ArtSlant - Closing soon http://www.artslant.com/ny/Events/show en-us 40 Slavs and Tatars - MoMA (Museum of Modern Art) - August 15th, 2012 - December 10th, 2012 <div class="description">Slavs and Tatars (founded 2005) is an international collective of artists, designers, and writers whose installations, performance lectures, publications, and artist’s multiples reflect upon intercultural relations and 
the perceived differences between Western cultures and the Eastern world. Pursuing an unconventional research-based practice, the group identifies the “area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia” as their point of reference, and with much wit and wordplay, their projects address the transmission and hybridization of traditions, politics, and language within in the region. For <i>Projects 98,</i> Slavs and Tatars build upon a recent cycle of works which examines the concept of the anti-modern and will realize a new installation titled Beyonsense, which takes its name from a translation of <i>zaum</i>—the Futurist experiments with transrational language and poetry. The collective’s first solo museum presentation in the United States, <i>Beyonsense</i> will feature a reading room populated by a number of Slavs and Tatars’ text-based objects and printed editions, transforming the gallery into a space for reflection and pause to contemplate the mystical and affective sides of modernism.</div> Mon, 06 Aug 2012 04:17:16 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Al Benkin, Krys Fox - A Gathering of the TRIBES - November 29th, 2012 - December 11th, 2012 <p>A Gathering of the Tribes Gallery presents<br /><br />“Transformations” two person show with Al Benkin and Krys Fox <br />Opening Reception: November 29th 2012 6p-9p, show up 11/29-12/11<br /><br /></p> <div class="text_exposed_show">Al Benkin’s found object assemblage-paintings consistently transform ordinary objects, into extraordinary visual stories that hint of the past &amp; the temporariness of being. Benkin’s work uses personal &amp; invented iconography inspired by the absurd comedy of life. Birds have spirit guides, the god of meat hovers in limbo understanding both the predator &amp; the prey, contortionist’s balance on broken forks etc.<br /><br />In Krys Fox’s photography, he transforms immediate, flat reality into nuances of whimsical, stylized, surreal &amp; magical dimensions. Gloriously grotesque while simultaneously an exquisite nether-reality, the moments that Fox creates &amp; captures tend to keep the viewer balancing delicately on the furrowed brow of intrigue &amp; excitement which leads to maniacally laughing panic &amp; glee.<br /><br />Both Artists’ work is old school, meaning, not manipulated by any computer technology. All Fox’s special effects were hand done on his sets or in-camera effects. Finally, both artists’ congruity and kindred spirits make this a rare &amp; seamless match that’s a fantastical and macabre playground for mature art eaters everywhere. <br />It will stain your brain. </div> Sat, 10 Nov 2012 21:04:37 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Elie Nadelman - June Kelly Gallery - November 9th, 2012 - December 11th, 2012 <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">An exhibition of drawings by Elie Nadelman stunning, never-before-shown works on paper created by the 20th Century master after he came to New York in 1914  will open at the June Kelly Gallery on November 9.  The exhibition will continue through December 11.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">The pen and inks, washes, and pencil sketches demonstrate Nadelman's preoccupation with the simplest of artistic elements, the curve.  They also reflect his artistic innovations in pre-World War I Paris and his observations of American life and society after his arrival here.  The drawings in the show will be accompanied by two small sculptures from the same period.  All the work is from the artist's estate.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua"> Nadelman had emerged in the decade before World War I as an influential member of the European avant-garde, along with Pablo Picasso and Henri Matisse.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">In an essay in the exhibition brochure, art historian Ronny Cohen notes that in 1908 Leo Stein, Gertrude's brother, took Pablo Picasso to visit Nadelman in his studio in Paris.  Picasso saw some of the drawings and sculptures that Nadelman was working on and soon began using some of those shapes and lines in his own Cubist work.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">Another major painter of that time in Paris whose work began reflecting Nadelman's influence was Amedeo Modigliani, who had seen his work in a major Paris exhibition in 1909.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">By 1918, Nadelman had settled in New York with a studio on Madison Avenue and had become a leader on the New York art scene, producing sculptures and drawings for exhibitions in New York.