ArtSlant - Openings & events en-us 40 Robert C. Morgan - CREON - November 14th, 2012 6:00 PM - 8:00 PM <p>Post-Election Poetry Reading by Robert C. Morgan<br />Poems by Jack Kerouac and selections from "Poems of Rage"  by Robert C. Morgan<br /><br />Wednesday, Nov 7 at 6:30 pm<br />Gallery Hours: 6 to 8 pm<br /><br />Susanna Tanger paintings are currently on exhibition (show closes Nov 15), and<br />"Works on Paper and a Painting by Robert C. Morgan" will be exhibited May 2013<br /><br />Robert C. Morgan is an internationally renowned art critic, curator, artist, writer, art historian, poet, and lecturer. He holds an MFA in Sculpture from the University of Massachusetts, Amherst (1975), and a Ph.D. in contemporary art history from the School of Education, New York University (1978).  Dr. Morgan lives in New York, where he lectures at the School of Visual Arts and is Adjunct Professor in the graduate fine arts department at Pratt Institute in Brooklyn. He is Professor Emeritus in Art History from the Rochester Institute of Technology.  Morgan is also the author of some 2000 essays and reviews, and is contributing editor to Sculpture Magazine, Asian Art News, The Brooklyn Rail, and New York correspondent for Art Press (Paris).<br /><br /></p> Mon, 05 Nov 2012 17:37:47 +0000 Mary Mattingly - NURTUREart Gallery - November 14th, 2012 7:00 PM - 9:00 PM <p>Mary Mattingly's work collapses boundaries between performance, sculpture, architecture, and photography. Through wearable environments and autonomous living systems, her practice addresses nomadic themes that are based on the need to migrate in environmental and political situations.<br /> <br /> Her work has been featured in ArtForum, The New York Times, The New Yorker, The Financial Times, Le  Monde Magazine, ICON, The Brooklyn Paper, Aperture, BBC News, MSNBC, and more. She is currently a Fellow at Eyebeam Center for Art and Technology, and resident at Clocktower Gallery, ArtOnAir.</p> Fri, 09 Nov 2012 03:49:18 +0000 Cig Harvey - Robin Rice Gallery - November 14th, 2012 5:00 PM - 8:30 PM <p>The Robin Rice Gallery announces, “You Look at Me Like an Emergency,” Cig Harvey’s photographic and free-writing installation inspired by her best selling book. This is Harvey's third solo show at the Robin Rice Gallery.  The opening reception will be held on Wednesday November 7th from 5:30pm to 8:30pm, with an artist talk and book signing to follow on Saturday November 10th at 3:00pm. The show runs through December 30th, 2012. </p> <p>When the viewer steps into the Robin Rice Gallery they are transported to a different medium. The room is set up to mimic the book, inviting the viewer to walk through its pages. The phrase, “You Look at Me Like an Emergency,” shouts in white hand written script against the back red wall, replicating the cover. Photographs of varying scale line the walls salon style and free-writing excerpts run along the chair rails, telling of Harvey’s universally poignant story: One of relationship failures, falling in love and adjusting to motherhood. Through vivid color and perfect composition of family, friends, found objects and the artist herself, we are seduced.  </p> <p>When asked to explain the book title, Harvey says it’s in response to a look her soon-to-be-husband gave her. One full of such passionate intent it bordered on alarm. In that precise moment, she knew she was falling in love with him.   </p> <p>As the protagonist of her tale, we see Harvey standing alone in vintage dresses. She chooses them specifically because they lend themselves to a different time. Tapping into the universal, her face and the faces of her subjects are often obstructed, allowing the viewer to create their own story. The images are typically physical close-ups, intensely vibrant and ethereal. In “The Velvet Settee,” Harvey’s niece lay slightly twisted on a small velvet couch. She’s illuminated with such depth we can feel the plush fibers bend beneath her skin—the effect is as dreamlike as the drowsy expression on her face. In the invitational image, “The Pale Cadillac,” a young girl stares out the window of a vintage car. Beyond the composition what’s most visually arresting is her gaze, both brave and challenging. Each image leaves us restless, disturbed, always wanting to know more. </p> <p>Through masterful use of her Hasselblad, Harvey transforms self-portraits and ordinary objects into the extraordinary. She strives to capture the real in the purest fashion, choosing to create beauty “in camera,” dispelling the need for post-production nuance. She is a visual painter, creating images that shimmer with hue and gesture, that have punctuation and staccato. She uses color as her magic wand to haunt and seduce.  “I take pictures because it puts me on a dock at 5:00AM in the moonlight, or in a field of fireflies at dusk, or on a channel marker in the middle of the Atlantic, it's moments like these that remind me that the world is magical.”