ArtSlant - Closing soon en-us 40 Htein Lin, Sitt Nyein Aye - International Studio & Curatorial Program (ISCP) - November 1st, 2012 - December 5th, 2012 <p>In 2011 ISCP launched an annual residency for an international contemporary art organization. The residency was initiated to support cultural exchange by bringing an international perspective into a local context. Clark House Initiative, Bombay will be the second organization to undertake this residency. Beginning in November 2012, Clark House will bring their program to New York and will organize an exhibition, series of discussions and performances, as well as a meeting between Burmese artists Htein Lin and Sitt Nyein Aye.<br /><br />Clark House Initiative is a curatorial practice about a place, which in sharing a junction with two museums and a cinema, mirrors the fiction of what these spaces could be. It was established in 2010 by Zasha Colah and Sumesh Sharma as a curatorial collaborative concerned with ideas of freedom.</p> <p><strong><em>Htein Lin and Sitt Nyein Aye: Burma to India to New York<br /></em></strong><strong>Exhibition opening: Friday, November 9th, 7-9pm</strong></p> <p>This exhibition tells the story of the friendship shared between Burmese artists Htein Lin and Sitt Nyein Aye in the Manipuri forests, India in 1988, and with the comedian Zarganar in Rangoon, Burma in the 1990s. Htein Lin and Sitt Nyein Aye have not seen each other since their first meeting in 1988. The two sides to Htein Lin’s practice, his aesthetics and satire, are mirrored in the combined influence of his mentor Sitt Nyein Aye, an artist and political refugee who lived in Delhi, and Zarganar, a comedian, often in prison for this satire. The exhibition is also about the spirit and vitality of comic force against the formality of the law and the courts.</p> <p>Clark House will present rarely seen selections from Sitt Nyein Aye’s archive containing drawings of his journey from Burma to India, the camps and refugee communities in which he lived, his own writing and editorial work, his autobiography, catalogues of his exhibitions, and the important publications he edited and published from the makeshift set-ups of printing machines in Rangoon, the border forests, and finally in Delhi.</p> <p>A video documenting the artist Htein Lin’s second performance, at an exhibition opening in Yangon, Burma in the 1990s, will also be on view. This video had been kept secret since its creation and was only returned to the artist in 2012.<br /><strong><br />Collective Practices Discussion<br /></strong><strong>Saturday, November 10th, 5pm</strong></p> <p>Clark House is currently working on the idea of cultural transfer - how a work of culture can be transferred to another cultural context, which may be another geography or from another time. Curators Zasha Colah and Sumesh Sharma will present works using skype, video and assemblage to discuss their on-going research of collective practices from various parts of India, especially the Northeast.</p> <p><strong>Sitt Nyein Aye in conversation with </strong><strong>Zasha Colah and Sumesh Sharma<br /></strong><strong>Sunday, November 11th, 5pm</strong></p> <p>Sitt Nyein Aye, [pronounced: sinyay-aye; meaning war to peace], was a celebrated artist in Burma before fleeing to India following the repercussions of the 8888 Uprising. Sitt Nyein Aye, as a student leader, was one of the few people to take to the streets the morning the military began firing on a protest that had spread through the entire country.  Amidst these trying circumstances, Sitt Nyein Aye edited and published a pamphlet, which had a viral distribution of nearly 16,000 copies every alternate day. He moved to Delhi after two years in a refugee camp in Manipur, and for twenty years he lived in the house of George Fernandes, the India ex-defense minister’s government home. When Fernandes left this house, Sitt Nyein Aye spent a year in Janakpuri in Delhi, home to a large population of Indian-origin Burmese and exiles from Myanmar including the Mizzima News office. In October 2011, he was granted relocation to the United States. He moved to Fort Wayne, Indiana, where he has been working on building a pagoda.