ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 Danh Vo, Xiu Xiu - The Kitchen - September 27th - October 18th <p>Conceptual artist Danh Vō collaborates with Xiu Xiu (Jamie Stewart, Shayna Dunkelman, and Ches Smith) for this gallery exhibition conceived as a stage for their work&rsquo;s own production. Vō travels with two gold pounders from Thailand&mdash;where the gold leaf for many of his pieces is made&mdash;to work in the space alongside Xiu Xiu's percussion-based compositions. Together they will generate syncopated compositions with the pounders&rsquo; rhythms. Set against a backdrop of Vō&rsquo;s finished artwork, they will create a new work in real time.&nbsp;</p> Mon, 15 Sep 2014 23:51:53 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Kathy Ruttenberg - Stux Gallery - September 17th - October 25th <p>Stux Gallery is proud to present their third solo exhibition of sculptures and works on paper by Kathy Ruttenberg produced in less than three years. At mid-career, Ruttenberg is possibly the foremost sculptor working in ceramic today, bringing clay to incredible forms of life, both physical and emotional, forever frozen in their most intensely heated state. In their complexity and scale her recent works are tours-de-force, not merely of manual artistry, but Baroque nature poetry in the spirit of the most fantastical sculptures by Cellini, Palissy or even Bernini. Indeed, according to Roberta Smithʼs New York Times review of Ruttenbergʼs May 2013 show, the artist is &ldquo;a force to contend with as a narrator and symbolist&rdquo;. The vibrant folk art overtones in her works aside, they resonate as much with those by Symbolist masters like Redon, Gauguin and Rousseau, as they do with such contemporary fantasy artists as Kiki Smith, Jeff Koons and Robert Gober. <br />Her most recent works take inspiration from trips this year to the North and South Poles. Ruttenberg encased the detached head of a Medusa-like woman in a block of ice, on the surface of which is a little heart, both observed hungrily by a nearby penguin. The more monumental Ice Age features a reclining mermaid like some ancient river goddess, holding a baby seal as an emblem. Crowned with a ship and tattooed on her back with a krill as the symbol of the food chain and the chain of life, the mermaid presides peacefully over a Weddell seal on its back and a Chinstrap penguin, predator and prey, while the exuberant tail of a diving whale is quite literally caught in a diorama-like allegory of shared environmental destiny.<br />The most complex work in Fired Ice is The Nature of the Beast, which Ruttenberg had intended as the centerpiece for her previous Stux show but was unable to complete until now. Enshrined like some archetypal cult idol in a circular temple with flowering trees for columns, a young woman exposes her vulva even as she wears richly illustrated garments showing woodland animals cavorting with a tiny blonde girl. Referencing the magical interconnections between inner and outer worlds, Ruttenbergʼs latest works again include elaborate miniature paintings and sculptures wrapped around or even inside the primary figures, illuminated like psychic revelations. To experience this skirt painting entirely a viewer must go all around the fantastical grove as if on a carrousel, encountering in turn the little ceramic figures attached to each tree. The central idol also wears a crown of phallic mushrooms that imprison a rat, and as if under the ratʼs spell, she holds an arterial tube from one end of which dangles an uprooted penis and from the other end a heart, the essential remains of a love she cannot let go. <br />Backgrounding all the sculptures is a print based on a gigantic drawing of a forest interior with ranches reaching every which way and scores of animals converging in some shared refuge &ndash; elephants, bats, squirrels, leopards and many more. Some of these creatures are only faintly outlined while others are more densely shaded to stand out, with the result that overall the drawing pulses with haunting nature energies. <br />Developing from work to work, Ruttenberg strives for nothing less than the richest imaginable graphic, plastic and metaphorical language.</p> <p><br />Charles Stuckey</p> <p><br />Kathy Ruttenberg is a New York based, Chicago born sculptor. She received her BFA from the School of Visual Arts in New York, and pursued advanced studies in Morocco and at New York University. She has been exhibited widely in the U.S., Korea, Spain and France. Ruttenbergʼs work has received wide critical acclaim in publications such as The New York Times, Art in America, The Boston Globe, Artpress and New York Magazine. A monograph of her work has been published in 2013 by CHARTA.