ArtSlant - Current exhibits en-us 40 Malcolm Andre Davis II, Nyeema Morgan - 2AC Gallery - October 26th, 2012 - January 10th, 2013 <h2 style="text-align: left;"><span style="font-size: small;">MoCADA is teaming up with 2AC Gallery owner Pablo Sue-Pat to mount a satellite exhibition space. The exhibition space features two exhibitions, the first, Camouflage Nursery is a sculpture series which poignantly explore the loss of childhood and innocence in the face of adult projections created by Pablo Sue-Pat.</span><br /><br /><span style="font-size: small;"><strong>Newsfeed: Reconstructions of Experience @ 2AC Gallery is the base for the installation projects component of the curatorial series NEWSFEED: Anonymity &amp; Social Media in African Revolutions and Beyond. The gallery space conceptually engages with the topics of anonymity, interconnectivity, conflict and the digital arena in which they interplay. Through site specific installation work, by Malcolm Andre Davis II and Nyeema Morgan, the roles of the anonymous consumers of social media and the anonymous producer of social media are addressed.</strong></span></h2> Mon, 26 Nov 2012 00:03:57 +0000 John A Parks - 532 Gallery Thomas Jaeckel - November 8th, 2012 - February 16th, 2013 <p>532 Gallery Thomas Jaeckelis pleased to announce “Paint and Memory” an exhibition of new paintings by John A. Parks.  Executed as finger paintings, these pictures explore the artist’s memories of his English childhood in a series of richly evocative images. “In a sense I’m using a childish means to recreate a child’s world,”says Parks, “although the resulting paintings are far more sophisticated than those of a child.”  The lush surfaces, gloriously layered color and suggestive drawing work together to create a novel and intensely nostalgic vision. What is remembered are glimpses, sometimes idyllic and sometimes disturbing; cycling through a village on a summer’s day, playing hide-and-seek in a public park, the mayhem of an indoor swimming pool, the sudden formality of a Maypole dance. The limitation of painting with his fingers has forced Parks to simplify the descriptive tasks of the painting. “There is a certain indeterminacy with finger painting,” says the artist, “you are never exactly sure where an edge is going to go.  Chance events occur that you can edit out or leave in.  The process adds a richness and a very physical engagement with the paint.  Accidents can often be suggestive - theyprod the imagination and provide a sense of discovery.  Every mark is truly an adventure.”</p> <p>Also on view are three large-scale map paintings of London in which the artist manipulates space and point of view to provide a highly entertaining excursion through the streets of his native city. Presented from multiple viewpoints but lodged in a fairly accurate street plan, buildings, monuments, bridges and buses come alive in an unexpected and inventive fashion.</p> <p>Educated at the Royal College of Art in London, Parks has made paintings over the last thirty years that have focused on themes of English life seen through expatriate eyes. The artist has lived for decades in New York and teaches at the School of Visual Arts.  Throughout that time the artist’s work has evolved expressively and stylistically. His early and intense realist work was closely associated with the realist revival but carried with it from the start a lyrical and intensely personal quality.  John Russell, writing in the New York Times, dubbed him “A true poet in paint and something of a find.”   In the mid eighties and nineties Parks adopted a larger scale approach to paint images of public monuments in a series of paintings that explored the unease of national identity and its attendant rituals.  These works included a highly irreverent series of English soldiers, often shown dancing or otherwise cavorting.</p> <p>Parks has been represented by several major New York galleries including Allan Stone Gallery and Coe Kerr Gallery.  His work is included in a number of museum collections including the Victoria and Albert Museum, in London and the Museum of the Rhode Island School of Design.This exhibition marks his debut with 532 GalleryThomas Jaeckel.