ArtSlant - Recently added en-us 40 Sara Jimenez - FiveMyles - May 28th - July 3rd <p>In the attempt to capture and contain lost information, <strong>Sara Jimenez</strong> weaves fabric nets which are suspended from the ceiling of the gallery and fill the space. These nets are filled with natural debris and objects that have been altered and transformed by the sea. The viewers navigate around the nets, catching phrases of conversation that emanate from them while surrounded by ambient sound.<br /> <br /> In collaboration with <strong>Or Zubalsky</strong>, Jimenez has created audio vignettes. The audio is a compilation of recorded interviews with various family members from the Philippinesnestled into the installation like mined artifacts being recovered from the brink of obscurity.&nbsp;</p> <p>The environment is not a static or fixed space, but rather an unending attempt to excavate the vast space of cultural memory. Two performers in an elevated space continue to weave and create new nets, pointing to endless process that seeking entails.</p> <p>Performances: Every Sunday through July 3 at 4pm</p> <p>Artist Talk: Sunday, June 12 at 4pm</p> <p>More information about the exhibition and the artist:&nbsp;<a href="" rel="nofollow"></a></p> Tue, 03 May 2016 17:56:05 +0000 - Fridge Art Fair - May 7th - May 9th <p style="text-align: justify;">A Gem of a Fair in a Jewel of a Space &shy; Fridge at Landmark Angel Orensanz Center</p> <div style="text-align: justify;">May 7&shy;-9 ,2016, Opening reception&nbsp;<a dir="ltr">Saturday, May 7, 2016</a></div> <p style="text-align: justify;"><br clear="none" />Fridge Art Fair and Angel Orensanz Center are pleased to present the Fridge New York 2016. In what founding director Eric Ginsburg dubs "The Big Freeze" Edition.&nbsp; Fridgers return to the historic heart of the neighborhood where the Fair was born in May 2016 with a venue/producer collaboration that marries the current character of the Lower East Side as THE burgeoning art district downtown and it's history as a multicultural melting pot and a center of Jewish life.</p> <p style="text-align: justify;">Most exhibitors this time around are returnees to the small fair who enjoy the creative freedom Fridge provides in term of form and content, especially in a flexible space such as this. They range from artists such as recent Mana resident Johan Wahlstrom, and Miami's Virginia Erdie (who will once again also present works by her young students), and photographer David Graham, to innovative galleries and collectives such as Pittsburgh's BoxHeart Gallery, NYC's own Con Artist Collective, Vanderplas Gallery presenting work of Konstantin Bokov, and the home of the first Fridge Art Fair, Gallery OneTwentyEight presenting an installation by Kazuko Miyamoto and David Fenn.<br clear="none" />A site&shy;specific installation by Angel Orensanz will be featured on the main floor of the venue. other special presentations include a marathon opening vernissage (4&shy;-11pm&nbsp;<a dir="ltr">Saturday May 7</a>, music, goodies and refreshments) poetry readings by Jeffrey Cyphers Wright and Jason Greendyk, Eric Ginsburg's Doggie Salon (bring your pet, portion of proceeds benefit BARC). All admission to Fridge is by suggested donation.</p> <p style="text-align: justify;">Angel Orensanz Foundation occupies a former Ashe Synagogue, a registered Historic Landmark that currently serves many functions including as a house of worship. It is the Oldest Synagogue in New York City and is often considered the birthplace of Reform Judaism. After the DOB closed the venue and forced the Fair to relocate in 2014, this edition, on the heels of the Center's re&shy;opening, has deep meaning for the Fair. "It's not only the best location for us," says fair curator Linda DiGusta, "It has the best spirit."</p> <p style="text-align: justify;">&nbsp;</p> <p class="font_7" style="text-align: center;">Fair Dates: May 7-9</p> <p class="font_7" style="text-align: center;"><a>Angel Orensanz&nbsp;Foundation</a></p> <p class="font_7" style="text-align: center;">172 Norfolk Street</p> <p class="font_7" style="text-align: center;">Opening "Fridge Freeze" gala to&nbsp;benefit The</p> <p class="font_7" style="text-align: center;">Angel Orensanz&nbsp;Foundation for The Arts.</p> <p class="font_7" style="text-align: center;">May 7, 8-11 PM, 2016</p> <p class="font_7" style="text-align: center;">For press/vip info please email<a></a></p> <p class="font_7" style="text-align: center;">FAIR HOURS:</p> <p class="font_7" style="text-align: center;">4PM-8 PM Saturday, May 7 2016</p> <p class="font_7" style="text-align: center;">11AM-11PM Sunday, May 8 2016</p> <p class="font_7" style="text-align: center;"><strong>&amp;</strong></p> <p class="font_7" style="text-align: center;">10 AM - 5 PM Monday, May 9 2016</p> <p class="font_7" style="text-align: center;"><strong>ADMISSION:&nbsp;</strong></p> <p class="font_7" style="text-align: center;"><strong>ADULTS $20</strong></p> <p class="font_7" style="text-align: center;"><strong>STUDENTS &amp; SENIORS $10</strong></p> Mon, 02 May 2016 05:20:26 +0000 Group Show - National Academy Museum - May 18th - May 31st Sun, 01 May 2016 17:31:21 +0000 Arash Hanaei - Ludlow 38 - April 24th - June 5th <p style="text-align: justify;">Arash Hanaei has been portraying the city of Tehran since 2008. His digital drawing series entitled&nbsp;<em>Capital</em>&nbsp;dissects its shifting pattern of streets and their inherent contradictions. Based upon his own documentary photographs, the artist interprets the capital city&rsquo;s constant transformation and the chaotic superimposition of dissonant layers with formal austerity. Primarily black-and-white or greyish-green, the drawings reduce the original amount of information on the photographic image to a minimum and direct the viewer&rsquo;s attention to the cultural and geopolitical underpinnings inscribed in the urban landscape.