ArtSlant - Openings & events en-us 40 - Artists Space : Books & Talks - December 2nd 7:00 PM - 9:00 PM <p style="text-align: justify;">In the second of a series of programs forming part of the Union Gaucha Productions survey, screenings of the films <em>The Laughing Alligator</em> by Juan Downey and <em>Les Ma&icirc;tres Fous</em> (The Mad Masters) by Jean Rouch will be followed by a talk by anthropologist Michael Taussig.<br /> <br /> Taussig's research and writing has expanded the horizons of traditional ethnographic fieldwork, forming "an inscription on the edge of official history" that weaves together observation, fact and fiction, archival history, memoir and literary theory. He has stated: "an aim of such writing is to turn the attention of the reader to the very act of writing as an 'anthropological' or cultural act which engages with the desire to succumb to authority in general, and to colonial or postcolonial tropes in particular." His highly influential publication <em>Mimesis and Alterity</em> (1993) took the idea of writing as "mimetic exchange with the world" as its core, developing an idiosyncratic history of the mimetic faculty and the interweaving concepts of imitation and difference.<br /> <br /> Juan Downey's <em>The Laughing Alligator</em> (1979) was shot while the artist, his wife Marilys and stepdaughter Titi, lived in the Amazon rainforest with the Yanomami people. Extending out of Downey's celebrated <em>Video Trans America</em> series (1973-1977) in which he undertook to produce a videotaped account of a trip from New York to the southern tip of Latin America, carrying with him his camera, generator and monitor and playing back his recordings in towns and villages along the way, the video takes on "objective" methods akin to anthropological research while functioning as a subjective diaristic essay. In his 2008 essay "Feedback in the Amazon" Nicol&aacute;s Guagnini posits that Downey "did not go only to 'see,' but to see himself seeing as the others were seeing him, realizing a negotiation of otherness in real-time within an actual community. This was his ultimate actualization of video feedback." Downey was trained as an architect, and was particularly interested in the funerary architecture of the Yanomami, who ritually consume the pulverized bones of their dead in a soup. In <em>The Laughing Alligator</em> the artist states he wants to be eaten by the Yanomami "not as an act of self sacrifice ... but as a demonstration of the ultimate architecture: to inhabit, to dwell physically as well as psychically, inside the human beings who would eventually eat me."<br /> <br /> Jean Rouch's <em>Les Ma&icirc;tres Fous</em> (1955) is one of the French director and ethnologist's first "ethno-fictions," a term coined to encompass his blurring of techniques of fiction and non-fiction, between the practices of anthropology and film. Rouch first travelled to West Africa in 1941, working as a civil engineer overseeing a construction project in Niger. He spent the majority of the subsequent sixty years of his working life in the region, collaborating with local filmmakers and actors on films that demonstrated the traditions, culture, and ecology of the people of the Niger River valley. <em>Les Ma&icirc;tres Fous</em> focuses on the Hauka movement active in the suburbs of Accra, then the capital of the Gold Coast. A possession cult, those participating in Hauka mimicked the military ceremony and gestures of European colonial administrators, in a state of trance. As Rouch explains, "the cult is an African expression of our culture. The title of the film is a pun. The British colonial masters are the ones who are mad." When released the film was considered offensive by both colonial authorities, and by African scholars, filmmakers and students alike.</p> <p style="text-align: justify;">Michael Taussig (born 1940 in Sydney, Australia) is a Professor of Anthropology at Columbia University in New York. Taussig's most recent book is <em>The Corn Wolf</em> (2015), a collection of his writing that marries storytelling with theory, and analysis with ethnography. His previous books include <em>Beauty and the Beast</em> (2012), <em>What Color is the Sacred?</em> (2009), <em>Walter Benjamin&rsquo;s Grave</em> (2006), <em>My Cocaine Museum</em> (2004), <em>Magic of the State</em> (1997), <em>Mimesis and Alterity</em> (1993), and <em>The Devil and Commodity Fetishism in South America</em> (1980), among many other publications.