ArtSlant - Current exhibits en-us 40 Bruno Cals - 1500 Gallery - May 2nd, 2012 - September 28th, 2012 <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 22:09:53 +0000 Group Show - 3A Gallery - May 5th, 2012 - May 20th, 2012 Mon, 10 Sep 2012 16:58:50 +0000 Ian Hughes - 532 Gallery Thomas Jaeckel - April 26th, 2012 - May 26th, 2012 <p>Gallery 532 Thomas Jaeckel is pleased to present the paintings of Ian Hughes in his second one-man show at the gallery.<br /> In this new body of work, Hughes brings to full fruition the investigation of color, space, and form that has been underway for nearly two decades. The new paintings continue to probe an artistic vein that runs from the eye to the brain and terminates in the viscera. The color field is repurposed as a visual staging area upon which organic forms, vascular and sinuous, shape-shift and commingle. The luminous color space of the background is simultaneously flat and volumetric, like a cloudless sky; it is a resolutely abstract space that asserts the two dimensional nature of painting and creates a dynamic contrast to the illusion of volume in the foreground.</p> <p>In two related works, Yellow Curtain and Strands (Pink Curtain), the background color acts like a light box, illuminating the transparent forms from behind, analogous to an x-ray image. The reference to curtains has multiple meanings, most literally to the vertical strands hanging from the top and arranged across the picture plane like a beaded curtain (though admittedly, maybe more like flayed meat hanging on a drying rack.) But the transparency of the forms also suggests a diaphanous veil through which the viewer must pass to reach the other side, where lies another world–the world of metaphor and myth. Art historical references also abound, perhaps most poignantly to Morris Louis, whose name Hughes readily invokes as a source of inspiration.</p> <p>Hughes’ technique is deceptively straightforward. Water is the medium; pigment dispersions and acrylic polymer yield color and form. Together they are poured, floated, and brushed onto the prepared surface; the dance between intent and accident, consciousness and unconsciousness, is set into motion. For Hughes, technique is purely a means to an end. Most important is the degree to which the technique serves the desire to create a state of visual and interpretive flux.</p> <p>In this endeavor, Hughes aligns himself squarely within the tradition of painters like Paul Klee and Wassily Kandinsky, whose groundbreaking ideas gave rise to a main branch of contemporary American abstraction which espouses the possibility of conveying the full range of human experience through the raw materials of paint and renders moot the distinction between abstraction and figuration.</p> Sun, 06 May 2012 22:30:29 +0000 Julie Tremblay - 571 Projects - April 5th, 2012 - May 19th, 2012 <p><b>571 Projects </b>is pleased to present <b><i>Some Kind of Nature</i></b>, an exhibition of new sculpture by artist <b>Julie Tremblay.  </b>This is Tremblay’s first exhibition with 571 Projects, and her first solo exhibition in New York City. The opening reception will take place on Thursday April 5, 6-9pm.</p> <p></p> <p>In <i>Some Kind of Nature, </i>five life-size sculptures populate the gallery, somersaulting, back-flipping, balancing, prone and unravelling, suspended from the ceiling and resting on the floor.  Tremblay’s recent work pushes her investigation of the human form, which becomes a metaphor exploring existential themes of order and chaos, mortality and the universality of the human condition.  In this work, she equally explores sculptural themes of mass, volume, density, equilibrium, dynamism, and positive/negative spaces.  She takes inspiration and at times materials from her immediate surroundings.  Tremblay explains, “I have been interested in the relationship between man and nature, [or] man and his environment.  Here I am responding to the extreme nature of the manmade surroundings of my Bushwick studio, which [for me] have become some kind of nature.  The works in this show address this sense of vernacular by way of the eclectic nature of the materials (all manmade).”</p> <p></p> <p>Working with sheets of salvaged industrial sheet metal and chicken wire, the pieces have a weightlessness that Tremblay emphasizes with sculptural gestures.  In <i>Red Handed</i>, (2011, tin-plated steel, h30 x w19.5 x d25.75 in.) the figure is suspended in mid-air and captured in a back flip.  Deliberately abstracted, the figure appears weightless, transcending the materiality of the metal. Her choice of materials has a unifying interstitial quality alluding to the cellular structures not only of the human body but also of the cosmos.  Tremblay’s sculptures successfully communicate sophisticated emotion through their beauty and human scale: they inhabit our space as much as we inhabit theirs.  </p> <p></p> <p>Born in Québec City, Canada, Julie Tremblay received her Bachelor of Fine Arts from Université Laval, Quebec, and her Master’s of Fine Arts from Pratt Institute, New York.  Since the late nineties Tremblay has participated in a number of solo and group exhibitions in the United Kingdom, Denmark, Germany, Luxembourg and the United States.  Most recently her work has been featured in solo shows at Galerie Zidoun (Luxembourg) and Galerie Lacerte Art Contemporain (Québec City and Montreal).  She has also exhibited at Hendershot Gallery (New York City), Andipa Gallery (London, UK), Galleri Rebecca Kormind (Copenhagen, Denmark), and Craig Scott Gallery (Toronto, Canada).  She was selected to be a part of a collaborative project <i>Tire-toi une bûche</i> that will be broadcast on the Canadian television show ‘Livraison d’Artistes’ this winter, and will be featured in an upcoming two-person exhibition at the Nassau County Museum.  Her work can be found in private collections in Canada, Denmark, England, Germany, Turkey, and the United States.  She currently lives and works in Brooklyn, New York.</p> <p></p> <p><b><i>Julie Tremblay: Some Kind of Nature</i></b> will be on view April 5 through May 19, 2012 at 571 Projects, 551 West 21<sup>st</sup> Street, Unit 204A, New York City, 10011.  571 Projects is open Tuesday – Saturday, 12-6pm, and by appointment.</p> Wed, 25 Jul 2012 19:45:43 +0000 Leon Berkowitz, Anita Huffington - ACA Galleries, Est 1932 - May 5th, 2012 - June 22nd, 2012 <p>ACA Galleries is Pleased to announce <em><strong>Color &amp; Form: The Work of Leon Berkowitz </strong><strong>and Anita </strong></em><strong><em>Huffington</em>.</strong> The exhibition features Berkowitz's paintings from his <em>Seven Lights</em> series alongside recent bronzes by Huffington</p> Tue, 22 May 2012 19:38:15 +0000 Rita McBride - Alexander and Bonin - May 3rd, 2012 - June 23rd, 2012 <p>Two exhibitions of works by Rita McBride will open in May 2012. Maverick, a selection of works from 2009 – 2011 will be presented at Alexander and Bonin. The exhibition includes works related to McBride’s public sculpture, <em>Mae West</em>, a 170-foot high, 57-ton rotational parabola installed on the Effnerplatz in Munich.  A series of recent bronze parking structures will also be included.</p> Fri, 20 Apr 2012 03:41:49 +0000 Lorraine O'Grady - Alexander Gray Associates - April 11th, 2012 - May 25th, 2012 <p>Lorraine O’Grady's (b. 1934) oeuvre as an artist draws inspiration from the ordinary to produce works that reveal the complexities and conflicts inherent to the human experience. Despite O’Grady’s clear and concise style, her artwork presents layered notions of aesthetics and identity. Since the early 1980s, O'Grady has challenged racial and sexist ideologies in performance and photo installations that combine opposition to philosophies of division and exclusion as well as humanist studies of women throughout history. Her point of view is also strongly evident in those works that examine the politics of diaspora over thousands of years. <br /> <br /> Born in Boston, MA to West Indian parents, O’Grady began her education with economics and literature. She proceeded to work as an intelligence analyst for the United States government, a literary commercial translator, and rock critic—a broad background that contributed to a distanced and critical view of the art world.<br /> <br /> Concerned with the lack of African-American representation in the Feminist movement of the 1970s, she critiqued the effort’s inability to “make itself meaningful to working-class white women and to non-white women of all classes.” O’Grady has maintained an ongoing commitment to articulating “hybrid” subjective positions that span a range of races, classes and social identities. In addition to her work as a visual artist, O’Grady has also made innovative contributions to cultural criticism with her writings, including the now canonical article, “Olympia's Maid: Reclaiming Black Female Subjectivity”.<br /> <br /> Her work has been exhibited in the Permanent Collection Galleries curated by James Rondeau, Art Institute of Chicago, Chicago, IL (<i>Miscegenated Family Album</i>, 2008); Art Basel Miami Beach (2009); Art 41 Basel (2010); and the 2010 <i>Whitney Biennial</i> (Whitney Museum of American Art, New York).