ArtSlant - Recently added en-us 40 Gary Taxali - Jonathan LeVine Gallery - 529 W. 20th - November 21st - December 19th <div style="text-align: justify;">Jonathan LeVine Gallery is pleased to present&nbsp;<em><strong>Hotel There</strong></em>, a series of new works by Toronto-based artist&nbsp;<strong>Gary Taxali</strong>&nbsp;in what will be his third solo exhibition at the gallery.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Described as &ldquo;reinvented pop art,&rdquo; Taxali&rsquo;s vintage-inspired characters and hand-drawn typography are internationally recognized. With an aesthetic influenced by Depression-era graphics and printed ephemera, such as comics and advertising, his multidisciplinary technique results in colorful compositions with an outpouring of social commentary. Following the success of his first career retrospective in Ontario, Taxali returns to the gallery with thirty new works inspired by his travels. &nbsp; &nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Taxali has always had a fascination with time and self-awareness, specifically the ability to consciously live in the present. In&nbsp;<em>Hotel There</em>, he aims to capture those concepts by delving into themes of love, isolation, hope, relationship follies, pain and happiness. Taxali describes his inspiration for this new series by stating the following:&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>&ldquo;In the last 18 months I have visited Asia three times (China twice, India once), and the long journeys to these faraway places have impacted me artistically. &nbsp;The works in this exhibition harken (either literally or conceptually) to moments of fear, isolation, excitement, and cultural divides that I experienced. &nbsp;Airport gates and hotels are somber reminders of this. &nbsp;We are simultaneously connected and divided. &nbsp;That is, the sameness of the human condition is underscored by its overt differences. From a human standpoint we are all one, but from a place of self-reflection, travelling is not only a futile reprieve from the present moment, it&rsquo;s a vehicle of awareness to our own, unique selves. In this way, there is no &ldquo;there&rdquo; because everywhere is &ldquo;here&rdquo;. Yet we persevere because we all know on some level the journey is not to a location, it&rsquo;s to us. Life&rsquo;s purpose is self-knowledge, and the voyage its vessel. &lsquo;Hotel There&rsquo; awaits your check-in."</em></div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><strong>ABOUT THE ARTIST</strong></div> <div> <div style="text-align: justify;"><strong>Gary Taxali</strong>&nbsp;was born in Chandigarh, India and raised in Toronto, Canada. In 1991, he graduated from Ontario College of Art and Design University (OCAD). Taxali is an award winning illustrator and his fine artwork has been exhibited in galleries in the United States and Europe as well as museums, such as the Whitney Museum of American Art and the Contemporary Art Museum in Rome. In 2011, two books of his work were released:&nbsp;<em>Mono Taxali</em>, published by 279 Editions, and<em>&nbsp;I Love You, OK?</em>, published by teNeues. In 2012, The Royal Canadian Mint released a special edition of six 25&cent; coins which feature Taxali&rsquo;s artwork and typography. In 2015,&nbsp;<em><a href="" target="_blank">Gary Taxali: The Art of Whimsy</a></em>, a short film documenting the artist in his studio, premiered at the Canadian Art Film Festival. &nbsp;That same year he had his first major retrospective exhibition,&nbsp;<em><a href="" target="_blank">Here and Now: The Art of Gary Taxali</a></em>, at Idea Exchange in Ontario, Canada.&nbsp;</div> </div> Wed, 25 Nov 2015 18:09:17 +0000 Augustine Kofie - Jonathan LeVine Gallery - 529 W. 20th - November 21st - December 19th <div style="text-align: justify;">Jonathan LeVine Gallery is pleased to present&nbsp;<em><strong>INVENTORY</strong></em>, a series of new works by Los Angeles-based artist&nbsp;<strong>Augustine Kofie</strong>&nbsp;in what will be his debut solo exhibition at the gallery.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In this exhibition, Kofie explores the role of inventory in his work. The word inventory, &ldquo;a complete list of items such as property, goods in stock, or contents of a building,&rdquo; comes into English from the Late Latin inventarium, a &ldquo;list of what is found,&rdquo; from the Latin invenire, &ldquo;to devise, discover, find.&rdquo; Invention and inventory are thus linked: the making of something new comes from the discovery of something existent, its subsequent cataloguing, storing, and use as stock.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The inventory in question consists of found, reclaimed press- or chip-board, a heavier paper stock used in packaging and office supplies from the 1950s to the 1980s: steno notepads, file folders, envelopes, index cards, or industrial packaging designed, printed and manufactured in the USA. These are old technologies, now rendered obsolete, used for organizing in a predigital, bygone era. Kofie finds and collects these at estate sales in the greater Los Angeles area in a highly specific form of &ldquo;controlled hoarding,&rdquo; in the artist&rsquo;s own words. He gleans this refuse of the past&mdash;forgotten, unwanted, unseen&mdash;from the homes, workshops, and garages of the elderly, who saved everything, back when things were made well, made to last.