ArtSlant - Openings & events en-us 40 Kevin Beasley, Laylah Ali, Dean Moss, Faustin Linyekula, Jérôme Bel, Steve Paxton, Deborah Hay, Sarah Michelson - MoMA (Museum of Modern Art) - October 15th, 2012 10:30 AM - 5:30 PM <div class="description"> <p class="top"><i>Some sweet day</i> is a three-week program of dance performances in the Museum's Marron Atrium by contemporary choreographers. The series, which pairs six internationally renowned choreographers engaged in an intergenerational and cross-cultural dialogue about each other's work, demonstrates how the current state of dance can engage with a variety of subjects such as aesthetics, gender, race, and history. Concurrently—by putting a focus on moving bodies in an institution that traditionally showcases static objects—<i>Some sweet day</i> argues for the extended potentials and possibilities of the museum space.</p> <p>The program opens with two works from the 1960s by Steve Paxton, founding member of New York’s Judson Dance Theatre, paired with French conceptual choreographer Jérôme Bel's <i>The Show Must Go On</i> (2001)—a work that is, in many respects, a response to Paxton’s works. Over the following week, the Atrium will come alive with new commissions by Congolese choreographer Faustin Linyekula and American experimentalist Dean Moss, with visual artist Laylah Ali. Additionally, the week includes a two-day performance by American artist Kevin Beasley, who created a sound-based work that evokes and alters the social, emotional, and political contours of hip-hop. The final week features a pairing of Judson Church founding member Deborah Hay and Sarah Michelson in an intergenerational conversation on movement, space, and time.</p> <p>Each Saturday, we invite you to join series artists and curators for a response in the Marron Atrium. Each conversation will be led by different respondents, among them Daphne A. Brooks (Princeton University), Douglas Crimp (University of Rochester), and Brent Hayes Edwards (Columbia University).</p> </div> Sun, 02 Sep 2012 23:29:34 +0000 Group Show - Rush Arts Gallery - October 15th, 2012 6:00 PM - 8:00 PM Wed, 02 Jul 2014 17:57:00 +0000 Daniel Brush - Museum of Arts and Design - October 16th, 2012 11:00 AM - 6:00 PM <p>Artist…writer…professor…Daniel Brush is a renaissance man-his exceptional sculpture, paintings, and objects are the tangible documents of an amazing mind, an acute and perceptive eye, and a master craftsman's hands. In 2012, the Museum of Arts and Design will present Daniel Brush: Blue Steel Gold Light, a truly once-in-a-lifetime exhibition of the work of this creative genius. For the first time, Brush's work in painting and drawing will be shown alongside his works of sculpture, objects, and jewelry. The exhibition-comprising examples of his earliest granulated jewelry, a selection of his most significant steel and gold tablet and wall sculptures, examples of his large-scale paintings, and sculptural jewels made from Bakelite, aluminum, steel, and precious gems-will be installed in both of MAD's 2nd floor galleries, the first time a single living artist has commanded that entire floor.<br /><br />MAD exists at the blur zone between art, design, and craft today-much as Daniel Brush himself, whose passions encompass the visual arts, philosophy, science, literature, and poetry. Over the past forty years, Brush has created a body of work unparalleled in contemporary art-from large-scale canvases and drawings to domed boxes encrusted with gold granules so tiny they must be applied with a one-haired brush. The artist's works, no matter the medium, are always an extension of his mind and heart-whether that reflects his day-to-day life or one of his many intellectual pursuits.<br /><br />His career began with painting and teaching. Then, forty years ago, to balance the intensity of his paintings, Brush began to work in gold and various metals as a diversion. Today the two sides are parallel and share equal weight in his mind and work. There are periods in which he is totally occupied with painting, and reciprocally, there are long stretches in which the three dimensional work is all consuming. His paintings and drawings do not fit the canon of "American art," yet are clearly produced by a post-World War II American painter. These large works resemble written passages; astonishingly delicate ink or paint lines are scribed over and over across the surface, recording not only a trance-like remembrance or study of Brush's focus but also his breathing. His small-size sculptures in steel and pure gold are large-scale ethereal expressions of a pure spirit, and yet somehow clearly grounded. "I like that painters searched for the 'heroic sublime.' I like the idea that writers talk about voice."