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua"> American audiences were enthralled with his rendering of the classic <i>Head of a Woman</i>, from about 1917, and his alluring <i>Woman on a Settee</i> from around 1918. </span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">In 1910 in a statement for Alfred Steiglitz's journal <i>Camera Work</i>, Nadelman wrote, "I employ no other line than the curve, which possesses freshness and force."  He also said, "The subject is nothing but pretext for creating significant form."</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">His drawings, says Cohen, were "dazzling in subtle variations in shape, weight, density and also gesture happening even in different segments of the same line".</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">"The variety of papers, the bonds, laid linens, striped sheets, and the different ways they hold ink, wash, and pencil shows his enjoyment of and the pleasure he took in the unique physicality of the drawing medium." </span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua"> Nadelman was born in Warsaw, Poland, in 1882 when Poland was under Russian rule.  He attended art and drawing schools in Warsaw.  He died on December 28, 1946, in Riverdale, NY.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">Major retrospectives of Nadelman's work were organized by the Museum of Modern Art in 1948, the Whitney Museum of American Art in 1975 and 2003, the American Federation of Arts in 2001 and the National Museum of Warsaw in 2004.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua"> Nadelman is represented in the collections of most major museums in the United States, including the National Gallery of Art, the Metropolitan Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art, Los Angeles County Museum of Art, Whitney Museum of American Art, Museum of Fine Arts, Houston, Amon Carter Museum, Museum of Fine Arts, Boston, Baltimore Museum of Art, Philadelphia Museum of Art, Detroit Institute of Arts, Minneapolis Institute of Arts, Wadsworth Atheneum, and many others.  New York's Lincoln Center is home to 24-foot marble versions of Nadelman's papier-meche sculptures, <i>Two Circus Women</i> and <i> Two Circus Women (Standing and Seated)</i> from around 1930.</span></p> <p style="text-indent: 20px; line-height: 150%;"><span style="color: #000080; font-family: Book Antiqua;" color="#000080" face="Book Antiqua">An exhibition of the folk-art collection amassed by Nadelman and his wife Viola at their home in Riverdale is planned for 2015 at the New-York Historical Society.</span></p> Mon, 29 Oct 2012 23:54:09 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Nancy Haynes - 3A Gallery - December 12th, 2012 - December 12th, 2012 <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/26821/15e3/20121202223336-00120121203.jpg" /></p> Sun, 02 Dec 2012 22:36:55 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - Whitebox Art Center - December 11th, 2012 - December 12th, 2012 <div align="center"> <div align="center"> <div align="left"> <div align="center"> <div align="left"></div> <div align="left">White Box invites you to buy tickets not only to win an array of amazing raffle items, but more importantly to support the many unaffiliated artists in need of exposure and critical curatorial attention. In addition, a portion of the proceeds will be designated to those arts communities affected by Hurricane Sandy.   </div> <p>     </p> </div> </div> </div> <div align="left">Buy one FEATHERWEIGHT ticket and instantly win an artwork; pool together with others to buy into the HEAVYWEIGHT or CRUISERWEIGHT level for a chance to win either a one-week solo/group exhibition or host an event at White Box; purchase a BANTAMWEIGHT ticket and you could win an essay about your/a friend's work by a TBD critic; or buy into MIDDLEWEIGHT and LIGHTWEIGHT to gain a chance to choose cool artworks - it's your choice! All will go home champions in their fight for the arts. <br /><br /></div> <p align="left">The Raffle offers a diverse, exciting package of six levels. Click on each level to find out what you can win and buy your tickets today!</p> </div> <p><strong>HEAVYWEIGHT LEVEL:</strong></p> <p><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">12 ADMISSIONS TO THE RECEPTION AND RAFFLE* + 1 ENTRY TO WIN A ONE-WEEK EXHIBITION IN LOWER LEVEL GALLERY** – VALUED AT $5,000</span></p> <p><strong>One winner to be drawn.</strong></p> <p>*Reception and Raffle 12.12.12 from 7-9:30pm</p> <p><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">**Excluding beverages, staff and catering (max. 75 people). For staff, extra costs apply.</span></p> <p> </p> <p><strong>CRUISERWEIGHT LEVEL:</strong></p> <p><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">8 ADMISSIONS TO THE RECEPTION AND RAFFLE* + 1 ENTRY TO WIN A ONE-EVENING EVENT IN MAIN SPACE** – VALUED AT $2,000</span></p> <p><strong><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">One winner to be drawn.</span></strong></p> <p>*Reception and Raffle 12.12.12 from 7-9:30pm</p> <p><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">**Excluding beverages, staff and catering. For staff, extra costs apply.     </span></p> <p> </p> <p><strong>MIDDLEWEIGHT LEVEL:  </strong>    </p> <p><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">6 ADMISSIONS TO THE RECEPTION AND RAFFLE* + 1 ARTWORK – VALUED FROM $2,000 TO $5,000</span></p> <p><strong><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">First, second and third place winners will be drawn.