</p> <p>(Gallery is closed December, 4-11 Art Fair Miami)</p> Mon, 21 Jan 2013 21:29:02 +0000 Wayne Thiebaud - Acquavella Galleries - October 23rd, 2012 - November 30th, 2012 <p>Acquavella Galleries is pleased to announce Wayne Thiebaud: A Retrospective, from October 23rd to November 30th 2012. Curated by John Wilmerding, the exhibition will include paintings, works on paper and prints spanning the length of the artist’s career from the mid 1950s to today. The exhibition will include all of the artist’s major subjects: confections and diner foods, figures and portraits, San Francisco cityscapes, Sacramento Delta panoramas and his California mountain series. In addition to significant loans from the Whitney Museum of American Art, New York; The Hirshhorn Museum and Sculpture Garden, Washington D.C.; Albright-Knox Art Gallery, Buffalo, New York; San Francisco Museum of Modern Art; Crocker Art Museum, Sacramento; and Phoenix Art Musuem, the exhibition will also include multiple work from the artist’s personal holdings. “Like many artists, he’s held on to some of the best examples of his work from every period,” explained Mr. Wilmerding.<br /> <br /> Wayne Thiebaud is one of the most celebrated artists working today. Best known for painting everyday objects from gumball machines to bakeshop windows, Thiebaud uses tactile brushwork, saturated colors and luminous light for a range of subjects he describes as “people, places and things.” Although associated with Pop art of the 1960s, Thiebaud depicts subjects that reflect a nostalgia and reverence for American culture that sets him apart from the stark commercialism of Warhol and his contemporaries. Thiebaud takes a formal approach to issues of color, light, composition and space, stating that his only intention when he paints is to “get the painting to a point of resolution.” This formality lends itself to all of his many subjects and is one the reasons why the masterful quality of his paintings has remained consistent over sixty years. It is this consistency that Wilmerding hopes to highlight in the exhibition. "We are delighted to be representing Wayne Thiebaud, a major figure in the development of 20th century art whose work is just as relevant and impressive today as it was when he first gained<br /> critical acclaim in the early 60's," said Eleanor Acquavella. <br /> <br /> Wayne Thiebaud (b. 1920) lives and works in Sacramento, CA. He has been widely recognized for his achievements as an artist and has received various prestigious awards such as the National Medal of Arts from President William Clinton, 1994; the Lifetime Achievement Award for Art from the American Academy of Design, NY, 2001 and he was inducted into The California Hall of Fame in 2010 at The California Museum, Sacramento, CA. His work has been exhibited in major museums and institutions including the Whitney Museum of American Art, NY; Wallraf-Richartz Museum, Cologne, Germany; Phoenix Art Museum, AZ and the San Francisco Museum of Modern Art, CA. Thiebaud’s works are also in permanent collections at the Los Angeles County Museum of Art, CA; Crocker Art Museum, CA and the Whitney Museum of American Art, New York.<br /> <br /> John Wilmerding is the Sarofim Professor of American Art, Emeritus, at Princeton University. He has written more than twenty books on American art and artists, including most recently monographs and catalogues on Tom Wesselmann, Robert Indiana, Roy Lichtenstein, and George Segal. The fully illustrated catalogue Wayne Thiebaud: A Retrospective will be co-distributed by Rizzoli and will contain two essays – “Wayne Thiebaud: ‘The Emperor of Ice Cream’” by John Wilmerding and “The Lonely Crowd: Men and Women in the Art of Wayne Thiebaud” by art historian Pepe Karmel.</p> Sun, 25 Nov 2012 06:00:02 +0000 Somnath Hore - Aicon Gallery - New York - November 1st, 2012 - December 1st, 2012 <p>Somnath Hore was born in a village called Barama in Chittagong, present day Bangladesh, in 1921. While he was still very young, he started making posters for the Communist party. It was with the help of the leader of this party that he was admitted into the Government College of Art &amp; Craft. <br /> <br /> Between the years 1954 to 1967, Hore handled a number of jobs in various capacities. From 1954 to 1958 he was a lecturer at the Indian College of Art and Draftsmanship in Kolkata. Thereafter, until 1967, he held posts such as the "in-charge of the Graphic section" at the Delhi College of Art, visiting faculty at the MS University in Baroda and the head of the Graphic Art department of Kala Bhavan, Visva Bharati. In 1960, he became a member of the Society of Contemporary Artists.<br /> <br /> From 1974, Hore began to produce his bronze sculptures. "Mother with Child", a large sculpture that paid homage to the people's struggle in Vietnam, was stolen from the Kala Bhavan soon after it was completed and still has yet to be found.<br /> <br /> The anguished human form has widely been reflected in Hore's figuration. The visual appeal of his work is increased by rough surfaces, slits, holes and exposed channels.</p> <p>Died 2006, Santiniketan, West Bengal.