</p> Mon, 07 May 2012 22:56:17 +0000 Anne Arnold - Alexandre Gallery - April 26th, 2012 - June 8th, 2012 <p><span style="text-decoration: underline;">For Immediate Release – March 2012</span></p> <p><span style="text-decoration: underline;"><br /></span></p> <p align="center"><b>Anne Arnold |<i> </i>SCULPTURE FROM FOUR DECADES</b></p> <p align="center"> April 26<sup>th</sup> through June 8<sup>th</sup> , 2012</p> <p align="center">Reception for the artist Saturday, April 28<sup>th</sup> from 1 to 4pm</p> <p align="center"> </p> <p align="center"><img src="" alt="Anne Arnold, Bill (Horse) [detail], 1976, Wall Pig, 1971, Monte II [detail], 1988 © Anne Arnold, courtesy Alexandre Gallery, New York Photo credit: D. James Dee" /></p> <p align="center">Anne Arnold, <i>Bill (Horse)</i> [detail], 1976, <i>Wall Pig,</i> 1971, <i>Monte II</i> [detail]<i>,</i> 1988 <br /> © Anne Arnold, courtesy Alexandre Gallery, New York</p> <p align="center">Photo credit: D. James Dee</p> <p align="center"> </p> <p>            The gallery will present the first one-person exhibition of Anne Arnold’s sculpture in twenty-four years.  Surveying work from the 1950s through the 1980s, <b><i>Anne Arnold: Sculpture from Four Decades</i></b> will include 29 classic examples of her animals in wood, ceramic, metal and painted or resin-coated canvas stretched over wooden armatures.  These works range from a roughly carved creosote coated pine sphinx-like cat to the front end of a life-sized horse in an unbalanced moment of rising up on its legs. <br />  <br />             In a period when Abstract Expressionism, Minimalism, Pop Art and many other movements came and went, Arnold persisted down her own path, eventually defining a singular position in American sculpture. While Arnold’s own early role in the development and wide acceptance of Pop is made clear,</p> <p>it can also be argued that Arnold understood better than her peers the traditions of the first “popular” American art forms found in vernacular, vintage folk objects such as weathervanes, decoys and hand-painted country advertising.<br />  <br />             Arnold’s work is quirky and personal, and humor is often a characteristic.  Her animals’ body language is spot-on, whether it be the stretching lean of a cat, the raked ears of a crouching rabbit, or the unexpected lightness and grace of a large farm animal.  We know an animal differently after seeing one</p> <p>of Arnold’s sculptures and, perhaps, care about them more for their individual traits evoked so precisely as essential form, gesture and presence.</p> <p>This exhibition will be accompanied by a fully illustrated catalogue with texts by Chris Crosman and John Yau.  The artist will be present for a reception on Saturday, April 28th, from 1 to 4 pm.</p> <p>The gallery is located on the 13<sup>th</sup> floor of the Fuller Building at 41 East 57<sup>th</sup> Street. <br />  </p> <p align="center"><b>For further information, biographical information or images, please contact Allison Hester at 212-755-2828 or at</b></p> Tue, 27 Mar 2012 21:19:13 +0000 Sam Falls - American Contemporary - May 10th, 2012 - June 24th, 2012 <p>The work in this show is a continuation of my involvement with representing time and space, as well as picturing the specific formal properties of various materials, utilized as both subject and object. As I've explored the photographic medium and attempted to break down its alienating characteristics, such as its professional materials or the depiction of an inaccessible time past, I've arrived at a place where I'm implementing its inherent immaterial traits – time, representation, and indexicality – as catalysts for interaction with various other art-forms. The goal is to collapse the subject and medium to produce an object that is inextricably linked with its process in order to involve the viewer in the timeline of production rather than display an inert moment from the past. As I move forward in dealing with the questions surrounding representation, the work accumulates to something human and emotional while illustrating the universal actions of the world we live in. <br /> <br />For the Joshua Tree pieces I hand dyed linen with natural colors to tune in with the environment and wrapped the fabric around rocks that acted as directive cairns within the landscape – functioning as colored beacons leading the viewer on a walk from one to the next during a temporary installation at High Desert Test Sites in 2011. They were left wrapped around the rocks for nearly four months so the shape of the rock is exposed or photographically 'burnt' into the fabric while the rest of the material is shaded and the color preserved under the rock or in a crevice of the boulders. Heavyweight organic linen was used to match the harshness of the high desert climate, withstanding the elements while absorbing the salt from the rocks which succeeds in not only picturing the boulders by exposure to sunlight, but also literally inheriting the weather and material, allowing the artwork to fully become a representation of Joshua Tree and transpose its essence. <br /> <br />As I've been working with sunlight and its capacity to represent a duration of time on various substrates, I've been exploring other ways to picture time and collaborate with nature to produce a sense of place within an object. Over the winter in Topanga Canyon I used firewood