ArtSlant - Openings & events en-us 40 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 Jaye Moon - Marisa Newman Projects - October 11th, 2012 6:00 PM - 8:00 PM <p>Newman Popiashvili Gallery is pleased to present the third solo exhibition of Jaye Moon entitled “Breaking the Code.” In this show Jaye Moon explores the meaning of time, privacy and visual notions in her own decoded interpretation. Moon expresses her vision by referencing the works of artists such as On Kawara, Felix Gonzalez-Torres, Tracey Emin and Damien Hirst.</p> <p>Moon’s interest in patterns and numbers as a means of conveying a message can be seen in her adaptation of Damien Hirst’s spot paintings. She takes the concept of Braille, intended for the tactile sense, and asks us to experience it visually, creating a pattern. She uses Braille dots to manipulate Hirst’s spot paintings. By removing certain dots in his work, she composed a Braille sentence which reads, “Damien Hirst Spot Paintings Suck”, while at the same time keeping the original colors, maintaining the recognizable quality of the image.</p> <p>From learning Braille herself, Moon discovered that it is confusing to remember the exact position of the dots. As a result she goes on to develop a more universal and exact method of communication. She explores the use of numbers and number functions as a form of writing. Her fascination with numbers lies in their universal quality and how prevalent and useful they are in our contemporary society.</p> <p>This experimentation with numbers can be seen clearly in her piece where she sets two identical battery-powered clocks next to each other, referencing Felix Gonzalez-Torres’ piece“Untitled (Perfect Lovers).” Moon transforms his traditional representation of time into an abstract form by removing the actual hours of the clock and replacing them with the words “Perfect Lovers” written in English Braille number codes. Although the numbers on the clock now represent “Perfect Lovers” instead of actual time the clocks still operate as functional clocks correctly synchronized with each other.</p> <p>Still exploring the concept of time, Jaye Moon references On Kawara’s date paintings. Here she connects herself with On Kawara by using the same sizes, colors and compositions of his paintings. However she replaces the numbers in his paintings that represent dates with English Braille number codes that translate into dirty words that people refrain from using in public. Again here she is removing the idea of traditional time and date and using the number system to deliver a message. She uses a universal system of communication but makes it indistinguishable by putting it in code.</p> <p>Moon goes further to explore her interest in public and private notions by referencing Tracey Emin’s neon text sign piece “People Like You Need To Fuck People Like Me”. Moon recreates the Emin piece, but translates Emin’s confessional text into her English Braille number code. By doing this Moon makes Emin’s message once again private and undecipherable while keeping the statement in the form of a public neon sign.</p> <p>In addition to the number coded pieces Moon also installs texts made out of lego blocks as street art. One of the texts, “I AM STILL ALIVE” by On Kawara will be shared with passerby.</p> <p>In this show Jaye Moon is exploring the two sided nature of expressing ourselves with numbers. Using numbers to represent ourselves and to communicate can be practical but as a result our emotions become less personal. The use of numbers in Moon’s work break all the rules of her own interpretation but still maintain true meaning encoded underneath the surface. The numbers become abstract, minimal and emotional and at the same time all expressing a clear sense of humor.</p> <p>Jaye Moon is a Brooklyn based artist. She received her MFA from Pratt Institute. She has previously exhibited at the DUMBO Arts Center, White Columns, Artists Space, Galeria Max Estrella in Madrid, Spain and Gallery Momo in Tokyo, Japan. In 2006 she won the Pollack Krasner Foundation Grant.<br /> This fall she will participate in the CJ Art Studio Residency program in Korea.