ArtSlant - Current exhibits en-us 40 Bruno Cals - 1500 Gallery - May 2nd, 2012 - September 28th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">1500 Gallery is pleased to present <i>Horizons</i>, an exhibition of color photographs by Brazilian photographer <b>Bruno Cals</b>.  The exhibition consists of new images from the same body of work that Cals exhibited in his first ever solo exhibition, which was on view at 1500 Gallery in 2010.  The exhibition consists of 9 images at 31.5" x 47.2" (80 x 120 cm) and 1 image at 62.2" x 93.3" (158 x 237 cm).  <i>Horizons</i> was curated by <b>Boris Kossoy</b>, a prominent Brazilian photography curator and critic, as well as an accomplished artist (with works present in MoMA and the Met, among other important collections).  <i>Horizons</i> will be on view from <b>May 2 – September 28, 2012</b>.  There will be a reception for the artist and the curator at 1500 Gallery on <b>Wednesday</b><b>, May 2, 6-8 pm</b>.</p> <p style="text-align: justify;">In the words of the curator, Boris Kossoy: “In his <i>Horizons</i> work, Bruno Cals presents a reflection on space and time: landscapes from other worlds and possibly extinct (or still unborn?) civilizations, not necessarily human. How do our minds react to the unknown?  To empty landscapes, without historical clues? […] Cals shows us mostly places that are apparently abandoned; places without any trace of humans or other forms of life; a few exceptions, however, surprise us for containing possible high-tech landscapes that could imply the presence of advanced worlds: space stations, artificial cities? […] In these images we search for the air, we hear the silence. We reflect on infinite distances and immemorial times. […] This is the journey of a photographer who finds, in the appearance of things, only the starting point.”</p> <h2 style="text-align: justify;"><b>About Bruno Cals</b></h2> <p style="text-align: justify;">Bruno Cals was born in Rio de Janeiro in 1967.  At age 19, Cals moved to Paris and began a successful career as a fashion model.  At age 26, he decided that he wanted to be a photographer and returned to Brazil where he began shooting professionally.  Initially a fashion photographer, Cals worked for Vogue and Elle and Visionaire.  Since then, he has become a successful advertising photographer, working for the largest advertising agencies in Brazil.  He has won several awards, including three at the Cannes Lions International Advertising Festival.<b></b></p> <h2 style="text-align: justify;"><b>About Boris Kossoy</b></h2> <p style="text-align: justify;">Boris Kossoy has been dedicated to photography since a very young age.  He has worked as a professional photographer in journalism, advertising and portraiture, while in parallel pursuing an artistic career that continues to pursue to this day.  With a degree in architecture from Universidade Mackenzie (São Paulo, 1965) and a Masters and PhD from Escola de Sociologia e Política de São Paulo (1979),  Kossoy has been a full professor at the University of Sao Paulo’s School of Communication and Arts since the 1980’s. Kossoy is a member of the curatorial board of Coleção Pirelli-MASP de Fotografia (Sao Paulo Museum of Art) and coordinator of the Núcleo de Estudos Interdisciplinares de Imagem e Memória (University of Sao Paulo).  His personal artistic works are present in the permanent collections of: The Museum of Modern Art (MoMA), Bibliothèque Nationale (Paris), The Metropolitan Museum of Art, Centro de la Imagen (Mexico), the Sao Paulo Museum of Modern Art (MAM), and the Sao Paulo Museum of Art (MASP), among other institutions.  As a historian and researcher, he is best known for his work researching the history of photography in Brazil and Latin America, and to theoretical studies of photographic expression, besides curatorial and consultancy activities.  His bibliography is wide, published both in Brazil as well as internationally. Noteworthy books by Kossoy include: <i>Viagem pelo Fantástico</i> (Kosmos, 1971); <i>Hercules Florence: a Descoberta Isolada da Fotografia no Brasil</i> (Edusp, 2006); <i>São Paulo, 1900</i> (Kosmos, 1988); <i>Fotografia e História</i> (Ateliê, 2001); <i>Realidades e Ficções na Trama Fotográfica</i> (Ateliê, 1999); <i>Dicionário Histórico-Fotográfico Brasileiro</i> (Instituto Moreira Salles, 2002); and <i>Boris Kossoy, Fotógrafo</i> (Cosac Naify, 2010), among others.  In 1984 he was awarded the Chevalier de l’Ordre des Arts et des Lettres by the French Ministry of Culture with respect to his overall body of work.<b></b></p> <h2 style="text-align: justify;"><b>About 1500 Gallery</b></h2> <p style="text-align: justify;">1500 Gallery is located in New York City’s West Chelsea gallery district and specializes in Brazilian photography – the first gallery in the world with this explicit focus. 1500 represents several of the most recognized Brazilian art photographers, both emerging and established, with works present in major collections in Brazil and worldwide. 8 of 1500’s photographers are present in the Sao Paulo Museum of Art’s collection of photography. 