</p> Mon, 15 Sep 2014 23:45:12 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Steven Harvey Fine Art Projects - September 7th - October 12th <p>Steven Harvey Fine Art Projects presents Leaves, a survey of contemporary drawings and works on paper by Peter Acheson, Mequitta Ahuja, Chuck Bowdish, Katherine Bradford, Dawn Clements, Jacob El Hanani, Gregory Gillespie, June Leaf, Sangram Majumdar and Fulvio Testa. The ten artists range from seasoned draftsmen to artists at the beginning of their careers and come from across the globe. Each of them, however, has a remarkably individualized sensibility and may be considered a master in his/her own right.</p> <p>Katherine Bradford&rsquo;s works on paper are, as Ken Johnson puts it, &ldquo;comical yet earnest.&rdquo; Her glowing colors and vulnerable shapes often describe ocean liners and people at sea. The deliberate naivet&eacute; of her subjects evoke innocence without sentimentality &ndash; they have the quality of adult reveries and regressions. Bradford&rsquo;s work is included in various public collections, including the Brooklyn Museum of Art, the Metropolitan Museum of Art and the Portland Museum, among others. She was awarded a Guggenheim Fellowship in 2011, and was a recipient of a Joan Mitchell Foundation Grant in 2012. A close peer of Bradford&rsquo;s, Peter Acheson is a pioneer of a similarly raw vocabulary. His scribbled drawings map a disconnected world. Acheson is in the tradition of artists such as Forest Bess and Gandy Brodie. His drawings encompass language&ndash;as-mark making with phrases entangled in thickets of line. Acheson was born in Washington, D.C and lives in Ghent, NY. His work is included in the Brooklyn Museum&rsquo;s permanent collection.</p> <p>From large scale painted collages to tiny jewel-like watercolors, Chuck Bowdish&rsquo;s work is figurative visual poetry, calling on both classical imagery (Grecian urns and nude torsos) and images of menace right out of the headlines. His draftsmanship seems effortless and precise and his impulse to castigate the world comes from a pure place. He is the kind of artist who makes you reconsider your assumptions. Bowdish is the subject of a documentary film by Peter Wareing entitled Chuck Bowdish: Painter and has been included in recent exhibitions in Atlanta, Williamsburg and Long Island City. Concurrently with Leaves, Bowdish&rsquo;s work may be seen at the John Davis Gallery in Hudson, N.Y.</p> <p>The estimable painter and sculptor June Leaf, was born in Chicago in 1929 and has lived in New York since the early 60's. Her drawings are directly related to her sculpture; they are diagrammatic and notational, having almost the quality of maps, and share an acknowledgement of humanity&rsquo;s grace and foibles. Leaf&rsquo;s works on paper call to mind the inventive sketches of da Vinci and Alexander Calder. Leaf had her first solo exhibition at Sam Bordelon Gallery in Chicago in 1948 and has since exhibited internationally. She is included in numerous museum collections, including the Museum of Modern Art, New York The Whitney Museum of American Art, and the Art Institute of Chicago.</p> <p>Jacob El Hanani was born in Morocco in 1947 and grew up in Israel. His work draws on the tradition of micrography in Judaism, a technique used in the decoration and transcription of holy texts. El Hanani&rsquo;s incredibly intricate ink drawings are created through the careful repetition of tiny marks. These extraordinary works appear to be a pattern from a distance; they are mediations on time and infinity. El Hanani&rsquo;s work is included in many notable public collections, including The Solomon R. Guggenheim Museum, the Museum of Modern Art, New York, The Metropolitan Museum of Art, The Whitney Museum of American Art, The Jewish Museum, Musee national d&rsquo;Arte Moderne, Centre George Pompidou, Paris, The National Gallery of Art, DC.</p> <p>Fulvio Testa is one of Italy&rsquo;s most distinguished artists and illustrators. Working in watercolor and ink with muted tones, Testa&rsquo;s small scale, elegant landscapes have little demarcation between land and sky and seem influenced by Chinese scroll paintings. His work is represented in a number of public collections, including the Art Institute of Chicago, the Philadelphia Museum of Art and the New York Public Library. In addition to his own prizewinning titles, he has illustrated books by authors such as Anthony Burgess and Gianni Rodari. He divides his time between Verona, Italy, and New York.