ArtSlant - Recently added en-us 40 Andreas Kocks - Winston Wachter Fine Art - October 16th - December 1st <p style="text-align: justify;">Winston W&auml;chter Fine Art, New York is pleased to announce its third solo exhibition with German artist Andreas Kocks. A sculptor best known for his large-scale paper&nbsp;installations, Kocks playfully integrates elements of drawing, painting, and architecture&nbsp;into his abstract and meticulously crafted sculptures. Working from a limited palette,&nbsp;Kocks carves thick sheets of watercolor paper to create textured, layered works that give&nbsp;the illusion of three-dimensional brush strokes, splatters, and drips.</p> <p style="text-align: justify;">In previous series, Kocks has created site-specific installations that include monumental&nbsp;structures that span from floor to ceiling and blur the boundaries of defined architectural&nbsp;space. THE SINGLES COLLECTION marks a transition into and an exploration of&nbsp;mostly framed works. Working within a contained space, Kocks finds ways to maintain&nbsp;the energy and movement found in his larger pieces while navigating a defined perimeter.&nbsp;These concentrated pieces seem to burst and ooze out of their frames. Some of them even&nbsp;contain elements that do, literally, extend beyond the frame.</p> <p style="text-align: justify;">The personal face-to-frame quality of these smaller, individual pieces allows for a more intimate dialogue between the viewer and each work to evolve, a dialogue which Kocks has compared to the personal relationship that can develop between a person and a piece of music that is listened to over and over. The exhibition title is a nod to this musical inspiration as well as to the fact that each artwork stands alone: a single that viewers can return to again and again.</p> <p style="text-align: justify;">The use of metal in several of the new pieces elegantly compliments the fragility of the paper structures and also signifies an expansion in the artist&rsquo;s palette and choice of materials. The gold, silver, and aluminum leaf that cascade and swirl across the various works originates from the artist&rsquo;s past experiences with heavier sculptures, but has been introduced here to highlight the personal, reflective, mirroring elements of these framed pieces.</p> <p style="text-align: justify;">With artworks that always seem to embody a transitory state&shy;&ndash; between a sketch and a sculpture, falling apart and arising, lightness and weight, stillness and motion&ndash; Kocks is a master at balancing the subtle paradoxes that keep viewers captivated and coming back for more.</p> Wed, 22 Oct 2014 10:16:35 +0000 Muhanned Cader - Talwar Gallery - NY - October 24th - January 31st, 2015 Wed, 22 Oct 2014 10:08:43 +0000 Oscar Tuazon, Eli Hansen - Maccarone (Greenwich Street) - November 8th - December 17th Wed, 22 Oct 2014 09:49:45 +0000 Brenda Garand - Lesley Heller Workspace - October 23rd - December 6th <p style="text-align: justify;">Lesley Heller Workspace introduces the sculpture and drawings of<strong> Brenda Garand</strong> in her first New York solo exhibition, <em>Northern Passage. </em>Garand is French Canadian, Abenaki and English. This distinct personal heritage is essential to her work. Garand has spent years investigating the cultural links between the French and the indigenous peoples along the Northeastern corridor.Her work abounds with fluvial references, not only the physical pressure of water teeming along the narrow banks of the Northern rivers, but also the cultural pressure of merging peoples and histories.</p> <p style="text-align: justify;">Her sculptures are made of a variety of materials such as steel, wire, roofing paper, fabric, wool, silk, and rope. The combination of these elements convey both strength and fragility, and allude to the traditions of fishing, hunting, fur-trading, and trapping- all reinforcing a sense of place and history.</p> <p style="text-align: justify;">Garand&rsquo;s titles often reflect the language and religious concepts of the Algonquin peoples. <em>Lac-M&eacute;gantic</em> is Abenaki- Lac, meaning lake and M&eacute;gantic<em>, </em>&nbsp;meaning to host many fish; <em>Manitoulin,</em> means spirit island in Ojibwe. &nbsp;The idea of the Supreme Being manifests itself in <em>Manitou</em>.