ArtSlant - Openings & events en-us 40 Group Show - Bortolami Gallery - November 17th, 2012 6:00 PM - 8:00 PM <p align="left">Bortolami Gallery is thrilled to announce its re-opening after Hurricane Sandy with <em>OUT OF THE BLUE</em>, an impromptu exhibition including new works by represented artists and friends of the gallery. The exhibition will run from November 17th through December 22nd, with a reception on the evening of November 17th from 6 to 8pm.</p> <p align="left">Due to the overwhelming destruction in the Chelsea gallery district, together with our neighbors, we have been hard at work rebuilding and are confident that the entire community will be restored in a short time.</p> Fri, 16 Nov 2012 01:23:29 +0000 Megan Marrin - Bortolami Gallery - November 17th, 2012 6:00 PM - 8:00 PM <p>Bortolami is pleased to present a recent body of work by Megan Marrin.</p> <p>These intimately scaled pieces are variously comprised of printed paper, resin, leather, and industrially produced accent shelves. Marrin uses imagery from the surfaces around her, predominantly <em>her world</em>. These can range from a vintage scarf extensively searched for, or rich sections of colored leather, to the artists wardrobe, or a particularly distinctive belt.  These things to be “put on,” are then photographed or scanned, and grafted like skins over constructed supports. Some have domestic allusions; the shelves, a panel that has been treated with architectural molding; others are simply stretched and coated with resin (recalling an actual process of treating real skins for use in decorative and functional objects).</p> <p>An uncanny tromp l’oeil takes place between the synthesis of the digital and of the artist’s hand, creating a new body which resembles painting in its format, and deals with the psychological implications of masking and the thrill of adornment. It is a reminder that in our daily lives, the act of covering up combined with the subjectivity of taste, become integral to the realization of <em>“me</em>,” to ourselves and to others.</p> <p>-         Tyler Dobson</p> <p> </p> <p>Megan Marrin was born in St. Louis, Missouri. She lives and works in New York City.</p> Fri, 16 Nov 2012 01:25:25 +0000 Aaron Aujla - C L E A R I N G Brookyln - November 17th, 2012 6:00 PM - 8:00 PM Tue, 01 Jan 2013 20:09:21 +0000 Group Show - DACIA GALLERY - November 17th, 2012 3:00 PM - 3:00 AM <p>DACIA GALLERY PRESENTS</p> <p>ART SHOW ON BROADWAY</p> <p>Exhibition Date and Reception<br />Saturday, November 17, from 3:00pm to 3:00am</p> <p>Venue<br />623 Broadway, between Houston and Bleecker</p> <p>Dacia Gallery proudly presents Art Show on Broadway, a group show of over 60 exhibiting artists. This eclectic collection of artwork will feature paintings, drawings, photography, sculpture, digital art and site-specific installations. The exhibition space is a beautiful venue located on Broadway and Houston, comprised of three exhibition floors with 14,000 square feet for each floor. By taking a fresh and unconventional approach to curating and exhibition design the artists are given total freedom to curate and present their own artwork. In addition, exhibiting artists will be present at the reception where we invite them to share their art, inspiration and meet the admiring public. The reception includes two bars and live performances.</p> <p>EXHIBITION AND ART PARTY<br />Art Show on Broadway will take place on Saturday, November 17, 2012</p> <p>Opening Hours<br />3:00pm to 7:00pm, free to the public</p> <p>7:00-10:00pm, $10 cover<br />10:00pm to 3:00am, $20 cover</p> <p>Additionally, we will have three DJ'S and two bars located on the middle and top floors throughout the night. This will be and art show to remember, come support the artists and have an incredible time of art, music and dancing. At midnight, the bottom two floors will close and everyone can join the artists upstairs for the dance party until 3:00am.