ArtSlant - Recently added en-us 40 Adam France, Guy Aitchison - Sacred Gallery NYC - July 14th - August 28th Sat, 25 Jun 2016 10:41:43 +0000 Graham Anderson, Sadie Benning, Sara Greenberger Rafferty, Byron Kim - James Cohan Gallery - Lower East Side - June 29th - September 11th <p style="text-align: justify;">James Cohan is pleased to open&nbsp;<em>Certain Skins</em>, an exhibition of works by Graham Anderson, Sadie Benning, Sara Greenberger Rafferty, and&nbsp;Byron Kim. The exhibition opens Wednesday, June 29 and will be on view through September 11 at the gallery's Lower East Side location.</p> <p style="text-align: justify;">The works collected in this exhibition explore the role materials may play in the construction of images. Utilizing a range of invented and hybrid processes that underscore the mutability between surface and image, the featured works incorporate elements of painting, sculpture, drawing, and photography into novel material states that embody rather than depict images. </p> <p style="text-align: justify;">Byron Kim stains his recent paintings with natural dyes and then works them with oil and earth pigments on a variety of fabric including canvas, linen, muslin, burlap and silk. The physical nature of the fabric - its absorbency, texture, thickness, strength, transparency and color - informs the process which evolves as the painting develops. Kim became interested in bruises upon encountering a passage in a poem by Carl Phillips about his sleeping lover&rsquo;s bruise illuminated by dawn&rsquo;s light.&nbsp; Phillips describes the bruise &ldquo;lifting itself over time from the darker/ blues to, slowly, something like amber/ to at last whatever, before the wounding/ the flesh was.&rdquo;&nbsp; Kim recognizes the bruise with or without the context of flesh as a perfectly rich subject, something he would like to imagine and to bring into the world as a metaphor. &nbsp;</p> <p style="text-align: justify;">Sara Greenberger Rafferty&rsquo;s new five panel work is comprised of photographic prints, hand-cut Plexiglas, and paint. Here, Rafferty comfortably plays with the slippage between image and surface in photo-objects of garments, as well as found and re-formatted texts. Like shedding one&rsquo;s skin, the garments and text are open to the viewer to be refitted and tried, waiting for the body to activate them.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Sadie Benning&rsquo;s materially ambiguous constructions are often described as paintings, but such distinctions feel artificial. Equally indebted to drawing as to sculpture, Benning&rsquo;s constructions are made of jigsaw cut pieces of wood that have been hand contoured, coated in resin and fit back together into puzzle-like compositions. In a trio of works, Benning demonstrates the way she uses these conjoined surfaces to create the site on which to explore the breakdown of forms into even smaller forms. In <em>Services</em>, two rows of figures stand in profile waiting in queues; in another red monochrome work, thin lines efficiently shape the form of a meat grinder at work, and a third composition depicts an exploded field of raw material that stretches across the surface like confetti; matter ultimately reduced to its simplest element of individual pixels. </p> <p style="text-align: justify;">Pointillist canvases by Graham Anderson dissolve figure and ground into flattened, synthetic illusions. Founded on the elusive ability to locate and hold together identity, each figure is outlined and defined, but its borders are tenuous and permeable. The marks Anderson create become their own discreet entities whose presence is always left recorded; some becoming decorative elements, while others amass into optically charged fields causing the viewer&rsquo;s perception of the image to change.&nbsp; As this perception shifts, the composition continuously recalibrates and reformulates itself into a dot matrix of varying skin tones that speaks as much to the resilience of collective memory as to its waning.</p> Sat, 25 Jun 2016 10:22:43 +0000 Irina Rozovsky, Graham Durward, Roger White - Peter Blum Gallery - June 30th - September 2nd <p class="Default" style="text-align: justify;">&nbsp;<strong>Peter Blum </strong>is pleased to announce a three-person exhibition of new works by <strong>Graham Durward</strong>, <strong>Irina Rozovsky</strong>, and <strong>Roger White</strong>. <strong><em>Exalted Position </em></strong>will be on view at Peter Blum Gallery, 20 West 57th Street, New York from June 30 through September 2, 2016. There will be an opening reception on Thursday, June 30, from 6 to 8 pm.