ArtSlant - Recently added en-us 40 JENNIFER MACK-WATKINS, Ronny Quevedo, Mitsuko Brooks, Michael Paul Britto, Kevin Bright - Rush Arts Gallery - April 9th - May 16th Tue, 28 Jul 2015 18:31:05 +0000 Morgane Tschiember - Tracy Williams, Ltd. - September 12th - November 1st <p style="text-align: justify;">Tracy Williams Ltd. is pleased to present Morgane Tschiember <em><strong>Almost a Kiss</strong></em>, in her first solo exhibition with the gallery and in New York City. The presentation deploys three works entitled,<em> Dust Devil, Rash</em> and<em> Shibari</em>, accompanied by sound, a video and a newspaper, which is now an integral part of her exhibitions.</p> <p style="text-align: justify;">The installation takes into account the overall volume of the gallery&rsquo;s two levels, while also incorporating the architectural features of the space. Rash is situated heavily on the ground, while <em>Shibari</em> invests in the heights. Whereas the open geometric structure <em>Dust Devil</em> develops in latitude, the smaller <em>Dust Devil</em> works occupy an intermediate position on the walls.</p> <p style="text-align: justify;">Each sculpture considers a connection among disparate elements that are both &ldquo;full&rdquo; and &ldquo;empty.&rdquo; For instance, the cardboard boxes of <em>Rash</em> initially filled with concrete, now expel part of the air contained in their sockets of foam. <em>Dust Devil</em> combines the fullness of concrete alongside the bareness of its metal structure, as well as the emptiness ensued from glass blowing the <em>Bubbles</em> somehow &ldquo;fills&rdquo; the metal structures. The <em>Shibari</em>, which are often crushed and in a sense &ldquo;emptied&rdquo; from their hollowness, conversely occupy more figurative space in the gallery than any other piece.</p> <p style="text-align: justify;">Further, all the materials that constitute the pieces have passed through fire (glass, solders, clay) or water (concrete, clay, cardboard) based phases, and quite often reflect noticeable traces of these changes of state.</p> Fri, 24 Jul 2015 17:44:06 +0000 Troy Michie - Tracy Williams, Ltd. - May 15th - July 29th Fri, 24 Jul 2015 17:39:13 +0000 Sarah Sze - Tanya Bonakdar Gallery - September 10th - October 17th Fri, 24 Jul 2015 17:32:31 +0000 - Storefront for Art and Architecture - August 14th - September 14th <p style="text-align: justify;" dir="ltr">To measure, to quantify the physical and intangible dimensions of a place, is to articulate facts in order to construct values. The process of creating standards and guidelines of representation allows innovation to enter the realm of the establishment. What can be measured can be capitalized, historicized, and sold.</p> <p style="text-align: justify;" dir="ltr">While architectural representation conforms to a system of standards and guidelines that allows for the production of buildings, architecture is also the practice of giving form to thought. In the process of creating edifices that house social, political, and spatial relations, architects make visible the functions of society in operational and aspirational terms. In this sense, architecture is constantly innovating new forms of measurement and representation.</p> <p style="text-align: justify;" dir="ltr">The pleasure and pressure to measure and be measured has become increasingly present. Access to growing data sets and new sensing technologies is widespread, and the role of public and private domains in terms of information and space are being redefined. These contemporary conditions invite us to reflect on our ideologies and values, and the drawing is a manifestation of that which we are able to (and desire to) count, measure, and draw.</p> <p style="text-align: justify;" dir="ltr">Measure is an exhibition of 30 drawings by 30 international architects presenting 30 edifices of thought. Drawings are of Storefront for Art and Architecture&rsquo;s gallery space on 97 Kenmare Street in New York. Architectural representation, which draws upon the diagram as a conceptual and abstract component, has historically been criticized as obscure and self referential. The proliferation of data visualization in popular media today, however, allows us to engage a much larger audience in conversations about measurement and representation. The 30 drawings presented at Storefront unveil the challenges of representation and extrapolate them onto the architect&rsquo;s table and the gallery walls.