ArtSlant - Recently added en-us 40 Jennifer Reeves - BravinLee Programs - September 4th - October 11th <p>BravinLee programs is both pleased and saddened to open its season with Place, a selection of paintings, photographs and drawings by Jennifer Wynne Reeves.</p> <p>Jennifer Reeves life was cut too short when she succumbed to brain cancer on June 22nd at the age of 51. Reeves is known for creating a body of paintings, drawings and photographs that speak to and confront formalist and humanist dilemmas. But beyond her reputation and achievements in the art world, Reeves enjoyed a considerable fan-base as a result of her astonishing Facebook presence where she chronicled and interwove her art and diaristic prose, living her life out loud, inviting her followers to take pieces of her and receive inspiration.</p> <p>For better or worse Reeves was a painter's painter. While she achieved a great measure of commercial success in her too abbreviated life, Reeves was best known and respected by artists who recognized her powerful skills of blending painterly style and manipulating materials in an alarmingly appealing way, avoiding the pitfalls that push abstraction against representation. Reeves was able to mine life's deeper underlying enigmatic and elusive narratives and emotions by the taming of opposites. Combining color-field, minimalism, narrative painting, process art and expressionism, Reeves rejected low thread count, muted, mock solemnity.</p> <p>In addition to her paintings, it will feature her hand-painted set-up photographs in which she set placed sculptural forms evocative of the figure against the backdrop of actual landscape space.<br /> The exhibition is an invitation to have a conversation about Reeves legacy and we hope that in time, it will lead to a museum survey to explore her art and writing.</p> <p>Reeves enjoyed solo exhibitions at Art &amp; Public in Geneva, Gian Enzo Sperone in Rome, The Worcester Art Museum in Massachusetts, and Max Protetch and Ramis Barquet in NYC. Her most recent solo show was at BravinLee programs in 2013. Reeves was also celebrated for her writing. She produced a graphic novel, The Anyway Ember in 2008 and Soul Bolt a book of her set-up photography and prose in 2012. In 2012 she was selected as a John Simon Guggenheim Fellow.</p> <p>There will be a celebration of the life of Jennifer Wynne Reeves Saturday September 6th, 11am St. Mark's Church in the Bowery 131 East 10th Street, NYC</p> Sun, 31 Aug 2014 01:51:01 +0000 Group Show - Limner Gallery - September 11th - October 4th <p style="text-align: center;"><small><span style="font-family: Arial;">&nbsp; The historic Hudson River City of Hudson, NY is the current home of the Limner Gallery. The City of Hudson is the fine art and antique center of the Hudson Valley and is a popular destination for art and antique collectors. Situated on the eastern bank of the Hudson River with a direct train link to Manhattan, Hudson is readily accessible to both city and country dwellers. It is situated centrally between the Catskill, Berkshire and Hudson Valley resort areas.</span></small></p> Sat, 30 Aug 2014 16:56:05 +0000 Group Show - Steven Harvey Fine Art Projects (PROJECTOR) - September 7th - October 12th <p style="text-align: justify;">Steven Harvey Fine Art Projects presents <strong>Leaves</strong>, a survey of contemporary drawings and works on paper by <strong>Peter Acheson, Mequitta Ahuja,&nbsp; Chuck Bowdish, Katherine Bradford, Dawn Clements, Jacob El Hanani, Gregory Gillespie,&nbsp; June Leaf, Sangram Majumdar</strong> and <strong>Fulvio Testa</strong>. The ten artists range from seasoned draftsmen to artists at the beginning of their careers and come from across the globe. Each of them, however, has a remarkably individualized sensibility and may be considered a master in his/her own right. </p> <p style="text-align: justify;">Katherine Bradford&rsquo;s works on paper are, as Ken Johnson puts it, &ldquo;comical yet earnest.&rdquo; Her glowing colors and vulnerable shapes often describe ocean liners and people at sea. The deliberate naivet&eacute; of her subjects evoke innocence without sentimentality &ndash; they have the quality of adult reveries and regressions. Bradford&rsquo;s work is included in various public collections, including the Brooklyn Museum of Art, the Metropolitan Museum of Art and the Portland Museum, among others. She was awarded a Guggenheim Fellowship in 2011, and was a recipient of a Joan Mitchell Foundation Grant in 2012.