ArtSlant - Openings & events en-us 40 Pierre Obando - Thierry Goldberg Gallery - April 26th 6:00 PM - 8:00 PM Sun, 26 Apr 2015 15:49:51 +0000 Ruth Asawa, Edith Heath, Sheila Hicks, Karen Karnes, Dorothy Liebes, Alice Kagawa Parrott, Lenore Tawney, Eva Zeisel - Museum of Arts and Design - April 28th 11:00 AM - 6:00 PM <div class="description_block_body"> <div class="field field-name-field-exh-body-left-1 field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;"><em>Pathmakers:</em><em> Women in Art, Craft and Design, Midcentury and Today </em>considers the important contributions of women to modernism in postwar visual culture. In the 1950s and 60s, an era when painting, sculpture, and architecture were dominated by men, women had considerable impact in alternative materials such as textiles, ceramics, and metals. Largely unexamined in major art historical surveys, either due to their gender or choice of materials, these pioneering women achieved success and international recognition, laying the ground for the feminist movement that followed.</p> <p style="text-align: justify;">Featuring more than 80 works, <em>Pathmakers </em>focuses on a core cadre of women&mdash;including Ruth Asawa, Edith Heath, Sheila Hicks, Karen Karnes, Dorothy Liebes, Alice Kagawa Parrott, Lenore Tawney, and Eva Zeisel&mdash;who had impact and influence as designers, artists, and teachers, using materials such as clay, fiber, and metals in innovative ways. Significantly, the group came to maturity along with the Museum of Arts and Design itself, which was founded in 1956 as the center of the emerging American modern craft movement.</p> <p style="text-align: justify;">The exhibition also highlights contributions of European &eacute;migr&eacute;s, including Anni Albers and Maija Grotell, who brought with them a conviction that craft could serve as a pathway to modernist innovation. Parallels between women creating work in Scandinavia and the United States are emphasized by the inclusion of important Scandinavian designers such as Rut Bryk, Vuokko Nurmesniemi and Vivianna Torun B&uuml;low-H&uuml;be.</p> <p style="text-align: justify;">The legacy of these women is conveyed through a section of the exhibition that presents works by contemporary female artists and designers that reflect and expand upon the work of the earlier generation. International and United States-based artists and designers featured in this section include Polly Apfelbaum, Vivian Beer, Front Design, Hella Jongerius, and Magdalene Odundo, among others.&nbsp;</p> <p style="text-align: justify;"><em>Pathmakers </em>is organized by guest curators Jennifer Scanlan and Ezra Shales, along with Barbara Paris Gifford, Curatorial Assistant and Project Manager. The exhibition will be accompanied by a special issue of the <em>Journal of Modern Craft</em>, guest edited by MAD&rsquo;s Windgate Research Curator Elissa Auther. The issue will serve as an in-depth exploration of subjects raised in the exhibition, and will feature articles by international scholars including Helena Kaberg, Professor and Curator at the Nationalmuseum in Stockholm, Sweden; Dr. Sarah Lichtman, Assistant Professor of Art &amp; Design Studies and Director of the Cooper Hewitt&rsquo;s Masters in Decorative Arts and Design; and &nbsp;Dr. Simon Olding, Professor and Director of the Crafts Study Centre at the University of Creative Arts in Surrey, UK.</p> <p style="text-align: justify;"><em>Pathmakers: Women in Art, Craft and Design, Midcentury and Today</em> is supported by Hans and Jayne Hufschmid, the Coby Foundation, The Brian and Edith Heath Foundation, the Helena Rubinstein Foundation, the Lenore G. Tawney Foundation, the Tapio Wirkkala Rut Bryk Foundation, and the Consulate General of Finland in New York. Research was supported by a Craft Research Fund grant from The Center for Craft, Creativity &amp; Design, Inc.</p> </div> </div> </div> </div> Sat, 07 Feb 2015 00:03:29 +0000 - The Boiler (Pierogi) - April 28th 8:00 PM - 10:00 PM <p style="text-align: justify;">Featuring the Film Club Band: Brian Dewan, Tony Maimone, Paul Scher, David Scher, Tim Spelios</p> Thu, 23 Apr 2015 17:23:54 +0000 - Anthology Film Archives - April 29th 7:30 PM - 9:30 PM Fri, 03 Apr 2015 18:22:15 +0000 Tony Oursler - Lehmann Maupin - Chrystie Street - April 29th 6:00 PM - 8:00 PM Sat, 04 Apr 2015 11:07:37 +0000 Daniel Wiener - Lesley Heller Workspace - April 29th 6:00 PM - 8:00 PM <p style="text-align: justify;"><strong>Front Gallery</strong><strong>:</strong>Lesley Heller Workspace presents "Kooks and Villains," Daniel Wiener's third solo exhibition with the gallery. Though best known as an abstract sculptor, three years ago Wiener began drawing and modeling fantastic heads and faces. In this series Wiener asks, what is more powerful than looking at someone face to face?