ArtSlant - Recently added en-us 40 Group Show - Van Der Plas Gallery - May 8th - June 14th <p>&ldquo;In &amp; Out&rdquo; brings together the work of visionary and outsider artists. Art created intuitively with unstoppable passion.&nbsp; The expression of heightened creativity arises from unheard voices that in the past were dismissed as unimportant expressions, sadly misunderstood, cast away. This is the exploration of impulse, emotion, and suffering from the purity of the artist&rsquo;s soul created in the stillness of mind.</p> <p>&nbsp;From the true visionary art that is given to us by Brian Dowdall who senses the energy patterns of animals and interprets them to the primal need of Konstantin Bokov to create with found objects, this group of artists share a common intuitiveness exuded in the paint strokes, materials, and subject matter. Pamala Rogers and Angela Rogers use vibrant components and symbolism to transcend conventional ideas. Candyce Brokaw spills her insides out onto the page, as an endless flow of visual incantation.</p> <p>Istvan &ldquo;Monty Cantsin&rdquo; Kantor and Adjani Okpu-Egbe document the painful expressions derived from their own suffering using materials as metaphor. Johan Wahlstrom&rsquo;s graphic neoexpressionist narratives handle the universality of emotions, the shared feelings of us all. Kevin Wendall, the artist known as FA-Q, releases through his process of expressing. Addiction and inner demons narrate his art&rsquo;s rough expression of emotion. The bold and brash art of Ross Brodar speaks to the turmoil the human spirit feels during periods of uncertainty without fear or apologies.</p> <p>Van der Plas Gallery shares this vision, a pure vision by these 10 artists to bring together the whole spectrum of life, a wheel that is always turning through suffering and celebration: In &amp; Out.&nbsp;</p> Sun, 03 May 2015 21:20:23 +0000 Shirana Shahbazi - On Stellar Rays - May 10th - June 14th <p>On Stellar Rays and Sun\Ra are pleased to announce a solo exhibition of Shirana Shahbazi, featuring a new body of lithographs.<br />&nbsp;<br />Shahbazi&rsquo;s work frequently explores the relationship of an image to its material form, using classical art historical themes such as portraiture, still life, and abstraction. Her newest body of work is comprised of images taken on a family road trip from Zurich to Tehran in April 2014, in a style evoking travel and landscape photography.<br /><br />Shirana Shahbazi (b. Teheran, 1974) lives and works in Zurich. She studied photography in Dortmund and Zurich. Major presentations of her work include Kunsthalle Bern (2014); Museum of Modern Art, New York (2012/2013); Fotomuseum Winterthur (2011); The New Museum, New York (2011); The Hammer Museum, Los Angeles (2008); Museum Boijmans van Beuningen, Rotterdam (2008); Swiss Institute, New York (2007); Barbican Art Gallery, London (2007); Centre d'Art Contemporain, Genf (2005), Museum of Contemporary Photography, Chicago (2003); The 50th Venice Biennale (2003).<br />&nbsp;<br />The exhibition is the third in a series of collaborations between Candice Madey of On Stellar Rays and Sunny Rahbar, co-founder of the The Third Line Gallery (Dubai) and Sun\Ra.</p> Sun, 03 May 2015 17:31:07 +0000 Lois Cremmins - Atlantic Gallery - June 2nd - June 20th <p>Atlantic Gallery is pleased to present "Contemplating the Asphalt," a solo exhibition of&nbsp;recent work by Lois Cremmins.&nbsp;The artist continues her exploration of her sensory perceptions of&nbsp;city life&nbsp;with canvases that offer a textural response to the urban landscape.&nbsp;In this new body of work&nbsp;she&nbsp;focuses on&nbsp;the contradictions she feels&nbsp;between the vestiges of&nbsp;the dark world of her father's rough city and the robust&nbsp;transformations wrought by a&nbsp;fresh light-seeking generation. By layering complex imagery that is at once gritty&nbsp;yet vibrant, Cremmins has become a de facto chronicler of a changing city.</p> <p>The installation of "Contemplating the Asphalt" transforms Atlantic Gallery into&nbsp;a microcosm&nbsp;of New York's&nbsp;teeming streets. To visit this show is to navigate those streets with Lois Cremmins as your keenly observant guide.&nbsp;Her art deftly steers the visitor around the pitfalls of decaying streets and&nbsp;happily keeps pace with whizzing Citibikes and buzzing smartphones. Recognizable images break down upon close inspection to reveal abstract elements that can be savored and lead to a discovery of the artist's process.