</p> <p class="Default" style="text-align: justify;">The paintings and photographs in this exhibition depict objects and scenes from everyday life: an arrangement of silk flowers, a reflection of a wall in a hallway mirror, incense smoke in the corner of a room, a tree stump, a motorcyclist standing on a desolate road. <em>Exalted Position </em>suggests that something can be made or designated as &ldquo;important&rdquo;&mdash;that an object or place can rise above its material status into the realm of the spiritual or the symbolic. Through their works, the artists in this exhibition offer entry points into the possibility of gleaning transcendent meaning out of mundane and ordinary moments.</p> <p class="Default" style="text-align: justify;"><strong>Graham Durward </strong>will present a group of paintings from several evolving bodies of work; from semi-abstract renderings of burning incense to densely saturated depictions of harlequin patterns. Durward&rsquo;s loose brushwork pushes and pulls the surfaces of his paintings between abstraction and representation, always slipping away from straightforward definitions. Depictions of smoke melt into swirling abstract fields while geometric abstractions reverberate with a sense of absence and immateriality.</p> <p class="Default" style="text-align: justify;"><strong>Irina Rozovsky&rsquo;s </strong>series <em>A Rock that Floats </em>conveys a heavy, nearly mystical encounter with the everyday American landscape. These photographs were made with a portable film camera over various road trips through the United States between 2013-15. Rozovsky has recently printed the work in the color darkroom&mdash;an analog and nearly extinct method of making color prints that allows for a subtle shifting of hues away from faithful depictions and casts the images in the shadow of memories and illusion.</p> <p style="text-align: justify;"><strong>Roger White&rsquo;s </strong>paintings delve into the iconography of the mundane. In this exhibition White will present a group of new paintings that depict household objects and settings. Each work is an abstraction or fragmentation of the subjective experience of looking, in which the vantage point of the artists is perpetually challenged, questioned, or reaffirmed. The works come across both as a measured analysis of discrete objects and a poetic meditation on the practice of daily life.</p> <p style="text-align: center;">*Peter Blum Gallery will be closed from July 30<sup>th </sup>&ndash; August 21<sup>st</sup>, 2016*</p> Sat, 25 Jun 2016 09:38:21 +0000 elizabeth glaessner, Lauren Kelley, David Mramor, Allison Schulnik, Jessica Stoller, Robin F. Williams - P.P.O.W Gallery - June 30th - July 29th <p style="text-align: justify;"><strong>P &bull;P &bull;O &bull;W</strong> is pleased to present a group exhibition taking inspiration from Simone de Beauvoir's book The Woman Destroyed published at the height of the international women's civil rights movement in 1967. De Beauvior's existential publication is comprised of three fictional novellas on the theme of women, long past their youth, facing unexpected crises- alienation, solitude and heartache. Using de Beauvoir's character's psychologically profound empathy and exasperation towards societal and domestic expectations, the artists, Elizabeth Glaessner, Lauren Kelley, David Mramor, Allison Schulnik, Jessica Stoller and Robin F. Williams present works that extend the complexities of female crisis into contemporary and fantastical dimensions.</p> <p style="text-align: justify;">All of the artists in the exhibition, unlike de Beauvoir's characters, are experiencing the societal pressures that the author exposes before their own middle-age. With the age shift and current contemporary conditions still unfavorable to women&rsquo;s rights, this exhibit hopes to offer a reflection on this condition and perhaps a temporary antidote to the current state of our time.</p> <p style="text-align: justify;"><strong>Elizabeth Glaessner</strong> (b. 1984, Palo Alto, California) currently lives and works in New York. She received her BA from Trinity University in 2006 and completed her MFA at the New York Academy of Art in 2013. She was awarded a postgraduate fellowship at the New York Academy of Art in 2013, a residency at GlogauAIR Berlin in 2013 and a residency at the Leipzig International Art Programme in 2012. She has been included in group exhibitions in New York, Texas and Germany and has recently been featured in <em>Berlin ArtParasites</em>, <em>Whitewall Magazine</em>, and <em>LUUPS Munich and Leipzig</em>. Glaessner&rsquo;s paintings take elements from traditional history painting and re-contextualize them in a distinctly intimate and otherworldly voice. An exploration of memory, personal history and ritual, Glaessner&rsquo;s work questions the way in which we relate to and envision our past. Her most recent paintings depict a highly detailed mythology of post-human existence on earth that features anthropomorphic, gelatinous figures in familiar, yet toxic, landscapes. These organic creatures appear as if born from natural forms, like tree trunks and rock formations, in an attempt to reconstruct lost histories through the detritus left behind.