1500 was founded in 2010 by Alexandre Bueno de Moraes and Andrew S. Klug. For more information, visit</p> <p></p> <p></p> <p></p> Mon, 06 Aug 2012 22:09:53 +0000 Group Show - 303 Gallery - June 29th, 2012 - August 3rd, 2012 <p>303 Gallery will present Marxism, an exhibition that examines the sociopolitical impact of the rebellious humor of the Marx Brothers - Chico, Groucho, Gummo, Harpo, and Zeppo - in relation to artwork by a gang of five contemporary artists - Marcel Duchamp, Jack Goldstein, Rodney Graham, Tim Lee and Richard Prince. The Marx Brothers are known for their subversive satire that cleverly addresses political and social issues with a touch of slapstick or a "honk honk" of Harpo's horn. Their beloved films continue to make people laugh with their particular brand of anarchic humor, where everything is taken literally and humor acts as a defense against the woes of the world. From Groucho's iconic mustache, glasses, and cigar to Chico's phony Italian accent and Harpo's squeaky walking stick, the Marx Brothers are unparalleled entertainers immortalized for their wit and use of simple props to address topics ranging from love and war to show business with a staunchly anti-authoritarian stance. Duchamp, Goldstein, Graham, Lee and Prince are similar innovators and provocateurs in the world of contemporary art, who have made work that relates to or references themes in the Marx Brothers' oeuvre. The exhibition will present works by each of the four artists as well as a large collection of historical material relating to the Marx Brothers, including films, photographs, records and props.</p> Fri, 27 Jul 2012 00:03:51 +0000 G. R. Iranna, Riyas Komu - Aicon Gallery - New York - July 20th, 2012 - August 31st, 2012 <p class="p1"><span style="font-size: large;"><b>Alone | Together</b></span></p> <p class="p2"><span style="font-size: small;"><b>Riyas Komu &amp; G. R. Iranna</b></span></p> <p class="p3"><i>July 20 – September 1, 2012 Press Preview &amp; Opening Reception: Friday, July 20, 6:00pm – 9:00pm</i></p> <p class="p3"><i>35 Great Jones St., New York NY 10012</i></p> <p class="p3"><b>AICON GALLERY </b>heralds the first joint exhibition of <b>Riyas Komu </b>and <b>G. R. Iranna </b>in <i>Alone | Together</i>, featuring a selection of iconic paintings and sculptures by two artists long at the forefront of contemporary Indian art. A natural counterpart to one another, both artists turn to representations of the human figure to draw upon the sociopolitical implications inherent in India’s post-colonial culture as affected by themes of religion, media, gender and identity. While Komu’s hyper-realist portraiture focuses relentlessly on the individual to establish a unique identity, Iranna examines the dynamic tensions between the individual and the societal group, particularly in his sculptural groupings of blindfolded naked figures. Amongst visions of conflict and compromise, both artists incorporate multiple layers of narrative into the rich dimensionality of their subjects, weaving powerful allegories into the threads of memory and identity that bind their art.</p> <p class="p3">As a painter, sculptor, installation artist and cultural commentator, <b>Riyas Komu </b>draws inspiration predominantly from manifestations of gender and religion as defining notions of the individual. Komu is predominantly known as a portraitist, having recently completed a series of commissioned large-scale works of prominent South Asian political figures for <b>The New Yorker</b>. “The portrait has become the key trope of our time,” says the artist, expressing his belief that portraiture conveys the human essence lost by other subjects. Creating allegories of the collective experience, as conveyed by individuals captured in attitudes of waiting, foreboding or memorializing, Komu gives prominence to the faces of his subjects, literally giving expression to the wider hardships – famine, genocide, migration, displacement and desolation – of which they are a part. The theme of globalization and the movement of power from individuals and communities, into the hands of corporations and governments is a central concern of Komu’s practice. Presenting an idiosyncratic and fully engaged take on contemporary political struggles, Komu forcefully reasserts the integral importance of the individual in political art at a time when the rise of mass protest movements has increasingly captured the attention of the general media and come to the forefront of recent critical discourses surrounding contemporary art.</p> <p class="p3">A celebrated sculptor and painter, <b>G. R. Iranna</b>’s disquieting canvases and large-scale installations are some of the most haunting and captivating works to be found in contemporary Indian art. Like Komu, his predominantly figurative works are concerned with broader sociopolitical subjects. Synthesizing a confluence of varied inspirational strands of thought, Iranna poses interpretations of agrarian life and allusions to Buddhist philosophies alongside imagery evoking captivity and alienation to chart man’s problematic journey through life. His shifting focus evokes a fluidity of spatial and social contexts, often questioning the blindness of faith in both religion and the mass- consciousness of teeming societies. His figures are often superimposed against ethereal landscapes, as if separated from any possible existing environment and isolated from humanity at large. Iranna’s sculptures follow a similar concept, their tactile quality and submissive postures evoking feelings of empathy, isolation and horror in the viewer.  Steeped in notions of restrained or passive resistance, the works are abstractedly realistic in their minimalist modality. We may empathize with his subjects, however, we can never fully enter into their realm.</p> Thu, 28 Jun 2012 20:22:25 +0000 Willie Cole, Michel Buthe, Matthew Benedict, Robert Bordo, Diango Hernández, Robert Kinmont, Stefan Kürten, Rita McBride - Alexander and Bonin - June 28th, 2012 - August 17th, 2012 <p>Alexander and Bonin is pleased to announce a group exhibition of painting and sculpture by Matthew Benedict, Robert Bordo, Michel Buthe, Willie Cole, Diango Hernández, Robert Kinmont, Stefan Kürten, and Rita McBride. The works selected for this exhibition were created with reference to periods when the artist was traveling or living abroad.