ArtSlant - Recently added en-us 40 - 3A Gallery - February 27th - February 27th Fri, 27 Feb 2015 13:18:01 +0000 Jef Geys - 3A Gallery - March 26th - July 24th Fri, 27 Feb 2015 13:16:25 +0000 Monika Bravo - Y Gallery - March 6th - April 6th Thu, 26 Feb 2015 07:24:11 +0000 Susan Breen, Margaret Morrison - Woodward Gallery - March 14th - May 9th Thu, 26 Feb 2015 07:16:59 +0000 Robin Layton - Winston Wachter Fine Art - March 1st - April 18th Thu, 26 Feb 2015 07:13:29 +0000 Group Show - Whitebox Art Center - March 1st - March 12th Thu, 26 Feb 2015 07:10:29 +0000 - Throckmorton Fine Art - March 5th - April 4th Thu, 26 Feb 2015 07:03:14 +0000 James Barker, Spider Martin, Charles Moore - Steven Kasher Gallery - March 5th - April 18th <p style="text-align: justify;">Opening Reception: Thursday, March 5<sup>th</sup>, 6 &ndash; 8 PM.</p> <p style="text-align: justify;"><strong>To be attended by James Barker, Tracy Martin and Michelle Moore Peel</strong></p> <p style="text-align: justify;">Steven Kasher Gallery is proud to present the exhibition <em>Selma March 1965. </em>&nbsp;Featuring over 150 original photographs, the exhibition depicts the three Selma-to-Montgomery marches that rocked the nation and galvanized the Civil Rights Movement in 1965. &ldquo;Never before in New York or any other gallery has the work of photographers <strong>James</strong> <strong>Barker</strong>, <strong>Spider</strong> <strong>Martin</strong> and <strong>Charles</strong> <strong>Moore </strong>been brought together like this,&rdquo; said Steven Kasher. &ldquo;By combining their work, the exhibition captures in a new way the angst, courage and chaos of this seminal moment in American history.&rdquo;</p> <p style="text-align: justify;">On March 7<sup>th</sup>, 1965, Alabama state troopers and a local posse viciously attacked civil rights demonstrators in Selma, stopping a planned peaceful march to the state capitol in Montgomery, wounding many innocent marchers. Both filmed and photographed, &ldquo;Bloody Sunday&rdquo; instantly caused nationwide outrage. A few days later, a second march, led by the Rev. Dr. Martin Luther King Jr., was turned back. A third, ultimately successful march left Selma on March 21, arriving in Montgomery five days later.&nbsp; By then, President Lyndon B. Johnson, pushed by Dr. King and the horrific images of brutality captured by Martin, Moore and others, had introduced the Voting Rights Act to Congress, which became law later that year.</p> <p style="text-align: justify;">&ldquo;Together the images on display present a complex, compelling tableau that is both monumental and intimate, brave and vulnerable,&rdquo; said Kasher. &ldquo;The exhibit is inspiring, but also a chilling reminder that those who fight for social justice do at great risk, with no guarantee that their efforts will be successful &ndash; though sometimes they are, if only partially.&rdquo; Selma March 1965 commemorates the 50th anniversary of the Selma marches as well as the Voting Rights Act they catalyzed. It is the 30th public exhibition that Kasher has organized of photography of the Civil Rights Movement.&nbsp;</p> <p style="text-align: justify;"><strong>Charles Moore </strong>(1931 &ndash; 2010)is the most renowned photographer of the Civil Rights Movement. His Selma pictures were published in two issues of <em>Life, </em>then the most read and shared journal in the U. S., with a wider audience than the television news. His pictures of peaceful demonstrators and brutal police shocked the nation and galvanized Congressional response. Moore&rsquo;s Civil Rights Movement pictures have been published and exhibited widely ever since, especially the ones he took of the Birmingham protests in 1963. Those pictures, of protestors fire-hosed and attacked by police dogs, are the most iconic images of the Civil Rights Movement. They earned Moore renown, but also arrest in Birmingham, and a year&rsquo;s banishment from Alabama, his native state. His earliest pictures in this exhibition document the rise to prominence in Montgomery of the Reverend Martin Luther King, Jr., taken while Moore was chief photographer for<em> The Montgomery Advertiser</em>. Moore&rsquo;s Selma pictures for <em>Life</em> record the brutal attack on the first march, then attacks on civil rights activists in Montgomery, and finally the joyous culmination in Montgomery of the third march.</p> <p style="text-align: justify;">In 1965 <strong>Spider Martin</strong> (1939 &ndash; 2003) was a young staff photographer at <em>The Birmingham News.