</p> <p style="text-align: justify;"><strong>Lauren Kelley</strong> (b. 1975, Baltimore, Maryland) currently lives and works in New York. In 2015 she was the Creative Capital Award winner. In 2011 she was a Louis Comfort Tiffany Award recipient and, in 2007, was presented an inaugural Altoids Award through the New Museum. She has been a resident of the Skowhegan School, the Museum of Fine Arts Houston, the Glassell School's Core Program and the Studio Museum in Harlem, and the Marie Walsh Sharpe Studio Program. Her work has been exhibited in such venues as the New Museum, Spelman College Museum of Fine Arts, Sikkema Jenkins &amp; Co., The High Line, and the Contemporary Art Museum Houston. Reviews of her work have appeared in <em>The New York Times</em>, <em>The New Yorker</em>, <em>Art: 21 Blog</em>, <em>Art in America</em>, <em>ArtLies</em>, <em>Houston Chronicle </em>and <em>Houston Press</em>. Inspired by the malleable nature of young minds and the twisted intricacies of immature adults, her work is a response to historical narratives. Her animated tales have been culled from ideas supported by 1970s feminist logic, and the 1940s Doll Tests, a race-based psychological study of Black American youth. Kelley&rsquo;s studio practice is interdisciplinary and for the past six years, she has focused on a labor-intensive body of work as a response to 70s gender politics, and notions of female strength.</p> <p style="text-align: justify;"><strong>David Mramor</strong>&nbsp;(b. 1984, Cleveland, Ohio) lives and works in New York.&nbsp;He received his BFA from Ohio University, and his MFA from the School of Visual Arts, New York. He currently has an exhibition at Louis B. James in New York, on view until July 17th. Mramor has exhibited nationally and abroad, including at Maurizio Cattelan&rsquo;s New York Gallery, Family Business; Ronchini Gallery, London; and Gavlak Gallery, Palm Beach, Florida. Mramor deals with the construct of memory within a photographic image or memento, through deconstructing images using an Epson printer.&nbsp;Most of the painting and mark-making is applied before or during the canvas&rsquo;s run through the printer.&nbsp;Mramor sees the rhythm of the machine as a tool for his direct application. The marks document time as much as the photograph documents the moment.&nbsp;The&nbsp;<em>Venus</em>&nbsp;series was created using two early photographs of the artist's late mother. All of the painted gestures applied to the surface within these&nbsp;paintings were applied as a &ldquo;meditation on the photographs.&rdquo;&nbsp;In the latest series of paintings Mramor pulls from some of his past performances as his feminine pseudonym, Enid Ellen. The name Enid pulled from Sweet Valley High. Ellen pulled from Ellen Degeneres. Enid Ellen plans to perform original songs written with Greg Potter at P &bull;P &bull;O &bull;W on Thursday, July 21st&nbsp;at 7pm. &nbsp;</p> <p style="text-align: justify;"><strong>Allison Schulnik</strong> (b. 1978, San Diego, California) currently lives and works in Los Angeles, California. She earned her BFA in Experimental Animation from the California Institute of the Arts. She has had solo exhibitions at the Wadsworth Atheneum Museum of Art; Laguna Art Museum; Oklahoma City Museum of Art; Nerman Museum of Contemporary Art; ZieherSmith Gallery, New York; Rokeby Gallery, London; Unosunove Arte Contemporanea, Rome; and Division Gallery, Montreal. Schulnik's work is in the public collections of the Los Angeles County Museum of Art; Nerman Museum of Contemporary Art; Museum of Contemporary Art, San Diego; Santa Barbara Art Museum; Muse&eacute; de Beaux Arts, Montreal; Farnsworth Art Museum; Laguna Art Museum; Montreal Contemporary Art Museum; Wadsworth Atheneum Museum of Art; and Montreal Museum of Fine Arts. Schulnik choreographs her subjects in compositions that embody a spirit of the macabre, a Shakespearian comedy/tragedy of love, death and farce. The subjects often stare back at the audience and study them as they are in turn studied, aware of their ancestors from the &ldquo;Grand Theme&rdquo; works of the past, the genre paintings that inform them. Although a haunting sense of foreboding, discomfort and unease is palpable, a sense of understanding, compassion and hopefulness for her cast of characters is still evident in the heavy impasto paintings. Her sculptural use of oil paint references her clay-animation background, as a motion-like sensibility affords her paintings unparalleled depth and energy. Schulnik has an upcoming solo exhibition this fall at ZieherSmith in New York.