</p> <p>Sangram Majumdar was born in Calcutta, India and received his MFA from Indiana University. Majumdar works from elaborate backdrops and dioramas constructed in his studio, layering decorative and painterly elements that disappear and reappear in the working process. Majumdar&rsquo;s final compositions house a multitude of hidden possibilities. This group of drawings represents all the monochrome work related to a single painting, enabling us to visualize this world of potentiality. Majumdar has taught at the Maryland Institute College of Art since 2003. Concurrently with Leaves, Majumdar&rsquo;s oil paintingsa will be exhibited at Georgetown University in Washington, D.C.</p> <p>Dawn Clements was born in Massachusetts in 1958. She works with Sumi ink and ballpoint pen on paper, ranging in size from small to monumental. Through an active, almost performative working process, the paper becomes distressed with folds, wrinkles, and seams. Clements subjects are the observed everyday spaces of her apartment and studio, and film stills, which she scales up to life-size proportion. Clements&rsquo; work was included in the Whitney Biennial in 2010, and she is represented in the permanent collections of the Museum of Modern Art, New York, the Whitney Museum of American Art, and The Saatchi Collection, London.</p> <p>Mequitta Ahuja defines her artistic practice as Automythography (a variant on Audrey Lorde&rsquo;s phrase.) In her large-scale paintings on paper she places images of herself in the midst of tumbling worlds of tightly woven pattern and color, with an overall pictorial density that speaks to the layered patterns of Persian miniatures. Last spring she had an artist residency in Siena, Italy. Included in Leaves are examples of pastels inspired by her residency, in which Ahuja incorporates herself into the Romulus and Remus mythology of Siena (according to tradition Remus&rsquo; son Senio was the founder of Siena.) Her work is included in recent and upcoming exhibitions at Crystal Bridges Museum of American Art, The Minneapolis Institute of Art and The Saatchi Gallery.</p> <p>The late Massachusetts born visionary painter Gregory Gillespie (1936-2000) defies categorization. He championed a fiercely obsessive realism in the Sixties when Pop and abstraction held sway, yet his vocabulary is so psychologically potent and mystically laced that it pushes past the realms of the real. His oeuvre comprises haunting self-portraits, surreal landscapes, symbolic geometric abstractions, and singular monumental object/paintings. His process is equally expansive, combining meticulous oil painting with photomontage, collage and assemblage. In his late work, which is included in this exhibition, he also inlays photocopied images into the painting surface. Gillespie drew inspiration across the history of European painting (Balthus, Bruegel, Bosch, Crivelli to name a few), as well as from classical mythology, Buddhism, Indian sculpture, and Tibetan and Mayan art. The Hirshhorn Museum and Sculpture Garden presented a retrospective of Gillespie&rsquo;s work when he was forty years old, garnering him national prominence. Gillespie&rsquo;s work is included in the permanent collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Museum of Fine Arts, Boston, among others.</p> Mon, 15 Sep 2014 23:34:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Saul Steinberg - Pace Gallery - 57th St. - September 11th - October 18th <p>Pace Gallery and Pace/MacGill Gallery are pleased to present an exhibition in honor of the Saul Steinberg&rsquo;s centennial. The exhibition will be on view on the second and ninth floors at 32 East 57th Street from September 11 through October 18 and was realized with the cooperation of the Saul Steinberg Foundation.</p> Mon, 15 Sep 2014 23:22:37 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Rosalind Nashashibi - Murray Guy - September 20th - November 1st <p>Solo presentation in the South Gallery</p> Mon, 15 Sep 2014 23:10:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Yve Laris Cohen, David Horvitz, Matthew Buckingham, Lucy Raven, Boru O'Brien O'Connell, Jill Magid - Murray Guy - September 20th - November 1st Mon, 15 Sep 2014 23:07:25 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Artists Space: Exhibitions - September 25th - November 9th <p>The Library Vaccine&nbsp;presents a number of discrete collections of books in order to sample art's distinctive relationship to the book form in its singularity, and in its states of reproduction, distribution and accumulation. The exhibition addresses the book as a particular technology, and in its collective state of the private collection, reading room or library, as a social machine &ndash; registering social and personal histories, and articulating structures of knowledge and value through the relations between its parts.