ArtSlant - Recently added en-us 40 - Guild Hall - August 2nd 9:00 AM - 4:00 PM <p>Since 1946, Guild Hall has proudly hosted the annual Clothesline Art Sale, a community event that showcases original works by East End artists. Nearly 400 artists enter the sale each year, with their work attracting thousands of art lovers looking for the next&nbsp;de Kooning, Prince, or Sherman. Works range in price from $50 to $2,000, with all proceeds split 50/50 between the artist and Guild Hall. Proceeds from the sale benefit Guild Hall of East Hampton.</p> Fri, 25 Jul 2014 02:12:18 +0000 Tom Hammick - Flowers Gallery NY - September 11th - October 11th <p>Flowers is pleased to announce the New York solo debut of British artist Tom Hammick titled, <em>Hypnagogic</em>. The show, comprised of paintings and prints, will run from September 11th until October 11th 2014, with a reception for the artist on Thursday, September 11th, from 6-8pm.</p> Thu, 24 Jul 2014 20:22:54 +0000 - Gallery 69 - August 1st 10:00 AM - 7:00 PM Thu, 24 Jul 2014 10:15:18 +0000 Group Show - Jonathan LeVine Gallery - 557C West 23rd - August 6th - August 23rd Thu, 24 Jul 2014 08:45:07 +0000 Group Show - Jonathan LeVine Gallery - 529 W. 20th - August 6th - August 23rd Thu, 24 Jul 2014 08:42:03 +0000 Filippino Lippi, Vittore Carpaccio, Jose Guadalupe Posada, Pablo Picasso, Hugues Sambin, Sebastiano Conca - The Metropolitan Museum of Art - July 15th - September 29th <p>The summer rotation in the Robert Wood Johnson Jr. Gallery focuses on a selection of drawings and prints from southern Europe and Mexico and covers over 450 years of art in different media.</p> <p>The earliest works on view are drawings by two great artists of the Italian Renaissance: Filippino Lippi (Italian, ca. 1457&ndash;1504) and Vittore Carpaccio (Italian, 1460/66?&ndash;1525/26). They were close contemporaries and represent the two major artistic centers of fifteenth-century Italy: Florence and Venice, respectively. Filippino Lippi, the illegitimate son of the great painter Fra Filippo Lippi&nbsp;(Italian, ca. 1406&ndash;1469), was a brilliant muralist and easel-painter active in Florence and Rome. Filippino's virtuosity as a draftsman is especially evident in his quick expressive sketches and meditated life studies in the difficult technique of metalpoint; many of his highly inventive compositions were also recorded by engravers of his time, as seen in the present selection. Carpaccio was a prolific draftsman, unlike most Venetian Renaissance artists of his generation, and used drawings for a variety of purposes. Some of his drawings in the Museum's collection can be firmly connected to extant paintings by him, and others served as models for consultation in the workshop.</p> <p>The rotation also features several new acquisitions of the&nbsp;Department of Drawings and Prints. A rare, circular architectural print by the French Renaissance artist Hugues Sambin (French, ca. 1520&ndash;1601)&nbsp;forms the central focus of a selection of works on paper exploring the interest in Classical architecture in France during the sixteenth century. The monumental circular drawing of&nbsp;<em>Venus at the Forge of Vulcan</em>of the early eighteenth century is one of Sebastiano Conca's most accomplished extant works, and it is shown here with a group of exuberant compositional studies and figural drawings by Italian Baroque painters. On display nearby is the French nineteenth-century design for a mural by the artist Paul Chenavard (French, 1808&ndash;1895). This heretofore unidentified project represents the so-called&nbsp;<em>Gigantomachy</em>, or the battle of the Olympian Gods against the Giants, and is paired with other drawings and prints showing scenes of divine omnipotence.</p> <p>A separate group of drawings and prints focuses on Pablo Picasso (Spanish, 1881&ndash;1973). Picasso was a prolific printmaker who throughout his long career explored different printmaking techniques. His subjects embody a perpetual conversation, both between his own works and those of his predecessors and colleagues. In this selection from the Museum's collection, six works from his oeuvre are contrasted with prints and drawings by other artists. The comparisons highlight his connection to artistic traditions as well as his own very distinct contributions to art history.