</p> <p style="text-align: justify;">A close peer of Bradford&rsquo;s, Peter Acheson is a pioneer of a similarly raw vocabulary. &nbsp;His scribbled drawings map a disconnected world. Acheson is in the tradition of artists such as Forest Bess and Gandy Brodie. His drawings encompass language&ndash;as-mark making with phrases entangled in tangles of line. Acheson was born in Washington, D.C and lives in Ghent, NY. His work is included in the Brooklyn Museum&rsquo;s permanent collection.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">From large scale painted collages to tiny jewel-like watercolors, Chuck Bowdish&rsquo;s work is figurative visual poetry, calling on both classical imagery (Grecian urns and&nbsp;nude torsos) and images of menace right out of the headlines.&nbsp; His draftsmanship seems effortless and precise and his impulse to castigate the world comes from a pure place.&nbsp; He is the kind of artist who makes you reconsider your assumptions. Bowdish is the subject of a documentary film by Peter Wareing entitled <em>Chuck Bowdish: Painter</em> and has been included in recent exhibitions in Atlanta, Williamsburg and Long Island City. Concurrently with <strong>Leaves</strong>, Bowdish&rsquo;s work may be seen at the John Davis Gallery in Hudson, N.Y.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The estimable painter and sculptor June Leaf, was born in Chicago in 1929 and has lived in New York since the early 60's. Her drawings are directly related to her sculpture; they are diagrammatic and notational, having almost the quality of maps, and share an acknowledgement of humanity&rsquo;s grace and foibles.&nbsp; Leaf&rsquo;s works on paper call to mind the inventive sketches of da Vinci and Alexander Calder. Leaf had her first solo exhibition at Sam Bordelon Gallery in Chicago in 1948 and has since exhibited internationally.&nbsp; She is included in numerous museum collections, including the Museum of Modern Art, New York The Whitney Museum of American Art, and the Art Institute of Chicago.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Jacob El Hanani was born in Morocco in 1947 and grew up in Israel. His work draws on the tradition of micrography in Judaism, a technique used in the decoration and transcription of holy texts. El Hanani&rsquo;s incredibly intricate ink drawings are created through the careful repetition of tiny marks. These extraordinary works appear to be a pattern from a distance; they are mediations on time and infinity. El Hanani&rsquo;s work is included in many notable public collections, including The Solomon R. Guggenheim Museum, the Museum of Modern Art, New York, The Metropolitan Museum of Art, The Whitney Museum of American Art, The Jewish Museum, Musee national d&rsquo;Arte Moderne, Centre George Pompidou, Paris, The National Gallery of Art, DC.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Fulvio Testa is one of Italy&rsquo;s most distinguished artists and illustrators. Working in watercolor and ink with muted tones, Testa&rsquo;s small scale, elegant landscapes have little demarcation between land and sky and seem influenced by Chinese scroll paintings. His work is represented in a number of public collections, including the Art Institute of Chicago, the Philadelphia Museum of Art and the New York Public Library.</p> <p style="text-align: justify;">In addition to his own prizewinning titles, he has illustrated books by authors such as Anthony Burgess and Gianni Rodari. He divides his time between Verona, Italy, and New York.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Sangram Majumdar was born in Calcutta, India and received his MFA from Indiana University. Majumdar works from elaborate backdrops and dioramas constructed in his studio, layering decorative and painterly elements that disappear and reappear in the working process. Majumdar&rsquo;s final compositions house a multitude of hidden possibilities. This group of drawings represents all the monochrome work related to a single painting, enabling us to visualize this world of potentiality. Majumdar has taught at the Maryland Institute College of Art since 2003. Concurrently with <strong>Leaves</strong>, Majumdar&rsquo;s oil paintingsa will be exhibited at Georgetown University in Washington, D.C. <br /> &nbsp;</p> <p style="text-align: justify;">Dawn Clements was born in Massachusetts in 1958. She works with Sumi ink and ballpoint pen on paper, ranging in size from small to monumental. Through an active, almost performative working process, the paper becomes distressed with folds, wrinkles, and seams. Clements subjects are the observed everyday spaces of her apartment and studio, and film stills, which she scales up to life-size proportion. Clements&rsquo; work was included in the Whitney Biennial in 2010, and she is represented in the permanent collections of the Museum of Modern Art, New York, the Whitney Museum of American Art,&nbsp; and The Saatchi Collection, London.