ArtSlant - Recently added en-us 40 Clintel Steed - Steven Harvey Fine Art Projects - September 7th - October 9th <p>Steven Harvey Fine Art Projects is pleased to announce a solo exhibition of paintings by Clintel Steed. Steed (b. 1977, Salt Lake City, Utah) lives and works in New York City.&nbsp;&nbsp;</p> <p>&nbsp;The exhibition includes portraits, cityscapes, &ldquo;transcriptions&rdquo; of old master paintings, and paintings drawn from popular culture imagery. The source imagery comes from observation, from photography and news sources, and from a bifurcated tablet screen (two seemingly unrelated images side by side).</p> <p>&nbsp;Specifically, his recent work includes paintings of a curved skyscraper in Beijing, a skyline seen from Bushwick, homages to two paintings by Peter Paul Rubens: &ldquo;Fall of the Damned&rdquo; (c. 1620), and &ldquo;Diana Returning from the Hunt&rdquo; (c. 1615); two portraits of a friend, paintings of Antman and &ldquo;American Pharoah&rdquo; &ndash; the Triple Crown winning racehorse.</p> <p>&nbsp;Steed&rsquo;s work displays an explosive fracturing of forms, a relentless, in-your-face energy, a pulsating, restless organization of form, and a raw paint handling.&nbsp; His colors can be atonal and very contemporary &ndash; especially the hot pink accents that suggest acrylic and popular imagery.&nbsp; They have a milky, gritty facture suggesting pollution and smog hanging over our world, both literally and metaphorically.&nbsp; At the same time, Steed can be lyrical, as his marks traces the running of a horse, and the humanity and sensitive line with which he articulates the shape of a head and facial features.</p> <p>&nbsp;Steed has said that his work is &ldquo;about the explosion of an image and the impact that it makes&hellip; I use images of war and disaster, politics and gossip.&nbsp; I paint about the feeling of being swallowed up, the feeling that in order to have power, you need to have money.&rdquo; He made a series of paintings about the destruction from the 2011 tsunami in Japan, and recent work used news images from the Baltimore riots.</p> <p>&nbsp;Steed&rsquo;s paintings are often complex bundles of energy, which is probably what connects him to a painter like Rubens.&nbsp; This is also why he makes electronic images (tablet screens, computer screens) a subject matter.&nbsp; He has painted aerial city views, with tight networks of skyscrapers and highways. He reflects on the nature of contemporary life, the constant interruptions and the flooding of our image banks.&nbsp; At the same time, his work reads as a manifesto on the primacy of human contact, touch, physical materiality, and the importance of love and the nuclear family. (In other work, he has depicted his pregnant partner, his young child, and himself with his partner and daughter.)</p> <p>&nbsp;Steed received his BFA from the Art Institute of Chicago in 1999 and his MFA from Indiana University.&nbsp; He also did advanced studies at the New York Studio School, working closely with Graham Nickson.&nbsp; He was part of a two-person exhibition, with painter Todd Bienvenu, at SHFAP in 2015.&nbsp; His work was included in recent group exhibitions at Regina Rex Gallery and Life on Mars Gallery. He was included in the 2015 American Academy of Arts and Letters Invitational Exhibition, and won their John Koch Award.&nbsp; He recently curated an ambitious exhibition of contemporary figurative painting, &ldquo;Human Mysteries&rdquo; (June-July 2016), at the Temporary Storage Gallery of Brooklyn Fire Proof, a creative spaces company in Brooklyn.&nbsp; This is SHFAP&rsquo;s first one-person show with Steed.</p> <p>Please contact the gallery at <a href="" rel="nofollow"></a> or 917-861-7312 for further information or images.</p> <p><sub>&nbsp;</sub></p> Tue, 30 Aug 2016 19:24:36 +0000 Hamish Fulton - Josee Bienvenu Gallery - September 8th - October 12th <p style="margin: 0px 0px 20px; padding: 0px; font-family: Helvetica,Arial,sans-serif; line-height: 16px; clear: both; letter-spacing: normal; text-align: justify;">Jos&eacute;e Bienvenu is pleased to present&nbsp;<em>WALKING ARTIST</em>, Hamish Fulton&rsquo;s first exhibition with the gallery and his first solo show in New York in over a decade. While his drawings, sculpture diagrams, murals, and photographs have led to him be considered a practitioner of Land Art, Fulton considers himself instead as a &ldquo;walking artist.&rdquo; Through representations of walking itself, nature is neither conceived as a subliminal &ldquo;other&rdquo; existing to be conquered nor as an anthropocentric landscape, nature exists rather to be lived, endured, and left to thrive. In our own lives, Fulton&rsquo;s journeying through wilderness points to a palpable lack of adventure, unmediated experiences, and connectedness to nature.