ArtSlant - Openings & events en-us 40 Al Freeman, Joanne Greenbaum, Branden Koch, Dan McCarthy, Monique Mouton, Jennifer Rochlin, Bruce M. Sherman, James Yakimicki - Brennan & Griffin - July 22nd 6:00 PM - 8:00 PM <p class="p1">Brennan &amp; Griffin is thrilled to announce our summer exhibition, ʻIf you throw a spider out the window, does it break?ʼ curated by Adrianne Rubenstein.&nbsp;</p> <p class="p1">In her book ʻHow Should a Person Be?ʼ, Sheila Heti contemplates her relationship with a spider. Sweet and protective towards the arachnid while it is contained in the bathroom, the writer becomes violent and vengeful when the spider trespasses into her bedroom. Sheilaʼs best friend Margaux, fearing that she is being perceived as the spider, urges Sheila not to smear her against the wall. The best intentions can end in disaster, but spiders, like ideas, are not (fortunately) breakable.</p> <p class="p1">If you throw a spider out the window, presumably to get away from it, does it break? Yes? No? Maybe. A spider, being very light, would flutter to the ground, coasting if not swinging from its silk. Do spiders think or are their instincts thoughtful? The protection offered by an exoskeleton is like the form and material of an artwork. The insides&mdash;how many cells from end to end?&mdash;are ineffable. The artists in this exhibition have a personal narrative driving their creative process. Their forms are succinct, timeless, playful, humorous and delightful. If the spider falls out the window (bear in mind weʼre talking 5th floor walk-up) and makes it to the ground, we're confident that it would walk away.</p> Tue, 22 Jul 2014 00:18:25 +0000 Vernita N'Cognita, William Atkins, Lauren Purje, Elvira Lantenhammer, Carolina Poggi, David Dorsey., Rosemary Lyons - Viridian Artists - July 22nd 6:00 PM - 8:00 PM <p align="center"><strong>"IDEA(S)"</strong></p> <p align="center"><strong>7 VIRIDIAN AFFILIATES</strong></p> <p align="center"><strong>July 22- August 9, 2014</strong></p> <p align="center"><strong>Reception Thursday July 24, 6-8pm</strong></p> <p align="center"><strong>William Atkins, David Dorsey, Elvira Lantenhammer, </strong></p> <p align="center"><strong>Rosemary Lyons, Vernita N'Cognita, Carolina Poggi, Lauren Purje</strong></p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Chelsea NY: Viridian Artists is pleased to present <strong>"IDEA(S)" </strong>an exhibition of outstanding art by seven artists who are part of the Affiliate program at the gallery. The exhibit will continue from <strong>July 22 to August 9, 2014. </strong>There will be an opening reception <strong>Thursday, July 24<sup>th</sup>, 6-8PM</strong>.&nbsp;&nbsp; Viridian's Affiliate program is an important aspect of the gallery's mission to expand exhibition and sales opportunities for outstanding contemporary artists, both emerging and well-known. This group of artists came together by&nbsp; the chance of scheduling, but their art all shares an interest in Idea(s).&nbsp;&nbsp; Each of these artists create thoughtfully with a purpose that exists far beyond creating a pretty picture.</p> <p><strong>&nbsp;</strong></p> <p><strong> WILLIAM ATKINS </strong>was born in Rochford, England. He works with various types of cameras with subject matter ranging from anachronistic portraits to seaside street photography. Living in Washington DC, he has photographed several US Presidents and is a second-generation photographer, following in his father's footsteps.</p> <p>"I pulled together this set of photos to create a story with no narrative to establish a mood. They are reflections of truths from my own experiences. They come from traveling the country, deciding to walk, stopping the car, reuniting after twenty years, waiting in a place seeing what may happen, just life and putting a camera between myself and it."</p> <p><strong> DAVID DORSEY's </strong>paintings depict commonplace objects and situations is a way that celebrates the formal abstract properties of each scene as well as the lustrous, purely physical qualities of oil paint, with an emphasis on subtle color harmonies. He works in a tradition that began with the impressionists and has continued down through the modernists like Thiebaud, Dine and Porter. His current work falls into one of three suites: tabletop views with objects strewn and falling over oriental carpets, candy jar paintings and the third, daily life. Most recently, he has begun a new series of skeletal&nbsp; and anatomical objects.&nbsp;</p> <p><strong> ELVIRA LANTENHAMMER, </strong>in her Site Plans, reprocesses excerpts of maps and street plans into painted tableau- sometimes in large format. Through an intensive study of topographical map works, historic and contemporary, the artist arrives at the formal basic structure, the essence of the place. She paints the intuitively found base-color of the place- the radiance, the atmosphere, in superimposed layers of color, condensed into large-format color compositions as a subject with variations.&nbsp; "I am inspired by the wonderful brightness of the colors of the early Italian paintings. With the background of my education as restorer, I use egg tempera on wood to express what I feel about a certain place or about a place of my fantasy."