ArtSlant - Closing soon en-us 40 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 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 Chantal Joffe - Cheim & Read - May 4th, 2012 - June 22nd, 2012 <p>Cheim &amp; Read is pleased to announce an exhibition of new work by British painter Chantal Joffe. This is Joffe's second solo show in New York; her first was also with the gallery.</p> <p>Born in 1969, Chantal Joffe received an undergraduate degree at Glasgow School of Art (the school was chosen partly because it offered figure painting, which has always been her subject), and her Master's from London's Royal College of Art in 1994. Joffe is often associated with the second, more paint-focused wave of young British artists, and gained attention in the late 90s with small, painterly compositions. Her canvases have since expanded significantly: several in this exhibition are startlingly larger than life (8 x 6 feet), and her subjects-often solitary females-dwarf the viewer. Tension oscillates between the paintings' ambitious scale and the intimacy implied in the posture and gaze of the women represented. Even the smallest works in the show (just under 16 x 12 inches) hardly contain Joffe's subjects, which are truncated in order to fit the confines of the canvas (see Esme with a Guinea Pig (2012). Joffe works from secondary source material, mostly culling imagery from fashion spreads, and references snapshots of children and friends. Her newest work also includes several self-portraits. Photography (Diane Arbus, Harry Callahan's family portraits) is a noted influence, as is a varied group of painters from the art historical canon (Manet, Degas, Stella, Katz, Neel, Krasner). </p> <p>Joffe's use of fashion, while loaded conceptually (i.e. its negative associations with female objectification and the "male gaze"), derives from an honest and innocent appropriation of fantasy: Joffe chooses images that she finds most alluring, especially in terms of sparking imaginative narrative, and is driven by a love for and identification with the female form and its accessories. Further, the rich compositional elements fashion provides-texture, color, pattern-complement Joffe's fluid and technically accomplished painting style (see Woman in a Red Flowered Dress or Blonde in a Shell Chair (both 2012). Abstracted forms and saturated surfaces bring attention to the lush materiality of paint itself, a focus that has dubbed Joffe a "painter's painter." Though her work is loosely executed, it is also, in contrast, almost obsessively observant, capturing the unique qualities and details of her subject. She is no less attentive when painting herself-her sharp eye is enforced by the depiction of her body's stark nakedness, a contradiction to the mostly clothed subjects of her other paintings. The color and pattern of herringbone socks and a striped chaise longue recurring in the self-portraits reiterates the distinction. </p> <p>Joffe's subjects-slightly distorted, sometimes cropped, confined by the vagueness of their setting or activities-allow for the viewer's own interpretations. Emotional and psychological reaction to her work, and the self-guided, imaginary journey it provokes, belies any argument towards objectification. While the echo of feminist theory is inevitable and necessary, and perhaps enhanced by Joffe's sometimes provocative re-appropriation of fashion photography, her work is distinctive for its unapologetic embrace and celebration of femininity. Through the ambiguity of her depictions, she rejects given definitions of womanhood, alluding instead to a long, multi-hued history of heroines, idols and icons, and to past representations of the female form. Many of her subjects are young-at the cusp of their potential-inciting further drama to their imagined narrative. But by adding her own image-less idealized and far more personal-she extends this arc further, allowing for the story to continue.</p> Mon, 11 Jun 2012 23:47:34 +0000 Evelyn Hofer - Danziger Gallery - May 1st, 2012 - June 22nd, 2012 <p>Danziger Gallery is proud to take on representation of the Estate of Evelyn Hofer and mount the first large scale American retrospective of this important and pioneering photographer.<br /> Evelyn Hofer was born in Marburg, Germany in 1922 and died in 2009 in Mexico City. In the years in between, Hofer created a body of work that both looked back to the tradition of August Sander and anticipated the color work of William Eggleston, causing her to be called "the most famous unknown photographer in America" by New York Times art critic Hilton Kramer – a devout supporter of her work.