ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Jessica Mein - Simon Preston Gallery - September 8th - October 30th <p>Simon Preston Gallery is delighted to present&nbsp;<em>Desvios</em>, the third solo exhibition at the gallery by Brazilian artist Jessica Mein, which opens on 8 September and runs until 30 October, 2016.</p> <p>The exhibition is comprised of a central video animation and a series of monochrome wall works.&nbsp;<em>Desvio</em>, 2016, shown on a large-scale monitor, is generated from fragments of a strip of found&nbsp;billboard material originally sourced&nbsp;from the back of a fifty-meter awning&nbsp;in Dubai. Each individual frame is initially scanned, then printed and further abstracted through various methods of incising, rubbing, cutting, zooming, mirroring, and finally captured again on a flatbed scanner. The sequential montage of more than a thousand individual images creates a consistent vertical linear strip animated by a constantly changing background and foreground. The resulting physicality of the image creates a sense of conventional recorded camera movement and reflects the physical form of traditional film.</p> <p>Mein further confronts the materiality of images through a series of geometric works on canvas. Evolved from various forms of facsimiles captured through rubbings of architectural reliefs, the backs of completed unthreaded works, and directly rubbing on its surface, these copies are adhered onto the surface of the canvas. Mein then systematically interrupts the monochrome graphite images by rigorously cutting and unthreading the underlying fabric structure. &nbsp;Experimenting with the interplay between the actual impression on fabric and its surface, the excavated material creates subtle and varied, vertical and horizontal grids akin to minimalist traditions. However, each structure contains a precariousness of the handmade that interrupts the straight angles and hard edges, revealing its processes.</p> <p>As reflected in the exhibition title,<em>&nbsp;Desvios</em>, translated from the Portuguese word meaning diversions, the works each create sites of controlled but uneven dismantling and misalignment. Evocative of mechanical printing processes, the materialization of the artist&rsquo;s hand follows in the lineage of structural filmmakers, as an antithesis of traditional modes of mark making. The material process, with its emphasis on the copy and facsimile, and prioritization of their inherent errors and alterations, generates the subject as an aesthetic strategy, building spaces of tension.</p> Wed, 31 Aug 2016 19:26:53 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Miao Xiaochun - Klein Sun Gallery - September 8th - October 8th <div class="left"> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">Klein Sun Gallery is pleased to announce <em>Metamorphosis</em>, the gallery&rsquo;s first solo show by the influential Chinese new media artist Miao Xiaochun, on view from September 8 through October 8, 2016.&nbsp;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">As a student at Kunsthochschule Kassel in Germany, Miao Xiaochun was profoundly moved by William Kentridge&rsquo;s works at <em>Documenta</em> in 1997 when the idea of working with animations occurred to him for the first time. In 2004, Miao Xiaochun began to experiment with 3D software as an artistic medium, which led to the creation of <em>The Last Judgment in Cyberspace</em>, the artist&rsquo;s first work exclusively created with 3D techniques. Since then, Miao Xiaochun has been delving into the transformative expression between 3D motions and paintings.</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">By altering oil paintings from the renaissance period, Miao Xiaochun has radically introduced 3D methods into his practice, reinterpreting the classic narratives presented in the masterpieces. In his previous work, The Triumph of Death, the artist references the painting by Pieter Brueegel in 1562, turning the panorama of war into a film set and filling the painting with virtual characters of himself. At the same time, inspired by Henri Matisse&rsquo;s cut-out, Miao Xiaochun introduces the concept of &ldquo;Computer Fauvism&rdquo; into this work. Operating a cutting plotter and lettering paper, the artist gives the painting a wide spectrum of colors, creating a dazzling and glorious scene, and rewriting the theme of death in the original work.</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">Continually discovering the possibility of new media in paintings, Miao Xiaochun incorporates 3D modeling, cutting plotter, and hand drawing, creating a new category of painting defined as &ldquo;algorithmic painting.&rdquo; Primarily using a computer to generate graphics and models, the artist then hand draws the 3D images on canvases, working harmoniously with computer technology and seamlessly transferring the virtual world onto two dimensional canvases. Metamorphosis presents a series of Miao Xiaochun&rsquo;s recent works based on his research on digital media since 2008 and featuring his 3D computer animations and &ldquo;algorithmic paintings.&ldquo;</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">Works shown in the exhibition such as <em>Zero Degree Doubt,</em> embody the artist&rsquo;s continuing attempt to reform the language in paintings. This work is based on <em>Doubting Thomas</em>, a classic piece of art, which depicts a skeptic who refuses to believe in resurrected Jesus until he could see the wounds. In this work, the artist replaces the characters with crystal virtual figures and transparent bodies. In the video, the moment the skeptic touches the suspect, the suspect&rsquo;s body shatters instantly. Here Miao Xiaochun tests the notion of &ldquo;faith&rdquo; and &ldquo;belief&rdquo; in the context of modern society.</span></p> </div> <div class="right"> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">The exhibition reflects the artist&rsquo;s commitment to the new form of painting and his innovative artistic expression. Corresponding to the title of our exhibition, the works collectively present the transformation between motion image and works on canvases, and also explore issues of the real and the virtual, the traditional and the contemporary, and the human and the technological.</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">Miao Xiaochun was born in Wuxi, China in 1964 and now lives and works in Beijing. He studied at the Central Academy of Fine Arts (Beijing, China) and the Kunsthochschule (Kassel, Germany). His recent solo exhibitions include, <em>Miao Xiaochun: Save As</em>, White Box Art Center, Beijing, China; <em>Miao Xiaochun 2015,</em> Art Museum of Nanjing University of the Arts, Nanjing, China (2015); <em>Macromania</em>, Ludwig Museum, Koblenz, Germany (2010); and <em>Miao Xiaochun - Two Big Video Works,</em> Today Art Museum, Beijing (2010). His recent group shows include, <em>Screen Play: Life in an Animated World,</em> Albright-Knox Art Gallery, Buffalo, New York (2015); <em>China 8: Contemporary Art from China on the Rhine and Ruhr,</em> Kunstmuseum Gelsenkirchen, Gelsenkirchen, Germany; <em>NRW Forum,</em> D&uuml;sseldorf, Germany (2015); <em>Future Returns: Contemporary Art from China,</em> Eli and Edythe Broad Art Museum, East Lansing, Michigan; and <em>The Encyclopedic Palace</em>, The 55th International Art Exhibition of the Venice Biennale, Pavilion at Arsenale, Venice, Italy (2013). Miao Xiaochun&rsquo;s work is included in permanent museum collections worldwide, including the M+ Sigg Collection, Hong Kong and Museum of Modern Art, New York, among many others.