ArtSlant - Closing soon http://www.artslant.com/ny/Events/show en-us 40 Charles Hinman - MARC STRAUS - September 5th, 2012 - October 5th, 2012 <p>We warmly invite you to our opening of a solo exhibition of Charles Hinman.<br /> Since the 1960s his shaped canvases have garnered critical acclaim. We are<br /> proud to show his most recent work, produced over the past two years.<br /> Please join us for a delightful evening to celebrate the artist's continued<br /> achievements and to inaugurate the gallery's second season on September 5th,<br /> from 6 - 8 pm.<br /> <br /> An American pioneer of hard-edged shaped canvases, Charles Hinmanʼs work<br /> received immediate global acclaim in 1964 – 5, with work at Sidney Janis Gallery<br /> and a one-person exhibition at Richard Feigen Gallery. Major works found<br /> permanent homes at MoMA, the Albright-Knox Gallery, and the Rockefeller<br /> Collection. He was included in the landmark show Young America at the Whitney<br /> Museum in 1965. Also in that year, Henry Geldzahler and Frank Stella included<br /> Hinman in the seminal exhibition, Shape and Structure, paired with Donald Judd,<br /> Robert Morris, Carl Andre, and Larry Bell.<br /> <br /> Hinmanʼs work foreshadowed and influenced an important generation of artists.<br /> There have been numerous museum shows in the years since, including at the<br /> Everson Museum and three at the Butler Institute of American Art. He has received<br /> many awards, including from the Pollock-Krasner Foundation, and is a current<br /> recipient of a Guggenheim Fellowship.<br /> <br /> Made from canvas and wood, these are paintings, but they are contradictory to the<br /> stiff, rectangular picture plane. Frank Stellaʼs journey towards more detailed wall<br /> reliefs (which he famously always referred to as paintings) are presaged by Hinman.<br /> <br /> His array of sculpted canvases energizes the space on surrounding walls. Various<br /> facets of his new white-primed rhomboids and diamonds are painted behind, or in<br /> front, in bright, saturated hues creating a fascinating play between literal and<br /> illusionistic depth. In some “Gems”, colors are reflected off the wall, thus allowing for<br /> the wall and the interstices to be reconsidered as foreground and ground. In others<br /> works, “Twists”, bands of bent colors are best viewed from the sides. As we move<br /> we perceive the work differently: new colors, new facets, new forms, new shadows,<br /> as the work is constantly reinvented.<br /> <br /> As with all too many artists of his generation, there is less public recognition of his<br /> important work at the moment. This exhibition includes work from the past two years.<br /> They are testaments to persistence, hard work, and an unflagging curiosity. These<br /> are arguably his finest works and are pertinent and timely. Hinmanʼs formal language<br /> persists but the work is even more joyous and unabashedly beautiful.</p> Fri, 17 Aug 2012 03:37:34 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Victor Rodriguez - RAMIS BARQUET GALLERY - September 6th, 2012 - October 5th, 2012 <p> </p> <p>RAMIS BARQUET GALLERY presents <i>Black Dodecahedron</i> by Victor Rodriguez, 9.06.2012 - 10.05.2012. Opening reception Thursday, September 6, 2012 6:30-8:30pm at RAMIS BARQUET GALLERY</p> Tue, 28 Aug 2012 13:59:51 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Warren Isensee - Danese Corey - September 7th, 2012 - October 6th, 2012 <p>Warren Isensee’s current paintings and drawings offer luminous, emotionally and optically charged color within a formal system of geometric abstraction. The paintings’ ordered stripes of color imply the condition of architecture and three dimensions, signaling <em>a vital presence…and the ability of a configuration to command its own space.</em><tt><em>1</em></tt><a href="http://www.danese.com/Main/Artists/Isensee/ISEN_press.html#_ftn1" name="_ftnref1" title=""></a><em>. </em>At once ordered and expansive, these arrangements shift perspective, as the viewer becomes immersed within the choreographed passages of exultant color and dynamic scale.</p> <p align="justify"><br /> Rendered with a precise freehand technique, and without the use of tape, Isensee’s work manages to avoid the anonymous, impersonal appearance often associated with hardedge painting. His unexpected juxtapositions of vibrant color are visually intense. <em>This is earnest work without a whiff of cynicism... Much of its pleasure comes from the vital flush of optimism</em>.<tt><em>2</em></tt><a href="http://www.danese.com/Main/Artists/Isensee/ISEN_press.html#_ftn2" name="_ftnref2" title=""> </a> <em> One senses an artist almost at play, delighting in color and line cleverly marshaled, while at the same time engaging modernist conventions.