ArtSlant - Current exhibits http://www.artslant.com/ny/Events/show en-us 40 Malcolm Andre Davis II, Nyeema Morgan - 2AC Gallery - October 26th, 2012 - January 10th, 2013 <h2 style="text-align: left;"><span style="font-size: small;">MoCADA is teaming up with 2AC Gallery owner Pablo Sue-Pat to mount a satellite exhibition space. The exhibition space features two exhibitions, the first, Camouflage Nursery is a sculpture series which poignantly explore the loss of childhood and innocence in the face of adult projections created by Pablo Sue-Pat.</span><br /><br /><span style="font-size: small;"><strong>Newsfeed: Reconstructions of Experience @ 2AC Gallery is the base for the installation projects component of the curatorial series NEWSFEED: Anonymity &amp; Social Media in African Revolutions and Beyond. The gallery space conceptually engages with the topics of anonymity, interconnectivity, conflict and the digital arena in which they interplay. Through site specific installation work, by Malcolm Andre Davis II and Nyeema Morgan, the roles of the anonymous consumers of social media and the anonymous producer of social media are addressed.</strong></span></h2> Mon, 26 Nov 2012 00:03:57 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list John A Parks - 532 Gallery Thomas Jaeckel - November 8th, 2012 - February 16th, 2013 <p>532 Gallery Thomas Jaeckelis pleased to announce “Paint and Memory” an exhibition of new paintings by John A. Parks.  Executed as finger paintings, these pictures explore the artist’s memories of his English childhood in a series of richly evocative images. “In a sense I’m using a childish means to recreate a child’s world,”says Parks, “although the resulting paintings are far more sophisticated than those of a child.”  The lush surfaces, gloriously layered color and suggestive drawing work together to create a novel and intensely nostalgic vision. What is remembered are glimpses, sometimes idyllic and sometimes disturbing; cycling through a village on a summer’s day, playing hide-and-seek in a public park, the mayhem of an indoor swimming pool, the sudden formality of a Maypole dance. The limitation of painting with his fingers has forced Parks to simplify the descriptive tasks of the painting. “There is a certain indeterminacy with finger painting,” says the artist, “you are never exactly sure where an edge is going to go.  Chance events occur that you can edit out or leave in.  The process adds a richness and a very physical engagement with the paint.  Accidents can often be suggestive - theyprod the imagination and provide a sense of discovery.  Every mark is truly an adventure.”</p> <p>Also on view are three large-scale map paintings of London in which the artist manipulates space and point of view to provide a highly entertaining excursion through the streets of his native city. Presented from multiple viewpoints but lodged in a fairly accurate street plan, buildings, monuments, bridges and buses come alive in an unexpected and inventive fashion.</p> <p>Educated at the Royal College of Art in London, Parks has made paintings over the last thirty years that have focused on themes of English life seen through expatriate eyes. The artist has lived for decades in New York and teaches at the School of Visual Arts.  Throughout that time the artist’s work has evolved expressively and stylistically. His early and intense realist work was closely associated with the realist revival but carried with it from the start a lyrical and intensely personal quality.  John Russell, writing in the New York Times, dubbed him “A true poet in paint and something of a find.”   In the mid eighties and nineties Parks adopted a larger scale approach to paint images of public monuments in a series of paintings that explored the unease of national identity and its attendant rituals.  These works included a highly irreverent series of English soldiers, often shown dancing or otherwise cavorting.</p> <p>Parks has been represented by several major New York galleries including Allan Stone Gallery and Coe Kerr Gallery.  His work is included in a number of museum collections including the Victoria and Albert Museum, in London and the Museum of the Rhode Island School of Design.This exhibition marks his debut with 532 GalleryThomas Jaeckel.</p> <p>(Gallery is closed December, 4-11 Art Fair Miami)</p> Mon, 21 Jan 2013 21:29:02 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - AICON GALLERY - New York - December 6th, 2012 - January 19th, 2013 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Aicon Gallery is proud to present Fact ● Fission, a group exhibition curated by Nitin Mukul featuring fourteen contemporary artists, working in various media to challenge preconceived ideological divisions and break down the prevailing regional aesthetics in global contemporary art.<br /> <br /> Daily unrest in the name of democracy seems endemic to some nations, whereas in others, complacency breeds blissful collapse. Volatile shifts in the balance of power appear inevitable, with over-consumption taking a tangible toll. The media's reductive narratives and sweeping generalizations over large swathes of the globe are no longer plausible as Fact. New patterns emanate, emerging at a pace more rapid than ever in regard to technology, nature, policy and social upheaval. Cultural practitioners yearn to reflect this multiplicity of voices. Enter Fission. Fusion, a term often used to describe the melding of different cultures, seems overused and worn out. A mainstream marketing gimmick, somewhat analogous to assimilation or multiculturalism, fusion advocates tolerance of the ‘Other’, albeit according to its own convenience and within the bounds of what it deems tasteful. What's more interesting is fission – when things split apart, reorganize and regenerate, smudging and splintering neatly kept categories and conventional wisdom in the process. The results are not necessarily hybrids, but new inauthentic, hyper-local and interdisciplinary manifestations resulting from willful or imposed dislocation. The work in this exhibition will center on the concept of fission, while encompassing a wide range of formal concerns.