ArtSlant - Closing soon en-us 40 Gastone Biggi - WhiteBox - December 5th, 2013 - December 27th, 2013 <p>The first survey exhibition of Gastone Biggi in New York shows a selection of some of the major works of one of Italy&rsquo;s most celebrated artists. The show offers the opportunity to enjoy the artist&rsquo;s work from moments across the five decades of his career.</p> <p>Born in Rome in 1925, Gastone Biggi&rsquo;s career has passed through some of the main developments of contemporary painting from the Fifties to the present time, not just managing to keep his pure and intense attitude, but also reacting in a personal way to the artistic issues and aesthetical tasks of his time. Since the end of the Forties Gastone Biggi managed to find a way to reconcile abstraction and realism, in a time when Rome became a melting pot for European Art Informel and American Abstract Expressionism, two specific references that he melted with the tradition of Italian art as represented by such artists as Giotto, Piero Della Francesca and Masaccio.</p> <p>Recently, while describing the works he made for his one-man show at the 2009 Venice Biennale, he wrote: &ldquo;Give me a dot and I will paint you the Universe&rdquo;. Here his reference was directed to the research started in the early Sixties around the expressive potentialities of black and white dots, which he stretched in continuous lines across the whole space of the canvas (series of The Continuous of 1959-63 and of The variables of 1970-75). With these bases Gastone Biggi&rsquo;s painting has always been characterized by a strong and dynamic attraction between figural tautness and dissolution of the image, between well-defined naturalism and structural fluidity, between spatial focus and a sudden loss of field of vision, as it is evident in the series of the Constellations (from 1991).</p> <p>The dramatic effects of the brushstrokes and the poetical tension of each work create a paradoxical polarity that is typical of his art. In his works even the colors stress this tension creating heaps of shadow and ravishing apparitions as it can be seen in the Cycle of madness of 1988. In other series such as the Skies and the Fields (1978-88) the unfolding space in his paintings becomes a random field of fluid, multidirectional, unexpected apparitions. Filling his paintings with luxuriant colors and vibrant forms, Biggi works with a variety of styles and with different thematic series of works that reflects in the recent series of works dedicated to New York. Oozing a rhapsody of technical freedom and chromatic energy, this series shows the artist&rsquo;s shifts in poetic register from the elegiac to the tragic, from the sensuality of natural forms to the contrasted beauty of the metropolis.</p> <p>The existential and the spiritual, the imaginative and the realistic, the two and three-dimensional alternate in his body of work, making current the issue of the relationship between picture and reality. The proclivity for traditional procedures and the openness to the new spaces of painterly material are well justified as they give strength to freedom in choice of expressive language. The energy of Gastone Biggi&rsquo;s works goes through and beyond the impersonality of many contemporary artistic practices and once again puts enduring art before the observer.</p> Mon, 02 Dec 2013 23:37:06 +0000 - Atlantic Gallery - December 5th, 2013 - December 28th, 2013 Mon, 25 Nov 2013 22:02:54 +0000 Miriam Schapiro - Flomenhaft Gallery - November 7th, 2013 - December 28th, 2013 <p><span style="font-size: small;">In the 1950s <strong>Miriam Schapiro</strong> had already been recognized as a successful abstractionist and represented by the Emmerich Gallery in New York. &nbsp;Even so, she felt a sense of inertia by her role as wife and mother.&nbsp; She paused from her painting and embarked on a heroic struggle to find her own identity.</span><br /><span style="font-size: small;"><br />Our exhibition begins with her endeavors in the 1960s. &nbsp;She was experimenting with the egg, alluding to women&rsquo;s fertility and creativity, set in a phallic shaped rectangular container. These works she called &lsquo;Shrines&rsquo; as <em>Untitled, Sketch for an Altar Painting</em> (c. 1961).&nbsp; Schapiro was creating a new persona connecting both her feminine and masculine sides.</span><br /><span style="font-size: small;"><br />1970 was a fateful year.&nbsp; She met Judy Chicago in California and together they created the first Feminist Art Program at Cal-Arts entitled <em>Womanhouse</em>.&nbsp; Their goal was to encourage women&rsquo;s pride in themselves and their creativity as females, also to inspire them to connect with women&rsquo;s art of the past. &nbsp;Miriam began to layer &lsquo;femmages,&rsquo; a term she coined in 1972. With these boldly distinctive works she altered the shape of art.</span><br /><span style="font-size: small;"><br />We are exhibiting a mini-biographical route through Schapiro&rsquo;s art as summed up in <em>Autobiography</em> (1982).&nbsp; Utilizing quotidian articles from her feminine world she created femmages on which she affixed handkerchiefs, doilies, lace, aprons and more as in <em>Gertrude and the Philllippines</em> (1978).&nbsp; She became known for paintings of objects close to a woman&rsquo;s daily life, emotions and aspirations such as hearts as in <em>Heart of Hope</em> (1981) and fans like <em>Grandma Bolero</em> (1980).