</p> <p>&nbsp;Each canvas is the result of an intricate and sophisticated technique&nbsp;whereby the artist tames collaged materials---outcast fabrics, ribbons and notions by vigorously applying&nbsp;acrylic paint in thick impastos and delicately brushed glazes. The viewer&rsquo;s experience&nbsp;of the multiplicity of the stimulating surfaces runs&nbsp;in tandem&nbsp;with the artist's celebration&nbsp;of&nbsp;New York's enthralling variety.</p> Sun, 03 May 2015 12:49:59 +0000 Lee Ufan - Pace Gallery - 25th St. - May 15th - June 27th <p style="text-align: justify;">Pace is pleased to announce its second solo exhibition of Lee Ufan. It is the artist&rsquo;s first exhibition in New York since his landmark 2011 survey at the Solomon R. Guggenheim Museum, and follows his 2014 solo presentation of twelve site-specific works created for the Ch&acirc;teau de Versailles. The exhibition will be on view from May 15 to June 27 at 534 West 25th Street. An opening reception for the artist will be held Thursday, May 14 from 6 to 8 p.m.</p> <p style="text-align: justify;">To accompany the exhibition, Pace will publish a catalogue featuring a new essay by Barbara Rose.</p> <p style="text-align: justify;">Since his foundational role in Japan&rsquo;s Mono-ha (&ldquo;School of Things&rdquo;) movement in the 1960s, Lee has developed an oeuvre attuned to the interconnectedness of matter and consciousness. Referring to his artworks as &ldquo;living structures,&rdquo; he takes a philosophical approach to creating them, viewing his gestures and raw materials as entities that reveal conditions and states of the world as well as our relationship to it. The exhibition highlights the artist&rsquo;s continued attention to how objects and gestures shape space and will feature new paintings, watercolors and sculpture.</p> <p style="text-align: justify;">Lee&rsquo;s Relatum works&mdash;the first of which he produced in 1968&mdash;highlight interspatial relations through the pairing of steel plates with large boulders. Between the two objects, Lee views the steel plates as the distant, factory-produced cousin of the stones. He sees the works as cultivating a space not only between objects but between viewers and the larger spatial environment. In choosing the title Relatum&mdash;referring to a singular aspect of relationship&mdash;Lee both rebukes the term sculpture and forgoes the more hermetic associations of the term relationship, conjuring a more philosophical and infinite type of connection engendered through the correspondence between rock and steel. The contrast between the manufactured steel plate and the natural rock bring together a new harmony between&nbsp;</p> <p style="text-align: justify;">technology and nature.</p> <p style="text-align: justify;">In his Dialogue paintings, Lee begins by loading a broad brush with a gradient of pigment&mdash;here blues, greys, and oranges&mdash;and applies the pigments to the canvas in one or two strokes. The simple compositions enact a dialogue between the paint and the unmarked space of the ground layer.</p> <p style="text-align: justify;">Lee Ufan (b. 1936, Haman-gun, Kyongsangnamdo, Korea) is a pioneering figure of Mono-ha (&ldquo;School of Things&rdquo;) in Japan and the Tansaekhwa school of Korean monochrome painting. He is the 2014 recipient of the Kanagawa Prefecture Cultural Prize and the 2001 Praemium Imperiale, awarded by the Japan Art Association. Lee&rsquo;s work has been celebrated in numerous international solo and group exhibitions including the Gwangju Biennale (2000, 2006), S&atilde;o Paulo Biennial (1969, 1973) and Documenta (1977). His exhibition Resonance was part of the 2007 Venice Biennale.</p> <p style="text-align: justify;">In April, the Busan Metropolitan Art Museum opened a permanent installation of Lee&rsquo;s work in its new building and on its grounds. Spanning approximately 15,000 square feet of gallery space on two levels, the Lee Ufan Gallery includes painting and sculpture from different decades of his career. It is the museum&rsquo;s only gallery dedicated to a single artist.</p> <p style="text-align: justify;">Lee has been the subject of numerous solo exhibitions worldwide at institutions including the Asia Society, Houston (2012); Solomon R. Guggenheim Museum, New York (2011); Royal Museums of Fine Arts of Belgium, Brussels (2008); Kunstmuseum Bonn (2001); St&auml;dtisches Museum im St&auml;del, Frankfurt (1998); Galerie Nationale du Jeu de Paume, Paris (1997&ndash;98); The National Museum of Contemporary Art, Seoul (1994); Hara Museum of Contemporary Art, Tokyo (1991); Louisiana Museum of Modern Art, Humlebaek (1978); and D&uuml;sseldorf Kunsthalle (1978).