</p> <p></p> Mon, 08 Oct 2012 01:47:01 +0000 Marylyn Dintenfass - Driscoll Babcock - November 17th, 2012 4:00 PM - 7:00 PM <p>Driscoll Babcock Galleries is pleased to present DROP DEAD GORGEOUS, the latest body of work by Marylyn Dintenfass, whose brilliant chromatic abstractions evolve to evoke a representational narrative about nature’s fatally duplicitous markers. Dintenfass’ work has always embodied the unease of “nothing is ever what is seems” in life, and her newest canvases draw their inspiration from some of nature’s most beautiful, but dangerous plants. A focus of the show is the Angel’s Trumpet flower, a ravishing and singular beauty of nature whose exquisite deadliness is iconic. Dintenfass’ vibrant abstractions of the Angel Trumpet’s shapes and forms conjure the plant’s stunning looks, its siren-like allure, and its toxicity. <br /> <br /> “Dintenfass’ latest work reaffirms her position as a significant figure in the rich tradition of colorists who explore the potent and evocative union of representation and abstraction: figures like James Turrell, Richard Diebenkorn, Mark Rothko, Morris Louis, Paul Klee, Henri Matisse and Paul Gauguin, all of whom she continues to respect,” remarks John Driscoll, President of Driscoll Babcock. Driscoll also pointed to the paintings’ “more overt sexual sensuousness in the metaphorical anatomical references in which the dangerous and sinister flower forms conjure genital appendages and vaginal slits in pulsing colors.” Dintenfass has always loved the interplay of blessings and curses, and in this new series of paintings she has increased the scale, heightened the chromatic intensity and simplified the visual layering to produce a powerful and graphic visual.<br /> <br /> Critic Lilly Wei has written that Dintenfass’ painting is “[l]ush but also astringent, with a glittered coolness and reserve that offsets its heat…a bracing example of an experiential painting for the present,” In this remarkable group of new large scale paintings, Dintenfass has surely found the duality of the lush and the astringent, the tantalizing and the toxic.<br /> <br /> Dintenfass, while not an inherent naturalist, explores extreme wilderness adventure as a visual and creative reboot from fine art, to “completely drain my visual reservoirs of everything extraneous and fill my senses with fresh colors, shapes and forms, textures, light and shadows that renew and reenergize my creative vision,” explains the artist. Riding white-water rapids on the Snake River, heli-hiking on a remote mountain of British Columbia, trekking the depths of Bryce Canyon, Dintenfass recognizes the peril of chance encounters with venomous snakes, predatory animals and toxic plants. She adds, “Often, the best interaction with nature is through a plate glass window. In DROP DEAD GORGEOUS, the lithe and beautiful plants that serve as the subject won’t just make you sick, but they are lethal. They kill you.”<br /> <br /> As in her previous work, the symbolic layering of intellectual and psychological themes is reinforced by figural layerings of transparent color and the removal of built up surfaces. DROP DEAD GORGEOUS evokes literal and ephemeral interpretations, reinforced by her method of paint application and removal, where she unites hardedge painting with soft brushstrokes. Her transparent layers of oil paint and the luminescence she achieves from her nuanced mixing of colors and navigating a gestural relationship between light, line, and chroma. Dintenfass’ new large-scale paintings include diptychs and triptychs, amongst single-panel paintings, and as always, metaphors of her own intricate relationship with visual reality and hidden duplicity.<br /> <br /> <br /> ABOUT MARYLYN DINTENFASS<br /> Marylyn Dintenfass is an internationally known artist whose work is found in major public, corporate and private collections in Denmark, England, Israel, Italy, Japan and the United States. Among the institutions that have acquired her work are: The Metropolitan Museum of Art, The Cleveland Museum of Art, Detroit Institute of Arts, Museum of Fine Arts, Houston, Mississippi Museum of Art, Minneapolis Institute of Arts and the Smithsonian American Art Museum. Her 2010 Parallel Park installation in Fort Myers, Florida is one of the largest and most noteworthy public art projects of the last decade. A two-time MacDowell Fellow, Dintenfass’ work has been widely reviewed and her 2011 Babcock Galleries exhibition was selected as one of the top 100 shows by Modern Painters.</p> Tue, 06 Nov 2012 23:24:18 +0000 Paul Dorrell - Edward Hopper House Art Center - November 17th, 2012 3:00 PM - 4:30 PM <p><b><span size="3" face="Calibri" style="font-family: Calibri; font-size: medium;">Paul Dorrell discusses his b<i>ook Living the Artist’s Life: Updated &amp; Revised</i>.  