ArtSlant - Current exhibits en-us 40 Jacob Kassay - 303 Gallery - November 1st, 2013 - December 20th, 2013 <p>303 Gallery is pleased to present our first exhibition of new work by Jacob Kassay.</p> <p>Kassay's paintings re-evaluate the trajectory of a painting's production and upend its state as a finished form.</p> <p>Using the residual textiles from paintings long lost, sold or otherwise disappeared, Kassay has produced supports that follow the unique profiles and contours of each remnant for an ongoing series of irregularly shaped paintings. As an inversion of this procedure, Kassay has reproduced the stretchers initially built to conform to these discards as templates for entirely new paintings, further extending the ways in which by-products of process can become blueprints.</p> <p>For this exhibition, Kassay applies an atomized acrylic paint in place of the raw canvas of the original remnants. The paintings' surfaces simultaneously condense as solid textures and diffuse into a depth-less fields of pixels. Oscillating between these dimensional states, the opacity of the paintings remain partial and variable.</p> <p>As the stretcher's exchange their original remnants for painted surfaces, the "untitled" of these previous works are replaced by arbitrary fragments from passing conversations or aphoristic phrases. Rather than determining content, these titles foreground their function as surrogates and parallel the discards themselves as language dissociated from its object.</p> <p>The paintings find their analog in a series of glass sculptures inspired by the facade of Yale's Beinecke Library. Wrapped in semi-translucent marble, the building necessarily reveals its framework and stanchions. Kassay's glass sculptures - solid wedges designed to be inserted into library books - act as lenses which simultaneously allow light to pass into their contents, while obfuscating the legibility of the text they contain. The books become containers, orphaned from one communicative register then adopted into another, which give temporary residence to Kassay's sculptures.</p> <p>Jacob Kassay was born in Lewiston, NY. He received his BFA from State University of New York at Buffalo and now lives and works Los Angeles. Recent solo shows include The Kitchen, New York; Xavier Hufkens, Brussels; Art:Concept, Paris; The Powerstation, Dallas (catalogue) and Institute of Contemporary Art, London (catalogue).</p> Mon, 02 Dec 2013 14:26:09 +0000 Sharmistha Ray - AICON GALLERY - New York - October 24th, 2013 - December 14th, 2013 <p>Aicon Gallery is proud to present Reflections + Transformations, an exhibition of recent paintings and drawings by Sharmistha Ray. The exhibition &ndash; Ray&rsquo;s first solo in New York - explores the metaphysical emergence of the autonomous self in transitioning states between abstraction and the figure. For her last solo exhibition, Hidden Geographies, Ray alluded to intimate tonalities as a collection of subtle whispers tucked away under the thick skins of paint-laden landscapes. In Reflections + Transformations, those tonalities start to emerge more persistently, pushing their way through waves of abstraction. Alternating between layers of ambiguity and suggestion, the reflexive voice emerges at times in the form of naked flesh, while at other times remains figuratively buried under paint.<br />Ray&rsquo;s paintings are sites for multiple negotiations to probe the poetics of identity politics in continually shifting social and cultural parameters. Nomadically living between Mumbai and New York for close to a decade, the artist embeds a haptic sense of movement in her paintings that mirrors her physical journeys in real time and space. Grid-like structures that held paint in place here give way to more organic forms that morph into golden arcadias, beds of roses and a garden of crushed flowers. The self-reflexive voice vibrates within impasto layers of paint in City of Eros (2013), takes its form as abstracted female forms in the Fields of Gold paintings, wrestles with paint material in the Bed of Roses works and finds a tenuous resolve in A Place of Her Own (2013).<br />The lyrical undertones of eroticism pervading the painterly realms of Ray&rsquo;s abstractions find their self-conscious charge in the States of Arousal drawings. The ubiquitous and solitary female nude depicted in graphic tones departs from the overt sensuality of the paintings, laterally entering into zones of realism to flesh out a narrative of carnal pleasure. The monumentalizing of personal intimacies, whilst finding their formal tendencies within western art history, have their rhetorical outflows from the more patriarchal and hetero-normative strictures of an eastern society where Ray spends most of her time.<br /><br />Sharmistha Ray was born in Kolkata, and lived in the Middle East before moving to the United States with her family in 1997. She studied fine art and art history at Williams College and Pratt Institute and has been the recipient of notable awards and accolades including a Mont Blanc Young Artist Worldwide Patronage Commission (2012), a TED Fellowship (2009) and Joan Mitchell M.F.A. Grant (2004). Her works are in private collections in India, America, Italy, Singapore and Australia.