</p> Tue, 25 Sep 2012 00:58:59 +0000 Ryan Foerster - Martos Gallery - October 11th, 2012 6:00 PM - 8:00 PM <p><em>Into me, into you, into sky-lit nights we folded and pushed into our pockets. Thoughts untie, days press on. The grass is flattened from where we were lying—where we are lying now and always. Mercy of the sun and shadow of the wind—how should I go on? It depends on how I listen, how we will fall into one another later. Not knowing how to slip out and under, how to take a year back beneath the wings I do not have and send words into the air. Begin with the end. Circle around, follow footsteps back. When you are beside me again, our hearts will sing, in silence, in the shadow of the wind.</em><br />                                                                                                                                            *<br /> Time disquiets; nature prevails. We try to find control in various ways. Sometimes we work with nature and time; sometimes we work against them. No matter how much we think we decide or control, we will always be slaves to memory and history.<br /><br /> That said, what is there we can actually do? How might we choose to navigate through all of this? Actions are breathed in through the body and exhaled as art—as poetry, paintings, sculptures; as sweaters knit, or songs played on the piano. It is not always art in its conventional sense, but we must do something to create, or else experiences continue passing, both slowly and rapidly, and we have nothing to show for them. At least we might make the bed in the morning, or send a letter to an old friend. That might be something that helps us express ourselves, convey something in a tangible way. It seems you can hold a dream in your hand if you write it down; you can touch a vision if you take a photograph. Still, these are altered versions of first-hand experience. We’ll never quite be able to impart what we felt at the time. <br /><br /> Just like places or interactions, objects alone evoke certain emotions, associations. A cup of coffee or the way the sun falls onto the floor through the windows: these things are not sipped or viewed detachedly. They are felt in a basic as well as an ethereal way, assuming we are open to those feelings. What service can an inanimate object render, if the human does not give it meaning in his or her own life? How do we place the feelings these objects evoke onto a page, a canvas? The artist takes in experiences, processes them, and then creates. This is meant to be fluid movement, not a series of compartmentalized actions. He or she displays what is important to him or her, whether found or created. We may not agree with what they find to be of significance or beauty. Then again, a flower cannot hope to mean anything to anyone who does not care to kneel down and observe its form, take in its scent, analyze its shape. Maybe anything we study for long enough becomes of certain importance and beauty. When we put together the precepts “know thyself” and “study nature,” we realize that these factors are inextricable. Studying the natural procession of things, we figure out who we are and where we fit into all of it. We realize what we want to create, how we want to create it. <br />                                                                                                                                            *<br /> Ryan Foerster utilizes nature in a way that is unique when we consider the typical association of nature-related art. He does not paint epic landscapes from the tops of mountains or tack deerskin to the wall. Working mainly within the realm of photography, he does several things, either altogether or one at a time: he incorporates nature into his work, lets nature destroy/alter/improve his pictures, and creates the initial images from nature (as when he puts unexposed sheets of photo paper outside). He does not ask for a certain picture to be made, yet he always gets an answer. Elements like water, wind, and dirt work together to alter whatever Ryan gives them. It is neither entirely Ryan nor entirely nature that completes such works, but a balance of the two. <br /><br /> Ryan reminds us of everything that never was and everything that could have been. He lets a piece of art take a different course than another artist might. At a point where one might think something is complete, Ryan might add another step to the process. Similarly, something that looks raw and unfinished—not yet painted on, not yet finalized—might be exactly what Ryan wants.