<br /> <br /> Yamini Nayar’s imagined interiors explore architecture and memory via the representation of constructed (and deconstructed) space. Drawing from the visual allegories of architecture, with the model and final photograph weaving together existing narratives with elements of fragmented idealism, Nayar’s collaged photographs become jarring snapshots of ephemeral architectural memories as experienced by our subjective subconscious. Pooneh Maghazehe interrogates the functional and obstructed uses of worn domestic furniture by methodically peeling and stripping textiles, to reveal the underlying structural vulnerability from within. The recontextualized pieces investigate the collective identity, social psychology, and symbolic gestures and emblems that define belief structures by exposing the interdependence of materials inherent in these prefabricated former objects of comfort. James Cullinane explores the diagrammatic possibilities and didactic imagery of patterns in process, navigating the tension between pictorial and physical space. His paintings act as architectural dictionaries and charts to navigate the labyrinthine paths forged in his layered dystopia of geometric forms, optic patterns and vibrant color. In Kanishka Raja’s panoramic realms, the energetic fusion of private and public domains of distinct global settings, interlocked by pulsating patterns derived from textile design and ornamentation, form a complex visual field spanning several panels. Nitin Mukul depicts details of events as various types of social rituals/commentary, deconstructing and imbuing them with palpable energy and ambiguity.<br /> <br /> The opening reception will feature a screening of the new video Haal by Nitin Mukul, with a live score by Jace Clayton (DJ Rupture) and software designer Bill Bowen, utilizing their recently developed SUFI PLUG-INS, an interdisciplinary project dedicated to exploring non-western and poetic notions of sound, creating a space where software design, music tools, encoded spirituality, digital art and indigenous knowledge systems overlap.</p> <p></p> <p></p> <p></p> Tue, 25 Dec 2012 10:17:17 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Alexander and Bonin - December 1st, 2012 - January 19th, 2013 <p>On Saturday, December 1<sup>st</sup>, Alexander and Bonin will open an exhibition of prints and multiples by sixteen artists: Matthew Benedict, Fernando Bryce, Michael Buthe, Willie Cole, Eugenio Dittborn, Willie Doherty, Mona Hatoum, Diango Hernández, Stefan Kürten, Paul Etienne Lincoln, Jorge Macchi, Rita McBride, Sylvia Plimack Mangold, Doris Salcedo, Sean Scully and Paul Thek. Some of the prints and multiples included in ‘Stimuli’ were executed in relation to large scale projects, while others are self-contained and further explore motifs found throughout the artists’ work.<br /> <br /> Prints completed in conjunction with larger projects include <strong>Jorge Macchi's</strong> large scale <em>Marienbad, </em>2012 which illustrates his 3-dimensional illusion of the 1961 film, ‘Last Year at Marienbad’ by Alain Resnais.  Maachi created the full-scale outdoor piece for the 2011 Lyon Biennale.  Obversely, <strong>Doris Salcedo’s</strong> <em>Shibboleth I-IV</em>, 2007, four archival pigment inkjet prints were created during the preparation for the fissure she created in the floor at Tate Modern in 2008.  In <em>Blueprint</em>, 2011, <strong>Rita McBride’s</strong> representation of institutional space takes the form of a woodcut based on an elevation of the façade of Museu d'Art Contemporani de Barcelona (MACBA). This print was made during a three year project with the museum, in which McBride removed the layers of temporary construction that had accumulated since Richard Meier’s original design in 1995.<br />  <br /> During 2011-12, <strong>Willie Cole</strong> worked with Highpoint Center for Printmaking in Minneapolis to produce a group of intaglio and relief prints. <em>Five Beauties Rising</em>, a suite of five  impressions of ironing boards printed in a monochromatic gray scale impart “a sense of spirituality and suggests grave markers of weathered stone."* Each ironing board has the name of a woman printed in relief on the lower edge, suggesting both the legacy of ‘women’s work’ and the psychological residue retained by objects of such intense and specific personal use.<br />  <br /> The subjects of <strong>Stefan Kürten</strong> and <strong>Sylvia Plimack Mangold’s</strong> paintings are further explored in their prints. As in her paintings, Plimack Mangold works outdoors from direct observation of the trees on the surrounds of her Washingtonville, NY home, etching plates of a maple tree motif that has been central to her work for more than thirty years. Kürten takes advantage of the exactitude of lithography to expand the representation of stillness in an image of a perfect domestic environment. <br /> <br /> Multiples in the exhibition include <strong>Mona Hatoum’s</strong> uncanny object <em>T42, </em>1993-1998 a seemingly fused pair of cups and saucers executed in stoneware; a perfume set and boxed explication commemorating <strong>Paul Etienne Lincoln’s</strong> installation <em>In Tribute to Madame de Pompadour and the Court of Louis XV</em>, 1982-1991; and <strong>Diango Hernández's</strong> cast bronze and fabric <em>Lamp-He</em>, 2010.