<br /><br />Among other works,&nbsp;<em>Capital Complex</em>&nbsp;presents Hanaei&rsquo;s history of advertising in Tehran&rsquo;s public space narrated in two series, one featuring billboards and another one murals with war heroes and martyrs. After the Iranian Revolution and during the Iran-Iraq war, propaganda images took the place of advertisements for foreign products. Ever since the latter began making their way back into the cityscape, they have coexisted with the other, political images and texts, often displaying slogans with similar language. Hanaei&rsquo;s visual alphabet of the dynamics of past and present in Tehran recounts a local history within its global context.<br /><br />In Hanaei&rsquo;s first solo exhibition in the United States, Tehran&rsquo;s urban architecture merges with the display walls at MINI/Goethe-Institut Curatorial Residencies Ludlow 38. The visual works are presented alongside a new audio piece in which the artist reflects on a future project devoted to the capital city of Paris.<br /><br />The exhibition opens this Sunday, April 24,&nbsp;6-8pm, and will be on view through June 5.&nbsp;Please also join us for an artist talk with Arash Hanaei on April 27, 7pm. Visit our&nbsp;<a href=";id=f6e5ac5b98&amp;e=49c63fef92" target="_blank">website</a>&nbsp;for more information.</p> Sun, 01 May 2016 06:51:04 +0000 - Printed Matter, Inc. - May 5th 5:30 PM - 8:00 PM <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;"><span style="line-height: 31.9992px; text-align: -webkit-center;">Published by&nbsp;</span><a style="color: #000000; font-family: Palatino, 'Palatino Linotype', 'Palatino LT STD', 'Book Antiqua', Georgia, serif; font-size: 24px; line-height: 31.9992px; text-align: -webkit-center;" href=";id=111ef244e1&amp;e=7afeabc22d" target="_blank">Timothy Taylor</a><span style="line-height: 31.9992px; text-align: -webkit-center;">&nbsp;and&nbsp;</span><a style="color: #000000; font-family: Palatino, 'Palatino Linotype', 'Palatino LT STD', 'Book Antiqua', Georgia, serif; font-size: 24px; line-height: 31.9992px; text-align: -webkit-center;" href=";id=a6d70c1ee3&amp;e=7afeabc22d" target="_blank">Sternberg Press</a></span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small; line-height: 24.004px; text-align: center;">A fully illustrated publication, with newly commissioned texts by</span><br style="font-family: Palatino, 'Palatino Linotype', 'Palatino LT STD', 'Book Antiqua', Georgia, serif; font-size: 17px; line-height: 24.004px; text-align: center;" /><span style="font-family: arial, helvetica, sans-serif; font-size: small; line-height: 24.004px; text-align: center;">Piper Marshall and Domenick Ammirati, designed by Zak Group.</span></p> <table style="font-family: Palatino, 'Palatino Linotype', 'Palatino LT STD', 'Book Antiqua', Georgia, serif; color: #000000; line-height: 1.3333; font-size: 24px; width: 620px;" width="620" border="0" cellspacing="0" cellpadding="10"> <tbody> <tr> <td style="font-family: Palatino, 'Palatino Linotype', 'Palatino LT STD', 'Book Antiqua', Georgia, serif; margin: 0px; border-collapse: collapse;" align="center" valign="center">Published by&nbsp;<a style="color: #000000;" href=";id=111ef244e1&amp;e=7afeabc22d" target="_blank">Timothy Taylor</a>&nbsp;and&nbsp;<a style="color: #000000;" href=";id=a6d70c1ee3&amp;e=7afeabc22d" target="_blank">Sternberg Press</a></td> </tr> </tbody> </table> <table style="font-family: Palatino, 'Palatino Linotype', 'Palatino LT STD', 'Book Antiqua', Georgia, serif; color: #000000; font-size: 17px; line-height: 24.004px; width: 600px;" width="600" border="0" cellspacing="0" cellpadding="0"> <tbody> <tr> <td style="font-family: Palatino, 'Palatino Linotype', 'Palatino LT STD', 'Book Antiqua', Georgia, serif; margin: 0px; border-collapse: collapse;" align="left"> <p style="margin: 10px 0px;">&nbsp;</p> <div style="text-align: center;">A fully illustrated publication, with newly commissioned texts by<br />Piper Marshall and Domenick Ammirati, designed by Zak Group.</div> </td> </tr> </tbody> </table> Sun, 01 May 2016 06:41:51 +0000 Kirk Mangus - James Cohan Gallery - Lower East Side - May 20th - June 26th Sat, 30 Apr 2016 18:14:45 +0000 Lee Mullican - James Cohan Gallery - May 12th - June 18th <div class="release"> <div class="text"> <div style="text-align: justify;">James Cohan is pleased to present an exhibition of paintings by the late California artist Lee Mullican (1919-1998) in the Chelsea gallery space from May 12 through June 11, 2016. &nbsp;The exhibition will feature paintings and drawings from the late 1950s through the 1960s. An exhibition of paintings produced by Mullican between 1949 and 1961 will be on view at Susan Inglett Gallery, located at 522 West 24 Street, from April 28 through June 4.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Mullican&rsquo;s productive sixty-year career was launched in San Francisco as one of three artists who identified as the Dynaton Group. Through a chance meeting, he became close to Gordon Onslow Ford and later met the Surrealist painter, Wolfgang Paalen, who had published the influential Dyn Magazine. Their shared interests culminated in the seminal&nbsp;<em>Dynaton</em>exhibition at San Francisco Museum of Art in 1951 which not only included the work of the three artists, but also featured objects from their own collections of pre-Columbian and Native American artifacts. These works by indigenous artists including kachina dolls, Zuni wood carvings, Sioux pictographs, Navajo rugs, Rio Grande blankets and pre-Columbian and Northwest coast art, were treasured for their powerful rhythms. Though short-lived, the Dynaton Group&rsquo;s philosophies became foundational to his career.