ArtSlant - Recently added en-us 40 Jean-Luc Moulène - Miguel Abreu Gallery Eldridge Street - September 7th - October 26th Tue, 02 Sep 2014 21:54:23 +0000 Jean-Luc Moulène - Miguel Abreu Gallery Orchard St - September 7th - October 26th Tue, 02 Sep 2014 21:54:20 +0000 David Kramer - Thierry Goldberg Gallery - September 7th - October 5th Tue, 02 Sep 2014 06:34:18 +0000 James Rosenquist - SENIOR & SHOPMAKER GALLERY - September 19th - November 8th <p>Senior &amp; Shopmaker Gallery is pleased to present James Rosenquist&rsquo;s&nbsp;<em>F-111 (South, West, North, East)</em>, a four-part, 290 inch lithograph with screenprint printed in 1974 at Styria Studio, New York and one of the outstanding Pop prints of the era. Accompanying the print will be a selection of the artist&rsquo;s dynamic charcoal and graphite drawings from the same time period.<br /><br />James Rosenquist (American, b. 1933), one of the key figures of the Pop Art movement, has been an influential printmaker from his early experiments with lithography in 1965 at Universal Limited Art Editions in Long Island to his innovations in recent years with large-scale multimedia prints. One of his seminal works on paper is the tour-de-force&nbsp;<br /><em>F-111 (South, West, North, East)</em>&nbsp;of 1974, published by Petersburg Press and created nearly a decade after the monumental multi-panel painting of the same title. The painting is included in the collection of the Museum of Modern Art in New York, which, in 2012, exhibited it in the original wall-wrapping configuration first seen at the Leo Castelli Gallery in 1965. Designed in twenty-three panels, its primary subject was the latest F-111 fighter-bomber plane in development at the time, against which are juxtaposed images from everyday consumer culture. Rosenquist transformed the language of commercial billboard painting in his canvases and works on paper by weaving fragmented images, shifts in scale, and a vivid palette into disjunctive, non-narrative compositions. In&nbsp;<em>F-111</em>, the artist juxtaposes such disparate images as a GE light bulb, a Goodyear tire, a nuclear explosion, canned spaghetti, and the head of a blond girl under a hairdryer to anxious effect, offering a complex reflection of American society of the era.</p> Tue, 02 Sep 2014 06:14:55 +0000 Caleb Charland - Sasha Wolf Gallery - September 10th - October 26th <p>In this body of work, Artifacts of Fire and Wax, Charland transforms blank, unexposed sheets of silver gelatin paper into handworked, tactile abstractions. Using a red candle, Charland drips wax onto sheets of paper.&nbsp;&nbsp;As the flame burns and exposes the paper, drops of wax fall onto the emulsion.&nbsp;Like&nbsp;the red light in a darkroom, the red wax becomes a small filter, preventing further exposure by the flame. Once Charland achieves his desired pattern of drips&nbsp;he begins the development process. The wax, which first acted to resist exposure by the candle, then acts to resist the chemical development of the photograph. After the first cycle of processing is complete, only areas of the emulsion not covered in wax develop and turn to metallic silver. Charland then begins to break up the wax bits with his hands, creating cracks and revealing unprocessed areas of the emulsion. The paper is run through the chemicals again and again to add multiple levels of tone to the newly revealed, unprocessed regions of the paper.</p> <p>For Charland, who is known for his wondrous, science-experiment-like &lsquo;straight&rsquo; photographs,&nbsp;making these works felt elemental and truly stripped down.&nbsp; &ldquo;The time spent making each of these images feels transcendent; a similar sensation to where the mind goes while staring into the flames of a wood fire. Hours hovered over a white sheet of paper with fire in hand, watching the liquid drop to the surface. First a shadow as the wax falls,&nbsp;then a snap as it connects and splatters across the emulsion. I wonder how each of these actions will render visually. These artifacts of fire and wax remind me that photography is inherently a medium of the inverse. Shadows become light.&nbsp;Light turns to shadow.&rdquo;</p> Tue, 02 Sep 2014 06:07:02 +0000 Darja Bajagić - Room East - September 7th - October 5th <p>*Pissed: Last Toast*</p> <p>&lsquo;Up yours!&rsquo; I say, to this razed domain of mud,<br />And my louche old being: to you,<br />This threesome that is loneliness, shared blood,</p> <p>77</p> <p>Oh, and I drink to You &ndash; you too;</p> <p>Here&rsquo;s to my world, which has seen its arse, To lies lodged in my ravaged gob,<br />To mournful eyes, cold, dead as glass,<br />To the fact that God&rsquo;s a slob.