<br /><br />Brush's life and work are inseparable. Depending on one's point of view, he either lives in his studio, or works in his home. His days are organized around a ritual of activities that have evolved over the years, necessary to achieve his almost meditative working state. Much has been said of his hours of sweeping the studio floor, or his eating the same food everyday for years. Brush's obsessions range from his studies of the 14th century Noh theatre to investigations into 5000 types of steel. From pure gold to pure cotton duck to aero space metal fact sheets, these materials are the companions to his language of expression.<br /><br />His contemplative practices inform his work, and Daniel Brush expects that spirit of mindfulness to transfer to those who collect his meticulously wrought work. His collectors who have discovered the artist despite his fiercely reclusive nature comprise Brush's family worldwide. To collect one of his works is to begin a lifelong relationship with the artist; one does not "own" a piece by Daniel Brush so much as serve as its caretaker. Famous for reclaiming his pieces temporarily-and reworking them to express a transformative moment he recently experienced-Brush's singular devotion to his pieces extends to his collectors, for whom he hopes his work will serve as the poetry of reflection.<br /><br />Daniel Brush: Blue Steel Gold Light will be the first comprehensive exhibition exploring the breadth and depth of the artist's career by presenting his artistic vision holistically. MAD believes that Brush's work, which most often goes directly from his studio to private collections, deserves to be seen by a much larger public. Through this work, visitors will be invited to explore the visual, technical, spiritual, and intellectual unity that pervades Brush's oeuvre.<br /><br />Daniel Brush: Blue Steel Gold Light is accompanied by a profusely illustrated four-color publication that will not only stand alone, but continue to be appreciated as a work of art in its own right long after the exhibition has concluded. This will not be a standard art historical monograph but a volume designed by internationally renowned graphic designer Takaaki Matsumoto, with photographs taken by the designer himself. Essay authors include physician and professor of neurology and psychiatry Dr. Oliver Sacks, Columbia University; poet and professor of English, Saskia Hamilton, Barnard College; poetry editor Paul Keegan of Faber &amp; Faber; Brett Littman, Executive Director of The Drawing Center; and David Revere McFadden, curator of the exhibition and Chief Curator of the Museum of Arts and Design.<br /><br />Daniel Brush: Blue Steel Gold Light is made possible through the generous support of Siegelson, New York, with additional support from Christie's, Van Cleef &amp; Arpels, Fiona and Stanley Druckenmiller, an anonymous collector, and a group of private collectors.</p> Sun, 02 Sep 2012 22:15:03 +0000 Charles Santore - Society of Illustrators - October 16th, 2012 10:00 AM - 8:00 PM <p></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">My first twenty-five years as an illustrator began with assignments from a variety of advertising agencies. Illustrating magazine stories was soon to follow along with magazine covers and the occasional book jacket. In 1985 I was approached by Running Press to illustrate a new version of Beatrix Potter’s “Tales of Peter Rabbit.”</p> <p style="text-align: justify;">It was my first book and designing it was for me an epiphany,and a career changing experience. I soon realized that all the illustrations I had done to this point — whether for the advertising or magazine markets — were essentially posters. All the visualin formation in a given assignment had to be synthesized into a single attention grabbing image. One picture designed to convey the entire message — a poster!</p> <p style="text-align: justify;">Picture books on the other hand gave me the opportunity to spend more time developing the characters. Time to get to know them and the world they inhabit. As I choreographed Peter’s movements through Mr. McGregor’s garden, I became aware of the importance of the cadence and pacing of the picture within the context of the book. I now found I could design quiet pictures,pictures that can slowly, rapidly, or whatever the case may be,build into a great finale. It is for me not unlike staging a ballet or visualizing a musical composition.