</p> <p>Michael Buthe (1944 – 1994), spent many years in Morocco and developed a deep fascination with the rituals and beliefs of the Moroccan people. The late works on display show Buthe continuing to experiment with brightly colored surfaces and amateurish patterning, reminiscent of handmade African fabrics. <em>Papagei </em>(german for parrot) made just before his death is a large, dense canvas in which the head, eye, beak, and feathering of a parrot are exploded, becoming floral and cellular, dissolving into Buthe’s blue and white jigsaw waves.</p> <p>In 2011, Matthew Benedict spent three months participating in the residency programme at the Claude Monet Giverny Gardens near Paris. He produced dozens of works on paper, many of which were later developed into paintings. Benedict’s beautiful renderings of the town and the landscape as it is today lend his distinctively illustrative touch to a landscape which has become an art historical icon.</p> <p>In the early 2000s Robert Bordo began a series of easel scale paintings composed of rectangular, postcard-sized landscapes floating on sky-blue backgrounds. These images – drawn from photographs, postcards and reproductions of paintings – are depicted within a range of painting languages and evoke narratives of memory and place. At the same time, by breaking up and shuffling the conventional knowledge of landscape painting, Bordo looks to address paintings as pictures of pictures, acknowledging that memory is always constructed and inherently unreliable as a vehicle for truth.</p> <p>Other gallery artists will present recent works, including Willie Cole’s bronze <em>Worrier</em>, which continues the artist’s reassessment of African sculpture; Cuban artist Diango Hernández addresses the placelessness of the expatriate in his painting <em>Miramar Livingroom</em>. Robert Kinmont’s <em>Cottonwood Log Filled with Fear</em> is constructed from a fallen tree the artist trucked back to his studio from deep in the northern California forest which the artist bisected, hollowed out, and filled with fear; Rita McBride’s Mexican made tapestries employ the handcraft of traditional Oaxaca loom-work to investigate the duality between the original function of tapestry as architectural insulation and that of its later function as mediator between painting and furniture.</p> Thu, 07 Jun 2012 23:08:53 +0000 Stan VanDerBeek - American Contemporary - July 18th, 2012 - August 17th, 2012 <p>To coincide with the re-staging of STAN VANDERBEEK'S renowned domed installation, THE MOVIEDOME  at THE NEW MUSEUM American Contemporary will be displaying a series of writing, drawings and collages from the Stan VanDerbeek Estate, curated in collaboration with Sara and Johannes VanDerBeek.</p> <p>The exhibition will explore VanDerBeek's visionary approach to the world as represented so clearly in his rarely seen poetic and intensely thoughtful writings and drawings. The writings and drawings will be paired and grouped with his collages (used to make his films) in an attempt to show the depth and fludity of his visual and written poetics as well as the wit, intelligence and foresight inherent in his work. </p> <p>VanDerBeek's works have been exhibited internationally for over forty years. A recent retrospective at the List Visual Arts Centre, MIT, MA and Contemporary Art Museum Houston, TX was very well received and widely reviewed. The exhibition was accompanied by a career encompassing catalogue, beginning with his time at Black Mountain Collage alongside peers and collaborators such as John Cage, Robert Rauschenberg and Mere Cunningham and finishing with his steam screenings at the Whitney Museum of American Art. VanDerBeek has been described as an illusionist, a collagist, the father of underground film and a visionary. His work has inspired many contemporary artists including Paul McCarthy who included a program of VanDerBeek's films alongside his own exhibition, also at the Whitney. His work is currently included in The Historical Box at Hauser and Wirth, London until July 28th. </p> <p> </p> Mon, 30 Jul 2012 22:01:30 +0000 - American Folk Art Museum - January 17th, 2012 - September 2nd, 2012 <p>Life is not lived in black and white: reality may have the tinge of dreams and dreams an air of reality. This provocative tension exists between the experiential nature of early American folk art and the fantastical imagery it often displays—between what is real and what is imagined. The same is true of the work of contemporary self-taught artists, which may introduce unique—and sometimes puzzling—expressions that illuminate the iconoclastic nature that is the flip side of the collective American psyche. The viewer is placed in the peculiar but exhilarating position of deciding for him- or herself whether the artwork expresses a disjuncture with reality or an uninhibited embracing of interior life. After all, what is more true, the picture that looks real or the picture that feels real; the observer or the observed? These perceptions shift as new scholarship emerges. Often, real-life roots are discovered for even arcane and esoteric imagery that has already influenced our response to an artist and his work: does this disappoint or satisfy the viewer? Diminish or enhance the creativity of the artist? One need only contemplate the culture- and memory-driven gestures of Martín Ramírez, the impressionistic nineteenth-century portraits by Dr. and Mrs. Shute, and minimalist mid-twentieth-century soot drawings by James Castle to render these distinctions immaterial. Instead the viewer is urged to enjoy the permeable fluidity between art and imagination, dream and belief.