ArtSlant - Closing soon en-us 40 Ellen Jong - Sargent's Daughters - June 5th, 2012 - July 5th, 2012 <p>Allegra LaViola is pleased to present <i>The Invisible Line</i>, a solo exhibition of new work by Ellen Jong, curated by Mr. and Mrs. Amani Olu opening the evening of Tuesday, June 5, 2012 from 6PM – 8PM at the gallery located at 179 East Broadway. The exhibition continues through July 7, 2012.</p> <p><i>The Invisible Line</i> uses photography, video and poetry to document how Jong remembers falling in love over a four-year period leading up to her wedding day. The work is intimate and echoes the bold and provocative sentiment of Nan Goldin and Tracey Emin, but with the snapshot aesthetic of William Eggelston. Highly adept at interjecting private moments into a public space, Jong’s work provides a window into realized and uninhibited displays of passion. Where most people fail at being able to completely let go, Jong travels deep into the nether lands of love where her heart acts as a compass.</p> <p>The photographs on view mimic pieces to a larger puzzle, offering micro-details of when and how Jong’s general existence and personal transition began to crystallize. Between the creation of each image and its pixel and grain, is a gesture of emotion that captures a dissolve and discovery of self, simultaneously. The images are uninhibited and demonstrate a form of passion seldom experienced in contemporary art, but universal to all.</p> <p>Interspersed amongst the photographs are poems that reveal an even deeper obsession with falling in love. These poems compliment the snapshots, functioning as landscapes that allow greater access to Jong’s narrative. At 6 x 9 inches, these intimate writings demand attention and engage directly and personally, almost as if to call the viewer by name.</p> <p><i>The Invisible Line</i> comes full circle with a video of Jong and her husband at the beach. Titled <i>Naked Beach Day</i>, the video captures how the couple interacts in real time. They laugh, kiss, play and share some awkward moments before progressing into a space normally reserved for the proverbial “behind closed doors.”</p> <p>“There is an invisible line,” say Jong, “that lies between my body and my mind. It withholds my deepest beliefs, fears, curiosities and desires. It is there to protect me. It is there to tell others where I stand, what is mine and why I am. In falling in love, I lost sight of my invisible line and I let it go. Love breaks down walls and sets you free.”</p> <p>During the opening, Jong will invite guest to contribute words written on paper, which she will release from balloons on June 19, two weeks after the opening. The Happening will offer participants a chance to let go of something inside them and perhaps explore a journey in self-discovery with the artist. By putting their thoughts into the universe, the participants can experience the practice of letting go, very much like Jong when she started this project.</p> <p><b>Ellen Jong</b> (b. 1976) is a native New Yorker, born in Queens, and now lives in the Lower East Side of Manhattan. Her photography career started to take shape when she was first published in zing Magazine in 1999. She received wider commercial recognition when selected to be a <i>Surface</i> magazine Avantguardian in 2002. As a fine art photographer she began exhibiting in 2000, with a show held in conjunction with Vice Magazine, which works formed the core of her first photography monograph, <i>Pees On Earth</i>, published by Miss Rosen Editions/powerHouse Books in 2006. The Pee Series is Jong's introspective investigation of identity, sexuality, social/political/gender issues and coming-of-age. Recent works touch on these issues in photography and mixed media.</p> <p><b>Amani Olu</b> (b. 1980) is an independent curator, writer, essayist and co-founder and executive director of Humble Arts Foundation, a New York based 501c3 committed to supporting and promoting new art photography. In addition to his work as a non-profit arts director, he also organizes the annual <i>Young Curators, New Ideas</i> exhibition. He lives and works in New York and is a proud member of New Art Dealers Alliance (NADA).</p> Wed, 25 Jul 2012 19:44:57 +0000 Anne Koch - Sargent's Daughters - June 5th, 2012 - July 5th, 2012 <p>Allegra LaViola Gallery is pleased to present <i>eat (installation) 2012</i>, a multi-media exhibition by artist Anne Kochin the Project Space. Drawing on her interests in food, fashion, luxury and society, Koch has created a unique environment encompassing these elements.</p> <p>During the five week run of the exhibition, a performer will be in-situ in the gallery, consuming food on a continuous basis. The foods change on a weekly basis - the performances are: <i>eat (cheeseburger), eat (grapes), eat (spaghetti), eat (waffles), </i>and <i>eat (bacon)</i> and will be ongoing throughout the opening times.</p> <p>In addition to the ceaseless live feast there will be a table, set and prepared for a banquet to take place. <i>Dining Room 01</i> will take place on June 13th and will be a lavish celebratory meal. The performer will continue eating food at a nearby table while the guests dine separately in the same space. The installation <i>Dining Room 01</i> is a site-specific piece imagined for Allegra LaViola Gallery. The piece is only complete after a magnificent dinner party is held. The sharing of food and drink infests the space with memories of conviviality. Remnants that fade just as the aftermath of the feast will decompose.