ArtSlant - Closing soon http://www.artslant.com/ny/Events/show en-us 40 Andy Hall - Contemporary Art Museum Raleigh - June 14th, 2012 - October 11th, 2012 <p>Form Special</p> <p>Andy Hall - Solo Show</p> <p>CAM Raleigh&nbsp;</p> Sat, 29 Mar 2014 07:44:26 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Karl Schrag - Alexandre Gallery - September 6th, 2012 - October 12th, 2012 <p style="text-align: left;"></p> <p style="text-align: left;"></p> <p style="text-align: left;"></p> <p style="text-align: left;">In celebration of the 100th anniversary of the birth of Karl Schrag (1912 – 1995), Alexandre Gallery, in collaboration with Kraushaar Galleries, will present <i>Karl Schrag, The Rhythms of Nature, A Centennial Celebration</i>.  The joint exhibition will feature 20 paintings covering a quarter century of work.  Many of the works come directly from the artist’s family and have not previously been exhibited.</p> <p style="text-align: left;">Many of these paintings explore the Maine landscape that inspired Karl Schrag for fifty years.  He finds the mysteries of land and sea and captures them in a fusion of realism and abstraction that can change the way we see our world.  The glow of the sun, the shimmer of the moon, the motion of the grasses, the power of the rocky shore are all captured in the vigorous brushstrokes and vibrant colors of the paintings.  “My strong desire to express from sunlit serenity to the darkest moods has its roots in a constant awareness of myself being a part of the nature and life which I observe.  With every breath I take, with every heartbeat I feel within myself the rhythms of nature,” wrote the artist on the occasion of his 1992 traveling retrospective organized by the Farnsworth Museum of Art, Maine.  </p> <p style="text-align: left;">Schrag was born in Germany; after study in Paris and Brussels he came to New York in 1938.  He worked with S. W. Hayter and became director of his international print studio, Atelier 17.  He taught at Brooklyn College and Cooper Union.  Since 1938 Schrag’s work has been the subject of over 40 one-person exhibitions.</p> <p style="text-align: left;">A concurrent exhibition, <i>Memories and Premonitions: A Karl Schrag Retrospective</i>, which will focus on Schrag’s print work, will open at Syracuse University Art Galleries, Syracuse, New York on August 30<sup>th</sup>.</p> <p style="text-align: left;"> </p> <p style="text-align: left;">The Kraushaar Galleries and Alexandre Gallery exhibition will open September 6th and continue through October 12th.  A reception will be held at both galleries on September 15<sup>th</sup>.</p> <p style="text-align: left;"> </p> <p align="center" style="text-align: left;"><b>Kraushaar Galleries, 74 East 79th Street, New York, New York 10075    212.288.2558<br /> Alexandre Gallery, 41 East 57th Street, 13<sup>th</sup> Floor, New York, New York 10022    212.755.2828</b><b></b></p> <p style="text-align: left;"> </p> <p style="text-align: left;"><b style="text-align: left;">For further information, biographical information or images, please contact Allison Hester at 212-755-2828 or ahester@alexandregallery.com.</b></p> <p></p> <p></p> <p></p> Thu, 30 Aug 2012 14:34:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Leonardo Drew - Sikkema Jenkins & Co - September 6th, 2012 - October 12th, 2012 <p>Sikkema Jenkins &amp; Co. is pleased to present a solo exhibition of work by Leonardo Drew, his fourth at the gallery, on view from September 6th through October 13, 2012. <br /> <br /> Rooted in historical evidence, Leonardo Drew’s abstract sculptural compositions are emotionally charged reflections on the cyclical nature of existence. From the eroded fibers of human industry and the tide of urban development to the awareness of ourselves as part of the fabric of a larger universe and a connection to all things, Drew exhumes the visions of the past in a mirror of organic reality that reveals the resonance of life - the nature of nature.<br /> <br /> In the current exhibition, gallery visitors are confronted by a large-scale site-specific installation that snakes its way from the entrance through the main gallery space before finally culminating in the back gallery. To complete the piece, Drew spent nearly an entire month working on site. The result is an enveloping sculptural installation that engages in the physical and visceral experience of art spectatorship.<br /> <br /> Drew has been making artwork since childhood, first exhibiting his work at the age of 13. He went on to attend the Parsons School of Design and received his BFA from the Cooper Union for the Advancement of Science and art in 1985. Since then his work has been shown in solo exhibitions at notable institutions such as Museum of Contemporary Art, San Diego (1995); The Hirschhorn Museum and Sculpture Garden at the Smithsonian Institution in Washington DC (2000); the Royal Hibernian Academy in Dublin, Ireland (2001); and Palazzo Delle Papesse, Centro Arte Contemporanea in Siena, Italy (2006). Drew’s mid-career survey exhibition, Existed: Leonardo Drew, debuted in 2009 at the Blaffer Gallery, the Art Museum of the University of Houston and traveled to the Weatherspoon Art Museum in Greensboro, NC and the DeCordova Museum and Sculpture Park in Lincoln, MA.<br /> <br /> Drew has also collaborated with the Merce Cunningham Dance Company, and has participated in artist residencies at ArtPace, San Antonio and The Studio Museum of Harlem in New York, among others. He was awarded the 2011 Joyce Alexander Wein Artist Prize. He lives and works in Brooklyn, NY.<br /> <br /> Recent editions by Drew will be exhibited at Pace Prints, 521 West 26th Street, from September 14th through November 3rd.