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Mullican&rsquo;s paintings are a uniquely West Coast exploration into abstraction; one that is grounded in content, full of mysticism and connections to the transcendent. Mullican describes, &ldquo;We were involved with a kind of meditation, and for me this had a great deal to do with the study of nature, and the study of pattern&hellip;We were dealing with art as a way of meditation.&rdquo; &nbsp;This outlook was in contrast to the heroic, action-driven work made by their contemporaries, the New York School of Abstract Expressionists, on the East Coast.</div> <div style="text-align: justify;">&nbsp;</div> </div> </div> <div class="release"> <div class="text"> <div style="text-align: justify;">Through a close exploration of nature and the prehistoric past, Mullican focused on finding new meanings through formal problems of composition, color and mark making. He created a unique method of applying paint to the canvas with the thin edge of a printer&rsquo;s knife, building up the surface with textured, fine lines--a technique he referred to as striation. This signature mark-making &ldquo;excited the surface&rsquo;&rdquo; and the paintings seemed to &ldquo;vibrate into being.&rdquo; The high-keyed yellows in many conjure up the golden lights of a radiating cosmos, while in others the deep reds, violets and browns form mystic mountains inspired by &ldquo;walks in landscapes that appeared from the depths of the mind.&rdquo;&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Always a seeker, Mullican culled influences from a wide range including his job as a topographer during WWII from which he developed the mapmaker&rsquo;s bird&rsquo;s-eye perspective, to Surrealism&rsquo;s automatism, to Zen Buddhism and later from his studies of the tantric art of India, finding a kinship with the conflation of concepts of outer and inner-space.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Lee Mullican was born in Chickasha, Oklahoma in 1919 and died in Los Angeles in 1998. He attended the Kansas City Art Institute after transferring from the University of Oklahoma in 1941. Upon his graduation from the Institute in 1942, Mullican was drafted into the army, serving for four years as a topographical draughtsman. Mullican traveled to Hawaii, Guam and Japan before ending his tenure in the army in 1946, when he moved to San Francisco. After winning a prestigious Guggenheim Fellowship in 1959, he spent a year painting in Rome before returning to Los Angeles where he joined the teaching staff of the UCLA Art Department in 1961, keeping his position for nearly 30 years. He divided the later part of his life between his homes in Los Angeles and Taos, traveling internationally and co- organizing exhibitions at UCLA. Mullican&rsquo;s works are included in the permanent collections of the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Los Angeles County Museum of Art, and the Metropolitan Museum of Art, as well as in numerous other institutions.</div> </div> </div> Sat, 30 Apr 2016 18:16:34 +0000 The Propeller Group - James Cohan Gallery - Lower East Side - April 8th - May 15th <div class="release"> <div class="text"> <p style="text-align: justify;">James Cohan is pleased to announce the opening of an exhibition by The Propeller&nbsp;Group, running from April 8 through May 15 at the gallery&rsquo;s Lower East Side location.&nbsp;The exhibition presents the New York premier of&nbsp;<em>The Living Need Light, The Dead Need&nbsp;Music,</em>&nbsp;a film work originally created for&nbsp;<em>Prospect.3</em>&nbsp;New Orleans biennial in 2014. Also&nbsp;on view is&nbsp;<em>AK-47 vs. M16,&nbsp;</em>made in collaboration with Grand Arts, Kansas City and&nbsp;presented at Venice Biennale in 2015. This is the artist&nbsp;collective&rsquo;s first exhibition at James Cohan.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Founded in 2006, The Propeller Group (TPG) is a collaboration between three&nbsp;multi-disciplinary artists based in Ho Chi Minh City and Los Angeles; Phunam,&nbsp;Matt Lucero and Tuan Andrew Nguyen. Their multimedia works use the languages&nbsp;of advertising and politics to initiate conversations about power, propaganda and&nbsp;manipulation, especially as they relate to fallen Communist dictatorships and the&nbsp;rapid rise of capitalism in Vietnam and beyond. TPG became well-known for their&nbsp;2011 advertising parody<em>Television Commercial For Communism</em>, included in the New&nbsp;Museum&rsquo;s<em>Ungovernables</em>&nbsp;2012 Triennial exhibition. Consistently, their work crosses&nbsp;traditional lines between art and mainstream media. They explain, &ldquo;We like to play. We&nbsp;align ourselves with different cultural producers. We like to let ourselves get ingested&nbsp;into the bellies of big social beasts such as television, advertising, or the various&nbsp;manifestations of pop-culture.&rdquo;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Among the most notable works included in&nbsp;<em>Prospect.3</em>&nbsp;New Orleans,&nbsp;<em>The Living&nbsp;Need Light, The Dead Need Music</em>&nbsp;(2014) borrows its title from a Vietnamese&nbsp;Buddhist proverb, which calls for the playing of celebratory music for the dead.