<tt>3</tt></em><a href="http://www.danese.com/Main/Artists/Isensee/ISEN_press.html#_ftn3" name="_ftnref3" title=""></a></p> <p><br /> Born in Asheville, North Carolina in 1956, Isensee studied architecture at the University of Oklahoma and subsequently majored in painting and graphic design. Isensee was included in the American Academy of Arts and Letters’ Invitational Exhibition of Visual Arts and received a Purchase Award. He received the Joan Mitchell Foundation Grant in 1999 and has exhibited extensively in the United States and is included in the collections of the Blanton Museum, Austin, TX and the Neuberger Museum of Art, Purchase, NY, among others. Isensee lives and works in New York City.<br /><br />A full color catalogue accompanies the exhibition.</p> Sun, 23 Sep 2012 23:50:26 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - David Zwirner 537 W 20th - September 27th, 2012 - October 6th, 2012 <p>Word Above the Street in collaboration with Studio in a School is pleased to announce WATER! The Water Tank Project NYC Art Exhibition. The exhibition is a selection of works by New York City public high school students from all five boroughs who participated in the Spring 2012 Art Competition for The Water Tank Project. Curated by Neville Wakefield, Bettina Bryant<b> </b>and Mary Jordan, WATER! The Water Tank Project NYC Art Exhibition<b> </b>will be on view at David Zwirner’s 535 West 20<sup>th</sup> Street New York space September 27 – October 6, 2012. An opening reception will be held on Thursday, September 27<sup>th</sup> from 6 – 8pm with many of the students present.</p> <p>Founded by Mary Jordan, Word Above the Street (a New York City based non-profit organization devoted to merging art and technology for advocacy’s sake), in collaboration with Studio in a School, engaged students from five New York public high schools to participate in an art competition for The Water Tank Project. The goal of the competition and exhibition is to celebrate the achievement of these students and to raise public awareness about water as the defining resource of the 21<sup>st</sup> century. The exhibition serves as a prelude to a city-wide public art project, The Water Tank Project, slated for May 31<sup>st</sup>, 2013.  </p> <p>The Water Tank Project feature exhibition will be a highly curated selection of New York City’s iconic rooftop water tanks that will be temporarily wrapped with original artworks on the subject of water. Confirmed artists to date include Ghada Amer and Reza Farkondeh, John Baldessari, Andy Goldsworthy, Jeff Koons, Julie Mehretu, Ed Ruscha, Bruce Weber, Lawrence Weiner amongst others. Geared towards raising awareness of water as the most valuable resource, the exhibition will bring together the work of both established and emerging artists as well as local high school students. The exhibition will be complemented with education programs, public tours and a symposium on global water issues. </p> <p>The Water Tank Project provides a unique opportunity for public school children to project their voice on an important issue. The project aligns with Studio in a School’s effort to offer students the “experience of reflection, discovery and wonder” and the focused art activities will support skills and behavior that are intrinsic to intellectual and social growth as well as instill excitement and pride in their creations.</p> <p>The Water Tank Project’s Public School Competition utilizes the Five Strands of Arts Learning detailed in the <i>Blueprint for Teaching and Learning in the Visual Arts</i>, a city-wide visual arts curriculum co-created by Studio in a School and the New York City Department of Education. Through these programs, students have been exposed to cross-disciplinary, career-building skills that include: setting goals, planning and working both independently and as a team. Students from high schools across New York City’s five boroughs are participating in The Water Tank Project Competition, and five finalists will be selected to have their work featured on a highly visible water tank.</p> <p>WATER! The Water Tank Project NYC Art Exhibition is made possible by the Booth Ferris Foundation, the Ford Foundation and the Lily Auchincloss Foundation. Whole Foods Market is the refreshment provider and a continued supporter of The Water Tank Project.</p> Tue, 18 Sep 2012 21:37:19 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Danny Morgan - Denise Bibro Fine Art - September 6th, 2012 - October 6th, 2012 <p><b>Denise Bibro Fine Art</b> is pleased to announce the first solo exhibit of Floridian artist <b>Danny Morgan</b>, <i>Last Burst of Summer</i>, on view September 6 through October 6, 2012.</p> <p>Danny Morgan has the distinction, since the 70s, of having a dual career of being a successful musician and painter. After finishing a BA at East Kentucky University and having a short period of time as an art teacher, Morgan painted while simultaneously establishing himself as an individual guitar player, singer, and eventually as a band leader and talent representative.</p> <p>Morgan’s recent abstract works have developed from his earlier representational works. His love of color and timeless fluidity of line and form are a product of both in his painting and guitar playing. In the process of creating his chords of color, he sometimes does skeleton sketches of color to create his lyrical canvases.