ArtSlant - Openings & events en-us 40 - WhiteBox - December 9th, 2012 3:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">In collaboration with White Box and the Woodwind Studies Program at NYU Steinhardt’s Department of Music and Performing Arts Professions.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A Post-Postmodern, Sensory Extravaganza intermixing works by those who came across art in the unexpected and unforeseen. Audiences will witness the layering of projections, poetry and music that combine the works of Cage, Warhol, Rauschenberg, Duchamp, Bueys, Goldsworthy, Haring and others with readings from Alan Ginsberg’s Howl. Combined with the live performances of chamber works by Elliot Carter, Peteris Vasks, Carl Nielsen, Hector Villalobos and other masters, the sonic adhesive will be an intermittent performance of John Cage’s Atlas Elclipticalis and the projection of Andy Warhol’s classic film, Sleep. Pasted, overlaid and simultaneous, Wherefore ART Thou will reveal itself in Cage’s multiverse as Warhol’s Sleep transports through time and space.</span></p> Sun, 10 Nov 2013 00:12:30 +0000 Alejandro Cesarco - Dia Art Foundation - December 10th, 2012 6:30 PM - 8:30 PM <div class="content_body dia-links">Alejandro Cesarco on On Kawara</div> <div class="content_body dia-links"></div> <div class="content_body dia-links">Alejandro Cesarco was born in 1975 in Montevideo, Uruguay. His most recent solo exhibitions include <i>The Early Years</i>, Tanya Leighton, Berlin (2012); A <i>Common Ground</i>, the Uruguayan Pavilion at the 54th Venice Biennial (2011); <i>One without the Other</i>, Museo Rufino Tamayo, Mexico (2011); <i>Present Memory</i>, Tate Modern, London (2010); <i>Alejandro Cesarco</i>, Artpace, San Antonio, Texas (2010); <i>Two Films</i>, Murray Guy, New York (2009); <i>Three Works</i>, Tanya Leighton, Berlin (2009); and <i>Retrospective</i>, in collaboration with John Baldessari, Murray Guy, New York (2007). He was the 2011 winner of the Baloise Art Prize, with his installation <i>The Streets Were Dark with Something More than Night, or The Closer I Get to the End the More I Rewrite the Beginning, </i> at Art 42 Basel. He has curated exhibitions in the U.S., Uruguay, Argentina, and a project for the 6th Mercosul Biennial (2007), Porto Alegre, Brazil. He is director of the nonprofit arts organization, Art Resources Transfer, where he initiated and edits <i>Between Artists</i>, an ongoing series of conversation-based books. Current exhibitions include a solo presentation at MUMOK, Vienna; the Bienal de São Paulo; and <i>Words Applied to Wounds</i> at Murray Guy. He lives and works in New York.</div> <p></p> Sun, 25 Nov 2012 23:28:04 +0000 Nancy Haynes - 3A Gallery - December 12th, 2012 6:00 PM - 8:00 PM <p><img src="" /></p> Sun, 02 Dec 2012 22:36:56 +0000 Group Show - Hunter College/Times Square Gallery - December 12th, 2012 6:00 PM - 8:00 PM <p>The Department of Art at Hunter College is pleased to present an exhibition of recent works by the graduating MFA students. This exhibition divides the Hunter College/Times Square Gallery into individual spaces that represent the culmination of each of the 19 artists’ unique experience in Hunter College’s prestigious and competitive MFA program.</p> <p>The exhibition will be on view from December 13, 2012–January 16th, 2013. A public opening reception will be held on Wednesday, December 12th, from 6–8 PM.</p> <p>The Hunter College/Times Square Gallery, located at 450 West 41st Street, New York City.</p> <p> </p> <p>The graduating students have organized two panel discussions that contextualize the exhibition.  These panels will address questions of meaning, plurality, the evolving models of education, and greater issues of contemporaneity in art practice. </p> <p> </p> <p>All events are free and open to the public.</p> <p> </p> <p>January 11, 2013</p> <p><b>towards meaning in a plural painting world</b></p> <p>Moderated by Katy Siegel</p> <p>7:30pm</p> <p>This event is made possible through the generous support of the John and Evelyn Kossak Foundation</p> <p> </p> <p>January 16, 2013</p> <p><b>models, modes, possibilities; and then there is education</b></p> <p>Moderated by Anthony Huberman</p> <p>7:30pm</p> <p> </p> <p>For more information about the exhibition please contact:<br /> FALL 2012- HUNTER MFA</p> <p>Email: <span style="text-decoration: underline;"></span></p> <p>Web: <a href="" rel="nofollow"></a><span style="text-decoration: underline;"></span></p> Fri, 07 Dec 2012 16:48:40 +0000 Katsutoshi Yuasa - ISE Cultural Foundation - December 12th, 2012 6:00 PM - 8:00 PM <div apple-content-edited="true"> <div> <p>Please join us at the ISE Cultural Foundation for a Holiday Toast on 12.12.12 hosted by the Streaming Museum and TAG Fine Arts on the occasion of Katsutoshi Yuasa's exhibition "Miraculous" curated by Diana Ewer.  