</p> Fri, 13 Dec 2013 18:37:57 +0000 Saad Qureshi - AICON GALLERY - New York - October 24th, 2013 - December 14th, 2013 <p><strong>Aicon Gallery | New York&nbsp;</strong>is proud to present <em>In the Remains</em>, the first New York solo exhibition of London-based artist <strong>Saad Qureshi</strong>. The meticulously ornate multi-media exhibition intricately examines the transience of time and the development, distortion and deterioration of personal and collective memory. Here, Qureshi explores the ever-shifting nature of human recollection along its frayed and fragmentary borderlands, while leaving the works haunting, multi-layered narratives ambiguous and open ended for what viewers themselves might bring to the story. Oscillating between the tangible and imagined, the textured and linear, the stark and subtle, the works channel the edge of consciousness where the lines between the present, past and future break down - often within a single painting - and leave us grasping at the fragments and obscurities of experiences drawn from both the artist and ourselves. Layered decorative devices drawing inspiration from traditional Islamic and Christian imagery combine with a host of recurring contemporary motifs of industrial ruins, nomadic camps, rainbow patterns, explosions and clouds of smoke, giving rise to a world where familiar scenes from both Eastern and Western history and the present-day become intertwined, inextricable and indelibly marked by our subjective interpretations.</p> <p>Using his own childhood memories as a starting point, Qureshi's abandoned landscapes and structures appear in both minimalistic and layered forms before expanding into complex conceptual and actualized narratives of personal reflections. Here, the processes of remembrance take on intricate yet lofty forms, traveling beyond a mere depiction of some distant place or story from once upon a time. The subjects slowly render an existence as affected by their own surroundings, while staying local to the initial idea of a recalled personal memory, composing a subtle yet interdependent commentary on both the constantly evolving and constantly disintegrating fabric of perceived experience. Integral to the work, however, is the point at which Qureshi and his subjects must inevitably stand aside, allowing the viewer to wind their own recollective path of discovery through the abstracted realms of both the artist's personal experiences and his interpretation of our shared histories.</p> <p>Expanding upon his earlier bodies of work, Qureshi continues his stylistic preference for muted background palettes, but progressively implements strategic flourishes of color in his mixed media works, incorporating oil, spray paint and wax pencil. Ambiguous scenes of battle and nomadic landscapes in chaos are populated by faceless unidentifiable inhabitants in conflict, while blood pours forth rainbow-colored and rivers run red. Elsewhere, disembodied angel wings and smoke clouds hover in figureless scenes where any explanation for their existence has already been swallowed by the advancing nothingness stage-left. Meanwhile the future of the illusive narrative is seen still coming into existence at right, leaving the overall work to take on the quality of a running film strip, whose characters and events, through the inevitable breakdown of our recollections, are doomed first to obscurity and finally to oblivion.</p> <p>In Qureshi's large-scale mixed media installation <em>Borrowed from the Shadows</em>, the ominous sculptural assemblage assumes a multitude of meanings. The charred black surface alludes to the horrific consequences of increasingly impersonal and mechanized warfare, while the forms of the structures themselves resemble the giant but shadowy weapons with which it is waged, or perhaps the remains of an incinerated forest caught in the crossfire. As the creator, Qureshi once again invites his viewers to determine the final narrative, subject to their own interpretations and associations derived from the materiality and foreboding presence of the objects. Influenced by various disciplines of psychology, history, religion and philosophy, the work in this exhibition seeks to develop Qureshi's unique exploration of the nature and mechanisms of memory, born from the continuously intertwining experiences of our shared personal and cultural histories.</p> <p>Born in 1986 in Britain, Qureshi received his MFA in Painting from the Slade School of Fine Art and lives and works in London. His work has been exhibited and collected internationally, including solo exhibitions at Gazelli Art House, London (2012), Aicon Gallery, London (2010), and, among others, the joint exhibition 'Ruins' at ArtEco Gallery, London (2013) and the group exhibition 'Don't Raise the Bridge, Lower the River' at Saatchi Gallery, London (2009). This is his first solo exhibition in New York.</p> Fri, 13 Dec 2013 18:38:06 +0000 Richard Artschwager, Michael Buthe, Victor Grippo, Neil Jenney, Robert Kinmont, Ree Morton, Sylvia Plimack Mangold, Paul Thek - Alexander and Bonin - November 23rd, 2013 - January 4th, 2014 <p style="text-align: justify;"><span style="font-size: small;"><em>1965 &ndash; 1977 </em>includes key works by eight artists who responded to the aesthetics of minimalism and pop art with unique materials, processes, and content. Many of these paintings and sculptures represent early achievements made during the first stages of their careers.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The earliest works in the exhibition are <strong>Victor Grippo</strong>&rsquo;s small, chromatically vibrant paintings from 1965. The imagery in these works was influenced by the design of electronic circuitry and presage Grippo&rsquo;s use of scientific materials, minerals and commonplace objects to depict natural forms of energy.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Sylvia Plimack Mangold</strong>&rsquo;s <em>Floor I </em>(1967) is the first of her paintings depicting a tilting floor plane of gridded parquet tiles. Plimack Mangold&rsquo;s realistic iterations of constructed pictorial space retain their provocative relationship to the pure grids and systematic strategies employed by her peers.