ArtSlant - Openings & events en-us 40 Timothy Hutchings, Mark Wiener, Jean Wilkinson, Beth Warshafsky, Linda DiGusta - CREON - October 10th, 2012 6:00 PM - 9:00 PM <p><b>Mark Wiener and Linda DiGusta</b></p> <p>"Duet" was originally conceived as a mini-documentary under the working title "Duet in Black and White for Abstract and Figure." When beginning to edit, they decided that the simple, compelling imagery of work in progress best depicted the rhythm that exists between them as a couple and the art that each of them creates. With the score by Yukari, the message is that romance and art are inextricably linked.  In Wiener’s “Silence Please,” one action informs the next. As a vocabulary is built, each layer of thought re-examines the previous thought and instructs the next.  Simple marks repeat, skipping across the surface of the screen, alluding to figuration. The animation is conceived in moments of complete silence, with imagination skipping across consciousness.</p> <p><b>Timothy Hutchings</b></p> <p>The “Mandala” series comes from Hutchings interest in aestheticizing his non-art activities.  He records his slack time in various ways and then feeds that back into processes which convert the waste into something resembling art.  The Mandala works are records of video viewing which are then ran through video manipulation software, creating  quasi-psychedelia from pop culture. The music is just the sound from the video source reprocessed. </p> <p><b>Jeanne Wilkinson</b></p> <p> “Wakefield Dream” is an amalgam of the artist’s paintings, photography, animations, and her projections on rocks, trees, and also on moving figures shrouded with translucent fabric.  She merges this imagery with footage of her son Andrew Keeley Yonda and his wife Jennifer playing music and dancing. The sound track utilizes her son’s music with other effects from the filming process.  All of this forms a sequence of layered imagery that unfolds like an uncanny dream.  “Something-Something with Fish” is an animated abstraction derived from the artwork of Kaitlin Martin and footage of wildlife filmed by Wilkinson in Duluth, Minnesota’s fresh-water aquarium.</p> <p><b>Beth Warshafsky</b></p> <p>"Haiku: Springs Again” is a single channel video weaving multiple layers of content. </p> <p>It’s a dream written on a napkin, a silhouette of the artist dancing, with video textures and sound merged into a short, concise whole.  "I am Calling You” is a work in progress, a combination of textured layers of real time performance with the live camera input of musician Gerry Hemingway. Warshafsky’s work emerges over time as she finds form between image and sound. This intuitive process connects to her past as a painter - she often feels like she is painting in time. </p> Thu, 27 Sep 2012 21:57:43 +0000 Ulf Puder - MARC STRAUS - October 10th, 2012 6:00 PM - 8:00 PM <p>Marc Straus is pleased to present a solo show by Ulf Puder, on view from October 10 until November 11, 2012. <br /><br /> Ulf Puder (b. 1958) and Neo Rauch graduated in 1990 from the Hochschule für Grafik und Buchkunst (HGB) Leipzig as a Meisterschüler of Prof. Bernhard Heisig. They have influenced an important generation of artists and for Puder his work is central to many of the leading Leipzig painters such as Matthias Weischer and today he is especially important to younger artists in Eastern and Central Europe. <br /><br /> His masterly paintings of architectural structures are devoid of human life and hover between abstraction and representation. Puder places chaos and quietude side by side. Symbols of human creation, industrialization and desolation are rendered in extreme perspectives, in front of dimly hued skies. Puder's scenes induce a sense of calm disorder, or animated stillness, perplexing and haunting as they appear to the beholder.<br /><br /> Floss der Medusa (2012) is a raft built from roofs, angled walls, cantilevers and sloping handrails that are piled up triangularly in front of a somber horizon. A member of the Neue Leipziger Schule, Puder gained international acclaim for adding an experimental surrealism to East-German Neo-Realism. In this large-scale work, architectural modules are about to collapse, alluding to turmoil and despair in society. Motif and title both set the link to the iconic The Raft of the Medusa by French painter Théodore Géricault, which depicts the conversion from men into cannibals due to the basic human instinct to survive. Puder's works pose questions to our society and its relationship with the past.