ArtSlant - Openings & events en-us 40 Kari Altmann - Artists Space : Books & Talks - May 21st 7:00 PM - 8:00 PM <p style="text-align: justify;">For the last in a series of events organized in tandem with the exhibition <em>Hito Steyerl</em>, invited artist Kari Altmann will be in conversation with writer Ruth Saxelby about aspects of her work, and the systemics of the culture industry. <br /><br />Altmann's practice takes as its ground the contemporary omnipresence of networks for instantly creating and mutating culture. Her work is heavily immersed in an understanding of aggregation, encryption, representation and scene-formation, and the new cultural formats generated by and in response to these processes. She has been identified with labels like "hypergenre," "ambiguationist," "post-internet," "post-western," "meta," and "circulationist," while treating the creation of new tags and lexicons as a site of production itself. Her project <em>R-U-In?S</em> began life as one of these lexicons, assuming a dystopian, accelerationist attitude in creating black market culture out of the over-availability of hypercapitalism, algorithmic organization, and art tropes. The conversation with Saxelby will take in Altmann's creation of genres, lexicons, trends, and cultures and touch also on her curating of the work of her peers, and her role as moderator of several gender-focused discussion groups. <br /><br />Altmann's work also extends beyond the fine art world, including roles as a musician, DJ, director, and ghost producer, and collaborations with the likes of Kingdom/Fade to Mind, DJ GC, Fatima Al Qadiri, Maluca Mala, and Mixpak. Her own work has been featured in publications including <em>The FADER</em>, <em>DIS</em>, and <em>Art in America</em>, and she has completed projects for The New Museum, Art Dubai, The Goethe Institute, and many others. Altmann's first major solo exhibition, <em>Xomia</em>, occurred this year at Ellis King Gallery. Another solo project, <em>Hitashya</em>, will feature in the Biennial of the Americas at the Museum of Contemporary Art Denver in July. <br /><br />Ruth Saxelby is the managing editor at <em>The FADER</em> in New York. She has previously written for <em>The Guardian</em>, <em>Dazed &amp; Confused</em>, and <em>Dummy</em>, amongst other UK publications. She writes about new genres of audio and visual culture, with an emphasis on electronic music and feminist concerns in the music industry. She has interviewed and written about Kari Altmann several times in recent years, including "The Visual Artist at the Center of the Post Internet Explosion," "Dallas to Dammam Direct: Kari Altmann on Gulf Futurism's U.S. Outpost," and "We Talk in Pictures Now, But What Does It Mean?"</p> Wed, 20 May 2015 08:57:38 +0000 Jorge Tacla - Cristin Tierney Gallery - May 21st 6:00 PM - 8:00 PM <p>Cristin Tierney Gallery is pleased to present&nbsp;<strong><em>Hidden Identities</em></strong><em>,&nbsp;</em>a solo exhibition of paintings and drawings by&nbsp;<strong>Jorge Tacla</strong>. This exhibition will open with a reception on Thursday, May 21 from 6:00 to 8:00 pm, and the artist will be present.&nbsp;<em>Hidden Identities</em>&nbsp;is the artist&rsquo;s second solo show with the gallery, and it will remain on view through July 2, 2015. Included in the exhibition is a selection of works from Tacla&rsquo;s recent museum exhibition at the Museo de la Memoria y los Derechos Humanos in Santiago, Chile.</p> Fri, 08 May 2015 17:05:53 +0000 Gail Albert-Halaban - Edwynn Houk Gallery - May 21st 6:00 PM - 8:00 PM <p style="text-align: justify;">Edwynn Houk Gallery is pleased to announce an exhibition of new photographs by Gail Albert-Halaban (American, b. 1970).<br /><br />Albert-Halaban&rsquo;s new series, Vis &agrave; Vis, is set in Paris, where she peers through and photographs what&rsquo;s behind the windows in the French city&rsquo;s apartments and courtyards. Instead of being the voyeur, however, Albert-Halaban is an active participant, stage-managing each scene. The residents are knowingly photographed, as if actors on the film set. They willingly share their intimate, domestic moments: a child&rsquo;s birthday party, a woman greeting her guests in the foyer, a man reading a book under a dim lamp. The stories and narratives that are told are familiar and open-ended, with Albert-Halaban leaving infinite possibilities as to how the scenes could unfold.