</p> <p>His passion for rhythm coincides with the way he uses both his brush and his guitar. Utilizing warm, vibrant saturations of color, Morgan succeeds in creating a visceral, lyrical composition of chords comprised of organic and biomorphic shapes. The quick-drying qualities of acrylic paint make it a natural choice for Morgan, provoking the actual action of painting.</p> <p>Music is an inherent quality in Morgan’s work, using the brush in the same fluid manner he plays chords on his guitar; sometimes spontaneous, but also deliberate. His actions with the vibrate, reaching out to make splashes of forms and color, while at the same time creating notes of color that often disconnect and connect like music.</p> <p>Morgan’s mission is not to dictate the meaning of the chords in his compositions, but is to create a colorful, visceral scored experience for the viewer. His paintings depict transitional space between music and color coming together into visual form. The viewer interprets his or her own intellectual, emotional, and visceral response to each work.</p> Sun, 19 Aug 2012 01:56:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jon Fisher, Jeff Shore - Derek Eller Gallery - September 7th, 2012 - October 6th, 2012 <p>Derek Eller Gallery announces the opening of a multi-part electromechanical installation by Jeff Shore and Jon Fisher titled <em _mce_style="font-family: arial, helvetica, sans-serif; font-size: 11pt;">Trailer.</em>  <br /> <br /> For their first major exhibition in New York in five years, Texas-based collaborators Shore and Fisher will transform the gallery into an immersive environment comprised of sound, projection, and sculpture. A network of ten kinetic wall sculptures of wood, metal, and intricate wiring house hand-built scale models, motors, bulbs, miniature surveillance cameras, and microchips.  These apparatuses work together to generate live video sequences which are shown in projection throughout the gallery as well as an accompanying real time soundtrack.<br /> <br /> Rather than presenting a concrete narrative, the video sequences in<em _mce_style="font-family: arial, helvetica, sans-serif; font-size: 11pt;">Trailer</em> present a somewhat ambiguous emulation of cinema.  Scenes, devoid of any human presence, include an exotic landscape, a phone booth, a trailer park, and an empty stage with a microphone.  An array of musical instruments (i.e., drums with a high hat, a tuba) periodically appear and play within the scenes. Through the sequencing of music and image, <em _mce_style="font-family: arial, helvetica, sans-serif; font-size: 11pt;">Trailer</em> offers a unique, but familiar, experience.<br /> <br /> Performance and participation are key aspects of Shore and Fisher's work.  While the sculptures perform their individual roles in generating the audio and video elements of the projections, viewers of the exhibition will also perform as they scurry back and forth from screen to mechanical instrument to determine which component is creating image or sound.  To the passive viewer, the installation may be playful and inviting, but for the curious participant, the immersive environments have rewards for digging deeper, as a trail of evidence remains.  Technologies are exposed to bring the viewer into the realm of problem solving.<br /> <br /> Shore and Fisher have been collaborating since 2002.  With a background in visual arts, Shore makes the majority of the sculpture and visual components.  As a composer and computer programmer, Fisher is responsible for the sound, electronics and programming that runs the installation.  Their last major installation, <em _mce_style="font-family: arial, helvetica, sans-serif; font-size: 11pt;">Reel to Reel </em>(2007), was exhibited at The Kemper Art Museum, The Weatherspoon Art Museum, and The Scottsdale Museum of Contemporary Art.</p> Fri, 17 Aug 2012 03:46:51 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Carolanna Parlato - Elizabeth Harris Gallery - September 6th, 2012 - October 6th, 2012 <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/26821/15e3/20120904001927-parlato_pressrelease2012.jpg" /></p> Tue, 04 Sep 2012 00:21:31 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Christian Maychack - Jeff Bailey Gallery - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;">Jeff Bailey Gallery is pleased to present Christian Maychack, <i>Flats</i>. <br /><br /> Maychack's new work consists of wall and floor objects, which in addition to their sculptural presence, utilize the visual language of abstract painting. Their near flat surfaces create a shallow visual field for the viewer to 'enter'. <br /> <br /> Color and form (pigment, epoxy clay and wood) are joined to make not only the surfaces of each piece, but also their underlying supports. In this way, there is an interdependence between the pictorial space and physical space of the object. <i>Flats</i>, the title of the exhibition, is a nod in both directions. <br /> <br /> <i>Blue Through (CF23)</i> is an amorphous, oval-like shape tilted at an angle and crossed by intersecting lines. These lines, which read as two-dimensional on the surface, are actually part of the wooden lattice that establishes a framework for the