ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Gert & Uwe Tobias - Team Gallery - Grand St - May 5th - June 5th <div style="text-align: justify;">Team (gallery, inc.) is pleased to announce a solo show by Romanian-born, Cologne-based artists Gert &amp; Uwe Tobias. Entitled&nbsp;<em>Drawings and Sculptures,&nbsp;</em>the exhibition will run from&nbsp;05 May to 05 June 2016. Team (gallery, inc.) is located at 83 Grand Street, between Greene and Wooster, on the ground floor. Concurrently, our Venice Beach space will house a solo show by Tabor Robak.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Gert &amp; Uwe Tobias are twin brothers who work collaboratively in a variety of media. While perhaps best known in New York for their woodcut prints and collages, for this exhibition they present a series of five drawings on black-painted paper, alongside three substantial ceramic sculptures. The works in the show refer obliquely to divergent genres and moments from Art History, erasing hierarchical and temporal classification and partition via the seamless blurring and solution of their various visual inspirations and reference material.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Each of this show's large-format works on paper features a semi-symmetrical center composition, combining elements of phantasmagorical figuration and architectural and graphic design with geometric abstraction. Executed in pastel crayon, they are adhered directly to the gallery walls, precluding visual interference with their delicate line work. The shadowy rendering and eerie palette choices - light blues and whites on the black surfaces - imbues the pictures' chimerical forms with a spectral quality. The absence of framing further enhances the works' ghostly character, effecting a feeling of floating insubstantiality and bodily divestment. &nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Three sculptures sit atop pedestals interspersed throughout the gallery. The unified body ceramics are busts - distorted humanoid and avian faces, adorned with sunken relief floral patterns. The three-dimensional works, in their physicality, provide counterpoint and tension to the ethereality and self-conscious flatness of the wall works. In employing a classical mode of portraiture - the sculptural bust - the Tobias Brothers explicate a core conceptual facet of their artistic project: the corporeal realization of internal, private images and shared subconscious narratives. Without specifically referencing mythological archetypes, the works activate a nebula of folkloric associations in the viewer and breathe life into our common lexicon of the otherworldly and mysterious.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The Tobias Brothers' work has always been deeply informed by Eastern European folk art. The artists spent the early parts of their lives in rural Romania, where they were immersed in the local traditions that now provide a foundational cornerstone of their practice. Certain elements of the drawings and sculptures - the floral patterning, the vases and furniture, the fantastical creatures - evidence a direct lineage from those popular arts; however, in the Brothers' hands, these ordinarily quaint forms appear strikingly contemporary, transformed by the willfully anachronistic context and their m&eacute;lange of temporally diverse influences.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">While assemblage and Art Historical reference are central facets of the Tobias' work, the pieces are never directly appropriative. Theirs is a practice of paraphrase rather than quotation, drawing upon an expansive and deeply ingrained base of shared knowledge. The genesis of the large two-dimensional works begins in a period of exploratory sketching, the products of which are then collaged and exactingly transposed onto swaths of black-painted paper. The resultant images employ a mysterious but highly consistent visual vocabulary, constituent elements of a larger private language, discernable and accessible to viewers, but understood by the twin brothers alone.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Many of the drawings' formal elements recall Early Modernist painting - in particular, the spiritual geometry of Wassily Kandinsky. Like the founding abstractionist, the artists create and manipulate rectilinear and curvilinear shapes in a manner neither mathematical nor objective, instead dictated by the observer's perspective. The works' planes, while indifferent to the rules of geometry, are composed according to a wholly subjective but easily legible internal logic.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">While the Tobiases employ certain structures associated with abstraction, the works in this exhibition are predominately figurative. Although they are evidently and emphatically non-mimetic, most of the shapes contained in the work have real-world referents. Like the surrealist pioneer Max Ernst, the Brothers pursue a familiar unreal by amalgamating disparate kinds of form - evoking the animal, the architectural, the human, the floral - into single cohesive entities. Their metamorphic relationship to reality can also be likened to that of the multidisciplinary artist Oskar Schlemmer, whose work transfigured bodies into elements of geometric scenery.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Disembodied human limbs - in particular arms and hands - appear recurrently in the drawings. The fingers are always positioned evocatively, alluding to but never directly conjuring the symbolic power of specific hand gestures in Medieval and Renaissance painting. The lithe, vigorous body parts frequently emerge from non-organic forms - a vase, for example, or a chair - to disturbing effect. In this aspect, the works recall the life-sized, anatomically apocryphal dolls of Hans Bellmer, who exploited viewers' discomfort with the union of the living and the inanimate.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">All of the drawings, to varying degrees, contain pale linework that serves to suggest an architecturally spatial setting. The repetition of thin, vertical white lines directly signify the influence of Francis Bacon - in particular, his 45 studies after Diego Vel&aacute;squez'&nbsp;<em>Portrait of Pope Innocent X.</em>&nbsp;Like those paintings, the Brothers' works seek to destabilize the conception of subject and non-subject, of background and foreground, as distinct - instead rendering the whole picture a unified flat field, in which everything, even the elements that imitate linear perspective and suggest dimensionality, are elements of a single contiguous image.&nbsp;</div> <div style="text-align: justify;">This is the Tobias Brothers' fourth solo show at Team. They have been the subject of museum solos at Kunstmuseum Bonn; Museum Dhondt-Dhaenens, Belgium; FRAC Auvergne; GEM Museum of Contemporary Art, The Hague; Hammer Museum, Los Angeles; Museum of Modern Art, New York; Museum Morsbroich, Leverkusen; Whitechapel Gallery, London; and Kunsthalle Wien.</div> Thu, 28 Apr 2016 10:26:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mario Merz - Sperone Westwater - April 29th - June 18th Wed, 27 Apr 2016 22:07:45 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Edward Thorp Gallery - April 30th - June 4th <p class="p1" style="text-align: center;">&nbsp;</p> <p class="p1">&nbsp;</p> <p class="p1">&nbsp;</p> Wed, 27 Apr 2016 21:37:44 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Nicole Eisenman - New Museum - May 12th 7:00 PM - 8:00 PM <p style="text-align: justify;">Join us for a special conversation between artist Nicole Eisenman and Massimiliano Gioni, Artistic Director of the New Museum. The pair will discuss&nbsp;<a href="http://www.artslant.com/ny/events/show/416836-al-ugh-ories" target="_blank">&ldquo;Nicole Eisenman: Al-ugh-ories,&rdquo;</a>&nbsp;the first New York museum survey exhibition of Eisenman&rsquo;s work, which will be presented at the New Museum. The show will provide an in-depth look at the symbolic nature of the artist&rsquo;s most striking depictions of individuals and groups&mdash;from intimate portraits to more complex narrative scenes&mdash;and will highlight how allegory permeates Eisenman&rsquo;s oeuvre as she fluidly ties the fictional to the autobiographical and the past to the present.