ArtSlant - Openings & events en-us 40 Younghee Choi Martin - Bowery Gallery - January 3rd, 2013 5:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">The<strong> Bowery Gallery</strong> presents an exhibition of <strong>Younghee Choi Martin</strong>'s "<strong><em>Recent Paintings: Myth of Orpheus</em></strong>," on view from December 26, 2012 through January 26, 2013. The opening reception will be held on Thursday, 5–8 pm, January 3, 2013.</span><br /> <br /><span style="font-size: small;"> There are over a dozen paintings ranging in size from mural scale, <em>Here is the Meadow Where We Started</em>, (74" x 112") to a more intimate size, On the Edge of Light, (12" x 21").Younghee Choi Martin's approaches and methods involve extremes. Some paintings have been labored over for several years, re-working, adjusting, scraping, repainting, and finally re-inventing the entire composition. The rigorous creative process results in varied density and unexpected moves within one canvas. Other paintings have been completed with ease in a few sessions. Similarly, many paintings are expressed in full color palette while others are painted nearly in monochrome, and still others in black and white over a field of a single dominant color. As she develops pictorial themes and ideas, they flow from large canvases to small sketches and back.</span><br /> <br /><span style="font-size: small;"> Younghee Choi Martin's interpretive vision of the ancient Greek myth of Orpheus derives not only from classical sources, but also from Monteverdi's opera L'Orfeo. She draws a wealth of emotionally charged situations: the joyful preparation for a wedding, the tragedy of a wife's sudden death, the insurmountable challenge to persuade the god of the underworld through music, the illusion of victory destroyed by a doubting backward glance, and the inconsolable grief at the second loss of a loved one. Younghee structures these scenes of human vulnerability in painting terms, creating an expressive poetic fullness. </span><br /> <br /><span style="font-size: small;"> Her pursuit in Fine Arts began as a high school student attending the Brooklyn Museum Art School. She went on to study at the Rhode Island School of Design, RISD's Rome program, and Yale's Summer Program. In the 1980's, she was awarded painting fellowships from the National Endowment for the Arts and the NY CAPS program. </span><br /> <br /><span style="font-size: small;"> For over three decades, Younghee Choi Martin's works have been exhibited in New York and throughout the United States, Korea, Japan, France, and Italy, including 19 one-person shows and 50 group-shows in various galleries, museums, and art fairs. Over 80 paintings and drawings are placed in various collections in the United States, Korea, Japan, and India.</span></p> Sun, 30 Dec 2012 09:28:33 +0000 Luis Castro, Kate Elliot, Janet Goldner, Thiago Szmrecsányi - Flomenhaft Gallery - January 3rd, 2013 6:00 PM - 8:00 PM <p><span style="font-size: small;" size="3">The Flomenhaft Gallery is honored to have such a fresh and exciting sculpture exhibit curated by Emma Amos, a superb artist in her own right, and represented by our gallery.   <br /><br />                 Luis Castro works in wood and stone, creating works with a sense of lightness, potential mobility and play. Each piece has a particular material history:  the step of a Baltimore row house, a piece of a NYC courthouse, or the trunk of a majestic maple.  He cuts, grinds and sands rough heavy materials until objects emerge that evoke feelings of tenderness and sensuality. Smooth surfaces, open forms and curved shapes belie the courser origins of the sculptures.                 <br /><br />                 Kate Elliot dissects and unites wire, wood, wax, clay and everyday materials to create abstract organisms.  Strange yet familiar forms offer an indirect way of looking at ourselves. Constructions are captured in stances of defense, gestures of flight, or limited mobility. Implied motion or restraint evinces tension, desire, resilience and the feeling of impermanence—the recurrent themes of her work. Celebrating the magnificence and ferocity of humanity and the natural world, her improvisational constructions are reflections upon the ingenuity, flexibility and strength of survival.  She mimics closed loop systems that reuse matter—making death fodder for new life. She exposes the enigmatic structures and patterns of this underlying micro/macroscopic world and is drawn to nature’s repetition of design (how tree roots could be mistaken for lightning, veins, coral or bacteria, in a different context). She organizes her experiences into an integrated worldview.         <br /><br />                 Janet Goldner's life experiences play an integral part in the development of her work. She makes free-standing steel sculptures and wall-bound installations that reference her artistic lineage going back to the welded sculpture of Julio Gonzalez.  A master welder, she works in three dimensions, on paper, on the floor, and on walls. Her work displays a deep continuing interest in African art.  Janet's work combines abstract and classical forms and ideas, as well as ages old motifs and skills. It records and reflects human scale, labor, body ornaments, utensils, community and traditions as well as what is current.  