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 Richard Prince - 303 Gallery - May 18th, 2012 - June 22nd, 2012 <p>"the be all and end all" "the last place on earth that god didn't finish" "these paintings should be shown to the man from Mars" "the sound of a staple gun is not that different from the sound of a cash register" "battle stations" "Mr. Christian !!!!" "Who was the president of France when Gauguin was off painting his beautiful paintings in Tahiti?" "IT'S A SMALL WORLD BUT I WOULDN'T WANT TO PAINT IT" "I believe I'm fixin to die" "these paintings could have been played at CBGB's" "slapstick... but some serious fucking slapstick" "these paintings are like an unrecognized dinosaur...a beautifully feathered tyrant"</p> Mon, 11 Jun 2012 23:21:40 +0000 KASIA DOMANSKA - 532 Gallery Thomas Jaeckel - June 8th, 2012 - July 3rd, 2012 <p>Gallery 532 Thomas Jaeckel is pleased to announce an exhibition of paintings by Kasia Domanska. This will be her first solo exhibition in New York</p> <p><em>„I look out on a summer’s day, a beach where we can daydream freely, where we look at the sky and we notice more than we do in everyday life. Everything seems easy, light and pleasant. We contemplate..“</em> – Kasia Domanska</p> <p>The Artists’ works speak of the affirmation of life and it’s fleeting beauty: the sunshine, sparkling bright light bringing out the color intensity, suggesting thoughts of the eternal but often forgotten union between man and nature.</p> <p>With fairy-tale like colors contrasting and blending into one another, the artist creates a work of purity and balance which does not give rise to worry or confusion, but peace and calm. The compositions give us moments of silence and stillness while transforming her pictures into living forms, pulsating with vital energy, life-giving, like a salty summer breeze, the sound of waves crushing on to the beach, a  place where everything is go with the flow, forgetting schedules, rushing and stress, uniquely capturing  reality at its most fleeting and temporary. The force and the power in her work is the light, it plays a decisive role in the theme as do the mood and balanced composition. It is brightness, joy, day and life, creating an idyllic climate.</p> <p>The affirmation of nature and life becomes the background for a symbolic celebration of emotions, moods and reflections. Behind the literal meaning there is another, hidden meaning, which the artist allows to speak freely. Her paintings are testaments to a passion for beauty in all its forms, from the sublime to the everyday. Get ready for an endless summer.</p> <div></div> <p> </p> Sat, 26 May 2012 19:33:58 +0000 Dorothy Simpson Krause - 571 Projects - May 31st, 2012 - July 21st, 2012 <p><b>571 Projects</b> is pleased to announce <b><i>River of Grass, </i></b>an exhibition of new mixed media works by artist <b>Dorothy Simpson Krause</b>.  This is Krause’ second show with the gallery.  The opening reception will take place on Thursday May 31, 6-9 pm.</p> <p><i>River of Grass </i>marks Krause’ return to her deep environmentalist concerns, always close to hand in her work, exploring here the rich landscapes of the Florida Everglades with her unique blend of cutting edge digital processes and traditional art making methods<i>. </i>Eight mixed media works will be on view.  Krause renders the captivating beauty and shifting light using both organic substrates (linen canvas, wood panel) and inorganic substrates (aluminum panel), with painting and image transfer.  From the serenely contemplative <i>Misty River </i>(2011, pigment transfer with mixed media on aluminum, 36 x 36 in.) to the somberly brooding <i>Dark</i> (2011, pigment transfer to aluminum, 24 x 22 in.), Krause’s landscapes draw the viewer into a world defined by sky, water, luxuriant vegetation and reflections.  Where the Hudson River painters of the 1800s saw the sublime in the American wilderness, under threat even then, Krause draws out a powerful, all-encompassing spirituality as she at once captures a fragile beauty and underlines it’s inevitable vulnerability.  Suffused with a soft, nuanced palette, works like <i>Silver Sky</i> (2012, pigment transfer to gesso on wood, 24 x 24 in.) seem to hearken more to historical documents, a concept that is developed even further in the limited edition portfolio that accompanies the exhibition.