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Neil Jenney</strong>&rsquo;s <em>Linear Piece </em>(1967) is composed of two sections of aluminum alloy bent into nearly identical shape by hand. While each half of the diptych conforms to the same design, the process reveals how handmade objects, even if serialized in their construction, are always unique.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Michael Buthe</strong>&rsquo;s <em>Untitled </em>(1968-69) is comprised of two painted canvases stretched on the same support. The top canvas is torn and ripped away to reveal the monochrome square beneath, emphasizing the materiality and spatial potential of painting. Buthe&rsquo;s torn canvas paintings were exhibited at museums in Amsterdam, Bern, and Wuppertal in the first year after they were created.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The box for <strong>Richard Artshchwager</strong>&rsquo;s <em>Locations </em>(1969) is clad in his signature Formica and contains 5 <em>blps </em>made of wood, glass, Plexiglas and rubberized horsehair. Artschwager first exhibited his <em>blps </em>in the 1968 Whitney Annual.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Robert Kinmont</strong>&rsquo;s wood, copper, and water construction, <em>Source Support </em>(1970-73), lays bare his philosophical and material orientation while succinctly conveying his commitment to precise, structural clarity. Kinmont grew up in the desert near Bishop and has lived most of his adult life in northern California, the landscape of which has continued to influence the majority of his projects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Between 1968 and 1977, <strong>Ree Morton </strong>created a significant and varied body of work. <em>Untitled </em>(1973), is an un-stretched canvas with three wood blocks at the base which exemplifies the continuity between her abstract and nature based imagery. A complete set of studies for her final work, <em>Manipulations of the Organic </em>(1977) will also be exhibited.</span></p> <p style="text-align: justify;"><span style="font-size: small;">During the 1970s, <strong>Paul Thek </strong>lived and worked primarily in Europe and constructed a series of large scale environments in collaboration with friends. Throughout that time Thek created a number of paintings on newspapers. <em>Grasshopper </em>and <em>Dinosaur </em>(1975) show their respective subjects depicted as tiny creatures against fields of grey paint, evoking the scale of his environments and theatrical projects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The gallery will be closed from December 24 through January 1.</span></p> Sun, 24 Nov 2013 17:37:18 +0000 Emily Nelligan, Marvin Bileck - Alexandre Gallery - December 7th, 2013 - January 11th, 2014 <p>Statement by Christopher Crosman</p> <p>In previous exhibitions&nbsp; of drawings and prints by Emily Nelligan and her late husband Marvin Bileck at the Alexandre Gallery,&nbsp; the focus has been on works by both inspired by summers on Great Cranberry Island located just off Mount Desert, Maine.&nbsp;&nbsp; For this joint exhibition--along with Nelligan&rsquo;s charcoal drawings spanning more than a decade on the Cranberry islands--an extraordinary set of illustrations for a never published children&rsquo;s book by Marvin Bileck is featured.&nbsp;&nbsp;</p> <p>Nelligan&rsquo;s work over the past half-century and more has never wandered far from Cranberry&rsquo;s often fog-shrouded, intertidal shorelines.&nbsp; Nelligan has stated that she finds it difficult to draw anywhere else but on Cranberry Island.&nbsp; &nbsp;Utilizing only charcoal (always unfixed) and an eraser held in either hand, her drawings transcend any limitations her modest tools would seem to impose; through Nelligan&rsquo;s&nbsp; caressing touch the subjects include the blurred, soft edges between abstraction and representation, seeing and not, between being and not.&nbsp;&nbsp; While there are no direct precedents for Nelligan&rsquo;s work, she speaks to traditions rising out of late 19<sup>th</sup> century tonalism&mdash;Whistler&rsquo;s gentle admonition that paint &ldquo;&hellip;should be like breath on a pane of glass, &rdquo;as well as the organic abstraction found in early twentieth century American &nbsp;modernism.&nbsp; For instance, Alfred Stieglitz&rsquo;s photographs of clouds, the &ldquo;Equivalence&rdquo; series, or Arthur Dove&rsquo;s glowing orbs in indeterminate space.&nbsp; Nearly dumbstruck, as have been other notable critics in front of Nelligan&rsquo;s drawings, Maureen Mullarkey can only invoke liturgical metaphor: &ldquo;If the ancient canonical hours could be observed by images instead of prayers, here they are.&rdquo;&nbsp; Some drawings convey the impenetrable darkness of dense fog enveloping the island at night.&nbsp; In others, there is a quality of moisture-laden light, of breaking dawns and distant clearing.&nbsp; Littoral immanence.&nbsp;&nbsp; And we cannot help but wonder if the drawings in this exhibition, mostly created after her husband of nearly fifty years&rsquo; death in 2005, aren&rsquo;t in some measure prayers and homages to their long life together.</p> <p>Unlike Nelligan, who has only recently attained wider recognition and critical acclaim&mdash;largely through previous exhibitions at the Alexandre Gallery--Marvin Bileck has long been known for his illustrations of children&rsquo;s books including his Caldecott award-winning, <em>Rain Makes Applesauce</em> and <em>A Walker in the City </em>by Alfred Kazan.&nbsp;&nbsp; It is, therefore, no accident that he and fellow Cooper Union graduate, Ashley Bryan, also a noted children&rsquo;s book author and illustrator, found themselves collaborating on a book for children.