Her sculptures thrive on small tensions between light and shadow, the organic and precise, the playful and serious, political and personal.  She uses a welding torch as a drawing instrument, cutting images and text into them.  Janet has exhibited widely throughout the US and internationally.  She has received numerous awards including a Fulbright Senior Research Fellowship and two Fulbright Senior Specialist grants.<br /><br />                 Sculptures by Thiago Szmrecsányi are games and installations that he employs and transforms from found objects, printed images, and recycled construction materials to create single and multiple pieces, placing an emphasis on process, relating current art making practices to other mundane activities. He enjoys playing and finding unexpected meanings and uses in objects; and they can take multiple configurations as thoughts are refined and ideas are re-shaped.  The employment of re-used everyday objects and materials as well as a provision for change and re-arrangement are the qualities that unite <em>Common Thread</em>, <em>Superior Protection</em>, <em>Successful Slippers</em> and <em>Ring and String.</em></span></p> Tue, 01 Jan 2013 02:15:19 +0000 Group Show - The Painting Center - January 3rd, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Zeuxis is a grassroots organization of painters formed in 1995 to explore the contemporary possibilities of the still life. For their latest exhibition titled Reflections, Zeuxis artists and their guests have agreed to produce still lifes incorporating a reflecting object. The nature of reflection - its surface (likely a mirror, though possibly glass or silverware) and the image reflected (still life objects, a window, or even a self portrait) - was determined by each individual artist. Reflections have long intrigued painters, and served them in various ways. Jan van Eyck, for his own mysterious purposes, famously placed a convex mirror in the background of his double portrait The Arnolfini Wedding (1434). The Dutch still life painter Pieter Claesz conjured images of worldly opulence in the minutely rendered reflections of silver and glassware. In his celebrated Las Meninas (1656), Velázquez framed King Philip IV and his queen in another mirror, placing them at a poignant remove from the lively exchange amongst the other figures. In modern times, Bonnard and Matisse employed the worlds-within-worlds of mirrors to dramatize the visual paradoxes and dramas of light and space. And spanning these eras is another, enduring characteristic. It symbolizes the inquiry behind the act of painting – itself a reflection, invariably, of an individual’s encounter with the human experience. The exhibition includes work by Zeuxis artists Rita Baragona, William Barnes, Temma Bell, Susan Cohen, Phyllis Floyd, Stanley Friedman, John Goodrich, Christine Hartman, Robert Jessel, Tim Kennedy, Deborah Kirklin, Carmela Kolman, Richard La Presti, Ginger Levant, Ying Li, Sydney Licht, Anthony Martino, Margaret McCann, Ruth Miller, Janice Nowinski, Stephanie Sanchez, Sandra Stone, Gwen Strahle, Amy Weiskopf, and Megan Williamson and guest artists Lois Dodd, Nancy Grimes, Nancy Hagin, Albert Kresch, Marion Lerner-Levine, George Nick, Susannah Phillips, and Susan Jane Walp. Reflections will be accompanied by a 36 page full color catalog with essay by William Corbett.</p> <p></p> <p></p> <p></p> Wed, 02 Jan 2013 06:29:34 +0000 Peter Saul, Jim Shaw - Mary Boone Gallery - 5th Ave. - January 4th, 2013 5:00 PM - 7:00 PM <p>On 5 January 2013, Mary Boone Gallery will open at its Fifth Avenue location an<br />exhibition of works on paper by PETER SAUL and JIM SHAW. The exhibition has been<br />organized by writer and curator Klaus Kertess. Works by Jim Shaw are courtesy of<br />Metro Pictures, New York.<br />Peter Saul and Jim Shaw are two of the more idiosyncratic artists who are currently<br />keeping the flame of figurative art alive. The indefatigable veteran Peter Saul has created<br />an ever-changing style. Never concerned about political correctness, Saul has given life to<br />an evolving cartoon mode, expertly drawn and rendered in meticulously painted near Day-<br />Glo gaseousness. His subjects range from a raving Stalin about to execute a platoon of<br />enemy soldiers to a Self-Portrait as a Woman, 2006, in which a doctor can be seen with a<br />vacuum sucking up the subject’s right arm. In the same year, he created an Execution of<br />Jesus. His drawings are as meticulously and expertly finished as his paintings. He knows<br />how to disperse a refined and lively drawing style.<br />Jim Shaw’s lyrically rendered drawings exist in an enigmatic dream space. His figures<br />often look like relatives of the denizens occasionally found in Magritte’s mysterious places<br />and faces. He has drawn delicate half faces that look as though they have been sliced in<br />half and are melting into the floor boards upon which they were drawn. Or he might focus<br />on a scene featuring a strange beast with a coat that seems to have been printed digitally.<br />In two just completed drawings he has added wiry naked warriors to The Battle of Cascina<br />as seen alternately by da Vinci and Michelangelo.<br /><br /></p> Sat, 29 Dec 2012 03:35:55 +0000 JULIE ALLEN - McKenzie Fine Art - January 4th, 2013 6:00 PM - 8:00 PM <p>McKenzie Fine Art is pleased to commence the new year with an exhibition of recent drawings and sculptures by Julie Allen.  