<br /> <br /> Hofer's work has influenced such photographers as Thomas Struth, Joel Sternfeld, Adam Bartos, Rineke Dijkstra, Judith Joy Ross, and Alex Soth. There have been retrospectives of her work at the Musée de l'Elysée in Lausanne (1994); the Aarggauer Kunsthaus in Switzerland (2004); and the Fotomuseum The Hague (2006). Last year her work was shown in Munich's Villa Stuck as part of the Goetz Collection in the exhibition "Street Life and Home Stories" alongside the work of the photographers William Eggleston, August Sander, Diane Arbus, Thomas Struth, and Nan Goldin. <br /> When Hofer was eleven her family fled Nazi Germany for Switzerland. She decided she wanted to be a photographer and set about it methodically. She began with an apprenticeship at the Studio Bettina, a portrait studio, and took private lessons with Hans Finsler, one of the pioneers of the "New Objectivity" movement.</p> <p>Hofer's studies covered everything from photographic technique to art theory. She didn't just learn composition and the underlying theories of aesthetics, she also learned the chemistry involved in producing prints. Beginning in the early 1960s she became one of the first fine art photographers to adopt the use of color film and the complicated dye transfer printing process as a regular practice. Throughout her long career, Hofer continued to shoot in both color and black and white – determining which was the more apt for the picture at hand.<br /> <br /> In the middle 1950s Hofer's career took an important turn when the writer Mary McCarthy asked her to provide the photographs for The Stones of Florence, a literary exploration of the history and culture of that city. Over the next forty years Hofer collaborated with writers including V.S. Pritchett and Jan (James) Morris to produce books on Spain, Dublin, New York City, London, Paris, Switzerland, and Washington, D.C. in which she mixed portraits and land or cityscapes.<br /> <br /> Working with a cumbersome 4 x 5 inch viewfinder camera, Hofer always photographed her subjects where she found them, but favored carefully composed scenes with a still, timeless aura. Almost in opposition to the on-the-fly work of her contemporaries Eggleston and William Klein, Hofer used extraordinary patience to slow the world down, examine its conditions, and capture the exact image that she envisioned, searching for an "inside value, some interior respect" in the people she photographed.</p> <p>Hofer's goal was to go beyond documentary photography to create a subjective interpretation of the world, conveying both the spirit of the time and a timeless message. A street photographer of a different stripe, Hofer's street pictures convey the artist's concern with sociological connections and offer a pointed look at society and its conditions. Her trades-people and toffs, her families and social groups are more than just intimate portraits – they epitomize the possibilities and restrictions of the human condition. <br /> <br /> Late in her life, when asked for her thoughts on being called "the most famous unknown photographer in America." she said she liked it. She understood that what mattered was the work, not personal fame.</p> Mon, 09 Apr 2012 23:02:34 +0000 Group Show - Like The Spice Gallery - June 8th, 2012 - June 22nd, 2012 <p>"224: A Group Exhibition"<br />June 8th, 2012 - June 22nd, 2012</p> <p>Opening Reception: Friday, June 8th, 6:30-9:00pm</p> <p>Gallery Hours during June: Wednesday- Friday 12- 6pm, Saturday 12-7pm, Sunday 12-5pm. Gallery closed as of June 22nd.</p> <p>In the past few years we have learned that Arts Not Fair, one should never throw stones in This House of Glass or there will be Shards, 1+1=11 is not bad math, in a city of 8 million you can be One and the Many, Brooklyn is a Different Country, no matter where you are you can still Curate NYC, and sometimes owning a gallery is a Loves, Labor, Lost.</p> <p>Like the Spice Gallery first opened its doors six years ago as Like the Spice Art Studio here at 224 Roebling Street in Brooklyn. The studio’s mission was to introduce to Williamsburg a type of community center whose focus was primarily on the understanding, exhibiting, and creating of art. Offering classes to the general public, monthly group exhibitions, lectures, and artist dinners, Like the Spice Art Studio quickly became a hub for young, aspiring, and emerging artists.</p> <p>At the end of 2007, after a year of being open, Marisa Sage decided to shift the focus from project space to full time gallery, curating solo and group exhibitions that encouraged Like the Spice artists to push their own limits and find new directions in their work. Over time, LTS flourished into an internationally recognized emerging contemporary art gallery. Like the Spice's history has been an exciting one with sold out exhibitions, show-reviews published in a plethora of magazines, blogs, and newspapers, our exhibitions traveling from Williamsburg to London then beyond, and our ever expanding participation in international art fairs.