ArtSlant - Closing soon en-us 40 Tal R - Cheim & Read - November 15th, 2012 - January 12th, 2013 <p>Cheim &amp; Read is pleased to announce an exhibition of recent paintings by Tal R. This is his first exhibition with the gallery. The show will be accompanied by a full-color catalogue with an essay by Matthew Israel.<br /> <br /> Tal R was born Tal Rosenzweig in Tel Aviv in 1967 to a Danish mother and Czechoslovakian Jewish father. Raised in Denmark, his childhood was defined by his family’s split identity: the orderly Scandinavian society of his maternal side contrasted with his father’s experience as a Holocaust survivor. Tal’s traditional Hebrew name, which also means “number” in Danish, did not assist in his acclimation, especially among school-aged peers. Drawing provided a needed escape. As he has said: “For me, drawing was the same as dreaming at night: you don’t decide what to dream about, you dream about what you need.” Tal’s self-identification as an outsider, caught between two worlds, fueled a fertile artistic landscape of shifting realities. His unique vision eventually led him to the Royal Danish Academy of Fine Arts, where his work caught the eye of Louisiana Museum curator Anders Kold.<br /> <br /> The duality of Tal’s heritage is recognized in his work, which offers sensations both celebratory and sinister. Saturated color is weighted by shadow; café and street scenes, festooned and radiant, are simultaneously claustrophobic and labyrinthine. His subject matter is intentionally easy to describe, but meaning, as in dreams, is enigmatic. Tal works with a variety of media—collage, sculpture, installation, painting—and intuitively culls imagery from diverse sources. (He cites the Yiddish word kolbojnik—“leftovers”—as a loose definition for his process of gathering inspiration.) Historical and art historical references abound: threads of Expressionism, Fauvism, and Symbolism run throughout, as do nods to traditional Scandinavian art, Art Nouveau, and outsider or children’s art.<br /> <br /> For this exhibition at Cheim &amp; Read, Tal presents a group of carnivalesque-like canvases, patterned with psychedelic stripes and sometimes inhabited by a character named Shlomo (short for Solomon, Shlomo is also Tal’s middle name). Shlomo is both formalist prop and narrative force; his presence lends a sense of ennui to otherwise vivid compositions. Kandinsky-like color vibrates in paintings like Night Awning, 2012, and Klee-like patterning creates the patchwork construction of House Bonni, 2012. Girl Sitting Next to Marie, 2012, references the art historical canon of café imagery, but is bordered by darkening shadows. Amusement park scenes – The Swan and The Swans, both 2012, glow unnaturally and are turned on their sides, as if stolen from a child’s imagination.<br /> <br /> Tal achieves his translucent color by mixing pigment with rabbit skin glue. Fast drying, the medium does not accommodate multiple layers or revisions—paint is applied quickly and confidently, resulting in canvases which emphasize surface even while presenting scenes of mysterious depth. The viewer, at first bombarded with color and texture and then becoming cognizant of narrative structure, is left to navigate splendid but distorted passageways, as if entering an unhinged dream. Tal’s work reveals the effect of an image on the psyche—the viewer’s own unconscious is an active participant in the scene.</p> Tue, 25 Dec 2012 23:54:16 +0000 - Claire Oliver Gallery - November 29th, 2012 - January 12th, 2013 <p style="text-align: justify;">For over four millennia, artists have been considered bellwethers, those sought-after trendsetters who play a leading role in style and design innovation. Historically, one can trace prevalent trends in culture as precursors to societal change: artists' involvement in fashion, literature, music, performance, and the visual arts has made significant contributions to the social climate.</p> <p style="text-align: justify;">The social and intellectual position of the artist changed radically during the 16th century; the Renaissance brought a heightened interaction between patron and artist. Previously seen as tradesman, occupying a relatively low social position, artists were henceforth considered creators of important work with complex content and cultural message, persons who conversed with philosophers and negotiated with kings and popes. It was during this time that the role of jewelry and what are today considered more traditional media, such as painting and sculpture, bifurcated, the former gradually becoming known as “craft” and the latter deemed “fine art.” This divergence did not dissuade many great painters and sculptors from continuing to create jewelry regardless of its perceived status.