This will be the artist’s fourth solo showing with the gallery.  The exhibition opens Friday, January 4<sup>th</sup> with a reception for the artist from 6 to 8 p.m. and concludes on Sunday, February 3, 2013.</p> <p>Allen has long delved into her intimate childhood and family memories for inspiration and source material in her work.  In her last exhibition, she created hand-sewn robotic toys made from vinyl and plastic which drew on her recollections of being raised in a southern California community dominated by the aerospace industry.  In earlier exhibitions she examined the role of food, both in everyday and celebratory settings:  elaborate cakes fashioned entirely from sewn-together balloons, or desserts and salads constructed of hand-sewn silk organza ingredients.  Drawings in colored pencil have always played a role in her work as well, ranging from graceful depictions of sushi and sashimi dinners to memory drawings of every object she could recall from her grandmother’s home.</p> <p>For the current exhibition, Allen shifted focus to her clothing and its role in her own life experiences, ranging in time from adolescence to the present. The exhibition primarily is comprised of drawings. These include three near-life-size colored pencil on vellum depictions of clothing items from her teen years.  For the artist, these recall the childhood experience of receiving new matching play outfits with a beloved sibling, or seminal shopping excursions with her mother as symbols of the transformation into maturity.  They also evoke burgeoning moments of independence:  purchasing clothing as a teenager from the Esprit store after careful research through back issues of the magazine <i>Seventeen,</i> checked out from the local library.</p> <p>Also included in the exhibition are over 100 miniature versions of items from Allen’s closet, as small as 2 or 3 inches and none larger than 6 or 7 inches.  Allen made detailed rubber-stamps from her own pen and ink drawings of specific types of clothing, to use as templates for these works.  After stamping the outline, each drawing was colored in with different patterns or tones, including pinstripes, florals, plaids, polka dots and solids, then cut out and encased in wax paper with tape, “for safe keeping.”  Allen commenced this series shortly after her marriage, when her husband moved into her apartment and she offered him the front of her closet. Allen resolved the disorientation she felt at seeing the stripes and solids of a man’s clothing displacing her own items, which were arranged by color, effectively re-creating her original closet with these labor-intensive but lovingly executed works.</p> <p>Allen also made life-size portraits of her underwear for the exhibition, “in response to having my husband to appreciate them.”  She began this series with colored pencil on paper or vellum, but moved on to making more vivid full-scale replicas fashioned from Saran Wrap and Magnatag chart tape, replete with lacy embellishments and moveable straps.  These pieces continue Allen’s longstanding practice of using commonplace and household materials to meticulously fashion her sewn sculptures, but she notes, “I have traded in the longing of innocence for the deliciousness of love.”</p> Fri, 04 Jan 2013 02:12:43 +0000 Group Show - NOoSPHERE - January 4th, 2013 6:00 PM - 8:00 PM <div class="section"> <div class="layoutArea"> <div class="column"> <p>FOR IMMEDIATE RELEASE:</p> </div> </div> <div class="layoutArea"> <div class="column"> <p>A HOUSE FULL OF FRIENDS:</p> <p>Anniversary Shows and Benefit Auction<br /> @ NOoSPHERE Arts in NYC, Jan 4–Feb 4 2013</p> <p>Opening Reception: Fri, Jan 4, 6‐8 pm<br />Benefit Auction: Mon, Feb 4, 6:30‐8:30 pm</p> <div class="column"> <p>New York, NY, Dec 20: NOoSPHERE Arts on the Lower East Side of Manhattan is excited to announce that we will kick off the New Year with A House Full of Friends, both old and new. On Feb 4, 2013, we will have been up and running for<br /> two full years, and we wish to celebrate our second birthday with a benefit auction to raise funds to continue doing what we do: Conceived as a collaborative DIY platform where a wide range of artists help each other shine, our nonprofit project space connects artists from elsewhere with the NYC art scene. Sharing their magic with a different audience allows for fruitful encounters where seeds are planted for new wonders across borders and disciplines.</p> <p>The work to be auctioned off will be on view for the month running up to our big day: a diverse show of select former exhibitors combined with newcomers handpicked by a distinguished NYC art panel: Turid Meeker (Curator/Art Advisor) and David Gibson (Curator/Art Critic)<br /> Old Friends: Hanneline Røgeberg, Björn Hegardt, Michael Alan Alien, Gisle Harr, Michael Anderson, Lars Strandh, Txuca, Anki King, Marianne Darlén Solhaugsstrand, Boris Zakic, Anna Christina Lorenzen, Morten Traavik, Richard Borge,</p> <p>Pia Myrvold (full list to be released soon)<br /> New Friends: Alexis Duque, Hsin‐Ju Hsieh, Bryan A. Moore, Kimberley Ross, Yngvar Larsen, Francesco Palombi, Andreas Soma, Alf Solbakken, Marianne Mannsåker, Kari Anne Helleberg Bahri<br /> Plus One Very Special Friend: Louise Fishman</p> <p><img src="" alt="A HOUSE FULL OF FRIENDS: Anniversary Shows and Benefit