ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Pat Badt - The Painting Center - May 24th 6:00 PM - 8:00 PM <p><strong><em>Short Stories</em></strong> refers to <strong>Pat Badt&rsquo;s</strong> recent series of paintings, which explores the memories of people, places and things that create moments of experience. Badt often uses the backs of her paintings to embed found objects that refer to the painting&rsquo;s subjects, creating hidden &ldquo;readings&rdquo; that inform her work. For this exhibition, these works are presented on hinges so that the viewer is able to see behind the paintings and glimpse this secret place.</p> <p>Pat Badt's work is inspired by memory and place, filtered through experience and sensibility. Her studio is in an old barn along the Jordan Creek, surrounded by apple orchards, low mountains and the convergence of two creeks. She loves the process of painting -- the laying down of paint and the quest to find the appropriate handwriting and the right color, texture and scale.</p> <p>Pat Badt is Artist-in-Residence / Professor Emeritus at Cedar Crest College. She received her MFA from the University of Pennsylvania and her BA from the University of California at Santa Cruz. She splits her time between New York City and Pennsylvania.</p> Mon, 23 May 2016 16:08:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Suejin Jo - The Painting Center - May 24th - June 18th <p><strong>Suejin Jo&rsquo;s</strong> paintings are often inspired by poetry, music and memories of childhood landscapes. When she found out about the upcoming show three months ago she wanted to make all new works for it and sought inspiration in Igor Stravinsky&rsquo;s ballet and orchestral music,&nbsp;<em><strong>The Rite of Spring</strong></em>. She feels that, even though over a hundred years have passed since its first performance, that Stravinsky composition stays as fresh and awesome as the return of the Spring itself every year. Her first work &ldquo;Adoration of the Earth&rdquo; was followed by &ldquo;The Sacrifice&rdquo; and then by &ldquo;Dances of the young girls&rdquo; and &ldquo;Dance of the Earth&rdquo;. Jo hopes to complete two more ongoing paintings before the show opens.</p> <p>Suejin Jo, a Korean born abstract painter based in New York, studied at Columbia University and the Art Students League where she won McDowell traveling fellowship juried by Richard Pousette D&rsquo;Art and Romare Bearden. Jo had numerous solo and group exhibitions in New York, Korea, Mexico, Italy and Japan and participated in several art fairs including Scope, Pool, Architecture and Design and AAF. Her last solo show was in Knokke-Heist, Belgium, in 2014. Jo won Jacob and Gwendolyn Lawrence Solo Exhibition Award 2008 juried by DC Moore Gallery. Her work &ldquo;Pontchartrain&rdquo; was included in the 2012 State Department calendar, &ldquo;Homage to American Women Artists.&rdquo; Jo&rsquo;s work is in many private and public collections including Library of Congress, Chase Manhattan Bank, General Instrument Company, Embassy of San Marino, NAPABA Law Foundation, Sogang Univerisity, Ahl Foundation, 9/11 Memorial Museum, Art in General, Korea Exchange Bank, Hyundai Construction Co., Pulmuwon Food Corp.</p> Mon, 23 May 2016 16:05:13 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Kathy Cantwell - The Painting Center - May 24th - June 18th <p>Artist <strong>Kathy Cantwell</strong> knows her way around a stripe. In the paintings on display in her current one-person show&nbsp;<em><strong>Nightlines</strong></em>, she takes a pattern associated with regularity and restriction and transforms it into of vehicle of indeterminacy and expansion. Working in encaustic, the painter shuns the straight edge in favor of jaggedness, variable density, and overlapping. As an art student, Cantwell was drawn to the work of Gene Davis, a color field painter known for his color-balancing act of verticals. Taking his minimalist cue, she collapses the space between form and color, using simplicity and singularity to explore chromatic relationships. Yet for Cantwell, it is about the process of laying down the color, and her stripes result from making a complete side-to-side gesture with resistance from her medium.</p> <p>She is equally an expressionist in her palette, which hovers in twilight tonalities. Even when a brighter shade is introduced, it is subdued by the wax medium and by the surrounding embrace of darkness. Allowing for associations and metaphor, Cantwell admires the work of Sean Scully, and she seeks to similarly elicit humanistic content from a universally recognized motif. With encaustic, she takes advantage of its having passed from one state to another, which is an almost fleshy embodiment of crossing the line or of knowing no boundaries.</p> <p>After working in the music industry in New York City, Kathy Cantwell moved to New Jersey, where she currently lives with her wife and two children. In 2015, she had a solo exhibition Landforms at Gallery 103 in Maplewood, NJ. She has been shown in such group exhibits as: &ldquo;Square Foot&rdquo; Project Gallery, Miami Art Basel, Miami, FL, Arte Internazionale in Matera, Italy, One + One, A Gallery, Provincetown, MA, Viewpoints 2015, Aljira, a Center for Contemporary Arts, Baruch College&rsquo;s Mishkin Gallery, Montclair State University&rsquo;s George Segal Gallery, the Monmouth Museum, the Edward Hopper House in Nyack, N.Y., and numerous others. For more information on the artist, please visit&nbsp;<a href="http://www.kathycantwell.com/" rel="nofollow">www.kathycantwell.com.