<br /><br /> Ulf Puder is represented by Galerie Jochen Hempel in Germany. He has had numerous international solo shows and is part of major public and private collections. Most significantly, Puder was included in After the Wall, an exhibit shown at the Moderna Museet in Stockholm (1999), the Hamburger Bahnhof in Berlin and the Museum Ludwig in Budapest (2000).</p> Fri, 05 Oct 2012 01:29:28 +0000 Marcin Cienski - MARC STRAUS - October 10th, 2012 6:00 PM - 8:00 PM <p>Marc Straus Gallery is pleased to present Marcin Cienski's first solo exhibition in the United States, on view October 10 - November 11, 2012. <br /> <br /> Marcin Cienski’s paintings tell stories which unfold in slow-motion and where details and narrative seem more acute. A circular floodlight highlights a woman who raises her arms toward a chandelier, surrounded by complete darkness. Red Dress (2012) shows an intimate interior scene that transforms the viewer into a voyeur. Cienski's unique formal language, which is characterized by radiant colors, stark contrasts and an evident painterly gesture, provokes a strong connection with the subject matter since it reminds us of photographs or stills of a movie, but at the same time, calls to mind that a painting is far more complex. <br /> <br /> Marcin Cienski's current series Spaete Gaeste (Late Guests) is inspired by a collection of objects assembled by his ancestors. His grandfather preserved various artifacts such as medals, feathers, teeth of animals and other curiosities dating back to the family's roots in Poland's 13th century. Surviving both World Wars and the succeeding expropriation of their castle and personal property under the Communist regime, those sometimes pedestrian objects were lovingly retained by Cienski's grandfather. For him they served to illustrate stories of the past, making the family's unusual history vivid to the imagination of the young Marcin. Many years later, the painter morphs his memories of his grandfather's tales into works of art, an object being the cue to the story. Cienski leaves much to interpretation and viewer is urged to be reminded of their own personal experiences and past. <br /><br /> Marcin Cienski was born in 1976 in Krakow, Poland. He received his MFA from the Fine Arts Academy Krakow in 2001 and has exhibited throughout Europe since. Recent solo shows were held in Leipzig, Copenhagen, Zürich and Antwerp. His art can be found is numerous significant collections such as the Campbell Collection in Los Angeles, Hauser&amp;Wirth in Zürich, AmC Collezione Coppola in Vicenza and SOR Rusche in Oelde. He is represented by Galerie Jochen Hempel in Berlin and Leipzig.</p> Fri, 05 Oct 2012 01:32:53 +0000 - MoMA (Museum of Modern Art) - October 10th, 2012 10:30 AM - 5:00 PM <p class="top">We’re picturing people in our latest interactive space! Discover how artists represent the human form in paintings, sculptures, and works on paper. Investigate the language of the body through activities exploring pose, gesture, and expression. Create your own portraits using traditional and digital tools. Stop by before or after visiting MoMA's galleries!</p> <p>Monday, Wednesday, Thursday, Saturday, and Sunday, 10:30 a.m.–5:00 p.m.; Friday, 10:30 a.m.–7:30 p.m.</p> Sun, 02 Sep 2012 23:22:54 +0000 - Museum of the City of New York - October 10th, 2012 7:00 PM - 9:00 PM <p>New York and London have competed for generations for the title of global capital of capital. Join us for a panel discussion to explore the factors that have historically given New York and London their economic edge, continuity, and strength. <b>James Orr</b>, Assistant Vice President of the Federal Reserve Bank of New York, and <b>Felix Salmon</b>, financial blogger at Reuters will investigate how each city's geography, demographics, technological adaptability, and creative capital are shaping their economic futures, and what might be the broader implications in today's volatile and complex global marketplace. The program will be moderated by <b>Roy G. Smith</b>, of the NYU Leonard N. Stern School of Business</p> Thu, 04 Oct 2012 23:26:08 +0000 Jonathan Horowitz - New Museum - October 10th, 2012 12:00 PM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">This October, the New Museum will present “<strong><em>Your Land/My Land: Election ’12</em></strong>,” (2012) an installation by artist <strong>Jonathan Horowitz</strong> to coincide with the 2012 American presidential election season. The exhibition will be staged simultaneously at art museums across the US. </span></p> <p style="text-align: justify;"><span style="font-size: small;">“Your Land/My Land: Election ’12” is a reimagined installation originally presented by Horowitz during the 2008 presidential election. At each location (as in ’08), red and blue area rugs will divide the exhibition space into opposing zones, reflecting America’s color-coded, political, and cultural divide. Back-to-back monitors will be suspended between the carpets, with one broadcasting a live feed of Fox News, the other of CNN. The installation will provide a location for people to gather and watch coverage of as well as talk about the presidential election. Its central trope is a divided United States swathed in only red and blue.