</p> <p><strong>Drawings on the Forest Floor: Htein Lin and Sitt Nyein Aye in conversation<br /></strong><strong>date to be announced</strong></p> <p>This will be the first meeting of Burmese artists Htein Lin and Sitt Nyein Aye<strong> </strong>since they fled to the border hills following the repression of the democratic protest against the military regime in Burma that began on August 8, 1988, now known as the 8888 Uprising.</p> <p>The young law student Htein Lin first met the celebrated Mandalay painter Sitt Nyein Aye in the Indian Patkai forest hills of Manipur. Htein Lin will reflect on the influence of the elder artist, and how their discussions of art and life led to a turning point in Htein Lin’s life from his pursuit of becomimg a lawyer or joining the democratic resistance movement to instead becoming an artist. "Sitt Nyein Aye asked me if I knew the work of Francis Bacon, and when I shrugged vaguely, he said, 'oh but I must explain to you the work of this amazing man', and he drew pictures in the mud" (from a conversation with Htein Lin).</p> <p>Together they will speak about art and philosophy, duty and 'the artist's way,' recapturing the content of their discussions from 24 years ago, and Sitt Nyein Aye’s imparting of an art education through drawings on the floor of the forest.</p> Mon, 08 Oct 2012 23:29:25 +0000 Keico Watanabe - NYCoo Gallery - October 26th, 2012 - December 7th, 2012 <p class="style112 style113">NYCoo happily presents a solo exhibition by one of our artists, Keico Watanabe.<br /> 14 years since her first NY exhibition titled "Between Star and Man" (1988), Watanabe's latest exhibition, also titled "Between Star and Man," continueswith her lifetime theme - stories evolves out of star-human relationship.</p> <p class="style112 style113">Watanabe's paintings remind us of the days when we enjoyed crayon drawing, singing and dancing, The days when we had not a care in the world. Take a look back and color yourself again with old memories and save yourself from losing your identity in this ever-changing world we live in. Appearing positive and waiting for the moment when a line assumes life, Watanabe's characters seem to greet us with ever-optimistic smiles.</p> <p class="style112 style113">Shining stars high above in the sky, richness of mother nature provided by four seasons, happiness of living in harmony with your neighbors. "These are what inspire me to paint," says Watanabe. The inaugural winner of S&amp;R Foundation's Washington Award in 2001, Watanabe established NTCoo gallery in 2004 to provide the same fortunes she's been presented with to fellow Japanese artists. As the managing director of the galley, Watanabe, through regular exhibitions<br /> as well as the annual open art competition. continued with her mission to introduceart to the public until last year when she took a year off from the daily operations of the gallery to prepare for this solo exhibition.</p> <p class="style112 style113">Brighter and more energetic than ever, "Between Star and Man" reflects the Watanabe's passion for the peace through art.</p> <p class="style112 style113">After November 10 <br /><strong>Exhibition will continue to be open on the following days...</strong><br /> November 20 (Tue) 12-6 PM, 27(Tue) 12-6 PM <br /> December 2 (Sun) 2-6 PM, 7(Fri)12-7 PM</p> Tue, 20 Nov 2012 02:02:20 +0000 Michael Poetschko - Open Source Gallery - November 16th, 2012 - December 7th, 2012 <p><strong>Michael Poetschko</strong> presents Zona, an on-going narrative multi-channel video project at Open Source Gallery.<br /> <br />The Zona project spins a “cinematic-philosophical web” that oscillates between poetry and discourse, where places and times collide and stories leak into one another. Networks of images and meanings suggest the multivalent complexity of the contemporary city and the different forms that life takes there. Taking the form of a cinematic essay, the story follows a photographer and a young philosophy student in their searching movements between the fractures and folds in the space-time fabric of the city – between promises and possibilities, accesses and exclusions, images and words. Within this setting, Poetschko builds stories, places, and characters to map out an “urban contact zone” and explores the precarity and porosity of this space as a an “immanent part of the city, our bodies and desires”.