ArtSlant - Openings & events en-us 40 Jean-Luc Moulène, Akram Zaatari - Dia Art Foundation - April 30th, 2012 6:30 PM - 8:30 PM <h3 class="subtitle_4">Akram Zaatari on Jean-Luc Moulène</h3> <div class="content_body dia-links"><b>Akram Zaatari</b> was born in 1966 in Saida, Lebanon. With a practice rooted deeply in the research of Middle Eastern photographic practices, Zaatari is interested in looking at the present through past photographic records. His work reflects on the shifting nature of borders and the production and circulation of images within the context of the current political divisions in the Middle East. Zaatari has participated in the Istanbul Biennale (2011); Torino Triennale (2008); 52nd Venice Biennale (2007); and Biennales of Gwangju, Sydney, and São Paolo (2006); as well as been exhibited in such international venues as Centre Georges Pompidou, Paris; Tate Modern, London; Munich Kunstverein; Haus der Kunst, Munich; and MUSAC, Leon. He is author of more than 40 videos, including <i>Nature Morte</i> (2008), <i>In This House</i> (2005), <i>This Day</i> (2003), and <i>All Is Well on the Border</i> (1997). Since 1999, Zaatari has been researching the photographic archive of Studio Shehrazade in Saida, Lebanon, studying, indexing, and presenting the work of the photographer Hashem el Madani (1928–) as a register of social relationships and of photographic practices. Zaatari is the co-founder of the Arab Image Foundation in Beirut, and lives and works in Beirut.</div> Sun, 01 Apr 2012 21:14:13 +0000 Nick van Woert, Marc Ganzglass, Rosy Keyser, Erin Shirreff, Larry Bamburg - Hauser & Wirth 69th Street New York - May 1st, 2012 6:00 PM - 8:00 PM <p>To Whom It May Concern:</p> <p>I am not a curator. I merely selected the five artists for this exhibition and left to them the decision of which artworks to present. These artists inspire me. Their artistic reality is full, expansive, and not contingent on the studio environment. After all, the studio is merely a place in which to record the experience of being an artist in the world. The studio is like a church, synagogue, mosque, temple – a space where an individual performs ‘faith’ even while one strives to be ‘faithful’ everywhere, all the time, with everyone. That constant striving, or ‘faithfulness,’ is no different than being an artist…No?</p> <p>Hauser &amp; Wirth’s gallery in New York has five rooms, and each participating artist has been given a room to use as he or she wishes. I neither suggested nor requested specific works for the show. My interest lies instead in the larger creative impulse that the six of us share and the way in which each one of us processes and reorders our life experience into formal strategies, according to our personal priorities. I believe those formal strategies develop as we systematically gain knowledge through the experience of life every day, and they become a language we use to communicate with each other and the larger world.</p> <p>Each of the artists here works in a way that takes into consideration death, memory, landscape, history, materiality, science, and anything else (from the exquisite whole of everything) that generates images and forms. Just as professional translators can provide many different people with the same information by translating English to German, German to Chinese, Chinese to Navajo, and Navajo to English, each artist in this exhibition deploys a different artistic language to discuss shared experiences that connect them. I suppose I, too, am a translator in this situation – someone who sees relationships between their concerns and recognizes traces of their work in his own. I mention this only to acknowledge a level of intimacy and depth of understanding of each one of these five artist’s practices. Of course I may not be right, but nonetheless intimate.</p> <p>Perhaps I can illustrate what I mean with this really dumb story:</p> <p>I went on a long walk to the delicatessen with my dachshund, Rainer. For every step I took, Rainer took 20, so he became very kaputt. Being the masochist that I am, I decided to share the burden and crawl alongside Rainer like a Neanderthal. Rainer thought I was being a wiener for making fun of him. So, I put him in my rucksack and waltzed home.</p> <p>Native English speakers understand this story because German vocabulary has melted into our language over time and created a shared sensibility. Similarly, each of the artists in this exhibition ‘speaks a different language’ that I nevertheless understand intuitively, that reverberates in my own practice by virtue of connections that have distant but powerful origins.</p> <p>During a conversation at his studio, Marc Ganzglass described an object he created to closely resemble a wheel. He said ‘It’s kinda like science on the back end.’ He was being funny but there is always a quiet insightfulness in Marc’s humor. Science is presumed to produce facts and reliable knowledge. But, paradoxically, scientific answers and explanations only serve to expose the limits of our knowledge and the vastness of the unknown. Science marks the frontier of the mysterious. In considering the form of an autonomous wheel and its relationship to the history of art and the contemporary dialogue of appropriation, Marc’s poignant humor is decidedly understated.</p> <p>In this line of inquiry science is not an afterthought but an infrastructure. Being an artist today is not so different from being an archaeologist; the artist sifts through the endless array of particles in our environment, the images, forms, materials, myths, blood, and guts. Perhaps what Marc Ganzglass was talking about at his studio is the mystery that an object reveals. The object – what would commonly be referred to as a wheel – draws the viewer to meditate upon a place we have already been, highlighting the entirety of human history and evolution. It is not the duty of the wheel to give answers to all of the questions this meditation raises, but rather to inspire us to consider the meaning of this wheel.</p> <p>I left Marc’s studio knowing this phrase – ‘science on the back end’ – should be the title of the show I was invited to organize at Hauser &amp; Wirth. Marc’s statement both suggested something important about science and described something true about the process of making art; it illuminated for me the similarities between art and science. Webster’s Dictionary defines ‘science’ as the ‘systematic knowledge of the physical or material world gained through observation and experimentation.’ This is the perfect descriptor of what art is. And what is an artist if not one who is developing systematic knowledge gained through experiment and observation of the physical or material world? Well, there is more of course, there is always more.