ArtSlant - Openings & events en-us 40 You! - Rochester Contemporary Art Center - January 8th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">Good afternoon,<br /><br />Our global <a href="" rel="nofollow" target="_blank">6x6x2013</a> exhibition is coming up in June. We would love to have significant participation in this show by artists from ! Please forward this opportunity to artists, students and art organizations in your community.</p> <div style="text-align: justify;" class="gmail_quote"> <div class="gmail_quote"><br />Thank You!<br />Rochester Contemporary Art Center<br />-- <br /><b>6x6x2013</b><br />
June 1 - July 14, 2013<br /><b>Artwork Entries Due:</b> April 21 or Postmarked by April 20<br /><b>Global Online Preview Begins:</b> May 24 @10am<br /><b>In Gallery Preview (no purchasing):</b> May 29, 30 &amp; 31, 1-10pm <br /><b>Opening Party &amp; Artwork Sale: </b>June 1, 6-10pm (admission: $5)<br />    7:30pm raffle for buyer position #1-20<br />    8:00pm all other buyers<br /><b>Global Online Purchasing Begins: </b>June 4 at 10am: <a href="" rel="nofollow" target="_blank"></a><br /><b>Sold Out Artists’ Names Revealed Online:</b> July 5 <br /><b>Artwork Purchase Price:</b> $20 each<br /><b>Purchased Artwork Pick-Up:</b> July 14, 15 &amp; 16, 1-7pm<br /><br /><a href="" rel="nofollow" target="_blank"></a><br /><br /><a href="" rel="nofollow" target="_blank"><wbr>events/144437242376994/?<wbr>suggestsessionid=<wbr>1000000660903091357332563</wbr></wbr></wbr></a><br /><br /><b>Support Contemporary Art</b><br />Rochester Contemporary Art Center’s (RoCo) international small art phenomenon returns with thousands of original artworks, made and donated by celebrities, international &amp; local artists, designers, college students, youths, and YOU. Each artwork must be 6x6 square inches (15cm) or mounted to a 6x6 board, and signed only on the back, to be exhibited anonymously. All entries will be accepted, exhibited and will be for sale to the public for $20 each (in the gallery and online for global purchasing) to benefit RoCo. Artists’ names will be revealed to the buyer upon purchase and all artworks remain on display through July 14th. Anyone may enter up to 6 artworks of any medium (2D or 3D) and there is no fee to enter the exhibition. Beginning July 5th, the names of artists whose work has completely sold out will be revealed online next to their artwork(s). The 6x6x2013 Online Gallery will be available (<a href="" rel="nofollow" target="_blank"></a>) for previewing on May 24th and global online purchasing will begin June 4th at 10am.<br /><br /><b>Purchasing in the Gallery</b><br />On the opening night, June 1st at 7:30 a “Buyer’s Choice” raffle will be held for buyer position #1-20. Raffle tickets are $5 each and winners will be allowed to make their selections before other buyers. Any artwork may be purchased for $20. Buyers can pay an extra $5 to have their purchase mailed to them. When a work is purchased the buyer will receive a receipt revealing the artist’s name. The artwork will be marked as sold and will remain on display for the remainder of the exhibition. Buyers may pre-register for faster purchasing during preview hours: May 29, 30 &amp; 31, 1-10pm<br /><br />Questions? For more information and an informative list of FAQ’s visit our website: <a href="" rel="nofollow" target="_blank">http://www.roco6x6.<wbr>org</wbr></a><span color="#33cc00" face="arial, helvetica, sans-serif" style="color: #33cc00; font-family: arial, helvetica, sans-serif;"></span></div> </div> <p style="text-align: justify;"><br /><br /><br clear="all" /><br />-- <br /><span color="#33cc00" style="color: #33cc00;"></span><span color="#33cc00" style="color: #33cc00;"><span face="arial, helvetica, sans-serif" style="font-family: arial, helvetica, sans-serif;">22nd Annual Members Exhibition</span></span></p> <div style="text-align: justify;"> <div> <div> <div><b>Exhibition Dates:</b> Dec. 6- Jan. 13, 2013<br /><b>Artwork Pick-up:</b> Jan. 13, 5-7pm, Jan. 14-15, 12-6pm                         <b>   <a href="" rel="nofollow" target="_blank"> </a></b><br /><b>Exhibition Closes:</b> Jan. 13, 5pm<br /> <div></div> <div> <div><span size="4" color="#b0001d" style="color: #b0001d; font-size: large;"><b>Makers &amp; Mentors</b></span></div> <div>January 31- March 17, 2013</div> <div><b>Kurt Feuerherm <br />Peter Monacelli</b></div> <div><b>Kristine Bouyoucos<br />Patricia Dreher</b></div> </div> </div> <div></div> <div> <div> <div><b><span color="#33cc00" style="color: #33cc00;"><span face="arial, helvetica, sans-serif" style="font-family: arial, helvetica, sans-serif;">Help ensure the future of RoCo,</span></span></b></div> <div><b><span color="#33cc00" style="color: #33cc00;"><span face="arial, helvetica, sans-serif" style="font-family: arial, helvetica, sans-serif;">contribute to The Future Fund.