</p> Tue, 23 Oct 2012 08:28:57 +0000 Jamini Roy - Aicon Gallery - New York - November 1st, 2012 - December 1st, 2012 <p>Born 1887, West Bengal<br /> <br /> Born in 1887 in a small village in the Bankura district, West Bengal, Jamini Roy joined the Government School of Art, Kolkata in 1903. He began his career by painting in the Post-Impressionist genre of landscapes and portraits, very much in keeping with his training in a British academic system. Yet, by 1925, Roy had begun experimenting along the lines of popular bazaar paintings sold outside the Kalighat temple in Kolkata. By the early 1930s, Roy began to use indigenous materials in his works, painting on woven mats, cloth and wood coated with lime. His inspiration for painting on woven mats was the textures he found in Byzantine art, which he had seen in color photographs. It occurred to him that painting on a woven mat might make for an interesting mosaic-like surface.<br /> <br /> The Santhals, tribal people who live in the rural districts of Bengal, were an important subject for Roy. A series of works done a decade before World War II is a prime example of how he captured the qualities that are a part of native folk painting and combined them with those of his own. He fused the minimal brush strokes of the Kalighat style with elements of tribal art from Bengal (like that of the terracotta work found in the Bishnupur temple, where terracotta was often composed into elaborate, decorative units over portals and across exterior walls of the temples).<br /> <br /> Roy's rejection of the then modern style of painting and his foray into the realm of Bengali folk paintings marked a new beginning in the history of Indian modern art. The mother and child, Radha, and animals were painted in simple two-dimensional forms, with flat color application and an emphasis on the lines. The main subjects were often enclosed within decorative borders with motifs in the background. The figure of the Christ was also one of Roy’s common subjects. <br /> <br /> Roy held several one-man exhibitions and numerous group shows. His works can be found in several private and public collections, institutions and museums all over the world, including the Lalit Kala Academy in Delhi and museums in Germany and the United States of America.<br /> <br /> Died 1972, Kolkata, India.</p> Tue, 23 Oct 2012 08:33:00 +0000 Eugenio Dittborn - Alexander and Bonin - October 20th, 2012 - November 24th, 2012 <p>An exhibition of 8 ‘Airmail Paintings’ by Eugenio Dittborn will open at Alexander and Bonin on Saturday, October 20th. The works, executed between 1989 and 2011, were selected to emphasize their origin and the journeys they make as they circulate from Santiago de Chile (the artist’s home) to multiple destinations throughout the world.<br />Dittborn began his series of ‘Airmail Paintings’ in 1984, applying various paint, silk-screen, and collage techniques to large sheets of brown wrapping paper which were then folded, packed into envelopes and sent to his friend and fellow artist Juan Davila in Melbourne, Australia. From there, Dittborn developed a rich language of imagery which weaves themes of distance and circulation into the conditions of painting itself. Circulation, in that the works are now created on loose sections of canvas, folded, and mailed in unique envelopes which track each destination. Upon further investigation, a second level of circulation is revealed in the repetition of images across multiple works, building circuits of meaning and juxtaposing material drawn from such diverse sources as comic books, police records from the 40s, anthropological texts, and newspapers. Distance - in both the literal distance over which the works travel, and the distance across time that separates imagery from its original context - is folded and compressed into the matrix of each painting.<br />The ‘Airmail Painting’ was Dittborn’s inspired solution to the problems of working in Chile during the military dictatorship of Augusto Pinochet (1973-98). It was a way of disguising his artwork, bypassing bureaucracy and establishing a unique presence in the international art world. The paintings in this exhibition have been in constant circulation since their initial departure from Santiago. The primary state of Dittborn's works is the state of transit: the significance lies not so much in the date of its production but in the dates of its multiple journeys.