ArtSlant - Recently added en-us 40 Matthew Ritchie - Andrea Rosen Gallery - September 12th - October 22nd <p style="text-align: left;" align="center">Andrea Rosen Gallery is delighted to present <em>Ten Possible Links</em>, Matthew Ritchie&rsquo;s fifth solo-exhibition with the gallery. Weaving together four distinct projects, the exhibition embodies a comprehensive visual examination of diagrammatic thinking. Encompassing a wide range of mediums, Ritchie&rsquo;s immersive installation - including painting, wall drawing, sculpture, sound and moving image - demonstrates the complexity and transient nature of information.<br /> <br /> The &lsquo;Ten Possible Links&rsquo; are a series of subtly vibrant and densely layered paintings that investigate the abstract imagery of Ritchie&rsquo;s sculpture and cinematic landscapes through multiple diagrammatic and painterly gestures. Within an organic amassing of form, Ritchie creates densely layered eco-systems of information, retaining multiple styles of presentation. These canvases contain activity of complex natures, experiences, states, but their rich and saturated beauty also captures moments of stillness where something impossible to grasp is left un-grasped. The images are saturated with light and meaning, but bruised, as if the very process of examination is changing the physics of the forms described. Posed against a white ground, they could be emerging from what Paul Klee called &lsquo;the interworld&rsquo;, the dimensionless space of possibility.<br /> <br /> The fragmentary diagrams within the paintings are all contained within the immersive wall installation <em>The Temptation of the Diagram</em>, an immense network of diagrams, collected, mapped, digitized, stripped of legible signs and reprocessed into essential gestures. Two accompanying source-books offer a guide for viewers through this vast investigation of the complex systems underlying the human creative and representational process and represent the origin and foundation of the works shown within its circuit. Confronted with the impossibility of comprehending the whole &ndash; what the artist describes as an oceanic feeling &ndash; Ritchie locates our sense of a vast universe without the abandonment of meaning. Together, the installation and the books describe generations of systems, ideas, interpretations, and reinforce the idea that it is the diagrammatic impulse that insistently connects, links and draws ideas together regardless of the possibility of ultimate comprehension. In doing so, Ritchie emphasizes the double constitution of painting and drawing as forms of &rsquo;hypostatic abstraction&rsquo; &ndash; a kind of abstraction that carries various levels of meaning. <br /> <br /> Nested within this sprawling cerebral web of information is <em>Night Drawing</em>, a sculpture comprised of a matrix of interlocking segments designed to passively nest within one-another, creating a puzzle-like structure. Each segment employs the artist&rsquo;s specific vernacular of form, and is drawn from the universe of diagrams that surround it. Mathematically based on modeling strange attractors explored in collaboration with architects Aranda\Lasch, the laser-cut aluminum construction takes two-dimensional form into a realm of three-dimensional drawing, forming a double moebius strip. <br /> <br /> Expanding the space of drawing and painting into the realm of the moving image, Ritchie&rsquo;s hyper-saturated film, <em>Monstrance</em>, traces an abstract and romantic narrative of past, present and future, as he mixes live performance footage and animation for the first time in his practice. Cut to a polyphonic choral score composed and performed by Ritchie&rsquo;s long-standing collaborator Bryce Dessner, the film features singer Shara Worden as a masked oracle, presiding over a mythic, or post-post apocalyptic seascape. Created to be exhibited within a longshoreman&rsquo;s chapel in Boston as part of his current residency at the ICA Boston, the film contains within its landscapes and choreographed gestures subtle diagrams and information that make visible the greater network of links underlying his practice. <br /> <br /> Over the last seven years, through substantial cross disciplinary collaborations, Ritchie has consciously extended his own projects to explore the possibility of shared systems, aggregations and collaborations in contexts as diverse as opera, contemporary music, architecture, horticulture, urban design, theology and science through endeavors, both collaborative and intimate, to concretize and realize ephemeral and intangible theories of information and time. This exhibition proposes a further step, the re-integration of these diverse practices into a network of connections, a shared sea of information that retains its distinct properties in a state of superposition. In &lsquo;Superposition and Field&rsquo;, recently published by MIT press, Ritchie writes, &ldquo;not only are &lsquo;form&rsquo; and &lsquo;contentʼ the same thing, namely information, but they are super-positionable and therefore do not enjoy any inherent oppositions at any scale.&rdquo; &lsquo;Ten Possible Links&rsquo; specifically refers to a navigational diagram by the philosopher Graham Harman that describes this aspect of what he calls &lsquo;the quadruple object&rsquo; and is the subject of an essay by Ritchie in the forthcoming &lsquo;Realism, Materialism, Art&rsquo; published by Sternberg Press and Bard CCS. In the essay Ritchie writes: &ldquo;Over the last two centuries, the diagram has become the essential mechanism for our collective efforts to articulate and negotiate an almost impossible circumstance: reality itself. It embodies our interest in humanity as a directed and limited quantity, one we all have a vested interest in understanding and extending to the very limits of our abilities.