ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Matthew C. Lange, Michelle Leftheris, Adam Ryder, Phoebe Streblow - NURTUREart Gallery - February 13th - March 20th <p><em>Rational Formal</em>&nbsp;is a collaborative curatorial project developed by Matthew C. Lange, Michelle Leftheris, Adam Ryder and Phoebe Streblow. Ideas for this exhibition&nbsp;emerged through sustained conversations amongst all participants, regarding the subjects, intents, aesthetics, and strategies in each other&rsquo;s approach to photography.</p> <p>At a passing glance, divergences in the artists&rsquo; field of action appear significant. While Matthew C. Lange repurposes mid-century information devices to theorize a cosmological social system referred to as The Plummet Machine, Michelle Leftheris interweaves photography, sculpture, and video to delineate or transverse corporeal and psychical spaces. Closer to Lange&rsquo;s interest in generative systems, Adam Ryder&rsquo;s work focuses on the creation of narratives combining authored and found images referencing the parafictional&nbsp;<em>Renovatio Imperii&nbsp;</em>organization. Phoebe Streblow uses photographs and collage to examine personal and collective unconscious through sibylline astrological perspectives.</p> <p>Differences notwithstanding, the conditions and means by which all artists employ photographic media converge around common values and a willingness to open artistic creation to public or interpersonal discourse. Using the perceived objectivity of image-making, presentation and reproduction devices to convey abstract notions or liminal states,&nbsp;<em>Rational Formal</em>&nbsp;consistently references informational or museological display. This mode of presentation combines artworks, sketches, inspiration boards, diagrams, props, related ephemera, and texts, offering them to collective re-evaluation while demanding that their conceptual underpinnings remain central.</p> <p>&nbsp;</p> Fri, 30 Jan 2015 22:04:04 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Nina Chanel Abney, Francesco DiMattio, Natalie Frank, Sara-Vide Ericson, Kristina Jansson, Rosa Loy - Friedman Benda - February 26th - March 28th <p><em>Perhaps if human desire is said out loud, the urban planes, the prisons, the architectural mirrors will take off, as airplanes do. The black planes will take off into the night air and the night winds, sliding past and behind each other, zooming, turning and turning in the redness of the winds, living, never to return. &nbsp;</em>- Kathy Acker, <em>Empire of the Senseless</em>, 1988</p> <p>Punk icon Kathy Acker begins with an &ldquo;Elegy for the World of Our Fathers&rdquo; in her pivotal 1988 novel <em>Empire of the Senseless</em>. And an elegy it is &ndash; a dark, grotesquely candid, screaming requiem to the romanticism of the patriarchy.&nbsp; In the world Acker fashions, a decaying earth is populated by anesthetized part-human, part-robots. Their brutal apathy, a product of the naked cruelty of civilization, becomes a type of freedom. It is here they find autonomy.</p> <p><strong>Friedman Benda</strong> is pleased to announce <em>Empire of the Senseless</em>, opening February 26 and on view through March 28, 2015. Using Acker&rsquo;s work as a jumping off point, Curator and Director Thorsten Albertz has invited six artists to use painting to reflect on their unique explorations of reality.</p> <p>The show encourages taking a moment of pause to view our current internet-age, machine-based, violence-infused culture and how it has affected one&rsquo;s emotional output. Can we view one&rsquo;s persona as a form of drag? What happens when different, conflicting symbols are combined? Where does the self exist in an era of the masses?</p> <p><strong>Nina Chanel Abney&rsquo;s</strong> (b. 1982, Chicago) work features bare colors and stark geometry. She mutes powerful symbols by employing the language of machinery: gender becomes androgyny, race is rendered irrelevant, letters and numbers are merely shapes, and arrows lead to nowhere. The tension of the work, both humorous and beautiful, turns chaos into order.</p> <p>&nbsp;<strong>Natalie Frank </strong>(b. 1980, Austin) delves into the uncertainty of reality. Her painting is lush and full of rich coloration, producing an almost stained glass quality. Immersed in these colors is an identifiable yet abstract existence. For this show, Frank paints women with animals, ambiguous in relationship (one woman lies naked with a dog, another is simultaneously kissing or devouring a bird) and ambiguous in form (the flesh toned dog blends into the woman&rsquo;s breast, while the woman blends into the floral sofa). Like Acker, Frank examines power, narrative, and the perversity of the imagination.