</p> <p>Harvey’s work has been referenced as a sort of photographic Maira Kalman, an artist whose work is “a narrative journal of her life and all its absurdities.” When it came to creating the <i>You Look at Me Like an Emergency</i> book, Designer, Deb Wood took on the initiative with great care, blending hand written text and imagery together to tell Harvey’s story, or as the protagonist claims, her “book of secrets.”  <i>You Look At Me Like An Emergency</i> has been on <i>Photo Eye’</i>s the best seller list for seven weeks and received critical acclaim by PDN, <i>La Lettre, Blink, Aesthethica, Boston Globe, Lenscratch, Acurator, Fotografi </i>and <i>The Independent on Sunday.</i></p> <p>Cig Harvey was born in England in 1973. She fell in love with photography at the age of thirteen, studied the craft, and later received her MFA. She now lives on the coast of Maine and Boston, Massachusetts. A dedicated mentor, she teaches workshops in Santa Fe and The Maine workshops and lectures at institutions around the world. She was an Assistant Professor of Photography at the Art Institute of Boston at Lesley University. Her first major solo show opened in March 2012, at the Stenersen Museum in Oslo, Norway. Her work has been held in permanent collections of notable museums including The Museum of Fine Arts, Houston and the International Museum of Photography, George Eastman House, Rochester, NY. Harvey also collaborates on commercial projects for high profile clients such as <em>New York Magazine</em>, <em>Harper’s Bazaar</em> Japan and Kate Spade. </p> Fri, 09 Nov 2012 04:03:22 +0000 Jennifer Catron & Paul Outlaw - Sargent's Daughters - November 14th, 2012 6:00 PM - 8:30 PM <p style="text-align: justify;" class="FreeFormA">Allegra LaViola Gallery is pleased to present Super Supra Diluvian, an exhibition of performance, installation, sculpture and collage by Jennifer Catron and Paul Outlaw. </p> <p style="text-align: justify;" class="FreeFormA"> As performers and sculptors, Catron and Outlaw are known for creating altered and displaced environments while they take on various roles, such as  Jen n' Outlaws Fish Fry Truck and Crawfish Boil, in which the artists created a hydraulically unfolding American Flag food truck serving Southern style fare in the middle of New York City. In Coming Soon, the duo acted as pilots of a hot air balloon, flying guests over New York.</p> <p style="text-align: justify;" class="FreeFormA">In Imeday Imeday Ollarday Icklenay, Catron and Outlaw’s bold constructions and outrageous performances resulted in the transformation of Allegra LaViola Gallery into an elaborate dinner extravaganza. Guests were seated at a crystal clear table, and served decadent courses as the table rose 10 feet into the air above the onlookers.  Adorning the walls were meticulous reimaginings of Old World Master paintings.</p> <p style="text-align: justify;" class="FreeFormA">In Super Supra Diluvian, Catron and Outlaw take on roles of Artists: magnifying their fame, praising and critiquing themselves as well as the world at large.  The duo’s interest in the shifting perception of reality and notoriety has led them to question what creativity and talent is, and what is rewarded.  Gallery visitors will be shepherded through a gamut of activities, becoming integral to the show as they literally become the artwork. The audience as artist will take part in the celebration of themselves in an exciting, bacchanalian tour of their own success.   While guests are amused, entertained, and perhaps unknowingly performing themselves, Catron and Outlaw will be engaging in a brave act of ultimate performance painfully gilding themselves as paramount figures within the art world.  As the guests pretend to be the artists, so will the artists pretend to be famous. </p> <p style="text-align: justify;" class="FreeFormA">In addition to sculpture, performance and installation, Catron and Outlaw have created a series of collages that weave together mythology, religion and contemporary culture, creating a new symbology and drawing parallels between gods and humans while skewering everyone's desire for celebrity.  Revolution and upheaval wash away stagnation, creating a new niche in today's overwhelmed society. The show presents itself as an intermediary before drastic change and a liaison to a near future.  Do not miss the spectacular moment, or you might be left behind.</p> <p style="text-align: justify;" class="FreeFormA"><b>Jennifer Catron &amp; Paul Outlaw</b> both received their MFAs from Cranbrook Academy of Art.  They have exhibited at Richmond Center for the Arts, Kalamazoo, MI; MaSS MoCA, North Adams, MA; Grizzly Grizzly, Philadelphia, PA; Cranbrook Art Museum, Blooomfield Hills, MI and numerous public arenas. They have appeared in New York Magazine, Art Forum, Paper Magazine, Art Fag City, Time Out New York and The New York Times. This is their second solo exhibition at Allegra LaViola Gallery.