ArtSlant - Closing soon http://www.artslant.com/ny/Events/show en-us 40 Mary Weatherford - Brennan & Griffin - September 9th, 2012 - October 14th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Brennan &amp; Griffin is pleased to announce Manhattan, an exhibition of new paintings by Mary Weatherford on view from September 9 - October 14, 2012.</span></p> <div style="text-align: justify;"><span style="font-size: small;">Weatherford's work for nearly a decade has been an ongoing exploration of specific California landscapes as source material for her paintings. Subjects have included cliffs in Malibu, a sea cave on Pismo Beach, and a vine cluster near the artist's studio. Using such sites as a means for repeated examination allows her to fully explore these distinctively "California" locales through an ongoing series of paintings and drawings detailing their transformation and complimenting Weatherford's concern with form, space and color. </span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;">For her new exhibition, Weatherford focuses her attention on New York - where she lived from 1984 - 1999. Drawing on memory and experience of sites both personally and culturally significant, these large-scale paintings explore the indelible impressions left by the city. Weatherford continues her interest in combining a range of sources to create works that explore the fidelity and vibrancy of recollection. </span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;">This will be the gallery's second Solo Exhibition with Mary Weatherford in New York. Her upcoming Solo Exhibition, Bakersfield Paintings, opens at LA&gt;&lt;ART in Los Angeles on September 21st.</span></div> Sat, 08 Sep 2012 08:33:50 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list NORMAN MOONEY - Causey Contemporary - September 7th, 2012 - October 14th, 2012 <p><b>Close Your Eyes</b></p> <p>Norman Mooney</p> <p></p> <p>July, 2012, Brooklyn, NY -  Causey Contemparry is pleased to announce <em>Close Your Eyes</em>, a solo exhibition of monumental carbon smoke drawings by artist Norman Mooney. Furthering the core concerns within his practice of time, space and movement, Norman’s carbon drawings are created with layers of billowing smoke preserved on aluminum panel. Deeply rooted in process and scale, the artist brings an elemental physicality to this two-dimensional medium, while engaging multiple dualities through enigmatic form and pattern. </p> <p></p> <p>Norman makes works that are at once physical and metaphysical. His works explore the elemental and cyclical synergies of nature. Materiality, pattern, scale and experience are key concerns within his practice. Norman makes sculptures, interior and exterior installations, drawings and works on paper. His methodology is one of experimentation and process with materials such as smoke, glass, steel and resin. </p> <p></p> <p>Norman Mooney was born in Dublin Ireland in 1971. He studied at the Crawford College of Art and Design in Cork and completed his BFA at the National College of Art in Dublin in 1992. He then received the distinguished honor of participating in the Third Degree program at the Irish Museum of modern Art from 1992 to 1993. In 1994 he relocated to New York City and has been exhibiting locally and internationally for more than 16 years. Recent exhibitions include, “1, 2, 3 Volume” at the Siqueiros Museum in Mexico City, Beyond Borders in Abu Dhabi, New Work at Waterhouse and Dodd, Close your Eyes at Martine Chaisson in New Orleans and “Wall Flowers” at Causey Contemporary in New York. </p> <p></p> <p>Norman Mooney’s works can can be found in the collections of The Mint Museum in Charlotte, NC; The Claridge Collection, Quebec Canada; The Geoff Isles Collection, New York,NY; Double Seven, New York, NY; and Argent Ventures Collection, New York, NY. Additionally, his work has been reviewed in Fahrenheit Magazine, New York Spaces Magazine, Artdaily, the NY Art Beat and the New York Times among other </p> <p>publications.  </p> <p></p> <p>The exhibition will also include new graphite on panel drawings in the gallery's second room exhibition space. <em>Close Your Eyes</em> will run from September 7 - October 14, 2012. An opening reception will be held on the September 14th from 6 - 9 p.m. as part of the Williamsburg 2nd Friday autumn season, followed by a closing reception on October 12th. Otherwise, the exhibition will be open during normal gallery hours: Wed - Sat 11am- 7pm and Sun. 11 am - 6 pm.   </p> <p></p> <p>For further information on Norman Mooney, please contact Causey Contemporary at 718-218-8939  or via email at info@causeycontemporary</p> <p><b><i> </i></b></p> Fri, 27 Jul 2012 20:13:51 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Leah Oates, Gretchen Kane, Zaria Forman - Edward Hopper House Art Center - September 1st, 2012 - October 14th, 2012 <p>Earth, Sea and In-Between showcases the work of three artists exploring the natural landscape using their own unique processes to illustrate movement, form and human interaction with the elements.  Zaria Forman’s intricate drawings explore moments of transition, turbulence and tranquility in the landscape and their impact on the viewer.  Gretchen Kane layers transparent color and line, creating movement, repetition and relationship in her work.  Leah Oates’s photography responds to sites and objects that are often ignored and articulates the effects of social processes and consumption on the landscape.   </p> Thu, 16 Aug 2012 17:30:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Desi Santiago - envoy enterprises - September 13th, 2012 - October 14th, 2012 <p>Christening <strong>envoy enterprises</strong>’ new expanded gallery space located on 87 Rivington St., artist Desi Santiago will occupy the first floor and raw basement with an enigmatic environment fluctuating between the realms of seduction and mourning. Santiago will obscure the notions of a gallery space with what the artist describes as a “horrific” yet luring intervention comprised of new sculpture, installation, and video.<br />  <br /> Santiago is known for employing theatricality and ceremony into his work transforming a typical viewer into a participant of a multi-sensory ritual. In his solo exhibition for envoy enterprises, the artist will swathe the gallery in a series of sculptural environments featuring miniature robots, custom-made suits, worn masks cast from Santiago’s face, and a bomb.<br />  <br /> Concurrently with his solo exhibition at 87 Rivington, Santiago will have a satellite installation on view at envoy enterprise’s project space on 131 Chrystie St.<br />  <br />  <br />  <br /> A New York City-based Puerto Rican visual and performance artist, Desi Santiago’s artistic practice spans from 1990 to the present and is heavily influenced by subcultural scenes, with a strong foundation in NYC nightlife, and cross-over into fashion and art worlds. Santiago’s work draws from, addresses, and utilizes the respective vocabularies and iconography of these worlds to create ceremonial experiences and relational performances, which deal with identity, exchange, and the duality of mourning/celebration. His practice is that of “the host”, wherein the body is the channel and receptor for circumstance, experience, and identities to pass through resulting in a visual vocabulary of object, installation, and performance. <br />  <br /> Santiago's large-scale installations often involve performative and theatrical platforms, richly layered with philosophical, historical and social references. Santiago received a MFA from Bard College. The artist's work has exhibited at Matthew Marks Gallery, D'Amelio Terras Gallery, Deitch Projects, MoMA PS1, Asia Song Society, The Metropolitan Museum of Art, and the Musée des Arts Decoratifs, Paris. Santiago was recently profiled in the Style section of <em>The New York Times</em>.<br />  <br /> During Art Basel Miami 2012 Desi Santiago will transform The Lords Hotel into the body of a black dog named Gypsy.<br />  <br />  <br /> For images and press inquires please contact, <a href="mailto:office" rel="nofollow" target="_blank" style="text-decoration: none; font-weight: normal;">office@envoyenterprises.com</a> . <a href="tel:212-226-4552" rel="nofollow" value="+12122264552" target="_blank">212-226-4552</a></p> Tue, 04 Sep 2012 18:26:57 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Desi Santiago - envoy enterprises - September 13th, 2012 - October 14th, 2012 <p>Christening envoy enterprises' new expanded gallery space located on 87 Rivington St., artist Desi Santiago will occupy the first floor and raw basement with an enigmatic environment fluctuating between the realms of seduction and mourning. Santiago will obscure the notions of a gallery space with what the artist describes as a 'horrific' yet luring intervention comprised of new sculpture, installation and video.