ArtSlant - Openings & events http://www.artslant.com/ny/Events/show en-us 40 John Ahearn, Jody Culkin, Ilona Granet, John “Crash” Matos, Franz Vila - ABC NO RIO - April 27th 6:30 PM - 8:00 PM <p style="text-align: justify;">Today&rsquo;s celebrity culture, with Selfies and Instagram art, grew from Andy Warhol&rsquo;s pop imagery and personal technology introduced in the 80&rsquo;s. Then, radical conservative Republicans formed the New Right, outsourcing of employment became a norm, and the &ldquo;1%&rdquo; began its emergence from Reagan&rsquo;s deregulation and corporate empowerment.&nbsp; </p> <p style="text-align: justify;">As a foundation to 80&rsquo;s art groups cross over art/politics blended to form today&rsquo;s &ldquo;social practice art.&rdquo;
Then, collective approaches to exhibiting original artworks grew into art fairs. And, women artists&rsquo; presence is rooted in their communal solidarity of the 80&rsquo;s. </p> <p style="text-align: justify;">Yet, most of the 80&rsquo;s art roots in today&rsquo;s art remain unknown. This pivotal issue is the center of the &ldquo;Historical Impact&rdquo; art panel.&nbsp; Working artists of the 80&rsquo;s, including <strong>John Ahearn, Jody Culkin, Ilona Granet, John &ldquo;Crash&rdquo; Matos and Franz Vila,</strong> will bring historical insight to the public, about the art that impacted New York and influenced the art world.</p> Fri, 22 Apr 2016 09:14:37 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Andra Ursuta - New Museum - April 27th 11:00 AM - 6:00 PM <p style="text-align: justify;">In spring 2016, the New Museum will present the first museum exhibition in New York of Andra Ursuţa.</p> <div id="about" class="anchors" style="text-align: justify;"> <div class="section"> <div class="inner clearfix"> <div class="content"> <div class="body body--truncated body--expanded"> <p>This presentation will be the first New York museum exhibition of the work of New York&ndash;based artist Andra Ursuţa (b. 1979). Ursuţa&rsquo;s sculptures and installations thrive on paradox and engage a visual language that weaves an art historical homage with a homespun, anarchic sensibility. From early in her career, Ursuţa has used a fatalistic dark humor to expose power dynamics, to probe the vulnerability of the human body, and to examine modes of desire. The Romanian-born artist immigrated to the United States in the late 1990s, but many of the narrative facets of her upbringing&mdash;from occult folk traditions to blundering nationalist propaganda&mdash;resonate throughout her work. Ursuţa&rsquo;s New Museum exhibition will debut a new sculptural installation,&nbsp;<em>Alps</em>&nbsp;(2016), which will be presented in dialogue with the artist&rsquo;s recent sculptures, including her series<em>Whites</em>&nbsp;(2015), which will have its United States premiere in this show.</p> <p>The sculptures that compose&nbsp;<em>Whites</em>&nbsp;take the form of anthropomorphic obelisks&mdash;bone-like shrunken monuments with eye sockets and nostrils cast from human skulls. Half figure and half stela, they haunt the gallery like ghosts and are seated on chairs whose designs reference periods of European colonialism. Ursuţa&rsquo;s&nbsp;<em>Alps</em>transposes her obelisk-like figures to an artificial landscape that envelops the gallery space. Informed by stylized representations of natural landscapes&mdash;from indoor rock-climbing walls to the rocks depicted in Byzantine paintings&mdash;&nbsp;<em>Alps</em>flanks the walls of the gallery with craggy geometric forms jutting out like crystalline growths. The work&rsquo;s title denotes a specific geographical feature: Europe&rsquo;s Alps are a major natural barrier, which has taken on a new significance in light of current efforts by migrants to cross into western Europe. Seen alongside<em>Whites</em>, the squadron of forlorn obelisks that patrol the premises like specters of bygone imperialist ambitions, and the marble Roma women of&nbsp;<em>Commerce Exterieur Mondial Sentimental</em>&nbsp;(2012), Alps suggests a commentary on the impulse to guard and fortify borders. Cast in the surfaces of these pallid panels, pouches of bodily mass&mdash;in the shape of inflatable toy skeletons&mdash;appear suspended like flies in a web or frozen like fossilized bog bodies. Other skeletal cavities perforate the surface and, together with penis-shaped climbing holds, offer rude and morbid grips for a hypothetical climber.</p> <p>In&nbsp;<em>Commerce Exterieur Mondial Sentimental</em>, life-size marble figures adorned with coins glare at the viewer with palpable contempt. Informed by a socialist-realist aesthetic and inspired by a news image of a Roma woman being deported from France, they evoke lifeless mannequins trapped in an economy in which the value of both human beings and commodities is determined by foreign powers.<em>Scarecrow</em>&nbsp;(2015), an unusual apparatus for a nonexistent sport, is part goalpost, part concrete flag: at its center is a cartoonish inflatable eagle, whose tumescent arms are pumped up in victory. In this work, a classic emblem of European nationalism is transformed into an icon of empty threats&mdash;a monument of imperial folly more than a real menace.</p> <p>Andra Ursuţa was born in 1979 in Salonta, Romania, and lives and works in New York City. She has exhibited internationally at venues including the 13th Biennial of Lyon, France (2015); the Hammer Museum, Los Angeles (2014); the 55th Venice Biennale (2013); MoMA P.S.1, New York (2013);&nbsp;CAPC, mus&eacute;e d&rsquo;art contemporain de Bordeaux, France (2013); and Frieze Projects New York (2012). Her recent solo presentations include &ldquo;Enslavables&rdquo; at Massimo De Carlo, London (2015); &ldquo;Whites&rdquo; at Kunsthalle Basel, Switzerland (2015); &ldquo;Orthodoctrinator&rdquo; at Art Basel Unlimited (2014); &ldquo;Scytheseeing&rdquo; at K&ouml;lnischer Kunstverein, Cologne (2014); &ldquo;As I Lay Drying&rdquo; at the Institute of Contemporary Art, Miami (2014); &ldquo;Solitary Fitness&rdquo; at Venus Over Manhattan, New York (2013); &ldquo;Mothers, Let Your Daughters Out in the Streets&rdquo; at Fran&ccedil;ois Ghebaly Gallery, Los Angeles (2012); and &ldquo;&Omicron; &Nu;ό&tau;&omicron;&sigmaf; &theta;&alpha; &epsilon;&gamma;&epsilon;&rho;&theta;&epsilon;ί &xi;&alpha;&nu;&alpha;&rdquo; [The South Will Rise Again] (2015), &ldquo;Magical Terrorism&rdquo; (2012), &ldquo;Vandal Lust&rdquo; (2011), and &ldquo;The Management of Barbarism&rdquo; (2010) at Ramiken Crucible, New York.