</p> <p style="text-align: justify;"><strong>Jessica Stoller</strong> (b. 1981, Detroit, Michigan) currently lives and works in Brooklyn, New York. She received her BFA from the College for Creative&nbsp;Studies, and an MFA from Cranbrook Academy of Art. Stoller's work has been reviewed, in <em>The New York Times</em>, <em>Ceramics: Art and Perception</em>, and <em>N. Pandora Feminist Journal</em>, among others. She has been included in recent exhibitions at Greenwich House Pottery, New York; Wave Hill, Bronx, New York; and the Fuller Craft Museum, Brockton, Massachusetts. Stoller has had recent solo exhibitions at Hionas Gallery, New York and The Clay Studio, Philadelphia. Additionally she has participated in the Kohler Arts &amp; Industry Program, Sheboygan, Wisconsin, and The Museum of Arts and Design&rsquo;s Open Studio Program, New York. A recent Pollock-Krasner Foundation grantee, Peter S. Reed grantee and Louis C. Tiffany nominee, Stoller&rsquo;s work is also included in numerous private collections including the collection of the Vehbi Koc Foundation in Istanbul. Stoller uses clay and the grotesque as a vehicle to explore the constructed, often idealized world of femininity, gathering imagery across cultural lines and histories. Porcelain is her primary medium, a historically weighted material that is intrinsically linked to desire, mystery and consumption.</p> <p style="text-align: justify;"><strong>Robin F. Williams</strong> (b. 1984, Columbus, Ohio) currently lives and works in New York. She received her BFA from the Rhode Island School of Design. Williams has been included in numerous exhibitions internationally and abroad including an exhibition at Gallery Poulsen, Copenhagen, Denmark. Her work is currently on view in&nbsp;<em>Et in Arcadia Ego</em>&nbsp;at the New Museum Los Gatos, CA. Williams has been honored as the Josephine Mercy Heathcote Fellow at The MacDowell Colony and the 2010 Brooklyn Academy &ldquo;Playbill Artist.&rdquo; Her work has been featured in numerous publications including <em>The Brooklyn Rail</em>, <em>Juxtapoz</em>, and <em>The Observer</em>. Through an exploration&nbsp;of psychological&nbsp;portraiture, Williams' previous series of works depicted narratives surrounding children, teenagers and men. Williams&rsquo; experimental painting techniques have continued to develop alongside her expanded subject matter. Within these works Williams draws resemblance from a number of sources including the innovative mark-making of post-impressionist Georges-Pierre Seurat, the paintings of Mary Cassat that re-cast the role of women over a century ago, the paintings of Edouard Manet that postured the role of the viewer as active participant in the painting's narrative and the psychedelic palette of nineties graphic designer Lisa Frank.</p> Sat, 25 Jun 2016 09:22:58 +0000 Group Show - Jamaica Center for Arts and Learning - June 17th - August 20th <p><br /><strong>ARTISTS CO-OP III</strong><br /><span style="color: #373737; font-family: Arial, Helvetica, sans-serif;">This once membership-based program turned annual free showcase for local artists event will feature 20 local artists in the group exhibit.&nbsp;Coupled with a special open studio, in studio A, by EtM resident choreographer Pam Tanowitz and composer Dan Siegler.&nbsp;</span><br /><br /><strong>Participating Artists:</strong><span style="color: #373737; font-family: Arial, Helvetica, sans-serif;">&nbsp;SHAY ARICK, Maria Belford, Wonchun Che, Marcy Chevali, Ann Cofta, Kristina Fretkovich, Catherine Fletcher, Cora Jane Glasser, Matt Greco, Norma Greenwood, Jennifer Ivey, Rod Ivey, Sarah Langsam, Kristine Marx, Shannon McBride, Antonia A. Perez, Minshik Shin, Judy Yang, Alva Mooses &amp; Troels, Steenholdt Heiredal.</span></p> Fri, 24 Jun 2016 19:20:17 +0000 The Eric Lemon Trio, Keisha-Gaye Anderson, Julia Capello, Sokunthary Svay, ZEST Collective - Jamaica Center for Arts and Learning - July 1st 6:00 PM - 9:00 PM <p>Jamaica Center for Arts &amp; Learning (JCAL) invites the public and local artists to its monthly First Friday Residency Series, debuting the work of local performing, visual, and literary artists, on Friday, July 1, 2016, 6pm-9pm at JCAL (161-04 Jamaica Avenue, Jamaica, NY).&nbsp;<br /><br />Scheduled performances and presentations by jazz band The Eric Lemon Trio, writer Keisha-Gaye Anderson, singer and songwriter Julia Capello, poet and writer, Sokunthary Svay, and dance company ZEST Collective.<br /><br />The JCAL First Friday Residency Series aims to provide an inviting and nurturing environment for artists in need of workspace and a platform to exhibit their craft. Artists of all disciplines are welcomed to submit concepts of unfinished work to be refined at JCAL. Selected artists will receive a one-month free rehearsal or workspace and an opportunity to present during the First Friday Residency Series, which happens on the first Friday of every month.