</p> <p><strong> ROSEMARY LYONS </strong>often takes two years to complete her series of illuminated manuscripts which are inspired by newspaper and magazine articles that tackle a wide range of difficult topics including subway shooters, genetics and AIDS. Long interested in calligraphy and formerly a realistic painter, she began her first Manuscriptus Series when living in New York City in 1992. The idea of transforming her creative outpourings into illuminated manuscripts rather than paintings, was initially born out of a dream. This current series incorporates the abbreviations and acronyms of&nbsp; emails and text messages, with titles like &ldquo;OMG&rdquo;, &ldquo;KMN&rdquo;, &ldquo;GIGO&rdquo; and &ldquo;BFD&rdquo;, one learns the essence of&nbsp; the &ldquo;new language&rdquo; of texting. Lyons received her Master of Fine Arts at the State University in Buffalo and has exhibited widely.</p> <p><strong> VERNITA N'COGNITA </strong>created her name to honor under-known artists. A visual and performance artist, she has presented more than 70 performance artworks including guerrilla performances at the Pompidou Museum in Paris, and Documenta 13 in Kassel. &nbsp;Her visual art of primarily mixed media collages &amp; installations both stand on their own and serve as props &amp; sets for her performances. Her art is in the collections of MOMA, the Savaria Museum in Hungary, the Sylvia Sleigh Collection of Feminist Art @Rowan University, theAsian American Art Center, Franklin Furnace, Fairfax Hospital in Virginia, Groupa Junij, Belgrade and many private collections. An environmental artist and curator, she is currently having a solo show of new collages created from the security envelopes of&nbsp; junkmail from financial institutions. &nbsp;</p> <p>&ldquo;I have always been fascinated by the contradictions of reality. I feel intuitive choices and chance connections are an essential part of the creative process and trusting my creative decisions has&nbsp; been an ongoing battle.&rdquo;</p> <p><strong>CAROLINA POGGI </strong>was born in Montevideo in 1970, and majored in still photography at the Cinema School of Uruguay. While there, she became fascinated by the photo-essay and was drawn to the whole photographic process from taking to printing the picture. Consequently, she set up her own black &amp; white lab, working on severalessays ranging from architecture to nature &amp; film making among others. She is currently photographing trainee dancers at the National School of Dance of Uruguay.</p> <p>"During my time as an analog photographer I worked on several black &amp; white essays on architectural ruins and destruction. I focused on certain buildings due to their historic and social value. I had the opportunity to visit the former Ministry of Defense of Uruguay in 2001, the deep deterioration and state of disrepair conveyed the fear and despair the population had felt through a terrible decade of military repression. I used bulb and camera in hand to shoot as I wanted the movement to convey the need to run away from that state of subjugation.&rdquo;</p> <p>&nbsp; <strong>LAUREN PURJE says: &ldquo;...</strong>Not sure exactly what I'm showing, but for sure I will show this wing (a drawing in the series). The others - maybe not those particular pieces... but very similar ideas... those poor anonymous pigeons... just like people. I may show a small series of drawings and paintings dedicated to the New York pigeon. I can't fully explain why I'm so fascinated with this particular bird. Maybe the fact that they are so ordinary makes me empathetic. They are quintessentially New York, as iconic as skyscrapers are to a big city, but they aren't appreciated as such.&nbsp; Like people on the street we walk past and pay no mind to everyday. Their presence is often overlooked or seen as a nuisance. I use text as if it's the pigeon's battle cries to stand out, to be appreciated, to be accepted.&rdquo;</p> <p><strong>&nbsp;</strong></p> <p align="center"><strong>&nbsp;</strong>Gallery hours: Tuesday through Saturday 12-6PM&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p align="center">For further information please contact Vernita Nemec, Gallery Director at 212 414 4040 or <a href="" rel="nofollow"></a></p> Tue, 15 Jul 2014 15:05:06 +0000 Group Show - Lesley Heller Workspace - July 23rd 6:00 PM - 8:00 PM <p>&ldquo;More is unknown than is known. We know how much dark energy there is because we know how it affects the Universe's expansion. Other than that, it is a complete mystery. But it is an important mystery. It turns out that roughly 68% of the Universe is dark energy. Dark matter makes up about 27%. The rest - everything on Earth, everything ever observed with all of our instruments, all normal matter - adds up to less than 5% of the Universe. Come to think of it, maybe it shouldn't be called "normal" matter at all, since it is such a small fraction of the Universe.&rdquo;</p> <p><br />- A passage from NASA's website describing Dark Energy/Matter.