</p> <p>The exhibition is curated by Natalie Bell, Assistant Curator, and Massimiliano Gioni, Artistic Director. It will be accompanied by a publication with contributions by Bell and artist Maurizio Cattelan and an interview between the artist and Gioni.</p> <div id="sponsors">&nbsp;</div> </div> </div> </div> </div> </div> <div class="section"> <div class="inner"> <div class="content clearfix"> <div class="col-twothirds sponsors-col"> <h2 style="text-align: justify;">Sponsors</h2> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Andra Ursuţa: Alps&rdquo; is presented by The New Women&rsquo;s Project and Founding Partner D K N Y.&nbsp;<br /><br /><img src="http://235bowery.s3.amazonaws.com/images/1328/thumbnails/792x792x1.jpg" alt="" width="150" height="47" /><br /><br />Additional support for the exhibition is provided by the O&rsquo;Grady Foundation, Fundaci&oacute;n Almine y Bernard Ruiz-Picasso para el Arte, Lietta and Dakis Joannou, Carlo Bronzini Vender and Tanya Traykovski, and the Toby Devan Lewis Emerging Artists Exhibitions Fund.<br /><br />Generous funding is provided by the International Leadership Council of the New Museum.<br /><br />The Artemis Council of the New Museum is gratefully acknowledged.<br /><br />Support for the accompanying publication has been provided by the J. McSweeney and G. Mills Publications Fund at the New Museum.</p> </div> </div> </div> </div> Wed, 27 Apr 2016 18:00:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Cally Spooner - New Museum - April 27th 11:00 AM - 6:00 PM <p style="text-align: justify;">The New Museum will present a new installation by Cally Spooner (b. 1983, Ascot, UK), which will be her first solo and institutional presentation in the United States.</p> <div id="about" class="anchors" style="text-align: justify;"> <div class="section"> <div class="inner clearfix"> <div class="content"> <div class="body body--truncated body--expanded"> <p>For her first solo and institutional presentation in the United States, Cally Spooner (b. 1983, Ascot, UK) will produce a new installation for the New Museum&rsquo;s Lobby Gallery. &ldquo;On False Tears and Outsourcing&rdquo; will comprise a series of architectural additions to the gallery space and the presence of a group of dancers who will respond to conflicting choreographic instructions: to stay intimately bound together while remaining fiercely separate. Trained by rugby players and a movie director, and following the logic of a &ldquo;stand-up scrum&rdquo;&mdash;a daily meeting often used in collaborative, responsive practices such as software development&mdash;the dancers will learn a set of techniques taken from contact sports, management strategies, and on-screen romance. Through attempts to seduce, defend, and self-organize, the group will devise a sequence of movements in response to simple tasks set by Spooner. The long glass wall that separates the Lobby Gallery from the New Museum Lobby will be a central feature of the installation. Using the gallery&rsquo;s condition of high visibility, Spooner will consider the characteristics of corporate and museum architectures by amplifying and exaggerating certain qualities in the space through the use of soft acoustic panels, daylight bulbs, and background noise. Through this intersection of bodies and architectures of management, Spooner will examine how power presents itself when it comes into contact with the human body.</p> <p>On False Tears and Outsourcing&rdquo; is part of Spooner&rsquo;s long-term project of the same name, which was initiated at Vleeshal Markt, Middelburg, the Netherlands, in 2015. Considering the production of affect, the contradictions faced by hired bodies, and the dynamics of using or being used as a human resource, the project stages situations in which a heightened demand for communication drives the outsourcing of personal investment to readymade gestures and protocols.</p> <p>Cally Spooner was born in Ascot, UK, in 1983 and lives and works in London. Her recent solo exhibitions include &ldquo;And You Were Wonderful, On Stage&rdquo; at Stedelijk Museum, Amsterdam (2016); &ldquo;On False Tears and Outsourcing&rdquo; at Vleeshal Markt, Middelburg, the Netherlands (2015); and &ldquo;The Anti-Climax Climax&rdquo; at Bielefelder Kunstverein, Bielefeld, Germany (2015). Her recent live productions have been presented at Tate Modern, London (2014); Tate Britain, London (2014); the High Line, New York (2014); Stedelijk Museum, Amsterdam (2013); and Performa 13, New York (2013). Spooner&rsquo;s work has been included in group exhibitions at the Aspen Art Museum (2015);&nbsp;REDCAT, Los Angeles (2015); Frieze Projects, London (2015); Kunstverein M&uuml;nchen (2014); Frieze Projects, New York (2014); KW Institute for Contemporary Art, Berlin (2013); Jeu de Paume, Paris (2013); and the Serpentine Gallery, London (2012). She is a 2013 recipient of the Paul Hamlyn Foundation Award and the author of the novel Collapsing in Parts, published by Mousse in 2013.</p> <p>The exhibition is curated by Helga Christoffersen, Assistant Curator.</p> <div id="sponsors">&nbsp;</div> </div> </div> </div> </div> </div> <div class="section"> <div class="inner"> <div class="content clearfix"> <div class="col-twothirds sponsors-col"> <h2 style="text-align: justify;">Sponsors</h2> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Cally Spooner: On False Tears and Outsourcing&rdquo; is presented by The New Women&rsquo;s Project and Founding Partner D K N Y.