&nbsp; The vivacity she felt in dance was a romantic theme.&nbsp; In <em>Flash and Annie</em> (1992) she was saying, like her movie idols, &ldquo;here I am.&rdquo;&nbsp; She played with the Garden of <em>Eden theme as Adam and Eve</em> (1990) and had fun portraying &ldquo;Punch and Judy&rdquo; shows as in <em>Punch, Judy and the Demons #2&nbsp;</em>(1990) and <em>What Baby</em> (1991).</span><br /><span style="font-size: small;"><br />&nbsp;&lsquo;Collaborations&rsquo; with women artists of the past was an important part of her art.&nbsp; Her greatest kinship was with Frida Kahlo, displayed in <em>Time</em> (1988 - 91), the earliest painting of the Kahlo Series which she called <em>Frida and Me</em> (1990).&nbsp; <em>Time</em> was based on Kahlo&rsquo;s <em>Self-Portrait with Cropped Hair</em> (1940) painted shortly after her breakup with Diego Rivera. The melancholy older woman in masculine costume seems to have lost status due to the aging process.&nbsp; The younger woman exudes freedom and hope.&nbsp; Schapiro also admired the achievement of Russian avant-garde women artists who the Russian poet Benedikti Livshits referred to as &ldquo;Amazons.&rdquo; <em>Exter&rsquo;s Dancer</em> (1995) in connection with Alexandra Exter relates to this theme.</span><br /><span style="font-size: small;"><br /><em>My History </em>(1997) is shaped like the house that is symbolic of many of Miriam&rsquo;s works. It consists of sixteen compartments each with a fragmented memory of her Jewish heritage.</span><br /><span style="font-size: small;"><br />The circle is complete with our last and untitled painting, executed in 2008, that hearkens back to her early abstractions.&nbsp;&nbsp;</span><br /><span style="font-size: small;"><br />Our exhibit concludes with personal photos of Miriam, also with her husband Paul Brach, as well as a remarkable selection of her memorabilia loaned by Rutgers University Institute for Women and Art.</span></p> Tue, 22 Oct 2013 02:52:30 +0000 William Bradley - Galerie Richard - November 21st, 2013 - December 28th, 2013 <div> <p>He is not yet 30, but already London-based&nbsp;William Bradley is taking on the heroes of Abstract Expressionism by challenging their use of automation and spontaneity. &nbsp;His work begins with abstract gestural watercolors, which are then scanned and digitally manipulated into a calculated arrangement. These resolved designs are then repainted in oil on canvas. His work can be described as "abstract art about abstract art" with an underlying concept that explores the communicative disconnect between artist and viewer that is specific to the pure abstract language. Bradley constructs a language of references or quotes from mostly Abstract Expressionists including&nbsp;Motherwell, Still, Gottlieb, De Kooning, while maintaining his own distinctive approach.&nbsp;</p> <p>Bradley does not intend for his paintings to be interpreted as works of Abstract Expressionism. Instead, he exploits characteristics of the style in order to expose the contextual limitations.&nbsp; Thus, the paintings act to classify the artistic movement as a brand and an exhausted academism.&nbsp; The Modern concept is refreshed in these works through a contemporary portrayal. Although initially intuitive, gestural strokes are instead consciously transcribed patterns.&nbsp;</p> <p>What Bradley proposes is a painted depiction of painting codes pertaining to abstract expressionism, early pop art but also generic painting.&nbsp; The visual signifiers, whether taken from high art or mundane reference, are simply used as visual or memorial rituals entering the elaboration of another artistic lexicon.&nbsp; Therefore, Bradley could be considered a conceptual artist.&nbsp; His work refers now to Ad Reinhardt, Blinky Palermo, Daniel Buren, and to a recent generation that reinfuses conceptual strategy to painting.</p> <p>William Bradley graduated with a masters degree from Wimbledon College of the University of the Arts London in 2008,&nbsp;has been selected for FutureMap 08 and the Catlin Art Prize in 2009 and 2011.&nbsp;&nbsp;His works are included in many renowned private collections throughout the United States and Europe, and in the public collections of the University of the Arts London and the David Roberts Arts Foundation.</p> <p>&nbsp;</p> </div> Thu, 21 Nov 2013 17:34:38 +0000 sanda iliescu, Klaudia Stoll, Katerina Marcelja - Gallery Molly Krom - December 5th, 2013 - December 28th, 2013 <p><span style="font-family: helvetica;">If you know what love is, please tell us!</span></p> <p><span style="font-family: helvetica;">At what stage of evolution does love develop? Is it present at the cellular level? Where does it start and why and where does it take its leave? Is loss a measure of love?</span></p> <p><span style="font-family: helvetica;">We are saturated with visual and literary narratives about love and still, mostly when we do not feel it, we are searching for what it is.&nbsp;&nbsp; The exhibition, which features paintings by Sanda Iliescu, drawings by Klaudia Stoll and sculptures by Katerina Marcelja, does not create a continuous narrative, nor does it attempt to analyze the genesis of love. Instead each artist deals with love's moments.