</p> <p style="text-align: justify;">One of the most important painters of her generation, Eisenman has developed a distinct figurative language that combines the imaginative with the lucid, the absurd with the banal, and the stereotypical with the countercultural and queer. From the outset of her career, Eisenman&rsquo;s investment in painting has led to frequent experimentation in other mediums, and her practice is characterized by visible shifts that mark her effort never to become too comfortable with any one approach to painting. Eisenman&rsquo;s preoccupation with the figure and the complexity of its gestures and form has resulted in mesmerizing portraits of an array of characters who range from friends and fellow New Yorkers, to imagined heroines, to tragic losers.</p> <p style="text-align: justify;"><strong>About the Artist</strong><br />Nicole Eisenman was born in Verdun, France, in 1965 and lives and works in New York. In 2014 the Contemporary Art Museum St. Louis mounted a major exhibition of her work, &ldquo;Dear Nemesis, Nicole Eisenman 1993&ndash;2013,&rdquo; which traveled to the Institute of Contemporary Art, Philadelphia, in late 2014 and to the Museum of Contemporary Art San Diego in 2015. Additional solo presentations of her work have taken place at the Jewish Museum, New York (2015); the Berkeley Art Museum and Pacific Film Archive, CA (2013); Studio Voltaire, London (2012); the Katzen Arts Center, American University, Washington, DC (2011); the Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY (2009); and Kunsthalle Z&uuml;rich (2007). Her work was included in Manifesta 10, St. Petersburg (2014); the 2013 Carnegie International, Pittsburgh; the Whitney Biennial, New York (2012 and 1995); and Prospect.2 New Orleans (2011). Eisenman&rsquo;s work has been featured in numerous recent group exhibitions at institutions including the Whitney Museum of American Art, New York (2015); the Museum of Modern Art, New York (2014); the Reva and David Logan Center for the Arts, University of Chicago (2014); the Contemporary Arts Museum Houston (2014); the New Museum, New York (2013); and the San Francisco Museum of Modern Art (2011). Eisenman is a 2015 MacArthur Fellow.</p> <p style="text-align: justify;">&nbsp;</p> <div class="bottom-entry"> <h3 style="text-align: justify;">Sponsors</h3> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Exhibition Supporters</strong></p> <p style="text-align: justify;">Full support for &ldquo;Nicole Eisenman: Al-ugh-ories&rdquo; can be viewed here.</p> <p style="text-align: justify;"><strong>Education Supporters</strong></p> <p style="text-align: justify;">Exhibition-related programs are made possible, in part, through the support of the New York State Council on the Arts and the New York City Department of Cultural Affairs.</p> <p style="text-align: justify;"><img src="http://235bowery.s3.amazonaws.com/images/1333/thumbnails/792x792x1.jpg" alt="" width="300" height="61" /></p> <p style="text-align: justify;">Education and community programs for the spring shows are supported, in part, by American Chai Trust.</p> <p style="text-align: justify;">Generous endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.</p> </div> Wed, 27 Apr 2016 18:49:34 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Nicole Eisenman - New Museum - May 4th - June 26th <p style="text-align: justify;">The New Museum will present the first New York survey show of the work of Nicole Eisenman (b. 1965, Verdun, France).</p> <div id="about" class="anchors" style="text-align: justify;"> <div class="section"> <div class="inner clearfix"> <div class="content"> <div class="body body--truncated body--expanded"> <p>This show will mark the first New York museum survey exhibition of Eisenman&rsquo;s work and will provide an in-depth look at the symbolic nature of the artist&rsquo;s most striking depictions of individuals and groups&mdash;from intimate portraits to more complex narrative scenes. One of the most important painters of her generation, Eisenman (b. 1965, Verdun, France) has developed a distinct figurative language that combines the imaginative with the lucid, the absurd with the banal, and the stereotypical with the countercultural and queer. &ldquo;Nicole Eisenman: Al-ugh-ories&rdquo; will highlight how allegory permeates her oeuvre and how she fluidly ties the fictional to the autobiographical and the past to the present.</p> <p>From the outset of her career, Eisenman&rsquo;s investment in painting has led to frequent experimentation in other mediums, and her practice is characterized by visible shifts that mark her effort never to become too comfortable with any one approach to painting. Eisenman&rsquo;s preoccupation with the figure and the complexity of its gestures and form has resulted in mesmerizing portraits of an array of characters who range from friends and fellow New Yorkers, to imagined heroines, to tragic losers. From Success to&nbsp;<em>Obscurity</em>&nbsp;(2004) depicts a monstrous superhero contemplating the contents of a letter it holds in its hands and alludes, perhaps, to the fragility of fame and fortune. In&nbsp;<em>Hamlet</em>&nbsp;(2007), a depiction of Shakespeare&rsquo;s beautiful and frail Danish prince with lowered sword, Eisenman ponders the possibility of a sensitive and cautious leader at a time when the US was in the final year of George W. Bush&rsquo;s presidency. Similarly inspired by contemporary events, the large group portrait&nbsp;<em>The Triumph of Poverty</em>&nbsp;(2009), painted in the aftermath of the 2008 financial crisis, is a reimagining of a lost sixteenth-century painting of the same title by Hans Holbein. &ldquo;Nicole Eisenman: Al-ugh-ories&rdquo; will also include one of the artist&rsquo;s large-scale plaster figures, which she began producing in recent years, and two new oversize wax heads made specifically for this exhibition.</p> <p>In her often-narrative compositions Eisenman draws as much from art history as from popular culture, and her works, while accessible and humorous, occasionally yield critical and poignant images of contemporary life. Eisenman freely references painters as varied as Giotto, Francisco de Goya, Paul C&eacute;zanne, Pablo Picasso, and Edvard Munch, but uses wit and irreverence to undermine historical hierarchies and to make her depictions of familiar events such as eating, sleeping, walking, or making love appear distinctly contemporary. While Eisenman&rsquo;s subjects and narratives have always been in conversation with their time, her work remains timeless and captivating because of her ability to portray the essence of human desire as equally raw and awkward.</p> <p>Nicole Eisenman was born in Verdun, France, in 1965 and lives and works in New York. In 2014 the Contemporary Art Museum St. Louis mounted a major exhibition of her work, &ldquo;Dear Nemesis, Nicole Eisenman 1993&ndash;2013,&rdquo; which traveled to the Institute of Contemporary Art, Philadelphia, in late 2014 and to the Museum of Contemporary Art San Diego in 2015. Additional solo presentations of her work have taken place at the Jewish Museum, New York (2015); the Berkeley Art Museum and Pacific Film Archive, CA (2013); Studio Voltaire, London (2012); the Katzen Arts Center, American University, Washington, DC (2011); the Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY (2009); and Kunsthalle Z&uuml;rich (2007). Her work was included in Manifesta 10, St. Petersburg (2014); the 2013 Carnegie International, Pittsburgh; the Whitney Biennial, New York (2012 and 1995); and Prospect.2 New Orleans (2011). Eisenman&rsquo;s work has been featured in numerous recent group exhibitions at institutions including the Whitney Museum of American Art, New York (2015); the Museum of Modern Art, New York (2014); the Reva and David Logan Center for the Arts, University of Chicago (2014); the Contemporary Arts Museum Houston (2014); the New Museum, New York (2013); and the San Francisco Museum of Modern Art (2011). Eisenman is a 2015 MacArthur Fellow.