</p> <p style="text-align: justify;">Storefront&rsquo;s third annual drawing show seeks to find measures, resist measurement, and measure the immeasurable by presenting the real to the fictional and the functional to the symbolic. Measure positions the medium and the act of drawing as a process by which we seek coherence in data and representation, and shows that it is the making of facts that is the basis for the production of futurity beyond existing norms.</p> Fri, 24 Jul 2015 17:30:47 +0000 Terry Haggerty - Sikkema Jenkins & Co - September 10th - October 17th <div style="text-align: justify;">Sikkema Jenkins &amp; Co. is pleased to present a solo exhibition of new paintings by Terry Haggerty on view from September 10 through October 17, 2015.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Rooted in Minimalism&rsquo;s elimination of non-essential forms, and in the phenomenology of optical illusion and perception put forth by Op art, Terry Haggerty's work uses serial patterns of alternating color stripes that curve and bend giving the pristine, flat surfaces of his work an &nbsp;illusory, three-dimensional quality.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The current exhibition continues Haggerty's use of structure to emphasize the dimensional illusion of his compositions. The show will feature paintings on shaped panels as well as a new body of work that Haggerty calls "reliefs". Introducing physical three-dimensionality for the first time, the relief works are painted on a structure of aluminum "ribbons" extend away from and recede back to the wall while curving and overlapping.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Terry Haggerty was born in London, England and studied at the Cheltenham School of Art, Gloucestershire. His work has been exhibited widely in galleries and museums around the world, including the Hammer Museum, Los Angeles, CA; The Aldrich Contemporary Art Museum, Ridgefield, CT; and PS1, Long Island City, NY; and the Dallas Museum of Art. He is the recipient of several awards including the FOR-SITE Foundation Award (2009), John Anson Kittredge Award (2003), and the NatWest Art Prize (1999). Commissions include wall drawings for AT&amp;T Stadium in Dallas, Munich Re in London, and private collections in the US and Germany</div> Fri, 24 Jul 2015 17:26:54 +0000 Idris Khan - Sean Kelly Gallery - September 11th - October 24th Fri, 24 Jul 2015 17:24:04 +0000 Kelly Heaton - Ronald Feldman Fine Arts - September 12th - October 17th Fri, 24 Jul 2015 16:48:38 +0000 Sean Kennedy - Rachel Uffner Gallery - September 12th - October 25th Fri, 24 Jul 2015 16:47:37 +0000 Enoc Perez - Peter Blum Gallery - September 10th - November 14th Fri, 24 Jul 2015 16:45:59 +0000 Christian Marclay - Paula Cooper Gallery - 534 W. 21st Street - September 11th - October 17th <p style="text-align: justify;">Presented for the first time in North America, the large-scale video installation <em>Surround Sounds </em>(2014-15) consists of animated onomatopoeias projected onto four walls of a darkened room. To make the work, Marclay drew from a collection of comic books, cutting out sound effects and animating them in a choreography that suggests the acoustic properties of each word. &ldquo;Whizzes&rdquo; and &ldquo;zooms&rdquo; flash across the walls and &ldquo;beeps&rdquo; blink persistently, while &ldquo;thumps&rdquo; seem to crash and clunk on the floor. Merging the aural with the visual, this silent work unfolds like a musical composition, providing an immersive perceptual experience.</p> <p style="text-align: justify;">Christian Marclay works in a wide range of media, including sculpture, video, photography, collage, music, and performance. For more than thirty years, he has been exploring the connections between the visual and the audible, creating works in which these two distinct sensorial experiences enrich and challenge each other. Marclay&rsquo;s work has been shown in museums and galleries internationally. He has had important solo exhibitions at Hirshhorn Museum and Sculpture Garden, Washington D.C. (1990); Mus&eacute;e d&rsquo;art et d&rsquo;histoire, Geneva (1995); Kunsthaus Z&uuml;rich, Zurich (1997); Museum of Contemporary Art, Chicago (2001); San Francisco Museum of Modern Art (2002); Hammer Museum at UCLA, Los Angeles (2003); and Mus&eacute;e d&rsquo;art moderne et contemporain, Geneva (2008).