</span></span></b></div> </div> <div><a href="" rel="nofollow" target="_blank">http://www.<wbr><wbr>future.html</wbr></wbr></a></div> </div> </div> </div> </div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><b> </b></div> Wed, 16 Jan 2013 17:37:48 +0000 Sue G. Syn and Hwayong Jung - BRIC Arts | Media House - January 9th, 2013 7:00 PM - 9:00 PM <p><strong><em>INTER. Act, Reciprocity in Media</em></strong>, curated by <strong>Changhak Choi</strong>, as part of the <strong>Lori Ledis Emerging Curator Program, </strong>will examine the modern reciprocal relationship that can take place between ubiquitous multimedia technology and human emotion in both physical and virtual reality, through the work of interactive media artists.</p> <p>The work exhibited in <em>INTER. Act</em> by Brooklyn artists<strong> Sue G. Syn</strong>, and <strong>Hwayong Jung</strong> offers visitors experimental moments and furthers a discussion over new definitions and potentials of multimedia.</p> <p>Today, living in a contemporary city entails simultaneously experiencing as well as producing a multiplicity of exchanges of matter, material and immaterial, within various reciprocal systems – social, technical, political, economical. The ubiquity of smartphones and similar cutting-edge personal computing devices, combined with the pervasive use of social media, is accelerating this exchange to an even greater extent. These technologies allow an individual to be active and passive; dominating and dominated. Moreover, power is also no longer centralized; it is dispersed and allocated to the end-user, who can interact anywhere, whether in real or virtual space.</p> <p>The use of interactive media technology in art creates the perfect reciprocal medium to communicate and comment on everyday life while emphasizing socio-cultural issues. <em>Inter. Act, Reciprocity in Media </em>addresses how art communicates through interaction. New digital technology provokes a repeated experience between the art work, artist, audience, and surrounding space, in reciprocal ways. At the same time, the works featured in <em>Inter. Act</em> remain incomplete and undefined; evolving through continued public engagement and exploring new methods of communication between artist and audience.</p> Sat, 22 Feb 2014 16:03:57 +0000 Don Anton, Wendel White, Karen Miranda Rivadeneira, Brenda Perry, Charlie Grosso, Collette Fu, Jaishri Abichandani - BRIC Arts | Media House - January 9th, 2013 7:00 PM - 9:00 PM <p>BRIC will collaborate with En Foco, a not-for-profit organization dedicated to cultural diversity in photography and celebrating its 38th year, to present a retrospective look at its prestigious New Works Photography Fellowship Award program. Since 1998, photographers selected for the program have produced highly diverse bodies of work; increasingly, the award has stimulated the creation of work that moves beyond the boundaries of traditional and toward unconventional forms of the photographic medium. This exhibit, curated by BRIC’s Director of Contemporary Art Elizabeth Ferrer, will include work by some 7 photographers, demonstrating the significance of En Foco’s award in extending their artistic practice. Works will include elaborately staged compositions, photos made with historic processes like tintype, wall sculpture based on appropriated images, and images made through varied forms of digital manipulation.</p> Sat, 22 Feb 2014 16:03:57 +0000 Natasza Niedziolka - Horton Gallery - January 9th, 2013 12:00 PM - 6:00 PM <p style="text-align: justify;">The gallery is pleased to present its second solo exhibition of new work by Berlin-based artist <b>Natasza Niedziolka</b>.<br /><br />Proceeding to work both in the tradition of Dada textile artists who embraced the irrational such as Jean Arp and Hannah Hoch and with the democratized folk-art technique of sewing, Niedziolka’s recent embroideries continue to combine whimsical abstractions with implied still life compositions, though now with the focus shifted onto the work’s constructed form.  Only hints of color appear in these compositions, issued from delicate lines of colored thread on untreated cotton. <br /><br />The subtle variation of line color and density in the artist’s stitchwork demonstrates that Niedziolka’s embroideries have become increasingly concerned with relating to drawing on paper techniques. The result is a simplicity that resembles the contemplativeness of sketches and underpaintings utilized throughout the history of painting.  