</a></p> Mon, 23 May 2016 16:01:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Kwon Young-woo - Blum & Poe | New York - June 1st - July 1st <div style="text-align: justify;">Blum &amp; Poe is pleased to present a survey of work by Kwon Young-woo (1926-2013), one of the founding figures of Dansaekhwa, the monochrome painting movement that redefined Korean art starting in the mid-1960s. This is Kwon's first solo exhibition with the gallery and his first solo presentation in New York.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Seeking a new alternative to the ink painting traditions that dominated Korea in the 1960s, Kwon initially dispensed with the use of ink and began to scratch at the surface of the&nbsp;<em>hanji</em>&nbsp;paper, creating all-over compositions of rips that emphasized the primacy of the ground. During the 1970s and early 1980s he expanded his repertoire, perforating the paper from behind and tearing it into more ragged strips. Despite the implied aggression in these gestures, the works are serenely calm and meditative<strong>.</strong>&nbsp;Eventually Kwon reintroduced the use of color, pouring gouache and ink with absolute precision into and around the cuts to further accentuate his mark making.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">A decade older than Lee Ufan and the other artists associated with Dansaekhwa, Kwon's practice was fundamental to the development of the movement. Though the term literally translates as "monochrome painting," it is better understood in terms of the processes the artists employed. Variously ripping paper, dragging pencils, pushing paint, and soaking canvas, the artists manipulated the materials of painting in ways that questioned the terms by which the medium was known. Promoted in Seoul, Tokyo, and Paris, Dansaekhwa quickly became the globally recognized face of contemporary Korean art.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Leading up to the opening of the exhibition, Dominique L&eacute;vy, Greene Naftali, Gallery Hyundai, and Blum &amp; Poe will cohost a panel discussion on Dansaekhwa with artist Chung Sang-Hwa and&nbsp;Alexandra Munroe, Samsung Senior Curator, Asian Arts, Solomon R. Guggenheim Museum. The conversation will begin at&nbsp;6:30pm&nbsp;on&nbsp;Tuesday, May 31,&nbsp;at&nbsp;Dominique L&eacute;vy Gallery.&nbsp;Seating is limited, please RSVP to&nbsp;<a href="mailto:rsvpny@blumandpoe.com" shape="rect" target="_blank">rsvpny@blumandpoe.com</a>.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Previously, Kwon was featured in the survey&nbsp;<em>From All Sides: Tansaekhwa on Abstraction</em>, held at Blum &amp; Poe, Los Angeles in 2014, and curated by Joan Kee, Associate Professor of History of Art at the University of Michigan. He was also included in the traveling exhibition of 2016,&nbsp;<em>Dansaekhwa and Minimalism</em>, held at Blum &amp; Poe, Los Angeles and New York - the first overview of Korean monochromatic painting with American Minimalism.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Kwon Young-woo was born in Liwon, Korea, in 1926. He graduated with a BFA in painting from Seoul National University in 1951 and received his MFA in 1957. He spent a decade living in Paris in the 1980s, and has been the subject of numerous solo exhibitions in Korea, France, Canada and the United States. The Seoul Museum of Art held a major retrospective in 2007. His work has also been celebrated in important surveys such as&nbsp;<em>When Process Becomes Form: Dansaekhwa and Korean Abstraction</em>, Villa Empain - Boghossian Foundation, Brussels, Belgium (2016);&nbsp;<em>Dansaekhwa</em>, Palazzo Contarini Polignac, Venice, Italy (2015);&nbsp;<em>Dansaekhwa: Korean Monochrome Painting</em>, National Museum of&nbsp;Modern and Contemporary Art, Gwacheon (2012); and<em>Korean Contemporary Art of the 1970s,</em>&nbsp;Tokyo Metropolitan Museum of Art, which traveled to Tochigi Municipal Museum of Art, National Museum of Contemporary Art, Osaka, Hokkaido Museum of Modern Art, Sapporo, Fukuoka City Museum, Fukuoka (1983). Kwon was one of the five artists featured in the landmark show&nbsp;<em>Five Kinds of White</em>, held at Tokyo Gallery in 1975. Prior to that, his work was included in&nbsp;the S&atilde;o Paulo Art Biennial (1973), and the Tokyo Biennale (1965).</div> Mon, 23 May 2016 08:16:05 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Kwon Young-woo - Blum & Poe | New York - June 1st - July 1st <div style="text-align: justify;">Blum &amp; Poe is pleased to present a survey of work by Kwon Young-woo (1926-2013), one of the founding figures of Dansaekhwa, the monochrome painting movement that redefined Korean art starting in the mid-1960s. This is Kwon's first solo exhibition with the gallery and his first solo presentation in New York.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Seeking a new alternative to the ink painting traditions that dominated Korea in the 1960s, Kwon initially dispensed with the use of ink and began to scratch at the surface of the&nbsp;<em>hanji</em>&nbsp;paper, creating all-over compositions of rips that emphasized the primacy of the ground. During the 1970s and early 1980s he expanded his repertoire, perforating the paper from behind and tearing it into more ragged strips. Despite the implied aggression in these gestures, the works are serenely calm and meditative<strong>.</strong>&nbsp;Eventually Kwon reintroduced the use of color, pouring gouache and ink with absolute precision into and around the cuts to further accentuate his mark making.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">A decade older than Lee Ufan and the other artists associated with Dansaekhwa, Kwon's practice was fundamental to the development of the movement. Though the term literally translates as "monochrome painting," it is better understood in terms of the processes the artists employed. Variously ripping paper, dragging pencils, pushing paint, and soaking canvas, the artists manipulated the materials of painting in ways that questioned the terms by which the medium was known. Promoted in Seoul, Tokyo, and Paris, Dansaekhwa quickly became the globally recognized face of contemporary Korean art.