<br /><br />With Vis &agrave; Vis, Albert-Halaban further explores the quintessential paradox of living in a great urban metropolis: the disconnection and estrangement that exists for all its residents despite living and working so physically near to each another. Initially, it seems that Albert-Halaban is illustrating the loneliness of an urban dweller &ndash; isolating a tiny top floor window, for example, amongst a sea of windows within numerous buildings across a vast expanse of the surrounding city. Yet conversely, she is bringing the residents together. By introducing neighbor to neighbor &ndash; above, below, next door and across the way &ndash; she gains access and permission from both parties to take the photograph from one window while the other is in the photograph. Consequently, a heady dose of optimism can be found in the pictures: her efforts bring disparate souls together, forming a single community.<br /><br />A selection of these Paris photographs first appeared as a specially commissioned portfolio for Le Monde Magazine, Paris, in November 2012. A monograph of the entire series has been recently published in French by Editions La Martini&egrave;re (Vis &agrave; Vis) and in English by Aperture (Paris Views). She has had several group and solo exhibitions both in the US and abroad, including at the Centre Culturel Calouste Gulbenkain, Paris, and the Center of Photography and the Moving Image, New York, and her photographs have been recently acquired by the Fondation Herm&egrave;s, Paris. Previous series of works include Hopper Redux, the subject of her first exhibition at the gallery, Out My Window, This Stage of Motherhood and About Thirty. Her photographs have been published in numerous publications and online including New York Times Magazine, Huffington Post and Slate. Out My Window was Albert-Halaban&rsquo;s first major publication, issued by powerHouse Books in 2012. Albert-Halaban holds an MFA from Yale University; she lives and works in New York City.</p> Sun, 10 May 2015 15:34:25 +0000 Al Loving - Garth Greenan Gallery - May 21st 6:00 PM - 8:00 PM Sun, 10 May 2015 16:23:08 +0000 Moon Beom, Sydney Blum, Jeff Doran, Christian Faur, Will Kurtz, Joanne Leah - Kim Foster Gallery - May 21st 6:00 PM - 8:00 PM <p>Kim Foster Gallery is pleased to present color value an exhibition that delves into the usage, meaning, intensity and value of color in the making of art. Without light, there is no color. Without contrast, there is no difference. Without either light or contrast, there is no value. These six artists were selected for this exhibition because they address a wide range of points along the spectrum of color and value. The title &ldquo;color value&rdquo; was chosen because it is open enough to tackle many artistic concerns from literal interpretations to multi-layered deductions of what color and value mean.</p> <p>Moon Beom is arguably one of the most renowned artists to emerge out of the Korean Monochrome Movement of the 70s and 80s. He is technically adept at fusing traditional Korean aesthetics with Western abstraction. Moon&rsquo;s approach has been to start with a flat base color, overlaid with another color that is manipulated and coerced through density and feathering into an infinite world of fantastic abstractions.</p> <p>Sydney Blum&rsquo;s wall sculptures are multi-colored and layered cubes constructed from wire and synthetic hair. The series is informed by the mathematics of &ldquo;fuzzy geometry&rdquo; where spatial coordinates become a variable with a range of value, rather than being defined by a discrete singular location in space. The results are objects with non-crisp, fuzzy boundaries, a nesting of geometric forms contracting and expanding offering a sense of interrelatedness and tolerance for an indefiniteness in the space.</p> <p>Jeff Doran&rsquo;s series &ldquo;whole&rdquo; is an inquiry into the illusion of light, suggesting volumetric form within a circular structure. Utilizing technology as a tool to interpret and manage seemingly unlimited quantity and complexity, each piece is a unique c-print of a digitally constructed work with slight color variations. He devised this system as a means of participation in the emergent process of underlying visual perception.</p> <p>In his Color Word paintings, Christian Faur developed a coding system with 26 distinct colors, each representing a letter in the English alphabet. The highest frequency letters (vowels) were mapped with the most saturated colors using the RGB color system. The next highest were based on cyan, purple, pink and gray. Lesser degrees of shade, hue and saturation were used for the remaining letters. These paintings are rendered in vertical strips of encaustic color that relate to his color alphabet system. The widths of the color strips conform to the length of the sound of a spoken word. Paradoxically, Faur&rsquo;s coding system relies on visual poetry in that some sentences will be more visually appealing. Also on view will be Faur&rsquo;s Melodie series that uses a single constant image to explore in several iterations the weaving of colors, tones, and patterns with the intent to push the limits of his crayon technique.