</p> Tue, 01 Dec 2015 14:50:20 +0000 Professional Women Photographers - Atlantic Gallery - December 3rd 5:00 PM - 8:00 PM <p>Professional Women Photographers is presenting Primarily Color, an exhibition highlighting the distinctive qualities of color within a smaller image format.</p> <p>What first grabs your attention in the images from PWP&rsquo;s Primarily Color is exactly that - color. Light, shadow, texture, content and composition all let Color take the driver&rsquo;s seat. Through artful alteration, exaggeration or isolation, it is color that takes center stage.</p> <p>This exhibition is a small works show. The smaller image insists that the viewer get up close and personal with the photograph. This reveals the tiniest detail while at the same time allowing the entire image to be perceived in a single view.</p> <p>Primarily Color is small in physicality and large in theme, its expression revealing the varied aesthetics of its members.</p> <p>PWP is a non-profit organization dedicated to the advancement of women photographers since 1975.</p> <p>PWP</p> Tue, 10 Nov 2015 20:12:25 +0000 Group Show - Ceres Gallery - December 3rd 6:00 PM - 8:00 PM Fri, 16 Oct 2015 02:07:48 +0000 Group Show - The Painting Center - December 3rd 6:00 PM - 8:00 PM <p>The Painting Center is pleased to announce the exhibition&nbsp;<strong><em>Ulterior Motif</em></strong>&nbsp;in the Main Gallery and Project Room.&nbsp;<strong><em>Ulterior Motif</em></strong>&nbsp;curated by Naomi Cohn features thirteen artists who explore the language of pattern and art. This exhibition reassesses and repositions ornamental pattern as a primary carrier of meaning in a contemporary context. Pattern - fields composed of repeated motifs - is among humans&rsquo; earliest creations, employed independently as ornament and symbol in the applied arts of textiles, ceramics, and mosaics, and consistently incorporated into painting and sculpture. Its merit as a formal device was not questioned until the early 20th century when &ldquo;progressive&rdquo; tastemakers decided that ornamentation was &ldquo;primitive and degenerate&rdquo; (Adolph Loos, 1910). These provocations were influential in the emergence of reductive modernist movements that still hold sway in some quarters. Within the last couple of generations many artists and theorists have reevaluated the functions, value and politics of &ldquo;decoration&rdquo;. Feminist theory examined and rejected dismissive traditional concepts of &ldquo;women&rsquo;s work&rdquo;, as much applied art was deemed. This reconsideration led, in the 1970&rsquo;s, to the &ldquo;Pattern and Decoration&rdquo; movement, which rejected the austerity of minimalism. The language of pattern/decoration and ornament entered contemporary discourse as one of many strategies for investigating a wide range of issues including states of consciousness, spirituality, consumerism, and the social and cultural complexities of gender. The artists in this show touch upon these and many other themes. Their reinventions, disruptions and appropriations revitalize the language of pattern in resonant, imaginative and often humorous ways. Acknowledging layers of history and meaning, these artists raise questions about the intersection of art and design, revealing how age-old traditions can be reinvigorated for the present day.</p> Fri, 20 Nov 2015 14:21:00 +0000 Lior Modan - NURTUREart Gallery - December 4th 7:00 PM - 9:00 PM <p>NURTUREart is delighted to announce Lior Modan's first solo exhibition in New York:&nbsp;<em>Wringing Lilies from the Pine Nut.</em></p> <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Modan&rsquo;s eclectic paintings, sculptures and vacuum-casted prints are enigmatic, surprising and oftentimes exquisitely tactile. Using pattern, language and form in glitchy combines, often unified by textural shrouds, Modan&rsquo;s balancing acts thrive on surface tension, evoking complex, sometimes awkward and/or uncomfortable moods.</p> <p>Wringing Lilies from the Pine Nut&rsquo;s exhibition design will take maximum advantage of the natural cavernous look- and-feel of 56 Bogart&rsquo;s basement, using the lack of natural ventilation, warm spotlights, dusty floor and shadows to intimately connect the viewer with each work. Each intrinsic feeling / meaning / evocation working towards unifying narratives and sub plots.