</p> <p>In addition to the performative elements of the exhibition, there will be several static works. A series of whitewashed red paintings line one side and white knives protrude from the wall, releasing blood. Koch’s video performance<i> (eat) series one</i>, will be projected in one area of the installation. In <i>(eat)</i> we see Koch consuming various foods in different locations, surrounded by the daily activities of the place she is visiting, while she faces the camera and partakes of her meal. Koch eats with an unselfconscious humor—choosing foods that compliment the location—and facing the camera full on as she swallows and chews.</p> <p>Our experience of food and eating is impossible to separate from our culture, and Koch delves into the sticky depths of gluttony, pleasure and perception, taking us to the edge of the acceptable notion of each. Visitors to <i>eat (installation) 2012</i> will be invited to join in a sensory experience that fully envelopes them—they need merely not be afraid to take the first bite.</p> <p><b>Anne Koch</b> is a New York City and Paris based artist. She has presented her projects nationally and internationally. She performed her final <i>(eat)</i> piece at the Tate Modern in London, UK, and exhibited her film "<i>(eat) lobster 2011</i>" at Art Basel Miami in December of 2011. As a Production Designer in the fashion world, Koch’s eccentric designs and ideas have been featured in Vogue Italia, Teen Vogue, V, Harper’s Bazaar, Numéro, The New York Times, Elle, and Purple Magazine in collaboration with photographers such as Sebastian Kim, Terry Richardson, David Vasiljevic, Arthur Elgort, and Patrick Demarchelier.</p> Sat, 02 Jun 2012 08:25:02 +0000 Josef Hoflehner - Benrubi Gallery - May 3rd, 2012 - July 6th, 2012 <p>Bonni Benrubi Gallery is pleased to announce "Into the Calm" a solo exhibition of recent work by Josef Hoflehner. This is Hoflehner's second solo exhibition at the gallery. Continuing in the grand photographic tradition of landscape photography, Hoflehner captures an unexpected pause, a collective exhale in these richly tonal black and white photographs. Each image is reduced to its' compositional essentials leaving us in a highly minimal but endlessly serene world. We are set adrift as the photographer guides us along a global journey through Miami, Vietnam, Zanzibar and Peru. Taking in the vast geographical strides Hoflehner makes, the photographer is continuously reminding us that despite the variance in miles, every place and every time can be experienced as a study of repose and sublimity beneath our feet and along our horizon.</p> Wed, 25 Jul 2012 19:44:43 +0000 Elliott Erwitt, Sally Mann, Herb Ritts, August Sander - Edwynn Houk Gallery - June 5th, 2012 - July 6th, 2012 Wed, 25 Jul 2012 19:44:54 +0000 Michael Eade - Lesley Heller Workspace - June 6th, 2012 - July 6th, 2012 <p><strong>Michael Eade, </strong><em>The Wild Apple Forest. </em>Michael Eade's egg tempera paintings with their subtle to intense color, luminosity and super-clarity create lush, inviting landscapes that evoke some super-real realm between fantasy, reality and memory. </p> <p>The real Wild Apple Forest, located in a remote mountainous region in Kazakhstan, is the genetic origin of all the apples on our planet, as well as over 300 other wild fruit and nut species. The ancient Silk Road passed through this area and millennia ago nomads and traders took the wild apples with them on their journeys west. This exhibition brings together Eade's two-year journey exploring the subject of the Wild Apple Forest. Applying his distinct sense of color, space and detail, he highlights its wonderfully weighted scientific, cross-cultural and metaphorical significance.</p> <p>The current destruction of these forests to near extinction inspired Eade to eulogize this botanical Eden by transforming an apple tree into The Tree of Life.  Appearing in <em>The Wild Apple Forest, 2012</em> and in <em>Full Moon</em>, 2012 Eade’s anthropomorphic Tree of Life richly bears gilded apples. In another response, he composed <em>Vanitas, </em><em>Wild Apple and Pear Branches</em>, 2011. Consistent in his practice of referencing art historical traditions, Eade reinterpreted this form originating in the 17<sup>th</sup> century Dutch tradition conveying the moral message all good and beautiful things can come to an end.</p> <p>Eade’s work draws on his daily life, personal travels and the web as well as the cultural and visual art histories of both the East and the West. The influences of Christian religious paintings, Asian landscape art, and Persian miniatures are strongly evident. Working intuitively, Eade transforms these sources into new worlds. His paintings invite viewers to embark on a visual tour of an unknown yet familiar landscape, becoming a part of their cultural and emotional consciousness.</p> <p>Egg Tempera, considered one of the most archival and stable mediums, is an ancient painting technique that utilizes egg yolk, dry ground pigments and water, which when mixed are then applied to a gesso prepared wood panel or canvas.