</p> <p><br />Dark Map is a show of abstract drawing. Not the orthodox type of late modernist abstraction concerned with formalist purity, but a different kind of emergent abstraction primarily interested in discovery rather than stylistic hegemony. Poetically speaking, it involves going outside of what is known into darkness to uncover something new in art and reality. In all of the work there is a sense of exploring the unknown, a mystery; abstraction as giving form to something unnameable, or not yet named. Dark Map focuses on drawing because of the medium's long connection to charting territories both tangible and intangible; conversely for its immediacy; as jots of visual thought.</p> <p><br />The curator states: &ldquo;I like the less common notion of drawing. Not drawing necessarily as depicting or copying something that exists, but as drawing out something unseen, conjuring&rdquo;.</p> <p><br />Most of the artists in Dark Map have a process of finding the shape of their artwork while making it; they do not know what the piece will look like until it is done. Many of them use chance and randomness as part of their process. Some use a set of self-imposed rules whose consequences are unpredictable. Mystery and not knowing<br />are a part of the artwork.</p> Tue, 22 Jul 2014 01:09:03 +0000 - Art Southampton - July 24th 7:30 PM - 10:00 PM <h3>Hours &amp; Admission</h3> <div>VIP PREVIEW</div> <div>Thursday, July 24, 2014</div> <div>6PM - 7:30PM | FIRST VIEW | Access for Platinum VIP Cardholders</div> <div>7:30PM - 10PM Access for All VIP Cardholders</div> <p>General Admission</p> <table width="400" border="0"> <tbody> <tr> <td width="120">Friday</td> <td width="106">July 25</td> <td width="160">12pm - 8pm</td> </tr> <tr> <td>Saturday</td> <td>July 26</td> <td>12pm - 7pm</td> </tr> <tr> <td>Sunday</td> <td>July 27</td> <td>12pm -&nbsp; 7pm</td> </tr> <tr> <td>Monday</td> <td>July 28</td> <td>12pm -&nbsp; 5pm</td> </tr> </tbody> </table> <p>&nbsp;</p> <p>ADMISSION FEE</p> <table width="400" border="0"> <tbody> <tr> <td width="288">One day fair pass</td> <td width="102">$25</td> </tr> <tr> <td>Multi-day fair pass</td> <td>$40</td> </tr> <tr> <td>Students 12-18 years and Seniors</td> <td>$15</td> </tr> <tr> <td>Children under 12 years w/ adult</td> <td>Free</td> </tr> </tbody> </table> <h3>Exhibitors</h3> <table id="_ctl7_dlDealersByName" class="tableTemplate" border="0" cellspacing="0" cellpadding="0"> <tbody> <tr> <td> <div class="dealer-list"> <div class="exhibitor-link"><strong>Abby M. Taylor Fine Art LLC&nbsp;</strong><br />Greenwich, New York</div> <div class="exhibitor-link"><strong>Amstel Gallery&nbsp;</strong><br />AMSTERDAM</div> <div class="exhibitor-link"><strong>Amy Li Gallery&nbsp;</strong><br />Beijing</div> <div class="exhibitor-link"><strong>Antoine Helwaser Gallery</strong>&nbsp;<br />New York City</div> <div class="exhibitor-link"><strong>AP contemporary</strong>&nbsp;<br />Hong Kong</div> <div class="exhibitor-link"><strong>Arcature Fine Art&nbsp;</strong><br />Palm Beach</div> <div class="exhibitor-link"><strong>ARCHEUS / POST-MODERN</strong>&nbsp;<br />London</div> <div class="exhibitor-link"><strong>ARDT Gallery</strong>&nbsp;<br />Southampton</div> <div class="exhibitor-link"><strong>ART LEX&Iuml;NG&nbsp;</strong><br />Miami</div> <div class="exhibitor-link"><strong>Art Nouveau Gallery&nbsp;</strong><br />Miami, Maracaibo</div> <div class="exhibitor-link"><strong>Bernheimer Fine Art&nbsp;</strong><br />Lucern, Munich</div> <div class="exhibitor-link"><strong>Bicha Gallery&nbsp;</strong><br />London</div> <div class="exhibitor-link"><strong>Birnam Wood Galleries</strong>&nbsp;<br />New York City, East Hampton</div> <div class="exhibitor-link"><strong>Black &amp; White Gallery / Project Space</strong>&nbsp;<br />Brooklyn</div> <div class="exhibitor-link"><strong>BLANK SPACE</strong>&nbsp;<br />New York</div> <div class="exhibitor-link"><strong>Caldwell Snyder Gallery</strong>&nbsp;<br />San Francisco</div> <div class="exhibitor-link"><strong>CATINCA TABACARU gallery</strong>&nbsp;<br />New York</div> <div class="exhibitor-link"><strong>Chowaiki &amp; Co.&nbsp;</strong><br />New York City</div> <div class="exhibitor-link"><strong>Claire Oliver Gallery&nbsp;</strong><br />New York</div> <div class="exhibitor-link"><strong>Contessa Gallery</strong>&nbsp;<br />Cleveland</div> <div class="exhibitor-link"><strong>Cube Gallery&nbsp;</strong><br />London</div> <div class="exhibitor-link"><strong>Cynthia Corbett Gallery</strong>&nbsp;<br />London</div> <div class="exhibitor-link"><strong>De Buck Gallery</strong>&nbsp;<br />New York</div> <div class="exhibitor-link"><strong>Dean Project</strong>&nbsp;<br />New York</div> <div class="exhibitor-link"><strong>Dillon Gallery&nbsp;</strong><br />New York</div> <div class="exhibitor-link"><strong>Dorfman Projects</strong>&nbsp;<br />New York</div> <div class="exhibitor-link"><strong>Dorian Grey Gallery&nbsp;</strong><br />New York</div> <div class="exhibitor-link"><strong>Eckert Fine Art&nbsp;</strong><br />Millerton</div> <div class="exhibitor-link"><strong>Elizabeth Clement Fine Art</strong>&nbsp;<br />New York</div> <div class="exhibitor-link"><strong>Eric Firestone Gallery</strong>&nbsp;<br />East Hampton</div> <div class="exhibitor-link"><strong>Flowers</strong>&nbsp;<br />New York, London</div> <div class="exhibitor-link"><strong>Galerie Anita Beckers</strong>&nbsp;<br />Frankfurt</div> <div class="exhibitor-link"><strong>Galerie Catherine et Andre Hug</strong>&nbsp;<br />Paris</div> <div class="exhibitor-link"><strong>Galerie GAIA</strong>&nbsp;<br />Seoul</div> <div class="exhibitor-link"><strong>Galerie Hafenrichter</strong>&nbsp;<br />N&uuml;rnberg</div> <div class="exhibitor-link"><strong>Galerie Juliane Hundertmark</strong>&nbsp;<br />Berlin</div> <div class="exhibitor-link"><strong>Galerie Mark Hachem&nbsp;</strong><br />Paris</div> <div class="exhibitor-link"><strong>Galerie Terminus&nbsp;</strong><br />Munich</div> <div class="exhibitor-link"><strong>Galleria Ca' D'Oro</strong>&nbsp;<br />Miami, New York, Rome</div> <div class="exhibitor-link"><strong>Gallery 125</strong>&nbsp;<br />Bellport</div> <div class="exhibitor-link"><strong>Gallery HO</strong>&nbsp;<br />New York</div> <div class="exhibitor-link"><strong>gallery nine5&nbsp;</strong><br />New York</div> <div class="exhibitor-link"><strong>Gallery Valentine</strong>&nbsp;<br />East Hampton</div> <div class="exhibitor-link"><strong>GAMO Gallery</strong>&nbsp;<br />Seoul</div> <div class="exhibitor-link"><strong>Hackelbury Fine Art&nbsp;</strong><br />London</div> <div class="exhibitor-link"><strong>HAGEDORN FOUNDATION GALLERY</strong>&nbsp;<br />Atlanta</div> <div class="exhibitor-link"><strong>Heller Gallery</strong>&nbsp;<br />New York City</div> <div class="exhibitor-link"><strong>Hexton | Modern and Contemporary</strong>&nbsp;<br />Chicago</div> <div class="exhibitor-link"><strong>Hollis Taggart Galleries</strong>&nbsp;<br />New York</div> <div class="exhibitor-link"><strong>J. Cacciola Gallery</strong>&nbsp;<br />New York</div> <div class="exhibitor-link"><strong>Jackson Fine Art&nbsp;</strong><br />Atlanta</div> <div class="exhibitor-link"><strong>JanKossen Contemporay</strong>&nbsp;<br />Basel</div> <div class="exhibitor-link"><strong>Jerald Melberg Gallery</strong>&nbsp;<br />Charlotte</div> <div class="exhibitor-link"><strong>Katharina Rich Perlow Fine Arts&nbsp;</strong><br />New York</div> <div class="exhibitor-link"><strong>Kavachnina Contemporary</strong>&nbsp;<br />Miami</div> <div class="exhibitor-link"><strong>Keszler Gallery</strong>&nbsp;<br />Southampton, New York</div> <div class="exhibitor-link"><strong>Lausberg Contemporary&nbsp;</strong><br />Dusseldorf</div> <div class="exhibitor-link"><strong>Lawrence Fine Art&nbsp;</strong><br />East Hampton</div> <div class="exhibitor-link"><strong>Markowicz Fine Art</strong>&nbsp;<br />Miami</div> <div class="exhibitor-link"><strong>Mayer Fine Art</strong>&nbsp;<br />Norfolk</div> <div class="exhibitor-link"><strong>McNeill Art Group</strong>&nbsp;<br />Southampton</div> <div class="exhibitor-link"><strong>Mindy Solomon Gallery</strong>&nbsp;<br />Miami</div> <div class="exhibitor-link"><strong>Morehouse Gallery</strong>&nbsp;<br />Chestnut Hill</div> <div class="exhibitor-link"><strong>Morpho Art Gallery</strong>&nbsp;<br />Utrecht</div> <div class="exhibitor-link"><strong>Other Criteria</strong>&nbsp;<br />New York, London</div> <div class="exhibitor-link"><strong>Pan American Art Projects&nbsp;</strong><br />Miami</div> <div class="exhibitor-link"><strong>Peter Marcelle Project</strong>&nbsp;<br />Southampton</div> <div class="exhibitor-link"><strong>Praxis</strong>&nbsp;<br />New York, Buenos Aires</div> <div class="exhibitor-link"><strong>Rosenbaum Contemporary&nbsp;</strong><br />Bal Harbour, Boca Raton</div> <div class="exhibitor-link"><strong>Sammer Gallery LLC&nbsp;</strong><br />Miami</div> <div class="exhibitor-link"><strong>Samuel Lynne Galleries&nbsp;</strong><br />Dallas</div> <div class="exhibitor-link"><strong>Shine Artists</strong>&nbsp;<br />London</div> <div class="exhibitor-link"><strong>Sponder Gallery</strong>&nbsp;<br />Miami, Boca Raton</div> <div class="exhibitor-link"><strong>Taglialatella Galleries</strong>&nbsp;<br />New York</div> <div class="exhibitor-link"><strong>ten472 Contemporary Art&nbsp;</strong><br />Nevada City</div> <div class="exhibitor-link"><strong>The Great Dane Collection</strong>&nbsp;<br />Philadelphia</div> <div class="exhibitor-link"><strong>Thomas and Paul</strong>&nbsp;<br />London</div> <div class="exhibitor-link"><strong>UNIX Gallery&nbsp;</strong><br />New York, London, Miami</div> <div class="exhibitor-link"><strong>Vincent Vallarino Fine Art&nbsp;</strong><br />New York City</div> <div class="exhibitor-link"><strong>Voltz Clarke&nbsp;</strong><br />New York</div> <div class="exhibitor-link"><strong>Woolff Gallery</strong>&nbsp;<br />London</div> <div class="exhibitor-link"><strong>Yael Rosenblut Gallery&nbsp;</strong><br />Santiago</div> <div class="exhibitor-link"><strong>Young Art Gallery&nbsp;</strong><br />Seoul</div> </div> </td> </tr> </tbody> </table> Sun, 29 Jun 2014 02:44:17 +0000 Scott Daniel Ellison - ClampArt - July 24th 5:00 PM - 8:00 PM <p>ClampArt is pleased to announce &ldquo;Iowa, Ohio,&rdquo; Scott Daniel Ellison&rsquo;s fourth solo show at the gallery. The exhibition coincides with the release of the artist&rsquo;s first monograph of the same name from Magical Thinking/Schilt Publishing (Hardcover, 80 pages, 9.4 x 7.7 inches, $40).</p> <p>Ellison&rsquo;s newest body of work imagines macabre vignettes inspired in equal parts by Scandinavian folklore, obscure horror films, and childhood fears and preoccupations. About his rearing in rural upstate, Ellison writes: &ldquo;As Halloween approached I would get on my bike and ride around the developments and back roads of Warwick, New York looking for the witches, werewolves, vampires, and zombies that were put out on front lawns, placed in windows, or propped up on lawn chairs as decoration.