</em> Spider was sent to cover the Selma events, but the News was reluctant to feature his images. Once the Bloody Sunday violence preempted national television programing and exposed what was happening in Selma, the<em> News</em>&nbsp;had no choice but to prominently publish Spider's pictures, moving them from the back of the paper to the front. The&nbsp;<em>News</em>&nbsp;released Spider from his assignment after Bloody Sunday because "the largely&nbsp;segregationist editors thought if you didn't publish it, much of this would go away." But Spider won out his argument with his editors&nbsp;to stay on, so he&nbsp;covered the Selma activities through Turnaround Tuesday and the third successful march. His photographs traveled all over the world, appearing in such publications as&nbsp;<em>Time, Life, Der Spiegel, Stern, The Saturday Evening&nbsp;Post, Paris Match, </em>and numerous books.&nbsp; Martin&rsquo;s pictures are among the most dramatic and monumental of the events. His prints have never been exhibited in New York previously.</p> <p style="text-align: justify;"><strong>James Barker</strong> (b. 1936) was a participant observer on the third Selma march. As a staff photographer working at Washington State University he was chosen to join a delegation of three sent by the university to support and witness the march. His images are the only insider ones known to exist &ndash; as opposed to photojournalistic. He captures the fear, weariness, tedium, and organizational details of the third march in a most intimate way. Barker continues to practice as a documentary photographer in his adopted state, Alaska.</p> Thu, 26 Feb 2015 07:01:22 +0000 Marc Handelman - Sikkema Jenkins & Co - March 12th - April 11th Thu, 26 Feb 2015 06:58:28 +0000 Igor Eskinja - Scaramouche - March 15th - May 3rd Thu, 26 Feb 2015 06:55:43 +0000 McNair Evans - Sasha Wolf Gallery - February 25th - April 5th <p style="text-align: justify;">In 2010, photographer McNair Evans returned to his childhood home in Laurinburg, North Carolina, to retrace his father&rsquo;s life and legacy after his death nine years earlier. His father&rsquo;s passing had exposed the looming insolvency of their family businesses, ending five generations of family and financial stability. The economic impact on the family was immediate, but the emotional impact lingered with Evans. Seeking to comprehend how the man he admired could have hidden the impending reality from those he loved, Evans delved into his family origins and his father&rsquo;s history to create a multi-layered photographic narrative about love and loss.</p> <p style="text-align: justify;">Evans used medium and large format cameras to chronicle his father&rsquo;s journey from North Carolina to Princeton, New Jersey, and back again. The overall portrait that emerges is intimate, yet the themes of home, work, love, loss and grief concern us all. We see a name scratched into a mantelpiece, a church hymnal on a dashboard behind a splintered windshield, the exposed contents of an old, care-worn desk and a bedroom at twilight, as a backyard floodlight, installed by the artist&rsquo;s mother to prevent burglaries, shines through a window.</p> <p style="text-align: justify;">It is testament to Evans&rsquo; sensibilities as a photographer that his photographs of the unremarkable are never banal. His compositional clarity, mastery of light and shadow, and the unabashed emotion that he injects into his work allow mundane subjects to be transported; pushed beyond the everyday.</p> <p style="text-align: justify;">These photographs convey anger, nostalgia and grief, alloyed with gratitude and an acceptance of the gift of clarity gained by making this survey. This work is haunting in its ability to hold these feelings in careful balance. His photograph of playing cards on a table demonstrates this poignant equilibrium: faint condensation mists a window, through which a marvelous slant of morning sunlight illuminates the aftermath of a game of chance, now finished because the player has left the table.</p> <p style="text-align: justify;">McNair Evans grew up in a small farming town in North Carolina and became interested in photography while studying cultural anthropology at Davidson College. He continued his education through one-on-one mentorships with highly acclaimed pioneers of new documentary practices, Mike Smith of Johnson City, TN, and Magnum Photographer Alec Soth. Soth went on to nominate Evans for the John Gutmann Foundation Photography Fellowship Award in 2013. McNair&rsquo;s pictures draw parallels between the lives of individuals and universally shared experiences, and they are most recognized for a distinct and metaphoric use of light.