</p> Wed, 14 Nov 2012 18:00:31 +0000 Jack Goldstein - Venus Over Manhattan - November 14th, 2012 9:00 PM - 12:00 AM <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Jack Goldstein, whose oeuvre encompasses films, paintings, recordings and word poems, was a member of the first graduating class of CalArts (California Institute of Arts) in 1972 — an auspicious start for a dazzling and too-brief career that remains much admired but stubbornly enigmatic. Goldstein moved to New York, where his rejection of Minimalism and urgent embrace of imagery helped establish him as a key figure in what is today known as the Pictures Generation, and made him one of the most influential American artists of the 1980s. He showed his work initially at the new Metro Pictures; then bounced among several other galleries; slowly fading and eventually removing himself completely from the New York art scene. Goldstein returned to California in the 1990s and virtually disappeared from public consciousness until his 2002 retrospective at Le Magasin in Grenoble. A few months before the publication of <em>Jack Goldstein and the CalArts Mafia</em>, an oral history of his early days and with interest in his work growing significantly, he tragically ended his own life on March 14, 2003. In the decade since his death, interest in Goldstein has grown significantly. But the deeper intentions of his sometimes rapturous and often ominous work remain a mystery. </p> <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Beginning November 14th, Venus Over Manhattan will present <strong>Where Is Jack Goldstein?</strong>, an exhibition conceived to invite further exploration of that mystery and to re-contextualize the artist’s significant contributions. The show will be one of the very first ever to focus in depth upon Goldstein’s early paintings. On view will be 13 key canvases from the decade spanning 1976 to 1986, all on loan from important private collections. Among the earliest works included are "The Pull," an experiment combining photography and painting, along with an important early- untitled triptych from 1979. "Untitled (#26)” from Goldstein’s Burning City series (1981) leads to the artist’s fully developed canvases, represented in <strong>Where Is Jack Goldstein?</strong> by a monumental work from the Blitzkrieg (Tracer) series. The Lightning series will be represented by three large paintings, and Goldstein’s interest in celestial phenomena is revealed in "Untitled (Observatory)” and "Untitled"(Eclipse),” both made in 1983. </p> <div class="page" title="Page 2"> <div class="layoutArea"> <div class="column"> <p><strong>Where Is Jack Goldstein?</strong> will be on view from November 14, 2012 through January 15, 2013. At the exhibition’s November 14th opening, Venus Over Manhattan will restage Goldstein’s famous performance work “Two Fencers” (1977).</p> <p>The exhibition will be accompanied by a publication, including a key essay by artist Ashley Bickerton. A leading figure of the Neo-Geo generation of the 1990s, Bickerton was hired upon graduation from CalArts by Jack Goldstein’s studio, where he remained the artist’s primary assistant for four years. His contribution to the publication, titled <em>Jack ’n’ Me,</em> recalls his firsthand experience with Goldstein and provides an extraordinary look at the real Jack Goldstein, providing</p> <p>one man’s answer to the question posed by this show’s title.</p> <p><strong>Where is Jack Goldstein?</strong> also will present the original print of “Shane” (1975), one of Goldstein’s most important and best-known films. This work will be projected continuously throughout the run of the exhibition. Likewise, the gallery will complement the show with the music of Patsy Cline, whose recordings were played without interruption in the artist’s New York studio.</p> <p></p> </div> </div> </div> </div> </div> </div> </div> </div> </div> Tue, 05 Feb 2013 19:37:30 +0000 Suzanne Caporael - Ameringer | McEnery | Yohe - November 15th, 2012 6:00 PM - 8:00 PM <p>New York, New York – Ameringer | McEnery | Yohe is pleased to announce an exhibition of new paintings by Suzanne Caporael. Seeing Things will open on 15 November and will remain on view through 22 December 2012. A reception for the artist will take place 15 November, between 6:00 and 8:00 PM. The public is welcome.</p> <p><br />A few years ago, Suzanne Caporael hit a patch of ice while driving on a rural road. As the car raced down a steep hill, she “saw” the landscape slowly dragged across her vision – as though her eyes were trying to hold her in place while the car continued its slide. The memory of that visual anomaly led her through a thicket of books and essays on the subject of visual cognition. Neuroscientists, magicians, artists and art historians, as well as psychiatrists, psychologists and evolutionary biologists, have all contributed to the literature on the eye—brain connection.