</p> <p style="text-align: justify;">In 2010, the Tadao Ando-designed Lee Ufan Museum opened in Naoshima, Japan. Lee&rsquo;s work is included in the public collections of more than sixty institutions worldwide including the Art Gallery of New South Wales, Sydney; Centre Georges Pompidou, Mus&eacute;e National d&rsquo;Art Moderne, Paris; Hara Museum of Contemporary Art, Tokyo; Solomon R. Guggenheim Museum, New York; Kunsthaus Zurich; Kunstmuseum Bonn; Leeum Samsung Museum of Art, Seoul; The Museum of Modern Art, New York; The National Museum of Art, Osaka; National Museum of Modern Art, Seoul; St&auml;dtisches Museum im St&auml;del, Frankfurt; and the Tate Gallery, London.</p> <p style="text-align: justify;">Lee lives and works in Kamakura, Japan, and Paris. This is his second exhibition at Pace since joining the gallery in 2007.</p> Sat, 02 May 2015 17:20:17 +0000 Shirana Shahbazi - On Stellar Rays - May 10th - June 14th Sat, 02 May 2015 17:13:11 +0000 Melodie Provenzano - Nancy Margolis Gallery - May 14th - June 27th Sat, 02 May 2015 17:09:01 +0000 Rey Akdogan - Miguel Abreu Gallery Orchard St - May 13th - June 28th Sat, 02 May 2015 17:07:26 +0000 Rey Akdogan - Miguel Abreu Gallery Eldridge Street - May 13th - June 28th Sat, 02 May 2015 17:06:03 +0000 Tony Cox, Matthew Ronay - Marlborough Chelsea - April 4th - May 9th <p class="Default" style="text-align: justify;">Marlborough Chelsea is pleased to present <em>Outer Loop </em>a two-person exhibition by Tony Cox and Matthew Ronay in our 2nd floor gallery.</p> <p class="Pa1" style="text-align: justify;">The show takes its title from the beltway around Louisville, KY, where the two artists grew up together, but is evocative also of their shared penchant for the further flung reaches of culture. This includes colorful abstraction, Appalachian folk art, science fiction and a self-determined spirituality that hints at the cosmic but positions them outside of any New Age mainstream.</p> <p class="Pa1" style="text-align: justify;">Cox&rsquo;s paintings are hand-embroidered in bold geometric designs and stylized landscape using brightly hued and metallic threads pulled through acrylic-coated stretched canvas. The mantra-like repetition of stitches together with vivid patterning, are reminiscent of mandalas and other sacred art, but Cox imbues the works with an off-kilter humor and pathos that places them squarely in his head and from his inimitable hand.</p> <p class="Pa1" style="text-align: justify;">Ronay&rsquo;s hand-carved basswood sculptures, while often heavily patterned with dimples, curves and cairn-like stacks, eschew hard edge abstraction for a molecular, spore-like affect coupled with a kind of suggestive figuration in the form of disembodied hands and tongues. Ingeniously and idiosyncratically composed from multiple pieces of wood and sections of canvas that have been lushly dyed in a spectrum of rich colors, the works have the natural feel of an organism, growing and replicating itself like a coral reef or Martian bacterium.</p> <p class="Pa1" style="text-align: justify;">Together, the works play off their commonalities of color and line, but also a commitment to the labor-intensive qualities of the handcrafted and the prayer-like meditative focus required of their making&mdash;a focus that has allowed the artists to block out many of the more conventional concerns of their contemporaries.</p> <p class="Pa1" style="text-align: justify;"><strong>Tony Cox </strong>(b. 1975 in Louisville, KY). Recent exhibitions include <em>Outer Loop </em>(with Matthew Ronay) at Marlborough Chelsea, New York, NY (2015); <em>B-Side </em>at Home Alone 2, New York, NY (2013); <em>Tony Cox </em>at Marlborough Broome Street, New York, NY (2013); <em>Incense </em>at Fuse Gallery, New York, NY (2011); <em>White Trash Mystic </em>at 211 Elizabeth St, New York, NY (2010); and <em>Too Blonde To Be Catalan </em>at FD Gallery, Barcelona, Spain (2007). The artist currently lives and works in Mount Tremper, New York.</p> <p style="text-align: justify;"><strong>Matthew Ronay </strong>(b. in 1976 in Louisville, KY) received his BFA from the Maryland Institute College of Art, and his MFA from Yale University. Recent solo exhibitions include <em>Organ/Organelle </em>at Marc Foxx, Los Angeles, CA (2014); <em>Wavelength </em>at Andrea Rosen Gallery, New York, NY (2014); <em>The Door Is Open </em>at Kunsthalle Lingen, Lingen, Germany (2014); <em>Mounting Toward Zenith / Descending and Disappearing </em>at Kentucky Museum of Art and Craft, Louisville, KY (2013). Recent group exhibitions include <em>12th Lyon Biennale</em>, Lyon, France (2013); <em>A Disagreeable Object </em>at Sculpture Center, Long Island City, NY (2012); <em>Secret Societies </em>at Schirn Kunsthalle, Frankfort, Germany (2011). The artist lives and works in New York, New York.