</p> <p style="text-align: justify;">McNair&rsquo;s photographs have appeared in numerous exhibition settings and editorial publications; they were featured in Harper&rsquo;s Magazine and on the cover of William Faulkner&rsquo;s novel Flags in the Dust, among others. His first monograph, Confessions for a Son, was pre-released on September 20, 2014 at the New York Art Book Fair and has since been featured in The New Yorker, Photo District News, and The Financial Times.</p> <p style="text-align: justify;">The exhibition will open on Wednesday, February 25th with a reception from 6 to 8 p.m.</p> Thu, 26 Feb 2015 06:54:25 +0000 Group Show - Sacred Gallery NYC - March 5th - April 26th <p>If You Ask Me.... It's About The Soul - Curated by The Lazy Hustler aka Ricky Powell</p> <p>RSVP Only. Email <a href=""></a> to be put on the list.</p> Thu, 26 Feb 2015 06:49:59 +0000 Bart Stolle - Ryan Lee - February 24th - March 16th <p style="text-align: justify;">RYAN LEE is pleased to present four animations- <em>LFMS2011 (Boy #1), LFMS2011 (Dog), LFMS2013 (Feeding), </em>and <em>LFMS2014 (Acrobat)</em>- by Bart Stolle that were made between 2011 and 2014. The video, referencing time and motion, will be shown in RLWindow February 24-March 16, 2015.</p> <p style="text-align: justify;">The Belgian artist Bart Stolle (b. 1974) experienced the introduction of commercial television and how images accumulate, particularly the personal computer and how it informed the gaze. With the invention of smart phones and tablets, Stolle considers the evolution of contemplation and its current state because of the saturation of speed, information, and technology in daily society. Stolle investigates this phenomenon and choses to slow down, which is the impetus of his oeuvre under the name &lsquo;Low Fixed Media Show&rsquo;, an advertising agency for himself or an alternative entertainment company. Despite all evolutions, Stolle is still convinced human beings dominate the machine. Creativity is a human thing that&rsquo;s currently not mechanical. He observes the world and translates it into humorous animations in which human figures are reduced to an arrangement of geometrical forms. He returns to basic, minimalist elements to form a language without effects or filters, where handicraft is high valued. He prefers an intensive stop-motion practice over the input of parameters to investigate the similarities between the logic of a computer and of a human as a study of different society structures. His interest in communication systems, music, science, architecture and urbanization echoes through his oeuvre.</p> <p style="text-align: justify;">Stolle&rsquo;s work has been featured in solo exhibitions at S.M.A.<a href="" target="_blank">K. in Ghent, De Brakke Grond in Amsterdam, STUK in Leuven and Zeno X Gallery in Antwerp, as </a>well as group shows at MUHKA in Antwerp, The Flemish Parliament in Brussels, Centrum for Contemporary Art in Warsaw and Gdansk, the Museum of Contemporary Art in Shanghai, and the Bi&euml;nnale of Prague.</p> <p style="text-align: justify;">RLWindow features video, installation, and performance art for audiences to view it from the High Line at a distance through the window. Capitalizing on the gallery&rsquo;s position overlooking the High Line and its visibility to the 4.6 million yearly visitors, RLWindow will show innovative, experimental, and collaborative projects by international, contemporary artists, both represented by the gallery and invited. By launching active programming in this site-specific space, the gallery will expand its mission to work with leading artists and curators. Programming will rotate every two to four weeks.</p> <p style="text-align: justify;">Forthcoming projects include work by Juan Capistran, Bo Gerring, Christina Battle, Gabriel Lester, Andrea Mastrovito, and Mendi + Keith Obadike.</p> <p style="text-align: justify;">Concurrently on view is <em><a href="" target="_blank">Mariam Ghani: Like Water from a Ston</a>e </em>and <a href="" target="_blank"><em>Autumn Ahn: A Latent Period</em></a></p> Thu, 26 Feb 2015 06:43:40 +0000 Autumn Ahn - Ryan Lee - February 26th - April 4th <p class="Pa1" style="text-align: justify;">&nbsp;<em>&ldquo;As the chiffon drifts with the sun, a shadow of lavender begins to mask its gentle scent with stone. Sinking slowly at first, the thread rips. It drops. Nimble fingers explore the wet body, stained more deeply with every lingering question. Her skin dances at the unraveled explosion at her feet and begins to work. This ghost has become solid like her blanket of chaos.&rdquo; </em></p> <p class="Pa2" style="text-align: justify;">RYAN LEE is pleased to announce <em>Autumn Ahn: A Latent Period</em>, an installation of video and objects that document a performance written, directed, and executed by Brooklyn-based artist <strong>Autumn Ahn</strong>. <em>The Latent Period, Lavender </em>is an abstract narrative reflecting on the actions triggered by emotion or illogic. This is her first solo show in New York.