</p> <p>&nbsp;</p> <p>Darja Bajagić (b. 1990) recently completed her MFA at the Yale University School of Art. Her recent exhibitions include &ldquo;Abnormcore&rdquo; at ROOM EAST, New York, NY; &ldquo;Infinitude&rdquo; at Roberts &amp; Tilton, Los Angeles, CA; and &ldquo;Now Feel Bad&rdquo; at Interstate Projects, Brooklyn, NY. She is to be featured in &ldquo;Private Settings: Art After The Internet,&rdquo; an upcoming show at the Museum of Modern Art in Warsaw, Poland. Bajagić lives and works in New York.</p> Tue, 02 Sep 2014 06:02:02 +0000 Mira Friedlaender - Recess Activities, Inc. - September 2nd - October 25th <p>On September 2, 2014, Mira Friedlaender will begin work on Half of What&rsquo;s There as part of Recess&rsquo;s signature program, Session. Session invites artists to use Recess&rsquo;s public space as studio, exhibition venue and grounds for experimentation.</p> <p>Over the course of her Session, the artist will unpack, document, and inventory the life&rsquo;s work of Bilge Civelekoglu Friedlaender.</p> <p>Bilge came to New York at the age of 24 to become an artist. A Turkish &eacute;migr&eacute; active from the 1970s-1990s, she produced non-objective work in the form of works with paper, installations, and sculpture. She was also Mira&rsquo;s mother.</p> <p>When Bilge died, her gallery did not continue representation, and so her life&rsquo;s output has remained in storage, undisturbed, for years. Bringing these works from storage to Recess to be unpacked, Mira will take on the role of artist, art handler and registrar. Each week of the Session she will present a new installation of excavated works. She will display her mother&rsquo;s work alongside the materials that have housed and informed it: storage bins, packing supplies, and a selection of original ephemera.</p> <p>As she sorts these materials, Mira&rsquo;s labor will become a public performance that draws attention to the epic archives that represent the fate of most artworks. Throughout the Session she will respond to the formal components of the evolving installation as well as her mother&rsquo;s work by creating new works in video, on paper and with reconstituted stored materials.</p> <p>In a series of conversations with art industry workers she will further excavate ideas of value, legacy, presentation and labor. Reframing the installation, deinstallation, and storage processes as the center of artistic activity, Mira will present the hidden economy of art removed from the market.</p> <p>About the Artist:</p> <p>Mira Friedlaender is a Brooklyn &ndash; based multidisciplinary artist who puts creative struggle at the center of her projects. She received a BA from Tufts University, BFA from The School of the Museum of Fine Arts, Boston, and her MFA from NYU. She has exhibited her work locally and internationally and has been a Visiting Artist at the American Center, Dhaka, Bangladesh and at Dulcinea Independent Art Space, Istanbul, Turkey.<br />She has always been a fan of packing materials.</p> Tue, 02 Sep 2014 05:56:14 +0000 Dora Budor, Elaine Cameron-Weir, Daniel Keller, Ajay Kurian - Rachel Uffner Gallery - September 7th - October 19th <p>Paul and Lisa live down the hall from each other.&nbsp;<br />Yesterday Paul got a package from&nbsp; Lisa noticed it before Paul since she regularly checks the package room for her own orders, which come frequently.&nbsp;<br />Paul's window overlooks another building which is glass so he can see himself in a faraway reflection which he likens to a simulated ocean view.&nbsp;<br />Lisa's window is looking out to the edge of the glass building so she likens it to an obstruction.</p> <p>Recently Lisa has noticed the smell of strange fumes from Paul's place. She deduces from the recycling bin that Paul now has a 3-D printer. With a router attachment! Paul adds, as Lisa confirms her suspicion in the hallway. It's for work, he says. At his job, they have one long table that circles and swerves through the whole space, making alcoves, and little covered meeting places. Their clients are generally visibly impressed. Lisa works from home and has a dog. Neither she nor her dog are very keen on these new acrid scents. In fact, Lisa often gets headaches. She burns incense at home and she thinks Paul does too. It&rsquo;s an effective way to hide the smell of burnt chemicals, and luckily, they both love the scent of nag champa.