</p> <p style="margin: 0px 0px 20px; padding: 0px; font-family: Helvetica,Arial,sans-serif; line-height: 16px; clear: both; letter-spacing: normal; text-align: justify;">In 1973, after walking over 1,000 miles in 47 days from Duncansby Head, Scotland to Land&rsquo;s End, England, Fulton made the decision to &ldquo;only make art resulting from the experience of individual walks.&rdquo; Purposefully made of humble materials like paper, wooden rulers, and photographs, his recreations align with the belief that these walks should directly engage with the environment yet leave no traces upon it. Calls for political justice also recur in Fulton&rsquo;s work, corresponding to his commitment to individual and artistic freedom.</p> <p style="margin: 0px 0px 20px; padding: 0px; font-family: Helvetica,Arial,sans-serif; line-height: 16px; clear: both; letter-spacing: normal; text-align: justify;">In this exhibition, Fulton presents a body of work that exemplifies his ongoing commitment to art as a quiet protest against the alienation of people from the natural world. Included are two large scale vinyl works: the first refers to a guided and sherpa assisted climb of Mount Everest using bottled oxygen in 2009, the latter describes a pilgrim circuit of the Barkhor Kora and the Jokhang Temple in Tibet. These bold textual works attest to Fulton&rsquo;s passion for typography in tandem with his ongoing commitment as a walking artist. Several watercolors are included, evoking walking journeys from Switzerland to Bolivia. Unique black and white gelatin silver prints portray journeys through the Pyrenees from the Atlantic Ocean to the Mediterranean Sea. In the project space, there will be a selection of vintage photographs and small sculptures. For the past 20 years Fulton has devised many group walks, with more than 30 realized transnationally.</p> <p style="margin: 0px 0px 20px; padding: 0px; font-family: Helvetica,Arial,sans-serif; line-height: 16px; clear: both; letter-spacing: normal; text-align: justify;">Born in 1946 in London, Hamish Fulton lives and works near Canterbury, UK. Fulton studied at the St. Martin&rsquo;s School of Art, London and the Royal College of Art, London. Select solo exhibitions include Turner Contemporary, Margate, UK (2011); Museo Transfrontaliero del Monte Bianco, Courmayeur, IT (2010); Museo Extreme&ntilde;o e Iberoamericano de Arte Contempor&aacute;neo, Badajoz, ES (2009); Center for Contemporary Art, Kitakyshu, JP, and Museum of Modern Art, NY (2006); Museum for Modern and Contemporary Art, Bolzano, IT,&nbsp; and Museion Bolzano, Bozen, IT (2005); Haus Konstruktiv, Zuric, CH (2004); and Tate Britain, London (2002). Select group exhibitions include Ends of the Earth, MOCA, Los Angeles, CA which traveled to the Haus der Kunst, Munich, DE (2012) and the Royal Academy of Arts, London (2011).</p> <p style="margin: 0px 0px 20px; padding: 0px; font-family: Helvetica,Arial,sans-serif; line-height: 16px; clear: both; letter-spacing: normal; text-align: justify;">Selected public collections include: Tate Gallery, London; Museum of Modern Art, New York; Brooklyn Museum, New York; Solomon R. Guggenheim Museum, New York; Princeton Art Gallery, NJ; Philadelphia Museum of Art, PA; Los Angeles County Museum, CA; Museum of Contemporary Art, San Diego, CA; Eastman House, Rochester, NY; National Gallery of Canada, Ottawa; Metropolitan Museum, Tokyo, JP; National Museum, Osaka, JP; Victoria and Albert Museum, London; Biblioteque National, Paris; IVAM, Valencia, ES; Australian National Gallery, Canberra; Stedelijk Museum, Amsterdam, NL; Stedelijk Van Abbemuseum, Eindhoven, NL; Art Gallery of Ontario, Toronto, CA; National Gallery of Scotland, Edinburgh, UK; British Council, London; Kunstmuseum, Basel, CH; Centro Cultural Arte Contemporaneo, Mexico City, MX; Centre d&rsquo;Art Contemporain, Geneva, CH; Musee de Grenoble, FR; Musee St. Pierre, Lyon, FR; FRAC, Rennes, FR; National Gallery of Iceland, Reykjav&iacute;k; Museum of Modern Art, Wakayama, JP; Museum Moderner Kunst, Vienna, AT; University of Lethbridge, CA.</p> Tue, 30 Aug 2016 18:41:38 +0000 - Hunterdon Art Museum - September 25th - January 8th, 2017 <p>Discover the talents of the Museum&rsquo;s artist members.</p> Tue, 30 Aug 2016 18:37:49 +0000 Kreh Mellick - Hunterdon Art Museum - September 25th - November 13th <p style="text-align: justify;">Artist Kreh Mellick&rsquo;s work is influenced by a variety of sources from her family&rsquo;s passion for collecting antiques to her great-grandmother&rsquo;s sketch books and by Pennsylvania Dutch folklore.&nbsp; But perhaps nothing is more surprising than the inspiration she felt after picking up an old book of machine drawings.</p> <p style="text-align: justify;">The diagrams of the machines were in black and red ink. The black represented the non-moving machine while the red showed the moving parts.