</p> <p><em><strong>Michael Eade </strong>was born in Portland, Oregon. Receiving a BA from Oregon State University he continued studies at the Staatlichen Akademie der Bildenen Kunst, Stuttgart (studying egg tempera painting techniques) and New York University’s Tisch School of the Arts. While attending NYU, he was an assistant to the American sculptor Louise Nevelson. He has received many honors including a current residency at the Hermitage Artists’ Retreat, a studio membership at the Elizabeth Foundation for the Arts, and fellowships from the Robert Blackburn Printmaking Workshop, the National Academy Museum and School of the Fine Arts, Artists’ Fellowship Inc., and Aljira. This year, he was selected as a finalist for the prestigious Basil H. Alkazzi award for excellence in painting. He lives and works in New York City.</em></p> Mon, 21 May 2012 23:39:46 +0000 Eozen Agopian, Alan Kleiman, Diane Mayo - Lesley Heller Workspace - June 6th, 2012 - July 6th, 2012 <div class="documentBody"> <p><strong><em>Three Colorists</em></strong>, curated by<strong> Michael Walls</strong>, highlights the work of three artists who have several things in common: they began their professional life as painters; the oeuvre of each importantly involves the role of color; and the work of each is not only labor intensive, but also revealing of a hard-won mastery of the chosen craft.</p> <p><strong>    Alan Kleiman </strong>creates near-monochromatic paintings out of twenty or more individual layers of pigments.  He mixes them slowly, <em>covering</em> the rectilinear surface with oil paint, while simultaneously <em>removing</em> much of the medium through his distinctive all-over drawing. The completed work appears from a distance to be a single hue, but reveals on closer inspection two or more of the underlying hues. The web-like surface rewards scrutiny from varying distances.</p> <p>    <strong>Eozen Agopian</strong> has joint citizenship in her native Greece and in her adopted United States. Having worked in Athens for many years, she is presently establishing a studio in Queens. A lifelong painter, her recent work is divided into two separate, though closely related, investigations: paintings executed in oil and/or acrylic on canvas, and her “thread paintings,” in which layers of colored cotton and silk thread seem to hover above the painted ground. She is represented in this exhibition by the thread paintings.          </p> <p><strong>    Diane Mayo</strong>, a native of Syracuse, New York, exhibited in New York for several years as a makerof small, poetic landscapes inhabited by animals having an enigmatic presence. The result of her taking a course in ceramics in 1984 was a metamorphosis from being a painter to a maker of ceramic vessels and sculptures involving the raku process. Sculpting these works in the Montauk studio which she has occupied since 1979, she has explored a fascinating range of structures and imagery. She is represented by several new works– asymmetrical and bulbous in shape, based upon clay vessels from the Bronze Age Cypriot culture. Her life as a painter and a remarkable colorist continues in the application of glazes to these works before the raku firing.</p> </div> Mon, 21 May 2012 23:44:17 +0000 Group Show - Salon 94 Bowery - June 6th, 2012 - July 6th, 2012 <p>Despite the myth of the artist who works in solitude, artist circles have long dominated art history. The Impressionists drank absinthe while the railway passed by, the Cubists drank wine at the Café La Rotund, and Abstract Expressionists drank whiskey at the Cedar Tavern, respectively proclaiming manifestos concerning a new kind of art making practice. Sharing common ideological, philosophical and aesthetic concerns, these artists were friends and admirers who lived in the same cities, met regularly and often exhibited their work together. The artists featured in Pothole have assumed a 21st century virtual form, crossing cities and borders. While many are friends and former classmates, others share an artistic dialogue through viewing one another’s work in exhibitions or following their moves online. Although their practices are diverse, they live in different cities and are not regularly in exhibitions together, their work nonetheless has certain commonalities including a strong emotive or expressionist sensibility as well as an attraction to untraditional, handmade and often "low" materials. Pothole celebrates these ten artists as colleagues and friends.</p> Tue, 05 Jun 2012 00:04:57 +0000 Lisa Kereszi - Yancey Richardson Gallery - May 24th, 2012 - July 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Yancey Richardson Gallery is pleased to</span> <span style="font-size: small;">present The Partyʼs Over, an exhibition of new</span> <span style="font-size: small;">and recent work by photographer Lisa Kereszi, </span><span style="font-size: small;">marking the artistʼs fourth solo exhibition at the</span> <span style="font-size: small;">gallery. Seen as a follow-up to the artistʼs Fun </span><span style="font-size: small;">and Games series, the color landscapes and</span> <span style="font-size: small;">interiors in The Partyʼs Over depict places of </span><span style="font-size: small;">recreation long past their prime, together</span> <span style="font-size: small;">creating a poignant metaphor for the difficult </span><span style="font-size: small;">economic climate of the times.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Continuing her investigation of escapist and </span><span style="font-size: small;">fantastical spaces, Kereszi has trained her eye</span> <span style="font-size: small;">on the gritty, abandoned sites of former </span><span style="font-size: small;">amusement parks, strip clubs, theaters, and</span> <span style="font-size: small;">other entertainment locales. An heir to the jaundiced vision of America offered by Robert Frank,</span> <span style="font-size: small;">Kereszi presents subtle visual hints of a once happier existence, using windows and reflections,</span> <span style="font-size: small;">for example, as metaphorical portals to escape a reality of decay.