ArtSlant - Closing soon en-us 40 Paul Branca, Frank Heath, David Horvitz, Fawn Krieger, Sara Jordenö (in collaboration with Amber Horning), and Anna Lundh. - The Kitchen - June 27th, 2012 - June 27th, 2012 <p><b>Curated by Lumi Tan</b><br /><br />Time and space in the urban setting are often highly regimented, with different moments and places typically allocated for specific behaviors, both public and private. Yet often overlooked in any such structure is the personal history carried within each individual, which inevitably informs her or his experience at the same time that it offers the possibility of reshaping the use of any site. Taking its title from anthropologist Mary Douglas’s analyses of how disturbances arise in the city’s physical contours and social order, <i>Matter Out of Place</i> presents new work by New York–based artists who observe, represent, and activate public sites, generating alternative relationships to such strictly defined spaces as the housing project, park, and museum lobby. Artists include <strong>Paul Branca</strong>, <strong>Frank Heath</strong>,<strong>David Horvitz</strong>, <strong>Fawn Krieger</strong>, <strong>Sara Jordenö </strong>(in collaboration with <strong>Amber Horning</strong>), and <strong>Anna Lundh</strong>.</p> <p>This exhibition is made possible with support from Dedalus Foundation Inc., The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a state agency. </p> <p>Photo: Frank Heath, still from <i>Graffiti Report Form</i>, 2012, HD Video, 50min</p> Wed, 14 Mar 2012 21:01:52 +0000 Group Show - BROADWAY GALLERY - June 6th, 2012 - June 28th, 2012 <p>Globalization creates unexpected relationships and contrasts in contemporary art. This series focuses on the significance of exhibiting a variety of works in a pluralistic art world. Inspired by salon-style hanging, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries; Broadway Gallery NYC continues this legacy with a contemporary and fresh outlook. Following a trend of previous exhibitions at Broad way Gallery NYC, this show pays tribute to the format of a salon hanging. It is a tradition that awakens contemporary culture to a dynamic collective consciousness.</p> <p>A few notable themes in this exhibit that cross cultures are romanticism, spirituality, and humanity. Part of an ongoing series, Artists at Home and Abroad reaches out to the diverse community of New York. In addition to the exhibition on display at Broadway Gallery NYC, are several concurrent Internet projects, and a print catalog. Furthermore, this exhibit offers writers and viewers an exciting opportunity to submit essays and comments on the nature and significance of biennials, fairs and public exposure for new and emerging artists.</p> <p>This exhibit uses the space as another medium altogether; incorporating the maximum floor-to-ceiling gallery space activates the wall with art works in various media by artists, each of whom offer a unique perspective to the show. These artists have transformed the gallery walls into a compendium of generational takes on figuration, portraiture, and abstraction.</p> <p>Visitors will be surprised to see the stunning results. The speed of interactions via new media allows for global artistic conversations previously unheard before. In an attempt to integrate the numerous artistic languages, this exhibit was installed in a unique format. Two long parallel walls have been carefully installed to create dialogue in the spatial order. Artists at Home and Abroad allows the viewer access to some of the past and current pivotal artistic ideas while introducing newer talent, to generate fresh creative energy through unexpected juxtapositions.</p> Mon, 21 May 2012 22:56:44 +0000 Group Show - Rubin Museum of Art - June 28th, 2012 - June 28th, 2012 <p><strong>Hanji Project New York 2012</strong><br /> <br /> <strong>Official opening celebration and presentation at </strong><br /><strong> Rubin Museum on June 28th 2012, 6.15pm - 8pm</strong><br /> <br /> Curated and organized by Yu Yeon Kim with the Hanji Development Institute.<br /> <br /> An exposition at several venues in New York (see below) that manifest the various creative applications of Hanji (handmade Korean mulberry paper).