</span></p> <p style="text-align: justify;"><span style="font-size: small;">At the New Museum, the installation will occupy the Lobby, incorporating the front window and its view on to the street. The text “Your Land/My Land” will be adhered to the window, referencing <em>This Land is Your Land</em> by Woody Guthrie, which originally addressed the issue of land ownership. According to Horowitz, “If race and gender were the defining themes of the ’08 election, economic policy and economic disparity will likely be the defining themes of the 2012 election. The placement of the text on the window will extend this metaphor to the land of the museum and the land outside. To some, museums are decidedly blue—elitist bastions of liberalism—to others, they are lynchpins of a capitalist art market analogous to other capitalist markets that have been collapsing around us.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">When “Your Land/My Land” opens, a portrait of President Obama, as the current representative of all Americans, will hang from the ceiling between the two sides and a portrait of Mitt Romney will sit on the floor. On election night, each venue will host an election returns event, with the installation becoming a minimalist backdrop. If Obama wins, the position of the two portraits will remain the same. Should Obama be unseated, their positions will be switched.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The installation will be customized for each particular museum and attention will be drawn to the role that cultural institutions can play in a democracy. Over the course of the exhibition, some participating venues will offer voter registration and host presidential debate screenings. A website, accessible at each museum, will link the different locations and visitors will be invited to post comments. Visitors may also connect on Twitter using #YLML.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Participating venues include:</span></p> <p style="text-align: justify;"><span style="font-size: small;">Contemporary Art Museum, St Louis, MO – September 7–November 11</span><br /><span style="font-size: small;">Contemporary Art Museum Raleigh, NC – September 22–November 12</span><br /><span style="font-size: small;">Contemporary Arts Museum Houston, TX – September 29–November 11</span><br /><span style="font-size: small;">Hammer Museum, Los Angeles – September 30–November 18</span><br /><span style="font-size: small;">Utah Museum of Contemporary Art, Salt Lake City, UT – October 5–November 24 </span><br /><span style="font-size: small;">New Museum, New York – October 10–November 18</span><br /><span style="font-size: small;">Telfair Museums, Savannah, GA – October 12–November 11</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About the Artist</strong></span><br /><span style="font-size: small;">Since the early 1990s, Horowitz has made art that combines the imagery and ambivalence of Pop Art with the engaged criticality of conceptualism. Often based on popular commercial sources, his work examines the deep-seated links between consumerism and political consciousness, as well as the political silences of postwar art. Recent solo exhibitions include “Minimalist Works from the Holocaust Museum,” Dundee Contemporary Arts, Scotland (2010), “Apocalypto Now,” Museum Ludwig, Cologne (2009), and the retrospective exhibition, “And/Or,” P.S.1, New York (2009).</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Sponsors</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Jonathan Horowitz’s “Your Land/My Land: Election ’12” is made possible, in part, by the Toby Devan Lewis Emerging Artists Exhibitions Fund.