</p> <p>I will mention that all wheels ask the same questions of their design in relationship to their utility and context. Common wisdom holds that it is futile and redundant to reinvent the wheel. But this is what art needs, to be destroyed and rebuilt without referring to an operating manual. There is no reinvention, only innovation. Our world has only new ideas that beg our participation. It is our involvement that creates never-ending meanings, different answers to timeless questions.</p> <p>Thanks for your time,</p> <p>Matthew Day Jackson <br /> From a hotel in Frankfurt unable to sleep<br /> April 9, 2012</p> Tue, 17 Apr 2012 03:40:29 +0000 Jay Batlle - Nyehaus - May 1st, 2012 6:00 PM - 9:00 PM <table class="uiGrid mvm" cellspacing="0" cellpadding="0"> <tbody> <tr> <td class="vTop"> <div class="text_exposed_root text_exposed" id="id_4f96dce76891c6c39459225"><br class="Apple-interchange-newline" />April 15th, 2012<br /><br />Immediate Release<br /><br />On May 1st, Jay Batlle will present a group of his restaurant stationery drawings and debut a sculpture titled “No Beginner’s Luck" for Nyehaus' new garden project space.<br /><br />At the opening Batlle will roast a thousand oysters as a work titled "Please Help Yourself." It will be a Southern style oyster roast, with all the accoutrements. <br /><br />Available at the opening will be the artist's 90-page color catalog Free Lunch, produced but the Museum of Fine Art Santiago Chile, with an interview by David Coggins. <br /><br />Press and CV<br /><br />JAY BATLLE's 'Epicurean Paintings, Drawings, and Sculptures' take the habits of the gourmet as a source of inspiration and social commentary.<br /><br />Batlle belongs to a generation of American artists who have responded to the precepts of minimalism and conceptualism. These artists aim to recreate the image and the social process in art, providing a channel for imaginary and everyday experience and forcing academic conventions to confront mass culture. The artist asks: What is the true meaning of art, getting to the top of the social economic ladder or having enough to eat?<br /><br />Born in the USA in 1976, Batlle has a Bachelor of Arts degree from UCLA and a fellowship from de Ateliers, Amsterdam, Netherlands. His work has been exhibited in galleries and museums in the U.S., Germany, France, Dubai, Holland, Italy, Chile, and Britain.<br /><br />His work has appeared in New York at Exit Art, The Chelsea Museum of Art, and The Dorsky Gallery, at the Ausstellungshalle Zeitgenössische Kunst in Münster Germany, and at the National Museum of Fine Arts, Santiago de Chile.</div> </td> </tr> </tbody> </table> Tue, 24 Apr 2012 17:06:19 +0000 Marc Desgrandchamps - Zürcher Studio - May 1st, 2012 6:00 PM - 8:00 PM <p>Zürcher Studio is pleased to announce a solo exhibition of French painter Marc Desgrandchamps most recent works. It will be his second solo show here in New York at Zürcher. Marc Desgrandchamps has been shipping an oeuvre whose complex compositions comprise scenes witnessed, personal memories and quotations from painting and the cinema. His pictures are like time-fragments, snatches of life saved from oblivion in which interplay of transparency and colors, with the presence of unexpected objects and situations. The picture thus becomes the point of an eclectic convergence of the observed and the known, of memory and the imagination.</p> <p>Desgrandchamps’ compositional inspiration comes from pictures found in magazines, things that had caught his eye in his own photographs, and stills from movies ; Stanley Kramer’s <i>On the Beach</i>, Michaelangelo Antonioni’s <i>Blow Up</i>, Chris Marker’s <i>La Jetee</i>, Ingmar Bergman’s <i>The Silence</i> and Alain Resnais’s <i> Je t’aime je t’aime</i>. This influence can be seen in the artist’s use of the polyptych, and his description of the space between the canvases as “clean cuts,” an expression that makes us think of the term “cut” in movie-making. He terms these finds “visual stimuli” and uses them as readymades to be appropriated. The outcome of this way of working is distancing and subsequent objectivisation : these pictures are not literal transcriptions, but “a jumbled, jerky, fragmented perception of reality.”</p> <p>Despite its seeming coolness, Marc Desgrandchamps’ painting abounds in elements deeply rooted in his unconscious. Sometimes totally unrelated objects are found together in the same picture. Each picture is made up of successive layers, a technique he enhances by his use of transparency. Free of all linear narrative, each painting is like a light-sensitive plate, with autobiographical moments rising to the surface under the influences of an involuntary---perhaps Proustian---memory, what Desgrandchamps calls “the partial survival of a phenomenon after its caused has vanished.” <i>Bernard Zürcher</i></p> <p><strong>Exhibition catalogue</strong> : <i>Marc Desgrandchamps</i>, Essay by Barry Schwabsky, published by Zurcher Studio, NY, 2012. <i>See text below</i></p> <p><strong>Barry SCHWABSKY</strong><br /> <strong> <i>Painting, Tertium Quid</i> </strong></p> <p>There is an art form at the mid-point between sculpture and cinema and its name is painting. Or is it an art form ? Perhaps it is only a way-station between the other two. Consider : On the one hand, an art of fixity, solidity, permanence—but also an immemorial art, an art that belongs to the past ; on the other, an art of movement, immateriality, transience, and therefore a quintessentially modern (and quintessentially technical) art. A purist would surely be able to argue that no third position is needed or even possible : Tertium non datur. That’s logic. But does art follow this logic, or does it require—as I would suggest—a certain tactical irrationality, a way of unexpectedly disrupting the given dichotomy using the force of surprise ? What’s important, in any case, is that the self-evidence (and the self-evident importance) of the idea of painting is undone—so that painting has a chance of becoming something else, of regaining potential.</p> <p>In any case it’s telling how often commentators on Desgrandchamps cite sculpture or, more specifically, classical statuary, in order to convey some aspects of his painting. “Even in swimwear,” writes Catherine Millet of his figures, “the bodies have the nobility of statues.” “Some of his women have a monumental bulkiness to recall Maillol,” adds David Cohen. Yes, and, “Like statuary…the people in Marc Desgrandchamps’ paintings always have something strange or old-fashioned about them,” notes Frank Schmidt. I could go on. The point is—and it is hard to disagree—that the conception of the human figure in these paintings does not emerge primarily from the tradition of painting, or even from photography, though it is an ineluctable paradigm for any sort of perception in the modern world and a medium of which Desgrandchamps readily avails himself in the making of his paintings, but from sculpture, and above all that of the classical tradition (of which Maillol, of course, was one of the last great exponents). Sculpture : This is undoubtedly above all the art that, as Hegel said, “considered in its highest vocation, is and remains for us a thing of the past.” That vocation, as the philosopher understood it, was never one consecrated to pure aesthetics—it was a religious task of representing the immortal.