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Mequitta Ahuja defines her artistic practice as Automythography&nbsp; (a variant on Audrey Lorde&rsquo;s phrase.) In her large-scale paintings on paper she places images of herself in the midst of tumbling worlds of tightly woven pattern and color, with an overall pictorial density that speaks to the layered patterns of Persian miniatures.&nbsp; Last spring she had an artist residency in Siena, Italy. Included in <strong>Leaves</strong> are examples of pastels inspired by her residency, in which Ahuja incorporates herself into the Romulus and Remus mythology of Siena (according to tradition Remus&rsquo; son&nbsp; Senio was the founder of Siena.)&nbsp; Her work is included in recent and upcoming exhibitions at Crystal Bridges Museum of American Art, The Minneapolis Institute of Art and The Saatchi Gallery.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The late Massachusetts born visionary painter Gregory Gillespie (1936-2000) defies categorization. He championed a fiercely obsessive realism in the Sixties when Pop and abstraction held sway, yet his vocabulary is so psychologically potent and mystically laced that it pushes past the realms of the real. His oeuvre comprises haunting self-portraits, surreal landscapes, symbolic geometric abstractions, and singular monumental object/paintings. &nbsp;His process is equally expansive, combining meticulous oil painting with photomontage, collage and assemblage. In his late work, which is included in this exhibition, he also inlays photocopied images into the painting surface. Gillespie drew inspiration across the history of European painting (Balthus, Bruegel, Bosch, Crivelli to name a few), as well as from classical mythology, Buddhism, Indian sculpture, and Tibetan and Mayan art. The Hirshhorn Museum and Sculpture Garden presented a retrospective of Gillespie&rsquo;s work when he was forty years old, garnering him national prominence. Gillespie&rsquo;s work is included in the permanent collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Museum of Fine Arts, Boston, among others.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><em>Leave</em></strong><em>s</em> takes place in two spaces; at SHFAP&rsquo;s main gallery at 208 Forsyth St, and around the corner at PROJECTOR, our pop-up space at 237 Eldridge. Please contact the gallery at <a href="" rel="nofollow"></a> or 917-861-7312 for further information or images.&nbsp;</p> Sat, 30 Aug 2014 17:48:11 +0000 Jean Lowe - McKenzie Fine Art - September 7th - October 12th <p>McKenzie Fine Art is pleased to commence the new season with an exhibition of paintings, sculpture, works on paper, and digital prints by Jean Lowe. This is the San Diego-based artist&rsquo;s sixth solo show at the gallery; it will open on Sunday, September 7<sup>th</sup> with a reception for the artist from 6 to 8 p.m., and run through Sunday, October 12th, 2014.</p> <p>For years, Lowe has created humorous and subversive installations that question intellectual and cultural institutions and societal assumptions.&nbsp; Using papier-m&acirc;ch&eacute; and enamel paint, she fabricates all the elements needed for her fully-realized interiors. In this exhibition, Lowe slyly critiques the way society assigns value, and to what, through the creation of a fauxauction house showroom.&nbsp; Lowe&rsquo;s showroom installation is decorated with paintings and digital prints depicting glossy auction house catalogue covers and posters.&nbsp; From fictional auction houses and websites such as &ldquo;Roquefort&rsquo;s,&rdquo; &ldquo;Heritage Holdovers,&rdquo; and &ldquo;,&ldquo; Lowe&rsquo;s paintings illustrate items from sales which feature everything from fine watches, love letters, and important old master paintings, to manuscripts and ephemera. Some of the lots featured in these sales are on display on pedestals in the showroom, which has been decorated with a large-scale, painted Persian carpet (Teheran, mid-20<sup>th</sup> century) and a papier-m&acirc;ch&eacute; rubber plant in the corner. These include painted sculptures of an obsolete yellow pages phonebook and a volume entitled, &ldquo;If God Loves Me, Why Do I Need a Vibrator?