</p> <p style="text-align: justify;">Garand&rsquo;s personal narrative is significant in the <em>Dirge</em> series of sculptures and her large floor sculpture, <em>It's Like Falling Into Water</em>. They express the mourning her parents&rsquo; passing, as well as the loss of life and livelihood caused by the floods caused by Hurricane Irene in 2011. All however are imbued with optimism, and of a life yet to live. Her <em>Deluge</em> drawings, made with clay, india and walnut inks, are ruminations of change. They recollect the floating forms she saw in the White River during the flood- known and unknown.</p> <p style="text-align: justify;">Coming from a familiar sense of place, yet unknown to the viewer, Garand&rsquo;s work symbolizes the adaptations that become necessary when nature&rsquo;s power creates challenges and forces modification. They reflect lives that are constantly in motion, like the rushing water near her Vermont studio door.</p> <p style="text-align: justify;">Brenda Garand received her MFA in Sculpture from Queens College, City University of New York and her BFA in Sculpture from the University of New Hampshire.&nbsp; Recent exhibitions include: Lesley Heller Workspace NYC <em>Building Beauty</em>;National Academy Museum 183<sup>rd</sup><em>Annual: An Invitational Exhibition of Contemporary American Art </em>NYC; Reeves-Contemporary 535 West 24<sup>th</sup> St, NYC; Honey Space&nbsp; <em>Object Salon</em> 148 11<sup>th</sup> Ave.NYC<em>; </em>Wright State University Art Galleries <em>Brenda Garand &ldquo;Northern Fiction&rdquo; Sculpture, </em>Dayton, Ohio; Spheris Gallery Hanover, NH; &nbsp;American Academy of Arts and Letters <em>Invitational Exhibition of Painting and Sculpture </em>NYC; im n iL, <em>Two Ones: Brenda Garand and Betsey Garand</em> Brooklyn NY; Hampshire College, Amherst MA; A.V.C. Contemporary Arts Gallery, The Fuller Building, 57th St. NYC; 55 Mercer Gallery NYC; The College of William and Mary,Williamsburg VA; and the Meguro Museum of Art, Tokyo, Japan.&nbsp; Garand is the recipient of a Fulbright Grant to France; a Fulbright Berlin Seminar; The Marion and Jasper Whiting Foundation Grant to Bayeux, France; The Andrew W. Mellon Foundation Research Grant, New Hampshire State Council on the Arts Individual Fellowship; Dartmouth College Senior Faculty Grant; Vermont Artist in Residence at The Carving Studio and Sculpture Center; and a Vermont Arts Council Individual Artist Grant.&nbsp; Residencies include Yaddo, Ragdale, Dorland Mountain Arts Colony, Atelier Silex in Qu&eacute;bec, and the Pouch Cove Foundation in Newfoundland, Canada.&nbsp;&nbsp; Garand is Full Professor of Studio Art at Dartmouth College. Prior to this position she taught for eleven years as an adjunct at Queens College, City University of New York.&nbsp; She has also taught at The Chautauqua Art Institute, Parsons School of Design, and The New York Studio School. She has been a visiting artist at Princeton University, Colby College, the Vermont Studio Center, University of Massachusetts at Dartmouth, University of New Hampshire, and the University of North Alabama in Florence, Western Connecticut State University, and Roger Williams University.</p> Wed, 22 Oct 2014 09:47:57 +0000 Group Show - Lesley Heller Workspace - October 23rd - December 7th <div class="documentBody"> <p style="text-align: justify;">Emily Dickinson did it. It is considered the lowliest of art-like activities, only practiced by spinsters and faeries. In this case the flowers are "pressed" into serving as new content in a post-nature constellation of beauty and longing. In the face of unavoidable decay, they have an elegiac function to perform still, their loveliness a balm for the bitter pills we swallow<strong>.&nbsp; &nbsp;&nbsp;&nbsp;Catherine Howe</strong></p> </div> Wed, 22 Oct 2014 09:46:33 +0000 Duane Hanson - Gagosian Gallery @ Park & 75 - October 30th - December 3rd <p style="text-align: justify;"><em>I want to achieve a certain tough realism which speaks of the fascinating idiosyncrasies of our times.</em><br /> &mdash;Duane Hanson<br /> <br /> Gagosian New York is pleased to present Duane Hanson&rsquo;s <em>Security Guard</em> (1990).<br /> <br /> In his hyper-realistic sculptures portraying working-class Americans, Hanson eschewed the predominant Expressionist and Minimalist concerns of the 1950s and 1960s for an unflinching investigation of the human condition. Early life-size tableaux depicting soldiers killed in action, police brutality, and the homeless confronted viewers with devastating truths largely overlooked in the art of the time.