</p> <p>The portfolio, a limited edition of six 7 x 10 inch prints on handmade paper, pays tribute to the pioneering work of Marjory Stoneman Douglas whose lifelong activism coupled with her 1947 book, <i>The Everglades: River of Grass</i>, fuelled the defense and conservation of this unique area.  Housed in a handmade envelope referencing a packet of documents an early settler might have carried, the folios combine Krause’ images of the Everglades with historic photographs, documents and maps.</p> <p>Krause is Professor Emeritus at Massachussetts College of Art where she founded the Computer Arts Center, and is a member of Digital Atelier®, an artists collaborative.  In July 1997, Krause organized “Digital Atelier: A printmaking studio for the 21<sup>st</sup> century” at the Smithsonian American Art Museum and was artist-in-residence there for 21 days.  For this she and her colleagues received a Smithsonian/Computerworld Technology in the Arts Award.  In 2000 Krause received a Kodak Innovator Award.  Her work has been the subject of numerous solo exhibitions, including Evos Arts Institute (Lowell, MA, 2002), the Attleboro Museum of Art (Attleboro, MA, 2004), Judi Rotenberg Gallery (Boston, MA, 2003, 2004, 2005 &amp; 2007), and Landing Gallery (Rockland, ME, 2009 &amp; 2011).  Her work is in many museum collections including The Museum of Fine Arts, Boston; Dalarna Museum, Dalarna, Sweden; Smithsonian Museum of American Art, Washington, DC; Art Complex Museum, Duxbury, MA; State Museum, Novosibirsk, Russia; The Decordova Museum, Lincoln, MA; and the Danforth Museum of Art, Framingham MA.  Krause was selected as the inaugural Helen M. Salzburg Artist in Residence at the Jaffe Center for Book Arts at Florida Atlantic University (Spring 2012).</p> <p><b>Dorothy Simpson Krause: River of Grass</b>, will be on view May 31, 2012 through July 21, 2012 at 571 Projects, 551 West 21st Street, Unit 204A, New York City, 10011.  571 Projects is open Tuesday – Saturday, 12 – 6pm, and by appointment.</p> Wed, 25 Jul 2012 19:44:13 +0000 Jennifer Berklich, Johanna Bartelt, Marcy Chevali, Lisa Dahl, Vandana Jain, Christina Kelly, Anna Miller, Yuka Otani, Kerianne Quick - ABC NO RIO - May 17th, 2012 - June 10th, 2012 <p>TOOTHSOME</p> <p>an ABC NO RIO in Exile exhibition at Bullet Space. Located at 292 East 3rd street between Avenues C and D on the Lower East Side.</p> <p></p> <p>ABCNORIO.ORG</p> Mon, 21 May 2012 00:45:36 +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 Jitish Kallat, Bose Krishnamachari, Baiju Parthan, Justin Ponmany, Ravinder Reddy, T.V. Santhosh, Chintan Upadhyay, Nitin Mukul - Aicon Gallery - New York - May 18th, 2012 - July 14th, 2012 <p><strong>Aicon Gallery New York</strong> is pleased to present the group exhibition <em>Mapmakers: The Evolution of Contemporary Indian Art,</em> featuring iconic works by <strong>Jitish Kallat, Bose Krishnamachari, Baiju Parthan, Justin Ponmany, Ravinder Reddy, T. V. Santhosh, Chintan Upadhyay</strong> and more. As a group, these artists represent the vanguard of Contemporary Indian Art that burst onto the international scene in the mid-2000s, turning the heads of museums, critics and collectors. This exhibition showcases the important large-scale canvases through which these artists, among others, redefined Indian Contemporary and set the compass points for a new generation to follow. <br /><br />Drawing inspiration from a variety of sources – ranging from cinema, news, media, art history and popular culture – <strong>T.V. Santhosh</strong> explores present-day crises through his art. Adapting images from digital and printed media, the artist creates eerily realistic canvases, charged by opinions on the general socio-political climate of India. Santhosh’s distinctive style makes his paintings recognizable without being predictable, via three key elements: Photorealism, chromatic scale, and gradual variation. An undertone of profound disillusionment is rendered in his paintings, his realistic figures cast in iridescently blurred light, framed in hallucinatory shadows. The enigmatic aesthetic denotes a social commentary of protest, while the artist remains disengaged from the social events depicted. He veils, floods and distorts the subjects with this strange yet familiar light – opting for a cold, machine-made glow rather than the warmth of sunlight. This stark filter conveys a macabre intensity, where reality and fantasy mix in his fluid surface bathed in an ominous luminosity.