<br />Dittborn’s work has been shown internationally since the early 80s. The first survey exhibition of his work took place in 1993 at the Witte de With Center for Contemporary Art, Rotterdam and the Institute of Contemporary Art, London. In 1997, the New Museum of Contemporary Art in New York and the Museo Nacional de Bellas Artes in Santiago collaborated on an extensive exhibition. His work was the subject of in a one-person exhibition at Museo De Artes Visuales (MAVI), Santiago de Chile (2010). A survey of Eugenio Dittborn’s multi-panel ‘Airmail Paintings’ was held at the Bienal do Mercosul in Porto Alegre in 2011 and his work was included in “Intense Proximity”, the 2012 Paris Triennale. An early ‘Airmail Painting’ is included in the exhibition “This Will Have Been: Art, Love, &amp; Politics in the 1980s”, organized by the Museum of Contemporary Art, Chicago and travelling to the Walker Art Center, Minneapolis, and the Institute of Contemporary Art, Boston in 2012-2013. A one-person exhibition of his work will take place at the Museum Het Domein Sittard, The Netherlands in 2013.</p> <p></p> Mon, 05 Nov 2012 04:03:47 +0000 Melvin Edwards - Alexander Gray Associates - October 31st, 2012 - December 22nd, 2012 <p>Alexander Gray Associates is pleased to present its second exhibition with Melvin Edwards, spanning the trajectory of Edwards’ nearly 50-year career. Concurrently, Edwards is a featured artist in the celebrated exhibition <i>Now Dig This! Art and Black Los Angeles 1960–1980</i> on view at MoMA/PS1, organized by Kellie Jones for the Hammer Museum, Los Angeles; the exhibition runs through March 11, 2013.<br /> <br /> Edwards’ manipulation of industrial materials—and their cultural connotations—is emphasized with a selection of installations, wall reliefs, and free-standing steel sculptures on view. Chains are present throughout the works, reinforcing the relationship between material and image at the foundation of Edwards’ oeuvre. The duplicity of meaning inherent in the imagery of chain, a symbol of oppression yet also a metaphor for cultural linkage, lends complex narrative to the modernist forms.<br /> <br /> The exhibition centers on Edwards’ groundbreaking 1969–70 installation, <i>Curtain for William and Peter</i> (1969–1970), a sheer drape of barbed wire hemmed with heavy-gauge chain. Included in the artist’s solo exhibition at the Whitney Museum of American Art in 1970, Curtain pays homage to fellow artists William T. Williams and Peter Bradley, utilizing materials of labor and entrapment to create an elegant, fluid form tinged with brutality.<br /> <br /> The iconic stainless-steel sculpture <i>To Listen</i> (1990) stands at nearly 8 feet tall, anchors a gallery of pedestal-scaled sculptures, dating from the early 1970s to the present. Also included in the exhibition are works from Edwards’ renowned <i>Lynch Fragments</i> series, spanning from the 1960s to 2012. Among the disc-formed wall sculptures is the rare 1965 work, Texcali, which was included in Edwards’ 1965 solo exhibition at the Santa Barbara Museum of Art.<br /> <br /> Edwards reflects on his use of materials: <br /> <i>I have always understood the brutalist connotations inherent in materials like barbed wire and links of chain and my creative thoughts have always anticipated the beauty of utilizing that necessary complexity which arises from the use of these materials in what could be called a straight formalist style.... Wire like most linear materials has a history both as an obstacle and enclosure but barbed wire has the added capacity of painfully dynamic and aggressive resistance if contacted unintelligently. To use this chain with all its kinetic parts crisscrossing the line as invader and potent container.</i> —The Afro-American Artist, 1973</p> Tue, 18 Dec 2012 01:27:50 +0000 Brett Bigbee - Alexandre Gallery - October 18th, 2012 - November 17th, 2012 <p>Intense magic realism and a haunting tenderness describe Brett Bigbee’s (American, b. 1954)human-scaled figurative paintings.  Two early paintings from the 1990s are on view – one depicting his wife and frequent model sitting nude on a bold flower patterned sofa.  The second is a self-portrait of the artist holding his infant son.</p> Mon, 22 Oct 2012 00:43:19 +0000 Neil Welliver - Alexandre Gallery - October 18th, 2012 - November 17th, 2012 <p> A selection of woodcut prints using traditional Japanese methods and related drawings and watercolors of the Maine landscape by Neil Welliver (American, 1929 – 2005), best known for his monumental oil paintings of untouched woods of Northern New England.</p> Mon, 22 Oct 2012 00:44:29 +0000 Daphne Fitzpatrick - American Contemporary - November 8th, 2012 - December 23rd, 2012 <p>American Contemporary is excited to announce the opening of an exhibition of new work by Daphne Fitzpatrick, titled "Whistle and Flute". The title, taken from the machismo world of cockney rhyming slang, strongly reflects Daphne's playful and approach to metaphor, gender and imagery, where, seemingly captured in an instant, one thing becomes another or another thing is already something else.