</p> <p>As for cinema, it is already being foreshadowed, certainly, when Millet invokes “the kineticism of the Futurists”—that charmingly naïve attempt to approximate in paint the effect of cinema—or when Jean-Pierre Bordaz recalls “the breakdown of movement as suggested by Muybridge”—whose studies of human and animal motion were, of course, precursors to film. More explicitly, Schmidt writes that Desgrandchamps’ “impressive mnemonic spaces are by all means comparable to the epic power of the cinema,” while in the catalogue to the artist’s 2011 exhibition at the Musée d’Art moderne de la Ville de Paris, Cohen has devoted an important essay to the explication of the significance of film for Desgrandchamps’ work, from which here I will only borrow a quotation from the painter himself, according to which his paintings are like “these movies when the scenery is in motion in the background while the characters stand still on the production set.”</p> <p>I cite my predecessors in the contemplation of Desgrandchamps’ work mainly to reassure myself that my own perceptions are not entirely chimerical—a common hazard for art critics, after all. These monumental women who populate his canvases, who inhabit them with such strange gravity and self-possession : I am not wrong, after all, to see them as statues of themselves, sightless and silent as marble, despite the fact that the artist paints them with such evanescence. And no, this tendency to translate the body into paint by way of sculpture is not a matter of pastiche, as in those jokey Picassos circa 1920, where the point seems to be something about acknowledging the value of what others were calling a return to order or a metaphysical classicism after the chaos of the war, while at the same time admitting its absurdity. Desgrandchamps may be a sort of classicist but if so, his classicism is lodged not in any ideology of tradition or of return but simply in certain telling details in his paintings—for instance in the way a foot comes to rest on the ground, which in his paintings shows an understanding of anatomy, of how the body handles its weight, a factor hardly recognized by present-day representation which considers everything it takes on as a weightless image. This implicit sense of the weight of real things, as opposed to the insubstantial existence of simulacra, images, meanings, seems to me to be at the heart of what is classical in Desgrandchamps’ work—in its affinity for the sculptural—and it is what accounts for the fact that his paintings are ever so lightly tinged with a sense of the tragic.<br /> But there is no classicism in cinema. As an art of movement, it contradicts the faith in solidity ad permanence that characterizes the tradition of sculpture. There are genuine tactile values in photography but in cinema these are swept away as the single image disappears in an unstoppable torrent of them. Every moment is past as soon as it has appears and the transience of appearances reigns supreme—unless of course it is the last one, suddenly fixed as the film announces its end. This anti-classicism, too, is part of the DNA of Desgrandchamps’ paintings. This is most evident, of course, in those multi-canvas works, such as the extraordinary diptych in the present exhibition, which tempt us to see the segments as functioning something like the frames in a film strip—as representing distinct moments in succession. In the particular work at hand here (Desgrandchamps frustrates the critic by making all his paintings untitled) we see, on the left, a beach scene : a sort of tent or canopy has been set up, of which just a corner can be seen, but there is no one around to enjoy the sand and cloudless sky ; oddly, a couple of darkish gray blotches float across the surface of the image. These seem to be something like those “floaters” or entoptic phenomena one may sometimes notice, shadows cast on the retina by minute imperfections in the vitreous humor of the eye itself—but still more, perhaps, they might remind us of smudges on the lens of a camera ; in either case, they can be taken as reminders that neither organic nor technically mediated vision is necessarily completely transparent : we see whatever it is that allows us to see to the extent that it interferes with its own workings. On the right-hand canvas, in any case, we are shown the same scene, but the point of view—I almost said, the camera—has shifted slightly, has moved a few steps over the right, so that we see a little less of the canopy. Revealed now on the right of the scene are an object –probably a trash can—on the sand in the distance, nearer the water, and (on the extreme right edge of the painting) what seems to be a bit of some sort of wooden construction, a hut or the like. But of course this shift in viewpoint is not the most immediately noticeable change : now the scene has by joined by two figures. To the right, in the foreground a boy in black trunks and carrying a white towel seems to be heading toward the shelter from the sun ; meanwhile, a little further back, and at the center of the canvas, a woman—maternal in her heavy tread, covered up in a sun dress and dark glasses—walks in the opposite direction. But she is not necessarily walking to meet the boy ; in fact, rather than looking at him, though she seems to be walking in his direction, she has turned her shaded gaze away, looking off toward the sea in the background. One might almost think, in fact, that woman and boy do not really occupy the same frame, the same space after all, but that they have been collaged together, not necessarily from different sources, but from different moments in the same sequence, so that in fact this painting would present three rather than as it first seems two moments simultaneously. Curiously, the entoptic phenomena seem to have diminished here : there is just one blotch, and smaller than in the left panel. And the woman and boy seem to have little more reality for each other than these entoptic splotches do for either.</p> <p>So we are tempted, as I have said, to imagine a quasi-cinematic sequencing here, to concoct a little anecdote, however barren, to explain this juxtaposition—to imagine, say, that the women was under the canopy, just out of our sight in the left-hand canvas, but has now left it as the boy—her son ?