&nbsp;</p> <p style="text-align: justify;">Originally the project began as a way to re-imagine the politicalvillains of our time as grotesques, continuing the tradition of Philip Guston's "Poor Richard." In tinkering in the studio, Wiener began to focus on inner demons and so a variety of historical influences took root: Romanesque gargoyles, the hellish gods of Himalayan cloth paintings, the Rat Fink comics of Ed 'Big Daddy' Roth, and James Ensor's paintings of masked revelers confronting death. Far from traditional representation, these faces live on the edge of abstraction.&nbsp;</p> <p style="text-align: justify;">In opposition to a villain, typically a kook&nbsp;is slightly wacky, an endearing name for someone eccentric but lovable. But in the world of surfing, of which Wiener is an active member, "kook" is a negative and derogatory term&mdash;beginning surfers who naively get in the way. Despite their inconvenience in the water the artist has found himself increasingly drawn to the clumsy aspiration and dogged determination of the kook. In surf culture, no one would admit to being a kook. But kooks endure the pain and confusion of failing over and over again, as well as appearing the fool, not unlike an artist. In his work, Wiener emulates the kook's innocent enthusiasm.&nbsp;</p> <p style="text-align: justify;">We see figures and bodies in the clouds above; we recognize a face on the surface of the moon. Wiener&rsquo;s work extends this notion, reducing the facial form of his kooks and villains to a series of abstractions, yet subtly preserving a thread of recognition. The artist pushes twisted strands of Apoxie-Sculpt, a two-part, clay-like epoxie, into hand-crafted molds, reproducing shapes without creating copies, a great variety generated from the same starting point. Exploiting the attributes of Apoxie-Sculpt, the artist paints in three-dimensional space where heads appear like chimera in and behind the nooks and crannies of the larger works.</p> <p style="text-align: justify;">Wiener's kooks and villains are as beautiful as they are monstrous. Like any mask, they expose and obscure emotion, often at the very same time.</p> <div> <p style="text-align: justify;"><em>Daniel Wiener, who recently received a Guggenheim Fellowship, grew up in Los Angeles County but has lived in or around NYC for close to thirty years. A professional artist since 1977, Daniel&rsquo;s first show was at the Stephen Wirtz gallery in San Francisco, held shortly after his graduation from University of California at Berkeley. In 1982 Daniel was awarded a fellowship for an unusually long stay at Yaddo, which inspired his exodus to the East Coast. Daniel&rsquo;s work has been exhibited nationally and internationally in both group and one-person shows, notably at Bravin/Post Lee Gallery in New York and Acme Gallery in LA. Though he is known primarily for his intense and viscerally arresting sculptures, Daniel also works in pen and ink, watercolors, and animation.</em></p> </div> Wed, 22 Apr 2015 16:45:57 +0000 Lisa Corinne Davis, Elisa Jensen, Michael Krondl, Holly Miller, Natalie Moore, Ellie Murphy - Lesley Heller Workspace - April 29th 6:00 PM - 8:00 PM <p style="text-align: justify;">Lesley Heller Workspace presents&nbsp;<strong>KEEP OUT</strong>, featuring the work of Lisa Corinne Davis, Elisa Jensen, Michael Krondl, Holly Miller, Natalie Moore, and Ellie Murphy. This exhibition explores both the intended and unintended consequences of borders, and argues that borders are the place where real dialogue occurs.</p> <p style="text-align: justify;">From national boundaries to gated communities, from class divisions to religious affiliation, we create fences, walls, borders and every conceivable kind of barrier to entry. Some barriers are designed to intimidate, like the Berlin Wall, while others wax poetic, as the Yuma/Calexico desert fence. Borders like school zones and voting districts are not physical but can cause strife. Others are barely noticeable, such as the cut in a field of grass dividing Guinea and Sierra Leone. Each border has its own character and level of porosity, but all borders are meant to define, protect, and exclude. Their reasons for being are as numerous as their effects; even as they keep us in or out, they represent the line at which ideas and cultures intermingle.