as a readily available and commonplace subject to illustrate the rainfall and produce an image of the wood itself. The counteracting elements of fire and rain are spoken to as powdered pigment was placed on each piece of wood that sat on top of terry cloth outdoors so as it rained the dry pigments were splashed onto the surface. One color is given to each piece of wood, but each pigment itself is composed of various colors, so as the dye is splashed off the wood to the terry cloth we see the pattern of rain and its separation of the colors as the large drops that hit the wood hard shower unique pigments afar while the areas that are closer to the wood mix and produce a more homogenous color. Just as the linen was used in Joshua Tree for its durability, the terry cloth was chosen for its absorbent property and the domestic reference is also appropriate since they were made in the yard of my house. The terry cloth pieces with more color depict a day of heavy rainfall while the less saturated pieces show a day of light and infrequent rain. The wood is illustrated on the fabric as a negative image – we see where the cloth was protected by the wood and the sculpture represents this cost on the wood itself. Wood functions as a useful substrate as well – the porous predecessor of paper – and as the rain catalyzed the dye it was dually absorbed into the wood as well. The sculpture is composed of one cord of wood, the basic volume measuring unit of firewood. <br /> <br />The aluminum sculpture is powder coated with two different composites of pigment. Each piece is fully covered in a UV protected pigment, and then the inside is re-coated with a non-UV protected pigment. So, though each respective panel appears to be the same color on either side now, the sides facing inwards will all fade in the sun. The form that each sculpture takes dictates the shadows that fall on the inside of the sculpture and the gradient of sunlight is revealed over time, burned into the sculpture like a photograph. Though the image is seemingly abstract, it is the shape of the sculpture itself that is represented. The goal of these sculptures is to be permanently installed outdoors so not only do they become a representation of their form, but also the specific path of sunlight <br /> <br />for the site in which they are ultimately installed. In contrast to most outdoor sculpture intended to defy the burden of time, these sculptures grow symbiotically with time and age, just as we do. Eventually the inside pigment will fully fade away and the coat of exterior pigment underneath that has been hidden will slowly begin to appear reversing the process – the most exposed parts will become saturated again and the composition will inverse until the sculpture is returned to its original all-over composition- you know, like birth and death. <br /> <br />The granite, bronze and aluminum sculptures speak more directly to life and death as they are inspired by 19th century gravestones from Père Lachaise cemetery in Paris. Similar to the colored aluminum sculptures, these pieces are made for outdoor installation and will trace the passage of time, but via oxidation and rain rather than sunlight. Each piece in the diptych is composed of two parts, one granite and bronze the other granite and aluminum, one with the bronze cube on top, the other with an aluminum cube. The bronze will change over time to a blue-green color as it's oxidized by the elements and the color will run down the granite staining it, while the reciprocal piece will age and weather, but not oxidize so clearly. The clean granite and aluminum function as a constant that mark the persistence and unchanging presence of time, while the oxidizing bronze and stained granite will record the linear movement of time and the harsh degenerative qualities of nature and the environment. <br /> <br />Overall, I hope the show offers a sense of space and time through image and material. Each piece is not only a representation of a specific subject, but an image of the material itself and its interaction with time and nature. While the fabric pieces are transported to the gallery as completed representations of a specific location and its environment, the aluminum and granite sculptures are friendly propositions to the viewer to bear witness to their completion complementary to their own lifespan. The aesthetics of color and form are chosen to speak to the optimism of life and the comfort offered by natural elements such as the sun and rain, while symbiotically allowing the pervasiveness of our movement toward death to show through. Sam Falls, 2012. <br /> <br /><br />Sam Falls (b. 1984, San Diego, CA) received his BA from Reed College in 2007 and MFA from ICP-Bard in 2010. Falls' work has been exhibited in the US and abroad, including solo exhibitions at China Art Objects, LA, West Street Gallery, NY, Fotografiska, His work has been written about in Modern Painters, ARTFORUM, Frieze and Aperture. His most recent monographs include Val Verde, Karma, 2011, Paint Paper Palms, Dashwood Books, 2011, and Visible Library, Lay Flat, 2011. Falls lives and works in Los Angeles.