ArtSlant - Current exhibits en-us 40 João Castilho - 1500 Gallery - October 3rd, 2012 - October 27th, 2012 <p>1500 Gallery is pleased to present Disruption, an exhibition of<br />color photographs by João Castilho, one of the most important art<br />photographers to emerge in Brazil over the past decade. The exhibition consists<br />of 15 images from 2 different bodies of work (Spice and Vacant Lot) that intersect<br />notions of fracture, collapse and disruption. These works are representative of<br />Castilho’s signature conceptual approach, one that has been described as<br />“imaginary documentary”. Disruption will be on view from October 3-27,<br />2012. There will be a reception for the artist at 1500 Gallery on Wednesday,<br />October 3, 6-8 pm.<br />Vacant Lot (Lote Vago) is a series of photographs depicting the silhouettes of<br />unemployed men hanging around a vacant lot on the outskirts of Bamako, Mali.<br />The subjects disrupt space and time in search of a way to defeat the boredom and<br />emptiness that make up their lives. The subjects are directed by the photographer<br />and are pictured in front of a wall. The way they were photographed nullifies any<br />possibility of recognition. They are subjects without identity, and therefore, with<br />no story.<br />The series Spice (Tempero) depicts interventions with spices (paprika and<br />saffron) in Bolivia’s Uyuni Salt Flats. There is an interplay between materials:<br />salt, pepper and saffron. But also with art history, as the work makes reference to<br />land art (interventions in landscape) and painting (the activation of empty, white<br />space by the introduction of pictorial elements, red and yellow). The interference<br />color on white ends up creating a certain discontinuity in the landscape and<br />disruption of order.<br />There will also be the launch of the book Scopic Drive (Pulsão Escópica). Scopic<br />drive is a concept that was addressed by psychoanalysist Sigmund Freud, despite<br />not having been explicitly identified by him as such. Jacques Lacan is responsible<br />for coining the term itself, in view of discussing the notion of “satisfaction”<br />inherent to the act of looking. From this psychoanalytic concept, Castilho created<br />a series of photographs. The images of this essay, generated by webcams and<br />captured directly from Castilho’s computer screen, discuss scenes of voyeurism<br />and exhibitionism.<br />About João Castilho<br />João Castilho is one of the most important art photographers to emerge in Brazil<br />over the past decade. His work is one of the major pillars of what has been called<br />“Imaginary Documentary,” but is not limited to this style. In his most recent<br />bodies of work, Castilho has borrowed concepts from Land Art (Spice, Threads)<br />and has also experimented with video and installation works (Between Rivers,<br />Earthquake, Sudden Death). Some of his works are connected to literature<br />(Whirlwind, Metamorphosis, Dead Weight). Another important feature of<br />Castilho’s work is his very particular use of colour (Marie Jeanne, Vacant Plot,<br />Hotel Tropical, Underwater Landscape).<br />Castilho and his work have been recognized by all of the main Brazilian art<br />photography prizes including the Marc Ferrez Photography Award (2010), the<br />Conrado Wessel Foundation Photography Prize (2008) and the Porto Seguro<br />Photography Prize (2005). Castilho has received grants from the National<br />Foundation of Arts (2008); the Pernambuco Fine Arts Salon (2008); and the<br />Pampulha Museum of Art (2005). His work is present in several public<br />collections including: Musée d’Art Modern et d’Art Contemporain de Liège<br />(Belgium), Noorderlicht Gallery (The Netherlands), Museum of Modern Art of<br />Sao Paulo (Brazil), Sao Paulo Museum of Art (Brazil), Pampulha Museum of Art<br />(Brazil), and the Museum of Modern Art of Bahia (Brazil), among others. He<br />graduated in 2010 with an MA in Visual Arts from the Federal University of<br />Minas Gerais, Brazil.<br /><br /></p> Mon, 17 Sep 2012 23:14:04 +0000 Peter Scott - 3A Gallery - September 12th, 2012 - October 26th, 2012 <p>While photography is normally tasked with “capturing” its subject, the images in the photographically derived paintings in “Pardon Our Disappearance, Part One” seem to perpetually “come and go.” Painted on the reverse of raw cotton, the front side of the canvas appears blank. While a closer look gradually reveals a face, the residual image resists a fixed definition.</p> <p>Conveying the relationship between aspiration and societal standards of beauty, these portraits of “makeovers” and “look-a-likes” employ a perceptual ambiguity which slows down the process of looking, removing some of the intentionality of the original images as they’re rendered more speculative.</p> <p>In the second part of the exhibition, at Sometimes (works of art), the makeover process is considered in the context of urbanism, with photographs that reveal the significance of lifestyle culture in the reshaping of both the perception and reality of the built environment.