ArtSlant - Recently added http://www.artslant.com/ny/Events/show en-us 40 - Storefront for Art and Architecture - February 16th - April 9th <p>On Tuesday, February 16th, Storefront for Art and Architecture will open Closed Worlds, an exhibition curated by Lydia Kallipoliti that presents an archive of 41 living prototypes of closed resource regeneration systems built over the last century. The archive represents an unexplored genealogy of closed systems in architectural practice. The exhibition will also feature Some World Games, a virtual reality installation by Farzin Farzin that presents a contemporary 42nd prototype of a closed system inside the walls of Storefront&rsquo;s gallery space at 97 Kenmare Street.</p> <p dir="ltr"><span style="text-decoration: underline;"><strong>&nbsp;</strong></span></p> <p dir="ltr"><span style="text-decoration: underline; font-size: small;"><strong>About the Closed Worlds Exhibition</strong></span></p> <p dir="ltr">What do outer space capsules, submarines, and office buildings have in common? Each was conceived as a closed system: a self-sustaining physical environment demarcated from its surroundings by a boundary that does not allow for the transfer of matter or energy.</p> <p dir="ltr">The history of twentieth century architecture, design, and engineering has been strongly linked to the conceptualization and production of closed systems. As partial reconstructions of the world in time and in space, closed systems identify and secure the cycling of materials necessary for the sustenance of life. Contemporary discussions about global warming, recycling, and sustainability have emerged as direct conceptual constructs related to the study and analysis of closed systems.</p> <p dir="ltr"><em>Closed Worlds</em> will exhibit an archive of 41 historical living prototypes built over the last century that present an unexplored genealogy of closed resource regeneration systems. The exhibition will also feature the virtual reality ecosystem <em>Some World Games</em>, a contemporary 42nd prototype selected as the winner of the <em>Closed Worlds Design Competition</em> hosted by Storefront in November 2015.</p> <p dir="ltr">From the space program to countercultural architectural groups experimenting with autonomous living, <em>Closed Worlds</em> documents a disciplinary transformation and the rise of a new environmental consensus in the form of a synthetic naturalism, where the laws of nature and metabolism are displaced from the domain of wilderness to the domain of cities and buildings. While these ideas derive from a deeply rooted fantasy of architecture producing nature, <em>Closed Worlds</em> displays their integration into the very fabric of reality in our contemporary cities and buildings.</p> <p dir="ltr"><span style="text-decoration: underline;"><strong>&nbsp;</strong></span></p> <p dir="ltr"><span style="text-decoration: underline; font-size: small;"><strong>About the 42nd Prototype</strong></span></p> <p dir="ltr"><em>Some World Games</em>, the winning installation of the <em>Closed Worlds Design Competition</em>, is an immersive environment that urges visitors to explore and experiment with virtual prototypes generated from the archive of 41 closed systems exhibited as part of the larger <em>Closed Worlds</em> exhibition. Participants are guided through the installation on a looped track that channels their kinetic motion through an orbiting virtual environment.</p> <p><em>Some World Games</em> harnesses the expended energy of exhibition exploration-the acts of reading, viewing, and wandering-and puts this agency on display. Entering the installation is a decisive act in which the visitor consents to a moment of vulnerability, plugging into the universe of the archive and engaging with its content through virtual immersion in physical space.</p> <p>&nbsp;</p> <p dir="ltr"><span style="text-decoration: underline; font-size: small;"><strong>Credits</strong></span></p> <p>&nbsp;</p> <p dir="ltr"><span style="text-decoration: underline;"><strong><em>Closed Worlds</em> Exhibition:</strong></span></p> <p>&nbsp;</p> <p dir="ltr"><span style="text-decoration: underline;">Curator and Principal Researcher:</span> Lydia Kallipoliti</p> <p dir="ltr"><span style="text-decoration: underline;">Research:</span> Alyssa Goraieb, Hamza Hasan, Tiffany Montanez, Catherine Walker, Royd Zhang, Miguel Lantigua-Inoa, Emily Estes, Danielle Griffo and Chendru Starkloff</p> <p dir="ltr"><span style="text-decoration: underline;">Graphic and Exhibition Design:</span> Pentagram / Natasha Jen with Melodie Yashar and JangHyun Han</p> <p dir="ltr"><span style="text-decoration: underline;">Feedback Drawings:</span> Tope Olujobi with Lydia Kallipoliti</p> <p dir="ltr"><span style="text-decoration: underline;">Lexicon Editor:</span> Hamza Hasan</p> <p dir="ltr"><span style="text-decoration: underline;">Special Thanks:</span> Bess Krietemeyer, Andreas Theodoridis, Cecilia Ramos, Alex Miller</p> <p>&nbsp;</p> <p dir="ltr"><span style="text-decoration: underline;"><strong>42nd Prototype, Some World Games:</strong></span></p> <p>&nbsp;</p> <p dir="ltr"><span style="text-decoration: underline;">Installation Design, Concept, and Fabrication:</span> Farzin Farzin (Farzin Lotfi-Jam, Sharif Anous, John Arnold)</p> <p dir="ltr"><span style="text-decoration: underline;">Fabrication Assistance:</span> Joseph Vidich, Kin &amp; Company</p> <p dir="ltr"><span style="text-decoration: underline;">Lighting Design Assistance:</span> Christopher Adam Architectural Illumination Engineering</p> <p>&nbsp;</p> <p dir="ltr"><span style="text-decoration: underline; font-size: small;"><strong>Support</strong></span></p> <p dir="ltr"><span style="text-decoration: underline;"><strong>&nbsp;</strong></span></p> <p dir="ltr">This exhibition is supported by the Graham Foundation and the New York State Council for the Arts. The research for this exhibition has been supported by Syracuse University School of Architecture and Rensselaer Polytechnic Institute.