</p> <p><br />The eye is device, the brain interprets. Vision has its own peculiar language of cues, some straightforward and some more subtle. In her new paintings, Caporael grapples with these cues, and with the way in which time and cultural reference affect how we see what we see.</p> <p><br />From the visceral to the deeply conceptual, the paintings present challenges to recognition and preconceptions. Some, like 632 (Home Field, Witnessed) are minimally descriptive. Others construct and reveal methodology of optical illusions, and a pair of “Newton’s Buckets” address the conundrum of rendering the strictly mental image. In 622 (Pierrot After Watteau After Picasso After Gary Clarke), fully seeing requires specific prior knowledge and 624 (Youth with a Wooden Leg) presents a choice between conflicting realities. Included are Caporael’s paintings alluding to and celebrating other artists’ engagement with the discordance between seeing and knowing.</p> <p><br />Exploring the different pathways to seeing has led Caporael to soften her formalistic practice, and the result is a full-blown stylistic disparity well suited to her subject. The paintings do not look alike. Each is endowed with an honesty of purpose of its own. Confidently moving between the dynamic and the serene, Caporael reveals a flexibility and dexterity previously held at bay. The elegance remains, as does the scholastic rigor that has categorized each series in the artist’s 30-year career.<br />Individually these paintings ask questions that beget more questions. Collectively, they invite the viewer to share the artist’s journey – to see ourselves seeing.</p> <p><br />Suzanne Caporael was born in the United States in 1949. She earned her Bachelors and Masters degrees from the Otis Art Institute in Los Angeles, California. Her work is represented in many major museum collections including the Whitney Museum of American Art, New York, NY; The Museum of Contemporary Art, Los Angeles, CA; the Art Institute of Chicago, Chicago, IL; the Los Angeles County Museum of Art, Los Angeles, CA; the Milwaukee Art Museum, Milwaukee, WI; the Legion of Honor, Fine Arts Museums of San Francisco, San Francisco, CA; the San Francisco Museum of Modern Art, San Francisco, CA and the Yale University Art Gallery, New Haven, CT, among others.</p> <p><br />The artist lives and works in Stone Ridge, New York with her husband, novelist Bruce Murkoff. This exhibition is accompanied by a fully illustrated catalogue with an essay by noted poet, writer and critic John Yau.</p> <p><br />Ameringer | McEnery | Yohe is open Tuesday through Saturday 10 AM to 6 PM and by appointment. Press contact: Thomas Quigley at</p> Thu, 08 Nov 2012 16:15:36 +0000 Group Show - Apexart - November 15th, 2012 6:00 PM - 8:00 PM <p>In the savvy 21st century, we view commercial material culture as inauthentic, phony, and less than legitimate.<br />Or at least, that’s what we say we think. As Real As It Gets puts a different idea on offer by gathering<br />fictional products, imaginary brands, hypothetical advertising and speculative objects, devised by<br />artists, designers, writers, musicians, companies and in one case, a government entity.<br />Here’s the pitch: The ambiguity in the relationship between our selves and our brand-soaked world is exactly what’s worth taking seriously, not waving away. When the consideration is filtered through an open and unpredictable mind, anything seems possible, if not exactly plausible: ersatz brands get defictionalized into buyable existence and non-products get shop-dropped onto retail shelves. Imaginary brands and fictional products can become a means of expressing joy, fear, humor, unease, ambivalence — the real stuff, in other words.<br />The medium is the marketplace. Come browse for yourself. No purchase required.</p> <p><br />Rob Walker is a contributing writer to The New York Times Magazine and Design Observer, and the author of Buying In: The Secret Dialogue Between What We Buy and Who We Are and Letters From New Orleans. He co-edited, with Joshua Glenn, Significant Objects: 100 Extraordinary Stories About Ordinary Things (Fantagraphics: 2012), and co-founded, with Ellen Susan and G.K. Darby, The Hypothetical Development Organization, which was included in the official U.S. exhibition at the 2012 Venice Architecture Biennale.</p> Tue, 23 Oct 2012 00:45:13 +0000 Björn Schülke - bitforms gallery - November 15th, 2012 6:00 PM - 8:30 PM <p>bitforms gallery is pleased to announce a second solo exhibition in New York with German sculptor Björn Schülke. Luftraum features a selection of drawings and the debut of three interactive works.</p> <p>Tools of modern observation and precision are evoked by Schülke’s new sculptures, which utilize the gallery’s airspace, as well as its floor and walls. His constructions delight, disrupt, and disorient the viewers’ expectation– staging an unpredictable behavioral exchange between the audience and the machine. Drawing attention to the viewer’s own corporeal experience, Schülke’s work is characterized by its lively interior consciousness. Revealed through a complex cycle of communication and movement, each object possesses irrational character traits or distinctive emotional features.