</span></p> <p><span style="font-family: helvetica;">In Klaudia Stoll's minimalistic drawings, the lines create the bodies and the bodies convey the confusion, vulnerability, hurt and struggle. It looks as if the bodies were branded and in their postures and expressions we can read: "LOVE WAS HERE". The artist is letting the lines, drawn in India ink, pen, brush, ballpoint, pencil or felt- tip pen, do the thinking about closeness, solitude and love. The work chosen for "Flights of Love" is a selection of drawings from the past 15 years.</span></p> <p><span style="font-family: helvetica;">The moments of love in the sculptures by Katerina Marcelja are direct and yet complicated. Direct because the impulse is so deeply familiar. Complicated because they belong to the dramatic narratives that have fueled our literary history. In their distilled sculptural form, these love moments are stripped bare of their narrative and exposed.</span></p> <p><span style="font-family: helvetica;">All the paintings in "Flights of Love" by Sanda Iliescu are from the series "Ares and Aphrodite". The lust and love of G-ds, the ridicule, the vanity, the jealousy and&nbsp; fragility, the pink flesh of Ares and Aphrodite and the golden net, are all there; in the thickly painted canvases and delicately composed drawings.&nbsp; In response to the works, Paul Barolsky wrote: "Brushed slowly, deliberately, lovingly, but also delicately scratched, they represent thick patches of color that merge and oscillate ambiguously between the flat canvas and depth. They create an alluring imaginary space. Blues and gold, but also touches of red vibrate both behind and in front of simple geometric shapes..."</span></p> <p><span style="font-family: helvetica;">Klaudia Stoll lives and works in Berlin and Saarbruken.&nbsp; She is a Prize Winner of "Operare 11", an interdisciplinary competition in Berlin.&nbsp; Her recent solo and group shows include "Ping Pong" at gallery Julia Phillippi in Heidelberg (2012), and Saarart Exhibition in Saarbruken (2013).</span></p> <p><span style="font-family: helvetica;">Katerina Marcelja lives and works in Brooklyn, New York. Her sculptures, made with materials from an abandoned house, were exhibited in "Wet Wings and Wooden Sails," a solo show at Giacobetti Paul gallery in Dumbo, New York.</span></p> <p><span style="font-family: helvetica;">Sanda Iliescu is an Associate Professor of Architecture &amp; Art at University of Virginia. She lives and works in Charlottesville, VA. She is a Fellow of the American Academy in Rome. Her most recent exhibitions include "Knowing How to See," a group exhibit at the Virginia Center for Architecture (2013),&nbsp; "A New Natural History" at the Ruffin Gallery of the UVA (2012), and "Picasso, Lidia and Friends" at Les Yeux du Monde, Charlottesville (2012).</span></p> Mon, 02 Dec 2013 10:22:21 +0000 Richard Orient - George Billis Gallery- NY - November 19th, 2013 - December 28th, 2013 <p>Richard Orient has been painting for the last 25 years. <em>Currents &amp; Tides</em> - his new exhibition - is a show of the artist 's recent paintings of the coast of Eastern Long Island. In this new work, Orient focuses on the flood and ebb of tides and the flow of ocean currents, depicting the oceans calm and power. The play of light and the effects of weather are highlighted in the artist's "plein air" impressionistic record of the sea.&nbsp;<br /><br /> These paintings are the artists experience of the Atlantic Ocean and bring to mind an element of Gustav Courbet's paintings in their naturalism and direct interpretation of landscape. The exhibition contains oil paintings on canvas and paper.</p> Mon, 11 Nov 2013 23:45:01 +0000 Kathy Erteman - George Billis Gallery- NY - November 19th, 2013 - December 28th, 2013 <p>There are many ways to approach art making with clay. For me the choices are very conscious and tested. I follow various schools and cultural traditions in making vessels and works for the wall.<br /><br />As a young artist in Los Angeles I followed the work of Gertrud and Otto Natzler, and L.A. clay artists associated with Chouinard Art School, Adrian Saxe, Ralph Bacerra and Elsa Rady. Their well executed and highly personal vessels gave me license to go beyond the strict unspoken rules of pottery making at the time. I embraced industrial methods of making such as slip casting, jiggering and plaster turning taught by Dr. Robert Ramsey at California State University Long Beach.&nbsp;<br /><br />The study of early 20th century design, i.e. Wiener Werkstaette, and the architecture and design of international modernists like Le Corbusier, Neutra, and Joseph Hoffman contributed to my modernist attitude about form. I have always been interested in a pared down aesthetic and admire Sol Le Witt and Agnes Martin for their freedom within restraint and continue to refer to 19th century Japanese design for direction in the abstraction of natural forms.<br /><br />The sculptural vessels I make are metaphorical in their exploration of containment, and celebrate form, setting aside the constraints of utility. When making tableware, I consider design and the rigors of daily use. The spirit of my hand in these pieces is modest, to harmonize with and act as a support to the prepared ingredients. I have taken inspiration from early 20th century European and American studio artists and designers, including HT Baumann, Lucie Rie, Timo Saraponeva, Russel Wright, and many anonymous artists who chose to embrace a pared down, restrained, and graceful aesthetic to enhance the routine of daily life in an artful way.<br /><br />Kathy Erteman a New York based ceramic artist and designer makes vessels and architectural wall pieces in her Manhattan studio.