</p> <p> </p> <p><strong>Peter Scott</strong> is an artist, writer, curator, and director of the non-profit gallery carriage trade. His work has been exhibited in the U.S. and Europe, including one-person exhibitions in the U.S., U.K., Holland, France, and Belgium. His writing has appeared in Artscribe, ArtUS, Zing Magazine, artnet, The Architect’s Newspaper, and Art Monthly as well as several exhibition catalogues. His projects have been featured in various publications including Artscribe,, The New York Times, The New Yorker, The New York Observer, Time Magazine, Huffington Post, ArtCards, and artnet magazine.</p> Fri, 26 Oct 2012 01:35:54 +0000 Stefan Szczesny - 532 Gallery Thomas Jaeckel - September 13th, 2012 - October 8th, 2012 <p>The exhibit explores the early 80s, when Szczesny emerged as one of the protagonists of a young generation of bold figurative painters in the German-speaking world who came to be known as “Neue Wilde.” Donald Kuspit’s essay “<em>Modernism in the Service of the Pleasure Principle: Stefan Szczesny’s Art</em>,”  introduces the exhibition which includes an outstanding selection of Szczesny’s canvases, works on paper and ceramics.</p> Tue, 11 Sep 2012 23:11:16 +0000 James Rosenquist - Acquavella Galleries - September 10th, 2012 - October 13th, 2012 <p>Acquavella Galleries is delighted to present<i> Multiverse You Are, I Am</i>, an exhibition of new work by celebrated Pop artist James Rosenquist. The exhibition will feature eleven paintings – two of which are monumental in scale – that reflect the artist’s continued interest in time and outer space. Known for his leadership in the American Pop Art movement, James Rosenquist began his career as a billboard painter in New York City. This experience inspired him to work on a large scale. With bright Day-Glo colors and a sleek aesthetic, Rosenquist’s early work juxtaposed fragmented images derived from advertising to create enigmatic, thought-provoking narratives that foster a dialogue about consumer culture. As a child Rosenquist witnessed the Northern lights, star showers and solar winds on the nighttime prairie in North Dakota that has had significant impact on his visual vocabulary. A new painting, <i>Geometry of Fire</i>, created in response to the artist’s studio being destroyed by a brushfire in 2009, will also be exhibited.</p> Mon, 13 Aug 2012 04:36:41 +0000 Anjolie Ela Menon, F.N. Souza, Jehangir Sabavala, S.H. Raza, Ram Kumar, M.F. Husain - Aicon Gallery - New York - September 11th, 2012 - October 20th, 2012 <p class="p1" style="text-align: justify;"><b style="font-family: verdana, geneva; font-size: small;">AICON GALLERY</b><span style="font-family: verdana, geneva; font-size: small;"> is proud to present </span><b style="font-family: verdana, geneva; font-size: small;"><i>Iconic Procession: Sacred Stones to Modern Masterpieces</i></b><span style="font-family: verdana, geneva; font-size: small;">, an exhibition of works by India’s Modern Masters, alongside a selection of South Asian sculptural masterpieces and miniature paintings dating back to the 2</span><sup style="font-family: verdana, geneva;">nd</sup><span style="font-family: verdana, geneva; font-size: small;"> century, curated by </span><b style="font-family: verdana, geneva; font-size: small;">Nayef Homsi</b><span style="font-family: verdana, geneva; font-size: small;">. The accompanying sculptural selection is drawn from the Ancient Region of Gandhara, Central India and Pala regions, spanning from the 2</span><sup style="font-family: verdana, geneva;">nd</sup><span style="font-family: verdana, geneva; font-size: small;"> to 19</span><sup style="font-family: verdana, geneva;">th</sup><span style="font-family: verdana, geneva; font-size: small;"> centuries. Together, these works showcase the primacy and endurance of mythological and tribal imagery in Indian art, while bridging nearly two thousand years of artistic tradition and cultural heritage, from antiquity to Modernism.<br /><br /></span><span style="font-family: verdana, geneva; font-size: small;"></span><span style="font-family: verdana, geneva; font-size: small;">Founded by </span><b style="font-family: verdana, geneva; font-size: small;">M. F. Husain</b><span style="font-family: verdana, geneva; font-size: small;">, </span><b style="font-family: verdana, geneva; font-size: small;">Ram Kumar</b><span style="font-family: verdana, geneva; font-size: small;">, </span><b style="font-family: verdana, geneva; font-size: small;">S. H. Raza</b><span style="font-family: verdana, geneva; font-size: small;">, </span><b style="font-family: verdana, geneva; font-size: small;">F. N Souza</b><span style="font-family: verdana, geneva; font-size: small;"> and other artists in the years after India’s independence, the Bombay Progressive Artists Group (PAG) grew to be the most influential group of modern artists in India. The artists at the forefront sought new forms of expression, to capture and convey India’s complex past and its emerging post-colonial culture. The fusion of Indian subject matter with post-Impressionist colors, Cubist forms and Expressionist gestures forged a synthesis between early European modernist techniques and the ever-shifting cultural and historical identities of India. The PAG further sought to break with the revivalist notions established by the Bengal School of Art, opting instead to paint with absolute freedom over content and technique, as their internationalist desires combined with the need to represent and belong to their homeland. Among the immediate inheritors of the PAG’s artistic mission, masters </span><b style="font-family: verdana, geneva; font-size: small;">Anjolie Ela Menon </b><span style="font-family: verdana, geneva; font-size: small;">and </span><b style="font-family: verdana, geneva; font-size: small;">Jehangir Sabavala</b><span style="font-family: verdana, geneva; font-size: small;"> carried these traditions forward over the decades with their own distinctively Indian approach to modern art.