</p> <p> </p> Sun, 25 Nov 2012 00:38:13 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - American Folk Art Museum - Lincoln Square - September 12th, 2012 - January 13th, 2013 <p>“Foiled: Tinsel Painting in America” is the most comprehensive museum exhibition to focus on this under-recognized decorative art that was widely practiced in America from 1850 to 1890. One of the great revelations of the exhibition is the way this modest technique touched upon so many aspects of American life, innovation, and culture.<br /> <br /> Tinsel paintings are reverse paintings on glass with smooth or crumpled metallic foil applied behind translucent and transparent areas; when viewed in candlelight or gaslight, the effect was one of shimmering highlights. In the first half of the 19th century, tinsel painting was taught to young women whose parents were dedicated to providing refined education for their daughters and paid for such special classes. By the mid- to late 19th century, the art had expanded outside the school curriculum, and instructions proliferated in books and were advertised in women’s magazines. Its origins are related to forms developed in Renaissance Italy, 18th-century China and France, and 19th-century Austria, England, and Germany. Floral imagery predominates, as botanical copy prints and patterns were often employed. Especially appealing today are rare works that combine a variety of techniques and materials, including photography and collage. <br /> <br /> It is remarkable that so many examples of this fragile art have survived. The American Folk Art Museum has in its holdings a wealth of tinsel paintings thanks to the prescience of donors Kristina Barbara Johnson and Jean and Day Krolik Jr. With a significant gift from Susan and Laurence Lerner, the museum is now the largest public repository of this fascinating artform. <br /> <br /> Lee Kogan, curator emerita</p> Mon, 06 Aug 2012 02:38:28 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list - American Folk Art Museum - Lincoln Square - September 12th, 2012 - January 13th, 2013 <p>An attraction to shiny things is a primal human impulse. It may be instinctive and emotional, or profoundly meaningful within a cultural context. In the visual arts this has been expressed through the use of myriad materials that glitter and reflect. “Ooh, Shiny!” will highlight three centuries of artworks—ranging from needleworks by 18th-century schoolgirls to sculptures by contemporary icons including Howard Finster—that are embellished with such materials as spangles, mica flakes, glass, marble dust, sequins, glitter, and aluminum.</p> Sat, 01 Dec 2012 21:26:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Peter Halley, Robert Motherwell, Sterling Ruby, Kelley Walker - Andrea Rosen Gallery - December 1st, 2012 - February 2nd, 2013 <p>Andrea Rosen Gallery is delighted to announce <i>Cellblock I</i> and <i>Cellblock II</i>, two group exhibitions – both curated by Robert Hobbs –that are intertwined yet distinctly separate in their intention. The exhibitions open November 3, 2012 at the Gallery's main space at 525 West 24th Street, as well as inaugurating its new, second location, at 544 West 24th Street.<br /> <br /> <i>Cellblock I</i>, at the Gallery's primary and expanded space (525 West 24th Street), brings together a compelling group of four important artists – Peter Halley, Robert Motherwell, Sterling Ruby and Kelley Walker – by presenting a selection of significant paintings. The complex ideas behind the show and Hobbs' very deliberate choice of work suggest further layers of reading while remaining open to the viewers' own abstracted relationships with the works and their unique experiences. As is characteristic of shows at the Gallery, <i>Cellblock I</i> affords the opportunity to look at these familiar artists in a new way and with more depth, both in relation to each other and in regards to their individual practices.<br /> <br /> While these are four artists Hobbs has championed individually, it's compelling how this show and subject bring together his scholarship in a culminating and unexpected way with artists whom he has known, studied, and written about over the length of his career, forming a meeting point of sorts. <br /> <br /> The Gallery is especially thrilled to feature <i>Cellblock II: An Essay in Exhibition Form</i> as the first show at its second space, which will newly house its Gallery 2 program, known for content-driven, experimental and historical one time exhibitions. Andrea Rosen conceived Gallery 2 in 1999 as a liberating arena in which to consider new ideas and create parallel perspectives to the Gallery's primary program, and as a means of fulfilling the Gallery's responsibility to broaden visual references and education for its audience. <i>Cellblock II</i> is a perfect first show for the new location as its basis is a key principle of Gallery 2 – combining works and/or artists one might know, including historical artists as well as those of a younger generation, to create unexpected relationships and significant dialogues around a subject that has not been explored in such depth. The Gallery 2 program also provides the opportunity to work with esteemed independent curators and art historians, and the Gallery is extremely proud to spotlight this profound brainchild of Robert Hobbs, the prominent scholar and curator known for his extensive, in-depth, historically important writings on Robert Motherwell and a plethora of other artists, and also known as the definitive Robert Smithson scholar.