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Kofie explains his attraction to office supplies through his obsessiveness with organization, not order so much as cataloging. A self-defined &ldquo;compartamentalizer,&rdquo; he breaks his work process into phases, especially for a cohesive, coherent collection such as the one in this exhibition. He begins by drawing small case studies on notepaper or note pads&mdash;loose leafed, easily discardable. These become reference for collage work, in which the discovery and collection of forsaken materials is the first step. Next, the materials enter his studio, where they are meticulously inventoried&mdash;archived by color palette, thickness, and category in vintage industrial file cabinets, &ldquo;sometimes for years, sometimes for that day,&rdquo; until they make their way into an assemblage. Finally, layers of pencil, ballpoint pen, silkscreen, and acrylic ink cover the assemblage, making it cohere.</div> <div style="text-align: justify;">Kofie describes his process, both in collage and in painting, as one of building, like an architect making a model in two dimensions for a structure that will never be built. The found materials are the first building blocks of this process, essential to it. The painting and drawing that follows brings them into new purpose, new life. &ldquo;I&rsquo;m not building brand new systems, I&rsquo;m building systems that have existed and have been forgotten.&rdquo;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">This method of citing systems that have existed in the past&mdash;the process of discovering, isolating, and repurposing in something existent a component of new creative possibility&mdash;defines sampling. A parallel version of the process forms the basis of Kofie&rsquo;s soundtracks for his exhibitions (under the moniker 4X4Tracktor), many of which sample records found at the same estate sales as well as marginal cinema from the same era. But whereas sampling poaches bits of work made by other artists, amassing and repurposing an inventory of predigital office supplies does not infringe on anyone&rsquo;s creative copyright. Flipping the materials becomes an act of elevation, of salvage from oblivion.&nbsp;<em>INVENTORY</em>focuses on reappropriation as the very beginning of Kofie&rsquo;s work.&nbsp;<em>&nbsp; -Ruti Talmor</em></div> <div style="text-align: justify;"><span style="text-decoration: underline;"><a href="" target="_blank">Exhibition soundtrack:</a></span></div> <div><br /> <div style="text-align: justify;"><strong>ABOUT THE ARTIST</strong></div> <div> <p style="text-align: justify;"><strong>Augustine Kofie&nbsp;</strong>was born in 1973 in Los Angeles, California, where he is currently based. Inspired by the basic building blocks of the geometric world, Kofie has formed a retro-futuristic aesthetic, which transplants shapes and angles into a soulful, organic, yet highly mathematical form of abstraction. Merging his traditional graffiti education with his deep love of illustration and architectural renderings, Kofie plays with form, line, balance and depth, twisting and manipulating his compositions into new and dramatic arrangements. His street art is internationally recognized and he has exhibited his works in galleries across the United States, as well as in France, Mexico, Morocco and Tokyo.</p> </div> </div> Wed, 25 Nov 2015 18:08:04 +0000 Robert Smithson - James Cohan Gallery - Lower East Side - November 21st - January 10th, 2016 <p style="text-align: justify;">James Cohan is pleased to present&nbsp;<a href="" target="_blank"><em>Pop</em></a>, an exhibition of the late Robert Smithson&rsquo;s works on paper and select sculpture from 1963-65, on view from November 21 through January 10, 2016.&nbsp; This exhibition marks the debut of James Cohan&rsquo;s second NYC gallery space located on the Lower East Side.<br /><br />In 1963, at the age of twenty-five, Robert Smithson was immersed in the vitality and experimentation of the burgeoning downtown New York art scene. Smithson fed on the clashes of style, form and meaning found along his rambles through the city; from the downtown kiosks hawking porno magazines and comic books, to the movie houses of Forty-Second Street with their &ldquo;low budget mysticism of horror films,&rdquo; to the mineral displays at the Museum of Natural History, and across town to the Met&rsquo;s Byzantine paintings and the &ldquo;cold glass boxes&rdquo; along Park Avenue.&nbsp;</p> <p style="text-align: justify;">Smithson&rsquo;s prolific drawings from this period, including those about language and Christian iconography, sought out disorder from the hierarchies of social conventions and popular culture. The series of drawings on view at the gallery are composed like biblical panel paintings with collaged or drawn elements in the center of the page surrounded by free-floating figures in nested zigzag motifs.&nbsp;</p> <p style="text-align: justify;">Today, fifty years later, the works continue to resonate for their timeless dualities&mdash;the popular and the rarefied, the modern and the classic, the sacred and the profane, while they give us insight into the imagination of an artist who was to become one the defining figures of the 20th century.