<br /> <br /> Throughout his forty-year career, Hanson&rsquo;s uncanny sculptural likenesses of blue-collar workers&mdash;repairmen, waitresses, and bricklayers&mdash;inhabited exhibition spaces eliciting surprise, embarrassment, amusement, and sympathy from unsuspecting viewers. Although his world-weary figures owe something to Pop and Photorealism, their veracity prompted responses from viewers normally reserved for interactions with other living people. These sculptural illusions, radical in the context of their time, anticipated the later gestures of contemporary provocateurs such as Chris Burden, Maurizio Cattelan, and Fred Wilson.<br /> <br /> The appearance of a single uniformed <em>Security Guard</em>&mdash;leaning against the wall of an otherwise empty storefront gallery, eyes fixed to the floor and shortwave radio in hand&mdash;refreshes and updates the visceral experience and critical relevance of Hanson&rsquo;s art for our own time.<br /> <br /> <strong>Duane Hanson</strong> was born in Alexandria, Minnesota in 1925, and died in Boca Raton, Florida in 1996. Selected solo exhibitions include Louisiana Museum of Modern Art, Humleb&aelig;k, Denmark (1975); Des Moines Art Center, Iowa (1977); Corcoran Gallery of Art, Washington, D.C. (1978); Whitney Museum of American Art, New York (1979); Kunsthaus Wien, Austria (1992); Montreal Museum of Fine Arts, Canada (1994, traveled to Modern Art Museum of Fort Worth, Texas); Daimaru Museum of Art, Tokyo (1995, traveled to Genichiro-Inkuma Museum of Contemporary Art, Kagawa; and Kintetsu Museum of Art, Osaka); Saatchi Gallery, London (1997); &ldquo;Duane Hanson, A Survey of his Work from the 30's to the 90's,&rdquo; Museum of Art, Fort Lauderdale (1998, traveled to Flint Institute of Arts, Michigan; Whitney Museum of American Art, New York; and Memphis Brooks Museum of Art, Memphis; and &ldquo;Duane Hanson: More than Reality, 2001,&rdquo; Schirn Kunsthalle, Frankfurt (2001, traveled to Padiglione d'Arte Contemporanea, Milan; Kunsthal Rotterdam, The Netherlands; National Galleries of Scotland, Edinburgh; and Kunsthaus Z&uuml;rich).</p> Wed, 22 Oct 2014 09:38:10 +0000 Blair Thurman - Gagosian Gallery - 980 Madison Ave. - November 1st - December 20th Wed, 22 Oct 2014 09:35:43 +0000 Walter de Maria - Gagosian Gallery - 980 Madison Ave. - November 8th - December 20th <p style="text-align: justify;">Gagosian Gallery is proud to announce the representation of the Estate of the late Walter De Maria, a vital figure in the evolution of Minimalism, Conceptual art, Land art, and installation. De Maria died in July of 2013 at the age of 77.<br /> <br /> On November 8, the first exhibition of sculptures and works on paper from the Estate will be presented at 980 Madison Avenue. This will be the sixth exhibition of De Maria&rsquo;s work to be held at Gagosian Gallery&rsquo;s locations since 1989.<br /> <br /> The works on view, which date from 1976 to 1990, include a pair of floor sculptures from the <em>Equal Area Series</em> (1976&ndash;90). Each of the 25 pairs in the series comprises a 7/8-inch thick, solid stainless steel circle and square which, despite their distinctive geometries, measure nearly the same square space.&nbsp; A British racing green wall as backdrop recalls the installation of Pair number 19, at the Moderna Museet, Stockholm in 1989.<br /> <br /> <em>Large Rod Series: Pedestal Rods 5, 7, 9, 11, 13</em> (1984) comprises five highly-polished solid stainless steel rods ranging from 5 to 13 sides, placed atop individual pedestals and spaced two meters apart. This work is part of a thirteen-year span of horizontal sculptures, beginning with <em>The Broken Kilometer</em> (1979), in which De Maria explored mathematical sequences through the grouping of similar polygonal forms. <em>The Pure Polygon Series</em> (1976), an editioned portfolio of seven drawings executed with a stencil, complements these sculptures.&nbsp; And, finally, De Maria's prescient meditation on the incalculable reality of existence, <em>There exists in the Universe more than One Billion Galaxies</em> (1988), will also be on view.<br /> <br /> A nonprofit entity established by Larry Gagosian, the Walter De Maria Foundation will be dedicated to managing the late artist's rights and reproductions, advising on curatorial matters, and overseeing the preparation of a major monograph. Elizabeth Childress, former director of the De Maria studio, and current director of the Walter De Maria Collection and Archives, commented, &ldquo;Walter so wished to establish his own foundation, but sadly he did not accomplish this during his lifetime. It is an important step to have this entity as both a protection and a promotion of his legacy.