<br /><br />Quickly recognized as an artist at the forefront of Contemporary Indian art, <strong>Bose Krishnamachari</strong> focuses on form with conceptual and contextual concerns in mind. Impressive planes of flat color are contrasted with recognizable and realistic persona, which infuse the work with an identifiable sensibility. His simultaneous qualities of being a prodigious producer of work, while being knowledgeable of contemporary art movements and histories, denote two distinguishing aspects carried through his work. Krishnamachari remains conscious of historical significance, both personally and socio-politically, apt to retain and highlight this aptitude via his artistic praxis. Using traditional techniques in image-making mixed with an underlying vernacular message, Krishnamachari strives to elicit an idiom that is refreshingly contemporary and brisk.<br /><br />Characteristic combinations of extreme sensibilities, a yearning for solitude, distaste for the mediocre and a passion for novelty define the artistic practice of <strong>Jitish Kallat</strong>. Kallat is of a generation with no trepidations on the impossibility of today’s originality, with an equal lack of hesitation in accepting the derivation of cultural influences. The question asked by Kallat’s work is how we should negotiate this reticulated terrain while deriving insight from his frenetic visual landscapes to evoke a unique and personalized response.<br /><br />Elaborating upon the recesses of a personal process, <strong>Baiju Parthan</strong>’s fascination with transcending mediums is explored in his richly textured works. His work combines both celebration and lament, archaic and modern, utilizing a mirrored reality suggesting a world or mind undergoing the motions of change – disintegration, permutation, evolution – as the result of a restless gaze, unable to settle on one space or thing for long. In his own philosophy, “The art I produce currently addresses the dematerialization or erosion of tactility of the real, and its effect on our being and existence.” Parthan works on the fringes of the mainstream and the unreal, wary of the constraints of established visual lexicons, he weaves a common thread of the cosmic narrative, addressing the present, past and future in one moment.<br /><br /><strong>Justin Ponmany</strong> draws his influences from the transient city landscape, under constant construction, in what he terms the “Plastic Memory” of culture. Very much entwined as an artist to his worldly surroundings, he values interpersonal relationships as greatly as intrapersonal responses to one’s environment, looking at the subject and his world in the same frame. His perceptive adjustment to changing situations and relationships is conveyed on his canvas, capturing an intangible event through a tactile medium. Ponmany’s art stands apart not merely for what he paints, but also for its forms and his method of painting. By experimenting with various mediums and materials – like plastic paint, silver holograms, foils and rich pigments – his mixed-media works seem to resemble photo negatives, filled with black and silver undertones. This adventurous mix gives his work a shiny almost hallucinogenic quality. “I am a very tactile person,” explains Ponmany. “The physicality of the medium is important. It is almost as if I am quoting a material, bringing out its character and texture.”<br /><br /><strong>Ravinder Reddy</strong>, known for his brightly colored larger-than-life heads, uses sculpture as a primarily heraldic medium. Assuming the characteristic stance of an announcer, the often monumentally scaled heads invariably stare frontally through wide eyes – never daring to glance sideways, or over the shoulder – eager to address all in attendance. The message is further amplified by characteristically bold colors, gold inlay and intricate hairstyles. Reddy returns to the statuary of earlier pre-modern cultures and civilizations – such as ancient Egypt and Greece, where conventions of stark simplicity and rigid formality prevailed in artistic forms – emphasizing again his penchant for depicting the iconic theme of the herald.