<br /> <br /> <i>Cellblock II</i>, at the new location (544 West 24th Street), features works by a greater range of artists such as Vito Acconci, Alice Aycock, Tom Burr, Jean Genet, Robert Gober, Peter Halley, Nancy Holt, Will Insley, Donald Judd, Robert Morris, Robert Motherwell, Bruce Nauman, Beverly Pepper, Ad Reinhardt, Sterling Ruby, Tony Smith, Robert Smithson, Jackie Winsor and Artur Żmijewski. <i>Cellblock II</i> is a dense exhibition combining historical material with an increased number of works and mediums, incorporating wall text, diagrams and video. It offers background information and contextual references that flesh out Hobbs' <i>Cellblock</i> concept without becoming didactic, since its goal is to stimulate viewers to draw their own conclusions. <i>Cellblock II</i> affords <i>Cellblock I</i> the opportunity to be a more visceral experience. Although still experiential, <i>Cellblock II</i> affords a more cerebral experience.<br /> <br /> While the show brings together work that addresses containment, enclosure, and imprisonment, it also questions the frequently unexamined assumption that modern and contemporary art's contents are eminently assessable to viewers either empirically or epistemologically by finding the right key, so that almost by magic an open sesame takes place. Countering this myth of art's ease of access, these shows look at the power of refusal, both formally and in terms of subject matter, when works of art deliberately withhold their contents so that viewers are left with enduring mysteries and disquieting conundrums. A text by Hobbs, describing the deeper intellectual content of <i>Cellblock I</i> and <i>II</i>, is also included for reference.<br /> <br /> The foundational concept of <i>Cellblock</i> is very purposefully presented as two distinct shows, representing two completely different yet complementary perspectives. The physical separation of <i>Cellblock I</i> and <i>Cellblock II</i> clarifies their different orientations.<br /> <br /> <i>Art historian Dr. Robert Hobbs has held the Rhoda Thalhimer Endowed Chair at Virginia Commonwealth University since 1991 and has been a visiting professor at Yale University for eight years. Before joining VCU, he served as a lecturer at Yale and an associate professor at Cornell University. Recognized as a scholar, teacher, and curator, Hobbs specializes in both late modern and postmodern art. His work joins social history with literary criticism and aesthetics; it also relies on feminist and postcolonial theory. He has published widely and curated dozens of exhibitions, many of which have been shown at important institutions in the U.S. and abroad such as the Brooklyn Museum of Art; the Drawing Center (NYC); the Los Angeles County Museum of Art; Musée d'Art Moderne de la Ville de Paris; and the Whitney Museum of American Art. His specific research areas span the twentieth- and twentieth-first centuries, and his publications include monographs on Milton Avery, Alice Aycock, Edward Hopper, Lee Krasner, Mark Lombardi, Sterling Ruby, Robert Smithson, and Kara Walker. In addition he has written on such mainstream modern and postmodern artists as Hernan Bas, Duane Hanson, Keith Haring, Jonathan Lasker, Mark Lindquist, Malcolm Morley, Robert Motherwell, Beverly Pepper, Richard Pousette-Dart, Neo Rauch, Andres Serrano, Yinka Shonibare, James Siena, Tony Smith, Meredyth Sparks, Frank Stella, Frank Thiel, Kelley Walker, John Wesley, and Kehinde Wiley, among others.<br /> <br /> Robert Hobbs will co-curate the Bahamian Pavilion for the forthcoming Venice Biennale in 2013, with an exhibition of works by Tavares Strachan. This follows his appointment in 1982 as the U.S. Commissioner/Curator for the Venice Biennale for his exhibition "Robert Smithson: Sculpture," which had previously been shown at the Whitney Museum of American Art, and his appointment in 2002 as Curator for the São Paulo Biennial for the exhibition "Kara Walker: Slavery! Slavery!"</i></p> <p><b>CURATOR STATEMENT</b></p> <p><br /> <b>CELLBLOCK I</b><br /> <br /> In his 1897 "Preface" to "Un coup de dés" ("A Throw of Dice"), French nineteenth-century Symbolist Stéphane Mallarmé clarifies how "spaced-out blanks" of white paper function in his poem. "The paper," he explains, "intervenes each time an image, of its own accord, ceases or withdraws." This <i>contrapuntal movement</i> between the poem's material components (typeface on sheets of paper) and ostensible subject matter (a shipwreck and chance) can be extended to the visual arts, so that a similar ongoing and oscillating <i>shift</i> between means and meaning can be seen as taking place. Art's media can be understood as both blocking and revealing its import by participating in an accordion-like action of alternating revelation and obduracy. The work of art, in other words, incarnates and incarcerates an idea in <i>distinct materials</i> while contradictorily and momentarily springing the release of <i>these media</i> from their confines, permitting them alternatively to be read as signs and symbols as well as to be seen for themselves, thus briefly obviating a given work's metaphysical references. This reversibility of views—a flickering oscillation between subject and object—can readily be demonstrated by pointing out how the art's material support can participate fully in its dynamics so that figure and form are