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Though subdued in tone and content, the work is also a celebration of the magic of the purely</span> <span style="font-size: small;">photographic. Reactive, though quiet, Keresziʼs photos are not pre-conceived or planned out, but</span> <span style="font-size: small;">rather genuine, instinctive responses to strange, silent and secret beauty. In this regard,  Kereszi</span> <span style="font-size: small;">is channeling the vision of Eugene Atget and Walker Evans. In Topless bar reflected in puddle,</span> <span style="font-size: small;">Doylestown, PA, Kereszi frames a sliver of the defunct clubʼs sign in a parking lot puddle, which</span> <span style="font-size: small;">forms the shape of an arrow and reflects the clubʼs essential message – Topless Motel Bar Food. </span><span style="font-size: small;">The buildingʼs A-frame roof and chimney suggest that this is a former home converted to a strip</span> <span style="font-size: small;">club, another subtle reminder of the distressed conditions to which Kereszi lends her poetic </span><span style="font-size: small;">sensibility.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Elsewhere, Keresziʼs compositions are more direct in their message, as in the showʼs title  image,</span> <span style="font-size: small;">The Partyʼs Over, Disco ball in box, CT, which peers down upon a shabby cardboard  box</span> <span style="font-size: small;">containing a disco ball, no longer spinning overhead, and therefore bereft of its former power to</span> <span style="font-size: small;">entice. And Plastic Shark in lake behind sports bar, Pocono Mountains, PA, which reveals a</span> <span style="font-size: small;">comically placed shark head jutting out of shallow water, its toothy mouth agape, a sad, static</span> <span style="font-size: small;">reminder of a once popular recreational playground cast aside.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Lisa Kereszi received her BA from Bard College and her MFA from Yale University in 2000.  She</span> <span style="font-size: small;">was awarded the Baum Award for Best Emerging American Photographer in 2005, and is the</span> <span style="font-size: small;">author of four monographs: Governors Island, Fantasies, Fun and Games, and the forthcoming</span> <span style="font-size: small;">Joeʼs Junk Yard, to be released by Damiani in September, 2012. Keresziʼs work has been</span> <span style="font-size: small;">exhibited at the Whitney Museum of American Art, the Berkeley Art Museum, the New Museum,</span> <span style="font-size: small;">the Aldrich Museum, and the Brooklyn Museum of Art, among others. She is currently a Lecturer</span> <span style="font-size: small;">and Acting Director of Undergraduate Studies in Photography at Yale University.</span></p> Sat, 02 Jun 2012 09:19:27 +0000 Pam Bowers - Bowery Gallery - June 19th, 2012 - July 7th, 2012 <p>Pam Bowers Invitational Exhibition, “Memento Mori” at Bowery Gallery in Chelsea, June 19 – July 7, re-examines the motif of still life set in the landscape as a vehicle for editation on the transitory nature of experience. Using a moody, saturated palette and rich, painterly approach Bowers depicts fish, birds, and fruit, as well as biological specimens in jars set within landscapes possessing a sensuality evocative of 17thcentury Neapolitan still life painting, yet imbued with a quality of timelessness that embraces both past and contemporary experience. They are highly personal and enigmatic works that hint at mysteries beyond the reach of comprehension.<br /> <br /> The stories that Bowers tells in these works are more often experienced and felt rather than known, her intent being to “to reach the intellect through the senses.” The paintings are filled with echoes of intuitive meaning, evoking a sense of pathos through empathy with the creatures she depicts, taken out of the safety of their own environments and immersed in a liminal world of twilight hillsides, stormy seas, and fiery infernos. The paintings reference images across diverse sources including mythic history, literature, the history of art, and alchemy, thus merging contemporary experience with echoes of traditions to create a timeless, richly evocative world. Barry Nemett, writer, painter and Chair of the Painting Department at Maryland College Institute of Art describes her work as: “something thrillingly eerie and hard to define, by floating us into the black, ambiguous waters of the sublime.”<a href=""></a></p> <p><br href="" />Bowers has exhibited her work the at International School of Art, in Montecastello di Vibio, Umbria, Italy; The Hungarian University of Fine Arts, in Budapest, Hungary; The Ecole Nationale d'Architecture, in Rabat, Morocco and nationally at ARC and WMG galleries in Chicago, at the University of North Carolina, Charlotte, St. Mary's College and was featured in last years Annual Juried Special Exhibition at the Bowery, among other U.S. and international venues. She has spoken on her work as a visiting artist at The Luxun Academy of Fine Art in Shenyang, China and has upcoming exhibits in Guiliin, China and Gubbio, Italy.