<br /><br /></span></p> <p style="text-align: justify;"><span style="font-family: verdana, geneva; font-size: small;">With a career spanning six decades, <b>Jehangir Sabavala’</b>s body of work was consistent and enveloping, evolving from his early cubist and figurative works to the more subtle and introspective masterworks of the 1960s, evoking the very nature of human experience. Sabavala created heavily atmospheric canvases that were at once dreamlike and acutely perceivable, drawing the viewer into a world of his own making. Favoring sublime landscapes and ethereal figures, his paintings are born of a distinctly cubist influence. Planes of color fit together in a subdued palette, opting for veiled light and mid-tones, contrary to the bolder tonalities and louder imagery of his contemporaries. Sabavala worked mostly in oils, creating landscapes, seascapes, cityscapes and figures. Well-versed in modernist style and theory, yet with a strong classical influence, Sabavala composed shifting geometric wedges with masterful light, color and texture, joined together in vast, tranquil scenes imbued with a sense of nature’s spiritual magnanimity and  mystery.<br /><br /></span><span style="font-family: verdana, geneva; font-size: small;">Regarded as the “Picasso of India,” </span><b style="font-family: verdana, geneva; font-size: small;">M. F. Husain</b><span style="font-family: verdana, geneva; font-size: small;">, is arguably the most recognizable figure of modern and contemporary Indian art. His narrative works, executed in a modified Cubist style, can be caustic and funny as well as serious and somber. His themes, usually treated in series, include hallmarks of Indian culture and history, such as the Ramayana, the Mahabharata, the British Empire, and motifs of Indian urban and rural life. His use of folk, tribal, religious and mythological icons, such as Mother Teresa, Gandhi, Krishna and Saraswati, are characteristic to his work, revealing his penchant for blending diverse cultural influences. <br /><br /></span><b style="font-family: verdana, geneva; font-size: small;">F. N. Souza</b><span style="font-family: verdana, geneva; font-size: small;">’s unrestrained and graphic style creates thought-provoking and powerful images. His repertoire of subjects includes still life, landscape, nudes and icons of Christianity, boldly rendered in a frenetic distortion of form. His paintings express defiance and impatience with the convention and banality of life. A recurrent theme in his works is the conflict of a man-woman relationship, placing emphasis on sexual tension and friction. An articulate genius, he augmented his powerful and sometimes disturbing canvases with his sharp, stylish and provocative prowess.<br /><br /></span><b style="font-family: verdana, geneva; font-size: small;">Ram Kumar</b><span style="font-family: verdana, geneva; font-size: small;">, like many of his peers among the first wave of post-colonial Indian artists, combined an internationalist desire with the need to belong to their homeland. His quest for an indigenous tenor did not mean a superficial inventory of ‘native’ motifs; Kumar instead demonstrated that a painter could enact the innermost dramas of a culture while maintaining individuality, even idiosyncrasy, of his art. Ram Kumar’s style, which has proceeded through an alternation of joyous expressivity and brooding reticence, plays out a crucial polarity of emphasis in the context of Indic culture, journeying from city to landscape, via the reminiscing quality of art.<br /><br /></span><span style="font-family: verdana, geneva; font-size: small;">Early in her career, </span><b style="font-family: verdana, geneva; font-size: small;">Anjolie Ela Menon </b><span style="font-family: verdana, geneva; font-size: small;">incorporated influences of Van Gogh, Expressionism, Modigliani, Amrita Sher-Gil and M. F. Husain. Primarily a portraitist, her canvases were dominated by flat planes of brightly colored impasto, her outlines bold and sharp with youthful vigor. Menon embellished her refined texture by burnishing the surface with a soft, dry brush, evoking a glow similar to medieval icons of early Christian art. Frontal perspectives, averted heads and a slight elongation of the body are repeated subjects, particularly of the female nude. The brashness of her early years gradually transformed into nostalgia for the past, revealing a more reserved execution. Fusing the erotic and the melancholy, Menon developed a distinct iconography of distance and loss in later years, with subjects of black crows, empty chairs and beds, windows and hidden figures. The breadth and content of Menon’s body of work makes it difficult to compartmentalize, lending it an artistic self-expression uniquely hers.