—approaches, perhaps coming from the hut or whatever it is that shadows the periphery of the painting. But if this sequence, simply by being a sequence, makes us think of a film, well, that is not the only thing that does. The way the painter uses effects of transparency reinforces this association. Look at how the woman’s right leg seems to be captured in mid-step : this is not the blur of motion such as we see it in, say, the paintings of Francis Bacon, but an effect of evanescence that seems to imply that movement is already part of the essence of the flesh and not something added to it—a movement that is a kind of tremor or flickering within things and not a change of state that need be captured in a sequence.</p> <p>As for the significance of this sequence, it must lie in its very banality. If these are moments from a film, it is probably a home movie, one of those useless things made to say nothing more than, “Look ! We were at the beach !” And yet as a painting, it is anything but banal. I would not hesitate, in fact, to speak of its grandeur. Part of what accounts for that is the way it holds together in tension these two seemingly irreconcilable artistic paradigms that I have referred to as sculpture and cinema—though I could just as well (as I hope I’ve made clear) call them classicism and modernity, permanence and transience, or even, perhaps, divinity and banality. Modernity, as Baudelaire famously wrote, “is the transient, the fleeting, the contingent ; it is one half of art, the other being the eternal and immovable.” What Desgrandchamps’ unsettling art tells us—in opposition to so many who have declared that this is no longer possible—is that there still might be a way, in the early twenty-first century to create the painting of modern life : and this on condition that you do not assume that there is an aesthetic paradigm under the name of painting, but rather that painting is the place where you can somehow hold in solution these two other paradigms—let’s call them now, following Baudelaire, the contingent and the eternal.</p> <p>To say this, I fear, is only to have come to the point at which a proper consideration of this other art—this third thing, this “painting” that is not a thing in itself but a hybrid—is ready to begin. But that’s already something. And then, for now, the paintings themselves are already the most adequate reading of what this eternally contingent, contingently eternal art might be. Time to turn to them.</p> Mon, 30 Apr 2012 21:57:46 +0000 Bruno Cals - 1500 Gallery - May 2nd, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">1500 Gallery is pleased to present <i>Horizons</i>, an exhibition of color photographs by Brazilian photographer <b>Bruno Cals</b>.  The exhibition consists of new images from the same body of work that Cals exhibited in his first ever solo exhibition, which was on view at 1500 Gallery in 2010.  The exhibition consists of 9 images at 31.5" x 47.2" (80 x 120 cm) and 1 image at 62.2" x 93.3" (158 x 237 cm).  <i>Horizons</i> was curated by <b>Boris Kossoy</b>, a prominent Brazilian photography curator and critic, as well as an accomplished artist (with works present in MoMA and the Met, among other important collections).  <i>Horizons</i> will be on view from <b>May 2 – September 28, 2012</b>.  There will be a reception for the artist and the curator at 1500 Gallery on <b>Wednesday</b><b>, May 2, 6-8 pm</b>.</p> <p style="text-align: justify;">In the words of the curator, Boris Kossoy: “In his <i>Horizons</i> work, Bruno Cals presents a reflection on space and time: landscapes from other worlds and possibly extinct (or still unborn?) civilizations, not necessarily human. How do our minds react to the unknown?  To empty landscapes, without historical clues? […] Cals shows us mostly places that are apparently abandoned; places without any trace of humans or other forms of life; a few exceptions, however, surprise us for containing possible high-tech landscapes that could imply the presence of advanced worlds: space stations, artificial cities? […] In these images we search for the air, we hear the silence. We reflect on infinite distances and immemorial times. […] This is the journey of a photographer who finds, in the appearance of things, only the starting point.”</p> <h2 style="text-align: justify;"><b>About Bruno Cals</b></h2> <p style="text-align: justify;">Bruno Cals was born in Rio de Janeiro in 1967.  At age 19, Cals moved to Paris and began a successful career as a fashion model.  At age 26, he decided that he wanted to be a photographer and returned to Brazil where he began shooting professionally.  Initially a fashion photographer, Cals worked for Vogue and Elle and Visionaire.  Since then, he has become a successful advertising photographer, working for the largest advertising agencies in Brazil.  He has won several awards, including three at the Cannes Lions International Advertising Festival.<b></b></p> <h2 style="text-align: justify;"><b>About Boris Kossoy</b></h2> <p style="text-align: justify;">Boris Kossoy has been dedicated to photography since a very young age.  He has worked as a professional photographer in journalism, advertising and portraiture, while in parallel pursuing an artistic career that continues to pursue to this day.  With a degree in architecture from Universidade Mackenzie (São Paulo, 1965) and a Masters and PhD from Escola de Sociologia e Política de São Paulo (1979),  Kossoy has been a full professor at the University of Sao Paulo’s School of Communication and Arts since the 1980’s. Kossoy is a member of the curatorial board of Coleção Pirelli-MASP de Fotografia (Sao Paulo Museum of Art) and coordinator of the Núcleo de Estudos Interdisciplinares de Imagem e Memória (University of Sao Paulo).  His personal artistic works are present in the permanent collections of: The Museum of Modern Art (MoMA), Bibliothèque Nationale (Paris), The Metropolitan Museum of Art, Centro de la Imagen (Mexico), the Sao Paulo Museum of Modern Art (MAM), and the Sao Paulo Museum of Art (MASP), among other institutions.  As a historian and researcher, he is best known for his work researching the history of photography in Brazil and Latin America, and to theoretical studies of photographic expression, besides curatorial and consultancy activities.  His bibliography is wide, published both in Brazil as well as internationally. Noteworthy books by Kossoy include: <i>Viagem pelo Fantástico</i> (Kosmos, 1971); <i>Hercules Florence: a Descoberta Isolada da Fotografia no Brasil</i> (Edusp, 2006); <i>São Paulo, 1900</i> (Kosmos, 1988); <i>Fotografia e História</i> (Ateliê, 2001); <i>Realidades e Ficções na Trama Fotográfica</i> (Ateliê, 1999); <i>Dicionário Histórico-Fotográfico Brasileiro</i> (Instituto Moreira Salles, 2002); and <i>Boris Kossoy, Fotógrafo</i> (Cosac Naify, 2010), among others.  