<br /><br /><img src="http://235bowery.s3.amazonaws.com/images/1337/thumbnails/792x792x1.jpg" alt="" width="150" height="47" /><br /><br />The exhibition is produced in collaboration with Kvadrat and Lafayette Anticipation &ndash; Fondation d&rsquo;entreprise Galeries Lafayette, Paris.<br /><img src="http://235bowery.s3.amazonaws.com/images/1341/thumbnails/792x792x1.jpg" alt="" width="250" height="56" /><br /><br />Additional support is provided by Nathalie and Jean-Daniel Cohen, the O&rsquo;Grady Foundation, Fundaci&oacute;n Almine y Bernard Ruiz-Picasso para el Arte, and the Toby Devan Lewis Emerging Artists Exhibition Fund.&nbsp;<br /><br />Generous funding is provided by the International Leadership Council of the New Museum.<br /><br />The Artemis Council of the New Museum is gratefully acknowledged.<br /><br />Special thanks to the Producers Council of the New Museum.<br /><br />Thanks to Artpace, San Antonio.</p> </div> </div> </div> </div> Wed, 27 Apr 2016 18:03:04 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - April 27th 10:00 AM - 5:30 PM <div class="rich-text"> <p style="text-align: justify;">One of the most productive periods in the history of the region from Iran to Anatolia corresponds to the rule of the Seljuqs and their immediate successors, from 1038 to 1307. The Seljuqs were a Turkic dynasty of Central Asian nomadic origin that in short time conquered a vast territory in West Asia stretching from present-day Turkmenistan, Iran, Iraq, Syria, and Turkey. The lands controlled by the Seljuqs were not a unified empire, but controlled by various branches of the Seljuqs and their successor dynasties (Rum Seljuqs, Artuqids, Zangids, and others). Under Seljuq rule, the exchange and synthesis of diverse traditions&mdash;including Turkmen, Perso-Arabo-Islamic, Byzantine, Armenian, Crusader, and other Christian cultures&mdash;accompanied economic prosperity, advances in science and technology, and a great flowering of culture within the realm.</p> <p style="text-align: justify;">This landmark international loan exhibition will feature spectacular works of art created in the 11th through 13th century from Turkmenistan to the Mediterranean. Approximately 270 objects&mdash;including ceramics, glass, stucco, works on paper, woodwork, textiles, and metalwork&mdash;from American, European, and Middle Eastern public and private collections will be shown. Many of the institutions have never lent works from their collections before. Among the highlights will be a dozen important loans from Turkmenistan, marking the first time that Turkmenistan as an independent country has permitted an extended loan of a group of objects to a museum in the United States.</p> <p style="text-align: justify;">Under the Great Seljuqs of Iran, the middle class prospered, spurring arts patronage, technological advancements, and a market for luxury goods. In contrast, in Anatolia and the Jazira (northwestern Iraq, northeastern Syria, and southeastern Turkey)&mdash;which were controlled by the Seljuq successor dynasties&mdash;art was produced under royal patronage, and Islamic iconography was introduced to a predominantly Christian area.</p> <p style="text-align: justify;">Furthermore, a number of artists had immigrated to the region from Iran in response to the Mongol conquest in 1220. Because patrons, consumers, and artists came from diverse cultural, religious, and artistic backgrounds, distinctive arts were produced and flourished in the western parts of the Seljuq realm.</p> <p style="text-align: justify;"><a href="https://twitter.com/hashtag/courtandcosmos">#CourtandCosmos</a></p> </div> <div class="rich-text"> <p style="text-align: justify;">The exhibition is made possible by the NoRuz at The Met Fund and the Iranian-American Community.</p> <p style="text-align: justify;">The catalogue is made possible by The Andrew W. Mellon Foundation, the Doris Duke Fund for Publications, and the Marshall and Marilyn R. Wolf Foundation.</p> <p style="text-align: justify;">&nbsp;On view at The Met Fifth Avenue in&nbsp;<a href="http://www.metmuseum.org/visit/museum-map?mli=999" target="_blank">Gallery 999</a></p> </div> Wed, 27 Apr 2016 07:51:30 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lisette Model, Barbara Morgan, Aaron Siskind, Frederick Sommer, Alfred Stieglitz - Bruce Silverstein Gallery - April 28th 6:00 PM - 8:00 PM <p>Bruce Silverstein Gallery is pleased to present&nbsp;<em>Songs and the Sky</em>, an exhibition of art and music.&nbsp;</p> <p>&nbsp;</p> <p>Artworks by Lisette Model, Barbara Morgan, Aaron Siskind, Frederick Sommer, and Alfred Stieglitz will be paired with musical compositions by Ernest Bloch, John Cage, Arnold Schoenberg, Henry Cowell, and Christopher Washburne. Historically and conceptually relevant musical compositions were chosen to provoke, compliment, enhance, and challenge a reading of the visual artworks. Music served as literal or ideological inspiration for these artists, who sought to create images with the equivalent potential to communicate or translate abstract concepts directly.&nbsp;</p> <p>&nbsp;</p> <p>The exhibition title derives from Alfred Stieglitz&rsquo;s historic series,&nbsp;<em>Songs of the Sky</em>, the artist&rsquo;s original title for the&nbsp;<em>Equivalents</em>&nbsp;(1925-1937). Similar to notes in a musical score<em>,&nbsp;</em>these images of cloud patterns form an abstract, universal visual language&nbsp;analogous&nbsp;to the artist's inner state, emotion, and ideas. This exhibition is a rare opportunity to view such a large collection of&nbsp;<em>Equivalents</em>.&nbsp; &nbsp;</p> <p>&nbsp;</p> <p>The exhibition encourages visitors to pause, listen and experience the synthesis of art and music.