</span></p> Sun, 02 Sep 2012 17:41:19 +0000 Judith Bernstein - New Museum - October 10th, 2012 11:00 AM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">New York, NY…The New Museum is pleased to announce the first solo museum exhibition of the work </span><span style="font-size: small;">of New York-based artist <strong>Judith Bernstein</strong> (b. 1942). For over forty years, Judith Bernstein has created </span><span style="font-size: small;">expressive drawings and paintings that boldly critique militarism and machismo in a manner that is at </span><span style="font-size: small;">once humorous and threatening. The exhibition at the New Museum will include a selection of works </span><span style="font-size: small;">ranging from the ’60s through the present, including a new <strong>site-specific rendition</strong> of<strong><em> Bernstein’s </em></strong></span><span style="font-size: small;"><strong><em>Signature Piece</em></strong> (1986), painted in explosive gestural strokes directly onto the Lobby Gallery windows. </span><span style="font-size: small;">For Bernstein, this piece, presented in counterpoint to her large-scale images within the gallery, </span><span style="font-size: small;">proclaims her presence and confronts egotistical posturing of artists within the art world and society. </span></p> <p style="text-align: justify;"><span style="font-size: small;">“<strong>Judith Bernstein: HARD</strong>” will be on view in the </span><span style="font-size: small;">Lobby Gallery from October 10, 2012–January </span><span style="font-size: small;">20, 2013, and is curated by Margot Norton, </span><span style="font-size: small;">Curatorial Associate. The exhibition’s title, like </span><span style="font-size: small;">Bernstein’s work, carries an explicit meaning as </span><span style="font-size: small;">a sexual reference. Yet it is also semantically </span><span style="font-size: small;">elastic, conjuring up multiple associations within </span><span style="font-size: small;">layers of political, personal, and artistic struggle. </span><br /> <br /><span style="font-size: small;">As a student at Yale in the ’60s, Bernstein </span><span style="font-size: small;">developed a fascination with the graffiti she </span><span style="font-size: small;">found in men’s restrooms, images that would </span><span style="font-size: small;">later inform the basis of her work. Within these </span><span style="font-size: small;">crude sexual scrawlings, Bernstein discovered </span><span style="font-size: small;">a window into the male subconscious as </span><span style="font-size: small;">well as her own. Her works from this period, </span><span style="font-size: small;">predating the wave of feminist artworks in the </span><span style="font-size: small;">early ’70s, assert female rights and address the underlying connection between sexual aggression and </span><span style="font-size: small;">warfare. These mordant antiwar and antisexist statements bristle with the political activism and fury that </span><span style="font-size: small;">characterized the Vietnam War era, and continue to resonate viscerally today.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bernstein’s most well-known artworks are her subsequent series of biomorphic screw drawings, which </span><span style="font-size: small;">she began in 1969. These monumental pieces provocatively appropriate the image of the screw as a </span><span style="font-size: small;">phallic symbol of oppression—as in the expression “being screwed”—and evoke ominous power. One </span><span style="font-size: small;">of these works,<em> HORIZONTAL</em> (1973), was censored from the exhibition “FOCUS: Women’s Work—</span><span style="font-size: small;">American Art in 1974” at the Museum of the Philadelphia Civic Center for “lacking redeeming social value,” </span><span style="font-size: small;">phraseology commonly applied to pornography. At the time, a petition letter was issued in protest, signed </span><span style="font-size: small;">by many significant artists, critics, and curators, including Clement Greenberg, Linda Nochlin, Lucy Lippard, </span><span style="font-size: small;">Louise Bourgeois, and the New Museum’s Founding Director, Marcia Tucker. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Bernstein was a founding member of A.I.R. Gallery (the first gallery devoted to showing female artists) </span><span style="font-size: small;">where she had her first solo exhibition in 1973. She was an early member of many art and activist </span><span style="font-size: small;">organizations including Guerrilla Girls, Art Workers’ Coalition, and Fight Censorship. </span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">About the Artist</span></strong><br /><span style="font-size: small;">Born in 1942 in Newark, NJ, Bernstein has lived and worked in New York City since 1967. She received </span><span style="font-size: small;">her MFA from Yale University School of Art in 1967. She has had solo exhibitions at Mitchell Algus Gallery, </span><span style="font-size: small;">New York (2008), The Box, Los Angeles (2009 and 2011), and Alex Zachary, New York (2010). Her work </span><span style="font-size: small;">has been included in group exhibitions, such as “The Comfort of Strangers” as part of “Greater New York” </span><span style="font-size: small;">at MoMA P.S.1, New York (2010), “The Last Newspaper” at the New Museum, New York (2010), and “The </span><span style="font-size: small;">Historical Box” at Hauser &amp; Wirth, Zurich (2011) and London (2012). Her work is in the collections of the </span><span style="font-size: small;">Museum of Modern Art, New York, the Whitney Museum of American Art, the Brooklyn Museum, the Jewish </span><span style="font-size: small;">Museum, New York, and Yale University Art Gallery, New Haven.