In 1984 he was awarded the Chevalier de l’Ordre des Arts et des Lettres by the French Ministry of Culture with respect to his overall body of work.<b></b></p> <h2 style="text-align: justify;"><b>About 1500 Gallery</b></h2> <p style="text-align: justify;">1500 Gallery is located in New York City’s West Chelsea gallery district and specializes in Brazilian photography – the first gallery in the world with this explicit focus. 1500 represents several of the most recognized Brazilian art photographers, both emerging and established, with works present in major collections in Brazil and worldwide. 8 of 1500’s photographers are present in the Sao Paulo Museum of Art’s collection of photography. 1500 was founded in 2010 by Alexandre Bueno de Moraes and Andrew S. Klug. For more information, visit</p> <p></p> <p></p> <p></p> Mon, 06 Aug 2012 22:09:54 +0000 Julie Tremblay - 571 Projects - May 2nd, 2012 6:30 PM - 8:00 PM <p>Join us as artist Julie Tremblay discusses the diverse inspirations and processes behind the work on view at 571 Projects.</p> Wed, 18 Apr 2012 21:01:29 +0000 Group Show - Anna Kustera - May 2nd, 2012 6:00 PM - 8:00 PM <p>The intimate unfolds into the sublime. Dyspeptic utopia of philandering fenetres. The distinction between quotidian opposites is synthesized into unitarian pairs of disturbing dyads, with a touch of leavening humor to boot. Artists inhabit and feed fantasy-lands of compelling worlds within worlds, and offer them to us.<br /> </p> Tue, 01 May 2012 23:45:20 +0000 Jutta Koether - Bortolami Gallery - May 2nd, 2012 6:00 PM - 8:00 PM <p>Bortolami Gallery is pleased to present Jutta Koether's first exhibition with the gallery, <em>The Fifth Season</em>, from May 2nd to June 16th with a reception for the artist on May 2nd from 6 to 8pm. <em>The Fifth Season</em> will include seven large-scale paintings and one small-scale painting.  Integral to the exhibition is a second installment of her work <em>The Seasons</em>, which is currently on view at The Whitney Biennial, the remaining three paintings incorporate garland imagery. There will be a particular "ground plane" completing the arrangement of works in the gallery.</p> <p>In her series Koether updates iconic paintings with a visual vocabulary of erratic, graffiti-like lines in evocative hues of pink, blood-red tones and metallic paint. The activity on the ground creates a heightened experience for the viewer, providing an alternate, almost bucolic setting while viewing two-dimensional landscape-like paintings. <em>The Seasons</em> and <em>The Fifth Season</em> concurrently on show in New York invite the viewers to compare the differences between the installation at the gallery and at the museum, as well as the ways we perceive the seemingly similar bodies of work. Both exhibitions reference the seventeenth century painter Nicolas Poussin's <em>The Four Seasons</em>, which illustrates the seasons with classical landscapes and biblical imagery. Koether is interested in how the materiality and context in which a work is displayed affects viewers' responses and inferences.</p> <p>Another central theme to the exhibition is the "Mad Garland," which references the recurrent garland motif in art history, particularly in ancient Roman wall paintings depicting Dionysian performances. Koether includes imagery of garlands to highlight the performance aspect of painting and to illustrate a decorative element that has accumulated various symbolic meanings over time. On Saturday May 5th Koether's "acts" will take place at the gallery from 6-9pm. The artist considers the relationship between painting and performance as mutual and dialectic, where the process of painting enables performance and vice versa. </p> <p>Jutta Koether (b. 1958) is a New York/Berlin artist.</p> Fri, 20 Apr 2012 05:33:14 +0000 Group Show - BronxArtSpace - May 2nd, 2012 5:00 PM - 9:00 PM <p><img src="webkit-fake-url://138053EC-68E3-48B6-837B-129793E50C7D/image.tiff" alt="" /></p> Mon, 16 Feb 2015 22:31:23 +0000 Liam Gillick - Casey Kaplan Gallery - May 2nd, 2012 6:00 PM - 8:00 PM <p>Casey Kaplan is pleased to announce <em>Scorpion and und et Felix</em>, an exhibition of new works by Liam Gillick (b. 1964, Aylesbury, UK).</p> <p>The exhibition takes its title from an early unpublished manuscript of a comedic novel by Karl Marx, <span style="text-decoration: underline;">Scorpion and Felix</span>, in which three characters Merten, the tailor; Scorpion, his son; and Felix, his chief apprentice, engage in a satirical narrative that abstractly references irresolvable philosophical polemics. In one chapter titled, <em>Philological Brooding</em>, Marx etymologically references himself within the origins of Merten’s name. At the end of the fragmented narrative (only pieces of the text survive today and much of it is thought to have been burned by Marx himself), Merten attempts to save his dog, Boniface, from a miserable death by constipation - a fate that Merten compares to the agony of Boniface’s inability to speak and to write his own thoughts and reflections. Merten cries out in the last line,"O admirable victim of profundity! O pious <em>constipation!</em>"</p> <p>Incomplete, and therefore only open to a partial reading or misunderstanding, the novel is an entryway into Liam Gillick’s exhibition and practice; its final point also open to interpretation as a self-deprecating, comedic reflection on the archetypal struggles of all artists, writers, filmmakers, poets, and others. Gillick’s practice is a divergent one (including sculpture, writing, architectural and graphic design, film, and music) that resists methodological boundaries and constraints, and shows a fondness for discursiveness, distractions, and evasive tactics.</p> <p>Since the late 1980’s, Gillick has focused on production rather than consumption, examining how the built world carries traces of social, political and economic systems. Anticipating a forthcoming survey of Gillick’s work from the 1990’s at the Hessel Museum of Art, Annadale-on-Hudson, <em>Scorpion and und et Felix</em> continues a series of floor mounted rail sculptures that he began in 1988. Rails are typically a functional form that provide support or alternatively limit access to a space. Here, they are placed on the floor and at obscure heights on the walls, questioning their function (or nonfunction) to create a linear framework for the viewer’s movement through the first two rooms of the gallery. In the third room, Gillick presents new, monochromatic L-shape forms that also traverse the floor and the wall. Reminiscent of office cubicles, barriers, waiting areas and processes of renovation, they operate as semi-autonomous abstractions and reiterate Gillick’s interest in the legacy of “applied modernism”, the two way movement between utilitarian design and modernist art and architecture.