Auction" /></p> </div> </div> </div> </div> Wed, 02 Jan 2013 17:04:38 +0000 Joe Winter, Elisa Lendvay, Ethan Greenbaum, Leah Beeferman, Lisha Bai - NURTUREart Gallery - January 4th, 2013 7:00 PM - 9:00 PM <div>NURTUREart is pleased to present <em>The Order of Things</em>, curated by Jamillah James and featuring artists:<strong> Lisha Bai,</strong> <strong>Leah Beeferman</strong>, <strong>Ethan Greenbaum</strong>, <strong>Elisa Lendvay</strong>, <strong>Demetrius Oliver</strong>, <strong>Allyson Vieira</strong>, and <strong>Joe Winter</strong>. <em>The Order of Things</em> considers the shift in our relationship to the universe in light of recent apocalyptic predictions. An acute awareness of time, as some wait with baited breath for “the end”, engenders a special attentiveness to space, materiality, and objecthood, with smaller details emerging and becoming foregrounde<b id="internal-source-marker_0.9496746498625726">d.</b><br /><b id="internal-source-marker_0.9496746498625726"> <br /></b>Either through their own experimental studio practice, or in how they visualize and aestheticize the passage of time, the artists in this exhibition address cosmological hierarchy from the bottom up, reiterating the impulse of subjects to understand their existence and the world through objects. The interplay of works, some of which use a scientific vernacular, underscores the phenomenological relationship between subjectivity, and perception, examining banality and the existential in equal parts.<b id="internal-source-marker_0.9496746498625726"><br /> <br /></b>About the artists<b id="internal-source-marker_0.9496746498625726"><br /> <br /></b><strong>Lisha Bai</strong> (b. 1979, Greenville, SC) is currently living in Brooklyn, NY. She received her MFA from Yale in 2004 and her BFA from Washington University in St. Louis in 2001.  She has exhibited work in a variety of venues including Regina Rex, Brooklyn;  the National Academy, New York; Branvin Lee Programs, New York, among others.<b id="internal-source-marker_0.9496746498625726"><br /> <br />Leah Beeferman </b>(b. 1982, Cambridge, MA) received a BA from Brown University in 2004 and an MFA from Virginia Commonwealth University in 2010. Her work has been exhibited at venues  such as the Queens Museum of Art; the Museum of Contemporary Art, Cleveland, Space 1026 , Philadelphia ; Vox Populi, Philadelphia; and Nicole Klagsbrun, New York.<br /><b id="internal-source-marker_0.9496746498625726"> <br />Ethan Greenbaum</b> (b. 1979, Tom’s River, NJ) has exhibited at Derek Eller, New York; Thierry Goldberg, New York; Steve Turner Contemporary, Los Angeles; The Aldrich Museum, Connecticut and Socrates Sculpture Park, Long Island City. He holds an MFA in Painting from the Yale School of Art. He is co-founder and editor at The Highlights, an online arts journal devoted to artists’ text based projects.<b id="internal-source-marker_0.9496746498625726"> <br /><br />Elisa Lendvay </b>(b. 1975, Dallas, TX) holds an MFA in Sculpture from Bard College and a BFA from the University of Texas at Austin. Recent exhibitions include a solo presentation at Jason McCoy Gallery, New York, and group shows at Kansas Gallery, New York; Samson Projects, Boston; Daily Operation, Brooklyn; and Klaus Von Nichtssagend, New York, among others. She lives and works in Brooklyn.<b id="internal-source-marker_0.9496746498625726"><br /> <br />Demetrius Oliver </b>(b. 1975, Brooklyn, NY) has been included in group exhibitions at the Museum of Fine Arts, Houston; Renaissance Society, University of Chicago; and The Studio Museum in Harlem, New York.  His work is held in collections at the Studio Museum, Los Angeles County Museum of Art, Museum of Fine Arts Houston,  and the Blanton Museum of Art. He lives and works in New York City.<br /><b id="internal-source-marker_0.9496746498625726"> <br />Allyson Vieira </b>(b. 1979, Somerset, MA) has been featured in exhibitions at Laurel Gitlen,  SculptureCenter, Klaus Von Nichtssagend, Lehmann Maupin, and EFA Project Space, New York. Vieira holds an MFA from Bard College and a BFA from the Cooper Union, New York. She is based in Long Island City and is represented by Laurel Gitlen, New York.<b id="internal-source-marker_0.9496746498625726"><br /> <br />Joe Winter</b> (b. 1981, Wilmington, DE) lives and works in Long Island City. Recent exhibitions include a solo show at The Kitchen, New York and the National Glass Centre in Sunderland, England; and group exhibitions at Gasser &amp; Grunert, New York; and The Suburban, Chicago; among others. He holds a MFA from University of California, San Diego.<b id="internal-source-marker_0.9496746498625726"><br /> <br /> </b>About the curator<br /><b id="internal-source-marker_0.9496746498625726"> <br /></b><strong>Jamillah James</strong> (b. 1980, Newark, NJ) is a curator based in New York. She is currently Curatorial Fellow at The Studio Museum in Harlem, New York, and edits the blog FRONTIERS. Recent exhibitions and projects include <em>Comic Relief: On Art and Television</em> (Center for Experimental Lectures), MoMA/PS1; <em>Primary</em>, Nudashank, Baltimore; <em>Dirty Looks: On Location</em>, New York; and <em>Three Points Make a Triangle: Queens International 2012</em>, Queens Museum, New York. <b id="internal-source-marker_0.9496746498625726"><br /></b></div> Sun, 04 Aug 2013 16:56:51 +0000 Group Show - Sargent's Daughters - January 4th, 2013 6:00 PM - 9:00 PM <div><b>239 Days— Works from School of Visual Arts MFA Fine Arts Class of 2012    </b></div> <div>Curated by Stephen Maine<br /><br /> <div style="text-align: justify;">Opening Reception: Friday, January 4th, 6-9pm</div> <div style="text-align: justify;">Exhibition dates: Friday, January 4th– Saturday, January 12th<br /><br /></div> <div style="text-align: justify;">Allegra LaViola Gallery and The School of Visual Arts are pleased, proud and pumped to present “239 Days: School of Visual Arts MFA Fine Arts Class of 2012,” featuring new work by recent graduates of this distinguished program.