<br /><br /> The project will be presented in different variations throughout the three weeks of the exhibition, during which time Poetschko will continue editing on-site and screening iterations of the work. He will create a laboratory of meanings, relations, images, and sounds in a setting within which the audience can interact with the artist in the process of editing and re-editing. The production of this project utilizes experimental ways of working together with an exchange of skills and knowledge outside of the commercial section.<br /><br /></p> <p></p> <p>–<br /> Michael Poetschko (Berlin/Vienna) explores narratives of living/working/travelling/resisting within a post-fordist and transnational reality, working with experimental forms of filmmaking, photography and writing. Poetschko studied Fine Art, Film/Video and Cultural Studies in Vienna, London and Berlin and is co-founder of the art and research platform d/v.<br /> He is currently a studio fellow at the Whitney Museum of American Art ISP in New York City.</p> Sat, 03 Nov 2012 13:37:29 +0000 Group Show - BROADWAY GALLERY - November 16th, 2012 - December 8th, 2012 <p>Broadway Gallery <br />473 Broadway 7th Fl<br />NY, NY 10013<br />November 16 - December 8
Reception November 20, 6-8 pm<br /><br />Globalization creates unexpected relationships and contrasts in contemporary art. This series focuses on the significance of exhibiting a variety of works in a pluralistic art world. Inspired by salon-style hanging, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries; Broadway Gallery NYC continues this legacy with a contemporary and fresh outlook. Following a trend of previous exhibitions at Broadway Gallery NYC, this show pays tribute to the format of a salon hanging. It is a tradition that awakens contemporary culture to a dynamic collective consciousness.<br /><br />Featuring: Ulli Obrecht, Gabriele Springer, Gerald Cournoyer, Christine McDonald, Erwin Wuk, Douglas Lyell, Carolyn Heer, Masakazu Tatebayashi, Susan Karkoutly, Jeff Hoare, Claudia Unterleitner, Benno Sökeland, Javier Infantes Lopez, Carmelo Donato, Liza Mandelup, Tanya Kechichian, Novin Kasmai and Maxine Nienow</p> Mon, 19 Nov 2012 21:59:44 +0000 Sinae Lee - Ceres Gallery - December 4th, 2012 - December 8th, 2012 Wed, 05 Dec 2012 15:05:59 +0000 Frank Moore - Grey Art Gallery - September 6th, 2012 - December 8th, 2012 <p><b><span class="Apple-style-span" style="font-weight: normal;">Featuring 35 major paintings, more than 50 works on paper, and numerous sketchbooks, films, and ephemera, <i><strong>Toxic Beauty: The Art of Frank Moore</strong> </i>surveys the career of a remarkable artist whose life was cut short by AIDS. In figurative paintings filled with fantastic and symbolic imagery, Frank Moore (1953–2002) addressed themes drawn from American visual culture, the state of the healthcare and farming industries, and his personal life. His paintings often explore human effects on the natural environment in, as he noted, “sites of great, but toxic, beauty.”</span></b></p> <p>On view concurrently at NYU's Grey Art Gallery and Fales Library.</p> Mon, 05 Sep 2016 15:45:02 +0000 Hank Willis Thomas - Jack Shainman Gallery 20th Street - October 18th, 2012 - December 8th, 2012 <p><b>Jack Shainman Gallery</b> is pleased to announce the opening of <i>What Goes Without Saying</i>, <b>Hank Willis Thomas'</b> third solo exhibition with the gallery. The show includes photographs, sculpture, painting and new media, all which delve into the construction of mythologies embedded in popular culture. Known for his innovative use of advertising, a globally ubiquitous language, he builds complex narratives about history, identity and race. This show brings together several facets of Thomas' practice to explore objects and language, torn from their history, brought to our present, and repurposed to reveal the process of their agency.