</p> Tue, 02 Oct 2012 01:33:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list James Rosenquist - Acquavella Galleries - September 10th, 2012 - October 13th, 2012 <p>Acquavella Galleries is delighted to present<i> Multiverse You Are, I Am</i>, an exhibition of new work by celebrated Pop artist James Rosenquist. The exhibition will feature eleven paintings – two of which are monumental in scale – that reflect the artist’s continued interest in time and outer space. Known for his leadership in the American Pop Art movement, James Rosenquist began his career as a billboard painter in New York City. This experience inspired him to work on a large scale. With bright Day-Glo colors and a sleek aesthetic, Rosenquist’s early work juxtaposed fragmented images derived from advertising to create enigmatic, thought-provoking narratives that foster a dialogue about consumer culture. As a child Rosenquist witnessed the Northern lights, star showers and solar winds on the nighttime prairie in North Dakota that has had significant impact on his visual vocabulary. A new painting, <i>Geometry of Fire</i>, created in response to the artist’s studio being destroyed by a brushfire in 2009, will also be exhibited.</p> Mon, 13 Aug 2012 04:36:41 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Stefan Kürten - Alexander and Bonin - September 8th, 2012 - October 13th, 2012 <p>Alexander and Bonin starts the fall season with <em>Here comes the night</em>, a solo exhibition of new work by Stefan Kürten. The exhibition will include Kürten’s most recent large paintings, executed in acrylic and ink on linen, as well as more than twenty smaller paintings on primed cardboard.</p> Sun, 16 Sep 2012 23:41:03 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list GREGORY ODELL GREEN - Anna Kustera - September 6th, 2012 - October 13th, 2012 <p>Anna Kustera Gallery is pleased to present a solo exhibition of new work by Gregory Green.  Along with his now iconic "explosive" works, the exhibition will showcase an installation of the artist's worktable that simulates the lair of a mad bomber, complete with glue, drills, duct tape and other innocent looking objects capable of mayhem in the wrong hands.  This cluttered, clandestine place where it all begins is brought center stage; a theatrical space that can be thought of as an artist's craft taken to its self-destructive conclusion. Undefined dissent remains the most transgressive human response of them all.</p> <p>Green's effigies of bombs throb with a kind of muted danger. Each work represents its own complicated universe, dialogues that tell parallel tales of construction/ destruction, art/reality, activism/formalism.  As a third culture kid, Gregory's provocative works expand the parameters between art and direct action, culture and social commentary, while also bridging the evolution/de-evolution from Modernism to Altermodernism. </p> <p>It might be tempting to view Green's singular body of work as a shrewd response to the contemporaneous surge in worldwide terrorism. In fact the artist began making his potently sterile bombs and radical mechanical devices in the late 1980s.  He has, in a sense, become the quintessential artist of the 9/11 decade, presaging unquantifiable matters such as extremist activism and governmental control, while exploring the unreliability of historical perspective and the essence of the creative drive itself.</p> <p>With over 35 one-person exhibitions and numerous group exhibitions, Gregory has played a significant role in the contemporary art discourse of the last 20 years.   His work is included in major public and private collections, including the Museum of Contemporary Art, Los Angeles; the Tate Gallery, London; the Saatchi Gallery, London; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Mori Museum in Tokyo and MAMCO, Geneva among others.  His installation "<em>Worktable #9, (Minneapolis) he of Righteousness</em>" was recently featured in the exhibition, <span style="text-decoration: underline;">Absentee Landlord</span>, curated by John Waters at the Walker Art Center in Minneapolis, Minnesota.</p> Thu, 04 Oct 2012 20:05:20 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Philip Akkerman - BravinLee Programs - September 6th, 2012 - October 13th, 2012 <p>BravinLee programs is pleased to present Miners, new paintings by Philip Akkerman. BravinLee programs has exhibited Philip Akkerman since 1993. <br /> <br /> Akkerman's work is entirely self-portraiture but limitation leads to a stunning diversity. Painting variations of the same subject repeatedly for his entire career, Mr. Akkerman searches for something different each time, exploring all possibilities that paint, the mind and the self have to offer. Akkerman searches for universal qualities veiled within particular characteristics.<br /> <br /> Past exhibitions of Mr. Akkerman have been selected to emphasize the contrasts in painterly approach and the juxtaposition of appearance in each painting. But for this exhibition, Akkerman and BravinLee chose to show one type of paintings, a series, devoid of color, all in shades of grays from light to dark. The face of the painter is dark and dirty and resembles the face of a coal miner... A miner, whose daily work is to toil deep into the earth for the fuel of our world. Mr. Akkerman keeps on digging the mother lode of his own likeness.<br /> <br /> In a letter to BravinLee, architecture and art scholar Jeffrey Kipnis wrote:<br /> <br /> "In my view, the brilliance of Akkerman's project is in its indulgence in the promiscuous capacity of painting technique to lie - against the tradition of Dutch self-portraiture understood as the example par excellence of paint to reveal a deeper truth - thus, there can only be "one" Akkerman - i.e., the continuing unfolding total ensemble of the experiment (as opposed to the importance of each Rembrandt or van Gogh self-portrait). One can pick one's favorites, but the essence of the project itself nullifies any tenable basis for choice." Jeffrey Kipnis <br /> <br /> Philip Akkerman was born in Vaassen in The Netherlands in 1957 and now lives and works in The Hague, Netherlands. In addition to numerous museum exhibitions, Akkerman's work is included in the collections of The Stedelijk Museum, Amsterdam and The Hirshhorn Museum in Washington D.C., The Cartin Collection, In 2011 Akkerman enjoyed a survey exhibition at The Kunsthal Rotterdam. He is represented in Zürich by Galerie Bob van Orsouw, in London by Mummery &amp; Schnelle and in Amsterdam by Torch Gallery.