After the talk Paul will sign copies of the book.</span></b></p> <p><span style="text-decoration: underline;"></span></p> <p><b><span size="3" face="Calibri" style="font-family: Calibri; font-size: medium;">ABOUT THE AUTHOR and Book:</span></b><span face="Calibri" style="font-family: Calibri;"> Dorrell opened his gallery in 1991, and has been advancing artists’ careers on a national level ever since. This is an updated edition of his original book. With clients such as Warner Brothers, the Mayo Clinic and H&amp;R Block, Dorrell knows how to land the big deal, yet also how to win the trust of private collectors. He presents the information so that any artist, regardless of their medium, can learn how to more easily structure a career that works. With sage advice, humor, and many anecdotes, Dorrell keeps you engaged through each chapter. Whether instructing on how to get your work into a gallery, or how to handle self-doubt, he knows his ground. He also tells the story of his gallery's initial failures and eventual successes. Regardless of your place in the arts, you will benefit from the real-life guidance of this work.</span></p> Thu, 08 Nov 2012 20:07:11 +0000 Group Show - FiveMyles - November 17th, 2012 6:00 PM - 8:00 PM <p>Please Note: after Dec. 16 thru Jan. 6 the exhibition is pen by appointment only.</p> <p>AMERICAN LANDSCAPE<br /><br />"America is the only country that went from barbarism to decadence with no civilization in between"<br />- Oscar Wilde<br /><br />In the mid 19th century, a group of artists known as the Hudson Valley School sought to<br />capture the magnificence of the American frontier at a time when little of it was seen, and<br />even less was known. It was a precursor to the grand experiment of manifest destiny<br />and glorified the pristine, “virgin” land of this young country as much as it disregarded the<br />history of a civilization who had called it home for thousands of years. These painters<br />corralled their efforts under the cloak of Romanticism, attempting to capture the sublimity<br />of natureʼs prowess under godʼs creation. It was a method of interpreting their<br />surroundings with a child-like innocence, with little regard to sense of place and history,<br />let alone the cultures that inhabited it. While these painters demonstrated a high level of<br />craft and their aesthetic is what the majority of the general public think of when they hear<br />the word “art,” their subject matter is arbitrary and generic, offering the viewer mere<br />surface contemplation; nothing more than the saccharine pleasure of an idealized<br />meadow, river, or mountain.<br /><br />As the Hudson Valley School proffered idyllic visions of a new countryʼs seemingly<br />endless bounty of open space and natural resources, the group of artists and thinkers in<br />this exhibition are grappling with effects of late model capitalism, after the 20th centuryʼs<br />greatest superpower has reached its peak and begins to tumble down the mountain.<br />Engaging what Gilles Deleuze would refer to as “nomadic thought,” this exhibition<br />interprets the cycle of people who live on, alter, and leave certain sections of land as an<br />amorphous process with constantly changing boundaries of our physical and<br />psychological environments. Their choice of media reflects this mode of thinking,<br />defining their practices with monikers like “exercises in futility,” “video documentation of<br />temporary public installations,” or “mobile-hybrid sculptural systems”. Their works act of<br />a kind of field guide, offering the viewer multiple routes for navigating their physical and<br />cultural surroundings.<br /><br />Greg Stewart and Dymph de Wildʼs sculptural works and “survival suits” are eerie<br />mutations of the plant and animal kingdom, designed for the chaos spawned from<br />migration and adaptation in the areas between urban and rural environments. For Dan<br />Carlson the residue and monuments of the Cold War, in the form of abandoned military<br />bases and industrial wastelands, serve as fertile ground for cultivating response in the<br />form of video installations. Peter Lapsleyʼs sculptures are composed of industrial<br />materials used in contemporary architecture that nod to the perfect forms of ancient<br />mathematics and the ruins that serve as evidence of their unattainability.