</p> <p>Will Kurtz creates life-size caricatures of individuals and animals out of newspaper with an internal structure made of wood and wire. His use of newsprint acts as a collage of readymade color and value that is applied in a spontaneous painterly fashion to reflect the mood, posture and facial expressions of everyday people. His chosen medium of newspaper affects a raw, imperfect quality that captures the vulnerability and resilience of those living on the margins of society.</p> <p>Joanne Leah&rsquo;s photographs portray parts of the body arranged as design elements that are juxtaposed with ordinary yet highly stylized props. Using color values within a particular spectrum, such as blue, green, red or violet, she constructs a narrative that takes us on a mysterious trip through her surreal, fairy tale crime scenes. Her imagery draws from her own childhood memories, exploring themes of isolation, detachment and identity</p> Thu, 30 Apr 2015 18:23:28 +0000 - Swiss Institute - May 21st 7:00 PM - 8:00 PM <p style="text-align: justify;">&ldquo;M/L Artspace is an artist-run project, created by artists Marie Karlberg and Lena Henke, both living in New York City. The general idea of M/L is to use spaces in New York to stage exhibitions outside of the (perhaps &ldquo;off&rdquo;) white-cube conventions of an artist-run gallery. Our first show was a sculpture show under the BQE (the Brooklyn Queens Expressway), inspired by the Skulpturen Projekte M&uuml;nster. It was a way of showing art in a different context, using the infrastructural resources that a parking lot under a bridge can offer. Sculptures, installations and other objects made by a dozen artists on raw dirty asphalt fall into formation with preexisting &ldquo;trash,&rdquo; performing an aesthetic theatricality in playful contest to New York City&rsquo;s heavily policed &ldquo;public&rdquo; spaces. Likewise, M/L&rsquo;s second exhibition took place for one night only at Nail and Beauty Salon in Bedstuy, Brooklyn. By literalizing the idea of a salon-style group show in an actual beauty salon, again the exhibition&rsquo;s unconventional context helped to open up the eyes of visitors to look at art from a different perspective as well as perform a new method for constructing art&rsquo;s social space.<br /> <br /> The aim of M/L Artspace is not to become a &ldquo;real&rdquo; gallery. We started our project because we wanted to challenge what we perceive as the monotony in which art assumes its expensive white-cube representation. At a time when galleries in New York City rapidly move from small to big business in a matter of months, we resolved that it was necessary to stage art and its social rituals in different contexts, to promote the idea that within artistic culture ideas are not dependent on money. By design, all the exhibitions occur for only night only, effectively doubling itself as an &ldquo;opening.&rdquo; Everything that happens during this short period of time gets documented and will appear on our website later: <a href=";h=4AQHzdswH&amp;enc=AZOdHL2exBCZRdZjgJYdIKmHu6b8yjiaEbj_6C_THSabiN7oYaDaQr2Tsbceqb_I2kE&amp;s=1" rel="nofollow nofollow" target="_blank"></a><br /> <br /> M/L aims to inclusively combine well-known artists alongside relatively unknown artists. We aim to work against hierarchical curatorial positions that opportunistically aim to construct affinity groups based solely of the marketability of their social currency. We are more interested in gathering an unlikely mix of people that both works with and against this trend, so as to lasso the sensibilities of the unknown to the visibilities of the success. M/L has been a place where artists can experiment, free of the market&rsquo;s pressures and its consequent social approval. For us, the most important aspect has been to create good shows, where artist feel free to try new ways of showing new works and also have fun.&rdquo;<br /> -M/L Artspace Statement<br /> <br /> On the occasion of Work Hard: Selections by Valentin Carron, please join us for the final chapter in our programs focusing on artists working as curators.<br /> <br /> Please RSVP to</p> Tue, 19 May 2015 16:04:51 +0000 - The Boiler (Pierogi) - May 21st 7:00 PM - 9:00 PM <div class="entry-content"> <p style="text-align: justify;"><a href="" target="_blank">WagMag</a>&nbsp;Brooklyn Art Guide&rsquo;s&nbsp;annual benefit will be held at The Boiler on May 21, from 7-9pm. Buy your tickets to the event <a href="" target="_blank">here</a>.