</span></p> <p style="text-align: left;"><span style="font-family: helvetica; font-size: small;">For press inquiries, please contact Rui Tang at the gallery (212.255.4388) or via email at rui@kleinsungallery.com. For all other inquiries, please contact Nicole Aiello at the gallery (212.255.4388) or via email at nicole@kleinsungallery.com.</span></p> </div> Wed, 31 Aug 2016 15:40:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jackie Brookner - Wave Hill - September 13th - December 4th <p style="text-align: justify;">This is the first retrospective to trace the expansive work of Jackie Brookner (1945-2015), an artist focused on environmental issues. Her groundbreaking, remediative sculptural environments were designed as ecological filters to cleanse gray water, urban storm water and agricultural runoff. The exhibition includes early bronze sculptures and drawings from the 1980s, as well as the seminal <em>Of Earth and Cotton </em>project, which traveled through the American south in the 1990s. Her biosculpture <em>I&rsquo;m You, </em>2000, created for Wave Hill&rsquo;s exhibition <em>Abundant Invention, </em>will be reinstalled alongside documentation of her public projects in San Jose, CA; West Palm Beach, FL; Cincinnati, OH; Fargo, ND; and Salo, Finland. Not only did she make environmental concerns visible, but she increasingly catalyzed people in a process to define spaces in their communities.</p> <p style="text-align: justify;">Jackie Brookner was based in New York for her entire artistic career. She received a BA in art history from Wellesley College in 1967, and completed the work for a PH.D. in art history from Harvard University, before shifting her focus to sculpture in 1971. She came to New York and lived in SoHo, then an emergent artist neighborhood. She studied at The New York Studio School and experimented with sculpture in steel and cast bronze, as well as drawing in graphite. A passionate teacher, she inspired students at Parsons The New School for Design from 1980 until her death.&nbsp; From 2000 on, she created public projects for wetlands, rivers, streams and storm-water runoff that unite water remediation and public art. Throughout her career,she exhibited widely and has been included in many publications on the topic of public art and environmental remediation.</p> <p style="text-align: justify;">Curated by independent curator Amy Lipton and Wave Hill Senior Curator Jennifer McGregor.</p> Wed, 31 Aug 2016 09:24:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Wave Hill - July 12th - September 5th <p style="text-align: justify;">A half-century after the emergence of Pop art as a revolutionary response to new norms of consumerism, <em>Nature Pops!</em>, Wave Hill&rsquo;s summer 2016 exhibition, brings together work by artists who calibrate this movement in contemporary terms. Continuing to re-evaluate popular culture, particularly the increasing mediation of our experience by technology, artists question whether we can still have an authentic experience―even in the natural world. Interpreting nature and the environment through a populist lens, <em>Nature Pops!</em> includes recent work that is especially relevant in an age of digital overload and environmental crisis. Presenting the show at Wave Hill, a stunning garden and cultural center located in the Riverdale section of the Bronx, adds particular depth and dimension to the discussion.</p> <p style="text-align: justify;"><em>Nature Pops!</em> affirms the fascination that the aesthetics of pop culture&mdash;the culture of everyday&mdash;still has for artists, but offers nuanced perspectives, sometimes subversive, sometimes playful. Cartoons and comics were accessible media that Pop artists elevated to fine-art status in the 1960s and &rsquo;70s. Today, contemporary artists like <strong>Polly Apfelbaum</strong> and <strong>JoAnne Carson</strong> are creating cartoon interpretations of the natural world. Apfelbaum&rsquo;s vivid, abstract works have always had a relationship to Pop art. Her exuberant woodblock prints of abstract flowers are a riot of color that share kinship with Andy Warhol&rsquo;s screen prints, as well as with textile prints and graphic designs used in consumer items. The anthropomorphic flowers in Carson&rsquo;s paintings resemble comic-book characters transported into a modernist landscape. In sometimes sinister-looking settings, the plants appear to come alive with expressive petals and animated limbs. <strong>Laurie Hogin</strong> depicts hybridized and essentially altered flora and fauna in the illustrational style of a field guide. While seemingly whimsical, the neon-colored avian and earthbound creatures in her paintings are a disquieting warning of the consequences of centuries of chemical and industrial waste seeping into our ecosystems at the smallest, cellular level. The living substance of the natural world is becoming irreversibly modified by the practices that support consumer culture.</p> <p style="text-align: justify;">Artists like <strong>Kira Nam Greene</strong> and <strong>Vandana Jain</strong> are continuing a dialogue with advertising imagery and brand identity, a burgeoning interest during the Pop art era that has since become even more prevalent. Greene explores the ethical and ecological aspects of modern food consumption by juxtaposing mass-produced food and organic, homemade products. She cleverly subverts the marketing messages of famous brands by placing their slogans out of context among textile patterns, which themselves are stylized representations of fruits and flowers. Jain, as well, has been working with corporate logos in her installations and mixed-media work, examining the impact of advertising imagery and consumer culture on our lifestyle. In her art, Jain contrasts the handmade with the manufactured and the individual with the conglomerate to question systems of commercial production.</p> <p style="text-align: justify;"><strong>Amy Pryor</strong> is also concerned with packaging and consumerism, employing upcycling to create artwork out of consumer debris. This method of using found, commercial products in art was used by early Pop artists, but current artists like Pryor,<strong> Portia Munson</strong> and <strong>Shinique Smith</strong> are updating the message to address environmental concerns.</p> <p style="text-align: justify;">In Pryor&rsquo;s case, her collages are constructed from cardboard packages, shopping flyers and other materials. Built up with slogans, price tags and barcodes, these semi-abstract landscapes are a reflection on the interdependence of urban and natural environments and the consequences of our throw-away culture. Troubled by the vast quantity of plastic debris that is produced by human civilization, Munson has been collecting discarded pieces and using it as material for her art. For this exhibition, Munson is creating a site-specific installation of blue detritus that appears to flow into the space from outside Glyndor Gallery, invading the formerly domestic space with a river of plastic waste. Also upcycling material in her work, Smith constructs vibrant assemblages from castoff clothing, fabric and kitsch objects in an exploration of the cyclical nature of the material world. Preoccupied with the metaphysical intersections among people, objects and the universe, she draws inspiration from mainstream fashion and music, as well as calligraphy and Eastern religions.