</p> <p style="text-align: justify;">Each book takes about two years to complete. I often feel like a journalist taking notes and making sketches as I follow my characters through their various adventures. For Dorothy, Snow White, Paul Revere, Santa and me, each trip presents new obstacles to overcome and new challenges to meet. I started this journey with the narrative picture in 1985, and after sixteen picture books I’m still on the road.</p> <p></p> <p></p> <p></p> <p></p> Tue, 09 Oct 2012 19:23:51 +0000 Antonio Petruccelli - Society of Illustrators - October 16th, 2012 10:00 AM - 8:00 PM <p>Born in Fort Lee, New Jersey, Antonio Petruccelli (1907–1994) developed his artistic talent at an early age and began his career as a textile designer. After winning several House Beautiful cover illustration contests, he became a freelance illustrator in 1932; subsequently his work appeared on the covers of <em>Fortune, The New Yorker, Collier’s, Today</em> and <em>House Beautiful</em> magazines. The art director for <em>Fortune</em>, Francis Brennan, said of Petruccelli, “Tony was Mr. Versatility for <em>Fortune</em>. He could do anything, from charts and diagrams to maps, illustrations, covers and caricatures.” Throughout his life, Petruccelli won many important design awards including a U.S. Postage stamp for the American Steel Industry’s 100th anniversary and a Bicentennial medal for the state of New Jersey. <br /><br />During his tenure at <em>Fortune</em> from 1933 to 1945 he created 30 covers, 28 of which were published. All displayed his characteristic precision and wonderful quality of touch. At the time, the <em>Fortune</em> cover was a large scale and lavish production, printed by the gravure process on heavy card stock. Petruccelli’s witty and imaginative contributions made full use of the potential for rich and dense color combined with a great repertoire of hatch, scratch and stipple. The images he devised were entirely his own and seemed to owe very little to the work of his contemporaries. <br /><br />For <em>Fortune’s</em> first ten years the cover followed a clearly defined template or framing device and Petruccelli, above all others, exploited and played with this device to stunning effect. In compositional terms he favored oblique viewpoints and strong diagonals. His early training in textile design fueled his ability to create rhythmic and dynamic compositions and supplied him with an eye for the possibilities of repeated motifs. Many images suggest an intuitive understanding of the dynamics of Italian Futurism combined with an Art Deco sensibility. His covers and illustrations provided social commentary through the depiction of various aspects of American life, reflecting the social, economic and political atmosphere over several decades.</p> Mon, 01 Oct 2012 01:14:16 +0000 Susanna Tanger - CREON - October 17th, 2012 6:00 PM - 9:00 PM <p>SUSANNA TANGER<br /> October 17 to November 15<br /> <br /> Reception:  Wednesday Oct 17, 6 to 9 pm<br /> <br /> CREON    <br /> 238 East 24 St, 1B (near 2nd Ave)<br /> Gallery Hours:  Wed &amp; Thu, 6 to 8 pm, <br /> <br /> "In making this group of paintings, my interest has been in the perception of a sudden shift, a transition from one plane to another. Through the use of illusion or by juxtaposing two or three planes with contrasting colors, I've tried to indicate meaning through abstract imagery." - S.T. Sept. 2012.<br /> <br /> "There is a sense about the work that doesn't fall within conventional modernist abstraction." - Doug Sanderson<br /> <br /> " . . Tanger's painting derives from the tradition of abstract expressionism and reflects the aggressive rhythms of New York  . . .  she has a serious professional rigor together with great candor." - Aldo Castelpietra, Il Piccolo, Trieste<br />  <br /> In 1975 Susanna Tanger's work was shown in two notable shows of the year: the Whitney Biennial, and Musee d'Art Moderne de la Ville de Paris "Tendances Actuelles de la Nouvelle Peinture Americaine."  In the three years that followed, her work was included in the inaugural "Rooms" exhibition and "Painting Show" at PS1, "SoHo in Berlin" at the Akademie der Kunste, solo shows in SoHo, Paris and Milan, and group exhibitions in Cologne and Geneva - and she hasn't stopped painting or showing her work since then.