By reducing the spontaneous forms and colors characteristic of her past work Niedziolka emphasizes both the physical embroidery technique as well as this historical tradition of working out complex compositions by drawing with minimal elements.</p> Mon, 16 Sep 2013 22:15:38 +0000 James Hyde, Jessica Labatte - Horton Gallery - January 9th, 2013 12:00 PM - 6:00 PM <p style="text-align: justify;">The gallery is pleased to announce a two-person exhibition of work by Brooklyn-based painter <b>James Hyde</b> and Chicago-based photographer <b>Jessica Labatte</b>. <br /><br />Generating a revisionist model of painting, James Hyde’s “Glass Box” paintings appear simultaneously illusionistic and literal. The paint, paper, wood, and other materials used to make the painting aren't so much painting materials as physical surrogates for painterly activity. To imagine Hyde's “Glass Boxes” as sculpture would be to see them as slap-stick contraptions caught in the act of painting themselves into being. These works redeem themselves as painting through the magic of what Duchamp called "delay in glass". By this logic the dimensional contents of the box inhere as inscription on the frontal plane of glass. This way, the illusionistic flow of traditional painting is reversed-- instead of seeing space in a flat surface, Hyde's petri dishes of formalist tropes present his dimensional constructions flatly.</p> <p style="text-align: justify;">Photographer Jessica Labatte’s work has been involved with the liminal space between photography, sculpture, and painting that can be generated through studio experimentations with reflective surfaces, light, color, and scale. Labatte creates color inkjet photographs of sculptural assemblages set up in her studio, but the resulting prints are never straightforward renditions. Rather, Labatte’s works are sophisticated abstractions that avoid the appearance of mindless Photoshop reverie by skillfully juxtaposing complex shapes and colors and by offering hints of the physical materials of her assemblages such as mirrors and cut paper.</p> <p style="text-align: justify;">These artists are clearly united by their bold challenges to the boundaries of two-dimensional representation, abstract painting, and sculpture. The use of clearly defined, basic shapes in both of the artists' work further demonstrates the persisting ability of contemporary artists to call into question acts of artistic representation, even using the seemingly most elemental, simplistic of visual forms.</p> Mon, 16 Sep 2013 22:15:38 +0000 Francisco Leiro - Marlborough Gallery New York - January 9th, 2013 6:00 PM - 8:00 PM <p>The Directors of Marlborough Gallery are pleased to announce that an exhibition of recent work by the remarkable Spanish artist, Francisco Leiro, will open on January 9 and continue through February 9, 2013. The exhibition comprises approximately twenty sculptures of polychrome wood, including freestanding life-size figures, intimate pedestal pieces, and wall pieces.</p> Wed, 26 Dec 2012 03:18:30 +0000 Meiro Koizumi - MoMA (Museum of Modern Art) - January 9th, 2013 10:30 AM - 5:30 PM <p>Working in video and performance, Meiro Koizumi (Japanese, b. 1976) has built a compelling body of work that deals with power dynamics on scales from the familial to the national, and examines questions of political and psychological control. Implicating himself, his performers, and the viewer through choreographed emotional manipulations, Koizumi creates works that straddle the uncomfortable and indefinable line between cruelty and comedy. His first solo museum presentation in the United States, <i>Projects 99</i> includes a selection of earlier projects, as well as <i>Defect in Vision</i> (2011), Meiro’s most ambitious and accomplished project to date. Probing the idea of blindness—both philosophical and physical—the piece is projected on two sides of a single screen, preventing the viewer from taking in both views at once. The action follows two performers who repeatedly enact a domestic scene set during World War II. While staged in the historical past, the scene’s portent of impending catastrophe has taken on a new relevance following the Fukushima nuclear disaster, in a work that is incisive, thought-provoking, and visually lush.</p> Mon, 26 Nov 2012 00:28:33 +0000 Eunji Cho, Ellie Ga, Paulo Nazareth, Mriganka Madhukaillya, Sonal Jain - New Museum - January 9th, 2013 11:00 AM - 6:00 PM <div class="body"> <p>The artists share a common preoccupation with walking, roaming, and drifting—moving slowly, close to the ground—and documenting their travels within highly personal terms that blend cartography with memory. All four have embarked on epic journeys, such as crossing an entire continent on foot or floating through the darkness of the Arctic for months—each one motivated by a different impulse or political perspective. Collectively, the artists work against contemporary notions of immediacy and access in a globalized world where any data point appears to be a search away and other cultures can seem legible with a quick round-trip. Their works dramatize distance between countries and cultures, across borders and time zones, to demonstrate how layered and complex a local stretch of terrain can be.