</div> <div style="text-align: justify;"><br /> The exhibition will occupy both levels of the gallery. Reflecting the interdisciplinary nature of SVA’s Graduate Fine Arts program, the show includes work in painting, drawing, sculpture, installation, photography, video, and sound—all of it completed within the 239-day period between the artists’ official receipt of their Master’s degree on Graduation Day and the exhibition’s January 4, 2013 opening.</div> <div style="text-align: justify;"><br /> A strong undertow of comedy courses through the show, but the borderline tragic and the deadly serious are represented as well. Curator Stephen Maine is not totally sure he can tell the difference, but he’s pretty certain that it’s all in the eye of the beholder, anyhow. The works range in scale from the modest, genre-inflected paintings of Hee Won Seo and the cryptic, semi-narrative sculptures of Kim Smith to the environmental scope of Eric Mistretta’s ceiling-based installation and a monumental color-centric grid painting by Hyun Soon Kim.</div> <div style="text-align: justify;"><br /> The connective tissue that binds these works together is their steadfast refusal, individually and collectively, to be bound to anything. The exhibition is as multi-faceted and agonistic as the Class of 2012 itself. It attests to the continued vitality and innovativeness of Graduate Fine Arts at SVA and to the creative achievement of the program’s recent graduates.</div> <div style="text-align: justify;"></div> </div> <div> <div style="text-align: justify;">Chie Araki</div> <div style="text-align: justify;">Nick Bakita</div> <div style="text-align: justify;">Victoria Batey</div> <div style="text-align: justify;">Eleni Beristianou</div> <div style="text-align: justify;">Andrew Brischler</div> <div style="text-align: justify;">Steven Chapman</div> <div style="text-align: justify;">Eli Gabriel Halpern</div> <div style="text-align: justify;">Herhsuan Hsieh</div> <div style="text-align: justify;">Elan Jurado </div> <div style="text-align: justify;">Eun Jung Kim</div> <div style="text-align: justify;">Hyun Soon Kim</div> <div style="text-align: justify;">Sharon Kirby</div> <div style="text-align: justify;">Jonas Lara</div> <div style="text-align: justify;">Kacie Lees</div> <div style="text-align: justify;">Amelia Midori Miller</div> <div style="text-align: justify;">Eric Mistretta</div> <div style="text-align: justify;">Augustus Nazzaro</div> <div style="text-align: justify;">David Ostro</div> <div style="text-align: justify;">Jenny Santos</div> <div style="text-align: justify;">Hee Won Seo</div> <div style="text-align: justify;">Kim Smith</div> <div style="text-align: justify;">Hunter Speagle</div> <div style="text-align: justify;">Miryana Todorova</div> <div style="text-align: justify;">Ken Wahl</div> <div style="text-align: justify;">Christina Wang</div> <div style="text-align: justify;">Rebecca Ward</div> <div style="text-align: justify;">James Brendan Williams</div> </div> Fri, 14 Dec 2012 16:55:39 +0000 Group Show - Society of Illustrators - January 4th, 2013 6:00 PM - 8:00 PM <p>The first of the two-part annual exhibition<em> Illustrators 55 </em>will be held at the Museum of American Illustration at the Society of Illustrators January 4 to January 26, 2013. The exhibit features works by leading contemporary illustrators worldwide, selected by a prestigious jury of professionals. </p> <p>The first exhibit includes works in the categories of Sequential/Series, Institutional, Uncommissioned and Moving Images. </p> <p>Sequential/Series work includes multi-image projects for which a sequence of images is necessary to fully convey an idea or story.  Examples include work produced for comic books, art journalism or graphic novels. This year's Gold Medal winners include Eleanor Davis for her work titled "In Our Eden", Victor Juhasz's "An American Artist in the Combat Zone", and Emiliano Ponzi for his piece "Charles Bukowski Italian Edition Book Covers".  Silver medals go to Jonathan Burton for his playing cards, Keith Negley and his series "Father's Day", and Mark Ulriksen's "My Name is Mark."</p> <p>Institutional illustration includes work appearing on merchandise, announcements, annual reports, calendars, corporate projects, government service projects, greeting cards, newsletters, in-house publications, philatelic work and collectibles.  Gold Medals are awarded to Pieter Van Eenoge for his goose board game, Victo Ngai for "Utopia", and JooHee Yoon's "Cook".  Silver Medals go to Marc Burckhardt's "Gilded", Joe Ciardiello for "Hockney Red", and Eleanor Davis for her piece titled "Center for Cartoon Students Diploma, 2012".</p> <p>Uncommissioned pieces include all self-generated work.  A Gold Medal is awarded to Ariel Lee for her piece "Blue Bouquet."  