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Leading up to the opening of the exhibition, Dominique L&eacute;vy, Greene Naftali, Gallery Hyundai, and Blum &amp; Poe will cohost a panel discussion on Dansaekhwa with artist Chung Sang-Hwa and&nbsp;Alexandra Munroe, Samsung Senior Curator, Asian Arts, Solomon R. Guggenheim Museum. The conversation will begin at&nbsp;6:30pm&nbsp;on&nbsp;Tuesday, May 31,&nbsp;at&nbsp;Dominique L&eacute;vy Gallery.&nbsp;Seating is limited, please RSVP to&nbsp;<a href="mailto:rsvpny@blumandpoe.com" shape="rect" target="_blank">rsvpny@blumandpoe.com</a>.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Previously, Kwon was featured in the survey&nbsp;<em>From All Sides: Tansaekhwa on Abstraction</em>, held at Blum &amp; Poe, Los Angeles in 2014, and curated by Joan Kee, Associate Professor of History of Art at the University of Michigan. He was also included in the traveling exhibition of 2016,&nbsp;<em>Dansaekhwa and Minimalism</em>, held at Blum &amp; Poe, Los Angeles and New York - the first overview of Korean monochromatic painting with American Minimalism.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Kwon Young-woo was born in Liwon, Korea, in 1926. He graduated with a BFA in painting from Seoul National University in 1951 and received his MFA in 1957. He spent a decade living in Paris in the 1980s, and has been the subject of numerous solo exhibitions in Korea, France, Canada and the United States. The Seoul Museum of Art held a major retrospective in 2007. His work has also been celebrated in important surveys such as&nbsp;<em>When Process Becomes Form: Dansaekhwa and Korean Abstraction</em>, Villa Empain - Boghossian Foundation, Brussels, Belgium (2016);&nbsp;<em>Dansaekhwa</em>, Palazzo Contarini Polignac, Venice, Italy (2015);&nbsp;<em>Dansaekhwa: Korean Monochrome Painting</em>, National Museum of&nbsp;Modern and Contemporary Art, Gwacheon (2012); and<em>Korean Contemporary Art of the 1970s,</em>&nbsp;Tokyo Metropolitan Museum of Art, which traveled to Tochigi Municipal Museum of Art, National Museum of Contemporary Art, Osaka, Hokkaido Museum of Modern Art, Sapporo, Fukuoka City Museum, Fukuoka (1983). Kwon was one of the five artists featured in the landmark show&nbsp;<em>Five Kinds of White</em>, held at Tokyo Gallery in 1975. Prior to that, his work was included in&nbsp;the S&atilde;o Paulo Art Biennial (1973), and the Tokyo Biennale (1965).</div> Mon, 23 May 2016 08:16:03 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Peter Beard - Guild Hall - June 18th - July 31st <p>Divided into two sections installed in separate galleries, the exhibition is organized around the two outposts that Peter Beard calls home &ndash; Africa and the East End of Long Island. Representing the artist&rsquo;s first U.S. museum solo exhibition in 15 years, the show presents more than 50 multi-layered collages, drawings, photographs, and diaries from the 1960s to the present, some on public view for the first time. Peter Beard: Last Word From Paradise includes the artist&rsquo;s iconic work from Africa that chronicles the change in the landscape from a time richly populated by elephants, rhinos, and crocodiles, to what remains today. Also on view will be never-before exhibited Montauk portraits of his home, family, and friends including Mick Jagger, Andy Warhol, Jacqueline Onassis, and Lee Radziwill.&nbsp;&nbsp;The Museum at Guild Hall, 158 Main Street, East Hampton, New York 11937, 631.324.0806, GuildHall.org. FREE Admission generously funded by Suffolk County National Bank and Donald and Barbara Zucker.</p> Sun, 22 May 2016 23:04:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Carol Ross - Guild Hall - June 18th - October 1st <div class="OutlineElement Ltr SCX226177322"> <p class="Paragraph SCX226177322" style="font-weight: normal; font-style: normal; vertical-align: baseline; font-family: 'Segoe UI',Tahoma,Verdana,'Sans-Serif'; background-color: transparent; color: windowtext; text-align: left; margin-left: 0px; margin-right: 0px; padding-left: 0px; padding-right: 0px; text-indent: 0px; font-size: 6pt;">On view in the Furman Sculpture Garden are large freestanding metal sculptures whose solid composition and simple forms resemble totemic monuments of the ancient world. Smaller lyrical wall reliefs composed of wood veneers are on view in the Wasserstein Family Gallery.&nbsp;</p> </div> <p>Furman Sculpture Garden and Wasserstein Family Gallery at Guild Hall, 158 Main Street, East Hampton, New York 11937, 631.324.0806, GuildHall.org. FREE Admission generously funded by Suffolk County National Bank and Donald and Barbara Zucker.</p> Sun, 22 May 2016 23:02:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Levan Mindiashvili, Uta Bekaia - The Lodge Gallery - May 25th - June 26th <p style="text-align: center;"><br class="Apple-interchange-newline" />May 25th, 2016 &ndash; June 26th, 2016</p> <p style="text-align: center;"><strong>Opening Reception: Wednesday, May 25th, 7pm-9pm</strong></p> <p style="text-align: justify;"><br /><br />Levan Mindiashvili is a Georgian-born, Brooklyn-based visual artist primarily interested in exploring the complex relationships between communal and private spaces. This, Mindiashvili&rsquo;s second major exhibition at The Lodge Gallery, features works from his current ongoing project entitled <em>Unintended Archeology of (un)Place</em> and expands upon his paintings through&nbsp;installation and sculptural objects. Mindiashvili&rsquo;s paintings &ndash; rigorously