<br /> <br /> The works in <i>What Goes Without Saying</i> draw from a section of Roland Barthes' book, <i>Mythologies</i>, to explore the ideas of explicit and implicit representations found in objects, gestures and phrases. By separating language from the advertising in which it appears, he effectively deconstructs the relationship between the reader and viewer. In Thomas' new carborundum works, part of the <i>Fair Warning</i> series, he takes text from cigarette advertising in magazines from the 1960s, 1970s, and 1980s, retaining the font while abandoning the accompanying visuals. The decontextualized slogans like <i>Stronger Yet Milder</i>, <i>Measurably Long</i>, and <i>Immeasurably Cool</i>, come to stand for more than just a cigarette, highlighting the adjectives used to connote power and elegance, often times with a sexual tone. These works, produced at the Lower East Side Print Shop where Thomas is currently in residence, are made from a material that simultaneously provides a galactic backdrop while mimicking the non-slip adhesive commonly used to demarcate space in museums. The use of the material further complicates the object-viewer relationship.<br /> <br /> Representing identity through symbol and political motive, Thomas brings together a series of paintings sourced from the advocacy buttons worn in support of parties, movements and ideologies over the past fifty years. These small gestures are used as intellectual weapons and markers of participation. Alliances are transformed into precious objects that speak to the creation of collective language and the power of symbols.<br /> <br /> Individual objects and their histories are further explored in <i>Thenceforward and forever free</i>, an enlarged replica of a mid-19th century abolitionist lapel pin toting a photograph encircled by delicately wrought alloy metal known to be one of the very first political buttons to incorporate a photograph. Thomas is able to resurrect the object's history and re-charge its agency to reflect a characteristically American means of both political advertising and personal expression.<br /> <br /> <i>What Goes Without Saying</i> focuses on subtext, shifting meaning and the complexity of historical actions embedded in visual culture. These ideas are important in the context of the current election and the theater of the campaigns.<br /> <br /> Hank Willis Thomas lives and works in New York City. He has exhibited extensively throughout the United States and internationally. Recent solo and group exhibitions include <i>Strange Fruit</i>, The Aldrich Contemporary Art Museum, Connecticut, 2012; <i>Hank Willis Thomas: Strange Fruit</i>, Corcoran Gallery of Art, Washington, D.C., 2011-2012; <i>30 Americans</i>, Rubell Family Collection, Florida, 20082013, traveling next to the Memphis Brooks Museum, Tennessee; More American Photographs, CCA Wattis Institute for Contemporary Art, California, 2011 -2013, traveling next to the Wexner Center for the Arts, Ohio; <i>Making History</i>, MK Museum für Moderne Kunst, Germany, 2012; 12th Istanbul Biennial, Turkey, 2011; and Greater New York, MoMA PS1, New York, 2010. <br /> <br /> Thomas is included in numerous private and public collections including the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum; New York, the Studio Museum in Harlem, New York; The Whitney Museum of American Art, New York; and the Baltimore Museum of Art, Maryland.<br /> <br /> Thomas, along with Chris Johnson, Bayeté Ross-Smith, and Kamal Sinclair, created <i>Question Bridge</i>, a project that critically explores challenging issues within the black male community by instigating a transmedia conversation among black men across the geographic, economic, generational, educational and social strata of American society. It has been shown at the 2012 Sundance Film Festival, the 2012 Sheffield Doc/Fest, the Brooklyn Museum, the Oakland Museum of California and the Utah Museum of Contemporary Art and is currently on view at the Project Row Houses in Houston, Texas.</p> Tue, 20 Nov 2012 01:52:41 +0000 Hui OY, Shellyne Rodriges, Lucia Hinojosa, Joe de Sena, Diego Gerard, Hallie Kruger, Jamie Kelly, Cody Umans, Megan Westgate - Michael Mut Project Space - November 19th, 2012 - December 8th, 2012 <p>This year, Michael Mut Gallery will feature works by artists based in New York City that deal with issues stemming from the Novemeber 2012 presidential election. These young artists are concerned about the future of the United States. They are affected by politics in different ways, and here they will express their ideals and beliefs in an unprecedented manner.