</p> <p>In part contemporary to Picasso's work, a large section of the rotation is dedicated to twentieth-century Mexican prints. Emerging from the political climate of the Mexican Revolution (1910&ndash;1920), the spirited prints and posters address political themes inspired by the unstable climate of the first half of the twentieth century, whereas others celebrate Mexican traditions and culture such as Jos&eacute; Guadalupe Posada's skeletons relating to the Day of the Dead.</p> Thu, 24 Jul 2014 08:14:51 +0000 Kelvin De Leon, Delphine Diallo, Heather Hart, Albert Vecerka - Studio Museum in Harlem - July 17th - October 26th <p>Harlem Postcards is an ongoing project that invites contemporary artists of diverse backgrounds to reflect on Harlem as a site of cultural activity, political vitality, visual stimuli, artistic contemplation and creative production. Representing intimate and dynamic perspectives of Harlem, the images reflect the idiosyncratic visions of contemporary artists from a wide range of backgrounds and locations. Each photograph has been reproduced as a limited edition postcard available free to visitors.</p> Thu, 24 Jul 2014 07:44:17 +0000 Group Show - Studio Museum in Harlem - July 17th - October 26th <p><em>Expanding the Walls: Making Connections Between Photography, History and Community</em>&nbsp;is an annual, eight-month residency in which New York&ndash;area high school students explore the history and techniques of photography. Through experimentation, gallery visits and workshops led by contemporary artists, the students build community as each explores and defines his or her art practice. Since the program&rsquo;s founding in 2001, the James VanDerZee (1886&ndash;1983) archives&mdash;housed at The Studio Museum in Harlem&mdash;have been the primary catalyst for the students&rsquo; critical reflections on the representation of culture and community. VanDerZee, the iconic chronicler of Harlem during its renaissance period, documented landscapes and social groups, and cultivated a thriving studio practice that represented an emergent black middle class. Now in its fourteenth year, the program and exhibition continue to be impassioned considerations of VanDerZee&rsquo;s timeless themes, and testaments to the Studio Museum&rsquo;s commitment to young, emerging artists.</p> <p>The title for this exhibition,&nbsp;<em>Vantage Point</em>, is a term that describes a position or place that affords a wide or advantageous perspective.&nbsp;<em>Vantage Point</em>&nbsp;presents the students&rsquo; perspectives and awareness of complex power dynamics, definitions of community, internal conflicts and victories. Like VanDerZee, the young artists meticulously construct works that range from realistic echoes of lived experiences to projected narratives that deliberately push perceived societal boundaries. Atzimba Xoyalta&rsquo;s&nbsp;<em>The Thinker</em>&nbsp;(2014), for example, is an intimate snapshot, photojournalistic in approach, illustrating the self-discovery of youth, while an untitled work by Gabriella Rosen uses the language of film noir to recast everyday people as superheroes. From these diverse vantage points students both collapse and expand the notions of lived and imagined experiences.</p> <p>Through their engagement with contemporary artists and museum professionals, excursions throughout New York and discussion groups focusing on the impact of art on society, students discover techniques to present their ideas to an intergenerational audience. For this exhibition,&nbsp;<em>Expanding the Walls</em>&nbsp;participants have selected VanDerZee photographs, displayed alongside their own, that resonate with the same sense of performance and production present in their works.</p> <p>&nbsp;</p> Thu, 24 Jul 2014 07:39:59 +0000 Dawit L. Petros, Leslie Hewitt, Terry Adkins - Studio Museum in Harlem - July 17th - March 8th, 2015 <p><em>Under Another Name</em>&nbsp;borrows its title from a line that appears in Ren&eacute;e Green&rsquo;s letterpress print&nbsp;<em>William Morris</em>. In it, she cites William Morris, a 19th century English artist, writer, textile designer and socialist. In his novel&nbsp;<em>A Dream of John Ball</em>&nbsp;(1888), which Green quotes, he writes: &ldquo;I men fight and lose the battle, and the thing that they fought for comes about in spite of their defeat, and when it comes turns out not to be what they meant, and other men have to fight for what they meant under another name&hellip;&rdquo;</p> <p><em>Under Another Name</em>&nbsp;considers work in multiple media, focusing on the relationship of various genres and media to one another. Here, ephemeral sculptures are captured as photographs; letterpress prints invoke the aesthetics of video; performances are recorded as drawings; sound is captured in objects; and photographs are abstracted into paintings. Rather than privileging one medium over another, the exhibition looks at their interdependence and what happens when a work is understood through the context of a new medium.