</p> Sat, 02 May 2015 17:04:53 +0000 Cildo Meireles - Galerie Lelong - May 15th - June 28th <p style="text-align: justify;">Galerie Lelong is pleased to announce the first solo exhibition in the United States in ten years by internationally renowned Brazilian artist Cildo Meireles, on view from May 15 through June 27. In addition to the monumental work&nbsp;<em>Amerikkka</em>, new works will be on view for the first time. Meireles&rsquo;s investigation of ideological, economic, and political systems through sculpture, installation, and sensorial experience forms the cornerstone of his practice, which spans the artist&rsquo;s extensive forty-year career. The artist will be present for the opening reception on Friday, May 15 from 6-8pm.</p> <p style="text-align: justify;">The centerpiece of Meireles&rsquo;s presentation at Galerie Lelong will be&nbsp;<em>Amerikkka</em>(1991/2013), the work&rsquo;s first presentation in the United States. Transforming the gallery into a powerful, interactive experience, the work places viewers under a free-standing ceiling angled at forty-five degrees that is composed of 40,000 hollow golden bullets set against an intense blue background. Viewers stand upon a base of over 20,000 white wooden eggs set into a red floor. Juxtaposing sharp bullets and fragile eggs,<em>&nbsp;Amerikkka</em>simultaneously creates an uncertain and unsettled environment and calls into question whether the work is opening or closing, and if the threat of the bullets is real or perceived. The triple &ldquo;K&rdquo; in the title alludes to the Ku Klux Klan, the far right organization that espouses white supremacy and the use of extreme violence.</p> <p style="text-align: justify;">Like&nbsp;<em>Amerikkka</em>,&nbsp;<em>Virtual Spaces</em>&nbsp;(1967/2015), one of Meireles&rsquo;s seminal works, is dependent upon participation and movement by the viewer. This work, in which Meireles looks to Euclidean geometry, is a corner within a corner, an installation trompe l&rsquo;&oelig;il, that highlights the question of that which is virtual versus what is real.</p> <p style="text-align: justify;"><em>Invisible Sphere</em>&nbsp;(2014) demonstrates Meireles&rsquo;s interest in and exploration of the visible/invisible. This work, in which Meireles has constructed, carved, and joined two pieces of aluminum, creates a hollow sphere when closed. As Meireles has said &ldquo;I think there is something very interesting about things that we can imagine, but which are hidden.&rdquo;</p> <p style="text-align: justify;">Like many of Meireles&rsquo;s works,<em>&nbsp;Aquaurum</em>&nbsp;(2015) is in response to specific political situations. Meireles&rsquo;s native Brazil produces approximately 12 percent of the world&rsquo;s fresh water, however, there is a chronic shortage in the country&rsquo;s most populous city, S&atilde;o Paulo. The cleverly titled&nbsp;<em>Aquaurum</em>, which combines the Latin for &ldquo;water&rdquo; and &ldquo;gold,&rdquo; is comprised of two crystal glasses. The first is filled with gold, appearing as though it is the lining of the glass itself. The other, left empty, appears to be void of any matter.</p> <p style="text-align: justify;">Beginning in Brazil in the late 1960s, Meireles&rsquo;s practice was shaped by the social and political conditions during the dictatorship of the time, as well as by the Neo-Concretist movement. Meireles was among the first artists from Latin America to become internationally recognized, beginning with his participation in the 1970 landmark exhibition,&nbsp;<em>Information</em>, at the Museum of Modern Art in New York. Since then, Meireles has been recognized as a pioneer and leader among artists working in politically and socially engaged conceptual art. Most recently, his work was the subject of a retrospective at the Reina Sofia in Madrid, which traveled to the Serralves Museum in Portugal, and part of the exhibition was also presented at the HangarBicocca in Milan.</p> <p style="text-align: justify;">Additional monographic shows have been presented at Tate Modern, London; Museu d&rsquo;Art Contemporani de Barcelona; Museu de Arte Moderna, Rio de Janeiro; Mus&eacute;e d&rsquo;Art Moderne et Contemporain de Strasbourg; New Museum, New York; Kiasma Museum of Contemporary Art, Helsinki; Institut Valencia d&rsquo;Art Modern; and Institute of Contemporary Art, London; among others. The artist has received several prestigious awards, including the Velazquez Prize from the Ministerio de Cultura of Spain, and the Ordway Prize, presented by Creative Link for the Arts and the New Museum. Meireles was born in 1948 in Rio de Janeiro, where he currently lives and works.