</p> Fri, 24 Jun 2016 19:17:23 +0000 108 artists represented - Atlantic Gallery - July 12th - July 30th <p>&nbsp;</p> <p>FOR IMMEDIATE RELEASE</p> <p><strong>ATLANTIC GALLERY IS PLEASED TO PRESENT CONNECTIONS: Artists Selecting Artists, a JURIED SUMMER INVITATIONAL, July 12-30, 2016. The first opening reception is Thursday evening, July 14, from 5-8 pm; a second reception is scheduled for Saturday, July 16, 2-5 pm.</strong></p> <p><strong>Members of Atlantic Gallery selected outside artists whose works they admired to be guest exhibitors </strong>in this broadly inclusive show of small, modestly-priced works. 108 artists are represented; their works include sculpture, painting, drawing and collage, each created within a challenging 12 by 12 by 12 inch format.</p> <p>&nbsp;</p> Fri, 24 Jun 2016 18:09:32 +0000 Carolyn Salas, Ria Roberts, Mia Goyette, Michelle Grabner, Carson Fisk-Vittori, Rachel Debuque, Catherine Czacki, Carolyn Carr, Becca Albee - CUE Art Foundation - July 16th - August 20th <p>CUE Art Foundation is pleased to announce&nbsp;<em><a href="" target="_blank" rel="nofollow">Radical Plastic</a></em>, a group exhibition featuring artists who employ formal visual languages to address more human contexts including the problematics of bodies and gender-based constructs.&nbsp;<em>Radical Plastic</em>&nbsp;is an opportunity to mediate on the idea of in-between-ness, and what it means to be in the middle of something as each artist proves adept at navigating fluid and liminal areas.</p> <p><span style="font-family: arial, sans-serif;">&nbsp;</span></p> <p><strong>Becca Albee&rsquo;s&nbsp;</strong>work<strong>&nbsp;</strong>navigates between prescriptions of color as relating to the body, gender, and space, and looking at color theory as a lens to confuse those constructs.&nbsp;On view is Albee&rsquo;s&nbsp;<em>Radical Feminist Therapy</em>&nbsp;series, which looks at Bonnie Burstow's&nbsp;<em>Radical Feminist Therapy: &nbsp;Working in the Context of Violence</em>&nbsp;(published in 1992) as point of departure.</p> <p>&nbsp;</p> <p><strong>Carolyn Carr&rsquo;s</strong>&nbsp;<em>A Photographer&rsquo;s Studio and the Problems of Posing</em>, takes its title from a William Mortensen book and utilizes a store-bought drop cloth painted with red clay sourced from the Antebellum Trail as conceptual and literal backdrop for her photography studio room installation.</p> <p>&nbsp;</p> <p><strong>Catherine Czacki&rsquo;s</strong>&nbsp;sculptural work,&nbsp;<em>BB</em>, is an anti-bed bug mattress cover re-imagined as a slumping, hanging sculpture&ndash;&ndash;prompting connotations to porousness, desire, possession, the&nbsp;still life<em>&nbsp;</em>and the establishing of physical boundaries between self and other.</p> <p>&nbsp;</p> <p><strong>Rachel Debuque</strong>&nbsp;creates large scale, candy colored sets that both challenge and reflect pop cultural tedium.&nbsp;Within her sets, constructed objects act as molded simulacra, which offer an opportunity to give them new meaning.<em>&nbsp;</em><em>Glisten</em>, a new work commissioned by CUE, is a performance installation that features a muscular, female athlete in an &ldquo;exercise room,&rdquo; who is performing a workout regime.</p> <p>&nbsp;</p> <p><strong>Carson Fisk-Vittori</strong>&nbsp;constructs environments integrating images, artifacts and flora to analyze the complex interactions between humans, the dynamic landscape and its ecosystems. Her current body of work,&nbsp;<em>Disturbance Ecology</em>, brings together an ecosystem of hypothetical weather machines, landscaping scenarios, and animal repellants.</p> <p>&nbsp;</p> <p><strong>Mia Goyette's</strong>&nbsp;work explores a potential future by creating a &ldquo;hybrid landscape&rdquo; from the detritus of human consumption. Wall-mounted sculptures dramatize and exaggerate waste streams created by simple domestic systems such as decorative window box flowers and their contained water run-off trays.</p> <p>&nbsp;</p> <p><strong>Michelle Grabner&nbsp;</strong>is driven by a consistent negotiation with the forms that qualify &lsquo;domesticity&rsquo; through her &ldquo;home base.&rdquo; On view are a selection of her gingham inkjet prints, works that reinforce her&nbsp;long-form practice of copying and translating gingham patterns uniting the body (hand) with the mind (commentary) in an almost coach-and-player like fashion.