<br /><br />Santiago is known for employing theatricality and ceremony into his work transforming a typical viewer into a participant of a multi-sensory ritual. In his solo exhibition for envoy enterprises, the artist will swathe the gallery in a series of sculptural environments featuring miniature robots, custom-made suits, worn masks cast from Santiago's face, and a bomb.<br /><br />Concurrently with his solo exhibition at 87 Rivington, Santiago will have a satellite installation on view at envoy enterprises' project space on 131 Chrystie St.<br /><br />A New York City-based Puerto Rican visual and performance artist, Desi Santiago's artistic practice spans from 1990 to the present and is heavily influenced by subcultural scenes, with a strong foundation in NYC nightlife, and cross-over into fashion and art worlds. Santiago's work draws from, addresses, and utilizes the respective vocabularies and iconography of these worlds to create ceremonial experiences and relational performances, which deal with identity, exchange, and the duality of mourning/celebration. His practice is that of 'the host', wherein the body is the channel and receptor for circumstance, experience, and identities to pass through resulting in a visual vocabulary of object, installation, and performance. <br /><br />Santiago's large-scale installations often involve performative and theatrical platforms, richly layered with philosophical, historical and social references. Santiago received a MFA from Bard College. The artist's work has exhibited at 303 Gallery, Matthew Marks Gallery, D'Amelio Terras Gallery, Deitch Projects, MoMA PS1, Asia Song Society, The Metropolitan Museum of Art, and the Museé des Arts Decoratifs, Paris. Santiago was recently profiled in the Style section of The New York Times.</p> Fri, 05 Apr 2013 14:45:54 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Thomas Allen - Foley Gallery - September 9th, 2012 - October 14th, 2012 <p>After eight years in Chelsea, the gallery has relocated to the LES.  We have taken a newly renovated storefront on Allen Street, just a little south of Delancey on the west side of the block.  We are opening the gallery with our fourth solo exhibition of artist Thomas Allen.Playing the role of scientist, Allen enlists mid 20th-century books on the natural phenomenon of science(astronomy, physics, electricity, biology) and presents his research as if through the eyes of his 8-year old daughter.  How would she understand and portray these theories and absolutes of science?Allen’s signature use of cutting and repurposing book illustrations has not vanished.  Instead of the pulp fiction genre, Allen plays with 50’s era versions of clean cut youths and domesticated moms. His unmistakable talent for creating the illusion of 3D in photography with his deft cuts and crimps, establishes a magical world in which a boy and girl play tag creating their own kind of electricity, a milkman makes a very special delivery in space, young toughs play marbles with the solar system and a mother busily sews her own version of “string theory.”Thomas Allen was born in Highland Park, MI in 1963.  After changing his major to art in 1986, Tom spent the second half of his 10 year college career going to school part-time while working full-time for Toys 'R' Us to support himself.  He received his BFA in 1991 and went on to earn his MFA form the University of Minnesota in 1996.  Tom's exhibition record lists galleries throughout the United States and reflects two solo museum exhibitions at the Grand Rapids Art Museum in Michigan and the John Michael Kohler Arts Center in Wisconsin.  His work is in the permanent collections of the Museum of Fine Arts, Houston; The Milwaukee Art Museum; Nelson-Atkins Museum Target Corporation; Fidelity Investments and The Progressive Corporation.  Publication credits include Harper's, The New Yorker, New York Magazine and O Magazine among many others. In 2007, Aperture Foundation [NY] published UNCOVERED: Photographs by Thomas Allen with a forward by graphic design superstar Chip Kidd.