</p> Sat, 02 May 2015 16:55:28 +0000 Phillip Birch, Auguste Rodin - Essex Flowers - May 10th - June 14th <p style="text-align: justify;">A friend was visiting my studio. At the time I was making a lot of sculptures that included the human hand. He asked if I had seen Rodin's hand sculptures. I had not. Somewhat embarrassingly I began to fall in love with Rodin's hands. Obsession may be more appropriate. I have long been searching for the pathos they posses. I began to make frequent trips to the Rodin Museum in Philadelphia. With each viewing my passion for these tortured artworks grew. I began to invest more and more of my own psychic energy within these objects. They became reliquaries for my spirit, my geist if you will. It was as if with each viewing I was contorting the sculptures with my will into further torment.</p> <p style="text-align: justify;">"Self-consciousness is desire." I wonder if that maxim extends to quantum reality, to the space beyond the subatomic. Perhaps desire truly is the mechanism that drives not only the metaphysical underpinnings of the world but the physical as well. Perhaps a solipsistic will-machine is all it takes to bend space/time.</p> <p style="text-align: justify;">Googling Rodin's Hand of the Pianist, I heard a loud crack. Startled, I spun around fearing that my kerosene heater had burst. Instead, beyond the flash of light &hellip; a portal. A hole. A space that wasn't quite there appeared in front of my eyes.</p> <p style="text-align: justify;">In the blur there was a voice booming, &ldquo;Who are you?&rdquo;, &ldquo;Me?&rdquo; I somewhat confusedly and meekly responded. I got over my initial bewilderment and introduced myself. It seems, still to my surprise, that the individual with whom I was speaking was Auguste Rodin; me in my studio in 2015, he in his in 1890. We both talked tentatively, still reeling from the realization of what was occurring.</p> <p style="text-align: justify;">Desire had ruptured the space/time continuum. A dialogue was born. We talked all night.</p> <p style="text-align: justify;">I plotted out for him a fundamental change which has redirected the act of creation - touchscreen devices, photos that move and machines that print in multiple dimensions. I explained that the fundamental nature of our representations had changed. That the hand has replaced the eye as the window to the soul; the simulacra into which our perceptions are tied relies on an immediate relationship between the hand and the object it touches. I talked at length about the metamorphosis of the artist/creator into the director/manager. How we had lost the humanism in our art. That we privilege the work of many over the work of one while assigning the value of the work of many to one individual. That we want our genius sparkling and perfect, but that we want this genius unsullied by labor.</p> <p style="text-align: justify;">He thought I was mad, of course. He said that you could have a perfect replica of any object fabricated in marble, with no talent required. He explained that art lies in the hand; the touch of the artist. That the hand that creates is the hand of God. Even if the tools have changed, there is no fundamental change in the nature of creation. Whether something is printed by machine or made with a chisel, what&rsquo;s important is the act of will. He said that a figurative hand was just as important as a literal hand. The spirit of the work is what matters. If an artist reproduces superficial features, as a photograph does, and copies the lineaments of a face exactly, without reference to character, he deserves no admiration. The resemblance which he ought to obtain is that of the soul. To Rodin, the genius need not only use his eyes and hands, but his intelligence as well.</p> <p style="text-align: justify;">This exhibition comes from our conversation. The portal allowed us to pass our work back and forth. I am still considering what he has said and what the hand of creation means. My thoughts have turned to Camille Claudel and Rodin's other assistants and how he would sign his name to their work. How does his hand of God rely on others? Is touch a mere linguistic and metaphoric turn? Would there still be a Rodin if not for them? Have I had an impact on him? Did these hand sculptures with their marks and pathos exist before my desire was expressed to Rodin? Was his work altered in some fundamental way that I am no longer able to remember because the timeline has been fundamentally altered by my own intervention? Did I create the objects that became the object of my obsession. A Grandfather Paradox of my own creation?