</span></strong></p> <p>*Reception and Raffle 12.12.12 from 7-9:30pm</p> <p>     </p> <p><strong>BANTAMWEIGHT LEVEL:</strong></p> <p>4 ADMISSIONS TO THE RECEPTION AND RAFFLE* + RENOWNED CRITIC'S ESSAY – VALUED AT $2,000</p> <p><strong> One winner to be drawn. Critic to be decided.</strong></p> <p>*Reception and Raffle 12.12.12 from 7-9:30pm</p> <p> </p> <p><strong>LIGHTWEIGHT LEVEL:</strong></p> <p><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">2 ADMISSIONS TO THE RECEPTION AND RAFFLE* + 1 ARTWORK – VALUED FROM $1000 TO $2000</span></p> <p><strong><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">First, second and third place winners to be drawn.</span></strong></p> <p>*Reception and Raffle 12.12.12 from 7-9:30pm   </p> <p> </p> <p><strong>FEATHERWEIGHT LEVEL:</strong></p> <p><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">1 ADMISSION TO THE RECEPTION AND RAFFLE + MISC. ARTWORK</span></p> <p><strong><span size="2" face="Helvetica Neue, Helvetica, Arial, sans-serif" style="font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: small;">Every entry will win a prize.</span></strong></p> <p>*Reception and Raffle 12.12.12 from 7-9:30pm</p> <p><strong> </strong></p> <p><strong>PROGRAM  </strong></p> <p><strong>Tuesday, December 11</strong></p> <p><strong>11am-9pm </strong>| Raffle preview</p> <p><strong>6-9pm </strong>| Music and Refreshments</p> <p></p> <p><strong>Wednesday, December 12 </strong> </p> <p><strong>11am-6pm</strong> | Raffle preview                                                                                                </p> <p><strong>7pm</strong> | Doors open</p> <p><strong>7-8pm</strong> | Raffle previews, Cocktails and Hors d'Oeuvres</p> <p><strong>730pm</strong> | Performance</p> <p><strong>8pm | </strong>Raffle begins</p> <p> </p> Sun, 10 Nov 2013 00:12:30 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Jackson Pollock - Jason McCoy Gallery - November 8th, 2012 - December 14th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <table class="backgroundTable" cellspacing="0" cellpadding="10" width="100%"> <tbody> <tr> <td align="center" valign="top"> <table cellspacing="0" id="contentTable" width="550" cellpadding="0"> <tbody> <tr> <td> <table cellspacing="0" cellpadding="20" width="550"> <tbody> <tr> <td class="defaultText" align="left" valign="top"> <div> <div> <p>Jason McCoy Gallery is proud to announce an exhibition honoring the centennial of Jackson Pollock’s birth. A selection of paintings, works on paper and objects, ranging from 1930 to the early 1950s, will provide an overview of Pollock’s versatile oeuvre.<br /> <br />In his 100<sup>th</sup> birth year, Jackson Pollock not only remains one of the paramount figures in the annals of art history, but his profile keeps rising as well. However, it is still a mere fraction of Pollock’s oeuvre that makes up his reputation. His poured abstract paintings of the late 1940s remain his best-known achievement. While including examples of Pollock’s “classical” abstractions of 1949-1950, this exhibition further provides the opportunity to examine a variety of the artist’s interests as reflected in his recurring themes, symbology and innovative technique.<br /> <br />The earliest works on display document Pollock’s passion for the American West, the landscape of his childhood and youth, as well as his interest in the Mexican Muralists José Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera. A sincere appreciation for the art of the American Indians can be traced, as well as the aesthetic influence of Albert Pinkham Ryder and his teacher and mentor Thomas Hart Benton. A first major shift occurred in 1939, when Pollock began Jungian psychoanalysis. It led to a complex search for a visual vocabulary rooted in the “personal unconscious”. Pollock’s imagery during this period is sparked by his fascination with ancient myths and Native American Indian legends. During the early 1940s, Pollock further explored the Surrealist practice of Automatism and studied the works of Picasso, in particular <em>Guernica</em>, and Miró at the Museum of Modern Art. Until the mid-1940s, both Picasso and Miró influenced Pollock’s explorations of palette and form.<br /> <br />In 1945, Krasner and Pollock moved from Greenwich Village closer to nature, settling in Springs on Long Island. In his new studio, Pollock created two of his most acclaimed bodies of work: his abstractions of 1949-1950 and his black-and-white paintings of 1951-1952. He began to increasingly experiment with his materials, tilting cans, using wooden sticks, brushes and even turkey basters. Canvases were laid directly on the floor and Pollock began to “draw in space”, motioning in the air above the paintings’ surface. In 1951, he summed up his quest in an interview with William Wright: “<em>My opinion is that new needs need new techniques. And the modern artists have found new ways and new means of making their statements. It seems to me that the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. Each age finds its own technique</em>.”