<br /><br /> Tangled into the images he shows are the ideas of presence and absence, love and longing, dates of expiry and of birth. Did he find this on the street or make it himself? A discarded object may come to life again when Ryan discovers it, takes it home, and places it in a new context—thereby giving it purpose where it otherwise may have become valueless.<br /><br /> Has this been said before? Maybe. But it is important to reiterate these processes, understand how all of it evolves to be what it finally is. When it all comes together as a unified piece or a complete show, the steps taken cannot be seen. It was once real and cluttered and alive. Hopefully, some of these factors can still be felt when the art is mounted or otherwise placed within the confines of a gallery. <br />                                                                                                                                            *<br /> Is it strange that I’ve written this? Sometimes I think so. But I don’t want to feel that I can’t express these things on a more public level just because I am romantically involved with the artist. After all, I do know the most about the photo paper on the ground covered in lemons that I just squeezed and jars from olives we ate for lunch—though oftentimes I am surprised by pieces I nearly step on or that I notice in the window after a couple of mornings. And as I began to write about time and nature in a general way, I realized how much it related to Ryan’s ideas and processes, so I continued writing until you were able to hold this in your hands. <br /><br /> <em>hannah buonaguro<br /> October 2012</em></p> Thu, 15 Nov 2012 14:08:23 +0000 Mario Nievera - Museum of the City of New York - October 11th, 2012 6:30 PM - 8:30 PM <p>Join renowned landscape designer <strong>Mario Nievera</strong> to celebrate the launch of his new book, <em>Forever Green</em> (Pointed Leaf Press, 2012). Nievera will present an illustrated tour of some of the iconic New York landscapes -- from Central Park to the High Line -- that have inspired his work. The extraordinary range of designs he's created for civic spaces, parks, and residential estates across the country include his restoration of Old Trees, an early 20th century Southampton estate and a corporate rooftop garden text to Bergdorf Goodman. This is a unique opportunity to explore how landscape architecture can draw on an urban aesthetic.</p> Thu, 04 Oct 2012 23:29:19 +0000 Barton Lidice Benes - Pavel Zoubok Gallery - October 11th, 2012 6:00 PM - 8:00 PM <p><strong>PAVEL ZOUBOK GALLERY</strong> invites you to experience <em>The Thrill of the Hunt</em>, a memorial exhibition celebrating the life and work of New York artist <strong>BARTON LIDICÉ BENEŠ (1942-2012)</strong>. The exhibition will feature key works from Beneš’ legendary Westbeth studio including his seminal assemblage <em>Money Purse</em> (1986) and the ultimate in artist reliquaries <em>Art Museum</em>, which was two decades in the making. Additional works include important Museums and Reliquaries from the past decade, as well as <em>Botanica</em>, a series of currency collages inspired by nature.</p> <p>Please join us for the opening reception to see these and other hidden treasures on <strong>Thursday, October 11, 2012</strong> from 6-8pm or during the run of the exhibition, which continues through November 10.<strong></strong><br /> <br /> BARTON LIDICÉ BENEŠ was born in Westwood, New Jersey and graduated from the Pratt Institute in Brooklyn, New York in the early 1960s. Trained as a painter, Beneš’ life changed course during an early trip to the Ivory Coast where tribal art made from detritus dazzled him – he never painted again. Working in his Westbeth studio, Beneš transformed the fragments of our throwaway culture into works of art that often addressed taboo subjects: cremation ashes, shredded money, AIDS paraphernalia, and reliquaries made from celebrity rubbish.    <br /> <br /> For Beneš, money was rich palate of color and imagery, as well as a powerful symbol. His whimsical collages and sculptures made from recycled currencies dazzled international audiences with their biting critique of cultural and political events. He challenged the viewer to literally and figuratively “tear it up”. The Federal Reserve Board was so enamored with his work that they awarded him a certificate of appreciation (for donating a work to their Fine Arts Program) and a million dollars worth of shredded money to use in his artwork.