</p> Tue, 21 Aug 2012 02:19:08 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mark Masyga - Front Room Gallery - September 14th, 2012 - October 14th, 2012 <p>Front Room Gallery is proud to present a solo exhibition of paintings by Mark Masyga. This new series of work is informed by natural and man-made disasters and hovers indeterminately between landscape and abstraction. Mark Masyga embraces and incorporates the concept of the “Ruins Feeling” by Midas Dekkers, an emotion that occurs as a mixture of sadness, excitement and curiosity in the sight of decay. There is both an inevitability, and a beauty to decay, which Mark has captured in his paintings. <br /> <br /> Masyga’s under-painting and backgrounds contain forms that relate to vestiges of architecture and civilization turned to rubble. Building foundations of tone and form, Mark references deterioration and the natural de-evolution from order to disorder. This serves as a jumping-off point, as each painting develops, the composition is considered from every angle, producing a sense of disorientation and a feeling of the uncanny. <br /> <br /> Masyga has long documented construction sites, commenting on their aesthetics and beauty along with their temporary nature. Mark sees the arrested development at these sites as an indicator of the economy’s near collapse, seeing the refuse and abandoned construction materials through the lens of ruins. However, Mark Masyga’s paintings neutralize feelings of nostalgia associated to ruination, abstracting this point reference, celebrating a fundamental loss of orientation. </p> Tue, 11 Sep 2012 23:07:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Eric Fischl - Guild Hall - August 11th, 2012 - October 14th, 2012 <p>In keeping with Guild Hall’s  longstanding tradition of exhibiting artists of the region, we will devote the entire museum to Eric Fischl, featuring a wide selection of paintings that span a 30-year artistic career.</p> Sat, 11 Aug 2012 04:01:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Drew Shiflett - Lesley Heller Workspace - September 5th, 2012 - October 14th, 2012 <div class="documentBody"> <p>Lesley Heller Workspace is pleased to announce a solo exhibition of recent works by Drew Shiflett, her third exhibit with the gallery. Opening September 5, the show will run through October 14, 2012.</p> <p>Chicago born, New York-based artist Drew Shiflett examines surface, structure, and texture in complex works that are defined by process and material. Imbued with a delicate fusion of architecture, ritual, and geometry, one of the essential components in this body of work is the evidence of its own making. Shiflett’s methodology is one of simple acts -- cutting, gluing, layering, mark-making – through which she generates rich abstractions and the intricate motifs of her “constructed drawings.”   Employing a vocabulary that is distinctly post-minimalist, she expands on ideas that exist within grids, patterns, and lineal structures to create labyrinthine, densely layered, and often sprawling compositions that hover between sculpture and drawing.</p> <p>More devotional than obsessive, Shiflett’s process is as meticulous as it is unorthodox. She articulates spatial relationships intuitively, building content through a technique that requires the precision of a miniaturist, the discipline of a Hindu monk, and that engages a meandering serial narrative the likes of <em>The Canterbury Tales</em>. The eccentric pictorial logic that has come to define Shiflett’s work is located here, within the process itself.</p> <p>Tactile, earthly and meditative, drawings such as <em>Untitled #60</em>, 2011 conjure ancient Egyptian textiles, animal hides, and the sort of organic geometry that has the ability to morph between Byzantine networks of parallel lines and sprawling hyperbolic planes. Her palette, variants of ochre, sepia, black, and white yields surprising diversity and this, in combination with the translucence she finds in handmade paper, cheesecloth, and fabric bits coalesce into complex and enigmatic abstractions.</p> <p> </p> <p>Drew Shiflett received her BA from Columbia College Chicago and her MFA from the Hoffberger School of Painting at the Maryland Institute College of Art in Baltimore. A 1992 recipient of a Guggenheim Fellowship Award in Sculpture from the John Simon Guggenheim Memorial Foundation, Shiflett has also received Artists’ Fellowship Awards from the New York Foundation for the Arts in Sculpture (1990) and in Printmaking/Drawing/Book Arts (2009) and a Mid Atlantic/NEA Regional Visual Arts Fellowship Award in Sculpture (1993). She has mounted numerous one-person shows at venues including Guild Hall Museum (East Hampton, NY); The Drawing Room (East Hampton, NY); Islip Art Museum (East Islip, NY); InterArt Center (New York, NY); White Columns (New York, NY); and Fashion Moda (Bronx, NY). Shiflett has lived and worked in New York City since 1979. This is her third solo show at Lesley Heller Workspace.