<br /> <br />This exhibition aims to clarify that Pollock never set out to tell a cohesive story or to travel linearly. Instead, he fully committed to the freedom of expression; he visited, revisited, sought, discovered and embarked anew in cyclical motions.<br /> <br /><strong>This exhibition is accompanied by a fully illustrated catalogue, including essays by Charles Stuckey and Stephanie Buhmann.</strong></p> </div> </div> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> <p></p> <p></p> <p></p> Thu, 08 Nov 2012 16:42:04 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list KISHI Eiko - Joan B. Mirviss LTD - November 1st, 2012 - December 14th, 2012 <p>Joan B Mirviss LTD will present Shinshō fūkei/ Recollected Vistas: The Ceramic Art of Kishi Eiko––an exhibition of exuberant contemporary Japanese sculpture. Intricate and meticulous techniques, combined with a refined sense of form and balance, set Kishi’s oeuvre apart from that of any other ceramist. As over three months are required for the completion of just one of her large-scale forms, these eighteen dramatic sculptures represent nearly two years of focused effort. This will be the artist’s third solo exhibition in New York, each organized by Joan B Mirviss LTD. A fully illustrated catalogue accompanies the exhibition. <br /><br class="toggler atStart" /><i>In art’s dialogue between tradition and innovation, Kishi Eiko’s conversation is increasingly profound and personal, extending well beyond a narrow exchange with inherited Japanese ceramic traditions.</i><br /> -Jeffrey Hantover, noted writer on Asian culture and art<br /> <br /> Like many other Japanese women clay artists, Kishi Eiko (b. 1948) long ago abandoned function and focused her attention on pure sculpture. Her current body of work reflects a major change from her previous powerful, theatrically inspired Nōkata series. Echoing the landscape of her Kyoto neighborhood, Kishi now draws upon the architecture of the nearby, celebrated ancient temples and shrines, with their bracketed eaves, sloping roof lines, rhythmic tile patterns and dry gardens.<br /> Kishi’s process is unique and complicated. Initially she prepares her grog or chamotte in more than ten colors and mixes it with clay for hand-building her forms. Once hardened, she then inscribes linear patterning onto the sculpture’s surfaces. Using a tiny needle, she punctuates holes through which the colored chamotte particles rise during the heat of the firing process. Finally, a pale blue slip is applied to the textured surface and the piece is fired a second time. The resulting pebbled surface resembles woven textiles, reflecting the artist’s earlier interest in weaving.<br /> Kishi has exhibited her work internationally in Japan, the US and Europe, consistently winning acclaim and awards since 1984. In 2001 she had the rare honor of having a solo exhibition at the Minneapolis Institute of Art. Major examples of her work may be found in many private and public collections including: the International Ceramic Museum, Faenza, Italy; Museum of Art and Design, New York, NY; Musée Cernuschi, Paris, France; Musée nationale de céramiques, Sèvres, France; National Museum of Scotland, Edinburgh, UK; New Orleans Museum of Art, LA; Philadelphia Museum of Art, PA; Smith College Museum of Art, Northampton, MA.</p> Fri, 21 Sep 2012 02:50:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Zhao Kailin, Zhong Biao - Klein Sun Gallery - November 7th, 2012 - December 14th, 2012 Tue, 20 Nov 2012 01:27:08 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - NURTUREart Gallery - June 1st, 2012 - December 14th, 2012 <p style="text-align: justify;"><span style="font-size: small;">NURTUREart is pleased to present the fourth installment of the semi-annual series: Videorover. Curated by Rachel Steinberg, <i>Videorover: Season 4 </i>features artists: Karen Chan, Wojciech Gilewicz, Janne Höltermann, Michael Iauch, Alban Muja, Patrik Qvist, Saki Sato, Susanne Slavick + Andrew Johnson, and Marco Strappato.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As the potential of video continues to grow, increasingly this medium is no longer limited to documentation, but rather used to embody and catalog its own reality. In this context, Videorover’s ever-expanding forum for emerging video artists aims to present a wide range of styles and approaches from local and international artists, highlighting works that are willing to question and extend the perceptual and conceptual limitations of their medium.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In respect to the large diversity of submissions we received, and in keeping with Videorover’s original format, the final selection for this season’s program does not share a single theme, topic or style. Although a shared focus on singularity, presence and/or repeated action is found, each video could either stand alone in a group or texture a larger construction. Whether dealing with inherently human issues, digital simulacra or pop culture landscapes (and in response to the ubiquity of well crafted fiction in video art) these videos are all concerned with presenting individual and subjective truths, maintaining the viewer as the final interpreter of the discourses they set in motion.