</p> <p>A seasoned pot meets its double and claims it as its very own. Calm waters descend upon imaginary sandy feet, to wash and cool them down. The dark skin of a wrecked umbrella conceals and reveals at once. Banana peels take flight: a stormy cloud. A jester lurks behind a tightly stretched canvas, swarmed in butterflies. (...And more.)</p> <p>Wringing Lilies from the Pine Nut is a selection from our 2014-15 open calls. This exhibition is curated by Marco Antonini.</p> </div> </div> </div> Mon, 23 Nov 2015 16:03:21 +0000 Luchino Visconti - Solomon R. Guggenheim Museum - December 4th 1:00 PM - 3:30 PM <p>Aesthetics of Poverty: Italian Neorealist Film <br />Fridays, 1 pm<br />Alberto Burri&rsquo;s work, in its straightforward presentation of materials from life, shares with Italian neorealist film an &ldquo;aesthetic of poverty&rdquo; that points to material deprivation in postwar Italy. Four important films from this rich cinematic period are screened on select Fridays. <br /><br />November 20: Pais&agrave; (Paisan), 1946<br />Directed by Roberto Rossellini, 120 minutes<br /><br />December 4: La terra trema (The Earth Trembles), 1948<br />Directed by Luchino Visconti, 160 minutes<br /><br />December 11: Il cielo e rosso (The Sky Is Red), 1950<br />Directed by Claudio Gora, 99 minutes<br /><br />December 18: Il deserto rosso (Red Desert), 1964<br />Directed by Michelangelo Antonioni, 117 minutes<br /><br />For more information, visit<br /><br /></p> Tue, 27 Oct 2015 19:46:04 +0000 Group Show - Limner Gallery - December 5th 5:00 PM - 7:00 PM Tue, 01 Dec 2015 16:16:42 +0000 Thomas Allen - Foley Gallery - December 9th 6:00 PM - 8:00 PM <div class="right wide"> <p style="text-align: justify;"><span style="font-size: small;">Foley Gallery is very pleased to present Thomas Allen&rsquo;s solo exhibition <em>Paint by Numbers. </em>Inspired by a View-Master and &ldquo;pop-up&rdquo; books as a child, Allen became interested in recreating these three-dimensional experiences by using old books and pulp fiction paperbacks as still life subjects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In producing&nbsp;his new series of photographs, <em>Paint by Numbers</em>, Allen has gone to the hardware store and has selected&nbsp;standard paint swatches to use as his primary generative medium. As announced at Allen&rsquo;s 2009 solo show <em>Epilogue </em>at Foley, Allen has parted ways with his signature use of cutting from book illustrations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Utilizing wit to illustrate titles such as <em>Birthday Cake</em>, Carnival Candy, and Sweet Tea, Allen playfully employs the idea of color with historical and cultural associations. Titles offered in the paint swatches are implicative: his deftly cut figures reference popular subjects, each of which are enlisted by the name of the paint sample they are carved into. Allen selects figures such as Donald Trump or Gene Wilder, subjects able to perform the lexicon of narrative titles like <em>Blowfish</em> and <em>Golden Ticket</em>. In the process of assemblage, Allen is able to create narratives that reveal the constructed nature of images and incorporative aspects of collage, photography, and montage.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Thomas Allen received his BFA in 1991 and went on to earn his MFA form the University of Minnesota in 1996. Allen has had two solo museum exhibitions at the Grand Rapids Art Museum in Michigan and at the John Michael Kohler Arts Center in Wisconsin.&nbsp;His work is in the permanent collections of the Museum of Fine Arts, Houston; The Milwaukee Art Museum; Target Corporation; Fidelity Investments and The Progressive Corporation.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Paint by Numbers</em> will remain on view through January 24, 2016.&nbsp; Foley Gallery is open Wednesday &ndash; Sunday, 11 &ndash; 6pm. Please note that the gallery will be closed starting&nbsp;Thursday, December 24, 2015 and will reopen for regular hours on Saturday, January 2, 2016. To request images, please contact the gallery at 212.244.9081 or <a href=""></a>.</span></p> </div> Tue, 01 Dec 2015 15:21:59 +0000 Adeel uz Zafar - AICON GALLERY - New York - December 10th 6:00 PM - 8:00 PM <p style="text-align: justify;">V.I.P. Reception &amp; Press Preview: Thursday, December 10th, 6:00pm &ndash; 8:00pm<br /><br />Monomania (mŏn&prime;ə-mā&prime;nē-ə)<br />1. A partial insanity in which psychotic thinking is confined to one subject or group of subjects.