<br /><br /></span><span style="font-family: verdana, geneva; font-size: small;">Accompanying the Modern component of the exhibition is an iconic collection of South Asian antique sculpture and miniature painting from the 2</span><sup style="font-family: verdana, geneva;">nd</sup><span style="font-family: verdana, geneva; font-size: small;"> to the 19</span><sup style="font-family: verdana, geneva;">th</sup><span style="font-family: verdana, geneva; font-size: small;"> century, curated in partnership with </span><b style="font-family: verdana, geneva; font-size: small;">Nayef Homsi</b><span style="font-family: verdana, geneva; font-size: small;">. Now a private dealer and specialist based in New York, Nayef honed his expertise in ancient Indian, Himalayan and Southeast Asian art, having worked with the late renowned collector Doris Weiner for six years. The collection on view features a pristine </span><b style="font-family: verdana, geneva; font-size: small;">Standing Buddha</b><span style="font-family: verdana, geneva; font-size: small;"> from the ancient region of </span><b style="font-family: verdana, geneva; font-size: small;">Gandhara</b><span style="font-family: verdana, geneva; font-size: small;">, a large </span><b style="font-family: verdana, geneva; font-size: small;">Pala Surya</b><span style="font-family: verdana, geneva; font-size: small;"> from the 11</span><sup style="font-family: verdana, geneva;">th</sup><span style="font-family: verdana, geneva; font-size: small;"> Century and a festive </span><b style="font-family: verdana, geneva; font-size: small;">Kangra Ganesha </b><span style="font-family: verdana, geneva; font-size: small;">miniature, among many others.<br /><br /></span></p> <p align="center"><span style="font-family: verdana, geneva; font-size: small;">Please contact Amy via <a href="" rel="nofollow"></a> for more information.</span></p> <p style="text-align: justify;"><span style="font-family: verdana, geneva; font-size: small;"> </span></p> Wed, 19 Sep 2012 19:57:29 +0000 Stefan Kürten - Alexander and Bonin - September 8th, 2012 - October 13th, 2012 <p>Alexander and Bonin starts the fall season with <em>Here comes the night</em>, a solo exhibition of new work by Stefan Kürten. The exhibition will include Kürten’s most recent large paintings, executed in acrylic and ink on linen, as well as more than twenty smaller paintings on primed cardboard.</p> Sun, 16 Sep 2012 23:41:03 +0000 Luis Camnitzer - Alexander Gray Associates - September 12th, 2012 - October 20th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Alexander Gray Associates</strong> is pleased to present its third individual exhibition with<strong> Luis Camnitzer</strong>, whose contributions since the 1960s to the development of Latin American contemporary art and international Conceptual Art have garnered significant recognition in recent years. The exhibition in the Gallery’s newly expanded space, includes the premiere of two installation works by Camnitzer.</span><br /> <br /><span style="font-size: small;"> Realized for the first time, <i>Bricks</i> (1974/2012) covers the Gallery walls at 10-feet high with black and white photographic murals of bricks and mortar, transforming the space into a place of confinement. In the piece, the image of four brick walls, each photographed from different distances, resulting in a distorted perspective of proximity, scale and location. With <i>Bricks</i>, conceived at the early period of the Uruguayan dictatorship, the piece obscures any cues for cardinal directions, human scale, and the relationship of the body within its environment, imposing boundaries on the viewers’ experience. In Camnitzer’s oeuvre, <i>Bricks</i> is a departure from his text-based works of the 60s, using photographic rather than linguistic signs as tools to alter meaning; subsequent photographic works from the mid-1970s are among the artist’s most iconic.</span><br /> <br /><span style="font-size: small;"> Disorientation plays a central role in the viewer’s experience again with <i>The Shift of the Center of the Earth</i> (1975). 
The installation is composed of a mason’s plumb suspended from the ceiling, skewed at an angle, seemingly defying natural laws of gravity. This repurposed tool—a trusted guide to our geographic or physical center—leads us astray; Camnitzer’s manipulation of the plumb leaves us doubting which way is down. Here too, Camnitzer questions the role of an individual in our social and political worlds, as well as our psychological: who determines location, myself or the world around me? Camnitzer’s Duchampian gesture–repositioning a found object–certainly addresses the realignment of global politics 
and capital.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Luis Camnitzer (b. 1937) is a German-born Uruguayan conceptual artist and academic who works in the media of printmaking and sculpture. His humorous yet biting work has appeared in many exhibitions since the early 1960s.