</p> Wed, 25 Nov 2015 17:45:54 +0000 Faith47 - Jonathan LeVine Gallery - 557C West 23rd - November 19th - December 19th <div style="text-align: justify;">Jonathan LeVine Gallery is pleased to present&nbsp;<em><strong>Aqua Regalia &ndash; Chapter Two</strong></em>, a series of new works by South African artist&nbsp;<strong>Faith47</strong>&nbsp;in what will be her debut solo exhibition at the gallery. In conjunction with the exhibition, the gallery will release a 35 edition lithograph inspired by the mural&nbsp;<em>Capax Infiniti,</em>which&nbsp;the artist painted in Portland, Oregon (2014). It will be released in person at the opening reception on November 19th at 6pm, as well on our&nbsp;<a href="" target="_blank">online store</a>.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Faith47&rsquo;s artistic approach is explorative&ndash; from creating work in her studio using rescued objects, to painting murals on city walls around the world. For her first solo show in New York City she explores the dichotomy between the sacred and the mundane by enveloping viewers in a space with figurative paintings, as well as intricacies from everyday life in shrine-like artworks. Through this pairing Faith47 celebrates the commonplace as holy in an attempt to disarm strategies of global realpolitik and advance the expression of personal truth. In this way her work is both an internal and spiritual release that speaks to the complexities of the human condition, its deviant histories and existential search.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">This show is a continuation of the artist&rsquo;s successful 2014 London exhibition. &lsquo;Aqua regalia&rsquo;&nbsp;or &lsquo;royal water&rsquo; is the alchemical name for a highly corrosive mixture of nitric and hydrochloric acid that has the ability to dissolve one of the most enshrined substances &ndash; gold.&nbsp; This transformative chemistry forms a symbolic reference to her artistic process of restoring value to that which has been lost and overlooked.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">In&nbsp;<em>Aqua Regalia &ndash; Chapter Two</em>, multidisciplinary works created with ink, graphite and oil paint are complimented with mixed media collages that utilize articles the artist has collected in various countries. Findings include international currency, torn pages from books and magazines, signage, vintage film and photographs, playing cards and government records. Atop this expendable paraphernalia are her representational depictions of incarnated divinity, animals, sacred geometry and text. By associating such imagery with rejected materials a narrative is drawn. A question posed, can projected meaning compel us to reconsider an object as indivisibly connected to our experience and understanding?&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div> <div style="text-align: justify;"><strong>ABOUT THE ARTIST</strong></div> <div> <div style="text-align: justify;"><strong><a href="" target="_blank">Faith47</a></strong>&nbsp;is an internationally acclaimed street and studio-based artist currently based in Cape Town, South Africa. Following an active street art career spanning more than fifteen years, her work can now be found in major cities around the world. Using a wide range of media, including graphite, spray paint, oil paint, ink, photography and collage, her approach is explorative and substrate appropriate &ndash; from found and rescued objects, to time-layered and history-textured city walls, to studio prepared canvas and wood.</div> </div> </div> Wed, 25 Nov 2015 15:13:52 +0000 Albert Herter, Caitlin Keogh, and Candice Lin - Koenig & Clinton - December 10th - January 16th, 2016 <p>FOR IMMEDIATE RELEASE</p> <p><em>Bodily Imaginaries: Albert Herter, Caitlin Keogh, and Candice Lin</em></p> <p>December 10, 2015&ndash;January 16, 2016</p> <p>Opening Reception: Thursday, December 10, 6&ndash;8PM</p> <p>&nbsp;</p> <p>Koenig &amp; Clinton is pleased to announce <em>Bodily Imaginaries</em>, a group exhibition of works on paper by artists Albert Herter, Caitlin Keogh, and Candice Lin that presents divergent aesthetic approaches that reference discrete histories.</p> <p>&nbsp;</p> <p>The provocative antiheroes of Candice Lin&rsquo;s drawings confront colonial fears and fantasies head-on. Her pseudo historical etchings and watercolors, rendered in the style of a 19<sup>th</sup>-century imperialist travelogue, offer hyperbolically racialized caricatures who defy the safe bounds of control. Lin&rsquo;s narrative revisits a complex portrait of the eroticism, the conquest, and the ritual that were often loathed in an Occidental self and projected onto &lsquo;the other&rsquo;.</p> <p>&nbsp;</p> <p>Entirely constructed, mechanically hinged, and ghoulishly costumed, Albert Herter&rsquo;s bodies resemble composite marionettes incapable of grasping their own strings. His intricately drafted, restless subjects are social creatures, whose forms are simultaneously familiar and foreign, artificial and expressive. In Herter&rsquo;s <em>Instauration </em>and <em>Aggressive Constellation</em> series, individual and social trials, interconnected by chaos, are on full display.</p> <p>&nbsp;</p> <p>In her drawings of anonymous female torsos, Caitlin Keogh employs visual dislocation, interruption, and isolation of bodies in visual space. Keogh&rsquo;s subjects, decapitated and limbless, are imbued with ideal proportions, but clinically so. Dissociated bodies are often eviscerated, bound, punctured or penetrated by foreign objects, vegetal outgrowths, or decorative patterns. Keogh contaminates a Pop vocabulary of flatness, outline, and graphic precision with sensuality, undulation, exuberance, and the animate.