<br /> <br /> Stacy C. Hollander<br /> Senior Curator</p> Sun, 27 Nov 2011 15:34:44 +0000 Michael DeLucup, Lizzi Bougatsos, Michael Delucia, Lizzie Fitch, David Gilbert, Robert Overby, Andra Ursuta - Andrea Rosen Gallery - July 12th, 2012 - August 31st, 2012 <p>Each summer provides us with an opportunity to curate an exhibition with artists whose work we find particularly compelling and to provide ourselves with an opportunity to live with that work. For the exhibition we pursued work that is formally fresh and simultaneously radiating content and ideas. While the show was not originally thematically driven, it became quite clear that even across such different media and techniques, the works in the exhibition all address the differences between three-dimensional space and two-dimensional representation and in that questioning begin to collapse the boundaries between material and fictive space and the imaginary and the real. Even as each artist maintains his or her own territory, this idea has become the unexpected core of the exhibition and we then were specific about selecting works by each artist that emphasized this relationship. For instance, by being installed in quantity on the floor, Andra Ursuta's work <i>Ethnic Bimbo</i>, 2012 transforms cards printed with a photographic image into a work that has a spatial quality in the exhibition space and a phenomenological relationship to the viewer. Lizzi Bougatsos' found poster works become sculptural in their incorporation of both found and hand made elements. While all of the pieces are quite formally resolved, each has an eccentricity that brushes up against the content of the work. <br /> <br /> All of the artists in the exhibition work across varying media or make work that straddles different disciplines so while medium is intrinsic to each work, whether formally or conceptually, materials are not fetishized. This specificity of medium is a central value that has guided the gallery's programing from its inception. In a time when it seems increasingly that artists have become obsessed with genuine yet meaningless gestures, we are especially pleased to have a show of work that is full of ideas and yet still evinces the hand of the artist without craft and labor becoming the sole subject of the work.<br /> <br /> For each artist, we have attempted to have enough examples of his or her work to allow viewers an opportunity to feel as though they can have an understanding of the artist's broader practice. In the process of installing the show, it became clear that we could have installed the works in a dozen ways with pairings and placement of different works highlighting a number of intended and unexpected juxtapositions that emphasize material, ideas about materials, and formal coincidences between works. Yet, as exciting as it is to see dialogues emerging between works by artists with very different conceptual and physical practices and to use this exhibition as a way to imagine other possibilities in this regard, ultimately for each of these artists we wanted to have an opportunity to more deeply engage with his or her work. <br /> <br /> <b>Lizzi Bougatsos (b. 1974)</b><br /> Bougastos' wide-ranging practice encompasses sculpture, collage, installation, writing, and performance. Her work appropriates the cultural and commercial detritus of the present in both material and subject. Found posters and advertising are often re-purposed with painted or collaged elements to both undermine and reveal the narratives that are woven into the visual fabric of the city and popular media. Bougatsos' practice is deeply responsible to the politics of media representation and does not shy away from referring to the troubled state of our current situation. Bougatsos' work frequently employs comedy and its humor is both disarming and a means to frankly comment on the moment in which we live. By manipulating familiar, ordinary materials Bougastos' work hints at the strangeness of what lies behind closed doors.<br /> <br /> <b>Michael DeLucia (b. 1978)</b><br /> Working primarily in sculpture, drawing plays a central role in DeLucia's practice. In his most recent work, DeLucia uses digital software and architectural CAD programs to create a computer model of a three-dimensional object, which is then given physical form on variously painted or poster covered plywood using a computer-controlled router. DeLucia's work reveals how objects are increasingly mediated by images or digital rendering and how the perception of these models as real objects is illusory. By applying these models back onto material planes as reliefs or simple geometric forms, DeLucia's work reveals how a computer model or one carved into plywood are ultimately comprised of the same information. By undermining the desire for ideal forms DeLucia shows how the purposeful variation of materials leads to an individualistic and interpretative process.<br /> <br /> <b>David Gilbert (b. 1982)</b><br /> Usually taking the form of large format photographs, Gilbert's work is fused to the material world. In an exhibition that focuses on materials and process, Gilbert's work is compelling in the way that the photographic medium can be used to intensify our experience of sculpture, material, and space. The subjects of his photographs are sculptural installations and arrangements made from humble materials like paper, twine, paint, and scraps of fabric. These installations are then photographed under dramatic, chiaroscuro lighting. Gilbert mines the transformative potential of photography to monumentalize these seemingly delicate constructions. Gilbert's process blurs the boundaries between photography, painting, and sculpture and reflects the increasingly loose distinction between the material world and the world of images.