</p> <p style="text-align: justify;">Internationally renowned individuals from virtually every major artistic genre over the past five centuries have created jewelry-based artworks that not only resonate on their own, but also transform their wearers. A few examples of artists whose works have recently been included in major international museum exhibitions of jewelry include: Pablo Picasso, Georges Braque, Max Ernst, Salvador Dali, Alberto Giacometti, Rene Magritte, Alexander Calder, Robert Rauschenberg, Man Ray, Andy Warhol, Roy Lichtenstein, Sol LeWitt, Louise Nevelson, Nam June Paik, Louise Bourgeois, Damien Hirst, Jeff Koons, Jenny Holzer, Anish Kapoor, and Kiki Smith.</p> <p style="text-align: justify;">Historically, these innovative fine artists have shattered boundaries between the viewer and the artwork, fashioning a fascinating new creative language. Bridging disparate schools of practice, they reunite the detailed, material focus of “craft” with the conceptual depth and personal connection of “fine art.” The wearer of these works of art extols a calculated message, their body not only a canvas or backdrop but rather an integral part of the composition and its aesthetic appeal.</p> <p style="text-align: justify;">Recently, the line between craft and fine art has again begun a convergence: artists have embraced the freedom to dance between the two with facility. This reconciliation has been highlighted by several important international art museums, resulting in the display of necklaces, rings, bracelets, and brooches in galleries traditionally dedicated to painting and sculpture. The Museum of Fine Arts, Boston recently built a gallery and hired a renowned curator solely dedicated to the research, display, and preservation of the world’s finest examples of works of art in the medium of jewelry. The Beyeler Foundation and the Guggenheim Museum have also recently acquired and exhibited works in this medium. Reaching far beyond diamonds and pearls, forward-thinking museums are celebrating jewelry’s powerful and historical legacy as a tool of helpful insight into the psyche of an artist.</p> <p style="text-align: justify;">For two decades, Claire Oliver Gallery has proven itself to be an institution that champions a dedication to physical process, commitment to craft, and intensity of detail balanced with conceptual content. As such, the Gallery is uniquely poised to invite contemporary mainstays and next generation talent alike to create new works for an important exhibition of wearable artistic innovations. With this exhibition, Claire Oliver Gallery continues its quest to knock down barriers among media and to foster and encourage artists to actualize groundbreaking work.</p> <p style="text-align: justify;">In presenting Beyond Bling, The Artist As Jeweler, Claire Oliver Gallery stays true to its commitment to challenge, dazzle, and surprise the viewer with works of art that require examination, contemplation, and interaction; the intellectual connection between the observer and the work of art is of the utmost importance to the Gallery.</p> <p style="text-align: justify;">Beyond Bling: The Artist as Jeweler will feature over 30 established and emerging artists with works created specifically for this exhibition. While some will be unique objects, other examples will be produced in limited editions. Working in a wide variety of media, invited artists will utilize disparate materials including mirror, crystal, stained and blown glass, paint, stoneware, rapid prototyping, collage, photography, video, precious and semi-precious metals, to name but a few. This important exhibition will be documented with an illustrated catalogue and is planned to travel to public institutions throughout the country.</p> Sat, 24 Nov 2012 09:58:20 +0000 - DEAN PROJECT - December 20th, 2012 - January 12th, 2013 <p><b>Lluis Barba</b></p> <p><i>Self-Portraits, Travelers in Time</i></p> <p><b>Solo-exhibition opening reception with artist: </b>Thursday December 20<sup>th</sup>, 6-8pm, at DEAN PROJECT</p> <p>Exhibition dates: December 20<sup>th</sup> – January 12th</p> <p>Born in Spain and educated at the Escola Massana Centre d’Art-UAB, Barba has exhibited his work in the United States, Europe, Latin America and Canada. His work is held in major public collections, such as the Artothèque d’Art Anekdota in Paris, Foundation, Daniela Chappard of Caracas, Foundation Lluís Carulla, L’Espluga de Francolí, Tarragona, Instituto Cervantes in Tangier, Morocco, Museo Jacobo Borges Caracas, Museo Marugame Hirai Japan, Museo de Arte Contemporáneo Wifredo Lam La Habana, Museo de Arte Contemporáneo Requena Valencia, Museo Internacional Cairo, Egypt and Museu d’Art Contemporani de Barcelona.