&nbsp; The artists and composers are paired in the gallery as follows:</p> <p>&nbsp;</p> <p>Lisette Model &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Arnold Schoenberg</p> <p>Barbara Morgan &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Henry Cowell</p> <p>Aaron Siskind &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; John Cage</p> <p>Frederick Sommer &nbsp; &nbsp; &nbsp; &nbsp;Chris Washburne</p> <p>Alfred Stieglitz &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Ernest Bloch</p> Thu, 21 Apr 2016 18:23:42 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Masayo Nishimura - Ceres Gallery - April 28th 6:00 PM - 8:00 PM <p><span style="text-decoration: underline;">FOR IMMEDIATE RELEASE</span><br /><br /><strong>Masayo Nishimura</strong> <br /><em><strong>My Old &lsquo;New Town&rsquo; &ndash; Recollections Vol.3</strong></em><br />Photography&nbsp;&nbsp; &nbsp;<br />&nbsp;<br /><strong>April 26 - May 21, 2016</strong><br />Opening Reception, Thursday, April 28th, 6pm - 8pm<br />&nbsp;<br />Ceres Gallery is pleased to present Masayo Nishimura&rsquo;s solo photography exhibition,<em> My Old &lsquo;New Town&rsquo; &ndash; Recollections Vol.3</em>. The artist will be present at the opening reception on Thursday, April 28th, from 6pm until 8pm.<br />&nbsp;<br />This exhibition features color photographs that Nishimura shot in her hometown, Senri New Town located just north of Osaka City. The town was the first of the &ldquo;New Towns&rdquo;&mdash;large-scale residential satellite towns designed by the government throughout Japan in the &rsquo;60s.&nbsp; It was developed in the hilly, wooded land adjacent to the 1970 Osaka Expo - the first world exposition held in Asia.<br /><br />With its posh single family homes, neat apartment complexes, parks, schools, shopping centers, and tree-lined roads, from the start Senri New Town attracted many young families with children. Fifty years later, however, the town&rsquo;s population now has a high proportion of senior citizens and very few children. Scores of houses stand vacant. In order to regenerate the community, re-development is the major issue in New Towns everywhere.&nbsp; As Nishimura began returning to the town after her parents passed away a few years ago, she noticed this transformation and started to document the many faces of this aging &ldquo;model city.&rdquo;<br /><br />In this series, Nishimura focuses on capturing the broader, everyday look of the town. This includes the &ldquo;pedestrians only&rdquo; road marker standing next to a school zone sign, both erected beside a single family home; the election campaign poster board standing alone under a pile of autumn leaves; a group of seniors playing Gateball&mdash;a croquet-like sport&mdash;at a children&rsquo;s playground; a girl reading a book while crossing a long footbridge overlooking high-rise office buildings; and shoppers roaming a gigantic outdoor mall while a handful of children play in small recreation space. &nbsp;<br />&nbsp;<br />Each of Nishimura&rsquo;s images looks ordinary at first glance. Yet they are somehow otherworldly and eerily quiet, even when the photograph reflects the seemingly mundane or teems with a crowd. There is also a sense of irony in the images, such as shopping malls whose modern architecture and sheer scale overshadow and overpower scattered human figures. It looks as if people are frozen while gazing with uncertainty into the unknown.<br /><br />As in her previous work, including of the New York City subway, Nishimura captures these images casually and spontaneously: a distant observer who does not interact with her subjects. These everyday scenes transform themselves into a unique expression and unexpectedly tell stories by themselves, revealing Nishimura&rsquo;s ability to uncover the unseen in city life. <br /><br />&nbsp; &nbsp;<br />For more information please contact:<br /><br />Director, Ceres Gallery <br />547 West 27th St Suite 201 New York, NY 10001 <br /><br />phone: 212-947-6100 <br />fax: 212-202-5455<br /><br />art@ceresgallery.org<br />http://ceresgallery.org/<br /><br />Hours: Tuesday &ndash; Saturday, 12pm - 6pm and Thursday 12-8pm.<br /><br /></p> Mon, 04 Apr 2016 06:53:19 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list June Leaf - Edward Thorp Gallery - April 28th 6:00 PM - 8:00 PM <p>&nbsp;A selection of works currently coinciding with the artist&rsquo;s exhibit at the Whitney Museum of American Art.</p> Wed, 13 Apr 2016 20:45:13 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Andrew Schoultz - Joshua Liner Gallery - April 28th 6:00 PM - 8:00 PM <p>Joshua Liner Gallery is pleased to present&nbsp;<em>Age of Empire</em>, a solo exhibition of new work from Los Angeles-based contemporary artist Andrew Schoultz. This is Schoultz&rsquo;s first exhibition with the gallery featuring painting, work on paper, and a site specific installation. The exhibition will run from April 28 to May 27, with an opening reception on Thursday, April 28. The artist will be present for the reception.&nbsp;</p> <p>Having presented his work in various contexts from museums to galleries to public murals, Schoultz is known for his densely layered artworks exploring patterns in history related to war, natural disasters, and globalization. The social, political, and economic crises that manifest as a result, are explored in detail in works such as&nbsp;<em>Broken Tapestry</em>&nbsp;(2016). Exceptionally detailed, the acrylic and collage work features throngs of war horses, elephants, a war ship, and eyes of providence upon an exploding field of radiating bands of color and shredded one dollar bills. Inspired by underground comics, graffiti, German map-making, the archaic illustrations of the Nuremberg Chronicle of 1492, and Persian Miniatures to name a few, the artist&rsquo;s work is profoundly chaotic both visually and thematically. Schoultz elaborates:</p> <p>&ldquo;Chaos and destruction are reoccurring themes in my work because I feel like these things are happening all around us constantly. Whether it is the multiple wars being fought all over the world, the natural disasters that seem to happen on a regular basis, the man-made environmental disasters that are becoming more and more prevalent, to the economic crisis that has been crushing this country&rsquo;s poor and middle class for years. I feel like you really cannot talk about one of these things without talking about all of them, so it becomes a monster of a subject.