&nbsp;<br /><br />The exhibition title is taken from a text by the curator and writer Edit deAk that introduced the 1981 Printed Matter catalogue. In this short piece she referred to artists' books as "the library vaccine, a healing agent formed from the very disease they cure." Each section of the exhibition presents a collection that loosely corresponds to a decade between the 1960s and the present day, yet&nbsp;The Library Vaccine&nbsp;doesn't seek to survey a recent history of books in or as art; rather it takes the tension between book-as-text and book-as-object as a starting point. The exhibition marks a movement from the egalitarian, curative aspirations of the book as distributed artwork, to these aspirations' subsumption within broader tendencies towards collecting, archiving and the re-circulation of knowledge.&nbsp;<br /><br />Some sections of the exhibition revolve around curatorial or editorial frameworks that highlight artists' use of the book form, while others focus on the collection or library as a holistic entity. In these contexts the act of collation emphasizes shifts between the private and the common, the artwork and the artifact. The roles of artist, publisher and collector are seen to overlap, and the sequenced content of both the individual book and the massed collection provides sites for the production and articulation of meaning.&nbsp;</p> Mon, 15 Sep 2014 22:37:25 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Artists Space : Books & Talks - September 25th - November 9th <p>The Library Vaccine&nbsp;presents a number of discrete collections of books in order to sample art's distinctive relationship to the book form in its singularity, and in its states of reproduction, distribution and accumulation. The exhibition addresses the book as a particular technology, and in its collective state of the private collection, reading room or library, as a social machine &ndash; registering social and personal histories, and articulating structures of knowledge and value through the relations between its parts.&nbsp;<br /><br />The exhibition title is taken from a text by the curator and writer Edit deAk that introduced the 1981 Printed Matter catalogue. In this short piece she referred to artists' books as "the library vaccine, a healing agent formed from the very disease they cure." Each section of the exhibition presents a collection that loosely corresponds to a decade between the 1960s and the present day, yet&nbsp;The Library Vaccine&nbsp;doesn't seek to survey a recent history of books in or as art; rather it takes the tension between book-as-text and book-as-object as a starting point. The exhibition marks a movement from the egalitarian, curative aspirations of the book as distributed artwork, to these aspirations' subsumption within broader tendencies towards collecting, archiving and the re-circulation of knowledge.&nbsp;<br /><br />Some sections of the exhibition revolve around curatorial or editorial frameworks that highlight artists' use of the book form, while others focus on the collection or library as a holistic entity. In these contexts the act of collation emphasizes shifts between the private and the common, the artwork and the artifact. The roles of artist, publisher and collector are seen to overlap, and the sequenced content of both the individual book and the massed collection provides sites for the production and articulation of meaning.&nbsp;</p> Mon, 15 Sep 2014 22:37:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jo Ann Rothschild - The Painting Center - September 30th - October 25th <p>&ldquo;My paintings can be slow to see and slow to make. They depend on the interaction between the formality of the rectangle and the richness of oil paint. I look for consonance between what I feel and what I see. All current work is named for the date completed. The Painting An Important Day was finished on 6/26/2013, the day that the Supreme Court declared the Defense of Marriage Act unconstitutional.