</p> <p><strong>Sara-Vide Ericson</strong> (b. 1983, Sweden) draws us into the wilderness. Her paintings, displayed here as a triptych, all have the artist&rsquo;s likeness as the centerpiece.&nbsp; The things around her shift &ndash; clothing, scenery, time &ndash; however, her identity remains central. Ericson uses thick strokes and soft, glowing colors to create a quiet, dreamlike world. With our eyes following her through her private space, the viewer becomes the voyeur.</p> <p><strong>Kristina Jansson</strong> (b. 1967, Sweden) frames fragments of a modern world. Bluntly sparse with impartially luminous colors, all areas of a piece are given the same systematic treatment. A world of technology, science, and people blend together as one.&nbsp;</p> <p>Dreams are further explored in <strong>Rosa Loy&rsquo;s</strong> (b. 1958, Leipzig) paintings. Fantastical tableaux, each piece features female figures in various pursuits: using tools, swinging from trees, picking fruit. Typically similar in likenesses, the women become a kind of ever-shifting identity.&nbsp; Providing an old-fashioned feel to contemporary imagery, Loy utilizes casein, a brittle and antiquated paint material made from milk protein, to achieve a stiff and traditional composition.</p> <p>The work of <strong>Francesca DiMattio</strong> (b. 1981, New York) removes the figure and focuses instead on the remnants of personhood. She weaves together contrasting surfaces and conflicting histories by deriving textures, patterns, and shapes from domestic objects. Traditionally feminine images are subverted and transformed through excess and rough application. Her piece, <em>Appliqu&eacute;</em>, ultimately grafts together contradictory identities.</p> <p>&nbsp;</p> <p>For more information, please contact:</p> <p>Thorsten Albertz, Director: <a href="mailto:Thorsten@friedmanbenda.com" rel="nofollow">Thorsten@friedmanbenda.com</a></p> <p>For press inquiries, please contact:</p> <p>Carole Hochman, Director: <a href="mailto:Carole@friedmanbenda.com" rel="nofollow">Carole@friedmanbenda.com</a></p> <p>&nbsp;</p> Fri, 30 Jan 2015 17:44:53 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Quisqueya Henriquez - LYNCH THAM - February 18th - April 12th <p dir="ltr">LYNCH THAM is pleased to present Double Double, Framed &amp; Framed, an exhibition of recent work by leading Caribbean artist, Quisqueya Henr&iacute;quez.</p> <p>&nbsp;</p> <p dir="ltr">The exhibition lends its title from the novel Double Double by John Brunner, while Framed &amp; Framed is the title of a legendary work by Mike Kelley. &nbsp;</p> <p>&nbsp;</p> <p dir="ltr">The works on view in the exhibition originate from Henr&iacute;quez&rsquo;s residency at the Bronx Museum of the arts in 2013. As a way to contextualize her experience in New York, she created a body of work incorporating iconic images of works of art from the MoMA permanent collection. In doing so, she linked two institutions, one as the creative source, the other, the production venue. "Mixing Accomplished" 2013-2015, remains an ongoing series; the most recent work explores the limits of authorship based on the manipulation and handling of images of works of art by renowned artists who are in the public domain on the web, or printed in books and magazines. It also addresses aspects related fate, the use and handling of images today, especially through access to photo sharing platforms.</p> Fri, 30 Jan 2015 17:33:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Anne Imhof - MoMA PS1 - January 31st - March 9th <p style="text-align: justify;">Working across a variety of media,&nbsp;<strong>Anne Imhof</strong>&nbsp;(German, b. 1978) evokes the power structures, secret codes, and unspoken rules that underlie daily human interaction. Her most recent project tackles the question,&nbsp;<em>What constitutes a deal?</em></p> <p style="text-align: justify;">The artist has researched a variety of physical transactions, both formal and informal, and legal and illegal. She presents these interactions as an evolving body of work consisting of two main parts, this exhibition and a durational performance. The performance initially took place on January 17th and 18th, 2015 at MoMA PS1, involving nine performers who enacted abstracted movements that slowly unfolded along a horizontal line, continuously repeating over the course of each day.