</p> <p style="text-align: justify;">&ldquo;I can&rsquo;t recall the moment or even the particular image I was looking at, but I had this sense of the black being the real &ndash; the constant &ndash; and the red being the unreal or ever-changing,&rdquo; Mellick said. &ldquo;From that I started making these drawing with these two colors, and I was thinking of the image of the real world versus the spirit world and ghosts, and the relationship between those two things.&rdquo;</p> <p style="text-align: justify;">Her solo exhibition, <em>Kreh Mellick: All the Woodsy Things</em>, premieres Sunday, Sept. 25. A reception, celebrating the show&rsquo;s opening, will be held from 2 to 4 p.m. and will feature a talk by the former Oldwick resident. All are welcome, and refreshments will be served.</p> <p style="text-align: justify;">Mellick usually works with gouache on paper, often times cutting and layering the paper. Her figures are often ghost-like with decorative motifs and light, airy landscapes. Her works are often narratives inspired by folklore, nostalgia and a time passed.</p> <p style="text-align: justify;">&ldquo;I want to be able to relate some kind of story that is vague or invites the viewer to say &lsquo;Oh, maybe this is happening&rsquo;, &ldquo;Mellick said. &ldquo;I like that there&rsquo;s some kind of mystery involved.&rdquo;</p> <p style="text-align: justify;">Mellick&rsquo;s studio is located in an old panty hose factory near the Penland School of Crafts where she was in the core fellowship program and met her husband, artist Andrew Hayes, who also has a solo show at the Museum opening simultaneously.</p> <p style="text-align: justify;">Mellick&rsquo;s work is also inspired by antiques collected by her family and her grandmother&rsquo;s sketch books.</p> <p style="text-align: justify;">A lot of the time I just sit down and start drawing and sometimes an idea comes to me,&rdquo; she said. &ldquo;For a while I&rsquo;ve been using these decorative motifs to fill the paper and that came from being surrounded by the kind of imagery of antiques that we&rsquo;ve had in the house. My great- grandmother did these paintings on furniture and as reverse-glass painting. I would use images from her sketchbooks and embellish upon them. That is where some of these decorative motifs come from. So, I&rsquo;m just in the studio working, working, working until something clicks into place.&rdquo;</p> <p style="text-align: justify;"><em>All the Woodsy Things</em> runs until Nov. 13.</p> Tue, 30 Aug 2016 18:36:18 +0000 Andrew Hayes - Hunterdon Art Museum - September 25th - November 13th <p style="text-align: justify;">Andrew Hayes may not judge a book by its cover, but he does judge it by the edges of its pages.</p> <p style="text-align: justify;">The artist prowls old book stores and antique shops searching for the perfect volumes for his work: Creating sculptures by marrying the rigid qualities of steel to the delicacy of book pages. Hayes gravitates toward older books with gold leaf or red on their edges.</p> <p style="text-align: justify;">&ldquo;I don&rsquo;t respond so much to the title or what&rsquo;s in the book so much as the form or something that&rsquo;s present visually,&rdquo; Hayes said.</p> <p style="text-align: justify;">Hayes&rsquo;s sculptures will be featured at the Hunterdon Art Museum in a solo exhibition, <em>Andrew Hayes: Paper and Steel,</em> which runs from Sept. 25 to Nov. 13. The show&rsquo;s opening reception is Sunday, Sept. 25 from 2 to 4 p.m. and will feature an artist&rsquo;s talk and demonstration. The event is open to everyone.</p> <p style="text-align: justify;">Hayes&rsquo;s love of books and past professional experience as a welder informs his work. He uses steel to reshape the book&rsquo;s pages creating a unique sculpture. &ldquo;I take my sensory appreciation for the book as a material and employ the use of metal to create a new form, and hopefully a new story.&rdquo;</p> <p style="text-align: justify;">To separate the book&rsquo;s pages from its spine, he uses an ominous-sounding tool: an antique guillotine.</p> <p style="text-align: justify;">Book-cutting guillotines are disappearing across the country because they are becoming obsolete. &nbsp;Hayes found his cast-iron guillotine, which dates back to about 1915, in a print shop at Clemson University. The artist can place an entire book in the guillotine and securely lock it to get a crisp, clean cut. He then starts playing with the pages to see how they work and how the steel might fit.</p> <p style="text-align: justify;">&ldquo;The process is organic,&rdquo; Hayes said. &ldquo;I want to find a balance between the paper and the steel, and not allow one to overpower the other, although sometimes you do want the paper to steal the show because you want to honor it.&rdquo;</p> <p style="text-align: justify;">Hayes grew up in Tucson, Arizona and studied sculpture at Northern Arizona University. He received a Core Fellowship at Penland School of Crafts in North Carolina. While there, he met his wife, Kreh Mellick, an Oldwick, New Jersey native and artist who will have her own solo show running concurrently at the Museum.