A celebration to mark the Streaming Museum's forthcoming 5 Year Anniversary, the event will include a short video presentation of past events and holiday toast to celebrate present and future collaborations.  The backdrop to 12.12.12 is a show of hand-carved woodcuts by Japanese artist Katsutoshi Yuasa that includes images culled from the internet and involves computer software in their process of creation.  A timely exhibition, it directly engages with our vulnerability in the midst of a powerful and sometimes devastating natural world. There will be an opportunity to speak with the curator and participate in a short tour of the exhibition during the evening.</p> <p><a href="" rel="nofollow"></a></p> </div> </div> Fri, 07 Dec 2012 22:25:09 +0000 Group Show - Lesley Heller Workspace - December 12th, 2012 6:00 PM - 8:00 PM <div class="documentBody"> <p>The ten artists in <em>Modern Times</em>, organized by Shari Mendelson, use the vessel as a vehicle for social and political commentary and/or as an exploration of form – indebted to history, yet engaged in a contemporary dialogue.</p> <p> “I have been studying the vessels at the Metropolitan Museum for many years. From early Greek and Roman glass bottles and terra-cotta animals, to ceramic burial jars from the Korean Renaissance, to delicate Syrian goblets – my interests are broad. I love these vessels not only for their beauty, but for the mysteries they embody and the information they reveal about the history and culture of their time.”  Shari Mendelson</p> <p>Like their historical predecessors, the vessels in <em>Modern Times </em>offer visual pleasure while addressing issues that are both contemporary and timeless.</p> <p><strong>Barry Bartlett</strong> has a fascination with the hobby industry's ability to mass market our shared experiences with ceramic tchotchkes. He collects molds of soldiers, fairies, 9/11 rescue works, presidents, religious icons, etc., casts them in porcelain, and reconfigures them into surprising sculptures that depict a mash-up of current and historical events.</p> <p><strong>Mary Carlson</strong> is showing three slip cast porcelain pieces – a plate, a bowl and a cup. Her castings are frail and signs of breakage and delicate repair are evident. As Howard Foster states in a 2010 review of Carlson's work, "… the endless see-saw of international dominance pivots on the vulnerability of the domestic. Those carefully mended plates embody the private cost of politics, the cracking of the everyday…."</p> <p><strong>Jim Dingilian</strong>'s work suggests the passage of time and the fleeting nature of memory. He coats the inside of empty liquor bottles with smoke then carefully erases specific areas. The smoke that remains creates the image. As Dingilian states "Empty liquor bottles found in the woods or near parking lots are artifacts of marginal activity. They provide evidence of joy, despair, companionship or isolation."</p> <p><strong>Elisabeth Kley</strong>'s brightly colored, hand-built ceramics and drawings celebrate decoration. "Kley's work by and large evokes the distance of time and geography without directly appropriating extant cultural designs. ... at times recalling Persian, Venetian, Florentine, Chinese, and Moroccan design and ornament – but truly articulates no one style or artifact we can name or point to." - G. Roger Denson, Huffington Post, December 8, 2010</p> <p><strong>Shari Mendelson</strong>’s vessels are inspired by historical ceramic, glass and metal artifacts and are constructed from found plastic bottles. While making her work, she refers to the original – attempting to capture the spirit of the object. Although her pieces often diverge from the source, the making of them acts as a form of dialogue with, and reverence for, the objects of the past.