&rdquo;<br /> <br /> <strong>Walter De Maria</strong> was born in 1935 in Albany, California. He lived and worked in New York from 1960 until his death in 2013. For more than five decades, he was a singular figure whose rigorous and visionary works changed the very parameters of art history. Combining precise geometry with vast scale, his remarkable installations gave fresh impact and new meaning to the experience of looking at art, while enhancing and expanding the appreciation of the surrounding world. Among the eleven permanently sited installations by the artist are<em> The New York Earth Room</em> (1977), New York; <em>The Broken Kilometer</em> (1979), New York; <em>The Lightning Field</em> (1977), New Mexico; <em>The Vertical Earth Kilometer </em>(1977), Kassel, Germany; <em>Monument to the Bicentennial of the French Revolution 1789&ndash;1989</em> (1989&ndash;90), Assembl&eacute;e Nationale, Paris; and the <em>Large Red Sphere</em> (2010), in the T&uuml;rkentor building, Munich.</p> Wed, 22 Oct 2014 09:35:30 +0000 Willie Doherty - Alexander and Bonin - October 25th - December 6th <p style="text-align: justify;">An exhibition of two recent video installations and photographic works by Willie Doherty will open at Alexander and Bonin on Saturday, October 25th .</p> <p class="Default" style="text-align: justify;"><em>The Amnesiac, </em>2014, Doherty&rsquo;s most recent video work, is a 10 minute single-channel video installation which extends his interest in themes of landscape and memory. The video follows an unidentified man as he drives along a country road. His journey is interrupted by what might be a momentary lapse in concentration from the tedium of driving, a daydream or a rupture in the fabric of the everyday. He returns to somewhere half remembered or half forgotten; a reminder that traces of past events, whether or not visible, remain embedded within the landscape.</p> <p class="Default" style="text-align: justify;">The video is accompanied by a group of 10 photographs, titled <em>Damage, </em>2014, which were made at the same location where the video was shot. The photographs are details of tree trunks that bear the physical markings of past acts of violence. Doherty explores the boundaries between the visible and invisible, past and present, the tangible and intangible.</p> <p class="Default" style="text-align: justify;"><em>Remains, </em>2013 is a 15 minute single-channel video installation, first shown at Art Unlimited Basel, and included in his retrospective <em>UNSEEN </em>(September 2013-January 2014) at City Factory Gallery in Derry, Northern Ireland and currently on view at the De Pont Museum in Tilburg. <em>Remains </em>was made in a number of locations in Derry that have been used since the early 1970s to carry out kneecappings, a form of punishment shooting used to control drug use and other forms of so called &lsquo;antisocial behavior&rsquo;. The ghosts of events past are summoned by the narrator as his recounting unearths a repository of memories, specific to the unimposing landscape, and ultimately reveals a continuing cycle of violence, enacted in the same locations.</p> <p class="Default" style="text-align: justify;">Doherty&rsquo;s meditations, in video and photography, on the changing political landscape of Northern Ireland have been a central theme of his work since 1985. With a new series of black and white photographs, titled <em>Future Fear, </em>made in Derry during the summer of 2014, Doherty returns to some of the locations that he has photographed in the past. These photographs reveal an ongoing state of unease, a place suspended between the familiarity and comfort of violence and the anxiety and uncertainty of change.</p> <p style="text-align: justify;">Willie Doherty was born in1959 in Derry, N. Ireland and now lives and works in County Donegal, Republic of Ireland. In 2015 a selection of his video works will be shown at CAM-Funda&ccedil;&atilde;o Calouste Gulbenkian, Lisbon. Past solo exhibitions include those at the Dallas Museum of Art (2009), Lenbachhaus, Munich (2007), Laboratorio Arte Alameda, Mexico City (2006), the Renaissance Society, Chicago (1999), and Tate Liverpool (1998). He has participated in the Biennale di Venezia (2007, 2005, 1993) and the Bienal de S&atilde;o Paulo (2002) and dOCUMENTA (13), Kassel (2012).