&rdquo;&nbsp; Additionally, several of the items of faux ephemera are on view:&nbsp; a 19<sup>th</sup>-century broadside offering a reward for lost minutes and hours; a poster for a lost dog, again featuring a reward, along with an emotional appeal regarding the canine&rsquo;s medical condition; a newspaper clipping about a man eaten by a bear in an Alaskan campground; a psychiatrist&rsquo;s ironic notes on a patient, scrawled on a yellow pad; inter-office memos, and a variety of posters.&nbsp; Riffing on both Warhol and Gonzalez-Torres, in the rear of the gallery Lowe has created a showroom back office, replete with painted sculptures of folding chairs, a case of wine (Two Buck Chuck), a paddle and tape measure, and a wood pallet stacked with off-set lithograph give-away posters.</p> <p>In this exhibition, Lowe playfully transforms the banal into the magical and makes the rarified ridiculous by transforming commonplace items into desirable commodities, all in a satirical setting of high commerce.&nbsp; Through her painted and sculptured recreations the artist humorously questions what is real, what is true, what has value, and why.</p> <p>&nbsp;</p> Fri, 29 Aug 2014 08:13:39 +0000 Evelyn Twitchell - Heskin Contemporary - September 11th - October 18th <p id="yui_3_17_2_1_1408909111807_54074">Heskin Contemporary is pleased to announce After August, an exhibition of recent paintings by Evelyn Twitchell. &nbsp;This is the artist's first solo show with the gallery. &nbsp;The opening reception will be held Thursday, September 11th from 6 to 9 PM.</p> <p id="yui_3_17_2_1_1408909111807_54075">In this new body of work, Twitchell continues to combine abstraction and representation. &nbsp;The paintings in After August were created in response to autumnal themes, including decay, dormancy and transformation. &nbsp;Her sources are both directly observed (the play of light among trees; the frieze-like momentum of a river; the brittleness of leaves) and invented &mdash;&nbsp; from memories and imagined forms. &nbsp;Exploring nature, as well as her own interior landscape, Twitchell distills these worlds into images &mdash; abstract yet organic &mdash; that evoke specific emotional experiences.</p> <p id="yui_3_17_2_1_1408909111807_54076">Twitchell's work has been included in numerous exhibitions and the contemporary art fairs Pulse Miami and Pulse New York. &nbsp;She has been featured in, City Arts, The Huffington Post, The New York Sun, The New Republic and Whitewall magazine. &nbsp;Twitchell has taught at Marymount College, New York City College of Technology, CUNY and Rider University. &nbsp;In 2011 she was the recipient of a Yaddo residency.</p> <p id="yui_3_17_2_1_1408909111807_54077">Twitchell received her MFA from Parsons School of Design. &nbsp;She lives and works in Brooklyn, NY and Milton, PA.</p> Fri, 29 Aug 2014 06:34:49 +0000 Group Show - Kasher|Potamkin - September 6th - November 1st <div class="left"> <p style="text-align: left;">Kasher|Potamkin opens to the public with the inaugural exhibition Intangible Beauty: Beautiful Women and the Endless Void. This installation is designed with reverence for the dream woman and features works from over forty emerging, mid-career, and established artists, many of whom are female.</p> <p style="text-align: left;">A collaboration between Steven Kasher and Andi Potamkin, the new boutique-meets-gallery situates art in an intimate, home-like environment, exhibiting contemporary works of photography, sculpture, ceramics, furniture, jewelry, painting, and objects d&rsquo;art. Adjacent to the newly relocated Steven Kasher Gallery, Kasher|Potamkin boasts direct views of the High Line and presents an accessible shopping experience through thematic and seasonal group shows, rotating every two months. Visitors can purchase art off the wall and take it home that day.</p> <p style="text-align: left;">Intangible Beauty explores the intrigue of Woman through a dialectic of remoteness and closeness. Glamour requires distance: the possibility of the ideal that leaves us room to dream. But in order to create desire, the images must ignite a spark of familiarity. In Vee Speers&rsquo;s Bordello #21 a corseted woman pulls on her glove and there is a stillness in the potential of the moment before she looks up at the viewer. Perhaps she smiles and giggles or perhaps she is far beyond such girlish flirtation. That is the aching void that the viewer chooses how to fill. This distance allows her to be seductive without being grotesque, innocent without being righteous. The woman in Marianna Rothen&rsquo;s Blondie series recognizes the viewer, playing and flirting between shadows in a fleeting moment that will last for always.