</p> <p><strong>Keiko Narahashi</strong>'s evocative work explores the space between volume and deflation, presence and memory, and familiarity and mystery. She makes silhouette drawings, which she gives to a potter to interpret and throw as a pot. She then alters this pot: cutting it in half, flattening it, photographing it. In Narahashi's words, "The original drawing becomes a three dimensional pot, which in turn, through my manipulations, reverts to a symbol of itself. Altering a known object in this way abstracts it – meaning is subtracted, but new emblematic meanings are acquired…."</p> <p>With her series of "Sugar Vessels", <strong>Yuka Otani</strong>, a skilled glass artist, has turned her attention to the ephemeral. Her brightly colored, glass-like goblets, flutes and tumblers are cast in sugar. They slump, become opaque, or liquefy as they age. Otani writes, "I spent my adolescence in Japan in the 1990's when the immense Japanese economic bubble burst after its inflation. What seemed to be stable yesterday is not stable today – this drastic shift in social value system was branded on my memory as a strong feeling of changeability.…"</p> <p>As <strong>Sarah Peters</strong> writes, "The disjointed visual language that often results when the art of one culture aspires to emulate another is a principle theme in my work." Her bronze heads are portraits of American outcasts: idealists, extremists, zealots and visionaries. These hollow heads, turned upside down or sliced open, with added handles, become vessels – dense and alive, empty, yet full of questions.</p> <p><strong>Christy Rupp</strong>, an artist known for her environmental and political sculpture and installations is showing a series of hand-felted oil and gas cans. With a pop sensibility, a wry sense of humor, and an exacting attention to detail, she creates hand-made replicas of some of the petroleum-based product that she used between 2009-2012.</p> <p><strong>Arlene Shechet</strong> has pushed and pulled the vocabulary of sculpture and the vessel to surprising places with her work in plaster, handmade paper and clay. In an interview with Ian Berry for her 2009 show at the Tang Museum, Shechet says "…I was using blue and white in my paper work to refer to architectural blue prints, and this made me suddenly sensitive to blue-and-white porcelains. … I started to look at porcelains from China, Flow Blue from England, Delftware, Willowware, a vocabulary of things both Eastern and Western… I had earlier come to believe the vase is a domestic form of sacred architecture…" </p> </div> Mon, 12 Nov 2012 23:17:37 +0000 Ken Buhler - Lesley Heller Workspace - December 12th, 2012 6:00 PM - 8:00 PM <p></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Lesley Heller Workspace is pleased to present <em>Birdlands,</em> the new series of paintings and watercolors by Ken Buhler.  While reading through copies of Audubon Magazine that his son had collected, Buhler found himself transfixed and inspired by the peculiar and poetic bird names he encountered. Roseate Spoonbill. Antennae Satinbill. Superb Lyrebird. Rainbow Lorikeet. Responding to these, Buhler was able to tap into a rich world of color and form.While the natural world has always provided material for his abstract work, for the first time in this body of paintings, Buhler felt free to draw images directly from the outside world. Forms, often botanical or decorative in nature, which were once merely catalysts for abstraction, are now freely entering the lexicon of his painting. </p> <p style="text-align: justify;">An abstract painter since the 1980's, Buhler has always felt committed to a kind of purity accomplished through non-referential color and form. But small rubber stamps, initially incorporated only into the artist's drawings, became a gateway to the inclusion of more recognizable images and forms. These stamps and stencils, rooted in a tradition of engraving, evoke images of old maps and engraved books—objects from antiquity that spoke to Buhler's sense of the artist as chronicler of unknown worlds.  </p> <p style="text-align: justify;">Now these stamps and stencils appear freely into the artist's drawings, watercolors, and large scale acrylic paintings. For the artist, allowing for this shift toward referential form has been liberating. In addition, the Birdland paintings offer a material departure from earlier work.  Their shift to raw canvas allows for the use of transparencies and staining to create more open and lyrical spaces.