<br /> <br /> Over the last decade, Beneš created <em>Museums</em>, displays of collectible objects (often belonging to well-known personalities) and relics that he mounted, labeled and placed into thematic arrangements. These works were celebrated in the 2002 Abrams monograph <em>Curiosa: Celebrity Relics, Historical Fossils, &amp; Other Metaphoric Rubbish</em>. With his museums, Benes shared a perverse sense of humor that allowed him to make light of even the darkest subjects. This included his own tireless fight against the AIDS epidemic and his activism in chronicling his own HIV+ status in a series of works created with his infected blood. These were the subject of the groundbreaking exhibition entitled Lethal Weapons, which made Beneš a cause celebre as it toured Europe in the 1990s. A first-generation veteran of the AIDS epidemic, he has been featured in numerous documentary films about Art, AIDS and gay history, including Lovett Productions’ <em>Gay Sex in the 70s</em>.<br /> <br /> Beneš’ work has been exhibited internationally and is in the permanent collections of The Art Institute of Chicago, The Smithsonian and The U.S. Mint, as well as museums and private collections throughout the world. Earlier this year he received the Wynn Newhouse Award at the Syracuse Club in Manhattan. Over his forty year career, he has exhibited with numerous galleries including Kathryn Markel Gallery, Lennon Weinberg Gallery and Stefan Anders Gallery (Umea, Sweden). He has been represented by Pavel Zoubok Gallery since 2009.   </p> Tue, 25 Sep 2012 01:09:27 +0000 Merrill Wagner - Sundaram Tagore Gallery - Chelsea - October 11th, 2012 6:00 PM - 8:00 PM <p>Sundaram Tagore New York is pleased to present new work by American painter Merrill Wagner. This exhibition, featuring three distinct bodies of work dominated by rich hues of red, yellow and blue, marks Wagner’s return to pure abstraction. Her geometric wall reliefs made of salvaged steel and linen—inspired by the negative spaces in leftover metal scraps—evoke forms found in nature. From the patterns that result from cooling hot sheets of steel with water to sealing existing irregularities with paint, Wagner both encourages and preserves the effects of the elements. <br /> <br /> Merrill Wagner is a celebrated artist noted for her dedication to conveying the romanticism of the great American landscape. She is known for her use of contrasting color, geometric abstraction, as well as the balance of man versus nature and sculpture versus painting. No matter how varied, concise, or stripped bare Wagner’s pieces become, the landscape remains. <br /> <br /> Raised in the Pacific Northwest, Merrill Wagner moved to New York City in the late 1950s, after graduating from Sarah Lawrence College. Inspired by the minimalist Eva Hesse in the late 1960s, Wagner began to experiment with diverse media. By the 1980s she was painting on stone, steel, and slate, focusing on the unique nuances of surfaces. She has held teaching positions at Princeton University and Parsons School of Design. In 1989, Wagner received a National Endowment for the Arts Visual Artists Fellowship Grant. <br /> <br /> Wagner’s work has been included in more than forty individual and group exhibitions in the United States and abroad. She has been a member of American Abstract Artists since 1976 and served as its president from 1982 to 1985. Merrill Wagner’s work is in the Bellevue Arts Museum and the Tacoma Art Museum, Washington; the Rose Art Museum, Brandeis University, Waltham, Massachusetts; Chase Manhattan Bank and Goldman Sachs, New York; and the Microsoft Corporation, Redmond, Washington.</p> Tue, 25 Sep 2012 01:39:00 +0000 Gustave Le Gray, Henry Peach Robinson, Edward Steichen, John Baldessari, John Paul Pennebaker - The Metropolitan Museum of Art - October 11th, 2012 9:30 AM - 5:30 PM <p>This is the first major exhibition devoted to the history of doctored photographs, from hand-painted daguerreotypes and altered salt prints of the 1840s to the pre-digital dreamscapes of the late twentieth century. While Photoshop and other digital editing programs have brought about an increased awareness of the degree to which photographs can be manipulated, photographers—including such major artists as Gustave Le Gray, Henry Peach Robinson, Edward Steichen, and John Baldessari—have been fabricating, modifying, and otherwise manipulating camera images since the medium was first invented. Featuring some two hundred visually captivating photographs created in the service of art, politics, news, entertainment, and commerce, this international loan exhibition will significantly revise our understanding of photographic history as it traces the medium's complex and changing relationship to visual truth.