<br />2. An excessive interest in or enthusiasm for a single thing, idea, or the like; obsession<br /><br />Aicon Gallery is proud to announce <em>Monomania</em>, the first U.S. solo exhibition of Karachi-based artist Adeel uz Zafar. Born in Karachi, Pakistan in 1975 and receiving his BFA from Lahore&rsquo;s National College of Arts in 1998, Zafar began his career as an illustrator of children&rsquo;s books, which has marked his artistic endeavors ever since. This exhibition presents a survey of Zafar&rsquo;s recent work, and highlights two of the signature elements of his practice; the use of children&rsquo;s toys eerily wrapped in bandages as subject&nbsp;matter and his now iconic reductive technique of scraping away at a black latex surface line by line to give rise to meticulously rendered, seemingly three-dimensional forms. The resulting figures, set against a stark black expanse as background, are simultaneously haunting, imposing and imbued with an intense sense of loneliness. They mirror the isolation and confusion that are the increasingly common by-products of our ever more connected yet somehow ever more fragmented societies. As cultures clash, ideologies metastasize, and socio-political conflicts and inequalities intensify, Zafar&rsquo;s figures, while culled from the collective memories of our childhoods, embody the sense of desperation, helplessness and darkness that can result from our increasingly complex and volatile global situation.<br /><br />Zafar&rsquo;s work came to prominence in the exhibition Size Does Matter at V.M. Art Gallery, Karachi in 2009. The monumental scale of the works, their unusual subject matter drawn from global pop culture, and his innovative &ldquo;scratch and reveal&rdquo; technique all served to quickly set the work apart from the predominant methods and concerns of the emerging Neo-Miniaturist art scene in Pakistan. Additionally,&nbsp;the works posed a new challenge at the time by overwhelming the viewer with the obsessive virtuosity of their technique while denying any easy reading of their underlying meaning or implications. Some saw the works as metaphors for the universal notion of childhood innocence lost, while others viewed the isolated and battered figures as a specific cultural stand-in for the nation of Pakistan, as it teeters on the brink of a political and ideological abyss. Since these figures originate largely from a pool of universally shared childhood icons, but are now being interpreted by individuals shaped and molded by a lifetime of personal subjective experience, the artist has always been careful to leave such readings open.<br /><br />There is no doubt however that these works are the product of Zafar&rsquo;s twin obsessions of recurring subject matter and his painstakingly meticulous technique. The solitary figures that populate the world Zafar seems to be creating float through their lonely universe and seem completely oblivious to one another due either to the bandages covering their eyes or the black voids in which they find themselves. Thus, although these characters evidently exist in the same mythological pantheon of our shared memory, they appear doomed to never meet one another; to never enact the dramatic battles,&nbsp;alliances and tragedies for which they&rsquo;ve been created. Not only do the conflicts between the perceived good actors and bad actors in this world go perpetually unresolved, they are never even given a true chance at understanding each other or themselves. Here Zafar&rsquo;s world seems a heightened metaphor for our now global ideological, cultural, and sociopolitical conflicts and the bleak consequences of giving in to the pessimism it can sometimes breed.<br /><br />Zafar&rsquo;s creations often seem desperately abandoned or forlorn. However, the postures of many of these figures seem clearly ready and excited for interaction. In Antagonist 1 / Dragon, the creature stands with its bandaged fists in the air, like a boxer ready to face an opponent who will never enter the ring. Meanwhile on the side of the &lsquo;good guys&rsquo;, Protagonist 1 / Mickey floats hopefully through his empty universe, arms perpetually outstretched for a hug he&rsquo;ll never give or receive. It is a desperate and insular inner world we&rsquo;re peering into, a world in which sensory overload in the information age and exasperating ever multiplying crises have reversed the natural human desire to seek and understand the world. Indeed, even when Adeel&rsquo;s characters occasionally manage to get a peek through their bandage</p> <div id="scrollerContainer"> <div id="scrollerContent"> <p style="text-align: justify;">s at the world around them, they likely wish they hadn&rsquo;t. There is a sort of existential horror expressed in the single giant staring eye of Antagonist 3 / Monster, while Protagonist 2 / Kong seems quite positively on the verge of tears upon getting a glimpse of the emptiness that surrounds him.