</p> Wed, 22 Oct 2014 09:28:56 +0000 Pedro S. De Movellán - Maxwell Davidson Gallery - November 6th - December 23rd <p>On November 6, Maxwell Davidson Gallery and Davidson Contemporary open their new bi-level Chelsea gallery. Located on the top two floors of 521 West 26th street, the new space - designed by Murdock Solon Architects - boasts features unique to the gallery, and unmatched in New York.</p> <p>The ninth floor is a classic gallery, but one filled with natural light from a skylight 20 feet above. Up the staircase to the rooftop gallery, visitors are greeted by a panoramic view: the Hudson River, the New York skyline, and the High Line. Work will be displayed both inside the glass-enclosed penthouse gallery, as well as outside on two 1200-square foot sculpture decks. Each terrace has been specially designed and constructed to display large-scale outdoor sculptures, both mobile and stabile.</p> <p>Here, Maxwell Davidson Gallery presents <em>Contour: New Kinetic Sculpture</em>, by Pedro S. de Movell&agrave;n. De Movell&agrave;n has created indoor and outdoor work for this exhibition. For over 20 years, de Movell&agrave;n has been one of the greatest contemporary kinetic sculptors in the world. His work will also be on view at the Vero Beach Museum of Art through January 4, 2015.</p> Wed, 22 Oct 2014 05:04:06 +0000 Markus Baenziger - Edward Thorp Gallery - October 30th - December 6th <p>The Edward Thorp Gallery is pleased to announce an exhibit of recent works by Swiss-born artist Markus Baenziger. This will be his third one-person exhibition with the gallery.</p> <p>Baenziger&rsquo;s sculptures integrate the artist&rsquo;s love of nature with a vision of a gritty, imperfect and industrialized world, constructed with a mastery of design and an exacting attention to detail.</p> <p>Employing synthetic materials, such as plastic resins with found objects and various casting and modeling techniques, he creates both lyrical and psychologically complex works. These orchestrated hybrids are seemingly in decay yet are also flourishing.</p> <p>These organic elements and technological debris vie for existence: ferns emanate from flattened cardboard boxes, fauna mutates from cast iron coil, thicket embraces and transforms discarded plastic bottles. A monumental leaf becomes imbued with the patina of rusted iron.</p> <p>Beauty emanates from these contradictions, the imperfect and incomplete, familiar yet unconventional. These works makes us acutely aware of the reciprocity of decay and growth, neglect and preservation, seductive objects both transient and imposing.</p> <p>The artist is a graduate of Yale University and currently Associate Professor of Fine Arts at Haverford College, Pennsylvania.</p> <p><br />For more information visit</p> Tue, 21 Oct 2014 20:42:03 +0000 Lucia Love - CUE Art Foundation - November 1st - December 11th <p><span style="color: #000000;">CUE is pleased to present&nbsp;Lucia&nbsp;Love&rsquo;s mixed media exhibition,&nbsp;<em>Reflecting Pool</em>. Love transforms a common object, a party straw, into an immersive installation of dark and peculiar forms, relying on a careful balance of the comical, the strange, and the violent.&nbsp;Love received her BFA from the School of Visual Arts and has exhibited internationally in venues such as Family Business, the Last Brucennial, Spring/Break Art Show, and B2OA gallery. This marks her first solo exhibition in New York City.<br /></span></p> <p><strong><span style="color: #000000;">From the artist&rsquo;s statement:</span></strong></p> <blockquote><span style="color: #000000;"><em>&ldquo;Fantasy is the driving force behind all human endeavors... Every invention is born from the marriage of vision and necessity. The combination of an [aggressive] object like a knife with a generally passive object like a party straw, creates a surreal opening in logic. New possible courses of action arise through its creation... Its function is invented by its creation.<br /></em><em><br /></em><em>Successful fantasies defy the logic of the time they are born into, and reveal our physical landscape to yield infinite combinations of actions, gestures, plot points, and sensations."</em><br /></span></blockquote> <p><span style="color: #000000;">For additional information, contact Jessica Gildea, Programs Director:&nbsp;<a href="" target="_blank" rel="nofollow"></a>.