</p> <p>Lluís Barba reworks iconic artworks to comment on contemporary society, introducing modern characters into Hyeronimus Bosch’s or Pieter Brueghel’s medieval scenes. His work leverages the language of artistic symbolism to critique both modern society and the art world, utilizing society darlings and art world players such as Kate Moss, Brad Pitt and Jay Jopling. Barba thereby expresses his debt to History of Art while establishing distance through a strongly ironic stance.</p> <p> DEAN PROJECT is located at 511 West 25<sup>th</sup> Street, 2<sup>nd</sup> floor, New York, NY 10001, tel. 212.229.2017 email.</p> Wed, 19 Dec 2012 19:14:11 +0000 Group Show - Edward Thorp Gallery - October 25th, 2012 - January 12th, 2013 <p style="text-align: justify;">“Time moves in one direction, memory in another.”<br />William Gibson<br />“The future ain't what it used to be.”<br />Yogi Berra<br />The Edward Thorp Gallery will present a group exhibition based on the concept of<br />time. This exhibit will address this theme in a variety of mediums including painting,<br />drawing, prints, photography, and decorative arts. Approximately 40 works will be<br />presented.<br />The variety of works reveals the potential for art to profoundly adjust our psychological<br />engagement with the concept of time. The exhibition looks at how time is used—as<br />form, content, and medium within various artistic pursuits—exploring this dialogue<br />with objects by artists and artisans from a wide historical range that employ<br />unorthodox and distinctive approaches.<br />Artists to be included are Marcel Duchamp, Harold Edgerton, Piero Fornasetti, Philip<br />Guston, Duane Michals, Eadweard Muybridge, Man Ray, Paul Strand, Ed Ruscha,<br />Albert York, as well as many anonymous.</p> Tue, 11 Dec 2012 16:19:53 +0000 Edmund Clark - Flowers Gallery NY - November 30th, 2012 - January 12th, 2013 <p>“When you are suspended by a rope you can recover but every time I see a rope I remember.<br />If the light goes out unexpectedly in a room, I am back in my cell.”<br />Binyam Mohamed, Prisoner #1458<br />Flowers is pleased to present a selection of photographs from Edmund Clark’s Guantanamo: If The Light Goes Out. Clark pairs his images with a collection of correspondence titled Letters to Omar and a multimedia installation. Together these visuals confront the assumptions and stereotypes about the Guantanamo Bay detention center. The exhibition will run from November 30th, 2012 through January 12th, 2013, with an opening reception for the artist on Thursday, November 29th, 6-8pm. An artist talk will also take place in the gallery on Saturday, December 1st at 4pm.<br />Edmund Clark is known for his work exploring incarceration through the use of photography, found imagery, and text. In Guantanamo: If The Light Goes Out (2010), he examines three ideas of home: The naval base that is home to the American community at Guantanamo; the complex of camps where the detainees have been held, and the homes, new and old, where former detainees now find themselves trying to rebuild their lives. His disorientating narrative evokes the psychological aftereffects on these men.<br />Letters to Omar testifies to the scale of control exacted by the US military th rough the  correspondence sent to one man, Omar Deghayes. Each piece of mail was scanned and copied with entire portions censored and redacted. Deghayes was never given the originals, but the documents, made complicit in the process of control over him, remain an extraordinary representation of the relationship between prisoner and captor. <br />Clark’s quiet and restrained style melds documentary and fine art imagery. His photographs are absent of people, speaking to the identities that have been stripped away. At Guantanamo he had to switch from his 5x4 inch film camera to mediumformat digital equipment, so that his photographs could be censored by security personnel at the end of each day. His meticulous imagery narrates the experience and contradictions of Guantanamo—where 167 prisoners are still held.<br />Edmund Clark was a finalist in this year’s Prix Pictet and was awarded the 2011 Royal  Photographic Society Hood Medal.<br />Other awards include the 2009 British Journal of Photography International Award and several book awards for Guantanamo: If The Light Goes Out, a 2008 Terry O’Neill/IPG Award for Contemporary British Photography for Still Life Killing Time (2007), and a Gold Pencil at the 2003 One Show Awards in New York. He was an Artist-in-Residence for the National Trust in England and his work is included in national and international collections including The National Portrait Gallery and ImpImperial War Museum in London, the George Eastman House Museum, Rochester, and the Museum of Fine Arts in Houston.