&rdquo; For Ritchie, acknowledging our incapability of grasping the totality of the universe is not simply a reason to let go, but also the vital force that compels investigation. <br /> <br /> <em>Matthew Ritchie was born in 1964. Ritchie is currently subject of an 18-month interdisciplinary residency at the Institute of Contemporary Art, Boston which encompasses several major works and will activate the entire museum through installation, sound performance and video. A new molecular sculpture garden for the Food and Drug Administration, Silver Spring, Maryland will open on October 1, 2014 and a 15,000 square foot site-specific rooftop drawing for a building in Miami designed by Aranda\Lasch, will open for Design Miami on December 3, 2014. His work has been shown in numerous exhibitions worldwide, including the Whitney Biennial, the Sydney Biennial, the S&atilde;o Paulo Biennial, the Venice Architecture Biennale, the Seville Biennale, and the Havana Bienal, and is in the permanent collections of the Museum of Modern Art, Institute of Contemporary Art, Boston, Guggenheim Museum, Whitney Museum of American Art, San Francisco Museum of Modern Art, and other institutions worldwide, including a permanent large-scale installation at the Massachusetts Institute of Technology.</em></p> Fri, 29 Aug 2014 02:28:06 +0000 James Nares - Paul Kasmin Gallery - 10th Ave - September 10th - October 25th <p>Paul Kasmin Gallery is pleased to announce <strong><em>HIGH SPEED DRAWINGS</em></strong>, an exhibition of recent, large-scale works on paper by <strong>James Nares</strong> on view September 10 &ndash; October 25, 2014 at 293 Tenth Avenue, New York. <em>HIGH SPEED DRAWINGS</em> demonstrates Nares&rsquo; masterful ability to capture precise moments in time and extend them through visual representation. In his new body of work, Nares introduces a new technique, using Chinese ink on paper to create rippling lines of various widths.<br /> <br /> In a similar fashion to his <em>Brushstroke</em> paintings and <em>ROAD PAINT</em> series, Nares re-appropriates mechanical tools to create his artworks. He utilizes a spinning steel drum, powered by a motor. As the drum, with paper fastened to it, rotates, the artist draws lines of ink using paintbrushes he has created specifically for this body of work. As a result of the spinning drum and the artist&rsquo;s precise movements, each band takes its own form. Rendered in black and white, Nares&rsquo; artworks showcase his exploration on the subject of movement; some drawings he creates with one steady line, others from a continuously repeating stroke, but all manifest a careful choreography of spontaneity and control.<br /> <br /> James Nares was born in London in 1953 and currently lives and works in New York. In 2008, Anthology Film Archives hosted a complete retrospective of his films and videos. His film <em>STREET</em> was the centerpiece of an exhibition of the same name at the Metropolitan Museum of Art in 2013. <em>STREET</em> was also exhibited at The National Gallery of Art in Washington, D.C. (2014); Sundance Film Festival in Park City, UT (2014); Joslyn Art Museum in Omaha, NE (2014); North Carolina Museum of Art in Raleigh, NC (2014); and the Wadsworth Antheneum in Hartford, CT (2013) among others. His work is included in a number of public and private collections including the Metropolitan Museum of Art, Wadsworth Atheneum, the Museum of Modern Art, the Whitney Museum of Art, and the Albright-Knox Art Gallery. <br /> <br /> In Spring 2014, Rizzoli published a comprehensive monograph dedicated to James Nares' work in all media over the last four decades. The gallery will open at <strong>5:30pm</strong> prior to the opening for a <strong>book signing with the artist.</strong></p> Fri, 29 Aug 2014 02:21:56 +0000 Group Show - Viridian Artists - September 2nd - September 27th <div class="Section1"> <p style="text-align: center;" align="right"><strong>"Director's Choice: From Virtual To Actual 3"</strong></p> <p style="text-align: center;" align="right"><strong>Curated by Vernita Nemec</strong></p> <p style="text-align: center;" align="right">September 9-27, 2014</p> <p style="text-align: center;" align="right">Opening Reception Thursday, September 11, 6-8PM</p> <p align="right"><strong>&nbsp;</strong></p> </div> <div class="Section2"> <p align="center"><strong>Robin Becker * Emma Buck * </strong><strong>Kristin Enck * Joshua Greenberg * Aimee Hertog *</strong></p> <p align="center"><strong>Marla Hoffman * Daniela Izaguirre * Joanna Kidd * Mark Kolessar * Marcia Lloyd&nbsp; * </strong></p> <p align="center"><strong>Srividya Kannan Ramachandran * Christopher Ruane * Leslie Sheryll</strong></p> </div> <p>Chelsea NY: Viridian Artists is pleased to present " Director's Choice: From Virtual To Actual",&nbsp; curated by Vernita Nemec, the gallery director, featuring a selection of artists who entered our 24th International Juried Competition in 2013. The gallery is located at 548 West 28<sup>th</sup> Street, also accessible from 547 W 27<sup>th</sup> Street. The exhibit extends from September 9<sup>th</sup> to 27th, 2014 with an opening reception Thursday, September 11, 6-8PM.</p> <p>Each of the 13 artists in this diverse exhibition has her or his own personal obsession that serves as the starting point of their search to transform their inner investigations into reality. The results of transforming these realities into art, remains open to each viewer's interpretation and becomes another translation of the virtual into the actual.</p> <p>The art in this exhibit takes many unique forms from the knitted &ldquo;Knots&rdquo; of <strong>Joanne Kidd</strong>'s artist book and the mixed media wall sculpture &ldquo;Batter Up&rdquo; of <strong>Aimee Hertog</strong> to a wide variety of photographic approaches. <strong>Joshua Greenberg </strong>explores abstraction,<strong> Marla Hoffman </strong>reflections,<strong> Srividya Kannan Ramachandran </strong>poetry,<strong> Christopher Ruane </strong>religion and<strong> Marcia Lloyd </strong>autobiography.