</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Phillip Birch</p> Sat, 02 May 2015 16:53:10 +0000 Porfirio DiDonna - Elizabeth Harris Gallery - May 14th - July 31st Sat, 02 May 2015 16:51:37 +0000 Katie Torn - Art in General - May 16th - June 27th <p>Katie Torn:&nbsp;<em>Myopia's Toil</em></p> <div class="projectcurator">Curated by Kristen Chappa</div> <div class="projectPR">&nbsp;</div> <div class="contentwrap"> <div> <div><strong>Opening Reception:</strong>&nbsp;<br />Saturday, May 16, 6&ndash;8pm<br /><br /><strong>Exhibition:</strong>&nbsp;<br />May 16, 2015 &ndash; June 27, 2015</div> <div>&nbsp;</div> <div>Art in General is pleased to present&nbsp;<em>Myopia&rsquo;s Toil</em>&nbsp;with Katie Torn in the Mus&eacute;e Minuscule.<br /><br />New York-based artist Katie Torn integrates animation, 3D computer graphics, and video to model virtually simulated scenes out of the detritus of internet and consumer culture. Collecting elements available online, Torn&rsquo;s digital assemblages carry traces of web browsing histories. Referencing the Modernist traditions of Cubism and Futurism in her avatars and abstractions, fantasy worlds and sci-fi simulations are conflated with 20th century investigations into pictorial space.<br /><br />Torn&rsquo;s hybrids offer a vision of new forms and substances that fuse organic and synthetic materials. Female cyborgs are presented as Frankenstein-like monoliths; the surface of their bodies smooth like plastic dolls or skin treated by reconstructive surgery. Elements comingle in an uncomfortable conflation of innocence and adulteration&mdash;playful, childhood toys rendered in soft pastels reside in toxic, apocalyptic environments. Operating in close relation to the &ldquo;natural&rdquo; world, biomorphic forms excrete and ingest brightly colored liquid into and from their surrounds, suggesting a life-force akin to oil or blood.<br /><br /><em>Myopia&rsquo;s Toil</em>&nbsp;features a newly created digital sculpture for Art in General&rsquo;s Mus&eacute;e Minuscule to be viewed through 3D glasses. Combining built and found 3D models, Torn collages disparate items: plant foliage, derricks, and anime characters with exaggerated features. In an alien landscape reminiscent of video game environments, a looping narrative unfolds of evolution, self-destruction, and regeneration.<br /><br /><strong>Katie Torn</strong>&nbsp;has exhibited her work at national and international locations including&nbsp;XPO&nbsp;Gallery, Paris (2015); NUTUREart, Brooklyn (2014); Postmasters, New York (2014); Upfor Gallery, Portland (2014);&nbsp;MoMA&nbsp;PS1, New York (2014); Roots &amp; Cultures Contemporary Art Center, Chicago (2013);&nbsp;MOCA, Los Angeles (2013); and Bitforms Gallery, New York (2013). She received her&nbsp;MFA&nbsp;from the School of the Art Institute of Chicago (2012) and BA from Hunter College (2007). Torn was a 2013 Fellow at the Eyebeam Art &amp; Technology Center and a 2014 Artist in Residence at&nbsp;IEA&nbsp;Alfred University. Upcoming exhibitions include the Window Display at K&uuml;nstlerhaus Bethanien in Berlin,&nbsp;FILE&nbsp;Electronic Language International Festival in Sao Paulo, Brazil, and Black Box New Media Festival in Seattle.</div> </div> </div> Sat, 02 May 2015 16:51:16 +0000 Halmos - Art in General - May 16th - June 27th <p>Halmos: <em>INCUBATORACCELERATOR</em></p> <p>Curated by Kristen Chappa</p> <p><strong>Opening Reception:</strong>&nbsp;<br />Saturday, May 16, 6&ndash;8pm<br /><br /><strong>Exhibition:</strong>&nbsp;<br />May 16, 2015 &ndash; June 27, 2015</p> <p>Art in General is pleased to present&nbsp;<em>INCUBATORACCELERATOR</em>, a New Commission in the Storefront Project Space. Halmos is a collaborative distribution platform and publisher that facilitates new writing and works by contemporary artists. Most recently, it has produced non-print publications exploring time as a syntactic medium. For its New Commission in Art in General&rsquo;s Storefront Project Space, Halmos will co-opt the Silicon Valley notion of the &ldquo;incubator&rdquo; or &ldquo;accelerator&rdquo; as a mode of art production. The storefront will be adapted as a space to develop work on a daily basis, where past and future Halmos contributors will be invited for discussion, work, and window display design. Art in General&rsquo;s storefront will serve to display the visible output of the incubator, rotating on a bi-weekly basis with presentations created on-site.