ArtSlant - Recently added en-us 40 Mishka Henner - Bruce Silverstein Gallery - September 10th - October 24th Tue, 07 Jul 2015 20:36:50 +0000 Eric Cahan - Benrubi Gallery - July 9th - August 22nd <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>In the project space, Eric Cahan's Data Mining takes its name from marketing research techniques that measure web users' browsing patterns when they view fine art content online. A museum-goer spends an average of thirty seconds in front of an individual work of art, whereas a browser on Instagram or Pinterest spends only eight. Images flow past the eye one after another, throwing into question long-held assumptions about the totemic nature of a work of art. Cahan mirrors this blurring process in his photographs, transforming solarized image of water through a combination of techniques both digital and traditional. The resulting images, luminescent yet opaque, are as seductive as carnival mirrors, yet ultimately reflect only the viewer's gaze. Though representational, there silver swirls and bursts of color and shadow are so abstracted that they challenge our notion of what a photograph actually communicates: a view of an object removed in time and space, or nothing but the viewer's assumptions about the image itself.&nbsp;</p> </div> </div> </div> </div> Tue, 07 Jul 2015 18:24:00 +0000 Jeffrey Milstein - Benrubi Gallery - July 9th - August 22nd <div class="page" title="Page 1"> <div class="section"> <div class="layoutArea"> <div class="column"> <p>In the main gallery, Milstein, long known for his images of planes in flight photographed from directly below, reverses the perspective in the current images, offering views of New York and Los Angeles taken from an altitude of 1,000 - 2,000 feet. The distance is far enough that the geometry of the urban streetscape, invisible from the ground, emerges into surprising, often elegant patterns, as in the Masonic-inspired layout of the Park La Brea housing development in Los Angeles, yet close enough that the scenes retain a human feeling, whether it's the claustrophobia of tiny rectangular houses squeezed next to each other in virtually treeless grids. The images suggest that however chaotic or inscrutable modern life might appear, it is tied to age-old patterns that guide in ways we don't immediately perceive, but which nevertheless guide us through our daily routines.&nbsp;</p> </div> </div> </div> </div> Tue, 07 Jul 2015 17:00:21 +0000 Saskia Janssen and Ishu han - International Studio & Curatorial Program (ISCP) - July 7th - October 2nd <p>Dual exhibition by ISCP international artists-in-residence Saskia janssen and Ishu Han.</p> Mon, 06 Jul 2015 21:55:50 +0000 Ulrich R├╝ckriem - Koenig & Clinton - September 10th - October 24th Mon, 06 Jul 2015 20:11:52 +0000 Group Show - Koenig & Clinton - July 16th - August 21st <div class="e-block"> <p>Koenig &amp; Clinton is pleased to announce Organic Situation, a group exhibition that parses ideas about human relationships to both organic and engineered environments. Our contemporary moment is one of the network society, in which our increasingly mediated experience of 'the natural world' is blurred between the virtual and the real. Organic Situation offers varying perspectives on the interdependent roles of biology and technology in shaping perception, experience, and creative production.&nbsp;<br /><br />Construing nature through language, image, and speech act, Paul Ram&iacute;rez Jonas mounts a grid of 165 printed sheets of paper to form Paper Moon (I Create as I Speak) (2008). A single excerpted sheet of the text reading 'I create as I speak' rests on a lectern, inviting an incantation.&nbsp;<br /><br />Two paintings by Denise Kupferschmidt draw on advertising, architecture and design elements from the early-20th Century to render 'universal' figures against graphic imagery of urban geometries. Peter Scott's High Line Billboard (2015) offers a telling view of visitors framed by a now-iconic architectural feature on the local High Line park. Zo&euml; Ghertner's False Fronts diptych captures the aspirational fa&ccedil;ades of the rural American West.