</span></p> Tue, 21 Oct 2014 16:55:00 +0000 Ruven Afanador - Throckmorton Fine Art - November 6th - February 28th, 2015 <p style="text-align: justify;">Throckmorton Fine Art is pleased to announce our fourth exhibition of Ruven Afanador photographs, titled &Aacute;ngel Gitano &ndash; The Men of Flamenco. Spencer Throckmorton says, &ldquo;We are thrilled to be the first to show the extraordinary images in the stunning new book, &Aacute;ngel Gitano&ndash;The Men of Flamenco. Ruven has a unique point of view and these powerful, provocative photographs underscore his ability to delight and seduce viewers with their passionate depiction of the musical world of flamenco. They are a welcome next step is his study of flamenco after the successful publication of Mil Besos, which lent a new perspective to the amazing sensuality of female flamenco dancers.&rdquo;</p> <p style="text-align: justify;">Ruven Afanador&rsquo;s new book will be published by Rizzoli in October, 2014. &Aacute;ngel Gitano was designed by acclaimed art director Mary Shanahan, with an introduction contributed by Academy Award-winning film icon Diane Keaton. The hardcover edition features 244 metallic edged pages, 142 black and white photographs, deluxe dimensions of 11 x 14, and a French-fold jacket. It will retail for $95. <br /> <br /> The images of &Aacute;ngel Gitano will be exhibited in the United States, Latin America and Europe, beginning with Throckmorton Fine Art in New York. A companion to Mil Besos, Afanador&rsquo;s collection of photographs of the women of flamenco published in 2009, this surreal exploration of the world of its men, once again pays homage to that singular manifestation of the Spanish soul. <br /> <br /> The images demonstrate Afanador&rsquo;s laser sharp focus on its most eccentric of articulations&mdash;el &aacute;ngel&mdash;that powerful spirit that inflames flamenco with its intense emotion. &ldquo;Ruven evokes Salvador Dali&rsquo;s fantastical expressions with wit and daring, often tinted with the magical realism of his fellow Colombian, Gabriel Garc&iacute;a Marquez. Afanador&rsquo;s &aacute;ngel is described as an elegant erotic charge akin to the poems of Federico Garc&iacute;a Lorca, expressed here with abandon and the joyful freedom of our times.&rdquo; <br /> <br /> &Aacute;ngel Gitan &ndash;The Men of Flamenco was shot by Afanador in very high contrast under the white bright light of Andalusia, providing a compelling and often irreverent portrayal of the indomitable vitality of generations of larger-than-life gypsies, heirs to the soulful song and dance that evolved for centuries in the cultural lushness of the Iberian tradition. Afanadoradroitly juxtaposes primal archetypes with breathtaking young dancers from contemporary companies who, sinuous and lissome, enrich the imagery with an exquisitely sensual bravura.</p> <p>&ldquo;For me Ruven Afanador opened a door marked &lsquo;Do Not Enter.&rsquo; Once there,&rdquo; says Diane Keaton, &ldquo;he gave me the liberty to immerse myself in a world where strangely beautiful men wearing two-foot-high black wigs stand on stilts while they sing and dance in polka-dot ties, with striped pants.&rdquo; <br /> <br /> Working together with his team of collaborators under the unforgiving white light of Andalusia, Afanador photographed the men out of their usual context, in the harsh wheat fields outside Sevilla and the austere landscape near Jerez de la Frontera, and donning the theatrical make-up of Italian Neo-realism, which has long been his signature. To highlight their eccentricity, he mixed pieces from the men&rsquo;s own wardrobes&mdash;flat top berets and ruffle trimmed shirts&mdash;with dramatic flourishes of his own: fringe, flounces and stylized high waist, wide bottom pants; with lace-up corsets, endless ropes of pearls, and long skirts. To decode the scorching mystery of el &aacute;ngel, he portrays them dressed mostly in black, just draped in feral hair, or gloriously naked. <br /> <br /> &Aacute;ngel Gitano is another bold expression of the unique visual lexicon of the gifted and accomplished Ruven Afanador, a photographer of powerful vision and a profound sense of self. Born in Colombia, he has achieved an exceptional career photographing opulent fashion editorials and the emblematic icons of the worlds of politics and entertainment. His work has been exhibited in galleries and museums throughout the world. His first book, Torero (Stemmle, 2001), an exquisite collection of black and white photographs of matadors, has become a collectors&rsquo; item among photography and fashion connoisseurs; Sombra (Merrell, 2004), portrays magnificent male nudes, in a sumptuous play of rich tones and lavish composition, inspired by the gesture and movement of masculine classical ballet. In Mil Besos, Afanador challenges conventional definitions of gender and beauty by showcasing a surprising feminine strength underscored by startling masculine force. <br /> <br /> With &Aacute;ngel Gitano, Afanador continues to confront long-held definitions of beauty and traditional boundaries of gender in an extravagant display of imagination with an intensely personal language of gorgeous shadow and light.