</p> <p>The themes of “Walking Drifting Dragging” took shape through dialogue between current Museum as Hub partners—art space pool, Seoul, de_sitio, Mexico City, Miami Art Museum, New Museum (founder), Townhouse Gallery, Cairo, and the Van Abbemuseum, Eindhoven—a network of international art spaces dedicated to international exchange through the support of emergent artistic and organizational practices. “Walking Drifting Dragging” is organized in conjunction with “Running On Borders,” an exhibition that will take place at art space pool in Seoul, South Korea, in 2013. It is organized by Lauren Cornell, Curator of the 2015 Triennial, Digital Projects and Museum as Hub.</p> <p>The exhibition features the work <em>Earth Thief</em> (2009) by Eunji Cho, a performance, here shown as video documentation, in which the artist crossed hundreds of borders within the city of Berlin—some visible and active, others (like that of the Berlin Wall) now defunct. During her circular trip, she dragged a bag of dirt behind her, filling it with soil from different parks or plant beds and then letting it leak out as she walked. Connecting this work to her personal history, Cho, who was born in South Korea in the 1970s, explains, “The line is always in my mind,” referring to the border between North and South Korea. Her act of fertilizing areas of the city can be seen as an act of renewal: a free-form artistic re-zoning, where old borders are erased or muddled with new lines created in her wake. The artist Paulo Nazareth walked across national borders in a transcontinental route—that started in Belo Horizonte, Brazil, and led to New York City—allowing for many digressions and stops along the way. In Guatemala, for instance, he was temporarily adopted by a local family and everywhere he traveled he ate with strangers who became his temporary walking companions. The photographs, installation, and video that constitute his ambitious work “News from the Americas” (2011–12) capture the shifting perceptions of his identity that formed along his travels—in different places, navigating various national, cultural, and linguistic projections—working to break down a single conception of Latin America into hundreds of distinct, though interconnected, pieces.</p> <p><em>Bhotbhoti Tales</em> (2009) by Desire Machine Collective explores this same kind of shifting perception of a single entity, in this case the transnational Brahmaputra River, which has a different name in each region it borders—such as the Yarlung Tsangpo River in Tibet, Dihang and Brahmaputra in India, and the Jamuna in Bangladesh. In their video installation, Desire Machine Collective, who have taken up studio residence on a ferry in the Brahmaputra, speak with local boatmen about the river. What emerges is a multifaceted, contradictory view of the river’s geography and its lore; as the boatmen’s stories provide a depth and an anecdotal history that contemporary mapping technologies like Google Streetview or Earth cannot render. Finally, the show includes a collection of works by Ellie Ga that document her time aboard a ship that drifted through the glacial darkness of the Arctic for five months on a scientific expedition. The only artist on the boat, Ga counters the scientific measurements made by her co-travelers with more subjective ones: sketching the drift of the boat, measuring her possible walking distance at given stops; taking photographs of dawn and sunset. These works, alongside a video in which she narrates her experience, reflect the way she relinquished control over movement and time on the trip and surrendered to the processes of drift.</p> <p>Artists’ journeys have been documented throughout art history: Those whose main practice has been “walking” include British artists Richard Long and Hamish Fulton, as well as others like Francis Alÿs, whose counterintuitive trip in “The Loop” (1997), from Mexico to California via a loop around the world (all to avoid the crossing of the US–Mexico border), was message-driven. “Walking Drifting Dragging” emerges from this history and provides a glimpse into contemporary practice of artist expeditions.