</p> <p>Between them is a woman who is often visited by her mother. When she visits, they tend to talk very loudly together in the hallways in an unfamiliar language. She normally doesn&rsquo;t wear any sort of headscarf, so when she does Paul can&rsquo;t tell if it&rsquo;s for fashion or not. He doesn&rsquo;t care, he just doesn&rsquo;t like how they talk in the hallways. It's rude. Consequently, he feels entitled to play his music louder when he pleases. His speakers are wired through the whole apartment, all nicely inlaid into the walls, two conveniently into the one they share. She has never complained about the music, but Paul assumes that she is talking about him to her mother. Sometimes he thinks her eyes control the electricity. Sometimes Lisa finds batteries in the hallways.</p> Tue, 02 Sep 2014 05:47:51 +0000 Strauss Bourque-LaFrance - Rachel Uffner Gallery - September 7th - October 19th <p>Rachel Uffner Gallery is pleased to present&nbsp;<em>No Aloha</em>, its first solo exhibition with Strauss Bourque-LaFrance. Bourque-LaFrance&rsquo;s interdisciplinary practice combines painting, sculpture, and performance, and merges disparate fields and influences, from interior and stage design to film and comics, exploring desire, memory, and estrangement in contemporary domestic and commercial culture. For&nbsp;<em>No Aloha</em>, Bourque-LaFrance presents a series of paintings and sculptures that fuse his interest in the fabricated, minimal object with synthetic readymade materials, constructing an uncanny interior mise-en-sc&egrave;ne with shifting views and multiple readings.</p> <p>A new group of domestic sculptures that function as fireplace mantels or pedestals populate the carpeted interior of the main gallery space. Traditionally the mantelpiece has been an archetype of formal domesticity, defining interior d&eacute;cor and an architectural focal point that served a ventilating purpose, but has since, particularly in the 20th century, been used to frame the &ldquo;family room,&rdquo; signifying a place to gather, or to display objects, photos, mementos; a kind of secular altar. Fireplace mantels reached a high point of cultural saturation in the early nineties, when roughly two thirds of American homes had one. Today, these sites are mostly painted over and left behind as decorative markers lamenting the grandeur of a bygone era. In Bourque-LaFrance&rsquo;s disjointed interiors, the mantels are resuscitated and filled with a buoyant sense of openness and optimism that articulate domesticity, but as a malleable construct. Each of the four mantels in the exhibition takes on a different shape or surface &ndash; referencing the design and political ideologies of International Style and Memphis Group along with the high/low aesthetics of Pop and ornamentation &ndash; acting as a pedestal, a sculpture of an object, an image of an object, and so on. These mantels likewise double as animated portals to an alternate space or reality (think&nbsp;<em>Beetlejuice</em>), setting the stage for a spiritual-like sense of transformation inherent in his practice.</p> <p>In concert with these works, Bourque-LaFrance will show a new grouping of "vacation paintings" that explore escapism and contemporary ways of seeing, expanding his visual language by synthesizing marks, tropes, and framing devices of historical and contemporary painting. Created using spray enamel on polyethylene mesh encased in multi-colored Plexiglas boxes, the vacation paintings combine spontaneous gestural abstraction with collaged and often representational imagery. Like blurred, optical remnants of &ldquo;attempted images,&rdquo; they oscillate between the tastefully benign and comically unhinged. Ultimately, &ldquo;vacation space&rdquo; is a non-space, as it exists between one&rsquo;s everyday life and the life one hopes to live (or in the Foucauldian sense of heterotopia, it is an in-between space of<em>otherness</em>&nbsp;that offers a means of escape from daily anxieties). Whereas for Foucault the mirror was an ideal site of heterotopic duality, Bourque-LaFrance&rsquo;s hybrid paintings are positioned somewhere between textiles, smartphone screens and commercial or historical vitrines, potentially hopeful and meditative fields where the viewer projects one&rsquo;s fears and desires, but that never fully reveal themselves. It is the space between one&rsquo;s home and one&rsquo;s job, between one&rsquo;s fantasies and realities. This space is&nbsp;<em>No Aloha</em>.</p> <p>Strauss Bourque-LaFrance, b. 1983, lives and works in Brooklyn. Recent solo shows include KANSAS, New York; Courtney Blades, Chicago; Bodega, Philadelphia/New York. His work has been included in exhibitions at ICA Philadelphia, SculptureCenter, New York; Contemporary Austin Jones Center, Texas; Abrons Art Center, New York; Johannes Vogt Gallery, New York; Vox Populi, Philadelphia; Crane Arts, Philadelphia; Extra Extra, Philadelphia; Clifford Gallery, Colgate University, New York; and Porch Projects, Washington D.C., among others. He received his BFA from Hampshire College, Amherst, MA; and his MFA from Tyler School of Art, Philadelphia, PA.