</p> <p>&nbsp;</p> <p><strong>Ria Roberts&nbsp;</strong>is a graphic designer and organizer. Occupying the store-front like gallery of the CUE space, Ria presents a bookshelf titled&nbsp;<em>Design Within Reach</em>, made from&nbsp;discarded materials from the Metropolitan Museum of Art (where she is&nbsp;employed) and featuring&nbsp;newly released&nbsp;issues of&nbsp;<em>Oikos&nbsp;</em>and&nbsp;<em>Methods</em>&nbsp;alongside&nbsp;<em>Bittersweet</em>, a commissioned natural scent by Tatiana Godoy Bentacur,&nbsp;jewelry by Sarah Shikama, swimwear by Mia Lindquist, and ceramics by Lauren Francescone.<strong><br /><br /></strong></p> <p><strong>Carolyn Salas'</strong>&nbsp;abstract sculptures are no doubt formal, but also suggestively human-scaled. Salas considers the physical installation of her works carefully, so they almost imply and build anthropomorphic conversations.&nbsp;Her most recent body of work utilizes the mold-making and casting process to create a sculptural installation on a large platform.</p> <p>&nbsp;</p> Fri, 24 Jun 2016 17:12:02 +0000 - Storefront for Art and Architecture - July 15th - September 2nd <p><strong>July 15th &ndash; September 2nd, 2016</strong></p> <p>&nbsp;</p> <p><strong>July 14th Exhibition Opening</strong></p> <p>6 &ndash; 7 pm: Press and Members Preview&nbsp;<a href="" shape="rect" target="_blank" rel="nofollow">[RSVP]</a></p> <p>7 &ndash; 9 pm: Public Opening&nbsp;<a href="" shape="rect" target="_blank" rel="nofollow">[RSVP]</a></p> <p>&nbsp;</p> <div dir="ltr">We are experiencing the emergence of a culture that is marked by a return to, redefinition, and expansion of the notion of the commons. The increasing complexity and interconnectedness of globalization is reorienting us away from trends that have emphasized individuation and singular development, and toward new forms of collectivity.&nbsp;</div> <div dir="ltr">&nbsp;</div> <div dir="ltr"> <div>Over the last decade,&nbsp;emerging technologies and economies have affected aspects of our everyday life, from the way we work and travel, to how we think about shelter and social engagement.</div> <div>&nbsp;</div> <div> <p>How will the sharing movement of today affect the way we inhabit and build the cities oftomorrow?</p> </div> <div>&nbsp;</div> <div>Manhattan, one of the most dense and iconic places in the world, has been a laboratory for many visions&nbsp;of urbanism.&nbsp;<em>Sharing Models: Manhattanisms</em>&nbsp;invites 30 international architects to produce models of their own visions for the city&rsquo;s future.&nbsp;</div> <div>&nbsp;</div> <div>The models, each a section of Manhattan, establish analytical, conceptual, and physical frameworks for inhabiting and constructing urban space and the public sphere. Together, they present a composite figure; a territory that is simultaneously fictional and real, and one that opens a window to new perceptions of the city&rsquo;s shared assets. &nbsp;</div> </div> <div class="yj6qo ajU"> <div id=":rn" class="ajR" data-tooltip="Show trimmed content"><img class="ajT" src="" alt="" /></div> </div> <div class="ajR" data-tooltip="Show trimmed content">&nbsp;</div> <p><strong>Participants</strong></p> <p><a href="" rel="nofollow">Archi-Tectonics, NYC</a></p> <p><a href="" rel="nofollow">Asymptote&nbsp;Architecture</a></p> <p><a href="" rel="nofollow">Atelier Manferdini</a></p> <p><a href="" rel="nofollow">Bureau V</a></p> <p><a href="" rel="nofollow">Buro Koray Duman</a></p> <p><a href="" rel="nofollow">I&ntilde;aqui Carnicero and Lorena del R&iacute;o</a></p> <p><a href="" rel="nofollow">Matilde Cassani</a></p> <p><a href="" rel="nofollow">Dror</a></p> <p><a href="" rel="nofollow">FOAM</a></p> <p><a href="" rel="nofollow">Future Firm</a></p> <p><a href="" rel="nofollow">H&ouml;weler + Yoon</a></p> <p><a href="" rel="nofollow">Huff + Gooden Architects</a></p> <p><a href="" rel="nofollow">JUNE14</a></p> <p><a href="" rel="nofollow">Leong Leong</a></p> <p><a href="" rel="nofollow">LEVENBETTS</a></p> <p><a href="" rel="nofollow">MAIO</a></p> <p><a href="" rel="nofollow">Manuel Herz Architects</a></p> <p><a href="" rel="nofollow">MODU</a></p> <p><a href="" rel="nofollow">nARCHITECTS</a></p> <p><a href="" rel="nofollow">ODA</a></p> <p><a href="" rel="nofollow">The Open Workshop</a></p> <p><a href="" rel="nofollow">Pedro &amp; Juana</a></p> <p>Renato Rizzi, IUAV Venice (It)</p> <p><a href="" rel="nofollow">SCHAUM/SHIEH</a></p> <p><a href="" rel="nofollow">SITU Studio</a></p> <p><a href="" rel="nofollow">SO &ndash; IL</a></p> <p><a href="" rel="nofollow">T+E+A+M</a></p> <p><a href="" rel="nofollow">Tatiana Bilbao Estudio</a></p> <p><a href="" rel="nofollow">TEN Arquitectos</a></p> <p><a href="" rel="nofollow">Urban Agency</a></p> <p>&nbsp;</p> <p><em>Research support for this exhibition is provided by Juan Francisco Saldarriaga and the Center for Spatial Research at Columbia University.</em></p> <p>&nbsp;</p> <p><em>Specific model support provided by&nbsp;</em><a href="" rel="nofollow"><em>Acci&oacute;n Cultural Espa&ntilde;ola (AC/E)</em></a><em>.