&nbsp;&nbsp; Initiating and developing the project between 1965 and 1970, they chose an obscure manuscript by Virginia Woolf, <em>By Trolley Past Thimbledon Bridge</em>.&nbsp; Bileck&rsquo;s magical, whimsical drawings, shown here for the first time, even in this partly finished form, conjure a world of enchantment through free association and play&mdash;primarily word play and visual puns (tales and tails are hopelessly entwined throughout).&nbsp;&nbsp; Embodying childhood memories that are often fragmentary, out of temporal sequence, isolated and interwoven&mdash;jostling vignettes as presented by Bileck--these lively, complex drawings need few words to convey a narrative that is itself almost entirely about the joys of sensory experience. &nbsp;Indeed, letters and words vary in size, location and prominence and often become their own visual mysteries and surprises as they swoop and bend across the page. Bileck&rsquo;s invitation to board the author&rsquo;s magical &ldquo;trolley&rdquo; back to childhood wonderment, alludes, perhaps, to his own first memories of children&rsquo;s books.&nbsp; The drawings have an antique, faded appearance, as if pulled from some forgotten bookshelf of his own fast receding childhood.&nbsp; Arthur Rackham (<em>Peter Pan</em>) and Lionel Feininger&rsquo;s early &ldquo;Kin-Der-Kids&rdquo; come to mind.&nbsp; In their reticence and dissolving legibility&mdash;like the nearly lost, blurred recollections of childhood itself--they come closest to his wife&rsquo;s ethereal landscapes. &nbsp;&nbsp;Or as the narrator of Thimbledon Bridge tells us:</p> <p>OUR DAY DREAMS AND FANCIES</p> <p>TAKE OFF IN OUR PLAY</p> <p>WHAT&rsquo;S REAL, WHAT&rsquo;S IMAGINED</p> <p>NO ONE CAN SAY</p> Mon, 16 Dec 2013 00:21:33 +0000 Mariah Robertson - American Contemporary - October 31st, 2013 - December 20th, 2013 <p>A philosophical discourse via photographic materials and visual language. <br /> <br />A box of photo paper in my darkroom got 'blown', that is, opened in a fully lit room. Photography is all about the control of tiny amounts of light in tiny fractions of time, so that was a pretty gut wrenching, oh no, moment. Rather than throw away a few hundred feet of paper, I kept it for experiments. Having the lights on meant that I could finally use all of the 72' paper I had but couldn't get my arms around in the full darkness that you need for color processing. Theoretically they should have been either black or bleached white, but with different dilutions and temperature chemistry combinations they started to turn out like crazy, giant abstract paintings with some strange material presence. It's a roll of the dice, all in one go process, which is hard to fully control. I find the emotional effect of their presence bypasses reason and intellectual functions in an unsettling manner. The front room has two sets of these monsters stacked in pairs on top of each other, in separate frames, so they stretch floor to ceiling, within the room. <br /> <br />Confusion on this topic of feelings led me back to a box of abstract photograms I made in 2000-2003 with colored gels and geometric masks. There was one that I hated at the time that ten years later turned out to be really special in a way the others weren't. I figured the best way to try to understand this was to make some more. These are the works in the back room. They were made in 'other people's darkrooms,' and are very crisp and geometric. The ones that are special have a back and forth of order and chaos. I think sometimes this is how most things are in life. <br /> <br />Over the last few years, I have been working on a silent video about personal demons, which will be projected onto the front window wall of the gallery the night of the opening, which of course is Halloween. <br /> <br />Also in the back room is a drawing about feelings. <br /> <br /> <br />Mariah Robertson was born in 1975 and grew up in California. She lives and works in Brooklyn, NY. She has exhibited widely at public and private institutions including the current exhibition XL/19 Acquisitions at the Museum of Modern Art; Mariah Robertson, The Baltic Centre for Contemporary Art, UK; Greater New York, MoMA/PS1, NY (catalogue); Mariah Robertson, Grand Arts, MO (booklet) and Out of Focus at The Saatchi Gallery, London (catalogue). Robertson has just released a leporello bound, scaled reproduction of one of her 100ft photographs with London based publisher 'Self Publish be Happy'. Her work is in the collections of the Museum of Modern Art, NY and the LA County Museum of Art, CA and featured in an ongoing documentary for Art 21 titled New York Close Up.</p> Tue, 29 Oct 2013 00:04:00 +0000 Sabrina Gschwandtner, Luke Haynes, Stephen Sollins - American Folk Art Museum - October 1st, 2013 - January 5th, 2014 <p>This exhibition considers three contemporary artists who are inspired by the history and structure of American quilts but who are neither inhibited, constricted, nor defined by it. Sabrina Gschwandtner, Luke Haynes, and Stephen Sollins are keenly aware that a quilt&rsquo;s very substance&mdash;its remnants, pieces, choices, geometries&mdash;is profoundly laden with meaning. They intentionally seek such emotional and retentive content in their work, oftentimes through ingenious techniques and by using unexpected materials such as 16mm film strips or used Tyvek envelopes. By purposefully reusing experiential elements with relevance to their own lives and times, they exploit the tension inherent in historical quilts between function and significance. The three artists are especially attracted to the rationality and precision of specific quilt patterns that often have illusive qualities&mdash;Tumbling Blocks, Log Cabin, Sunshine and Shadow, Double Wedding Ring&mdash;examples of which, from the museum&rsquo;s collection, will also be on view.