<br /> <br /> Calendar:<br /><br /> <strong>June 28</strong> (Thursday)<br /> 6:00 pm – 8:00pm <br /> <strong>Official Opening Reception celebration and presentation</strong><br /><strong> Rubin Museum of Art</strong> <br /> 150 West 17th Street New York<br /> <br /> <br /> <strong>June 29</strong> (Friday)<br /> <strong>Hanji Metamorphoses</strong><br />Curated by Yu Yeon Kim<br /> Contemporary Art Exhibition<br /> Opening Reception 6:00pm -8:00 pm <br /> @ <strong>Chelsea 547 Space 547 West 27th Street, # 6floor, New York</strong><br /> @<strong> Chelsea Space 526 526 West 26th Street, Suite 805, New York</strong> <br /> @ <strong>Chelsea High Line Loft 508 West 26th Street, 5th floor, New York</strong><br /> <br /> Participating Artists <br /> Korea<br /> Cho Duck Hyun (Korea), Kim Kichul(Korea), Kim Seung Young (Korea)Random Walks (Korea)<br /> Han Ki-joo (Korea), Ahn Sung Keum (Korea), Ham Sup (Korea)<br /> 16 Mir (Korea) :<br /> Ko Jung-Ho, Kim Seong-Sil, Kim Jae-hyun, Park Min-Soo, Oh Jong-Won, Yu Hong-Young, Lee Dae-Ho, Lee Sun-Ye, Lee Young-Ho, Lee Ha-Na , Lee Ho-Uk, Jang Mi, Jang Sae-mi, Jung Jin-Hwa, Choi Mi-yeon, Choi Hyun-Seok<br /> <br /> International <br /> Hey-yeun Jang(Korea/USA) , Ahn Sung Min (Korea/USA), Lim Choong Sup (Korea/USA), Jung Jin Lee (Korea/USA), Alison Crocetta (USA), Sook Jin Jo (Korea/USA), Hu Bing (China/US), Samira Abbassy (Iran/UK), Olu Oguibe (Nigeria), Peter Bogardus (USA), Nick Lamia (USA), Pat Lipsky, Elena Berriolo (Italy/USA), Wang Tiande (China)<br /> <br /> <strong>June 30</strong> (Saturday)<br /> Opening Reception 1:00pm -2:00pm<br /> @ <strong>The Korean American Association of Greater New York</strong><br /><strong> 149 West 24th Street, 6th floor, New York</strong><br /> Hanji Seminar &amp; Workshop with: <br /> Yangjin Kim, Jang Eung Yeall, Peter Bogardus, Pat Lipsky<br /> <br /><strong> June 30</strong> (Saturday)<br /> Opening Reception 3:00pm -4:00 pm <br /> @ <strong>The Korean American Association of Greater New York</strong><br /><strong> 149 West 24th Street, 6th floor, New Yor</strong>k<br /> Traditional Hanji Craft Show <br /> <br /> Curated by Lim, Myeong Sook<br /> Kim Han-Soo, Kim Weon-Ja, Im Myung-Sook, Yu Hee-Ja, Na Seo-Hwan, Lee Hye-Soon, Kim Eun Hee, Boo-Ok Lee, Mun Yu Mi, Choi Wui-Sung, Lee Yu-Mi, Kang Young-Sook, Kim Hye-Mi-Ja. <br /> <br /> <strong>June 30</strong> (Saturday)<br /> Opening Reception 5:00pm -6:00pm <br /> Hanji Paper Plastic Art<br /> @ <strong>Rogue Space 508 West 26th Street, 9th floor, New York</strong><br /> <br /> Curated by Changho Jun<br /> Young Sung Kim, Kim Jungsoon, Kim Jungsik, Kim Taeyoun, Sang Hoon Yang, Yang Seongwon, Oh Myung-hee, Lee Myung Jun, Sunwon Lee, Im Hye Sook, Changho Jun, Young Soon Cha<br /> <br /> <br /> July 2 (Monday)<br /> <strong>Hanji Fashion Show</strong> 6:00 pm - 8:00 pm<br /> @ <strong>Permanent Mission of the Republic of Korea to the UN</strong><br /><strong> 335 E. 45th St., New York, NY 10017</strong> <br /> <br /> Hanji Fashion Show ; Hanji Metamorphoses<br /> <br /> Fashion Designers <br /> <br /> Korea<br /> Coinonia (Momoko Hashigami, Kiho Kim)<br /> U.S.A<br /> D2 New York (Jie Euen Choi, Soyoon Park, Yoonhee Joe, Minjung Park)</p> Mon, 25 Jun 2012 21:38:57 +0000 Mu Lei, Zheng Hongxiang - Asian Art Piers - May 3rd, 2012 - June 29th, 2012 <p align="left">ASIAN ART PIERS gallery is pleased to present “Fables &amp; Theat<i>reality</i>” a duo-exhibition of selected works by Zheng Hongxiang and Mu Lei. Both born in 1980’s China, the two artists came of age in a period characterized by rapid economic development, an influx of western consumerism, a surging netizen culture and an evolving society yet with unsettled identity torn between the socialist root and a capitalist outlook.</p> <p align="left"> <img src="" alt="Battle (diptych), oil on canvas, 200 x 180cm each,2011" style="vertical-align: middle; margin: 10px;" /></p> <p align="center">Zheng Hongxiang</p> <p align="left">“There is a dichotomy between man and society based on the assumption that man is naturally anti-social and the function of society is to restrain man's evil nature. It is the function of society to check and restrain the anti-social instincts...the more suppression the more elaborate the culture and the greater the incidence of neurosis, and the less suppression the less neurosis but also the less civilization." -- Sigmund Freud<br /> <br /> As an artist, Zheng takes an intellectual and imaginative model for understanding and interpreting the contemporary society in all its aspects. His works offer an in-depth dissection of the existential paradox and explore the dichotomy and dynamics between the individual and society. “As a Chinese artist born in the 1980’s, when interacting with the contemporary society, a mixed sense of enclosure and confinement arises in me. Yet the enclosure does not feel entirely safe while the confinement seems self-contradictory....It is rooted in our social constructs, the hierarchy, more specifically, the Superstructure.” Zheng said in his statement.