oval and extends beyond it. Various pigments compose the marbleized surface, creating a figure/ground relationship with the wooden lines. The pigments are imbedded in the epoxy clay and everything is fused together with the wooden lattice. Although the materials are fixed in place, the form seems to be in flux. <br /> <br /> This amalgamation of sculpture and painting fosters a dialogue between both and breaks down the perceived hierarchies of each. Even so, there is a playfulness to the works and a give and take among them: finely cut wood contrasts with sections of found logs that have been worked into the epoxy clay. The wall mounted pieces extend from the wall, revealing the materials behind. Ovals and circles, made of pigment or wood, mirror one another and move between positive and negative space. <br /> <br /> As Frank Stella famously said, "What you see is what you see". Regarding Maychack's work, perhaps the phrase should be expanded: What you see is what you see - almost. <br /> <br /> This is Christian Maychack's third solo exhibition with the gallery. He has had other solo exhibitions at Gregory Lind Gallery, San Francisco and the Sirius Art Center, Cobh, Ireland. Maychack's work was included in the 2006 California Biennial at the Orange County Museum of Art, Newport Beach and his sculptures were featured in Bay Area Now 4, a group exhibition at the Yerba Buena Center for the Arts, San Francisco. He received his MFA from San Francisco State University in 2002 and attended the Skowhegan School of Painting and Sculpture in 2008. He has been an artist-in-residence at the MacDowell Colony and Edward Albee Foundation. He is a 2012 fellow in painting from the New York Foundation of the Arts. Maychack lives and works in Brooklyn, New York.</p> Tue, 02 Oct 2012 19:00:16 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Dan Hernandez - Kim Foster Gallery - September 6th, 2012 - October 6th, 2012 <p>We are pleased to announce Dan Hernandez’s first solo exhibition at the Kim Foster Gallery. The exhibit’s title “Genesis” refers to the artist’s visual dialogue of religion, mythology, and pop culture. Hernandez blurs boundaries, rearranges hierarchies, and calls into question our notions of iconography, collectibles, and devotion.</p> Fri, 22 Jun 2012 20:58:53 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Reza Derakshani - Leila Heller Gallery - Chelsea - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">New York (August 28, 2012) —<strong> Leila Heller</strong> is pleased to present<strong><em> Silence of the Night</em></strong>, a solo </span><span style="font-size: small;">exhibition of 10 large-scale sand paintings plus an installation by the visual artist and musician</span> <span style="font-size: small;"><strong>Reza Derakshani</strong>, on view at Leila Heller Gallery, located at 568 West 25'" Street, from </span><span style="font-size: small;">September 6 through October 6, 2012. A catalogue, featuring an essay by Negar Azimi, Senior</span> <span style="font-size: small;">Editor of Bidoun magazine, will be published to accompany the show.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Reza Derakshani is intemationally recognized and lauded for his fearless exploration of form and </span><span style="font-size: small;">style. His works are known for their monumental scale, and their embodiment of poetry and </span><span style="font-size: small;">lyricism, each cast in an ongoing array of materials that include oil, tar, gold and silver leaf, </span><span style="font-size: small;">enamel, glitter, soil and sand. Inspired both by his cultural heritage and the international</span> <span style="font-size: small;">contemporary movements, Derakshani often highlights the beauty and the splendor as well as</span><br /><span style="font-size: small;"> the sinister side of a politically tumultuous country.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Silence of the Night</em> marks a significant turn for Derakshani. Rather than highlighting land and </span><span style="font-size: small;">culture by using vibrant colors, lyrical imagery and words, the artist now employs a strict palette </span><span style="font-size: small;">of mostly black and white, and applies limited mediums of sand, soil, and enamel. ‘These </span><span style="font-size: small;">tableaus," as Negar Azimi writes in the catalogue essay, “communicate a vast emptiness, a void,</span> <span style="font-size: small;">and even, in the darkest moments, death." This new body of work acts as a memorial to the </span><span style="font-size: small;">transience of nationhood and home. Persian lconography- roses, nightingales, the <em>Shire o</em></span> <span style="font-size: small;"><em>Korshid</em> (an ancient symbol of national dignity, power and light), the Peacock Throne, the map of</span> <span style="font-size: small;">Iran -rendered in black sand, act as an embodiment of mouming and as a commemoration of a</span> <span style="font-size: small;">land and culture that once was.