</p> <p>The dress appears in a variety of meanings &amp; executions: <strong>Robin Becker'</strong>s dress with photo transfers, <strong>Leslie Sheryl</strong>'s gown of plastic bags &amp; netting, <strong>Mark Kolessar's</strong> &ldquo;Second Skin&rdquo; of&nbsp; canvas, acrylic, plastic, wood &amp; metal.</p> <p>Many of the works&nbsp; are not what they seem to be. <strong>Daniela Izaguirre's</strong> watercolor and graphite image on vellum looks like real objects, <strong>Emma Buck's</strong> digital photograph intentionally resembles a painting while <strong>Kristin Enck's</strong> painting &ldquo;Slosh&rdquo;presses the &ldquo;pause&rdquo; button, suspending both time and motion to freeze the image as a photo might.&nbsp;</p> <p>Although these artists were not &ldquo;winners&rdquo; of Viridian's 24th International Juried Competition,&nbsp;&nbsp; their art is uniquely interesting. Viridian's Director's Choice Exhibitions arise from one of Viridian's primary missions: to provide meaningful exposure to under-known artists of all ages whose art merits wider attention.</p> <p>&nbsp;</p> <p align="center">Gallery hours: Tuesday through Saturday, 12 - 6 p.m.</p> <p align="center">For further information please contact Vernita Nemec, Gallery Director</p> <p align="center">at 212.414.4040 or <a href="" rel="nofollow"></a> or view the gallery website: <a href="" rel="nofollow"></a></p> Wed, 27 Aug 2014 15:40:20 +0000 Johannes Vanderbeek - Zach Feuer Gallery (LFL) - September 4th - October 4th <p>In his fourth solo exhibition with the gallery, Johannes VanDerBeek explores his interest in how the <br />process of seeing and understanding is constantly evolving based on stages of human <br />development. Following the birth of his daughter, VanDerBeek became fascinated with imagining <br />how she was seeing the world without the pre-associations that language provides. In envisioning <br />the frenzied mental landscape where things are experienced as phenomenon and how over time <br />the perception of the external world is filled in with more specific information, the works in the <br />show evoke different phases of resolution and visual representation.<br />Through several bodies of work, VanDerBeek plays with how materiality can be used to create <br />objects and images that range in stylistic formation. In a series of cast wall works the picture plane <br />is filled to varying densities with marks made of clay and resin. In some works the figures and <br />formations remain in raw states, alluding to a skeletal framing of the subject that allows the viewer <br />to imbue their own thoughts and ideas of what they are seeing&mdash;while other works progress to <br />more explicit and detailed imagery. These depictions mimic the comprehension abilities from baby <br />to child to adult, as information or knowledge is gained, and a more complete picture begins to <br />form.<br />The ideas of development run parallel to advances in art history, and how art traces our level of <br />consciousness. Cave drawings were typically outlines or simple marks that conveyed their subjects <br />bluntly and reveal a species at the dawn of its empire. As self-awareness grew and our collective <br />knowledge accelerated, art became increasingly refined&mdash;much the way self-portraiture can evolve<br />from a series of circles and triangles to moodily crosshatched visages during an individual&rsquo;s <br />maturation. VanDerBeek alludes to a sort of neo-primitivism in this show that uses planes and <br />lines to juxtapose abstraction with figuration and flatness with depth. He explores the ability to <br />create space, surface and texture beyond the physical usage of a typical three-dimensional <br />sculptural form.<br />Bridging printmaking, painting, sculpture and drawing, VanDerBeek continues his use of materials <br />as a way to create unexpected visual clues. As the viewer examines the works, processes slowly <br />reveal themselves and objects in the exhibition unfold in different directions. These objects require <br />looking, and provoke questions about how physicality can emulate shifting mental states. <br />Johannes VanDerBeek (b. 1982, Baltimore, MD) graduated from Cooper Union in 2004. His work <br />has been featured in High, Low &amp; In Between at White Flag Projects in St. Louis, A Disagreeable <br />Object at Sculpture Center, Long Island City, National Projects at PS1/MoMA, Amazement Park: <br />Stan, Sara and Johannes VanDerBeek at the Tang Museum at Skidmore College, Personal Freedom, <br />Portugal Arte 10 Biennial and Trapdoor, an exhibition organized by the Public Art Fund at <br />MetroTech. VanDerBeek lives and works in Brooklyn, NY.</p> Tue, 26 Aug 2014 23:37:52 +0000 Mary Ellen Bartley - Yancey Richardson Gallery - September 4th - October 18th <p>Yancey Richardson is pleased to announce&nbsp;Paperbacks, the first solo exhibition in the&nbsp;gallery for American artist Mary Ellen&nbsp;Bartley. The exhibition features a selection&nbsp;of ten photographic works from the artistʼs&nbsp;on-going series, Paperbacks.<br />Utilizing the materiality of paperback books,&nbsp;Bartleyʼs spare, minimalist compositions&nbsp;quietly oscillate between abstraction,&nbsp;sculptural assemblage, and color field&nbsp;study. The soft light and muted palette of&nbsp;the photographs recall and are homage to&nbsp;the still-life paintings of Giorgio Morandi.<br />And like Morandiʼs demure bottle still-lifes, the subtle shifting tones of Bartleyʼs book compositions are imbued with a hushed tranquility. In these compositions, the books are symbols untethered from their signifiers, reimagined as sequenced variations within a tonal poem. The careful calibration of light, shadow, and depth of focus further decontextualize the objects, pushing the compositions closer to abstraction.