</span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">Exhibition Support</span></strong><br /><span style="font-size: small;">“Judith Bernstein: HARD” is made possible, in part, through the generous support of the Producers Council </span><span style="font-size: small;">of the New Museum.</span></p> <p></p> Sun, 02 Sep 2012 18:10:13 +0000 Will Brand - NURTUREart Gallery - October 10th, 2012 7:00 PM - 9:00 PM <p>Will Brand is a Brooklyn-based critic, editor, and programmer, and the Editor-in-Chief of Art Fag City, an influential contemporary art blog that likes to pick fights. He likes writing about internet art best. He’s also written for The L and CityArts, and his work has been republished in Junk Jet and on The Creators Project.</p> Fri, 28 Sep 2012 01:25:48 +0000 Casey Jex Smith - Sargent's Daughters - October 10th, 2012 6:00 PM - 8:00 PM <p>Allegra LaViola Gallery is pleased to present <i>Fiend In The Void</i>, a solo exhibition of works on paper and sculpture by Casey Jex Smith. For his third solo show at the gallery, Smith has decided to pursue two of the most controversial subjects of our time: religion and politics. As a practicing Mormon, Smith’s interest in religion, and inclusion of it as a subject matter in his work, has been ongoing. This election cycle of 2012 has brought Mormonism to the front of the world stage as Mitt Romney runs for election as President of the United States of America. Smith, instead of retreating into a safe corner and remaining silent about his relationship with his church and the increasing interest surrounding it, has come out with all guns blazing.</p> <p>The opening night of the exhibition will contain a live action performance by Smith and gallery visitors. Two volunteers will take up the roles of Barack Obama and Mitt Romney and audience members will get to decide the fate of the election using Dungeons and Dragons dice, rules and attacks. Smith will act as Dungeon Master of the game, and the ultimate prize is his vote: <span style="text-decoration: underline;">the battle winner the night of the opening will be the real life ballot Smith casts in his swing-state home of Ohio</span>.</p> <p>Using the world of sci-fi/fantasy, Dungeons &amp; Dragons, and Mormon imagery as a springboard for exploration, Smith has created a world where Mitt Romney and Barack Obama are not just candidates in a race, but also but also mythical heroes in an imagined world. This insertion of major public figures into fantastical worlds is not without precedent, but Smith’s incorporation of religion, fantasy and art history is both unique and unusual. Smith is not interested in labels or lines: an appreciation of the wider sense of the world is required to fully appreciate the work.</p> <p>Smith’s exquisitely rendered drawings, often ink on paper, are manifest with details. Both highly skilled as a draftsman, and obsessive by nature, Smith imbues his drawings with a radiant energy that draws us into his carefully constructed, and highly coded, world. Each intimate rendering is an exploration of several higher grounds—the domain and fate of the soul are as present in the work as more transitory concerns. We can blink and miss an entire episode in a piece, but, luckily, it is still there waiting for us once we reopen our eyes. <b>Casey Jex Smith</b> lives and works in Ohio. He holds a BFA from Brigham Young University and an MFA from The San Francisco Art Institute. He has shown his work at the Drawing Center, Yerba Buena Center of the Arts, and Swarm Gallery, Oakland. His work has been reviewed on; Beautiful Decay, Time Out Chicago, and Fecalface.</p> Mon, 01 Oct 2012 23:45:59 +0000 Juan Hinojosa - Sargent's Daughters - October 10th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Allegra LaViola Gallery is pleased to present <i>Ready For Their Stones</i>, a solo exhibition of collage and installation by New York artist Juan Hinojosa.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In his first exhibition at the gallery, Hinojosa has transformed the lower level into a chapel of sorts, though instead of the usual arcana of Saints, Hinojosa has created an assembly of modern day martyrs. We are invited into the intimate space to worship the newly minted holy assembly, and Hinojosa has made the job easier by providing kneelers and candles to aid us.