</p> <p>&nbsp;</p> <p><em>Bodily Imaginaries</em> prioritizes repellant, disjointed, or incomplete figures that subvert established representations of official narratives, Vitruvian bodies, and sanctioned desires.</p> <p><em>&nbsp;</em></p> <p><em>Albert Herter (b. 1980, San Francisco) holds a BFA in New Genres from the San Francisco Art Institute, where he focused primarily on video, installation, and performance. His work has been the subject of solo&nbsp;exhibitions at Partisan Gallery, San Francisco and San Francisco City Hall. He has also participated in group exhibitions&nbsp;at: Art in General, New York; Derek Eller, New York;&nbsp;Spiral Gallery, Los Angeles; and&nbsp;Arthouse, McAllen, TX. He will have his first solo exhibition in New York at Koenig &amp; Clinton in 2017. </em>In the Curtyard: Orchestrated Reduction of the Fantasm, <em>recently published by</em> <em>Comfortable On a Tightrope and Museums Press, features the artist&rsquo;s drawings and writings. His drawings have also been featured in </em>The Third Rail<em>, and&nbsp;</em>Lacanian Ink.<em> Herter lives and works in Brooklyn, New York.</em></p> <p><em>&nbsp;</em></p> <p><em>Caitlin Keogh (b. 1982, Spenard, AK) holds an MFA from Bard College, NY, and a BFA from The Cooper Union School of Art, NY. Recent solo exhibitions include </em>The Corps<em>, Mary Boone Gallery, New York (2015) and </em>Good Value, Fine Quality<em>, </em><em>MoMA PS1, New York (2012). She has participated in select group exhibitions at Algus Greenspon, NY; Melas Papadopoulos, Greece; Renwick Gallery, NY; Kunsthalle Z&uuml;rich, Switzerland; and White Columns, New York. The artist lives and works in Brooklyn, New York.</em></p> <p><em>&nbsp;</em></p> <p><em>Candice Lin (b. 1979, Concord, MA) received her MFA in New Genres at the San Francisco Art Institute and her double BA in Visual Arts and Art Semiotics at Brown University. Lin&rsquo;s work has been exhibited at the Kadist Art Foundation, Paris; the Delfina Foundation, London; La Maison Populaire, Paris; and Alh&oacute;ndiga Bilbao, Spain. Recent solo exhibitions include Francois Ghebaly Gallery, Los Angeles and CAAA, Guimaraes, Portugal. She has been awarded several residencies and grants, including: the Artist Lab Residency at 18th Street (2015); the Fine Arts Work Center Residency (2012); the Frankfurter Kunstverein Deutsche Borse Residency (2011); and the Smithsonian Artist Research Fellowship (2009); among others. The artist lives and works in Los Angeles.</em></p> <p><em>&nbsp;</em></p> <p>For further information please contact <a href="" rel="nofollow"></a> or call (212) 334-9255.</p> <p>Hours of operation are Tuesday&ndash;Saturday, 11AM&ndash;6PM and by appointment.</p> <p align="center">###</p> Tue, 24 Nov 2015 23:45:28 +0000 Mhysa - Recess Activities, Inc. - December 17th 7:00 PM - 9:00 PM <p>Organized in conjunction with Sondra Perry: My Twilight Zone Thing</p> <div><br />Black femme DJ/producer Mhysa will perform original trax accompanied by improvisational live edits as a part of her continuing efforts to assist the underground cyber resistance.&nbsp;</div> Tue, 24 Nov 2015 19:25:38 +0000 Caitlin Cherry - Recess Activities, Inc. - December 10th 6:00 PM - 8:00 PM <p>Organized in conjunction with Sondra Perry: My Twilight Zone Thing<br /><br />Artist Caitlin Cherry will present a performative lecture and archive showcasing her established Facebook practice of curating images via Google Image Search. Cherry will explore free association on the internet and the algorithms required to develop Facebook&rsquo;s News Feed and web search tools and will consider how these processes correlate with artistic innovation. The artist's chosen images are often from the &ldquo;backside&rdquo; of Google Image Search-- a space accessed by entering a matrix of two unrelated word combinations or scrolling deep into the later pages of Image Search to niche web pages. The lecture will engage with a cross-section of art, technology, social and digital culture through Cherry&rsquo;s personal interests and social media feeds.</p> Tue, 24 Nov 2015 19:24:00 +0000 Alex Katz - The Metropolitan Museum of Art - October 9th - June 26th, 2016 <p style="text-align: justify;">This exhibition, mounted in celebration of gifts both donated and promised to the Met, gathers works by Alex Katz (American, born 1927), one of our era's most acclaimed artists.&nbsp;Acquired through the generosity of Glenn Fuhrman, Leonard A. Lauder, and Katz himself, these works&mdash;eight in total, including two loans&mdash;span nearly the entire arc of Katz's career and include drawings, prints, and paintings. Among the works are two cutouts, the innovative artistic device that Katz pioneered in the late 1950s; a haunting cityscape;&nbsp;several portraits of Ada, Katz's wife and long-time muse; and portraits of luminaries from Katz's own social and artistic circles.