<br /> <br /> A renewed theatrical Baroquesque quality can be found in Zheng’s works, which present a myriad of epic sceneries and captivating spectacles recalling the dream state in the Freudian analysis. Developing this theme since 2007, Zheng conceives and repeatedly constructs this cryptic realm in a series of paintings with an array of symbolic imageries and motifs, among which, constantly recurring are the red stage, a gray endless sky and the protagonist, a disrobed muscular faceless human figure with a red box covering his head, seeking, exploring, or confronting the outside world yet with their vision blocked. The overall color palette is based on scarlet red and various greys, exuding a mixed sense of both tension and passion.</p> <p align="left">Zheng’s precociousness is not only seen in his artistic vision but also well manifested in his technical virtuosity, especially the mastery of large-scale painting. One of the highlights of the exhibition, <i>Battle</i>, consisting of two panels of oil painting, measures 3.6 meters in width and 2.0 meters in height. Upon the red stage re-emerge four faceless human figures, two on each side of the stage, one being mounted on, crawling forward while wearing a box with a scribbled horse head imagery, the other apparently in command, wearing a box with a mischievous grinning face, poised with a long spear against the other side. Even in such intense confrontation and opposition, each group shares with the other an eerily identical hierarchy, assumes an identical poise, and even wears identical red boxes imprinted with excerpts of the <i>Declaration of Independence</i>. <br /> <br /> In light of the Freudian view, man wants to conquer, is willing to battle and will saddle others for his own gain. The box imprinted with democratic ideals perhaps merely provides the means in which to “battle” without moral obligation; the composition is not a criticism of any political systems, but a carefully conceptualized commentary, reflecting on the dichotomy between man and society.</p> <p align="left"><br /> <i>Born in 1983, Zheng Hongxiang grew up in Gaizhou, Liaoning Province, and graduated from the Oil Painting Department of the Lu Xun Academy of Fine Arts in 2006. Prior to this debut exhibition in the U.S., Zheng has exhibited at prestigious museums in China and other reputable venues in Asia and Europe. Zheng currently lives and works in Beijing.</i></p> <p align="left"><i><br /></i></p> <p align="left"><i><img src="" alt="Mu Lei, Bad Girl (diptych), oil on canvas, 200 x 100 cm each,2008 " style="vertical-align: middle; margin: 10px;" /></i></p> <p align="center">Mu Lei</p> <p> </p> <p align="left">Born in China in 1984, the iconic year when the country officially opened its doors to the west, Mu Lei represents a generation growing up under the ever-increased influence of western consumerism yet without the emotional trauma suffered by prior generations. His artistic approach stands out as a departure from the cultural attitude of his predecessors in prior art movements.<br /> <br /> As one of the youngest artists to exhibit at the prestigious Venice Biennale in 2011, Mu captures the pulse of “his” new China with the visual symbols that resonate with the new generations across the world who relate to a similar cultural experience shared through the global media and the internet. His “anime pop” style embodies the essence of contemporary Chinese youth culture meets consumerist allure that has been transforming the country for nearly three decades.<br /> <br /> A hint of surrealism is also visible in Mu’s paintings as he draws inspiration from the likes of René Magritte and Salvador Dalí. In <i>Ambush</i>, a biomorphic dragonfly-blackhawk crossbreed alights on the lush leaves of a gigantic lotus bud, behind which lurks a mischievous-looking grinning girl, a femme fatale who seems ready to pounce and capture. <i>Taiji Lightning Helmet </i>is composed of a face portrait of a young female test pilot adorned in the half-black/half-white Chinese Taiji colors, venturing through the lightning storm towards the viewer, no reaction to the stealth bombers collapsing into the purview. Her gaze, intense and decisive, entranced somewhere between wondrous awe and determinable focus, seems to compel the audience to duck away from her unstoppable motion. <br /> <br /> In the diptych <i>Bad Girl</i>, the female protagonist (or in the context of the series, the “antagonist”) assumes the role of a stylishly polished yet blasé young woman. Between her delicate full lush lips dangles a slim cigarette, of which three smoke-puffs of Chinese lucky clouds slowly twirl upward. Annoyed or disturbed about the coexistence of the mirror self, through the lenses of their overbearing “Jackie-O” glam sunglasses, they stare down on one another, as if the other is the alter ego. Their glares seem to materialize into an array of stealth bombers that crash into the border that divides between their dual worlds.  <br /> <br /> Such visually dazzling and conceptually stunning compositions recall what the surrealist poet Pierre Reverdy once said: "a juxtaposition of two more or less distant realities. The more the relationship between the juxtaposed realities is distant, the stronger the image will be...” Mu Lei’s paintings render poetic reality and convey a compelling emotional power, characterizing the socio-psychological aesthetics of a new millennium Chinese netizen.</p> <p align="left"><br /> <i>Mu Lei was born in Jiang Su, China in 1984, and earned his Bachelor of Arts from Sichuan Institute of Fine Art. His work has been exhibited in museum shows and prestigious venues around the world including the 54<sup>th</sup> Venice Biennale, “Future Pass,” Abbazio di San Gregorio and Palazzo Mangili-Valmarana, Venice, Italy; Museum of Contemporary Art, Taipei, Taiwan; Today Art Museum, Beijing, China</i>.<b></b></p> <p align="left"><i> </i></p> Fri, 08 Jun 2012 15:18:50 +0000 Jenny Chen - ISE Cultural Foundation - May 11th, 2012 - June 29th, 2012 <p><br /><span style="font-size: xx-small;" size="1"><span style="font-size: small;">ISE Cultural Foundation is pleased to present Without End, an exhibition of works by New York-based artist Jenny Chen, curated by Joanne W. Chen. </span><br /><span style="font-size: small;"> In a global village, "hometown" is no longer defined by a region. So are the contemporary artists. Educated multi-culturally and internationally, they cannot be defined by a certain nationality. The only certainty is the existence of one's self and the essence of life- a flowing state of being. In our life, we learn how to "flow" between cities and countries, and to coexist with ourselves and strangers. To survive in a "flowing" society, we need to masticate the negative energy through the creative process and transform it into a new experience. Even if one manages to stay in a "stable" city, the essence of life is indeed flowing by nature. For Jenny Chen, abstract paintings are portraits of the "mind." The mind changes and so do her paintings. That difference is, in fact, a nature state between the creator and the viewer. Abstract painting is an object of multiple sides. In her work, Chen looks for the meditation space between fantasy and reality. Her creative process is like a series of rituals for clearing the mind. Chen draws inspiration from the ancient Chinese philosophers, Lao Tzu and Zhuang Tzu. In Zhuang Tzu's philosophy, "free mind" means a person's spirit is not encumbered by anything, hence reaches a state of true spontaneity and nature, an "effortless effort" (Wu Wei). That is Chen's spiritual and creative compass.</span> <span><br /> </span></span></p> Tue, 01 May 2012 00:08:19 +0000 Nick Lamia - Jason McCoy Gallery - May 1st, 2012 - June 29th, 2012 <p><strong>Jason McCoy Gallery is pleased to present a site-specific installation by New York based artist Nick Lamia, which will incorporate a group of new paintings and works on paper.</strong><br /> <br />Nick Lamia’s paintings, drawings and installations explore concepts of space by means of abstraction. In his work, the picture plane or the confines of a specific location transform into a vibrant meeting ground for opposites. Lamia rhythmically contrasts concrete shapes rendered in opaque hues with gestural marks and translucent layers. He further navigates between geometry and biomorphism, deep and shallow space, overt and restrained gestures, as well as saturated and de-saturated fields. The results are compositions, in which the eye travels from almost purist presentations of color to areas that evoke architectural drawings or map-like constructs. Though Lamia’s vocabulary at times alludes to aerial views of elaborate geographical formations or urban infrastructures, for example, it remains open to interpretation. Lamia encourages association without providing specific references.<br /> <br />Lamia’s site-specific installation is inspired by coppicing, a traditional method of woodland management. The latter takes advantage of the fact that many trees make new growth from the stump or roots if cut down. In a coppiced wood, young tree stems are repeatedly cut down to near ground level. To Lamia, the practice represents an intentional merging of man and nature. He states: “By titling my work “Coppice” I am not advocating coppicing as a practice, but rather employing the term to symbolize a philosophy wherein man actively pursues and attempts to build a mutually beneficial relationship with nature.” Lamia’s installation features a stem-like center from which wall drawings and three-dimensional elements develop like eager growth. Each branching element extends and unfolds throughout the gallery space. By incorporating abstract paintings and several drawings of stumps found in New York City parks, Coppicetransforms into a complex contemplation of destruction and regrowth.