<br />  <br />Producing both reflective and functional research-based works, Jan Mun focuses on<br />cultural and ecological immigration through community-based interventions, while Rick<br />Reid's conceptual, text-based work uses Gertrude Stein's The Making of Americans in<br />tandem with the Human Genome Project to create a new vision of human cartography.<br />Marin Abell's exercises in “unlearning” re-evaluate our instinct to organize and map by<br />presenting whimsical scenarios with stoic purposefulness.<br /><br />Corina Reynolds examines our ritualistic relationship with advertising and its power to<br />homogenize any foreign space into something immediately accessible and familiar,<br />whereas Josh Bricker's videos create a kind of displacement where the commonplace,<br />nationalist pride so embedded in American entertainment turns into something<br />completely alien.<br /><br />John Wanzel employs the method of artist as expert, taking a pseudoscientific approach<br />for describing man-made structures in geologic terms, while Leah Raintree's shale<br />drawings and photographs that serve as evidence of climate change distort value<br />systems of natural resources in abstracted, economic terms. Tom Pnini's work reveals<br />the mechanics of illusion and skirts a fine line between glorifying and vilifying american<br />industry, and play nicely with Chad Curtis' scaled down mountains made from<br />disposable, everyday materials. Ben Finer's works on paper hinge the seemingly<br />mundane beauty of natural landscapes with a constructed spirituality, while Daniel J.<br />Glendening acts as a kind of intermediary historian, culling inspiration from the failed<br />utopian experiments of our recent past and producing artifacts that seem to come from<br />the near future.<br /><br />Together these artists are united through a heightened sense of awareness to their<br />immediate surroundings seen through the lens of the American landscape; a landscape<br />shaped by unseen socio-political forces, constantly shifting cultural paradigms, and the<br />dizzying flux of construction and destruction.<br /><br />New works by: Marin Abell, Josh Bricker, Dan Carlson, Chad Curtis, Dymph de<br />Wild, Ben Finer, Daniel J. Glendening, Peter Lapsley, Jan Mun, Tom Pnini, Leah<br />Raintree, Rick Reid, Corina Reynolds, Greg Stewart, &amp; John Wanzel.<br /><br />Organized by: Dan Carlson</p> Fri, 07 Dec 2012 02:11:31 +0000 Ed Ruscha - Gagosian Gallery- 24th St. - November 17th, 2012 4:00 PM - 6:00 PM <p><em>Sometimes I wonder whether I am painting pictures of words or whether I'm painting pictures with words.</em></p> <p>--Ed Ruscha</p> <p>Ed Ruscha's oeuvre has never been confined to established categories of style or media; for instance, books, drawings, prints, photography, and painting are used in parallel, together with materials as unconventional as gunpowder, fruit juice, bleach, coffee, and syrup. But throughout Ruscha's restrained yet daring experimentation, writing as act and subject, in print form or painted on canvas, has remained a constant inspiration for his iconic images of the American vernacular. His singular, sometimes oblique use of words allows for the exploration of the role of signifiers in language and thought, while his range of artistic means allows the act of reading to be literally manipulated as a process by which to generate meaning.</p> <p>This exhibition follows "Reading Ed Ruscha," at Kunsthaus Bregenz in Austria, which fully explored Ruscha's obsession with books and language from the outset of his career. In New York the focus is exclusively on his consideration of the book over the last twenty-five years as a subject, as a support for pictures, or as an actual object. It includes acrylic and oil paintings, drawings on paper, watercolors on vellum, photographs, and book works.