mutually supportive. <br /> <br /> The two-part exhibition <i>Cellblock I</i> and <i>II</i>—named for a division of a prison, a large building divided into separate units, a death house, a digital component, and biological cells working in tandem—intends to update this Mallarméan approach by looking at a selected group of works, many familiar to the curator through his past research, in order to demonstrate how artistic media can function bi-stably in the two different registers of revealing and obfuscating. Often, they paradoxically reveal themselves and their contents through the self-reflexive recalcitrance of the artistic materials comprising them. Dating from the mid-twentieth century to the present, these works figuratively re-present their constituent materials' obstinacy in terms of such <i>coercive</i> topics as incarceration, boundaries, foundations, and limits, in addition to various other obstructions. These works of art do so even when their ostensible subjects are biological cells as well as the cell-like circuitry of digital media. The artistic media making up the art in this exhibition, then, is intended to dramatize the shifting and ongoing reversible presence and absence of the figurative and formal elements comprising these works.<br /> <br /> <i>Cellblock</i> is organized into parts <i>I</i> and <i>II</i>, taking place in two separate locations on 24th Street. The first section is a spare hanging of works, setting up a series of similarities and differences in relation to the cellblock theme, while the second takes place in the Gallery's new space at 544 West 24th Street. <i>Cellblock II</i> fleshes out this theme by presenting a far greater range of cellblock types, illuminated with diagrams, quotes, and commentaries, with the full knowledge that any such showing can only be representative, never inclusive.<br /> <br /> <br /> Robert Hobbs<br /> Thalhimer Endowed Chair of American Art, VCU</p> Mon, 10 Dec 2012 23:00:01 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Andrea Rosen Gallery 2 - December 1st, 2012 - February 2nd, 2013 <p>Andrea Rosen Gallery is delighted to announce <i>Cellblock I</i> and <i>Cellblock II</i>, two group exhibitions – both curated by Robert Hobbs –that are intertwined yet distinctly separate in their intention. The exhibitions open November 3, 2012 at the Gallery's main space at 525 West 24th Street, as well as inaugurating its new, second location, at 544 West 24th Street.<br /> <br /> <i>Cellblock I</i>, at the Gallery's primary and expanded space (525 West 24th Street), brings together a compelling group of four important artists – Peter Halley, Robert Motherwell, Sterling Ruby and Kelley Walker – by presenting a selection of significant paintings. The complex ideas behind the show and Hobbs' very deliberate choice of work suggest further layers of reading while remaining open to the viewers' own abstracted relationships with the works and their unique experiences. As is characteristic of shows at the Gallery, <i>Cellblock I</i> affords the opportunity to look at these familiar artists in a new way and with more depth, both in relation to each other and in regards to their individual practices.<br /> <br /> While these are four artists Hobbs has championed individually, it's compelling how this show and subject bring together his scholarship in a culminating and unexpected way with artists whom he has known, studied, and written about over the length of his career, forming a meeting point of sorts. <br /> <br /> The Gallery is especially thrilled to feature <i>Cellblock II: An Essay in Exhibition Form</i> as the first show at its second space, which will newly house its Gallery 2 program, known for content-driven, experimental and historical one time exhibitions. Andrea Rosen conceived Gallery 2 in 1999 as a liberating arena in which to consider new ideas and create parallel perspectives to the Gallery's primary program, and as a means of fulfilling the Gallery's responsibility to broaden visual references and education for its audience. <i>Cellblock II</i> is a perfect first show for the new location as its basis is a key principle of Gallery 2 – combining works and/or artists one might know, including historical artists as well as those of a younger generation, to create unexpected relationships and significant dialogues around a subject that has not been explored in such depth. The Gallery 2 program also provides the opportunity to work with esteemed independent curators and art historians, and the Gallery is extremely proud to spotlight this profound brainchild of Robert Hobbs, the prominent scholar and curator known for his extensive, in-depth, historically important writings on Robert Motherwell and a plethora of other artists, and also known as the definitive Robert Smithson scholar.<br /> <br /> <i>Cellblock II</i>, at the new location (544 West 24th Street), features works by a greater range of artists such as Vito Acconci, Alice Aycock, Tom Burr, Jean Genet, Robert Gober, Peter Halley, Nancy Holt, Will Insley, Donald Judd, Robert Morris, Robert Motherwell, Bruce Nauman, Beverly Pepper, Ad Reinhardt, Sterling Ruby, Tony Smith, Robert Smithson, Jackie Winsor and Artur Żmijewski. <i>Cellblock II</i> is a dense exhibition combining historical material with an increased number of works and mediums, incorporating wall text, diagrams and video. It offers background information and contextual references that flesh out Hobbs' <i>Cellblock</i> concept without becoming didactic, since its goal is to stimulate viewers to draw their own conclusions. <i>Cellblock II</i> affords <i>Cellblock I</i> the opportunity to be a more visceral experience. Although still experiential, <i>Cellblock II</i> affords a more cerebral experience.