</p> <p class="p1" style="text-align: justify;">A PREVIEW OF ARTWORKS IS AVAILABLE AT <a href="" target="_blank">WAGMAG.ORG/BENEFIT</a>. <strong>CHECK BACK DAILY FOR UPDATES OF PARTICIPATING ARTISTS AND WORKS</strong>&ndash; THIS YEARS BENEFIT EXHIBITION IS LIMITED TO 100 PARTICIPATING ARTISTS SELECTED BY INVITATION ONLY.</p> <p class="p1" style="text-align: justify;">For the past fourteen years WAGMAG has supported Brooklyn art communities by establishing a forum to promote art exhibitions and events and has coordinated an effort to unify neighbor galleries and artists.</p> <p class="p1" style="text-align: justify;">There will be approximately 100 pieces of artwork generously donated by local galleries and artists for the raffle during the event evening. Enjoy a festive atmosphere with hors d&rsquo;oeuvres, cocktails, beer and wine, and cutting-edge artwork from prominent artists in Brooklyn will be available.</p> <p class="p1" style="text-align: justify;">As an additional honor, selected artists will be acknowledged for outstanding merit by WAGMAG Benefit Committee member Lisa Levy, who will be awarding ribbons to acknowledge some of the fabulous art for it&rsquo;s specific outstanding qualities. To that end, she will be awarding ribbons to a selection of artworks that contain those special qualities such as Most Clashing Colors, Most Impractical to Bring Home. Most Time Consuming to Make and more!</p> <p class="p1" style="text-align: justify;">BENEFIT COMMITTEE:</p> <p class="p1" style="text-align: justify;"><strong>Daniel Aycock: WAGMAG<br /> </strong><strong>Ethan Crenson: Fuseworks<br /> </strong><strong>Alicia Ehni<br /> </strong><strong>Enrico Gomez<br /> </strong><strong>Nasa Hadizadeh: Alt Citizen<br /> </strong><strong>Randall Harris: Figureworks<br /> </strong><strong>Mandy Kalajian: Mirrorball<br /> </strong><strong>Lisa Kim: Two Trees<br /> </strong><strong>Lisa Levy: Artist<br /> </strong><strong>Stephen Mallon: Artist<br /> </strong><strong>Karen Marston: NURTUREart<br /> </strong><strong>Jill McDermid: Grace Exhibition Space<br /> </strong><strong>Julie McKim: Kunsthalle Galapagos<br /> </strong><strong>Charlotte Mouquin: Corridor Gallery/Rush Arts<br /> </strong><strong>Ellen Rand: Art 101<br /> </strong><strong>Henry Sanchez: Artist<br /> </strong><strong>Miho Suzuki: Artist<br /> </strong><strong>Kathleen Vance: Front Room Gallery<br /> </strong><strong>Susie Watkins: Vernissage<br /> </strong><strong>Monika Wuhrer: Open Source Gallery</strong></p> </div> Wed, 20 May 2015 09:24:43 +0000 Group Show of Viridian Artists - Viridian Artists - May 21st 6:00 PM - 8:00 PM <p>VIRIDIAN ARTISTS&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A CONTEMPORARY ART GALLERY</p> <p>&nbsp;547 W27<sup>th</sup> St/ 548 W 28<sup>th</sup> STREET between 10th &amp; 11th Avenues in Chelsea&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NEW YORK, NY, 10001&nbsp;&nbsp;&nbsp;</p> <p>TEL 212-414-4040&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p align="center"><strong>"RENEWAL"</strong></p> <p align="center"><strong>A Group Exhibition&nbsp; </strong></p> <p align="center"><strong>&nbsp;</strong><strong>May 19 - June 6, 2015</strong></p> <p align="center"><strong>Reception Thursday May 21, 6-8pm</strong></p> <p><strong>Chelsea: Viridian Artists</strong> is pleased to present "RENEWAL", a group exhibition of gallery artists opening May 19th and continuing through June 6th with a reception on Thursday, May 21st, 6-8PM.</p> <p><strong> RE.NEW.AL </strong>(noun) [ri'nu:al]: regeneration, restitution, rekindling, revitalization, rejuvenation, rebirth, replenishment, restoration, and repair. Spring is the season of renewal and so the works in this exhibition seek to address the meaning of renewal in all its ramifications.</p> <p>Human relationships are but one aspect of life that rekindles. <strong>Susan Sills </strong>shows a small pen drawing of her grandson as an infant, the renewal of life while <strong>Henry Coupe</strong> approaches the theme of "Renewal" with a small delicate painting of a bride and groom beginning a new life together. <strong>Diane Root (aka Matakia)'s</strong> collage is about the renewal of love, and a rejuvenation emanating from Matisse who has been a mentor and inspiration throughout her artistic life. <strong>Angela Smith</strong> renews images of herself as computerized glitches.</p> <p>Many of the works utilize nature as subject matter, implying the ways we are renewed by it.</p> <p><strong>Deborah Sudran's</strong> gouache of "Crotons and Palms" and <strong>Stacey Clarfield Newman's</strong> "Majesty" depict in entirely different ways, a sense of how nature regenerates itself in plant life. <strong>Bernice Faegenburg</strong> and <strong>Virginia Smit</strong> are also renewed by nature. Photographer<strong> Alan Gaynor </strong>and painter<strong> Bob Tomlinson</strong> present flowers in a new light.