<br /><br />In the end, these drifting creatures seem to have been created to either perpetually ponder the purpose of their existence in a world they cannot clearly see or understand, or be cursed with the sight and knowledge of the true void in which they exist. Born out of an obsession with a revelatory yet single artistic technique, the once familiar inhabitants of Zafar&rsquo;s strange and lonely universe are ultimately left with nothing to contemplate or understand outside of themselves. They have become the trapped subjects of their own monomania.<br /><br />Adeel uz Zafar was born in Karachi, Pakistan in 1975. He completed his BFA from National College of Arts (NCA), Lahore, graduating in 1998. Zafar then involved himself in ensuing projects that marked his early identification as an illustrator, including work on children&rsquo;s books. In 2008, Zafar turned his attention fully towards fine art, gaining broad recognition for his work through several important group exhibitions in Pakistan. His works highlight and provoke a wide range of interpretations and can be read and experienced on many levels: personal, social, political and philosophical. Zafar has had solo exhibitions in Pakistan and Singapore, with the current exhibition being his first major solo show in the U.S. He has participated in more than thirty international group exhibitions and been featured in publications such as Art Review, ArtAsiaPacific, The Express Tribune (Pakistan), Dawn (Pakistan) and many more.&nbsp;</p> </div> </div> Mon, 30 Nov 2015 17:51:15 +0000 Younghee Choi Martin - Bowery Gallery - December 10th 5:00 PM - 8:00 PM <p style="text-align: justify;">These powerful new works overwhelm with the rigor of&nbsp;their compositions, their&nbsp;color, and their&nbsp;narrative&nbsp;poetry. &nbsp;Martin's&nbsp;highly&nbsp;worked&nbsp;surfaces&nbsp;convey a spirit of&nbsp;suspended&nbsp;spontaneity&nbsp;that takes&nbsp;years to achieve yet feels simultaneously dense, fresh, intuitive, and expressive. Her&nbsp;process is&nbsp;to continually&nbsp;begin&nbsp;anew by scraping the entire surface,&nbsp;then to&nbsp;draw&nbsp;back in&nbsp;with brush and stick&nbsp;while&nbsp;leaving the visible traces of the prior versions beneath as the&nbsp;richly textured memory of a story lost and found again.<br /> &nbsp;<br /> Included in the exhibition are several large paintings with a pastoral motif: <em>Late Summer Afternoon</em> (74" x 80"), <em>Midsummer</em> (61" x 80"), <em>Departure</em> (76" x 71"), <em>Autumnal Rest</em> (76" x 71"), <em>Into the Deep Forest</em> (62" x 61"), <em>Choephori</em> (64" x 49"), <em>Thunder of Spring</em> (75" x 100").&nbsp;There is a reductive, modernist integration of the figurative and landscape elements in these works. The myths are generalized&nbsp;to the point of abstraction and then pulled firmly back&nbsp;into the grand Poussineque tradition (from Giorgione's&nbsp;<em>F&ecirc;te de Champ&ecirc;tre</em>, to Cezanne's <em>Bathers, with a serious nod to Eilshemius</em>). &nbsp;Through&nbsp;this massive play of shape and color,&nbsp;the narrative is&nbsp;never lost. It breathes through the layers, to&nbsp;slowly reveal&nbsp;a&nbsp;primal vision.<br /> &nbsp;<br /> Born in Seoul, Korea in 1954, Younghee Choi Martin immigrated to the United States and became a citizen in 1978.&nbsp; Since the mid-1970&rsquo;s, she has lived and worked in Chelsea, where she was one of the earliest artists to establish a painting studio. A graduate of&nbsp;the Rhode Island School of Design,&nbsp;she has been&nbsp;awarded painting fellowships from the National Endowment for the Arts and the NY CAPS program&nbsp;and her&nbsp;works have been exhibited&nbsp;in New York and throughout the United States, Korea, Japan, France, and Italy. Over 80 of her&nbsp;paintings and drawings are in collections and museums&nbsp;in the United States, Korea, Japan, and India.