</p> Mon, 12 Nov 2012 22:51:47 +0000 Henry Leutwyler - Foley Gallery - November 28th, 2012 - January 12th, 2013 <p>We are pleased to present an unprecedented look at the New York City Ballet with photographer Henry Leutwyler's exhibition Ballet, opening on Wednesday, November 28th, 2012.</p> <p>After collaborating with the New York City Ballet for many years, Leutwyler was granted unprecedented backstage access to the NYCB during the winter of 2012. Using his 35mm Leica, he explored the performers' personal space and produced honest, unguarded moments of more than 80 dancers from the company. From classes, to rehearsals, to the moment when the curtain rises, Leutwyler's images reveal details of the ballet that few of us have been granted the opportunity to see.</p> <p>With the precedent of Alexey Brodovitch's ballet photography in the late 1930's, Leutwyler examines the pageantry of color and costume, and performance and preparation, in a contemporary setting of an art form that remains true to its classic origins. Leutwyler sees and feels the gestures and emotions in such a way that we are transfixed, as if we are a part of the dance ourselves.</p> <p>"Henry's images depict a more atmospheric, and in some cases abstract portrayal of our world. One that is experienced first-hand by a rare few" - Peter Martins, Ballet Master in Chief.</p> <p>In conjunction with the exhibition, Leutwyler's photographs will be published in a 488-page book, Ballet, with over 270 photographs. Steidl will release the book on November 15th.</p> <p>Leutwyler's first show at Foley, Neverland Lost, focused on the personal artifacts of Michael Jackson from Neverland Ranch that were to be auctioned off during the singer's lifetime.</p> <p>Leutwyler was born in Switzerland in 1961. He lived in Paris for ten years, where he began photographing the Ballet Bejart Dance Company. He travelled extensively with the company before moving to New York to focus on photographing theater and the arts. Leutwyler's past subjects include Michelle Obama, Julia Roberts, Tom Wolfe, Beyoncé Knowles, Martin Scorsese, and Spike Lee. His work has been featured in the New York Times Magazine, Portfolio, Esquire, Vogue, Vanity Fair, The New Yorker, and Time. His works have earned him the ASME 2008 Magazine Cover of the Year Award and Graphis Magazine 2008 Photographer of the Year.</p> Wed, 26 Dec 2012 00:26:43 +0000 Bob Dylan - Gagosian Gallery - 980 Madison Ave. - November 28th, 2012 - January 12th, 2013 <p style="text-align: justify;">Gagosian Gallery is pleased to present new work by Bob Dylan.</p> <p style="text-align: justify;">With a keen sense of awareness of everyday phenomena, in his Revisionist art Bob Dylan has transformed popular design elements—from <em>Bondage Magazine</em> to <em>Baby Talk</em>—by reconsidering the purposes of each: the graphics, syntax and chromatic content, enlarging them into silkscreened images that measure more than four feet in height. He combines a wide range of popular styles, the sources of which he has reshaped to produce new conflations of image and meaning.</p> <p style="text-align: justify;">Dylan has long been a willful contextualizer of his own source material.  All personas are interchangeable. His diverse musical output spans a wealth of genres. His Revisionist art provides a glimpse of an artistic process that is equally maverick and elusive.</p> <p style="text-align: justify;">The most celebrated singer-songwriter of our time, Bob Dylan’s visual art is marked by the same constant drive for renewal that characterizes his legendary music. Although he has been making art since the 1960s, his work was not publicly exhibited until 2007 when an exhibition of “The Drawn Blank Series” was held in Chemnitz, Germany, followed by “The Brazil Series” at the Statens Museum, Copenhagen, in 2008. “The Asia Series” was presented at Gagosian New York in 2011.</p> Fri, 30 Nov 2012 02:25:32 +0000 Ed Ruscha - Gagosian Gallery- 24th St. - November 17th, 2012 - January 12th, 2013 <p><em>Sometimes I wonder whether I am painting pictures of words or whether I'm painting pictures with words.