</p> <p style="text-align: justify;">Because of the nature of his work, Hayes&rsquo;s art studio looks as if someone opened a metal shop in the middle of a library. Visitors are often attracted to the rows of shelved books. The longing to touch the books &ndash; hold them &ndash; seems instinctual.</p> <p style="text-align: justify;">&ldquo;We have a relationship with books, with the way they feel and smell,&rdquo; Hayes said. &ldquo;They were made to be held. I think that&rsquo;s what draws me to some of the older books because you can see that they&rsquo;ve been handled. There&rsquo;s a little extra history there; maybe the book&rsquo;s a little beat up or there&rsquo;s a spill on the side creating a nice surface.&rdquo;</p> <p style="text-align: justify;">Hayes notes that he only cuts old books that were massed produced &ndash; &ldquo;there&rsquo;s no sinister intent,&rdquo; he stresses. Sometimes, he will find something too beautiful or perfect to alter in any way.</p> <p style="text-align: justify;">&ldquo;My favorite find was an old Webster&rsquo;s Dictionary that has these really beautiful marble edges and finger tabs,&rdquo; he said. &ldquo;I like it so much because it&rsquo;s just so beautiful. I keep it on my desk. I just couldn&rsquo;t cut it.&rdquo;</p> Tue, 30 Aug 2016 18:36:13 +0000 Heather Ujiie - Hunterdon Art Museum - September 25th - January 8th, 2017 <p style="text-align: justify;">Ujiie&rsquo;s large-scale digital prints present a unique blending of the classical and contemporary. Her solo exhibition, titled <em>Heather Ujiie: Fairytales, Monsters and Hybrid Creatures,</em>runs from Sept. 25 until Jan. 8, 2017. The show&rsquo;s opening reception will be celebrated on Sunday, Sept. 25 from 2 to 4 p.m., and will feature an artist&rsquo;s talk that everyone is invited to attend.</p> <p style="text-align: justify;">&ldquo;Many of the pieces in this exhibition were inspired from a kind of &lsquo;data&rsquo; mashing of both western and eastern world history and religion,&rdquo; Ujiie said. &ldquo;This past year, I have been fascinated by the northern Renaissance Christian painting by Hieronymus Bosch&rsquo;s: <em>The Garden of Earthly Delights</em>, as well as Persian and Indian miniature paintings, some of which depict polymorphic gods and demons.&rdquo;</p> <p style="text-align: justify;">Ujiie&rsquo;s textile work is a synthesis of several methods of artistry, including hand painting, drawing, stitching, and printing with innovative large-format digital printing.</p> <p style="text-align: justify;">&ldquo;I love the visceral quality of paint and material investigations, but I also love technology,&rdquo; she said. &ldquo;Digital printing, laser cutting and smart textiles are all tools that interest me in creating more innovative work.&rdquo;</p> <p style="text-align: justify;">Conversely, Ujiie said she enjoys sitting in her studio painting with gouache, a heavy, opaque watercolor paint, which produces a less wet-appearing and more strongly colored picture than ordinary watercolor.</p> <p style="text-align: justify;">&ldquo;Combining the two methods of working &mdash; scanning my hand painted pieces, and then digitally manipulating and printing them on different substrates &mdash; is very gratifying,&rdquo; Ujiie said.</p> <p style="text-align: justify;">Ujiie&rsquo;s fascination with the intersection of art and design impelled her to create a one-of-a-kind garment &ndash; or perhaps, persona &ndash; made almost entirely from paper. She said she wanted to &ldquo;reference the temporality of our existence in the world, but also to make something beautiful, and almost functional, out of a non-traditional material.</p> <p style="text-align: justify;">&ldquo;Thematically, I am also interested in mythic tales of female heroines, who represent both the male and the female in terms of empowerment, beauty and seduction. I wanted this piece to conjure up current notions of what it is to be female, and also suggest a kind of fairytale like creature in an enchanted all white forest,&rdquo; Ujiie added.</p> <p style="text-align: justify;">Additionally, Ujiie will lead two programs at HAM this fall. Mask Making with Heather Ujiie will run on Sunday, Oct. 16 from 1 to 4 p.m. for children ages 6 and up with an adult; and Ujiie will offer a lecture and guided tour for adults on Sunday, Nov. 13 at 2 p.m. For more information, please visit <a href=""></a>.</p> <p style="text-align: justify;">Ujiie is a full-time Interdisciplinary Assistant professor at Moore College of Art &amp; Design Art &amp; Design in Philadelphia, where she teaches across several disciplines including textile design.&nbsp;Besides appearing previously at HAM, her work has been exhibited at the Racine Art Museum and the prestigious Wind Challenge Award Exhibition at the Samuel S. Fleisher Art Memorial Museum. Her commercial printed textile designs have had numerous clients including The White House private residences for former President George W. and Laura Bush.