</p> Fri, 07 Sep 2012 08:36:12 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Guy Richards Smit - BravinLee Programs - September 6th, 2012 - October 13th, 2012 <p>BravinLee programs is very pleased to present a new work on paper by Guy Richards Smit. <br />Mr. Smit mines his brooding absurdism as a performance artist, front man, artist and filmmaker. In his many guises, Mr. Smit is a provocateur with the heart of Jean Seberg and the soul of Pat Cooper. Over a decade ago, merely playing one of his Grossmalerman videos had the effect of ending a dinner party at John Post Lee's apartment-- before the main course was served. Other attempts by Mr. Lee to show Mr. Smit's reel to small groups of art world folks had similarly chilling effects. Years later, after Mr. Smit's reputation had grown, one of the guests at the dinner party apologized for not appreciating and understanding his significance. True story.<br /> The work in this show comes out of his "New York Times front page " series. As an artist Smit has always loved telling stories and the form of the New York Times front page allows him to indulge his grisly dark humor and harshly political side with comic visuals and the factual banality of "the news." Here, for the first time, he moves on from the front page to produce the entire New York Times creating, ultimately a sculptural monument to the dead act of newspaper reading. An internal monologue and a running commentary on issues large and small, public and private. You could almost swear the pages were tear stained.<br />Guy Richards Smit's work has been seen at biennials in Havana and Valencia and at ARCOMadrid in 2008 and Dublin Contemporary in 2011. Solo exhibitions include Grossmalerman! Schroeder Romero &amp; Shredder, New York, USA 2011; Fred [London] Ltd., London, UK 2009; Nausea 2, Premier Series, Museum of Modern Art, New York, USA 2004; QED, Los Angeles, CA in 2006. He has received awards including the Penny McCall Foundation Award in 2004.&gt;</p> Fri, 07 Sep 2012 08:41:08 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Dianna Frid - BravinLee Programs - September 6th, 2012 - October 13th, 2012 <p>BravinLee programs is very pleased to present Dianna Frid's one-of-a-kind books "The Waves" and "The Comets" (both 2011). These works are constructed through Frid's signature process where stitching and the integration of mixed media merge to produce tactile sequences that foreground visual pleasure. Thematically, "The Waves" is an exploration of Virginia Woolf's declaration that in her eponymous book she wrote rhythms, not plots. In Frid's "The Waves" the book begins with the word "wave" stitched once on the page. As the book progresses, the number of times the word occurs on each folio increases until it crests and recedes. In "The Comets" Frid interprets pictorial representations of portentous and fleeting astral bodies.</p> <p>Born in Mexico, the artist immigrated to Canada as a youth and currently lives in Chicago where she teaches in Studio Arts at the University of Illinois. Her artwork consists of sculptures, artist's books, and works on paper. At a larger scale, she has also done site-specific installations in response to particular architectural locations. She has exhibited at P.S.1- MOMA, The Drawing Center, The Museum of Contemporary Art Chicago, and at other national and international venues.</p> <p>Frid began to make artist's books in 1993 in Vancouver, Canada under the pseudonym <em>The Artery Archives</em>. Her first projects were photographic editions in which an ephemeral event or sculpture was documented and encapsulated sequentially. Over time, she started to use the components traditionally used for binding pages, namely thread and needle, as tools for marking and configuring content. This became an opportunity to think critically about craftsmanship and to expand on delineations of drawing and mark-making within contemporary art.</p> <p>Her long-standing production of one-of-a-kind handmade objects represents an engagement with lineages of craft in a domain that has, for the last several centuries, increasingly been mechanized: first as print and most recently as digital dissemination. Like her manual transformations of other mechanically reproduced representations (charts, graphs, blueprints), Frid's artist's books draw sensuous attention to the potentials of a form – the book – that, in its predominant mass-produced version, has come to seem little more than a neutral, even disposable medium for conveying information in linear sequence. By calling attention to the embodied physicality of the book, Frid pushes against this neutralization.</p> Fri, 07 Sep 2012 08:44:49 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Brian Finke - ClampArt - September 6th, 2012 - October 13th, 2012 <p>ClampArt is pleased to announce “Brian Finke: Construction,” the artist’s fourth solo show at the gallery. The exhibition coincides with the release of Finke’s third monograph of the same title from Decode Books (Hardcover, 60 color illus., 10.5 x 10.5 inches, $55), which includes an essay by Whitney Johnson, the Director of Photography at <em>The New Yorker</em>.</p> <p>Finke (b. 1976) is now well-regarded for his photographs concentrating on select groups of people, including high school cheerleaders and football players, male and female bodybuilders, and also flight attendants. In his newest body of work, he focuses upon yet another classification—namely construction workers, who are often imagined in broad and stereotypical terms. However, whereas in his previous series he zeroed in on postures, expressions, and gestures, relaying diversity in uniformity while also detailing the establishment of individual identities in the image of the larger group, in the “Construction” project, Finke frequently pulls the camera back, creating much more atmospheric photographs of the whole setting.