<br /><br />She received her BFA from California State University Long Beach, studied with Adrian Saxe at UCLA, and worked with Judy Chicago on the Dinner Party after graduation.<br /><br />Her work has been exhibited internationally and is included in private and public collections including Renwick Gallery/Smithsonian Institute, Los Angeles County Museum of Art, Taipei Museum of Fine Arts and SC Johnson Collection. She is widely published in design books and periodicals that include The New York Times, Metropolitan Home, Art Forum, Elle Decor and Ceramics Monthly.<br /><br />A full time studio artist and part time teacher, Kathy has taught at Parsons School of Design and been a guest lecturer at The Brooklyn Museum, SUNY New Paltz, Bezalel Academy of Art, Jerusalem and currently teaches at Greenwich House Pottery.&nbsp;Kathy is the recipient of a NYFA Fellowship and EBAY artist technology grant.<br /><br />Recently she travelled to Yunnan China to work with Tibetan Potters as a Design Consultant for Aid To Artisans/ The Mountain Institute/USAID.</p> Mon, 11 Nov 2013 23:47:54 +0000 Tim Rollins and K.O.S. - Lehmann Maupin - November 7th, 2013 - December 28th, 2013 <p><strong>Lehmann Maupin is pleased to announce an exhibition of new work by Tim Rollins and K.O.S. on view at 540 West 26th Street from 7 November &ndash; 28 December 2013.</strong>&nbsp;<em>On The Origin</em>&nbsp;will mark the collective&rsquo;s third solo show at Lehmann Maupin and will feature a new series titled&nbsp;<em>On the Origin of Species (after Darwin)</em>, including two commanding sixteen-foot paintings and additional works inspired by Charles Darwin&rsquo;s seminal text which is considered to be the foundation of evolutionary biology.&nbsp;<br /> <br /> To create&nbsp;<em>On the Origin of Species</em>, Rollins and K.O.S. appropriated a sketch from Darwin&rsquo;s 1837 notebook that puts his theory of evolution into visual form. The abstract diagram has a tree-like structure and is commonly referred to as Darwin&rsquo;s &ldquo;Tree of Life.&rdquo; Working intuitively, the group copies, layers, and repeats Darwin&rsquo;s simple image over book pages to create a sprawling complex configuration. Through this act of repetition and duplication, Rollins and K.O.S. explore the essence of Darwin&rsquo;s ideas in both form and action. The repetition of the simple form, each stemming from the one before, to create a greater construction illustrates Darwin&rsquo;s theory. Rollins and K.O.S. also relate this process to a model for social action, noting the ability for one idea or person to inspire and create an outcome greater than the individual. This ideal forms the root of the collective&rsquo;s practice, which seeks to engage with a greater audience on both aesthetic and social issues.<br /> <br /> Rollins and K.O.S&rsquo;s collaboration now spans over three decades and in its longevity is unprecedented in the history of contemporary art. By challenging the notion of sole or individual authorship, they have paved the way for today&rsquo;s widespread collaborative practices. With participants ranging in age from 10 to 42 years old, Tim Rollins and K.O.S. have maintained a fluid group that has allowed members to evolve both individually and collectively since its inception in 1980.&nbsp;<br /> <br /> <strong>The group is currently preparing for an upcoming solo exhibition at the Savannah College of Art and Design&rsquo;s Museum of Art, Georgina, in February 2014.</strong>&nbsp;<br /> <br /> Tim Rollins (b. 1955, Pittsfield, Maine) studied fine art at the University of Maine and earned a BFA from the School of Visual Arts in New York. After graduate studies in art education and philosophy at New York University, Rollins began teaching art for special education middle school students in a South Bronx public school. In 1984, he launched the Art and Knowledge Workshop in the Bronx together with a group of at-risk students who called themselves K.O.S. (Kids of Survival). In 1997, the documentary,&nbsp;<em>Kids of Survival: The Art and Life of Tim Rollins &amp; K.O.S.</em>&nbsp;was widely received at the London Film Festival, Cinema de Real, France and the Hamptons International Film Festival.&nbsp;<br /> <br /> Since its inception, the group has exhibited extensively worldwide, include presentations at The Studio Museum in Harlem, New York (2013); Hayward Gallery, London (2012); Museum fur Gegenwartskunst, Basel (2012); Galleria d&rsquo;Arte Moderna e Contemporanea, Bergamo, Italy (2011); Smithsonian American Art Museum, Washington D.C. (2011); and the Whitney Biennial, New York (2006). A retrospective of the group&rsquo;s 20-year career opened at the Tang Teaching Museum and Art Gallery at Skidmore College in 2009 and travelled to the Frye Museum, Seattle and the ICA Philadelphia later that year. A fully illustrated hardcover catalogue, co-published by the Tang Museum and MIT Press, accompanied the exhibition. The group&rsquo;s work is represented in nearly 100 prestigious public collections, including the Museum of Modern Art, New York; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Tate Modern, London; Smithsonian Museum of American Art, Washington D.C. and Dallas Museum of Art, Texas, among others.&nbsp;<br /> <br /> Tim Rollins and K.O.S. are based in New York City.