<br />As the artist describes: &ldquo;This series is about muting &ndash; pressing a mute button and creating a quiet, circumscribed project. I work with books, containers, and symbols of stories, information, knowledge, and meaning, but I deliberately hide any clues to the booksʼ contents, rendering them anonymous and wordless&hellip;The calm palette [of] fog grays and tooth colored whites further tranquillizes the clamor of narratives, characters, and action that must be contained within their pages.&rdquo;<br />Mary Ellen Bartley was born in the Bronx&nbsp;and received a BFA from SUNY Purchase.<br />She currently lives and works in Wainscott,&nbsp;New York. Her work has been exhibited&nbsp;widely in the United States and&nbsp;internationally, including the Parrish Art&nbsp;Museum, NY, the Center for Photographic Arts, Carmel, CA, The Drawing Room, NY,&nbsp;and Fototropia Gallery, Guatemala City,&nbsp;Guatemala, among others. Her first solo&nbsp;museum exhibition will open fall of 2014 at&nbsp;the Guild Hall Museum in East Hampton,&nbsp;New York.</p> Wed, 27 Aug 2014 22:09:59 +0000 Laura Letinsky - Yancey Richardson Gallery - September 4th - October 18th <p>Yancey Richardson is pleased to announce Yours, more pretty, an exhibition of new photographs by Laura Letinsky, presented in conjunction with the release of the artistʼs fourth monograph, Ill Form &amp; Void Full (Radius Books). The exhibition includes the most recent works from Letinskyʼs on-going series, Ill Form &amp; Void Full, which reflects on temporality and desire in the still-life genre, the self-referentiality of the photographic medium and the mutability of perception. <br />Letinskyʼs compositions utilize fragments from her own photographs and those of other artists like Richter or Matisse, as well as advertisements culled from magazines, dissolving the hierarchy between high and low imagery, and the notion of what is real and what is mediated. In addition, by using white as a color, the edges of paper as lines, and shadows as planes, Letinskyʼs compositions conflate flatness and dimensionality, upending the viewerʼs sense of space and perspective.<br />The arrangements in Yours, more pretty employ two-dimensional elements as sculptural objects, to dizzying effect. Collaged cutouts of food, feathers, tableware or abstracted swaths of color are pinned, taped or glued onto reproductions of table surfaces or white paper, all of which are placed on the studio wall and actual tabletops, creating a multiplicity of facades that collapse perspective and float in an indecipherable space of light and shadow. As Letinsky describes, &ldquo;Not only objects, but our relation to others, to our selves, is constantly shifting&hellip;I do strive to clear away all that is not necessary, to make the picture space a kind of precipice, anticipation always active.&rdquo;<br />Rooted in the Dutch-Flemish vanitas tradition, Letinskyʼs arrangements address the notion of timeand the relationship between ripeness and decay; however, they do so by questioning notions of photographic authenticity, and the mediumʼs capacity to illustrate temporality vis-&agrave;-vis form,&nbsp; material, and narrative. As Letinsky states, &ldquo;My photographs are very much about this medium, its self referentiality&hellip;I want an acute tension between what is in the picture &ndash; the image, what is name-able &ndash; and its status as an object.&rdquo;<br />Born in Canada in 1962, Laura Letinsky received her MFA from Yale University in 1991, and was awarded a John Simon Guggenheim Fellowship in 2000. The first half of the series Ill Form &amp; Void Full was presented as a solo exhibition at the Museum of Contemporary Art, Chicago in 2012. A travelling mid-career retrospective opened at the Denver Art Museum in 2012. Letinskyʼs work is held in the collections of the San Francisco Museum of Modern Art, The Art Institute of Chicago, Museum of Fine Arts, Houston, Amon Carter Museum, Museum of Contemporary Art, Chicago, Museum of Contemporary Photography, Chicago, and the Stuttgart Museum, Germany, among others. Her work has been the subject of three previous monographs: Venus Inferred (University of Chicago Press), Hardly More than Ever (Renaissance Society), and After All (Grafiche Damiani).</p> Tue, 26 Aug 2014 23:28:31 +0000 PS3* - Y Gallery - September 2nd - September 7th Tue, 26 Aug 2014 23:19:06 +0000 John Divola - Wallspace Gallery - September 5th - October 25th <p>Wallspace is pleased to announce Clive Wearing&rsquo;s Dilemma, our second exhibition with Southern California-based photographer John Divola.<br />Clive Wearing is a renowned neuropsychology patient with no short-term memory, finding himself in a continuous present, in a continual condition of awakening. For Divola, Wearing&rsquo;s case provides a possible analogy for the photographic experience, the reception of a present devoid of context. And, it elucidates the twin concerns that have undergirded his practice for the last four decades: An insistence on the indexical nature of the photograph alongside the medium&rsquo;s phenomenological and existential potential. <br />Clive Wearing&rsquo;s Dilemma features an untitled body of work made in 1990 that has never been shown in New York. It was recently exhibited as part of As Far As I Could Get, a retrospective exhibition of Divola&rsquo;s work held across three venues in Southern California, led by the Santa Barbara Museum of Art and shown simultaneously at the Los Angeles County Museum of Art and the Pomona College Art Museum. The eight large-scale black and white photographs were &gt;made in what has become Divola&rsquo;s signature mode &ndash; a combination of documentary photography, conceptual art, performance and painting &ndash; where the figure of the artist, or a surrogate for him, is often present. For Untitled, 1990, Divola painted 8 photographic backdrops in an expressionistic manner and threw handfuls of flour at them, photographing this action with a 4x5 view camera. <br />The resulting works achieve goals seemingly at odds with one another; they are a cold, industrial index, a blunt recording of what was there. Simultaneously, the works are emotive, suggestive, subjective and existential, using a poverty of means to invite contemplation and transcendence. <br />John Divola was born in Venice in 1949 and has lived and&nbsp; worked in Southern California his entire life. A student of Robert Heinecken&rsquo;s at UCLA, Divola has become not only a touchstone for artists and photographers working in Southern California, but also a mentor through his years of teaching, first at Cal Arts and for the last twenty-five years, the University of California, Riverside. His work has been exhibited in key historical exhibitions such as John Szarkowski&rsquo;s Mirrors and Windows: American Photography since 1960 at The Museum of Modern Art (1978), The Whitney Biennial at the Whitney Museum of American Art (1981) and most recently, Under the Big Black Sun: California Art 1974-1981 at the Museum of Contemporary Art, Los Angeles (2010). His work is in the public collections of The Museum of Modern Art, The Whitney Museum of American Art and the Metropolitan Museum of Art in New York; The Museum of Contemporary Art, The Getty Museum and the Los Angeles County Museum of Art in Los Angeles; San Francisco Museum of Modern Art, San Francisco; The Smithsonian American Art Museum in Washington, D.C.; The Centre Pompidou, Paris and The Victoria and Albert Museum, London among many others. He is a recipient of multiple National Endowment for the Arts Photography Fellowships as well as a John Simon Guggenheim Memorial Fellowship.</p> Tue, 26 Aug 2014 23:13:52 +0000 - The Boiler (Pierogi) - September 11th - September 21st <p>Twentieth Anniversary Event<br />at The Boiler,<br />dedicated to Gary Bachman<br />Racers on view: September 11th- 21st &nbsp;(noon &ndash; 6pm, Thursday &nbsp;- Sunday)<br />Preliminary races:<br />Tuesday Sept. 16, 7-9pm<br />Wednesday Sept. 17, 7-9pm<br />Thursday Sept. 18, 7-9pm<br />Final races: Friday Sept. 19, 7-10pm</p> <p><strong>There are four qualifying categories</strong>:</p> <p>The Speed Award<br />The Heavyweight Division Award<br />The Aesthetic Award<br />The &lsquo;What Were You Thinking&rsquo; Award</p> <p>_______________________________________________________</p> <p>The Speed Award goes to the racer that wins the race under the rules that the Cub Scouts specify in their Official Grand Prix Pinewood Derby Kit, with a few exceptions:</p> <p>The car width can be greater than 2 &frac34; inches but not more than would impede the racer next to yours. 3 1/2 inches is the maximum width.</p> <p>The length can also be longer than 6 inches, which are the Cub Scout Rules and the size of the block of wood. For the Brooklyn Gravity Racers, the car may be up to 10 inches long. The length doesn&rsquo;t give the car&nbsp;any advantage because the&nbsp;cars are&nbsp;held at the front of the racer at the starting line. The racer needs to be able to clear the curve of the track when it is descending so the longer the car the more likely your racer will drag on the track.</p> <p>The weight cannot exceed 5 ounces in order to qualify for The Speed Award.</p> <p>The width between the wheels and the bottom clearance are the most important and are&nbsp;the same as the Cub Scout rules: The width between wheels must be 1 &frac34;&rdquo;, and the bottom clearance between the racer and the track must be 3/8&rdquo;. These measurements allow the racer to ride cleanly on the track.</p> <p>________________________________________________________</p> <p><strong>The Heavy Weight Award</strong>&nbsp;goes to the fastest racer that weighs more than 5 ounces. In the past, cars have&nbsp;weighed 3 pounds or more. If they are too heavy or unstable they may be too dangerous to race; this will be determined at race time by a track team of artists. All of the other specifications are the same as the speed awards.</p> <p>_________________________________________________________</p> <p><strong>The Aesthetic Award</strong>&nbsp;is exactly as it sounds: it goes to the best looking and conceived racer. This award could go to anyone that enters the race in every category.&nbsp;This award&nbsp;is not affected by the winning of any other awards.</p> <p>_________________________________________________________</p> <p><strong>The &ldquo;What Were You Thinking&rdquo;</strong>&nbsp;<strong>Award</strong>&nbsp;goes to the racer that fits some category but none that we mentioned here. There are always a number of participants, quite a few actually, that build something for the race that cannot be defined. These will be determined when they are entered. If these are able to race, they will.&nbsp;This award&nbsp;is not affected by the winning of any other awards.</p> Tue, 26 Aug 2014 22:59:18 +0000 Paul Kooiker - Steven Kasher Gallery - September 11th - October 25th <p>Steven Kasher Gallery is proud to present&nbsp;<em>Paul Kooiker</em>, the inaugural exhibition in our new gallery, located at 515 West 26th Street. This is the artist's first exhibition at Steven Kasher Gallery and his first solo exhibition in New York in over a decade. On view will be eleven large-scale color nudes from the recent series&nbsp;<em>Sunday,&nbsp;</em>seven works<em>&nbsp;</em>from the series<em>Hunting and Fishing</em>, and a unique installation of images from the series&nbsp;<em>Room Service.&nbsp;</em>Our exhibition previews a major Kooiker retrospective opening at the Fotomuseum in The Hague this fall.