ArtSlant - Openings & events en-us 40 - New York Historical Society - August 22nd 10:00 AM - 8:00 PM <div class="field field-type-text field-field-teaser"> <div class="field-items"> <div class="field-item odd"> <p>Can one object define New York City? Can 101?&nbsp;<em>New York Times</em>&nbsp;urban affairs correspondent Sam Roberts has assembled a kaleidoscopic array of possibilities in a new book,&nbsp;<em>A History of New York in 101 Objects</em>. Featuring objects from the New-York Historical Society collection, this exhibition will assemble some of Roberts&rsquo;s choices, which together constitute a unique history of New York.&nbsp; By turns provocative, iconic, and ironic, and winnowed from hundreds of possibilities, his selections share the criteria of having played some transformative role in the city&rsquo;s history.</p> </div> </div> </div> <div class="field field-type-filefield field-field-full-view-teaser"> <div class="field-items"> <div class="field-item odd">Visitors to the New-York Historical Society may be familiar with many of the institution&rsquo;s more important holdings which will be on view, and without which no exhibition about the history of the city would be complete. Among them are the water keg with which Governor DeWitt Clinton marked the opening of the Erie Canal in 1825; the draft wheel used during the 1863 draft riots, the largest civil uprising in American history; the sterling silver throttle that powered the inaugural trip of the New York City subway in 1904; and a jar of dust collected by N-YHS curators at Ground Zero following the 9/11 attacks. Less well-known selections include a seventeenth-century English&ndash;Low Dutch dictionary revealing linguistic traditions that persist to the present; a section of the transatlantic cable that first facilitated the intercontinental exchange of telegraphs in 1858; or a pair of shoes belonging to a young victim of the 1904 General Slocum steamboat tragedy, which until 9/11 was the city&rsquo;s worst disaster.</div> </div> </div> <div class="body"> <p>Yet the city also can be described by far more ubiquitous objects that are no less unique to its DNA. The bubblegum pink Spaldeen ball, a staple of urban street games. The bagel, an unquestionably New York City food. Graffiti. The (now-extinct) subway token. The black-and-white cookie, which Roberts believes &ldquo;democratically says New York,&rdquo; because of its popularity at subway bakeries and elite establishments alike. Indeed, the selections themselves constitute a democracy of objects that taken together capture the monumental drama as well as the everyday spirit of an extraordinary city.</p> </div> Thu, 24 Jul 2014 06:59:11 +0000 - The Jewish Museum - August 22nd 11:00 AM - 5:45 PM <p>Russian folk dancers and a balalaika player mingle with strutting roosters; Admiral Dewey and a Russian peasant guard a pair of American flags; tennis racquets fan out, a hot-air balloon takes flight, and a circus acrobat performs a horse act while a rocking chair and a Star of David appear side by side. A veritable potpourri of Russian, American, and Jewish motifs, this colorful quilt &ndash; the subject of the third iteration of the Museum&rsquo;s&nbsp;<em>Masterpieces &amp; Curiosities</em>&nbsp;exhibition series &ndash; tells multiple stories.</p> Sun, 17 Aug 2014 22:36:04 +0000 Josephine Meckseper, Brad Troemel - The Fireplace Project - August 23rd 6:00 PM - 9:00 PM Sun, 17 Aug 2014 02:21:58 +0000 Hiroshi Sugimoto - Tripoli Gallery - August 27th 6:00 PM - 8:00 PM <p>Tripoli Gallery is pleased to present an exhibition of photographs by Hiroshi Sugimoto.&nbsp;<em>Hiroshi Sugimoto: Seascapes&nbsp;</em>will be on view at 30a Jobs Lane from August 27 through October 21, with a public reception on Wednesday, August 27 from 6 to 8 p.m. This marks Sugimoto&rsquo;s first solo exhibition at Tripoli Gallery.