</p> <p style="text-align: justify;">In 2010, the Whitney Museum of American Art, New York, hosted <em>Christian Marclay: Festival</em>. For over twelve and a half weeks, this groundbreaking exhibition featured daily performances by world-renowned musicians and vocalists, including many of the artist&rsquo;s regular collaborators, exploring Marclay&rsquo;s vast oeuvre with a particular focus on his &ldquo;graphic scores.&rdquo;</p> <p style="text-align: justify;">In 2011, Marclay received the Golden Lion award for best artist at the 54th Venice Biennale for his twenty-four hour virtuosic video piece <em>The Clock</em>. First premiering in London in 2010, <em>The Clock</em> has since been exhibited worldwide in more than twenty venues, including the Centre Pompidou, Paris (2011); Museum of Modern Art, New York (2012); San Francisco Museum of Modern Art (2013); and Guggenheim Bilbao (2014).</p> Fri, 24 Jul 2015 16:44:45 +0000 Jane Fine - Pierogi - September 11th - October 11th Fri, 24 Jul 2015 16:40:48 +0000 Magdalena Abakanowicz, Anna Betbeze, Alexandra Bircken, Alicja Kwade, Joanna Malinowska, Justin Matherly, Jo Nigoghossian, Christopher Rivera, Michael Sailstorfer - Marlborough Chelsea - September 12th - October 17th <p style="text-align: justify;">*<strong style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 13px; vertical-align: baseline; background-color: transparent; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 20px;">Marlborough Chelsea</strong>&nbsp;is pleased to announce&nbsp;<em style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background-color: transparent;"><strong style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background-color: transparent;">War Games</strong></em>,&nbsp;a group exhibition inspired by the work of <strong>Magdalena Abakanowicz</strong>.&nbsp;The show opens on&nbsp;<strong style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background-color: transparent;">Saturday, September 12th</strong>.&nbsp;The show runs through&nbsp;<strong style="margin: 0px; padding: 0px; border: 0px; outline: 0px; vertical-align: baseline; background-color: transparent;">October 17th</strong>.</p> Fri, 24 Jul 2015 16:38:07 +0000 Mike Bouchet, Antoine Catala, Lars Fisk, Alex Hubbard, Ryan Johnson, Emily Mae Smith - Marlborough Chelsea - June 25th - July 31st <p style="text-align: justify;"><strong>Marlborough Chelsea</strong> is happy to announce <em><strong>Six Advertisements</strong></em>, a group exhibition featuring the works of <strong>Mike Bouchet</strong>, <strong>Antoine Catala</strong>, <strong>Lars Fisk</strong>, <strong>Alex Hubbard</strong>, <strong>Ryan Johnson</strong>, and <strong>Emily Mae Smith</strong>. The show opens on <strong>June 25th</strong>, with an opening reception from <strong>6 - 8 PM</strong> and runs through <strong>July 31st</strong>.</p> Fri, 24 Jul 2015 16:34:56 +0000 Adrián Villar Rojas - Marian Goodman Gallery - September 9th - October 10th Fri, 24 Jul 2015 16:32:30 +0000 Maria Nordman - Marian Goodman Gallery - June 24th - July 31st <p style="text-align: justify;">Marian Goodman Gallery is pleased to announce an exhibition of Maria Nordman&rsquo;s <em>FILMROOM EAT, 1967 &ndash; PRESENT</em> and two <em>Standing Pictures</em>, which will open on June 24th and will be on view through Friday, July 31st. Nordman will also enact <em>THE WHISPER</em> in Central Park with &lsquo;persons met by chance&rsquo;, continuing a work that started several decades ago in different public spaces in cities all over the world. The work will be enacted spontaneously during the course of the exhibition.<br /> <br /> This will be the artist&rsquo;s second exhibition at the gallery and follows the presentation of the companion piece <em>FILMROOM SMOKE 1967-PRESENT</em> at the Los Angeles County Museum of Art in 2011-2012, where <em>YANG NA 2011-PRESENT</em>, a third conjunct work is currently on view.