</p> Thu, 08 Nov 2012 21:51:10 +0000 - Sperone Westwater - November 27th, 2012 - December 8th, 2012 <p>Sperone Westwater presents a special exhibition of the Foundation for Art and Preservation in Embassies' Original Print Collection. Named for FAPE's Founding Director, the Collection is FAPE's oldest program. Each year, an American artist contributes a print for display in U.S. embassies, beginning in 1989, when Frank Stella donated <i>The Symphony</i> in an edition large enough for a print to be sent to every American embassy. Since 1995, nineteen renowned contemporary artists have donated original works to the Collection, including: John Baldessari, Louisiana Bendolph, Mary Lee Bendolph, Chuck Close, Jasper Johns, Ellsworth Kelly, Roy Lichtenstein, Robert Rauschenberg, among others.</p> Wed, 07 Nov 2012 20:05:52 +0000 - The Metropolitan Museum of Art - May 17th, 2011 - December 8th, 2012 <p><span style="font-family: geneva,arial,sans-serif; font-size: small;" size="2" face="geneva,arial,sans-serif"><span style="font-family: geneva,arial,sans-serif;" size="2" face="geneva,arial,sans-serif"><span style="font-family: geneva,arial,sans-serif;" size="2" face="geneva,arial,sans-serif">Astonishing archaeological discoveries made by Heinrich Schliemann at Troy (1871–73) and Mycenae (1876) linked the heroes of Homer's epics to the material culture of the Greek Bronze Age (3000–1050 B.C.). The wealth of artifacts drawn from the shaft graves at Mycenae dazzled the world. No less spectacular were the results of Arthur Evans's excavations at Knossos (1900–1931), on the island of Crete, where he unearthed the remains of a vast complex of buildings belonging to a sophisticated prehistoric culture; he called it Minoan after the legendary King Minos.</span></span></span></p> <p>This exhibition focuses on the work of Swiss-born Emile Gilliéron (1850–1924) and his son, Emile (1885–1939), who were among the foremost art restorers of their time. Gilliéron <em>père</em> worked alongside Schliemann, and both he and his son would later spend a large part of their careers assisting Evans at Knossos, where they witnessed firsthand the discovery of tantalizingly fragmentary wall paintings of exquisite quality and helped realize Evans's vision of their original appearance. The Gilliérons also established a thriving business that catered to the popular demand for reproductions of antiquities from the newly identified Minoan and Mycenaean civilizations. Their work influenced the study of Aegean art and was integral to its widespread introduction throughout Europe and North America, where the art of prehistoric Greece would inspire a generation of writers, intellectuals, and artists, from James Joyce and Sigmund Freud to Pablo Picasso and Giorgio de Chirico, who studied drawing under the elder Gilliéron.</p> <p><strong>The Minoan Frescoes at Knossos</strong><br /> When fragments of major wall paintings first emerged at Knossos, Evans realized that the task of conserving and restoring the frescoes would require special expertise. Gilliéron <em>père</em> and <em>fils</em> would serve as chief restorers at Knossos for more than thirty years. By 1930, and with Evans's guidance, they had reconstructed the wall paintings of entire rooms in the palace at Knossos, which remains the largest Bronze Age settlement ever found on Crete. The work of Gilliéron <em>père</em> is particularly well represented in this exhibition. All the reproductions are at a scale of one to one, and in most cases the original fragments are carefully delineated from the restored areas. The watercolors were painted largely onsite, and often at the same time as or shortly after the restorations themselves were made. Much of the restorative work has withstood later research, though details of some reconstructions have been proved to be questionable or incorrect. Nonetheless, the Gilliérons' creations, even those whose appearances owe much to the imaginations of their makers, are today among the most readily recognizable images of Minoan art.