ArtSlant - Recommended en-us 40 - KLOMPCHING GALLERY - September 13th, 2012 - October 26th, 2012 <p><strong>KLOMPCHING GALLERY</strong> is delighted to present the third solo exhibition of new artworks by the British photographer, <strong>Helen Sear,</strong> together with the US launch of her publication <em>Helen Sear: Inside The View </em>(Ffotogallery, 2012).<br /> <br /> There will be an <strong>Opening Reception on Thursday, September 13, from 6pm to 8pm</strong>.<br /> <br /> Two new series, never before exhibited in the US, will be presented as the gallery’s opening exhibition for the 2012/2013 season, accompanied by the US launch of the monograph charting her 25+ years practice. <em>Sightlines</em> and <em>Pastoral Monuments</em> continue Sear’s commitment to conceptual applications, integration of photographic process, historical reference and visual allure.<br /> <br /> <em>Sightlines</em> is an exquisite set of 21 photographs, partially concerned with ideas about the unique object and the copy. The images themselves depict a portrait of a woman whose face is obscured by a mass-produced, but hand-painted figurine of a bird. Sear alters the final photograph through the application of several layers of white primer—gesso. The images, then, are also about photographing paint and painting photographs. This convergence of the unique and/or the copy is further implicated by notions of her concern with identity. Through obscuring the face of the woman, Sear interrupts the gaze of both sitter and observer. The spectator of the photograph is unable to know the sitter’s identity, in a similar way that she/he can’t know the identity of the person(s) who hand-painted the bird. These small-scale photographs confound our expectations in the most delightful way, and are a testimony to the conceptual and visual strength of Sear’s practice.<br /> <br /> Showing alongside <em>Sightlines</em>, is <em>Pastoral Monuments</em>, which expands an underlying theme of the real and the re-presentation of it. In this case, Sear references the historical photographs of the botanist and photographer, Mary Dillwyn, whose photographs from the early 1850’s depicted wild flowers arranged in domestic crockery. Sear has sourced more than 80 wild flowers from the same Welsh field and photographed them in jugs and vases from around the world. Through handling the resulting prints and re-photographing them—evidencing this handling—Sear believes that “the flowers and their containers become connected in a material sense, across the surface of the image.” Further, we see in the photographs familiar ideas associated with flowers—youth, beauty and mortality. In some ways, these photographs become monuments to flowers.<br /> <br /> With the recent publication, <em>Helen Sear: Inside The View</em> (Ffotogallery, 2012), which surveys Sear’s 25+ year career as an active artist, this exhibition marks a period in which Helen Sear can be seen to be at her most productive.<br /> <br /> Helen Sear’s (b. 1955) photographic practice has developed from a fine art background of performance, film and installation work made in the 1980’s. Her photographs became widely known in the 1991 British Council exhibition, <em>De-Composition: Constructed Photography in Britain</em>, which toured Latin America and Eastern Europe. Her work is included in <em>Face—The New Photographic Portrait</em> (Thames &amp; Hudson) and has been featured in several publications. Collections holding her work include the Victoria &amp; Albert Museum, Ernst &amp; Young, British Council (Rome), Paul Wilson Collection and Virgin Communications Collection. In 2009, <em>Portfolio Catalogue</em> named Helen Sear one of the 50 most significant artist photographers in the UK. This was followed in 2010, by Helen Sear being awarded the prestigious <em>Major Creative Wales Award</em> and more recently, the <em>National Eisteddfod of Wales 2011 Gold Medal for Fine Art</em>.<br /> <br /> <strong>Exhibition continues through October 26, 2012.</strong><br /> <br /> <br /> <strong>FOR FURTHER INFORMATION, CONTACT:<br /> Debra Klomp Ching: +1 212 796 2070 |</strong></p> Wed, 12 Sep 2012 16:56:01 +0000 Richard Misrach - Robert Mann Gallery- New York - September 13th, 2012 - October 27th, 2012 <p>Inaugurating our newest gallery space, Robert Mann Gallery is pleased to simultaneously celebrate our history by launching the exhibition program with an exemplary collection of photographs by Richard Misrach.