</p> <p>&nbsp;</p> Thu, 24 Jul 2014 07:33:32 +0000 Jack Bradley - Queens Museum of Art - June 29th - September 21st <p>Fifty years ago, thousands of visitors from around the world crowded into Flushing Meadows Corona Park to attend the 1964-1965 World&rsquo;s Fair, dedicated to &ldquo;Man&rsquo;s Achievement on a Shrinking Globe in an Expanding Universe.&rdquo; Most, if not all, of those visitors probably had no idea that a man who had already achieved quite a lot in his lifetime made his residence less than two miles away from the Fair: Louis &ldquo;Satchmo&rdquo; Armstrong.</p> <p>Jazz&rsquo;s greatest genius had made Corona, Queens his home since 1943.&nbsp; By 1964, Armstrong didn&rsquo;t have much free time to spend there as &ldquo;Ambassador Satch&rdquo; was still traveling the world, more popular than ever after his surprise number one hit record, &ldquo;Hello, Dolly!&rdquo; knocked The Beatles off the top of the charts on May 9, 1964.</p> <p>To celebrate the Queens resident&rsquo;s big hit, the World&rsquo;s Fair declared June 30, 1964 to be &ldquo;Louis Armstrong Day.&rdquo; For once, Armstrong didn&rsquo;t have to ride the band bus or race to catch an airplane; he just had to pack his trumpet and make the short drive to Flushing Meadows Corona Park. A motorcade drove Armstrong through the fairgrounds that afternoon, before Armstrong and his All Stars put on one of their usual spectacular evenings of entertainment at the Singer Bowl (which would later be renamed Louis Armstrong Stadium).</p> <p>Armstrong&rsquo;s close friend and personal photographer Jack Bradley was on hand with his camera to document some of the day&rsquo;s events, including photos of Armstrong&rsquo;s motorcade, of the trumpeter on stage wearing a Native American headdress and posing with international fans backstage. Bradley&rsquo;s photos of Armstrong at the World&rsquo;s Fair have never previously been exhibited. Thanks to Bradley&rsquo;s photos, we can now take a peek into what must have been a very memorable day in Queens for one of the borough&rsquo;s true kings.</p> <p><em>Ambassador Satchmo at the World&rsquo;s Fair&nbsp;</em>is presented by The Louis Armstrong House Museum in partnership with the Queens Museum.</p> Thu, 24 Jul 2014 07:07:29 +0000 - New York Historical Society - August 22nd - November 30th <div class="field field-type-text field-field-teaser"> <div class="field-items"> <div class="field-item odd"> <p>Can one object define New York City? Can 101?&nbsp;<em>New York Times</em>&nbsp;urban affairs correspondent Sam Roberts has assembled a kaleidoscopic array of possibilities in a new book,&nbsp;<em>A History of New York in 101 Objects</em>. Featuring objects from the New-York Historical Society collection, this exhibition will assemble some of Roberts&rsquo;s choices, which together constitute a unique history of New York.&nbsp; By turns provocative, iconic, and ironic, and winnowed from hundreds of possibilities, his selections share the criteria of having played some transformative role in the city&rsquo;s history.</p> </div> </div> </div> <div class="field field-type-filefield field-field-full-view-teaser"> <div class="field-items"> <div class="field-item odd">Visitors to the New-York Historical Society may be familiar with many of the institution&rsquo;s more important holdings which will be on view, and without which no exhibition about the history of the city would be complete. Among them are the water keg with which Governor DeWitt Clinton marked the opening of the Erie Canal in 1825; the draft wheel used during the 1863 draft riots, the largest civil uprising in American history; the sterling silver throttle that powered the inaugural trip of the New York City subway in 1904; and a jar of dust collected by N-YHS curators at Ground Zero following the 9/11 attacks. Less well-known selections include a seventeenth-century English&ndash;Low Dutch dictionary revealing linguistic traditions that persist to the present; a section of the transatlantic cable that first facilitated the intercontinental exchange of telegraphs in 1858; or a pair of shoes belonging to a young victim of the 1904 General Slocum steamboat tragedy, which until 9/11 was the city&rsquo;s worst disaster.