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Azimi explains: “It was in 2010, after a trip into the Emirati desert, that Derakshani was again</span> <span style="font-size: small;">struck by sand’s simultaneous tangibility and ephemerality. It was literally everywhere and </span><span style="font-size: small;">everything, but also in its infinite nature, frustratingly ungraspa ble. Experimenting with </span><span style="font-size: small;">industrial-grade black sand grains in his studio some weeks later, he began to throw them onto</span> <span style="font-size: small;">canvases coated with paste, finding that some would stick, while the rest fell to the floor. Herein</span> <span style="font-size: small;">was a game of chance inflected with the logic of loss, of stripping down, of truth. Whatever sand</span> <span style="font-size: small;">would remain at the end of this process was inevitably reveaIing—and formed the basis of the</span> <span style="font-size: small;">pieces assembled here.”</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Peacock Throne</em>, 2012, resembles a shadow of a throne, looming like a dark ominous cloud.</span> <span style="font-size: small;">Sketched in its center is the outline of a skull embedded with remnants of a dome design. The</span> <span style="font-size: small;">Peacock Throne was known for its extravagance, beauty, and embodiment of cultural  pride.</span> <span style="font-size: small;">However, in Derakshani’s work, the throne enshrouded with black sand and soil and embossed</span> <span style="font-size: small;">with a poisonous skull, is stripped of all vibrancy and any notion of livelihood, resembling the</span> <span style="font-size: small;">loss of this culture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Reza Derakshani was born in Sangsar, in the northeast of Iran. He currently lives and works </span><span style="font-size: small;">between the USA and the UAE. Derakshani studied visual arts both in Iran and the US. His work </span><span style="font-size: small;">has been exhibited and collected worldwide.</span></p> Sat, 22 Feb 2014 15:49:57 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Limner Gallery - September 8th, 2012 - October 6th, 2012 Tue, 28 Aug 2012 01:21:34 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Javier Arce - Marisa Newman Projects - September 6th, 2012 - October 6th, 2012 <p>Newman Popiashvili Gallery is pleased to present the first solo exhibition of Javier Arce at the gallery titled Kill Lies All. The show title comes from the phrase spray-painted on Guernica by Tony Shafrazi in 1974. This show includes a wall-sized mural, engravings, and sculpture based on various images concerning Guernica.<br /> Arce continues his practice of working with image appropriation and historical referencing. In Kill Lies All he concentrates on one work–Picasso’s Guernica and the history surrounding it. The mural on the gallery wall is based on the image published in the Spanish press in 1981 showing the moment in which Guernica arrives back in Madrid from New York. Though we are constantly aware of Guernica’s presence, it is never revealed or visibly reproduced in any of the works in the exhibition.<br /> The drawing of Guernica, made to scale, is crumpled up and placed on the gallery floor. The large scale piece functions as a sculpture, again concealing the actual image of the painting. The visible parts of the drawing, which is made with a ball point pen, appear almost as an etching. By asking us to stand and look at a transformed copy of an original work, Arce forces us to examine the contradictions and parallels between high culture and popular culture by turning something so far removed from the everyday world into something conventional and attainable. Arce blurs the boundaries between elite culture and mass culture. He bridges the gap between art and life and questions tradition, modernity and convention.<br /> Working with the image of Shafrazi being arrested shortly after defacing Guernica, Arce underlines the connection between the pretext for the return of the painting to Spain. The location of the painting at MoMA was proven to be unsafe and thus gave Spain further justification for its return to Madrid.<br /> Alongside the mural Arce shows a series of engravings made in the drypoint technique, displayed in the Military sculpture-box and on the gallery wall. The series is titled _Removal Assignments_–showing documentary images of the bombing of the city of Guernica, that are presented it in such a way that only traces of smoke, and not any recognizable landmarks are apparent. Although it is an image of a specific historical event, it could be equally applied to any act of violence regardless of geographical location or time period.<br /> During the opening reception the artist will print some leaflets, using a manual Minerva-Adana printer, with two different accounts of destruction of the city of Guernica. One is by George Steer and the second one by James Holburn. Both were reporters for The London Times and were covering the events of April 1937, although their articles tell very different stories.