</p> <p>The exhibition is curated by Helga Christoffersen, Assistant Curator, and Massimiliano Gioni, Artistic Director. It will be accompanied by a fully illustrated publication that will include an interview with the artist conducted by Gioni and Christoffersen, a new essay on Eisenman&rsquo;s practice by writer Grace Dunham, and a contribution by poet Eileen Myles.</p> <div id="sponsors">&nbsp;</div> </div> </div> </div> </div> </div> <div class="section"> <div class="inner"> <div class="content clearfix"> <div class="col-twothirds sponsors-col"> <h2 style="text-align: justify;">Sponsors</h2> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Nicole Eisenman: Al-ugh-ories&rdquo; is presented by The New Women&rsquo;s Project and Founding Partner D K N Y.<br /><br /><img src="http://235bowery.s3.amazonaws.com/images/1338/thumbnails/792x792x1.jpg" alt="" width="150" height="47" /><br /><br />Additional support for the exhibition is provided by the O&rsquo;Grady Foundation, Fundaci&oacute;n Almine y Bernard Ruiz-Picasso para el Arte, Martin and Rebecca Eisenberg, and the Toby Devan Lewis Emerging Artists Exhibitions Fund.<br /><br />Generous funding is provided by the International Council of the New Museum.<br /><br />The Artemis Council of the New Museum is gratefully acknowledged.<br /><br />Support for the accompanying publication has been provided by the J. McSweeney and G. Mills Publications Fund at the New Museum.<br /><br />Special thanks to Susanne Vielmetter Los Angeles Projects and Anton Kern Gallery, New York.</p> </div> </div> </div> </div> Wed, 27 Apr 2016 18:48:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Goshka Macuga - New Museum - May 5th 7:00 PM - 8:00 PM <p style="text-align: justify;">Join us for a special conversation between artist Goshka Macuga and Margot Norton, Associate Curator at the New Museum. The pair will discuss&nbsp;<a href="http://www.artslant.com/ny/events/show/416830-time-as-fabric" target="_blank">&ldquo;Goshka Macuga: Time as Fabric,&rdquo;</a>&nbsp;the first New York museum exhibition of work by the London-based artist, which will be presented at the New Museum. Macuga and Norton will use this presentation&mdash;which brings together a selection of the artist&rsquo;s recent projects, including five of her tapestries and a theatrical environment&mdash;as an opportunity to discuss some of the persistent concerns of her work to date.</p> <p style="text-align: justify;">Macuga&rsquo;s practice typically applies in-depth historical and archival research to an interest in the evolving relationships among artists, institutions, politics, and communities. Her works investigate how art can be used to voice current concerns, rouse public debate, and inspire social change. Within her images and installations, she unearths associations between different actors (people, objects, and sites), which, in many cases, problematize the ways that different organizations engage their publics and are shaped by socioeconomic and cultural developments. Throughout her career, Macuga&rsquo;s work has embraced diverse mediums including sculpture, installation, architecture, and design. The content and format of her projects are often determined by the specific institutional contexts in which her work is shown.</p> <p style="text-align: justify;"><strong>About the Artist</strong><br />Goshka Macuga was born in 1967 in Warsaw, Poland, and lives and works in London. Her solo exhibitions include &ldquo;To the Son of Man Who Ate the Scroll&rdquo; at Fondazione Prada, Milan (2016); &ldquo;Public Address: Goshka Macuga Tapestries&rdquo; at Lunds konsthall, Lund, Sweden (2014); &ldquo;Exhibit, A&rdquo; at the Museum of Contemporary Art, Chicago (2012); &ldquo;Untitled&rdquo; at the Zachęta National Gallery of Art, Warsaw (2011); &ldquo;It Broke from Within&rdquo; at the Walker Art Center, Minneapolis, MN (2011); &ldquo;The Nature of the Beast&rdquo; at Whitechapel Gallery, London (2009); and &ldquo;I am Become Death&rdquo; at Kunsthalle Basel, Switzerland (2009). Macuga&rsquo;s work was recently included in the 8th Berlin Biennial for Contemporary Art (2014); dOCUMENTA (13), Kassel, Germany, and Kabul, Afghanistan (2012); and &ldquo;Fare Mondi/Making Worlds,&rdquo; the 53rd Venice Biennale (2009). Macuga was nominated for the Turner Prize in 2008.</p> <p style="text-align: justify;">&nbsp;</p> <div class="bottom-entry"> <h3 style="text-align: justify;">Sponsors</h3> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Exhibition Supporters</strong></p> <p style="text-align: justify;">Full support for &ldquo;Goshka Macuga: Time as Fabric&rdquo; can be viewed&nbsp;<a href="http://www.newmuseum.org/exhibitions/view/goshka-macuga#sponsors">here</a>.</p> <p style="text-align: justify;"><strong>Education Supporters</strong></p> <p style="text-align: justify;">Exhibition-related programs are made possible, in part, through the support of the New York State Council on the Arts and the New York City Department of Cultural Affairs.</p> <p style="text-align: justify;"><img src="http://235bowery.s3.amazonaws.com/images/1334/thumbnails/792x792x1.jpg" alt="" width="300" height="61" /></p> <p style="text-align: justify;">Education and community programs for the spring shows are supported, in part, by American Chai Trust.</p> <p style="text-align: justify;">Generous endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.</p> </div> Wed, 27 Apr 2016 18:41:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Goshka Macuga - New Museum - May 4th - June 26th <div id="about" class="anchors"> <div class="section"> <div class="inner clearfix"> <div class="content"> <div class="body body--truncated body--expanded"> <p style="text-align: justify;">&ldquo;Goshka Macuga: Time as Fabric&rdquo; will be the first New York museum presentation of work by London-based artist Goshka Macuga (b. 1967, Warsaw, Poland). Macuga&rsquo;s practice typically applies in-depth historical and archival research to an interest in the evolving relationships among artists, institutions, politics, and communities. Her works investigate how art can be used to voice current concerns, rouse public debate, and inspire social change. Within her images and installations, she unearths associations between different actors (people, objects, and sites) that, in many cases, problematize the ways in which different organizations engage their publics and are shaped by socioeconomic and cultural developments in society. Throughout her career, Macuga&rsquo;s work has embraced diverse mediums including sculpture, installation, architecture, and design. The content and format for her projects are often determined by the specific institutional contexts in which her work is shown. Occupying the New Museum&rsquo;s Second Floor galleries, &ldquo;Goshka Macuga: Time as Fabric&rdquo; will bring together a selection of the artist&rsquo;s recent projects, including five of her tapestries and a theatrical environment.</p> <p style="text-align: justify;">Over the past five years, Macuga has created a series of large-scale tapestries that &ldquo;weave&rdquo; people together in their reimagining of demonstrations, public assemblies, and meetings of minds. Drawing from the rich historical tradition of textiles, which have been produced by artists and used by their patrons for thousands of years, Macuga exploits the representative functions of the medium, which can embody political messages, while also maintaining tapestry&rsquo;s tactility and portability. Often panoramic and vast, her tapestries transform architectural spaces and surround viewers&mdash;making us both spectators of and participants in the actions depicted and enveloping us in narratives that expand and collapse the notion of time.</p> <p style="text-align: justify;">Responding to a series of significant commissions from museums and organizations including Whitechapel Gallery, London (2009); the Zachęta National Gallery of Art, Warsaw (2011); the Walker Art Center, Minneapolis, MN (2011); and dOCUMENTA (13), Kassel, Germany (2012), Macuga evolved a practice in which she delves deep into archives to unearth the politics, peculiarities, and overlooked histories of the institutions where her work is shown. For her recent commission for dOCUMENTA (13), for example, Macuga presented&nbsp;<em>Of what is, that it is; of what is not, that it is not</em>&nbsp;(2012), two tapestries that were shown simultaneously in the two separate locations of the exhibition: Kassel, Germany, and Kabul, Afghanistan. As with her other works, these two black-and-white photographic textiles, with their composite stitching-together of figures from disparate yet interlocking communities, illuminate the elusive relationship between historic documentation and truth.