&rdquo;</p> <p>Schoultz&rsquo;s work lacks overt references to singular historical events, but rather explores a collective unrest, pulling from disparate global affairs and histories such as the wars in Iraq and Afghanistan, the 2016 U.S Election, the rise of China as an economic giant, natural disasters, the pangs of the recession in the United States, to the fall of the Persian and Roman Empires. Although the artist&rsquo;s themes are unequivocally universal, the work is instantly recognizable through Schoultz&rsquo;s distinctive, illustrative style. Repeated use of motifs such as Germanic war horses, exploding brick walls, all-seeing eyes, blasting canons, shredded US currency, slave boats and Trireme-style war ships battling turbulent waves permeate the work. The broad range of visual elements in the artist&rsquo;s work speaks not only of Schoultz&rsquo;s conglomerated themes and influences, but also points to the artist&rsquo;s interest in the cyclical nature of history, as illustrated through his juxtaposition of primitive and modern symbolism.&nbsp;</p> <p>Contrasting the intricate ink and acrylic illustrations of his two-dimensional works, Schoultz will present an abstract site specific installation in the gallery. Characteristically minimal, the installation features a pillar of graduated grey bands of paint from floor to ceiling. Three smaller pillars painted in graduated primary colors collapse into the standing column like dominoes falling. Although in opposition to the visual complexity of the works on canvas and paper, the installation explores the same themes of destruction and power structures. Deliberately leaving the work open to interpretation, Schoultz notes, &ldquo;Perhaps the standing pillar works under the theme that after all, it is still standing. Or perhaps it could allude to the idea that there is just one more pillar to destroy. Destruction is often referred to as something negative, however&mdash;sometimes in history&mdash;the preexisting structure has become so bad that it needs to be destroyed in order to build something new. We have seen this theme occur in history many times.&rdquo;&nbsp;</p> <p>Born in 1975 in Milwaukee, WI, Andrew Schoultz received his BFA in Illustration from the Academy of Art University in San Francisco, CA. Schoultz&rsquo;s work is held in numerous collections, most notably the Los Angeles County Museum of Art, CA, the San Francisco Museum of Modern Art, CA, the Museum of Contemporary Art, San Diego, CA, the Honolulu Art Museum, HI, the Berkeley Art Museum and Pacific Film Archive, CA, and the Monterey Art Museum, CA. Selected solo exhibitions include&nbsp;<em>Cyclical Nature</em>, Mark Moore Gallery, Los Angeles, CA (2015);&nbsp;<em>In Process &ndash; Andrew Schoultz</em>, Monterey Art Museum, CA (2013);&nbsp;<em>Images in Dialogue: Paul Klee and Andrew Schoultz</em>, San Francisco Museum of Modern Art, CA (2011); and&nbsp;<em>White Noise and Silence</em>, Roberts &amp; Tilton, Los Angeles, CA (2009). Selected group exhibitions include&nbsp;<em>Left Coast: California Political Art</em>, The James Gallery at CUNY, New York, NY (2015),&nbsp;<em>Vitality and Verve: Transforming the Urban Landscape</em>, Long Beach Museum of Art, Long Beach, CA (2015), and&nbsp;<em>Invisible College</em>, Fort Wayne Museum of Art, IN (2015).&nbsp;</p> <p><em>Reception Thursday April 28 from 6-8pm</em></p> Thu, 14 Apr 2016 15:42:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Andrew Schoultz - Joshua Liner Gallery - April 28th 6:00 PM - 8:00 PM <p>Joshua Liner Gallery is pleased to present&nbsp;<em>Age of Empire</em>, a solo exhibition of new work from Los Angeles-based contemporary artist Andrew Schoultz. This is Schoultz&rsquo;s first exhibition with the gallery featuring painting, work on paper, and a site specific installation. The exhibition will run from April 28 to May 27, with an opening reception on Thursday, April 28. The artist will be present for the reception.&nbsp;</p> <p>Having presented his work in various contexts from museums to galleries to public murals, Schoultz is known for his densely layered artworks exploring patterns in history related to war, natural disasters, and globalization. The social, political, and economic crises that manifest as a result, are explored in detail in works such as&nbsp;<em>Broken Tapestry</em>&nbsp;(2016). Exceptionally detailed, the acrylic and collage work features throngs of war horses, elephants, a war ship, and eyes of providence upon an exploding field of radiating bands of color and shredded one dollar bills. Inspired by underground comics, graffiti, German map-making, the archaic illustrations of the Nuremberg Chronicle of 1492, and Persian Miniatures to name a few, the artist&rsquo;s work is profoundly chaotic both visually and thematically. Schoultz elaborates:</p> <p>&ldquo;Chaos and destruction are reoccurring themes in my work because I feel like these things are happening all around us constantly. Whether it is the multiple wars being fought all over the world, the natural disasters that seem to happen on a regular basis, the man-made environmental disasters that are becoming more and more prevalent, to the economic crisis that has been crushing this country&rsquo;s poor and middle class for years. I feel like you really cannot talk about one of these things without talking about all of them, so it becomes a monster of a subject.