<br /> <br /> <b>Lizzie Fitch (b. 1981)</b><br /> Fitch composes works that are manifestations of an image and material culture increasingly defined by the edit, the sample, and recombination. Fitch procures stock images of tools and building materials which are used as raw material and then printed on canvas and either framed in wall bound constructions or draped over sculptural assemblages. The shiny, hyper-real quality of the images betrays their origins in the digital world and points to the use of digital tools (software) that create the structure and limits for production and simultaneously generates and confines meaning. Fitch's work is often quite funny with sometimes absurd juxtaposition of objects and images. Appropriating materials from a culture increasingly structured by overwhelming consumer choice and the ethic of browsing, Fitch finds ways to transform the banal and generic into works defined by their strangeness, specificity, and unique subjectivity. Fitch is also well known for her collaborative practice with Ryan Trecartin and we are excited to have an opportunity to show Fitch's individual work. While the collaborative practice of Fitch/Trecartin emphasizes a sense of immediacy both in accumulation of objects and the rawness of material, Fitch's solo works exhibit a high level of skill and production that creates a level of comfort around the work to allow for a greater eccentricity in the imagery itself. Fitch's work strategically utilizes form and order so that strangeness and chaos can emerge with more intensity than from an undifferentiated field of disorder.<br /> <br /> <b>Robert Overby (1953 – 1993)</b><br /> Overby has an extremely deep practice that was surprisingly unknown during his lifetime. While Overby was a widely known figure in the Los Angeles art world and a highly successful graphic designer, many did not realize he had a fine art practice until after his death. As the one historical artist in the show who is no longer alive, it is especially interesting how his work has an uncanny and specific relationship to each of the other artists' works in the show. It is partially for this reason, but also in the interest of showing the diversity of Overby's practice, that we have chosen to show the radically different types of work that Overby made, sampling an array of modes of art making from the 70s and 80s including post-minimalist sculpture and figurative, large-scale paintings. Remarkably, despite the heterogeneity of Overby's oeuvre, was his ability to work so masterfully in each media. Overby's PVC, latex, and cloth works are examinations of architectural space, notably the burned out remains of The Barclay House in Los Angeles. Overby's casts of the space, however, were always tied intrinsically to the body and the walls of the house take on a resemblance to skin and flesh. Overby's paintings, similarly depict the human form but through the lens of advertising and media. His work melds the late 80s interest in figuration to the critical position of Pop to media imagery. <br /> <br /> <b>Andra Ursuta (b. 1979)</b><br /> Ursuta's work explores the precarious position of the individual navigating public and private histories, and collective and personal cultures. In many of her works, it is the body and often the body of the artist that becomes the site for these anxieties to unfold. Ursuta's practice frequently represents a kind of obsessive handicraft whether in her ongoing series <i>Man from the Internet</i> where she carefully renders in ink a found internet image of a dead body from the Chechen war, with the intent of ultimately generating 100 drawings, or in the thousands of hand cut wooden bricks that comprise her work <i>Untitled (Masothrone)</i>, 2007. Ursuta's work often employs a wry humor that lends her work the playfulness of a Dadaist enterprise while investigating the boundaries and limits of personal identity. </p> Mon, 06 Aug 2012 02:19:13 +0000 Chantal Akerman, Clegg & Guttmann, Jan Groover, Suzy Lake, Mark Leckey, Sabine Reitmaier, Franz Erhard Walther, William Wegman, Christopher Williams - Andrew Kreps Gallery @ 537 W. 22nd - July 12th, 2012 - August 17th, 2012 <p>The Andrew Kreps Gallery is pleased to present Commercial Psycho, curated by Will Benedict and including works by Chantal Akerman, Clegg &amp; Guttmann, Jan Groover, Suzy Lake, Mark Leckey, Sabine Reitmaier, Franz Erhard Walther, William Wegman, and Christopher Williams.<br /> <br /> The exhibition is a look at the distance between commercial work and experimental conventions and how a host of issues such as duration, repetition, the division of labor and gender are managed in this dichotomy, how they cross over into each other and can create a comfortable or uncomfortable schizophrenia.<br /> <br /> Will Benedict is an artist living in Vienna. Recent exhibitions include Bonjour Tourist, Gio Marconi, Milan (2012) and Bread and Butt (w/ Julie Verhoeven), Galerie Meyer Kainer, Vienna (2012). Since 2008 he has run the exhibition space Pro Choice with Lucie Stahl. </p> Mon, 20 Aug 2012 23:26:32 +0000 Charlotte Becket, Benjamin Butler, Stephanie Campos, Mark Dagley, Chris Martin, Troy Michie, Dominic Nurre - Anna Kustera - July 26th, 2012 - August 17th, 2012 <p><strong><i>Disappearing Acts (ACT II)</i></strong> brings together the work of seven artists who have discovered a sculptural flavor within the painterly or the painterly within the sculptural.  