</p> <p>As of June 22nd, 2012, Like the Spice Gallery will be leaving the constraints of 224 Roebling St. to expand into numerous locations, shows, and events throughout the United States and abroad. As we look for a new location we will continue to maintain our website, blog, and monthly newsletters that will keep all abreast of what is next to come for Like the Spice Gallery. In the works already is a tremendous group exhibition at the 92YTribeca, artist studio tours in Fall 2012 and Spring 2013, pop up exhibitions across the world (locations to be announced summer 2012), and various independent projects by Like the Spice Gallery artists.</p> <p>“224: A Group Exhibition," will be the final show at our current address. This celebratory group exhibition will feature all new work by Jenny Morgan, Eric LoPresti, Allison Edge, Brian LaRossa, Allie Rex, Reuben Negron, Treasure Frey, Gieves Anderson, Jessica Stoller, Chino Amobi, and Jason Bryant. It is a look back at the past as we look toward the future of Like the Spice Gallery.</p> Wed, 30 May 2012 18:58:41 +0000 María José Arjona - Location One - May 23rd, 2012 - June 22nd, 2012 <h1><em>The Kiss</em></h1> <h2>Component 5/7 from the performative cycle ACTIVE VOICE <br />Exhibition by Maria José Arjona <br />May 23-June 22, 2012</h2> <p><strong>Sound design by Shawn Greenlee <br />Videographer: Agata Domanska</strong></p> <p><em>The Kiss</em> is an exhibition mapping a system uniting two bodies. It is a gesture, magnified by the use of sound, emerging from the action of kissing and intensified by the working presence of the performer’s body.</p> <p>Throughout the space each element is woven by simple associations between body (present and absent), sound, and various materials which are all used to reveal the nature of this binding gesture: the kiss. The exhibition does not display one privileged moment of the kiss – rather, it dislocates it through its many representations, thereby underlining an aural intensity which evokes the possibility of an image of kissing within each spectator.</p> <p>The exhibition could also be thought of as a microscope slide where some of the components of kissing are extracted and isolated in order to better understand them. It is not a rendering, it is not a choreographed sequence, it doesn’t function within linear time. But it proves the force contained in a simple gesture (kissing) simultaneously giving it a voice and an expanded corporeality.&gt;/p&gt;</p> <p>The audio element is integral to the piece, much more essential than simply serving as a “soundtrack.” On the video “Strap”, the association between a plastic strap used to connect two cables, and the sound it produces when closed is linked with the sound of a kiss. Both sounds are connected by an image where the actual gesture of sending a kiss is recorded while simultaneously two hands close a plastic strap. These two parallel actions, shown digitally, are reflected into the space in the form an object created by the plastic straps.</p> <p>“The Kiss” (long durational performance), a breathing system where the performer’s body becomes the intersection enabling the entire organism to work, reveals the intricate rhythm between lungs, fluids and muscles while kissing. The body is the kiss: the plane of action created by it. This intersecting plane finds its translation into sound via the repetitive action of inflating and deflating two huge latex balloons.</p> <p>“Muted”, the second video in the installation, refers to childhood memories of wondering what kissing might feel like; the embracing aspect of it, is associated with the binding function of the straps, the sound carried by the cables interconnecting the speakers, the kisses sent and the edited sound produced by a couple kissing (from where the actual sound emerges)...all of them fluid extensions of the kiss into the space.</p> <p>Sound as fluid, sound as connector, sound as image, sound as memory, sound, body, sound...time suspended in and by a gesture...also a sound...a minimal voice.</p> <p>Special thanks to Heather and Tony Podesta, Andre Lepecki, all the staff at Location One, Julian Navarro, Laura Lona and Anita Beckers.