</p> <p>Finke began “Construction” at the height of the building boom in Manhattan in early 2008. As skyscrapers were going up at frenzied pace, the artist hoped to capitalize upon all of the energy. However, the real estate market soon collapsed, and what Finke found instead were often empty sites with very little going on. Finke writes: “It would feel like being out in the desert or in the middle of nowhere. A lot of the time it was just staring at a ladder on the roof of a building, all by itself.”</p> <p>As Whitney Johnson comments: “In the documentary tradition, Finke’s observations of this subset of society reveal something about our time.” She continues: “These pictures are not about drama or awe, [n]or are they about architectural feat. . . Instead Finke takes an honest look at what it means to be—at the daily task of being—a construction worker.”</p> <p>Brian Finke graduated from the School of Visual Arts in New York City in 1998 with a BFA in photography. Since that time, he has had incredible success as an artist, with work placed in nine museum collections here and abroad. His first monograph was named one of the best photography books of 2004 by American Photo magazine. Also in 2004, Finke was one of twelve artists nominated for the International Center for Photography’s annual Infinity Award, and he won a prestigious New York Foundation for the Arts Fellowship.</p> Mon, 06 Aug 2012 23:43:29 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Henry Horenstein - ClampArt - September 6th, 2012 - October 13th, 2012 <p>ClampArt is proud to present “Henry Horenstein | Honky Tonk: Portraits of Country Music.” The exhibition coincides with the release of the artist’s monograph of the same title from W.W. Norton &amp; Company (Hardcover, 120 illus., 10.25 x 10 inches, $50), which includes a foreword by Eddie Stubbs, one of the two regular announcers for the long-running Grand Ole Opry on WSM radio.</p> <p>Concentrating on the 1970s, but spanning to the present day, Horenstein’s gritty, black-and-white photographs capture the irrepressible spirit of an American institution. Some say the 1970s were the last great decade of country music—between the pomade, plaid jackets, and goofy hillbilly jokes of the 1950s and the more polished “Urban Cowboy” sound of Nashville in the early 1980s. Horenstein’s work captures it all, from the roadside seediness of TJ’s Lounge to the backstage glamour at the Grand Ole Opry. From bluegrass festivals and country music parks to the honky tonks and dance halls, these images picture such celebrities as Dolly Parton, Jerry Lee Lewis, Waylon Jennings, up to a recent cardboard cut-out of Garth Brooks (which speaks volumes about the artist’s personal opinion of the direction the genre has taken of late). However, the photographs feature not only the stars, but also include the familiar venues and enthusiastic fans who sustain them.</p> <p>Henry Horenstein is the author of more than thirty books to date. His work is represented in the collections of a long list of public institutions including the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the Museum of Art, Princeton University, New Jersey; the High Museum, Atlanta; the Fogg Museum of Art, Cambridge, Massachusetts; and the George Eastman House, Rochester, New York. He is a professor at the Rhode Island School of Design, and resides in Boston.</p> Mon, 01 Oct 2012 23:57:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Stephen Schofield - CUE Art Foundation - September 10th, 2012 - October 13th, 2012 <h4>Artist's Statement</h4> <p>Slyboot's Promise</p> <p>These pieces are all skin and bones and, at least at the beginning, a lot of hot air. The materials are flexible and liquid: cloth soaked in sugar water. Thin, light and of little substance, these sculptures are a gang of sly boots. </p> <p>Although some of them are really big guys, they are all in the end just surface and illusion. That said, they are stiff, not stuffed; tight and tonic not soft or embryonic like street inflatables, so something must be at work to make these pieces stand, float and leap off the wall, floor, and ceiling as they do.</p> <p>The strength and promise of these pieces depends on the interactions of the weight of the cloth, the cut of the patterns, the choice of seam, the concentration of the sugar water solution and the circulation of air. With the right balance, the sugar reinforces the seams so they can act as bones and binds the fibres so the cloth can hold the gestures of the figures. In fact, once the pieces are set, they are remarkable resistant.</p> <p>Since I started this work during a residency at the International Studio and Curatorial Programme in New York in 2008, I've come to realise that making these slyboots is a complex and contradictory matter. Complex, because most of the figures are a patchwork of over one hundred and seventy separate pieces of cloth and contradictory, because I consider each piece of cloth as both clothing and body, the assembly of pieces as sculpture and effigy and when I step back, I see the group of works as both classical nudes and superheroes.</p> <p>Perhaps they are so complex and contradictory because I first created the patterns by drawing directly on my companion's body <em>-</em> Michel Daigneault <em>-</em> the different muscle groups to transfer them unto pattern paper only to adjust and exploit the potential and promise of each variable: cloth, cut, seam, mix and air in order to make the cloth be true. </p> <p> </p> <p>en français</p> <p></p> <p>Slyboots : La promesse</p> <p>Ces pièces sont toutes de peau et d'os et, au début du moins, de beaucoup d'air chaud. Les matériaux sont souples et liquides : du tissu trempé dans de l'eau sucrée. Fines, légères et de consistance délicate, ces sculptures forment un groupe de petits malins. </p> <p>Bien que certains d'entre eux soient plutôt bien baraqués, ils ne sont finalement qu'enveloppe et illusion. Malgré leur apparence, ils ne sont pas rembourrés, mais rigides, compacts et toniques, contrairement aux structures gonflables molles et embryonnaires qu'on peut voir dans la rue. Il doit donc y avoir quelque chose pour faire tenir ces pièces, les faire flotter et bondir du mur, du plancher et du plafond comme elles le font.