</span></p> Sun, 04 Aug 2013 16:56:51 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Karen Chan, Wojciech Gilewicz, Janne Höltermann, Michael Iauch, Alban Muja, Patrik Qvist, Saki Sato, Susanne Slavick + Andrew Johnson, Marco Strappato - NURTUREart Gallery - June 1st, 2012 - December 14th, 2012 <p>As the potential of video continues to grow, increasingly this medium is no longer limited to documentation, but rather used to embody and catalog its own reality. In this context, Videorover’s ever-expanding forum for emerging video artists aims to present a wide range of styles and approaches from local and international artists, highlighting works that are willing to question and extend the perceptual and conceptual limitations of their medium.</p> <p>In respect to the large diversity of submissions we received, and in keeping with Videorover’s original format, the final selection for this season’s program does not share a single theme, topic or style. Although a shared focus on singularity, presence and/or repeated action is found, each video could either stand alone in a group or texture a larger construction. Whether dealing with inherently human issues, digital simulacra or pop culture landscapes (and in response to the ubiquity of well crafted fiction in video art) these videos are all concerned with presenting individual and subjective truths, maintaining the viewer as the final interpreter of the discourses they set in motion.</p> <p>Opening on Friday, June 1 in conjunction with Bushwick Open Studios, the videos will be displayed simultaneously in the main gallery space for a one weekend event. After the weekend, these videos will move to NURTUREart’s screening area and play on a rotation of one video per day, running concurrently with the regular exhibition schedule.</p> Fri, 25 May 2012 01:38:58 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Eberhard Havekost - Anton Kern Gallery - October 25th, 2012 - December 15th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">For his sixth solo exhibition at Anton Kern Gallery, German painter Eberhard Havekost has put together a body of 15 paintings under the title “COPY + OWNERSHIP”. The title declares the painter to be both author and consumer of the images he presents. Havekostʼs meticulous and confident painting technique and evidently photographic reference material make it clear that he does not try to remove the images in his paintings from their original context, but instead proposes a reimaging of circumstances surrounding each one. The automated arrangement of colors in a video test pattern as we see it on a television screen becomes the exacting labor of a painter mixing colors and layering brush strokes. The act of copying the source material is the precise means by which the painter stakes his claim of ownership.</p> <p style="text-align: justify;">The work opens itself up in the act of looking/viewing and references to the source material (newspaper/magazine clippings, images drawn from digital media, and personal snapshots) pulse in and out of the viewerʼs consciousness. Color fields, atomic tests, images of bathers, a tattooed palm tree, and blurry images taken from flat screen televisions all question our perception of reality as we experience it moment to moment transforming ephemeral images into objects of sustained contemplation.</p> <p style="text-align: justify;">Eberhard Havekostʼs work has been exhibited continuously since the early 1990s, most recently in one-person shows at the Bhau Daji Lad Museum, Mumbai (2012), the Kunsthalle im Lipsiusbau, Dresden (2011), Schirn Kunsthalle, Frankfurt (2010), Staatliche Kunstsammlungen, Dresden (2010), ʻHarmony 2ʼ, Stedelijk, Amsterdam (2006). His work has also been included in large group exhibitions such as, Chefs-d´oeuvre Du Musee Frieder Burda, Musée Granet (2012), HALLELUHWAH! Homage a CAN, Künstlerhaus Bethanien (2011), Against the Grain; 15 Years of Collecting, Kunstmuseum Wolfsburg, Wolfsburg (2009),Imagination Becomes Reality, ZKM, Karlsruhe (2007), Trials and Terrors, Museum of Contemporary Art, Chicago, New German Painting, Carré dʼArt – Musée dʼArt Contemporain, Nîmes, Triumph of Painting, the Saatchi Gallery, London (all 2005), deutschemalereizweitausenddrei, Frankfurter Kunstverein, Frankfurt/M. (2003), and Painting at the Edge of the World, Walker Art Center, Minneapolis (2001). Havekostʼs work is included in the following museum collections: MoMA, New York, Tate Modern, London, Los Angeles MOCA.