<br /><br /><strong>Chintan Upadhyay</strong> holds a unique position in the context of Contemporary Indian Art. Asserting that artworks are commodities in themselves, Upadhyay believes his works to be mass-produced, consumerist objects with aesthetical and ideological values infused to their economic value. In a world driven by the rules of consumerism, he, as the artist, refuses to attribute subliminal values to artworks. This eventually imparts a uniqueness based in originality. According to Upadhyay, an artist exists among a chain of already ‘produced’ and ‘consumed’ images, thus rendering himself submissive to the dominance of images. Artistic products are simply gestures to nullify the predetermined and mediated meanings of symbolic objects produced within the context of Art. Upadhyay chooses to formulate his ideas, nullifying the meanings of the objects and images to infuse them with new associations, knowing that they would be subsumed by the existing system, ultimately becoming part of the production of meanings.<br /><br />Please contact <strong>Aicon Gallery</strong> (<em></em>) for more information.</p> <p><a href="" title="" rel="nofollow" target="_blank"></a></p> Thu, 28 Jun 2012 20:26:35 +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 Paul Cadmus, Hugh Steers, Andy Warhol - Alexander Gray Associates - June 8th, 2012 - July 20th, 2012 <p>To inaugurate its representation of the Estate of Hugh Steers, Alexander Gray Associates presents an exhibition contextualizing his work with two generational predecessors, reflecting progressing artistic and cultural concerns, and charting cultural reception to figurative work representing three slices of 20th Century Gay experience.<br /> <br /> <b>Paul Cadmus</b>’ (1904-1999) works on paper celebrate desire of an idealized male form. His WPA-era prints, including <i>YMCA Locker Room</i> (1934), <i>Youth With Kite</i> (1941) and <i>Two Boys on a Beach No. 1</i> (1938) are radical for their time, with their homoerotic undertones. Later studies of male models and dancers, notable for their highly stylized marking and gesture, underscore a romantic view of languid, posing young men. Innocence, freedom, beauty and distance are hallmarks of Cadmus’ representation of the male nude and sexuality.<br /> <br /> Made in 1978, <b>Andy Warhol</b>’s (1928-1987) Sex Parts, a series of screen prints isolating gay sexual acts, presents a more graphic approach to the male form and Gay life in the late 1970s. Based on Polaroid photographs, Warhol’s tight cropping and added gesture further mediate a distance between the artist/observer and subject—sexual act and participant. Through Warhol’s image Identity is stripped; sex itself becomes anonymous and flattened.<br /> <br /> The selection of paintings by <b>Hugh Steers</b> (1963–1995) gives a vantage of sexuality and relationships. Painted early in the AIDS crisis, Steers’ images are at once allegorical and autobiographical: couples in embrace, remorse, and modes of care-taking. With the backdrop of hospital rooms and domestic spaces, the mis-en-scenes are emotional and intimate, suggesting beauty found in loss and mortality.</p> Wed, 25 Jul 2012 19:44:06 +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 Marc Latamie - Americas Society Gallery - May 15th, 2012 - July 28th, 2012 <p>Americas Society is proud to present the second installment in the For Rent series featuring artist Marc Latamie (b.1952) on view from May 15 to July 28, 2012. Devoted to midcareer artists from the Caribbean and Canada, For Rent is based on the concept of transferring the use and symbolic value of Americas Society’s art gallery to the artist for the development of an in-situ installation.