</p> <p>In the small painting <em>History</em> (2005), Ruscha deflates a huge topic with an austere yet highly illusionistic side view of a rather-too-slim book spine on which the word appears. Whereas in the large-format painting <em>Gilded, Marbled and Foibled</em> (2011-12),he lets loose in a richly patterned description of traditional decorative bookmaking techniques, while the title provides a riposte to early Conceptual Art instruction. The <em>Open Book</em> series (2002-05), finely executed on untreated linen as a direct allusion to traditional bookbinding materials, appear as life-size images inviting closer perusal, while the giant works of the <em>Old Book</em> series present age-worn pages as monumental artifacts.</p> <p>Various bookworks provide corollaries to the paintings. A strategy for a series of insidious small abstract paintings from 1994-95, where words forming threats are rendered as blank widths of contrasting color like Morse communication, resurfaces a decade later in book covers, where the oppositional actions of enunciation and erasure meet. In another book series, Ruscha has again used bleach to leach a single large initial on the colored linen covers of found books, such as a gothic M on the cover of <em>Imaginary Gardens</em>, or L L on two matching <a href="" target="_blank" shape="rect">Shakespeare</a> tomes entitled <em>Twins (diptych)</em>, by which he deftly transforms one medium and format into another. In another, monochrome books mimic Minimalist objects and sport appropriately generic titles such as <em>Atlas</em> or <em>Bible</em>.</p> <p><strong>Ed Ruscha</strong> was born in Omaha, Nebraska in 1937 and studied painting, photography, and graphic design at the Chouinard Art Institute (now CalArts). His work is collected by major museums worldwide. Major museum exhibitions include the drawing retrospective "Cotton Puffs, Q-Tips®, Smoke and Mirrors," which toured U.S. museums in 2004-05; "Ed Ruscha: Photographer," Whitney Museum of American Art, New York and the Musée National Jeu de Paume, Paris (2006); and, "Ed Ruscha: Fifty Years of Painting," Hayward Gallery, London (2009, traveling to Haus der Kunst, Munich and Moderna Museet, Stockholm in 2010). "Ed Ruscha: Road Tested,"Modern Art Museum of Fort Worth, Texas (2011); "On the Road," The Hammer Museum, Los Angeles (2011). "Reading Ed Ruscha" concluded at the Kunsthaus Bregenz in Austria in mid-October, just as "The Ancients Stole All Our Great Ideas" opened at the Kunsthistorisches Museum in Vienna, an exhibition that Ruscha was invited to curate, working from the national art and natural history collections. It remains on view until December 2, 2012.</p> Sun, 11 Nov 2012 01:57:10 +0000 Martha Rosler - MoMA (Museum of Modern Art) - November 17th, 2012 6:00 PM - 8:00 PM <p class="top">For her first solo exhibition at The Museum of Modern Art, New York–based artist Martha Rosler presents her work <i>Meta-Monumental Garage Sale,</i> a large-scale version of the classic American garage sale, in which Museum visitors can browse and buy second-hand goods organized, displayed, and sold by the artist. The installation fills MoMA’s Marron Atrium with strange and everyday objects donated by the artist, MoMA staff, and the general public, creating a lively space for exchange between Rosler and her customers as they haggle over prices. If customers agree, they may be photographed with their purchases. The project also includes a newspaper and an active website.</p> <p>Martha Rosler is widely regarded as one of the most influential artists of her generation, one whose artistic practice, teaching, and writing continue to influence succeeding generations. Rosler makes “art about the commonplace, art that illuminates social life,” examining the everyday by means of photography, performance, video, and installation.</p> <p>The <i>Meta-Monumental Garage Sale</i> at MoMA is a successor to a work originally held (as <i>Monumental Garage Sale</i>) in the art gallery of the University of California at San Diego in 1973. The work was advertised simultaneously as a garage sale in local newspapers and as an art event within the local art scene. A chalkboard on site bore the legend, “Maybe the Garage Sale is a metaphor for the mind,” and a slide show of a seemingly typical local white family, bought at a local estate sale, played continuously while an audiotape loop, offering a meditation on the role of commodities in suburban life. The <i>Garage Sale,</i> which has also been held at the Generali Foundation, Vienna (1999); the Museu d’Art Contemporani, Barcelona (1999); Moderna Museet, Stockholm (2004); and The Institute of Contemporary Arts, London (2005), implicates visitors in face-to-face transactions within a secondary, informal cash economy—just like garage sales held outside a museum setting. As a traveling project, the <i>Garage Sale</i> accumulates elements from each succeeding event, ranging from components of the first project, such as the slide show and audio track, to “merchandise” from previous iterations and photographs of people holding up objects that form part of the installation.