<br /><br /> Spanning the first 25 years of Misrach's career, the exhibition will offer a rare opportunity to track the artistic development of one of the most significant living American photographers. The chronology of the exhibition begins with the luscious split-toned works realized with a flash shot into desert night scenes. Eerily beautiful, these works introduce many of the themes that would occupy Misrach in the years to come: staging the condition of aesthetic beauty of the natural world as mediated by human intervention in the landscape — in this case the photographer's own invasive flash. The terrible beauty, even sublimity, of the damage wrought on nature by man-made disasters forms the central theme of his Desert Cantos series. These concerns can be further traced through the <i>Playboy</i> series, <i>Battleground Point</i>, and the dramatic views from Misrach's porch tracking meteorological conditions around San Francisco Bay's Golden Gate.<br /><br /> These related bodies of work secured Misrach's place as the preeminent American photographer of his generation investigating issues surrounding landscape. Emerging out of the legacy of the New Topographics movement and informed by a strong ecological consciousness, but with a broad enough conceptual range to admit appropriation-like strategies, Misrach's work points to several of the creative lineages that define Robert Mann Gallery's exhibition program, from Ansel Adams to Joe Deal to Mary Mattingly. Having been the first gallery in New York to feature many of these series, it is with great pleasure that Robert Mann Gallery returns to these seminal works by Misrach to inaugurate this, our third venue.<br /><br /> The prints on display in the exhibition are drawn from a single private collection, likely the largest such group of works by Misrach, assembled over the course of several decades. Many of the works are from sold out editions and have been unavailable for some time.<br /><br /> Richard Misrach is among the most celebrated living photographers, with solo exhibitions at the Art Institute of Chicago, the National Gallery of Art in Washington, DC, the Museum of Fine Arts in Houston, and the High Museum in Atlanta, among many others. His works are featured in the collections of the major art institutions worldwide, including the Metropolitan Museum of Art, the Museum of Modern Art, the Musée d'Art Moderne in Paris, France, the San Francisco Museum of Modern Art and the Philadelphia Museum of Art. Born in Los Angeles, California in 1949, he lives and works in Berkeley, California.</p> Tue, 07 Aug 2012 03:21:43 +0000 Beth Cavener Stichter - Claire Oliver Gallery - September 13th, 2012 - October 20th, 2012 <p>In these seductive, large-scale works made from clay, Beth Cavener Stichter cajoles the viewer into looking at the darker side of the human condition by cloaking it in animal skin. Her subjects express complex emotions and relationships while permitting us to connect on a rare personal level. </p> Thu, 09 Aug 2012 21:40:13 +0000 Tony Smith - Matthew Marks Gallery - 522 W. 22nd St. - September 7th, 2012 - October 27th, 2012 <p>Tony Smith (born 1912) made more than 50 large-scale sculptures between 1960 and his death in 1980. Their distinct black finish and geometric forms represent one of the supreme achievements in American sculpture, and his unique vision has proven enormously influential on subsequent generations. A contemporary of the Abstract Expressionists, many of whom were his close friends, Smith studied architecture, then began painting in the 1930s before turning to architecture full-time in the 1940s. It was not until the late 1950s that he began to make sculpture, and he had his first one-person exhibition in 1966. That same year, Smith was included in <i>Primary Structures</i>, one of the most important exhibitions of the 1960s, at The Jewish Museum, New York.<br /> <br /> In 1998 The Museum of Modern Art, New York, mounted a major retrospective of Smith's work, including his architecture, painting, and sculpture. His work is included in most leading international public collections, including: National Gallery of Art, Washington, D.C.; The Museum of Modern Art, New York; The Menil Collection, Houston; Walker Art Center, Minneapolis; Louisiana Museum of Modern Art, Humlebaek, Denmark; and the Rijksmuseum Kröller-Müller, Otterloo, The Netherlands.