</p> <p style="text-align: justify;">Katz was born in Brooklyn in 1927 and came of age as an artist during the heyday of the New York School. In the late 1950s, he began to develop his mature style, one characterized by elegance, simplicity, and stylized abstraction. Committed to depicting recognizable motifs, Katz minimizes details and shading, choosing instead to summarize his subjects with the help of bold contours, blocks of color, and strategic swipes of the brush. As much as they represent a specific person or place, Katz's works also depict the act of seeing itself&mdash;that is, the peculiar mechanics of viewing, whether from afar or close up, whether on an empty street or across a crowded room. He captures the surprise and suspense, the desire and pleasure, that accompany the experience of spectatorship.</p> Tue, 24 Nov 2015 17:03:47 +0000 Guido van der Werve - Luhring Augustine - Chelsea - January 9th, 2016 - February 20th, 2016 <p style="text-align: justify;">Luhring Augustine is pleased to present Nummer zestien,&nbsp;<em>the present moment</em>, a new work by the Dutch artist Guido van der Werve. This will mark the artist&rsquo;s third solo exhibition with the gallery and the work&rsquo;s debut.&nbsp;</p> <p style="text-align: justify;">Nummer zestien,&nbsp;<em>the present moment</em>&nbsp;investigates hyper-individuality as it shapes the ethos of the present. The hour-long three-channel video work focuses on moments of action involving intuitive reaction and impulse, rather than concerns with history or the future. The accompanying soundtrack is a Paean composed by van der Werve in major key that emanates from a player piano, a stand-in for the artist himself. Nummer zestien,&nbsp;<em>the present moment&nbsp;</em>is a continuation of a series of numbered films begun by the artist in 2003, and is the first major film-based work since his Nummer veertien,&nbsp;<em>home</em>&nbsp;completed in 2012.&nbsp;</p> <p style="text-align: justify;">Van der Werve was born in Papendrecht, the Netherlands in 1977. Previous solo exhibitions of his work have been presented at The Model, Sligo, Ireland; Hayward Gallery, London; Hirshhorn Museum and Sculpture Garden, Washington D.C.; De Hallen, Haarlem, the Netherlands; and Kunsthalle Basel, Switzerland. He was the recipient of the 2012 Charlotte Kohler Prize for Visual Art as well as Le Prix International d&rsquo;Art Contemporain, Fondation Prince Pierre de Monaco in 2011. Van der Werve is also a classically trained concert pianist and composer, as well as an avid triathlete.</p> Tue, 24 Nov 2015 15:54:12 +0000 Roger Hiorns - Luhring Augustine - Chelsea - January 9th, 2016 - February 20th, 2016 <p style="text-align: justify;">Luhring Augustine is pleased to present two recent standing floor sculptures by the London-based artist Roger Hiorns. The sculptures feature engines coated with the organic compound copper sulphate, a chemical with an unpredictable reactive potential, which Hiorns has employed to transform mass-produced objects into aesthetic entities; a seemingly redemptive gesture exploring the opposition between the natural and man-made. By anthropomorphizing the objects through anatomical references, Hiorns continues to explore the transposable relationship between man and manufactured product in his sculptures, reducing the human figure into representative signs and totems.&nbsp;</p> <p style="text-align: justify;">Roger Hiorns was born in Birmingham, England in 1975. He has been featured in exhibitions at institutions throughout Europe and the Americas, including the Venice Biennale; MoMA PS1, Long Island City, NY; Tate Modern, London; Hammer Museum of Art at UCLA, Los Angeles; Walker Art Center, Minneapolis; and De Hallen, Haarlem, the Netherlands. Hiorns&rsquo; work is included in institutional collections such as the Museum of Modern Art, New York; Art Institute of Chicago; and Tate Modern, London. In 2009, Hiorns was nominated for the Turner Prize for his critically acclaimed work,&nbsp;<em>Seizure</em>, a massive crystallization within the interior of a bedsit in a condemned South London council estate. In 2011,&nbsp;<em>Seizure</em>&nbsp;was acquired by the Arts Council Collection and is currently on a ten-year loan for exhibition at the Yorkshire Sculpture Park in Yorkshire, England.</p> Tue, 24 Nov 2015 15:53:17 +0000 Hellen van Meene - Yancey Richardson Gallery - December 10th - January 23rd, 2016 Tue, 24 Nov 2015 14:52:00 +0000 Lior Modan - NURTUREart Gallery - December 5th - January 10th, 2016 <p>NURTUREart is delighted to announce Lior Modan's first solo exhibition in New York:&nbsp;<em>Wringing Lilies from the Pine Nut.</em></p> <div class="page" title="Page 1"> <div class="layoutArea"> <div class="column"> <p>Modan&rsquo;s eclectic paintings, sculptures and vacuum-casted prints are enigmatic, surprising and oftentimes exquisitely tactile. Using pattern, language and form in glitchy combines, often unified by textural shrouds, Modan&rsquo;s balancing acts thrive on surface tension, evoking complex, sometimes awkward and/or uncomfortable moods.</p> <p>Wringing Lilies from the Pine Nut&rsquo;s exhibition design will take maximum advantage of the natural cavernous look- and-feel of 56 Bogart&rsquo;s basement, using the lack of natural ventilation, warm spotlights, dusty floor and shadows to intimately connect the viewer with each work. Each intrinsic feeling / meaning / evocation working towards unifying narratives and sub plots.</p> <p>A seasoned pot meets its double and claims it as its very own. Calm waters descend upon imaginary sandy feet, to wash and cool them down. The dark skin of a wrecked umbrella conceals and reveals at once. Banana peels take flight: a stormy cloud. A jester lurks behind a tightly stretched canvas, swarmed in butterflies. (...And more.)