</p> Wed, 16 Oct 2013 21:35:43 +0000 Shirazeh Houshiary - Lehmann Maupin - Chrystie Street - October 30th, 2013 - December 28th, 2013 <p><strong>Lehmann Maupin is pleased to announce an exhibition of new work by Shirazeh Houshiary on view at 201 Chrystie Street from 30 October &ndash; 28 December 2013. </strong><br /> <br /> Shirazeh Houshiary&rsquo;s sixth solo show with Lehmann Maupin features a selection of new paintings that continue to demonstrate the artist&rsquo;s scale of effort and process which unites line, color, and light to shape a meditative visual experience. <em>The eye fell in love with the ear</em> will also include Houshiary&rsquo;s new animation <em>Dust</em> in addition to a series of anodized aluminum twisting helical sculptures. <strong>The artist will be present for an opening reception on Wednesday, 30 October from 6 to 8 PM.</strong><br /> <br /> Houshiary&rsquo;s work explores the very nature of existence. Through her chosen media of painting, sculpture and video, the artist exposes the nature of human experience to time and space, marked by a multitude of binary ideas which include transparency and opacity, presence and absence, and light and shadow. By exploring these polarities, Houshiary illuminates unique moments suspended in time that reveal and ignite qualities that are often unseen. In creating her works the artist draws inspiration from both established formal principles of Western painting and the rich traditions of Islamic art, however the aesthetic outcome is a new order that is foreign to both. Houshiary&rsquo;s paintings, which she describes as &ldquo;a thin skin,&rdquo; unravel concepts such as perception and cognition to suggest multiple visual planes that appear to pulse and undulate. Intricate markings resembling script are repeated and overlapped across each canvas to create luminous patterns that seem to morph into vapor. The depicted gashes and hazy abstract imagery of each work hint of an infinite dimension and create a space for both imagination and contemplation. Subsequently, the artist&rsquo;s intense concentration and process in realizing these works is then echoed in the contemplative gaze of the viewer.<br /> <br /> Houshiary&rsquo;s current body of work ambitiously expands her concepts in both scope and scale. <em>Echo</em>, the second diptych painting ever produced by the artist, offers an immersive experience to the viewer that evolves and is altered by their physical relationship to the painting. <br /> <br /> Her newly produced animated film entitled <em>Dust</em> further captures the unseen through a combination of moving images of a single candle burning. As soot from the flame accumulates and dissipates at varied time intervals, these visual transformations paired with a chant, moving as a wave from low to high and back to low, by soprano Olivia Salvadori convey the past, present and future simultaneously. <br /> <br /> Finally, a new trio of sculptures further explore the dichotomy and tension found in Houshiary&rsquo;s paintings and illustrates the visual vibration of her two-dimensional works in full form. <br /> <br /> Shirazeh Houshiary (b. 1955; Shiraz, Iran) moved to London in the mid 1970s, where she studied at the Chelsea School of Art, London and later at Cardiff College of Art. Houshiary quickly became established alongside a generation of sculptors working in Britain in the 1980s, including Anish Kapoor and Richard Deacon. A Turner Prize nominee in 1994, Houshiary has been included in solo and group exhibitions at the Broad Art Museum, Michigan (2013); Royal Academy of Arts, London (2012); The Dayton Art Institute, Ohio (2011); Museum of Modern Art, New York (2007); Tate Liverpool (2003); and Camden Arts Centre, London (1993), among others. In 2013, Houshiary&rsquo;s work was included in two collateral exhibitions at the 55th Venice Biennale, including a site-specific installation at La Torre di Porta Nuova, Arsenale Nord and <em>Glasstress 2013</em>. The artist&rsquo;s work was also recently featured in the Kiev Biennale (2012) and the 17th Biennale of Sydney (2010). <br /> <br /> Houshiary&rsquo;s work can be found in prestigious public collections including the British Council Collection, London; The Metropolitan Museum of Art, New York; Museum of Contemporary Art, Prato; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and Tate Modern, London, among others. <br /> <br /> Shirazeh Houshiary lives and works in London. <br /> </p> Fri, 11 Oct 2013 23:09:42 +0000 Cécile Trentini - The ArtQuilt Gallery - November 12th, 2013 - December 28th, 2013 <p>C&eacute;cile's career began as a painter and sculptor. She considers curiosity as the main driving force in her work. Her materials are often unconventional--such as cotton makeup pads, chocolate wrappers--joined with a unique aesthetic style.<br /> </p> Sun, 03 Nov 2013 02:33:42 +0000 Natasha Frisch - Gallery Brooklyn - November 23rd, 2013 - December 29th, 2013 <p>Natasha Frisch is an artist who employs modest materials, such as tracing paper and tape, to construct models and installations that closely approximate everyday objects and sites. Inspired by urban folklore, forgotten architecture and the natural world, Natasha&rsquo;s meticulous constructions aim to challenge our reading of the built environment, and interrogate the slippage between the real and the unreal.