</p> <p>Paul Kooiker (Dutch. b 1964) is not interested in a single beautiful image. Through tenacious repetition and seriality, his narratives take pleasure in and complicate the perceptions of the female form. His highly-sexualized voyeuristic nudes are often over-exposed or out of focus, exploring the limitations of photography and questioning what is beautiful, ugly, sexy, criminal, hedonistic, or pornographic. Each image represents a complex dual between the subject and the observer. The result is a beautiful synthesis of the classical and the radical, the sacred and the profane, the real and the imaginary.</p> <p>The series&nbsp;<em>Sunday&nbsp;</em>features "eccentrically posed, robustly built women with flesh so palpably rendered that their bodies attain an artless poetic grandeur," says Kooiker. In the early series&nbsp;<em>Hunting and Fishing,&nbsp;</em>Kooiker probed the limits of figuration with<em>&nbsp;</em>extremely out-of-focus&nbsp;nudes fleeing his camera, leaving the viewer to witness the sport of voyeurism. &nbsp;In the 2008 series&nbsp;<em>Room Service</em>, Kooiker made over 100 images of&nbsp;naked women against a background of bookshelves.<strong>&nbsp;</strong>This series compares the desire for knowledge/power to lust.</p> <p>Paul Kooiker was born in Rotterdam in 1964. He attended Rijksakademie van Beeldende Kunsten in &nbsp;Amsterdam and Koninklijke Academie van Beeldende Kunsten in The Hague. He has published thirteen monographs, including his most recent publication&nbsp;<em>Nude Animal Cigar&nbsp;</em>(Art Paper Editions, 2014). He has had solo shows at FOAM, Amsterdam; Museum Boijmans van Beuningen, Rotterdam; Galerie Van Zoetendaal, Amsterdam; and James Cohan Gallery, New York, among others. Opening in October 2014, Kooiker will be the subject of a major solo exhibition titled&nbsp;<em>Nude Animal Cigar&nbsp;</em>at the Fotomuseum in The Hague. Kooiker&rsquo;s work has been exhibited in group shows internationally, most recently in<em>Dutch Photography: The Space Between Us</em>, at the He Xiangning Art Museum in Shenzhen, China. His photographs are found in permanent collections at the Museum Boijmans van Beuningen, Rotterdam; Gemeentemuseum, The Hague; Fries Museum, Leeuwarden; Ministry of Foreign Affairs, Amsterdam; De Nederlandsche Bank, Amsterdam; and H+F collection, The Netherlands, among others.&nbsp; Kooiker was awarded the A. Roland Holst Award in 2009 and the Prix-de-Rome Photography in 1996.</p> Tue, 26 Aug 2014 22:49:38 +0000 Jenny Perlin - Simon Preston Gallery - September 7th - October 5th <p>Simon Preston Gallery is delighted to present the second solo exhibition at the gallery by artist Jenny Perlin. The show will open to the public on Sunday 7 September and run until Sunday 5 October, 2014.</p> <p>The exhibition will coincide with a two day program featuring an in-depth survey of Perlin&rsquo;s films at Anthology Film Archives on September 15th &amp; 16th.&nbsp;&nbsp;</p> Tue, 26 Aug 2014 22:30:52 +0000 Keiichi Tanaami - Sikkema Jenkins & Co - September 2nd - October 4th Tue, 26 Aug 2014 22:24:27 +0000 Marlene McCarty, Marc Handelman, Kara Walker, Jorge Queiroz, Antony - Sikkema Jenkins & Co - September 2nd - October 4th Tue, 26 Aug 2014 22:21:48 +0000 Rick Shaefer, Jason Frank Rothenberg, Shawn Dulaney - Sears-Peyton Gallery - September 2nd - October 4th Tue, 26 Aug 2014 22:15:36 +0000 Tom Sachs, JJ PEET, Pat McCarthy, Mary Frey - Salon 94 Freemans - September 7th - October 25th <p><strong><em>Brain to Hand to Object [Clay].&nbsp;</em></strong>&mdash;JJ PEET,&nbsp;<em>The&nbsp;<s>Communist&nbsp;</s></em><em>Contemporary Ceramics Manifesto</em></p> <p><strong>Ir/reverence</strong></p> <p>Mary Frey, Pat McCarthy, JJ PEET and Tom Sachs meet weekly&nbsp;to make, fire, and glaze. They met in a class at the 92nd Street Y taught by&nbsp;PEET, the group&rsquo;s&nbsp;&ldquo;leader&rdquo;&nbsp;(or&nbsp;&ldquo;master,&rdquo;&nbsp;as with traditional Japanese workshops). The four New&nbsp;York-based artists, friends and collaborators included in&nbsp;<em>Satan Ceramics</em>,&nbsp;shape clay with a sense of irreverence, rites and ritual. Like&nbsp;&ldquo;THE LADIES SEWING CIRCLE AND &nbsp;TERRORIST SOCIETY&rdquo;&nbsp;&ndash;&nbsp;or, craft circles that second as clandestine political&nbsp;meetings&nbsp;&ndash;&nbsp;the&nbsp;work of the group taken as an idiosyncratic whole ties extremist functionality&nbsp;with subversive tendencies. Process, politics, labor, the handmade, tradition,&nbsp;humor, gossip, danger, historical nods and punk sensibilities are ultimately&nbsp;tied to the underlying collaborative strategies of integrity of the material&nbsp;and sincerity of the object. As Frey puts it,&nbsp;&ldquo;Our weekly ritual takes place within the clubhouse where we&nbsp;eat together, share knowledge, discuss, make pots, talk shit and dream.&rdquo;</p> <p><strong>Clay + stuff</strong></p> <p>The artists use ceramics with other materials that are&nbsp;often non-traditional media. A porcelain urinal by Tom Sachs&nbsp;&ndash;&nbsp;functional though presented like an artifact&nbsp;&ndash;&nbsp;also incorporates epoxy, rope and Kevlar (the material of&nbsp;bullet-proof vests). JJ PEET&rsquo;s shiv cup includes a subtle industrial ceramic blade&nbsp;chipped off a store-bought kitchen knife. PEET embeds the cup with secondary&nbsp;functionality as a weapon; the cup can encapsulate water or blood, the&nbsp;possibility to nourish or harm. Frey&rsquo;s porcelain skateboard is equipped with actual trucks and&nbsp;wheels though un-ridable. The handmade version takes on another media fully,translating and elevating the modest wood board. With another twist, the&nbsp;porcelain nesting bowls of Pat McCarthy are intended to be filled by his&nbsp;pigeons with twigs and leaves and dirt, to build the ideal bed for laying eggs.