</p> <p><em>Hiroshi Sugimoto: Seascapes</em>&nbsp;brings together Sugimoto&rsquo;s iconic seascapes, on loan from important collections and on view for the first time in Southampton since&nbsp;<em>Time Exposed</em>, his 1994-95 solo exhibition at the Parrish Art Museum. Among works on view are&nbsp;<em>Mediterranean Sea, Crete</em>&nbsp;(1990);<em>Yellow Sea, Cheju</em>&nbsp;(1992);&nbsp;<em>Lake Superior, Cascade River</em>(1995-2003); and&nbsp;<em>Tyrrhenian Sea</em>&nbsp;(1990), as well as his 2011&nbsp;<em>Five Elements</em>&nbsp;sculpture, made from optical quality glass and based on the form of a thirteenth-century Japanese Buddhist&nbsp;<em>stupa</em>&nbsp;reliquary. A unique seascape photograph is preserved within the glass sphere of the 6-inch high pagoda; honoring and revering the element from which all life stems.&nbsp;</p> <p>Sugimoto began his series of seascapes in 1980, traveling to remote oceans, seas and lakes around the world. Using his preferred late-19th-century/early-20th&nbsp;century big box camera with black-and-white sheet film, he achieves high technical results with gradations and tonalities that make each photograph distinct and impeccably rich in detail. Perched on high cliffs, Sugimoto is able to look across the water and capture its vastness and mystery in a minimalist composition that relies solely on the water, the atmosphere, and the horizon line that precisely bisects his frame.</p> <p>&ldquo;My first view of the ocean came as an awakening,&rdquo; Sugimoto writes, recalling his earliest and most vivid recollection of the sea, &ldquo;I spied it from a Tokaido Line train, the seascape passing from left to right. It must have been autumn, because the sky had such vast, eye-opening clarity. We were riding high on a cliff, and the sea flickered far below like frames of a motion picture, only to disappear behind the rocks. The horizon line where the azure sea met the brilliant sky was razor sharp, like a samurai sword&rsquo;s blade. Captivated by this startling yet oddly familiar scene, I felt I was gazing on a primordial landscape.&rdquo; (&ldquo;The Times of My Youth: Images from Memory,&rdquo;&nbsp;<em>Hiroshi Sugimoto</em>, Ostfildern: Hatje Cantz Verlag, 2005)</p> <p>Hiroshi Sugimoto&nbsp;was born in Tokyo in 1948 and has lived and worked in New York City since 1974. He has had solo exhibitions at the Metropolitan Museum of Art, New York; MOCA, Los Angeles; The J. Paul Getty Museum at the Getty Center, Los Angeles; Scottish National Gallery of Modern Art, Edinburgh; and Hara Museum of Contemporary Art, Toyko, among others. A major 30-year survey of his work opened at the Mori Art Museum, Tokyo in 2005 and travelled to the Hirshhorn Museum and Sculpture Garden, Washington, D.C. and the Modern Art Museum of Fort Worth, Texas. Sugimoto has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts. He is the recipient of honorary doctorates and awards including the Praemium Imperale Award in 2009 and 2010, the Hasselblad Foundation International Award in Photography in 2001, and the 15th Annual Infinity Award for Art, International Center of Photography, New York, in 1999. Sugimoto's work is held in numerous public collections including the Metropolitan Museum of Art, New York; Moderna Museet, Stockholm; Centre Georges Pompidou, Paris; Museum of Contemporary Art, Tokyo; Museum of Modern Art, New York; National Gallery, London; National Museum of Modern Art, Tokyo; Smithsonian Institution, Washington, D.C.; MACBA, Barcelona; and Tate Gallery, London.</p> Fri, 15 Aug 2014 01:41:40 +0000 McCauley (“Mac”) Conner - Museum of the City of New York - August 29th 10:00 AM - 6:00 PM <p>McCauley (&ldquo;Mac&rdquo;) Conner (born 1913) grew up admiring Norman Rockwell magazine covers in his father&rsquo;s general store. He arrived in New York as a young man to work on wartime Navy publications and stayed on to make a career in the city&rsquo;s vibrant publishing industry. The exhibition presents Conner&rsquo;s hand-painted illustrations for advertising campaigns and women&rsquo;s magazines like&nbsp;<em>Redbook</em>&nbsp;and&nbsp;<em>McCall&rsquo;s</em>, made during the years after World War II when commercial artists helped to redefine American style and culture.