</p> <p style="text-align: justify;"><em>Ken Buhler is a professor of painting and drawing at Bard College. He lives and works in Brooklyn, NY and in Masonville, New York. Buhler is the recipient of many prestigious grants, residencies, and fellowships.  These include the MacDowell Colony, Provincetown Fine Arts Work Center, the Pollock Krasner Foundation, New York Foundation for the Arts, National Endowment for the Arts, and The Ballinglen Foundation. Recent projects Buhler has completed include prints made with Oehme Graphics of Steamboat Springs, Colorado, VanDeb editions of NYC, and Jungle Press of Brooklyn.</em></p> <p style="text-align: justify;"><em>Buhler has had solo exhibitions at Michael Walls Gallery, O’Hara Gallery, and Axel Raben Gallery. His work is part of many public collections including the Wichita Museum of Art, the Beach Museum, The Sioux City Art Center, the Ulrich Museum of Fine Arts, and the de Saisset Museum.  His work is also part of many private collections inlcuding IBM, The Boston Company, Prudential, and the Maslow Collection.</em></p> <p></p> <p></p> <p></p> <p></p> Sat, 08 Dec 2012 19:56:26 +0000 Sharon Matt Atkins - NURTUREart Gallery - December 12th, 2012 7:00 PM - 9:00 PM <p>This month, we will hear from Sharon Matt Atkins of the Brooklyn Museum, where she is the Managing Curator of Exhibitions, overseeing the museum's exhibition program. Most recently, along with Shelley Bernstein, Atkins co-organized the project <em>GO:</em> a community curated open studio project. During <em>GO:</em>, Brooklyn based artists opened up their studios for one weekend in September, and visitors had the opportunity to nominate them to have their work featured in an exhibition at the Brooklyn Museum, which opened December 1, 2012.</p> Fri, 07 Dec 2012 02:17:09 +0000 Group Show - Strange Loop Gallery - December 12th, 2012 6:00 PM - 9:00 PM Sun, 13 Jan 2013 18:11:21 +0000 - WhiteBox - December 12th, 2012 7:00 PM - 9:00 PM <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 Group Show - BROADWAY GALLERY - December 13th, 2012 6:00 PM - 8:00 PM <p>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.</p> <p>A few notable themes in this exhibit that cross cultures are romanticism, spirituality, and humanity. Part of an ongoing series, Artists at Home and Abroad reaches out to the diverse community of New York. In addition to the exhibition on display at Broadway Gallery NYC, are several concurrent Internet projects, and a print catalog. Furthermore, this exhibit offers writers and viewers an exciting opportunity to submit essays and comments on the nature and significance of biennials, fairs and public exposure for new and emerging artists.</p> <p>This exhibit uses the space as another medium altogether; incorporating the maximum floor-to-ceiling gallery space activates the wall with art works in various media by artists, each of whom offer a unique perspective to the show. These artists have transformed the gallery walls into a compendium of generational takes on figuration, portraiture, and abstraction.</p> <p>Visitors will be surprised to see the stunning results. The speed of interactions via new media allows for global artistic conversations previously unheard before. In an attempt to integrate the numerous artistic languages, this exhibit was installed in a unique format. Two long parallel walls have been carefully installed to create dialogue in the spatial order. Artists at Home and Abroad allows the viewer access to some of the past and current pivotal artistic ideas while introducing newer talent, to generate fresh creative energy through unexpected juxtapositions.</p> Mon, 03 Dec 2012 22:37:44 +0000 Philip Koch - George Billis Gallery- NY - December 13th, 2012 6:00 PM - 8:00 PM <p>Think of a time when just for a moment you were completely happy. When the pieces of your life fit together and made a wonderful sense.<br /> Such intense emotions always have a setting. A painting can hold that place and recall for us for those feelings. I am painting places where I have experienced intense happiness.