&nbsp;<br /><br />Assembling topologies out of discarded advertisement vinyl, Kelly Jazvac's sculptural works coax new questions about landscape and disposability. Resembling natural rock formations, the digital refuse lumps of Tyler Coburn's Waste Management (2013-14) memorialize technological byproducts.&nbsp;<br /><br />Photographs from Margaret Honda's series Les animaux du Mus&eacute;um national d'Histoire naturelle, Paris (2005- 2007) present elusive images of threatened or extinct specimens. Also referencing nature morte, the sculptures of Jonathan Bruce Williams push the living dead into stereoscopic focus.&nbsp;<br /><br />A grid of oil paintings by Peter Dreher depicts light recorded at regular intervals on one alpine ridge over several days' time. Also in line with German Romanticism, Miljohn Ruperto's lenticular photograph Do Your Best (2014) attempts to convey Caspar David Friedrich's seminal painting, The Sea of Ice (1823-1824) in a newer medium.&nbsp;<br /><br />Trading in the visual language of myths, rituals, dreams, and photographic documentation, Geoffrey Hendricks' Fluxus headstand performances invert the body's relationship to land, sea, and sky. Meanwhile, the collaborative single-channel video and performance C.L.U.E. (Color Location Ultimate Experience) (2007) by A.L. Steiner + robbinschilds follows sentient bodies into the outdoors.&nbsp;<br /><br />For further information please contact or call (212) 334-9255.&nbsp;<br /><br />SUMMER HOURS:&nbsp;<br />Beginning July 6, our hours of operation are Monday-Friday 11AM-6PM and by appointment.</p> <p>&nbsp;</p> </div> Mon, 06 Jul 2015 20:10:26 +0000 Camila Rocha - Sacred Gallery NYC - July 9th - August 30th <p><strong>Recent Paintings<br /> By<br /> Camila Rocha</strong></p> <p>Open Reception - Thursday, July 9th. 8-11pm</p> <p>This exhibition attempts to share the artist&rsquo;s search for identity. Inspired on societal rituals conjuring spirituality and the release from strict ideological dogma, these paintings and works on paper are about the carnal, and passionate desires of the body. The work reflects collective performative acts, dealing with her motherland, Brazil. The exhibition includes paintings and objects inspired by Carnival, and ideas of the spiritual and political structures associated with the event.<br /> This exhibition displays performative images intended to contradict the sterile state of daily life. For Camila the use of exuberant color and texture are intended to provoke the senses in a way that mirrors the synesthetic experience of carnival. Likewise the characters depicted in her imagery represent free scenarios of liberated self-expression and primal human instincts, using hybrids to convey a universal idea of the body.<br /> <strong><br /> Artist Statement<br /> </strong><br /> Today, her oeuvre conjures a philosophical conversation involving gender, identity, theories pertaining to materialism, and feminism. The priorities on her work arrives through an exploration of her culture where the artist is searching for identity, inspired on her motherland, Brazil, and carnival archetypes that often echo social structures. This body of work conjures her interests in the formal aspects of traditional painting and representation, where language of illusionism that throughout the history of art has been linked to a heritage of objectification of the female body and product of the exotic.<br /> &ldquo;Painting in this way facilitates a kind of role reversal, in which I am able to confront the historic &ldquo;male gaze" that can be exploitive, and lead to categorization.&rdquo;<br /> <strong><br /> Artist Biography </strong></p> <p>Camila Rocha received her MFA, in 2015, from the New York Academy of Art. The artist&rsquo;s work has been exhibited nationally and internationally in places such as in Leipzig, Sao Paulo, Minas Gerais, London, California and New York. Camila has been honored in 2015 the New York Academy of Art Merit Scholarship, The Janet Rosel &amp; Peter B. Lewis Scholarship, The Valda Witt &amp; Jay Hatfield Portrait Scholarship award, and the LCU Fund for Women&rsquo;s Education Grant. In July-August, 2014, the artist was sponsored by NYAA to undertake a residency at the Leipzig Art International program in Leipzig, Germany. In 2010 she received the Los Angeles Academy of Figurative Art Scholarship. Among her accolades Camila has been featured in publications around the world. In 2012, Camila curated and exhibited work in the exhibition, Skin and Ink, at the Crafts and Folk art Museum in Los Angeles, California.