&nbsp;The film, shown in the main gallery, follows several funeral processions led by&nbsp;brass musicians and a cast of surreal characters including spiritual mediums,&nbsp;professional criers and street performers that turn the mourning ceremonies into&nbsp;euphoric rites of passage. Tapping into the similarity between funeral processions&nbsp;in Vietnam and New Orleans&mdash;they are both led by brass bands, TPG explores,&nbsp;&ldquo;the elusive butterfly effect&mdash;the theory of &lsquo;non-locality,&rsquo; whereby two distinct&nbsp;phenomena affect each other across a vast expanse of space and time.&rdquo;</p> </div> </div> <div class="release"> <div class="text"> <div style="text-align: justify;">In the back gallery, the work&nbsp;<em>AK47 vs. M16</em>&nbsp;(2015) explores the history&nbsp;of two assault rifles (Soviet-made and US-made) born during the Vietnam War.&nbsp;These almost identical weapons represent the philosophical paradox inherent&nbsp;in the notion of opposing sides, as during the Cold War and Vietnam War. In&nbsp;a highly controlled environment overseen by ballistics experts, an AK47 and a&nbsp;M16 rifle were aimed at each other and triggered simultaneously to discharge&nbsp;their ammunition into a gelatinous block. The block is made specifically for&nbsp;ballistic testing to mimic the density of human tissue. The sculptures capture the&nbsp;moment of impact of the two bullets in what the artists refer to as the &ldquo;stalemate&nbsp;of a moment&hellip;like a freeze frame.&rdquo; The entire project is comprised of 21 unique&nbsp;sculptures each featuring a collision of two bullets inside a block and a video&nbsp;filmed at 100,000 frames per second.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In June 2016, TPG&rsquo;s first survey exhibition will open at MCA Chicago and will travel to the Blaffer Art Museum, Houston and then to the Phoenix Art Museum. The exhibition is co-organized by MCA Chicago, the Blaffer Art Museum, and the Phoenix Art Museum and has an accompanying catalog.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">International exhibitions include the G&ouml;teborg International Biennial, Sweden (2015); the 56th Venice Biennale (2015);&nbsp;<em>Prospect.3</em>, New Orleans (2014); Los Angeles Biennial (2012); New Museum Triennial (2012); and Guangzhou Triennial (2008).</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">TPG&rsquo;s work is included in collections of the Guggenheim Museum, NY; MoMA,&nbsp;NY; LACMA, CA; Carnegie Museum, PA; New Orleans Museum of Art; Speed&nbsp;Museum, Louisville, KY; Queensland Gallery of Modern Art, Brisbane, AU; Burger&nbsp;Collection, Hong Kong; and Singapore Art Museum.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In addition to TPG&rsquo;s work as a collective, each member is involved in their&nbsp;individual pursuits. Phunam (b. 1974) was trained as a restorer of Khmer&nbsp;and Vietnamese stone and bronze antique sculptures. He is a self-taught&nbsp;cinematographer who has produced television commercials, music videos,&nbsp;documentaries, short films and television dramas. Matt Lucero (b. 1976) has a&nbsp;background in physics and received his MFA from the California Institute of Art&nbsp;and has been widely exhibited. Tuan Andrew Nguyen (b. 1976) received an MFA&nbsp;from the California Institute of the Arts and is one of the founders of San Art, an&nbsp;artist initiated exhibition space in Ho Chi Minh City.</div> </div> </div> Sat, 30 Apr 2016 18:10:49 +0000 Spencer Finch - James Cohan Gallery - May 7th 10:00 AM - 12:00 PM <p style="text-align: justify;">James Cohan is pleased to announce a book signing and artist talk by Spencer Finch on Saturday, May 7 at the gallery's 533 West 26 Street location to celebrate the release of a new mongraphic publication,&nbsp;<a href="" target="_blank"><em>Spencer Finch: The Brain Is Wider Than the Sky</em></a>.&nbsp;<br />&nbsp;</p> <p style="text-align: justify;">Spanning the breadth of Spencer Finch's career, this new monograph explores his fascination with light and color in pursuit of the most elusive and inneffable human experiences. The publication, edited by Susan Cross with contributions from Mark Godfrey and James Rondeau, has been published by Prestel Publishing and will be available for purchase at the gallery.</p> <p style="text-align: justify;"><br />For more information on&nbsp;<strong>Spencer Finch&nbsp;</strong>please visit our&nbsp;<a href="" target="_blank">website</a>.&nbsp;</p> <p style="text-align: justify;"><br />For press inquiries, please contact Jeffrey Waldron at&nbsp;<strong><a href="" target="_blank"></a>&nbsp;</strong>or&nbsp;<a href="tel:212.714.9500" target="_blank">212.714.9500</a>.<br />&nbsp;</p> <p>For further inquiries, please contact Emily Ruotolo at&nbsp;<strong><a href="" target="_blank"></a></strong>&nbsp;or&nbsp;<a href="tel:212.714.9500" target="_blank">212.714.9500</a>.</p> Sat, 30 Apr 2016 18:04:42 +0000 Dora Budor - Ramiken Crucible - May 1st - June 5th Sat, 30 Apr 2016 17:43:50 +0000 Jason Moran - Luhring Augustine Bushwick - April 29th - July 30th <p style="text-align: justify;">Luhring Augustine is pleased to announce the opening of&nbsp;<em>STAGED</em>, the first solo exhibition by the musician/composer/artist Jason Moran, in our Bushwick gallery. &nbsp;Moran's rich and varied work in both music and visual art mines entanglements in American cultural production. &nbsp;He is deeply invested in complicating the relationship between music and language, exploring ideas of intelligibility and communication. &nbsp;In his first gallery exhibition, Moran will continue to investigate the overlaps and intersections of jazz, art, and social history, provoking the viewer to reconsider notions of value, authenticity, and time.