</p> <p style="text-align: justify;">The exhibition extends the formal questions and social concerns of the performance into the gallery space. A concrete basin in the gallery is filled with buttermilk, which served as a &ldquo;currency&rdquo; during the performance. A video expands upon the figures and movements of the live event. A wall-spanning painting with text fragments alludes to the &ldquo;horizontal relationship,&rdquo; as Imhof terms it, between parties entering into a deal. Four etchings on large aluminum panels reveal traces of bodily movements similar to those enacted during the weekly repeating performance of&nbsp;<em>SOTSB for DEAL</em>, a reduced variation of the initial performance.</p> <p style="text-align: justify;">Imhof emphatically rejects conventional distinctions between a live event, its documentation, and related objects. For her, all components of&nbsp;<em>DEAL</em>&nbsp;are equally important, each providing a different angle on her subjects. Together they contribute to a multi-faceted visual image in perpetual process, highly precarious, and always on the verge of falling apart.</p> <p style="text-align: justify;">In conjunction with this exhibition&nbsp;<em>Sunday Sessions</em>&nbsp;presents&nbsp;<a href="http://www.momaps1.org/calendar/view/528/" target="_blank">Anne Imhof,&nbsp;<em>DEAL</em>&nbsp;</a>on Saturday January 17 and Sunday January 18.</p> <p class="credits" style="text-align: justify;">Anne Imhof:&nbsp;<em>DEAL</em>&nbsp;is organized&nbsp;by Jenny Schlenzka, Associate Curator, with Alex Sloane, Curatorial Assistant, and Rosey Selig-Addiss, Associate Producer.</p> <p class="credits" style="text-align: justify;">The exhibition is made possible by the MoMA PS1 Annual Exhibition Fund.</p> Fri, 30 Jan 2015 16:21:09 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Wael Shawky - MoMA PS1 - January 31st - August 31st <p style="text-align: justify;">For his first solo exhibition at a major American museum, Wael Shawky presents his epic video trilogy that recounts the history of The Crusades from an Arab perspective. Inspired by&nbsp;<em>The Crusades Through Arab Eyes</em>&nbsp;by Lebanese historian Amin Maalouf, Shawky&rsquo;s videos chart the numerous European campaigns to the Holy Land, starting from the early Crusades from 1096&ndash;1099 A.D. that are depicted in<em>&nbsp;CABARET CRUSADES: THE HORROR SHOW FILES</em>&nbsp;(2010) and the First and Second Crusades from 1099&ndash;1145 A.D. in&nbsp;<em>CABARET CRUSADES: THE PATH TO CAIRO</em>&nbsp;(2012). The MoMA PS1 exhibition will feature both works and debut the third and final video from the series,&nbsp;<em>CABARET CRUSADES: THE SECRETS of KARBALA</em>.</p> <p style="text-align: justify;">Based on accounts from primary sources, Shawky complicates the traditional civilization clash narrative by describing scenes that refute common notions of the era. Shawky highlights both the secular motivations of the European fighters and the competition and violence among Arab leaders. Using 200-year-old marionettes from a collection in Italy for the first installment, and custom-made ceramic figures for the second, Shawky says the puppets help create a &ldquo;surreal and mythical atmosphere that blends drama and cynicism, telling a story of remote events that could hardly be more topical today. The puppets&rsquo; strings clearly refer to the idea of control. The work also implies a criticism of the way history has been written and manipulated.&rdquo;</p> <p class="credits" style="text-align: justify;"><em>Wael Shawky: Cabaret Crusades</em>&nbsp;is organized by Klaus Biesenbach, Director, MoMA PS1 and Margaret Aldredge, Curatorial Assistant, MoMA PS1.</p> <p class="credits" style="text-align: justify;">The exhibition is made possible by MoMA's Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.</p> <p class="credits" style="text-align: justify;">Major support is provided by The Contemporary Arts Council of The Museum of Modern Art.</p> <p class="credits" style="text-align: justify;">Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.</p> Fri, 30 Jan 2015 16:19:48 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Juan Fontanive - Y Gallery - February 6th - March 4th Thu, 29 Jan 2015 18:47:25 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Janet Bohman - Viridian Artists - February 3rd - February 21st Thu, 29 Jan 2015 18:46:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Rachel Owens - Zieher Smith & Horton - February 20th - March 21st Thu, 29 Jan 2015 18:37:03 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Peter Saul - Venus Over Manhattan - February 25th - April 18th Thu, 29 Jan 2015 18:36:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Peter Malone - The Painting Center - March 3rd - March 28th <p style="text-align: justify;">With these recent selections from a series of portraits begun in 2011, visitors to the Painting Center are invited to join the artist in exploring the possibilities inherent in a genre as old as painting itself. Straightforward, candid, and intentionally unmannered, each canvas is an attempt to get beyond the search for something new, in order to discover what painting can still illuminate in an era of exceptional cultural complexity.