<br /> <br />Nick Lamia lives and works in New York. Before receiving his MFA in painting from Boston University in 2000, he studied Environmental Science at U.C. Berkeley. Lamia was recipient of a Guggenheim Fellowship in 2003. Recentexhibitions include projects at the Bronx Museum of Arts, NY and the Maine Center for Contemporary Art. This past winter he completed a residency program at Wave Hill, NY. This will be Nick Lamia’s first solo show with the gallery.<br /> </p> Mon, 16 Apr 2012 18:54:52 +0000 Bernard Childs - Jason McCoy Gallery - May 1st, 2012 - June 29th, 2012 <p>Jason McCoy Gallery i s plea sed to present an exhibition featuring oil paintings from the 1970s by American artist Bernard Childs (1910–1985).</p> <p>In the early 1970s, Childs developed a keen interest in environmental issues. Scientific discoveries of the time led him to consider the possible catastrophic destruction of our planet and how living things might survive. He meditated on distant worlds and ancient forms of life, such as insects, which became symbols of survival for him. He took little for granted and recognized beauty and value in every form of life, no matter how small; to Childs there was no hierarchy of life where humans were considered superior. His 1970s paintings fuse Childs’ fascination with science fiction, technology, space exploration and the survival of unexpected species of life.</p> <p>In contrast to their sometimes severe themes, Childs’ celestial arrangements of vibrant spherical forms are tranquil, inviting, and hypnotic. These poetic images emanate a warm pastel glow within a spectrum of their own radiating light, generating a sense of translucent depth. Childs’ luminous palette was inspired by a visit to Stockholm in June 1970, which left the artist captivated by the city’s mid-summer light. All these influences would drive the next seven years of his career, culminating in a body of work that revolved around the survival of the planet, living and dying suns, insect and vegetable life, and the formal qualities of color and light.</p> <p>Born in Brooklyn in 1910, Bernard Childs traveled extensively throughout his life. He studied in New York with Nicolaides and Amédée Ozenfant, and in Paris with Stanley William Hayter. From 1966 to 1977 Childs commuted between his studios in Paris and New York. After a stroke in 1978, he remained wholly in New York at the Chelsea Hotel until his death at age 74. Childs’ work is included in the collections of the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston; and the Stedelijk Museum, Amsterdam.</p> Thu, 26 Apr 2012 20:39:53 +0000 Martin Puryear - McKee Gallery - May 3rd, 2012 - June 29th, 2012 <p>The <strong>MCKEE GALLERY</strong> is pleased to present new sculptures by <strong>MARTIN PURYEAR</strong> in an exhibition<br />opening on Thursday, May 3, and continuing through Friday, June 29, 2012.</p> <p>Martin Puryear has always worked with wood. Occasionally he explores the possibilities offered by such diverse materials as wire, tar, steel and bronze but, inevitably, his hands and his instincts lead him to the saw and the plane, to assemble parts to make a whole, whether in the making of sculpture, furniture or canoes.<br /><br />The beauty of a Puryear sculpture is in its fnished form, but the art is in the making. He brings vast experience to the craft of carpentry and considerable knowledge of cultural history to his understanding of sculptural form. His works evoke the archaic, the organic, the primitive or the minimal abstract and have a unique way of combining an external appearance of weight and mass with enigmatic suggestions of complex internal structure. This dichotomy is to be found in his new sculptures which might also pose questions about meaning within the work.<br /><br />Most are supported on wheels which obviously connects them to man. Two sculptures 'The Load' and 'Cart' are heavy with meaning, going way beyond the power of formal invention. What are they? They remind us, like relics, of human struggle, endless toil and our migratory past. 'The Load' has an 'inner' eye surveying a journey traveled, watchful of unseen danger as man struggles towards the future. Are they related to personal sagas or beliefs? They have a monolithic presence which traverses the history of time. The earthbound bronze sculpture 'Heaven Three Ways/Exquisite Corpse' seems to spiral upwards towards unknown mysteries.