<br /> Javier Arce is a Spanish artist. He has a degree in Engraving from the Escuela de Artes Aplicadas in Oviedo and his Honors Degree in Fine Art at the Basque Country University. He received his Masters in Sculpture from the Wimbledon School of Fine Art. He has exhibited at Max Estrella Gallery, Madrid and Galería Del Sol St., Santander among others. He was granted with The International Studio and Curatorial Program in New York. He received in 2007 the Mención de Honor Generación 2007 in Madrid.</p> Thu, 20 Sep 2012 23:22:00 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Andy Cross - Martos Gallery - September 6th, 2012 - October 6th, 2012 <p>Martos Gallery is pleased to begin its fall season with “House Painter,” an exhibition of new work by Andy Cross. Form and function have never felt so at home—“House Painter” is literally a house made out of paintings. Over eighty paintings cover the exterior, all done by Mr. Cross throughout the last six years. Plein-air, portraits, self-portraits, nudes, still-lifes, photo-based, imaginative, abstract, and text paintings combine (like any other building material) to construct a classic cottage. It has a pitched roof, a door, three windows, a skylight, and even a little front porch.<br /><br /> Despite the physical walls of Andy’s house defining space in our gallery, his construction/painting approach physically breaks down the mental barriers we have erected between disciplines and styles. Architecture, sculpture, and painting, all blur into one message: that of pure possibility. <br /><br /> As Mr. Cross has written of the project, “Recycle the painting: flip it over and start anew; cut it up and collage the parts onto another painting. Screw a few paintings together to create a larger surface and then paint on top of it all over again. Or, combine paintings together and make a house…” The main piece in this exhibition has taken the form of a house, but overall, his varied work acts more like a bridge. Unabridged he paints and paints, connecting opposing sides: inside and out, high and low, personal and public. At its best, his work attempts to re-attach the severed silver strings that connect the material back to the spiritual.<br /><br /> Viewing Life as a continual artistic residency, Mr. Cross will occupy the “house,” turning it into his studio for the duration of the exhibition. All are welcome: come by and watch the artist paint inside his own paintings. Time may even allow him to work on your portrait. Or join Andy outside, on the front porch, watching the trends and traditions change like the traffic and construction projects on West 29th Street.</p> Mon, 20 Aug 2012 23:57:51 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ernst Wilhelm Nay - Mary Boone Gallery - 24th St. - September 7th, 2012 - October 6th, 2012 <p>On 7 September 2012, Mary Boone Gallery and Michael Werner Gallery will open a collaborative exhibition surveying the work of German artist <strong>ERNST WILHELM NAY</strong> (1902-1968). Presented simultaneously in three Manhattan galleries, this exhibition is the first significant presentation of Nay's work in the United States since his death.</p> <p>The exhibitions focus on works that represent the pinnacle of Nay's artistic achievement: the late period of the 1950s and 1960s. Nay's earliest works were derived from the then-prevalent Expressionist style. Whereas many of Nay's peers eventually turned away from Expressionism, Nay formed his own way by extending the pre-War language and style of Expressionism into a modern pictorial language of abstraction. Nay's first breakthrough occurred in 1937 with the "Fischer-bilder" and "Lofotenbilder", two discreet series of pictures devoted to fishermen and the landscape of Norway's Lofoten Islands. These paintings synthesize Nay's early works with a newfound interest in the expressive potential of color. A second major breakthrough came in the 1950s, with paintings and drawings inspired by notions of synesthesia -- the relationship of musical sounds and rhythms with colors and forms. These so-called "Rhythmic Paintings" ("Rhythmischen Bildern") brought Nay definitively into the realm of abstraction.</p> <p>Nay continued his investigation of color <em>as</em> form in a series of works characterized by modulated, circular color planes covering large areas of the picture surface. These would develop into the "Eye Paintings" ("Augenbilder") of 1963 and 1964, so named for their suggestive ocular forms. In 1965, the paintings underwent a rigorous simplification of form and palette, often limited to only a few clear, intense colors. At a time when most artists were creating second-generation variations on Abstract Expressionism, or enthralled with the newly emerging trends of Pop, Op and Minimalism, Nay developed a style that imbued abstract pictorial content with the capacity for deep conceptual and expressive meaning </p> <p>Ernst Wilhelm Nay was born in Berlin in 1902. He was admitted to the Berlin Art Academy in 1924 on the merits of his first, self-taught, paintings and quickly became the master student of Expressionist painter Carl Hofer. On leaving the Academy in 1928, Nay began exhibiting his work throughout Germany. He