</p> <p style="text-align: justify;">Three years ago, Ujiie&rsquo;s work was featured in &ldquo;Nature&rsquo;s Mark: Printing on Fiber,&rdquo; an exhibition highlighting the work of seven artists.</p> <p style="text-align: justify;">She hopes this exhibition will pose questions about the nature of our identity in the world, and offer views of &ldquo;a sacred space.&rdquo;</p> <p style="text-align: justify;">&ldquo;Since my work is a fusion of both art and design, I want my viewer to see the potential of a well-designed object or artifact, and realize it can question notions about the body, our environment, and place,&rdquo; Ujiie said.</p> Tue, 30 Aug 2016 18:31:44 +0000 Dionisio Gonzalez - Galerie Richard - August 31st - October 9th <p style="text-align: justify;">Galerie Richard presents Spanish artist Dionisio Gonz&aacute;lez&rsquo;s fourth solo exhibition in New York entitled The Dauphin Island Series - Venice Series from August 31st to October 9th. The exhibition will be composed of six photographs of Dauphin Island Series in 2011 and six photographs of the Venice Series (The Light Hours) in 2011. His digital photographs create spatial, sculptural and photographic explorations of space, architecture and urban development. His photos always request preliminary historical, sociological, political, economical research before making his first picture.<br /> <br /> By mixing the past, present and future he condenses our sense of time, which might be a way to express the speediness of change nowadays. Dionisio Gonz&aacute;lez works can also be considered as Utopia, which invite the viewer to deal with philosophical debates.<br /> <br /> Dionisio Gonz&aacute;lez will be present.</p> Tue, 30 Aug 2016 18:21:34 +0000 Sarah Walker - Pierogi - September 9th - October 9th <p>&ldquo;If a time machine moves through time, a space machine moves through space, but what kind of space? While such a vessel usually brings to mind rockets, satellites even UFOs, I use the interstellar image metaphorically for parallel objects and spaces &ndash; our inner ones.&rdquo; (Walker, 2016)</p> <p>Pierogi is pleased to present an exhibition of recent paintings by Sarah Walker. Through process-oriented abstract painting, Walker creates different states of spatial reality, moving through and across one another at varying densities and velocities. Some layers come to the fore while others recede; some submerge or don&rsquo;t conform yet all participate as if space and time were simultaneous. &ldquo;The inner world is the outer world, multiplicity is the rule rather than the exception and everything that ever existed continues in some form.&rdquo;</p> <p>Multiplicity is inherent in our neurology (as anyone who has taken a hallucinogen knows), but up until recently it took time to get from one thing to the next, one place to the next, one space to the next. Now, through the training wheels of digital technology, we can position parts of our attention in different places, spaces, and states simultaneously. This prepares us for an altogether different sort of experience, one where space and time behave as varying forms of connection and attachment.</p> <p>Walker continues to develop her process of working with highly liquid paint on a flat surface, allowing pooled paint to dry, wiping or scouring away excess, adding more paint, in some areas encouraging reticulation to occur; the only fast rule being to leave some part of each sub-layer visible, creating dynamic shifts between foreground and background. &ldquo;When I make paintings I make them where all the decisions remain visible. Seemingly separate lines of development continue passing through one another even lending their structure to each other and these influences remain visually available over time. This means in essence that what was alive, is alive now, and will always be alive &ndash; because it is visually available.&rdquo;</p> <p>&ldquo;Ironically although access to information is practically instantaneous, looking at a painting takes time, the process of its making takes time &ndash; mine are very slow. The still and silent painting gradually absorbs the viewer&rsquo;s attention, which is always in motion. I love this about painting. My paintings, generated over time in multiple contradictory layers, hold open the space where everything is accessible but it is the viewers&rsquo; own habits of attachment that crystallize the painting, revealing something of their own inner diagram. I consider the paintings machines for this process.&rdquo;</p> <p>This will be Walker&rsquo;s fifth one-person exhibition at Pierogi. Her work has been included in numerous museum and gallery exhibitions and is included in the permanent collections of the Museum of Modern Art (NY, NY), Milwaukee Art Museum (Milwaukee, WI), DeCordova Museum (Lincoln, MA), Neuberger Museum (Purchase, NY), and Rappaport Foundation (Boston, MA). She is a recipient of the Joan Mitchell Prize and the Rappaport Prize.