<br />In his first solo exhibition in the United States, Marc Latamie reflects on the colonial trade and cultural exchange between Martinique and France. The artist explores the history of the &gt;Caribbean through absinthe, a spirit that embodied the zeitgeist of French modern art from Henri Toulouse-Lautrec to Paul Cézanne and Pablo Picasso. For more than a century the spirit was a symbol of Parisian bohemia representing abandonment and decadence. First introduced in the late eighteenth century in Switzerland, absinthe later found great popularity in France and across Europe. It was believed to carry powerful addictive properties that effected one’s perception and behavior. France introduced Martinique to absinthe, an alcohol the island continued to produce despite France’s prohibition by 1915. As a result, Latamie grew up with absinthe regularly brewed in homes throughout Martinique, and recalls that as a child he would sniff the absinthe perfume kept in his grandmother’s cabinet.<br />Latamie divides the gallery into three spaces, with the centerpiece of the exhibition based on allegorical representation of an absinthe distillery. The artist departs from Marcel Duchamp’s The Bride Stripped Bare by her Bachelors, Even (1915-1923), also known as The Large Glass, as inspiration for the nine life-size “malic molds” that make-up his distillery. Duchamp coined the term “malic molds” to describe the abstract, mechanical shapes that depict the “bachelors” in his work. A strong absinthe aroma also emanates from Latamie’s installation, making the visitor’s senses an integral part of the experience. As the artist states, “the installation is a poetic &gt;version of the versatile green essence…volatile and decadent of an unrealistic proposition.”<br />“Le Salon (de) Surprise” is dedicated to Lumina Sophie, also known as Surprise, Martinique’s forgotten national heroine who in 1870 helped lead a revolt against wealthy white plantation owners. For her role in the insurgence, Surprise was convicted of blasphemy and attempting to dominate men, dying in jail eight years later at the age of 31. The salon will present a selection of artworks by prominent French avant-garde artists such as Henri Matisse, Raoul Dufy and Man Ray who portrayed women from Martinique and Guadeloupe in their works, as well as Martinican landscapes by Andre Masson and Paul Gauguin.<br />In the final gallery space, inspired by the French bars, cafés, and cabarets where the indulgence of absinthe was rampant, Latamie created a lounge area using nineteenth and early twentieth century French furniture. Throughout the exhibition’s duration the lounge will be open for public interaction and leisure, as well absinthe tastings by invitation only. The installation will also feature a short film by Myrtha Richards-Marie-Joseph, who is 2012 made “L'Absinthe de Monsieur Gentil” (Mr. Gentil's Absinthe), which follows a man in Martinique as he distills absinthe in his home.</p> <p>ABOUT THE ARTIST<br />New York-based artist Marc Latamie was born in 1952 in Martinique. He obtained his degree in Fine Art and Art History from University of Paris VIII and was Lecturer at the National Museum of Modern Art, Paris. He has exhibited his work in Europe, Africa, the United States, and the Caribbean. Latamie has participated in the biennales of São Paulo (1996), Johannesburg (1997), Havana (1997), Dakar (2000), Uppsala (2000), and Spoleto-USA (2002). Group exhibitions include Tempo at the Museum of Modern Art (2002), Island Thresholds, Contemporary Art from the Caribbean at the Peabody Essex Museum (2005), and Legacies: Contemporary Artists reflect on slavery at The New York Historical Society (2006), among many others.</p> Fri, 04 May 2012 01:26:57 +0000 Josiah McElheny - Andrea Rosen Gallery - May 19th, 2012 - June 30th, 2012 <p><i>"Pure abstract art has grown directly from the culture and refinement of mundane life; from culture—imperfect as it may be. It does not come directly from isolated philosophical or religious thinking of feeling. Fashion has a deep meaning: fashion is cultural expression. Although it may be an exteriorization, like the various forms of art, it nevertheless shows inner content."