</p> <p>La force et la promesse de ces pièces dépendent des interactions entre le poids du tissu, la coupe des modèles, le choix du point de couture, la concentration de la solution à base de sucre et d'eau, et la circulation de l'air. Lorsque le tout est bien équilibré, le sucre renforce les coutures de sorte qu'elles puissent agir comme une ossature, et il cimente les fibres pour que le tissu puisse tenir les positions imposées aux personnages qui, une fois installés, sont remarquablement résistants.</p> <p>Depuis que j'ai amorcé ce travail à titre d'artiste en résidence à l'International Studio and Curatorial Program à New York, en 2008, j'ai pris conscience que la création de ces personnages futés est une démarche complexe et contradictoire. Complexe parce que la plupart des personnages sont composés d'une mosaïque de plus de 170 pièces de tissu distinctes, et contradictoire parce que je considère chaque pièce de tissu à la fois comme le vêtement et le corps, et l'assemblage des pièces comme une sculpture et une effigie; lorsque je prends du recul, je vois le groupe d'œuvres à la fois comme des nus classiques et des superhéros.</p> <p>Peut-être sont-ils à ce point complexes et contradictoires parce que j'ai d'abord créé les modèles en dessinant les différents groupes de muscles directement sur le corps de mon compagnon, Michel Daigneault, avant de les transférer sur un papier à patron, pour adapter et exploiter le potentiel et la promesse de chaque variable - le tissu, la coupe, la couture, le mélange et l'air - de manière à permettre au tissu de rendre compte de la vérité.</p> <h4>Curator's Statement</h4> <p class="subdued">by Richard Tuttle</p> <p>The Fuller Void</p> <p>Seeing Stephen Scofield's work in Toronto at the National Textile Museum in 2010, was moving the way good art should be and seldom is.  I was moved because of its testimonial aspect, perhaps because I felt drawn to witness, myself, having suffered close proximity to the many 9/11 victims too quickly cremated, or more generally because anyone, who has lived, need memorializing in this way.</p> <p>It is also a comment on life- a floating, horizontalizing, air form, all the more prescient for how it's formed; every detail (down to what molecule?) bespoke the intensity of its expression, though I'm not sure Stephan would want to acknowledge all that I saw, or see- so it is with the personal, and maybe why he is not better known as an artist?</p> <p>Rare to find someone who has something to say, we are lucky to have his work, that he has found a way, and the means to display what he must feel ardently needs it.  A work of voice- unusual in the purely visual arts- its extraordinary fulfillment sits besides the fuller void.</p> <p> </p> <p> </p> <p>en français</p> <p>Le vide comblé</p> <p>Le fait de voir le travail de Stephen Schofield au Textile Museum de Canada en 2010 constitua pour moi un moment émouvant, comme devrait l'être - mais comme l'est rarement - l'art de qualité. Je fus ému par ce travail faisant œuvre de témoignage, peut-être parce que je me sentais appelé à constater les choses par moi-même, ayant vécu de près la souffrance associée à ces nombreuses victimes du 11 septembre trop rapidement incinérées, ou peut-être, plus généralement, parce que toute personne ayant vécu se doit d'être commémorée de cette façon. </p> <p>Il y avait également là un commentaire sur la vie - une forme aérienne, flottante, horizontalisante, presciente de la façon dont elle a été formée. Chaque détail (jusqu'à quelle molécule?) venait témoigner de l'intensité de son expression - bien que je ne sois pas certain que Stephen serait prêt à reconnaître tout ce que j'y ai vu, ou y vois. Nous sommes ici dans la sphère du personnel - peut-être est-ce là la raison pour laquelle il n'est pas plus connu en tant qu'artiste?</p> <p>Il est rare de rencontrer une personne ayant quelque chose à dire. Nous sommes choyés de pouvoir apprécier ses œuvres, choyés qu'il ait trouvé une façon et les moyens d'exposer ce qui, juge-t-il sans doute, doit nécessairement être exposé. Un travail de la voix - inhabituel dans le monde des arts purement visuels - dont l'extraordinaire accomplissement se tient aux côtés du vide comblé.</p> <h4>Artist's Bio</h4> <p></p> <p>Stephen Schofield has presented, at different times, drawings, sculptures and performances across Canada: at the Power Plant, the Southern Alberta Art Gallery, the Art Gallery of Mississauga, le Musée d'art contemporain de Montréal, the Montreal Biennial, the National Gallery of Canada, Dalhousie Art Gallery as well as the Musée nationale des Beaux-arts du Québec.  In France he has had solo exhibitions at the CAC de Vassivère, L'Aquarium and the CREDAC and in New York he has shown in individual and group shows at the Sculpture Centre, White Columns, John Weber Gallery and Horodner Romley Gallery.  Recently he has started to present outdoor sculptures at the Toronto Sculpture Garden in 2002 and in Artefact 2007 on l'Ile Ste-Hélène in Montréal.  His work in in major public and private collections. He was awarded the Louis Comtois Prize of the City of Montréal in 2005 and the Canada Council studio at ISCP, New York in 2008. </p> <h4>Curator's Bio</h4> <p>Richard Tuttle is one of the most significant artists working today.  Since the mid-1960s, he has created an extraordinarily varied body of work that eludes historical or stylistic categorization.  Tuttle's work exists in the space between painting, sculpture, poetry, assemblage, and drawing.   He draws beauty out of humble materials, reflecting the fragility of the world in his poetic works.  Without a specific reference point, his investigations of line, volume, color, texture, shape, and form are imbued with a sense of spirituality and informed by a deep intellectual curiosity.  