</p> Thu, 24 Jul 2014 06:43:43 +0000 - The Metropolitan Museum of Art - August 29th 10:00 AM - 9:00 PM <p>This exhibition will comprise two groups of portrait miniatures: British, from the sixteenth and early seventeenth centuries, and French, from the revolutionary period to the Empire. Also included are several eighteenth-century French gold boxes decorated with narratives or scenes in grisaille. All are from the Museum's permanent collection and, because of their sensitivity to light, are infrequently exhibited. Six larger paintings will be exhibited in order to consider what they may share with the miniatures and to show how they differ.</p> Sun, 17 Aug 2014 23:52:58 +0000 Ralph Fasanella - American Folk Art Museum - Lincoln Square - September 2nd 10:30 AM - 5:30 PM <p>Ralph Fasanella (1914&ndash;1997) celebrated the common man and tackled complex issues of postwar America in colorful, socially minded paintings. This exhibition celebrates the one hundredth anniversary of the artist&rsquo;s birth and brings together key works from a career spanning fifty-two years. Fasanella was born in the Bronx and grew up in working-class neighborhoods of New York; he became a tireless advocate for laborers&rsquo; rights, first as a union organizer and later as a painter.<br /><br />This major exhibition includes a selection of artworks from the American Folk Art Museum&rsquo;s collection, which holds more than one hundred paintings and drawings by the artist. The Estate of Ralph Fasanella gifted many of these objects to the museum over the years, in addition to the artist&rsquo;s notebooks, sketches, correspondence, personal records, photographs, publications, and films, which were donated in 2009 and 2013.<br /><br /><em>Ralph Fasanella: Lest We Forget</em>&nbsp;is organized by the Smithsonian American Art Museum with generous support from Tania and Tom Evans, Herbert Waide Hemphill, Jr. American Folk Art Fund, and Paula and Peter Lunder. The C.F. Foundation in Atlanta supports the museum&rsquo;s traveling exhibition program,<em>Treasures to Go.</em></p> Mon, 11 Aug 2014 21:39:01 +0000 Adam Shecter - Eleven Rivington (Chrystie Street) - September 2nd 6:00 PM - 8:00 PM <p>Eleven Rivington is pleased to present its third solo exhibition by NY artist Adam Shecter, on view at its 195 Chrystie Street location from September 2 &ndash; October 5, 2014.&nbsp; The exhibition, titled New Year, features a 26-minute panoramic animation that runs the length of the entire gallery space. New Year combines hand drawn imagery, 3D animation, and digital video with an original soundtrack by the artist. Actor Sean Maher (Firefly, Green Arrow, Much Ado About Nothing) provides narration.</p> <p>New Year is a visually rich depiction of city life that fuses science fiction with the domestic. Through omniscient narration, Shecter's hybrid of personal journal and animated science fiction follows the lives of a gay married couple, a melancholy astronaut, and two wild dogs living in a reality not quite our own. The combination of fantasy and realism connects to the work's exploration of false memory, the vivid recollection of events that may or may not have occurred. In doing so, Shecter has created landscapes and characters that populate a city like New York, but in an unspecified reality and time. &nbsp;</p> <p>New Year employs an experimental narrative technique, pairing twelve continuously scrolling sequences with meditative panoramas in an ultra-wide aspect ratio. Like a graphic novel, the film employs a variety of styles, creating visual and narrative counterpoint between atmospheric sequences, sci-fi set pieces, and observations of daily life.</p> <p>Adam Shecter was born in Dallas, TX in 1976 and currently lives and works in New York.&nbsp; Shecter was educated at McGill University, Montreal and Bank Street College of Education, NY; he attended The Skowhegan School of Painting and Sculpture in 2006.&nbsp; He is a 2014 MacDowell Fellow in Film and Video, and was selected for the Drawing Center&rsquo;s inaugural Open Sessions Program. He has had solo exhibitions and screenings at St. Ann&rsquo;s Warehouse Experimental Puppet Lab, Brooklyn; Bielefelder Kunstverein, Germany; and Konstforeningen Aura, Sweden, among others.&nbsp; Shecter was included in the 2012 Queens International at the Queens Museum of Art, NY.&nbsp; His work has been reviewed and featured in the New York Times, The New Yorker, and Time Out magazine, among others.