</p> <p class="Pa2" style="text-align: justify;">Within Ahn&rsquo;s multi-disciplinary practice, she uses performance and multimedia to extract moments of ephemerality and consciousness from patterns of human behavior. The elements of body, time, space, and sound act as structure for her to activate spaces and instigate what she considers her allegorical self. Rooted in a painterly practice, Ahn&rsquo;s performance inverts the painting process, exposing the privileged element of privacy</p> <p class="Pa2" style="text-align: justify;">Employing a precise conceptual framework, Ahn revisits icons that reoccur throughout histories and mythologies. As a divine version of herself in <em>Lavender</em>, Ahn considers personal identity. She takes on the role of the ghost/nymph, a vessel used to personify the irrational world of intuition and instinct. Ahn rhythmically addresses the progressing cyclicization of limits, common to the reactions to traumas, such as fear, hunger, rejection, doubt, and jealousy. The hanging paper and works on canvas trace her ghost&rsquo;s physical encounters of the performance as video. By reconstructing a character whose inherent qualities struggle with pleasure and suffering, Ahn address the limits of response. In turn, the performance produces painterly objects that exist as documentative relics of the moment. On view is a selection of these objects (paintings on Hanji and canvas), as well as the single-channel video of the performance.</p> <p class="Pa2" style="text-align: justify;">Special thanks to RTMC, CJ Baker, Anna Quinlan, and Mayan Hein.</p> <p class="Pa2" style="text-align: justify;">Autumn Ahn (b. 1986, Philadelphia, US) received her BFA from Boston University. In 2014, she presented &ldquo;The Intuitive Practice,&rdquo; a TEDx talk on grit, at Isabella Stewart Gardner Museum in Boston. She has completed residencies at DA Project Space, Istanbul, TR; Atlantis Books, Santorini, GR; and Ionian Center for Arts &amp; Culture, Kefalonia, GR. Her work has been included in exhibitions in Paris, Boston, Miami, and Greece, and she has completed commissions for ARTE, Converse, VitaminWater, Rouge 58 Paris, Diesel, Pitchfork Music Festival, and Le Trabendo Music Hall in Paris, among others.</p> <p style="text-align: justify;">Concurrently on view is <a href="" target="_blank"><em>Mariam Ghani: Like Water from a Stone</em></a>.&nbsp;</p> Thu, 26 Feb 2015 06:42:45 +0000 Mariam Ghani - Ryan Lee - February 26th - April 4th <p class="Pa2" style="text-align: justify;">RYAN LEE is pleased to announce <em>Like Water from a Stone</em>, a solo exhibition by <strong>Mariam Ghani</strong>. On view is the video of the same title, originally commissioned for the Rogaland Kunstsenter in Norway, and a series of photographs produced alongside the video, as well as a series of prints based on the artist&rsquo;s book <em>Afghanistan: A Lexicon</em>. This is the artist&rsquo;s first show with the gallery, and anticipates her solo exhibition at the St. Louis Art Museum on view April 9 - July 8, 2015.</p> <p class="Pa2" style="text-align: justify;">Ghani&rsquo;s work often plays on the relationships between place, memory, history, language, loss, and reconstruction. <em>Like Water from a Stone </em>(2013), a collaboration between Ghani and performer/choreographer Erin Ellen Kelly, was produced during a residency in Stavanger, a coastal city known as the &ldquo;Oil Capital of Norway.&rdquo; The video&rsquo;s title is a play on the idiomatic expression &ldquo;like blood from a stone,&rdquo; and refers to the difficulty of both extracting oil from the undersea deposits on the continental shelf in the present and of extracting a living from the rocky Norwegian land and unruly North Sea in the time before the oil boom. <em>Like Water from a Stone </em>depicts some histories and myths of this pre-oil period on a roughly geological timeline, ranging from seaside rock formations formed by Ice Age glacier pressure to Viking rock graves to bunkers constructed during the German occupation to finally conclude in an urban playground made from repurposed oil rig equipment. By siting performances in landscapes that are simultaneously sublime and awful, existing on a scale that overpowers most human endeavor, <em>Like Water from a Stone </em>echoes the imagery of Norwegian Romantic Nationalist painters and Northern European folk tales. The performers may be playing variants on the draug of those tales, or alternatively can be understood to embody <em>genius loci</em>, personifications of the spirit of place who re-enact some aspect of the place&rsquo;s histories or qualities. The choral score by composer Qasim Naqvi (released separately as the album <em>Fjoloy</em>), performed by two choirs and three soloists, combines extended vocal techniques, sonic abstractions, and structured choral writing to reflect the polyphony of natural sounds in the landscapes onscreen.