</p> <p style="text-align: justify;">Several artists in the exhibition are exploring contemporary culture&rsquo;s emphasis on technology, specifically digital rendering and video-gaming. The increasingly immersive consumption of such media spills over into how we experience the natural world. <strong>Roberley Bell</strong> investigates the ways in which we construct nature in the 21st century. Her <em>Blob</em> sculptures were inspired by computer rendering software used in contemporary architecture to design furniture and buildings that evoke organic forms and yet are entirely simulated. <strong>Justin Berry</strong>&rsquo;slandscape photographs are stitched together from screenshots of the backgrounds of virtual-reality war games. As it becomes more common for millennials to experience the landscape and flora and fauna in a virtual reality, these simulations change the way young people relate to the natural environment. Creating hand-cut stencil drawings on screen-print images taken by the Hubble Space Telescope, <strong>Emilio Perez</strong>&rsquo;s monotypes evoke graffiti writing, pulp fiction and poster art brought to the realm of science fiction. His floating forms resemble enigmatic celestial bodies, reminding us how vast and infinite the universe is and how small our grasp of it.</p> Wed, 31 Aug 2016 09:21:52 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Ariel Jackson - Wave Hill - September 13th - October 23rd <p style="text-align: justify;">Challenging the media&rsquo;s sensationalized depictions of African American communities, Ariel Jackson creates an alternative storyline through fabric sculpture, paper collage, video and performance. She has developed a self-referential narrative around alter egos and characters inspired by science fiction and Afrofuturism. These chronicles relate mainly to Jackson&rsquo;s own experience as a black woman who grew up in New Orleans in the aftermath of Hurricane Katrina. As a Van Lier Visual Artist Fellow, Jackson developed her project during the Winter Workspace, drawing inspiration from Wave Hill&rsquo;s natural environs and plant collection.</p> <p style="text-align: justify;">Jackson&rsquo;s installation in the Sunroom stems from research she has conducted in an attempt to understand her family&rsquo;s history, particularly beginning in the 1950s, when her grandparents acquired and then eventually lost nearly 300 acres of farmland in rural Louisiana. A collage of photos of her grandparents and other family members working on the farm has been silkscreened onto three quilts, using a printing technique that only allows a 30 to 50 percent chance of yielding a clear image. As a result, many of the photos are ghost-like or obscured in black ink. The reasons for the loss of her ancestors&rsquo; property have not been determined or well-documented, and the printed images reflect the artist&rsquo;s frustration with having to piece together a narrative from hazy memories and incomplete information. In addition to these quilted wall hangings, rows of fabric sculptures inhabit the floor of the Sunroom. Resembling crop formations, these sculptures were made from clothes and other fabric that her grandmother used. Atop the fabric &ldquo;leaves&rdquo; of each sculpture, the artist has printed notes from Pete Daniel&rsquo;s 2013 book <em>Dispossession: Discrimination against African American Farmers in the Age of Civil Rights, </em>which formed the core of Jackson&rsquo;s research. As visitors walk through the rows of &ldquo;data crops,&rdquo; they are immersed in the fraught history of land ownership and sharecropping by black farmers in this country.</p> <p style="text-align: justify;">Jackson is a recipient of Wave Hill&rsquo;s 2016 Van Lier Visual Artist Fellowship, which offers emerging artists of diverse backgrounds professional development, career mentorship, workspace and exhibition opportunities. She earned a BFA at The Cooper Union for the Advancement of Science and Art. Her work has been featured in exhibitions at the Studio Museum in Harlem and Susan Inglett Gallery, New York, NY; The Bronx Museum of the Arts and BronxArtSpace; Arlington Arts Center, Arlington, VA; the Museum of Contemporary Art Detroit; and Art Salon Gallery, New Orleans, LA. Jackson has participated in the Bronx Museum&rsquo;s Artist in the Marketplace (AIM) program, the Lower East Side Printshop&rsquo;s Keyholder Residency, the Bruce High Quality Foundation&rsquo;s Summer Emerging Artist Residency Program and The Laundromat Project&rsquo;s Create Change Residency, all in New York, NY.</p> <p style="text-align: justify;">Organized by Curator of Visual Arts Gabriel de Guzman, the Sunroom Project Space provides an opportunity for New York-area emerging artists to develop a special project or site-specific work to exhibit in a solo show. The artists participating in the 2016 season are, consecutively, Tai Hwa Goh, Dark Matters, Amie Cunat, Joiri Minaya, Doreen Garner, Ariel Jackson and Denise Treizman.</p> <p class="Default" style="text-align: justify;">The Sunroom Project Space is supported in part by the Milton &amp; Sally Avery Arts Foundation. The Edward &amp; Sally Van Lier Visual Arts Fellowship is supported by The New York Community Trust. Additional support for the Visual Arts Program is provided by Lily Auchincloss Foundation, Inc., New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and by the Cathy and Stephen Weinroth Commissioning Fund for the Arts.</p> <p style="text-align: justify;">Wave Hill, Inc. is an independent, non-profit cultural institution governed by a volunteer Board of Directors. The buildings and grounds of Wave Hill are owned by the City of New York. With the assistance of the Bronx Borough President and Bronx representatives in the City Council and State Legislature, Wave Hill&rsquo;s operations are supported with public funds through the New York City Department of Cultural Affairs; the Zoos, Botanical Gardens and Aquariums Grant Program administered by the New York State Office of Parks, Recreation and Historic Preservation; the National Endowment for the Arts; the New York State Department of Environmental Conservation; and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.</p> Wed, 31 Aug 2016 09:16:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Doreen Garner - Wave Hill - September 13th - October 23rd <p style="text-align: justify;">Doreen Garner&rsquo;s work identifies, mines and exploits the tissues that bind the sexual and the grotesque, specifically regarding the black female body. In Garner&rsquo;s sculptures, videos and performances, the artist directs an oppositional gaze toward fetish, objectification and racism, taking back power by upending the experience of the privileged viewer. Garner formulates an amalgamation of materials, such as beads, crystals, silicone, rubber, teeth, condoms, teddy bear stuffing and petroleum jelly, held together by glass walls or latex membranes, to suggest viscera. As a Van Lier Visual Artist Fellow, Garner began conceptualizing her Sunroom Project during Wave Hill&rsquo;s 2016 Winter Workspace. Observing plant forms and patterns in Wave Hill&rsquo;s Conservatory, Garner started work on a new series of mixed-media sculptures.</p> <p style="text-align: justify;">For her sculptural installation in the Sun Porch, Garner connects the human body to plant life, the sensual to the bizarre. She was inspired by the amazing variety of textures and shapes of the exotic flora in the Conservatory&rsquo;s Tropical House. Some have cyst-like pockets, while others have surfaces that resemble human skin or parts that look analogous to knuckles or elbows. Garner began to imagine how she could alter the way that people perceive nature by creating sculptures that merge qualities of both plants and humans. Made of a special type of silicone that is commonly found in prosthetics, special-effects make-up and erotic toys, these hybrids resemble organs that could have been dissected from the human body. Arranged in display cases like specimens in a science laboratory or medical museum, the artist hopes that these fantastical, yet lifelike, body parts will change the way the viewer considers the significance of plant life, and how we value certain life forms over others.