</span><br /> <br /><span style="font-size: small;"> Camnitzer’s work has been shown in noted exhibitions and institutions, including individual shows at the Galería Ruth Benzacar, Argentina; The Kitchen and El Museo del Barrio, New York; List Visual Arts Center at M.I.T., Cambridge, MA; and Museo Carillo Gil, Mexico City. Retrospectives of his work have been presented at Lehman College Art Gallery in the Bronx, NY(1991) and Kunsthalle Kiel, Germany (2003), as well as at the Daros Museum in Zürich (2010) and the upcoming exhibition at El Museo del Barrio, New York (2011). His work has appeared in biennials and group shows, including <i>Information</i> (1970), The Museum of Modern Art, New York; Biennial of Havana, Cuba (1984, 1986, and 1991); <i>Whitney Biennial</i> (2000), <i>Documenta 11</i> (2002), and <i>Beyond Geometry</i> (2005), Los Angeles County Museum of Art, CA. Camnitzer’s work is in the permanent collections of The Museum of Modern Art, The Metropolitan Museum of Art, and the Whitney Museum of American Art, New York; The Museum of Fine Arts, Houston, TX; and Museo de Arte Latinoamericano de Buenos Aires, Argentina (MALBA), among other institutions. Camnitzer received Guggenheim Fellowships in 1961 and 1982. A highly regarded critic and curator, Camnitzer is a frequent contributor to ArtNexus, and wrote <i>New Art of Cuba</i> (1994, 2003) and <i>Conceptualism in Latin American Art: Didactics of Liberation</i> (2007).</span></p> Sat, 08 Sep 2012 16:38:58 +0000 Karl Schrag - Alexandre Gallery - September 6th, 2012 - October 12th, 2012 <p style="text-align: left;"></p> <p style="text-align: left;"></p> <p style="text-align: left;"></p> <p style="text-align: left;">In celebration of the 100th anniversary of the birth of Karl Schrag (1912 – 1995), Alexandre Gallery, in collaboration with Kraushaar Galleries, will present <i>Karl Schrag, The Rhythms of Nature, A Centennial Celebration</i>.  The joint exhibition will feature 20 paintings covering a quarter century of work.  Many of the works come directly from the artist’s family and have not previously been exhibited.</p> <p style="text-align: left;">Many of these paintings explore the Maine landscape that inspired Karl Schrag for fifty years.  He finds the mysteries of land and sea and captures them in a fusion of realism and abstraction that can change the way we see our world.  The glow of the sun, the shimmer of the moon, the motion of the grasses, the power of the rocky shore are all captured in the vigorous brushstrokes and vibrant colors of the paintings.  “My strong desire to express from sunlit serenity to the darkest moods has its roots in a constant awareness of myself being a part of the nature and life which I observe.  With every breath I take, with every heartbeat I feel within myself the rhythms of nature,” wrote the artist on the occasion of his 1992 traveling retrospective organized by the Farnsworth Museum of Art, Maine.  </p> <p style="text-align: left;">Schrag was born in Germany; after study in Paris and Brussels he came to New York in 1938.  He worked with S. W. Hayter and became director of his international print studio, Atelier 17.  He taught at Brooklyn College and Cooper Union.  Since 1938 Schrag’s work has been the subject of over 40 one-person exhibitions.</p> <p style="text-align: left;">A concurrent exhibition, <i>Memories and Premonitions: A Karl Schrag Retrospective</i>, which will focus on Schrag’s print work, will open at Syracuse University Art Galleries, Syracuse, New York on August 30<sup>th</sup>.</p> <p style="text-align: left;"> </p> <p style="text-align: left;">The Kraushaar Galleries and Alexandre Gallery exhibition will open September 6th and continue through October 12th.  A reception will be held at both galleries on September 15<sup>th</sup>.</p> <p style="text-align: left;"> </p> <p align="center" style="text-align: left;"><b>Kraushaar Galleries, 74 East 79th Street, New York, New York 10075    212.288.2558<br /> Alexandre Gallery, 41 East 57th Street, 13<sup>th</sup> Floor, New York, New York 10022    212.755.2828</b><b></b></p> <p style="text-align: left;"> </p> <p style="text-align: left;"><b style="text-align: left;">For further information, biographical information or images, please contact Allison Hester at 212-755-2828 or</b></p> <p></p> <p></p> <p></p> Thu, 30 Aug 2012 14:34:20 +0000 Shara Hughes - American Contemporary - September 20th, 2012 - October 28th, 2012 <p><i>If paintings are windows to the world, then what world are the viewers in and who’s looking at the viewer looking at this window to the world? </i><i>Shara Hughes  2012</i></p> <p> </p> <p>American Contemporary is delighted to present their first solo exhibition by Shara Hughes.</p> <p>If we really thought about everything that we were seeing when we entered or arrived at a place - like trying on a spring day to close your eyes in some small park jammed between buildings and streets to hear ALL the sounds of the city - it would create a shift in our experience, until we perhaps became overwhelmed.</p> <p>Hughes embraces in her paintings the attempt, the shift, and any feelings of being overwhelmed. Working towards this visceral chaos, she translates these multifaceted, emotional, and saturated moments from her own perspective. In order to achieve this she has to be able to slip in and out of the roles of painter, viewer, and participant inside the painting. This means Hughes is not limited to a central focus and instead equally embraces the peripheries and a release of logic. Her paintings, emphasized by her use of mixed media and her maximization of technique, are all encompassing; they provide a transcription of experience that combines immediacy, didacticism, abstraction and the boundlessness of individual thought.