</p> Tue, 02 Sep 2014 05:44:18 +0000 Walead Beshty - Petzel Gallery - September 4th - October 4th <p>Petzel Gallery is pleased to present an exhibition of new works by Walead Beshty. This will be the gallery&rsquo;s first solo exhibition with the Los Angeles based artist.<br /><br />In his new exhibition, Walead Beshty continues to explore the ways in which objects accrue and produce meaning through their placement and circulation in the world. Using the preexisting design of the gallery tables and desktops as a readymade, Beshty created polished raw copper sculptures built to the dimensions of the gallery&rsquo;s working surfaces. The &ldquo;Copper Surrogates&rdquo; were then installed replacing the gallery&rsquo;s desks and left in place for his curated summer exhibition A Machinery for Living. As the gallery staff resumed their normal everyday work activities, their movements tarnished a patina on to the highly reflective copper surfaces. Much like film capturing a moment in time, the copper surrogates map the progression of the gallery staff&rsquo;s immaterial labor: of discourse, transaction and negotiation. In September, the copper surrogates will be installed in the gallery, dislocating them from their original function.<br /><br />Walead Beshty (b. 1976, London, UK) is an artist and writer living and working in Los Angeles, and Associate Professor in the Graduate Art Department of Art Center College of Design. In the past decade he has had numerous solo exhibitions including Fair Use, The Power Station, Dallas, TX (2013); Securities and Exchanges, The Ullens Center for Contemporary Art, Beijing (2011); A Diagram of Forces, Malmö Konsthall, Malmö, Sweden / Centro de Arte Dos de Mayo, Madrid, Spain (2011); Walead Beshty: Legibility on Colored Backgrounds, The Hirshhorn Museum and Sculpture Garden, Washington, DC (2009); Pulleys, Cogwheels, Mirrors, and Windows, University of Michigan Museum of Art, Ann Arbor, MI (2009); Passages, LAX ART, Los Angeles, CA (2009); Hammer Project: Walead Beshty, The Armand Hammer Museum, Los Angeles (2006) and The Phenomenology of Shopping and Dead Malls, P.S.1/MoMA Contemporary Art Center, Long Island City, (2004). A forthcoming exhibition, Walead Beshty, A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench, will open at the Barbican Centre in London in October of 2014, marking his first solo show in a UK public gallery.</p> Tue, 02 Sep 2014 05:35:21 +0000 Allan McCollum - Petzel Gallery - September 4th - October 4th <p>Petzel Gallery is pleased to announce a solo exhibition by New York based artist Allan McCollum. This is his sixth solo exhibition with the gallery.<br /><br />McCollum has for years challenged our culture&rsquo;s tendency to value single unique artworks over objects produced in large quantities. For &ldquo;The Shapes Project,&rdquo; started back in 2005, he has set out to design a system that would allow for the production of a single, unique shape for every person in the world. To make certain that the system will be able to accommodate everyone, it has been organized to produce over 31,000,000,000 different shapes, which is more than the highest population estimates might require. The show in September will be the latest iteration of the "Shapes Project" called "Perfect Couples" which is an attempt to create pairs of his Shapes that could suggest unique human relationships.<br /><br />Allan McCollum was born in 1944 Los Angeles, California, and lives and works in New York City. His work is in over seventy museum collections, including the National Gallery of Art, Washington, D.C.; the Museum of Modern Art, New York; the Guggenheim Museum of Art, New York; The Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York and the Los Angeles Museum of Contemporary Art, Los Angeles. Solo retrospectives of McCollum&rsquo;s work have been held internationally including at the Mus&eacute;e d&lsquo;Art Moderne, Villeneuve d&rsquo;Ascq, Lille; the Sprengel Museum, Hannover; the Serpentine Gallery, London; among many others. He has produced public art projects in both the United States and Europe. His work was also recently included in the 9th Bienal do Mercosul, in Porto Alegre, Brazil, curated by Sof&iacute;a Hern&aacute;ndez Chong Cuy. Numerous texts on McCollum's work have been published by a number of art historians and critics including Martha Buskirk, Maryjo Marks, Rosalind Krauss, Craig Owens, Hal Foster, Anne Rorimer, Lynne Cooke, Lars Nittve, Thomas Lawson, Catherine Qu&eacute;loz, Helen Molesworth, Johannes Meinhardt, Claude Gintz, Suzi Gablik, Nicolas Bourriaud, Rhea Anastas, Nancy Princenthal, and Jill Gasparina. In 2012, JRP Ringier published a monograph of McCollum&rsquo;s work.