</p> Fri, 15 Aug 2014 00:57:35 +0000 Douglas Melini - Eleven Rivington (Rivington Street) - September 2nd 6:00 PM - 8:00 PM <p>Eleven Rivington is delighted to present the new work of New York artist Douglas Melini at its 11 Rivington Street location, on view from September 2 &ndash; October 5, 2014.&nbsp; The exhibition will feature recent acrylic and oil abstract paintings in artist-made frames.</p> <p>Investigating the construction of his previous canvases, Douglas Melini takes a different approach to this new body of intimately scaled works. &nbsp;Concealed are the formally realized hardedge geometric spaces from his previous paintings and in place is a more organic accumulation of fluid marks. &nbsp;While traces of a grid system from the earlier works remain present, they serve as the ground for the act of a new painting, allowing diminutive triangles to co-mingle with accumulated brushstrokes and minute daubs of densely applied paint.</p> <p>Melini begins each canvas with several days of paint and color mixing, and then proceeds to construct a grid underpainting.&nbsp; During this time, the frame for the work is painted and prepared. &nbsp;After the ground and support are completed, the artist spends one full day from morning until evening executing a single painting, often without any breaks.&nbsp; Melini&rsquo;s practice is intuitive, and he employs palette knives and small brushes to create his marks. &nbsp;At the end of the day, the painting is deemed complete, with no further adjustments made. A single realized activity is completed, transforming the physical undertaking of one day&rsquo;s work into an aesthetic experience.&nbsp; The process is akin to On Kawara&rsquo;s date paintings, where the objective of each work records the act of the day; in Melini's case, the record of the workday manifests itself as a densely painted image rather than an unassuming date.&nbsp; The portrait size scale of these new paintings further captures the intimacy of the recorded act. &nbsp;</p> <p>Melini has used a framing device as a support for his work for the last several years. &nbsp;He views the frame as integral to the functionality of the work and is interested in both its formal as well as cultural significance. &nbsp;The structure of the frame and its color are both considered as part of the overall painting from the earliest stages of the work. &nbsp;Melini states: "The frame in my work functions in multiple ways.&nbsp; It suggests that the painting can be perceived as an interior, a space of depth. It also sets the painting off as an object, encouraging the viewer to read the work in many different ways.&rdquo;</p> <p>Douglas Melini (born 1972) was educated at CalArts, LA and University of Maryland, College Park; he currently lives and works in New York.&nbsp; Melini&rsquo;s previous solo exhibitions include Feature Inc., NY; The Suburban, Oak Park, IL; Minus Space, Brooklyn; Richard Heller Gallery, Santa Monica; and a <em>White Room</em> at White Columns, NY.</p> Fri, 15 Aug 2014 01:02:07 +0000 Eric Wesley - Bortolami Gallery - September 4th 6:00 PM - 8:00 PM <p>Bortolami is pleased to announce a solo exhibition of new work by the Los Angeles-based artist Eric Wesley, on view from&nbsp;4 September to 4 October 2014. Please join us for an opening reception for the artist on Thursday, 4 September, from&nbsp;6 to 8 pm.<br /> <br /> An artist who often thematizes various rubrics of success and failure, Eric Wesley&rsquo;s newest works are large trompe-l'&oelig;il paintings that depict &ldquo;Daily Progress Status Reports.&rdquo; Each DPS is a blank form for assigning and evaluating the efficiency of a workday; broken up by the hours of the day (from&nbsp;10:00 am and 6:00 pm), it has space for delegating an assignment for each hour and a box to note whether or not these tasks have been finished satisfactorily. Wesley&rsquo;s paintings show these DPS worksheets after they have been &ldquo;completed&rdquo;: scribbled on, evaluated, crumpled up, stained, faded and folded. His painstaking painting technique contrasts extravagantly with the apathy and ennui which the marks on each form convey, making the exhibition a droll meditation on artistic labor and the constant demand to be productive.