&nbsp;</p> <p style="text-align: justify;">Garner is a recipient of Wave Hill&rsquo;s 2016 Van Lier Visual Artist Fellowship, which offers emerging artists of diverse backgrounds professional development, career mentorship, workspace and exhibition opportunities. She earned an MFA in glass at Rhode Island School of Design and a BFA from Tyler School of Art at Temple University. Garner has had solo exhibitions at Vox Populi, Philadelphia, PA, and Bannister Gallery, Providence, RI. Her work has been featured in recent group shows at Volta NY art fair; Urban Glass, Brooklyn, NY; Rush Arts Gallery, New York, NY; Cindy Rucker Gallery, New York, NY; and GlazenHuis, Lommel, Belgium. She is a current resident at Pioneer Works, Brooklyn, NY, and has previously participated in residencies at Abrons Arts Center, Lower Manhattan Cultural Council&rsquo;s Workspace Program and the Skowhegan School of Painting and Sculpture. She is also co-host of the Clocktower Radio series #trashDAY.&nbsp;</p> <p style="text-align: justify;">In her work, Doreen Garner examines the sensual and the grotesque, specifically regarding the black female body. The stories of Henrietta Lacks and Saartjie Baartman, both victims of Dr. J. Marion Sims and both treated as deviant spectacle and disposable specimen, inform her multi-media practice. In the Winter Workspace, Garner began a new series of multi-media works that draw comparisons between the human anatomy and plant structures that she observed in Wave Hill&rsquo;s Conservatory. The drawings and sketches she made evoke the growth of cells, dissected skin and mangled bodies.</p> <p style="text-align: justify;">Organized by Curator of Visual Arts Gabriel de Guzman, the Sunroom Project Space provides an opportunity for New York-area emerging artists to develop a special project or site-specific work to exhibit in a solo show. The artists participating in the 2016 season are, consecutively, Tai Hwa Goh, Dark Matters, Amie Cunat, Joiri Minaya, Doreen Garner, Ariel Jackson and Denise Treizman.</p> <p class="Default" style="text-align: justify;">The Sunroom Project Space is supported in part by the Milton &amp; Sally Avery Arts Foundation. The Edward &amp; Sally Van Lier Visual Arts Fellowship is supported by The New York Community Trust. Additional support for the Visual Arts Program is provided by Lily Auchincloss Foundation, Inc., New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and by the Cathy and Stephen Weinroth Commissioning Fund for the Arts.</p> <p style="text-align: justify;">Wave Hill, Inc. is an independent, non-profit cultural institution governed by a volunteer Board of Directors. The buildings and grounds of Wave Hill are owned by the City of New York. With the assistance of the Bronx Borough President and Bronx representatives in the City Council and State Legislature, Wave Hill&rsquo;s operations are supported with public funds through the New York City Department of Cultural Affairs; the Zoos, Botanical Gardens and Aquariums Grant Program administered by the New York State Office of Parks, Recreation and Historic Preservation; the National Endowment for the Arts; the New York State Department of Environmental Conservation; and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.</p> Wed, 31 Aug 2016 09:19:15 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Amie Cunat - Wave Hill - July 12th - September 5th <p style="text-align: justify;">Amie Cunat&rsquo;s work investigates the parallel between abstraction and perception. In her installations, she transforms a space by painting on the walls and ceiling in brilliant hues and bold patterns. Sculptural objects placed directly on the floor create a skewed sense of scale and perspective, caused by the interplay between two-dimensional shapes and three-dimensional forms. Viewers are encouraged to discover formal and phenomenological idiosyncrasies as they engage in the experience of looking and finding. Cunat&rsquo;s source imagery is often based on real objects or scenes that she observes and reinterprets in an abstracted form. She allows them, however, to retain certain qualities that make the representation seem familiar but not quite recognizable.</p> <p style="text-align: justify;">For the 2016 SUnroom Project Space, Cunat explores the protective aspect of the Sunroom space, a natural yet urban environment typically used as a place of leisure, where the landscape can be enjoyed safely from inside. Similarly, Cunat is interested in using the high-visibility colors of game hunting as a kind of anti-camouflage, differentiating between the hunter and the natural setting of the hunt. The installation consists of a site-specific wall painting and suspended pieces that resemble large nets, relying on and contrasting with the architectural features of the Sunroom. In the wall painting, for example, the contours of amorphous shapes play off of the geometric grids of the windows and doors. The artist uses warm colors, including hunter orange and magenta, which contrast with the dominant greens of the summer landscape visible through the windows. For the hanging elements, the artist drew from various sources of inspiration, including camouflage netting used for hunting and the latticework of trellises found in greenhouses and gardens. She was struck by the way these manufactured items are often disguised to look natural and blend in with the surrounding vegetation, masking what they hold. Walking among Cunat&rsquo;s net forms, the viewer becomes a part of her constructed environment.</p> <p style="text-align: justify;">Cunat earned a BA from Fordham University, a post-baccalaureate degree from the School of the Art Institute of Chicago and an MFA from Cornell University. She has had solo exhibitions at Outside, North Adams, MA; Foley Gallery&rsquo;s Window Installation, New York, NY; Court Tree Collective, Brooklyn, NY; The Cooper Union, New York, NY; and AIRY Gallery, Kofu, Japan. Her work has been featured in group exhibitions at Mountain, Brooklyn, NY; Ventana 244, Brooklyn, NY; Whitebox Gallery, New York, NY and Dumbo Arts Center, Brooklyn, NY. Artist residencies include Artist-Teacher Residency at The Cooper Union, Artist in Residence Yamanashi and Parsons Paris Artist Residency.</p> <p style="text-align: justify;">Organized by Curator of Visual Arts Gabriel de Guzman, the Sunroom Project Space provides an opportunity for New York-area emerging artists to develop a special project or site-specific work to exhibit in a solo show. The artists participating in the 2016 season are, consecutively, Tai Hwa Goh, Dark Matters, Amie Cunat, Joiri Minaya, Doreen Garner, Ariel Jackson and Denise Treizman.</p> <p class="Default" style="text-align: justify;">The Sunroom Project Space is supported in part by the Milton &amp; Sally Avery Arts Foundation. The Edward &amp; Sally Van Lier Visual Arts Fellowship is supported by The New York Community Trust. Additional support for the Visual Arts Program is provided by Lily Auchincloss Foundation, Inc., New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and by the Cathy and Stephen Weinroth Commissioning Fund for the Arts.</p> <p style="text-align: justify;">Wave Hill, Inc. is an independent, non-profit cultural institution governed by a volunteer Board of Directors. The buildings and grounds of Wave Hill are owned by the City of New York. With the assistance of the Bronx Borough President and Bronx representatives in the City Council and State Legislature, Wave Hill&rsquo;s operations are supported with public funds through the New York City Department of Cultural Affairs; the Zoos, Botanical Gardens and Aquariums Grant Program administered by the New York State Office of Parks, Recreation and Historic Preservation; the National Endowment for the Arts; the New York State Department of Environmental Conservation; and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.