<br /> <strong><br /><br /> </strong></p> <p><strong>Sacred Gallery NYC</strong> was established in December of 2009 by gallery director Kevin Wilson. The gallery&rsquo;s mission is to exhibit a diversity works and artists. Over the last three and a half years, Sacred has featured graffiti artists, painters, photographers, print makers, comic book artists, documenters, and many other types of artists using a variety of mediums, including blood and live performance graffiti. The gallery prides itself on the accommodations that are provided to the diverse communities of artists that New York City and the world have to offer.</p> <p>Sacred Gallery and its sister business, Sacred Tattoo, have been featured with the BBC, National Geographic Channel, Discovery Channel, MTV, TLC, New York Times, The Huffington Post, The Daily News, various tattoo magazines, and many other forms of news and media.</p> <p>Sacred Gallery NYC is conveniently located in Manhattan's SoHo District at 424 Broadway on the northeast corner of Broadway and Canal. Take the N,Q,R, or J.<br /> Sacred Gallery is open daily from noon to 8pm.</p> <p>For purchase inquiries, please email the gallery director at <a href="" rel="nofollow"></a></p> Mon, 06 Jul 2015 18:21:08 +0000 Roy Lichtenstein - Guild Hall - August 8th - October 12th <p style="text-align: justify;">This exhibition is dedicated to the memory of Mickey Straus.</p> <p style="text-align: justify;">In 1964, inspired by both the long history of art and by imagery he found on contemporary printed postcards, Roy Lichtenstein began to explore the genre of land and seascapes, using paint, plastic, enamel, drawings, collage, print, and even film to realize his various works. Seascapes were an essential part of the artist&rsquo;s lifelong exploration of psychological optics, light and his keen observations on the nature of field and ground. They were a genre he would revisit throughout his career in various media and guises. Comprised of over 30 works form private lenders and the Roy Lichtenstein Foundation, the exhibition will include works from the 1960s-1990s. A collaboration between Guild Hall and the Roy Lichtenstein Foundation, Roy Lichtenstein: Between Sea and Sky celebrate the artist&rsquo;s abiding relationship with the East End of New York and all that it inspired.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><em>Principal Sponsor:&nbsp;</em></strong><em>Larry Gagosian</em></p> <p style="text-align: justify;"><strong><em>Lead Sponsors:&nbsp;</em></strong><em>Valentino D. Carlotti, Barbara Bertozzi Castelli,&nbsp;Barbara and Richard Lane,&nbsp;Joan and Lucio Noto, and&nbsp;Fern and Lenard Tessler</em></p> <p style="text-align: justify;"><strong><em>Co-Sponsors:&nbsp;</em></strong><em>The Broad Art Foundation,&nbsp;Raymond J. Learsy and Melva Bucksbaum, and&nbsp;Katherine and James Goodman</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>All Museum programming is made possible in part though the generosity of Crozier Fine Arts, The Harold and Mimi Steinberg Charitable Trust, the Helen Hoie Fund, The Lorenzo and Mary Woodhouse Trust, Melville Straus Family Endowment Fund, and with public funds from the New York State Council on the Arts and Suffolk County.</em></p> Sun, 05 Jul 2015 15:54:52 +0000 Group Show - Guild Hall - June 20th - July 26th <p style="text-align: justify;">his exhibition is dedicated to the memory of Tom Twomey.</p> <p style="text-align: justify;">Featuring East End artists: Linda Alpern, Ross Bleckner, Jack Ceglic, Fischer Cherry, Ann Chwatsky, Chuck Close, Anh Duong, Eric Fischl, Cornelia Foss, John Hardy, Soren Hope, William King, Jill Krementz, Laurie Lambrecht, Christa Maiwald, Jonathan Morse, Elizabeth Peyton, Bastienne Schmidt, Lola Montes Schnabel, Julian Schnabel, Joan Semmel, Cindy Sherman, Billy Sullivan, Susan Tepper, Robert Wilson, Darius Yektai and others, including selections from the permanent collection.