</p> <p class="pressrelease">A Chicago native, Bowers is on the Art Department faculty at the University of South Carolina and also teaches in Umbria, Italy.</p> Mon, 25 Jun 2012 22:43:56 +0000 David Voros - Bowery Gallery - June 19th, 2012 - July 7th, 2012 <p>David Voros Invitational Exhibition, “The Triumph of Innocence” at Bowery Gallery in Chelsea, June 19 – July 7, features four monumental scale paintings which re-investigate monumental-scale narrative painting in a personal and autobiographical context. Voros presents a sequential narrative described in four large-scale figurative paintings, each 7’ x 12.’  Seen together, the canvasses create an environment that physically immerses the viewer in a cycle of events in a manner reminiscent of a Baroque chapel yet seen in a contemporary context. <br /> <br /> The paintings seek to create a narrative told on a number of levels that communicates autobiographical events through association and metaphor rather than through direct symbolic or allegorical connections.  In this, the paintings create a personal mythology through sometimes-quirky images drawn from popular culture, art history, and mythic history, all represented on a scale reminiscent of 16th and 17th century Venetian painting.  As critic Eleanor Heartney writes, “From this rich tapestry of allusions, Voros presents, not so much a coherent narrative, as a visual poem, whose pauses and crescendos resemble those of the Jazz that he listens to while he works. References burble up from his unconscious, inflected through a study of Renaissance and Baroque art and his Catholic upbringing. These come together in an immersive environment that lures viewers into reveries of their own about the meaning of life, the possibility of redemption, and the private and public demons that threaten us all.” <br /> <br /> Working within the formal and conceptual framework of classical painting, the paintings recall the work of Max Beckman in the way they embrace the traditions of European painting, referencing artists as historically diverse as Hockney, Bearden, Picasso, Tintoretto, and Poussin, while at the same time, remaining focused on individual expression and the personal experience of the artist.<br /> <br /> Voros has exhibited at The International School of art, in Montecastello di Vibio, Umbria, Italy, The Blegan Library, at The American School of Classical Studies in Athens ,Greece; The Hungarian University of Fine Arts, in Budapest, Hungary; The Ecole Nationale d’Architecture, in Rabat, Morocco; The University of Arts in Belgrade, Serbia among other international venues and at The University of Norte Dame; Washington University, St. Louis; Florida International University and The Indianapolis Museum of Art among other venues in the U.S. Voros has lectured on his work as a Visiting Artist at: The Luxun Academy of Fine Art in Shenyang, China and The China Academy of Art in Hangshou, China, as well as other locations where he has exhibited his work, in the U.S. and abroad.<br /> <br /> A Chicago native, Voros teaches in and coordinates the painting program at the University of South Carolina and also teaches painting in Umbria Italy. </p> Mon, 25 Jun 2012 22:47:12 +0000 Group Show - Claire Oliver Gallery - May 3rd, 2012 - July 7th, 2012 <p>10-Twenty-10 marks two celebrated milestones in the history of Claire Oliver Gallery. The Gallery is proud to celebrate ten years in New York and twenty years in business with an exhibition of new work by ten artists who have been both partners in defining the Gallery's artistic vision and influential representatives of the Gallery's unique, long-term approach to the creative process. Gallery co-owners Claire Oliver and Ian Rubinstein invite you to this tour de force exhibition featuring extraordinary examples of the Gallery's commitment to concept and respect for process-driven art.</p> <p>It is through a strong alliance with its artists that Claire Oliver Gallery has grown to what it is today. "Claire is a true visionary advocate for the arts who has worked tirelessly on behalf of my work and has advanced my art world presence enormously. Her dedication and energy are extraordinary and incredible and I feel very lucky to be a part of her gallery" (Judith Schaechter). "I had the privilege of opening the space of Claire Oliver in NY in 2002 and over the past 10 years Claire has not stopped growing. Claire Oliver is a gallerist of war, intuition, and tenacity, with great mental strength and loyalty to her own vision. She is a bold intermediary between the artist and the world" (Bernardi Roig). "As an artist, you need a partner who believes in and supports your ideas and visions. Claire Oliver is a gallerist who has this vision, who tries her best to make the vision become reality without compromise" (Norbert Brunner).</p> <p>Claire Oliver has been interviewed by "Good Morning America" and PBS's "Art Index TV." She has lectured at the Brooklyn Museum and is featured in this year’s New York is Now, a film by Noah Becker. Both Claire Oliver and Ian Rubinstein are featured in a chapter of the latest book by corporate identity and brand expert Jon Cristoph Berndt, according to whom the pair is “well sharpened, not everybody’s darlings, addicted to what they are doing and willing to focus, leaving away all the other temptations the buffet of life has to offer.”