</div> </div> </div> <div class="body"> <p>Yet the city also can be described by far more ubiquitous objects that are no less unique to its DNA. The bubblegum pink Spaldeen ball, a staple of urban street games. The bagel, an unquestionably New York City food. Graffiti. The (now-extinct) subway token. The black-and-white cookie, which Roberts believes &ldquo;democratically says New York,&rdquo; because of its popularity at subway bakeries and elite establishments alike. Indeed, the selections themselves constitute a democracy of objects that taken together capture the monumental drama as well as the everyday spirit of an extraordinary city.</p> </div> Thu, 24 Jul 2014 06:59:09 +0000 Omar Berrada, Érik Bullot, Joshua Craze, Mariam Ghani - New Museum - July 16th - September 28th <div class="columns clearfix"> <div class="col-twothirds col-left"> <p>The Temporary Center for Translation is a site for pedagogical exchange founded on the importance of translation as a mode for thinking, making, and doing.</p> <div class="credit">Every translation sets into play distinct vocabularies and systems of meaning&mdash;linguistic and otherwise&mdash;and it is in these encounters that priorities and positions are negotiated. While fidelity to an original work or idea is paramount in some theories of translation, the Center questions what exactly constitutes a likeness. It also complicates the idea that a translator should aim to retain what is foreign about a work, which in turn helps articulate the distinctions between contexts that are national, political, cultural, or otherwise. Inevitable incongruities are important to the Center&rsquo;s activities: They provide the opportunity for devoted&mdash;though, in some cases, not so faithful&mdash;rewrites. A work may be radically reoriented from its original readership and stakes through translation, thereby asking the original and the translation to account for each other in new ways. At its base, the Center is dedicated to opening up the process of translation, making visible conversations that are a routine&mdash;but often hidden&mdash;part of the translation process.</div> </div> </div> <div class="body"> <p>A modest experiment rather than an enduring infrastructure, the Center&rsquo;s commitment during its short-term existence is to the facilitation and distribution of translations of select texts on visual culture. An essay by Lebanese artist and writer Jalal Toufic will be translated from English into Arabic and French, and an essay by contemporary Moroccan philosopher Abdessalam Benabdelali will be translated twice from Arabic into English. The first iteration will be a &ldquo;standard&rdquo; translation and the second, a more radical linguistic transformation drawing on experimental processing techniques by a writer-translator with no Arabic language skills. Acting as a temporary catalyst for collaborative translation, the Center will also facilitate collective translations of contemporary art texts selected by international partner organizations, using the online multilingual platform&nbsp;TLHUB.</p> <p>Also displayed within the Center are materials from other writers, editors, translators, and artists, including Omar Berrada and &Eacute;rik Bullot, Joshua Craze, Mariam Ghani, and the editors of and contributors to&nbsp;<em>Dictionary of Untranslatables</em>. These projects stage constant interplays between written, visual, and verbal expression, and exemplify a wide range of local vernaculars and specialized discourses, from official military grammar to the philosophy of language, theories of translation, associated political agendas, and the aestheticization of translation modalities. In addition, the Center houses a small, specialized resource collection intended for public use.</p> <p>The Temporary Center for Translation is an initiative of the Education Department and Dar al-Ma&rsquo;m&ucirc;n, conceived to be in dialogue with &ldquo;Here and Elsewhere&rdquo; and other current Museum programs. The Center looks specifically at the translator&rsquo;s role&mdash;with the complexity of her or his individual and institutional networks, impetuses, and desires&mdash;as integral to creating social, cultural, or political meaning in history.