</p> <p>Rosler invited the public to donate items to the <i>Meta-Monumental Garage Sale</i>—clothes, books, records, toys, bric-a-brac, costume jewelry, art works, odd items, mementos, and whatever items, large or small, that strike one’s fancy. <b>The donation period has expired.</b></p> Mon, 01 Oct 2012 00:11:45 +0000 - Participant Inc. - November 17th, 2012 4:00 PM - 6:30 PM <p></p> <p>SFAQ - NYC Release party for issue 11</p> <p></p> <p>SFAQ (San Francisco Arts Quarterly)</p> <p>International Arts and Culture</p> <p>441 O’Farrell St.</p> <p>SF, CA, 94102</p> <p><a href=";h=JAQGGZEm9&amp;s=1" rel="nofollow"></a></p> <p></p> <p>SFAQ Contact: </p> <p>Andrew McClintock</p> <p><a href="" rel="nofollow"></a></p> <p></p> <p>SFAQ is pleased to announce an informal free release party for Issue 11, which includes feature interviews from some of NYC’s finest: Vito Acconci, Jonas Mekas, Tom Sachs, Paula Cooper, Mathew Higgs, Kembra Pfahler, Carolee Schneemann, Brett Littman and Nayland Blake.</p> <p></p> <p>Please join SFAQ’s Founders &amp; Editors at PARTICIPANT INC. (253 E. Houston St.) on Saturday, November 17th, from 4 - 6:30pm. We invite you to pick up a free copy of SFAQ, enjoy the complementary beverages and view the gallery’s solo exhibition  from Vaginal Davis.</p> <p></p> <p></p> <p>SFAQ is a free quarterly publication based out of the Tenderloin district in San Francisco, CA. It features both domestic and international, historical and contemporary arts and culture. Distributed free to fourteen countries around the world, SFAQ aims to bridge the gap created by academic “high-art” publications by focusing on the implications of art in a broader social context. </p> <p></p> <p>We hope to see you there!!</p> Tue, 13 Nov 2012 04:48:41 +0000 Group Show - Smack Mellon - November 17th, 2012 5:00 PM - 8:00 PM <p>In the relationship between aesthetics and politics, there is always a risk of falling into the gap between the personal and the communal. Art, and by extension aesthetics, is often discussed as a highly personal, radically individualized form of expression while politics is, by necessity, a force of society that seeks solutions to shared interests. But perhaps this contradiction has been overstated, as it is generally accepted that any art, regardless of its intentions, necessarily takes a political stance by either conforming to or protesting against established systems of power and value. So if the political is necessarily unavoidable, what is the role of an aesthetic that consciously allies itself with the resistance to hegemonic powers? What does it look like, how does it operate, and who is a part of it? <i>The Hollow Center</i> takes such questions as its impetus, featuring recent works by artists that seek both an historical account of and a future potential for a potent aesthetics of resistance. </p> Fri, 02 Nov 2012 20:59:58 +0000 Edward Evans - Hunterdon Art Museum - November 18th, 2012 2:00 PM - 4:00 PM <p style="text-align: justify;"><span style="font-size: small;">The opening reception for this exhibition will be held Sunday, Nov. 18 from 2 to 4 pm with a gallery talk by the artist at 3 pm. The exhibition will run until Jan. 6, 2013.</span></p> Sat, 17 Nov 2012 07:57:59 +0000 Group Show - MoMA (Museum of Modern Art) - November 18th, 2012 10:30 AM - 5:30 PM <div class="description"> <p class="top">From the mid-1950s through the 1960s, Tokyo transformed itself from the capital of a war-torn nation into an international center for arts, culture, and commerce, becoming home to some of the most important art being made at the time. <i>Tokyo 1955–1970: A New Avant-Garde</i> provides a focused look at the extraordinary concentration and network of creative individuals and practices in this dynamic city during these turbulent years. Featuring works of various media—painting, sculpture, photography, drawings, and graphic design, as well as video and documentary film—the exhibition offers a story of artistic crossings, collaborations, and, at times, conflicts, with the city as an incubator. It introduces the myriad avant-garde experiments that emerged as artists drew on the energy of this rapidly growing and changing metropolis.