</p> <p>&nbsp;</p> <p dir="ltr">42nd Prototype 3D printing resources provided by MakerBot.</p> <p dir="ltr">3D printing provided by Voodoo Manufacturing.</p> <p dir="ltr">&nbsp;</p> <p dir="ltr">General support for Storefront exhibitions is provided by the New York State Council for the Arts, the New York City Department of Cultural Affairs, Arup, KPF, Sciame Construction, DS+R, and ODA.</p> <p>&nbsp;</p> Wed, 10 Feb 2016 19:53:29 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Swiss Institute - February 26th 12:00 PM - 9:00 PM <p style="text-align: justify;">Please join us as E.S.P. TV turns SI into the studio set for a live taping of their eponymous live television show and performance.</p> <p style="text-align: justify;"><em>You Don&rsquo;t Say Much, Do You?</em>, an installation for a two-channel video and teleprompter, will be on view to visitors in the hours leading up to the live event. As E.S.P. TV goes &ldquo;on air&rdquo; this piece will transform into the set of the night&rsquo;s performance.</p> <p style="text-align: justify;">A program containing selections from E.S.P. TV&rsquo;s nearly 100-episode archive will also be on view in the downstairs screening room.</p> <p style="text-align: justify;">Please RSVP to&nbsp;<a href="mailto:rsvp@swissinstitute.net?subject=RSVP%2C%20E.S.P.%20TV" target="_blank">rsvp@swissinstitute.net</a>.</p> <p style="text-align: justify;"><strong><em>Note: All attendees of the live taping may appear on camera and broadcast television.</em></strong></p> <p style="text-align: justify;">E.S.P. TV hybridizes technologies old and new, contemporary and obsolete, to realize the live television studio as a site for performance-based works. Directed by Scott Kiernan and Victoria Keddie, E.S.P. TV utilizes a mobile television studio to explore transmission, analog and digital media, and broadcast. Through an ongoing series of live television taping events, E.S.P. TV places the control room of the TV studio on center stage, making the means of production into a vehicle for performance. E.S.P. TV has held over 80 live taping events internationally and has aired over 90 episodes to date. In addition to live tapings and screenings, E.S.P. TV has initiated the TUBE Archive as a means for republishing works and ephemera from early artist-based engagements with broadcast media.</p> <p style="text-align: justify;">E.S.P. TV has worked with various venues and institutions including: The Whitney Museum of American Art, New Museum, Museum of Arts and Design, Printed Matter, Millennium Film Workshop, New School, Recess, Camera Club (New York, NY); Interstate Projects, Spectacle Theater, Issue Project Room, Knockdown Center, Flux Factory, Roulette (Brooklyn, NY); Franklin Street Works (Stamford, CT), Liminal Space (Oakland, CA), Yerba Buena Center for the Arts (San Francisco, CA), Human Resources (Los Angeles, CA), Ballroom Marfa, Marfa Public Radio, (Marfa, TX), Museum of Human Achievement (Austin, TX), S1(Portland, OR), Nightingale Cinema (Chicago, IL), MoCAD (Detroit MI), General Public (Berlin), &nbsp;STORE (Dresden), Studio XX (Montreal), Kling and Bang Gallery (Reykjavik) and Pallas Projects (Dublin).</p> Wed, 10 Feb 2016 19:14:40 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Alex Baczynski-Jenkins - Swiss Institute - February 21st 5:00 PM - 7:00 PM <p style="text-align: justify;">Guests may enter the gallery at any point during the course of the performance.</p> <p style="text-align: justify;">Alex Baczynski-Jenkins has created a&nbsp;choreographic score for performers on rollerblades who orbit one another whilst reciting, remixing and reformulating fragmented lines of poetry that meditate on desire. This contingent, polyphonic script circulates among the performers and is perpetually altered by their movements, attitudes and affects.&nbsp;Through their continued speech, the performers&nbsp;begin to channel a queer archive of verses and inflections, including lines from Essex Hemphill, Eileen Myles, Langston Hughes. The rollerbladers both move through, and are set in motion by, these articulations of desire and the sensuality of repetition.</p> <p style="text-align: justify;">Please RSVP to&nbsp;<a style="color: #000000;" href="mailto:rsvp@swissinstitute.net?subject=RSVP%2C%20Alex%20Baczynski-Jenkins" target="_blank">rsvp@swissinstitute.net</a>.</p> <p style="text-align: justify;">Alex Baczynski-Jenkins works with choreography and performance. His practice is concerned with the mediation and politics of affect and embodiment. His works have been presented in contexts including the David Roberts Art Foundation, Delfina Foundation, Basel Liste,&nbsp; Block Universe, Home Works Beirut, Whitechapel Gallery and the Sophiensaele Theatre. He is co-founder of artist-run project space&nbsp;<em>Kem</em>&nbsp;in Warsaw. He completed a BA in Contemporary Dance, Choreography, Context at the Universitat der Kunste, Berlin and an MA in Aural and Visual Cultures at Goldsmiths University, London. He participated in Ashkal Alwan&rsquo;s Home Workspace Program, Beirut.</p> Wed, 10 Feb 2016 19:12:48 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sabisha Friedberg - Swiss Institute - February 20th 8:00 PM - 9:00 PM <p style="text-align: justify;">Swiss Institute is pleased to present&nbsp;<em>A Plane Unseen and Scattering its Curve, au loin</em>,&nbsp;an installation and concert by Sabisha Friedberg, taking place over two consecutive evenings. Using a triadic structure, the work poetically addresses the concept of the &lsquo;angle of incidence&rsquo;, from three connected states that propel desire: the exalted, the neutral and the profane.&nbsp;Considering the phrase &lsquo;as above so below&rsquo;, one of the central tenets of Hermeticism, Friedberg explores the behavior of reflected sound and its perception in this one-hour composition, comprised of three segments across the two levels of the Swiss Institute&rsquo;s gallery space. Exploring the sonic construction of a reality that presents itself when what is heard is perceptually devoid of its source, the work suggests a perceptual fourth dimension, in which motifs of ley lines, parallel planes and spherical dimensions reoccur in an attempt to reveal the in-between unseen.