</p> Wed, 31 Aug 2016 09:11:12 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Joiri Minaya - Wave Hill - July 12th - September 5th <p>Joiri Minaya's work confronts stereotypical expectations about the Caribbean and challenges romanticized notions of the tropics. She creates performance photographs, videos, digital collages and installations that use re-appropriated images and decorative patterns to defy popular media&rsquo;s sexist conflation of lush nature with the female form. Throughout her practice, the Afro-Latina perspective subverts the male gaze, turning it against itself and dismantling the desire for the &ldquo;exotic.&rdquo;</p> <p>A search on Google Images using the term &ldquo;Dominican women&rdquo; became the basis for Minaya&rsquo;s current work. The results are a collection of figures, striking poses that are at once obedient to foreign fantasies while also seemingly assertive and self-confident. At Wave Hill, Minaya isolates parts of these figures and prints them to human proportions, pairing them with stylized &ldquo;tropical&rdquo; prints that are typically mass-marketed to tourists. At this scale, the imagery becomes pixelated; some have watermarks linking them to their digital point of origin. Suspended from the ceiling, the images blend in with the natural background visible through the windows, mimicking dense layers of foliage inside a greenhouse. Viewers navigate the forest of imagery to move through the Sun Porch space. As they do so, they may take photos of the work and upload them to social media platforms. Anticipating this layer of visitor interaction, Minaya realizes that the images she used to compose her project will be reinserted into the vast and searchable realm of the Internet, but in a hybridized, destabilized form.</p> <p>Minaya earned associate&rsquo;s degrees from Escuela Nacional de Bellas Artes, Santo Domingo, Dominican Republic; and from Altos de Chav&oacute;n School of Design, La Romana, Dominican Republic. She earned a BFA from Parsons School of Design, New York, NY. Minaya&rsquo;s work has been featured in exhibitions at El Museo del Barrio, New York, NY; Rush Arts Gallery, New York, NY; the Museum of African Diasporan Arts, Brooklyn, NY; and Northern Manhattan Arts Alliance, New York, NY. She is currently a resident in Smack Mellon&rsquo;s Artist Studio Program and a participant in the Bronx Museum&rsquo;s Artist in the Marketplace Program. Other residencies include Guttenberg Arts&rsquo; Space and Time Artist Residency, New York Foundation for the Arts&rsquo; Mentoring Program for Immigrant Artists and the Skowhegan School of Painting and Sculpture. Minaya is the recipient of a 2015 Joan Mitchell Foundation Emerging Artist Award, a Great Prize and the Audience Award in the XXV Concurso de Arte Eduardo Le&oacute;n Jimenes at the Centro Le&oacute;n in Santiago, and the Great Prize of the XXVII National Biennial of the Museum of Modern Art in Santo Domingo.&nbsp;</p> <p>Read the press release for her installation <strong><a href="https://www.wavehill.org/media/uploads/amie_cunat_and_joiri_minaya_at_wave_hill.pdf" target="_blank">here.</a></strong></p> <p style="text-align: justify;">Organized by Curator of Visual Arts Gabriel de Guzman, the Sunroom Project Space provides an opportunity for New York-area emerging artists to develop a special project or site-specific work to exhibit in a solo show. The artists participating in the 2016 season are, consecutively, Tai Hwa Goh, Dark Matters, Amie Cunat, Joiri Minaya, Doreen Garner, Ariel Jackson and Denise Treizman.</p> <p class="Default" style="text-align: justify;">The Sunroom Project Space is supported in part by the Milton &amp; Sally Avery Arts Foundation. The Edward &amp; Sally Van Lier Visual Arts Fellowship is supported by The New York Community Trust. Additional support for the Visual Arts Program is provided by Lily Auchincloss Foundation, Inc., New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and by the Cathy and Stephen Weinroth Commissioning Fund for the Arts.</p> <p style="text-align: justify;">Wave Hill, Inc. is an independent, non-profit cultural institution governed by a volunteer Board of Directors. The buildings and grounds of Wave Hill are owned by the City of New York. With the assistance of the Bronx Borough President and Bronx representatives in the City Council and State Legislature, Wave Hill&rsquo;s operations are supported with public funds through the New York City Department of Cultural Affairs; the Zoos, Botanical Gardens and Aquariums Grant Program administered by the New York State Office of Parks, Recreation and Historic Preservation; the National Endowment for the Arts; the New York State Department of Environmental Conservation; and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.</p> <p><strong>&nbsp;</strong></p> Wed, 31 Aug 2016 09:08:46 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Arahmaiani - Tyler Rollins Fine Art - September 15th - October 29th <p style="text-align: justify;">Tyler Rollins Fine Art is pleased to present <em>Shadow of the Past</em>, a solo exhibition of new work by Arahmaiani, taking place from September 15 &ndash; October 29, 2016. The public is cordially invited to the opening reception on Thursday, September 15, from 6:00 &ndash; 8:00 pm. The artist will present a new performance work at 7:00 pm during the opening.</p> <p style="text-align: justify;">One of Indonesia&rsquo;s most seminal and respected contemporary artists, Arahmaiani has long been internationally recognized for her powerful and provocative commentaries on social, political, and cultural issues. In the 1980s and &rsquo;90s, she established herself as a pioneer in the field of performance art in Southeast Asia, although her practice also incorporates a wide variety of media, including video, installation, painting, drawing, and sculpture. Since 1980, her work has been included in over one hundred solo and group exhibitions around the world. Her first solo exhibition in the United States, at Tyler Rollins Fine Art in 2014, presented the first ever survey of over 30 years of her performance work. These performances foreground a long and enduring personal and spiritual journey, a process whereby nothing is spared, all is equally scrutinized. They constitute an ongoing expos&eacute; of mechanistic thought, beliefs, actions, and policies that plague humanity, manifested in her peaceful, symbolically rich, and often hauntingly beautiful ceremonies, collective marches, and texts that instigate individual and collective vigilance against ignorance and injustice. They point to a common humanity that transcends divisions. Through her performances and other artworks, she acts as a formal and conceptual medium for communication, connectivity, and cooperation between individuals, communities, and nations.</p> <p style="text-align: justify;">In recent years, a particular focus of Arahmaiani&rsquo;s work has been on environmental issues in the Tibetan plateau region, where she has been actively collaborating on-site with Buddhist monks and villagers to foster a greater environmental consciousness through an array of ongoing community projects. <em>Shadow of the Past</em> marks the first solo exhibition devoted to her artworks inspired by her ongoing experiences in Tibet. It features two new installation works, videos, and a series of monochromatic paintings, each focusing on themes of spirituality, the interconnectedness of humanity and nature, and the cycle of life and death, all with a particular focus on the feminine element. During the opening reception on September 15, she will debut a new performance integrated into one of the installation works.