The  artists  explore  everything  from  the  mystical  to  the  minimal.  For the exhibition, natural forms coexist with futuristic ones. Three artists, Dominic Nurre, Troy Michie and Stephanie Campos, who showed in "Disappearing Acts" earlier this year appear again in ACT II. Here they are joined by Benjamin Butler, Charlotte Becket, Mark Dagley and Chris Martin. Each artist brings a distilled personal vocabulary that portrays its own kind of magic trick.</p> Sat, 28 Jul 2012 00:44:39 +0000 Group Show - Anton Kern Gallery - July 10th, 2012 - August 24th, 2012 <p style="text-align: justify;">The exhibitionʼs title is taken from an advertisement for surfing wetsuits from the 1970s. Using an Oneil wetsuit promised that once inside your new second skin, Summer was awaiting. The title itself is comprised of two somewhat contradictory parts: Itʼs Always Summer and On the Inside, which is unusual in that Summer typically conjures images of the Outside. This conceptual bridge between the two distinct parts of the exhibitionʼs title functions like a Zen Koan and forms the crux of the exhibition.</p> <p style="text-align: justify;"><br />Which begs the question: what or where is The Inside?</p> <p style="text-align: justify;"><br />The artists included in the exhibition tend to work in an intuitive, direct and personal manner. Their subject and method indicate an investment in meaning rather than creating artworks that mirror or approximate social gestures. The cultivation of a personal interior space or Inside allows room for psychic and emotional development, a place to organize memories, emotions and wishes into coherent forms: paintings, drawings and sculptures.</p> <p style="text-align: justify;"><br />Through the creation of a personal proposal, expression thus becomes a type of truth seeking. This position requires a conviction of personal freedom and confidence; exploring possibilities through hand painted signs and personally invested images. The paintings and drawings included in this exhibition are chosen for their canny ability to project a version of not simply Summer but Summer on the Inside.<br /><br /></p> Sun, 12 Aug 2012 09:49:24 +0000 Lara Schintger, Malik Gaines, Jade Gordon, Alexandro Segade - Anton Kern Gallery - July 10th, 2012 - August 24th, 2012 <p>The Butterfly's Evil Spell is a collaboration among the three members of LA based collective My<br />Barbarian (Malik Gaines, Jade Gordon and Alexandro Segade) and sculptor Lara Schnitger.<br />Playing between the dramatic spaces of fantasy and realism, the piece uses a fragmentary<br />Symbolist theater text from 1920 by Spanish playwright Federico Garcia Lorca, entitled El<br />Maleficio de La Mariposa, as a starting point. The artists responded with a performance video<br />and installation that re-stages scenes from the play in elaborate sculptural costumes. The group<br />also generated original material drawn from the circumstances in their own interconnected lives,<br />shot on location in their shared LA studio, extending a relationship between imagination and<br />social reality.<br />El Maleficio de La Mariposa, with a cast of talking insects, tells the story of a mother beetle whose<br />son is "going to be a poet" against her wishes. The son, in another scene, abandons his girlfriend<br />Sylvia because he is "in love with the butterflies," a wistful declaration that carries notes of both<br />poetry and prohibited sexual desire, linking the two. The artists perform these scenes in the<br />video, wearing masks and costumes that become sculptures in the installation. In<br />complementary scenes, the artists act out episodes that reflect their own lives: Gordon, who is<br />pregnant, talks to Schnitger, who has a five year old, about her anxieties; Gaines and Segade, a<br />gay married couple, re-negotiate the complexities of their long-term relationship. The Butterfly's<br />Evil Spell draws parallels between feminist and queer political identities while locating the space<br />for making these connections in the ludic realm of play. Emphasizing the theatrical conditions of<br />this play-space, the video begins with a sung adaptation of Golden Age Spanish playwright<br />Calderon de La Barca's famous Life is A Dream soliloquy, and ends with the dance of the<br />butterflies, in which the four artists become a chorus line of fabric-clad dancers whose wings are<br />decorated with slogans from the women's and gay right's movements of the 70s (when most of<br />the members of the group were born), finally leading them to strip off their costumes and<br />reconnect with the imminence of their bodies.<br />My Barbarian is a collective consisting of Malik Gaines, Jade Gordon and Alexandro Segade,<br />founded in Los Angeles in 2000. My Barbarian's interdisciplinary performance, video, music and<br />installation projects use fantasy, humor, camp and clashing aesthetic sensibilities to playfully<br />reenact artistic, political, social and historical situations. My Barbarian's solo exhibitions include<br />“The Night Epi$ode” at Participant Inc., New York, 2009 and the Hammer Museum, Los Angeles,<br />2010; “Ecos de los Ecos” at Museo El Eco, Mexico City, 2010; “Broke People's Baroque Peoples'<br />Theater” at Human Resources, Los Angeles, 2012. The group has presented performance works<br />internationally and has been included in the 2005 and 2007 Performa Biennials, the 2006 and<br />2008 California Biennials, the 2007 Montreal Biennial and the 