rendered in several layers of acrylic paint and gel medium &ndash; mimic vintage, pixelated photography and questions our perception of the past and &lsquo;taught&rsquo; history. While paintings keep &lsquo;loyalty&rsquo; to their source material (the artist&rsquo;s own snapshots from travels to his native Georgia), the sculptures, on the other hand, are summarized images of experiences and memories from the many places he has&nbsp;lived. Some details might allude to a particular aparment&nbsp;in&nbsp;Brooklyn or a house in Tbilisi, but they are merely hermetic remnants of what once might have been a home. Rendered in pigmented plaster, they visually and superficially mimic a steady, permanent concrete, yet the fragility of his&nbsp;chosen material outlines the temporal and ephemeral nature of the notions of &lsquo;place&rsquo; and &lsquo;home&rsquo; in today&rsquo;s society.</p> <p class="p1" style="text-align: justify;">This exhibition is created in collaboration with Uta Bekaia. Both artists share same cultural background, and furthermore, the same concerns regarding identity and historical memory, but they employ two different starting points in their practice. While&nbsp;Mindiashvili is concerned with the intellectual knowledge and limitations imposed by society and culture, Bekaia is interested in genetical, biological memory.</p> <p class="p1" style="text-align: justify;">The artists have also conceived a performance entitled&nbsp;<em>If You Lived Here You Would Be Home Now</em>, which will be performed by Japanese/American butoh dancer&nbsp;<strong>Azumi Oe</strong>&nbsp;on the day of the opening. The resulting residual&nbsp;remnants of the performance piece will become part of the installation, and remain on view for&nbsp;the run of the show.&nbsp;</p> <p class="p1" style="text-align: justify;"><strong>Levan Mindiashvili</strong>&nbsp;received his BFA in sculpture from Tbilisi State Academy of Arts and realized post-graduate studies in Crossed Media Arts at The National University of Arts of Buenos Aires, Argentina. Among his awards should be mentioned Commission Grant for Public Art Projects from National Endowments for Arts, New York 2014 and Emerging Artist of 2011, Movistar Arte J&oacute;ven, 2011 Buenos Aires, Argentina. His work has been included in recent group exhibitions at Tartu Art Museum, Estonia; Brooklyn; Hathaway David Contemporary, Atlanta; ODETTA, Brooklyn; RichMix, London; Georgian National Museum, Tbilisi; Recent solo exhibitions include &ldquo;Studies For Unintended Archeology&rdquo;, The Vazquez Building, Brooklyn; &ldquo;Borderlines&rdquo;, The Lodge Gallery, New York; &ldquo;Urban Identities&rdquo;, Kunstraub99, Cologne.</p> <p class="p1" style="text-align: justify;"><strong>Uta Bekaia</strong>&nbsp;Georgian Born, New York based multimedia artist. He had studied Industrial Design at Tbilisi Mtsire Academy. He debuted as an artist at AMA (Avant-Guard Fashion Assembly) with a sculptural performance. He creates multimedia performances and installations inhabited with wearable sculptures, exploring his historical cultural background, genetical codes and cycles of the universe. His works were included in Istanbul 14th Biennial and Kiev 2nd Biennial. He currently presented performance pieces &ldquo;Vestiphobia&rdquo;, Ideal Glass, New York; &ldquo;Fua Sia Tata Sia&rdquo;, The Movement Theater, Tbilisi; and Tbilisi City Parade &ldquo;Berikaoba&rdquo;.</p> <p style="text-align: justify;"><strong>The Lodge Gallery</strong>,&nbsp;founded by Keith Schweitzer and Jason Patrick Voegele, is located at 131 Chrystie Street on Manhattan&rsquo;s Lower East Side. It is the exhibition venue of Republic Worldwide and serves as both an art space and a gathering place for hearty discourse and experimentation.</p> Sun, 22 May 2016 17:21:30 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - AICON GALLERY - New York - May 26th - July 2nd <p style="text-align: justify;">Aicon Gallery is pleased to present Between Structure and Matter: Other Minimal Futures, a group exhibition curated by Prajit Dutta and Murtaza Vali, featuring work by Jo&euml;l Andrianomearisoa, Minam Apang, Rasheed Araeen, Hemali Bhuta, Shilpa Gupta, Somnath Hore, Nadia Kaabi-Linke, Jitish Kallat, Mohammed Kazem, Waqas Khan and Abdullah M. I. Syed.&nbsp;</p> <p style="text-align: justify;">In his authoritative historical account of the period, art historian James Meyer suggests that minimalism may be better understood not as a coherent movement or a singular style but as a &ldquo;field of difference,&rdquo; a &ldquo;dynamic field of specific practices&rdquo; that was polemical, contested, and plural from its very inception.While Donald Judd focused on form and structure to challenge Clement Greenberg&rsquo;s demands for medium specificity, matter mattered deeply to Carl Andre. And while Dan Flavin&rsquo;s fluorescent tubes flirted with Pop, Robert Morris dabbled in performance through collaborations with the Judson Dance Theater. There were, and continue to be, many &ldquo;minimalisms.&rdquo; More aptly conceived of as a varied set of strategies or sensibilities, minimalism continues to have currency among artists working today. Inspired by this idea of minimalism as a &ldquo;field of difference,&rdquo; Between Structure and Matter: Other Minimal Futures brings together minimal work by an international and multigenerational selection of artists.