</p> Sun, 01 Sep 2013 22:10:37 +0000 Cristóbal Lehyt - Americas Society Gallery - September 10th, 2013 - December 14th, 2013 <p>Crist&oacute;bal Lehyt&rsquo;s (b. 1973) approach to site-specificity questions the immediate perception of sight (and the site) as a device of cultural translation: what you see is not what you get. For Lehyt, site-specific sculpture occupies the exhibition space as a phenomenological difficulty rather than an encounter with the audience.</p> <p>Lehyt&rsquo;s artistic practice, specially his drawings, also departs from a psychological conundrum, projecting the real on a screen, or "sheet"&mdash;a piece of white fabric, thick but not totally opaque, serves in this case as an allegory of sight as blurred vision or detritus. Typically, his series of drawings entitled, <em>Drama Projections</em> operates within the liminal realm of language as an impediment or defect. Drawing serves as a medium for a silent type of storytelling in which a mechanism of reproduction/psychic projection allows the artist to delve into life&rsquo;s everyday conflicts that are unleashed by the artist&rsquo;s narrative impulse.</p> <p><em>Iris Sheets</em>, Lehyt&rsquo;s solo project for the Americas Society, in its various paradoxes and components&mdash;a site-specific sculpture, a mural of drawings, and a banner to be hung at the building&rsquo;s southwestern fa&ccedil;ade&mdash;tackles the contradictions of an artist from the so-called periphery living in and outside his original context. On the one hand, Lehyt's site-specific sculpture echoes the shape of the geography of Chile and its materials symbolically link the piece with the country&rsquo;s role as a successful world exporting country. Lehyt is not interested in undertaking an essentialist celebration or in examining political mythologies from the Cold War, although in his previous works allusions to Chile have been repressed and abstracted. It is not accidental he recurrently uses materials from the South American country blended with a cluster of multilayered references to land art and minimalism, as well as Matt Mullican&rsquo;s hypnotic drawings. An artist born in 1973, Lehyt&rsquo;s sculpture and drawings are informed by an exploration of the repression of memory after Chile&rsquo;s dictatorship and its trivialization through the gap between traumatic experience and the past. Lehyt uses history as an abstracted fact muted by language and identifies post-traumatic effects of repression as a mythological construction of the present. <em>Iris Sheets</em> frames these issues as a Samuel Beckett-like tongue twister directed to non-English native speakers.</p> <hr /> <p><strong>The Installation</strong></p> <p>Lehyt will create a site-specific installation that responds to the architecture of the Americas Society&rsquo;s art gallery and considers its exhibition history as a space dedicated to (re)present the art of the Americas since the 1960s. The centerpiece of the show will be a gigantic snake-like, three-dimensional structure that weaves through the 1000-square foot space. Upon entering, visitors will encounter what will seem to be the head of the monstrous figure. The structure will be made with natural wood drenched in red Chilean wine and natural-fiber rope therefore engaging the spectator&rsquo;s perception of space and teasing his or her sense of vision, smell, and touch. The body of the sculpture forms a sort of vertebrae that will operate very much like many of Lehyt&rsquo;s other works&mdash;it will appear as one thing and function as another, making it difficult to identify. The work will be at once abstract, yet organic in form. Lehyt&rsquo;s work operates within these contradictions, which can also take the form of humor or through a linguistic game in which a joke can be a way for the visitor to access to the meaning of the work of art. For Lehyt, contemporary art&mdash;specifically sculpture&mdash;game playing allows for alternative approaches to be explored, some of which may not normally be taken seriously within the traditional context of art making.</p> <p>Another component of <em>Iris Sheets</em> is a mural the artist will produce specifically for the exhibition. Working in tandem with the monumental three-dimensional piece, this work is based on drawings, which the artist titles <em>Drama Projections</em>&mdash; a psycho-analytic process that is the result of mind-numbing sessions of &ldquo;automatic drawing.&rdquo; Begun in 2003, <em>Drama Projections</em> was started as a means for Lehyt to overcome a conceptual resistance to representing the traumas of the present through portraiture. Through these sessions of automatic drawing, the artist projects his own fantasies upon his everyday encounters with unknown men and women on the subway, in restaurants, or on the streets of the many cities he has visited. At the end of each session, Lehyt is left with intimate drawings he has produced, which can be viewed as characters staring in their own fiction. As the artist has stated, the portraits are like the &ldquo;the undead in a strange limbo.&rdquo; Nevertheless, these raw drawing are rarely shown and undergo various levels of mediation. For <em>Iris Sheets</em>, Lehyt will enlarge these drawings, so that they are almost life-size in form.</p> <p>Lehyt will also hang a large banner outside Americas Society&rsquo;s building southwestern fa&ccedil;ade entitled <em>Violeta </em>(2006). The banner features an image of the Chilean protest and folk singer Violeta Parra, along with the text "Thank you life for giving me so much," lyrics from her iconic song.