</p> <p>Three large-scale graphic works derived from medieval woodcuts confront the implied contemporary vernacular of Gillick’s wall-based and freestanding structures. Previously presented in past exhibitions as posters and graphics, the vinyl wall-drawings show a character spinning yarn and two dogs. Together, the works in the show pursue logico-formal connections in an ahistorical narrative about thoughts and material.</p> <p>Liam Gillick (Born 1964, Aylesbury, United Kingdom) lives and works in New York.  A survey of the artist’s projects and installations from the 1990s, entitled <em>Liam Gillick: From 199A-199B</em>, curated by Tom Eccles, will open on June 23rd at the Hessel Museum of Art, Annadale-on-Hudson, New York. Gillick represented Germany at the 53rd Venice Biennale, 2009.  Past solo exhibitions include: <em>Liam Gillick: One Long Walk – Two Short Piers</em>, Kunst- und Ausstellungshalle der Bundesrepublik, Deutschland (2009) and the travelling retrospective <em>Three Perspectives and a Short Scenario</em>, Kunsthalle, Zürich, organized by Beatrix Ruf (2008), Witte de With, Rotterdam, organized by Nicolaus Schafhausen (2008), Museum of Contemporary Art, Chicago, organized by Dominic Molon (2009). Liam Gillick publishes texts that function in parallel to his artwork including: <em>Proxemics (Selected writing 1988-2006), </em>JRP-Ringier (2007); <em>Factories in the Snow </em>by Lilian Haberer, JRP-Ringier (2007); <em>Meaning Liam Gillick</em>, MIT Press (2009); and <em>Allbooks</em>, Book Works, London (2009).</p> Fri, 20 Apr 2012 03:47:03 +0000 VERONICA FLORES - CREON - May 2nd, 2012 6:00 PM - 9:00 AM <p>“A noble man compares and estimates himself by an idea which is higher than himself; and a  vulgar man, by one lower than himself.  The one produces aspiration; the other ambition.”  Marcus Aurelius</p> <p>Flores, a global citizen, has studied in Strasbourg, Guadalajara, London, and New York City.  Her work has been shown in Copenhagen, Mexico City, and recently this February in Guadalajara at the Museo de la Ciudad.  CREON is pleased to present, WE THE PEOPLE, her first solo exhibition in New York City.</p> <p>WE THE PEOPLE, is an installation and interactive exhibition exploring our collective personal roles, and the choices we make, in our communities and countries.  Are your intentions, as Aurelius pointed out, noble or vulgar?  Are we conscious of our choices and intentions, or blithely unaware?  Although Flores proposes some answers based on her own observations, she raises some interesting and very timely questions.</p> <p>Humans, as social beings, have been trained and domesticated from the beginning of our existence.  With good intentions, this domestication has been transmitted from generation to generation.  Through this ever expanding process we learn to play roles in response to the situations we encounter.  Have we kept sight of right and wrong/correct and incorrect – are we even aware of the situations we are in and the roles we are playing?</p> <p></p> Wed, 18 Apr 2012 17:58:11 +0000 Neil Gall - David Nolan Gallery - May 2nd, 2012 6:00 PM - 8:00 PM <p>David Nolan Gallery is pleased to announce the opening of the second New York solo exhibition of the British artist, Neil Gall (b. 1967). The show will feature recent drawings and paintings.<br /> <br /> Gall’s works refer to art history and vernacular culture, from English neo-romanticism and contemporary photography to science fiction and popular music. They are sublimely beautiful, painted and drawn in luscious hues and in startling detail. His virtuosity elevates the humble nature of the models upon which the images are based. Ping-pong balls taped together become monumental, anthropomorphized figures reminiscent of Hans Bellmer’s famous <i>Doll</i> sculptures. A cardboard carton becomes an awkwardly elegant totem. Wires and balls of clay metamorphose into fearsome prehistoric or extraterrestrial creatures. <br /> <br /> Although his relationship with his models is familiar, like that of old friends, Gall sometimes distances himself by taking photographs of them. Gall collages these photographs with bits of canvases torn from old found paintings, then paints or draws the resulting fractured images. Rather than giving in to traditional portrait or landscape compositions, the paintings of collages give the models yet another life, abstracted but still recognizable, in which the parts speak for the whole. <br /> <br /> Gall unveils the magic in these everyday objects, transforming them into surreal idols of material culture. These models appear again and again in the paintings and drawings, each time approached from a different perspective and gaze like Cézanne did with Mont St. Victoire, or Morandi with his bottles and boxes. While postmodern art discourse privileges the deconstructive analysis of the viewer’s gaze, Gall’s project returns to the romantic idea of the artist’s eye as he reconstructs his enchanted world with a tinge of ironic humor.<br /> <br /> Neil Gall was born in Aberdeen, Scotland, and currently lives in London. He received his BA in Painting at Gray’s School of Art and then attended Slade School of Art in London in 1991. His art has garnered him numerous awards in Great Britain, and his work is featured in prominent international private collections. <br /> <br /> BOOK SIGNING (in conjunction with Frieze New York)<br /> Saturday, May 5 from 5-7 pm<br /> Neil Gall will be present to sign copies of his new monograph, <i>Works: 2007-2011</i>, published by Hatje Cantz.</p> Sat, 14 Apr 2012 23:21:40 +0000 Tod Seelie, Rosalie Knox, Walter Wlodarczyk, H.E.R., Rebecca Smeyne, Colin Michael Simmons - Dixon Place - May 2nd, 2012 9:00 PM - 11:00 PM <p>Dixon Place is pleased to introduce its new in-house exhibition space, The Gallery at Dixon Place.  The gallery’s inaugural show, HOTSHOTS, opens Wednesday, May 2nd, and features six photographers who journey where no lens is safe to bring you all of the blood, guts and glitter of live rock 'n' roll.