&nbsp;</p> Tue, 02 Sep 2014 05:31:26 +0000 M. Lamar - Participant Inc. - September 7th - October 12th Tue, 02 Sep 2014 05:25:20 +0000 Fred Wilson - Pace Gallery - 25th St. - September 12th - October 18th <p>Since the beginning of his career, Fred Wilson has created a diverse range of work that challenges assumptions of history, culture and race. Pace&rsquo;s exhibition will feature works from the past ten years, including several that have never before been exhibited.</p> Tue, 02 Sep 2014 05:19:26 +0000 Lynn Hershman Leeson, HOWDOYOUSAYYAMINAFRICAN?, Åbäke, Josiah McElheny, Sarah Oppenheimer, Walid Raad, Amie Siegel, Gabriel Acevedo Velarde - P! - September 1st - November 1st <p><em>Post-Speculation&nbsp;</em>begins where&nbsp;<em>Speculation, Now&nbsp;</em>ends: as a postscript, a footnote, an addendum, and a reflection of a book that does not yet exist. In an age of geopolitical upheaval, unstable financial markets, environmental uncertainty, and distributed artistic production,&nbsp;<em>Post-Speculation&nbsp;</em>explores the fringe, the edge, and the double-bind of this broad topic.&nbsp;</p> <p>&ldquo;Speculation&rdquo; is often associated with financial markets and defined as measuring investment risk against future returns. At the same time and in its original usage, &ldquo;speculation&rdquo; is the creative leap of looking both beyond and within the known in order to imagine something unexpected. In this context, speculation is a framework for action and thought that can be constructive in a historic moment of radical change and uncertainty. Ironically, the concrete environment of the exhibition setting provides the foil to engage in such provocative questioning</p> <p>The exhibition begins with&nbsp;<em>Post-Speculation, Act I</em>. For eleven days, the art collective <strong>HOWDOYOUSAYYAMINAFRICAN? </strong>will occupy P! in order to launch&nbsp; <em></em>, an internet archive of activism around black embodiment inspired by The Wayback Machine ( Addressing contemporary conditions such as police brutality, American-funded international violence, and the ways that memes and hashtags collapse and make legible such threats to personhood, the collective&rsquo;s conceptual and spatial intervention uses the gallery itself as a medium that extends into the street. Designed by&nbsp;<strong>A(n) Office&nbsp;</strong>with<strong> HOWDOYOUSAYYAMINAFRICAN?</strong>,&nbsp;<em>Act I&nbsp;</em>will feature multiple screens, projections, black walls, and void space. Through performances and architectural maquettes, multiple operations are modeled on and for the<em>House Opera | Opera House</em>, a found/acquired house in Detroit that places art at the center of the community and offers community members a space to create.&nbsp;</p> <p>This implicit merging of closeness and distance, reality and story, sets the stage for&nbsp;<em>Post-Speculation, Act II</em>, a group exhibition building upon the conditions left by&nbsp;<em>Act I</em>. The exhibition opens with&nbsp;<strong>Sarah Oppenheimer</strong>&rsquo;s reactivation of her 2012 fa&ccedil;ade installation at P!,&nbsp;<em>C-010100</em>. Like other aspects of the show, Oppenheimer&rsquo;s work plays on the reversal of temporal sequence, restoring the gallery windows to a mirrored condition from two years ago. Similarly,&nbsp; <strong>Josiah McElheny&nbsp;</strong>continues his series&nbsp;of &ldquo;collaborations with dead artists&rdquo; that result in temporary and site-specific works. For&nbsp;<em>Act II</em>, he speculates on how&nbsp;<strong>Blinky Palermo&nbsp;</strong>(1943&ndash;1977) might restage one of his monotonal murals in the New York gallery space, responding to both the physical environment and other artworks. Peruvian-born, Berlin-based artist <strong>Gabriel Acevedo Velarde </strong>presents<em> Ciudadano Paranormal&nbsp;</em>(2013), featuring video interviews with state employees regarding their encounters with the &ldquo;ghosts&rdquo; of government institutions. The video is accompanied by fantastical drawings that reflect on the Modernist architecture where these encounters have allegedly occurred. With a sensitivity keenly attuned to translating the ever-shifting present,&nbsp;<strong>Lynn Hershmann