</p> <p></p> <p></p> <p></p> Thu, 01 Nov 2012 13:46:04 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Christopher Duffy - Art in General - September 22nd, 2012 - December 15th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Art in General is pleased to present Christopher Duffy’s New Commission, <em>I Think I Want My Energy in All Colors</em>, a series of new glass sculptures presented together as a dynamic installation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Suspended from the ceiling of the storefront Project Space, a mechanized series of glass vessels turn on an axis, shimmering and reflecting against the windows. A collection of tubes, acting as a sculptural circulatory system, pass air through glass vessels encased in brightly colored balloons. Expanding and contracting, these inorganic organisms breathe, giving the installation its own heartbeat and pulse. In another corner of the space, a glass rainbow explodes from the base of a bronze tree trunk, reaching for the sun. A faint soundtrack penetrates the space, a constant loop that mirrors the kinetic movement of the installation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Sublime, wondrous and playful, <em>I Think I Want My Energy in All Colors</em> links internal and external systems of connectivity. The work’s confounding transparency, highlighted by Duffy’s use of craft, abstraction, and everyday materials, plays with the concept that looking and being looked at are vital forms of interaction.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Christopher Duffy</strong> (b. 1980) is an American artist living and working in Brooklyn, NY. Duffy received his BFA in glass from The Cleveland Institute of Art, Cleveland, OH (2003). He has worked with or fabricated glasswork for many artists including Brent Young, Josiah McElheny, Michiko Sakano, Jorge Pardo, and Thaddeus Wolfe. He was the assistant art director on the short lived cult classic IFC television show <em>FoodParty</em> for its second season, and has also worked with the musician GirlTalk for several years on live visual elements. He was instrumental in the formation of the now defunct no profit experimental Brooklyn performance space Paris London West Nile. This marks the second solo presentation of Duffy’s work in New York City, his first solo exhibition was in 2008 at Live With Animals Gallery, Brooklyn, NY.</span></p> Mon, 05 Nov 2012 04:04:15 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Sonya Robbins, Layla Childs - Art in General - September 22nd, 2012 - December 15th, 2012 <p>Art in General is pleased to present robbinschilds’ <em>I came here on my own.</em>, a new video and performance project that encompasses entire 6th Floor gallery.</p> <p><strong>robbinschilds</strong> was formed by choreographers, Sonya Robbins and Layla Childs in 2003. Though trained in and rooted by a background in dance, robbinschilds often works outside of that discipline, engaging in site-specific and installation-based performances which contain elements of video, sound and sculpture. The duo creates performance and video works for diverse venues including the stage, gallery, museum or site. In their presentation of time based work robbinschilds explores the juncture between architecture or place, and human interaction.</p> <p>robbinschilds’ live work has been presented in NYC at The Kitchen, PS 122, Dance Theater Workshop, MoMA PS 1, The New Museum, Movement Research at Judson Church, DanceSpace Project at St. Mark’s Church, and the Autumn Skate Bowl. Outside of New York, the company was presented at Pica’s 2009 TBA festival, Portland, OR; SFMOMA, San Francisco, CA; The Art Center, Salina, KS; The Marfa Ballroom, Marfa, TX; Fritz Haeg’s Sundown Salon, Los Angeles, CA; and internationally at The Donau Festival, Krems, Austria.</p> <p>In addition to their live work, robbinschilds’ video art has been exhibited at The deCordova Sculpture Park and Museum, Lincoln, MA (2011), MoMA PS1, New York, NY (2010), Vaska Emanouilova Gallery Sofia, Bulgaria (2009), The Physics Room in Christchurch, New Zealand (2009), Zendai MoMa, Shanghai, China (2008), The New Museum, New York, NY (2008) Reina Sofia Museum, Madrid, Spain (2007), Taxter and Spengemann Gallery, New York, NY (2007), LACE: Los Angeles Contemporary Exhibitions, Los Angeles, CA (2007), and was screened as part of BAM’s 2007 Next Wave series. Recent company residencies include Mt. Tremper Arts in upstate New York, The Arts Center in Christchurch, New Zealand, and The LAB in Philadelphia, PA.</p> <p>In 2010 robbinschilds received an Art Matters travel grant to visit and work in Iceland, and most recently they were awarded a MAP Fund production grant for their current performance project <em>I came here on my own.</em>, which Art in General is proud to be presenting.</p> Fri, 31 Aug 2012 19:43:56 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Beili Liu, Sook Jin Jo, Li Sa, Ruth Hardinger - Asian Art Piers - November 15th, 2012 - December 15th, 2012 <p>Asian Art Piers is pleased to present “Contemplative Ink” featuring ink and mixed media works by four multidisciplinary artists Beili Liu, Li Sa, Sook Jin Jo and Ruth Hardinger. The exhibition engages with the diversity of ink and ink-inspired mediums and the complexity of the contemporary ink painting practice, and rediscovers ink and mixed media works through the lenses of both East Asian and western aesthetic traditions.<br />Beili Liu’s Wind Drawing: Array is one of her most daring and exciting contemporary ink work of late. Using an air compressor, the artist carefully and strategically pushes ink and water to glide along a coated surface. The drawings capture the sweeping movement of the air current while the ink drifts and disburses in response to the force of the air, imprinting fleeting moments of contact between the air and the surface. Though stylistically different, Liu’s technical approach recalls that of Yves Klein’s in Anthropométrie series and both artists share a fascination with transient energy and achieving synthesis between the material and the immaterial.