</p> </div> Sun, 05 Aug 2012 02:16:14 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jim Wright, Amy Kao, Jason Head, Colin O’Con, Charlotte Becket, David Baskin - Lesley Heller Workspace - September 5th, 2012 - October 14th, 2012 <p>The artists in <b><i>Shift</i></b><i> </i>share a desire to take traditional notions of landscape art and turn them on their head. By fusing elements of our modern consumer culture with classical notions of art and its presentation, these six artists take us on perceptual journeys into vivid worlds of their own design.  The landscapes they reveal exist in the mind as well as body, with varying relationships to the real world. In some cases political satire lies latent in the wacky worlds we encounter.  In other cases, the deceptively mundane shapes of the cityscape we call home inspire vibrant journeys.  Still other journeys result from explorations in music, or film or television cartoons.  Bright colors, big ideas and attention to detail make the work in Shift not just visually engaging, but makes it possible to offer us personal moments of reflection as to our own place in this seemingly crazy world.</p> Sun, 05 Aug 2012 02:21:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Rey Akdogan - Miguel Abreu Gallery Orchard St - September 16th, 2012 - October 14th, 2012 <p>Miguel Abreu Gallery is pleased to announce the opening, on Sunday, September 16th, of night curtain, Rey Akdogan’s first solo exhibition at the gallery.<br />One of the particularities of the show is that it will be open to the public in the evening and night only, from dusk to midnight, Wednesday through Sunday. Within these late and dark hours of operation, Akdogan’s work will repurpose and sharpen lighting conditions, both those from the gallery’s varied existing scheme and those immediately received from the street. But the unquestioned norms and fleeting memory of other environments, ranging from industrial warehouses, aircraft hangars, factories, supermarkets, and perhaps even movie theatres, will also resonate in the space somewhat ambiguously. An initially hidden, tweaked, oversized industrial ceiling fan producing shadow effects; ambertoned translucent PVC strips bisecting parts of the space; a discrete step light positioned near an electrical outlet, along with projected slides made of theater lighting gels and a leftover piece of kiwi bag packaging, will all contribute to building the oblique, heightened atmospheric charge that, in the end, can be called the show.</p> Mon, 10 Sep 2012 00:30:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Kembra Pfahler - Participant Inc. - September 9th, 2012 - October 14th, 2012 <p style="text-align: justify;"><span style="font-size: small;">I see you on the subway,</span><br /><span style="font-size: small;">legs spread wide apart</span><br /><span style="font-size: small;">I see you on the subway,</span><br /><span style="font-size: small;">hat slightly askew</span><br /><span style="font-size: small;">I see you on the subway,</span><br /><span style="font-size: small;">taking up room for two</span><br /><span style="font-size: small;">Fuck island, fuck island,</span><br /><span style="font-size: small;">I wanna go to fuck island</span><br /><span style="font-size: small;">Fuck island, fuck island,</span><br /><span style="font-size: small;">I wanna go to fuck island</span><br /><span style="font-size: small;">Fuck island, fuck island,</span><br /><span style="font-size: small;">But just not with you </span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Opening reception, Sunday, September 9, 7-9pm<br />With a one-song performance by<strong> The Voluptuous Horror of Karen Black</strong></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>PARTICIPANT INC</strong> is proud to open the season with <strong><em>Fuck Island</em></strong>, a major solo exhibition of new</span> <span style="font-size: small;">work by <strong>Kembra Pfahler</strong>. “Fuck Island” is a protest anthem, love song, and manifesto written</span> <span style="font-size: small;">for her band,<strong> The Voluptuous Horror of Karen Black</strong>. As Pfahler describes this song-asexhibtion:</span> <span style="font-size: small;">“It’s the first annual Karen Black cock festival. But it’s really more like a</span> <span style="font-size: small;">happy funeral. We are celebrating the death of the patriarch, and you are all party to this </span><span style="font-size: small;">secret.” </span></p> <p style="text-align: justify;"><span style="font-size: small;">In her life’s work, exclusively characterized by interpretations of feminine archetypes,</span> <span