&nbsp;<br /><br />Areas of inquiry during Halmos&rsquo; residency will include the future of publishing in the age of the internet, Block Chain publishing, texting the future, walled gardens, publishing objects, and digital object libraries. Participating artists, either in-person or via cloud hosting, will include&nbsp;<strong>Cara Benedetto, Gareth James,&nbsp;KAYA&nbsp;(Kerstin Br&auml;tsch and Debo Eilers), Tobias Madison, Jeff Nagy, Rachel Rose</strong>, and&nbsp;<strong>John Russell</strong>.<br /><br />Founded by New York-based artist&nbsp;<strong>Erik Wysocan</strong>,&nbsp;<strong>Halmos</strong>&nbsp;has been operating since 2010. It has facilitated new writing and works by numerous artists including Tobias Madison, Dexter Sinister, Mark von Schlegell, Ed Atkins, Tauba Auerbach and many others. It&rsquo;s most resent book,&nbsp;<em>The Machine Stops</em>, will be released this spring with writings by Julieta Aranada, Fia Backstr&ouml;m, R. Lyon, Ed Atkins, Ian Cheng, Melanie Gilligan, Tobias Madison, Pedro Neves Marques, Jeff Nagy, Rachel Rose, Bea Schlingelhoff and Mariana Silva. Past publications include:<em>Soci&eacute;t&eacute; Populaire, D.A.F. de Sade</em>&nbsp;(2012) with contributions by Paul Chan, Claire Fontaine, Gareth James, Sam Lewitt, Pratchaya Phinthong, Pamela Rosenkranz, John Russell, and Antek Walczak, ed. Erik Wysocan, trans. Robin Mackay; and&nbsp;<em>Memoirs of the Twentieth Century by Samuel Madden; Prevision, Should the Future Help the Past?</em>&nbsp;(2010) by Liam Gillick. Halmos projects have manifested nationally and internationally, at locations including the Contemporary Art Center, Vilnius (2014); Artists Space (2014);&nbsp;ICA, Philadelphia (2013); Miguel Abreu Gallery, New York (2012); and Objectif Exhibitions, Antwerp (2012).&nbsp;</p> Sat, 02 May 2015 16:48:20 +0000 Andrea Galvani - Art in General - May 16th - June 27th <p>Andrea Galvani: The End</p> <p>An Art in General New Commission</p> <p><strong>Opening Reception:</strong>&nbsp;<br />Saturday, May 16, 6&ndash;8pm<br /><br /><strong>Exhibition:</strong>&nbsp;<br />May 16, 2015 &ndash; June 27, 2015</p> <p>Art in General is pleased to present&nbsp;<em>The End</em>, a New Commission by Andrea Galvani in the 6th floor gallery.<br /><br />Developed over two years of research conducted in the United States and Mexico,&nbsp;<em>The End</em>&nbsp;is a cross-disciplinary project including multimedia works. Art in General will present its first manifestation as a multichannel, synchronized video installation documenting one collective action.&nbsp;<em>The End</em>&nbsp;is a homage to the heliocentric model of our solar system championed by Galileo Galilei, father of modern cosmology.<br /><br />Over the course of months, Andrea Galvani coordinated with local camera operators to film the sunrise along the eastern coastlines of five different Central American countries. On January 8, the anniversary of Galileo&rsquo;s death in 1642, the event was filmed in over 30 different locations simultaneously. In the resulting installation, the horizon line where the sky meets the sea becomes continuous and seemingly infinite, extending our perceptions of time and space. Concurrently, the simultaneous temporal actions are made distinguishable by discrepancies in atmospheric conditions, the sensitivity of 16mm film, and the movements of each hand held camera. The resulting installation juxtaposes a multiplicity of subjective perspectives, expanding the horizon into a unified visual field.&nbsp;<br /><br /><em>The End</em>&nbsp;challenges the idea of boundaries as points of separation, instead suggesting points of contact. Boundaries change position, accumulate power, produce energy. They define topologies and conditions of differential equations in mathematics; they govern the laws of thermodynamics. Boundaries can be political, geographical, or psychological territories. Horizons are the perimeters of perception, both sensitive and cognitive. With&nbsp;<em>The End</em>, Galvani seeks to extend our experience of the horizon&rsquo;s spatial and temporal limits, articulating their physical and conceptual elasticity.<br /><br />Geological time began with the first sunrise: a recurring event representing the primordial chronography of our planet&rsquo;s movement around the sun. We are part of this continuum for a brief moment, a single oscillation in the pendulum of cosmic existence.&nbsp;<em>The End</em>&nbsp;presents the opportunity to witness the sunrise ad infinitum.