</p> <p>In addition to having represented artists in the past three editions of The Venice Biennale, this year alone the gallery has organized exhibitions for its artists at the following museums: Smithsonian Museum of American Art, Washington D.C.; Museum of Arts and Design, New York, NY; The Mint Museum, Charlotte, NC; Oklahoma City Museum of Art, Oklahoma City, OK; Toledo Museum of Art, Toledo, OH; The Columbus Museum, Columbus, GA; Eastern State Penitentiary, Philadelphia, PA; Bellevue Arts Museum, Bellevue, WA; Spencer Museum of Art, The University of Kansas, Lawrence, KS; Museum of Fine Arts, Tallahassee, FL; Chazen Museum of Art, Madison, WI.</p> Mon, 11 Jun 2012 23:49:11 +0000 Linda Lippa - Denise Bibro Fine Art - May 24th, 2012 - July 7th, 2012 <p><b>Denise Bibro Fine Art</b> is pleased to present <b>Linda Lippa: <i>Split Second NYC</i></b>, on view May 24 through July 7, 2012. Lippa’s new series of oil paintings continue her fascination with urban cultures continuous motion. The artist focuses on areas in New York City where people congregate, where the hustle and bustle of everyday life takes place, such as transportation hubs, the subway, Times Square, entertainment centers such as Radio City Music Hall, and parks such as Union Square.</p> <p>New Yorkers are all but accustomed to constant chaos and commotion, keeping their fast pace without taking any time to notice their surroundings. Lippa captures and punctuates these moments, successfully conveying a sense of place, urgency and happenstance.</p> <p><i>Recent solo exhibitions include the Museo de Arte Acariqua-Araure in Venezuela; Gallery Galou, NYC; Gallery on the Vineyard, Martha’s Vineyard, MA; Gallery Magritte, Tucson, AZ; Edward Williams Gallery, Fairleigh Dickinson University, and John Harms Center for the Arts, all in NJ. Recent group exhibitions includeHERstorically Speaking at Johnson &amp; Johnson Headquarters Gallery, New Brunswick, NJ; UBSGallery, NYC; Dana Gallery, Newark, NJ; Longview Museum, Longview, TX; Belskie Museum, Closter, NJ; Traveling the Carolinas, National Association of Women Artists, NYC; Cambridge Art Association, MA; Cornell Museum, Del Ray, FL. Lippa’s notices includeARTNews, The New York Times, Gallery and Studio, Forbes Magazine, and The Bergen Record of NJ. Her work is included in both private and public collections, such as the Zimmerli Museum, New Brunswick, NJ.</i></p> <p><i><br /></i></p> <p></p> Sat, 28 Apr 2012 02:17:35 +0000 Mitra Tabrizian - Leila Heller Gallery - Chelsea - June 7th, 2012 - July 7th, 2012 <p>A solo show of photography by Mitra Tabrizian will be on view at Leila Heller Gallery in Chelsea at 568 West 25th Street from June 7 – July 7, 2012. The exhibition will feature seven monumental photographs taken in Iran and England, which includes four works from her new series, “Leicestershire 2012.” A fully illustrated brochure with an essay by Vali Mahlouji, a London-based independent curator and writer, will accompany the exhibition.<br /> <br /> Tabrizian creates fabricated mise-en-scenes. Bankers in an office building, women in hijabs walking through Tehran’s terrain, a man standing on the sidewalk—nothing seems out of the ordinary—yet Tabrizian stages these evocative scenes as if we are walking in on the subjects mid-scene, immediately before or after the climax of the narrative. Often the images appear cold or even disturbing in large part due to the utter disconnect between the characters. For instance, in City, London 2009, we see several men in black and grey business suits inside the lobby of an office building. Indeed nothing out of the ordinary; however, there is no interaction between the characters. They each stand and stare in different directions, completely disconnected from each other and the backdrop that surrounds them. <br /> <br /> In the brochure essay, Mahlouji writes, “When figures appear in groups, Tabrizian’s meticulous compositional juxtapositions and directorial interventions ensure an even more acute sense of dissociation and dislocation. Where expectation is congruency and relatedness, actors remain hermitically solitary. Despite co-habiting a particular and shared fragment of space, the protagonists remain resolutely detached, disunited and scattered.”<br /> <br /> Beyond Tabrizian’s emphasis on the placement of her subjects, the landscape often plays the secondary character in her photographs. Whether it’s a kitchen, an office building, or the desert of Tehran, the backdrop always lends to further characterize her subjects and to enhance the work’s narrative.<br /> <br /> In her newest series, “Leicestershire 2012,” Tabrizian documents the deteriorating factories of the city of Leicester. In this series, the landscape of the city, rather than the subject, takes center stage. A man makes an appearance in a few of the images—but his solo presence seems only to emphasize the eerie desertion of the city. In Leicestershire 2012, the man stands in a suit by a canal in front of a boarded up, now defunct building. His eyes are closed as if mourning for or perhaps remembering a town which once was.<br /> <br /> Mitra Tabrizian, born in Tehran, Iran, lives and works in London. She has exhibited widely in major international museums and galleries, including her solo exhibition at the Tate Britain in 2008. Her most recent book, Another Country, published by Hatje Cantz in 2012, includes texts by Homi Bhabha, David Green, and Hamid Naficy. Her photographic and film works are represented in major public collections, including: Victoria and Albert Museum, London; Queensland Art Gallery/Gallery of Modern Art, Australia; Moderna Mussset, Stockholm; Musée d’Art Moderne, Luxembourg; amongst others. She has received several photography and film awards, including the British Arts and Humanities Research Board (AHRB) Innovation Award for the film The Predator (28 min., 35 mm print, 2004).