</p> <center> <p>For press inquiries, please contact Heather Wagner at <a href="" rel="nofollow" target="_blank"></a></p> </center> Sun, 06 May 2012 13:10:42 +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 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 Constantin Brancusi - Bruce Silverstein Gallery - April 26th, 2012 - June 23rd, 2012 <p><b>Constantin Brancusi </b></p> <p><b>Romanian, 1876-1957</b><br /><br /> From 1894 to 1898, Brancusi studied art at the Scoala de Meserii in Craiova and also at the Scoala Nationala de Arte Frumoase in Bucharest from 1898 to 1901. Brancusi was among the first sculptors to experiment with abstract art. His work is featured in numerous museums and public collections such as the Museum of Modern Art and the Bucharest National Art Museum. Constantin Brancusi died on March 16, 1957 and was buried in the Cimetière du Montparnasse located in Paris, France.</p> Wed, 25 Jul 2012 19:45:08 +0000 Liam Gillick - Casey Kaplan Gallery - May 2nd, 2012 - June 23rd, 2012 <p>Casey Kaplan is pleased to announce <em>Scorpion and und et Felix</em>, an exhibition of new works by Liam Gillick (b. 1964, Aylesbury, UK).</p> <p>The exhibition takes its title from an early unpublished manuscript of a comedic novel by Karl Marx, <span style="text-decoration: underline;">Scorpion and Felix</span>, in which three characters Merten, the tailor; Scorpion, his son; and Felix, his chief apprentice, engage in a satirical narrative that abstractly references irresolvable philosophical polemics. In one chapter titled, <em>Philological Brooding</em>, Marx etymologically references himself within the origins of Merten’s name. At the end of the fragmented narrative (only pieces of the text survive today and much of it is thought to have been burned by Marx himself), Merten attempts to save his dog, Boniface, from a miserable death by constipation - a fate that Merten compares to the agony of Boniface’s inability to speak and to write his own thoughts and reflections. Merten cries out in the last line,"O admirable victim of profundity! O pious <em>constipation!</em>"</p> <p>Incomplete, and therefore only open to a partial reading or misunderstanding, the novel is an entryway into Liam Gillick’s exhibition and practice; its final point also open to interpretation as a self-deprecating, comedic reflection on the archetypal struggles of all artists, writers, filmmakers, poets, and others. Gillick’s practice is a divergent one (including sculpture, writing, architectural and graphic design, film, and music) that resists methodological boundaries and constraints, and shows a fondness for discursiveness, distractions, and evasive tactics.</p> <p>Since the late 1980’s, Gillick has focused on production rather than consumption, examining how the built world carries traces of social, political and economic systems. Anticipating a forthcoming survey of Gillick’s work from the 1990’s at the Hessel Museum of Art, Annadale-on-Hudson, <em>Scorpion and und et Felix</em> continues a series of floor mounted rail sculptures that he began in 1988. Rails are typically a functional form that provide support or alternatively limit access to a space. Here, they are placed on the floor and at obscure heights on the walls, questioning their function (or nonfunction) to create a linear framework for the viewer’s movement through the first two rooms of the gallery. In the third room, Gillick presents new, monochromatic L-shape forms that also traverse the floor and the wall. Reminiscent of office cubicles, barriers, waiting areas and processes of renovation, they operate as semi-autonomous abstractions and reiterate Gillick’s interest in the legacy of “applied modernism”, the two way movement between utilitarian design and modernist art and architecture.</p> <p>Three large-scale graphic works derived from medieval woodcuts confront the implied contemporary vernacular of Gillick’s wall-based and freestanding structures. Previously presented in past exhibitions as posters and graphics, the vinyl wall-drawings show a character spinning yarn and two dogs. Together, the works in the show pursue logico-formal connections in an ahistorical narrative about thoughts and material.</p> <p>Liam Gillick (Born 1964, Aylesbury, United Kingdom) lives and works in New York.  A survey of the artist’s projects and installations from the 1990s, entitled <em>Liam Gillick: From 199A-199B</em>, curated by Tom Eccles, will open on June 23rd at the Hessel Museum of Art, Annadale-on-Hudson, New York. Gillick represented Germany at the 53rd Venice Biennale, 2009.  