</p> <p style="text-align: left;">The themes of the show are manifested by sculptors Sergei Isupov, Biata Roytburd, Jessica Harrison, Jessica Janoski, the Haas Brothers, and others. Biata Roytburd&rsquo;s delicate ceramics marry the female body with an erotic floral motif. Sergei Isupov moves between two-dimensionality and three-dimensionality, combining intricate sculpture with complex painted stories about desire. Jessica Harrison&rsquo;s macabre ceramic figurine, Clara, literally gives us her heart. Atsushi Tawa&rsquo;s sculptures embody attraction/repulsion with the perfect pink mannequin body and the piercing quartz face.</p> </div> <div class="right"> <p style="text-align: left;">This is what the fantasy woman offers us: the continual renewal of unfulfilled desire. They are wholly devoted to their lovers and entirely free. Lina Viktor&rsquo;s painted self portrait, Royal, covered in 24-karat gold leaf has two splashes of red: the sharp gloss nails and her soft matte lips. Though the entire world would love her, she belongs only to you. Though she is strong and independent, she is yours and yours alone.</p> <p style="text-align: left;">This show is an homage to the dream woman: her power, her mystery, and her allure. It is in exploration of what she teaches us about ourselves, and the beautiful endless void which we fill with our own desires.</p> </div> Fri, 29 Aug 2014 22:34:30 +0000 Rob Pruitt - Gavin Brown's Enterprise - September 13th - October 25th Fri, 29 Aug 2014 05:35:58 +0000 - Hunterdon Art Museum - September 27th - January 4th, 2015 <p>Discover the amazing talents of the members of the Hunterdon Art Museum in this annual exhibition.</p> Fri, 29 Aug 2014 05:28:04 +0000 Warren Muller - Hunterdon Art Museum - September 27th - November 9th <p>For more than 30 years&nbsp;<strong>Warren Muller</strong>&nbsp;has literally seen the light in the most mundane and ordinary objects imaginable. Muller uses luminescence as his guide, suspending bottles, perfume containers, old hay baling equipment, hubcaps, bowling pins, toy cars, deer antlers, porcelain figurines, candy dishes, metal lunch boxes, bikes, traffic light lenses, and even a retro mini cooper car to create sublime sculptures of light.&nbsp;Muller&rsquo;s work gives spirit and new vision to things we take for granted, things we left behind, things our children outgrew, things our mother left us, and makes us see them in a new light. Stirring nostalgia and passion, Muller&rsquo;s work isn&rsquo;t just about bringing light to a room, it&rsquo;s about invoking the light within it.&nbsp;</p> Fri, 29 Aug 2014 05:26:48 +0000 Giovanna Cecchetti - Hunterdon Art Museum - September 27th - January 4th, 2015 <p><strong>Giovanna Cecchetti&rsquo;s</strong>&nbsp;work emerges from her deep personal spirituality and study of other cultures and belief systems. &nbsp;Her large works are very detailed and invite viewers to spend time contemplating her work to appreciate its layered forms and technical mastery.&nbsp;</p> <p>Cecchetti was born in Suffern, New York. Cecchetti initially studied art at SUNY Rockland under Edgar and David Levy, whose influence brought her to NYC to study with Larry Rivers at Parsons School of Design in 1973. In 1995, Cecchetti relocated her studio into one of the old silk mills in Paterson, New Jersey. She received an MFA from William Paterson University where she presently teaches as an adjunct professor.</p> Fri, 29 Aug 2014 05:24:19 +0000 Sergei Isupov, Jason Walker, Judy Fox, Roxanne Jackson, Red Weldon Sandlin, Rhonda Chan - Hunterdon Art Museum - September 27th - January 4th, 2015 <p>Discover themany fascinating and fresh ways real and imaginary animals are depicted by artists when <em>A Clay Bestiary</em> opens at the Hunterdon Art Museum.</p> <p>The exhibitionruns from Sept. 27 to Jan. 4, 2015, with an opening reception on Sunday, Sept. 28, from 2 to 4 p.m.About 15 artists will display their work, and Garth Johnson will speak at the opening reception.</p> <p>The exhibition features artists from several countries including Canada, the United States and South Korea. Ithighlights the work of such renowned artists as Sergei Isupov, Jason Walker and Red Weldon Sandlin, as well as others who are emerging to the forefront in technical mastery, and offering fresh, creative approaches to representing the world of creatures through clay.