<br />Another highlight of the exhibition is Li Sa’s Composition with Rocks No.9, sextych, which consists of six vertical ink and mixed media paintings, measuring 98 in. in height and totaling 19.5 ft. in width. In No.9 and his most recent series, Li employs 14 different mediums such as ink, enamel, mineral, vegetable color, copper, gold and silver leaves and acrylic paint, all of which lend a unique grainy texture to the work on linen.<br />Li’s works broadens the definition of abstract art as he deconstructs the compositional structures from the canon of Chinese classical ink painting, reconfigures the fragments with contemporary visual elements. In No.9, bicycles saddles, handlebars and male genitalia morphing into the organic forms of lotuses and morning glory flowers, intertwined stem-like vertical lines zigzagging across the pictorial space, Chinese scholar’s rocks with sharp edges descending from the top of the canvas, precariously angling or collapsing towards the border between panels, all results in a deliberately simple yet dramatically disorienting composition, which is most likely an homage to Ming master painter Bada Shanren, one of artist’s major influences. If viewing in the western perspective, the flattened images, bold spontaneous lines and angular geometric forms floating in No. 9 seem to have certain linkage to the Suprematists such as Kandinsky and Malevich yet the compositional formats remain distinctly and deceptively Chinese. In the artist’s own words, “Chinese traditional culture values qualities such as calmness, eternity, balance, stability and serenity… At the same time, I want to create something different in my abstract works by incorporating more elements, even seemingly ominous and unsettling images from modern experiences, such as fear, death, impulsivity, desire, conflict and contradiction…”<br />Initially trained as a painter, Sook Jin Jo is an extraordinary artist mostly known for her majestic wood and mixed media installations. The three drawings on view are among the artist’s very few post-installation renderings of her three signature works All Things Are Born of Being III, Construction in Progress, and Space Between, which have been repeatedly restaged over the years at a number of institutional spaces and prestigious indoor and outdoor venues. Executed on vintage paper used for padding an old Korean mansion’s floors, the drawings seem to channel and translate the meditative energy from the original public installations to a more intimate private spatial experience. Yet the drawings retain the same level of visual intensity and emotional complexity, which are characterized by the forceful gestural lines, very minimalist but expressive color palette and the calligraphic brushstrokes emulating those of traditional ink painters. Mixing graphite with oil to create her new “ink” medium, Jo is able to achieve the same level of fluidity, liveliness and simplicity in the composition that would have been expected if using “ink”.<br />Ruth Hardinger’s Envelopes dovetail between the fantastic and organic, suggesting landscape in some otherworldly location - yet clearly occupying abstraction. Broken and fractured surfaces coincide with mottled, subtlety-dusted passages as each piece evolved during its making. Hardinger says “To embrace, to engulf, to envelop – the words became important concepts for what these works contain, and led me to the title ‘Envelope’.”<br />Upon looking at these works, certain masterpieces by the renowned Chinese ink painter Gao Xingjian come to mind. The two artists’ works possess both abstract and representational visual elements that comprise compositions created from contemplation and inner emotions rather than observations of the external world.<br />Yet Hardinger’s use of graphite and layers of different textured hand-made paper makes the uncanny visual resemblance all the more intriguing as the real contours, the wrinkled and cratered surface of the graphite areas and the tonal gradation from the very light grey to black add to both the physical and emotional depth of the work.</p> Fri, 23 Nov 2012 01:52:59 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Emily Eveleth - Danese Corey - October 12th, 2012 - December 15th, 2012 <p>Danese is pleased to announce an exhibition of new work by Emily Eveleth. The opening reception will be held from 6 to 8 pm, Wednesday, September 10, and the exhibition will continue through October 11. <br /> <br /> Over the years, Emily Eveleth has insistently pursued the ironic and expressive potential of her signature image, the ordinary and ubiquitous jelly doughnut. Alone or heaped, she locates the sublime in the creamy tones and resplendent brushstrokes of her sweet confections. The doughnuts function simultaneously as still life, landscape, portrait and anthropomorphized objects of “projected desire,” eroticism, and in many instances, explicit sexuality. <sup>1</sup>Gesture and content engage the viewer, forming a covert exchange between doughnut and onlooker. There is neither uniformity in spatial relationships nor static emotional content in Eveleth’s new paintings. Rather, they contain a wealth of feeling—melancholy, the wry humor of recognition, the insecurity of darkness and the opposing innocence of paradisial light—which awakens the brushstroke and illuminates human experience.