</p> <p>Wringing Lilies from the Pine Nut is a selection from our 2014-15 open calls. This exhibition is curated by Marco Antonini.</p> </div> </div> </div> Mon, 23 Nov 2015 16:03:20 +0000 James Metcalf - Miguel Abreu Gallery Orchard St - November 20th - December 22nd <p style="text-align: justify;">Miguel Abreu Gallery is pleased to announce the opening of <em>Hammer &amp; Forge: From Europe to Santa Clara del Cobre</em>, an exhibition of work by the late sculptor James Metcalf. The show will be on view at our 36 Orchard Street location. The reception on Sunday, November 22nd will feature a conversation between Ana Pellicer (Metcalf&rsquo;s fellow sculptor and collaborator) and Roy Skodnick (who worked with both artists in Mexico), coinciding with the launch of the new biography <em>James Metcalf: True Son of Hephaestus</em>.</p> <p style="text-align: justify;">James Metcalf (1925-2012) was an American artist, recognized during the late fifties and early sixties as one of the most promising sculptors of his generation. His work was exhibited in Paris, London and New York in major galleries, acquired by important collectors and museums in the United States and Europe and reviewed by major art critics (Sam Hunter, Hilton Kramer, John Russell, and John Ashbery.) In Paris, through his friendship with painter and patron William N. Copley, he associated with the Surrealists (Marcel Duchamp, Man Ray, Roberto Matta, and Ren&eacute; Magritte). His studio at the Impasse Ronsin brought him into contact with Brancusi and younger artists, Claude and Francois-Xavier Lalanne, as well as the Nouveaux Realistes (Pierre Restany, Yves Klein, Jean Tinguely, and Niki de Saint Phalle). He remained solitary in his own work, recognized by his peers as a brilliant loner who was always ready to help them technically and artistically in their careers.</p> <p style="text-align: justify;">His metal sculpture developed as much from his extensive knowledge of techniques of the ancient Mediterranean and Celtic worlds as from the abstract sculpture surrounding him at the time.</p> <p style="text-align: justify;">Raised in the craft tradition of stained glass in Yellow Springs, Ohio, in 1944 James Metcalf served as a front-line soldier for nine months in the Italian campaign of World War II where he was gravely wounded. After one year at the Pennsylvania Academy he worked with his parents at Antioch College, and was a political activist in the early civil rights and union movements. He left the United States in 1950 to master metal as a creative medium and studied at The Central School of Arts and Crafts in London until 1953.</p> <p style="text-align: justify;">Metcalf spent his summers investigating ancient Mediterranean metal sites in Spain, Italy, Greece and Crete. Metcalf&rsquo;s base became Deya, Majorca, where he lived from 1953-1956. Friendship and collaboration with the English poet Robert Graves gave him the opportunity to explore the ancient European past in dialogue with a master of classical and near-eastern sources and a brilliant theorist as well. Graves incorporated examples of Metcalf&rsquo;s metal expertise in his chapter on the smith god Hephaestus in his <em>Dictionary of Greek Myths</em>.</p> <p style="text-align: justify;">After fifteen years in Europe and a brief stay in New York City, in 1966 Metcalf decided to leave the commercial art world to live and work in Santa Clara del Cobre, a community of coppersmiths in the state of Michoac&aacute;n, Mexico, where a pre-Columbian forging technique survived. It was there that Metcalf began his collaboration of forty-five years with the sculptor Ana Pellicer and an entire artisanal town of family forges.</p> <p style="text-align: justify;">This surviving pre-Columbian technique involved hammering kettles from solid ingot (what is technically called &ldquo;blocking or sinking&rdquo;), though not on iron anvils but on stone. Scrap copper was melted directly into holes in the ground without a crucible, lining the hole with oak ashes and smelting copper through a fire of oak and pine logs topped with charcoal, maintaining the draft of the smelting fires with a bellows completely different from the European bellows. By introducing tools and methods from classical European silver smithing, Metcalf established the tradition known as <em>El Borde Grueso</em>or &lsquo;The Thick Edge.&rsquo; This style of forging copper and silver produced a cultural and economic renaissance and has, today, made the town internationally known for the combined metal practices that they taught.</p> <p style="text-align: justify;">Heirs to the vision of Mexico&rsquo;s revolutionary generation of artists and intellectuals, Metcalf and Pellicer are unique in the cultural specificity of their work. From 1971 to 2002, they worked together with the Ministry of Public Education in the Popular Arts Program. During that time their small craft school trained three generations of metal smiths and grew into the jewel in the crown of Mexican technical education, one that Metcalf defined as &ldquo;a reserve, a contemporary sanctuary, where the technical diversity of all trades of metallurgical production, ancient as well as modern, is protected.