</p> <p>Some of the works included in this exhibition are a response to the human tendency to anthropomorphize animals, while other pieces present witty interpretations of familiar creatures, said Hildreth York, who is curating this exhibition with Ingrid Renard. They have co-curated several past Museum exhibitions offering a unique point of view to contemporary trends.</p> <p>&ldquo;I don't think most people have any idea of how variable and unusual works about the animal world can be,&rdquo; York said. &ldquo;The works chosen are not 'literal&rsquo; representations or depictions of animals, but artists' concepts and interpretations.&nbsp; Some are more representational than others, some are humorous and/or ironic, some are surreal, some are whimsical and some are mini-installations.&rdquo;</p> <p>York notes the irony and humor in such works as Rhonda Chan&rsquo;s <em>Argyle</em>, which depicts a masked and gun-toting argyle rodent. Meanwhile, surreal fantasy takes center stage with Roxanne Jackson&rsquo;s <em>Sexy Beast</em>. This work &ndash; created with ceramic, marbled paper, candles, gold luster and leaf, nail polish and pearl gems &ndash; presents a struggle of two highly patterned creatures, one an octopus with flowered tentacles.</p> <p>The exhibition&rsquo;s title is particularly apt given the breadth of animals represented: &ldquo;Bestiary&rdquo; is defined as an allegorical or moralizing work on the appearance and habits of real or imaginary animals.&nbsp;</p> <p>Included in this exhibition is <em>Strong</em>, which is part of Isupov&rsquo;s <em>Humanimals</em> series. <em>Strong</em> stands about 14 inches high, and wears bloomers and a cape and a very determined look on his face. This work and others, including Walker&rsquo;s complex sculptures and Judy Fox&rsquo;s other-worldly sea creatures, continue to amaze viewers, York said.&nbsp;</p> <p>&ldquo;The artists in <em>A Clay Bestiary</em> stretch the traditions of ceramic animal imagery far beyond the usual conventions,&rdquo; York said. &ldquo;The capacity of clay to be medium, form, surface and finished object allows an infinite number of possibilities.&rdquo;</p> Fri, 29 Aug 2014 05:20:17 +0000 Shamus Clisset - Postmasters - September 6th - October 11th <p><em><strong>Postmasters Gallery is pleased to announce our first exhibition with New York-based artist Shamus Clisset. The show will present a group of large-scale, 3D rendered images</strong></em><em>&mdash;<strong>an alternative reality of totems and tableaux. While generated through digital means, Clisset&rsquo;s characters and still lifes transform the familiar, analog world into glistening hyperreality, where high resolution reflects high intensity.</strong></em></p> <p align="center">***</p> <p>Paraphrasing the science fiction writer Arthur C. Clarke, magic is science we don&rsquo;t yet understand. With this dictum, Clarke suggests that what is imaginable but also inconceivable is most magical of all. Even when a hypothesis becomes reality, it retains its mysticism, its underlying principles beyond the grasp of nearly everyone but its originator. &nbsp;<br /> &nbsp;<br /> Clarke&rsquo;s formulation of the scientific is found in the work of Shamus Clisset. Pairing 3D modeling software with ray tracing, Clisset constructs and documents landscapes, creatures, objects, and scenarios&mdash;an alternative reality&mdash;inhabited by his creations, including his alter-ego of sorts, Fake Shamus. This world is magical, in both its appearance and when considering the tools that enable its existence. We are confronted with a world that is both hyperrealistic and unrecognizable. There are familiar and unfamiliar forms; yet, what is most uncanny is the rendering and positioning of what we think we know best.<br /> &nbsp;<br /> In the wake of misunderstanding, we use words and images we are familiar with to explain the inexplicable. (For example, how can physical referents continue to describe and depict digital entities?) Clisset&rsquo;s mystifying scenarios probe viewers to reconsider reality rather than accept it point-blank. Glistening surfaces of Lamborghini&rsquo;s and football helmets; floating knives, baseball bats, golf clubs, and metallic spheres; disintegrating forms frozen in motion &mdash; all of these suggest a world mediated by technology, controlled by commands and software, set into play by a power greater than itself. Surely, this is part of the fun for Clisset, and comes across in his tongue-in-cheek humor: irreverence in light of absurdity. Creating this alternative-reality is not about yielding power, because this reality exists autonomously. It is Clisset&rsquo;s inclination to use tools that are beyond ordinary comprehension to elucidate the complexity of our lived and imagined environments.