<br /> <br /> The new paintings amplify and extend Eveleth’s technical achievements and formal concerns. While some works solidify existing ideas, others, such as <em>Fragment, As Is </em>and <em>Unintended Consequences,</em> generate added notions about subject matter, content and the act of painting itself. In a deconstructed state, the jelly hardens, the dough, drained of its moisture, splits and crumbles, and the shards of pastry assume the identity of artifact. <br /> <br />Emily Eveleth was born in Connecticut in 1960. She received an undergraduate degree from Smith College and pursued graduate studies at the Massachusetts College of Art. Her work is included in prominent museum, corporate and private collections. Among other awards, she was the recipient of a National Endowment for the Arts Fellowship for Painting, and a French Government Grant for the Artist-in-Residency Program in Rochefort-en-Terre, and was a visiting artist at the American Academy in Rome. She currently lives and works in Massachusetts.</p> <p> </p> <div align="left"><br /> <br /> <br /> <p><sup>1</sup> Platow, Raphaela. <span style="text-decoration: underline;">Emily Eveleth</span>, New York: Danese, 2006, p. 4.</p> </div> Tue, 11 Dec 2012 03:01:31 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Diana Thater - David Zwirner- 519 W. 19th - November 9th, 2012 - December 15th, 2012 <p>David Zwirner is pleased to announce the re-opening of our gallery on Friday, November 9, with an exhibition by Diana Thater entitled Chernobyl, on view at 519 West 19th Street. Framed around the site of the 1986 nuclear disaster, the 2011 video installation spotlights the consequences of manmade catastrophes on the natural world. The urgency of its subject matter resonates in the immediate aftermath of Hurricane Sandy and the damage it wrought within the Chelsea art district, and beyond.<br />Diana Thater is one of the most important video artists working today. Since the early 1990s, she has created a wide range of film, video, and installation-based works whose sculptural forms engage spatial perception in physical, as well as conceptual, terms. Her pioneering oeuvre was among the first to push the boundaries of how new media art is displayed, helping to cement its position in the art world.<br />Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. Natural diversity, wildlife, and conservation have been persistent themes in the artist’s work, and she has dedicated herself to an examination of the varied kinds of relationships humans have constructed with animals. While her in-depth studies of ecosystems and animal behavior propose observation as a kind of understanding in itself, her ethical position is implicit in the work, which, while subtly political, provides views of the sublime in all its incarnations—stunning, beautiful, and  simultaneously terrifying.<br />Chernobyl features imagery from the “zone of alienation,” a nineteen mile (30 km) wide exclusion area created around the site of the Chernobyl nuclear explosion in northeastern Ukraine (then officially Ukrainian SSR) in 1986. Over one hundred thousand people were evacuated from the area within a short time span, leaving behind all but a few of their personal belongings. The zone has since been a no-man’s-land dotted with abandoned villages and decaying infrastructure, largely untouched since the day of the disaster. It remains accessible only to special teams and  researchers, though temporary visitor permits are granted.<br />To create this work, Thater stayed within the exclusion zone. Chernobyl takes its point of departure in the ghost city of Prypiat, which was purpose-built in 1972 to house workers at the nuclear plant. Using the desolate remains of Prypiat’s movie theater as a pivot, Thater’s footage focuses on the area’s wildlife, and in particular the endangered Przewalski’s Horse, a subspecies of wild horse released into the area following the catastrophe and now roaming freely, undisturbed by human interaction. Other animal populations have since returned to the area, yet according to most studies, their numbers remain severely depleted. In Chernobyl, Thater juxtaposes pastoral scenery with destruction both apparent and implied, and in the process highlights the relationship between Western industrial civilization and the regenerative potential of nature left to itself. It mirrors a tension between the natural environment and mediated reality that can be seen throughout the artist’s work. The shape of the installation copies that of the movie theater in Prypiat. The work is made from a video re-creation of the theater with images of the zone of alienation layered over it, asking the viewer to see the world in the theater and the theater in the world.<br /><br /></p> Mon, 10 Dec 2012 23:48:00 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list