<br /> <br /> My paintings are a contemporary re-imagining of the romantic panoramas of the 19th century American painters of the Hudson River School. These early painters found the New England mountains and coast a springboard to forge a powerful art. The land they painted seemed to them a new <br /> <br /> In our time with its ecological degradation, the symbolic value of this Eden seems at once more remote and yet more urgently needed. Wilderness and the meeting of the land and the seas are among the most deeply buried chapters of our common origins. They are portraits of an all but forgotten part of ourselves. These paintings are a tool, a bit of practical magic to help the us reconnect with our natures and our deeper resources.</p> <p></p> <p>Vgorously painting and intensely hued, Philip Koch's paintings cast a contemporary look at the natural world. A former abstract painter, Koch wahs inspired by 19th century American landscape painting and by the work of Edwad Hopper to turn to working in a realist direction. In addition to his landscapes, the exhibit will include a group of paintings of the interior of Edward Hopper's Cape Cod studio made by Koch during his 14 residencies in the studio.</p> Tue, 27 Nov 2012 16:13:55 +0000 Shaun Odell - Jack Hanley Gallery- New York - December 13th, 2012 6:00 PM - 8:00 PM <p>In May of 2011 Emily and I and our dog Margot met up with our friend Leslie in Denver. We were coming from Houston and Leslie had been in Nebraska. We rented a car and started driving south into New Mexico. We went to Taos and the sun went down there behind a slanted horizon. Then we headed to Santa Fe. Emily bought me a silver belt buckle that was cast in sand by a 6 year-old girl.<br />The next day - after debating the accuracy of cyber-maps - we started out for Bandelier National Monument and ended up on a 37-mile stretch of dirt road that cut through the Jemez Mountains. In places the road was solid sandstone with large crevasses and sloped radically sideways. We stopped at an overlook to take pictures. There were animal skulls hanging in spindly desert trees. We collected firewood and filled the rental car with it. We camped that night at Bandelier. People had lived in the canyon below the campground 10,000 years ago. There were a lot of stars and the air was warm. In the morning we walked through the canyon and explored the cliff dwellings. Later in the morning we drove into the town of Los Alamos. We had to pass through a security check to get into town. I thought about Oppenheimer and we had excellent tacos. Just outside of Los Alamos we stopped at the Jemez Caldera, one of 6 known land-based super-volcanoes. Down the road a ways we hiked to a hot spring with a meningitis warning. Afterward we all drank tequila, even the dog.<br />When we got to Jemez Pueblo we stopped at the pottery studio of Flo and Sal Yepa. They showed us what they were working on and talked about how they made the clay and showed us pictures of themselves with the Dalai Lama. They invited us to stay for dinner and told us we should go to the rain dance and see their friends at First Mesa in Hopi Land. We left Jemez and drove toward Monument Valley.<br />We arrived late in the evening. The deep black of the rising buttes was set off from the lighter violet blackness of the western sky as we descended off the plateau. In the morning we took a tour in the back of a pick-up truck through the valley. The sky was clear and blue and the sand was red. We stopped and looked at the towering formations cut away by rain and blowing sand. We lay on our backs with the German tourists, looking up through the "Eye Of The Sun" while the guide played a wooden flute. Around noon the wind picked up. By two o'clock the sand was whipping our eyes and cutting into our skin. The sky was turning pale orange as we left the valley and drove south toward Canyon de Chelly.<br />It was hard to keep the car on the road at times. The visibility decreased and at one point we had to stop. I took pictures of the red clouds of sand that blotted out the road. We arrived at Canyon de Chelly in the late afternoon and parked at the White House Overlook trailhead on the canyon rim. The wind was still blowing hard but we were now above the stinging sheets of sandstone. This trail is the only place visitors can access the valley floor without permission of the Navajo and a park guide. We started down in the late afternoon and the trail was all in shadow.