</p> Sun, 20 May 2012 21:50:38 +0000 - American Folk Art Museum - January 17th, 2012 - September 2nd, 2012 <p>Life is not lived in black and white: reality may have the tinge of dreams and dreams an air of reality. This provocative tension exists between the experiential nature of early American folk art and the fantastical imagery it often displays—between what is real and what is imagined. The same is true of the work of contemporary self-taught artists, which may introduce unique—and sometimes puzzling—expressions that illuminate the iconoclastic nature that is the flip side of the collective American psyche. The viewer is placed in the peculiar but exhilarating position of deciding for him- or herself whether the artwork expresses a disjuncture with reality or an uninhibited embracing of interior life. After all, what is more true, the picture that looks real or the picture that feels real; the observer or the observed? These perceptions shift as new scholarship emerges. Often, real-life roots are discovered for even arcane and esoteric imagery that has already influenced our response to an artist and his work: does this disappoint or satisfy the viewer? Diminish or enhance the creativity of the artist? One need only contemplate the culture- and memory-driven gestures of Martín Ramírez, the impressionistic nineteenth-century portraits by Dr. and Mrs. Shute, and minimalist mid-twentieth-century soot drawings by James Castle to render these distinctions immaterial. Instead the viewer is urged to enjoy the permeable fluidity between art and imagination, dream and belief.<br /> <br /> Stacy C. Hollander<br /> Senior Curator</p> Sun, 27 Nov 2011 15:34:44 +0000 Group Show - Anna Kustera - May 2nd, 2012 - June 9th, 2012 <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> Wed, 25 Jul 2012 19:52:32 +0000 Jay Connaway - Arkell Museum - August 22nd, 2011 - May 20th, 2012 <p>Jay Connaway (1893-1970) painted in an era marked by the economic, political and social upheaval of World War I, the Great Depression and World War II. He painted in a bold Impressionist style and critics in the 1920s called him “the greatest sea painter since Winslow Homer.”</p> <p><br /> Under the patronage of Bartlett Arkell, president of Beech-Nut Corporation and founder of the Canajoharie Library and Art Gallery, Connaway painted in Brittany, France. Arkell later provided Connaway with a house on the remote island of Monhegan, Maine. This exhibition includes paintings inspired by both the coastline of Monhegan Island and the landscape of Vermont.</p> Sun, 27 Nov 2011 15:37:22 +0000 Beth Van Hoesen, Mark Adams - Arkell Museum - March 29th, 2012 - June 24th, 2012 <p>Mark Adams and Beth Van Hoesen chose realism at a time when other artists were creating abstract works of art. Many of the lithographs and etchings in the exhibition are up-close looks at nature and everyday objects. Mark Adam’s large prints present single objects— a glass jar, cigar box or martini glass at a size much bigger than real life. Van Hoesen’s attention is more often focused on nature rather than manufactured or handmade objects. She did, at times, create larger than life-size lithographs of flowers—but her animals and flowers were more frequently actual size or smaller, with skillfully drawn and etched details of texture and pattern. Mark Adams was a frequent subject of Van Hoesen’s work, and the exhibition includes three portraits of Adams—all in his checkered suit.</p> Sun, 01 Apr 2012 20:48:56 +0000 Rob Carter - Art in General - April 13th, 2012 - June 23rd, 2012 <p><em>Though I do not believe that a plant will spring up where no seed has been, I have great faith in a seed. Convince me that you have a seed there, and I am prepared to expect wonders.</em><br /> -Henry David Thoreau</p> <p><em>Faith in A Seed</em> intertwines the languages of science and history into a living sculptural form. Rob Carter’s installation centers on the houses and gardens of three men of the 19th century. Miniature replicas of Charles Darwin’s Down House, Henry David Thoreau’s cabin at Walden, and Sir John Bennet Lawes’ Rothamsted Manor are the centerpieces of a large-scale triangular garden.</p> <p>The garden consists of dandelions, bush beans, and corn, planted in three distinct sections to represent each man’s methodology. Over the course of the exhibition, each estate will be become dwarfed and eventually overcome by its corresponding garden. <em>Faith in a Seed</em> lives between the gallery and the outside world, exposing the disproportionate relationship between food and shelter while highlighting man’s willingness to intervene in the natural order.