</p> <p style="text-align: justify;">Please RSVP with which date you would like to attend to&nbsp;<a style="color: #000000;" href="mailto:rsvp@swissinstitute.net?subject=RSVP%2C%20Sabisha%20Friedberg" target="_blank">rsvp@swissinstitute.net</a>.</p> <p style="text-align: justify;">Sabisha&nbsp;Friedberg&rsquo;s composition, performance and installation work draws on the phenomenological and phantasmagorical, exploring perceptual delineation of space through sound, sculpture, and low-end experiential thresholds. She has performed and exhibited internationally, and recently received commissions through residencies at ISSUE Project Room, EMPAC (Experimental Media and Performing Arts Center, RPI), and The Clocktower Gallery. She has had recent solo shows at Audio Visual Arts and EMPAC, and released&nbsp;a double LP entitled<em>&nbsp;Hant Variance</em>&nbsp;in 2015 on the label Distributed Objects. She is included in the MoMA PS1 LP&nbsp;<em>There Will Never Be Silence</em>&nbsp;released in 2015. Friedberg received her MFA from Bard College following undergraduate studies at San Francisco Art Institute. She&nbsp;is represented by Audio Visual Arts.</p> Wed, 10 Feb 2016 19:15:35 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sabisha Friedberg - Swiss Institute - February 19th 8:00 PM - 9:00 PM <p style="text-align: justify;">Swiss Institute is pleased to present&nbsp;<em>A Plane Unseen and Scattering its Curve, au loin</em>,&nbsp;an installation and concert by Sabisha Friedberg, taking place over two consecutive evenings. Using a triadic structure, the work poetically addresses the concept of the &lsquo;angle of incidence&rsquo;, from three connected states that propel desire: the exalted, the neutral and the profane.&nbsp;Considering the phrase &lsquo;as above so below&rsquo;, one of the central tenets of Hermeticism, Friedberg explores the behavior of reflected sound and its perception in this one-hour composition, comprised of three segments across the two levels of the Swiss Institute&rsquo;s gallery space. Exploring the sonic construction of a reality that presents itself when what is heard is perceptually devoid of its source, the work suggests a perceptual fourth dimension, in which motifs of ley lines, parallel planes and spherical dimensions reoccur in an attempt to reveal the in-between unseen.</p> <p style="text-align: justify;">Please RSVP with which date you would like to attend to&nbsp;<a style="color: #000000;" href="mailto:rsvp@swissinstitute.net?subject=RSVP%2C%20Sabisha%20Friedberg" target="_blank">rsvp@swissinstitute.net</a>.</p> <p style="text-align: justify;">Sabisha&nbsp;Friedberg&rsquo;s composition, performance and installation work draws on the phenomenological and phantasmagorical, exploring perceptual delineation of space through sound, sculpture, and low-end experiential thresholds. She has performed and exhibited internationally, and recently received commissions through residencies at ISSUE Project Room, EMPAC (Experimental Media and Performing Arts Center, RPI), and The Clocktower Gallery. She has had recent solo shows at Audio Visual Arts and EMPAC, and released&nbsp;a double LP entitled<em>&nbsp;Hant Variance</em>&nbsp;in 2015 on the label Distributed Objects. She is included in the MoMA PS1 LP&nbsp;<em>There Will Never Be Silence</em>&nbsp;released in 2015. Friedberg received her MFA from Bard College following undergraduate studies at San Francisco Art Institute. She&nbsp;is represented by Audio Visual Arts.</p> Wed, 10 Feb 2016 19:10:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Akwetey Orraca-Tetteh, Camille Henrot, Kiku Yamaguchi - The Gallery at (Le) Poisson Rouge - March 1st - March 1st <p style="text-align: justify;">Hostess: Solonje Burnett<br /> Art Show DJ: DJ AKU<br /> &nbsp;<br /> FREE w/ RSVP: <a href="mailto:rsvp@lprnyc.com" target="new">rsvp@lprnyc.com</a><br /> &nbsp;<br /> <em>Following the reception will be a performance by Akwetey &amp; Friends, featuring Gray, D.O.Z, Kyp Malone, and Madame Gandhi. Tickets are required to attend &amp; can be purchased in advance <a href="http://lpr.com/lpr_events/akwetey-march-1st-2016/" target="new">here</a>.</em><br /> &nbsp;<br /> This is a general admission event in The Gallery at LPR.</p> <div class="name" style="text-align: justify;">Akwetey Orraca-Tetteh "Tiro: Millennial Soldier" Gallery Opening</div> <div class="biography" style="text-align: justify;"> <p><strong>ARTIST STATEMENT:</strong><br /> In this new millennium, heroes kill the Internet, land planes on water, and fast for justice. When a new hero acts, we are challenged to distend culturally overdrawn attitudes, reckon with our collective social conscience, and transfer mythology into positive harmonic realities. If not only for the freshness of new faces a l&aacute; Michelle Rodriguez or John Boyega (Star Wars: Episode VII), heroes stand to recalibrate what African scholar Kanu calls the &ldquo;attitudinal orientations&rdquo; of world socio-political thought. New attitudes, when fed into a myth-machine, reframe and widen our understanding of past and future cultural narratives. Through existential revelation and affirmations of love and triumph, hero stories create new pathways to social connectedness, transforming and re-humanizing the spirit inside of us.<br /> &nbsp;<br /> Growing up as a young Ghanian-American, there existed in my early years a confluence of customs and belief systems that today inform my art practice. Spanning both African and Western cosmologies, these experiences influence my development as an artist and world citizen. From a hyphenated pose, a duality of conscience arises in my work. Concurrent histories uncover for me what John Coltrane defined as a &ldquo;primal futurism&rdquo;, for me a dipolar mode drawn as much from Joseph Campbell&rsquo;s <em>The Power of Myth</em> and Nietzsche&rsquo;s <em>Superman</em>, as from the historical and lyrical resonance of W.E.B Dubois, Ralph Ellison, and James Baldwin&rsquo;s <em>The Fire Next Time</em>.