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Sponsored in part by Donald R. Mullen and the Spektor Family Foundation, with additional support from Deborah and Allen Grubman, Amy and Joe Perella, and Carl Spielvogel and&nbsp;Barbaralee Diamonstein-Spielvogel.</em></p> Sun, 05 Jul 2015 15:53:15 +0000 - Hunterdon Art Museum - September 27th - January 3rd, 2016 Sun, 05 Jul 2015 15:50:39 +0000 - Hunterdon Art Museum - September 27th - January 3rd, 2016 Sun, 05 Jul 2015 15:50:33 +0000 - Hunterdon Art Museum - September 27th - January 3rd, 2016 Sun, 05 Jul 2015 15:50:14 +0000 Sally Spofford - Hunterdon Art Museum - September 27th - November 8th Sun, 05 Jul 2015 15:49:43 +0000 Group Show - Hunterdon Art Museum - June 20th - September 6th <p style="text-align: justify;">Hunterdon Art Museum teachers will showcase their diverse talents in oil and acrylic painting, photography, ceramics and more in our Faculty Show which runs through September 6.</p> <p style="text-align: justify;">Faculty artists participating in this year&rsquo;s show are: Lena Shiffman, Bascha Mon, Andrea Gianchiglia, Judy Shevell, Chris Muller, Leah Cahill, Charles David Viera, Catherine Kumar, Maureen Chatfield, Tricia Hurley, Jessica Lenard, Donna Lish, Duffy Dillinger, Anne Kullaf, Bill Macholdt, Ann Tsubota, Noah Klersfeld, Nancy Ori, Eric Rhinehart, MaryAnn Miller, Wendy Hallstrom, Stephen McKenzie, Carol K. Russell, Susan Martin Maffei, Archie Brennan, Santiago Cohen, April Anderson and Jennifer Brazel.</p> <p style="text-align: justify;">&ldquo;The Hunterdon Art Museum&rsquo;s mission &mdash; to connect people with contemporary art, craft, and design in ways that educate, challenge, and inspire &mdash; is perhaps best exemplified by the Museum&rsquo;s faculty,&rdquo; said Marjorie Frankel Nathanson, our executive director. &ldquo;Whether teaching a child&rsquo;s first art class or a workshop to accomplished artists who wish to learn a specific technique, our faculty excels. We&rsquo;re proud to highlight their work in this exhibition.&rdquo;</p> <p style="text-align: justify;">About 30 artists who teach on-site in the Museum&rsquo;s studios or off-site in area schools, juvenile justice facilities or other community programs were invited to participate in the exhibition.</p> <p style="text-align: justify;">&ldquo;The exhibition highlights the incredible talents of the artists teaching at HAM,&rdquo; said April Anderson, our education coordinator. &ldquo;After viewing the exhibition, we hope people will be inspired to learn from these talented teachers and will enroll in one of of terrific classes or workshops.&rdquo;</p> Sun, 05 Jul 2015 15:47:34 +0000 Ida-Christel Siebke - Islip Art Museum - June 28th - September 13th <p style="text-align: justify;">In support of emerging artists, the Islip Art Museum&rsquo;s gift shop will feature artwork by Norwegian artist Ida-Christel Siebke. The exhibition features hand poured, casted glass bricks with found key inclusions. This work was created at Diablo Glass School in Boston, MA during her April 2015 artist residency.</p> Sun, 05 Jul 2015 15:41:31 +0000 Alfred Stieglitz - The Jewish Museum - September 25th - February 14th, 2016 <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Masterpieces &amp; Curiosities: Alfred Stieglitz's</em> The Steerage focuses on Stieglitz&rsquo;s enduring 1907 picture of steerage-class passengers aboard the ocean liner<em> Kaiser Wilhelm II</em>. This image has often been regarded as evidence of the poor conditions under which many immigrants arrived in America; however, Stieglitz took the photograph on a voyage to Europe</strong><strong>. As such, it is a document of people who were likely denied entry and citizenship to the United States. Stieglitz's concerns, however, were largely aesthetic rather than social-minded: he was moved more by the picture's formal qualities than its subject matter. Stieglitz considered the work to be his greatest triumph in a long, illustrious career as a photographer, stating later in life, "If all my photographs were lost, and I&rsquo;d be represented by just one,<em> The Steerage,</em> I&rsquo;d be satisfied."