</p> Tue, 01 Dec 2015 14:45:31 +0000 Rodrigo Valenzuela - envoy enterprises - December 10th 6:00 PM - 8:00 PM <p style="text-align: justify;">envoy enterprises presents a solo exhibition of Rodrigo Valenzuela with a new series of photographs that have been exhibited in various venues on the West Coast, and is now making its New York City debut.<br /><br /> The monochromatic photographs of <em>Hedonic Reversal</em> recreate urban decay and ruins in the artist's studio. Divorced from the social conditions that typically underlie "beautiful ruins" photography, the images question how our aesthetic response is altered by the absence of poverty and suffering. Noting that historic ruins of ancient civilizations have different symbolic meanings than those we encounter in contemporary urban environments, Valenzuela explains: "I am not seeking to symbolize loss and nostalgia for a better past; I'm seeking to understand if there is pleasure in the ruin itself." <br /><br /> Created through a process of photographing and re-photographing, these works also capture the passage of time through multiple stages of production and destruction in the artist's studio. Through the accumulation of flaws, they become whole. <br /><br /></p> <div style="font-size: 7pt; text-align: justify;">Rodrigo Valenzuela (b. 1982, Santiago, Chile) completed an art history degree in Chile and worked in construction while making art over his first decade in the United States. He completed an MFA at University of Washington in 2012 and is currently a Core Fellow at Museum of Fine Arts, Houston. Recent solo exhibitions include the Frye Art Museum, Seattle (2015), Museo de Arte Contemporaneo, Santiago (2015), Upfor Gallery, Portland, OR (2015), Archer Gallery, Vancouver, WA (2014) and Bryan Ohno Gallery, Seattle (2013). Valenzuela has participated in residencies at Skowhegan (Maine), Bemis Center (Nebraska), Center for Photography at Woodstock (New York) and Vermont Studio Center. Valenzuela is recipient of Artist Trust's Arts Innovator Award (2014), the Texas Contemporary Award (2014) and the University of California Institute for Research in the Arts grant (2013). Valenzuela's work is in the collections of the Frye Art Museum, Seattle, Samuel Dorsky Museum of Art, New Paltz and others.</div> Tue, 01 Dec 2015 15:19:59 +0000 Bill Viola - James Cohan Gallery - December 10th 6:00 PM - 8:00 PM Tue, 01 Dec 2015 16:11:39 +0000 Albert Herter, Caitlin Keogh, Candice Lin - Koenig & Clinton - December 10th 6:00 PM - 8:00 PM <p style="text-align: justify;">FOR IMMEDIATE RELEASE</p> <p style="text-align: justify;"><em>Bodily Imaginaries: Albert Herter, Caitlin Keogh, and Candice Lin</em></p> <p style="text-align: justify;">December 10, 2015&ndash;January 16, 2016</p> <p style="text-align: justify;">Opening Reception: Thursday, December 10, 6&ndash;8PM</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Koenig &amp; Clinton is pleased to announce <em>Bodily Imaginaries</em>, a group exhibition of works on paper by artists Albert Herter, Caitlin Keogh, and Candice Lin that presents divergent aesthetic approaches that reference discrete histories.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The provocative antiheroes of Candice Lin&rsquo;s drawings confront colonial fears and fantasies head-on. Her pseudo historical etchings and watercolors, rendered in the style of a 19<sup>th</sup>-century imperialist travelogue, offer hyperbolically racialized caricatures who defy the safe bounds of control. Lin&rsquo;s narrative revisits a complex portrait of the eroticism, the conquest, and the ritual that were often loathed in an Occidental self and projected onto &lsquo;the other&rsquo;.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Entirely constructed, mechanically hinged, and ghoulishly costumed, Albert Herter&rsquo;s bodies resemble composite marionettes incapable of grasping their own strings. His intricately drafted, restless subjects are social creatures, whose forms are simultaneously familiar and foreign, artificial and expressive. In Herter&rsquo;s <em>Instauration </em>and <em>Aggressive Constellation</em> series, individual and social trials, interconnected by chaos, are on full display.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">In her drawings of anonymous female torsos, Caitlin Keogh employs visual dislocation, interruption, and isolation of bodies in visual space. Keogh&rsquo;s subjects, decapitated and limbless, are imbued with ideal proportions, but clinically so. Dissociated bodies are often eviscerated, bound, punctured or penetrated by foreign objects, vegetal outgrowths, or decorative patterns. Keogh contaminates a Pop vocabulary of flatness, outline, and graphic precision with sensuality, undulation, exuberance, and the animate.