</p> Tue, 30 Aug 2016 18:17:17 +0000 David Hepher - Flowers Gallery NY - October 20th - December 10th <p style="text-align: justify;">An exhibition of major paintings by David Hepher, exploring&nbsp;suburban house-fronts and&nbsp;monumental tower-blocks and incorporating&nbsp;real architectural materials such as concrete&nbsp;and&nbsp;wallpaper.</p> Tue, 30 Aug 2016 18:14:17 +0000 Ishbel Myerscough - Flowers Gallery NY - September 8th - October 15th <div class="entry__body typeset"> <p style="text-align: justify;">Flowers Gallery is pleased to announce an exhibition of paintings by British artist Ishbel Myerscough, drawing together meticulously observed paintings of friends and family, self-portraits, and domestic still life&nbsp;arrangements.</p> <p style="text-align: justify;">Myerscough is known for her precisely rendered and frank portrayal of her subjects, which over the past three decades have included herself, her close friend and fellow artist Chantal Joffe, and their families. Curator Sarah Howgate has described Myerscough&rsquo;s paintings as demonstrating a &ldquo;clear, forensic vision&rdquo;, capturing her own reflection in the mirror with unflinching honesty.1 Within her painstaking attention to detail, Myerscough sees, as she puts it, &ldquo;the wider things reflected in even the smallest life you&nbsp;lead&rdquo;.</p> <p style="text-align: justify;">The present selection of paintings can be seen as containers for an intensely personal experience of womanhood, beginning with images of childhood and culminating with recent self-portraits, interspersed with grouped or paired figures that address the relationships between family, lovers and friends. Myerscough&rsquo;s particular inquiry of the nude has charted an evolving idea of self through the contemplation of form, evoking the longings and anxieties of female experience through discreet observations of physicality and&nbsp;gesture.</p> <p style="text-align: justify;">In several portraits of children, often viewed from the back, the level of scrutiny applied to each flyaway strand of hair and wrinkle of clothing suggests the intimacy of the maternal gaze, and yet there is also a sense that the subjects are resisting the&nbsp;discovery of their inaccessible, private worlds. In two paintings in which the back of the head is the focal point, <em>Plaits</em> and <em>French Plait</em>, the braids after which they are titled are unevenly woven, snaking haphazardly, with wisp-like tendrils unfurling as though making their escape from&nbsp;orderliness.</p> <p style="text-align: justify;">Hair in Myerscough&rsquo;s paintings can be seen to hold symbolic value, invoking the essence of the individual, or offering refuge and disguise. Often wayward and unruly, such as in the self-portrait <em>Long Hair</em>, the labyrinthine entanglements shield the self from others. This is taken further in another painting titled <em>Self Portrait</em>, in which the pelt-like shock of auburn hair, streaked with silver, is ungroomed and worn overly-long, almost entirely covering the face and body. Myerscough examines the intricate details of each strand with the same focused attention paid to the nuances of flesh tone or gestures of the body, as though following the thread of a story to unravel the personal&nbsp;narrative.</p> <p style="text-align: justify;">The recent painting <em>Untitled (hairbrush &amp; comb)</em>, in which residual knots and tangles of hair appear disengaged from the figure, draws associations with loss, anxiety, ill health and aging. This focus on shedding or casting off of bodily matter can be seen to be rooted in the traditions of abject art, addressing the relationship between the public and private presentation of the body. In other still life arrangements, a goldfish floundering on a plate, and a spider spinning its web hint at the traditions of memento mori on a domestic scale. Despite the typically sparse composition, Myerscough pays equally lavish consideration to the fading whorls of woodgrain on the tabletop, as to the metallic sheen of the goldfish&rsquo;s gills; similarly the shimmering light tracing the strands of a delicate web is balanced with the fibrous silhouette of the attendant spider, as though searching for meaning in the slightest of&nbsp;details.