<br /> &nbsp;<br /> Employing the use of painting, 3D technology, and computer engineering, my interest lies squarely in the liminal spaces between power, tragedy, absurdity, and beauty, and the ways in which intercontinental dread is reconciled by the imagination. In these new works I am drawn to the excavation of fear, fantasy, and heroic action as a means to bridge seemingly disparate genealogies&ndash;be they literal or symbolic. To that affect <em>Tiro, Millennium Soldier</em> is a techno-visual quest&ndash;to explore the inception of one&rsquo;s own personal mythology, the emergence of self as 21st century superhero.</p> <p>&nbsp;<br /> <strong>ARTIST BIO:</strong><br /> AK (b.1980), born Akwetey Orraca-Tetteh.<br /> &nbsp;<br /> Akwetey Orraca-Tetteh, also known as &ldquo;AK&rdquo;, is a Ghanaian-American artist and musician born and residing in New York, NY. The artist received his BA from Amherst College in 2002, where he studied philosophy, religion and fine art. Heavily drawn to narrative folklore, fantasy and myth in African and Western traditions, Akwetey draws clear inspiration from themes of efficacy and transcendence. Through painting, mixed media, and voice, AK crafts historically active works that owe to the re-imagination of culture and the emergence of personal mythology. The artist sites Surrealism, West African, and American Popular Art (1960-) as strong influences. Akwetey&rsquo;s work has exhibited at the Tate Modern Museum, The New Museum, LACMA, and the Gucci Museum in Florence, Italy. The artist also contributes voice and original song to the video essay <em>Grosse Fatigue</em>, the winner of the 2013 Venice Biennial&rsquo;s Silver Lion Award.</p> </div> <div class="name" style="text-align: justify;"><strong>contributions from Camille Henrot and Kiku Yamaguchi</strong></div> <div class="biography"> <p style="text-align: justify;">Born in 1978, Camille Henrot lives and works in New York. Her work has been exhibited at the Institute of Contemporary Art in London, Chisenhale Gallery in London, the Centre Pompidou, the Louvre, the Mus&eacute;e d&rsquo;Art Moderne, the Palais de Tokyo in Paris, the New Orleans Museum of Art, Schinkel Pavillon in Berlin, and the New Museum in New York. In 2013, she was the recipient of the Smithsonian Artist Research Fellowship in Washington, DC, where she produced the video Grosse Fatigue awarded by the Silver Lion at the 55th Venice Biennale. Camille Henrot currently has a solo exhibition at Kunsthal Charlottenborg, Copenhagen, which will travel to B&eacute;tonsalon &ndash; Centre for art and research, Paris and the Westf&auml;lischer Kunstverein, M&uuml;nster. She is nominated for the 2014 Hugo Boss Prize. Camille Henrot is represented by kamel mennour, Paris; Johann K&ouml;nig, Berlin; and Metro Pictures, New York.<br /> &nbsp;<br /> Best-known for her videos and animated films combining drawn art, music and occasionally scratched or reworked cinematic images, Camille Henrot&rsquo;s work blurs the traditionally hierarchical categories of art history. Her recent work, adapted into the diverse media of sculpture, drawing, photography and, as always, film, considers the fascination with the &ldquo;other&rdquo; and &ldquo;elsewhere&rdquo; in terms of both geography and sexuality. This fascination is reflected in popular modern myths that have inspired her, such as King Kong and Frankenstein. The artist&rsquo;s impure, hybrid objects cast doubt upon the linear and partitioned transcription of Western history and highlight its borrowings and grey areas. In the series of sculptures Endangered Species, for example, the artist has created objects inspired by African art by using pieces from car engines; placed on tall pedestals, these slender silhouettes with zoomorphic allure make reference to the migration of symbols and forms as well as to the economic circulation of objects. This survival of the past, full of misunderstandings, shifts and projections (as shown in the slideshow Egyptomania, the film Cynopolis, drawings of the Sphinx, and even in the photographs of prehistoric flints) troubles cultural codes and conventions. In this way, Camille Henrot&rsquo;s work questions mental resistances and the past&rsquo;s resonance, whether it be drawn from myth or from reality.<br /> &nbsp;<br /> /////<br /> Photo compositing by artist Kiku Yamaguchi of The Barnstormers Collective.</p> </div> Wed, 10 Feb 2016 19:04:37 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Swiss Institute - March 3rd - May 8th <p style="text-align: justify;">Exploring the role that the visual arts have played in cinema and television history, whether as props, set dressings, plot devices, character cues and other symbols, this exhibition considers artworks that have been created to appear onscreen. Recasting the gallery as a set for a dramatic scene, the exhibition features a history of art as seen in classic movies and low-budget soap operas, science fiction, pornography and musicals, where complex&nbsp;ideas, objects and characters are processed, played with, misunderstood and celebrated.&nbsp;<em>FADE IN&nbsp;</em>features work inspired by the artwork made to appear on screen, which has been sourced, reproduced and created by artists including: Nairy Baghramian,&nbsp;Michael Bell-Smith,&nbsp;Dora Budor,&nbsp;Heman Chong,&nbsp;Mike Cooter,&nbsp;Brice Dellsperger,&nbsp;GALA&nbsp;Committee,&nbsp;Mathis Gasser,&nbsp;Jamian Juliano-Villani,&nbsp;Bertrand Lavier,&nbsp;William Leavitt,&nbsp;Christian Marclay,&nbsp;Rodrigo Matheus,&nbsp;Allan McCollum, Carissa Rodriguez, Cindy Sherman,&nbsp;Amie Siegel,&nbsp;Scott Stark,&nbsp;Albert Whitlock.