<br /><br />This is the frst exhibition of Martin Puryear's sculpture since his retrospective exhibition at The Museum of Modern Art, New York, NY, in 2007-8, which traveled to the Museum of Modern Art, Fort Worth, TX, the San Francisco Museum of Modern Art, CA, and the National Gallery of Art, Washington D.C. Martin Puryear was recently awarded the National Medal for the Arts in a ceremony at the White House.</p> <p><br />For images and additional information, please contact Karyn Behnke:</p> <p><a href="" rel="nofollow"></a></p> Thu, 19 Apr 2012 19:01:00 +0000 Group Exhibition - NURTUREart Gallery - June 9th, 2012 - June 29th, 2012 <p><span style="font-family: arial,helvetica,sans-serif;">Project: Curate’s upcoming exhibition at <strong>NURTUREart Gallery</strong> will be on view <strong>June 9-29, 2012</strong>. As part of NURTUREart’s Education Program, <strong>Project: Curate</strong> is a group of student-curators from Juan Morel Campos who organize an exhibition every year with guidance from an independent curator. This year their mentor is <strong>Christina Vassallo</strong>, Executive Director of Flux Factory.</span></p> <p><em><span style="font-family: arial,helvetica,sans-serif;">‘Together we have been discussing what makes every day experiences extraordinary and entertaining. We are particularly interested in the effects of making unexpected combinations. Possible outcomes include the humor, horror and abstractions that result from unusual pairings.’</span></em></p> <p><span style="font-family: arial,helvetica,sans-serif;">This group show includes artists from all media who have made work about juxtapositions and unintended interpretations.</span></p> <p><span style="font-family: arial,helvetica,sans-serif;">NURTUREart Non-Profit, Inc.</span><br /><span style="font-family: arial,helvetica,sans-serif;"> 56 Bogart Street</span><br /><span style="font-family: arial,helvetica,sans-serif;"> Brooklyn, NY 11206</span></p> <p><span style="font-family: arial,helvetica,sans-serif;">Tel. (718) 782-7755</span><br /><span style="font-family: arial,helvetica,sans-serif;"> Fax. (718) 569-2086</span></p> <h2><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Hours:</span></h2> <address><span style="font-family: arial,helvetica,sans-serif;">12 pm to 6 pm</span><br /><span style="font-family: arial,helvetica,sans-serif;"> Thursday through Monday</span><br /><span style="font-family: arial,helvetica,sans-serif;"> and by appointment: (718) 782-7755</span></address> Thu, 17 May 2012 18:25:23 +0000 Tom Bogaert, Kate Donnelly, Cary Horton, Bridget Parris, Elisa Pritzker, Steve Rossi, Cindy Stelmackowich, Anna T. - NURTUREart Gallery - June 9th, 2012 - June 29th, 2012 <p>NURTUREart is pleased to present <em>Juxtacombo</em>, an exhibition curated by <em>Project:Curate!</em> and <strong>Christina Vassallo</strong> featuring artists <strong>Tom Bogaert, Kate Donnelly, Cary Horton, Bridget Parris, Elisa Pritzker, Steve Rossi, Cindy Stelmackowich </strong>and <strong>Anna T.</strong></p> <p>Contemporary society is simultaneously liberating and suffocating. As curators approaching adulthood in the early twenty-first century, the <em>Project: Curate! </em>team has learned to cope with the chaotic surroundings of the digital age and find inspiration within it. They are deeply concerned with what makes every day experiences stand out from the constant exposure to advertising, music, movies, art, and other forms of popular culture – especially in an over-stimulating environment like New York City. Of particular interest to these young curators are the effects of unexpected combinations and how they become extraordinary or entertaining.</p> <p><em>Juxtacombo</em> explores the humor, horror and abstractions that result from unusual pairings, as well as the potential for unintended interpretations. The meaning of many of the selected works change depending on the viewer’s cultural context. The eight artists included in the exhibition challenge perceptions and examine the assumptions that are an intrinsic part of our consciousness.</p> <p>//</p> <p>As part of <strong>NURTUREart’s Education Program</strong>,<em> Project: Curate! </em>provides advanced high school students from Juan Morel Campos Secondary School an opportunity to experience contemporary curatorial practices by working closely with a professional curator throughout the year, culminating in an exhibition at NURTUREart Gallery.</p> Wed, 30 May 2012 19:59:39 +0000 Claes Oldenburg, Coosje van Bruggen - Pace Gallery - 510 W 25th - April 27th, 2012 - June 29th, 2012 <p>The Pace Gallery is honored to present the first major New York gallery exhibition in seven years of works by Claes Oldenburg and his long-time partner Coosje van Bruggen (1942–2009). Theater and Installation 1985–1990: Il Corso del Coltello and The European Desktop, will be on view from April 27 through June 23, 2012 at 545 West 22nd Street. An opening reception will be held on<br />April 26 from 6 to 8 p.m.