</p> <p style="text-align: justify;">&ldquo;Ruven Afanador amazes again with another collection of images that will seduce and delight. Following up on Mil Besos&mdash;which focused on the women of flamenco&mdash;Afanador turns his powerful vision to the men of flamenco, with startling results. &Aacute;ngel Gitan &ndash;The Men of Flamenco was photographed in Andalusian Spain, a universe inhabited by gypsies, musicians, and most of all the male flamenco dancers, full of beauty and bravado. Captured in arranged poses or in mid-dance, the dancers embody the wild, youthful passion inherent in the musical world of flamenco. As likely to be in gorgeous costumes as in the nude, these men exude gritty glamour, innate classicism, and a singularly charged eroticism.&rdquo;&nbsp;</p> Tue, 21 Oct 2014 16:50:09 +0000 Linda Herritt, Elana Herzog - The Boiler (Pierogi) - November 14th - December 21st Tue, 21 Oct 2014 16:45:08 +0000 George Condo - Skarstedt Gallery - Chelsea - November 8th - December 20th <p style="text-align: justify;">Skarstedt is pleased to present an exhibition of new works by George Condo titled <em>Double Heads / Black Paintings / Abstractions,</em> featuring large-scale paintings created in 2014 at his East Hampton studio.<br /> <br /> Condo&rsquo;s <em>Double Heads</em> and <em>Black Paintings</em> continue his investigation of the concept of portraiture. In these most recent works, Condo has adopted Harold Rosenberg&rsquo;s idea of &lsquo;action painting&rsquo;&mdash; a term used to describe the performative, often volatile energy exercised by Abstract Expressionist painters like de Kooning and Pollock&mdash;to create his own &lsquo;action portraits.&rsquo; Through an elaborate process of layering, erasure, and reconstruction, shattered images of faces and bodies emerge from and interact within a field of abstract forms. <br /> <br /> Incorporating the use of silver metallic paint in <em>Double Portrait in Grisaille</em> on Silver, 2014, and other works in this series, Condo references Warhol&rsquo;s silver paintings from the 1960&rsquo;s such as <em>Double Elvis</em>. After preparing a ground of silver paint on canvas, Condo applies ivory black onto loose sheets of paper, which is then transferred onto the canvasses, giving them the look and surface quality of a screen print. He then creates a schism in this form by subsequently employing the traditional technique of grisaille to draw out the figures by hand. <br /> In creating such large-scale paintings in a very confined studio space, Condo has been forced to work &lsquo;inside&rsquo; his paintings, addressing both subject and material at close range&mdash;never stepping too far back from the canvas to allow the image in his mind to entirely materialize. Both gestural improvisation and concrete imagery are evident as he forcefully pushes and pulls the paint around the surface of the canvas until a final image emerges, fully formed yet haunted by the process of its becoming. In <em>Beginnings,</em> 2014, a large square format painting, a single eye peers out from the devastation of what at one time might have been a full portrait. This process of addition, subtraction and layering evokes a visceral response to both the handling of paint and the subject of the painting. <br /> <br /> Partially obscured by violent brush marks, the likenesses of the figures and characters in Condo&rsquo;s paintings are integrations of forms that the brushwork fractures. Facial features peek out from underneath fields of color as broad strokes of bold black and white paint shatter the pictorial plane. The simultaneous multiple expressions of his portraits speak to the volatility of human emotions and the unpredictability&mdash;even hilarity&mdash;of the characters one encounters in urban life.<br /> <br /> The abstract works in this exhibition fluctuate between the lyrical and the hysterical, building upon the cacophony of interacting forms for which Condo is known. In <em>Silver Mass,</em> 2014, as well as several other works on view, Condo extends the lineage of his series of abstract &lsquo;expanding canvasses&rsquo;, which began in the early 1980&rsquo;s, to invent ever new painterly forms and hints of human expression. <br /> <br /> <em>Double Heads / Black Paintings / Abstractions</em> will be on view at Skarstedt Chelsea (550 W. 21st Street) from November 8 through December 20, 2014.