&nbsp;<br /> <br /> Clisset&rsquo;s work, while seemingly similar to photography and digital art, is antithetical to these practices, both technologically and conceptually. Capturing 3D modeled objects through ray tracing entails simulating rays of light&nbsp;traveling through every pixel of the image, averaging the angles of the light source:&nbsp;a virtual equivalent of photography, recording space and objects according to refracted light.&nbsp;However, this is a virtual world, documented via virtual technologies. Printing these images using the most widely practiced contemporary photographic process, digital C-Type printing, Clisset underscores the perplexing contradictions that arise through his work.&nbsp;<br /> <br /> Clisset is not a photographer, but this does not mean he is a digital artist either. Many digital artists employ aesthetics that are tied to a specific software or the (in)capabilities of a given program. Such instances are largely reliant on responses to commands and glitches, producing work that points to systematic flaws. Although glitch aesthetics are emblematic of contemporaneity and also reveal the underpinnings of a given (software) system, these efforts invariably communicate the same concept. Distinct from this methodology, Clisset uses software and technologies for their capabilities as tools, rather than merely pointing to their flaws, demonstrating that the output is only as strong as the input.<br /> <br /> And then there is speed. With both photography and digitally-based practices, speed is implicit, if not imperative, in many processes. Speed is almost always associated with technology: new tools enable us to make faster, move faster, live faster. Again, Clisset&rsquo;s work stands apart from technologically-based modes of making, as there is so much information in one single image that it often takes weeks to render. Thus, Clisset could be considered an image-maker, alluding to a more painterly practice, and also borrowing from the vocabulary of sculpture as he models and arranges objects into carefully constructed compositions. &nbsp;<br /> <br /> Because of technologies&rsquo; utilitarian nature, its magical qualities are quick to fade. The most recent example that comes to mind is the internet. When texts on post-internet art emerged, many contemporary artists and writers delineated some break in internet-based practices following this logic: there was a time when things were exciting and the internet was a novelty; now it is expected and burdensome. Even if this were true, the internet simply being a fact of life doesn&rsquo;t mean we understand it, let alone use it to its full potential. And so, magic is actually all around us &ndash; it is &ldquo;literally in the air,&rdquo; to quote Mark Leckey&rsquo;s recent discussion with Lauren Cornell. Referencing Erik Davis&rsquo; <em>Techgnosis</em>, Leckey notes that &ldquo;the more computed our environment becomes, the further back it returns us to our primitive past, boomerangs us right back to an animistic world view where everything has a spirit&hellip;So all the objects in the world become more responsive.&rdquo; And this &ldquo;network of things&hellip;creates this enchanted landscape.&rdquo;&nbsp;Clisset virtually actualizes this sentiment, conjuring a world in which the incomprehensibility of our lived experience is made visible.<br /> &nbsp;</p> <p align="right">- Kerry Doran, New York, August&nbsp;2014</p> Fri, 29 Aug 2014 05:10:02 +0000 Daria Irincheeva - Postmasters - September 6th - October 11th <p>Each day begins optimistically in the morning: new ideas, big plans, trying things out, building things. Then questions come: doubts, changes, darkness, maybe some despair. The night may bring a nightmare or two. But then another morning inevitably arrives. The never-ending rhythmic cycle of trying and survival goes on.&nbsp;<br /> &nbsp;<br /> <em><strong>Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better.</strong></em><br /> Samuel Beckett (Worstward Ho, 1983)<br /> &nbsp;<br /> Daria Irincheeva was born in 1987 in Leningrad (St. Petersburg) growing up in a post-Soviet Russia, a state of socio-economic dysfunction, instability, and disillusionment. She takes reflections on these times as a point of departure, as a method of thinking through failure. For Irincheeva, the topics of crash, collapse and the fragility of large complex systems are beautiful, loaded concepts, evidence of the cyclical nature of human history and personal experience.