&rdquo; These explorations emerge in this body of work as arcane subjects, re-invented as children&rsquo;s drawings&mdash;dark fantasies of an imagination gone wild.</p> <p>These new works reflect a shift in visual and narrative complexity for Ellison. The recent scenes are no longer immediately readable, but instead give the viewer just a glimpse of vague (and often unsettling) occurrences. Though commonly whimsical and sometimes even endearing at first glance, the subject matter veers riotously between near sweet depictions of household pets and the more sinister implications of hands reaching from the mouths of tunnels, or skulls and spiders and bodies burrowed deep underground.</p> <p>Trained as a photographer who counts images by Diane Arbus and Ralph Eugene Meatyard as early inspiration, Ellison&rsquo;s work as a painter engages a history of &ldquo;outsider&rdquo; art, particularly the work of Bill Traylor and Henry Darger. This genealogy is apparent in Ellison&rsquo;s visual language of deadpan compositions, smeared lines, flat shapes, and a general economy of means.</p> Tue, 22 Jul 2014 00:27:09 +0000 Beni Bischof, Trudy Benson, Nicole Cherubini, Tucker Nichols, Brion Nuda Rosch, Cordy Ryman, Jessica Stockholder, Russell Tyler - DCKT Contemporary - July 24th 6:00 PM - 8:00 PM <p>It is 3am&nbsp;<br />I am in my studio<br />In the basement<br />Shoving a pile of clay<br />Doodling with the edge of the sledgehammer<br />Covering old linens with house paint<br />My wife and son are sleeping<br />This is ridiculous<br />And so are you<br />For no good reason<br />I am in my studio<br />In the basement</p> <p>OK Great&nbsp;REALLY&nbsp;this is&nbsp;ALSO&nbsp;RIDICULOUS</p> <p>At the end of the day we make the work we make<br />And we return to it the next day</p> <p>Nothing makes sense<br />And we return to it the next day</p> <p>No one is making sense of it all<br />And we return to it the next day</p> Tue, 15 Jul 2014 22:38:51 +0000 Alina and Jeff Bliumis - Denny Gallery - July 24th 6:00 PM - 8:00 PM <p><em>Thank You Paintings Exchange </em>initiates a series of material, social, gestural, intellectual and monetary exchanges between artist and collector, with the commercial art gallery as site and passive participant.&nbsp; The fifteen paintings on view depict scenes of everyday life: a woman sitting on a deserted beach, children playing, cars parked in front of a suburban home, etc. Each painting has the text, &ldquo;Thank You For Your...&rdquo; painted on it, completed with words such as &ldquo;Email,&rdquo; &ldquo;Poem,&rdquo; &ldquo;Kiss,&rdquo; &ldquo;Prayers,&rdquo; &ldquo;Dance,&rdquo; &ldquo;Pants,&rdquo; &ldquo;Thoughts.&rdquo; Sometimes a viewer might detect a relationship between the text and the subject of the painting, but there is no deliberate, direct relationship. The painting points toward the value of the painting as an artwork, while the text points toward the exchange the artists propose to initiate with the collector.</p> <p>&nbsp;</p> <p>In order to acquire a painting, the collector must participate in the exchange the artists have proposed, giving the artists the object, gesture, concept, etc. for which the painting &ldquo;thanks&rdquo; them, in addition to making a flat $1,000 financial transaction. The interaction between artist and buyer must be in some way documented, whether that document is the object that is exchanged (&ldquo;Thank You For Your Pants&rdquo;) or a photograph of the exchange (&ldquo;Thank You For Your Hug&rdquo;), or a written text (&ldquo;Thank You For Your Thoughts&rdquo;). The original documentation of the exchange will immediately replace the purchased painting on the wall and a copy of it will be stapled to the back of the painting. The actions and objects requested by the artists may be creatively interpreted by the collector. For example: to exchange for the &ldquo;Thank You For Your Poem&rdquo; painting, the collector might give a poem they have written or their favorite poem, it might be hand-written, emailed, or on the page of a book.&nbsp;</p> <p>&nbsp;</p> <p>Alina &amp; Jeff Bliumis use artistic initiatives to start public dialogues about the politics of community, cultural displacement, migration and national identity. Their projects often progress in a range of forms - a community survey turns into an artist book, then into a performance, then public art, then a participatory event, then an installation. By using socially engaged projects embedded in the real world - performance, photography, sculpture, installation, participatory events and social experiments - they are building an inclusive spirit and a collective imagination. Their core concern is to set spaces of &ldquo;co-active being&rdquo; and &ldquo;co-active thinking.&rdquo; All participants in the works are equal co-creators, and they consider a project complete when it comes full circle by reporting back to the community where the project was initiated.