</p> <p style="text-align: justify;">In&nbsp;<em>Preparatory Notes</em>&nbsp;(2014), Macuga expands on the function of demonstration and performance in her tapestries, presenting a stage set for a production based on an unpublished play by legendary German art historian Aby Warburg. As with many of Macuga&rsquo;s projects, this piece explores the complicated and oftentimes fraught relationship between art and society throughout history, which continues to resonate in the present. &ldquo;Time as Fabric&rdquo; will offer an opportunity for these pivotal projects to be seen together, many of which will be on view in the United States for the first time. The presentation of these works on multifarious subjects in a single space will echo the collage-like quality of Macuga&rsquo;s tapestries and encourage dialogues between diverse narratives to emerge, woven together by a common thread on a singular plane.</p> <p style="text-align: justify;">Goshka Macuga was born in 1967 in Warsaw, Poland, and lives and works in London. Her solo exhibitions include &ldquo;To the Son of Man Who Ate the Scroll&rdquo; at Fondazione Prada, Milan (2016); &ldquo;Public Address: Goshka Macuga Tapestries&rdquo; at Lunds konsthall, Lund, Sweden (2014); &ldquo;Exhibit, A&rdquo; at the Museum of Contemporary Art, Chicago (2012); &ldquo;Untitled&rdquo; at the Zachęta National Gallery of Art, Warsaw (2011); &ldquo;It Broke from Within&rdquo; at the Walker Art Center, Minneapolis, MN (2011); &ldquo;The Nature of the Beast&rdquo; at Whitechapel Gallery, London (2009); and &ldquo;I am Become Death&rdquo; at Kunsthalle Basel, Switzerland (2009). Macuga&rsquo;s work was recently included in the 8th Berlin Biennial for Contemporary Art (2014); dOCUMENTA (13), Kassel, Germany, and Kabul, Afghanistan (2012); and &ldquo;Fare Mondi/Making Worlds,&rdquo; the 53rd Venice Biennale (2009). Macuga was nominated for the Turner Prize in 2008.</p> <p style="text-align: justify;">The exhibition is curated by Margot Norton, Associate Curator, and Massimiliano Gioni, Artistic Director. It will be accompanied by a fully illustrated publication featuring an interview with the artist by Norton and new reflections on Macuga&rsquo;s practice by artists Ilya and Emilia Kabakov and curator and writer Grant Watson.</p> <div id="sponsors" style="text-align: justify;">&nbsp;</div> </div> </div> </div> </div> </div> <div class="section"> <div class="inner"> <div class="content clearfix"> <div class="col-twothirds sponsors-col"> <h2 style="text-align: justify;">Sponsors</h2> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Goshka Macuga: Time as Fabric&rdquo; is presented by The New Women&rsquo;s Project and Founding Partner D K N Y.<br /><br /><img src="http://235bowery.s3.amazonaws.com/images/1339/thumbnails/792x792x1.jpg" alt="" width="150" height="47" /><br /><br />Additional support for the exhibition is provided by the O&rsquo;Grady Foundation, Fundaci&oacute;n Almine y Bernard Ruiz-Picasso para el Arte, and the Toby Devan Lewis Emerging Artists Exhibitions Fund.<br /><br />Generous funding is provided by the International Leadership Council of the New Museum.<br /><br />The Artemis Council of the New Museum is gratefully acknowledged.&nbsp;<br /><br />Special thanks to Andrew Kreps Gallery, New York; Kate MacGarry, London; and Galerie R&uuml;diger Sch&ouml;ttle, Munich.&nbsp;<br /><br />Support for the accompanying publication has been provided by the J. McSweeney and G. Mills Publications Fund at the New Museum.</p> </div> </div> </div> </div> Wed, 27 Apr 2016 18:39:38 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Cally Spooner - New Museum - May 25th 7:00 PM - 9:00 PM <p style="text-align: justify;">Join us for an evening with artist Cally Spooner, featuring a new special performance conceived for this event, followed by a talk-back with Spooner and Helga Christoffersen, Assistant Curator.</p> <p style="text-align: justify;">This live event is part of the New Museum&rsquo;s presentation of&nbsp;<a href="http://www.artslant.com/ny/events/show/416818-on-false-tears-and-outsourcing" target="_blank">&ldquo;On False Tears and Outsourcing,&rdquo;</a>&nbsp;an iteration of Spooner&rsquo;s long-term project of the same name, which was initiated at Vleeshal Markt, Middelburg, the Netherlands, in 2015. A starting point for the project is Gustave Flaubert&rsquo;s 1856 novel&nbsp;<em>Madame Bovary</em>, in which Emma Bovary&rsquo;s lover signs his farewell letter to her with a false tear, a drop of water. Spooner takes this passage and builds on its fiction to examine expanded definitions of outsourcing today. Considering the production of affect, the contradictions faced by hired bodies, and the dynamics of using or being used as a human resource, &ldquo;On False Tears and Outsourcing&rdquo; stages situations in which a heightened demand for communication drives the delegation of personal investment to ready-made languages, gestures, and protocols.</p> <p style="text-align: justify;"><strong>Bio</strong><br />Cally Spooner was born in Ascot, UK, in 1983 and lives and works in London. Her recent solo exhibitions include &ldquo;And You Were Wonderful, On Stage&rdquo; at Stedelijk Museum, Amsterdam (2016); &ldquo;On False Tears and Outsourcing&rdquo; at Vleeshal Markt, Middelburg, the Netherlands (2015); and &ldquo;The Anti-Climax Climax&rdquo; at Bielefelder Kunstverein, Bielefeld, Germany (2015). Her recent live productions have been presented at Tate Modern, London (2014); Tate Britain, London (2014); the High Line, New York (2014); Stedelijk Museum, Amsterdam (2013); and Performa 13, New York (2013). Spooner&rsquo;s work has been included in group exhibitions at the Aspen Art Museum (2015);&nbsp;REDCAT, Los Angeles (2015); Frieze Projects, London (2015); Kunstverein M&uuml;nchen (2014); Frieze Projects, New York (2014); KW Institute for Contemporary Art, Berlin (2013); Jeu de Paume, Paris (2013); and the Serpentine Gallery, London (2012). She is a 2013 recipient of the Paul Hamlyn Foundation Award and the author of the novel&nbsp;<em>Collapsing in Parts</em>, published by Mousse in 2013.</p> <p style="text-align: justify;">&nbsp;</p> <div class="bottom-entry"> <h3 style="text-align: justify;">Sponsors</h3> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Full support for &ldquo;Cally Spooner: On False Tears and Outsourcing&rdquo; can be viewed&nbsp;<a href="http://www.newmuseum.org/exhibitions/view/cally-spooner-on-false-tears-and-outsourcing#sponsors">here</a>.</p> <p style="text-align: justify;"><strong>Education Supporters</strong></p> <p style="text-align: justify;">Exhibition-related programs are made possible, in part, through the support of the New York State Council on the Arts and the New York City Department of Cultural Affairs.</p> <p style="text-align: justify;"><img src="http://235bowery.s3.amazonaws.com/images/1350/thumbnails/792x792x1.jpg" alt="" width="300" height="61" /></p> <p style="text-align: justify;">Education and community programs for the spring shows are supported, in part, by American Chai Trust.</p> <p style="text-align: justify;">Generous endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.</p> </div> Wed, 27 Apr 2016 18:32:42 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Christopher Hart Chambers - Untitled New York - May 11th - June 12th <p><strong>Mannhattan, February 2016</strong><br /><br />The Sporting Fate exhibition opens at Causey Contemporary with a public reception on May 12, 2016 from 6 - 8 pm. This exhibition, featuring Christopher Hart Chambers&rsquo; recent sculptures and paintings, is his first solo show with the gallery. 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 June 12, 2016.