</p> <p><i>Night Lightening</i> illuminates her own experience of walking through a forest at night during a lightening storm. Hughes describes how with each forked flash, she was able to see her surroundings: this would instantly fade, leaving the memory of an image  - a complete experience unto itself. By the time the next flash came she would be in another part of the forest, and presented with a new momentary visual of the surrounding flora. Following this sense of faceted and layered occurrence, <i>My House is the One With All The Holes in It</i>, presents a space with multiple cracks and holes as if the home is transparent in places. Each crack looks out onto a different moment, where abstract shapes and line hint to distinct spaces beyond. Hughes has a bizarre innate understanding of the literal. She doesn’t translate what she sees, but instead channels it unfiltered without the restriction of too much reason. Description becomes secondary to experience. Experience of the place, her thoughts and the materials used in the paintings:  she is looking at herself looking at this window to the world in which she is already a participant. </p> <p>Hughes graduated from the Rhode Island School of Design. In 2013 she will have two major museum shows. The first will be at Atlanta Contemporary Art Center and will; feature new work began the American Contemporary exhibit. The second will be at MoCA, Georgia: she was announced a winner of their 2012/2013 MoCA GA Working Artist Project. This exhibition will be the climax of MoCA GA's support of the artist's practice for one year. She has also had solo exhibitions at Rivington Arms Gallery, New York, Museum 52 London, Mikael Anderson, Copenhagen and Metroquadro, Turin. </p> Wed, 12 Sep 2012 19:33:29 +0000 - American Folk Art Museum - September 12th, 2012 - January 13th, 2013 <p>“Foiled: Tinsel Painting in America” is the most comprehensive museum exhibition to focus on this under-recognized decorative art that was widely practiced in America from 1850 to 1890. One of the great revelations of the exhibition is the way this modest technique touched upon so many aspects of American life, innovation, and culture.<br /> <br /> Tinsel paintings are reverse paintings on glass with smooth or crumpled metallic foil applied behind translucent and transparent areas; when viewed in candlelight or gaslight, the effect was one of shimmering highlights. In the first half of the 19th century, tinsel painting was taught to young women whose parents were dedicated to providing refined education for their daughters and paid for such special classes. By the mid- to late 19th century, the art had expanded outside the school curriculum, and instructions proliferated in books and were advertised in women’s magazines. Its origins are related to forms developed in Renaissance Italy, 18th-century China and France, and 19th-century Austria, England, and Germany. Floral imagery predominates, as botanical copy prints and patterns were often employed. Especially appealing today are rare works that combine a variety of techniques and materials, including photography and collage. <br /> <br /> It is remarkable that so many examples of this fragile art have survived. The American Folk Art Museum has in its holdings a wealth of tinsel paintings thanks to the prescience of donors Kristina Barbara Johnson and Jean and Day Krolik Jr. With a significant gift from Susan and Laurence Lerner, the museum is now the largest public repository of this fascinating artform. <br /> <br /> Lee Kogan, curator emerita</p> Mon, 06 Aug 2012 02:38:28 +0000 - American Folk Art Museum - September 12th, 2012 - January 13th, 2013 <p>An attraction to shiny things is a primal human impulse. It may be instinctive and emotional, or profoundly meaningful within a cultural context. In the visual arts this has been expressed through the use of myriad materials that glitter and reflect. “Ooh, Shiny!” will highlight three centuries of artworks—ranging from needleworks by 18th-century schoolgirls to sculptures by contemporary icons including Howard Finster—that are embellished with such materials as spangles, mica flakes, glass, marble dust, sequins, glitter, and aluminum.</p> Sat, 01 Dec 2012 21:26:01 +0000 Andrea Zittel - Andrea Rosen Gallery - September 14th, 2012 - October 27th, 2012 <p>The panel is interesting because it is sort of a plane liberated in space.  A "super plane" that can transcend the limitations of two dimensional space without ever actually becoming three dimensional."<br /> (excerpt from "Andrea Zittel, Gouaches and Illustrations", edited by Theodora Vischer for Schaulager)<br /> <br /> Throughout the last twenty years of my practice I have been continually fascinated by various ways that we assign categories and definitions as a means to create order and meaning in a seemingly chaotic and often difficult to navigate world. For example, which subtle distinctions or social roles separate fine art, from the category that we designate as design?  And what functions does this separation serve?  Or on a more fundamental level, I wonder how we attribute definitions such as "table", "bench",  or  "counter" to various flat surfaces, or functions such as "living room" or "bed room" to various interior spaces.  My intension is not to collapse these categories and value systems so much as it is to reveal their often overlooked significance and to understand our inherent psychological need to assign meaning in order to give these objects personal and social relevance.