</p> <p>The group exhibition, curated by Jacquelyn Gallo, focuses on the theatrics and spectacle of live performance, and is presented in conjunction with Dixon Place’s show The Talking Band’s: The Peripherals, a rock musical opening May 3 (   </p> <p>Exhibition on view May 2 - June 2, 2012, Mon - Sat 6pm - midnight<br />For press inquiries contact Jacquelyn Gallo 239.691.5880<br /><br />Featured Artists <br /><br />H.E.R. <br /><br /><br />Rosalie Knox<br /><br /><br />Tod Seelie<br /><br /><br />Colin Michael Simmons<br /><br /><br />Rebecca Smeyne <br /><br /><br />Walter Wlodarczyk <br /></p> Thu, 02 May 2013 10:15:10 +0000 Pablo Picasso, Françoise Gilot - Gagosian Gallery - 980 Madison Ave. - May 2nd, 2012 6:00 PM - 8:00 PM <p><em>Everybody has the same energy potential. The average person wastes his in a dozen little ways. I bring mine to bear on one thing only: my paintings, and everything else is sacrificed to it...myself included.   </em><br />—Pablo Picasso</p> <p style="text-align: justify;"><em>You see, for me a painting is a dramatic action in the course of which the reality finds itself split apart. For me, that dramatic action takes precedence over all other considerations. The pure plastic act is only secondary as far as I'm concerned. What counts is the drama of that plastic art, the moment at which the universe comes out of itself and meets its own destruction.  </em><br /> —Françoise Gilot</p> <p style="text-align: justify;">Gagosian Gallery is pleased to present “Picasso and Françoise Gilot: Paris–Vallauris 1943–1953,” the fourth major exhibition in an ongoing series on the life and work of Pablo Picasso, following the critical and popular success of “Picasso: Mosqueteros” (2009), “Picasso: The Mediterranean Years” (2010), and “Picasso and Marie-Thérèse: L’amour fou” (2011).  The exhibition includes many important loans from museums, including the Museum of Modern Art, New York and the Israel Museum, as well as from private lenders.</p> <p style="text-align: justify;">This exhibition is a departure from its precedents in that it has been conceived as a visual and conceptual dialogue between the art of Picasso and the art of Françoise Gilot, his young muse and lover during the period 1943–53. The result of an active collaboration between Gilot and Picasso’s biographer John Richardson, assisted by Gagosian director Valentina Castellani, “Picasso and Françoise Gilot” celebrates the full breadth and energy of Picasso’s innovations during these post-war years, as well as presenting Gilot’s paintings alongside his marvellously innovative depictions of her and their family life. It is the first time that their work has been exhibited together—that the painterly dialogue between the fascinated mature male artist and the self-possessed young female artist can be retraced and explored.</p> <p style="text-align: justify;">The years that Picasso spent with Gilot represented an era of great change: Europe was emerging from WWII with a pronounced political dedication to peace; and Picasso was experiencing the joy of a new partner and family, with the births of Claude and Paloma. He also moved from Paris to his first permanent residence in the south of France at Vallauris. It was a period of transformation in his paintings that coincided with great inventiveness in a range of new mediums including lithography, sculpture, and ceramics. He announced Gilot’s presence as his muse in nuanced, romantic paintings such as <em>Femme assise</em> (1946), <em>Femme au collier jaune</em> (1946), and <em>Femme dessinant (Françoise)</em> (1951). The exhibition includes four variations of the iconic <em>La femme-fleur</em>. He crafted radical sculptural assemblages, such as the<em> Femme portant un enfant </em>(1953) and <em>Anatomie feminine</em> (1946), from industrial debris collected while walking the hills of Vallauris. He immortalized Gilot’s striking beauty and vitality in pioneering lithographs created at the Atelier Mourlot; and at the Ramié pottery studio, he revolutionized the production of ceramics, creating playful and exuberant editions available to a new and wider audience.</p> <p style="text-align: justify;">Although she was only twenty-one years old at the time she met Picasso, Gilot was already an accomplished artist. Later she would align herself with <em>Realites Nouvelles</em>, a group of radical abstractionists headed by Nicholas de Stael and Sonia Delaunay. Nor was Gilot a great admirer of Picasso; she much preferred Braque, whose work left a visible impression on her own style. “Picasso and Françoise Gilot” includes key paintings by Gilot—self-portraits such as <em>Portrait en noir (moi-même au travail)</em> (1943) and <em>Le peintre (portrait de moi-même au travail)</em> (1946); still lifes; and depictions of Picasso and their children that chart her own stylistic transformations over the decade they spent together. Several of the paintings exhibited were included in Gilot’s 1943 Paris exhibition Picasso visited the week after they met. It is a great honor for Gagosian Gallery to collaborate on this historic and unprecedented exhibition with Françoise Gilot, who to this day remains an active artist.</p> <p style="text-align: justify;">The Madison Avenue galleries have been transformed by architect Christian Hubert, and the exhibition is accompanied by a fully illustrated catalogue that includes a dialogue between Richardson and Gilot, as well as essays by Charles Stuckey and Michael Cary.</p> <p style="text-align: justify;"><strong>Pablo Picasso</strong> was born in Málaga, Spain in 1881 and died in France in 1973. Recent exhibitions of his work include “Picasso: Tradition and the Avant-Garde,” Museo Nacional del Prado and Museo Nacional Centro de Arte Reina Sofía, Madrid (2006); "Picasso and American Art" at the Whitney Museum of American Art, New York (2006) traveling to the Walker Art Center, Minneapolis and San Francisco Museum of Modern Art (2007); "Picasso et les Maîtres," Galeries nationales du Grand Palais (2008–09); “Picasso: Challenging the Past,” National Gallery, London (2009) and “Picasso at the Metropolitan Museum”, New York (2010).</p> <p style="text-align: justify;"><strong>Françoise Gilot </strong>was born in 1921 in Paris. She studied law at the University of Paris and painting with Endre Rozsda and at L’Ecole des Beaux Arts, Paris.  Major exhibitions include “Françoise Gilot: Drawings,” the Museum of Albuquerque, New Mexico (1977), “Françoise Gilot,” Musée Picasso, Antibes (1987), and “Modern Dance as Muse: the Art of Françoise Gilot,” the Museum of Contemporary Art, San Diego (1992).  Her major books include “Matisse &amp; Picasso, A Friendship in Art” (1990) and the seminal memoir, “Life with Picasso” (1964). Public collections include The Museum of Modern Art, New York; Musée Picasso, Antibes; Tel Aviv Museum of Art; and Musée d’art moderne de la ville de Paris. In 1990 the French government awarded her Chevalier de la Legion d’Honneur for her work as a painter, writer and feminist, and in 2010 she was made Officier de la Legion d’Honneur, the highest honor awarded in the arts by the French government.