traveled abroad, first to Paris and then, on receiving the Prix de Rome in 1931, to Italy. These early successes were short lived. Like many avant-garde artists of the time, Nay's work ran counter to the ideals set forth by the National Socialists: they attacked Nay's paintings as "masterpieces of ugliness", confiscated his works from state museums, and ultimately included Nay in their infamous exhibition <em>Degenerate Art</em> in 1937. Left with no opportunities to exhibit his work, nor the means to acquire basic materials, Nay briefly left Germany, traveling and painting in Norway thanks to the generosity of Edvard Munch. Beginning in 1940, Nay served in the German army as a cartographer. In 1943 he arranged for an exhibition of his wartime works on paper at Galerie Günther Franke in Munich; a short time later he traveled to Paris on a duty trip, where he befriended Kandinsky and other artists of the Parisian avant-garde.</p> <p>Released from the army in 1945, Nay exhibited his work with increasing commercial and critical success. Nay first participated in the Venice Biennale in 1948 -- he would represent Germany there in 1956 -- and in 1950 Kestner Gesellschaft Hannover organized the artist's first retrospective exhibition. His first solo exhibition in America took place in 1955 at Kleemann Galleries in New York City. That same year Nay participated in the first Documenta, where he would exhibit again in 1959 and 1964. In 1960 Nay was granted a Guggenheim Fellowship and began to show his works extensively outside of Europe. He continued to exhibit internationally until his death in Cologne in 1968.</p> <p>The exhibitions at both Mary Boone Gallery locations -- <em>Drawings </em>at 745 Fifth Avenue and <em>Paintings </em>at 541 West 24 Street in Chelsea -- are on view through 6 October 2012. Together with additional paintings at Michael Werner Gallery, 4 East 77 Street, the three exhibitions present a broad selection of Nay's late period work. A fully illustrated catalogue is forthcoming.</p> <p>The New York exhibitions coincide with <em>The Polyphonic Eye</em>, a major survey of Nay's works on paper at Kunstmuseum Bonn from 20 September 2012 through 3 February 2013.</p> Fri, 07 Sep 2012 08:13:04 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ernst Wilhelm Nay - Mary Boone Gallery - 5th Ave. - September 7th, 2012 - October 6th, 2012 <p>On 7 September 2012, Mary Boone Gallery and Michael Werner Gallery will open a collaborative exhibition surveying the work of German artist <strong>ERNST WILHELM NAY</strong> (1902-1968). Presented simultaneously in three Manhattan galleries, this exhibition is the first significant presentation of Nay's work in the United States since his death.</p> <p>The exhibitions focus on works that represent the pinnacle of Nay's artistic achievement: the late period of the 1950s and 1960s. Nay's earliest works were derived from the then-prevalent Expressionist style. Whereas many of Nay's peers eventually turned away from Expressionism, Nay formed his own way by extending the pre-War language and style of Expressionism into a modern pictorial language of abstraction. Nay's first breakthrough occurred in 1937 with the "Fischer-bilder" and "Lofotenbilder", two discreet series of pictures devoted to fishermen and the landscape of Norway's Lofoten Islands. These paintings synthesize Nay's early works with a newfound interest in the expressive potential of color. A second major breakthrough came in the 1950s, with paintings and drawings inspired by notions of synesthesia -- the relationship of musical sounds and rhythms with colors and forms. These so-called "Rhythmic Paintings" ("Rhythmischen Bildern") brought Nay definitively into the realm of abstraction.</p> <p>Nay continued his investigation of color <em>as</em> form in a series of works characterized by modulated, circular color planes covering large areas of the picture surface. These would develop into the "Eye Paintings" ("Augenbilder") of 1963 and 1964, so named for their suggestive ocular forms. In 1965, the paintings underwent a rigorous simplification of form and palette, often limited to only a few clear, intense colors. At a time when most artists were creating second-generation variations on Abstract Expressionism, or enthralled with the newly emerging trends of Pop, Op and Minimalism, Nay developed a style that imbued abstract pictorial content with the capacity for deep conceptual and expressive meaning.</p> <p>Ernst Wilhelm Nay was born in Berlin in 1902. He was admitted to the Berlin Art Academy in 1924 on the merits of his first, self-taught, paintings and quickly became the master student of Expressionist painter Carl Hofer. On leaving the Academy in 1928, Nay began exhibiting his work throughout Germany. He traveled abroad, first to Paris and then, on receiving the Prix de Rome in 1931, to Italy. These early successes were short lived. Like many avant-garde artists of the time, Nay's work ran counter to the ideals set forth by the National Socialists: they attacked Nay's paintings as "masterpieces of ugliness", confiscated his works from state museums, and ultimately included Nay in their infamous exhibition <em>Degenerate Art</em> in 1937. Left with no opportunities to exhibit his work, nor the means to acquire basic materials, Nay briefly left Germany, traveling and painting in Norway thanks to the generosity of Edvard Munch. Beginning in 1940, Nay served in the German army as a cartographer. In 1943 he arranged for an exhibition of his wartime works on paper at Galerie Günther Franke in Munich; a short time later he traveled to Paris on a duty trip, where he befriended Kandinsky and other artists of the Parisian avant-garde.