</p> <p>&nbsp;</p> <p>Jeff Bliumis (born Kishinev, Moldova) and Alina Bliumis (born Minsk, Belarus) live in New York City and have been collaborating since 2000. Jeff received his BA from Columbia University, New York in 1981. Alina received her BFA from the School of Visual Art, New York in 1999 and a diploma from the Advanced Course in Visual Arts in Fondazione Antonio Ratti, Como, Italy in 2005, with visiting professor Alfredo Jaar. They have exhibited at the first, second and third Moscow Biennales of Contemporary Art (Moscow, Russia), Busan Biennale 2006 (Busan, South Korea), Centre d&rsquo;art Contemporain (Meymac, France), Museum of Contemporary Art, Cleveland (Cleveland, USA), Bat-Yam Museum (Bat-Yam, Israel), the Jewish Museum (New York, USA) the Victoria and Albert Museum (London, UK). They have been the recipents of a number of grants, fellowships and residencies, including the Franklin Furnace Fund, New York (2010-2011); Six Points Fellowship, New York (Alina Bliumis 2007-2009); Trust for Mutual Understanding, New York (2005/2006/2009); Black and White Project Space Residency, Brooklyn, NY (2009); Art in Public Spaces Grant, Lower Manhattan Cultural Council, New York (2008); Strategic Opportunity Stipend, New York Foundation for the Arts, New York (2008); Puffin Foundations Grant, New York (2008) and Quartier 21 Residency, Museums Quartier, Vienna, Austria (2005). Their work resides in various private and public collections, including the Moscow Museum of Modern Art (Russia), Bat-Yam Museum (Israel), the Saatchi Collection (UK), the Harvard Business School (USA), the Museum of Immigration History, Paris (France) and the Victoria and Albert Museum, London (UK).</p> <p>&nbsp;</p> <p>The artists will be present for in-person exchanges on Thursdays from 4 to 8 p.m. during the run of the exhibition, and September 6 - 7 from 12 to 6 p.m.</p> <p>&nbsp;</p> <p>Please join us for an opening reception on Thursday, July 24, from 6 to 8 p.m. SUMMER HOURS are Tuesday, Wednesday and Friday, 12. to 6 p.m., Thursday 12 to 8 p.m. (when the artists will be present), and other days by appointment. The gallery will be closed for a summer recess from August 9 to 18. Denny Gallery is located at 261 Broome Street in New York City. For further information, contact Elizabeth Denny at 212-226-6537 or by email at</p> Thu, 26 Jun 2014 20:45:29 +0000 Robert Chamberlin - Margaret Thatcher Projects - July 24th 6:00 PM - 8:00 PM <p><strong>Margaret Thatcher Projects&nbsp;</strong>is pleased to present&nbsp;<em>Fountains</em>, a special project room installation of works by&nbsp;<strong>Robert Chamberlin</strong>. Chamberlin&rsquo;s series&nbsp;of heavily decorated porcelain vessels refreshingly explore themes of desire,&nbsp;sexuality, and domesticity. Each vase is&nbsp;decorated by hand using cake-decorating&nbsp;tools and is adorned to create an individual piece with a unique personality.&nbsp;The decoration, inspired by the great jewels and palaces of history, allude to&nbsp;the opulence and power of the past with shared acknowledgment&nbsp;of their demise.</p> Tue, 22 Jul 2014 01:19:08 +0000 Group Show - Margaret Thatcher Projects - July 24th 6:00 PM - 8:00 PM <p class="p2">In escaping the heat of summer, artists often find that&nbsp;the time and leisure that accompanies the season in fact presents a prime and&nbsp;refreshing opportunity to create in the studio.&nbsp;<em>Turn Up the Heat</em>&nbsp;at&nbsp;<strong>Margaret&nbsp;Thatcher Projects</strong>&nbsp;offers a condensed viewing of&nbsp;artists' works from the gallery&nbsp;program alongside modernist furniture by Stoller Works. &nbsp;</p> <p class="p1">Highlights of the exhibition include new paintings by&nbsp;Carlos-Estrada-Vega&nbsp;demonstrating the&nbsp;artist&rsquo;s worn and weathered puzzle-like compositions while&nbsp;<em>Impression 07</em>&nbsp;and&nbsp;<em>09</em>&nbsp;by&nbsp;Rainer Gross&nbsp;elaborate on the artist&rsquo;s&nbsp;exploration of richly textured, tactile,&nbsp;abstract surfaces. In&nbsp;<em>Dominion 5</em>,&nbsp;Kevin&nbsp;Finklea&nbsp;expands his scale whereas&nbsp;Omar&nbsp;Chacon&nbsp;looks to early-Renaissance works in establishing his palette for&nbsp;<em>Precursor de Las dos Messalinas</em>.</p> Tue, 22 Jul 2014 01:21:42 +0000 Group Show - Mixed Greens Gallery - July 24th 6:00 PM - 8:00 PM <p style="text-align: justify;" dir="ltr">Multiplicity is an international survey of artworks sharing an interest in the politics and poetic potential of contemporary urban environments and exposing the irresistible pull of the similarities&mdash;intercultural meeting points, common problems, goals and dreams&mdash;around which people converge. Multiplicity features a wide-ranging selection of works exploring culturally and geographically distant urban spaces, curated by Marco Antonini in collaboration with a network of curatorial advisors based in Belfast, Hong Kong, New Delhi, New York, Tel Aviv and Tirana, and presented as a series of four consecutive exhibitions hosted by NURTUREart, Mixed Greens, Invisible Exports and Union Docs. The works address the myriad public and private rituals of the city, mining its institutional and vernacular histories while reimagining its formal and functional aspects.