</p> Wed, 10 Feb 2016 18:53:36 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Nancy Lupo - Swiss Institute - March 13th - April 9th Wed, 10 Feb 2016 18:52:54 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Tom Burckhardt, Clare Grill, Sangram Majumdar - Steven Harvey Fine Art Projects (PROJECTOR) - February 10th - March 13th <p style="text-align: justify;">Steven Harvey Fine Art Projects is proud to present &ldquo;Real States,&rdquo; a three-person exhibition with Tom Burckhardt, Clare Grill, and&nbsp;Sangram&nbsp;Majumdar.&nbsp;The exhibition will include three to five pieces by each artist, New York-based friends and colleagues.</p> <p style="text-align: justify;">The three artists in this exhibition&nbsp;all make paintings that engage&nbsp;abstract or abstracted&nbsp;forms on the armature of an implied grid. &nbsp;However, these forms and shapes are&nbsp;simultaneously allowed to fall away from any such structure. &nbsp;This &ldquo;on-grid / off-grid&rdquo; tension&nbsp;permeates the work of all three painters.</p> <p style="text-align: justify;">In&nbsp;Majumdar&rsquo;s&nbsp;paintings, the&nbsp;forms are derived from observed sources the artist arranges and constructs. The structure, in some of these works, originates from a digital printout of an early video game interior, layered with images of gardens in Indian miniature paintings, or the remains of cardboard cutouts from his larger paintings. The resulting paintings hint at something known, but seen here out of context. They evoke simultaneity, the feeling of being in two places at once. Gesture and felt experience are recognizable: embedded in the fragments, even as the artist plays with figure-ground reversal.</p> <p style="text-align: justify;">Clare Grill's&nbsp;paintings are not planned, but rather found through&nbsp;repeated sanding, rubbing, and dragging of paint over linen. Antique embroidery samplers--needlepoint work made by young girls to present their craftwork skills to potential&nbsp;employers--often&nbsp;serve as an entry point.&nbsp;Grill is drawn to the tedious, tiny stitches that comprise these worn artifacts. Each of her paintings operates within its own tight chromatic and tonal range, the result of working in low, raking-light, on a tabletop. The subtle forms seen on and below the surface&nbsp;inform the resultant imagery. Her paintings testify to human touch and the subtle variations that inform our daily experiences, often unnoticed and unacknowledged.</p> <p style="text-align: justify;">Burckhardt uses humor&nbsp;to&nbsp;pull back from the logic of abstract forms within a grid. A&nbsp;maximalist&nbsp;(while&nbsp;the other two artists investigate traces, shadows,&nbsp;and&nbsp;missing information), Burckhardt allows&nbsp;suggestive&nbsp;forms to&nbsp;breed and layer. Some&nbsp;works&nbsp;are painted on cast plastic&nbsp;(trompel&rsquo;&oelig;il&nbsp;canvases), made from the artist&rsquo;s&nbsp;molds. &nbsp;They&nbsp;play with our constructed&nbsp;hierarchies of the unique&nbsp;work of art and tendency to&nbsp;fetishize&nbsp;material.&nbsp;They are wild but controlled: combining colors and forms that invoke a range of visual culture: art historical images, banal patterning, and mechanistic animation.</p> <p style="text-align: justify;">Burckhardt&nbsp;(b. 1964, New York, NY)&nbsp;received a BFA from Purchase College, SUNY, and also studied at the Skowhegan School of Painting and Sculpture. &nbsp;He has&nbsp;had over twenty solo exhibitions, several held at&nbsp;Tibor&nbsp;de Nagy Gallery between 2002-15. In 2014 a travelling exhibition of his FULL STOP (2004-2005), a walk-in version of an artist&rsquo;s studio made of cardboard at life size, opened at the Columbus College of Art &amp; Design. In 2011,&nbsp;his work was the subject of a solo exhibition at the&nbsp;Weatherspoon&nbsp;Art Museum, Greensboro, NC. The artist is the recipient of the International Association of Art Critics Award, the Richard and&nbsp;Hinda&nbsp;Rosenthal Foundation Award from the Academy of Arts and Letters, and two Pollack-Krasner Foundation grants.&nbsp;He&nbsp;lives in New York and spends his summers in Maine. &nbsp;</p> <p style="text-align: justify;">Grill&nbsp;(b. 1979, Chicago, IL) lives and works in Queens, NY. She received a MFA from Pratt and attended the Skowhegan School of Painting and Sculpture.&nbsp;Zieher&nbsp;Smith &amp; Horton, NY presented a&nbsp;solo exhibition of her paintings&nbsp;in 2015. Additional solo exhibitions include Albright College, Reading, PA; Reserve Ames, Los Angeles, CA;&nbsp;Soloway, Brooklyn, NY; and Real Art Ways, Hartford, CT. Recent group exhibitions include Paramo, Guadalajara, MX; Josh Lilley Gallery, London, UK; P420, Bologna, IT; The New Britain Museum of American Art, New Britain, CT, OMI International Art Center, Ghent, NY; and&nbsp;Artspace, New Haven, CT.</p> <p style="text-align: justify;">Majumdar&nbsp;(b. 1976,&nbsp;Kolkata, India)&nbsp;has an MFA from Indiana University and a BFA from the Rhode Island School of Design.&nbsp;He has been the subject of three solo exhibitions at&nbsp;Steven Harvey Fine Art Projects&nbsp;(2009, 2012, and 2013). &nbsp;Additional solo exhibitions include&nbsp;Georgetown University, DC; Rothschild Fine Art, Tel Aviv, Israel, and the&nbsp;Kresge&nbsp;Art Museum, MI. Recent selected group exhibition venues include Morgan Lehman Gallery, NY;&nbsp;Come Together: Surviving Sandy,&nbsp;curated&nbsp;by&nbsp;Phong Bui, Brooklyn, NY; Salon&nbsp;Z&uuml;rcher, Paris, France;&nbsp;and&nbsp;the 2010 Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, NY. Awards include a MacDowell Fellowship, a residency at&nbsp;Yaddo,&nbsp;and&nbsp;the 2009-10 Marie Walsh Sharpe Studio Space Program Grant.&nbsp;Majumdar&nbsp;lives and works in Brooklyn, New York and&nbsp;is a full-time Professor of Painting at the Maryland Institute College of Art.</p> <p style="text-align: justify;">There will be a panel discussion with the artists and art historian Jennifer Samet on Sunday, February 28th, at 3pm in the gallery. Please contact SHFAP at info@shfap.com or 917-861-7312 for further information or images.