Leeson</strong>&rsquo;s&nbsp;<em>Synthia&nbsp;</em>(1999&ndash;2004) uses real-time financial data to control the movements and mood of a fictional female character as she wanders the city. European art and design collective&nbsp;<strong>&Aring;b&auml;ke</strong> presents a series of photograms and glass cubes produced in collaboration with Finnish glass-blowing icon&nbsp;<strong>Oiva Toikka</strong>. The resulting series,&nbsp;<em>A History of the World</em> (2014), abstractly represents events spanning the history of the universe, from the Big Bang to Heat Death. The photographs from&nbsp;<strong>Amie Siegel</strong>&rsquo;s&nbsp;<em>Black Moon / Hole Punches&nbsp;</em>(2010) series trace parallel time within post-apocalyptic science fiction and the 2008 economic recession and housing crash. At an accompanying event in October, Siegel will screen her short film&nbsp;<em>Black Moon&nbsp;</em>(2010) at The New School in conversation with the exhibition curators. Finally,&nbsp;<strong>Walid Raad&nbsp;</strong>presents&nbsp;<em>Section 88: Act XXII_Views from Inner to outer compartments&nbsp;</em>(2010), which is part of the project&nbsp; <em>Scratching on things I could disavow</em>. Shown for the first time in New York, these floor-to-ceiling photographic strips hide miniature architectural details that become literal and metaphorical thresholds to access new spaces and experiences. Through this combination of site-specific installations, real-time explorations, and otherworldly dimensions, the exhibition itself becomes a speculative playing field for the interactions of objects and ideas.&nbsp;</p> <p><em>Post-Speculation </em>precedes the launch of&nbsp;<em>Speculation, Now</em>, a comprehensive consideration of the speculative in disciplines ranging from art to anthropology, history, and science. The book is published by Duke University Press, in association with the Vera List Center for Art and Politics at The New School, and designed by&nbsp;<strong>Project Projects</strong>, with an anticipated book launch in early November 2014.&nbsp;</p> <p>A proposition rather than a statement, <em>Post-Speculation </em>also inaugurates <strong>Parallel Systems 2014&ndash;2015</strong>, a yearlong series of exhibitions and events at P! focused on the embedded structures of thought, belief, and action that shadow our commonly-held rational systems.&nbsp;</p> Tue, 02 Sep 2014 05:11:28 +0000 Rebecca Adams, John Dante Bianchi, Rachel Garrard, Gregory Hayes, Michelle Hinebrook, Steve Yancar - Nancy Margolis Gallery - September 11th - October 11th Tue, 02 Sep 2014 04:55:20 +0000 Pat Lasch - Meredith Ward Fine Art - September 18th - October 25th <p>Pat Lasch: Love&rsquo;s Labors 1974/2014 will be on <br />view at Meredith Ward Fine Art from September 18 &ndash;<br />October 25, 2014. The show will feature 12 new <br />works by the artist, which she calls &ldquo;Christening <br />dresses,&rdquo; made entirely from acrylic polymer paint. <br />Also on view will be three sewn canvases dating from <br />1974. This is Lasch&rsquo;s second show at the gallery.<br />In a statement for the exhibition, Lasch writes, <br />&ldquo;The &lsquo;Christening dresses&rsquo; represent a young girl&rsquo;s <br />entrance into the world through her mother&rsquo;s labor, <br />and the unknown future of her own life and <br />labors.&rdquo; Lasch notes that her work has gone<br />against the grain of art world trends: &ldquo;From the late <br />1960s and mid-1970s, when most artists were <br />painting, I reclaimed sewing as an art form, putting <br />thousands of tiny stitches on muslin to represent our <br />ancestors&hellip;Today, as young artists are working with <br />sewing and textiles, often in monumental scale, I am<br />using paint to create &lsquo;fabric&rsquo; for small, intricately detailed <br />&lsquo;Christening dresses&rsquo;.&rdquo;<br />Lasch has been producing ground breaking and <br />provocative work for almost four decades. Her most recent <br />work continues her ongoing project.<br />Pat Lasch has enjoyed significant success in her <br />career, having participated in many individual and group <br />exhibitions in the United States and abroad. She was <br />elected a National Academician in 1995, and her work is <br />represented in such museum collections as the Metropolitan <br />Museum of Art, New York; the Museum of Modern Art, <br />New York; the Smithsonian American Art Museum, <br />Washington, D.C.; and the Palm Springs Art Museum, <br />California. <br />The exhibition will be accompanied by an <br />illustrated brochure with an essay by the artist.</p> Tue, 02 Sep 2014 04:46:17 +0000