<strong> Renee Borkow </strong>shows urban nature<strong> and Arlene Finger </strong>depicts limbs of&nbsp; trees reaching up in search of new leaves at the start of spring, a time for growth and renewal.</p> <p>Photographer <strong>Robert Smith</strong> sees other forms in reality and <strong>Wally Gilbert,</strong> working digitally, regenerates his photographic imagery as a new reality. <strong>Barbara K Schwartz</strong> reminds us of the magic of the circus while <strong>Kathleen King </strong>uses fantasy with an installation of tiny digitally created dragon sculptures that can also be worn as pins and pendants. <strong>Michael Miller's</strong> Gridheads renew with humor and <strong>Matthias Merdan's</strong> &ldquo;Start Up&rdquo; explores beginnings with twisted steel while <strong>May DeViney</strong> plays with politics &amp; religion.</p> <p>Some of the artists make their point more abstractly.<strong> Arthur Dworin's</strong> mixed media work contains a host of symbols of renewal- a Celtic symbol for spring, ribbons of DNA, a symbol of life and a snake, a symbol for medicine. In<strong> Bruce Rosen&rsquo;s</strong> &ldquo;paintings... it is as though we are seeing a passage of time and an accumulation of experience. The works mirror the artist whose life integrated the noble poetics of two languages, the written and the visual.&rdquo; (Joan Krawczyk, former art editor of The Paris Review, independent curator, and former director of Viridian Gallery, in a 1997 statement.) Others in the show whose art presents a more symbolic approach include <strong>Tazuko Fujii, OI Sawa, Namiyo Kubo &amp; Janet Bohman.</strong></p> <p align="center">For further information please contact the gallery at 212-414-4040 or <a href="" rel="nofollow">&nbsp;</a></p> <p align="center">&nbsp;or&nbsp; view our website:</p> <p>&nbsp;</p> Tue, 19 May 2015 15:02:39 +0000 Peter Fox - Front Room Gallery - May 22nd 7:00 PM - 9:00 PM <p>&nbsp;</p> <p>Front Room gallery is proud to present "Blind Trust" a solo exhibition of new paintings by Peter Fox. Expanding on his signature style of drip painting, Peter Fox&rsquo;s spilled paint works have taken on bold gestural movements.&nbsp;&nbsp;Referencing formal systems of Abstract Painting, this series explores the language of relational color, as articulated through layered processes.&nbsp;&nbsp;Each composition is developed through variance and repetition, and evolves with the allowance of chance.&nbsp;</p> <p>&nbsp;</p> <p>These works expand on the concept of &lsquo;line&rsquo;, defined by color relationships; as each movement is recorded on the surface of the paintings, the poured paint is transformed into a drawing device. The fluid lines of paint transmit veins of parallel color, which develop into abstracted forms, evoking aspects of surrealist figuration.</p> <p>&nbsp;</p> <p>The negative space of the picture plane is recovered in these works, balanced with the thick intensity of the waves of color.&nbsp;&nbsp;Fox has re-contextualized the painting&rsquo;s surface, allowing for a nuanced volume of space, the surface texture in its plump volume floats on the ebbing forward movement of the illusionary space of a white atmospheric ground.&nbsp;</p> <p>&nbsp;</p> <p>This series presents a new take on pixelation, Fox&rsquo;s work in &ldquo;Blind Trust&rdquo; distorts a color grouping from spherical drops to elongated color flows, which are swept across the canvas, spread and stretched in all different directions. The fluid ribbons of paint whip and weave in and out of one another, fusing and gathering strains of color with each movement. The resulting work captures the action of each pour and a presents a lyrical representation of the artists&rsquo; creative actions.</p> <p>&nbsp;</p> Mon, 04 May 2015 21:21:31 +0000 Pablo Picasso - New York Historical Society - May 22nd 10:00 AM - 8:00 PM <p style="text-align: justify;">In Spring 2015, the New-York Historical Society will display its newly acquired and conserved Picasso in the exhibition <em>Raising the Curtain: Picasso's Painting for the Ballet Le Tricorne</em>. It is the first work by Picasso, and one with great wall power and a New York history, to enter New-York Historical's collection.</p> <div class="body"> <p style="text-align: justify;">Pablo Picasso painted the stage curtain for the two-act ballet The Three-Cornered Hat (&ldquo;El sombrero de tres picos&rdquo; or &ldquo;Le tricorne&rdquo;). The ballet and curtain were commissioned by the impresario Sergei Diaghilev for his avant-garde, Paris-based Ballets Russes, the most influential ballet company of the twentieth-century. The ballet was choreographed by L&eacute;onide Massine with music by the Spanish composer Manuel de Falla. It premiered on July 22, 1919, at the Alhambra Theatre in London with sets, costume designs, and the monumental stage curtain created by Picasso. Picasso biographer John Richardson once called &ldquo;Le Tricorne&rdquo; the artist&rsquo;s &ldquo;supreme theatrical achievement.