</p> Wed, 10 Feb 2016 18:48:16 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Skarstedt Gallery - Upper East Side - February 25th - April 16th <p style="text-align: justify;">Skarstedt is pleased to present <em>Nice Weather</em>, an exhibition of paintings curated by David Salle, at both its Upper East Side and Chelsea locations. Inspired by the title of Frederick Seidel&rsquo;s poem, this exhibition brings together some of the strongest painters of the present day. Spanning two galleries, <em>Nice Weather</em> hosts a platform for conversation within a multigenerational group of artists, ranging in age from their twenties to their eighties, many of whom will be seen together for the first time.<br /> <br /> Each work is concerned, to one degree or another, with the basic properties of painting: size, scale, surface, shape, color and gesture. Some of the paintings are also concerned with imagery, with how it can be presented and integrated with pure painting, but none of these artists are realists per se. Overall, there is an emphasis on structure and materiality. Many of the works are declarative; they make an immediate impact. Some are visually blunt; others are more lyrical. All have a strong sense of painting&rsquo;s internal energy. A few of the artists are not &ldquo;painters&rdquo; in the strict sense, but their inclusion here makes visual and material sense. The show communicates an aesthetic, which while difficult to name, examines the role of gesture, in all senses of that term, in painting. Whatever differences in starting premise or choice of media, the show examines how paintings talk to each other across stylistic orthodoxies &ndash; how they connect beneath the surface. Employing a variety of strategies, theseworks achieve a result that is neither exclusively figurative nor completely abstract, one that expresses an immediacy and engagement with materiality.<br /> <br /> Although the painters here work toward different objectives, a point of intersection is an interest in making an &ldquo;open&rdquo; type painting, one in which more or less anything &ndash; including nothing at all &ndash; can happen, and does. These artists share a lack of dogma; their work is aware of, but not in the least constricted by, canons of the past. Embracing an overall &ldquo;constructed&rdquo;, or constructivist, approach, they generate a fresh image: not an image of the world, but a new image on its own terms. This exhibition does not attempt to be encyclopedic or all-inclusive of the best painters today; the show is a small sampling of the painters working now. The selection brings together painters whose work represents a fresh mind-set; they share some original quality &ndash; one without a name. The show affords an opportunity to see that this attitude is something realized by a diverse group of painters, with widely divergent points of origin.</p> Wed, 10 Feb 2016 18:44:10 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Skarstedt Gallery - Chelsea - February 25th - April 16th <p style="text-align: justify;"><strong>Nice Weather</strong><br /> This is what it&rsquo;s like at the end of the day. <br /> But soon the day will go away.<br /> Sunlight preoccupies the cross street.<br /> It and night soon will meet.<br /> Meanwhile, there is Central Park. Now the park is getting dark.<br /> <br /> - Frederick Seidel<br /> <br /> Skarstedt is pleased to present <em>Nice Weather</em>, an exhibition of paintings curated by David Salle, at both its Upper East Side and Chelsea locations. Inspired by the title of Frederick Seidel&rsquo;s poem, this exhibition brings together some of the strongest painters of the present day. Spanning two galleries, <em>Nice Weather</em> hosts a platform for conversation within a multigenerational group of artists, ranging in age from their twenties to their eighties, many of whom will be seen together for the first time.<br /> <br /> Each work is concerned, to one degree or another, with the basic properties of painting: size, scale, surface, shape, color and gesture. Some of the paintings are also concerned with imagery, with how it can be presented and integrated with pure painting, but none of these artists are realists per se. Overall, there is an emphasis on structure and materiality. Many of the works are declarative; they make an immediate impact. Some are visually blunt; others are more lyrical. All have a strong sense of painting&rsquo;s internal energy. A few of the artists are not &ldquo;painters&rdquo; in the strict sense, but their inclusion here makes visual and material sense. The show communicates an aesthetic, which while difficult to name, examines the role of gesture, in all senses of that term, in painting. Whatever differences in starting premise or choice of media, the show examines how paintings talk to each other across stylistic orthodoxies &ndash; how they connect beneath the surface. Employing a variety of strategies, theseworks achieve a result that is neither exclusively figurative nor completely abstract, one that expresses an immediacy and engagement with materiality.<br /> <br /> Although the painters here work toward different objectives, a point of intersection is an interest in making an &ldquo;open&rdquo; type painting, one in which more or less anything &ndash; including nothing at all &ndash; can happen, and does. These artists share a lack of dogma; their work is aware of, but not in the least constricted by, canons of the past. Embracing an overall &ldquo;constructed&rdquo;, or constructivist, approach, they generate a fresh image: not an image of the world, but a new image on its own terms. This exhibition does not attempt to be encyclopedic or all-inclusive of the best painters today; the show is a small sampling of the painters working now. The selection brings together painters whose work represents a fresh mind-set; they share some original quality &ndash; one without a name. The show affords an opportunity to see that this attitude is something realized by a diverse group of painters, with widely divergent points of origin.