<br /> <br /> In the following decades she has had numerous solo shows and has exhibited in many group shows in Europe and in the USA. Her most recent solo exhibition in New York was at The Wooster Art Space in 2007. -<br /> <br /> #####</p> Sat, 06 Oct 2012 21:49:02 +0000 D.D. Tillett, Leslie Tillett - Museum of the City of New York - October 17th, 2012 10:00 AM - 6:00 PM <p><strong><em>The World of D.D. and Leslie Tillett</em></strong><strong> </strong>is the first retrospective of the work of textile designers D.D. Tillett (1917-2008) and Leslie Tillett (1915-1992), two important figures in the history of post-war American design. The exhibition will introduce the work of these remarkable designers to a new generation. </p> Mon, 01 Oct 2012 00:24:16 +0000 Nina Chanel Abney - Anna Kustera - October 18th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;">Anna Kustera Gallery, in collaboration with Kravets/Wehby Gallery, is pleased to announce the opening of I DREAD TO THINK, an exhibition of new works by Nina Chanel Abney.</p> <p style="text-align: justify;"> At Kravets/Wehby Gallery, Abney will present new small and mid-sized paintings. At Anna Kustera Gallery, Abney will debut her sixty foot long, six foot tall painting that she has been working on for the past two years. Starting with the idea of painting a post-apocalyptic scene, Abney brings together many different threads of influence. The world she paints mimics in style the rapid dissemination of ideas and images that have become so closely associated with social media and the Internet. Taking information from the glut around her, Abney draws on art history, current events and issues of race, politics, sex and gender to present a world that rejects a narrative. Instead, Abney seeks to highlight the cacophony of her contemporary world.</p> <p style="text-align: justify;">Nina Chanel Abney is an artist who works in New York City. Her work is currently on view at the Brooklyn Museum and at the Corcoran Museum in Washington, D.C. She was recently included in Vitamin P2 and featured in Departures Magazine. A selection of her work can be seen in the traveling exhibition "30 Americans" from the Rubell Family Collection.</p> Wed, 07 Nov 2012 19:50:21 +0000 Rosalee O. Isaly - Atlantic Gallery - October 18th, 2012 5:00 PM - 8:00 PM <p>YACOUT: Impressions of Morocco is a collection of monoprints, etchings and oils.</p> <p>Open Receptions: <br /> Thursday October 4, 5-8 pm<br /> Thursday October 18, 5-8 pm</p> Sat, 13 Oct 2012 16:39:40 +0000 Jill Greenberg - ClampArt - October 18th, 2012 6:00 PM - 8:00 PM <p>ClampArt is very pleased to announce “Jill Greenberg: Horse,” the artist’s seventh solo show at the gallery. The exhibition coincides with the release of Greenberg’s monograph of the same title from Rizzoli (Hardcover, 224 pages, 13 x 9.4 inches, $55), which includes an essay by the artist and a text from renowned writer, A. M. Homes.</p> <p>At the beginning, the project represented Greenberg’s return to her original muse. As a young girl she was obsessed with drawing, painting, and photographing horses. As Greenberg’s young daughter also picked up an interest in the animals and began riding, she started thinking about the bit, halter, and bridle in terms of how these animals are harnassed and controlled. Greenberg soon found an article by a British academic who compared the ways horses function in society to the way women historically have been oppressed, and he included an illustration of a female wearing a “scold’s bridle,” which was a medieval punishment for mouthy women. Greenberg, still enmeshed in her feminist series, “Glass Ceiling,” began thinking about horses in an entirely new light.</p> <p>In depicting these animals, Greenberg continually addresses issues of sexuality. She vacillates between highlighting the animals’ masculinity and femininity. “In my essay [for the book],” explains Greenberg, “I explore how the photography relates to gender issues and whether horses are perceived as feminine or masculine,” says Greenberg. “I ended up getting to the place where they’re both.” Phallic necks and muscles are, in the end, balanced out with soft, pastel colors and tones.</p> <p>In contrast to her previous series of monkeys and bears, these photographs do not rely on countenance or anthropomorphization. “If the monkeys and bears series were portraits of animals as actors, these are pictures of horses as if they were supermodels,” explains Greenberg. “It’s about figure studies and their physiques and their silhouettes.” Form, rather than expression, guides the work overall.</p> <p>This series is also unique with regard to the freedom Greenberg allowed herself in terms of postproduction work. Greenberg sets her work apart from that of many traditional photographers by allowing her own hand to play a more prominent role in the imagery. Using “digital painting” techniques, as she terms it, she layers a variety of unexpected colors to the images.