Silver Medals go to Chad Grohman's "Hertel Barber", Aya Kakeda for "Hanabi Monster", and Keith Negley for his piece "My Guilty Pleasure."</p> <p>And now in its second year, the Moving Image category features animation for commercial purposes such as tv or online advertisements, short of feature length movies, ebooks and apps.  The Moving Image entries will play throughout the entire duration of the show in the new Winsor McCay Screening Room.  Gold Medals are awarded to David Chair and his team for their animation titled "A Knock on My Door", André da Loba for "On Thoughts", and Caleb Wood's "Littlewood."  Silver Medals go to The Brothers Hilts for "Insomniacs", Jonathan Campo's "The Duke", and Chris Silas Neal's "Well, What Have We Here?". </p> <p>The Illustrators 55 will now be exhibited throughout the entire building, including the 3rd floor Hall of Fame Gallery. </p> Mon, 26 Nov 2012 01:21:12 +0000 Andy Graydon - LMAKgallery - January 5th, 2013 5:00 PM - 8:00 PM <p>LMAKprojects is pleased to present <em>The Findings</em>, Andy Graydon's third solo exhibition with the gallery. This project finds Graydon grappling with the mutual transformations of thought and material that constitute the world, often through the creative work of forgetting, obfuscating, falsifying, or simply wandering away. His explorations are found in photographs, video, sculptures and a sound piece.</p> <p>Throughout the gallery the sound of a voice narrates a walk into the woods to revisit an incredible place that the narrator can no longer find.  The more he tries to describe the thing to us, the less clear anything about it is: his descriptions change with each attempt until it is unclear whether what he found ever existed. And yet it creates an object in the mind, and it this new 'lost thing' that is suspended between narrator and viewer. The film of <em>The Findings</em> is presented as a series of tiny moving images projected into specially produced books. Like an explorer's notebooks or sketchbooks, they show the film as an open-ended unfolding and a constant process of discovery, wandering, and surprise.</p> <p>Along the wall is a series of photographs taken along a familiar path for the artist, on the rim of Haleakala Crater in Maui, Hawaii. The walk was an exercise in trying to place himself in the position of the narrator of<em> The Findings </em>film: retracing one's steps in order to recover a familiar and beloved thing, only to be surprised by its continuous metamorphosis. Things took a fittingly unexpected turn when the mountain became shrouded in an all-encompassing fog, turning a path the artist has known all his life into a foreign land. Recovering the landscapes in his mind's eye became impossible, and Graydon was left to photograph the opaque atmosphere itself. The images are loaded and atmospheric, with subtle hints of the landscape that only appear when the viewer allows her eyes to adjust and succumb. </p> <p>The two sculptural works in the show reflect on both the sound work and the landscape images. Graydon asked the art fabricator workshop Saygel &amp; Schreiber to create an object based solely on the film's texts - no further descriptions or guidance were given. The fabricators decided that the text itself was the object they were searching for and made a book: a unique, hand-produced hardcover book in nine different formats, from a stage play, to a song, a storyboard, a pop-up page, a transcription, and a series of optical illusion exercises. Rather than rendering the narration as a material thing, it materializes the infinity of creation that the text represents.</p> <p>The second object took the form of a kind of decentered scavenger hunt set up by the art fabricators, involving a map found in a train station locker, a spinning top with a pencil for a spindle, and a traffic circle in north Berlin. Spinning the top across the surface of the map revealed three looping itineraries for exploratory walks across this banal but surprising site. And so we are led back around to the theme of the "lost walk", connecting directly to the Grass House series and to the wandering narrated epiphanies that were the origin Graydon's search: things come full circle, and are ever new, over and over again.</p> <p>Andy Graydon (1971, Maui, Hawaii) is an artist and filmmaker. His work has been shown at the Utah Museum of Contemporary Art, Salt Lake City; the New Museum, NY; Kunsthalle Exnergasse, Vienna; Marian Spore, NY; Artisphere, Arlington, VA. He has released sound works on numerous labels, including Nonvisual Object, Vienna; mAtter, Tokyo, Winds Measure Recordings, NY; White_Line Editions, UK, and Leerraum, Switzerland. In 2009 he was awarded a Rhizome Commission for the creation of Untitled (plate tectonics), a sound installation.</p> Sat, 29 Dec 2012 03:29:06 +0000 Keith Sonnier - Mary Boone Gallery - 24th St. - January 5th, 2013 5:00 PM - 7:00 PM <p>On 5 January 2013, Mary Boone Gallery will open at its Chelsea location an exhibition of<br />works from 1968 to 1970 by KEITH SONNIER.<br />“I think we were amazed that what we were making would even be bought. Our type<br />of work was somehow counter-culture. We chose materials that were not “high art”;<br />we weren’t working in bronze, or paint, even. We were using materials that weren’t<br />previously considered art materials. They were deliberately chosen to psychologically<br />evoke certain kinds of feelings.”