<br />About halfway down we stopped to look at a place where a streak of granite ran through the sandstone wall of the canyon. A small Navajo woman with a large white pit-bull was jogging up the trail towards us as we tried to remember the geological term for the anomaly in the rocks. When she got close enough she asked if we "liked rocks?" We said we did and then she said, "This is Pre-Cambrian granite. It's 2 billion years old. The sandstone is de Chelly Sandstone from Permian times - that's Pangea the super-continent, 300 million years ago. I grew up here in a Hogan. I had one jacket." And then she jogged on up the trail. Twenty minutes later she showed up again. She was jogging with her dog 20 feet above us on a small ridge that ran parallel to the trail. It was getting hard to make out what she was saying now but we heard something about looking out for trilobite fossils on the canyon walls and more geological history and then very clearly she yelled out," Science!"<br />In the morning the wind was still blowing hard. We drove through Hopi Land and watched the sky turn milky yellow with sand. When we stopped for gas the car rocked back and forth and you could hear tiny sounds of granite granules pelting the windshield. A starving stray horse chewed dead grass in the ditch between the road and the gas station. We arrived at First Mesa around noon and parked just below the 1100 year old village of Walpi perched there on the cliff. We started walking up the hill, slitting our eyes against the sharp wind. As the road leveled off and we started to enter the village a single-file line of Kachina dancers emerged from the doorway of a stone house.<br />They were chanting and stomping out a rhythm. We followed them through the tightly packed houses and emerged onto a large plaza. A woman offered us seats on a wooden bench and we watched the dancers for a few hours. The dancers wore different masks. One of them, we learned later, was the "Snow Dancer." The ceremony was the rain dance. It is performed not only to bring rain but also to maintain contact with the supernatural world and to bring the community together. During a break the dancers handed out baskets of corn and fruit and vegetables. We left after about 3 1/2 hours. Time had slowed down. The wind was relentless and we were filled with sand. We drove west through grey hills and yellow wind toward the North Rim of the Grand Canyon. When we passed over the Colorado River at Marble Canyon the sky was beginning to turn blue again. We stopped at an overlook where you can walk out over the river on a pedestrian bridge. The wind was still blowing but it was no longer filled with sand. We also saw rain clouds moving eastward toward Hopi Land. As we climbed in elevation toward Jacob Lake the temperature dropped and it started raining lightly. There were no campsites available in the park so we stayed at the Jacob Lake Inn. When we checked in there was a chalkboard weather report calling for snow that night. We unloaded the car and then drove 44 miles to the rim of the canyon. We passed through snow flurries on the way. The sun was setting when we arrived and the canyon was streaked with orange light in the places that weren't grey from the dark clouds above. The air was frosty and filled with pine. We walked a trail that followed a narrow ridge to a viewpoint that dropped straight down thousands of feet into the canyon. We talked about the people who had fallen or jumped or were pushed from places like this. We looked at the stratified layers of the canyon walls and remembered what the Navajo jogger had said about the 2 billion year old Pre-Cambrian granite at Canyon de Chelly. The amount of information visible all at once was overwhelming, sublime even. We followed the trail for a couple of miles along the rim until it was dark and cold.<br />We found the lodge bar and talked about what we had seen over the last few days. There was a fire and it was nice to be warm and getting a little high. When we stepped back into the night to leave we saw a few inches of snow covering the ground. The wind had picked up again and now instead of red clouds of sand obscuring the road it was blowing snow. We drifted a few times and I white-knuckled the steering wheel on the icy road. I had to flip back and forth between the high and low beams to keep from going cross-eyed as I stared into the chaos of swirling snowflakes and blackness. I felt heavy with the responsibility of keeping the car on the road. There were moments when the combination of alcohol, the black of night, the illuminated on-rushing snowflakes and the whiteness of the snow-covered road gave me the sensation of traveling through outerspace. It was like the effect they use in sci-fi movies to indicate warp speed. It created a kind of vertigo and a few times it momentarily seemed like the car had dissolved and that I was falling alone through a star-streaked void. Then suddenly I would feel the car back around me and on the road again. This cycle of feeling adrift in space and then back again continued for a good part of the drive back to the hotel.