Language, spatial relationship, and scale are also central concerns for the artist, who maintains an acute awareness for the viewer's aesthetic experience.</p> <p>Tuttle has been the subject of hundreds of solo exhibitions since 1965, including numerous museum surveys, ranging from his first, at the Whitney Museum of American Art in 1975, to more recently, a two-year travelling retrospective organized by the San Francisco Museum of Modern Art (2005-2007).  Tuttle has also been included in the prestigious group exhibitions, the Venice biennale (1976, 1997, 2001) and the Whitney Museum of American Art Biennial (1977, 1987, 2000).  His work is held nearly every major collection worldwide, including in Europe at the Stedelijk Museum, Amsterdam; the Centre Pompidou, Paris; and Kunstmuseum Winterthur, Switzerland; the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, and the National Gallery of Art in Washington, D.C., and The Metropolitan Museum of Art and The Museum of Modern Art in New York, among many others.</p> <p>Tuttle will be the Artist in Residence at the Getty Research Institute from September 2012-June 2013.  A solo exhibition of his work will be on view at Pace this fall, which has represented the artist since 2007.  The artist lives and works in Mount Desert, Maine; Abiquiu, New Mexico and New York City. </p> Mon, 10 Sep 2012 23:42:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Carol Robertson - Flowers Gallery NY - September 7th, 2012 - October 13th, 2012 <p>Flowers is pleased to announce an exhibition of new paintings and prints by the British artist Carol Robertson, titled Color Stream. The exhibition will run from September 7th through October 13th, 2012, with an opening reception for the artist on Thursday, September 6th, from 6 to 8pm. A new catalogue with an essay by writer and art historian Chris Yetton will be available.<br />As I get older I find my relationship with the world has changed. The self-assured certainty that used to fix things in place has gone. My work has moved from contained architectonic stability to a state of flux and impermanence. I paint about chance encounters, fleeting impressions, an ephemeral speeded-up world. As a non-figurative artist I don’t seek to replicate the way the world looks but my work is never disconnected from it.<br />Robertson’s recent work reveals a process of richly stained and poured grounds contrasted by intensely colored, compass-drawn arcs and circles. Unstructured color fields create atmospheric spatial environments for carefully painted over-detail: arcs collide and cross over in their individual orbits, traversing the paintings like light trails, while recording connective flashes of chance and coincidence. Robertson has become less interested in fixed enduring motifs and presently responds more to notions of transience and change.<br />Two new series of arc paintings, Colour Stream and Colour Field will make up a significant part of the exhibition, along with paintings that use a circle motif, Restless Circles. According to Robertson, the Colour Stream series are like …“a constant flow of durational consequences, a stream of consciousness if you like, never the whole story.” Two further arc paintings, Night Lines (2011) and Homage to Rainer Maria Rilke (2010) have dark unfathomable surfaces against which arcs band together in vast trajectories.<br />The Restless Circles series disrupt our notions of concentric logic; circles spinning off independently, disturbing the implied central order. The circle paintings are complemented by silkscreen monoprints made in Cambridge, UK with master printer Kip Gresham. Through his tutelage, Robertson worked with layer upon layer of transparent colors resulting in hypnotic and unusual color combinations for a new series, Crossover.<br />Robertson often uses the circle commemoratively – most recently in a poignant painting, In Memory: Marie Colvin (2012), included in this exhibition. The painting is a tribute to Marie Colvin, the inspirational American journalist killed in Syria while on assignment as foreign correspondent for UK newspaper The Sunday Times. Based in London, Colvin died seeking truth and clarification, giving voice to innocent people caught up in war and conflict. The painting offers a single ring, evenly divided into multi colored sections that draw the eye, un-endingly, around and around it.<br />Robertson lives and works in London and exhibits her work extensively worldwide. Her work is respected for its quality and authenticity and she is active in supporting current thinking and critical debate within the abstract field. Recent shows have seen her work in Europe, Japan, UK and USA. Color Stream marks her second solo exhibition with Flowers in New York City.<br /><br /></p> Tue, 17 Jul 2012 00:01:51 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Andrea Branzi - Friedman Benda - September 11th, 2012 - October 13th, 2012 <p>Today there no longer exists any distance between the natural world and the artificial world, because the latter has become a second nature….When I bring nature up against technology, I do not seek to reconcile myself with nature, but to reconcile myself with technology, by transferring into it this great plankton of mixed materials in which we live.”<br /> - Andrea Branzi, Branzi, ed. Burkhardt and Morozzi<br /> <br /> On September 11th, Friedman Benda will present Trees and Stones, Andrea Branzi’s first gallery exhibition in the United States. An exemplary social thinker, professor, architect, and designer, Branzi has been a fundamental influence on contemporary design in Italy and abroad since the early 1960s. Here he offers the latest works in his Trees series and unveils a new body of work, Stones, beside it.