&nbsp;<br />&nbsp;<br /><em>STAGED</em>&nbsp;will include a range of objects and works on paper, including two large-scale sculptures from Moran&rsquo;s<em>STAGED</em>&nbsp;series that were recently exhibited in the 56th Biennale di Venezia.&nbsp; Based on two historic New York City jazz venues that no longer exist (the Savoy Ballroom and the Three Deuces), the sculptures are hybrids of reconstructions and imaginings.&nbsp; Works on paper and smaller objects will be in dialogue with the stage sculptures on many levels: citing performance and process, employing sound, and exploiting the visual history of jazz in America.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Moran was born in Houston, TX in 1975.&nbsp; He was made a MacArthur Fellow in 2010 and is currently the Artistic Director for Jazz at The Kennedy Center in Washington DC; he also teaches at the New England Conservatory in Boston, MA. &nbsp;Moran&rsquo;s activities comprise both his work with masters of jazz such as Charles Lloyd, the late Sam Rivers, Henry Threadgill, Cassandra Wilson, and his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) as well as a number of partnerships with visual artists, including Stan Douglas, Theaster Gates, Joan Jonas, Glenn Ligon, Adam Pendleton, Adrian Piper, Lorna Simpson, and Kara Walker. &nbsp;Commissioning institutions of Moran&rsquo;s work include the Walker Art Center, Minneapolis, the Philadelphia Museum of Art, the Dia Art Foundation, New York, the Whitney Museum of American Art, New York, Jazz at Lincoln Center, New York, and Harlem Stage, New York. &nbsp;Moran has a long-standing collaborative practice with his wife, the singer Alicia Hall Moran; as named artists in the 2012 Whitney Biennial, they created&nbsp;<em>BLEED</em>, a five-day series of live performances that crossed genres and cultural barriers.&nbsp; He is currently curating the Artists Studio, series of performances in the Veterans Room of the Park Avenue Armory, New York City, which will run throughout 2016. &nbsp;Moran also recently launched his own recording label, Yes Records, which will release his work as well as that by Ms. Hall Moran.&nbsp; In Fall 2017, Moran will have his first solo museum exhibition at the Walker Art Center in Minneapolis, MN.</p> Sat, 30 Apr 2016 17:13:23 +0000 Danny Lyon - Whitney Museum of American Art - June 17th - September 25th <div id="mmi_108989" class="magic-module page-magic-module text-module two-thirds-width" data-id="319445" data-instance-id="108989"> <div class="text-module-text text-larger"> <p style="text-align: justify;"><em>Danny Lyon: Message to the Future</em>&nbsp;is the first comprehensive retrospective of the career of Danny Lyon (b. 1942) to be presented in twenty-five years. The exhibition is organized by the Fine Arts Museums of San Francisco and will premiere at the Whitney in June 2016 before traveling to San Francisco.</p> <p style="text-align: justify;">The exhibition assembles approximately 175 photographs and related films and ephemera to highlight Lyon&rsquo;s concern with social and political issues and the welfare of individuals considered by many to be on the margins of society. The presentation includes many objects that have seldom or never been exhibited before and offers a rare look at works from Lyon&rsquo;s archives alongside important loans from major public and private collections in the United States. This is also the first exhibition to assess the artist&rsquo;s achievements as a filmmaker.</p> <p style="text-align: justify;">A leading figure in the American street photography movement of the 1960s, Lyon has distinguished himself by the personal intimacy he establishes with his subjects and the inventiveness of his practice. With his ability to find beauty in the starkest reality, Lyon has through his work provided a charged alternative to the bland vision of American life often depicted in the mass media.</p> <p class="last-child" style="text-align: justify;"><em>Danny Lyon: Message to the Future</em>&nbsp;is organized by Julian Cox, Founding Curator of Photography for the Fine Arts Museums of San Francisco (FAMSF) and Chief Curator at the de Young Museum. The installation at the Whitney Museum is overseen by Elisabeth Sussman, Curator and Sondra Gilman Curator of Photography.</p> </div> </div> <p style="text-align: justify;"><a name="mmi_109978"></a></p> <div id="mmi_109978" class="magic-module page-magic-module verbatim-module two-thirds-width" data-id="11601" data-instance-id="109978"> <div class="text-module-text"> <p class="last-child" style="text-align: justify;">Generous support for&nbsp;Danny Lyon: Message to the Future&nbsp;is provided by the Henry Peterson Foundation.</p> </div> </div> Sat, 30 Apr 2016 16:11:14 +0000 Stuart Davis - Whitney Museum of American Art - June 10th - September 25th <div id="mmi_103754" class="magic-module page-magic-module text-module one-half-width" data-id="319933" data-instance-id="103754"> <div class="text-module-text text-larger"> <p style="text-align: justify;">Stuart Davis (1892&ndash;1964) is one of the preeminent figures of American modernism. With a long career that stretched from the early twentieth century well into the postwar era, he brought a distinctively American accent to international modernism. Faced with the choice between realism and pure abstraction early in his career, Davis invented a vocabulary that harnessed the grammar of abstraction to the speed and simultaneity of modern America. By merging the bold, hard-edged style of advertising with the conventions of European avant-garde painting, he created an art endowed with the vitality and dynamic rhythms that he saw as uniquely modern and American. In the process, he achieved a rare synthesis: an art that is resolutely abstract, yet at the same time exudes the spirit of popular culture.