</p> <p style="text-align: justify;">The overlays of informational structures in&nbsp;<strong>Lisa Corinne Davis&rsquo;</strong>&nbsp;paintings give the viewer a glimpse into the complex relationships of race, culture, and history. Working with the logic of the poet rather than that of a demographer, Davis sets up categories, collects data, codes information, and creates graphs and charts to play with place as a geographical, metaphorical, and metaphysical concept.</p> <p style="text-align: justify;"><strong>Elisa Jensen</strong>&rsquo;s paintings of the Greenpoint, Brooklyn Neighborhood where she lives explore a wide range of boundaries. Her paintings of graffiti explore the ways in which brick walls and razor wire-topped fences serve their intended purpose, while at the same time providing a canvas for creative expression, while her work dealing with bottle collectors and the homeless explores the often invisible barriers we erect in the face of socio-economic disparity.</p> <p style="text-align: justify;"><strong>Michael Krondl</strong>'s photographs seek to break through the gallery wall, to place the viewer&nbsp;<em>in</em>&nbsp;the space of the image rather than looking&nbsp;<em>at</em>&nbsp;the space of the image. Throughout the history of photography, people with cameras have sought to &ldquo;capture the moment,&rdquo; to document a distant (in time or place) reality.&nbsp; Especially in the case of landscape photography, the images have functioned much like windows, a trope inherited from landscape painting.&nbsp; Here trompe l'oeil strategy seeks to abolish that distance, to smash the window, replacing the "fourth wall" of the gallery with a wall of ice.</p> <p style="text-align: justify;">The threaded lines conceal the surface of the canvas in&nbsp;<strong>Holly Miller</strong>&rsquo;s paintings, suggesting a tactile and physical barrier that simultaneously&nbsp;works as an opening into the painted ground. An effect of "inside out" is created; a transparency is revealed through the repetitive rhythm of the punctured line.</p> <p style="text-align: justify;">The scrim effects of&nbsp;<strong>Natalie Moore</strong>&rsquo;s woven sculptures explore the dynamics of what is revealed and concealed. Forms harken to structures that have been battled and twisted by the wind and rain, while the hand weaving of common material is both an absurd endeavor and a wandering meditation.</p> <p style="text-align: justify;"><strong>Ellie Murphy</strong>&rsquo;s fabric and acrylic yarn installations evoke the physical and emotional barriers to the entry of a teenage room.&nbsp; With its nostalgic materials and methods, her work straddles the line between childhood and adulthood while also questioning the borders between fine art and traditional craft forms.&nbsp;</p> <p style="text-align: justify;">Combining references to doll hair, needlework, folk motifs, feminist art and Americana from her 1970&rsquo;s childhood in Kansas; these large sculptures describe the tension between the cultural and the personal, between the public and the intimate, and between the comic and the serious.</p> Wed, 22 Apr 2015 16:47:31 +0000 Linda Stojak - Stux + Haller - April 29th 5:30 PM - 8:00 PM <p style="text-align: justify;"><em>STUX + HALLER </em>is pleased to announce the opening of <strong><em>LINDA STOJAK: Waiting for a Moment, </em></strong>her 16th solo exhibition with Stephen Haller and her first at the new STUX + HALLER 24 West 57th Street gallery space.</p> <p style="text-align: justify;">Guggenheim Award-winning artist <strong>Linda Stojak</strong>ʼs paintings are intrinsically characterized by their disquieting grace.</p> <p style="text-align: justify;">Stojakʼs women deal with issues of power and identity. Her sensually gestural technique creates a surface that is at once velvet and stone, a translation of portraiture into conceptual expressions of form and transience.</p> <p style="text-align: justify;">In the words of critic Michael Amy: &ldquo;Her figures offer a remarkable evocation of our very lives." He goes on to say that Stojakʼs paintings give &ldquo;the illusion of almost intangible flesh, as open as a wound.