</p> <p>Natasha completed her Bachelor of Arts (Media Arts &ndash; Honours) at RMIT University, and since then has exhibited consistently both nationally and internationally. Her work has been presented in several solo exhibitions including, Somewhere In Between, Dianne Tanzer Gallery + Projects, 2010, Nasty Little Piece of Work, Next Wave Festival, 2004, and Living, Artbox at Sherman Galleries, 2001.</p> <p>Natasha&rsquo;s work has also been featured in numerous&nbsp;group shows, a selection of which includes Art Takes&nbsp;Times Square, Artist Wanted: New York, 2012,&nbsp;Paper Scissors Rock, Dianne Tanzer Gallery + Projects,&nbsp;2011, Grow Wild, Utopian Slumps, 2008, Elsewhere, Nellie Castan Gallery, 2007, Pleasures &amp; Terrors, Blindside, 2006, and Papercuts, Monash Museum of Art, 2003.</p> <p>During 2012 Natasha was an Artist in Residence at the Contemporary Artists Centre: Woodside in upstate New York and spent a month in Murrays Cottage as part of the Hill End Artist in Residency program in regional New South Wales.</p> <p>Natasha was recently an Artist in Residence with Woollahra Council in Sydney, Australia and is currently an Artist in Residence at The New York Art Residency and Studios (NARS) Foundation in Brooklyn, New York, a project assisted by the Copyright Agency&nbsp;Cultural Fund, American Australian Association, The Ian Potter Cultural Trust and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.</p> <p>2013 will also see her present her first solo international&nbsp;exhibition at Gallery Brooklyn in New York.</p> Mon, 02 Dec 2013 22:56:48 +0000 Dave Channon - Limner Gallery - December 6th, 2013 - December 29th, 2013 <p>It&rsquo;s Them or Us... And We are Them <br />Cringe in terror at the most invasive <br />destructive species on Earth</p> Mon, 16 Dec 2013 21:56:43 +0000 Group Show - NOoSPHERE - November 29th, 2013 - December 29th, 2013 <p style="text-align: justify;">In collaboration with <strong>NOoSPHERE Arts </strong>in New York, <strong>The National Association of Norwegian Sculptors</strong> (NBF) has organized an exhibition by 13 Norwegian artists working in 3D.&nbsp; In our opinion, this selection represents a cross-section of contemporary Norwegian sculpture, in terms of technique, content and the participants&rsquo; age distribution.</p> <p style="text-align: justify;"><strong>The National Association of Norwegian Sculptors</strong> has a long tradition and history. It was founded in 1948 to ensure professionalism in the process of commissioning public artwork for the erection of war monuments after World War II. The association has since remained a major political and cultural agent and promoter of Norwegian sculptors.&nbsp;</p> <p style="text-align: justify;">The association&rsquo;s membership has evolved from representing only traditional sculptors working primarily in stone, wood and bronze, to including all kinds of 3D media. The majority of professional Norwegian artists working in 3D are members of the association, which currently has a high level of activity.&nbsp; Through its self-initiated <strong><em>Sculpture Arena East</em></strong>project, the window gallery <strong><em>Project Room Carl Berner</em></strong> and further collaborations with art institutions at home and abroad, the association is a major producer of temporary exhibitions and projects in public spaces. <strong><em>The Norwegian Sculpture Biennial</em></strong> organized by the association is the major national sculpture event and has become an important platform for the contemporary art scene in the country. In addition, the association deals with the sale, rental and dissemination of 3D artwork and serves as a trade union for its members. In light of all of this, the association is at the very core of the community of Norwegian sculptors.&nbsp;&nbsp;</p> <p style="text-align: justify;"><br />The artists represented in <em>A Cool Wind Blows</em> were selected by an internal jury of professional peers comprised of <strong>&Aring;sil B&oslash;tun, Gisle Harr,</strong> and <strong>Reidar Kraugerud</strong>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The participating artists are <strong>Paul Brandt, Barbara Czapran, Helen Eriksen,</strong> <strong>H&aring;kon Anton Fager&aring;s, Sverre Hoel, Anlaug</strong> <strong>Jakobsen, Janne Kruse, Istvan Listez, Pierre Lionel Matte,</strong> <strong>Tonje Ramstad, Mari R&oslash;ysamb, Vigdis Storsveen , St&aring;le S&oslash;rensen</strong> and <strong>Lucie No&euml;l Thune</strong>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Spanning traditional and new media, the materials used range from wax, wood, stone, leather and bronze to video, photography, mixed media and ready-mades. There is also a greatly varying emphasis on concept versus craftsmanship. If this exhibition allows us to detect a current trend in contemporary Norwegian sculpture, it would be a reawakened interest in the concrete object and its material properties, where the poetry lies in the work itself and its physical dialogue with the surroundings and the audience.</p> <p style="text-align: justify;"><br /><br /><strong>H&aring;kon Anton Fager&aring;s's</strong> classically-executed marble figure and <strong>Tonje Ramstad's</strong> assembled objects constitute the two extremes in this exhibition, which is intended as a small sampling of the great diversity in the contemporary Norwegian sculpture scene.