&nbsp; Although Parra&rsquo;s song became internationally associated to the shattered social utopias from the 1970s, the song is the mere product of the singer&rsquo;s existential preoccupations rather than a programmatic piece of propaganda. Lehyt emphasizes the lack of accuracy of its present meaning by showing it as an enigmatic marker, decontextualized from history and transmitted through myths. The song&rsquo;s lyrics printed on the banner also operates as a comical element to be discovered by the passersby.</p> <p><em>Iris Sheets</em> will be accompanied by an upcoming fully illustrated catalogue in which art historian Jaleh Mansoor (Department of Art History, Visual Art &amp; Theory at University of British Columbia) will contribute with an essay as well as Chilean writer Alejandro Zambra with a text in dialogue with Lehyt&rsquo;s approach to history as repressed memory. In addition, the publication will feature an interview with Chief Curator Gabriela Rangel and Assistant Curator Christina De Le&oacute;n and the artist.&nbsp;</p> <hr /> <p><strong>About the Artist</strong></p> <p>Crist&oacute;bal Lehyt, born in Santiago, Chile in 1973,&nbsp;lives and works in New York City. He studied at the Universidad Cat&oacute;lica de Chile, and later at Hunter College and The Whitney Independent Study Program in New York. His solo exhibitions include the Carpenter Center (Cambridge, MA in 2010), Fundaci&oacute;n Telef&oacute;nica Chile (2009), K&uuml;nstlerhaus Stuttgart (2008), University of California Irvine (2007), and numerous others in galleries in London, Santiago de Chile, Caracas, and Mexico City. He has also participated in group exhibitions at the Mercosur Biennial (2009), El Museo del Barrio (2007), Kunsthaus Dresden (2006), the Shanghai Biennale (2004), the Whitney Museum of American Art (2003), MoCA Los Angeles (2002), among many others in New York, Madrid, Santiago, Bogot&aacute;, Caracas, Mexico City, Berlin, Vienna, Beijing, and Rio de Janeiro. He has been awarded the John Simon Guggenheim Memorial Foundation Fellowship and the Art Forum Fellowship at Harvard University. He is represented by Die Ecke, Santiago and Johannes Vogt Gallery in New York. His work with paintings, drawings, and photographs explore identity, figuration, and dramatic narrative.</p> Tue, 10 Sep 2013 06:11:55 +0000 Hans Hofmann - Ameringer | McEnery | Yohe - December 5th, 2013 - January 25th, 2014 Sat, 30 Nov 2013 15:57:47 +0000 Josephine Meckseper - Andrea Rosen Gallery - November 23rd, 2013 - January 18th, 2014 <p>The addition of artists to the program is always an exciting moment to reaffirm the gallery&rsquo;s commitment to showing the most meaningful and important work of our time, and so it is with great pride that Andrea Rosen Gallery announces Josephine Meckseper&rsquo;s first exhibition with the gallery.</p> <p>Meckseper&rsquo;s new work attempts to construct the present as archaeology and to create a window into a historic past at the same time. The exhibition will feature large-scale vitrines, mirror wall panels and photographic works that reveal a historical link between contemporary consumer display forms and their early 20th century precursors. While Meckseper&rsquo;s earlier vitrine works commented on contemporary consumer culture using the shop window as an example and focus point for civic unrest and protest in our late capitalist society, her current works allude to the political dimension of early modernist display architecture and design between World War I and II in Weimar Germany.</p> <p>Where the artist&rsquo;s previous work pointed to the instability of capitalism and often included photographs taken by the artist at political protests, the works in the current exhibition refer to the rise of the Bauhaus and Deutscher Werkbund and their imminent destruction through the Nazi regime. Evoking the modernist architecture of Ludwig Mies van der Rohe&rsquo;s Barcelona Pavilion and the way in which it framed a single sculpture by Georg Kolbe, Meckseper&rsquo;s vitrines both show how works are contingent on environment and context and how they can become subject to the vicissitudes of external ideologies. The stainless steel and glass vitrines in her current exhibition house arrangements of early 20th century inspired hand made sculpture casts and paintings, taking on a similar function as Mies van der Rohe&rsquo;s well-known designs and glass structures for art collections: art and art history are here on display.</p> <p>Featured throughout the exhibition is a black and white photograph Meckseper took of the Niedersachsenstein monument built by the Expressionist artist Bernhard Hoetger in her hometown, the early 20th century artist colony, Worpswede. The imposing sculpture was intended as a tribute to the fallen soldiers of World War I, just as Constantin Brancusi&rsquo;s &ldquo;Endless Column&rdquo; was to the Romanian war victims. The Nazi party, however, declared Hoetger&rsquo;s Expressionist art &ldquo;degenerate&rdquo; in 1936, and the Niedersachsenstein is the only surviving large scale Expressionist outdoor sculpture in Germany.</p> <p>Concrete and bronze casts of mannequin parts evoking Brancusi&rsquo;s &ldquo;Male Torso&rdquo; are paired with appropriated elements like boxes of male underwear label 2(X)ist. In addition, large-scale wall bound works on mirror as well as enlarged sketches and collage bare traces of early 20th century Expressionism. Their formal appearance of window shapes bring to mind Max Beckmann&rsquo;s paintings from his exile years in the United States in the late forties, which often depicted window tableaus.