</p> <p>All three ‘creatures’ on view are suspicious, vulnerable subjects that are awakened by motion sensors as the viewer approaches. Psychically charged, these automated works seem fantastical, inheriting an odd performative humor from Valie Export, one of Schülke’s mentors at the Academy of Media Art, Cologne. A dark palette and sinister mood unify the work series, as each piece provokes a fight or flight response pattern.</p> <p>Perched in a corner of the gallery space, Spider Drone #2 subverts the common idea of surveillance, turning the machine into a technological parasite that performs its own control parody. Extending from this sculpture’s insect-like body are two attached camera arms, which advance according to the detected movements of the audience. The object’s sleek surface finish suggests militaristic perfection and homogeneity, while its exposed wires and screen-display pose a constant threat of inspection. Targeting the viewer, Spider Drone #2 pivots protectively, and absurdly “shoots”, performing the function of automated warcraft.</p> <p>Luftraum #1 is a solar-powered mobile that uses a wing-paddle for propulsion. Its looming cycle of retreat and approach musters a predatory atmosphere. As the sculpture’s energy stores are filled by natural light in the environment, Luftraum #1’s slow and deliberate rotation evokes the fluid language of drawing, beautifully considering the mass and weight of form. Is the spectator being lured? Is the object before us a security device, or perhaps a trapped being attempting to flee in vain? Also on view, the floor-bound Supersonic #5 hybridizes the shape of a zeppelin airship with the stance of a bull. A theremin embedded within its body aggressively beeps and rumbles, suggesting the possibility of liftoff. Tethers of snakelike industrial cabling flow from its base, punctuated by one singular wheel - or ‘tail’.</p> <p>A strikingly animist worldview emerges in Schülke’s work, including his drawings. Figures are depicted with gestural sensitivity, exploring automated behavior and challenging the boundaries between animate and inanimate. On view are plans for a range of works that have been commissioned privately and publicly, including Space Observer, a monumentally scaled interactive sculpture for the San Jose airport.</p> Tue, 13 Nov 2012 17:49:11 +0000 Steve Chellis, Joseph O'Neal, Geoff Henshall, Brandon Fonville, Joe Strasser - Brooklyn Fire Proof / Temporary Storage Gallery - November 15th, 2012 6:00 PM - 11:00 PM <p>bluetan collective presents <strong><i>WOODHULL</i></strong>, a group exhibition of paintings, photographs, works on paper and collaborative installation at Brooklyn Fireproof featuring Geoff Henshall, Steve Chellis, Joe Strasser, Joseph O'Neal and Brandon Fonville. Musical performance by SoftSpot. <br /> <br /><a href="" rel="nofollow" target="_blank"></a><br /><a href="" rel="nofollow" target="_blank"></a><br /><a href="" rel="nofollow" target="_blank"></a></p> Sat, 22 Feb 2014 15:24:41 +0000 Tal R - Cheim & Read - November 15th, 2012 6:00 PM - 8:00 PM <p>Cheim &amp; Read is pleased to announce an exhibition of recent paintings by Tal R. This is his first exhibition with the gallery. The show will be accompanied by a full-color catalogue with an essay by Matthew Israel.<br /> <br /> Tal R was born Tal Rosenzweig in Tel Aviv in 1967 to a Danish mother and Czechoslovakian Jewish father. Raised in Denmark, his childhood was defined by his family’s split identity: the orderly Scandinavian society of his maternal side contrasted with his father’s experience as a Holocaust survivor. Tal’s traditional Hebrew name, which also means “number” in Danish, did not assist in his acclimation, especially among school-aged peers. Drawing provided a needed escape. As he has said: “For me, drawing was the same as dreaming at night: you don’t decide what to dream about, you dream about what you need.” Tal’s self-identification as an outsider, caught between two worlds, fueled a fertile artistic landscape of shifting realities. His unique vision eventually led him to the Royal Danish Academy of Fine Arts, where his work caught the eye of Louisiana Museum curator Anders Kold.<br /> <br /> The duality of Tal’s heritage is recognized in his work, which offers sensations both celebratory and sinister. Saturated color is weighted by shadow; café and street scenes, festooned and radiant, are simultaneously claustrophobic and labyrinthine. His subject matter is intentionally easy to describe, but meaning, as in dreams, is enigmatic. Tal works with a variety of media—collage, sculpture, installation, painting—and intuitively culls imagery from diverse sources. (He cites the Yiddish word kolbojnik—“leftovers”—as a loose definition for his process of gathering inspiration.) Historical and art historical references abound: threads of Expressionism, Fauvism, and Symbolism run throughout, as do nods to traditional Scandinavian art, Art Nouveau, and outsider or children’s art.