<br /><br />Christopher refers to his work as &ldquo;idiosyncratically American&rdquo; because it references hot rods, surfboards, psychedelia, and romanticized fantasy space craft/techno-science fiction adventure vessels while also utilizing an acute alphabet of personal emblems and cryptic motifs. Christopher is also involved with curating exhibitions and writing for several periodicals including Flash Art, Contemporary, Tema Celeste, d&rsquo;Art, Sculpture, and others. Yet throughout the years of tangential activities he has remained focused on the original aim which is prolifically producing and exhibiting his work widely; starting primarily as a painter, shifting to sculpture in the late 1990s, and finally conjoining them.<br /><br />Christopher is a passionate traveler who likes to see where the paint, the color, and the light leads. Artistically his main aim is to explore uncharted territory: to discover, and so he does not start with any idea in mind. In essence, his work is completely improvisational. He analogizes his modus operandi to that of a jazz or rock and roll band, &ldquo;Once the rhythm is set, the melody is free to improvise.&rdquo; That is to say, once a working methodology has been established &ndash; the materials, sequence of application, etcetera, the creative means and the physical support structure in place: the artist is free to fire at will.<br /><br />&nbsp;<br /><br /><strong>Biography</strong><br /><br />Christopher Hart Chambers was born in New York City where he continues to live and work. He attended the High School of Music and Art and various other NYC based institutions of fine art learning. He first exhibited professionally as a teenager in the East Village and Soho in the early and mid 1980s.While his early work concentrated strictly on painting, later Chambers incorporated sculptural elements as well.<br /><br />His efforts have been featured recently in solo exhibitions at venues including: The Nassau County Museum of Art, Roslyn, NY; Lyceum Gallery @ Suffolk County Community College, Riverhead , NY; Rupert Ravens Contemporary &ndash; Newark, NJ; Art Sites &ndash; Riverhead, NY; Universal Concepts Unlimited, NYC; Galerie Rienzo, NYC.<br /><br />Christopher Hart Chambers&rsquo; works are held in the public and corporate collections of several international institutions including: Washington D.C. Convention Center; Omnicare International (New York); MPOWER Corporation, currently Quovadx Inc. (Albuquerque, NM), as well as numerous private collectors.<br /><br />&nbsp;<br /><br /><strong>Statement</strong><br /><br />&ldquo;Although my work is conceptually abstract it is rooted in concrete imaginary. This is essentially a surrealist model. Another way of putting it is to state that the work always involves pictures of &ldquo;things.&rdquo; In three dimensions they are the things rather than representations thereof. These &ldquo;things&rdquo; are distilled from an alphabet of personal motifs and emblems which are often repeated throughout a single composition and obsessively utilized in numerous works. This fascination with mantric repetition has lead me to an interest in fabricating these visual devices in three dimensions by building molds and casting the forms, thereby developing a genus of modular sculpture which may be rearranged at will. All these machinations have finally conjoined; I like to call it The Apex Theory: Two lines of thought meet at a designated point. The pinnacle or apex is determined by the length and angles of the sides, or metaphorically, the difficulty of the ascent. It has taken me almost half a century to arrive here.&rdquo;<br /><br />&nbsp;<br /><br />For more information on Christopher Hart Chambers&rsquo; forthcoming exhibition or our current show of Howard Gross&rsquo; In Whispering exhibition at Causey Contemporary running from April 14 &ndash; May 8, 2016, please contact Lara Aim, the communications associate at the gallery via email: lara@causeycontemporary.com, or telephone: 212-966-2520&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;<br /><br /></p> Wed, 27 Apr 2016 18:27:46 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Cally Spooner - New Museum - April 27th - June 19th <p style="text-align: justify;">The New Museum will present a new installation by Cally Spooner (b. 1983, Ascot, UK), which will be her first solo and institutional presentation in the United States.</p> <div id="about" class="anchors" style="text-align: justify;"> <div class="section"> <div class="inner clearfix"> <div class="content"> <div class="body body--truncated body--expanded"> <p>For her first solo and institutional presentation in the United States, Cally Spooner (b. 1983, Ascot, UK) will produce a new installation for the New Museum&rsquo;s Lobby Gallery. &ldquo;On False Tears and Outsourcing&rdquo; will comprise a series of architectural additions to the gallery space and the presence of a group of dancers who will respond to conflicting choreographic instructions: to stay intimately bound together while remaining fiercely separate. Trained by rugby players and a movie director, and following the logic of a &ldquo;stand-up scrum&rdquo;&mdash;a daily meeting often used in collaborative, responsive practices such as software development&mdash;the dancers will learn a set of techniques taken from contact sports, management strategies, and on-screen romance. Through attempts to seduce, defend, and self-organize, the group will devise a sequence of movements in response to simple tasks set by Spooner. The long glass wall that separates the Lobby Gallery from the New Museum Lobby will be a central feature of the installation. Using the gallery&rsquo;s condition of high visibility, Spooner will consider the characteristics of corporate and museum architectures by amplifying and exaggerating certain qualities in the space through the use of soft acoustic panels, daylight bulbs, and background noise. Through this intersection of bodies and architectures of management, Spooner will examine how power presents itself when it comes into contact with the human body.</p> <p>On False Tears and Outsourcing&rdquo; is part of Spooner&rsquo;s long-term project of the same name, which was initiated at Vleeshal Markt, Middelburg, the Netherlands, in 2015. Considering the production of affect, the contradictions faced by hired bodies, and the dynamics of using or being used as a human resource, the project stages situations in which a heightened demand for communication drives the outsourcing of personal investment to readymade gestures and protocols.</p> <p>Cally Spooner was born in Ascot, UK, in 1983 and lives and works in London. Her recent solo exhibitions include &ldquo;And You Were Wonderful, On Stage&rdquo; at Stedelijk Museum, Amsterdam (2016); &ldquo;On False Tears and Outsourcing&rdquo; at Vleeshal Markt, Middelburg, the Netherlands (2015); and &ldquo;The Anti-Climax Climax&rdquo; at Bielefelder Kunstverein, Bielefeld, Germany (2015). Her recent live productions have been presented at Tate Modern, London (2014); Tate Britain, London (2014); the High Line, New York (2014); Stedelijk Museum, Amsterdam (2013); and Performa 13, New York (2013). Spooner&rsquo;s work has been included in group exhibitions at the Aspen Art Museum (2015);&nbsp;REDCAT, Los Angeles (2015); Frieze Projects, London (2015); Kunstverein M&uuml;nchen (2014); Frieze Projects, New York (2014); KW Institute for Contemporary Art, Berlin (2013); Jeu de Paume, Paris (2013); and the Serpentine Gallery, London (2012). She is a 2013 recipient of the Paul Hamlyn Foundation Award and the author of the novel Collapsing in Parts, published by Mousse in 2013.</p> <p>The exhibition is curated by Helga Christoffersen, Assistant Curator.</p> <div id="sponsors">&nbsp;</div> </div> </div> </div> </div> </div> <div class="section"> <div class="inner"> <div class="content clearfix"> <div class="col-twothirds sponsors-col"> <h2 style="text-align: justify;">Sponsors</h2> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Cally Spooner: On False Tears and Outsourcing&rdquo; is presented by The New Women&rsquo;s Project and Founding Partner D K N Y.