<br /> <br /> Eric Wesley (born 1973, Los Angeles) has had solo exhibitions in galleries internationally as well as at the MOCA, Los Angeles and Foundation Morra Greco, Naples, Italy. In 2015, he will have a large-scale exhibition at 365 Mission Road in Los Angeles. Wesley has participated in group shows at the Hammer Museum, Los Angeles; Mus&eacute;e d&rsquo;Art Contemporain, Bordeaux, France; Fundaci&oacute;n/Colecci&oacute;n, Jumex, Mexico; Museo d&rsquo;Arte, Benevento, Italy; The Prague Biennial in 2007; Institute of Contemporary Art, London; P.S.1, New York; and the Studio Museum in Harlem. He is one of the founders of the Mountain School of Arts.</p> Fri, 15 Aug 2014 02:40:47 +0000 Scott King - Bortolami Gallery - September 4th 6:00 PM - 8:00 PM <p>Bortolami is pleased to present&nbsp;<em>Totem Motif</em>, an&nbsp;exhibition of recent work by Scott King which originated&nbsp;this past May&nbsp;at Between Bridges, Berlin, and will be recreated at Bortolami. The first variant of the exhibition featured four works that interrogate the utility of public sculpture&mdash;with all of the romanticism, optimism, and naivete that it can entail. This iteration of&nbsp;<em>Totem Motif&nbsp;</em>will include a new sculpture,&nbsp;<em>Infinite Monument</em>, which exists in several sections, infinitely expandable and infinitely monumental.<br /> <br /> Scott King was born in Goole, East Yorkshire, England, 1969. He lives and works in London. In the 1990s he worked as Art Director of&nbsp;<em>i-D</em>&nbsp;magazine and later as Creative Director of&nbsp;<em>Sleazenation</em>&nbsp;magazine. As a graphic designer&nbsp;he has collaborated with such iconic figures as Malcolm McLaren, the Pet Shop Boys, Michael Clark and Suicide. King&rsquo;s work has been exhibited worldwide as such institutions as the Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; Palais de Tokyo, Paris; The State Hermitage Museum, St. Petersburg; the Institute of Contemporary Arts and the Barbican, London.&nbsp;</p> Fri, 15 Aug 2014 02:44:37 +0000 Roman Opalka - Dominique Lévy Gallery - September 4th 6:00 PM - 8:00 PM <p>Beginning September 4, 2014, Dominique L&eacute;vy gallery will pay tribute to Roman Opalka&rsquo;s unique art of body and soul with&nbsp;<strong>Roman Opalka: Painting&nbsp;</strong><strong><em>&infin;</em></strong>.&nbsp;The exhibition provides an overview of Opalka&rsquo;s career, revealing his &oelig;uvre to be a grand metaphor for human existence and a deceptively restrained expression of the artist&rsquo;s vitality and passion in the face of an unstoppable evaporation. &ldquo;Time as we live it and as we create it embodies our progressive disappearance,&rdquo; Opalka wrote in a 1987 essay. &ldquo;We are at the same time alive and in the face of death &mdash; that is the mystery of all living beings.&rdquo;</p> <p><strong>Roman Opalka: Painting&nbsp;</strong><strong><em>&infin;</em></strong>&nbsp;will present a key group of paintings (each titled&nbsp;<em>D&eacute;tails</em>) from&nbsp;<em>1965 / 1 &ndash;&nbsp;</em><strong><em>&infin;</em></strong>, complemented by a selection of the artist&rsquo;s related&nbsp;<em>Self-Portraits</em>&nbsp;photographs and audio recordings in which Opalka intones, in his native Polish, the numbers he is painting. The exhibition will also present antecedents to&nbsp;<em>1965 / 1 &ndash;&nbsp;</em><strong><em>&infin;.&nbsp;</em></strong>Two rare&nbsp;<em>Chronomes</em>paintings of 1963 will be on view, as will the entire series of Opalka&rsquo;s ten&nbsp;<em>Etude sur le Mouvement</em>&nbsp;works on paper from 1959-60.&nbsp; These works will be shown together with the&nbsp;<em>Details&nbsp;</em>for the first time in the United States.</p> <p>The exhibition&nbsp;will remain on view through October 18<sup>th&nbsp;</sup>and is accompanied by a catalogue featuring a text by curator and art historian Lorand Hegyi, a close friend of the artist; an essay by independent curator and historian Charles Wylie; an original text by French poet Jacques Roubaud; and a conversation between Marie-Madeleine Opalka, the artist&rsquo;s widow, and Fran&ccedil;ois Barr&eacute;, a close friend, that serves as a narrative chronology.