&nbsp;</p> <p style="text-align: justify;">The exhibition is anchored by two important but, until recently, overlooked historical bodies of work by Rasheed Araeen and Somnath Hore, which both expand the discourse around minimalism in interesting ways. Unaware of concurrent developments in New York, Araeen began making minimalist sculptures, or structures as he preferred to call them, in the mid-1960s, shortly after his move from Karachi to London. Running a bisecting diagonal across the square faces of the skeletal cubes that were his basic units, Araeen introduced dynamism and rhythm into the otherwise static and rigid orthogonal grid. This simple linear addition opened his otherwise minimalist structures up to the potential of pattern and ornament, as did his embrace of vivid color. In 1971, Somnath Hore began producing a series of paper pulp prints titled Wounds, whose pristine white surfaces were subtly marked with impressions and indentations that resembled gashes, bruises, and scars. Best known as a printmaker, Hore had represented the plight of innocent victims of famine, war and conflict across the Subcontinent throughout his career. With Wounds he universalized these horrors through abstraction, branding palpable signs of bodily pain and trauma into the very material of his otherwise minimal surfaces, opening them up to the vicissitudes of politics and history. From Araeen&rsquo;s play with structure to Hore&rsquo;s investment in matter, these two bodies of work mark the ends of a minimal continuum along which the other, more contemporary, works in the exhibition may be situated and understood.&nbsp;</p> <p style="text-align: justify;">While repetition is most commonly linked to the efficiency of the assembly line and the industrial logic of capitalism in the West, it may also be understood as a performative or ritualistic act, a tool for rehearsal, reenactment or meditation. This quality of repetition as ritual drives both Waqas Khan&rsquo;s meticulous ink on paper drawings and Mohammed Kazem&rsquo;s delicate scratch works, as forms are built up through the gradual accumulation of thousands of short precise marks. And like Kazem, Hemali Bhuta&rsquo;s monochromatic graphite on graphite drawing confuses mark with surface, figure with ground.&nbsp;</p> <p style="text-align: justify;">Like Hore, Shilpa Gupta and Nadia Kaabi-Linke address complex real world issues&mdash;geopolitical conflagrations, contested borders, labor exploitation&mdash;through the most reductive of means: the ghostly trace of a tree, a straight line, a triptych of monochromatic circles. Similarly, Jo&euml;l Andrianomearisoa&rsquo;s cloth pieces both poetically and materially respond to the profound transformations underway in his hometown of Antananarivo. Though in a different medium, Minam Apang&rsquo;s delicate tea and charcoal wash painting on cloth also abstracts landscape, reducing a mountain vista to simple composition of geometric forms.&nbsp;</p> <p style="text-align: justify;">Referencing Andre&rsquo;s iconic floor pieces, Abdullah M. I. Syed tarnishes the pristine surfaces of his carefully inked squares with tears, bringing the minimal surface into dialogue with the affective body. Jitish Kallat engages nature in a comparable manner, allowing the uncertainty of flames and the direction of prevailing winds to determine the final form of his large-scale minimal drawings.&nbsp;</p> <p style="text-align: justify;">The sheer diversity of mediums, materials and strategies used to produce the works included in Between Structure and Matter: Other Minimal Futures reinforces the idea that minimalism is best understood as plural, as a &ldquo;field of difference,&rdquo; an ethos that remains impossible to pin down but that continues to inspire.plural, as a &ldquo;field of difference,&rdquo; an ethos that remains impossible to pin down but that continues to inspire.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">About the Curators&nbsp;</p> <p style="text-align: justify;">Prajit Dutta is a Partner at Aicon Gallery and a Professor of Economics at Columbia University. He is an accidental curator whose principal excuse for co-curating this show is a lifelong fascination with minimalism. This fascination was possibly borne of seeing a Robert Ryman White on White painting and a Carl Andre Grid sculpture at the Second Triennale organized back in 1971 by the Lalit Kala Akademi (the National Academy of Art) in New Delhi, India. Seeing Eva Hesse installations and white Ryman paintings and Andre steel slabs left an eleven-year old boy considerably bemused, used as he was to art that was much more conventional. Since then he has learned that minimalism has a more global face and he is happy to help close the circle by bringing this Other Minimalism to the home of Ryman and Andre.&nbsp;</p> <p style="text-align: justify;">Murtaza Vali is a critic and curator who lives and works between Brooklyn and Sharjah. A recipient of a 2011 Creative Capital | Warhol Foundation Arts Writers Grant, his work has appeared in various international art publications and he has penned essays for commercial galleries and non-profit institutions around the world. His past curatorial projects include: Formal Relations (Taymour Grahne Gallery, New York, 2015); Accented (Maraya Art Centre, Sharjah, 2015); Geometries of Difference: New Approaches to Ornament and Abstraction (Samuel Dorsky Museum of Art, New Paltz, 2015); PTSD: Shahpour Pouyan (Lawrie Shabibi Gallery, Dubai, 2014); extra|ordinary: The Abraaj Group Art Prize 2013 (Art Dubai, 2013); Brute Ornament (Green Art Gallery, Dubai, 2012); and Accented (BRIC Rotunda Gallery, Brooklyn, 2010). An occasional pedagogue, Vali is a Visiting Instructor at Pratt Institute, a Part-time Lecturer at Parson The New School of Design, and a tutor for Campus Art Dubai.</p> Sun, 22 May 2016 17:04:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Hauser & Wirth 18th Street New York - May 26th 6:00 PM - 7:00 PM <p style="text-align: justify;">Join Hauser &amp; Wirth for a reading and book signing by Musa Mayer of the newly published edition of&nbsp;<a href="http://www.hauserwirth.com/publications/153/night-studio-a-memoir-of-philip-guston/view/" target="_blank">&lsquo;Night Studio. A Memoir of Philip Guston&rsquo;</a>.