Past solo exhibitions include: <em>Liam Gillick: One Long Walk – Two Short Piers</em>, Kunst- und Ausstellungshalle der Bundesrepublik, Deutschland (2009) and the travelling retrospective <em>Three Perspectives and a Short Scenario</em>, Kunsthalle, Zürich, organized by Beatrix Ruf (2008), Witte de With, Rotterdam, organized by Nicolaus Schafhausen (2008), Museum of Contemporary Art, Chicago, organized by Dominic Molon (2009). Liam Gillick publishes texts that function in parallel to his artwork including: <em>Proxemics (Selected writing 1988-2006), </em>JRP-Ringier (2007); <em>Factories in the Snow </em>by Lilian Haberer, JRP-Ringier (2007); <em>Meaning Liam Gillick</em>, MIT Press (2009); and <em>Allbooks</em>, Book Works, London (2009).</p> Tue, 24 Apr 2012 18:56:21 +0000 Stan Gaz - ClampArt - May 17th, 2012 - June 23rd, 2012 <p style="text-align: justify;"><span style="font-size: small;"><em>There is that in me that has to be told fifty times a day: Stop hunting. Step on this net.” —Rumi (1207-1273)</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">ClampArt is pleased to present “Ensnared”—an exhibition of painted photographs, video, and sculpture by artist, Stan Gaz. In his second solo show at the gallery, Gaz departs from the large-scale landscape photographs of meteorite impact craters from his last series, and turns inward—producing objects that allude to specific events in his own life. “Ensnared” considers themes of loss, transformation, and memory. Throughout these images, ensnarement is allegorized by the actions and effects of the archetypes of the hunter and the hunted. Gaz finds these roles to be oddly interchangeable, caught in a cycle in which each is incarcerated by the other—trapped by longing, manipulation, and other forms of daily violence.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Divided into three suites or chapters, “Ensnared” includes painted photographs of vintage butterfly specimens, images taken during winter hunting expeditions in the Western United States, and haunting prints of an astronaut armed with a butterfly net out to catch fleeting samples of a vanishing world. The exhibition also includes video footage of the astronaut in Central Park, along with a massive, twenty-foot, stainless steel sculpture representing his net.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Stan Gaz is a native of the desert and a graduate of Art Center in California. His work has been extensively exhibited in the United States for over a decade. He resides in Brooklyn, New York.</span></p> Sat, 02 Jun 2012 09:29:22 +0000 Scott Daniel Ellison - ClampArt - May 17th, 2012 - June 23rd, 2012 <p style="text-align: justify;"><span style="font-size: small;">ClampArt is pleased to announce “Ghost Dance,” Scott Daniel Ellison’s third solo exhibition at the gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Inspired by Scandinavian folklore,</span> <span style="font-size: small;">contemporary horror films, and early</span> <span style="font-size: small;">goth/heavy metal imagery (such as album</span><span style="font-size: small;"> covers, photographs, and ephemera),</span> <span style="font-size: small;">Ellison paints heavily layered panels which</span> <span style="font-size: small;">ultimately function as much as sculptural</span> <span style="font-size: small;">objects as simple images.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist was raised in a suburban </span><span style="font-size: small;">development in upstate New York that was</span> <span style="font-size: small;">surrounded by cornfields, woodlands, and </span><span style="font-size: small;">meadows. Ellison writes: “I remember</span> <span style="font-size: small;">running through a pine forest at night </span><span style="font-size: small;">when I was about ten imagining I was</span> <span style="font-size: small;">being chased by creatures in the dark that </span><span style="font-size: small;">I couldn’t see, just to scare myself.” His</span> <span style="font-size: small;">paintings thus reflect his fascination with</span> <span style="font-size: small;">darkness, mystery, and the anxiety of a </span><span style="font-size: small;">story only half told. Ellison wants us to</span> <span style="font-size: small;">stop and ask questions: “What am I doing </span><span style="font-size: small;">in this place?” “Am I in trouble here?” “Is that a friend or foe?” He explains that his attraction to that</span> <span style="font-size: small;">which might inspire fear or awe was perhaps a way for him to cope with feelings of true terror in real life.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Ellison first learned to paint by looking at such “outsider” artists as Bill Traylor, Henry Darger, and Henri</span> <span style="font-size: small;">Rousseau. “I always tend to enjoy the rougher stuff,” he says. “I’m a huge admirer of Mamma Andersson</span> <span style="font-size: small;">and Philip Guston’s later work.” The surface of Ellison’s pieces are irregular and lumpy, intentionally built</span> <span style="font-size: small;">up by the artist over time.