</strong></span></p> <div class="overview-description overview-item one-half pull-left"> <div class="description"> <p style="text-align: justify;"><span style="font-size: small;"><em>Alfred Stieglitz's </em>The Steerage demonstrates the artist's ceaseless promotion of the image, from its reproduction in <em>Camera Work</em>, Stieglitz&rsquo;s high-minded art journal, to popular magazines such as <em>Vanity Fair.</em> The exhibition will also feature Stieglitz's own account of its creation, in which he recalls:</span></p> <blockquote> <p style="text-align: justify;"><span style="font-size: small;">How I hated the atmosphere of the first class on that ship. One couldn&rsquo;t escape the nouveaux riches. I had to get away from that company. As I came to the end of the [deck] I stood alone, looking down. The whole scene fascinated me. I longed to escape from my surroundings and join those people. I saw a picture of shapes and underlying that the feeling I had about life. Should I try to put down this seemingly new vision that held me - people, the common people, the feeling of ship and ocean and sky and the feeling of release that I was away from the mob called the rich? Here would be a picture based on related shapes and on the deepest human feeling, a step in my own evolution, a spontaneous discovery.</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">The exhibition further explores the discrepancy in experience between those, like Stieglitz, traveling in first-class, and those in steerage. An exact model of the<em> Kaiser Wilhelm II</em> demonstrates the sheer scale of this impressive ocean liner, while vintage postcards depict the lavish interiors of its first-class cabins. By contrast, Edward A. Steiner&rsquo;s <em>On the Trail of the Immigrant,</em> published in 1906, provides an unsparing account of the wretched steerage conditions aboard the same ship.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Despite the fact that <em>The Steerage</em> shows people leaving, not coming to, the United States, by the mid-twentieth century <em>The Steerage </em>came to be viewed as the quintessential image of immigrants en route to America. The image resonates on a personal level, especially with Jewish Americans, who often mistake one of the figures in the foreground for a Jewish man mid-prayer (at a quick glance, the striped cloth looks like a <em>tallit</em>, or prayer shawl). Perhaps for this reason above all, <em>The Steerage </em>has become the textbook image for Jewish immigration (it even appears on the cover of <em>The Columbia History of Jews &amp; Judaism in America</em>, published in 2008).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Two related artworks from the Jewish Museum&rsquo;s collection are also included in this exhibition: Arnold Newman&rsquo;s 1944 double portrait of Stieglitz and the artist Georgia O&rsquo;Keeffe (whom he married in 1924), and Vik Muniz's contemporary rendition of <em>The Steerage</em>, which he recreated in chocolate sauce in 2000.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href=";q=%23MasterpiecesCuriosities&amp;src=typd">#MasterpiecesCuriosities</a></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Masterpieces &amp; Curiosities: Alfred Stieglitz&rsquo;s</em> The Steerage is organized by Rebecca Shaykin, Leon Levy Assistant Curator. The series is organized by Jens Hoffmann, Deputy Director, Exhibitions and Public Programs, and Daniel S. Palmer, Leon Levy Assistant Curator.</span></p> <h5 style="text-align: justify;"><span style="font-size: small;"><em>Masterpieces &amp; Curiosities: Alfred Stieglitz's </em>The Steerage is made possible by an anonymous donation in memory of Curtis Hereld and the Horace W. Goldsmith Foundation Exhibition Fund.&nbsp;</span></h5> <h5 style="text-align: justify;"><span style="font-size: small;">Additional support is provided by the Leon Levy Foundation.</span></h5> </div> </div> Sun, 05 Jul 2015 15:30:47 +0000