</p> <p style="text-align: justify;">&lsquo;Night Studio&rsquo; is a deeply personal account of growing up in the shadow of a great artist. Musa Mayer, the daughter of Philip Guston (1913 &ndash; 1980), recounts her quest to better understand her father, based on letters and notes by the artist, and interviews with those who knew him. First published to critical acclaim in 1988, this beautifully designed new edition is richly illustrated with a new selection of photographs and paintings, many in colour.</p> <p style="text-align: justify;">Released on the occasion of the inaugural exhibition<a href="http://www.artslant.com/ny/events/show/414057-painter-1957-1967" target="_blank">&lsquo;Philip Guston: Painter, 1957 &ndash; 1967&rsquo;</a>&nbsp;at Hauser &amp; Wirth New York, 18th Street, on view through 29 July.</p> <p><a href="http://www.eventbrite.com/e/night-studio-a-memoir-of-philip-guston-reading-and-book-signing-by-musa-mayer-tickets-25400078318?ref=ebtn" target="_blank"><img src="https://www.eventbrite.com/custombutton?eid=25400078318" alt="Eventbrite - 'Night Studio. A Memoir of Philip Guston', Reading and Book Signing by Musa Mayer" /></a></p> Sun, 22 May 2016 16:31:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lucas Blalock, Naotaka Hiro, Sanya Kantarovsky, Nicola L, Tala Madani, Jakub Julian Ziolkowski - Hauser & Wirth 18th Street New York - June 23rd - July 29th Sun, 22 May 2016 16:29:03 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Daniel Herr, Anna Mendes, Paul Metrinko, Giordanne Salley, Liv Aanrud, Beth Kaminstein - Steven Harvey Fine Art Projects - May 25th - June 25th <p><em>Captain Beefheart/Don Van vliet said to Frank Zappa, the difference between us, Frank, is that you like to work and I like to play.</em></p> <p>Steven Harvey Fine Art Projects presents Free Time, a summer invitational in two parts, which celebrates the play spirit in contemporary art. The first section will run between May 25<sup>th</sup> and June 25<sup>th</sup>, and includes the work of painters: Daniel Herr, Anna Mendes, Paul Metrinko and Giordanne Salley, textile artist Liv Aanrud and ceramicist Beth Kaminstein.</p> <p>Based in Los Angeles, Liv Aanrud creates all-over textile abstractions informed by the language of painting.&nbsp; She employs the traditional folk method of rag rug hooking.&nbsp; Aanrud received her MFA in 2011 at the Mason Gross School of the Arts at Rutgers University.&nbsp; She had a solo show at SHFAP project space in 2015 entitled, <em>Ravel Ravel</em>.&nbsp; Her work was recently included in <em>Physical Painting</em> at SUNY Purchase College. &nbsp; &nbsp;</p> <p>Daniel Herr received his MFA in 2011 at Boston University.&nbsp; In 2015, his work was exhibited at The Inside/Outside Art Museum in Beijing.&nbsp; His work connects the dots between Hans Hofmann and Don Van Vliet with wide-open visual references in a polyglot, gestural language.&nbsp;</p> <p>&nbsp;Beth Kaminstein lives in the Florida Keys.&nbsp; She is a master ceramicist who studied at Bennington College with Stanley Rosen. Subsequently, she taught at Greenwich House in New York City for a number of years. &nbsp; In 2013, her work was exhibited alongside Helen Frankenthaler at Cross Mackenzie Gallery in Washington D.C.&nbsp; She has created commissioned pieces for Greenways Project Broward County Art in Public Places. &nbsp;&nbsp;</p> <p>Anna Mendes got her undergraduate degree at Wesleyan. She is attending UCLA this fall to work in their MFA program. Recently, she has, with several collaborators, created an environmental art space in Brooklyn called Treasure Town. Mendes began as a figurative painter. We will be showing examples from her snacks series. &nbsp;</p> <p>Paul Metrinko studied at Pennsylvania Academy of Fine Arts.&nbsp; While there, he received the Lois and Charles X. Landscape Residency where he met E. M. Saniga, an artist who exhibits with Steven Harvey Fine Art Projects. Metrinko is working on a series of small paintings of New York, which play with the conventions of outdoor landscape painting while illustrating an innocent surrealism. &nbsp;</p> <p>&nbsp;Giordanne Salley&rsquo;s paintings explore the intersection of love and nature. With sensitively textured surfaces, she creates close-ups of the memories of running through the woods, skinny-dipping, and being in love. Salley received her MFA from Boston University in 2013.&nbsp; She had a solo show at The Vermont Studio Center in 2011. Her first solo show in New York City was at Steven Harvey Fine Art Project&rsquo;s Projector Space in 2015.&nbsp; The New York Times, critic, Roberta Smith singled Salley out as an artist to look out for. &nbsp;</p> <p>Free Time, part 2 opens July 7, 2016. Please contact the gallery at 917-861-7312 or <a href="mailto:info@shfap.com" rel="nofollow">info@shfap.com</a> for further information or photographs.&nbsp;</p> <p>&nbsp;</p> Fri, 20 May 2016 21:18:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ben Bertocci, Kevin Bourgeois, Nick Cash, Michel Demanche, Steven Dobbin, Eric Foss, Greg Haberny, Gerry Mocarsky, John David O'Brien - Causey Contemporary - July 7th - August 21st <p class="p1"><strong>Manhattan, May 2016,</strong></p> <p class="p2">&nbsp;</p> <p class="p3">Causey Contemporary is pleased to announced the group show Bricolage at our Lower East Side location from July 7 to August 21. The public is invited to attend the opening reception July 8th from 6 to 8pm.</p> <p class="p4">&nbsp;Bricolage is an underused word relating to the compositing of diverse materials, ideas or structures. It is used mainly with regards to art or literature.