<br /> <br /> While the show brings together work that addresses containment, enclosure, and imprisonment, it also questions the frequently unexamined assumption that modern and contemporary art's contents are eminently assessable to viewers either empirically or epistemologically by finding the right key, so that almost by magic an open sesame takes place. Countering this myth of art's ease of access, these shows look at the power of refusal, both formally and in terms of subject matter, when works of art deliberately withhold their contents so that viewers are left with enduring mysteries and disquieting conundrums. A text by Hobbs, describing the deeper intellectual content of <i>Cellblock I</i> and <i>II</i>, is also included for reference.<br /> <br /> The foundational concept of <i>Cellblock</i> is very purposefully presented as two distinct shows, representing two completely different yet complementary perspectives. The physical separation of <i>Cellblock I</i> and <i>Cellblock II</i> clarifies their different orientations.<br /> <br /> <i>Art historian Dr. Robert Hobbs has held the Rhoda Thalhimer Endowed Chair at Virginia Commonwealth University since 1991 and has been a visiting professor at Yale University for eight years. Before joining VCU, he served as a lecturer at Yale and an associate professor at Cornell University. Recognized as a scholar, teacher, and curator, Hobbs specializes in both late modern and postmodern art. His work joins social history with literary criticism and aesthetics; it also relies on feminist and postcolonial theory. He has published widely and curated dozens of exhibitions, many of which have been shown at important institutions in the U.S. and abroad such as the Brooklyn Museum of Art; the Drawing Center (NYC); the Los Angeles County Museum of Art; Musée d'Art Moderne de la Ville de Paris; and the Whitney Museum of American Art. His specific research areas span the twentieth- and twentieth-first centuries, and his publications include monographs on Milton Avery, Alice Aycock, Edward Hopper, Lee Krasner, Mark Lombardi, Sterling Ruby, Robert Smithson, and Kara Walker. In addition he has written on such mainstream modern and postmodern artists as Hernan Bas, Duane Hanson, Keith Haring, Jonathan Lasker, Mark Lindquist, Malcolm Morley, Robert Motherwell, Beverly Pepper, Richard Pousette-Dart, Neo Rauch, Andres Serrano, Yinka Shonibare, James Siena, Tony Smith, Meredyth Sparks, Frank Stella, Frank Thiel, Kelley Walker, John Wesley, and Kehinde Wiley, among others.<br /> <br /> Robert Hobbs will co-curate the Bahamian Pavilion for the forthcoming Venice Biennale in 2013, with an exhibition of works by Tavares Strachan. This follows his appointment in 1982 as the U.S. Commissioner/Curator for the Venice Biennale for his exhibition "Robert Smithson: Sculpture," which had previously been shown at the Whitney Museum of American Art, and his appointment in 2002 as Curator for the São Paulo Biennial for the exhibition "Kara Walker: Slavery! Slavery!"</i></p> <p><b>CURATOR STATEMENT</b></p> <p><br /> <b>CELLBLOCK II </b><br /> <i>An Essay in Exhibition Form</i><br /> <br /> Beginning in the 1960s, the work of art as a restricted cell has served as a working premise for many artists, who have found ways to <i>literalize</i> this closure in a number of empathic ways. Several generative metaphors have enabled them to think about art's contradictory ability to <i>communicate</i> certain of its contents while also <i>withholding</i> information by maintaining its status as an enduring conundrum, so that viewers are left focusing on the work itself rather than any particular communiqué it might appear to be revealing. Among the most productive metaphors are <i>Plato's cave</i>, which supports the view of art as constituting at best a shadowy world; the <i>black box</i>, which focuses on art's irresolvable secrets; and Jeremy Bentham's <i>panopticon</i>, which emphasizes embodied perception and perspectival viewing. A more recent model is provided by the supermax prison, an American invention, with its enforcement of permanent solitary confinement, a concept crucial for Sterling Ruby's work. Although this exhibition focuses on the ways certain works of art function, Duchamp's inscribed portrait by Marvin Lazarus testifies to the artist's retrospective as a type of detention, an overarching restriction based on the misguided concept that all of an individual artist's work can be categorized in terms of a single stylistic designation.<br /> <br /> Robert Hobbs<br /> Thalhimer Endowed Chair of American Art, VCU</p> Mon, 10 Dec 2012 23:00:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Mattia Biagi - Anna Kustera - November 29th, 2012 - January 26th, 2013 <p>Anna Kustera is pleased to present in his second solo show at the gallery, Mattia Biagi's '<em>Someone Told Me Never To Do It.</em>'  In this new body of work, Biagi explores through multi-media forms the desire to make tangible a belief in supernatural causality and its cultural nuances.   </p> <p>By traversing abstract sculpture, video, painting, photography and performance, he investigates human emotional reaction to physical objects that have superstitious associations.