</p> <p>ClampArt will also be partnering with Milk Gallery and Rizzoli for a book launch on Friday, October 19th, from 7.00 to 10.00 p.m., and a three-day exhibition through Sunday, October 21st. Milk Gallery is located at 450 West 15th Street, New York City.</p> <p>Jill Greenberg’s fine art has appeared in numerous prestigious publications such as the <em>New Yorker</em>, <em>Washington Post</em>, <em>Boston Globe</em>, <em>New York Sun</em>, <em>Blink</em>, <em>Harper’s Magazine</em>, <em>Art Ltd</em>, and <em>French Photo</em>. Her photographs have been exhibited in a great number of gallery and museum exhibitions all around the world, and her work is represented in such permanent collections as the Portland Art Museum, Oregon; The Kemper Museum, Kansas City, Missouri; National Academy of Sciences, Washington, DC; Southeast Museum of Photography, Daytona Beach, Florida; among others.</p> Mon, 08 Oct 2012 22:47:23 +0000 Jim Dine, Karen Weiser - Dia Art Foundation - October 18th, 2012 6:30 PM - 8:30 PM <h3 class="subtitle_4">Jim Dine</h3> <div class="content_body dia-links">Jim Dine was born in Cincinnati, Ohio, in 1935. Dine’s paintings, sculptures, photography, and prints have been the subject of nine major surveys and retrospectives since 1970, including solo exhibitions at the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Whitney Museum of American Art, New York; and a major traveling retrospective organized by the National Gallery of Art. In 1969, Trigram Press and Asa Benveniste, London, published Dine's first book of poems <i>Welcome Home Lovebirds</i>. Dine has made etchings to accompany Robert Creeley's book <i>Mabel</i> and collaborated with Ron Padgett on <i>The Adventures of Mr. and Mrs. Jim and Ron</i> and <i>Oo La La</i>. In 2008, Gerhard Steidl printed and published Dine’s <i>52 Books</i>. Dine lives in Walla Walla, Washington, and Gottingen, Germany, and farms both places.</div> <p><a class="anchortag" name="c1827"></a></p> <h3 class="subtitle_4">Karen Weiser</h3> <div class="content_body dia-links">Karen Weiser is a mother, poet, and doctoral candidate at the CUNY Graduate Center, studying early American literature. Her publications include <i>To Light Out</i> (Ugly Duckling Presse, 2011), her first full-length collection, as well as the following chapbooks: <i>Dear Pierre</i> (Well Greased Press, 2012); <i>Pitching Woo</i> (Cy Press, 2006); and <i>Placefullness</i> (Ugly Duckling Presse, 2004). Poems by Weiser have appeared in the Poetry Project Newsletter, the <i>Chicago Review</i>, the <i>Brooklyn Rail</i>, as well as several anthologies. She is also the recipient of a Fund for Poetry award and the Mellon Fellowship through the Center for the Humanities. She lives in New York City and teaches English courses at Queens College.</div> Sun, 30 Sep 2012 23:21:37 +0000 Nadav Kander - Flowers Gallery NY - October 18th, 2012 6:00 PM - 8:00 PM <p>Flowers Gallery is pleased to announce the New York debut of Nadav Kander’s Prix Pictet award-winning photographic series, Yangtze — The Long River. For this body of work, Kander traveled the nearly 4,000-mile long Yangtze River, from mouth to source, photographing the landscape and the people living along its shores. Yangtze — The Long River is a body of work that captures the dramatic effects of a nation at the precipice of enormous industrial and economic change and considers the history and folklore of the waterway that runs through the blood of the people. The exhibition will run from October 19th through November 24th, with a reception for the artist on October 18th, from 6-8pm.<br />Flowing for a distance of 3,988 miles, the Yangtze is the longest river in Asia and the third longest river in the world. Roughly bisecting the country of China from West to East, the edges of this watercourse are home to a population larger than America’s. One in every eighteen people on the planet lives along its shores.<br />Over a period of three years, Nadav Kander made five trips to the banks of the Yangtze, traveling up-stream from mouth to source. Using the river as a metaphor for a world in flux, Kander attempted to relate and reflect the implications of modern-day China’s incomprehensible and seemingly unnatural pace of development.<br />Kander’s China is a country both at the beginning of a new era and at odds with itself. With the accelerated clip at which China’s economy continues to grow, this body of work examines how progress can dramatically affect the way the physical world shapes our perception of reality and our understanding of ourselves. Kander says in a statement about this body of work:<br />“China is a nation that appears to be severing its roots by destroying its past. Demolition and construction were everywhere on such a scale that I was unsure if what I was seeing was being built or destroyed, destroyed or built.”