</p> <p style="text-align: justify;">The exhibition is unusual in its focus on Davis&rsquo;s mature career and on his working method of using preexisting motifs as springboards for new compositions. From 1939 on, Davis rarely painted a work that did not make reference, however hidden, to one or more of his earlier compositions. Such &ldquo;appropriation&rdquo; is a distinctive aspect of his mature art. This presentation will be the first major exhibition to consistently hang Davis&rsquo;s later works side by side with the earlier ones that inspired them. With approximately one hundred works, from his paintings of consumer products in the early 1920s to the work left on his easel at his death in 1964, the exhibition will highlight Davis&rsquo;s unique ability to transform the chaos of everyday life into a structured yet spontaneous order that communicates the wonder and joy that can be derived from the color and spatial relationships of everyday things.&nbsp;</p> <p class="last-child" style="text-align: justify;"><em>Stuart Davis: In Full Swing</em>&nbsp;is co-organized by Barbara Haskell, Curator, Whitney Museum of American Art, New York, and Harry Cooper, Curator and Head of Modern Art, National Gallery of Art, Washington, DC, with Sarah Humphreville, Curatorial Assistant, Whitney Museum of American Art, New York.&nbsp;</p> </div> </div> <p style="text-align: justify;"><a name="mmi_110784"></a></p> <div id="mmi_110784" class="magic-module page-magic-module verbatim-module one-half-width" data-id="12421" data-instance-id="110784"> <div class="text-module-text"> <p style="text-align: justify;"><em>Stuart Davis: In Full Swing</em>&nbsp;is organized by the Whitney Museum of American Art, New York, and the National Gallery of Art, Washington.&nbsp;<br /><br />In New York, the exhibition is sponsored by</p> <p style="text-align: justify;"><a href=""><img src="" alt="Morgan Stanley" /></a><br /><br />Major support is provided by the Henry Luce Foundation and the Terra Foundation for American Art.<br /><br />Significant support is provided by the Philip and Janice Levin Foundation and Ted and Mary Jo Shen.<br /><br />Generous support is provided by Cheryl and Blair Effron, Karen and Kevin Kennedy, Garrett and Mary Moran, and Laurie M. Tisch.<br /><br />Additional support is provided by the Alturas Foundation and Jeanne Donovan Fisher.<br /><br />Major endowment support is also provided by the Barbara Haskell American Fellows Legacy Fund.</p> <p><a href=""><img src="" alt="The Henry Luce Foundation" /></a><a href="">&nbsp;<img src="" alt="TERRA" /></a></p> </div> </div> Sat, 30 Apr 2016 16:08:17 +0000 Liz Craft, Rochelle Goldberg, Elizabeth Jaeger, Maggie Lee, Win McCarthy - Whitney Museum of American Art - May 13th - August 21st <div id="mmi_109280" class="magic-module page-magic-module text-module one-half-width" data-id="305481" data-instance-id="109280"> <div class="text-module-text text-larger"> <p style="text-align: justify;">This exhibition brings together artists Liz Craft, Rochelle Goldberg, Elizabeth Jaeger, Maggie Lee, and Win McCarthy, who often conceive of interconnected works that suggest strange invented worlds. While each artist creates discrete objects, these works act in direct dialogue with one another&mdash;at times alluding to furniture or other functional items&mdash;in order to generate a broader context that extends beyond their individual physical forms. They often make use of humble materials such as wood, resin, and ceramic clay, putting a renewed emphasis on the act of making and materiality. The exhibition&rsquo;s installation on the eighth floor will take on an otherworldly quality by using the galleries as a single, surreal landscape yet drawn from ideas tied to a common social reality.</p> <p style="text-align: justify;">The title&nbsp;<em>Mirror Cells</em>&nbsp;references mirror neurons, specialized brain cells that are activated when observing the behavior of others. Researchers have theorized that these cells allow us to feel the joy and pain of others and associate them with understanding human intention and feelings of empathy. Accordingly, the works presented in the exhibition are often made as empathetic responses to events such as the loss of a loved one, preoccupations of a particular community, or changes that impact the world more broadly. Referencing both fantasy and real-life experience, they address broad concerns like inequality and climate change as well as more personal narratives connected to trauma and loss.</p> <p class="last-child" style="text-align: justify;"><em>Mirror Cells</em>&nbsp;is organized by associate curators Christopher Y. Lew and Jane Panetta.</p> </div> </div> <p style="text-align: justify;"><a name="mmi_109540"></a></p> <div id="mmi_109540" class="magic-module page-magic-module verbatim-module one-half-width" data-id="12175" data-instance-id="109540"> <div class="text-module-text"> <p class="last-child" style="text-align: justify;">Generous support is provided by Jackson Tang.&nbsp;<br /><br />Additional support is provided by Eleanor Cayre.