<br /> <br /> In the early 1990s I began to explore elemental forms that could slip between functional categories and social roles depending on subtle contextual shifts or overlaying value systems. The flat plane or panel is a perfect example of this kind of amorphous form as it can become a painting when hung on a wall, a carpet when placed on the floor, a shelter when strung over a frame, a garment when placed over the human form, and so on.<br /> <br /> For my show at Andrea Rosen Gallery I am continuing my investigation of focusing on the somewhat arbitrary - but wonderfully transcendent form of the "panel."  A-Z Cover series, A-Z Personal Panels, AZ Purity Panels, and AZ Carpet Furniture, are based on this elemental panel form - all hover between manifestation and abstraction, painting and sculpture, decorative and functional object. My goal is to implode both the abstract and the literal potential of the panel, highlighting it's slippage between formal art object and useful possession.  The exhibition will contain two series of AZ Covers, woven by a wonderful selection of weavers recruited from across the US;  a series of smaller panels that can serve all functions from decorative, to wearable; a grouping of studies and a billboard painting that are also "Panels" themselves; and an AZ Carpet Furniture that is both representation and functional object in one.</p> Thu, 20 Sep 2012 23:20:55 +0000 Lizzi Bougatsos, Lizzie Fitch, Hannah Wilke - Andrea Rosen Gallery - September 14th, 2012 - October 27th, 2012 Mon, 15 Oct 2012 22:37:20 +0000 Frank Benson, Peter Fischli, David Weiss - Andrew Kreps Gallery @ 537 W. 22nd - September 13th, 2012 - October 27th, 2012 <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: xx-small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span style="font-size: xx-small;" size="1"><span style="font-size: small;">The Andrew Kreps Gallery is pleased to present Airports and Extrusions, and exhibition which features a series of ceramic sculptures by Frank Benson and photographs by the artist team Fischli and Weiss. </span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Frank Benson, known for his remarkably detailed life-like sculptures, has, for this body of work, employed a simple tool – an extruder – to create tubular geometric forms and meandering ribbons in clay.  Although the process is simple, the resulting works inhabit a surprisingly wide variety forms while retaining the mechanical imprint of the tool used in their creation. The final fired, but unglazed ceramic sculptures, appear to be rendered from mild steel, moist clay or flexible leather. In these works, Benson achieves a rare formal elegance, accentuating the spontaneous and the arbitrary by allowing the vagaries of the process to inform his decisions about the individual composition of each work.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Airports, a photographic series by Fischli and Weiss examines the quotidian aspects of global travel by focusing the uniformity of the terminals and tarmacs in such disparate locales as Zurich and Rio de Janeiro, symptoms of the postmodern experience. The mundane subjects in these images are familiar to us all, fuel vehicles, baggage trucks, and the daily routine of the airport worker yet these photos highlight the extreme complexities of such tableaus and everyday life.  Deceptively complex these photos share the same conceptual focus as their other sculptural and photographic works – the exceptional in the quotidian experience.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Airports present seemingly conventional views of the heavy, inert metallic bodies of airplanes, of the machinery on the ground. But mostly we see the space around them, the vastness and emptiness of the runway, which becomes the essence of the forms themselves.  And similarly, Frank Benson’s Extrusions speak to something beyond the forms themselves – the action of their making and the space in which they occupy the fine line between repose and animation. </span><br /><br /><span style="font-size: small;">Frank Benson has had solo shows at Sadie Coles in London, Taxter and Spengemann in New York and Overduin and Kite in Los Angeles.  His work has been featured in the Sao Paulo Bienial, the Hammer Museum in Los Angeles and the Astrup Fearnley Museum in Oslo.  The series of work exhibited in Airports and Extrusions was started during a residency at Art Pace in San Antonio and continued during a subsequent residency at the Chinati Foundation in Marfa, Texas.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Peter Fischli and David Weiss have shown extensively internationally and are widely recognized as two of the most influential artists of the 20th century.</span> </span></span></p> Thu, 11 Oct 2012 18:34:16 +0000 GREGORY ODELL GREEN - Anna Kustera - September 6th, 2012 - October 13th, 2012 <p>Anna Kustera Gallery is pleased to present a solo exhibition of new work by Gregory Green.  Along with his now iconic "explosive" works, the exhibition will showcase an installation of the artist's worktable that simulates the lair of a mad bomber, complete with glue, drills, duct tape and other innocent looking objects capable of mayhem in the wrong hands.  This cluttered, clandestine place where it all begins is brought center stage; a theatrical space that can be thought of as an artist's craft taken to its self-destructive conclusion. Undefined dissent remains the most transgressive human response of them all.