</p> </div> Tue, 30 Aug 2016 18:13:24 +0000 Lynda Benglis - Cheim & Read - September 8th - October 22nd <p style="text-align: justify;">Cheim &amp; Read is pleased to announce <em>Lynda Benglis: New Work</em>, an exhibition opening on September 8, 2016, and running through October 22. A catalogue will be available with an essay by Nancy Princenthal. This is Benglis&rsquo;s sixth exhibition with the gallery. </p> <p style="text-align: justify;">Since the 1960s, Lynda Benglis has been celebrated for the free, ecstatic forms she has poured, thrown and molded in ceramic, latex, polyurethane and bronze. In her new work she turns to handmade paper, which she wraps around a chicken wire armature, often painting the sand-toned surface in bright, metallic colors offset by strokes of deep, coal-based black. At other times she leaves the paper virtually bare. </p> <p style="text-align: justify;">These works reflect the environment in which they were made, the &ldquo;sere and windblown&rdquo; landscape of Santa Fe, New Mexico, as Princenthal writes in her essay. &ldquo;It is possible to see the bleached bones of the land&mdash;its mesas and arroyos; its scatterings of shed snakeskins and animal skeletons&mdash;in the new sculptures&rsquo; combination of strength and delicacy.&rdquo; </p> <p style="text-align: justify;">Simultaneously playful and visceral, the new works enter into a lively dialogue with Benglis&rsquo;s previous explorations of materials and form, but with a raw immediacy inherent to the moist strips of paper she uses as their skin. Stretched, crimped and torn into richly organic shapes, the paper becomes both the sculpture&rsquo;s shell and a repository of the artist&rsquo;s touch. &ldquo;The flexibility of the paper is marvelous; it&rsquo;s just very loving,&rdquo; she tells the filmmaker Burrill Crohn in <em>Benglis Skin Deep</em>, a video interview on the making of this body of work. </p> <p style="text-align: justify;">The sculptures are light and open, with slits and apertures revealing their wire supports. &ldquo;I&rsquo;m drawing with air, and wire, and paper,&rdquo; Benglis remarks in the interview. Princenthal compares the paper skins to shattered pi&ntilde;atas and animal hides, as well as to the kites that the artist&rsquo;s father made by hand (Benglis attends the kite festival held yearly at Ahmedabad, India, where she maintains a residence). </p> <p style="text-align: justify;">As a counterweight to the paper sculptures, Benglis will also exhibit <em>The Fall Caught</em>, a new large-scale aluminum work made by applying spray foam instead of strips of handmade paper on the chicken wire armature, as well as a new series of spiraling, hand-built black ceramics called <em>Elephant Necklace</em>. Benglis has said of this work, &ldquo;Elephants necklaces are artifacts that I imagine in the long and short of the extrusions of life. The expulsion from the garden with the umbilical cord attached are perhaps the fragments left of the family of mammoths trunks.&nbsp; Having left only parts of their trunks in our imagination, I long to find out more about them through a united collaboration with Saxe Patterson, my exploration team, and others who may decide to question their existence in this hemisphere.&rdquo; </p> <p style="text-align: justify;">The sexual politics at the heart of Benglis&rsquo;s career is intrinsic to this work. The cylindrical shape of many of Benglis&rsquo;s new sculptures can bring to mind phalluses and vaginas (&ldquo;considered as tubes, one becomes the other&rdquo;), and yet, as Princenthal observes, &ldquo;Of all the sensations her work evokes, pure delight is among the keenest.&rdquo; </p> <p style="text-align: justify;">Lynda Benglis is the recipient of a Guggenheim Fellowship and two National Endowment for the Arts grants, among other commendations. Her work is held in extensive public collections including the Solomon R. Guggenheim Museum; the Los Angeles County Museum of Art; the Museum of Modern Art, New York; the National Gallery of Victoria, Melbourne, Australia; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York. </p> <p style="text-align: justify;">Throughout 2016, the Bergen Assembly in Bergen, Norway, is hosting a series of exhibitions devoted to Benglis&rsquo;s videos and sculpture. The Aspen Art Museum&rsquo;s Roof Deck Sculpture Garden will host a group of her fountains through the end of October. In September, a major survey of Benglis&rsquo;s work will inaugurate the Museo Internacional del Barroco in Puebla, Mexico, this is the first show of Benglis&rsquo;s work in Latin America.</p> Tue, 30 Aug 2016 18:07:39 +0000 Denzil Hurley - Canada - September 8th - October 16th Tue, 30 Aug 2016 18:02:18 +0000 Elizabeth McIntosh - Canada - September 8th - October 16th Tue, 30 Aug 2016 18:01:26 +0000 Doug Hall - Benrubi Gallery - September 15th - October 29th <p style="text-align: justify;">Benrubi Gallery is proud to present <em>Letters in the Dark: Franz Kafka and Milena Jesensk&aacute;</em> by media artist and photographer Doug Hall. An intimate, evocative work consisting of two synchronized black-and-white video projections and a selection of photographs<em>, Letters in the Dark</em> is based on a series of love letters between Franz Kafka and Milena Jesensk&aacute;, a young translator who later became a journalist and editor before perishing in a Nazi concentration camp in 1944.