<br />The two-part exhibition will feature enlarged costumes and original props from Il Corso del Coltello (a collaborative work with architect Frank Gehry, produced and curated by Germano Celant, performed in Venice in 1985) and The European Desktop, 1990, Oldenburg/van Bruggen’s last installation piece. This will be the first public presentation of The European Desktop in the United States. The sculptures of Il Corso del Coltello were last exhibited in Barcelona in 2007 and have not been seen in the United States since 1995.<br />Il Corso del Coltello (The Course of the Knife), performed three times on the Campo dell’Arsenale in Venice before a combined audience of 1,500 people, was a seminal work in Oldenburg/van Bruggen’s career. The performance led the powerful duo to utilize the cultural, historical and physical properties of a site—as they did in their large-scale projects for public spaces of the same era—to realize smaller-scale works for indoor installation. <br />The enlarged costumes of the central characters of the Coltello performance, Frankie P. Toronto (Frank Gehry), Georgia Sandbag (Coosje van Bruggen), and Dr. Coltello (Claes Oldenburg), made in 1986, will be on view at the gallery, as will original props in the form of the letters "C-O-L-T-E-L-L-O" that served as Dr. Coltello's baggage. Knife Ship is presented here as the definitive fabrication model of the 78-foot Swiss army knife (with a 28-foot vertical corkscrew), which made its maiden voyage down the Arsenale canal during the 1985 performances. The original Knife Ship is in the collection of the Solomon R. Guggenheim Museum. Studies, drawings, and photographs documenting Il Corso del Coltello will also be on display, as well as a slideshow of the entire performance.<br />The costumes of the Coltello formed a launching point for new installations, and also recalled Oldenburg’s early soft sculptures and his performances of Ray Gun Theater in the 1960s. Oldenburg/van Bruggen would eventually realize three post-Coltello installations utilizing carved Styrofoam: The Haunted House, 1987, From the Entropic Library, 1989, and The European Desktop, 1990.<br />Inspiration for The European Desktop stems from a headline in the International Herald Tribune in 1990 that captured van Bruggen’s attention: “Undoing Yalta: 45 Years Later, a New Europe.” Designed as a total environment, The European Desktop addresses the headline’s unfounded optimism by immersing viewers in a ravaged landscape of intellectual chaos: a monumental collapsed European postal scale, stamp blotters, a writing quill, an exploding ink bottle, and a shattered desk pad will be strewn across the gallery, appearing as though they have fallen from the sky. Two texts written in van Bruggen’s hand are cut from aluminum and attached to the blotters: one from the notebooks of Leonardi da Vinci, written in reverse which was his habit; the other, a poem to Frédéric Chopin composed by van Bruggen. Continuing the play on mirror imaging, the blotters transfer the texts in reverse onto the desk pad. Studies for The European Desktop will also be on view in the exhibition, including Oldenburg’s apocalyptic “sketches and blottings,” inspired by Leonardo da Vinci’s A Cloudburst of Material Possessions, which served as the announcement for Oldenburg/van Bruggen’s original exhibition in 1990 at Galleria Christian Stein in Milan.<br />Oldenburg/van Bruggen’s work can be found in nearly 50 public collections at major institutions worldwide. <br />Together, they designed and executed more than 40 large-scale projects throughout the United States, Europe, and Asia, including Batcolumn (1977), Chicago; Flashlight (1981), University of Nevada, Las Vegas , Spoonbridge and Cherry (1988), Minneapolis Sculpture Garden, Walker Art Center; Bicyclette Ensevelie (Buried Bicycle) (1990), Parc de la Villette, Paris; Monument to the Last Horse (1991), The Chinati Foundation, Marfa, Texas; Mistos (Match Cover) (1992), Barcelona; Shuttlecocks (1994), Nelson-Atkins Museum of Art, Kansas City; Soft Shuttlecock (1995), Solomon R. Guggenheim Foundation; Saw, Sawing (1996), Tokyo; Lion’s Tail (1999), Musei Civici Veneziani, Venice; Ago, Filo e Nodo (Needle, Thread and Knot) (2000), Milan; the 40-foot-high Dropped Cone (2001) atop the Neumarkt Galerie, Cologne, Germany; Cupid’s Span (2002), Rincon Park, San Francisco; Big Sweep (2006), Denver Museum of Art. Oldenburg/van Bruggen’s oeuvre also encompassed many smaller park and garden sculptures as well as indoor installations. Their work has been featured in numerous exhibitions since 1979.