collective name for British artists Chris and Alpha Mason, creates large-scale panoramic landscapes in which giant industrial or technological structures propel humans into the background. In&nbsp;<strong>Prophet Royal Robertson</strong>&rsquo;s work, the apocalypse appears imminent as autobiographical events decrying his ex-wife&rsquo;s unfaithfulness blend with schizophrenic hallucinations. Robertson added the name &lsquo;Prophet&rsquo; himself, and his vividly colored, futuristic drawings&mdash;often accompanied by bold text and arranged inside and outside of his Louisiana home&mdash;became widely known following his inclusion in a 2009 documentary about self-taught artists.&nbsp;</p> <p style="text-align: justify;">Also driven by a sense of necessity, German artist&nbsp;<strong>Harald Bender</strong>&nbsp;became obsessed with drawing. Resorting to obscure scientific formulae, he covered thousands upon thousands of sheets of paper with geometrical shapes and color fields, often drawing and writing on top of photocopied manuals. A similar excessiveness characterizes the work of fellow German&nbsp;<strong>Horst Ademeit</strong>, who dedicated himself to documenting the harmful influence of so-called cold rays, a type of radiation he had identified. Each day he took photographs purporting to show the threat to his immediate environment, while also recording the behavior of spiders and fruit flies, and appropriating an arsenal of measuring instruments. His findings were meticulously inscribed on the sides of the photographs.&nbsp;</p> <p style="text-align: justify;">These pseudo-scientific projects are matched by several works in the exhibition claimed to have been done through the agency of a spirit. German-born&nbsp;<strong>Agatha Wojciechowsky</strong>, who emigrated to the United States in the early 1920s, was a well-known spiritual medium and healer whose works of art were informed by her communications with the deceased.&nbsp;<strong>Margarethe Held</strong>, another German medium, began drawing in her late fifties according to instructions by an unknown entity whom she identified as &ldquo;Siwa, God of the Indians and Mongols.&rdquo;&nbsp;<strong>Francesco Ponte</strong>, president of the Spiritualist Federation in Puerto Rico in the early part of the twentieth century, used the relatively new invention&nbsp;of the camera to document occult and paranormal phenomena in an album with thirty-five original prints considered a prime example of spirit photography.&nbsp;</p> <p style="text-align: justify;">Bringing together twelve distinct types of practices that are rarely encountered in art world institutions, the present exhibition nonetheless reveals a number of shared artistic strategies with &ldquo;official&rdquo; art of the 1960s and 1970s. These include the systematic organization of information, the use of repetition, and the centrality of photography in documenting ephemeral events, but also extend to encompass a wider approach to artworks as means to an end, and not the end in and of themselves. The importance of the process characterizes all of the works in the show, and sometimes constitutes our only source of knowledge about their makers.&nbsp;</p> <p style="text-align: justify;">Since opening in Cologne in 1988, Galerie Susanne Zander has established itself as one of the leading international galleries for Outsider Art and Art Brut, dedicating its program exclusively to marginal artistic positions of outstanding quality, both historical and contemporary. In recent years, the gallery has focused its shows on &ldquo;Conceptual Outsider Art,&rdquo; featuring works that raise the question of when something can be contextualized as outsider art, particularly when it shares visual strategies with contemporary art more generally. In 2014, Zander opened a second gallery in Berlin with Nicole Delmes, and both locations are now known as Delmes &amp; Zander. A presentation of the work of Harald Bender will be on view at the gallery&rsquo;s booth during Independent 2015&nbsp;in New York from March 5 &ndash; 8.&nbsp;</p> <p style="text-align: justify;">White Columns in New York will present the exhibition&nbsp;<em>Margret: Chronicle of an Affair&nbsp;</em>&ndash;&nbsp;<em>May 1969 to December 1970&nbsp;</em>in collaboration with Delmes &amp; Zander (March 6 &ndash; April 18). It features an extensive collection of found materials relating to a private affair conducted between a German businessman and his secretary (through April 11).</p> <p style="text-align: justify;"><strong>Opening reception: Saturday, February 28, 6 &ndash; 8 PM<br /></strong><strong>Guided walkthrough with Susanne Zander, from Delmes &amp; Zander: 5 PM</strong></p> <p><strong>For all press inquiries and to RSVP to the February 28 guided walkthrough, contact</strong></p> <p>Kim Donica +1 212 727 2070 kim@davidzwirner.com</p> <p style="text-align: justify;"><strong>&nbsp;</strong></p> Thu, 29 Jan 2015 10:43:26 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Leonardo Benzant, Lindsay Dye, Hugh Haydens, Asif Mian, Clife Murphy, Justin Randolph Thompson, Bradly, Dever Treadaway - FiveMyles - February 28th 5:00 PM - 8:00 PM <p>FiveMyles is pleased to present <strong>New American Sculpture,</strong> an exhibition highlighting the work of nine artists, who mean to challenge conventional thinking about sculpture and, at the same time, express their cultural agency. The exhibition&rsquo;s title not only reflects the fact that the exhibited works on view are new, but it also conveys the artists commitment to a fresh approach to three-dimensional art making.</p> Wed, 04 Feb 2015 19:41:23 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Molly Smith - Kate Werble Gallery - February 28th 6:00 PM - 8:00 PM <p style="text-align: justify;">In the spring of 2013, Molly Smith and her partner moved to 31 acres in rural Western Massachusetts and began to build a house out of materials sourced from the land itself. Left without a studio while simultaneously constructing the new homestead and dismantling a previously existing structure, Smith&rsquo;s home and life within its natural environment became the site, process, and materials from which the works in this exhibition were formed.</p> <p style="text-align: justify;">The show&rsquo;s title, <em>Hours, </em>is a homophone referring to both ownership and time. In a series of 365 watercolors made daily throughout her first year of living on the property, Smith considers the impossibility of claiming time through its measurement, all the while marking its passing. Each work is based on Smith&rsquo;s ideas about value and worth, endurance and cycles, and resources and&nbsp; possession.</p> <p style="text-align: justify;">Using materials that include found objects, natural materials and waste, Smith responds to observations gleaned from her surroundings. Some are ephemeral and others more permanent, acknowledging that existence must encompass both growth and disintegration. For instance,&nbsp; canvas used as temporary winter insulation becomes the substrate for fugitive dyes, which alter gradually over time. In another work, <em>Chord</em>, dried iris leaves bind together a sculpture that may degrade and disappear.</p> <p style="text-align: justify;"><em>Molly Smith (b. 1976 in Kansas City, MO) received her BFA from the Rhode Island School of&nbsp; Design and her MFA from Columbia University. Smith has held solo exhibitions at Santa Barbara Contemporary Arts Forum, Santa Barbara, CA (2013); Romer Young Gallery, San Francisco, CA (2013); Kate Werble Gallery, NY (2012, 2010); and KS Art, NY (2008, 2006). Her work has been exhibited at venues including Paula Cooper Gallery, NY; Sikkema Jenkins &amp; Co, NY; Contemporary Arts Center, Cincinnati, OH; Clifford Art Gallery, Colgate University, Hamilton, NY; Klaus Von Nichtssagend Gallery, NY; Gallery Min Min, Tokyo, JP; and Roger Bjorkholmen Gallery, Stockholm, SE. She currently lives and works in Worthington, MA.</em></p> Wed, 25 Feb 2015 06:36:48 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list