&rdquo; The production, which was conceived by Diaghilev and Massine during a trip to Spain, was enhanced by its many Spanish collaborators, including Picasso who also designed the costumes and set for the ballet.</p> <p style="text-align: justify;">Measuring roughly 20 feet square, the curtain depicts a scene with a bullring and celebratory spectators. Picasso painted it as an illusionistic window in a larger curtain that functioned as a backdrop setting the scene for the ballet. At some point before 1956 Diaghilev cut it from its larger context. For more than half a century the curtain, believed to be the largest Picasso painting in the world, has hung in the hallway of the Four Seasons Restaurant, in the landmarked Seagram Building, designed by Ludwig Mies van der Rohe, on Park Avenue and Fifty-second Street in New York City. Vivendi, the company that once owned the Seagram Building, gave the Picasso curtain to the New York Landmarks Conservancy in 2005 as a &ldquo;Gift to the City.&rdquo;</p> <p style="text-align: justify;">The show will position Picasso&rsquo;s curtain in a dialogue with other N-YHS objects, including paintings from the European tradition that provide background to the artist&lsquo;s work as well as to the traditions against which the revolutionary artist rebelled. Other thematic threads pivot around dance subjects and explore roughly contemporary American paintings, sculpture, posters, and watercolors. Among the works included will be examples by William Adolphe Bouguereau, Will H. Bradley, Philippe de Champaigne, Jean-L&eacute;on G&eacute;r&ocirc;me, Childe Hassam, Malvina Hoffman, Ricardo de Madrazo y Garreta, Elie Nadelman, Edward Penfield, Maurice Prendergast, John Sloan, and Adriaen van Utrecht.</p> </div> Sat, 07 Feb 2015 00:38:02 +0000 Al Hirschfeld - New York Historical Society - May 22nd 10:00 AM - 8:00 PM <p style="text-align: justify;">Al Hirschfeld (1903-2003) brought a set of visual conventions to the task of performance portraiture when he made his debut in 1926. His signature work, defined by a linear calligraphic style made his name a verb to be "Hirschfelded" was a sign that one has arrived. Now for the first time, nine decades of his art are collected in <em>The Hirschfeld Century: An Al Hirschfeld Retrospective</em>&nbsp;documenting Hirschfeld's life and career and, to a great extent, the history of the performing arts in the twentieth century and beyond.&nbsp;</p> <p style="text-align: justify;"><em>The Hirschfeld Century: An Al Hirschfeld Retrospective&nbsp;</em>examines his influences, his iconography, and his techniques, from his earliest works to his last drawings. Visitors will have the opportunity to trace this unique artist's evolution by viewing his own body of work, including drawings, paintings, selections from sketchbooks, ephemera, and video. The exhibition is being organized in partnership with the Al Hirschfeld Foundation and is guest-curated by David Leopold, the Foundation's Archivist.</p> Sat, 07 Feb 2015 00:40:04 +0000 - Rubin Museum of Art - May 22nd 11:00 AM - 10:00 PM <p style="text-align: justify;">Kashmir, a region extending between present-day Pakistan, India, and China, was a vibrant center of cultural exchange where Buddhism flourished and artists created exceptional sculptures, paintings, and manuscripts. Beginning in the 5th&ndash;6th centuries Kashmir and its art boasted international prestige and had significant cultural impact in the region, especially in the Western Himalayas and West Tibet. Although these neighboring regions had a radically different environment and culture to Kashmir, Buddhism and art from Kashmir had profound influence there beginning in the 10th&nbsp;century.&nbsp;</p> <p style="text-align: justify;">Western Himalayan pilgrims to Kashmir &ldquo;collected&rdquo; art there and installed it in their new monasteries at home; they invited Kashmiri teachers and artists and worked together to create a new Buddhist culture there. Over time, the Buddhist art of Kashmir became deeply imbedded in the cultural identity of Western Himalayan Buddhists who developed distinct artistic expressions of their own.