</p> Sat, 22 Feb 2014 15:50:02 +0000 Peter Fend, Morten Traavik - NOoSPHERE - June 1st, 2012 - July 7th, 2012 <p><strong>NOoSPHERE</strong> is pleased to pair Peter Fend, a U.S. artist known for his collaborative practices melding art and science who recently returned to New York after being active in Eurasia for the past decade, with Morten Traavik, one of Norway's most challenging and productive artists, who exhibits in NYC for the first time.</p> <p>For <strong>POWER GAMES</strong>, the gallery space will be transformed into a single installation where works by Fend and Traavik converge to present the artists’ different takes on borders, distribution of resources, and what constitutes wealth ‒ both physical and mental.  Their approaches are poles apart: while Fend is stern and formal, Traavik is witty and sly.</p> <p>Fend, who has been labeled a "global architect", applies ideas from art to major real‐life problems.  He produces maps and models for: deconstruction of dams, diversion of rivers, collection of aquatic or marine biomass to yield methane, ultra‐lightweight city structures to reduce sprawl, and replacement of monoculture with wild‐animal terrain, suited for hunting‐fishing‐foraging. To the dismay of some, Fend  shows how art can serve to end dependence on nuclear power and fossil fuels, change political borders, and convert military technology into eco‐industry tools.  For controversy, he developed "Geopolitical Billiards", "Global Soccer Fields", TV scenarios like "Italy Wins World War" and a gas‐station advertising campaign for "Global Warming."</p> <p>Traavik operates in many different artistic genres, often in mental and/or physical conflict zones. For instance, his MISS LANDMINE ANGOLA (2008) and MISS LANDMINE CAMBODIA (2009), a beauty pageant for female landmine survivors, sparked massive international attention and debate, also in the US. His latest project, a trilogy titled THE PROMISED LAND (2012), is still being developed in North Korea in close collaboration with the country’s cultural authorities, and has already made world headlines, not least through its clever use of social media (nearly 2 million YouTube views so far) and playful deconstruction of our established preconceptions about the world’s most reclusive state and its people.  The two artists share a belief in 'truth disclosure' projects conducted to challenge their own and others’ comfort zones. In this pursuit, they both play many roles: activist, pundit, craftsman, conceptualist, realist, fantasist, bad-boy artiste ‒ sometimes all at once!</p> <p><b>Peter Fend </b>(1950), currently based in New York and New Zealand, studied history in college. Believing one could make history with art, he teamed up with Jenny Holzer, Richard Prince, Robin Winters, Coleen Fitzgibbon, and Peter Nadin to form The Offices, then set up the legally‐incorporated version Ocean Earth Development Corporation (1980‐). The firm pioneered the broadcast TV analysis of hot news sites using civil‐satellite data (Falklands, Beirut, Iran‐Iraq, Chernobyl). The aim, however, was architectural ‒ in the broad Albertian sense of assuring defense, urban space, clean air and living waters. Fend has published widely in the scientific and military‐news press, with two press conferences at the UN. He showed at Documenta IX and currently has work on view at four NYC venues: Anna Kustera Galllery, White Columns, Proteus Gowanus, and  Peanut Underground ‒ each a response to a different world crisis.</p> <p><b>Morten Traavik</b> (1971) is a Norwegian director and artist based in Oslo and Stockholm. He works across a wide spectrum of artistic genres and international borders. Trained as theater director in Russia and Sweden, the notion of the world as a stage and identity as role play is never far away in his works. In 2010, he was the first (and so far the only) artist‐in‐residence with the Norwegian Armed Forces. For POWER GAMES, Traavik will arrive almost straight from North Korea, where he is organizing the First Norwegian Festival in the country’s capital Pyongyang on May 17, Norway’s National Day. This makes him the world’s first artist to exhibit simultaneously in North Korea and the US, two countries technically still at war. He himself prefers the label “diagnostician” rather than “artist”. (</p> Tue, 20 Nov 2012 16:44:45 +0000 Cameron Crawford and Jibade-Khalil Huffman - Scaramouche - May 20th, 2012 - July 7th, 2012 <p> </p> <p><i><strong>SCARAMOUCHE</strong><br /></i></p> <p><i><br /></i></p> <p><i>presents</i>   </p> <p><b><i>DOUBLE-JOINTED</i></b></p> <p>CAMERON CRAWFORD and JIBADE-KHALIL HUFFMAN</p> <p>Curated by Megha Ralapati</p> <p> </p> <p><span style="text-decoration: underline;">OPENING</span>:                       Sunday, May 20,  6 - 8pm</p> <p><span style="text-decoration: underline;">EXHIBITION DATES</span>:      May 20 - July 8, 2012</p> <p>   </p> <p>Scaramouche is pleased to present <i>Double-Jointed</i>, an exhibition bringing together new and recent work by Cameron Crawford and Jibade-Khalil Huffman, both of whose practices rely on the articulation of visual ideas through language.