</p> <p>Meckseper&rsquo;s confrontation of contemporary consumer display vitrine structures with the historic underpinnings of Hoetger's, Brancusi's and Mies van der Rohe's work, illustrates how early Modernism, German Expressionism and the avant-garde developed into a form of political and aesthetic resistance to the mainstream.&nbsp; In Meckseper&rsquo;s work, the full complexity and contradictions of how contemporary life, art, commerce and politics intertwine are addressed and embodied; the gallery space becoming a site of inquiry into hidden ideologies and power systems.</p> <p><br /> <em>Josephine Meckseper was born in Lilienthal, Germany, and studied at Hochschule der K&uuml;nste in Berlin and CalArts, Los Angeles, where she received her MFA. Meckseper is currently preparing for a forthcoming solo exhibition at the Neuer Aachener Kunstverein, Germany, in 2014. Most recently, her work was exhibited throughout the permanent collection and public spaces of Parrish Art Museum during their first summer season in their new Herzog &amp; De Meuron building. Meckseper&rsquo;s first public project in New York, Manhattan Oil Project, was commissioned by Art Production Fund and installed in a lot adjacent to Times Square in 2012. A major retrospective was organized by the Kunstmuseum Stuttgart, Germany, in 2007. Meckseper&rsquo;s work has been exhibited worldwide, and is in the permanent collections of numerous institutions, including the Solomon R. Guggenheim Museum, The Museum of Modern Art, the Whitney Museum of American Art, the Perez Art Museum Miami, migros museum f&uuml;r gegenwartskunst, Z&uuml;rich, and the Hammer Museum, UCLA. The artist lives and works in New York.</em></p> Wed, 08 Jan 2014 18:40:43 +0000 Hannah Wilke, Alina Szapocznikow - Andrea Rosen Gallery - November 23rd, 2013 - January 18th, 2014 Mon, 06 Jan 2014 23:01:31 +0000 Matt Connors, Lucas Knipscher - Andrea Rosen Gallery 2 - November 23rd, 2013 - January 18th, 2014 <p>Andrea Rosen Gallery is pleased to announce a three-person exhibition in our Gallery 2 space with work by Matt Connors, John Henderson and Lucas Knipscher. Using very different strategies, each of these artists consciously engages the tropes of modernist abstraction in ways that both acknowledge the familiarity of these gestures and renew and challenge the material conventions of their mediums. In objects that navigate and test the assumed boundaries of painting, sculpture, and photography, the three artists actively register the evolving potential of these media, suggesting an open and performative relationship to the history of abstraction and all of its loaded meanings.</p> <p>Rejecting, perhaps, the serial obsolescence of commodity, the artists&rsquo; subtle gestures explore the limits of material, support, surface, and structure, finding continuation in our most traditional art practices. In a context defined by the increasing saturation of images, the three artists here make a case for the unique position that real objects can hold in the physical space of a viewer.</p> <p><strong>Matt Connors</strong> (b. 1973) received his MFA from Yale in 2006. Major solo and two-person exhibitions of his work have been presented at MoMA PS1, New York; Kunstahlle D&uuml;sseldorf, Germany; Dallas Museum of Art, Texas; CANADA Gallery, New York; Cherry and Martin, Los Angeles; and The Breeder, Athens, Greece. Group exhibitions include those at Walker Art Center, Minneapolis; Contemporary Arts Museum, Houston, Texas; Kunsthalle Andratx, Mallorca, Spain; Office Baroque Gallery, Antwerp, Belgium, and Sikkema Jenkins, New York.&nbsp; He was the receipient of a 2012 Guggenheim Fellowship Grant.</p> <p><strong>John Henderson</strong> (b. 1984) received his MFA in painting from Northwestern University in 2010. Recent solo exhibitions include Peep-Hole, Milan, Italy; Galerie Perrotin, Hong Kong; T293, Naples, Italy; Museum of Contemporary Art, Chicago; and Golden Gallery, Chicago. His work was featured in the Prague Biennale 6 and group exhibitions at Depart Foundation, Rome; Cherry and Martin, Los Angeles; Museo d&rsquo;Art Moderna di Bologna, Italy; and Family Business Gallery, New York.</p> <p><strong>Lucas Knipscher</strong> (b. 1979) received his MFA in photography from Bard College in 2008. Recent solo exhibitions include Vilma Gold, London and Thomas Duncan Gallery, Los Angeles; his work has been included in group exhibitions at Swiss Institute, New York; Rachel Uffner Gallery, New York; the Sculpture Center, New York; and Balice Hertling, Paris.</p> Wed, 08 Jan 2014 18:40:50 +0000 Pierpaolo Campanini - Andrew Kreps Gallery @ 535 West 22nd - November 9th, 2013 - January 11th, 2014 <p>kaufmann repetto is happy to announce the first of a series of exhibitions in New York, opening on November 9, with a solo show by Italian painter Pierpaolo Campanini.<br />The work of Pierpaolo Campanini is at the same time intimate and monumental. The sculptures assembled in his studio in a meticulous process of accumulation of objects and natural elements are, through pictorial mediation, rendered solitary creatures &ndash; inhabitants of a fictitious reality, both tangible and indefinite.<br />The space in which Pierpaolo Campanini's subjects are developed is an arena, where objects appear in a struggle to find a definitive form, a place in the world.<br />The paintings presented in Campanini's exhibition are situated between memory and desire, where vernacular monuments are ambiguous subjects that escape an unequivocal definition. Through the process of painting, they appear to dissolve in delicate gestures that aim to recover an original form. Here, the softness of fabrics wraps around a disparate mass of elements that alternates moments of tension with the abandonment of gravitational force.