style="font-size: small;">Pfahler is well-known for announcing that the vagina is “closed” by sewing hers shut, or by </span><span style="font-size: small;">constructing physical “Walls of Vagina” that cannot be permeated. <em>Fuck Island</em> debuts a new </span><span style="font-size: small;">vernacular of ‘future feminism’ that follows in a long yet contested tradition of feminist </span><span style="font-size: small;">appropriation of the phallus. From Yayoi Kusama’s environments of flaccid dicks, to Lynda </span><span style="font-size: small;">Benglis sporting a double dildo on the pages of Artforum, Pfahler extends this lineage of </span><span style="font-size: small;">women’s endeavor to reclaim and subvert phallic imagery – inaugurating a shift with a </span><span style="font-size: small;">“morbid interdisciplinary fine art surprise party.” Contesting apologist theorizing, she </span><span style="font-size: small;">accentuates the ‘privileged signifier’ – here subsumed within the all-female imagery of </span><span style="font-size: small;">Karen Black. As in the lyrics of the song, this repeating motif, Pfahler notes, “exists here </span><span style="font-size: small;">as a way to manage the terror of imminent domain that underlies life in NYC — that size </span><span style="font-size: small;">obfuscates and rules, destructively and illogically.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">In her own writings on this project, REBEL WITHOUT A COCK, Pfahler further describes the</span> <span style="font-size: small;">exhibition as: “a collection of new drawings and sculpted things based on a song written for </span><span style="font-size: small;">my band. This is the first time I have ever concentrated on anything specifically male. It </span><span style="font-size: small;">is a mundane and mercurial investigation that doesn’t obey my own decorative traditions. All </span><span style="font-size: small;">of the props, illustrations, and lyrics make up a self-invented manual of action. Each image </span><span style="font-size: small;">is like a piece of a puzzle or an ever-growing totem pole. This part being: the cock. This </span><span style="font-size: small;">phallus seems not to be behaving itself. Its lurid, overrated, power-based trajectory seems </span><span style="font-size: small;">to stop here, invaded by dolls, kittens, and household appliances.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Pfahler has constructed a sophisticated worldview out of discarded cultural remnants, which</span> <span style="font-size: small;">she refers to as “Availabism.” As with previous work, low-tech art supplies and making the </span><span style="font-size: small;">best use of what is available is the preferred methodology. Much like cursive writing, </span><span style="font-size: small;">preserving the perhaps self-obsolescing practice of drawing is inherent to the exhibition, </span><span style="font-size: small;">which features new works on paper, repurposed objects, and a limited edition LP. Pfahler </span><span style="font-size: small;">concludes: “If the first stage in revolution is to be revolted, then I can say that I am </span><span style="font-size: small;">revolted enough to make a show that wants to change the world and redecorate it with..female </span><span style="font-size: small;">tenants. You are seeing evidence of an anti-natural thought process manifested in Fuck </span><span style="font-size: small;">Island.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Kembra Pfahler formed <strong>The Voluptuous Horror of Karen Black with Samoa</strong> in New York in 1990, a</span> <span style="font-size: small;">theatrical rock group that links a monster aesthetic to a dark feminine archetype. Named in</span> <span style="font-size: small;">honor of cult horror film heroine Karen Black, Pfahler's band performs amid elaborate handconstructed</span> <span style="font-size: small;">sets, in which she acts out transgressive physical feats. Her stage persona</span> <span style="font-size: small;">destroys conventional notions of female beauty — wearing a number of teased black wigs with</span> <span style="font-size: small;">blacked-out teeth, black stiletto boots, her body painted blue, pink, red, or yellow,</span> <span style="font-size: small;">Pfahler heads a team of "Girls of Karen Black," similarly styled. The Voluptuous Horror of </span><span style="font-size: small;">Karen Black records include: A National Healthcare, Triple X Records, 1990; The Anti-</span><span style="font-size: small;">Naturalist, Cleopatra Records, 1995; Black Date, Cleopatra Records, 1998; and the</span> <span style="font-size: small;">forthcoming limited edition vinyl LP, Fuck Island.