<br /><br /><img src="http://235bowery.s3.amazonaws.com/images/1337/thumbnails/792x792x1.jpg" alt="" width="150" height="47" /><br /><br />The exhibition is produced in collaboration with Kvadrat and Lafayette Anticipation &ndash; Fondation d&rsquo;entreprise Galeries Lafayette, Paris.<br /><img src="http://235bowery.s3.amazonaws.com/images/1341/thumbnails/792x792x1.jpg" alt="" width="250" height="56" /><br /><br />Additional support is provided by Nathalie and Jean-Daniel Cohen, the O&rsquo;Grady Foundation, Fundaci&oacute;n Almine y Bernard Ruiz-Picasso para el Arte, and the Toby Devan Lewis Emerging Artists Exhibition Fund.&nbsp;<br /><br />Generous funding is provided by the International Leadership Council of the New Museum.<br /><br />The Artemis Council of the New Museum is gratefully acknowledged.<br /><br />Special thanks to the Producers Council of the New Museum.<br /><br />Thanks to Artpace, San Antonio.</p> </div> </div> </div> </div> Wed, 27 Apr 2016 18:03:00 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Andra Ursuta - New Museum - April 27th - June 19th <p style="text-align: justify;">In spring 2016, the New Museum will present the first museum exhibition in New York of Andra Ursuţa.</p> <div id="about" class="anchors" style="text-align: justify;"> <div class="section"> <div class="inner clearfix"> <div class="content"> <div class="body body--truncated body--expanded"> <p>This presentation will be the first New York museum exhibition of the work of New York&ndash;based artist Andra Ursuţa (b. 1979). Ursuţa&rsquo;s sculptures and installations thrive on paradox and engage a visual language that weaves an art historical homage with a homespun, anarchic sensibility. From early in her career, Ursuţa has used a fatalistic dark humor to expose power dynamics, to probe the vulnerability of the human body, and to examine modes of desire. The Romanian-born artist immigrated to the United States in the late 1990s, but many of the narrative facets of her upbringing&mdash;from occult folk traditions to blundering nationalist propaganda&mdash;resonate throughout her work. Ursuţa&rsquo;s New Museum exhibition will debut a new sculptural installation,&nbsp;<em>Alps</em>&nbsp;(2016), which will be presented in dialogue with the artist&rsquo;s recent sculptures, including her series<em>Whites</em>&nbsp;(2015), which will have its United States premiere in this show.</p> <p>The sculptures that compose&nbsp;<em>Whites</em>&nbsp;take the form of anthropomorphic obelisks&mdash;bone-like shrunken monuments with eye sockets and nostrils cast from human skulls. Half figure and half stela, they haunt the gallery like ghosts and are seated on chairs whose designs reference periods of European colonialism. Ursuţa&rsquo;s&nbsp;<em>Alps</em>transposes her obelisk-like figures to an artificial landscape that envelops the gallery space. Informed by stylized representations of natural landscapes&mdash;from indoor rock-climbing walls to the rocks depicted in Byzantine paintings&mdash;&nbsp;<em>Alps</em>flanks the walls of the gallery with craggy geometric forms jutting out like crystalline growths. The work&rsquo;s title denotes a specific geographical feature: Europe&rsquo;s Alps are a major natural barrier, which has taken on a new significance in light of current efforts by migrants to cross into western Europe. Seen alongside<em>Whites</em>, the squadron of forlorn obelisks that patrol the premises like specters of bygone imperialist ambitions, and the marble Roma women of&nbsp;<em>Commerce Exterieur Mondial Sentimental</em>&nbsp;(2012), Alps suggests a commentary on the impulse to guard and fortify borders. Cast in the surfaces of these pallid panels, pouches of bodily mass&mdash;in the shape of inflatable toy skeletons&mdash;appear suspended like flies in a web or frozen like fossilized bog bodies. Other skeletal cavities perforate the surface and, together with penis-shaped climbing holds, offer rude and morbid grips for a hypothetical climber.</p> <p>In&nbsp;<em>Commerce Exterieur Mondial Sentimental</em>, life-size marble figures adorned with coins glare at the viewer with palpable contempt. Informed by a socialist-realist aesthetic and inspired by a news image of a Roma woman being deported from France, they evoke lifeless mannequins trapped in an economy in which the value of both human beings and commodities is determined by foreign powers.<em>Scarecrow</em>&nbsp;(2015), an unusual apparatus for a nonexistent sport, is part goalpost, part concrete flag: at its center is a cartoonish inflatable eagle, whose tumescent arms are pumped up in victory. In this work, a classic emblem of European nationalism is transformed into an icon of empty threats&mdash;a monument of imperial folly more than a real menace.</p> <p>Andra Ursuţa was born in 1979 in Salonta, Romania, and lives and works in New York City. She has exhibited internationally at venues including the 13th Biennial of Lyon, France (2015); the Hammer Museum, Los Angeles (2014); the 55th Venice Biennale (2013); MoMA P.S.1, New York (2013);&nbsp;CAPC, mus&eacute;e d&rsquo;art contemporain de Bordeaux, France (2013); and Frieze Projects New York (2012). Her recent solo presentations include &ldquo;Enslavables&rdquo; at Massimo De Carlo, London (2015); &ldquo;Whites&rdquo; at Kunsthalle Basel, Switzerland (2015); &ldquo;Orthodoctrinator&rdquo; at Art Basel Unlimited (2014); &ldquo;Scytheseeing&rdquo; at K&ouml;lnischer Kunstverein, Cologne (2014); &ldquo;As I Lay Drying&rdquo; at the Institute of Contemporary Art, Miami (2014); &ldquo;Solitary Fitness&rdquo; at Venus Over Manhattan, New York (2013); &ldquo;Mothers, Let Your Daughters Out in the Streets&rdquo; at Fran&ccedil;ois Ghebaly Gallery, Los Angeles (2012); and &ldquo;&Omicron; &Nu;ό&tau;&omicron;&sigmaf; &theta;&alpha; &epsilon;&gamma;&epsilon;&rho;&theta;&epsilon;ί &xi;&alpha;&nu;&alpha;&rdquo; [The South Will Rise Again] (2015), &ldquo;Magical Terrorism&rdquo; (2012), &ldquo;Vandal Lust&rdquo; (2011), and &ldquo;The Management of Barbarism&rdquo; (2010) at Ramiken Crucible, New York.</p> <p>The exhibition is curated by Natalie Bell, Assistant Curator, and Massimiliano Gioni, Artistic Director. It will be accompanied by a publication with contributions by Bell and artist Maurizio Cattelan and an interview between the artist and Gioni.</p> <div id="sponsors">&nbsp;</div> </div> </div> </div> </div> </div> <div class="section"> <div class="inner"> <div class="content clearfix"> <div class="col-twothirds sponsors-col"> <h2 style="text-align: justify;">Sponsors</h2> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Andra Ursuţa: Alps&rdquo; is presented by The New Women&rsquo;s Project and Founding Partner D K N Y.&nbsp;<br /><br /><img src="http://235bowery.s3.amazonaws.com/images/1328/thumbnails/792x792x1.jpg" alt="" width="150" height="47" /><br /><br />Additional support for the exhibition is provided by the O&rsquo;Grady Foundation, Fundaci&oacute;n Almine y Bernard Ruiz-Picasso para el Arte, Lietta and Dakis Joannou, Carlo Bronzini Vender and Tanya Traykovski, and the Toby Devan Lewis Emerging Artists Exhibitions Fund.<br /><br />Generous funding is provided by the International Leadership Council of the New Museum.<br /><br />The Artemis Council of the New Museum is gratefully acknowledged.<br /><br />Support for the accompanying publication has been provided by the J. McSweeney and G. Mills Publications Fund at the New Museum.</p> </div> </div> </div> </div> Wed, 27 Apr 2016 18:00:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Beatriz Santiago Muñoz - New Museum - April 20th - June 12th <p style="text-align: justify;">Beatriz Santiago Mu&ntilde;oz&rsquo;s (b. 1972, San Juan, Puerto Rico) projects grapple with the slippery distinctions between ethnography, fiction, and documentary film and examine the symbolic and material histories of the communities she observes with her camera.