<br /> <br /> For this exhibition at Cheim &amp; Read, Tal presents a group of carnivalesque-like canvases, patterned with psychedelic stripes and sometimes inhabited by a character named Shlomo (short for Solomon, Shlomo is also Tal’s middle name). Shlomo is both formalist prop and narrative force; his presence lends a sense of ennui to otherwise vivid compositions. Kandinsky-like color vibrates in paintings like Night Awning, 2012, and Klee-like patterning creates the patchwork construction of House Bonni, 2012. Girl Sitting Next to Marie, 2012, references the art historical canon of café imagery, but is bordered by darkening shadows. Amusement park scenes – The Swan and The Swans, both 2012, glow unnaturally and are turned on their sides, as if stolen from a child’s imagination.<br /> <br /> Tal achieves his translucent color by mixing pigment with rabbit skin glue. Fast drying, the medium does not accommodate multiple layers or revisions—paint is applied quickly and confidently, resulting in canvases which emphasize surface even while presenting scenes of mysterious depth. The viewer, at first bombarded with color and texture and then becoming cognizant of narrative structure, is left to navigate splendid but distorted passageways, as if entering an unhinged dream. Tal’s work reveals the effect of an image on the psyche—the viewer’s own unconscious is an active participant in the scene.</p> Sat, 10 Nov 2012 07:33:30 +0000 Group Show - Denise Bibro Fine Art - November 15th, 2012 6:00 PM - 8:00 PM <p><b>Denise Bibro Fine Art</b> is excited to share a fresh, unique opportunity view untapped talent just within our backyards. <b><i>Art From the Boros</i></b> will be on view November 15 through January 5, 2013. From some five hundred submissions for an open call for talented unaffiliated artists in all the Boros, <b>Denise Bibro Fine Art</b> narrowed the pool to some fifty artists. Subsequently we pound the pavements, including studios in Williamsburg, by the water in Redhook, and the old Army Terminal in Gowanus, Bed Stuyvesant, Crown Heights, Ditmas Park, Long Island City, and Astoria, just to name a few to narrow our pickings to thirty six artists.</p> <p>These thirty plus artists’ works are diverse in mediums, social and aesthetic content. They come from diverse socio and economic backgrounds. Regardless of their histories, upbringings and economic circumstance they persevere and revel their New York environment. Art one of their primary focuses and concerns. In this exhibition you will see both bought and recycled materials, drawing to the max, various examples of collaged and assemblage materials, works with political and social content and more.</p> <p>In a world that often projects galleries as being jaded and inaccessible we are demonstrating that we are one that values and shares the desire to keep up with the bustling creativity all around us. Our experience in these past weeks clearly illustrates that one should always be open to opening the box, to venturing in and to informing one’s visual vocabulary – if only to appreciate and understand what one likes from the start or to be brave enough to inform and broaden ones world and visual horizons. We challenge the viewer to be open, have fun …..Seek and you shall find.</p> <p><strong>The gallery and <em>Art From The Boros</em> will be open:</strong></p> <p>Thursday, December 27th</p> <p>Friday, December the 28th</p> <p>Saturday, December the 29th</p> <p>Wednesday, January 2nd through Saturday, January 5th.</p> Mon, 05 Nov 2012 23:11:07 +0000 Superm - envoy enterprises - November 15th, 2012 6:00 PM - 8:00 PM <p><strong>envoy enterprises</strong> is pleased to present <em>BEAUTY and HELL</em>, a two-part exhibition by the art duo SUPERM. <em>BEAUTY</em> will be on view at the gallery’s 131 Chrystie Street location followed by <em>HELL</em> which will be on view at the gallery’s 87 Rivington space.<br />  <br /> Inspired by the poetry of Arthur Rimbaud and the art of Hans Bellmer and Pierre Molinier, this dual exhibition combines a new series of collages entitled <em>SKINGRAPHS</em>, which represent <em>BEAUTY</em>, with the latest SUPERM video featuring Francois Sagat with contributions by Josh Lee, Nick Theobald, Gio Black Peter and Erica Keck, which represent <em>HELL</em>.<br /> <br /> <br /> <strong>SUPERM</strong> is a collaborative art project by Slava Mogutin &amp; Brian Kenny. Their work has been exhibited at Witte de With Center for Contemporary Art in Rotterdam, The Haifa Museum of Art in Israel, Museo de Arte Contemporáneo de Castilla y León (MUSAC) in Spain, Yerba Buena Center for the Arts in San Francisco and, most recently, at Station Museum of Contemporary Art in Houston. This show marks 8 years of fruitful collaboration between the two artists.