</em></p> <p>--Ed Ruscha</p> <p>Ed Ruscha's oeuvre has never been confined to established categories of style or media; for instance, books, drawings, prints, photography, and painting are used in parallel, together with materials as unconventional as gunpowder, fruit juice, bleach, coffee, and syrup. But throughout Ruscha's restrained yet daring experimentation, writing as act and subject, in print form or painted on canvas, has remained a constant inspiration for his iconic images of the American vernacular. His singular, sometimes oblique use of words allows for the exploration of the role of signifiers in language and thought, while his range of artistic means allows the act of reading to be literally manipulated as a process by which to generate meaning.</p> <p>This exhibition follows "Reading Ed Ruscha," at Kunsthaus Bregenz in Austria, which fully explored Ruscha's obsession with books and language from the outset of his career. In New York the focus is exclusively on his consideration of the book over the last twenty-five years as a subject, as a support for pictures, or as an actual object. It includes acrylic and oil paintings, drawings on paper, watercolors on vellum, photographs, and book works.</p> <p>In the small painting <em>History</em> (2005), Ruscha deflates a huge topic with an austere yet highly illusionistic side view of a rather-too-slim book spine on which the word appears. Whereas in the large-format painting <em>Gilded, Marbled and Foibled</em> (2011-12),he lets loose in a richly patterned description of traditional decorative bookmaking techniques, while the title provides a riposte to early Conceptual Art instruction. The <em>Open Book</em> series (2002-05), finely executed on untreated linen as a direct allusion to traditional bookbinding materials, appear as life-size images inviting closer perusal, while the giant works of the <em>Old Book</em> series present age-worn pages as monumental artifacts.</p> <p>Various bookworks provide corollaries to the paintings. A strategy for a series of insidious small abstract paintings from 1994-95, where words forming threats are rendered as blank widths of contrasting color like Morse communication, resurfaces a decade later in book covers, where the oppositional actions of enunciation and erasure meet. In another book series, Ruscha has again used bleach to leach a single large initial on the colored linen covers of found books, such as a gothic M on the cover of <em>Imaginary Gardens</em>, or L L on two matching <a href="" target="_blank" shape="rect">Shakespeare</a> tomes entitled <em>Twins (diptych)</em>, by which he deftly transforms one medium and format into another. In another, monochrome books mimic Minimalist objects and sport appropriately generic titles such as <em>Atlas</em> or <em>Bible</em>.</p> <p><strong>Ed Ruscha</strong> was born in Omaha, Nebraska in 1937 and studied painting, photography, and graphic design at the Chouinard Art Institute (now CalArts). His work is collected by major museums worldwide. Major museum exhibitions include the drawing retrospective "Cotton Puffs, Q-Tips®, Smoke and Mirrors," which toured U.S. museums in 2004-05; "Ed Ruscha: Photographer," Whitney Museum of American Art, New York and the Musée National Jeu de Paume, Paris (2006); and, "Ed Ruscha: Fifty Years of Painting," Hayward Gallery, London (2009, traveling to Haus der Kunst, Munich and Moderna Museet, Stockholm in 2010). "Ed Ruscha: Road Tested,"Modern Art Museum of Fort Worth, Texas (2011); "On the Road," The Hammer Museum, Los Angeles (2011). "Reading Ed Ruscha" concluded at the Kunsthaus Bregenz in Austria in mid-October, just as "The Ancients Stole All Our Great Ideas" opened at the Kunsthistorisches Museum in Vienna, an exhibition that Ruscha was invited to curate, working from the national art and natural history collections. It remains on view until December 2, 2012.</p> Sun, 11 Nov 2012 01:57:08 +0000 Group Show - Hunter College/Times Square Gallery - December 13th, 2012 - January 12th, 2013 <p>The Department of Art at Hunter College is pleased to present an exhibition of recent works by the graduating MFA students. This exhibition divides the Hunter College/Times Square Gallery into individual spaces that represent the culmination of each of the 19 artists’ unique experience in Hunter College’s prestigious and competitive MFA program.</p> <p>The exhibition will be on view from December 13, 2012–January 16th, 2013. A public opening reception will be held on Wednesday, December 12th, from 6–8 PM.</p> <p>The Hunter College/Times Square Gallery, located at 450 West 41st Street, New York City.</p> <p> </p> <p>The graduating students have organized two panel discussions that contextualize the exhibition.  These panels will address questions of meaning, plurality, the evolving models of education, and greater issues of contemporaneity in art practice. </p> <p> </p> <p>All events are free and open to the public.