</p> <p><strong>Popularizing Prehistoric Greek Art: The Gilliérons and the Met</strong><br /> As early as 1894 the elder Gilliéron, already established in Greece as an eminent artist and archaeological draftsman, was making metal copies of important Mycenaean gold objects from molds taken directly from the original works of art. In many cases Gilliéron reworked a mold to recreate an object in its original undamaged form. He first sold his copies through the family business on Skoufa Street in Athens, and by 1906 he had a catalogue of ninety electrotypes, manufactured in Germany by the Württemberg Electroplate Company. Major museums and institutions in Europe, such as the South Kensington Museum in London (now the Victoria and Albert Museum) and the Winckelmann Institute in Berlin, acquired Gilliéron's reproductions for display and study.</p> <p>Between 1906 and 1932 the Metropolitan Museum acquired hundreds of reproductions of prehistoric Greek art from the firm of E. Gilliéron &amp; Son and displayed them alongside original antiquities with the intention of presenting as complete a record as possible of this remarkable period in the history of art. It is notable that in many cases, the Museum commissioned the copies, with the excavators' permission, shortly after the originals were discovered and before they were fully published. The one-to-one scale replicas, typically executed in painted plaster or as metal electrotypes, documented these extraordinary, colorful objects in a way that photography was unable to do at the time. They formed part of the Metropolitan's much larger collection of plaster casts and electrotypes of world art, while the watercolor reproductions of paintings reflected antiquarian practices prevalent at the time—evident even here within the Museum, most prominently in the galleries of Egyptian art.</p> <p>Gilliéron <em>fils</em> continued to make and sell reproductions until his death in 1939, but the Metropolitan moved steadily away from acquiring replicas until the practice was abandoned entirely in favor of original works of art. All reproductions were eventually removed from display; those shown here appear for the first time in decades. Thanks to their historical importance and usefulness as study references, as well as the precision with which they were made, these works remain valuable representations of ancient artistic achievements that continue to inspire wonder and delight.</p> <p><strong>Master Craftsmen and Master Forgers</strong><br /> It is clear that Gilliéron <em>père</em> and <em>fils</em> were inventive, talented artists capable of producing both accurate copies and clever restorations. All the works on view in this exhibition were created as reproductions of original works and sold as such. Some pieces were even made using the same techniques and materials as their prototypes. Since major forgeries of Minoan and Mycenaean antiquities—notably gold and ivory statuettes and gold signet rings and relief vessels—were being made in the first half of the twentieth century, some scholars have suggested that one or both of the Gilliérons were forgers as well as restorers. Contested works of art that have been attributed to them include elaborate chryselephantine snake goddesses, the gold signet rings known as the Ring of Minos and the Ring of Nestor, and the well-known disk from Phaistos, on Crete.</p> <p></p> Mon, 29 Oct 2012 01:33:19 +0000 John Zieman - WhiteBox - November 17th, 2012 - December 8th, 2012 Sun, 10 Nov 2013 00:12:30 +0000 Jason Brinkerhoff - Zieher Smith & Horton - October 11th, 2012 - December 8th, 2012 <p>In July 2011, ZieherSmith debuted Jason Brinkerhoff’s work with drawings included a group show which garnered instant attention. Since then, Brinkerhoff has seen a rapid rise in exposure, with a solo exhibition at White Columns about which curator Matthew Higgs states: “Using blank, antiquarian book pages as their support, Brinkerhoff’s ‘portraits’— of persons unknown, self-consciously acknowledge— and collide— the multiple ruptures of twentieth century modernism.”