&rdquo;</p> <p style="text-align: justify;">A Mexican woman and an expatriate American, trained in Europe, Ana Pellicer and James Metcalf fulfilled the dream of the founding Secretary of Education, Jos&eacute; Vasconcelos, who sponsored the muralists and associated programs in popular arts. Their careers parallel those of Diego Rivera and Frida Kahlo, two artists that so admired native crafts. Yet the founding generation of <em>Mexicanidad</em>never actually lived and worked side by side with a community of artisans. Metcalf, Pellicer and the artisans of Santa Clara del Cobre fulfilled that vision, despite all obstacles along the way in the long saga of Mexican Education, Popular Arts and culture that created modern Mexico&rsquo;s 20th century national identity.</p> <p style="text-align: justify;">&ndash; Roy Skodnick</p> <p style="text-align: justify;">On the occasion of the publication of the new biography:</p> <p style="text-align: justify;"><em>James Metcalf: True Son of Hephaestus</em></p> <p style="text-align: justify;">(Mexico City, Grupo Mexico)</p> <p style="text-align: justify;">Spanish and English texts:</p> <p style="text-align: justify;">Essays by Ana Pellicer and Jorge Pellicer, biography by Roy Skodnick and an autobiographical chapter by Metcalf and a tribute by sculptor Mel Chin</p> <p style="text-align: justify;">Designed by Ricardo Salas</p> <p style="text-align: justify;">Photographs by Harry Shunk and Jeffrey Blankfort</p> <p style="text-align: justify;">This exhibition is the outgrowth of conversations with Adrian Dannatt who introduced us to Roy Skodnick and the work of James Metcalf. Special thanks go to him, to Claire Copley, Billy Copley, the Neuberger Museum of Art, and Gianni Jetzer. </p> Sun, 22 Nov 2015 19:35:41 +0000 Björn Braun - Boesky East - November 1st - December 20th <p style="text-align: justify;">BOESKY EAST is pleased to present <em>New Towns</em>, a solo exhibition by Berlin-based artist Bj&ouml;rn Braun. This is the artist&rsquo;s first solo show with the gallery and will be on view from November 1 &ndash; December 20, 2015 at 20 Clinton Street, New York.&nbsp;</p> <p style="text-align: justify;">Bj&ouml;rn Braun transforms found objects, exposing the narrative potential of materials by way of slight interventions. Much of his work uses nature as a departure point as he often collaborates with birds, mice, or bees, turning the remnants of their activities &ndash; nests, burrows, abandoned eggs, and feathers &ndash; into sculptures. The process is tantamount to the resulting artwork, which is often determined by chance. For his first solo exhibition with the gallery, Braun will present a series of new floor sculptures, cast aluminum paintings, and an interactive window installation.</p> <p style="text-align: justify;">A minimalist sensibility presides over Braun&rsquo;s work, but is upended by his use of humble, natural materials, drawing further parallels to Arte Povera. Floor sculptures, which recall Carl Andre&rsquo;s grid-based floor works, are actually made from abandoned bird nests that have been boiled into a papier-m&acirc;ch&eacute; type material and then cast using molds of egg cartons. The eggs found in the original nests are hollowed out and placed accordingly within the sculpture. The systematic titles of the works (for example <em>9:5:1</em>) reference the number of nests, eggs, and cartons used. Braun&rsquo;s work also possesses a tongue-in-cheek, performative aspect of Beuysian alchemy as he often boils, mixes, and bakes organic material into their final sculptural forms. An economy of means presides over all of his work as nothing is ever wasted, only repurposed.</p> <p style="text-align: justify;">In a similar gesture, Braun has collected early 19<sup>th</sup> century German landscape paintings from thrift stores, which are then meticulously cast in aluminum, allowing the brush strokes and texture of the paint to show through. With one simple gesture, he turns romantic landscapes into monochromes, merging the natural with the industrial.</p> <p style="text-align: justify;">For the final work in the show, Braun will replace the glass in the window above the gallery&rsquo;s entrance with &ldquo;bricks&rdquo; made from a birdseed concoction that he bakes at home. Throughout the course of the exhibition, birds will be able to peck away at the bricks, and may eventually fly into the gallery, bringing nature and art together in the most direct way possible.</p> <p align="center">-</p> <p style="text-align: justify;">Born in 1979 in Berlin,&nbsp;Bj&ouml;rn Braun studied at the Fine Arts Academy in Karlsruhe. He has had solo exhibitions at the Kunstverein Braunschweig; Meyer Riegger, Berlin; and the Kunstmuseum Stuttgart. Group exhibitions include Museum f&uuml;r Moderne Kunst, Frankfurt/Main; Neues Museum, Weimar; and CAPC, Mus&eacute;e d&rsquo;Art Contemporain de Bordeaux. Braun currently lives and works in Berlin.</p> Sun, 22 Nov 2015 19:20:49 +0000 Anthony Pearson - Marianne Boesky Gallery 24th St - November 19th - January 16th, 2016 <p style="text-align: justify;">Marianne Boesky Gallery is pleased to present an exhibition of new work by Anthony Pearson. This is the artist&rsquo;s third solo exhibition with the gallery. The exhibition features lighting design by Keefe Butler and is on view from November 19 through January 16, 2016, with an opening reception on Thursday, November 19, from 6&ndash;8 p.m.