</p> </div> Mon, 07 Jan 2013 01:17:37 +0000 Barbara Bloom, Ernst Caramelle, Anna Craycroft, Simryn Gill, Matt Mullican - Tracy Williams, Ltd. - January 9th, 2013 6:00 PM - 8:00 PM <p>Ersatz Affiches brings together the work of Barbara Bloom, Ernst Caramelle, Anna Craycroft, Simryn Gill, and Matt Mullican to ruminate on how we read images in popular media and the knowledge systems they create. As the "ersatz" of the title indicates, an element of trickery is at play. Through subversion and inversion, the conventions of formats like posters, magazines, and coffee table picture books are highlighted.<br />Barbara Bloom's Fake Travel Posters (1981) invoke the look of informational posters, the kind that line the walls of bureaucratic offices. To aid in the navigation of (frequently bewildering) official forms, their design necessitates simplicity and clarity. Into this visual order, Bloom inserts doubt with provocative juxtapositions between image and text. Produced in the early days of the Reagan administration, the work speaks to the profound intervention of marketing and spin control into the geopolitical context. <br />Anna Craycroft's Screen Memories (2009) suggest another kind of advertisement, mimicking 20th century movie posters.<br />Each represents a different fictional film through the use of iconic imagery and typography, referencing genres from romance to horror. The film titles, borrowed from writings on child development by psychoanalysts such as Freud, Klein, Winnicott, and others, are playfully re-contextualized as narrative headlines. This body of work continues Craycroft's investigations into the ways in which definitions of childhood shape personal and cultural narratives related to the construction of individuality.<br />Matt Mullican's untitled sign paint on paper works (1981) are early iterations in the development of his idiosyncratic cosmology. Mullican appropriates international symbols such as music notes, masks of tragedy and comedy, and so forth, and places them within his color-coded system. The presence of recognizable symbols—and the use of sign paint, a material of public communication—within a subjective semiology produce a provocative paradox, thwarting a stable reading.<br />Simryn Gill and Ernst Caramelle explore the relationship between image and text in books as a metaphor for how we organize meaning. Caramelle's Forty Found Fakes (1976-1978) is a catalog of found newspaper clippings. On each page there is a "fake," an image that suggests work of his predecessors and influences—Vito Acconci, Daniel Buren, Hanne Darboven, and Fluxus, for example—with their name listed beneath. With wry elegance, Caramelle comments on the<br />instability of attribution and the author's function.<br />In 32 Volumes (2006) Simryn Gill effaces the text of the Life World Library series, a mid-century encyclopedia of civilizations produced by Life magazine. Perhaps the most significant contributor to the mid-century branding of America, Life magazine relied heavily on images as the convincing counterpoint to narrative of the text. With the colonial and cold war undertones of the volumes gone, a shift occurs in reading, creating a deliberative space that includes the viewer in the process of meaning-making.<br />Through appropriation and allusion, the works in the exhibition all employ the material of 20th century adverting.<br />Anachronism—some of it contextual and some of it purposeful—creates a compelling point of contrast with the contemporary intervention of marketing into every aspect of our lives. The questions begged by this contrast anchor Ersatz Affiches.</p> Wed, 26 Dec 2012 04:24:20 +0000 David Shrigley - Anton Kern Gallery - January 10th, 2013 6:00 PM - 8:00 PM <p>In this fifth solo exhibition at Anton Kern Gallery, entitled Signs, Glasgow-based artist David Shrigley surrounds a large black gong sculpture positioned in the center of the gallery with a variety of signs, such as flags, scrolls and banners, neon and cast bronze texts, as well as lino-cut and letterset texts and poems. As the sound of a gong usually signals a special moment (e.g. waking, eating, starting a movie, or ending a yoga session), Shrigley’s sculptural rendering of the percussion instrument sets the tone for the artist’s insightful exploration of semiotics, the study of signs and the relation between signs and the things to which they refer.