</p> Mon, 03 Sep 2012 01:36:11 +0000 Jason Brinkerhoff - Zieher Smith & Horton - October 11th, 2012 6:00 PM - 8:00 PM <p>In July 2011, ZieherSmith debuted Jason Brinkerhoff’s work with drawings included a group show which garnered instant attention. Since then, Brinkerhoff has seen a rapid rise in exposure, with a solo exhibition at White Columns about which curator Matthew Higgs states: “Using blank, antiquarian book pages as their support, Brinkerhoff’s ‘portraits’— of persons unknown, self-consciously acknowledge— and collide— the multiple ruptures of twentieth century modernism.”</p> <p>Through an almost excessive process of research, referencing, citation and adaption, Brinkerhoff’s ahistorical hybrids create an aesthetic dissonance between the past and the present. An ardent collector of vernacular photographs and vintage fashion magazines, as well as outsider and contemporary art, Brinkerhoff is self-taught, dedicating a decade’s research and development prior to seeking exposure for his practice. His outlook is decidedly maximal, and his work is foremost a celebration of bounty.</p> <p>The exhibition continues his fecund anachronistic approach<i>, </i>featuring over 70 works on paper as well as the first look at his painting practice, both of which concentrate on the female figure. This unapologetic focus is relentless; both in the endless possibilities of a single subject and in the artist’s quiet resolve to take on his forebears one by one, reckoning with iconic past masters and nearly everything in their collective path (from pre-Columbian sculpture to 1970’s Day-Glo fade).</p> <p>With a confident, fluid line and refined grasp on technique and materials, drawings range from straight graphite on paper, to sophisticated collages of disparate fragments attached to a clean sheet, lending an austerity and singularity, despite often repeating the figure’s position and pose. Erasing, smearing and slicing through immense piles of his own drawings atop other source material, Brinkerhoff simultaneously celebrates a disparate agglomeration. He interrupts the past and inserts his own bravura. This complicated, additive practice combines seamlessly in elegant figures whose associations abound; the cumulative result is both captivating and unexpectedly monumental.</p> <p>This<i> </i>is the Bay-area artist’s first solo show at the gallery. The exhibition was cited in “Top 100 Fall Shows” by <i>Modern Painters</i>. A large selection of works will be included in the forthcoming show <i>The Power of Paper</i> at the Saatchi Gallery, London. Brinkerhoff was the first winner of the Herb and Dorothy Vogel award selected by Jeffrey Grove and Maxwell Anderson and presented by Gallerist. In addition, his work was acquired for the permanent collection of the Dallas Museum of Art.</p> Sun, 07 Oct 2012 01:58:03 +0000 Carlos R. Couto, Alexia Innis, Anna Gabriela Malta, Régine Romain, Heidi E. Russell, Diana Divine Williams - Clover's Fine Art Gallery - October 12th, 2012 6:00 PM - 8:00 PM <p>Clover's Fine Art Gallery is pleased to present <em></em><strong><em>Photography Works,</em> </strong>an eclectic mix of styles and mediums in photography art. </p> <p><b>Participating Artists: </b></p> <p><b>Carlos R. Couto</b>: Couto, a documentary photographer living in New York City, is a veteran of the U.S. Army.  Couto’s passion in photography is for capturing the small, forgotten moments of daily life and the subtle, but sublime, details so rarely noticed.  Carlos is originally from Portugal.</p> <p><b>Alexia Innis:</b>  Multifaceted Jamaican-born artist, Alexia Innis studied Visual Arts &amp; Art History at Columbia University. Her photographs deal with human emotion, memory and storytelling. In her body of work <i>Land of Wood &amp; Springs &amp; More,</i> strength of character and fierce hope emanate from her photographs of rural Jamaica. </p> <p><b>Anna Gabriela Malta</b>: Brazilian artist, Anna Gabriela Malta, search to make a difference through photography is represented in her documentary project <i>Finding Self Through Poetry</i> which captures teenagers in the Power Writing Program at University Heights High School in Bronx, New York.