</p> <div id="about" class="anchors" style="text-align: justify;"> <div class="section"> <div class="inner clearfix"> <div class="content"> <div class="body body--truncated body--expanded"> <p>Her residency and exhibition at the New Museum will be presented in the Fifth Floor gallery as part of the Education and Public Engagement Department&rsquo;s R&amp;D Season:&nbsp;LEGACY, and will explore the ways in which our connections to the past are actively produced, maintained, and refuted. In this exhibition, she will premiere a new body of work, including a series of 16mm portraits of anthropologists, activists, and artists working in Haiti and Puerto Rico. Santiago Mu&ntilde;oz&rsquo;s films capture the aspirations and imagined futures of those who are deeply invested in alternative models of being, using them as allegories for larger political possibilities in the region.</p> <p>This exhibition is co-curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, Lauren Cornell, Curator and Associate Director, Technology Initiatives, and Sara O&rsquo;Keeffe, Assistant Curator.</p> <div id="sponsors">&nbsp;</div> </div> </div> </div> </div> </div> <div class="section"> <div class="inner"> <div class="content clearfix"> <div class="col-twothirds sponsors-col"> <h2 style="text-align: justify;">Sponsors</h2> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&ldquo;Beatriz Santiago Mu&ntilde;oz&rdquo; is presented by The New Women&rsquo;s Project and Founding Partner D K N Y.<br /><br /><img src="http://235bowery.s3.amazonaws.com/images/1328/thumbnails/792x792x1.jpg" alt="" width="150" height="47" /><br /><br />Additional support for &ldquo;Beatriz Santiago Mu&ntilde;oz&rdquo; is provided by the Toby Devan Lewis Emerging Artists Exhibitions Fund. Artist commissions at the New Museum are generously supported by the Neeson / Edlis Artist Commissions Fund. The Education Council of the New Museum is gratefully acknowledged.<br /><br />Further support is provided by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and from the New York City Department of Cultural Affairs in partnership with the City Council.&nbsp;<br /><br /><img src="http://235bowery.s3.amazonaws.com/images/1320/thumbnails/792x792x1.jpg" alt="" width="500" height="101" /><br /><br />Endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.</p> </div> </div> </div> </div> <p>&nbsp;</p> Wed, 27 Apr 2016 17:49:41 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - March 11th - May 30th <div class="rich-text"> <p style="text-align: justify;">This exhibition features more than 600 works of art and writing by New York City teens who received the highest regional recognition in the 2016 Scholastic Art &amp; Writing Awards&mdash;the Gold Key Award. Presented by the Alliance for Young Artists &amp; Writers, the Scholastic Awards are the longest-running and most prestigious recognition program for creative teens in the United States. The Met is again honored to host this yearly exhibition and celebrate the creativity of these young artists.</p> <p style="text-align: justify;">This year as many as 3,500 students in grades seven through twelve submitted nearly 13,000 works to the New York City Region of the Scholastic Art &amp; Writing Awards, encompassing more than 300 schools in all five boroughs. In addition, 260 literary and visual arts professionals served as judges, selecting works based on originality, technical skill, and emergence of a personal voice or vision.</p> <p style="text-align: justify;">The Alliance for Young Artists &amp; Writers' mission is to identify students with exceptional artistic and literary talent and present their visionary work to the world through recognition, exhibition, publication, and scholarships. Established in 1923, the Scholastic Art &amp; Writing Awards bring the work of young people to regional and national audiences. Former recipients include artists Andy Warhol, Cy Twombly, Kay WalkingStick, and John Baldessari&mdash;all represented in The Met collection&mdash;and writers Sylvia Plath, Truman Capote, Maya Goldberg, and Joyce Carol Oates.</p> <p style="text-align: justify;">Learn more about the&nbsp;<a href="http://www.artandwriting.org/" target="_blank">Alliance for Young Artists &amp; Writers and the Scholastic Art &amp; Writing Awards</a>&nbsp;and connect on Twitter (<a href="https://twitter.com/artandwriting">@artandwriting</a>). For more information, contact<a href="mailto:info@artandwriting.org">info@artandwriting.org</a>.</p> <p style="text-align: justify;">See a&nbsp;<a href="http://www.metmuseum.org/-/media/Files/Exhibitions/2016/Scholastic2016_studentnames.pdf" target="_blank">complete list</a>&nbsp;(PDF) of 2016 New York City Scholastic Art &amp; Writing Awards Gold Key recipients.</p> </div> <div class="rich-text" style="text-align: justify;"> <p>The Alliance for Young Artists &amp; Writers partners with The New School's Parsons School of Design and Eugene Lang College of Liberal Arts to present the New York City Region of the Scholastic Art &amp; Writing Awards, with additional program support provided by Pratt Institute. The Alliance thanks Scholastic Inc., the&nbsp;<em>New York Times</em>, and the New York City Department of Cultural Affairs in partnership with the City Council for their generous support of this exhibition.</p> </div> <div class="collection-details__location" style="text-align: justify;">On view at The Met Fifth Avenue in&nbsp;<a href="http://www.metmuseum.org/visit/museum-map?mli=uris-center" target="_blank">Ruth and Harold D. Uris Center for Education</a></div> Wed, 27 Apr 2016 08:25:11 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - September 5th, 2015 - May 22nd <p style="box-sizing: inherit; margin-bottom: 2rem; padding: 0px; color: #1a1a1a; font-family: MetSans, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 20px; line-height: 28px; text-align: justify;"><span style="font-size: small;">Since The Metropolitan Museum of Art was founded in 1870, the institution's physical space and collection have grown and its curatorial departments have diversified. The first Asian works of art to enter the collection&mdash;mostly ceramics and lacquers&mdash;were acquired in 1879 and originally accommodated in what was then called the Department of Decorative Arts. Only in 1915 was a separate Department of Far Eastern Art established, and it was not until 1986 that its name was changed to the Department of Asian Art. The timeline presented in the photographs in this exhibition chronicles the changing face of the Met's galleries of Asian art as the building's footprint has expanded, exhibition styles have evolved, and the collection has grown.</span></p> <p style="box-sizing: inherit; margin-bottom: 2rem; padding: 0px; color: #1a1a1a; font-family: MetSans, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 20px; line-height: 28px; text-align: justify;"><span style="font-size: small;">Forever a work in progress, the Met's collection of Asian art is ultimately the product of the passion and scholarship of the many collectors, curators, donors, dealers, and directors who have together shaped the Museum's holdings and legacy.</span></p> <p style="box-sizing: inherit; margin-bottom: 2rem; padding: 0px; color: #1a1a1a; font-family: MetSans, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 20px; line-height: 28px; text-align: justify;"><span style="font-size: small;"><a style="box-sizing: inherit; color: #262626; outline: 0px; text-decoration: underline; background: transparent;" href="http://www.metmuseum.org/about-the-met/curatorial-departments/asian-art/centennial"><img class="l-pull-left" style="box-sizing: inherit; display: block; max-width: 100%; float: left; margin-bottom: 1.25rem; margin-right: 1.25rem; width: 50px; height: 50px;" src="http://www.metmuseum.org/-/media/Images/About%20The%20Met/Curatorial%20Departments/Asian/Asian%20Art%20Centennial/Asia100_Web-Assets_icon.jpg?la=en" alt="Asia 100 logo" /></a><a style="box-sizing: inherit; color: #262626; outline: 0px; text-decoration: underline; background: transparent;" href="https://twitter.com/hashtag/AsianArt100?f=realtime">#AsianArt100</a></span></p> <p style="box-sizing: inherit; margin-bottom: 2rem; padding: 0px; color: #1a1a1a; font-family: MetSans, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 20px; line-height: 28px; text-align: justify;">&nbsp;</p> <p style="box-sizing: inherit; margin-bottom: 2rem; padding: 0px; color: #1a1a1a; font-family: MetSans, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 20px; line-height: 28px; text-align: justify;"><span style="font-size: small;"><span