<br />To his word strategies, Shrigley adds a key ingredient, the concept of the sign and its origin in agreement or convention (such as full stop signifying the end of a sentence). For a sign to have any effect it must be based on common attitudes. Making signs, as opposed to hand-drawn works on paper, enables Shrigley to expand his techniques, e.g. the recognition of unexpected shifts in viewpoints, or the collision of different frames of reference, into a wider, more public range. He turns the sign inside out as if reverting it to an earlier state of innocence where conventions were not yet fully formed. A neon sign reading “Hot Dog Repair” not only combines disparate terms (the ephemeral with the permanent) in a surprising way but also presents itself in the authoritative shape of a shop sign and thereby turning the agreed-upon convention of what is a reasonable and generally accepted service topsy-turvy.<br />Similarly, Shrigley’s lino-cut, letterset poems and texts, reminiscent of word-related art ranging from Concrete Poetry to Christopher Wool’s paintings, present characteristic Shrigleyesque thoughts however much less individualized (no handwriting) but rather subversively conventionalized (cut out and printed letters). Stepping away from the markedly handmade towards the more indirect and mechanized process of sign-making lifts the works in this exhibition onto a new level of humor as semiotic critique. Shrigley’s signs commandingly undermine their own presumed authority. A<br />sense of liberation prevails!<br />With over 40 books to his name, David Shrigley is a well-published author and artist. Recent solo exhibitions have been held at the Hayward Gallery, London; the Yerba Buena Center for the Arts, San Francisco; and the Cornerhouse Gallery, Manchester (all 2012). Shrigley has participated in group shows such as Funny, Flag Art Foundation, New York; Zoo, Musée d'Art Contemporain de Montréal, Montreal (both 2012); A Sense of Humor, Kohler Art Center, Sheboygan, WI; Life on Mars: 55th Carnegie International, Pittsburgh (2008); and Learn to Read, Tate Modern, London (2007).</p> Wed, 26 Dec 2012 01:59:20 +0000 Michael K. Yamaoka - Atlantic Gallery - January 10th, 2013 4:30 PM - 8:30 PM <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 23:06:14 +0000 Daniel Buren - Bortolami Gallery - January 10th, 2013 6:00 PM - 8:00 PM <p>Bortolami Gallery is pleased to re-announce its third solo exhibition by Daniel Buren with a new opening date on January 10th from 6-8 p.m. The exhibition will run through February 16th, and will span two gallery spaces: Bortolami Gallery at 520 West 20th Street and Petzel Gallery at its new location, 456 West 18th Street.</p> <p>Bortolami Gallery will feature Plexiglas and fabric <strong>situated works</strong> and a room of new fiber optics. Daniel Buren realized these situated works with the textile company Brochier Soieries, using their innovative fiber optic technology for luminescent textiles. Petzel Gallery will showcase historical <strong>in situ works</strong> made with paper which the artist began in 1968.</p> <p>Throughout his almost 50-year-long career, Daniel Buren is best known for his use of contrasting stripes as a visual tool that reveals the specific features and dimensions of a site, often transforming the environment for which it was specifically designed. He alters the perception and context of one's surroundings by modifying the navigation of space, enhancing lighting, obstructing viewpoints, and highlighting certain architectural features. Buren installs his work-much of which is temporary-in the architecture of both public and private spaces ranging from subway platforms to prestigious museums.</p> <p><strong>Work in situ</strong>- "denotes a work made for a particular site, for a particular time and exhibited in this particular site, and therefore not transportable to another place."  Buren has also identified himself as an artist who "lives and works in situ."</p> <p><strong>Situated work</strong>- "a work for the most part inspired by a particular location, but made with the intention that the very same elements of the original work can be reinstalled in different sites following a series of rules, changing each time in response to the given place.  In turn, the site is changed by the work." </p> <p><strong>Visual tool</strong>- the sign of white and color alternating in stripes of exactly 8.7 cm. in width, as derived from the fabric he first used as a canvas in 1965.  This functions as a tool in Buren's work, as a standard or unit of measure of formal properties.  Significantly, it is also an intended sign that serves as a constant within the wildly variable parameters and juxtapositions of any and all in situ and situated work since 1965 without exception. </p> <p>Daniel Buren (b. 1938) has been the subject of retrospectives at the Solomon R. Guggenheim Museum, New York (2005) and the Centre Pompidou, Paris (2002). His work is also included in prestigious private and public collections worldwide. Buren has exhibited in the Venice Biennale more than 10 times and was awarded the Golden Lion for his French Pavilion in 1986. In 2007, he received the Praemium Imperiale for Painting from Japan. Most recently, he was selected to exhibit at MONUMENTA 2012 at the Grand Palais in Paris.