<br />Viewers of this exhibition are taken on a meditative and meandering path beginning at the river’s coastal estuary, where thousands of ships leave and enter each day. Imagery of man-made evolutionary progress abounds: the renowned suicide bridges, coalmines and the largest dam in the world – The Three Gorges Dam. Further inland we encounter Chongqing - the fastest-growing urban center on the planet. In the upper areas of the Yangtze, towards its source on the Tibetan Plane, the dense architecture gives way to the mountains—a sparsely populated area where the stream, in its most glacial form, is mostly broken ice.<br />The human figures in these pictures are colorful wisps, often overshadowed by the monochromatic elements of industrial infrastructure and a climate that appears muted by humid weather and pollution. In his statement about the work, Kander draws references to John Martin’s and Casper David Friedrich’s paintings ―…where humans are dwarfed against the might of nature and God” and J.M.W. Turner's paintings, “…where tiny figures are lost in the seething violence of nature suggesting the ultimate defeat of all endeavor, the fallacy of hope.” Kander continues, “I felt the smallness of man pitted against huge ideas, the insignificance of man compared to the state."<br />These bright figures, so stunted in size by their encroaching habitats still manage to anchor Kander’s compositions, and provoke the viewer’s imagination about what the flow of life must be like at a time of accelerated progression.<br />In speaking about his work, Kander relates a friend’s personal narrative:<br />A Chinese friend I made whilst working on the project reiterated what many Chinese people feel: “Why do we have to destroy to develop?”...many of us can revisit where we were brought up and it will be much the same—it will remind us of our families and upbringing. In China that is virtually impossible. The scale of development has left most places unrecognizable. “Nothing is the same. We can’t revisit where we came from because it no longer exists.”<br />Born in Tel Aviv, Israel in 1961, Nadav Kander currently lives and works in London. His work forms part of some of the major collections in the world. In 2009, Kander received the prestigious Prix Pictet photographic award for a selection of photographs from Yangtze – The Long River. He is a regular contributor to many international publications, including The New York Times Magazine, for whom he photographed ‘Obama’s People’, a portfolio of 54 portraits of the Obama administration.<br /><br /></p> Tue, 09 Oct 2012 23:09:00 +0000 Randall W. L. Mooers - George Billis Gallery- NY - October 18th, 2012 6:00 PM - 8:00 PM <p>On the surface my paintings arise from a strong attraction to the natural light of my north facing windows and the forms that I place in its path. I am drawn to the shapes and surface textures of some forms and the reflective qualities of others. The work always begins with an almost obsessive fascination with spatial relationships that extends back to early childhood. The images sometimes represent a personal symbolic narrative and other times simply imply a human presence.</p> Sat, 20 Oct 2012 20:35:43 +0000 Kenny Harris - George Billis Gallery- NY - October 18th, 2012 6:00 PM - 8:00 PM <p>The subject of these paintings is a single chateau called Le Quesnoy, which overlooks Mont Saint Michel in Normandy, France.I stayed there fall of ’09, painting plein-air and interiors and taking photos of the chateau. It was quite old and had been in my friend’s family for hundreds of years. The structure and décor had been added on to and redone various times. The nature of the building was an eclectic mixture of different times, aesthetics and technologies. The colors were arresting and unusual. There were paintings all over the house, mostly done by members of the family. My intention with this show is to evoke the feeling of being in this space: it �s bright colors and old details shaped by the indirect light filtering through centuries old windows. I hope the viewer, surrounded by these paintings, can be given an experience of this place. But not just the physical description, rather the state of mind the interiors elicited: a mixture of calmness and visual excitement.