</p> Fri, 05 Apr 2013 14:45:54 +0000 Szabolcs KissPál - International Studio & Curatorial Program (ISCP) - November 15th, 2012 7:00 PM - 9:00 PM <p>London-based curator and writer Eszter Steierhoffer will present a talk on ZOO-TOPIA, a new publication that features 2010 ISCP alum Szabolcs KissPál. <em>Amorous Architecture</em>, a new work by Kisspál will be screened before the talk; it is a docu-fiction exploring the architecture of the Budapest Zoo in order to shed light on its wider ideological and cultural implications and the ways national and ethnic identities are constructed. ZOO-TOPIA'S starting point is display histories and architectural settings within zoos, and the spatial articulation of a cultural history of Modern times. A selection of essays and artists’ contributions survey the zoo as a showcase of modernist architecture and experimentation; as museum; as site of national representation; as prison; as animal society; as a city and world-image, or as a psycho-geographical space, and an escape in the city. </p> <p>The ZOO-TOPIA publication was conceived as an exhibition in a book format, and includes works by Anca Benera, Yona Friedman, Bahbak Hashemi-Nezhad, Candida Höfer, Szabolcs KissPál, Wesley Meuris, Ahmet Ögüt and Société Réaliste (Ferenc Gróf &amp; Jean-Baptiste Naudy), and texts by John Berger, Zoltan Kekesi and Andreas Spiegl. <a href="" rel="nofollow">ZOO-TOPIA</a> is conceived and edited by Eszter Steierhoffer, designed by STSQ and commissioned by the Balassi Institute in London in partnership with the Royal College of Art and the ZSL London Zoo. </p> Wed, 14 Nov 2012 19:21:19 +0000 Melissa Cooke - Jenkins Johnson Gallery - NY - November 15th, 2012 6:00 PM - 8:00 PM <p>Jenkins Johnson Gallery, New York, is pleased to present Plunge, a solo exhibition of recent drawings by Melissa Cooke. This will be her first solo show with Jenkins Johnson Gallery in New York. There will be an opening reception with the artist on November 1 from 6 to 8 pm.<br />Plunge features new large-scale works on paper by Melissa Cooke; her powdered graphite drawings explore themes of beauty, fantasy, violence, and identity, with the artist casting herself as the subject in a myriad of thematic scenarios. Her work confronts the viewer both with scale and stirring reflections of emotion, sexuality, and drama. Cooke’s dedication to self-portraiture stems from her creativity and her love of characters and costumes but also gives her an outlet to explore her identity and process events within her life. Each new series tackles a different set of questions and topics while also holding fast to the questions of persona evident throughout Cooke’s entire oeuvre.<br />In her new body of work, Undertow, the artist has created close cropped portraits that investigate the relationship between photography, performance, and drawing. Cooke photographed herself sinking and diving in water, and it is these images that became the basis for her haunting and ethereal drawings. Departing from traditional portraiture, Cooke has zoomed in on close sections of her face, thereby pushing the human figure into ambiguity and abstraction. Flesh and hair intertwine with ripples and bubbles, and water dissolves into brushstrokes and soft eraser marks. The water becomes a landscape. Cooke states of this new series, “I recently moved to New York City from Wisconsin. Unaccustomed to city living, I am frequently overwhelmed by the hectic environment. The bathtub has become a respite from this chaos, and a substitution for the calming comfort of Midwest lakes. Commotion is muffled underwater. Submerged, I am in the quiet, weightless in a space of reflection.” Her works, typically inspired by emotionally charged memories and relationships, serve first as a cathartic experience, and then as an aesthetic exaggeration of emotion. Having been compared to Cindy Sherman for her role playing and psychological undertones, Cooke’s work skews reality and allows fiction to become truth.<br />Cooke’s work starts with a series reference photographs that become the inspiration for her large scale intricate portraits. Images are created by dusting thin layers of graphite onto paper with a dry brush. The soft quality of the graphite provides a smooth surface on which details can be augmented by erasure. No pencils are used in the work, allowing the surface to glow without the shine of heavy pencil marks. The scale of the drawings demands an intimate and physical interaction with the work, forcing the viewer to confront the challenges Cooke presents.