</p> <p>The Temporary Center for Translation is organized by Omar Berrada, Codirector of Dar al-Ma&rsquo;m&ucirc;n, Marrakesh, Taraneh Fazeli, Education Associate, and Alicia Ritson, Research Fellow, with Chaeeun Lee, Education Intern. The Center&rsquo;s institutional partner is Dar al-Ma&rsquo;m&ucirc;n. Special thanks to&nbsp;TLHUB&nbsp;and Princeton University Press.</p> </div> Thu, 24 Jul 2014 06:53:49 +0000 McCauley (“Mac”) Conner - Museum of the City of New York - August 29th - January 11th, 2015 <p>McCauley (&ldquo;Mac&rdquo;) Conner (born 1913) grew up admiring Norman Rockwell magazine covers in his father&rsquo;s general store. He arrived in New York as a young man to work on wartime Navy publications and stayed on to make a career in the city&rsquo;s vibrant publishing industry. The exhibition presents Conner&rsquo;s hand-painted illustrations for advertising campaigns and women&rsquo;s magazines like&nbsp;<em>Redbook</em>&nbsp;and&nbsp;<em>McCall&rsquo;s</em>, made during the years after World War II when commercial artists helped to redefine American style and culture.</p> Thu, 24 Jul 2014 06:43:41 +0000 James Lee Byars - MoMA (Museum of Modern Art) - August 17th - September 7th <p class="top">The Department of Media and Performance Art, in collaboration with MoMA PS1, is pleased to present several of James Lee Byars's most influential performance works. Byars (Detroit, 1932&ndash;Cairo, 1997), one of the most mythic artistic figures of the last century, shaped his persona and career into a continuous performance. Transfixed by the idea of perfection, Byars produced a remarkable body of work&mdash;including sculptures, fabric costumes, "performable" paper pieces, film, ink paintings, correspondence, ephemera, and live performances&mdash;that strove to give form to his search for beauty and truth. Pursuing what he called "the first totally interrogative philosophy," he attempted to delineate the limits of our knowledge while enacting a desire for something more.</p> <p>In conjunction with the exhibition&nbsp;<em>James Lee Byars: 1/2 an Autobiography</em>, on view at MoMA PS1 through September 7, 2014, this series of performances will take place at MoMA, referencing Byars's early history with the Museum. Byars's relationship with MoMA began in 1958, following an encounter he had with a Mark Rothko painting in his native Detroit. Impressed, he hitchhiked to New York, hoping to meet the artist. Byars arrived at MoMA and asked for Rothko's contact information; amused, the receptionist phoned curator Dorothy C. Miller, who came down to meet Byars, at which point he reportedly convinced her to allow him to hold a temporary exhibition in a stairwell at the Museum. Thus began a lengthy correspondence between Byars and Miller, in which the artist proposed ideas for actions or displays he hoped to realize at the Museum, including those involving a group of performable paper works that he gave to the Museum in 1966.</p> <p>Byars had moved to Kyoto in 1958, and spent nearly a decade there, periodically leaving for Europe or the U.S. to pursue various opportunities. Influenced by aspects of Japanese Noh theater and Shinto ritual, he created and performed folded paper works at sites ranging from Japanese temples to New York galleries, and made fabric "costumes" intended to join together two or more people in public performances. Byars aimed to explore social behavior, explaining, "I want people to come and develop an awareness about their perceptions, their behavioral cycles, what they eat, their lifestyle."</p> <p>Straddling apparent contradictions&mdash;the universal and the personal, the luxurious and the minimal, the relic and the live event, the spectacular and the invisible&mdash;Byars's work suggests that one can find perfection both at the most evanescent edges of form and in the acute moments of attention spent trying to discern it. The majority of the performances in this series were developed with ephemerality in mind. As such, though many of the constituent parts remain the same as when they were first presented, nothing should be considered a "repeat performance." Rather, in Byars's fashion, each can be read as an inimitable event, unique in space and time.