</p> <p style="text-align: justify;">Arahmaiani&rsquo;s works have been performed and exhibited widely in museums and biennials throughout the world, including: the Venice Biennale (2003); Biennale of the Moving Image, Geneva (2003); Gwangju Biennale (2002); Bienal de S&atilde;o Paulo (2002), Performance Biennale, Israel (2001); Biennale de Lyon (2000); Werkleitz Biennale (2000); Bienal de la Habana (1997); Asia-Pacific Triennial, Brisbane, Australia (1996); and the Yogya Biennial (1994). In New York City, she was included in the landmark 1996 exhibition, <em>Traditions/Tensions</em>, at Asia Society, as well as <em>Global Feminisms</em> at the Brooklyn Museum in 2007. Her performances and other artworks have recently appeared in institutions in the United States, Canada, Germany, the Netherlands, Japan, and Indonesia.</p> Wed, 31 Aug 2016 09:02:16 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Anthony Miler - Thierry Goldberg Gallery - September 10th - October 9th <p style="text-align: justify; margin-top: 15px;">Thierry Goldberg is pleased to present <em>Uptown Top Ranking,</em> a solo exhibition of works by Anthony Miler. The show opens on September 10th with a reception from 6 to 8pm and will run through October 9th.</p> <p style="text-align: justify; margin-top: 15px;">Miler makes images of distorted human figures in a concise, spontaneous fashion. Experimentation follows extended contemplation, and leads increasingly to simple strokes that communicate essential information. Tallied together, these marks lend compositions strength, albeit a tenuous one: upon closer inspection their structural forms threaten to fall apart. In <em>three figures, 2016,</em> for example, a medley of what appear to be faces are conjured from a collection of disjointed lines. White washes of paint brighten the upper half of the canvas, itself bisected by a horizon line, below which more complex colors imply land and sea, but only just.</p> <p style="text-align: justify; margin-top: 15px;">There is an inherent physicality present throughout the work. Drawing inspiration from members of the 20th century avant-garde group CoBrA, like Asger Jorn and Karel Appel, surreal and visceral forms emerge from an aggregate of aggressive mark-making, a necessary and evident technique that stems from the artist&rsquo;s use of graphite on canvas. The drawing material resists erasure, turning the practice into an additive process. Canvases also reveal signs of additional accumulations, whether residues from other works, or footprints from time spent on the studio floor during Miler&rsquo;s frenetic, yet precise, drawing spells.</p> <p style="text-align: justify; margin-top: 15px;">Reflecting the rawness and physical roughness of reality in an increasingly digitized world, Miler&rsquo;s work cuts against the notion that all art will be inevitably assimilated by popular culture. This knowing duality is reflected in the exhibition&rsquo;s title, which is taken from a 70s reggae single originally recorded as a joke by Jamaican teens that became a surprise number one hit in the UK.</p> <p style="text-align: justify; margin-top: 15px;">Anthony Miler (b. 1982, Ohio), currently lives and works in Brooklyn. He holds an MFA from the City College of New York, and a BFA from Adrian College in Michigan. He most recently exhibited in CLOSER at Thierry Goldberg, and in solo shows at Rod Barton, London and ART3, Brooklyn. He has also exhibited at Anonymous Gallery, ZieherSmith, Garis &amp; Hahn, and Regina Rex, among others. He has been featured and written about in Interview Magazine and Artsy.</p> Wed, 31 Aug 2016 08:54:30 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Leandro Katz, Frederick Catherwood - Storefront for Art and Architecture - September 8th 4:00 PM - 8:30 PM <p style="text-align: justify;"><strong>On View</strong></p> <p style="text-align: justify;">4:00 to 8:30 pm</p> <p style="text-align: justify;"><strong>Leandro Katz</strong>, <em>The Catherwood Project</em> (1985&ndash;1993)</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Discussion</strong></p> <p style="text-align: justify;">7:00 to 8:00 pm</p> <p style="text-align: justify;">Participants<strong>:</strong> <strong>Julia Herzberg</strong>, <strong>David Shapiro</strong>, <strong>Eugenie Tsai</strong></p> <p style="text-align: justify;">Works By<strong>:</strong> <strong>Frederick Catherwood </strong>and<strong>&nbsp;<strong>Lize Mogel </strong></strong>with<strong> <strong>John Emerson</strong></strong></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">On Thursday September 8th from 4 to 8:30 pm, Colecci&oacute;n Patricia Phelps de Cisneros and Storefront for Art and Architecture present <em>Viewing Room</em>, a one day installation of images at Storefront&rsquo;s gallery space, showcasing a series of photographs from <em>The Catherwood Project</em> by Leandro Katz and the 1844 book of lithographs <em>Views of Ancient Monuments in Central America, Chiapas and Yucatan </em>by Frederick Catherwood.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">From 7 to 8 pm, a Reading Images series will take place, featuring a program of presentations. Art historian Julia Herzberg, who organized an exhibition of Katz&rsquo;s work a decade ago at El Museo del Barrio, will give context to the artist&rsquo;s project; curator Eugenie Tsai will relate Robert Smithson&rsquo;s <em>Incidents of Mirror-Travel in the Yucatan</em> (1969) to Katz&rsquo;s project; poet David Shapiro will read from<em> Incidents of Travel in Poetry</em> (2016) by the late Frank Lima; and Lize Mogel (in collaboration with&nbsp;John Emerson) will provide a map of expeditions in the Maya region carried out by Katz, Stephens, and Catherwood.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">This event is free and open to all. Refreshments will be served. Seating is available on a first come, first served basis. Storefront members can reserve seat a by contacting Andrew Emmet at ae@storefrontnews.org.&nbsp;For information about Storefront membership, see <a href="http://storefrontnews.org/get-involved/membership/">here</a> or call 212.431.5795</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><em>About the Works</em></strong></p> <p style="text-align: justify;">The illustrated publications documenting John Lloyd Stephens&rsquo; and Frederick Catherwood&rsquo;s expeditions in the Maya region, undertaken from 1839 to 1842, caused a commotion during the nineteenth century. These have since inspired archeologists, historians and artists, as well as explorers and travelers of all walks of life, who have developed further work taking their cue from their predecessors&rsquo; itineraries, narratives, and images. One such case is the Argentinian artist Leandro Katz (b. 1938). Starting in 1984 and for the span of several years, Katz undertook numerous trips to Mexico and Central America, retracing and eventually completing the expedition itineraries of Stephens and Catherwood. His ensuing artwork, <em>The Catherwood Project</em>, dated 1985&ndash;1995, is a visual reconstruction of those expeditions, portraying an updated image of the ancient edifices first drawn by Catherwood, and, in the process, exploring the colonial gaze and postcolonial perspectives.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><em>About Viewing Room</em></strong></p> <p style="text-align: justify;"><em>Viewing Room</em> is a charted journey through some recent acquisitions of the contemporary art collection of Colecci&oacute;n Patricia Phelps de Cisneros (CPPC). It consists of a series of events in New York City in which a single artwork from the collection is put on display with an accompanying public program. Audiences are invited to experience seminal yet rarely seen artworks&mdash;in most cases, never before exhibited in the city&mdash;and to participate in programs designed to help discern the processes and contexts in which these were created. Co-presenting institutions of <em>Viewing Room</em> have included The Kitchen, SculptureCenter, and Vera List Center for Art and Politics at The New School in New York.