<br />Van Bruggen died in 2009 and the couple’s final collaborative project, Tumbling Tacks, was installed in the Kistefos Sculpture Park in Norway in May of the same year. In August of 2011, Oldenburg’s Paint Torch, a 53- foot-high sculpture of a paintbrush with a stylized glob of orange paint on the ground beside it, was unveiled in Lenfest Plaza at the Pennsylvania Academy of Fine Arts. The installation marked a return to Philadelphia, where Oldenburg realized his first large-scale civic sculpture, Clothespin, in 1976, which was also the last before partnering with van Bruggen.<br />This exhibition coincides with Claes Oldenburg: The Sixties, the largest exhibition of the artist’s ground-breaking works of the 1960s organized to date, on view at Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK), Vienna through May 28. The exhibition is the first installment of a five-museum tour, which also includes the Museum Ludwig, Cologne; Guggenheim Museum, Bilbao; The Museum of Modern Art, New York and the Walker Art Center, Minneapolis. The retrospective features Oldenburg’s iconic early installations such as The Street and The Store, in addition to his original designs for colossal monuments for public spaces and the Mouse Museum—a miniature, walk-in museum in the form of a Geometric Mouse, filled with nearly 400 souvenirs, kitsch objects, and studio models. Oldenburg’s pivotal role in performance art in the early 1960s was recently explored in Happenings: New York, 1958– 1963 at Pace (February 10 through March 17, 2012).</p> Fri, 21 Sep 2012 23:26:57 +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 Cheyney Thompson - Andrew Kreps Gallery @ 537 W. 22nd - May 19th, 2012 - June 30th, 2012 <p>For over a decade, Andrew Kreps Gallery has been the most powerful, efficient, and comprehensive art, antiques, and collectibles gallery and collection management software available.</p> <p>Andrew Kreps Gallery has been far and away the top choice of the world's leading fine art and antiques galleries and private and corporate collections — trusted more than any competitive product. 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Appropriately described as a “liquid narrative,” the building blocks of Perniceʼs language feel immediately familiar.<br />His sculptures present themselves as existing within an everyday context recognizable to the viewer as, say, containers, displays, tables, platforms, stages or entire living rooms. Sculptural elements are cut from plywood and similar composite materials, painted or raw, allowing insight into their own physical construction, and in combination with found objects, such as books, photographs, brochures and particularly ceramics, constitute Perniceʼs distinctly recognizable language.<br />In his fifth solo show at Anton Kern Gallery, Pernice presents ten related sculptures. They are built as freestanding tables or wall-boxes; curtains and colored Plexi glass reveal a variety of objects culled from the artistʼs place of work in Berlin and from recently visited Cuba. Some of the archival materials relate to German painters August Macke and Konrad Klapheck, or to Treptower Park, an area of Berlin that features a Soviet war memorial built to the design of the Soviet architect Yakov Belopolsky to commemorate the 50,000 Red Army soldiers who fell in the Battle in Berlin in April–May 1945. It served as the central war memorial of East Germany. Pernice recomposes materials of various origins for a new aesthetic value and returns them into the context of art. Anyone working with sculpture today, according to Pernice, also faces "questions of the day before yesterday." Todayʼs expanded concept of sculpture with its simultaneously available materials, forms and histories always leads back to classic questions of sculpture: How is something built or formed, and which decisions were made?<br />Solo exhibitions of Pernice's work have been organized by SMAK Stedelijk Museum voor Actuele Kunst, Gent; Neuer Berliner Kunstverein, Berlin (both 2011); Wiener Secession, Vienna; Modern Art Oxford, Oxford; Salzburger Kunstverein, Salzburg (all 2010); Neues Museum in Nuremberg; Schinkel Pavillon, Berlin (both 2008); Museum Ludwig, Cologne (2007); Storefront for Art and Architecture, New York, NY (2004) Pinakothek der Moderne in Munich (2003), Sprengel Museum Hanover (2001), Portikus in Frankfurt; Hamburger Bahnhof in Berlin (both 2000), and Musee d'art moderne de la Ville de Paris (1998). His work has also been included in major exhibitions such as 29° Bienal de São Paulo - Bienal de Sao Paulo, São Paulo (2010); Carnegie International (2008); Skulptur-Projekte Münster (2007); Seville Biennale (2006); Venice Biennale (2001 and 2003); Documenta 11 (2001); Manifesta 3 (2000); Berlin Biennale (1998); and Lyon Biennale (1997).</p> Wed, 25 Jul 2012 19:44:46 +0000