</em></p> Thu, 23 Jun 2016 19:24:19 +0000 Robert Arneson, Joseph Beuys, Willie Cole, Yayoi Kusama, Man Ray, James Rosenquist, Stephanie Syjuco, Donald Sultan, Lawrence Weiner - RYAN LEE - July 13th - August 26th <div> <div> <div> <div> <div>Robert Arneson</div> <div>Joseph Beuys&nbsp;<br />Willie Cole</div> Yayoi Kusama</div> <div>Man Ray</div> James Rosenquist</div> Stephanie Syjuco</div> Donald Sultan<br />Lawrence Weiner</div> Thu, 23 Jun 2016 18:06:18 +0000 - Tyler Rollins Fine Art - July 1st - August 26th Thu, 23 Jun 2016 16:43:05 +0000 - Storefront for Art and Architecture - July 19th 7:00 PM - 9:00 PM <div style="text-align: justify;" align="left">Moderated by <strong>Eva Franch i Gilabert </strong>and&nbsp;<strong>Beatrice Galilee</strong></div> <div style="text-align: justify;" align="left"> <div align="left">&nbsp;</div> </div> <div style="text-align: justify;" align="left"> <p><em>Manifesto Series: In Our Time &ndash; The Sharing Movement</em>, is a two-part series presented by Storefront for Art and Architecture and The Metropolitan Museum of Art. How will today&rsquo;s sharing movement affect the way we work, move, build, and produce new ideas and knowledge?</p> <p>Participants will discuss this contemporary and ubiquitous movement, one that is increasingly influencing the exchange of goods, data, images, services, and spaces of residence and work. The series brings together leading practitioners and scholars embedded within the movement to explore its spatial, social, public, and private consequences, many of which are changing the future of urban life.</p> <p>Events will take place on June 8th at the Met Breuer, and on July 19th at Storefront for Art and Architecture. Storefront will also publish a related book as part of its Manifesto Series that draws upon the issues presented during the event.</p> </div> <div style="text-align: justify;" align="left">&nbsp;</div> <div style="text-align: justify;" align="left">#sharingmovement</div> <div style="text-align: justify;" align="left">@storefrontnyc</div> <div style="text-align: justify;" align="left">@metbreuer</div> <div style="text-align: justify;" align="left">&nbsp;</div> <div style="text-align: justify;" align="left"><em>This lecture is made possible by Dr. William Pordy.</em></div> <div style="text-align: justify;" align="left">&nbsp;</div> <div style="text-align: justify;" align="left">These events are&nbsp;free&nbsp;and&nbsp;open&nbsp;to the&nbsp;public, with seating on a first come, first served basis.&nbsp;Storefront members receive reserved seating. If you are a member and would like to reserve a seat, you can RSVP to and specify which events you&rsquo;ll be attending.&nbsp;If&nbsp;you would like to become a&nbsp;Storefront&nbsp;member, please <a style="color: #000000;" href="" target="_blank">see here</a>.</div> Thu, 23 Jun 2016 16:34:20 +0000 - Storefront for Art and Architecture - July 15th - August 27th <p style="text-align: justify;"><strong>July 14th Exhibition Opening</strong></p> <p style="text-align: justify;">6 &ndash; 7 pm: Press and Members Preview&nbsp;<a style="color: #000000;" href="" shape="rect" target="_blank">[RSVP]</a></p> <p style="text-align: justify;">7 &ndash; 9 pm: Public Opening&nbsp;<a style="color: #000000;" href="" shape="rect" target="_blank">[RSVP]</a></p> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;" dir="ltr">We are experiencing the emergence of a culture that is marked by a return to, redefinition, and expansion of the notion of the commons. The increasing complexity and interconnectedness of globalization is reorienting us away from trends that have emphasized individuation and singular development, and toward new forms of collectivity.&nbsp;</div> <div style="text-align: justify;" dir="ltr">&nbsp;</div> <div style="text-align: justify;" dir="ltr"> <div>Over the last decade,&nbsp;emerging technologies and economies have affected aspects of our everyday life, from the way we work and travel, to how we think about shelter and social engagement.</div> <div>&nbsp;</div> <div> <p>How will the sharing movement of today affect the way we inhabit and build the cities of tomorrow?</p> </div> <div>&nbsp;</div> <div>Manhattan, one of the most dense and iconic places in the world, has been a laboratory for many visions&nbsp;of urbanism.&nbsp;<em>Sharing Models: Manhattanisms</em>&nbsp;invites 30 international architects to produce models of their own visions for the city&rsquo;s future.