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>About Colecci&oacute;n Patricia Phelps de Cisneros</strong></p> <p style="text-align: justify;">With offices in New York and Caracas, the mission of the Colecci&oacute;n Patricia Phelps de Cisneros is to enhance appreciation of the diversity, sophistication, and range of art from Latin America; advance scholarship of Latin American art; and promote excellence in visual-arts education. Its art collection is organized in five different sections: ethnographic (Orinoco), colonial, traveler-artists, modern, and contemporary.</p> <p style="text-align: justify;">This event is organized by the Colecci&oacute;n Patricia Phelps de Cisneros (CPPC) and Storefront for Art and Architecture, in collaboration with Sof&iacute;a Hern&aacute;ndez Chong Cuy, curator of contemporary art at the CPPC, and with artist Alejandro Cesarco.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">For press inquiries, please contact Jinny Khanduja at <a href="mailto:jk@storefrontnews.org">jk@storefrontnews.org</a> or 212.431.5795.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">This event is organized by the Colecci&oacute;n Patricia Phelps de Cisneros (CPPC) and Storefront for Art and Architecture, in collaboration with Sof&iacute;a Hern&aacute;ndez Chong Cuy, curator of contemporary art at the CPPC, with artist Alejandro Cesarco.</p> Wed, 31 Aug 2016 08:50:33 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list David Harrison - Sargent's Daughters - September 16th - October 16th <div class="container"> <div class="text-one-column paragraph-styling"> <div class="content"> <p style="text-align: justify;">Sargent&rsquo;s Daughters is pleased to present Nightshift, an exhibition of paintings by English artist David Harrison.&nbsp; The exhibition will open on Friday, September 16th and be on view through Sunday, October 16th, 2016.&nbsp; The artist will be present at the opening reception on Friday, September 16th from 6-8pm.&nbsp; This will be Harrison&rsquo;s first New York solo show since 2008. </p> <p style="text-align: justify;">Harrison&rsquo;s work draws on both natural and urban themes.&nbsp; Born into a heavily bombed part of London&rsquo;s post-war East End, the artist is both inspired by and aghast at the surroundings he has witnessed transformed by increasing gentrification and over-development, processes in which the most vibrant parts of the culture are bypassed and neglected.&nbsp; The artist draws on sources from outside the conventional and focuses on what is often overlooked, pushed now to the margins of society.&nbsp; Drawing on a rich vocabulary of myth, history and symbol to create a singular lexicon, his work quickens our perceptions of the everyday, sharpening our dulled senses with an acute lens.&nbsp; This interpretation of his surroundings, though it may appear at first fantastical, is emphatically Harrison&rsquo;s reality, in which historical, imaginary and existing figures and landscapes collide. </p> <p style="text-align: justify;">In Nightshift we are invited into Harrison&rsquo;s narrative, in which the mutability of reality is paramount.&nbsp; Animals become humans under the watchful eye of the moon; humans become augmented creatures under the precise knife of the surgeon, and love, death and rebirth cycle constantly around us.&nbsp; The boundary between one world and another is least substantial at night, when the solid shapes of daytime waver and people and animals transform into otherworldly creatures.&nbsp; In &ldquo;Stalked Men&rdquo; portraits we see, from odd angles, the Turkish taxi drivers who fascinate Harrison. His depictions of these urban ferrymen exude an atmosphere of predatory sexuality suggestive of the illicit moonlit encounter at the same time as they draw the viewer into ambiguous psychological depths. &ldquo;Cosmetic Witches&rdquo;, meanwhile, are frightful apparitions, accompanied by their owl and frog &ldquo;familiars&rdquo; and exuding the banal beauty of plastic transformation. Death and sex are never far from each other in Harrison&rsquo;s work, in which something that is repulsive can often be beautiful. </p> <p style="text-align: justify;">Nature is paramount to Harrison, and though threatened by the ever-advancing army of mankind, the natural world always triumphs. &ldquo;And None Shall Reign There&rdquo; features a lean heron watching the sinking tumble of London&rsquo;s modern glass buildings under a fiery sky, its feet firmly planted in the fens in implicit promise that, long after we are gone, the natural world will rise again.&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Born in 1954, <strong>David Harrison</strong> lives and works in London. Harrison's works have been exhibited at venues including TRAMPS, London (2014), VeneKlasen/Werner, Berlin (2012), Vilma Gold, London (2012 and 2003), Daniel Reich Gallery, New York (2008), Galeria OMR, Mexico City (2007), the Arts Centre St. Petersburg, Florida (2005), Northern Gallery for Contemporary Art, Sunderland (2005), The Whitechapel Gallery, London (2006 and 2004), Whitechapel Project Space, London (2004 and 2003), Bloomberg Space, London (2004) and Cubitt Gallery, London (2001).&nbsp; He is represented by Victoria Miro Gallery, London, UK (exhibiting 2015, 2010, 2009 and 2005).</p> <p style="text-align: justify;">This exhibition is presented in collaboration with Victoria Miro Gallery, London.&nbsp;</p> </div> </div> </div> Wed, 31 Aug 2016 08:35:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Cinthia Marcelle - MoMA PS1 - October 23rd - March 5th, 2017 <p style="text-align: justify;"><em>Projects 105</em> presents <em>Education by Stone</em>(2016), a new site-specific installation by Cinthia Marcelle (Belo Horizonte, Brazil, 1974) and the artist&rsquo;s first solo exhibition in New York. Marcelle is known for her installations, performances, and videos, which stage forms of labor to produce poetic situations. Occupying MoMA PS1's Duplex gallery, the installation will insert chalk, a pedagogical material to which she has re-turned throughout her career, in the building&rsquo;s formerly scholastic space. Numerous rods of chalk will be lodged into the fissures and openings of the gallery&rsquo;s brick walls from floor to ceiling, revealing the material&rsquo;s inherent instability and fragility.</p> <p style="text-align: justify;"><strong>ABOUT THE ARTIST</strong><br />Cinthia Marcelle has had solo exhibitions in South America and Europe, and recently participated in the 11th Sharjah Biennial (2015). In 2006, she was the recipient of the International Prize for Performance for her work Gray Demonstration (2006). In 2010, she was awarded the Future Generation Prize.</p> <p class="credits" style="text-align: justify;"><em>Organized by Giampaolo Bianconi, Curatorial Assistant, Department of Media and Performance Art, The Museum of Modern Art.</em></p> <p class="credits" style="text-align: justify;"><em>The Elaine Dannheisser Projects Series is made possible in part by The Elaine Dannheisser Foundation and The Junior Associates of The Museum of Modern Art.