</p> <p>Through an almost excessive process of research, referencing, citation and adaption, Brinkerhoff’s ahistorical hybrids create an aesthetic dissonance between the past and the present. An ardent collector of vernacular photographs and vintage fashion magazines, as well as outsider and contemporary art, Brinkerhoff is self-taught, dedicating a decade’s research and development prior to seeking exposure for his practice. His outlook is decidedly maximal, and his work is foremost a celebration of bounty.</p> <p>The exhibition continues his fecund anachronistic approach<i>, </i>featuring over 70 works on paper as well as the first look at his painting practice, both of which concentrate on the female figure. This unapologetic focus is relentless; both in the endless possibilities of a single subject and in the artist’s quiet resolve to take on his forebears one by one, reckoning with iconic past masters and nearly everything in their collective path (from pre-Columbian sculpture to 1970’s Day-Glo fade).</p> <p>With a confident, fluid line and refined grasp on technique and materials, drawings range from straight graphite on paper, to sophisticated collages of disparate fragments attached to a clean sheet, lending an austerity and singularity, despite often repeating the figure’s position and pose. Erasing, smearing and slicing through immense piles of his own drawings atop other source material, Brinkerhoff simultaneously celebrates a disparate agglomeration. He interrupts the past and inserts his own bravura. This complicated, additive practice combines seamlessly in elegant figures whose associations abound; the cumulative result is both captivating and unexpectedly monumental.</p> <p>This<i> </i>is the Bay-area artist’s first solo show at the gallery. The exhibition was cited in “Top 100 Fall Shows” by <i>Modern Painters</i>. A large selection of works will be included in the forthcoming show <i>The Power of Paper</i> at the Saatchi Gallery, London. Brinkerhoff was the first winner of the Herb and Dorothy Vogel award selected by Jeffrey Grove and Maxwell Anderson and presented by Gallerist. In addition, his work was acquired for the permanent collection of the Dallas Museum of Art.</p> Tue, 13 Nov 2012 01:37:11 +0000 Jeremy Hoffeld - Gallery Brooklyn - November 3rd, 2012 - December 9th, 2012 <p><em>Let go: Urgency </em>(a working title for this group of paintings/the show in which they will appear this fall) is about moving away from predetermined structure and following pictures that scrape the edges of imagined voices with the palette knife’s forceful honesty. Color is multiplicitous and diffuses into pitch and tones building thickly over form until the shapes and spaces underneath are felt but not seen.</p> <p><em>Artist’s Bio:</em></p> <p>Jeremy Hoffeld was born in Brooklyn in 1974. He has been drawing and painting since childhood. Hoffeld studied Art History at Columbia University, where he wrote a thesis on Upper Paleolithic Parietal Art– exploring the way in which that art is less homogenous then is commonly thought. While researching the thesis he visited the caves of Font de Gaume, Cap Blanc and Les Combarelles in the south of France.</p> <p>While Hoffeld’s voice as a painter was shaped in part by his education in Art History at Columbia it was no less informed by his decision to study painting outside of the university. Instead, he spent two years copying the old masters at the Fogg and Museum of Fine Arts in Boston. He studied with David Andrus, who insisted that good figurative paintings must also be able to function as abstract pictures and that painting should be like a sword fight. Later, Hoffeld worked with Ellen Eagle for a year at the Art Students League.</p> <p>Hoffeld has had two solo shows at the John Davis Gallery in Hudson, New York. His paintings are held in many private collections around the country.</p> Tue, 16 Oct 2012 00:25:48 +0000 Mickey Smith - Invisible-Exports - October 26th, 2012 - December 9th, 2012 <p>INVISIBLE-EXPORTS is pleased to present <em>Denudation</em>, an exhibition of new work by Mickey Smith, and her third solo show at the gallery.