</p> <p class="Pa2" style="text-align: justify;"><em>Afghanistan: A Lexicon </em>(2011) was originally produced as a notebook in the dOCUMENTA (13) series <em>100 Notes, 100 Thoughts</em>, published by Hatje Cantz and later excerpted in the New York Review of Books blog. The <em>Lexicon </em>is a non-linear, speculative history of the twentieth century in Afghanistan, told through definitions of 77 terms from &ldquo;Amanullah&rdquo; to &ldquo;Zenana,&rdquo; most illustrated with archival or original images. The print series expands selected entries from the book, mimicking the format of a mid-twentieth-century encyclopedia.</p> <p style="text-align: justify;">Ghani&rsquo;s work has been exhibited internationally, including at dOCUMENTA (13), Sharjah Biennials 9 and 10, the 2005 Liverpool Biennial, Museum of Modern Art New York, Tate Modern London, and the National Gallery in Washington, DC. Current solo and collaborative exhibitions include <em>Mariam Ghani &amp; Erin Ellen Kelly: It Could Go Either Way </em>at the Anchorage Musem (Jan 30-Mar 1), <em>Border Cultures Part 3 (security, surveillance) </em>at the Art Gallery of Windsor (Jan 30-Mar 11), and <em>Making Borders </em>at DNA Berlin (Feb 12-Mar 31). Ghani is a recipient of 2014 Art Matters and 2015 Creative Capital grants. Finishing funds for <em>Like Water From a Stone </em>were provided by a grant from the NYSCA Electronic Media &amp; Film program.</p> Thu, 26 Feb 2015 06:41:15 +0000 ERNESTO KLAR - Postmasters - March 7th - April 18th <p style="text-align: justify;">Postmasters is pleased to present <em>Invisible Disparities,</em> a multi-faceted project of Venezuelan artist Ernesto Klar. Truly epic in its scope, <em>Invisible Disparities</em> proposes an experimental montage of cultural history, a reading of temporality in our material world.<br /><br /> In 2011, Ernesto Klar embarked on a three-year journey to collect dust from around the world. He began by selecting locations &acirc;&euro;&ldquo; forty of them &acirc;&euro;&ldquo; where a plurality of histories, times, and potentialities physically co-exist within their man-made infrastructural elements. Locations range from well-known to unfamiliar historical sites, from ancient sites to <em>contemporary past</em> sites. The West Bank, Rwanda, Hiroshima, Hollywood, Athens, Rio de Janeiro, Beijing, Warsaw, Petra, Moscow, Dhaka, Havana, Sydney, and Ho Chi Minh City are among them. Klar traveled to each location to collect, store, and archive its dust. These processes are methodically documented on video, where the artist is seen always wearing the same uniform and using a portable duster to vacuum the dust. This performative action, the actual vacuuming of dust, represents for the artist <em>a centrifugal gesture that instigates, both literally and metaphorically, the convergence of disparate temporal, historical, and material relationships.</em> After having collected dust at all sites, the artist created a sculpture by mixing together and then fusing the dust under intense heat. Klar refers to the resulting sculptural work as one anthropic rock, or a man-made rock, in which <em>invisible disparities join one another and transmute into new matter.</em> Separately, Klar has created an artist book that archives individual dust samples for every site in hermetically sealed glass vials. All forty videos, anthropic rock and the book will be on view. <br /><br /><br /> <em>Ernesto Klar is a Venezuelan artist based in New York City. His works have been included in recent exhibitions at Zentrum f&Atilde;&frac14;r Internationale Lichtkunst in Unna, Germany; La Gaite Lyrique in Paris, France; Museo de Arte Contemporaneo in Santiago, Chile; FILE Festival in Sao Paulo, Brazil; Sala Mendoza in Caracas, Venezuela; and Microwave Festival in Hong Kong. His awards include the Artist Fellowship in Electronic Arts from the New York Foundation for the Arts, and the Individual Artist Grant from the New York State Council on the Arts, among others. Recent participation at art residencies include FAAP in S&Atilde;&pound;o Paulo, Brazil; WAA in Mumbai, India; Maumau in Istanbul, Turkey; and HKAC in Hong Kong. Klar holds an MFA from Parsons The New School for Design, and a BMD from Berklee College of Music. He is a faculty member at Parsons The New School for Design and The New School for Film and Media Studies in New York City.</em> <br /><br /></p> Thu, 26 Feb 2015 06:32:12 +0000