</p> Tue, 14 Aug 2012 02:07:21 +0000 Bryan Osburn - Jason McCoy Gallery - September 12th, 2012 - October 26th, 2012 <p>Jason McCoy Gallery is pleased to present “One and Others”, an exhibition of new paintings and watercolors by New York based artist Bryan Osburn. </p> <p>Osburn’s abstractions navigate between layers of gestural biomorphic marks and clearly delineated forms. Associative, yet intentionally vague, they can evoke an array of folkloristic textures, ranging from Far Eastern to Latin American. Caspar David Friedrich’s romantic landscapes, Surrealism, as well as works of the 1950s, such as Louise Bourgeois’ sculpture “One and Others” (1955) that sparked the exhibition title, have impacted Osburn’s vocabulary and shaped his aesthetic. The latter is further filtered through a keen interest in how the inescapable visual density provided by contemporary mass media can continuously lure and repulse us. Striving for balance and harmony, Osburn's images manifest as labyrinthian landscapes that seem to embrace the mysterious unknown. By looking for guidance in the unconscious, instinct, and improvisation, he follows the tradition of various 20<sup>th</sup> Century avant-garde movements. Deeply personal without being illustrative, Osburn’s works translate as complex mosaics of his thoughts and moods; their overall tone ranging from restrained to aggressive, from melancholy to humorous: </p> <p>“<i>I like the space that exists in between abstraction and representation. What we can observe and how we feel when looking beneath the surface or through mere reflections. This is the terrain of the mysterious and the unexpected, and the place I set out to explore. It is a place that can express a sense of beauty and harmony. In this context, color is very intuitive. I don't have a strict color system although it is important to me that all colors in the composition belong to the same "key", or temperament. My process aims to fuse both natural impulses, to create and to destroy, or rather, to drain and to replenish, into one entity</i>." </p> <p>Born in 1974, Bryan Osburn lives and works in Brooklyn and Queens. He received his MFA in painting from Pratt Institute, Brooklyn, NY, where he studied on full scholarship. He has exhibited in the United States and in Germany. This will be Bryan Osburn’s first solo show with the gallery.</p> Wed, 05 Sep 2012 20:48:49 +0000 Bianca Sforni - Yoshii Gallery - September 20th, 2012 - October 27th, 2012 <p>Datura: a flower, which our culture has deemed messenger and expression of grace, allure and seduction. Sacred to the Hindu God, Shiva, the genus name is derived from “dhattura, an ancient Sanscrit word for a plant. <br /> <br />The world of flowers participates in the deconstruction of space and time, holding the work and the image suspended in a timeless, undefined location. Rendered in a unique photographic process with the ability to show relief, the Ataraxia printing process, they tell also about my own investigations into the limits of color photography. <br /> -Bianca Sforni, 2012 <br /> <br />Yoshii Gallery is pleased to present an exhibition of nine photographs from Datura series by Bianca Sforni. This will be Sforni’s first solo exhibition with Yoshii Gallery. An opening reception will be held on Thursday, September 20 from 6 to 8 p.m. The artist will be present. <br /> <br />While rejecting the contemporary photography technique of commercial, time efficient productions, her works proclaim a return to the primary ideas of modernism, the historical tradition of photographic process called Ataraxia. The overall process created through her painstaking technique call to mind exceptional stability for fading and maintaining its original state, wherein four pigmented layers of yellow, magenta, cyan and black become the components in an effortless composition. Left in an unprocessed condition – their physical presence emphasized by their smooth texture and natural color – her work subliminally seduces, creating in the viewer a desire to touch. Sforni’s seemingly innocent, candid works blend ideas about sensuality and attraction. <br /> <br />Datura, also known as Angel’s Trumpet or Thorn-apple, is tightly compacted into each one of these 20 x 24” images. The selection of nine photographic works, created between 1997 and 2001, displays a heightened minimalist’s strictness which tightly balances the bold solitude of her compositions against the lushness of her color. In restricting her format to the simple, centered flower abandoned to a dark, featureless background, Sforni singles out Datura with an intense gaze and calls greater attention to her careful rendering of details. <br /> <br />Her works, which must be viewed from various angles, obdurately deny a singular comprehension, allowing instead for a variety