</p> Tue, 21 Oct 2014 16:41:56 +0000 Jon Clue, Needles - Sacred Gallery NYC - November 8th - December 31st <p style="text-align: center;"><strong>Sacred Gallery NYC is pleased to announce:<br /> "Theatralischer Tod"<br /> The art of Jon Clue &amp; Needles<br /> </strong></p> <p style="text-align: justify;"><strong>Jon Clue:<br /> Artist Statement</strong><br /> The universe does not work like a machine... It is however human nature to make order of chaos...<br /> If we could just let go of this need, and surrender ourselves to the true organic nature of the universe, we will become one with it, it will flow freely through us, as we traverse freely through it...</p> <p style="text-align: justify;">Jon Clue began tattooing in the summer of 1993 in Selden, N.Y. and since has traveled far and wide tattooing alongside and collaborating with some of the most sought after artists in the industry. His work has appeared in countless trade publications, tattoo conventions, and art galleries worldwide. His imaginative style and close attention to detail and texture can easily be recognized in his unique approach in rendering vividly colored bio-organic, cosmic landscapes appropriately inhabited by critters ranging from slithering reptilians, to slimy amphibians, or denizens of the deep sea with glowing appendages, or on the darker side of life with images of skulls and bones that also appear<br /> to be bleak landscapes that you may have seen in a terrifying nightmare.</p> <p style="text-align: justify;"><strong>Needles: Cinematic Nostalgia</strong><br /> <strong>Artist Statement</strong><br /> From a young age I was enthralled by cinema, which, to me, was like watching moving paintings. Through the viewing of films, I was constantly inspired to create, leading me to explore more of what cinema had to offer for the sole purpose of expanding my inspirations to create art. I began painting in oils over twenty years ago as an art student at Pratt Institute in Brooklyn. As the years went on I transitioned into many different mediums to create my art, abandoning oil altogether. In many cases I employed several mediums within the same piece; creating on paper, board, cardboard, wood, or anything I could get my hands on, yet was always drawn back to the idea of working on canvas with one medium alone. Fast forward to present time, where I have come full circle and gone back to the beginnings of my career to re-explore oil paint once again. These works are the culmination of my efforts to re-familiarize myself with the versatile medium of oil paint over the last few months, only to fall deeply in love with the application of oil on canvas. Returning to this amazing medium has opened up a whole new world to me artistically, just as film opened up my eyes to the possibilities of a creative individual.<br /> Film has been such a source of inspiration for me that it was inevitable that it would be the subject of my newest series of oil paintings, focusing on portraiture. Many of the characters and films represented in this series have some deep personal meaning to me, compelling me to paint them. I feel they express my admiration for both film and art. Without my exposure to them, I would not be the artist that I am today. Some of the recurring themes in this series revolve around the dichotomy of hyper-realism and the deconstruction of form. Light, shadow, and texture combined with the marriage of focus or lack there of are the vital components of this series. All of these elements coexist to elicit a nostalgic emotional response upon viewing.<br /> The very first medium I can recall experimenting with would have to be Prismacolor/colored pencil. I&rsquo;ve always had an affinity for the medium, even as a young child. I&rsquo;m very blessed to have the opportunity to share these works alongside my oil paintings. I feel that with Prismacolor I&rsquo;ve always been able to take an extremely realistic and painterly approach. I feel these pieces are great companions to the works I&rsquo;ve created in oils. Both mediums showcase my love for film and art. I hope that you agree and enjoy them, as they hold a special place in my heart, not only as the artist, but as a viewer of art, as well.</p> Tue, 21 Oct 2014 16:36:29 +0000