&rdquo;</p> <p>Schoultz&rsquo;s work lacks overt references to singular historical events, but rather explores a collective unrest, pulling from disparate global affairs and histories such as the wars in Iraq and Afghanistan, the 2016 U.S Election, the rise of China as an economic giant, natural disasters, the pangs of the recession in the United States, to the fall of the Persian and Roman Empires. Although the artist&rsquo;s themes are unequivocally universal, the work is instantly recognizable through Schoultz&rsquo;s distinctive, illustrative style. Repeated use of motifs such as Germanic war horses, exploding brick walls, all-seeing eyes, blasting canons, shredded US currency, slave boats and Trireme-style war ships battling turbulent waves permeate the work. The broad range of visual elements in the artist&rsquo;s work speaks not only of Schoultz&rsquo;s conglomerated themes and influences, but also points to the artist&rsquo;s interest in the cyclical nature of history, as illustrated through his juxtaposition of primitive and modern symbolism.&nbsp;</p> <p>Contrasting the intricate ink and acrylic illustrations of his two-dimensional works, Schoultz will present an abstract site specific installation in the gallery. Characteristically minimal, the installation features a pillar of graduated grey bands of paint from floor to ceiling. Three smaller pillars painted in graduated primary colors collapse into the standing column like dominoes falling. Although in opposition to the visual complexity of the works on canvas and paper, the installation explores the same themes of destruction and power structures. Deliberately leaving the work open to interpretation, Schoultz notes, &ldquo;Perhaps the standing pillar works under the theme that after all, it is still standing. Or perhaps it could allude to the idea that there is just one more pillar to destroy. Destruction is often referred to as something negative, however&mdash;sometimes in history&mdash;the preexisting structure has become so bad that it needs to be destroyed in order to build something new. We have seen this theme occur in history many times.&rdquo;&nbsp;</p> <p>Born in 1975 in Milwaukee, WI, Andrew Schoultz received his BFA in Illustration from the Academy of Art University in San Francisco, CA. Schoultz&rsquo;s work is held in numerous collections, most notably the Los Angeles County Museum of Art, CA, the San Francisco Museum of Modern Art, CA, the Museum of Contemporary Art, San Diego, CA, the Honolulu Art Museum, HI, the Berkeley Art Museum and Pacific Film Archive, CA, and the Monterey Art Museum, CA. Selected solo exhibitions include&nbsp;<em>Cyclical Nature</em>, Mark Moore Gallery, Los Angeles, CA (2015);&nbsp;<em>In Process &ndash; Andrew Schoultz</em>, Monterey Art Museum, CA (2013);&nbsp;<em>Images in Dialogue: Paul Klee and Andrew Schoultz</em>, San Francisco Museum of Modern Art, CA (2011); and&nbsp;<em>White Noise and Silence</em>, Roberts &amp; Tilton, Los Angeles, CA (2009). Selected group exhibitions include&nbsp;<em>Left Coast: California Political Art</em>, The James Gallery at CUNY, New York, NY (2015),&nbsp;<em>Vitality and Verve: Transforming the Urban Landscape</em>, Long Beach Museum of Art, Long Beach, CA (2015), and&nbsp;<em>Invisible College</em>, Fort Wayne Museum of Art, IN (2015).&nbsp;</p> <p><em>Reception Thursday April 28 from 6-8pm</em></p> Thu, 14 Apr 2016 16:52:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Teo González - Margaret Thatcher Projects - April 28th 6:00 PM - 8:00 PM Thu, 31 Mar 2016 16:19:14 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Agnes Lux - Martos Gallery - April 28th 6:00 PM - 8:00 PM Fri, 22 Apr 2016 16:18:22 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list David Brown, Christopher Knights, Laurie Skantzos, Raw'n Wild - The Painting Center - April 28th 6:00 PM - 8:00 PM <p><strong>The Painting Center welcomes the 5 Star Collective, a group of talented Canucks who celebrate the accomplishments of outstanding Canadian Artists.&nbsp; The Collective&rsquo;s &ldquo;</strong>Exhibit Eh!&rdquo; will present a slice of Canadian culture and aesthetic as well as a glimpse into the political and social issues being faced north of the border. The exhibition will run <strong>from </strong>April 26-May 21, 2016 with an op<strong>ening reception on Thursday April 28, from 6-8pm. </strong></p> <p>Dedicated to promoting individuals at all career levels, the 5 Star Collective provides opportunities for its members to present their work to a global audience through the participation and involvement in international Art Opportunities. The collective is made up of four accomplished artists who live and work in Toronto, Canada's largest urban and cultural center. These four visionaries offer their unique take on life above the 49th parallel.&nbsp; And yes, they all play hockey.</p> Wed, 23 Mar 2016 18:22:16 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Alisa Henriquez - The Painting Center - April 28th 6:00 PM - 8:00 PM <p>The Painting Center is pleased to present <em>Makeover Culture Disfigured</em>, an exhibition of recent assemblages by Alisa Henriquez.</p> <p><em>Makeover Culture Disfigured</em>, the title of this exhibition, refers to the distorted nature of identity and body image found in mediated images as well as Henriquez&rsquo;s approach to them. In her new body of constructed assemblages, Henriquez combines digitized and distorted scans from popular and glamour culture with supercharged materials like glitter, faux fur, synthetic hair, paint, and resin. Spliced images of heavily mascaraed eyes, glossed lips, hair, and skin are stacked and fractured across oval forms in ways that evoke Cubism, Abstract Expressionism, and Feminist Art and at the same time is wholly contemporary and her own.</p> <p>The encoded meanings and myths contained in her sources offer Henriquez much artistic fodder for examining the abstract dialogue, emblematic importance, and disorienting sense various material and media born identities reveal when positioned in the same space. The cumulative effect is a series of compelling works that challenge overly simplistic identity constructions and create a complex viewing experience.