<br /> <br /> Maria Nordman is known as one of the most significant and visionary artists to emerge from California in the 1960s and 70s. <em>FILMROOM EAT</em> is her first work to use people as actors and participants and uses site, time and place with any two persons who arrive by chance. Filmed at noon with <em> &lsquo;two chosen actors at a table who decide from instant to instant how they wish to take in a meal presented to them,&rsquo; </em> the work was shot synchronously with two cameras, one static with a fixed focus, the other hand-held, reacting to the motions of the actors, who thereby become directors of the film.<br /> <br /> The inversion of acting and directing produces two films projected side by side, but separated by a short wall creating a three-room proscenium, which enables viewers, or participants to be active agents in the room, changing their position in space in order to construct their own narrative. Nordman requests that the FILMROOMS are entered by two persons at a time, connecting with the two initial actors. As Ann Rorimer states in &ldquo;New Art in the 60s and 70s Redefining Reality&rdquo;, <em>FILMROOM EAT</em> sets <em> &lsquo;a precedent for works that avoid static representation and include the observer in the process of giving meaning to the work&rsquo;. </em> The presence of the filmed table in the space &ndash; historically, one of the first instances in which a filmed prop appears in the projection room &ndash; further blurs the boundaries between past and present, film and sculpture, action and architecture.<br /> <br /> Following <em>FILMROOM EAT</em> and the nearly contemporary <em>FILMROOM SMOKE</em>, Nordman transforms her work process from the recorded image to constructing a series of <em>open rooms</em> in different cities which extend the co-authorial role to anyone, or, in her terminology, to &lsquo;any person arriving by chance&rsquo;. These rooms are subtle experiences with contextual elements of the city and the light of the sun. In fact, the sun &ndash; and nature &ndash; together with the life of the neighborhood become the &lsquo;co-actors&rsquo; in the artist&rsquo;s subsequent work, as in her seminal <em>Untitled 1990 &ndash; present Day &amp; Night &ndash; 14 Continuous Turns of the Earth</em>, a double room at the entrance to Central Park in New York. Another double room is permanently present in Varese, Italy, in the collection of the Fondo Ambientale d&rsquo;Italia.<br /> <br /> The extension of place also occurs in the <em>Standing Pictures</em>, two of which will be on view in the exhibition. These standing drawings are activated by being pulled into the light of the sun and only exist during the time in which a person is present. The <em>Standing Pictures</em>, as the <em>open rooms</em>, enact inter-generational meetings and occur in different cities and different countries around the world.<br /> <br /> Maria Nordman&rsquo;s focus on direct experience and the &lsquo;co-authorial role&rsquo; she ascribes to visitors to her works foreshadows practices of artists who emerged in the 1990&rsquo;s. Her avoidance of catalogues from 1967-87 and her focus on a &lsquo;living catalogue held in personal memory&rsquo; also finds resonance in the work of Tino Sehgal.<br /> <br /> Maria Nordman&rsquo;s solo exhibitions, which are often accompanied by projects in the city include: <em>Standing Pictures and Inter-performances</em>, Staatliche Kunstsammlungen Dresden, Germany (2014), <em>Geo-Aesthetics</em>, SMAK Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2013), <em>Yang Na 2011- PRESENT</em>, Los Angeles County Museum of Art, Los Angeles (2011-12), <em>Proto-Spective</em> Serralves Foundation, Porto, Portugal (2007), <em>Untitled 1990-PRESENT</em>, MAMCO, Geneva, Switzerland, (2009), <em>La Primavera/Le Printemps</em>, UNESCO Zeche Zollverein, Essen, Germany (2009), and at Dia Art Foundation and in Central Park New York (1990-91). She participated in <em>Documentas 6, 7, 8</em> (1977, 1982, 1987) and was included twice in <em>Skulptur.Projekte M&uuml;nster</em> in Germany (1997, 1987). Earlier this year, three of her <em>Standing Pictures &amp; The Whisper</em> were included in <em>Event Sculpture</em> at the Henry Moore Institute in Leeds.<br /> <br /> <br /> Please join us at the opening reception for the artist on Wednesday, June 24th, from 6-8 pm.</p> Fri, 24 Jul 2015 16:31:38 +0000