&rdquo;</p> <p>Jo Ann Rothschild is an abstract painter. She lives and works in Boston. She is the first recipient of the Maud Morgan Purchase Prize of the Boston Museum of Fine Arts and a recipient of a Grant in Painting from the Massachusetts Cultural Council. Pubic Collections besides the BMFA include: The Fogg, DeCordova and Rose Museums and the Taller Graphico in Havana.</p> <p>Rothschild has been included in exhibitions at The Boston Museum of Fine Arts, The Institute of Contemporary Art in Boston, The Rose Museum, The Drawing Center and the Painting Center both in New York, and the Taller Graphico. She has also shown in Chicago, as well as multiple cities in Cuba and Germany. Her first retrospective was at Gallery Imago in the National Theatre Building in Havana.</p> <p>Her first teacher was Leo Garel. She studied painting with Pat Adams at Bennington College. Her MFA is from the joint program of the Boston Museum School and Tufts University. Her masters thesis concentrated on the Fra Angelico fresco cycle in San Marco in Florence. Rothschild founded the Art Program at The Pine Street Inn, the largest homeless shelter in New England.</p> Mon, 15 Sep 2014 22:23:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list David Fratkin - The Painting Center - September 30th - October 25th <p>For many years, David Fratkin has been interested in pattern as both orderly, rational system and, paradoxically, a means to ecstatic contemplation, visual equivalent to chant or prayer. His sources include distorted images of tattoos, architectural ornament, and in this latest series, the upholstery on a Grehound bus. This last took on a life of its own during a long, drowsy ride. A combination of painting and printmaking in reverse results in skins of paint that reveal images both delicately intimate and vertiginously distant. David Fratkin attended the New York Studio School, and has shown in a number of galleries both in and outside New York City.</p> Mon, 15 Sep 2014 22:20:34 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - The Metropolitan Museum of Art - September 30th - December 8th <p>The fall rotation in the Robert Wood Johnson Jr. Gallery highlights recent purchases and gifts to the Museum, as well as selections from rich, but not often seen, parts of the permanent collection. Beginning with&nbsp;<em>Christ in Limbo</em>, a recently acquired mid-sixteenth-century drawing by Luca Penni (Italian, 1500/1504&ndash;1557), an Italian Mannerist artist active in France, the installation presents a series of juxtaposed pairs exploring the dialogues and transformations between drawings and the prints for which they were models.</p> <p>The exhibition also includes a display of drawings by the Romantic artist Eug&egrave;ne Delacroix (French, 1798&ndash;1863), many of which were recently acquired thanks to a generous gift from Mrs. Karen B. Cohen. Some of these works, such as the artist's&nbsp;study for "The Sultan of Morocco and his Entourage", focus on the artist's North African sojourn in 1832, while others such as&nbsp;<em>Crouching Tiger</em>&nbsp;demonstrate his love for exotic and ferocious animals. Continuing the exhibition's selections from nineteenth-century France are four large lithographs by Th&eacute;odore G&eacute;ricault (French, 1791&ndash;1824), all from his series devoted to horses.</p> <p>Among the other diverse themes explored is the sometimes playful, sometimes serious use of military motifs in eighteenth-century France through a selection featuring drawings by Jacques Louis David (French, 1748&ndash;1825), Jean Charles Delafosse (French, 1734&ndash;1789), and Philippe Jacques de Loutherbourg (French, 1740&ndash;1812). Whimsy continues with nineteenth-century works devoted to fairies and fairytales, stories that held a particular fascination for the Victorians, due in part to a revival of interest in the plays of William Shakespeare and the translation and publication of the Grimm Brothers'<em>Children's and Household Tales</em>&nbsp;in nineteenth-century England. The evolution of fairy imagery is traced in examples ranging from Henry Fuseli's (Swiss, 1741&ndash;1825) Neoclassical depiction of Gloriana from Edmund Spenser's&nbsp;<em>The Faerie Queen</em>, to Walter Crane's Arts and Crafts&ndash;style illustrations for the&nbsp;Grimms' stories.