</i><br /> -Piet Mondrian, A Note on Fashion, 1930<br /> <br /> It is a particularly exciting time for McElheny, with three museum exhibitions displaying the diversity of subjects with which he is involved: currently on view through July 20 at Whitechapel Gallery, London is a year-long installation <i>The Past is a Mirage I'd Left Far Behind,</i> in part a meditation on abstraction in film throughout the twentieth century. Over the course of the next nine months two U.S. museums will present separate survey exhibitions of McElheny's work. Rather than present comprehensive surveys of McElheny's entire practice, each exhibition will describe the history of an idea within his oeuvre, with each museum taking on a different subject. The Institute of Contemporary Art, Boston will narrate the story of his projects involving astronomical cosmology and the infinite, while the Wexner Center for the Arts, Columbus will exhibit works that trace his obsession with writer Paul Scheerbart and the quest for modernist utopias. <br /> <br /> In advance of these significant exhibitions, the gallery is excited to present McElheny's newest body of work and in his third exhibition at the gallery. <i>Some thoughts about the abstract body</i> explores the connections between the history of visual abstraction and clothing/fashion created by artists over the past century. McElheny uses historical examples of artistic clothing and costume design as a starting point to present his own set of models for abstract form today. A series of sculptural assemblages, ethereal wall works, and a performance with attendant sculptures or props, present a diverse library of possible forms for the expression of images of an abstract physical and psychic body. Seen together, these works propose that our conceptions of and imaginations about the body's possible shape speak to the potential liberation—or confinement—contained in a subjective and non-universal approach to visual abstraction. Throughout the exhibition, McElheny suggests that abstraction seen through the lens of the body might be a path for returning to a conversation about the radical hopes and ideals originally associated with this mode of seeing.<br /> <br /> For those familiar with McElheny's work, the exhibition can be considered as both a new direction and a return to themes of about a dozen years ago. In 1999 and 2000 he exhibited a series of projects about Christian Dior and the creativity of factory workers, such as <i>From An Historical Anecdote about Fashion,</i> and in 2001 he staged <i>The Metal Party</i>—a participatory performance that reconstructed a famous party, some say rebellion, held at the Bauhaus in 1929—in which he provided all the participants a metallic costume. McElheny's recent forays into recovering or refocusing on historical figures who proposed a more subjective, less universal experience of abstraction also provide a backdrop for his newest work. In 2007, together with Iris Müller-Westermann, McElheny co-curated a groundbreaking display of the very first painter of geometric abstraction, the visionary Hilma af Klint, at the Moderna Museet in Stockholm, and in 2011 McElheny's highly researched interpretations of Blinky Palermo's "lost" wall paintings of 1970-1972 were exhibited at the Hessel Museum of Art at CCS Bard College as part of his large scale collaborative curatorial project with curator Lynne Cooke and CCS director Tom Eccles.<br /> <br /> Upon entering the gallery, the viewer first encounters two wood and mirror sculptures, <i>Walking Mirror 1</i> and <i>Walking Mirror 2. </i>Part sculpture, part costume or prop, its nylon shoulder straps suggest that they can be worn and a set of lines leads away from them and through the gallery. Structurally, they are not unlike sandwich boards but paradoxically they also cover the face, thereby abstracting and obscuring the wearer's body; when inhabited they reflect the viewer in place of the body of the performer. These works, when standing idle or when activated by a performer six times a week (Fridays and Saturdays at 2 and 4 pm and 5 pm either by actor/performer Austin Purnell or performer Lollo Romanski), set the tone for the way in which all of the works in the exhibition change subtly as the viewer—or the sculpture itself—moves around the gallery space. These "walking mirrors" are hybrid objects that make concrete the idea of the body as the site for abstraction, and provide an experience of how abstraction is both freeing and a kind of erasure. <br /> <br /> Filling the main part of the gallery are eight sculptures inspired in part by Carlo Scarpa's intricately designed vitrines