&nbsp;</div> <div>&nbsp;</div> <div>The models, each a section of Manhattan, establish analytical, conceptual, and physical frameworks for inhabiting and constructing urban space and the public sphere. Together, they present a composite figure; a territory that is simultaneously fictional and real, and one that opens a window to new perceptions of the city&rsquo;s shared assets. &nbsp;</div> </div> <div class="yj6qo ajU" style="text-align: justify;"> <div id=":rn" class="ajR" data-tooltip="Show trimmed content"><img class="ajT" src="" alt="" /></div> </div> <div class="ajR" style="text-align: justify;" data-tooltip="Show trimmed content">&nbsp;</div> <p style="text-align: justify;"><strong>Participants</strong></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Archi-Tectonics, NYC</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Asymptote&nbsp;Architecture</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Atelier Manferdini</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Bureau V</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Buro Koray Duman</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">I&ntilde;aqui Carnicero and Lorena del R&iacute;o</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Matilde Cassani</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Dror</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">FOAM</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Future Firm</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">H&ouml;weler + Yoon</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Huff + Gooden Architects</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">JUNE14</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Leong Leong</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">LEVENBETTS</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">MAIO</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Manuel Herz Architects</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">MODU</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">nARCHITECTS</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">ODA</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">The Open Workshop</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Pedro &amp; Juana</a></p> <p style="text-align: justify;">Renato Rizzi, IUAV Venice (It)</p> <p style="text-align: justify;"><a style="color: #000000;" href="">SCHAUM/SHIEH</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">SITU Studio</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">SO &ndash; IL</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">T+E+A+M</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Tatiana Bilbao Estudio</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">TEN Arquitectos</a></p> <p style="text-align: justify;"><a style="color: #000000;" href="">Urban Agency</a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Research support for this exhibition is provided by Juan Francisco Saldarriaga and the Center for Spatial Research at Columbia University.</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Specific model support provided by </em><a style="color: #000000;" href=""><em>Acci&oacute;n Cultural Espa&ntilde;ola (AC/E)</em></a><em>.</em></p> Thu, 23 Jun 2016 16:31:01 +0000 Victoria Fu, John Gerrard, Marco Rios, Josh Tonsfeldt - Simon Preston Gallery - June 26th - August 5th Thu, 23 Jun 2016 16:23:49 +0000 Martin Puryear - Senior & Shopmaker Gallery - May 21st - July 29th <p style="text-align: justify;">In celebration of Martin Puryear&rsquo;s monumental sculpture,&nbsp;<a href="" target="_blank"><em>Big Bling</em></a>, installed in New York&rsquo;s Madison Square Park through January 2017, Senior &amp; Shopmaker is pleased to present a selection of etchings produced by the artist at Paulson Bott Press from 2008 through 2014.</p> <p style="text-align: justify;">Puryear&rsquo;s printmaking is intimately connected to and revelatory of the creative process which informs his nuanced and meticulously crafted sculptures. In the artist&rsquo;s words, &ldquo;Prints are direct. It&rsquo;s very freeing to work so directly. There is an element of immediacy about it, or there should be. In my hands it often isn&rsquo;t because I tend to be difficult to satisfy in terms of getting it the way I want it.&rdquo;&nbsp; In his prints, Puryear uses line to investigate a form&rsquo;s potential, whether schematic and minimal as in <em>Untitled VI (State I)&nbsp;</em>and<em>&nbsp;Untitled VI (State II)</em>, 2012, or dense and volumetric in his description of the narrative forms in <em>Black Cart</em>&nbsp;and <em>Phrygian</em>.</p> <p style="text-align: justify;">Puryear&rsquo;s graphic work is currently the subject of <em>Multiple Dimensions</em>, a traveling exhibition organized by the Art Institute of Chicago, which traveled to the Morgan Library &amp; Museum, New York and opens May 27th at the Smithsonian American Art Museum in Washington, DC.</p> Thu, 23 Jun 2016 16:18:24 +0000 - Queer Thoughts - June 29th - July 31st Thu, 23 Jun 2016 16:05:08 +0000