</p> <p>Moving to works produced on American soil, another selection includes advertising posters produced during the poster craze of the 1890s, including William Bradley's&nbsp;<em>Victor Bicycles</em>&nbsp;and Edward Penfield's July 1896 cover for&nbsp;<em>Harper's</em>&nbsp;magazine. Also featuring advertising is a display organized around two&nbsp;<em>Life</em>magazine posters from 1967 that transform the company's iconic logo. These posters, paired with prints by Pop artists such as Robert Rauschenberg (American, 1925&ndash;2008), Andy Warhol (American, 1928&ndash;1987), James Rosenquist (American, b. 1933), and Jim Dine (American, b. 1935) demonstrate how artists explored the boundaries between art and the everyday, appropriating imagery from newspapers, fashion magazines, and advertisements into their prints.</p> Mon, 15 Sep 2014 02:28:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Thomas Hart Benton - The Metropolitan Museum of Art - September 30th - April 19th, 2015 <p>This exhibition celebrates the gift of Thomas Hart Benton's epic mural&nbsp;<em>America Today</em>&nbsp;from AXA Equitable Life Insurance Company to The Metropolitan Museum of Art in December 2012. Benton (1889&ndash;1975) painted this mural for New York's New School for Social Research to adorn the school's boardroom in its International Style modernist building on West 12th Street. Showing a sweeping panorama of American life throughout the 1920s,&nbsp;<em>America Today</em>&nbsp;ranks among Benton's most renowned works and is one of the most remarkable accomplishments in American art of the period.</p> <p>The ten-panel mural will be featured in a space that recreates the boardroom in which it originally hung. An adjacent gallery will include Benton's studies for&nbsp;<em>America Today</em>, including character studies in pencil for figures that appear in the mural, as well as painted compositional studies for individual mural panels. There will be an additional gallery devoted to works that relate to<em>America Today</em>, drawn from the Met's collections; of particular interest is Jackson Pollock's&nbsp;<em>Pasipha&eacute;</em>&nbsp;(1943). Pollock was Benton's student at this time and served as a model for his teacher's mural.</p> Mon, 15 Sep 2014 02:19:37 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Xavier Le Roy - MoMA PS1 - October 2nd - December 1st <p>MoMA PS1 presents&nbsp;<em>Retrospective</em>, the inaugural US museum survey of French artist and choreographer&nbsp;<strong>Xavier Le Roy</strong>&nbsp;(b. 1963). Realized in the galleries by a team of performers who continuously recycle and transform Le Roy's past solo work the exhibition opens up expanded opportunities for interaction within the museum. In his reconfiguration of the conventionally linear form of the retrospective as an accumulative mid-career survey, Le Roy brings his past works to life by consolidating and reimagining them into a new whole. In the process the exhibition unfolds across several different time axes that introduce temporal complexity to the galleries: the period during which Le Roy conceived the referenced solo works (1994&ndash;2010), the duration of the individual gallery visits, the performers&rsquo; daily labor time, and lastly the transformation and development the exhibition undergoes over the course of its two month run. The result is a groundbreaking hybrid of choreography and visual art that transforms the traditional exhibition format into a creative medium.</p> <p>With&nbsp;Eleanor Bauer, Andrew Champlin, Sherwood Chen, Lindsay Clark, Alex Escalante, Ben Evans, Moriah Evans, Bryana Fritz, Michael Helland, K.J. Holmes, Ir&eacute;ne Hultman, Columbine Macher, Oisin Monaghan, Katy Pyle, Will Rawls and Takahiro Yamamoto.</p> Mon, 15 Sep 2014 01:57:28 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - New York Historical Society - September 26th - April 19th, 2015 <div class="field field-type-text field-field-teaser"> <div class="field-items"> <div class="field-item odd"> <p><em>Chinese American: Exclusion/Inclusion</em>&nbsp;explores the centuries-long history of trade&nbsp;and immigration between China and the United States&mdash;a history that involved New&nbsp;York from its very beginnings&mdash;and will raise the question &ldquo;What does it mean to be an&nbsp;American?&rdquo; The exhibit narrative extends from the late eighteenth century to the present&nbsp;and includes all regions of the country, thus interpreting the Chinese American saga as a&nbsp;key part of American history.