</p> Sun, 07 Oct 2012 22:24:41 +0000 Marc Leuthold - George Billis Gallery- NY - October 18th, 2012 6:00 PM - 8:00 PM Mon, 05 Nov 2012 23:39:02 +0000 Hank Willis Thomas - Jack Shainman Gallery 20th Street - October 18th, 2012 6:00 PM - 8:00 PM <p><b>Jack Shainman Gallery</b> is pleased to announce the opening of <i>What Goes Without Saying</i>, <b>Hank Willis Thomas'</b> third solo exhibition with the gallery. The show includes photographs, sculpture, painting and new media, all which delve into the construction of mythologies embedded in popular culture. Known for his innovative use of advertising, a globally ubiquitous language, he builds complex narratives about history, identity and race. This show brings together several facets of Thomas' practice to explore objects and language, torn from their history, brought to our present, and repurposed to reveal the process of their agency.<br /> <br /> The works in <i>What Goes Without Saying</i> draw from a section of Roland Barthes' book, <i>Mythologies</i>, to explore the ideas of explicit and implicit representations found in objects, gestures and phrases. By separating language from the advertising in which it appears, he effectively deconstructs the relationship between the reader and viewer. In Thomas' new carborundum works, part of the <i>Fair Warning</i> series, he takes text from cigarette advertising in magazines from the 1960s, 1970s, and 1980s, retaining the font while abandoning the accompanying visuals. The decontextualized slogans like <i>Stronger Yet Milder</i>, <i>Measurably Long</i>, and <i>Immeasurably Cool</i>, come to stand for more than just a cigarette, highlighting the adjectives used to connote power and elegance, often times with a sexual tone. These works, produced at the Lower East Side Print Shop where Thomas is currently in residence, are made from a material that simultaneously provides a galactic backdrop while mimicking the non-slip adhesive commonly used to demarcate space in museums. The use of the material further complicates the object-viewer relationship.<br /> <br /> Representing identity through symbol and political motive, Thomas brings together a series of paintings sourced from the advocacy buttons worn in support of parties, movements and ideologies over the past fifty years. These small gestures are used as intellectual weapons and markers of participation. Alliances are transformed into precious objects that speak to the creation of collective language and the power of symbols.<br /> <br /> Individual objects and their histories are further explored in <i>Thenceforward and forever free</i>, an enlarged replica of a mid-19th century abolitionist lapel pin toting a photograph encircled by delicately wrought alloy metal known to be one of the very first political buttons to incorporate a photograph. Thomas is able to resurrect the object's history and re-charge its agency to reflect a characteristically American means of both political advertising and personal expression.<br /> <br /> <i>What Goes Without Saying</i> focuses on subtext, shifting meaning and the complexity of historical actions embedded in visual culture. These ideas are important in the context of the current election and the theater of the campaigns.<br /> <br /> Hank Willis Thomas lives and works in New York City. He has exhibited extensively throughout the United States and internationally. Recent solo and group exhibitions include <i>Strange Fruit</i>, The Aldrich Contemporary Art Museum, Connecticut, 2012; <i>Hank Willis Thomas: Strange Fruit</i>, Corcoran Gallery of Art, Washington, D.C., 2011-2012; <i>30 Americans</i>, Rubell Family Collection, Florida, 20082013, traveling next to the Memphis Brooks Museum, Tennessee; More American Photographs, CCA Wattis Institute for Contemporary Art, California, 2011 -2013, traveling next to the Wexner Center for the Arts, Ohio; <i>Making History</i>, MK Museum für Moderne Kunst, Germany, 2012; 12th Istanbul Biennial, Turkey, 2011; and Greater New York, MoMA PS1, New York, 2010. <br /> <br /> Thomas is included in numerous private and public collections including the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum; New York, the Studio Museum in Harlem, New York; The Whitney Museum of American Art, New York; and the Baltimore Museum of Art, Maryland.<br /> <br /> Thomas, along with Chris Johnson, Bayeté Ross-Smith, and Kamal Sinclair, created <i>Question Bridge</i>, a project that critically explores challenging issues within the black male community by instigating a transmedia conversation among black men across the geographic, economic, generational, educational and social strata of American society. It has been shown at the 2012 Sundance Film Festival, the 2012 Sheffield Doc/Fest, the Brooklyn Museum, the Oakland Museum of California and the Utah Museum of Contemporary Art and is currently on view at the Project Row Houses in Houston, Texas.</p> Wed, 10 Oct 2012 22:59:23 +0000