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hinojosa’s interest in religious figures is merged with a fascination for fantasy, consumer culture and comic book characters. As Saints are revered for their dedication to God and their desire for goodness in the face of evil, so too are the superheroes that Hinojosa deems worthy of worship. These women, battling for righteousness and sacrificing themselves in the process, bear more than a passing resemblance to the Saints with whom we are familiar. Often, Saints do themselves bodily damage in order to preserve themselves for God—St Lucy plucking out her eyes or St Agnes lopping off her breasts. Hinojosa draws a parallel to modern comic heroines, who suffer bodily harm to save the world. In choosing to represent only women, Hinojosa also makes a comment upon feminine urge to sacrifice oneself for the greater good.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In addition to calling upon historical figures, Hinojosa incorporates our modern day obsession with consumer goods into his altars. Just as depictions of Saints are accompanied by their attributes, Hinojosa’s superheroes are surrounded by panoply of identifiers drawn from high and low fashion. It speaks volumes to say these are the things we cling to in troubled times, especially since they are only things, but in Hinojosa’s gracefully rendered collages the things become objects of mediation as well as worship. The fanning folds of a metro card or the pursed lips that appear in several of the altarpieces form a language that we find ourselves instantly familiar in—we have seen these images repeated so many times in so many ways that they are as significant as the Lily to the Florentines. Hinojosa releases the objects from their meaning and adds a new interpretation, freeing us to see the new stars in his congregation of warrior women.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Juan Hinojosa</b> lives and works in New York City. He received his BFA from Parsons and has shown work at El Museo del Barrio, New York; The Queens Museum of art, New York and ZieherSmith Gallery, New York. This is his first solo exhibition with Allegra LaViola Gallery.</span></p> Sat, 13 Oct 2012 16:32:25 +0000 - The Goethe-Institut (Wyoming Building) - October 10th, 2012 7:00 PM - 9:00 PM <p><b>Christoph Schlingensief</b> is famous in Germany through film, theater, opera, television, and not least his larger than life persona. But even there hardly anyone knows his extremely diverse body of work in its entirity. The Goethe-Institut Wyoming Building will now introduce Schlingensief to a New York audience with a selection of feature and documentary films by and about the artist. <br /><br />At the age of 24, young Schlingensief made his fourth feature film, <b>Egomania </b>(1986), starring <b>Tilda Swinton</b> and <b>Udo Kier</b>. A nightmarish film set on an island in the midst of winter and from today's perspective—a decade later Schlingensief would become known for his irreverent and oftentimes polemic film, theater, and opera work—a premonition of his artistic output in all its diversity. <br /><br />Schlingensief's legendary <b>Germany Trilogy</b> about Helmut Kohl's "jigsaw politics" deals with political issues of the time and shows his uncompromising artistic position and his faible for hyperbole. The trilogy's films,<b> 100 Years Adolf Hitler</b> (1989), <b>The German Chainsaw Massacre</b> (1990), and <b>Terror 2000</b> (1992), quickly reached cult status and turned Schlingensief into the bad boy of the German cultural scene. <br /><br />At the Goethe-Institut Wyoming Building, <i>Egomania </i>and the <i>Germany Trilogy</i> films will be projected in loop for the duration of the exhibition. These films were also shown in the German Pavillon at last year's Venice Biennale, which received the Golden Lion 2011. Additionally, we will present a documentation of a political performance,<b> Ausländer raus</b> (2001), and <b>Via Intolleranza II</b> (2010), a recording of a theater production. In the interview film <b>Christoph Schlingensief and His Films</b> (2005), the artist himself talks about his work. <br /><br />Schlingensief's opera village project in Burkina Faso is the subject of <b>Crackle of Time</b> (2012), which on October 10 at 7:00pm will be screened for the first time in the US and open the exhibition at the Goethe-Institut Wyoming Building. On October 17, we will show <b>African Twin Towers </b>(2005-2009), with <b>Patti Smith</b> and <b>Irm Hermann</b>, among others.