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Kembra Pfahler</strong> lives and works in New York City. Recent solo exhibitions include: Giverny:</span> <span style="font-size: small;">E.V. Day &amp; Kembra Pfahler in Monet’s Garden, The Hole, New York, NY, 2012; Heaven &amp; Hell,</span> <span style="font-size: small;">Deitch Projects at Bas Fisher Invitational, Miami, FL, 2007; File Under ‘V’, Rove Gallery, </span><span style="font-size: small;">London, UK, 2005; and Availabism and Anti-naturalism: A Feminine Experiment, American Fine</span> <span style="font-size: small;">Arts Company, 2002. Selected group exhibitions include: New York Minute, Garage Center for</span> <span style="font-size: small;">Contemporary Art, Moscow and MACRO Museum, Rome, 2011; Dead Flowers, Vox Populi,</span> <span style="font-size: small;">Philadelphia, PA and Participant Inc, New York, NY, 2010; 2008 Whitney Biennial, Whitney</span> <span style="font-size: small;">Museum of American Art, New York, NY, 2008; It's Not Only Rock 'N' Roll, Baby! Palais des</span> <span style="font-size: small;">Beaux-Arts, Brussels, 2008; Georg Gatsas: The Process VI, Swiss Institute, New York, 2007;</span> <span style="font-size: small;">Womanizer, Deitch Projects, New York, NY, 2007 (also curated by the artist); and The</span> <span style="font-size: small;">Extremism Show, ABC NoRio, New York, NY, 1983 (also curated by the artist). Pfhaler’s work</span> <span style="font-size: small;">has appeared in publications such as Dead Flowers (Vox Populi and Participant Press, 2010);</span> <span style="font-size: small;">Disinformation: The Interviews (New York: The Disinformation Company, 2002); Sympathy for</span> <span style="font-size: small;">the Devil: Art and Rock and Roll Since 1967 (Chicago: Museum of Contemporary Art, 2007); and</span> <span style="font-size: small;">Deathtripping: An Illustrated History of the Cinema of Transgression (CreationCinema </span><span style="font-size: small;">Collection, Washington D.C., Creation Books, 1999).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Kembra Pfahler, Fuck Island is made possible with the generous support of Ted and Mary Jo Shen</span>.</p> Sat, 08 Sep 2012 16:49:54 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sanford Biggers, Jennifer Zackin - The Jewish Museum - March 30th, 2012 - October 14th, 2012 <p>Juxtaposing home movies from each of the two artists’ families—one African American and one Jewish American—this video focuses on the intersections of middle-class life across ethnic lines.</p> Tue, 26 Jun 2012 04:39:28 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - The Metropolitan Museum of Art - December 6th, 2011 - October 14th, 2012 <p>Drawn from works given and bequeathed to the Metropolitan during the past decade by Ralph T. Coe of Santa Fe, New Mexico, the exhibition will be comprised of some thirty objects made in natural materials from stone to animal hide. It will feature a wide range of Native American works that come from different times, different places, and numerous distinct peoples.</p> <p>The oldest pieces in the Coe Collection date to some thousands of years B.C.E. The major part of the collection dates from the nineteenth to early twentieth century, a period of great contact between Native Americans and outsiders of all sorts, from traders to missionaries to the U.S. army. The peoples of the Great Plains are prominent during this time, and objects such as the impressive, personalized hide shirts of important Indian men have come to identify American Indians in the public mind. Representing contemporary work, an imposing sculpture of a Noble Woman by the Northwest Coast Haida artist Robert Davidson, dated to 2001, will be on view—the product of a long, deeply felt tradition for the carving of wood.</p> Mon, 05 Mar 2012 00:46:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Phil Wagner - Untitled New York - September 9th, 2012 - October 14th, 2012 <p>UNTITLED is reassembled to present a new solo show of work by Phil Wagner, his second in the gallery.<br />Car tires and metal grids, bicycle wheels and stereo speakers: this is the detritus of East LA, salvaged from offhand discard and made new – newly functional, newly aesthetic – in Wagner's three-dimensional paintings. With this new body of work, Wagner has not only extended his painting practice, he has continued to pivot his way into the history of assemblage.