</p> <p style="text-align: justify;"><em>Collecting Kashmir</em> traces the continuity of the art of Kashmir in the Western Himalayas for over a millennium. The exhibition begins with the exquisite carved ivory and metal sculptures from Kashmir that were brought to the Western Himalayas in the 7th&ndash;12th centuries and highlights the notion of Buddhist art in motion. The exhibition continues with the presentation of sculptures and paintings created by Kashmiri and local artists in the Western Himalayas in the 11th&ndash;14th centuries, and concludes with examples from the 15th&ndash;17th centuries when Kashmiri aesthetics were revitalized in an economic and religious revival in West Tibet.&nbsp;</p> <p style="text-align: justify;"><em>Collecting Kashmir</em> celebrates Western Himalayan Buddhists as agents of their own cultural production and the important role they played in collecting and preserving the art of Kashmir that they greatly appreciated and that would come to be valued highly by western collectors in centuries to come.&nbsp;</p> <p style="text-align: justify;">The exhibition is accompanied by a catalogue, <em>Collecting Paradise: Buddhist Art of Kashmir and Its Legacies</em>.</p> <p style="text-align: justify;"><em>The exhibition was organized by the Mary and Leigh Block Museum of Art, Northwestern University, and the Rubin Museum of Art, New <em>York. Support for the exhibition was provided in part by contributors to the 2015 Exhibitions Fund.</em></em></p> <p style="text-align: justify;"><em>The exhibition was conceived and curated by Rob Linrothe, for the Block Museum of Art at Northwestern University.</em></p> <p style="text-align: justify;"><em>Curated by Elena Pakhoutova for the Rubin Museum of Art</em></p> <p><em>&nbsp;</em></p> Sat, 07 Feb 2015 02:35:01 +0000 Emmet Gowin - The Morgan Library & Museum - May 22nd 10:30 AM - 9:00 PM <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">One of the most original and influential photographers of his generation, Emmet Gowin (born 1941) is also among the most attuned to the deep historical life of images. For this spellbinding exhibition&mdash;the first exploration of his career at a New York museum&mdash;Gowin has combined favorites and rarities from five decades of work with objects drawn from throughout the collections of the Morgan. Included are ancient Near Eastern seals and tablets, Medieval illuminations, rare printed books, musical manuscripts, and master drawings by artists from Botticelli and Rembrandt to Blake and Mondrian. Gowin's photographs include searching portraits of his wife, Edith, and their extended family, "working landscapes" where nature and humanity have shaped one another for centuries, and aerial views of sites shaped by modern-era catastrophes ranging from volcanic activity to nuclear testing.</p> </div> </div> </div> <div class="field field-name-field-credit-line field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">This exhibition is made possible by the generous support of Jane P. Watkins, the J. W. Kieckhefer Foundation, Ronay and Richard Menschel, and Jennifer and Philip Maritz, with additional assistance from the Photography Collectors Committee and The Robert Mapplethorpe Foundation. In-kind support is provided by Pace/MacGill Gallery.</p> </div> </div> </div> Sat, 31 Jan 2015 10:48:56 +0000 Daniel Rozin - bitforms gallery - May 24th 4:00 PM - 7:00 PM <p style="text-align: justify;">bitforms gallery is pleased to announce a solo exhibition with Israeli-American artist Daniel Rozin. &ldquo;Descent With Modification&rdquo; marks his first display of interactive sculpture at the Lower East Side location, and his seventh solo exhibition at bitforms gallery since 2002.</p> <p style="text-align: justify;">Merging the geometric with the participatory, Rozin&rsquo;s installations have long been celebrated for their kinetic and interactive properties. Grounded in gestures of the body, the mirror is a central theme of Rozin&rsquo;s practice.&nbsp;In his art, surface transformation becomes a means to explore animated behavior, representation, and illusion.</p> <p style="text-align: justify;">The exhibition features six installations that are shaped by Darwin&rsquo;s breakthrough writings on evolutionary biology, particularly &ldquo;On The Origin of Species by Means of Natural Selection&rdquo; from 1859. Marked by a new visual emphasis on the mechanism of descent with modification, Rozin&rsquo;s works are algorithmically based on the randomness of genetic drift. The pieces also use humor as they synthesize notions of the wild with image complexity, pattern, and dynamic behavior. As a group, they further Rozin&rsquo;s longstanding investigation of modernist principles and probe the new terrain of artificial life.</p> <p style="text-align: justify;">Central to the exhibit are four software art installations that Rozin developed over a period of five years. In these works programmed &ldquo;evolutionary pressure&rdquo; pushes the artworks to resemble the viewer&rsquo;s mirrored image. Engaging the viewer with interactive response, each work positions the site of the audience differently, and varies the formal properties of line, luminosity, and tempo, as screen-based pictures are built improvisationally.