</p> Wed, 10 Feb 2016 18:43:54 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Keiichi Tanaami - Sikkema Jenkins & Co. - March 17th - April 23rd Wed, 10 Feb 2016 18:39:10 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Amy Sillman - Sikkema Jenkins & Co. - February 4th - March 12th <div style="margin-top: 16px;"> <div style="text-align: justify;">Sikkema Jenkins &amp; Co. is pleased to present <em>stuff change</em>, a solo exhibition of work by Amy Sillman, on view at the gallery from February 4 to March 12, 2016.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The exhibition will feature a selection of new oil paintings, two dozen individual works on paper, a wall of smaller drawings, and a cycle of paintings that begin as inkjet-printed canvases.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In German, the word for "metabolism" is <em>stoffwechsel</em>&mdash;literally &ldquo;stuff change.&rdquo; The artist, currently living part-time in Germany, is interested in the idea of the metabolism as an analogy for both the making and the viewing of painting. Metabolism: a process by which the body changes something from one form to another, the work of the body itself, a process of <em>breaking things down</em>--which could also be called a form of abstraction. This brings the artist to the question: what is the work of a painting? In a recent essay in <em>Frieze d/e</em>, Sillman says: "I would call it a metabolism: the intimate and discomforting process of things changing as they go awry, [as they] look uncomfortable, have to be confronted, repaired, or risked, i.e. trying to figure something out while doing it." This finding of form and de-formation, transformation, destruction and re-building renders paintings that are both delicate and tough.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Sillman began making animated digital drawings in 2010, and found in animation an avenue for extending over time the process of finding forms and narratives that her drawings have been doing all along. Now, her analog working method clearly indicates the interwoven logic of painting time versus filmic time. Her paintings incorporate both fast-moving changes as well as a slow, almost archeological accretion of dense layers often continuously changing for over a year. Rather than endpoints, her paintings propose forms and materials in flux&mdash;suggesting a continuously changing future.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">With her newest working method Sillman sets canvases printed with her own drawings next to each other like animation cels, and paints loosely on top, thus blurring distinctions between the handmade, the digitally modified, and the mechanically reproduced. Inkjet on canvas is commonly used in contemporary painting as way to include photographic work, but Sillman uses her own drawings as the base, and then loops back to hand-made marks on top, thus returning to the beginning again and again. In doing so, she reveals the self-reflexive aspects of time and process in painting, and asks the viewer to look at painting not as a final product, but as a vital process.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Amy Sillman earned her BFA in 1979 from the School of Visual Arts, New York and her MFA in 1995 from Bard College, Annandale-on-Hudson, New York. She has received numerous awards and grants, including a Guggenheim Fellowship, the Louise Comfort Tiffany Foundation Award, the Guna S. Mundheim Fellowship in the Visual Arts from the American Academy in Berlin. Her work has been exhibited widely and is included in the collections of many prestigious institutions including The Museum of Modern Art in New York, The Art Institute of Chicago, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Sillman&rsquo;s first museum survey, one lump or two, premiered at The Institute of Contemporary Art, Boston in October 2013. The exhibition, curated by Helen Molesworth, also traveled to the Aspen Museum of Art and the Hessel Museum of Art at Bard College. A hardcover catalogue published by Prestel accompanied the exhibition.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Sillman currently splits her time between New York and Germany where she is Professor of Painting at Frankfurt&rsquo;s St&auml;delschule.</div> </div> Wed, 10 Feb 2016 18:36:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Kathryn Lynch - Sears-Peyton Gallery - February 11th - March 12th <p><strong>Kathryn Lynch&rsquo;s Exhibition at Sears-Peyton Gallery Conjures Shelter Island Summer</strong></p> <p style="text-align: justify;">While summer may feel a world away for many New Yorkers, in Kathryn Lynch&rsquo;s exhibition <em>A View of One&rsquo;s Own</em>, the artist&rsquo;s gestural impressions of her experiences and environment on Shelter Island evoke New York&rsquo;s sunny rural islands and pitched blue seas. In this first part of the exhibition, (the second will feature paintings of Red Hook), painterly washes of aqua and cobalt blue usher viewers into the breezy days of summer on Shelter Island. Windows or cottage doorways frame views of the summer refuge in the Long Island Sound, suggesting an observer&rsquo;s position&mdash;a space of quiet enjoyment and contemplation where the painter hovers between interior and exterior, assembling each painted moment from fragments of experience seen and felt. </p> <p style="text-align: justify;">The exhibition title echoes Virginia Woolf&rsquo;s declaration that a writer (and perhaps an artist) must have &ldquo;a room of one&rsquo;s own,&rdquo; but also, as Lynch says &ldquo;how we see&mdash;our own internal thoughts act as a window or door to how we see the world&hellip;we are a combination of looking out and looking within.