</p> <p>Viewers are invited to witness Carter’s controlled but fragile ecosystem in three distinct ways: time-based video projections, peepholes cut into the sides of the garden, as well as from an elevated viewing platform.</p> <p><strong>About the Artist</strong></p> <p><strong>Rob Carter</strong> received his BFA from the Ruskin School of Drawing and Fine Art (Oxford) in 1998. In 2000 he relocated to New York to attend Hunter College, receiving his MFA in 2003. He has exhibited internationally and nationally, including solo exhibitions at Galeria Fruela, Madrid, Spain; Fondazione Pastificio Cerere, Rome, Italy; Ebersmoore, Chicago, and group exhibitions at the ICA, Philadelphia; Galeria Ramis Barquet, NY; Bruce Silverstein Gallery, NY; and Festival NARRACJE in Gdansk, Poland. Carter has participated in numerous residency programs including Atlantic Center for the Arts (2003), McColl Center for Visual Arts (2007), Marie Walsh Sharpe Art Foundation (2008), Art Omni (2010), and La Alqueria de los Artistas in Valenica, Spain (2010). He is currently in residence at the Lower Manhattan Cultural Council (LMCC) workspace studio program.</p> Tue, 27 Mar 2012 00:57:53 +0000 Lia Lowenthal - Art in General - April 13th, 2012 - June 23rd, 2012 <p>With <em>Fifteen Seconds</em>, Lia Lowenthal places Henry Moore, known primarily for his large-scale public works, in the confining and transient space of an elevator. Lowenthal recreates Moore’s sculptures as diagrammatically painted renderings on clear plastic, photographed on site in Art in General’s elevator. As interpreted by the camera, the painted plastic suggests three-dimensionality, but also reveals itself as pliant and fragile, reversing the language of Moore’s sculptures and equalizing them with the environment.</p> <p>Fifteen seconds is the amount of time the elevator remains open. At times, the motion of the elevator doors simulates the effects of a camera’s shutter, transporting the object from one space to another, and transforming the elevator into a mode of mediation.</p> <p><strong>About the Artist</strong></p> <p><strong>Lia Lowenthal</strong> was born in New York City in 1984 and currently lives and works in Brooklyn. She graduated from the University of California, Los Angeles (UCLA) in 2006, The Mountain School of the Arts in 2009, and will be pursuing her MFA at Bard beginning in June 2012. Recent exhibitions and projects include <em>Circinus &amp; Horolgium</em>, California State University-Los Angeles Fine Art Gallery (2011); <em>Economic Models</em> (solo), Light &amp; Wire Gallery (2010); and <em>I Brush My Teeth With My Left Hand to Loosen Up</em> (solo), Workspace (2009). This is her first project in New York.</p> Mon, 11 Jun 2012 23:29:11 +0000 PABLO CASTANEDA, Carlos Coronado, Julio Torres, Rafael Veytia Odette Barajas Sergio Haro, Fernando Corona - Artists Space: Exhibitions - March 31st, 2012 - May 27th, 2012 <div id="description"> <p>Artists Space is pleased to announce a survey of work from Mexicali Rose, a community media center and gallery in the Mexican border city Mexicali. A nexus for cultural and personal exchange between artists, journalists, activists and filmmakers on both sides of the border, Mexicali Rose exemplifies the possibilities of 21st century hybridized culture through its pursuit of artistic expression grounded in barrio life. The work of the center has been recently featured in <em>Artforum</em>,<em> May Revue,</em> Mexico City’s <em>Generacion</em>, and media throughout Baja California.</p> <p><br />Founded by Mexicali-born filmmaker Marco Vera in 2007 as an audio-visual workshop for neighborhood kids in border-adjacent Pueblo Nuevo, the workshop quickly expanded to include craft and trade classes, a community gallery exhibiting the work of local and international artists, a cinema club that showcases the work of Mexican and foreign filmmakers, and a radio station formed to provide a free and uncensored platform for local youth.</p> <p><br />The exhibition features a wide range of work from this innovative space, including experimental and documentary films produced by the workshop; photographs and collages by Mexicali-based, international artists Pablo Castaneda, Carlos Coronado and Julio Torres; photographs by documentarians Rafael Veytia and Odette Barajas and Zeta journalist Sergio Haro, and an original mural created by Fernando Corona.<br />Concurrent with the exhibition, Artists Space will present the symposium <em>The City Machine and Its Streets – Anomalous Ecologies</em> on March 31-April 1, featuring conversations between renowned Mexico City writer and journalist Sergio Gonzalez Rodriguez, Los Angeles writer and journalist Ben Ehrenreich, Zeta journalist Sergio Haro and Marco Vera, hosted by writer Chris Kraus.</p> </div> Wed, 14 Mar 2012 01:11:53 +0000