<br /> &nbsp;<br /> Jesensk&aacute; was married when, in 1920, she wrote Kafka with a request to translate one of his stories into Czech. That letter led to a short, charged correspondence as philosophical as it was passionate, but Kafka ultimately broke off the relationship when Jesensk&aacute; wouldn&rsquo;t leave her husband. After Kafka&rsquo;s death, Jesensk&aacute; gave her copies of his letters to Max Brod, who published them in 1952 as <em>Letters to Milena</em>, but her letters to Kafka were either lost or destroyed.<br /> &nbsp;<br /> Central to the video installation is Hall&rsquo;s recreation of Jesensk&aacute;&rsquo;s letters, which he fashioned from fragments of her other writing, as well as stylistic and tonal cues in Kafka&rsquo;s letters to her. Kafka&rsquo;s letters issue from one&nbsp;projection, while Jesensk&aacute;&rsquo;s come from a second&nbsp;projection on the opposite wall. The spoken texts are accompanied by images of doorways, hallways, facades, gardens, and domestic interiors. The images hint at lives felt but not seen, and, as with the texts, some depict actual locations where Kafka lived and worked, while others were taken in Moscow and San Francisco, and act as proxies for Kafka and Jesensk&aacute;. The presence of spray-painted graffiti and modern appliances reminds us of the historical remove, while the mixture of documentary and surrogate imagery acknowledges and engages with the interplay between the real and the imagined, the known and the unknowable, that colors any attempt to reread history. The result is not a simulacrum of an historical event but a new moment, informed by the past and the &ldquo;poetics of non-arrival&rdquo; that Judith Butler finds in Kafka&rsquo;s love letters, but ultimately residing in each viewer&rsquo;s experience of the installation.<br /> &nbsp;<br /> An exhibition and monograph on Hall&rsquo;s career, which spans 40 years with numerous pioneering contributions in performance, photography, video, and media installation, is in development for 2017-2018. His works are collected by the Berkeley Art Museum and Pacific Film Archive, California; Berlinische Galerie, Berlin; the Contemporary Art Museum, Chicago; the Mildred Kemper Lane Art Museum, St. Louis; the Museum of Modern Art, New York; Museum f&uuml;r Moderne Kunst, Vienna; Museum am Ostwall, Dortmund, Germany; Tate Modern, London; the San Francisco Museum of Modern Art; and the Whitney Museum, New York. He has received numerous awards and fellowships including from the Guggenheim Foundation, the Fulbright Foundation, and the Rome Prize at the American Academy Rome. He is Professor Emeritus at the San Francisco Art Institute.</p> Tue, 30 Aug 2016 17:53:25 +0000 JUANLI CARRION, Pia Rönicke, and Dr. Ina Vandebroek - Apexart - September 10th 2:00 PM - 4:00 PM <p data-hovercard="/ajax/hovercard/event.php?id=282248845465029&amp;extragetparams=%7B%22directed_target_id%22%3A288926521487818%7D">Juanli Carri&oacute;n, Pia R&ouml;nicke, and Dr. Ina Vandebroek join in conversation about the politics of botany and the links between nature and society, moderated by Clelia Coussonnet.<br /> <br /> Through creative projects and academic research, panelists will convey various ways that links emerge between nature, politics, culture, and society. With special interest in examining the ways that human behavior impacts the so-called natural world, the panelists will meditate on the impact of politics on the environment, patterns of plant migration, urban ecology initiatives, activism, and biodiversity preservation.<br /> <br /> In conjunction with apexart Unsolicited Exhibition <a href="" data-hovercard="/ajax/hovercard/event.php?id=282248845465029&amp;extragetparams=%7B%22directed_target_id%22%3A288926521487818%7D" rel="nofollow">Botany under Influence</a> organized by Clelia Coussonnet.<br /> <br /> For more information: <a href="" rel="nofollow" target="_blank"></a></p> Mon, 29 Aug 2016 20:01:25 +0000 Alberto Baraya, Joscelyn Gardner, Sasha Huber & Petri Saarikko, Kapwani Kiwanga, Pia Rönicke, Beatriz Santiago Muñoz - Apexart - September 7th - October 22nd <p><em>Botany under Influence</em> delves into the politics of plants and explores systems of meaning that have been impressed upon nature, flora, and seeds throughout eras of imperialism, colonialism, and globalization. Unearthing forgotten and parallel histories, this exhibition reveals how the exportation of natural resources has affected worldwide power structures and cultural behavior. It pushes us to reconsider common perceptions and representations about nature &lsquo;having always been there,&rsquo; being &lsquo;neutral&rsquo; or &lsquo;passive,&rsquo; when instead plants embody the larger History and are integral actors in it.<br /> <br /> On view: September 8 - October 22, 2016<br /> <br /> Featuring work by:<br /> Alberto Baraya<br /> Joscelyn Gardner<br /> Sasha Huber &amp; Petri Saarikko<br /> Kapwani Kiwanga<br /> Pia R&ouml;nicke<br /> Beatriz Santiago Munoz<br /> <br /> more at: <a href="" rel="nofollow" target="_blank"></a></p> Mon, 29 Aug 2016 19:57:22 +0000