&rdquo; </p> <p style="text-align: justify;">Lynch&rsquo;s associative process of gathering impressions, memories, and feelings of her experiences and surroundings results in paintings that evoke more than they explain. Lynch stitches fragments of everyday life into poetic re-imaginings that recollect and reinterpret the world with her signature blend of painterly acumen, cultural allusion, and wit.&nbsp; </p> <p style="text-align: justify;">With their strikingly different atmospheres, yet related painterly forms and surfaces, this two-part exhibition of Lynch&rsquo;s works offers a view from the artist&rsquo;s perch as keen observer, cultural producer, and witty commentator. Among the boats, bridges, and seagulls, we find the familiar cadence of Lynch&rsquo;s fluency with brush, light, space, and something more ephemeral&mdash;the shape and color of each fleeting experience, and the salty taste of summer.</p> Wed, 10 Feb 2016 18:30:33 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Ronald Feldman Fine Arts - February 11th 6:00 PM - 8:00 PM <p style="text-align: justify;"><a href="http://www.feldmangallery.com/pages/artistsrffa/artuke01.html" target="_blank">Mierle Laderman Ukeles</a> will launch her new book "Mierle Laderman Ukeles: Seven Work Ballets" at Ronald Feldman Fine Arts, February 11, 2016, 6-8 p.m. and New York Public Library, Schwarzman Building, Celeste Auditorium, March 2, 2016, 6-8 p.m. Copies will be available for sale and signing at both events. This is the first monograph on Ukeles' seminal practice, and is as much an artist's book as an art-historical publication</p> Wed, 10 Feb 2016 18:27:32 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Keith Cottingham - Ronald Feldman Fine Arts - February 13th - March 26th <blockquote> <p style="text-align: justify;"><em>Cottingham&rsquo;s subjects don&rsquo;t really exist. ...The closer the fictive figures are scrutinized, the more they begin to deconstruct, much as paintings break down into welters of colored brush strokes. &nbsp;It&rsquo;s this ambiguity &ndash;&nbsp;each image&rsquo;s uncanny tendency to both mimic and contradict &nbsp;photographic &nbsp;reality&nbsp;&ndash;&nbsp;that tells us no photo should be taken at face value.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </em>Ron Platt, &ldquo;Believing is Seeing.&rdquo; &nbsp;Wired 3, No. 10 &nbsp; </p> </blockquote> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">For his fourth exhibition at Ronald Feldman Fine Arts, Keith Cottingham will exhibit fourteen large-scale photographic prints that touch on spatially complex imagery from the realms of biology and cosmology. &nbsp;Minimal compositions include spheres, crystals, and other seemingly recognizable shapes floating against black backgrounds, as well as intersecting forms which convey a prismatic sense of space. &nbsp;Hyper-realistic lighting activates the subjects, and bold colors, narrow depth of field, and time-lapse motion create emotional undertones. Suggestions of condensation and liquid represent form and spirit infusing out of emptiness. These futuristic renderings, operating outside human scale, ask the question: are we inside living cells or floating amongst the stars? </p> <p style="text-align: justify;">The exhibition charts a new direction for Cottingham, a seminal artist in the digital age, who previously challenged the authenticity of photography by simulating the material world to unsettling effect in three series: multiple images of a prepubescent boy in&nbsp;<em>Fictitious Portraits</em>&nbsp;(1992);&nbsp;a collection of nineteenth century ethnographic studies in&nbsp;<em>History Repurposed</em>&nbsp;(1999); architectural spaces in&nbsp;<em>Constructed Photographs</em>&nbsp;(2004); and animations of successive movement and interaction of diverse forms in&nbsp;<em>Growth</em>&nbsp;(2007). None of the subjects depicted exist. </p> <p style="text-align: justify;">With&nbsp;<em>Biology &amp; Cosmology</em>, Cottingham finds freedom to create new symbolic worlds that go beyond real world limitations and operate outside human scale. &nbsp;The process, which he identifies as &ldquo;constructive imaging,&rdquo; begins with 3D models rendered and then printed as archival pigment prints. &nbsp;Instead of light photons revealing an outside world through a lens, these pure renderings go beyond photography to objectify 3D representations not tethered to real world referents. &nbsp;The 3D scenes, materials and lights are sculpted and designed, but how their physical properties interact with each other to create an image is based on real world physics. &nbsp;This divergent approach creates artful &ldquo;visualizations,&rdquo; blurring the distinction between imagination and reality. &nbsp; </p> <p style="text-align: justify;">As the lifeworld becomes more and more quantified, mystery is being further reduced and buried underneath the appearance of the rational. &nbsp;But there is more than meets the eye. &nbsp;What is circulating and permeating below the surface of the visible? &nbsp;&nbsp;What are the unseen creative forces breathing life into our unfolding existence? &nbsp;How will the new paradigm of matter and energy taking precedence over the &lsquo;soul&rsquo; affect our understanding of ourselves? These colorful visualizations hope to re-enchant the viewer with the &lsquo;mysterious&rsquo; by glimpsing the world that is just beyond our understanding. &nbsp;The deeper we look, the greater the new expanse becomes.</p> <p style="text-align: justify;"><br /> Cottingham&rsquo;s work has been reproduced and exhibited in major exhibitions, including the MIT List Visual Arts Center, Cambridge, MA; Los Angeles County Museum of Art, Los Angeles, CA; Siemens AG, Munich, Germany; Fundaci&oacute;n Telef&oacute;nica, Madrid, Spain; Hayward Gallery, London, England; and Neue Galerie Graz, Austria.</p> Wed, 10 Feb 2016 18:27:06 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list