</p> <p style="text-align: justify;" dir="ltr">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cities unite by bringing people together; sometimes they divide for exactly the same reason. They are both abstract ideas and physical places, strategically sited to coincide with natural resources or created to materialize pure theory. A city is a place for individualism and exchange, solitude and communal living. Its name can engender ideals, both successful and failed, rising to represent something beyond its own history and present/future tensions and aspirations, a total larger than the sum of its parts.</p> <p style="text-align: justify;" dir="ltr">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cities contain multitudes that, as powerful and creative collective entities, give life to the multiplicity that we have identified as the core value of every urban community. This force induces daily struggles and concerns, dreams as solid as concrete pillars, yet as soft as grey matter: resources as infinite and unresolved as the human mind. Such resources can be either investigated and addressed as a whole or broken down into independent ideas and images, personal concerns and local struggles that, although unique, will necessarily inform each other, presenting macroscopic similarities.</p> <p style="text-align: justify;" dir="ltr">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cities are structured around largely internalized foundational ideals, inviting (or inciting) contrasting notions of what sharing, protection, tolerance, competition, access, visibility, circulation, expansion, convenience, exchange, service, profit and productivity actually mean. These possible readings add up to a global urban vocabulary straddling geographical and political boundaries. In this sense, Multiplicity strives to present images and ideas as different and distinct as the urban contexts that originally inspired them, embodying the internal contradictions and boundless potential of small and large, young and old, meticulously planned and chaotically sprawling cities worldwide.</p> <p style="text-align: justify;" dir="ltr">&nbsp;</p> <p style="text-align: justify;">Funding for Multiplicity has been provided in part by the Arts Council of Northern Ireland, British Council, Czech Center New York, and Mixed Greens. PR support by Artis, Czech Center New York, Invisible Exports, Mixed Greens, and Union Docs. Refreshments provided by Lagunitas.</p> Mon, 30 Jun 2014 18:14:32 +0000 Juan Gabriel Cardona Zorrilla - Noho Gallery - M55 Art (Noho - M55) - July 24th 6:00 PM - 8:00 PM <p><strong>Forging Forces</strong><br /> Juan Gabriel c. Zorrilla</p> <p>Recent drawings: Intricate line systems create complex compositions exploring order and form.</p> Tue, 27 May 2014 19:35:35 +0000 Khaled Jarrar - Whitebox Art Center - July 24th 5:00 PM - 7:00 PM Tue, 22 Jul 2014 03:26:48 +0000 Henri de Toulouse-Lautrec - MoMA (Museum of Modern Art) - July 26th 10:30 AM - 5:30 PM <p class="top">A preeminent artist of Belle &Eacute;poque Paris, Henri de Toulouse-Lautrec (1864&ndash;1901) brought the language of the late-19th-century avant-garde to a broad public through his famous posters, prints, and illustrations for journals and magazines. A cultural nexus, he connected artists, performers, authors, intellectuals, and society figures of his day, creating a bridge between the brothels and society salons of the moment. His work allows entry into many facets of Parisian life, from politics to visual culture and the rise of popular entertainment in the form of cabarets and caf&eacute;-concerts. This exhibition, drawn almost exclusively from The Museum of Modern Art&rsquo;s stellar collection of posters, lithographs, printed ephemera, and illustrated books, is the first MoMA exhibition in 30 years dedicated solely to Lautrec, and features over 100 examples of the best-known works created during the apex of his career.</p> <p>Organized thematically, the exhibition explores five subjects that together create a portrait of Lautrec&rsquo;s Paris. A section devoted to caf&eacute;-concerts and dance halls examines the rise of nightlife culture in France through the depiction of famous venues, including the celebrated Moulin Rouge. Another focuses on the actresses, singers, dancers, and performers who sparked the artist&rsquo;s imagination and served as his muses, including Yvette Guilbert, acclaimed dancer Loie Fuller, and close friend Jane Avril. Lautrec&rsquo;s sympathetic images of women are evident in a group of works that includes his landmark&nbsp;<em>Elles</em>&nbsp;portfolio, depicting prostitutes during nonworking hours, in quiet moments of introspection. Lautrec&rsquo;s role in Paris&rsquo;s artistic community is explored in a section devoted to his creative circle, highlighting designs for song sheets for the popular music that flooded Paris&rsquo;s caf&eacute;-concerts, programs for the avant-garde theatrical productions that he attended, and his contributions to magazines and intellectual reviews. A final section looks at the pleasures of the capital, from horse racing at Longchamp and promenading on the Bois de Boulogne, to the new fad for ice skating and the enduring appeal of Paris&rsquo;s culture of gastronomy.</p> <p>The accompanying publication highlights the Museum&rsquo;s collection of prints and posters by Lautrec, with an introductory essay on the artist and five illustrated thematic sections that explore belle &eacute;poque Paris as seen through Lautrec&rsquo;s eyes, by Sarah Suzuki.