</p> Fri, 14 Dec 2012 02:23:26 +0000 Don Gregorio Anton - BRIC Arts | Media House - January 10th, 2013 7:00 PM - 9:00 PM <div style="margin: 0;"><span size="2" face="Calibri,sans-serif" style="font-family: Calibri,sans-serif; font-size: small;"><span size="2" face="Calibri,sans-serif" style="font-family: Calibri,sans-serif; font-size: small;"></span></span> <p style="text-align: justify;"><span style="font-size: small;">The revered Chicano photographer will speak about his work, influences, and process.</span></p> <span size="2" face="Calibri,sans-serif" style="font-family: Calibri,sans-serif; font-size: small;"><span size="2" face="Calibri,sans-serif" style="font-family: Calibri,sans-serif;"></span></span> <p style="text-align: justify;"><span style="font-size: small;">Born in East Los Angeles in 1956, <strong>Don Gregorio Antón</strong> received his BA in 1978 and MA in 1980 from San Francisco State University and is a professor of photography at Humboldt State University in northern California. Having taught photography at a variety of institutions over the past several decades, Antón was awarded the Freestyle Crystal Apple Teaching Award in 2010 as well as the Excellence in Photographic Education - Teacher of the Year Award from the Santa Fe Center for Visual Arts in 2002. He has shown both nationally and internationally, with recent exhibitions at the Getty Museum, LA; Aperture, NY; the Museum of Photographic Arts, San Diego; the Bronx Museum of the Arts, NY; Meridian Gallery, San Francisco; En Foco at Skylight Gallery in Brooklyn, NY and Longwood Art Gallery, Bronx, NY; Light Work in Syracuse, NY; En Foco at the Art Museum of the Americas, Washington, DC and Aljira, Newark, NJ; and the Bronx Museum of the Arts, NY. Antón’s work is included in such prestigious collections as the Bibliotheque Nationale, Paris; the San Francisco Museum of Modern Art; the Museum of Fine Arts, Houston; and the Smithsonian Institution, Washington, DC. His work has been included in En Foco's publication <em>Nueva Luz </em>in issues 5:2 14:2<em>, </em>as well as it's <em>Commemorative Issue </em>in 2001. </span></p> </div> Sat, 22 Feb 2014 16:03:57 +0000 Silvio Wolf - Bruce Silverstein Gallery - January 10th, 2013 6:00 PM - 8:00 PM <p>Silvio Wolf was born in Milan in 1952, where he lives and works. He studied Philosophy and Psychology in Italy and Photography and Visual Arts in London, where he received the Higher Diploma in Advanced Photography at the London College of Printing. From 1977 to 1987 he used photography to explore the laws, language and two-dimensional nature of the image. His work has moved in directions different from those of tradition, which favoured the documentary and narrative value of the photographic image. Instead, he has pursued a more subjective, metaphorical view of reality. In this period he made polyptychs and large-format works which have been shown in Italy and abroad, including Aktuell '83 in Munich and Documenta VIII, in 1987, in Kassel. From the end of the 1980s to the present he has gradually introduced new languages in his work, using the moving image, still projections, light and sound, either individually or in combinations.<br /><br /> His works have moved away from the pure two-dimensional format of photography to involve architectural space and the specificities of the places in which he operates, creating multimedia projects and sound installations. In his site-specific projects, as in all his photo-based work, the issues of limit, absence and elsewhere are always central. He has created temporary and permanent installations in galleries, museums and public spaces in Belgium, Canada, England, France, Germany, Italy, Korea, Luxembourg, Spain, Switzerland and the United States. In 2009 he was invited to participate in the 53rd Venice Biennale. He teaches Photography at the School of Visual Arts of the European Institute of Design in Milan, and is Visiting Professor at the School of Visual Arts in New York.</p> Mon, 17 Dec 2012 23:14:08 +0000 Giorgio Griffa - Casey Kaplan Gallery - January 10th, 2013 6:00 PM - 8:00 PM <p><em>“I don’t portray anything, I paint.” Giorgio Griffa, 1973</em></p> <p>Casey Kaplan is pleased to announce <em>FRAGMENTS 1968 – 2012</em>, an exhibition of new and historical paintings by Giorgio Griffa (b. 1936, Torino, Italy). Spanning four decades of Griffa’s career, this is the first solo exhibition of the artist’s work in New York since 1970, as well as his first in the US since 1973.