</p> <p>Fitzpatrick spent some time earlier in the year teaching in Tokyo, at Tokyo Tech, before traveling around Asia and Europe. The photographs collected on this trip, numbering in the high hundreds, have been edited down to approximately ten images. Six will be exhibited in the show, and four others at NADA Miami, where Fitzpatrick will have a solo presentation. These photographs will be coupled with sculptures that continue on from the pieces made for her recent inclusion in "It is what it is, or is it?" at Contemporary Art Museum, Houston, the first exhibition curated by Dean Daderko for the museum.</p> Tue, 06 Nov 2012 23:28:37 +0000 - American Folk Art Museum - September 12th, 2012 - January 13th, 2013 <p>“Foiled: Tinsel Painting in America” is the most comprehensive museum exhibition to focus on this under-recognized decorative art that was widely practiced in America from 1850 to 1890. One of the great revelations of the exhibition is the way this modest technique touched upon so many aspects of American life, innovation, and culture.<br /> <br /> Tinsel paintings are reverse paintings on glass with smooth or crumpled metallic foil applied behind translucent and transparent areas; when viewed in candlelight or gaslight, the effect was one of shimmering highlights. In the first half of the 19th century, tinsel painting was taught to young women whose parents were dedicated to providing refined education for their daughters and paid for such special classes. By the mid- to late 19th century, the art had expanded outside the school curriculum, and instructions proliferated in books and were advertised in women’s magazines. Its origins are related to forms developed in Renaissance Italy, 18th-century China and France, and 19th-century Austria, England, and Germany. Floral imagery predominates, as botanical copy prints and patterns were often employed. Especially appealing today are rare works that combine a variety of techniques and materials, including photography and collage. <br /> <br /> It is remarkable that so many examples of this fragile art have survived. The American Folk Art Museum has in its holdings a wealth of tinsel paintings thanks to the prescience of donors Kristina Barbara Johnson and Jean and Day Krolik Jr. With a significant gift from Susan and Laurence Lerner, the museum is now the largest public repository of this fascinating artform. <br /> <br /> Lee Kogan, curator emerita</p> Mon, 06 Aug 2012 02:38:28 +0000 - American Folk Art Museum - September 12th, 2012 - January 13th, 2013 <p>An attraction to shiny things is a primal human impulse. It may be instinctive and emotional, or profoundly meaningful within a cultural context. In the visual arts this has been expressed through the use of myriad materials that glitter and reflect. “Ooh, Shiny!” will highlight three centuries of artworks—ranging from needleworks by 18th-century schoolgirls to sculptures by contemporary icons including Howard Finster—that are embellished with such materials as spangles, mica flakes, glass, marble dust, sequins, glitter, and aluminum.</p> Sat, 01 Dec 2012 21:26:01 +0000 Suzanne Caporael - Ameringer | McEnery | Yohe - November 15th, 2012 - December 22nd, 2012 <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 17:00:48 +0000 Goshka Macuga - Andrew Kreps Gallery @ 537 W. 22nd - November 10th, 2012 - December 22nd, 2012 <p>The Andrew Kreps Gallery is pleased to present<em> Untitled</em>, Goshka Macuga’s second solo exhibition at the gallery.  The show is comprised of works that were recently shown at the Zachęta National Gallery of Art in Warsaw, which was the first major presentation of her work in a public institution in Poland. </p> <p>At the core of the show lies the theme of censorship in Polish art after 1989 and the related attacks against artists, curators, directors and cultural institutions.  For the project Macuga adopted her characteristic method of delving into the archives of the hosting institution and drew upon exhibition documentation, artist portfolios, press clippings and photographs, as well as guest books, emails and letters, including private correspondence addressed to Zachęta.  The show features a tapestry taken from a photograph of a protest (originally a 1967 happening by that the artist Tadeusz Kantor) that the artist re-enacted – in which 7 postmen deliver a letter addressed to Zachęta.  The original “letter” was subsequently destroyed by the viewers – but Macuga’s letter was not – and thus serves the role as prop – or evidence.