</p> <p><strong>Please note: The gallery will be closed for the holidays from December 24 - January 1, 2013</strong></p> Fri, 18 Jan 2013 00:54:43 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Thomas Doughty, George Inness, Albert Bierstadt, Ralph Blakelock, Henry W. Ranger, J. Alden Weir - Arkell Museum - June 30th, 2012 - April 24th, 2013 <p>Paintings of idyllic farmland and pristine parkland and are included in this exhibition of American art from the Arkell collections. Thomas Doughty's idealized depiction of early New England's backwoods and Albert Bierstadt's painting of the majesty of Yellowstone are among the wilderness views. The exhibition also features pastoral and poetic and landscapes by George Inness, Ralph Blakelock, Henry W. Ranger and J. Alden Weir.</p> Sun, 31 Mar 2013 21:59:07 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Edward Redfield, J. Alden Weir, Theodore Robinson, John Twatchman, Childe Hassam - Arkell Museum - October 27th, 2012 - October 20th, 2013 <p>This exhibition features remarkable American Impressionist paintings from the Arkell collections. Twelve paintings recently returned from the Fenimore Art Museum's exhibition "American Impressionism: Paintings of Light and Life" will be featured along with other treasures from the permanent collection. Sun-dappled views of France and America by Childe Hassam, John Twatchman, Theodore Robinson, J. Alden Weir, and Edward Redfield are among the notable paintings in this exhibition. Most American Impressionists spent time in Paris and Monet&rsquo;s hometown of Giverny where they saw the work of French Impressionists. Once they returned to America they made the new Impressionist style their own. Views of the New England countryside, coastal communities and New York City were popular subjects for the American Impressionists. The exhibition includes Twatchtman&rsquo;s "Josephine in the Garden" in Giverny, Hassam's "Provincetown", Twatchtman&rsquo;s "Gloucester Harbor" and Ernest Lawson&rsquo;s "Brooklyn Bridge."</p> Sun, 01 Sep 2013 22:12:05 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Lin Tianmiao - Asia Society Museum - September 7th, 2012 - January 27th, 2013 <p>Asia Society Museum presents the first major solo exhibition in the United States of leading Chinese artist <strong>Lin Tianmiao</strong> (born 1961, China). Surveying the past 20 years, this exhibition highlights the remarkably consistent focus on women’s issues that is subtly embodied in her work.</p> <p>The exhibition — a series of installations and sculpture with a textile focus — will fill Asia Society’s entire museum space with several new installations and many works never seen outside of China.</p> Sun, 30 Sep 2012 23:12:42 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Michael K. Yamaoka - Atlantic Gallery - January 8th, 2013 - February 1st, 2013 <p>In photographs of intense color and almost palpable texture, Michael Yamaoka explores the tensions between color and form, surface and depth, the ravages of time and the timeless. The brilliant color, inherent, but often subdued in the original images, has been enhanced in these new works to depict a heightened reality.</p> Mon, 17 Dec 2012 23:06:13 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Group Show - Axelle Fine Arts Galerie Soho - January 3rd, 2013 - February 28th, 2013 <p>Axelle’s Winter Group Show features paintings, sculptures and prints by <a href="http://www.axelle.com/artists/michel-delacroix/" title="Michel Delacroix" rel="nofollow">Michel Delacroix</a>, <a href="http://www.axelle.com/artists/fabienne-delacroix/" title="Fabienne Delacroix" rel="nofollow">Fabienne Delacroix</a>, <a href="http://www.axelle.com/artists/patrick-pietropoli/" title="Patrick Pietropoli" rel="nofollow">Patrick Pietropoli</a>, <a href="http://www.axelle.com/artists/yves-crenn/" title="Yves Crenn" rel="nofollow">Yves Crenn</a>, <a href="http://www.axelle.com/artists/laurent-dauptain/" title="Laurent Dauptain" rel="nofollow">Laurent Dauptain</a>, <a href="http://www.axelle.com/artists/philippe-jacquet/" title="Philippe Jacquet" rel="nofollow">Philippe Jacquet</a>, <a href="http://www.axelle.com/artists/laurent-hours/" title="Laurent Hours" rel="nofollow">Laurent Hours</a>, <a href="http://www.axelle.com/artists/xavier-rodes/" title="Xavier Rodes" rel="nofollow">Xavier Rodes</a> and <a href="http://www.axelle.com/artists/beth-carter/" title="Beth Carter" rel="nofollow">Beth Carter.</a></p> <p>We are also pleased to introduce works by two new artists, <a href="http://www.sabinejaccard.com/" rel="nofollow" target="_blank">Sabine Jaccard</a> and <a href="http://www.claudiolocatelli.com.ar/" rel="nofollow" target="_blank">Claudio Locatelli</a>.</p> <p>We welcome French photographer Jaccard’s beautiful black and white images from her series, <i>Théatre d’eau</i> (water theatre). Her work is inspired by her travels to New York, London, St Petersburg, Rome and the Canary Islands, her love of theatre and her interest in the aesthetic possibilities of light and shadow. During her ten years as a student of English literature at Oxford, Paris and London universities, she held internships with professional photographers in architecture, fashion, advertisement and portraiture. In 2000, Jaccard completed her studies by participating in the <a href="http://www.rencontres-arles.com" rel="nofollow" target="_blank">Rencontres Internationales de la Photographie</a> in Arles, France. Following her first exhibition in 2002, her work has been consistently shown in galleries throughout Europe. Since 2007, Jaccard has printed her black and white photos in her own photo lab. In 2013, her works will be shown at art galleries in New York and Boston, as well as in Seattle, where she has recently been appointed visiting photography professor at Seattle University.