&nbsp;</p> <p><strong>About the Artist</strong></p> <p>Roman Opalka was born on August 27, 1931, to Polish &eacute;migr&eacute;s in Hocquincourt, in northern France. The family returned to Poland in 1935, only to be deported to Germany after the Nazi invasion. After being liberated by the United States Army, they returned to Poland, where Roman studied lithography at a graphics school before enrolling in the School of Art and Design in Lodz. He later earned a degree from the Academy of Fine Arts in Warsaw and began experimenting with abstract and monochrome paintings, which he called&nbsp;<em>Chronomes</em>. In 1970 he gave up all other painting but his 1965/1 -&nbsp;<strong><em>&infin;</em></strong>&nbsp;series, begun in 1965.</p> <p>In 1977 Roman Opalka moved to France, settling at Teill&eacute;, near Le Mans. He took French citizenship in 1985, and in 2009 he was named Commander of the Ordre des Arts et des Lettres (Order of Arts and of Letters).</p> <p>Opalka died in Chieti, Italy, in August 2011.</p> Fri, 22 Aug 2014 03:42:59 +0000 Gene Shaw - Dorian Grey Gallery - September 4th 6:00 PM - 9:00 PM <p style="text-align: justify;">Dover Publications, Inc. (, is celebrating the release of the beautiful new Calla Edition hardcover, Journeyman: Eric Clapton &mdash; A Photographic Narrative by Gene Shaw, with an exhibit at New York City&rsquo;s Dorian Grey Gallery from September 4th to the 14th.<br />&nbsp;<br /> For over five decades, Eric Clapton has ranked among rock&rsquo;s premiere guitarists &mdash; and since the early 1980s, famed music photographer Gene Shaw has been capturing great moments from Slowhand&rsquo;s electrifying career. Now, coinciding with the Hall of Famer&rsquo;s upcoming 70th birthday, <em>Journeyman: Eric Clapton &mdash; A Photographic Narrative</em> delivers more than 150 of Shaw&rsquo;s high-quality color and black-and-white photographs, offering a front-row perspective on many magical musical events from Clapton&rsquo;s later career. Highlights include the legendary performance at the 1983 ARMS benefit; the star-studded 1992 show with Elton John at Shea Stadium; the long awaited 2005 Cream reunions at the Royal Albert Hall and Madison Square Garden; several appearances at the Rock and Roll Hall of Fame induction ceremonies; and the current Crossroads Guitar Festivals. Shaw provides an insider&rsquo;s perspective to each concert, offering an abundance of insightful commentary as well as complete set lists and band lineups.<br />&nbsp;<br /> &ldquo;There are quite a few books on Eric Clapton available, but Journeyman definitely stands out from the pack,&rdquo; says Mr. Shaw, whose acclaimed photography has appeared in Vogue, Rolling Stone, Time, People, and various books and museums. &ldquo;Appromimately 75% of the photographs have never been published before and I was able to capture rare and intimate moments between Eric and his fellow musicians not seen anywhere else. These artists include some of the biggest names in the business, so there are also exclusive images of Jeff Beck, Jimmy Page, Joe Cocker, Keith Richards, Albert Collins, Bob Dylan, and other superstars.&rdquo; <br />&nbsp;<br /> But the photos are just a part of the total package. &ldquo;Through my vivid recollections of each show, Journeyman not only captures one of the greatest performers in rock history, it also chronicles my personal growth as a photographer,&rdquo; Mr. Shaw continues. &ldquo;As my confidence and skills grew, Eric&rsquo;s career blossomed in unexpected ways. He turned to the past for fresh inspiration, as the smash Unplugged album revisited classic hits in an acoustic setting. Plus, recordings like Riding With the King and Me and Mr. Johnson powerfully demonstrated the impact such blues greats as B. B. King and Robert Johnson had on his guitar playing and songwriting.