</p> <p class="p4">&nbsp;Each of the artists in this curation created works which fall into this description.&nbsp;</p> <p class="p3">Further, each of the artists utilizes Bricolage to help them enunciate responses to the myriad identification issues present within our current society whether as a result of branding, politics, gender differences or societal norms.&nbsp;</p> <p class="p3">Each artist believes it necessary to "copy and paste" borrowing via the use of photography, newspaper transfers or direct image copying to illustrate the confusion of identity within which we now live.&nbsp;</p> <p class="p4">Ben Bertocci appropriates images of animals and appliances within his paintings to portray self-identity. &nbsp;</p> <p class="p4">Kevin Bourgeois draws almost photorealistic logos in graphite and pairs them with matches, bullet casing or found objects to show how we identify with branding even when those brands harm ourselves and our environment. &nbsp;</p> <p class="p4">Nick Cash incorporates digital photographs and magazines to discuss our perception of&nbsp; the environments we live in or with.</p> <p class="p4">Michel Demanche uses a collage of photographs, drawings and photo transfers from children's books to discuss gender&nbsp; perception and how mentally handicapped are viewed in society.&nbsp;</p> <p class="p4">Steven Dobbin, casts exact copies of found objects or toys, then photographs them and displays the duo to raise discussions on gender roles directed at children.&nbsp;</p> <p class="p4">Erik Foss uses photo transfers from old Maxims or Playboy magazines to speak about female identities. &nbsp;</p> <p class="p4">Greg Haberny recycles pieces of old paintings, and melted crayons to convey ideas on our polictial and socio-political beliefs</p> <p class="p4">Gerry Mocarsky composes staged photographs which copy famous portraits or paintings but with transgender men in place of the central figure.</p> <p class="p4">John David O&rsquo;Brien like Nick Cash, focuses on&nbsp; our identification of space, of home, of environment using paint, and photographic transfers, straight photography and collage.</p> Fri, 20 May 2016 19:48:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list John J. Richardson - Causey Contemporary - June 9th - July 3rd <p class="p1">Fragments<br />June 9 - July 3, 2016<br />John J. Richardson<br />Opening Reception: June 10, 2016</p> <p class="p1">&nbsp;</p> <p class="p1"><strong>Fragments: Sculpture, Prints and Drawings by John J. Richardson Opens at Causey Contemporary</strong></p> <p class="p2">&nbsp;</p> <p class="p1"><strong>May, 2016 New York, NY</strong>, Fragments, the first solo exhibition of John J. Richardson in New York opens at Causey Contemporary with a public reception on June 10, 2016, from 6 - 8 pm.&nbsp;</p> <p class="p1">The exhibition will take place at 29 Orchard St. at the gallery&rsquo;s lower east side location in New York City and runs through July 10, 2016.&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p1">Industrial detritus found on the streets of Detroit forms the conceptual and formal inspiration for this body of sculpture, the Case Study Series. The artist finds and collects remnants on daily walks near his home and studio in Detroit. The resulting collection of parts, primarily small pieces of metal, rubber, and plastic, are used as models in the creation of sculpture with shifts in scale, materials, color, and composition. The discarded materials are poetically reimagined and given new life, while visual traces of their origins remain embedded within the finished sculpture. The sculptures are often displayed on stands which reflect the aesthetics of workshop and laboratory furniture; spaces of experimentation and invention.</p> <p class="p2">&nbsp;</p> <p class="p1">The Interface Series consists of woodblock prints in which found industrial shapes are pieced together. The final compositions are based on juxtapositions of interlocking edges with strong positive and negative interplays.&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p1">The colored pencil drawings are based on repetitive patterns seen in the urban landscape, such as fences and grates. Titled the Industrial Filter, Grid, and Screen Series, the idiosyncrasies of hand-drawn lines provide a contrast to the rigid geometry of the source imagery as invented color heightens the permeable layers depicted.</p> <p class="p2">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p1"><strong>Biography</strong></p> <p class="p2">&nbsp;</p> <p class="p3">John J. Richardson earned his graduate degrees in sculpture from the University of Wisconsin-Madison (MFA 1996, MA 1994) and his undergraduate degree from the University of Puget Sound, Tacoma WA (BA with honors, 1993). He currently teaches at Wayne State University in Detroit, Michigan where he is the Chair of the department. He has also served the department in the roles of sculpture area coordinator, Interim Chair, Associate Chair, and Graduate Officer.Through his sculpture, Richardson investigates a notion of mind/body duality where a created object begins as an extension of the maker and then emerges as a separate entity that may or may not be interdependent. He works in a variety of media including cast and welded metals, rubber, glass, wood, plastic, and stone. He has participated in over 50 national, group exhibitions and held many one-person exhibitions &ndash; including an exhibition at the South Bend Museum of Art (2007). In March 2012, he had a one-person exhibition at the University of Minnesota-Morris. In the summer of 2012 he exhibited sculpture in a group exhibition at Causey Contemporary Gallery and later in the fall at a one-person exhibition at Finlandia University. His award winning work is held in numerous private and public collections, including the Michigan Legacy Art Park (Ontonagon, 2002); Xiadu Park, Yanqing, China (Anastomatic Lines, 2001); the Open Air Museum of Steel Sculpture, Coalbrookdale, England (Articulated Lapse, 2003) and the Lumsden School, Lumsden, Scotland (Time Boundary, 2004).