&rdquo; He described the &ldquo;flesh-like surfaces of her pictures&rdquo; as &ldquo;rich epidermises filled with the history of their own generation.&rdquo;</p> <p style="text-align: justify;">Stojakʼs work consists most frequently of a solitary figure emerging from a contrasting ground, a field of relentless palette-knife-wide strokes of oil paint obsessively worked and reworked until the brushstroke itself becomes the search for meaning. Her paintings have been called &ldquo;psychological self-portraits.&rdquo;&nbsp;</p> <p style="text-align: justify;">One is aware of a history in these suggestions of portraits by Stojak - a history of "all that flesh is heir to." Yet it is a captivating sense of dignity, power, and a profound presence that make Stojakʼs figures so riveting in their solitude, protected and nurtured by the empty space they inhabit.</p> <p style="text-align: justify;">Famed for the obsessive reworking of her canvases, Stojak is a less prolific painter. She endlessly engages with each image, working and reworking, adding and erasing, translating her emotional stages using the brush and paint as her conduit to ensnare one moment in time. Stux + Haller is proud to present this remarkable selection of Linda Stojak's work.</p> Thu, 23 Apr 2015 17:12:34 +0000 ORLAN, Halim Al Karim, Josef Fischnaller, Ruud Van Empel, Lydia Venieri - Stux + Haller - April 29th 6:30 PM - 8:00 PM <p style="text-align: justify;">STUX + HALLER is pleased to announce the opening of EYES ONLY, a group exhibition of photographs by Orlan,&nbsp;Halim Al Karim, Josef Fischnaller, Ruud Van Empel, and Lydia Venieri. These photographs stare back at us,&nbsp;serving as a permanent documentation of what might otherwise be classified memory.</p> <p style="text-align: justify;">EYES ONLY explores questions of sight, self, war, trauma, and memory. The five artists participating in this show&nbsp;fluently articulate the jarring and expressive impact of the gaze. These artists relay a varying spectrum of artistic&nbsp;messages, but they are all unflinching in their art. In their contrasts, we find the commonality of the gaze.</p> <p style="text-align: justify;">The eyes are both windows and shutters to the soul. In observing each other and ourselves, the eyes allow us to&nbsp;construct the photographic storyline of our past and present. We visualize the future while witnessing the present.&nbsp;</p> <p style="text-align: justify;">Optical perception immediately becomes memory. How we perceive warps what we see and how we remember.&nbsp;EYES ONLY features work by Orlan from her Re-Figuration / Self-Hybridization Pre-Columbian series. Her foray&nbsp;into the infinite permutations of the self is an enduring feminist commentary on rituals and expectations of&nbsp;beautification. Halim al Karim isolates the eyes to expose the stark reality of the devastating wars in the Middle&nbsp;East, pushing the viewer to empathize and reflect upon the witnesses of tragedy. Josef Fischnaller playfully&nbsp;recycles historical portraiture, photographing the present looking into the past, making us smile in recognition of this&nbsp;continuum. Ruud Van Empel digitally paints with photographs often creating composite adolescents with the eyes&nbsp;of many, allowing us to observe an invented psychosocial humanity, critiquing representations of adolescence,&nbsp;race, and gender. Lydia Venieri harnesses the reflective eye itself to reveal the lingering effects of trauma and&nbsp;calamity upon the societal psyche, resurrecting images of tragedy that the world might rather enshroud in secrecy.</p> <p style="text-align: justify;">The eyes in these photographs are piercing, calming, deceptive, unnerving, and revelatory. Each of these artists&nbsp;utilize the gaze to strip away farce and force the viewer to confront the subject, creating art FOR THE EYES ONLY&nbsp;of those who wish to travel between the world and the mind, to delve into the societal secrets held within the gaze.&nbsp;</p> Thu, 23 Apr 2015 17:15:36 +0000 Julie Langsam - 532 Gallery Thomas Jaeckel - April 30th 6:00 PM - 8:00 PM Fri, 17 Apr 2015 10:26:37 +0000 Chalda Maloff - Ceres Gallery - April 30th 6:00 PM - 8:00 PM <p>My &ldquo;Rational Exuberance&rdquo; series of paintings emerge from the exploration of the nature of Being.