</p> <p><b>Régine Romain</b>: Photo-anthro-journalist, Régine Romain is of Haitian descent.  In <i>Portraits for Self Determining Haiti</i>, Régine showcases vibrant photographs of Haiti just three weeks after the calamitous January 2012 earthquake.  Faith, dignity, honor and respect are displayed in the photographs.</p> <p><b>Heidi E. Russell</b>: Russell’s passion for photography and cultures comes directly from her passion for light. She strives to capture the hidden messages that light professes both from traditional sources as well as from within. Russell specializes in capturing full-frame, non-manipulated imageries. A native New Yorker, Russell showcases her love for the city in <i>Perspectives of New York</i>.</p> <p><b>Diana Divine Williams:</b> Brooklyn-based photographer and visual artist, Diana Divine Williams is of Trinidadian descent. This artist, whose works have been recognized and published, shares her documentary <i>Occupy Wall Street</i> in this exhibition.</p> <p> </p> <p><strong>Clover’s Fine Art Gallery is particularly committed to promoting a greater awareness and appreciation of the art and artists of the Caribbean.</strong></p> Mon, 08 Oct 2012 05:05:27 +0000 Thomas Barrow - Derek Eller Gallery - October 12th, 2012 6:00 PM - 8:00 PM <p>Derek Eller Gallery is pleased to present a historic exhibition of work by Thomas Barrow. Since the 1960's, Barrow has pioneered new photographic methods and challenged the limited physicality of photography by pushing the medium into unprecedented forms.<br /> <br /> For his series Cancellations (1974-1981), Barrow responded to the disparate photographic trends of the mid-70's: the survey-like, documentary approach to the American landscape as practiced by New Topographics photographers, and the desire to utilize photography in a more manipulative, experimental fashion.  To that end, he photographed banal urban spaces and open terrain throughout the Southwest, and then aggressively tore through the emulsion on the negatives with an ice pick, marking them with an X.<br /> <br /> Barrow's restless experimentation with photographic materiality led him to a series of Spray-Painted Photograms beginning in 1978 and Caulked Reconstructions in 1979.  Comprised of fragmented photographs, automotive spray paint, and SX-70 Polaroids, the photograms investigate concepts of indexicality, cognition, and language.  They transcend the photographic information at hand, becoming instead catalogues of cultural detritus.  Concurrently, Barrow returned to his series Cancellations, further corrupting the imagery by tearing it up and then reconstructing it with silicone caulk. These works are visceral objects to experience.  As such, They call attention to the specific material properties of the photograph, and initiate a dialogue with other media.<br /> <br /> In the years that followed, Barrow's interest in cultural cataloguing and transgressing the limitations of the photographic print developed simultaneously, giving rise to an array of sculptural assemblages.  In these, Barrow juxtaposes Polaroids of appropriated film and television imagery with non-art objects such as plastic toys, ceramics, and books; the caulk and spray paint remain as formal motifs.  Barrow's deliberate combinations of materials and signifiers serve as clues for a multitude of narratives and meanings that ask the viewer look beyond the obvious.  For a recent series, Detritus, Barrow pares down the assemblages to a simple, but meticulous gesture, recontextualizing individual images and objects into plastic bags. <br /> <br /> In his words, Thomas Barrow wants to "move from the transparent, window-on-the-world form that has been photography's primary reason for being since its invention, to making it a physical object, an object to be looked at for its own presence and not for a surrogate experience".  A cerebral innovator and iconoclast, Barrow is a predecessor to numerous contemporary artists currently pushing photography beyond its limits.<br /> <br /> Thomas Barrow lives and works in Albuquerque, NM.  His work is included in numerous public collections such as The Art Institute of Chicago, Los Angeles County Museum of Art, San Francisco Museum of Modern Art, Fogg Museum, National Gallery of Art, The Museum of Modern Art, Museum of Fine Arts Houston, and Princeton Art Museum. This will be his first solo exhibition in New York since 1996.  </p> Fri, 21 Sep 2012 01:34:17 +0000 Jackie Gendel - Jeff Bailey Gallery - October 12th, 2012 2:00 PM - 6:00 PM <p>Jeff Bailey Gallery is pleased to present Jackie Gendel, <i>Comedy of Manners</i>, an exhibition of new paintings on canvas and paper. Despite her apparent romping through the hierarchy of genres past, wading through the heavy oil slicks of painting, Gendel is no mere traditionalist. <br /><br /> Much of Gendel's recent work makes contradictory use of two of modernity’s most common conventions of image production; she employs both serial repetition of form and the sequential image of narrative, using them simultaneously to unfold the implied relationship between narrative time and painterly process. This achieves a “Groundhog Day”-like effect in which a scene repeats albeit in slightly altered scenery, and increasingly nuanced but appreciable differences occur in the who, what, when, how, and ultimately, most importantly, “why”. <br /><br /> This peculiar take on the incremental space within and between paintings provides an unlikely connection between Gendel's recent work and her early work derived from her background in underground comics, a medium of "sequential image" storytelling, which she drew in the late ‘90s for an upstart feminist webzine for teenage girls. <br /><br /> But her recent work is also equally established in her approach to easel painting, and specifically her play with the notion of character and historical time developed throughout her first exhibition of speculative portraits at the gallery in 2006, which the artist credits as an important turning point in her work, and has continued in various iterations since. <br /><br /> As in Gendel’s previous portraits, a change of gender or historical location may occur in a sleight-of-hand gesture of the brush, in her new work entire compositions lifted from art historical motifs may be repeated. As the weight of the hand is lightened, mastery becomes chicanery; the symbolic violence of a typical beheading is “domesticated” in pastel hues, and historical scale takes diminutive size. Characters within Gendel’s narrative “revenge of the same” change roles between protagonists, victims and spectators, in addition to changing gender, ethnicity and origin. <br /><br /> This is Gendel’s third solo exhibition at the gallery, and her tenth overall. Recent solo exhibitions include Loyal Gallery, Malmö, Sweden and Bryan Miller Gallery, Houston, Texas. She currently has work on view at the Weatherspoon Art Museum, Greensboro, North Carolina in Art on Paper 2012. Her work is included in the collections of the Wadsworth Atheneum Museum of Art, Hartford, Connecticut and the Progressive Collection (US) and has been written about in Art in America, Artforum, The New York Times and The New Yorker. The American Academy of Arts and Letters awarded her an Academy Award in Art in 2007. Gendel received her BFA in 1996 from Washington University, St. Louis, Missouri and her MFA in 1998 from Yale University, New Haven, Connecticut. She lives and works in Brooklyn, New York. <br /><br /> A catalogue with an essay by Colleen Asper has been published in conjunction with the exhibition.</p> Mon, 28 Jan 2013 23:45:34 +0000 Doktor A - myplasticheart nyc - October 12th, 2012 7:00 PM - 10:00 PM <p>While you are enjoying your spoils from the upcoming NYCC 2012 weekend, make sure to take a break from the Javits Center mayhem for a spectacular evening at the opening of A Postcard from New Yorkshire, featuring new artwork by Dok A. The steampunk extraordinaire is getting adventurous with his work in the show, pushing boundaries and showcasing newly acquired skills. Anticipate intricate details in custom toys as well as ink drawings. Show opens on Friday, October 12 from 7 – 10pm. Dok A will be in attenda</p> <div class="text_exposed_show">nce at the opening and make sure to welcome him because this will mark his first visit to NYC. Show runs until November 11. Stay tuned for more information in the days leading up to the opening!<br /><br /><strong>A Postcard from New Yorkshire</strong><br /><strong>New Works by Doktor A.</strong><br /><strong>Oct. 12th 2012</strong><br /><strong>7:00PM – 10:00PM</strong><br /><strong>Exhibition runs until 11.11.12</strong><br /><br /><br /><strong>myplasticheart</strong><br /><strong>210 Forsyth St.