</p> Tue, 04 Dec 2012 00:42:03 +0000 Dave Kinsey - Joshua Liner Gallery - December 13th, 2012 6:00 PM - 9:00 PM <p>Joshua Liner Gallery is pleased to present <em>Everything at Once</em>, an exhibition of over thirty intense, high-energy paintings and works on paper by Los Angeles-based artist Dave Kinsey. This is Kinsey’s second solo exhibition with the gallery.</p> <p>As the show title suggests, Kinsey attempts to convey a world gone mad with media, perpetual conflict, and a sense of the mounting struggle between the urban and natural worlds. Kinsey creates this new body of work through a brash synthesis of materials, textures, and aesthetics, conjuring multilayered abstractions with traces of figuration which create dynamic transformations of images within images.</p> <p><em>Akhal-Teke (War Horse)</em>, a large mixed-media work on canvas layers fragments of a galloping horse interposed with hard-edged bands of bright color and pooled washes of darker hues, evocative of deep internal conflict. <em>Congotropolis</em> layers transparent outlines of human and primate skulls with the profile of a classical figure head, playing up the similarity and contrast of competing species, surrounded by a frenetic atmosphere of high-contrast color. In <em>Metropolis</em>, Kinsey strips away all figurative elements and introduces an exclusively abstract approach to his work—a graphic composition of intersecting planes, blasts of color, and bursts of geometric line. In addition to these and other paintings, smaller collage works will be on view as well as a study of hands interpreted from classical images in ink and acrylic on paper.</p> <p>Through his work, Kinsey explores themes of data domination and distortion, political upheaval, and the search for genuine identity in an age of virtual (or illusory) reality. According to the artist, “Collectively, the developed world is swimming in modern media; we’re learning to navigate this landscape every day while becoming unwittingly addicted, for better or worse. And that’s simultaneously exhilarating and a little scary. Throw in climate change and you’ve got a scenario worthy of our attention.”</p> <p>For more information, please visit</p> Tue, 01 Jan 2013 00:57:16 +0000 Amelia Biewald - Magnan Metz Gallery - December 13th, 2012 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Magnan Metz Gallery is pleased to present Amelia Biewald’s fourth solo exhibition</span> <span style="font-size: small;">with the gallery. Werther Effects will be on display from December 6th through </span><span style="font-size: small;">January 12th with an artist reception on Thursday, December 13th from 6-8pm. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Amelia Biewald’s most recent works investigate the brilliant visual possibilities of Elizabethan England; an era that produced incredibly intricate and sophisticated clothing but lacked comfort and convenience. Biewald pays great attention to the neck ruff, an iconic embellishment often seen in Elizabethan fashion. Despite being entirely uncomfortable and cumbersome, almost impossible to construct (this was left to specialists who only made and starched ruffs), and boasting extremes of width which made even the most simple tasks quite daunting, the ruff maintained its popularity for over a century. Biewald considers the ruff’s lacey details both beautiful and compelling. She has incorporated its form into various works in Werther Effects including two exhibited at the front of the gallery space: The Sorrows of Young Werther,  a small mixed media installation, and Pretty Girls Make Graves, a large panel of plastic, acrylic and resin. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Biewald’s primary source of inspiration was born from The Sorrows of Young Werther, a semi-autobiographical novel by Joann Wolfgang Von Goethe, first published in 1774. It became one of the most widely distributed publications of its time, gaining popularity amongst young men who began to dress similarly to the book’s main character. Along with displaying copycat fashion, young readers also started to exhibit the typical melancholy behavior of the novel’s subject. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">In Werther Effects, the artist manipulates both traditional and invented artist materials and techniques, creating luxurious surfaces that generate a voyeristic costume drama. Biewald’s mixed media panels and sculptures shine a new light on the imaginative history of the Elizabethan age and its peculiar trends in fashion. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Biewald’s work has been exhibited both nationally and internationally. She has been a recipient of various artist grants and fellowships, including the Lower Manhattan Cultural Council Grant (2006), the Bush Artist Fellowship (2004), a Minnesota State Arts Board Artist Award (2001), and a Jerome Artist Fellowship (2000).</span></p> Fri, 14 Dec 2012 17:58:35 +0000 Julia Sherman - Recess Activities, Inc. - December 13th, 2012 7:00 PM - 9:00 PM <h1 class="page-title">Here She Comes: Julia Sherman</h1> <div class="entry entry-page clear thumbnail"> <p>December 8 – 21, 2012</p> <p>Reception: December 13, 7-9 pm</p> <p>“We could certainly use another protest, if I could think of one I would do it. I hope somebody does”<br />–Carol Hanisch, 2010 feminist activist reflecting on her 1960s activism</p> <p><em>Dear Debra,</em><br /><em>I am sorry if somehow my last email conveyed a lack of respect for you or The Miss America Pageant. In all my conversations about this project, I describe you as an articulate woman who was resourceful enough to seek out funding for her education so she might go on to become a musician and educator.</em><br /><em>-Julia Sherman, 2012</em></p> <p>Recess is pleased to present Here She Comes, a collection of Sherman’s research in the form of photographs, videos, drawings performance, and remnants. These artifacts and new works resurface and continue conversations that began at the 1968 Miss America Beauty Pageant and the Women’s Liberation intervention that occurred during the ceremony.</p> <p>Sherman’s primary sources become raw material for inciting contemporary reflection on a shared history. Here, the events surrounding the 1968 Miss America Pageant are abstracted and collaged, misinterpreted and re-imagined. These composite gestures ask the viewer to consider how this historicized, yet little known, narrative of the Women’s Liberation Movement, and the history of the pageant, continue to be relevant as we look to define contemporary forms of resistance and appropriation.</p> <p>Sherman initiated conversations with several 1968 Miss America candidates, collecting details about their talent show performances, personal recollections of the event, as well as their contemporary views on beauty pageants and the 1968 intervention. Her findings blurred a seemingly distinct social picket line, complicating notions of The Beauty Queen and The Activist alike.</p> <p>In addition to tracking several 1968 participants, Sherman researched spin­off pageants that formed in response to the iconic Miss America pageant, including Miss Akademia (Czech Pageant), Miss America (a drag pageant that was later sued for using that name), Miss Indian America, and Miss Black America (started in 1968 and still in production today).</p> <p>Julia Sherman employs unwieldy and untraditional research methods, feminist theory, and her own personal anxieties to create a view of the contemporary and historicized beauty queen through the soft focus of forgotten resistance.</p> <p>About the Artists:</p> <p>Sherman is currently based in Brooklyn. She is the founder of the artist-run Los Angeles gallery Workspace, and a recent graduate of Columbia University, M.F.A. program with a concentration in New Genres. She is a contributing artist/writer to Triple Canopy, White Zinfandel, Cabinet Magazine and The Highlights art journal. Her work will be featured in In Practice on view at Sculpture Center in January 2013.</p> <p>Image: Farewell Miss America, C-Print, 2012</p> <p>For more information contact</p> <p><a href="" rel="nofollow"><img class="wp-image-6415 alignnone" title="NYCulture_logo_CMYK" src="" height="66" alt="" width="144" /></a></p> <p>This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.</p> </div> Fri, 21 Jun 2013 11:41:34 +0000