</p> <p><em><strong>The Mile-Long Paper Walk.</strong></em>&nbsp;(1965/2014)<br /><strong>The Donald B. and Catherine C. Marron Atrium, Sunday, August 17</strong><br />Performed by Katie Dorn; choreographic instruction by Lucinda Childs<br /><strong>The Agnes Gund Garden Lobby, Sunday, September 7, 2014</strong><br />Performed by Jimmy Robert<br />Byars gave this paper work to the museum in 1966. It has been performed only once, at the Carnegie Museum of Art on October 25, 1965, where it was activated by dancer and choreographer Lucinda Childs, a key figure of postmodern dance. Childs dressed in a white feathered costume supposedly composed of "one million ostrich feathers," and slowly unfolded sections of riveted paper. On August 17, the piece will be performed by Katie Dorn, a current member of the Lucinda Childs Dance Company, with instruction from Childs. On September 7, the piece will be performed by the renowned Berlin-based artist and dancer, Jimmy Robert. (The original work is on view at MoMA PS1; an exhibition copy of the work has been created for use in this performance.) (Collection The Museum of Modern Art. Gift of the artist)</p> <p><em><strong>Four in a Dress.</strong></em>&nbsp;(1967/2014)<br /><strong>Fourth-floor landing, Sunday, September 7</strong><br />Many of Byars's early "plural garments" arose from the artist's collaboration with the Museum of Contemporary Craft and the Architectural League of New York, for which he created his largest plural or communal garment, the Dress for 500, a vibrant pink expanse of fabric with 500 cut holes fit for people's heads. The dress was meant to be worn collectively, as is Four in a Dress. Wearing it, he asked, "Are we one or four?" (An exhibition copy is used for this performance.) (Michael Werner Gallery, The Estate of James Lee Byars)</p> <p><em><strong>Dress for Two.</strong></em>&nbsp;(1969)<br /><strong>The Werner and Elaine Dannheisser Lobby Gallery, fourth floor, Sunday, September 7</strong><br />This work was created in 1969 during a yearlong residency in Antwerp that culminated in Byars's first European solo exhibition, at Wide White Space Gallery in Antwerp. Two performers face each other while dressed in a shared red silk dress, connected by a long hat for two people and a red silk mask. (Collection Anny de Decker)</p> <p><em><strong>Ten in a Hat.</strong></em>&nbsp;(c. 1969/2012)<br /><strong>Throughout the Museum, Sunday, September 7</strong><br />Ten individuals wear this collective garment made of 10 interconnected fabric hats. (An exhibition copy is used for this performance.) (Michael Werner Gallery, The Estate of James Lee Byars)</p> <p><em><strong>The Perfect Kiss.</strong></em>&nbsp;(1975)<br /><strong>Sixth-floor gallery lobby, Sunday, September 7</strong><br />Byars referred to this fleeting performance as being "a prayer a poem and a play [. . .] a mystical expression of my appreciation of the world." (Colleci&oacute;n Jumex)</p> Thu, 24 Jul 2014 06:30:24 +0000 Kevin Jerome Everson, Cauleen Smith, Ulysses Jenkins, Tameka Norris, Danielle Lessovitz - Museum of Contemporary African Diasporan Arts (MoCADA) - August 14th - November 9th <p><strong>a/wake in the water</strong>:&nbsp;<strong>Meditations on Disaster</strong>&nbsp;is a film, video, and new media exhibition that explores the ways Black bodies experience environmental hazards and natural disaster.</p> <p>In direct response to recent catastrophes like Hurricane Katrina, the BP Oil spill, and the 2010 earthquake in Haiti,&nbsp;<strong>Kevin Jerome Everson, Cauleen Smith, Ulysses Jenkins, Tameka Norris</strong>,&nbsp;<strong>Danielle Lessovitz&nbsp;</strong>and the&nbsp;<strong>Institut de Sauvegarde du Patrimoine National</strong>&nbsp;utilize found footage, staged reenactments, and performative paralysis to expose the systematic neglect and lingering repercussions Black communities face in the aftermath of disaster.</p> <p dir="ltr">Accompanying narratives by&nbsp;<strong>A. Sayeeda Clarke, Wanuri Kahiu, Muchiri Njenga, Loretta Fahrenholz, and Observatory Media&nbsp;</strong>explore impending dystopic and apocalyptic futures to further analyze the state of environmental justice as it functions within the Diaspora.</p> Thu, 24 Jul 2014 06:16:47 +0000 - Art Southampton - July 24th - July 24th <p>Some new pieces, bth sculture and painting will be included in the Peter Marcelle Project booth at the art fair</p> Wed, 23 Jul 2014 22:36:48 +0000