</p> Sun, 22 Jun 2014 22:41:27 +0000 Christopher Williams - MoMA (Museum of Modern Art) - July 27th 10:30 AM - 5:30 PM <p class="top"><em>Christopher Williams: The Production Line of Happiness</em>&mdash;the first retrospective ever mounted of Christopher Williams (American, b. 1956)&mdash;spans the impressive 35-year career of one of the most influential cinephilic artists working in photography. Williams studied at the California Institute of the Arts in the mid to late 1970s under the first wave of West Coast Conceptual artists, including John Baldessari, Douglas Huebler, and Michael Asher, only to become his generation&rsquo;s leading Conceptualist and art professor; he is currently professor of photography at the Kunstakademie D&uuml;sseldorf. Deeply invested in the histories of photography and film, architecture and design, Williams has produced a concise oeuvre that furthers a critique of late capitalist society in which images typically function as agents of spectacle.</p> <p>For the title of this exhibition, Williams has taken a line from a documentary by French director Jean-Luc Godard, in which an amateur filmmaker compares his daily job as a factory worker with his hobby of editing his films of the Swiss countryside as &ldquo;the production line of happiness.&rdquo; In Williams&rsquo;s hands the phrase appears to refer broadly to the function of much photography in today&rsquo;s consumer culture, in which it not only pictures but also produces so many experiences and objects to be consumed.</p> <p><em>The Production Line of Happiness</em>&nbsp;features Williams&rsquo;s little-seen Super-8 shorts, major projects from the 1980s to the early 1990s, and photographs from his subsequent magnum series For Example: Die Welt ist sch&ouml;n (The world is beautiful) (1993&ndash;2001) and For Example: Dix-huit le&ccedil;ons sur la soci&eacute;t&eacute; industrielle (Eighteen lessons on industrial society) (2003&ndash;today). Though the exhibition concentrates on photography, other salient aspects of Williams&rsquo;s practice, such as extensive vinyl &ldquo;supergraphics&rdquo; and interventions with display architecture, are also represented. As part of MoMA&rsquo;s Carte Blanche screening series, Williams will organize a two-week experimental film program running July 23&ndash;29 and September 17&ndash;23, 2014, in The Roy and Niuta Titus Theaters. In addition, on September 15, as part of MoMA's Modern Mondays series, the artist will discuss his Super-8 films, made in 1979 while a student at CalArts, with MoMA's Chief Curator of Media and Performance Art, Stuart Comer. The evening will be introduced by exhibition curator Roxana Marcoci.</p> <p>After its presentation at MoMA, the exhibition travels to Whitechapel Gallery, London, where it will be organized by Mark Godfrey, Curator of International Art, Tate Modern. At The Art Institute of Chicago, the exhibition was organized by Matthew S. Witkovsky, Richard and Ellen Sandor Chair and Curator, Department of Photography, AIC.</p> <p>The exhibition is accompanied by an illuminating and unusual volume, in equal parts artist&rsquo;s book and exhibition catalogue, which includes a trio of essays by curators Mark Godfrey, Roxana Marcoci, and Matthew S. Witkovsky that reflect on Williams&rsquo;s engagement with his artistic peers and predecessors, with cinema (particularly the film-essay), and with modes of display and publicity in the art world. These contributions are &ldquo;interrupted&rdquo; by a transcript of a talk Williams delivered on the work of John Chamberlain, and by historical and contemporary textual and visual materials that were selected by the artist himself.</p> Sun, 22 Jun 2014 22:47:44 +0000 Foundland - International Studio & Curatorial Program (ISCP) - July 30th 12:00 PM - 6:00 PM <p>The International Studio &amp; Curatorial Program (ISCP) is pleased to announce &ldquo;Escape Routes and Waiting Rooms,&rdquo; the first exhibition by Foundland in the United States.<br />Foundland, initiated in 2009, is a collective of two artists: Ghalia Elsrakbi (Syria) and Lauren Alexander (South Africa). Along with artist Taysir Batniji, Foundland are the recipients of the first ISCP residency sponsored by Edge of Arabia in partnership with Art Jameel for artists from the Middle East.</p> Thu, 17 Jul 2014 19:23:12 +0000 Ron Klein, Laura Quattrocchi - Rochester Contemporary Art Center - August 1st 6:00 PM - 10:00 PM <p><strong>Opening Reception: Friday August 1, 6-10pm </strong><br /><strong>Artist's Talk: Saturday August 2, 1pm</strong><br /><br /><br />&nbsp;State of the City 2014 features monumental installations by Ron Klein, (Philadelphia, PA) and Laura Quattrocchi (The Shua Group, Jersey City, NJ) each encouraging us to think differently about our surroundings. State of the City is presented in partnership with The Memorial Art Gallery of the University of Rochester &amp; Howard Scott Gallery (New York, NY). Launched in 2008, RoCo&rsquo;s State of the City exhibitions bring together artists from various backgrounds and disciplines who document and explore our cities. This series of exhibitions features local, international, emerging, and established artists.<br /><br /></p> Fri, 11 Jul 2014 23:31:21 +0000