</p> <table width="775" border="0" cellspacing="0" cellpadding="0"> <tbody> <tr> <td valign="top" width="758"> <p style="text-align: justify;"><strong><br /> &nbsp; <br /> &nbsp; </strong></p> <p style="text-align: justify;"><strong><a href="" rel="nofollow">NO</a>oSPHERE Arts</strong> is a 501(c)(3) &nbsp; tax-exempt organization incorporated as a NYS nonprofit on 10.04.11 under the &nbsp; original name of .NO &ndash; Art from Elsewhere, Inc<br />&nbsp; <br />&nbsp; We are located at 251 East Houston Street, between Norfolk &amp; Suffolk &nbsp; Streets. The closest subway stop is Second Avenue &ndash; Lower East Side on</p> <p style="text-align: justify;">the &nbsp; F-train. Gallery hours are Tuesday through Sunday 12&ndash; 6pm. For more &nbsp; information or to arrange a viewing, please contact the gallery</p> <p style="text-align: justify;">manager &nbsp; at (646) 389-8229 or &nbsp; <strong><a href="" rel="nofollow"></a></strong></p> <p style="text-align: justify;"><strong>&nbsp;</strong></p> <p><strong><br /> &nbsp; <br /> &nbsp; </strong></p> &nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp; <table border="0" cellspacing="0" cellpadding="0"> <tbody> <tr> <td valign="top" width="733">&nbsp;&nbsp;&nbsp; <p><strong>&nbsp;</strong></p> &nbsp;&nbsp;&nbsp;</td> </tr> </tbody> </table> <p>&nbsp;</p> </td> <td valign="top" width="17"> <p><strong>&nbsp;</strong></p> <p align="center"><strong><br /> &nbsp; <br /> &nbsp; </strong></p> </td> </tr> </tbody> </table> Tue, 25 Mar 2014 17:38:34 +0000 Mary Cassatt, Edgar Degas, Édouard Manet, Jean Pillement, Benedetto Luti, John Russell, Rosalba Carriera - The Metropolitan Museum of Art - August 2nd, 2013 - December 29th, 2013 <p>With the 1929 bequest of Mrs. H. O. Havemeyer, the Metropolitan Museum acquired its first pastels&mdash;about twenty nineteenth-century works by Mary Cassatt, Edgar Degas, and &Eacute;douard Manet. For forty years, they were shown with our European and American paintings. It was not until 1956 that we were bequeathed a pastel by Jean Pillement (1728&ndash;1808). Between 1961 and 1975 we acquired a small group of works by John Russell (1745&ndash;1806), and there the matter stood until 2002, when the Metropolitan bought a pastel by the Venetian artist Rosalba Carriera (1673&ndash;1757). Since then we have purchased nearly a dozen others by Italian, French, British, German, and Danish artists. Most are portraits, and they are exhibited here with two vivid seascapes by Pillement from a private collection. Pastels are made from powdery substances that are fragile and subject to fading. In accordance with modern museum practice, they are exhibited in very low light or rotated to ensure their long-term preservation. This display is therefore a temporary extension of the new installation in the adjoining galleries for European Old Master paintings.</p> <p>Described by the great Salon critic and encyclopedist Dennis Diderot as no more than dust, pastel owes it distinctive velvety quality to its powdery surface, which reflects diffuse scattered light. Consisting of finely ground pigment and a white mineral extender moistened with a minute quantity of binder (such as oatmeal whey, mineral spirits, and gum tragacanth) rolled into sticks of color, pastels are made in a progression of tints and shades. Pastelists kept hundreds of such crayons on hand. The popularity of pastel&mdash;especially for portraiture&mdash;swept across Europe and Britain in the eighteenth century. Unlike today, such compositions were regarded as paintings. They were executed in vibrant colors on paper mounted on a wood strainer, elaborately framed with costly glass and on an intimate scale that suited the refined living spaces of the aristocracy and the haute bourgeoisie. These works have retained their original brilliance because the pastel medium does not contain resins and the surfaces of works in pastel were never varnished and rarely fixed, thereby precluding the darkening or yellowing that so often alters the hues of paintings in oil.</p> Mon, 05 Aug 2013 01:49:27 +0000 Michel Demanche - Causey Contemporary - November 7th, 2013 - December 31st, 2013 <p>Causey Contemporary is pleased to announce the opening of their November exhibition, featuring the mixed media and photographic works of artist Michel Demanche. The exhibition will feature the continuations of two projects by Ms. Demanche: <em>American Still </em>and <em>Tom &amp; Betty: Connect the Dots. </em>An opening reception is planned with the artist for November 7, 2013 from 6 p.m. - 9 p.m. as part of DUMBO 1st. Thursdays. The exhibition will then continue at the gallery's 111 Front St, Brooklyn location through December 31,2013.</p> <p><em>Americana Still </em></p> <p>Michel believes that how one receives a visual image can filter the person's memory. Increasingly with the use of a vast variety of digital apparatus the decisive moment often is captured but withheld or smashed into a visual stream that steals the ability of a viewer for contemplation. Most visuals are no longer captured to be presented in a private or semi-private setting of the salon, the gallery, family album, or gathering around the now obsolete transparency projector. Instead, small hand held digital delivery devices present not just the cherished icon of a loved one but a constant stream of imagery each held perhaps for 5 seconds, or at most 10 seconds building a narrative between each image.