</p> <p>The exhibit will also feature large-scale photographs in which the main figures have been silkscreened out – or redacted from the image.  The photos were taken from the Zachęta’s own archives and feature those artists and curators such as Adam Szymczyck and Piotr Uklanski - at the opening of their exhibition <em>The Nazi’s- </em>which was later attacked by a famous Polish actor Daniel Olbrychski with a sword; and a portrait Anda Rottenberg who was attacked for displaying Maurizio Cattelan’s <em>La Nona Ora</em> – which was later destroyed by two Polish MP’s.  Macuga also displays this act of violent censorship with a triptych of images of the damage to this same sculpture (which features Pope John Paul II felled by a meteor) – serving as a reminder that the work’s destruction was a symbolic gesture as well as an act of vandalism.</p> <p>Through addressing censorship in Poland during the Culture Wars the exhibition attempts to analyze the mechanism by which demagogy replaces education, and politics interferes with art.</p> <p>Goshka Macuga was born in Warsaw and studied at Central Saint Martin’s School of Art and in Goldsmiths College in London. In 2008, she was amongst the four nominees for the Turner Prize. She has had solo projects at the Whitechapel and Tate Britain in London, at the Kunsthalle Basel and the Walker Art Center in Minneapolis.  She was included in Documenta 2012 and was the recipient of the Arnold Bode Prize.  Her first American survey show will take place at the Museum of Contemporary Art in Chicago, curated by Dieter Roelstraete.   She currently lives and works in London.</p> <p><span style="color: #333333; font-family: Verdana,Arial,Helvetica,sans-serif; font-size: xx-small;" color="#333333" face="Verdana, Arial, Helvetica, sans-serif" size="1"><span style="font-size: xx-small;" size="1"></span></span></p> Tue, 13 Nov 2012 00:18:24 +0000 Nina Chanel Abney - Anna Kustera - October 18th, 2012 - November 24th, 2012 <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 19:50:20 +0000 Eberhard Havekost - Anton Kern Gallery - October 25th, 2012 - December 15th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">For his sixth solo exhibition at Anton Kern Gallery, German painter Eberhard Havekost has put together a body of 15 paintings under the title “COPY + OWNERSHIP”. The title declares the painter to be both author and consumer of the images he presents. Havekostʼs meticulous and confident painting technique and evidently photographic reference material make it clear that he does not try to remove the images in his paintings from their original context, but instead proposes a reimaging of circumstances surrounding each one. The automated arrangement of colors in a video test pattern as we see it on a television screen becomes the exacting labor of a painter mixing colors and layering brush strokes. The act of copying the source material is the precise means by which the painter stakes his claim of ownership.</p> <p style="text-align: justify;">The work opens itself up in the act of looking/viewing and references to the source material (newspaper/magazine clippings, images drawn from digital media, and personal snapshots) pulse in and out of the viewerʼs consciousness. Color fields, atomic tests, images of bathers, a tattooed palm tree, and blurry images taken from flat screen televisions all question our perception of reality as we experience it moment to moment transforming ephemeral images into objects of sustained contemplation.</p> <p style="text-align: justify;">Eberhard Havekostʼs work has been exhibited continuously since the early 1990s, most recently in one-person shows at the Bhau Daji Lad Museum, Mumbai (2012), the Kunsthalle im Lipsiusbau, Dresden (2011), Schirn Kunsthalle, Frankfurt (2010), Staatliche Kunstsammlungen, Dresden (2010), ʻHarmony 2ʼ, Stedelijk, Amsterdam (2006). His work has also been included in large group exhibitions such as, Chefs-d´oeuvre Du Musee Frieder Burda, Musée Granet (2012), HALLELUHWAH! Homage a CAN, Künstlerhaus Bethanien (2011), Against the Grain; 15 Years of Collecting, Kunstmuseum Wolfsburg, Wolfsburg (2009),Imagination Becomes Reality, ZKM, Karlsruhe (2007), Trials and Terrors, Museum of Contemporary Art, Chicago, New German Painting, Carré dʼArt – Musée dʼArt Contemporain, Nîmes, Triumph of Painting, the Saatchi Gallery, London (all 2005), deutschemalereizweitausenddrei, Frankfurter Kunstverein, Frankfurt/M. (2003), and Painting at the Edge of the World, Walker Art Center, Minneapolis (2001). Havekostʼs work is included in the following museum collections: MoMA, New York, Tate Modern, London, Los Angeles MOCA.</p> <p></p> <p></p> <p></p> Thu, 01 Nov 2012 13:46:04 +0000