&rdquo;<br />&nbsp;<br /> A few of the author&rsquo;s rock-and-roll friends contributed to the book, including the popular Rolling Stone writer Anthony DeCurtis, who won a &ldquo;Best Album Notes&rdquo; Grammy&reg; for Clapton&rsquo;s 1988 &ldquo;Crossroads&rdquo; boxed set. &ldquo;Along with documenting the deeply personal story of photographer Gene Shaw&rsquo;s abiding admiration for Eric Clapton, this book provides the valuable service of offering a visual history of the wonderful work the guitarist has done during his time,&rdquo; says Mr. DeCurtis in his Introduction. &ldquo;As with so many people who successfully chose recovery, Clapton has enjoyed many richly productive years as a result.&rdquo; Plus, artist John &ldquo;Crash&rdquo; Matos, the designer of some of Clapton&rsquo;s signature guitars, adds a Foreword. &ldquo;As I went through many of Gene&rsquo;s photographs, I could see that they were not just shot by a fan, or by someone looking for a payday&hellip; it went much deeper,&rdquo; states Mr. Matos. &ldquo;His work was about capturing a moment not only on stage, but in his own life, and how the photos became parallel to his own walk.&rdquo; <br />&nbsp;<br /> Running from September 4th to the 14th at the Dorian Grey Gallery, &ldquo;Journeyman: Eric Clapton &mdash; Photographs by Gene Shaw,&rdquo; will feature dozens of never-before-seen images from the book, which will be presented to the general public for the very first time. The Opening Reception takes place on September 4th from 6 to 9 PM. Gene Shaw and Anthony DeCurtis will attend along with various industry insiders: musicians, photographers, and others. Additionally, Mr. Shaw will conduct a book signing at the gallery on September 10th from 5 to 8 PM. The Dorian Grey Gallery is located at 437 East 9th Street at Avenue A, New York, NY, 10009.</p> Fri, 22 Aug 2014 15:57:07 +0000 Group Show - IPCNY International Print Center New York - September 4th 6:00 PM - 8:00 PM <p>nternational Print Center New York presents&nbsp;<strong><em>Artist's Artists:&nbsp;James Siena, Josh Smith, and Charline von Heyl Collect Prints,</em></strong>&nbsp;on view July 21 - October 15, 2014 in its gallery at 508 West 26<sup>th</sup>&nbsp;Street, 5th Floor.</p> <p>A reception will be held at&nbsp;IPCNY&nbsp;on Thursday, September 4th, 6-8 pm.</p> <p><em><strong>Artist&rsquo;s Artists</strong></em>&nbsp;consists of sixty-four prints and books from the personal collections of three contemporary artists who incorporate printmaking into their artistic practice.&nbsp; Work dating from 1949 to 2013 is included, from antique maps to traditional lithography, intaglio, and silkscreen, along with prints by Louise Bourgeois, Jasper Johns, Robert Rauschenberg, Frank Stella, Antoni T&agrave;pies, Christopher Wool, among others.&nbsp; The exhibition reflects the expanse of interests among the three lenders as well as the artistic influences that connect them.&nbsp;</p> <p>From the collection of James Siena, prints by: Louise Bourgeois, Sarah Carpenter, Bruce Conner, Carlos Cruz-Diez, Steve DiBenedetto, Jane Dickson, Jim Flora, Bill Jensen, Jasper Johns, Cati Laporte, Chris Martin, Katia Santiba&ntilde;ez, Charles Seliger, Frank Stella, Antoni T&agrave;pies, and a selection of antique typewriters.<br /><br />From the collection of Josh Smith, prints by: Rita Ackerman, Bernard Buffet, Charline von Heyl, Martin Kippenberger and Albert Oehlen, Bruce Nauman, Robert Rauschenberg, Pierre Soulages, Aaron Wilson and Tim Dooley (Midwest Pressed), Christopher Wool, and a selection of hand-made books by Josh Smith.<br /><br />From the collection of Charline von Heyl, prints by: Jean (Hans) Arp, Bernard Buffet, Fernand Leger, Conrad Marca-Relli, Josh Smith, Endre Szasz, and H.C. Westermann.</p> <p>Gretchen L. Wagner has previously held the position of Curator of The Pulitzer Foundation for the Arts in St. Louis, Missouri as well as Assistant Curator in the Department of Prints and Illustrated Books at The Museum of Modern Art. She has contributed to numerous publications including Modern Women: Women Artists at The Museum of Modern Art; Dada in the Collection of The Museum of Modern Art; and MoMA P.S.1&rsquo;s Greater New York 2005.