<br />His use of found objects, however, is only half the story he tells here. At a certain point, Wagner found the streets wanting. He had run up against the limits of what could be scavenged, and turned homeward, to the studio. He needed to construct as well as compose. He continued to rely on a material vocabulary readily at hand – steel, spray paint, plywood, the stuffs of the neighborhood – but turned his energies toward formal invention rather than juxtaposition and intervention.<br />Gesture was once present in his work only disguised as his primordial urge to build the perfect composition. This time, gesture is laid bare in color blocks, crumpled sheets of steel and urgent marks of spray paint.<br />Phil Wagner (born 1974, East Moline, IL, lives and works in Los Angeles) has had solo shows at UNTITLED, NY and Black Dragon Society, Los Angeles, CA. His work has recently been included in group shows in the US and abroad, including Interruption: a break in the continuity of interstitial at Michael Kohn Gallery, Los Angeles, CA (2012); Into the&lt; Surface at Brand New Gallery, Milan, Italy (2011); American Exuberance at the Rubell Family Collection/Contemporary Arts Foundation, Miami, FL (2011); Painting and Space at Luce Gallery, Turin, Italy (2011); and Jessica Dickinson, Oscar Murillo, Cammie Staros and Phil Wagner at Mihai Nicodim, Culver City, CA (2011).</p> Thu, 06 Sep 2012 23:07:42 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lucie Fontaine - Marianne Boesky Gallery 64th Street - August 15th, 2012 - October 15th, 2012 <p>Marianne Boesky is pleased to present “Estate”, a project by Lucie Fontaine. While in English the word “estate” denotes things like real estate, the estate of a dead artist and so forth, in Italian the exact same word stands for summer. Following those combined interpretations and continuing her modus operandi between fiction and reality, collectivity and singularity, Lucie Fontaine and her employees will live in Marianne Boesky Gallery’s New York Upper East Side gallery space at 118 East 64th Street, a historical functioning three-story townhouse. They will occupy the house on August 15 and will leave on October 15. The starting date August 15 corresponds to when Italians celebrate “Ferragosto” [August holidays], which is historically connected to the middle of the summer and the end of the hard labor in the fields. The idea is to create an immersive environment inspired by figures like Florine Stettheimer and Isabella Stewart Gardner as well as by museum houses in Milan – where Lucie Fontaine has an exhibition space – such as the Casa Museo Boschi Di Stefano and the Villa Necchi Campiglio. In the first month Lucie Fontaine and her employees will invite artists to live with them in the space and display their works within this frame, which – enriched by furniture selected by antique dealer Jon Howell – will be partly domestic and partly commercial. The works will be gathered in a way that is deliberately spontaneous and therefore the list of the artists included will be released only on the day that Lucie Fontaine will open to the public on September 15. After that date, Lucie Fontaine will return to her French hometown Colmar, leaving her employees to take care of the house and the works included in the project. At the same time the space will reopen to the public after the summer break and it will have usual opening hours from Tuesday to Saturday, from 10 am to 6 pm. In this scenario, the cohabitation between the gallery staff and Lucie Fontaine’s employees will generate a mixture between public and private, underlining how in the field of contemporary art the notion of leisure and working time are ever more blended and interchangeable. <br /> <br /> Lucie Fontaine is an art employer who lives and works in Colmar. Describing herself as an “art employer,” Lucie Fontaine avoids harnessing her practice to a specific figure of the art field, preferring to cultivate a modus operandi driven solely by her relationship with her employees, a concept of self-generated labor similar to the Master-Slave dialectic presented by Hegel in <i>The Phenomenology of Spirit</i>. Her art employees like to define her as the Jamie Lynn Spears of contemporary art: “pregnant and in search of easy success.”</p> Mon, 30 Jul 2012 23:05:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list