of interpretations ranging from subtle meditative mood to liveliness and sexuality. They unfold slowly, demanding patience from their viewers but rewarding them with lavish outpouring of painterly allusion and sensual pleasure. Sforni’s works have a whispering quality that exceeds the existence and depicts a beauty that exists outside the realm of words and dialogues. <br /> <br />Bianca Sforni was born in Milan, Italy in 1963 and lives and works in New York. She has had solo exhibitions at Galleria Claudia Gian Ferrari Arte Contemporanea in Milan, Galerie Eric Mircher in Paris, Marninart Gallery in Washington, D.C., among others. Previous museum exhibitions include a group show at Museum of European Photography in Paris and Museum of Contemporary Art in Rome. Her works are collected by Museum of Contemporary Art in Rome and private collections in the US, Europe and Asia.</p> Thu, 13 Sep 2012 16:23:52 +0000 Sharon Gordon, Marie Danielle Leblanc - Elisa Contemporary Art Gallery - September 28th, 2012 - November 11th, 2012 <div id="yiv388075016yui_3_2_0_19_134788321930154"><span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: small;"><span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: small;"></span></span> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Elisa Contemporary Art presents a new gallery exhibit <strong>Poetic Landscapes</strong>, featuring the artwork of <strong>Canadian Artist, Marie Danielle Leblanc</strong> and <strong>Syracuse Artist, Sharon Gordon</strong>. The exhibit will <strong>open on September 28</strong>, 2012 and run through November 11, 2012.</span></p> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span></p> <span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"><span size="2" face="tahoma, arial, helvetica, sans-serif"></span></span> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">In its’ purest form, a Poetic Landscape takes the viewer into an imaginary place. A land created by the artist’s subjective perspective where geography and architecture are morphed and transformed through myth, fantasy, desire, sensation, thought and color.</span></p> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span></p> <span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"><span size="2" face="tahoma, arial, helvetica, sans-serif"></span></span> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">For Marie Danielle Leblanc, her landscapes are based on worldwide journeys and treks. From Vietnam to Sweden, California to the South of France, all her senses absorb the details of her surroundings. She’ll jot down a note, a fleeting thought or a word, take a picture, and collect images and sensations.  Marie Danielle transforms these landscapes into poetic worlds through acrylic, oil, ink, resin, tar and other natural materials.</span></p> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span></p> <span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"><span size="2" face="tahoma, arial, helvetica, sans-serif"></span></span> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Sharon Gordon’s oil landscapes draw each viewer into an imaginary world where personal and unique interpretations are evoked. Her paintings form a kind of tone poem. Sharon explores the relationships of color and form or of color and value as they provoke different emotional responses and suggest different referents to the natural world. </span></p> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span></p> <span size="2" face="tahoma, arial, helvetica, sans-serif" style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"><span size="2" face="tahoma, arial, helvetica, sans-serif"></span></span> <p><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">We’ll be hosting a special Closing Reception Brunch with Marie Danielle Leblanc on Sunday, November 11th from 2-4pm.</span></strong><br /><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span></p> <ul> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">What: Poetic Landscapes. Featuring Marie Danielle Leblanc and Sharon Gordon</span></strong></li> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">When: September 28 - November 11, 2012</span></strong></li> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Special Events:</span></strong></li> <ul> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">◦ Join us for a Closing Brunch with Marie Danielle Leblanc on November 11th from 2-4pm</span></strong></li> </ul> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Where: Elisa Contemporary Art, 5622 Mosholu Avenue, Riverdale NY</span></strong></li> <li><strong><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Hours: Friday/Saturday 10-6pm, Sunday Nov. 11 12-5pm and by Appointment</span></strong></li> </ul> <p><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;"> </span><br /><span style="font-family: tahoma, arial, helvetica, sans-serif; font-size: medium;">Follow us on Facebook!