</p> <p style="text-align: justify;">The largest work in the exhibition,&nbsp;<em>Penguins Mirror</em><em>&nbsp;</em>is an installation scattered on the floor and comprised of 450 motorized stuffed animals. Reductive in palette, yet baroque in behavior, it performs an absurdly homogeneous system of movement. Playing with the compositional possibilities of black and white, each penguin turns from side to side and responds to the presence of an audience. As they perform, the penguins&rsquo; collective intelligence is puzzling, yet somehow familiar, as the plush toys enact a precise choreography rooted in geometry.</p> <p style="text-align: justify;"><em>PomPom Mirror</em>&nbsp;is similarly anthropomorphic, and features a synchronized array of 928 spherical faux fur puffs. Organized into a three-dimensional grid of beige and black, the sculpture is controlled by hundreds of motors that build silhouettes of viewers using computer-vision. Along its surface, figures appear as fluffy animal-like representations within the picture plane, which is made permeable by a &lsquo;push-pull&rsquo; forward and backward motion of meshed &lsquo;pixels&rsquo;. Ghostly traces hypnotically fade and emerge, as the motorized composition hums in unified movement, seemingly alive and breathing as a body of its own.</p> Wed, 22 Apr 2015 17:28:02 +0000 - International Center of Photography (ICP) - May 27th 7:00 PM - 9:00 PM <p><strong>Location:</strong><br /><strong>ICP School</strong><br /><strong>Shooting Studio</strong><br /><strong>1114 Avenue of the Americas (at 43rd Street)</strong><br /><strong>New York, NY 10036</strong></p> <p>In this workshop participants of all experience levels will be able to explore the different sides of Instagram photography. Instagram photographers with a minimum of 50&ndash;500K followers will share their own success story, tips, and tricks in a presentation. Then they will share and discuss with each other and the audience how they grew their following, how they tell their story and how / if they were able to monetize their Instagram fame. Last but not least the experts will give a &ldquo;Feed Review&rdquo; of 3-5 Instagram feeds of volunteers&mdash;and give criticism, feedback, suggestions and ideas on how to improve.</p> <p>The workshop participants will learn HOW TO best use the application, its technical possibilities and challenges, HOW TO grow their following and network, and HOW TO constitute a visual identity of their own.&nbsp;</p> <p>Instagrammers: <br /> Anka Itskovic (@the_line_up)<br /> Dave Krugman (@dave.krugman)<br /> Additional Speaker TBA</p> <p>Moderators: <br /> Ulli Barta &amp; Fabrice Nadjari, Studio 55 (@st55nyc)</p> <p><strong><a href="" rel="nofollow" target="_blank">Click here for more information.</a></strong></p> <p><strong><a href="" rel="nofollow" target="_blank">Get your complimentary tickets here.</a></strong></p> Mon, 18 May 2015 19:43:25 +0000 Group Show - International Center of Photography (ICP) - May 27th 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong>Join us in the Rita K. Hillman Education Gallery for the opening reception on Wednesday, May 27 at 6 pm. Presentation begins at 6:30 pm.</strong></p> <p style="text-align: justify;">ICP's year-round Teen Academy program offers a range of opportunities for teenagers to develop their knowledge of photography. Courses range from ten-week classes in black-and-white and color darkroom instruction, summer digital intensives, to this yearlong program.</p> <p style="text-align: justify;">Teen Academy Imagemakers enables motivated high school juniors and seniors to advance their photography, writing, and public speaking skills while developing an awareness of the creative and professional possibilities in the field. This weekly after-school program provides teen photographers with guidance from some of New York's best teaching artists; field trips to museums, galleries, and studios; mentorship opportunities in the field; and full access to ICP's facilities. This program is designed for students who are interested in pursuing photography in college or in their future. At the end of the year, students will have created an extensive portfolio, including an artist&rsquo;s statement and r&eacute;sum&eacute;. Their best work is featured in this gallery exhibition.</p> <h1 class="sidebarWidget-content-title" style="text-align: justify;">ICP School</h1> <div class="sidebarWidget-content-address" style="text-align: justify;">1114 Avenue of the Americas, New York, NY</div> Wed, 20 May 2015 09:06:46 +0000