<br />This exhibition of early works includes examples from Sonnier’s seminal and<br />internationally acclaimed Ba-O-Ba and Neon Wrapping Incandescent Series. These works<br />were designed in Sonnier’s first New York studio to make use of the floor to wall<br />relationship as well as utilize the reflective environment that working with neon and glass<br />naturally creates. Sonnier’s early site specific Ba-O-Ba installations provided sets for<br />performers and thus the first video work was conceived and recorded in the studio in<br />Chinatown.<br />Sonnier investigated many types of glass shapes and surfaces as well as a variety of<br />neon and argon colors and configurations. Eventually extruded materials were added and<br />this early Ba-O-Ba Series became the foundation upon which Sonnier based many of his<br />subsequent architectural and environmental installations.<br />The organic free form of the neon lines in the Neon Wrapping Incandescent Series relate<br />very much to drawing and provide a perfect contrast to the strictly geometric shapes<br />of the Ba-O-Ba works. Sonnier’s focus here is on the experimentation between different<br />light sources and levels, and the energetic quality of the electrical current running through<br />the sculptures.<br /><br /></p> Sat, 29 Dec 2012 03:31:15 +0000 Laura Westby - Phoenix Gallery - January 5th, 2013 4:00 PM - 6:00 PM <p>Laura Westby lives and works out of her art studio just a few miles outside of Manhattan.<br /><br /> An artist her entire life, she's exhibited numerous times in the city. As part of the New York art community and gallery scene, she works with galleries and many known artists who rely on her ingenuity, skills and her wonderful, authentic personality.<br /><br /> These genuine qualities shine innately from within her mostly abstract paintings. Her decisive yet delicate color palette and direct compositions evoke those peripheral American places that are somehow everywhere and nowhere but reassuringly familiar. The ordinary places that peacefully stir with an atmosphere that might remind us we're homeward bound. Her paint application possesses physical grace and a poetic gentleness.<br /><br /> The indomitable Laura also trains for and powers through, running the NYC marathon every year. A dynamic spirit and artist. Please join us on Saturday, January 5th, from 4 - 6 PM to meet the artist.</p> Tue, 11 Dec 2012 01:50:01 +0000 Jung Rhee Shim - Phoenix Gallery - January 5th, 2013 4:00 PM - 6:00 PM <p>In her continuous search for the nature of Being, Shim Jung Rhee has explored various possibilities in which man, nature, and technology can encounter and interact as essential elements to form a unified world. She addresses the concept of time referring to human mortality and a yearning for eternity. The strife between human desire to avoid mortality and assertive decision to face it comes into focus in her recent work employing mirror images. The images of simple nature, objects, and surroundings seem to urge the viewer to return the simplicity of nature in order to restore our spiritual home, lost in the course of the development of modern technology.<br /><br /> Jung Rhee Shim lives and works in Korea. She is a Professor of Art in the Painting Department at Hong-Ik University, Seoul, Korea</p> Tue, 11 Dec 2012 01:53:47 +0000 Diana Cooper - Postmasters - January 5th, 2013 6:00 PM - 8:00 PM <p>Postmasters Gallery is pleased to announce a solo exhibition of new works by Diana Cooper opening on January 5, 2013. Cooper is represented by Postmasters since 1999; her last show at the gallery took place in 2008. <br /><br /> Fellow artist Oliver Herring on Diana Cooper: "I learned to love how Diana sees scrappy detail and opportunity in everything and everywhere. If you ever have a chance to take a stroll with her through an urban landscape, do it. You won't look at that blighted lot or that rusty street curb quite the same afterwards." (Artnews, December 2012**) <br /><br /> In the <i>My Eye Travels</i> exhibition, Cooper offers an implausible environment, a transformed place that is never set and never stable. She brings together groups of photographs, photo-collages and spatial hybrid constructions that in an accumulative way convey a disorienting imaginary landscape. The works that incorporate images of sky, water, manmade objects and transitional sites are further de-stabilized by relocated and multiplied "photographic ghosts" from the gallery space itself: outlets, surveillance system, skylights and vents.<br /> <br /> In her own words: I am fascinated by the interconnectedness of manmade structures/systems and those found in the natural world. I am increasingly drawn to the sometimes beautiful and sometimes tortured way that nature exists in contemporary environments, whether it be a huge plant stuck inside of a 21st century airport, or vines that resemble a chain link fence, or an abandoned bulldozed lot that unintentionally becomes a garden where weeds grow to the size of trees. My aim is to explore the strangeness of transitional spaces and the wonder they provoke.