</p> <p>Green's effigies of bombs throb with a kind of muted danger. Each work represents its own complicated universe, dialogues that tell parallel tales of construction/ destruction, art/reality, activism/formalism.  As a third culture kid, Gregory's provocative works expand the parameters between art and direct action, culture and social commentary, while also bridging the evolution/de-evolution from Modernism to Altermodernism. </p> <p>It might be tempting to view Green's singular body of work as a shrewd response to the contemporaneous surge in worldwide terrorism. In fact the artist began making his potently sterile bombs and radical mechanical devices in the late 1980s.  He has, in a sense, become the quintessential artist of the 9/11 decade, presaging unquantifiable matters such as extremist activism and governmental control, while exploring the unreliability of historical perspective and the essence of the creative drive itself.</p> <p>With over 35 one-person exhibitions and numerous group exhibitions, Gregory has played a significant role in the contemporary art discourse of the last 20 years.   His work is included in major public and private collections, including the Museum of Contemporary Art, Los Angeles; the Tate Gallery, London; the Saatchi Gallery, London; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Mori Museum in Tokyo and MAMCO, Geneva among others.  His installation "<em>Worktable #9, (Minneapolis) he of Righteousness</em>" was recently featured in the exhibition, <span style="text-decoration: underline;">Absentee Landlord</span>, curated by John Waters at the Walker Art Center in Minneapolis, Minnesota.</p> Thu, 04 Oct 2012 20:05:20 +0000 Alessandro Pessoli - Anton Kern Gallery - September 14th, 2012 - October 20th, 2012 <p>For his fifth solo show at Anton Kern Gallery, Italian artist Alessandro Pessoli has put together a group of painted ceramic sculptures of varying sizes and scale. <br />Largely figurative and richly colored, often combined with bronze or canvas elements, the work radiates with high saturation and glazed brilliance. The sculptures are arranged in relationship to each other while representing portraits of sorts, individual figures, or, set in box-like constructions, groupings of figures and objects reminiscent of the teatrini (small theaters) known from mid-century Italian artists such as Martini, Melotti, and Fontana.<br />Pessoliʼs illustrious personnel ranges from the Emperor Vespasian to Pier Paolo Pasolini, from Don Quixote and Sancho Panza to Arthur Rimbaud and Paul Verlaine, but also includes Petunia the duck trailed by Chimney Nose and Sandrino the cat. This is Pessoliʼs first show in New York after moving from Milan to Los Angeles, and the influence of the City of Flower and Sunshine is clearly noticeable.<br />Fired People doesn't have a theme; it's an anarchic show, like people meeting in a square without apparent reason. The work is the attempt to find the hidden vitality of imagination by abandoning stylistic coherence and the compactness of a dominant narrative in favor of the freedom to cross from one imagery and aesthetic to another. Working without precise lines of reference empties the<br />figuresʼ rhetoric and produces a sense of nostalgia, somehow mirroring a Western culture that is at its sunset, just the reflex of itself.<br />Known for his fluid and luminous painting technique, as evident in his watercolor drawings, Pessoli transforms the brightly colored ceramic sculptures into extensions of his painted scenes articulated in three-dimensional form. Thereʼs a dynamic balance between the malleable clay and the fluidity of the watercolor-like or airbrushed paint application and sense of coloration. Pessoli combines familiar elements such as the chimney and a range of sexual symbols with new ideas such as the separation of colors into rainbowlike bands, the decorated bronze casts, and mixing such disparate modes of representation as a descriptive and detailed naturalism with child-like abstraction and expressiveness. Yet Pessoliʼs essentially humanist language always speaks with the love for the poetry of the material.<br />This exhibition will coincide with Alessandroʼs solo exhibition at SFMOMA.<br />Since the artistʼs seminal New York debut at the Drawing Center in 1997, Pessoliʼs work has been shown in numerous exhibitions, including solo presentations at the Collezione Maramotti, Reggio Emilia, Italy (2011), MACRO Museo d´Arte Contemporanea Roma, Rome, Italy (2009), and Chisenhale Gallery, London (2005), as well as group shows at the Hessel Museum of Art &amp; Center for Curatorial Studies Galleries at Bard College, Annandale-on-Hudson, NY (2006), the Philadelphia Museum of Art (2004), the Hammer Museum, Los Angeles (2003), and the Fondazione Sandretto Re Rebaudengo, Turin, Italy (2002). Pessoliʼs work was prominently featured in Italics: Italian Art between Tradition and Revolution, 1968-2008 at the Palazzo Grassi, Venice (2008) and the Museum of Contemporary Art, Chicago (2009). A set of 30 drawings was included in theVenice Biennale as part of the Making Worlds section curated by Daniel Birnbaum (2009). Opening September 28, SFMOMA is presenting Pessoliʼs first US museum solo-exhibition.<br /><br /></p> Tue, 11 Sep 2012 00:32:17 +0000