<br />In a kind of diametric symmetry, natural elements like leaves, roots, and twisted branches are represented through the memory of sculpture, the mediation of past models, and the re-elaboration of cultural tradition.<br />Monuments in forgotten squares, faded photographs, actors in an empty theatre, the refuse of ideas shattered in pieces: Campanini&rsquo;s works unleash a feeling of abandonment. As in the opening lines of T.S. Eliot's &ldquo;The Waste Land&rdquo; beauty, by way of dyscrasia, generates a silent pain: &ldquo;April is the cruellest month, breeding / Lilacs out of the dead land, mixing / Memory and desire, stirring / Dull roots with spring rain.&rdquo;<br />Pierpaolo Campanini was born in 1964 in Cento (Ferrara), Italy, where he lives and works.<br />Recent exhibitions include &ldquo;La Figurazione Inevitabile&rdquo;, Centro per l&rsquo;arte contemporanea Luigi Pecci, Prato (2013); Corvi Mora, London (2012); &ldquo;Faces&rdquo;, curated by Paolo Colombo, Onassis Cultural Centre, Athens (2012); &ldquo;Silences where things abandon themselves&rdquo;, MSU, Zagabria (2012); &ldquo;Italics: Italian art between traditionand revolution 1968-2008&rdquo;, curated by Francesco Bonami, Museum of Contemporary Art, Chicago and Palazzo Grassi, Venice (2009); kaufmann repetto, Milan (2009); Blum and Poe, Los Angeles (2008); &ldquo;Apocalittici e Integrati: utopia nell&rsquo;arte italiana di oggi&rdquo;, MAXXI, Museo Nazionale Delle Arti del XXI Secolo, Rome (2007); Salon 94, New<br />York (2006); &ldquo;Etc.;&rdquo; Le Consortium, Dijon (2005); La Quadriennale di Roma, Rome (2005); &ldquo;VERNICE, Sentieri della giovane pittura italiana&rdquo;, curated by Francesco Bonami, Villa Manin, Udine (2004); &ldquo;Ratio,&rdquo; curated by Andrea Bruciati, Galleria Civica, Monfalcone (2003).</p> Tue, 07 Jan 2014 01:29:27 +0000 Padraig Timoney - Andrew Kreps Gallery @ 537 W. 22nd - November 9th, 2013 - January 11th, 2014 Tue, 24 Dec 2013 00:41:23 +0000 Marepe - Anton Kern Gallery - October 25th, 2013 - December 21st, 2013 <p>For his third solo show at Anton Kern Gallery, Brazilian artist Marepe presents a group of six sculptures made of common objects and put together with great formal rigor and poetic potential. These works achieve a complex layering of references and meanings addressing the linkage between the individual and society.<br />Marepe's sculptures are made from everyday materials such as plastic buckets and tables, ironing boards, brooms, bicycles, wheelbarrows, and chipboard. Some titles, such as Embutido Sanfona (embedded accordion), are inspired by popular music, others are factual and descriptive, such as Empilhamento (stacking). The work allows for a direct reading, and perhaps more importantly, leads toward a sensory experience; an intimacy of touch and interaction, comparable to the deeply emotional experience and immediacy of listening to music.<br />Duchamp and Neoconcretismo may be part of Marepe's inspiration, but it is the artist's deep concern for the social and for human interaction that drives his art. He combines quotidian objects and materials to form disarmingly simple monuments, some suggesting abstract forms, others depicting figures engaged in dance-like interaction, and in some cases allowing cut-out chipboard to assist in creating specific figures.<br />Many of Marepe's titles refer to Brazilian music or lyrics. Embutido Sanfona for example, can be translated as &ldquo;built-in concertina,&rdquo; the slightly smaller version of the accordion which is the lead instrument in Forr&oacute;, a thrilling and infectious folk-pop music from the North-East of Brazil, the region where Marepe grew up and still lives and works. "Embutido Sanfona" also refers to Marepe's previous wooden models for rooms and trucks and his interest in communal and shared spaces. It is simultaneously a minimalist kinetic sculpture, a model for multi-purpose housing, and a musical celebration.<br />Marepe's work speaks, or rather sings of everyday life and love, celebrating and elevating the specific materials and origins of the work to the universal. The ordinary shines in its simple beauty declaring its liberating and transformative power.<br />Born Marcos Reis Peixoto 1970 in San Antonio de Jesus, Bahia, Brazil, Marepe lives and works in Salvador de Bahia, Brazil. The artist has participated in various group exhibitions including The Living Years, Walker Art Center, Minneapolis (2012); Gigantes por su propia naturaleza, IVAM Instituto Valenciano de Arte Moderna, Valencia, Spain (2011); NeoHooDoo: Art for a Forgotten Faith, The Menil Collection, Houston; PS1, Long Island City; Miami Art Museum, Miami (2008/09); An Unruly History of the Readymade, Jumex Collection, M&eacute;xico; When Lives Become Form: Contemporary Brazilian Art: 1960-Present, Museum of Contemporary Art of Tokyo (both 2008); Alien Nation, ICA, London; 27th Bienal de S&atilde;o Paulo; 15th Biennale of Sydney, Sydney (all 2006); Tropic&aacute;lia: A Revolution in Brazilian Culture, Barbican Art Gallery, London; The Bronx Museum of the Arts, New York; Museu de Art Moderna, Rio de Janeiro, Museum of Contemporary Art, Chicago (2005/06); How Latitudes Becomes Forms: Art in a Global Age, Contemporary Arts Museum, Houston; Venice Biennale, Venice, Italy; the Istanbul Biennial (all 2004). Recent solo exhibitions include Veja meu Bem, Tate Modern, London; Espelho, Museu de Arte Moderna, S&atilde;o Paulo (both 2007), and Vermelho Amarelo Verde Azul, Centre Pompidou, Paris (2005);</p> Mon, 16 Dec 2013 22:48:00 +0000 John Bock - Anton Kern Gallery - October 25th, 2013 - December 14th, 2013 Mon, 02 Dec 2013 21:37:30 +0000