</p> <p>The exhibition presents a selection from over forty years of Griffa’s paintings on un-stretched canvas and linen. Throughout the past four decades, Griffa has undertaken a practice that he describes as “constant and never finished”, adhering to “the memory of material”, and to the belief that the gesture of painting is an infinite one. Within the finite frame of his canvas, each artwork becomes a site of collaboration between painting and the painter as the hand works to reveal a constellation of signs and symbols. This relationship is further mediated by the materiality of the works: the absorption of the acrylic into the fabric from each stroke dictates the brush’s next move. The completion of a canvas functions as a suspension of this relationship. After the acrylic has dried, they are carefully and neatly folded into uniform sections and filed as a register of their collective life as a whole.</p> <p>The artworks from the late 1960s and 1970s display the use of an “anonymous” sign, the simple and repetitive movement of the artist’s paintbrush to create uniform task-like marks that serve to record the process of painting. These early, minimal compositions began with ordered horizontal and vertical lines that eventually gave way to the use of sponges and fingerprints. While this period displays a shift from the anonymous to the personal, it is united through the consistency of deliberate end points or breaks in pattern and reveals the construction of the paintings as an action interrupted.</p> <p>Griffa’s paintings actively resist perspective and narrative, instead favoring a cyclical connection to the memory of painting as an action. Time is present through aesthetic shifts in the work that are most notable by decade. These mark making variations reveal an awareness of the artist’s surroundings and provide evidence of the time within which he was working. For example, in the 1980s Griffa’s practice evolved to include expressive forms and brighter tones, coexisting with discordant arrangements of unfinished planes of color. He began to utilize a more concrete set of references in the “Alter-Ego” series (1978 – 2008), in which Griffa aspired to come to terms with aspects of painting’s memory within the works of other artists, such as: Matisse, Merz, Klein, Tintoretto, Beuys as well as imagery of the Romanesque and international Gothic periods.</p> <p>This shift, from ordered marks towards a broad range of gestures, eventually led to the inclusion of numerical systems into his artworks in the 1990s. Still characterizing his paintings today, the “Canone Aureo” series displays Griffa’s interest in mathematic and scientific structures that underlie our natural world. These infinite sequences, such as the Fibonacci series and the Golden Ratio, act as a parallel to Griffa’s practice, and additionally function as punctuations in the work’s vocabulary. They also determine and organize the signs within a work. Despite these varied trajectories, it is the act of painting that always remains at the forefront. Griffa said in a recent interview with Luca Massimo Barbero: “If these works have the power to speak and to listen, I’ll let them do it themselves.”</p> <p>Giorgio Griffa joined the gallery’s program in 2011. Solo presentations of his work include MACRO, Museo d’Arte Contemporanea, Rome (2011), Neuer Kunstverein, Aschaffenburg (2005), Städische Kunsthalle, Dusseldorf (1978) and Sonnabend Gallery, New York (1970), among others. His work was presented in the 38th and 40th Venice Bienniale in 1978 and 1980, as well as in group exhibitions at Musee d’Art Moderne de la Ville de Paris, Museum Abteiberg, Kunstverein Münster, Castello di Rivoli, Turin, Kunstverein Hannover, Stadtische Museum, Monchengladbach, Kunstverein Frankfurt and Moderna Museet, Stockholm.</p> Fri, 11 Jan 2013 02:52:46 +0000 Group Show - Ceres Gallery - January 10th, 2013 6:00 PM - 8:00 PM <p>Ceres Gallery is pleased to present <em>Meet My Uterus</em> with work by 24 artists in painting, sculpture, printmaking, drawing and mixed-media, in all manner serious, humorous, political, or not, realist to abstract and everything in between. Who would have ever envisioned the need to fight for, of all things, contraception in 2013? <br /> <br /> Women's reproductive rights are being eroded. Because of government interference with women's healthcare decisions, these women artists felt the need to express their concern in the way they know best. They have gotten creative with the image, the shape, the form, the essence of the uterus and we have presented them all in an exciting and visually arresting format of high density and over-the-top repetition of just one thing: the uterus.</p> Wed, 09 Jan 2013 15:24:33 +0000