2009 Baltic Triennial. Other<br />performance sites have included MoMA, The Kitchen, New Museum, Whitney Museum, and<br />Joe's Pub (NYC), LACMA, MOCA, REDCAT (LA), Power Plant, (Toronto), De Appel<br />(Amsterdam), El Matadero (Madrid), Peres Projects (Berlin), Torpedo (Oslo), Townhouse Gallery<br />(Cairo) and many others. My Barbarian has participated in group shows at the Studio Museum in<br />Harlem; ICA Philadelphia; Hyde Park Art Center, Chicago; MOCA Miami; ICA London; Den Haag<br />Sculptuur, Netherlands; CCA, Tel Aviv; Anton Kern Gallery in New York, and many others. My<br />Barbarian has received grants from Creative Capital (2012), Art Matters (2008), and the City of<br />LA Cultural Affairs Department (2010). Their work has been discussed in the New Yorker, New<br />York Times, LA Times, LA Weekly, Artforum, Art in America, Frieze, various international<br />newspapers, and in José Muñoz’s book “Cruising Utopia: The Then and There of Queer Futurity.”</p> Mon, 06 Aug 2012 23:35:50 +0000 Mary Cassatt, John Singer Sargent, Childe Hassam, Theodore Robinson, Maurice Prendergast - Arkell Museum - May 28th, 2012 - October 21st, 2012 <p>This is a rare opportunity to view pastels and watercolors by America’s leading Impressionist artists including Mary Cassatt, John Singer Sargent, Childe Hassam, Theodore Robinson, and Maurice Prendergast. Pastels and watercolors first gained recognition as finished works of art when French and American Impressionists exhibited them at the end of the 19th century. The artists in this exhibition used these two mediums on paper to render beach scenes, landscapes and portraits. Fragile works on paper are hardly ever exhibited because they must be protected from light— so this could be your only opportunity to see some of these American Impressionist masterworks.</p> Sun, 27 May 2012 23:05:20 +0000 Thomas Doughty, George Inness, Albert Bierstadt, Ralph Blakelock, Henry W. Ranger, J. Alden Weir - Arkell Museum - June 30th, 2012 - April 24th, 2013 <p>Paintings of idyllic farmland and pristine parkland and are included in this exhibition of American art from the Arkell collections. Thomas Doughty's idealized depiction of early New England's backwoods and Albert Bierstadt's painting of the majesty of Yellowstone are among the wilderness views. The exhibition also features pastoral and poetic and landscapes by George Inness, Ralph Blakelock, Henry W. Ranger and J. Alden Weir.</p> Sun, 31 Mar 2013 21:59:07 +0000 - Art Southampton - July 27th, 2012 - July 30th, 2012 <h3 class="title-3">FAIR HOURS</h3> <p></p> <table border="0" width="400"> <tbody> <tr> <td width="120"><strong>Friday</strong></td> <td width="106"><strong>July 27</strong></td> <td width="160">12pm - 10pm</td> </tr> <tr> <td><strong>Saturday</strong></td> <td><strong>July 28</strong></td> <td>12pm - 10pm</td> </tr> <tr> <td><strong>Sunday</strong></td> <td><strong>July 29</strong></td> <td>12pm -  8pm</td> </tr> <tr> <td><strong>Monday</strong></td> <td><strong>July 30</strong></td> <td>12pm -  8pm</td> </tr> </tbody> </table> <p><em>*Days and Times Subject to Change</em></p> <hr /> <h3 class="title-3">ADMISSION FEE</h3> <table border="0" width="400"> <tbody> <tr> <td width="288"><strong>One day fair pass</strong></td> <td width="102">$15</td> </tr> <tr> <td><strong>Multi-day fair pass</strong></td> <td>$30</td> </tr> <tr> <td><strong>Students 12-18 years and Seniors</strong></td> <td>$10</td> </tr> <tr> <td><strong>Children under 12 years w adult</strong></td> <td>Free</td> </tr> </tbody> </table> <h3>Exhibitors</h3> <div class="exhibitor-link"><strong><span class="LinkDealer">101/Exhibit</span> </strong><br /> Miami</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Abby</b> M. Taylor Fine Art LLC</span> <br /> Greenwich</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Allan</b> Stone Gallery</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Anita</b> Shapolsky Gallery &amp; AS Art Foundation</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Antoine</b> Helwaser Gallery</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Arcature Fine Art</b></span> <br /> Palm Beach</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Art Nouveau</b></span> <br /> Miami, Maracaibo</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Ascaso</b> Gallery</span> <br /> Miami</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Caldwell</b> Snyder Gallery</span> <br /> San Francisco</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Consultores</b> de Arte S.A.</span> <br /> Miami</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Contessa</b> Gallery</span> <br /> Cleveland</div> <div class="exhibitor-link"><span class="LinkDealer">Cynthia <b>Corbett</b> Gallery</span> <br /> London</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Dai</b> I Chi Arts, Ltd.</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>David</b> Findlay Jr Gallery</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>De Buck Gallery</b></span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Dean</b> Project</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Denise</b> Bibro Fine Art</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Dillon</b> Gallery</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Dorfman</b> Projects</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Edelman Arts</b> &amp; Art Assure</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer">The <b>Elkon</b> Gallery, Inc.