</p> </div> </div> Sat, 30 Apr 2016 16:05:33 +0000 Cecil Taylor - Whitney Museum of American Art - April 15th - April 24th <div id="mmi_109065" class="magic-module page-magic-module text-module two-thirds-width" data-id="320673" data-instance-id="109065"> <div class="text-module-text text-larger"> <p style="text-align: justify;"><span style="font-size: small;">From February 26 through May 14, 2016, the Whitney Museum of American Art will presentOpen Plan, an experimental five-part exhibition using the Museum&rsquo;s dramatic fifth-floor as a single open gallery, unobstructed by interior walls. The largest column-free museum exhibition space in New York, the Neil Bluhm Family Galleries measure 18,200 square feet and feature windows with striking views east into the city and west to the Hudson River, making for an expansive and inspiring canvas.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Pianist&nbsp;Cecil Taylor&nbsp;(b. 1929) is one of America's most innovative and uncompromising living musicians. His pioneering work in free jazz, which draws on myriad different musical styles conveyed through radical improvisation, will be featured in the fifth-floor gallery, where he will perform on occasion, along with homage performances by friends and fellow artists. This exhibition celebrates the artist&rsquo;s extraordinary life and work in a retrospective environment that will include documentation of Taylor&rsquo;s career through archival videos, audio, notational scores, photographs, poetry, and other ephemera, accompanied by a series of live performances featuring over twenty of Taylor&rsquo;s musical collaborators, as well as dancers, playwrights, poets, filmmakers and writers who have been deeply involved in his work (see complete schedule of events below).&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Participants include Hilton Als, Cheryl Banks-Smith, Clark Coolidge, Andrew Cyrille, Steve Dalachinsky, Thulani Davis, Chris Funkhouser, Henry Grimes, Tristan Honsinger, Nathaniel Mackey, Dianne McIntyre, Jemeel Moondoc/Ensemble Muntu, Tracie Morris, Fred Moten, William Parker, Enrico Rava, A.B. Spellman, Anne Waldman, Heather Watts, and others. Throughout the galleries, listening stations will provide the chance to hear Taylor&rsquo;s albums. Screenings of important films documenting Taylor&rsquo;s life and performances will also be presented, including the world premiere of a new feature length performance film,&nbsp;The Silent Eye, that was shot in Taylor&rsquo;s home over three days in January 2016.</span></p> <p class="last-child" style="text-align: justify;"><br /><span style="font-size: small;">Open Plan: Cecil Taylor&nbsp;is organized by curator and curator of performance Jay Sanders and Lawrence Kumpf, artistic director, Blank Forms, with senior curatorial assistant Greta Hartenstein, and Andrew W. Mellon Curatorial Fellow Lauren Rosati.</span></p> </div> </div> <p style="text-align: justify;"><span style="font-size: small;"><a name="mmi_109679"></a></span></p> <div id="mmi_109679" class="magic-module page-magic-module text-module two-thirds-width" style="text-align: justify;" data-id="320674" data-instance-id="109679"> <div class="text-module-text text"> <p><span style="font-size: small;">Major support for&nbsp;Open Plan&nbsp;is provided by the Philip and Janice Levin Foundation and the National Committee of the Whitney Museum of American Art.</span></p> <p><span style="font-size: small;">Significant support is provided by The Brown Foundation, Inc., of Houston and Donald R. Mullen, Jr.</span></p> <p><span style="font-size: small;">Generous support is provided by Diane and Adam E. Max with additional support from Alexander S. C. Rower, Joseph Rosenwald Varet and Esther Kim Varet, and ISSUE Project Room.</span></p> <p><span style="font-size: small;">Major funding for the Whitney's Performance Program is provided by The Andrew W. Mellon Foundation, with generous support also provided by the Mertz Gilmore Foundation and the Performance Committee of the Whitney Museum of American Art.</span></p> <p class="last-child"><span style="font-size: small;">B&ouml;sendorfer 280SP concert grand piano is provided in-kind by Yamaha Artist Services, New York.</span></p> </div> </div> <p style="text-align: justify;"><span style="font-size: small;"><a name="mmi_112298"></a></span></p> <div id="mmi_112298" class="magic-module page-magic-module text-module two-thirds-width" data-id="320675" data-instance-id="112298"> <div class="text-module-text text-smaller"> <p style="text-align: justify;"><span style="font-size: small;">The curators would like to thank the following individuals for their invaluable guidance, support, and advice:</span></p> <p class="last-child" style="text-align: justify;"><span style="font-size: small;">Nicola Adriani, Yuji Agematsu, Peggy Ahwesh, Laura Aknin, Mark Amitin, Michael Anthony/Studio Caf&eacute;, Larry Appelbaum, Mikhail Baryshnikov, Robin Bell-Stevens, Charles Bernstein, Jennifer Bertani, Robert Bielecki, Francois Bonnet, Karen Borca, Emanuel Campbell, Kayla Coleman, Nena Couch, Pat Cruz, Lisa Darms, Diane Jenkins, Diedrich Diedrichsen, Jennifer Eberhardt, Amir ElSaffar, Andrea Felder, David First, Jeffrey Fraenkel, Phil Freeman, Lee Friedlander, Josh Friedman, Jost Gebers, John Gennari, Alan Green, Sasha Greene, Zev Greenfield, Margaret Davis Grimes, Mario Guidi, Tali (Chiyong) Han, Morgan Harris, Bill Imperial, Rin Ishihara, Bennett Jackson, Olivier Kaeppelin, Emily King, Cem Kurosman/Blue Note, Andrew Lampert, Angela Lawrence, Jess Lee, Steven Leiber Trust, Chantal Darcy Lette, Eyal Levi, Jeremy Liebman, Maira Liriano, John Litweiler, Davide Lorenzon, Howard Mandel, Ron Mann, Makia Matsumara/Yamaha Artistic Services, Tyler Maxim, Tommy McCutchon, The Estate of Fred W. McDarrah, Joshua McKeon, Sarah Michelson, Martin Milgrim, Jason Moran, Meredith Mowder, Jill Newman, David G. Null, Jim O&rsquo;Rourke, Veryl Oakland, Frazer Pennebaker, Sierra Pettengill, Georgiana Pickett, Benjamin Piekut, Melissa Ragona, Ozzie Rodriguez, Vernon Scott, Bill Seery, Fred Seibert, Cynthia Sesso, Alan Silva, Dominique Singer, Kathy Sloane, Libby Smigel, Kaegan Sparks, Charles Steiner, Tom Surgal, Elizabeth Surles, Ben Taylor, Sharon Vogel, Matthew Walker, Monroe Warshaw, Adam Wilner, Damian Woetzel, Matt Wolf, Billy Woodberry, Tim Wyskida, Mary Yearwood, Ben Young, and all the artists and participants.