</span></p> <p style="text-align: justify;"><span style="font-size: small;">And in that vein, Ellison also releases music on his own record label. With song titles such as “Strange</span> <span style="font-size: small;">Weather” and “Wilderness,” the complexity that results from the meeting of his visual and musical output </span><span style="font-size: small;">enhances both.</span></p> Sat, 02 Jun 2012 09:34:10 +0000 Neil Gall - David Nolan Gallery - May 2nd, 2012 - June 23rd, 2012 <p>David Nolan Gallery is pleased to announce the opening of the second New York solo exhibition of the British artist, Neil Gall (b. 1967). The show will feature recent drawings and paintings.<br /> <br /> Gall’s works refer to art history and vernacular culture, from English neo-romanticism and contemporary photography to science fiction and popular music. They are sublimely beautiful, painted and drawn in luscious hues and in startling detail. His virtuosity elevates the humble nature of the models upon which the images are based. Ping-pong balls taped together become monumental, anthropomorphized figures reminiscent of Hans Bellmer’s famous <i>Doll</i> sculptures. A cardboard carton becomes an awkwardly elegant totem. Wires and balls of clay metamorphose into fearsome prehistoric or extraterrestrial creatures. <br /> <br /> Although his relationship with his models is familiar, like that of old friends, Gall sometimes distances himself by taking photographs of them. Gall collages these photographs with bits of canvases torn from old found paintings, then paints or draws the resulting fractured images. Rather than giving in to traditional portrait or landscape compositions, the paintings of collages give the models yet another life, abstracted but still recognizable, in which the parts speak for the whole. <br /> <br /> Gall unveils the magic in these everyday objects, transforming them into surreal idols of material culture. These models appear again and again in the paintings and drawings, each time approached from a different perspective and gaze like Cézanne did with Mont St. Victoire, or Morandi with his bottles and boxes. While postmodern art discourse privileges the deconstructive analysis of the viewer’s gaze, Gall’s project returns to the romantic idea of the artist’s eye as he reconstructs his enchanted world with a tinge of ironic humor.<br /> <br /> Neil Gall was born in Aberdeen, Scotland, and currently lives in London. He received his BA in Painting at Gray’s School of Art and then attended Slade School of Art in London in 1991. His art has garnered him numerous awards in Great Britain, and his work is featured in prominent international private collections. <br /> <br /> BOOK SIGNING (in conjunction with Frieze New York)<br /> Saturday, May 5 from 5-7 pm<br /> Neil Gall will be present to sign copies of his new monograph, <i>Works: 2007-2011</i>, published by Hatje Cantz.</p> Wed, 25 Jul 2012 19:45:40 +0000 Yan Pei-Ming - David Zwirner- 519 W. 19th - May 4th, 2012 - June 23rd, 2012 <p class="p1">David Zwirner is pleased to present an exhibition of recent work by Yan Pei-Ming, on view at the gallery’s 519 West 19th Street space. Born in Shanghai in 1960 and based in Dijon, France, Ming has gained international recognition for his large-sized, monochromatic portraits. His subjects, which range from historical figures, political leaders, and celebrities to anonymous soldiers, serial killers, female prisoners, orphans, and the artist himself, are typically presented face-on, with bold and expressive brushwork. The artist’s fluid yet precise technique and his use of shallow pictorial space combine to create iconic, monumental, and psychologically charged works. </p> <p class="p1">The paintings in this exhibition, Ming’s second at the gallery, relate to events in the recent and distant past. In a departure from previous work by the artist, they extend beyond the depiction of a singular subject to reference broad historical issues and, in the process, the gap that exists between the events and their visualization. Often taking a combination of mass media imagery and his own recollections of a motif as his starting point, Ming thus broadens a traditional understanding of the medium of painting: he refers to his large-scale canvases as “collages” of photographs and memories, while medium-specificity is further cast into question by the fluidity of the artist’s painterly technique, which at times resembles watercolor.<br /> <br /> <i>Black Paintings </i>is a title derived from a late series of wall paintings by Francisco Goya, since transferred to canvas. In these works, not originally intended for public view, the Spanish artist offers haunting visions of humanity’s darker side.