</p> <p>Americana Still pulls together, through presentation of digital device,the very ideas That michel is proposing as the new visual construct. Through the use of small devices the viewer is lured into a personal space while still occupying the public area in which the device remains fixed. Here the series of images create endless small associations and because of the element of the event presentation, a commitment to engage with the associations on the part of the viewer. This commitment is the new paradigm, the willingness to last through minutes of time waiting for the one image that will pull in that memory or feeling of connection to their past or anticipated future. Each sculpture is the vessel, the system of delivery allows that vessel to be more than mere façade it clashes the façade with the very personal moments with the imagery.</p> <p><em>Tom &amp; Betty: Connect the Dots </em></p> <p>Two very important events took place in Michel's life in 1978. First the birth of her only son, and second a gift of a children&rsquo;s reader from the early 1950&lsquo;s. Both incidents help build the basis for a developing philosophy toward life, and since her work is a reflection of her life, thus her art. It would take two years for her imagination to ruminate over both her son&rsquo;s developmental growth and the associated memories from childhood that the book often evoked, The resulting series were based on appropriation of children&rsquo;s images and suggested symbolism , Tom and Betty Learn to Read. Subsequently the ideas and visual stories have continued to grow.</p> <p>Michel's newest visit with Tom and Betty is now called Tom and Betty Connect the Dots. Now Tom and Betty must traverse the difficulty of constant visual association through imbedded metadata that can be just one dot that leads to another, to another, to another, all pulling together what appears as random pattern into a constructed understanding of any one image they wish to understand. No longer within our globally connected touch device world, do we have just a simple sentence to understand, and a simple image as an instructive illustration. We the viewer are often only given dots, bits, or perhaps bites. Connection does not necessarily lead to one simple understanding, Tom and Betty can only follow the path and see where it will .........&nbsp;</p> <p>Michel Demanche</p> <p>Native-born Texan Michel Demanche, currently a professor of art at the University of Maryland Eastern Shore, is known for a multi media manner of art visualization. Often her work is the result of stories that manifest into painting, mixed works on paper, or photography.</p> <p>For 15 years Michel was interested in the subject of eminent disaster, be it in the form of nightmares, storms, or man made destruction. However, Ms. Demanche&rsquo;s work from 2001-11 were predominately straight photographic works focusing on what man is doing to his environment. Works from her <em>Memento Mori </em>and <em>Tagged: Triage Mother Nature </em>have appeared in Unseen, at the Arc Gallery of the MOSI Museum in Tampa, Florida, as a billboard in Grand Rapids Michigan during ArtPrize 2010 and in Tagged an exhibition on art and biodiversity at the Ward Museum in Salisbury, Md.</p> <p>In addition to her photography exhibitions, Ms. Demanche has continued with her multi media works showcasing them most recently in Art Wars at the Salisbury University Art gallery and at the Mosley gallery at U.M.E.S.</p> <p>Ms. Demanche's art has found its way into many venues such as the Whitney Museum of American Art, The Houston Museum of Art, The Levinson Collection of Sheppard Pratt Institute, the Women&rsquo;s Museum and Franklin Furnace. Additionally, her photography won her the grand prize at the Florence Biennale in 2003 and a first place award in the national Holgapalooza competition.</p> Wed, 30 Oct 2013 20:53:48 +0000 Stik - Dorian Grey Gallery - December 12th, 2013 - December 31st, 2013 <p style="text-align: justify;"><span style="font-size: small;">Following successful shows in London and Tokyo, December 12th 2013 sees London street artist STIK&rsquo;s New York debut showcase at the Dorian Grey Gallery. This exhibition will feature the study works from a 50 foot high mural sited on East 9th Street at Avenue A, adjacent to Tompkins Square Park, across the street from the gallery. Created by once-homeless British street artist STIK on the corner of Avenue A and East 9th Street on Manhattan&rsquo;s Lower East Side, this deceptively simple stick figure raises one arm in a gesture of solidarity to the artists, activists and outsiders who occupied Tompkins Square over the years. </span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;"> The gallery exhibition is a showcase of the vibrant preparatory works that went into creating the mural. Canvas work, drawings, printed material and sculptural work in copper and granite bring depth to this site specific and visually arresting exhibition. </span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;"> The gallery will exclusively host STIK&rsquo;s long awaited print release, &lsquo;Liberty,&rsquo; and as well as the launch of the political journal, &lsquo;The Bottled Wasp Pocket Diary 2014&rsquo;, featuring STIK&rsquo;s cover art. </span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;"> &ldquo;Unless you&rsquo;ve been walking around London with your eyes closed you&rsquo;ll be familiar with street artist Stik&rdquo; - Time Out</span><br /><span style="font-size: small;">&nbsp;</span><br /><span style="font-size: small;"> &ldquo;One of the capital&rsquo;s most influential street artists&rdquo; &ndash;Evening Standard</span></p> Sat, 22 Feb 2014 15:55:31 +0000