<br /><br /><strong>Andrea Galvani</strong>&nbsp;is an Italian artist living and working in New York and Mexico City. He earned a&nbsp;BFA&nbsp;in sculpture from the Academy of Fine Arts in Bologna in 1999 and his&nbsp;MFA&nbsp;in Visual Art from Bilbao University in 2002. His work has been exhibited at international venues including the Whitney Museum, New York; 4th Moscow Biennale for Contemporary Art; the Mediations Biennale, Poznan, Poland; 9th Biennale of Contemporary Art of Nicaragua; Aperture Foundation, New York; The Calder Foundation, New York; Mart Museum of Modern and Contemporary Art, Trento, Italy; Macro Museum, Rome; GAMeC, Bergamo, Italy; De Brakke Grond, Amsterdam; Oslo Plads, Copenhagen, among others. In 2011, he received the New York Exposure Prize and was nominated for the Deutsche B&ouml;rse Photography Prize. He has been a visiting artist atNYU&nbsp;(2009-10) and has completed artist residencies at Location One International Artist Residency Program New York (2008),&nbsp;LMCC&nbsp;Lower Manhattan Cultural Council (2009), M.I.A. Artist Space Program/Columbia University School of the Arts, Brooklyn, NY (2010). From 2006 to 2009, he was a professor of Photographic Language and the History of Contemporary Photography at the University of Carrara for Fine Arts in Bergamo, Italy.</p> Sat, 02 May 2015 16:42:37 +0000 Enoc Perez, Inge Morath - Danziger Gallery - May 7th - June 13th <p style="text-align: justify;">Danziger Gallery is pleased to present a two-person show of photographs by Inge Morath and photo collages by Enoc Perez. Created half a century apart, both works share a sense of humor, an interest in concealment, and a delight in cutting and making shapes out of paper.</p> <p style="text-align: justify;">Inge Morath (1923 &ndash; 2002) and artist Saul Steinberg (1914 &ndash; 1999) engaged in a unique collaboration by having friends and acquaintances don his paper bags drawn with fantastic faces and then posing them for her photographs. In a delightful series of individual and group portraits taken from 1959 to 1963 the images convey both humor and an unnerving psychological depth. We may not know who is beneath each bag, but we seem to know the type they are playing. Between Morath's deadpan style and Steinberg's flights of fantasy they created a veritable encyclopedia of attitudes, postures, and mannerisms.��</p> <p style="text-align: justify;">Inge Morath joined the photographic cooperative Magnum in Paris by invitation of Robert Capa in 1953 and was assistant to Henri Cartier-Bresson before becoming a full member. Her work was widely published in magazines, including Life, Paris Match, and Vogue, and in numerous books.</p> <p style="text-align: justify;">Ms. Morath was married to Arthur Miller and they had one daughter, the film director Rebecca Miller. In 2015 the Bienecke Library at Yale acquired the bulk of the Inge Morath Estate.<br />DANZIGER GALLERY 521 W. 23rd ST. NEW YORK CITY NY 10011</p> <p style="text-align: justify;">Enoc Perez was born in San Juan, Puerto Rico in 1967. He currently lives and works in New York. Known primarily for his multi-layered paintings of modernist buildings, throughout his twenty year career the artist has nevertheless engaged with a variety of subjects that appeal to him from voluptuous nudes to still lives of Don Q rum bottles.</p> <p style="text-align: justify;">Enoc Perez&rsquo;s new photo collages engage with social media, appropriation, and the artist&rsquo;s consistent and inventive search for new forms. Sourcing images from the internet of minimally dressed or nude women, from amateur selfies to more professional photos, Perez adds hand painted and cut collaged forms to both obscure and enhance the picture.</p> <p style="text-align: justify;">The cutout shapes function as censor's marks - thwarting our ability to see the original image in its entirety while making it all the more attention-grabbing and voyeuristic. At the same time the collaged bits make it into a happy game, playful colors and forms replacing a need for more visual information and reminding the audience of the artist&rsquo;s role in directing and delivering fresh ways of seeing.</p> <p style="text-align: justify;">Enoc Perez&rsquo;s work belongs to the collections of the Whitney Museum of American Art, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the Corcoran Art Gallery, and the Museum of Contemporary Art North Miami, among other significant institutions throughout the United States. The first complete monograph on his work was published by Assouline in 2013.</p> Sat, 02 May 2015 16:38:24 +0000