</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Erik</b> Thomsen Gallery</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer">Galerie <b>Forsblom</b></span> <br /> Helsinki</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Galerie</b> Terminus</span> <br /> Munich</div> <div class="exhibitor-link"><span class="LinkDealer">gallery nine5</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Gallery Valentine</b></span> <br /> East Hampton, Bridgehampton</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Hackelbury</b> Fine Art</span> <br /> London</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Hexton</b></span> <br /> Chicago</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Hollis Taggart</b> Galleries</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Jenkins</b> Johnson Gallery</span> <br /> New York, San Francisco</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Jerald</b> Melberg Gallery</span> <br /> Charlotte</div> <div class="exhibitor-link"><span class="LinkDealer"><b>KM</b> Fine Arts</span> <br /> Chicago</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Leila</b> Heller Gallery</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>McNeill</b> Art Group</span> <br /> Southampton, New York City</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Mindy Solomon Gallery</b></span> <br /> ST. Petersburg</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Nikola</b> Rukaj Gallery</span> <br /> Toronto</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Now</b> Contemporary art</span> <br /> Miami</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Robert</b> Klein Gallery</span> <br /> Boston</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Scott</b> White Contemporary Art</span> <br /> La Jolla</div> <div class="exhibitor-link"><span class="LinkDealer">Unix</span> <br /> Miami, London</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Villa</b> del Arte Galleries</span> <br /> Barcelona, Amsterdam</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Vincent</b> Vallarino Fine Art</span> <br /> New York City</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Waterhouse &amp; Dodd</b></span> <br /> New York City, London</div> <div class="exhibitor-link"><span class="LinkDealer">WESTWOOD GALLERY NYC</span> <br /> New York</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Witzenhausen</b> Gallery</span> <br /> Amsterdam</div> <div class="exhibitor-link"><span class="LinkDealer"><b>Woolff</b> Gallery</span> <br /> London</div> Tue, 03 Jul 2012 08:15:32 +0000 Wu Guanzhong - Asia Society Museum - April 25th, 2012 - August 5th, 2012 <p>Wu Guanzhong (1919–2010) stands as one of the most important artists of twentieth-century China. He was highly prolific both in oil and ink painting and is well known for his eloquent writings on art and creativity. For this exhibition, over 50 paintings spanning the mid-1970s to 2004 have been selected that focus on his best works in the medium of ink.</p> <p><em>Revolutionary Ink: The Paintings of Wu Guanzhong</em> is organized by Asia Society in collaboration with the Shanghai Art Museum, to which the artist gave many of his works. The exhibition traces the development of Wu’s work, and emphasizes his radical individual approach to the medium of ink painting and how it went against the trend at a time when most artists were looking to western art as a model. The inclusion of a Chinese hanging scroll painting from the fifteenth century illustrates the long tradition of ink painting in China. The exhibition shows Wu’s legacy as a modern master who pushes the boundaries of our understanding of how a traditional medium of ink can be made new for a new century.<br />    <br /> The exhibition is curated by Melissa Chiu of Asia Society and Lu Huan of Shanghai Art Museum. It is accompanied by a fully illustrated catalogue, with an essay by leading Chinese and American scholars as well as essays by the artist translated for the first time into English.</p> <p><em>Revolutionary Ink: The Paintings of Wu Guanzhong</em> is organized by Asia Society Museum and the Shanghai Art Museum, one of China’s leading cultural institutions. The museum has been the main venue of the international Shanghai Biennale exhibition since 1996 and draws global attention to a city that has become one of the country’s most important art centers.</p> Sun, 01 Apr 2012 20:56:09 +0000 NYC students - Asia Society Museum - May 22nd, 2012 - August 5th, 2012 <p><em>Inspired by Tagore </em>is part of a series of exhibitions that presents the work of New York City students created in response to the great artistic traditions of Asia. This year the exhibition presents student artwork inspired by the art of <strong>Rabindranath Tagore</strong>. Tagore was a transformative figure in the modern cultural history of India. He is remembered not only as an artist, but also as a poet, playwright, musician and philosopher. Students from four New York City elementary schools visited Asia Society in the fall of 2011 to view the exhibition <a href="" rel="nofollow" target="_blank"><em>Rabindranath Tagore: The Last </em><em>Harvest</em></a>.</p> <p>With guidance from teachers and teaching artists, the students created new works of art based on their observations and reflections. The students’ works are displayed alongside illustrations of some of the pieces that inspired them. The elements that were attractive, engaging and captivating in these works of art varied for each individual. What students chose to emphasize in their own works throws light on both the process of artistic creation and on their own cultures and personal histories. By displaying these fresh interpretations on traditional arts, we hope to encourage other young visitors to exercise their creativity.</p> Thu, 07 Jun 2012 18:33:58 +0000