<br /> <br /> Since his emergence at the forefront of the 1960s and 1970s Italian radical design movements, Branzi has sought to reconcile design and architecture with the challenges of contemporary society. He was among the first thinkers to consider and integrate issues of unlimited supply, the mass-production of images and products, and the over-saturation of cities with conflicting aesthetics. <br /> <br /> Decades of thought-work and experimentation have produced Trees and Stones, gestures Branzi has honed throughout his life. With these pieces, Branzi again overcomes the strictures of Modernism and Classicism to forge more sensible and more human paths in design. He escapes any stifled aesthetics and rather than “perfect” design, makes items that are warm, aged, and transcendent. After 50 years, it is possible to recognize these confident pieces as the distillation of Branzi’s life-long endeavor. <br /> <br /> In his latest works, Branzi unites a dichotomy of objects in modern society. TheTrees designs allow the entry of symbolic, organic elements into a daily urban life estranged from its ties to nature. Included in the exhibition are bookshelves for which Branzi combines pieces of birch tree with metal grids and mirrors. His interventions in the metal structures create small environments, wherein man-made forms balance with the interloping trees to achieve a new harmony. Once set together, they become Branzi’s unique creation, serene and open to growth through use. These new projects share a minimalist approach and exquisite craftsmanship, and their refinement draws a high-water mark in Branzi’s illustrious career.<br /> <br /> Andrea Branzi was born in Florence in 1938 and studied as an architect at the Florence School of Architecture, receiving a degree in 1966. From 1964 to 1974, he was a founding member of the experimental group Archizoom, which envisioned the No-Stop-City among other projects. A key member of the Studio Alchimia, founded in 1976, he went on to associate with the Memphis Group in the 1980s. Presently, he lives and works in Milan, and until 2009 was a professor and chairman of the School of Interior Design at the Politecnico di Milano. <br /> <br /> Branzi distinguished himself as a co-founder of Domus Academy, the first international post-graduate school for design. He is a three-time recipient of the Compasso d’Oro, honored for individual or group effort in 1979 and 1987 and 1995. His work has been featured in the Venice Biennale and Milan Triennale, and he has curated the design exhibitions of the latter. He has been widely published and is frequently invited to lecture internationally.<br /> <br /> In 2008, Branzi was named an Honorary Royal Designer in the United Kingdom and he received an honorary degree from La Sapienza in Rome. That same year, his work was featured in an installation at the Fondation Cartier, Paris. His works are held in the permanent collections of the Centre Georges Pompidou, Paris; the Victoria and Albert Museum, London; the Museum of Fine Arts, Houston; the Israel Museum, Jerusalem; and the Museum of Modern Art, New York, among others.</p> Sat, 08 Sep 2012 17:41:50 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Andrea Branzi - Friedman Benda - September 11th, 2012 - October 13th, 2012 <p align="center"><i>Andrea Branzi: Trees &amp; Stones</i></p> <p align="center">September 11 – October 13, 2012</p> <p align="center">Friedman Benda</p> <p align="center"> </p> <p><i>“Today there no longer exists any distance between the natural world and the artificial world, because the latter has become a second nature….When I bring nature up against technology, I do not seek to reconcile myself with nature, but to reconcile myself with technology, by transferring into it this great plankton of mixed materials in which we live.”</i></p> <p>                                                                        - Andrea Branzi, <i>Branzi</i>, ed. Burkhardt and Morozzi</p> <p> </p> <p>On September 11th, Friedman Benda will present <i>Trees and Stones</i>, Andrea Branzi’s first gallery exhibition in the United States. An exemplary social thinker, professor, architect, and designer, Branzi has been a fundamental influence on contemporary design in Italy and abroad since the early 1960s. Here he offers the latest works in his <i>Trees</i> series and unveils a new body of work,<i> Stones,</i> beside it.</p> <p> </p> <p>Since his emergence at the forefront of the 1960s and 1970s Italian radical design movements, Branzi has sought to reconcile design and architecture with the challenges of contemporary society. He was among the first thinkers to consider and integrate issues of unlimited supply, the mass-production of images and products, and the over-saturation of cities with conflicting aesthetics.</p> <p> </p> <p>Decades of thought-work and experimentation have produced <i>Trees </i>and <i>Stones</i>, gestures Branzi has honed throughout his life. With these pieces, Branzi again overcomes the strictures of Modernism and Classicism to forge more sensible and more human paths in design. He escapes any stifled aesthetics and rather than “perfect” design, makes items that are warm, aged, and transcendent. After 50 years, it is possible to recognize these confident pieces as the distillation of Branzi’s life-long endeavor.</p> <p> </p> <p>In his latest works, Branzi unites a dichotomy of objects in modern society. The<i>Trees </i>designs allow the entry of symbolic, organic elements into a daily urban life estranged from its ties to nature. Included in the exhibition are bookshelves for which Branzi combines pieces of birch tree with metal grids and mirrors. His interventions in the metal structures create small environments, wherein man-made forms balance with the interloping trees to achieve a new harmony. Once set together, they become Branzi’s unique creation, serene and open to growth through use. These new projects share a minimalist approach and exquisite craftsmanship, and their refinement draws a high-water mark in Branzi’s illustrious career.</p> <p> </p> <p>Andrea Branzi was born in Florence in 1938 and studied as an architect at the Florence School of Architecture, receiving a degree in 1966. From 1964 to 1974, he was a founding member of the experimental group Archizoom, which envisioned the No-Stop-City among other projects. A key member of the Studio Alchimia, founded in 1976, he went on to associate with the Memphis Group in the 1980s. Presently, he lives and works in Milan, and until 2009 was a professor and chairman of the School of Interior Design at the Politecnico di Milano.