<br /> <br /> In addition to creating sculpture, John Richardson makes frequent contributions to the arts as a juror, scholar, and lecturer. He has been a member of the College Art Association since 1995, became a member of the CAA Board of Directors in 2013, serves on its Professional Practices Committee (2012 - 2015), and on its Annual Conference Committee (2013 - 2016). He has participated in the Mid-America College Art Association since 2002, joining the board in 2004, serving as president from 2008 - 2012, and currently serving as past-president. He is also a member of the National Council of Arts Administrators, the Southeastern College Art Conference, and the International Sculpture Center.</p> <p class="p4">&nbsp;</p> <p class="p2">&nbsp;</p> <p class="p5">&nbsp;</p> <p class="p6">For more information on Fragments exhibition at Causey Contemporary running from June 10- July 10 2016, please contact Lara Aim, the communications associate at the gallery via email:</p> <p class="p6"><a href="mailto:lara@causeycontemporary.com" rel="nofollow">lara@causeycontemporary.com</a> or telephone: 212-966-2520</p> Fri, 20 May 2016 19:42:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Limner Gallery - May 19th - June 11th Fri, 20 May 2016 19:12:14 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ewelina Bochenska, Alan Calpe, Suzanne Goldenberg, Alison Owen, Elisabeth Smolarz, Zahar Vaks, Joe Winter, Monika Zarzeczna - Lesley Heller Workspace - May 25th - July 9th <div class="documentBody"> <p style="text-align: justify;"><em>Interior Landszaft, </em>curated by Monika Zarzeczna is an exhibition exploring the intimate and imagined landscapes found and created through the necessity of life in a large city. Featuring works by Ewelina Bochenska, Alan Calpe, Suzanne Goldenberg, Alison Owen, Elisabeth Smolarz, Zahar Vaks, Joe Winter, and Monika Zarzeczna, the exhibition reflects upon the domestic environment, found objects, and imagined spaces as landscapes. Through these reflections, a narrative of the landscape as something internalized comes forth from each artist&rsquo;s interpretations and intimate relationships with their surroundings.</p> <p style="text-align: justify;"><em>Landszaft,</em> a colloquial Polish appropriation of the German &ldquo;Landschaft&rdquo;, refers to both a physical region or tract of land as well as to an ideal representation of this terrain. The artists&rsquo; landscapes in this exhibition however do not show far away views. It is not the landscape that depicts regions or places, but their own adaptations of landscape, one that is fully fabricated, recalled from memory, and formed by one&rsquo;s close surroundings; a landscape of domesticity.</p> <p style="text-align: justify;">This new narrative of landscape is told through each artist&rsquo;s interpretations or memories of their own inner and physical landscapes. The resulting dialogue between ideal and fabricated viewpoints thus turns back inward to show the interior landscape; that which references hidden and private spaces, becoming intimate reflections on place.</p> <p style="text-align: justify;"><strong>Elisabeth Smolarz</strong> collaborates in her recent body of work with people in their domestic environments. Through hour long conversations&nbsp;Smolarz asks her collaborators to select objects of personal value which they arrange into a temporary personal shrine. Smolarz&rsquo; photographic documentations of these still lifes serve as a tableau of the individual&rsquo;s inner life.</p> <p style="text-align: justify;"><strong>Joe Winter</strong> creates monumental fabric quilts inspired by rooms in a home and the objects found there, such as of sinks, tiles and floorboards. These large-scale textile works become abstract views embedded with the stories of materials and spaces.</p> <p style="text-align: justify;"><em>Let&rsquo;s Be Civil,&nbsp;</em><strong>Alan Calpe&rsquo;s&nbsp;</strong>video work<strong>,&nbsp;</strong>explores a tenuous portrayal of domestic space as it follows the rise and fall of a souffl&eacute;, suggesting a fantastical journey of abandon into an uncultivated exterior world, and through the more instinctive processes of the body&rsquo;s interior landscape.</p> <p style="text-align: justify;"><strong>Ewelina Bochenska</strong> and <strong>Zahar Vaks</strong> reference the tradition of landscape painting through the language of abstraction. Their paintings depict ideas of place, space, memory and the passage of time.</p> <p style="text-align: justify;">The sculptural drawings of <strong>Suzanne Goldenberg</strong> are made using detritus and reference structures of urban life.&nbsp; Her works, poised between growth and collapse, address the history of their materials as well as the infrastructure of their surrounding world.</p> <p style="text-align: justify;"><strong>Alison Owen</strong> discovers landscapes in the found objects and painted surfaces encountered in everyday life. Owen draws out the latent landscape in the streaks of glaze on ceramic test tiles by pairing it with a visually resonant found photograph.</p> <p style="text-align: justify;">In <em>Porthole Hole</em> and <em>Extended Calm</em><strong> Monika Zarzeczna</strong> combines found materials with cut and painted aluminum to chase after memories of places through color and shape.</p> </div> Fri, 20 May 2016 19:06:05 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list