</p> <p>Alisa Henriquez was born in Kingston, Jamaica and first studied art at Emily Carr Collage of Art and Design in Vancouver, Canada. She received a BFA from Rhode Island School of Design, studied painting at Yale Summer School of Music and Art and earned her MFA from Indiana University, Bloomington. Currently, an Associate Professor at Michigan State University, her work has been shown in nationally and internationally recognized venues.</p> <p>A catalogue with essay by Alison Gass, Associate Director for Exhibitions, Collections and Curatorial Affairs, Cantor Arts Center, Stanford University accompanies the exhibition.</p> <p>Link to exhibition catalogue: <a href="https://drive.google.com/open?id=0ByjU_cvTvy4AdkVQMl91dXU1Z00" rel="nofollow">https://drive.google.com/open?id=0ByjU_cvTvy4AdkVQMl91dXU1Z00</a></p> Thu, 21 Apr 2016 17:50:48 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list David Brown, Christopher Knights, Laurie Skantzos, Raw’N’ Wild - The Painting Center - April 28th 6:00 PM - 8:00 PM <p>The Painting Center presents&nbsp;<strong><em>Exhibit EH!</em></strong>, an exhibition by Toronto&rsquo;s 5 Star Collective, a group of talented Canucks who celebrate the accomplishments of outstanding Canadian Artists. The Collective&rsquo;s&nbsp;<em>Exhibit Eh!</em><em>&nbsp;</em>will present a slice of Canadian culture and aesthetic as well as a glimpse into the political and social issues being faced north of the border. The exhibition will run from April 26-May 21, 2016 with an opening reception on Thursday April 28, from 6-8pm.</p> <p>Dedicated to promoting individuals at all career levels, the 5 Star Collective provides opportunities for its members to present their work to a global audience through the participation and involvement in international Art Opportunities. The collective is made up of four accomplished artists who live and work in Toronto, Canada's largest urban and cultural center. These four visionaries offer their unique take on life above the 49th parallel. And yes, they all play hockey.</p> <p><strong>Participating Artists:</strong><strong>&nbsp;</strong>David Brown, Christopher Knights, Laurie Skantzos, Raw&rsquo;N&rsquo; Wild</p> <p><strong>David Brown's</strong><strong>&nbsp;</strong>abstract encaustic paintings explore a lyrical and constructivist approach, contrasting delicate line-work and hard-edge geometric forms. David's work is inspired by urban culture and chaos with a hint of childish whimsy peaking through the layers.</p> <p><strong>Christopher Knights&rsquo;</strong><strong>&nbsp;</strong>vision is to create images through the magic and mystery of painting that amalgamate the sculptural beauty of man made objects and biomorphic forms, and merge them with the essence, love and magnificence of nature.</p> <p><strong>Laurie Skantzos</strong>&nbsp;uses intuitive mark making and focused, almost meditative penetration, to search for a resolution that is often facilitated through colour. She explores the relationship between masculine and feminine, while bridging the edges of balance and harmony with a directed boldness.</p> <p><strong>Raw'n' Wild</strong>&nbsp;works on the vanguard of 21st century art-making using digital tools. His Digitial paintings are a montage of up to 100 layers of contemporary imagery and information.</p> <p><strong>&nbsp;</strong></p> <p><strong>For additional information please contact : </strong>David Brown c/o 5 Star Collective <a href="mailto:info@5StarCollective.com" rel="nofollow">info@5StarCollective.com</a> or visit <a title="http://www.5starcollective.com" href="http://www.5starcollective.com/" rel="nofollow">http://www.5starcollective.com</a></p> Thu, 21 Apr 2016 17:54:53 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Yee I-Lann - Tyler Rollins Fine Art - April 28th 6:00 PM - 8:00 PM <p>Yee I-Lann&lsquo;s primarily photomedia-based practice engages with archipelagic Southeast Asia&rsquo;s turbulent history, addressing, with wit and humanity, the socio-political impact of current politics, neo-colonialism, and globalization. Her current exhibition of new works, <em>Like the Banana Tree at the Gate </em>(April 28 &ndash; June 17, 2016), takes inspiration from two motifs that are iconic in her native Malaysia and throughout Southeast Asia: the ubiquitous banana tree; and the <em>pontianak</em>, a vengeful female spirit with long black hair who is sometimes said to reside in that plant. With a series of her characteristic digital photocollage works, along with a three-channel video, Yee captures the potency of female power derived from local knowledge and folkloric traditions, reframing it in a contemporary context informed by an active socio-political engagement. She conflates legendary tales with the memory of mid-twentieth century feminist movements such as Indonesia&rsquo;s Gerwani organization, which gained enormous popularity in the 1950s and &lsquo;60s before being suppressed by the military. The exhibition&rsquo;s title references a 17<sup>th</sup> century sultan in southern Borneo who advised his subjects not to plant a banana tree near their front gates so as not to advertise their wealth to potential colonial exploiters. This story is cited as an example of an early form of anti-colonial resistance in Michael Dove&rsquo;s academic study, <em>The Banana Tree at the Gate: A History of Marginal Peoples and Global Markets in Borneo</em>. &ldquo;The <em>pontianak</em> continues to haunt us in 21<sup>st</sup> century patriarchal Southeast Asia,&rdquo; Yee explains. &ldquo;She is the woman standing at the gate like the banana tree in full view. She is potential and power and resource. A banana plant lives only briefly, bearing just one bunch of fruit before it dies. Its root structure, however, grows a new plant immediately &ndash; and so the cycle continues, ever present with a memory of the past.