</p> <p> </p> <p>Branzi distinguished himself as a co-founder of Domus Academy, the first international post-graduate school for design. He is a three-time recipient of the Compasso d’Oro, honored for individual or group effort in 1979 and 1987 and 1995. His work has been featured in the Venice Biennale and Milan Triennale, and he has curated the design exhibitions of the latter.  He has been widely published and is frequently invited to lecture internationally.</p> <p> </p> <p>In 2008, Branzi was named an Honorary Royal Designer in the United Kingdom and he received an honorary degree from La Sapienza in Rome. That same year, his work was featured in an installation at the Fondation Cartier, Paris. His works are held in the permanent collections of the Centre Georges Pompidou, Paris; the Victoria and Albert Museum, London; the Museum of Fine Arts, Houston; the Israel Museum, Jerusalem; and the Museum of Modern Art, New York, among others. <br /> <br /> <i></i></p> <p>For more information, please contact:</p> <p>Jennifer Olshin, Director - (212) 239 8700, jennifer@friedmanbenda.com</p> <p>Alice Higgins, Associate Director - (212) 239 8700, alice@friedmanbenda.com</p> Tue, 26 Feb 2013 18:58:27 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Douglas Gordon - Gagosian Gallery- 21st St. - September 8th, 2012 - October 13th, 2012 <p><em>I wanted to do something with a piano in a landscape of some significance and I suppose, as a Scotsman, there's nothing more significant than the border. I thought it was beautiful to look from one country into another and I liked the idea that Hadrian's Wall is, under a certain interpretation, a great end of civilization... I was overwhelmed to be in a landscape of such beauty, and with such a huge unfathomable history.</em></p> <p>--Douglas Gordon</p> <p> </p> <p>Gagosian Gallery is pleased to announce <em>The End of Civilisation</em>, a major film installation by Douglas Gordon.</p> <p>Gordon is a conjurer of collective memory and perceptual surprise whose tools include commodities and mechanisms of everyday life. Into a diverse body of work--which spans narrative video and film, sound, photographic objects, and texts both as site-specific installation and printed media--he infuses a combination of humor and trepidation to recalibrate reactions to the familiar. An early example, <em>24 Hour Psycho</em> (1993), slowed down Alfred Hitchcock's legendary film into a full day's duration, attenuating the horror until any sensation of suspense ceased to exist. In 2006, he collaborated with Philippe Parreno on the general release feature film <em>Zidane: A 21st Century Portrait</em>, in which multiple cameras tracked every action and emotion of the soccer star during an important game.</p> <p>In <em>The End of Civilisation</em>, a grand piano burns at a remote site deep in the Cumbrian landscape. This lushly green and desolate locale overlooking the boundary between England and Scotland was once the border of the Roman Empire. The grand piano, emblematic of high culture as both a finely crafted instrument and a beautiful sculptural object, is destroyed at the primeval edge of civilization. With this symbolic conflagration, Gordon re-enacts an ancient local tradition of igniting beacons as an admonition or communication. Inspired in part by the journey of the 2012 Olympic torch across the British Isles, <em>The End of Civilisation</em> is both a celebration and a warning--of fire as a symbol of optimism and hope, but also of risk, danger, and destruction.</p> <p>The film is shown on multiple screens and with layered sound. One screen is devoted to a close recording of the burning piano, from when it is first set alight to when it has been reduced to ashes. Another presents a panning shot of the tranquil surrounding landscape-occasionally, licks of flame or wisps of smoke invade the periphery of the screen, the only indication that the seemingly serene landscape is in close proximity to a raging fire. <em>The End of Civilisation</em> was first screened on July 5, 2012 at the Tyne Theater, on the site of Hadrian's Wall in Newcastle City Center as part of the London 2012 Cultural Olympiad. Commissioned by Great North Run Culture and Locus+, the film was funded by Arts Council England. It is part of the London 2012 Festival.</p> <p><strong>Douglas Gordon</strong> was the recipient of the 1996 Turner Prize, the 1997 Venice Biennial's Premio 2000 award, the 1998 Hugo Boss Prize awarded by the Solomon R. Guggenheim Museum, the 2008 Roswitha Haftmann Prize, and the 2012 Käthe Kollwitz Prize. His work has been the subject of numerous museum exhibitions, including the Museum of Contemporary Art, Los Angeles (2001); the Fundació Joan Miró, Barcelona (2006); "Timeline," The Museum of Modern Art, New York (2006, traveled to MALBA Colección Costantini, Buenos Aires through 2007); "Pretty much every word written, spoken, heard, overheard from 1989...," the MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Rovereto, Italy (2006); "Superhumanatural," the National Galleries of Scotland, Edinburgh (2006); "Between Darkness and Light: Works 1989-2007," Kunstmuseum Wolfsburg, Germany (2007); "Blood, Sweat, Tears," DOX Centre for Contemporary Art, Prague (2009); Tate Britain, London (2010), and Museum für Moderne Kunst Frankfurt am Main (2011) and the Tel Aviv Museum of Art (Will open January 2013). <em>Zidane: A 21st Century Portrait</em> premiered at the 2006 Cannes Film Festival before screenings at numerous international venues. <em>k.364</em> premiered at the Venice Film Festival in September 2010, and <em>Henry Rebel: Drawing and Burning</em> premiered at Art Basel's Art Unlimited in 2012.</p> <p>Gordon lives and works in Berlin and Glasgow.</p> Sun, 02 Sep 2012 00:20:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list