</p> <p> </p> <p>January 11, 2013</p> <p><b>towards meaning in a plural painting world</b></p> <p>Moderated by Katy Siegel</p> <p>7:30pm</p> <p>This event is made possible through the generous support of the John and Evelyn Kossak Foundation</p> <p> </p> <p>January 16, 2013</p> <p><b>models, modes, possibilities; and then there is education</b></p> <p>Moderated by Anthony Huberman</p> <p>7:30pm</p> <p> </p> <p>For more information about the exhibition please contact:<br /> FALL 2012- HUNTER MFA</p> <p>Email: <span style="text-decoration: underline;"></span></p> <p>Web: <a href="" rel="nofollow"></a><span style="text-decoration: underline;"></span></p> Fri, 07 Dec 2012 16:48:38 +0000 - Hunter College/Times Square Gallery - December 13th, 2012 - January 12th, 2013 <p>This exhibition is made possible with the support of the Hunter College Art Department<br />in collaboration with the Hunter College Art Galleries.</p> <p>HUNTER COLLEGE MFA BUIDLING, 2ND FLOOR GALLERY<br />450 West 41st Street (between Dyer and 10th Avenues)<br />New York, NY</p> <p>Gallery Hours: Tuesday – Saturday, 1 – 6pm<br />212.772.4991<br /></p> Wed, 02 Jan 2013 18:38:46 +0000 Group Show - Leila Heller Gallery - Chelsea - December 18th, 2012 - January 12th, 2013 <p>Leila Heller Gallery is pleased to announce The Young Collectors Exhibition, on view from December 18th to January 12, 2013. The Young Collectors Exhibition is a show of works from a number of the gallery's artists plus a wide selection of works by international emerging artists who are not represented by the gallery. Curated for the emerging collector, this exhibition features artworks priced between $500 and $5,000. A pre-sale of The Young Collectors Exhibition will take place from Friday, November 23 until Saturday, December 15 on Paddle8, the online art destination. <br /> <br /> Alexandra Wagle and Laura Mintz have curated The Young Collectors Exhibition. "Our intention in putting together this exhibition was to de-mystify the gallery environment, bringing together an aesthetically diverse range of affordable works to help new collectors develop their eye and encourage them to begin investing in art," says Wagle. "We view the exhibition space as a re-imagination of the old salon, creating an opportunity for young collectors to engage with artists that they may not normally have access to.” <br /> <br /> "Making the gallery setting less intimidating, and building a forum in which affordable art also holds aesthetic value is imperative to maintaining the interest in the investment of art among the next generation of collectors," says Mintz. "We believe that creating an accessible environment in which young people can engage with art is an integral part of the future of collecting."<br /> <br /> The Young Collectors Exhibition features 100 works from over 30 artists including Richard Fleischner (a series of textured, geometric photographs of the LeWitt House in Praiano, Italy), Karl Mann (Untitled (Lips), Untitled (Gorilla), Untitled (Tongue), Untitled (Parrot), Alexander Yulish (who has worked with creative greats such as Ash Cohen and David Lynch), Zac Buehner, Ken Gonzales-Day, Jason Castro, Philip Smith, Martin Saar, Kezban Arca Batibeki, Julia Mandle, Connie Samaras, Alexis Laurent, Rachel Lee Hovnanian, and Firooz Zahedi, among others. <br /> <br /> 10% of the sales from The Young Collectors Exhibition will be donated to the Pollock-Krasner Foundation, which has recently set up a Hurricane Sandy relief fund for visual artists. This is the first time that the Pollock-Krasner Foundation has accepted financial support from an outside source. "We at the Pollock-Krasner Foundation are deeply concerned for the welfare of the artists affected by the Hurricane Sandy disaster," says Charles Bergman, Chairman and CEO of the foundation. "We are delighted to partner with the organizers of Leila Heller Gallery's Young Collectors Exhibition and appreciate their generosity, as we are currently accepting emergency requests for grants to professional visual artists, which will be expedited under the Foundation’s guidelines." Artists wishing to apply for grants should visit</p> Sat, 22 Feb 2014 15:49:56 +0000 Amelia Biewald - Magnan Metz Gallery - December 6th, 2012 - January 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Magnan Metz Gallery is pleased to present Amelia Biewald’s fourth solo exhibition</span> <span style="font-size: small;">with the gallery. Werther Effects will be on display from December 6th through </span><span style="font-size: small;">January 12th with an artist reception on Thursday, December 13th from 6-8pm. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Amelia Biewald’s most recent works investigate the brilliant visual possibilities of Elizabethan England; an era that produced incredibly intricate and sophisticated clothing but lacked comfort and convenience. Biewald pays great attention to the neck ruff, an iconic embellishment often seen in Elizabethan fashion. Despite being entirely uncomfortable and cumbersome, almost impossible to construct (this was left to specialists who only made and starched ruffs), and boasting extremes of width which made even the most simple tasks quite daunting, the ruff maintained its popularity for over a century. Biewald considers the ruff’s lacey details both beautiful and compelling. She has incorporated its form into various works in Werther Effects including two exhibited at the front of the gallery space: The Sorrows of Young Werther,  a small mixed media installation, and Pretty Girls Make Graves, a large panel of plastic, acrylic and resin. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Biewald’s primary source of inspiration was born from The Sorrows of Young Werther, a semi-autobiographical novel by Joann Wolfgang Von Goethe, first published in 1774. It became one of the most widely distributed publications of its time, gaining popularity amongst young men who began to dress similarly to the book’s main character. Along with displaying copycat fashion, young readers also started to exhibit the typical melancholy behavior of the novel’s subject. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">In Werther Effects, the artist manipulates both traditional and invented artist materials and techniques, creating luxurious surfaces that generate a voyeristic costume drama. Biewald’s mixed media panels and sculptures shine a new light on the imaginative history of the Elizabethan age and its peculiar trends in fashion. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Biewald’s work has been exhibited both nationally and internationally. She has been a recipient of various artist grants and fellowships, including the Lower Manhattan Cultural Council Grant (2006), the Bush Artist Fellowship (2004), a Minnesota State Arts Board Artist Award (2001), and a Jerome Artist Fellowship (2000).</span></p> Fri, 14 Dec 2012 17:58:35 +0000 Bill Thompson - Margaret Thatcher Projects - October 25th, 2012 - January 12th, 2013 <p>The wall sculptures that constitute <em>Swell</em>, <strong>Bill Thompson</strong>’s second solo exhibition at <strong>Thatcher Projects</strong>, reflect and absorb, shifting and growing as one moves around them. Solid objects not content with being static, their gleaming, pearlescent surfaces absorb the room they inhabit, reflecting back the space in their warped, monochromatic surfaces. The installation provides the viewer a unique, visual experience of mutating form and color as one moves about.<br /><br /><strong>Bill Thompson</strong>’s elaborate process begins with a flat shape drawn directly onto a rigid polyurethane block. The drawing is refined and later transformed with saws, grinders and sanders, into a 3-dimensional object. Thompson hand-finishes and coats each in custom mixed automotive paints, spraying multiple coats of primer, color, and clear urethane. Each finished piece requires fifteen to twenty coats. His personal involvement in the entire process and creation of these works elevate them to elegant objects that look neither hand nor machine made, but rather, are subtle entities in their own right.<br /><br />Committed to “finding the most reductive manner in which to make a visual statement”, works such as <em>Matador</em>, <em>Corpus</em> and <em>Creeper</em> build upon <strong>Bill Thompson</strong>’s earlier pieces with a full embrace of forms that are sculpted and organic. In these newest works, Thompson creates sheer edges that tightly hug the wall, and emerge from it, their reflective, richly colored surfaces radiating seductively.<br /><br /><strong>Bill Thompson</strong> was born in Ipswich, MA, and currently lives and works in Boston, MA. His works have been widely exhibited nationally and internationally at institutions such as the Museum of Fine Arts, Boston; the Institute for Contemporary Art at MECA, Portland; the List Visual Art Center, M.I.T, Cambridge; The New York Public Library; and the Song-Eun Art and Cultural Foundation, Korea, among others.  Thompson’s exhibitions have been reviewed in Art in America, The Korea Times and, among others.  This exhibition has been selected by Modern Painters as one of the 100 Fall Shows to See Around the World.</p> Sun, 06 Jan 2013 23:19:44 +0000 Julian Opie - National Academy Museum - September 12th, 2012 - January 12th, 2013 <p>The Academy's inaugural installation of video art in the Fifth Avenue windows showcases Julian Opie, perhaps best known for the animated figures from his <em>Walking Series</em>. On view are his computer animations, <em>Kris walking 2</em> and <em>Verity walking in dress</em> <em>2</em>.