</p> Tue, 02 Oct 2012 02:32:40 +0000 CLOETE BREYTENBACH - WhiteBox - October 10th, 2012 5:00 PM - 11:00 PM <p><br /> White Box and Wines of South Africa are honored to announce South African photographer Cloete Breytenbach's first solo exhibition in New York City. DISTRICT SIX is a deeply touching exhibition of photographs taken by Cloete Breytenbach depicting the people and their surroundings of District Six, a suburb of Cape Town that was demolished during the years of Apartheid. In the late 1970's, the people who lived there were forcefully removed from their homes by the government because the suburb was seen as too mixed in race, and too close to Cape Town's center which was regarded as a "white area". During this very problematic time in the history of South Africa, Cloete Breytenbach made this touching documentary of photographs over a period of five years. His photographs focus on how diverse this poor neighborhood was, capturing the activities and feelings of its people. This collection serves as a priceless reminder of how alive with culture and spirited District Six was. <br /> <br /> <br /> Cloete Breytenbach will be present. South African wines will be served for the duration of the event.</p> Sun, 10 Nov 2013 00:12:31 +0000 Armando Marino - 532 Gallery Thomas Jaeckel - October 11th, 2012 6:00 PM - 8:00 PM <p>The Thomas Jaeckel Gallery is pleased to present the Solo exhibition in New York of Armando Mariño, entitled <i>The Waste Land</i>.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></p> <div>The exhibition features new paintings in oil on canvas and paper.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></div> <div>The title of the show refers immediately to the T.S Elliot poem, but Marino’s paintings are by no means an illustration of it. In his paintings the artist recognizes the poem as a background of his work,” it help me to put together all the paintings”. The style of the poem overall is marked by the hundreds of allusions and quotations from other texts, like my paintings. Marino is inspired by current images in the media to create new narrative resulting in large scale paintings, colorful and intense, classic and obscure; "high-brow" and "low-brow layered ad infintum that the viewer has to look at closer to discover.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></div> <div>If the subject of his previous show was the mass protests, the revolution and tumult of the last year, the artist is now more focused on the contradictions and frictions between the spirituality and the chaos of the world we live in today. His paintings come from various sources, two Tibetan monks, a spiritual man from India, a Western landscape in autumn are some of the images that serve him this time as material for his new works.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></div> <p>In 2010 he moved to New York from Madrid as part of the ISCP Brooklyn for one year and participated at the exhibition Keloids, Mattress Factory Museum Pittsburgh. Between 2010 and 2012 his work  has drawn the attention of several critics and curators in USA. He was invited to participate in several exhibitions such as <i>The Museo's Biennial (S) Files</i>. Museo del Barrio. New York. USA 2011 and <i>Building Identities Contemporary Cuban Art</i> from the Shelly and Donald Rubin Private Collection. Cleveland Clinic's Art Program  Arts &amp; Medicine Institute. OH.2012<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></p> <p>2011/ 2012  he was invited as Artist Studio in residency at the Bronx Museum, New York he was awarded with The Pollock Krasner Grant.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></p> <p>His works are in many private and public collections:<br />The Donald and Shelley Rubin Collection, the Deutsche Bank Collection USA.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></p> <p>The Howard Farber Collection USA, The Berardo Collection Portugal<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></p> <p>The Netherland Bank Holland, National Museum of Fine Art Cuba, The Coca Cola Foundation Spain, among others<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></p> <p>His first solo show in May here in New York <i>Recent Paintings from the year of the Protester</i> took place in The 8 Floor Space, with the support of the Rubin Foundation and The Bronx Museum. As a result he was invited to participate in <i>Project V</i> at Hudson Valley Contemporary Art Center Peekskill and his sculpture <i>“</i>EXILED<i>” </i>is part of <i>Skyline Adrift Cuban Art and Architecture </i>on view at Art Omi. Ghent New York. From 2012 to 2013.