</p> Tue, 17 Apr 2012 03:33:44 +0000 Rachel Lee Hovnanian - Leila Heller Gallery - Chelsea - May 2nd, 2012 6:00 PM - 8:00 PM <p>A solo exhibition of provocative new work by Rachel Lee Hovnanian will be on view at Leila Heller Gallery in Chelsea from May 2- June 2, 2012. Mud Pie will include large-scale installations, sculpture, mixed media paintings, and photography that explore the blurring of reality and the narcissistic side of digital life. A fully illustrated catalogue will accompany the exhibition with an essay by critic and filmmaker Amei Wallach.<br /> <br /> This powerful narrative begins with a photograph, Texas Mud Pie, Hands and Feet (Self-Portrait), 2012, and finishes informed by the unfiltered world of digital technology with the sculptural work Gates of Narcissus Metal Panels, Motherboards, 2012. <br /> <br /> The viewer is invited into the artist's dream/awake state as she identifies commonplace sights, sounds, smells, tastes, and views of her early childhood in Texas. Hovnanian asks us to imagine a young girl making mud pies in the backyard swallowed up in the world of make believe. Hovnanian recalls the smell of pie in her mother's kitchen, which triggers a powerful memory – but is it apple or mud? And her memory of a profusion of fresh flowers – real or is this more cultural taxidermy? <br /> <br /> In the interactive installation/ performance piece, Cafe, 2012, Hovnanian presents a small neighborhood cafe in Texas. Or is it? There is what seems to be an authentic cafe aroma, but the fare is decidedly untraditional. The milky white liquid posing as coffee smells and tastes real, but it is actually a chemical substance created in a lab- a deep rich flavor with a longer shelf life. BBQ, lemonade, and pie grace the menu, however “Food Bytes” or synthetically modified food are served in the cafe. Look out the window: there is a view of a barn – a 12-minute, video projection on a loop entitled, Outside Nacogdoches. @CafeWaitress (the waitress) oozes southern charm and sugars up every sentence; another ersatz reality, she's an actress from New York City with a Twitter account. When @CafeWaitress is asked about the menu she politely refers you to Siri on her iPhone and reminds you to follow her on Twitter.<br /> <br /> In the installation, Dinner For Two, 2012, Hovnanian tackles the illusion of elegant dining and the romantic intimacy of a couple. Her long elegant dining table is set with silver flatware and grand flowers that need dusting (and it seems, so does the relationship). At either end of the table, the apparent husband and wife are absent figures replaced with LCD panels affixed to chairs like prosthetics where their heads should be. Each screen presents a three-minute video loop. Hyper-abundant Floral Arrangements, 2012, are memorialized through photographs. <br /> <br /> Notes Hovnanian, "We've forgotten what is real. Fast food chains replaced cafes; children think a package of pink powder mixed with water is real lemonade made with freshly squeezed pink lemons. We think we have 1,000 real friends on Facebook. We are sucked into our screens and can't find the time to separate from technology. Only when the power is down, or if we are visiting a remote place with no wireless, can we take a break."<br /> <br /> Hovnanian examines how we look for ourselves in objects that fascinate us. The Gates of Narcissus Metal Panels, 2012, are divided in two series. The first series, The Gates of Narcissus Metal Panels, Reflections of the Narcissus, are five 7 1/2 foot multi-layered metal paintings gleaming with lavish metallic leaf on linen. In the second series, The Gates of Narcissus Metal Panels, Motherboards, thousands of hand sculpted metal narcissus flowers are attached to industrial sheets of steel, the idealized surrogate image.<br /> <br /> Hovnanian insists it took a digital revolution to overwhelm the mythic purity of both a child's mud pie and a kitchen-baked, factory-fresh American apple pie and that we need to recall our own mud pie to preserve our earliest origins. We are warned of the tragic fate of Narcissus. This is the modern day Narcissus dilemma – we gaze into screen images until the outer world disappears. <br /> <br /> Rachel Lee Hovnanian was born in Parkersburg, West Virginia, and grew up in Mexico, Texas, and New York. Her work has been seen in solo and group exhibitions across the U.S. and in London, Barcelona, Madrid, Dubai, Abu Dhabi, and Hong Kong. She lives and works in New York City.</p> Sat, 22 Feb 2014 15:50:02 +0000 James Lecce - McKenzie Fine Art - May 2nd, 2012 6:00 PM - 8:00 PM <p>McKenzie Fine Art is pleased to announce an exhibition of new abstract paintings by James Lecce, opening Thursday, May 2, with a reception for the artist from 6 to 8 p.m., and running through Saturday, June 9, 2012.</p> <p>Lecce’s longstanding process harmonizes painterly technique with the rhythms of nature and music to produce works of pure visual delight. In this, the artist’s fifth exhibition in the gallery, the soft colors and nearly monochromatic arrangements of the past have blossomed into a vibrant and contrasting palette of rich lemony yellow, deep coral, bright tones of violet, orange and pink, with accents of white and metallic colors.  The colors are organized into expansive and undulating compositions with buoyant movement that appear to extend well beyond the edge of the paintings.   Loose striations of intense color energetically flow between open pools of white and stream over the sides of the canvases. Iridescent metallic streaks provide movement and structure to biomorphic forms, defining figure-ground relationships and giving a sense of luxurious adornment. Lecce’s paintings are simultaneously organic and stylized; the colors and rhythms recall sensual pleasures while inducing reverie in the immediacy of paint.</p> <p>Lecce’s process begins with the deliberate selection of colors and an overall composition. After the careful mixing of pigments to produce colors with the desired luminosity, opacity, or translucency, Lecce allows intuition and spontaneity to guide his hand. Natural forces and music influence the evolving painting. For this body of work, film scores from 1940’s and 50’s melodramas inspired him, with their dense swells, fevered crescendos, and solid closures. While working, Lecce responds to his auditory influences, manipulating the materials within the limitations imposed by the physical forces of gravity and the urgency of time.  He pours, pools, injects, drags and layers paint in a controlled and intensely dynamic interplay of swift and decisive choices.  The goal is to convey his heightened emotional state and intuitive movements through the elegance and visual excitement of the final work. For Lecce, the act of painting is “intense, adrenalin-inducing, joyous and cathartic.”</p> Fri, 04 May 2012 02:19:23 +0000