&nbsp;<br /> &nbsp;<br /> Irincheeva&rsquo;s first solo exhibition at Postmasters of rough, &nbsp;precarious constructions weaves painting, sculpture and installation together. They imply impermanence, flux, entropy, change, adaptation. Just like daytime building and nighttime collapse, failure leads to reconstruction, transformation, and ultimately hope. Formally precise balancing acts, casually put-together with few gestures, Irincheeva&rsquo;s structures project strength in fragility. Seemingly at the edge of yet another transformation, they appear to withstand destruction like a tree leaning to the wind or a skyscraper that sways in the hurricane yet is left standing.&nbsp;<br /> &nbsp;<br /> A true builder, Irincheeva works with common construction materials: bricks, wood, paint chips, linoleum samples, cement and construction paper. Sometimes an air plant will make an appearance. Through her transformative process, her compositions elevate tough, unremarkable elements into poignant, poetic arrangements. Absurdity and unexpected humor enters and the thin Beckettian line between tragedy and comedy is crossed. &nbsp;<br /> Failing better is the new black.</p> Fri, 29 Aug 2014 05:05:40 +0000 Adam Handler - Fred Torres Gallery - September 4th - October 18th <p>Reminiscent of Basquiat's use of strong organic scribbles, vibrant colors, and iconography, Handler carves his own path with his contemporary faux-na&iuml;f style, distilling people and animals to their core.&nbsp;<br /><br />From his joyous, eye-popping large canvases to smaller monochromatic works, Handler reaches an emotional universality through his exploration of images associated with childhood.</p> <p>Adam D. Handler, (1986) was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the art grew and it became inevitable that he too would discover the many possibilities of art. As a college student, Handler studied Life Drawing in Italy and went on to graduate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Mesa-Pelly. Handler set up his studio in Long Island City, NY; Handler was attracted to its industrial ambience. Handler has exhibited his work in New York City, Greenwich CT, Canada, and Texas. Adam has no plans of slowing down and continues to create new series of works, which include sculpture, painting and drawing</p> Fri, 29 Aug 2014 04:54:52 +0000 Markus Linnenbrink - Ameringer | McEnery | Yohe - September 4th - October 4th Fri, 29 Aug 2014 04:46:09 +0000 Mark di Suvero - Paula Cooper Gallery - 534 W. 21st Street - September 6th - October 22nd <p>The Paula Cooper Gallery is pleased to present Mark di Suvero&rsquo;s new powerful sculpture,&nbsp;<em>Luney Breakout</em>. Several of the artist&rsquo;s large, joyously colorful paintings will be shown with the sculptures. The exhibit will be on view at 534 West 21st Street from September 6 through October 22, 2014.</p> <p><em>Luney Breakout</em>is an expansive 22-foot sculpture composed entirely of weathered, rusting steel. Hard-edged I-beams support curls of torqued metal that unfurl into horizontal space. The artist seamlessly reconciles industrial metal and acute angles with gravity-defying lightness and delicate curves, creating a work at once majestic and playful, indestructible and weatherworn.<em>Luney Breakout</em>&nbsp;marks the artist&rsquo;s enduring preeminence in abstract sculpture over his fifty-year career.</p> <p>Mark di Suvero&rsquo;s first retrospective was in 1975 at the Whitney Museum of American Art. In addition to many museum shows, di Suvero has had acclaimed international exhibitions in Nice (1991), Venice (1995, on the occasion of the 46th Venice Biennale) and Paris (1997). In 2011, eleven monumental works were installed on Governor&rsquo;s Island in New York Harbor, the largest outdoor exhibition of work in New York since the 1970s. That same year di Suvero received the National Medal of Arts, the nation&rsquo;s highest honor given to artists. From May 2013-2014, SFMOMA presented eight monumental sculptures in the city&rsquo;s historic Crissy Field for a yearlong outdoor exhibition.</p> <p>A number of di Suvero sculptures are permanently installed at the Storm King Art Center, Mountainville, New York, a sculpture park that has also organized important exhibitions of the artist&rsquo;s work in 1985, 1995-96, 2005-6 and 2008. Di Suvero lives and works in New York.</p> Fri, 29 Aug 2014 04:37:03 +0000