specially made to display plaster models of the human figure in the Museo Canoviano in Passagno, Italy. Each of these <i>Models for an Abstract Body</i> has two legs and a "body" at chest height. These anthropomorphic sculptures are constructed of cold-roll steel, with a glass box made of delicate, oiled cedar wood spines, a linen floor, and low iron glass. Visible on the interior of each sculpture are abstract glass forms blown and carved as quarter-scale interpretive "models." Each of these vaguely figurative shapes is based on a specific instance from the history of visionary abstract fashion and anti-fashion created by various artists (and two fashion designers). <br /> <br /> Elegantly colorless in white, grey, and black, the blown glass components of each assemblage call attention first and foremost to form, while at the same time they seem to move and change as one travels around the sculpture; this is due to striations and patterns that create a moiré or lens effect, both hiding and revealing an interior and subtly suggesting the unstable nature of cloth. As the titles of these sculptures note, each component or group of objects is an interpretation of designs for clothing, clothing as sculpture or costumes by such artists as Sonia Delaunay, Lucio Fontana, Kazimir Malevich, Luibov Popova, Alexander Rodchenko, Mimi Smith, Varvara Stepanova, Rosmarie Trockel, Konstantin Vialov, Franz Erhard Walter or designers André Courrèges and Alexander McQueen. <br /> <br /> Finally, there are a series of almost invisible shapes, made of transparent glass hung on the wall at the height of the viewer's body, each is inspired by the Bauhaus professor, painter and theater director, Oskar Schlemmer and his famous designs for costumes that turned the body into geometric abstractions. In <i>Form for the abstract body (after Schlemmer)</i> one can compare one's own body to these full-scale designs, shapes that only reveal the wall itself, but whose edges very gently glow around a surface that subtly reflects the viewer.<br /> <br /> <br /> <i>Currently on view in London is McElheny's kaleidoscope-like film installation</i> The Past Was A Mirage I'd Left Far Behind, <i>a commission for Whitechapel Gallery, London, accompanied by a new illustrated catalogue. Forthcoming museum exhibitions include: </i>Some Pictures of the Infinite<i> curated by Helen Molesworth at the Institute for Contemporary Art, Boston (June 22 – September 23, 2012) and </i>Towards a Light Club <i>curated by Bill Horrigan at the Wexner Center for the Arts, Columbus (January 26 – April 7, 2013). (Each exhibition will be accompanied by a fully illustrated catalogue with newly commissioned texts; both are designed by Purtill Family Business and published by Hatje Cantz). Other forthcoming exhibitions include: </i>In the Spirit of Walser – Rodney Graham and Josiah McElheny, <i>Donald Young Gallery, Chicago (September 2012); White Cube, London (November 2012); Vizcaya Museum &amp; Gardens, Miami (Fall/Winter 2012). In June, Sternberg Press and CCS Bard will release McElheny's collaboration with Johanna Burton and Lynne Cooke</i> Interiors,<i> an extensive reader made in response to McElheny's curatorial project—which was itself a collaboration with Tom Eccles and Lynne Cooke— at the Hessel Museum of Art at CCS Bard in 2011.<br /> </i></p> <p><i><b>Performances are scheduled for the following days and times:</b><br /> Friday, May 25: 2pm, 4pm, and 5pm<br /> Saturday, May 26: <b>gallery closed for Memorial Day</b><br /> Friday, June 1: 2pm, 4pm, and 5pm<br /> Saturday, June 2: 2pm, 4pm, and 5pm<br /> Friday, June 8: 2pm, 4pm, and 5pm<br /> Saturday, June 9: 2pm, 4pm, and 5pm<br /> Friday, June 15: 2pm, 4pm, and 5pm<br /> Saturday, June 16: 2pm, 4pm, and 5pm<br /> Friday, June 22: 2pm, 4pm, and 5pm<br /> Saturday, June 23: 2pm, 4pm, and 5pm<br /> Friday, June 29: 2pm, 4pm, and 5pm<br /> Saturday, June 30: 2pm, 4pm, and 5pm<br /> <br /> <br /> </i></p> Wed, 25 Jul 2012 19:45:03 +0000 David Altmejd, Liz Deschenes, Erik Wysocan - Andrea Rosen Gallery - May 19th, 2012 - June 30th, 2012 Sat, 09 Jun 2012 01:37:11 +0000 Josiah McElheny, Wolfgang Tillmans, Andrea Zittel - Andrea Rosen Gallery - May 19th, 2012 - June 30th, 2012 Sat, 09 Jun 2012 01:40:00 +0000