</span></p> </div> Tue, 18 Sep 2012 17:24:57 +0000 Group Show - NOoSPHERE - October 5th, 2012 - October 28th, 2012 <p style="text-align: center;"><span style="font-size: medium;"><strong>INTERNATIONAL JURIED SHOW</strong></span><br />A collaboration between Galleri Ramfjord, Oslo and NOoSPHERE, New York: October 5-28, 2012<br /><br /><strong>OPENING RECEPTION: Fri, Oct 5, 6-9 PM<br />Musical entertainment by singer-songwriter Mari Solberg at 6:30 pm<br /></strong></p> <p style="text-align: center;">Artists: Amina Bech, Kari Anne Helleberg Bahri, Henrik Uldalen, Kristin Von Hirsch, Jannecke Lønne Christiansen, Christina<br />Disington, Erik Formoe, Espen Eiborg, Vered Gersztenkorn, Julia Valentina Ester Olaussen, Kathleen McIntyre, Jeanette<br />Lafontine, Merete Løndal, Lillian Presthus, and Anne‐Sofie Øgaard<br /><br />NOoSPHERE Arts<br />251 East Houston Street<br />New York, NY 10002<br /><br /><br />Refreshments generously sponsored by Smorgas Chef and Arvesølvet Aquavit</p> Tue, 20 Nov 2012 16:29:05 +0000 Beth Campbell - Kate Werble Gallery - October 6th, 2012 - November 3rd, 2012 <p>Kate Werble, in conjunction with Nicole Klagsbrun, presents Beth Campbell's<br />Stereotable, her first solo project with the gallery.</p> <p><br />Stereotable is a single sculpture comprised of a table, chair, vase, and scarves. Using<br />these quotidian materials, Campbell continues to question the limits of the everyday,<br />opening possibility in something that is seemingly fixed. In Stereotable, a table and<br />chairs are physically doubled into a single object, cantilevered up and over itself. The<br />table legs and tabletop items appear to penetrate through wood, rendering the material<br />world permeable. The sculpture enacts the uncanny, appearing as a fantastical double<br />vision or the physical incarnation of a digital rendering.</p> <p><br />Beth Campbell, (American, born in Illinois in 1971), received her MFA from Ohio<br />University. In 2007, Campbell exhibited Following Room, a solo project at the Whitney<br />Museum of American Art. She has also held solo exhibitions at Manifesta 7; the Public<br />Art Fund; White Columns; the Sculpture Center, Cleveland, OH; Nicole Klagsbrun<br />Gallery, NY; and Country Club, Los Angeles, CA and Chicago, IL. She received a<br />Guggenheim Fellowship in 2011, a residency at Kohler Arts Center in 2010, and a Louis<br />Comfort Tiffany Fellowship in 2009. Her work has additionally been shown at MoMA<br />PS1, the New Museum of Contemporary Art, the Brooklyn Museum of Art, and Artists<br />Space. Past works are in the collections of the Museum of Modern Art and the Whitney<br />Museum of American Art. Campbell currently lives and works in Brooklyn, New York.</p> Mon, 08 Oct 2012 03:31:40 +0000 Group Show - MoMA (Museum of Modern Art) - April 18th, 2012 - April 21st, 2013 <div class="description"> <p>This exhibition, covering the period from 1910 to today, offers a critical reassessment of photography's role in the avant-garde and neo-avant-garde movements—with a special emphasis on the medium's relation to Dada, Bauhaus, Surrealism, Constructivism, New Objectivity, Conceptual, and Post-Conceptual art—and in the development of contemporary artistic practices.</p> <p>The shaping of what came to be known as "New Vision" photography bore the obvious influence of "lens-based" and "time-based" works. El Lissitzky best summarized its ethos: "The new world will not need little pictures," he wrote in <i>The Conquest of Art</i> (1922). "If it needs a mirror, it has the photograph and the cinema."</p> <p>Bringing together over 250 works from MoMA’s collection, the exhibition features major projects by Man Ray, László Moholy-Nagy, Aleksandr Rodchenko, Germaine Krull, Gerhard Rühm, Helen Levitt, Daido Moriyama, Robert Heinecken, Ed Ruscha, Martha Rosler, Bernd and Hilla Becher, Philip-Lorca DiCorcia, and Walid Raad, among others. Photographic history is presented as a multivalent history of distinct "new visions," rooted in unconventional and innovative exercises that range from photograms and photomontages to experimental films and photobooks.</p> </div> Mon, 07 Jan 2013 00:22:54 +0000