</p> <p>Released from the army in 1945, Nay exhibited his work with increasing commercial and critical success. Nay first participated in the Venice Biennale in 1948 -- he would represent Germany there in 1956 -- and in 1950 Kestner Gesellschaft Hannover organized the artist's first retrospective exhibition. His first solo exhibition in America took place in 1955 at Kleemann Galleries in New York City. That same year Nay participated in the first Documenta, where he would exhibit again in 1959 and 1964. In 1960 Nay was granted a Guggenheim Fellowship and began to show his works extensively outside of Europe. He continued to exhibit internationally until his death in Cologne in 1968.</p> <p>The exhibitions at both Mary Boone Gallery locations -- <em>Drawings </em>at 745 Fifth Avenue and <em>Paintings </em>at 541 West 24 Street in Chelsea -- are on view through 6 October 2012. Together with additional paintings at Michael Werner Gallery, 4 East 77 Street, the three exhibitions present a broad selection of Nay's late period work. A fully illustrated catalogue is forthcoming.</p> <p>The New York exhibitions coincide with <em>The Polyphonic Eye</em>, a major survey of Nay's works on paper at Kunstmuseum Bonn from 20 September 2012 through 3 February 2013.</p> Fri, 07 Sep 2012 08:15:57 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Bas Jan Ader, Arianna Carossa, Mie Olise - Mixed Greens Gallery - September 6th, 2012 - October 6th, 2012 <p>Mixed Greens is thrilled to present Searching, a group exhibition focusing on the work of Bas Jan Ader, Arianna Carossa, and Mie Olise. All three artists explore formal and conceptual ghosts, romanticism, and myth. Through open-ended narratives and juxtapositions, their work comes to represent an artist’s timeless search for connection and communication.<br /><br />It is often said that a sailor’s boat becomes an extension of himself. In Searching, the artists use the horizon, the ocean, and the vessel as stand-ins for their own quests for meaning. Their work is an extension of their personal histories and research. All three are searching for something that is more easily felt than named, and the process of searching is far more important than any one object of the search.<br /><br />In 1975, Bas Jan Ader completed an exhibition that was intended to be part one of a three-part project titled In Search of the Miraculous. Part two consisted of setting off on a small boat to traverse the Atlantic alone. Nine months after embarking from Cape Cod, Spanish fishermen found his boat and he was never heard from again. His life was a search for limits and what lies beyond the horizon. Each piece in his short career explored gravity, absurdity, challenge, and failure. Through his disappearance, he has left us searching and he entrusts us to continue his project.<br /><br />Arianna Carossa’s body of work consists of sculpture, photographs, and objects inspired by the Argo, a mythical boat said to posses the gifts of language and transformation. Using the anthropomorphized vessel as a starting point, Carossa builds moveable boat fragments that possess meaning based on their contexts. The mythical and nautical topics deconstruct and expand to include tools and images that work together to create a narrative. When placed in close proximity to one another, the objects begin to converse with each other and the viewer. A series of photographs taken from UFO sightings found on the Internet, for instance, reference a never-ending quest for connection and the limits between truth and fiction, nature and culture. Another series of photos that place hand-made paper objects in majestic arctic landscapes imply a timeless voyage and man’s search for self-discovery.<br /><br />Mie Olise’s work is fundamentally about searching—both literally and metaphorically. Her recent work explores her family history in relationship to the characters from the fictional writings of Danish author Aksel Sandemose (Olise grew up off the Island of Mors on a boat that shares a name with Sandemose’s main character, Espen Arnakke). Through her paintings of floating vessels and a video where she plays an abandoned ship as a musical instrument, Olise invites the viewer to a specific place and time where fact and fiction overlap, melt, and morph. Through constant retelling, Olise recontextualizes her own story to the point of universal resonance. All the work explores the nature of truth versus memory and a search for something that is yet unnamed.</p> Thu, 23 Aug 2012 23:31:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list