&nbsp; I depict vistas evocative of observation through a microscope or equally the lens of a telescope. &nbsp;In the infinite and the infinitesimal, I find grounds for optimism.</p> <p>Albert Einstein said<em>, </em><em>&ldquo;The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science. So the unknown, the mysterious, is where art and science meet.&rdquo;</em>&nbsp;With my &ldquo;Rational Exuberance&rdquo; series, I reopen the dialog between science and personal reflection, first broached by artists who contemplated the wondrous discoveries in cell biology, electricity, and deep space. &nbsp;Since mysteries unfold in their own time,I invite leisurely perusals, with an openness to surprise, delight, and a kindling of the imagination.</p> Fri, 22 Aug 2014 22:22:59 +0000 Beth Lipman - Claire Oliver Gallery - April 30th 6:00 PM - 8:00 PM <p>Have human beings permanently changed our planet? What on its surface seems a simple question, has sparked a new altercate between Geologists and environmental advocates over what to call the current epoch.</p> <p>&nbsp;It is a Sisyphean effort to cajole perfection from our tumultuous and imperfect world.&nbsp;Ever cognizant of this Lipman creates visual metaphors that represent both humanity&rsquo;s abundant success and its potential, or inevitable decline. In an instant the Artist is a stand-in for Man and the environment.&nbsp; Lipman&rsquo;s process of sculpting and blowing records her ability to control the material as the work begins to form. As in Life, the Artist reminds us to embrace what we may at first see as imperfections - every detail has a role to play in the composition.</p> <p>Situated center stage in the main gallery, viewers will come upon Laid (Time-) Table with Cycads, a fifteen-foot long sculpture the Artist has created from transparent glass, wood, adhesive and paint. &nbsp;Merging the genres of still life and landscape Lipman juxtaposes our current era with ages past. The work&rsquo;s still life composition references historic objects attributed to the splendor and excess of the Anthropocene layer that humanity will leave on Earth. Drawings, books, chalices, food, rope, and a viola can be found scattered among crumpled tablecloths and bits of other castoff detritus.</p> <p>Beneath the table, a shimmering phantasmagoric paleo-landscape unfolds, alluding to deep time. The different levels of Laid (Time-) Table serve as simulacra for the earth&rsquo;s strata that mark the geological history of our planet. The verdant foliage populating the work is informed by the Artist&rsquo;s time at The Smithsonian Museum during a research fellowship. It was here that Lipman was inspired to create an interface between her iconic objects of recent history and ancient botany. The shimmering spikes of the extremely ancient Cycads that pierce the table in three locations are the result of biotic interactions over millions of years. They invade the accumulation of objects left in civilizations wake as a startling reminder that even in the most extreme circumstances the force of nature endures.</p> <p>Glimpsed through the tall palm fronds of Laid (Time) Table, the far wall of the main Gallery holds Windfall, a time based work incorporating 48 hours of time lapse photography. &nbsp;Featuring a static gazing ball, which stands in as our surrogate, the viewer sees our world reflected in the surfaces of the sculpture, whose form and density buckle and twist the landscape. Lipman situated the scene en plein air, directly informing the qualities of the still life composition, as light, weather, animals and insects collaborated in the final arrangement.</p> <p>Through her meticulous attention to detail and intense creative vision Lipman has presented the viewer with an astoundingly beautiful interpretation of death, decay and life that defies it&rsquo;s past, preserves in the present and gives hope to the future.</p> <p>Alone and the Wilderness is Beth Lipman&rsquo;s third solo exhibition with Claire Oliver Gallery. The Artist has received numerous awards including a USA Berman Bloch Fellowship, a Pollock Krasner Grant, the Virginia Groot Foundation Grant, and a Louis Comfort Tiffany Foundation Grant. Most recently, she completed Aspects of (American) Life, a seminal commission for the New Britain Museum of American Art (CT). Lipman has exhibited her work internationally at such institutions as the Ringling Museum of Art (FL), ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), and Gustavsbergs Konsthall (Sweden). Her work has been acquired by many important museums including the Brooklyn Museum of Art (NY), the Smithsonian American Art Museum (DC), the Kemper Museum for Contemporary Art (MO), and the Jewish Museum (NY).