<br />Melissa Cooke received her MFA from the University of Wisconsin-Madison. She has exhibited widely throughout the United States, including solo exhibitions at the Museum of Wisconsin Art, West Bend and at Madison Museum of Contemporary Art, Madison, WI, among others. She was a 2010 and 2011 Artist-in-Residence at the Bemis Center for Contemporary Art, Omaha. Cooke is in the permanent collection of the Arkansas Museum of Art, Little Rock; The Howard Tullman Collection, Chicago, IL; and the Boston Public Library Print Collection, MA, among others. She was reviewed in ARTnews as a part of Jenkins Johnson Gallery’s On Paper exhibition.<br /><br /></p> Wed, 07 Nov 2012 10:21:30 +0000 Skip Steinworth - Jenkins Johnson Gallery - NY - November 15th, 2012 6:00 PM - 8:00 PM <p>Jenkins Johnson Gallery, New York is proud to present Quietude: Drawing Stillness, a solo exhibition in the Project Room of recent drawings by Skip Steinworth. This will be his first solo show with Jenkins Johnson Gallery in New York. There will be an opening reception with the artist on Thursday, November 1 from 6 to 8 pm.<br />Skip Steinworth has been a dedicated draughtsman of still lifes done in graphite for over 25 years. His commitment to the medium stems from his appreciation of its direct nature as the lack of color focuses on the strict graphic nature of the subject, featuring texture, form, tone, and composition. Steinworth deliberately selects images that are commonplace, almost generic, giving the images a timeless, enduring nature. His dedication to straightforward still lifes that are misleadingly simple emphasizes his claim that he’s not “copying what [he] sees”, but that he’s “drawing a mood.” The images radiate a sense of stillness and thoughtful peace; they are, as Steinworth describes, “suggestive of the quietude and contemplative environment in which they were created.”<br />While his drawings may seem like ordinary, everyday scenes, they are not coincidental. Steinworth intricately plans out the still lifes, spending hours arranging the tableaux, using hot glue and wires to manipulate flowers and objects to his liking, and taking copious notes and 35 mm slides to reference during the drawing process. <br />Each drawing takes over six weeks, and is worked on one at a time, often into the late hours of the night. He begins each new piece by drawing a large sketch with dry erase markers, then  progressing to a large scale line drawing. For the final drawing, he begins with the background, later working in the subject section by section, not in overall layers as other graphite artists work. Further differentiating himself from other draughtspeople, Steinworth draws exclusively on 4-ply mat board rather than traditional paper; this unconventional material ages better but also gives the pieces a more dynamic texture, which can often be seen in the backgrounds of the drawings. Steinworth continually selects subjects that both aesthetically appeal to him and are technically demanding. <br />Arrangement #40, Peonies and Glassware features Steinworth’s favorite flowers, peonies. He grows and harvests them at his Minnesota home, photographing large groups of them when they bloom in the spring. He considers the combination of the peonies and the glass jars in this piece to be ideal subjects; he explains, “Capturing their complex forms, intricate detail, and delicate tonalities presents the kind of challenges I like to set for myself; the transparent, reflective surfaces of the glass containers offer contrast to those natural forms as well as an entirely different kind of technical challenge.” Likewise, Glass presents the task of multiple reflective and transparent objects, but against a light-colored background, keeping the entire drawing within a specific, similar tonal range. As critic Bill Lasarow wrote, Steinworth has “tour de force control of tonalities”, and this work displays his mastery of his medium. Both of these pieces, as well as the other works in Quietude: Drawing Stillness, are typical of Steinworth’s body of work; aesthetically pleasing, technically refined, timeless, vaguely familiar and reminiscent, and elegant.<br />Skip Steinworth has shown widely throughout the United States, including inclusion in 2007’s illustrious The Object Project, which traveled to the Evansville Museum, IN and the Philbrook Museum of Art, OK. His works are in the collections of: the Minneapolis Art Institute, MN; The Howard Tullman Collection, Chicago, IL; and the Plains Museum, Moorhead, MN, among others. His work has been featured in American Art Collector and American Artist. He lives and works in Stillwater, Minnesota. <br /><br /></p> Wed, 07 Nov 2012 10:22:12 +0000 Group Show - Kim Foster Gallery - November 15th, 2012 6:00 PM - 8:00 PM <p>“What’s My Line?” was a game show that aired from 1950 to 1967 in which panelists attempted to determine the occupation, or in the case of a famous “mystery guest,” the identity, of the contestant. Much like the game show, the artists in this exhibition use elements of mystery, disguise and deception in their depictions of the famous, the infamous, and the nameless, evoking myriad responses from the viewer.</p> Sat, 06 Oct 2012 21:44:30 +0000