</p> <p style="text-align: justify;">Peter Malone, a current member of Blue Mountain Gallery, New York has participated in group and solo exhibitions at The National Academy of Design, New York; Long Island University, Brooklyn; the Municipal Gallery, Kharkov, Ukraine; the Munson Williams Proctor Art Museum, Utica, NY; the Islip Art Museum, Islip, New York; Gallery Henoch, New York; Pratt Institute, Brooklyn, New York; the Laguna-Gloria Art Museum, Austin, Texas; the Hudson River Museum, Yonkers, New York and the Southern Vermont Arts Center, Manchester, Vermont. He is the recipient of a 2014 Pollock-Krasner Foundation Grant, the author of Back Words: One Painter&rsquo;s voice in the Conversation (Amazon/CreateSpace, 2012), and he writes reviews and essays for Hyperallergic.com and Artcritical.com.</p> Thu, 29 Jan 2015 18:29:27 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Marianne Van Lent - The Painting Center - March 3rd - March 28th <p style="text-align: justify;">Marianne Van Lent is a painter of the natural world. Filtered through memory, her work examines the mysterious forces of the physical world and investigates our fragile position in the universe through the intersection of natural and technological modalities. Worlds (cosmologies) are represented both in the outer world of nature and the inner world of the psyche. Creating a multi dimensional collision of realms, the glimmer of unexpected openings provides inspiration for the process of painting. &rdquo; My painting process relates to the process of transcendence and transformation in which magic occurs through abstraction.&rdquo;</p> <p style="text-align: justify;">Marianne Van Lent lives and works in NYC and Athens, NY on the Hudson River. She received her BFA from Tyler School of Art and her MFA from Cornell University. Van Lent&rsquo;s paintings have been exhibited in the United States and Europe and inhabit many public and private collections. Recent solo exhibitions include <em>Cosmologies</em> at The Painting Center, New York and <em>Reflected Light</em> at Ulla Surland Fine Art, Fairfield CT. Her works can be seen online at <a title="www.mariannevanlent.com" href="http://www.mariannevanlent.com" target="_blank">www.mariannevanlent.com</a></p> Thu, 29 Jan 2015 18:28:18 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Robert Berlind, Susanna Heller, John L. Moore, Levent Tuncer - The Painting Center - February 3rd - February 28th <p style="text-align: justify;">The privilege of being invited into an artist&rsquo;s studio is something that many never have a chance to experience. Talismans offers a glimpse into the studios of four New-York based painters&mdash;Robert Berlind, Susanna Heller, John L. Moore, and Levent Tuncer&mdash;by presenting their paintings accompanied by objects and images from their studios. These objects or talismans represent people and things that have influenced and inspired the four. The idea for the exhibition is credited to the photographer John Coplans (also a former museum director, curator, and founding editor of Artforum), who told John L. Moore that he would have liked to organize an exhibition of artists&rsquo; bulletin boards, as he was always attracted to what artists chose to keep on view in their studios and how it related to their work.</p> <p style="text-align: justify;">In this exhibition, <strong>Robert Berlind</strong> says that he has made selections of works by others that he keeps in his living/working space, and that he has limited his choices to a poster for Alex Katz&rsquo;s 1972 exhibition at Hartford&rsquo;s Wadsworth Atheneum, Sky, a 1980 lithograph by Philip Guston that was likely among his last works, and a photograph by George Woodman. Berlind writes:<br /> <em><br /> I have been looking at each more or less daily, Katz when I am upstate in Cochecton, Guston when I am in New York. Both are for me utterly contemporary, that is to say, a beat ahead of me and therefore ongoing challenges. They always show something new. It would be too facile and not quite accurate to characterize them respectively as &ldquo;cool&rdquo; and &ldquo;hot.