</p> <p>&nbsp;</p> Tue, 14 Apr 2015 15:31:16 +0000 Neil Gall - David Nolan Gallery - April 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">David Nolan Gallery is pleased to present <em>Cut-Outs, Offcuts and Holes</em>, an exhibition of recent paintings and drawings by British artist, Neil Gall. For his third solo exhibition at the gallery, we will present eleven paintings and four large works on paper.<br /> <br /> Gall&rsquo;s works typically engage a range of cultural and art historical references, all of which operate within his own unique and precisely determined visual language. In recent years, the artist has developed a highly skillful and virtuosic approach to painting and drawing, which involves a precise rendering of loosely constructed maquettes, assembled using colored tape, translucent cellophane, Ping-pong balls and other materials that he finds in his studio. Gall uses the motif of the Ping-pong ball to suggest a variety of associations: in some cases they are treated like eyes, brazenly staring back at the viewer &ndash; in others, they become subtle references to Magritte, whose paintings employed similar spherical forms hovering ambiguously in space. In their coloring, Gall&rsquo;s new paintings collectively reference the histories of Monochrome painting, most notably Barnett Newman&rsquo;s seminal series &ldquo;Who's Afraid of Red, Yellow and Blue&rdquo;.<br /> <br /> Gall selects particular titles for his paintings as a way to reframe the viewer&rsquo;s interpretation of given works. Frequently in his titles, the artist makes allusions to art historical sources, among them Vel&aacute;zquez, Bronzino, Magritte, and his abiding influence, Poussin. In so doing, Gall playfully resituates the works within a longer narrative of Western culture. One work <em>Allegory (Bronzino)</em>, 2015, thus becomes a conceptual re-working of Bronzino&rsquo;s <em>Allegory with Venus and Cupid</em>, 1545 in the National Gallery in London. In Gall&rsquo;s painting, Bronzino&rsquo;s vibrant blue coloring finds new application, while a constellation of Ping-pong balls form a substitute for Venus and Cupid&rsquo;s fleshy forms.<br /> <br /> In <em>Kitchen (Vel&aacute;zquez)</em>, 2015, Gall pays homage to Vel&aacute;zquez&rsquo;s <em>An Old Woman Cooking Eggs</em>, 1618 (a painting in the National Galleries of Scotland). Like the Old Master, Gall delights in the life-like depiction of everyday objects, the contrast between different materials, and the play of light and shadow on opaque and reflective surfaces. While the title triggers an initial association, the artist is interested in the way that multiple references can exist in tandem. The softly delineated bands of muted color recall the work of the American abstract painter, Agnes Martin, and elsewhere the artist has also compared these forms to the &ldquo;achrome&rdquo; paintings of Piero Manzoni. In this approach, Gall conveys a willfully varied engagement with art historical sources, layering and compacting these as he chooses. Occasionally more obscure cultural histories are summoned, as in his painting, <em>I&rsquo;m So Green</em>, 2015 which takes its title from a song by the German &ldquo;Krautrock&rdquo; band, Can. Cutting and pasting from an array of sources, the works in this exhibition exist within the diverse realms of representational painting, abstraction and the materiality of post-minimalist sculpture.<br /> <br /> Neil Gall was born in Aberdeen, Scotland, and currently lives and works in London. He received his BA in Painting at Gray&rsquo;s School of Art and then attended Slade School of Art in London in 1991. His art has garnered him numerous awards in Great Britain, and his work is featured in prominent international collections including the Denver Art Museum, The Morgan Library, New York and the Zabludowicz Collection, London.</p> Fri, 17 Apr 2015 11:09:55 +0000 Stephen Magsig - George Billis Gallery- NY - April 30th 6:00 PM - 8:00 PM Thu, 23 Apr 2015 04:52:46 +0000 Tim Yankosky - George Billis Gallery- NY - April 30th 6:00 PM - 8:00 PM Thu, 23 Apr 2015 04:52:47 +0000 Susan Belton - George Billis Gallery- NY - April 30th 6:00 PM - 8:00 PM Thu, 23 Apr 2015 04:52:52 +0000