</p> <p><i>Tokyo 1955–1970: A New Avant-Garde</i> brings together some of the most iconic works from the period as well as works recently discovered or reevaluated by new scholarship. A significant number are already part of MoMA’s collection, while others are on loan from important public collections in Japan and the United States. Artists in the exhibition include artist collectives such as Jikken Kobo (Experimental Workshop), Hi Red Center (Takamatsu Jiro, Akasegawa Genpei, Nakanishi Natsuyuki), and Group Ongaku (Group Music); critical artistic figures such as Okamoto Taro, Nakamura Hiroshi, Ay-O, Yoko Ono, Shiomi Mieko, and Tetsumi Kudo; photographers Moriyama Daido, Hosoe Eikoh, and Tomatsu Shomei; illustrators and graphic designers Yokoo Tadanori, Sugiura Kohei, and Awazu Kiyoshi; and architects Tange Kenzo, Isozaki Arata, and Kurokawa Kisho, among others.</p> <p>In conjunction with <i>Tokyo 1955–1970: A New Avant-Garde</i>, MoMA presents a 40-film retrospective of the Art Theatre Guild, the independent film company that radically transformed Japanese cinema by producing and distributing avant-garde and experimental works from the 1960s until the early 1980s. The retrospective features such filmmakers as Teshigahara Hiroshi, Shindo Kaneto, Imamura Shohei, Oshima Nagisa, Matsumoto Toshio, and Wakamatsu Koji. This exhibition runs December 7, 2012–February 10, 2013, and is organized by Go Hirasawa, Meiji-Gakuin University; Roland Domenig, University of Vienna; and Joshua Siegel, Associate Curator, Department of Film, The Museum of Modern Art.</p> </div> Mon, 01 Oct 2012 00:19:02 +0000 Thomas Lanigan-Schmidt - MoMA PS1 - November 18th, 2012 12:00 PM - 6:00 PM <p>Thomas Lanigan-Schmidt’s mixed-media constructions, collages, and installations are marked by a trashy opulence concocted from household items and dollar stores. Mimicking Byzantine decoration with cellophane, aluminum foil, tinsel and glitter, Lanigan-Schmidt (American, b. 1948) pioneered a maximalist aesthetic in the late 1960s that explored gay sexuality, class struggle, and religion. Mingling high with low, and sacred with profane, Lanigan-Schmidt bucked the reductive tastes of conceptualism and minimalism that dominated his youth, creating a radically decorative practice that, despite its influence, has never been properly assimilated into the history of American art.</p> Mon, 26 Nov 2012 00:47:32 +0000 Huma Bhabha - MoMA PS1 - November 18th, 2012 12:00 PM - 6:00 PM <p>Huma Bhabha (American, b. Karachi, Pakistan, 1962) is known for her engagement with the human figure and for her use of found materials, working primarily in sculpture. Often tending towards the grotesque, Bhabha’s sculptural works and photo-based drawings feature bodies that appear dissected and dismembered, but one can likewise view them as monuments to human life reclaimed from the detritus of a post-apocalyptic landscape. Incorporating materials like Styrofoam, animal bones and clay, Bhabha creates figures that feel unstable and ephemeral. Insistently contemporary, they nevertheless recall classical figurative traditions across a range of cultures and historical periods, typifying a strand of neo-primitivism that has arisen in the past decade.</p> Mon, 29 Oct 2012 00:43:40 +0000 Haim Steinbach - Dia Art Foundation - November 19th, 2012 6:30 PM - 8:30 PM <p>Haim Steinbach was born in Rehovot, Israel, in 1944 and moved to New York City in 1957, where he has lived since. He graduated from the Pratt Institute in 1968 and received his MFA from Yale University in 1973. Steinbach’s work has been the subject of solo exhibitions at Artists Space, New York (1979), the Museum Moderner Kunst Stiftung Ludwig, Vienna (1997), and the Neuer Berliner Kunstverein, Berlin (2000). His sculptural installations have been included in myriad group exhibitions: among them, at the Guggenheim Museum, New York (1993); the Musée Rodin, Paris (2011); and the Victoria and Albert Museum, London (2011). He lives and works in New York.</p> Sun, 28 Oct 2012 22:47:02 +0000