</p> </div> </div> </div> <div class="field field-type-filefield field-field-full-view-teaser"> <div class="field-items"> <div class="field-item odd">Within the exhibition, rich in media and artifacts, will be little-known stories relating&nbsp;to China, such as the voyage of the Empress of China, which set sail from New York in&nbsp;the late eighteenth century; how young Chinese boys were sent by their government to&nbsp;study at elite New England schools during the nineteenth century, one of whom went on&nbsp;to graduate from Yale University; the unprecedented immigration legislation known as&nbsp;the Exclusion Act of 1882, which barred most Chinese from entering the United States;&nbsp;the nineteenth-century newspaper, called&nbsp;<em>Chinese American</em>, and its founder Wong Chin Foo; and the Chinese American activists who used the American justice system to try to&nbsp;overturn the Exclusion Act.&nbsp;</div> </div> </div> Mon, 15 Sep 2014 01:50:41 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - National Academy Museum - October 2nd - January 11th, 2015 <p>Artists have explored the meaning of classicism and pushed against its boundaries for centuries. Whether an artist embraces or resists a &ldquo;classical ideal&rdquo;&mdash;of order and balance, beauty or spirituality&mdash;it has always been a touchstone for conversation.</p> <p>Companion exhibitions include works by designer Wendell Castle and architect and National Academician William Pedersen in a dedicated project space, and&nbsp;<em>Reflections on the Classical</em>&nbsp;in the school featuring work by Academy School students and faculty.</p> Mon, 15 Sep 2014 01:37:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Henri Matisse - MoMA (Museum of Modern Art) - October 12th - February 8th, 2015 <p class="top">In the late 1940s, Henri Matisse turned almost exclusively to cut paper as his primary medium, and scissors as his chief implement, introducing a radically new operation that came to be called a cut-out. Matisse would cut painted sheets into forms of varying shapes and sizes&mdash;from the vegetal to the abstract&mdash;which he then arranged into lively compositions, striking for their play with color and contrast, their exploitation of decorative strategies, and their economy of means. Initially, these compositions were of modest size but, over time, their scale grew along with Matisse&rsquo;s ambitions for them, expanding into mural or room-size works. A brilliant final chapter in Matisse&rsquo;s long career, the cut-outs reflect both a renewed commitment to form and color and an inventiveness directed to the status of the work of art, whether as a unique object, environment, ornament, or a hybrid of all of these.</p> <p><em>Henri Matisse: The Cut-Outs</em>&nbsp;is a groundbreaking reassessment of this important body of work. The largest and most extensive presentation of the cut-outs ever mounted, the exhibition includes approximately 100 cut-outs&mdash;borrowed from public and private collections around the globe&mdash;along with a selection of related drawings, prints, illustrated books, stained glass, and textiles. The last time New York audiences were treated to an in-depth look at the cut-outs was in 1961.</p> <p>This exhibition was sparked by an initiative to conserve The Museum of Modern Art&rsquo;s monumental cut-out&nbsp;<em>The Swimming Pool</em>(1952), a favorite of visitors since its acquisition by MoMA in 1975.<em>The Swimming Pool</em>&nbsp;is the only cut-out composed for a specific room&mdash;the artist&rsquo;s dining room in his apartment in Nice, France. The goals of the multiyear conservation effort have been to bring this magical environment back to its original color balance, height, and spatial configuration. Newly conserved,&nbsp;<em>The Swimming Pool</em>&mdash;off view for more than 20 years&mdash;returns to MoMA&rsquo;s galleries as a centerpiece of the exhibition.</p> <p>With research on two fronts&mdash;conservation and curatorial&mdash;this exhibition offers a reconsideration of the cut-outs by exploring a host of technical and conceptual issues: the artist&rsquo;s methods and materials and the role and function of the works in his practice; their environmental aspects; their sculptural and temporal presence as their painted surfaces exhibited texture and materiality, curled off the walls, and shifted in position over time; and their double lives, first as contingent and mutable in the studio and, ultimately, as permanent, a transformation accomplished via mounting and framing. The exhibition also mines the tensions that lurk in all the cut-outs, between finish and process, fine art and decoration, drawing and color.</p> <p>The exhibition is accompanied by a fully illustrated catalogue and a children&rsquo;s book.</p> Mon, 15 Sep 2014 01:31:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list