style="line-height: normal;">On view at The Met Fifth Avenue in&nbsp;</span><a style="box-sizing: inherit; color: #262626; outline: 0px; text-decoration: underline; font-weight: bold; font-size: 18px; line-height: normal; background-image: initial; background-attachment: initial; background-size: initial; background-origin: initial; background-clip: initial; background-position: initial; background-repeat: initial;" href="http://www.metmuseum.org/visit/museum-map?mli=209" target="_blank">Gallery 209</a></span></p> <p style="box-sizing: inherit; margin-bottom: 2rem; padding: 0px; color: #1a1a1a; font-family: MetSans, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 20px; line-height: 28px;">Since The Metropolitan Museum of Art was founded in 1870, the institution's physical space and collection have grown and its curatorial departments have diversified. The first Asian works of art to enter the collection&mdash;mostly ceramics and lacquers&mdash;were acquired in 1879 and originally accommodated in what was then called the Department of Decorative Arts. Only in 1915 was a separate Department of Far Eastern Art established, and it was not until 1986 that its name was changed to the Department of Asian Art. The timeline presented in the photographs in this exhibition chronicles the changing face of the Met's galleries of Asian art as the building's footprint has expanded, exhibition styles have evolved, and the collection has grown.</p> <p style="box-sizing: inherit; margin-bottom: 2rem; padding: 0px; color: #1a1a1a; font-family: MetSans, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 20px; line-height: 28px;">Forever a work in progress, the Met's collection of Asian art is ultimately the product of the passion and scholarship of the many collectors, curators, donors, dealers, and directors who have together shaped the Museum's holdings and legacy.</p> <p style="box-sizing: inherit; margin-bottom: 2rem; padding: 0px; color: #1a1a1a; font-family: MetSans, 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 20px; line-height: 28px;"><a style="box-sizing: inherit; color: #262626; outline: 0px; text-decoration: underline; background: transparent;" href="http://www.metmuseum.org/about-the-met/curatorial-departments/asian-art/centennial"><img class="l-pull-left" style="box-sizing: inherit; display: block; max-width: 100%; float: left; margin-bottom: 1.25rem; margin-right: 1.25rem; width: 50px; height: 50px;" src="http://www.metmuseum.org/-/media/Images/About%20The%20Met/Curatorial%20Departments/Asian/Asian%20Art%20Centennial/Asia100_Web-Assets_icon.jpg?la=en" alt="Asia 100 logo" /></a><a style="box-sizing: inherit; color: #262626; outline: 0px; text-decoration: underline; background: transparent;" href="https://twitter.com/hashtag/AsianArt100?f=realtime">#AsianArt100</a></p> Wed, 27 Apr 2016 08:18:24 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - March 7th - July 31st <div class="rich-text"> <p style="text-align: justify;">Since the earliest days of the medium, photographs have been used for criminal investigation and evidence gathering, to record crime scenes, to identify suspects and abet their capture, and to report events to the public. This exhibition explores the multifaceted intersections between photography and crime, from 19th-century "rogues' galleries" to work by contemporary artists inspired by criminal transgression. The installation will feature some 70 works, drawn entirely from The Met collection, ranging from the 1850s to the present.</p> <p style="text-align: justify;">Among the highlights of the installation is Alexander Gardner's documentation of the events following the assassination of President Lincoln, as well as rare forensic photographs by Alphonse Bertillon, the French criminologist who created the system of criminal identification that gave rise to the modern mug shot. Also on display is a vivid selection of vintage news photographs related to cases both obscure and notorious, such as a study of John Dillinger's feet in a Chicago morgue in 1934; Jack Ruby shooting Lee Harvey Oswald in 1963; and Patty Hearst captured by bank surveillance cameras in 1974.</p> <p style="text-align: justify;">In addition to exploring photography's evidentiary uses, the exhibition will feature work by artists who have drawn inspiration from the criminal underworld, including Richard Avedon, Larry Clark, Walker Evans, John Gutmann, Andy Warhol, and Weegee.</p> <p style="text-align: justify;"><a href="https://twitter.com/hashtag/CrimeStories">#CrimeStories</a><br /><a href="https://twitter.com/hashtag/MetOnPaper100">#MetOnPaper100</a></p> </div> <div class="collection-details__location" style="text-align: justify;">On view at The Met Fifth Avenue in&nbsp;<a href="http://www.metmuseum.org/visit/museum-map?mli=852" target="_blank">Gallery 852</a></div> Wed, 27 Apr 2016 08:09:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - December 15th, 2015 - June 5th <div class="rich-text"> <p style="text-align: justify;">This exhibition reveals the most sumptuous moment in late nineteenth-century America&mdash;a period known as the Gilded Age&mdash;through the work of some of the most noted design firms at the time. The centerpiece of the three-part exhibition is the opulent Worsham-Rockefeller Dressing Room from the New York City house commissioned by art collector and philanthropist Arabella Worsham (later Huntington; ca. 1850&ndash;1924). A complete work of art, with its elaborate woodwork and decorations, it is a rare surviving commission by the New York&ndash;based cabinetmaker and interior decorator George A. Schastey (American, 1839&ndash;1894).</p> <p style="text-align: justify;">Although little known today, Schastey operated a large and successful decorating firm in the late nineteenth century, catering to some of the nation's wealthiest individuals. Loans from public and private collections will highlight his work and important role; some of these works are newly attributed to him and have never before been on public view. The exhibition will also include furniture by some of Schastey's contemporaries.</p> <p style="text-align: justify;">An adjoining gallery will display works by Schastey's best-known competitor, Herter Brothers, that were created for the firm's most important commission, the William H. Vanderbilt House. In total, the exhibition will include more than three dozen examples of furniture from America's Gilded Age. Visitors will gain new insights into the luxurious and artistic interiors found in New York's wealthiest households in the late nineteenth century.</p> <p style="text-align: justify;"><a href="https://twitter.com/search?q=%23GildedAgeFurniture&amp;src=realtime">#GildedAgeFurniture</a></p> <p style="text-align: justify;">Accompanied by a&nbsp;<em><a href="http://store.metmuseum.org/met-publications/artistic-furniture-of-the-gilded-age/invt/80030879?utm_source=mainmuseum&amp;utm_medium=metmuseum.org&amp;utm_content=artistic+furniture+of+the+gilded+age+80030879&amp;utm_campaign=artistic+furniture+of+the+gilded+age" target="_blank">Bulletin</a></em></p> </div> <div class="rich-text" style="text-align: justify;"> <p>"Opulent."&mdash;<em>Wall Street Journal</em></p> </div> <div class="rich-text"> <p style="text-align: justify;"><em>Artistic Furniture of the Gilded Age: George A. Schastey</em>&nbsp;is made possible by the Enterprise Holdings Endowment and The Peter Jay Sharp Foundation.</p> <p style="text-align: justify;">Additional support is provided by Karen H. Bechtel.</p> <p style="text-align: justify;">The Metropolitan Museum of Art Winter 2016&nbsp;<em>Bulletin</em>&nbsp;is made possible by the William Cullen Bryant Fellows.</p> <p style="text-align: justify;">The Museum's quarterly&nbsp;<em>Bulletin</em>&nbsp;program is supported in part by the Lila Acheson Wallace Fund for The Metropolitan Museum of Art, established by the cofounder of&nbsp;<em>Reader's Digest</em>.</p> <p style="text-align: justify;">&nbsp;On view at The Met Fifth Avenue in&nbsp;<a href="http://www.metmuseum.org/visit/museum-map?mli=742%2c743%2c746" target="_blank">Galleries 742&ndash;743 &amp; 746</a></p> </div> Wed, 27 Apr 2016 08:04:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list