&rdquo; Katz&rsquo;s extreme technical refinement is grounded in a strongly felt response to the particular, stylish beauty Ada represents; while Guston&rsquo;s airborne pandemonium is held in place by his flawless, improvised composition. And yet the two pieces are based on antithetical approaches and procedures. I imagine many of us work with the pressure of such contrary impulses.</em><br /> <strong><br /> Susanna Heller</strong> has been in her Brooklyn studio since 1994, a place that she describes as a deeply layered space, created over time, where she spends every day, thinking, working, and living. Along with scores of drawings piled up to the fourteen-foot ceiling, Heller says she has:</p> <p style="text-align: justify;"><em>&hellip;a mixed bag of things I would describe as &ldquo;treasure/trash.&rdquo; These are a divergent collection of objects, photos, postcards, pictures of old work, quotes, notes, drawn painting reminders, chunks of paint, tiny painter&rsquo;s pallettes, and more. They have collected over the years here&hellip;and the &ldquo;outer surface&rdquo; is constantly in flux depending on current work, walks, and drawings or collages that are in the forefront of my thoughts. Often these things are in groups that I consider stories for possible paintings. I will display several of these &ldquo;groupings&rdquo; in this exhibition.</em></p> <p style="text-align: justify;">Heller says that for her:<br /> <em><br /> &hellip;a painting, like a walk, connects the physical experience (feet on the ground/paint on the canvas) to movement, energy, and space&hellip;I paint tactically, not strategically. The work is without a formula and I work with no physical hierarchies or imperatives&hellip;for me as a painter, drawer, or walker, I follow the &ldquo;thicks&rdquo; and &ldquo;thins&rdquo; of urban space and marks on surface. In taking in my painting, it is important that you can travel the ins and outs of your eye&rsquo;s trajectory, as they travel over the surface, into a color, or back towards a distant horizon: one either seen or imagined. These are the stories I need to tell myself as I work in the studio, so the studio itself becomes the raw material source or the staging for the paintings.&nbsp; </em></p> <p style="text-align: justify;"><strong>John L. Moore</strong> has chosen to present a selection of objects he lives with that are related to people and events in his life. Moore met John Coplans when he was director of the Akron Museum where Coplans began the photography work that brought him recognition as an artist. They had dinner together at least once a month for twenty years and Moore says he learned a lot from Coplans; a small photograph by Coplans is included here. Other objects include photos of his first influential art teachers, military buddies, a drawing by self-taught artist Nelly Mae Rowe, an African Mask (Gabon), and a poster for Aquarian Artists, an exhibition organized by international curator and artist Willoughby Sharp. There is also a post card sent by the young Jimi Hendrix to his father regarding his experience in paratrooper jump school. Moore writes:</p> <p style="text-align: justify;"><em>My work is informed by memories. Memories of things that I have experienced, or were told to me, things that I have read or dreamed. Since they are recurring, they often shape my thoughts and visual images. Readings on the history of the middle passage, particularly, the two million slaves that died in transit crossing the Atlantic, raised many unanswered questions that became the focus of my paintings. I often use the image of a mirror or mirror-less frames in my paintings as a metaphor for various contemporary issues of our own often conflicting histories. In this exhibition, River and Mirror, (2003) and Jimi (2013) are paintings that ask the question: How did I get here? One unknown ancestor made the crossing. The middle passage is in my DNA.</em></p> <p style="text-align: justify;">Painter <strong>Levent Tuncer</strong>, whose recent monumental paintings are inspired by a 15th-century Iranian drawing, lives and works in a large duplex, semi-raw loft in Bushwick. There he is surrounded by talismans, small items, and pictures that are out in the open in a seemingly disorganized way:<br /> &nbsp;&nbsp;&nbsp; <br /> <em>I have photos from my first year on earth next to some music CDs, a carved Indian head next to books, stones from Peru, turtles carved in stone, photos of friends, lovers, and family as well as art. Drawers open, with passing glimpses to my past. Many books I read at the same time, some notes on the walls&hellip;.It is as though, as this space is my life and time is a giant, intricate spider web; all these items and things are tiny little knots that connect the sections of this&hellip;conduits that make it possible for me, to place myself in relation to everything and thus live both in present and past tense at the same time, but also review who I am, afresh each time my gaze or hand touches these things. This is why at times I will paint and not go out for days and days, yet visiting a lifetime, in a sort of time travelling.