</p> Tue, 12 Aug 2014 01:08:32 +0000 Lily van der Stokker - Koenig & Clinton - September 4th 6:00 PM - 8:00 PM Fri, 18 Jul 2014 18:56:12 +0000 Lily van der Stokker - Koenig & Clinton - September 4th 6:00 PM - 8:00 PM <p>FOR IMMEDIATE RELEASE<br />Lily van der Stokker:&nbsp;<em>Huh<br /></em>September 4-October 18, 2014<br />Opening reception: Thursday, September 4 from 6-8PM</p> <p>Koenig &amp; Clinton is pleased to announce&nbsp;<em>Huh</em>, Lily van der Stokker's second solo exhibition with the Gallery, in which the artist celebrates defiance and embellishment in both subject and form, with all new works-all pink. At its core,&nbsp;<em>Huh</em>&nbsp;presents a greater discussion about beauty, femininity, and optimism to which the ugly, the cheap, and the vacant are tethered.</p> <p>In the artist's words,&nbsp;"<em>Huh&nbsp;</em>is about stupidity, paint and the body, the baby, the flesh; about roundness, closeness and is girly, sweet, decorative, cheap, and about pleasure and color. It is about the ground, the beginning, Zen and nothing, the monochrome."</p> <p><em>Huh</em>&nbsp;holds a mirror to art world clich&eacute;s and power structures, and laughs about them. Affixed to the Gallery's wall, a pink-and-purple retail sign advertises:&nbsp;<em>only yelling older women in here/nothing to sell</em>.&nbsp;Just opposite, van der Stokker's vast acrylic wall paintings engulf the main gallery space. Initially inspired by the artist's own floral-patterned pajama pants, handwritten speech bubbles&nbsp;are adorned with curlicues, puffy clouds, and floral motifs. These charming blob-like texts comment on their own situation in the exhibition:&nbsp;<em>very nice to lie&nbsp;</em><em>here together</em>;&nbsp;<em>lovely to be next to you</em>;&nbsp;<em>we are the same</em>.</p> <p>Sculptural objects expand the wall paintings' reach into three dimensions, while custom-made&nbsp;furniture invokes interior d&eacute;cor, a nod to feminine beautification and domestic coziness. At the center of the Gallery, the eponymous freestanding sculpture is covered in doodles, and appears to be spilling over with goopy paint; textual quips such as&nbsp;<em>oopy, ucky,</em>&nbsp;and&nbsp;<em>uffy, puffy</em>&nbsp;seem to ooze out from underneath. Just behind it, a large wooden panel is decorated with flowers and several small shelves, each one cradling a roll of toilet paper. In the lower-left corner, the object's title:<em>Nothing</em>.</p> <p><em>Huh&nbsp;</em>plays on the tension between viewers' assumptions and the reality present in van der Stokker's expansive pink installation, challenging conventional ideas of girlishness, enthusiasm, and ornament. "The reputation of pink is one of low intellect," notes van der Stokker. "For me, nothing and pink represent a comfort zone, a return to the womb, to the mother, to sleep, to the bed; a world without ambition or hierarchy; the ground. Here, pink is a world of pleasure, of goals unreached, a world without urgency or pressure<em>.</em>"</p> <p>Exuberantly striving toward the comfort of decorative flatness,&nbsp;<em>Huh&nbsp;</em>stakes out an antithetical position to 'bad boy art', and encourages the viewer to question the anatomy of substance, meaning, and above all, seriousness.</p> <p><em>Lily van der Stokker has exhibited extensively in both Europe and the U.S. In January 2015, van der Stokker's installation will be on view in the Hammer Museum's Wilshire Lobby, Los Angeles. Her most recent exhibitions include&nbsp;</em>Sorry, Same Wall Painting<em>&nbsp;at The New Museum, New York;</em>Terrible&nbsp;<em>at the Museum Boijmans, Rotterdam;&nbsp;</em>To The Wall&nbsp;<em>with David Shrigley at the Aspen Art Museum; and&nbsp;</em>Plug In #52&nbsp;<em>with Jim Iserman at the Stedelijk Van Abbemuseum in Eindoven. She is the subject&nbsp;</em>of It Doesn't Mean Anything, But It Looks Good<em>, published on the occasion of her exhibition&nbsp;</em>No Big Deal Thing<em>at the Tate St. Ives in Cornwall. Van der Stokker has been commissioned to produce numerous public works, including&nbsp;</em>Kalm nou maar...(Don't Worry)<em>, Rotterdam (2013);&nbsp;</em>Celestial Teapot<em>, Utrecht, Netherlands (2013), and&nbsp;</em>The Pink Building<em>, Hannover (2000). The artist lives and works in New York City and Amsterdam.</em></p> <p>For further information please contact&nbsp;<a href="" rel="nofollow"></a>&nbsp;or call (212) 334-9255. Hours of operation are Tuesday-Saturday, 11AM-6PM and by appointment.</p> Fri, 15 Aug 2014 19:11:11 +0000