&nbsp;McCarthy&rsquo;s bowls&nbsp;are functional, meant to nurture new life and have a use value in the physical&nbsp;world outside of the artist.&nbsp;</p> <p><strong>Language &amp; Symbols</strong></p> <p>All four artists use symbols and text. Frey and Sachs&nbsp;respectively incorporate the pentagram into their pieces. Sachs brands many of&nbsp;his traditionally made chawan tea bowls with well-known logos including that of&nbsp;NASA and Chanel; Frey has glazed her works with references to Barbara Kruger&nbsp;via the Supreme logo. Sachs and McCarthy each tell the story of the sculptural&nbsp;environments they build through issue after issue of obsessive, personalized&nbsp;zines. PEET has produced small booklets with his manifesto of making ceramics.&nbsp;For PEET, words are malleable and a single word contains manifold meanings. His&nbsp;<em>BRICKVACES&nbsp;</em>have odd small skull faces etched into their surfaces, and&nbsp;can be used as bud vases or as bricks that can be thrown&ldquo;to start a revolution, or build a&nbsp;house.&rdquo;</p> <p><strong>Mary Frey</strong></p> <p>Frey makes mementos of suburban&nbsp;America that consider family values, contemporary sexual mores and idiosyncratic&nbsp;personal freedoms. A porcelain key party tray finished in matte-black engobe&nbsp;features a nude rendering of The Simpsons&rsquo;&nbsp;Krusty the Clown and sex goddess Edna Krabappel. A classic &nbsp;tourist souvenir tray that might typically feature a state bird or flower is replaced&nbsp;by swingers, reflecting the steamy nightlife that might be imagined in small&nbsp;towns. Two porcelain skateboards, re-made in the classic style of the artist's&nbsp;1975 Hobie skateboard, feature a "nude wearing glasses" drawing by&nbsp;her son Arsun, then aged seven. Revealing the personal narrative within family&nbsp;histories -- a Mycenaean mixing bowl tells the story of Sapphic encounter; a&nbsp;teapot modeled on a classic 70's Mr. Coffee percolator is adorned with the&nbsp;familiar cover illustration from The Hobbit --&nbsp;&nbsp;Frey celebrates the elevated place of ceramics in the&nbsp;telling and re-telling of stories and mythologies of the ages.</p> <p>&nbsp;</p> <p><strong>Pat McCarthy</strong></p> <p>McCarthy&rsquo;s object-making is bound to the&nbsp;eccentric framework of his pigeoning practice.<em>Babylon Coops</em>&nbsp;is the home&nbsp;of the artist&rsquo;s few hundred pigeons and&nbsp;<em>G</em><em>esamkunstwerk</em>&nbsp;&ndash;&nbsp;or, total synthesis of arts and life as a revolutionary and&nbsp;all-embracing kind of art practice. McCarthy builds, maintains and develops his&nbsp;pigeon environment on the roof of his studio as daily performance, ritual and&nbsp;rehearsal.&nbsp;The&nbsp;Coops are well-furnished with electricity and simple Bauhaus-like architecture&nbsp;of plywood and porcelain, scrap steel and fur. A central ceramic feeding vessel&nbsp;has a self-portrait glaze-fired atop its lid, for the birds who perch above to&nbsp;study the architect - their leader, chef, and janitor. Porcelain nesting bowls&nbsp;support protected egg-laying, and ceramic triangular perches installed in a&nbsp;grid, line the birds up with neat minimalism.&nbsp;The birds born into the family are stamped under the wing&nbsp;(rather than the traditional mark of ownership by ankle bracelets which the&nbsp;artist refers to as&nbsp;&ldquo;shackles&rdquo;) with Babylon&rsquo;s symbol, and are not trained for&nbsp;synchronized flying (standard, local pigeoning practice) but set free to fly in&nbsp;any course they desire as unfettered individuals. His zines (collectively&nbsp;titled Born to Kill Fanzine) tell the story of the rooftop practice:&nbsp;&ldquo;The city in the sky. Civil&nbsp;disobedience. It&rsquo;s fun to watch.&rdquo;</p> <p><strong>JJ PEET</strong></p> <p>PEET&rsquo;s clay&nbsp;objects have latent binaries like water/blood, life/death, build/destroy. PEET&rsquo;s objects contain inherent volatility&nbsp;and potentially harmful politics, which connects them to our contemporary world&nbsp;of financial markets, global politics and the changing environment. His porcelain&nbsp;camera&nbsp;&ldquo;viewers&rdquo;&nbsp;consider the rapid obsolescence of new technologies.&nbsp;Hanging sculptures present a framework for two objects, a piece of clay&nbsp;imprinted with the artist&rsquo;s handand a partial iPhone sliced open like an elevation or diagram; there is a comparison&nbsp;of life-spans between complicated present-day engineering versus the simply&nbsp;handcrafted object as the thing that will survive and retain function through&nbsp;time. PEET&rsquo;s&nbsp;manifesto of ceramics&nbsp;&ndash;&nbsp;&ldquo;Brain to Hand to Object&rdquo;&nbsp;&ndash;&nbsp;considers how closely tied the body is to the material, and&nbsp;vice versa, the various ways that the object affects the body like an&nbsp;appendage, a system or a life cycle.&nbsp;</p> <p>&nbsp;<strong>Tom Sachs</strong></p> <p>Sachs&rsquo;&nbsp;practice is rooted in absurdist functionality, engineering,&nbsp;product design and labor. He often builds whole environments where objects are&nbsp;to be experienced in tandem as parts of a whole system, and where all&nbsp;materials, process and labor are left exposed. Paralleling the space program&nbsp;engineers with ancient tea ceremony rituals, Sachs has made hundreds of&nbsp;eclectic porcelain chawan bowls of varying sizes, shapes, functions and&nbsp;branding that reference engineering, consumption and fashion. The tea bowls are&nbsp;often used in the studio, and all leftover parts and pieces are used to make&nbsp;new objects, like a tall&nbsp;&ldquo;abstract&nbsp;art sculpture&rdquo;&nbsp;madefrom epoxied leftovers of his ceramics practice. A separate precarious&nbsp;porcelain walking cane sculpture is more exacting and realistic, though slim&nbsp;and vulnerable, as if to describe the leg it is meant to support. An odd funnel&nbsp;of a sculpture is a precisely crafted portable unisex urinal. A clay boom-box&nbsp;is also crafted for ultimate usability, and like a relic or object from the technology&nbsp;graveyard, reverberates with a playlist constructed by the four artists. The&nbsp;sound from the clay fills the gallery, reproducing the workspace the artists&nbsp;share in their process of making.