</p> <p align="center">* * *</p> <p>The palace of memory is re-built again with each walk through. In her new series, <em>Denudation,</em> Mickey Smith presents a mesmerizing kind of in-situ laboratory-style photography—the image as evidentiary document, the print as cold case. The stark, dark photographs in this new exhibition test the limits of objectivity and the false consolation of casualness even as, in the tradition of documentary and crime-scene photography, the images aspire to conscientious neutrality. The photographs document those objects discarded within an abandoned library, but their formal objectivity is no guard against the ghosts of narrative, perceived or imagined.</p> <p>In her 2008 series, <em>Volume</em>, Smith photographed library-stack sets of bound periodicals to memorialize them as shared objects of a common literary culture, now passed. In <em>Believe You Me</em>, from 2010, she examined the manner in which books and book-learning continue to deliver status even in a culture that has turned away from reading—indeed even more powerfully, and more pervasively, than in eras that had not yet given up on the book as a storehouse of knowledge.</p> <p>The somber photographs in <em>Denudation</em> are more scrutinous and more skeptical of the broad documentary project. The works, portraits of discarded objects, double as studies of the library as a technology of forgetting—a place where things are discarded and disregarded as much as they are preserved and restored. Included in the new series is <em>123</em>, a suite of photographs Smith took at age eleven of the implosion of the Northwestern National Bank Building in Minneapolis, Minnesota. In a gesture of self-appropriation, Smith collaborates with her younger self, capturing a moment of transformation from function to memory. The performative act surrounding both <em>123</em>, and <em>Denudation</em> as a whole, suggest, too, that documentation, in book culture and in photography, may be not just an atavistic, but a failed science—a system of universal knowledge that yields, ultimately, merely a scrap heap of things left behind.</p> <p align="center">* * *</p> <p>Mickey Smith (b. 1972 Duluth, MN) received a BA in Photography from Minnesota State University Moorhead in 1994. She has received awards from the McKnight Artist Fellowship for Photography, the Forecast Public Art Affairs, CEC ArtsLink, and Americans for the Arts. Smith lives in Auckland, New Zealand and is represented by INVISIBLE-EXPORTS in New York. </p> Thu, 04 Oct 2012 23:50:27 +0000 JJ PEET - On Stellar Rays - October 28th, 2012 - December 9th, 2012 <p>Floating Heads</p> <p>Time Collectors_</p> <p>Shivs_</p> <p>Communication Devices_</p> <p>Peace Offerings</p> <p>Least Moves Possible</p> <p>Clear and Direct Moves</p> <p>Intercraft</p> <p>Residue</p> <p>Leftovers</p> <p>PinPoints/Labor Issues</p> <p>Past Visions</p> <p>Filter</p> <p>Filtered</p> <p>Filter Limiter</p> <p>Open Filter</p> <p>Holding Units</p> <p>WORK HARDER</p> <p>Blockers Individual</p> <p>BLOCKERS</p> <p>FUCKing FOCUS</p> <p>Scepter</p> <p>Release</p> <p>Comes in with...</p> <p>Home Base</p> <p>Magic</p> <p>Life Form</p> <p>Fake</p> <p>Real</p> <p>Ships</p> <p>Function</p> <p>Information VS Decoration</p> <p>Vitrification</p> <p>Slices or Sections</p> <p> </p> <p>This is a list taken directly from one of the drawings. The show is first and foremost about drawing and being able to get images and ideas out of my head in a clear and direct way. The drawings show and hold this energy.</p> <p> </p> <p>In the sculptures, or floating heads - I am thinking about choices - about what we carry with us as humans and what we choose to do with the items we carry (Time Collectors, Shivs, Communication Devices, Peace Offerings).</p> Thu, 18 Oct 2012 16:38:22 +0000 José Antonio Suárez Londoño - The Drawing Center - November 3rd, 2012 - December 9th, 2012 <p>This exhibition will include a selection of notebooks (also referred to as “yearbooks”) dating from 1997 to the present. Works will be taken from the Colombian artist’s ongoing project in which he creates a daily drawing based on a book or series of books that he reads over the course of a year. Loose drawings excerpted from José Antonio Suárez Londoño’s sketchbooks will be exhibited alongside notebooks and select source books in vitrines. </p> Tue, 23 Oct 2012 07:50:42 +0000