<br /> <br />****<br /><br /> I first met Diana Cooper in 1997 when visiting MFA studios at Hunter College. Her studio walls were covered with floor-to-ceiling allover "painting" that took her several months to complete. She engaged in an obsessive day-and-night marking of the walls with sharpie pens creating an abstract, yet very physically present, dense environment. She did not care about its permanence - it was obvious that the room will be repainted for the next student. But for me, the "here today, gone tomorrow" character of Cooper's gesture turned futility into power.<br /><br /> This first impression serves as an apt description of her commitment, vision, and uncompromised, unique way of working that Cooper - a quintessential "artist's artist"- continues to this day. <br /><br /> Over the years she made minuscule drawings on Post-its and monumental immersive installations. For Cooper the outside world is an ever-evolving construction site. She locates unorthodox materials and transforms them: corrugated plastic, astroturf, pompoms, pipe cleaners, foam core, map pins, tape, felt strips, plastic mesh, color filters and more become her building blocks. She does not use existing objects - traditional readymade assemblage - rather, she invents the objects and makes them herself.<br /><br /> Cooper's earlier works were sprawling forms with occasional words or numbers inserted into them. Essentially abstract, they were evocative of systems and circuitry, cause and effect, order and chaos, process and control. Eventually she began taking hundreds of photographs and incorporating them into her installations. In <i>My Eye Travels<i> it is through her framing of the outside world that we enter familiar yet parallel realm. Nobody sees the traffic cones, or recycled garbage, mall escalators, construction barriers, and jet way tunnels the way Cooper sees them. Nobody sees the rows of empty chairs at Daytona racetrack the way she does. Diana Cooper is an obsessive "maker" of earthly revelations, an artist determined to bring her playful but sure-handed vision out. <br /> <br />****<br /><br /> Special thanks are extended to two institutions that provided assistance and facilities to produce many of the works in the exhibition:<br /> School of Art and Design NYSCC and the Institute of Electronic Arts at Alfred University (Alfred, NY)<br /> School of Visual Arts at Virginia Tech (Blacksburg, VA).<br /><br /> ****<br /><br /> *<i>My Eye Travels<i> - the title of this exhibition is taken from one of Diana Cooper's well known works from 2002 that, along with many others, was destroyed in the flood in her storage during Hurricane Sandy. It is a fitting personal memorial to a beautiful artwork that no longer exists.</i></i></i></i></p> Fri, 04 Jan 2013 00:13:16 +0000 - Sideshow Gallery - January 5th, 2013 6:00 PM - 8:00 PM Mon, 11 Mar 2013 00:39:52 +0000 Marin Majic - MARC STRAUS - January 6th, 2013 6:00 PM - 8:00 PM <p>MARC STRAUS is pleased to present the first one-person exhibition of work by Marin Majic, on view January 6 – February 8, 2013. <br /><br /> Marin Majic, who resides in Berlin, creates paintings that present a vision of unsettling idyll. He draws imagery from varied sources—magazines, screen shots, film stills—creating plausible but unlikely combinations of scenery, faces and activities. Translating these collages into large-scale paintings with painstaking deliberateness, the images acquire a cache of familiarity in spite of (or due to) their uncanny subject matter. Several of the paintings include figures set against a background of expansive wilderness, stormy seas or rocky cliffs. The figures, often wearing costumes connoting safety and nostalgia, at times recall pictures from old Hollywood magazines or dusty snapshots that fill a parent’s albums. <br /><br /> Upon closer inspection, however, something is always awry. An adoring mother bids her son farewell, but at second glance it is revealed that their relationship is charged. Two school girls with beaming smiles stand side-by-side in a bucolic meadow, perfectly normal except for one crucial aspect. Happy-go-lucky adventurers sit in a rowboat on a stormy sea, blissfully oblivious to the tumultuous waves surrounding them. In perhaps the most unsettling work, full of Hitchcockian suspense, the formula is altered: instead of people in front of a landscape the roles are reversed. Large trees mostly obscure common brick homes, suggesting that it is what is hidden that is most alarming.<br /><br /> The key to these works is Majic’s extraordinary mastery of painting, which holds the viewer enrapt despite the sharp edge of the subject matter. There is a push and pull between narrative and style, a struggle between the viewer’s desire to inspect the lush, expertly painted scenery and their simultaneous hesitation at the unexpected content. In one moment each painting in the exhibition can change from enchanting to disconcerting; consequently each viewer comes back again and again with renewed interest and even amusement. <br /><br /> Marin Majic was born in 1979 in Frankfurt, Germany. He received his MFA from the Academy of Fine Arts in Zagreb, Croatia. He was a finalist in the 45th Zagreb Salon as well as the Salon of Young Art, Zagreb, both in 2010. His work was included in the 2010 seminal exhibition After the Fall at the Hudson Valley Center for Contemporary Art in Peekskill, NY, which travelled to the Knoxville Museum of Art. He will have a solo exhibition at Isa Gallery in Mumbai, India in January 2014.</p> Sat, 29 Dec 2012 03:48:12 +0000