</p> <p class="p1">Among the paintings on view in the present exhibition, one refers directly to a work by Goya. <i>Exécution, Après Goya </i>(2008) offers an interpretation of <i>The Third of May 1808 </i>(1814), which depicts the execution by firing squad of Spanish civilians who had taken part in an uprising against the French occupation of their country. Using blood red paint and bold brushstrokes with visible drips, Ming’s version of the subject matter dramatically isolates the figures from any background, thus separating the action from its historical context. The painting is the only one in the exhibition to use a color that is not black, white, or gray.<br /> <br /> Also on view is<i> Pablo</i> (2011), which shows a young Pablo Picasso kneeling before an unknown object or presence. The background is indeterminate and dark, and again provides no contextual setting. A somber, if ambiguous, mood is intensified by the boy’s downward gaze and the impossibility of telling whether his awkward pose is indicative of a religious act or perhaps signifies a punitive measure about to take place. By depicting arguably the most famous painter of the modern era as a humbled adolescent, Ming’s painting includes a reference to its own medium, while its black-and-white palette underscores a sense of nostalgia.<br /> <br /> A more recent history is evoked in <i>Invisible Women</i> (2011), a multiple portrait of burka-clad women. Standing closely together in a large group and looking straight ahead, the many pairs of eyes have a hypnotic quality and form a disquieting horizon. The subject matter may be a reference to the democratic undercurrents of the Arab Spring, which has led to an increased focus on women’s rights in the region. Although the title is borrowed from H.G. Wells’s famous novel <i>The Invisible Man</i> (1897), which told the story of a scientist whose experiments made him an invisible murderer, the women portrayed by Ming each have identifiable characteristics despite revealing little flesh.</p> <p class="p1">While the historical significance of Ming’s chosen subjects is readily apparent, his works resist the traditional heroic connotations of history paintings. The artist’s aforementioned reliance on often blurry mass media source material and personal memory combine to present a sense of elusiveness that is underscored by exaggerated brushwork. Rather than documenting separate events, the paintings suggest an ongoing history in flux.</p> <p class="p1"><b>Yan Pei-Ming</b> joined David Zwirner in 2006 and had his first New York solo exhibition at the gallery the following year. Over the past decade, the artist has had solo exhibitions at the Ullens Center for Contemporary Art, Beijing; Musée du Louvre, Paris; San Francisco Art Institute (all 2009); Musée d’art moderne de Saint-Étienne Métropole, Saint-Étienne, France (2006); Shanghai Art Museum; Guangdong Museum of Art, Guangzhou, China (both 2005); Kunsthalle Mannheim, Germany (2004); Musée des Beaux-Arts, Dijon, France; Musée des Beaux-Arts et d’Archéologie, Besançon, France; and the Musée d’Art et d’Histoire, Geneva (all 2003).<br /> <br /> Ming’s work was featured in several group exhibitions in 2011, including the Fonds régional d’art contemporain Auvergne, Clermont-Ferrand, France; Musée Anne-de-Beaujeu, Moulins, France; and the Musée des beaux-arts de Dôle, Dôle, France. He participated in the French Pavilion for Expo 2010 in Shanghai and other international group exhibitions include the Istanbul Biennial (2007); 2nd Seville Biennale, Spain (2006); Venice Biennale (2003 and 1995); and the Lyon Biennale, France (2000 and 1997).</p> <p>Work by the artist is represented in museum collections worldwide, including the Centre Georges Pompidou, Paris; Kunsthalle Mannheim, Germany; Musée d’Art Moderne de la Ville de Paris; Musée des Beaux-Arts, Dijon, France; Museum Ludwig, Cologne; National Museum of Modern Art, Tokyo; and the Shanghai Art Museum.<br /> </p> Wed, 25 Jul 2012 19:45:14 +0000 Alice Neel - David Zwirner- 533 W. 19th - May 4th, 2012 - June 23rd, 2012 <p>David Zwirner is pleased to present an exhibition of portraits and still lifes by Alice Neel, on view at the gallery’s 533 West 19th Street space. This is the second solo exhibition of Neel’s work since David Zwirner started representing her Estate in 2008. <br /> <br /> With a practice spanning the 1920s to the 1980s, Alice Neel (1900-1984) is widely regarded as one of the greatest figurative painters of the twentieth century. Based in New York City, Neel chose her subjects from her family, friends, and a broad variety of locals: writers, poets, artists, students, textile salesmen, psychologists, cabaret singers, and homeless bohemians. Her eccentric selection was thus also a portrayal of, and dialogue with, the city in which she lived. Through her forthright and at times humorous touch, her work engaged with ongoing political and social issues, including gender, racial inequality, and labor struggles.  <br /> <br /> Neel’s works are characterized by a poised, fluid handling of paint, which combines precise attention to detail with abstract or sketch-like strokes. Her compositions frame her subjects centrally while retaining a sense of autonomy, which in turn broadens the focus of the portrait beyond the face of the sitters to the rest of the canvas. </p> <p>Neel’s practice was remarkably impervious to the fluctuating artistic movements it witnessed, and she famously reaffirmed her commitment to the human body at a time when her avant-garde contemporaries were denouncing figuration. A stylistic development is nonetheless apparent in her paintings from the 1960s onwards. Coinciding with a growing reputation in the art world, where she had thus far only remained on the margins, Neel’s work grew brighter and more experimental during this decade, and increasingly explored the medium of paint for its expressive qualities. </p> <p>This exhibition includes portraits and still lifes made between 1964 and 1983, the last two decades of Neel’s life. The portraits affirm the shift in her work towards more luminous compositions, as witnessed for example in <em>Abe’s Grandchildren </em>(1964) and <em>Richard </em>(1969), where the background is partially rendered and supplanted by abstract areas of paint. Likewise, in the still lifes—a genre Neel continued to address throughout her career—such changes are evident in the arbitrary use of perspective and the artist’s bright palette. In<em> Still Life (Breakfast Table)</em> (1965), a bird’s eye view of a strident yellow table is set off by many of the objects on its surface, which are shown from their sides, and in <em>Light</em> (1980), a shadow cast by a sun-lit table omits the flowers arranged on its source. In other still lifes, potted plants and cut flowers take on anthropomorphic presences, and even hint at a subtle version of self-portraiture. Aside from two paintings made in her family home in New Jersey, and a portrait from San Francisco, all of the works in the show were painted in New York.</p> <p><br /> The exhibition is accompanied by a fully illustrated catalogue co-published by Radius Books, featuring an essay by Tim Griffin, Executive Director and Chief Curator at The Kitchen, New York, and former Artforum editor.</p> <p><a href=";client=davidzwirner&amp;campaign=386&amp;"><strong>Alice Neel</strong></a> was born in 1900 in Merion Square, Pennsylvania, and died in 1984 in New York. She had her first retrospective at the Whitney Museum of American Art, New York, in 1974, and the Whitney mounted another solo exhibition of her work in 2000, which traveled to the Addison Gallery of American Art at Phillips Academy, Andover, Massachusetts; Philadelphia Museum of Art; Walker Art Center, Minneapolis, Minnesota; and the Denver Art Museum, Colorado. </p> <p><br /> Since 2008, The Estate of Alice Neel has been represented by David Zwirner, New York, where her work was presented in 2009 in a critically acclaimed, two-venue solo exhibition, <em>Alice Neel: Selected Works and Alice Neel: Nudes of the 1930s</em> (on view at Zwirner &amp; Wirth, New York). </p> <p>In 2010, the Museum of Fine Arts, Houston in Texas organized a major survey, <em>Alice Neel: Painted Truths</em>, which traveled to Whitechapel Gallery, London, and Moderna Museet Malmö, Sweden. Her work was recently on view in a solo exhibition in 2011 at the Douglas Hyde Gallery, which formed part of the Dublin Contemporary 2011, <em>Terrible Beauty - Art, Crisis, Change &amp; The Office of Non-Compliance</em>. </p> <p>Work by the artist is represented in major museum collections, including The Art Institute of Chicago; Fine Arts Museums of San Francisco; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Metropolitan Museum of Art, New York; Moderna Museet, Stockholm; Museum of Contemporary Art, Los Angeles; The Museum of Fine Arts, Boston; Museum of Fine Arts, Houston, Texas; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; Philadelphia Museum of Art; Tate, London; Wadsworth Atheneum Museum of Art, Hartford, Connecticut; Whitney Museum of American Art, New York; Worcester Art Museum, Massachusetts; Yale University Art Gallery, New Haven, Connecticut; among others.</p> Fri, 20 Apr 2012 22:13:57 +0000