</p> <p>Double-jointed implies a special inclination for flexibility, describing mobility or contortion most people cannot manage. It suggests a degree of abnormality, but it's an 'unusual' that feels comprehensible, or better yet, productive. Double-jointed involves a single joint or (con)junction, which is a convergence, out of which emerges a fork. It is a fork anchored by a shared hinge. As such, there is a hub, an articulation, an axis that allows two elements to pivot or swivel.</p> <p>Language is always double-jointed: at once literal and figurative, material and immaterial. There is a phonic (which is to say material) aspect of language that isn't accounted for by semantics.  It is performance, voice, register; breath and moisture, throat and mouth, as well as wood and metal. These elements are in constant relation to one another but not always moving in the same direction. They flex toward and away, always linked, in a state of mutual support.</p> <p>The expression <i>double-jointed</i> provides foundation for both of these artists, manifest and tangible through poetry in Huffman's videos, collages, and slide shows; while Crawford's texts serve to order and classify, providing a sort of taxonomy realized through drawings, illustrations, and sculptural elements. Converging through language, the artists' works lithely rotate outward through their methodology and engagement with material.</p> <p>  </p> <p><b>Cameron Crawford</b> (Boulder, 1983) received a BFA from The School of the Art Institute of Chicago and an MFA from Northwestern University. His most recent exhibitions include the 2012 Whitney Biennial, <i>Almanza/Crawford</i> at New Capital, and <i>Mouthing (the sentient limb)</i> at the Hyde Park Art Center, Chicago. His writing has been featured in the book <i>Blast Counterblast </i>(Mercer Union/Whitewalls/University of Chicago) and <i>The Manual for Treason </i>(Sharjah Art Foundation). He was a 2011 recipient of The Claire Rosen and Samuel Edes Foundation Prize for Emerging Artists.  His work can be seen in the collections of Deborah Lovely and Huey Copeland. He lives and works in New York and Maine. </p> <p> </p> <p><b>Jibade-Khalil Huffman </b>(Detroit, 1981) is the author of two books of poems, <i>19 Names For Our Band</i> (Fence, 2008) and <i>James Brown is Dead</i> (Future Plan and Program, 2011).  His art and writing projects, spanning photography, video, performance and poetry, have been exhibited and performed at MoMA/PS1, Mt. Tremper Arts, Eighth Veil and Southern Exposure, among others. His awards include the Grolier Poetry Prize, the Jerome Foundation Travel Grant, and fellowships from the Millay Colony for the Arts and the UCross Foundation. He was recently named a Workspace Artist-in-Residence with the Lower Manhattan Cultural Council in New York. Educated at Bard College and Brown University, he lives and works in Los Angeles. </p> <p> </p> <p>Megha Ralapati is an independent curator, writer, and researcher based in Chicago and is currently developing a residency program for artists at the Hyde Park Art Center in Chicago. </p> <p>   <b>________________________________________________<span style="text-decoration: underline;">______       </span></b></p> <p align="center"><b> </b><b>For more information please contact the gallery:</b> (212) 228-2229</p> <p align="center">52 Orchard St. New York, NY 10002  <b><a href="" rel="nofollow" target="_blank"></a></b>  </p> <p style="text-align: center;"><b>Hours</b>: Wed. - Sat. 12N-6pm, Sun. 1pm-5:30pm, and by appt.</p> Thu, 10 May 2012 21:52:12 +0000 Kenji Nakayama - Woodward Gallery - May 5th, 2012 - July 7th, 2012 <p>Announcing the first, New York solo exhibition by Japanese born and Boston-based Artist Kenji Nakayama. Simply entitled Kenji Nakayama, this must-see exhibition will be the most extensive presentation of his art to date, featuring photorealistic, hand-cut stencil, spray enamel, acrylic and mixed media paintings.</p> <p>Nakayama’s dedication and work ethic is unprecedented and very well respected. A mechanical engineer by formal education, Kenji Nakayama made a significant and resolute life change in 2004 moving from his home in Hokkaido, Japan. Bringing his cultural heritage to the United States, Nakayama incorporates Japanese and American influences within traditional sign painting techniques.</p> <p>Kenji became involved with street art to document and respond to his surrounding environment, and as a method to capture significant moments in his daily life. His elaborate process involves crafting original, hand-cut, multi-layer stencils which become one complete image when illuminated with colorful spray enamel. This deeply personal technique serves as a diary from start to finish. In the studio, each intricately cut stencil painting often takes months to complete combining hours of concentration with a spiritualistic and <br /> meditative-like disposition.</p> <p>Soon after Kenji’s arrival to the States, he met Director John Woodward and was challenged with the opportunity to paint the outdoor wall on their Project Space. This was followed by an invitation to exhibit another large scale installation in the Bank of America, SoHo. People were in awe of Kenji’s complex murals. The public continues to show great support by embracing this Artist for his quiet determination, skill and exciting new contribution to our culture.</p> <p>Kenji Nakayama left his homeland driven to develop and master high levels of detail with an intense discipline in his art. Kenji describes, “My process is like dust. Each little grain and speck adds up, and soon becomes a mountain.”</p> Tue, 17 Apr 2012 02:46:33 +0000