</strong><br /><strong>Lower East Side</strong><br /><strong>New York</strong><br /><strong>646.290.6866</strong></div> Tue, 25 Sep 2012 09:45:41 +0000 Kim Jones - Pierogi - October 12th, 2012 7:00 PM - 9:00 PM <div> <div> <div><b><span size="5" style="font-size: x-large;">Kim Jones</span></b></div> <div><i><span size="5" style="font-size: x-large;">Averno</span></i></div> <div>12 October - 11 November, 2012</div> <div>Opening Reception Fri. 12 October, 7-9pm</div> </div> <div></div> <div>Pierogi is pleased to present an exhibition of recent works by Kim Jones. Jones' work incorporates performance, sculpture, drawing, photography, and painting. He became known early on for his performance persona, ‘Mudman,’ and could be seen walking the streets of Los Angeles and Venice, CA during the 1970s, and then New York City and New York's subway system during the 1980s, always covered in mud, a nylon stocking stretched over his face, and wearing on his back a crudely constructed lattice-work structure of sticks, tape, and twine. Throughout this time he was also developing drawings and paintings on paper. His works on paper range from intricate graphite drawings involving ‘X’ and ‘O’ figures and erasure indicating movement of each force (referred to as ‘war drawings’), to works that incorporate photography, acrylic paint, ink line work, and collage, many of which have been made over a period of thirty years. Over the years Jones has developed a language of materials and marks: sticks, mud, twine, rats, and ‘X’ and ‘O’ symbols. ‘Mudman,’ and figures that resemble the performance persona, along with a cast of characters, inhabit his elegant and simultaneously grotesque drawings and paintings. </div> <div></div> <div>This exhibition will include recent drawings on paper and paintings on photographs of Jones’ own performances. The title, <i>Averno</i>, references the crater lake in Southern Italy considered by Ancient Romans to be the entrance point to the underworld, or hell. </div> </div> <div></div> <div> <div>“These hybrid drawings of human, nonhuman, and prosthetic imagery are about mobility and disability, and about boyhood fantasies merging with the actual experience of a veteran who has been in the hell of war. They are also about the pleasures of art. Oddly enough, it was Giambattista Tiepolo’s fluid works on paper, with their <i>sprezzatura</i> and dark narrative, that inspired him: the <i>Averno</i> drawings are also about the art of not seeming artful..”  (Kim Levin, 2012)</div> <div></div> <div>“In them, a conflicted population of mudmen and painted ladies, combat ghosts and dandies, tough guys and cigar-smoking native Americans, Janus heads, sleepers, cross-dressers, rats and frogs are intertwined with images of entrails, veins, and tendrils in an ambiguous process of libidinal transformation. These harsh and delicate drawings are gorgeous and repellant, ludicrous and vulnerable. Spitting, drooling, and doing bizarre things to each other, these figures exist in a variety of highly un-cool crosshatched styles of drawing – so obsolete they are daring. They’re Felliniesque, satiric, sardonic – like a punk take on old master classics.”  (Levin)</div> <div></div> <div>Kim Jones is a 2009 United States Artists Fellow. His work was recently included in <i>Pacific Standard Time: Under the Big Black Sun, 1974-81</i> (the Geffen Contemporary at MoCA, LA); <i>Compass In Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection</i> (the Museum of Modern Art, NYC), and the 17th Sydney Biennial,<i> The Beauty of Distance: Songs of Survival In A Precarious Age</i>. He has received fellowships and residencies from ArtPace (San Antonio, TX), the Sirius Art Center (Ireland), the American Academy in Rome and, the Mattress Factory (Pittsburgh, PA). His work has been included in other notable exhibitions such as <i>Collage: The Unmonumental Picture at the New Museum</i> (NYC, 2008); the <i>52nd International Art Exhibition La Biennale di Venezia</i> (2007); <i>Disparities &amp; Deformations: Our Grotesque,</i> Site Santa Fe (2004), and;<i> Out of Actions: Between Performance and the Object </i>at the Museum of Contemporary Art, Los Angeles, CA and MAK, Vienna (1998). His work was recently the subject of a comprehensive traveling retrospective, <i>Mudman: The Odyssey of Kim Jones.</i></div> <div><i> </i></div> </div> Fri, 05 Oct 2012 15:42:45 +0000