</p> <p>Axelle is proud to present Locatelli’s stunning collection of wire brace and papier-mâché<b> </b>animals. French multimedia artist Locatelli studied sculpture at <a href="http://www.ensba.fr/" rel="nofollow" target="_blank">L’Ecole Nationale Supérieure de Beaux-arts de Paris</a>. Since his graduation in 1999, his work has been regularly exhibited in Paris in galleries such as Galerie Eric de Montbel, <a href="http://www.aittouares.com/" rel="nofollow" target="_blank">Galerie Aittouares</a>, Galerie Francis Barlier, <a href="http://www.galerie-du-fleuve.com/" rel="nofollow" target="_blank">Galerie du Fleuve</a> and <a href="http://www.hallesaintpierre.org/" rel="nofollow" target="_blank">Musée de la Halle Saint Pierre</a>. Since 2004, <a href="http://www.galleriaforni.com/" rel="nofollow" target="_blank">Galleria Forni</a> has exhibited his work in contemporary art fairs including <a href="http://www.st-art.fr" rel="nofollow" target="_blank">St’Art</a> Strasbourg, Arte Fiera Bologna, Art Verona, Amsterdam Art Fair, <a href="http://www.londonartfair.co.uk/" rel="nofollow" target="_blank">London Art Fair</a> and Art Brussels. He has also participated in group exhibits organized in France, Belgium, Spain and the Netherlands. In 2006, the city of Nantes commissioned an outdoor sculpture for the Artec Festival. He currently works in a wide range of mediums, including terra cotta, paper-mache, wood, pencil drawings and watercolour.</p> <p><br />See more on our website:</p> <p>http://www.axelle.com/new-york/exhibitions/group-show-winter-2013/</p> Thu, 31 Jan 2013 22:22:39 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Younghee Choi Martin - Bowery Gallery - December 26th, 2012 - January 26th, 2013 <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 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list Tom Sanford - BravinLee Programs - December 31st, 2012 - February 9th, 2013 <p>BravinLee programs is very pleased to present 100 Little Deaths by Tom Sanford, opening New Year’s Eve, 6-9pm.<br /> <br /> Tom Sanford set out to draw one hundred notable individuals who passed away in 2012 with the idea of “Petite Morte” in mind. Translated literally, this means “little death” but it is often used colloquially to mean orgasm.  It is a beautifully romantic notion, that with each orgasm a little part of one’s self dies and is gone forever; each person held particular interest for Sanford.  100 Little Deaths will open on New Year’s Eve.<br /> <br /> In our post-Warholian culture, we celebrate the lives of the famous with a brief ecstatic excitement, a metaphorical cultural media orgasm. We read obituaries and articles about them, post on Facebook and Twitter, listen to their songs on the radio, watch TV specials and YouTube videos about their lives and accomplishments. Inevitably, however, the excitement fades and with each of these deaths, we have lost something forever. <br /> <br /> Sanford, was able to meditate on each individual, as he drew, remembering their unique contributions, and according to Sanford, “As the drawings of those who passed away in 2012 accumulated, I realized that to see them all together would be very powerful.  Installed together I hope that my 100 Little Deaths shows the immensity of what we lose every year. The wall of drawings becomes a mausoleum for 2012.” Among the portraits represented are political figures; music legends; cultural icons of our youth such as Davy Jones and Donna Summer; noteworthy artists, Thomas Kinkade, Franz West, and Will Barnet; publishers; religious leaders; comediennes; and news worthy individuals such as Rodney King and Joe Paterno.  The list goes on.<br /> <br /> In wishing to bring levity to a very serious and somewhat somber project, Sanford embarked on his most ambitiously scaled painting, measuring 8 feet by 16 feet.  Sanford states “The painting is of an airport departures cocktail lounge where each of the 100 Little Deaths are depicted gathering for a last drink before they board flights to oblivion. I executed this painting in a more cartoonish manner and is intended to be a Mad Magazine meets Jorg Immendorff style purgatory scene of the dead before they depart, finally and forever.”<br /> <br /> To further lionize the departed, Sanford invited other artists to make small works of one of the individuals for BravinLee’s project room. The artists include: Graham Preston, Jessica Ellis, Shay Kun, Rudy Shepherd, Les Rogers, Jonathan Allen, Dan Heidkamp, Kelli Williams, Joe Heaps Nelson, Noah Becker, Eric White, Nic Rad, Daniel Davidson, Taylor McKimens, Kristen Schiele, Ryan Schneider, Aaron Johnson, Michael Hilsman, Sydney Chastain-Chapman, Michael Scoggins, Robin Willimas, Josh Jordan, Ridley Howard, Holly Coulis, Natalie Frank, Paul Brainard, Jeremy Willis, Jeff Beebe, Michael Anderson, Guy Richards Smit, Michael Bevilacqua, Francesca Neiman, Alfred Steiner, Eric Doeringer, Peter Daverington, Thomas Broadbent, Dawn Frasch, Nina Chanel Abney, Kevin Klein, Erin McNalley and Aaron Zimmerman.<br />   <br /> Tom Sanford lives and works in New York and has exhibited internationally.  He has enjoyed solo shows at Leo Koenig Gallery in New York, Galleri Farschou in Copenhagen, Galleri Poulson in Copenhagen, and Gallery Zidoun in Luxembourg, and group shows at ACME in Los Angeles and Freight and Volume in New York, among many others. He recently completed a temporary public art project that was curated by Keith Schweitzer, ArtUp, FABnyc, and installed on scaffolding on the Lower East Side in New York.</p> <p> </p> Sun, 06 Jan 2013 23:18:41 +0000 http://www.artslant.com/ny/Events/list http://www.artslant.com/ny/Events/list