</em></p> Wed, 31 Aug 2016 08:26:51 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mark Leckey - MoMA PS1 - October 23rd - March 5th, 2017 <p style="text-align: justify;">MoMA PS1 will present the first comprehensive U.S. survey of the pioneering British artist Mark Leckey and the largest exhibition of his work to date. Since coming to prominence in the late 1990s, Mark Leckey&rsquo;s dynamic and varied practice has combined formal experimentation with pointed explorations of class and history. His art has addressed the radical effect of technology on popular culture, and given form to the transition from analog to digital culture, powerfully influencing younger generations of artists. The exhibition will bring together major bodies of Leckey&rsquo;s work, including a broad array of video works and sculptural installations alongside new pieces made specifically for the exhibition.</p> <p style="text-align: justify;">Among the highlights will be Leckey&rsquo;s breakthrough film <em>Fiorucci Made Me Hardcore</em> (1999), which uses sampled footage to trace dance subcultures in British nightclubs from the 1970s to 1990s; a selection of the artist&rsquo;s Sound System sculptures (2001&ndash;2012), functioning stacks of audio speakers that recall those used in street parties in London; his pedagogical lecture performances; <em>GreenScreenRefrigeratorAction</em> (2010), a video and installation that considers &ldquo;smart&rdquo; objects and our increasingly technological environment; and a new iteration of the installation <em>UniAddDumThs</em> (2014), which Leckey created as a &ldquo;copy&rdquo; of a touring exhibition, <em>The Universal Addressability of Dumb Things</em>, that he had curated the year before. The exhibition will also feature a newly expanded presentation of <em>Dream English Kid 1964&ndash;1999 AD</em> (2015), an autobiography told through what the artist calls "found memories" that have been compiled from sources like archival television clips, YouTube videos, and eBay ephemera, as well as meticulous reconstructions of specific memories using props and models. Combining deeply personal and popular subjects, this amalgamation of media allows Leckey to investigate the pivotal moments in technology and culture that have occurred in his lifetime.</p> <p style="text-align: justify;">Mark Leckey is co-organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1; and Stuart Comer, Chief Curator, Department of Media and Performance Art, The Museum of Modern Art; with Jocelyn Miller, Curatorial Associate, and Oliver Shultz, Curatorial Assistant, MoMA PS1.</p> <p style="text-align: justify;">Mark Leckey (b. 1964, United Kingdom) was awarded the Turner Prize in 2008 and has been the subject of numerous solo exhibitions at institutions including Haus der Kunst, Munich, Germany (2015); WIELS Contemporary Art Centre, Brussels, Belgium (2014); the Hammer Museum, Los Angeles (2013); Nottingham Contemporary, Nottingham, UK (2013); Banff Centre, Banff, Canada (2012); and the Serpentine Gallery, London, UK, (2011). He has participated in the Carnegie International (2013), the 55th Venice Biennale (2013), and the 8th Gwangju Biennial (2010). Leckey lives and works in London.</p> <p class="credits" style="text-align: justify;"><em>The exhibition is made possible by The Andy Warhol Foundation for the Visual Arts and by MoMA&rsquo;s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation.</em></p> <p class="credits" style="text-align: justify;"><em>Major support is provided by The International Council of The Museum of Modern Art.</em></p> <p class="credits" style="text-align: justify;"><em>Additional funding is provided by the MoMA PS1 Annual Exhibition Fund.</em></p> Wed, 31 Aug 2016 08:25:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Vito Acconci - MoMA PS1 - June 19th - September 18th <p style="text-align: justify;">As one of the exhibitions celebrating the institution's 40th anniversary, MoMA PS1 presents a survey of early works by Vito Acconci, whose projects exemplify the energy and innovation of the decade that preceded the museum&rsquo;s founding in 1976. Titled after one of his iconic pieces, <em>VITO ACCONCI: WHERE WE ARE NOW (WHO ARE WE ANYWAY?), 1976</em> is a solo exhibition of early works by the unconventional writer, poet, performance, video and conceptual artist, and designer/architect.</p> <p style="text-align: justify;">After enrolling in the University of Iowa&rsquo;s MFA writing program during the early 1960s, Acconci began writing poetry and editing the publication 0-9. In 1968 he started staging performances and creating sound and video works. The exhibition presents Acconci as he developed his radical and subversive explorations of the human condition, sexuality, voyeurism, identity and physicality up to the moment that MoMA PS1 was founded.</p> <p style="text-align: justify;">Drawing on documentary materials, photographs, and film and video footage, <em>VITO ACCONCI: WHERE WE ARE NOW (WHO ARE WE ANYWAY?), 1976</em> traces Acconci&rsquo;s early actions and performances, including <em>FOLLOWING PIECE</em> (1969), in which he followed passers-by on the street until they entered private spaces&mdash;SHADOW-PLAY (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall&mdash;OPENINGS (1970), during which a camera focuses on Acconci&rsquo;s stomach as he pulls out his body hair, the film ends when Acconci is hairless&mdash;<em>SEEDBED</em> (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead&mdash;<em>THE RED TAPES</em> (1976-77), a three-part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language. The exhibition concludes with the reinstallation of Acconci&rsquo;s W<em>HERE WE ARE NOW (WHO ARE WE ANYWAY?)</em>. Acconci&rsquo;s work is made up of a wooden plank surrounded by stools. The plank continues through an open window and becomes a diving board suspended over the traffic below.</p> <p style="text-align: justify;"><strong>ABOUT THE ARTIST</strong></p> <p style="text-align: justify;">Since his first solo show in 1969, Acconci (American, b. 1940) has participated in numerous solo exhibitions and has been the subject of retrospectives at the Stedelijk Museum in Amsterdam (1978, and 2006), and the Museum of Contemporary Art in Chicago (1980). Acconci&rsquo;s achievements have been recognized with several awards, including several fellowships from the National Endowment for the Arts (1976, 1980, 1983, and 1993), the John Simon Guggenheim Memorial Foundation (1979), and American Academy in Rome (1987). He is also the recipient of two New York City Art Commission Awards for Excellence in Design (1999 and 2004) and was appointed to the National Academy (2013). Since the mid-80s through the present, Acconci has mixed with a design and architecture studio based in Brooklyn, New York.</p> <p class="credits" style="text-align: justify;"><em>VITO ACCONCI: WHERE WE ARE NOW (WHO ARE WE ANYWAY?)</em>,<em> 1976</em> is organized by Klaus Biesenbach, Director, MoMA PS1, and Chief Curator at Large, The Museum of Modern Art, with Margaret Aldredge, Curatorial Assistant, MoMA PS1, Richard Wilson, Chief of Installation, MoMA PS1, and Vito and Maria Acconci.&nbsp;</p> <p class="credits" style="text-align: justify;"><br /><em>The exhibition is made possible by the MoMA PS1 Annual Exhibition Fund.</em></p> Wed, 31 Aug 2016 08:22:23 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Juan Genoves - Marlborough Gallery New York - September 13th - October 8th <p style="text-align: justify;">The Directors of Marlborough Gallery are pleased to announce an exhibition of new paintings by the renowned Spanish artist Juan Genov&eacute;s. An opening reception will be held on Tuesday, September 13th from 6 &ndash; 8:00 pm. The exhibition will remain on view until October 8th. Born in Valencia in 1930, Genov&eacute;s is one of Spain&rsquo;s best-known contemporary artists. He is recognized for work rooted in Social Realism and Pop with a distinctly critical voice that advocated for political change during the Franco regime in Spain.</p> Wed, 31 Aug 2016 08:15:22 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list