</span></p> <div class="title" style="text-align: justify;"> <h2><span style="font-size: small;">ABOUT THE ARTIST</span></h2> </div> <div class="text-module-text text-larger"> <p style="text-align: justify;"><span style="font-size: small;">Cecil Taylor (b. 1929) is a towering, sometimes divisive figure within twentieth-century music. In the early 1960s, with fellow maverick artists Ornette Coleman, Albert Ayler and others, he revolutionized jazz by extending bebop into a radical terrain dubbed the "New Thing" or "free jazz"&mdash;the latter a term with political as well as aesthetic connotations given the social changes underway at the time in America. For Taylor, freedom meant a deep synthesis of the modern composers such as B&eacute;la Bart&oacute;k and Igor Stravinsky that he encountered during his studies at the New England Conservatory of Music with the nuanced and original piano innovations of Thelonious Monk, Horace Silver, Bud Powell, and Duke Ellington, elaborated into an uncharted territory.</span></p> <p class="last-child" style="text-align: justify;"><span style="font-size: small;">Taylor has extended the potential of jazz as an art form to include an exceptionally wide range of intellectual, conceptual, and spiritual expressions. The sheer speed and percussive attack of his piano playing, its extreme density of both ideas and notes, and his complete unlocking of pitch, harmony, rhythm, and tempo to exploit their vast multiplicities has for more than fifty years left some listeners baffled or overwhelmed and others ecstatically transfixed. Whether he is playing solo piano or leading one of his bands&mdash;which he often calls "Units" to underscore the structural, almost architectural nature of their improvisations&mdash;Taylor has remained an uncompromising musical innovator of the highest order. For him, music exists in a continuum that extends to all art forms, and his work is deeply informed by the artists he loves, whether musicians, dancers, architects, or poets. His expansive view of music has led him to write poetry himself (though rarely to publish it), and to branch out into dance and theater through his own performances and by working with a remarkably broad range of collaborators including The Living Theater, Dianne McIntyre, Adrienne Kennedy, Mikhail Baryshnikov, Heather Watts, and Min Tanaka.</span></p> </div> </div> </div> Sat, 30 Apr 2016 15:58:36 +0000 Michael Heizer - Whitney Museum of American Art - March 25th - April 10th <div id="mmi_109059" class="magic-module page-magic-module text-module two-thirds-width" data-id="317734" data-instance-id="109059"> <div class="text-module-text text-larger"> <p style="text-align: justify;">From February 26 through May 14, 2016, the Whitney Museum of American Art will present Open Plan, an experimental five-part exhibition using the Museum&rsquo;s dramatic fifth-floor as a single open gallery, unobstructed by interior walls. The largest column-free museum exhibition space in New York, the Neil Bluhm Family Galleries measure 18,200 square feet and feature windows with striking views east into the city and west to the Hudson River, making for an expansive and inspiring canvas.</p> <p class="last-child" style="text-align: justify;">Michael Heizer&rsquo;s&nbsp;(b. 1944) large-scale earth works have redefined the parameters of sculpture. He will be represented at the Whitney by his 1970 installation,&nbsp;Actual Size: Munich Rotary, a full-scale photographic documentation of the horizon from inside an 18-foot-deep hole that Heizer dug in the earth in Munich, Germany. Comprised of six black-and-white glass slide projections, six custom-made steel projectors, and six steel pipes with wood platforms, this vast projected work re-images the depression as seen from its center. This is the first time this iconic work in the Whitney&rsquo;s collection will be shown in New York.&nbsp;<br /><br />Open Plan: Michael Heizer&nbsp;is organized by Deputy Director for International Initiatives and Senior Curator Donna De Salvo and Melva Bucksbaum Associate Director for Conservation and Research Carol Mancusi-Ungaro.</p> </div> </div> <p style="text-align: justify;"><a name="mmi_109678"></a></p> <div id="mmi_109678" class="magic-module page-magic-module text-module two-thirds-width" data-id="317735" data-instance-id="109678"> <div class="text-module-text text"> <p style="text-align: justify;">Major support for&nbsp;Open Plan&nbsp;is provided by the Philip and Janice Levin Foundation and the National Committee of the Whitney Museum of American Art.</p> <p style="text-align: justify;">Significant support is provided by The Brown Foundation, Inc., of Houston, Virginia Dwan, and Donald R. Mullen, Jr.</p> <p style="text-align: justify;">Generous support is provided by Diane and Adam E. Max.</p> <p class="last-child" style="text-align: justify;">Additional support is provided by Alexander S. C. Rower, Joseph Rosenwald Varet and Esther Kim Varet, and the Performance Committee of the Whitney Museum of American Art.</p> </div> </div> Sat, 30 Apr 2016 15:55:38 +0000