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Bodily Imaginaries</em> prioritizes repellant, disjointed, or incomplete figures that subvert established representations of official narratives, Vitruvian bodies, and sanctioned desires.</p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em>Albert Herter (b. 1980, San Francisco) holds a BFA in New Genres from the San Francisco Art Institute, where he focused primarily on video, installation, and performance. His work has been the subject of solo&nbsp;exhibitions at Partisan Gallery, San Francisco and San Francisco City Hall. He has also participated in group exhibitions&nbsp;at: Art in General, New York; Derek Eller, New York;&nbsp;Spiral Gallery, Los Angeles; and&nbsp;Arthouse, McAllen, TX. He will have his first solo exhibition in New York at Koenig &amp; Clinton in 2017. </em>In the Curtyard: Orchestrated Reduction of the Fantasm, <em>recently published by</em> <em>Comfortable On a Tightrope and Museums Press, features the artist&rsquo;s drawings and writings. His drawings have also been featured in </em>The Third Rail<em>, and&nbsp;</em>Lacanian Ink.<em> Herter lives and works in Brooklyn, New York.</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em>Caitlin Keogh (b. 1982, Spenard, AK) holds an MFA from Bard College, NY, and a BFA from The Cooper Union School of Art, NY. Recent solo exhibitions include </em>The Corps<em>, Mary Boone Gallery, New York (2015) and </em>Good Value, Fine Quality<em>, </em><em>MoMA PS1, New York (2012). She has participated in select group exhibitions at Algus Greenspon, NY; Melas Papadopoulos, Greece; Renwick Gallery, NY; Kunsthalle Z&uuml;rich, Switzerland; and White Columns, New York. The artist lives and works in Brooklyn, New York.</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em>Candice Lin (b. 1979, Concord, MA) received her MFA in New Genres at the San Francisco Art Institute and her double BA in Visual Arts and Art Semiotics at Brown University. Lin&rsquo;s work has been exhibited at the Kadist Art Foundation, Paris; the Delfina Foundation, London; La Maison Populaire, Paris; and Alh&oacute;ndiga Bilbao, Spain. Recent solo exhibitions include Francois Ghebaly Gallery, Los Angeles and CAAA, Guimaraes, Portugal. She has been awarded several residencies and grants, including: the Artist Lab Residency at 18th Street (2015); the Fine Arts Work Center Residency (2012); the Frankfurter Kunstverein Deutsche Borse Residency (2011); and the Smithsonian Artist Research Fellowship (2009); among others. The artist lives and works in Los Angeles.</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;">For further information please contact <a href="" rel="nofollow"></a> or call (212) 334-9255.</p> <p style="text-align: justify;">Hours of operation are Tuesday&ndash;Saturday, 11AM&ndash;6PM and by appointment.</p> <p align="center">###</p> Sun, 29 Nov 2015 19:27:24 +0000 Caitlin Cherry - Recess Activities, Inc. - December 10th 6:00 PM - 8:00 PM <p>Organized in conjunction with Sondra Perry: My Twilight Zone Thing<br /><br />Artist Caitlin Cherry will present a performative lecture and archive showcasing her established Facebook practice of curating images via Google Image Search. Cherry will explore free association on the internet and the algorithms required to develop Facebook&rsquo;s News Feed and web search tools and will consider how these processes correlate with artistic innovation. The artist's chosen images are often from the &ldquo;backside&rdquo; of Google Image Search-- a space accessed by entering a matrix of two unrelated word combinations or scrolling deep into the later pages of Image Search to niche web pages. The lecture will engage with a cross-section of art, technology, social and digital culture through Cherry&rsquo;s personal interests and social media feeds.</p> Tue, 24 Nov 2015 19:24:00 +0000 - The Drawing Center - December 10th 6:30 PM - 7:30 PM <p style="text-align: justify;">Catalogue essayists Charles Duncan and Lowery Stokes Sims will discuss the works of Richard Pousette-Dart from the 1930s.</p> Fri, 21 Aug 2015 10:22:12 +0000 Hellen van Meene - Yancey Richardson Gallery - December 10th 6:00 PM - 8:00 PM Tue, 24 Nov 2015 14:52:01 +0000