&rdquo;</p> <p>Born in 1971 in Kota Kinabalu, capital of Malaysia&rsquo;s northern Borneo province of Sabah, Yee received her BA in Visual Arts from the University of South Australia, Adelaide, in 1993. Now based in Malaysia&rsquo;s capital city, Kuala Lumpur, she has established herself over the past 20 years as one of the region&rsquo;s leading contemporary artists, known for her digital photocollage series that deftly employ a complex, multi-layered visual vocabulary drawn from historical references, popular culture, archives, and everyday objects &ndash; works that speculate on issues of culture, power, and the role of historical memory in social experience, often with particular focus on themes and motifs that reference the indigenous cultures of Borneo. Yee has exhibited widely in museums and biennials around the world. Selected highlights include: the Asia-Pacific Triennial of Contemporary Art, Brisbane, Australia (2015 and 1999); the Jakarta Biennale, Indonesia (2015); <em>The Roving Eye</em>, ARTER Space for Art, Istanbul, Turkey (2014-15); <em>Finding your place in the world: Asian photomedia</em>, at the National Gallery of Australia, Canberra (2014); <em>Afterimage: Contemporary Photography from Southeast Asia</em>,Singapore Art Museum (2014-15); <em>Suspended Histories</em>, Museum Van Loon, Amsterdam, the Netherlands (2013-14); <em>Contemporary Commonwealth, </em>National Gallery of Victoria, Melbourne, Australia (2006); the Singapore Biennale (2006); <em>Thermocline of Art: New Asian Waves</em>, ZKM I Museum of Contemporary Art, Karlsruhe, Germany (2007); and the Fukuoka Asian Art Triennale, Fukuoka, Japan (2009). <em>Fluid World</em>, a solo exhibition surveying her major works to date, was presented at Adelaide&rsquo;s Contemporary Art Centre of South Australia in 2011. She was a member of the curatorial team for the 2013 Singapore Biennale.&nbsp;</p> Tue, 19 Apr 2016 15:17:25 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Viridian Artists - April 28th 6:00 PM - 8:00 PM <p align="center"><strong>"Internal Politics: Great Expectations"</strong></p> <p align="center">Photographic &amp; Mixed Media Invitational</p> <p align="center"><strong>Curated by Vernita Nemec</strong></p> <p align="center"><strong>April 26- May 14, 2016</strong></p> <p align="center"><strong>Reception Thursday April 28 6-8pm</strong> </p> <p align="center">Wally Gilbert * Deborah Sudran&nbsp; * John Nieman * Alan Gaynor * Susan Sills * Kathleen King *</p> <p align="center">Michael Miller * Barbara K Schwartz * May DeViney * Arthur Dworin * Bob Tomlinson * Arlene Finger *</p> <p align="center">Fred Gutzeit * Angela LaMonte * Jackie Inglefield * Suzanne Morlock * Carolyn Applegate * Bryan Smith * Elizabeth Ginsberg * Marcia Bernstein * Robert Cenedella * Scott Kulok * Barnaby Ruhe * Julia Healy *</p> <p align="center">Jenny Brown * Sam Wiener * N'Cognita * Emmanuel Monzon * Margery Appelbaum * Kathy Levine *</p> <p align="center">Lynne Mayocole * David Yendes * Len Rosenfeld * Alex Woodhouse * Irene Christensen * Ed Herman* &nbsp;</p> <p align="center">Cheryl Vlachos * Deborah Beck * Jackie Lima * Norma Greenwood</p> <p align="center">&nbsp;</p> <p><strong>Chelsea, NYC</strong>: Viridian Artists is pleased to present "Internal Politics: Great Expectations", a Photographic &amp; Mixed Media Invitational curated by Vernita Nemec. The exhibition continues from April 26th - May 14th, 2016 with an opening receptionThursday, April 28<sup>th</sup>, 6-8pm.</p> <p>Wikipedia says <strong>Politics</strong> (from Greek: &pi;&omicron;&lambda;&iota;&tau;&iota;&kappa;ό&sigmaf; politikos, <strong>definition</strong> "of, for, or relating to citizens") is the practice and theory of influencing other people. Another similar phrase is "playing <strong>politics"</strong>, which means doing something in order to become more powerful rather than doing what's right.</p> <p>But what are our "Internal Politics" What are our "Great Expectations"? Perhaps those politics concern one's secret wishes about reality or what reality should be - our personal politics and how we respond to the world around us with images rather than with our voices.</p> <p>Artists like Daumier spoke directly about politics with his art but much art that does not seem political still carries within it a belief system that can be as persuasive as a placard in a protest march or demonstration.</p> <p>Recently, Holland Cotter addressed the issue of art &amp; politics in his New York Times essay entitled "Making Museums Moral Again" (3/19/16).&nbsp; He reminds us of the power of art to address political issues when in the late 60's, Art Workers Coalition met &amp; created the Poster "Q: And Babies? A: And Babies. Today's issues are numerous and equally troubling.</p> <p>The artists in this exhibit are expressing their beliefs visually - and as some might say, "It's art - what does it mean to you?" These artists have expressed through their art their concerns about the environment, the presidency and numerous other matters that affect our world today.</p> <p>We hope you will join us and see the power of art to express what is on the minds of artists in today's tumultuous world.</p> <p>&nbsp;</p> <p align="center"><strong>Gallery hours: Tuesday through Saturday 12-6PM&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong></p> <p align="center"><strong>For further information please contact Vernita Nemec, Gallery Director at 212 414 4040 or </strong><a href="mailto:info@viridianartists.com" rel="nofollow">&nbsp;&nbsp;&nbsp;</a><a href="mailto:viridianartistinc@gmail.com" rel="nofollow"><strong>viridianartistsinc@gmail.com</strong></a><strong> or view the gallery website: </strong><a href="http://www.viridianartists.com/" rel="nofollow"><strong>www.viridianartists.com</strong></a></p> Sat, 16 Apr 2016 17:31:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list