</p> <p style="text-align: justify;">Pearson uses a range of methods and media to create works that offer a meditative experience by way of an extreme sensitivity to materials. His practice originated in photography, and by experimenting with the formal limits of the medium, Pearson has constructed a visual vocabulary that has expanded into sculptural materials such as gypsum cement, bronze, steel, and clay. &nbsp;</p> <p style="text-align: justify;">On the occasion of this exhibition, Pearson will be presenting two bodies of work: <em>Plaster Positives</em> and <em>Etched Plasters</em>. These works&nbsp;simultaneously embody qualities of sculpture and painting and use subtle relief to employ both seemingly infinite detail and a broad spaciousness. The work is built by way of repetition in both method and movement, with each pour and mark made by hand. The structure of Pearson's practice results in a subtle interplay between individual works that eventually resonate as a harmonic whole.</p> <p style="text-align: justify;">To create these works, the artist tints Hydrocal (a high-strength gypsum cement) and pours it into a shallow, planar mold. In his <em>Plaster Positives</em>, multiple pours of the material and careful movement produce tonal gradients through layered accumulation. The resulting surfaces resemble fluid pools, creating an ethereal and placid image that at times references the human body.</p> <p style="text-align: justify;">In his <em>Etched Plasters</em>, a flat surface of Hydrocal is scored by hand using a variety of implements and an array of mark-making systems. Close-knit networks of lines, orderly grids, and radiant forms, which are at times reminiscent of the natural world, engage to create an intricate relief. Light interacts with these surfaces to cast fine shadows and reveal a delicate sheen, with the subtle face of the work constantly changing as the viewer navigates the room. &nbsp;</p> <p style="text-align: justify;">The qualities of both the <em>Plaster Positives</em> and the <em>Etched Plasters</em> extend beyond pictorial space. Pearson&rsquo;s works are sensitive to the environments in which they are presented. Each poured or etched composition is reactive to light; therefore the ambient surrounding throughout the exhibition informs a phenomenological experience. This places Pearson's work within the legacy of previous generations of West Coast artists who have responded to the natural light that California conjures. In an age of continuous and rapid information, mobile devices, and short attention spans, Pearson's work offers a respite, a critical breathing room in which space and time slow down&mdash;for in the individual works and the exhibition as a whole, perception and contemplative experience are the primary concern.</p> <p align="center">&ndash;</p> <p style="text-align: justify;">Anthony Pearson (b. 1969) lives and works in Los Angeles. He received his MFA from UCLA in 1999. His work has been the subject of solo exhibitions at the Contemporary Art Museum, St. Louis (2012), and Midway Contemporary Art, Minneapolis (2008). Forthcoming exhibitions include Shane Campbell Gallery, Chicago (2016), and David Kordansky Gallery, Los Angeles (2017). Pearson&rsquo;s work is in the public collections of the Hammer Museum, Los Angeles; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; and the Walker Art Center, Minneapolis.</p> Sun, 22 Nov 2015 19:17:08 +0000 Claudia Joskowicz - LMAK Projects - December 13th - December 24th <p style="text-align: justify;">The first exhibit at LMAKgallery's new location at 298 Grand Street will be Claudia Joskowicz's two-screen video installation<em> Los rastreadores (The Trackers)</em>.<br /> <br /> Joskowicz&rsquo;s work looks at history and its repercussions on landscape. In her videos and installations, the viewer&rsquo;s gaze is directed to the physical movement of the camera through a cinematic space where historic events and personal stories with a historic dimension are revisited and anchored in her native Latin American landscape. The action in Los rastreadores transpires in Jokowicz&rsquo;s home town of Santa Cruz de la Sierra, Bolivia and is divided into four chapters composing a disjointed narrative that follows Ernesto Suarez Duarte, its main character. Ernesto&rsquo;s character was inspired by Roberto Su&aacute;rez Gom&eacute;z, a Bolivian drug trafficker nicknamed "the king of cocaine" who, in the early1980s, steered an influx of unaccounted income that pushed the city of Santa Cruz into unprecedented overnight growth, financed a military coup that instituted what is known as Bolivia&rsquo;s narco-dictatorship, and, in a letter to Ronald Reagan, offered to pay Bolivia's foreign debt of more than $3 billion in exchange for amnesty for his son who was imprisoned in Miami at the time. </p> <p style="text-align: justify;">Formally inspired by John Ford&rsquo;s 1956 classic western film The Searchers, Los rastreadores takes the western film as a departure point, looking at how both interiors and the landscape are framed and the metaphorical implications of their framing. It merges and distills issues of race, class systems, and alienation into a minimal narrative that condenses a massacre in Ernesto's house, the kidnapping of his daughter, and the beginning of her search. Using silences and voice-overs, it centers on the power of myth where events operate as a displacement for the political discourse in the country. <br /> <br /> Special thanks to the MIT Program in Art, Culture &amp; Technology who provided equipment support for this exhibition.</p> Sun, 22 Nov 2015 19:13:16 +0000