</p> Mon, 07 Jan 2013 00:46:40 +0000 Judy Fox - P.P.O.W Gallery - October 27th, 2012 - January 12th, 2013 <p style="text-align: justify;"><b>P.P.O.W</b> is pleased to announce <i>Out of Water</i>, our sixth solo exhibition of figurative sculpture by Judy Fox. Well known for her exquisitely rendered human figures, including children that are at once iconic, psychological and subversive, Fox continues to explore mythological references that are used to reflect upon contemporary sociological issues. In her latest installations, virtuoso use of form extends to the surreal, with visual puns used to provoke conflicted emotional reactions.<br /> <br /> The centerpiece of this new installation is a comely standing life-size figure of a Mermaid. Legs pressed together as if fused into a tailfin, hands paddling downward, she looks dreamily over her entourage. A set of Worms spread out before her like the writhing sea horses that pull the chariot of a Greek sea goddess. They are curvy and sensual --- some profiles resemble parts of naked human bodies.<br /> <br /> If the worms embody physicality itself, the Cephalopods in the room are all head. They look on, analytical and judgmental. Amusingly, they all seem to assume the characters of human prototypes --- a wise old man, a frilly girl, a dowager, a butler. Her provocative imagery swirls with layers of mythology, science and humor.<br /> <br /> <i>Out of Water</i> once again puts iconic imagery in service of an exploration of human imperatives. Like the sea monsters that prowled the edges of the once flat earth, the Cephalopods and Worms threaten our boundaries. Primitive, alien, yet connected to our own predatory minds and soft flesh, they both attract and repel. They are a premonition of the human animal yet to evolve, and they remind us that the primordial persists within us. It is a fearful affinity that is allegorized in the earliest myths of creation and procreation, and is the heart of evolution.</p> <p style="text-align: justify;"><strong>Please Note: The gallery will be closed December 23rd - January 2nd</strong></p> <p></p> <p></p> <p></p> Sun, 23 Dec 2012 01:30:15 +0000 Julie Blackmon - Robert Mann Gallery- New York - November 1st, 2012 - January 12th, 2013 <p>Robert Mann Gallery is pleased to announce <i>Julie Blackmon: Day Tripping</i>, the artist's second solo show with the gallery. Through a complex process involving models, a highly staged set and carefully composed tableaux, Blackmon weaves intricate stories of the complexities of everyday life in large and busy households. Blackmon is one of the most exciting photographers working today, and in this exhibition she will debut six never before seen images.</p> <p>As the oldest of nine children, Blackmon's work has always drawn inspiration from her familial life, her extended family playing the role of both model and muse. At the same time, her work looks far back into the history of art to the paintings of the Dutch Renaissance master Jan Steen, who was known for his carefully constructed scenes of domestic chaos. However, in this newest work, we see Blackmon taking a more contemporary approach by shifting her focus to the work of the French painter, Balthus. His paintings of street scenes include many figures who seem to exist each in their own worlds — often indifferent to what is going on around them. Like Blackmon's work, they are scenes in which time stands still, a moment of anticipation before the full story unfolds and reveals how these characters' lives may, or may not intertwine. Balthus's <i>La Rue</i> provides inspiration for Blackmon's image <i>Homegrown Food</i>, where a man in white carrying a wooden plank walks past another figure who looks cool, yet out of place leaning against a building smoking a cigarette. Both ignore the little girl holding a blue racket who runs into the scene to chase her red ball leaving us to imagine what might happen next.</p> <p><br /> Julie Blackmon was named American Photo's "Emerging Photographer of 2008" and one of PDN's "30 New and Emerging Photographers" in 2007. She has been the recipient of various awards including first prize from The Santa Fe Center for Photography in the Project Competition in 2006. Blackmon's work is included in numerous museums and public collections including that of George Eastman House, Nelson Atkins Museum of Art, Museum of Fine Arts, Houston, Kemper Museum of Contemporary Art, Kansas City, and Portland Art Museum.</p> Tue, 16 Oct 2012 02:31:43 +0000