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></p> <p><span style="text-decoration: underline;"></span> </p> Mon, 29 Oct 2012 22:53:39 +0000 Scott Richter - Elizabeth Harris Gallery - October 11th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">The Elizabeth Harris Gallery is pleased to announce an exhibition of new work by Scott Richter. The exhibition will be up from October 11 through November 10, 2012 with an opening reception on Thursday, October 11th from 6-8 PM. This will be the artist’s seventh exhibition with the gallery. A fully illustrated catalog with an essay by Nancy Princenthal accompanies the exhibition.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Scott Richter’s new work returns to painting on canvas after a thirty-year hiatus. This new group of medium to large figurative paintings (situational portraits) delves into psychological, historical and literal narratives that reflect a radical departure from past work.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">In the catalog that accompanies the exhibition Nancy Princenthal writes:  </span></p> <p style="text-align: justify;"><span style="font-size: small;">“Not every new work features explicit confrontation with history, but in all, solid-seeming figures face off against abstraction, which intervenes in the form of wayward blocks of color, checkered and gridded patterns, and graphic gestures both wobbly and confident. There is also lively play with shadows that seem more animate than the firmly modeled forms beside them”.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">“Richter says, not quite seriously, that he expects viewers to experience this exhibition as a group show, and the paintings’ variously split personalities do tempt us to believe that the artist isn’t quite present, either—that his identity is as mobile and elusive as the characters and situations he portrays. And it’s just possible we might see it that way, if the dexterous grace with which Richter repeatedly shifts the seat of meaning and focus of perception—among works and within them—was not his unmistakable signature”.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Scott Richter lives and works in Connecticut. He has exhibited extensively since 1980, and has work in major private and public collections, including: The Metropolitan Museum of Art, the Walker Art Center, and the Museum of Contemporary Art, Chicago.</span></p> Sat, 13 Oct 2012 17:15:27 +0000 Ron Desmett - Kim Foster Gallery - October 11th, 2012 6:00 PM - 8:00 PM <p>The art of glass is usually a quest for perfection. In Ron Desmett’s case, it is the imperfections that are glorified. His glass works are predominantly black and amorphous. They deny the precious enjoyment of translucent glass. Desmett is not interested in transparency or color, but rather texture, form and surface. These are glass sculptures that mock functionality</p> Fri, 22 Jun 2012 20:55:45 +0000 Jim Toia - Kim Foster Gallery - October 11th, 2012 6:00 PM - 8:00 PM <p>Jim Toia has scoured the earth for years, examining the forest floor and collecting specimens for his art. Toia’s method has been to find and expose characteristics in nature that are often unappreciated by the casual observer. What lies beneath an ant colony hole? How does a mushroom distribute its spore? Does a spider weave the same exact web time after time, and is it genetically coded to do so? Over the years, Toia has developed ways to capture such actions and structure, and unveil them to the viewer.</p> <p><br />His new series of inky cap paintings follows that same line of inquiry. However, where Toia’s earlier work kept a “hands off” policy, the new series introduces the artist’s hand, manipulating nature and defining a new chapter in his artwork.</p> <p><br />Inky caps slowly dissolve into a liquid form rather than expel dry spore into the air. The resulting staining that occurs creates an opportunity for Toia to alter and influence the process. The slow distribution allows the artist to manipulate the ink to flow in a specific direction, enhancing the end result. He continues to expose nature’s tendencies, but now the viewer has the opportunity to look further into the artist’s mind.</p> <p><br />This is Toia’s seventh solo exhibition at the Kim Foster Gallery. His work has been reviewed in numerous publications including the NewYork Times, Art in America, Sculpture Magazine,Time Out, Star Ledger, Philadelphia Inquirer, and Village Voice. Toia has just completed a artist-in-residency at The Studios of Key West with a collaborative installation that included over 1000 participants.<br />For further information, please contact the gallery.</p> Fri, 03 Aug 2012 20:57:25 +0000