</em></p> <p style="text-align: justify;">Turkish American Tuncer&rsquo;s intuitive, psychological paintings deal with dualities: order and disorder; history and fiction; repetition and change. His works are influenced by cross-cultural emblems including architecture, textiles, and tiles.&nbsp; Tuncer says that by repeating these images while still allowing them to mutate, he is able to create: a complex visual equivalent of cultural disjuncture&hellip;[that] subverts their repetitive rigidity&hellip;and suggest that order, like authority, is vital only when it evolves, and that it evolves only when challenged and made to diverge from its historical context.</p> <p style="text-align: justify;"><strong>This exhibition was made possible by The Wolf Kahn &amp; Emily Mason Foundation.</strong></p> Thu, 29 Jan 2015 18:26:27 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Analia Saban - Tanya Bonakdar Gallery - February 19th - March 21st Thu, 29 Jan 2015 18:24:09 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ross Bleckner, Volker Eichelmann - Sargent's Daughters - February 11th - March 15th <p style="text-align: justify;">Sargent&rsquo;s Daughters is pleased to present &ldquo;Ross Bleckner and Volker Eichelmann&rdquo;, a two-person exhibition of paintings and collage works on paper. &nbsp;The exhibition will open on Wednesday, February 11th and run until March 15, 2015.<br /> &nbsp;</p> <p style="text-align: justify;">In this exhibition, Bleckner presents a group of 18 inch paintings, which span a period of roughly twenty years. This is the first time Bleckner has exhibited these works, though the format has been important to Bleckner throughout his career. Usually these paintings are made alongside larger works and serve alternately as experiments, tests, things left out, and things to be remembered. The choice of 18 inches corresponds to the Hebrew character meaning life and light, and is the title of the book accompanying the exhibition. The paintings presented here correspond to the different styles and bodies of work: Examined life paintings (1990), Burn Paintings (1991-1992), Architecture of the Sky Paintings (1993), Fading Consciousness Paintings (1996), Molecule, Blood and Disease Paintings (2000), Remembering Those Who Died Paintings (2000-Present), Crowd Paintings (Dissolving into One Another Paintings) (2002), Lifespan Paintings (2003), Meditation Paintings (2005), Flower Paintings (2010), Forgetting Paintings (2013), Brain Paintings (2013), Black Monet Paintings (2013-2014). As much as this selection demonstrates difference and variety, it is also tied together by ongoing material experimentation as well as reoccurring tropes, styles, and themes. Taken as a whole they depict Bleckner&rsquo;s career long, multifaceted look at spirituality, humanity, and mortality. &nbsp;<br /> &nbsp;<br /> Eichelmann&rsquo;s latest text paintings produced in 2014 and 2015 feature extracts from the writings of two of Britain&rsquo;s greatest eccentrics, William Beckford (1760-1844) and Stephen Tennant (1906-1987). Both were celebrated for epitomising the style and taste of their age. William Beckford, born to immense wealth, established himself as a most discerning collector of art and artefacts and housed his treasures in the ill-fated Fonthill Abbey, one of the most stupendous architectural confections ever constructed. In the 1920s Stephen Tennant was the most dazzling star of the ultimate fashion set, known as the Bright Young Things. He continued to be a legendary but reclusive figure in later life; writing poetry and designing endless book jackets for his long planned but never-to-be written book &lsquo;Lascar, A Story of the Maritime Boulevards&rsquo;. The extracts chosen by Eichelmann for these works conjure glittering images which Beckford and Tennant recorded in their diaries and letters. Miniature snapshots as seen through the eyes of 18th and the 20th century arbiters of taste flare up in the here and now. Beckford&rsquo;s and Tennant&rsquo;s words combined with Eichelmann&rsquo;s lyrical abstractions present prisms, refracting 18th, 20th and 21st century sensibilities. This is Eichelmann's first exhibition in New York City.<br /> &nbsp;<br /> Both Bleckner and Eichelmann&rsquo;s attention to the past is mirrored by a fascination with the future. &nbsp; History is never far from either of them, yet neither is caught in the web of nostalgia. &nbsp;Each work is as timeless as it is current: achieving a balance between past and present that endlessly resonates.