&nbsp;</p> Tue, 26 Aug 2014 22:07:56 +0000 David Benjamin Sherry - Salon 94 Bowery - September 7th - October 25th <p>David Benjamin Sherry is an explorer. He is a master of bold, sensual color. He&nbsp;ventures deep into the American wilderness and reimagines the surfaces of&nbsp;nature as if seen through a kaleidoscope. Part-archeologist and part-futurist, Sherry&nbsp;uses 8x10 film negatives and analogue techniques in order to speak to new&nbsp;technologies and our changing physical world.</p> <p>Sherry&rsquo;s&nbsp;latest works take on photography&rsquo;s canonical genres, including landscape &ndash;&nbsp;which he is most well known for &ndash; as well as still life, portraiture, the nude,&nbsp;collage and darkroom photograms. There are more waterscapes than landscapes &ndash;&nbsp;it&rsquo;s a murkier, more mysterious realm. Many of these compositions sit at an&nbsp;uneasy intersection of travel photography and surveillance imaging. A sunrise behind&nbsp;a boulder in the water is somehow both a picturesque postcard and a strange alien&nbsp;spotlight. Another large-scale image of ripples on the surface of a body of&nbsp;water, without a horizon, are stained glowing, neon red, a color that implies&nbsp;blood or a dangerous kind of heat as if on a topographer&rsquo;s or meteorologist&rsquo;s&nbsp;map &ndash; though not quite the right shade of either.</p> <p>Sherry&rsquo;s&nbsp;colors are surreal and often monochrome and painterly. A large degree of the&nbsp;compositions are achieved by the artist in the darkroom. His exaggerated hues&nbsp;border on acidic and futuristic, imbuing his sense with glowing sci-fi, filmic attitudes.&nbsp;Sherry&rsquo;s particular, syncopated color palette gives sentiment and rhythm,&nbsp;setting up his scenes with rhythm and suspense. This setup is a direct&nbsp;engagement to our changing physical world. Sherry&rsquo;s acid-toned pictures, while&nbsp;beautiful, are also critical of the close human relationship to recent climate&nbsp;change. They consider what critics call &ldquo;<em>the&nbsp;</em><em>anthropocene&rdquo;</em>&nbsp;&ndash; or, geology and the ecosphere as it has been impacted by&nbsp;human activity.</p> <p>In&nbsp;addition to mapping the rarely visited sites of the earth, Sherry also shoots&nbsp;the personal territories of the body. One photograph of a nude man in body&nbsp;paint, shows him reclining in feminine odalisque pose against a stark black&nbsp;backdrop. Resembling a hand-painted black and white photograph, the image both&nbsp;exposes the man&rsquo;s body and shields his flesh in a rainbow of color, shaped in&nbsp;an arch, as if constructing him as a spectrum of light in a night sky. Another&nbsp;image of two men, covered in thick black petroleum, kissing, is a noir romance.&nbsp;Shooting bodies like land surfaces, Sherry stages still performances like a&nbsp;reverse landscape &ndash; the impact of changing nature on our adapting skins.&nbsp;</p> <p>For&nbsp;the first time, Sherry juxtaposes black and white works, printed in traditional&nbsp;Gelatin silver process, with the energetic infusions of color that afford his&nbsp;landscapes an otherworldly quality. Moments of exuberant color are tempered by&nbsp;abstract and introspective black and white nudes, shot like terrain or&nbsp;anthropological subjects. Seen from below, chunks of melted icebergs are shot&nbsp;in rich black and white portraying an eerily decadent vista. An orange-stained&nbsp;image of an endangered species of frog is captured precariously dangling from a&nbsp;blade of tall grass. Sherry&rsquo;s idiosyncratic vision crystallizes a breathtaking&nbsp;yet fearsome universe.</p> <p>David Benjamin Sherry was born in 1981 in Woodstock,&nbsp;NY and currently lives and works in Los Angeles. He received his BFA from Rhode&nbsp;Island School of Design in 2003 and his MFA from Yale University in 2007.&nbsp;Sherry is an analog photographer and an avid darkroom printer who pushes&nbsp;extreme and often monochrome color. He experiments with the historical genres&nbsp;of his medium, reinvigorating photographic types and creating new kinds of&nbsp;darkroom and print manipulation.</p> <p>Sherry is represented by Salon 94, New York and&nbsp;OHWOW, Los Angeles. His work is part of the&nbsp;permanent collections&nbsp;at&nbsp;the Wexner Center of the Arts, Columbus, Ohio, Los Angeles County Museum of Art&nbsp;(LACMA), and the Saatchi Collection, London. His work was included in&nbsp;<em>Greater New York&nbsp;</em>at PS1 MoMA&nbsp;(2010),&nbsp;New York,&nbsp;<em>The Anxiety of&nbsp;</em><em>Photography&nbsp;</em>at Aspen Art Museum (2011),&nbsp;<em>Lost Line&nbsp;</em>at LACMA (2013), and most recently in,&nbsp;<em>What Is A Photograph?</em>at the&nbsp;International Center for Photography, New York (2014).&nbsp;The artist&rsquo;s latest&nbsp;book&nbsp;<em>Earth Changes</em>, with essay by&nbsp;LACMA curator Britt Salvesen, was recently published in September 2014 by M&ouml;rel&nbsp;Books, London.</p> <p>Sherry has a&nbsp;simultaneous exhibition of photographs made over the last two years on view at&nbsp;Danziger Gallery, New York from September 11th &ndash; October 25th. The artist will be&nbsp;included in the exhibition&nbsp;<em>FotoFocus Cincinnati&nbsp;</em>opening this fall. His work will be presented alongside the artist&rsquo;s selection&nbsp;of historical photographs from the collection of the Cincinnati Art Museum.</p> Tue, 26 Aug 2014 22:03:12 +0000