</p> <p style="text-align: justify;"><strong>Ross Bleckner</strong>was born in 1949 in New York, NY. &nbsp;He&nbsp;received a Bachelor of Arts from New York University in 1971, a Master of Fine Arts from Cal Arts in 1973, and has taught at many of the nation's most prestigious universities. The Solomon R. Guggenheim Museum held a major retrospective of his works in 1995, summarizing two decades of solo shows at internationally acclaimed exhibition venues such as the San Francisco Museum of Modern Art, California; Contemporary Arts Museum, Houston; Moderna Museet, Stockholm; and the Carnegie Museum of Art, Pittsburgh. Works by Bleckner are also held in esteemed public collections around the world, including the Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Astrup Fearnley Museum of Modern Art, Oslo; Museo National Centro de Arte Reina Sofia, Madrid; and the Whitney Museum of American Art, New York. The artist lives and works in New York.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Volker Eichelmann</strong> was born in 1973 in Hamburg, Germany. He studied at the Academy of Fine Arts, Vienna, Central St. Martins and Goldsmiths College, London. He has held solo exhibitions at Ancient &amp; Modern, London; Jessica Silverman Gallery, San Francisco; Galerie Andreas Huber, Vienna and participated in numerous group shows including 40yearsvideoart.de, ZKM Karlsruhe; Hello Darkness, K21, D&uuml;sseldorf; and Das Glasperlenspiel at Vilma Gold Project Space, Berlin. Eichelmann curated &lsquo;Silver Mirros, Silver Wood&rsquo;, a group show of his works shown alongside a selection of 18th and 19th century objets d&rsquo;art for Frieze London 2014. He is currently Associate Professor at Kingston University and lives and works in London.</p> Thu, 29 Jan 2015 18:16:37 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Paulette Tavormina - Robert Mann Gallery- New York - February 5th - March 21st <div id="block-yui_3_17_2_5_1420738495074_4608" class="sqs-block html-block sqs-block-html" data-block-type="2"> <div class="sqs-block-content"> <p style="text-align: justify;">Drawing inspiration from Old World artists, Paulette Tavormina renders luscious fruit, flowers, and food with a painterly eye to create rich tableaux.&nbsp;These intensely personal pictures bring to light the evocative life cycles of flora and fauna, imperfect in their vigor and subsequent decay. Inextricably tied for the artist to sensation and memory, each still life finds particular temperament in the character and balance of its objects.</p> <p style="text-align: justify;">Robert Mann Gallery is pleased to present&nbsp;Bodeg&oacute;n, a new series of sumptuous works by Tavormina.&nbsp; Meaning "from the pantry,"&nbsp;Bodeg&oacute;n is inspired by the paintings of 18th-century Spanish still life painter&nbsp;Luis Mel&eacute;ndez. Featuring the elegant everyday cookware of the rustic kitchen, these spreads bring the artist's signature gift for vibrant simplicity to a new cornucopia of&nbsp;grains, meats and sweets. Hearty loaves bookend bountiful fruits, grounded by burnished copper pots and humbly charismatic country jugs.</p> <p style="text-align: justify;">Accompanying Bodeg&oacute;n, Tavormina's&nbsp;Botanicals series recalls the botanical illustrations of the seventeenth and eighteenth centuries, re-imagining these scientific studies as exuberant cascades of flora and fauna. A fantastical menagerie of bugs, buds, and dewy blossoms burst against velvety black depths, leading the eye in figure eights around the canvas. &nbsp;And yet Tavormina's signature motifs of darkness and decay keep these works from pure flights of fancy&mdash;rather, they are visions of life in all of its subtle shades of beauty. &nbsp;</p> <p style="text-align: justify;">Paulette Tavormina has been exhibited internationally and was the winner of the Grand Prix at the 2010 International Culinaire Photography Festival in Paris. Largely self-taught, she has worked on set as a food stylist in Hollywood and also photographs works of art for Sotheby's. Her photography has been featured in publications including The New York Times, National Geographic, The Boston Globe, L'Express, Martha Stewart Weddings and Photo Technique magazine. She lives and works in New York City.</p> </div> </div> Thu, 29 Jan 2015 18:14:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sebastian Lloyd Rees - Room East - February 22nd - March 29th Thu, 29 Jan 2015 18:12:10 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list